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Comics

[February 6, 1969] Are Comics Embracing a 1970s Mindset?

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by Jason Sacks

After the hullabaloo we saw in the world of comics in 1968, our new year of 1969 looks to be equally as interesting. Last year saw both Marvel and DC expand their lines—in Marvel’s case, doubling the number of comics they released—and we fans are lucky to see that diversity.

One of the breakthrough stars of ’68 was Jim Steranko, whose astonishing work on Nick Fury, Agent of SHIELD provided some massive pop-culture thrills and energy. Steranko’s style feels like nobody else’s in comics, combining a pop-art, hyper-stylized approach with excellent storytelling and a massive dose of energy in his work.

Nick Fury Agent of SHIELD #9 cover
Nick Fury Agent of SHIELD #9 cover

Steranko’s successors on SHIELD don’t have the same flash, but journeyman cartoonists like Frank Springer and Herb Trimpe still bring the goods. The Christmas-themed issue 10 brings some special spy drama and a bit more energy than I’m used to from those artists.

Steranko left SHIELD, but 1969 dawns with an equally epochal run by him on Captain America, with writing as always by Stan Lee. One barely needs to look past the covers to see the energy Steranko brings to the page—see this week’s Cap cover for an example. Inside, the team has contrived to bring back Cap’s pal Bucky Barnes, dead since the end of WWII, and the twists and turns promise to be thrilling.

Amazing spread from Steranko's Captain America
Amazing spread from Steranko's Captain America

Stan, of course, continues to write much of Marvel’s line, most notably on modern classics Amazing Spider-Man (now teamed with artist Jim Mooney), Fantastic Four and Thor (it’s hard to imagine anyone other than Jack Kirby drawing  either). Spidey, in particular, has featured some great tales recently. Last year’s Kingpin tale was a show-stopper, while “Crisis on Campus,” cover-dated January 1969 and released in October, places Spider-Man firmly in the world of today, dealing with the fury and chaos of our complicated world.

Other Marvel books have taken on the modern world, too. Most surprising was probably Sgt. Fury and His Howling Commandos, a book which would be as out-of-step with today as that Green Berets movie if not for the way writer Gary Friedrich tries to bridge the gap, as in January’s story of “The Peacemonger, ” in which a character voices empathy for the enemy and tries to find gray areas between the Allies and Japanese. It’s a bit ham-handed, but the attempt is interesting.

Moral ambiguity in the pages of Sgt. Fury
Moral ambiguity in the pages of Sgt. Fury

Maybe the nicest surprises from Marvel have been two-fold over the last year or so.

Stan and co. took a chance spinning the Silver Surfer off into his own series. I had my doubts whether the “Sky-Rider of the Spaceways” could support a title all his own—the character often seemed too self-pitying and dull in previous appearances. But my concerns were confounded. Stan installed artist John Buscema on the new title, and Big John brought the same majestic heroic splendor to the book which he has been demonstrating on Avengers. Silver Surfer #4, released in November, was an early Christmas gift for anyone looking to see gorgeous super-hero art.

Glorious John Buscema Silver Surfer art
Glorious John Buscema Silver Surfer art

The other nice surprise has been the move away from the dull, dutiful Wener Roth art in The X-Men. The aforementioned Mr. Steranko drew two mind-blowing issues before giving way to a young but promising tyro named Barry Smith. Smith copies Jack Kirby’s linework dutifully, but his art also shows the promise of an artist who might break out like Neal Adams recently did. Speaking of Adams, the fan press tells us that brilliant artist will be taking over X-Men starting next month, so I am on the edge of my seat waiting for that day to arrive.

Marvel still rounds their line out with a plethora of other super-hero mags (including Captain Marvel, Daredevil  and Doctor Strange) as well as war comics, westerns and Archie-style books.

Over at National/DC, the company feels like it’s on the verge of embracing a 1970s mindset in their comics. I’ve written before about the evolution Batman comics took over the last year, from goofy camp to dramatic tales which fit the character’s long history. Frequently written by comic-strip vet Frank Robbins and neo-comics writer Denny O’Neil, there’s a vitality in Batman, Detective and Brave & Bold which fits our times. This month’s Brave & Bold, which teams Batman with the Teen Titans, and includes brilliant Adams art and a story which beautifully captures the generation gap causing chasms in so many American households today.

Lovely Adams art from Brave & Bold
Lovely Adams art from Brave & Bold

O’Neil has also added vitality to another of National’s more stodgy titles, as his take on the Justice League of America has moved the book away from formula and towards a book with one foot in reality. JLA #69, for instance, is a fairly sober look at the rule against heroes killing, an interesting exploration of violence in an era when violence causes hell on Earth.

O’Neil also provides the writing chores for one of National’s most radical changes, in Wonder Woman. Recently editor/writer Mike Sekowsky took over chores on WW, one of DC’s most childish characters, and provided a radical shift in stories. Gone was the patriotic costume, transparent plane and magic lasso. Instead, we have “Diana Prince, The New Wonder Woman”, an adventure heroine in the style of Emma Peel or Tara King. The stories have their flaws—I could happily live without seeing Diana’s stereotypical Asian mentor I Ching again—but Sekowsky’s changes have a thrilling feeling similar to the Road Runner running off a cliff—it feels like these stories will crash, but it’s thrilling to stand on air.

Stunning Sekowsky Metal Men cover
Stunning Sekowsky Metal Men cover

Just this month, Sekowsky is leading perennial also-rans the Metal Men into their own revolution. In Metal Men #39, he has the robot heroes melted down and transformed into human form. This change is wild, unlike anything I’ve seen in comics other than the Wonder Woman transformation, and I can’t wait to see how it plays out.

And while the Superman comics seem as stuck in their rhythm as ever (though the Adams covers on those books are fantastic!), DC also has revitalized some of their other classic heroes. Aquaman, now by the Skeates, Aparo and Giordano, has lovely art and a thrilling exploration of underwater life. Jerry Grandanetti delivers surreal art for DC’s mystical hero The Spectre. And they have transformed House of Mystery from a comic with DC’s worst heroes to a standout horror anthology which is often better than that previous gold standard for horror comics. Warren Magazines’ Creepy and Eerie are having a down year, but thankfully DC has filled that void.

But National’s best comics in 1969 are new series. Beware the Creeper and Hawk and Dove come from the fruitful imagination of Steve Ditko and are offbeat heroic fun, strange action delivered in that delectable, indisputable Ditko style.

Splash page from Howie Post's Anthro
Splash page from Howie Post's Anthro

Anthro, by Howie Post—a rare example of one man providing writing and art skills for a DC comic—tells the story of a boy and his family during caveman times and is a thorough delight—full of fun characters, interesting action and a low-key comedy mood which makes it a treat each time a new issue is released.

The standout new DC title is called Bat Lash and has nothing to do with the caped crusader and everything to do with the new wave of western characters appearing on TV these days. Batton Lash is kind of an antihero, a rare western hero who would rather pick flowers than engage in a gunfight, a wizard with women and at the gambling table who nevertheless always seems to find himself in the middle of one crazy criminal scheme or another. With gorgeous art by Nick Cardy and great writing by Sergio Aragones of MAD fame (no, really!), this is as good as comics get.

Splash page from Bat Lash
Splash page from Bat Lash

A few other titles not to sleep on at National: despite the toy tie-in, Captain Action is a lot of fun and features art by Gil Kane and Wally Wood; Enemy Ace continues in Star Spangled War Stories, with some gritty, smart stories of WWI from the German standpoint; and even DC’s romance comics have caught up with the times and feature more contemporary-feeling tales.

Archie continues to be Archie, the comics your kid sister loves, while Harvey continues the kiddie comics and Gold Key their unexceptional comics line with the likes of Lost in Space, Three Stooges and The Flintstones. I always think of Gold Key comics as “emergency comics”: to pick up when nothing better is on the stands.

Alright, this Pat Boyette page is nice...
Alright, this Pat Boyette page is nice…

Sadly, Charlton comics are worse than that, usually unreadable despite their comics featuring The Phantom, Popeye and Flash Gordon—though Pat Boyette's art on Flash is dynamic. Their comics have a bottom-of-the-barrel feel to them. Worse, their comics actually smell weird, as if their publisher prints cereal boxes as well as comics.

So, overall, comics in 1969 seem in good shape. From top to bottom, there’s something for most everyone. If I can recommend one comic above all the others, it’s Bat Lash. I don’t think the series will be long for the world—it’s too good to sell well—so grab an issue when you can and you will thank me.




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Comics

[April 22, 1967] Make War Not Love (Comics)

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by Jason Sacks

Hello from sunny Seattle, where spring has sprung, the rain has (mostly) stopped, cherry blossoms are on the trees at the U-Dub, and Don & the Goodtimes are topping our city's pop charts.

My friends and I love hearing that wonderful local pop ditty on Kolorful KOL Radio while driving in his Corvair. Most often we wander down to the Spanish Castle, down in south King County (past my beloved Sicks' Stadium where the Seattle Angels play). At the Spanish Castle we get to watch some amazing pop, funk and jazz musicians deliver performances to warm us up on Seattle's rainy nights.  Local standbys The Wailers, The Kingsmen and a very talented young man named Jimmy Hendrix have played there.  Remember the name 'Hendrix'. According to rumors, he's keeping busy in England these days and may be working on a full album. My friends and I hope our local boy makes good.

But from one type of entertainment to another… It's been about a year since I talked in Galactic Journey about the state of American comic books. This seems like the perfect opportunity to give you an update on some changes I would never have expected.

In fact, before I dig into super-hero comics, I want to look at two genres of comics the fans seldom seem to notice: war comics and love comics. Yeah, neither genre has costumed heroes, but both are fascinating here in 1967.

Make War (Comics) No More?

National dominates war comics, while its closest competitor, Charlton, is frankly pathetic. Where is Marvel in the list? Well,  Marvel still publishes Sgt. Fury and his Howling Commandos, but that comic has much to do with life in the army as Gomer Pyle, USMC does. Fury's style of goofy heroism may be a good read for the kiddies but it's too shallow for anyone over the age of 12. Anyone who is fascinated by the horrors and passions of war should read the good stuff.

Our Army at War is the flagship title of National's war comics line. This series stars Sgt. Rock and the combat-happy Joes of Easy Company. For several years now, writer Robert Kanigher has teamed up with the incredibly talented Joe Kubert to deliver some of the finest continuing-character war comics in my memory. Each story is like an opera of violence and martial situations with tight, terse prose matched by a gorgeously intense, slashy but stolid style by Kubert.

In fact, though I've seen Kubert's work for many years – he drew "Hawkman" in the Golden Age and drew the first Flash feature in Showcase, among hundreds of other stories – Kubert's style is hard to describe. Look at the below original page (from a friend's collection) to see what I'm trying to put into words.

Look at the incredible storytelling by Kubert. The tumbling coins on the left add tension while the top three panels on the right show the misery, fear and determination in the eyes of the soldiers. Note, too, the clever way Kubert both divides and unifies the single image. That's a clever use of paradox to heighten the tension of the page. There's just nobody drawing comics like Kubert these days.

In fact, while many fans criticize DC/National frequently for having a house art style, their costumed hero books employ much more homogenization than their war titles . Perhaps  Kubert deserves some of the credit for that, as he edits many of the titles.

To a lesser extent, we see Kubert's artistic approach to the other war comics National releases. For instance, Russ Heath is the main artist on the "Hunter's Hellcats" feature in Our Fighting Forces, and Heath brings a slightly more polished but equally visceral style to its art pages. Even old-timer Irv Novick brings a looser, more unconventional style to bear with his stories of "The Losers" in G.I. Combat.

More than anything, the DC war series feature a dark, despairing tone. Readers get a real sense of the horrors of war. Though Capt. Storm or Sgt. Rock may succeed in their missions, the battles obviously take their toll on the protagonists.

I wish the same could be said for the many war comics which quirky publisher Charlton Comics releases. I should talk more about Charlton in a future column. One thing I have to discuss is how their comics are published alongside song lyric mags, crossword puzzle magazines and cereal boxes, but that's a topic for another week.

Instead, I'm here to bemoan Charlton's seemingly endless line of bland, dull war comics. Whether it's Fightin' Marines, Fightin' Army, Fightin' Navy (see a pattern?), War Heroes or Marine War Heroes, these chest-thumpin' men of action seem to never question their mission and never feel any pain from their incredible struggles. If you've ever wondered how the Pentagon would write comics intended for five-year-olds, read a Charlton war comic. I dare you.

While I'm discussing war comics, I should lament again the abrupt cancelation of Blazing Combat, Warren Publishing's often brilliant contribution to the war comics anthology genre. During its four-issue run last year, BC included sensational artwork by comics stalwarts such as Heath, Alex Toth, Gene Colan and many others. Writer Archie Goodwin told stories of wartime combat without filters, unnecessary heroism or national bias. With its ever-shifting anthology approach, Goodwin and his artists delivered stories which felt as contemporary as the Vietnam War and as timeless as the Peloponnesian War. Look, for instance, at the lovely page below drawn by the inimitable Reed Crandall.

These comics were created in black and white, published magazine sized, and often illustrated with ink wash or pointillistic techniques. For those reasons, the stories in Blazing Combat aimed higher than most comic books. Indeed, their audience was mainly adults. Tragically, that selfsame adult audience spelled doom for Blazing Combat. Reportedly publisher Jim Warren had to pull the plug on BC when PX bases across the world canceled their orders after author Goodwin penned a story critical of the war in Vietnam. Sales were too poor to sustain a money loser for long.

Make Love (Comics) No More?

I wish I could praise the many, many love comics published by National or Charlton but I sadly can't. Hey, I'm a man who likes women, I'm fond of my wife, my sister and my mother, so why can't there be comics for women which don't insult their intelligence? Sadly, neither publisher seems able to pull off that skill. This is one area Marvel hasn't plunged into in 1967; probably good news for them. (Millie the Model is more an Archie-style humor comic than a love comic, by the way.)

Once again, Charlton leads the way with garbage, flooding the newsstand with interchangable junk like Career Girl Romances, I Love You, Just Married, Teen-Age Love, Sweethearts and many more. Like the sweethearts candies you got in your fourth grade class on Valentine's Day, these comics are laced with sweetness and may put you into a coma.

The love comics from National are marginally better, at least boasting work by professional cartoonists. But their attitudes seem stuck in the Eisenhower era.

In fact, a reader should expect out-of-date attitudes. Comics like Girls' Love, Young Love and Falling in Love frequently feature reprints of comics from a decade earlier. Staff artists, modify the art to include modern hairdos or clothes. But their conformist attitudes reflect an earlier era when a girl's greatest goal was to be a housewife. It would be a bold statement for one of these comics to reflect the "free love" or hippie movements. The creators need to change with the time. Their musical beats should be attuned to the Beatles rather than Frank Sinatra.

I'd like to think there's a place for love comics in today's era. Perhaps some of the emerging group of so-called underground cartoonists can revive the genre, maybe with a twist. I know I would chortle to see a comic on the stands called Young Lust instead of Young Love.

Make Steve Ditko Comics at Marvel No More

Perhaps the biggest shock of the last year was the resignation of the brilliant Steve Ditko from Marvel Comics. Ditko, who was the prime force behind Spider-Man and Dr. Strange, apparently was engaged in a long, pitched battle with key Marvel editor/writer Stan Lee over the identity of a villain in the already-classic Master Planner saga. Ditko, who was the main plotter for the series, wanted to follow one direction for a character reveal. Lee disagreed and apparently that latest disagreement was the metaphorical last straw.

It's a shame because Ditko was reaching his apex on both series at the time this incident happened. Spider-Man was achieving new levels of bathos and power and was a solid, constantly interesting series.

Ditko's work on Dr. Strange, meanwhile, existed on a level few other comics have ever reached. In a vast, multi-chapter epic spanning some dozen issues, an increasingly desperate and isolated Strange journeys to lands scarcely imagined by mortal men. There, he encounters beings so unknowable and cosmically powered that their mere existence is beyond our mortal ken. Ditko set Strange as one single solitary man desperately trying to save our entire universe even while the rest of the universe continued on, blissfully unaware of the strange battles happening around them.

As you can see in the above excerpt, characters like Eternity live in great cosmic landscapes, full of bizarre and almost incomprehensible sparks which bespeak our insignficance as humans. And yet Strange, a mere human with expanded consciousness, fights desperately to avoid massive cosmic destruction.

That astounding storyline, a truly cosmic saga, drew the curtain on Ditko's Marvel era with a real sense of majesty.

The "Dr. Strange" strip has been drifting without Ditko's presence, with pointless stories and uninspired artwork. But I'm mention to you that Ditko's other great series, The Amazing Spider-Man, has reached new heights in 1967.

John Romita has stepped in to fill Ditko's shoes. Lo and behold, the impossible seems to have happened: the comic has gotten better. Amazing Spider-Man is now more fun, somehow both lighter and darker than before. More importantly, some charming supporting characters have emerged. I'm keeping my eye on Romita's groovy interpretation of Gwen Stacy. She seems like she could become a compelling love interest for poor ol' Peter Parker.

And the series seems to be finding its level. Amazing Spider-Man #50 was just released two weeks ago, so I don't want to ruin its fascinating twists and turns. But look at that wonderful page above and tell me you're not intrigued. Romits delivers drama Ditko couldn't reproduce in quite the same way and points to an exciting new future for the old web-head.

Jaunty Jim Debuts

Speaking of exciting futures, comic fandom has been buzzing over the last few months about the emergence of a new creator at Marvel who seems to have a unique set of skills. Jim Steranko is in a role unprecedented at Marvel, both writing and drawing the "Nick Fury, Agent of SHIELD" strip in Strange Tales. As far as I can remember, no Marvel creator has assumed the duties as writer and artist of an ongoing. His work is intriguing and unprecedented, and so far it's been spectacular.

Steranko displays a dynamism and energy in his panels which rivals his mentor, Jack Kirby. His men seem coiled with power, drawn with dynamic foreshortening that holds tremendous power on the page even while the anatomy makes no sense in real life. In the page above, look at the wild energy of the final panel in the excerpt above, with its massive overwhelming machinery contrasting with the negative space to add power to Nick Fury's battle. Nobody, not even Kirby draws like Steranko. Who knows what the man can achieve in the coming years?

The King Remains and Reminds Us Why He's King

…which doesn't mean the King isn't carrying his own weight. Jack Kirby continues to deliver some ace action yarns in Fantastic Four and Thor. The recent Doctor Doom-Inhumans crossover story had me on the edge of my seat, as Doom schemed to assume the Silver Surfer's Power Cosmic and, with that power, control the world. That storyline was a deeply dynamic drama, definitively delineated by Kirby's crispy lines.

The Black Panther is perhaps the most dynamic character find of the last year. He debuted in the pages of Fantastic Four #52.  T'Challa is the king of a futuristic kingdom deep in Africa who dons his ceremonial outfit to battle perfidious villainy, in this case embodied in the nefarious Klaw.

It's thrilling to see a Black hero appear at Marvel, especially one who can defeat our estimable heroes in battle while maintaining his regal presence. I'm so intrigued by this new hero. I hope he returns soon. I can't wait to read more about him. (Seems to me he'd be a great member of the Avengers.)

And as for Thor, if there ever was a case where  a picture says a thousand words, the below image does that!

If you don't want to read that issue of Thor, you clearly lack an imagination!

The Debut of Batgirl

Life at National Comics has been a little quieter than life at Marvel these days. Their quietness has started to make National's line of heroes feel a bit stodgy compared with their Marvel counterparts. Lately the Justice League of America has veered a bit into camp, which felt appropriate when the Batman TV series was at the top of the charts. Since people are starting to get bored of Batman's repeating jokes, likely sales of Batman-related comics will begin to sag as well.

For instance, the return of the Penguin to comics in Batman #190 boasts a wonderful cover by Carmine Infantino but… darn, look at the stiff and uninspired artwork inside the issue.

Maybe the introduction of the dynamic new Batgirl will revitalize the Batman comics a bit. College student Barbara Gordon, the daughter of Commissioner Gordon, donned her distaff version of the cape and cowl in Detective Comics #359, late last year. Fan reaction to her appearance has been all over the place. Many have praised the idea that this new Batgirl can actually throw punches and kick some heads in – unlike the more old-fashioned Bat-Girl of the 1950s. Others have complained about the need to tie Commissioner Gordon more closely with our heroes. And some younger fans have complained about Batgirl acting like a big sister to Robin, which embarasses him since a girl can often out-achieve him (of course the female fans love that aspect of the heroine).

On Barbara Gordon, Batgirl - Gotham Calling

Under Infantino's pencils, the new Batgirl is a lilthe, athletic fighting machine. She's also kind of a women's libber, fighting with the ability of a man while maintaining her female identity. She would be a welcome addition to the Batman TV series. I hope she gets added to it soon.

Sadly, unless her series takes a radical turn, I can't imagine Wonder Woman becoming a feminist icon. I dare you to look at the cover below and tell me I'm wrong.

The tremendously prolific Robert Kanigher writes Wonder Woman. He's is one of the key forces behind the war comics I mentioned earlier. Maybe's he's too busy in his mental combat to consider the abuse he's heaping on his heroes.

In fact, of DC's heroes line, only "Legion of Super-Heroes" in Adventure Comics resonantes for me (well, okay, one other series has sparked excitement – see below for the details). My newfound love for the Legion surprises me. I usually yawn at the Superman family of titles (which this is part of). Readers get one variation after another of the same full stories. But new writer Jim Shooter has brought a new energy to the future's finest super-teens. Just this year, "The Doomed Legionnaire" brought an unexpected death to the team (I promise I won't tell you who dies!) This month, we're viewing an incredible flash-forward to a time when the Legionnaires are adults. It's spellbinding stuff, written for teenagers with an energy and freshness which makes me wonder if Shooter himself is a teen.

And finally…

This article has aleady run long, so I'd better add a few final notes before I head down to the Spanish Castle to see Paul Revere and the Raiders…

  • Doom Patrol continues to be DC's ginchiest comic book – miss it and weep, pals!
  • Archie's super-hero parodies like Captain Pureheart are a giggle a minute if you're in the right mindset. They are well worth your twelve pennies.
  • Warren continues to publish the outstanding horror comics Creepy and Eerie, and each feature work by the delightful Mr. Ditko. Miss them at your peril.
  • Look for copies of King Comics' Flash Gordon on your local stands. If you can find it, you will find some breathtaking comic art by the likes of Al Williamson and Reed Crandall.
  • And lastly and leastly, a reminder that  the weakest and dullest comics in the Marvel line is The X-Men. Save your cents for its much better imitator, Doom Patrol. When will Marvel wise up and give up on this series?

Till next time, sayonara!




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Comics

[February 24, 1966] Is 1966 the Best Year Ever for American Comic Books?

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by Jason Sacks

Is 1966 the best year ever for comic books? Yeah… maybe!

Based on the articles I’ve been seeing in newspapers, magazines and fanzines, Batman appears to be the runaway hit tv program of 1966. After 12 episodes, this show has exceeded expectations for fans and non-fans alike. Who would have expected Batman to be so true to the comics, with appearances by the Joker, Mr. Freeze, the Mad Hatter and even an obscure character like the Riddler (who hadn’t appeared in any comics between 1948 and 1965!).

The show has been a delight, and has prompted this house to buy a brand new color TV to enjoy it in its full splendor (well, that, and we had to see the exotic locations in Man from U.N.C.L.E. in color, too). And gosh, what a tremendous show this is for its bright and shiny design elements. The costumes of Batman, the Joker and Robin all look spectacular on our new Admiral set!

I know there has been some grousing about how the show mocks the Caped Crusader and his faithful pal, but I frankly love it. Maybe I’ve been desperate for a superhero TV show since Superman left the air a decade ago, but I dig the clever ways the show’s producers incorporate comic book elements into every scene of the show. The “BIFF! BANG! POW” elements during fight scenes may annoy some viewers who want more seriousness in their superheroes, but to me these are like comic book panels writ large on my 25” screen, thrilling reminders of their roots while also giving TV viewers a clever motif to groove on. Others complain that the characters seem self-mocking, calling it “camp” (a phrase I’ve never heard in this context before), but I wonder if those complainers read the Batman comics I wrote about last year. Until very recently, Batman was a moribund character fated for cancelation, so I’m delighted to see him get any attention at all.

And I groove on the deathtraps these characters find themselves in every Wednesday prior to the Thursday conclusions. Ma Bell likes it too, I think, because my friends and I call each other every week to try to figure out how our heroes can escape from the amazing perils the villains place them in.

I’m starting to see a rise in the interest in super-heroes at my local newsstand, perhaps prompted by the success of the TV show. It also helps that so many of the comics being released today are absolutely great. Not only are Marvel and National releasing lines of comics that are more intriguing than they have ever been, but new and revived publishers are putting out some comics that are outstanding (and some that are less than great, but hey, that’s just the law of averages at play, I think).

A lot of the thrill these days has been at Marvel, as some of their comics are reaching unparalleled new levels of excellence. For instance, the work of Steve Ditko and Stan Lee on both Amazing Spider-Man and the “Dr. Strange” strip in Strange Tales has been outstanding. Peter Parker has graduated high school and enrolled at Empire State University in Spider-Man. Pete seems to be shedding his nature as a nebbish since he joined college, making new friends while having new (and more sophisticated) problems. The three-part “Master Planner” saga which ended in ASM #33 was a storyline nonpareil, a thrill a minute journey with a spectacular denouement. (I’m including the payoff below, but please try to find all these issues if you can, because the leadup is just as spectacular).

Ditko and Lee’s “Doctor Strange” is in the midst of an astonishing long saga which journeys to strange, mystical realms to bring readers scenes we’ve never seen before. This lone hero fights impossible obstacles, issue by painful issue, to save a humanity who have no idea of his heroics. These two Ditko-illustrated comics are breathtaking – and, as I’ll soon discuss, this prolific artist is working on more than two comics lately.

Those two series are two of the three best comics being released in 1966, but the third greatest comic of our year has to be Fantastic Four. Stan Lee and the incomparable Jack Kirby (King of the Comics) are delivering the most astonishing thrill-ride in comics history. Reed Richards married Sue Storm in the 1965 FF Annual, but the couple's life has been no honeymoon since their big event, as they’ve fought an incredible “Battle for the Baxter Building”, before meeting and fighting the astonishing Inhumans. But this month has produced perhaps the finest comic Marvel has ever printed. In this month’s FF #50, the heroes found themselves in conflict with the mysterious cosmic villain Galactus, who wants to eat the Earth simply to stay alive. Readers are swept away with the desperation of our heroes and their valiant battle to save our planet, a story only Jack Kirby could have drawn. It also features the character I believe will be the breakout hero of 1966, the star-spanning Silver Surfer.

Marvel’s also producing some other great comics. Thor has moved out of the old Journey Into Mystery anthology into his own comics title, and Lee and Kirby are delivering a godlike battle there which shakes the cosmos. In X-Men, Lee and artist Jay Gavin keep playing and have delivered an intriguing new hero-villain called the Mimic. Lee and new artist John Romita have been doing terrific work on Daredevil (Romita might be a good substitute for Ditko if the latter ever has to take a month off; it’s hard to imagine Ditko leaving the character permanently). And comics like Avengers, Sgt. Fury, Two-Gun Kid and Tales to Astonish are continuing to deliver satisfying action stories, with the shattered romance tale "Killed in Action" in Fury #18 a real standout.

At National, which some people call DC, the line has adopted a new set of “go-go checks” at the top of their covers. Besides being hep and fun, these checks also help the comics stand out at my local drug store rack – a smart decision if you ask me.

Inside their comics, National continues their solid comics storytelling. Editor Julius Schwartz’s line is consistently entertaining. The Atom, Batman, Detective Comics, Hawkman and Green Lantern are all standouts for both story and art. Meanwhile, action heroes like the Metal Men, the Challengers of the Unknown and the Sea Devils all continue to deliver fun excitement, and Doom Patrol is always an irreverent treat. New series Teen Titans promises to be fun, and what teen or pre-teen wouldn't groove to the tales of sidekicks joined together?

I was disappointed to see Adam Strange, Space Ranger and Rip Hunter… Time Master lose their ongoing strips, though I'm anxious to see what replaces them.  And though Wonder Woman seems to continue to wander in its own mediocre wilderness (now set in the passé 1940s), the National line seems to be consistently entertaining each month. Of course, it’s hard to project how the massive success of Batman on TV will affect the comics, but one hopes the publisher won’t adopt those “camp” elements fans are so mixed about.

But some of the most exciting news in comics is happening outside of these two dominant publishers.

Gold Key Comics, primarily known for their comics featuring adaptations of TV series as diverse as Top Cat, Flipper and My Favorite Martian as well as their Disney line, is continuing their adventure comics line and even expanding the line. In fact, Super Goof set Mickey's pal Goofy as a super-hero in a delightful series of adventures as Super Goof!

Gold Key is the former sister publisher to Dell Comics, and it can often be hard to tell the two companies apart from each other despite their differences in editioral staffs. Their line also mainly consists of adapted titles like The Beverly Hillbillies and The Outer Limits along with a handful of original titles like Ghost Stories and Air War Stories. That line included a few new originals, including the gross-out Melvin Monster (which seems to be done by the same staff who deliver the delightful Thirteen Going on Thirty series) and the super-hero Nukla. I was also surprised to see a Black cowboy comic on the stands from Dell. Lobo is the stor of a buffalo soldier accused of a crime he didn't commit, and the first issue is pretty terrific! This may be the first comic featuring a solo Black character in his own title in many years (I believe there were a couple published by small companies in the 1940s), which is a nice sign of progress for the Great Society.

For many years, Charlton Comics have been considered at the bottom of the barrel, with their comics consistently delivering hackneyed and dull stories. Making things worse, Charltons seem like they’re printed on a cereal box press, with a strange paper texture, jagged edges on some of their pages, and even an odd smell to some of their comics.

Thankfully, though their printing quality doesn’t seem to be improving, Charlton’s comics are indeed improving. New series Peter Cannon… Thunderbolt launched early this year and has been fun. With art (and story?) by the mysterious PAM, these stories combine a surprising Eastern influence with New York gangsters. This is a series to watch.

Even more exciting is Captain Atom. You may remember the good Captain as an early sci-fi superhero from 1959 and 1960. Forget what you read before. The great Steve Ditko is now drawing Captain Atom’s adventures, and, let me tell you, they are as good as the stories Ditko is drawing at Marvel. Ditko’s Captain Atom is dynamic, fun and gorgeously illustrated. You’ll get bragging rights among your friends for recommending these comics to them.

I wish I could recommend Archie Comics’ line of superheroes to you, but they are painful to read. For many years now Archie has been publishing The Fly, but now the character has been renamed Fly Man in his own series (maybe to confuse Spider-Man fans?) and is also part of a new super-team called The Mighty Crusaders. That new team comic might be the worst comic of 1966, even worse than Wonder Woman.

The Archie heroes are written and drawn in a painful pastiche of the Marvel style, with “hip” dialogue and “fun” captions that read like a grandfather desperately trying to connect with his goatee-wearing grandkids. These comics aren’t just groan-inducing, they’re downright painful. Ignore them.

On a happier note, new publisher Tower Comics has been a very pleasant surprise. Their flagship title is THUNDER Agents, a fun mix of super-heroes and spy agencies that sets super-heroes No-Man, Dynamo, Menthor and Lightning against the evil Warlord.

So far, each issue has been double-sized, which means it’s packed with great and dynamic stories. Best of all, it includes illustrations from some of my beloved masters of comic book art, including Wally Wood, Reed Crandall,  Gil Kane, George Tuska, Mike Sekowsky and others. These have been terrific comics, well worth seeking out. According to the fanzines, Tower has been doing well and should be available most everywhere, but if not, remind your local newsstand owner that he should make higher profits at 25¢ retail per issue.

Superheroes continue at American Comics Group as well. ACG comics always seem to range from “ok” to “weird as can be.” In the former category are Nemesis in Adventures into the Unknown and Magicman in Forbidden Worlds. Both those series read like mediocre Marvel or National comics, which is just fine.

But if you’re not picking up an occasional issue of Herbie, you’re missing one of the strangest, most inexplicable comics on the stands today. Just look at that cover above if you don’t believe me. I don’t even want to try to describe this unprecedented series to you because it’s just so surreal and delightful. I laugh more at this comic than I ever will at a year's worth of Archie hero comics. I promise you that Herbie and his lollipop will burrow into your brain.

The most unexpected premier of the last year has been the appearance of Captain Marvel on the newsstands, but it's not the Captain Marvel you'd think of. Newcomer publisher M.F. Publications has launched the adventures of a completely new Captain Marvel. Instead of shouting "Shazam", this Cap screams "split" and splits off his hands, legs and head so he can fight multiple criminals at the same time. Yes, it's all as odd as it sounds, made even odder by the fact that apparently the series is written and drawn by Carl Burgos, the man who created the original Human Torch back in the early 1940s!

The last stop in our journey through comics in 1966 takes us to the magazine rack. On the cheaper area of some racks we might find magazine-sized comics from M.F., including their wretched seridss Weird.  The less said about the terrible stories and art in Weird the better. Thankfully next to Weird,where we will find Warren Magazines. You might remember Warren from my article about the late, lamented Help! Magazine, which sadly recently saw its final issue on the newsstand. Thankfully publisher James Warren has filled that gap with two great horror comics and an even better war comic.

Warren started publishing horror anthology Creepy in late 1964, and that mag has built a deserved reputation as one of the finest horror comics ever published, a worthy successor to the classic EC Comics. In fact, that comparison is appropriate because Creepy and its new sister title Eerie have published great horror tales drawn by the likes of Al Williamson, John Severin, Reed Crandall and Johnny Craig – EC legends all. Even more thrilling, those brilliant artists have been joined by modern counterparts like Gene Colan, the astonishing Alex Toth and, yes, the brilliant Steve Ditko. I told you Ditko gets around! With brilliant writing by the always adept Archie Goodwin, these comics are a tremendous treat.

I’m also a huge fan of Warren’s war comic Blazing Combat. Also written by Goodwin, the three issues thus far include brilliant artwork accompanying piercing and terrifying war tales that tell the gritty truth of war as it really is. They are the second best war comics ever published, behind only the truly great war comics written and edited by Harvey Kurtzman at EC. I’m sure BC doesn’t sell well, so I beg all comics readers to pick up this magazine while they still can. It costs three times as much as a standard comic, at 35¢ per issue, so I understand peoples' reluctance at picking up issues of this amazing series.

Whew! You can see why I say comics may never have been better than they are today. Truly, any trip to the comics rack will bring you some delightful treasures no matter what sorts of comics you like.

One final note: here in my native Brooklyn, there seemed to be some strange event over Mt. Sinai Hospital today. We saw some storks on the roof of the hospital. Anybody with any information on the events at the hospital that day, please contact this magazine.

The Journey is once again up for a Best Fanzine Hugo nomination — and its founder is up for several other awards as well! If you've got a Worldcon membership, or if you just want to see what Gideon's done that's Hugo-worthy, please read his Hugo Eligibility article! Thank you for your continued support.




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Comics

[June 10, 1965] Comics Go James Bond

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By Jason Sacks

Secret agent mania is everywhere these days. After the gilt-edge success of Goldfinger last year, the passion for dashing, daring, handsome men of action has reached a fever pitch. I’ve been picking up paperbacks of Matt Helm, Nick Carter, John LeCarre and even Doc Savage at my local Woolworths, devouring the thrilling adventures of these men of action, ready with a quick shot, a fast woman and a speedy sportscar.

I’ve also been passionately watching The Man from U.N.C.L.E. on NBC. I love so many of the quirks of that show – setting the entrance to UNCLE HQ inside a flower shop, for instance, as well as the dashing agents Solo and Kuryakin and the whole larger-than-life setting of it all.

Comics have had their share of secret agents over recent years, too, from “John Force, Magic Agent” appearing in the back pages of American Comics Group’s Unknown Worlds late last year to the spy adventures of Charlton’s new Sarge Steel (which includes impressive art by an up-and-comer named Dick Giordano – watch that name, folks) to a two issue DC pilot spotlight on spy King Faraday in last year’s Showcase #50 and 51 (albeit reprints from 1950, in the latter case – DC has never been a company known for their innovation).

But no comics company has fully jumped on the spy trend, not in the way it cries out for.

Until, that is, this month’s issue of Strange Tales, starring a super spy named Nick Fury, Agent of S.H.I.E.L.D.

The great Stan Lee and Jack Kirby deliver one of the most intriguing, exciting, whizzbang first adventures of any comic story in recent memory, full of bizarre gadgets, nasty villains and a dynamic dollop of mighty Marvel action.

As if they felt constrained by their small twelve-page allocation in this issue, Kirby and Lee deliver a story in which everyone seems to be moving at top speed, showing off cool gadgets, discussing nasty spy rings, showing flying cars and flying aircraft carriers and all the other trappings of a great adventure tale. Even in large set-pieces, like the scene above (which looks oddly like a key location in last year’s film Doctor Strangelove), it seems every character has their own bit of business to take care of, their own set of a million tasks to accomplish and no time to complete them. These are busy, important men on the mission to save the Earth, and they will work together with everything they have in order to defeat the evil organization Hydra.

At the center of it all is good ol’ Nick Fury, twenty years removed from leading the Howling Commandos, now promoted from sergeant all the way up to colonel, with an eye patch over his left eye and an everpresent stogie in his mouth. Fury acts as the reader proxy in the story, leading us to discover just what in the world he is getting himself involved with – heck, even as he’s strapped into a bed with wires taped all over his nearly naked body, Fury is wondering “what in blazes is going on?”

What is going on, Col. Fury, is that you’ve been recruited to a super spy agency, the Supreme Headquarters International Espionage Law-enforcement Division by name – ignore that extra “E” please. SHIELD seems constantly under attack – as we discover on page three of this all-out action thriller, in the space of seven seconds, robot versions of Fury are attacked by evil doers – including one who has a gun hidden in a mailbox (I would hate to be the mailman working that route!) We soon witness Fury’s car attacked by a fiery missile before the wheels of the sports car transform into jets which transport our hero to an astounding floating fortress.

And those villains! Hydra seems to be an equal match for SHIELD, with astonishing technology, a vicious hatred for humanity, and – seriously – the greatest motto I can remember at a spy agency (and evil women, too – wonder if Nick Fury can turn Agent H to the good side!

Lee and Kirby have been growing a reputation for unstoppable, hurtling action but this tale takes that energy to a whole new level.

I do want to briefly mention that this story only takes up half the issue, and if “Agent of SHIELD” is an extrovert’s delight, “Doctor Strange” is just as much an introvert’s thrill. Drawn by Kirby’s opposite, Steve Ditko, this issue finds our sorcerer supreme on the hunt for the mysterious meaning of “eternity.” Just check out that gorgeous splash page below and contrast its brooding intensity with the dynamic thrills of the Nick Fury splash. Both are amazing work by men at the top of their talent but they each offer very different visions.

Fury’s world is one of men walking, talking and shooting. The men in that story look around – often to the reader – with a sense of purpose and energy. In Strange’s world, however, men and women look around furtively, live in almost unknowable strange worlds, are communicating secretly. If Nick Fury is like James Bond, Stephen Strange is like a hero from a Philip Dick or John Brunner novel, cursed by his greater knowledge and abilities to fight a lonely war.

Together, these two series provide about as dramatic a contrast in styles as any comic I can remember. What a welcome and unique issue. Strange Tales #135 is a good example of why I'm quickly becoming more and more inclined to Make Mine Marvel! 




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Comics, Science Fiction/Fantasy

[March 14, 1965] The Old Order Changeth!

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by Jason Sacks

Longtime readers of this magazine may remember the hatred I shared a year or two ago for the fledgling super-hero line published by upstart Marvel Comics. At the time I felt the stories published in such comic book series as Fantastic Four, Spider-Man and Tales to Astonish were crude, unsophisticated and just plain bad. This was especially true when those shambolic comics were compared to the smart, sophisticated science-hero comics published by their chief competitor, National Comics.

It’s shocking how much that equation has changed. National Comics like Flash, Green Lantern and Batman definitely outdo their competition in terms of slickness and a firm basis in pseudo-science. But Marvel has come a long way to making themselves into a modern comic book publisher which embraces the unpredictable 1960s.

The latest proof Marvel’s surprising unpredictability can be found in the current issue of The Avengers.

The Avengers are Marvel’s version of National’s Justice League. They’re a team of the company’s finest super-heroes gathered together to fight evil. Just as the JLA stars headliners like Batman, Hawkman, the Atom and Green Lantern, the Avengers have included in their corps such august members as Captain America, Iron Man, Thor, Giant-Man and the Wasp.

Emphasis in my previous sentence should definitely be on the word have, because as this title of Avengers #16 tells us, “the old order changeth!”

Shockingly, writer Stan Lee has decided to shake up what seemed like a winning formula, removing all but one of those headliners from his super-team. Even more surprising, Lee doesn’t replace Thor or Iron Man with the likes of Spider-Man or Daredevil, who likewise star in their own comic books. No, Lee replaced his stars with a trio of former bad guys now reformed and ready to fight for justice. Only Captain America remains from the former team to lead the villains, so now Cap’s kooky quartet is made up of Captain America, Hawkeye, Quicksilver and the Scarlet Witch.

I hear you readers saying, who?

Lee is making an odd, audacious decision by adding these third-rate villains-turned-heroes. That change in the status quo is almost shocking in its brazen rejection of super-hero tradition. Very few super-teams have existed, and even fewer have had their entire lineup shaken up in one fell swoop. And even more shocking is the reason the heroes leave. As the Wasp declares in one memorable panel:

National’s Justice League fight for right and never get tired. Marvel’s Avengers get tired of the fighting, need time off and even casually think about disbanding the team! Who does this stuff? And how can they get away with such a revolutionary take on super-heroes?

Even the reasons the new Avengers join is strange. Okay, so Hawkeye basically walks into the Avengers HQ and demands to become a member (who needs building security when you have super powers, I suppose).

But consider how the mutant siblings Quicksilver and the Scarlet Witch come to join the team – by seeing a note in a newspaper that makes its way to their isolated Swiss chalet. Seeing a chance to change their lives, the Witch writes a letter to the Avengers requesting membership (!) – and out of a full bag of applications they are chosen! Just like out of a talent search TV program.

An adoring press meets the mutants as they arrive on the New York City docks, and they are quickly pressed to don their uniforms and announce their Avengers membership to the world. Never mind their previous membership in the Brotherhood of Evil Mutants and their former sworn fealty to the evil Magneto. They suddenly are members of the team Thor and Iron Man have left.

Shockingly, there is not even the slightest implication that one or more of these new Avengers may be trojan horses, infiltrating the team in order to defeat them. No, this is all played straight and seriously, and it appears Lee and his artists are committed to this startling change.

What in the world was Stan Lee thinking? Will sales plunge without the stars or will sales surge as Marvel blazes their own trail? This is just one of a number of moves from a company which seems to be pulling out all the stops to be decidedly different.

I know I’m on the edge of my seat trying to figure out what happens next. It’s as if Bonanza added a whole new cast and just kept Hoss. I may not be ready to join the Merry Marvel Marching Society just yet, but I do know I can’t wait to see what other shocking twists Stan Lee and his pals come up with.




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Comics

[March 7, 1964] Look both ways (Marvel and National Comics round-up)

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[While you're reading this article, why not tune in to KGJ, Radio Galactic Journey, playing all the current hits: pop, rock, soul, folk, jazz, country — it's the tops, pops…]


by Gideon Marcus

Overcoming prejudice

Once, I was a snob.

For the most part, I was raised on a steady diet of L. Frank Baum, Edgar Rice Burroughs, and H.P. Lovecraft.  I devoured the complete canons of each.  I also enjoyed the superhero comics of the war years — who doesn't like watching Captain America slug Nazis?  But after the war, I was getting tired of the pulps, and comics were getting tired.  I wanted something new.

Then, 'round 1950, I discovered science fiction digests — grown-up mags like Galaxy and Fantasy and Science Fiction — and my snobbish attitude was firmly established.  It didn't help that comics had entered a real slump by the 1950s, with National Comics (DC to the hep kids) in a rut and Atlas running Westerns and half-bit anthologies.  With the demise of the American News Company, Atlas went the way of the dodo, along with most of the inferior digests.  Survival of the fittest, right?

So I certainly didn't expect that I would find myself getting into those very same comics I'd once turned my nose at.  I first took notice when Marvel Comics arose from the ashes of Atlas Comics and started publication of The Fantastic Four.  Not only did this mag showcase the talents of Jack Kirby, the fellow who invented Captain America, but it featured a more realistic team dynamic than I'd ever seen before.  Why, these folks hardly even liked each other sometimes.  I appreciated the dilemma of The Thing, a hideous rock monster who nevertheless wasn't keen on returning to his human form, lest he give up his evil-clobbering powers.

Then came The Amazing Spiderman and The X-Men, and I was hooked.  I sang Marvel's virtues and scoffed at the kiddie fare that DC was peddling.  Around that time, I picked up an adversary, a Mr. Jason Sacks who delighted in telling me how wrong-headed my tastes were.

Late last year, Jason and I decided, unlike Tareyton smokers, that we'd rather switch than fight.  You see, Jason had discovered the charm of the new line-up of Marvel superheroes, and I was taken with D.C.'s new X-men-like group, the Doom Patrol.  Instead of picking a side, why not enjoy the virtues of both?

State of the Union

Here in March 1964 (May on the comics I buy at the news stand), Marvel's line-up has fully flowered.  The newest member of the superhero pantheon is Matt Murdock, a blind attorney whose other senses have compensated to such a degree (sounds inspired by Galouye's Dark Universe doesn't it?) that he is able to fight crime as The Daredevil!  The debut issue of this hero, written by Stan Lee and drawn by Bill Everett, was a hoot, and I look forward to the next.

Sidebar: I'm impressed that both comics houses are exploring the idea of handicapped heroes: Daredevil is blind, Professor X and The Chief (leaders of the X-Men and the Doom Patrol) both use wheelchairs, Thor's human form requires a cane, The Thing, Doom Patrol's Automaton and Negative Man and X-Men's Angel all have obvious physical peculiarities that make them stand out.  This makes for more mature storylines, and those of us with some kind of disability find a measure of comfort in having these folks with whom to identify.

Spiderman, a Stan Lee/Steve Ditko effort, continues to entertain.  This month's issue, #8, features the return of Dr. Octopus and spotlights the problem of recidivism amongst supervillains.

Both Fantastic Four (Lee/Kirby) and Spiderman demonstrate Marvel's increasing reliance on multi-book story arcs.  It's funny to think that two stories per issue used to be the norm — now it might take several issues to wrap up a plotline.  Speaking of Fantastic Four, in issue #24, the Thing goes toe to toe with the Hulk in a match-up every bit as exciting as the recent Heavyweight Championship between Cassius Clay and Sonny Liston. 

Avengers (Lee/Kirby) is a bi-monthly, like X-Men; in the last issue (#4), Captain America was thawed from the ice in which he's been frozen since World War 2.  I can't tell you how excited I am to have Cap back, and I urge you to check it out.

As for the "anthologies," these are increasingly becoming character books, and I have to wonder if they will just get renamed for the hero that stars in them.  For instance, Strange Tales has become the home of the mysterious Dr. Strange, although this issue also features a popular rivalry/team-up: the flaming Torch and the frozen Turd…er… Ice Man!

Journey into Mystery #103 is Thor's mag.

Tales of Suspense #52 stars Iron Man fighting the Black Widow, and an immortal alien called The Watcher.

I'm always happy to see the Wasp, and she got an outing with her beaux, Giant Man, in Tales to Astonish #54. 

And then there is the host of girls comics featuring the latest in fashion:

Let's not forget the western titles, which I don't bother with, but which still linger on.

For the WW2 buffs who don't get enough from DC's Sgt. Rock, this month's Sgt. Fury and his Howling Commandos is a riveting courtmartial drama.

Finally, I want to give recognition to the fellows who most often go unsung, the Letterers: Sol Rosen and Art Simek.  Without them, comics would be just a bunch of pictures.

Oh, and what do we have here?  Mr. Sacks is invoking the Fairness Doctrine and wants to tell us all about the state of National Comics.  Well, why not?

Better Read than Dead


by Jason Sacks

The big comic news for me in ‘64 is that the Doom Patrol have finally emerged into their own title. Moving out from an anthology slot in My Greatest Adventure, these oddball adventurers continue to delight. Thankfully National has identified the artist on this sterling series as Bruno Premiani, and the Italian master delivers fascinating tales of “The world’s strangest heroes.” For a change such a blurb is accurate, as the weird Negative Man, charmingly acerbic Robotman and enchanting Elasti-Girl continue working for the mysterious chief.  It’s similar to Marvel’s much duller X-Men — though the similarities are apparently an accident of timing, if you believe the fanzines — but more insightful and stranger.

Recently, Hawkman debuted his own solo comic after a series of showcase appearances in  Mystery In Space. National editor Julius Schwartz’s latest resurrection of a long-forgotten Golden Age character, the new Hawkman is an alien from the delightfully named Thanagar, working on Earth as a museum manager and in the stars as a great space policeman. The art, most likely by Murphy Anderson, is all National Comics smoothness and ease, making the winged wonder’s adventures a thorough delight.

With Hawkman moving out from Mystery in Space, that anthology series is now devoted to full-length tales featuring the hero of Rann, Adam Strange. With sleek, moderne art by Carmine Infantino, well known for his fabulous Flash, this thrilling series mixes astounding adventure with a smart space romance for a surprisingly heady mix that even adults can enjoy.

It’s not all greatness for National in ‘64, though. Editor Mort Weisinger continues his stultifyingly stale children’s stories in the Superman titles, while Metal Men is seldom as clever as it wants to be and Wonder Woman is so dull even my kid sister won’t pick it up. Worst of all are Batman and Detective Comics. A recent issue of Detective, issue #326, shows the nadir of this abysmal series with the pathetically stupid “Captives of the Alien Zoo,” a story so dumb and so contrived that it should result in the immediate firing of everyone responsible for its creation. Compared to that, even Archie Comics’ idiotic Adventures of The Fly seems like the work of a genius.

Overall DC is following some of the same trends Marvel has embraced recently. For one thing, a reader has to wonder if anthology series are on their way out. My Greatest Adventure disappeared while others, like Mystery in Space and House of Secrets (with the intriguing Eclipso), are going full action hero. In other ways National blazes their own trail. That company continues to have a wider diversity of titles than Marvel – hardly a surprise with the larger set of titles they deliver each month. Humor and romance still have their place with the likes of Jerry Lewis, Bob Hope, Girls’ Love Stories and Secret Hearts. As usual with National all their titles demonstrate that traditional sheen of professionalism Marvel often lacks. Will kids go for smoothness over unpredictability in ‘64? Only time will tell.

[And that's our comics round-up for San Diego Comic Fest!  If I met any of you folk this weekend, please drop me a line.  I'd love to hear from you.]




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