Robert Kirkman's Secret History of Comics

As the creator of his own comic book series "The Walking Dead", Robert Kirkman regularly displays the artistic movement that obviously was instilled in him early on by the influence of the comic book genre. Like most of us, fanboys and fangirls alike, he knows much of the history of the novel literature which we all grew up reading.

In his new series, "Secret History of Comics", Kirkman attempts (and succeeds) to reveal more than what most originally know about their favorite comic books and the characters within those pages, and most importantly their creators. There are six installments which break-down, yet build-up, the pillars upon which comic books stands. To see the blood, sweat, and tears that went into building these institutions is to behold the beauty of the art and the sheer genius of man itself. To be able to draw inspiration as well to learn life's lessons, now that is the true secret history which Kirkman may have truly intended reveal.



▪The Mighty Misfits Who Made Marvel

The pilot episode of the series starts at the top. The top of the hill that is, as Marvel Comics, the biggest brand in the industry of comics, is dissected piecemeal in a effort to show what comes first when it comes to comic books: the chicken or the egg? Although this metaphor is appropriate for the narrative of this particular bit of history which Kirkman has chosen to enlighten fans about, it cannot replace the real question being asked by Kirkman: "What is more important to the success of a comic book: the artistry or the writing?

Stan Lee and Jack Kirby represent the two sides of that coin. Lee was always responsible for the writing which pushed the genre to places it had never been before, while Kirby drew subject matter in a way which had never been seen before. They literally performed a 1-2 punch to the head of their competitors, which propelled the popularity and viability of the characters of Marvel Comics to heights previously unseen.

Ultimately, like most uber-sucessful rock bands, fixer-upper reality shows co-hosts, and three-peat championship-winning Los Angeles Lakers teams of the beginning of this century who don't know a good thing when they have it, the dynamic duo (trio if you include the contributions of Steven Ditko, and you should) at Marvel began to rip apart at the seams. Each individual believing himself to be the reason for Marvel's success. It almost ripped asunder an institution which had begun to inspire generation after generation. The world needed them. Together.

In the end the two would reconcile. And although there was much to be salvaged, much had already been lost. Once again proving that man needs one another to be a success. Most importantly, he needs to share.

▪The Truth About Wonder Woman

William Moulton Marston believed that people illustrated their emotions in four different ways: Dominance, Inducement, Submission, Compliance. He also believed strongly in feminism and the truth. Marston invented the systolic blood pressure test, a system designed to reveal whether or not a person was lying based upon the way their emotions triggered changes in their blood pressure. It actually became one of the tenets on which the polygraph test is based upon.

Most importantly, Marston also is recognized as being the creator of the iconic heroine known as Wonder Woman. He was not alone in his inspiration for designing a character whom women, as well as men, hold in high esteem. His wife Elizabeth Holloway and his extramarital partner Olive Byrne both played a huge role in the creation, as well as the continual development over time, of Wonder Woman. Interestingly enough, his wife's suggestions about the behavior of women also influenced him to invent the aforementioned blood test. Marston, along with his wife, had been heavily involved in the suffragette movement, believing that women should hold the power to vote.

Patty Jenkins, director of "Wonder Woman", believes that Marston was a "very forward-thinking feminist mind and [that] he was also very interested in truth." Not the truth, but truth. Jenkins found those two things fascinating "because [they have] everything to do with the hero that has been created, and everything to do with what equality takes."

At his core, Martson prescribed to the theory that women are "love leaders" as well the idea of "loving submission." The latter can be described as the approach of men giving themselves completely over to the power of women, thus rendering man to be a less-destructive entity in society and the world in general. Meaning if Adolf Hitler had given himself entirely to Eva Braun, as well as other tyrants to their better halfs, then quite possibly the world could be a better and different place to live in. That may be stretching the notion, but you get the idea.

Marston not only felt that women should be the "emotional leaders", but also leaders in the political forum on a global scale; going as far as predicting that in the not too distant future that women would be the benefactors of a matriarchal revolution, as they are better suited to lead. As far as he was concerned, "feminism is the path to peace."

Unlike other popular comics of the times, Marston imbued his Wonder Woman with storied based on "psychological theories and ancient mythologies." Educating and enlightening his readers not only about the world around them, but about a world before them as well.

Everything happens for a reason. There is no such thing as a coincidence. It is the truth that Wonder Woman never would have been created without the threesome of Marston, Holloway, and Byrne, no matter how you view their union. The ties between Wonder Woman, feminism, World War II, and ultimately the change in how countries around the world viewed women are too numerous to enumerate, but a single bind ties many. William Marston is the reason for the ties that bind, like Wonder Woman's lasso, compelling all to truth.


▪The Trials of Superman

This installment of the series explores the creation of what may quite possibly be the greatest superhero character of all. The definition of the superhero, was created by two high-school classmates, who had sought for years to create the perfect comic book character. In Superman, Jerry Siegel and Joe Shuster, had found that perfection.

The duo had formed an icon among icons. An image to represent all that a true superhero should strive to be. A character shaped by the greatest characteristics known to man. A virtuous being. A super man. How could he receive any other moniker but this?

Created at, during, and for a time when man, especially the men of this great country named America, needed someone and something to believe in. More importantly, someone and something greater than themselves to follow and inspire, this hero did more to buoy the spirits of a nation at war, than any government or political leaders and activists would at the time. Sensational and inspirational was he! Imagine growing up during the time when a vicious dictator sought to bend the entire globe to his will. Seemingly doling out crushing defeat after crushing defeat to any and all comers. What a time to be living in. Yet, how could one be alive?

The period of time in which Superman came into existence was a period characterized by hope and despair: The Great Depression. No American was truly alive during that time, unless they were wealthy or well-off. This period of extreme hardship due to lack of finances and resources affected most if not all Americans.

Along came the first "superhero" who would help to aid in showing Americans, and the whole world in general, that they could believe in something greater than themselves. Not only was Superman created to be a larger than life character, he was created as an ideal. An ideal based on the better part of man; on the best attributes he has to offer the world at large. Superman was also created in the image of another ideal: the American way. Superman indeed would be based on truth and justice.

As mentioned, Superman was brought into existence by two young men, Siegel and Schuster. The friends had longed to create stories about science fiction and had done so in fact. They created literary pieces featuring science fiction and art and published these stories in their own magazine. Yet they yearned to truly impact science fiction and the genre which generally accompanied it: comic books. And they would. Forever!

The story of the creation of Superman is beautiful, wonderful and unique in of itself. The story of the control of Superman? Well that is a tale quite sordid, truth be told.

In the 1930s when comic books were beginning to emerge, the genre road the backs of limited topics and characters such as detectives, cowboys, and astronauts. These were the types of subject matter mostly young men (and possibly some women) found appealing. The creative resources were limited. Mythology was not yet prominent, and remained mostly rooted in classical literature. Siegel and Schuster, again, would change all that.

Enter Superman. No one had ever seen anything like him. No one had ever experienced anything like him. Armed with superhuman strength. Blessed with superhuman attributes. Born on a world not our own. Living amongst us, clandestine with a secret identity no less.

And, just as he was bursting onto the fictional scene with nary a comparison, changing the game forever, the same thing was happening in the real world, as he burst upon a publishing scene which was devoid of comic books. The genre had yet to be invented, or at the very least, truly distinguish itself from other literary forms of artwork. Again, enter Superman. The brilliant brainchild of Siegel and Schuster would need a place to call home.

Comics at the time existed on and between the pages of newspapers the form of the "comic strip". There were no actual "comic books". There only was the publishing industry. Publishers of course published. And publishers of course made money. It was the money part of the transaction which drove the industry. Publishers would offer a mere pittance to artists and writers for their creations. Once those creations were handed over to publishers they were then published repitiously nationwide and worldwide to the tune of great revenue. Although artists and writers received compensation it paled in comparison to what the publishers were raking in.

So imagine when Siegel and Schuster were offered the grand sum of $130 ($10 per 13 pages of content) for the creation and release of Superman to two prominent publishing partners. Businessmen named Harry Donenfeld and Jack Lebowitz to be precise. You would imagine their initial hesitancy. You would then consider their financial plight: Turning down that sum of money ($130 today would be equivalent to the sum of almost two thousand dollars) during a time when the entire country was reeling financially, was nothing to scoff at.

Decisions. Decisions.

Siegel and Schuster decide on turning over the rights to Superman to Donenfeld and Lebowitz. Both men are the owners of D.C. Comics and plan to use their purchase to showcase Superman to the world. And to the world he was showcased to great fanfare. Within three months D.C. Comics would sell 1 million copies of Superman comic books. To say that the character of Superman took the world by storm back then would probably be an understatement considering he has an almost similar effect in this day and age.

As the popularity of Superman soared just as high and fast as the character itself, the fortunes of Siegel and Schuster plummeted even as they were employed by D.C. Comics to do what they had always dreamt as high-school classmates: pen their greatest creation, The Man of Steel. They received no royalties or any significant compensation from their deal with D.C Comics. And to their chagrin, although they were able to finally bring to the masses an artistic masterpiece they had toiled on since childhood, they would never truly reap the financial rewards and benefits that D.C. Comics receives to this day. That would not sit well with Siegel and Schuster, but more on that later.

Speaking of benefits the world has benefited from Superman. A symbol of truth, justice and the American way, the S that is emblazoned on the suit of the man who would save us all, is an icon only surpassed by the symbols of the crucifix and the Star of David. That's saying something. Speaking of truth, justice, and the American way, the factors of the due process of the legal system and the ideology of capitalism would combine to ultimately prevent Siegel and Schuster from having their day in court.

Well they would have their day in court, but wouldn't have their day in court, as they would lose a continuous legal battle with D.C. Comics for the rights to ownership of the character that was Superman. The character that is Superman would continue to be the sole property property of D.C. as it is to this day. An American dream deferred, by the absence of sense, trust, and honesty.

Eventually, three decades later Siegel and Schuster were finally recognized for the contribution of their greatest creation. A creation, albeit fictional, which has left an indelible mark on the consciousness of comic book readers and non-comic book readers alike. An impressive feat to say the least. A feat only a superman could pull off.

If it wasn't for Superman there may never have been comic books.

A sobering thought indeed.


▪City of Heroes

Comic books are the baby of the city. Birthed in the slums and ghettoes of Every city, USA. More specifically, conjured from the minds and imaginations of the inhabitants of the greatest city known to man: New York City. From Bob Kane's Batman to Jack Kirby's Captain America to Stan Lee's Spiderman, these superheroes originated from artists and writers who had been influenced by every element of New York City.

To say that comic books and the city are not synonymous, is to say that the chicken can exist without the egg (or vice versa). Funny how that analogy keeps coming up. It seems, however, to be quite appropriate for the series of comparisons that are making these revelations.

From their inception in the 1930s and throughout their development over the following decades leading into the end of the 20th century, comic books carved out a distinctive imprint in society and culture by tackling head-on the issues in society and culture that the more "respectable" genres of writing and reporting failed to address. Topics such as racism and drugs, issues which plagued the country on a whole, yet were more prevalent within the inner-cities. Comics gave a voice to the oppressed in the face of injustice when others would not. For an artistic movement considered fleeting upon it's introduction to now be held in such esteem and burdened with the responsibility of being the only lifeboat in a sea of controversy, the ascension was nothing short of remarkable. Comic books had arrived and it no longer solely had the attention of some of the city and some of the nation's youth. It now had the whole city, and with it the whole nation. For the city, New York City, represents the best of what the United States has to offer.

The tragic events of 9/11 would forever change the genre in terms of perception and reception. As much as comic books had become an activist in it's own right prior to the worst terrorist attack on American soil, it became something much more after the carnage of that fateful day. A new narrative arose that day. The hero. No, not the superhero, but the hero. The hero who lives in all of us, amongst all of us. This is what comic books and the characters it has familiarized us with over time taught it's readers in that moment: How to bear the unbearable.

It also sent the definition of what is a superhero or a hero for that matter in a wholly different direction. The anger that ensued Americans after 9/11 split itself in many ways. Initial patriotism and the unifying bond that came with it gave way to suspicion about subsequent government legislation and response and ultimately divisiveness amongst Americans, and nowhere was this reflected more than in the panels of comic book pages. New York City was in turmoil and so were its superheroes. Essentially the Patriot Act gave way to "Civil War". No not that civil war, but Marvel's. The allegories abounded, to say the least, in most comic books. A message was being spread: National Security or Civil Liberties? You make the choice.

Maybe most importantly, overall, 9/11 changed the way that villains and superheroes would be written going forward. Criminals were now truly the terrorists they always were. And superheroes? Well in order to deal with a more deadly threat they in turn became more deadly themselves. Enter the role of the "anti-hero". The lines were now blurred. Everything that comics had valued prior to 9/11 became prioritized in a different manner. Just as in real life, villains and superheroes no longer operated in the black and white. Grey had become the color of the day. Duality had become the name of the game. If it was happening in the city. It was going to happen in comic books. As CNN Contributor Van Jones succinctly states: "9/11 didn't just change facts. 9/11 changed fiction." Jones draws parallels between the superhero characters of the modern era which adorn New York City and those of the Roman gods in the city of Rome during their zenith. How they exist to show us mere mortals the way. The way to hope and a life worth living.

Maybe it is because of this duality, as a result of 9/11, that comic books and the movies and television series on which they are based have become more real.

▪The Color of Comics

"Black people have never been in control of their own story in this country. People should tell their own stories." - Michael Davis

"One thing that comic books always communicated to me is two things: heroes and possibilities. And if you don't see yourself as a part of that then who are the heroes, and what are my possibilities?" - Derek Dingle

Derek Dingle. Denys Cowan. Michael Davis. Dwayne McDuffie. All prescribed to the theories above. Four men. Four African-American men, who would affect the legacy of comic books. Forever.

Milestone Media began as nothing more than an idea, the way most things that are a success or failure begin. The four men mentioned above, comic book afficianados themselves, believed that the world in which they existed in the figurative sense did not quite mirror the one in which they lived in reality. Artists all, they found themselves doing what they had always dreamt about, for whom they had always dreamt about. Yet something was still lacking.

Marvel and D.C., the pillars of the comic book medium, controlled distribution of most of the popular material which had driven the industry for decades. However the issue which befell most (if not all) of the driving content of both giants was the lack of diversity with regards to race represented within its pages.

Enter Cowan, Davis, Dingle, and McDuffie. These four, innovators all, whose accomplishments achieved the distinction of being both daring and noble, changed forever the landscape of comic books upon their inception of Milestone Media. The dearth of minorities represented between the pages of comic books changed virtually over night.

Supported by D.C., as far finances and distribution were concerned, Milestone Media and its roster of heroes featuring a more diverse and ethnic section of the human race instantly carved out a niche for itself amongst the stalwarts of the industry. Milestone Media's characters were not just black, nor were they just about being black. They aimed to be more than, well, black. They desired to tell the story about every man through the use of any man.  



The four visionaries who are mentioned deserve to be much more than the proverbial "footnote in history." These men and the art and opportunities which they created from their efforts added immensely to the culture itself. Maybe more importantly it was nothing short of a movement. A movement in the direction of change. A change which would bring with it a new voice. The voice of not just one man, but every man.

▪Image Comics: Declaration of Independent

Jim Lee.

Rob Leifeld.

Todd MacFarlane.

Erik Larsen.

Marc Silvestri.

Jim Valentino.

Whilce Portacio.

Seven names synonymous with the peak of the mountaintop as far as the artists who drew (as well as created) some of the most popular characters in comic books. Tired of the "constraints" placed upon them at the institution Marvel, one of the two pillars which hold the comic book universe in place, the other obviously being D.C. the collective decided to do what the boys at Milestone Media did, head out on their own in an effort to stake their claim. Artistically speaking.

Initial success would give way to ongoing issues. Although the art of new and exciting characters was excellent, their stories were lacking. Emphasis was put on presentation much rather than substance.

In the end the Image brand, along with the entire comic book industry in general, would become the makers, as well as the victims of their own demise. Preying on their consumers own speculation about the true value of comic books they were purchasing at record pace. This would be their kryptonite externally speaking. Internally hubris and competition were eroding them from within. The autonomy they had built their stake upon, now biting the hand which fed it. The rules they formed Image around, meant to liberate, yet protect them, would lead to anarchy. An example in why constraints and restraints, although similar in definition, can often be interpreted in another way: One confines while the other protects.

Eventually ego, relentless ambitions, as well as a downward spiral in sales throughout the industry as a result of the backlash towards speculation would fracture the company, but more importantly it would change the relationships with the artists who considered themselves friends.

However great the significance of their collapse it is mitigated to some degree by some of the positives within the industry as a result of the aftermath. Security for the artists to be precise, or "creator ownsership", a deal which is "right and fair and proper" as one comic book writer categorizes it. An increase in page rates took place as a result and exclusive contracts between artists and publishers is now the norm. Also, technically speaking, some of the industry standards such as digital coloring as well as the premium paper on which they were printed became the industry standard.

To say that Shuster and Siegel would be proud of this progress almost a century after creating Superman would be an  understatement.

Thankfully the boys at Image share another similarity with the boys at Milestone in that they were able to resurrect themselves, and in turn, experience a renaissance of sorts. Serving as the go to source within the medium for niche comic books.

In a way the seven artists who struck out on their own to start Image Comics, 85 years after Shuster and Siegel fought to retain the rights to their creation of Superman, draw many parallels between another figure who fought for "independence" within his place of business. Curt Flood anyone? It also reminds us that success can separate instead of bring together it's creators, similar to what took place between Lee and Kirby, and that in the end it's almost always about the journey rather than the destination.



* These six separate illustrations on the history of comics surely help to paint a picture of a movement most thought they were already familiar with. Beyond these stories, however, is a look at the true nature of man and woman and how this behavior has shaped the world in which we live. If there is anything to be learned it is this: Just as in the comics, life allows the author to write his or her own story. Now what story could be better than that?

A Date With Destiny

It's as if LeBron James & Co. are sort of coasting through these playoffs. Granted they have lost the first game of each round to upstarts that were touted on giving the Los Angeles Lakers the best run for their money only to have their respective dreams go pop💥 inside the #bubble. 

And now The Finals are in sight. The Lakers should be able to douse the flames 🔥 of the latest hottest upstart. Yet what possibly awaits for them on the Eastern side of things may be the fight that they are looking for.

The Miami Heat, barring a reversal of that which has transpired thus far (at this writing they were up 2-1 in a best-of-seven Eastern Conference Finals), will be the foil that eagerly awaits LBJ & Co. Eagerly it would seem because, as the great Michael Wilbon points out, their feerless leader is the only player in the league with a .500 winning percentage vs the King🤴🏾. 

Jimmy Butler would be that feerless leader. Jimmy Butler is the only NBA player without a losing record in their career vs LeBron James. A mark of 17-17 to be exact. (Thanks again for those numbers Mr. Wilbon). 

We won't get into everything about his background. All you need to know is that it made Butler tough.* It also makes sense that Butler would find a team with the same DNA which resides in him, in the form of the Miami Heat. Pat Riley and Erik Spolestra are about as tough as it gets this side of Gregg Popovich and Bill Belichick. 

What seems like ages ago, both Riles and Coach Spo had the King 🤴🏾 in their employ. You know the history of that relationship and its time in South Beach: mutual respect on both sides. Mutual respect which may have fell by the wayside when the King 🤴🏾 informed these men that he would be taking his talents back to his hometown of Akron for the benefit of the city of Cleveland. Riley would be crestfallen about the departure; opposite of the elation he most certainly expressed upon the King's 🤴🏾arrival. 

Riley doesn't seem to be the vindictive type. He also doesn't seem to be the type to let memories of "little things" like the departure of "a king and his court" fade away into the far recesses of his mind.

It would seem then that the basketball 🏀 gods have divined a path of jurisprudence that will result in a meeting at the mount between the two factions, as facilitated by their teams. Riley, not that he could ever be accused of being vindictive (as mentioned), will finally have the opportunity to prove to LeBron why he should never have left the Sunshine State.

A victory in The Finals, would not only add to his trove of rings as a player, coach, and front office executive, but even decidedly more important, would keep the 4th NBA Championship (which LeBron so obviously craves and desires in his quest to be entered into the pantheon of NBA players who have won four, five, or more titles) out of his reach. At least for now. At least for this, the longest season in NBA history. 

Riley has his foil in the form of one Jimmy Butler. Will the opportunity to finally show LeBron why he should have finished his career in South Beach be within his grasp? Will Butler be given the opportunity to show that he is just as tough as one LeBron James? 

We already know Butler's personal W-L record speaks to that toughness anytime he and James have occupied the same 94 feet. What we don't know is if there will be a date with destiny that involves the Heat and the Lakers deciding the fates of their respective franchises and, almost more importantly, their respective leaders: James and Butler. 

Time will tell. 

Maybe this thought process will not ever even matter if and when the Lakers and Celtics bump heads in The Finals. Again. For a record-setting twelfth time. If that happens we will have afforded ourselves, once more, the best that the NBA has to offer. 

Just don't tell that to Riley, Spo, & Co.

*Note  When Butler left the Philadelphia 76ers to join the Miami Heat last summer I questioned the move. I felt that Butler appeared to present himself seemingly as a selfish individual who wanted the spotlight all to himself. That notion couldn't be further from the truth than the Sun is to Pluto. He has found the team that he was meant to be with. He has found the executive and coach that believes in him. He has found like-minded teammates that believe in him as he does them. Most of all, he believes in himself