What comic book fans of the 70s obsessed about

Way back in March of 1970 the comic book everyone was talking about was Iron Man #23. The reason all the Marvel aficionados were abuzz was due to the unusual printing format of the issue itself. Upon picking up the magazine of the spinner rack at the local 7-11 many Iron Fans were stunned that there was no real splash or title page to the issue. We all said What The..? Within days all the cool kids were talking about it and without a steady stream of info from the internet that exists today we had to resort to speculation, anger, threats and yes, even some tears as frustration set in.
What was odd about Iron Man #23 was that it appears the splash page, that first introductory full page panel that grabs your attention and sets the scene for thrills and excitement to follow, was used for the cover itself! In the two page spread above one can see that the story begins on the cover! It didn't seemed to have been originally planned that way as the credits seem rather perfunctory and placed more in mind for the little space available than giving full creator credits like most issues. Pretty unusual for the day indeed and what was even more odd that the cover is not artistically disconnected from the interior story! As all Marvel fans know each cover of their magazines that does not exactly match up to the story is not false or misleading advertising. No! It is actually a snapshot of an alternate and wholly separate Marvel reality!

When you think about it (and I do) Iron Man #23 is probably the only comic book published by Marvel where the cover is actually a part of the 616 multiverse! Minds were blown. Not right then, though. That happened years later, when the 616 universe began to be explored and fully realized. But comic book fans have the amazing ability to obsess upon and recall even the tiniest and most insignificant occurrence. So when the Marvel multiverse began to receive full saturation over the various titles many fans did indeed lose their crap when they remembered Iron Man #23.

One wonders what occurred that caused the planned cover for Iron Man #23 to have been replaced by the splash page. Lost in the mail? The Dreaded Deadline Doom? Screw up? We may never know. But Marvel made up for it later in that very same issue with this full pager by George Tuska, Mike Gaudioso (aka Esposito) and letterer Jean Izzo. The colorist is uncredited and that's a shame because it was a pretty good effort.

Pretty neat, huh? This page would have made a great Third Eye poster like those funky Doctor Strange ones!

Light a candle rather than curse the darkness

In a previous entry I linked to an example of the Dark Halo, the extinct video artifact caused by the limitations of the equipment of a bygone television age. While the Jimmy Dean video had some good music and was a fine example of the unique lens flare it is this Boing Boing segment showing a candle burning on the old Mr. Wizard television science show that demonstrates the Dark Halo perfectly.

Show it to your kids so they know how bad we actually had it and tell them to stop whining about how their computers are not powerful enough to play Goldeneye when chatting on the Tweeters at the same time.

The Dark Halo

I may be the only one to ever comment on an extinct video artifact; that of the Dark Halo, a unique lens flare common to early television. There were a number of limitations to such new and expensive means of communication and for decades the promising technology was unable to fulfill its full potential as a medium. It was, in spite of its advanced nature, a fairly simple means of communication and it would take years of development and the anticipation of market penetration to work out all the bugs.

Early television worked but it didn't work all that great. Static, ghosts and other problems caused by transmission, reception and the limits of the equipment made television viewing something of a general disappointment. Television wasn't the slick eye-party of modern times. The questionable quality was endured because that was all there was. It was the transmission of the information, not the experience, that made broadcast television worthwhile in the early days.

One of those artifacts of broadcast television of days long gone that surely caused concern among broadcasters was the Dark Halo. I'm sure there is a technical term for it but I don't know what it is. The Dark Halo was a lens flare caused by the inability of the camera or equipment to fully process the image against an overwhelming light source. It was caused by a bright point of light reflecting into the camera. Typically a bright, intense reflection from a ring, piece of metal, glass or sequins on a dress or suit would cause a bright flare on the image. Instead of a bright, white glow and haze the equipment would instead create a momentary darkened halo around a bright center. In modern film craft the bright lens flare is a camera technique used on purpose for effect (Star Trek, CSI, etc.) but in the past it was an annoyance that highlighted the limits of technology.

Via boingboing. Click the photo to experience the caveman days of television for yourself.

In the image/link above a Dark Halo can be seen on the sparkly jacket worn by Buck Owens just above his hand on the guitar neck. For performers like Buck who wore 'nudie suits' and the slinky sequined dresses favored by female stars like Barbara Streisand during their television performances the Dark Halo was a constant and familiar presence for the viewer. It was also nearly restricted to the black and white era. By the time color began to appear in television the image processing difficulties were being overcome for the most part, though on many shows one
can still observe the occasional Dark Halo flare overwhelm the equipment. This is evident from the reflections seen coming from from the jewels on Cinderella's crown in the 1965 broadcast of Rodgers and Hammersteins' Cinderella.

The Dark Halo is also something I look for when a modern show recreates television scenes of the past as I am nerdy that way. These are normally depicted during scene on a camera or monitor as a black and white image that is in the foreground of a set (as in the film That Thing You Do). In those rare instances I have yet to see any show faithfully recreate the darkened lens flare or other video artifacts with the exception of poorly rendered lettering or titles superimposed on the image.

Shock and Oa

Here is some comic book trivia to impress your friends with: In the 1960s revival of Green Lantern, the character that helped usher in the Silver Age of Comics the author of the series (Presumably John Broome) named the planet headquarters of the Green Lantern Corps as Oa, which is situated at the center of the fictional DC universe.

Why John Broome chose that combination rather than make up a silly alien barely-pronounceable word can only be speculated but it is likely that the name of Oa was created by placing together the number Zero and the letter A, with the number and letter being pronounced in the long form as "Oh-Ah".

This was probably no accident. The name is derived from the physical coordinates of the planet, being at the center of the universe, that of Zero/A. It's really clever and obvious on the part of the creative team and I feel embarrassed to realize that if I ever read about or figured out the origin of the name of the planet before this I subsequently forgot all about it.

It all makes sense now

Noticed this for the first time today in the credits for Season 3 of the 70s television show Land of the Lost.

The actor who portrayed the troublesome leader of the militant and hostile Sleestak in Land of the Lost is named Jon Locke. On the show LOST the likewise problematic new leader of the Others is named John Locke.

Coincidence?

Sure. I think the final season will be one big reveal culminating in the Marshall family leading the survivors home.