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Title : GUEST POST BY GENE PHILLIPS - THE GRAND SUPERHERO OPERA...
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GUEST POST BY GENE PHILLIPS - THE GRAND SUPERHERO OPERA...

Copyright MARVEL COMICS

I feel blessed, blessed I tell you, for the pure accident of my birth - for it was thanks to that cosmic coincidence that I saw the medium of comic books at its best, during the formation of the Fighting Marvel Age of Comics.

Yes, I know that's not how Stan Lee styled the era of his breakthrough, if only because it's not alliterative.  But I call it that, because the way Marvel opened up the medium for the depiction of Big Spectacular Fight-Scenes was one of the things that made the company great.

There were other aspects of the breakthrough.  "Heroes with problems".  More thought went into the SF and fantasy concepts.  Lee's unequalled ability to give all of his heroes slightly different ways of speaking and reacting.  But I think the sheer visceral power of Marvel fight-scenes may have been at least as important as any of these.

One has to remember that even though superheroes and related genres had been around for over twenty years, the people who made Golden Age comics in the U.S. had grown up with other media when they ended up writing and drawing them.  The early raconteurs modelled early comics mostly on prose pulp stories, crossed with elements from the comic strip medium.  Both media did sometimes use spectacular fight-scenes - but that wasn't a specialty.  As a result, even though there are some kick-ass fight-scenes in Golden Age comics, there aren't as many as you might expect.  Even those masters of kick-assery, Joe Simon and Jack Kirby, varied a lot as to their use of sheer spectacle - though when they did it, they were among the best.

Even when Lee launched the Marvel imprint in the early 1960s, a lot of the earliest Fantastic Fours are fairly talky, like the best selling DC Comics of the time.  I tend to think that their second big feature, The Hulk, may have opened Lee and Kirby up to a more visceral approach to comic-book action - though to be sure, the Hulk's first comic pooped out after six issues.  But if it's true that great artists challenge each other, then Steve Ditko rose to Kirby's challenge.  The first couple of issues of Spider-Man were a little on the sedate side, fight-wise - but then you get The Vulture in issue #2 and Doc Ock in #3, and there was no going back.  Some artists, like Bob Powell and Alex Toth, didn't get this new approach, but others - Gene Colan, John Buscema, John Romita - assimilated the high-action approach to the funnybook page.

I'm not saying that every Silver Age comics-fan was as into the fight-scenes as I was.  However, I do think it's a major appeal for the superhero genre, as well as for a lot of related genres - space opera, supernatural sleuths, even Giant Monsters.  In fact, as I pored over the pop culture of my time, I saw a lot of parallels in other media.  The sixties were also a time when the FX in popular sixties movies took a similar quantum leap, if, say, you compare the effects in a Ray Harryhausen epic to one of the old black-and-white serials of the thirties and forties.  A particular favourite for me was the 1968 monster mash DESTROY ALL MONSTERS, which used puppets and men-in-suits to pull off a multi-monster battle that still grabs me, even though I can see things like goofs and misfires more readily.

Back in 2011, having already started a blog dealing with comics and other reading materials, I launched NATURALISTIC UNCANNY MARVELOUS, a review-blog for all types of fantasy-films.  Yet from time to time I wondered what it would be like to devote a blog just to fantasy-films with spectacular action-scenes (or even just the failed attempt at same).  So I finally did so, with my newest blog THE GRAND SUPERHERO OPERA.  Most of what I post there was already blogged on NUM, but I think I found an interesting way to organize the reviews into subgroups, with perhaps humorous names like "Costumed Crusaders", "Space the Fighting Frontier", and "Fight Like a Girl".

So that's my hype for the new blog (which you can find by clicking here), but I am curious to know if the readers at Crivens have any similar orientation toward fight-scenes in general.  I think of the Fleetway books as the equivalent of sixties Marvel in terms of kickass fight-scenes, but I admit there's a lot of British work of which I only have partial knowledge, like the work of Frank Bellamy.  How did fight-scenes evolve in British comics over the years, compared to the way they did in the U.S.?

******

C'mon, Crivvies - don't let GP down.  Consider his question and give him your answer.  After all, he wrote this specially for you!

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