Ebook Free The Secret History Of Marvel Comics: Jack Kirby and the Moonlighting Artists at Martin, by Blake Bell Michael J. Vassallo
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The Secret History Of Marvel Comics: Jack Kirby and the Moonlighting Artists at Martin, by Blake Bell Michael J. Vassallo
Ebook Free The Secret History Of Marvel Comics: Jack Kirby and the Moonlighting Artists at Martin, by Blake Bell Michael J. Vassallo
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Review
Winner: "Favorite Comics Related Book 2014" - U.K. True Believers Comic Awards
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About the Author
Blake Bell is the author of Strange & Stranger (a retrospective of Spider-Man co-creator Steve Ditko); The Secret History of Marvel Comics, Fire & Water: Bill Everett, The Sub-Mariner, and the Birth of Marvel Comics; Amazing Mysteries: The Bill Everett Archives; and Strange Suspense and Unexplored Worlds (two volumes in The Steve Ditko Archives). He lives in Toronto, Ontario, with his son. Dr. Michael J. Vassallo is a noted historian on Marvel's early pulp, Timely and Atlas periods. A Manhattan dentist, he spends his free time attempting to bring recognition to artistic creators of the 1940's and 1950's. He has also written introductions to 20 Timely and Atlas Masterworks volumes, dissecting the credits for posterity and providing historical context, as well as writing the detailed captions to the first 210 pages of Taschen's "75 Years of Marvel" coffee table book. He lives in Westchester County, New York.Â
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Product details
Hardcover: 168 pages
Publisher: Fantagraphics Books; 1 edition (November 5, 2013)
Language: English
ISBN-10: 1606995529
ISBN-13: 978-1606995525
Product Dimensions:
7.5 x 1.1 x 10.1 inches
Shipping Weight: 2.4 pounds (View shipping rates and policies)
Average Customer Review:
4.1 out of 5 stars
18 customer reviews
Amazon Best Sellers Rank:
#189,693 in Books (See Top 100 in Books)
I enjoyed this book, but it isn’t really a “History of Marvel Comics,†secret or otherwise. Rather, it details how the original owner of what became Marvel Comics in the 1960s, Martin Goodman, got his start publishing pulps in the 1930s, and later magazines. By all accounts comic books were a very small part of Goodman’s publishing business, one in which he took little or no interest until Spider-Man became a hit in the mid-1960s. He sold the business in 1968.Goodman is portrayed as a cheap and unethical publisher of shlock (and frequently reprints) who sought unapologetically to capitalize on evolving popular trends in pulp and magazine publishing. Martin Goodman published his periodicals through a dizzying array of ever-changing shell companies, a not uncommon business practice in the industry at the time apparently, and yet another way for bottom-of-the-barrel publishers to avoid paying creators.The book’s authors chronicle in almost scholarly detail the ever changing roster of titles, the convoluted issue number sequencing, and the seemingly endless array of fly-by-night publishing companies with various business addresses in Manhattan in Martin Goodman’s little publishing business, with a heavy emphasis on the pulps he published in the 1930s and 1940s.The conceit is that Goodman’s unethical business practices, and lack of regard for the creators whose work he published as well as the readers who bought his periodicals, carried over into Marvel Comics in the 1960s. But that aspect of the narrative is barely touched on, and only in the final pages of the 100 page history of Goodman’s publishing business that starts this 300 page book. (The remaining 200 pages of this 300 page book detail, artist-by-artist, the many famous comic book artists who got their start in the 1940s doing work for Goodman’s pulps. Most of those 200 pages reprint this long lost artwork.)I found myself asking rhetorically many times while reading this book “why†various things happened they way they did. The various titles and issue numbers of Goodman’s various pulps are laid out in the almost fetishistic detail characteristic of a devoted collector. But the human reasons “why†events occurred in the narrative are rarely addressed and when they are, only in passing. As one example, the book touts that it explains the little-known ‘real’ reason why Ditko and Kirby left Marvel Comics in the 1960s, and ascribes that to Martin Goodman’s unethical business dealings with them, as opposed to disputes with Stan Lee. But the book never explains why, if that were true, Kirby came back to Goodman’s comic book company in the late 1950s (and did work for him for another decade, co-creating the Marvel Universe in the 1960s with Stan Lee) despite having had a bitter falling out with Goodman in 1941 over royalty payments for “Captain America Comics.†And it never explains why, if that were so, Ditko would go on to do work for Goodman’s short-lived Atlas Comics in the mid-1970s.As a book about a comparatively minor, ethically challenged publisher of pulps in the 1930s and 1940s, with an intriguing link to Marvel Comics, this book makes fascinating reading. But it’s not really a “History of Marvel Comics.â€
I've read several books about the triumphant rise of Marvel comics, but the most interesting part of the company history, is the way the artists who helped create the iconic characters were mistreated. This book delves deep into the shady business practices of Martin Goodman & others of his ilk. Not to mention the struggling artists, who only wanted to provide for families & maybe make a name for themselves. Plenty of pictures of great art & informative bios on the men who created the characters many love.
This was a birthday gift for my friend who fancies himself a comic book historian. Surprisingly, there were a few things he didn't know about Marvel, which made it all the better!
Blake Bell and Michael Vassalo have done a superior job putting this book together, which centers on Jack kirby, Al Avison, Syd Shores, Alex Schomburg, Frank Paul, Stan Lee, Gene Colan and many other superior artists that were a part of the Martin Goodman empire. It covers their pulp work, some comic book work, good girl magazines, torture and porn, and much more, lavishly illustrated, with separate chapters on the artists themselves.Recommended for all serious students of Marvel Comics and their creators.
This book is fan perfection with tons of rarely seen art from the pulps, inside details on Marvel's inner working and the companies other divisions besides the comics. It is also done with a scholars thoroughness.
Daughter is a Marvel freak and loved it.
The title of this book should have been the PULP history of marvel comics.They color a house add with the human torch,as well as have the cover for marvel comics 1, but this book concerns itself mostly with the pulps that Goodman came out with.IF one really want a copy, wait for the trade paperback edition.
Got book in timely manner! Highly recommended would buy more literature from these two authors! Great read for fans of golden an silver age artists!
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