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"There had only recently been colored TV.
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"Things were not like they are now there was no internet," explains Fuller.
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Fuller agreed and began to search for a professional artist to draw Ebon but was unable to find one. Though Fuller never had any intention of publishing his own comics, Arlington eventually asked him if he'd be interested in creating a Black superhero. | Courtesy of John Jennings and Stacey Robinsonįuller became a regular at the Comic Book Company and a good friend of Arlington's. The artwork was created as part of the "Ebon: Fear of a Black Planet" exhibition at UCR Arts by artist collective Black Kirby. Following Arlington's lead, comic book stores began popping up in waves throughout San Francisco and down California.Ī digital painting of Nyta, an all-Black planet where Ebon comes from. Independent artists no longer had to censor themselves or seek the favor of mainstream labels like DC or Marvel. They were writing, editing and publishing their own comics with hardcore political themes and X-rated material. "The first time I went there, I met the king of the underground Robert Crumb, Kim Deitch, Roger Brand and Trina Robbins, who was working the cash register." "Everybody who was anybody in the comix underground came to his store," says Fuller. The streets and pubs were filled with artists and writers, and Gary Arlington's San Francisco Comic Book Company, one of the first comic book stores in the country, became a hub for the movement's leading pioneers. When Fuller returned to San Francisco, underground comix were all the rage. His characters, who were often Black, were designed as lead protagonists and devoid of many of the racial stereotypes commonly seen in the day.
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With ample free time on his hands, Fuller entertained himself by sketching superheroes in his notebook. Space in the Imagination: How Comic Books Envisioned the Moon Landing
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I mean, if you didn't want a social life, you found the right place." "That's a great place to not have a social life," says Fuller. Two weeks after graduating from high school, Fuller followed his cousins into the Air Force and was stationed in North Dakota. He just sat where he wanted and so did I, and that took me about a week to get over it was a different world," Fuller remembers.įuller began to volunteer at the San Francisco Library, where he continued to foster his love of science fiction through the works of Andre Norton and Isaac Asimov. "I can still remember when I first got on the cable car with my stepfather in San Francisco. Curiosity would be my superpower."Īround 1959, Fuller joined his parents in San Francisco where he attended high school. "My reading habits are prodigious, but pathological would probably be a better word.
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"It was probably the best thing that ever happened to me," he says. Reproductions of pages from Larry Fuller's "Ebon" comic are displayed at the "Ebon: Fear of the Black Planet" exhibition at UCR Arts. When Fuller ran out of books at home, he applied for a library card. Wells as well as scandalous erotica by D.H. She encouraged him to make use of her home library, and soon he was devouring science fiction by Jules Verne and H.G. "You had to sit behind this marker, and sometimes somebody would get on the bus, and they would move the marker behind where you were sitting, so you'd have to get up and go sit behind that marker again."įuller's parents were sharecroppers and struggling to support their three children, so they sent Fuller to live with a relative who worked as a schoolteacher. "We still had back of the bus stuff at that time," Fuller recalls. "I'm pretty square actually, not really square, just kind of, you know, I'm old." He's 78 and can still remember growing up in New Orleans in the '50s before desegregation. Excitement," Fuller insists with a laugh. Fuller was one of three prominent Black artists in the scene (the other two being Grass Green and Raye Horn) and the creator of both America's first gay comic book "Gay Heart Throbs" and the first titular Black superhero Ebon.
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The underground comix movement was at its height, and radical artists were independently publishing the kinds of subversive work banned by the Comics Code Authority. In the 1970s, in the Haight-Ashbury neighborhood of San Francisco, Larry Fuller was drawing political, sexy comics featuring Black superheroes and psychedelic erotica.