There’s a #fourcomics hashtag currently trending on Twitter where participants post cover images of a quartet of funnybooks which have influenced them in some way.
Above are my four, therapy reposted here because I’m too distracted by car issues to think of anything else to write about today.
UFO & Outer Space #14 (June 1978) was the first funnybook I can specifically remember owning. It’s a bunch of pseudo-science bullshit dredged up from Gold Key’s previous UFO Flying Saucers series and repackaged to cash in on the Close Encounters mania.
Zot! #28 (September 1989) was marked the beginning of the “Earth Stories” arc, and where creator Scott McCloud shelved the action-adventure aspects of the series in favor of vignettes centering around the daily lives of the principal and supporting characters.
In hindsight, buy viagra there’s a strong “Afterschool Special” vibe to the arc, but there was nothing else quite like it at the time — a thoughtful, beautifully illustrated exploration of adolescence which uncannily jibed with my own experiences in 1989.
Captain Marvel Adventures #100 (September 1949) – One of the earliest — if not THE earliest — examples of marking a numbering milestone with a full-length funnybook epic. It is everything a superhero story ought to be — well-illustrated, entertaining, and crammed from start-to-finish with improbable escapism (and Mr. Talky Tawny). It’s everything people think Silver Age Superman stories were like, only better.
I first experienced it through one of DC’s “oversized treasury editions,” which instilled a genuine affection for the old Captain Marvel material which has endured to the present day.
Baker Street #7 (1990) – I was initially wary of the series when I noticed an issue on a spinner rack at Newbury Comics. “Great, another jerk trying to bite on the punk scene.”
My puritanical punk paranoia was dispelled when I picked up this issue (along with the rest of the series to date) at one of the many here-and-gone comic shops which popped up in Boston during the early 1990s. Its mash-up of Holmesian London and UK82 seediness might not have been pleasant, but it was certainly more interesting than the moribund real world punk scene I inhabited.