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More Strange Tales

HAPPY BASTILLE DAY!


Len Wein Teaches Me a Lesson (and, oh, by the way, Roger Stern, too)

Roger Stern started working at Marvel in December of 1975, two weeks before I did on the first working day of January 1976. 

Rog came from Indiana.  He had previously published or co-published a slick fanzine called CPL (Contemporary Pictoral Literature, I think.) that had been devoted to Charlton Comics.  He had been hired as an assistant editor.  Among his first duties, I think, was editing letter columns.

(NOTE:  Letter columns were commonly put together by the writers of the individual books, who would sort through the fan mail, select letters to be printed and write the answers or comments.  A few lettercols were written by someone other than the book’s writer.  If that person couldn’t or didn’t want to do his or her own letter column, a staffer or other freelancer would do it.  For instance, lettercols for the Kirby books were done by someone other than Jack.  Writing a lettercol in those days paid $25, I think.)

I had been hired as associate editor.  Rog and I both sat in the big editorial room outside the Editor in Chief’s office, which took up a corner of that room.  We were the two new guys.  We became friends, and remain friends…at least until he reads this.

Gene Colan

On Friday, I found out that Gene Colan had passed away. 

Gene was a great artist and a fine man.  He will ever remain an honored and revered giant of our industry.  I had the privilege once of visiting his home and seeing some of the non-comics art and illustrations he created hanging here and there.  Beautiful.  Masterful.  Breathtaking.  Our little business is far poorer for his absence and the wide world has lost far more than it will ever know. 

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Please stop by again later today for another post.  The Origin series will continue tomorrow.

Portrait of Jim Shooter by Bill Sienkiewicz

Because you demanded it! Jim took pictures today of the portrait Bill painted for him using his new iPhone’s camera. Pardon the reflections of the kitchen in the the glass.

 

10 Best Comics’ Creators’ Quips and Quotes

(…that I can think of at the moment, in no particular order)

1.  Bill Gaines’ opening remark to me, each and every time I saw him:  “My ambition in life is to weigh less than my refrigerator.”

2.  Editor Carl Potts to me:  “The problem with you is that you’re stubborn.”
Me:  “Well, that’s the Potts calling the kettle black.”

3.  Editor Larry Hama to me:  “All the really creative people are crazy.”
Me:  “I’m not crazy.”
Larry:  “Exactly.”

4.  Gil Kane to Louise Simonson:  “Yes, my boy.”

5.  Jack Abel to anyone who displeased him while in polite company:  “Ingest excrement and expire.”

A Few Video Anecdotes

JayJay here. Jim, co-writer J.C. Vaughn and Billy Tucci (in his own car) went on a signing tour of three comic book stores for the Free Comic Book Day event. Our friend John organized the tour and got a limo to drive us. A few friends came along to video and hang out. Here are a few of Jim’s anecdotes.


An Airplane Ride or Three with Herb Trimpe

Herb Trimpe used to own a 1939 Stearman, which is an open cockpit biplane. When we worked together at Marvel, he’d often invite me to come upstate where he lived to go for a ride. Even after the Marvel days, sometimes, when we’d run into each other. I never got around to it. Always too busy.Now, let me tell you something about my father. He loved airplanes. All kinds. He used to build model airplanes, including those radio controlled ones. So, during the VALIANT days, when he came to New York from the family home in suburban Pittsburgh, one of only two times he ever made it to the Big Apple, I had this brilliant idea. Why not ask Herb to take him for a ride instead of me? I happened to have business up Herb’s way anyway. I figured that my father could come with me and therefore, we’d be in the neighborhood.

Color Theory

Storytelling Lecture Series, Part 21So, the inker has done his or her job, and now we have black and white images—usually with some halftone rendering, like feathering, hatching, stippling, drybrush, maybe even spatter technique. And even possibly with some Zip-a-Tone or other halftone applique, creating gray or grayish areas.

At this point, the colorist controls everything but the black and grayed areas. They’re there. The colorist can choose to leave a white area white or choose to fill it with any color. In ancient days, there were only 56-58 usable colors. There were three color plates—yellow, magenta and cyan. You could have no color in an area, 25% or 50% halftone of each color, or solid colors. That works out to 64 theoretically possible colors, trust me. But some weren’t really usable because the ink saturation would have been too heavy for the cheap newsprint paper. Show-through is bad enough, soak-through is disastrous.

Howard Chaykin’s Finest Hour

I didn’t know Jack Abel very well during my first few years at Marvel, which were also my first few years in New York, my first time in close proximity to the majority of comics professionals. I saw Jack once in a while when I was visiting Continuity — Neal Adams’ studio. Neal rented office space to a number of artists.  I guess I also ran into Jack occasionally when he was delivering a job to Marvel. Jack had inked several of my Legion stories back when. So, I knew of him, and knew him a little.

In 1980 or ’81 —  I forget — Jack had a stroke that paralyzed his right arm and his drawing/inking hand.

A few of us at Marvel went to visit Jack in the hospital in Queens. Roger Stern was with me, maybe one or two others, I forget. We tiptoed into Jack’s room, all unsure of what to say. Jack was almost unaware of us.  He kept staring at his inert right hand, trying to move his arm and his hand without result.  We muttered the usual platitudes and stood there stupidly. And ignored.

Then, Howard Chaykin came breezing in. Howard had been one of Jack’s roommates at Continuity.

Howard’s opening line was words to the effect, “You were a lousy inker anyway, so no great loss.” Then he proceeded to insult Jack’s talents, his ancestry, his looks, his wife, his kids…..

Jack looked up. At Howard. And fired back. And they had a raucous insult-fest.

It brought Jack back to life.

Thank you, Howard. You knew what to do and you did it, while we dimwits stood around helplessly.

Lettering and Balloon Placement Memo

I come from the Stan Lee school of thought regarding lettering and balloon placement. Here are the lettering notes I frequently include in my scripts:

– Lettering should be clear and legible

– Lettering and balloons should be as unobtrusive as possible

– There should never be any question about which balloon comes next

– As much as possible, balloons should stay out of the way of the art:

– Anchor balloons to the panel borders when possible, unless that puts the balloon too far from the speaker or otherwise causes problems

– Try not to cover anything important or interesting—especially light sources, signs, figures, critical details and especially heads

– Characters shouldn’t be wearing balloons like hats or balancing them like trained seals—avoid “resting” the balloons on heads

– If a balloon MUST cover part of a head, try to keep the coverage small.  If it’s going to cover a head down to the eyebrows, it’s time to adjust the art

– If you can overlap a head a smidge into the balloon to avoid covering the head or trained seal syndrome, please do

– Try to have short, straight pointers aimed at the speaker’s mouth

– Pointers should come from around the middle of the balloon.  Avoid those cat’s claw pointers at the ends of balloons, especially long, narrow ones


– Avoid “snakey” pointers

– Consecutive balloons from the same speaker should abut, if possible, with a bridge connector between them 

– If a longer bridge connector is required, make it as straight and direct as possible

FCBD Signing Tour

JayJay here. I wanted to mention that Jim and J.C. Vaughn are doing a signing tour of three stores next Saturday on Long Island. So if you are around next weekend, come on out!Scoop – FCBD Shooter, Vaughn Triple Signing on Long Island

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