Last night, I attended a screening of experimental films at The Arts Centre in Martinsburg, hosted by Don Diego Ramirez, director of the award-winning documentary Trailer Trash. He showed us the works of Maya Deren, Stan Brakhage, Stan VanDerBeek and others, plus one of his own student films. Equally interesting was the display of camera equipment, as well as books and magazines related to independent filmmaking.

A certain copy of Super 8 Filmaker caught my eye. Take a look and I’m sure you’ll understand why.

Seeing Spider-Man on the cover of an October 1974 magazine—which based on magazine cover dates and publishing schedules could have gone on sale just a few weeks after I started working at Marvel Comics—stirred some memories. And flipping to the Table of Contents to see who wrote that cover story stirred a few more … (more…)

Because one taste of Steve Gerber isn’t enough—at least, not for his true fans, of which I suspect there are many of you out there—here’s an additional chunk of my 1975 interview with him which had somehow gotten separated from the first part.

This section is entirely about his plans for Crazy magazine, which he had just taken over as editor. The sound quality on this section isn’t the best, but if you love Steve you’ll be willing to put up with it.

Those of you who do struggle through will hear him discuss how his (then) year and a half of therapy qualified him to edit the humor magazine, why he got the gig in the first place, how he once thought he might go into television until he realized he was too ugly, and more.

And near the end, you’ll also get to hear a few (insulting) words from Don McGregor.

In 1975, I interviewed Steve Gerber, as I’d interviewed so many of Marvel’s writers when I worked there and (among other things) edited FOOM, the company’s fan magazine. I’d decided that rather than have a standard news section on oncoming comics, I’d print edited transcripts of the writers talking about what was around the corner, so readers would get a taste of creator personalities as well.

So here’s Steve talking about Crazy magazine as well as his work on Man-Thing and The Defenders in the only surviving tape from those years. Parts of this interview appeared transcribed in FOOM #9, the March 1975 issue.

And once more I ask myself—Did I really sound like that? I am forced to admit that I did. How did those of you who knew me then ever put up with me?

Today was supposed to have been Steve Gerber’s 62nd birthday. In a just world, he’d still be with us. In a just world, when Steve was still alive, he would have participated financially in the success of Howard the Duck, instead of having to engage in legal battles which proved expensive and exhausting.

Sure, all most people remember now is the punch line that the Howard the Duck film became, but remember, too, there was a valid reason the film got made in the first place. Long before the film, the character had been a genuine hit. So on Steve’s birthday that might have been, should have been, let’s take a look back at a happier time—the moment Marvel Comics seemed to recognize exactly what it had on its hands.

There’s plenty of interesting info in this memo, but the two items of note today, the two things which would have thrilled Steve, are a note (on the first page) that “Howard the Duck will go to a monthly frequency, effective #9, December,” and a request (on the second page) to “Please schedule a new $1.50 special, (Treasury size) entitled HOWARD THE DUCK #1, 1976, 80 pages.”

Steve must have been thrilled that his creation had done so well in the marketplace that it went monthly and spawned a treasury edition.

Unfortunately, that joy wouldn’t last. A bitter battle was still to come.

But spare a thought for Steve on his birthday today anyway, OK?

With all of the love currently being shown online to the high-profile projects Steve Gerber had been involved with—including Howard the Duck, Omega the Unknown, and Man-Thing—I want to make sure that everyone also remembers his absurd work as editor of Crazy magazine.

Crazy was intended by Marvel to be just another MAD clone, and while it did have the standard movie spoofs everyone has come to expect from that sort of knock-off magazine, it also featured Bob Foster’s bizarre “History of Moosekind” series, artwork by Lee Mars, Will Eisner, and Marie Severin, and strange photo features starring unidentified members of the Marvel Bullpen.

And, oh, yes, then there were Steve’s offbeat editorials.

Here’s one of them, titled “Beat the Scuzzies,” from the August 1975 issue of Crazy. It includes Steve’s recommendation for a 1976 presidential candidate, so it’s timely again now.

The inside front cover of the same issue of Crazy spotlights another piece of Steve’s writing, this one a spoof ad featuring one of those undercover Marvel staffers I mentioned.

Me. (more…)

I just learned that Steve Gerber passed away yesterday while waiting in the hospital for a lung transplant. I’m still sort of stunned right now, since he’d posted on his blog as recently as last Monday about his progress on a Dr. Fate project. He seemed hopeful, and so I was trying to remain optimistic.

I won’t attempt to go on at length here to explain to you who he was and why he mattered. You probably already know him from his work on Man-Thing, Omega the Unknown, and Howard the Duck, and I’ll leave it to others who can better keep their wits about them to recount the details of his life. You can also get more information and read remembrances from those who loved him here.

But I’d just like to quickly say that I remember him as much for what I knew of him off the page as for what the rest of the world knew of him from what was on the page. Around the Bullpen, he was always a funny guy, part Mort Sahl, part Lewis Black.

And he had no sense of shame when it came to making you laugh. Here he is, posing for a photo that appeared in the October 1975 issue of Crazy magazine, which he edited for Marvel back when I was on staff there. He used his sense of the absurd to make Crazy into more than just another clone of MAD. I’d like to remember him that way, smiling, happy, and in your face.

He followed a rough road in comics, because he pushed the envelope—both artistically and in fighting for creator rights—at a time when most didn’t bother. We need more like him.

We need him.