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Saturday, 13 June 2009

Spartacus! by Gaylord Du Bois ( that's what it sez here ) and John Buscema.




7 comments:

Booksteve said...

Buscema also drew the two HERCULES movie adaptations around that same time. His art was so polished even then. A joy to see.

Mike Church said...

(Standing up and shouting) "I'm Spartacus!"

I had no idea this book even existed! Thanks Joe, this was great - even if they did leave out the mass crucifictions at the end (I guess it would have been too upsetting to the young comic book readers of 1960).

Artman2112 said...

hey i have that comic!!

joe bloke said...

jammy!!!

Joe Jusko said...

I collect all of John's pre Marvel stuff. He did the first Hercules book but Reed Crandall drew Hercules Unchained. Buscema did draw a great adaption of The Vikings, as well as an amazing 7th Voyage of Sinbad, which John always said was one of his favorite jobs! I'd love to know who inked Spartacus, though because it sure wasn't John.

joe bloke said...

wait. John Buscema did THE VIKINGS?!!! oh, man! that sounds too cool for words! I have GOT to get me a copy of that!

the man was a God. . .

Lethargy Lad said...

In addition to failing to credit Messieurs DuBois or Buscema, Dell's editors were also remiss in neglecting to mention the contributions of Howard Fast, Dalton Trumbo, or Stanley Kubrick. Credit obsession, alas, did not take hold until the early seventies, so a lot of our accrediting efforts are based as often on speculation as scholarship. Nevertheless, I do believe I have a handle on Big John's inker for Spartacus (per Joe Jusko's query of 15 June 2009). Take a look at some of "George Bell's" inks over Steve Ditko's and Jack Kirby's pencils at Marvel (Tales to Astonish 60 through 64, or Fantastic Four 22 through 24, for examples) or George Roussos' inks on Carmine Infantino's and Neal Adams' work in Strange Adventures 205 & 206 over at DC, and you may agree with me. We know well what Buscema, Ditko, Kirby, Infantino, and Adams look like unfiltered by others' inks, so it is not that far a stretch to conclude that the familiar loose, scratchy finishes on Spartacus were produced by the same brush-hand.

If I am wrong about Roussos, and someone has learned otherwise, I would be delighted to be corrected (who shouldn't want to be more correct?) if firmer data are available -- you know, editors' or artists' recollections or receipts. My own credentials are rather more meager: I have been a frenzied fan-boy since 1968. I reckon my "scholarship" counts for something, but of course, professionals' solid memories or publishers' records would naturally trump my suspicions.

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