CANIFF NEWS - MAY/JUNE 2011

CANIFF, the new art book from the Library of American Comics, will be released in July. Meanwhile, the book's editor and designer, Dean Mullaney, occasionally teases us with goodies from the upcoming tome. Here's a recent post.
Speaking of the LoAC, their recent book on Alex Toth has me paining at only being able to read a snippet before bedtime. "GENIUS, ISOLATED: The Life and Art of Alex Toth" is by Dean Mullaney and Bruce Canwell. They've struck a goldmine here, presenting stories from Toth's career, often from the original art. Toth was a devotee of Caniff, evolving into mutual admiration. For more on the book, here's a nice review by fellow Caniffite Randy Reynaldo.





The tenacious John Ellis has just provided an update on the upcoming release of Volume 3 of the "Steve Canyon" TV series on DVD. You can find that on the official blog. One problem is that the deeper he digs, the more gold he finds. A good problem to have, Caniffites! Ellis thanks us for our patience, but I think for something unseen by most for over 50 years, we can stand the wait a little. Volume 3 is available for Pre-Order.

A new exhibit opened this month at the Reading Room of the Billy Ireland Cartoon Library and Museum. 'Dick Tracy: Chester Gould's Blueprint Expressionism' offers a fresh look at everyone's favorite comic strip detective. The exhibit was assembled by Museum curator Jenny Robb and Pulitzer-winning cartoonist Art Spiegelman. The exhibit (details here), runs until August 19th.



Mark Ferenchik of the Columbus Dispatch tried to uncover the mystery of three intersecting roads named Caniff in this April 24th Article - Where We Live.




Steve Canyon is part of the montage in this George Perez cover for Comics Revue #300. The above was posted by Perez on his Facebook page, along with this description - "After experimenting on some private commissions, I decided to try my pencil tone-to color technique on a cover that would actually be published. On the left, is the original marker and pencil tone illustration I drew for the cover of COMICS REVUE #300. On the right is what it looks like after I digitally converted the grays to color. I think it makes for two very unique pieces. Hopefully the publisher-- and you all-- like the results."

We do, George. We do! "Steve Canyon" strip reprints have appeared in all but 32 issues over the magazines 25 year history. The strips currently running are from 1971 and include color reproductions of the Sunday strips. In addition to "Canyon", the magazine runs 18 other strips, including Alley Oop, Mac Raboy's "Flash Gordon" and Russ Manning's "Tarzan". It can be ordered from your comics retailer, Bud Plant or directly from Manuscript Press at PO BOX 336, Mountain Home TN 37684

WONDERFEST 2011

On May 14th I attended my second ever Wonderfest, the show for model & toy collectors of the sci-fi, horror and superhero genres. While I enjoyed the show and hanging out with some compadres, the show fell short of last year's (read that report here). Two of the things I was most interested in didn't happen. SFX legend Richard Edlund was going to be a guest, but he cancelled earlier this month. A highlight from last year was the premiere of the documentary "The Aurora Monsters: The Model Craze That Gripped the World." This year Wonderfest promoted the premiere of a sequel - "The Aurora Monsters & Beyond". Well, it's not finished, so all we got was a sneak peek. While the overall presentation was entertaining, it was a disappointment. Fortunately, Bossk DID show up.

The model contest displays were the highlight of the show for me. I'm amazed by the creativity, dedication and skill it takes to make models like those below. Some of you may see these and think, "That person has too much time on their hands." I think the exact opposite is true. We live in an age of bountiful entertainment wonders. Even if you're just interested in a specific genre, such as science fiction, the availability of the new along with the archive of the past is staggering. There is no way to see, do, read, enjoy it all. Someone with the time and attention to make models like these is always thinking of his next dozen projects. All the things he'd like to do as well as the work of others he'd like to enjoy. There will not enough time for it all. That makes the hours spent on the finished product all the more impressive.
A snowspeeder from "The Empire Strikes Back".


A 1:1 model of Nomad from "The Changeling" episode of "Star Trek". Fortunately, as its mission is to destroy all life, it appears to have been deactivated.


One of my obsessions left over from childhood is "The Black Hole", Disney's plodding, haunting answer to "Star Wars". Brightening up the unusually grim affair is the shiny silver and red robot named V.I.N.C.E.N.T., the cleverest and most capable crewmember of the Palomino. Here someone has made a life-size replica. Could a working model be far behind?

That's about it from me. I recommend making plans for Wonderfest 2012. Where else are you going to get your Hannibal Lecter heads?!?

CITIZEN SUPERMAN

With the above panel, from Action Comics #900, a media firestorm emerged. The news of Superman's controversial decision hit the mainstream thanks to Fox News, the Washington Times, the New York Post, becoming international news. Superman's words came from David Goyer, a writer best known for scripting the recent Batman films and the next Superman movie. Many fans saw the story as a smack in the face, and DC's co-publishers quickly backpedaled, stating that Superman "embodies the best of the American Way."

Here with a guest editorial is longtime comics fan Jerry Smith -

AN OPEN LETTER TO DC COMICS -


My first comic book was Superman #193. My mom bought it for me before I could read, but I knew who Superman was. I later found out the main story was an “imaginary” tale where Lex Luthor killed Superman and heroes were lined up for miles to pay their last respects to his dead body. That’s how I feel now.

I’ll save you the recounting of my Superman comics, statues, artwork, action figures, etc. Let’s just say I’m a devoted, long-term fan. I love Superman. And of course I am writing about the tragedy of Superman supposedly renouncing his American citizenship in Action Comics #900.

Let me get this out of the way: Superman would never, EVER renounce his American citizenship. Clark Kent was raised in Kansas in by decent, loving parents. By all accounts and Superman’s past actions, this led to a well-adjusted son who loved his (adopted) country. Such a person would grow up loving their country and would not renounce his citizenship under any circumstances.

I’ll be honest, it was hard to read, and harder to type, Superman saying “I am renouncing my U.S. citizenship.” Why would he do this? Because he is “tired of having [his] actions construed as instruments of U.S. policy?” Who thinks that and why would it matter? Superman doesn’t have the right to protest injustice without denouncing America? That’s a major part of what it means to be an American! That is the American Way. And he thinks that is a reason to turn his back on his country?

The language of Superman’s traitorous statement has obviously been carefully considered. Take the word “renounce.” To me, the word “renounce” means “I reject you. I reject all that you are and ever will be. I want nothing to do with you, your policies or what you stand for.” Is that DC Comics’ intention? If so, why? Do you hate America? I really have to ask the question.
This story was negative and ham-handed. Superman wants a more global focus? I thought he already had one. But considering that is true, why did he have to stop being an American? Why did he have to reject and spit on America? There was a great Silver Age story where the United Nations bestows on Superman honorary citizenship of every country in the world, unanimously voted on by those countries. Why didn’t you refer to or recreate that story? No, you had to “stick it” to America, not make Superman a citizen of the world. Why didn’t that even occur to the writer or editor of this story? It implies a real lack of love for the U.S.A. That’s fine if its how you feel, but why force that on Superman?

Like it or not, Superman is an American icon. I love the part in John Byrne’s “Man of Steel” where Superman talks about growing up in America and thinking of himself as an American. What is the problem with being connected with U.S. policy? Does Superman hate freedom and democracy?
Also, there is a concerted effort by DC to disavow the corny old “Truth, Justice and the American Way,” both overall and in this story. I love that saying, and take it for what it is; fighting for the idealized America of our founding fathers, not the imperfect America of reality. DC Comics and the Warner Bros. movie people are so afraid of that line, they’re afraid of people thinking they like their own country. What’s wrong with fighting for those things? Are American ideals of equality and opportunity so bad? Sure, sometimes that’s not reality, but no country is perfect. At least we try.

Like the writers and editors who came before you, you are stewards of the heroes you publish until the next generation comes along. You have failed in that stewardship. You let politics and anti-American prejudice infuse a story about your flagship character, Superman. You let us down.

Here’s what I plan to do about it. I am writing this letter to ask you to undo this story. My over 400 issue in a row Action Comics run comes to an end with #900 (I dropped Superman when JMS came on board, but I have a similar run of that book as well). No more new Superman for me. I was interested in the Flashpoint books with creative teams I liked, but I’ll be skipping the entire crossover now. I’m whittling the Batman books down to the eponymous one. Green Lantern is a bit diluted with all the GL books, I think I’ll drop a few of those too. I can’t say I’ll boycott DC as a company (nor am I urging others to do so), but I will drop things to the absolute bare minimum.

Yes, Superman is a fictional character and who really cares? I do. This story has rocked my world, and not in a good way. You’ve lost another long-time reader with an unnecessary story, using an iconic character as an anti-American political shill. Can you at least ask yourselves why you would do such a thing? And possibly explain it to me?

By the way, the “Evolution of the Man of Tomorrow” illustration by Brian Stelfreeze at the end of Action Comics #900 portrays the modern Superman proudly holding an American flag. Shouldn’t this be digitally removed from future printings?

Sincerely,

Jerry Smith

FOOTNOTES

Action Comics #900 panels - scan taken from the site that broke the story, the indispensable Bleeding Cool.

Funeral picture from Superman #159 - "The Death of Superman" by Jerry Siegel & Curt Swan; reprinted in Superman #193, 'The Greatest Superman Stories Ever Told' and 'DC's Greatest Imaginary Stories'.

United Nations panel from Limited Collector's Edition #C-31, according to this message board post.

Superman 'Back to School Poster', 1988

BILL BLACKBEARD (1926-2011)

The news that Bill Blackbeard passed away on March 10th led to an outpouring of accolades and remembrances on several comic sites, some from those who knew him. I didn't know Blackbeard. To me, he was a legendary figure, his name appearing as author, editor or contributor to almost anything I read involving reprinted comic strips. Like his pirate namesake, Blackbeard transformed from a man into a mythical figure. Indeed, his contribution to comics reflects a supernatural dedication.

I had written my own pithy backstory of Blackbeard, but this uncredited writer did it so well I thought I'd run it instead¹ -

Here was a man whose obsession for collecting provided a great boon for the rest of us. Researchers and publishers plumbed this most complete collection of comic strips. Strips that would be lost or forgotten, or mere footnotes, are known or collected because of Blackbeard. Yes, to some it may seem strange, that he had comics piled from floor to ceiling, in almost every room of his home, so that the world would remember Krazy Kat and his ilk. His contribution to the preservation of the comics medium is unmatched. Dean Mullaney is editor of the Library of American Comics, the premiere publisher of comic strip reprints. He put it the most succinctly on his heartfelt blog entry - "We owe it all to Bill."

For anyone interested in the life and work of Bill Blackbeard, I recommend this article by Jenny Robb, curator of the Billy Ireland Cartoon Library and Museum (click on the .pdf file).

Meanwhile, here's what Blackbeard wrote of our favorite subject, Milton Caniff² -


¹ Caniff, Milton, 'Steve Canyon Meets Happy Easter', 1977, Comic Art Publishing Co., Concord, CA, p.3
² Ibid.
Top Photo - Blackbeard at his home, undated/San Francisco Academy of Comic Art Collection/Billy Ireland Cartoon Library & Museum

UNPUBLISHED TERRY

A recent 'Terry & the Pirates' original art auction on eBay had a unique twist. Offered for sale was the strip that was published on January 14, 1942, as well as a heretofore unseen unpublished version! [click to enlarge pictures]

Above is the published version.

Above is the unpublished version. This was drawn first. Apparently there was some objection to the fourth panel and Caniff was asked to redo it. I'm sure Caniff being asked to redraw a panel was a rarity in itself, particularly at the peak of his career. It's not really a key strip and it has none of the main characters. It only has Sammy the Tapper, a minor villain who was getting his kicks blackmailing Terry's love interest, April Kane.

This was written at the bottom of the unpublished version. My best guess is "Kill this out for Herman", and then initialed EM. Perhaps some other Caniff scholars can give me a hand here? Another big curiosity is the date - 1/6/42. Was Caniff asked to make the change just eight days before press time?!? It seems like an unbelievable turnaround.

Now come the two biggest questions. What was wrong with the fourth panel. The auction seller speculated that it looked 'too official'. A collector friend of mine thinks they were worried the type would get muddied up in reduction. But wouldn't Caniff have foreseen that? Also, why draw an entirely new strip over just replacing the offending panel? The first three panels have minor changes, but it's the fourth that's completely different. A dealer friend of mine wondered if they couldn't get the original back to Caniff, or even a stat, and he redrew it from memory. I don't think that's the case, as we have both originals in hand today. I think Caniff was in a constant battle between deadlines and perfectionism. Perhaps he was always thinking of ways he could have done something better, and here he saw an opportunity to improve upon an already finished strip. See what differences you can spot in the panel comparisons.

Of the first three panels, I think this one is improved by the contrast of white paper against the waiter's suit.

Kudos to Caniff for obtaining what was likely an authentic New York rap sheet of its day. The real improvements in the new panel are (1) the use of Sam's mugshot in favor of all that type and (2) the cigarette now falling out of his mouth in shock.

CANIFF COLLECTOR SPOTLIGHT: RON M.

I've been intrigued lately by original Caniff strip art and those who collect it. When fellow Caniff fan Ron M. posted about art he was selling through Heritage Auctions, I decided to ask him about how he got into collecting. His experience is very similar to my own. "Like most of us," Ron told me, "I read the Sunday funnies each week as a kid. But I have to admit I read only the humor strips. I didn't care for the other genres, of course this was the '80s and most the classic strips were already gone.

Terry & the Pirates - 1/12/43

In the early '90s, I bought a lot of the various reprint books and, in a lot of the introductions, they would typically mention the all-time greats, and Milton Caniff's name always came up(along with Al Capp). Regarding Caniff, once I read some of the strips in various book collections, I quickly found I enjoyed both 'Terry & the Pirates' and 'Steve Canyon'. The storytelling ability was the main enjoyment for me, the historical appreciation for Caniff's artistic abilities came a few years later. I really love his pacing and how it made you want to read the next strip, also his various locations, and his expertise with shading."

Terry & the Pirates - 7/15/43

Ron began collecting original art in 2004, buying them at auction via Heritage, eBay and Russ Cochran. What does he look for in a strip? "I personally use how much I like the art as a barometer of whether I want to buy the page (assuming I have the funds). I dont like to buy pages with too much text or word balloons, so almost all my dailies I have bought I felt the art was really cool. I decided to only buy dailies , and avoid pages that have alot of whiteout. Of course, I love all original art, it's all one of a kind; I just narrowed my criteria so I wouldn't spend more than i can afford."

Steve Canyon 7/12/48

With the boom of reprint collections collecting classic strips, Ron has been getting more enjoyment out of reading than collecting. 'Terry & the Pirates', his favorite, has been reprinted by the Library of American Comics/IDW and is still available. New collections of 'Li'l Abner', another favorite, start this month. Also topping his list are Pogo (collections begin in October from Fantagraphics, Blondie (currently being done by IDW), and Krazy Kat (currently being done by Fantagraphics). This plethora of material led Ron to the decision to sell some of his collection.

Terry & the Pirates 4/23/49

I was intrigued that his collection includes 'Terry & the Pirates' pages by George Wunder. Wunder had the thankless task of not only following Caniff on 'Terry', but competing with Caniff's new creation 'Steve Canyon'. Wunder has been judged by some as little more than a serviceable practitioner of the Caniff school. Ron gave me his perspective: "I really enjoy George Wunder art, as the first Terry Pirates pages I read in the '90s were by Wunder, not Caniff. I've always liked his art, nice crisp lines, so I'm not sure why a lot of people feel the need to constantly say he's just not as good as Caniff. I certainly would not call him an also-ran. To me, Wunder was one of the top talents in cartooning. Put me in the camp that feels he is underrated. Theres a good percentage of people who's only recollection of 'Terry' is probably the Wunder version. I enjoy both artists' work equally, and have never been one to partake in the 'who's better' arguments. Caniff is one of the elites, and to me Wunder is right up there in the next tier as well."

Terry & the Pirates 10/23/67

I asked Ron if he wanted me to provide specific links to his auctions. He responded that I should promote the entire auction of comic book art, which can be found here.

MILTON CANIFF NEWS

The solicitation for 'Caniff', the art book from the Library of American Comics, was in the latest edition of Previews and is also on Amazon. This is the book where I made a contribution to the research done by Lorraine Turner and the book's editor, Dean Mullaney. Dean wrote about that experience here. I asked him what happened to the earlier title, "The Art of Caniff"? "I decided on "Caniff"," said Dean, "because only in comics are art books called "The Art of…." You don't see "The Art of Van Gogh" or "The Art of Rembrandt!"

Also from the Library of American Comics are the volumes of The Complete Terry & the Pirates that have been out of stock. The rarest volumes (4 and 5) have been commanding $100 and up prices in the aftermarket. It's great to see this American classic remain in print. Ask your local comics dealer!

The Comics: An Illustrated History of Comic Strip Art - Jerry Robinson - This revised edition of Robinson's 1974 tome was released last month. I don't have a copy, so I can't confirm the Caniff content. But, not having Caniff would be like doing a Revolutionary War history without George Washington. Robinson, best known in the comic book world as co-creator of Robin and the Joker, was president of the National Cartoonist Society from 1967-69.



Drawing Power: A Compendium of Cartoon Advertising - Fantagraphics will release this in July. According to publisher Gary Groth, some Caniff work is slated to be part of the book. I suspect it's the work he did with Noel Sickles under the pseudonym "Paul Arthur", primarily Mr. Coffee Nerves (which I wrote about here). The co-editor of the book is Rick Marschall, who reprinted the Coffee Nerves strips in 1990 in a Terry & the Pirates book.



Leif Peng - Peng is a Canadian cartoonist and illustrator who also has a blog called "Today's Inspiration", which celebrates the work of cartoonists and illustrators through high quality scans of their work. In doing so, he has built up and shared what is likely the best online resource of Noel Sickles art. If you love the work of Caniff's pal Sickles as much as we do, Peng's site will amaze and delight. Today's Inspiration http://todaysinspiration.blogspot.com/search?q=sickles

Cartoon Limbo - The Prallsville Mills, an historic site in Stockton, NJ, is hosting an art exhibit called Cartoon Limbo. The theme of the exhibit is rejected drawings of famous cartoonists. According to the press material, there is a Caniff item, though I don't know what. Other artists represented include Carl Barks, Charles Schulz and Crockett Johnson.