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
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
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
From June, 1966 through May, 1967, DC Comics published nine issues of Justice League of America, all of which capitalized on the enormous popularity of the Batman television show by prominently featuring the Caped Crusader on their covers. Upon its publication on June 13, 1967, Justice League of America #55 clearly marked the end of that year-long run of exploitative, Batman-dominated covers.
Um, sort of. OK, not really. Because this issue’s Mike Sekowsky-Murphy Anderson cover, featuring the debut of “a grown-up Robin” whose costume was an amalgam of the duds traditionally worn by both the Boy Wonder and his august mentor, was obviously trading on Batmania as much as any other JLA cover that editor Julius Schwartz had seen through production in the last twelve months. Read More
I’ve written before on this blog — several times — about my admiration for comics writer Gardner Fox’s reference library — a library I don’t really know anything about, but the existence of which can (or must, even) be inferred from the assortment of off-the-wall factoids (mostly, but not exclusively, related to mythology and folklore) to be found scattered throughout his Sixties ouevre. The Justice League of America story featured in today’s post — “Secret Behind the Stolen Super-Weapons!” — is another sterling example of this penchant of the prolific scripter’s; but before we jump right into the story, let’s take a moment for a look at the cover. (It’ll be brief, I promise.) Read More
The eastern world, it is exploding
Violence flarin’, bullets loadin’
You’re old enough to kill, but not for votin’
You don’t believe in war, but what’s that gun you’re totin’?
— P. F. Sloan, “Eve of Destruction”, 1964
Fighting soldiers from the sky
Fearless men who jump and die
Men who mean just what they say
The brave men of the Green Beret
— Staff Sgt. Barry Sadler and Robin Moore, “The Ballad of the Green Berets”, 1966
By October, 1966, United States military forces had been operating in Vietnam for over a decade, though mostly in an advisory role for much of that time. Beginning in 1961, however, President John F. Kennedy had greatly increased the number of American troops stationed in the region; and his successor, Lyndon B. Johnson, had used the authority of the Gulf of Tonkin Resolution, passed in August, 1964, to escalate the U.S.’s military role in the conflict between North and South Vietnam. The deployment of 3,500 Marines in March, 1965, effectively began the American ground war there. By December of that year, the number of U.S. troops had been increased to 200,000. Read More
DC Comics actually published two issues of Justice League of America in September, 1966: the subject of this post, issue #49, which was released on September 13, according to the Library of Congress Copyright Office’s filing records (accessed, per usual, via the amazing web site Mike’s Amazing World); and issue #48, released a little less than two weeks earlier, on September 1. That might seem odd, considering that JLA was only being published nine times a year at this point, but the extra November-dated issue was actually a reprint collection — an “80-Page Giant” featuring three of the premier super-team’s earliest adventures. Read More
Justice League of America #44 was the first comic book I ever got through the mail. It came in a brown paper wrapper. And it was folded in two, lengthwise.
Which, of course, would significantly lessen its future value as a collectible, but my eight-year-old self hardly cared about that. After all, I was the kid who cut the logo off the cover of Superman #181 and cut up a story page in The Brave and the Bold #64 for the subscription coupon on the back — said subscription coupon being the very reason why I was now receiving my first issue of JLA through the mail, just a few months after I’d mailed the coupon in, accompanied by a single dollar bill. (One dollar for 10 issues! I saved a whole 2 cents per comic book.) Read More
My early comic book buying and reading didn’t include a lot of “funny” comics. (There was Mad, but I don’t consider it a comic book so much as a magazine with a lot of comics in it.) No, not for me were the kid humor titles from Harvey (Casper, Richie Rich, Hot Stuff, etc.), the teen humor of Archie and his brethren, or even the “celebrity” books (Bob Hope, Jerry Lewis) from my favored publisher, DC Comics. And while I eventually came to have an appreciation for the work of such great creators as Carl Barks, there wouldn’t be any Disney comics in my collection until after I became an adult. It wasn’t because I didn’t enjoy funny cartoon characters — I routinely watched them on TV on Saturday mornings (and occasionally on weekday afternoons). I suspect that at my advanced age of eight years, I’d decided that such characters were simply too “babyish” to spend my money on, if not necessarily my time.