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First Comics

First Comics was an independent American comic book publisher active from 1983 to 1991, co-founded by publisher Ken F. Levin and editor Mike Gold in Evanston, Illinois. The company distinguished itself in the industry dominated by Marvel and DC by prioritizing creator-owned properties and offering royalties to writers and artists rather than traditional work-for-hire models, thereby fostering greater creative control and financial incentives for talent. Its flagship titles included Howard Chaykin's American Flagg!, a satirical futuristic series; John Ostrander and Tim Truman's GrimJack, a cyberpunk urban fantasy; Mike Baron's Nexus, a space opera featuring a judiciary alien; and Don McGregor's Sabre and Rage, which influenced later works like Dreadstar. First Comics expanded its lineup by acquiring the Warp! imprint from Warp Graphics and publishing licensed adaptations, such as Jon Sable, Freelance, while Mike Gold's editorial direction emphasized bold, mature storytelling that pushed boundaries on social and political themes. These efforts helped catalyze the 1980s boom in alternative comics, challenging monopolistic distribution practices— including an antitrust lawsuit against Marvel—and promoting direct-market sales innovations, though the publisher ultimately folded amid broader market contraction and financial pressures in the early 1990s.

History

Founding and Initial Launch (1983)

First Comics was established in 1983 in , by attorney Ken F. Levin and editor , who sought to create a publisher focused on creator-owned properties amid a market dominated by and Comics. The founders prioritized reliable on-schedule delivery to build trust with retailers and readers, a strategy Levin later emphasized as critical for an independent entrant to gain footing against established competitors. The company's initial launch centered on science fiction and adventure titles, beginning with Warp #1 in March 1983, which adapted a trilogy of heroic science fiction plays from the Organic Theater Company, scripted by Peter Gillis and drawn by Frank Brunner. This was followed by the revival of Charlton Comics' E-Man in April 1983, written by Nicola Cuti and illustrated by Joe Staton; Jon Sable, Freelance #1 in June 1983, created by Mike Grell; the continuation of Starslayer (previously published by Pacific Comics) in August 1983, by Grell with John Ostrander and Timothy Truman; and American Flagg! #1 in October 1983, written and drawn by Howard Chaykin. These releases featured high-profile creators who retained ownership and received royalties, marking First's early commitment to empowering talent over work-for-hire models prevalent at major publishers.

Growth and Peak Operations (1984–1987)

In 1984, First Comics expanded its publishing slate through the acquisition of titles from the short-lived Capital Comics, incorporating ongoing series such as Badger (created by Mike Baron), Nexus (by Mike Baron and Steve Rude), and Whisper. This move strengthened First's focus on creator-owned science fiction, superhero, and adventure genres, adding established properties to its initial lineup that had debuted with Warp! and Starslayer in 1983. The acquisitions occurred amid the growing direct market for independent comics, enabling First to leverage Capital's back catalog for reprints and continuations. The publisher launched several key new titles during this period, including Grimjack in August 1984, written by with art by Timothy Truman, which explored and fantasy elements in a dystopian setting and quickly gained traction among readers. American Flagg!, Howard Chaykin's satirical series that began in 1983, continued to drive visibility with innovative storytelling and political commentary, reaching issue #50 by 1988. Other additions included Mars (scripted by Rick Obadiah with art by Tom Sutton and Bruce Patterson) and by , further diversifying First's portfolio toward epic narratives. Under co-founder Mike Gold's leadership as president until late 1985, First emphasized creator royalties and ownership rights, attracting talent disillusioned with mainstream publishers' work-for-hire models. Gold's departure to DC Comics marked a transition, with Ken Levin assuming greater operational control as the company ramped up output, including graphic novels like the adaptation of (1984, adapted and illustrated by Jerry Bingham) and Time Beavers (1985). By 1986–1987, First maintained a robust schedule of monthly titles, peaking at over a dozen ongoing series and specials, such as Jon Sable, Freelance and The Life and Times of , amid the indie comics boom fueled by specialty shop distribution. This era represented First's commercial high point, with consistent production and critical acclaim for its mature, creator-driven content, though specific sales data for independents remained opaque compared to and DC.

Decline and Bankruptcy (1988–1991)

By the late 1980s, First Comics encountered mounting financial pressures amid a maturing direct market for comics, where independent publishers faced heightened competition from established giants like Marvel and DC, as well as emerging creator-owned imprints. Sales of ongoing series stagnated, and operational costs, including royalties to creators under the company's ownership model, strained resources. Notable titles such as Jon Sable, Freelance and Dreadstar were licensed or moved to competitors like Malibu Comics as liquidity issues emerged, signaling early distress in sustaining full publication schedules. A pivotal misstep occurred in 1990 when First Comics revived the line in partnership with Berkley Publishing, aiming to expand into mainstream bookstores beyond the specialty comic shop channel. This initiative demanded heavy upfront capital for printing, marketing, and alternative distribution networks, ventures in which the company lacked prior expertise. The investment failed to generate anticipated returns swiftly, exacerbating cash flow shortages and diverting funds from core comic operations. Unable to pay creators their royalties, cover rent, or meet other operational expenses, First Comics filed for in 1991, effectively ending its primary activities. The collapse tied up rights for years, preventing immediate revivals of popular properties like . This outcome underscored the risks of aggressive diversification without robust financial buffers in the volatile comics sector.

Post-Closure Revivals and Reprints

Following First Comics' cessation of operations in 1991, the publisher was revived in 2011 under the stylized name 1First Comics, focusing on creator-owned material including new series and revivals of legacy titles. In 2014, it merged with to form Devil's Due / 1First Comics, LLC, resuming output with titles like a five-issue mini-series reboot titled Enter the Badger, which reintroduced the character Norbert Sykes in stories emphasizing his expertise and abilities. Several flagship First titles saw reprints and collected editions from other publishers in the ensuing decades. Nexus, originally published by First from 1983 to 1991, was extensively reprinted by Dark Horse Comics starting in 1993, with trade paperbacks collecting early color issues and later omnibus volumes encompassing over 60 products including hardcovers like Nexus Archives. Grimjack, which ran from 1984 to 1988 under First, received IDW Publishing's multi-volume Legend of Grimjack trades and omnibuses beginning in 2005, reprinting the saga in sequence from precursor Starslayer issues through issue 54, though the program stalled without full coverage. American Flagg!, First's satirical series from 1983 to 1989, appeared in ' trade paperbacks in the early , each collecting seven issues, followed by a 2007 Definitive Collection reprinting the first 12 issues with original art by . , continued by First from 1986 to 1991 after an run, was reprinted in omnibus format by Ominous Press in 2019 across three volumes compiling the full series alongside related stories. Starslayer, a First title from 1985 onward evolving from Pacific Comics material, received a 1995 "" reprint series by , updating select issues with revised coloring, panels, and lettering while reprinting core content like issues #1–6. These efforts preserved access to First's creator-driven and adventure output, though no comprehensive company-wide archival project emerged, leaving some issues like later runs largely unavailable in modern formats.

Business Model and Innovations

Emphasis on Creator Ownership and Royalties

First Comics distinguished itself in the 1980s comic book industry by adopting a creator-owned model, under which writers and artists retained full ownership of their intellectual property, including characters, stories, and related rights, rather than surrendering them to the publisher as in the prevailing work-for-hire system at Marvel and DC. This approach, implemented from the company's launch in 1983, enabled creators to maintain creative and commercial control, fostering autonomy for projects often rejected by mainstream publishers due to unconventional premises or mature themes exempt from Comics Code restrictions. The model included royalty structures where creators earned ongoing percentages from sales revenue after recouping production and distribution costs, providing financial incentives tied directly to a title's performance and potential for merchandising or adaptations. For instance, Howard Chaykin's American Flagg!, debuting in November 1983 as one of First's inaugural titles, operated under these terms, allowing Chaykin to dictate narrative direction and benefit from its commercial success, which peaked at over 100,000 copies per issue in 1984–1985. Similarly, the 1984 acquisition of Nexus (written by Mike Baron, art by Steve Rude) and The Badger (by Baron) from Capital Comics preserved their creator-owned status, with royalties supporting the teams' continued involvement across dozens of issues. Titles like and Timothy Truman's (1984–1988) and Jim Starlin's (1982–1986, moved from ) further exemplified this emphasis, as creators retained decision-making power over production, licensing, and sequels, such as in the case of E-Man where Joe Staton, Hilarie Staton, and Nicola Cuti controlled revival elements. Co-founder Ken F. Levin described this as offering "strong control over their copyrights," attracting established talents like Chaykin, , and Starlin who sought alternatives to corporate oversight. While upfront page rates covered initial creation—typically $100–$200 per page in the mid-1980s—the royalty component differentiated First, potentially yielding higher long-term earnings for hits amid the direct market's growth, though it also exposed creators to risks if sales faltered. This framework not only bolstered First's lineup of science fiction and adventure series but also set precedents for creator equity, influencing subsequent independents by demonstrating viable paths to retention without sacrificing reach. However, the model's faced challenges, as uneven and industry contraction by 1988 strained royalty payouts, contributing to disputes over payments that highlighted tensions between creator expectations and publisher finances.

Distribution Partnerships and Challenges

First Comics established key distribution partnerships within the burgeoning direct market of the , primarily relying on Distribution to reach specialty comic retailers. Founded in and focused on independent publishers, provided essential logistics for First's titles, facilitated by the publisher's headquarters near one of Capital's satellite offices. This proximity enabled seamless acquisition of flagship series like and from Capital Comics in 1984, following negotiations with Capital owners Milton Griepp and John Davis, bolstering First's lineup with established creator-owned properties. Such partnerships allowed First to capitalize on the direct market's growth, where retailers ordered non-returnable copies based on pre-publication solicitations, bypassing traditional newsstand returns. Despite these alliances, distribution challenges emerged as the direct market matured and competition intensified. The non-returnable model, while enabling precise ordering, amplified risks for publishers when retailer demand proved inconsistent amid a flood of independent titles by the mid-1980s; retailers, facing limited shelf space, often favored Marvel and DC staples over indies. First experienced this volatility, with even strong performers like American Flagg!—which outsold Captain America in June 1984 per industry charts—struggling to maintain momentum as market saturation diluted orders across distributors like Capital City and emerging rivals such as Diamond Comic Distributors (founded 1982). Distributor consolidation further strained operations, as smaller players succumbed to cash flow pressures, leaving majors with greater leverage over discounts and terms—typically 40-60% to retailers, leaving publishers with slim margins after printing and royalties. For First, these dynamics compounded title overexpansion, contributing to erratic sales and eventual financial distress by 1988, culminating in bankruptcy filings in 1991.

Key Publications

Flagship Science Fiction Titles

First Comics established its reputation in the independent comics market through flagship titles that emphasized creator ownership, mature themes, and innovative storytelling, often blending with gritty urban elements or . These series, launched primarily between 1983 and 1985, benefited from the publisher's royalty-based model, allowing creators like Mike Baron, Steve Rude, , Tim Truman, and to retain rights and profits. Key examples included , Starslayer, , and American Flagg!, which collectively defined First's sci-fi output and influenced the direct market's shift toward adult-oriented genre . , written by and illustrated by Steve Rude, debuted in February 1983 as a black-and-white miniseries before transitioning to ongoing color issues, chronicling the title character's role as an interstellar judge executing mass murderers on his homeworld Thune while evading imperial forces. The series spanned 106 issues through 1991, incorporating philosophical undertones on and , with frequent guest appearances and crossovers enhancing its universe. Its detailed artwork and episodic structure earned acclaim for elevating indie sci-fi beyond pulp tropes. Starslayer, created and primarily drawn by , began as a Pacific Comics miniseries in 1982 but was revived by First in 1984 (issues #10–18 featuring backup stories) and continued as an ongoing title until 1987, following pilot Torin MacQuillon's adventures across dimensions, culminating in the multidimensional hub Cynosure. The narrative fused pulp adventure with hard sci-fi elements like travel and reality-warping tech, running 22 issues under First and setting the stage for interconnected First universe events. Grimjack, by and Tim Truman, originated as a backup feature in Starslayer #10 (July 1984), evolving into a solo series in 1984 that explored the mercenary exploits of John Gaunt in the nexus city Cynosure, a of realities rife with intrigue, , and multiversal threats; it ran 81 issues until 1989. The title's noir-infused sci-fi, with Gaunt's haunted backstory and tactical combat, distinguished it through serialized arcs addressing and personal redemption. American Flagg!, written and drawn by Howard Chaykin, launched in 1983 and epitomized dystopian sci-fi satire, depicting a post-apocalyptic America dominated by media conglomerates, with protagonist Reuben Flagg—a former TV star turned Plexus Ranger—navigating corruption via holographic companions and political upheaval; the series comprised 50 issues plus specials through 1989, noted for its dense dialogue, explicit content, and prescient media critique. These titles often intersected in events like the 1988 Crossroads crossover, underscoring First's cohesive shared universe approach.

Other Series and One-Shots

Jon Sable, Freelance was an adventure series written and illustrated by Mike Grell, debuting on February 15, 1983, and spanning 21 issues through 1987. The title centered on protagonist Jon Sable, a skilled mercenary and big-game hunter who relocated to New York City, adopting a dual life as a freelance operative targeting criminal elements and a pseudonymously successful author of children's books under the name "B.B. Wolf." Grell's work emphasized realistic action sequences, drawing from his background in espionage and wildlife themes, with Sable employing marksmanship, hand-to-hand combat, and animal companions like cheetahs in confrontations against urban threats. The Badger series, created by with initial art by Jeff Dee and later contributors including Bill Reinhold, transitioned from Capital Comics' debut issue in 1983 to First Comics, producing over 50 issues under the latter through 1989. It followed Norbert "Badger" Sykes, a and covert operative afflicted with , manifesting as hallucinatory dialogues with animals and a berserker rage against perceived enemies like weasels, amid surreal, violent escapades blending , , and absurdity. Baron's narrative highlighted Sykes' psychological fragmentation and anti-establishment ethos, often critiquing government through episodic brawls and chases. Whisper, a martial arts-focused title by writer and artist , originated with Capital Comics in 1983 before First Comics resumed publication from issue #14 in 1984, culminating in 37 issues by June 1990. Protagonist Alexis Devin, trained in as a kunoichi (female ), operated as a covert assassin-for-hire in the U.S., navigating corporate intrigue and personal vendettas with expertise in , , and improvised weaponry. The series explored themes of identity conflict and autonomy, with Devin periodically attempting to abandon her lethal profession amid escalating dangers. First Comics issued limited one-shots and miniseries beyond its core lines, including the standalone in 1986, a supernatural tale by writer and artist Dave examining moral dilemmas through a cursed artifact. Licensed adaptations featured briefly, such as (4 issues, 1987–1988), adapting Filmation's animated series with stories of spectral investigations by the team. Graphic novels like Time Beavers (1985), a satirical time-travel by Mark Fleishman, rounded out experimental formats, parodying historical events with anthropomorphic beaver protagonists. These publications diversified First's output, testing creator-driven concepts outside science fiction dominance.

Reception and Critical Analysis

Commercial Performance Metrics

First Comics experienced its strongest commercial performance during the mid-1980s, as reflected in U.S. Postal Service Statements of Ownership filed in late 1985 for the preceding 12-month period. Flagship titles achieved average paid circulations competitive with leading independent publications: American Flagg! averaged 43,624 copies per issue, Jon Sable, Freelance 40,015 copies, and Grimjack 35,537 copies. These figures, derived from publisher-reported data including direct market sales, subscriptions, and newsstand returns, underscored First's viability in the burgeoning direct-to-shops channel, where independent titles routinely reached 20,000–50,000 copies amid an overall industry shift away from newsstand dominance. By the late 1980s, however, sales metrics indicated a marked downturn, aligning with broader challenges for creator-owned publishers reliant on niche audiences. For instance, —once a top performer—recorded approximately 5,500 copies sold through Distribution, a major direct market wholesaler, for its June 1989 issue. This represented a significant erosion from mid-decade peaks, exacerbated by distribution dependencies and market saturation with superhero fare from and , which commanded over 70–80% of total industry share. Aggregate revenue data for First Comics remains scarce in , as the publisher operated without the requirements of publicly traded entities like . Nonetheless, the trajectory from robust per-issue circulations in 1984–1985 to diminished distributor orders by 1989 contributed to mounting financial pressures, culminating in operational cessation in 1991. Independent sector analyses attribute such declines to overreliance on limited distribution networks and insufficient scaling against majors' economies.

Awards and Industry Recognition

First Comics titles garnered notable recognition through the Jack Kirby Comics Industry Awards, presented annually from 1985 to 1987 by Amazing Heroes magazine and voted on by comics professionals and retailers. In 1985, American Flagg! by earned the award for Best Continuing Series, while Jerry Bingham's Beowolf won Best Graphic Album. The following year, 1986, saw Nexus by Mike Baron and Steve Rude dominate multiple categories, including Best Continuing Series, Best Graphic Album for The Original Nexus, Best Writer/Artist (Baron and Rude), and Best Artist (Rude). Nexus continued its success in 1987, winning Best Continuing Series again, with additional nominations for Baron in Best Writer, for Baron and Rude in Best Writer/Artist, for Rude in Best Artist, and for Rude and John Nyberg in Best Art Team. Beyond the Kirbys, American Flagg! received a 1988 Harvey Award for Best Letterer, awarded to Ken Bruzenak. These honors underscored the critical acclaim for First's flagship series, though the publisher itself did not receive dedicated company-level amid the era's competitive landscape dominated by larger houses like and .

Legacy and Influence

Impact on Independent Publishing Landscape

First Comics, established in 1983, advanced the independent publishing landscape by implementing a creator-ownership model that granted artists and writers equity stakes and royalties, diverging from the prevailing work-for-hire practices dominant at and . This approach, spearheaded by founders and Ken F. Levin, enabled talents such as (American Flagg!) and () to retain control over their , fostering incentives for original content and long-term series viability. By targeting the emerging direct market of specialty retailers, First bypassed traditional newsstand distribution constraints, achieving sales through fan-driven demand and Comics Code exemptions for mature themes, which expanded creative boundaries for indies. The publisher's innovations, including the 1985 launch of Shatter as the first all-digital comic production, demonstrated technological feasibility for independents, while licensing deals for properties like diversified offerings and introduced international material to U.S. audiences. These efforts contributed to the indie boom, alongside peers like Pacific and , by validating direct sales as a sustainable channel that prioritized creator-audience connections over mass-market dilution. First's emphasis on royalties—reportedly up to 50% for creators after costs—set precedents for profit-sharing, influencing editorial practices that empowered writers and artists to negotiate better terms industry-wide. This model laid groundwork for subsequent independents, inspiring the creator-driven exodus that birthed in 1992, where high-profile artists sought similar autonomy amid frustrations with corporate ownership. By proving that non-superhero genres like () and could thrive without backing, First accelerated a shift toward diverse, auteur-led , though its 1991 closure highlighted risks of overreliance on niche markets without diversified revenue. Overall, First Comics' legacy resides in normalizing creator equity as a competitive edge, catalyzing the proliferation of indie imprints that captured over a third of new title shelf space by the late .

Criticisms of Business Practices and Long-Term Viability

First Comics' pursuit of mass-market distribution through its 1990 relaunch of Classics Illustrated drew scrutiny for overextending the company's limited capital reserves. The initiative demanded significant investments in , , and promotional to penetrate newsstands and bookstores beyond the specialized direct market, but sales failed to generate timely returns, exacerbating shortages. By early 1991, these expenditures left First unable to cover essential payments to creators and routine overheads like rent, forcing the publisher to cease operations after eight years. Compounding these issues, First Comics grappled with elevated production costs inherent to its smaller scale, as evidenced by a 1987 against printer World Color Press. The company alleged discriminatory pricing under the Robinson-Patman Act, claiming it was charged 11.1 cents per copy—4.3 cents more than received for comparable work—despite assurances of parity. While the antitrust claim was dismissed on grounds that constituted a rather than a commodity sale, First prevailed on a common-law count, securing reduced of approximately $170,000 after offsets for unpaid bills. This episode underscored structural disadvantages for independent publishers, including higher per-unit expenses that eroded margins and hindered price competitiveness against industry giants. Critics within the industry pointed to First's litigious responses to competitive pressures, such as its 1984 antitrust suit against for allegedly flooding the market with 122 new titles in to marginalize upstart independents. Though intended to level the playing field, the protracted legal battles diverted resources from core publishing activities and amplified financial vulnerabilities in an era of consolidating distribution channels. These practices highlighted a reactive reliant on courtroom victories rather than diversified or cost efficiencies, limiting long-term . The creator-ownership model, while innovative, exposed First to risks from inconsistent title performance and dependence on individual talent retention without the backing of corporate synergies enjoyed by or . Without or broad merchandising tie-ins, the publisher's viability faltered amid late-1980s market saturation, where monthly comic output exceeded 300 titles industry-wide, diluting shelf space for niche players. First's abrupt dissolution, amid unpaid creator royalties, exemplified how ambitious but undercapitalized expansions could precipitate collapse for independents navigating distributor dominance and speculative bubbles.

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