When last we saw Captain America, back in May, the Living Legend of World War II was in a very tight spot. His greatest foe, the Red Skull, had used the awesome power of the Cosmic Cube to switch bodies with him, and then, after forcing him into conflicts with police officers, his buddies in the Avengers, and even his girlfriend Sharon Carter, had banished him to the remote Isle of the Exiles. Read More
For the first year or so of the Justice League of America’s existence, the stories of DC’s premier superteam followed a fairly strict formula. Beginning with the team’s three tryout issues of The Brave and the Bold in 1959 and 1960, the tales told by writer Gardner Fox, penciller Mike Sekowsky, and editor Julius Schwartz played out according to a prescribed pattern; the team members (Aquaman, Batman, Flash, Green Lantern, the Martian Manhunter, Superman, and Wonder Woman — and, from JLA #4 on, Green Arrow) would come together at (or at least near) the beginning of the story; then they’d encounter or discover a menace; then they’d split into teams to battle different aspects of said menace; and then, finally, they’d come together at the end to secure their ultimate victory over the menace. Also as part of the formula, at least for the earliest adventures, Superman and Batman took no active role in the central team-up chapters, and sometimes didn’t even show up for the group scenes at the beginning or end; this was due to editor Schwartz deferring to the preferences of editors responsible for those heroes’ own titles, Mort Weisinger and Jack Schiff, who didn’t want DC’s two marquee characters overexposed. Even after the restrictions on using the Man of Steel and the Caped Crusader eased up somewhat, there were issues when they were entirely absent (“on assignment” in Dimension X, or something else of that sort), and neither of them appeared on a cover until JLA #10 (March, 1962). Read More
As readers of my post about Captain America #110 a few months back may remember, my eleven-year-old self read and enjoyed that comic book — the first in a classic trilogy of issues by Jim Steranko — when it came out in November, 1968, and I finished it ready and waiting to buy and read the next one. However, for one reason or another (either it never made it to any of the retail outlets in Jackson, MS, where I bought my comics, or I just didn’t manage to get to the store before it sold out), I never saw, and thus couldn’t buy, Captain America #111. Because, seriously — how could I have passed up a book with a cover that awesome, if I had seen it?
That issue continued the storyline created and developed by Steranko, who plotted as well as drew these issues (supported on the dialoguing end by writer-editor Stan Lee) in which Cap took on a new partner, Rick Jones, while also confronting the threat of the newly resurgent terrorist organization Hydra. Issue #111 had ended with the apparent death of Captain America, showing the Star-Spangled Avenger’s silhouetted body struck by a hail of bullets as he dove from the roof of a waterfront building into New York City’s East River. Read More
They just don’t make superhero wedding comics* the way they used to.
These days, it’s as likely as not that a heavily promoted “wedding issue” will come out and have not a single scene where anything remotely resembling a wedding ceremony occurs. Or, a couple does get married, but it’s a different couple than the one whose marital union the book was supposed to be about. Something of a bait-and-switch going on in both of those cases, if you ask me.
Ah, but in the Good Ol’ Days (AKA the Silver Age of Comics), the major funnybook publishers really knew how to celebrate them some nuptials. For an example, take Aquaman #18 (Nov.-Dec., 1964), where the whole blamed Justice League of America turns out for the Sea King’s undersea wedding to Mera (bubble helmets thoughtfully provided by the Royal Atlantean Event Planning Committee, I’m sure), Or Fantastic Four Annual #3 (1965), in which not only do all of Reed Richards’ and Sue Storm’s super friends show up, but so do a whole passel of super foes, as well, thanks to the machinations of the diabolical Doctor Doom. Now that’s what I call a wedding to remember. Not a dry (or un-blackened) eye in the house, y’know what i mean?
And then, there’s Avengers #60, featuring “‘Til Death Do Us Part!”, by Roy Thomas (writer), John Buscema (penciler), and Mike Esposito (inker, as “Micky Demeo”) — which not only gives us an Avengers Mansion-ful of super-powered guests and gatecrashers, but also brings the wacky on a level rarely seen before or since. Read More
By September, 1968, when the subject of today’s post came out, I was buying The Avengers semi-regularly. Of course, “semi” literally means “half” (at least in the original Latin) — which is my way of saying that though I’d bought issues #53, #56, and the 1968 Annual, I’d skipped, or at least missed, issues #54, #55, and #57. So, not only did my eleven-year-old self miss out on the debut of the Vision (in #57), but I was also completely in the dark about the malevolent robot who’d allegedly created him, Ultron-5, introduced in issues #54 and #55 as the mysterious leader of the “new” Masters of Evil.
Thus, when I came across Avengers #58 in the spinner rack, I may have been momentarily daunted. Even if I had no obvious way of knowing that this issue tied into the Masters of Evil storyline from several months back, it was clear from the cover that the story was a direct follow-up to the previous issue’s Vision tale.
But the cover also made it crystal clear that the book featured appearances by Captain America, Iron Man, and Thor — the Avengers’ “Big Three”, whom series writer Roy Thomas wasn’t allowed to use as regular team members by the fiat of editor Stan Lee, but whom he nevertheless shoehorned into the book every chance he got — and I had been conditioned by now to recognize this as being something of a special event (if not necessarily a rare one). And, in the end, that must have sold me. I’d buy the book, and trust that the creative team — which included penciler John Buscema and inker George Klein, in addition to Thomas — would catch me up. Read More
Marvel Comics’ original summer tradition of publishing “King-Size Special!” annual issues featuring (mostly) new material had a relatively brief heyday in the Sixties — just six years, really. I’ve known that for decades, but before digging into my collection to do the research or this blog, I hadn’t realized how very few of those annuals I actually bought new off the stands. While I’d bought my first Marvel comic book in the summer of 1967, I didn’t pick up any annuals until the summer of 1968 — and that was the last year that the specials featured all-new material, at least for a while. As it turns out, I just managed to catch the very tail end of this golden era of Marvel annuals. And I’d end up buying all of two off the spinner rack 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
Before re-reading this comic in preparation for this blog post — probably the first time I’d cracked its cover in at least three decades — I had been remembering it as a more typical example of the JLA stories of the period than the first one that I’d bought and read, the philosophical and essentially villain-less “The Indestructible Creatures of Nightmare Island!” in JLA #40. As it turns out, however, this issue has a good bit more in common with its immediate predecessor than I’d previously recalled. Like in that story, the main action here turns upon a character manipulating people’s attitudes and behaviors by artificial means. However, in “The Key-Master of the World!” (uncredited, but produced by the book’s regular creative team of Gardner Fox, Mike Sekowsky, and Bernard Sachs, according to the Grand Comics Database), the manipulation is limited only to the titular heroes rather than affecting the whole world, and the perpetrator’s intent is malicious, rather than benign. Read More