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!”

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.

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.

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.

0-0-0-0-0-0-0-0-0-0

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

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, 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, 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 #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, 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

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

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

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.

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.

0-0-0-0-0-0-0-0

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

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!

DC comics took over the publication of Young Love and Young Romance in 1963. They had previously been published by Prize. With them, DC brought its popular romance line to seven titles. Secret Hearts, Falling in Love, Girls’ Love Stories, Girls’ Romances, Heart Throbs and the two new comers continued to entertain their audience for another decade or so. From 1971 the line was gradually cut until, by 1975 only Young Love and Young Romance were left. Young Romance bit the dust that year—with co-creator of the whole romance genre, Joe Simon, at the helm—and mainstream comics finally bid a fond farewell to tear stained tableaux in 1977. Sob. Choke.

Back in the early 1960s though, when things were still going strong, the back covers were filled with lively advertisements were for all comics in the line. DC was still officially called National, and the link with DC was only obvious through the circular logo. The comics tended to be ad-free inside, though you might find the odd house ad extolling the virtues of Lois Lane, or some other female non-threatening fare.

Still, I love these. They’re really quite classy.

Images ©2013 DC Comics

Recently I was reading Twomorrows‘ excellent Stan Lee Universe. The book is essentially a collection of vintage interviews with The Man, mostly hailing from the 1960s and 70s. It’s a good read, full of interesting titbits and recollections. While perusing its pages I got to thinking about the characters Lee co-created during the heyday of the House of Ideas. Alliteration seems to be a big thing for him when it comes to names:

Fantastic Four

Reed Richards

Susan Storm

Doctor Doom

Bruce Banner / Bob Banner (!)

Peter Parker

Betty Brant

Robbie Robertson

J Jonah Jameson

Otto Octavius

Pepper Potts

Matt Murdoch

Mike Murdoch (don’t ask!)

Happy Hogan

Dum Dum Dugan

Paste Pot Pete

Madame Medusa

Silver Surfer

Balder the Brave

The Voluminous Volstagg

Scott Summers / Slim Summers

Warren Worthington III

Not that this is apropos of anything, but I just find it interesting. I’m sure there’s many more I’ve forgotten. And, yes, before anyone starts moaning, I know Kirby’s solo-created characters often had alliterative names (Mark Moonrider, Red Ryan, Buddy Blank, etc), so the naming scheme may have had his involvement.

Then again, perhaps Stan was just continuing a long comics tradition. After all, prior to Marvel there was Billy Batson, Freddy Freeman, Mary Marvel… and Clark Kent, of course. Speaking of Clark, his various girlfriends’ whole shtick was that they all had double-L as initials: Lois Lane, Lori Lemaris, Lana Lang, Lyla Lerrol.

Anyway. Stan Lee Universe. Good fun, and worth a look. For those still beating the horse, Lee does indeed credit Kirby and others with plotting/writing the comics during the 1960s.

Following a long and distinguished run by a writer of Steve Englehart’s calibre was never going to be easy. So, when Englehart abandoned Captain America, Marvel looked to deliver the book into a safe pair of hands.There were none safer, perhaps, than those of the star-spangled Avenger’s co-creator Jack Kirby. Kirby was returning to Marvel after a five-year stint at DC. Following a promising—even astonishing—start there with the Fourth World books in 1970, Kirby had become increasingly disillusioned. When the Fourth World had been cancelled in 1972, Kirby had made tentative overtures to Marvel about returning, but ultimately stayed put. His new concepts, such as Kamandi, the Demon and OMAC, were exciting, but a lot of the heart had gone.

By 1975, much of his DC output consisted of fill-ins and one-shots. Kirby was clearly just marking time until his contract expired. The work during that last year was frequently sloppy and lazy. Would anyone else get away with having five full splash pages in a 17-page comic? By contrast, the work Kirby turned in upon his return to Marvel was far and away improved. The King was reinvigorated and it showed in his art: much tighter, more dynamic. The idea of handling the reins of Captain America during the bi-centennial celebrations of 1976 clearly intrigued and delighted Kirby. And, consequently, the initial Madbomb saga is filled with wild concepts.

It didn’t take long for the complaints to start coming in. Kirby had no intention of following the “man without a country” notion. His Captain America would not be plagued with self-doubt. Unfortunately, as far as many fans were concerned, Marvel‘s Cap did have issues, and they felt short-changed by Kirby. It’s true that Kirby’s Captain America is a far less sophisticated book than Englehart’s, but it shouldn’t be condemned for that. For my money, Kirby’s run actually holds up better now than the material of a few years earlier. Englehart was concerned with current events, and the book reflected that to such a degree that it’s now dated. Kirby’s run, on the other hand, being largely simple action adventure, reads as timeless.

Kirby lasted on Captain America for 22 issues and two Annuals. A very respectable run. It may not have been to everyone’s taste, but Marvel were clearly excited to have Kirby back. This ad trumpets his return at the end of Captain America #192 (December 1975).

Image ©2013 Marvel Characters, Inc

Solicited in the latest Previews, the long-awaited return of Colleen Doran’s science-fantasy epic A Distant Soil. Zip down to your favourite local comics emporium and order a copy—you won’t be disappointed.

Also worth a look is this Comic Book Resources article looking a the history of the series, some of the problems involved in bringing back to print—and my small part in restoring the series to its former glory!

http://www.comicbookresources.com/?page=article&id=43624

A Distant Soil TM & © 2013 Colleen Doran