A half-century after writer Denny O’Neil and artist Neal Adams’ history-making run on “Green Lantern/Green Arrow”, it’s easy to see those thirteen comics as being more of one piece than they actually were. The run is well remembered, and rightfully so, for its consistent emphasis on social issues; but while it’s true that “relevance” was the watchword throughout the O’Neil-Adams tenure on Green Lantern, it’s worth noting that the expression of that guiding principle varied quite a bit over the two years of the project’s duration — as did the kinds of stories within which the writer-artist team couched their social commentary. Read More
There’s an interesting story behind Detective #408’s lead Batman feature (and cover story), “The House That Haunted Batman!”. Or perhaps we should say, in the interest of total accuracy, that there are four of them.
Back in 1998, in the 1st issue of Comic Book Artist, editor Jon B. Cooke published “The Story That Haunted Julie Schwartz”, a collection of interviews with four of the personnel who’d been involved with producing this classic Detective story: editor Julius Schwartz, writers Len Wein and Marv Wolfman, and penciller Neal Adams. The funny thing about it, though, was that in spite of the interviews’ brevity (the entire article ran only two pages) the four veteran comics pros’ recollections differed in certain details, lending the whole enterprise a Rashomon-like quality.
This much, at least, the quartet could agree on: Quite early on in their professional careers, longtime friends Len Wein and Marv Wolfman wrote a Batman story together which they hoped to sell to Julius Schwartz. Somewhere along the line, Neal Adams took an interest in the as-yet-unbought script and ended up drawing it in his spare time, on spec — a remarkably generous gesture, considering how busy the artist was (not to mention what his time was worth). Ultimately, despite the irregularity of the process, editor Schwartz did indeed buy the completed 15-pager, and scheduled it for the next available issue of Detective Comics. Read More
When last we left the non-costumed, non-codenamed, but nonetheless quite formidable supervillain T.O. Morrow — at the conclusion of the first half of 1968’s Justice League of America-Justice Society of America summer team-up extravaganza — he’d just managed to kill all the current members of Earth-Two’s JSA (some of them for the second time that issue), and was preparing to head back to his home world of Earth-One to similarly wipe out the JLA — secure in the knowledge provided by his future-predicting computer that the only way he could be stopped was if the Red Tornado intervened; and since the Red Tornado was 1) his own android creation, and 2) also dead, he was sitting in clover, as the saying goes. Read More
Flash #174 is a particularly notable comic book for several reasons, most of which have to do with Carmine Infantino. To begin with, there’s the book’s cover, pencilled by Infantino and inked by Murphy Anderson — rightly renowned as one of the best by that superlative team, featuring a transformative, convention-shattering treatment of the title logo that would have been even more astonishing if the same artists hadn’t pulled off something similar just a couple of months back, on the cover of Batman #194.
Then there’s the fact that this issue of Flash was, for Infantino, the last one in an unbroken eleven-year, seventy-four issue run illustrating the adventures of the character he’d co-created with writer Robert Kanigher way back in 1956’s Showcase #4. As we’ve recounted in previous installments of this blog, over the course of the year 1967 Infantino was taking on more and more behind-the-scenes responsibilities at DC Comics, beginning with overseeing cover design for the company’s whole line, and culminating in his becoming Editorial Director by the end of the year. It was part of a remarkable career trajectory for the veteran artist, one that would eventually lead to him being named Publisher of DC Comics in 1971 — but it also meant that he had to give up his regular pencilling gigs. Infantino would return as the artist of the Flash series years later, in 1981 — but things would never again be quite the same. Read More
If you happened to read my blog post about Green Lantern #55 some weeks back, you’ll recall that that issue was merely the first chapter of a two-part epic. But if you missed that post, or would simply appreciate a memory refresher, here’s a handy recap of GL #55’s “Cosmic Enemy Number One” from writer John Broome and artist Gil Kane — straight from the splash page of issue #56 itself: 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
Some years ago, when the late, lamented Comics Buyer’s Guide was still being published, comics writer and critic Tony Isabella offered up in its pages an opinion that’s always stuck with me — namely, that although he liked Green Lantern just fine, he’d never liked the concept of the Green Lantern Corps. As far as Mr. Isabella was concerned (and it’s been a long time since I read this, so I’m paraphrasing), a universe full of alien heroes all sharing the same name, wearing the same costume, and bearing the same super-powers as “our” Green Lantern, Hal Jordan, made Hal less special. The reason that this opinion has remained lodged in my memory, I think, is that I’ve always felt precisely the opposite. It’s the fact that Green Lantern is one of many heroes with the same name, powers, etc., that makes him (and his adventures) stand out from the rest of his costumed, code-named peers. Read More
Somehow, someway, in the 18 months that I’ve been doing this blog — during which time I’ve written 26 posts tagged “Batman”, 8 tagged “Detective Comics”, and 14 tagged “Carmine Infantino” — I’ve neglected to write about a single one of the Batman stories Infantino drew for Detective during the corresponding span of time in the 1960s. And since I believe that Infantino’s artwork for the Caped Crusader holds up better after half a century than virtually any other aspect of the “New Look”/”Batmania” era of the character, that’s an oversight that needs to be rectified — which I am happy to do, at last, with this post. Read More
Comic book superheroes don’t get married very often. The conventional wisdom is that tying the knot not only puts an end to any dramatic tension in a hero’s current romance, but that it also severely limits the storylines that writers and artists can explore with that hero in the future. The pull of this idea among modern comics creators is so strong that even superheroes who’ve been married for as long as 15 years (Superman), or 20 (Spider-Man), can find themselves suddenly single — not through anything so mundane as legal divorce, of course, but rather by way of such plot machinations as having the Devil alter the characters’ history (Spider-Man), or rebooting a whole universe (Superman). 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. (UPDATE: The original header was retired in May, 2020, but can still be accessed via the link given above.) 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