The Secret Origin of the Atom (Ray Palmer)

This came up in a chatroom yesterday, and since I haven't talked about it before, I thought it was the perfect topic for a post. Of all the DC Silver Age reboots, only the Atom was significantly different than his Golden Age counterpart. Barry Allen and Jay Garrick had essentially the same power of blinding speed. Hal Jordan and Alan Scott were interchangeable; they had green rings of incredible power but smite either of them with a club of yellow wood and they'd be helpless. There was no real difference between the two Hawkmen or the dueling Aquamen.

But Ray Palmer's Atom was nothing like the Al Pratt version. The Golden Age Atom had no real super-powers; he was just a very strong short guy who never got shorter or bigger. The Silver Age version, of course, had the ability to shrink himself down to a very tiny size and then become much larger again; he could also control his weight so that one moment he was as light as a feather, and the next had the full force of 180 pounds behind him. So it is worth wondering why Julius Schwartz and Gardner Fox decided to give Ray Palmer significantly different abilities from Al Pratt.

For starters, I suspect that Palmer was intended to be a much more important character than his Golden Age counterpart. The GA Atom was never a cover feature; while he did appear on the covers of All-Star with his fellow Justice Society members, he never headlined All-American Comics, where his solo adventures appeared. The Silver Age Atom would have to hold down his own title.

But I suspect that other tiny heroes in the movies and on TV also influenced the decision. In 1957 (about four years before Ray Palmer's first appearance in Showcase #34), Richard Matheson's story, the Incredible Shrinking Man was brought to the silver screen. It's a terrific and suspenseful story of a man who suddenly finds himself becoming shorter and shorter with time. In the end, he discovers how threatening life is for a miniature man, as he's attacked in succession by the family cat and a spider in the basement. Here are some key moments in the film:

 

But there was also a 1959 TV series, obviously inspired by the Incredible Shrinking Man, that appears a more direct inspiration for the Ray Palmer Atom. World of Giants is the story of a six-inch high FBI agent:
Although the Atom could change his size to virtually anything under his normal height, the most common size that Ray Palmer assumed was six inches high, exactly the same height as Mel Hunter. For example:

And:

So it seems pretty apparent that the Silver Age Atom was inspired by this long-forgotten TV series. A hat tip to my comicchat buddy Jon for mentioning the TV show, which I confess I'd never seen before last night.

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Catwoman's Return in Lois Lane

As I have discussed in the past, the Catwoman disappeared immediately after the Comics Code Authority arrived. It seems obvious that her sex appeal, glamorous lifestyle and her habit of getting away at the end of the story with occasional assistance from Batman would surely have been slapped down by the Code. So she joined many other Batman villains from the Golden Age and disappeared.

In Batman #155, the Penguin returned for the first time in seven years, and in Batman #171, the Riddler made only his third appearance ever. And then the Batman TV show hit the screens and the entire country experienced Batmania. As I recall, the first two episodes featured the Riddler. And the second week (Batman was shown on both Wednesday and Thursday) featured the Catwoman.

Now the Batman TV series always featured some lovely woman, usually the featured villain of the week's "moll". But here was a gal willing to match wits with Batman herself. The choice of actress was inspired. Julie Newmar could vamp it with the best of them, as she showed in an early 1960s movie called "Marriage-Go-Round" as a brilliant young graduate student who has decided that she wants to have a baby with an also-brilliant (and happily married and actually faithful) college professor played by James Mason.

And yet, despite this obvious lead-in and even though DC had reprinted several Catwoman stories from the Golden Age, somehow Julius Schwartz resisted the siren call of Batman fans for a new Catwoman story. Indeed, shortly after the Batman TV show started he brought in a new villainess who was clearly inspired by the Feline Felon: Poison Ivy.

Around the same time, Mort Weisinger, whose Superman had ruled the circulation roost at DC forever, thanks to the long-running and successful radio and TV series, suddenly found his numbers declining pretty drastically. He knew the culprit and he knew the answer: Bring back the Catwoman to face Lois Lane.

At the beginning of the story, we see perhaps the fate of journalism writ large 43 years ago. How do the Daily Planet reporters get their news?



Well, it's not hard to see how having inmates provide entertainment at a party for the guards' children might go awry; whose brilliant idea was that?

Lois realizes that the Penguin might be attracted to the exhibition of rare birds on display at the Metropolis Bird Sanctuary, so she goes there. The exhibit has not yet opened, but the intrepid reporter sneaks past a dozing security guard and sure enough, excitement ensues:



But when Lois comes to, she's not being held captive by old Pengy, but:



Very, very cool. Rajah had been featured in several Golden Age Catwoman stories and in CW's final appearance in Detective #211's The Jungle Cat-Queen, she was shown riding off atop Rajah's back towards her plane as Batman and Robin look on, helpless to stop her from escaping. Kudos to Leo Dorfman (credited with writing the story at the GCD) for making sure that he got a little detail like that right.

Some other characterizations seem to be have been obtained from the show, like the constant punning on the "cat" theme. Lois accuses the Catwoman of "pussy-footing", while the Catwoman is amused that Lois is "Purr-plexed" and later:



I'd have to look, but I don't remember a lot of that punning in the Golden Age Catwoman stories. Lois passes her final test, proving she can control the wild cats that Catwoman keeps, and she's given her first assignment:



Dorfman's script takes a little hit in my book. The Catwoman was never a murderer, even using proxies, not in the comics and not in the TV show. Indeed, in Detective #211, Batman notes in the final panel:

"Murder isn't in the Catwoman's heart. Sentiment is her weakness and sooner or later that's why we'll catch her the next time."

And what of the Penguin himself? Why did he pass up an obvious bird crime? Well, apparently because he had other "Birds" on his mind:



Yep, that's LBJ's wife and daughters in the float. But in actuality the Penguin was after the rare birds at the exhibition, he was just hiding underneath the eagle's wing on the float as a way of getting through Metropolis without being observed. Because the easiest way to avoid being detected is in the middle of a float which the Secret Service is protecting, right?

The Penguin finally arrives at the museum where the exhibit has already been robbed, and encounters the Catwoman (actually Lois). Realizing that he's been beaten, he decides to try a little romance:



Big bonus points to Dorfman there; it strikes me as exactly the type of ruse the Penguin would use to keep within range of the exhibit. And another big bonus to artist Kurt Schaffenberger, who presents it perfectly framed. But remember, Lois is programmed to kill and so she sends a "cat-arang" towards the Penguin and he falls backwards, but is saved by:



That is beautiful. Another perfect panel in another perfect sequence. Unfortunately for the Penguin, that is the second to last sequence he appears in; in the next he is captured by Superman, and carted off to prison by Batman and Robin. Superman changes into his Clark Kent identity to gather news information that will "explain his absence", but he runs into the Catwoman. Realizing that she's really Lois Lane hypnotized, he's not quite as concerned as he might otherwise be, when her cats rip his reporter clothes to shreds:



The Catwoman arrives shortly later and sees that while Superman removes the wild cats to a zoo, he leaves Lois alone, telling her he'll be back shortly to help her recover from the idea that she's the Catwoman. She changes places with Lois and:



Of course that "poor, deluded," bit is an obvious nod to the TV show, which often featured Batman hectoring a supervillain's moll with those adjectives.

The story continued in Lois Lane #71. We learn that using guile, the Catwoman had tricked Superman into flying her to the catacombs, her lair. She used a magic wand there to change him into a cat, and imprisoned him in a Krytonite cage. And if you think that's pretty diabolical, get a load of what she does to Lois:



Well, you can imagine the next step, Lois the mouse is dropped into the cage with Superman the cat, who suddenly seems to have forgotten his code against killing. It's pretty fortunate that turns out to be a little nightmare Lois had, and in fact Batman and Robin have captured the Catwoman. But the part about Superman turning into a cat was not a dream, and the wand doesn't work any more, and the Catwoman isn't telling how to make it work. Super-Cat remains optimistic:



But still a little embarrassed by his problem:



What, J. Edgar turning the investigation over to LBJ? Unlikely indeed! So Lois goes to the White House with her cat-carrier. At this point I can't help noticing that the basic plot of the story--Lois and the Catwoman--has been over for pages and that Dorfman is only keeping the tale alive by this ridiculous subplot of Superman turned into a cat for several pages. Anyway Superman eats lunch with the president's dogs, while Lois finds out that animals the space program sent to the moon are doomed unless Supes saves them. She tells Super-Cat who flies to the moon but they have a camera, and it turns out that the animals on the moon are mice. Will Super-Cat eat them instead? No he saves them and then Lois takes Super-Cat over to Lana Lang's place and whaddya know, Lana Lang's dad just found the only monkey's paw that grants one wish and Lana does the right thing, but that doesn't work out all that great for Lois:



Comments: The ending is still entertaining because of Schaffenberger's art, but the story is so padded it makes Megan Fox look natural. Some out-of-character bits also ding Dorfman's script. Still, the tale hangs together despite those problems, and who can resist that panel with Super-Cat writing a message to Lois?

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Who Are the Most Important Pencil Artists of the Silver Age?

Note: I believe in this case the artists should be judged on the corpus of their work and not on future influence. In other words, there should be a significant skew towards artists who worked throughout the Silver Age and a bias against (sorry) the terrific artists like Neal Adams and Jim Steranko, who arrived at the end of that era. If we weight artists by the amount of work done at an at least acceptable level, I think all of the following would qualify:

1. Jack Kirby
2. Curt Swan
3. Gil Kane
4. Steve Ditko
5. Carmine Infantino
6. Murphy Anderson
7. Nick Cardy
8. Ross Andru
9. Joe Kubert
10. Jim Mooney
11. Mike Sekowsky
12. Sheldon Moldoff
13. Kurt Schaffenberger
14. Wayne Boring
15. Wally Wood

Anybody else that I'm missing? I'm mostly talking about superhero artists at this point although I slipped in Kubert because he did do Hawkman at first in the Silver Age and I think he's got the huge portfolio I'm looking for even if most of it was in war comics. Toth? Williamson? Terrific artists but I'm looking at bulk here.

There are some guys who I could see getting in on reasonable bulk of career if I knew more about their pre-superhero work; Gene Colan and John Romita were both romance artists before they broke into the superhero biz; I just don't know that much about their careers. Each put together an impressive body of work from the time they got their big breaks (initially on Daredevil in both cases, as it happened).

Please, no Oksner or Montana or Whitney recommendations; those guys absolutely need to be treated separately.

Update: Artists added to the list per the comments:

16. Don Heck
17. Johnny Romita
18. Russ Heath
19. Gene Colan
20. Bruno Premiani

I'm still willing to be convinced on Ramona Fradon; as I mentioned in the comments, I just don't know what she did beyond the Aquaman series.

Update II:

21. Ramona Fradon (Metamorpho, as pointed out by commenter Dan)
22. Al Plastino
23. Dick Dillin
24. John Forte

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Silver Age Plot Types: The Tontine

Among the more durable plots of the Silver Age was the Tontine. A Tontine is an investment club with an interesting difference. All the money in the pool goes to the last surviving member. Of course, most of the stories in the Tontine format did not involve an investment group, but with some variations, this turned out to be an incredibly durable plot.

The most important fact about a Tontine is, "Who's the last person?" That is the key question in all Tontine plots. Consider, for example, a murder mystery, like Peril at Playland Isle from Detective #264. We are given the suspects and as the story evolves, each of them is eliminated logically (sometimes by being murdered) until only the guilty one is left.

The most common identifier of a Tontine-type story is the presentation of a cast of characters near the beginning:





The purpose of presenting this cast is so that the reader can go back and forth to this page at least in theory to mentally X out the innocent as their involvement is eliminated. Of course the writer (or in the story the criminal) is aware of this and so there's usually a trick in there to throw the reader off the scent.

Let's go back to the Peril at Playland Isle story. In the tale, Barden, a millionaire, has bought an amusement park and transported it to an island he owns. He is going to make admission free to kids, for reasons discussed in the panel above. But as Batman and Robin tour the site, Conn tells them that Barden wants to see them at the funhouse. When they arrive they are shocked to discover that the millionaire is dead. We learn some potential motives:



Conn is not shown as having a motive, but given that in the next scene he's attacked by the killer I think we can eliminate him. However, things change when Batman learns that a stolen necklace has been found in the park. Now he knows that the motive for the plot is not something personal, but involves other crimes that have taken place and eventually zeroes in on Carter, the business associate.

Note that a murder mystery is not the only use for a Tontine story, not by a long shot. There are several Batman stories where Bruce Wayne is in an isolated place with a few other men, and when Batman appears the other men begin eliminating suspects as to whom he is:



And the Tontine was also used in other series, like the Legion of Superheroes:

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Double Trouble

One of the more durable plot ideas of the 1960s was the concept of the doppleganger, the criminal version of the hero. The appeal of these doubles to writers and editors is pretty obvious. Having created these extraordinary characters with "powers and abilities far beyond those of mortal men", the creators found it difficult to present them with a real challenge. What better solution than to have them face villains with similar qualities?

The concept is not original with superheroes; Sherlock Holmes had his Moriarty, the crime-creating mastermind to his crime-solving genius. Going back further, God found himself in constant battle with the fella with the horns. We've already talked quite a bit on this blog about Bizarro and
SuperMenace, two memorable DC knockoffs of Superman.

But there were many other dopplegangers. Green Lantern had Sinestro:



Sinestro was a renegade Green Lantern who had abused his power and had his ring and lantern taken away by the Guardians. At some point he acquired a ring that emitted a yellow light and thus was invulnerable to Green Lantern's own beam.

Hawkman had the Shrike:



The Shrike was an interesting double in that his powers were similar to Hawkman's (although the lightning-shooting wings were a significant difference) but his origin resembled that of another DC hero:


Instead of landing in Kansas, this rocket landed among a grudge-bearing tribe of Indians who dreamed of the youngster restoring them to glory, which led to the Shrike (initially) being a criminal, stealing back ancient treasures.

Well, if a doppelganger works, then why not a doppelgang?

The Legion of Super-Villains was a twist on the Legion of Superheroes and specifically the original three members of that group, who were similarly seen voting down Superboy on the famed cover of Adventure #247. This particular concept for a cover (which looks like a game show) was also used in Action #296, and Jimmy Olsen #87, making it something of a doppelgang itself.

Over at Marvel, the Frightful Four were a similar but different version of the Fantastic Four. The Justice League of America had an even more similar opponent in the Crime Syndicate of America of Earth-3.

Two of the more interesting duplicates of the Silver Age were Amazo and the Composite Superman. Amazo debuted in Brave and Bold # 30. He was an android who had been given the powers of the members of the Justice League of America (not counting Superman). But World's Finest #142 introduced a character who topped even that:



The Composite Superman was Joe Meach, a failed high-diver who after being saved by Superman, was offered a position at the Superman Museum as a janitor. But instead of being grateful, Meach resented his lowly status. So when a freak bolt of lightning hit the statues of the Legion members at the Superman Museum and gave him virtually limitless power, he used it in an evil way:



Fortunately his powers turned out to be temporary as is his memory of the experience and so he ends up back where he started, pushing a broom.

Oddly enough, a similarly menial position was the origin of a reverse doppelganger, The Leader. While working a mindless job at a chemical research plant, he was exposed to gamma radiation that amazingly stimulated his brain, making him a being of great intellect but little physical ability, the exact opposite of the Hulk as he mentions here:



Some other famed doubles: Crimson Dynamo/Iron Man/, Titanium Man/Iron Man, Gas Gang/Metal Men. Many superheroes had some sort of real duplicate created by a ray or magic or red kryptonite, so we'll ignore those. I don't see a real Reverse Spiderman or Reverse Daredevil or Captain Russia out there, and while you can argue Loki as the anti-Thor, I don't buy it. That's more a personal rivalry that doesn't really imply similarity in powers. For the same reason I'd argue that Dr Doom is not Mr Fantastic's double, nor is Baron Mordo the equivalent of Dr Strange.

Atom battled a few small villains but I don't think any of his villains really mimicked him beyond that. There were of course several Kryptonian criminals who appeared in the Silver Age as doubles of Superman or Supergirl.

Any others?

Update: Kyle points out Professor Zoom, the Reverse Flash. He was in the original post, but somehow an editing mistake left him out. Good catch!

Update II: Here's a different take--multiple androids with the combined powers of the Avengers:

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Pander Bear

I haven't spent much time discussing funny animal-type comics on this blog so far. Of course, funny animal comics were not a huge segment of the Silver Age with a few notable exceptions (Donald Duck, Uncle Scrooge, Fox & Crow). DC published only the latter during almost the entire decade of the 1960s in the funny animal genre; I don't think Marvel even had a funny animal series.

But in the 1950s there were quite a few more young children around. In July-August 1953, DC launched Peter Panda, an oddball series that seemed designed to appeal more to parents than to kids. Where most funny animal series involve only animals, Peter had two human friends, Jimmy and Jane.

The stories mostly revolved around one or the both of the kids doing something wrong, that inevitably leads to (somewhat wacky) trouble. Fortunately, the wrong-doer quickly learns his lesson and Peter Panda arrives to save the day.

Kids doing something wrong:



Wacky trouble:



Panda to the rescue, lesson learned:



What, Pandas have helicopters too?

Of course, the astounding part about reading these comics is wondering how the intended readers reacted. Kids hate being lectured to, and Peter does a lot of lecturing:





One presumes that the comic was really being marketed to mothers as a way of teaching your children lessons. But what weird lessons--don't abuse machinery because you might get taken to Gadgetville and forced to stand trial? Don't skip dinner for ice cream because you might be forced to eat trucks full of ice cream? Eat your vegetables or you might get taken to the Land of the Vegetables and forced to stand trial? These poor kids were brought up on phony charges in almost every issue; wonder what lesson was being imparted there?

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Dying Features

We've talked a lot about the rebirth of old features in the Silver Age, like the Flash and Green Lantern, and of course Captain America, Namor and the Human Torch. But many, many features did not survive to the end of the Silver Age, and I wanted to touch on a couple of these.

Green Arrow was one of the few superheroes to make it all the way from the 1940s to the 1960s. He had started out in More Fun #73, and by that issue's #77 began a run as the cover boy and lead feature. He was also included immediately in Leading Comics #1's feature, The Seven Soldiers of Victory, and added to the World's Finest lineup with #7.

He was bumped out of More Fun after #107, when that title went more to a humor format, and the feature moved over (along with the new Superboy stories) to Adventure #103, where it replaced Starman. But after that, Green Arrow settled down for a very long time. Although he was not an original member of the Justice League of America, he was added to that cast with issue #4. Unfortunately, about the same time, he was dropped from Adventure comics after a 167-issue run. He did get to appear in the first superhero teamup in Brave & Bold, along with another doomed hero, the Martian Manhunter.

Green Arrow continued in World's Finest until #134, a 128-issue streak, then alternated with Aquaman for a few issues before DC decided to go with reprints behind the Batman/Superman teamups. And with that, Green Arrow found himself with no regular feature for the first time in 23 years. Oh, he still had the appearances in the Justice League, but even those were irregular. Speedy, his longtime sidekick, eventually caught on with the Teen Titans, and that was essentially it for their relationship, as is well-documented.

Of course, Green Arrow would change dramatically at the very end of the Silver Age; I have talked about that in the past.

Roy Raymond initially appeared in Detective Comics #153, where he replaced Slam Bradley, which was at the time DC's longest running feature. Roy was a "TV Detective", with a show called Impossible But True that exposed frauds. Ironically, the name of the program was deceptive, since usually it turned out to be Impossible But Phony.

Roy Raymond lasted until Detective #292, when he was bumped to make way for Aquaman's brief run (7 issues) in 'Tec.

Ant-Man was one of the earliest Marvel Superheroes, as I have discussed before. After a tryout in Tales to Astonish #27, Hank Pym returned in #35 for a fairly long run, both as Ant-Man and Giant Man. He held down the cover position until #59, when the Hulk joined TtA. However, effective with TtA #70, Giant Man was bumped in favor of Prince Namor, the Sub-Mariner.

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Letters Columns Bring Continuity?

I've often thought this was so, but decided to take a brief look at it with this post. In the GA and the early Silver Age, DC, like many publishers, had two pages of print in every magazine, apparently in order to get a preferential rate on mailing. For many years they had used this space to print an amazing number of absolutely forgettable tales.

But ACG started publishing letters to the editor in their horror mags and apparently these satisfied the post office's requirements. DC, realizing that free letters from their fans were cheaper than whatever they paid for the text stories switched gradually, over a long period of time, to letters columns.

Superboy #68 (October, 1958) was the first issue of that title to feature a letters column. And oh, boy could you see the future of the Silver Age writ large upon that first page:



Okay, no more melting bullets with his X-Ray Vision (perhaps this is why Superboy developed "heat vision" to begin with? Superboy's adventures are taking place during WWII, so don't show the TV antennas on the roofs. Why can't he just make a couple diamonds everytime a charity needs some money? And we get an amusing letter about Supe's fascination with the LL girls, which turns out to be hugely prophetic.

These letters may not seem like much, but they clearly drove characterization for years. First, we get the careful "can his powers really do that?" that marked the Weisinger era. Next we get promo for an upcoming story. Then a time continuity mistake that DC admits is a boo-boo (as they liked to call it in those G-Rated days).

Superboy #70 had more letters of the same type:



Apparently a common enough complaint that DC decided to do a story about it, explaining that the glass for his lenses came from the rocket that carried him to earth.

And another complaint about the collapsed time problem that bedeviled Superboy:



Of course, the problem is that if you have Superboy reacting to 10-year-old fads he's going to seem awfully drab, and yet DC had to maintain the illusion that his adventures were taking place years ago, before Clark became Superman. It was a circle they never quite managed to square.

You can see the continuity being forced on the editors by the readers, or at least forced to be committed to:

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The Supreme Villain

Of the Silver Age was undoubtedly Adolf Hitler. Of course he mostly appeared in World War II comics like Sgt Fury and Our Army at War, but there were several occasions where he popped up in the more modern world.



In this story from Blackhawk #115 (Aug 1957), a series of daring attacks sends a rumor around the world: Hitler is alive! However, it turns out to be a hoax as a gang of crooks have plotted to steal the Nazis' hidden treasure which is in the hands of a fanatical Hitler supporter.

Hitler made a memorable appearance in Adventure #314. A criminal manages to evade the Legion's elaborate security system and steal their only time-bubble. He heads back into the past to gather some of the greatest villains of history: Nero, Dillinger and Hitler. When they come to the present he manages to switch the minds of those three villains into the bodies of Mon-El, Ultra Boy and Superboy respectively. But Saturn Girl senses that the villains can be defeated by informing each of the weakness of the others (Superboy to Kryptonite, Mon-El to lead, Ultra-Boy to radiation). Sure enough they all kayo each other and their minds are transferred back into their evil bodies:



Der Fuehrer also popped up in Jimmy Olsen #86. Jimmy is shocked when watching an old WWII film to discover that he had a double on Hitler's staff and decides to go back in time to investigate. He arrives on D-Day and sees Eisenhower on the beach (a goof, since Eisenhower did not travel to Normandy until the day after D-Day). Jimmy convinces the Germans he's one of them, and after some amazing predictions of his come true (all learned from the history books), is rapidly promoted up the ladder to the German High Command. He was that German general he saw in that film.



Unfortunately, Jimmy neglects to tell Hitler about the plot on the latter's life by the German generals and he is about to be killed when the time travel mechanism he used (a Professor Potter "time bomb") returns him to the present.

In Fantastic Four #21, Stretcho and the gang battle the Hate Monger, a man who is stirring up hatred in the US and a revolution in South America. In the end, the villain is killed by his own supporters and revealed:

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The Five Most Important DC Comics of the Silver Age

This is not really a hard thing to work out. First, of course, is Showcase #4, the comic that started the superhero revival that is probably the biggest aspect of the Silver Age. To give you an idea, during the 1950s, DC Comics published 3,397 different comics, of which 849 were superhero-oriented (including Lois Lane and Jimmy Olsen). In the 1960s, DC published 3,579 different comics, of which 1,629 were superhero-oriented. The return of the Flash kicked off that surge.



Next up is Adventure #247, which introduced the Legion of Superheroes:



The Legion was one of DC's best features during the Silver Age. The combination of a futuristic setting with super-powered characters proved irresistable to readers of the time and provided seemingly endless plot possibilities.

The third major DC comic of the Silver Age is Brave & Bold #28. Now that DC had brought back Green Lantern, DC combined him with the Flash, Martian Manhunter, Wonder Woman and Aquaman into a fighting team called the Justice League of America. This served as a marketing gimmick for the individual magazines featuring those heroes (although at the time both Aquaman and Martian Manhunter were backup features in Adventure and Detective respectively), but it also apparently sold very well on its own, leading Marvel Comics' head honcho Martin Goodman to instruct Stan Lee to create a superhero team, which of course became the Fantastic Four.



The next major DC comic of the Silver Age may not be as apparent as the others, but it's a key to understanding the appeal of the superhero titles during this era:



Prior to this, DC had reprinted almost none of their older stories. Superman Annual #1 gave recognition to the fact that comics had a back story that it was important to understand in order to get the most out of current issues. It also represented a promise from the editors to you, that if you didn't know the back story, DC would fill you in over the years with reprints of their older tales. DC did a phenomenal amount of reprinting in the 1960s and early 1970s. Even Marvel got into the act once their comparatively recent tales were old enough to attract new readers.

The final major issue is obvious:



In the very first appearance of the Flash in Showcase #4, we learned that Barry Allen had read comics featuring the Jay Garrick Golden Age Flash. So it seemed only logical to pair the two up. But there was a problem; Jay Garrick (the gentleman on the right) had been a fictional character only on Barry Allen's Earth. The solution hit upon by Gardner Fox was to postulate an alternate Earth, called Earth-2, where the Golden Age superheroes had reigned.

This opened the door for a slew of Golden Age/Silver Age crossovers, about which I have a post planned for the future. It also created numerous headaches for DC's editors as time wore on, but that was not apparent in the 1960s.

Other comics that were crucial to the Silver Age DC, but perhaps not as critical as these:

Showcase #22, featuring the origin of the Hal Jordan Green Lantern. Lost in the memory of the Silver Age is the fact that it took three years after Flash's debut issue for DC to bring back its second GA hero in a new form. After this the pace quickened, with Aquaman, Atom and Hawkman all getting new launches.

Detective #225, with the first appearance of the Martian Manhunter, which actually predates Showcase #4. However, MM was a new character, not a rebirth of an old one.

Detective #327, with the "New-Look" Batman. Certainly the Batman TV series had a huge impact on DC Comics, but it is hard to say that this really spawned the show. Indeed, it is arguable that far more influential was Batman #155, which started the practice of bringing back Batman's Golden Age rivals (in this case, the Penguin).

Action #242, with the introduction of Brainiac. This is arguably the beginning of the Silver Age Superman under Mort Weisinger, although his name would not appear as editor for another few months. Weisinger's tenure running the Superman books was extremely influential, as he standardized the looks and mannerisms of the characters and presided over a substantially more serious hero than had been the case in the past. Superman in the 1940s and 1950s, perhaps influenced by Captain Marvel, had a touch of whimsy to it. Under Weisinger most of that was gone (with the notable exception of the Lois Lane series).

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More DC Scientofascism

Now that is creepy. As a kid you could buy the notion that scientists were gods and that they never screwed up, but as an adult, the idea of "electro-re-education" makes me want to scream and run for a cave.

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