The F-Word: First Appearances Blog

Disclaimer: in the past, I've had a blog focused on my artwork. This is not such a blog, as I've more-or-less given up on that, and have decided to focus on this blog. No artwork is mine unless explicitly stated, and upon finding information about photographers, I will include that.

Also, I'm aware that on this particular topic, I'm not the first to address the issue of superheroes' first appearances and that Linkara did a similar vodcast. But mine is better than his :-)

One of the most interesting things about superheroes is how can be in their first appearances as opposed to later installments. This is true of a lot of things. It's just a fascinating part of the popular culture how a band can have a much different sound on their first album or a TV series can undergo many changes from the pilot episode to when it hits its stride.

Superheroes are, for the most part, no exception, so let's see how the five greatest superheroes first appeared.

Action Comics #1

In June of 1938, a revolution took place. A revolution that began with a man in a red cape lifting a car over his head while some unsavory characters fled.

Now, obviously the symbol on his chest is a far cry from the more familiar Superman-S we know today. Note also that his red boots only go up to his ankles. Think that's weird? Well, in the pages of Action Comics #1, he just had blue boots with a strapped look to them.

Anyway, the story begins with a brief introduction of who Superman is and how he came to be. It's more-or-less what you'd expect with a couple of differences: there's no mention of the Kents and it kind-of just implies that he grew up in an orphanage. His powers are laid out in a very curt manner: he could leap an eight of a mile, lift "tremendous weights" and outrun a train. The indication is that Kryptonians are simply more evolved and that his powers are similar to those of a grasshopper or an ant. This is in contrast to Superman #1, the following year, which would indicate that his powers come from the Earth being smaller than Krypton.

The idea that his powers came from the sun manifested after the space race.

In any case, after a brief get-to-know-him page about Superman, we see him leaping along the night sky with a girl bound and gagged. He's trying to get the governor to stay her execution. The governor's aid isn't very cooperative and he even goes as far as to shoot Superman after Supes has broken down the steel door to the governor's bedroom.

This story has been loosely adapted into episodes of The Adventures of Superman and Superman: the Animated Series.

After that, the story heats up as Clark Kent catches wind that a man is beating his wife. This is apparently the longest episode of spousal abuse in history as Superman has time to get over there and toss the guy around. It therefore stands to reason that the wife is unconscious so that Superman can change back into Clark Kent as the police arrive.

A classic moment in comic book history... and the non-logic is just painful.

Oh, but the story's far from over: Lois Lane, Clark's co-worker at the Daily Star, thinks of Clark as something of a loser, but goes on a pity-date with him. Predictably, some big lugs start moving in on her, and Clark acts like a wiener so as to avoid her suspecting that he's really Superman. After they leave, he changes into Superman, and damages their car with one of them yelling, "IT'S THE DEVIL HIMSELF!" He leaps over the car, and we're even treated to a shot that mirrors the cover.

Finally, Clark is assigned the story of a war brewing between a couple of small countries in central America. He dons his costume once again and kidnaps a weapons dealer, ending our story on a cliffhanger as he leaps across a couple of buildings.

Yup. All of that in one issue.

This issue was quite possibly the most pivotal in comics history with the possible exception of More Fun Comics #1, a few years earlier. That was the first issue of a monthly comic book to publish original (if derivative) content. Action Comics #1 was soon reprinted along with the Superman stories in the next three issues, as Superman #1, making it basically the first trade paperback.

That version of the story expanded on the character's origin, including Ma & Pa Kent (she was called "Mary" in this issue and he wasn't given a name) and the build-up to the false execution story. A creepy coincidence was that the murder victim in the story was named Jack Kennedy. This month marks the assassination of John F. Kennedy, who was nicknamed Jack in some circles.

This Superman, with his more abrasive manner and limited powers (there is a lot of debate as to when Superman gained the ability to fly, rather than just leap a great distance) was a far cry from Christopher Reeve, but that's what this blog is all about.

Detective Comics #27

It didn't take long for Superman to be the biggest thing the comic book world had ever produced up to that point, and while Siegel & Shuster were legendarily screwed over as far as the rights to the character went, they were well-paid for the actual production of the comics. So much that a young artist named Bob Kane wanted a little bit of that for himself.

The result was a character who would outdo Superman in terms of popularity decades later, yet who would spend a lot of time in the character's shadow. The Bat-Man, as he was called here, is another major part of our pop culture landscape, but like Superman, very different when he first appeared.

Commissioner Gordon is talking about a new case involving a vigilante known as the Bat-Man with his friend Bruce Wayne who has a problem: everything seems boring to him. What a strange quirk, right? His best friend's the top cop in this city (never identified as Gotham City or even New York city) and yet this pretty boy just finds it all so bland and blah.

Whatever. After a guy named Lambert calls the police about his father's murder, who mentions that his father had business partners, one of whom was named Steven Crane, who by coincidence calls Lambert at just that moment and becomes excited when the police tells him he's been killed. Crane fears he's next and we see that, well, he was. However, the Bat-Man is on the roof of his house ready to take on some bad guys. The very first rooftop battle between Batman and a bunch of generic gangsters is here!

Incidentally, Batman has no problem throwing them off the rooftops, unlike in later incarnations. I'm gonna cut to the chase here, because I'm not here to reveal every single plot-point, and say that Batman does save someone from an elaborate death-trap: another Batman trope.

One interesting thing about the issue is that we don't learn until the end that Batman is, in reality, Bruce Wayne. It's strange to think that this could be fodder for a cloak-and-dagger revelation and that there was a time when someone wouldn't know that Batman and Bruce Wayne are one in the same.

Here's another odd note: much has been made about Batman using a gun in early installments and yet, Batman not only doesn't use a gun here, he never uses any weapons at all. Apparently, he's just a judo-master. He drives a regular car, which is an obviously terrible idea and perhaps kind-of disappointing, but understandable. Incidentally, the Batarang and Bat-Gyro (an early form of the Bat-Plane) would be introduced in D.C. #31, in a two-parter called "Batman Vs the Vampire."

Finally, Batman's motivation is not explained until issue #33. You know: the famous story of Bruce Wayne's parents being shot to death. Yup, for half-a-year, this all-important part of the Batman myth was simply not a part of his story.

About a year after he was introduced, Batman would receive a sidekick named Robin and, the following month, would get his own series, the first issue of which introduced the Joker, Catwoman and the Penguin. The year after that, the original Batmobile was introduced and throughout the 1940s, the seeds of Batman's cult were sewn.

The Incredible Hulk #1

From the Great Depression to Camelot, we jump forward to a new era. A subset of the Silver Age called the Marvel Age. So far, we've seen two superheroes whose early beginnings were far different from what the world has come to expect. Superman couldn't fly or see through walls, Batman didn't have any weapons. But while the Incredible Hulk had his signature power from day one (uh... he's strong), he was a very different character.

The origin is no-doubt familiar. Dr. Bruce Banner is working on an experimental gamma bomb, but he sees a teenager enter the test site. As he runs out to save him, a fellow scientist sabotages him by ordering that they continue the countdown, so when the gamma bomb goes off, he's caught in the blast. He seems fine at first, but eventually, the sun goes down and...

...yes, that's right, his transformation is triggered by the transition from day to night. But anyway, he turns into this big, gray...

...yes, that's right, he was gray in his first appearance. The reason he became green was because Stan felt green printed better...

...and he became the Incredible Hulk, and he was a big ass hole.

Yup. He wasn't particularly dumb in this instance, but he was a friggin' jerk. Every time he saw someone he considered "weak," he just kind-of recoiled in disgust. Yes, the idea that he hated his Bruce Banner identity is a staple of the character, but he even feels that way about Betty Ross, the love interest.

It's hard to imagine that this character would one day be as popular as Superman and Batman. I have trouble even calling him a superhero, because in the end, he doesn't even really seem to save the day as the Hulk, but as Dr. Banner.

I'll be the first to admit that I like the Hulk better in small doses. The various animated series' have been great, and I love the '70s TV series (as unfaithful as it was). As for the movies, well, I thought both the Eric Bana film and the one with Edward Norton had their pros and cons (the former tried to be more artsy while the later was more of a conventional action film, to which I say horses for courses) but he looked fake in both. The effect in The Avengers was great. However, I never really got to into his history.

Anyway, back to the first appearance. When Banner went onto the test site to save Rick, the countdown was re-initiated by a scientist named Igor who, it is revealed, was trying to sabotage Bruce for the Soviets. Or something. The Hulk meanders back to Banner's home to find Igor rummaging through his belongings and roughs him up, while proclaiming his hatred for the weaklings Rick Jones, Igor and, well, humans in general.

In fact, it almost looks like the Hulk is about to kill Rick when the sun comes back up. He even utters the phrase, "THE WORLD IS MINE!!!" as if we really are supposed to see him as a villain. After-all, despite the success of some superheroes in the '40s (most notably SubMarriner and Captain America, the former having been reused as an antagonist in Fantastic Four stories), Marvel's stock in trade was still monster books. The Hulk was at-least as much of a monster as a superhero. It was appropriate that Universal had the rights to the character for so long because he fits right in the world of Frankenstein and the Wolf Man.

Then, story gives us the villain known as the Gargoyle, who's in cahoots with the Soviet Empire as well. It's not that often that a signature villain appears in the first issue, though it's not unheard of either. By the end of the issue, Doctor Banner manages to cure him of his freakish appearance, and he sacrifices himself against a squad of Soviet soldiers having defected as a result of the treatment.

Finally, the issue does introduce the supporting characters General Ross and his daughter Betty, who were the Hulk's greatest enemy and love interest, respectively. In recent years, he would go on to become the Red Hulk, and she became the Red She Hulk. But in her first appearance, she was one of Marvel's sexiest leading ladies of the day. However, her scientific acumen is not evident in this first appearance and I'm not sure when it made manifest.

The Incredible Hulk's history is almost unfathomable at this point, but with The Avengers, he's more popular than at any point since the end of the days of Lou Ferrigno running around in body paint. There's a new animated series, and while the Hulk isn't the total jerk of this issue, it does seem like Marvel's more interested in portraying at-least a somewhat intelligent Hulk than the mindless brute he's usually presented as. Just as long as he's not an asshole like in this, I'm cool with that.

Amazing Fantasy #15

We go from a bizarre first appearance to one of the greatest stories in comic book history, and to a first appearance in which the hero was more-or-less fully formed. The costume was basically the signature costume (despite the web pattern and presence of the odd little web-wings), all of his powers were present and accounted for, and his personality is what we would come to know throughout the years. This 15-page story would form the basis of two major motion pictures, and yet, a 1968 saturday morning cartoon with limited animation was almost as effective and dramatic.

The story begins with typical teenage nerd Peter Parker being picked on by his peers. After being bitten by a radioactive spider, he gains its powers (except the web spinning, but he creates a device for it) and tries to become a wrestler and TV personality. After a performance, he sees some cops running after a burglar, but refuses to help them. He's looking out for #1 and not about to get involved.

Unfortunately, Peter comes home to find that his uncle Ben has been shot and killed. Enraged, Peter puts on his costume and looks for the criminal. After managing to track him down, Peter kicks his ass, then realizes he's the same guy he let slip past him.

The realization that his refusal to do the right thing cost him his uncle made Peter realize that he must use his powers for good, and hence was born Spider-Man.

Unlike other superhero origins, both Spidey's motivation and the acquisition of his powers were important. The death of Uncle Ben was inadvertently Spider-Man's fault, and it's a sin for which he must spend the rest of his life in atonement. The moral of this story is clear: if you allow evil to take root, it will come back to haunt you.

One of the reasons this was one of my favorite first appearances was that I first got an early copy of the Marvel Masterworks edition at the Smithsonian gift shop when I was ten. It had this issue and the five subsequent issues of The Amazing Spider-Man and that's when I really started to think, "this is what it's all about." At the time, I was following Reign of the Supermen and whatever Batman comics I happened to pick up. I really hadn't been that into Spider-Man's ongoing comics at the time, even though like most people, I thought he was so cool. Well, I realized that these first several stories were the foundation of the character and after a while, I think he kind-of lost something. Of course, Marvel couldn't just put out story after story of Peter being picked on at school then having to save the world from a supervillian after failing earlier on in the story. But I do find it hard to understand some of the choices Marvel made with him in later years.

Ironically, this was almost the last appearance of Spider-Man as well. Publisher Martin Goodman told Spider-Man creator Stan Lee that he wasn't crazy about the character and so Stan just kind-of put him in this issue which was the final issue of Amazing Fantasy. The character returned a year later in his own comic book, however, after readers proclaimed that he was a terrific superhero.

A decade ago, Spider-Man was bar-none the most popular superhero in the world, but recently, the mania seems to have died down. The latest film The Amazing Spider-Man was a success, but nowhere near the level of the trilogy starring Tobey Maguire. Time will tell how next year's The Amazing Spider-Man 2 performs at the box office, but in the meantime, it's clear that the character's seen better days especially in the comics where he's been killed off and his arch-nemisis' mind is inhabiting his body.

Tales of Suspense #39

Finally, we take a look at the first appearance of Marvel's current standard-bearer. Yes, historically, that honor has belonged to Spider-Man, but Iron Man goes back almost as far, and has languished in underrated-land until 2008 when his cinematic debut thrusted him to the top. Yes, that was the year during which Iron Man was able to stand up to the onslaught of Batman's most masterful cinematic exploit.

While he was not nearly as complete in his first issue (the clunky armor you see toward the beginning of the film was his original costume), the basic story of how he was captured by foreign enemies who wanted him to build them a weapon and the problem with shrapnel entering his heart, were there from day one.

Obviously, his costume was updated over the years, until we got something along the lines of his more famous gear. But it's so strange to think about the bulky gray armor as his intended permanent look.

Now, differences from what we may be used to include the fact that this took place in Vietnam, rather than Afghanistan. After-all, this was in 1962, and while it was before the actual war began, the U.S. had been sending in advisors. This lead to the stereotypical villains like Wong-Chu and the rest. Also, while Iron Man has gadgets, he kind-of grabs them and uses them, like a flair gun or a magnet. They aren't just attachments to his suit like in most versions.

Iron Man's first appearance was awesome, but the following few issues were clunkers. I'm not sure exactly when the character started to get good again, but if you read the issue where he turns the original armor gold (his third, I believe) it's really kind-of strange. People are afraid of him, so he just gives it a golden finish and everyone loves him?

It's not hard to find ways to compare Iron Man to D.C.'s top two: Superman and Batman. His suit basically enables him to fly and blast things more-or-less like Superman can do. Like Batman, he's a wealthy industrialist who creates an arsenal of weapons. But what made him unique--even though they've sometimes done away with this--is his heart, as well as the road he's gone down.

I chose these heroes because it's clear that these are, at this time, the most important superheroes. Some might argue that I should have included Wolverine instead of Iron Man, but right now, Iron Man is the biggest hero at the box office. I'm also glad to see that Superman has done well at the box office after so many naysayers labeled him as "dated."

I plan to do more of these "first appearances" blogs, though I don't want this to be the ultimate focus of this blog.

The F-Word

Monday, November 18, 2013

First Appearances Blog

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