Silver Age Of Comics

The Silver Age of Comic Books was a period of artistic advancement and widespread commercial success in mainstream American comic books, predominantly those featuring the superhero archetype. Following the Golden Age of Comic Books and an interregnum in the early to mid-1950s, the Silver Age is considered to cover the period from 1956 to 1970, and was succeeded by the Bronze Age.

The popularity and circulation of comic books about superheroes had declined following World War II, and comic books about horror, crime and romance took larger shares of the market. However, controversy arose over alleged links between comic books and juvenile delinquency, focusing in particular on crime, horror, and superheroes. In 1954, publishers implemented the Comics Code Authority to regulate comic content.

In the wake of these changes, publishers began introducing superhero stories again, a change that began with the introduction of a new version of DC Comics' The Flash in ''Showcase'' #4 (October 1956). In response to strong demand, DC began publishing more superhero titles including Justice League of America, which prompted Marvel Comics to follow suit beginning with '' The Fantastic Four'' #1.

A number of important comics writers and artists contributed to the early part of the era, including writers Stan Lee, Gardner Fox, John Broome, and Robert Kanigher, and artists Curt Swan, Jack Kirby, Gil Kane, Steve Ditko, Mike Sekowsky, Gene Colan, Carmine Infantino, John Buscema, and John Romita Sr. By the end of the Silver Age, a new generation of talent had entered the field, including writers Denny O'Neil, Gary Friedrich, Roy Thomas, and Archie Goodwin, and artists such as Neal Adams, Herb Trimpe, Jim Steranko, and Barry Windsor-Smith.

Silver Age comics have become collectible, with a copy in the best condition known of ''Amazing Fantasy'' #15 (August 1962), the debut of Spider-Man, selling for $1.1 million in 2011. In 2022, a copy of ''Fantastic Four'' #1 sold for $1.5 million.

Origin of the term

Comics historian and movie producer Michael Uslan traces the origin of the "Silver Age" term to the letters column of ''Justice League of America'' #42 (February 1966), which went on sale December 9, 1965. Letter-writer Scott Taylor of Westport, Connecticut, wrote: "If you guys keep bringing back the heroes from the 930s–1940sGolden Age, people 20 years from now will be calling this decade the Silver Sixties!"''Alter Ego'' vol. 3, #54 (November 2005), p. 79 According to Uslan, the natural hierarchy of gold-silver-bronze, as in Olympic medals, took hold: "Fans immediately glommed onto this, refining it more directly into a ''Silver'' Age version of the Golden Age. Very soon, it was in our vernacular, replacing such expressions as ... 'Second Heroic Age of Comics' or 'The Modern Age' of comics. It wasn't long before dealers were ... specifying it was a Golden Age comic for sale or a Silver Age comic for sale."

History

Background

Spanning World War II, when American comics provided cheap and disposable escapist entertainment that could be read and then discarded by the troops, the Golden Age of comic books covered the late 1930s to the late 1940s. A number of major superheroes were created during this period, including Superman, Batman, Wonder Woman, Captain Marvel, and Captain America. In subsequent years comics were blamed for a rise in juvenile crime statistics, although this rise was shown to be in direct proportion to population growth. When juvenile offenders admitted to reading comics, it was seized on as a common denominator; one notable critic was Fredric Wertham, author of the book '' Seduction of the Innocent'' (1954), who attempted to shift the blame for juvenile delinquency from the parents of the children to the comic books they read. The result was a decline in the comics industry. To address public concerns, in 1954 the Comics Code Authority was created to regulate and curb violence in comics, marking the start of a new era.

DC Comics

The Silver Age began with the publication of DC Comics' ''Showcase'' #4 (October 1956), which introduced the modern version of the Flash. At the time, only three superheroes— Superman (and his younger incarnation as Superboy), Batman (with his sidekick Robin), and Wonder Woman—were still published under their own titles. According to DC comics writer Will Jacobs, Superman was available in "great quantity, but little quality". Batman and Robin were doing better, but Batman's comics were "lackluster" in comparison to his earlier "atmospheric adventures" of the 1940s, and Wonder Woman, having lost her original writer and artist, was no longer "idiosyncratic" or "interesting". Aquaman and Green Arrow (with his sidekick, Speedy) were also still appearing as back-up features in ''Adventure Comics'', ''the only other two superheroes'' known to have remained continuously in print from the Golden Age as the Silver Age began, largely due to their creator's ongoing affection for them. Jacobs describes the arrival of ''Showcase'' #4 on the newsstands as "begging to be bought", the cover featured an undulating film strip depicting the Flash running so fast that he had escaped from the frame. Editor Julius Schwartz, writer Gardner Fox, and artist Carmine Infantino were some of the people behind the Flash's revitalization. Robert Kanigher wrote the first stories of the revived Flash, and John Broome was the writer of many of the earliest stories.

With the success of ''Showcase'' #4, several other 1940s superheroes were reworked during Schwartz' tenure, including Green Lantern, Aquaman, the Atom, and Hawkman, and the Justice Society of America was reimagined as the Justice League of America. The DC artists responsible included Murphy Anderson, Gil Kane, Ramona Fradon, Mike Sekowsky, 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 place of magic as a modus operandi in their stories. Schwartz, a lifelong science-fiction fan, was the inspiration for the re-imagined Green Lantern—the Golden Age character, railroad engineer Alan Scott, possessed a ring powered by a magical lantern, but his Silver Age replacement, test pilot Hal Jordan, had a ring powered by an alien battery and created by an intergalactic police force.

In the mid-1960s, DC established that characters appearing in comics published prior to the Silver Age lived on a parallel Earth the company dubbed Earth-Two. Characters introduced in the Silver Age and onward lived on Earth-One. The two realities were separated by a vibrational field that could be crossed, should a storyline involve superheroes from different worlds teaming up.

Although the Flash is generally regarded as the first superhero of the Silver Age, the introduction of the Martian Manhunter in '' Detective Comics'' #225 predates ''Showcase'' #4 by almost a year, and at least one historian considers this character the first Silver Age superhero. However, comics historian Craig Shutt, author of the ''Comics Buyer's Guide'' column "Ask Mister Silver Age", disagrees, noting that the Martian Manhunter debuted as a detective who used his alien abilities to solve crimes, in the "quirky detective" vein of contemporaneous DC characters who were "TV detectives, Indian detectives, supernatural detectives, ndanimal detectives".Shutt, p. 21 Schutt feels the Martian Manhunter only became a superhero in ''Detective Comics'' #273 (November 1959) when he received a secret identity and other superhero accoutrements, saying, "Had Flash not come along, I doubt that the Martian Manhunter would've led the charge from his backup position in ''Detective'' to a new super-hero age." Unsuccessful attempts to revive the superhero archetype's popularity include Captain Comet, who debuted in '' Strange Adventures'' #9 (June 1951); St. John Publishing Company's 1953 revival of Rocket Man under the title Zip-Jet; Fighting American, created in 1954 by the Captain America team of Joe Simon and Jack Kirby; Sterling Comics' Captain Flash and its backup feature Tomboy that same year; Ajax/Farrell Publishing's 1954–55 revival of the Phantom Lady; Strong Man, published by Magazine Enterprises in 1955; Charlton Comics' Nature Boy, introduced in March 1956, and its revival of the Blue Beetle the previous year; and Atlas Comics' short-lived revivals of Captain America, the Human Torch, and the Sub-Mariner, beginning in ''Young Men Comics'' #24 (December 1953). In the United Kingdom, the Marvelman series was published during the interregnum between the Golden and Silver Ages, substituting for the British reprints of the Captain Marvel stories after Fawcett stopped publishing the character's adventures.

The talking animal superheroes Supermouse and Mighty Mouse were published continuously in their own titles from the end of the Golden Age through the beginning of the Silver Age. Atomic Mouse was given his own title in 1953, lasting ten years. Atomic Rabbit, later named Atomic Bunny, was published from 1955 to 1959.

Marvel Comics

DC Comics sparked the superhero revival with its publications from 1955 to 1960. Marvel Comics then capitalized on the revived interest in superhero storytelling with sophisticated stories and characterization. In contrast to previous eras, Marvel characters were "flawed and self-doubting".

DC added to its momentum with its 1960 introduction of Justice League of America, a team consisting of the company's most popular superhero characters. Martin Goodman, a publishing trend-follower with his 1950s Atlas Comics line, by this time called Marvel Comics, "mentioned that he had noticed one of the titles published by National Comics seemed to be selling better than most. It was a book called ''The'' ic''Justice League of America'' and it was composed of a team of superheroes", Marvel editor Stan Lee recalled in 1974. Goodman directed Lee to likewise produce a superhero team book, resulting in '' The Fantastic Four'' #1 (November 1961).Stan Lee, ''Origins of Marvel Comics'' ( Simon and Schuster/Fireside Books, 1974), p. 16

Under the guidance of writer-editor Stan Lee and artists/co-plotters such as Jack Kirby and Steve Ditko, Marvel began its own rise to prominence. With an innovation that changed the comic-book industry, ''The Fantastic Four'' #1 initiated a naturalistic style of superheroes with human failings, fears, and inner demons, who squabbled and worried about the likes of rent-money. In contrast to the straitlaced archetypes of superheroes at the time, this ushered in a revolution. With dynamic artwork by Kirby, Steve Ditko, Don Heck, and others complementing Lee's colorful, catchy prose, the new style became popular among college students who could identify with the angst and the irreverent nature of the characters such as Spider-Man, the X-Men and the Hulk during a time period of social upheaval and the rise of the counterculture of the 1960s.

Comic books of the Silver Age explained superhero phenomena and origins through science, inspired by contemporary science fiction, as opposed to the Golden Age, which commonly relied on magic or mysticism.

Comics historian Peter Sanderson compares the 1960s DC to a large Hollywood studio, and argues that after having reinvented the superhero archetype, DC by the latter part of the decade was suffering from a creative drought. The audience for comics was no longer just children, and Sanderson sees the 1960s Marvel as the comic equivalent of the French New Wave, developing new methods of storytelling that drew in and retained readers who were in their teens and older and thus influencing the comics writers and artists of the future.

Other publishers

One of the few most-selling American comics publishers in 1956, Harvey Comics, discontinued its horror comics when the Comics Code was implemented and sought a new target audience. Harvey's focus shifted to children from 6 to 12 years of age, especially girls, with characters such as Richie Rich, Casper the Friendly Ghost, and Little Dot. Many of the company's comics featured young girls who "defied stereotypes and sent a message of acceptance of those who are different". Although its characters have inspired a number of nostalgic films and ranges of merchandise, Harvey comics of the period are not nearly as sought after in the collectors' market in contrast to DC and Marvel titles.

The publishers Gilberton, Dell Comics, and Gold Key Comics used their reputations as publishers of wholesome comic books to avoid becoming signatories to the Comics Code and found various ways to continue publishing horror-themed comics in addition to other types. Gilberton's extensive ''Classics Illustrated'' line adapted literary classics, with the likes of ''Frankenstein'' alongside ''Don Quixote'' and ''Oliver Twist''; Classics Illustrated Junior reprinted comic book versions of children's classics such as ''The Wizard of Oz'', ''Rapunzel'', and ''Pinocchio''. During the late 1950s and the 1960s, Dell, which had published comics in 1936, offered licensed TV series comic books from '' Twilight Zone'' to ''Top Cat'', as well as numerous Walt Disney titles.Dell (publisher)
at the Grand Comics Database Its successor, Gold Key—founded in 1962 after Western Publishing started its own label rather than packaging content for business partner Dell—continued with such licensed TV series and movie adaptations, as well as comics starring such Warner Bros. Cartoons characters as Bugs Bunny and such comic strip properties as ''Beetle Bailey''.Gold Key (publisher)
at the Grand Comics Database

With the popularity of the ''Batman'' television show in 1966, publishers that had specialized in other forms began adding campy superhero titles to their lines. As well, new publishers sprang up, often using creative talent from the Golden Age. Harvey Comics' Harvey Thriller imprint released ''Double-Dare Adventures'', starring new characters such as Bee-Man and Magicmaster. Dell published superhero versions of Frankenstein, Dracula and the Werewolf. Gold Key did licensed versions of live-action and animated superhero television shows such as ''Captain Nice'', '' Frankenstein Jr.'' and '' The Impossibles'', and continued the adventures of Walt Disney Pictures' Goofy character in ''Supergoof''. American Comics Group gave its established character Herbie a secret superhero identity as the Fat Fury, and introduced the characters of Nemesis and Magic-Man. Even the iconic Archie Comics

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