| Silver Age of Comic Books | |
|---|---|
Showcase #4 (Oct. 1956), generally considered the start of the Silver Age. Cover art by Carmine Infantino & Joe Kubert |
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| Time span | 1956 — c.1970 |
| Related periods | |
| Preceded by | Golden Age of Comic Books (c.1938-c.1950) |
| Followed by | Bronze Age of Comic Books (c.1970-c.1985) |
The Silver Age of Comic Books was a period of artistic advancement and commercial success in mainstream American comic books, predominantly those in the superhero genre. Following the Golden Age of Comic Books and an interregnum in the early to mid-1950s, the Silver Age is considered to cover the period from 1956 to circa 1970, and was succeeded by the Bronze and Modern Ages.[1] A number of important comics writers and artists contributed to the early part of the era, including writers Stan Lee, Gardner Fox, John Broome, and Robert Kanigher, and artists Curt Swan, Jack Kirby, Gil Kane, Steve Ditko, Mike Sekowsky, Carmine Infantino, John Buscema, and John Romita, Sr. By the end of the Silver Age, a new generation of talent had entered the field, including writers Denny O'Neill, Mike Friedrich, Roy Thomas, and Archie Goodwin, and artists such as Neal Adams, Jim Steranko, and Barry Windsor-Smith.
The popularity and circulation of comic books about superheroes declined following the Second World War, and comic books about horror, crime and romance took larger shares of the market. However, controversy arose over alleged links between comic books and juvenile delinquency, focusing in particular on crime and horror titles. In 1954, publishers implemented the Comics Code Authority to regulate comic content. In the wake of these changes, publishers began introducing superhero stories again, a change that began with the introduction of a new version of DC Comics's The Flash in Showcase #4 (Oct. 1956). In response to strong demand, DC began publishing more superhero titles including Justice League of America, which prompted Marvel Comics to follow suit beginning with Fantastic Four #1. Silver Age comics have become collectible; as of 2008 the most sought-after comic of the era is Spider-Man's debut in Amazing Fantasy #15.
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Comics historian and movie producer Michael Uslan traces the origin of the "Silver Age" term to the letters column of Justice League of America #42 (Feb. 1966), which went on sale December 9, 1965.[2] Letter-writer Scott Taylor of Westport, Connecticut wrote, "If you guys keep bringing back the heroes from the [1930s-1940s] Golden Age, people 20 years from now will be calling this decade the Silver Sixties!"[2] According to Uslan, the natural hierarchy of gold-silver-bronze, as in Olympic medals, took hold. "Fans immediately glommed onto this, refining it more directly into a Silver Age version of the Golden Age. Very soon, it was in our vernacular, replacing such expressions as ... 'Second Heroic Age of Comics' or 'The Modern Age' of comics. It wasn't long before dealers were ... specifying it was a Golden Age comic for sale or a Silver Age comic for sale".[2]
Spanning World War II, when comics provided cheap and disposable escapist entertainment that could be read and then discarded by the troops,[3] the Golden Age of comic books covered the late 1930s to the late 1940s. A number of major superheroes were created during this period, including Superman, Batman, Wonder Woman, Captain Marvel, and Captain America.[4] In subsequent years comics were blamed for a rise in juvenile crime statistics, although this rise was shown to be in direct proportion to population growth. When juvenile offenders admitted to reading comics, it was seized on as a common denominator;[3] one notable critic was Fredric Wertham, author of the book Seduction of the Innocent (1954),[3] who attempted to shift the blame for juvenile delinquency from the parents of the children to the comic books they read. The result was a decline in the comics industry.[3] To address public concerns, in 1954 the Comics Code Authority was created to regulate and curb violence in comics, marking the start of a new era.[5]
The Silver Age began with the publication of DC Comics's Showcase #4 (Oct. 1956), which introduced the modern version of the Flash.[6][7] At the time, only three superheroes—Superman, Batman, and Wonder Woman—were still published under their own titles.[8] According to DC comics writer Will Jacobs, Superman was available in "great quantity, but little quality."[8] Batman was doing better, but his comics were "lackluster" in comparison to his earlier "atmospheric adventures" of the 1940s,[8] and Wonder Woman, having lost her original writer and artist, was no longer "idiosyncratic" or "interesting."[8] Jacobs describes the arrival of Showcase #4 on the newsstands as "begging to be bought";[8] the cover featured an undulating film strip depicting the Flash running so fast that he had escaped from the frame.[9] Editor Julius Schwartz, writer Gardner Fox, and artist Carmine Infantino were some of the people behind the Flash's revitalization.[10] Robert Kanigher wrote the first stories of the revived Flash, and John Broome was the writer of many of the earliest stories [11][12]
With the success of Showcase #4, several other 1940s superheroes were reworked during Schwartz's tenure, including Green Lantern, the Atom, and Hawkman,[13] as well as the Justice League of America.[10] The DC artists responsible included Murphy Anderson, Gil Kane and Joe Kubert.[10] Only the characters' names remained the same; their costumes, locales, and identities were altered, and imaginative scientific explanations for their superpowers generally took the place of magic as a modus operandi in their stories.[13] Schwartz, a lifelong science fiction fan, was the inspiration for the re-imagined Green Lantern[14]—the Golden Age character, railroad engineer Alan Scott, possessed a ring powered by a magical lantern,[14] but his Silver Age replacement, test pilot Hal Jordan, had a ring powered by an alien battery and created by an intergalactic police force.[14]
In the mid-1960s, DC established that characters appearing in comics published prior to the Silver Age lived on a parallel Earth the company dubbed Earth-Two. Characters introduced in the Silver Age and onward lived on Earth-One.[15] It was established that the two realities were separated by a vibrational field that could be crossed, should a storyline involve superheroes from different worlds teaming up.[15]
Although the Flash is generally regarded as the first superhero of the Silver Age, the introduction of the Martian Manhunter in Detective Comics #225 predates Showcase #4 by almost a year, and some historians consider this character the first Silver Age superhero.[16] However, comics historian Craig Shutt, author of the Comics Buyer's Guide column "Ask Mister Silver Age", disagrees.[17] Shutt notes that when the Martian Manhunter debuted, he was a detective who used his alien abilities to solve crimes. Although he did ultimately become a charter member of the Justice League of America, originally he was simply a "quirky detective" in the vein of other contemporaneous DC characters who were "TV detectives, Indian detectives, supernatural detectives, [and] animal detectives."[17] Schutt feels the Martian Manhunter only became a superhero in Detective Comics #273 (Nov. 1959), when he received a secret identity and other superhero accouterments.[17] Said Schutt, "Had Flash not come along, I doubt that the Martian Manhunter would've led the charge from his backup position in Detective to a new super-hero age."[17] There were other attempts to revive or create super-heroes before the Flash revival. One such hero that predates Showcase #4 is Captain Comet, who debuted in Strange Adventures #9 (June 1951) and whom Comic Book Resources columnist Steven Grant considers to be the first Silver Age superhero.[18] One more short-lived hero of this time was Fighting American, created in 1954 by the Captain America team of Joe Simon and Jack Kirby. Other characters include Charlton Comics' Nature Boy, introduced in March 1956; and Atlas Comics' short-lived revivals of Captain America, the Human Torch, and the Sub-Mariner, beginning in Young Men Comics #24, December 1953.
DC Comics sparked the superhero's revival with its publications from 1955 to 1960. Marvel Comics then capitalized on the revived interest in superhero storytelling with sophisticated stories and characterization.[19] In contrast to previous eras, Silver Age characters were "flawed and self-doubting".[20]
DC added to its momentum with its 1960 introduction of Justice League of America, a team consisting of the company's most popular superhero characters. Martin Goodman, a publishing trend-follower with his 1950s Atlas Comics line,note 1 then directed his comic-book editor, Stan Lee, to create a series about a team of superheroes.[21] Lee recalled in 1974 that "Martin mentioned that he had noticed one of the titles published by National Comics seemed to be selling better than most. It was a book called The [sic] Justice League of America and it was composed of a team of superheroes. ... ' If the Justice League is selling ', spoke he, ' why don't we put out a comic book that features a team of superheroes?'"[21] Marvel Comics's Fantastic Four was the result.[21]
Under the guidance of writer-editor Stan Lee and artists/co-plotters such as Jack Kirby and Steve Ditko, Marvel began its own rise to prominence.[8] With an innovation that changed the comic-book industry, The Fantastic Four #1 (Nov. 1961) initiated a naturalistic style of superheroes with human failings, fears, and inner demons, who squabbled and worried about the likes of rent-money. In contrast to the straitlaced archetypes of superheroes at the time, this ushered in a revolution. With dynamic artwork by Kirby, Steve Ditko, Don Heck, and others complementing Lee's colorful, catchy prose, the new style became popular among college students who could identify with the angst and the irreverent nature of the characters such as Spider-Man, the X-Men and the Hulk during a time period of social upheaval and the rise of a youth counterculture.
Comics historian Peter Sanderson compares the 1960s DC to a large Hollywood studio, and argues that after having reinvented the superhero archetype, DC by the latter part of the decade was suffering from a creative drought. The audience for comics was no longer just children, and Sanderson sees the 1960s Marvel as the comic equivalent of the French New Wave, developing new methods of storytelling that drew in and retained readers who were in their teens and older and thus influencing the comics writers and artists of the future.[22]
One of the top comics publishers in 1956, Harvey Comics, discontinued its horror comics when the Comics Code was implemented and sought a new target audience.[23] Harvey's focus shifted to children from 6 to 12 years of age, especially girls, with characters such as Richie Rich, Casper the Friendly Ghost, and Little Dot.[23] Many of the company's comics featured young girls who "defied stereotypes and sent a message of acceptance of those who are different."[23]
Although its characters have inspired a number of nostalgic movies and ranges of merchandise, Harvey comics of the period are not as sought after in the collectors' market as DC and Marvel titles.[23]
The publishers Gilberton, Dell Comics, and Gold Key Comics used their reputations as publishers of wholesome comic books to avoid becoming signatories to the Comics Code and found various ways to continue publishing horror themes comics.[24] Gilberton used its Classics Illustrated line to reprint comic book versions of Frankenstein and Dr Jekyll and Mr Hyde. Dell began publishing the licensed TV series comic book Twilight Zone in 1961 and published a Dracula title in 1962. Gold Key, in addition to releasing Boris Karloff Thriller, based on the TV series Thriller (and retitled Boris Karloff Tales of Mystery after the show went off the air in 1962), bought the Twilight Zone license from Dell in 1962.[24] In 1965 Gold Key put out three licensed horror-themed comics, two based on the TV horror-comedies The Addams Family and The Munsters, and the other titled Ripley's Believe it or Not!, which had three different subtitles: "True Ghost Stories," "True War Stories" (#1 and #5), and "True Demons & Monsters" (#7, #10, #19, #22, #25, #26, and #29).[24]
With the popularity of the Batman television show in 1966 publishers that had specialized in other forms began adding superhero titles to their lines. As well, new publishers sprang up, often using creative talent from the Golden Age. Harvey Comics released Double-Dare Adventures, starring new characters such as B-Man and Magic-Master. Dell Comics published superhero versions of Frankenstein, Dracula and the Werewolf. Gold Key Comics published licensed versions of television shows such as Captain Nice, Frankenstein Jr. and The Impossibles, and continued the adventures of Walt Disney Pictures' Goofy character in Supergoof. Charlton Comics published a short-lived superhero line with new characters that include Captain Atom, Judomaster, the Question, and Thunderbolt. American Comics Group gave its established character Herbie a secret superhero identity as the Fat Fury, and introduced the characters of Nemesis and Magic-Man. Even the iconic Archie Comics teens acquired superpowers and superhero identities in comedic titles such as Archie as Pureheart the Powerful and Jughead as Captain Hero.
Archie Comics also launched its own standard, non-humorous superhero characters in the Archie Adventure line (subsequently titled Mighty Comics), which included the Fly, the Jaguar, and a revamp of the Golden Age hero the Shield. In addition to their individual titles, they teamed in their group series The Mighty Crusaders, joined by the Comet and Flygirl join with three characters with their own titles. Their stories blended typical superhero fare with the 1960s' camp style of the Batman television series.[25]
According to John Strausbaugh of The New York Times, "traditional" comic book historians feel that although the Golden Age deserves study, the only noteworthy aspect of the Silver Age was the advent of underground comics.[4] One commentator has suggested that, "Perhaps one of the reasons underground comics have come to be considered legitimate art is due to the fact that the work of these artists more truly embodies what much of the public believes is true of newspaper strips — that they are written and drawn (i.e., authentically signed by) a single person."[26] While a large number of mainstream-comics professionals both wrote and drew their own material during the Silver Age, as many had since the start of American comic books, their work is distinct from what another historian describes as the "raw id on paper" of Robert Crumb and Gilbert Shelton.[27] Most often published in black-and-white with glossy color cover and distributed through counterculture bookstores and head shops, underground comics targeted adults and reflected the counterculture movement of the time,[27][28][29]
The Silver Age of comic books was followed by the Bronze Age.[30] The demarcation is not clearly defined, but there are a number of possibilities.[30] One suggestion has been the 1969 publication of the last 12 cent comics.[31] Historian Will Jacobs suggests the Silver Age ended in April 1970 when the man who had started it, Julius Schwartz, handed over Green Lantern — starring one of the first revived heroes of the era — to the new-guard team of Denny O'Neil and Neal Adams in response to reduced sales.[32] John Strausbaugh also connects the end of the Silver Age to Green Lantern. He observes that in 1960, the character embodied the can-do optimism of the era, declaring, "No one in the world suspects that at a moment's notice I can become mighty Green Lantern – with my amazing power ring and invincible green beam! Golly, what a feeling it is!"[4] However, by 1972 Green Lantern had become world weary; "Those days are gone – gone forever – the days I was confident, certain ... I was so young ... so sure I couldn't make a mistake! Young and cocky, that was Green Lantern. Well, I've changed. I'm older now ... maybe wiser, too ... and a lot less happy."[4] Strausbaugh writes that the Silver Age "went out with that whimper."[4] Comics scholar Arnold T. Blumberg places the end of the Silver Age in June 1973, when Spider-Man's girlfriend Gwen Stacy was killed in a story arc later dubbed "The Night Gwen Stacy Died", saying the era of "innocence" was ended by "the 'snap' heard round the comic book world — the startling, sickening snap of bone that heralded the death of Gwen Stacy."[33]
Scott, of Comic Book Resources, lists several commonly cited touchstones, including changes in personnel and the publication of particular individual issues. Among the latter are Conan #1 (1970) and Green Lantern/Green Arrow #76 (April 1970), "often cited as the first books of the Bronze Age."[30] He also notes Jack Kirby's move from Marvel to DC in 1970, and Superman editor Mort Weisinger's retirement that same year.[30] Another possible candidate is the return of horror comics, and the arrival of stories with self-consciously promoted social relevancy.[34] Arnold T. Blumberg has argued that the shift was a gradual process that lasted from the late 1960s until 1973, ending with the death of Gwen Stacy—an "event that many name as the single most memorable moving moment in collective fan recall".[33] He writes that there was a willingness by creators and publishers to tackle more mature themes, even if they "were filtered through the somewhat simplistic lens of the superhero", thus bringing an end to "the light-hearted, carefree Silver Age".[33]
According to historian Peter Sanderson, the "neo-silver movement" that began in 1986 with Superman: Whatever Happened to the Man of Tomorrow? by Alan Moore and Curt Swan, was a backlash against the Bronze Age with a return to Silver Age principles.[35] In Sanderson's opinion, each comics generation rebels against the previous, and the movement was a response to Crisis on Infinite Earths, which itself was an attack on the Silver Age.[35] Neo-silver comics creators made comics that recognized and assimilated the more sophisticated aspects of the Silver Age.[35]
The Silver Age marked a decline in the prominence of comics in genres such as horror, romance, teen and funny animal humor, or westerns, which were more popular than superhero adventures in the late 1940s through the mid-1950s, and fans of these genres see the Silver Age as a decline from that earlier era.[36]
An important feature of the period was the evolution of the character makeup of superheroes. Young children and girls were targeted during the Silver Age by certain publishers; in particular, Harvey Comics attracted this group with titles such as Little Dot. Adult oriented underground comics also began during the Silver Age. Some critics and historians argue that one characteristic of the Silver Age was that science fiction and aliens replaced magic and gods.[37] Others argue that magic was an important element of both Golden Age and Silver Age characters.[38] and many Golden Age writers and artists were science-fiction fans or professional science-fiction writers who incorporated SF elements into their comic-book stories.[39] Science was a common explanation for the origin of heroes in the Golden Age.[40]
The Silver Age coincided with the rise of pop art, an artistic movement that used popular cultural artifacts, such as advertising and packaging, as source material for fine, or gallery-exhibited, art. Roy Lichtenstein, one of the best-known pop art painters, specifically chose individual panels from comic books and repainted the images, modifying them to some extent in the process but including in the painting word and thought balloons and captions as well as enlarged-to-scale color dots imitating the coloring process then used in newsprint comic books. An exhibition of comic strip art was held at the Musée des Arts Décoratifs of the Palais de Louvre in 1967, and books were soon published that contained serious discussions of the art of comics and the nature of the medium.[41]
In January 1966, a live-action Batman television show debuted to high ratings. Like pop art, the show took comic-book tropes and re-envisioned them in the context of a different medium. Voiceover narration in each episode articulated the words of comic-book captions while fight scenes had sound effects like "Biff", "Bam" and "Pow" appear as visual effects on the screen, spelled out in large cartoon letters. Circulation for comic books in general and Batman merchandise in particular soared.[42] Other masked or superpowered adventurers appeared on the television screen, so that "American TV in the winter of 1967 appeared to consist of little else but live-action and animated cartoon comic-book heroes, all in living colour."[43] Existing comic-book publishers began creating superhero titles, as did new publishers. By the end of the 1960s, however, the fad had faded; in 1969, the best-selling comic book in the United States was not a superhero series, but the teen-humor book Archie.[44]
Arlen Schumer, author of The Silver Age of Comic Book Art, singles out Carmine Infantino's Flash as the embodiment of the design of the era: "as sleek and streamlined as the fins Detroit was sporting on all its models."[4] Other notable artists of the era include Curt Swan, Gene Colan, Steve Ditko, Gil Kane, Jack Kirby and Joe Kubert.[45]
Two artists that changed the comics industry dramatically in the late 1960s were Neal Adams, considered one of his country's greatest draftsmen,[46] and Jim Steranko. Both artists expressed a cinematic approach at times that occasionally altered the more conventional panel-based format that has been commonplace for decades. Adams' breakthrough was based on layout and rendering.[47] Best known for returning Batman to his somber roots after the campy success of the Batman television show,[46] his naturalistic depictions of anatomy, faces, and gestures changed comics' style in a way that Strausbaugh sees reflected in modern graphic novels.[4]
One of the few writer-artists at the time, Steranko made use of a cinematic style of storytelling.[47] Strausbaugh credits him as one of Marvel's strongest creative forces during the late 1960s, his art owing a large debt to Salvador Dalí.[4] Steranko started by inking and penciling the details of Kirby's artwork on Nick Fury, Agent of S.H.I.E.L.D. beginning in Strange Tales #151, but by Strange Tales #155 Stan Lee had put him in charge of both writing and drawing Fury's adventures.[48] He exaggerated the James Bond-style spy stories, introducing the vortex beam (which lifts objects), the aphonic bomb (which explodes silently), a miniature electronic absorber (which protected Fury from electricity), and the Q-ray machine (a molecular disintegrator)—all in his first 11-page story.[48]
As of 2008, the collecting of Silver Age comics was on the rise. Possible reasons are that certain Golden Age comics are becoming too expensive or that baby boomers fondly remember the comics from their youth.[49] Amazing Fantasy #15, the first appearance of Spider-Man, is considered the "holy grail" of Silver Age comics,[50] with a near-mint copy selling for $1.1 million to an unnamed collector on March 7, 2011.[51]
The Official Overstreet Comic Book Price Guide #38 (2008) lists the following 21 comics as the most sought-after by collectors:[52]
| Title | Issue | Publisher | Relevance |
|---|---|---|---|
| Amazing Fantasy | 15 | Marvel | First appearance of Spider-Man |
| Showcase | 4 | DC Comics | First appearance of Barry Allen as the Flash |
| Fantastic Four | 1 | Marvel | First appearance of the Fantastic Four |
| The Amazing Spider-Man | 1 | Marvel | Spider-Man gets his own series |
| The Incredible Hulk | 1 | Marvel | First appearance of the Hulk |
| X-Men | 1 | Marvel | First appearance of X-Men |
| Showcase | 8 | DC Comics | Second Silver Age appearance of the Flash |
| Journey Into Mystery | 83 | Marvel | First appearance of Thor |
| Showcase | 9 | DC Comics | Lois Lane stars in her own adventure |
| The Flash | 105 | DC Comics | First Flash comic book since Flash Comics was cancelled with issue #104 |
| Tales of Suspense | 39 | Marvel | First appearance of Iron Man |
| Brave and the Bold | 28 | DC Comics | First appearance of the Justice League of America |
| Adventure Comics | 247 | DC Comics | Superboy meets the Legion of Super-Heroes |
| Justice League of America | 1 | DC Comics | First Issue |
| Showcase | 22 | DC Comics | First appearance of Silver Age Green Lantern |
| Fantastic Four | 5 | Marvel | First appearance of Dr. Doom |
| Tales to Astonish | 27 | Marvel | First appearance of Hank Pym |
| Fantastic Four | 2 | Marvel | Second appearance of the Fantastic Four, first appearance of the Skrulls |
| Green Lantern | 1 | DC Comics | First issue |
| Amazing Spider-Man | 2 | Marvel | First appearance of the Vulture |
| Action Comics | 252 | DC Comics | First appearance of Kara "Supergirl" Zor-El |
^ Apocryphal legend has it that in 1961, Timely and Atlas publisher Martin Goodman was playing golf with either Jack Liebowitz or Irwin Donenfeld of rival DC Comics (then known as National Periodical Publications), who bragged about DC's success with the Justice League, which had debuted in The Brave and the Bold #28 (February 1960) before going on to its own title.[53]
Film producer and comics historian Michael Uslan later contradicted some specifics, while supporting the story's framework:
Irwin said he never played golf with Goodman, so the story is untrue. I heard this story more than a couple of times while sitting in the lunchroom at DC's 909 Third Avenue and 75 Rockefeller Plaza office as Sol Harrison and [production chief] Jack Adler were schmoozing with some of us ... who worked for DC during our college summers.... [T]he way I heard the story from Sol was that Goodman was playing with one of the heads of Independent News, not DC Comics (though DC owned Independent News). ... As the distributor of DC Comics, this man certainly knew all the sales figures and was in the best position to tell this tidbit to Goodman. ... Of course, Goodman would want to be playing golf with this fellow and be in his good graces. ... Sol worked closely with Independent News' top management over the decades and would have gotten this story straight from the horse's mouth.[54]
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