REVIEW: Violent, Profane "Deadpool" Shouldn't Work, But Really F---ing Does
As Comic Book Resources reported Monday, longtime Marvel colorist and Archie Comics artist Stan Goldberg passed away Sunday at age 82 following a recent stroke. The obituary recounts much of his lengthy and prolific career — it spanned six decades, from the Golden Age of comics to the birth of the Marvel Age to the wedding of Archie Andrews — so we won’t recount the details here.
Instead, we’ve rounded up statements about Goldberg, his impact and his influence, from Marvel, Archie Comics, the National Cartoonists Society and more:
“No less than Stan Lee, Jack Kirby or Steve Ditko, Stan Goldberg was one of the pioneers of the Marvel Age of Comics. As Marvel’s one-man coloring department, it was Stan G who determined that Iron Man would be red and gold, that the Thing would be orange, and that Spider-Man would be red and blue-black. He was also a talented cartoonist specializing in teen humor strips such as Millie the Model and Kathy the Teen-Age Tornado, which led him to become one of the mainstays of the Archie Comics line for decades. Stan was a gregarious and upbeat individual who was always a pleasure to work with.”
— Tom Brevoort, Marvel’s executive editor and senior vice president of publishing, in a statement to ROBOT 6
Last year, Archie Comics Editor-in-Chief Victor Gorelick and comics historian Craig Yoe compiled The Art of Betty and Veronica, the first art book ever released by the nearly 75-year-old publisher. Now they’re back with another deluxe, oversized volume, The Art of Archie: The Covers.
Like their previous book, this is more than just a series of pretty pictures. They kick it off with a look at how a cover is created, contrasting an original sketch by writer George Gladir with a finished cover, then showing the different states of another cover — line art, proofs, and finished product. They also include sections focusing on the individual artists, with a photo of each artist, a brief bio and a sample of his work.
I talked to Gorelick and Yoe about what went into compiling the book — and what went into creating the Archie covers in the first place. Gorelick, who’s been with the company for more than 50 years, drew on his own reminiscences about the way things used to happen behind the scenes.
Brigid Alverson: I’m going to start with the obvious question: Why covers?
Victor Gorelick: All of our covers tell a story. It’s not just some superhero flying around in some poses; you get a gag on the cover. It’s a little bit extra for your money.
Craig Yoe: They are closer to a New Yorker cartoon than a typical comic book cover that is maybe just a scene of action. These do have a nice little scenario and setup and payoff.
Gorelick: And also, we didn’t just paste in a bunch of covers. I have seen other cover books where you just see one cover after another. There’s a little more background on the covers. There are covers that were chosen by our fans — we put something up on the internet and we asked them to let us know what their favorites are.
Passings | Roy Peterson, editorial cartoonist for the Vancouver Sun, died Sunday at the age of 77. During his 40-year career, Peterson won more National Newspaper Awards than any other Canadian creator, but he was remembered by his peers chiefly for his sense of humor and his mentoring of younger artists. [Vancouver Sun]
Publishing | CNN contributor Bob Greene profiles Victor Gorelick, the editor-in-chief and co-president of Archie Comics who began working for the publisher at age 17, in 1958. [CNN.com]
Creators | Craig Thompson talks about the short story he wrote and drew for First Second’s Fairy Tale Comics anthology, and he reveals an interesting fact: “For six years or so, my entire income was based on drawing kids’ comics for [Nickelodeon] magazine. Later on my career shifted to drawing ‘serious’ graphic novels aimed at adult readers, but I’ve always wanted to revisit my more fun and cartoony style.” Former Nickelodeon editor Chris Duffy is the editor of Fairy Tale Comics. [Hero Complex]
Here’s one of the greatest things about being a comics journalist: Every month, I get a box delivered to my home that contains the entire Archie Comics output for that month. Really, it doesn’t get any better than that.
I usually look at the comics one at a time, but this month, I thought it would be interesting to view the group as a whole, and see what it tells us about Archie and its product mix. (I should say right off the bat that this box doesn’t include graphic novels, which means there is no copy of the truly excellent Jinx 2: Little Miss Steps. If you don’t mind Jinx spoilers, go ahead and read my interview with writer J. Torres to find out what that is about.)
This month’s box contains 10 single-issue comics, six digests and two magazines. That looks like a lot, but it really isn’t because every comic and magazine this month has a variant cover. So in terms of what’s inside, that’s five singles, six digests (no variants there!) and one magazine, Life With Archie. All these have June cover dates, which means they came out in May.
Let’s take a closer look at what’s inside the box.
Debuting last fall, The Art of Betty and Veronica was something new for Archie Comics: It was the first time the 74-year-old company had released a deluxe art book under its own imprint, rather than licensing it to other publishers such as IDW or Dark Horse. Compiled by Editor-in-Chief Victor Gorelick and writer and comics historian Craig Yoe, the book takes a decade-by-decade look at the two leading ladies of Riverdale.
Gorelick and Yoe are already at work on their next book, The Art of Archie: The Covers, and they’re taking suggestions from fans on what covers to include. You can go to the Archie forums here if you have a cover to submit—or to look at some of the ones that readers have already uploaded.
I talked to Gorelick and Yoe about their collaboration, Gorelick’s 54 years at Archie Comics, the importance of creators, and the new book.
Robot 6: Victor, how did you start with Archie?
Victor: I came in working in the art department, right out of high school; I went to the School of Art and Design, and one of the production people had graduated from that school the year before and they needed a production assistant in the art department to replace Dexter Taylor — he was going to be drawing Little Archie along with Bob Bolling, so he was going freelance, and they needed someone on staff, so they contacted the school, and they sent up a few people from my cartooning class, including myself, for interviews, and I got the job. And the rest is history.
The Art of Betty and Veronica
Edited by Victor Gorelick and Craig Yoe
Archie Books, $29.99
It won’t take more than an hour or so to read The Art of Betty and Veronica cover to cover, but it will be a pleasurable hour. And to be honest, it’s not quite as light a read as I expected.
Archie Comics has been criticized in the past for not giving credit to artists and writers, and this book goes a ways toward correcting that. Victor Gorelick, who started at Archie Comics in 1958, kicks things off with an essay about the Archie artists he has met during his tenure, giving a bit of personal insight into each one. There’s also a two-page spread with photos of them, which is another nice touch. I like being able to put a face to the name (although Bob Montana is somewhat obscured in his photo).