I never owned a “Captain Action” doll action figure as a kid, and to the best of my recollection, I never wanted one all that much.
Not that I had anything against dolls action figures as a class, you understand. Indeed, I was a proud owner of a “G.I. Joe” (the real one, mind you), and I also had a “Man From U.N.C.L.E.” that the box claimed was Napoleon Solo (though if that were actually true, it was the worst likeness of actor Robert Vaughn ever). But the concept behind Captain Action didn’t have all that much appeal for me, apparently — even though I think I could still appreciate how clever it was, even as a child. Read More
As I’ve mentioned n a number of previous posts, my young comics-reading self of a half century or more ago had rather conservative tastes. All these years later, that’s my best explanation for why and how I missed out on virtually all the new DC comic book titles that came out in the years 1967 and 1968, in what comics historians Gerard Jones and Will Jacobs would later call “The DC Experiment”. This sudden onrush of new series, most but not all of which launched with try-outs in DC’s Showcase title, roughly coincided with the ascent of former freelance artist Carmine Infantino to an executive role at the publisher. The push was an effort on Infantino’s part to recover market share DC had lost to the ascendancy of upstart rival Marvel on one hand, and the ebbing of “Batmania”-fueled sales on the other, by coming up with something new — preferably, a lot of somethings. Read More
My interest in Marvel Comics’ Silver Surfer series seems to have been somewhat sporadic in the first half-year or so of its original run. As I’ve written in earlier posts, I bought the first issue in May, 1968, and though I liked that book a lot (at least, that’s how I remember things), I opted to pass on both the second and third issues (unless, of course, I never saw either of them on the stands, which is quite possible). Issue #4, however, was most likely a no-brainer purchase decision for my eleven-year-old self, what with its absolutely iconic cover (by John and Sal Buscema) depicting the Surfer and the mighty Thor about to come to blows. And considering how spectacularly that book delivered on its cover’s promise, my picking up the following issue when I saw it was probably a given, as well –even though its cover (by John Romita, according to the Grand Comics Database), while good, wasn’t quite in the same exalted class. 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
The topic of today’s post is, I believe, one of the most important single comic books in the evolution of Batman to appear during the character’s nearly eighty-year history — probably ranking in the top five or so such comics. Chronologically speaking, it’s certainly the most important Batman comic that DC Comics had published since 1964’s Detective Comics #327, the issue in which editor Julius Schwartz and artist Carmine Infantino debuted a “New Look” for the Caped Crusader — and I think that a strong case can be made that there wouldn’t be another single Bat-book quite so significant until the publication of the first installment of Frank Miller’s Batman: The Dark Knight, in 1986.
That’s because “The Track of the Hook”, written by Bob Haney and illustrated by Neal Adams, serves as the clearest point of origin for the most thorough overhaul ever of one of comics’ most iconic heroes — an overhaul that has often been called a return to the character’s original 1939 roots, but is probably more accurately viewed as an approach based on what comics writer Denny O’Neil once described as “remembering how we thought it should have been” [emphasis mine]. It was an approach which returned an air of mystery, a touch of noir, to Batman and his milieu — one which did indeed recover visual and thematic elements that had been present, or at least implicit, in the character’s earliest published adventures, but which explored and elaborated on those elements in a more sophisticated fashion than readers had ever seen before. And it all started with Brave and the Bold #79, and the art of Neal Adams. Read More
After reviewing my comics buying and reading habits of a half-century ago for close to three years now, I’ve just about concluded that the younger me of those days wasn’t all that interested in teenage superheroes. Oh, I didn’t have any problem with, say, Robin, when he was appearing with Batman. The same would apply in the case of Kid Flash with Flash, or Aqualad with Aquaman. Teenage sidekicks were OK as supporting players, so long as there was a grown-up hero at the top of the bill. But I appear not to have had much interest in checking out the three junior partners named above, or their colleague Wonder Girl, when they were having adventures on their own — not, that is, until the issue of Teen Titans that is the subject of today’s post. 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
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
Batgirl, alias Barbara Gordon, made her television debut on September 14, 1967, in the premiere episode of the third season of the Batman TV series. I know that, because I just looked it up on the Internet. But I actually have no memory of seeing that episode, or indeed any episode that featured Yvonne Craig in the role of the Dominoed Daredoll, until the show went into syndicated reruns a number of years later. As regular readers of this blog know, however, I’d been a faithful viewer of Batman ever since it began in January, 1966 — so what was the deal? How’d I manage to miss Babs Gordon on the teevee during Batman‘s original run?
I’ve discussed the matter with old friends who grew up in the same television market I did (the greater Jackson, MS metropolitan area), and as best we can figure, none of our local stations aired the third season of Batman when it was originally broadcast. We only had two television stations in Jackson then, you understand — and with three national networks providing programming, it was something of a crap shoot as to what those stations would decide to air in any given time slot.* As has been discussed in earlier posts on this blog, the Batman series’ ratings had declined during the second season, and it appears that whichever of our Jackson stations had been showing it decided to cut their losses in the fall of 1967, and show something else instead. Read More
If you happened to read my blog post about Green Lantern #55 some weeks back, you’ll recall that that issue was merely the first chapter of a two-part epic. But if you missed that post, or would simply appreciate a memory refresher, here’s a handy recap of GL #55’s “Cosmic Enemy Number One” from writer John Broome and artist Gil Kane — straight from the splash page of issue #56 itself: Read More