Professional Documents
Culture Documents
Comics 101
Comics 101
Comics History
Crash-Course
by ALTER EGO’s
Roy Thomas
& BACK ISSUE’s
Michael Eury
WELCOME TO FREE COMIC BOOK DAY,
FROM THE INDUSTRY AUTHORITY ON
COMICS HISTORY AND CREATION!
he keys to good
T figure drawing are
gesture and form, in that
order. Find the action and attitude
of your figure through loose gesture
drawing first—this is important. Most
failed figure drawings are a result of jumping
ahead to detail and rendering before the gestural
framework is completely and clearly worked out.
Use a simplified “directional line skeleton” such as
the male and female shown here to begin your drawing—
although extremely
simple, these skeletal tools
establish an enormous amount
of crucial information in the first
phase of bringing your figures to
life. They contain all the basic
proportion and structure rela-
tionships of the body, as well as
underlying anatomy rhythms
and form details—note that the
fundamental typical differences
between male and female are
already obvious in these “wire
frame” designs, the joints that
control the movements of the
various parts are clearly indicated,
and even structural facts such as
the absence of a single straight
line are evident. (No bone in the
human body is perfectly
straight—each large bone and
the spinal column have a distinct
characteristic curve.)
MALE 1 FEMALE
As you begin your sketch, concentrate
on capturing the attitude and intention of
the personality you are drawing—never
draw “a body”, draw what he or she is
doing. Although it can be difficult, don’t
allow yourself to think about the complex
forms of surface anatomy and other
details at this stage—keep your mind on
using your line-skeleton to express as
much about the personality and action of
your figure as possible before you move
to the next stage. Most of the problems
of pose, proportion, and creating a
clear silhouette of your figure are
much easier to solve in this initial
phase than it is after the image has
become a heavy mass of detail and
rendering.
Study the set of sample wire frame
gestural sketches shown here and notice
how easy it is to complete the figures in
your imagination—all the basic informa-
tion is clear and easy to grasp at first
glance. A few tips to keep in mind are
obvious in these drawings, too:
The male is more
angular, the female
accents curves.
In active poses
(running, leaping,
crouching) the limbs
alternate direction—if
the right arm is forward
the right leg is back and
vice versa—this is a natural
physical law of balance and
makes the action of your
figures convincing. This principle
also adds grace and movement to
any pose.
These wire frame tools automatically
force you to think about all sides of the
figure—including the parts that won’t
show in your final image. This helps
enormously in establishing the figure’s
three-dimensional solidity in space and
also makes it easier to ensure the correct
proportion of body parts that will eventu-
ally be partially obscured by other forms
in the finished drawing.
2
The next stage is
“building” the forms
of anatomy and solid
flesh over your
wire frame
gesture—a
simplified
mannequin
of body
forms is
shown
here. The
most
important
element to
remember
is to draw
transparently—
complete your
forms by “draw-
ing through” to
the opposite side,
as if your figure
was made of
malleable glass or
plasticene. The
other key is to
establish the
centerline of
each separate
form, either
by actually
indicating it in
the drawing
or holding an
awareness of
it in your
mind. You
can see
center lines
indicated on
the forms of
the exploded
mannequin—
these refer-
ence marks
clarify the
depth and
breadth of space
that the figure
occupies, sharpening this awareness of physical solidity in
your mind as you draw. This awareness is suggested by the
arrows—your forms are always moving through space in
three directions—up and down, left to right, front
to back.
Notice in these drawings that every important
aspect of structure, gesture and attitude has been
“nailed down” using the simple mannequin
forms—now it is comparatively easy to render these
forms with surface detail. You will encounter no
structural confusion as you embellish—every part of each
figure is clearly placed, in correct physical balance and
proper proportion.
3
It is a simple matter to adapt the wire frame and mannequin
designs to fit any character proportion; massive or thin and any
variation between the two.
The two rendered figures have been fleshed out with anatomy,
light and shade, texture and other finishing details—each too large
a subject
to cover in
this short
space. But
in essence
they are
just
“dressed”
wire frame-
and-man-
nequin
structures—all
the important
elements of
these figures were
established by the
understructure we’ve
discussed here. The
polishing of an image is
important, but in terms of
process that phase is the
veneer, and the easiest part
of drawing images.
Learn to concentrate on
building a thorough
foundation and your
final artwork will
always be stronger.
Bret Blevins is a regular contributor to TwoMorrows’ Draw! magazine, and an art instructor at
Yavapai College. He is an accomplished comic book artist, animation storyboard artist, and painter,
having done work for Marvel, DC, and Dark Horse on Batman, Superman, Spider-Man, X-Men,
Hulk, and Star Wars, plus storyboards for Warner Brothers' Superman, Batman, Batman
Beyond, Static Shock, and Justice League cartoons, as well as Tarzan and Atlantis for Disney.
4
of the page remains unfinished: A big no-no!
And why is this a common factor in so many
aspiring or young storytellers’ work, you ask? Well
that’s because in their enthusiasm they’ve skipped a
huge step in the process of storytelling, and just like a
baker who leaves out crucial ingredients in a cake
recipe, the result after all their labor is an inedible
lump—and in the case of comics, unfinished, unread-
able stories, pages with holes that sideline the work,
and eventually cause most artists to lose enthusiasm
and probably abandon the story. Like the baker
leaving out a crucial ingredient, by skipping a step,
the artist didn’t work the story out first;
they didn’t break down the story first
into a series of panels, or what we
call a layout—and only once that
was done with the details of exactly
what is happening, proceed to the
next step, drawing the final pages.
The formula for a successful
comic story, no matter the subject
or style, is basic and simple; but as they say, “Simple
is hard”. Young artists always want to skip steps,
jump ahead to the fun part, the exciting part, but a
story isn’t exciting unless you build up to the excite-
ment. Another thing that often vexes the young artist
is leaving enough space for word balloons and cap-
HOW TO BAKE tions, so often the art gets cramped, and figures and
background details have to fight for space.
EASY STEPS story is paced and how much room their script takes
up visually; the real estate they have to play with on a
comic page.
by Mike Manley, editor of Draw! magazine
Before you leap in and run along like crazy, start
see them all the time: fresh-eyed artists. They may
I approach me at a con, or as a student in one of my
classes, and they always have a story they want to
simple. Try and boil your story down into no more
than a few sentences; if you can do that—focus on a
clear beginning,
draw, often a huge Lord of the Rings multi-verse epic. middle and
Sometimes they even have a few half-drawn pages end—you will
where they’ve usually gone and drawn all the fun, have a good,
cool or easy stuff, leaving the rest of the page or solid story. Very
pages half-drawn. Their pages are covered with par- often writers will
tially penciled panels, with figures floating or even figure out the
entire panels left blank. They’ve skipped ahead, end first and
avoiding that part they haven’t figured out yet, so then work their
they can’t show me the story—nope, they have to tell way back to the
me the story. “You see, this is where Vortox enters beginning.
into the space station to have his showdown with Next, buy
Wolverine’s twin brother.” Of course some cheap copy paper from the local Staples, Office
there is no space station to be seen. Max, etc. Sharpen a few pencils; get an eraser, trian-
Comics are a visual medium; we gle and a black Sharpie or similar marker.
have to see, to read visually what’s Then draw a six-panel grid layout like the example
going on. We can’t have the artist shown; you can do this for each page or do it once
standing there narrating to us to fill and make copies of it. The purpose here is to break
in the gaps. The worst case is that down what happens in your story from the beginning
on some pages the young artists to the end. Later you can change the size of the
have even sometimes gone in and panels, but for now just draw everything in a grid.
inked up something while the rest
5
STEP 1: Work out your story using the simplest
drawings you can do. They can even be stick figures
for this part; the point here is not to do great drawings
or fall in love with rendering tricks; we just want to
draw out our story, and see what happens.
As you draw out your story, draw the balloons with
all the dialogue, sound effects and narration as well. If
you have writing, you need to see how much space
the dialogue and narration take up along with the
drawings—what I call the visual real estate.
The idea here is to work out the story in as clear
and simple a way as possible and to give you a clear
idea of what is happening and how the story flows. If
something isn’t working well, no problem; grab anoth-
er sheet and redraw it. By doing these simple drawings
you are not committing hours of labor, only to scrap it,
or doing a great drawing that just doesn’t work.
Once you have your entire story worked out in
your stickman style, you are ready to go to the next
phase: To do an actual layout.
THE MAN OF
TOMORROW—HERE
TODAY!
Major Wheeler-Nicholson had
lost his company, National Allied
Publications, to Harry Donenfeld, his
printer. In ’38 Donenfeld was already
publishing More Fun (formerly New
Fun) Comics, New Adventure
Comics, and Detective Comics, and
was ready to launch a fourth title, to
be called Action Comics.
That’s when a bunch of dailies
from an unsold newspaper comic
strip called Superman got their
chance at the spotlight. They told Action Comics #1 (1938) introduced the world to Superman—and vice versa—
the story of an alien who grew up and by 1939 he was starring in his own title. Ere long, his creators, writer
to be Earth’s champion, hiding his Jerry Siegel and artist Joe Shuster, were being lionzed in the mainstream press,
true identity beneath spectacles as as per this vintage photo from the 1940s. ©2007 DC Comics.
reporter Clark Kent. Superman’s
creators, writer Jerry Siegel and artist
Joe Shuster, were already doing
other series for Donenfeld’s company,
now called Detective Comics, Inc.
(a.k.a. DC)… but the newspaper
syndicates had universally rejected
Superman. M.C. Gaines (remember
him from 1933?) was now working
for the McClure Syndicate; and, at
the urging of his teenage editor,
cartoonist Sheldon Mayer, he sent
Superman to DC’s editor, Vin Sullivan.
Sullivan needed a lead feature to
persuade young readers to part with
a Depression-era dime for the new
comic—and he decided Superman
was it. Thus, in the spring of 1938
(with a June cover date), Action
Comics #1 went on sale—and there
on its cover was a scene that went
way beyond cops shooting robbers,
or even Tarzan and Buck Rogers. A
fierce-looking man in a red-and-blue
acrobat’s costume, complete with
cape, was hoisting an automobile
over his head, as bystanders fled in
THE SUPER-HERO
EXPLOSION
The same month Bat-Man made his
debut, another costumed hero made the
“The Bat-Man” was a loner on the cover of 1939’s Detective Comics #27— scene: Wonder Man, in Wonder Comics
but had picked up a boy partner by the time of 1940’s Batman #1. #1, from publisher Victor Fox. This red-
©2007 DC Comics.
and-yellow-clad hero was so similar to
panic. There was no mention on the cover of this Superman that DC sued—and Wonder Man
fearsome character’s name—let alone whether he was quickly faded into the mists of history.
good or evil. There was just that huge Art Deco Other publishers quickly saw the light: to publish
title—Action Comics—above a drawing that certainly a colorful “mystery man” (as they called them in
lived up to the name! those days), you needed one different enough from
By the time the 13-page “Superman” story inside Superman that there was scant basis for a lawsuit.
(hastily pasted together from those unsold newspaper Martin Goodman’s new Timely Comics launched
dailies) ended on a cliffhanger, the kids of America had Marvel Comics #1, starring Carl Burgos’ Human Torch
a new hero. It took some issues for Donenfeld to realize (who could turn to flame) and Bill Everett’s Sub-
what was selling his new comic, but once he did, he Mariner (who lived underwater). MLJ’s Pep Comics #1
quickly issued a one-shot reprint comic featuring the introduced The Shield, the first hero to wear patriotic
first several stories, under the title Superman… and it red, white, and blue, as the spectre of World War II
soon quickly became a regular publication. Siegel and loomed. The Blue Beetle in Mystery Men Comics
Shuster had their hands full, and before long a small wore chain-mail armor, and sometimes wielded a pistol.
army of artists was working under them producing Writers/artists/partners Joe Simon and Jack Kirby
tales of this strange being with powers far beyond created Captain America Comics for Timely, starring a
those of mortal men. red-white-and-
The rest of the country soon sat up and took blue hero who
notice—not of the character’s boundless possibilities, let soon left The
alone of the imagination of his creators, but of the piles Shield and all
of money he was making for Detective Comics, Inc. other super-
patriots in the
LOOK! UP IN THE SKY! shade. A mild-
IT’S A BAT… mannered
chemist at the
Bob Kahn, who drew for DC under the name
Pines/Nedor
“Bob Kane,” liked money, too. Who doesn’t? By
company drank a
1939 he was drawing humor features such as “Peter
potion and
Pupp,” but felt he was getting nowhere. So when
became The Black
editor Vin Sullivan suggested he try making up a hero
Terror, his outfit
“like Superman,” Kane conceived the idea of a
emblazoned with
“Bat-Man” who fought crime in yet another red-and-
skull and cross-
blue acrobat outfit, but wearing a domino mask and
bones. Quality
sporting batlike wings.
Comics launched
Only thing is, Kane wasn’t really a writer. So he got
the diminutive
a friend, Bill Finger, to script the actual story. Finger, the Both Wonder Man (from Doll Man, and
new hero’s uncredited co-creator, suggested a mask Wonder Comics #1) and Captain
Marvel (who debuted in Whiz
soon the infinitely
with bat-ears, a more somber blue-and-gray color
Comics “#2,” Feb. 1940) could stretchable Plastic
scheme, and other changes, making him a true creature
leap tall buildings at a single bound, Man.
of the night. Sullivan liked “Bat-Man” and made it
just like Superman—but the Man Fawcett
the cover feature of the 27th issue of Detective of Tomorrow had better lawyers. Publications,
Comics, dated May 1939—only one month less than Captain Marvel TM & ©2007 DC Comics.
though, ventured
a year since Superman had flung his first flivver.
into the field at
18
In the meantime, Donenfeld had
long since decided that, if Superman
were to be copied, his company should
be the one doing it. Thus, in 1939-40,
DC and a new sister company, All-
American Comics (in which Donenfeld
was partnered with M.C. Gaines),
launched a virtual army of super-doers:
The Flash and Hawkman in Flash
Comics… The Spectre, then Dr. Fate, in
More Fun Comics… Sandman, then
Hour-Man, in Adventure Comics (the
“New” had been dropped)… and Green
Lantern and The Atom in All-American
Comics. In late 1940, they even combined
these eight heroes in the first super-hero
group ever: the Justice Society of
America, in All-Star Comics. And in late
1941, DC/AA launched Sensation
Comics #1 (cover-dated Jan. 1942), star-
ring another mutation in the super-hero
concept: Wonder Woman, who soon
outdistanced all co-ed competitors to
rival Superman and Batman in popularity.
The situation was pumped up to the
max by a little event called the Second
World War. America got fully involved in
it on December 7, 1941, when Japanese
aircraft attacked US military installations
at Pearl Harbor, Hawaii. Within days, the
USA was at war with imperial Japan and
her Axis allies, Hitler’s Nazi Germany and
Mussolini’s Fascist Italy.
These were terrible times for human-
kind—but glorious ones for the American
comic book industry. Paper was in short
supply during wartime, but any mag that
A super-hero explosion! The covers of Wonder Comics #1 (1939)—Marvel reached the newsstands was snapped up
Comics #1 (1939)—Pep Comics #1 (1940)—& Captain America Comics #1 by a legion of kids and young men in
(1941). © respectively: the respective copyright holders; Marvel Characters, Inc.; Archie Comic uniform, looking for an idle hour to kill.
Publications, Inc.; Marvel Characters, Inc.
And who could have possibly made better
the turn of 1940, in the initial issue of Whiz Comics, foes for Superman, Captain Marvel, Captain America,
with Captain Marvel, who was very
much like Superman in terms of pow-
ers. His “difference” was that he was
actually a young boy, who shouted the
magic word “Shazam!” and turned
into the World’s Mightiest Mortal. DC
decided that Captain Marvel was
nonetheless a rip-off of Superman, and
sued Fawcett for copyright infringe-
ment. The bitter legal struggle lasted
for years—during which period
Fawcett’s Captain Marvel Adventures
became for a time the best-selling
comic book in the world—but in
1953 Superman won out, Fawcett
folded its tents, and Captain Marvel
was no more.
The above, of course, are just the
iconic tip of the iceberg. At one time
or another during the 1940s, there With All-Star Comics #3 (1940), eight of DC’s greatest heroes—after Superman
were literally hundreds of super-heroes and Batman, of course—joined forces as the Justice Society of America.
Wonder Woman debuted in All-Star #8 at the end of 1941, then leaped into
of one stripe or another. the first issue of Sensation Comics. ©2007 DC Comics.
19
Donald Duck’s first comic book bow occurred in Walt Disney’s Comics and Stories #1 (1940), Blackhawk’s in
Military Comics #1 (1941)… while Archie Comics #1 (1942) premiered after the Riverdale teenager had been jitterbugging
in Pep Comics for a year. ©2007 respectively Walt Disney Productions; DC Comics; Archie Comic Publications, Inc.
and their ilk than the hated Nazis and Japanese? science-fiction comics, Weird Science and Weird
To the rest of the planet, it was World War II. Fantasy, had a sinister bent, too. Working with
But to comics readers, it was a Golden Age. writer/editor Al Feldstein, publisher William Gaines
soon turned the small company he’d inherited from
CHANGING TIMES— his father (the late M.C. Gaines) into the envy of
AND EC COMICS other comic book moguls—and the object of many a
During this period, there were a growing number do-gooder’s hatred. In 1952 Gaines and writer/editor/
of popular comic books in genres besides the super- artist Harvey Kurtzman also midwifed Mad, which
hero. Dell initiated funny-animal comics, most of them began life as a color comic.
licensed (from Disney, Warner Bros., etc.). In 1941 The first half of the 1950s saw an explosion of
MLJ began a backup feature about the humorous horror comics, working hard to outdo each other in
antics of a teenager—and soon “Archie” took over depicting fear and loathing, few with the good writing
first Pep Comics, and then the entire company, which and art the EC comics had. The result was a rising
changed its name to Archie Comic Publications. There cry—half grass-roots movement, half orchestrated
were few real “war comics” during WWII, but colorful campaign—for censorship of comic books. Even
aviators like Quality’s Blackhawk and Hillman’s Airboy Congressional sub-committees investigated the lowly
filled the skies with machine-gun fire. comic book, and didn’t much like what they saw. And
After the war, much of the excitement about super- right in the forefront of the crusade was a psychiatrist
heroes had faded. In the second half of the 1940s named Dr. Fredric Wertham, telling them where to
they began to drop by the wayside, to be look and what to see.
replaced by other genres:
Westerns, featuring cowboys and
Indians… mostly cowboys.
Crime comics, often based on “true
police cases,” led by Lev Gleason’s Crime
Does Not Pay.
Love comics, starting with 1947’s
Young Romance, by the Simon & Kirby
team that had conceived Captain America.
War comics, especially after North
Korea invaded South Korea in the
summer of 1950.
And horror comics.
EC (Entertaining Comics) didn’t initiate
the trend toward tales of terror and the
supernatural. But in the early 1950s EC
took the lead with its beautifully drawn
and gruesomely written Tales from the
Crypt, Vault of Horror, and Haunt of Fear. EC’s Crypt of Terror #17 (1950) was actually the first issue of
EC also gave crime comics a more what was retitled, with issue #20, Tales from the Crypt—the archetypal
grotesque twist, in Crime SuspenStories horror comic. Mad #1 (1952) started out parodying horror and other
and Shock SuspenStories. Their two comics genres, but was soon lampooning everything!
©2007 respectively by William M. Gaines, Agent, Inc., & E.C. Publications.
20
Eventually, something had to give—and what years or so, as kids reached puberty. By then, in the
gave was the comic book industry. entire industry, only three solo super-hero stars survived
from the WWII years: Superman, Batman, and Wonder
THE COMICS CODE YEARS Woman. DC needed a feature for an issue for
By the end of 1954, most of the major publishers Showcase, a comic which spotlighted a different genre
formed a self-governing group: the Comic Magazine in each bimonthly edition, and someone suggested
Association of America. Their reviving the most popular of DC’s
censoring body was called the vanished stars: The Flash. Editor
Comics Code Authority. The Julius Schwartz was put in charge
written-out Code spelled out what of Showcase #4 (which went on
could and couldn’t be done in a sale in July 1956, with an October
comic book: no more vampires or cover date); with writer Robert
werewolves… no titles featuring the Kanigher and penciler Carmine
words “Horror” or “Terror”… no Infantino, Schwartz devised a new,
disrespect for authority, parental or more streamlined version of the
otherwise… no sexual suggestive- Fastest Man Alive. Over the next
ness… no overt violence. three years, The Flash appeared in a
Comic books were reined in, mere four issues of Showcase. But
neutered, homogenized. Many in 1959 The Flash was awarded his
publishers abandoned the field, own magazine, ten years after the
unable to compete in this new and original Flash Comics had died.
blander arena. EC soon dropped all That same year, Schwartz enlisted
its comics except Mad, which it writer John Broome and artist Gil
Beginning at the turn of 1955, the Kane to update the next most
converted into a black-&-white 25¢ Comics Code Authority’s seal of
magazine—to great success. DC— famous defrocked hero, Green
approval had to appear on virtually all
now rechristened National comic books for decades—except on Lantern, in three issues of Showcase
Periodical Publications—and Dell, self-regulated, squeaky-clean Dell and in a row, to gauge popularity more
with its lucrative movie/TV licenses, its successors, and on Gilberton’s quickly. Within a year, a new Green
Classics Illustrated adaptations of Lantern #1 followed. Meanwhile,
led the comic book pack. Yet,
literary masterworks. Archie Comics signed Joe Simon
increasingly, the comic book industry The Comics Code seal is TM & ©1977 Comic
seemed to those in it like a dying Magazine Association of America.
(working with his ex-partner Jack
field. It appeared unlikely that ever Kirby), and the result was a
again would comic books make any waves in the revamped Shield (who didn’t last
larger ocean of society. long) and a far more successful Adventures of The
And then, in 1956, there came… not a wave, but Fly, a hero with vaguely insect-like powers.
a ripple. It was DC, though, that played the trump card. In
It was called Showcase #4. the late 1940s, Schwartz had edited comics starring
Flash, Green Lantern, and the Justice Society of
DC SPARKS THE RETURN America super-hero group. Now he retooled the latter
OF THE SUPER-HERO concept, as well, with a jazzier name. Superman,
Batman, Flash, Green Lantern, Wonder Woman, lesser
DC’s publishers and editors, casting about for new lights Aquaman and The Martian Manhunter were
projects, decided to try a new super-hero, since comics combined in the Justice League of America. This new
readership was assumed to totally turn over every five combo was given a three-issue trial in a Showcase-
DC Comics led the way in the 1956-1960 super-hero revival, with Showcase #4 (1956) & #22 (1959),
then topped it off with The Brave and the Bold #28 (1960). ©2007 DC Comics.
21
type comic called The
Brave and the Bold—
and it was an immediate
smash beyond even
The Flash and Green
Lantern! There soon
followed new versions
of other DC heroes
such as Hawkman, The
Atom, and The Spectre.
Partly because a
number of “oldtimers”
in their 20s and 30s
picked up such comics
largely out of nostalgia,
these comics gained a
slightly older average-
age readership than
fellow DC mags featur-
ing Superman, Batman,
and Wonder Woman.
But, in spearheading
this revival, DC Comics
also ran afoul of the
Law of Unintended
Consequences. It
roused a sleeping giant.
THE
MARVEL AGE
OF COMICS
Actually, at the
time, Martin Goodman’s
Timely Comics (occa-
sionally called Marvel
Comics in the late
1940s) looked less like
a giant than like a
comatose dwarf. The
collapse of its distribu-
tor circa 1957 had left
it with only a handful
of titles, distributed by
its far larger rival, DC,
through the latter’s
company Independent
News.
But Goodman
learned, while playing
golf with another pub-
lishing bigwig one day The Fantastic Four movie sequel “Rise of the Silver Surfer” is based on the Stan Lee/Jack Kirby
in 1961, of the strong story that introduced the character in Fantastic Four #48-50 (1966). Here’s Kirby’s pencil art, with
sales of DC’s new Justice Lee’s script already lettered in ink, for the first page of #49. Fantastic Four ©2007 Marvel Characters, Inc.
League of America title.
Next day, he directed his longtime editor (and chief Group for keeps, and, with stories by Lee and art-plus
writer) Stan Lee to introduce a super-hero group comic, by Kirby, Steve Ditko, and Don Heck, had introduced
pronto! Lee, who was thinking of leaving the field, such breakthrough concepts as The Incredible Hulk,
came up with The Fantastic Four. With its more realistic The Amazing Spider-Man, Thor, Iron Man, The X-Men,
characterizations and particularly the monstrous “hero” The Avengers, Dr. Strange, and others—as well as
known as The Thing—and augmented by the action- bringing back Golden Agers Human Torch, Sub-Mariner,
packed artwork and additional story elements supplied and especially Captain America. Lee proudly proclaimed
by artist Jack Kirby—Fantastic Four swiftly changed “The Marvel Age of Comics” on covers month after
the way comic books were written and drawn. By month, and gave DC a competition for super-hero
1963, Timely Comics had become the Marvel Comics dimes it hadn’t known for a decade and more.
22
writer Arnold Drake and artist Carmine
Infantino and brought to full fruition by
scripter Jack Miller and illustrator Neal
Adams. Marvel, in its turn, looked around for
non-super-hero fields to conquer, starting
with acquiring the rights to a 1930s pulp
magazine hero who was newly popular in
paperbacks; Conan the Barbarian #1, written
by Roy Thomas and drawn by Barry Smith,
was published with an October 1970 cover
date. Other companies, such as Tower with
its Wally Wood-generated THUNDER Agents,
and Archie with its campy “Mighty Comics
Group” revival of 1940s heroes, tried to gain
a foothold on the super-hero hill; but Marvel
and DC were the twin kings of that hill.
Still, perhaps it was less a mountain than
a volcano, with fluid molten lava forever
Marvel Comics began its second climb to success with shifting beneath the feet of the two principal
The Fantastic Four #1 (1961), followed in 1962 by Amazing players. By the late 1960s, DC stars such as
Fantasy #15, which introduced everybody’s friendly neighborhood Neal Adams and Gil Kane were doing an
Spider-Man. ©2007 Marvel Characters, Inc. increasing amount of their work for Marvel…
and in 1970 there was an even greater seismic
Marvel’s mutant approach to comics gained it an shock when Jack Kirby abruptly left Marvel to draw
audience slightly older than DC’s—e.g., several Marvel and write a new line of titles for DC.
fan clubs were started on college campuses—without The period now hailed as comics’ “Silver Age”—
relying heavily on the nostalgia factor. The average which began in 1956, and which may (but need not
age of comic book readers was slowly going up, and be) considered as ending around 1970—was coming
by 1970 was probably in the mid- to late teens. to a close.
The history of comic books was poised to enter a
THE REST OF THE ’60S new phase…
While America was changing in the garish light of
Roy Thomas is the editor of TwoMorrows’ Alter Ego
the murder of two Kennedys and Martin Luther King, magazine and is the author of The
the Vietnam War, and the Civil Rights movement, comic All-Star Companion, Volumes
books both reflected and occasionally influenced that 1-3, as well as other books
change. Marvel introduced additional concepts that examining comics history. He began
would move and shake the comic book world, such as his career in comics as Stan Lee’s
Lee and Kirby’s outer-space sentinel The Silver Surfer right-hand man at Marvel Comics in
1965, becoming their star writer in
in a 1966 issue of Fantastic Four; two years later he the 1970s, and eventually editor-in-
got his own extra-size comic. DC fought back with chief of the company. He still writes
livelier concepts such as Doom Patrol, Metamorpho, numerous comics today.
and, most of all, Deadman. The latter was created by
The Silver Age closed on a series of high notes, with such key moments as the debut of Deadman in Strange Adventures
#205 (1967)—a solo Silver Surfer comic (1968)—and Conan the Barbarian #1 (1970).
©respectively by DC Comics; Marvel Characters, Inc.; Paradox Entertainment/Conan Properties.
23
SO,
WHO’S
THIS
“KIRBY”
GUY?
by John Morrow, editor of
The Jack Kirby Collector magazine
26
of it all.
No 1970s screen property
was more popular as a comic
book than Star Wars, which
premiered a few months before
the May 25, 1977 release of
the film, an anticipation-build-
ing maneuver brainstormed by
Jedi master George Lucas. Roy
Thomas was at the writing
helm, and as he told Back Issue
in 2005, Lucas “had in mind
the idea of Howard Chaykin as
the artist.” Star Wars’ success
title paved the way for other
popular late-1970s Marvel titles
based upon sci-fi and toy prop-
erties, such as Battlestar
Galactica, The Micronauts, and
Rom: Spaceknight.
Chaykin as Lucas’ go-to
artist illustrates another hall-
mark of 1970s’ comics: the
emergence of young talent.
Comics publishing houses had
been the exclusive domain of
stuffed shirts in elbow-patched
tweed jackets, but while looking
outside of the field for new
properties, the medium also
looked within its fan base for
the next talent wave. The
transition, however, was not
without its bumps in the road.
As one of the “long-hairs” who
broke the barrier, writer Denny
O’Neil revealed, reflecting upon
his visits to DC’s headquarters,
that he was “told by one of the
functionaries not to walk past
the Big Boss’ office ‘looking like
that,’ to take the long way
around.”
Among the artistic new-
comers of this era were Neal
Adams and Jim Steranko, who
demonstrated that comics story-
telling was not restricted to An unused Ron Frenz page, still in pencil, from Amazing Spider-Man #275 (April 1986),
stodgy panel layouts. Following recapping Spidey’s origin. Spider-Man TM & ©2007 Marvel Characters, Inc.
their lead, new artists stormed
the medium, daring to do things differently, with fighter to a brooding “creature of the night,” and two
Frank Brunner, John Byrne, Dave Cockrum, José Luis of the main architects of that revamp, O’Neil and
García-López, Michael Golden, Mike Grell, Frank Adams, returned the Joker to his homicidal roots in
Miller, George Pérez, Mike Ploog, Marshall Rogers, Bill Batman #251 (Sept. 1973). That creative duo also
Sienkiewicz, Walter Simonson, and Berni(e) Wrightson collaborated on the award-winning, provocative Green
among their number. Lantern/Green Arrow, which explored “realistic” terrain
Not to rest on their laurels, established talent such as prejudice and drug abuse.
became energized by this exciting new climate: John Gerry Conway made two substantial contributions
Buscema, Gene Colan, Gil Kane, Stan Lee, and John to The Amazing Spider-Man while writing that title:
Romita, Sr. produced some of their best work in the the shocking murder of Spidey’s love Gwen Stacy in
1970s, as did Curt Swan and Murphy Anderson with issue #121 (June 1973), and the introduction of the
their “Swanderson” pairing on Superman. “villain of the month” who soon became a mega-
DC and Marvel took chances with traditional star—the Punisher—in issue #129 (Feb. 1974).
characters. Batman was retooled from a campy crime- The Incredible Hulk #181 (Nov. 1974) introduced
27
a squat, scruffy Superman: The Movie’s elevation of the comic-book
scrapper named film to blockbuster status in 1978. While the innovations
Wolverine, whose of 1970s publishing rebuilt the industry from within,
atypical violent the non-comics retailing of its characters cemented
nature caught their statuses as cultural institutions.
readers by surprise.
Wolverine was one THE SORTA, KINDA
of several mutants “MODERN” AGE
gathered and/or Until recently, most comics collectors regarded
created for a 1980 as the beginning of the Modern Age. Last time I
revival of the X- looked, Kenny Loggins was no longer at the top of
Men—which had, the charts and Dallas wasn’t TV’s number one show,
believe it or not, so calling 1980 “modern” is a stretch. The Overstreet
limped into near- Comic Book Price Guide has expanded the Bronze
obscurity as a Age into the mid-’80s, and depending upon whom
reprint title—with you ask the subsequent periods are the Copper Age,
1975’s Giant-Size the Diamond Age, the Dark Age, and/or the Modern
X-Men #1, which Age. Ouch! Does this make your head hurt like it
From his first appearance in Hulk also introduced does mine? Let’s drop the labels, then, and just look
#181 (Nov. 1974), Wolverine went soon-to-be-stars at the highlights…
from secondary character to one of Storm, Colossus, Perhaps the most influential innovation of the
Marvel Comics’ most recognizable. and Nightcrawler.
©2007 Marvel Characters, Inc.
28
early 1980s was the way the comics were sold. DC Comics,
During the late 1970s comic-book shops trickled into which had for years
existence, providing a “one-stop shopping” source for trailed Marvel in
the previously harried comics fan. In the early ’80s sales, released a hit
publishers tested this “direct sales” market, where the in 1980: Marv
comics were ordered in specific numbers on a non- Wolfman and
returnable basis (as opposed to the traditional news- George Pérez’s New
stand method, where distribution was unreliable and Teen Titans. This
unsold materials were returnable): Marvel released merger of Titans old
Dazzler #1 and DC released Madame Xanadu #1 and new (media
directly to comics shops, and their warm reception led stars Cyborg,
publishers to cater to direct sales as the way to sell Raven, and Starfire
comic books. were introduced)
Independent publishers—usually, anyone other than became DC’s best-
Marvel and DC—began to flourish in the ’80s under selling title. On its
this new mode of distribution. Most of these companies heels was Paul
have faded into history, but throughout the decade Levitz and Keith
names like Capital, First, Pacific, Eclipse, and Comico Giffen’s collabora-
appeared; today, only Fantagraphics, founded in 1976, tion on Legion of DC Comics started a revitalization
and Dark Horse Comics, which launched in 1986, Super-Heroes. thanks to the Nov. 1980 relaunch
remain active. In 1982 Marvel of Teen Titans. ©2007 DC Comics.
From those independents, however, premiered a released its first
slate of innovative titles that excited readers and issue of G. I. Joe, based upon Hasbro’s “Real American
introduced new talent to the medium. Some of the Hero” reworking of the classic military action figure
’80s greatest indie hits: Bill Willingham’s Elementals, that debuted in 1964. G. I. Joe was a textbook example
Matt Wagner’s Mage and Grendel, Mike Baron and of multimedia exploitation: Simultaneously striking
Steve Rude’s Nexus, Dave Sim’s Cerebus the Aardvark, were a TV cartoon, toy line, and Marvel’s title.
Dave Stevens’ The Rocketeer, the Hernandez Bros.’ Marvel’s G. I. Joe was incredibly successful and lured
Love and Rockets, Mark Evanier and Sergio Aragones’ a new generation of readers into the fold.
Groo the Wanderer, Mike Grell’s Jon Sable, Freelance, An influx of British talent brought a harder, some-
Howard Chaykin’s American Flagg, and Kevin Eastman times more dystopian edge to American comics books
and Peter Laird’s Teenage Mutant Ninja Turtles. in the 1980s. American reprints of the UK’s Judge
Mainstream comics got a shot in the arm in the Dredd introduced many readers to imported creators
early 1980s when Frank Miller took over Daredevil like Brian Bolland and Kevin O’Neill, who would soon
(technically, Miller started as the DD penciler with rise to acclaim on US titles, mostly from DC. No Brit
issue #158, cover-dated May 1979, before ascending captivated American readers like Alan Moore: from his
to the role of writer/artist). Miller showed that gritty cerebral Swamp Thing to his occasional brilliant forays
realism could work under the scrutiny of the content into the Superman mythology, Moore elevated comics
watchdogs the Comics Code. Perhaps the most signif- writing to new heights. From this trend evolved the
icant highlight of his run was the introduction of “mature readers only” title, which, at DC, ultimately
breakout character Elektra (Daredevil #168, Jan. grew into its Vertigo line.
1981), continuing The big-event crossover was born in the 1980s, as
the Punisher/ Marvel’s first attempt at uniting all of its heroes—
Wolverine trend of 1982’s Marvel Super Heroes Contest of Champions—
anti-heroes with gave way to 1984’s smash Marvel Super Heroes
ambiguous motiva- Secret Wars; over 20 years later, Secret Wars is best
tions. remembered for the first appearance of Spider-Man’s
Under the black costume, which we now know as the alien
creative guidance of symbiote that became Venom.
writer/artist team Bolstered by the success of Titans, DC handed
Chris Claremont and that series’ Wolfman and Pérez the keys to the
John Byrne, X-Men kingdom: Crisis on Infinite Earths, the 1985–1986
became a fan- 12-issue maxiseries that overhauled DC’s lengthy
favorite, growing history into a streamlined continuity. Supergirl and the
into a franchise that, Silver Age Flash (plus a score of second- and third-
throughout the ’80s, stringers) did not survive the “housecleaning” event,
included Wolverine which brought together virtually every character from
(whose first solo DC’s 50-year history.
outing was a popular No single year of the 1980s packed more wallop
1982 miniseries by than 1986: DC followed up Crisis with a Superman
Claremont and Many of the themes of the revamp (Man of Steel, by John Byrne) and a new
Frank Miller), New recent X-Men movies have their Flash and Justice League, followed shortly thereafter by
Mutants, and origins in the 1970s and ’80s Wonder Woman. (Sort of sounds like what happened
X-Men comics.
X-Factor. ©2007 Marvel Characters, Inc. last year after Infinite Crisis, doesn’t it? Trends,
29
including comics The 1990s also
revamps, usually witnessed some
happen in 20-year groundbreaking
cycles). The most events, including
lauded of 1986’s the defection of
comics were Frank McFarlane and com-
Miller’s “future pany from Marvel to
Batman” The Dark form Image Comics;
Knight Returns and a speculator’s boom
Alan Moore and that later fizzled and
Dave Gibbons’ threatened to wipe
“super-hero decon- out the business; the
struction” maxiseries “death” of Superman
Watchmen. Dark and the breaking of
Knight and Batman; and lots of
Watchmen took other dark stuff that
familiar men-in- fed into the comics
tights concepts into universes you are
Writer/artist Frank Miller brought unfamiliar and often Todd McFarlane’s Spider-Man #1 reading today. And
national attention to comics with startling terrain, so (1990) stands today as one of the while you’re enjoy-
his reimagining of Batman in his raising the bar that best-selling comics of all time. ing and collecting
1986 mini-series Batman, The some might argue ©2007 Marvel Characters, Inc.
current comics,
Dark Knight Returns. these series are remember that they,
©2007 DC Comics.
unmatchable (most and their writers and artists, have the comics of the
critics agreed that ’70s and ’80s to thank for their very existence. Those
Miller’s sequel, 2001–2002’s The Dark Knight Strikes decades, which I
Again, did not live up to the artist’s original epic). call “the Back Issue
After surveying Batman’s future, in 1987 Miller, with era,” are bursting
artist David with behind-the-
Mazzucchelli, scenes stories that
reimagined the are, at times, as
hero’s origin in the interesting as what
landmark “Batman: you might read on
Year One,” in the comics page—
Batman #404–407. and are available
Joining new for you every other
distribution venues month in Back
and new directions Issue!
in storytelling as
1980s innovations Portions of
was an upgrading this article were
of comic-book pro- originally published
duction techniques. in The Overstreet
Throughout the Comic Book Price
The first issue of Spawn (1992)
decade, the process Guide, 36th Edition signaled a big change in the
improved—but not (2006). Reprinted comics industry, as Image Comics
without mishaps, by permission of rivaled DC and Marvel Comics for
Writer Alan Moore redefined such as the garish Gemstone dominance. ©2007 Todd McFarlane.
comics with his 1986 “flexographic” Publishing. Quotes
Watchmen mini-series with process of the mid- for this article originally appeared in interviews in
artist Dave Gibbons.
©2007 DC Comics. ’80s that marred Back Issue magazine and the book The Justice
early issues of DC’s League Companion. The author wishes to thank
Who’s Who—and by decade’s end comic books were Dennis O’Neil and Roy Thomas for their
produced with enhanced computer coloring tech- participation.
niques on glossier, whiter paper.
With trailblazers like Miller and Moore proving that Michael Eury is the editor of
creator-driven series could be hits, publishers courted TwoMorrows’ Back Issue magazine
and is the author of the just-released
the industry’s next wave. A new flock of creative talent Comics Gone Ape!: The Missing
rose to prominence in the late 1980s, including Erik Link to Primates in Comics, as well
Larsen, Adam Hughes, and Rob Liefeld. By the time as other books examining comics
DC published writer Neil Gaiman’s fantasy opus history. His career includes tenure as
Sandman in 1989 and Marvel released Spider-Man #1 an editor for DC Comics, Dark Horse
in 1990 as a showcase for Todd McFarlane, it was Comics, and Comico.
clear that the creator was now king.
30
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