In Appreciation

I thought I’d break tradition this time out and pay tribute to the person who first spurred my interest in comic books: my brother John. John is seven years older than me, and was buying comics before I was born. I can't remember a time when comics weren't in the house. When I was a tyke John was buying Marvel’s on a regular basis, particularly the superhero line. John didn't only buy Marvel's though, he also purchased DC (John particularly liked group titles such as Challengers of the Unknown, Doom Patrol and Blackhawk);Gold Key, Charlton, Tower and Archie’s “Mighty Comics” line.

 FF #20 may well be my introduction to Jack Kirby's art. It was the earliest issue in John's collection, and while I wouldn't describe the art as pretty, it had a rough around the edges quality that held my attention. Inside, equally ominous characters like the Watcher awaited, and I was hooked. Kirby pencils; George Roussos inks; Artie Simek letters and likely Stan Goldberg colors. Fantastic Four # 20, November 1963. 

John started his Spider-Man collection with # 3, and how could this scene not get a child's attention? Ditko's odd-looking hero and mysterious villain was - again - more than likely my first exposure to Ditko's individualistic style. His faces, figures and scenes all had a distinctive personality, and to this day Ditko's work remains an ongoing source of study and appreciation. Amazing Spider-Man # 3, July 1963, Steve Ditko art, Artie Simek letters, Stan G colors?

 The first issue of Suspense John had, if memory serves me correctly (and my memory is usually better than John's) has no Iron-Man on the cover! Instead we have an inset of Tony Stark putting his suit on, while the villain attacks. Perhaps not the most dynamic of covers, but with a certain charm. Kirby pencils; Dick Ayers inks; Artie Simek letters; Stan G colors? Tales of Suspense # 46, October 1963

 Before I could read I would stare at the covers and interior artwork by the likes of Jack Kirby, Steve Ditko and Wally Wood. In 1966, at the age of six, I began reading the stories and they had me hooked, particularly Stan Lee’s writing, with it’s touches of humor and drama; and the sense of enthusiasm he was capable of transmitting to the printed page. The continued stories were a real thrill, especially to a child, when 30 days seemed like an eternity. You could pick up a DC at almost anytime and enjoy it on its own merits, but continued stories were rare in that period. Marvel, with its cliffhanger endings and sub-plots were addictive - you HAD to buy the next issue to find out what happened, and John rarely missed an issue.

With little publicity and no news outside of  promotional ads and bullpen pages, there was an immediacy to buying new comics that is hard to describe. Every week we would travel to various newsstands and candy stores in the neighborhood (no comic shops then), either separately or together, to pick up the latest comics. As I got older John and I both discovered fanzines and subscribed to the Comic Reader and the Buyers Guide. We would discuss the new books coming out, what titles were getting cancelled and our favorite writers and artists. John also took me to my first comic book convention, probably in 1970. It was a Phil Seuling Con, but all I remember are tables full of comics and lots of people. We came home with a shopping bag of comics, which we had to sneak into our house lest our parents find and confiscate them.

John has always enjoyed team books, including the Challengers. This is one of the earliest issues I recall. Bob Brown pencils; Brown inks? Challengers of the Unknown # 42, February-March 1965. Image from the GCD.

 Charlton's were not always easy to find in our neck of the woods, Brooklyn in the 1960's, although they might pop up in a dusty corner of John's Bargain Store (a variety store akin to the 99 cent stores of today). Some of John's acquisitions were Blue Beetle, Capt. Atom and Thunderbolt. Distribution improved in the early 1970's and John bought many of Charlton's Ghost line, particularly those with covers by Steve Ditko. Thunderbolt # 1, January 1966. Pete Morisi art.

Archie Comics blatantly copied Marvel's corner design with their short-lived "Mighty Comics Group", which reportedly infuriated Marvel's publisher, Martin Goodman. I have a soft spot for the quirky "Mighty Heroes" mainly due to Paul Reinman's artwork. Cover art by the aforementioned Reinman, from Fly Man # 36, March 1966 

The brilliant artistry of Wally Wood was an immediate attention getter to John and Nick C. Wood cover to Dynamo # 2, March 1967

John was also instrumental in starting my love for comics’ history. Come Christmas or my birthday John would give me gifts such as Steranko’s History of the Comics and Superman and Batman from the 30’s to the 70’s, hardcover books reprinting early exploits of the heroes. I began to relish learning about writers, artists, publishers and all that came before: the Timely era, DC, Fawcett and Captain Marvel, EC and many others. I still have those books in my collection, as well as a beat-up (but treasured) paperback of All in Color for a Dime (which my Mom bought for me). As I got older I returned the favor and bought comic related books for John, and we always shared our stuff (and still do, even though he likes to give me a hard time whenever I raid his collection!)

                                           

It was wonderful to read the early stories of Superman and Batman at a time when reprints were scarce. Superman from the 30's to the 70's, which I may have received in Christmas of 1970. 

Older brothers can be a pain in the neck sometimes, but not only did John buy and share all his comics when I was a little runt, he instilled a deep interest in movies. Although John is a huge sci-fi fan, he appreciates all types of movies, and that diversity could be seen on Television, where crime, western, comedy and dramas were available, as well as old serials and shorts like Laurel and Hardy and the Three Stooges. We also had great old cartoons like the Fleischer's Popeye cartoons. Back in the pre-VCR/DVD days you had to stay awake at night to see a particular movie – you never knew when it would air again. Local television in NY showed plenty of horror and sci-fi - from Universal classics to Roger Corman low budget thrills. We saw them all, when we weren't reading about them in the pages of Famous Monsters and Castle of Frankenstein.