Showing posts with label Silver Age. Show all posts
Showing posts with label Silver Age. Show all posts

Saturday, September 17, 2016

The Height of My Comics Buying, and Other Stuff I've Liked


Doug: Last weekend we spent some time recollecting our comics purchases during September of 1983. Several commenters remarked that they were either done or nearly done with a phase in their comics collecting experience; others left a note that they felt the output during that particular area was a) subpar and even b) above par! How in the world could our experiences (and perceptions of those experiences) be so different? All of our bus drivers are here today to start our weekend conversation.

Redartz: My personal comics peak was a fairly lengthy one, stretching from 1974 to about 1981. Early in '74 I got hooked on Marvel, especially, and was hungrily sampling title after title. There were so many to choose from, aside from obvious favorites like Amazing Spider-Man and Avengers! Loved all the Giant-Size books, loved anything by Steve Gerber. Through the end of the decade I probably averaged about 20 titles a month, mostly Marvel but with a few DC's here and there. These seven years were filled with great creators and great books -- Englehart, Shooter, Byrne, Perez, Rogers, and so on. Such a time for variety and experimentation -- truly something for everyone!
Prior to '74, I was in an Archie phase, which vanished upon my intro to Marveldom (although the Archie interest would return some years later in the form of back issue hunting, especially some earlier 50s and 60s comics). However, many books from the Silver and early Bronze Age soon joined my collection -- particularly Marvel Team-Up, Conan, ASM, Fantastic Four, and Avengers (really loved that "Avengers/Defenders War"-- that one title sure had a bounty of great storylines).

But by 1981, I was in college -- money was tighter, and my interests were shifting. Within just a couple years my comic purchases would drop to less than 10 per month, including several Indie titles like Journey, Neil the Horse, and Mr. X. Many mainstream titles started to lose their appeal for me. I kept up Spider-Man as my longtime favorite, but even quit on him after the Defalco-Frenz period. By the mid 80's I was only buying Byrne's Fantastic Four regularly, and irregular issues of Spectacular Spider-Man, Action Comics, Batman and a few others. I quit X-Men after Paul Smith left, and by the end of the 80s I was mostly out of comics.

Not entirely, though -- there were books from that era, and later, that I bought and enjoyed. McFarlane's run on Amazing Spider-Man brought me back, and I really enjoyed them. Comico ran a fine Jonny Quest series I collected in its entirety. There was Watchmen, Crisis on Infinite Earths, and in '91 DC did a fun miniseries with Angel and the Ape. I started buying “Simpsons Comics” when they debuted. So looking back, even though the comics wonderland I explored in the 70s seemed long gone, there was still some good reading to be had. No doubt there was much more that I missed out on completely (young parenthood really limits that disposable income).

Doug: You know, because of the timing of my hiatus, I never warmed to the Indies. In fact, it wasn't until Dark Horse began the "Legend" imprint that I regularly bought independent comics. So all the talk from our friends of Cerebus, Mister X, Elfquest, et al. has me on the outside looking in. And to respond to some of the comments from last weekend, I did feel that the overall quality of art at Marvel had declined during my absence as compared to when I quit buying. I am not saying there was no quality at all -- maybe I'm prejudicial to what I'd known, and I felt that the "House style" was changing.

My best guess is that I was a regular comic book buyer by the time 1973 rolled around. Please understand, though, that at the ripe old age of 7, "regular" meant that I had a very short stack of comics. But I would ask for them when I saw them, and soon gravitated to the Avengers, the Fantastic Four, and Amazing Spider-Man. By the time I was 10 (1976), I was buying a whole bunch of titles -- when I could find them. The three just mentioned were soon joined by Peter Parker, Marvel Team-Up, Marvel Two-In-One, X-Men, Teen Titans, Superboy and the Legion of Super-Heroes, the Champions, Thor, the Secret Society of Super-Villains, Batman, Batman Family, Invaders, Green Lantern/Green Arrow, Daredevil, Super-Villain Team-Up, Conan, the Giant-Size, Annuals and Dollar Comics, Marvel Treasury Editions and DC's Limited Collector's Editions, and many more. I would continue as such right up until the summer of 1980 when I'd graduated the 8th grade and thought I was "too cool" for comics as I entered high school. As I've remarked, comic books and the like simply did not have the sort of social acceptance that they do now, and as a football player and a young man definitely on the market for a steady girlfriend, I made the (erroneous) assumption that all that would not mix. It would take until my sophomore year of college before I got my mind right on that subject.

So what have I liked since the "return" and before the final "departure" (back in 2005)? I have enjoyed The Dark Knight Returns on many readings. I initially liked John Byrne's revamp of Superman, and really got into George Perez's Wonder Woman. All of that came after Crisis on Infinite Earths, which in spite of what it did to the Legion, Supergirl, and other characters I'd really liked, I enjoyed. Retroactively, I thought the Roger Stern/John Buscema/Tom Palmer run on the Avengers was quite good. I stuck with Amazing Spider-Man way past when it stopped being fun (pretty much when Todd McFarlane left). Frank Miller's Sin City stories were solid, as was Jeff Smith's Bone. I could go on, but I'll just say this -- and maybe this is from the perspective of a child -- I have never been as excited to read comics as I was when I was a wee fellow. In fact, the things I get giddy for nowadays are the announcements of collections of material from the Bronze Age. When I first saw solicitations for the Marvel Firsts series... Be still, my heart!


Martinex1: The bell curve of my primary collecting phase ran from the Summer of ’77 into 1981. I can almost track my attention to comics around the ebbs and flows of Avengers’ stories as that was the group I followed most attentively. So the John Byrne and George Perez era of art on that team book really defined my heyday. During that time the Claremont-Byrne Uncanny X-Men were also peaking. The Micronauts and ROM made their first appearances. And the Michelinie-Layton Iron Man stories were revitalizing the title. That era of comics is by far my favorite and one I return to often. I was very much a Marvel fanatic at that time. My attention trailed off a bit as I turned thirteen, entered high school, and The Avengers just passed their 200th issue.
I continued to collect intermittently with some great spikes along the way as friends and I still had those general interests, but my passion for comics never had the same steam it had in the late 70’s.

But I must mention an additional highpoint and that includes comics from 1969 to 1971. As I’ve mentioned before, my cousin supplied quite the selection of “old” comics and most were from this time period. The timeframe  rides the wave when Marvel was in conversion from 12 cent to 15 cent comics. And like those in the above years, I have a particular fondness for these issues. So I was exposed very early to both John and Sal Buscema’s art on the Avengers, from the Kang-Grandmaster challenge to Brainchild and the Squadron Supreme to the start of the Kree-Skrull War, and read those particular books over and over again. Jack Kirby was finishing up his tenure on the Fantastic Four.  And early issues of Captain Marvel and Sub-Mariner had my attention. That really shaped my expectations for more current off-the-rack comics. It also made my enjoyment of books like What If in the late ‘70s so acute as I was familiar with the backstories.

I missed out on most comics from 1972 to 1975, so it is interesting that I do not look as favorably on the Marvel comics with the window bordered covers. And in Avengers’ history, I am not a big fan of the Englehart period. It really just goes to what I was exposed to at a particular age.

In my frequent returns to comics over the decades, I have enjoyed the Stern-Buscema Avengers, particularly the “Under Siege” arc. I’ve liked books like The Exiles, Mark Waid’s run on The Flash, and Busiek’s Thunderbolts. But comparatively, I always gravitate to the comics of my youth.

Karen: It's difficult to single out just one period of time -I can think of three distinct phases where I felt very absorbed by what was going on in comics. The first would have been around 1974-1978, and I was focused almost exclusively on Marvel, with Legion of Super-Heroes being my only real exception. I was enamored with practically everything Marvel was putting out - all the mainstream books, like Avengers, Fantastic Four, Spider-Man, Captain America, Thor, but also the more unusual titles, like Warlock, Defenders, Iron Fist, and of course, the all-new, all-different X-Men. In fact, although my husband and most of my geeky friends think of me as an Avengers fan first  -and indeed, Doug and I first became friends on the old Avengers Assemble board - I realize that X-Men was the book that gripped me the most as a pre-teen. It was the one title  I just read over and over until the next issue came out -and it was bimonthly at first, so it was a long wait. 

Then, after a slower period, around 1982 I became interested in some of the independent titles like Love and Rockets, Nexus, Elfquest, along with titles from the Big Two that were outside their mainstream. At this time, I was working in a comic book store, so it was easy for me to sit and read practically everything, and I was able to take a chance on books that I might have passed up otherwise. Finding stories outside the super-hero genre was exciting; it opened me up to other possibilities for the medium.

But once I went off to college, my buying became less frequent. I still managed to keep up with some stories - I got all four issues of Batman: The Dark Knight when they came out - but comics weren't a priority for me anymore. After I graduated, I would occasionally pop into a comic store and pick up a few books, to try to get back into the hobby. But I found much of the Marvel universe to be impenetrable -particularly X-Men, which had expanded to galactic proportions. I felt like I was done.

Oddly enough, I was pulled back into comics initially by a DC Comic! I started reading JSA by Geoff Johns and Steve Sadowski around 2000, and this toehold evolved into 12+ books a month at its peak, until about 2006, when I felt I could no longer relate to the characters or enjoy the stories in most of the titles any more. I pick up an occasional book now but mostly focus on TPB collections of back issues, or non-super-hero trades, like the recent Star Trek/Planet of the Apes crossover. I would agree with Martinex though -seemingly as I get older I find myself more drawn to the books I loved most as a young child. It's delightful when I can find something new that gives me the same feeling!

Doug: So there you have it from us. Hopefully we get a nice conversation with lots of participation. Have a nice weekend, everyone! 


Monday, June 20, 2016

Enter Bizarro - Dueling Pencils (and Plotlines)


Superboy #68 (October 1958)
"The Boy of Steel Versus the Thing of Steel"
Otto Binder-George Papp

The Man of Steel #5 (December 1986)
"The Mirror, Crack'd"
John Byrne-Byrne/Dick Giordano

Doug: Yup -- half a century old, am I. I know I'm joining a club populated by many of our Bronze Age Babies, and I trust you'll treat me kindly in this land of AARP. Now if I could only remember what issue I'm supposed to review today...

Funny that I'm joking about being forgetful; well, maybe it's not even forgetful. I think it was William many a'moon ago (when we solicited ideas for posts) who queried what we had collected on our shelves but had never read. I can attest to owning The Greatest Superman Stories Ever Told, but have not read all of the tales contained therein -- and quite honestly have not cracked the book in perhaps 20 years. Figuring it had been awhile since I reviewed a Superman yarn (I've been really heavy on the Bat-side of DC lately, but that's the lion's share of what I have from those folks), I thought I'd check the table of contents of the "Greatest" trade. Now I've remarked several times that I've always been a Superboy guy, never Superman (well, not never). So when I saw Superboy #68 sitting there, and it was the 1st appearance of Bizarro to boot, I knew I was going to review it. But after I read it, I was like "Hey, wait a minute..." So I dug up our BAB review of Man of Steel #5, and darned if Anonymous (one of the most common baby names of the mid-60s) didn't comment:
Anonymous said...
Two things:
(1) at the time of the miniseries, Byrne stated that the purpose of the Bizarro story was to show Superman's first encounter with a super powered foe;
(2) the blindness thing is a call back to the first Bizarro story - where something similar happened. Bizarro died - and when he blew up, he cured a blind person (though I don't think it was Lucy Lane).
So there you have it -- cart planted squarely in front of horse. But you know that's not fair, so howzabout we take a look at these two stories, told almost 30 years apart, and see how similar they are? For those keeping score at home, I am going to blend in thoughts about Man of Steel #5 from mine and Karen's original review of that  publication.

The Creations: In Superboy #68, our young Kryptonian has visited a Professor Dalton, who is about to conduct a very important experiment. Dalton thinks he has invented a "Duplicator Ray" that will be able to exactly reproduce any material. His first attempt is on radium -- because after all, the 1950s was all about radioactivity. The radium that's created is a dud -- no radiation whatsoever. Dalton then turns his ray on a jewel, but it proceeds to melt like ice. Frustrated, he declares himself a failure. Ever empathetic, all Superboy can utter is, "Too bad, Professor! Well, I'll be on my way!" (at this point, please do yourself a favor and head on over to superdickery.com for more bad manners (and etc.) from Superboy, Superman, and a host of other comics bores). You know, it would serve Superboy right if that ray got turned on him and made an indestructible duplicate of him. Yeah -- that would fix smart-mouthed Superboy! And so it happened. But the duplicate, who we are repeatedly assured is some form of non-life (nevermind that it feels, thinks, has emotions, et al.), is soon out of the lab and on the loose and heading straight for mischief.


Skip ahead approximately 30 years and...

Lex enters a large laboratory where a Dr. Teng, dissident Chinese scientist, labors over a large sarcophagus. We learn that Luthor had his offices layered with cameras and untold diagnostic equipment that captured every iota of information about Superman while he was on the premises. The doctor then used that data to program his technology to create an exact duplicate of the Man of Steel. One problem, however: The equipment was infallible for any sort of terran lifeform. It's at this moment that Lex deduces that Superman could very likely be an alien. The professor unveils his creation, cautioning Luthor that it has been a failure. The sarcophagus is opened and out steps an entranced doppelganger of Superman... who then immediately collapses on the floor, and begins to crystallize. Luthor, enraged, grabs his hired hand and offers that he truly hopes he has not wasted his $100 million investment.  But just as quickly, he orders the creature removed -- Luthor is going home to Metropolis.

Close Encounters of the Bizarro Kind: Bizarro, being duplicated from Superboy, is somewhat aware of Superboy's life and surroundings. As such, he shows up at the Kents', the Kents' neighbors' home, and in various places around Smallville. Overall, he scares people. He is one goofy-looking dude. But there's a real innocence about him, child-like. He wants to fit in, and most of all to be loved. But everyone seems afraid of him and often runs the other way. As Bizarro sits alone on the curb crying, he's approached by a pretty teenaged girl who asks him what's wrong. She tells him that he seems kindly enough, a gentle soul. Bizarro is about to bust, and he flies away to tell a farm family who had humored him earlier. And then we learn that the girl is blind.


In the John Byrne version...

In Metropolis, we get to see Lois Lane's apartment and meet her sister Lucy. We learn immediately that some sort of tragic accident has recently befallen Lucy and her sight has been lost. Lois tries to encourage her, but Lucy is obviously depressed. Byrne depicts the sullen Lucy seated alone, head in hand. Cut away to the streets, where an ambulance careens out of control. A blown tire brings the vehicle to an abrupt stop, but since it is carrying a patient the situation is even more dire. Suddenly a familiar pair of red boots lands and hoists the vehicle.  It is very soon spirited to the closest hospital. As the crew emerges to thank Superman, a look of surprised horror crosses their faces. We see the Man of Steel's foggy reflection in the ambulance window, but cannot make out what must have spooked the EMTs.

Back at Lois' highrise, Lucy has moved onto the balcony and is poised to leap. She asks to herself that Lois forgive her, and pushes away. She doesn't fall far before blue-clothed arms reach out and scoop her away from her desired death. Taken back to the balcony, she's gently set down. She asks if her benefactor is Superman, but he says nothing. She feels him fly away, and is puzzled as to why he wouldn't speak. Cut away then to the Daily Planet, where Lois has arrived to work. After some banter, Jimmy (still sportin' that bowtie) asks if anyone has heard about the break-in at a men's store next door. Seems the perp busted thousands of dollars of plate glass to swipe a $100 suit, and left alone a jewelry store right next door! Clark uses his telescopic vision to peer down into the lobby and notices an odd duck wearing a sport coat over what looks to be a red cape. In a really nifty panel, Byrne gives us the first Superman quick-change and the Man of Steel emerges in the lobby to question this weirdo. Trouble is, when the guy turns around, he's an ashen duplicate of -- Superman! 


Attempted Destruction: Wow - the 1950s must have been pretty reckless. Superboy tries to subdue Bizarro by flying into space in a leaden suit of armor to retrieve a Kryptonite asteroid which he uses in an attempt to murder Bizarro (unless you believe that the creature was inanimate, as is continually suggested). When that fails, actually afflicting Superboy due to a counter-attack by Bizarro, the Teen of Steel asks his army buddies to bring out the conventional weapons. Seriously -- tanks, mortar shells, flamethrowers, you name it. With no positive results, Superboy suggests he be allowed to drop an A-bomb on Bizarro. You read that right. Remember in Kingdom Come when Kansas was obliterated? Superboy drops an atomic bomb on his doppelganger, who catches it and hurls it to the moon.  I'm not making this up. With nowhere else to turn, Superboy engages Bizarro directly.


But in Metropolis...

(Continued from above) The new guy on the block doesn't talk much, but he does pack a wallop! Superman is sent reeling out of the building, landing in the middle of a city bus. He urges the passengers to stay put and heads back out to confront his assailant. We get a good look at the guy, who is fully garbed in a navy blue (not royal blue) Superman suit and what looks to be Clark Kent's wardrobe! Superman soon finds that this imposter possesses all of his powers, including his vast strength. When Lois comes on the scene, Superman decides it would be beneficial to rid his enemy of the civvies. As Superman takes a shot, Lois comes closer -- close enough that she draws the creature's attention. He grasps her wrist and flies her away.



Lois decides that she'll try to talk to the "guy". But when she does, he turns his full attention to her, and kisses her! In a nice piece of writing, Byrne has Lois think, "I don't believe it! Five years I've been dreaming of being kissed by Superman..." Anyway, the creature lands on the same balcony to which he'd deposited Lucy earlier in the story. She is still outside, and can see Lois and "Superman" approaching! Lucy approaches the doppelganger, but as she moves to touch his face, the real Superman arrives. He tries to move the ladies to safety, but is pummeled by his duplicate. They engage, and Superman is hurled straight down into the street. He notices that some sort of powder has rubbed off on his fist and sleeve. Looking at it with his telescopic vision, he notes that it is inorganic -- the creature isn't alive. "Our ugly friend is some kind of android -- an artificial being -- just one step ahead of a robot!"


 
Endgame
: Spent for suggestions, Superboy heads back to Smallville to see if there isn't something he can think of that he can use to get rid of Bizarro. The creature follows him back to town, but as Bizarro arrives he falls from the sky -- as if under the influence of Kryptonite. But having exhausted that as an option, Superboy races to find the substance that has affected Bizarro. Flying by Professor Dalton's lab, he sees a custodian emptying the remnants of Dalton's Duplicator Ray machine and notices that the parts emit a glow... hazardous waste? Pfah! Grabbing a huge piece, Superboy threatens to end Bizarro's existence; although Bizarro retorts and uses the word "kill". Bizarro, in typical Bizarro fashion, flies directly at the Teen of Steel.


In the Post-Crisis Superman revamp...
 
Superman rockets upward as the creature turns toward him. Suddenly it launches downward and the two meteors strike head on. Superman emerges apparently no worse for the wear, but the creature is nowhere to be found.


Eyesight to the Blind: As Bizarro impacted Superboy's metal plate, he exploded into dust particles. A distance away, Melissa felt the impact and was awash in waves of the dust particles. Suddenly her eyesight returned!

 And finally, in 1986...

Bizarro exploded into a huge cloud of dust and crystal particles. And it's those particles that apparently cured Lucy's blindness. Superman is complimented for taking the action that cured Lucy; however, the Man of Steel muses that he really didn't know it would work out that way... but the creature must have.


I feel the need to offer some additional thoughts on Superboy #68, as this comparative post will serve as the review of the story. It was certainly one of those Silver Age books that, with the right mindset, could be enjoyable. I'm sad to say, however, that my mind might not have been exactly positioned in that manner. The basics of the story were fine -- plot, art, etc. But oh the dialogue... I was reminded early and often why as a kid I loathed Superman comics. Generally speaking, Superboy comics tended to avoid the following, but all are in full use here: telescopic vision, super-strength, super-breath, heat vision, super-wits, super-hearing, super-force, super-ventriloquism, super-blows, super-judo... as well as super-vibration, super-impact, and super-inspiration. Whew! Otto Binder actually used every one of those terms in a 24-page story. And it wore me out.

I enjoyed the art, but again through the lens of the Silver Age. I don't know how much George Papp art I've ever seen, but this was pleasing to the eye and appropriate to the subject matter. Papp's art fit in with the "aw, shucks!" sense I get from stories of this vintage.

If you made the jump above to our Man of Steel review, you saw Karen and I comment on John Byrne's attitude toward Bizarro and how it seemed to preface what he'd do to the Vision a few years hence in the pages of West Coast Avengers. I felt in Byrne's treatment, and especially in Binder's script, that Bizarro was too easily discarded as some form of non-life. You ask me, the dude was alive. Also, and in closing because I've taken enough time out of your day, I'd add that Binder's scientific explanations throughout the Superboy tale are at once charming and "say what?!", but most of all pretty dumb.

But I'd read that story again -- it was addictive in a "why am I eating this" sort of way.



Thursday, May 5, 2016

A House of Ideas Divided




Doug: The Civil War continues! What a week this has been. Many, many thanks to all for the stimulating conversation, and especially to our writers for the great talent they've brought to us. So much fun. And I will hurriedly step to the side, as our pal Colin Bray has a nifty take on the whole hero vs. hero deal. Onward, then!







Colin Bray: Superheroes spend so much time fighting each other that it's a wonder they don't lose their license. The main driver is of course fan demand, and funny book people have spent an inordinate amount of effort manufacturing scenarios to justify hero-on-hero action.


Stan and the gang brought these conflicts to the fore during the Marvel Age of Comics as part of the ‘realistic’ package. Yep, these heroes were flawed alright - easily manipulated and short of fuse – and didn’t readers love it.


So here, in no particular order, are a sample of Marvel storytelling tropes used throughout the Silver and Bronze Ages to bring our heroes into conflict.

 


1. Hypnosis

Unique in being found on the ads pages too - did anyone here ever order a hypo-coin? In which he Ringmaster repeatedly catches our heroes out with his pinwheel hat and sinister moustache. Bonus points for the Circus of Crime.

Fun Issue: Amazing Spider-Man #16. A hypnotised Spider-Man fights Daredevil - who, of course, is unaffected by that pesky pinwheel.



2. Time Travel

Time travel works both forwards and backwards in comics. Regardless, it often seems to end up with our hair-trigger heroes coming to blows. Hit first, talk later is the motto.


Fun Issue: Avengers Annual #2. Kang. Immortus. Old Avengers fighting New Avengers. My brain hurts already.



3. Fighting each other 'for the greater good'

One hero believes another is a walking bomb. Or embodies an ancient curse. Or both. Heroes-also-being-manipulated-as-pawns-in-a-bigger-conflict optional.


Fun issues: Avengers/Defenders War (Avengers #115-#118 and Defenders #8-#11). Nuff said.



















4
. Amnesia

Heroes sometimes forget who they and their friends are. Oh dear.


Fun issue: Fantastic Four #36 and Medusa’s first appearance. Bonus points (or not?!?) for retcon-driven amnesia. A bit of a cheat, this one. Are there any better examples? 



5. Super-Skrull/Super-Adaptoid/Taskmaster


My personal favorite - villains possessing the powers of multiple heroes, all in one quadruple-or-more-threat package. No need for forcing the storyline here - it’s villains against heroes and everyone knows where they stand. Pass the popcorn.

Fun issue:  Avengers #196 aka “The Terrible Toll of the Taskmaster” 
   




















6. The Bait and Switch


In which the cover proclaims a hero-on-hero battle, only for the reader to find that one of the ‘heroes’ is, I don’t know, possessed/a victim of a mind swap/an actor/a robot (delete as applicable) and therefore the story isn’t what it seems.


Fun issue: Marvel Two-In-One #7. A classic Bronze cover hiding the fact that blue-eyed Ben doesn’t actually fight Valkyrie…
  




7. Any Fight Involving the Hulk

Every Marvel hero has fought the Hulk at some point. It’s a rite of passage, a way to higher sales, a way to measure up against ‘the strongest there is.’


Fun issue: So many… let’s go with Amazing Spider-Man #119. In which the required collateral damage includes a major Canadian dam.






These are just some suggestions, let's open it out.What plotlines and issues have I missed? What about DC and other publishers? Did these repeated plot ideas get old for you?


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