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Post by codystarbuck on Jul 11, 2017 0:12:07 GMT -5
I really like Milton Caniff's artwork, but man, those Steve Canyon strips are unreadable. I bought a TPB collection of them some years back, but I just couldn't get into them at all, despite being a fan of a number of other contemporary adventure strips of the era. I sent my Steve Canyon collection to one of the regulars back at the old CBR Classic Comics forum, but I can't recall who. Maybe it was someone who is here too. I read it in the 70s, as a kid, and it was all soap opera, with some mystery. i have looked at a bit of the early stuff and those were good, when he's flying for a cargo outfit, just after the war. I haven't read any of the 50s or 60s adventures, other than I had that one collection I showed, "In Formosa's Dire Straits." It was okay, not great. Terry & the Pirates is much better, for my money, though Caniff had grown considerably as an artist. After seeing a few strips from Archie Goodwin and Al Williamson's Secret Agent Corrigan, i really want to get those Library of American comics volumes. Some good old classic era spy-fi.
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Post by LovesGilKane on Jul 11, 2017 1:19:27 GMT -5
I really like Milton Caniff's artwork, but man, those Steve Canyon strips are unreadable. I bought a TPB collection of them some years back, but I just couldn't get into them at all, despite being a fan of a number of other contemporary adventure strips of the era. I sent my Steve Canyon collection to one of the regulars back at the old CBR Classic Comics forum, but I can't recall who. Maybe it was someone who is here too. kinda like 1950's Frank Robbins art vs his Invaders work, yes.
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Post by codystarbuck on Jul 12, 2017 15:32:17 GMT -5
Time to finish up with some odds and ends at Kitchen Sink. Before the Tick, there was Megaton Man. The eponymous comic featured the exploits of Trent Phloog, aka Megaton Man, the "Man of Molecules." Trent patrols the city of Megatropolis, somewhere in Michigan. His powers are a mystery, though they may be due to either being bitten by a radioactive frog or being part of a megasoldier program. He is married to Stella Starlight, aka Mother Earth. He fights alongside other heroes, including X-Ray Boy, Yarn Man, Cowboy Gorilla and the Phantom Jungle Girl. Later, we meet Ms Megaton Man. The whole thing is delightfully absurd and sends up the superhero genre. It fits in well with things like The Flaming Carrot and normalman, as well as the later Tick. Simpson had a slightly grotesque style, with the massively over-muscled Megaton Man. It is a mixture of Basil Wolverton, Joe Staton, John Byrne, Steve Ditko, Gilbert Shelton, and probably some other influences I just don't recognize. It is goofy and decidedly off-kilter, which made it a joy in an era of endless X-Men comics and the launch of Crisis on Infinite Earths and the all-so serious superhero comics that followed. Megaton Man harkened back to the days when superheroes could be a little goofy and just plain fun. Don Simpson produced 10 issues of the regular series, then 3 issues of the Return of Megaton man mini-series. After that, he self-published Megaton Man and Bizarre Heroes, under his own imprint, Fiasco Comics, as well as some one-shots and crossovers at Image (with Savage Dragon). Simpson also worked on the 1963 comic at Image, which earned him far more than any of Megaton Man. he continued working in commercial art and provided illustrations for Al Franken's (before he was Sen. Al Franken) book, Lies and the Lying Liars Who Tell Them. he also created the logo for the Pittsburgh Pirates Parrot's Kid's Club. He also produced a few satirical erotic comics for Fantagraphics' Eros Comix line, under the name Anton Drek, including Wendy Whtiebread, Undercover Slut; and Forbidden Frankenstein (who had an enormous schwanzstucker!). Jerry Garcia, of the Grateful Dead, was a huge comics fan. One of the first things he bought when he got real money with the band was a complete set of the EC Library. Denis Kitchen and Kitchen Sink was approached by the merchandising wing of Lucasfilm (who handled Dead merchandise) to create comx, based on the songs of and stories about the band. The result is an anthology series with contributions from numerous artists, most especially Tim Truman, who also produced other art for the band. The deal was supposed to include distribution of the comix at Dead concerts; but, a legal dispute with the company that sold merchandise at venues blocked this, leaving comic shops and bookstores as the main outlets. The first issue sold 50, 000 copies. They were later colelcted in trades, which were sold in major bookstores, including my store at B&N. There's some amazing imagery in those books, even if you aren't a fan of the band. Nina Paley (of Nina's Adventures fame) did a great adaptation of "Casey Jones."Kitchen Sink also published some nice artbooks, like the Steve Rude Sketchbook and the Michael WM Kaluta Sketchbook, featuring work from these two amazing artists. Rude's shows his evolution from Kirby to Andrew Loomis, while Kaluta's shows his rich detail and classic linework. When Tundra folded, it was announced that Kitchen Sink bought the company and several properties transferred to KS. What actually happened was Kevin Eastman bought a minority stake in KS and brought over unfinished projects, including From Hell, Maximortal, and his own Melting Pot, with Simon Bisley. Quite frankly, I never thought much of this. The story is muddled and the art doesn't do much for me. I like some of Bisley's work; but, I think it is much better when he works with a strong writer, like Pat Mills or John Wagner. There is a sameness to much of his imagery and it's testosterone-fuelled heft is a bit much, for me. Your mileage may vary. I was excited at the prospect of this, at the time, thanks to Slaine and Batman/Judge Dredd; but, I was rather underwhelmed by the result. I also came to lose interest in Heavy Metal, under Eastman, as it moved further and further away from European sci-fi and fantasy and more and more into horror and borderline porn. I don't mind things like Druna; but, I really missed stuff like Rocco Vargas and Bilal. Even Ranxerox seemed more mature than a lot of what came to dominate Eastman's Heavy Metal. Your mileage may vary. Eastman's projects came to dominate KS, along with new Crow spin-offs, in light of the success of the movie and the KS-published trade collection. Meanwhile, the comic market, which was starting to suffer from the fallout of the Speculator Boom, was hit by a hydrogen bomb. Marvel, under the McAndrews Group, purchased East Coast regional comics distributor Heroes World and made it their sole distribution outlet. Suddenly, every comic shop had to scramble and open an account with Heroes World to get Marvel titles. Heroes World wasn't equipped to become a national distributor overnight and the whole thing was a giant cluster@#$%. DC responded by signing an exclusive arrangement with Diamond, soon followed by Dark Horse and Image. Kitchen Sink was one of the few publishers to stick by Capital City, which had always been more supportive of independent publishers. Capital City fought a good fight; but, without a heavy hitter on their side, and the failure of a restraint of trade lawsuit against Diamond, Capital sold out to Diamond. Then, Marvel shuttered the vast sinkhole that Heroes World had become and went to Diamond. Diamond ended up with a monopoly, whose legality was rubber stamped by the Justice Department. KS had made enemies and, like the rest of the indies, was buried at the back of Previews. Denis Kitchen sold the company to a media group, that wanted the Crow and possibly to exploit other comics in Hollywood (only to realize they didn't own most of the things KS published), which proved to be a failure. By the New Millennium, Kitchen Sink was gone. Denis Kitchen continued as an agent for artists like Will Eisner and then joined forces with Mike Richardson to produce a Kitchen Sink Books imprint, at Dark Horse. Kitchen Sink was one of the real quality independent publishers, bridging the gap between the Undergrounds and more mainstream comics. It provided a look back to past comic greats, while presenting the new generation of creative voices. It championed creator rights and the First Amendment, via the creation of the Comic Book Legal Defense Fund. It was a place where artistry and vision were valued over sales, and was still successful at selling those comics. It is greatly missed. Kitchen Sink was a name you could trust when you picked up a comic or trade book. Next, I want to step back a bit and explore some of the wonders of what was once one of the biggest selling publishers in comics: Western Publishing and Lithography, and their imprints via Dell (well, partnership)and Gold Key/Whitman (after the Dell split). Come along for a discussion of Ducks, Dagar, and Dr Solar; not to mention Turok and Space Family Robinson.
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Post by Deleted on Jul 13, 2017 11:01:00 GMT -5
I read Dell's Zorro, I Love Lucy, and Gold Key ... The Phantom regularly as a kid and I wished I've kept my run of the Phantom.
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Post by codystarbuck on Jul 16, 2017 13:30:40 GMT -5
Okay, let's see if I haven't bitten off more than I can Chew. Dell...................Gold Key.................Whitman....... It's all one company; but it's not. For the sake of clarity, I will refer to it as Western. The company began, in 1907, when Edward Wadewitz bought the West Side Printing Company (in Racine, WI), for $2500. Wadewitz had been employed there; but, his boss could no longer pay his wages. Borrowing money from his brother, he bought the company, in a tale that matches the beginning of many a comic company (including DC). In 1910, the company changed its name to Western Printing and Lithographing. In 1916, when the Hamming-Whitman Publishing Company (of Chicago, IL), a publisher of children's books, couldn't pay its bills, Western was stuck with thousands of printed books. They acquired the Hemming-Whitman assets and hired salesmen to move the product, thus entering the book publishing world. They would eventually produce children's books under the Golden Books name and produced the Little Golden Books line of titles. In the 1930s, they introduced Big Little Books, pocket-sized illustrated books, featuring comic strip characters and popular film heroes. One of the keys to the success of the company was in licensing characters from major studios, such as Walt Disney, Warner Bros., MGM and Walter Lantz Studios (Woody Woodpecker et al). They produced coloring books, puzzles, Little Golden Books and Big Little Books with these characters, and others. It was these licenses that would help to move it into comic books. Meanwhile, in 1921, George Delacourte Jr. started Dell publishing, which published pulp magazines and other magazine publications. They also competed with Pocket Books as one of the earliest paperback book publishers. They became distinctive in their packaging, with their eye in a keyhole logo and maps on the back. Dell entered paperback publishing in conjunction with Western Printing, as Western had the paper ration (this was 1942) and Dell could provide the printing work. Their relationship actually started in 1938, when Dell started financing and distributing publications which Western would create and print. This included their early comic books. In the late 30s and early 40ss, many pulp magazine publishers entered the comics field by hiring a studio of shop to produce the comics for them, which they then financed and distributed. Funnies, Inc had provided the material for Martin Goodman's Timely Comics, while the Eisner-Iger Shop produced material for several publishers, as did Charles biro's shop. Western provided this for Dell. Western had a significant advantage, that Dell liked; they had licenses for Disney and Looney Tunes, two of the most popular names of the era. They also had licenses for MGM, including Tom and Jerry. Thus was born Four Color, one of the longest running comics, which published a variety of comics, mostly featuring licensed characters from cartoons and comic strips, but also film stars and celebrities. They were published as one-shots, though they were numbered as part of the Four Color series. The Disney Comics through another wrinkle into the Dell-Western Partnership. The publisher of record for the Walt Disney comics was KK Publishing, named after Kay Kamen, the licensing manager for Disney. They owned the Disney licenses, even though Dell and Gold Key logos appeared on the comics. These comics would also be what propelled Western to the top of the heap, by the 1950s. When superheroes had become passe and comics companies were scrambling to compete with the new medium of television, Western was poised to practically corner the market. Disney was a large content provider for televison, with the Mickey Mouse Club, Walt Disney's Disneyland/Presents/Wonderful World of Color/Wonderful World of Disney and its shows within, like Zorro and Davy Crockett. Western published comic books based on these series, while continuing to produce comics based on the animated features and cartoon shorts. The one comic that ruled the Disney roost was Walt Disney Comics and Stories. This comic featured various Disney characters; but, especially the hugely popular Donald Duck. The comics featured stories with Donald and his nephews Huey Dewey and Louie and, later his uncle, Scrooge McDuck. it also featured reprints of Floyd Gottfredson's Mickey Mouse newspaper strips. However, Donald and his nephew proved most popular. In 1947, in Four Color Comics, a new duck was introduced, Uncle Scrooge, and thus was a legend born. The character was the creation of Carl Barks and he soon inserted the character into other Donald stories. he then saw the potential for Scrooge and his wealth to provide a vehicle for Donald and his nephew's adventures. Thus, Uncle Scrooge and his kin would begin their globe-hopping adventures, which made them the most popular comic characters of the 1950s. Issues of Uncle Scrooge and Walt Disney's Comics and Stories ranged in the 2-3 million, per month!!!!!!! Most publishers couldn't manage that with their entire line, especially after the 1950s hysteria over crime and horror comics. Carl Barks provided the best material, though others contributed stories. barks became known as the "good Duck artist," and fans started seeking out his issues. The stories would go on to inspire many creative talents, including George Lucas and Stephen Spielberg, who borrowed several Uncle Scrooge set pieces for Raiders of the Lost Ark. For some reason, Disney never latched onto Uncle Scrooge for cartoon shorts or even animated features. For that, you had to go to the comics and Carl Bakrs. Eventually, someone at Disney wised up and thus Duck Tales was born. Many of the cartoon episodes were adapted from barks classics. Carl Barks work has been some of the most reprinted, as classic tales were often reprinted by Western; and, later by Gladstone, as well as several book collections, including the Complete Carl barks Library, from Bruce Hamilton's Another Rainbow ( a companion to Gladstone Comics). In the 1950s, when other publishers were caving to pressure about their comics, Western stayed apart. They knew their line was wholesome and had the cache of the Disney and Looney Tunes name. They did not take part in the Comics Code; rather, they published their "Pledge to Parents" and were pretty much left alone. That didn't stop them from launching a campaign against Frederick Wertham, when they convinced their license holders to send letters of protest to Wertham's publisher. They even took out ads in the Saturday Evening Post to demonstrate the wholesomeness of their comics, a tactic which worked. In 1962, Dell and Western parted company in a dispute over money. Western took its licenses, its printing presses, artists, writers and editors and continued much as before, producing material under their new Gold Key brand name and logo. You still found the same Disney and Looney Tunes comics, as well as hanna-Barbera, their adventure series, movie and tv adaptations, and more. Dell had to start from scratch and launched a few licensed comics, as well as some original material. They continued publishing tv and movie based comics, including things like Mission Impossible and Get Smart, and even tried their hand at superheroes, with Nukla and Brain Boy. They also published a line of comics based on the Universal Monsters, but as superheroes. These comics are just as bad as they appear and died a quick and deserved death. Dell also had Superheroes The generic name matches the mediocre stories. Dell limped along until 1973, mostly with tv-based comics. Western continued across the 60s and 70s. By 1978, it gave up on newsstand distribution and was exclusively distributing it's comics via the bagged sets sold in toy and department stores, while also repackaging DC and Marvel titles in these sets, under the Whitman banner. Finally, Western shut down its comic book division in 1984. Dell continued publishing books and magazines, until spinning off the magazine line in 1997. The book side merged with Bantam Books and eventually sold out to Random House. Western continued on printing board games (including Trivial Pursuit), puzzles, coloring books and Golden Books into the 90s. Western was acquired by Mattel in 1979; but, the 80s saw debt ramp up and profits drop. Mattel sold Western to a New York real estate magnate, Richard Bernstein, who tried to launch Golden Book boutiques in Toys R Us and Golden Books Showcase stores in malls. The ventures proved huge cash drains. By the mid-90s the company was renamed Golden Books and all of the Western Publishing brands were absorbed under this name. Losses continued until Golden Books went into bankruptcy. Assets were sold off, with Hasbro acquiring the toy lines, Troll acquiring the school book program, and Classic Media acquired the Golden Books family Entertainment material and Random House got the Little Golden Books. Random House continues to publish the classic LGB titles and new licensed ones, with Disney properties, including Disney, marvel and Star Wars. They continue to use the classic format of cardboard covers and paper interiors, though the cardboard now is so stiff and sharp that a prisoner could use it as a weapon, instead of a shiv! Next up, a closer look at the Disney Duck comics.
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Post by codystarbuck on Jul 16, 2017 13:40:59 GMT -5
ps Mark Evanier has a pretty good encapsulation of the Dell-Western relationship, on his site. Evanier also got his start working for them, writing comics for some of their cartoon-based properties, working alongside people like Dan Spiegle (especially on Scooby Doo). Western opened offices in California, in the 1940s, to better exploit its relationships with the studios. As such, they became just about the only West Coast comic book publisher, and employed artists who lived out there, like Alex Toth, carl Barks, Dan Spiegle and Richard "Sparky" Moore.
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shaxper
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Post by shaxper on Jul 17, 2017 8:44:20 GMT -5
AWESOME! I really didn't expect you to go the Gold Key route, all your previous selections being smaller publishers and in the 1980s. I've never been clear on exactly how Gold Key walked away with Dell's licenses and talent. Any chance you could go into more depth with this? Also, PLEASE tell me you'll be discussing Magnus, Dr. Solar, Turok, Mighty Samson, and Space Family Robinson down the road
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Post by codystarbuck on Jul 17, 2017 9:41:10 GMT -5
AWESOME! I really didn't expect you to go the Gold Key route, all your previous selections being smaller publishers and in the 1980s. I've never been clear on exactly how Gold Key walked away with Dell's licenses and talent. Any chance you could go into more depth with this? Also, PLEASE tell me you'll be discussing Magnus, Dr. Solar, Turok, Mighty Samson, and Space Family Robinson down the road Oh, I'm going into the books. I don't have much more about the split between Dell and Western, part from what Mark Evanier says in the link above. Western was always the one with the licenses, thanks to their toy and related publishing lines and Dell provided financing and arranged distribution of the comics. They also distributed outside traditional newsstands, via toy departments, in stores. One of their biggest publications was March of Comics, which was sold through department stores and had huge sales because of it.
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Post by mikelmidnight on Jul 17, 2017 11:51:44 GMT -5
I always thought that Nukla, Brain Boy, Dracula, Fleeta (Dracula's sidekick), Werewolf, and Frankenstein would have made a really intriguing comic if Alan Moore had opted to use them in Watchmen.
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Post by shaxper on Jul 17, 2017 12:18:17 GMT -5
AWESOME! I really didn't expect you to go the Gold Key route, all your previous selections being smaller publishers and in the 1980s. I've never been clear on exactly how Gold Key walked away with Dell's licenses and talent. Any chance you could go into more depth with this? Also, PLEASE tell me you'll be discussing Magnus, Dr. Solar, Turok, Mighty Samson, and Space Family Robinson down the road Oh, I'm going into the books. I don't have much more about the split between Dell and Western, part from what Mark Evanier says in the link above. Western was always the one with the licenses, thanks to their toy and related publishing lines and Dell provided financing and arranged distribution of the comics. They also distributed outside traditional newsstands, via toy departments, in stores. One of their biggest publications was March of Comics, which was sold through department stores and had huge sales because of it. So Dell was just essentially a financer and distributor?
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Post by codystarbuck on Jul 17, 2017 22:05:02 GMT -5
Oh, I'm going into the books. I don't have much more about the split between Dell and Western, part from what Mark Evanier says in the link above. Western was always the one with the licenses, thanks to their toy and related publishing lines and Dell provided financing and arranged distribution of the comics. They also distributed outside traditional newsstands, via toy departments, in stores. One of their biggest publications was March of Comics, which was sold through department stores and had huge sales because of it. So Dell was just essentially a financer and distributor? Yeah. They had been publishing pulp magazines and some other ones and had teamed up with Western, because Western had the printing facilities. Western did the printing on the Dell paperback books, as well as the comic books. With the paperbacks, Dell did all of the editing and buying of content, while Western did the printing. Dell then took care of the distribution. With the comic books, Dell partnered with Western to produce the actual comics. Dell provided the financing, then Western hired the editors, writers and artists, paid them for their work, printed them, then Dell handled the distribution. Western bought the bulk of the licenses and already had an exclusive license, via KK Publications, for the Disney material, as well as licenses from Warner Bros and leon Schlessinger (for the Looney Tunes stuff), MGM (Tom & Jerry and movie related material) and Walter Lantz's studio (Woody Woodpecker, Andy Panda, etc...). Western already had experience with the license holders, via the publication of the Big Little Books, the Little Golden Books and things like jigsaw puzzles, coloring books, and other merchandise. That was the thing, Whitman was a subsidiary of Western, publishing the children's books and toys, bearing the Whitman name. Whitman was THE coloring book producer for a couple of generations, as well as one of the top producers of jigsaw puzzles and board games (printing some for others and producing their own). The problem with trying to research their comic book stuff is that so little has been written about it, relative to other publishers. Mark Evanier is about the only one I've ever come across who has written extensively about them and that has been more personal stuff, since he started writing there (and with Kirby). Otherwise, it's more about specific titles and artists. Most of the articles I have read about Dell focus almost exclusively on Carl Barks and the Ducks. He was a god to Boomer fans. Tons of stuff on that. There are bits and pieces about Magnus, because of Russ Manning, and a little about Turok, Dagar, Brothers of the Spear, and Mighty Samson. Space Family Robinson gets a little coverage, due to the Lost in Space connection and the Star Trek comics because it is Star Trek. Zorro gets talked about because it is Zorro and Alex Toth did some of his best work on it. The rest are relegated to discussion of merchandise based on the particular show or movie, usually in photo reference and one or two sentences. It seems like a lot of fans kind of looked down upon them, apart from the Barks stuff, and Toth's Zorro, and some of the Gold Key adventure material. A lot of that is probably because they churned out licensed material that was often inferior to the original property. Also, they packaged their comics much like the Dell paperbacks, with uniform covers and layouts, so there is a certain sameness to a lot of that material.. With Gold Key, they had gorgeous painted covers, then rather underwhelming interiors, unless it was someone like Dan Speigle, Russ Manning, Sparky Moore, or a few others (including Frank Thorne, who drew Mighty Samson). Also, they had spotty distribution on a lot of their titles, on newsstands, so you more often found them in the toy departments. Also, they published on infrequent schedules. They put out 5 issues of Mission: Impossible in as many years. Also, they reprinted a lot of stories, especially in the later days. Western didn't pay very high rates, so they didn't attract a lot of the name talent; mostly the guys working in California, many of whom came from the studios and were moonlighting or hired because they already had connections at the studio. Guys like Russ Manning and Dan Spiegle had been working in newspaper strips and comics and made up for the lower rates by producing more work. Wally Wood did Total War/MARS Patrol for them, around the same time he was working on the Tower stuff (THUNDER Agents) and for Topps. He also did work for Charlton, so he wasn't beyond taking lower pay, as long as he could churn out enough work to make up the difference. The real workhorse of Western was writer Gaylord Dubois, who dated back to the Big Little Books and wrote all kinds of westerns (Red Ryder, Gene Autry) animal comics (Lassie), Tarzan, adventure (Turok), cartoon characters (Andy Panda), sci-fi (Space Family Robinson, Captain Venture), biographical (the Dell one-shots), and movie adaptations. I remember seeing a piece in CBG that mentioned he probably wrote more comic scripts than any other writer in the history of the industry. I've got a pretty good sampling of their material, so I will probably be on Western for a while, focusing on specific titles and genres. Not so much the tv and movie stuff, except where there is a special connection, like Toth and Spiegle or a particular property. I love the Tarzan and adventure stuff, so plenty there, plus some other favorites. Like I said in the CCF podcast, my first comic book was Super Goof, and that was a favorite series in my early childhood, as well as Uncle Scrooge and the Junior Woodchucks (and that wasn't even the Barks material!). I was a fan of anything with the Beagle Boys!
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Post by Deleted on Jul 17, 2017 22:08:24 GMT -5
Cody, this is an interesting thread and great reading ... thanks for doing this.
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Post by codystarbuck on Jul 17, 2017 22:31:22 GMT -5
Cody, this is an interesting thread and great reading ... thanks for doing this. Your welcome. I'm a history buff and a comics fan, so intertwining the two loves is great fun. In my early days, I probably had more Gold Key comics than DC or Marvel, since they were usually gifts fom relatives, who probably got them as the bagged sets, in the toy department. I remember a few Uncle Scrooge and Super Goofs, some Space Family Robinson, a Turok or two, and some of the Looney Tunes books. There was also some Charlton in there, mostly in the form of the Modern Comics reprints bagged sets, as well as The Phantom. Most of the DC and Marvel I saw, until about the mid-70s, came from friends and relatives. My little town didn't have a newsstand and I didn't get an allowance through much of my childhood (money was put in a savings account and there were a few odd years where we got one). My parents were teachers and money was tightly budgeted. They loosened up when my mom got into real estate and was doing well, though those years were short. By the mid-70s, I was earning my own money (mowing lawns, working for farmers) and started buying more on my own (and found some regular newsstands). College is where the floodgates were opened, as I discovered my first comic shop and started acquiring back issues. I also first discovered some books about comic book history then (The Don Thompson and Dick Lupoff books, Jules Feiffer's book, Will Jacobs & Gerard Jones' book, Fred Schodt's Manga book, Ron Goulart's histories). That's also why I have covered more of the 80s indies, as that was when I was really starting to find and get into them, as those were my college days. I had a 20th Century American History class and we had to write a 10-page paper on a subject of the period, though we could choose. We just had to relate it to the history of that era. I chose comic books, detailing how the material would reflect the period (the preponderance of orphan heroes, in the Depression, the Patriots of the war, the tv heroes of the 50s and the horror and crime stuff matching the horror of the war and fear of the bomb, as well as juvenile delinquency, the optimism of the 60s, the pessimism of the 70s, the more mature stuff of the 80s). Got an A on it. I lucked out, as the University of Illinois has the second or third largest collegiate library in the country (and the top Library Science program) and had a lot of the material that had been written (and I had purchased the more recent books), including Seduction of the Innocent. They even had the Nostalgia Press collections of Flash Gordon and Prince Valiant, as well as the Donald Duck and Uncle Scrooge collections that existed then (before the Bruce Hamilton-published Complete Carl Barks Library).
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Post by kirby101 on Jul 18, 2017 0:02:41 GMT -5
Thanks for this great history lesson cody.
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Post by Paste Pot Paul on Jul 18, 2017 8:05:53 GMT -5
We need a variation of the like button, just for Cody, it would have to be the "Holy Shitballs Batman" button. I would have pressed it a lot in this thread, and pressed really hard on this page.
Dude I'm impressed and actually impatient to see the reviews, heh, I got it bad huh...
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