AF #15 in LOC

Something I meant to mention months ago is the anonymous donation to the Library of Congress of the original art to the 1962 comic book Amazing Fantasy #15. That particular issue includes the first appearance of Spider-Man, by Stan Lee and Steve Ditko.

And a few months ago a new book about Ditko came out from Fantagraphics, the outfit that is handling The Complete Peanuts. (Here’s the set I’m hoping to get from Santa this year.) STRANGE AND STRANGER The World of Steve Ditko, by Blake Bell, rated a review in the New York Times.

Hey, Kids! Manga!

Paul Howley is the owner of the comic book store That’s Entertainment, with two locations in Massachusetts. In Colorado there’s Mile High Comics. Owner Chuck Rozanski has this sobering view of comics retailing. I’ve highlighted the punchline of his comments.

Moving on to happier thoughts, my participation at this year’s Frankfurt Book Fair was quite successful. I was on a panel on International Comics Publishing, which I helped liven up considerably with my sometimes biting remarks on the current state of American comics. I do have to say, however, that hearing the sales numbers from other parts of the world makes our myopic view of American comics as somehow being the dominate form of the medium seem almost laughable. As a case in point, the very nice lady from Japan on our panel sadly reported that Manga sales have declined slightly in Japan, from $5.2 billion to “only” $4.8 billion in 2007. American new comics sales, by comparison, are closer to $250 million. Even France is larger than us in total new comics sales, with nearly $500 million in annual revenues.

This disparity in national comics sales featured prominently in the individual talk that I gave yesterday, on the current state of the American comics market. I tend to be both very flip, and oftentimes quite savage in my public assessments, and yesterday was certainly was a case in point. When asked why American comics sales are so low as compared with the rest of the world, and still declining, I made the statement that most American comics publishers are complete idiots. While that statement may sound unduly harsh, the reality as I see it is that the vast majority of American comics are sold through the network of comics specialty stores known collectively as the “Direct Market.” I helped create the Direct Market in 1980, and watched it grow from 800 small stores in our first year, to nearly 10,000 stores in 1992. Since that time, however, there has been a steady decline in comics shops, to the point today that we are back to about 800.

There are many hobbies that seem to be lamenting the failure of parents — fathers, mostly — to bring along the next generation of fans. This is apparently as much a concern for Major League Baseball as for bowling, fly fishing, and model railroading.

It seems odd that comic book fans should likewise be concerned we haven’t raised the next generation of fanboys. Oh, there were Golden Age fans, and EC “Fanaddicts”, but they were extremely small in number compared to the explosion of baby boomer kids who became comic book fans in the 60’s. Kids today are into video games and anime, and if they’re into comics it’s Japanese manga. We can’t make them like the same things we love. It could be that my generation — for decades the backbone of comic book fandom — is all there is, and all there’s going to be.

Manly Men from U.N.C.L.E.

One of my favorite TV shows when I was a wee lad was the highly-successful spy series, The Man From U.N.C.L.E. For Christmas, 1965(?) I got an U.N.C.L.E agent kit with convertible pistol-turned-rifle and a triangle badge, along with one or two U.N.C.L.E. paperback books. Later, I bought U.N.C.L.E. comic books. I’d have to dig through some boxes to find them, and if I do I’ll scan some pages.

Twenty years later, in ’87, U.N.C.L.E. comics were published under license by none other than Paul Howley. Paul even co-wrote a book about U.N.C.L.E. collectibles, called The Toys from U.N.C.L.E. Memorabilia and Collectors Guide.

The complete The Man From U.N.C.L.E. series is being released today on DVD. Season 1, episode 9, is memorable, not only for featuring Werner “Colonel Klink” Klemperer, but for the pairing of two actors who would later work together on another show.
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The Petula Clark/Steve Ditko Connection

Was Petula Clark ever featured in an American comic book? Yes, but it wasn’t a very good one, and I’d be surprised if she even knew her picture had been used.

Charlton Go-Go, 1967

The comic was a short-lived title called Go-Go, and it was an attempt by bottom-rung comics publisher Charlton in 1966-1967 to do a humor comic. Charlton was where Steve Ditko, Spider-Man co-creator and artist, went after leaving Marvel Comics in 1966. Ditko had previously done work for Charlton, before joining the Mighty Marvel Bullpen.

Kirby Kreations

Browsing through a box of old comic books recently, I realized they were all from the mid-70’s, when I was in college. I had next to no spending cash, so even at 25¢ each, I was very selective in my purchases.

Yet the undeniable reality is that most of them are awful. Even if the art was worth the price of the comic, as was the case with Gene Colan’s Tomb of Dracula, the writing and ideas were mostly junk, compared to what I had read in the 60’s, into the first couple of years in the 70’s. These were the comics that Stephen Colbert grew up reading??

Even the creative legend Jack Kirby began turning out work that could be called eccentric to the point of being incomprehensible. One such example was “The Dingbats of Danger Street,” from 1975.

Dingbats of Danger Street splash page

I’m second to nobody in my admiration of Jack Kirby, but he needed an editor and a dialogue writer, although I suspect nothing could have saved this clunker. Kirby drew three issues, but DC published only one of them.

No wonder the Marvel Comics adaptation of Star Wars, which started months before the movie’s release, seemed so good, despite mediocre art. I hadn’t read a good story in years.