Alan Kupperberg: 1953 to 2015

Comic book creator Alan Kupperberg passed away on July 16th at the age of 62.  I was fan of Kupperberg’s work, had met him at a few conventions, and was friends with him on Facebook.  I knew from his recent status updates on FB that he had been diagnosed with cancer several months ago.  Kupperberg had really been fighting his illness, and for a time it was hoped he would recover.  So it was unexpected and sad when his passing was announced by his brother, writer & editor Paul Kupperberg.

Like so many people who came to work in the comic book biz in the 1970s, Alan Kupperberg was very much a fan of the medium.  As he related in The Jack Kirby Collector #29 from TwoMorrows Publishing, in 1970 while still a teenager Kupperberg “was a regular pest – er – visitor to Marvel’s small, six room, dozen-person office” doing various odd jobs in the Bullpen.  A year later he was working in the production department of DC Comics, learning the intricacies of the business.  Kupperberg also worked at Atlas Comics during their very brief but still-memorable revival in the mid-1970s.

In the late 1970s Kupperberg was once again at Marvel.  Over the next decade he worked on numerous different series in a variety of capacities: writer, penciler, inker, letterer and colorist.  Kupperberg could do it all.

Invaders 37 cover

Kupperberg’s first ongoing assignment was the World War II superhero series The Invaders.  He came onboard as the new penciler with issue #29, cover-dated June 1978, replacing the outgoing Frank Robbins.  Kupperberg remained on The Invaders until the final issue, the double-sized #41 (Sept 1979) and he penciled the majority of those issues, working with both writer & editor Roy Thomas and writer Don Glut.

I imagine that The Invaders was not the easiest of series to pencil.  It was a team book set in the early 1940s.  This required Kupperberg to present clear storytelling so that the action was balanced between the numerous characters in action sequences.  He also had to render historically-accurate depictions of the people and the settings of the Second World War.  I think that he did very good work on the series, penciling some memorable, exciting stories written by Thomas and Glut.

Looking at Kupperberg’s time on The Invaders, one of the highlights is definitely issue #s 32-33, which had Hitler summoning Thor from Asgard and manipulating him into attacking the Soviet Union, bringing the thunder god into conflict with the Invaders.  Another noteworthy issue was the finale of the series, as The Invaders faced off against the so-called Super-Axis, a team of fascist supervillains.  Kupperberg, paired with inker Chic Stone, did very nice work on that climactic battle, helping Glut and Thomas to finish the series in style.  The issue concluded with a wonderful double page pin-up drawn by Kupperberg featuring every hero who had ever appeared in The Invaders.

Invaders 32 cover layouts and published

It was while penciling The Invaders that Kupperberg had an opportunity to collaborate with Jack Kirby.  He drew a rough layout for the cover to The Invaders #32.  The published cover artwork, based out his layout, was by the superstar team of Kirby & Joe Sinnott.

As Kupperberg recounted in The Jack Kirby Collector…

“I’d never been fond of drawing covers, but when I was asked to provide a cover layout or rough sketch for Invaders #32, I didn’t hesitate a tick – because it was for Jack.  I’d be interpreting Thor, Captain America, Namor and the Human Torch – for their artistic father!

“The Jack’s pencils arrived.  They blew my tender little mind – Kirby interpreting my interpretation of Kirby.”

Aside from The Invaders, Kupperberg never had a particularly long runs on any Marvel titles.  He was briefly the penciler of Thor and worked on several issues of What If.  Aside from that, Kupperberg was one of Marvel’s go-to guys for fill-in stories in the late 1970s to mid 80s.  He drew issues of Avengers, Captain America, Dazzler, Defenders, Amazing Spider-Man, Spectacular Spider-Man, Marvel Two-In-One, Moon Knight, Star Wars and Transformers.  In 1984 Kupperberg penciled a four issue Iceman miniseries written by J.M. DeMatteis.

Captain America 240 pg 11

As a fan of Captain America, I liked Kupperberg’s depiction of the character in The Invaders, Avengers, and Cap’s own book.  Kupperberg penciled a trio of fill-in stories for Captain America, which were in issue #s 240, 260 and 271.  The first of these, “Gang Wars,” is noteworthy for the collaboration between the two Kupperberg brothers.  Paul plotted the issue, Alan penciled & scripted it, and it was inked by the talented Don Perlin.  I think this was the only time that Alan and Paul worked together.

Another of my favorite Marvel stories that Kupperberg worked on was Avengers #205 (March 1981).  Kupperberg and inker Dan Green did excellent work on this issue.  The second chapter of a two-part story plotted by Bob Budiansky & scripted by David Michelinie, this issue saw the Avengers attempting to thwart a plot to conquer the world by the diabolical Yellow Claw.  The cover to this issue by Kupperberg & Green, featuring the Vision in fierce combat with the Claw, is really dynamic.  As the saying goes, they really don’t make ‘em like this anymore!

Avengers 205 cover

In the mid-1980s Kupperberg began doing work for DC Comics, as well.  He became the penciler of the offbeat Blue Devil series written by Dan Mishkin & Gary Cohen.  Kupperberg started on issue #12 (May 1985) and remained on the book until its conclusion with issue #30.  He also worked on Justice League of America and Firestorm.  Kupperberg’s guest pencils on All-Star Squadron #66 in Feb 1987 (the penultimate issue of the series) saw him briefly reunited with writer Roy Thomas, who had spent the last several years chronicling the adventures of DC’s superheroes during World War II.

Anyone who has ever met Alan Kupperberg or read an interview with him will definitely realize that he had an amazing and unconventional sense of humor.  That was certainly reflected in his comic book work.  He worked on a number of humorous, not to mention unusual, projects throughout his career.

Somehow or another Kupperberg became associated with not one but two evil clowns during his career.  The first of these was Obnoxio the Clown, created by Larry Hama in the pages of Crazy Magazine.  In early 1983 Obnoxio landed his very own one-shot.  Written, drawn, lettered and colored by Kupperberg with edits by Hama, this bizarre special had the cigar-chomping Obnoxio running rings around the X-Men, getting summoned for jury duty, answering fan mail and just acting as rude as possible.  All these years later I am still amazed that this issue got published!

Obnoxio the Clown pg 6

Kupperberg also illustrated the misadventures of Frenchy the Clown, the star of the “Evil Clown Comics” feature in National Lampoon.  Devised by writer / actor / comedian Nick Bakay, Frenchy was a violent foul-mouthed alcoholic womanizer in greasepaint.  Several years ago Kupperberg was working on reprinting the “Evil Clown Comics” stories in a collected edition, but unfortunately this didn’t come to fruition.

Doing much more family-friendly humor work, between 1988 and 1990 Kupperberg drew a number of all-new five-page Peter Porker, the Spectacular Spider-Ham stories that editor Jim Salicrup ran in the back of the Spider-Man reprint series Marvel Tales.  These were written by Michael Eury, Danny Fingeroth and Kupperberg himself, with Joe Albelo inking many of the installments.

One of my favorites of these Spider-Ham stories from Marvel Tales was his encounter with Frank Carple aka the Punfisher (obviously a fishy funny animal version of the Punisher).  Eury, Kupperberg & Albelo pitted the uneasy alliance of Spider-Ham and the Punfisher against the tentacle menace of Doctor Octopussycat!

Marvel Tales 215 pg 30

I highly recommend visiting the official Alan Kupperberg website which was set up by Daniel Best.  This fantastic site has numerous examples of Kupperberg’s art.  There are several articles wherein Best speaks with Kupperberg at length about his work.  It is an amazing resource.  Additionally, on his blog 20th Century Danny Boy, Best interviewed Kupperberg regarding the “Evil Clown Comics” stories.

As I mentioned before, I was fortunate enough to meet Kupperberg on a few occasions when he was a guest at comic book conventions.  He struck me as a genuinely nice guy.  I’m glad I was able to talk with him and obtain a couple of sketches by him.  I will certainly miss him, as will many other comic book fans who grew up reading his work.

Strange Comic Books: The Invaders #31

Welcome to the latest installment of Strange Comic Books.  This entry features an issue I had intended to write up at some point in the near future.  But I moved it up to today as February 19th is the birthday of its writer, Donald F. Glut.

(If the name Don Glut sounds familiar to any sci-fi fans out there, it is probably because, among his numerous credits, he wrote the novelization of The Empire Strikes Back.)

Today’s comic book is The Invaders #31, written by Don Glut, penciled by Chic Stone, inked by Bill Black, and edited by Roy Thomas, with a cover by Joe Sinnott.  The cover date for this one is August 1978.  Set during World War II, issue #31 of The Invaders sees Captain America, Namor the Sub-Mariner, and the original Human Torch facing off against a most macabre foe: Frankenstein’s Monster!

Invaders 31 cover

The Invaders was Roy Thomas’ love letter to the Marvel Comics superhero comic books of the Golden Age.  Thomas often wondered why, unlike DC Comics with their Justice Society stories, the major heroes of Timely Comics (Marvel’s precursor) had never teamed up.  When he was writing at Marvel in the 1970s, Thomas co-created The Invaders title, which he set in the early 1940s, and which featured Cap, Namor, the Torch, teenage sidekicks Bucky and Toro, plus a number of other heroes, join forces to fight against the Axis Powers and their superhuman agents.  The team was called “The Invaders” because they were “invading” Hitler’s Fortress Europa.  The series ran a respectable 41 issues, plus its inaugural Giant-Size special and an Annual.

During most of the final year of The Invaders, Thomas handed over the writing duties to his friend Don Glut, although he remained on as the series’ editor.  One of Glut’s first issues was #31, “Heil Frankenstein!”  As we know, the Nazis, among their myriad crimes, conducted terrible medical experiments on their prisoners.  This has resulted in innumerable subsequent stories in genre fiction that have depicted the Third Reich as churning out a legion of zombies, mutants, and cyborgs to bedevil the Free World.  In his story, Glut takes this trend to its logical conclusion, having the Nazis recruit a descendent of the original mad scientist himself, Doctor Frankenstein.

“Heil Frankenstein” opens with Cap, Bucky, and Namor arriving in the Swiss Alps.  The Human Torch and Toro had previously gone ahead to investigate rumors of Nazi activity in the neutral country, but have since gone missing.  Arriving in a small town, the three superheroes are greeted by a horde of pitchfork-wielding villagers, who inform them that a monster from nearby Castle Frankenstein has been stalking the countryside.  The skeptical Cap and Bucky think the villagers have been watching too many movies, and the pair go on ahead to investigate the castle, leaving Sub-Mariner behind.

Invaders 31 pg 7The patriotic duo is quickly discovered by a horde of goose-steppers who unleash Frankenstein’s Monster, clad in a Nazi uniform, on the disbelieving pair.  The Creature subdues Cap and Bucky.  Imprisoned in a dungeon with Toro, they are introduced to Basil Frankenstein who, with the assistance of Kitty Kitagowa, Imperial Japan’s top surgeon, has recreated his ancestor’s work.  In addition to his plans to build an army of undead patchwork soldiers for the Nazis, the clearly nutty Basil now wants to transplant his brain out of his crippled body into Cap’s physically perfect form.  First, though, he uses the android energies of the Human Torch to super-charge his Monster.

By now, the impatient Namor has come to investigate the castle, and he frees his captive teammates.  During a battle with the Creature, its head smashes against a bank of electrical equipment.  This shorts out the implant that Frankenstein had placed in its brain.  Now free to think and act, the Monster, outraged at its unholy existence, grabs Frankenstein and Kitagowa and leaps from the castle tower, killing them all.

The Invaders #31 is a pretty crazy issue.  Yes, it’s a bit on the silly side, but it is still fun.  I did like how Glut drew parallels between the android Human Torch and the Monster, causing the former to once again realize that, despite his name, he is an artificial being.  Long-time Thor inker Chic Stone draws one of his rare penciling jobs, and turns in solid work.  So, too, does Bill Black, who a few years later would go on to create the long-running Femforce series at AC Comics.  Veteran artist Joe Sinnott does an amazing job illustrating the cover.

Invaders 31 pg 28

I am quite a fan of The Invaders.  It took me several years, but eventually I was able to assemble a complete collection of the entire series run.  Roy Thomas and Don Glut both did some nice work with an interesting, colorful cast of heroes and villains.  Over three decades later, current Marvel writers are still building new stories on the comic books that Thomas and Glut penned.  As for the artwork by regular pencilers Frank Robbins and Alan Kupperberg, plus such talented fill-in artists as Stone & Black, it was all very impressive.  In the last few years, Marvel finally collected the entire run of the series into four trade paperback collections, Invaders Classic, which I highly recommend picking up.

Strange Comic Books: Incredible Hulk #285

The very first issue of Incredible Hulk that I ever read was #285, cover-dated July 1983.  Prior to this, I had avidly watched the Hulk cartoon that ran on Saturday mornings in the early 1980s, and of course I had seen at least a few episodes of the television series starring Bill Bixby & Lou Ferrigno.  But Incredible Hulk #285 was the first time I had the opportunity to read any of the character’s actual comic book adventures.  And, I have to say, even at six-and-a-half years old, I knew that it was a bit of a strange issue.

Incredible Hulk 285 cover

Incredible Hulk #285 is topped off by a fantastic cover drawn by artists Ron Wilson & Joe Sinnott.  As a kid, I thought it was an amazing image.  But, even so, it wasn’t your typical Hulk scene, to be sure.  First off, rather than fighting the military or a supervillain or even some sort of monster, the Hulk’s enemy was this giant orange figure seemingly made out of flames.  I hadn’t seen anything like that before.  And, even odder, instead of striding around in his usual pair of torn-up pants, on this cover the Hulk was wearing a suit & tie.  Very strange.  That said, his pants were still purple, so not everything about him had changed!

Flipping open the book, I came to the first page of “Today is the First Day of the Rest of My Life,” written by Bill Mantlo, with artwork by Sal Buscema & Chic Stone.  Once again, the Hulk was wearing a well-pressed suit, his hair neatly combed.  On top of that, rather than running around on a destructive rampage, there he was seated at a desk, narrating his memoirs into a Dictaphone.

Incredible Hulk 285 pg 1

As I read onward, over the course of the next several pages the Hulk recounted to the readers how Dr. Bruce Banner, creator of the Gamma Bomb, had been caught in the explosion of the weapon he created, mutating him into a being who transformed into a savage monster whenever overwhelmed by stress or anger.  Following this is an amazing two page spread by Buscema & Stone that illustrates the chaotic life of the Hulk over the next several years, the long and winding road taken by a green goliath who was more often than not hunted by humanity.  And, at the end of it, we find the cause of the Hulk’s current status: at long last, after all this time, Bruce Banner has managed to gain control, to retain his human intelligence when transforming into the Hulk.

While the Hulk has been busy recounting his life, a crew of workers from Stark Industries headed up by Scott Lang (Ant-Man) has been constructing Northwind Observatory, a laboratory where Banner can resume his scientific studies.  Turning back into his human form, Banner joins Lang to supervise the installation of the laboratory’s power core.  At the last minute, Banner discovers that the power core was not designed by Stark Industries, but acquired from a company called Soulstar.  Banner immediately recognizes the name, but before he can prevent it, the power core is hooked up, there is “a massive electromagnetic discharge,” and a strange being emerges.

This creature, we are informed, is Zzzax, the Living Dynamo.  Looking something like a humanoid lightning bolt, Zzzax is a creature that feeds on the human life force.  Before the monster can consume the stunned construction crew, Banner transforms back into the Hulk and tackles this old enemy of his.  Unfortunately, the Hulk quickly remembers that, in his old child-like persona, the angrier he got, the stronger he became.  But now, guided by Banner’s rational intellect, the Hulk cannot easily become angry, meaning his strength is limited.  And so the gamma-spawned giant realizes that, instead of relying on brute force to defeat Zzzax, he must now find a way to out-think his fiery foe.

Incredible Hulk 285 pg 17

As a kid, I thought Incredible Hulk #285 was a fantastic issue with an amazing bad guy.  Yep, the idea of an intelligent Hulk was a very unexpected change for me, but I just shrugged and read on.  Bill Mantlo’s script was a really good introduction to the character of the Hulk, neatly presented through the plot device of Bruce Banner penning his autobiography.  The second half, with the Hulk fighting Zzzax, was really exciting.

On the art side of things, the work by Sal Buscema was high quality.  This was the very first comic book I ever read that was penciled by him.  Buscema would become one of my all time favorite comic book artists.  Several years ago, when “Our Pal” Sal appeared at a NYC comic book show, I had him autograph a copy of this issue.  It was actually my second copy, since I read the original one so many times as a kid that eventually the cover fell off!

(While I’m on the subject of Sal Buscema and Incredible Hulk, it’s definitely worth mentioning that he pencilled practically every issue of the series from issue #194 in 1975 thru to #309 in 1985.  Yep, he had a ten year run drawing the Hulk, and during that time I believe he missed only seven issues.  They definitely do not make artists like him anymore!)

In regards to Stone’s inking on #285, it is pretty good.  In the last three decades, having subsequently seen a great deal more of Buscema’s work, I have to admit that there were others who did a better job finishing his pencils, among them Joe Sinnott, Gerry Talaoc, and Buscema himself.  In the excellent book Sal Buscema: Comics’ Fast & Furious Artist, published by TwoMorrows, he admits that he wasn’t overly enthusiastic about Stone’s inking.  Looking at it as an adult fan, yes, I tend to agree with him.  That said, back when I was a little kid completely lacking in any knowledge concerning the subtleties of inking, I thought the artwork by Sal & Chic looked just fine.  I guess that’s probably the more important thing.

Even though I really did enjoy Incredible Hulk #285, because I was just a few months shy of seven years old and I very seldom had a chance to buy comic books on my own, I ended up not reading another issue of the series for a couple of years.  When I finally did, it was Incredible Hulk #309.  And if I thought #285 was odd, well, that next one was downright bizarre!  But I’ll be covering that story in a future edition of Strange Comic Books.