Probably the Siegel & Shuster Superman stories. I haven't delved too deeply into Golden Age comics.
"Love is patient; love is kind; love is not envious or boastful or arrogant or rude. It does not insist on its own way; it is not irritable or resentful; it does not rejoice in wrongdoing, but rejoices in the truth. It bears all things, believes all things, hopes all things, endures all things. Love never ends."
Since researching my book, my list of favorite Golden Age titles has changed significantly. it now includes Daredevil Comics and Boy Comics (both Gleason), Supersnipe Comics (Street & Smith), Fairy Tale Parade (Dell), Hopalong Cassidy (Fawcett), Jingle Jangle Comics (Eastern Color), Prize Comics (Crestwood), Big Shot (Columbia), and Joker Comics (Timely) in addition to such long-time faves as Walt Disney's Comics & Stories (Dell), Captain Marvel Adventures (Fawcett), Batman (DC), All-Star Comics (All-American), and anything by Walt Kelly or Simon & Kirby. My experience has been that the era's best comics fall outside the super-hero genre and tend to be aimed at younger readers.
I don't have any Golden Age comics other than some reprints. I do have the Treasury edition of Golden Age Flash comics #1. Some AC comics western reprints of Tom Mix, Roy Rogers, Bob Steele and The Durango Kid. and various Marvel Westerns of Kid Colt, Rawhide Kid and Two-Gun kid printed during the 60's/70;s which are reprints of the 40's/50's. Love me those Westerns! And my recent foray into Walt Kelly reprints.
Last Edit: Aug 12, 2019 8:13:07 GMT -5 by brutalis
Gimme a home on the ol' prairie where I can sit in my rockin' chair reading my favorite old comic books of yesteryear!
Post by M. W. Gallaher on Aug 12, 2019 8:28:58 GMT -5
I read a lot of public domain Golden Age comics online, and I'm mostly drawn to the more bizarre series where absolutely bonkers ideas inexplicably found their way into print. Things like the Sorceress of Zoom, from Fox's Weird Comics, a malicious (usually) queen of a city that materializes in a flying cloud, and who transforms one of her enemies into a fire hydrant. Or The Hand, from Harvey's Speed Comics, a (sometimes) giant hand apparently unconnected to a body (except when it is suggested that it really is connected to an invisible man). Or Zanzibar, from Fox's Mystery Men Comics (and elsewhere), a fez-wearing magician who appeared in abrupt, outlandish 4-pagers. Or Sgt. Spook from Novelty's Blue Bolt, initially a Spectre-like ghost crimefighter who later started acting as the police force for a town full of ghosts! And good ol' Fantoma and Stardust the Super Wizard from Fiction House, the insane creations of the legendary Fletcher Hanks.
In the more conventional superhero realm, I get a big kick out of the early installments of The Atom from All-American Comics. Despite the crude art, these are actually quite engaging little tales.
Early Detective Comics: When Batman was still himself, and not turned into another hero more for brand than character, which would happen soon enough in the 40s.
Captain America: Many tend to forget that the wartime Cap comic was quite serious and brutal, even when he (and Bucky) were not fighting the Axis powers. Like early Superman, who had his dark moments of actually thinking some villains "had it coming to them," this Cap was not going to moralize over the worst of the worst.
A good number of EC's line: Shock SuspenStories, MAD, Tales from the Crypt, Weird Fantasy, The Vault of Horror, Weird Science-Fantasy, Two-Fisted Tales, etc. Arguably the strongest, most consistent volume of company output of any Golden Age publisher, and that's without even going into their deep well of talents which made that possible.
Dell's Four Color: A catch-all of great artists and licensed characters from nearly every source. Their endless film & TV adaptations that would set the stage for bigger companies (eventually) all trying their hand at that special category of comic, although rarely with the same level of care or appeal.
Barks duck stories. Superhero-wise, Siegel and Bailey's Spectre. The Golden Age is definitely my biggest blind spot as a comic enthusiast. I'd spend more time delving into it if there wasn't so much amazing stuff from other eras constantly calling my attention.
The Golden Age is definitely my biggest blind spot as a comic enthusiast.
For me alone, both Golden and Silver Age of Comics are my two biggest eras of Comic Book History ... I'm not a fan of the Bronze Age and above. Earlier the better.
The reason for that I was working from 1980 to 2007 and rarely look at Comic Books during that time frame. After 2007 ... I spent most of my time with Dynamite Comics because DC and Marvel did not hold me any interest at all.
For the record, I'm reading only DC Archives and Marvel Masterworks and have over 100 plus of these volumes to my disposal.
Post by beccabear67 on Aug 12, 2019 12:01:10 GMT -5
I'm more into certain artists before anything else, then character and last the company. For me the highlights of the golden age in no particular would be Mac Raboy Captain Marvel Jr., George Evans on Fiction House (Lost World and Tiger Man) and E.C. comics, Matt Baker and Joe Kubert at St. John, '40s Donald Duck and Bugs Bunny Dells, and Pogo (pre-political), Frank Frazetta and Bob Powell at M.E. (and Frazetta covers on Famous Funnies). Fran Hopper Camilla and Gale Allen for Fiction House's Jungle and Planet Comics, anything by Maurice Whitman (Ghost Squadron in Wings Comics), Kurt Schaffenberger Marvel Family, Bill Everett Sub-Mariner (and Namora), The Alex 'Xela' Schomburg airbrush covers for Standard/Better, Wally Wood and Joe Orlando at Fox, Avon and E.C., and Kurtzman at Marvel (various 1 pagers)and E.C., Basil Wolverton at Marvel and Fawcett (Space Hawk, Powerhouse Pepper and various 1 and 1/2 pagers), Alex Toth Green Lantern, Sheldon Moldoff Hawkman, Joe Shuster Superman and Slam Bradley, Jack Cole Plastic Man, anything by Lou Fine, Al Willamson E.C., the lone Kewpies comic Will Eisner published, Reed Crandall on Doll Man and Blackhawk.
I'm more into certain artists before anything else, then character and last the company....
I'd probably go artist, company, character. I'm pretty content looking at nice pages by Meskin, Fine, Baker, etc. out of context. I'd like to read the post war Spirits I've missed, and more Plas and Midnight by Cole, but I don't think I'd get anything more out of reading, say, a hundred Crandall Blackhawk stories than I got out of the half-dozen or so I've seen. But, except for some favorites, I can get along with a sampling of full stories.
The exception is probably Charles Biro: ever since I read an article about him in Bill Spicer's Fanfare, I've wanted to do a deep dive into Boy and Daredevil, but haven't seen any "popular price" reprints.
“If you’re not good enough to be a cartoonist, maybe you can be an artist." --S. Clay Wilson