Late 1967, Early 1968 Ads

Obviously ahead of their times, the Mothers of Invention ran ads that did not make it clear what they were advertising.

When I'm the Evil Genius

I will not disgrace my enemies before eyes of the entire world:

The Blinded Daredevil

A play, as George M. Cohan pointed out, is composed of three acts. In Act I, you get the hero up a tree. In Act II, you throw stones at him. In Act III, you get him down from the tree. Many superhero stories follow this simple formula. But there are two rather crucial parts that sometimes don't work. First, the stones thrown at the hero in Act II can't be too deadly. And second, the method of getting him down from the tree must be credible.

In Daredevil #30-32 (July-August, 1967), Stan went a little too far on both counts. The series features Daredevil against the old Thor villains, Mr Hyde and the Cobra. Matt figures out that they must be behind the series of robberies in the city. And since he reasons that he can't just patrol the city to find them, he decides to dress up like Thor to draw them out.

Well, you can probably see the fly heading rapidly towards that ointment. Sure enough, Don Blake hears that Thor is plying his trade in midtown and pounds his cane. Before you can say Ragnarok, Thor and DD are doing the classic Marvel, "I'm a hero and I know you are too, but let's fight for a couple pages so they can put it on the cover!" routine.



But eventually they stop clobbering each other and Thor flies off. And the villains DD had been hoping to attract show up. At first they attack him, but Mr Hyde has a better plan--let him follow them back to their nearby lab, where:



Well, the stuff in the test tube is supposed to make one blind. But since Daredevil is already blind, it has no effect, right? Heheh. Sorry, Marvel science doesn't work that way. Since he's already blind it takes away DD's special powers of hearing and the other senses he uses to compensate for his blindness.

Okay, so the hero's up in the branches and leafs and the stones are being hurled at him. But the story takes a twist. Mr Hyde and the Cobra, sensing that DD is no longer a threat, abandon him. DD somehow manages to find his way back to his apartment (apparently not thinking of changing his clothes). Matt does some heavy thinking. Since Foggy and Karen know DD is actually Matt's supposed twin brother Mike, if Daredevil is suddenly blind he'd better make sure that Mike appears to have been blinded as well.

And if the logic of that is as impenetrable to you as it is to me, congratulations, you've been paying attention, because none of this makes a whole lot of sense. So Mike shows up at the office, displaying signs of having lost his eyesight. Karen of course reacts selflessly:



Fortunately the tender scene is broken by the Cobra and Mr Hyde, who have taken up occupation of a nearby rooftop and are threatening havoc. So Mike gets into his DD duds, gets Foggy to help him up to the top of their building, so he can throw his billy-club line across to the villains. And DD tight-ropes his way across the wire, blind and unaided by his other senses, which freaks the crooks out so much they take off.

But they come back and realize that DD is indeed still blind. So they decide to take him back to their lab. Their other lab, not the barn they were in during the battle two issues ago. This one is in a lighthouse. DD goes along with them because he knows he needs the antidote, which Hyde has surely prepared for his blindness potion. And of course once they get to the lighthouse there is a battle, DD eventually gets the antidote, and fortunately guesses right that it has to be swallowed, not splashed on the side of his head like the original potion:



From there, DD makes short work of the Cobra, although Mr Hyde is able to escape. It's an entertaining storyline overall, but it strains credulity to the snapping point. The stones are too rough, and the way that the hero gets down from the tree is not believable.

The Swimmer

Of all the characters that DC reintroduced in the Silver Age, Aquaman has to be considered the most unique, for many reasons. First, he was not a "relaunch"; he was one of the few DC superheroes (along with Batman, Superman, Wonder Woman and Green Arrow) to have been published continuously from the Golden Age on.

Flash, Green Lantern, Atom and Hawkman had all been regular characters in the Golden Age whose series were cancelled and thus could be reintroduced to a new generation of readers with revised costumes, secret identities and origins. With Aquaman, DC didn't have that luxury, especially since he'd been a part of the Justice League of America from its introduction in Brave & Bold #28 (Feb-Mar 1960). Thus when they decided to give him a tryout for his own title with Showcase #30 (Jan-Feb 1961) they did not try a real relaunch; they just expanded his adventures.

He'd arguably been relaunched in Adventure #260 (May 1959), which created a new origin:



His mother turned out to be from Atlantis, and she passed on to her son the ability to survive underwater indefinitely, to mentally command the creatures of the sea, and to swim at amazing speeds. In Adventure #269 (Feb 1960), he gains a companion in Aqualad, an outcast orphan from Atlantis.

But this revealed another oddity about Aquaman compared to the other Silver Age characters. Aquaman didn't have a private life. He didn't maintain his Arthur Curry identity. He didn't have a home. He didn't have a girlfriend (unlike all the other Silver Age DC characters except notably Batman).

And so things stood when DC gave Aquaman his tryout for the big time with Showcase #30-33. The first story was blessed with the artwork of Ramona Fradon, one of the few female artists of the Silver Age, who had drawn Aquaman for several years in the short stories. The second story marked the beginning of Nick Cardy's historic run on the series.

Those looking for gay subtexts will not be shorted, although to me this almost seems to be implying a maternal role for Aquaman:



The early stories were all edited by Jack Schiff and suffer from his endless willingness to publish stories involving monsters at this time. No kidding, here are the villains in the first several stories:

Showcase #30:


Showcase #31:


Showcase #32:


Showcase #33:


The stories themselves are pretty mundane as you can imagine from those covers and they were book-length tales, another rarity for DC at the time. It's a struggle to find any continuing characterization efforts. Check out the "Aquacave" in this panel:


Those are pretty spartan digs.

Lois Lane's Romances

As I have written before, DC's comics were in some ways ahead of Marvel's when it came to girlfriends. DC had a lot of savvy, career-oriented women as love interests. But that's only half the story; DC's gals still tended to be comedic foils for the heroes. None more so than Lois Lane, who supposedly loved Superman passionately, but was willing to dump him at the drop of a hat.



Maybe it was just the blue suit?



Any superhero will do apparently.

Or all of them:



Or even a super-villain:



Apparently Lois doesn't have a long memory:



Or has she forgotten that she used almost those exact words to express her love for Astounding Man?



She also had some exotic boyfriends:





If Supes isn't available, maybe she could steal his dad?



Update: Mark Engblom posted yesterday on Superman's many girlfriends. In Action #370, we learn that Earth had not been Kal-El's second planet; that his rocket initially landed on another world, where he did not have super powers, and where he lived, married a woman named Lasil, and had a son named Vol. Eventually, of course, he was transformed back into a toddler and sent to Earth, where only a couple of hours had passed (since time in this alternative world passed much quicker than in ours).

Batman's Weird Transformations

Mark Engblom has a terrific post up on transformations in general, which inspired me to create this one.

As the character of Batman became more mature in the public image, the writers often had to go to great lengths to come up with something entertaining. Inevitably they hit on the idea of turning Batman into something quite different.

The obvious first step was to reduce Batman and Robin in size. This happened not once, but twice:



And:



Tiny Batman, what else can we do? In Detective #248, they hit on the obvious:



That's actually a pretty terrific little story and the third to last Detective Batman by Sprang, but it symbolized a flood of Batman transformation stories that plagued the Silver Age.

Consider these. Batman Old:


Batman Young:



And of course the Diapered Detective:



This particular story ranks as the worst Batman story of the Silver Age.

Batman the alien:



Flatman and Ribbon:



Good grief, more aliens:



Bat Kong:



Even in World's Finest, Batman could not maintain his normal body for long:

Now This Is a Silly Villain

It's off-topic here, because the comic is from 1948, but I couldn't resist writing about this one. There have been plenty of bizarre villains in the history of comic books, but you're going to have to work hard to beat this guy:



Meet Pinball. As has been traditional in comics for ages, his head resembles his namesake--see the Vulture, the Clock and the Shark for some other examples. His schtick consists of sending wealthy men pinball machines with some theme that will amuse them--cars for an auto racing magnate, jewels for a jeweler, etc. Of course, the machines are gimmicked to somehow incapacitate the recipient so Pinball and his minions can rob him at their leisure.

The Star Spangled Kid encounters him when his dad (a wealthy banker) receives a machine. As is also traditional in these stories, when the villain is captured the hero must close the tale with a pun on the theme:

Random Cover of the Day: Mystery In Space #31

The GCD is down right now, so I can't check the artist, but it's a beautiful cover with terrific inking and dynamic perspective. This is a classic DC "puzzle" cover, where the goal was to get the kid to pick up the comic and find out how exactly the earth managed to get sliced in half like an orange.

Update: As pointed out by my old buddy Snard in the comments, the cover is by Gil Kane, one of the more prolific artists of the Silver Age.

Random Cover of the Day: Phantom Stranger #6

Comments: Classic headless horseman by Neal Adams. Note the way the tree draws our attention up to the title after we first focus on the couple in the car and the man on the horse. Note the mysterious castle across the bridge; it's not hard to guess that the headless horseman will turn out to be their host.

Random Cover of the Day: House of Mystery #79

Comments: It's a "Great Scott!" cover; DC used that as its all-purpose expression of amazement. What can we deduce from this cover about the story inside? Note the title, "The Creature from Inner Space". Does this indicate that the creature came from inside the earth? Why is the protagonist driving a boat? Did he come across the creature inside a cave on an island?

If it's burning the water, it must be losing energy, right? What powers the creature?

Decent dramatic action by Jack Kirby according to the GCD, although the cover story was by Ruben Moreira.

Lessons in Bad Characterization: Brave & Bold #64

The Brave & Bold team-up stories of the 1960s pose a problem for Batman fans. They're bad, but that's not really the crux; there were many bad stories during the Batman Silver Age. The problem is that they were created by writers who weren't familiar with the characters enough, and edited by George Kashdan, who apparently didn't worry too much about little things like continuity or characterization.

The result can be ignored for some of the heroes involved; not many Supergirl or Wonder Woman fans obsess over the ridiculously girlish way they acted in B&B #63. But Batman has a tougher time, because there are so many Batman teamups from 1966 on that it constitutes a significant body of work.

There are some stories that must be either ignored or palmed off as involving Batman from Earth II. How else can you explain Bruce Wayne appearing as an adult in WWII London? Answer: You can't. It was ludicrous in the 1960s; now of course it would make him an 80-year-old codger.

Let's look at Brave & Bold #64 for an example of the horrific characterization that typified these stories.

In the story Batman improbably rescues a gal about to be shot by a bowman using his rope:



She faints and they recognize each other:



"But why was that bow buzzard trying to ventilate your beautiful torso?" Timeless dialogue!

Okay, so we get the inevitable flashback. Seems Marcia was a beautiful but spoiled rich bitch, and Batman had both rescued and tamed her:



Batman assumes that's the end of it, but she has different ideas:



Why, yes, I'd be happy to have a crack shot on my team, never mind that my parents were gunned down by a crook. And before you know it, when they're not busting up crime gangs, they're steaming up the windows of the Batmobile. But then she dumps him, which brings us up to the point where they rediscover each other.

Now, that's pretty horrific characterization for Batman. Dumped by a society chick? We learn that she went on to become engaged to another man, named Nicky. Nicky was determined not to live off her inheritance, so he... became a thief. Say what? He's too noble by half!

Well, you can see the problem already, right? Here's Batman mooning over a gal who dumped him for a lowlife. But it gets even worse. She wants him to return a jewel that Nicky stole before he died (she's available again). Batman returns the emerald, but is surprised that the newspapers haven't remarked on its return. Then it turns out that the commissioner has received a photograph of Batman returning the gem, but it looks like he's taking it. He agrees to go to jail pending trial (huh?) but that doesn't prevent another teary-eyed scene:



With Batman in jail, we learn (sort of) the real plot. Marcia is actually a crook working for a syndicate known as Cyclops. She has managed to free Eclipso from the body he shares with Dr Bruce Gordon (hmmmm, Bruce Gordon?) so that he can join her on a criminal rampage throughout Gotham City. But it turns out that Marcia has been forced to work for Cyclops because they threatened to kill her dad. So it's okay that she dumped our hero, because she did it for family. Sheesh!

The Crack of Doom

What do you see when the Fantastic Four's worst enemy bends over?


Dr Doom was far from an original character. The name, Dr Doom, had commonly been used in comic books for villains. The concept of a man hiding his tragically disfigured face behind a mask goes back at least to the Phantom of the Opera.

But in other ways, Dr Doom was truly unique, one of the great villains of the Marvel Silver Age. He first appeared in Fantastic Four #5, and right from the start he showed his difference from most other villains. For starters, Doom was honorable, after a fashion, as Reed notes here:



In that same story, we get the first telling of Doom's oft-repeated and frequently embellished origin:



Lee and Kirby often ended stories with Dr Doom apparently dead; this was something of a nod to the Golden Age Batman tales with the Joker always dying at the end and yet returning again.







In Fantastic Four Annual #2, (Summer 1964), we learn the full history of Von Doom. His parents had been gypsies. His mother (a witch) died when he was young, and his father (a healer) was persecuted and blamed for the death of a princess he failed to save. We get a slightly revised version of the accident, with Reed the (almost) savior:



We also learn that Doom is the ruler of a distant European land called Latveria in that story; this will become a longtime plotpoint in the Marvel Universe.

More Doom to Come!