Fun with Mr. Silver Age: Craig Shutt

By Tim O'Shea

Mr. Silver Age (aka "Craig Shutt") is one of the main reasons I enjoy and value the content in Comics Buyer's Guide as well as the Silver Age Reviews List. So when I found out he was going to write a whole book on the Silver Age, Baby Boomer Comics, I knew I had to talk to him about it. Before launching into the interview, here’s some background on the new book by Shutt (who has written for CBG for more than a decade): “Baby Boomer Comics delves into the wide variety of comics from the 1960s, comics' ‘Silver Age.’ With humorous and informative essays, Craig Shutt covers key events affecting the four-color lives of Spider Man, The Hulk, The X-Men, Superman, Batman, and Green Lantern. He also revels in some of the sillier stories from the flower-power era.

Written in a delectably funny but affectionate style, this new comics reference entertains and informs while conveying the excitement enthusiasts experienced when they first read these comics. Hundreds of full-color illustrations feature both covers and individual panels showing some of the fun and exciting moments that readers remember best from this comic age. Includes current market prices for the issues described. Plus, readers can test their comics knowledge with the featured trivia quizzes.”

Tim O’Shea: On page 75 you discuss the main reason you like the DC's Silver Age--the personalized, recurring team ups. Would you care to elaborate on the appeal of this DC Silver Age aspect?

Craig Shutt: DC and Marvel’s approaches to team-ups were completely different, which I think (consciously or not) represented their positions in the market. DC’s heroes always assumed the other guy was a stand-up supporter of the law, an establishment guy they could count on. With that given, they’d automatically join together to battle some foe they’d both had contact with and find a way to use their combined powers to win.

Marvel’s heroes were a bit hinkier—not always trusted, not always able to be relied on to do the right thing no matter the circumstances (they thought). They were a bit more of an outlaw bunch (especially when they were being mind-controlled). So it was less natural to automatically trust the other guy and instead take a whack at him.

Both approaches had appeal to the 8- to 13-year-old audience back then, especially given DC’s long-standing “establishment” position and Marvel’s upstart challenge. We liked working with friends to figure out puzzles, but we weren’t secure enough to just welcome in anybody and were ready to test any newcomer. Both attitudes made sense.

DC’s approach was more cerebral and showed how heroes differed without making them fight each other. Marvel’s approach, on the other hand, was more action-oriented—and addressed the age-old, little-kid question of which hero would win in a fight.

I have to admit that while I never tired of those occasional DC team-ups, sometimes seeing two Marvel heroes whale away at each other for page after page—when we knew the reason was a misunderstanding and would get worked out—sometimes didn’t shatter my senses as much as they hoped it would. Especially since the winner (if there was one) was going to be the guy whose name was on the cover.

O’Shea: Also, I must have missed it when reading the book, but what was the major engaging point to the Marvel Silver Age books for you?

Shutt: I think the Marvel Romance Quiz article, which starts the “Relationships” chapter and is just before the DC Team-Up one, explains at least part of it. Marvel comics had characters with personal lives that evolved. You had to come back each issue to see if Peter would ever meet Mary Jane or Don was finally gonna break down and tell Jane how much he loved her. And, amazingly enough, both of those things eventually happened!

I have to admit, I sometimes would speed-read through the 10 pages of Spidey and Doc Ock beating the beejeebers out of each other to find the couple of pages where Peter tried to figure out if Flash Thompson was trying to make time with Gwen or was just being friendly. The best part was that whatever happened, it moved the relationship along, unlike the way most DC heroes operated.

Don Blake professed his love to Jane, revealed his identity despite his dad telling him to knock it off, and took Jane home and tried to convince Odin to make her immortal! Battling the Absorbing Man had its moments, but this kind of relationship advancement was what really brought me back each month to Thor! Well, that and the funny way he talked.

O’Shea: A great many folks consider the Silver Age of comics to be mostly DC and Marvel, but there was clearly more comics and companies than just them, as you detail in the book. From your vantage, what are some of the most underappreciated companies, titles and creators from the Silver Age (non-DC and Marvel).

Shutt: Oh, that’s a big question. It’s hard to gauge appreciation, and many flying below the radar back then have now come to be appreciated in retrospect. For instance, I’d say Tower Comics (which did T.H.U.N.D.E.R. Agents) was underappreciated at the time, but now its books are being collected into DC Archives books, so they’re appreciated now.

I’ve always been a huge fan of John Stanley, who wrote not only Little Lulu but also did Thirteen (Going on Eighteen), Melvin Monster and a bunch of other Dell comics, which I’d recommend to anyone to this day. And back in the Silver Age, a lot of kids wouldn’t be caught dead with a Donald Duck comic, although we’ve since realized we were missing a lot of great Carl Barks stories by thinking they were just for little kids. Or, at least some of us have realized that.

I think Archie comics are underappreciated, beyond the significant contributions of Dan DeCarlo. The wordplay and fantasy situations that were used in some stories made them little 8-page masterpieces. I still enjoy reading those today. I’m a big fan of Bob Montana’s work, which was reprinted in many Archie digests, particularly in the one-page gags that were reconfigured comic strips. I also enjoyed Sam Schwartz’s work, especially on Jughead. It had a completely different look from DeCarlo’s, but it was just as enjoyable. And, of course, Bob Bolling’s work on Little Archie was brilliant—but I think he’s pretty well appreciated by now.

Likewise, ACG’s Herbie is now one of my favorite humor comics, although I seldom saw it on the spinner back then and probably didn’t give it a second look if I did.

I have to admit I was never much of a Dell/Gold Key fan; they never survived the flip test (plus they cost three cents more). But there was a lot of interesting stuff in those comics, including Magnus, Dr. Solar, Turok, Tarzan and others.

O’Shea: And within DC and Marvel, who were the most underappreciated creators?

Shutt: There are a lot of underappreciated creators from the Silver Age, particularly since few credits were given for so long, especially at DC. We can fairly well determine many of the artists, but writers are really tough. I think many of the Superman and Batman writers identified by Martin O’Hearn, including Alvin Schwartz, William Woolfolk, Ed Herron, Edmond Hamilton, Dave Wood and even Jerry Siegel are less known for the great work they did in that period than they should be. Arnold Drake, who wrote Little Lulu, Doom Patrol, Deadman and many of DC’s licensed humor books like Jerry Lewis, is little appreciated for his amazing range.

The two major Marvel/DC artists I’d say were most underappreciated, at least at the time, were Don Heck and Mike Sekowsky. Heck was an excellent artist, but his strength wasn’t in action scenes, which was what drew people to super-hero comics. Sekowsky had such a unique style that his characters sometimes looked stiff or awkward, which didn’t fit the graceful, action-filled style of superheroes embodied by Jack Kirby or Gil Kane. Fortunately, I think both have come to be better appreciated for their Silver Age work today.

There are so many others. I think Ross Andru and Mike Esposito often are overlooked, because they worked on second-tier DC comics and then had the unenviable task of replacing Carmine Infantino on The Flash. They are known today for their work on Spider-Man in particular in the 1970s, but their work on Metal Men and Wonder Woman was great fun, blending the humor and seriousness that those Bob Kanigher stories absolutely needed to be entertaining.

Russ Heath, who did such amazing work in the war comics, isn’t better appreciated because his work too was not in the typical super-hero mold.

Bob Oksner, who did many of the licensed humor books at DC, including Jerry Lewis, Bob Hope and Dobie Gillis, is little known even to this day, but he did some of my favorite work in the Silver Age. He drew some of the best good-girl art there was, but it was overlooked because it was in the humor books. He inked some of the Supergirl Adventure Comics stories in the early 1970s, and lemme tell ya, I’m a huge fan of the Jim Mooney Supergirl, but seeing a Kara who looks like one of Dobie Gillis’s girlfriends gave me a whole new perspective on the Last Daughter of Krypton!

O’Shea: How many new friendships and associations have you gained as a result of your column over the years?

Shutt: Well, there’s my editor, I guess. No, actually, I’ve met or at least talked with a lot of fun people due to the column. It’s difficult to isolate its influence, because about the same time I started doing the column in 1992, I also discovered on-line message boards, starting with the CompuServe board. I made a lot of friends through those talks, and they often spurred ideas for columns (and great get-togethers at conventions). And I needed those ideas, because for the first 10 years of the column, it ran on a catch-as-catch-can basis based on space availability and topics I could mesh with other articles running in that issue.

The column led to my being asked to moderate the Pro/Fan Trivia Challenge at the Chicago comics convention in 1996, which I’ve continued to host every year since and have a ball doing. That gives me a great chance to meet people who only know me from the column. Even that came about because the program director, Paul Grant, knew me from CompuServe. But no doubt without the column, it wouldn’t have happened.

O’Shea: I appreciate your balance of skepticism and comedy in commenting on the Silver Age. But I wonder have any of the era's creators taken umbrage with some of your commentary on their past work, or do most take it in the spirit in which it is offered?

Shutt: I hope they understand the affection that supercedes any skepticism of the comics. At most, I’m laughing at myself for accepting this stuff with wide-eyed wonder when it sometimes doesn’t make as much sense as it really needed to. I’ve only heard from a few creators, but they’ve all told me they enjoyed the column, so I think it’s coming across the way it’s intended.

That’s part of the reason that I don’t tend to cite creator credits very often—I don’t want anyone to think I’m blaming someone in particular for a goof or wild swing of logic. Besides, back then, some of us didn’t realize real people made these comics, much less make distinctions between the individuals. So unless I’m going to single out everyone all the time, for good and bad, I try not to do it unless it’s a significant point. Thankfully, Baby Boomer Comics is able to provide a lot of credit information, along with cover photos, to supplement the panel images I use.

O’Shea: What was the most entertaining part of compiling this book for you?

Shutt: Reliving the early days of the column, which was really just random articles that appeared when the editors could fit them in. I hadn’t read most of those pieces for 10 years or more, so I’d forgotten some of what I had said. It was fun to remember the thrill I’d get whenever my CBG would arrive and I found one of my articles had been published.

O’Shea: From your perspective, are there some current creators that create engaging stories that appeal to "modern" sensibilities yet with a tinge of the old Silver Age vibe to it?

Shutt: I think there are a number of creators who respect the past history of characters and create engaging stories that Silver Age fans can appreciate. Certainly Mark Waid and Kurt Busiek, well-known lovers of that period, are at the top of my list. I think Jeph Loeb and Geoff Johns, to name two Jeffs, understand what made that period enjoyable, too. Tom DeFalco’s Spider-Girl has that feel to it for me.

It’s difficult to find anyone who has a lot of “Silver Age vibe” to their stories today, because the audience and story structure have changed so dramatically. Anyone who tried to recapture those past styles wouldn’t last long today, because the editors and audience thinks they’re more sophisticated. But those creators I mentioned are able to capture the awe and wonder that come from knowing these characters have a past history and wanting to learn more about it without it interfering with their current story.

I really enjoy the animated comics that DC does, particularly the stories by Ty Templeton, who now is doing some of the new Batman Adventures series, as well as Scott McCloud, Paul Storrie and Dan Slott, who have worked on the Justice League Adventures series.

Those stories don’t replicate a Silver Age style, but they have the done-in-one approach that gives a reader a feeling that the comic had real value, which Silver Age comics did with every issue. Even Marvel’s notorious continued issues usually set up a cliffhanger that was resolved quickly in the next issue, before setting up another cliffhanger at issue’s end. That allowed each issue to have some real meat, not just move along a much bigger story.

In the Silver Age, we could usually grab a comic and read it or trade it and know it would be enjoyable. Now, grabbing one comic on the stands doesn’t give you any assurance you’ll even be able to figure out what’s going on. That flow helps trade paperback sales, but it doesn’t give readers the feeling of value that we got in the 1960s with every purchase. And it certainly limits the desire to randomly try new comics on the stands, which we used to do whenever we had a spare 12 cents.

O’Shea: The book does an incredible job of telling folks where many of the Silver Age stories are reprinted, plus thanks to DC Archives as well as Marvel Masterworks and Essentials, many of the books are now affordable.

Shutt: I really tried not to tell any more about stories than I needed to tell to make my point within the theme of the essay. That way, readers who are intrigued or excited by the ideas can read the rest of the story by picking up the comics. I tried to list every reprint source I could, to emphasize to readers that this isn’t old, ancient history locked away in collectors’ vaults but is readily available to dig into right now. And, as you note, Marvel and DC have done an amazing job of helping readers find many of these great Silver Age stories in a variety of retail stores. It’s a great time to be a fan who likes reading old comics!

O’Shea: That being said, is there some series you wish would be collected and rereleased that the respective powers that be haven't gotten to yet?

Shutt: There are two Archives that I think stand out: Superboy and Sugar & Spike. I thought at one time that a Superboy Archive was on its way, but it’s apparently been put on hold. And DC stuck their toe in the water by doing a facsimile edition of S&S #1, but I think it would make a terrific Archive. It would appeal to a lot of the crowd that already buys the Archives plus a wider audience, as well. And Sheldon Mayer’s work on it was unique.

I’d also love to see a complete collection of Herbie in some form, and collections of John Stanley’s non-Lulu work. A Magnus collection would be excellent. The collections done by DC and Marvel have been phenomenal—I never expected to have collections of Black Canary or Ant-Man stories! But now they’ve got me wondering what else might be possible.

The ones I know I probably have no chance of seeing are collections of DC’s licensed properties, like Bob Hope, Jerry Lewis and Dobie Gillis. I really enjoyed those comics, and still enjoy them when I can afford the issues. But I don’t think there’s any chance they’ll be collected—the market is too small and the cost would be too high.

The one that should be most possible that would be interesting is a Brave & Bold Archive, with all those early Silent Knight, Viking Prince and Robin Hood stories. That again might have appeal beyond the old-time super-hero crowd. It would get problematic once it reaches #28 and hits a run of JLA and Hawkman stories reprinted elsewhere, but those could be summed up as they did with stories in the Superman and Legion Archives so it could keep going through Suicide Squad, Cave Carson and into the team-ups.

O’Shea: Which was goofier: Doctor Strange with a mask or Iron Man's armor with a nose? Granted I know the nose on the armor happened in 1974 well after the end of the Silver Age, but I still would love to know your answer.

Shutt: Considering the sad story of Dr. Strange’s mask is in Baby Boomer Comics, I’ll have to go with that one. Sometimes, you just have to scratch your head and wonder what they were thinking. I’m sure the notion was to make him into more of a traditional super-hero to boost sales, but covering his whole face while retaining the name Dr. Strange for both identities seems to only eliminate facial expressions from the artists’ repertoire without providing any benefits. Dr. Strange has never been a huge fan favorite, but that approach wasn’t about to do it, either. Of course, that’s easy to say in hindsight…

O’Shea: Would you say this book is a fun read, even for folks that aren't fond of the Silver Age?

Shutt: Someone isn’t fond of the Silver Age? Are you sure?

The thing about the Silver Age is that it’s the period when many of the characters and events we still read about today began: Reed and Sue got married, Peter met MJ, Wally West got his powers, the power ring came to Earth, etc., etc. Granted, much has changed and many of the events are less important than they used to be. But those comics still represent the beginnings of many of today’s heroes or their histories—and they’re fun stories to read.

I do hear from people who aren’t major Silver Age fans who enjoy reading my column. I like to think that my style adds more than simply giving the history. I try to invoke some of the excitement and fun that fans experienced reading those stories back then, giving readers the perspective of someone who returns to those comics today to find that maybe some of the edges of the silver are more tarnished than we remember. But the wonder and awe still are there, in spades. Certainly, the characters I’m writing about are well familiar to today’s readers, even if the specific events aren’t.

O’Shea: Anything else you care to discuss about the project?

Shutt: I think fans of history-oriented books about comics will be impressed with the production value of this book. It’s lavishly illustrated in color on every page, with panels and covers relating to the commentary and lots of cover shots. It really raises the bar on what a trade paperback for comics fans can look like. The editors put in a lot of time fleshing out the images and material I provided to cram in every cool little bit they possibly could, and the work paid off.

But don’t take my word for it, check it out! In the immortal words of Jack Kirby: “Don’t Ask! Just Buy It!”

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