Regular readers of this blog may recall that Aquaman was the very last Justice League member with their own book in the late ’60s that I got around to sampling as a solo draw. And, as I posted almost one full year ago, what finally convinced me to pick up the Sea King’s 36th issue had less to do with the comic book itself, and more to do with the fact that the hero just debuted as one of the two titular stars of CBS’ animated series, The Superman/Aquaman Hour of Adventure. As things turned out, that single issue, featuring a story by the regular team of Bob Haney and Nick Cardy, failed to grab me enough for me to pick up the next issue, or the one after that. By the time September, 1968 rolled around, one year later, the TV series had aired its last original episode, and with Aquaman only appearing in roughly every other issue of Justice League of America at the time, there wasn’t exactly a lot going on to spark a renewed interest in the hero’s solo adventures on my part. Still, something convinced me to pick up Aquaman #42 when I saw it on the stands. What could it have been?
When last we left the non-costumed, non-codenamed, but nonetheless quite formidable supervillain T.O. Morrow — at the conclusion of the first half of 1968’s Justice League of America-Justice Society of America summer team-up extravaganza — he’d just managed to kill all the current members of Earth-Two’s JSA (some of them for the second time that issue), and was preparing to head back to his home world of Earth-One to similarly wipe out the JLA — secure in the knowledge provided by his future-predicting computer that the only way he could be stopped was if the Red Tornado intervened; and since the Red Tornado was 1) his own android creation, and 2) also dead, he was sitting in clover, as the saying goes. 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
What defines a comic book superhero as a unique character? Is it a name, or a costume, or a power set? What about a hero’s “secret identity”? Does it even matter who’s wearing the costume?
For what it’s worth, I suspect that the majority of people reading this post have a general conception of “Superman” as a single, unique character, albeit one with multiple versions — “pre-Crisis”, “New 52”, “Golden Age”, and so on. It’s probably the same with Batman, or Wonder Woman — or with Captain America, Iron Man, or the Mighty Thor, for that matter. Even if these heroes undergo occasional costume modifications or power fluctuations — and even if someone else steps into their heroic role for a time in the service of a storyline — there’s still a sense of a core character underneath it all — an “ur-Superman”, an “ur-Batman”, and so forth. Read More
As I’ve related previously on this blog, I first made the acquaintance of DC Comics’ Ghostly Guardian, the Spectre, in the pages of Justice League of America #46 (August, 1966), the first chapter of that year’s annual Justice League-Justice Society team-up. From there, I followed the character into his third solo tryout appearance in Showcase #64 — and by the time I finished reading that issue, I was a dedicated fan of the character (which I remain to this day, just so you know). After that, I picked up his next two appearances, in JLA #47 (naturally) and, some months later, Brave and the Bold #72, where he teamed up with the Flash. And when — almost two years after his first Showcase appearance, and more than a year after his last one — DC finally released the first issue of the Spectre in his own title, I happily put down my twelve cents for that book, as well. Read More
If you’ve been reading this blog for a few months or more, you’ll recall (I hope) our post back in June about Superman #199, the classic DC comic book that featured the first-ever race between Superman and the Flash. That race ended in a tie, but the end of the story promised us readers a “terrific rematch, coming soon in The Flash!” So when the DC house ads for Flash #175 began appearing a few months later, my ten-year-old self was pumped. Surely, when the second race was run in the Fastest Man Alive’s own series, he’d win the victory that he so obviously and logically deserved (in my mind, anyway. See that earlier post for more details of my reasoning). And regardless of the outcome, with Carmine Infantino (the artist who’d pencilled every single Flash solo story I’d ever read) drawing the book, it was bound to look great.
Well. Things didn’t quite work out as my ten-year-old self expected. Read More
About two years ago, a couple of months following the debut of this blog, I wrote a post about the first issue of Justice League of America I ever bought (#40), a comic book I credited with making a significant contribution to my personal moral development. As I said at the time, I thought that that particular issue, though missing the mark in some ways (and simply feeling dated in others), still held up pretty well as an earnest endorsement of individual ethical responsibility, informed by an awareness and appreciation of the common humanity we all share. Since that time, I’ve been looking forward to re-reading and re-appraising Justice League of America #57, an issue with a similar theme, produced by the same writer, penciller, and editor as #40 (Gardner Fox, Mike Sekowsky, and Julius Schwartz, respectively) — and expecting that it would hold up just as well.
Now that the time has come, however, I regret that I have to say that the book doesn’t hold up quite as well as its predecessor — at least, it doesn’t for this reader. Which is not to say that it’s wholly without merit, or that it’s not worth a visit (or re-visit), fifty years after its original publication. 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
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