Meth on Steve Englehart

Steve Englehart was a very terrific writer of comics at a time when I was reading nothing but. I'm conducting a brief interview with him regarding his Max August series for this blog. Should be ready by tomorrow.

Englehart began his pro comics career assisting art legend Neal Adams on Vampirella #10 (Warren Publishing, 1971) and later became a writer at Marvel under Roy Thomas, where his plots and dialogue were, more sophisticated--and far more fun--than most of what his contemporaries were doing. To this day, my favorite Captain America run was his, especially that forever memorable resolution of the 1950's Cap/Bucky conundrum with a plotline that also hit on the racial issues of that period (issues #152-156).

Englehart and Frank Brunner (who illustrated the cover of my own Wearing The Horns for Aardwolf Publishing), created a multi-issue storyline for Dr. Strange (Marvel Premiere #14) in which a sorcerer named Sise-Neg (Genesis backwards) travels back through history, collects magical energies, then finally reaches the beginning of the universe only to become omnipotent and re-create it, leaving Dr. Strange to ponder whether this was, paradoxically, the original creation. Story has it that Stan Lee (then EiC of Marvel) ordered the pair to print a retraction to avoid problems with religious leaders, saying this was not "God" but a god... and that Englehart and Brunner penned a fake letter from a fictitious minister praising the story, then mailed it to Marvel from Texas. Marvel unwittingly printed the letter and dropped the retraction order.

Gene Colan on the Flap

Here's the flap copy (below) for The Invincible Gene Colan. If you didn't order this yet you're not as smart as you think you are. Get a signed/numbered one here.

For 65 years, Gene Colan has been a mainstay of the comic book industry. He is easily one of comicdom’s five most important artists. You can name the other four.

Born in the Bronx in 1926, Colan began drawing at the tender age of three then launched his professional career at the legendary Fiction House in 1944. Following a two-year stint with the U.S. Army Air Corps during World War II, Colan returned to full-time illustration work for Marvel Comics’ precursor Timely Comics then spent the majority of his career at Marvel until announcing his semi-retirement in 2008 (at the age of 82).

At one point or another, Colan worked on nearly every major Marvel character, but his defining work on such books as Daredevil, Iron Man, Dr. Strange, Howard the Duck and Tomb of Dracula set industry standards that could not be denied. Beloved by fans and pros alike, Colan was finally inducted into the Will Eisner Comic Book Hall of Fame in 2005 and is now recognized as one of the industry’s most influential pioneers.

But all of these words mean nothing. Open this book. Gene Colan’s magnificent art says it all.

THE INVINCIBLE GENE COLAN is a moving visual biography of Gene Colan’s Marvel career and most memorable work. Comics culture’s leading luminaries—from Stan Lee to Neil Gaiman—lend analysis and insight to Colan’s inimitable, captivating work. Edited by author and comics historian Clifford Meth, THE INVINCIBLE GENE COLAN is a stunning, long-overdue tribute to Gene “The Dean” Colan, Marvel’s one and only Iron Horse.

Neal Adams Remains Cutting Edge

Spoke briefly with my friend Neal Adams this morning. His Continuity Studios recently finished the first genuine motion comic for Marvel Entertainment. If there was ever a comics pioneer, it's Neal.

I took a gander at the Gifted Astonishing X-Men graphic novel on Neal's site. John Cassaday and Neal (who co-produced) take the concept of those old Jack Kirby "Merry Marvel Marching Society" cartoons I used to watch as a kid and put them on steroids. And LSD. Have a look.

The Invincible Gene Colan...Order Now!

You're hearing it here first...

Marvel Entertainment will release my 128-pg. THE INVINCIBLE GENE COLAN in February, 2010, a visual biography of one of the most brilliant, sublime and influential comic artists in the history of the genre. Includes observations from Stan Lee, Roy Thomas, Neil Gaiman, Walter Simonson, Marv Wolfman, Tom Palmer, Steve Gerber, Tom Spurgeon and John Romita Sr., and beautiful, eye-popping art from the Shadow Master himself.

Aardwolf Publishing will have exclusive signed/numbered copies as well as an extremely limited double-lettered remarqued, book-plated edition (containing a unique Colan sketch). If you want one of these, I urge you to order it immediately. Here’ the details:

* Signed/numbered: $60 plus $5 shipping

* Double-lettered remarqued edition (contains Colan sketch; only 52 will be created): $140 plus $5 shipping

* Special offer: With any order, add another $15 and receive THE UNCANNY DAVE COCKRUM hardcover numbered edition ($40 retail value).

Make checks payable to Aardwolf Publishing and mail to: Aardwolf Publishing, 179-9 Rt. 46 West, Box 252, Rockaway, NJ 07866

Dave Cockrum's Garage Sale

She'll be annoyed at me for saying anything, but that's what are friends for: Paty Cockrum--Dave's widow and retired Marvel Comics Bullpen colorist and penciller (as Paty Greer)--had an unexpected tax bill courtesy of Uncle Sam that's more than she can handle at the moment. To help offset the burden, I'm lowering the already low prices on Dave Cockrum's personal comics collection, which I sell for the estate (proceeds typically benefit a scholarship at the Joe Kubert School; this time they benefit Paty).

Please click here to see what's for sale, make a list of the books you'd like, and drop me an email at cliffmeth@aol.com -- I'll make you an offer you can't refuse.

On the Origins of Adam Austin

An excerpt from my forthcoming THE INVINCIBLE GENE COLAN (Marvel Entertainment):

By the mid-Sixties, both DC and Marvel were vying for exclusivity of Gene's talent. This led to Colan using the pseudonym “Adam Austin” on some of his Marvel work. Legend has it that Stan Lee, who had a penchant for alliteration, invented Colan's nom de plume--after all, Adam Austin was so Peter Parker-like. But Adrienne Colan sets the record straight:

"At the time, I was pregnant with our son Erik," Adrienne recalls. "Gene and I both loved the name Adam and we were considering naming our baby that. But then Gene decided on Erik. So when we felt we needed a name that would allow Gene to work for both DC and Marvel without either finding out, I suggested Adam Austin and that's what we went with.

"Part of the dilemma for Gene was trying to make a living. Gene was trying to hold onto his freelance status by keeping the knowledge that he was working for both DC and Marvel away from each other. Went over like a lead balloon. First crack in our plan was a call from Dean Mullaney. 'Hi Gene. Don't bother trying to fool me with that Adam Austin bit--I'd know your work anywhere just based on your panel design and composition.'

"The Second crack in our plan—and the death knell, so to speak—was when Gene was leaving DC one afternoon having just delivered a job. As he neared the elevator, who should be getting off the elevator? Martin Goodman! 'Hi Gene!' he said. The end!

"Stan [Lee] called the next day and offered Gene a $5 per page raise to come over exclusively. Although unplanned, it was exactly what Gene was praying for. He was dying to work for Marvel."

Adam Austin made his Marvel super-hero debut in Tales to Astonish #70 when he introduced the Sub-Mariner strip to the book.

Dave Cockrum Estate Sale Continues

As previously posted here, I am helping Paty Cockrum sell off Dave Cockrum's personal collection of comics. This includes file copies of books that he drew for DC and Marvel (such as The Avengers, Ms. Marvel and The X-Men) as well as Dave's personal Bronze, Silver, and Golden Age collection. There's lots of great books at more than reasonable prices, as many of you have already discovered. And more books are added every other day. Click here for the current list.

Marv Wolfman: Watching the Children Grow

As an aspiring writer weaned on comics, all I ever wanted was to work for Marvel or DC. But the grass is always greener, and as I became friends with many writers and artists in those camps, I watched their growing frustration despite the fact that their characters were catapulting to new heights. Anyone who has hung around comics as long as I have must wonder on occasion how cool it would be to have created The X-Men or Ghost Rider or Wolverine—and how lousy it must feel to see those characters generate millions of dollars while the creators are left out of the character’s financial success.

Marv Wolfman had a hand in building about 75 Marvel characters including Blade (with Gene Colan), The Black Cat (with Dave Cockrum), Bullseye, Condor, Diamondhead, Nova, Sphinx, Terrax, and Torpedo. At DC, he co-created most of the New Teen Titans and all of their villains with partner George Perez, including Cyborg, Deathstroke the Terminator, Gizmo, Jade, Jericho, Nightwing, Pantha, Psimon, Raven, Shimmer, Starfire, Terra, Trident, Trigon, and literally dozens of others.

Marv and I recently spoke about watching these “children” grow up.

Meth: The whole legacy thing is tricky. You and I both know any number of creators who labored to give birth to something only to see THAT thing become THE thing their career was forever associated with. And then their creation suddenly wasn't theirs anymore and some big corporation was making gazillions off of it. Let's take the X-Men, for example. Now there's more than one way to process that experience--and perhaps the process differs as you mature. Dave Cockrum was rarely bitter about his roll in the X-Men. He was only sorry that the industry stopped giving him work… Was your Blade experience painful?

Wolfman: It wasn't Blade that was the problem. I love the character and my involvement with him. My problem was that [Marvel] decided the creators should not get any money or even recognition for their creation. I had to fight and all I managed to get, along with Gene Colan, was the credit. And only on the movies. They were not included on the TV series, which is why, despite the fact that some friends and good people worked on it, I couldn't bring myself to watch it… Creators should always participate in the success of their creations. DC has given percentages for decades now. I wish Marvel had chosen to do the same as that was all I originally asked for.

Meth: Where does this leave you with Marvel?

Wolfman: Unfortunately, although I still love many of their characters, and some editors would like to work with me, the word comes from on high that I can't be hired. It's a shame. They are doing some great books.

Meth: Knowing what you know now, how would you have handled the Blade situation in the beginning? Or were there really any options?

Wolfman: In an early letter to them, I had originally asked only for the same percentages DC routinely gives its creators, and frankly the same one Marvel does for its creators (since 1978 or so) but very late one night I was called by one of their company Presidents (I think from Marvel Studios) and was told that if I wanted to get anything from them I'd have to—in his words—"Sue us." That completely threw me. There had been nothing in any of my correspondence to that time that even hinted of that thought.

As I say, I wrote letters asking only for the standard deal. I know someone high ranking at another company tried to help, but they were adamant. Without mentioning names, I had heard stories that one of the people responsible for many of their characters found it impossible to go into Toys 'R Us because he'd see characters he created that he never saw a penny from, and I was determined, win or lose, I would not let that happen to me. I didn't want this to be a legal case but that exec made it clear the company wouldn't give the same deal they were already giving others and the situation unfortunately escalated. I wish it never happened, as it certainly hurt professionally and financially, but that exec made it clear suing them was the only thing I could do.

I still wish it didn't go down that way. I still like many of the Marvel books and have no bad words (publicly or privately) about the company or its people - some of my currently favorite books are Marvel - but at the time I felt I wasn't given any options.

Meth: Your experiences with DC have been more rewarding. Is that a testament to Paul Levitz?

Wolfman: I think the change at DC happened with both Jenette Kahn and Paul. They both seemed committed to changing the way things had been.

Meth: You spent time in the hot seat at Marvel, as an EiC. How have things changed since the bullpen days, politically and practically?

Wolfman: I actually don't know since I haven't done it for awhile. I loved being EiC at Marvel (and later senior editor at DC and at Disney Adventures magazine) when it was a creative post. We were able to do comics we wanted to read. Comics that tried to preserve what was great about the company while pushing it forward at the same time. We were also attempting to "grow up" our stories as the age of our readers got older as well. Unfortunately, at that time Marvel was sold to a company called Cadence, and I have to say that company wasn't quite the best. My job slowly became far too business and much less creative, and Cadence kept trying to find ways to make things cheaper and worse. I was in my mid-20s at the time and really didn't know how to fight them, wasn't good at politics, and awful at business. I'd like to think I'd be a lot better now.