First off, please be advised that this blog post is going to be one of the long ones. That’s primarily due to the fact that, in addition to covering the specific fifty-year-old comic book that gives the post its title, your humble blogger is also goiing to take a shot at answering the age-old conundrum: who came first, DC Comics’ Swamp Thing or Marvel Comics’ Man-Thing? (Regular readers may recall that when the blog spotlighted the second Man-Thing story, back in March, I promised something of this sort would be forthcoming; that moment has at last arrived.)
But it’s also destined to be at least a bit on the long side because before I can even get into discussing Swamp Thing #1, I feel that it’s necessary to give some attention to an even older comic, one that came out over fifty-one years ago. Of course, I’m talking about House of Secrets #92, published by DC in April, 1971; the comic book whose first eight pages gave us the very first “Swamp Thing” story, as written by Len Wein, drawn (mostly) by Bernie Wrightson, and edited by Joe Orlando. Neither the behind-the-scenes story of how Swamp Thing-the-series came to be — nor my own initial reactions to the first issue of the latter, as a fifteen-year-old reader in August, 1972 — make a whole lot of sense outside of the context of that classic tale. So, that’s where we’re starting, on what in all probability will indeed be a lengthy (though hopefully also enjoyable) journey. Forewarned is forearmed, eh? Read More
Born in Brooklyn, Conway was eight years old when Fantastic Four #1 hit the stands. By the time he was sixteen, he was writing scripts for DC Comics; soon after, he met [associate editor] Roy Thomas, who assigned him a Marvel writers’ test. But [editor Stan] Lee was, as usual, less than impressed with the way another writer handled the characters he shepherded.
“He writes really well for a seventeen-year-old kid,” Thomas reasoned.
Lee, who himself had first walked into Marvel’s offices at that age, paused. “Well, can’t we get someone who writes really well for a twenty-five-year-old kid?”
The point of the anecdote (at least for Howe) seems to be the irony of Lee’s doubting that someone could be ready to start writing for Marvel at age seventeen, when that’s exactly how old he’d been himself when he’d begun working for his cousin’s husband, Martin Goodman, circa 1940. But, after some consideration, your humble blogger is of the opinion that Stan the Man may have been on to something.
Maybe Gerry Conway wasn’t quite ready to handle the monthly adventures of Daredevil, Iron Man, Sub-Mariner, et al, fresh out of high school. 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
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