Masks #1, p. 1 |
Nevertheless,
from when I first saw the announcement of this eight-part miniseries
last year and knew immediately that it was based on the great 1938
trilogy of issues of The Spider magazine containing the
stories known collectively as “The Black Police Trilogy,”
recently republished in a semischolarly modern collection as The Spider vs. the Empire State
(see here,
here,
and here),
I noticed that none of the promotional materials seemed to
acknowledge that fact. Admittedly, I probably saw only a fraction of
the various interviews that would have presumably come out, and in
fact coincidentally only this morning found one, from 'way back in July 2011 when the project was first announced
at San Diego Comic Con, which does show they were not keeping it
secret, but as far as I could tell from casual observation over the
next few months neither were they trumpeting it. In my blog post for issue #1, I commented on being gratified at least by the
inclusion of a full-page ad for the Age of Aces edition. But I had
not noticed a glaring omission in the dedications that come at the
bottom of the credits page – p. 1 in issue #1, inside front cover
in issues #2 and #3. There, after “special thanks” are extended
to individuals instrumental in the new pulp movement, the series is
“dedicated to” the following:
Walter B. Gibson, who under the Street & Smith house name “Maxwell Grant” wrote the majority of The Shadow pulp adventures and in so doing formulated much of the character's image and mythos, although the more mystical aspects such as the ability to “cloud men's minds” to effect virtual invisibility are not present in the pulp tales but only in the radio plays;
Harry Steeger, the co-founder of Popular Publications, the rival to
Street & Smith that published The Spider pulp stories, which character Steeger is also credited
with creating;
George W. Trendle, radio producer and co-creator, along with Fran
Striker, of The Green Hornet;
Fran Striker, more famous as the creator of The Lone Ranger,
but also co-creator with George Trendle of The Green Hornet;
and
Johnston McCulley, the creator of Zorro.
Which
is all fine and good … except that while Harry Steeger might well
have created the Spider, and another author penned the first
two adventures, the bulk of the later adventures including the three
comprising “The Black Police Trilogy,” and in fact the single
most important creator in formulating the Spider mythos behind the
Popular Publications house name “Grant Stockbridge,” was Norvell W. Page.
Who
goes unmentioned.
This
is truly an outrage. In my opinion, Page should be given first
billing here, or at the very least equal billing with Harry Steeger.
In his foreword to The Spider vs. the Empire State,
“Blackshirts on Broadway,” Thomas Krabacher of California State
University, Sacramento, states: “The Spider and the Black
Police were, more than anything, the product of two key individuals,
Harry Steeger and Norvell W. Page” (p. 13). Krabacher continues
with brief accounts of these two men and their unique qualifications
to produce the politically charged saga that raised the frenetic
tales of a bloody vigilante dispensing his own brand of justice to
the level of “both an allegory and a cautionary tale for the
real-world events of its era” (p. 17). Whatever Steeger's
determination to turn his company's most successful property in this
direction, there is no doubt that it was mainly Norvell Page who
executed the task so brilliantly.
And he
deserves at least some mention.
No
other word describes the injustice that has been committed by the
omission of Norvell Page as producing the primary inspiration and
indeed the basic story structure for what is now being published as
Masks, than outrage.
Not
feeling very Cheery right now, I nonetheless thank you for reading.
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