As this post goes out on April 30, 2022, we’re a little less than a week away from the premiere of the second multi-million dollar motion picture from Marvel Studios starring Doctor Strange, Master of the Mystic Arts.
But fifty years ago, in the last week of April, 1972, Marvel Comics was just hoping that maybe the good Doctor might be able to sustain his own solo comic book series again, his last such having been canceled in 1969. Although they were hedging their bets a little by bringing him back not in his own title — not yet, anyway — but in the tryout book Marvel Premiere. Read More
In April, 1972, the third issue of Marvel Comics’ Kull the Conqueror arrived on stands — a full eleven months after the release of issue #2.
Of course, as folks who’ve been regular readers of this blog for a while already know, while Kull, the comic book, had been absent for almost a year, the same could not be said of Kull, the character. Marvel’s associate editor Roy Thomas, who in 1971 had launched this second series based on a Robert E. Howard fantasy hero in the wake of Conan the Barbarian‘s success (as relatively modest as that was, so far) was evidently determined to keep Conan’s literary forbear in the public eye — perhaps in hopes of eventually resuscitating the cancelled Kull title, or maybe just because he liked the hero and his milieu and/or was enjoying his collaboration (as the series’ writer) with sister-and-brother art team Marie and John Severin, who’d both come aboard Kull with issue #2. Read More
In its design, the cover of New Gods #9 mirrors that of Forever People #9, the other Jack Kirby comic published by DC in April, 1972. Both covers feature a dominant image that excludes the comic’s titular stars, who are shunted off to a narrow. left-side border; both utilize a considerable amount of black in their color schemes, as well. This striking similarity seems unlikely to have been a coincidence.
In his indispensable book Old Gods & New: A Companion to Jack Kirby’s Fourth World (TwoMorrows, 2021), author John Morrow posits that, in both cases, the intent was to boost sales by making the books look less like superhero comics and more like something in the horror-mystery genre, which was then a successful niche for DC. Morrow suggests that this was part of a move by the company’s publisher, Carmine Infantino, to take a heavier hand in setting the course for these two titles, both ostensibly under the editorial control of Kirby. (Another known indicator of that heavier hand was Infantino’s directing Kirby to include Deadman as a guest star in issues #9 and #10 of Forever People, regardless of Kirby’s disinterest in the character.) Read More
In addition to being a fine piece of artwork by Michael W. Kaluta, the cover of Batman #242 represents a minor milestone of sorts; outside of those for a small handful of giant-sized all-reprint issues, it was the first cover since October, 1969 for either Batman or its companion title, Detective Comics, not to have been drawn by Neal Adams. (That particular month, not so coincidentally, was the same one in which those titles’ editor at DC Comics, Julius Schwartz, introduced the Caped Crusader’s “Big Change” — a return to a moodier, more grounded approach to the hero that was largely inspired by what Adams had been doing over in Brave and the Bold for the last year or so.) Read More
In October, 1971, Don and Maggie Thompson’s fanzine Newfangles reported:
There are indications that DC is in serious trouble. Dealers are not too keen on the 25¢ comic book[s], sales are skyrocketing for Marvel, Charlton and Gold Key (GK has 15¢ books, Marvel and Charlton 20¢)… DC’s titles are also reported to be dying in droves on the stands, if they get that far—wholesalers prefer to handle the 20¢ books, apparently.
A couple of months later, with disappointing sales reports now in for about a quarter-year’s worth of the “bigger & better” format DC had inaugurated in June, publisher Carmine Infantino prepared to make some course adjustments. The most significant upcoming change would be to the format itself (more on that later), but there were other indicators of Infantino’s efforts to staunch the bleeding as 1972 got underway; for example, Green Lantern, one of the signature series of DC’s Silver Age, was cancelled with its 89th issue, shipping in February. As for the titles written, drawn, and edited by Jack Kirby, with which DC had clearly hoped to clean up with sales-wise following Kirby’s 1970 defection from DC’s chief rival, Marvel Comics: Jimmy Olsen was removed from Kirby’s purview with the 148th issue (which, like GL #89, came out in February); and while Infantino wasn’t quite ready to pull the plug on Kirby’s three remaining titles — the core books of the star creator’s interconnected “Fourth World” epic — he appears to have been determined to take a more active role in guiding their respective directions than he had before. If the King could ever have been said to have had free rein in managing “his” comics at DC (and that’s by no means an indisputable statement), that day was over. Read More