Editor's Note: The following piece is an expanded version of Pierre's article "The Four Fantastic Phases of Silver Age Marvel" which features in the Sept 2000 issue of that excellent publication Comic Book Marketplace, also known as CBM. Without the constraints of the printed medium, we're able to present this fuller version. You might like to compare the two! - Nick
Author's Note: Regular visitors to this site will be familiar with the four phases of Silver Age Marvel's development described here, as they continue to serve as the theoretical basis of this writer's collaboration with Gregorio Montejo in our In-depth Reviews column. I first dreamed up the idea of dividing Silver Age Marvel's development into four phases in the early '90s, just before the completion of the original of this article around 1994. - Pierre
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Part II: The Years of Consolidation
Although there were isolated examples that indicated the direction Marvel's new line of comics would take between the Early, Formative Years and the later, Grandiose Years, it was in the two years or so that separated them, the "Years of Consolidation", that certain themes would be adopted in earnest. It was in these years that Stan Lee and his stable of artists, particularly Jack Kirby and Steve Ditko, began to actively exploit the disparate elements that had begun to define the increasingly popular 'Marvel style' (which they themselves had more or less stumbled upon), and started to weave them into a coherent universe. What characterized these years of consolidation? Mostly the deliberate attempt by Lee to tie his growing universe closer together, to develop its own internal consistency and give it a semblance of verisimilitude. To that end, a number of devices were used, most notably the crossover and the continued story. The reliance on multi-issue stories, some lasting more than a year, would become a hallmark for Marvel in the later, grandiose years, but began in the years of consolidation as more modest two-part tales. Also important in these years was that element of fun and excitement good writing invariably provides as Lee began to take upon himself the scripting for all the super hero titles. Such control in the hands of a writer/editor whose overall vision of the line was mature but experimental would prove crucial to Marvel's success. Lee, in partnership with such talented artists as Kirby and Ditko, whose skills were perfectly suited to the emerging 'Marvel Method' of creating comics, was able to strike a balance between the melodramatic elements that made them seem realistic while at the same time giving broad hints that none of it was to be taken too seriously. And so, working within the Comics' Code, Marvel found a way to simply have fun with the universe it had created in its early, formative years, mixing and matching its elements and seeing how they turned out. And an enthralled readership was the beneficiary. |
37) Another good example of where the line dividing the 'Years of Consolidation' and the 'Grandiose Years' is almost clear cut is the following three issues of the Fantastic Four. On the face of it, the easiest way to tell is by looking at Kirby's inkers on the strip: issue # 38 is Chic Stone's last, issue # 39 is inked by Frank Ray (actually Frank Giacoia) and # 40 is by Vince Colletta (who'll stay on until # 44 when Joe Sinnott takes over). Also interesting is that these issues form only the beginning of a vaguely connected but definitely related storyline that stretches across all of these books and beyond; issues 38-43 are definitely on one side of the divide while issues 44-47 are most definitely on the other. In Fantastic Four # 38 (May 1965), the team's evil counterparts, the Frightful Four (introduced just two issues previously), kidnap the Invisible Girl, forcing Reed, Ben and Johnny to travel to a deserted island to rescue her. There, the two foursomes mix it up until the evil FF manage to escape, stranding our heroes on the island with a ticking 'Q-bomb!' It explodes, leaving our heroes floating unconscious within a force bubble created in the nick of time by the Invisible Girl.
38) The symbolic cover of Fantastic Four # 39 (June 1965) showing the FF being led by a red-suited Daredevil while a gigantic, menacing figure of Dr. Doom looms over the New York skyline, seemed to say it all: "A Blind Man Shall Lead Them." Following their defeat by the Frightful Four the issue before, the FF discover that they've lost their super powers. Desperately, Mr. Fantastic tries to find ways to artificially duplicate the team's natural powers but at a critical moment, Dr. Doom takes control of the Baxter Building. Turning their own weapons against them, it doesn't take Doom long to realize the FF's true helplessness and the tension mounts accordingly. Led by Daredevil (whose figure was inked by Wally Wood, then current artist on the DD strip), the four must reach the building and manage to fight their way to the top. Although Frank Giacoia's inks over Kirby this issue helped ease the transition between Stone and Colletta's wildly divergent styles, the highlight as usual was Kirby himself who gave readers a thrill by treating them to one of his earliest uses of photo-collage. |
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39) The opening act of this extended series concludes in Fantastic Four # 40 (Jul 1965) when the FF manage to fight their way to the top of the Baxter Building. In a development that left much to be desired after such a thrilling build-up, when the powerless four finally reach their goal, Mr. Fantastic pulls out an 'electronic stimulator' and, training it on his teammates, restores their powers. It turns out that the stimulator was all that was needed to do the trick but needed "another few more days of recharging!" Not exactly the most satisfying climax to such a great story, but it did provide Lee and Kirby (whose pencils were inked this time by Vince Colletta who, despite proving an excellent fit over Kirby on the somewhat medieval atmosphere of Thor, was nevertheless completely unsuited for the real-world Sci-Fi action of the FF) with the type of human drama that once again showed why Silver-Age Marvel was head and shoulders above its competition. The drama in this case turned on Ben Grimm who alone of the four is far from happy to have his powers restored: "But…mebbe I don't wanna become the Thing again!! I'm finally normal…like anyone else!" But Reed Richards thinks otherwise, claiming the situation with Doom calls for desperate measures. "Poor Ben! It…it seems so cruel!" says the Invisible Girl. "He may hate me for this forever after," responds Richards, "but…for better or worse, the Thing must live again!" But despite his ending of Doom's threat, there can be no celebration for the Thing: "I got the short end of the stick on this whole deal! You can git married, but not me! You can be normal…but not me!" The story ends not in the elation of victory, but in the announcement by the Thing that he intends to quit the group leading into the title's next extended story cycle in which the Frightful Four return and the Thing turns against his teammates.
40) The elements that define the years of consolidation needn't be limited to a general overview of the Marvel line, sometimes they can be seen more specifically within particular titles. Internal and external consolidation, you might say. The perfect example of internal and external consolidation in a single comic is Fantastic Four Annual # 3 (1965), "The world's most colossal collection of costumed characters, crazily cavorting and capering in continual combat!" The cover and lead story sported a Kirby collage of just about every hero and villain in the burgeoning Marvel universe (you count 'em!) and at the time was probably the answer to every fan's dream. But aside from the obvious fact of it being the ultimate crossover event (the logical end-product of the guest-starring trend pursued so vigorously in these years), the story's main event, the wedding of Sue Storm and Reed Richards, also served as the ultimate example of internal consolidation. The thread of the two characters' romance had its beginnings as early as the first issue of the FF and later it was revealed to readers that Sue and Reed had been childhood sweethearts during World War II. As the series progressed, an element of the unknown entered the picture when the Sub-Mariner forced Sue to re-examine her feelings for Reed. The issue was resolved in Fantastic Four # 27, and the couple announced their engagement in # 36. To readers, events like these gave the Marvel universe a semblance of real life and when the Richards' child was eventually born in FF Annual # 6, the feeling of change and realistic progression was only reinforced. The evolution of the two characters' relationship from sweethearts to parents became a perfect metaphor for the direction in which Marvel's entire line of super-heroes had been heading in its first five years. It was a place where readers had begun to learn to expect change, progress, comings and goings and even the deaths of characters. This was like nothing anyone had ever seen before from any other comics company. And yet, in a sense, readers hadn't seen anything yet, for the serious, grandiose years still lay ahead, filled with the awe of living planets, the wonder of cosmic beings, birth and death, the problems of bigotry, drugs and pollution and even the acknowledgement that there is after all, a God of love above it all.
41) The Spider-Man books too are a perfect example of internal consolidation. The title had been picking up plot points and character details for over two years before they all really began to come together in issue #s 25-28. They played off each other and in doing so, created new wrinkles that in turn could be explored in the future. The credits for Amazing Spider-Man # 25 (Jun 1965), acknowledged Ditko as also having plotted the issue. This was the first official credit given the artist for work he'd been doing on the strip in equal partnership with Lee and one which would prove contentious for the company in the years to come. In the meantime however, so smooth is Ditko's juggling of the many elements that by this time have become hallmarks of the Spider-Man strip, that it leaves little doubt that the artist had had a strong hand in the plotting of the book from a much earlier date. Ditko's fingerprints can be found on the sheer number of personal travails and absurd sub-plots surrounding Peter Parker (that seemed to proliferate as the strip matured!), many of which Lee chose to drop in favor of a more sedate approach after Ditko's departure with issue # 38. This issue for instance, after having built up the personality of Peter Parker as an honest and well meaning but fallible everyteen, Ditko has decided to add a bit of venality and hubris to the character. In what would prove to be a dangerous overconfidence in his abilities, Peter convinces J. Jonah Jameson to hire a peculiar robot to hunt down Spider-Man. But the robot proves to be much more than Peter expected and comes close to actually defeating him. Lee and Ditko expertly manipulate all of the strip's by-now-familiar cast of characters to create a fast moving story more filled with humor than action including Jameson's greed and envy, Betty Brant's disappointment with Peter and her attempts to put the robot out of action; Flash Thompson's jealousy of Peter over Liz Allen leading into a wild chase scene as Peter tries to keep ahead of Flash's gang while at the same time trying to evade capture by Jameson's robot! Finally, readers get to 'meet' the mysterious Mary Jane Watson, the unnamed Norman Osborn (a.k.a. the Green Goblin!) and learn that Aunt May has found Peter's Spider-Man costume! Whew!
42) Ditko continues as credited plotter in Amazing Spider-Man # 26 (Jul 1965) with the first chapter in a two-part tale entitled "The Man in the Crime-Master's Mask." Here, Lee and Ditko treat the reader to an involved gangland mystery that successfully intertwines the trails of the Crime-Master, the Green Goblin and apparently reformed underworld figure Frederick Foswell. Adding to the intrigue are the activities of Patch, the stoolie, and the second appearance of Norman Osborn (a.k.a. the Green Goblin, but we don't know that yet). Against this complex and menacing background, the creators go for light relief - in between trying to keep up with the various clues, Peter Parker is forced to deal with a cheap store-bought Spider-Man costume that has the hilarious habit of coming apart at the seams at the most inappropriate moments (his two genuine costumes having been taken by Professor Smythe and Aunt May in the previous issue!); is seen sneaking around the house hoping to find the costume Aunt May had discovered in the previous installment; attempts to straighten out a misunderstanding with Betty Brant involving Liz Allen and the mysterious Mary Jane Watson; manages to keep tabs on ex-con Foswell; and gets into a fight with school rival Flash Thompson - which results in a visit to the principal's office! (Now, honestly, how many super-heroes have been sent to the principal's office?) But the reader hardly has time to catch his breath before Spider-Man is captured by the Crime-Master and brought as a prisoner before the assembled mobs of New York's underworld. |
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