Comics legend Jerry Robinson died this morning at the age of 89.

Best known for his work with Bob Kane during the earliest days of Batman, the Trenton, New Jersey born artist started off as a teenager lettering and inking the Batman feature in Batman, Detective Comics and World’s Finest Comics. As Batman rapidly grew in popularity, he progressed to the role of character designer and, shortly thereafter, penciler of the feature. It was Robinson who named Dick Grayson “Robin,” not after himself (as often reported) but after N.C. Wyeth’s famed illustrations of Robin Hood. Shortly thereafter, Jerry designed Batman’s most famed enemy, The Joker. His original art for that initial design, in the form of a playing card, has been on display at various museums across the nation.

(It should be noted that the late Bob Kane disputed this and most other creator-credits regarding The Batman. As a matter of contractual obligation, DC Comics gives Kane sole creator credit for the feature, a matter of significant dispute with Robinson as well as writer Bob Finger.)

In later years, Robinson started an international newspaper syndicate (the Cartoonists & Writers Syndicate) and wrote an important history of the comics medium, titled The Comics: An Illustrated History of Comic Strip Art. He also served as president of the National Cartoonists Society in the late 1960s.

His other comic book work included Bat Masterson and Lassie for Dell Comics, Black Terror for Standard Publications, Green Hornet for Harvey, Vigilante and Green Arrow for DC (with his friend and frequent collaborator, Mort Meskin), Green Lama and Atoman for Spark Publications, Journey Into Mystery, Battlefront, Crime Exposed, Strange Tales and Battle Action for Marvel, Rocky and His Fiendish Friends for Gold Key, and Astra for Central Park Media.

Jerry received numerous honors and tributes during his long life, including four separate awards from the National Cartoonists Society: the Comic Book award in 1956, the Newspaper Panel Cartoon in 1963 for Still Life, the Special Features Award in 1965 for Flubs and Fluffs, and the Milton Caniff Lifetime Achievement Award in 2000. He was inducted into the Comic Book Hall of Fame in 2004 and, in 2010, was the recipient of the first annual The Hero Initiative Dick Giordano Humanitarian Award for his “outstanding efforts in changing comics one day at a time.”

The Giordano award focused on Jerry’s less-well known work as a political activist obtaining the release of jailed and tortured cartoonists in Uruguay and the Soviet Union. He also joined Neal Adams and others in the creator rights movement and aided Superman creators Jerry Siegel and Joe Shuster in their struggles with Warner Communications / Time Warner in obtaining recognition and financial security for their efforts.

[[[Jerry Robinson: Ambassador to the Comics]]], the definitive history of this critically significant cartoonist, was published by Abrams late year.

On a personal note, I had the honor and privilege of dining with Jerry and discussing both politics and comics on numerous occasions during the 1970s, 80s and 90s. When, last year, we met up at the Baltimore Comic-Con at the reception prior to his Giordano Award presentation, I found Jerry to be as gracious, as warm and as sharp as he had ever been, and he entertained my daughter with stories peppered with quotes from material I had written about him many, many years earlier.

It was one of the most wonderful moments of my life.

From the Aqua City Odaiba shopping mall in Tokyo, Japan…

Gojira Tree, Gojira Tree,
Your breath is deadly danger;
Gojira Tree, Gojira Tree,
You just stepped on the manger.
You do not fit in humble homes,
You only stand in malls and domes,
Gojira Tree, Gojira Tree,
I’ve seen no tree that’s stranger.

Hat tip: Glenda Boozer. Apologies to Blue Oyster Cult for the headline.

The good news is, the Christmas gift list is shorter this year.

The bad news is, the Christmas gift list is shorter this year.

But enough gloom, for ‘tis the season to be jolly, ‘tis it not?

And judging from the number of cars in the mall parking lot, the season ‘tis jollier’n hell. Don’t these shoppers know about the mess the economy’s in?

Did I mention fa la la la la la?

And now a quick trip into the Chamber of Curmudgeons, significantly emptier since Andy Rooney’s gone. But (entering the chamber) I am the guy who once commissioned a magazine cover depicting a skeleton in Santa Claus garb holding an empty sack, so my curmudgeon cred is intact. And I proclaim:

It used to be so much easier, dang it!

Buying gifts for comics geeks, that is. Because there really wasn’t much choice. Back in the Pleistocene, when I was reading my first comics, Batman or a Superman might serve as an also-gift, what’s called a stocking stuffer, but even a not-too-bright gradeschooler knew that a comic cost only a dime and there had to be something else under the tree.

Later, much later, after the first Batman hardcover graphic novels turned out to be good sellers – best sellers in the limited world of comics – an editor or two was yearly tasked with producing a hardcover for the holiday trade. It was sometimes difficult for the editors, but a good deal for people seeking a present for that snotty nephew who always had his head in them funny books. A couple of sawbucks and – problem solved.

Now… big changes. As a stereotype, that kid with the buried head no longer exists. Comics have attained full parity with other forms of story delivery. You’re not expected to be dumb if you read the stuff. You can, with good conscience, buy a graphic novel for almost anyone you know who likes to read. Or use something comicy to introduce a reader to something he/she hasn’t yet discovered, and might enjoy. You doubt? Hey, Maus won a Pulitzer.

But your choices aren’t limited to Art Spiegelman’s masterpiece. Lordy, no. The monster book mart in the aforementioned mall has a wall full of comics stuff: manga, hardcovers, paperbacks, reprints, originals…that’s not counting the novelizations of movies over in the science fiction section and…that’s not counting the growing list of books about comics.

Cost? All the way from four-five bucks to – brace yourself – four hundred American dollars for the deluxe edition of Star Wars comics published by Abrams and also available in a more modest edition. (Okay, I wrote the introduction. But I don’t get royalties. We’re honest curmudgeons here in the Chamber.)

My recommendation? How about, all of the above? Or: if you’re a book person, you probably like to browse. So browse, on online or off. If you’re likely to be the gift recipient, drop hints. You know how to do that. You’re smart. You’re a comic book reader.

FRIDAY: Martha Thomases

White Rocket Books recently released trade paperback and Kindle editions of BLACKTHORN: THUNDER ON MARS, a science fiction action-adventure anthology set on far-future post-apocalyptic Mars.
For more information on the print edition, visit http://www.amazon.com/Blackthorn-Thunder-Van-Allen-Plexico/dp/0984139265
For more information on the Kindle edition, visit http://www.amazon.com/Blackthorn-Thunder-on-Mars-ebook/dp/B006FBRHG8/ref=sr_1_15?ie=UTF8&qid=1322503101&sr=8-15

Art: James Burns

Created by Van Allen Plexico (Sentinels, Lucian), the book features stories by New Pulp luminaries Mark Bousquet, Joe Crowe, Bobby Nash, James Palmer, Sean Taylor, I. A. Watson, and Plexico, with bonus e-book stories by Mark Beaulieu and Danny Wall. Also included are six full-page illustrations by Chris Kohler (Sentinels). Cover art and design are by James Burns (Lance Star: Sky Ranger “One Shot!”).

Art: James Burns

In the spirit of “Thundarr the Barbarian” and “John Carter of Mars” comes the gripping saga of US General John Blackthorn. Betrayed and left for dead on the battlefield, Blackthorn awakens many thousands of years later to find himself trapped amidst the ruins of a post-apocalyptic Mars, his only companions a savage Mock-Man and a mysterious sorceress. They battle together to free this strange new world from oppression, but it won’t be easy, for arrayed against them are the deadliest foes imaginable: mutants, monsters, and robots, as well as treacherous teammates. And lurking behind it all are the fanatical forces of the First Men: the Black Sorcerer, the Sorcerer of Fatal Laughter, Lord Ruin, and the Sorcerer of Night—masters of magic and technology alike—the dreaded Sorcerers of Mars!

All Pulp sat down recently with Blackthorn creator, Van Allen Plexico and writers Joe Crowe, Bobby Nash, James Palmer, Sean Taylor, I. A. Watson, and Mark Beaulieu to talk about the new anthology.

Art: Chris Kohler

AP: Tell us a little about yourself.

VP: I like to create and write fun stuff, and I like bringing in very talented people to work with me on those projects. BLACKTHORN is a great example of this. As the creator and editor of the project, all I had to do was say, “short stories in the spirit of Thundarr the Barbarian” and all these terrific writers and artists came running!

I also write the fairly popular Sentinels superhero novels and have created and/or edited a variety of other SF and New Pulp properties, including MARS McCOY, HAWK, and GIDEON CAIN, for numerous publishers. I also created and edited the ASSEMBLED! books about Marvel’s Avengers, and I write SF and sports columns. I try to stay busy.

JC: I’m Joe Crowe, senior writer and producer of RevolutionSF.com, where we write commentary, criticism, and comedy about sci-fi and its related genres. Our site has been chugging along for ten years, which is like a million years in Internet time.

BN: I’m Bobby Nash. When I’m not procrastinating or distracted by shiny objects, I write novels, comic books, novellas, e-books, magazines, you name it. I’m probably most known for my work with the pulp characters LANCE STAR: SKY RANGER and DOMINO LADY or for my first novel, EVIL WAYS. You can find out more about me and the stuff I write at http://www.bobbynash.com/. I also co-host a weekly podcast called Earth Station One, which can be found at http://www.esopodcast.com/.

JP: I have written articles, interviews, and reviews for Strange Horizons, Tangent Online, and a few other online and print publications. I have been writing New Pulp for about three or four years now, and have written for Airship 27 Productions, Pro Se Productions, as well as White Rocket Books. I live in Georgia with my wife and daughter.

ST: I write stories. I write them in comic books, graphic novels, magazines, book anthologies and novels. I write them for money, and I write them for fun — both at the same time. I’ve worked as a freelancer for companies like IDW and Penquin Books, and I’ve been on the editorial team with companies like Shooting Star Comics, iHero Entertainment and Campfire Graphic Novels.

IW: My defining characteristic in American pulp circles seems to be that I’m British. That means when I read people citing The Shadow and Doc Savage and Conan and Lovecraft as sources of inspiration for their work I just assume those are strange Americanised spellings of Sherlock Holmes, the insidious Fu Manchu, Alan Quartermain, and William Hope Hodgson.

Given enough time and an audience that doesn’t run away fast enough I’ll also demonstrate a passion for Arthurian legend, Greek and Norse myths, European fairy tales, and odd corners of actual history. It’s probably not a good idea to ask me how the French got George Washington to confess to murder over a cow or how Sir Winston Churchill’s son seduced an English queen in 1667!

It’s a sad but true fact that my teenage daughter and son could tell you, though.

MB: I’m a criminal justice professor in upstate New York. Not sure what else to say here, but I recently got into watching old Doctor Who episodes. On the pulp front, I read Tarzan and John Carter of Mars as a kid and really got into Conan as an adult. Read the Conan comics as a kid, but not the actual stories so it was nice to get to these as an adult. I love Barry Reese’s The Rook. The 1st volume just blew me away and I’ve been grabbing Barry Reese stuff ever since.

Art: Chris Kohler

AP: What attracted you to the Blackthorn: Thunder On Mars project?

VP: I was trying to come up with a more sophisticated approach to the “Thundarr the Barbarian” type of post-apocalyptic action-adventure storyline, and at the same time considering doing a new version of John Carter of Mars. The two clicked together somehow in my head and instantly I knew I had a winning formula. I think what we’ve come up with will be instantly recognizable in terms of its spirit and inspirations, but in this form it really is an original concept–and a really exciting and fun one.

JC: For my entire career in nerd journalism, I’ve been an editor and a reviewer. I goaded myself into trying to write fiction again. The last time I did was a “THUNDER Agents” story in the back of my math notebook when I was 11. Wait! I forgot about a “Lois and Clark: The New Adventures of Superman” script and some goofily fun superhero comedy stories with a writing group from the GEnie BBS.

BN: When Van first told me about his plans for Blackthorn I got excited. As a fan of Thundarr, John Carter, and Kamandi, I knew this would be a fun project. And sure enough, it was. Van’s excitement is contagious and I didn’t have to give the matter too much thought when he invited me to participate. Then he told me who else would be contributing stories and my excitement for the project increased even more. My only disappointment was that I couldn’t have Blackthorn scream, “Lords of Light!”

JP: I am a huge fan of the old Thundarr the Barbarian cartoon, as well as John Carter of Mars. I think the concept for this anthology is brilliant and something that has never been done before. Plus, I knew I would have a lot of fun playing around in this world that Van has created.

ST: Van told me I’d be famous if I contributed a story, and sure enough, now I am. How ’bout that? Seriously though, the source material was the stuff of dreams for me. It was like sticking all my favorite post-apocalyptic stories in a blender and then dumping the mixture out with carte blanche to play around in it and get my fingers sticky — in a good way. Van would have had to file a restraining order to keep me away from this one.

IW: Van Plexico asked me to do it. Nearly everything I write for publication starts with me being too polite to say no.

In this case though, I was attracted for three reasons. First, I’d enjoyed collaborating with Van and some of the other writers on our previous anthology, Gideon Cain: Demon Hunter. Having had a good experience there I was happy to go again.

Secondly, I thought the idea as pitched, of an amnesiac soldier waking on another world that needed a hero, and the mood as suggested, Edgar Rice Burroughs meets Jack Kirby, would be a fun thing to write.

Finally, I wanted to see what my writing colleagues would come up with. Part of the joy of these shared creative processes is that each person brings something extra to the mix. Any subsequent volume will be a different writing experience because of what’s been cooked up this time.

MB: Van asked for submissions and I wanted to look at the bible as an example for a project I wanted to get started. Once I looked over the bible, a story idea started to grow.

Art: Chris Kohler

AP: Blackthorn has its genesis in characters like Thundaar the Barbarian, John Carter of Mars, and Kamandi: the Last Boy on Earth mixed together with a modern day hero and a futuristic post-apocalyptic Mars. Tell us a bit about your story and some of the challenges or unexpected surprises you encountered while visiting Blackthorn’s world?

VP: As the creator, I took it upon myself to do the “double-length” origin story. It ended up being “double-length” mainly because I had to set everything up, including how an American military man ends up on the Mars of the future and how he encounters these other very unusual allies and foes. I think the main challenge was creating very distinctive individual main characters that had strong personalities, so that the writers who followed afterward would know exactly who these people are and how to make them act and speak consistently. And I have to say everyone involved did a great job with that. The stories are varied in approach and style and action, but they’re all very consistent in their portrayals of the world and the people, and they’re definitely all very exciting and entertaining.

JC: The books and comics you mentioned have bombastic, cackling villains. I wanted to throw some of those at Blackthorn and his partners. Unfortunately for the bad guys, the heroes threw them back, hard. My story is the shortest in the book.

BN: My story is called “The Minefields of Malador.” It starts with a simple enough premise. Blackthorn and his companions are riding their steeds across the Martian countryside, enjoying the first bit of peace and quiet in some time when the ground in front of them explodes. That’s when they realize they’ve wandered into a minefield. They realize that there is no way to go through or around the mines so they have to go underground into Malador’s ancient system of caves. From there, things get weird.

JP: I didn’t want it to sound like the Thundarr cartoon, or for Blackthorn to be Thundarr. There were times when his dialogue was a bit too “pulpy”, so I had to reign it in some. Having Van’s story available to read before I got too deeply into it really helped me shape the characters and their relationships to each other. Van also gave all of us room to be ourselves and put our own spin on each story, which was very freeing.

ST: My story is called “City of Relics” and started in my head from a single image of Blackthorn (and his Amazing Friends) fighting off a group of naked snake women. It was like I had a 1960’s sci-fi book cover in my head that needed to be expounded upon. So expound I did. I wanted to explore the idea of a sort of anti-Blackthorn, not as a warrior, but as scientist left as the last of her kind for hundreds of years. I imagine that sort of loneliness might drive a person crazy. And I couldn’t resist making that character female, because, well, I’m a sucker for a good femme fatale, even without all noir smoke filling up the story.

IW: I’m not happy until I’ve mapped things out, a good back story (and sometimes even a map) that informs what I’m writing about. If I’m featuring a genetically created race of Mock-Men then I want to know that when left to their own devices they live in settlements of bee-shaped huts, growing spices in shallow water-gardens and fermenting their thick liqueurs on their agricultural trellises. I want to know that at sunset they sit together and croon the Song of Yearning. I want to know that the word for surrender in their growling tongue actually means “wait for an opportunity”. Some of that even made it into the story, but the rest was there in my head informing it.

If we’d set these stories on post-apocalyptic Earth we’d have inevitably assumed the continents and rivers and city ruins based on our current world. A Martian setting gives us a chance for something richer and stranger, but to sell that we need to have the same familiarity with it as a dystopian Earth writer might mention “the Great Washington Crater” or “the Italian archipelago”. I’m pleased we were able to world-map sufficiently to offer that kind of verisimilitude.

Blackthorn’s Mars is ruled by the four sorcerous First Men, each a very different kind of tyrant using ancient technologies indistinguishable from magic. I wanted to work out how four archvillains managed to survive on the same planet. I was interested in what challenged and constrained them as well as the hero. Hence I set my story in the Valley of Acheron, the toxic wasteland where the big four dump their failed experiments and keep clear. Then I imagined what might evolve there or slink in attracted by the chemical, nuclear, and psychic waste.

And having got the setting – a place even the First Men didn’t go – it seemed only fair to send the Black Sorcerer, Blackthorn’s major bad guy – in there after him. That allows us to showcase the regular villain as well as our heroic crew.

If I get another go at a Blackthorn story I really want to do a meeting of all the heroes and all the villains together in a room where they can’t immediately kill each other. I think that would be great fun to write.

MB: My story focuses on two characters not realizing that what they want is actually bad for them. There’s a little crazy girl, Nikka, who has lost her parents and starts hearing voices and all she wants is her parents back. Then there’s Bazooka Bronson who wants to get into Lord Ruin’s good graces and ignores that Lord Ruin’s men had left him for dead the last time to win him over. The big challenge was getting the main characters more involved in the story since the character arcs revolve around Nikka and Bazooka Bronson.
The most surprising thing was that this story came to me on a 2 hour car trip and was plotted out almost completely by the end of that trip. I just had to get Blackthorn more involved. I also had to find something for Oglok to do. The story actually has a little bit of Judge Dredd in it. In the end, I’d say my story is a mix of John Carter of Mars and Judge Dredd with a tad bit of Thundaar thrown in.

Art: James Burns

AP: Where can readers find and learn more about you and your work?

VP: They can visit www.plexico.net for links to my work with various publishers, as well as biographical information. And follow me on Twitter at @VanAllenPlexico

JC: My awesome site is at http://www.revolutionsf.com/, and I’m on the Twitters at @revolutionsf.

BN: I’m all over the place. http://www.bobbynash.com/ is my website, but you can also find me at www.facebook.com/bobbyenash, www.twitter.com/bobbynash, on Google+ as +Bobby Nash, and at http://ben-books.blogspot.com/ among others. I’m also co-host of the Earth Station One podcast and you can hear me weekly at http://www.esopodcast.com/ and on itunes. Plus, I do a lot of conventions so I’m generally easy to find.

JP: I am active on Facebook and, to a lesser extent, on Twitter @palmerwriter, and everyone can check out my website and blog at http://www.jamespalmerbooks.com/.

ST: I’m all over the place, convention-wise and on the ‘Net. Online there’s my official website at http://www.taylorverse.com/, along with my Twitter feed and Facebook page (both at seanhtaylor after the /), and there’s also my brand new writer’s blog, Bad Girls, Good Guys, and Two-Fisted Action, seanhtaylor.blogspot.com. For conventions, check out my appearance schedule on my website.

IW: I wouldn’t want readers to know much more about me; but they can chase up my novels, Robin Hood: King of Sherwood and Robin Hood: Arrow of Justice via my Robin Hood website at http://www.chillwater.org.uk/writing/robinhome.htm. There are sample chapters there and other materials, and lists of the various anthologies I’ve contributed to. I’ve had tales in volumes one to three of Airship 27 / Cornerstone Books’ top selling Sherlock Holmes: Consulting Detective series. My volume 2 tale got me a Best Pulp Short Story award. And there’s the aforementioned Gideon Cain: Demon Hunter, from pretty much the people who brought you Blackthorn.

Upcoming in 2012 is Robin Hood: Freedom’s Champion, a story in a new anthology about pulp airman Richard Knight for Pulp Obscura, a jungle heroine tale (details still embargoed), “The Case of the Clockwork Courtesan” for Sherlock Holmes: Consulting Detective volume 4, a novella set on an airship and some other bits and pieces. I like writing. All these publishers really need to keep up!

MB: Right now, this is my 1st published story. Hopefully, it’s not too obvious. I am working on a series with
I.A. Watson and Mark Bousquet. We’ll have to figure out where that’ll be published, but I’ve read the draft for Ian’s story and it’s absolutely fantastic and I’ve written a draft for my story. It’s called The Many Worlds of Ulysses King and involves a Doctor Who-like character saving alternate realities (rather than time travel) with his companions. Mixes my love of Doctor Who with my love of alternate history fiction.

The only other work I have that’s seen print, outside of academic circles, would be found in Van’s Assembled volumes.

AP: And finally, Van, what are the future plans for Blackthorn and his companions? Can we expect a return visit to Mars?

VP: The grand plan is for two more books. The next one will up the ante with even more direct confrontations between Blackthorn’s team and the big baddies of Mars, and the third one will bring things to a more-or-less final resolution. That’s the plan right now, but of course one never knows how such things will turn out. As General Blackthorn himself would probably remind us, “No battle plan long survives contact with the enemy.”

And as Oglok would probably add, “GRRAAAARRRRRHH!!!”

One way or another, though, we will definitely be seeing more exciting adventures of Blackthorn, Aria and Oglok in the future.

AP: Thanks, everyone.

BLACKTHORN: THUNDER ON MARS from White Rocket Books and is now on sale.
Print Edition – $15.95: http://www.amazon.com/Blackthorn-Thunder-Van-Allen-Plexico/dp/0984139265
Kindle Edition – $2.99: http://www.amazon.com/Blackthorn-Thunder-on-Mars-ebook/dp/B006FBRHG8/ref=sr_1_15?ie=UTF8&qid=1322503101&sr=8-15

For more information about White Rocket Books, visit http://www.whiterocktbooks.com/

There were three phases the entertainment industry went through during the Cold War. The first was “The Russians are Coming!” when movies and comics and what have you spat out tales of woe like I Married a Communist, in which we were warned that the enemy wore no convenient uniform or had any distinct facial features that could tip us off that he was the most horrible man in existence. Then you had the “Man, what would it be like if the Russians were coming?” phase where we had movies like Red Dawn and books like Red Storm Rising, trying to give us an idea of what a real shooting war with the Soviets would be like.

Now we’re in the “Man, remember when the Russians were coming?” phase, where we all get nostalgic for M.A.D and make video games about what it would be like to weather a Russian invasion, like in Call of Duty: Modern Warfare and the like, but in modern times. We’re suckers for traditional western wars, which probably has its roots in fetishizing World War II while forgetting that most combat veterans don’t like to remember what they did back then.

Beth nabbed issue 1 of this comic called Cold War: The Michael Swann Dossier by John Byrne since I professed my undying love for East vs. West in my Supergod review, and she thought this would be right up my alley. I like it a lot.Well, it’s kind of generic, but we’ll talk about that and whether or not it matters.

(more…)

Warner Archive has been doing an excellent job dipping into the vaults and finding films and television shows for all ages, producing them on-demand for the seriously interested fan. What seems baffling, though, is the time between some of their releases. Take The Jetsons, no, not the 1962 gem but the 1980s revival. Warner released season one from this Saturday morning show a while back and then offered up the first 21 episodes from season two in June 2009. Finally, The Jetsons Season 2, Volume 2 has been released, in time for the holiday season.

Originally, this futuristic situation comedy was modeled at the popular Jackie Gleason series The Honeymooners but found its own voice as the space age family of the future lived a life most families dreamed of: push button cooking, self-folding cars, machines to dress you and help with makeup. It was all far from perfect as we used to see during the end credits as the treadmill George Jetson used to walk Astro went haywire.

Despite a single season of prime time, the original show went on to syndication nirvana, appearing weekdays during the afternoons or weekends as part of the Saturday morning lineup throughout the 1960s and 1970s. The revival was purely kid stuff as you can tell from the more juvenile plotting and more outrageous situations the family found itself in. In addition, young Elroy befriended Orbitty, a fuzzy alien as a sidekick – a seemingly mandatory Hanna-Barbera touch and since they already had a dog, an alien was the next best addition. Also joining the extended supporting cast was Mr. Spacely’s brother Orwell whose inventions propelled more than a few plots.

The stories found in these two discs all have their moments of slapstick and warm humor along with moral lessons they all learn, although George seems to be the one most in need of help. We also get heavy doses of stories lifted from other works such as “Elroy in Wonderland” and “The Swiss Family Jetson” which kick off the set and “A Jetson Christmas Carol” which closes out the season. They also parody the popular ABC series Fantasy Island with “Fantasy Planet” although it just made me miss Ricardo Montalban. In “Jetson’s Millions”, George wins a lottery and suddenly is part of the same class as the Spacely’s and an unflattering rivalry ensues.

The characters are true to form with George lazy as ever, Jane occasionally giving in to her wild side with disastrous results, boycrazy Judy, and prototypical good boy Elroy. We see their fortunes rise and fall, success coupled with failure and an enduring optimism that keeps you coming back for more. The family housekeeping robot Rosie is nowhere near seen often enough.

The synthesizer sounds added to the score somewhat date the episodes along with the topical references which viewers today may find puzzling. The computer animation also makes things look a bit different than the original cel animated style. As you would expect, transfers from 1980s material are pretty clean but not perfect. The sound is fine and overall, it’s nice to have these for your home, even if they are inferior to the original series.

Yep, the gift-giving holidays are upon us once again. Here’s three recent releases that are among the top of my list.

The Stan Lee Universe, by Danny Fingeroth and Roy Thomas  TwoMorrows Publishing, $39.95 hardcover; also available in softcover and digital

If you’re asking “who’s Stan Lee and why should I care about his universe?” then I’m asking “why are you reading a website called ComicMix?” I’m not going to waste bandwidth establishing Stan’s street cred. The Stan Lee Universe is not the definitive biography of Stan Lee; even at 89 years of age (in three weeks), he’s continuing to create new comics properties and appearing on television shows and in movies and his story remains a work in progress. As a life-long comics fan and practicing professional, I find great comfort in that.

The Stan Lee Universe is a massive gathering of articles, interviews, tributes, and – best of all – items from the Stan Lee Archives from the University of Wyoming’s American Heritage Center. All this stuff was hoisted up and organized by two of the medium’s best, Danny Fingeroth and Roy Thomas, both having served time at Marvel Comics with Mr. Lee and both having an encyclopedic knowledge of the field. The folks at TwoMorrows (Alter-Ego, Write-Now, The Jack Kirby Collector) did the design and layout, and the result is a black-and-white and color extravaganza that actually taught me a thing or two about both Marvel and Stan… and I’ve been here forever.

Danny and Roy knocked themselves out, and it shows. No matter what you think you may know about all this, you’ll learn a lot from The Stan Lee Universe and I recommend it most highly to anybody the least bit interested in comics or our American heritage.

Pogo: The Complete Syndicated Comic Strips Volume 1 by Walt Kelly, edited by Carolyn Kelly and Kim Thompson, consulting editor Mark Evanier, forward by Jimmy Breslin  Fantagraphics Books, $39.99 in hardcover.

Everybody’s been reprinting the great classic newspaper strips with such effort that it almost gives a fanboy like me religion. This Pogo series was announced back when Albert the Alligator lost his egg tooth, leaving Walt Kelly’s many fans panting.

It was worth the wait. We get all the dailies from the long-defunct New York Star from the beginning on October 1948 through January 1949, the series nationally distributed by the Hall Syndicate from May 1949 through December 1950, and the initial year’s run of Sunday strips in color from 1950. Reproduction is first-rate; the paper isn’t quite as good as I’d like, but that’s being really picky.

A lot of the conventions with which we are familiar from Pogo were birthed during this period, and most of the characters with which we are most familiar have already been fully realized during the initial Dell Comics run. Walt Kelly’s wit and charm is unmatched in the history of sequential storytelling, and is in evidence here fully developed.

I’d get this book for Jimmy Breslin’s introduction alone. Go. Read this. You’ll charm the pants off of yourself.

The Art of Joe Kubert, edited by Bill Schelly • Fantagraphics Books, $39.99 in hardcover

I have previously gone on record in this and other venues that Joe Kubert is my all-time favorite comics artist and, once again, I will not establish Joe’s bona fides. I’m running out of room, and that is what Google is for. Fan/historian Bill Schelly who, like Roy Thomas is from the first generation of organized comics fandom, knows his stuff and it shows. This is the definitive biography of Joe Kubert, and I would say it is lavishly illustrated but the word “lavishly” pales in comparison by even a quick flip-through of this 232-page tome.

Pure and simple, this is the tribute that Joe deserves. From his youngest adolescent days working for Will Eisner’s shop (obviously, Will was oblivious to child labor laws) to his golden age work to his innovations at St. John’s Publishing to his latter and most familiar DC work to his current efforts as a graphics novelist, The Art of Joe Kubert truly covers, well, the art of Joe Kubert in all its four-color glory. This is an entertaining read, one that will motivate the young wannabe and illuminate the cultural historian. It even taught me a bit about my own roots as an Ashkenazi-American.

For about a hundred bucks, less if you can talk your comics shop owner into ordering them for you for a discount (c’mon, it’s a guaranteed sale), you cannot go wrong with these three books. A couple decades ago, I would have been thrilled with any one of them during a given year. In 2011, all three were released in recent weeks and that is simply breathtaking. Kudos to all.

THURSDAY: Dennis O’Neil