In October, 1970, Dick Giordano had been an editor at DC Comics for roughly two and a half years. Since moving over from a similar position at the smaller Charlton Comics, Giordano had made his mark on such DC titles as Beware the Creeper, The Hawk and the Dove, Aquaman, and Teen Titans — all of which featured work by creators he’d previously employed at Charlton, including Steve Ditko, Denny O’Neil, Jim Aparo, and Steve Skeates. He had also served in the vanguard of a new cohort of DC editors who, like himself, had worked as comics artists before ascending into editorial positions. This was an innovation driven largely by Carmine Infantino, himself a veteran freelance artist who had recently moved into an executive role at DC; Giordano, however, had been hired not by Infantino, who in early 1968 was still “only” DC’s Art Director, but rather by Executive Vice President Irwin Donenfeld. Very soon after Giordano’s arrival, Donenfeld was ousted from the company, with Infantino being promoted to Editorial Director — a change which made him Giordano’s new boss. And although Giordano highly respected Infantino as an artist, he soon found it difficult — and ultimately, impossible — to work with him within their new roles. 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
By the time DC Comics released New Gods #1 on December 22, 1970, we readers were beginning to get some sense of the scope of the conflict at the heart of the imaginative construct we would eventually come to call Jack Kirby’s Fourth World.
Information had been delivered on a steady, if limited basis since the release of Kirby’s first new comic for DC, Jimmy Olsen #133, back in August. There we’d been introduced to Inter-Gang, a shadowy criminal organization whose insidious reach extended even into the everyday workplace of the DC Universe’s premiere superhero and his closest friends. In the following issue, published in October, we’d learned that Inter-Gang reported to someone called Darkseid; and in November’s JO #135, we’d discovered that this craggy-faced figure was also the boss of a couple of aliens, hailing from a world named Apokolips, who managed an Evil Factory where they conducted sinister experiments with human DNA — with the clear implication that Darkseid shared their extraterrestrial origin. Finally, in Forever People #1, published December 1st, we’d met a group of strangely garbed — and gifted — young folks from someplace called Supertown, who arrived on Earth by a bizarre means of transport called a Boom Tube. One of their number had been kidnapped by none other than Darkseid, who had come to our world in search of an “ultimate weapon” called the Anti-Life Equation — and it seemed clear that while Darkseid himself might not be from Supertown, he and these Forever People were nevertheless connected in some way. Read More
In July, 1969, Marvel Comics editor-in-chief Stan Lee announced in his “Stan’s Soapbox” column that the company was instituting a new “no continued stories” policy for all its titles. Today, that policy (which remained in place for about a year and a half, at least officially) is widely considered to have been not Lee’s own idea, but rather one that was imposed on him by his then-boss, publisher Martin Goodman. Assuming that’s true, it’s interesting to consider how much Lee flouted the policy in one of the relatively few books he still wrote himself, The Amazing Spider-Man — which, as it happens, was also the company’s best-selling title, and thus probably the one most likely to be noticed by Goodman. Read More
The second half of 1969’s iteration of DC Comics’ annual summer event teaming the Justice League of America with their Golden Age predecessors, the Justice Society of America, sported a cover that was — for this particular twelve-year-old’s money — considerably more exciting than the previous issue‘s. That cover had featured a row of JSAers looking on passively while some nameless kid ripped up a lamppost; this one, pencilled and inked by Neal Adams, heralded the first meeting between the Superman of Earth-One (the one currently appearing in multiple DC titles every month) and the Superman of Earth-Two (the one who’d ushered in the whole Golden Age of Comics in the first place in 1938’s Action Comics #1) — and from the looks of things, it was going to be a, shall we say, rather contentious meeting. That I would buy this comic book was never in question; but I have a hard time imagining anyone who was even a casual reader of DC superhero comics seeing this book in the spinner rack in July, 1969, and not picking it up. Read More
1968 was a watershed year for my first favorite comic book, Justice League of America, though I don’t think that my then eleven-year-old self fully realized that at the time. Sure, artist Mike Sekowsky — who’d drawn every single issue since I’d started buying the series three years before, as well as every earlier JLA story I’d seen reprinted in DC Comics’ “80-Page Giants” — had left the book with issue #63, with Dick Dillin coming in as penciler starting with the following issue. And Gardner Fox, who’d written every League story I’d ever read, was gone as well, just two issues later. But Sid Greene was still inking the book (for now), so it still looked very much the same* (to my young and unsophisticated eye, at least). But, even with both Greene and (more importantly) editor Julius Schwartz still in place, there had most definitely been a changing of the guard; and JLA #66 represented the beginning of a new era — whether I knew it or not. 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
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
After reviewing my comics buying and reading habits of a half-century ago for close to three years now, I’ve just about concluded that the younger me of those days wasn’t all that interested in teenage superheroes. Oh, I didn’t have any problem with, say, Robin, when he was appearing with Batman. The same would apply in the case of Kid Flash with Flash, or Aqualad with Aquaman. Teenage sidekicks were OK as supporting players, so long as there was a grown-up hero at the top of the bill. But I appear not to have had much interest in checking out the three junior partners named above, or their colleague Wonder Girl, when they were having adventures without any adult mentors around — not, that is, until the issue of Teen Titans that is the subject of today’s post. Read More
Since launching this blog back in July, 2015, I’ve endeavored to include my original impressions of the fifty-year-old comics I’m revisiting here, as well as to present my current opinions on same, and, frequently, some historical material about the characters and creators involved. To accomplish the first part of that, I’ve obviously had to rely on memories of a half-century’s vintage. Those memories have been vague and incomplete, without question; still, I’ve generally assumed that what I have been able to remember, and include in my blog posts, has been, for the most part, recollected accurately.
Until this post, that is. Read More