Game Review: Diablo 3

Diablo 3 is out. But is it a game? Or is it the most brilliant money making scam in internet history?

Movie Review: The Avengers

Okay, okay, I posted my Avengers review. Get off my back already, geez.

The Most Important Comic Book You've Never Heard Of

Action Comics #1. Detective Comics #27. Why is All-American Men of War #89 as important as these great comics -- and why have you never heard of it?.

Tales From the Vault: Lois Lane #93

If you thought Superman was a total tool before, you ain't seen nothing yet.

Mass Effect 3: The Official Review

Mass Effect 3 isn't the end of the world, it just portrays it.

Showing posts with label Fred Hembeck. Show all posts
Showing posts with label Fred Hembeck. Show all posts

Friday, July 2, 2010

Great Moments in Comics: The Black Bomber

Welcome back to another installment of Great Moments in Comics, where we take a look at some of the forgotten episodes in comics history that deserve to be remembered for their sheer awesome power. Lat time out, you may recall, we recalled the classic Boy Comics amputation scheme from Boy Comics #19. This time around, though, we're mixing it up a little by taking a look at a comic that never actually existed, the legendary DC book The Black Bomber.

Now, as you may recall from February's discussion about African-American superheroes, there once was a time when pretty much every costumed hero was as white as the pages they were printed on. This began to change in the mid-60's, as Marvel introduced Black Panther, followed by The Falcon (who shared the title for a decade with Captain America beginning in 1969) and Luke Cage, who became the first black superhero to get his own comic in 1972.

Over at DC, though, things were going a little slower. Yes, there was some progress -- Teen Titans introduced an African-American hero named Mal, for instance, while John Stewart took over the mantle of Green Lantern for one issue. But that was just one issue, and other DC attempts at diversity (such as Jack Kirby's characters Vikin the Black and The Black Racer -- essentially a cosmic grim reaper on flying skis) left something to be desired. By the mid-70's, it was clear that if DC wanted to stay relevant and catch up to the times, they needed a black hero sooner rather than later.

The solution they came up with, however, was probably the worst idea in the history of comics: The Black Bomber.

You guys remember the classic Dave Chappelle character Clayton Bigsby, a white supremacist who is blind and therefore doesn't realize he's black himself? Well, he had nothing on The Black Bomber, who predated Bigsby by nearly 30 years. The unbelievable concept behind The Black Bomber? In his civilian identity, he was a white racist bigot. However, he was also a Vietnam veteran, and during his time in the war he was exposed to an experimental Agent Orange-style gas designed to allow troops to blend in with natives. As a result, during times of stress, the vet would suddenly turn into a black superhero -- The Black Bomber! Even better, The Black Bomber's costume was a Harlem Globetrotter-esque basketball jersey. Essentially he was like Captain Marvel, only instead of Billy Batson saying "Shazam" to turn into the Big Cheese, it was Archie Bunker using the N-word to transform into Meadowlark Lemon. And to top it off, the white version had no memory of being black, while the Black Bomber didn't know he was a white guy either -- and both personalities had their own racially appropriate girlfriends!





By now you probably think I am completely shitting you, especially since I don't have any images to back this up with. But that's because, luckily, DC decided to offer The Black Bomber to comics writer Tony Isabella; they already had two completed scripts in hand, ready to begin production, and wanted Tony to take over with the third issue. He took one look at the stories DC was preparing to publish and, being sane, managed to talk them out of what would undoubtedly have been one of the biggest fiascoes in comics publishing history.

Here's Tony himself discussing this bizarre episode courtesy of official friend of the Vault Fred Hembeck and how it led to him instead creating the first black DC character to actually get his own title, Black Lightning:

"I will say that I created Black Lightning after convincing DC not to publish another "black" super-hero on which they had started work. The Black Bomber was a white bigot who, in times of stress, turned into a black super-hero. This was the result of chemical camouflage experiments he'd taken part in as a soldier in Vietnam. The object of these experiments was to allow our [white] troops to blend into the jungle.

In each of the two completed Black Bomber scripts, the white bigot risks his own life to save another person whom he can't see clearly (in one case, a baby in a stroller) and then reacts in racial slur disgust when he discovers that he risked his life to save a black person. He wasn't aware that he had two identities, but each identity had a girlfriend and the ladies were aware of the change. To add final insult, the Bomber's costume was little more than a glorified basketball uniform.

DC had wanted me to take over writing the book with the third issue. I convinced them to eat the two scripts and let me start over. To paraphrase my arguments...

"Do you REALLY want DC's first black super-hero to be a white bigot?"

Okay, he wasn't precisely their first black super-hero, but I made my point. The Black Bomber stories were deep-sixed and I went to work on my own creation."


While Black Lightning wasn't exactly a massive sales success, the character has proven to be quite resilient, and still features prominently in Justice League of America and other major DC books. As for The Black Bomber, as far as I know nobody has ever made public the scripts or concept art for the scrapped series. However, Justice League writer Dwayne McDuffie recently slipped a slightly altered version of the character into an issue of the series as a joke and easter egg for hardcore comics historians. Take a look (and as always, click to enlarge):





If that last sequence doesn't seem to make sense, it's because DC editorial erased some of the dialogue form the last panel in post-production; the Brown Bomber is supposed to be asking Vixen if it's okay for him to use the N-word when he's in his black identity. It's too bad that they axed the line, because it is both funny and sharp commentary, but it at least proves that, 35 years later, DC editorial has at least learned some of their lesson from the debacle that almost was The Black Bomber.



If you're new to the Vault, be sure to check out our First Anniversary Flashback, where we go over all the highlights and lowlights of The Vault's first year.


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Wednesday, January 13, 2010

Seven Questions with FRED HEMBECK

We've had the good fortune here at The Vault to interview a number of comic creators and legends, but this week we're proud to introduce someone who may be among the most beloved creators in comics: Fred Hembeck. Hembeck, who has been providing smiles to comics fans for over three decades with his curlicue joints and lovingly inside jokes (some of which can be viewed on his website), took some time from his busy schedule to answer some our most pressing questions, such as what he thinks of the new Doctor Voodoo series. So without further ado, let's jump right into our Seven Questions with Fred Hembeck.


1. Over the course of your career you’ve worked for seemingly every publisher in the business. What do you have in the works now and is there any chance we’ll be seeing more stuff at Marvel or DC like the recent strip you did for Captain America #600?

Marvel has an 8 page "Petey" story in the can--in which the young Peter Parker meets his new babysitter, the teen-aged Sue Storm, as well as (unfortunately) her kid brother, Johnny--for an upcoming, unscheduled issue of "Web Of Spider-Man". I hope to do some more of these--only time will tell if they'll let me!! I have several other irons in the fire as well, but nothing definitive to report as of yet.


2. It’s my understanding that prior to developing your famous style, you attempted to break into comics as a more traditional artist. How did that transition come about and do you have any plans to ever create a “serious” title?

"No", to the latter portion of your question--I know what's good for me after all these years, and it ain't competing with the likes of the amazing artists drawing super-hero comics currently! Heck, I was having a hard enough time back in 1977 when my portfolio was rejected on several occasions. That prompted me to develop my cartoony style as a way to keep drawing and keep my spirits up as I retrenched and gave serious illoing a second go. But, much to my surprise, the cartoony stuff caught on so quickly, I never had a chance to go back, and I've never regretted how things turned out cuz, as a standard adventure story illustrator, I woulda had to work way, way hard just to make "average"--sometimes your limitations can actually be a blessing!!


3. Speaking of more traditional comics art, you once did a Brother Voodoo story for Marvel in classic superhero style, thanks to your well known obsession (or mock obsession?) with the character. Now that he’s become Doctor Voodoo, the new Sorcerer Supreme, what are your thoughts on the character? Can you take credit for this development? And can we expect to see you involved in the new series?

It'd certainly be fun to be involved with the new Doctor Voodoo series, but so far, that call hasn't come in. I'll admit to not knowing anything about it save for what I can garner from the web, as I no longer keep up with current Marvel or DC Comics, but I wish my ol' pal, Bro--I mean, Doc--only the best!!


4. Image recently published an omnibus collecting hundreds of pages of your work. How did that come about and can we expect to see collections of your Marvel and DC work any time in the future?

Long time inker and friend Al Gordon suggested the idea to me, and while I thought he was a bit balmy for it, he also ran it past his buddy Erik Larsen, who just happened to be Image's publisher at the time, and amazingly, he thought it was a good idea too!! So who was I to argue? It perculated as simply a notion for over a year, then took nearly that long to compile, but Al has my everlasting thanks for putting the whole thing in motion!! As for Marvel and DC collections, nothing's planned, but I certainly wouldn't be adverse!!


5. It’s been clear from your work that right from the start you have always been a big fan of comics and superheroes, so it makes sense that you have a lot of interaction with the fan community, though your website, blog, facebook page and even ebay auctions and message boards. How has the internet changed the fan experience from your perspective as both a fan and as a creator?

It makes everything instantaneously intimate--and this from someone who, due to poor typing skills, stays away from message boards and instant messaging. When I first began doing my strip for The Buyer's Guide back in the late seventies, I wrote my home address at the bottom of each page, and was delighted with the amount of feedback that arrived through the mail. However, when I returned the Comic's Buyer's Guide in the mid-nineties, I often felt as if I was simply talking to myself, as I ditched the home address gambit. But now, online, I find folks WERE reading that stuff, and it's a great place to reconnect with fans who followed my work several decades back! Simply put, the response I've received over the last few years on the internet has been highly gratifying!!


6. You’ve had a chance to work with or riff on just about every publisher or character over your career, both in short strips and in longer form comics such as Fred Hembeck Destroys the Marvel Universe. Are there any dream projects that you have yet to work on, or characters or series that you would like to play with?

Not really--though it might be cool to have a full blown Weisinger-era Superman family homage story of mine actually published inside a bona-fide DC Comic--THAT'D be fun!!


7. Lastly, what’s one specific storytelling technique you use that you could share with new creators to help them hone their craft?

Hmm--well, I always write WAY too much dialog, so I wouldn't advise anyone to follow me THERE. And the knee-squiggles are mine (I stole 'em from Mort Walker and Hank Ketcham fair and square)--HANDS OFF! I suppose my best advice would be to make sure that one panel flows logically into the next--don't get so hung up on drawing pretty pictures that you forget this salient fact!! And have fun--it'll show in the final product!!



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