Since I’m always bitching to you when I see fine art interpretations of comics go for big bucks while images by the artists who toiled in the field go for peanuts—as when I complained that a pop artist’s version of Green Lantern sold for 7,723 times more than one by the man who created the character—I owe it to you to share that for once, the comics field won.

You may have heard that a page of Jack Kirby and Joe Sinnott artwork from Fantastic Four #55, one starring the Silver Surfer, was sold earlier this month by Heritage Auctions for $155,350.

But what you might not know (and what I only just remembered) is that Sharon Moody, a fine artist about whom I’ve written at length before, is either offering for sale or has already sold her own interpretation of that same page. (more…)

Well, that was fast! Less than an hour after putting out the call, I had scans for all the Captain America and Black Panther letters pages I wrote while at Marvel back in the ’70s.

So what will they reveal? Was there truly an orchestrated effort by us staffers, as some have claimed, to use the letters columns to sow seeds of dissatisfaction with Kirby among fandom?

Since I assembled many of those columns, I thought it important to respond with the facts, because as far as I know, none of those making such claims have done more than repeatedly make the claim, without evidence. What does a look at the actual texts of six such pages I put together for Kirby-created comics actually reveal?

(And a big thanks to Sean Howe, author of the upcoming history of Marvel in the ’70s, for responding so quickly!)

So let’s dig into Captain America 202, shall we?

Lots of positivity there, beginning with a letter that includes the line, “THIS is the Kirby I remember.” While the column does include is a letter hoping Kirby doesn’t do away with the characterization of the previous creative team, when isn’t there a letter like that whenever someone new is at the helm?

Since the column for issue 203 was about all-important issue 200, I managed to squeeze in 13 letters. And the ratio? (more…)

Do you have easily accessible copies of Captain America 202, 203, 205-207, or Black Panther 2? Are they reading rather than slabbed copies? Would you be willing to scan the letters columns and send me .jpgs?

If so, you might be able to help me dispel a Marvel Comics myth.

Yesterday, I posted a response to Robert Steibel’s commentary on my post of last year in which I recoiled from Jack Kirby’s mid-’70s run on Captain America.

Though he didn’t bring up the following point in his essay, Steibel and I exchanged a few emails, and in one of them he claimed that Marvel staffers were weighting the letters columns against Kirby in an attempt to orchestrate a campaign within fandom to get The King kicked off the books he was writing at the time.

I’d never heard such an accusation before, but when I searched online, I found that he didn’t originate the concept, that it had been comics hearsay for quite awhile, and that some even claimed staffers were creating fraudulent letters to make the Kirby backlash seem even worse. For example, Jordan Raphael and Tom Spurgeon reported on this in their 2003 biography, Stan Lee and the Rise and Fall of the American Comic Book.

The thing is, though the charge of faking negative letters has been bandied about, it all seems to be vague rumor and speculation. I’ve yet to see anyone point at a specific column and say that such-and-such a letter was cobbled together by an Assistant Editor.

Since I only just heard the charge for the first time this weekend, it took a day for the idea to sink in, and for me to realize—

Wait a minute! I was the one who wrote many of the letters columns that appeared in Kirby’s books. I’m the one being accused of fakery! (more…)

Over at the Kirby Museum, Robert Steibel has something to say about a post I wrote a year back which explained how, when I was working for Marvel in the ’70s, I disliked the work Jack Kirby was doing upon his return there, and how I dislike that work still. By work, I don’t mean the energetic as always images Kirby was drawing, but the text he supplied once he was responsible for both words and pictures, without Stan Lee to complement him. As I wrote in that post, “The art could still be the stuff of dreams at times, but the words that came out of his characters’ mouths seemed more like a nightmare.”

When it comes to the Stan vs. Jack wars, I am a partisan of neither. Once the duo disbanded, I don’t think either of them ever worked separately at the level they did when together. They needed each other. So I wasn’t slamming Kirby to elevate Lee, merely making an observation that when the King tried to do it all, it was far from satisfactory.

But let’s leave for another time the debate as to who’s right about the quality of Kirby’s prose. (Though it looks like that time won’t be too far off, as Steibel’s post, after all, was the first of two, and his second will deal with exactly that issue.) What I’d like to address here, and what it seems as if Steibel is most interested in having me address, is my behavior when I was on staff at Marvel in the ’70s, whether there was a conspiracy of some kind to cause Kirby to be fired, and if we were trying to get the scripting duties of his books for ourselves.

Steibel wrote:

Clearly they were all ambitious kids who wanted to take Jack’s place. They wanted to write comics and pointing out what they considered flaws in Jack’s work was a step in that direction. Push Jack aside and move in.

No, no, a million times no.

But to be more specific … (more…)

I spent yesterday at Balticon, doing a shared reading with Danielle Ackley-McPhail and John Mierau (you can see me and John in Adam Corbin Fusco‘s photo below) and taking part in a panel on The Walking Dead, in which we compared the two seasons so far and speculated on what’s to come in season three. We also gave our opinions as to how long the series would last and theories as to how it would end.

While at the con, I broke bread with Karen and Charlie Newton, Sandy and Risa Stewart, and Patrick Darby, and chatted with the rest of the usual Balticon suspects.

I find myself surprisingly worn out from having spent one day at what I generally consider a relaxicon, especially since last weekend’s Nebula Awards, at which far more partying and schmoozing went on (as captured below by James Patrick Kelly), didn’t leave me a fraction as tired. John Ordover speculated over on Facebook that I’m older now, but … by one week?

Am I deteriorating that quickly?

And that word “deteriorating” makes me think of zombies again, so I’ll toss out what I’d presented yesterday as my thoughts on how The Walking Dead would come to a conclusion, which should only be read by those who don’t care whether I might accidentally spoil something for you. (more…)

Last weekend, when I wasn’t schmoozing with friends at SFWA’s Nebula Awards weekend, I was off at the nearby Artomatic, an arts installation I’d heard about in years past but had never managed to attend. Since the last Artomatic was in 2009, and who knew when I’d ever be spending a couple of nights just a few blocks away from one, I knew I had to sneak over.

What is Artomatic? It’s 1,300 artists taking over an 11-story building that’s soon to be demolished, and surprisingly, amid the tens of thousands of works of art, plenty of science fiction, fantasy, and horror turned up. In an effort to get those who come here to read about those sorts of things to drop by—Artomatic runs through June 23—I thought I’d share a fraction of the art of the fantastic that I spotted.

(To my great horror and regret, after I got home, I discovered that I’d misplaced some of the artists’ names, so in the event you do head on over to Artomatic and see some of the paintings I’ve included below without attribution, could you please let me know the names of the creators. Artists need all the publicity they can get! All artists have now been identified. Whew!)

Dana Ellyn

“Darth Vay-Deer,” by Isaac Otto Lange

(more…)

Balticon 46 will take place May 25-28 at Marriott’s Hunt Valley Inn, and as usual, I’ll be there. Here’s where you’ll be able to find me officially; that is, when I’m not simply wandering the dealers room or con suite and schmoozing.

Reading
Saturday, 1:00 PM (Pimlico)
with Danielle Ackley-McPhail and John Mierau

The Walking Dead
Saturday, 6:00 PM (Parlor 1041)
with moderator David Silverman, Chris Evans, Michael D. Pederson, Ethan H. Wilson and Robert E. Waters
Panelists discuss the show whose success took AMC completely by surprise. Was Season 2 as good as the first season? What direction would we like to see the third season take?

Once that Walking Dead panel is over, I plan to head for dinner to the Man v. Food-recommended Chaps Pit Beef, which is about half an hour away (but worth it!), so if you want to tag along, let me know.

Why, yes, I did record Saturday night’s Nebula Awards banquet, but as the file is larger than six gigabytes, which in my neck of the woods would require about 20 hours of my total bandwidth to upload, making it impossible for me to use the Internet for any other purpose, like, say, earning a living, you won’t get to vicariously experience that night until the weekend, when I can start it uploading and then wander away from my keyboard for the day. (On the other hand, if you want to relive last year’s ceremony, you can watch a video of it right now.)

Meanwhile, here’s a different, hour-long video which might appeal to you—though not if you’re looking for long speeches from writers thanking their editors, agents, critique groups, and spouses.

Back at the beginning of our recent Peru trip, on April 29, 2012, our first morning in Cuzco, our tour guide took us to the main square, the Plaza de Armas, to watch what she said would be a military parade. But it proved to be much more than that. Also marching were trade unions and university students, who made up the majority of the participants. I enjoyed most watching the faces of the thousands of those who marched. Some were deadly serious, some bored, some joking, some weary.

And now, prepare to travel to Cuzco, and see a microcosm of a country’s future in the faces of its students …

Also—I have uploaded all of my photos of Peru to Flickr. Haven’t had time to caption them appropriately yet, but perhaps you’ll find them interesting anyway.

And that should be the end of my Peru posts. We now return you to our regularly scheduled program of posts about writing, comics, science fiction, food … and, of course, the ukulele.

It occurs to me that since I’ve told you what I ate in Peru, from multiple servings of guinea pig to a marvelous meal of octopus and goat, I should also tell you what I didn’t eat.

So … where did I draw the line?

At a crowded food stall in Cuzco’s main market, I found people slurping away at bowls of soup beneath the following sign.

And why not? Who wouldn’t want to be cured of epilepsia or dolor de cabeza?

But the problem was … well …

You know the old saying that if you eat a live frog first thing in the morning, nothing worse will happen to you the rest of the day?

You do? Then you’ll know what I saw beneath that sign, eagerly waiting to be dropped into my soup.

That’s right. (more…)

My culinary adventuring in Peru earlier this month went far beyond guinea pigs.

When I learned that we would have an evening free in Lima at the end of our week spent exploring Machu Picchu, Ollantaytambo, Sacsayhuaman, and other awe-inspiring sites, I was determined that I wouldn’t permit exhaustion to cause us to fall back on room service or a hotel restaurant. I wanted more than a meal. I wanted magic. And after a bit of research, I decided the best place to ingest that magic was at Astrid y Gaston, voted one of the 50 best restaurants in the world. I sent emails to our Lima hotel, hoping that the concierge would have luck snagging us a table, but by the time our trip began, I’d heard nothing back. So I started to worry.

And then, as I boarded our American Airlines flight in Miami, I saw the name of the chef, Gastón Acurio, on the cover of the inflight magazine, and a lengthy article inside touting the wonders of his kitchen. And I worried some more.

Because though I couldn’t understand Spanish, I did understand that such a piece might increase the already high demand for tables at Astrid y Gaston. So the first thing I did when I saw our tour operator after landing was to ask if he could help get us a reservation later that week. He did, and so on Friday night, we cabbed over, along with a few friends we’d made on the trip, to the restaurant one food critic called, “my favorite restaurant in Peru.”

When we arrived a few minutes before the 7:00 p.m. opening, the door was locked, the shutters were closed, and except for the small sign on an exterior wall, we had no way of knowing we were in the right place. But exactly at 7:00, the door was flung open, and we were warmly welcomed and shown to our table near the kitchen. (more…)