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$ 5.95 In the USA No. 38 July 2004 INFANTINO • ANDERSON HASEN • ELLISON • GIELLA • KUBERT TOTH • EVANIER • MURRAY SCHELLY • GILBERT • AMASH & MORE! Art ©2004 Carmine Infantino. Flash TM & ©2004 DC Comics. JULIUS SCHWARTZ AGE OF COMICS! WELCOME TO THE Co-Starring 1 1994- -2004

Alter Ego #38

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JULIUS SCHWARTZ tribute! Behind brand-new full-color covers by two of Julie's greatest artistic collaborators—CARMINE INFANTINO (The Flash) and IRWIN HASEN (Justice Society of America)—there’s never-before-published JULIE SCHWARTZ interviews by WILL MURRAY and SHEL DORF—including previously-unknown revelations and rare art by CARMINE INFANTINO, MURPHY ANDERSON, GIL KANE, JOE KUBERT, ALEX TOTH, JOE GIELLA, IRWIN HASEN, CURT SWAN, MIKE SEKOWSKY, DICK DILLIN, and many, many others! Plus, there’s special remembrances by ROY THOMAS, CARMINE INFANTINO, MURPHY ANDERSON, JOE GIELLA, JERRY BAILS, BILL SCHELLY, JIM AMASH, MICHAEL T. GILBERT, and others! And there’s even an FCA section devoted to Julie, with JACKSON BOSTWICK, scarce Shazam! art by C.C. BECK, KURT SCHAFFENBERGER, DON NEWTON, DAVE COCKRUM, et al.—and remembrances by P.C. HAMERLINCK, WALT GROGAN, JOHN COCHRAN, and JOHN G. PIERCE!

Text of Alter Ego #38

  • $5.95In the USA




    & MORE!

    Art 2004 Carmine Infantino.Flash TM & 2004 DC Comics.





  • Alter EgoTM is published monthly by TwoMorrows, 10407 Bedfordtown Drive, Raleigh, NC 27614, USA. Phone: (919) 449-0344. Roy Thomas, Editor. John Morrow, Publisher. Alter Ego Editorial Offices: 32 Bluebird Trail, St. Matthews, SC 29135, USA. Fax: (803) 826-6501; e-mail: [email protected] Send subscription funds to TwoMorrows, NOT to the editorial offices. Single issues:$8 ($10 Canada, $11.00 elsewhere). Twelve-issue subscriptions: $60 US, $120 Canada, $132 elsewhere. All characters are theirrespective companies. All material their creators unless otherwise noted. All editorial matter Roy Thomas. Alter Ego is a TM ofRoy & Dann Thomas. FCA is a TM of P.C. Hamerlinck. Printed in Canada.


    This issue is dedicated to the memory ofJulie Schwartz,

    Carrie Nodell, & Lillian Drake

    ContentsWriter/Editorial: Julie, Julie, Julie . . . . . . . . . . . . . . . . . . . . . . . . . 2Schwartz and All . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4Mark Evaniers overview of the life & times of Julius Schwartz.

    Three Easy Pieces Starring Julius Schwartz . . . . . . . . . . . . . . . . . . 9A trio of interviews by Will Murray with the self-confessed architect of the Silver Age.

    How Captain Whiz Became The Flash! . . . . . . . . . . . . . . . . 30Carmine Infantino on Julieand the secret origins of the Silver Age speedster.

    We Called Him Sabertooth! . . . . . . . . . . . . . . . . . . . . . . . . 36Golden/Silver Age inker Joe Giella talks about his friendship with Julie.

    I Never Felt Like I Was Working for a Boss When I Worked for Julie! . . 40Murphy Anderson on the Spectre-acular Schwartz.

    Julie: Part Two . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Flip Us!About Our Cover: There was never a moments doubt about which super-hero, if any, wouldappear on our cover. Julie Schwartz edited the legendary JSA and other DC heroes in the late1940s, and many another comic in the 1950s through his retirement in the mid-1980s, includingSuperman and Batmanbut twas the 1956 debut of The Flash in Showcase #4 that, howeverunguessed-at at the time, raised the curtain on the Silver Age of Comics. We didnt dare dreamthat that Flashs first and greatest artist, Carmine Infantino, who rarely draws these days,would agree to pencil a brand new cover especially for this issue; but, thanks to some friendlypersuasion by Jim Amash, he didusing his sometime signature Cinfaand he came throughlike the champ hes always been. See both Carmines penciled version and the full Amash-inkedversion of this fabulous illoincluding how you can take a crack at owning iton p. 34! [Art2004 Carmine Infantino; The Flash TM & 2004 DC Comics.]

    Above: Julie and artist Murphy Anderson hold up a copy of Justice League of America #1, withthe cover they created for it. This was actually the fourth JLA story, of coursebut its publi-cation demonstrated that the super-group had won its wings, and its been around ever since!Photo from the Julius Schwartz Collection.

    Vol. 3, No. 38 / July 2004Editor Roy Thomas

    Associate EditorsBill SchellyJim Amash

    Design & LayoutChristopher Day

    Consulting EditorJohn Morrow

    FCA EditorP.C. Hamerlinck

    Comic Crypt EditorMichael T. Gilbert

    Editors EmeritusJerry Bails (founder)Ronn Foss, Biljo White,Mike Friedrich

    Production AssistantEric Nolen-Weathington

    Cover ArtistsCarmine Infantino & Jim AmashIrwin Hasen

    Cover ColoristsJ. David SpurlockIrwin Hasen

    And Special Thanks to:Neal AdamsMurphy AndersonPedro AngostoJeff BaileyBob BaileyBrian H. BailieMike W. BarrMichael BaulderstoneBill BlackJackson BostwickJerry K. BoydAlan BrennertMike BurkeyNick CardyBob CherryShaun ClancyJohn CochranDave CockrumRay A. CuthbertTeresa R. DavidsonAl DellingesJoe DesrisIrwin DonenfeldShel DorfHarlan & Susan EllisonDon EnsignMark EvanierShane FoleyRamona FradonMike FriedrichCarl GaffordJos Garca-LpezJeff GelbFrank GiellaJoe GiellaJanet GilbertDick GiordanoMike GoldBob GreenbergerWalt GroganBeth GwinnJennifer T. Hamerlinck

    Ron HarrisIrwin HasenMark & Stephanie HeikeTom HorvitzDave HuntJoe KubertStan LeePaul LevitzGlenn MacKayElliot S. MagginKeith MallowDan MakaraDave ManakSam MaronieBrian K. MorrisMark MullerWill MurrayMart NodellDenny ONeilCarlos PachecoJoe PetrilakJohn G. PierceLarry RippeeEthan RobertsBob RozakisAlex SaviukDavid SiegelLouis Small, Jr.Marc SparksJ. David SpurlockRichard SteinbergMarc SvenssonMarc SwayzeJoel ThingvallDann ThomasAlex TothMichael UslanMarv WolfmanDonald WoolfolkEddy ZenoMichael ZenoTom Ziuko


  • Schwartz and AllGreat Moments with Julius Schwartz (1915-2004)by Mark Evanier

    Julies Top Ten! The Living Legend himself at a comics conventionin a photo from the Julius Schwartz Collectionframed by ten of the most important comicbook milestones in his long and, yes, legendary career. [Clockwise & in chronological order from top right center:] All-Star Comics #42 (Aug.-Sept. 1948),

    representing his becoming a full editor, upon Shelly Mayers retirementStrange Adventures #1 (Aug.-Sept. 1950), the comic that returned Julie to his first andgreatest love, science-fictionMystery in Space #1 (April-May 1951)Showcase #4 (Sept.-Oct. 1956)Showcase #22 (Sept.-Oct. 1959)The Brave and the Bold #28

    (Feb.-March 1960)The Flash #123 (Sept. 1961)Justice League of America #21 (Aug. 1963)Detective Comics #327 (May 1964)Superman #233 (Jan. 1970). If you dont already know why these mags were important to Julius Schwartzand to comicsthen stick around! [Covers 2004 DC Comics.]


  • [A/E EDITORS NOTE: Thefollowing essayreally, a series ofshort essays, primarily by Markbut with an added remembranceat the end by Elliot Magginappeared on Marks websitewww.newsfromme.com onFebruary 9, 2004, only hours afterJulie Schwartzs passing. Mark is,of course, a TV and comic bookwriter, most noted in comics inrecent years for his hilariousdialogue that accompanies SergioAragons Groo the Wanderer.The order of some material belowbeen somewhat rearranged fromits original appearance on thewebsite, but is still 2004 MarkEvanier. The main thing isMarktells you just about everything youreally need to know about JulieSchwartz, prior to reading the restof the issue. Roy.]

    He was one of the founding fathers of science-fiction fandom andlater of comic book fandom. For a time, he was an agent for science-fiction authors. Among other accomplishments, he sold the first storiesby a kid named Ray Bradbury.

    But you could only go so far in that field, so when he heard about anopening as an editor of comic books, he grabbed it, figuring it might begood for a few years of increased income. On his way to the jobinterview, he later claimed, he read the first comic books hed ever read.He apparently gleaned enough of the form, because for the rest of his islife, Julius Schwartz was not only an employee of DC Comics but, somesaid, the best comic book editor there ever was. His background as ascience-fiction fan and agent served him when he helmed comics likeStrange Adventures and Mystery in Space, but he reallydistinguished himself as an editor of super-hero comics.

    Whatever the Silver Age of Comics was, it more or lesscommenced with Showcase #4, which revived The Flash in anew form and figure. Super-hero comics had been in declinebefore Schwartz edited that book, supervising and steeringthe reinvention of an entire genre. It led to more revivals:Green Lantern, Hawkman, Atom, and (best of all) theJustice League of America. And then, at another companyacross town, came The Fantastic Four and all the Marvelheroesall reborn because Julie had paved the route.

    Later, when sales on Batman were sinking, DC turned toSchwartz to institute a new look and bolster the character,which he did. And when Superman was in need of an editorwho knew what he was doing, Julie came to the rescue.How many people in this world could say honestly thatthey saved both Superman and Batman?

    But the main beneficiaries of Schwartz being on thisEarth (as distinguished from the others he presided over)were not comic book characters. They fell into two groups.

    First, you had your writers and artists who lovedworking with the man. They found him encouraging, stimu-lating, and devoutly intent on producing the best comicbooks humanly possible at the moment. And yes, theysometimes found him maddening to deal with. But despiteall the years Ive been around comics and Julie Schwartz,Ive only known of one writer who did not love the man

    and their association, and it was the kind of writer youd beproud to not have like you. Given Julies years and position,that is a truly amazing accomplishment: to do so much hiringand firing and rewriting and critiquing and to be almostcompletely undespised.

    And the other group that profited from the existence ofSchwartz was the readers those of us who got to buy andread and savor all those fine comics. We loved Schwartz and heloved us, possibly because he had been one of us. He and hisboyhood friend Mort Weisinger had published one of the first,if not the first, science-fiction fanzine. Julie loved fanzines. Heloved conventions. The last few years, nothing depressed himmore than the fear that some physical ailment would keep himfrom the annual San Diego gathering. (Quick Story: Last year,Julie was reticent to come out because he was having troublewalking and didnt want to be rolled about in a wheelchair. Iasked him why not, and he said, Because old men are inwheelchairs. I told him, Julie, youre 88 years old. You are anold man. He still balked, so I said, Tell you what. Come out,sit in the wheelchair, and Ill arrange for a woman with largebreasts to push you around in it. He said, In that case,okay.)

    Perhaps the greatest thing about Julie was that there was so muchoverlap in the above two groups. He gave many readers the opportunityto become writers and even artists. And he stood on no ceremony:anyone who met him at the conventions can attest to how friendly andaccessible he was. He got annoyed with you if you didnt ask himquestions. Its going to be sad going to conventions without him.

    Julie died this morning at Winthrop Hospital in New Yorkaround2:30 A.M. It was not a surprise, and it was one of those deaths that, andeveryone reading this will understand what I mean, provides a certainamount of relief. He had been in terrible shape the last few weeks. Hishearing was almost gone, and I had to shout to be heard in our lastphone conversation. He had been proud and fiercely independent in his

    (Above:) Julie in atuxedo. Why is Julieuncharacteristically

    wearing a tuxedo? In thisinstance, the generally

    information-laden key tothe Julius Schwartz

    Collection says merely:[no info]. (Right:) TheCarmine Infantino/Joe

    Giella cover of The Flash#120 (May 1961), reprodfrom a photocopy of theoriginal, as it appearedin a 1990s art catalog.

    Surely there mustve been many photos takenof Julie and Mark Evanier together on those

    dozens of San Diego Comic-Con panels but,oddly, the only photo of Mark in the JuliusSchwartz Collection was this one from theChicago Con, 1987minus Julie! (Left to

    right:) Roy & Dann Thomas, Mark, and PatBastienne, longtime DC editorial coordinator.

    Schwartz and All 5

  • [NOTE: In the combined piecesthat follow, certain parts of theconversation which substantiallyrepeat information related inJulies book Man of Two Worldsor in his interviews in Alter Ego#7 & #26 have been omitted,with bridging italicizedsummaries, primarily for reasonsof space. In other places, to keepthe flow, that duplicatorymaterial has been kept. Afoolish consistency is thehobgoblin of little minds. Roy.]

    INTRODUCTION by Will MurrayLast summer, I heard that Julie Schwartz had been in a car accident

    and was recovering at home. We hadnt spoken since running into eachother at the All Time Classic Comics Convention back in the summer of2000, at White Plains, New York. I realized it had been too long.

    Since I also had a number of articles in progress for which Juliesknowledge and invaluable memory might be of assistance, I decided touse that as an excuse to call and hopefully cheer him up a little. I foundJulie intellectually unchanged by his setback. His first question to mewas Who died?

    Once I reassured him that I wasnt bearing bad news, we caught up.While he did complain of difficulty walking and other limitations, hesounded exactly like the Julie Schwartz of old. I was relieved.

    I first met Julie back in the early 80s when the late Mark Hanerfeldtook me up to the DC offices and introduced us. Despite a vastdifference in our ages, we connected because of our mutual interest inthe old pulps and their writers. Not long afterward, he and MurphyAnderson began making regular appearances at PulpCon, and we grewfriendly.

    Julie seemed determined to recuperate, and if possible to get back tothe DC offices for his weekly appearance as Editor Emeritus. His chiefconcern was his mental clarity. He rattled off a short list of unusualnames for me, explaining that this was a memory device hed developedas a self-diagnostic tool. Some of the names were those of familiar comicbook or literary talents. One was an obscure jazz singer. Unless Immistaken, Harlan Ellison was another. I was surprised to learn thatwriter Ron Goulartwhom Julie barely knewwas another.

    As long as I can recite those six names, he told me, I know Imokay.

    And so we caught up. With Julies indulgence, I rolled tape and begangathering information for future articles, not yet understanding that Iwas recording the first of several final reminiscences of this legendaryfigure.

    My first question dealt with pioneer DC Comics editor WhitEllsworth...

    Three Easy PiecesStarring Julius Schwartz

    A Trio of Interviews with the Self-Confessed Architect of the Silver AgeConducted by Will MurrayTranscribed by Briank Morris


    Were about to spend a long time with these two guysso lets see what theylook like! Julies at left, of course, seen in the DC offices in March 1989

    interviewer, author, and psychic Will Murray at rightflanking the cover ofStrange Adventures #71 (Nov. 1961), which blended the genres of comic book and

    science-fiction so dear to both men. Art by Carmine Infantino (pencils) andMurphy Anderson (inks), reprod from an Infantino-autographed photocopy of

    the original artcourtesy of Mike Burkey. Photos from the Julius SchwartzCollection and Will Murray, respectively. [Cover 2004 DC Comics.]

  • INTERVIEW # 1Conducted on July 23, 2003

    JULIUS SCHWARTZ: I dont know what to tell you about WhitneyEllsworth. Do you want me to tell you he was a big boozer and a?

    WILL MURRAY: I already know that. No, I dont want to be toonegative. [Julie laughs] Murray Boltinoff said, I loved the guy. Hecould have been president of the company if he didnt drink somuch.

    SCHWARTZ: Well, one good thing about him is that, when the warwas over, a very attractive girl named Jean Ordwein went looking for ajob and wound up at DC Comics. I sort-of took a fancy to her, but Iwas too shy in those days. I guess I still am kind-of shy. But finally, Iasked if shed like to go have a drink, and while we were having drinksdown at the bar, Whit Ellsworth showed up and says, Oh listen, I havetwo tickets to a Broadway show. I cant attend tonight. Would you liketo attend? I think it was Pal JoeyIm not sure. So this girl Jean and Iwent on this Broadway show, and two years later, we were married.

    I didnt want to discuss my family in my book [Man of TwoWorlds]. But Im a Jewish boy and she was an Irish Catholic, so I donthave to tell you any more.

    WM: Well, what was Whit like to work with?

    SCHWARTZ: Let me see how I can word this. Later on, when IrwinDonenfeld became the executive editor, or whatever, because he was soyoung, he held editorial conferences. Once a month, wed get togetherto discuss what we should be doing. He was the first one to do it. WhitEllsworth never had an editorial conference. In those days, DC wasdivided into two groups. One was Bob Kanigher and me; the other wasMort Weisinger, Murray Boltinoff, Bennie Breslauer, and Jack Schiff; andwe never got together. Whit Ellsworth would have his own rapport withus.

    The only thing he ever did for me, outside of giving me those ticketsto a Broadway show, was that when Strange Adventures went oververy big, he wanted me to put out a companion science-fiction comic. Isaid, Whit, impossible. There are no titles left. In those days, therewere about 30 or 40 science-fiction pulp magazines. Oh, he says,thats no problem. I have a great title for you: Mystery in Space. Isaid, That means Ill have to do stories about space. Oh, no, no, no,he says. Space, to the average reader, means time travel, science-fiction,

    and so on. I said, Well, why Mystery? He says, We have a Houseof Mystery thats doing very well. I think its a key word. When you seethe name Mystery on a title, its a seller. And thats how Mystery inSpace was born.

    He also asked me to put out some western comics. He said, I wantyou to do a series about a character called Foley, and I have the title. Itscalled Foley of the Fighting 5th. He knew someone named Foley.[NOTE: See p. 9 on our flip side. Roy.] Im trying to think what elsehe contributed editorially.

    WM: Supposedly, he and Jack Schiff came up with Showcase as aconcept.

    SCHWARTZ: That is absolutely incorrect. As far as I can recall, IrwinDonenfeld came up with Showcase. I can remember distinctly havingeditorial meetings where Showcase was talked about. You know thetheory behind Showcase? We put out an issue, wait four months, and seehow it does.

    WM: It was based on a TV show that had a similar title and similarconcept.

    SCHWARTZ: Once, when Marvel was doing so well [in the mid-1960s],Irwin had an editorial meeting and each editor was given as assignment,to read another DC editors comic. In other words, I was to read MortWeisingers comic, Murray Boltinoff was to read Kanighers, and so on,

    Pictures of Whitney Ellsworth at DC Comics are rare, but he was apparentlymore willing to be photographed when he became a TV producer. This pic ofEllsworth (right) and George Reeves was taken on the set of The Adventures

    of Superman during its final (1957) season, and is one of two photos ofEllsworth that appear in Jan Alan Hendersons 1999 book Speeding Bullet: TheLife and Bizarre Death of George Reeves; the other one was seen last issue.

    Thanks to David Siegel.

    The covers of both Strange Adventures #1 (1950) and Mystery in Space #1 (1951)were already seen on p. 4so heres a full-page house ad for S.A. #1 whichappeared in comics with Aug.-Sept. 1950 cover dates. The actual cover wasbasically a touched-up still from the movie Destination Moon, which wasadapted thereinbut in this ad, someone has traced the still into a line

    drawing. As editor, Julie mustve been thrilled to be presiding over a comicdevoted to science-fiction, his first and greatest love. [2004 DC Comics.]

    10 A Trio of Interviews with the Self-Confessed Architect of the Silver Age

  • and criticize it. And of course,[chuckles] we really couldnt. Butwhere the mistake was madeweshould not have been criticizingour magazines. We should havebeen trying to figure out whatwas making Marvel so hot.

    WM: Right. Whats the point ofchipping away at your ownfellow editors? Theres already acertain level of competition.

    SCHWARTZ: When the firstthree Showcases failed, and itcame time to do the fourth one,someoneit may have been me,but someonesuggested, Howabout putting out The Flashagain? And everyone sort-ofobjected: Whats the point ofputting out The Flash when itdied in 1949? And someonepointed out, Now wait a second.This is 1955; its six years later.Back in those days, the averageage of the comic reader was 8 to12. And since five or more yearshave passed, none of todaysreaders are familiar with TheFlash. So it was agreed. ThenIrwin said, Well, whos going todo it? And for some reason, I gotappointed, or I volunteered, oreveryone pointed to me, I dontknow. And the deadline was veryclose. I shared an office withRobert Kanigher. We sat downand immediately plotted TheFlash.

    I contributed, no matter whatKanigher may have said in hisinterviews; I distinctly rememberhow Flash would gain his super-speed. Jay Garrick got it byinhaling heavy water, right? But Iwanted something more logical,more scientific. So I suggested abolt of lightning hit the chemicalsthat splashed over Barry Allen. Since a bolt of lightning is 186,000 milesper second, thats a reasonable way to do that. When time came to get anartist, I liked Carmine Infantinos work, and he said he would do a quickjob. In come his pencils, and I didnt have an inker handy. It sohappened Joe Kubert was in the office and I said, Joe, how would youlike to ink this Carmine Infantino Flash story? He said, Sure, I havenothing to do and no assignment. It was one of the few instances wherehe inked somebody elses work, except for maybe when he was 14 yearsold, but he had already made a name for himself. So thats the luckybreak.

    And of course, you know that when Flash went over, I did GreenLantern, and the only thing I used was the title. I even made it a pointthat he would wear the Power Ring on the right hand, contrasted to theoriginal Golden Age Green Lantern who had it on the left finger.

    Then, of course, when that succeeded, it came time for the JusticeLeague. I suggested putting out the Justicewell, I dont know what I

    called it, but I said, Lets put outa team of super-stars. But Ididnt want to call it JusticeSociety, because in my eyes, asociety is a social club andeveryone knew what a leaguewas. Its a more commercialname, and thats how JusticeLeague was born.

    When the reports came inIrwin Donenfeld used to getreports of how the magazine wasdoing. He wouldnt give us thefinal figures, but he would sayup six, down three, and soon. So all the Brave and BoldJustice Leagues had up,very good, excellent. Whenthe final one came in, he didntgive me a number. You knowwhat he gave me?

    WM: What?

    SCHWARTZ: An exclamationpoint! [Will laughs] That was it. Ihad to get to work, to put out themagazine Id assumed.

    WM: Whose idea was it to turnThe Brave and the Bold from ahistorical book?

    SCHWARTZ: That I dont recall.My guess is that the magazinewasnt doing well, in contrast toShowcase doing well. And ofcourse, Justice Leagueappeared in The Brave andBold, what, #28, was it?

    WM: Yeah, something like that.So your opinion of Whit isessentially positive?

    SCHWARTZ: Whit never had aneditorial meeting. [pause] Thelast time I saw him, when he wasdoing the Superman show out inCalifornia and eventually retired.

    He was a very big smoker, tremendously big. On one occasion, my wifeand I drove across the country to L.A., and were being taken around byRay Bradbury. On the way west, we stopped at [sf and comics writer]Edmond Hamiltons house in Newcastle, Pennsylvania. TheHamiltonsLeigh Brackett and Edand my wife and I were very close.We intended to spend a few days with the Hamiltons. But when we gotto their place, Leigh wasnt there. Shed flown out to California to workon a new John Wayne movieI think Rio Lobo, but Im not sure.

    So I said, Ed, do me a favor. Wheres she staying? He said, Shesstaying in a big apartment housethe Lawrence Welk ApartmentHouse. I said, Will you please call Leigh and tell her to rent the roomfor a few weeks, so that when we got out there, wed have someplace tostay? So when we did get out there, Leigh put us up. We had dinner,and on one occasion she said, Im going to cook you your favoritedinner. What is it? I said, Leg of lamb, over brown potatoes.

    But the point Im getting at: I called Whit Ellsworth and he says,

    Heres a curiosity, sent to Roy Thomas quite a few years ago. Someone (he doesnt recall who) had an artistundoubtedly a prodraw a fantasy

    Justice League of America cover the way the assemblage mightve looked if each of the heroes had been drawn by the artist then doing his/her regular solo

    seriesmuch the way Jack Burnley had depicted the Justice Society back in All-Star Comics #11-13 in 1941-42. Theres a Bob Kane/Shelly Moldoff Batman

    a Joe Certa-ish Jonn Jonzz, an Infantino Flash, a Gil Kane Atom, a Lee Elias GreenArrow, a Nick Cardy Aquaman, a Ross Andru Wonder Woman, a Curt Swan/Al Plastino Supermanand, overhead, a Gil Kane Green Lantern. All in all, a great job! It wouldve been intriguing to see an entire issue of JLA done

    that way sometime. It was even done on official DC cover stock. [Heroes TM & 2004 DC Comics; art 2004 the respective copyright holders.]

    Three Easy Pieces Starring Julius Schwartz 11

  • [INTERVIEWERS NOTE: Carmine Infantino was probably JulieSchwartzs favorite artist. Carmines covers were striking and oftenoriginale.g., Showcase #4, which introduced the Silver Age Flash.Their working relationship lasted almost thirty yearswith Julie asCarmines boss for the first twenty of those years, and with Carmineas Julies boss for the final ten. A few days after Julie died, I calledCarmine to discuss those times and his own take on the work they didtogether. Of course, we cant thank Carmine enough not only fortalking to us so soon after Julies passing, but also for drawing aknock-out cover which I had the honor of inking. After growing upseeing Carmines great covers on the newsstands, it was a special thrillto work with him. Thanks for everything, Carmine! I appreciate itand Julie would have loved your cover. Jim.]

    CARMINE INFANTINO: With a couple of exceptions, Julie got alongwith darn near everyone! He was an easy man to be with. You know, JoeGiella was one of his closest friends. Julie made friends everywhere hewent, so its not surprising to see the outpouring of affection for himsince the news of his passing broke.

    By the way, I had a special arrangement with Julie. Id bring in a fewcover ideas, hed pick one and then have someone write a story aroundit. I created characters and story ideas this way. I dont know if heworked with anyone else this way, but thats how we did it. Take TheFlash, for instance. Id create a villain, like The Trickster, and bring in a

    cover rough. If Julie liked it, then hed have either Gardner Fox or JohnBroome write the story.

    JA: I believe you started working with Julie in 1947. He was workingunder Shelly Mayer at the time. What do you remember from thosedays?

    INFANTINO: Julie only dealt with writers back then. Shelly handledall the artists, so I didnt have any dealings with Julie until Shelly left DC[in 1948]. Shelly was bringing along people like me, Alex Toth, and JoeKubert. He was good about directing young talent.

    When Shelly was leaving the company, he told us that wed beworking directly with Julie. Shelly took me in to meet with Julie. Julielooked at my stuff and didnt like it. He said, Oh, okay. Well, I didntsay very much after that.

    JA: What didnt he like about your work?

    INFANTINO: I dont know.

    How Captain Whiz BecameThe Flash!

    The Legendary CARMINE INFANTINO on JULIE SCHWARTZand the Secret Origin of the Silver Age SpeedsterInterview Conducted & Transcribed by Jim Amash


    (Above:) Carmine Infantino and Julie Schwartz at the party held to celebratethe publication of Arlen Schumers book The Silver Age of Comic Book Art

    Julies last public appearance. Note that hardcovers of the pairs collaborationson Flash and Batman are also on displayas are the ever-present copies of

    Julies memoir. That guy never quit! (Right:) A pencil sketch by Carmine, inkedby Vampirella artist Louis Small, Jr., for A/E benefactor Jerry K. Boyd during

    the 2003 San Diego Comic-Con. Photo courtesy of Joe Petrilak. [Art 2004Carmine Infantino; Flash TM & DC Comics.]

  • JA: But you were doing TheFlash, even back in the late 40s!

    INFANTINO: Yes, but I was doingthat for Shelly. Julie was only editingcopy for Shelly. Julie could be coldand distant when he wanted to be.Hed look at the work and say, Uh-huh. Okay. Thank you. He justwasnt excited about my work. Butlittle by little, things changed. Wegot to be friendly and he startedliking my work.

    Ten or twelve years after Id beenworking for Julie, I said to him,Youknow, I come in with my work andturn it in to you, get my check and ascript, and go home. Do you like mystuff?

    Julie said, Youre getting paid,arent you? That was the end ofthat. I never asked him if he likedmy work again. [mutual laughter]But he wasnt being derogatory; hewas just being Julie!

    JA: Well, Julie was New Yorktough.

    INFANTINO: You know what itwas? He felt if you were a profes-sional, then you should act like one.And hed treat you like one. If heaccepted your work, then heconsidered you to be a professionaland that your work was okay. Therewas no ifs, ands or buts about it.

    My work was getting better and better. I went back to school at nightand was developing and changing my style. Julie could see thathappening, and it got to the point that, any time he had a new project,hed ask for me. So he evidently liked what I was doing.

    JA: In the early days, I take it all your meetings with Julie wereshort.

    INFANTINO: Very short. Id bring the work in, hed sit and carefullylook at it. Sometimes hed ask me to make minor changes, which I did.After that, hed give me a new script and off I went.

    JA: How often would he request changes?

    INFANTINO: Very seldomeven in the beginning. It was neveranything major; maybe a finger or a hand or a nose. Nothing reallyworth mentioning.

    JA: Once he started liking your stuff better...

    INFANTINO: I had less and less changes to make then. But hewouldnt say he liked the work better.

    JA: But you had to know he did.

    INFANTINO: Well, it got to the point that he asked me to startthinking up cover ideas on my own. Id bring two or three ideas in at atime, and Julie would pick one. Apparently, this way of working wassuccessful, because sales were getting better and better on my books, sowe continued to work that way.

    JA: Can you pinpoint when you startedworking this way with Julie?

    INFANTINO: It was about the time westarted The Flash. I had created a featurenamed Captain Whiz and the Colors ofEvil, though it never was published. I hadtried to sell the idea to Joe Simon, and eventhough he liked it, he wasnt interested inpublishing it at that point. I was also devel-oping ideas for newspaper strips.

    Bob Kanigher used to visit me quiteoften. Kanigher saw those characters andsaid, Maybe someday we can work thosecharacters in. When he wrote the firstFlash story, he said, You know thosecharacters in Captain Whiz? Do you thinkwe can use them for The Flash? Thatshow Captain Whiz became The Flash.

    JA: How similar was the Captain Whizcostume to The Flashs?

    INFANTINO: It was exactly the same! Ididnt save the drawings, though I wish Ihad. Joe Simon once wrote me a note,saying, I wish wed have gone ahead withthose characters.

    JA: Well, he missed his chance. [laughs]Personally, I think the Flash costume isone of the greatest super-hero designsever: sleek and timeless. [Carmine thanksme for the compliment] Did you haveany input into scripts or do any editing ofyour own once you started drawing thestories?

    INFANTINO: No, I never did that.

    JA: Not even on an artistic level? For instance, if you had a page thatcalled for five panels, would you ever stretch it to six?

    INFANTINO: No. I always adhered pretty closely to what I was askedto do.

    JA: There was never a time when you said to Julie, This plot pointdoesnt make sense?

    INFANTINO: No, no. I never saw a need to do that. Julie alwaysedited very tightly. At times there was more rewriting on the scriptsthan what originally had been written. The only person Julie didntrewrite was John Broome. John was absolutely brilliant; I loved hiswork. He was a genius. Julie worked very hard on Gardner Foxs scripts.

    JA: Ive seen a couple of examples, and it always surprised me howmuch Julie rewrote Foxs scripts, because Gardner Fox is famous forbeing such a good comics writer.

    INFANTINO: I cant explain how they worked together, because Iwasnt with them when they plotted stories. When I came into Juliesoffice, theyd be sitting there working on scripts. Theyd go to lunch,and when they came back, Julie and I would go over what I had broughtin. Gardner would wait until I finished with Julie, and once I left, theydgo back to writing.

    I created the costumes of all the Flash villains. I had costume designsin my files, and when I submitted my cover roughs to Julie, thosecharacters were there for him and his writers to create stories around. I

    Carmine-penciled splash from Comic Cavalcade #28 (Aug.-Sept 1948), the penultimate super-hero issue of that giant 15

    titlearound the time Shelly Mayer was getting ready to turn the editorial reins over to Julie. Writer & inker uncertain.

    [2004 DC Comics.]

    How Captain Whiz Became The Flash! 31

  • [INTERVIEWERS INTRO: Joe Giella is a long-time artist who gothis start in the 1940s working for Timely Comics, eventually makinghis way over to DC and editor Julie Schwartz. Joe inked primarily forJulie, delineating Carmine Infantinos Flash, Gil Kanes GreenLantern, and a multitude of other material. He was also a long-timefriend of Julies. Joe was the type of guy who always delivered goodworkand on time, too! Id write more about Joe, but I dont haveto, because in the very near future, Alter Ego will present an in-depthinterview with Joe about his career. In the meantime, Joe and I willtalk a little about his boss and friend: Julie Schwartz. Jim.]

    JIM AMASH: What was it like working for Julie?

    JOE GIELLA: Julie was a no-nonsense editor. He was very strict withdeadlines. When he told you that he needed a job by a certain date, thatwas it! Youd better get that job in. That one of the reasons I got alongwith him, because the only time I was ever late was when my dad passedaway. I worked with Julie for 35 to 40 years and we got along very well.

    I remember how I started with Julie. My friend, Frank Giacoia intro-duced me to Julie, and he warned me that Julie was a tough editor!Despite that fact, Frank still thought Julie and I would get along well.Julie was cordial during out first meeting, and he provided me withwork immediately. He liked what I did, and always put me on the topfeatures. And the check was there every week. [laughs] That tipped thescales for me.

    JA: Since Julie was all business in the office, I assume it took a littletime for him to warm up to you, socially.

    GIELLA: Yeah, it took a while, but I had to work at it. As long as I gotmy work in on time, and didnt antagonize him, everything seemed towork out just fine. When his wife Jean wasnt well, Id always ask howshe was doing. Julie thanked me for asking; he knew I cared. We got tolike each other. There were a few people who didnt get along with him,but I wasnt one of them.

    JA: Well, I figure most of their dislike would have been because Juliewas tough and wouldnt let them get away with something, ratherthan Julie just being a jerk.

    GIELLA: Right. Julie wasnt a jerk. If he was tough, he had a legitimate

    reason for it. He wasnt petty and he wasnt arbitrary. He was a profes-sional and expected you to act as one.

    JA: Carmine Infantino told me that Julie wasnt the type to hand outmany compliments.

    GIELLA: He did a few times, but we had a nickname for Julie. Wecalled him Sabertooth! [mutual laughter] I cant remember whether itwas me or Frank Giacoia who gave Julie that nickname. I can tell thesestories because I was very close to him; theres no malice intended. WhenJulie liked your work, hed flash his two front teeth: theyd come outlike a sabertooth tigers, and hed give you a little smile. He didnt comeout and say, Awwww, this is a great job! Carmine was right; he wasntlike that. He would nod and say, Good, good. Now, what about thenext job? I heard you were going to be doing something else. Is that

    We Called HimSabertooth!

    Golden/Silver Age Artist JOE GIELLA Talksabout His Friend JULIUS SCHWARTZInterview Conducted & Transcribed b.y Jim Amash

    In photo (l. to r.), Joe Giella, Julie Schwartz, & Carmine Infantino celebrate TheFlashs 60th anniversary at the All Time Classic New York Comic Book Convention,held in June 2000, courtesy of Joe Petrilak. This con was aptly named, featuringas it did perhaps the greatest gathering of Golden/Silver Age comics super-stars

    in recent memoryas can be seen on various pages of this issue.

    (Right:) A rare instance of Joe Giella penciling as well as inking a Batman illobut, of course, Joe drew the Batman strip some time back, and has been

    drawing the Mary Worth newspaper comic strip for years. Sketch courtesy ofShaun Clancy. [Art 2004 Joe Giella; Batman TM & 2004 DC Comics.]


  • going to interfere with my schedule?

    JA: Julie was the type of guy to helpyou out if you needed it, too.

    GIELLA: True. There were a few guyswho didnt feel that way, but Julie wasalways in my corner when I needed him.There was one time when I needed somemoney, and I asked Julie if he would setup a meeting between Irwin Donenfeld[DCs editorial director at the time] andme. I didnt want to go over Julies head.Julie understood my situation, set themeeting up, and I was able to get a smallloan. Now, whether he did that foranyone else, I cant say.

    JA: Of course, its all in how you ask,too.

    GIELLA: Exactly! I didnt want to looklike I was begging, so I just came out andtalked to him. Julie respected straightfor-wardness, although he wasnt happywhen Mort Weisinger wanted me topencil and ink the Batman newspaperstrip. That was because Julie knew hedbe losing my services. Julie said, Whydo you want to do that? I give youenough work. I told him I just wantedto try something else for a little while,and with the strip, I was penciling andinking, whereas with Julie, I only inked.You know, in that era, newspaper syndi-cation was considered to be the pinnaclethat all the artists strived for. I was no exception.

    JA: Did you pencil much for Julie?

    GIELLA: Most of my penciling for Julie was in the form of doingcorrections on the art I inked. I did pencil some stuff for the licensingdepartment.

    JA: Did you ever ask Julie for penciling work?

    GIELLA: Not really, because he loaded me up with inking work. Whatspare time I did have was spent working with Dan Barry on FlashGordon. There was no time for anything else.

    JA: What do you think there was about your work that Julie reallylikedbesides your ability to make his deadlines?

    GIELLA: Julie liked the fact that I took a job and was dedicated todoing my best at all times. In fact, hed get rid of you if you werent likethat. Julie used to ask me things like, What are you going to do withthat panel, Joe? I dont like it. I think its a little bit weak. Id say,Dont worry about Julie. Ill fix it. Hed say, Yeah, but tell me howyoure going to fix it.

    Id say First of all, Im going to pick a light source. Im going tohave the light coming from one direction and then put a little darknesshere to pick it up, visually. Then Im going to solidify that shape, andlighten up this other shape, and use a light touch on the backgrounds sotheyll look further away. Im going to keep the foregroundprominent... And thats when hed flash his saberteeth, because he knewI knew what I was talking about. He knew he could trust me.

    Julie also liked the fact that when he asked me to make a change, Icould give him what he wanted. At times, he would ask me to make

    changes on Carmines work. I explainedthis to Carmine, and he understood itwasnt meit was Julie. I wouldnt behappy having anyone change my work,if the situation were reversed. I wasalways a team player, so Id do it.Carmine was such a good artist; hecould design a page or cover better thanjust about anybody.

    JA: How often would Julie ask you tomake changes?

    GIELLA: It depended on who thepenciler was. He knew which pencilersneeded a slight fix here and there, andwhich ones didnt. With Irv Novick,Julie just handed me the pages becausehe knew how Id ink them. I never hadto make changes on his stuff. The samewith Bob Brown and Dick Dillin. Therewas one pencilers work that Julie hadme making a lot of changes on. It wasntthat the guy was bad, but I had to pickup the drawing a little bit.

    JA: Was there ever a time that youexpressed a preference for doingfeatures other than those you did?

    GIELLA: No, I never did. I was happyto do all the features that Julie gave me:The Flash, Batman, Superman, GreenLantern, Hopalong Cassidy, WonderWoman, etc. I was always in Julies topbooks. If I was unhappy, I would have

    said something, but that was never the case because Julie kept me busy. Iwas more concerned with how good the penciling wasthat was thekey. If you get a job thats not good, then you really have to knock yourbrains out to do a decent ink job. Inking isnt easyyou know that.

    JA: I sure do. Now, you started working for Julie in 1950. How longdid you work for Julie before you became social friends?

    GIELLA: Id say about two years. Julie knew right away that he coulddepend on me. He used to say, I can set my clock by when Joe bringsin a job. That made him happy. Now, my friend Frank Giacoia was theopposite. Julie used to get unhappy with him, and they would argueabout Franks lateness. I asked Frank why he had trouble delivering thework. He would say something like, Well, I really didnt want to dothat job. I wanted to do something else.

    JA: What did Julie like to do for relaxation?

    GIELLA: Play cards. He had a wonderful relationship with his wifeJean. He really adored her. A few months before Julie passed away, wewent to the fair and Julie had his wifes photo with him. She passed awayover twenty years ago, but he always carried her picture with him. Itwas very touching.

    Julie used to hang out with Bernie and Bernice Sachs, who livednearby. And when Bernie passed away, Julie kept in contact withBernice. Our relationship was a little different: wed go to conventionstogether and Id drive him around.

    JA: What were Julie and Jean like together?

    GIELLA: They were adored each other. Julie thought about her all thetime. Julie used to annoy Bob Kanigher, with whom Julie shared anoffice. At a certain time, every day, Julie would dial Jean up. He never

    Along with Batman, one of Joes other most high-profileassignments was as the longtime inker of The Flash. Splash ofFlash #141 (Dec. 1963) penciled by Carmine Infantino; script

    probably by John Broome. [2004 DC Comics.]

    We Called Him Sabertooth! 37

  • [INTERVIEWERS NOTE: Murphy Anderson wasnot only a long time freelancer for Julie Schwartz,but a good friend, as well. Murphys slick, organicink style helped set the DC look for many years,and his occasional pencil-and-ink jobs were wellreceived and fondly remembered today. Now that Ithink about it, Murphy worked with Julie for aslong a period of time as anyone. Not only that, butthey were at a lot of the same comic book conven-tionsmine included. For those unlucky souls whonever got to meet Julie, Murphys warm, personalremembrances will bring the great man back tolife for a few pages. Jim.]

    MURPHY ANDERSON: Julie was a great editor, agood man, and a special person. He set standards forothers to follow. Beyond that, he was everythingyou could ask for from a friend.

    JIM AMASH: What was he like to deal with

    professionally? Like,what would he say if youtold him you were goingto be three days late on ajob?

    ANDERSON: Hedusually try to work withyou on that. I was late afew times... just abouteveryone was at somepoint. Other than rantingand ravingwhich waspart of his schtickhewas really very goodabout it. What can I tellyou? If he could workwith Gil Kane, and me,and several others whocouldnt estimate time thatwell, then you know hehad patience and loyalty.But if it got out of hand,then hed have to do

    something about it. I neversaw him actually dockanyone or take work awayfrom someonenothing likethat.

    JA: Everyone knows thatJulie commissioned coversand then built stories aroundthem. When you drewcovers, did you bring in onerough or several?

    ANDERSON: Hed ask forseveral. When I lived down inGreensboro, North Carolina,Id come up to the officeseveral times a year to docovers for him. I wasnt doingstories at this point because Iwas working full-time for myfathers cab company. Id jotdown ideas on the train to NewYork and make several roughs.Ideas would occur to me, andsometimes I took rejected ideas

    I Never Felt Like I WasWorking For A Boss When

    I Worked For Julie!Artistic Great MURPHY ANDERSON on Working with the Spectre-acular SchwartzInterview Conducted & Transcribed by Jim Amash


    (Left to right:) Murphy Anderson, Curt Swan, and Julie Schwartztogether in Artists Alley in a Chicago Comicon in the mid-1990sflanked by the (signed) cover and splash of Superman #411, the

    Happy 70th Birthday, Julius Schwartz! issue in 1985. Ironically, thatwould prove to be the last time the pair of artists, often referred toaffectionately by readers as Swanderson, would work together onthe Man of Steel. Thanks to Bob Bailey for the art scans, and to A/Etranscriber Brian K. Morris for the photo. [Pages 2004 DC Comics.]

  • and tried to make them work.

    Id jot down crazy ideas. For instance, my wife Helen and I had twoparakeets (this was before we had children), so I got the idea of usingthose birds on a cover. Julie liked the idea, so we did a StrangeAdventures cover with parakeets. And working around my dadsgarage... well, he had an antenna. His cab company was the first one tohave radios, which required installing an antenna on top of the building.I got to thinking about that antenna and got an idea about a monstercoming out of it. I talked to Julie about it and we did a cover with thattheme.

    The Pit and the Pendulum cover for the first Adam StrangeShowcase [issue #17] was my idea. We couldnt work this one out,though I had the idea for this kind of cover a couple of times before.Julie hadnt given me details about Adam Strange yet, so I had no ideawhat his plans were for the character. I worked up a cover with the guyswinging on the pendulum and Julie wanted me to dress him up in afuturistic costume. The costume was more or less a Buck Rogerscostume with a little Flash Gordon thrown in.

    We played with the idea, and Julie wasnt happy with what I wascoming up with. He didnt think it looked quite right. It was lateafternoon and I had a train to catch, so Julie said wed have to put theidea aside. I said, Maybe I could come up with the right idea? I think Iknow what youre looking for. Ill do the cover and send it to you. Ifyou dont like it, then dont use it. Well, he didnt use my cover, but hedid use the costume.

    JA: Whatever happened to that cover?

    ANDERSON: I have no idea. I never saw it again. I wrote a cover letterwith that package and made a carbon copy of it, but Ive somehow

    misplaced it. In the meantime, Julie had Gil draw another cover for thefirst Adam Strange, but I dont remember how different it was frommine. Gils was a little more Kirby-ish than mine, and maybe thatswhat Julie was looking for. Gil changed the costume a little bit, but notby much. I dont think I gave Adam Strange sleeves, and Gil drew himso it looked like he was wearing a t-shirt. That didnt last.

    The rocket belt was my idea, though I made it more like a BuckRogers belt. Who changed it to a rocket pack, I dont know. Thatssomething Id have argued about, because it looked like Adam Strangewould burn his fanny off every time he turned it on. But when DaveStevens created The Rocketeer, it didnt seem to bother him too much. Ithought the Buck Rogers thing would have been better.

    JA: Did you socialize with Julie when you worked for him?

    ANDERSON: We socialized. Julie and his wife Jean were my guestsand my mother and fathers guests. When I was going back to NorthCarolina on one tripI was driving a Buick convertibleJulie and Jeanwent along. That was kind-of interesting. My mother was a Baptist, andwe got to her house on a Friday. She had made a big chicken dinner, andof course, back then, Catholics didnt eat meat on Fridays. She didntthink in those terms, so she made a big feast. I remember Jean was putoff just a bit by that.

    That was the trip wherejust for Julies benefitI stopped the carwhen we got to the North Carolina border, got out, and kissed theground. [mutual laughter] Julie never forgot that! He often told thatstory.

    When I decided to leave the taxi business, Helen and I bought ahouse and moved to New Jersey. I was freelancing for Julie and workingat home. One day, I told Julie I needed to take a week off and he asked

    why. I told him I had topaint the house. He said,Paint the house? You canhire somebody to do that.I said, No Julie, it doesntquite work that way. Illsave money if I do it.Julie said, But youd beworking. I said, Yeah,but Ill save money. Youdont know how muchpainters charge. Hecouldnt understand thelogic of that. And he lovedto tell that one on me, too.

    JA: Yeah, Julie told methat one. He also told thisstory: he was annoyed atBob Kanes refusal toadmit he had ghostsdrawing his Batmanstories. One day, Kanecame in with a story andJulie said he didnt likethe way Kane had drawnBatmans arm in onepanel, so he asked Kaneto redraw it. Kane wentinto the bullpen, andreturned a few minuteslater. Julie said, Thislooks worse than it didbefore, knowing thatKane hadnt originally

    While drawing Captain Comet and other science-fiction features for Julie in the early 50s, Anderson kept his hand in at othercompanies. The Guardians of the Clockwork Universe! by Edgar Ray Merritt (probably still writer John Broome) and Murphy,from Strange Adventures #22 (July 1952), is clearly a forerunner of the Guardians of the Universe in the 1960s-70s Green Lantern

    while the page at right appeared in Standards Fantastic Worlds, which ran for three issues in 1952-53, and resembles his workon the Buck Rogers newspaper comic strip. Thanks to Bob Bailey for a scan of the lattereven if were not sure just what issue it

    came from! [Captain Comet splash 2004 DC Comics; Fantastic Worlds page 2004 the respective copyright holders.]

    I Never Felt Like I Was Working For A Boss When I Worked For Julie! 41

  • $5.95In the USA


    Art 2004 Irwin Hasen.Justice Society TM & 2004 DC Comics.




  • Alter EgoTM is published monthly by TwoMorrows, 10407 Bedfordtown Drive, Raleigh, NC 27614, USA. Phone: (919) 449-0344. Roy Thomas, Editor. John Morrow, Publisher. Alter Ego Editorial Offices: 32 Bluebird Trail, St. Matthews, SC 29135, USA. Fax: (803) 826-6501; e-mail: [email protected] Send subscription funds to TwoMorrows, NOT to the editorial offices. Single issues:$8 ($10 Canada, $11.00 elsewhere). Twelve-issue subscriptions: $60 US, $120 Canada, $132 elsewhere. All characters are theirrespective companies. All material their creators unless otherwise noted. All editorial matter Roy Thomas. Alter Ego is a TM ofRoy & Dann Thomas. FCA is a TM of P.C. Hamerlinck. Printed in Canada.


    Vol. 3, No. 38 / July 2004Editor Roy Thomas

    Associate EditorsBill SchellyJim Amash

    Design & LayoutChristopher Day

    Consulting EditorJohn Morrow

    FCA EditorP.C. Hamerlinck

    Comic Crypt EditorMichael T. Gilbert

    Editors EmeritusJerry Bails (founder)Ronn Foss, Biljo White,Mike Friedrich

    Production AssistantEric Nolen-Weathington

    Cover ArtistsIrwin HasenCarmine Infantino & Jim Amash

    Cover ColoristsIrwin HasenJ. David Spurlock

    And Special Thanks to:

    JULIEPart Two

    This issue is dedicated to the memory ofJulie Schwartz,

    Carrie Nodell, & Lillian Drake

    Neal AdamsMurphy AndersonPedro AngostoJeff BaileyBob BaileyBrian H. BailieMike W. BarrMichael BaulderstoneBill BlackJackson BostwickJerry K. BoydAlan BrennertMike BurkeyNick CardyBob CherryShaun ClancyJohn CochranDave CockrumRay A. CuthbertTeresa R. DavidsonAl DellingesJoe DesrisIrwin DonenfeldShel DorfHarlan & Susan EllisonDon EnsignMark EvanierShane FoleyRamona FradonMike FriedrichCarl GaffordJos Garca-LpezJeff GelbFrank GiellaJoe GiellaJanet GilbertDick GiordanoMike GoldBob GreenbergerWalt GroganBeth GwinnJennifer T. Hamerlinck

    Ron HarrisIrwin HasenMark & Stephanie HeikeTom HorvitzDave HuntJoe KubertStan LeePaul LevitzGlenn MacKayElliot S. MagginKeith MallowDan MakaraDave ManakSam MaronieBrian K. MorrisMark MullerWill MurrayMart NodellDenny ONeilCarlos PachecoJoe PetrilakJohn G. PierceLarry RippeeEthan RobertsBob RozakisAlex SaviukDavid SiegelLouis Small, Jr.Marc SparksJ. David SpurlockRichard SteinbergMarc SvenssonMarc SwayzeJoel ThingvallDann ThomasAlex TothMichael UslanMarv WolfmanDonald WoolfolkEddy ZenoMichael ZenoTom Ziuko

    ContentsA Testimonial for Julius Schwartz . . . . . . . . . . . . . . . . . . . . . . . . . 2Harlan Ellisons verbal and photographic tribute to an old friend.

    Julius Schwartz Checklist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4What the Great Editor did, and when he did it.

    A Tale of Two All-Stars . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5Dan Makara and Irwin Hasen on Julie as man and editor.

    I Dated Julies Wife before He Did! . . . . . . . . . . . . . . . . . . . . . 8Joe Kubert tells tales about drawing for J.S.

    My Dust-up with Julie. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13Alex Toth on burying the hatchet with his one-time editor.

    Tribute to a Titan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14A legion of comics loversboth pros and fansremember Julius Schwartz

    Comic Crypt: Strange Schwartz Stories . . . . . . . . . . . . . . . . . . . 31Michael T. Gilbert and Mr. Monster examine some of Julies 1960s correspondence.

    Close Encounters of the Schwartz Kind. . . . . . . . . . . . . . . . . . . 37Bill Schelly on his four meetings with Julie.

    Carrie Nodell & Lillian Drake . . . . . . . . . . . . . . . . . . . . . . . . . . . 41A few words about two gracious ladies.

    FCA (Fawcett Collectors of America) #97 . . . . . . . . . . . . . . 43P.C. Hamerlinck and friends on Julie Schwartz and Shazam!

    Julie: Part One. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Flip Us!About Our Cover: Beginning in 1941, Irwin Hasen produced some memorable work on GreenLantern and All-Star Comics for both DC/AA editor Shelly Mayer and his successor JuliusSchwartz. In recent years, Irwin had accompanied Julie, who had become his good friend, tonumerous comicons. Editor Roy Thomas asked Irwin if he would re-create his very first All-Starcover (#33, drawn in 1946), only with Julie standing in for the monstrous Solomon Grundyand we think the result is nothing less than terrific! All-Schwartz Comics logo by Al Dellinges.Special Notice: This fabulous one-of-a-kind re-creation with a difference is for sale byIrwin for $700. Please contact A/Es editor via fax at (803) 826-6501, by mail at the SouthCarolina address in the indicia below, or via e-mail at: [email protected] First-come, first-served! [Art 2004 Irwin Hasen; Justice Society of America TM & 2004 DC Comics.]

    Above: Julie at the Heroes Con in Charlotte, NC, in June 2001, pursuing one of his favoritepastimeshawking his memoir Man of Two Worlds, which he wrote with Brian Thomsen. Ifyou havent yet picked up a copydo so! Julie is watching! Photo by Bob Bailey.

  • 1997 The Kilimanjaro Corporation

    [A/E EDITORS NOTE: Harlan Ellison will be well known to manyreaders of A/E as one of the premier science-fiction writers of the 20thcenturynot that hes retired in the 21st! His moving remembrance ofJulie Schwartz, titled Softly; A Legend Passes was read at the March2004 memorial service held for Julie in New York City, and will befeatured in the transcription of that event two issues from now. Harlanalso located the following piece about the fabled DC editor (and hislongtime good friend) that he wrote in 1997though hes not certainof the precise occasionand he and his wife Susan sent it along to us,along with several of the photos which appear on this page and thenext, and which are used with their permission. Roy.]

    Schwartz? You want a testimonial for Schwartz? Is that what youreasking for? A testimonial, right? Something that reinforces this livinglegend business, am I right, am I getting this right? Something thatexalts, something that lauds, some wonderful words that extol, thateulogize, praise, flatter, enhance, and ennoble. Have I got it correctly,what it is you want? Well, just let me tell you.

    Schwartz: When they excavated the buried ruins of the ancientSumerian city of Uruk in 1912, there on that lower Mesopotamian plainwhere, 3500 years before the birth of Christ, were written the earliestwords of mankind, the great Gilgamesh legend there, there in the greatLimestone Temple were unearthed the shards of an alabaster cult vase,pictographically engraved with the heroic story of Schwartz the Slayer.Were talking Schwartz here! Tribute, testimonial? Ill give you testi-monial!

    Schwartz: In 1976, when they discovered the terracotta army ofChinas first emperor, Qin Shi Huangdi, there in Shanxi province, east-central China, the most startling aspect of the unearthing of thosethousands of sculpted warriors was that eleven out of thirteen statuesbore the unmistakable countenance of He Who Must Kvetch, the greatSchwartz! Were talking the Schwartzmeister, can you hear me? Word!

    Schwartz: When they finally found the crumpled and shatteredcorpse of the Titanic, at a terrible depth below the North Atlantic, andthey circumnavigated it for the first time with the mini-sub, theyfoundamazingly, astoundinglythe golden figure of Schwartz theGreat Navigator still standing at the ceremonial helm, where it had beenplaced by the owners of the White Star line prior to the great oceanqueens maiden voyage. Unsullied by anemone or acid wash, there stoodthe heroic Schwartz simulacrum, untarnished by time, noble even at thedeepest dark of the cruel downbelow.

    You ask me about Schwartz? You want mere words to encompass thegrandeur, the heroism, the incomparable singularity of wonder we areblessed to have with us? The immortal Schwartz, you want I should sumhim up in one measly testimonial? Phah! Better to ask how bright shinethe stars, how mournful cries the wind, how deep is the ocean, how highthe sky!

    He is Schwartz! Let the name ring down the halls ofForever. I say again SHUH-WARTZ! Ask no more of me.

    A Testimonialfor JuliusSchwartz

    by Harlan Ellison Julie Schwartz and Harlan Ellison in the latters Art Deco dining room, with sf author Alfred Besters Grandmaster Award, presented by

    the Science Fiction Writers of America.

    Harlan and Julie at DragonCon, Atlanta, 1998. Photo by Beth Gwinn from theJulius Schwartz Collection.

    Julie, Susan, and Ray Bradbury at the Pacific Dining Car restaurant, circa 1990.


  • A Tale of TwoAll-Stars

    Conversations with Julius Schwartz and Irwin Hasenby Dan Makara (with Irwin Hasen)

    DAN MAKARAOne day I got a call from my pal Irwin Hasen:

    Come on into the city on Saturday. Julie Schwartz will be here. Liketo meet him?

    Of course, I went with bells on. Id grown up reading the books Juliehad edited in the 60s The Flash, Batman, Strange Adventures. Infact, it was one of Julies Justice League issues, which reprinted thecover to All-Star Comics #33, that introduced me to the Comic BookArt of Irwin Hasen. I had enjoyed Irwins work on Dondi since I was alittle kid, but had no idea that Irwin had worked for DC and had donethe best of the All-Star covers.

    Its always an interesting experience to visit Irwin in New York. Afriend for going on seven years now, Irwin lives in a great old brown-stone not far from the Metropolitan Museum of Art. His apartment is atreasure trove for the eyes. Walking in, you are greeted by a doubleportrait that Irwin is working on of Mayor Bloomberg with Dondi.Bloomberg, a neighbor, frequents the same deli as Irwin. Photographsand artwork cover the walls, along with Inkpot Awards for his syndi-cated work. There are pictures of Irwin with Rube Goldberg... Irwinwith various women... Irwin with Carl Sandburg... Irwin with variouswomen....

    In one corner theres a large upright piano and a set of bongos. Hisdrawing board is in another corner, by an immense window. Nearbyhangs his masterpiece, which he calls The Autumn Leaves. The lowerright corner of that picture sports a self-portrait dreamily gazing towardheaven. Floating all about as if they were blown by a gentle breeze arefull-figure portraits of all the women Irwin has known nude. On thefloor is a life-size stuffed Russian wolfhound with a martini. Behind thecouch is a life-size stuffed tiger, its head poised above a pile of chickenbones.

    Seated upon the couch was Julius Schwartz.

    How do you know who I am? he asked.

    Well, I actually recognized you from a Strange Adventures story, Ireplied.

    Have you read my book?

    Ummm, Im afraid I didnt know youd written one.

    He reached into a valise pulled out a paperback with his picture onthe cover. Here ya go its fourteen dollars.

    Fumbling for my wallet: All Ive got is a ten.

    Ya dont buy the book, I cant talk to ya.

    I promise Ill buy the book, but I already know all about you.Youre the guy that rescued comic books!

    That comment broke the ice. We spoke about Strange Adventuresand science-fiction. Julius was a huge fan of Amazing Stories andrecounted the genius of sf pulp editor Hugo Gernsback.

    When Julie excused himself and stepped into the other room for amoment, Irwin leaned forward and whispered, Ask him about RayBradbury.

    (Left to right:) Dan Makara talks with Carmine Infantino, Irwin Hasen, andJulie Schwartz at his studiojuxtaposed with a Hasen re-creation of an early-1940s cover that never was: Wildcat Comics #1. Dan prevailed upon Irwin to

    draw and color this great piece. Nice, huh? Oh, and you can see other photosof Irwin, Julie, and Carmine elsewhere in this issue. [Art 2004 Irwin Hasen;

    Wildcat TM & 2004 DC Comics.]


  • [INTERVIEWERS NOTE: Whatelse is there to say about Joe Kubert?Hes been working in the comicbook field since 1942is mostclosely associated at DC with boththe Golden and Silver AgeHawkmen and the war titles andhe keeps getting better. Roy.]

    ROY THOMAS: When Julie startedwork for DC/AA in December 1944heeven knew the exact dateyoud only recentlystarted working there yourself. Apparentlyyour first work for AA [All-American] editorShelly Mayer was the Dr. Fate chapter inAll-Star #21, which was cover-dated Summer1944. That wouldve come out in the spring, so it mustve beenprepared at least during the winteraround the time Julie came towork for Mayer, too.

    JOE KUBERT: It must have been. Of course, I was already workingfor a couple of other companies. I was just a teenager at the time, stillgoing to high school. Ive always been amazed that Shelly, as the editor-in-chief of All-American, had enough faith in me to let me pencil thatDr. Fate, and before long, Hawkman. At that time I met Julie inpassing, but I dont really recall when or how. You know, the only timeartists would meet the editors would be when we came up to the officeto turn in work.

    RT: The day he was hired, Julie admitted to Shelly that he didntknow anything about artworkhe was strictly a literary type,having been a science-fiction reader and agent. Shelly told him thatwas okay, because he [Shelly] would do be the one dealing with theartists. So Julie was essentially a story editor from 1944 until Shellyquit editing in 1948 to go back to writing and drawing. Is that whenyou began to work more closely with Julie?

    KUBERT: Yes. Before that, we might have said hello, but that wasabout it. Being a kid, I didnt socialize with the older guys, like theeditor.

    RT: Julie, after all, was an old man in his late twenties when youcame to work at AA/DC!

    KUBERT: Yeah, and he always kidded me because I dated his wifebefore he did. I just went out with her once, and I guess that wasenough for her. She was older than I was, so she went to an older guy![laughs] You know, Kanigher was an editor there, too, in the mid-40s,at the same time as Julie.

    I Dated JuliesWife Before

    He Did!JOE KUBERT Tells Tales about Drawing

    for Julie SchwartzInterview Conducted & Transcribed by Roy Thomas

    (Top left:) Joe Kubert being his usual gracious self with a fan at 2000 comicconin White Plains, NYjuxtaposed with two decades of Hawkman. Photo courtesyof Joe Petrilka. (Above:) A Golden Age page from Flash Comics #72 (June 1946),

    reprod from photocopies of the original art, courtesy of Joel Thingvall. Juliewas Shelly Mayers story editor for AA/DC by this time, but rarely interfacedwith artists. (Left center:) A Silver Age Hawkman head done by Joe for his

    cartooning school. [Page 2004 DC Comics; sketch 2004 Joe Kubert; Hawkman TM & 2004 DC Comics.]


  • [Art


    04 A




    My Dust-Up With JulieClassic Artist ALEX TOTH on Burying the Hatchet on an

    Old Disagreement with J. Schwartz[EDITORS NOTE: For years, different versions of why and how Alex Toth quit drawing for DCcirca 1952, because of a dispute with editor Julius Schwartz. In his memoir Man of Two Worlds,Julie recounted his own version, without casting any aspersions on an artist he admired, andrecounted how they made up at a comic-con years later. We invited Alex to air his own tale, after solong, but he preferred, understandably, to accentuate the positive. We applaud him for it. Roy.]


    Whatever happened between Alex and Julieand the artist has alwaysmaintained a discreet silence on the subjecttwas no April Fool joke.

    These panels from the Green Lantern story in Comic Cavalcade #27 (June-July 1948) were drawn by Alex not long before Julie became full editor on Shelly Mayers return to full-time cartooning. Oh, and

    youll find a photo of Alex Toth on p.7. [2004 DC Comics.]

  • [A/E EDITORS NOTE: Many of those who were Julies contem-poraries, collaborators, and colleagues are gone now, havingpreceded him into the Beyond, to use part of the title of his lastscience-fiction comic: Gil Kane, Mike Sekowsky, Gardner Fox, JohnBroome, Frank Giacoia, Robert Kanigher, et al. But, over his 40-plus years as a day-by-day editor, and in special projects since his1984 retirement, Julius Schwartz left behind memories in the mindsof everyone who came into contact with him. We didnt go seeking

    after everyone who might have written his own Julie storythis is,after all, a magazine, not an entire encyclopedia. But we put out thecall, and these folks responded here. Others have had their sayelsewhere, or prefer to contemplate Julies passing in silence. But hereis what a few noteworthy people had to sayin alphabetical order.Most of them need no introduction to readers of Alter Egobut Iveadded a few words before each commentary, just the same. Roy.]

    JERRY G. BAILS[Jerry Bails is the founder of Alter Ego (in 1961)and of various other traditions of comics fandom.This tribute, written while the news of Juliespassing was still fresh, originally appeared onJerrys website, and was also quoted liberally inThe Comics Journal.]

    I owe Julie Schwartz more than I can say. I wrotehim my first fan letter in 1946 (re All-Star Comics

    #27), which I always felt influenced his decision to run thefamous Plight of a Nation story in Justice League of Americaabout juvenile delinquency.

    I peppered Julie with letters throughout the 1950s for therevivals of costumed characters, especially the Justice Society. Ivisited him and Gardner Fox in early 1961, and he was anexceedingly generous host.

    Long before he began giving original art for letters-to-the-editor, he was sending me the art for whole stories, scripts, silverproofs, and color proofs. He gave me advance news for the veryfirst issue of On the Drawing Board (later known as TheComic Reader).

    He honored me by including a composite character namedJerry Thomas in a JLA story, The Cavern of Deadly Spheres.While Roy and I had sent in lots of story and character ideas, wehad nothing to do with the Cavern plot. Julie and Gardnerdreamed that one up in one of their frequent plot conferences.

    Julie was the friendliest pro I ever met. Whenever hed spotme at a convention, hed hustle over to greet me as if I were thehonoree. He always made me feel special. I think he did that

    Tributes to a TitanComics LoversPro and FanRemember Julius Schwartz

    (Above &!center:) Jerry Bails at the 1997 Fandom Reunion Luncheon in Chicagoplusthe covers of two DC comics edited by Julius Schwartz: All-Star Comics #49 (Oct.-Nov.1949) and Justice League of America #21 (Aug. 1963). Until recently, Jerry owned theoriginal art to both covers. Art by Arthur Peddy & Bernard Sachs, and officially byMike Sekowsky & Murphy Anderson, respectivelythough Jerrys always sworn he

    believes Murphy drew the latter one alone! [Covers 2004 DC Comics.]


    (Left:) A 1984 caricature of J.S. by cartoonist and DC staffer Dave Manak.

    (Right:) Gil Kanes coverfor an issue of From

    Beyond, as reprod fromthe original art in TheAmazing World of DCComics #3 (Nov. 1974),

    the Special JuliusSchwartz Issue. Was Gilsstriking cover ever used

    on an actual comic?[Art 2004 Dave Manak.]

  • quite naturally for manyyoung people he broughtinto the world of comics.

    I was always amazedat how well he could getalong with mosteveryone. He never had abad word to say aboutanyoneeven his lifelongfriend Mort Weisinger.He shared office spacewith Bob Kanigher, whohad an annoying habit ofdenigrating Julies talentsas an editor, while failingto note how many timesJulies reliablemanagement skills savedthe day for both of them.

    Julie kept careful records, and I never heard a tale of any freelancer whowasnt treated fairly and promptly at Julies hands. Ive heard a greatmany stories from his protgs praising him for the experience he gladlyshared with newcomers.

    Julie was not a writer, per se, but an idea man. He loved plot twists,and paid scant attention to characterization. I saw examples of the scriptshe sent me wherein he would rob one character (say, Wonder Woman) ofa monologue and assign the same words to, say, Batman. This wasespecially true during the Batman TV craze. The characters were alwaysinterchangeable to Julie. It was the plot that counted, and he was asexcited about plots as any fanboy.

    The episode in which he gave Wonder Womans speech to Batmanprompted me to suggest to Julie that he should use this body-changingpower as a gimmick inone of his JLA storieswhich he promptly did. IfI remember correctly,Jonn Jonzz wound up inWonder Womans body.In a slightly later periodat DC, that would haveprompted some remarkand possible embar-rassment on Jonns part,but there was none of thatat DC at that time.

    Marvels soap-operainterplay of characterswas not a part of Juliesworld. He grew up withscience-fiction. He wasfrom a different era, whenboys were boys anddreamed of outer space,while girls focused onhuman relationships. Juliewas content with treatingromance as somethingseparated by a Zeta beam.

    Julie was quite proudwhen he was awarded theopportunity to take overBatman and do a make-over. Again, his natural

    tendency was to rely on plot twists, and he immediately turned Batmanback into a detective in the pulp tradition. Unfortunately, the earlysuccess of the Batman TV show put something of a crimp in thatapproach, as the comics attempted to ape the campish TV show. It wassomething of a relief for all when the craze ended and the Neal Adamsversion of a gritty and grim night-stalker took hold.

    Julies final step up at DC was to assume the editorship of Supermanhimself. Julie made a faltering attempt to alter the basic storyline andreduce Supermans powers, but this was at a stage before it wasacceptable to all concerned to tamper in any fundamental way withmajor icons. That came later, but I suspect that Julies early efforts pavedthe way. He was good at listening to readers, and loved ideas. He knewthat fresh ideas were needed, and he was willing to try them.

    One of his crowning ideas was to rock the DC Universe for decades.He introduced multiple Earths and made them a regular summermultiple-issue fantasy. After a lot of dares and badgering from meItold him he couldnt do ithe finally reintroduced the Justice Society,and their once-a-year crossovers in Justice League spanned the entireyouth of many Silver Age readers. The fascination with Golden Agecharacterssome of whom Julie himself had never known originallyspawned a world that is still spinning in orbit by writers and artists tooyoung to have experienced the Golden Age themselves.

    If truth be told, the Golden Age was made Golden during the SilverAge by a gentleman of great affectionfor all fansthe master of manydimensions, the one and only JulieSchwartzmy friend. There willalways be a special place in my heartfor this All-Star.

    MIKE W. BARR[Mike Barr has written comicssince 1973, mostly for DC, as wellas a Star Trek novel. He was the

    guy behind DCs original Outsidersand its first limited series, Camelot 3000. He sayshes told that the following anecdote was related byJulie in his memoir, but thought A/Es readers mightenjoy hearing it from his point of view.]

    Julie got a little full of himself in later years, but hecould still take a joke. For instance, once of hisfavorite bits was, while giving a tour of the DC officesto visiting friends, to relate stories of his early career asa science-fiction agent, culminating with the payoffthat he had discovered one of the most famousscience-fiction writers of all timeRay Bradbury, ofcourse. But because Julie was too >ahem< modest toannounce the name of his discovery himself, he wouldlead up to the revelation, then turn to whatever stafferwas nearby, and have that unsuspecting soul tell thevisitors. I saw him do this several times.

    One legend contemplates another: JS before a poster utilizing the Infantino/Anderson

    Flash of Two Worlds cover from The Flash#123. From the Julius Schwartz Collection.

    [Flash TM & 2004 DC Comics.]

    (Above:) Two luminaries who scripted stories for Julie Schwartz, two decades apart: Mike Barr (on left) with

    the late great John Broome at the 1998 San Diego Comic-Con. Both men wrote Elongated Man tales, toowithJohn being Ralph Dibnys co-creator in The Flash #112

    (April-May 1960). The multi-autographed CarmineInfantino/Joe Giella-drawn page at left, from the Broome-

    scripted, Julie-edited Elongated Man appearance in Flash #138 (Aug. 1963), is reprod from photocopies

    of the original art, courtesy of Frank Giella. Photo byMaureen McTeague. [Flash page 2004 DC Comics.]

    Tributes to a Titan 15

  • So one day in theearly to middle 80s, itwas my turn. I wasdoing some photo-copying in the DCoffices at 666 FifthAvenue (I believe)while Julie broughtsome friends through,giving them the nickeltour while simultane-ously telling them ofhis brilliant career. Hefinished withand Ialso discovered one ofthe most famousscience-fiction writersin the world. Mike,tell them who Idiscovered.

    Without missing abeat, I replied: JulesVerne.

    His friends werealready howling, butJulie had the lastlaugh. He nodded andbegan: Thats right,Jules Ver Then hestopped, realizingwhat I had said, whileexecuting the mostperfect double-takeever youve seen.No! he said, hisborough of origin betraying itself in his accentas he shouted over his friends laughter, notJooles Voin!

    But he was laughing, too.

    ALAN BRENNERT[Alan Brenner is a television writer who hasscripted a few, and memorable, comic bookstories in his day.]

    Somewhere deep in the stacks of Lucienslibrary in The Dreaming, in that section reserved for Stories That WereNever Written, subsection Comic Books Only a Glimmer in SomeonesEye, is a 22-page Superman story I never wrote for Julius Schwartz.

    Like many a Silver Age comics fan, I was weaned on Julie Schwartzscomic books. Whether it was Flash, Green Lantern, or Mystery inSpacewhether the writer was John Broome or Gardner FoxaSchwartz-edited story balanced the most baroque plots on a fulcrum ofscientific plausibility, in the process often enlightening us with somebasic scientific truism. (I daresay I was not the only eight-year-old whobelieved it was really important to know that a piece of straw, propelledby hurricane-force winds, could penetrate a block of wood.)

    My absolute favorite Schwartz book was Justice League of America,to which my Aunt Eleanor had given me a subscription (copies wereactually mailed out folded in half lengthwise, if such things can beimagined today). It was this book (and The Flash) which wouldintroduce me to the concept of parallel worlds, specifically Earth-Two,

    the world on which the Golden Age heroes of the JusticeSociety of America lived... and aged. Yes, unlike theircounterparts in the JLA, the JSAers grew older, gotmarried, had children... in short, had real lives thatstood in sharp contrast to the carefully maintained stasisof Superman or Batmans continuities. From JLA #21:There are a few gray hairs showingand their faces arelined with the passage of timebut their mighty powersare only slightly dimmed...

    Anyone who has ever read one of my comic bookstories can attest to the impact that line had on me as ahatchling writer. As a matter of fact, that line pretty much

    is every comic book story Ive ever written!

    The first letter of comment I had published in a DC comic was alsoin JLA: issue #75. (The one with Black Canarys fishnet stockingsprominently displayed on the cover. Yeah, you remember it.) At the timeit was the biggest thrill of my young life. I went on to publish quite afew LoCs in Julies books, and on one occasion he even took me to taskfor completely missing the point of a Flash story which I had, well,completely missed the point of. (Not every teenager has his youthfulobtuseness so immortalized in print.)

    It wasnt until the early 1980s that I finally met Julie in person, at oneof Mark Evaniers post-San Diego Comi-Con parties. Id begun writingthe occasional comic book story, and Julie invited me to write one forhim. And there was a Superman story Id always wanted to see.

    In The Sweetheart Superman Forgot (Superman #165), our heroloses both his memory and his super-powers to red kryptonite, andwinds up working as a ranch hand as Jim White. There he falls in love

    Alan Brennert, with two pages from perhaps the most memorable of his too-rare comics stories, The Autobiography of Bruce Wayne, from The Brave and the Bold #197 (April 1983)as Batman gets by with a little help from his friends.

    Reprod from photocopies of the original Joe Staton/George Freeman art, courtesy of Brian H. Bailie. Oh, and Alan says he was promoting the TV show Molokai when the photo was takenhence the Hawaiian shirt! [Comic art 2004 DC Comics.]

    16 Comics LoversPro and FanRemember Julius Schwartz

  • 31

  • Strange Schwartz Stories!by Michael T. GilbertDo I have a Julie Schwartz story for you?

    Boy! Do I have a Julie Schwartz story for you!!

    Weller no, actually.

    Never met the guy, unfortunately, nor did I ever workwith him. And while I greatly enjoyed seeing Julie performon various comic panels, its just not the same as actuallyknowing him. So, no, I dont have a Julie Schwartz story foryou.


    But fortunately, you dont need one from me. This specialtribute issue includes lots of Julies friends and colleagues,with better stories than any I could tell.

    More importantly, the only Julie Schwartz stories thatreally matter are the ones in Julies comics. Those stories liveon, indelibly etched in the brains of generations of youngcomic book fans. Others may have written those tales, butJulie was the orchestra leader who shaped them. And whatstories they were!

    Who could forget reading Flash of Two Worlds! for thefirst time and discovering that there was an Earth-Two,populated by DC heroes from the 1940s? I still remember thethrill of seeing the Silver Age Flash, (the only Flash I knew!)stumble into another dimension to meet another Flash froman earlier era.

    Another Flash? Whoa!

    This 9-year-old was blown away by The Flash #123 (Sept.1961). A whole world of super-heroes Id never evendreamed of, with cool names and costumes, heroes that hadlived and faded away before I was even born! Julie broughtclassic sci-fi concepts like parallel universes to a new gener-ation of comic fans. Thanks, Julie!

    True, the stories didnt always make a lot of sensenot toan adult, anyway. But they were always fun and memorable.And the covers were equally impressive. Ill never forget oneearly-60s gem where the Scarlet Speedster gets blasted with afat-ray. In one single 3-figure image, our hero gains 1000points of ugly flab in a a well, a flash! How could any kid possiblysee Carmine Infantinos striking cover without glancing inside? Withouta doubt, Julies comics had some of the best covers in the business. If,after the fact, he had to contrive a goofy story to go with it, well, so beit! In this instance, Julie assigned scripter John Broome to flesh out thatcover.


    The Day Flash Weighed 1000 Pounds (The Flash #115, Sept.1960) was a marvelously silly story. First, Gorilla Grodd blasts Flashwith a fat-ray in order to sideline the worlds fastest man. Poor Flashbecomes so huge he can barely waddle, much less run. One humiliatingscene even shows our hero enduring taunts as a carnival side-show freak.(Haw! Man! It sure is funny dressing him up like The Flash!).Not the most politically-correct crowd. In those pre-Atkins days, itlooked like Flash was fated to remain flabby forever.

    But then the story gets even sillier! Flash foils Grodds diabolical plotby squeezing into a potato-dehydrating room (!) and sweating off thepounds, surrounded by mountains of steaming spuds (!!). Hours later,The Flash emerges thin and trim, ready to mete swift justice to GorillaGrodd! Funny, Ive been in lots of steam rooms, but never lostanywhere near 800 pounds. Maybe Flashs success had something to dowith the potatoes?

    Like I said, the stories were often silly. But the images remain, imagesthat editor Schwartz helped bring to life through spirited plottingsessions with his writers, and cover conferences with his artists.

    Julie performed the same magic with all his books, whether sci-fititles like Mystery in Space or super-hero titles like Green Lantern orJustice League of America. And lets not forget Strange SportsStories, Julies experimental sports/sci-fi/fantasy series. What comics-

    A Gil Kane/Murphy Anderson page from Green Lantern #74 (Jan. 1970), Lost in Spacejust before the ONeil/Adams GL/GA team-up began. As Jerry Bails said when IDing

    this art, You dont get better inking than this! The page is reprod from a photocopy of the original art, thanks to collector/dealer Tom Horvitz, who always has lots

    of goodies for sale. He can be reached by phone in Tarzana, CA, at (818) 757-0747. Or try his website at . [2004 DC Comics.]

    32 Michael T. Gilbert

  • The Ultimate FanDespite all those years as an editor of pro comics, its my opinion that

    Julius Schwartzs greatest contributions were as a fan. He was a fanbefore he was a pro, and he was a fan while he was a pro, and heremained a fan when, in retirement from DC, he attended hundreds ofconventions in the latter part of the twentieth and beginning of thetwenty-first centuries.

    In his professional capacity as editor of a revived Flash, he spurredthe Silver Age of Comics, but Schwartz was never completelycomfortable taking credit for the idea. Julie told me he wasnt sure whosuggested bringing back The Flash, in that pivotal DC editorial meetingin 1955 or 56. But theres no question that he edited Showcase #4 andmost of the new incarnations of the All-American heroes of the JusticeSociety of America, presenting them in high style to a new generation ofreaders.

    To me, however, Julies role in the formation of comics fandom in1961 was something entirely his own. It arose from his empathy for

    those whose interest in comics was no less fervent than his own enthu-siasm for science-fiction as a young man. And, as we know, his earlysupport of Jerry Bails inspired the Detroit-based professor to launchsomething more ambitious than the originally-conceived JLA newsletter:Alter-Ego, a fanzine with a fancy Freudian name and a mission tocelebrate nothing less than comic heroes of the past, present andfuture.

    In those early, formative days of comicdom, Julie was as helpful as hecould possibly be to Jerry Bails, Roy Thomas, and others who evincedsincere interest in the DC comics he edited. His decision to publish full

    addresses in the letter columns inthe mags he edited greatly facili-tated communication between fans.He sent out original art and scripts,provided scoops for The ComicReader, and welcomed a parade ofwell-wishers who turned up at theoffices of DC in New York City.Even when he didntin thosedaysappreciate the comicsmedium as an art form that mightone day tell stories of interest toolder readers, he never ridiculedthose fans. He later said that doingthe letter columns was his favoritepart of his job.

    Title 37Comic Fandom Archive

    Close Encounters of theSchwartz Kind

    by Bill Schelly

    Bill Schelly (left) and Julie Schwartz at the San Diego Comic-Con, summer of 2003their final face-to-face encounter.

    (Aboveleft to right:) A 1938 photo of Julie; sf writer and future comics scribeOtto Binder; and Raymond A. Palmer. The diminutive Palmer, editor at varioustimes of Amazing Stories and other sf pulps, gave Julie his consent to let his

    name be used for the alter ego of the Silver Age Atom.

    (Left:) A great action page from The Atoms third tryout issueShowcase #35(Nov.-Dec. 1961)by the team supreme of Gil Kane (pencils), Murphy Anderson

    (inks), Gardner Fox (script), and of course Julie Schwartz (editor). Reprod from photocopies of the original art, courtesy of Mike W. Barr and Tom Horvitz.

    [Atom page 2004 DC Comics.]

  • Close Encounter # 1I suspect that a lot of the people who will write tributes to Julius

    Schwartz, in Alter Ego and elsewhere, count themselves as friends ofSchwartz. I cant claim that distinction. I didnt know him that well.When I called him on the phone and he greeted me with a cheery Hi,kiddo! he made me feel like a pal, but there were many who knew himmuch, much better. Nevertheless, Julius Schwartz made a serious impacton my creative life.

    Our first encounter, which was nightmarish and is recounted inpainful detail in my book Sense of Wonder: A Life in Comic Fandom,was when I traveled to New York City in 1973 to try to break into procomics. It was Julie and Vince Colletta who, upon examining myportfolio for the DC Junior Bullpen, told me I wasnt ready to become aDC trainee. How different my life might have been had they seen strongpotential in my artwork. I might have moved East, roomed with CarlGafford or Tony Isabella, and ended up with some sort of comic bookcareer. (Instead, I returned to my home in Idaho with my tail betweenmy legs, and ended up moving to Seattle to find work.)

    For years I harbored a low-level grudge against Julie for his part inmy DC rejection (though it was Vince more than Julie who was judgingthe artists), because I felt I had been given short shrift. It was only whenthe comic book industry crashed in 1994 that I began to feel that Vinceand Julie had done me a left-handed favor. Instead of being an out-of-work professional artist, I was a gainfully employed financial analystwith a comic book hobby that never stopped being fun.

    Close E