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Wednesday, January 22, 2020

Super Blog Team-Up: Shades of Gray - a Review of Spectacular Spider-Man 1

Spectacular Spider-Man #1 (July 1968)
"Lo, This Monster!"
Stan Lee-John Romita/Jim Mooney

Welcome back, friends, to this space as well as to another round of Super Blog Team-Up! This time around we're looking at gimmicks and excess in a theme called "Chromium". While that might seem to have a 90s or 00s vibe, you know this blog hearkens back to the Bronze and sometimes Silver Ages. And that's what I have for you today - a review of a book that lands squarely in that transition from the Marvel Comics of the 1960s heading into the 1970s.

The Spectacular Spider-Man was the brainchild of Marvel's Editor-in-Chief, Stan Lee. Always seeking new ways of keeping Marvel fresh, and narrowing the gap with the Distinguished Competition, Stan could be daring when twisting publisher Martin Goodman's arm. Warren Publishing, MAD Magazine, et al. had already created a market for more adult-themed comics, so Stan wasn't exactly inventing the wheel. Despite its timing, Spectacular Spider-Man was a beautiful book and truly a shame to have been a one-and-done in the black-and-white format. The second issue, in full color and featuring the Green Goblin, stands as one of the great Spidey stories of the Lee-Romita era.

Take a peek at the Bullpen Bulletins at left, and enlarge it. You'll see some typical Stan Lee huckstering, both in the third "Item!" as well as in The Mighty Marvel Checklist. Nearly sold out? Stan even remarks that Jazzy Johnny couldn't find it in his own neighborhood! Know what? I think he was right. Sales figures (I've looked for some exact numbers, but can't locate them) were presumably swell for the first issue, yet Goodman elected to print the second ish in color. We all know that the third issue never saw the light of day. So what happened? My guess is, from everything I've read across numerous histories of Marvel Comics, that Martin Goodman's impatience and general skittishness at potentially losing a nickel most likely ruled the day. It would be another three years before Marvel took the magazine plunge again, with 1971's Savage Tales. And even then, that mag would see a start-stop-start genesis.

NOTE: This book would have landed at the drug stores and supermarkets in between Amazing Spider-Man's 62 (featuring Medusa) and 63 (with the Vulture).

But enough backstory... let's get on with my thoughts on today's selection.

100-Word Review:
Richard Raleigh is a mayoral candidate who has charmed the populace of New York City. But a man-mountain of an assassin apparently wants him dead. Encountering our favorite Webhead, the mystery deepens as Spidey is unable to defeat the monster. Later, various underworld factions take shots at Raleigh. Behind-the-scenes, we find that Raleigh’s not the good guy who’s endorsed by J. Jonah Jameson’s newspaper. Rather, he’s scheming for power by creating plots that seem to run against himself. Can our hero protect his loved ones and the city, and defeat the 10-foot giant bent on killing Captain George Stacy?
The Good: Do you mind if I go on about the art for the next three hours or so? Yeah, that would be excessive. Let's see if I can be a bit more concise. I loved it! Since we're talking gimmicks and marketing today, some of our time should be spent on the black & white art. MAD Magazine was selling a little less than two million copies monthly; we know Warren was well-established by 1968. But no Marvel title had pursued this style yet - Stan's decision to dip his toe into this water could have been a disaster on many fronts: sales, fan response, execution, etc. But wow - did Jazzy Johnny and Jim "Madman" Mooney nail it. This book is beautiful. I read/scanned from the The Amazing Spider-Man Epic Collection, volume 4 - admittedly remastered. I think this would have played well on regular ol' newsprint, too. I used to own a copy of Spectacular Spider-Man #2, and I can tell you that it was printed on standard comic book paper of Silver Age vintage. I'm pretty sure the Marvel magazines of a few years hence would be printed on slightly different paper quality. Anyway, I hope you'll agree with me (based on the samples I've provided) that the pictures are simply stunning.

I've remarked in previous reviews that when I see John Romita's Spider-Man and his cast of characters, it just feels like a comfortable pair of jeans or a warm blanket. This is the way these characters are supposed to look. Yes, Spidey's been blessed with a wonderful stable of artists through the years. But for me, everyone's compared to Romita. I'll get to Stan's script shortly... had it been the most gawd-awful piece of trash (which it wasn't), I'd still have had the pretty pictures to look at. Case in point: The three pages below serve as microcosms of my joy. On the left, the second panel with Spidey's mask sort of washed out is a solid effect. In the middle page, the large panel at bottom showcases four of our main characters and shows why Romita is my gold standard. And finally, the third selection seems a preview of pages we'll see in a few years from the likes of Ploog, Wrightson, Buscema, Mayerik, and some of the other B&W and horror masters.

Regarding the supporting cast, I really think their voices lived in Stan's head. Each one is distinctly presented throughout Stan's tenure as writer. Romita helped by giving each a unique look that remained consistent throughout his years on the book and became the template for Gil Kane, Ross Andru, Keith Pollard, and so on.

Richard Raleigh and his man-monster were effective villains in a story that sought original content. Both characters were bombastically over-the-top and effective as psychological and physical menaces to our wall-crawling hero. I liked JJJ's blind allegiance to the cult of personality Raleigh had crafted, and the opposition of Captain George Stacy. Stacy's skepticism and subsequent investigation of Raleigh proved a nice antagonism to both the candidate and to Jonah. Side Note: After writing this review, I started reading at the beginning of the Epic Collection that was my source. George Stacy had only been introduced within the preceding year to this story's publication, and his star had risen quickly. By the time Stacy would meet his demise in ASM #90, he'd only been around for 40 issues or so - a quite short "lifespan" as a somewhat-major supporting character.

The Bad: I was a bit worried as this story was beginning that Stan's script was going to whither beyond the pedestrian effort that limped out of the gate. Through the first three pages, this felt like one of the newspaper strips that would be published a decade later. I understand that, given the format and price increase (35c, when Annuals sold for a quarter) there may have been new readers who needed to be brought up to speed. But I was having a tough time getting past all the cliches. Fortunately, after the initial too-long battle, the story settled in and became what we'd call "regular Spidey fare". 

It seemed to me that Spider-Man might have drawn on Peter Parker's science knowledge in a bit more of a detailed manner when deducing how to defeat the big ugly. The climax felt more the result of luck than of Spidey actually using that genius mind that dwelt beneath the mask.

And speaking of a too-long battle, whenever I get about halfway through one of these 52-page monsters I begin to question my stamina. This was a lengthy piece of literature!

The Ugly: I got nuthin'. Fun read, fun format, easy on the eyes - it's what comics and comics magazines should be.

Before we get to some more good stuff, I wanted to show an art sample of the 10-page retelling of Spider-Man's origin, the back-up to our main feature. Stan wrote it, and art was provided (quite solidly, I might add) by Stan's brother Larry Lieber with inks by the ever-stellar Bill Everett. It's a collaboration that paid some serious dividends.

Please patronize my partners in blogging and podcasting today and in the coming days. You will find it's time well-spent!  

Super-Hero Satellite: 70s-80s Photo Covers. A snapshot of pre-90s era of gimmicks, the evolution of a trend through the years.

Chris is on Infinite Earths (Blog): Adventures of Superman #500 (White Bag/Lenticular Cover/etc.)

Chris is on Infinite Earths (Podcast): Episode 33: Team Titans #1 (1992) -Five Variant Covers… and five variant stories! - Daredevil 319-325: Fall from Grace (Gimmick covers and a new costume)

Between The Pages - Guerilla Marketing

DC In the 80s - Justin’s 5 most memorable DC “gimmicks” (1990 - 1995): Robin II hologram covers, Spectre glow-in-the-dark covers, Justice League Task Force #1 with JLA membership card, Batman Shadow of the Bat #1 collector’s issue, #5 undecided. Mark’s most memorable DC comic cover “gimmicks” (1980 - 1989)  

Comics In The Golden Age -Fawcett’s Mighty Midget comics.

Unspoken Issues - Darkhawk #25

Dave's Comic Heroes Blog - Connected Covers gimmicks: New Teen Titans 37/Batman and the Outsiders 5

When It Was Cool - Polybags!

Wednesday, January 1, 2020

Happy New Year!... and "Watch This Space"

Happy New Year, friends. I hope the holidays have been kind to you and yours. It has been relaxing for the most part on this end, and I am looking forward to what 2020 has in store for me and my family.

I am also announcing that you should 

As 2019 was ending, I was contacted by the good folks who administer Super Blog Team-Up and asked if I'd like to participate in the next consortium of awesomeness. Heck yes, I would! The title of the event is "Chromium" and will focus on marketing gimmicks through the years. Being a Black & White focused blog, my mind immediately went to Stan Lee's foray into magazine-sized comics. This landed in 1968 with the publication of the first issue of Spectacular Spider-Man. On January 22 2020, I'll post a review of the lead story from that book, with the usual scintillating commentary you're used to (at least I think it's scintillating). Below is a detail from the back-up feature, a retelling of Spidey's origin by Stan Lee, Larry Lieber, and Bill Everett. You're in for a treat when more art from this tome graces this blog.

So stay tuned. I'll tweet some pre-post publicity - tell your friends! And be well 'til we meet again.

- Doug

Tuesday, November 26, 2019

Hello, I Must Be Going

So it has come to this...

What's this, you say? This, my friends, is where Black & White and Bronze Age Comics goes on hiatus. Yesterday's closing review of Maus was not only the realization of a long held goal (and labor of love) to review that classic tale, but somewhat coincidentally it marked exactly one year since publication began in this little corner of the Internet.

I'd mentioned back in June that I thought posting had the potential to become sporadic. Although the first month of my summer vacation, June was particularly busy for me family-wise. But I caught a second wind and was able to spend several days through the end of the summer getting ahead. In fact, by Labor Day I'd scheduled all the way to the end of October! That was a good feeling, since I knew this school year was going to present many new challenges for me. I've been appointed to a new position, largely administrative, and it has greatly restructured my life with numerous meetings and classroom observations each day - and consequently made the nights challenging for writing from an energy and focus standpoint. So it's best to lay this thing to rest, at least for the time being, while its pulse is still strong.

Here's what I said as this blog began:
" initial ambition is to highlight Bronze Age artists who excelled in the black and white format. In the future, you might see reviews of full stories or of pages or even panels. I'll identify the penciler and inker, and sometimes we may just discuss that pairing  - was it a good fit? On other days you may see sketches, or pages of original art. And we won't necessarily be limited to just the Bronze Age - watch for anything from Golden Age Batman newspaper strips to Jeff Smith's Bone to pencil art from Batman comics of the last decade. While my personal comics wheelhouse of 1973-1980 may receive the bulk of attention, hopefully there will be at least a little something for everyone!

Just to give an idea of where this may go, here's an incomplete inventory from my comics library:
  • Planet of the Apes Archives, volumes 1-4
  • Savage Sword of Conan, volumes 1-4
  • Doc Savage Archives, volume 1: The Curtis Magazine Era
  • Bone: The Complete Cartoon Epic in One Volume
  • Batman: The Dailies, 1943-1944, 1944-1945, 1945-1946 
  • Spider-Man Newspaper Strips, volumes 1-2
...and several Marvel Essentials collections, numerous Artist Editions, etc."
If I self-assess, I'd say I met those goals and then some. Throughout the year I received some nice recommendations here and on Twitter. I read some Vampirella stories for the first time, as well as Solomon Kane. I stumbled across a hardcover reprinting of the Blazing Combat series while in Washington, DC last July and purchased it. What a Wow!-factor that book had! I love the diversity of the black & white format, and the roll call of spectacular artists fluent in the genre never ceases to amaze.

But it's been a nice run. Here's a tale of the tape, current the night before this posts.
Posts: 111
Pageviews: 58,500+
Comments: 680

Most viewed post: Claws vs. Talons, in the Savage Land Sky!
Post with most comments: John Byrne's Star-Lord
Number of reviews: 50
Number of creators mentioned: 118
Thanks for putting up with me, and for your interest in the material I've covered. My love of this material has grown over the past several years, but definitely during the past 12 months. I appreciate those who made recommendations to me, and pledge to enjoy those resources moving forward. My "tolerance" for non-superhero comics continues to improve, and I've experienced real joy in some of the new genres or books I've tried. As my friend Karen long ago said, we live in a Golden Age of reprints, and I am so very thankful that much of the black & white material from the Silver and Bronze Ages is readily available to fans.

Be sure to use the navigation features on the sidebar to get at old reviews and artist appreciations. And leave a comment - I'll see it and will interact.

Be well - and whenever I decide to scratch a new itch, I will certainly publicize it on Twitter so that you might come back and enjoy some pretty pictures and perhaps a bit of conversation. Thanks.


Monday, November 25, 2019

Maus: A Survivor's Tale. And Here My Troubles Began, Chapter 5 - a Review

Maus: A Survivor's Tale. And Here My Troubles Began (1991)
"The Second Honeymoon" - Volume 2, Chapter 5
Art Spiegelman

After a year of once-a-month reviews, we have come to the conclusion. In storytelling time, we've bridged 1978-1991; the events therein covered nearly 60 years. It has been a tale of scope and of scale, and in my mind this is one of the most important comic books ever produced. One can argue about other books' lasting impacts, or financial appreciation. But Maus was somewhat of a game changer across the market, as it brought "comix" to a mainstream audience and caused the general public to take notice of the genre and its storytelling possibilities. I long ago lost track of how many times I've read this, but I don't care - I know I'll keep coming back.

In this final chapter we wrap the events of the war years, and see the almost-end of Art's and Vladek's relationship. It's a fitting curtain drop, one that is poignantly touching.

100-Word Review:
As Art set about continuing his work on the second volume of Maus, he was interrupted by a frantic call from Mala, his stepmother. She’d gone back with Vladek, and they were in Florida. Vladek was quite ill, and Art needed to head south to help them return to New York. Once stabilized, Vladek told Art about the days immediately following the war - but he was separated from Anja, his wife. After time in Displaced Persons camps and another bout with typhus, he eventually made his way back to Sosnowiec, where he was reunited with his beloved. He was later able to secure employment and rebuild his finances, and the Spiegelmans made their way to the United States.
Most of this chapter takes place in the present. It is a satisfying finish to the telling of Art's and Vladek's stormy relationship.

The Good: Art's a good son, in spite of how crazy his dad had driven him through the years. Art felt a real sense of responsibility to Vladek and to Mala. It's pretty clear that the role of caretaker was not comfortable for Art, but he did it and did it well. I thought, especially given the way the first volume had ended, that the story had a bittersweet ending. "Happy" was probably out of the question, but I didn't walk away in a fit of depression.

It was important that Vladek related the trials he faced in reuniting with Anja. It should not be lost on anyone that upon liberation, survivors had no assets. And when we see stories of the murders that took place in Poland when Jews tried to return to their former homes and property, the barriers to normalcy seem all the steeper. News in those days of course traveled slowly, and knowing the destruction of German infrastructure it's a wonder word made it from place to place at all.

Across the entire narrative, I was impressed by Vladek's resourcefulness. The vignette about selling hosiery (out of place in the chronology of Vladek's biography but told as such because it was topical to the narrative of that page) was amazing. I'd not call Vladek a scammer, but I would say he was more adept than most at sniffing out a deal.

The reunion of Vladek and Anja was appropriately low-key. Art let the event speak for itself.

The Bad: Over the past couple of chapters, I think we really got a taste for the absence of Anja's perspective in the events at the end of the war. Vladek's destruction of her diaries effectively omitted a large wedge in the narrative pie. When she is present in the story again, there's a weight to those pages in which she was absent. I don't know that it overall diminishes the impact of Maus - after all, that her diaries were destroyed is an important ongoing element in the relationship between Art and his father. But it certainly would have added to the trajectory of chapter 4.

I am never able to understand Vladek's motivation for having his picture taken in a camp uniform. I'm glad Art used it in the book, but it's never clear to me why anyone would want to be near that. When I see those uniforms on display at the United States Holocaust Museum, I always have a sense of revulsion. To stand mere feet away, and to know what they may have been used for and most certainly what they symbolized, sweeps me with emotion.

The Ugly: The above-mentioned pogroms and killings in Poland and elsewhere at the conclusion of the war. As Vladek relates, for this they survived?

For those of you new to this series, I'd invite you to use the Repository of Reviews for links to my thoughts on each of the 11 chapters of Maus. And to anyone who has been along for the entire 11-month ride, I thank you. I've remarked along the way that this has been a real labor of love for me, and these reviews are a goal I've long held. It has been gratifying to see the "project" come to a conclusion; I hope you've appreciated the story as much as I have.

Thursday, November 21, 2019

Jose Luis Garcia-Lopez: We're All Thankful for the 1982 DC Comics Style Guide!

The 1982 DC Comics Style Guide was such a monster, I had to split it into three posts to enjoy all that goodness. And I've only shown you the black and white side of things. All of these (and more) were also in color, and all were rendered by Jose Luis Garcia-Lopez. I hope you've enjoyed our previous forays - and if you missed 'em, then by all means make up for lost time!

And come right back on Monday for the conclusion of my year-long series of reviews of Art Spiegelman's Maus.





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