Remembering Doctor Who writer Terrance Dicks

British writer Terrance Dicks passed away on August 29th.  He was 84 years old.  Dicks worked on such varied projects as the spy-fi series The Avengers, the soap opera Crossroads, and the BBC’s Sunday Classics series of literary adaptations.

However it is for his lengthy association with the science fiction series Doctor Who that Dicks is best remembered.  He first became involved with Doctor Who in 1968 and worked on various incarnations of the show right up until the time of his death.

Terrance Dicks

As Dicks himself readily admitted in his humorously self-effacing style, becoming the assistant script editor on Doctor Who in 1968 was as much a case of him being in the right place at the right time as it was his abilities as a writer.  He came onboard during the show’s fifth season, Patrick Troughton’s second year as the Doctor, during the production of the serial “The Web of Fear.”  Dicks’ enduring memory of that story was the production team’s futile efforts to make the robot Yetis’ roars sound less like a flushing toilet.

The first story Dicks was actively involved in commissioning was “The Krotons” by Robert Holmes.  The sixth season of Doctor Who was beset by various commissioned stories falling apart late in the day, leaving co-producers Derrick Sherwin and Peter Bryant scrambling to find usable scripts.  “The Krotons” was once such last-minute replacement.  For years afterwards Dicks would refer to the Krotons as one of Doctor Who’s silliest monsters.  At the same time, though, the scripts by Holmes were solid, and as Dicks himself was always quick to point out, Holmes would very quickly go on to become arguably the best writer to ever work on Doctor Who.

As script editor Dick was also the uncredited co-writer of the six part Brian Hayles serial “The Seeds of Death.”  Due to the ongoing production problems the serial was only in a draft state, needing a significant amount of work before it could go in front of the cameras.

Doctor Who The KrotonsBut it was the final serial of the 1969 season that truly saw Dicks’ baptism of fire.  Those aforementioned production problems led to the simultaneous collapse of the four-part and six-part serials that were to end the season.  In desperation Sherwin instructed Dicks to write a single 10-part serial to close out the year, with the provisos that series regulars Patrick Troughton, Frazer Hines & Wendy Padbury all be written out at the end, that the Doctor’s previously-unrevealed people the Time Lords be introduced, and that the Doctor be exiled to present-day Earth.  Oh, yes, and Sherwin needed Dicks to write those 10 scripts ASAP.

An understandably frantic Dicks corralled Malcolm Hulke, the writer who several years earlier had helped him get his foot in the television door, and with whom he had co-written several episodes of The Avengers. Working at a furious pace, the two of them somehow managed to crank out the scripts for all 10 episodes in less than a month.  Despite the absolutely insane circumstances under which “The War Games” came to be written, it went on to become a well-regarded serial.

The seventh season of Doctor Who saw even more changes and challenges for Dicks.  Sherwin and Bryant both departed, but not before making the aforementioned decision to exile the Doctor to Earth to become the scientific advisor to Brigadier Lethbridge-Stuart and the UNIT organization.  This was Sherwin’s desperate cost-saving measure for a show with declining ratings that the BBC was seriously considering canceling.

Fortunately several things took place that would guarantee Doctor Who’s future.  Jon Pertwee was cast as the new Doctor, the show switched from black & white to color, Barry Letts came onboard as the new producer, and Dicks became the full-time script editor.  Pertwee was a perfect fit for the Doctor, the color production also brought new attention to the series, and Dicks & Letts instantly clicked, becoming not just close collaborators but lifelong friends.

Doctor Who RobotIt was Dicks & Letts who devised the Doctor’s arch-nemesis the Master.  Dicks observed to Letts that the Doctor was very much like Sherlock Holmes, and the Brigadier was like Watson.  So why not introduce a Moriarty for the Doctor?  Letts immediately took to the suggestion, and right away suggested actor Roger Delgado, who he had worked with in the past, for the role.  Delgado was indeed a brilliant casting decision.  Pertwee and Delgado had immediate chemistry as the rival Time Lords, which further energized the show.

Dicks was the script editor for Pertwee’s entire five year stint on Doctor Who.  In that capacity Dicks was basically the uncredited co-writer for the entire Third Doctor era of the series.  In 1974 when Pertwee decided to depart, Dicks and Letts also made the decision to move on, but not before casting Tom Baker as the new Doctor, a decision that would eventually result in the show becoming even more popular.

Dicks also finagled the job of writing Baker’s debut story “Robot,” crafting a four part serial that was simultaneously thought-provoking and humorous.  It contains one of my all-time favorite lines of dialogue from the series, with the Doctor attempting to stop a computer from triggering the simultaneous launch of the world’s nuclear weapons while breezily observing:

“The trouble with computers, of course, is that they’re very sophisticated idiots. They do exactly what you tell them at amazing speed, even if you order them to kill you. So if you do happen to change your mind, it’s very difficult to stop them obeying the original order, but… not impossible.”

Dicks would write several more television stories for Doctor Who.  Robert Holmes became the new script editor, and commissioned Dicks to write “The Brain of Morbius.” Regrettably, due to technical issues Holmes had to do significant rewrites.  As Dicks later recounted:

 “I was furious when I read the rewritten scripts for ‘The Brain of Morbius’. I rang up Bob Holmes and shouted at him down the telephone. Eventually, I said ‘Alright. You can do it, but I’m going to take my name off it’ – the ultimate sanction! Not because it was a bad show, but because it was now more him than me. He asked ‘Well what name do you want to put on it?’ I said ‘I don’t care. You can put it out under some bland pseudonym’ and slammed the phone down. Weeks later, when I saw the Radio Times, I noticed it was ‘The Brain of Morbius’ by Robin Bland. By then, I’d cooled down and the joke disarmed me completely.”

Dicks also wrote ”The Horror of Fang Rock” for Holmes in 1977, and “State of Decay,” which was broadcast in 1980 during Tom Baker’s final season.  “State of Decay” was somewhat revised by the then-current script editor Christopher H. Bidmead.  In that case I personally feel the blending of Dicks’ and Bidmead’s very disparate approaches to the show actually resulted in a much stronger story, one where the whole is greater than the sum of its parts.  Dicks’ final contribution to the television series was in 1983, writing the 20th anniversary special “The Five Doctors.”

Doctor Who Auton InvasionAlthough he was no longer working of the TV show itself, Dicks remained a key part of the world of Doctor Who via his prose writing.  Back during his time as script editor he had been commissioned by Target Books to write novelizations of the show’s various serials.  The first one Dicks wrote was Doctor Who and the Auton Invasion, adapted from Robert Holmes’ scripts for Pertwee’s debut story “Spearhead in Space” and published in January 1974.

Dicks was the unofficial editor of the Doctor Who book line.  He would attempt to get the original writers to adapt their own scripts.  Malcolm Hulke and former script editor Gerry Davis each wrote several of the novelizations, as did actor-turned-writer Ian Marter.  However, due to the low pay, most of the time Dicks ended up to writing them himself, and eventually he would pen over 60 of them.

To truly appreciate the impact of these novelizations on Doctor Who fandom, you need to understand the time period in which they were published.  In the 1960s and 70s the BBC would typically air Doctor Who episodes once, with perhaps an occasional repeat of a serial at the end of the season or during the holidays.  If you missed seeing an episode when it first aired, chances were good that you were never going to see it.  There was no home video or DVDs or DVRs or streaming or anything like that.

On top of that, due to videotape being expensive, and film taking up a great deal of space, the BBC routinely wiped videos of older shows, and junked the film copies they made to sell their programs to foreign countries.  Doctor Who was one of many series to be affected by this policy.  By the end of the 1970s nearly all of the Doctor Who episodes from the 1960s were missing from the BBC archives.  A decent-sized chunk of Pertwee’s five year tenure was also absent.

Doctor Who Carnival of MonstersSo, if you were a fan in the early 1980s, between the paucity of reruns, the non-existence of home media, and the seeming destruction of many of the episodes from the first 12 years of the show, the novelizations by Terrance Dicks & Co were literally the only way you could experience older stories.  If you wanted to discover the show’s past, the novelizations were absolutely invaluable.

Fortunately a lot of those missing stories have since been recovered, and a handful of the still-missing episodes have been recreated via animation.  Nevertheless, there are still certain serials that are partly or completely missing where the novelization is a way in which you can experience the story.

I well remember exactly how much the novelizations affected me as a Doctor Who fan.  I started watching reruns on the PBS station WLIW in 1984, when I was eight years old.  I came in at the tail end of Tom Baker’s run, and then saw the Peter Davidson stories.  The stories sometimes referenced the show’s past, and these were tantalizing hints of an exciting history that I had no way of experiencing.

Then one evening at the Galleria shopping mall in White Plains NY, at the Waldenbooks, I came across an entire display of Doctor Who novels.  To my young, excited eyes there were dozens of them, with colorful, exciting covers, featuring aliens and giant monsters and dinosaurs and spaceships and other weird, exciting sights.  (The covers to The Auton Invasion and The Carnival of Monsters by artist Chris Achilleos seen above are good examples of the sort of covers that appeared on the Target novelizations.)  I immediately wanted to buy one… but my father wouldn’t let me.  I don’t know why, but he seemed convinced that I wasn’t going to actually read it.  But over the next week or so, I begged & pleaded.  My father finally gave in, and the next time we went to Waldenbooks he let me buy one.  I finished that book in just a few days, and was soon asking my parents to let me buy another.

Doctor Who Power of KrollNow here’s the humorous part of the story.  That first novelization I got was Doctor Who and the Power of Kroll, written by Terrance Dicks, based on Robert Holmes’ script.  I had never seen the TV story, and I bought it because it had Tom Baker’s Doctor with a really weird gigantic monster on the cover.  Reading the book by Dicks, I became convinced that “The Power of Kroll” had to be an absolutely amazing TV story. A few years later I was certainly in for a rude awakening!

This was the first, but certainly not the last time, this would happen to me with the novelizations.  The benefits of the prose format was that it allowed Dicks and others to work with an unlimited budget, to not worry about dodgy special effects and cheap sets and rubbish costumes.  Within the imagination of readers such as myself everything was real.

The prose format also allowed Dicks and the other adapters to get into characters’ thoughts, to expand certain scenes, to restore moments that had been left on the cutting room floor, and to fill in plot holes that came about during the series’ always-rushed production schedule.  There were several times when I read novelizations by Dicks before I got to see the actual episodes, and almost inevitably the book versions were better than the original television episodes.

As I discussed in my review of the 1972 serial “Day of the Daleks,” in his novelization Dicks did a superb job of expanding, and improving upon, the television episodes.  Another example that comes to mind is his adaptation of the debut story of the Master, “Terror of the Autons.”  The book improves upon the broadcast version in several ways.   Certainly the cyclopean octopus-lobster hybrid form of the Nestine Consciousness seen in the book is a much more formidable menace than the blob of energy we saw on TV screens.

Doctor Who Terror of the AutonsIn the early 1990s Doctor Who had been cancelled and the majority of the serials had been novelized.  The decision was made to begin publishing original novels.  Several of the writers who have worked on the revival of Doctor Who launched in 2005 got their start on these novels.  And also present was Terrence Dicks, who wrote several novels over the next two decades.

It’s interesting to contrast the approaches of the younger writers with Dicks.  Most of the younger writers were very experimental, writing books that were part of larger arcs, and having catastrophic stuff happen to the TARDIS, and making the companions the main characters who drive the plot forward, and showing the Doctor acting as this Machiavellian cosmic chess master.  Obviously this laid the groundwork for a lot of what was subsequently done in the television revival.

Having said that, sometimes it got a bit tiresome, and you wanted to read a novel where the TARDIS just landed somewhere randomly, depositing the Doctor and his friends in the middle of an exciting adventure.  That was the approach favored by Dicks, and he tried to utilize that more traditional story structure in his novels.  Occasionally his books could become too heavily referential to past continuity.  But on the whole they were fun reads.  Certainly I enjoyed his 1995 novel Blood Harvest, which was a sequel to his serial “State of Decay.” I think it contained a nice balance between the new direction of the novels and a more traditional story.

Doctor Who Blood HarvestAnother book by Dicks that really stood out in my mind was Players, which was published in April 1999.  Dicks did a great job writing the Sixth Doctor and Peri.  I’ve made no secret of the fact that I feel Colin Baker and Nicola Bryant were given some underwhelming material to perform when they were on the show.  Reading the novel Players led me to wish Dicks could have worked on the show during the Sixth Doctor’s all too short tenure.  As I said, Dicks loved to reference continuity in his novels, but at the same time he was usually cognizant that you absolutely needed a strong story on which to anchor all of those tie-ins to past adventures.

Dicks continued to write Doctor Who prose fiction after the 2005 revival.  He penned Made of Steel and Revenge of the Judoon, a pair of “Quick Read” novellas starring the Tenth Doctor & Martha Jones, and he did a novelization of “Invasion of the Bane,” the debut episode of Who spin-off show The Sarah Jane Adventures.  A final short story, “Save Yourself,” is scheduled to be published posthumously later this year in the anthology Doctor Who: The Target Storybook.

A gifted raconteur, Dicks was an enthusiastic participant in the Doctor Who DVD audio commentaries & behind the scenes documentaries.  He was a popular guest at conventions.  I had always wanted to meet him.  Unfortunately when he was at the Doctor Who convention on Long Island in 2014 I was unemployed & short on funds, so I was unable to go.

Everyone who knew Dicks spoke warmly of him, and the tributes that have been written over the past week have all been heartfelt.  He certainly was an important and influential figure in helping to make Doctor Who the ongoing success that it is.

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It Came from the 1990s: Ivar the Timewalker

Welcome to the latest edition of Super Blog Team-Up!  This time our theme is immortality.  I will be taking a brief look at the comic book character Ivar Anni-Padda, aka the Timewalker, the immortal time travel whose adventures are published by Valiant.

Truth to tell, I was already planning to do a piece about Ivar, since this month marks 25 years since the publication of Timewalker #1, which came out in August 1994. (Time really does fly!)  So when this installment of SBTU came along, it felt like synchronicity.

Timewalker 1 cover

Ivar the Timewalker is a free-spirited swashbuckling adventurer who over his thousands of years of life has crisscrossed across the ages.  Both his visual appearance and his immortality evoke Conner MacLeod from the original Highlander movie released several years earlier.  However, in regards to both his more lighthearted personality and his time traveling exploits Ivar seems to anticipate another immortal figure by more than a decade, Captain Jack Harkness from Doctor Who and Torchwood.

As I have mentioned before, the 1990s often have a bad reputation when it comes to comic books.  Yes, a lot of really bad comics came out in that decade.  However, there were also some really great ones, as well.  Some of the best were published by Valiant Comics, a great company that was founded in 1989 by Jim Shooter, and which in its early days saw significant contributions from talented creators Barry Windsor-Smith and Bob Layton.  I really should have blogged about Valiant before now.  In the first half of the 1990s I avidly followed their comics.  I was especially a fan of Ivar, who eventually starred in his own series.

Initially in the Valiant universe it was established that there were two immortal brothers: Gilad Anni-Padda, aka the Eternal Warrior, and Aram Anni-Padda, aka Armstrong.  The two were polar opposites.  Gilad was a fierce & ruthless warrior who worked in the service of the mystic Geomancers who sought to safeguard the Earth.  Aram, on the other hand, was an alcoholic hedonist, a millennia-old party animal who in the present day had established a friendship with the mortal teenage monk Archer.

In early 1993 we finally met the third brother, Ivar.  Archer & Armstrong / Eternal Warrior #8 was a double-sized issue combining the two ongoing series.  It features Armstrong telling Archer the true story of D’Artagnan and the Three Musketeers, who in the Valiant universe were actually Gilad, Aram and Ivar.

Written & penciled by Barry Windsor-Smith, inked by Bob Wiacek, colored by Maurice Fontenot, and edited by Bob Layton, “The Musketeers” relates how in France in the early 18th Century the Geomancer Angelique D’Terre foresaw the events of the French Revolution and attempted to forestall them.  Working with Gilad, she ruthlessly maneuvered to replace King Louis XIV with his secret twin brother, the so-called Man in the Iron Mask.

However, inverting the events of Alexandre Dumas’ novel, in this reality Louis is merely an incompetent moron, whereas his brother Henri is a brutal monster.  Belatedly realizing that replacing Louis with his brother will make a bad situation infinitely worse, Angelique and Gild are able to undo the switch, but not before Henri has raped & murdered D’Artagnan’s fiancée.  Ivar is completely disgusted at Gilad’s machinations, and at what the failed scheme has cost their friend D’Artagnan.

Archer Armstrong 8 pg 29

Sooon enough we meet Ivar again, this time in then-present day London, England, within the pages of Archer & Armstrong #10-11 by the team of Windsor-Smith, Wiacek & John Floyd, and Fontetot.  Ivar is attempting to access a “time arc” that will at long last take him back to Egypt in 37 BC, back to the side of his beloved Queen Nefertete.

Armstrong arrives to visit his brother, with young Archer in tow.  The trio is soon ambushed by a group of time-displaced civilians from across the centuries who have all ended up in 1992, and who believe Ivar is responsible for abducting them.  Armstrong, however, informs them that he is to blame, that his efforts to find a way to return Ivar to Ancient Egypt inadvertently drew all these people from across the ages.  Fortunately the nuclear-powered Solar arrives to inform Armstrong that an old foe of his is tearing up Los Angeles looking for him.  Solar is able to use his powers to re-energize Armstrong’s time portal, which he uses to send all of the abductees back to their proper time & place.

Solar offers to finally send Ivar back to 37 BC.  Faced with the possibility of finally being reunited with “Neffi,” Ivar is actually nervous.  Letting down his guard, revealing for once the cost he feels immortality has exacted, Ivar explains to his brother:

“It’s been, like… three thousand years since I last saw Nefertete, man — and I’ve lived a zillion lifetimes since… I’m not the same guy she loved back then… I’m afraid that I may have… changed too much for her to accept me again.”

Armstrong tells Ivar that if he has changed in the millennia since he’s seen Neffi then it’s probably for the better.  Encouraged, Ivar enters the time portal.  Unfortunately F7, a robot from the 41st Century who has grown attached to Ivar, leaps in right after him, hoping to join him in Ancient Egypt.

Archer Armstrong 11 pg 19

When we next see Ivar it is in Magnus Robot Fighter #33 (Feb 1994) in a story plotted & penciled by Jim Calafiore, scripted by John Ostrander, inked by Gonzalo Mayo and colored by Mark Csaszar.  Due to F7 jumping into the time arc, he and Ivar instead end up in North Am in the year 4002 AD.  Unfortunately since F7 has been away the Earth has been invaded by the sentient alien robots the Malevs.

F7 quickly comes under the control of the Malevs, who scan his memory and learn about Ivar.  The Malev Emperor realizes that if it can capture Ivar and replicate his powers, the Malevs can travel back in time to prevent the births of Magnus and Rai, thereby ending the resistance against the invasion before it even began.

Ivar, understandably annoyed at once again being in the wrong place at the wrong time, encounters Magnus.  Soon discovering exactly who Ivar is, Magnus realizes he needs to keep the time traveler out of the Malevs’ metal clutches long enough for another time arc to materialize.  At long last one does open.

Hopping on a sky cycle while the Robot Fighter is being overwhelmed by Malev soldiers, Ivar promises that he will send help.  He then flies into the time arc, and for a minute it looks like Magnus is going to be killed, until literally out of nowhere Rai and his allies arrive to save him, with a mystified Rai explaining the nanites in his blood told him to come to here, that somehow the nanites knew Magnus needed help at this exact time & place.

And elsewhere in time, now in a vast barren desert, in an example of what Doctor Who would later describe as “wibbly wobbly timey wimey,” Ivar records a journal entry:

“Time jump report, supplemental. Make note – the next time I see Bloodshot, have him program the information about Magnus into his nanites. Have to be careful so that Bloodshot himself doesn’t learn too much about his own fate. If I understand all this correctly, the nanites will compel the man known as Rai to go to Magnus’ aid.”

Magnus Robot Fighter 33 pg 6

Having completed his report, Ivar wonders where exactly he has gotten to this time.

Both Ivar and the audience would learn the answer in the Timewalker Yearbook #1.  Published in early 1995, this annual was plotted by Jon Hartz, scripted by Kevin VanHook, penciled by Elim Mak, inked by one of my favorite artists, the talented Rudy Nebres, and colored by Eric Hope.

Offhand I didn’t recognize the name Jon Hartz, so I asked VanHook about him on Facebook.  I also told VanHook that Timewalker was one of my favorite Valiant characters. He responded:

“Jon was our head of marketing. He was also very creative and had a hand in building the character of Timewalker.

“I always liked Timewalker. I didn’t get to do a lot with him, but I enjoyed the character.”

Opening in the same place & time that Magnus #33 ended, the Yearbook has Ivar still exploring the vast desert on his sky cycle.  A loud rumbling and dust storm on the horizon comes towards him, and in the next instant Ivar is nearly overrun by thousands of stampeding dinosaurs, followed by an immense tidal wave.  Ivar belatedly realizes the desert he was in was the Mediterranean Basin, and the titanic deluge of water is the Atlantic Ocean flooding over the Gibraltar Straight to create the Mediterranean Sea.

Of course, it is now generally accepted that the cataclysmic flooding of the Mediterranean Basin actually occurred approximately 5.3 million years ago, long after the dinosaurs died out.  But, hey, I’ll let this one slide, because the spectacle of charging dinos makes for a dramatic moment, and Mak, Nebres & Hope certainly do an incredible job of depicting it.

Timewalker Yearbook pgs 2 and 3

Just in the nick of time, another time arc opens as the massive wave reaches Ivar,  bringing him to a New York City rooftop in April 1992.  This very wet & violent arrival brings Ivar to the attention of the ruthless Harbinger Foundation, which dispatches several operatives to investigate.  That, in turn, results in the Foundation’s rivals the H.A.R.D. Corps also wanting to bring in Ivar for questioning.  The Foundation’s team of Eggbreakers captures Ivar, but he is quickly rescued by the Corps.  Ivar finds himself in another one of those lovely time paradoxes when he addresses the Corps’ leader:

Ivar: Listen, Gunsliger… I know we’ve never really gotten along…

Gunslinger: Gotten along? I don’t even know you, buddy.

Ivar: That’s right… not yet.

Gunslinger: What?

Three pages later Ivar learns exactly why Gunslinger later doesn’t like him when the time traveler blows up the wrecked sky cycle in order to escape.  And two months later, waiting to catch another time arc in the Rocky Mountains, Ivar humorously reflects on the paradox…

“Have to remember to look up when I met Gunslinger. I think it was ’94 or ’95… Too bad I can’t warn myself that he’s going to slug me!  Oh, well… I’ll deserve it!”

I like the idea that Ivar kept a journal of his travels. Considering he had lived for thousands of years and he was constantly bouncing back & forth in time, it was a good way for him to keep track of his innumerable experiences.

Going back in time, at least publishing-wise, we finally get to the first issue of Timewalker.  The series spun out of Valiant’s company-wide crossover The Chaos Effect.  A dark necromantic power from the end of time follows Ivar back to 1994, where it consumes the planet’s electrical energy.

I found The Chaos Effect to be sort of an underwhelming storyline.  Whatever the case, at least it led to Ivar finally receiving his own solo book.

Chaos Effect epilogue

Ivar spends most of The Chaos Effect unconscious, but he wakes up in time for an epilogue written by Bob Hall, penciled by Don Perlin, and inked by Gonzalo Mayo.  Once again meeting Magnus, this time in the present day, Ivar shares some slightly tongue-in-cheek insights into his experiences as a time traveler:

“History’s all relative, anyway. If history describes something a certain way, and you go to the time where it happened, then you were always there… so it probably turned out the way history describes just because of you. You may as well just show up and have fun.

“Beyond that, carry condoms, a flashlight and matches, beware of the drinking water, make loud noises to scare off bears and humans, and take chewing gum. Every era likes chewing gum.”

With that Ivar leaps into the next time arc, and into the pages of his own series.

“Ivar the Traveler” is by the team of Hall, Perlin & Mayo, with colors by Stu Suchit, and editing by Layton.  Ivar’s latest journey through time deposits him in Briton during the time of the Roman occupation.  The time traveler ends up trying to fight off a group of drunk, violent Roman soldiers who are doing the whole “rape & pillage” thing, including one who spots Ivar and shouts “You!!! I told you if I ever saw you again I’d kill you!”  Of course, Ivar hasn’t met this fine fellow… yet!

Cursing the perils and paradoxes of time travel, Ivar attempts to fight off the soldiers.  And then another time arc opens, scooping up Ivar.  Looking around, the time traveler spots a Nazi patrol, and realizes he is in Europe during World War II.

Successfully infiltrating the Nazi forces, Ivar eventually ends up encountering the captive Professor Weisenfeld and his young son.  Pretending to interrogate the scientist, Ivar explains how he has come to be there:

“In 1998 you have a grandson named Mack. He’s a friend of mine and he’s fixing my tachyon compass… He told me that when I land here I have to rescue you. Otherwise he doesn’t get born and my compass doesn’t get fixed.”

And as if this story wasn’t already wibbly wobbly timey wimey enough, a minute later the Eternal Warrior bursts into the prison, leading to the following exchange:

Ivar: Gil, what are you doing here?

Gilead: You told me to come! 1934, you told me to show up here, don’t you remember?

Ivar: No! I haven’t done that yet!

Good thing for Ivar that Gil wasn’t still holding a grudge over their argument back in 18th Century France!

The brothers fight their way through the Nazis.  Gil leads the Professor, his son, and the other prisoners to safety while Ivar holds off the goose-steppers.  Ivar is shot, but another time arc materializes, and he leaps into it. His destination: the year 1854, during the Crimean War.

Ah, but that’s a story for another time… so to speak!

Timewalker 1 pg 19

The ongoing Timewalker series lasted for 15 regular issues, plus the aforementioned Yearbook, as well as a Zero issue featuring Ivar’s origin that came out a few months after the series ended.  I definitely enjoyed it.  Ivar’s adventures were an enjoyable mix of comedy and drama.

Perhaps I’ll do a retrospective on the rest of Timewalker at a later date.  But, honestly, it’s such a great series, I recommend seeking out the back issues.  Trust me, you’ll probably have a more enjoyable time reading the actual comic books than you would having me yammer on about them at this blog!

Valiant unfortunately experienced difficulties in the second half of the decade.  In 1994 they were purchased by Acclaim Entertainment, who I feel pushed the company to expand too fast.  Then the market imploded in the mid 1990s, leading to the cancellation of the line.  Acclaim did restart a handful of the series in the late 1990s, as well as creating a few new titles, but those did not last long.  At that time Acclaim appeared to have much more of a focus on developing video games based on the Valiant characters than in actually publishing quality comic books.

The Valiant universe was eventually re-launched in 2012 by a new group of owners under the Valiant Entertainment label.  Over the past several years the company has had a reasonable amount of success.  Among those rebooted characters has been our pal Ivar.  Ivar: Timewalker ran for 12 issues between Jan and Dec 2015.  The entire run has been collected into three trade paperbacks.  I haven’t had an opportunity to read those yet, but they are definitely on my “want” list.  Hopefully I will get to them soon.  After all, unlike Ivar, and the other subjects of this edition of SBTU, there’s only a limited amount of time available to me.

So many great comic books, so little time!

SBTU Immortal

Here are links to all of the other Super Blog Team-Up participants.  I hope you will check them out.  Thanks!

(Some of these links will not be active for another day or two, so if they are’t working right now then check back again soon!)

Comic Reviews By Walt: TMNT and Highlander

Superhero Satellite: SBTU Presents IMMORTAL: Peter Loves Mary Jane

Comics Comics Comics: The Immortal Dr. Fate

Between The Pages: Big Finish: Doctor Who’s Finest Regeneration

The Unspoken Decade: Archer and Armstrong: Opposites Attract

DC In the 80s: Forager – The Second Life of a Bug

Black, White and Bronze: What Price Immortality? A Review of Red Nails

The Daily Rios: Arion The Immortal: The 1992 Miniseries

Chris Is On Infinite Earths: Podcast Episode 26 – Resurrection Man 1997 & 2011

Vic Sage of Pop Culture Retrorama Podcast: I am Legend

The Source Material Comics Podcast: Vampirella “Roses For The Dead”

Dave’s Comic Heroes Blog: Multi-Man, the Immortal Foe of the Challengers

Magazines and Monsters: Kang/Immortus: Marvel Triple Action #17, 1974: “Once an Avenger…”

Radulich Broadcasting Network: TV PARTY TONIGHT – Jupiter Ascending commentary

 

A brief look back at comic book artist Ernie Colon

Comic book artist Ernie Colon passed away on August 8th.  Colon was a versatile artist.  Among the numerous projects he worked on over the decades were Casper the Friendly Ghost and Richie Rich for Harvey Comics, the fantasy series Amethyst, Princess of Gemworld with writers Dan Mishkin and Gary Cohn at DC Comics, and in collaboration with Sid Jacobson a graphic novel version of the 9/11 Commission Report titled The 9/11 Report: A Graphic Adaptation.  I cannot imagine a more diverse range of projects than that!

While I certainly cannot say that I was a huge fan of Colon’s work, I certainly enjoyed it whenever I saw it.  I have fond memories of several projects that he illustrated on, so I felt it would be nice to offer a brief look at his work on those books.

Damage Control 1 cover

Colon and writer Dwayne McDuffie co-created the superhero comedy book Damage Control for Marvel Comics.  Damage Control offered a humorous look at a construction company that specialized in repairing the buildings that have gotten wrecked in superhero battles.  The very odd & colorful staff of the Damage Control organization made their debut in Marvel Comics Presents #19, and soon after were featured in a trio of 4 issue miniseries published between 1989 and 1991.  Colon worked on all but one of the issues.

At a time when superhero comic books were very steadily heading into “grim & gritty” territory, Damage Control was certainly a breath of fresh air.  McDuffie’s scripts were clever & humorous, and the offbeat artwork by Colon was a perfect fit.

For a number of years I owned a page of original artwork from the first miniseries, which had Bob Wiacek’s inking over Colon’s pencils.  Regrettably I had to sell it a while back, but fortunately it went to a good home.

Magnus Robot Fighter 14 pg 18

In the early 1990s Colon worked on several issues of Magnus Robot Fighter for Valiant Comics.  In addition to penciling & inking, Colon also provided the coloring on several issues, resulting in some very striking and unusual artwork.  This definitely gave Jim Shooter’s stories an unsettling feeling, bringing to life a world that was more than slightly askew.

The work by Colon really suited the 41st Century setting of the series, a seeming hi-tech utopia of gleaming steel possessed of a dark underbelly.  The two part “Asylum” story by Shooter & Colon that ran in Magnus Robot Fighter #13-14 certainly contained a very palpable atmosphere.

Dreadstar miniseries 3 pg 4

In 1994 Colon teamed with writer Peter David on a revival of Jim Starlin’s incredible space opera Dreadstar.  Published under the Bravura imprint of Malibu Comics, this six issue miniseries leaped forward a number of years from the end of the previous series.  It featured Vanth Dreadstar’s teenage daughter Kalla, who has been raised from infancy by none other than her father’s arch-enemy, the genocidal Lord Papal.

The Dreadstar miniseries was very dark & serious… except when it was not.  David has always proven adept at deftly blending drama and comedy in his scripts, and his work on Dreadstar was no exception.  Colon adaptability as an artist was very well suited to illustrate such material.  He powerfully rendered scenes of grim violence.  He also ably illustrated some genuinely wacky characters and ridiculous laugh-out-loud moments.

Dreadstar miniseries 5 cover

Looking over the artwork from just these three series amply demonstrates the versatility of which I previously spoke.  Colon was a very talented artist who was at home in a variety of genres.

Colon was 88 years old when he passed away.  I had no idea he was that old, and that he’d actually begun working in comic books back in the late 1950s.  Colon certainly had a long and prolific career.  He leaves behind an impressive body or work featuring some stunningly beautiful art.

 

 

David Hedison: 1927 to 2019

Prolific actor David Hedison passed away on July 18th at the age of 92. I always enjoyed seeing him appear on numerous television shows and movies throughout the years. He acted in several memorable productions.

David Hedison

Albert David Hedison Jr. was born on May 20, 1927 in Providence, RI.  Hedison first became involved in acting when he appeared in a school play in Junior High School.  He attended Brown University in Providence, where he majored in English.  Hedison subsequently studied at the Neighborhood Playhouse and the Actors Studio in New York City.

Under the name “Al Hedison” he appeared in various stage productions throughout the 1950s, including the 1956 Broadway production of A Month in the Country directed by Michael Redgrave.  This brought him to the attention of 20th Century Fox, who signed him to a contract.  His first job for the studio was a supporting role in the 1957 movie The War Below starring Robert Mitchum.

Hedison’s next role was in The Fly (1958).  Directed by Kurt Neumann, The Fly was adapted from the short story by George Langelaan.  Several actors passed on the role of scientist André Delambre, since the character would spend much of the movie with his face hidden beneath a mask.  Hendison, however, was very taken with the screenplay by James Clavell and enthusiastically signed up.  The Fly was an incredibly well produced movie, one of the classic sci-fi / horror films, and it featured a very moving & tragic performance by Hedison.  It would become one of the most memorable entries in his lengthy career.

In 1960 Hedison was cast in the Cold War adventure series Five Fingers on NBC.  Probably the most noteworthy aspect of this short-lived show was that NBC insisted Hedison change his name, as they apparently felt “Al” was not distinctive enough.  Hedison decided to go with his middle name, and for the rest of his career he was billed as “David Hedison.”

From 1964 to 1968 Hedison starred as Captain Lee Crane in the sci-fi / adventure TV show Voyage to the Bottom of the Sea.  Despite repeated entreaties by series creator Irwin Allen, Hedison was initially uninterested, but he was finally won over when he learned Richard Basehart would be his co-star, portraying Admiral Harriman Nelson.  As Hedison recounted in a 2013 interview with Classic Film & TV Café:

“I had never met him, but I admired Richard’s work very much. I got his number from the studio. I called him up, and we agreed to meet at his house. He liked my enthusiasm, we hit it off and we worked really well together. We made the show work. Richard and I had real chemistry. He taught me so much about being camera ready when I needed to be. Television filming is so very fast, we always had to keep moving on. Voyage shot in six days–we filmed at a very fast pace.”

David Hedison and Richard Basehart

Voyage to the Bottom of the Sea was very much a product of its time, and of Allen’s production style.  It was totally story-driven, with stand-alone episodes and no real character development.  The first season, shot in black & white, was fairly serious, with a lot of gritty Cold War-type plotlines and a fair amount of location work. Once the show transitioned to color with season two, it started to become over-the-top and silly, with most of the episodes featuring a monster of the week, and pretty much everything being shot in the studio. The show also started reusing a lot of props from Lost in Space and other Allen productions.

Despite these drawbacks, Voyage is a fondly remembered series.  Hedison and Basehart’s performances definitely played a large part in that, and they often helped to carry some of the more far-out episodes.

Among Hedison’s other memorable roles were his two appearances in the James Bond movie franchise.  He played CIA agent Felix Leiter in Live and Let Die (1973) with Roger Moore as Bond.  Hedison becoming the first actor to play Leiter twice when he reprised the role 16 years later in License to Kill (1989), this time with Timothy Dalton as Bond.

I’ve always felt that having Hedison return as Leiter in License to Kill was a smart move.  In the original Ian Fleming novels Leiter was a close ally of Bond, but this never really carried across to the movies, because each time Leiter showed up he was played by a different actor.  The plot of License to Kill involves Bond going rogue and seeking vengeance against the South American drug lord who nearly kills Leiter.  This becomes much more believable if you have Leiter played by someone who has previously appeared in the role, someone who the audience has an existing connection to.  Even though Bond was now played by Dalton, having Hedison return as Leiter really helped sell the idea that these two men were longtime friends, and that Bond would go to hell & back to avenge him.

Hedison also found work in television soap operas.  Throughout the 1990s he was a regular on Another World, and in 2004 had a recurring role on the soap opera The Young and the Restless.

Although Hedison seldom received starring roles later in his career, he nevertheless worked regularly through the decades.  According to the New York Times, Hedison appeared in more than 100 movie and television roles during his lengthy career.

David Hedison Suzanne Lloyd and Roger Moore

Among Hedison’s noteworthy television guest roles, he appeared in a January 1964 episode of The Saint.  Also guest starring the lovely Suzanne Lloyd, “Luella” has Hedison playing a newly-married friend of Simon Templar’s whose wandering eye & overactive libido gets him ensnared in a blackmail scheme.  This was definitely one of the most humorous episodes of The Saint, and Hedison really threw himself into it with an energetic performance.  This was Hedison’s first time working with Roger Moore, and the two became good friends.

Another memorable turn for Hedison was “The Queen and the Thief,” an October 1977 episode of the Wonder Woman series starring Lynda Carter.  Hedison portrayed suave international jewel thief Evan Robley.  The episode guest starred Juliet Mills and John Colicos.  It’s certainly one of the more low-key episodes of Wonder Woman, but Hedison definitely sells it with his portrayal of the smooth, charismatic master criminal.

Interviewed in 1992, Hedison stated:

“I think I do comedy best. I think I’m very good at comedy. I’ve done a few comedy things in stock and whatever, and I’m very good at that. You wouldn’t know that from Another World because I’m so grim and serious, as I was as well in Voyage to the Bottom of the Sea, but I do like comedy. I would love to do a comedy, and I’m sure I will someday.”

David Hedison WW

Given his fondness for comedy, I’m sure Hedison appreciated his guest roles on The Saint and Wonder Woman, as they enabled him show a much more humorous side than usual.

Hedison also possessed a great love for theater.  He appeared in numerous stage productions throughout his career.  In the 1990s and early 2000s he was a regular presence in regional theater throughout the New England area.

Hedison was married Bridget Mori.  They met in Positano, Italy in 1967, and were married in London a year later.  They had two daughters, Alexandra and Serena Hedison.  David and Bridget were together until her death from breast cancer in 2016.  I’ve always thought that was very romantic & sweet, that they were married for nearly five decades.

I was fortunate enough to meet David Hedison once, at a comic book convention in New York City in September 2009.  I got an autographed photo of him as Felix Leiter from License to Kill.  He appeared to me to be a very warm, friendly individual.  At the time I also thought he looked much younger than 82 years old.

David Hedison LTK signed

Due to his appearances in so many popular movies & series, Hedison was a frequent interview subject.  In October 2007 he penned a humorous foreword to the informative non-fiction book The Fly at Fifty: The Creation and Legacy of a Classic Science Fiction Film by Diane Kachmar & David Goudsward.  Hedison always came across as lively and enthusiastic, possessing a wry sense of humor.  Even when he was in his 80s he still brought a lot of energy to his interviews & appearances.

David Hedison will certainly be missed by his many fans.  He had a good, long life, working in a career he loved.  We should all be so fortunate.

Ten thoughts about Stranger Things 3

Last year Michele started watching the first season of the horror series Stranger Things on Netflix.  I was on my own laptop, doing something else, but from time to time I would turn to her and ask “What are you watching?” and “What’s it about?” and “What’s happening in it?” and “What’s happening now?”

Michele finally got fed up with this and shouted “Just come over here and watch the damn thing with me!!!”  Not wanting to argue, I did, jumping in as she was watching episode six.  I quickly caught up on what has taking place, and I really enjoyed the rest of it.  I nicknamed it “John Carpenter’s The Goonies,” and was not at all surprised to learn that both that director and that movie had been influences on the Duffer Brothers.

Immediately after that we watched Stranger Things 2, which we both liked.  So when season three came out on Netflix this month, we also watched it.

ST3 logo

Here are some thoughts on the latest installment of the Duffer Brothers weird magnum opus…

1) The 1980s Sucked

Nostalgia can be a very dangerous thing. I grew up in the 1980s. I was nine years old in 1985, which is when Stranger Things 3 is set, so I would have been a few years younger than most of the characters in the show.  Honestly, I hated the eighties.  I’m certainly not the only one.  All of the faux machismo of the Reagan years and the worship of unbridled greed was anathema to me.  I was a geek who read a lot of books and comics, and I had very few friends.  I guess I probably would have fit in with Mike and Dustin and the rest of those guys, except…

2) Puberty Strikes!

The younger characters are now in their early teens, and it shows.  Actors Finn Wolfhard and Noah Schnapp both experienced serious growth spurts between seasons!  Millie Bobby Brown also looks older.  Character-wise, all of the boys have discovered girls, except for Will, and he’s understandably frustrated that his pals are now off hanging out with their girlfriends instead of playing Dungeons & Dragons with him.

I can certainly relate.  I was definitely a late bloomer emotionally.  When most of my classmates in high school were dating and hanging out and socializing, I was usually at home with my nose buried in a comic book.  Now that I’m older, I understand why Mike and Lucas are busy trying to mend things with Eleven and Max, and why Dustin is trying to get in touch with Suzie, but I also totally relate to Will’s frustrations at feeling left out.

ST3 Mike and Eleven

This is our “Attempting to look perfectly innocent and failing utterly at it” expression. How are we doing?

3) Slow the Plot Down

Strangers Things 3 had a lot of characters and plotlines.  I think it was a bit overloaded.  The plot concerning the Mind Flayer returning and turning the inhabitants of Hawkins, Indiana into a giant monster to kill Eleven never really intersected with the plot of the Russians building a secret base under the Starcourt Mall to re-open the gate to the Upside Down, other than the fact that the Russians’ experiments are what enabled the Mind Flayer to return in the first place.

There were also new characters being introduced, primarily Maya Hawke as Robin, adding to an already-large ensemble. All of the characters had their own subplots, especially the volatile romantic tension between Joyce and Hopper that lasted the entire season.

All of this resulted in the first three episodes of Stranger Things 3 moving at a glacial place as the Duffer Brothers had to take the time to introduce and position every element of the season.  I was getting bored, wondering when something was going to actually happen.  Each time something did occur, and it looked like things were finally picking up, there would then be a switch to another group of characters, accompanied by an almost-audible sound of someone slamming on the brakes.

Once episode four began events almost immediately rocketed into high gear, and didn’t let up for the rest of the series.  But those first three episodes were a drag.  I really think that all of that could have been condensed into two episodes.  There was so much padding that I started singing the song “Slow the Plot Down” from Mystery Science Theater 3000 to myself.

4) Assholes R Us

There are a lot of assholes in Hawkins.  The mayor, the entire staff of the town newspaper, the lifeguards at the town pool, random yuppie assholes who are passing through… so many assholes!  Even the stoic, curmudgeonly Sherriff Jim Hopper, portrayed so wonderfully by David Harbour in the first two seasons, descended into full asshole-dom.  The AV Club announced “Stranger Things season 3 ruined Hopper” although there is a lot of insightful back & forth in the comments section that does shed light on why Hopper’s actions are actually all-too-realistic.

Looking back from the perspective of 2019, if one re-examines the mindset of the Baby Boomer generation, it is definitely possible to perceive the deeply pervasive presence of toxic masculinity.  That was unfortunately the norm back then, the idea that men had to be tough and ambitious and in-charge and stoic, not showing any feelings except anger.  Even a basically decent person like Hopper falls into that trap, because that’s how he was raised.

Of course, there are two characters who illustrate this even more clearly…

ST3 Billy

Hide your kids, hide your wife…

5) Helloooo, Ladies!

Steve and Billy are opposite sides of the same coin.

Back in season one Steve was the arrogant school jock, the alpha male you loved to hate.  But along the way Steve actually began to grow up.  He helped Nancy and Jonathan fight the Mind Flayer at the end of season one.

In the second year of the show, Steve became like a big brother to the socially awkward Dustin.  When Nancy broke up with him, Steve was able to recognize that he hadn’t been a very good boyfriend to her.  Now in season three he tells Robin that he wishes he hadn’t spent so much time in high school worrying about unimportant things, with impressing other people, and that his priorities were messed up.  Steve is able to recognize his past mistakes, and is working to try to be a better, more mature person.

In contrast we have Billy, the current town asshole.  He is a bully and a womanizer.  In season two he was shown to be abusive to his stepsister Max, as well as racist.  He spends his summer days as a lifeguard at the town pool, strutting about, seducing bored, horny housewives.

We previously learned that the apple did not fall far from the tree.  In season two we briefly met Billy’s father, who was emotionally and physically abusive towards his son.  This is further explored in season three. When Eleven uses her psychic powers to delve into Billy’s mind in order to search for the Mind Flayer’s location, she sees from Billy’s memories that he used to be a really sweet kid, but that his father’s abuse, his attempts to “toughen up” Billy, drove away his loving mother and warped him into a monster.  It’s only at the end, when Eleven reminds Billy of his happier childhood days before his mother left, that he tries to be a better person, and he sacrifices himself to save Eleven from the Mind Flayer.

Joe Keery does good work playing Steve. As for Dacre Montgomery as Billy… wow, I was genuinely surprised to find out that in real life he’s an Australian who writes poetry. He does such a convincing job playing an American white trash douchebag. Now that is acting!

6) Russian Dressing

Michele and I both wondered if the plotline with the Russians was a commentary on contemporary American politics.  In Stranger Things 3 the Russians are able to infiltrate America, build a secret underground headquarters, and cause a catastrophic crisis in large part due to their collaborating with a greedy, arrogant, loud-mouthed politician with weird hair who sells them a bunch or real estate.   Yeah, that does sound more than a bit familiar.

7) Wait A Minute… That Was Who?!?

I don’t think I even noticed until at least a couple of episodes into the second season that Joyce Byers was played by Winona Ryder.  Yes, she’s quite a bit older than she used to be.  But Joyce is also the most un-Winona Ryder-ish part I have ever seen her play.  She does really good work portraying a working class single mother who has to cope with all sorts of tragedy and weirdness over the course of three seasons.  Ryder also has good chemistry with David Harbour, making the scenes between Joyce and Hopper both poignant and entertaining… well usually.  Occasionally the “will they or won’t they” antics do get a bit tiresome.

ST3 Joyce and Hopper

No, Jim, I am NOT going to start singing the theme song from Moonlighting!

8) Turn Around, Look At What You See

I’ve always liked the movie The NeverEnding Story, and I think the theme song by Limahl is cute and catchy.  So it was sort of fun to have Dustin and Suzie sing it… except the timing was oh so horribly wrong!

You see, Hopper wouldn’t have died if they hadn’t been singing that damn song! If Suzie had just given Dustin the number for Planck’s constant right away, Hopper and Joyce would have gotten the keys out of the safe two minutes sooner and been able to shut down the gate to the Upside Down before Grigori the Russian Terminator arrived.  Others also came to the same conclusion.  Thanks for nothing, Suzie!

9) R.I.P. Hopper???

A lot of people, Michele and myself included, are wondering if Hopper is really dead, and if David Harbour is going to return for Stranger Things 4.  We never actually see Hopper die on-screen.  No body usually means no actual death.

And then there is the mid-credits epilogue, where we find out that the Russians have an American prisoner looked up in a Siberian base.  That could be Hopper… but I’ve also heard it suggested that it might be Brenner.  Yes, he was attacked by the Demogorgon in the final episode of Season One, but again we never saw a body, and it was hinted in the second year that he might still be alive.

Even if that is not Hopper in the Russian prison, it’s been suggested that he might have jumped through the portal into the Upside Down before the gate exploded, hoping to find another way out.  That’s what happened to Eleven after the first season.  I guess we will have to wait and see.  When is Stranger Things 4 coming out, anyway?!?

ST3 Hopper

What do you mean, my character dies? Oh, well, at least I still have the Hellboy movie franchise to fall back on. Right?

10) To Be Continued

There is definitely going to be at least one more season of Stranger Things.  I am looking forward to it.  In addition to Hopper’s fate, I also what to see if Eleven and Mike stay together, and if Eleven ever regains her powers.  Plus it would be nice to see Sam Owens return.  At least Paul Reiser got a cameo in the final episode of this season.

Nevertheless, I really do hope the Duffer Brothers and Netflix will wrap up Stranger Things after the fourth installment.  While I definitely enjoyed the third season, it was not without its problems: too many characters, too many plotlines, three really slow opening episodes.  Also, each season the Duffer Brothers keep upping the threat levels.  They keep going too much longer and they are going to end up with some sort of giant monster trying to eat the entire planet.

Oh, well, we’re still at the point where the show’s strengths still outweigh its weaknesses.  Fingers crossed!

Thor by Joe Sinnott: a birthday present

I never thought I would get a Joe Sinnott sketch. I had met the legendary and talented comic book artist on several occasions, but somehow the opportunity to get artwork from him just never came up. When he announced his retirement earlier this year I figured that was it, whatever chance there might have been had passed.

Earlier this month, on June 8th, my girlfriend Michele Witchipoo had a table at IncrediCon in Middletown NY. I would have gone with her, but our cat Squeaky wasn’t feeling well and we decided I should stay home to keep her company (sadly Squeaky would pass away a week later). Michele took along my Avengers Assemble theme sketchbook because a friend of hers who was going wanted to see it, and just in case she met anyone there who might want to do a drawing in it.

Joe Sinnott was going to be a guest at IncrediCon. Michele said she could ask if he was drawing, and if he was she would try to get me a sketch for my birthday. I shrugged and replied “He’s 92 years old and he retired a few months ago. I doubt he’s going to be sketching. But if you want you can ask him.” Michele asked me what character I wanted and I said something like “Thor or anyone from the Fantastic Four.”

A few hours later I get a text from Michele: “You’re getting a Thor sketch.” My jaw hit the floor. I honestly did not expect that Sinnott would be drawing. Then about 15 minutes later she sent me a photo of the sketch. Whoa!!!

Thor sketch by Joe Sinnott

I’m really thrilled to get this. Joe Sinnott inked Jack Kirby’s pencils on the very first Thor story in Journey Into Mystery #83 way back in 1962, and then drew the full art, pencils & inks, for a few more of the early Thor stories in Journey Into Mystery. For most of the 1970s Sinnott was the regular inker on the Thor book, usually over John Buscema’s pencils, but also working with Rich Buckler on several issues, and even on a couple penciled by Neal Adams. Sinnott returned to Thor from 1989 to 1991, this time paired with penciler Ron Frenz.

That was when I first began reading comic books regularly, in 1989. The Tom DeFalco / Ron Frenz run on Thor remains a favorite of mine, especially the issues that were inked / embellished by Sinnott.

The first time I met Sinnott was at a comic book convention at the Westchester County Center in White Plains NY in 1992.  I was in awe at meeting an artist who had worked on so many amazing comic book stories for Marvel Comics over the years.  Sinnott was a very nice, patient, down-to-Earth person who took the time to answer all the questions posed to him by a gushing teenage fan.  I’ve met Sinnott on subsequent occasions and gotten several books autographed by him. Nevertheless, I will always treasure that copy of Thor #414 he signed for me back in 1992.

Thor 414 pg 1

In any case, Sinnott possesses a long, historic association with the character of Thor.  So it’s wonderful to have obtained a sketch of the Norse god of thunder and founding member of the Avengers from him. And, as I said above, when I saw the piece he drew in my sketchbook I was seriously in awe. At 92 years old Sinnott is still an incredible artist. The detailed pencil work on this piece is amazing. Also, I like how Sinnott added birds (seagulls?) in the sky behind Thor in this sketch. Nice subtle bit that adds a little atmosphere to it.

Today is my actual birthday. So, once again, a very big “thank you” to Michele for this birthday present, to Joe Sinnott for the wonderful sketch, and to Joe’s son Mark Sinnott for all his help in making it happen.

In memory of Squeaky Squeakums

A week ago, on Sunday June 16th at 3:35 PM, our cat Squeaky Squeakums passed away.

Squeaky was a very sweet, affectionate, loving cat.  I have written about Squeaky before on this blog.  But, in short:

Ten years ago, in early June 2009, a friend (now ex-friend) of Michele who had too many pets asked us to take in one of his cats.  This cat, a black & white domestic shorthair named Kitten, was getting beat up by the other cats.  This person told us that if we were not able to take in Kitten, he would have to drop her off at a shelter.  We had only just adopted another cat, Nettie Netzach, a few months before, and we weren’t sure how she would react.  However, Michele really did not want Kitten, who she remembered from visits to this person’s apartment, being abandoned at a shelter, so we took her in.

squeaky01

Squeaky on our bed in the old apartment

Kitten was incredibly shy.  She often hid in the closet.  Michele had to sit with her and talk with her gently while she ate.  When she was finally able to get close enough, Michele discovered that Kitten’s mouth was in really bad shape.  We immediately took her to the vet, who found that half of her teeth were rotten & infected.

We had Kitten’s bad teeth pulled.  When we took her home from the vet, Nettie watched over her, helping to nurse her back to health.  She quickly made a full recovery.  Before our eyes, Kitten became a brand new cat, full of energy and love.

By the way, “Kitten” is a terrible name for an adult cat.  We had been told that she was between six and eight years old, but for all we know she might have been older.  Calling her “Kitten” was lazy and unimaginative.  Michele decided she needed a proper name.  When this cat meowed it often sounded like a squeak, so we decided to call her Squeaky.

Oh yes… now it can be told.  The OTHER inspiration for Michele naming the cat Squeaky was infamous Manson Family member Lynette Alice “Squeaky” Fromme.  Yeah, sometimes Michele has a bizarre sense of humor.  Honestly, I was appalled, but the cat really appeared to take to the name, so Squeaky it was.  All these years I’ve always told people the “squeaky” meows was the inspiration for her name, but, yes, I’ll just go ahead and admit to it now, “Squeaky” Fromme was the second one.

In any case, for the past decade Squeaky has lived with us.  She was an awesome cat.  As I said before, she was incredibly affectionate.  She loved being petted and having her tummy rubbed.  Most nights she would sleep on the bed between me and Michele, purring contentedly.  We would call this a Squeaky Sandwich.

Squeaky stares at dinner

Squeaky staring up at me as I try to eat some chicken

Squeaky also loved to eat.  She had been incredibly thin when we took her in, basically starving, so she was always obsessed with food.  Michele thought Squeaky suffered from food panic.  She would gulp down all of her cat food, would then try to steal Nettie’s food, and would often try to take food from our plates.  Squeaky had big, round, greenish eyes, and she would stare at us longingly with them, pleading for food. She eventually because a very round & heavy cat, but she was happy, so usually we just let her eat as much as she wanted.

Squeaky was something of a quirky, misfit cat, but that just meant that she fit right in with us.  She was a constant presence in our lives.  She would often follow us around the apartment, meowing loudly.  Often she would grab Michele’s pens & pencils & paintbrushes in her mouth and hide them all over the apartment, under the bed or chairs or rug.

Like most cats, Squeaky loved cardboard boxes.  There was one cardboard box in particular, that a pair of Michele’s shoes had been shipped in, that Squeaky often contentedly occupied.

Squeaky in her cardboard box

Squeaky in her favorite cardboard box

Squeaky also liked sitting with us when we watched television.  Michele referred to Squeaky as my TV buddy.  Other times Michele would play music, and Squeaky would sit next to the speakers, listening and purring.  Squeaky seemed to especially enjoy music by the group Joy Division.

Squeaky and Nettie usually got along.  They became like sisters.  Occasionally they would get on each other’s nerves or fight, but most of the time they had a good relationship.  Sometimes they would cuddle together, or would groom each other.  If they realized we were looking at them they would then get embarrassed and quickly dart away from each other.

A little over two years ago we had to move to a new apartment.  Nettie had grown up and spent almost all her life in the old apartment, and she was very upset & scared in the new place.  I guess by now Squeaky had gotten more used to change.  She adjusted to the new surroundings very quickly, and for the first couple of weeks was often by Nettie’s side, trying to comfort her.  Eventually Nettie began to feel at home, and the two of them fell back into their old routine.

Squeaky and Nettie on bed

Squeaky and Nettie cuddling together on the bed

Last winter Squeaky had a cold, and over the past few months we noticed that she was beginning to lose weight.  Then last month she appeared to age overnight.  As I said before, we didn’t know exactly how old she was.  At a minimum she was 16 years old, and was very likely closer to 19 or 20.

Over the past few weeks Squeaky was having more difficulty eating.  We had to get her cat food that was in pate form; anything else she was unable to chew & swallow.  Most of the time Squeaky sat on the windowsill, looking out at the backyard.  We realized that she probably only had a short amount of time left.

We always celebrated Squeaky’s birthday on June 12th, the day we took her in.  Every year we would throw a “birthday / adoption day” party for her, giving her gourmet cat food and singing happy birthday to her.  This June 12th was Squeaky’s 10th “birthday” with us, and we brought her food to her at the window, and sang to her.  She ate some of if, and seemed happy.

Squeaky on the window sill

Squeaky sitting on the window sill on June 13th

Four days later, on Sunday afternoon, Squeaky stopped eating.  She wobbled into the living room, collapsed, and began to have uncontrollable spasms.  Michele and I both realized this was it.  We had really hoped that Squeaky was going to pass away peacefully in her sleep at home, but now that was not going to be.  Reluctantly we picked her up, placed her in her pet carrier, and took her to the veterinary office, the same place that a decade earlier had operated on Squeaky to remove her bad teeth.

The vet examined Squeaky, and told us her condition was critical.  They could try treating her, but at most she would only last a few more weeks, and would probably be in pain the whole time.  Reluctantly we made the decision to give her a quick, peaceful death.  We were there with Squeaky when she passed away.

A few months ago Michele began working on a comic book about Squeaky.  She finally finished it in early June and published it.  “The Temptation of Squeaky” by Michele Witchipoo features Squeaky meeting the demon Maximus, who offers her all the turkey she can eat. It’s a very cute, adorable, funny story. I’m happy that our quirky cat has been immortalized in print.

The Temptation of Squeaky cover

“The Temptation of Squeaky”

Copies of “The Temptation of Squeaky” can be purchased online. Michele will be writing & drawing further stories about Squeaky in her memory.  Michele has also written her own tribute to Squeaky on her blog.

Sometimes I like animals better than I do most people.  That was definitely the case with Squeaky.  She was more loving and loyal than a lot of human beings.

Michele and I both miss Squeaky.  She was a good friend and a part of our lives for ten years.  Pets really do become members of the family.

Remembering comic book artist George Klein

Recently I was reminded, thanks to the excellent blog Attack of the 50 Year Old Comic Books by Alan Stewart, of the very underrated work of comic book artist George Klein.

National Sportsman Dec 1939 cover smallOne of the main reasons why Klein is not much better known among comic book fandom is that he tragically passed away at a young age.  He died 50 years ago this month, on May 10, 1969.

Klein was born in 1915, although there is a bit of uncertainty over the exact date, as well as the location of his birth.  Klein’s earliest published work appears to be a painted cover for the December 1939 edition of National Sportsman.

Between 1941 and 1943 Klein was employed by Timely Comics, the precursor to Marvel.  Creator credits in the Golden Age were often missing or inaccurate, but it is generally believed he worked on such titles as All-Winners Comics, Captain America Comics, USA Comics and Young Allies Comics at Timely.

In 1943 Klein was drafted to serve in World War II, and served as a private in the Army Infantry.  Honorably discharged in 1946, Klein returned to his career as an artist, working in both comic books and as a magazine illustrator.Detective illustration George Klein

Several of the periodicals that Klein worked for, both before and after the war, were pulp magazines published by Timely’s owner Martin Goodman, specifically Best Love, Complete Sports, Complete War and Detective Short Stories.  Klein was also a regular contributor to Wyoming Wildlife, the award-winning magazine published by the Wyoming Game and Fish Department.  His work in Wyoming Wildlife and other publications apparently gained Klein some renown as a landscape and wildlife artist.

Klein once again did work for Timely, or Atlas Comics as it came to be known in the 1950s.  Among the various titles Klein worked on at Timely / Atlas in the late 40s and early 50s were the romance series Girl Comics and the well-regarded fantasy / romance series Venus, although (again due to the lack of credits) the exact details of his involvement are a matter of deduction and guesswork.

 

Venus 2 pg 1

During this time Klein also branched out to work for other publishers such as ACG, Ace Comics and Prize Publications.  By the early 1950s much of Klein’s work was for National Periodical Publications, aka DC Comics.

Beginning in 1955 Klein, working as an inker, was regularly paired up with penciler Curt Swan on DC’s various Superman titles.  Looking at the Grand Comic Database, the first story drawn by the Swan & Klein team seems to be the Superboy story “The Wizard City” written by the legendary Bill Finger in Adventure Comics #216, cover-dated September 1955.Adventure Comics 332 cover small

Swan and Klein continued to work together for the next 12 years, with their art appearing in various issues of Action Comics, Adventure Comics, Superman, Superman’s Girl Friend Lois Lane, and Superman’s Pal Jimmy Olsen.

Truthfully, Swan is a penciler who at times leaves me a bit cold.  He’s one of those artists who I recognize as technically proficient, someone who is a good, solid storyteller.  However often his work just does not connect with me personally.  That said, there is something about the teaming of Swan and Klein that really appeals to me.

Having been born in 1976, obviously I did not read the stories they drew when they first came out. About 20 years ago I really got into the Legion of Super-Heroes and began picking up the various Legion Archives.  I was immediately taken with the work that Swan & Klein on those Superboy and the Legion stories from Adventure Comics in the 1960s.  I regard Klein as one of the best inkers Swan ever got during his lengthy career.

As per writer & editor Mark Waid’s bio of George Klein written for the Legion Archives:

“Klein set new standards for his craft with his razor-crisp brushline, which brought new dimensions to the art of Curt Swan, the penciler with whom Klein was most frequently paired. Together, Swan and Klein defined for years to come the look of Superman and his cast of characters; to this day , most Legion of Super-Heroes aficionados consider Swan and Klein to be the all-time finest Legion art team.”

Adventure Comics 352 pg 5

Klein’s work over Swan’s pencils is an excellent demonstration of just how significant a role the inker can have on the look of the finished artwork in comic books.

Adventure Comics 352 cover smallProbably the stand-out stories of this era were written by the then-teenage Jim Shooter, who introduced Karate Kid, Princess Projecta and Ferro Lad to the Legion, as well as the villainous Fatal Five.  Swan & Klein did a superb job illustrating these now-classic stories.

One cannot discuss Klein’s work in the Silver Age without mentioning Fantastic Four.  Created by Stan Lee and Jack Kirby in 1961, that title was the birth of what came to be known as the Marvel Universe.  For many decades the specific details concerning the creation of the early FF stories have been shrouded in mystery.

One of the most frequently-pondered questions was who exactly inked Kirby’s pencils on the first two issues.  After much debate & analysis, the conclusion reached by Dr. Michael  J. Vassallo, one of the foremost authorities on Timely / Atlas / early Marvel artwork, is that it was George Klein.  It is known that Klein worked on several stories for Atlas in the late 1950s and early 60s, which would put him in exactly the right place when the first two issues of FF were being created in 1961.

As to why Klein in particular was chosen to ink these two issues, longtime Marvel editor Tom Brevoort offers up this theory:

“I would also conjecture that perhaps the choice of George Klein to ink these early issues–if indeed he was the inker as is generally believed today–was to try to give them more of a super hero feel than Kirby’s monster or romance or western work. Klein at the time was inking Curt Swan on Superman, and you really can’t get a more classic super hero finish than that.”

Fantastic Four 1 pg 14

Absent the original artwork for those first two FF issues resurfacing, or some previous-unknown documentation being discovered, we will probably never be 100% certain; nevertheless, the general consensus is that Klein very likely inked those two issues, placing him right at the birth of the Marvel Age of Comics.

Klein’s work for DC on the Superman family of titles took place during the regime of editor Mort Weisinger.  The late 1960s saw an editorial shake-up at DC. Although Weisinger remained in control of the Superman books until 1970, this behind-the-scenes instability is reportedly what led to Klein departing the company.  He quickly found work at Marvel Comics which, eight years after the introduction of the Fantastic Four, was achieving both commercial success and critical acclaim.Avengers 57 cover small

Klein’s first assignment at Marvel was inking John Buscema’s pencils on Avengers.  After inking a couple of covers, Klein became the regular inker with issue #55, cover-dated August 1968.  Klein remained on Avengers for nearly a year.

The late 1960s is now considered one of the series’ most important and influential periods. Writer Roy Thomas, working with John Buscema, introduced the Avengers’ arch-nemesis Ultron, new member the Vision, and Hank Pym’s new costumed identity Yellowjacket, among other key developments.  Klein did a superb job inking Buscema on many of these key stories.  In 2001 Thomas spoke with Buscema about their work on Avengers, a conversation that saw print in Alter Ego #13.  In it they briefly touched upon Klein:

Roy Thomas: So how did you feel about George Klein’s inking compared to some of the others?

John Buscema: From what I’ve seen, a very credible job, not bad.

Considering that Buscema was notoriously critical of most of the artists who inked his work, I suppose by his exacting standards this was high praise indeed!

Avengers 55 pg 16

Klein also inked Gene Colan on Avengers #63-64, Sub-Mariner #11, and on several issues of Daredevil.  Klein was probably one of the best embellishers to ever work over Colan, who could often be a bit challenging to ink.

Daredevil 53 cover smallAdditionally, in early 1969 Klein inked two very early jobs by a very young Barry Windsor-Smith, in Daredevil #51 and Avengers #67.  Klein’s finishes gave some much-needed support to BWS who, although he was already showing quite a bit of promise, was still honing his craft.

Last, but certainly not least, Klein inked Jack Kirby on Thor #168-169, which were cover-dated Sept and Oct 1969.  It has been opined that Vince Colletta’s inking of Kirby was a good match on Thor, as the feathery line work provided a specific tone that was well-suited to the mythological characters & settings.  It was much less appropriate to Kirby’s sci-fi concepts, which is why Colletta was a poor fit on Fantastic Four.

Similarly, when Kirby took Thor in a more cosmic direction in the late 1960s, Colletta’s inking felt out of place.  So it was definitely nice to have Klein’s more polished inking on these two issues, which saw the god of thunder learning the origin of one of Kirby’s most cosmic creations, Galactus.  These Thor issues were very likely the last work that Klein did before his untimely death.
Thor 169 pg 2

According to the Field Guide To Wild American Pulp Artists, Klein was hospitalized for cirrhosis of the liver in May 1969, less than a month before he died.

I’m going to add a few words from Alan Stewart here summing up this unfortunate situation:

“It’s tragic that Klein passed away as young as he did — and the fact that he’d gotten married just a few months before makes it even more so. Unfortunately, his work over Curt Swan on the Superman books all those years was uncredited, and his subsequent stint at Marvel was too short for him to have made the impact of a Joe Sinnott or Tom Palmer. I agree he’s underrated.”

Action Comics 300 cover small

I really believe that Klein would probably be much better remembered as an artist if he had not died so young.  He did very well-regarded work on comic books in a career that lasted nearly three decades.

The reissuing of so much of DC and Marvel’s material from the Silver Age does mean that younger fans such as myself have now been able to rediscover Klein’s work.  Additionally, all these decades later Klein, as well as everyone else who worked on those early DC stories, are at long last receiving proper credit for their work in those reprint volumes.

There are so many creators from the Golden Age and early Silver Age who helped to make the comic book industry what it is today, creators who in the past were unfortunately uncredited and overlooked.  I hope this short profile on one of those creators, George Klein, will inspire readers to seek out some of these classic stories, and to develop more of an appreciation for the people who crafted those imaginative tales.

Thank you to all of the websites from which I gleamed information about and artwork by George Klein.  I believe I’ve included links to all of them, but if I did miss anyone please let me know!

Greg Theakston: 1953 to 2019

I was saddened to learn that comic book artist, publisher & historian Greg Theakston had passed away on April 22nd.  He was 65 years old.

As a teenager Theakston was involved in the Detroit area comic book fandom in the late 1960s and early 70s.  During this time period he was one of the organizers of the Detroit Triple Fan Fair comic book & sci-fi conventions.

Super Powers vol 2 1 cover smallTheakston, along with such fellow Detroit area fans as Jim Starlin, Rich Buckler, Terry Austin, and Keith Pollard, made the jump from fan to professional during the 1970s.  From 1972 to 1979 Theakston worked at Neal Adams’ Continuity Studios, where he gained invaluable experience, learning the tools of the trade alongside his contemporaries.  Theakston was one of the so-called “Crusty Bunkers,” a loose-knit group of Continuity-based artists organized by Adams.  Throughout the 1970s the Crusty Bunkers would pitch in to help one another meet tight comic book deadlines.  Theakston was interviewed about his time at Continuity by Bryan Stroud, revealing it to be a crazy, colorful experience.

Theakston worked for a number of publishers over the years, creating illustrations for National Lampoon, Playboy, Rolling Stone and TV Guide.  His art appeared in a number of issues of MAD Magazine in the late 1980s and throughout the 90s.

Most of Theakston’s comic book work was for DC Comics.  In the 1980s Theakston was often assigned the high-profile job of inking the legendary Jack Kirby’s pencils.

Theakston’s inking of Kirby proved to be divisive.  Personally speaking, as a huge fan of Kirby, I like what Theakston brought to the table.  I do recognize that Theakston was not the ideal fit for Kirby’s pencils in the way that Joe Sinnott and Mike Royer were, but I nevertheless felt he did a good job inking him.

The Hunger Dogs cover

One of the things to recognize about that collaboration is that during this time Kirby’s health unfortunately began to decline.  As a result his penciling started becoming loser.  Theakston was often called upon to do a fair amount of work to tighten up the finished art.  This led to some creative choices on his part that were not appreciated by some.  I think Theakston was in a less-than-ideal situation, having to make those choices over the work of a creator who was already regarded by fans as a legend and a genius.  The result was a scrutiny of his inking / finishing more much more intense than if he had been working with almost any other penciler.

Comic book creator Erik Larsen observed on the website What If Kirby that Theakston possessed a definite fondness for the earlier work Kirby did with Joe Simon in the Golden Age.  This translated into Theakston inking Kirby with a heavier, darker line that evoked the Simon & Kirby stories of the 1940s and 50s, rather than the much more slick, polished embellishment that Sinnott and Royer brought to it in the 1960s and 70s.Whos Who Orion

Theakston inked Kirby on the first two Super Powers miniseries, the Hunger Dogs graphic novel that concluded the saga of Orion and the New Gods, various entries for Who’s Who: The Definitive Directory of the DC Universe, and the team-up of Superman and the Challengers of the Unknown in DC Comics Presents #84 written by Bob Rozakis.

I enjoyed Theakston’s work on these various titles.  In my mind, the stunning cover painting for The Hunger Dogs featuring Darkseid that he did over Kirby’s pencils is one of the best pieces Theakston ever produced.

(Theakston’s inking on the Alex Toth pages in DC Comics Presents #84 was unfortunately much less impressive.  In his defense I will say that when someone other than Toth himself inked his pencils, the majority of the time the results were underwhelming.)

Theakston also inked fellow Detroit native Arvell Jones’ pencils on Secret Origins #19 (Oct 1987).  Roy Thomas’ story recounted, and expended upon, the origins of the Guardian and the Newsboy Legion, characters who had been created by Simon & Kirby in 1942. Given his fondness for the work of Simon & Kirby in the 1940s, it was entirely appropriate for Theakston to work on this story. His inking for it certainly evoked the feel of Golden Age comic book artwork.Secret Origins 19 pg 19Theakston only worked for Marvel Comics on a couple of occasions.  Early in his career he painted the cover for Planet of the Apes #9 (June 1975) in Marvel’s black & white magazine line.  Almost a quarter century later Theakston painted a Kirby-inspired piece for the cover of the second Golden Age of Marvel Comics trade paperback (1999).

DC Comics Presents 84 cover smallIn 1975 Theakston founded the publishing company Pure Imagination.  Under that imprint he issued collected editions featuring a variety of Golden Age stories & artwork by such creators as Kirby, Alex Toth, Lou Fine, Wallace Wood, and Basil Wolverton.

Theakston developed a process for reprinting comic books that DC editor Dick Giordano later referred to as “Theakstonizing.”  As per What If Kirby, Theakstonizing “bleaches color from old comics pages, used in the restoration for reprinting.” Theakstonizing was used to publish a number of collections of Golden Age comic books in the 1980s and 90s, among these the early volumes of the DC Archives hardcovers.  Unfortunately the Theakstonizing process resulted in the destruction of the original comic book itself.  It’s a shame that so many old comics had to be destroyed to create the early DC Archives and other Golden Age reprints, but in those days before computer scanning that was the best way available to reproduce such old material. Additionally, as explained by Theakston’s ex-wife Nancy Danahy:

“Greg did everything to avoid destroying a valuable comic book for his Theakstonizing process. He would search for the ones with tattered, missing covers, or bent pages that devalued the book. It was only in a few instances that he used one in good condition, and only then if he knew the return on investment was worth it. He felt it would be better for the greater good to be able to share the work with more people than to let one book settle in a plastic bag on someone’s shelf.”

Beginning in 1987, Theakston also published the fan magazine The Betty Pages, dedicated to sexy pin-up model Bettie Page, of whom he was a huge fan.  Theakston is considered to be one of the people who helped bring Page back into the public consciousness, resulting in her once again becoming an iconic figure of American pop culture.  In the early 1990s Theakston conducted an extensive phone interview with Page that was published in The Betty Pages Annual Vol 2 in 1993.The Betty Pages Annual Vol 2 coverTheakston created several stunning, sexy paintings featuring Bettie Page.  One of my favorites is a striking piece featuring Page in short leopard-skin dress, silhouetted against a giant blue moon in the sky behind her, with two leopards crouching at her feet.  It saw print as the cover for The Betty Pages Annual Vol 2.Planet of the Apes 9 cover small

I can’t say I knew Greg Theakston very well. We met once in 2012, at the Comic Book Marketplace show in Manhattan, and we also corresponded by e-mail.  When I met him he certainly appeared flattered that I had gotten a tattoo of the Who’s Who pin-up of Beautiful Dreamer from the Forever People, which he had inked over Kirby’s pencils. He also appeared to appreciate my compliments concerning his work inking Kirby. Greg did a cute drawing of Bettie Page for me at that show in one of my convention sketchbooks.  He subsequently surprised me with a gift of his original inks for the Beautiful Dreamer piece, which I felt was a generous gesture.

I thought Greg was a talented artist who created some very beautiful paintings and illustrations.  All of my interactions with him were pleasant. I understand that over the years several others had much less amicable relations with him. Reportedly he was one of those people who could run very hot & cold, and that he was dealing with some personal issues.

Whatever the case, I do feel it’s unfortunate that Greg passed away. I know 65 is not young, but it’s not super-old either.  Judging by the reactions I have seen over the past week, he will certainly be missed by quite a few people, myself included.

 

Memories of Notre Dame Cathedral

I was saddened to hear about the fire that devastated Notre Dame Cathedral in Paris, France today. The Cathedral was an iconic structure in that city for centuries.  Construction of the Cathedral began in 1163 AD, and it was considered officially completed in 1345 AD.

In July 1996 I had the opportunity to attend a three week study abroad program in London, England, followed by a ten day trip across the European continent.  The major stops on the tour were Paris, Brussels, and Amsterdam.

I was only in Paris for three days.  Our group attempted to see as much of that beautiful city in that short period as possible.  The tour guide made some, um, unusual choices, such as spending barely half an hour at the world famous Louvre Museum, but later that day going to a perfume factory for a two hour tour.  As one of the ladies in our group sarcastically muttered, “Where are the priorities?!?”

Nevertheless, despite the breakneck speed and a couple of questionable choices of stops, for the most part it was a memorable visit.  Fortunately one of the places we visited was Notre Dame Cathedral.

I am not a religious person, to say the least.  (I consider myself spiritual, and I believe faith is a matter best left up to the individual.) However, I readily acknowledge that Notre Dame Cathedral was an incredibly beautiful building, a stunning work of art and architecture.  The devastation of the building is a cultural, historical and artistic tragedy.  I hope France will be able to rebuild it.

Here are the photos I took of the Cathedral on that trip.  I was told this was the coldest summer in Europe in 20 years, which is why it looks like the middle of winter instead of in late July. Grey, overcast skies aside, I think the beauty of the Cathedral is apparent.  I’m grateful I had an opportunity to see it in person.

Notre Dame Cathedral 1996 photo 1

Notre Dame Cathedral 1996 photo 2

Notre Dame Cathedral 1996 photo 3