As regular readers of this blog will know, I somehow managed to get through the first five months or so of being a regular buyer and reader of Marvel Comics without picking up a single book featuring the work of perhaps the single most important architect of that publisher’s fictional universe — that would be Jack “King” Kirby, of course — but, come June, 1968, I went on a Kirby tear, buying not one, not two, but three different comic books that showcased the King’s art.
Of course, Daredevil #43 could only boast a cover by Kirby, as the interior art was by the book’s regular penciler, Gene Colan (with embellishment by inker Vince Coletta). And since I was by this time a regular purchaser of the Man Without Fear’s title, the fact is that I would have bought this issue even if the cover had been by Colan, rather than Kirby — which, as the penciled art shown to the lower right should indicate, it indeed almost was. Read More
Honestly, I have no idea why it took so long for me to buy my first issue of Fantastic Four. After all, I’d been watching their Saturday morning TV cartoon since September, 1967, same as I’d been watching Spider-Man, which had premiered at the same time. But while I’d started picking up Spidey’s monthly comic in January, 1968, it took me another five months to take the plunge with the FF.
As I speculated in last week’s post about Captain America #105, it may have been that I was a little leery of Jack Kirby’s artwork, which looked different than the art in any other comic I was reading. Or, possibly, I was waiting for the continued story that, thanks to the issue descriptions featured in the monthly “Mighty Marvel Checklist”, I knew had been running since issue #74 — involving Galactus, the Silver Surfer, and Psycho-Man — to wrap up, so that I wouldn’t be jumping in in the middle of a storyline. At this late date, I have no way of knowing for sure. But in any event, when I saw #78 on the spinner rack in June of 1968, I was ready at last to put Marvel’s claim of global preeminence to the test. Read More
In June, 1968, almost a year after buying my first Marvel comic, and about five months after I started picking up the publisher’s books on a regular basis, I finally bought my first comic book featuring the work of the man who was probably the single most important architect of the “House of Ideas” (as they liked to call it back then) — Jack Kirby. That book was Captain America #105 — the subject of this week’s blog post.
Allow me to explain that ambiguous statement. The fact is, both of those books came out in the first half of June, 1968 — and as I didn’t necessarily get to the Tote-Sum or one of my other comics outlets every single week back in those days, I can’t just go by which one would have reached stores the earliest. And since I have no specific recollection of which I bought first (and it’s quite possible that I picked them up together, on the same day), I’m going to blog first about the one with the earlier “official” publication date according to the Library of Congress’ records (as reported by Mike’s Amazing World) — and that’s CA #105 (published June 4th) rather than FF #78 (published June 11th). I wish I could be more certain that this one is the first, but this is the best I can do with the information (and poor memory) that I’ve got.
Still — to my mind, the more interesting question isn’t which Marvel comic by Jack Kirby I bought first, but rather, why did it take me so long to buy a Marvel comic by Jack Kirby in the first place? Read More
In May, 1968, I was a regular buyer and reader of The Spectre — or at least as regular as I could be, short of shelling out for a year’s subscription by mail, considering the state of comic book distribution at the time (as well as my ten-year-old self’s lack of reliable weekly transportation to a comics-selling outlet). I had first come on board in 1966, with the Ghostly Guardian’s third and final tryout appearance in Showcase, and had bought the first issue of his own self-titled series when it finally appeared over a year later. I’d failed to score issue #2 (the first drawn by new regular artist Neal Adams), but otherwise, I had ’em all. Read More
The subject of today’s post has the distinction of being the first Marvel Comics “first issue” I ever purchased. That may actually be somewhat less of a big deal than my putting it that way makes it sound, since, way back fifty years ago in May, 1968, I’d only been buying Marvel’s books regularly since the beginning of the year — and also because prior to January, 1968, launches of brand-new Marvel comics were pretty rare birds. Read More
I gotta say, I sometimes have a hard time figuring out what was going through my younger self’s mind when I made certain choices at the spinner rack half a century ago. The subject of today’s post is a case in point. I mean — why would I put down 25 cents for a giant-size humor comic filled with satirical versions of Marvel characters I was only now getting to know with in their “serious” incarnations?
I’m guessing that it was partly because Not Brand Echh, with its parodies of current movies and TV shows as well as comic books, reminded me of Mad magazine — which was one of my most regular comics purchases in the late Sixties, despite the fact that I haven’t yet devoted a blog post to it (probably because back in my younger days, I didn’t think of Mad as a bona fide “comic book”, due to its black-and-white magazine-size format). And, hey, my inclination to go for the “bargain” of getting multiple heroes for the price of one (which, in contrast to Mad, I’ve often noted on the blog), may have figured into my purchasing decision as well — even if these were parody version of the heroes, there were still a lot of ’em. Read More
Back in 1967, when DC Comics’ newly-promoted Art Director, Carmine Infantino, discovered Neal Adams toiling away in a production room on one of the company’s “third-string” (Infantino’s words) titles — The Adventures of Jerry Lewis, perhaps — and determined that the young artist’s talents could and should be put to better use, one of the first better uses he put them to was to produce covers for DC’s “Superman family” books. These comics had been under the editorship of Mort Weisinger for a long, long time — decades, in some cases — and their covers all had a particular “look”, typified by the style of artist Curt Swan. The advent of Adams’ more dynamic style represented a sea-change for the Superman books, and, by extension — given the Man of Steel’s flagship status — the rest of DC’s line, as well. Read More
Fifty years after the fact, it seems a little strange to me that my first exposure to the Inhumans — one of the most memorable creations of Stan Lee and Jack Kirby to appear in the latter half of the 1960s — didn’t come by way of Fantastic Four, or from any other Marvel title drawn by Jack Kirby, but rather from an issue of Amazing Spider-Man, as illustrated by John Romita and Don Heck. But, hey, at least it was written by Stan, right? Read More
Last week I blogged about Avengers #53, a classic comic book featuring the titular super-team in battle with a second band of costumed heroes whom I hadn’t previously encountered as of April, 1968 — namely, the X-Men. That issue was actually the concluding chapter of a story that was continued from X-Men #45, making it the first comics crossover I ever experienced*. Unfortunately, I didn’t realize that the Avengers book was the second part of the crossover until after I’d already bought it and brought it home. That didn’t stop me from going ahead and reading the book — but as soon as I got the chance, I headed back to the convenience store to see if I could score a copy of the first part. Even though I already knew how the story ended, obviously, I still wanted to know how the heroes of both groups got themselves into the situation in which they found themselves at the beginning of Avengers #53 in the first place. Read More
The first Marvel comic book I ever bought was Avengers #45, back in August, 1967, but even though I enjoyed that issue, I wouldn’t get around to trying another Avengers comic for another eight months. By April, 1968, however, I’d begun buying both Amazing Spider-Man and Daredevil regularly, and I was ready to expand my Marvel-reading horizons a little further. Avengers was already a known quantity, obviously, and issue #53 clearly had something else going for it, as well — the appearance of a whole other super-group, the X-Men.
I’m honestly not 100% certain that I even knew whether the X-Men were supposed to be heroes or villains at this point, though it seems likely I would have noticed their book on the stands at some point. Assuming I did know that the X-Men were good guys, that would have been another strong selling point, as my younger self appears to have loved the idea of getting double the heroes (in this case, two hero teams) for the price of one — as attested to by the fact that in my first couple of years of comic book consumption, the only title I bought almost as regularly as Justice League of America was The Brave and the Bold, (which, of course, featured DC’s heroes teaming up with one another). And the fact that the cover heralded a “vs.” situation wouldn’t have thrown me, either — even as a mostly-DC reader up to 1968, I knew that heroes fought each other sometimes. After all, I was the proud owner of JLA #56, which featured what’s probably the first instance of the battle-lines-of-heroes-charging-each-other motif that informs Avengers #53’s cover (as it would many another cover through the years). Read More