As regular readers of this blog may recall, I purchased my very first Marvel comic book, Avengers #45, in August, 1967. That book was the one with which I finally expanded my comics consumption beyond what had been, for the full first two years that I’d been buying and reading the things, a diet consisting almost exclusively of DC comics. Still, as I wrote in my post about that issue, five months ago, that first, single excursion into Marvel territory wouldn’t be followed by another one until the fateful day in January, 1968, that I picked up the subject of today’s post, Amazing Spider-Man #59.
I’m not exactly sure why it took me that long to buy my second Marvel book — I do remember liking that Avengers issue, so it wasn’t as though I’d tested the waters and found them wanting. Probably, it was just a reluctance to change my ingrained buying habits. But even if I’m not certain why I dragged my feet for another five months, I have little doubt that it would have taken me even longer, if not for this: 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
Fans of the Flash who’ve only been reading about him in comics for say, the last quarter century or so — not to mention fans who primarily know him from the current CW network TV series — may find this a difficult notion to grasp; but, back in his Silver Age heyday, Barry Allen did not regularly share his adventures with other costumed speedsters. While it’s true that my own first issue of The Flash, bought and read in the September of 1965, featured an appearance by Barry’s teenage protégé Wally West — aka Kid Flash — as of summer, 1967, I hadn’t seen the two together again since. And while I was familiar with Barry’s Golden Age predecessor as the Flash, Jay Garrick, I’d only actually seen him in action in a vintage 1947 adventure that had been reprinted in Flash #160. — I’d yet to see him team up with “my” Flash, or even with his fellow Justice Society of America members in one of the annual Justice League – Justice Society team-up extravaganzas..
All of which is intended to convey to you, dear reader, that when this comic book came out in July, 1967 — with its terrific cover (penciled by Carmine Infantino, inked by Murphy Anderson, and strikingly lettered by the great Ira Schnapp) promising not one, not two, but three Flashes in one story together — it was a big honking deal for my ten-year-old self. Read More
For the first several years that I read and collected comic books, I had only the vaguest notion that there ever been a publisher called EC Comics. I didn’t know that, before the advent of the Comics Code Authority, there had once thrived a skillfully-executed line of horror, crime, science fiction, and war comics that were, beyond their other attributes, much more graphic than anything one would ever find on the spinner racks of the mid-to-late ’60s. You see, the Code was established in 1954, and EC’s last comic book was published shortly thereafter, in early 1956 — while I wasn’t born until 1957. And though by 1966 I was a regular reader of Mad magazine, I had no clue that Mad was in fact the sole survivor of EC’s line, converted to a magazine format in 1955 to evade the Code’s strictures.* All of which I offer by way of explaining that if the 70th issue of DC Comics’ The Brave and the Bold had included creator credits (which it didn’t), I would not have recognized the name of the book’s penciller, the great EC Comics artist, Johnny Craig. Read More
For a couple of months in the autumn of 1965, readers of most DC comics were confronted with this enigmatic message, which appeared in the borders of pages, and even within the panels of stories, all through the publisher’s line:
It was an unusual marketing campaign — although my eight-year-old self didn’t know that at the time, since I’d only been reading comics for a few months. Nevertheless, I can recall being vaguely curious about this “Spectre”, the eerie green lettering of whose name suggested that he might not be the warmest and friendliest of characters. I had no idea whatsoever who he actually was, however — nor would most of the rest of DC’s readership at that time. Read More
If you’ve ever read this blog, the cover of Detective #354 should already be familiar to you. There it is, proudly displayed in the header above every post. Obviously, I have a lot of affection for this particular offering from the team of Carmine Infantino and Joe Giella, who contributed so many classic covers to this era of Batman comics (and even got to sign this one — not a routine occurrence at the time).
In some ways, it’s a head-scratcher that the cover is as effective as it is. A dozen or so thugs — none of them especially formidable-looking — are depicted standing in a half-circle around Batman, shaking their fists at him. The cover copy describes this as “The Caped Crusader’s most dangerous trap”. Really? Even in 1966, and even without taking the then-insanely-popular TV show’s weekly cliffhangers into consideration, I believe my eight-year-old self must have been skeptical of that claim. Sure, the odds are against him, but he’s Batman. These hoods aren’t even armed. Even if he’s not able to take them all down, our hero should at least be able to break free of this “most dangerous trap” and escape. And while those “force lines” drawn around the thugs’ brandished fists may be intended to make them look more threatening, the actual effect comes off as just a little bit silly. Read More