I’ve written before on this blog about the fact that as much as I loved the Justice League of America as a young reader — their series was the first comic book I actively collected — it took me some time to get around to sampling all of the team members’ solo titles. While I bought comics starring Superman, Batman, Flash, Green Lantern, and Hawkman all within the first six months or so of my picking up the comic book habit, it took me another whole year, and then some, to give the last three JLA headliners’ books a shot. Then, as I’ve related in earlier posts this year, I finally got around to buying an issue of Wonder Woman in May, 1967, and an issue of Atom in June. That left only one to go — Aquaman.
Unlike with Wonder Woman and the Atom, however, where I’m not sure what exactly motivated me finally to take the plunge and pick up an issue of their series, I have little doubt what ultimately sold me on the King of the Seven Seas. It was television. Read More
Flash #174 is a particularly notable comic book for several reasons, most of which have to do with Carmine Infantino. To begin with, there’s the book’s cover, pencilled by Infantino and inked by Murphy Anderson — rightly renowned as one of the best by that superlative team, featuring a transformative, convention-shattering treatment of the title logo that would have been even more astonishing if the same artists hadn’t pulled off something similar just a couple of months back, on the cover of Batman #194.
Then there’s the fact that this issue of Flash was, for Infantino, the last one in an unbroken eleven-year, seventy-four issue run illustrating the adventures of the character he’d co-created with writer Robert Kanigher way back in 1956’s Showcase #4. As we’ve recounted in previous installments of this blog, over the course of the year 1967 Infantino was taking on more and more behind-the-scenes responsibilities at DC Comics, beginning with overseeing cover design for the company’s whole line, and culminating in his becoming Editorial Director by the end of the year. It was part of a remarkable career trajectory for the veteran artist, one that would eventually lead to him being named Publisher of DC Comics in 1971 — but it also meant that he had to give up his regular pencilling gigs. Infantino would return as the artist of the Flash series years later, in 1981 — but things would never again be quite the same. Read More
If you happened to read my blog post about Green Lantern #55 some weeks back, you’ll recall that that issue was merely the first chapter of a two-part epic. But if you missed that post, or would simply appreciate a memory refresher, here’s a handy recap of GL #55’s “Cosmic Enemy Number One” from writer John Broome and artist Gil Kane — straight from the splash page of issue #56 itself: Read More
By August, 1967, I’d been buying and reading comic books for two years — and the books that I had bought had almost exclusively been those published by DC Comics, with an occasional Gold Key issue for variety. But in that month, as the Summer of Love (or the Long Hot Summer, take your pick) wound down — I finally broke down and bought my first Marvel Comics Group comic book.
So what the hell took me so long?
It’s entirely possible that I just didn’t see that many Marvel comics on the spinner racks in those first two years of comic-book buying. Prior to 1968, the publisher’s newsstand distribution was controlled by Independent News (a company owned by National Periodical Publications, aka DC Comics — and no, that doesn’t sound like an ideal competitive situation, does it?), which restricted the number of titles that Marvel could release per month. That restriction would be all but completely lifted by early 1968, but in the summer of 1967, it was still in place. Read More
This issue of JLA features “The Negative-Crisis on Earths One-Two!”, a story written by Gardner Fox and illustrated by Mike Sekowsky and Sid Greene. It’s the second part of 1967’s Justice League – Justice Society team-up, an annual summertime tradition that DC Comics maintained from 1963 all the way through 1984. I blogged about the first half of this tale a few weeks ago, and I’m sure you’re all eager to find out how our heroes get out of the mess they were in at the conclusion of JLA #55. And we’ll get to that pretty soon — but first, I’d like us to spend a little quality time with the book’s cover.
To begin with, it’s just a great piece of work — one of the final, as well as one of the finest, products of penciller Carmine Infantino and inker Murphy Anderson’s long and profitable collaboration. And as perhaps the first comic book cover to feature what would become an everlasting motif in the superhero genre — two line-ups of superheroes charging each other — it has historic significance as well. Read More
Fans of the Flash who’ve only been reading about him in comics for say, the last quarter century or so — not to mention fans who primarily know him from the current CW network TV series — may find this a difficult notion to grasp; but, back in his Silver Age heyday, Barry Allen did not regularly share his adventures with other costumed speedsters. While it’s true that my own first issue of The Flash, bought and read in the September of 1965, featured an appearance by Barry’s teenage protégé Wally West — aka Kid Flash — as of summer, 1967, I hadn’t seen the two together again since. And while I was familiar with Barry’s Golden Age predecessor as the Flash, Jay Garrick, I’d only actually seen him in action in a vintage 1947 adventure that had been reprinted in Flash #160. — I’d yet to see him team up with “my” Flash, or even with his fellow Justice Society of America members in one of the annual Justice League – Justice Society team-up extravaganzas..
All of which is intended to convey to you, dear reader, that when this comic book came out in July, 1967 — with its terrific cover (penciled by Carmine Infantino, inked by Murphy Anderson, and strikingly lettered by the great Ira Schnapp) promising not one, not two, but three Flashes in one story together — it was a big honking deal for my ten-year-old self. Read More
Some years ago, when the late, lamented Comics Buyer’s Guide was still being published, comics writer and critic Tony Isabella offered up in its pages an opinion that’s always stuck with me — namely, that although he liked Green Lantern just fine, he’d never liked the concept of the Green Lantern Corps. As far as Mr. Isabella was concerned (and it’s been a long time since I read this, so I’m paraphrasing), a universe full of alien heroes all sharing the same name, wearing the same costume, and bearing the same super-powers as “our” Green Lantern, Hal Jordan, made Hal less special. The reason that this opinion has remained lodged in my memory, I think, is that I’ve always felt precisely the opposite. It’s the fact that Green Lantern is one of many heroes with the same name, powers, etc., that makes him (and his adventures) stand out from the rest of his costumed, code-named peers. Read More
It’s one of those questions that comic book fans have argued about for ages — like who’s stronger, the Hulk or Thor? (Did someone just say “the Thing”? Please.) Essentially unanswerable — or, rather, the answer is “whichever one of them the creators at the comic book company that owns them has decided is the faster/stronger/better dressed in the context of the story you’re currently reading.”
Actually, I think the more interesting question — a question for which one fan’s answer is as valid as any other’s, and can’t be overruled by the characters’ corporate owners — is, who should be faster, Superman or the Flash? Read More
From June, 1966 through May, 1967, DC Comics published nine issues of Justice League of America, all of which capitalized on the enormous popularity of the Batman television show by prominently featuring the Caped Crusader on their covers. Upon its publication on June 13, 1967, Justice League of America #55 clearly marked the end of that year-long run of exploitative, Batman-dominated covers.
Um, sort of. OK, not really. Because this issue’s Mike Sekowsky-Murphy Anderson cover, featuring the debut of “a grown-up Robin” whose costume was an amalgam of the duds traditionally worn by both the Boy Wonder and his august mentor, was obviously trading on Batmania as much as any other JLA cover that editor Julius Schwartz had seen through production in the last twelve months. Read More
Recalling my early comics-reading years, I can’t think of another comic book that I looked forward to with as much breathless anticipation, simply based on the house ads, as I did Batman #194. And I can’t think of another comic book that I considered as huge of a letdown once I finally got hold of it and read it, as I did Batman #194.
It was the cover that grabbed me in those ads, of course. That amazing Carmine Infantino-Murphy Anderson cover, with its impeccably rendered figures of Batman and Blockbuster, its dynamic action, and, most of all, its imaginative (and, for the time, daring) incorporation of the book’s title within the illustration. My nine-year-old self had never seen anything like it. Read More