30 years ago, I had the good sense to snap this fantastic photo of Jack Kirby and Gil Kane at the 1993 San Diego Comic-Con. (Jaunty Jim Salicrup, the Topps Comics EIC, is the happy fella in the middle.)
Fantastic, but, as it turned out, bittersweet: This was the final time these two legends had a chance to greet each other. (Jack passed away the following winter.) I’m not sure they were both scheduled at the Topps booth at the same time, so it may have been a very happy coincidence.
I’ve discussed Topps Comics (and trading cards) numerous times in previous posts — it was a wild ride with many great moments. This was one of my favorites.
And did I say good sense? Hardly. If I did, I would have handed off the disposable camera to someone else and jumped in the photo as well.
Kane and Kirby both delivered for Topps; we launched the “Kirbyverse” with unused and under-utilized concepts from Jack’s files, and Gil Kane drew the Jurassic Park adaptation and prequel. And both provided art for our massive Star Wars Galaxy series, which featured more than 400 cards — with art from nearly that many individual creators.
It was my turn to chat with Comic Art Fans (CAF) moderator Bill Cox this past Tuesday. We ended up talking about lots of interesting comic book publishing history… plus some great art. You can watch it directly through the link below:
And speaking of comic book history…
In celebration of 50 years of the creation of the comic book specialty distribution market, Milton Griepp of ICV2 is featuring a series of interviews with early “pioneers” in the business. The day before this past SDCC, my interview (video and print) appeared. If you’ve got some down time (Ok, if you’re bored with pretty much everything else on-line at the moment), please join me down the rabbit hole.
Good timing on the publication of the interviews; I am personally celebrating 40 years of professional contributions to the popular entertainment arts (Topps, IDW Publishing, Activision, et al) in one media format or another.
Teenage Greg (photo is October 1975, at Phil Seuling’s monthly Comic Book Marketplace show in New York City) would be very amused, if not startled.
I’ll be attending the convention all four (five, really) days this week. As always, feel free to reach out — or track me down primarily in the original art pavilion.
As advancements in computer animation technology take video game development to ever-more impressive heights, ASIFA-Hollywood will look back at the early days with these pioneers of video game animation. Actor and writer John Omohundro (Bravest Warriors, Tokyo Revengers) will go back in time with Kevin VanHook(Bloodshot, Valiant Comics), Greg L. Goldstein (CEO, Four Color Arts, formerly Activision, Acclaim, IDW Publishing), E. Daniel Arey (Creative Director at Niantic, VisionArey Entertainment), and other animators and game developers to explore the challenges and celebrate the accomplishments of classic video games, such as “Myst” and “Turok: Dinosaur Hunter.”
In 1988 Topps released a dinosaur-themed card series that sacrificed scientific accuracy for over-the-top action, violence, and gore. Fans of B-movies and dinosaurs were never the same! Series creator Gary Gerani (writer, film historian), Greg Goldstein (IDW Publishing, Topps), and Matt Corrigan (the Launchpad Podcast) discuss their favorite cards from this memorable set while Dr. Ashley Poust (paleontologist for San Diego Natural History Museum) separates fact from fiction. Matt and Greg will also show off original art produced for the series 35 years ago!
Saturday 7/22/23 7:30pm – 8:30pm Room 29CD
Lots of friends and colleagues appearing throughout the convention, but I would like to specifically point out that my pal Beau Smith is a Comic-Con Special Guest this year. His spotlight panel on Sunday, hosted by another pal, Ted Adams, is must-attend event!
Here are two great pages from the final issue of the 1993’s Jurassic Park adaptation, penciled by Gil Kane and inked by the George Perez. As I noted previously, the key Dino action takes place in issue #4 which covers half (or more) of the film. (Thanks a lot, Universal.)
Fun fact: Universal had a giant launch party for the JP licensing and marketing program at New York City’s Museum of Natural History in February 1993 (at the annual Toy fair event) and Topps received several invites. So what happens when I hop out of the Subway to walk to the museum? I run into George Perez, and we make our way in together. I had a great time, but George was even more thrilled. It was clear he was absolutely delighted to be a part of this.
Fun fact #2: Topps also had a few invites to the NY premiere of Jurassic Park at the Ziegfeld Theater and Walter and Louise Simonson were able to accompany us to the theater, and a swell time was had by all. But, apparently, the final version of the shooting script had not made it from Universal / Amblin to Topps to Walter, so naturally he immediately noticed that his script and the Final Cut differed in a few places. (Fortunately, only a few.)
Jurassic Park opened thirty years ago June 11, so it seems like an ideal time to present some more great Jurassic Park pages from 1993’s adaptation drawn by Gil Kane and George Perez this week. (I still can’t believe it’s been thirty years.)
Here’s a terrific splash from issue three, with George’s telltale detailed inking mostly only evident in the original art; the color obscures many of those fine details in the published page.
Fun fact: Because of licensing restrictions (including embargo dates) and publishing schedules, the film’s script and the four-issue comic breakdown are somewhat uneven. Not that much happens in Issues #1 and #2. Issue #3 has this cool opening, and some cool T-Rex action in the second part, but most of the exciting Dino action happens in issue #4. (Writer Walter Simonson did a terrific job balancing the script under those challenging restrictions.)
Painting for Topps Mars Attacks re-launch, 1994, used later as cover for Mars Attacks: Classics Obliterated (IDW) #1, June 2013
In 1994, to celebrate and promote the return of Topps Mars Attacks with its first series of comic books, and a brand-new series of Trading cards, we commissioned the legendary Earl Norem to create a “Classic” movie style painting of Mars Attacks as if it were a 50s SF poster painted by Reynold Brown or Joe Smith.
We immediately used the image on the back of a Topps convention staff t-shirt at SDCC, and other marketing materials as well. It was designated to appear on one of our comic books, but kept slipping through the cracks, until ultimately it remained unused through the series run. (It may have appeared on a bonus card or promo card though.)
As the owner of the original painting, I hadn’t forgotten about it, and when IDW acquired the Mars Attacks rights, it finally made its way as a cover for the “Classics Obliterated” one shot. It was only 18 years. Better late than never indeed.
As noted previously, I’m a giant (pun intended) fan of Michael Golden’s dinosaur covers and portfolio plates for our Topps Jurassic Park comics.
Here’s one I haven’t posted before: Poor Ellie (Laura Dern) about to become a hors d’oeuvre for a group of velociraptors. I love the unique point of view on this one.
Originally designated as the cover for Jurassic Park: Raptor’s Attack #1, it was also reused for the cover of the newsstand exclusive JP comic, Jurassic Park Adventures #3.
Lady Rawhide was introduced in the pages of Zorro as a “good girl/ bad girl” supporting character. After all, we had to keep with Vampirella, Dawn, Shi, Lady Death, et al, no?
She ended up with two of her own min-series, this second one with art by the legendary Esteban Maroto.
Unfortunately, as the series launched, it was becoming apparent that Topps’ passion to stick around in the comic book business was waning. The comic book sales implosion that followed the early 90s explosion was brutal.
I had left the company prior to the series solicitation, and EIC Jim Salicrup left prior to its conclusion. And, seeing the handwriting on the wall, Topps management published the final two issues of this series without coloring them to save money.
But, as always, we digress.
Topps comics may have concluded its run, but Lady Rawhide lived on at Dynamite Entertainment — at least for a while. (And they added a Lady Zorro for good measure.)
Dracula vs. Zorro.? For about a millisecond, this one sounds a bit odd, and then you say, wait a minute…
In the hands of writer Don McGregor and artist Tom Yeates (inks by Rick Magyar), you get a fun Topps Publishing two-parter, with Don’s smart writing and Tom’s magnificent storytelling — on giant art boards, no less.
A few notes:
• ˜The book came out just shy of 30 years ago.
• Dracula (The Francis Ford Coppola adaption kind) was Topps very first comic book; Dracula vs Zorro appears just before the launch of Topps’ Zorro solo series, also featuring stories by McGregor. (The crossover wasn’t originally planned as the character’s introduction— it just sort of happened, following the smash success of the Drac adaptation…)
• It’s only two monthly issues but features a whopping 61 pages of content — which leads me to believe we may have originally intended the story to total three issues. Perhaps we scaled back after the numbers came in for issue #1. Although we collected it in a prestige format comic in 1994, there are definitely not enough pages for a full trade collection. That was an era when we didn’t always plan for collections.
Thirty years ago this month — April 1993 — saw the launch of Topps’ “Kirbyverse.” (I genuinely can’t remember who thought of that phrase – EIC Jim Salicrup or myself, so we will each take have to take co-credit.)
Although Jack was not directly involved in character or story development, he did enjoy being kept in the loop and, from the feedback we received, he enjoyed our efforts.
The challenge at the time of course, is that the consumer marketplace didn’t enjoy our efforts quite as much as he OR we did. Four Kirbyverse titles launched in April 1993, plus a freebie. Total circulation of the group: About one million copies. (That is not a typo.)
But our titles launched purposely with retro styling, (see the ad below) and, at that moment, the market was mostly uninterested in classic styling. Younger readers gobbling up Image’s Youngblood and Spawn weren’t that versed or interested in Jack Kirby.
From the moment we launched, sales of the Kirby titles dropped each month. By the time we had reached 1994, we were sunk.
That said, it was a hell of a launch, and Jim managed to reunite the classic Marvel bullpen (or at least some of it) one last time.
And well-known Kirby superfan and Image co-founder Erik Larsen was kind enough to “lend” us Savage Dragon for the first issue of Jack’s Bombast one-shot.
So, there was that.
More on the Topps Comics “30th anniversary (albeit a few months late) in the next few weeks.
Did I manage to squeeze enough info into this one ad? Did the design team hand draw the “Kirby Crackle” in the background? Hint, those are both rhetorical questions.
