Astral Codex Ten

Batman

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Batman

Article

Batman is a recurring concept in the Astral Codex Ten archive, appearing 3 times across 3 issues between September 19, 2023 and August 16, 2024. The archive places it in contexts such as “and Batman comics”; “Batman is invented anew every few years. Really Batman is less of a specific book or movie and more of a genre”; “pre-modern versions of Batman: Stories about them are a genre”. It most often appears alongside Hercules, Alexander the Great, Bible.

Metadata

  • Category: Concepts
  • Mention count: 3
  • Issue count: 3
  • First seen: September 19, 2023
  • Last seen: August 16, 2024

Appears In

Source Context

Recovered passages from the original issue text. When the raw archive preserved outbound links inside the source passage, they are listed directly under the quote.

Book Review: The Alexander Romance
September 19, 2023 · Original source
We divide “high culture” from “mass culture”. High culture, those books that plumb the depths of the human spirit, go from the Iliad through the great Greek tragedies through Dante and Shakespeare and so on to Tolstoy, Proust, and Knausgaard. Mass culture - those books that the average person finds entertaining - might also start with the Iliad, but ends up at Dan Brown, J.K. Rowling, and Batman comics.
Mass culture follows somewhat different rules than its more prestigious relative: War And Peace sits perfect and untouchable in the temple of genius, but Batman is invented anew every few years. Really Batman is less of a specific book or movie and more of a genre. The genre has some conventions: the protagonist must be a man named Bruce Wayne with a secret identity as a bat-themed superhero; he should be accompanied by a butler named Alfred and a sidekick named Robin; he should live in a city called Gotham. And it has some suggestions: if you need a villain, how about the Joker? If you need a style, how about dark and gritty? Beyond that, anything goes. You can write a story of his origin only tangentially related to anyone else’s, you can add in new adventures, you can shift the tone from gritty to campy and back.
Almost everything that happens to Alexander the Great in The Alexander Romance has also happened to Batman. Alexander invented a submersible to explore the ocean depths; Batman has done the same. Alexander discovered the Fountain of Youth, and so did Batman. Alexander sealed evil nations behind a magic door, and so did Batman. Alexander fought dinosaurs; Batman did too.
Inline links: Batman has done the same, and so did Batman, and so did Batman, Batman did too
Your Book Review: Real Raw News
July 26, 2024 · Original source
But I don’t just need to guess based on comments and donation messages. In this realm, I can appeal to personal experience. I work in the broader world of American right-of-center politics, and we encounter Real Raw News believers constantly. We get emails from people who confidently insist the public-facing news of the day is fake, and the truth about the events at Gitmo will soon be revealed. At public Q&A events, we’ve fielded questions from genuinely nervous and worried people, who complain about their friends losing hope and being blackpilled by the news, and want to know why there hasn’t been more effort to share what’s “really” going on. A friend of mine who served in the Trump administration has described attending parties where, when he mentioned looking for a post-admin job, he received knowing looks and wink-wink-nudge-nudge remarks from people signaling they knew what was “really” going on. Somehow and someway, a lot of people believe or half-believe or badly want to believe this stuff. And where a lot of people do anything, there are takeaways to be found! In my three-plus years of reading all news that is both real and raw, here is what I’ve found. Conspiracies Evolve Like Comic Book Lore In his review of the Alexander Romance, Scott remarked that figures like Alexander the Great or Hercules were, essentially, the pre-modern versions of Batman: Stories about them are a genre, with countless different variations and stylistic choices that evolve over time, with just a few set principles guiding all of them. The Real Raw Newsiverse, and other modern conspiracy theories, also function like comic book lore. Just like Batman, and just like Hercules, “Donald Trump” has become a genre. Fake news stories about him and his Deep State enemies have a few core premises (adrenochrome, pedophile cabals, there is a Plan and we should Trust It) but endless room for variation past that point. Fans of comic books, soap operas, or The Simpsons might be familiar with something TVTropes calls “comic book time.” Certain facets of a fictional reality are locked in place, and with the passage of time everything else is gradually retconned to maintain the status quo. In season 2 of the Simpsons, Homer and Marge started dating in 1974, in Season 3 Marge becomes pregnant with Bart in 1980 (after a date watching The Empire Strikes Back), and in season 4 it’s revealed that Homer missed the Moon Landing to listen to “Yummy, Yummy, Yummy.” Tragically, though, The Simpsons kept going past season 10, and if Homer was 18 in 1974 that would make him eligible for a full Social Security benefit today. So in 2008, the continuity changed so that Homer was in a Nineties grunge band just before marrying Marge8. The Simpsons writers have avoided rejiggering the canon since, but if they do, they’ll have to confront the fact that 30-something Homer and Marge are now millennials, and in a decade they’ll be members of Gen Z. You may live to see a Simpsons flashback episode about Homer and Marge living as hipsters in Brooklyn during the 2010s (truly, we live in cursed times.) But the same phenomenon exists in the world of conspiracies. Instead of a consistent, elaborate canon, what we have is a few story beats with a lot of customization and the occasional retcon. When Baxter first began posting his stories, a core part of the narrative was that Donald Trump still secretly had all the powers of the presidency and was still in command of the entire U.S. military command. Early articles promised that Trump’s apparent loss of office was only a temporary ruse, necessary to expose the worst elements of the Deep State, but that Trump’s triumphal return to power would take place by July 4, 2021. The national media might have put on a song and dance suggesting otherwise, but behind the scenes, loyal military forces were the real ones in control. This control even extended to the military helpfully house-sitting the White House and not letting Biden use it. Despite his illegitimate victory, Biden met an unwelcome surprise when he arrived at the White House on January 20. Instead of getting a ceremonial greeting, he and Kamala Harris were stopped by National Guard and U.S. Marines at the barbwire fence encircling the White House. The Marines informed them that the military had assumed control of the Executive Branch and instructed them to vacate the area. When Harris belligerently said, “Move aside, we’re president now,” the Marines locked the gate. […] To avoid shame and maintain an illusion of power, Biden’s people concocted a ruse, supported by his media allies, to deceive the American public into believing he had won a fair election and had moved into the White House on schedule. Inside Actor/Producer Tyler Perry’s 300-acre Atlanta estate sits a three-story stucco replica of the commander-in-chief’s residence, which he originally built as a set piece for a television show. […] Although the replicant White House is built to 80% scale, on television and in images it’s indistinguishable from 1600 Pennsylvania Avenue. Biden and Harris have been using the facsimile to feign leadership and impose despotic rule on the nation. Of course, July 4 came and went, with Trump’s return nowhere to be seen, so the canon simply updated: In the new narrative, the military had been conducting a year-long election fraud audit on Trump’s behalf, the results were nearly ready for public release, and Trump’s return would simply be “swift.” But no swift return has transpired, and so as the 2024 election has approached, the lore has evolved in the direction of Trump authentically running in this election and simply reclaiming power by winning it. As time has passed, more subtle changes have had to pile up. Early on, RRN reported that Joe Biden was a brain dead semi-corpse being held at Walter Reed, and any public appearances by “Biden” were one of several actors. But after four years of Let’s Go Brandon, Biden himself has become a more popular villain, and so quietly references to his brain-dead status have disappeared. In the early days of RRN, the military was firmly behind Trump and any implication that Biden held the powers of commander-in-chief was a media-fueled sham. But as time has passed, Trump being the “real” commander-in-chief over a loyal military has evolved into a reality where there are two American militaries, a “White Hat” faction loyal to Trump and “Black Hats” loyal to Biden. Early stories implied the White Hats were more numerous, but recent stories have implied the opposite, with the White Hats an elite force that often wins battles decisively while badly outnumbered. A secret purge has gradually become a secret civil war, specifically one with frequent war crimes: White Hat forces in Maui have eradicated or repelled all but a handful of the felonious FEMA agents who began terrorizing the tropical paradise in the aftermath of the inexplicable blaze that razed Lahaina and surrounding towns in early August, a source in General Eric M. Smith’s office told Real Raw News. Since mid-August, United States Marines have fought with FEMA patrols in Lahaina, Kaanapali, Wailuku, Maalaea, and Pukalani, and the skirmishes resulted in the deaths of approximately 475 federal goons and, alas, 34 valiant Marines. The Marines died upholding the Constitution of the United States; the feds died trying to defend the criminal Biden regime. […] “The Marines died valorously,” our source said. “We ain’t taking FEMA prisoners from the rank and file, only the key players. General Smith made it clear it’s weapons-free. Those bastards know damn well they’re following unlawful orders, and they’ll pay the price.” I think the ever-evolving nature of conspiracies is actually pretty important to psychologically grasping their appeal. I have a friend who is a big believer in 9/11 Trutherism. He once compelled me to watch the documentary “The New Pearl Harbor,” an exhausting 5-hour film promoting 9/11 conspiracies. If one actually watches, one quickly discovers that a lot of 9/11 conspiracy theories are mutually exclusive, or at least don’t mesh well together: One conspiracy argues that fighter jets were intentionally diverted the wrong direction to keep them from shooting down the hijacked jets approaching New York, while another conspiracy suggests that United 93 was shot down, and it was all covered up. In some versions, the planes didn’t hit the Twin Towers at all. Sometimes Bush did it, and sometimes Israel did it, and so on. Similarly, in my career I’ve worked adjacent to people who, like RRN, were very hostile to Covid-19 shots. That hostility made them sequentially endorse wildly different assertions about how the vaccines worked. Sometimes, the vaccines contain heavy metals. Sometimes, they contain hydra DNA to turn recipients into partially non-human chimeras. Sometimes, the vaccines are a depopulation agent. Sometimes, they’re a mind-control agent, or a killswitch that can be activated by self-assembling nanomachinery. One viral documentary in 2022 claimed that Covid was caused by snake venom in the water supply, and that Covid vaccines were an additional dose of snake venom to keep people sick (all this, of course, because the snake is Satan’s animal). What stands out isn’t the silliness of these particular theories, but that I saw them sequentially endorsed by the same people. Some of these people are smart enough to notice inconsistencies, at least when they’re pointed out, so why don’t they bother them? To some extent, I think it’s for the same reason people don’t care that every Batman story doesn’t perfectly line up. Consistency isn’t the point! What actually matters is enjoying individual stories and the wider genre they fit into. Covid vaccine haters don’t think too hard about any specific story. Instead, they’re driven by a core impulse of “distrust the new vaccine that people I distrust are promoting,” and every conceivably story or tale that feeds that genre of thought is, for them, worthwhile. Similarly, Real Raw News fans don’t think too hard about any specific story. Instead, I think their core impulse is, ironically, profound disappointment in how the Trump administration failed to deliver. Trump shook up the American political landscape more than anyone in living memory, and promised sweeping changes to every level of American government, yet his actual administration proved rather disorderly, changed far less than was promised, and then lost power after one term. For many, this simply prompted a revision in how they saw Trump. But for others, the preferred response is to embrace a fantasy reality where Trump is a superhero. I actually think the reverse side of this explains things like the durability of Russiagate: If you’re a normal American liberal, everything Trump says is offensive and piggish, but to justify their level of disdain for them, many needed to elevate his evil to the level of treason, even if that never really made any sense. It can't just be that Trump is an egotistical jerk or a narcissist or whatever. He's got to be a traitor who's going to end American democracy. People Crave Extreme, Over-the-Top, and Underhanded Solutions. At the height of the French Revolution’s Reign of Terror, the Committee of Public Safety pushed through the Law of 22 Prairial. The law simplified the procedures of the country’s Revolutionary Tribunal by: Defining a whole heap of activities as criminal treason, including “creating scarcity,” disparaging the National Convention, “inspiring discouragement,” and spreading fake news.
Inline links: review, “comic book time.”, in 1974, listen to “Yummy, Yummy, Yummy.”, in a Nineties grunge band, 8, take place by July 4, 2021, house-sitting the White House, “swift.”, civil war, snake venom in the water supply, Law of 22 Prairial
Your Book Review: Silver Age Marvel Comics
August 16, 2024 · Original source
Given Marvel Comics, why Silver Age (1961-1965)? I.a. Why Superhero Comic Books? The winner of last year’s Astral Codex Ten book review contest was Brandon Hendrickson. Brandon wrote about Kieran Egan’s The Educated Mind. One of the foundations of Egan’s educational philosophy is that people learn through stories. He believes early education should focus on teaching lessons through myths and legends. This matches my experience. My kids’ favorite podcast is Greeking Out – a very well produced, very entertaining, National Geographic podcast about Greek Legends. Aside #1: When my oldest daughter was three years old she would ask everyone she met “Do you know any myths? Can you tell me a myth?” She especially liked asking people from different places to get myths from their local cultures. Once, she asked the question to a friend of mine who grew up in South Africa, “Can you tell me any South African myths?” He struggled for a minute and then said, “Okay! I have one! Bread never falls butter side down!”. That was not the type of myth she was looking for; nor the type of myth we will be discussing in this review. Every culture has foundational myths. These stories are entertaining and engaging, but they also teach valuable lessons about both what is important in that culture, and how people in that culture are expected to behave (or at least the Platonic Ideal of how they should behave). In the modern, Western world, we have assimilated many of these foundational stories, particularly the Greek myths. My kids definitely know the Greek myths, but they also know elements of Norse mythology, Egyptian myths, stories about Anasi from West Africa and more. More fundamentally my wife and I, while not religious ourselves, have made a point of exposing the kids to the stories from the Bible. It is not politically correct to call Biblical stories “myths”, but they serve the same purpose – shared cultural understanding of the way the world works. My wife grew up without any religion, and when she was in high school, she struggled with the metaphors and religious allegories that were omnipresent in most of the Western canon. In our culture, familiarity with the Bible is important for an educated person – whether they are religious or not – because it is the foundation of so much of the rest of our culture. I believe the other set of mythological stories that are foundational to our culture are – and by this point I am sure you see where I am going here – comic book superheroes. If true, then having more than a surface-level understanding of the most important superhero stories is important in a similar way to that knowing the Bible stories is important. “Do unto others as you would have them do unto you” is an important idea to understand. So is, “With great power comes great responsibility”. I.b. Why Marvel? While there are many independent superheroes that are not owned by major conglomerates, the superheroes who have built our modern foundational myths are currently owned by two corporations. Warner Bros. Discover owns the DC library of superheroes including Superman, Batman and Wonder Woman. In 2009 Disney purchased Marvel Comics and took ownership of their characters, including Spiderman, X-men and the Avengers. Aside #2: Marvel has sold temporary film rights to many of their characters over the years. The most relevant sales started in 1994 when Marvel sold the film rights of X-men and mutants to 20th century Fox, then in 1996, when Marvel went bankrupt, Fox picked up the rights to the Fantastic Four (and New Line picked up Blade). In 1999 Marvel sold the film rights (and live action TV, and animated TV longer than 44 minutes) of Spider-man and related characters to Columbia Pictures (part of Sony) for $7MM. Marvel actually attempted to sell ALL of their remaining Marvel IP film rights to Sony for $25MM, but the top management at Sony was not interested. Sony’s management allegedly told their chief negotiator “Nobody gives a shi*t about any of the other Marvel characters. Go back and do a deal for only Spider-Man). Disney acquired Marvel in 2009, and then Fox in 2019, bringing the two separated packages of characters all back together under one roof (Blade reverted back to Marvel in 2012). Sony still owns the rights to Spider-man but has made a deal with Disney to include some of his films within the Marvel-Disney universe. Marvel sold the film rights of The Hulk to Universal in 1990 and the current status of that agreement is complicated (the consensus is that Marvel now controls the film rights to the character, but Universal owns distribution rights to any stand-alone Hulk film, which could be why Disney let's Hulk co-star in Thor movies, but not vice versa). In the early aughts Marvel wanted to build their own film franchise, but were limited to only using their remaining “B-list” characters – Spider-man, X-men, and the Fantastic Four were all off limits. Fortunately, Kevin Feige, president of production for Marvel at the time, saw a way forward. He convinced Ike Perlmutter, Marvel CEO, to allow for the production of a series of films with the remaining characters begining with Iron Man (2008). Jon Favreau directed and cast Robert Downey Jr as Tony Stark. The film blew away expectations. Kevin’s plan of a series of movies where the characters would interconnect was suddenly feasible. Iron Man was followed by The Incredible Hulk, Thor, and Captain America: The First Avenger. None managed the box office magic of Iron Man, but all were successful enough that the plan stayed on track. In 2012 the characters were all brought together in the first Avengers film, which opened to over $200MM domestically and went on to gross more than $1.5B (which made it the 3rd highest grossing film of all time). Marvel became the first studio to take the interconnected world of their comic books and make the model work on the big screen (for a much larger audience). Once the model was proven to work, other studios tried to duplicate it. Aside #3: Warner Bros’ stumbles with the DC shared universe of Batman, Superman and the Justice League are well known, but that was actually their SECOND attempt at a shared universe. Their first attempt tried to copy the Marvel method more closely. They chose their own B-list hero and set up his first film to allow for a wider mythology. Alas Green Lantern (2011) failed at the box office and we never got stand-alone films about Sinestro (Yellow Lantern), Carol Ferris (Star Sapphire, the Violet Lantern), John Stewart (African American Green Lantern), Kyle Rayner (1990s Green Lantern), Alan Scott (original Green Lantern), or the Blue, Red, and Orange Lantern Corps. At least so far, no studio has successfully created anything with close to the traction obtained by the Marvel Cinematic Universe (MCU). Warner’s DC Extended universe (DCEU) had trifling success, but is being shelved and rebooted for a fresh attempt next year. Universal’s attempt at a “Dark Universe” kicked off with Tom Cruise in The Mummy (2017), but was dead on arrival. Paramount’s attempt to link the Transformers Universe to GI Joe at the end of Transformers: Rise of the Beasts has been appropriately mocked. Sony’s Spider-man films linked to the MCU have been very successful, but their attempt at a stand-alone non-MCU Spider-man universe using Spider-man’s villains as anti-heroes has floundered (mostly succeeding only as a source of memes). Next Mattel will be attempting to build a universe off the success of last year’s Barbie and may include Polly Pocket, American Girl, Hot Wheels, and He-Man and the Masters of the Universe (no word yet on Thomas the Tank Engine, View Master and the Magic-8 Ball, but all are apparently in development). To date, only Marvel has successfully built a “Cinematic Universe”. One potential reason for the MCU’s success is that Kevin Feige built his cinematic universe on the back of the existing interconnected universe of the comics. But those comics were not the first interconnected universe of stories. For that we would need to go back to our foundational myths. The Bible stories mostly interconnect. Adam and Eve flows into Cain and Abel. David and Goliath leads to the Wisdom of Solomon. Greek Myths DEFINITELY interconnect. Supporting characters in one Greek myth have starring roles in their own stories. The Greek pantheon of tales even have their own version of the Avengers. In the Quest for the Golden Fleece, Jason brings together the Argonauts, who included in their number Theseus (who defeated the Minotaur), Orpheus (who braved the underworld) and Hercules himself – all A-list stars in their own “franchises”. Stand alone stories that exist within an interconnected universe are rare in modern media but were common in the ancient myths that have stood the test of time. Only Marvel has successfully created a shared universe that follows the pattern of ancient myths. Only Marvel films have stand-alone stories and protagonists who exist together in an interconnected world. Something about that method of storytelling is deeply pleasing for humans across many cultures. Marvel films are the first and most successful modern version of the mythological universe, and that it is worth spending more time exploring Marvel’s underlying mythology and where it came from. I.c. Why 1961? The origins of Christianity and Judaism (and Buddhism and Hinduism) are very murky. Even Islam is far enough in the past that we only have a very rough understanding of how it came to exist. When scholars want to understand in detail how a new religion is born they are far better to look at Mormonism or, if you accept it as a religion, Dianetics. Similarly, we have versions of Greek myths that have been passed down to us, but we can never know how those myths changed from their first telling to their “final” versions. Were the stories once unrelated, and only later became crafted into a single “universe”? Or were the stories built off each other one by one (“Dad that Golden Fleece story was amazing! Do you know any other stories about the Hercules guy?”)? Or was it something in between? Perhaps the stories all existed independently, but were later crafted together (“Remember that 12-labors story I told you? Actually that was the same guy who was on the Argo!”) Unlike Greek legends, we can know the origin of the Marvel Universe. We can see how it was constructed step-by-step. The people who did it (most importantly Stan Lee, Jack Kirby, and Steve Ditko) are dead now, but they have not been dead for long. We can read the original work, see how it changed over the last 60 years, and we can ask the creators “what were you thinking at the time” (or at least read their answers from old interviews). We can’t always trust what Stan Lee says, but at least we can hear his point of view. No one has a transcript of an interview with Homer, or knows exactly what he was thinking when he called it the “wine-dark sea”. Tl;dr: Why read about Marvel Comic superheroes 1961-1965? Because interconnected mythological stories are very important to cultures, Marvel is the leading contender of the most recent modern mythology, and it originated in the first half-decade of the 1960s. II. How did Marvel Superhero Comics happen? Timely Comics published their first comic book in 1939 and called it “Marvel Comics”. Their most popular World War II comics included Captain America, the Human Torch (an android unrelated to the modern Human Torch except in powers, appearance and name), and Namor, the Submariner. In the early 1950s superheroes became less popular, so Timely changed its name to Atlas Comics and focused on humor, western, horror, war and science fiction stories. But in 1956 DC Comics began re-introducing their Golden Age superheroes and, in the second half of the 1950s, the genre took off again – particularly Superman, whose title, Action Comics, became the number one selling comic in America. Stan Lee, editor and chief at Atlas at the time, wanted to get in on the superhero action. Unfortunately in 1957 Atlas lost its distributor and the company had to rely on “Independent News” to get its comics on newsstands. The complication was that Independent News was owned by “National Periodical Publications”, who also owned DC-comics and did not want Atlas to introduce superheroes to compete with Superman, Green Lantern and the Flash. Independent News agreed to distribute Atlas comics but limited the publisher to eight titles per month, and only in non-super hero genres (like horror, romance and science fiction). Blocked from creating and launching new superhero titles, Stan Lee got creative, and in August 1961 Atlas Comics published Fantastic Four #1. Aside #4: Fantastic Four #1 was on newsstands in August 8th, 1961, but the date on the cover was November 1961. The convention at the time was that the cover date was not the “publication date” but rather the “pull date”. The pull date was the time when the retailer could send back unsold copies back to the publisher for a refund. In fact the retailer did not need to send the entire issue back, just the cover, as it was assumed that comic books could not be sold without the cover, and it saved on postage. This was only relevant because it was great for my dad who was a child at the time. My dad was friends with the kid whose father owed the local pharmacy which meant he had access to every comic book published in the late 1950s as long as he was willing to wait a few months and read it without a cover. Going forward in this essay I will always use the pull dates rather than the publication dates for individual comic book issues as they are far easier to source. If you want to convert pull dates back into publication dates you can subtract roughly two months, but it is inconsistent and sometimes longer, as was the case with Fantastic Four #1. Check out the cover of Fantastic Four #1: To the modern eye this certainly looks like a superhero comic. Four heroes with super powers fighting a giant monster. But in the eyes of publishers in 1961 this looked more like a science fiction adventure comic than something that would go head to head with Superman. Here are the covers of Action Comics (the best selling superhero comic at the time) from the three months leading up to Fantastic Four #1: Notice what they have in common? “Super Rivals”, “Super revenge”, “Super Substitutes”. And all include Superman in his blue and red tights. Fantastic Four’s cover featured super powers, but never used the word “super” and no one was wearing superhero costumes. Fantastic Four, as a superhero story, slipped under the radar because it wasn’t really a superhero story at all. It was a story about four close friends who attempted to fly into space, but then something goes wrong and they crash back to Earth. The experience changes them and they decide they now need to use their new abilities to help the rest of humanity – specifically against monsters who are invading from under the Earth. It is a fantastical science fiction story – not a superhero story. Later in his career Jack Kirby, the illustrator of the issue and co-creator of the Fantastic Four, was asked about his inspiration for the Fantastic Four heroes. He did NOT say Superman – or any superhero. He said Challengers of the Unknown. Challengers of the Unknown was an adventure story co-created by Kirby in Showcase #6 in February 1957. Here is how Wikipedia describes the Challengers origin: When acquaintances miraculously survive a plane crash unscathed, they conclude that since they are "living on borrowed time" they should band together for hazardous adventures. The four—pilot Kyle "Ace" Morgan, daredevil Matthew "Red" Ryan, strong and slow-witted Leslie "Rocky" Davis, and scientist Walter Mark "Prof" Haley—became the Challengers of the Unknown. Showcase #6, and the first appearance of the Challengers of the Unknown, by Jack Kirby Visually the Challengers and the Fantastic Four were similar. Both wore skin tight uniforms with belts and minimal decoration. The Fantastic Four’s relatively simple characterizations were practically pulled from Challengers. Reed takes on the traits of both Kyle, the leader, and Walter, the scientist. Johnny, the Human Torch is the daredevil. The Thing is “strong and slow-witted”. Sue, the only woman on the team, seems like a new addition, but is likely based on June Robbins who joined the Challengers team in Showcase #7, as an “honorary” or “girl-Challenger”. After surviving their respective “miraculous” crashes, both the Challengers and the Fantastic Four band together to help the world. They both travel through space and other dimensions, fighting mad scientists and monsters. The Fantastic Four’s early antagonists were not traditional super villains. In the first few issues they fight monsters from under the Earth (Issue #1), shape changing aliens (#2), and a charlatan who uses hypnotism to steal from his audience (#3). In issue #4 Kirby and Lee re-introduce Namor, the Submariner, one of Marvel’s top IP from the 1940s, and have him kidnap Sue. Only in Issue #5 and #6 (June and August 1962) and do we get a more standard-supervillain when Dr Doom attempts to steal the Fantastic Four headquarters and throw it into space. The next superhero Lee created was even less heroic than the Fantastic Four. In April 1962 (pull date), Marvel published The Incredible Hulk. If it was even a superhero story in disguise it was a very good disguise. The story was a scientific-filtered version of Dr Jekyl and Mr Hyde. It was a pure monster-story with nothing very super about it. Nothing on the cover suggests this has anything to do with superheroes: It is not clear if even Lee at the time thought the Hulk would be a superhero. In Fantastic Four #5 Johnny is reading a “great new comic mag” and mocks the Thing by comparing him to the Hulk. It seems pretty clear at this point that in the Fantastic Four’s world, the Hulk is just a fictional comic book, like in ours (more on that later): The other two superheroes the Marvel introduces in this period have even more subtle introductions. At the time Marvel had a number of generic-sounding titles and told science fiction and fantasy stand-alone stories: Tales to Astonish
Inline links: The Educated Mind, Greeking Out, Nobody gives a shi*t about any of the other Marvel characters. Go back and do a deal for only Spider-Man, Dark Universe, appropriately mocked, memes, attempting to build a universe, https://substackcdn.com/image/fetch/$s_!MbHP!,f_auto,q_auto:good,fl_progressive:steep/https%3A%2F%2Fsubstack-post-media.s3.amazonaws.com%2Fpublic%2Fimages%2F63b4711e-2248-4120-897e-bba8a595a28b_405x616.png, https://substackcdn.com/image/fetch/$s_!OCj5!,f_auto,q_auto:good,fl_progressive:steep/https%3A%2F%2Fsubstack-post-media.s3.amazonaws.com%2Fpublic%2Fimages%2F9afeb585-b58b-4932-8702-153b4fdf135d_619x305.png, Wikipedia, https://substackcdn.com/image/fetch/$s_!OzTl!,f_auto,q_auto:good,fl_progressive:steep/https%3A%2F%2Fsubstack-post-media.s3.amazonaws.com%2Fpublic%2Fimages%2F49fd3582-b5bd-4567-b5e9-cca46c1f1c49_425x615.png, https://substackcdn.com/image/fetch/$s_!lfiM!,f_auto,q_auto:good,fl_progressive:steep/https%3A%2F%2Fsubstack-post-media.s3.amazonaws.com%2Fpublic%2Fimages%2Fc23c3ad1-5fed-4063-8ac2-d9d89e69bee6_252x398.png, https://substackcdn.com/image/fetch/$s_!oV4t!,f_auto,q_auto:good,fl_progressive:steep/https%3A%2F%2Fsubstack-post-media.s3.amazonaws.com%2Fpublic%2Fimages%2F346f85d9-580b-4eb2-b91c-3422003613d5_591x572.png
By early 1963 it was established that the Fantastic Four, the Hulk and Spider-man all existed together within the same shared universe. But what about Ant Man,Thor and Iron Man? Aside #5: The Hulk comic in Fantastic Four #5 pretty clearly establishes that the Hulk was a fictional character in the Fantastic Four world, but there are other clues that Lee was not thinking about his characters as existing and crossing over in the early days. Both Bruce Banner (the Hulk) and Mr Fantastic fight off global alien invasions in their early issues. In both cases the stories make clear that only Bruce/Reed is smart enough to save the world. No mention is made of the OTHER scientist who saved the world from the alien invasion a few months earlier. Bringing different superheroes from their own titles together was not an idea created by Atlas/Marvel and Lee. That was likely All Star Comics #3 (December 1940) when writer Gardner Fox brought together all the major DC heroes who were not staring in their own independent titles, including Green Lantern, the Flash and Doctor Fate, to create the Justice Society of America (JSA). Batman and Superman cameoed in All Star Comics #7, but generally they were considered too popular to dilute their appearances in ensemble titles. That changed in March 1960 when DC re-launched the idea of a superteam with the Justice League of America and included all of their most popular heroes as the leads – Superman, Batman and Wonder Woman. It was immediately a top seller. The launch of JLA is likely what caused the owner of Atlas to ask Lee to create a ”superhero team comic”. Lee did not have a stable of heroes to bring together, so he had to create something entirely new – The Fantastic Four. But now that Lee DID have a collection of his own heroes AND he had the greenlight to create straightforward superhero comics, he decided to build himself his own JLA. In September 1963 Atlas published two new titles: The Avengers and the X-men. The X-men were a brand new team of all new heroes, but the Avengers were a close parallel to the Justice League. Lee took his existing collection of heroes (except the Fantastic Four and Spider-man) and created an excuse for a team-up. In the issue they individually battle Thor’s brother Loki before coming together to defeat him as a team. They decide that given they all have different powers, they should work together to be unstoppable. The entire formation of the team takes only four panels and is a little corny, but it does its job: While the Avengers were a clear copy of the Justice League, Stan Lee put his own spin on it. While the JLA superheroes all had roughly the same personality and no real inter-team conflict, Lee made his heroes very distinct – almost caricatures – and there was PLENTY of inter-team conflict. The Hulk in particular abandoned the team in the second issue and was the primary antagonist by Avengers #3. Avengers #3 (January 1964) is itself the final step in connecting all of the Marvel heroes together. The Hulk has gone missing and the rest of the team wants to find him. Iron Man uses an “Image Projector” to ask other superheroes around the world if they had seen the Hulk. He visits the Fantastic Four, Spider-man and the X-men. In that same month in Tales of Suspense, Iron Man meets Angel (one of the X-men). The cat was out of the bag. Lee had a new trick to boost sales of all of his titles and he put it to work throughout the year. The first full crossover of the Fantastic Four and the Avengers happens in May (Fantastic Four #26). Daredevil premiered in March 1964 (with Spider-man on the cover, but not in the pages), and crosses over in Amazing Spider-man #16 (September 1964). Dr Strange first appears on the cover of another title in Fantastic Four #27 (June 1964). The Avengers battle the X-men (before teaming up) in X-men #9 (Dec 1964) Atlas was no longer just a collection of comic books about various topics, or even a collection of different flavors of superhero. It was a single shared universe: The Marvel Universe. It wasn’t planned out in advance, instead it happened in stages due more to commercial rather than artistic needs. Basically Stan Lee created the most successful modern mythology because he needed the money. III. Are Silver Age Marvel Comics any good? Well, apart from Amazing Spider-man, which holds up surprisingly well, I would not recommend reading any of them. Even Spider-Man is much weaker than the Ultimate Spider-Man reboot version of the story published 2000-2011. If you wanted to read Spider-Man from the beginning you would likely enjoy that later series a lot more than the original. The other titles vary in quality from “okay” (the Fantastic Four) to “absolute garbage” (Ant Man stories in Tales to Astonish). Which begs the questions, if these comics were so bad, how did they succeed as well as they did? Clearly the comics were “good for their time”. Millions of people bought and read them, and they clearly passed the “test of time”. So does that mean that we are better today at making art than we were back then? Or is art neither better or worse, just “of its time” and people back then would think the Ultimate Spider-man stories from 2000 were unreadable? I will argue the following: The stories were “good for their time”. VERY good for their time. They were much much better than the comic book stories that preceded them, and much better than other contemporary comic book adventures (like those being published by DC)
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