I’ve already told you how the only reason I got my job at Marvel Comics in the ’70s was because of a serendipitous encounter with the late Duffy Vohland. But in a way, I almost lost that job because of Duffy, too. Or at least … I thought I was going to.

Before Duffy pulled me into comics as a professional, he pulled me into his corner of comics fandom. Oh, I’d already been going to cons, buying fanzines, and getting involved in lots of other fanac, but he hooked me up with a bunch of guys who published and/or wrote and/or drew for a fanzine titled CPL—that is, Contemporary Pictorial Literature. If you know anything about comics, you’ve heard of some of those guys, because Bob Layton, Roger Stern, John Byrne, and Roger Slifer all went on to professional comics careers of their own.

Duffy wrote a column known as “Duffy’s Tavern” for that (and other) fanzines, and asked me to fill in for an issue, which I did, writing an essay that appeared in the CPL #8, which featured this spiffy cover penciled by John and inked by Duffy.

My essay, titled “Comic Art: Fact or Fiction?” was written when I was still a fan, and took a very jaundiced view of the creative state of the field. I wrote, among other things, that “There are very few comic books which even come close to what a comic should be.” I sent the piece off, and forgot all about it, until it was published … by which time I was working on staff at Marvel. And upon rereading it, I thought—What have I done? Once Roy Thomas reads this, he’s going to can me for sure!

I trembled for several weeks waiting for the axe to fall, or at the very least for the two us to have an extremely uncomfortable conversation due to my having written an essay which basically maligned most of Marvel’s output. As far as I recall, though, nothing was ever said, either because Roy never read it or had read it but just thought it was too silly to even comment on.

Rereading it now, it occurs to me that though It doesn’t quite express my feelings today, it does basically explain why I don’t like those recently announced Watchmen prequels and why I have no plans to read them. So some feelings never change.

But enough about me. Whatever you think of my essay, I’m sure you’ll find it far more entertaining to look at some of the great art from that issue, including a naked Ben Grimm.

That’s right. A named Ben Grimm.

By none other than the legendary Joe Sinnott! (more…)

When I dug out the March 1975 issue of FOOM last week, I found something fun on the back cover—a piece of John Byrne art I don’t think has seen print in 35 years.

I have no idea why we ran this image that issue, not when it was a “Special Cosmic Issue,” with all the other feature content relating to Marvel’s cosmic characters such as Captain Marvel, the Silver Surfer, and Adam Warlock. John probably just whipped up the spoof as a joke and we all thought it so silly we couldn’t resist sharing it.

Which is sort of the same reason I’m sharing it now.

So check out Shang-She, Mistress of Kung Fu, as she teams up with Iron Sis to take on the insidious Su Manchu.

Happy birthday, John!

John Byrne and I met more than a third of a century ago, back when we were both just fans, before I’d started on staff at Marvel Comics. And since it’s traditional to embarrass old friends on their birthdays, here’s a blast from the past even he may have forgotten about! I know I almost had.

John’s first professional comic-book art was published in the Skywald black-and-white horror magazine Nightmare #20 (August 1974), just about the time I started in the Marvel Bullpen. My own first professional comic-book script appeared about a year later, in Dead of Night #11 (Aug 1975). It was the first story about the Scarecrow, which Marvel seems to be calling the Straw Man these days.

The character had gone through many incarnations before it saw print, incarnations which John had known about and, as you’ll see, even participated in. In May 1975, I received a fan letter from him in which he wrote—

Just got the first issue of SCARECROW (D. O. N. #11). Love it! Really tremendous. And I much prefer this version to my pumpkin rendition.

Enclosed is a subtle hint.

The letter was accompanied by the sketch you see below.

Now you might think as you read that note—what pumpkin version? And you know something … I was just thinking along those lines myself. (more…)