I went to Theater J on Sunday to catch a matinee performance of The History of Invulnerability, a play based on the real-life tragedy of how Jerry Siegel and Joe Shuster got screwed out of the rights to Superman, and my feelings are complex. What isn’t complex, though, is my feeling that you should rush to see it if you can, so let’s get that out of the way first. The final performances are on July 8, so you have a few weeks, but don’t dawdle. It’s well worth your time.

But I’ve been wondering, as I struggle to parse my reaction to this play, whether it’s possible to be too close to the material to see it clearly.

Oh, who am I kidding? Of course I’m too close to the material to see it clearly! I’ve been a hardcore comics fan as far back as I can remember, I was working in comics when the first Superman movie was about to be released and justice was being demanded for Siegel and Shuster, I already know all the crimes committed against the Man of Steel’s creators, and last year I even attempted to win some of Jerry Siegel’s hair at auction!

Plus (and this ought to give you an idea of how invested I am in this shameful tale out of comics history) I already had such a feeling of hatred for Harry Donenfeld and Jack Liebowitz going in that I literally started hissing at a certain point when one of them took the stage and started speaking, and had to squelch that visceral reaction once I realized what I was doing. So I don’t come to this play with a clean slate, able to judge this play the way I would a different one not based on a topic already embedded in my DNA. (more…)

I’ve been resting my head on these guys for decades. Well … not continuously. I do have other pillowcases, you know!

But I only noticed last night—after many, many years—that these other guys were on the flip side!

How is it that so much time has gone by without me ever noticing this before?

I say it’s all Wendy and Marvin’s fault!

Yes, I know Curt is no longer with us, but he would have turned 82 the other day, and since he was THE Superman artist of my youth, I figured I should take note. His is the face of Superman I see when I close my eyes, though you’d think, based on my age, that face could have easily belonged to Wayne Boring.

As far as I know, I only met Curt once, back in 1973 at a National Cartoonist Society Ruben Awards banquet held at the Waldorf Astoria. I was just a fanboy then, my job in the Marvel Bullpen still in the future. I was the guest of cartoonist Bill Kresse, whom I’d met thanks to a high school class trip to the New York Daily News.

I wore a old tuxedo which had belonged to a family friend, and as is true for all fanboys back then, I carried a sketch pad tucked under one arm. And to the embarrassment of my host, I interrupted the artists as they tried to eat their rubber chicken, and asked for drawings. (At least I assume my actions had to embarrass Bill. He never said. Who knows? Maybe he found them amusing.)

Here’s what Curt graciously drew for me. (more…)

I already told you about my wife’s current auctions, which are still ongoing. But my sister-in-law is also selling something amazing, so please forgive me for shilling for a relative yet again.

The page is from the story “Slaves of the Emperor Bug,” published in the penultimate issue of the first run of Teen Titans, issue #42 (Nov/-Dec. 1972), with art by Art Saaf and Nick Cardy.

Take a look.

You only have from now until Feb 24 to bid, so if you’re interested, check out the auction here.

So ends the commercial message. We now return you to our previously scheduled programing.

I got an email earlier today from Heritage Auctions touting its latest offerings, and the most interesting part of the message wasn’t the original art I could never afford, but an observation pointed out about a change made to the cover of Action #1 before the comic was released.

Here’s the published cover we all know.

But here’s the cover as it appeared in an ad in an earlier issue of Detective.

I wish I could find a better reproduction of the ad, but in any case—could you spot the difference? (more…)

Last week, I told you how my wife was selling her copies of Amazing Fantasy #15 and Amazing Adventures #1 so that in the far-flung future, we won’t be reduced to eating cat food. But … what if your tastes run more to original art?

Then how about the wonderful Green Lantern page below, drawn by Gil Kane and Sid Greene, which not only features an encounter between the Silver and Golden Age incarnations of the character—but is signed by Martin Nodell, who created Green Lantern back in 1940!

The page was published in Green Lantern #61 (June 1968), and if you’d like it to be yours, head on over to Heritage Auctions.

Robert Hegyes, who played Juan Epstein on the ’70s TV series Welcome Back, Kotter, died yesterday of a heart attack. I never knew Hegyes … but boy, did I know Epstein!

In fact, because I grew up in Brooklyn, I felt as if I knew all the Sweathogs. (Which, for those of you who never watched the show, was the name for the gang of kids in Kotter’s class at James Buchanan High School.) And I’ve got a feeling that one reason I was given the assignment of writing a couple of issues of the Welcome Back, Kotter comic for DC back in the late ’70s was because Joe Orlando thought I was a Sweathog.

Oh, I know that the two issues I wrote list Larry Hama as the editor, but as I recall, all of my interactions on the title were with Orlando. I can remember him laughing as we worked out the plot for Welcome Back, Kotter #9 because I was embarrassingly just as ignorant as Vinnie Barbarino would have been about certain historical events. (And no, I’m not going to tell you what they were.) I think that tickled Joe. (more…)

Comic books made an appearance on Alcatraz Monday night, and luckily, they weren’t as difficult to identity as the one that showed up on that 1975 episode of the Mary Tyler Moore show. Jorge Garcia’s character, Dr. Diego “Doc” Soto, owns a comic book store, so I assumed we’d see comics as stage dressing in the background, but in the latest episode, a couple of issues had starring roles.

In the opening scene of the third episode, “Kit Nelson,” a child killer sneaks into a bedroom and spirits away one of two brothers … but not before we see what the kid must have fallen asleep reading.

I couldn’t quite make out the pictured hero or the logo, so at this point I had no idea whether this was a real-life comic or one supposedly created by Garcia’s character, who in addition to owning the shop, also happens to be a writer and artist. But later on, after the kid is [spoiler alert!] rescued, Garcia visits him and brings along some comics to cheer him up.

“I saw you were missing 12, 27, and 35,” says Garcia, to which the kid replies, “No way! This is awesome!”

And Garcia hands him this. (more…)

Steve Thompson, aware of my strong feelings about the paintings of Sharon Moody, alerted me to the comics-inspired art of Vin Vicini. Funny thing is, in spite of what could be seen as superficial similarities, the new images I saw didn’t bother me at all. So let’s take a look at a couple of Vicini’s paintings, and then I’ll explain why.

First, a 12″ x 12″ oil painting titled “Chapter 7: ‘Catch the Hero.'”

This first example includes details from the covers of Amazing Spider-Man #19 (December 1964), Batman #219 (February 1970), and Avengers #35 (December 1966), all of which I’ve rotated so you can more easily compare them to how they were used above.

Here’s one more, “Batman and the Crate,” an 11″ x 14″ oil painting. (more…)

I was chatting with a couple of people a few days back who didn’t realize that original comics art was drawn larger than it was printed nor that the standard size for such art had shrunk over the decades. And it struck me: Hey, they might not be the only ones out there who don’t know that!

And so … here I am with two choice pieces from my collection.

In my left hand, I’m holding a page from All-Star Western #104 (1958; art by Gil Kane), and in my right, I’m holding a page from Dead of Night #11 (1975; art by Rico Rival). Supposedly, the change from one size to the other occurred in 1967, and was all thanks to Murphy Anderson.

I bought the Kane at either my first or second comic book convention; I think I paid $2.00. As for the Rival splash, it’s one of the pages I was given back at Marvel for having written that issue.

As Norma Desmond said in Sunset Boulevard: “I am big. It’s the pictures that got small.”

Now you know.