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
The subject of today’s post, in addition to being another fine installment in writer Roy Thomas and artist John Buscema’s original run on The Avengers, also happens to have been my first real encounter (outside of a couple of cameos) with Marvel Comics’ Master of the Mystic Arts, Doctor Strange — or, at least, I think it was.
The problem here is that I know that, once upon a time, I owned a copy of Marvel Collectors’ Item Classics #19 — a terrific, double-sized reprint book that not only included a classic early Doctor Strange tale (from Strange Tales #128), but also an equally-classic Fantastic Four story (from the 27th issue of that team’s title) that guest-starred the good Doctor. A double dose of Doc, if you will. And since that book would have been on sale in November, 1968, it would necessarily have been my first Strange-featuring comic — if I’d bought it new off the stands, that is. Which I have no truly compelling reason to believe I didn’t.
Still — and allowing for how vague many of my comics-buying memories are after half a century’s passage — I somehow don’t believe that was the case. When I reread both these books now, Avengers #61 simply feels like it was my first Dr. Strange comic, and MCIC #19 … doesn’t. So I’ve decided, for the purposes of this blog, that I probably came into possession of my copy of the reprint book some time later, probably via trade with (or sale by) a friend. If I’m wrong — well, we’ll never know, right? (Besides which, nobody but me likely cares all that much.)
But even if Avengers #61 wasn’t the first comic book I ever read that featured Dr. Strange, it was certainly the first non-reprint book to include the hero that I ever picked up. Without it, I might well not have taken to the character as much (and almost certainly not as quickly) as I did; for, immediately following my reading this issue, I became a regular purchaser of the Doctor Strange series — and I’d remain a faithful reader of the title for years to come, sticking around through its rather frequent cancellations and revivals, with its star ultimately becoming my second favorite Marvel character (right after Thor).
Which is pretty much just what Roy Thomas and his colleagues at Marvel hoped would happen, when they decided to guest-star Doctor Strange in Avengers back in late 1968. 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
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
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
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
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
Carmine Infantino is generally (and rightfully) acknowledged as one of the two or three primary architects of the “look” of DC Comics during the Silver Age; I think it’s interesting to note, then, that almost all of his interior artwork from 1962 through 1967 (when the artist transitioned from full-time pencilling into management responsibilities at DC) was done for just one of the company’s numerous editors, namely Julius Schwartz. The fact is, however, that even though Schwartz did keep Infantino very busy throughout those years, the artist still managed to complete the odd job for another DC editor here and there — including a couple of issues of The Brave and the Bold for George Kashdan, both of which (probably not coincidentally) co-starred one of the two or three characters most closely associated with Infantino — the Flash. 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