Trade HC ISBN13: 9781934331811 Retail $39.95 • 120 pgs
DX LE ISBN13: 9781934331828 Retail $69.95 • 138 pgs plus slipcase
When we were kids in the 70s, my pals and I hung around a great comic shop, Kim’s Collectible Comics & Records. Owner Kim Draheim loved comics, but he helped expand the horizons of our small worlds – letting us discover wonders beyond the standard Marvel and DC comics that defined our comfort zones. In his shop, we stumbled upon older comics, vinyl records and comic-adjacent artists…like Frank Frazetta. It was all pretty mind-blowing.
We quickly realized there was a time and place for each creator’s talents and gifts. When one of my gang was searching for a Fantastic Four issue illustrated by Frank Frazetta, we all chuckled. Even back then we knew that Frazetta was beyond all that.
When I took a college-level painting class while still in high school, there came that point to choose one artist for the term paper. I chose Frank Frazetta. My professor kind of frowned and suggested I instead research and write about Salvador Dali. I told my professor that Dali was a fine artist…but in my mind, Dali was no Frazetta.
If Spurlock was in my class, maybe he would have said the same thing.
Even back then I would have been excited by the new book, The Fantastic Paintings of Frazetta. This is another gem from J. David Spurlock’s Vanguard Publishing. It’s a thoughtful, loving celebration of a genre master that is both a first-class introduction to Frazetta and a long-awaited treat to every reader/fan/collector that has already has an appreciation for Frazetta.
From the first page, Spurlock takes the reader on a journey that includes “greatest hits” and “lost treasures”.
Well-loved paintings fill the pages – but often with a twist. Either there’s additional materials or alternate versions included. Spurlock includes great stories that pull back the curtain for us, illuminating the process behind Frazetta’s artistry.
I really enjoyed the many surprises. There’s Frazetta barbarian art from before Conan. There is a 60s spy movie poster. I was especially surprised to learn that in one case, when Frazetta got an original painting back, he made some changes. And although I’d seen the Luana piece many times, but I didn’t realize that there was more to it.It’s no secret that Frazetta inspired so many other creators. But I didn’t realize the extent of the George Lucas connections until reading this book. When I watch Star Wars movies, I’ll never look at Chewbacca or the Death Star the same way again.
Many of the paintings reproduced here are larger than they’ve been printed before. This allows us to really see the nuances – brush strokes, paint etc. on these beauties.
Here’s the official description:
Discover, or return to, the world’s greatest heroic fantasy artist, Frank Frazetta, in this landmark art collection entitled, Fantastic Paintings of Frazetta. The New York Times said, “Frazetta helped define fantasy heroes like Conan, Tarzan and John Carter of Mars with signature images of strikingly fierce, hard-bodied heroes and bosomy, callipygian damsels” Frazetta took the sex and violence of the pulp fiction of his youth and added even more action, fantasy and potency, but rendered with a panache seldom seen outside of major works of Fine Art. Despite his fantastic subject matter, the quality of Frazetta’s work has not only drawn comparisons to the most brilliant of illustrators, Maxfield Parrish, Frederic Remington, Norman Rockwell, N.C. Wyeth but, even to the most brilliant of fine artists including Rembrandt and Michelangelo and, major Frazetta works sell for millions of dollars, breaking numerous records.
And Spurlock has pulled out all the stops with this one. This book has definitely crossed the line to be a full-fledged celebration. Here’s the bells & whistles:
PAPER: Thicker, quality art-book paper than ever used in any prior Frazetta collection. This firmer paper helps achieve the highest quality of reproduction.
PROTECTIVE LAMINATION: Lavish combination of both matte & gloss cover laminations to dazzle the senses. While many top publishers scrimp by not providing ANY lamination, the new Frazetta collection doubles down to protect every cover smartly and with panache.
SIZE: 10.5 x 14.6 with spreads as wide as 21 inches: Larger pages and images than any previous Frazetta art book.
INDIVIDUALLY SIGNED: Even deluxe books rarely come signed but, this has not one, but TWO signatures; author J. David Spurlock and Frank Frazetta Jr, Director of The Frazetta Art Museum in East Stroudsburg PA.
VELUM PAGE “TIPPED-IN” BY HAND: When Vanguard does produce signed books, it is regularly on the front endpapers which is mounted to the inside front cover. But for Fantastic Paintings of Frazetta, the signature page was printed separately on a translucent velum parchment and bound, one at a time, into each book, by hand.
NEW LIGHTWEIGHT SLIPCASE: Vanguard’s new lighter-weight laminated slipcase keeps the deluxe book protected in style while conserving shelf space and minimizing shipping costs to retailers and Frazetta aficionados.
BONUS FOLIO: Sixteen extra pages of art including some very rare images, a newly discovered previously unknown and unpublished 1960s Frazetta movie poster run at a whopping 21 inches wide and, rare mid-1960s Creepy magazine art as never seen before, perfectly reproduced at full, Original Art Size!
Every year at San Diego Comic-Con, I tend to buy at least one book from the Vanguard booth. The at-the-booth conversations with J. David Spurlock are part of the fun. And if I miss him, I always get my pal Steve Rotterdam to do his Spurlock imitation. This year, of course, none of us will be stopping by San Diego Comic-Con. But there’s plenty of ways to buy this – and I always suggest going through your local comic shop or local indy book store. I was surprised to see that a book of this quality doesn’t have a $100+ price tag, and is reasonably priced at $39.95 The deluxe version, with extra pages and a slipcase, is $69.95.
The Fantastic Paintings of Frazetta would make any coffee table proud. And if your coffee table is too full, maybe it’s time to get another coffee table.
When it comes to music, we all get it right away. We understand what duets are, and how the combination of two favorite performers can result in something new and special. In 2006, the album Duets teamed Tony Bennett with a myriad of music’s A-listers. It was an instant hit. Part of the fun was the surprising range of match-ups. While a song featuring Bennett collaborating with Barbara Streisand was expected, duets with musicians like k.d.lang or the Dixie Chicks were wonderful surprises.
Sometimes a collaboration exceeds the original. For example, I’d argue that the version of Gloria by John Lee Hooker and Van Morrison is much more fun than the original version Morrison recorded with his old band, Them. Likewise, Elvis Costello and Burt Bacharach, two geniuses from different generations, collaborated in the late 90s and produced wonderful songs enthralling fans of both artists.
Comic art collaborations are different. When enjoying traditional comic art, it’s harder for most folks to understand what the penciler and the inker each bring to the party. But both types of artists have a role to play and opportunities to seize. Sometimes fans will like a certain artist paired with a certain inker. Other times, the combination might not gel, resulting in an unsatisfying experience for readers. Some inkers support a penciller’s vision, other times they might dominate it.
Wallace (Wally) Wood was one the great very artists, but he often played the role of inker. I reached out to Walter Simonson (an incredible artist in his own right) to find out just what it was like to have Wally Wood ink your artwork. Walter kindly shared his thoughts with me:
“Back in 1976, Denny O’Neil asked me if I would be willing to draw layouts for an ongoing DC comic, Hercules Unbound. Wallace Wood had been doing the finished inks over layouts. I jumped at the chance. I knew Woody personally just a little from the time I spent hanging out at Continuity Associates, Neal Adams and Dick Giordano’s studio in New York. But I knew Woody’s work extensively, from his EC stories to his work on the early MAD magazines, to Witzend, and his later work on Daredevil and other mainstream comic books. I was thrilled.
“As the layout artist, I expected that the finished work would look like Woody’s stuff. And by and large, it did. But it was such a learning experience. For layouts, I wasn’t spotting blacks in my drawings, and it was a revelation to see what Woody did with them. Beautiful to observe. My real regret was that Woody left the book after he had done only two issues over my layouts. But he told me before departing that he really liked what I had given him to work with. It was the structure he needed to create his finished work without difficulty. I was thrilled. Thanks, Woody. Nobody called it a bucket list back then, but that’s exactly what it was, a big check mark off the bucket list!”
The best collaborators actually collaborate. And that’s what happened when Jack Kirby worked with Wally Wood to produce the newspaper comic strip Sky Masters. Last week we talked about the new reprint edition from Amigo Comics. This week we’ll take another bite out of the apple. I’ve persuaded my friend, J. David Spurlock, an expert on Wallace Wood and a guy with a lot of great stories, to contribute a few more thoughts about this unique collaboration.
So join me for J. David Spurlock’s Sky Masters: The Jack Kirby-Wally Wood Masterpiece —the greatest teaming of America’s two most iconic mid-century comic book talents!
McCarthy-era political witch-hunts fed even vice-presidential hopeful Estes Kefauver’s investigations into juvenile delinquency. The fallout came very close to killing the American comic book industry in the second half of the 1950s. Comic books were demonized and workers in the industry humiliated. Most publishers went out of business. The few that stumbled on, slashed titles to the quick and experimented with new/alternative genres. As Carmine Infantino told me, even the industry’s top company, National/DC, were not only laying-off talent but also cutting pay rates for those who stayed. Joe Orlando confirmed he was so humiliated he started telling non-industry people that he “illustrated children’s books” in lieu of confessing he was a comic book artist. Stan Lee likewise confirmed that in that period, he skirted telling people he worked making comic books. Every artist aspired to doing a newspaper strip. Newspaper strip work — as opposed to the then-shamed comic books— was not only respectable, it was celebrated and could generate great income based on circulation.
In 1958, inspired by Sputnik and the emerging US and Russian space programs, Harry Elmlark of the George Matthew Adams Service newspaper syndicate asked National/DC Comics writer-editor Jack Schiff to help him put together a team for a space program-related strip. Schiff was too committed at National/DC to take on writing a daily strip and reached out to Dave Wood about writing. Dave Wood and acclaimed 1940s Captain America co-creator Jack Kirby had been working under Schiff as editor on the Kirby-created DC-published comic book, Challengers of the Unknown. Dave Wood and Kirby had previously worked on another proposed space strip which had not been picked up. Both Kirby and Dave Wood confirmed they were interested in creating the proposed new strip.
Kirby, Schiff and Dave Wood assumed Kirby’s associate, Marvin Stein, would be inking Kirby’s pencil work but, Stein had had enough of the cockamamie comics business and left for better, steadier work in advertising, as so many did during the mid-to-late ’50s comics implosion. With Stein out, Jack knew he needed a top quality, polished inker to help his work compete with such illustrative adventure strip artists like Alex Raymond, Hal Foster and Milton Caniff. Jack realized the absolutely best man for the job was Wallace Wood (no relation to Dave) who had quickly risen to be America’s foremost sci-fi comic book artist a few years earlier via his groundbreaking work at EC Comics on such titles as Weird Science and Weird Fantasy.
Wallace Wood had nothing to do with negotiations with Schiff and/or the syndicate. His relationship was solely with Jack Kirby. As my research for the Eisner-Award recognized Wood biography, Wally’s World revealed, it was Kirby who phoned Wood’s studio and the call was answered by Wood’s wife/assistant/colorist Tatjana: “Who’s calling?” “Jack Kirby” the response came. “Wallace, Jack Kirby is on the phone.” Kirby invited Woody to work on the still untitled newspaper strip. They followed up with Jack coming to Wood’s studio where they started brainstorming including on what to name the strip. Jack liked the name Sky as the lead character’s fist name but wasn’t sure what to use for a surname. Wood had been playing with the name Cannon since childhood. Jack and Wally considered Sky Cannon and Wood drew that option up as a rough logo design, along with other ideas. Jack Kirby and Wallace (a.k.a. “Wally” or “Woody”) Wood ultimately settled on Sky Masters with Wally drawing the final logo art.
Wally Wood at the time was not working in comic books. He had grown to be so successful, he was doing far better paying humor, men’s, and sci-fi magazine illustrations, as well as paperback and hardcover book covers, and advertising. It was because Wood considered Kirby a “genius” (Woody was likely the first big name pro to use the word “genius” to describe Jack) and that, like everyone else, he dreamt of a hit newspaper strip, that Wood agreed to collaborate with Jack.
As soon as Kirby told Schiff that Wally Wood had agreed to ink and letter the strip, Schiff got excited and inquired whether Wood might be willing to return to comic books as well, to likewise work with Jack on Challengers of the Unknown. Out of respect to Jack, Wood agreed. Kirby and Wood hit it off and work started on the Sky Masters, Challengers, and an underwater strip idea, Surf Hunter.
Newspaper strip deadlines never stop. There is no break. It is important to gear-up and have plenty done prior to the launch, as that is the only buffer a strip artist will ever have. Work on Challengers started during the Sky Masters gear-up period. Because of the release date of Wallace Wood’s first issue of Challengers, there has long been confusion about the timeline — which came first, Wood’s joining Challengers or Sky Masters? Through my Wally’s World research, I was finally able to clear it all up via my interviews with a few of the first-person witnesses to these matters, Tatjana Wood, who took the initial call from Kirby and was in the studio when Jack came over for meetings and with my dear friend, Al Williamson who occasionally helped out inking some backgrounds. The Kirby-Wood collaborative period started with Sky Masters. Their work together is ultimate Americana. Imagine John Wayne doing a film with Elvis or Marilyn Monroe doing a film with James Dean. Kirby and Wood are like that except in their case, it actually did happen for a bright, fleeting moment.
A short digression re: the Kirby-Wood signatures that appear on the art. For many years, general readers didn’t know Dave Wood was involved with the strip. It was understood that the Kirby-Wood signature was for Kirby and Wallace Wood who put as much work into that strip as he did anything else that he signed in his career. After many years, it started getting out that the writer’s name was also Wood and he had a brother/helper named Dick Wood. Jack Kirby said, for a while he thought everyone in the business was named Wood. Some would say the Wood in the signature is for the writer, Dave Wood — and that is reasonable if not traditional. I would like to propose that this case might not be so traditional: When the artist Wallace Wood — one of the most accomplished comics artists of all time — who signed the signature signed them, that he was not signing for the writer who was nowhere near as notable of a talent as the artist was but, happened to have the same name. Woody signed his own name to his own work. It has nothing to do with who made the original agreement to produce a space strip or when, in the pre-launch process Woody came on board. It had to do with one of the top talents of all time putting blood, sweat and tears into his labor of love and being proud of his work. How many National/DC strips listed Dave Wood’s signature? But, even when DC did not publish credits, if the great comics master Wallace Wood signed, no one at DC dared white it out (see first-person account from Jim Shooter). Unless we find a contract saying that Dave Wood’s name was required to be credited and lettered into every strip, we have no way of knowing what the signature would have been had Wallace Wood not helped launch it and signed it with his own hand.
Wallace only stayed for about half of the strip’s tenure. It was a huge loss when Woody left the strip. But he understandably did not want to get dragged into a growing legal dispute between Jack Schiff and Jack Kirby which he had nothing to do with. Plus, the strip was not picked up by enough papers to make big money. To minimize the public knowing Wallace had left.. to minimize change… and as the writer’s name was also Wood, they kept the signature going after Woody left. Likewise, Kirby himself attempted to ink in Wood’s style. When Kirby hired Dick Ayers to take over inking, he requested Ayers to likewise mimic Wood’s style. I got that fact directly from my dear friend Dick, who went on to say, he would have loved to have done work more like Wood’s but, it took too much time and there wasn’t enough money in comics (or Sky Masters) to work that way — because, Wood did far more than just ink.
To add confusion, in a late interview, Jack oddly minimized Woody’s well known and obvious contributions and indicated what they had wanted the public to think of the signature after Woody left—that it was for the writer. It must be understood that in the period that Jack gave that interview, Jack was so fed up with the fact that most of his career, he had been credited in second place to Simon and Lee, who Jack felt did less of the creative work than Jack did. At that time, Jack was on a mission to balance the scales and set the record straight that he/Jack had been the primary creative force — and unfortunately, when Sky Masters unexpectedly came up, Woody got caught in the crossfire. Again, unless we find a contract saying that Dave Wood’s name was to be credited and lettered into every strip, we have no way of knowing what the signature would have been had Wallace Wood not helped launch the strip and signed it.
Sky Masters is the greatest teaming of America’s two most iconic mid-century comic book creators, Jack Kirby and Wally Wood. What makes it better, more important, than their other works (even Challengers) is that particularly on Sky, they worked as equals. It is not Wood inking Kirby, it is a different animal. Something new, something more unique than their other works… not Kirby, not Wood, but the totally unique hybrid that can only be called, Kirby-Wood! Jack once said, in Wally, on Sky Masters, “I was [only] looking for an inker but got a [true] collaborator.
Jack Kirby and Dave Wood never created a masterpiece.
Jack Kirby and Wally Wood created a masterpiece!
One of the titles I have so aptly bestowed upon Woody is “The Great Collaborator.” Whomever he worked with made history: Kirby-Wood, Eisner-Wood, Ditko-Wood, Kurtzman-Wood, etc.
If Kirby had not brought in Wallace Wood, Sky Masters would have been just one more in Kirby’s long history of minor, attempted and/or short-lived newspaper strips and we would not be discussing it now and no one would be investing years of work to put together a glorious edition of it. Instead, it is one of Jack’s greatest artistic accomplishments — something he proudly hung for decades by his drawing board — despite the later business problems. It may well be the first work he was so proud of he fought to get the originals back on, after publication. It is the ultimate Kirby-Wood masterpiece specifically because, thanks to Kirby recognizing, inviting, and wisely granting Wally Wood the creative freedom to be so much more than a technician who traces with ink; it is a true, equal, artistic collaborative creation.
I like crowds. I like big noisy events. State fairs? Love ‘em. Black Friday shopping days? I’m there. Live music with tiny crowded dance floors? Sounds good to me. San Diego Comic Con? Yeah, baby. Ditto The New York Comic Con.
But on the other hand, when I’m thinking about Geek Culture and comic conventions, I find that I also enjoy small comic conventions. There’s a certain charm, an aura of creativity and a sense of community that embraces you in a unique way that you won’t find at NYC’s Javits Center.
I had to cancel out of this past weekend’s WonderCon in Anaheim, California. That was a drag as I was looking forward to being a panelist on Rik Offenberger’s Marketing/PR panel. But I haven’t been on a convention hiatus; lately, I have been busy finding and attending them. For consecutive weekends, I attended conventions in two Central New York – The Liverpool Comic Show and The Ithacon. Both were ‘small’ cons, but they both had a lot of charm.
Vanguard’s J. David Spurlock was in rare form at the Liverpool Comic Show, but isn’t he always? And after drooling over a couple of the books he publishes, The Frazetta Sketchbook and Wally Wood: Strange Worlds of Science Fiction, I broke down and snagged them both. He also shared a Wally Wood story with my wife Kathe and I. Who knew Wally Wood lived in the Syracuse area for part of his creative life?
In fact, Kathe was charmed by Jack Robinson, who was friends with Wood. Robinson was exhibiting right next to Vanguard. He’s a strong artist in his own right, and Kathe bought a couple of Bettie Page prints from him.
It was nice to see ComiXology’s Chip Mosher make an appearance at the local show. Catching up with him was filled with a lot of smiles and laughs, as always.
Ithacon hosted some impressive guests. But they always have. Over the years, fans have had the pleasure of meeting so many fantastic creators at this show: Walt Simonson, Murphy Anderson, Frank Miller, John Byrne, Al Milgrom, Len Wein, Marv Wolfman and so many more.
Tom Peyer’s always been a favorite creator and I was so glad he was at Ithacon this year. I appreciate the unique way he mashes up his strong devotion to Silver Age comics with his subversively hilarious wit. His current comic, Aftershock’s Captain Kid is a winner and if you’re not reading it, you’re missing out.
There was another amazing part of Ithacon. Jim Shooter and Roger Stern, longtime pros and longtime pals, hosted a unique panel, where they reminisced about the days when Shooter first came to Marvel, joining Stern who was already on staff. It was a wildly entertaining hour full of great stories and behind the scene insights, all wrapped up in good natured fun. Fans deep into Bronze Age history loved this, but, due to the charisma of these two gents, even casual fans enjoyed it. The room was SRO the whole time.
It’s always cool to see the local talent. Joe Orsak, who created the long-running Captain ‘Cuse, (a local Sunday newspaper superhero who fought villains each week, like his foe Lake Effect), was at the Powercon. The always enthusiastic Jim Brenneman, from nearby Marcellus, also displayed his upbeat and friendly artwork at Ithacon.
Pulp Nouveau Comix is a great comic shop in downtown Canandaigua, NY, and the owner, Mark, was at the Liverpool show. I love his store and it has that Joe Dirt/mullet strategy: “All Business Up Front, Party in the Back.” The back room of this “Curiosity Shoppe”-style store is filled with fantastic treasures.
And like all comic conventions, there were quite a few treasures to be found including:
Hulk vs. Superman by Roger Stern and Steve Rude. I have my copy of this prestige format comic/graphic novel ‘around here somewhere’ but I was so happy to find this at Ithacon. You see, my nephew Alexander recently asked, “Who’s stronger, Superman or the Hulk?” And when I send this to him, he’ll see!
Somerset Holmes: The Graphic Novel by Bruce Jones, April Campbell and Brent Anderson. What a wonderful adventure this one is. I enjoyed the comics long ago, and the story-behind-the-story is one of those cautionary Hollywood tales that has always stuck with me.
The Prince and the Pauper by Mark Twain. I discovered the 1946 New York City Board of Education version of this publication, where they used illustrations from students of NYC’s famous School of Industrial Arts. So this book has what I believe to be Alex Toth’s and Joe Orlando’s first professionally published illustrations!
Many of you know that I’m hard at work on this summer’s Syracuse Salt City Comic-Con. It’s a midsize show that will be punching above its weight class. We’re planning some very cool things and have an amazing guest roster. More on this in the months to come, but I think come June, I might have to walk back “It’s a Small World After All.” I might be saying “Bigger is Better.”
As a kid, I had book called Our Country’s Presidents by Frank Burt Freidal. It was an important looking book published by the National Geographic Society. This heavy tome devoted a few pages to each president along with a handful of gorgeous, colorful pictures. In retrospect, the model they used was a precursor to today’s magazines, complete with sidebars and sections-within-sections.
Way back when, the U.S. presidents were held in high regard.
I didn’t think I could ever read it all, but it was great fun to skim a few chapters now and then to get a perspective on all these great men and the times in which they lived.
During that same period, as you can imagine, I was also reading a fair amount of comic books. And in one comic series, The Justice League of America, each summer they’d have an adventure with their out-of-town “relatives,” the Justice Society of America.
This made all the sense in the world to me. As an Italian-American family, we were all about gathering the family together at wonderful events. One of the leading restaurants in my hometown was founded by a relative, so getting the invite to their enormous annual summer picnic was always such fun.
Our family would just eat a lot at these gatherings. But when the Justice League of America, essentially a super hero family, would meet annually with their older, wiser, mentor-ish counterparts, the Justice Society of America, there would always be a grand adventure. Oh, sure, they’d typically have one or two pages showing all the heroes enjoying hors d’oeuvres and chatting, but that wouldn’t be very interesting for the entire story.
To help readers identify and understand the visiting characters, the comic would typically devote a couple of pages to each Justice Society member and explain a little bit about their background. To me, it seemed exactly like that U.S. presidents book. The message I got was “These old heroes are important and you should really learn about them- just like you should learn about presidents.”
I dutifully obeyed and complied with this imagined directive. Chalk it up to the power of Geek Culture. Whenever there was an adventure with these Justice Society heroes, it was a treat for me and I took it seriously.
So with this background, you’ll understand how I was thrilled to find out that these “out of town” characters, the Justice Society, would return to star in their own comic. All-Star Comics #58 was published in 1976 and starred the JSA heroes.
There they were – these fantastic characters doing amazing things, presumably in the times between those family get-togethers.
For some odd distribution reason, this wasn’t available at my regular newsstand, the fabled Pauline’s News in Auburn, NY. I had to make a special trip to a specific drug store on the other side of town to get this comic. The extra effort was worth it.
There was a new character introduced in this series too. She was kind of like Supergirl, but not as demure and sweet. She was aggressive and always displayed her assertive personality.
She was also very attractive. One artist on the series was the legendary Wally Wood, who could draw anything but had a particular aptitude for rendering pretty blondes. To a 13-year-old boy, this was of great interest to me.
I’m writing about this because I’m thrilled to announce that I was given a great honor. Gemstone’s vice-president of publishing, J.C. Vaughn, asked me to contribute an article about the Justice Society revival series to this year’s Overstreet Comic Book Price Guide. The Overstreet Guide is another of those grand summer traditions. It’s a detailed price guide to just about every comic book ever published, but it’s more than that. It’s an incredible reference detailing the history of American comics, and provides insightful historical articles and industry trends by the nation’s top comics experts.
The book also celebrates creators with the annual showcase of legendary talents providing special cover artwork. This year’s cover is really special, in fact, as J.C. has recruited Amanda Conner to create a two-part diptych cover, one of which features that “pretty blonde” from my youth – Power Girl.
The limited edition cover is by a true master as well. Russ Heath is a phenomenal artist, whose life story is as fascinating and fun as is his art. Heath has created a moody, moving piece evocative of the old war comics covers. As usual, the Overstreet team has designed a unique alternative logo that always thrills evokes the original 60s war comics.
J.C. Vaughn treats the annual publication like one big party. As is the tradition, the book debuts at San Diego Comic-Con and then is on sale nationwide at comic shops and traditional bookstores.
Writing my article for The Overstreet Comic Book Price Guide was such fun. I talked with creators of the series, young pups just starting out when the series was first published: Paul Levitz and Joe Staton. Each has gone on to establish incredible careers in the industry. I also spoke with Justice Society expert Roy Thomas. Although he wasn’t directly involved with this iteration of the JSA, he still had great insights and revealed a story or two I hadn’t heard.
David Spurlock is the wry, charming publisher of Vanguard Productions. You may enjoy Vanguard’s fantastic books spotlighting artists like Frank Frazetta, Paul Gulacy or Wally Wood. I sure do. On the other hand, my wife just likes talking to the guy because he’s charming and witty.
But he carries the torch for many artists, and Wallace (Wally) Wood is one of them. David pulled back the curtain and revealed some great stories (some of which I couldn’t publish) about Wood’s participation in this 70s Justice Society revival.
It was great fun to write and I think it will be great fun to read! Be on the lookout and don’t be shy about reserving your copy of The 46th Annual Overstreet Comic Book Price Guide.
And if anyone has a copy of Freidel’s book on the presidents …. I’ll trade you an extra copy of the Overstreet Guide for it. I’ve got to finish reading that one!