Silver Age of Comic Books

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Origin of the term
Comics historian and dvd producer Michael Uslan traces the origin of the "Silver Age" term to the letters column of Proper rights League of America #42 (Feb. 1966), which went on sale December 9, 1965. Letter-writer Scott Taylor of Westport, Connecticut wrote, "If you guys hold bringing back the heroes from the [1930s-1940s] Golden Age, people 20 years from now will be calling this decade that Silver Sixties! " According to Uslan, the natural hierarchy of gold-silver-bronze, as in Olympic medals, took have. "Fans immediately glommed in this, refining it more directly into a Silver Age version of your Golden Age. Very soon, it was in our vernacular, replacing such expressions as... 'Second Heroic Time of Comics' or 'The Present day Age' of comics. It wasn't long before dealers were... specifying it was a Golden Age comic on sale or a Silver Period comic for sale".
History
Background
Superman, as depicted in a 1941 Fleischer Studios animated, was created during your Golden Age of Comic Books.
Spanning World War II, when comics provided affordable and disposable escapist entertainment that could be read and then discarded by the troops, the Golden Age with comic books covered the late 1930s to the late 1940s. A number of big superheroes were created during this time period, including Superman, Batman, Wonder Woman, and Captain America. The brief so-called Atomic Age followed, between 1945 plus 1956, but in subsequent several years comics were blamed for your rise in juvenile criminal statistics, although this rise was shown to be in direct proportion for you to population growth. When teenager offenders admitted to looking through comics, it was seized on for a common denominator; one famous critic was Fredric Wertham, author of the book Seduction of the Innocent (1954), who attempted to shift the blame for juvenile delinquency with the parents of the children to your comic books they understand. The result was a decline while in the comics industry. To address public concerns, in 1954 the Comics Code Authority was created to regulate and suppress violence in comics, marking the start of a new era.
DC Comics
The Silver Age began with the publication of DC Comics's Show #4 (Oct. 1956), which introduced the modern version of the Pen. At the time, only three superheroesuperman, Batman, and Wonder Womanere still published under their own titles. According to DC comics article author Will Jacobs, Superman was available in "great quantity, but minimal quality. " Batman appeared to be doing better, but his comics were "lackluster" in comparison to his earlier "atmospheric adventures" of your 1940s, and Wonder Woman, having lost her first writer and artist, was no longer "idiosyncratic" or "interesting. " Jacobs describes a arrival of Showcase #4 on the newsstands as "begging that they are bought"; the cover featured the undulating film strip depicting your Flash running so fast that he had escaped from any frame. Editor Julius Schwartz, writer Gardner Fox and artisan Carmine Infantino were guiding the Flash's revitalization.
Julius Schwartz, an instrumental figure at DC during the Silver Age.
With the success of Showcase #4, several other 1940s superheroes were reworked during Schwartz's tenure, including Inexperienced Lantern, the Atom, and Hawkman, as well for the reason that Justice League of The united states. The DC artists responsible included Murphy Anderson, Gil Kane and Joe Kubert. Only the characters' names remained the same; their costumes, locales, and identities were altered, and imaginative scientific explanations for their superpowers generally took the destination of magic as a modus operandi into their stories. Schwartz, a life time science fiction fan, was the inspiration for the re-imagined Green Lanternhe Glowing Age character, railroad industrial engineer Alan Scott, possessed a ring powered by a magical lantern, but her Silver Age replacement, test pilot Hal Jordan, had a ring power by an alien battery and created by an intergalactic police force.
In the mid-1960s, DC established that people appearing in comics published prior to the Silver Age lived for a parallel Earth the provider dubbed Earth-Two. Characters introduced in the Silver Age and onward lived on Earth-One. It was established that the two realities were separated by way of vibrational field that could be crossed, should a storyline involve superheroes from distinct worlds teaming up.
Although the Flash is generally regarded as the first superhero of your Silver Age, the introduction of the Martian Manhunter in Investigator Comics #225 predates Showcase #4 by almost per annum, and some historians think of this as character the first Silver precious metal Age superhero. However, comics historian Craig Shutt, author of the Comics Buyer's Guide line "Ask Mister Silver Age", disagrees. Shutt notes that when the Martian Manhunter debuted, he was a private investigator who used his alien abilities to solve crimes. Although he did ultimately become a charter member of that Justice League of Usa, originally he was just a "quirky detective", like other contemporaneous DC characters who were "TV detectives, Indian investigators, supernatural detectives, [and] animal detectives. " Schutt believes the Martian Manhunter solely became a superhero in Detective Comics #273 (Nov. 1959), when he received a secret identity and other superhero accoutrements. Said Schutt, "Had Flash not come along, I doubt that your Martian Manhunter would've encouraged the charge from your partner's backup position in Detective to the new super-hero age. " Another hero that predates Show #4 is Captain Comet, who debuted in Strange Ventures #9 (June 1951). Comic Book Resources columnist Steven Grant considers him to be the first Silver Period superhero.
Marvel Comics
The fantastic Four #1 (Nov. 1961), the cornerstone of Marvel Comics. Cover art by Jack Kirby (penciller) plus unconfirmed inker.
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 by using sophisticated stories and depiction. In contrast to past eras, Silver Age characters were "flawed and self-doubting".
DC added to its momentum with their 1960 introduction of Rights League of America, a team consisting of the company's most common superhero characters, Martin Goodman, a publishing trend-follower with his 1950s Atlas Comics brand, note 1 directed his comic-book editor, Stan Lee, to create a series in terms of a team of superheroes. Lee recalled in 1974 that "Martin mentioned that he had noticed one of the titles published by National Comics looked like there was selling better than almost all. It was a e book called The [sic] Proper rights League of America but it was composed of a fabulous team of superheroes.... ' If the Justice League is offering ', spoke he, ' why don't we put out a comic book that features a team of superheroes? '" Marvel Comics's Fantastic Four was the result.
Under the guidance involving writer-editor Stan Lee and artists/co-plotters just like Jack Kirby and David Ditko, Marvel began its own rise to prominence. Introducing dynamic plotting and more sophisticated characterization into superhero comics, Marvel began targeting young adults and college-aged readers in addition to the children's market. Based on the success of The Wonderful Four, Lee and his music artists created eleven new series over the next two-and-a-half years, with Spider-Man and, after a slow start, the Hulk among the most popular new characters. Other significant and enduring Brilliant Silver Age heroes incorporate Iron Man, Thor, Daredevil, the X-Men, and Marvel's private all-star group, the Avengers. Captain America, a hero from the Golden Age, was amplified in Avengers #4 (March 1964).
Comics historian Peter Sanderson compares the 1960s DC to a large Hollywood studio. Having reinvented the superhero genre, by the latter part of the decade he believes DC 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 that French New Wave, developing new methods involving storytelling that drew through and retained readers who were in their teens and older and for that reason influencing the comics writers and artists of the future. Comics historian Craig Shutt compares DC's and Marvel's differing styles: according to Schutt, DC heroes were direct to the point in their dealings with each other, quickly banding together to defeat an enemy. In contrast Marvel's heroes trusted one less, and would frequently oppose each other before resolving their variations and joining against the same foe. DC's approach complete conflicts between heroes with no violence; Marvel's "addressed the age-old, little-kid question of which hero would win inside of a fight".
Other publishers
Harvey Comics focused on children during the Silver Age with characters such as Casper the Friendly Cat, seen here in a new 1948 cartoon.
One of the top comics publishers in 1956, Harvey Comics discontinued its horror comics when the Comics Code was implemented and sought a different target audience. Harvey's focus shifted to help children from 6 to 12 years of age, especially girls, with characters such as Richie Rich, Casper the Friendly Ghost, and Minimal Dot. Many of the company's comics featured young girls who "defied stereotypes and sent a message of acceptance of individuals who are different. " Other publishers, such as Dell Comics in addition to Gold Key Comics, made similar changes. Although its characters have inspired a number of nostalgic movies and stages of merchandise, Harvey comics of the period are not as wanted in the collectors' economy as DC and Brilliant titles.
With the popularity of your Batman television show on 1966 publishers that had specialized in other styles began adding superhero titles recommended 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 written and published licensed versions of television shows such as Captain Decent, 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, Judo-Master, the Question, and Thunderbolt. American Comics Group afforded its established character Herbie your secret superhero identity as the Fat Fury, and announced the characters of Nemesis along with Magic-Man. Even the iconic Archie Comics kids acquired superpowers and superhero identities in comedic titles such as Archie as Pureheart that Powerful and Jughead as Captain Hero.
Archie Comics also launched its own standard, non-humorous superhero characters. The Archie Adventure line (subsequently titled Mighty Comics) involved the Fly, the Jaguar, and the Shield, a revamped Golden Age hero. The success of the Avengers and the Rights League of America prompted Archie to create its own team brand, The Mighty Crusaders, which saw the Comet plus Flygirl join with three characters with their own titles.
The Archie series put together typical superhero fare with the 1960s' camp style of the Batman television series.
One of the new publishers that emerged briefly while in the late 1960s was Turbo Comics, which released 3 issues of Fatman the Man Flying Saucer by Otto Binder along with C. C. Beck, the writer and musician team responsible for many of the Golden Age Captain Amazing stories. Another was M. F. Enterprises which published 5 issues of a series also called Captain Marvel; this was a different character from Carl Burgos, Golden Age creator of the Human Torch, which bore no relation other than some in-joke allusions to your Golden Age Captain Formidable device.
Most of these brand-new series began in 1966 and also 1967 and lasted just around a year. Tower Comics, which published such characters when Dynamo, Noman and Undersea Representative, was longer lived; thier flagship title Thunder Agents debuted with late 1965 and lasted for 20 issues, ending in 1969.
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According to John Strausbaugh of The new York Times, traditional comic book historians feel that although the Golden Get older deserves study, the only noteworthy element of the Silver Age ended up being the advent of undercover comics. One commentator has suggested that underground comics are viewed legitimate art because we were looking at typically written and drawn by a single person; artists like Robert Crumb in addition to Gilbert Shelton produced comics described as raw and instinctual. While most comics of the times were pure fantasy, underground comics targeted parents and reflected the counterculture movement of the time, being printed by ad-hoc editors and distributed in travel shops.
End
Artist Neal Adams, whose work with writer Denny O'Neil in Green Lantern/Green Arrow marks one possibility for any end of the Silver Age.
Various events have been identified as marking the end of the Silver Time. One suggestion has been recently the 1969 publication of your last 12 cent comics, while others have focused on the publishers that had been its driving forces: Marvel and DC. According to Will Jacobs, the Silver Age wrapped up in April 1970 when the man who had up and running it, Julius Schwartz, handed over Green Lantern to Denny O'Neil plus Neal Adams in reply to reduced sales. John Strausbaugh also connects the end of the Silver Get older to Green Lantern. He observes that in 1960, the character embodied the can-do optimism of your era, declaring, "No one in the world suspects that at a moment's notice I can become mighty Green Lantern with the help of my amazing power hoop and invincible green gleam! Golly, what a feeling it is! " However, by 1972 Inexperienced Lantern had become community weary; "Those days are gone gone forever the days I was confident, certain... I was so fresh... 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. " Strausbaugh writes that the Silver Age "went out start whimper. " Comics college student 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 named "The Night Gwen Stacy Died", saying the era with "innocence" was ended by way of "the 'snap' heard round the comic book world a startling, sickening snap with bone that heralded a death of Gwen Stacy. "
Aftermath
The Silver Age with comic books was followed by the Bronze Age. The demarcation is not clearly defined, but there are a number of possibilities. Scott, of Comic Book Resources, lists several commonly cited touchstones, including changes in personnel and the publication of particular particular person issues. Among the other are Conan #1 (1970) along with Green Lantern/Green Arrow #76 (April 1970), "often cited as the first books of the Bronze Age. " Your dog also notes Jack Kirby's transfer from Marvel to DC within 1970, and Superman publisher Mort Weisinger's retirement of which same year. Another possible candidate is the return of horror comics, and the arrival of stories by using self-consciously promoted social relevance. Arnold T. Blumberg has argued that the shift was a constant process that lasted with the late 1960s until 1973, ending with the death of Gwen Stacyn "event that a great many name as the solitary most memorable moving moment in collective fan recall". He writes that there was a willingness by makers and publishers to tackle mature themes, even if they "were filtered through the somewhat simplistic lens on the superhero", thus bringing an end to "the light-hearted, carefree Silver Age".
Alan Moore, who began the "neo-silver movement" with a 1986 Superman story
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. In Sanderson's opinion, each comics generation rebels against the previous, and the movement was an answer to Crisis on Unlimited Earths, which itself was an attack on the Silver Age. Neo-silver comics creators designed comics that recognized and assimilated the more sophisticated aspects of a Silver Age.
Legacy
The Silver Age marked a decline in the prominence of comics in genres just like horror, romance, teen plus funny animal humor, or westerns, which were widely used than superhero adventures in the late 1940s through that mid-1950s, and fans of these genres see the Silver Age as a decline from that earlier era.
An important feature of your period was the evolution of the character makeup of superheroes. Young children and girls were targeted while in the Silver Age by particular publishers; in particular, Harvey Comics attracted this group with titles such as Little Dot. Adult oriented underground comics also began during the Silver Age. There are several suggested endpoints for the Silver Age, including changes in the Green Lantern series as well as death of Spider-Man's girlfriend in the Amazing Spider-Man #121 (June 1973).
Some critics and historians argue that one characteristic of the Silver precious metal Age was that scientific research fiction and aliens swapped magic and gods. Others argue that magic was an important element of both Great Age and Silver Years characters., and many Golden Get older writers and artists had been science-fiction fans or qualified science-fiction writers who incorporated SF elements in their comic-book stories. Science was a common explanation for the origin of heroes from the Golden Age.
The Silver Age coincided with the rise of pop craft, an artistic movement of which used popular cultural artifacts, such as advertising and packaging, as source material for excellent, or gallery-exhibited, art. Roy Lichtenstein, one of the best-known pop art painters, specifically chose individual systems from comic books plus repainted the images, modifying them to some extent in the process but including inside painting word and reckoned balloons and captions as well as enlarged-to-scale color dots imitating this coloring process then used in newsprint comic books. An exhibition of comic strip art was held at the Musee des Arts Decoratifs of the Palais de Louvre around 1967, and books were soon published that contained serious discussions of the art of comics as well as nature of the methods.
In January 1966, a live-action Batman television show debuted to high comparisons. Like pop art, the show took comic-book tropes and reenvisioned them in the context of a completely different medium. Voiceover narration in each episode articulated the words of comic-book captions while fight scenes had sound clips like "Biff", "Bam" and "Pow" appear as visual effects on the screen, spelled out around large cartoon letters. Circulation for comic books in general and Batman merchandise specially soared. Other masked or superpowered adventurers appeared on the television screen, so that "American TV while in the winter of 1967 appeared to consist of little altogether different but live-action and super-hero cartoon comic-book heroes, all in living colour. " Existing comic-book publishers begun creating superhero titles, as did new publishers. By the end of the sixties, however, the fad had faded; in 1969, the best-selling comic book in the united states was no superhero series, but the teen-humor ebook Archie.
Artists
Further information: List of Silver Time comics creators
Arlen Schumer, author of the Silver Age of Comedian Book Art, singles out Carmine Infantino's Flash as the embodiment of the design on the era: "as sleek and streamlined as the fins Detroit was having on all its versions. " Other notable artists of the era include Gene Colan, Steve Ditko, Gil Kane, Jack Kirby, Joe Kubert, and Curt Swan.
Two artists that evolved the comics industry dramatically in the late 1960s were Neal Adams, considered one of the country's greatest draftsmen, and Jim Steranko. Adams' breakthrough was based on layout and rendering. Best known for returning Batman to his somber roots following on from the campy success of the Batman tv program, his realistic depictions of anatomy, faces, and gestures changed comics' style in a way that Strausbaugh sees reflected around modern graphic novels.
The cover of Nick Fury: Agent of S. H. I. E. L. D. #7 (December 1968) by Jim Steranko. His art owes a large debt to Salvador Dal.
One of the few writer-artists at the time, Steranko made use of a cinematic style of storytelling. Strausbaugh credits him as one of Marvel's strongest creative forces while in the late 1960s, his art owing a large debt to Salvador Dal. Steranko started by inking and penciling the details of Kirby's artwork on Nick Fury, Agent with S. H. I. E. L. D. beginning in Strange Tales #151, but by Strange Myths #155 Stan Lee had put him in charge of both writing and painting Fury's adventures. He high the James Bond-style criminal stories, introducing the vortex beam (which lifts objects), the aphonic bomb (which explodes silently), a miniature electronic absorber (which protected Fury out of electricity), and the Q-ray unit (a molecular disintegrator)ll around his first 11-page narrative.
Top 20 comics
As of 2008, the collecting of Magic Age comics was on the rise. Possible reasons are that certain Golden Age comics come to be too expensive or that seniors fondly remember the comics from them youth. Amazing Fantasy #15, the first appearance of Spider-Man, is considered the "holy grail" of Silver Age comics. The Official Overstreet Comic Book Price Guide #38 (2008) lists the examples below 20 comics as by far the most sought-after by collectors:
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 great Four
Amazing Spider-Man
1
Marvel
Spider-Man gets his unique series
Hulk
1
Marvel
First appearance of 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 look and feel of Thor
Showcase
9
DC Comics
Lois Lane stars in her own adventure
The Flash
105
DC Comics
First Flash comic book considering Flash Comics was terminated with issue #104
Tales of Suspense
39
Marvel
First appearance of In terms of iron Man
Brave and this 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 Time Green Lantern
Fantastic Three
5
Marvel
First look and feel 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
See also
Golden Age of Comic Books
Bronze Age of Comic Books
Modern age of Comic Books
Footnotes
^聽Apocryphal legend has it that around 1961, Timely and Atlas author Martin Goodman was playing golf with either Jack Liebowitz or even Irwin Donenfeld of similar DC Comics (then named National Periodical Publications), who bragged about DC's success with the Justice League, which had debuted in the Brave and the Impressive #28 (February 1960) before going on to its own personal title.
Film producer and comics historian Michael Uslan eventually contradicted some specifics, while supporting the story's structure:
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 Thirdly Avenue and 75 Rockefeller Plaza clinic as Sol Harrison in addition to [production chief] Jack Adler were schmoozing with many of us... who worked for DC while in our college summers.... [T]he way I listened to the story from Sol ended up being that Goodman was playing with one of the heads of Independent Current information, not DC Comics (though DC owned and operated Independent News).... As the distributor of DC Comics, this man certainly knew all the sales figures and was at the best position to express to this tidbit to Goodman.... Of course, Goodman would want that they are playing golf with this fellow and turn into in his good graces.... Sol worked closely using Independent News' top management over the decades and would currently have gotten this story straight from the horse's mouth.
Notes
^ Reynolds, Richard. Super Heroes: A Modern Mythology (1994), University Touch of Mississippi p. 8-9. ISBN 0878056947
^ a b c Alter Vanity vol. 3, #54 (November 2005), p. 79
^ a h c d e Mooney, Joe (April 19, 1987). "It's No Joke: Comic Books May help Kids Learn to Read". Seattle Post-Intelligencer. http: //seattlepi. nwsource. com/archives/1987/8701100104. asp. Retrieved 2008-09-23. 聽
^ a b c d ourite f g h my spouse and i Strausbaugh, John (December 17, 2003). "ART; 60's Comics: Gloomy, Seedy, and Superior". The new York Times. http: //query. nytimes. com/gst/fullpage. html? res=9A0CEED81E3DF937A25751C1A9659C8B63. Retrieved 2008-06-28. 聽
^ Over street, Robert M. Official Overstreet Comic Ebook Price Guide 38th Edition New york: 2008 (Glossary Pages1026-1031) Website 1026
^ "In graphic terms... ". The San diego Union-Tribune. July 17, 2006. http: //www. signonsandiego. com/news/features/20060717-9999-mz1c17terms. html. Retrieved 2008-09-23. 聽
^ CBR News Team (July 2, 2007). "DC Flashback: The Flash". Comic Book Resources. http: //www. comicbookresources. com/? page=article&amp; id=10649. Retrieved 2008-06-27. 聽
^ Zicari, Anthony (August 3, 2007). "Breaking the Border - Rants in addition to Ramblings". Comics Bulletin. http: //www. silverbulletcomics. com/news/story. php? a=5706. Retrieved 2008-06-27. 聽
^ a b c d ourite f g h my spouse and i Jacobs, pp. 3-4Jacobs 1985
^ a b c Nash, Eric (February 12, 2004). "Julius Schwartz, 88, Editor Who Revived Superhero Type in Comic Books". New york Times. http: //query. nytimes. com/gst/fullpage. html? res=9E0DE2DC133AF931A25751C0A9629C8B63. Retrieved 2008-09-23. 聽
^ a b Pethokoukis, James (February twenty six, 2004). "Flash Facts". U. S. News and World Report. http: //www. usnews. com/usnews/tech/nextnews/archive/next040226. htm. Retrieved 2008-06-27. 聽
^ a b c Janulewicz, Tom (1 February 2000). "Gil Kane, Space-Age Comic Book Artist, Dies". Space. com. http: //www. space. com/sciencefiction/gil_kane_000201. html. Retrieved 2008-06-27. 聽
^ a b Singer, Matt (June twenty seven, 2006). "Superfan Returns". Village Voice. http: //www. villagevoice. com/2006-06-27/books/superfan-returns/. Retrieved 2008-09-23. 聽
^ Shaw, Scott (September 22, 2003). "Oddball Comics". Comic Book Resources. Archived from the original on 2003-10-20. http: //web. archive. org/web/20031020180208/http: //www. comicbookresources. com/columns/oddball/index. cgi? date=2003-09-22. Retrieved 2008-09-04. 聽
^ a b c d Shutt, Craig. Baby Boomer Comics: The Rough outdoors, Wacky, Wonderful Comic Books of the 1960s! (Krause Publications, Iola, Wisconsin, 2003), P. 21. ISBN 0-87349-688-X
^ Grant, Steven (February 18, 2004). "Permanent Damage". Comic Book Resources. http: //www. comicbookresources. com/? page=article&amp; id=14633. Retrieved 2009-02-20. 聽
^ St. Louis, Herv (October 9, 2005). "Is DC Comics Spearheading a new Age in Super Main character Comics? ". Comic E book Bin. http: //www. comicbookbin. com/comicbookrevival001. html. Retrieved 2008-07-15. 聽
^ Reif, Rita (October 27, 1991). "ANTIQUES; Collectors Read the Bottom Lines of Old-fashioned Comic Books". New York Times. http: //query. nytimes. com/gst/fullpage. html? res=9D0CEEDD1E3EF934A15753C1A967958260. Retrieved 2009-02-03. 聽
^ a b c Stan Lee, Origins of Marvel Comics (Simon in addition to Schuster/Fireside Books, 1974), p. 16
^ Mark, Norman. "The New Super-Hero Is a Pretty Kinky Guy". Eye Magazine, Hearst Corporation, vol. 2, #2 (February 1969). Reprinted in Alter Ego #74 (December 2007), pp. 16-25
^ a b O'Neil, Keith (September 27, 2007). "The history with comics". Keene Equinox. http: //media. www. keeneequinox. com/media/storage/paper537/news/2007/09/27/AE/The-History. Of. Comics-2993374. shtml. Retrieved 2009-01-29. 聽
^ a b c Sanderson, Peter (October 10, 2003). "Comics in Context #14: Continuity/Discontinuity". IGN. http: //comics. ign. com/articles/595/595576p1. html. Retrieved 2009-02-20. 聽
^ a b c O'Shea, Tim (February 2, 2004). "Fun with Mr. Silver Age: Craig Shutt". Comics Bulletin. http: //www. comicsbulletin. com/features/107577856868634. htm. Retrieved 2008-06-30. 聽
^ a b c d ourite Jackson, Kathy Merlock; Mark D. Arnold (2007). "Baby-Boom Children and Harvey Comics After the Code: A Neighborhood of Little girls and Boys". ImageText (University of Florida). http: //www. english. ufl. edu/imagetext/archives/v3_3/jackson/. 聽
^ a b c d Weiland, Jonah (July 15th, 2003). "'The Mighty Crusaders: Origin of a Super-Team' ships November". Comic Book Resources. https: //www. comicbookresources. com/? page=article&amp; id=2390. Retrieved 2009-02-02. 聽
^ For specific bibliographical information, see listings by title around Robert Overstreet, infra.
^ For specific bibliographical information about these publications, see sale listings by title in Robert Overstreet, infra.
^ Ault, Donald (2004). "Preludium: Crumb, Barks, and Noomin: Re-Considering the Good looks of Underground Comics". ImageText (University of Florida). http: //www. english. ufl. edu/imagetext/archives/v1_2/intro. shtml. 聽
^ a b Heer, Jeet (September 28, 2003). "Free Mickey! ". The Boston Globe. http: //www. boston. com/news/globe/ideas/articles/2003/09/28/free_mickey/. Retrieved 2009-02-02. 聽
^ Keys, Lisa (April 11, 2003). "Drawing Peace In the middle East". The Forward. http: //www. forward. com/articles/8598/. Retrieved 2008-12-22. 聽
^ Wood, Beth; Jerry McCormick (July 17, 2006). "In graphic stipulations... ". The San Diego Union-Tribune. http: //www. signonsandiego. com/news/features/20060717-9999-mz1c17terms. html. Retrieved 2008-12-22. 聽
^ Radfored, Bill (April 26, 2000). "May to see return to Silver Get older of comics". The Gazette. http: //www. accessmylibrary. com/coms2/summary_0286-7282623_ITM. Retrieved 2008-06-27. 聽
^ Jacobs, p. 154Jacobs 1985
^ a b c Blumberg, Arnold T. (Fall 2003). ""'The Night Gwen Stacy Died: ' The end of Innocence and the Birth of the Bronze Age"". Reconstruction: Studies in Contemporary Culture. ISSN 1547-4348. http: //reconstruction. eserver. org/034/blumberg. htm. Retrieved 2009-02-20. 聽
^ a b c d Scott (September 06, 2008). "Scott's Classic Comics Area: A New End to your Silver Age Pt. 1". Comic Book Resources. http: //goodcomics. comicbookresources. com/2008/09/16/scotts-classic-comics-corner-a-new-end-to-the-silver-age-pt-1/. Retrieved 2008-09-23. 聽
^ Scott (September 18, 2008). "Scott Classic Comics Area: A New End to your Silver Age Pt. 3". Comic Book Resources. http: //goodcomics. comicbookresources. com/2008/09/18/scotts-classic-comics-corner-a-new-end-to-the-silver-age-pt-3/. Retrieved 2008-09-23. 聽
^ a b c Sanderson, Peter (2004). "Comics in Circumstance #33: A Boatload of Monsters and Miracles". IGN. http: //comics. ign. com/articles/595/595589p6. html. Retrieved 2008-07-15. 聽
^ See, e. g. Robbins, Trina. From Girls to Grrrlz, Chronicle Books, San Francisco, 1999, pp. 45, 52-54, 67, 69-70, 76-7 and throughout
^ Callahan, Timothy (2008-08-06). "In Defense of Superhero Comics". Comic Book Resources. http: //www. comicbookresources. com/? page=article&amp; id=17623. Retrieved 2008-09-05. 聽
^ Dick O'Donnell, "It's Magic", The Comic-Book Book, Arlington House, 1973, revised edition Krause Publications, 1998
^ On Jerry Siegel, Joe Shuster and Jack Kirby seeing that science-fiction fans, see Benton, Mike, Masters of Imagination, Taylor Publishing, 1994, pp. 17-18, 28; on Otto Binder when SF fan and blogger, see Steranko, Jim, The Steranko History of Comics 3, Supergraphics, 1972.
^ Jules Feiffer, The great Comic Book Heroes, Dial Press, 1965, pp. 22-23
^ Pierre Couperie, Maurice Horn et al. A History of your Comic Strip, translated from the French by Eileen Hennessy (Crown Publishing聽: New york, 1968), and George Perry plus Alan Aldridge, ' A Penguin Book of Comics, Penguin Books (1967). See especially the forward, introduction, and chapters 10-12 with Couperie et al, and chapter 6 of Perry in addition to Aldridge.
^ Ronin Ro, Tales To Astonish (Bloomsbury Building, 2004) pp. 110-111.
^ Perry and Aldridge, above, p. 224
^ Robbins, above, p. 69.
^ "Superb record of the superheroes' silver age". Canberra Times. January 17, 2004. http: //www. accessmylibrary. com/coms2/summary_0286-20016738_ITM. Retrieved 2008-06-28. 聽
^ a b Baker, R. C. (November 18, 2003). "America Gods". Village Voice. http: //www. villagevoice. com/news/0347, baker, 48773, 1. html. Retrieved 2008-06-28. 聽
^ a b Grant, Steven (April 5, 2000). "Master of the Obvious 4-5-2000". Comic E book Resources. http: //www. comicbookresources. com/? page=article&amp; id=13276. Retrieved 2008-09-23. 聽
^ a b Jacobs, p. 144Jacobs 1985
^ "Silver Age Drives Weekly Heritage Auction". DiamondGalleries. com. August 20, 2008. http: //scoop. diamondgalleries. com/public/default. asp? t=1&amp; m=1&amp; c=34&amp; s=262&amp; ai=73554&amp; arch=y&amp; ssd=8/20/2008 12: 01: 00 PM. Retrieved 2009-03-14. 聽
^ "Amazing Fantasy #15 CGC 8. 5 in ComicLink February/March Featured Auction". DiamondGalleries. com. January 22, 2009. http: //scoop. diamondgalleries. com/public/default. asp? t=1&amp; m=1&amp; c=34&amp; s=262&amp; ai=79136&amp; arch=y&amp; ssd=1/22/2009 12: 01: 00 PM. Retrieved 2009-03-14. 聽
^ Overstreet, Robert (2008). The official Overstreet Comic Book Selling price Guide #38. New York: Random House. pp. 聽154. ISBN 0375722394. 聽
^ Sinclair, Tom (June 20, 2003). "Still a Marvel! ". Entertainment Regular. http: //www. ew. com/ew/article/0,, 458355_2, 00. html. Retrieved 2009-02-01. 聽
^ Michael Uslan letter published with Alter Ego #43 (December 2004), pp. 43-44
References
^聽, Jacobs, Will; Gerard Jones (1985). The Comic Book Heroes: From the Silver Age to the present. New York, New York: Crown Publishing Group. ISBN 0517554402. 聽
External links
Silver Age - Television Tropes &amp; Idioms
The Comic Page
Sullivan, Missy. "Adviser Soapbox: Comic Book Superheroes Hit 6-8 Figures", Forbes. com, April 22, 2005
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