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
When I picked up this issue of Brave and the Bold fifty years ago (give or take a couple of weeks), Batman’s co-star in the book, Plastic Man, had been around for over twenty-six years — almost as long as the Caped Crusader himself. But he’d only been a DC Comics hero for a little over one year — which is about as long as my ten-year-old self had been aware of him. Read More
In January, 2016, some six months after the debut of this blog, I posted “a spoiler warning for all seasons” — a page dedicated to the idea that, while some might find the idea of spoiler warnings for comic book stories of a half-century’s vintage to be a little absurd, others might expect them as a matter of course. Since then, that single page has served as my blanket spoiler warning for any and all fifty-year-old comics discussed over the course of the blog. Today, however, we have a somewhat different situation, as I’m planning to refer to the concluding scene of a very recent comic book, namely Batman (2016) #32, which will have been on sale for only about three weeks at the time of this post’s publication.
So, here you go: if you haven’t yet read Tom King and Mikel Jamin’s concluding chapter to “The War of Jokes and Riddles”, and you’re planning to, and you’d rather not know what happens on the last page — consider yourself hereby warned.
And now, on with our regularly scheduled 50 Year Old Comic Book…
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
Throughout the 1960’s, as their upstart rival Marvel Comics distinguished itself with the development of a complex and more-or-less consistent fictional universe that linked all of the company’s heroes, villains, and other characters into one ongoing meta-story, DC Comics resolutely continued to operate as a collection of mostly independent fiefdoms, each under the dominion of its own editor. Sure, all the A-list heroes showed up for Julius Schwartz’s Justice League of America, regardless of who was editing the heroes’ solo series, and they could also pair off in George Kashdan’s (later, Murray Boltinoff’s) The Brave and the Bold — but, by and large, DC’s editors didn’t pay much attention to continuity across the line.
Within an individual editor’s purview, however, there were occasional stabs at crossovers and other signifiers of a shared universe — especially within the books guided by Schwartz. As we’ve discussed in a previous post, one way Schwartz accomplished this was be establishing close friendships between pairs of his heroes (Flash and Green Lantern, Atom and Hawkman) which provided frequent opportunities for guest-shots in one another’s books. Another way was to set up a plotline in one book that would carry over into another book — as was done in the classic “Zatanna‘s Search” story arc that ran through multiple Schwartz-edited books from 1964 through 1966, culminating in Justice League of America #51’s “Z — as in Zatanna — and Zero Hour!”. Read More
People who’ve known me for a while are likely to know that as much as I love comic books, they’re not the only thing I geek out over. Another of my abiding passions, going back more than forty years, is the legend of King Arthur and the Knights of the Round Table, in all its cultural manifestations — classic literature, modern prose fiction, art, films, music, and — of course — comics. Over the last few decades I’ve been fortunate enough to have had several opportunities to combine my interests in Arthuriana and comics in ways I can share with others — beginning with an article in the late, lamented fanzine Amazing Heroes in 1984, continuing with contributions to academic (!) works such as The New Arthurian Encyclopedia, and more-or-less culminating in my web site, “Camelot in Four Colors: A Survey of the Arthurian Legend in Comics” — est. 2000, and looking every day of its age (still, you should check it out, OK?).
I got the Arthurian bug in a big way around 1973 or thereabouts. It was sparked by a number of factors, among the most significant being T. H. White’s novel The Once and Future King (as well as its stage and movie musical adaptation, Camelot), Mary Stewart’s Merlin novels, and C. S. Lewis’ contemporary science fantasy That Hideous Strength. Those were all manifestations of the Arthurian legend that I encountered as an adolescent in the early Seventies — but, of course, like many if not most other English-speaking people of the modern world, I was first exposed to King Arthur and his mythos during the earlier period of my childhood. And what was probably one of the first truly significant exposures came along in September, 1966, in the form of World’s Finest #162 — in which the ranks of the Round Table knights were joined by none other than my two favorite heroes, Superman and Batman. Read More
Comic book superheroes don’t get married very often. The conventional wisdom is that tying the knot not only puts an end to any dramatic tension in a hero’s current romance, but that it also severely limits the storylines that writers and artists can explore with that hero in the future. The pull of this idea among modern comics creators is so strong that even superheroes who’ve been married for as long as 15 years (Superman), or 20 (Spider-Man), can find themselves suddenly single — not through anything so mundane as legal divorce, of course, but rather by way of such plot machinations as having the Devil alter the characters’ history (Spider-Man), or rebooting a whole universe (Superman). 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
According to both the Grand Comics Database and Mike’s Amazing World, this issue was released to newsstands and other retail outlets on July 26, 1966. I probably received my mailed subscription copy a week or so before that — but whenever it was that I finally held this book in my grubby little nine-year-old hands, it had been a long, long month-and-a-half since the conclusion of the previous issue — the first half of the first bona fide continued story I’d thus far encountered in comic books — had left me hanging precariously off the edge of a cliff. Summers always seemed longer when I was a kid, of course, but that summer was probably the longest of my life, either before or since.
Beyond my overall excitement on finally having the issue in my possession, I have no specific recollection of what I thought when I first looked at the cover — but I’d like to think that I was at least momentarily nonplussed by the sheer immensity of the figure of Batman. The Caped Crusader had been given greater and greater prominence on the covers of JLA over the last several issues, but for him to literally dwarf every other hero depicted in the cover scene — that was new. Read More