Orion Publishing Group Ltd. is a UK-based book publisher. It is owned by Hachette Livre. In 1998 Orion bought Cassell.[1]

History[link]

Full history of the group can be found on Orion books history page

Orion Publishing Group (Orion Books) is owned by Hachette Livre UK

Imprints[link]

The group's imprints include:

• Allen & Unwin
• Cassell Military Paperbacks
• Cassell's National Library
• J. M. Dent (Everyman classics)
• Millennium
• Orion Audiobooks
• Orion Books
• Orion Children's Books
• Orion Paperbacks
• Phoenix Books
• Victor Gollancz Ltd
• Weidenfeld & Nicolson

Although an independent company and not an Orion imprint, books published by Halban Publishers are also distributed by the group.

Distribution[link]

Books distributed through Littlehampton book services.^[1]

Website details[link]

The website has been up since 2004 and it is user based rather than sales based full details of the site build can be found on orionbooks.co.uk.^[2]

See also[link]

• List of largest UK book publishers
• UK children's book publishers

References[link]

1. ^ LBSLTD.co.uk
2. ^ Orion Book's credits page

External links[link]

• Orionbooks.co.uk

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Engraving using the early Gutenberg press during the 15th century.

Publishing is the process of production and dissemination of literature, music, or information — the activity of making information available to the general public. In some cases, authors may be their own publishers, meaning: originators and developers of content also provide media to deliver and display the content for the same.

Traditionally, the term refers to the distribution of printed works such as books (the "book trade") and newspapers. With the advent of digital information systems and the Internet, the scope of publishing has expanded to include electronic resources, such as the electronic versions of books and periodicals, as well as micropublishing, websites, blogs, video game publishers and the like.

Publishing includes the stages of the development, acquisition, copyediting, graphic design, production – printing (and its electronic equivalents), and marketing and distribution of newspapers, magazines, books, literary works, musical works, software and other works dealing with information, including the electronic media.

Publication is also important as a legal concept:

1. As the process of giving formal notice to the world of a significant intention, for example, to marry or enter bankruptcy;
2. As the essential precondition of being able to claim defamation; that is, the alleged libel must have been published, and
3. For copyright purposes, where there is a difference in the protection of published and unpublished works.

The process of publishing[link]

Book and magazine publishers spend a lot of their time buying or commissioning copy; newspaper publishers, by contrast, usually hire their own staff to produce copy, although they may also employ freelance journalists, called stringers. At a small press, it is possible to survive by relying entirely on commissioned material. But as activity increases, the need for works may outstrip the publisher's established circle of writers.

For works written independently of the publisher, writers often first submit a query letter or proposal directly to a literary agent or to a publisher. Submissions sent directly to a publisher are referred to as unsolicited submissions, and the majority come from previously unpublished authors. If the publisher accepts unsolicited manuscripts, then the manuscript is placed in the slush pile, which publisher's readers sift through to identify manuscripts of sufficient quality or revenue potential to be referred to acquisitions editors for review. The acquisitions editors send their choices to the editorial staff. The time and number of people involved in the process is dependent on the size of the publishing company, with larger companies having more degrees of assessment between unsolicited submission and publication. Unsolicited submissions have a very low rate of acceptance, with some sources estimating that publishers ultimately choose about three out of every ten thousand unsolicited manuscripts they receive.^[1]

Many book publishing companies around the world maintain a strict "no unsolicited submissions" policy and will only accept submissions via a literary agent. This shifts the burden of assessing and developing writers out of the publishing company and onto the literary agents. At these companies, unsolicited manuscripts are thrown out, or sometimes returned, if the author has provided pre-paid postage.

Established authors are often represented by a literary agent to market their work to publishers and negotiate contracts. Literary agents take a percentage of author earnings (varying between 10 to 15 per cent) to pay for their services.

Some writers follow a non-standard route to publication. For example, this may include bloggers who have attracted large readerships producing a book based on their websites, books based on Internet memes, instant "celebrities" such as Joe the Plumber, retiring sports figures and in general anyone whom a publisher feels could produce a marketable book. Such books often employ the services of a ghostwriter.

For a submission to reach publication it must be championed by an editor or publisher who must work to convince other staff of the need to publish a particular title. An editor who discovers or champions a book that subsequently becomes a best-seller may find their own reputation enhanced as a result of their success.

Acceptance and negotiation[link]

Once a work is accepted, commissioning editors negotiate the purchase of intellectual property rights and agree on royalty rates.

The authors of traditional printed materials typically sell exclusive territorial intellectual property rights that match the list of countries in which distribution is proposed (i.e. the rights match the legal systems under which copyright protections can be enforced). In the case of books, the publisher and writer must also agree on the intended formats of publication — mass-market paperback, "trade" paperback and hardback are the most common options.

The situation is slightly more complex, if electronic formatting is to be used. Where distribution is to be by CD-ROM or other physical media, there is no reason to treat this form differently from a paper format, and a national copyright is an acceptable approach. But the possibility of Internet download without the ability to restrict physical distribution within national boundaries presents legal problems that are usually solved by selling language or translation rights rather than national rights. Thus, Internet access across the European Union is relatively open because of the laws forbidding discrimination based on nationality, but the fact of publication in, say, France, limits the target market to those who read French.

Having agreed on the scope of the publication and the formats, the parties in a book agreement must then agree on royalty rates, the percentage of the gross retail price that will be paid to the author, and the advance payment. This is difficult because the publisher must estimate the potential sales in each market and balance projected revenue against production costs. Royalties usually range between 10-12% of recommended retail price. An advance is usually 1/3 of first print run total royalties. For example, if a book has a print run of 5000 copies and will be sold at $14.95 and the author is to receive 10% royalties, the total sum payable to the author if all copies are sold is $7475 (10% x $14.95 x 5000). The advance in this instance would roughly be $2490. Advances vary greatly between books, with established authors commanding large advances.

Pre-production stages[link]

Although listed as distinct stages, parts of these occur concurrently. As editing of text progresses, front cover design and initial layout takes place and sales and marketing of the book begins.

Editorial stage

A decision is taken to publish a work, and the technical legal issues resolved, the author may be asked to improve the quality of the work through rewriting or smaller changes, and the staff will edit the work. Publishers may maintain a house style, and staff will copy edit to ensure that the work matches the style and grammatical requirements of each market. Editors often choose or refine titles and headlines. Editing may also involve structural changes and requests for more information. Some publishers employ fact checkers, particularly regarding non-fiction works.

Design stage

When a final text is agreed upon, the next phase is design. This may include artwork being commissioned or confirmation of layout. In publishing, the word "art" also indicates photographs. Depending on the number of photographs required by the work, photographs may also be licensed from photo libraries. For those works that are particularly rich in illustrations the publisher may contract a picture researcher to find and licence the photographs required for the work. The design process prepares the work for printing through processes such as typesetting, dust jacket composition, specification of paper quality, binding method and casing, and proofreading.

The type of book being produced determines the amount of design required. For standard fiction titles, design is usually restricted to typography and cover design. For books containing illustrations or images, design takes on a much larger role in laying out how the page looks, how chapters begin and end, colours, typography, cover design and ancillary materials such as posters, catalogue images and other sales materials. Non-fiction illustrated titles are the most design intensive books, requiring extensive use of images and illustrations, captions, typography and a deep involvement and consideration of the reader experience.

The activities of typesetting, page layout, the production of negatives, plates from the negatives and, for hardbacks, the preparation of brasses for the spine legend and imprint are now all computerized. Prepress computerization evolved mainly in about the last twenty years of the 20th century. If the work is to be distributed electronically, the final files are saved as formats appropriate to the target operating systems of the hardware used for reading. These may include PDF files.

Sales and marketing stage

The sales and marketing stage is closely intertwined with the editorial process. As front cover images are produced or chapters are edited, sales people may start talking about the book with their customers to build early interest. Publishing companies often produce advanced information sheets that may be sent to customers or overseas publishers to gauge possible sales. As early interest is measured, this information feeds back through the editorial process and may affect the formatting of the book and the strategy employed to sell it. For example, if interest from foreign publishers is high, co-publishing deals may be established whereby publishers share printing costs in producing large print runs thereby lowering the per-unit cost of the books. Conversely, if initial feedback is not strong, the print-run of the book may be reduced, the marketing budget cut or, in some cases, the book is dropped from publication altogether.

Printing[link]

When editing and design work are completed, the printing phase begins. The first step is the creation of a pre-press proof, which is sent for final checking and sign-off by the publisher. This proof shows the book precisely as it will appear once printed and is the final opportunity for the publisher to find and correct any errors. Some printing companies use electronic proofs rather than printed proofs. Once the proofs have been approved by the publisher, printing—the physical production of the published work—begins.

A new printing process is printing on demand. The book is written, edited, and designed as usual, but it is not printed until the publisher receives an order for the book from a customer. This procedure ensures low costs for storage, and reduces the likelihood of printing more books than will be sold.

Distribution[link]

The final stage in publication is making the product available to the public, usually by offering it for sale. In previous centuries, an author was frequently also his own editor, printer, and bookseller, but these functions are usually separated now. Once a book, newspaper, or other publication is printed, the publisher may use a variety of channels to distribute it. Books are most commonly sold through booksellers and other retailers. Newspapers and magazines are typically sold directly by the publisher to subscribers, and then distributed either through the postal system or by newspaper carriers. Periodicals are also frequently sold through newsagents and vending machines.

Within the book industry, some copies of the finished book are often flown to publishers as sample copies to aid sales or to be sent for pre-release reviews. The remaining books often travel from the printing facility via sea freight. As such, the delay between the approval of the pre-press proof and the arrival of books in warehouse, much less in a retail store, can be some months. For books that are tied into movie release dates (particularly children's films), publishers will arrange books to arrive in store up to two months prior to the movie release to build interest in the movie.

Publishing as a business[link]

Eslite Bookstore in Taiwan.

Derided in the 1911 Encyclopædia Britannica as "a purely commercial affair" that cared more about profits than about literary quality,^[2] publishing is fundamentally a business, with a need for the expenses of creating, producing, and distributing a book or other publication not to exceed the income derived from its sale. Publishing is now a major industry with the largest companies Reed Elsevier and Pearson PLC having global publishing operations.^[3]

The publisher usually controls the advertising and other marketing tasks, but may subcontract various aspects of the process to specialist publisher marketing agencies. In many companies, editing, proofreading, layout, design and other aspects of the production process are done by freelancers.^[4][5]

Dedicated in-house salespeople are sometimes replaced by companies who specialize in sales to bookshops, wholesalers and chain stores for a fee. This trend is accelerating as retail book chains and supermarkets have centralized their buying.

If the entire process up to the stage of printing is handled by an outside company or individuals, and then sold to the publishing company, it is known as book packaging. This is a common strategy between smaller publishers in different territorial markets where the company that first buys the intellectual property rights then sells a package to other publishers and gains an immediate return on capital invested. Indeed, the first publisher will often print sufficient copies for all markets and thereby get the maximum quantity efficiency on the print run for all.

Some businesses maximize their profit margins through vertical integration; book publishing is not one of them. Although newspaper and magazine companies still often own printing presses and binderies, book publishers rarely do. Similarly, the trade usually sells the finished products through a distributor who stores and distributes the publisher's wares for a percentage fee or sells on a sale or return basis.

The advent of the Internet has therefore posed an interesting question that challenges publishers, distributors and retailers. In 2005, Amazon.com announced its purchase of Booksurge and selfsanepublishing, a major print on demand operation. This is probably intended as a preliminary move towards establishing an Amazon imprint.^{[original research?]} One of the largest bookseller chains, Barnes & Noble, already runs its own successful imprint with both new titles and classics — hardback editions of out-of-print former best sellers. Similarly, Ingram Industries, parent company of Ingram Book Group (a leading US book wholesaler), now includes its own print-on-demand division called Lightning Source. Among publishers, Simon & Schuster recently announced that it will start selling its backlist titles directly to consumers through its website.^{[citation needed]}

Book clubs are almost entirely direct-to-retail, and niche publishers pursue a mixed strategy to sell through all available outlets — their output is insignificant to the major booksellers, so lost revenue poses no threat to the traditional symbiotic relationships between the four activities of printing, publishing, distribution and retail.

Industry sub-divisions[link]

Newspaper publishing[link]

Newspapers are regularly scheduled publications that present recent news, typically on a type of inexpensive paper called newsprint. Most newspapers are primarily sold to subscribers, through retail news stands or are distributed as advertising-supported free newspapers. About one-third of publishers in the United States are newspaper publishers.^[6]

Periodical publishing[link]

Nominally, periodical publishing involves publications that appear in a new edition on a regular schedule. Newspapers and magazines are both periodicals, but within the industry, the periodical publishing is frequently considered a separate branch that includes magazines and even academic journals, but not newspapers.^[6] About one-third of publishers in the United States publish periodicals (not including newspapers).^[6]

Book publishing[link]

Book publishers represent less than a sixth of the publishers in the United States.^[6] Most books are published by a small number of very large book publishers, but thousands of smaller book publishers exist. Many small- and medium-sized book publishers specialize in a specific area. Additionally, thousands of authors have created their own publishing companies, and self-published their own works.

Within the book publishing industry, the publisher of record for a book is the entity in whose name the book's ISBN is registered. The publisher of record may or may not be the actual publisher.

Directory publishing[link]

Directory publishing is a specialized genre within the publishing industry. These publishers produce mailing lists, telephone books, and other types of directories.^[6] With the advent of the Internet, many of these directories are now online.

Academic publishing[link]

Academic publishers are typically either book or periodical publishers that have specialized in academic subjects. Some, like university presses, are owned by scholarly institutions. Others are commercial businesses that focus on academic subjects.

The development of the printing press represented a revolution for communicating the latest hypotheses and research results to the academic community and supplemented what a scholar could do personally. But this improvement in the efficiency of communication created a challenge for libraries, which have had to accommodate the weight and volume of literature.

One of the key functions that academic publishers provide is to manage the process of peer review. Their role is to facilitate the impartial assessment of research and this vital role is not one that has yet been usurped, even with the advent of social networking and online document sharing.

Today, publishing academic journals and textbooks is a large part of an international industry. Critics claim that standardised accounting and profit-oriented policies have displaced the publishing ideal of providing access to all. In contrast to the commercial model, there is non-profit publishing, where the publishing organization is either organised specifically for the purpose of publishing, such as a university press, or is one of the functions of an organisation such as a medical charity, founded to achieve specific practical goals. An alternative approach to the corporate model is open access, the online distribution of individual articles and academic journals without charge to readers and libraries. The pioneers of Open Access journals are BioMed Central and the Public Library of Science (PLoS). Many commercial publishers are experimenting with hybrid models where older articles or government funded articles are made free, and newer articles are available as part of a subscription or individual article purchase.

Tie-in publishing[link]

Technically, radio, television, cinemas, VCDs and DVDs, music systems, games, computer hardware and mobile telephony publish information to their audiences. Indeed, the marketing of a major film often includes a novelization, a graphic novel or comic version, the soundtrack album, a game, model, toys and endless promotional publications.

Some of the major publishers have entire divisions devoted to a single franchise, e.g. Ballantine Del Rey Lucasbooks has the exclusive rights to Star Wars in the United States; Random House UK (Bertelsmann)/Century LucasBooks holds the same rights in the United Kingdom. The game industry self-publishes through BL Publishing/Black Library (Warhammer) and Wizards of the Coast (Dragonlance, Forgotten Realms, etc.). The BBC has its own publishing division that does very well with long-running series such as Doctor Who. These multimedia works are cross-marketed aggressively and sales frequently outperform the average stand-alone published work, making them a focus of corporate interest.^[7]

Independent publishing alternatives[link]

Writers in a specialized field or with a narrower appeal have found smaller alternatives to the mass market in the form of small presses and self-publishing. More recently, these options include print on demand and ebook format. These publishing alternatives provide an avenue for authors who believe that mainstream publishing will not meet their needs or who are in a position to make more money from direct sales than they could from bookstore sales, such as popular speakers who sell books after speeches. Authors are more readily published by this means due to the much lower costs involved.

Recent developments[link]

The 21st century has brought a number of new technological changes to the publishing industry. These changes include e-books, print on demand and accessible publishing. E-books have been quickly growing in availability in major publishing markets such as the USA and the UK since 2005. Google, Amazon.com and Sony have been leaders in working with publishers and libraries to digitize books. As of early 2011 Amazon's Kindle reading device is a significant force in the market, along with the Apple iPad and the Nook from Barnes & Noble.^{[citation needed]}

The ability to quickly and cost effectively Print on Demand has meant that publishers no longer have to store books at warehouses, if the book is in low or unknown demand. This is a huge advantage to small publishers who can now operate without large overheads and large publishers who can now cost effectively sell their backlisted items.

Accessible publishing uses the digitization of books to mark up books into XML and then produces multiple formats from this to sell to consumers, often targeting those with difficulty reading. Formats include a variety larger print sizes, specialized print formats for dyslexia,^[8] eye tracking problems and macular degeneration, as well as Braille, DAISY, Audiobooks and e-books.^[9]

Green publishing means adapting the publishing process to minimise environmental impact. One example of this is the concept of on demand printing, using digital or print-on-demand technology. This cuts down the need to ship books since they are manufactured close to the customer on a just-in-time basis.^[10]

A further development is the growth of on-line publishing where no physical books are produced. The ebook is created by the author and uploaded to a website from where it can be downloaded and read by anyone.

Standardization[link]

Refer to the ISO divisions of ICS 01.140.40 and 35.240.30 for further information.^[11][12]

Legal issues[link]

World Intellectual Property Organization, Geneva

Publication is the distribution of copies or content to the public.^[13][14] The Berne Convention requires that this only be done with the consent of the copyright holder, which is initially always the author.^[13] In the Universal Copyright Convention, "publication" is defined in article VI as "the reproduction in tangible form and the general distribution to the public of copies of a work from which it can be read or otherwise visually perceived."^[14]

In providing a work to the general public, the publisher takes responsibility for the publication in a way that a mere printer or a shopkeeper does not. For example, publishers may face charges of defamation, if they produce and distribute libelous material to the public, even if the libel was written by another person.

Privishing[link]

Privishing is a term for publishing a book in such a small amount, or with such lack of marketing, advertising or sales support from the publisher, that the book effectively does not reach the public.^[15] The book, while nominally published, is almost impossible to obtain through normal channels such as bookshops, often cannot be special-ordered and will have a notable lack of support from its publisher, including refusals to reprint the title. A book that is privished may be referred to as "killed". Depending on the motivation, privishing may constitute breach of contract, censorship,^[16] or good business practice (e.g., not printing more books than the publisher believes will sell in a reasonable length of time).

See also[link]

General: Accessible publishing Concentration of media ownership Digital publishing List of publishers List of book distributors Mass media Open access publishing Open publishing Publication Self-publishing Serials, periodicals and journals Small press Writing Zines

Publishing on specific contexts: Academic publishing Books published per country per year Document management system Scientific literature Writing circles

Journalism portal Publishing tools: Desktop publishing Electronic publishing Mobile publishing Web publishing tools

Footnotes[link]

References[link]

This article includes a list of references, but its sources remain unclear because it has insufficient inline citations. Please help to improve this article by introducing more precise citations. (July 2009)

External links[link]

Look up publishing or publisher in Wiktionary, the free dictionary.

Wikiquote has a collection of quotations related to: Publishing

Wikisource has original works on the topic: Book Industries and Trade

• International Publisher's organisation

This article includes a list of references, but its sources remain unclear because it has insufficient inline citations. Please help to improve this article by introducing more precise citations. (March 2012)

The Shadow is a collection of serialized dramas, originally in pulp magazines, then on 1930s radio and then in a wide variety of media, that follow the exploits of the title character, a crimefighting vigilante in the pulps, which carried over to the airwaves as a "wealthy, young man about town" with psychic powers.^[2] One of the most famous pulp heroes of the 20th century, The Shadow has been featured in comic books, comic strips, television, video games, and at least five motion pictures. The radio drama is well-remembered for those episodes voiced by Orson Welles.

Introduced as a mysterious radio narrator by David Chrisman, William Sweets and Harry Engman Charlot for Street and Smith Publications, The Shadow was fully developed and transformed into a pop culture icon by pulp writer Walter B. Gibson.

The Shadow debuted on July 31, 1930, as the mysterious narrator of the Street and Smith radio program Detective Story Hour.^[3] After gaining popularity among the show's listeners, the narrator became the star of The Shadow Magazine on April 1, 1931, a pulp series created and primarily written by the prolific Gibson.

Over the years, the character evolved. On September 26, 1937, The Shadow radio drama officially premiered with the story "The Deathhouse Rescue", in which the character had "the power to cloud men's minds so they cannot see him." This was a contrivance for the radio; in the magazine stories, The Shadow did not have the ability to become literally invisible.

The introduction from The Shadow radio program, long-intoned by actor Frank Readick Jr., has earned a place in the American idiom: "Who knows what evil lurks in the hearts of men? The Shadow knows!" These words were accompanied by an ominous laugh and a musical theme, Camille Saint-Saëns' Le Rouet d'Omphale ("Omphale's Spinning Wheel", composed in 1872). At the end of each episode, The Shadow reminded listeners, "The weed of crime bears bitter fruit. Crime does not pay.... The Shadow knows!"

Publication history[link]

Detective Story Hour[link]

In order to boost the sales of their Detective Story Magazine, Street and Smith Publications hired David Chrisman of the Ruthrauff & Ryan advertising agency and writer-director William Sweets to adapt the magazine's stories into a radio series. Chrisman and Sweets felt the upcoming series should be narrated by a mysterious storyteller with a sinister voice, and began searching for a suitable name. One of their scriptwriters, Harry Engman Charlot, suggested various possibilities, such as "The Inspector" or "The Sleuth."^[4] Charlot then proposed the ideal name for the phantom announcer: "... The Shadow."^[4]

Thus, beginning on July 31, 1930,^[1][5] "The Shadow" was the name given to the mysterious narrator of the Detective Story Hour. The narrator was voiced by James LaCurto^[5] and, later, Frank Readick. The episodes were drawn from the Detective Story Magazine issued by Street and Smith, "the nation's oldest and largest publisher of pulp magazines."^[5] Although the latter company had hoped the radio broadcasts would boost the declining sales of the Detective Story Magazine, the result was quite different. Listeners found the sinister announcer much more compelling than the unrelated stories. They soon began asking newsdealers for copies of "that Shadow detective magazine," even though it did not exist.^[5]

Development[link]

Recognizing the demand and responding promptly, circulation manager Henry William Ralston of Street & Smith commissioned Walter B. Gibson to begin writing stories about "The Shadow." Using the pen name of Maxwell Grant and claiming that the stories were "from The Shadow's private annals as told to" him, Gibson wrote 282 out of 325 tales over the next 20 years: a novel-length story twice a month (1st and 15th). The first story produced was "The Living Shadow", published April 1, 1931.^[5]

Gibson initially fashioned the character as a man with villainous characteristics, who used them to battle crime, and in this was the very first superhero in the modern century for modern times complete with a stylized imagery, a stylized name, sidekicks, supervillains, and a secret identity. Clad in black, The Shadow operated mainly after dark, burglarizing in the name of justice, and terrifying criminals into vulnerability before he or someone else gunned them down. The character was a film noir antihero in every sense; Gibson himself claimed the literary inspirations for The Shadow were Bram Stoker's Dracula and Edward Bulwer-Lytton's The House and the Brain.^[4]

Because of the great effort involved in writing two full-length novels every month, several guest writers were hired to write occasional installments in order to lighten Gibson's work load. These guest writers included Lester Dent — who penned the Doc Savage stories — and Theodore Tinsley. In the late 1940s, mystery novelist Bruce Elliott (also a magician) would temporarily replace Gibson as the primary author of the pulp series.^[6] Richard Edward Wormser, a reader for Street & Smith, wrote two Shadow stories.^[7]

The Shadow Magazine ceased publication with the Summer 1949 issue, but Walter B. Gibson wrote three new "official" stories between 1963 and 1980. The first of these began a new series of nine updated Shadow novels from Belmont Books, starting with Return of The Shadow under his own by-line. But the remaining eight, The Shadow Strikes, Beware Shadow, Cry Shadow, The Shadow's Revenge, Mark of The Shadow, Shadow Go Mad, Night of The Shadow, and The Shadow, Destination: Moon, were not penned by Gibson but by Dennis Lynds under the "Maxwell Grant" byline. In these last eight novels, The Shadow was given psychic powers, including the radio character's ability "to cloud men's minds" so that he effectively became invisible, and was more of a spymaster than crime fighter.

Publications[link]

See List of The Shadow stories

Character development[link]

The character and look of The Shadow gradually evolved over his lengthy fictional existence.

As depicted in the pulps, The Shadow wore a black slouch hat and a black, crimson-lined cloak with an upturned collar over a standard black business suit. In the 1940s comic books, the later comic book series, and the 1994 film starring Alec Baldwin, he wore either the black slouch hat or a wide-brimmed, black fedora and a crimson scarf just below his nose and across his mouth and chin. Both the cloak and scarf covered either a black doubled-breasted trench coat or regular black suit. As seen in some of the later comics series, the hat and scarf would also be worn with either a black Inverness coat or Inverness cape.

But in the radio drama, which debuted in 1937, The Shadow became an invisible avenger who had learned, while "traveling through East Asia," "the mysterious power to cloud men's minds, so they could not see him." This revision of the character was born out of necessity: Time constraints of 1930s radio made it difficult to explain to listeners where The Shadow was hiding and how he was remaining concealed. Thus, the character was given the power to escape human sight. Voice effects were added to suggest The Shadow's seeming omnipresence.

In order to explain this power, The Shadow was described as a master of hypnotism, as explicitly stated in several radio episodes.

Background[link]

In print, The Shadow's real name is Kent Allard, and he was a famed aviator who fought for the French during World War I. He became known by the alias of The Black Eagle, according to The Shadow's Shadow, 1933, although later stories revised this alias as The Dark Eagle beginning with The Shadow Unmasks, 1937. After the war, Allard seeks a new challenge and decides to wage war on criminals. Allard fakes his death in the South American jungles, then returns to the United States. Arriving in New York City, he adopts numerous identities to conceal his existence.

One of these identities—indeed, the best known—is Lamont Cranston, a "wealthy young man about town." In the pulps, Cranston is a separate character; Allard frequently disguises himself as Cranston and adopts his identity ("The Shadow Laughs," 1931). While Cranston travels the world, Allard assumes his identity in New York. In their first meeting, Allard/The Shadow threatens Cranston, saying that he has arranged to switch signatures on various documents and other means that will allow him to take over the Lamont Cranston identity entirely unless Cranston agrees to allow Allard to impersonate him when he is abroad. Terrified, Cranston agrees. The two men sometimes meet in order to impersonate each other ("Crime over Miami," 1940). Apparently, the disguise works well because Allard and Cranston bear something of a resemblance to each other ("Dictator of Crime," 1941).

His other disguises include businessman Henry Arnaud, who first appeared in Green Eyes, Oct. 1932, elderly gentleman Isaac Twambley, who first appeared in No Time For Murder, and Fritz, who first appeared in The Living Shadow, Apr. 1931; in this last disguise, he pretends to be a doddering old janitor who works at Police Headquarters in order to listen in on conversations.

The Shadow appears as Henry Arnaud in "Atoms of Death," "Buried Evidence," "Death Jewels," "Death Premium," "Death Ship," "Green Eyes," "House of Silence," "Murder Trail," "Quetzal," "Realm of Doom," "The Black Master," "The Blue Sphinx," "The Case of Congressman Coyd," "The Circle of Death," "The City of Doom," "The Condor," "The Embassy Murders," "The Five Chameleons," "The Ghost Murders," "The Man From Shanghai," "The Plot Master," "The Radium Murders," "The Romanoff Jewels," "The Seven Drops of Blood," "The Shadow Unmasks," "The Shadow's Shadow," and "Wizard of Crime."

The Shadow appears as Isaac Twambley in "No Time for Murder," "Guardians of Death," "Death Has Grey Eyes," "The Stars Promise Death," "Dead Man's Chest, and "The Magigal's Mystery."

The Shadow appears as Fritz in at least 23 Shadow novels: "The Living Shadow," "Hidden Death," "The Ghost Makers," "The Crime Clinic," "Crime Circus," "The Chinese Disks," "The Dark Death," "The Third Skull," "The Black Master," "The Voodoo Master," "The Third Shadow," "The Circle of Death," "The Sledge Hammer Crimes," "The Golden Masks," "The Ghost Murders," "Hills of Death," "The Hand," "The Racket's King," "The Green Hoods," "The Crime Ray," "The Getaway Ring," "Masters of Death," and "The Crystal Skull."

For the first half of The Shadow's tenure in the pulps, his past and identity are ambiguous, supposedly an intentional decision on Gibson's part. In The Living Shadow, a thug claims to have seen The Shadow's face, and thought he saw "a piece of white that looked like a bandage." In "The Black Master" and "The Shadow's Shadow," the villains both see The Shadow's true face, and they both remark that The Shadow is a man of many faces with no face of his own. It was not until the August 1937 issue, "The Shadow Unmasks," that The Shadow's real name is revealed.

Kent Allard appears as himself in at least twenty-eight Shadow novels: "The Shadow Unmasks," "The Yellow Band," "Death Turrets," "The Sealed Box," "The Crystal Buddha," "Hills of Death," "The Murder Master," "The Golden Pagoda," "Face of Doom," "The Racket's King," "Murder for Sale," "Death Jewels," "The Green Hoods," "Crime Over Boston," "The Dead Who Lived," "Shadow Over Alcatraz," "Double Death," "Silver Skull," "The Prince of Evil," "Masters of Death," "Xitli, God of Fire," "The Green Terror," "The Wasp Returns," "The White Column," "Dictator of Crime," "Crime out of Mind," "Crime Over Casco," and "Dead Man's Chest."

In the radio drama, the Allard secret identity was dropped for simplicity's sake. On the radio, The Shadow was only Lamont Cranston; he had no other aliases or disguises.

Supporting characters[link]

The Shadow has a network of agents who assist him in his war on crime. These include:

• Harry Vincent, an operative whose life he saved when Vincent tried to commit suicide.
• Moses "Moe" Shrevnitz, aka "Shrevvy," a cab driver who doubles as his chauffeur.
• Margo Lane, a socialite created for the radio drama and later introduced into the pulps.
• Clyde Burke, a newspaper reporter.
• Burbank, a radio operator who maintains contact between The Shadow and his agents.
• Cliff Marsland, a wrongly convicted ex-con who infiltrates gangs using his crooked reputation.
• Dr. Rupert Sayre, The Shadow's personal physician.
• Jericho Druke, a giant, immensely strong black man.
• Slade Farrow, who works with The Shadow to rehabilitate criminals.
• Miles Crofton, who sometimes pilots The Shadow's autogyro.
• Rutledge Mann, a stock-broker who collects information.
• Claude Fellows, the only agent of The Shadow ever to be killed, which he was in Gangdom's Doom, 1931.
• Hawkeye, a reformed underworld snoop who trails gangsters and other criminals.
• Myra Reldon, a female operative who uses the alias of Ming Dwan when in Chinatown.
• Dr. Roy Tam, The Shadow's contact man in New York's Chinatown.

Though initially wanted by the police, The Shadow also works with and through them; notably gleaning information from his many chats with Commissioners Ralph Weston and Wainright Barth (who is also Cranston's uncle), while at the Cobalt Club. Weston believes that Cranston is merely a rich playboy who dabbles in detective work. Another police contact is Detective Joe Cardona, a key character in many Shadow novels.

In contrast to the pulps, The Shadow radio drama limited the cast of major characters to The Shadow, Commissioner Weston, and Margo Lane, the last of whom was created specifically for the radio series, as it was believed the abundance of agents would make it difficult to distinguish between characters.^[8] Clyde Burke and Moe Shrevnitz (identified only as "Shrevvy") made occasional appearances, but not as agents of The Shadow. Shrevvy was merely an acquaintance of Cranston and Lane, and occasionally Cranston's chauffeur.

Enemies[link]

The Shadow also faces a wide variety of enemies, ranging from kingpins and mad scientists to international spies and "super-villains," many of whom were predecessors to the rogues's galleries of comic super-heroes. Among The Shadow's recurring foes are Shiwan Khan (The Golden Master, Shiwan Khan Returns, and The Invincible Shiwan Khan)--who appears in the feature film portrayed by John Lone--The Voodoo Master (The Voodoo Master, The City of Doom, and Voodoo Trail), The Prince of Evil (The Prince of Evil, The Murder Genius, The Man Who Died Twice, and The Devil's Paymaster, all written by Theodore Tinsley), and The Wasp (The Wasp and The Wasp Returns).

The series also featured a myriad of one-shot villains, including The Red Envoy, The Death Giver, Gray Fist, The Black Dragon, Silver Skull, The Red Blot, The Black Falcon, The Cobra, Zemba, The Black Master, Five-Face, The Gray Ghost, and Dr. Z.

The Shadow also battles collectives of criminals, such as The Silent Seven, The Hand, The Salamanders, and The Hydra.

Radio program[link]

Orson Welles was the voice of The Shadow from September 1937 to October 1938. He was succeeded by Bill Johnstone.

In early 1930, Street & Smith Publications hired David Chrisman and Bill Sweets to adapt the Detective Story Magazine to radio format. Chrisman and Sweets felt the program should be introduced by a mysterious storyteller. A young scriptwriter, Harry Charlot, suggested the name of "The Shadow."^[4] Thus, "The Shadow" premiered over CBS airwaves on July 31, 1930,^[1] as the host of the Detective Story Hour,^[5] narrating "tales of mystery and suspense from the pages of the premier detective fiction magazine."^[5] The narrator was first voiced by James LaCurto,^[5] but became a national sensation when radio veteran Frank Readick, Jr. assumed the role and gave it "a hauntingly sibilant quality that thrilled radio listeners."^[5]

Early years[link]

Following a brief tenure as narrator of Street & Smith's Detective Story Hour, "The Shadow" character was used to host segments of The Blue Coal Radio Revue, playing on Sundays at 5:30 p.m. Eastern Standard Time. This marked the beginning of a long association between the radio persona and sponsor Blue Coal.

While functioning as a narrator of The Blue Coal Radio Revue, the character was recycled by Street & Smith in October 1931, to oddly serve as the storyteller of Love Story Hour.

In October 1932, the radio persona temporarily moved to NBC. Frank Readick again played the role of the sinister-voiced host on Mondays and Wednesdays, both at 6:30 p.m., with LaCurto taking occasional turns as the title character.

Readick returned as The Shadow to host a final CBS mystery anthology that fall. The series disappeared from CBS airwaves on March 27, 1935, due to Street & Smith's insistence that the radio storyteller be completely replaced by the master crime-fighter described in Walter B. Gibson's ongoing pulps.

Radio drama[link]

Street & Smith entered into a new broadcasting agreement with Blue Coal in 1937, and that summer Gibson teamed with scriptwriter Edward Hale Bierstadt to develop the new series. As such, The Shadow returned to network airwaves on September 26, 1937, over the new Mutual Broadcasting System. Thus began the "official" radio drama that many Shadow fans know and love, with 22-year-old Orson Welles starring as Lamont Cranston, a "wealthy young man about town." Once The Shadow joined Mutual as a half-hour series on Sunday evenings, the program did not leave the air until December 26, 1954.

Welles did not speak the signature line of "Who knows what evil lurks in the hearts of men?". Instead, Readick did, using a water glass next to his mouth for the echo effect. The famous catch phrase was accompanied by the strains of an excerpt from Opus 31 of the Camille Saint-Saëns classical composition, Le Rouet d'Omphale.

After Welles departed the show in 1938, Bill Johnstone was chosen to replace him and voiced the character for five seasons. Following Johnstone's departure, The Shadow was portrayed by such actors as Bret Morrison (the longest tenure, with 10 years in two separate runs), John Archer, and Steve Courtleigh.

The Shadow also inspired another radio hit, The Whistler, whose protagonist likewise knows "many things, for I walk by night. I know many strange tales, many secrets hidden in the hearts of men and women who have stepped into the shadows. Yes, I know the nameless terrors of which they dare not speak".

Margo Lane[link]

The radio drama also introduced female characters into The Shadow's realm, most notably Margo Lane (played by Agnes Moorehead, among others) as Cranston's love interest, crime-solving partner and the only person who knows his identity as The Shadow.^[9] Four years later, the character was introduced into the pulp novels. Her sudden, unexplained appearance in the pulps annoyed readers and generated a flurry of hate mail printed in The Shadow Magazine's letters page.^[9]

Lane was described as Cranston's "friend and companion" in later episodes, although the exact nature of their relationship was unclear. In the early scripts of the radio drama the character's name was spelled "Margot." The name itself was originally inspired by Margot Stevenson,^[9] the Broadway ingénue who would later be chosen to voice Lane opposite Welles' Shadow during "the 1938 Goodrich summer season of the radio drama."^[10] In the 1994 film in which Penelope Ann Miller portrayed the character, she is characterized as a telepath.

Comic strips, comic books, and graphic novels[link]

The Shadow has been adapted for the comics quite a few times; his first appearance was on June 17, 1940 as a syndicated daily newspaper comic strip offered by the Ledger Syndicate. The strip's story continuity was written by Walter B. Gibson, with plot lines adapted from the Shadow pulps, and the strip was illustrated by Vernon Greene. Due to pulp paper shortages and the growing amount of space required for war news from the European and Pacific fronts, the strip was canceled June 13, 1942. The Shadow daily was collected decades later in two comic book series from two different publishers (see below), first in 1988 and again in 1999.

To both cross-promote The Shadow and attract a younger audience to their other pulp magazines, Street & Smith published 101 issues of the comic book Shadow Comics from Vol. 1, #1 - Vol. 9, #5 (March 1940 - Sept. 1949).^[11] A Shadow story led off each issue, with the remainder of the stories being strips based on other Street & Smith pulp heroes.

In Mad #4 (April–May 1953), The Shadow was spoofed by Harvey Kurtzman and Will Elder. Their character was called the Shadow' (with an apostrophe), which is short for Lamont Shadowskeedeeboomboom. In this satire, Margo Pain gets Shad, as she calls him, into various predicaments, including fights with gangsters and a piano falling on him from above. At the conclusion of the tale, after Margo is tricked into going inside an outhouse surrounded by wired-up dynamite, Shad is seen gleefully pushing down a detonator's plunger.

During the superhero revivial of the 1960s, Archie Comics published an eight-issue series, The Shadow (Aug. 1964 - Sept. 1965), under the company's Mighty Comics imprint. In the first issue, The Shadow depicted was loosely based on the radio version, but with blond hair. In issue #2 (Sept. 1964), the character was transformed into a campy, heavily muscled, green and blue costume-wearing superhero by writer Robert Bernstein (Jerry Siegel) and artist John Rosenberger.^[12]

During the mid-1970s, DC Comics published an "atmospheric interpretation" of the character by writer Dennis O'Neil and artist Michael Kaluta^[13] in a 12-issue series (Nov. 1973 - Sept. 1975). Kaluta drew issues 1-4 and 6 and was followed by Frank Robbins and then E. R. Cruz. Faithful to both the pulp-magazine and radio-drama character, the series guest-starred fellow pulp fiction hero The Avenger in issue #11.^[14] The Shadow also appeared in DC's Batman #253 (Nov. 1973), in which Batman teams with an aging Shadow and calls the famous crime fighter his "greatest inspiration". In Batman #259 (Dec. 1974), Batman again meets The Shadow, and we learn The Shadow saved Bruce Wayne's life when the future Batman was a boy.

The Shadow is also referenced in DC's Detective Comics #446 (1975), page 4, panel 2: Batman, out of costume and in disguise as an older night janitor, makes a crime fighting acknowledgement, in a (thought balloon) to the Shadow.

In 1986, another DC incarnation was created by Howard Chaykin. This four issue mini-series, also collected as a one-shot graphic novel (Shadow: Blood and Judgement), brought The Shadow into modern-day New York. While initially successful,^[15] this version proved unpopular with traditional Shadow fans^[16] because it depicted The Shadow using Uzi submachine guns and rocket launchers, as well as featuring a strong strain of black comedy and extreme violence throughout.^[17]

The Shadow, set in our modern era, was continued the following year, in 1987, as a monthly DC comics series by writer Andy Helfer (editor of the mini-series), and was drawn primarily by artists Bill Sienkiewicz (issues 1-6) and Kyle Baker (issues 8-19 and two Shadow Annuals).

In 1988, O'Neil and Kaluta, with inker Russ Heath, returned to The Shadow with the Marvel Comics graphic novel The Shadow 1941: Hitler's Astrologer, set during World War II. This one-shot appeared in both hardcover and trade paperback editions.

The Vernon Greene/Walter Gibson Shadow newspaper comic strip from the early 1940s was finally collected by Malibu Graphics (Malibu Comics) under their Eternity Comics imprint, beginning with the first issue of Crime Classics dated July, 1988. Each cover was illustrated by Greene and colored by one of Eternity's colorists. A total of 13 issues appeared featuring just the black-and-white daily until the final issue, dated November, 1989. Some of the Shadow story lines were contained in one issue, while others were continued over into the next. When a Shadow story ended, another tale would begin in the same issue. This back-to-back format continued until the final 13th issue, when the strip story lines ended.

Dave Stevens' nostalgic comics series The Rocketeer contains a great number of pop culture references to the 1930s. Various characters from the Shadow pulps make appearances in the story line published in the Rocketeer Adventure Magazine, including The Shadow's famous alter ego Lamont Cranston. Two issues were published by Comico Comics in 1988 and 1989, but the third and final installment did not appear until years later, finally appearing in 1995 from Dark Horse Comics. All three issues were then collected by Dark Horse into a slick trade paperback titled The Rocketeer: Cliff's New York Adventure (ISBN 1-56971-092-9).

From 1989 to 1992, DC published a new Shadow series, The Shadow Strikes, written by Gerard Jones and Eduardo Barreto. This series was set in the 1930s and returned The Shadow to his pulp origins. During its run, it featured The Shadow's first team-up with Doc Savage, another very popular hero of the pulp magazine era. Both characters appeared together in a four-issue story line that crossed back and forth between each character's DC comic series. "The Shadow Strikes" often led The Shadow into encounters with well-known celebrities of the 1930s, such as Albert Einstein, Amelia Earhart, Charles Lindbergh, union organizer John L. Lewis, and Chicago gangsters Frank Nitti and Jake Guzik. In issue #7, The Shadow meets a radio announcer named Grover Mills — a character based on the young Orson Welles — who has been impersonating The Shadow on the radio. The character's name is taken from Grover's Mill, New Jersey, the name of the small town where the Martians land in Welles' famous 1938 radio broadcast of The War of the Worlds. When Shadow rights holder Conde Nast increased its licensing fee, DC concluded the series after 31 issues and one Annual; it became the longest running Shadow comic series since Street and Smith's original 1940s series.

During the early-to-mid-1990s, Dark Horse Comics acquired the comics rights to the Shadow from Conde Nast. It published the Shadow miniseries In The Coils of Leviathan (four issues) in 1993, and Hell's Heat Wave (three issues) in 1995. In the Coils of the Leviathan was later collected and issued by Dark Horse in 1994 as a trade paperback graphic novel. Both series were written by Joel Goss and Michael Kaluta, and drawn by Gary Gianni. A one-shot Shadow issue The Shadow and the Mysterious Three was also published by Dark Horse in 1994, again written by Joel Goss and Michael Kaluta, with Stan Manoukian and Vince Roucher taking over the illustration duties but working over Kaluta's layouts. A comics adaptation of the 1994 film The Shadow was published in two issues by Dark Horse as part of the movie's merchandising campaign. The script was by Goss and Kaluta and once again drawn from cover to cover by Kaluta. It was collected and published in England by Boxtree as a graphic novel tie-in for the film's British release. Emulating DC's earlier team-up, Dark Horse also published a two-issue mini-series in 1995 called The Shadow and Doc Savage. It was written by Steve Vance, and illustrated once again by Manoukian and Roucher. Of special note, both issues' covers were drawn by Rocketeer creator Dave Stevens. The final Dark Horse Shadow team-up was published in 1995. It was a single issue of Ghost and the Shadow, written by Doug Moench, pencilled by H. M. Baker, and inked by Bernard Kolle.

The Shadow made an uncredited cameo appearance in issue #2 of DC's 1996 four issue mini-series Kingdom Come. Those four issues were then collected into a single graphic novel in 1997. The Shadow appears in the nightclub scene standing in the background next to The Question and Rorschach.

The early 1940s Shadow newspaper daily strip was again put back into print, this time by Avalon Communications under their ACG Classix imprint. The Shadow daily began appearing in the first issue of Pulp Action comics. It carries no monthly date or issue number on the cover, only a 1999 copyright and a "Pulp Action #1" notation at the bottom of the inside cover. Each issue's cover is a colorized, partial comics panel blow-up, taken from one of the reprinted strips. The eighth issue uses for its cover a partial Shadow serial black-and-white movie still, with several hand-drawn alterations added. The first issue of Pulp Action is devoted entirely to reprinting the Shadow daily, but subsequent issues began offering back-up, non-Shadow stories of various page lengths in every issue. These Shadow strip reprints stopped with Pulp Action's eighth issue, never completing the daily's story lines; that last issue carries a 2000 copyright date.

Writer Garth Ennis signing copies of Dynamite Entertainment's The Shadow (volume 5) #1 at an April 19, 2012 signing at Midtown Comics Downtown in Manhattan.

In August 2011 Newsarama reported that Dynamite Entertainment had licensed the Shadow from Conde Nast and would be developing a new comic book series around the character.^[18] The series, which is written by Garth Ennis and illustrated by Aaron Campbell, debuted on April 19, 2012 in comics shops and was also available for sale through various website sales outlets like eBay and Amazon.com; the Ennis story arc, set during the Shadow's original 1930s time period, will be featured in the first six issues. The first Dynamite issue was published with four different color covers and 8 special variants; including Retailer Incentive versions, regional comic shop specials, and even two offering limited, hand-drawn original cover sketches. This first issue was drawn by artists Alex Ross, Jae Lee, Howard Chaykin, and John Cassaday.^[19]

Films[link]

The character has been adapted for several motion pictures.

[edit] The Shadow Strikes (1937)

The film The Shadow Strikes was released in 1937, starring Rod La Rocque in the title role. Lamont Cranston assumes the secret identity of "The Shadow" in order to thwart an attempted robbery at an attorney's office. Both The Shadow Strikes (1937) and its sequel, International Crime (1938), were released by Grand National Pictures.

[edit] International Crime (1938)

La Rocque returned the following year in International Crime. In this version, reporter Lamont Cranston is an amateur criminologist and detective who uses the name of "The Shadow" as a radio gimmick. Thomas Jackson portrayed Police Commissioner Weston, and Astrid Allwyn was cast as Phoebe Lane, Cranston's assistant.

[edit] The Shadow (1940)

A 15-chapter serial produced by Columbia Studios starring Victor Jory premiered in 1940. The Black Tiger is a criminal mastermind who has been sabotaging rail lines and factories across the United States, and Lamont Cranston must become his shadowy alter ego to uncover the fiend and halt his schemes.

[edit] The Shadow Returns (1946)

Low-budget motion picture studio Monogram produced a trio of films in 1946 starring Kane Richmond: The Shadow Returns, Behind the Mask and The Missing Lady. Richmond's Shadow wore a black face-mask similar to the type worn by the serial hero The Masked Marvel instead of his signature red scarf.

[edit] The Shadow (1994)

In 1994 the character was adapted once again into a feature film, The Shadow, starring Alec Baldwin as Lamont Cranston, alongside Penelope Ann Miller as Margo Lane. As the film opens, Cranston has become the evil and corrupt Ying-Ko (literally "Eagle's Beak"), a brutal warlord and opium smuggler in early 1930s Mongolia. Ying Ko is kidnapped by agents of the mysterious tulku, who then begins to reform the warlord using the psychic power of his evolved mind to restore Cranston's humanity. The tulku also teaches him the ability to "cloud men's minds" using psychic power in order to fight evil in the world. Cranston eventually returns to his native New York City and takes up the guise of the mysterious Shadow, in payment to humanity for his past evil misdeeds: "Who knows what evil lurks in the hearts of men? The Shadow knows..."

His nemesis in the film is adapted from the pulp series' long-running Asian villain (and for the film, a fellow telepath), the evil Shiwan Khan (John Lone), the last descendant of Genghis Khan. He seeks to finish his ancestors' legacy of conquering the world by first destroying New York City, using a newly developed atomic bomb, in a show of his power. Khan nearly succeeds but is thwarted by the Shadow in a final psychic duel of death: Cranston imposes his Will and defeats Khan during a telekinetically enhanced battle in a mirrored room, which suddenly explodes into thousands of flying mirror fragments. Focusing his mind's telekinatic power, Cranston flips a flying piece of jagged mirror shard midair, and hurls it directly at Khan's forehead; this doesn't kill him, it only renders Khan unconscious. To both save the warlord and the world, the Shadow has arranged with one of his operatives, an administrative doctor at an unidentified New York asylum for the criminally insane, to have Khan locked away in a padded cell. Khan's mirror shard-damaged frontal lobe, which controlled his powers, has been surgically removed; he is now under the Shadow's control forever.

The film combined elements from the Shadow pulp novels and comic books with the aforementioned ability to cloud minds, described only on the radio show. The Shadow wears a large, red-lined black cloak, a long, red mouth and chin scarf, a black trench coat, and a wide-brimmed fedora; he is armed with dual .45 semi-automatic pistols, as in the pulps and the comics. The film also displays Cranston's ability to conjure a false face whenever he is in his Shadow guise, in keeping with his physical portrayal in the novels and the comics.

Upcoming film[link]

On December 11, 2006, the website SuperHero Hype reported that director Sam Raimi and Michael Uslan will co-produce a new Shadow film for Columbia Pictures.^[20] After failing to gain the rights in the late 1980s, Raimi instead created an original character for the 1990 feature film, Darkman.

On October 16, 2007, Raimi stated that: "I don't have any news on 'The Shadow' at this time, except that the company that I have with Josh Donen, my producing partner, we've got the rights to 'The Shadow.' I love the character very much and we're trying to work on a story that'll do justice to the character."^[21]

On January 29, 2010, it was reported^{[by whom?]} that Sam Raimi was searching for a new project after it was announced that the Spider-Man movie franchise would be rebooted without him. The Shadow was said to be at the top of his list. Recently, it was incorrectly rumoured that David Slade will direct the upcoming film, with a release date of 2012.

On Thursday, August 5, 2010, it was reported that Quentin Tarantino - who was attached as a co-writer for the script - had been attached to direct as well.^[22] However this would later be denied by an official representative of Tarantino who informed MTV News that "There is no truth to this story"^[23]

TV series[link]

Two attempts were made to make a television series based on the character. The first in 1954 was called The Shadow, starring Tom Helmore as Lamont Cranston.

The second attempt in 1958 was called The Invisible Avenger, which compiled the first two unaired episodes and was released theatrically instead. This film was later re-released in 1962 as Bourbon Street Shadows, with additional footage meant to appeal to "adult" audiences.^{[citation needed]} Starring Richard Derr as The Shadow, The Invisible Avenger centers upon Lamont Cranston investigating the murder of a New Orleans bandleader. The film is notable as the second directorial effort of James Wong Howe (one of the two episodes only).

Influence on superheroes[link]

Characters such as Batman^[24] and the Green Hornet resemble Lamont Cranston's alter ego. Both characters operate mostly by night, and the Green Hornet in particular operates outside the law, insinuating himself into criminal plots in order to put an end to the activities of master criminals. But whereas the Shadow carries a real gun, the Green Hornet carries only a lightweight pistol that fires non-lethal gas.

When Bob Kane and Bill Finger first conceived of the "Bat-Man", Finger suggested they pattern the character after pulp mystery men such as the Shadow.^[25] Finger then used "Partners of Peril"^[26]—a Shadow pulp written by Theodore Tinsley—as the basis for Batman's debut story, "The Case of the Chemical Syndicate."^[27] Finger later publicly acknowledged that "my first Batman script was a take-off on a Shadow story"^[28] and that "Batman was originally written in the style of the pulps."^[29] This influence was further evident with Batman showing little remorse over killing or maiming criminals and was not above using firearms.^[29]

Alan Moore has credited The Shadow as one of the key influences for the creation of V, the title character in his DC Comics miniseries V for Vendetta,^[30][31] that later became a big-budget film release in 2005 from Warner Bros.

See also[link]

Novels portal

• Condé Nast Publications, owner of The Shadow intellectual property
• Doctor Sax
• List of The Shadow episodes

Notes[link]

References[link]

• Cox, J. Randolph. Man of Magic & Mystery, A Guide to the Work of Walter B. Gibson, Scarecrow Press, 1998. ISBN 0-8108-2192-3. (Comprehensive history and career bibliography of Gibson's works.)
• Eisgruber, Jr., Frank. Gangland's Doom, The Shadow of the Pulps, Starmont House, 1985. ISBN 0-930261-74-7.
• Gibson, Walter B., Tollin, Anthony. The Shadow Scrapbook, Harcourt Brace Jovanovich, 1979. ISBN 0-15-681475-7. (Comprehensive history of The Shadow in all media forms up through the late 1970s.)
• Goulart, Ron. Cheap Thrills: An Informal History of the Pulp Magazine, Arlington House, 1972. ISBN 08700017228.
• Murray, Will. Duende History of the Shadow Magazine, Odyssey Publications, 1980. ISBN 0-933752-21-0.
• Overstreet, Robert. The Official Overstreet Comic Book Price Guide, 35th Edition., House of Collectibles, 2005. ISBN 0-375-72107-X. (Lists all Shadow comics published to date.)
• Sampson, Robert. The Night Master, Pulp Press, 1982. ISBN 0-934498-08-3.
• Shimfield, Thomas J. Walter B. Gibson and The Shadow. McFarland & Company, 2003. ISBN 0-7864-1466-9. (Comprehensive Walter Gibson biography with an emphasis on The Shadow.)
• Steranko, James. Steranko's History of the Comics, Vol. 1, Supergraphics, 1970. No ISBN.
• Steranko, James, (1972), Steranko's History of the Comics, Vol. 2, Supergraphics, 1972. No ISBN.
• Steranko, James. Unseen Shadows, Supergraphics, 1978. No ISBN. (Collection of Steranko's detailed black-and-white cover roughs, including alternate/unused versions, done for the Shadow novel reprints from Pyramid Books and Jove/HBJ.)
• Van Hise, James. The Serial Adventures of the Shadow, Pioneer Books, 1989. No ISBN.

External links[link]

• The Shadow: Master of Darkness
• The Shadow in Review
• The Shadow at the Internet Movie Database
• The Shadow at the Comic Book DB

This article does not cite any references or sources. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (December 2006)

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