As I related on this blog back at the top of the month, in the summer of 1971 my young teenage self finally dared to dip a toe into the waters of the (allegedly) more mature comic book content represented by the black-and-white output of Warren Publishing. But as daunted as I might have been by the prospect of encountering more gore and violence than my tender sensibilities were at that time accustomed to within the pages of Warren’s Eerie or Creepy, I’m certain that I experienced even greater trepidation regarding my decision as to whether or not I should purchase the magazine that’s the primary topic of today’s post. Because, in addition to the same more generous amounts of violence and gore offered by its fellow Warren publications, Vampirella also appeared to promise a more substantial serving of sex. Read More
As regular readers will recall, we’ve begun the last two Marvel-focused posts on this blog with excerpts from the Bulletin Bulletins page that ran in the company’s comics published in July, 1971 — and we see no reason to break that run with this installment. Especially since the very next Bulletin following those we’ve already shared is specifically about the subject of today’s post.
Coming after a Roy Thomas editorial and “ITEM!” that dealt with Lee’s decision to take a brief sabbatical from comics writing (and what that meant for the series he usually scripted, such as Amazing Spider-Man) — and directly preceded by another item announcing the move of several Marvel titles (including Conan the Barbarian) to a larger, 25-cent format — this Bulletin caught the attention of readers (well, this particular fourteen-year-old reader, at any rate) with a graphic by Gene Colan and Tom Palmer from Doctor Strange #180, featuring that book’s titular star — a hero who, in the wake of the cancellation of his series with issue #183, had been conspicuous by his absence from the Marvel Universe ever since a late-1969 guest appearance in Incredible Hulk which had effectively retired the character: Read More
One week ago, in our post about Amazing Spider-Man #101, we shared the two lead items from the Marvel Bullpen Bulletins page that ran in that issue (as well as in other Marvel comics shipping in July, 1971), which explained how, due to editor Stan Lee taking a couple of weeks off his comics-scripting duties to work on a screenplay, other writers would be temporarily stepping in to handle his titles.
But Stan’s sabbatical wasn’t the only big news out of Marvel that month, as was indicated by the very next Bulletin: Read More
July, 1971 brought DC Comics fans the second half of the year’s Justice League-Justice Society team-up (the ninth such event since the institution of the annual summer tradition in 1963). Like the first half, it was produced by the regular JLA creative team of Mike Friedrich (writer), Dick Dillin (penciller), and Joe Giella (inker). And, as you might expect, it began with a recap — though in this case, a bit more time and space were spent recapping the basic concept of the inter-dimensional assemblage of superheroes than the specific events of the story’s opening chapter: Read More
As we’ve discussed in previous posts on this blog, the year 1971 brought the first significant revisions to the American comic book industry’s self-regulating mechanism, the Comics Code Authority, since its establishment in 1954. Among the most important changes made to the Code in that year was the relaxing of restrictions on the depiction of certain sorts of imaginary creatures; or, as a newly added statement read: “Vampires, ghouls and werewolves shall be permitted to be used when handled in the classic tradition such as Frankenstein, Dracula, and other high calibre literary works…” Read More
When I was nine years old, I fell in love with a superheroine whose unlikely name — a name that still brings a wince of lust and embarrassment to my face when I say it — was Barda. Big Barda. I have never recovered, thank God, from my first sight of her, in Mister Miracle #8 (September 1972). — Michael Chabon, “A Woman of Valor”, 2004.
Your humble blogger’s own first meeting with Big Barda came four issues earlier than did that of the Pulitzer Prize-winning author of The Amazing Adventures of Kavalier & Clay; and I was fourteen years old at the time, not nine. Nevertheless, I can definitely relate. Read More
With this issue of Superman, the story arc begun eight months earlier in the iconic #233 (“Kryptonite Nevermore!”) came to a close — and the revamp of the Man of Steel inaugurated in that issue by writer Denny O’Neil and editor Julius Schwartz was at last complete. But before we dive into issue #242’s “The Ultimate Battle!”, written by O’Neil and illustrated by his usual artistic collaborators, Curt Swan (penciller) and Murphy Anderson (inker), we’ll need to back up one month to take a look at issue #241’s “The Shape of Fear!”, by the same creative team — which not only leads right into #242’s concluding chapter of the “Sand-Superman saga”, but also follows directly from the previous chapter in issue #240 — which, of course, also happens to be the last issue we posted about on this blog.
As you may recall, that installment had ended with a moment of great personal triumph for Superman, who, though his powers had been thoroughly leeched from him by his mysterious sandy duplicate, had yet managed to save both himself and I-Ching (the mentor of Diana Prince, as seen regularly in Wonder Woman) from a vicious attack by the Anti-Superman Gang. But as we’ll soon see, the note of optimism with which that chapter ended is about to turn decidedly sour… Read More
Avengers #92 was a transitional issue for the Marvel Comics series in several ways, a couple of which are signified by the issue’s cover. For one, the cover marks the arrival of artist Neal Adams, who’d begin a brief but glorious run as the title’s penciller and co-plotter with the very next issue. For another, the prominence given to Thor, Iron Man, and Captain America presages the end of an era in which those heroes only appeared on a semi-regular basis in Avengers; while the old dictum of editor Stan Lee that none of the “Big Three” could appear in the title except as occasional guest stars had been honored largely in the breach for a couple of years now, up to this point you might still have stretches in which none of them showed up at all (in fact, none had appeared in the previous three issues, and, as we’ll soon see, they barely play a role in #92, cover prominence notwithstanding). From issue #93 forward, Cap, Thor, and Iron Man would simply be “Avengers”, on the same basis as their fellow members who didn’t have their own books — effectively ending what had been the status quo of the title ever since issue #16 (May, 1965). Read More
That was the question I had, back in the spring and summer of 1971, as Jack Kirby devoted not just one, but two issues of Jimmy Olsen — the first two following the conclusion of his initial story arc for the series, a six-chapter saga that he’d begun in his very first issue — to a tale focused on the famous insult comic.
It’s not that my fourteen-year-old self had anything against Don Rickles; I actually thought the guy was pretty funny. But that didn’t necessarily mean that I wanted to see him — or any comedian, really — in my superhero comics. I certainly didn’t expect it, in any event. Read More
The 1972 Eerie Annual (and no, I don’t know why publisher James Warren stuck “1972” on a periodical published in July, 1971, though my guess is that he hoped that at least a few inattentive retailers might leave the item on the stands for a full eighteen months) was almost certainly the very first comics magazine from Warren Publishing that your humble blogger, then fourteen years of age, ever bought.
But it wasn’t the first Warren magazine I’d ever bought. And it may not even have been my first Warren comic book, either — at least, not if you define the latter term as “a book full of comics”.