"The King" Draws The Prisoner!

Until about a week ago, I'd had no idea that this Prisoner comic existed! It makes sense that the tone and content of the show would appeal to him. The comic was never completed, but it's still interesting to see bits of Portmeirion and Number Six as seen through Kirby's eyes.

There's two great blog posts about this already, so I'll just link you to them - pages at hyperdave's Datajunkie blog, and more pages (with an analysis) by Charles Hatfield at twomorrows.com. Enjoy!

Thanks to The Jack Kirby Collector magazine, hyperdave, Charles Hatfield, amctv.com, and Karen Prell for the tip-off!

Be seeing you.

Joe Simon, 94, Appearing At New York Comic Con

“'Living legend' is how Joe Simon is categorized on the list of special guests appearing at the New York Comic Con at the Jacob K. Javits Convention Center this weekend. Mr. Simon, 94, has a different take on it. 'I call it the old-geezer table,' he said during a recent interview at his Midtown Manhattan apartment.

Mr. Simon will take part in the 'Legends Behind the Comic Books' panel at 3 p.m. on Friday, one of numerous events planned at the convention, a three-day celebration of all things comics.

Mr. Simon earned the 'legend' title with his partner Jack Kirby by creating Captain America, the superhero who arrived in December 1940, just in time to play a patriotic foil to the Axis powers. The cover of the first issue even has the good captain socking Hitler in the jaw.

For Mr. Simon and Mr. Kirby, though, the biggest blow came when they were dismissed from the series, which had been selling a million copies a month, in a dispute over royalties. The team moved to Detective Comics (today DC Comics), but Captain America stayed with Timely, the forerunner of Marvel Comics.

It’s a tale worthy of its own comic (and one of many inspirations for Michael Chabon’s Pulitzer Prize-winning novel, 'The Amazing Adventures of Kavalier & Clay'): On the frontier of a new industry, writers and artists creating scores of characters, but publishers profiting from them."

To read the rest of George Gene Gustine's New York Times article, click here.

Al Jaffee, Still Folding In

"If you were young at any time in the last 44 years, you know the fold-in: the feature on the inside of Mad’s back cover that poses a question whose answer is found by folding the page in thirds. September 1978: “What colorful fantastic creature is still being exploited even after it has wiggled and died?” A picture of a garish butterfly, folded, becomes an equally garish Elvis.

The fold-ins these days are as full of youth culture as ever. (March 2008: “What major star has recently admitted receiving illegal career-damaging human growth injections?” And a picture that looks as if it’s going to be Roger Clemens folds to become Jamie Lynn Spears, pregnant.) So the first thing that strikes you when Mr. Jaffee greets you at the door of his studio on the East Side of Manhattan is his age. This man, still credibly negotiating the milieu of teenagers, is 87."

-- Neil Genzlinger, from his New York Times article. Read the rest here!

Photo by Librado Romero.

PS - Be sure and try the cool interactive fold-in retrospective!

Dave Stevens, 1955-2008

NEWSFROMME.COM: Dave Stevens, R.I.P.
by Mark Evanier
Tuesday, March 11, 2008 - 11:25 AM

Illustrator Dave Stevens, best known for his "good girl" art and The Rocketeer, died yesterday following a long, wrenching battle with Leukemia. Dave was born July 29, 1955 in Lynwood, California. He was raised in Portland, Oregon, then his family relocated to San Diego, where he attended San Diego City College and became involved in the early days of the San Diego Comic Book Convention, now known as the Comic-Con International. His skills as an artist were instantly evident to all, and he was encouraged by darn near every professional artist who attended the early cons, but especially by Jack Kirby and Russ Manning. In 1975, when Manning began editing a line of Tarzan comic books to be published in Europe, Dave got his first professional assignment, working on those comics and also assisting Russ with the Tarzan newspaper strip. Soon after, he worked on a few projects for Marvel (including the Star Wars comic book) and a number of underground comics. Later, he also worked with Russ on the Star Wars newspaper strip.

In 1977, Dave went to work for Hanna-Barbera where he drew storyboards and layouts, many of them for the Super Friends and Godzilla cartoon shows and bonded with veteran artist Doug Wildey, who produced the latter. Wildey and Stevens became close friends and in 1982, when Dave created his popular character, The Rocketeer, he modelled the character's sidekick, Peevy, on photos of Doug. Dave himself was Cliff Secord, who donned the mask of The Rocketeer, and other friends appeared in other guises.

The Rocketeer made Dave's reputation and also spawned a resurgence of interest in fifties' figure model Bettie Page, whose likeness Dave used for the strip's heroine. But the strip was not profitable for Dave, who was among the least prolific talents to ever attempt comic books. It wasn't so much that he was slow, as his friends joked, but that he was almost obsessively meticulous, doing days of study and sketching to create one panel, and doing many of them over and over. Even then, he was usually dissatisfied with what he produced and fiercely critical of the reproduction. Friends occasionally pitched in to help with the coloring but some begged off because they knew it was humanly impossible for anyone, including Dave himself, to produce coloring that he'd like. Eventually, he sold most of the rights to Disney for a Rocketeer movie that was produced in 1991. Dave served as a co-producer of the film and did a brief cameo, but the endeavor was not as lucrative for him as he'd hoped, and it pretty much ended Dave's interest in continuing the character.

Most of what Dave did after that fell into the general category of "glamour art," including portfolios and private commissions. Many of these were illustrations of Bettie Page who, though once thought deceased, turned out to be alive and living not all that far from Dave. They met and Dave became her friend and, though he was not wealthy, benefactor. Deciding that too many others had callously exploited her likeness, Dave voluntarily aided Ms. Page financially and even took to helping her in neighborly ways. One time, he told me — and without the slightest hint of resentment — "It's amazing. After years of fantasizing about this woman, I'm now driving her to cash her Social Security checks."

Dave was truly one of the nicest people I have ever met in my life...and was certainly among the most gifted. Our first encounter was at Jack Kirby's house around 1971 when he came to visit and show Jack some of his work. As I said, Kirby was very encouraging and he urged Dave not to try and draw like anyone else but to follow his own passions. This was advice Dave took to heart, which probably explains why he took so long with every drawing. They were rarely just jobs to Dave. Most of the time, what emerged from his drawing board or easel was a deeply personal effort. He was truly in love with every beautiful woman he drew, at least insofar as the paper versions were concerned. (Dave was married once...for six months to the prolific movie actress, Brinke Stevens, and she retained his last name after they divorced.)

Dave's illness these last few years was a poorly-kept secret among his friends, but he insisted that it be kept quiet, and struggled to make occasional public appearances. We tried to get together for dinner every month or so but it wound up being more like every six months. The last time, he joked that it was lucky he had such a reputation for slow production. Now that he was unable to work for weeks at a time, no one noticed that his output had declined. His main efforts went towards an "Art of Dave Stevens" book he was struggling to assemble. Mostly though that evening, we talked about comics and comic artists. Dave was a fan in the very best sense.

I don't really know how to end this and maybe I don't want to...because it will mean another level of loss regarding one of my closest friends. As long as I can keep writing about him, I feel he's still with me in some manner. And the thought of losing a great guy like Dave Stevens is just too, too sad. He was truly loved and admired by all who knew him. I'll post information about a memorial service, if and when I hear about that kind of thing.

New Watchmen Stills Up

Warner Brothers has posted stills featuring some of the main characters from the upcoming Watchmen film. They look quite faithful to the designs in the comic, aside from the DARK, DARK, DARK coating applied to virtually every comic book movie costume and set since Batman.

It's a nice look, but the book's a riff on old silver age characters, so I don't think it's as appropriate here. I don't know if you need fully saturated colors on spandex, but I think the once-innocent/fallen from grace contrast is integral to the concept.

To be honest, though, production design is the least of the challenges. Watchmen is a really dense, multi-layered story. While I don't think any story is unfilmable, this is certainly a ambitious assignment for a movie.

I was talking with a friend of mine today, and I'm wondering if a television mini-series might have been the way to go. You could go into more detail with six hours (or more) than you can with two. How's this for geeky? A TV mini-series. Twelve one-hour episodes, one a week, the final one airs at 11:00 PM - midnight. I'd buy that for a dollar!

Another Hero Gone: Steve Gerber, 1947 - 2008

NEWSFROMME.COM: Steve Gerber, R.I.P.
By Mark Evanier - Monday, February 11, 2008

You know, some of these are easy to write and some of them are excrutiating. Welcome to the excrutiating kind.

Steve Gerber died last night in Las Vegas after a long, painful illness. For the last year or so, he was in and out of hospitals there and had just become a "candidate" for a lung transplant. He had pulmonary fibrosis, a condition that literally turns the lungs to scar tissue and steadily reduces their ability to function. Steve insisted that his affliction had nothing to do with his lifelong, incessant consumption of tobacco — an addiction he only recently quit for reasons of medical necessity. None of his friends believed that but Steve did.

I mention that because in the thirty or so years I knew him, that was the only time I ever saw Steve perhaps divorced from reality. He was a sharp, brilliant human being with a keen understanding of people. In much that he wrote, he chose to depart from reality or (more often) to warp it in those extreme ways that make us understand it better. But he always did so from his underlying premise as a smart, decent guy. I like almost everyone I've ever met in the comic book industry but I really liked Steve.

Stephen Ross Gerber was born in St. Louis on September 20, 1947. A longtime fan of comic books, he was involved in the ditto/mimeo days of fanzine publishing in the sixties, publishing one called Headline at age 14. He had a by-mail friendship with Roy Thomas, who was responsible for the most noteworthy fanzine of that era, Alter Ego. Years later when Roy was the editor at Marvel Comics, he rescued Steve from a crippling career writing advertising copy, bringing him into Marvel as a writer and assistant editor. Steve soon distinguished himself as one of the firm's best writers, handling many of their major titles at one time or another but especially shining on The Defenders, Man-Thing, Omega the Unknown, Morbius the Living Vampire, a special publication about the rock group Kiss...and of course, Howard the Duck.

Howard, born in Steve's amazing mind and obviously autobiographical to a large degree, took the industry by storm. The creation was in many ways a mixed blessing to his creator. It led to an ugly and costly legal battle over ownership, which Steve settled out of court. It led to the occasional pains when he occasionally returned to the character and, due to reasons external and internal, found that he could not go home again. It also led to the sheer annoyance of watching the 1986 motion picture of Howard (produced with minimal involvement on Steve's part) open to withering reviews and dreadful business. Still, the issues he did are widely regarded as classics...and Howard is often cited as a character who only Steve could make work.

After he left Marvel under unpleasant circumstances in the mid-seventies, Steve worked with me for a time at Hanna-Barbera writing comic books, many of which were published by Marvel. An editor at the company had loudly vowed that the work of Steve Gerber would never again appear in anything published by Marvel. Just to be ornery, we immediately had Steve write a story for one of the H-B comics I was editing and it was published by Marvel with a writer credit for "Reg Everbest," which was Steve's name spelled inside-out.

About this time, Steve began to get work in the animation field, starting with a script for the Plastic Man cartoon series produced by Ruby-Spears. This led to a brief but mutually beneficial association with the studio, especially when Steve launched and story-edited one of the best adventure cartoons done for Saturday morning TV, Thundarr the Barbarian. Later, he worked for other houses on other shows, including G.I. Joe and Dungeons & Dragons.

Then there were other comic books, including occasional returns to Marvel and even to Howard. For DC, he did The Phantom Zone and later, A. Bizarro, Nevada and Hard Time. Last week in the hospital, he was working on a new Doctor Fate series for them. His other many credits in comics — which include Foolkiller for Marvel and books for Malibu and Image — are well known to readers of the last few decades.

What I feel the need to tell you is just what a great guy he was. In the seventies, when New York comic professionals were banding together to find ways to elevate the stature of the field and the living standards of its practitioners, Steve was at the nexus of so many of those efforts. When Steve was involved in his lawsuit with Marvel, many fellow professionals rallied around him with loans and gifts of cash and some of us put together a benefit comic book, Destroyer Duck, to raise money. People did that because they knew, first of all, that Steve was fighting not just for his own financial reasons but for matters of principle relating to how the comic book industry treated its creators. That some of the more pernicious business practices soon went away had a lot to do with Steve taking the stand he did. Also, those who knew Steve knew that when you were in need, he would do anything to help. He was, in every sense of the word, a friend.

He was one of my best friends and even though I knew this was coming — and even though part of me thinks it may be for the better, given what he stood to go through just to keep on breathing a few more years — it's a real blow. If you knew Steve Gerber, no further explanation is necessary. If you didn't, no further explanation can ever quite explain why.

Details of memorials and such will be forthcoming. I am now about to attempt a hostile takeover of Steve's weblog. I've been given permission to see if I can get in and take care of it but I won't delete anything, at least not for a long time. You might want to trundle over there and read some of this recent postings and especially some of the love and respect shown by his commenters.

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What sad news.

I loved “Howard The Duck” when I was a kid - if Spider-Man was an outsider, Howard was the apotheosis of the fish-out-of-water, an outsider’s outsider. He was literally from another planet - he wasn’t even the same species as everyone else. I ate it up as often as my local drugstore’s sporadic delivery schedule (and my anemic pocket money) would allow.

Howard was out of sync, beset upon by an increasingly hostile world, and I identified big time. It was bizarre and surreal, and to this day, there’s never been anything like those thirty-odd issues.

My affection for them never dimmed. I chatted online with Steve for a short time (after discovering his blog) quite some time ago, and commissioned a drawing from Gene Colan which hangs in my home. There wasn’t much for me to say once I got past the usual fannish drivel, so I let him be. But I still have the entire “Howard” run, and I think I always will.

Rest in peace, Steve. And thanks again. Thanks so much.

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Here's a couple of other nicely-written pieces on Mr. Gerber, one from thestranger.com, and another from The Comics Reporter.

Toy OTD: Presspop Gallery Sof' Boy Vinyl Figures - 4" and 8" Versions (2002, 1999)

Presspop isn't that prolific with its vinyl toys, but they make up for it in quality - each release is worth the wait. It's certainly true of their great Sof' Boy figures, dead on-model with Archer Prewitt's design! The sculpt does most of the heavy lifting, as there isn't much paint work needed. The biggest minus is the typical one - balance. These guys are tough to stand up, and the hip articulation doesn't help matters. Be sure to get some museum putty to display these toys!

As far as I know, this character is available in three sizes - four inches, eight inches, and a giant twenty-four-inch version! The big one is sold out (the 200-piece run originally cost $130 each, so expect to pay more if you find it), and I can't find the eight-inch version for sale anywhere (keep an eye on eBay), but you can buy the four-inch figure at forbiddenplanet.co.uk for £12.99 + shipping. Personally, I like the sculpt and pose of the mini-figure the best anyhow!

Toy OTD: Bandai Talking "Big Guy" Figure (1999)

Frank Miller and Geoff Darrow sparked off a mini-franchise when they teamed up their versions of Gigantor (Tetsujin-nijūhachi-gō 鉄人28号) and Astro Boy (鉄腕 アトム, Tetsuwan Atomu) in their comic, The Big Guy and Rusty The Boy Robot. Even though they were only featured in short, sporadic comic book appearances, the concept spawned a short-lived animated television series, and a line of merchandise.

You really couldn't ask for a better toy of the Big Guy than this! It actually is pretty big - thirteen inches tall - and speaks four phrases (his eyes glowing red) when you push his chest button. I'm assuming that they're from the show: "Candygram!", "For the luvva Mike!", "Fire in the hole!", and "This is serious business!" I've never seen the program, so I can't tell you if it's the same voice actor or not.

One arm opens to reveal a pair of cannons, while the other can fire off from his arm, Shogun Warrior-style. The former can be tricky to close back up, and the latter has a hair trigger, but they're still cool features! He also comes with accessories: a ray pistol, his human pilot (though he always came across as autonomous and sentient in the comic), and a roughly-to-scale Rusty figure. I don't remember how much this figure originally cost, but it was affordable enough that it was a good deal for the money!

There are two talking versions of this toy - the 13" size that has four phrases, and a 6" model with just two (and no accessories). This'll make buying one online a little tricky, so make sure that you're getting the version you want when bidding on eBay!

Speaking of which, I can't find this toy for sale online. You'll have to set up a favorite search - Good luck!