When the blog last checked in with Daredevil, back in March, we saw how, at the climax of issue #52, our hero was forced to let his defeated adversary — the murderous roboticist named Starr Saxon — get away free, due to Saxon having quite inconveniently learned that the Man Without Fear is secretly blind lawyer Matt Murdock. Then, following a retelling of his origin story in issue #53, DD came up with the perfect solution — he’d kill off Matt! As he put it in the issue’s last panel: “My problem isn’t Daredevil — and never was! It was always Matt — the blind lawyer — the hapless, helpless invalid!He’s been my plague — since the day I first donned a costume!”
This was probably the worst idea ol’ Hornhead had come up with in a very long time — and considering all the other bad ideas he’d contemplated and then implemented over just the past year or two, that’s really saying something. These bad ideas had included (in chronological order): faking the death of both Daredevil and his “third” identity of Mike Murdock (Matt’s fictional twin brother) in an explosion, so that he could live an unencumbered life as Matt; then, after realizing he really did still want to be a costumed hero, having to invent a new, second Daredevil, supposedly the original hero’s replacement; then deciding to retire as Daredevil yet again, a resolution that lasted less than an issue, as a robot assassin sent by Starr Saxon to kill DD instead attacked Matt, having found him by scent (long story); that event required him to suit up again, and ultimately led to his current predicament of subject to being blackmailed by Saxon over his secret identity. Read More
For younger readers of current comics, accustomed to publishers trumpeting every single guest appearance or “event” tie-in months in advance, the notion of a “stealth crossover” may seem all but incomprehensible. Yet, that’s exactly what Marvel Comics did in the first quarter of 1969, as they carried over a plotline from the January-shipping issue of Captain Marvel into February’s Avengers (the subject of today’s post) without even so much as an editorial footnote in the first book to let fans know it was happening. What the heck were they thinking fifty years ago, there at the “House of Ideas”?
But before we get into all that, we need to acknowledge the other two significant events happening in Avengers this month, one “in-story”, and the other behind the scenes, though both were heralded by the cover: the first, a major change concerning the superhero code-named Goliath; the second, the advent of a new regular artist — for after drawing Avengers for most of the last two years, John Buscema was being pulled off of the title to do layouts for Amazing Spider-Man, while Gene Colan was giving up Daredevil to take on Earth’s Mightiest Heroes. Read More
Ah, but in the Good Ol’ Days (AKA the Silver Age of Comics), the major funnybook publishers really knew how to celebrate them some nuptials. For an example, take Aquaman #18 (Nov.-Dec., 1964), where the whole blamed Justice League of America turns out for the Sea King’s undersea wedding to Mera (bubble helmets thoughtfully provided by the Royal Atlantean Event Planning Committee, I’m sure), Or Fantastic Four Annual #3 (1965), in which not only do all of Reed Richards’ and Sue Storm’s super friends show up, but so do a whole passel of super foes, as well, thanks to the machinations of the diabolical Doctor Doom. Now that’s what I call a wedding to remember. Not a dry (or un-blackened) eye in the house, y’know what i mean?
And then, there’s Avengers #60, featuring “‘Til Death Do Us Part!”, by Roy Thomas (writer), John Buscema (penciler), and Mike Esposito (inker, as “Micky Demeo”) — which not only gives us an Avengers Mansion-ful of super-powered guests and gatecrashers, but also brings the wacky on a level rarely seen before or since. 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 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
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
When I first began reading Batman comics, in August, 1965 (my initial issue, as I posted about around a year ago, was Detective #344), the character’s “New Look” — as developed by editor Julius Schwartz, with the help of artist Carmine Infantino and various writers — had been in place for well over a year. Nevertheless, by the time August, 1966 rolled around I had managed to achieve some familiarity with the Caped Crusader’s pre-1964 “old look” as well. This was thanks to several factors. For one thing, the animated opening credits of the Batman television series were based mostly on the older look; more significantly, the huge success of that show led to an expansion in the reprinting of older Batman material. And so, within a few months of the TV series’ January, 1966 debut, I had become the proud owner of two Signet paperbacks reprinting old Batman stories in glorious black and white, as well as an “80 Page Giant” issue of the Batman comic itself featuring tales of similar vintage in full color. Read More