I have a particular fondness for DC Silver Age Comics, and I think that part of my affection for that era of DC comics is related to the infamous “Go-Go Checks”. For those who don’t know, the GGC’s were a horizontal strip of black and white checkerboard, and were a feature of the cover of all DC comics published from early 1966 through mid 1967.  Apparently their purpose was to make the comics seem more hip, and align with the mod culture which was popular at the time. They were placed at the top of the cover so that they might be seen even if they were behind other books on the newsstand. This was probably the first, rather clumsy attempt to stand out and compete with the upstart Marvel, which was rapidly gaining market share from DC at the time. Apparently a lot of readers thought they were ugly, gimmicky, and detracted from the artwork. Likely for that reason, they only lasted for about a year and a half. 

Even though they were unpopular with most fans, years later I came to love the GGC’s. It was a few years after I started collecting, and the reason was that my best friend and comic book buddy Barry had come by a large collection of silver age comics, many of which were DC comics with the GGC’s. He came by them in a dream scenario. He told me: “One day my dad came home from work and told me he wanted me to meet someone. We got in the car and drove to a nondescript house. My dad introduced me to a friendly older man, and he told us to meet him in his garage. He pulled out 2 or 3 fairly large boxes, and they were full of silver age comics in great condition. Dad asked if I was interested in the books and I said yes. He asked which ones and I said all of them!! The guy ended up selling them to me for a nickel apiece! I said thank you so many times it was almost embarrassing.” 

My friend’s good fortune ended up being mine as well, because now I had access to a treasure trove of books I had never seen before. There was definitely something to DC’s GGC marketing, because I immediately gravitated to those books  — they were the ones I wanted to read. I don’t know exactly how many there were in that collection, but I would guess at least 70 or 80, and I read them all. That era of DC was full of cheesy, gimmicky stories that were very different than the Bronze Age Marvel and DC books that I had been reading at the time. Imaginary stories, lots of gorillas and monkeys on the covers, and contrived twist endings to the stories were staples in those books, and I loved it all. Superman’s Pal Jimmy Olsen was the one that had more of those features than almost any other, and it became a particular favorite of mine. I eventually started collecting silver age DC’s myself, although unklike the other comics I collected, I always looked for books in rough condition with a bargain price. The books with GGC’s on it were ones I sought above all others.

As you can probably tell from the sample covers above, the stories were silly and unsophisticated, but that was what I loved about them. I enjoyed them in the same way I enjoyed reruns of the Batman TV show with Adam West: I knew they were ridiculous but I felt like I was in on the joke. The more absurd the premise, the more I liked it. And if there was a GGC on the cover, you could count on finding a story that fit that bill. 

Jeff Mara

In the 1970s, few comic book publications captured the spirit of the time quite like F.O.O.M., short for Friends of Ol’ Marvel. Launched in 1973, F.O.O.M. served as Marvel Comics’ official fan magazine, offering readers a unique blend of insider access, original content, and direct engagement with the Marvel Bullpen. Though it only ran for 22 issues across five years, the magazine remains a beloved piece of comic book history.

F.O.O.M. was born during a time when comic book fandom was becoming increasingly organized and enthusiastic. Marvel had previously experimented with fan clubs—like The Merry Marvel Marching Society in the 1960s—but F.O.O.M. marked a more ambitious and polished approach. Overseen initially by legendary artist and graphic designer Jim Steranko, with Marvel pioneer Roy Thomas as consulting editor, the first issue featured a striking wraparound Avengers cover and a bold, modern layout that stood apart from other fan publications of the day. Steranko’s influence on the early issues was obvious just by looking at the covers. His involvement set the tone for what F.O.O.M. would become: a dynamic blend of editorial content, character spotlights, fan-submitted art, and previews of upcoming Marvel stories. Even though Steranko left after issue #4, his influence persisted after his departure.  Each issue offered fans a glimpse behind the scenes at Marvel’s creative process, with interviews of writers and artists, features on classic characters, and even sneak peeks at unreleased titles. 

F.O.O.M. also became an important place for fans to communicate with each other. In a time before the internet, it was one of the few official channels where fans could interact with Marvel in print. Through letters, contests, and published fan art, readers found themselves woven into the Marvel narrative in a way that felt personal and participatory. In fact, issue #3 included a contest inviting readers to create their own original Marvel character. Among the hundreds of entries was a submission from future industry legend John Byrne, long before his memorable and influential runs on two of Marvel’s most popular books, X-Men and Fantastic Four.

I remember being aware of the magazine when I first started collecting in the mid-’70’s, but I couldn’t afford a subscription, so it wasn’t until many years later that I got my first issue: #4, with an understated but pretty awesome Dr. Doom cover. I’ve also included a few photos of interior articles, including one about Steranko himself.

Though the magazine experienced editorial shifts and irregular release schedules, it remained popular until its final issue in 1978. Changing market trends, along with Marvel’s growing focus on licensing and merchandise, eventually led to F.O.O.M.’s quiet cancellation. It would eventually be replaced by Marvel Age in 1983, but it just wasn’t the same. That was a comic book, not a magazine, and it lacked the cool 1970’s, more personal vibe.

Despite its relatively short run, the impact of F.O.O.M. can still be felt 50 years later. It really was at the start of organized fan culture on a national scale, without which there couldn’t have been the current environment with millions of fans worldwide connected by the internet and their love for the medium. In fact, in 2017 Marvel revived the F.O.O.M. name for a special-edition magazine released at San Diego Comic-Con, acknowledging the publication’s place in Marvel history.

F.O.O.M. wasn’t just a fan magazine—it was a time capsule of one of Marvel’s most creative eras. For many readers, it was the first real invitation to become part of the Marvel Universe.

Jeff Mara

May 4, 2025

Happy Star Wars Day! I thought this would be a good opportunity to post a little something about everyone’s (well, almost everyone’s) favorite movie franchise. The original Star Wars movie was released on my 10th birthday in 1977; I was the perfect age to fall in love with it when it hit theaters for the first time. Although it took me a few weeks after it was released for me to become aware of it, once I did see it, I was blown away. In fact, since I had started collecting comics less than a year before, I first became aware of the movie because of the comic book tie in by Roy Thomas and Howard Chaykin.

After seeing the movie, I was crazy for any Star Wars content I could find. Two particular favorites were the Topps trading cards (after buying countless packs, I eventually got a full set) and the Kenner action figures. My younger brother was an equally rabid fan, and over the next several months, between birthdays, Christmas, and what little spending money we had, we were able to collect all 12 of the original figures released. This was very important to us, because on the package of each figure was a proof of purchase token, and an offer: send in 12 proofs of purchase (one from each of the 12) and you would receive a display stand for the figures. Once it arrived, we did bicker occasionally about whose turn it was to have the display with the figures in their room, but we knew we couldn’t have gotten the stand without the other brother’s help, so it was not as contentious as it could have been. Luckily for me, my brother no longer cares about such things and is not a collector, so I have “inherited” the full set.

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Click on the link above to see a close up video. The stand and all of the figures above are the ones from my childhood, although the cardboard back with the X-Wing and Tie Fighter battle is a reproduction I bought on eBay (the original was destroyed many years ago). The stand even has levers which rotate the figures on their base, which I thought was a cool touch. Many of the accessories are missing, and their condition is not great, but this piece still has a prominent place in my office. Every time I see it it makes me smile, remembering how amazing the movie was for the time, and how much my 10 year old self loved it.

May the Fourth Be with You!

Jeff Mara

A Look Back at Grips and the Indie Comic Scene of Summer 1986

During the summer of 1986, Grips by SilverWolf Comics hit the shelves—a gritty, stylized indie title that left a lasting impression on me. With compelling artwork by Tim Vigil and a story written by Kris Silver, Grips quickly became one of my favorite books of the era. It had everything that defined the indie comic boom of the mid-80s: raw energy, mature themes, and that elusive underground aesthetic that set it apart from mainstream titles.

Around that time, the comics community was buzzing, thanks in part to the breakout success of a certain black-and-white book about four ninja turtles. This momentum encouraged many collectors to start paying attention to small-press releases. Indie titles often had limited print runs, were printed with dark or black covers (making them difficult to find in high grades), and explored edgier content. Grips was no exception—it was intense and graphic, especially for my high school freshman self.

The interiors of issue #1 were unforgettable. I can still recall the shock and awe I felt as I turned the pages and witnessed Grips—a hyper-violent vigilante—slice off the arms of two drug dealers in the middle of a shady briefcase exchange. Imagine Daredevil with enhanced vision, Wolverine’s claws swapped out for blades (complete with built-in pistols), and a brutal sense of justice. That was Grips.

I was living in Northern California then, and my local comic shop, the Land of Nevawuz, fed my growing appetite for indie comics. SilverWolf Comics was based just about 100 miles away in Sacramento, making the connection feel even more local and personal. I remember ordering a print portfolio advertised in the back of issue #1. A few weeks later, I received five Tim Vigil prints, carefully mailed in a cardboard-backed envelope—something I still remember vividly.

Over the past decade, I’ve had the chance to meet Tim Vigil at two comic conventions in Florida. The first time was unexpected; I hadn’t known he’d be attending, and the only book I could find for him to sign was a copy of Zombie ’68. He was incredibly kind—he not only signed the book but also sketched a detailed zombie head on the spot. At a later show, I commissioned a three-quarter figure zombie sketch on a blank cover for $60, and the result was fantastic. He also signed all my books and prints, free of charge, during a 2016 appearance.

While Vigil’s later work, particularly on Faust, veered into darker territory than I typically enjoy, he remains one of my favorite artists. His work on Grips, along with the unique charm of SilverWolf Comics and that unforgettable summer of 1986, continues to hold a special place in my heart.

Rob Pillsbury

Happy Friday! For this installment of “From the Collection of…” I thought I would share the two issues that started my Fantastic Four collection, numbers 161 and 177. Number 161 was a birthday present for my 8th birthday, and I’m sure the only reason my mother bought it for me is that it had a dinosaur on the cover (like most kids that age, I LOVED dinosaurs). I had never heard of the Fantastic Four, so it certainly wasn’t that. The story itself was not a good jumping on point for a new and inexperienced reader, with a complicated storyline involving multiple dimensions, but I was fascinated by the characters and the dynamic art. I had read comics before, mostly Casper and Spooky from Harvey Comics and Archie and Jughead et al; this was the first exposure I can remember to superhero comics.

The collecting bug didn’t hit me immediately, but a little over a year later I became friends with someone in my 4th grade class who was an actual collector of comic books, and I was hooked the minute I went to his house and he showed me his collection. The year was 1976, and the next day he took me to a local supermarket where he bought his new comics. It was there that I bought the latest issue of the Fantastic Four, wanting to read more about the characters I had discovered on that birthday. That issue had a Jack Kirby cover and interior art by George Perez and Joe Sinnott, and that was all it took. I’ve been buying Fantastic Four every month ever since (not counting the 2015-2018 hiatus, of course).

As you can probably see, both issues are a bit rough. A lot of the wear and tear can be attributed to the fact that I re-read them countless times, copied many panels with Silly Putty, and that at that time bags and boards were not readily available. However, that’s not the whole story. In 1977 my family went to Florida for spring break, and in fact we came to Sarasota, where I would eventually move in 2015 and where I currently live. In those days, we had a pop-up trailer, so my family piled into our station wagon, pulling the trailer behind, and we stayed for the vacation in the Sarasota KOA Kampground. At that time I couldn’t bear to be without my comics, so I packed my very small collection into the car with me. They stayed in the car during the two weeks we were there, which was unfortunate, since our car CAUGHT ON FIRE. We never did find out why it happened, some problem with the electrical system of the car was the fire department’s best guess. All I know is I was walking back to our campsite from the pool one afternoon when we heard fire trucks, and when I got there I found firefighters dousing our car with firehoses. Needless to say, my parents were rather annoyed that my only concern was whether or not my comics could be saved (answer: they could, although not without some water damage). In the years since, I have replaced them with upgraded copies, but thankfully I never got rid of the originals, beat up though they are. In fact, I decided that these issues would be the first two comics I would slab with our new company. Sentimentality is the only reason to do so, because they certainly are not valuable, but isn’t that what collecting is all about? Collect what you love.

Jeff Mara

Happy Birthday, Superman!

Eighty-seven years ago todayAction Comics #1 hit newsstands with a June 1938 cover date. Created by Jerry Siegel and Joe Shuster, that issue introduced the world to Superman—the very first comic book superhero—and marked the beginning of the Golden Age of comics.

Superman’s debut was revolutionary. Overnight, publishers across the industry were urging their writers and artists to create their own Superman-like heroes. Interestingly, the original concept that Siegel & Shuster had for Superman was quite different—he was envisioned as a bald, mad scientist villain. Thankfully, Siegel and Shuster reimagined him as a champion for good rather than evil.

Over the decades, Superman has undergone countless transformations. His iconic “S” shield has seen many redesigns, and his costume has evolved with the times. He’s died and returned, rocked a mullet, become an energy-based being, gotten married, had a son, adopted a super-powered dog, and faced off against alternate, often bizarre, versions of himself. Through it all, he remains the definitive symbol of good in the superhero genre.

No other hero embodies the essence of righteousness quite like Superman. As a founding member of the Justice League, he protects not only the United States but the entire planet from threats large and small. He is as American as apple pie, baseball, and Coca-Cola—a timeless icon.

What Does Superman Mean to Me?

By Rob Pillsbury

I was six years old when Superman: The Movie (1978) premiered. I remember the excitement, the hype—it was everywhere. I also remember sitting in the theater and feeling bored out of my mind (hey, six-year-old attention spans are tough). Star Wars had come out the year before, and I was craving action, not origin stories.

But Superman II? Now that was more my speed. Christopher Reeve will always be my Superman. He looked the part more than anyone else who’s played the role—no padded muscles, just classic tights and a commanding presence. He was an incredible Clark Kent too: kind, humble, and quietly strong. Clark’s meekness—strength under control—is something to admire. He’s a peacekeeper, and the world could use more of those.

As for comics, my favorite Superman artist has to be John Byrne. Growing up in the mid-80s, Byrne’s Man of Steel and Krypton series were must-reads. While Joe Shuster will always be the original and the best, Byrne truly defined Superman for me and my generation. He was the king of the ’80s in my eyes.

Above is one of the coolest items in my collection: this newspaper Sunday strip signed by Jerry Siegel and Joe Shuster. In honor of The Man of Steel’s birthday, I thought I’d feature this entry into our ongoing “From the Collection of….” blog series. Hope you enjoy seeing it!

Happy Easter—and happy 87th, Supes!

Rob Pillsbury