Back in December, I wrote about the departure of Dick Giordano from his position as an editor at DC Comics. Giordano’s last day on staff at the publisher appears to have been November 4, 1970 — but, since the processes involved in producing periodical comic books don’t stop (or start) on a dime, the fruits of his stewardship would continue to appear in the titles he’d supervised for another few months, even after he was no longer the editor of record. The same principle had of course applied at the beginning of his tenure at DC; and thus, just as Giordano’s first issue of Teen Titans (#15, May-Jun., 1968) had featured a story almost certainly procured by his predecessor, George Kashdan, the first issue edited by his successor, Murray Boltinoff, would present a tale that had actually been written and drawn under Giordano’s direction.
Well, mostly written and drawn under Giordano’s direction. While the story in Teen Titans #32 is solely credited to writer Steve Skeates and artist Nick Cardy, its actual provenance is… rather more complicated. Read More
Portrait of Dick Giordano by Joe Orlando, published in many of Giordano’s inaugural DC letters columns in1968.
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
Based on this note from editor Murray Boltinoff that appeared on the issue’s letters page, Brave and the Bold #93’s “Red Water Crimson Death” by Denny O’Neil (writer) and Neal Adams (artist) had been in the works for a while:
“…one of the most distinguished and inspired examples of comic mag art”? That’s some pretty high praise from Mr. Boltinoff. But my thirteen-year-old self wouldn’t have argued with him back in 1970; and it still sounds just about right to sixty-three-year-old me, here and now in 2020.
In any event, regardless of how and why the production of this story might have been delayed, its ultimate release could hardly have been more opportunely timed — October 27, just four days before Halloween. What better time for Batman to dare enter the House of Mystery? Read More
According to the Mike’s Amazing World of Comics web site, Robert Kanigher scripted 2,707 comic book stories in his five-decade career, the vast majority of them for DC Comics. But despite the fact that I’ve been reading DC comics myself for over five decades — three of which overlap with those during which Kanigher was working — I’ve never really felt like I had a handle on the guy. Read More
By August, 1970, I’d been buying and reading comic books for a full five years. Somehow, however, in all that time, I hadn’t yet sampled an issue of Jimmy Olsen.
I’m not really sure why that was. My very first comic book had been an issue of Superman, after all, and I’d picked up a couple of Lois Lanes pretty early on, as well. And I don’t recall having anything particularly against the red-headed cub reporter (in comics, anyway — I think I always considered the version played by Jack Larson on the live-action TV show to be kind of a doofus). Indeed, as best as I can remember, I actually kind of enjoyed Jimbo’s appearances in World’s Finest, where he basically functioned as the Robin to Superman’s Batman, as well as having his own team-up thing going with the genuine Boy Wonder on the side (the Olsen-Robin team even had their own secret HQ, the Eyrie). Read More
Throughout my fifty-four years of reading comic books, it’s hard for me to think of another cover that was as much of a pleasant surprise on first sight than Neal Adams’ cover for The Brave and the Bold #85. This goateed, grimacing tough guy, aiming an arrow out in the general direction of the viewer that didn’t look the least bit “tricky”, but rather looked quite deadly — this was Green Arrow?
The thing is, I actually already liked Green Arrow. Not that he was one of my very favorite characters, or anything like that; in fact, I’m fairly certain I’d never even read a solo tale featuring DC Comics’ Emerald Archer at this point, though that may have been mainly because I’d never really had the chance. (GA had lost his regular backup slot in World’s Finest in early 1964, a full year-and-a-half before I began buying comics; and though there’d been a few of his tales reprinted here and there since then, I’d missed them.) But I enjoyed seeing him in Justice League of America, perhaps at least in part because of his underdog status. While I generally favored JLA tales that focused on the team’s heavy hitters — Superman, Batman, etc. — I also appreciated those stories that allowed the “lesser” heroes their time in the spotlight, the way that Justice League of America #57 did for Green Arrow. I didn’t even mind all that much when the storytellers (writer Gardner Fox and artists Mike Sekowsky and Sid Greene, in this case) subjected the Battling Bowman to such silliness as the scene below, where GA, facing four armed criminals, takes the time to set up a trick shot because… it’s just more fun, I guess? Read More
As I’ve written in several previous posts, I was something of a wuss as a kid, at least when it came to my choices in entertainment. (Oh, who do I think I’m kidding? I was an all-around, all-purpose wuss.) To put it plainly, I was scared of being scared.
So I pretty much eschewed all forms of scary media: horror movies, eerie TV shows, spooky comic books… you get the idea.* That is, until a friend took me gently by the hand (metaphorically speaking) and showed me that a walk through the cemetery at midnight could actually be kind of fun. Read More
December, 1968, saw the publication of the fourth issue of Neal Adams and Bob Haney’s run on Brave and the Bold — a partnership that had begun with the duo’s “The Track of the Hook” some six months earlier, and which was gradually evolving the image of Batman towards a darker, more mysterious vision, one closer to how he’d originally been concerned by Bob Kane and Bill Finger thirty years before. That vision was slowly becoming established as the proper take on the Caped Crusader in the minds of comics pros as well as fans (though there was as yet little evidence of its influence in the other series in which Batman regularly appeared). And while this emerging new direction for Batman was inarguably driven almost entirely by the artistic efforts of Adams, Haney’s scripts — more grounded and serious than most of his earlier work with the character in BatB, which he’d produced during the TV show-inspired “camp” era — were consistent with the visual tone set by Adams’ drawings, and usually managed to carry their share of the weight in the ongoing enterprise of re-imagining DC Comics’ Darknight Detective. That was true even in the context of a story like “The Sleepwalker from the Sea!”, which brought one of the publisher’s more fanciful heroes into the increasingly gritty urban milieu of Gotham City. 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
Back in 1967, when DC Comics’ newly-promoted Art Director, Carmine Infantino, discovered Neal Adams toiling away in a production room on one of the company’s “third-string” (Infantino’s words) titles — The Adventures of Jerry Lewis, perhaps — and determined that the young artist’s talents could and should be put to better use, one of the first better uses he put them to was to produce covers for DC’s “Superman family” books. These comics had been under the editorship of Mort Weisinger for a long, long time — decades, in some cases — and their covers all had a particular “look”, typified by the style of artist Curt Swan. The advent of Adams’ more dynamic style represented a sea-change for the Superman books, and, by extension — given the Man of Steel’s flagship status — the rest of DC’s line, as well. Read More