San Diego Memories
by Rick Marschall
I am not at Comicon International this week, and if you are
reading this in Yesterday’s Papers at release time, you probably are not
either. On the other hand, you might be. True cartoon and comics fans don’t put
their worlds on hold when a convention like San Diego consumes 18 hours of days
during the Con: they somehow fit them into their “normal” waking hours.
I have received many texts and calls, asking if I am there this
year. Not this year, but I have attended most of them since 1976. Some memories
here from an event whose functions including making memories, not only tracing
them or collecting them.
In 1976 I attended with Bob Weber, who drew and still draws the Moose
comic strip. I was living in Chicago; he divided his time between Baltimore and
Westport CT. Bob loves hanging with other cartoonists and talking cartoons; and
he has a fan’s enthusiasm for meeting artists for the first time, and sharing
his fan perspective.
True to form for this poster child of a deadline-challenged
cartoonist, Bob traveled cross-country, but was so late with his strips for
King Features, he stayed in his hotel room almost every moment of the Con,
drawing and inking strips. Once the Con ended, he was free, and we spent a week
tooling up the West Coast, visiting cartoonists and haunting used-book stores.
A few years later, during the peregrinations between the El
Cortez, the US Grant Hotel basement, the old convention center, before the
monstrous current site, I was then an Editor at Marvel. To make a long story
short – it is worth a separate column – the Con largely was still for
collectors alone, virtually; and more and more pros and legends dropping in. My
big project at Marvel at the time I recall was the three-issue process-color Weirdworld
epic called “Warriors of the Shadow Realm.”
I convinced Stan Lee and Jim Shooter that the Comicon was
something where Marvel should establish a beachhead. I proposed taking tables
and showing the latest products. Then, since Peter Ledger, colorist, was
delaying the third book – John Buscema and Rudy Nebres having finished their
work – I suggested a PR gimmick of having Ledger actually paint his pages for
the public. My motive was to make sure he finished the damned book, which he
might not have done if we left him in New York City.
Actually my larger motive was to scam a trip to Comicon. Indeed,
Marvel footed the bill for me and Ledger, and my assistant Ralph Macchio, and
production wiz (and great friend) Elliot Brown, even Shooter too… to set up a
large Marvel display. The pages were squeezed out of Ledger (who decided after
the Con to stay in the US and not return to Australia).
Gary Groth, just having founded The Comics Journal, became
an impromptu sidekick as I and Ralph and Elliot tore up Southern California,
from Tijuana up to L.A., for the week afterward. We stayed out of jail; but
Ledger did not; another story for later…
By the way, Comicon Board members, many of whom became very close
friends, told me that the stunt I pulled off – Marvel’s presence; sales,
promotion, and “meet the artists” – was the first space reserved by a comics
publisher at the heretofore fan event.
Shel Dorf had founded Comicon and was always more of a strip fan,
than a superhero or animation guy. Even after the Con had expanded beyond his
dreams, and capacities, he always was deferential, I supposed due to my
historian’s cred, and would take me one or two evenings during the Con to
dinner at the Hotel Del Coronado, very gracious. That is how I met and had sane
conversations with the likes of Ray Bradbury and Alex Toth (reasonably sane).
Ironically, eventually, sensible management of the Con really
outpaced Shel’s vision and abilities, and a couple years Board members actually
asked me to run interference if Shel erupted over being persona non grata at
the event he founded. He never made a scene.
Four historians share
a moment at SDCC: R C Harvey, Shel Dorf, Rick Marschall, Ron
Goulart
Before movie madness and video games and red carpets consumed
Comicon, there was another-world aspect each year, of casual meetings becoming
special; and special moments occurring routinely. So I will share three
sketches that became special to me:
Russ Manning drew
Tarzan at and on the old El Cortez Hotel.
I asked Noel
Sickles, Milton Caniff’s onetime inspiration and studio-mate, to draw a sketch.
“Of what?” he asked. I should have requested Scorchy Smith… but I suggested an
impression of San Diego.
Everybody’s favorite
gentleman, Batton Lash, was an old friend of mine from School of Visual Art
days; before he and Jackie Estrada were wed. Bat, sadly, died this past year.
He drew this page featuring his classic Wolff and Byrd characters.
We all have ‘em. Sketches and memories. Jackie Estrada published a
great book of Con photos she took over the decades, fun and “candid” surprises
on every page.
For a few years after launching Hogan’s Alley magazine, I
held get-togethers – usually lunches or dinners at a local Mexican restaurant –
for Friends of Ol’ Hogan as Tom Heintjes would call them. Here is a group of
such friends on the steps. Good ol’ John Province would have been in the shot,
except that he took the photo:
Gene Hazleton;
Rick Marschall; Shelly Moldoff; Ron Goulart; Dick Sprang; Vin Sullivan.
Whether attending as a fan, or speaking or interviewing, strolling
or displaying at a booth, Comicon always provided memories. Friends from Europe
would attend and hope that I would play Tour Guide afterwards to Hollywood, the
deserts, Tijuana, Palm Springs, Julian… and I was always happy to oblige.
Friends I made at the Con sometimes blossomed into greater friendships and
extra-curricular activities. For a while I sought to establish a formal
alliance with the Angouleme Festival in France, arranging for guests to attend
San Diego; and helping Fay Desmond and Jackie Estrada navigate the
communications, including room service at rural hotels, in France…
I hope the multitudes are manufacturing many memories this year
too…
⧭
46
No comments:
Post a Comment