Throughout my fifty-four years of reading comic books, it’s hard for me to think of another cover that was as much of a pleasant surprise on first sight than Neal Adams’ cover for The Brave and the Bold #85. This goateed, grimacing tough guy, aiming an arrow out in the general direction of the viewer that didn’t look the least bit “tricky”, but rather looked quite deadly — this was Green Arrow?
The thing is, I actually already liked Green Arrow. Not that he was one of my very favorite characters, or anything like that; in fact, I’m fairly certain I’d never even read a solo tale featuring DC Comics’ Emerald Archer at this point, though that may have been mainly because I’d never really had the chance. (GA had lost his regular backup slot in World’s Finest in early 1964, a full year-and-a-half before I began buying comics; and though there’d been a few of his tales reprinted here and there since then, I’d missed them.) But I enjoyed seeing him in Justice League of America, perhaps at least in part because of his underdog status. While I generally favored JLA tales that focused on the team’s heavy hitters — Superman, Batman, etc. — I also appreciated those stories that allowed the “lesser” heroes their time in the spotlight, the way that Justice League of America #57 did for Green Arrow. I didn’t even mind all that much when the storytellers (writer Gardner Fox and artists Mike Sekowsky and Sid Greene, in this case) subjected the Battling Bowman to such silliness as the scene below, where GA, facing four armed criminals, takes the time to set up a trick shot because… it’s just more fun, I guess? Read More
Justice League of America was the first comic book title that you could say I “collected”, though I wouldn’t have used (or understood) that term at the time. I bought my first issue, #40 (Nov., 1965) at the age of eight, just a month or so after buying my first comic book, period, and didn’t miss a single issue out of the next twenty-eight — a run of a little over three years. Of course, it helped that I sent “National Comics” (i.e., DC) a dollar in the mail for a year’s subscription early on (and was then obliged to live with the legendary, dreaded folded-in-half crease for the next ten issues); but even after that ran out, I was able keep the run going without a break up through #68. If you’re old enough to remember how unreliable standard newsstand distribution was in the latter half of the 1960s (or if you just happen to be a regular reader of this blog) you’ll realize that was something of a feat — especially for a kid who had to rely on his parents for transportation to the convenience stores where he bought his comics, and couldn’t be certain of getting to the spinner rack every single week. Read More
For the first year or so of the Justice League of America’s existence, the stories of DC’s premier superteam followed a fairly strict formula. Beginning with the team’s three tryout issues of The Brave and the Bold in 1959 and 1960, the tales told by writer Gardner Fox, penciller Mike Sekowsky, and editor Julius Schwartz played out according to a prescribed pattern; the team members (Aquaman, Batman, Flash, Green Lantern, the Martian Manhunter, Superman, and Wonder Woman — and, from JLA #4 on, Green Arrow) would come together at (or at least near) the beginning of the story; then they’d encounter or discover a menace; then they’d split into teams to battle different aspects of said menace; and then, finally, they’d come together at the end to secure their ultimate victory over the menace. Also as part of the formula, at least for the earliest adventures, Superman and Batman took no active role in the central team-up chapters, and sometimes didn’t even show up for the group scenes at the beginning or end; this was due to editor Schwartz deferring to the preferences of editors responsible for those heroes’ own titles, Mort Weisinger and Jack Schiff, who didn’t want DC’s two marquee characters overexposed. Even after the restrictions on using the Man of Steel and the Caped Crusader eased up somewhat, there were issues when they were entirely absent (“on assignment” in Dimension X, or something else of that sort), and neither of them appeared on a cover until JLA #10 (March, 1962). Read More
As of January, 1969, The Spectre was one of only two DC Comics titles I was still buying regularly (the other one was Justice League of America) — or maybe I should say I was trying to buy them regularly. Somehow, I managed to miss Spectre #8 on the stands — and since the book only came out bi-monthly, that meant that I hadn’t spent any real quality time with the Ghostly Guardian since the previous September. Normally, that wouldn’t be a problem in terms of picking up where I’d left off, storywise (though it was always irksome to miss an issue, of course), because Spectre — like most other DC titles of this era — had very little in the way of issue-to-issue continuity. That wasn’t entirely the case with this issue, however, as we’ll see in a bit. Read More
When we last checked in on Matt Murdock for this blog, he was engaging in an unnecessary (but still entertaining) slugfest with Captain America, while also moping over having been (sort of) dumped by his (kinda) girlfriend, Karen Page. All that, of course, went down in Daredevil #43, published in June, 1968. The three issues that followed that one told a single story, in which Daredevil was framed for murder by his newest arch-foe, the Jester, who’d been introduced in #42. I bought those issues when they came out, and the story was a pretty good one, as I recall. Nevertheless, I’ve opted not to blog about them here — mainly because the Jester’s not all that interesting to me as a villain, and I’ve already made most of the general comments I could make about scripter Stan Lee and penciler Gene Colan’s late-Sixties DD work in earlier posts.
Daredevil #47 is something different, however. “Brother, Take My Hand!” (for which Lee and Colan are joined by inker George Klein) is a standalone story without any flashy costumed super-villains, which deals meaningfully with some fairly unusual topics for a 1968 comic book — the Vietnam War, physical disabilities, and racial equality — without actually being “about” any of them. Read More
By September, 1968, when the subject of today’s post came out, I was buying The Avengers semi-regularly. Of course, “semi” literally means “half” (at least in the original Latin) — which is my way of saying that though I’d bought issues #53, #56, and the 1968 Annual, I’d skipped, or at least missed, issues #54, #55, and#57. So, not only did my eleven-year-old self miss out on the debut of the Vision (in #57), but I was also completely in the dark about the malevolent robot who’d allegedly created him, Ultron-5, introduced in issues #54 and #55 as the mysterious leader of the “new” Masters of Evil.
Thus, when I came across Avengers #58 in the spinner rack, I may have been momentarily daunted. Even if I had no obvious way of knowing that this issue tied into the Masters of Evil storyline from several months back, it was clear from the cover that the story was a direct follow-up to the previous issue’s Vision tale.
But the cover also made it crystal clear that the book featured appearances by Captain America, Iron Man, and Thor — the Avengers’ “Big Three”, whom series writer Roy Thomas wasn’t allowed to use as regular team members by the fiat of editor Stan Lee, but whom he nevertheless shoehorned into the book every chance he got — and I had been conditioned by now to recognize this as being something of a special event (if not necessarily a rare one). And, in the end, that must have sold me. I’d buy the book, and trust that the creative team — which included penciler John Buscema and inker George Klein, in addition to Thomas — would catch me up. Read More
1968 was a watershed year for my first favorite comic book, Justice League of America, though I don’t think that my then eleven-year-old self fully realized that at the time. Sure, artist Mike Sekowsky — who’d drawn every single issue since I’d started buying the series three years before, as well as every earlier JLA story I’d seen reprinted in DC Comics’ “80-Page Giants” — had left the book with issue #63, with Dick Dillin coming in as penciler starting with the following issue. And Gardner Fox, who’d written every League story I’d ever read, was gone as well, just two issues later. But Sid Greene was still inking the book (for now), so it still looked very much the same* (to my young and unsophisticated eye, at least). But, even with both Greene and (more importantly) editor Julius Schwartz still in place, there had most definitely been a changing of the guard; and JLA #66 represented the beginning of a new era — whether I knew it or not. Read More
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
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