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
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
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
I’ve written before on this blog about the fact that as much as I loved the Justice League of America as a young reader — their series was the first comic book I actively collected — it took me some time to get around to sampling all of the team members’ solo titles. While I bought comics starring Superman, Batman, Flash, Green Lantern, and Hawkman all within the first six months or so of my picking up the comic book habit, it took me another whole year, and then some, to give the last three JLA headliners’ books a shot. Then, as I’ve related in earlier posts this year, I finally got around to buying an issue of Wonder Woman in May, 1967, and an issue of Atom in June. That left only one to go — Aquaman.
Unlike with Wonder Woman and the Atom, however, where I’m not sure what exactly motivated me finally to take the plunge and pick up an issue of their series, I have little doubt what ultimately sold me on the King of the Seven Seas. It was television. Read More
By August, 1967, I’d been buying and reading comic books for two years — and the books that I had bought had almost exclusively been those published by DC Comics, with an occasional Gold Key issue for variety. But in that month, as the Summer of Love (or the Long Hot Summer, take your pick) wound down — I finally broke down and bought my first Marvel Comics Group comic book.
So what the hell took me so long?
It’s entirely possible that I just didn’t see that many Marvel comics on the spinner racks in those first two years of comic-book buying. Prior to 1968, the publisher’s newsstand distribution was controlled by Independent News (a company owned by National Periodical Publications, aka DC Comics — and no, that doesn’t sound like an ideal competitive situation, does it?), which restricted the number of titles that Marvel could release per month. That restriction would be all but completely lifted by early 1968, but in the summer of 1967, it was still in place. 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
Who’s faster — Superman or the Flash?
It’s one of those questions that comic book fans have argued about for ages — like who’s stronger, the Hulk or Thor? (Did someone just say “the Thing”? Please.) Essentially unanswerable — or, rather, the answer is “whichever one of them the creators at the comic book company that owns them has decided is the faster/stronger/better dressed in the context of the story you’re currently reading.”
Actually, I think the more interesting question — a question for which one fan’s answer is as valid as any other’s, and can’t be overruled by the characters’ corporate owners — is, who should be faster, Superman or the Flash? 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
Recalling my early comics-reading years, I can’t think of another comic book that I looked forward to with as much breathless anticipation, simply based on the house ads, as I did Batman #194. And I can’t think of another comic book that I considered as huge of a letdown once I finally got hold of it and read it, as I did Batman #194.
It was the cover that grabbed me in those ads, of course. That amazing Carmine Infantino-Murphy Anderson cover, with its impeccably rendered figures of Batman and Blockbuster, its dynamic action, and, most of all, its imaginative (and, for the time, daring) incorporation of the book’s title within the illustration. My nine-year-old self had never seen anything like it. Read More