Regular readers of this blog will have heard me say this before, but it bears repeating — sometimes, I just have no idea why my younger self chose to buy a particular comic book fifty years ago.
That’s certainly the case with the subject of today’s post. After passing Captain Marvel by on the stands for almost a year, in January, 1969 I decided to gamble twelve cents on the series’ twelfth issue. How come?
Was it the cover, by John Romita and Sal Buscema (or maybe George Tuska and Buscema — the usual reference sources differ)? I suppose it could be. It’s not a particularly distinguished composition (at least, not to my present-day, 61-year-old eyes), but it’s not what I’d call bad — and those bright, contrasting colors really do pop. So, maybe.
Perhaps it was the result of a long-simmering curiosity about the character that had been sparked by my reading of the “Captain Marvin” parody in the ninth issue of Marvel’s Not Brand Echh series, back in May of ’68. That piece, produced by the “real” Captain Marvel’s onetime writer and penciller (Roy Thomas and Gene Colan, respectively) had served as a sort of primer on the origin, powers, and modus operandi of “Marvel’s Space-Born Super-Hero!™” — though one read through a cracked glass, as it were. It had also been pretty funny to my then ten-year-old sensibilities, even if Thomas’ gags referencing the original Captain Marvel had gone right over my head. So, maybe I recalled this story when I saw Captain Marvel #12 on the spinner rack, and decided to give the “real thing” a try. Read More
People who’ve known me for a while are likely to know that as much as I love comic books, they’re not the only thing I geek out over. Another of my abiding passions, going back more than forty years, is the legend of King Arthur and the Knights of the Round Table, in all its cultural manifestations — classic literature, modern prose fiction, art, films, music, and — of course — comics. Over the last few decades I’ve been fortunate enough to have had several opportunities to combine my interests in Arthuriana and comics in ways I can share with others — beginning with an article in the late, lamented fanzine Amazing Heroes in 1984, continuing with contributions to academic (!) works such as The New Arthurian Encyclopedia, and more-or-less culminating in my web site, “Camelot in Four Colors: A Survey of the Arthurian Legend in Comics” — est. 2000, and looking every day of its age (still, you should check it out, OK?).
I got the Arthurian bug in a big way around 1973 or thereabouts. It was sparked by a number of factors, among the most significant being T. H. White’s novel The Once and Future King (as well as its stage and movie musical adaptation, Camelot), Mary Stewart’s Merlin novels, and C. S. Lewis’ contemporary science fantasy That Hideous Strength. Those were all manifestations of the Arthurian legend that I encountered as an adolescent in the early Seventies — but, of course, like many if not most other English-speaking people of the modern world, I was first exposed to King Arthur and his mythos during the earlier period of my childhood. And what was probably one of the first truly significant exposures came along in September, 1966, in the form of World’s Finest #162 — in which the ranks of the Round Table knights were joined by none other than my two favorite heroes, Superman and Batman. Read More