The Everlasting First: Continuing a look back at my first exposure to a number of rock ‘n’ roll acts and superheroes (or other denizens of print or periodical publication), some of which were passing fancies, and some of which I went on to kinda like. They say you never forget your first time; that may be true, but it’s the subsequent visits–the second time, the fourth time, the twentieth time, the hundredth time–that define our relationships with the things we cherish. Ultimately, the first meeting is less important than what comes after that. But every love story still needs to begin with that first kiss.
The late Nicola Cuti is one of six posthumous recipients of the 2020 Bill Finger Award, honoring comic book writers who created a body of work that has not received the recognition it deserves. The award is named for Bill Finger, the long-uncredited co-creator of Batman. Cuti joins Virginia Hubbell Block, Leo Dorfman, Gaylord DuBois, Joe Gill, and France Edward Herron as this year’s slate of honorees. My favorite Cuti work was a superhero called E-Man, originally published by Charlton Comics in the ’70s.The Charlton Comics line eschewed superheroes after the demise of its Action-Hero line in the late ’60s. By the early-to-mid ’70s, Charlton’s only superhero book was The Phantom, plus Popeye if you wanna stretch the superhero tag to broader parameters. Revivals of Blue Beetle, Captain Atom, The Peacemaker, Judo Master, and Peter Cannon…Thunderbolt were unlikely, and it was equally unlikely that Charlton would create any new costumed heroes to take their place. Charlton editor George Wildman was amiable, but firm: superhero books did not sell for Charlton.
So the 1973 appearance of two new action series from Charlton was, to say the least, unexpected. Yang was a martial arts series, so that made commercial sense amidst the frenzy of the kung fu craze. But there was also a new superhero book–a quirky, energetic, unique superhero book, drawing more inherent inspiration from the Golden Age charm of Plastic Man or the original Captain Marvel than from anything else DC or Marvel was doing at the time–but it was undeniably a superhero book, a bona fide Charlton superhero book. It was E-Man, created by writer Nicola Cuti and artist Joe Staton.
For most of these entries in The Everlasting First, I’ve been able to call to mind some specifics about when, where, and how I first became aware of the pop subject at hand. But my initiation into E-Man fandom is a jumble of tangled, thorny, conflicting memories. E-Man debuted at a time when I was become ever more active in seeking out new comic-book superhero thrills; it was a little before the short-lived Atlas Comics line, so Charlton’s return to the superhero wars stood out even more. I think I remember purchasing an issue of E-Man (and definitely an issue of Yang) at a convenience store in Clifton Park. I remember a coverless E-Man scored at Van Patten’s Grocery in North Syracuse. Later on (1974? ’75?), while traveling with family from Southwest Missouri to the Florida panhandle, I know I bought an issue of E-Man during a pit stop somewhere in Arkansas. How did I first hear of E-Man? What was the first issue I saw, and/or the first I read? That memory is lost. All I can tell you is this: however I came on board, I was an E-Man fan instantly. I tracked down all the back issues, bought each new issue, and was crushed when it was cancelled. Superhero books did not sell for Charlton.
E-Man deserved a much, much better fate. This book was simply unlike anything else on the stands at the time. Jim Hanley‘s Captain Marvel pastiche Goodguy came closest, but that was a black-and-white strip that appeared sporadically in fanzines (and I would really love to see that stuff collected in book form!); DC’s Shazam! (starring the actual Captain Marvel hisself) never quite gelled, and Simon & Kirby‘s The Sandman was weird and kinda fun, but still more weird than fun. By contrast, E-Man sparkled with the positive energy promised by its hero’s insignia:
(And E-Man’s constant companion Nova Kane was the sexiest character in mainstream comics in the mid-’70s. I mean, sure, she was an exotic dancer, and that reinforced her pulchritudinous appeal. But her comic book appearances somehow avoided pandering for the most part. Nova was never, ever portrayed as any kind of bimbo or sexpot, and was usually the smartest and most sensible person in the room at any given moment. She was capable, and in control, simultaneously good-natured and wordly. Nova was the heart of E-Man.)
E-Man lasted for a mere ten issues at Charlton. Hard-boiled private eye Michael Mauser was introduced in E-Man # 3; presumably intended as a one-off character, Mauser eventually became a key member of the E-Man cast, and has appeared in solo adventures as well (initially as a back-up strip in Charlton’s Vengeance Squad). Nova acquired super-powers in E-Man # 8; I thought this detracted from the engaging interplay of the grounded, sensible, street-wise Nova and the cosmically naive E-Man, but I grew accustomed to the idea over time.
And I did have time to grow accustomed to the idea; First Comics purchased the rights to E-Man from Charlton in the early ’80s, and began a new series of E-Man adventures. Joe Staton returned to the art chores, but Cuti was unavailable; his replacement, Marty Pasko, had done some fine work for DC (including a delightfully goofy run on The Metal Men, with art by Staton), but his E-Man didn’t seem quite right to me. Cuti returned to his co-creation with First’s E-Man # 24. First Comics withdrew from the comics biz years ago, but E-Man, Nova, and Mauser have continued to pop up from time to time from various publishers. One of these days, I need to go back and re-read the lot of ’em. And I’m delighted that there were a few new latter-day adventures of E-Man by Cuti and Staton published within the past few years in the Charlton Neo series The Charlton Arrow.
Nicola Cuti passed away in 2020. The work lives on. You can’t destroy energy.