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
By the time JLA #46 arrived in my mailbox one day in early June, 1966, I had a pretty good idea who the Justice Society of America was. I knew about the “Golden Age of Comics” that had thrived a decade and more before I was born, and I also knew all about the “Earth-Two” concept that allowed for the “old” versions of the Flash, Green Lantern, and other DC heroes to co-exist with the current models I read about every month. But I hadn’t yet experienced the extravaganza that was the annual two-issue JLA-JSA team-up — I’d missed the 1965 event by just a couple of months — and I didn’t have any real familiarity with most of the characters who didn’t have “Earth-One” counterparts. So I don’t know exactly what I expected when I opened up this book for the first time (after flattening out its mailed-subscription-copy crease, of course). I’m pretty damn sure, however, that I wasn’t the least bit disappointed. Read More
Hawkman was the fourth member of the Justice League of America on whose solo adventures I eventually decided to gamble 12 cents, his having been preceded by Superman, Batman, Green Lantern, and the Flash. (Wonder Woman, the Atom, and Aquaman would eventually follow, though unfortunately Green Arrow had already lost his supporting slot in World’s Finest by this time, and I wouldn’t get around to checking out House of Mystery until well after its doors had shut on the Martian Manhunter.) Most of what I knew about the Winged Wonder came from Justice League of America #41, where I’d learned that both Hawkman and his wife, the similarly attired and identically powered (but perhaps slightly smarter) Hawkgirl, were alien police officers from the planet Thanagar, operating undercover on Earth for reasons I didn’t quite understand yet. Read More
According to the Grand Comics Database, this comic book was published exactly 50 years ago today, on August 26, 1965. The fact that it came out pretty late in the month may be significant, as it seems very likely to me that I bought it only after buying Justice League of America #40, which doesn’t have a specific date of release given in the GCD, but does have a later cover date of November, 1965. That’s because I didn’t have a clue who Green Lantern was before I started buying comics, and it seems logical that I took a chance on the Emerald Crusader’s solo book only after first encountering him as a member of the JLA. This book could well have been on the stands for a week or two after JLA #40’s release. But since I don’t really know if any of that is actually true, I’m going to go ahead and honor the cover dates, and post about GL #40 ahead of the Justice League book. Read More