Remembering My 100-Page FAKES! (DC Comics Spectaculars That Never Were)

Well over a year after posting my last 100-Page FAKE!, it occurs to me that I probably never made any official announcement that the series was kaput. I did mention their demise here, but otherwise I never really got around to bidding a proper farewell.

The series began in May of 2018, designed as a proudly fannish attempt to concoct a bunch of 1970s DC Comics 100-Page Super Spectaculars that never were. I announced the series’ transition from the original DC Comics-centric 100-Page FAKES! into the less-restricted (but ultimately still DC-centric) Spectacular Comics 100-Page Specials in April of 2020. I then concocted four monthly issues of Spectacular Comics, with the fourth and final issue posted on July 24, 2020.

At that time, I think I still intended to continue slappin’ these things together. But a few factors combined to make me re-think that intent, and ultimately abandon the concept entirely. The fake books were very time-consuming to create, and they became even more time-consuming when I liquidated my digital comics stash entirely. The final efforts were constructed from a mix of public-domain comics pages available on line and scans of comic books in my collection. Even with all of that, I might have continued doing them if a format change at Blogger hadn’t made the process so much clunkier to accomplish. The inconvenience was more than I was willing to bother messin’ with. Sayonara, FAKES! and Spectaculars.

But I’m glad I did them. They were a cool way to connect with my inner adolescent, the 12-15 year-old kid who loved DC’s 100-pagers in the ’70s, and wished there had been more of them. I wrote a history of DC’s (real-life) 100-pagers, and I felt I wanted to expand on the real world a little bit. Here are links to every one those fabrications:

Adventure Comics # 435
The Shadow # 6
Rima The Jungle Girl # 1
Wanted, The World’s Most Dangerous Villains # 4
The Brave And The Bold # 111
Detective Comics # 446
Justice, Inc. # 1
The Sandman # 1
The Phantom # 67
All-Star Comics # 58
Metal Men # 45
DC Special # 16 (Super-Heroes Battle Super Gorillas)

E-Man # 11

Secret Origins # 1

The Six Million Dollar Man # 1

Adventure Comics # 436

Secret Origins # 2

Detective Comics # 447

The Brave And The Bold # 118

Super-Hero Grab Bag # 1 (with The Seven Soldiers Of Victory)

Rima The Jungle Girl # 2

Adventure Comics # 437

DC Special # 14 (Wanted, The World’s Most Dangerous Villains)

Detective Comics # 448

Wanted: The Secret Society Of Super Villains # 1

The Shadow # 5

Detective Comics Special Edition

*MARVEL WEEK [in memory of STAN LEE]:

*Sub-Mariner # 72 [a DC-Marvel hybrid]

*Giant-Size Spider-Man # 3 [with Doc Savage]

*Marvel Feature # 1 [with The Defenders]

*Astonishing Tales # 1

Adventure Comics # 438

Adventure Comics # 439

Adventure Comics # 440

Adventure Comics # 441

Adventure Comics # 442

Adventure Comics # 443

Rima The Jungle Girl # 3

Detective Comics # 449

Detective Comics # 451

Adventure Comics # 444

Detective Comics # 452

Adventure Comics # 445

Detective Comics # 453

Adventure Comics # 446

Detective Comics # 454

Adventure Comics # 447

Detective Comics # 455

Adventure Comics # 448

Detective Comics # 456

Adventure Comics # 449

Adventure Comics # 450

Adventure Comics # 451

World’s Finest Comics # 245

Sensation Comics 100-Page Super Spectacular [starring Wonder Woman]

Green Arrow & The Black Canary 100-Page Super Spectacular

Adventure Comics # 452

Detective Comics # 457

The Brave And The Bold # 119

Batman # 262

Batman # 263

The Sandman # 2

The Sandman # 3

The Sandman # 4

The Sandman # 5

The Sandman # 6

All-Star Comics # 59

The Sandman # 7

Shazam! # 36

The Phantom # 68

Spectacular Comics 100-Page Special # 1

Spectacular Comics 100-Page Special # 2

Spectacular Comics 100-Page Special # 3

Spectacular Comics 100-Page Special # 4

From the Spectre to the Phantom, with a cast of multitudes: BatmanAquamanSpider-Man, the original Captain Marvelthe ShadowSupermanSuperboythe Justice Society of AmericaE-ManDaredevilDoc SavagePlastic ManWonder Womanthe Silver SurferBlue Beetlethe Lone Rangerthe Seven Soldiers of Victorythe SandmanRima the Jungle Girlthe Six Million Dollar ManSpy SmasherDial H For HEROMetal MenCaptain Americathe Bat SquadKa-ZarDick TracyBatgirlTorchyBulletman and BulletgirlDr. StrangeHawkmanBlackhawkBlack Canarythe Vigilantethe Creeperthe DefendersHydromanthe Elongated ManWildcatthe Doom PatrolDoll Man and Doll GirlIbis the Invinciblethe Boy CommandosSub-MarinerHot WheelsCaptain ActionZorroDetective ChimpJonny QuestGreen Arrowthe Secret Society of Super-Villains, and Astra, Girl of the Future, plus many more. It was mostly about DC, but it included properties DC licensed or acquired from QualityCharltonFawcettMattelIdealJerry Lewis, and The Chicago Tribune, and it included MarvelECComicoMighty ComicsFoxMLJLev Gleason, more from Charlton, and other purveyors of four-color fantasy. 

I regret I never got around to using Vampirella. But I did what I could, until the time came to move on. They weren’t real. But they were Spectacular.


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This Is Rock ‘n’ Roll Radio with Dana & Carl airs Sunday nights from 9 to Midnight Eastern, on the air in Syracuse at SPARK! WSPJ 103.3 and 93.7 FM, and on the web at You can read about our history here.

The many fine This Is Rock ‘n’ Roll Radio compilation albums are still available, each full of that rockin’ pop sound you crave. A portion of all sales benefit our perpetually cash-strapped community radio project:

Volume 1: download
Volume 2: CD or download
Volume 3: download
Volume 4: CD or download
Waterloo Sunset–Benefit For This Is Rock ‘n’ Roll Radio:  CD or download

I’m on Twitter @CafarelliCarl.

Amazing Heroes: My Secret Origin As A Freelance Writer

My first sales as a freelance writer were to a magazine called Amazing HeroesAH was published by Fantagraphics, and it catered to a mostly traditional superhero comics fanbase. This was in contrast with Fantagraphics’ better-known publication The Comics Journal, which generally took a more cerebral approach in its celebrations of more artistically ambitious comics outside of the costume-strewn mainstream.

Me? I was a fanboy, and I loved superhero comic books. Writing about ’em for Amazing Heroes was a great way for me to break into freelancing.

I don’t recall all of the specifics of my path to Amazing Heroes freelancerhood, but I think it was as simple as reading in the magazine that the editor was accepting submissions, and appropriate hijinks ensuing thereafter. It was 1984. I was a 24-year-old wannabe writer, four years out of college, working as an assistant manager at a late-night fast-food restaurant. I was trying to write, with little to no success. I submitted some pretty terrible proposals to DC Comics, attempted some pop journalism intended for either Creem or Trouser Press, and presumably poked at some non-starting short story notions. My writing career was getting nowhere, and not even getting there fast.

The idea of trying to write about comics may not have even occurred to me prior to learning of the opportunity in AH. It was a paying market, albeit a very modest one, and I was a less-than-choosy beggar. By whatever sequence of events–pitch? cold submission?–I wound up writing “The Call Of The Mockingbird,” a history of the 1960s DC title The Secret Six, which was accepted by AH editor David W. Olbrich and published in Amazing Heroes # 58, cover dated November 1, 1984. The check cleared. It was a pittance, sure, but I was now officially a published, professional writer.

Meanwhile, I lost my fast-food job, but got a job working in a record store–upgrade! Seeking to be more than a one-hit wonder with Amazing Heroes, I quickly turned around to write and sell “When Worlds Collide!,” a speculation about a shared DC-Marvel Comics superhero universe, which appeared in AH # 61 (December 15, 1984). 

I didn’t appear in AH again for a while after that. “Sweet Dreams Are Made Of This,” an attempted history of the Sandman character created for DC by Joe Simon and Jack Kirby, was rejected. My next AH sale was “Positive Energy,” a history of the great Charlton Comics character E-Man, in AH # 88 (2/1/86). This was followed by “Up, Up And…Oh, Well,” an article about comedy superheroes (AH # 92, 4/1/86). 

Olbrich had left the magazine some time back, and the editor by now was future superstar comics writer Mark Waid. Waid bought my short blurb “The Camp Knight Returns,” a collection of quotes about actor Adam West‘s evolution from never wanting to play Batman again to wishing he could return to the role for a then-upcoming major motion picture. My final AH sale was “Who’s…Who?!,” an A-Z of actual DC comics characters too obscure to receive entries in the company’s official Who’s Who In The DC Universe series. The piece appeared in AH # 109 (1/1/87), and it was very well received. DC’s Robert Greenberger wrote a letter of appreciation, so…yeah! The original article was exhaustively re-typed for an appearance right here at Boppin’ (Like The Hip Folks Do).

Alas, my Amazing Heroes affiliation ended there, though I didn’t know it at the time. Waid had accepted my history of The Joker (“The 53rd Card In The Deck”) to appear in an unspecified future issue, but it was trashed when his own stint with Fantagraphics came to an abrupt, unpleasant, pyrotechnic conclusion. I, collateral damage. The folks at Fantagraphics didn’t know me, didn’t know about the Joker piece I’d written, and couldn’t get off the phone quickly enough when I called them to ask wha’ppen. 

At least Fantagraphics wasn’t my sole freelancing gig by then. I’d made a sale to Krause Publications‘ Comics Collector in 1985, when that magazine’s editors Don and Maggie Thompson bought “Same Bat-Time, Same Bat-Channel,” my retrospective of the 1966-68 Batman TV series and its effect on the character and the comics (Summer 1985). This entry point with Krause eventually led to the twenty years I spent freelancing for the company’s music tabloid Goldmine.

Although my Amazing Heroes stint sputtered to a halt quickly and badly, it’s where I got my start: my secret origin, who I am and how I came to be. From a history of The Secret Six to Boppin’ (Like The Hip Folks Do), I still have a few amazing things I’d like to write about.


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The new DC Comics movie The Suicide Squad comes out next week. One of the film’s characters is The Peacemaker, a property originally published by Charlton Comics in the ’60s, and later purchased by DC in the ’80s. The Peacemaker’s appearance in The Suicide Squad marks the first time any Charlton Comics hero has ever appeared in live action. That’s as good a reason as any for columnist Carl Cafarelli to look back at his first exposure to the wonderful world of Charlton Comics.

Although DC and Marvel tend to dominate any discussion of mainstream comics today, there has never been a time when there were only two successful comics publishers. DC, Marvel, Ahoy (and Archie Comics, too) have been in this business since before World War II; most of their Golden Age competition–Quality ComicsLev GleasonFiction HouseHillmanFox, et al.–had deserted the funny-book racks by the time Bill Haley and his Comets began to rock around the clock. Fawcett Comics, publisher of the original Captain Marvel, also threw in the towel (or cape) in 1954, but returned as the purveyor of  Dennis the Menace comics. ACG stayed in the game until the mid-’60s. Dell Comics, which was likely the best-selling American comics publisher of all time (due to licensed properties ranging from Mickey Mouse to Tarzan), hung on until the early ’70s, though it lost most of its licenses along the way.  Many subsequent publishers have come and gone–Gold KeyTowerWarrenAtlasEclipseFirst, Comico, etc.–and still many more continue today. My weekly trips to Comix Zone in North Syracuse will often include new books from Dark HorseDynamiteAfterShock, and IDW, along with my steady supply of DCs, Marvels, and Archies.

As a kid in the ’60s (and still today), I dug super-hero comics. I gravitated toward DC and Marvel, but I would also grab the occasional book from Mighty Comics (Archie’s short-lived super-hero line, home of The Mighty Crusaders) and Gold Key (Magnus, Robot Fighter and Dr. Solar: Man Of The Atom). And, somewhere along the way, I stumbled across the Charlton Comics line.

Charlton had also started in the ’40s, and Charlton stubbornly and tenaciously remained in the four-color field until the ’80s. Based in Derby, Connecticut, Charlton Publishing’s offerings were manufactured entirely in-house, and the Charlton Comics line was a low-rent line-up that existed for the sole purpose of keeping the printing press a-rollin’; churning out product was cheaper than shutting down the press and firing it back up.

“Low-rent” isn’t meant as a criticism, really, though Charlton titles did indeed display ample evidence of being produced on a tight budget. But there was often something quirky and unique about some of Charlton’s output, and I consider myself a Charlton fan.

I’ve had difficulty trying to reconstruct where I first encountered Charlton Comics. I have an imprecise recollection of seeing Charlton’s Hercules book somewhere, but my specific interest was Charlton’s Action-Heroes line, edited by Dick Giordano:I recall picking up an issue of Judo Master at Sweethearts Corner in North Syracuse; I remember Peter Cannon…Thunderbolt (and its back-up strip, the bickering superhero team The Sentinels); I don’t think I caught any Captain Atom or The Peacemaker until years later, but I clearly remember a coverless copy of Blue Beetle # 5, an extravaganza by writer-artist Steve Ditko, with Blue Beetle joining forces with The Question in a tale seemingly (but not actually) written by Ayn Rand. If I were to ever write the Justice League of America/Justice Society of America/Charlton Action Heroes crossover of my dreams,”Our Man” from Blue Beetle # 5 would play a significant role.

While it’s not terribly likely that I’ll ever write such a thing, it would be perfectly plausible for someone else to do it; DC Comics purchased the rights to most of the Action-Heroes line in the ’80s, as a gift to one Dick Giordano, who was running DC at the time. Giordano had left Charlton in the late ’60s, initially to work as an editor at DC (including some really, really top-notch comics in Aquaman and The Teen Titansand a terrific Western book called Bat Lash), later as an acclaimed freelance artist, and eventually as DC’s capo di tutti capiA few Charlton writers and artists followed Giordano to DC in 1968, including Jim AparoSteve Skeates, and Denny O’Neil. DC hired Giordano on the recommendation of another Charlton talent, the above-mentioned Steve Ditko.

Dick Giordano’s exodus from Charlton roughly coincided with the end of the Action-Heroes line. But my discovery of Charlton Comics was just beginning; Charlton picked up the rights to Lee Falk‘s newspaper hero The Phantom, which featured some stunning Jim Aparo artwork in the early ’70s, and I bought that title as often as I could. Licensed properties became Charlton’s primary stock in trade, though I generally didn’t buy any of them other than The Phantom. I do remember a Charlton issue of The Partridge Family that reminisced about old radio shows like The Lone RangerI Love A Mystery, and Fibber McGee And Molly; it was, incongruously, the first time I ever saw a picture of The Shadow, a character that would become very important to me in the ’70s.

Scan of Don Sherwood’s original art from The Partridge Family # 5.  Thanks, o’ mighty Internet!

My appreciation of Charlton manifested in back issues, as I retroactively discovered the beauty, the splendor, the wonder of my hair…er, of Blue Beetle, The Peacemaker, Nightshade, Judo Master, Captain Atom, The Prankster, The Sentinels, and Peter Cannon, Thunderbolt. I’m still waiting to read Charlton’s acclaimed science-fiction Western hero, Wander. Charlton published one more action hero in the ’70s, the great E-Man by Nicola Cuti and Joe Staton, but that’s a discussion for another day. The spirit of Charlton lives on in Charlton Neo, current publisher of fine titles like The Charlton Arrow, and there’s even a Charlton documentary film in the works. Not bad for a low-rent publisher that once soft-pedaled its heroes with the tag line, “Action-heroes? We Got ‘Em!!!…And they’re not half-bad!” No, not bad at all.


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DEAR SUPERGUYS (or: I Was A Teenaged Comic Book Letterhack)

I’m not sure exactly when I wrote my first letter to a comic book editor. I know I wrote a letter to DC Comics in the summer of 1970, when I was ten years old, asking if the good folks there would be willing to send me a copy of Superboy # 129 as a reward for bypassing fifth grade on my way to sixth grade that fall. Presumptuous? Duh. My letter did not merit a prompt response. I don’t think it was my very first attempt at a “Dear Editor,” but it’s the earliest I can remember with any precision. If there were indeed earlier missives, they were also inquiries about securing elusive back issues from DC, albeit with a promise of appropriate payment. I got yer twelve cents; I got yer twelve cents right here.

In the ’60s and into the early ’70s, I was a near-insatiable fan of comic books, particularly superhero comic books, particularly DC and Marvel superhero comic books. I also read books from CharltonArchieHarveyGold KeyDell, and later from Atlas and Warren. Besides my cherished costumed crusaders, I read funny animal, war, Westernhumor, monster, and eventually some horror, too. I confess to occasionally peaking at romance books, because the girls were cute (and the artwork often gorgeous). Sad SackWhere Monsters DwellStar Spangled War StoriesThe Mighty Marvel WesternForbidden Tales Of Dark MansionTomb Of DraculaUncle ScroogeSgt. Fury And His Howling CommandosThe Lone RangerThe PhantomThe Phantom StrangerMaster Of Kung Fu. VampirellaThe ScorpionArchie’s Pals & GalsDennis The MenaceThe Super Cops. TarzanConan The BarbarianFruitman, God help me. Plop! SpoofDoomsday + 1. I read ’em all, and loved ’em all, right alongside my Justice League Of America and Avengers.

By the time I was 15 (and probably earlier), I was identifying myself specifically as a DC Comics fan. I continued to buy, read, and enjoy Marvels and others, for sure, but my primary allegiance was to the boys at 909 Third Ave and (later) 75 Rockefeller Plaza. Why DC? Denny O’Neil and Neal Adams, for starters. The work that writer O’Neil and artist Adams did on Green Lantern/Green Arrow and Batman (the latter often ably penciled by the underrated Irv Novick instead of Adams, all of it inked to stunning effect by Dick Giordano) just knocked me out, and the afterglow of that stuff kept me in DC’s thrall. I dug Jack Kirby‘s Fourth World stuff, Len Wein‘s scripting on JLAeditor Joe Orlando‘s stewardship of Adventure Comics, O’Neil with Mike Kaluta on The Shadow, the return of the original Captain Marvel in DC’s Shazam!, and the plethora of vintage reprints in DC’s 100-Page Super Spectaculars. I still loved Marvel, but I was clearly a DC guy.

Which, I guess, is why all of my letters of comment went to DC books. As adolescence and early teens brought me a sense that I might want to become a writer, I sought the recognition and ego-stroke of seeing my name in print in DC Comics letter columns. I evolved from my previous letters asking how I could track down copies of The Spectre‘s 1966 appearances in Showcase to attempting fannish praise and pithy commentary. My reach far exceeded my grasp, and my hand-scrawled drivel was justifiably ignored by DC’s editorial staff.

(I was only, like, twelve or thirteen when I began writing these letters in earnest, but I cringe to look back on them now. No physical copies survive, thank Rao, but I remember the sheer pimply cluelessness I exhibited therein. I wrote a letter to The Brave And The Bold‘s editor Murray Boltinoff, demanding that he explain his editorial policies to me, ‘cuz I di’n’t like his and B & B writer Bob Haney‘s disregard for continuity. I recall a letter to JLA which casually used profanity to make this immature soul seem mature. I signed off most of my letters with “Thanx,” an attempt to create a signature gimmick for what I hoped would be an abundance of published letters of comment. Not a one of them saw print, nor did they deserve to see print. I cringe at their memory, and recognize them as the work of a square-peg kid in dire need of a girlfriend.)

I did begin to receive some form letter replies, and some form letters with annotation added. I recall a reply to a heartfelt letter I’d written to Batman editor Julie Schwartz, begging that The Batman’s atmospheric noir adventures never again succumb to the campy approach of the mid ’60s. Some time after that, our local hero Mailman brought me a letter ostensibly from The Batman hisself: a form letter with a classic Carmine Infantino Batman drawing and a note “Thanks for your nice letter, from The Batman.” A more personalized postscript was typed in following The Batman’s signature: “…who will eschew camp like cyanide from now on, rest assured!” Cool! Plus, I learned a new word with “eschew.” I figured this meant my letter would soon see print on an imminent Letters To The Batman page, but it was not to be. I guess a letter from The Batman was all the recognition I required. Thanks, citizen!

Middle school passed by. High school commenced. I continued to buy and read comics, to try to write comics, and to write letters to the comics’ editors. I walked home each day after school, and often made a side trip to the nearby Gold Star Pharmacy to see if any new comics were in. A pretty girl from my school worked there, but I never bothered trying to flirt with her while buying my comics–what would have been the point?–and she remained friendly and professional. Yvonne. Not her real name. One day during the Spring ’75 semester, I stopped at Gold Star for my weekly fix. Among the haul was Superman # 289, and that contained my first published letter of comment.

Over the friggin’ moon, man!

The letter itself was perhaps not much less embarrassing than my earlier, unpublished attempts. But no matter! Though it was just a silly letter gushing about how great Superman # 277 had been with its dazzlingly clever doppelgangers of Ernest Hemingway and Mason Reese–a combination one would rarely see otherwise–it was technically my first nationally-published piece of writing. It was a piece of something all right, but I was thrilled.

And again: no, you get a life.

For dramatic purposes, the part of Yvonne will be played by Ms. Yvonne Craig

I don’t think I showed it to Yvonne at the drug store, though I did show her a subsequent letter published in Adventure Comics # 444. She was very polite. Somewhere in there, a letter in The Brave And The  Bold # 120’s letter column mentioned in passing that “Carl Cafrelli” wanted to see Batman team with The Shadow, a request I do not recall making, but probably did. I don’t know how many more letters of comment I wrote, but I do know I was trying to concentrate more and more on my own writing (and my collection of rejection slips from DC), so my letterhacking likely petered out around this time.

Then it was off to college. Nascent independence. An illusion of maturity. GIRLS! Success with girls, even. And, y’know, punk rock. I continued to read comics well into my freshman year at Brockport, 1977-78, but finally abandoned my four-color friends when Steve Englehart stopped writing Batman in Detective Comics; everything that came after that was a disappointment to me, so it was time to quit.

I mean, after I wrote one more letter.

My final letter of comment of the 1970s appeared in Detective Comics # 479, extolling the virtues of what Englehart and artist Marshall Rogers had done with The Batman, a short run that remains my all-time favorite series of Batman stories (even above O’Neil and Adams). With that, I was done with comics for the remainder of my college career.

(My love of comics did help me snag one little bonus perk in college. No, it wasn’t a girl, though–oddly enough–my ostensibly hilarious impression of former DC Comics star Jerry Lewis did somehow convince a girl I already knew that I was suddenly irresistible. Ah, if Yvonne coulda seen me then…but I digress. During my freshman year, I wrote about comics and other topics in my assignments for Dr. Burelbach’s Popular Fiction class. The following September, I wanted to get into a Fiction Workshop reserved for upperclassmen, so this mere sophomore had to plead his case to that course’s instructor, Dr. Fitzgerald. Dr. Burelbach happened to be there in Dr. Fitzgerald’s office when I arrived, so I mentioned that I’d taken his Pop Fic class the previous semester. This made for a much shorter interview than I was expecting. Fitzgerald turned to Burelbach and said, What do you think, Fred? Burelbach nodded toward me and said, Well, he’s a brilliant writer. Fitzgerald turned back to me, smiled, and said, All right, you’re in. Score one for the good guys.)

I returned to comics after graduating (early) from college in 1980. My return was slow and tentative at first, but eventually resumed with a fervor to match the fannish enthusiasm of my adolescence. In the ’80s, I had a few letters published in Green Lantern and/or Green Lantern Corps (when Englehart was writing it) and in Batman (when Doug Moench was writing it), and I wrote an unpublished rant complaining about gratuitous violence in Justice League Of America. I started freelancing for the fan magazine Amazing Heroes in 1984, and I didn’t write many letters of comment after that. I had one published in an issue of The Power Of Shazam! in the ’90s (even though I didn’t intend it as a letter of comment, just a note to accompany my request for Mr. Mind‘s Venusian Decoder Card), and finally my first and only published letter to Marvel Comics in 2016’s Invincible Iron Man # 11. Marvel still has letters columns in its books; DC does not. I read ’em both anyway.

But I’ve always been a DC guy at heart. I have the letters to prove it.


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The Everlating First: E-Man

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 BlockLeo Dorfman, Gaylord DuBoisJoe 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 BeetleCaptain AtomThe PeacemakerJudo 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.

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Dennis O’Neil

Comics is a visual medium. But no matter how dazzling the individual images, how pretty the pictures, how powerfully the lines have been drawn, the story is what’s at the heart of it all. Without a story, all we have are pinup pages. Maybe they’re great pinup pages. But it’s not really comics without a story. Writer and artist. You need both to create comics.

Sometimes the writer and the artist are one and the same, from Will Eisner to Art Spiegelman to Carol Lay. More often (especially in commercial comics), there is a division of labor. The writer writes, the artists–usually more than one artist–pencil, ink, and letter, and also color if the work’s not for black-and-white publication. When I was a teenager, I decided I wanted to be one of the writers. I wanted to be like Dennis O’Neil.

Dennis O’Neil had been a journalist from Missouri before breaking into comics as a writer in the ’60s. O’Neil initially wrote for Marvel Comics, then for Charlton, and began writing for DC Comics in 1968. It was at DC that O’Neil made his name.

I’m not sure of when I first became aware of O’Neil, nor can I identify which comic offered my first exposure to his work. Maybe it was in Beware The Creeper, or possibly Justice League Of America, neither of which would be among my favorite O’Neil runs. There was also his underrated work on Wonder Woman, chronicling the adventures of a de-powered Amazon Princess. I can tell you I loved his early ’70s work on Superman, the “Kryptonite Nevermore!” run that moved Clark Kent out of The Daily Planet to new duties as a TV newsman. O’Neil brought an unexpected sense of verisimilitude to his portrayal of the Man of Steel. I was 11 and 12, 1971-72, and I thought it was just the greatest thing ever.

It would not be O’Neil’s only claim to greatness. With artists Neal Adams and Dick Giordano, O’Neil took over Green Lantern in 1970, bringing the titular cosmic hero down to Earth to team with a costumed archer named Green Arrow, an also-ran superhero who’d hung around without much distinction since the ’40s. This dynamic creative team infused Green Lantern/Green Arrow with new energy, excitement, and an embrace of social relevance that drew the attention of mainstream media. Understand: Green Arrow was strictly a second-banana character up to that point; O’Neil and company revamped this Emerald Archer into the model for the popular character we know today. You don’t get to the Arrow TV series or the subsequent successful DC superhero shows on The CW without O’Neil, Adams, and Giordano showing the way. O’Neil also revived The Shadow for DC, wrote the return of the original Captain Marvel in Shazam!, crafted the magnificent Superman Vs. Muhammed Ali one-shot, and much later turned in some stunning work on The Question. He did more work for Marvel, as well. This isn’t even a thumbnail of O’Neil’s c.v.

But O’Neil’s most important and lasting work in comics was on Batman. No–make that THE Batman. Following the cancellation of the campy 1966-68 Batman TV series, the once-formidable Caped Crusader had become a joke. Batman’s tarnished reputation could only be salvaged with a return to his pulp roots. O’Neil wasn’t the first to consider reestablishing the shadows in The Batman’s world; Neal Adams had started adding noirish visuals to Batman’s appearances in the team-up book The Brave And The Bold, and writer Frank Robbins and artist Irv Novick (inked by Giordano) had already separated Batman from Robin the Boy Wonder by sending the latter off to college, all prior to O’Neil’s first Batman script.

Nonetheless, it all came together when O’Neil began to chronicle the goings-on in Gotham City. Whether working with Adams or Novick (both almost always inked by Giordano), O’Neil’s Batman was undeniably The Batman. From the early ’70s onward, this vision of The Batman as The Dark Knight influenced nearly every subsequent interpretation of the character. O’Neil created a new nemesis named Ra’s al Ghul, revived Golden Age villain Two-Face for the first time since the ’50s, and turned The Joker from the buffoonish Clown Prince of Crime that he’d become back to the murderous harlequin created by Bill Finger (and, I guess, Bob Kane, maybe) in 1940’s Batman # 1. 

Dennis O’Neil saved Batman. The lasting impact of his Batman writing is beyond measure; if not for O’Neil, you can be damned sure that Batman–THE Batman–wouldn’t have become the multimedia juggernaut we now know. It wasn’t just O’Neil, of course. Still, none of it–the movies, the mania, the pop cultural preeminence, none of it–could have ever existed otherwise.

I was blown away by O’Neil’s Batman. I’d been hooked on superheroes in general and Batman in particular by the TV show in 1966, when I was six. As an adolescent and young teen, I read O’Neil’s Batman and exulted in the thrill of a Dark Knight, a Batman I could believe in. 

I was 13 or 14 when I decided I wanted to be a writer. Specifically, I wanted to write comics. I wanted to write Batman. Goddamn it, I wanted to write Dennis O’Neil’s Batman.

I failed at that. And that’s okay. The effort made me better, gradually, over time. Dennis O’Neil was one of my biggest influences as a writer. If you have ever enjoyed anything I’ve written, fiction or non-fiction, for this blog or elsewhere, it all comes from me wanting to be Dennis O’Neil, and Harlan Ellison, and Woody Allen, and Mark Shipper, and Max Allan Collins, and…yeah, it’s a long list. The list starts with Dennis O’Neil.

Dennis O’Neil passed away last week. He was 81. Comics fandom mourns. Gotham mourns. If The Batman also mourns, his emotions remain hidden in the shadows that are his home, his mask and cloak concealing any hint of his thoughts. He sees a signal in the night sky, and knows he is needed elsewhere.

And he is gone. As if he were never there.

Thank you, Dennis O’Neil. My life and my imagination would have been much poorer without you. Thank you. Just…thank you.

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The Blue Beetle!

My Oldest Comic Book: The Blue Beetle # 6 (Fox, 1941)

The oldest comic book I’ve ever owned was a copy of The Blue Beetle # 6, published by Fox Comics in 1941. It was a coverless copy, and I’m not certain whether or not I still own it. I have a box of coverless comic books in my garage, and I’m going to start going through that box soon for a post (or perhaps a series of posts) about ’em.

My kooky memory can often recall all sorts of specifics about when and where I accumulated a comic book or record in my sprawling collections. I can’t remember where I got this one. I’m pretty sure it was in the ’70s; I remember a National Lampoon Golden Age comic parody (called “Ver-Man,” maybe?) which reminded me of The Blue Beetle as depicted here. I did trade with a high school pal for a few very low-grade condition ’40s and ’50s comics; my coverless copy of The Avengers # 4 was among the books he received in the trade, so he did all right. But I don’t think this Blue Beetle was part of that stash. It could have been a flea market purchase. The precise recollection ain’t there. Hell, for all I know, I could have picked this up when I lived in Buffalo in the ’80s. I still think I got in the ’70s.

The Blue Beetle I knew prior to this was the Charlton Comics hero of the ’60s, who shared a name and nothing else with the Fox character. However, the Blue Beetle familiar to me grew out of the original Blue Beetle; Charlton acquired the rights to The Blue Beetle in the mid ’50s, and the company made a few sporadic attempts to continue publishing the character. Charlton revamped The Blue Beetle slightly around 1964–coincidentally, a good year for something that sounded like “Beatle”–but the books were dull and uninspired, boring. Legendary artist (and Spider-Man co-creator) Steve Ditko created the the new Blue Beetle, which debuted as a back-up strip in Captain Atom # 83 in 1966. As presented by Ditko and scripter Gary Friedrich, this new Beetle’s alter ego of scientist Ted Kord was under suspicion in the unexplained disappearance of Dan Garrett, the original Blue Beetle.

But that’s a story for another day, and it’s a story well worth checking out if you’re a fan of Silver Age superhero comics. For now, we go back to 1941 for a tale of the original original Blue Beetle.

Fox’s Blue Beetle comics are now in the public domain. This scan of The Blue Beetle # 6 comes to us via Digital Comic Museum, a trusted resource for free downloads of public domain comics. And now, my oldest comic book. Ladies and gentlemen, THE BLUE BEETLE!