10 Most Controversial Comic Books of the 1960s, Ranked

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The 1960s were a comparably innocent time for comics. They were still considered little more than children’s entertainment. Marvel’s stories attracted older readers but still told the kinds of stories kids could enjoy. There were few stories that generated any kind of real controversy, at least not like that seen in subsequent decades. But that’s not to say certain topics didn’t stir up debate among readers.

The more innocent era stoked comparably innocent discussions. Who was stronger, Thor or the Hulk? Which of Archie’s love interests did readers like better, Betty or Veronica? Could Green Lantern beat Iron Man if they were ever to face each other? These were the kinds of arguments largely generated by comics. But that’s not to say the decade didn’t have its controversies beyond these kinds of speculative disagreements. And the discussions sometimes went beyond who could defeat whom in a fight.

10

Batman Gives Robin the Slap Seen Around the World

World’s Finest Comics #153 (“The Clash of Cape and Cowl,” DC, 1965)

World’s Finest Comics was the long-running team-up title featuring DC’s two flagship heroes. Issue #153, by Edmond Hamilton and Curt Swan, was an out-of-continuity story. In “The Clash of Cape and Cowl,” young Bruce Wayne mistakenly believes that Superboy is responsible for the murder of his father. When Bruce later becomes Batman, he carries a vendetta against the now-grown Superman. When Batman discovers his father’s killer is actually Lex Luthor, the two heroes unite to face Luthor, who in turn subsequently kills Batman.

The memorable clash, though, wasn’t between Batman and Superman. Instead, it was between Batman and his young sidekick Robin, who tries to stop Batman from pursuing his vendetta. This encounter is when Batman gives Robin the now-infamous slap that has been turned into thousands of internet memes seen across social media over the past 15 years. On the surface, the image of an adult Batman striking the underage Robin was troubling enough. Bruce was a father figure to Dick Grayson, and the panel evoked connations of parental/child abuse. But it was also a microcosm of a deeper issue: the overall relationship between Bruce and Dick, inferred by some as inappropriate. These readers were already troubled by the notion of an adult willingly putting a child in potential danger as a superhero. So they didn’t appreciate the outright abuse shown in this single panel, even if it was part of an “imaginary” story.

9

The Fantastic Four Defeat Galactus – With a Convenient Weapon

Fantastic Four #50 (“The Startling Saga of the Silver Surfer!”, Marvel, 1966)

Stan Lee and Jack Kirby’s Fantastic Four #50 was the concluding chapter of the creative team’s legendary Galactus trilogy. Many readers considered the arc the pinnacle of Lee and Kirby’s landmark run on Marvel’s first superhero title. But some also considered the ending of the trilogy a bit underwhelming. It wasn’t the Fantastic Four who beat Galactus and saved the world, per se. It was, instead, the proverbial cosmic rabbit pulled from a celestial hat. That’s right, Galactus wasn’t even beaten in a fight, but instead by the deus ex machina device known as – the Ultimate Nullifier.

And no one even used it. It was Reed Richards merely brandishing the all-powerful weapon that sent the suddenly fearful Galactus packing. Before that, most of the FF stood around licking their wounds after last issue’s battle with the World Eater. The Watcher, meanwhile, had sent Johnny Storm on a journey deep through the cosmos to retrieve the Nullifier. When Johnny returns, Reed seizes the weapon and points it at Galactus, and the devourer caves. Overall, the scope of Lee and Kirby’s story was epic. But the team’s contrived defeat of such a powerful villain was a comparative disappointment to many. And that defeat came only halfway into the issue. So the “trilogy” was just a two-and-a-half issue arc. The latter half was an extended epilogue setting up future storylines.

8

Marvel Brings Back a Golden Age Hero – Only to Kill Him

Namor the Sub-Mariner #14 (“Burn, Namor, Burn!”, Marvel, 1969)

Captain America, Namor the Sub-Mariner and the original Human Torch were the trinity of Marvel’s Golden Age heroes. By the end of the 1960s, the former two had been fully integrated into Marvel’s then-Modern Age. But the Torch had only been seen once since the ’50s. That is, until the character’s presumed return in Roy Thomas and Marie Severin’s Namor the Sub-Mariner #14. In that story, Namor’s familiar-looking, one-time ally launches an unprovoked attack against him. But Namor quickly learns his flaming attacker is being controlled by the Mad Thinker. His mind control is part of the villain’s latest scheme for world domination.

Only, the former friend who attacked Namor wasn’t the original Human Torch at all. Instead, it was his one-time kid sidekick, the now grown-up and similarly powered Toro. Toro himself only realizes who he is once he breaks through Thinker’s brainwashing. Which doesn’t occur until the issue’s penultimate page. On the final page, Toro heroically sacrifices his life to stop the Thinker’s plan. To recap: Marvel brought back a beloved WWII hero for exactly one issue, didn’t reveal who he truly was until the end, and then killed him. Meaning readers got to see Toro as Toro for exactly one page. The character might not have been among the era’s best-remembered heroes. But Toro deserved better than a fatal, blink-and-you’ll-miss-it return.

7

Lois Lane Hits on Superman’s Kryptonian Father

Superman’s Girl Friend, Lois Lane #59 (“Lois Lane’s Romance with Jor-El,” DC, 1965)

Superman and Lois Lane’s relationship through the decades has been… interesting. Throughout the 1960s, DC devoted a good part of Lois Lane’s titular series to her never-ending but ever-futile pursuit of her dream guy, Superman. In Jerry Siegel and Kurt Schaffenberger’s Superman’s Girl Friend, Lois Lane #59, Lois’ approach this time is to go back in time and save Krypton. After all, what better way to win over a man than to save his home planet? But while there, Lois also decides it would be a good idea to try and flirt with none other than Jor-El, Superman’s birth father. All while Kal-El himself is still a toddler.

So, just like that, Lois borrows a conveniently placed time machine and journeys back to a still-intact Krypton. With her are plans she stole from a scientist that could potentially stop Krypton’s destruction. Jor-El builds the device, but it disappears when Brainiac steals and shrinks the city of Kandor. With her plan foiled, Lois decides she might as well try to romance Jor-El since she’s repeatedly failed to win over Superman. But she wisely decides to return to present-day Earth instead, before Krypton eventually explodes. Siegel’s highly contrived story was typical of such stories back in the day. Not so typical, though, was the troubling notion of Lois so eagerly and selfishly trying to woo Jor-El. A man who was not only her crush’s father, but one who was all but betrothed to Lara already. Issue after issue, the series focused on Lois’s selfish pursuits. But in this one, her selfishness sunk to a new level.

6

Zap Comix Launches the Underground Comix Scene

Zap Comix #1 (Apex Novelties, 1968)

The late 1960s saw the onset of the counter-culture movement. It was at this point when creator R. Crumb self-published his Zap Comix #1. Crumb’s comic is widely considered to be the beginning of the closely associated underground comix scene. Zap Comix #1 was a provocatively unique comic for its time. As such, it wasn’t well-received by everyone who came across it. The comic industry at that point was flying high on do-gooder superheroes, kid-friendly cartoon characters, and the occasional romance and war comics. But Crumb’s comic was nothing like any of those, nor was it supposed to be.

The black-and-white comic was a decidedly alternative take on taboo subjects. And not everyone found it entertaining. Crumb presented topics like racism, sex and crime under a darkly comedic light. Initially, the comic wasn’t widely available. It was later reprinted several times and could be found in non-traditional outlets like record stores and head shops. Zap Comix #1 popularized the “Keep on truckin’” phrase in the ’70s. The image was frequently seen on t-shirts and bumper stickers. Crumb released later issues sporadically. But the title ran for decades and spurred many other comics of its type in subsequent years. Underground comix faded in popularity by the early 1980s. Succeeding them, however, were acclaimed alternative titles like Richard and Wendy Pini’s Elfquest, Dave Sim’s Cerebus the Aardvark, and Art Spiegelman’s Maus.

5

Alfred Pennyworth Makes the Ultimate Sacrifice to Save Batman

Detective Comics #328 (“Gotham Gang Line-Up,” DC, 1964)

Detective Comics #327 ushered in the so-called “new look” for Batman. Aside from Batman’s new yellow oval chest emblem, though, his look wasn’t really any different. It was actually a whole new era for the Dynamic Duo. The creators left behind the cheesy sci-fi backdrops that had often dominated the Batman titles. Instead, Batman returned to his roots as a detective. And renewed his connection to Gotham while focusing more on the crimes plaguing the city. The first issue of the new chapter in Batman’s life was welcoming to most readers.

Not so welcome, though, was the tragedy that concluded Bill Finger and Sheldon Moldoff’s subsequent Detective Comics #328. In that issue, Batman and Robin are facing a conglomerate of mobsters. Meanwhile, Alfred Pennyworth had been doing his own investigation into the gangs. When the mob is about to kill the Dynamic Duo at a construction site, Alfred arrives on the scene. But with no time to warn them, he sacrifices his own life to save theirs. Without a doubt, Alfred’s sacrifice was heroic. But not everyone felt it was necessary. Alfred had played a critical role in Batman’s life throughout most of the character’s existence. Many readers felt Alfred’s death was a sensationalistic ploy to sell the new era of Batman. Two years later, though, DC reversed course and brought Alfred back in Detective Comics #356. The reversal was driven by the popularity of the then-new Batman television series, which featured the character.

4

The Avengers’ First Major Roster Change Was … Odd

The Avengers #16 (“The Old Order Changeth!”, Marvel, 1965)

From the title’s onset, The Avengers were billed as “Earth’s Mightiest Heroes.” In reality, that thinly disguised tagline was but a pseudonym for “Marvel’s Most Popular Characters.” The team’s inaugural roster consisted of heroes who had carried or shared space in their own titles: Thor, Iron Man, the Hulk, Ant-Man and the Wasp. The Avengers was an all-star comic in the same vein as DC’s Justice League of America or Marvel precursor Timely’s own All-Winners Comics. But an Avengers tradition has long been its ever-changing roster. The first such change happened in the very second issue, with the departure of the Hulk. And Marvel resurrected Golden Age hero Captain America to replace him two issues later.

But Stan Lee, Jack Kirby and Dick Ayers really cleaned house in Avengers #16, when everyone but Cap left the team. In their place came Hawkeye, Quicksilver and the Scarlet Witch. Three former villains who were unknown to readers who enjoyed The Avengers exclusively. No longer was the team a collection of Marvel’s most popular characters. Instead, the Avengers were now led by a longtime hero but a newcomer to the team and consisted of characters who had comparatively little previous page time. Many readers were unhappy with the drastic change. These were not Earth’s mightiest heroes. Giant-Man (now Goliath) and the Wasp would return the following year. But save for a guest appearance in Avengers Annual #1, Thor and Iron Man wouldn’t return until much later. Avengers #16 kicked off a controversial era on the title lasting for several years – one not fondly remembered by everyone.

3

Lex Luthor’s Execution of Superman

Superman #149 (“The Death of Superman!”, DC, 1961)

DC was well known throughout the Silver Age for its penchant for telling “imaginary” stories. That is, if the writers thought of a cool story that didn’t fit into continuity, they would just call it imaginary and forge ahead. Arguably, the best known among these is Jerry Siegel and Curt Swan’s Superman #149. The cover proclaimed an “imaginary novel” titled “The Death of Superman!”, and it delivered. Swan’s sensational cover morbidly fascinated kids everywhere, who just had to read a comic where Superman actually dies. Even if it was “fake.”

But it’s not like Superman heroically perishes in battle or gives his life to save one of his friends. No, instead he’s methodically betrayed, captured, tortured and executed by – who else – the criminal he believed had reformed, his archenemy Lex Luthor. Superman doesn’t die fighting a monster in the streets – he instead dies by the hand of another kind of monster entirely. All while mundanely strapped to an execution table in Luthor’s lab. Luthor gleefully subjects him to fatal Kryptonite exposure, gloating the entire time while the Man of Steel turns a sickly green and writhes in agony. Afterwards, Luthor boasts of his triumph to his fellow criminals. In a room adorned with replicated moments of his enemy’s death, no less. Superman #149, frankly, was a ghastly and mean-spirited story. One that undoubtedly horrified younger children who happened upon it. Future stories featuring the death of Superman would at least give the Man of Steel somewhat more meaningful sendoffs.

2

Professor X Reveals He Loves His Student, Jean Grey

X-Men #3 (“Beware of The Blob!”, Marvel, 1963)

The X-Men were still in their formative days come Stan Lee and Jack Kirby’s X-Men #3. Lee and Kirby were still establishing dynamics between the characters, with the addition of recent student Jean Grey. But in this issue, the creative team also threw in a seemingly throwaway but rather surprising and disturbing revelation into the mix. Heading off on a mission, Charles Xavier tells Jean to be careful. And then, in his thoughts, he professes his love towards her.

It’s not like Charles made his thoughts known to the team or ever acted on them. And his feelings, thankfully, were never mentioned again throughout that era of the title. Perhaps realizing the revelation was a bad idea, Lee wisely dropped the plot thread. But the ugly idea never really went away. Over a decade later, Chris Claremont and Dave Cockrum’s X-Men #101 tried to put the genie back in the bottle for good. In the story, Charles describes Jean as only someone he “thought” he loved. Two decades later, the psionic entity Onslaught revealed Charles’ original thoughts to Jean in Mark Waid and Andy Kubert’s X-Men (2nd Series) #53. The original story that started the whole idea was titled “Beware the Blob.” But from the beginning, it wasn’t the Blob Jean had to be wary of.

1

The New Wonder Woman Wasn’t So Wonderful

Wonder Woman #178 (“Wonder Woman’s Rival,” DC, 1968)

Times were changing, and in 1968, DC decided it was time for Wonder Woman to change, too. Abandoning the star-spangled costume the character had worn for over 25 years, DC attempted to give Diana Prince a more modern look. The changes began in Wonder Woman #178 by Denny O’Neil and Mike Sekowsky. In the following issue, she gives up not only her costume but her powers when the Amazons decide to leave Earth. This ushered in a wildly different era for Diana, who learned martial arts to compensate for the loss of her powers.

The era wasn’t exactly universally acclaimed. The character’s iconic trappings – her invisible plane, lasso of truth, and deflecting bracelets – were gone. In their place was an unfamiliar and ill-fitting new status quo. There was no denying that the character had needed a boost. And Wonder Woman was reinvigorated, more than once, decades later. DC’s first attempt at reinventing Diana Prince only succeeded in taking away what longtime readers enjoyed about the character. The publisher wasn’t really fixing Wonder Woman as much as just trying something new to see if it stuck. It did, for four long years, but it never really worked. So in 1972, DC restored Wonder Woman’s powers and costume, and for better or worse, put the franchise back where it had been. And essentially acknowledging one of comics’ biggest missteps of the decade.

“}]] Debates about comics in the 60s went beyond the likes of whether Superman could beat Galactus or who the strongest Avengers were.  Read More