I was just getting around to Being at the time, but looking back at the early and mid-70s, I have a question that applies to movies, books- even my starting point, comic books, which took on a moody, melancholy aspect, particularly with Marvel Comics, which had just begun its publishing period of the roster of characters that we see in abundance across media and toys, today. What are the causes of the increase in violence and death and overall downbeat tone that defines 1970s storytelling? Do you think the new permissiveness post-60s was at the root of the violence and death portrayed? My first thought was, word was getting back about Viet Nam, and young people were disillusioned with institutions they'd been inculcated culturally to trust. I often think the idealism emerging within the counter-culture was just not manifesting quickly enough, for the impatience of the youth. I'm clear, too, that the rise of counter-culturalism 1) certainly does not match the rural values...

A great fight scene for Marvel’s top TV heroes of the late seventies, Spider-Man and the Hulk! OK, first twenty-five minutes of story sets up Banner being kidnapped to the Rosslyn Hotel in NYC. Peter’s looking for tips about the famous research scientist who has supposedly turned up in the Big Apple. At this point, Spider-Man’s spider-sense begins bringing him closer. He changes, climbs to the top of the hotel, and continues homing in on his signal. That danger sense grows when Dr. Banner is pushed too far and Hulks out. Now, we’re setting them up to meet in the hallway- and cut to commercial! Wow! Imagine what might happen next! Well, as I have no concern over the health of stunt men nor of a budget at risk, here’s what I picture, using their television counterpart power levels. Ok, FADE IN: Hulk roars. Spider-Man uses his ability to do the unexpected: leap onto the ceiling. This confuses and infuriates the Hulk, which provokes a kick in the face. This doesn’t do too mu...

The MCU is wildly popular entertainment. It’s made to appeal to several age groups. I embrace much of this. I also have love for some of the young adult writing of years gone by, too. There is a downbeat, thoughtful quality in the comic series, Man-Thing. While the creature was created- a mix of strange magic and a failed formula meant to help soldiers adapt, a Super Soldier Serum-in 1971, the black and white version of the slime beast only briefly appeared in the magazine, Savage Tales, premiering in its first issue. When Man-thing was revived for a regular strip, ghouls of the vampire/wolf man/ mummy/swamp monster sort popular at Universal Pictures were in vogue. Marvel took cues from the success of smaller publishers like Warren. They took advantage of the relaxed Comics Code of Approval’s standards to bring in nightmarish creations, like Shelley’s Frankenstein. These appealed to some of the young kids, but they also opened more mature story telling possibilities. This...

1. In a distinct shift away from the campy 1960s Batman, which was how I chiefly knew the character as a boy, featured Batman mostly as an athlete and martial artist and detective, but rarely depicted him using any of his special devices from his utility belt. Gone are the various gadgets and gimmicks that Batman might have with him on his person, to solve his various dilemmas. Now along with this point, we do see Batman with a cool old Roadster Batmobile a couple of times. But the bat helicopter for example and any of the variety of equipment and transportation vehicles that he was known to keep in his Batcave I have vanished. It's worth noting, along with the move in Batman #217 to finally move Dick Grayson (Robin) off to college, where he was featured in his own solo adventures in a backup story in most issues of Batman, the Batcave with also closed off, so that Batman and Alfred instead move in the center of Gotham City. So while this move was probably mostly dictated by ...

Along with its pop culture phenomenon theme song, the original ABC run of Spider-Man , and its many reincarnations in syndication around the world (but especially in native-content-loving Canada!), gave the superhero a platform which I think launched his popularity ever skyward! Already a surprise smash hit for Marvel Comics from his 1962 inception by writer/editor Stan Lee and designer/plotter Steve Ditko, the wallcrawler's exposure through the Grantray/ Lawence animated series took him into homes for Saturday mornings- and then, afternoons ever after- to fascinated children of all ages everywhere. The series debuted on September 9th, 1967, which prompted me to share a bit of my re-discovery of the hero's famous, jazzy, funky and sometimes hilarious adventures. The second regular series writer on Amazing Spider-Man in 1972, a teen named Gerry Conway, told me he was eager to consume any iteration of his favorite Marvel characters. He watched Spider-Man every week, followi...

My recent date at Putt Putt made me remember my visits there in 1981. Thinking of those times has taken me back to a special day that year. Dad asked if I'd like to go somewhere, just me and him. Off we went that afternoon to Riverbend Mall, during a spell his sister and her three kids – four, there was a baby!- had moved in with us. Mom thought I might be lonely to get a bit of Dad’s attention- I probably said as much, knowing me. I cried over garbage when I was three, because the things in the rubbish bin would no longer be part of our life, and wouldn't they be sad, to not be wanted anymore? > Here's the original page that inspired most of the Reel B battle, set up with Doc's tragic origin and Spidey's mysterious, almost sinister peep into the facility before the battle at the end of Reel A. I clicked through the story, bereft of Stan Lee’s script and captions, funky and quirky drawings so different than the usual commercial way I saw Spidey represe...

I can almost here a Peter Parker voice-over on this one, plus that great Bernard Cowen narration about "born losers" As you will find on the channel, Struttin' Success, on YouTube: From the original master tapes from the KPM music library in Britain: 1) "Drive On" composed by Alan Hawkshaw; 2) "LSD" composed by Bill Martin and Phil Coulter; 3) "Quite Contrary" composed by Syd Dale. This middle track is really weird! So creative, though. That third number,"Quite Contrary," brings things back to Chill Mode. VEry nice. Another crazy way the cartoon's been reincarnated: a huge Reddit stream of memes, many composed and posted in real time during online viewing parties in recent years. I am really crazy for "Latin Gear," but I haven't found it listed alone. It's worth hearing "The Eyelash" again! Due to the similarity in their names, I've seen some confusion about "Beat Street...

sammaronieentertainmentfunhouse.com It's pop culture writer/ photographer Sam Maronie! Hear all about his adventures at the first Marvel Comic Con, the spring which saw the return of King Kirby! IN fact, Sam sat down with Jack Kirby, in addition to attending all the panels. Come back in time... Marvel Comic Con in 1975 was the very first convention hosted by the Marvel Comics Group itself- and Sam Maronie was there! Here's a few minutes with his eyewitness account, including his meeting with Jack Kirby. Sam shot most of the existing high quality photos from the event that you still see today- and continues photographing comics convention the nation over. Sam's also produced a book: Tripping Through Pop Culture: The (Mis) Adventures of a Pop Culture writer, with a cover by the acclaimed Joe Phillips! It's also got a foreword from Scott Edelman, who you see in the silly picture above with legendary inker Joe Sinnott- our next guest on Creating Marvels! ...