The Academy of Comic Book Arts (ACBA) was an American professional organization of the 1970s that was designed to be the comic book industry analog of such groups as the Academy of Motion Picture Arts and Sciences. Composed of comic-book professionals and initially formed as an honorary society focused on discussing the comic-book craft[2] and hosting an annual awards banquet, the ACBA evolved into an advocacy organization focused on creators' rights.
The ACBA award, the Shazam, was a statuette in the shape of a lightning bolt. In addition to the creative awards, the ACBA also established the Academy of Comic Book Arts Hall of Fame award, inducting Superman creators Jerry Siegel and Joe Shuster as their initial honorees.
The Academy's Shazam Award was a successor to the 1960s Alley Award; the ACBA held its first annual awards banquet at the Statler Hilton Hotel's Terrace Ballroom on May 12, 1971.[4]
Under its later president, artist Neal Adams, the ACBA became an advocacy organization for creators' rights. The comic-book industry at that time typically did not return artists' physical artwork after shooting the requisite film for printing, and in some cases destroyed the artwork to prevent unauthorized reprints. The industry also did not then offer royalties or residuals, common in such creative fields as book publishing, film and television, and the recording industry.[2]
While the ACBA was established [as] . . . a self-congratulatory organization focused on banquets and awards . . . it quickly served as a soapbox for the Angry Young Men in the industry, primarily Neal Adams, Archie Goodwin, and their ilk of educated, informed and gutsy artists and writers, self-confident and filled with a strong sense of self-worth, attitudes sadly absent from the field for decades. ... (Jeff Rovin recalled, 'I can't tell you how many times Martin [Goodman] would listen to some of the things Neal Adams was saying and mutter, "Who the hell does he think he is?"').[7]
Adams wanted to focus on creator rights and pay rates, essentially making the ACBA a labor union. In a 1998 interview, Lee said, "ACBA became divided into two camps, it seemed. I wasn't interested in starting a union, so I walked away from it."[8]
During 1970-1974, the ACBA Newsletter, varying in page count from 4-12 pages, was published by ACBA themselves on a roughly bi-monthly basis, subscriptions available to any interested party. The last known [from this writer] issue was #29, 1974.
Once the ACBA — riding a wave begun by the mid-'70s independent startup Atlas/Seaboard Comics, which instituted royalties and the return of artwork in order to attract creators — helped see those immediate goals achieved, it then gradually disbanded.[7]
As writer Steven Grant notes, by 1977 the ACBA had "... disintegrated into what became Adams' "First Friday" professional get-togethers at his studio or apartment."[1]
Irene Vartanoff was the final ACBA treasurer.[3] In early 2005, approximately $3,000 in sketchbook sales plus general contributions to the ACBA and accumulated interest was donated from the ACBA's Bill Everett Fund — created in 1975 to help comics professionals in financial need — to The Hero Initiative (formerly known as A Commitment to Our Roots, or ACTOR), a federally chartered, not-for-profit corporation likewise dedicated.
Legacy
The ACBA was the first in a string of largely unsuccessful comics-industry organizations that includes the Comic Book Creators Guild (1978–1979), the Comic Book Professionals Association (CBPA, 1992–1994), and Comic Artists, Retailers and Publishers (CARP, 1998).[9] The long-running exception had been the publishers' group the Comics Magazine Association of America (CMAA), founded in 1954 and lasting through 2011,[10] as a response to public pressure and a Senate subcommittee on juvenile delinquency, and which created the self-censorship board the Comics Code Authority.
Grant summed up the ABCA's legacy this way:
[The ACBA] had the support of what passed for comics fandom at the time. But that was also its weakness; its members drew their incomes from the same companies ACBA would have had to war on to be effective, and alternative markets were functionally non-existent. Fandom's "support" was also a double-edged sword, since many in fandom, as now, identified with the professionals' goals but wanted the rewards for themselves as the ones who created the comics, providing the companies with potential talent pools should existing professionals get too uppity. (Both Marvel and especially DC had already turned to foreign artists as a cost-cutting tool.) Significant changes for talent had to wait until new competition forced Marvel and DC to keep up, and Marvel didn't bother until DC, which had spent most of the '70s and early '80s in potentially fatal decline, and inspired by publicized early '80s creator-rights struggles by Jack Kirby and Steve Gerber, adopted many "independent publisher" notions about royalties, artist ownership of original artwork, etc. to woo talent away from Marvel.[1]
The Shazam Awards were a series of awards given between 1970 and 1975 for outstanding achievement in the comic book field. Awards were given in the year following publication of the material (at a dinner ceremony modeled on the National Cartoonist Society's Reuben Award dinners).[11] The Shazam Awards were based on nominations and were the first comics awards voted upon by industry professionals.[4] The name of the award is that of the magic word used by the original Captain Marvel, a popular superhero of the 1940s and early 1950s.
Marvel's comic-book Secret Wars II #1 (1985) features a fictional scriptwriter, Stewart Cadwall (based on real-life writer Steve Gerber)[12] who has a Shazam Award on his table. When Cadwall becomes a superhuman, his Shazam Award turns into a weapon.[13] Cadwall and his Shazam Award re-appeared in Iron Man #197 (1985).[14]
Best Individual Story (Dramatic): "Song of Red Sonja" by Roy Thomas & Barry Smith, Conan the Barbarian #24 (Marvel)
Also nominated: "A Clockwork Horror" by Len Wein & Berni Wrightson, Swamp Thing #6 (DC); "Finally, Shuma-Gorath" by Steve Englehart & Frank BrunnerMarvel Premiere #10 (Marvel)
Best Humor Story: "Kaspar the Dead Baby" by Marv Wolfman & Marie Severin Crazy #8 (Marvel)
Also nominated: "The Boob Rube Story" by Stu Schwartzberg & Marie Severin, Crazy #4; "The Ecchorcist" by Marv Wolfman & Vance Rodewalt (Crazy #6); "Police Gory Story" by Stu Schwartzberg & Vance Rodewalt (Crazy #8)
Bernard Albert Wrightson was an American artist, known for co-creating the Swamp Thing, his adaptation of the novel Frankenstein illustration work, and for his other horror comics and illustrations, which feature his trademark intricate pen and brushwork.
Neal Adams was an American comic book artist. He was the co-founder of the graphic design studio Continuity Associates, and was a creators-rights advocate who helped secure a pension and recognition for Superman creators Jerry Siegel and Joe Shuster. During his career, Adams co-created the characters John Stewart, Man-Bat, and Ra's al Ghul for DC Comics.
Leonard Norman Wein was an American comic book writer and editor best known for co-creating DC Comics' Swamp Thing and Marvel Comics' Wolverine, and for helping revive the Marvel superhero team the X-Men. Additionally, he was the editor for writer Alan Moore and illustrator Dave Gibbons' influential DC miniseries Watchmen.
The inker is one of the two line artists in traditional comic book production.
Richard Joseph Giordano was an American comics artist and editor whose career included introducing Charlton Comics' "Action Heroes" stable of superheroes and serving as executive editor of DC Comics.
John Buscema was an American comic book artist and one of the mainstays of Marvel Comics during its 1960s and 1970s ascendancy into an industry leader and its subsequent expansion to a major pop-culture conglomerate. His younger brother Sal Buscema is also a comic book artist.
Barry Windsor-Smith is a British comic book illustrator and painter whose best-known work has been produced in the United States. He attained note working on Marvel Comics' Conan the Barbarian from 1970 to 1973, and for his work on the character Wolverine, particularly the 1991 "Weapon X" story arc. His other noted Marvel work included a 1984 "Thing" story in Marvel Fanfare, the "Lifedeath" and "Lifedeath II" stories with writer Chris Claremont that focused on the de-powered Storm in The Uncanny X-Men, as well as the 1984 Machine Man limited series with Herb Trimpe and Tom DeFalco.
Walter Simonson is an American comic book writer and artist, best known for a run on Marvel Comics' Thor from 1983 to 1987, during which he created the character Beta Ray Bill. He is also known for the creator-owned work Star Slammers, which he inaugurated in 1972 as a Rhode Island School of Design thesis. He has also worked on other Marvel titles such as X-Factor and Fantastic Four, on DC Comics books including Detective Comics, Manhunter, Metal Men and Orion, and on licensed properties such as Star Wars, Alien, Battlestar Galactica and Robocop vs. Terminator.
Marie Severin was an American comics artist and colorist best known for her work for Marvel Comics and the 1950s' EC Comics. She is an inductee of the Will Eisner Comics Hall of Fame and the Harvey Awards Hall of Fame.
The Bronze Age of Comic Books is an informal name for a period in the history of American superhero comic books, usually said to run from 1970 to 1985. It follows the Silver Age of Comic Books and is followed by the Modern Age of Comic Books.
Allen L. Milgrom is an American comic book writer, penciller, inker and editor, primarily for Marvel Comics. He is known for his 10-year run as editor of Marvel Fanfare; his long involvement as writer, penciler, and inker on Peter Parker, The Spectacular Spider-Man; his four-year tenure as West Coast Avengers penciller; and his long stint as the inker of X-Factor. He often inks Jim Starlin's work. Milgrom is the co-creator of DC superhero Firestorm.
The Alley Award was an American annual series of comic book fan awards, first presented in 1962 for comics published in 1961. Officially organized under the aegis of the Academy of Comic Book Arts and Sciences, the award shared close ties with the fanzine Alter Ego magazine. The Alley is the first known comic book fan award.
Kelley Jones is an American comics artist best known for his work on Batman with writer Doug Moench and on The Sandman with writer Neil Gaiman.
Tower of Shadows is a horror/fantasy anthology comic book published by the American company Marvel Comics under this and a subsequent name from 1969 to 1975. It featured work by writer-artists Neal Adams, Jim Steranko, Johnny Craig, and Wally Wood, writer-editor Stan Lee, and artists John Buscema, Gene Colan, Tom Sutton, Barry Windsor-Smith, and Bernie Wrightson.
Chamber of Darkness is a horror/fantasy anthology comic book published by the American company Marvel Comics. Under this and a subsequent name, it ran from 1969 to 1974. It featured work by creators such as writer-editor Stan Lee, writers Gerry Conway, Archie Goodwin, and Roy Thomas, and artists John Buscema, Johnny Craig, Jack Kirby, Tom Sutton, Barry Windsor-Smith, and Bernie Wrightson. Stories were generally hosted by either of the characters Digger, a gravedigger, or Headstone P. Gravely, in undertaker garb, or by one of the artists or writers.
John Costanza is an American comic book artist and letterer. He has worked for both DC Comics and Marvel Comics. He was the letterer during Alan Moore's acclaimed run on Swamp Thing. The bulk of Costanza's art assignments have been for anthropomorphic animal comics and children-oriented material.
Notable events of 1972 in comics.
Notable events of 1973 in comics.
The Goethe Award, later known as the Comic Fan Art Award, was an American series of comic book fan awards, first presented in 1971 for comics published in 1970. The award originated with the fanzine Newfangles and then shared close ties with The Buyer's Guide to Comics Fandom.
Heroes Against Hunger is a 1986 all-star benefit comic book for African famine relief and recovery. Published by DC Comics in the form of a "comic jam" or exquisite corpse, the book starred Superman and Batman. Spearheaded by Jim Starlin and Bernie Wrightson, all proceeds from the comic went to hunger relief in Africa.
↑ "Wally Wood". SplashPages.com. Archived from the original on December 5, 2007. Retrieved November 16, 2011.{{cite web}}: CS1 maint: bot: original URL status unknown (link)Includes
Hahn, Joel (ed.). "Academy of Comic Book Arts Awards". Comic Book Awards Almanac. Archived from the original on January 26, 2013. Retrieved August 21, 2013.{{cite web}}: CS1 maint: bot: original URL status unknown (link) Additional .
This page is based on this Wikipedia article Text is available under the CC BY-SA 4.0 license; additional terms may apply. Images, videos and audio are available under their respective licenses.
