Vampires are as hot as ever in popular fiction, with movies such as “Twilight” and shows such as “The Vampire Diaries.” Vampires have been big in comics, too, and none more so than Dracula.

While the word “vampire” dates from the 1700s, the 1897 novel “Dracula” by Bram Stoker popularized the vampire. The book’s main character could have been partly based on former Transylvanian governor Vlad the Impaler.

IDW Publishing has created a new version of Stoker’s book (now in public domain) illustrated by Eisner-winning artist Ben Templesmith. Templesmith, who with Steve Niles created “30 Days of Night,” provides full-color illustrations for all 27 chapters of the novel.

Multiple movies have made Dracula the world’s most famous vampire. The 1931 film starring Bela Lugosi is a horror classic selected for preservation in the National Film Registry. Longtime “Dracula” fan Mike Mignola (“Hellboy”) brought his take on Dracula to Topps Comics in the 1990s, with an adaptation of “Bram Stoker’s Dracula,” the film by Francis Ford Coppola. Mignola also was an illustrator for the film.

The most famous adaptation of Dracula in comics is the long-running “The Tomb of Dracula” series. Gene Colan was the artist for the series’ entire run, beginning in 1972. Marv Wolfman took over as writer with issue No. 7 and stayed on through the series’ conclusion in 1979.

This series introduced Blade the vampire hunter and is one of the longest-running horror series in Marvel Comics’ history. The entire run of “Tomb of Dracula” as well as the stories from “Dracula Lives” and the black-and-white “Tomb of Dracula” magazine have been reprinted by Marvel as “The Essential Tomb of Dracula” Vols. 1-4.

DC Comics also has its version of Dracula, which faced off against Batman in the story “Batman/Dracula: Red Rain,” by Doug Moench and Kelley Jones. “Red Rain” along with the two sequels, “Batman: Bloodstorm” and “Batman: Crimson Mist,” are collected in the “Batman: Vampire” trade paperback.

In “Red Rain,” Dracula comes to Gotham City. When Batman tries to stop him, he himself is bitten, becoming a vampire.

The silliest version of a comic-book Dracula came from Dell Comics in the 1960s. In 1962, Dell adapted the Lugosi feature into a comic book, but four years later, perhaps inspired by the “Batman” TV show, Dell made Dracula into a superhero.

This Dracula was a descendant of the original Dracula, who conducts medical experiments on bats, according to Don Markstein’s “Toonopedia.” When he accidentally ingests his own chemical, he gains the power of turning himself into a bat and vows to fight crime and injustice.

Columnist Chris Sims at comicsalliance.com describes the ridiculousness of the series.

“Once in America, he sets up a ‘Dracula Cave,’ adopts the secret identity of — wait for it — Al U. Card, dedicates himself to battling the rampant scourge of zeppelin crime (which actually does sound awesome, but trust us, it’s not) and even manages to rustle up a sidekick, Fleeta, whose name is short for ‘fleidermaus,’” Sims writes. “Unsurprisingly, it lasted for only three issues before it was given the ax, though his series went for another three issues of reprints that gave the world a second chance at his mind-numbing adventures. They probably shouldn’t have bothered.”

- By Matthew Price
From Friday’s The Oklahoman

The successful Golden and Silver Age artist George Tuska has died at age 93.  Tuska’s career spanned from the early days of the Chesler studio to the 199os “World’s Greatest Heroes” comic strip.   He may be best-known for his work on “Iron Man.”  Both The Beat and the  Comics Reporter have writeups on his career.

- Matt Price

Marvel’s Tom Brevoort points out today is the day that two comic-book luminaries passed away:  Marvel writer/editor Mark Gruenwald (1953-1996) and “Fantastic Four” and “Tellos” artist Mike Wieringo (1963-2007).

Both of these guys were among my favorites.  Their work is top-notch, and those who knew them say that they were personally great guys as well.

Gruenwald, longtime writer of “Captain America,” was my favorite writer growing up, and a big part of why Cap is my favorite Marvel character. 

I’ve written about Gruenwald before; you can read my take on his “President Fires Cap” storyline at the end of this article, and some about how it compares to the modern Brubaker run in this article.

Sadly, not much of his work is in print, though Marvel has brought the first 2/3 of his “Fighting Chance” storyline in Captain America — his final storyline — back into print, with plans for all of it.   There’s also a recent hardcover collection available of his “Hawkeye” storyline.  There are also collections of his first issues on the New Universe title “D.P. 7,” and the work many consider his best, “Squadron Supreme.”

Wieringo was a guy I first noticed on “Flash” with Mark Waid, where he also introduced the character of Bart Allen, aka Impulse.  Wieringo was a great fit for the fleet-footed Flash team, and he had a 12-issue run on the title.

His next major project was “Tellos” for Image Comics, with writer Todd DeZago.  This fantasy epic — now collected in one compendium — was possibly the high point of Wieringo’s career, and it’s unfortunate that the falling fortunes of the industry in the late 90s forced Wieringo away from it.

Wieringo is also remembered for his classic collaboration with Waid on “Fantastic Four,” a run that many consider among the most classic adventures of the team.

Some of the last work completed by Wieringo before his death of a heart attack was “Friendly Neighborhood Spider-Man” with writer Peter David and “Fantastic Four and Spider-Man” with writer Jeff Parker.

- Matt Price

More info, from http://www.povonline.com/weinproject.htm

On April 6, 2009, a fire destroyed most of the home he was sharing with his wife Chris and their son Michael.  As Len tells us, Chris was out when it happened.  The men were home and asleep.  He awoke to find the world in flames around him and he managed to get himself out and to save Michael, as well.  Sadly, their beloved dog Sheba perished that day.

So did Len’s collection of books and toys and games and artwork and those things we accumulate that help define and enrich our lives.  You have stuff.  He had stuff.  Insurance will fix the house but many things, including his comics, were not covered.  Some of us thought it would be grand if his friends and fans pitched in to help him recreate those shelves of the comic books he’s worked on.

Here’s the plan: We’ve compiled a list of the comics Len needs to reacquire.  We’re updating it from time to time as comics are pledged or received.  You can view or download it from the link at the top of this page.

If you have some comics for the well-regarded creator, there’s even more info on how to help at the site.

Kyle Roberts and Matt Price discuss the “Watchmen” graphic novel in this week’s Comics Q&A.

Over at the Comics Buyers Guide Web site, cbgxtra.com, the staff is archiving the covers of the publication, as well as some notes about each individual issue.  It’s a great way to see some classic fanzine art and follow some of the debates and issues of the time.  It doesn’t archive all the articles – that would be pretty great – but it still is a good resource.  I’m planning to eventually read through all the recaps.  

Check out CBG founder Alan Light’s flickr set for some photos from the early days of the publication, which makes a nice companion to the archive.

– Matt Price

TWOMORROWS PUBLISHING MAKES 14TH APPEARANCE AT COMIC-CON INTERNATIONAL

TwoMorrows Publishing, publisher of an Eisner Award-winning line of books and magazines about comics history and appreciation, returns to Comic-Con International for its 14th consecutive year with a slate of panels and signings. The company will be located in Booth #1215, directly across from the Golden & Silver Age Pavilion.

Panels include:

Modern Masters: LIVE panel (Thursday, July 24, 1:00-2:00pm, Room 5AB)

Modern Masters editor Eric Nolen-Weathington brings together three of the greatest artists in comics – Frank Cho (Liberty Meadows, Mighty Avengers), Michael Golden (Micronauts, The ‘Nam), and Mark Schultz (Xenozoic Tales, Superman: Man of Steel) – for a conversation about art, comics, and beyond!

TwoMorrows Publishing Today panel (Thursday, JULY 24, 3:00-4:00pm, Room 10)

Join the crew from TwoMorrows Publishing for a behind-the-scenes look at what goes into creating all their fan-favorite books and magazines

on the art and history of comics! On hand will be publisher John Morrow, Modern Masters’ Eric Nolen-Weathington, Write Now!’s Danny

Fingeroth, BrickJournal’s Joe Meno, and Keith Dallas, author of TwoMorrows’ new Flash Companion book, as they unveil new products and offer exclusive previews of upcoming items!

LEGO and BrickJournal: Brave New World panel (Friday, JULY 25, 11:00-12:00pm, Room 4)

Come see what grown-ups and “big kids” are doing with LEGO today, and what fuels them to never put the brick down! With notable guests including Joe Meno, editor & creator of BrickJournal, the magazine for adult fans of LEGO; expert builders Bryce McGlone and Brandon Griffith; and female builder Jessi Pastor; this panel showcases amazing examples of how they put their LEGO building talents to use! So dust off those old bricks in your basement and join the brave new world of LEGO builders!

COMICS ARTS CONFERENCE SESSION #9: TWOMORROWS PUBLISHING AND THE ACADEMIC COMMUNITY (Saturday, JULY 26, 1:00-2:00pm, Room 30AB)

TwoMorrows Publishing is known for celebrating the art and history of comics, and the company has been making inroads into the academic community with its line of “how-to” books, magazines, and DVDs. Now, you can have your chance to hear, and to participate in, a dialogue with TwoMorrows to find out how to strengthen the relationship between the publisher and the academic community. What TM publications do you feel speak to you and your students, and what educational niches do you see that TwoMorrows can fill for the academic world? Publisher John Morrow, Danny Fingeroth (Write Now!) represent Twomorrows in this freewheeling exchange of ideas. Peter Coogan (institute for comics studies) speaks from the academic viewpoint. And Durwin Talon (Panel Discussions, Savannah College of Art and Design), and John Lowe (Working Methods, Savannah College of Art and Design) have a foot in both worlds. Q&A to follow.

Also, TwoMorrows will have the following people signing at Booth #1215 at Comic-Con International:

MIKE W. BARR (author of numerous comics, including Camelot 3000 and Batman and the Outsiders, plus TwoMorrows’ Silver Age Sci-Fi Companion):

Thursday, 6-7pm (right after his Spotlight panel in Room 10)

Friday, 2-3pm (right after his ’70s Comics Panel in Room 8 )

Saturday, 4:30-5:30pm (right after he moderates a Spotlight on Joe Staton panel in Room 4)

KEITH DALLAS (comics journalist, and author of TwoMorrows’ new Flash Companion book, which debuts at Comic-Con)

Thursday, 4-5pm (right after the TwoMorrows Publishing Panel in Room 10)

Friday, 3-4pm

Saturday, 11-12pm

JOE MENO (LEGO builder, and editor of TwoMorrows’ new BrickJournal magazine for LEGO enthusiasts)

Thursday, 2-3pm

Friday, Noon-1pm (right after the LEGO/BrickJournal Panel in Room 4)

Saturday, Noon-1pm

BENJAMIN HOLCOMB (author of TwoMorrows’ acclaimed book Mego 8″ Superheroes: World’s Greatest Toys!)

Thursday, Noon-1pm

Friday, 1-2pm

Saturday, 3-4pm

DANNY FINGEROTH (Spider-Man writer/editor, and editor of TwoMorrows’ Write Now! magazine)

Thursday, 5-6pm

Friday, 5-6pm

Saturday, 2-3pm (right after the TwoMorrows Academic Panel in Room 30AB)

In addition, Modern Masters editor Eric Nolen-Weathington and publisher John Morrow will be at the booth non-stop for most of the convention, and Rand Hoppe of the Jack Kirby Museum will be there scanning Kirby art for the Museum’s archives.

Since 1994, TwoMorrows has been celebrating the art and history of comics through their magazine and book publications.

From Friday’s The Oklahoman:

By Matthew Price
Assistant Features Editor

WORD BALLOONS

In every “Batman” comic book, in the credits to the 1960s TV show, even in the credits to this weekend’s “The Dark Knight” are the words “Batman created by Bob Kane.” While Kane is the only one officially credited with the character, writer Bill Finger is considered by most to have had a large input in bringing Batman to life. 

Writer Alan J. Porter contributed the essay “The Dubious Origins of Batman” to the nonfiction book “Batman Unauthorized,” featuring essays about the Dark Knight. Porter is at work on a biography of Kane and Finger. 

Batman didn’t come in a flash of inspiration, Porter said, but was developed when an editor asked Kane to come up with “another Superman.” The success of the Man of Steel in the 1930s had publishers eager to exploit this new idea. 

“Bill Finger was a friend of cartoonist Bob Kane’s and often helped Bob by writing stories for the various comic strips he produced,” Porter said. “When Bob presented his first sketch of what would become Batman to his editor, the editor mentioned it needed a story to go with the visual. Bob naturally turned to his writer friend Bill Finger for help.” 

Finger suggested changes to Bob Kane’s original design, adding the cowl mask and the cape resembling bat wings. Finger named the characters of Bruce Wayne and Commissioner Gordon in the original Batman story. Finger created more of the elements of the Batman legend as Batman continued, including naming

But Finger never received credit. Part of that had to do with the system in place — in newspaper strips at the time, comic strips were often produced by a studio, but appeared with only the original creator’s name. The nascent art of comic books didn’t have procedures in place for recognizing creative talent. 

“Simply put, Bob Kane’s editor asked him to come up with a character and a story to go with it, and that’s what Bob Kane did,” Porter said. “The editor was seemingly unaware that Bob had help. The comic book company came up with a contract for Bob to continue producing Batman stories, and that’s what Bob continued to do – using an increasing roster of ghost writers and artists.” 

Meanwhile, Finger today receives more credit than he ever did in life. (Finger died in 1974.) Comic-Con International, the largest comic book and popular arts event in the

And while Finger’s name never appeared on his Batman stories while he was alive, he now receives writing credit when his stories are reprinted by DC Comics.

This is an expanded version of the article from today’s The Oklahoman: 

Comic-Con International, the largest comic book and popular arts event in the United States, has announced that Archie Goodwin will receive the 2008 Bill Finger Award for Excellence in Comic Book Writing. The choice was made unanimously by a committee chaired by writer and historian Mark Evanier.

Goodwin attended Will Rogers High School in Tulsa, and considered himself a Tulsan, though he was born in Kansas City, Missouri.  Goodwin was an influential  comic-book writer and editor. He was briefly Marvel Comics’ editor-in-chief in 1976. As an editor at DC Comics, he shepherded James Robinson’s acclaimed “Starman” and the award-winning “Batman: The Long Halloween.” As a writer, he created the Paul Kirk “Manhunter” character with artist Walter Simonson. He was named best writer (dramatic division) in the industry in 1973 and 1974 by the Academy of Comic Book Arts. Goodwin died in 1998. 

Tulsa writer R.A. Jones, who also attended Will Rogers High School, shared some thoughts about Goodwin with The Oklahoman:

 ”I was delighted to hear about the award Archie will be receiving.  One of the great things about working in comics today is that the creators receive at least a portion of the credit they are due for their work — something that, as I’m sure you well know, was not the case in poor Bill Finger’s day,” he said.

 ”I first discovered Archie’s writing in the 1960s, first in such magazines as Creepy and Eerie, where he helped keep alive the tradition of the venerable EC style of storytelling, and later in the pages of such Marvel comics as Iron Man. Professionally, I never knew Archie to deliver anything less than stellar scripting.  Personally, he was always friendly and a true gentleman, a pleasure to sit and have a chat with.”

The Bill Finger Award was instituted in 2005 under the supervision of comic book legend Jerry Robinson. The awards committee is charged each year with selecting two recipients, one living and one deceased. 

“With all the writers who seem worthy of this award, you’d think it would be an impossible decision,” Evanier said in a release. “But this year, two names just jumped off the list of candidates. Much like the late Bill Finger, Larry Lieber and Archie Goodwin did important, groundbreaking work in our field that has not received the recognition it deserves. We’re hoping to rectify that a little with these awards.”

Archie Goodwin began in comics in the late 1950s, writing mystery comics for Harvey and assisting Leonard Starr on the newspaper strip “On Stage.”   Later, he was the writer/editor of “Creepy” and “Eerie,” and is credited with creating the backstory for Vampirella.

In addition to Evanier, the selection committee consists of Charles Kochman (executive editor at Harry N. Abrams), comics and animation writer Paul Dini, writer Tony Isabella, and writer/editor Marv Wolfman.

The Bill Finger Award will be presented during the 2008 Will Eisner Comic Industry Awards ceremony at this summer’s Comic-Con International on Friday, July 25.

For more information on the Finger Award, visit www.comic-con.org/cci/cci_finger.shtml.

– Matt Price

Here’s the full content of the Q&A I did with Gary Friedrich, the creator of “Ghost Rider.”  Friedrich is appearing at this weekend’s SoonerCon at the Biltmore Hotel in Oklahoma City. For more information, visit www.soonercon.com.

Matt Price: You’re possibly best-known for creating “Ghost Rider.”  What were your influences in creating the character?   How did the character come about?  

Gary Friedrich: The first flash of an idea for Ghost Rider came when I was still a kid and saw Marlon Brando in “The Wild One.”  I loved the movie and began to think about a superhero on a motorcycle. 

     As time went by, I was also influenced by the cycle gang movies of the  fifties and  sixties with Fonda, Hopper, Nicholson, etc.  I could see America had a passion for guys on cycles and thought a superhero on a cycle would be popular.  Evel Knievel  and his exploits were also an inspiration.

     The ideas began to come together in the late sixties during a period when I was away from Marvel and worked for another company for a time.   But as I began to lean toward a supernatural connection,  I realized the Comics Code Authority probably wouldn’t accept anything like that.  So although I  had the concept pretty much together by 1970, I had to wait until the Code eased its standards for horror-type comics in 1971 to attempt to get the character published.

     In ‘71 I took the completed idea (characters, origin story, costume design, etc.) to Stan Lee at Marvel Comics, and he agreed that Marvel would publish Ghost Rider.  The first appearance of the character came in Marvel Spotlight #5 in early 1972.

Matt Price:  Tell me about breaking into comics and about the early days at Marvel.

  Gary Friedrich: I could write a book.  In fact, maybe I will.

       Roy Thomas, who brought me to New York and got me my first job at Marvel, and  I grew up in Jackson, Mo., a small town about a hundred miles south of St. Louis.We worked together at the local movie theatre through high school where we continued our childhood interest in comics, especially after DC Comics began to revive their old superheroes of the forties like Hawkman, the Flash, Green Lantern, etc. in the late fifties.

     While in college, Roy began to edit and publish Alter Ego fanzine with another fan from Michigan, Jerry Bails.  It became a hit, and Roy’s interest in comics became much greater.  I helped out with odd jobs on the early issues of Alter Ego which is considered by many the best fanzine ever and which Roy continues to edit todayl

     All of this led to Roy being offered a job at DC in 1964 as an assistant editor on Superman Comics.  He took the job and moved to New York, but a short time later he moved over to the fledgling Marvel Comics operation as assistant editor to Stan Lee.

     In Nov. of 1965 Roy invited me to come to New York and take a shot at breaking into the comics field.  And since, at the time, I was working for a couple of bucks an hour making waffle irons in a factory, it didn’t take me long to accept his offer.,

     I should back up a second at this point and say that my interest in comics and I’m sure Roy’s as well really picked up with the appearance of Stan Lee’s first Marvel books in 1961 and 1962.  I’ll never forget the excitement I felt reading the first issue of Fantastic Four after Roy brought it by the theatre one afternoon.  We both recognized Stan’s writing and characters as something new and exciting in the world of comics and were big fans almost immediately.  We continued to follow the Marvel line as it slowly grew and expanded through the early sixties and the time when Roy finally went to work there.

     I arrived in New York in November of 1965 with about fifty bucks in my pocket and a roof over my head thanks to Roy and his friend Dave Kaler, a fan who played a large roll in the birth of comic book conventions in New York.  I got by for the first three months or so through a combination of Roy’s generosity, panhandling in Greenwich Village where we moved a short time after my arrive in New York, and working part-time at a record store in Queens.

      My first break came when a friend, Len Brown, offered me a part-time job at Topps Chewing Gum where I did my first professional work in the comics field, writing a series of Superman bubble gum cards.  And a short time later I learned a small company in Connecticutt, Charlton, was looking for writers. 

      After an interview with Charlton Editor and later comics legend-to-be Dick Giordano, I was assigned to write some romance scripts for Charlton on a freelance basis  at the princely rate of $4.00 per page.  And my comics-writing career was born.  I wrote lots of romance scripts as well as a couple of superhero stories for Dick over the next few months, including a few Blue Beetle  stories with Spider-Man co-creator Steve Ditko.

     In Sept. of ‘66, there was an editorial opening at Marvel.  Roy got me an interview with Stan, and I was hired as an assistant editor.  I was actually hired  without taking Stan’s famous writer’s test, because the company was growing and they needed help.  But I did later have to take the test before I was allowed to start writing comics on a freelance basis.  The test consisted of writing captions and word balloons on four pages of Spider-Man artwork.  I guess I passed it, because Stan didn’t fire me.

      The Marvel Bullpen, as the staff was called in those days, consisted of a handful of the most talented artists and writers in the business, among them John Romita, Marie Severin, production manager Sol Brodsky, do-everything secretary Flo Steinberg and production assistant Morrie Kuramoto.  Believe it or not, that was the Marvel in-house staff in late 1966.

      In short order over the next year, seats around the bullpen would be filled by comics greats John Verpoorten, Bill Everett (creator of Sub-Mariner), Frank Giacoia, Herb Trimpe, Tony Mortellaro and many many more.  And what a crew they were to work with.

     The bullpen was a beehive of activity as a usually few people worked to make the publication deadlines from day to day and managed to have a wonderful time clowning around and having a ball in the process. 

      And of course there was the hall-of-fame parade of artists coming in and out every day to drop off work and pick up assignments, great talents like Jack Kirby, Gene Colan, Gil Kane, John Buscema, Dick Ayers, and many, many more.   At no time in my life have I ever been surrounded by a greater array of talent than I was in those sixties Bullpen days.  It was the time and job of a lifetime. which I foolishly left for a time in the late sixties to seek my fame and fortune in California.

  Matt Price:  You also had a long and successful run on Sgt. Fury. Tell me about your take on that character.

Gary Friedrich:  There was an order of titles through which new writers would progress at Marvel.  You’d start out with Millie the Model, then progress to western titles like Kid Colt and Two-Gun Kid, then came Sgt. Fury.  But after I’d gone through that progression and written a few issues of Fury and was deemed ready to move on to the superhero big time, I didn’t want to let go of Fury and his Howling Commandos.  I’d grown fond of the ol’ Sarge as well as of working with Dick Ayers and inker John Severin, so I talked Stan and Roy into letting me continue writing the title, which I did for several years and probably more than 50 issues.

      I was wrapped up in the anti-war movement at that time, and I’d use the Fury title to espouse my anti-war sentiments from time to time, which I enjoyed.  It made me feel like I was doing something to carry the message. 

       So I’d have to say Fury and the Howlers were simply characters I was able to mold and have a lot of fun with over the years.  I also got to write several issues of Nick Fury Agent of S.H.I.E.L.D., a present-day telling of the continued episodes of Fury after the war in a James Bond-like setting.  Being a big Bond fan, I got a real kick out of that, too.

    Matt Price: What’s the most interesting about meeting fans at comic book conventions?

     Gary Friedrich:  I love meeting people, so the conventions give me the chance to hook up with new friends and fans.  And of course it’s gratifying to learn that work I did so long ago is still important to people. 

      I particularly enjoy talking to young fans who weren’t even born when I was writing comics and finding out how they discovered my work and what they like about it.

     Matt Price:  You’re from Missouri.  Have you ever been to Oklahoma before ?  Do you have any thoughts or stories relating to the state?

     Gary Friedrich: Not really.  I’ve been through a few times but haven’t ever really visited in your state save for an appearance a few weeks back at a comics convention, which I really enjoyed.  I found the fans and local professionals especially warm and friendly, and I learned a lot about the history of country and rockabilly music in Oklahoma from one of the guests at the con.  So, being a fan of both, I really enjoyed that.

     Matt Price:  What are your upcoming plans?

  Gary Friedrich:  I’d really like to get  back to writing comics, but it’s not easy breaking in after being away for more than thirty years.  The business has changed a lot, and most of the people I knew are retired.  So I’m dealing with convincing new editors that I still have what it takes.  Hopefully I’ll be successful soon.

       I’m also going to be doing a lot of comics conventions.  I’ll be in Tulsa for Defcon in August and hope to make a lot of friends from all over Oklahoma there.

From  Friday’s The Oklahoman: 

By Matthew Price
Assistant Features Editor

WORD BALLOONS

The creator of the motorcycle-bound supernatural hero “Ghost Rider” comes to Oklahoma City this weekend for SoonerCon. Gary Friedrich will visit with fans at the annual science fiction convention, held today through Sunday at the Biltmore Hotel, 401 S Meridian Ave.

Friedrich talked to The Oklahoman about his comic-book experiences with “Ghost Rider” and other comics in a recent interview.

“The first flash of an idea for Ghost Rider came when I was still a kid and saw Marlon Brando in ‘The Wild One,’” Friedrich said. “I loved the movie and began to think about a superhero on a motorcycle.”

As time went by, Friedrich said he was influenced by the cycle gang movies of the 1950s and 1960s, as well as daredevil Evel Knievel.

“The ideas began to come together in the late sixties during a period when I was away from Marvel and worked for another company for a time,” Friedrich said. “But as I began to lean toward a supernatural connection, I realized the Comics Code Authority probably wouldn’t accept anything like that. So although I had the concept pretty much together by 1970, I had to wait until the Code eased its standards for horror-type comics in 1971 to attempt to get the character published.”

The Ghost Rider first appeared in “Marvel Spotlight” No. 5 in early 1972.

Friedrich worked on several titles for Marvel Comics in the 1960s, including “Captain America,” “The Incredible Hulk” and “The Amazing Spider-Man.” His longest run as a writer came on “Sgt. Fury and His Howling Commandos.”

“There was an order of titles through which new writers would progress at Marvel,” Friedrich said. “You’d start out with ‘Millie the Model,’ then progress to western titles like ‘Kid Colt’ and ‘Two-Gun Kid,’ then came ‘Sgt. Fury.’ But after I’d gone through that progression and written a few issues of ‘Fury’ and was deemed ready to move on to the superhero big time, I didn’t want to let go of ‘Fury and his Howling Commandos.’ I’d grown fond of the ol’ Sarge as well as of working with Dick Ayers and inker John Severin, so I talked Stan and Roy into letting me continue writing the title, which I did for several years and probably more than 50 issues.”

From Friday’s The Oklahoman: 

By Matthew Price
Assistant Features Editor

WORD BALLOONS

Many people thinking of comics from the 1940s would think of muscled supercharacters such as Superman and Batman. But writer Ron Goulart follows another trend, that’s continued from the early days of comic books until today.

“Good Girl Art,” the latest book by comics historian Goulart, traces the popularity of drawing pretty, often scantily-clad female characters back to the Phantom Lady, Torchy, and Sheena, Queen of the Jungle.

Comics originally were reprints of comic strips from newspapers. But after the success of Superman in “Action Comics,” more and more publishers began requesting original material.

By 1941, “some of the more crafty publishers realized it wasn’t just kids (reading comics), it was teenage boys, it was young men,” Goulart said in a phone interview.

“The thing about GIs in the Second World War, they were kids, 18 or so,” Goulart said.

Rather than look solely at Superman, these teens and young men “might want to see somebody in a bikini, like Sheena,” he said.

Sheena, Queen of the Jungle, is described by Goulart as a “blonde, female Tarzan,” and was published in “Jumbo Comics,” from the shop of Jerry Iger and Will Eisner.

“What distinguished her from Tarzan, Ka-Zar and the other comic book jungle characters was that a great many readers found her a bit more interesting to look at,” Goulart writes in “Good Girl Art.”

“Her core audience was added to appreciably during World War II, when thousands of pin-up happy GIs joined the ‘Jumbo’ readership.”

The Good Girl style of art took a bit of a beating in the 1950s, as Dr. Frederic Wertham, senior psychiatrist of the New York Department of Hospitals, led a crusade against comics that caused the adoption of the Comics Code. This voluntary code slowed down Good Girl Art, but it came back in the 1960s and 1970s.

“By the 1970s, you have a college audience and an older audience,” Goulart said, that was drawn to characters like Vampirella and a revived Black Canary.

“Good Girl Art” also follows the career of Dave Stevens in the 1980s.

“We have two pieces of his work, the one where he did the Betty Page-type character for the Rocketeer, and then he did an unpublished Phantom Lady, which is one of the last ones in the book,” Goulart said. “He was one of the, in his period … one of the most popular guys doing that kind of thing. He certainly helped the revival of interest in Betty Page, as well. Betty Page also influenced the return of Phantom Lady in the ’40s.”

And Good Girl art continues to this day, with artists like Frank Cho, who provided the cover to “Good Girl Art,” and Adam Hughes.

But one thing that’s changed is the role the women play.

“In the old days, like the ’40s … when you saw women on comic book covers, about half of them would be victims,” Goulart said. “Now when there’s women on the cover of a comic book, I would say 95 (percent) or 99 percent of them are heroes. You don’t see the woman being saved anymore, you see the woman saving someone else.”

Goulart says comic books often reflect what’s going on in the world and in society.

“In the Second World War you had Betty Grable and Rita Hayworth and you had pin-up girls. This was what was going on. Comics were aimed mostly … (at) males. So they’re going to put pictures of pretty women,” he said. “I didn’t invent that, and I’m not justifying it, but that’s the way it is. You could say, well, this is a very sexist thing, but … the good girl art, for the most part (is) incredibly tame considering what you can see in the men’s magazines, or certainly on the Internet now. It’s a very sedate kind of sexiness.”