It’s a well-known fact of comic book history that, in the 1960’s, editor Julius Schwartz often came up with an idea for a cover, had one of his stable of artists draw it up, and only then assigned a writer to script a story around it. I don’t know if any of Schwartz’s fellow DC editors of the time followed a similar practice — but if there’s any one non-Schwartz cover of the mid-Sixties that might be considered a candidate for “cover first”, it’s surely the Carmine Infantino-Joe Giella cover of The Brave and the Bold #69, edited by George Kashdan.
That’s partly due to the fact that Infantino is the same artist who pencilled many of those classic covers for Schwartz’s books — but mainly, it’s because of that big, red, iron bat holding Batman prisoner. That visual is so bizarre and unlikely, yet also so striking and memorable, that I find it easier to believe that someone — whether Infantino, Kashdan, or someone else — came up with it all on its own, and then found a way to work it into a story, rather than that it emerged naturally during the plotting of the story it ultimately came to illustrate. Especially since “War of the Cosmic Avenger”, written by Bob Haney and illustrated by Win Mortimer, doesn’t really have a whole lot of use for the big red bat after the first few pages. 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.
I’ve mentioned DC’s The Brave and the Bold in a couple of earlier posts. This comic got its start in 1955 as the home for a variety of historical adventure series, starring swashbuckling heroes like the Viking Prince, the Golden Gladiator, Robin Hood, and the Silent Knight. Later, it became a tryout book, showcasing new characters and concepts that could be spun off into their own series if their “pilot” issue sold well enough. In this iteration, the book saw the first appearances of the Suicide Squad, the “Silver Age”Hawkman, Metamorpho, and (most successfully) the Justice League of America. With its 50th issue, however, the book began a transition towards becoming a one-off team-up comic, with a rotating roster of (normally) two characters sharing cover-billing. My own first issue of The Brave and the Bold, #64, was the second to feature one of DC’s two most popular heroes, Batman, as one of the two headliners; over the next eighteen years, however, it would be succeeded by 132 more such team-ups starring the Caped Crusader. It was thus a typical issue of the series in terms of what was to come, if not what had gone before. Read More