Last Updated June 4, 2014
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on did his first professional work at Charlton Comics in
1974. Charlton Comics was a family owned company out of Derby CT that published comics
because it was cheaper than letting the printing presses they owned sit dormant. We owe
the existence of Charlton Comics to their presses, but these very same presses were the
bane of the company. To put it mildly, they printed some pretty shoddy looking books. The
colors were never up to industry standards and at times the blacks were washed out and
ugly. Having said that, they also where the home of some of the industries biggest talent,
like Steve Ditko, Jim Aparo, Dick Giordano, Joe Staton, John Byrne, and yes, Don Newton.
In the mid-70s, Charlton, under the guidance
of Editor George Wildman started putting together a fairly respectable line of comics.
They avoided superheroes (with the exception of the Nicola Cuti/Joe Staton E-Man) and
instead focused their attention on other genres, such as action/adventure, westerns,
science fiction, and horror. These were fields where Charlton had a chance of competing
and they did so very nicely. To bolster their line-up of artists, Charlton hired Joe
Staton, John Byrne, Tom Sutton, Wayne Howard, Dan Adkins, and a guy by the name of Newton.
Like I think everyone else, I only collected Charlton comics sporadically.
Don's first work for Charlton was a
seven-page horror story in Ghost Manor #18, March, 1974 called "The
Empty Room," written by Joe Gill. I personally don't find anything wrong with the art
on this strip, but Don thought it was "horrible." "The way I rushed through
the job, I thought they'd hate it!" Don once wrote. As it turned out, everyone at
Charlton loved Don's work on this story. "The Empty Room" suffers from bad
printing and really poor coloring, things that Don complained about throughout his entire
tenure at Charlton. The two pages below are representative of Don's work here.
The first two pages of Don's first
"pro" comic work from Ghost Manor #18.
The next month would see the release of Don's
second strip for Charlton. "The Treasure Seekers," written by Joe Gill, appeared
in The Many Ghosts of Doctor Graves #45, May 1974. Don was much more
pleased with his art on this story, calling it "500% better" that his art on
"The Empty Room." The Charlton brass agreed. Editor Nicola Cuti wrote to Don:
Gill and myself have been looking over your story: "The Treasure Seekers" and we
felt compelled to write you a note. The craftsmanship of the art is superb. Each character
is unique and interesting, not a department store manikin and the dreariness of the swamp
continue to turn out your art on this level of quality and there is no doubt in our minds
that you will soon be rising to the top of the profession.
look forward to when you will illustrate one of my stories.
opinion, Don went a little cartoony with his art for this story. The influence of Will
Eisner's Spirit is obvious, particularly on the two "treasure
Tucker Joe and Alvin. But Don was improving on his
story-telling abilities which is where this strip really out-shines his prior effort. See
for yourself in the four pages presented here.
The Eisner influence is
obvious in the final four panels on this page.
As the story moves from town to the
swamp, the mood become more ominous.
Stark light sources and
heavy shadows became a staple of Don's work.
A real treat! Here is a page
not destroyed by the Charlton color department!
next issue of Ghost Manor, #19, June 1974 had two one-page features. The
first introduced the character of Baron Weirwulf and his
mysterious library from which he would read us facts about "vampires, werewolves,
monsters, UFO's and magic" which were promised to appear in the pages of Ghost Manor,
Ghostly Tales, Ghostly Haunts, The Many Ghosts of Dr. Graves, Haunted, and Haunted Love.
It seems Don was hired to provide filler material for the horror books and the other page
in this issue is the first such filler, entitled, "Vampires of the World!" I
recall seeing this same introduction to Baron Weirwulf's Library in other Charlton books
and not buying them because, as the French guys in the castle said in "Monty Python
and the Holy Grail," "I already got one."
Ghost Manor #20, which
skipped a month and was dated September 1974 featured what I think is the only three-page
Baron Weirwulf story. It is entitled, "A Report of UFO's," and like all of the
Baron Weirwulf fillers, it was written by Nicola Cuti and penciled and inked by Don. Like
most of Don's work at Charlton, the printing and the color are really bad, but the art is
wonderful. We have all three pages here, two of which are scanned from the original art
(our thanks to Howard Siegel for the beautiful pages). What is interesting is that Howard
owns pages one and three, but appears on page two, panel three! On page three, you can see
the influences of Berni Wrightson and the many Neal Adams' DC horror comic covers. Take a
close look at some really wonderful Newton art.
Don employs heavy use of
his "fandom" cross-hatch shading technique to this page.
The poor coloring and
printing really mars this page masking a lot of the detail Don put into it.
This page is a real gem and
features some really great inks by Don.
Don would finish out the year doing Baron Weirwulf pages for Charlton, but Charlton was making the most
of Don's limited output. The one-page Baron Weirwulf introduction appeared in
Ghostly Haunts #40, September 1974, Haunted #17, October 1974 and in
The Many Ghosts of Doctor Graves #47, also in October 1974.
Ghostly Haunts #40 also featured a one-page Baron Weirwulf's Library piece entitled
"A Word About Vampires and Werewolves." Ghostly Tales #111, October 1974 contained
another one-page Baron Weirwulf's Library piece entitled "The Devil's Sea," while Haunted #17,
October 1974 carried a one-pager explaining "How to Become a Werewolf." The Many Ghosts of Doctor Graves
#47, also in October 1974 contained the one-pager "The Abominable Snowman." The year finished out for Don and the
good Baron in Ghostly Tales #112 with the one-page "The Lock Ness Monster." All of the Baron Weirwulf
fillers were written by Nick Cuti.
Don started off the year with The Many Ghosts of Doctor Graves
#49, January 1975. It has a nice Don Newton cover
(Don Newton fan extraordinaire, Scott Moore sent in a beautiful scan of the original art to this cover) and a nine-page story written
by Joe Mollov, Penciled by Don and inked by Dan Adkins, called "Death in the
Storm!" This was the first time I saw Don inked by someone else, and although not as
nice as when he inked his own stuff, Adkins would turn out to be one of the better inkers
Don ever had as they would continue their working relationship in later years at DC. The
very same month brought us Ghostly Haunts #42, which sported a cover by Don and a nine-page story written by Nicola
Cuti and penciled and inked by Don called "The Man Who Hunted Satan." This story
suffers some from some really poor printing but still manages to deliver some nice Newton
moments here and there. Scott Moore also sent in a beautiful scan of the original art to this cover. Just wonderful Scott!
February 1975 brought us
#11 and an absolutely wonderful six-page story, "Orion," written
by Nicola Cuti and penciled and inked by Don. The entire issue was devoted to
gods, and "Orion" is
a story of lust and revenge. I think it is one of Don's finest strips during his
Two pages of Don's
wonderful "Orion" from Midnight Tales #11.
was the year that Don really exploded on the Charlton scene, he was everywhere. March
brought two books with Newton artwork, including Don's first painting for Charlton.
#8, March 1975 featured a cover painting by Don
that showed there was a lot more facets to Mr. Newton than first met the eye. The cover is
a beautifully rendered gothic love scene of a man
his love under a harvest moon,
while a ghostly
looks on. Inside there is a single full page ad featuring Don's
work. It features Dr. Graves and the hosts of all the other Charlton horror books
Baron Weirwulf for being given his own book, Baron Weirwulf's Haunted
of 1975 also saw the release of Ghost Manor #22, which features three
Newton treats. First is a rather pedestrian cover by Don, which really suffers from some
over-bearing coloring, which if you can get past you can still enjoy the art. Next is a
one page Baron Weirwulf piece on Thomas James, a young printer who completed an unfinished
Dickens novel after being spiritually contacted by the late author. It features some nice
Newton figures. Finally, we have "Mr. Beazely's Ghosts," a nine-page strip
written by Joe Gill and penciled and inked by Don. This strip features some very good work
by Don but is marred by some shoddy printing on Charlton's part. Still, the page presented here shows you the quality of work Don was putting
out at the time.
April of 1975 saw the release of two books with work
by Don. First was Midnight Tales #12. It contained an excellent six-page
story written by Nicola Cuti, penciled by Don and inked by Dan Adkins. "The Snow
Men!" represents one of the best Newton/Adkins collaborations. The tale takes place
in the Himalayan mountains and concerns a mountain-climbing expedition, yetis, mystic
palaces, dancing girls, just a whole heck of a lot for Don to sharpen his pencils on.
The other Newton feature that month was Baron Weirwulf's Haunted Library #21
(actually Haunted #21 but the first issue to have BWHL on the cover). It
featured another Newton cover painting, this one of the
good Baron, an introductory page inside by Don, a one-page Baron Weirwulf page on "The Great Houdini,"
and it finished with a house ad for the newly rechristened book. The interior page looks like it
was whipped out fairly quickly and suffers from some dreadful colors and another piss-poor
printing job from Charlton. They had problems with Don's work the entire time he worked
there. I think Don's stuff suffered more than most because he relied so much on shadows.
His pages had a lot of black to them and the Charlton presses just could not reproduce
them with any consistency.
|Don's contributions to the first issue of Baron Wierwulf's Haunted Library, a book featuring his character creation.
Don was averaging two Charlton books a month by now,
one with a story or fillers and one with a cover painting. The May 1975 issue of Ghost Manor
#23 contains two pages by Don. The first is the same full page ad that was
in Haunted Love #8 congratulating the Baron on his new book. The second
is Baron Weirwulf's Haunted Library filler on the moon. This issue also sports a wonderful
ink and watercolor cover by Tom Sutton. Don was not the only one painting covers at
Charlton in those days. The second Newton treat of the month was the cover of
#115. It featured Don's rendition of an archeologist in an Egyptian tomb, facing off against a huge snake. The
hieroglyphics on the wall spell NEWTON if you turn the cover upside down. Don
did one better this month, fitting in another cover painting, this one for
#9. The only copy of this book I have been able to find has a very dark
cover, since printing varied so much between Charlton runs, its hard to say how
nice this cover actually is.
features this great cover of an archeologist in an
tomb facing a giant snake. I love this painting.
#9 features Don's second
painting of the month. this is not one of my favorites, but the muddled
printing may be the culprit, not Don.
June saw the release of three books with Don's
wonderful art, including one of my all-time favorite cover paintings. But the month
started out with Midnight Tales #13. It featured a six-page story,
"The Scarab" written by Nicola Cuti, penciled by Don and inked by Dan Adkins.
Not as good as their work on "The Snow Men!" the previous issue, it is still a
good example of Don and Dan working together. The second book was
#22, which featured a cover painting by Don, a few small Baron
figures and heads introducing stories, and a one-page Baron Weirwulf's Library filler on "Man-Made Monsters." The third Newton treat that
month was the shocker. Don painted the cover to Teen Confessions #89 and
it is just one of my favorite paintings of his. In the
foreground a couple walks hand in hand, the man kissing the girls hair, but her eyes are
turning behind her, to the long-haired biker. I may be all alone on this one, but I just
love this painting.
features this great biker cover which is just one of my favorite Newton
paintings. I love Don's use of color on this one; I just find it
the very next issue is not one of my favorites and it looks like Charlton
did some editing around the figures' heads, as if they removed something
from the background.
August 1975 Don did his last horror cover. This was for the first issue of
and featured a beautiful Newton painting of the Loch Ness Monster.
The cover was taken directly form a panel of the story Hoax by Nicola Cuti and
drawn by Paul Kirchner. It is interesting to compare the cover to the interior
art, as Don actually followed the interior page quite closely. The monster is
attacking three characters on the rocky shore, a young man, an older man with
one leg an a
and a young woman. The monster
is completely different, but the old man is in the exact same pose as inside and
the young man is in the same pose as the young woman inside. Given that so much
is the same, it is interesting to see the difference in the two pictures. Don's
is filled with terror and the interior one is not. This month also saw Don's
second and last Teen Confessions cover painting for issue #90. I don't
like this one as much as the one he did for #89 and it definitely looks like
Charlton edited the background some as there is a line around the heads of the
figures. Oh well, it's still not a bad painting at all.
of 1975 saw the last of the new horror work that Don would do for Charlton and
it appeared in Midnight Tales #14.The six-page tale of time travel
entitled "Love Thy Neighbor" was
by Nicola Cuti and penciled and inked by Don. It features
a couple of very nice pages. Roy Thomas seems to be the model for the character
. This was a nice peek at what was
to soon come from
art is a bit uneven in
places, but has a very nice opening page. Maybe Don was just storing up his energy, because he would be needing it.
Don was about to break loose in a most unforgettable way... The Phantom
Midnight tales #14
featured the last new horror work Don would do for Charlton. Roy Thomas seems to be the model
for the character Harley Davenport.
This is the original art for
Midnight tales #14, page #1, a beautiful piece of artwork that I am happy to say
is a part of my private collection.
October 1975 was the month that Don Newton
made the comic industry stand up and take notice as his vision of the Phantom
burst onto bookstore shelves across the county in issue #67. Since Don was stylistically
reinventing the character, it was all too appropriate that Don's first work on the Phantom
would be a retelling of his origin. After all, how could we go forward if we didn't first
know where we were and how we got there? From the beautiful cover painting through 23
pages of story Don made it clear that the Phantom was alive and kicking, the jungle
avenger, "the Ghost who Walks" had returned.
Although the story, "Triumph of
Evil!," is attributed to Joe Gill, Don would later claim that he "re-wrote 50%
of [the] #67 script," including all of the crucial "resurrection" scene on
page 17 and the solemn ending of page 23. The fact was that, within a few months,
Charlton would basically give control of the Character to Don, lock, stock, and domino
Don knew that he was taking a chance with the
character, but he had an idea of how he wanted to present the Phantom and he stuck to it.
Don wrote, "I almost have the Phantom story [(#67)] penciled at the rate of one page
a day. I can promise one thing; it will be unlike anything ever done on the Phantom
before... Whether that's good or bad will have to be judged by history."
Don would pencil and ink all of his Phantom
work and would supply a cover painting for every issue he drew. Looking back over these
books, particularly the first few issues Don did, I am struck by how different they seem
from the work he was doing on the horror books. Don did use a different style on the
Phantom than on his other work. A lot of the art in the first few stories seems simplified
in construction, not as much detail as Don had been putting into his work. But when he did
go for detail, he seems to return to his black and white style he had mastered in his
fandom years. The result is an odd hybrid style, very textured, yet at times very
simplistic. Now all of this may have simply been the result of deadline paranoia, a young
artist doing his first book-length title in his spare time (remember Don was still a
teacher through all this), devising a new, simpler style to help him adjust to those
Page 3 of Don's debut on the
Notice the standard Newton heavy lighting and the use of pen cross-hatching to add
texture. A throwback to Don's days in fandom.
The final panel of Don's
first Phantom story, Heavy lighting, silhouettes, jungle darkness, billowing clothes, and
wonderful staging, the trademarks of Don Newton at his best.
December 1975 brought with it a new Newton Phantom with a new
writer. Phantom #68, "The Beasts of Madame Kahn" was written by
Nicola Cuti and most likely heavily re-written by Don. The cover
was another gem. It features a very Frazetta influenced Phantom crouching in the jungle
grass preparing to fend off an attack from a cat-like creature. The cover was very nice
and boon to the book as a whole as the inside effort was not up to par for Don.
However nice the cover was, Don was very displeased with the printing of it,
"Yeah, I just saw Phantom #68 and couldn't believe the cover! I actually
made a special effort to paint it light in hopes of outfoxing their
printer. No one, I guess, can outfox the printer it seems."
The cover to Phantom #68
as printed by Charlton. As Don lamented, the cover is very dark.
art for the cover to Phantom #68. Now this is more like it!
maybe Don's weakest Phantom artistically although he personally felt it was
"much better than 67... I was not so rushed." The interior of this book, 22
pages in all, seems very rushed and although Don thought the art looked better, he
complained that "the interior color was horrible as ever." I'm sure Don was
going through fits trying to meet the Phantom deadlines and it shows. There is a
noticeable lack of detail in this book. But also, the story-telling seems forced at times.
However, a rushed Newton is still Newton and the book is well worth owning.
Phantom #68, page
though Don appeared to be rushing, he could still put together some fairly interesting
figures and was still relying on stark light sources to generate interesting shadows.
#68, page 8. Though rushed, Don's pages were alive with interesting characters and
It would be four months before the next Newton Phantom
would arrive on the newsstands. The Charlton people were trying to appease Don, whose art
they were quite taken by, and Don had a lot of gripes. That he was not happy with the
stories he was getting was obvious, since he was re-writing so much of them. He was also
unhappy with how dark his covers were printing, the interior printing, and the interior
coloring. He knew he could do nothing about the printing, but he felt the interior
coloring could be done better and he knew people he trusted to do it. It appears that
there was a protracted disagreement with Charlton over the book that Don eventually won.
The fallout from this was the missing of the deadline for issue #69, Don having a hand in
all future stories, and Bill Pearson being hired to color the interiors of the Phantom.
Don was able to deliver a beautiful,
beautiful cover painting
for issue #69
, even though he had no hand on the interior art. So, although we had to
wait four months for the next Newton, it would be well worth the wait.
The cover to
as printed by Charlton. The cover is very dark and washed out in
art for the cover to
This is the prize of my personal collection.
Issue #70 of the Phantom is quite
simply my favorite Phantom issue. It is known far and wide as the "Bogart"
issue, as the story stars Humphrey Bogart, Lauren Bacall, Sydney Greenstreet, Peter
Lorre, and Claude Rains and is a mixture of "Casablanca," "African
Queen," "The Maltese Falcon," and "Treasure of the Sierra Madre."
Don put it like this, "The Phantom meets Humphrey Bogart, Sydney Greenstreet and a
bunch of others as they seek a fabulous golden idol in Casablanca!!! Sounds like a comedy?
Not really. It's a tight mystery based on four old Bogart films that Pearson and I wrote.
This will be the first superhero comic in a long time with a plot rather than 20 pages of
Many have speculated on the substitution
of Lauren Bacall for Ingrid Bergman in the Casablanca cast. Howard Siegel
remembers Don discussing this,
"The Casablanca caricatures, believe it or
not, gave Don trouble. He told me that he spent a half hour trying to nail down Ingrid Bergman, without luck. Hence the Bacall substitution."
The way Pearson wrote the story it made no difference who physically played the
"The Mystery of the Mali
is attributed to Bill Pearson, and Don called the book "a two man show.
Pearson wrote it (with me hanging over his shoulder saying, "No, No, you can't do
that!") lettered it and will color it. You know what I do!?" Although attributed
solely to Pearson, Don would write, "The original idea came when Pearson wrote some
Phantom story summaries for me and at the end of one decided to be funny and said,
"and in the end the Phantom stops in Casablanca where he meets Bogart, etc.,
etc." When I read this I thought he was nuts, but then I began to see a possible
story. So I called him up and he thought I was nuts! I suggested we string several old
Bogart movies together and build a story around their elements. Well, he liked that idea
and went to work on a script. He'd bring the story over and we'd tear it apart and he'd go
and write it again... and again and again! The final result was called a
"classic" by several people at Charlton and I hope Pearson gets his just
recognition for this really original job."
quoted above comes directly from letters Don sent to his friend, columnist
Howard Siegel. I only know what I read in Don's own words (as I have said many
times, I did not know Don Newton) and these letters are
just that. If you click on the images below you can see fairly good, readable
copies of the letter I used as my source.
The only reason
I am bringing this up is that the correctness of the above has come into
question. Regarding this story Bill Pearson should know as much about it as Don
Newton did and Bill Pearson says that Don was inflating his contribution to
"The Mystery of the Mali
Pearson says, and I am quoting from a letter to the Editor of
magazine, "In the case of The Phantom #70, “The Curse of the Mali Ibex,” I wrote the
story, sent the script to Don, and he illustrated it masterfully. He didn’t
contribute the script or see it until he got it in the mail, and he didn’t make
any changes on his own. I didn’t “bring the story over and we’d tear it apart
and start over…” because I was in Connecticut and he was in Arizona."
Don's Charlton years are very confusing to me as people kept moving around
(Adkins is in Phoenix then in Reading and the same seemed to be true of Pearson)
and the roles of each were unclear to me. I also have no reason to believe that
Bill Pearson is not telling the truth, while Don? Well, lets just say that Don
was known to stretch the truth from time to time. I think Don knew that
"The Mystery of the Mali
was a pretty special story and Don liked to brag. Most damning of all is
Pearson's assertion that he was in Connecticut when the story was written; that
does make it hard for Bill to "bring the story over." This stretching of the
truth by Don may also be why he didn't want Siegel to print any of this letter.
Newton's motley crew: Bogart, Bacall, Greenstreet, Lorre, and Rains. The story is also
populated with 21 or 22 "personalities" from Don's life including Don himself in
the very last panel.
what Don wrote, this is a marvelous Bill Pearson story, a truly
of The Phantom. What I really enjoy about it is not just the
Bogart tribute, which is handled wonderfully, but the writing all around is superior. The
pacing, the connection between dialog, caption, and art all telling us a piece of the
story is really wonderful. The characterizations are very rich, particularly the Greenstreet character, Max Grotzman. See for yourself:
posing as a civilian named Walker, realizes that even if the girl does have the Ibex, It
will never be safe until the others who seek it are completely stopped.
Phantom:: Just found her in time to make a reservation on the same plane...
"Shall we share a cab?"
Betty: "Why not?"
Phantom: She might have lined up a fence by now...or heard from Clifford!
This is the place for intrigue, without doubt. Everyone in Casablanca takes
risks these days, and it's a hotbed of big schemers on every level...
One of the biggest operators in this crowded city, in more ways than one, is
a man named Max Grotzman. His most public possession, the Catalina Club...
Few people anymore ask Max how he acquired his wealth. Those who do are
satisfied with his answers, however, for Max Grotzman has the gift of gab... and infinite
Max: "This fowl is half raw! Is that cook drunk again?!"
Lorrie: "He didn't show up at all today. His mother's taking his place,
but she's got one arm in a cast."
Max: "That's no excuse! They're BOTH fired!"
Henchman: "Classy blonde just came in with a tall stranger, and Rick
hasn't taken his eyes off them."
Max: "That IS interesting... Does she look familiar?"
Henchman: "Can't tell."
Max: "Rick is a man who usually sizes up people with one glance, but
he's definitely checking them out with some care..."
If she had a
pressing appointment, it wasn't apparent. They had made the rounds according to their
cabbie's suggestions, and Betty appeared equally at ease everywhere... That is, until they
reached the Catalina!
Roulette Player: "Hey, fella! That's my number! Pay attention to
business, will ya?!"
than one pair of eyes notice the double-take when she recognizes the house man behind the
Phantom: She's surprised to find Clifford here. So they're NOT working
Max: "They know each other, alright. I want her
alive, and bruised as little as possible."
Max: "Doing business with a beautiful woman is
such a rare treat at my age that it would be a shame to ruin our first meeting with ill
feelings or black and blue welts.
Henchman: "We'll be gentle, but...shall we
Beside the wonderful writing, these two pages
also show off Pearson's superior colors and his very tight lettering. This was the first
book done with Don in total control and you could see that everything he was doing was an
improvement on what had gone before. Nothing Don could do could improve the printing
though. Don was particularly upset with the printing of the
of issue #70
"Well, you've got to admit that the cover
on #70 stank. Not my fault though... they
didn't even come close to the original." Don's main gripe with his painted covers at
Charlton was that they always printed far darker than they actually were. I've seen
multiple copies of his Phantom books, and there is a real inconsistency in the printing of
both the covers and the interior pages, but I have never seen copies of #68 and #70 where
the cover was not too dark.
Lastly, while much is made of the
famous stars of
"The Mystery of the Mali
Ibex," they are not the only "real" people to inhabit the story.
Don wrote to friend Howard Siegel, "Did you pick out all the
personalities in #70? There were either 21 or 22 from various
"stations" of life. If Charlton printing was sharp, you'd be able to
read my name in the reverse on the door in the last panel, page 22. Everything
inside a Charlton seems to bleed just a little though."
was even more proud, and rightly so, of his next issue; July 1976 saw the
the Phantom #71 and a story called "The Phantom Battles the Monster of
Zanadar." The credits on the book say that Don's friend John Clark wrote it
and of course, Don penciled and
inked it and
provided the beautiful
cover painting. The
has a wonderful cinematic feel to it and artistically, is superior in most ways
to the previous issue. Unlike issue #70 the quality of the art does not taper
off as the book progresses; Don gives us a full 22-pages of some of his best
work to date. Don
is really working hard on this book to
on some pages there is an
interesting Wally Wood
to some of the
Unlike Don's other cover paintings
, this issue's cover is bright and
clear. In fact Don expressed his
dismay at the printing job in a
letter to Howard Siegel, "Yes the printer really
on #71...he let it get by looking just like the original! I dare say that
for such a FUBAR he might be transferred to the US Postal Service."
With this issue Don's vision of the
Phantom became clearer, as the strip took on a more action/adventure slant. With
a few minor changes this could have been a Batman story. As Newton put it,
"I have a pretty clear cut idea on how I want to present the Phantom and
thought this came across well in #71."
Don was in control of the book. He
had Pearson handling his colors and letters on the interiors and had collected a
small staff of writers (Clark and Pearson) to assist him in his stories. Despite
the names that may be
credited on each
story, creatively the buck stopped at Don. As he related to Siegel, "For the
sake of h
tell you about the story (#71). I actually wrote the plot... part one of a two-parter
to be completed in a future issue. Now I asked a local fellow (John Clark) to
put it in script form while I completed #70. Now when I got the script back I
rewrote most of his dialogue and when Person got hold of it he made a few
changes. Pages like #20 and 21 are all my stuff, as is about 75% of the rest of
it... I've got John Clark working on the second part of #71 with the
understanding that I may edit him heavily."
After Charlton's initial collapse
in 1977, the company
itself a number
of times and each time it did it found a use for Don's artwork. Normally this
was just reprinting his horror strips, but for issue #12 of Monster Hunters in
March 1978, despite the proclamation of "All New" on the cover, the
cover was in fact a reused page of Don's Phantom artwork. The figure of the
Phantom was removed, pterodactyls were added to the sky and eyes were added in
the foreground darkness. But these changes did not diminish nor disguise the wonderful Newton
jungle or the mist shrouded mountain, Zanadar.
wonderful splash page to "The Phantom Battles the Monster of Zanadar"
from the Phantom #71, with its lush jungle and great Pearson
The cover to
#12 uses most of this splash page, minus the
Phantom. Also missing are Bill Pearson's colors.
Don returned in
The Phantom #73
, with another wonderful painted cover that Charlton was able to
completely destroy. Of this cover we have three different views and from these
you can garner the affects of Charlton's printing on Don's work. You also get a
glimpse of how Don worked up a painting, with a unique look at Don't unfinished
original concept for the cover. Don laid out his paintings in the same manner he
laid out his interior work, I've never heard of an artist roughing out his
painting in magic marker before, but apparently that is how Don Newton did it.
for "The Torch"
from the Phantom #73, features the ominous figure of Raven, whom
Don thought would be a reoccurring character. Charlton's printers did not
help this cover at all.
original painting for the same cover. Ah, what could have been!
Don't unfinished original concept for the cover. The Raven character made it
to the final piece, pretty much intact, but the Phantom figure was
completely reworked. Don painted his acrylics on illustration board and
apparently laid them out in magic marker.
"The Torch" is
written by Bill Pearson, using the name Ben S. Parillo, and is moving the book in
the direction Don wanted it to go. He wanted to create a new mythos, with new
characters and the villain in this book, the ancient evil one, Raven, was the
beginning of this. Don planned for Raven to return in a few issues, but
was canceled before that could happen.
OK, for those who can't wait, here is a
preview, the cover to Don's final Phantom!
#74 featuring the Phantom of 1776!
Charlton Comics sat out most of 1977 during which all of the new talent in the company fled to
greener pastures. Don was already gone, having left when The Phantom was cancelled. In late
1977 Charlton came back, but without many of the talents they had been using. As such they limped
along till 1985 with a lot of reprints and a smattering of new content before finally calling
it quits. During this period they reprinted a number of Don's works, though I don't have anywhere
near a complete list of this. I do know that Haunted #59, January 1982
contained a reprint of "The Treasure Seekers" from
Many Ghosts of Doctor Graves
. Ghost Manor #64 from October 1982 is also supposed to have a Newton
reprint in it, though I have never seen the book and have no details.
In Beyond the Grave #17, October 1984 may appear the last Newton reprint. If
this is the last reprint it is very appropriate as we come full circle back to "The Empty Room"
from Ghost Manor #18, Don's first work for Charlton Comics. The coloring on this
reprint is much darker than that of the original. Also, the narrator from Ghost Manor who plays
a part in the story is colored blue thoughout the story where he was given fleshtones in the
original printing whenever he became part of the story.
All artwork on this
page is copyright Roger Broughton 1974-2014 or anyone else who owns the copyright. The Phantom and associated
likenesses and characters are copyright 1998-2014 by King Features Syndicate, Inc., The Hearst Corporation.
The Art of Don Newton
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