A Tribute to the of

I'd be hard pressed to recall the first time I encountered the artwork of Neal Adams, but odds are good it was on a Batman story.  Neal's interpretation of the Dark Knight was absolutely one of the best I'd ever seen, then or now.  He may have broken out with Deadman, but he cemented his status with his work on Batman as a dark, brooding creature of the night.

For this edition of the Silver Age Sage I've selected Detective Comics #404 from October of 1970 where Batman duels the "Ghost of the Killer Skies!"  Scripting for this unique tale is by Denny O'Neil.  Pencils come courtesy of Neal Adams with Dick Giordano inking over them.  Coloring credit goes to Tatjana Wood and our good friend Julie Schwartz edits.

Our setting is quite unusual, even for a Batman story.  It is central Spain and our favorite Masked Manhunter has just witnessed an abrupt rollover and crash of an early 1900's vintage bi-plane.  Batman leaps down the side of the cliff face to the scene of the crash on the ledge below and pulls the dead pilot from the flaming hulk only to discover he's dead of strangulation.  Hearing people climbing up, the caped avenger leaves.  It seems it was part of a movie production and the director, Mr. Anson, insists that the cameraman take advantage of fire by shooting footage of it.  At that moment Bruce Wayne arrives and the director exclaims the picture is jinxed.  They're shooting in Spain to save on costs, but a series of mishaps has made it a nightmare with the loss of the pilot one of the worst.  Bruce calls an impromptu meeting at the main set of the movie, which is tentatively titled, "The Hammer of Hell!"  Anson states that they're far over budget at this point and he's received word another group is in the process of producing a German war movie with the potential to kill their market.  Wayne is adamant that the academy award winning director and the subject, the story of Baron Hans Von Hammer, "…the most enigmatic flyer who ever lived," makes the project worth pursuing.

Enter Heinrich Franz, the film's technical expert in charge of aircraft.  He comments that the death of the pilot may be fate.  He comments that Von Hammer believed in fate, calling it the destiny of the killer skies and that maybe his ghost is the enemy to the project.  Bruce excuses himself and later in his motel room indulges in one of his specialties, detective work.  He examines a photograph of Von Hammer and notes the uncanny resemblance borne by Franz.

Back at the filming location, dark figures move about, preparing sabotage of antique aircraft.  They speak in whispered Spanish accents, acknowledging their leader, "Senor Hammer."  It is then that the Batman springs into action, dispatching the henchmen and tearing the fuse from the charge of dynamite.  A fleeing felon is caught and questioned in his native tongue.  The Batman utilizes his potent combination of strength and fear to intimidate while he interrogates and learns the men are employed by an unknown man who conceals himself in goggles and a scarf.  He is soon released and told to turn himself into the police.  As Batman departs the scene his thoughts check off the classic detective's list:  "Motive…opportunity…and one very bad slip of the tongue—it's got to be him masquerading as "Von Hammer.""

Racing back to the community living area, the Dark Knight spots lights in a trailer and is soon confronting Gavin, the cameraman, who is decked out in the aviator gear described by the saboteur.  When the terrified man asks how he knew, Batman explains that he made a glaring mistake in stating at the crash site that the pilot was strangled before he was close enough to see.  Before the discussion can continue, however, shots ring out and Anson collapses into the trailer, mortally wounded.  His dying words are, "G-ghost of Von Hammer…blasted me…went away…toward airfield…"  Gavin attempts flight, but is soon downed by a more fleet footed Batman.  Hearing a Fokker Triplane, the Cowled Crimefighter continues to pour it on, but when he arrives at the craft, there is no pilot.  Soon, however, he finds himself in the sights of a German Luger wielded by Heinrich Franz who introduces himself as the Ghost of Von Hammer.  When Batman confronts him about sabotaging the movie, Franz admits it and then presents his motive:  "This…filthy American film is an insult to the memory of Germany's finest hero—Von Hammer was as a god!  The Americans show him as a soft, sniveling weakling…putting into his mouth words of compassion…of mercy…of respect for the enemy!  Bah!  He was ruthless, was my ancestor—magnificently ruthless!"  Our hero retorts:  "Not the way I read his story!  I see the Baron as a man caught between his feeling of duty and his own best instincts…a tragic, tormented and somewhat pitiful soldier—" Heinrich has heard enough and is about to shoot the Masked Manhunter when Batman suggests that Von Hammer would have behaved more fairly.  Franz agrees to a duel in the killer skies and boards the Fokker while Batman enters the French-made Nieuport.  The World's Greatest Detective recalls he'd once had some brief instruction on flying the ancient craft and hopes it will suffice.  Soon an aerial dogfight is underway and Batman is surprised at how well he is doing, thinking it almost feels as if he has help.  The superb panel shows an oversized outline of Von Hammer in the background (an image that pays homage to Joe Kubert's cover of Star Spangled War Stories #138, dated April-May 1968).  Franz continues the aerial offensive, firing his Luger at the unarmed Nieuport until he manages to hit the fuel line.  Batman maneuvers the biplane and uses a surprise move, leaping in mid-air at Heinrich, who has fired his last shot.  Batman grasps the wing support of the Fokker and Franz raises half out of the cockpit in order to beat upon the gauntleted hands with the empty Luger and force our hero to plummet to his death.  Batman then warns him of danger behind, but it's too late.  His trailing scarf has been caught in the propeller and he is thrown free of the craft.

Batman lands the plane and wonders to himself if Heinrich was truly a descendant of Von Hammer or merely one who loved war as he strides toward the body that was garbed exactly like Von Hammer, or as he was known in the old war comics, Enemy Ace.

A final, classy touch is a scroll-like text box at the bottom of that panel with the words:  "A tribute to the great Joe Kubert and Robert Kanigher from Denny O'Neil (Scripter) Neal Adams [and] Dick Giordano (Art) [and] Julius Schwartz (Editor.)"

It's probably quite obvious after all this time, but my preference in the Silver Age was, of course, the superhero titles.  I've read a few, but precious few, of the war titles and have yet to read my first Enemy Ace story, but this tale leaves me somewhat intrigued, so perhaps I'll remedy the situation soon.  In any case, this was a story well out of the norm for Batman, but I think it handily illustrated his skills as a detective and his ability to adapt to any situation or setting in order to fulfill his mission of bringing justice to pass, even if it involves an aerial dogfight in a World War I era airplane somewhere in central Spain.  I enjoyed the story a great deal and think it holds a well-deserved place in "The Greatest Batman Stories Ever Told." (It was first reprinted in 1974's Limited Collectors' Edition #C-25.)  I give it a 10 and encourage you to check it out for yourself.

And now, the part you've been waiting for, the conclusion of my interview with Neal Adams.  If you missed part I, just hop over to the archives.

Prof:  That [the Green Lantern/Green Arrow series] was quite a watershed event there, too, was it just mainly Denny's work or was it pretty collaborative as far as the socially conscious effort?

NA:  I would have to say that you have to give Denny total credit for the extremely socially conscious aspect of it.  What had happened was that I was a big fan of Gil Kane and Gil had left DC Comics to do whatever he was doing, Blackmark or some stuff.  So he was no longer going to be doing Green Lantern, which if you had interviewed Julie Schwartz at the time he would say, "Good-bye, good riddance, goddammit."  But essentially he knew that Gil made Green Lantern.  So they started to hand out the books, the scripts to other people.  Jack Sparling and people like that, and of course the stuff was terrible.  So I went to Julie and I said, "Look, Julie, please, before you cancel the book let me do a couple of issues."  He said, "You wanna do Green Lantern?"  And I said, "Yeah."  "Why?  You're out of your mind.  The sales are diving down."  I said, "No, man, I really love the character and I love Gil Kane's work.  I'd like to do kind of a Gil Kane thing; I'd really love to do it."  So I had done a kind of a revise of Green Arrow in the Brave and the Bold [#85].  They decided to pull Green Arrow and I thought, "Wow, shoot.  The character's kind of a nothing character, why don't I turn him into something?"  So, I had turned Green Arrow into a pretty good character in the Brave and the Bold, but there was nothing for him to do.  Everybody was like; "Wow, he's cool looking," but they didn't know what to do, so it occurred to Julie, why don't we do Green Lantern and Green Arrow?  Of course he mentioned it to me and I said, "Are you out of your mind?"

Prof:  (Laughter.)  They're both green.

NA:  What is that?  That's not even funny.  You're out of your mind.  He said, "Well, I'm thinking of maybe making it a continuing story with the two characters and I'll call Denny O'Neil in.  You're working pretty good work with Denny."  I said, "Yeah that would be good."  So he called Denny in and essentially Denny, having been a reporter and also being very socially conscious, Denny was a bit of a radical at the time.  They kind of asked me if I minded it going off in a little bit more meaningful direction and of course I said, "No, no, that sounds great.  If I'm going to have to do two green guys, it doesn't really matter where I'm going.  Let's get crazy."  So essentially all I gave was approval.  Denny went off and started writing very, very socially conscious stories.  He knew that I would carry them through.  It's sort of like a writer and director, you know if the director is going to do the job then you can basically focus on the story.  So that's what Denny did, he really focused on these stories and we did some pretty darn good stories, in my opinion, until we got to the drug thing. 

Prof:  Yeah, I imagine the Comics Code kind of tripped that one up a bit.

NA:  Not really.  What happened was we were going along and Denny did a number of good issues.  We attacked President Nixon and Vice President Spiro Agnew and that got a letter from the Governor of Florida telling us that if we ever do such a thing again he's going to discontinue distribution of DC comics in Florida.  Florida has managed to keep that reputation, even up to recent years.  So we managed to ruffle some feathers along the way, but essentially nobody actually knew what we were doing until we were about into our third issue and then everybody liked it.  My good buddy Carmine will tell you he knew what was going on, but he had no idea.  That was the good thing about it was that no one was paying any attention, so we actually got really into the meat of it before anybody kind of woke up, and the books were distributed, you know, you don't distribute them the following week, so we were into our third or fourth issue by the time everybody goes, "Whoa!  What's going on here?  This is like cool, or awful," or whatever the hell they might have thought. 

Prof:  You had a good roll on.

NA:  Yeah.  So we got into a number of issues, but we were starting to get into overpopulation by that point and I was getting a little antsy because, you know I don't consider overpopulation to be what you call your "issue."  It's a phenomenon and people have to deal with it, but you know if you have Americans getting vasectomies while Indians are having as many as 10 to 12 children in a family, this is not the solution to the problem.

Prof:  Precisely.

NA:  Not a good direction.  So people who can afford it, not having kids, it's just stupid.  Anyway, so I was feeling, you know, we're coming to the end of this run here, but you know what we haven't done?  We haven't done anything on drugs.  And it was a big issue and there had been kind of a thing over at DC Comics where the state of New York came to DC Comics and they wanted to do a drug comic book and Denny was asked about it and I was asked about it, so Denny did an outline and I did an outline of what kind of book it could be and they didn't like our outlines (laughter) and we had taken a lot of time.  Both Denny and I had gone to Phoenix houses and we had talked to the guys and you know the shit that you hear isn't exactly the shit you hear from the guys who are really junkies.  Very, very different.  I was also the president of the local board of our drug addiction house in the Bronx.

Prof:  So you saw it all.

NA:  I saw it all, had some experience and I was taking guys down from 42nd street with their noses running on their bellies and locking them away into our local, what was originally a nunnery and getting people in who were banging on the doors and it was just like…nuts.  Anyway, I knew a lot about it.  So, because I had a lot of experience I had an awful lot of knowledge and things were not, you know, "Oh, just stop.  Just tell people no."  That's not the way it is when you have a kid coming home from school at night and his father comes home and he comes home, he's got a load of homework to do and a load of things to do and he wants to enjoy himself and hang out with his friends but he can't because he's loaded down with homework and his dad comes home, kicks his shoes off, smokes a cigar, gets some booze and sits in front of the television and yet he's treated like a king and this kid is treated like shit.  A kid can get annoyed at that and perhaps unhappy and if he hasn't got too much to go to, there's a very good chance that he will go to drug addiction.  I can't imagine why…

Prof:  (Laughter.)  Yeah, go figure.

NA:  So the problem with society, both of us, Denny and I, realized was that we were not taking care of our kids and we were not giving them alternate things to do and we're not rewarding them for their hard work and we weren't doing much of anything.  We were actually making potential addicts.

Prof:  Disengaged.

NA:  Yeah.  And they wanted us to do something about telling them to say 'no'.  This is like, "You're bad."  No.  We don't think so.  You're bad, society, you're screwed up and you're making us bad, but we're not that bad.  So they weren't happy with what we did, so they abandoned the project.  So we're going into this overpopulation thing with this Green Lantern/Green Arrow thing and I think, "We've got to do something on drug addiction," but of course it's against the Comic Code, so I went home and I did that first cover [Green Lantern #85].  You know, with Speedy?

Prof:  Yeah.

NA:  In the foreground?  I penciled it and I inked it and I put the lettering in and I brought it in and I gave it to Julie Schwartz and his hand grabbed it very briefly and then he dropped it on the desk as if it were on fire.  He said, "We can't do this."  I said, "Well, we ought to."  He said, "You know we can't do this.  It's against everything."  I said, "Well, this is where we're going.  This is what we ought to be doing."  So he said, "You're out of your mind.  Once again, you're being a pain in the ass."  So I took it into Carmine.  Carmine didn't know what to make of it.  I took it into the Kinney people, who were now running DC Comics and were sort of used to this and of course they dropped it like a hot potato.  I said, "You know guys this is where we ought to be going with this."  "Oh, no, Neal, please, just go and work.  Leave us alone.  You can't do this."  And of course Julie had a twinkle in his eye, but still he knew it was bullshit, it wasn't going to happen.  He said, "Why did you finish the cover?"  I said, "Well, because it's going to get printed."  "No, this will never get printed."  Anyway, I make a visit over to Marvel Comics a week or so later and somebody comes over to me, probably Roy [Thomas] or somebody, I don't know and says, "You know what Stan's [Lee] doing?"  I said, "What?"  He says, "He had this guy, this drug addict popping pills and he like walks off a roof."  I said, "Stan had a guy popping pills and he walks off a roof?  That's kind of a unique situation."  (Laughter.)  "I don't exactly know where you're going to find that, you know I don't know who's going to be walking off a roof."  "Well, you know Stan read some kind of article about a guy who went off a roof."  "Oh, okay.  Sure.  All right.  Whatever." And he said, "So we did it and we sent it over to the Comics Code and the Comics Code rejected it, they said he has to change it."  So I said, "Well, what's Stan gonna do?"  "He's not gonna change it."  "You're kidding."  He says, "No.  Not gonna change it.  We're just gonna send it out, it's ready to go out.  We're sending it out.  It's going to be on the stands next week.  Week after next."  "Really?  No shit.  What about the Comics Code seal?"  "Not gonna put the Comics Code seal on it."  "Really?" [Amazing Spider-Man #97 & #98. Cover dates: June-July, 1971]

Prof:  You can do that?

NA:  So sure enough, he sends it out and I go over to Marvel Comics since I heard it was out and I go over and I say, "What happened?"  He said, "Nobody said anything."  "Nobody said anything?"  "Nobody even noticed that the seal wasn't on there."  "No shit.  Nobody even noticed?"

Prof:  What do we do now, Batman?

NA:  What do we do now?  So I go back to DC, you know, and now that word had gotten out, oh shit.  Now try to imagine DC, they've got this cover, right?  Could have scooped Stan with something real and solid.  They screwed up.  So within a day or two they call a meeting of the Comics Code Authority.  Remember the Comics Code Authority is bought for and paid for by the comic book companies.  It doesn't exist independently.  It's a self-regulating organization.  So DC Comics calls Marvel, they call Archie, they go and have this emergency meeting.  "We're going to revise the Comics Code!"  Okay, within a week they revised the code and within a week and a half they tell me and Denny to go ahead with the story.  (Laughter.)

Prof:  Just that easy.

NA:  Just that easy.

Prof:  Oh, too funny. 

NA:  Well, it took the cooperation of quite a few people, but there you go.  That's how it happened.

Prof:  Incredible.

NA:  So Stan is responsible for us being able to do that drug story, when you get right down to it.  Thank you, Stan.  I'm popping a pill, walking off a roof.

Prof:  About as unrealistic as possible, but nonetheless…broke down the door.

NA:  Incredible.  Stan was always kind of like innocently naïve.  "I wonder what would happen if we just threw this out."  Not, "Oh, the shit hit the fan and we're in trouble now."  Just, "Oh."  Stan in his own way is just wonderful.  He's like the world's innocent.

Prof:  Just go for forgiveness rather than permission and see what happens?

NA:  I guess.  I don't even understand it, but still he won the day.  He won the day for us.  Incredible.  Stan, thank you.  How do you say thank you?  Thank you, Stan, for having a guy popping pills and walking off a roof.

Prof:  Excelsior!

NA:  Excelsior.

Prof:  Now you went over to Marvel shortly thereafter, did you not?  Did you prefer the Marvel Method for your kind of work or did it make any difference?

NA:  Well, I'll tell you the sequence of events.  I had done a Deadman story and in the Deadman story I did some kind of special effects.  I did one thing that takes up the page and it's kind of a double image.  So I was doing this optical illusion because Deadman was going into this mysterious, hell-like place or heaven-like place, or whatever.  To find Vashnu or whoever.  So I'm doing these optical illusions and there's this one panel I did at the bottom where I have the steam rising up from below going past Deadman.  And if you take the comic book and you hold it at an angle, so you look like down the comic book at a very steep angle, that steam that rises up coalesces into letters.  It squishes down and then you see letters.

Prof:  Okay, sure.  Sure.  Like the old 60's posters for rock bands and stuff.

NA:  Right.  It shrinks down, so if you look at it from the bottom it says, "Hey, a Jim Steranko effect."   (Sustained laughter.)

Prof:  Subliminal messages.

NA:  Because Jim was over there with op effects and doing all kinds of things, so I thought, "I'll do this."  Cute little thing.  Anyway, the thing comes out and a week or two afterward Jim Steranko comes over to DC Comics, seeks me out, shakes my hand and says, "Hey, that was cool."  I said, "Thanks."  And so we got to talking and I asked him about what was going on at Marvel and he said "Well, they have this way of doing it.  Stan does so many books that he just lets you do the story and you hand in the pages and you write the story on the side or with notes as to what takes place and Stan writes the dialogue."  "That's pretty interesting.  You get scripts over here."  He said, "It's a pretty good way to work because basically you're in control of the story.  You decide what the story is and Stan puts in the words."  "Huh."  That was known in those days as the Marvel Method.  Because there was Stan, you could just do so many books.  At that time they were bringing in Roy.  So anyway, I thought, you know, I would like to do something like that for a couple of issues.  I would enjoy that.  Hmmmm.  So I thought about it for a couple of weeks.  And I went over.  I called Stan and I said I'd like to come over and talk, I'm interested in doing something.  Not that things were slow, it's just, I just do things like that.  Also some other things were happening at that time that were bothering me.  For example when artists would go back and forth between the companies, they would sign different names.

Prof:  Oh, yeah, aliases.  I'd heard about that.

NA:  Aliases.  Yes.  Mickey Dimeo was, uh, I don't know who the hell he was.

Prof:  Was that [Mike] Esposito?

NA:  I think so, somebody like that.  Anyway, so they would sign different names, because they didn't want the companies to know.  Like, you know, you're not gonna know.  So they were doing it and it was, "Oh, no, Stan wouldn't like that."  "Why don't you sign your name?"  "Oh, I couldn't."  So they worked under aliases and I thought it was stupid and also not good for the freelancers.  Very bad.  So, I thought I'd kill two birds with one stone.  So I went over and I talked to Stan and I said, "I'd like to do a Marvel book in the Marvel style, you know where I do the book and the dialogue gets put in."  Stan said, "What book do you want do?"  I said, "Well, what do you mean?"  He said, "Well, you can do any book you want."  I said, "Stan, that's very nice.  Why are you saying that?"  He said, "I'm saying it because the guys around here are saying that the only book they're reading from DC Comics is Deadman."  (Laughter.)

Prof:  Aha!  Your reputation precedes you.

NA:  "I see.  Okay."  So I said, "You don't mean any book."  He said, "You can have any book you want.  You can have Fantastic Four, you can have Spider-Man, you can have anything."

Prof:  Geez, carte blanche.

NA:  Yes.  So I said, "Okay.  What's your worst selling title?"  He said, "The worst selling title is X-Men.  We're going to cancel it in two issues."  (pause)  Let that sink in.  'The worst selling title is X-Men.  We're going to cancel it in two issues.'

Prof:  Unfathomable.

NA:  Well, it wasn't so much if you look at the books at the time.  Barry Smith, one of his earliest jobs at Marvel was an X-Men book and when I say early job, I mean crap.  (Laughter.)  And they really weren't very good.  If you read them, they're not good.  So I said, "I tell you what.  I'd like to do X-Men."  He said, "But I told you we're going to cancel it in two issues."  I said, "Well, that's fine."  He said, "Why do you want to do X-Men?"  I said, "Well, if I do X-Men and I work in the Marvel style, you're pretty much not going to pay too much attention to what I do, right?"  He said, "That's true."  I said, "Well, then, I'd like to do that."

Prof:  Gonna have some fun here.

NA:  I'll have some fun.  He said, "I'll tell you what.  I'll make a deal with you.  You do X-Men until we cancel it and then you do a really important book, like The Avengers."  Now in those days The Avengers was a big deal.  I don't know about today.  Today it's coming back up again.  It's not as funny a story as it was 10 years ago.  (Laughter.)

Prof:  Following in Kirby's footsteps there, so…hallowed ground.

NA:  So he says, "Then you'll do Avengers."  So I said, "Okay, that sounds like a deal."  So I did 10 books of the X-Men, which you see reprinted all the time.  Then they canceled the book.  (Laughter.)  Why did they cancel the book?  Because sales weren't so good.  (Laughter.)

Prof:  Yes, of course.

NA:  Let me see, you have a mint condition copy of the X-Men?  (Laughter.)  How did you get that?  "I don't know.  Some guy had a box of them."

Prof:  Fell off the truck.

NA:  A box of them?  I must have signed more than they actually sold over the years.  I sign them all the time.

Prof:  I believe it.

NA:  Where do they come from?  Well, we know where they came from.  Back of the warehouse.  Those X-Men books, they did pretty good.  So anyway, what happened was they cancel the book and the fans jaws drop.  "What the hell's going on?"  And of course the fans wrote in letters and the interesting thing that happened was fans wrote in letters, they wanted to see the X-Men again, so they basically started to do reprints and then they started to do it again, but every artist, every new artist that came to Marvel comics from that point on wanted to do X-Men.  Dave Cockrum.  John Byrne.  All those guys, well not all, but the next group of guys, all they wanted to do was the X-Men.  That was it.

Prof:  That or nothing, huh?

NA:  Yep.  And if you look at the X-Men runs on the various guys, what you'll see, interestingly enough, is that those guys have all gone through the basic stories that I did when I did those 10 issues.  They all do Sentinels, they all go into the Forbidden Land, they all have Ka-Zar, one story with Ka-Zar, one story with dinosaurs.  Essentially they just travel through that same sequence of stories to give their take on another version of those stories.  Almost every guy.  Just to go ahead and do it.  "I want a shot at doing that.  Sauron, I wanna do him."  Sauron suddenly shows up.  New artist, there's Sauron.

Prof:  Just like that.

NA:  It's incredible.  Anyway, that's what happened.

Prof:  Oh, I love it.  It seems like you really blazed a trail as far as the more realistic style.  Prior to your arrival the only one I can think of offhand is Murphy Anderson, but following you it seems like you've got Jim Aparo and Mike Grell and so forth.  Were they aping you do you think or was it just the new wave?

NA:  (Laughter.)  What do you think?

Prof:  It was interesting to me that Mike Grell did Green Lantern…

NA:  "Anybody with a beard.  Anybody with a beard.  Anybody with a blonde beard. (Laughter.)  In fact, I'll grow a beard.  I'm growing a beard."  Hey, listen, shit happens, you know?  To be perfectly honest, between you, me and the fencepost, I don't feel, you know, guys aping my style was the contribution.  I think the contribution, if anything, was the realization that somebody could be a good artist and do comic books.  There's nothing wrong with the idea.  There's nothing incompatible with being a good artist and doing comic books.  That essentially was the message and it's the most lasting message.  I mean, you know, you're going to have guys that will ape your style.  Only one or two of them were really any good, I mean Bill Sienkiewicz, who managed to go on past that style and other people who possibly went beyond it have made greater contributions than the guys who aped the style, but it wasn't that so much as this idea that here were comic books that were being sold to college students, I mean you talk about Green Lantern/Green Arrow and even the Batman, even the X-Men, they went to colleges.  They sold very well in colleges.  When I say very well, of course off the back of the warehouse, my fans, all my fans wrote with a typewriter.  They didn't write on grocery bags with crayons.  They were intelligent, they were well read, they had something to say and the people who followed in the industry, we have a much more intelligent, talented field.  But the only way to get something like that is if somebody says, "Hey, yeah.  I could choose to do anything I wanted to do.  I choose to do comic books."

Prof:  Legitimacy as an art form.

NA:  Exactly…well, I wouldn't give it an art form status.  I'm kind of hoping to duck that one, but to give it a pop culture status that is as good as music, is as good as dance, is as good as film making on a high level quality, we're not looking to make art, but we are looking to please people and to do good art while we do it.  Mixing good art in there is not a bad thing as long as you don't get too hoity-toity.

Prof:  I think that's a very accurate summation.  They were also showing a lot of artists the door about the time you showed up.  Was that in any way related?

NA:  Who were they showing the door to?

Prof:  Oh, I was thinking of George Papp and Shelly Moldoff.

NA:  Well Shelly Moldoff hadn't worked for comics in a very long time.

Prof:  I was under the impression he was still at it up until the late 60's, perhaps my information is wrong.

NA:  I don't think so.

Prof:  The Wayne Boring's…

NA:  I think Wayne Boring was not part of it into the 60's.  He certainly wasn't there when I was coming in.  There was Curt Swan.  Curt Swan was the classic Superman artist.  Wayne Boring was not there any longer.  In fact, I wondered about Wayne Boring.  What was Wayne Boring doing at that time, do you have any idea?

Prof:  I don't know.

NA:  Because I can't imagine that they would let go of anybody at that time.  They needed everybody that was available.

Prof:  That's kind of what I thought.  It kind of threw me.

NA:  I think you'd have to talk to those people to find out, because you know if you're in this industry for a long time and then you discover that actually there is somebody else out there who will actually pay you money to draw and probably pay you more than these comic book publishers, you tend to want to do that.  To be perfectly honest doing comic books to a certain extent in the 60's was like a charity.  I would do story boards for advertising agencies and I would get paid the same for a story board frame as I would get paid for a page of comic book art.

Prof:  That's pretty consistent with what Joe Giella was telling me when he was doing advertising type work.  He said the money was much, much better.

NA:  No comparison and if you were able to pick up enough work…and what happened with various people was…let's say you're in a city, let's say you're in Detroit and you're mailing your comic book pages in if you're lucky enough to be in a situation like that.  Suddenly in Detroit it's a smaller pond than say, New York, so the competition isn't quite as stiff so somebody like Wayne Boring, and I'm not saying this happened to Wayne Boring, but somebody who has reasonable ability suddenly finds themselves in an advertising agency and being paid a reasonable rate to do a story board frame, what he would be paid to do a comic book page and suddenly somebody from down the hall has work for him and suddenly from this other agency and they're letting him do freelance work at night, suddenly he's tripled or quadrupled his income.  Why would he want to do comic books?  Why would he want to be bored to that extent whereas these people are grateful and they're saying, "Thanks.  Gee that's great.  You were able to knock it out so fast.  I really appreciate it."  It's a different world.  A totally different world.

Prof:  Sure, sure.  Instead of a Kanigher or a Weisinger, saying…(Laughter.)

Prof:  "What's wrong with you?  This sucks."

NA:  There were editors who were, in fact, ogres.  I never had any problem with any of them, but other people, I know did.  Sometimes I'd have to take them aside and say, "Why don't you take it easy on this guy?  He's got to make a living.  He's not going to change if you get mad at him overnight or something."

Prof:  Not going to cause a radical shift in what you think it should be.

NA:  I got along with Kanigher just fine.  I got along fine with Weisinger.

Prof:  It sounds like you're one of the few.

NA:  Well, I'm not really the kind of person you want to get angry.  'Cause I really just have a positive attitude about everything and to me if somebody crawls up my back it's like a surprise, it's "What are you crawling up my back for?"  I'll give you an example.  I'll give you my Kanigher story.  I'll give you my Kanigher story and I'll give you my Weisinger story.

Prof:  Okay.

NA:  My Kanigher story:  I'm in the room with Bob.  I give him my second war story.  I did a series of war stories.  First war story went just fine.  Handed it in, looked at it, that's it.  Brought in my second war story.  He starts to look at it, maybe he's got a little more time, I don't know.  A little grumpy.  He starts to correct my art.  He starts to criticize my art.  I said, "Hold on Bob.  Just hold on a second."  So I got up out of the chair, and I closed the door to the room.  I said, "I'll tell you what we'll do.  We'll have an arrangement between us."  Now you know when you close the door on somebody they kind of go, "Why is he doing that?"  (Laughter.)

NA:  The thought doesn't necessarily occur to somebody that you're going to hit them, but if you close the door, nobody knows.  I wasn't going to hit him, but I said, "Now let's be real quiet about this, because I don't want anybody to think you raised your voice at me.  You're the writer.  I'm the artist.  I'm not gonna criticize your writing, you don't criticize my drawing."

Prof:  Stay in your lane.

NA:  "Sound like a deal?"  He draws his head back, he goes, "Yeah, I guess that's okay."  I said, "Fine."  Then I opened the door and we went on.  That was the last harsh word, or even partially harsh word I ever heard from Kanigher.  From that point on, we were friends.  He'd come and tell me about his conquests, he'd tell me about the girl he laid up in the Himalayas or whatever the hell it is and I was a friend.  He'd bitch to me about other people and I'd try to calm him down, but essentially we got along easy.  I know that Joe Kubert got along with Bob Kanigher, but Joe Kubert's the kind of guy that doesn't take any shit from anybody.  So I think Kanigher was one of those guys that would challenge you unless you got up on your hind legs and suddenly, then you're okay.  That's the way it was with Bob.  That's my Bob Kanigher story.  Now, my Mort Weisinger story.  (Chuckle.)  Mort Weisinger was always nasty to everybody.

Prof:  That's what I hear.

NA:  Always, always nasty.  And Carmine wanted me to do covers for Mort Weisinger.  Mort Weisinger had Curt Swan.  Now, between you, me and the fencepost, if I had Curt Swan that would be enough for me, and it was enough for Weisinger, but Carmine kept on him, about "Have Neal do a Superman cover."  And Weisinger is giving me these glowering looks like somehow I'm part of this…

Prof:  Conspiracy.

NA:  Yeah, or whatever it is, so finally Carmine says, "You ought to talk to Mort; you know you ought to do covers for Mort."  So finally I walk into Mort's office and I said, "Mort, I just want to talk to you for a minute."  "What?"  "Carmine wants me to do covers for you."  He said, "I don't want it."  I said, "I understand that.  I've got it, totally, and I don't disagree with you, but to satisfy Carmine, why don't we do this.  You give me one cover to do, I do it, you don't like it, you don't have to use it, you don't like it, you never use me again, we forget about it, but at least we're satisfying Carmine."  He said, "Okay."  "So, one shot, one cover, that's it.  That's the end of it."  "Okay."  He says, "Fine."  So he gave me a cover to do.  After I did the cover, suddenly, "Hey, we've got to do some more covers."  (Laughter.)  Suddenly Mort wants more covers.  Anyway, now it's a reasonably friendly situation with Mort.  So one day…now I'm working quite well with Mort, but it's a private conversation, slightly poignant conversation.  I go into Mort's office, Mort has just yelled at somebody on the phone.  I said, "Mort, you know, between you and me, you know, you treat an awful lot of people bad.  You really ought not to do that and I don't understand.  What's the problem?"  And he gets real quiet.  He looks at me, and he says, "Look, I'm going to tell you something.  Never repeat it."  Now of course I'm repeating it.  He says, "If you got up in the morning, and you went to the mirror to shave, you saw this face looking back at you, would you be a happy man?"  Oh.  And I thought, "No.  That's really sad."

Prof:  Quite an insight.

NA:  That is really sad.  So, I understood Mort.  I didn't like the idea that he treated people bad, but to be perfectly honest, you know, that's a hell of a thing to look at in the morning.

Prof:  Yeah, that would start your day off on a grim note, no question.  That's very interesting.

NA:  So there you go.  So I got along with him fine, you know, to me they were just guys.  I never had trouble with any of them.

Prof:  Good for you.  Was there anyone you preferred interpreting penciling or so forth?

NA:  You mean as far as an inker is concerned?

Prof:  I'm sorry, yes.

NA:  Oh.  I prefer Neal Adams.  I think I'm one of the best inkers around.  I know that sounds egotistical, but when I did the Ben Casey strip I did it for 3-1/2 years and I based my inking on the best inkers in the field and I learned skills that other people didn't learn.  I trained under, when I was in high school at night I did animation for a guy named Fred Ang, who did animation for a Japanese animator and he could handle a brush like no American and he taught me how to use a brush and when I look at Americans ink with a brush it seems to me that they're like gorillas holding a brush.  The man taught me and I learned from Stan Drake how to handle the most sensitive pen that there is out there.  If you hand a 290 pen point to any typical inker all they'll make is a blob on a piece of paper, so I learned an awful lot about inking.  The best inker outside of myself at DC was Dick Giordano.  The best inker for me at Marvel at that time was Tom Palmer; Tom Palmer continues as a terrific inker, but neither one of them, I mean if you look at the work of them over my stuff you see a total opposite of style.  One very rough and very slashy and one very tight and very controlled and mine falls somewhere in between, but it's more a kind of a classical ink style that you would get from Charles Andy Gibson or the Japanese brush painters or whatever.  So my stuff is better served by myself.  Nowadays there are better inkers around.  I mean since then…you have to remember that we worked at a very, very difficult time where people were slashing and hacking at stuff like crazy.  Now you have inkers that actually know how to ink very well and they're willing to do the job.  I'm working on a Batman series now and I have to think about, "Do I want to have some other people ink this stuff?" and there are people who, in my view, are tremendously worthy inkers that I'd like to give a try to, and probably will.

Prof:  Wow.  That's quite an endorsement.

NA:  Well, things have changed.  Boy, it's become very, very different.  There's a half a dozen inkers that I would trust with a page of mine that I think I'm gonna get something close to what I'm able to do and that's saying a lot, I gotta tell you.

Prof:  Do you think some of it is the time constraints aren't quite what they used to be on these special projects?

NA:  Oh, yeah.  Time constraints are practically nothing.  There are people who have work out now, but there are guys who will take 2, 3 days on a page and not think anything of it, because they know down the line they're going to get royalties or their page rate is good or whatever and they're also competing with a lot of very good people.  The drive of competition in the comic book business has become a drive of quality and ability to sell books.  So the link between quality and selling books is very, very firm these days.

Prof:  So it's no longer a quantity game so much.

NA:  No.  And if you have people out there who are turning out less work and getting more money you have to think that that's possibly the future and not cranking out pages.  The day of Vinnie Colletta has gone.

Prof:  May it rest in peace.

NA:  I've seen Vinnie destroy more pages than any five artists have drawn.  My favorite quote from Vinnie Colletta is "Do you want a good inking job or do you want it on Monday?"  The answer I've heard from editors is, "I want it on Monday."

Prof:  I believe it.  I'm reminded of one of my co-workers touting how women can multi-task and so forth, but that's beyond you men, and so forth and I said, "Well, here's my theory.  Do you want something done quick or do you want something done well?  Do you want several things done poorly or one thing done well?"  That's the way I work anyway.

NA:  There you go.  I wouldn't necessarily equate it to women, just people who just don't care.

Prof:  Yes, indeed.

NA:  Because Vinnie wasn't as much a woman as he was a man.  (Laughter.)  We didn't have too many women in comic books as I think of it.

Prof:  No, not at all.

NA:  The ones who were there were of a true quality and there's the dichotomy.  The women in comic books were…and they're still alive, are tremendously quality oriented.  Marie Severin and Ramona Fradon.  One of my favorite artist's.  I never had any idea she was a woman.  I had no idea.  She used to do the Aquaman comic books, the back-up Aquaman comic books.

Prof:  Right and Metamorpho.

NA:  Yep.  Metamorpho.

Prof:  At least for a little while.

NA:  And from her you get John Byrne and other people who work in a very similar style.  She's actually much aped even though people don't necessarily recognize it or admit it.  When you look at her work and you look at Alan Davis and John Byrne, people that you might say imitated my stuff, actually.  There's a tremendous influence, in every era, of Ramona Fradon.  A tremendously good artist.  She's one of my heroes.

Prof:  So obviously you haven't completely left comic books behind, but I understand you do a lot of story boards for movies and so forth, is that correct?

NA:  Nothing for movies.  It doesn't pay well enough.  I do advertising story boards and I do some designs for film, but not a lot, but here and there I'll hit something.  If you're a designer for movies it's different than doing story boards.  Story boards, you turn out a ton of stuff and you turn it out very fast and you sort of work at it by the gallon.

Prof:  Just scratching it out, huh?

NA:  If you ever see story boards from film you are often amazed at how scritchy scratchy they are and how quickly they're done, but they get across the idea.  They get paid well by the week if you get two, three, four thousand dollars a week, but you're expected to turn out a tremendous amount of work and I can't dedicate myself to boards for that reason.  What I'll do is I'll do story board designs for amusement park rides, like the Terminator T2 3-D ride or the Spider-Man ride, stuff like that.  If you go to my site (nealadams.com) you'll see a lot of the stuff that I do.  You won't see any movie stuff really.

Prof:  Tell me one thing people would be surprised to know about Neal Adams.

NA:  I'm not the pain in the ass they say I am.

Prof:  Ah-ha.  Okay.

NA:  The truth is, what happens is that history has a way of coloring things so that is seems as though when you put all the things together that things are a given way when in fact they were nothing like that.  One has the impression that I was just a maniac running around causing problems and getting people upset and fighting and carrying signs and shit.  None of that is true.  The most I would ever do, I would go and have a private conversation with say Carmine or Stan or whatever and I'd say some things that perhaps they should think about and consider.  They were throwing away the Alex Toth stories and the Tomahawk stories and the color guides that the staffers would use because they didn't give a crap and raised the quality of the color up so that it was recognizably better.  I was really quite mellow and contrary to what people might think, people at DC would call me Smiley.  Oh, there would be days when, "What the hell's going on?  He brought in this drug cover."  Now we had this meeting and before we went into the meeting I said, "Look, I've been doing a little research and here are some things you should know.  According to the standard of living, if you go to those figures in the 50's and 60's to today and factor in simply increases in rates, somebody who was making $45.00 a page would now be making $300.00 a page."  Now everybody who was there thought I was crazy.  "$300.00?  That's totally insane.  Neal, you've gone off the deep end."  "No.  I just want to tell you.  We're supposed to be an organization of freelancers.  I'm just trying to say that if we're being paid according to the national average that people are being paid and if you were paid $45.00 back in the day, you would now be making $300.00 per page.  That's how much it has stayed down.  That is why we are not part of the rest of America."  And people laughed.  "Another hare-brained scheme by Neal."  But things changed.

Prof:  History has proven you correct.

NA:  That's the problem with being right at the beginning.  Nobody thinks you're right and then at the end, everybody agrees with it.  (Laughter.)

Prof:  Yeah, what is it?  "A prophet has no honor in his own country?"

NA:  The funny thing now is people saying they were with me and I'm like, "Well, why didn't you raise your hand?  Pretty lonely out there.  Guys?  Hello?"

As you can see, I had an utter ball talking with Neal.  His recollections, liberally peppered with his superb sense of humor made it a complete delight.  Once again I'd direct you to his webpage to see what the legend is up to today:  nealadams.com.

More reviews and even some more interviews await, so don't miss out.  Join us again in about two weeks for the next serving.  In the interim, I'll be on the lookout for your comments, questions and feedback of all sorts.  E-mail me at: professor_the@hotmail.com.

See you soon and

Long live the Silver Age!

© 2000-2007 by B.D.S.

Interview copy edited by Neal Adams

This feature was created on 05/01/00 and is maintained by



The Silver Lantern Site Menu + Map & Updates

HomeThe SageSage Archives1934-19551956
1967196819691970GL Data

All characters mentioned, artwork, logos and other visual depictions displayed, unless otherwise noted, are © by DC Comics. No infringement upon those rights is intended or should be inferred. Cover, interior and other artwork scans and vid-caps are used for identification purposes only. The mission of this non-profit site is to entertain and inform. It is in no way authorized or endorsed by DC Comics and/or its parent company. The Webmaster assumes no responsibility for the content or maintenance of external links.