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Allan Harvey on comics Silver Age and Bronze Age
Bleeding Between the Lines 10
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Bleeding Between the Lines

Bleeding Between the Lines 10
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Bleeding Between the Lines 10

by Allan on March 5, 2013 at 2:00 pm
Posted In: Comic

Not that one would admit to ever harbouring negative thoughts about comics. Well… maybe occasionally.

I don’t buy much in the way of new comics these days. Not because I think there’s anything inherently wrong with them, it’s just that I’ve come to realise that a lot of the mainstream output just doesn’t speak to me any more. And that’s fine. I get my kicks from trawling through the back issue bins at my regular comic shop haunt (30th Century Comics—tell ‘em I sent ya), and if I can’t find anything to pique my interest there, there’s always eBay or any number on online shops.

My goal of acquiring every DC comic published between 1968 and 1976 continues apace. All of the the short run titles are complete along with some of the longer-running titles. Action Comics, for example, is all present and correct. Pretty much every series published during that period has at least a few issues on my shelf. The romance genre continues to be the most difficult stuff to obtain, simply due to the fact that no one bothers to bring them over here. eBay has proven its worth many a time when I’ve had a hankering for an obscure issue of Secret Hearts or Falling in Love. I do have all the 100-page Super Spectaculars though. Price-wise, it looks like the Adams/O’Neil Green Lantern, Wrightson Swamp Thing and numerous Batman issues are the wallet-busters. My collection of DC tabloid comics is all-but complete, so I’m happy about that.

And, at any time I do perhaps feel a little melancholy for the good old days, I just fire up Comixology and get blown away by the sheer magic of the comics medium all over again!

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Fly Man

by Allan on May 12, 2013 at 7:46 am
Posted In: Silver Age Comics, The Mighty Crusaders

Fly Man #31 cover, Paul Reinman

Fly Man #31, May 1965

“The Fly-Man’s Partners in Peril!”

Super-villain, the Spider, makes a daring break for freedom using a truck that suddenly spouts legs. The truck leaps over the walls of State Pen and zooms away. Attorney Tom Troy hears the report on his radio and decides it’s, “Time to rub my magic Fly-Man ring!”

The Spider escapes, Fly Man #31

Dashing to the scene, Fly-Man is confused by a cave mirror system that creates a myriad of Spider reflections. “Buzz off!” shouts the Spider, “I’ll swat you later!” Fly-man leaves the cave unable to find his foe.

The next day, a gigantic metal claw hovers over New York City. Fly-Man becomes giant-sized and pulls the craft out of the sky, but its “stupendous charge of murderous electricity” almost kills him. Suddenly, a man dressed in orange and green flies down and destroys the claw with power rays projected from his gloves. He introduces himself as the Comet—and flies away.

Giant-sized Fly Man

Later, Fly-Man attempts to break up a jewel heist. Unfortunately, thugs Boppo, Flipsy and Basher make short work of our hero once his time-limited powers wear off. They trio dump him onto some railway tracks, where he’s instantly rescued from the path of a locomotive by another costume-clad hero: the Shield. The Shield soon takes care of the three goons and dashes off.

Some time later, Fly-Man is overcome by the energy-sapping emanations from one of the Spider’s devices. Helpless, Fly-Man is forced to endure a maniacal monologue from his insane enemy. It transpires that the device also houses an atomic bomb! With just five seconds to spare, the device melts into slag—the result of a heat ray fired by yet a third colourful character. This time, it’s the Black Hood, sat astride his flying robotic horse, who has come to the rescue. Once again, having saved the day and introduced himself, the newcomer flies off.

Needless to say, the Spider is none too pleased about this—and he vows revenge.

The Mighty Crusaders battle

A message in the sky causes Fly-Man and the other three super-heroes to convene at an abandoned amusement park. The four wonder about becoming a team—The Mighty Crusaders—but Fly-Man objects: the name it too corny, and he’s not convinced that Black Hood, the Comet and the Shield are indeed mighty enough to deserve the name. A fight ensues and Fly-Man is humiliated as the others fly away in a huff. Left weakened when his powers wear off, he’s at the mercy of the Spider, disguised as a clown, who sets about beating up Fly-Man.

Things look grim for our hero, but Fly-Man suddenly cocoons the villain in steel threads. The other heroes reappear, laughing. It seems that the whole thing has been a stunt. Warned by a spider—the arachnid— that the Spider—the super-villain—was present and disguised, Fly-Man had staged the scuffle to warn his pals. As Fly-Man declares: “A spider helped me defeat The Spider!!!”

The Spider escapes, but the four heroes agree to consider the notion of a super-team—and the newspapers report that the entire world is holding its breath.

Fly Man and friends

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Intended as something of a new direction for the ailing Fly character, this is the first issue to feature the new, flashy Fly Man logo. Interestingly, “Fly Man” is not hyphenated in the logo, but it is elsewhere. Who know which one is correct. The publishing schedule was rather erratic by this time, although things got a lot more on track from here onwards. Marvel was reviving the fortunes of super-characters and so Archie Comics wanted a slice of the action. It was still several months away from the debut of the Batman tv show, but all the hallmarks of that camp approach are here.

Jerry Siegel, having burnt his bridges at DC by suing the company for ownership of Superman, was only too pleased to accept a regular writing assignment. Taking a leaf out of Stan Lee’s book, Siegel attempts a tongue-in-cheek approach, with asides to the reader designed to pull them in and make them a part of the action. Unfortunately, Siegel just wasn’t as good at it as Stan, and his efforts are often just painful to read. Had Siegel just used his standard style, one that had stood him in good stead for a series of wonderful Superman Family tales in recent years, Fly Man would probably have been far more successful. I’d imagine, though, that he was under orders to write these in a manner intended to ape Marvel, and it just clashed with his regular way of working. His plots are as elaborate and thought out as ever, but his dialogue and captions are a chore.

The Shield, Black Hood and the Comet were all had series during the Golden Age, but had lain dormant for a good long while before their use here. Although the Comet had first reappeared in the previous issue, this is where the saga of the creation of the Mighty Crusaders starts. For more see HERE.

Cover and art by Paul Reinman, who, sadly, struggles. Note how the Shield looks to be jumping into the sewer on the cover!

Images ©2013 Archie Comics

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Parallels VII

by Allan on April 28, 2013 at 1:08 pm
Posted In: Cover Design

This time out it’s a parallels horror-themed special.

I guess that cover layout of a central character carrying a second, unconscious—or dead—figure is a natural for horror comics. After all, the basis for most horror comics—and movies, come to that—is fear that you might get carried off into the night by something nasty.

First up, the great granddaddy of them all; the very epitome of the awful, undead thing that comes to you in the night—Dracula. The erstwhile Vlad the Impaler popped up quite a lot in comics, and even had a turn as a genuine super-hero at Dell Comics in the 1960s. His most sustained, and popular, series, though, was the 70-issue run at Marvel in the 1970s under the pencil of Gene Colan. Marv Wolfman wrote the majority of them, following a mixed bag of writers in the first few. And what a run it was! Well worth checking out.

Tomb of Dracula #1, Gene Colan cover

Tomb of Dracula #1, April 1972

Interestingly, this cover was flopped and reused as the cover the fourth issue of Marvel UK’s Dracula Lives weekly comic in 1974. In common with the UK Marvel comics of that time, this features US Dracula stories chopped up into roughly 8-page segments and run across several weeks. This necessitated brand new splash pages, and “what has gone before” recaps—most of them obviously rushed and of poor quality. The short lead feature required back-ups, and so Dracula Lives had reprints of Werewolf By Night and Frankenstein in the back, similarly divided up and spread across numerous weeks’ worth of issues.

Dracula Lives #4, Marvel UK

Dracula Lives #4, November 1974

Meanwhile, Marvel US had its own Dracula Lives title in the form of a black and white magazine. This nominally featured a slightly more adult take on the Prince of Darkness, and had a whole host of different artists interpreting the character. John Buscema, Dick Giordano, Mike Ploog… The cover here is by none other than Neal Adams, who also drew the Tomb of Dracula cover above. Our old friend, the girl in the white nightgown makes a welcome reappearance. All very Gothic romance.

Dracula Lives #2, Neal Adams

Dracula Lives #3, October 1973

In 1818 Mary Shelly created one of the first science fiction novels. It told the terrible story of one man’s misguided attempt to create life. The scientist was, of course, Victor Frankenstein, and his creation went on to feature in every conceivable medium—including comics. He too, like Dracula, was a super-hero for a while at Dell, but Marvel’s take was longer-running.

Frankenstein #2, Marvel, Ploog

Frankenstein #2, March 1973

Mike Ploog was the artist here, and he handled the interiors too. A one-time protege of Will Eisner, Ploog’s moody line work was a good match for the subject.

Images ©2013 Marvel Characters, Inc

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Do you know the legend of Superman?

by Allan on April 23, 2013 at 9:00 am
Posted In: DC, Lois Lane, Silver Age Comics

Legend of Superman ad Lois Lane #5

A lovely little capsule summary of the origins of the Man of Steel masquerading as a house ad in Lois Lane #5 (Nov-Dec 1958). No longer would you need to respond in the negative when questioned, “Do YOU know the legend of Superman?”

It was around this time that editor Mort Weisinger was gaining a hammerlock hold on the Superman titles. He began building what we now think of as the classic Silver Age set up of the Superman Family. Working with scripters such as Otto Binder and Jerry Siegel, Weisinger’s world-building echoes down the ages and remains a source of inspiration in the Superman comics to this day.

And for those—like myself—disappointed by Superman’s supposedly previously-unsuspected ray-from-the-fingers power demonstrated in Superman II… Well, in the comic showcased here (Superman #125), he’s doing much the same.

Image ©2013 DC Comics

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DC guarantee

by Allan on April 7, 2013 at 8:05 am
Posted In: Wondrous Ads

DC guarantee ad

Here’s a fun ad from way back in 1955 when DC Comics were offering a guarantee of the best in comics reading. I offer no opinion on whether that guarantee holds true today as I really don’t read much in the way of modern comics.

Given the 1955 date and the profile given to the just-formed Comics Code Authority, the ad was presumably designed to give reassurance to parents concerned that their kids were about to fall prey to the horrors of juvenile delinquency. “No, Timmy, put down that rock..!”

My Greatest Adventure and Strange Adventures were anthology titles featuring various tales of excitement, frequently with a Twilight Zone style twist. Later in its run My Greatest Adventure stopped being an anthology and became home to DC’s band of misfit superfolk the Doom Patrol. Similarly, once the interest—or sales, at any rate—in anthologies waned, Strange Adventures welcomed Deadman aboard, and then hosted Adam Strange reprints—presumably because the title fit.

Image ©2013 DC Comics

 

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Ace the Bat-Hound

by Allan on March 24, 2013 at 12:52 pm
Posted In: DC, Silver Age Comics

Batman #92 cover, Ace the Bat Hound

Batman #92, June 1955

“Ace, the Bat-Hound!”

Batman and Robin are patroling the outskirts of Gotham City when they spy a dog drowning in a river. They rescue the hapless hound and resolve to find its owner. They take it to the Bat-Cave and place an advert in the newspaper asking the dog’s owner to contact Bruce Wayne.

That night, as the Dynamic Duo speed off in the Batmobile, the dog follows them. Concerned that someone might recognise the pooch from his distinctive forehead markings, Robin fashions a mask. Meanwhile, Bert Bowers, an escaped convict is holed up in a warehouse, and the trio go to investigate. Inside the warehouse Batman and Robin dodge giant clown figures, but Stevens is captured by the efforts of the newly-christened Bat-Hound.

Later, Bruce Wayne receives a call. The dog belongs to John Wilker, an engraver, but it soon transpires that Wilker is missing. His boss confirms that’s he’s not been seen for days. Batman realises that the Bat-Hound’s heightened canine senses could help track down his master. Alfred frets that the dog might be unmasked, giving away Batman’s identity. Batman dismisses this.

The Bat-Signal flashes and Bat-Hound leaps into action, impressing the Dynamic Duo. Commissioner Gordon tells Batman of a burglary at a paper company, which the Caped Crusader goes to investigate. Meanwhile, Robin and Bat-Hound ferret out a lost little boy.

Ace the Bat Hound

The pair join Batman at the paper mill, where Bat-Hound starts to growl. He’s scented a trail—and Batman quickly surmises that it must be the criminals who kidnapped Wilker! The pair follow Bat-Hound to a printing factory. There, Wilker recognises Bat-Hound as his dog, Ace. So much for the mask! Ace is knocked out by a crook as Batman and Robin arrive. Afraid that Wilker might be hurt, the Dynamic Duo surrender.

Wilker is required to print up valuable bonds at a remote location. As he sets to work, Batman and Robin are tied up and left alone. In a brilliant and cunning move, Batman kicks a lamp into the fireplace while Robin tears off Batman’s chest emblem with his teeth. The emblem is dropped onto the lit lamp. This arrangement causes a Bat-Signal to shine through the chimney high into the sky above. Far away, the revived Ace spots the signal and dashes to the scene. He breaks in through a basement window and frees Batman and Robin. The trio burst forth and kick some criminal butt.

Following the fracas the police arrive and Wilker is reunited with Ace. A reporter surmises that as the dog is the same one Bruce Wayne advertised, he must be Batman. “No,” smiles the Caped Crusader, “I got the dog from Bruce to help find Wilker…” and he flashes a photo of him and Bruce together to prove it. Robin breathes a sigh of relief as he silently muses that the “Batman” in the picture is actually Alfred!

Batman and Robin leave after thanking Ace, promising him that he can be Ace the Bat-Hound again whenever he wants.

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Often reprinted, this is a wonderful little tale full of classic Silver Age greatness. It was the first appearance of Ace the Bat-Hound who went on to be a semi-regular feature of the Batman stories for the next ten years. This was clearly in response to the Superman office presenting Superman’s mutt Krypto to the world. And, as the Superman Family expanded over time, so Batman’s editor—Jack Schiff—would match them every step of the way.

The giant clown figures that Batman and Robin evade are dead giveaways that this tale was scripted by Bill Finger. Finger loved giant props and used them often. Finger is the unsung hero of the Batman story, being the uncredited co-creator of the character with Bob Kane. Indeed, Kane’s signature is on the splash page, but the art is actually by Shelly Moldoff who long toiled as Kane’s ghost.

Cover art by Win Mortimer.

Images ©2013 DC Comics

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