Dimension X

No matter what we may say about the people who touch us or cross our paths in our lives, we speak only because we care. Even the ones who mean the most to us, we always find a way to sometimes say something to them or behind their backs that may sound mean-spirited or nasty. But the truth, especially for me, to talk of someone, is only because I care about them. Even though I may mention an incident that upset me, for all my selfish bull, I sincerley love that person. JOE ORLANDO was my mentor, friend, & teacher. He started as my teacher at SVA, but because I was one of the only students that was familiar with his career, & tried so hard to impress him, he opened his door at DC, & his home & family to me. I know I expected things from him I should not have. When you are young, you think & do many foolish things, hopefully not doing too much harm to yourself or others. As human beings, we have a way of saying the wrong things, & don't get a chance to apologize when it's too late.

Joe left us Christmas Eve, 1998, on the train ride home to upstate Mahopac, NY, to be with his family. A year earlier, he had acquired a small apartment across the street from his good buddy, CARMINE INFANTINO, on 48th St & 2nd. Joe worked himself like a dog, loving his job, now running MAD Magazine as well as his Special Projects Division at DC. He would stay in the city at his new apartment during the week, & go home to his family in Mahopac on the weekends. Having the apartment made him more comfortable & offered him more time to spend at his work. I am very fortunate to have spent evenings there, being made an official Italian meal, with Carmine Infantino gossiping boyantly with his buddy, Joe. When you had these 2 ole ginnies together, with some good red wine,...forget it...you were in for a rowdy loud night with two great storytellers.
Carmine was extremely hurt by Joe's passing, as he did not attend the private wake, or the huge special service DC held in Rockefeller Center. At this special service, I was the 1st one to step up to the stage & podium to read a tribute I had written the night before. I was then followed by JIM WARREN, ANDY HELFER, MIKE KALUTA, & many others who have been touched by Joe.
When I would tell Joe about my projects or new characters, like the "SPACE BANANAS", & that the Robot was named WOODY(after WALLY WOOD), the small ape was CARMINE, & the big guy was named ORLANDO, Joe said with embarrassment, "Gee, thanks a lot!" He introduced me to HAROLD VON BRAUNHUT, the guy who invented "SEA MONKEYS", who was trying to sell his condo on Park Ave., & Joe thought I may be interested. It was very tiny, only adequate enough for the microscopic "Brine Shrimp" he had been marketing since the early 1960's. Joe turned me on to many amazing Comic Strip Artists & Book Illustraters I probably would have passed by. His favorite talents & influences were FRANK GODWIN(Rusty Riley), JOSE SALINAS(Cisco Kid), HAROLD GRAY(Orphan Annie), & of course RAYMOND(Flash Gordon) & FOSTER(Prince Valiant). He gave me reference sheets he acquired from genius, ROY G. KRENKEL, of works by FRANKLIN BOOTH, NORMAN LINDSAY, WM. RUSSELL FLINT, ANDREW LOOMIS, ALMA TADEMA, N.C. WYETH, the rest of the "Brandywine" crew & others.

But what held me the most, & intrigued the hell out of me, was his 2 year partnership, sharing a studio with the great, WALLACE WOOD. Joe learned a great deal from Wood, & they would jamm on each others jobs, helping to make deadlines, & cramming work to get paid. I envied that ethic & wished I could have been there to see these talents in action. They shared a studio on Broadway & 74th St. SID CHECK was another artist that worked with them. Their output, especially for AVON Publications in 1951, 52, is incredible work, far loose & rougher than the polished gems they would then create for BILL GAINES "E.C." Publications. I created an "Album" on my "Facebook" page, showing the beautiful covers Joe, Wally, & Sid made together. Absolutely amazing work. Joe told me that their main inspiration for the oozing, hairy, tentacled creatures they would do, came from Pulp Artist, EDD CARTIER. Must have been such an exciting time for a young artist, getting work when the comic book form was emerging big & experimental, especially the unique science fiction & horror titles.

A Sketch Joe did for me to show how he & Wood were inspired by

the Pulp work of EDD CARTIER, who specialized in depicting tentacle-limbed Aliens.

© 2009 Estate Of Joe Orlando. All Rights Reserved.

Here are two panels from Joe's 1951 pencilled "sample" page that got him the job to work for Gaines at "E.C." Wally Wood was already working there, & Gaines & AL FELDSTEIN mentioned they could use another artist who had the same quality as Wood. This is the page Joe made up special, & Wood took it up & showed Gaines. Joe then became part of the "E.C." family. When I acquired this page in 1987, Joe said that "Gaines never returned it", & was pissed someone made a small coffee spill stain on one panel. Still, Joe was pleased to see it after so many years & signed it for me at the bottom, "To a good friend..."

The influence of ALEX RAYMOND, HAL FOSTER, & WALLY WOOD shows elegantly in this panel that is part of the 1951 sample page that won Orlando his residency at "E.C. COMICS".

© 2009 Estate Of Joe Orlando. All Rights Reserved.

Another panel from Orlando's 1951 "E.C." Sample page, showing the "Cartier" influence on the Alien plant life depicted. © 2009 Estate Of Joe Orlando. All Rights Reserved.

I miss you my friend & though years may go by, as long as a soul remains in ones heart, that person never dies. The work remains as well, & the inspiration you gave me is priceless. I am thankful I had the chance to be inspired by one as yourself...A real & classic soul, that lived as an artist should live,...drawing & working at what you love, up until the end...Thank you Joe...

Orlando self-portrait from "Roots Of The Swamp Thing" #5, Inside Back Cover. © 2009 DC Comics, Inc.