In October, 1972, the debut of Marvel Comics’ new title Frankenstein — or, if you prefer, The Monster of Frankenstein, as it says on the cover — is unlikely to have come as a surprise to anyone. Given the recent relaxing of the Comics Code Authority’s rules regarding the depiction of horror, as well as the subsequent launch by Marvel of two series featuring (or at least inspired by) the other members of Universal Pictures’ classic trinity of monsters — i.e., Dracula and the Wolfman — the four-color advent of a Marvel version of Victor Frankenstein’s famous creation must have seemed all but inevitable to most observers. Read More
Back in September of last year, we took a look at Marvel Spotlight #2 (Feb., 1972), the comic book in which the feature “Werewolf by Night” made its debut. That issue introduced readers to Jack Russell, a modern Los Angeles teenager who, on his eighteenth birthday, made the very unwelcome discovery that he’d inherited the curse of lycanthropy from his late father, who’d been a baron in some unnamed European locale (eventually revealed to be — where else? — Transylvania) before being slain by silver bullets. We also met Jack’s younger sister, Lissa — who might share his curse — as well as his stepfather, Philip, whom both we and Jack were led to suspect by the end of this premiere episode might well be responsible for the death of Jack and Lissa’s mother, Laura, in an automobile accident.
Most of the key concepts, then, as well as the characters, that would drive storylines not only through this then-new feature’s three-issue run in Marvel Spotlight, but into the earliest issues of its own title as well, can be found in its first installment, as scripted by Gerry Conway (from a plot by Roy and Jean Thomas) and drawn by Mike Ploog. But there was one key ingredient to the series’ early continuity that wouldn’t be mentioned until MS #3, and wouldn’t make an on-panel appearance until issue #4. This ingredient was the Darkhold — a sinister compendium of mystical lore that would come to stand as perhaps the most significant contribution to the Marvel Universe ever made by the series, ultimately becoming rather more consequential in the grand scheme of things than the Werewolf himself. Read More
I may be misremembering, but I have a vague recollection of my fifteen-year-old self looking at this one at the spinner rack back in October, 1972 and thinking, “The Justice League standing around a grave site? Again?” After all, it had only been three issues since artist Nick Cardy had built his cover for JLA #100 around a similar idea. On the other hand, it was October — the spooky season — and what could be spookier than an open grave? Especially when said grave was being ominously loomed over by… hey, is that thePhantom Stranger? In an issue of Justice League of America? Forget about repetitive cover concepts; I couldn’t wait to buy this one and take it home. Read More
In our last post we discussed Amazing Adventures #16, one of three comics published in October, 1972 in which a trio of young comic-book writers staged an unofficial crossover between Marvel and DC Comics, set at the annual Halloween Parade in Rutland, Vermont, and featuring themselves as characters, without telling their bosses they were doing so. In this post, we’ll be taking a look at another of those comics: Thor #207, which, behind its dynamic cover by Gil Kane and Joe Sinnott, features a script by Gerry Conway and art by John Buscema, Vince Colletta… as well as Marie Severin, whose mysterious credit for “good works” covers her renderings of the story’s likenesses of Conway, Steve Englehart, Len Wein, and Glynis Oliver (who, as it happens, also served as the story’s colorist, under her then-married name of Glynis Wein). Read More
In previous posts, we’ve discussed a couple of early “unofficial” crossovers between DC and Marvel Comics that appeared in 1969 and 1970. Both involved an issue each of DC’s Justice League of America (#75 and #87) and Avengers (#70 and #85), and both were built on a conceit of each super-team series parodying the stars of the rival company’s book during the same month. Part of the fun — at least for the creators responsible — was its mildly illicit nature, as none of the writers involved (JLA‘s Denny O’Neil and Mike Friedrich, Avengers‘ Roy Thomas) informed their bosses (DC’s Julius Schwartz, Marvel’s Stan Lee) what they were up to. The results were perhaps something of a mixed bag (both as crossovers and simply as stories), but for the most part, these books made for a good time for comic-book fans. Read More
According to an interview with Bernie Wrightson published in Back Issue #6 (Sep., 2004), the artist was initially reluctant to take on Swamp Thing, in large part because he wasn’t sure he’d be able to handle the deadlines required in producing a regularly published full-length comic book — even one that came out on a bi-monthly schedule. What ultimately convinced him? Mostly, he said, it was because he realized he’d never get a better chance to draw a series that would be “wall-to-wall monsters”.
That opportunity didn’t come immediately, of course; as readers of Swamp Thing #1 (or our August 13 blog post on same) already know, there’s just one bona fide monster in that issue — and he doesn’t even show up until well into the story. But as we’re about to see, by only the series’ second installment, young Mr. Wrightson would be able to make his dreams come true. Read More
If you read my post about Vampirella #18 back in June, you may recall that I promised at that time that I would eventually let you know how things ultimately turned out for Count Dracula, who’d begun a quest for redemption that was just getting started when that issue’s installment of the magazine’s titular lead feature reached its end. Well, faithful readers, the time has come at last. But please be advised that in order to do so properly, I’m first going to need to fill you in on the key events of the storyline’s chapters from Vampirella #19 and #20, so that what transpires in issue #21’s “Slitherers of the Sand!” will land, dramatically speaking, in the way its creators intended. Also, as it turns out, this issue doesn’t really fully resolve the Dracula arc either, so we’re also going to be taking a quick look at some later appearances of the Count in Eerie and Vampirella, just so we can say we’ve wrapped things up properly.
Oh, and of course we’ll also be covering the other three stories published in Vampirella #21 — the ones that don’t have anything to do with the lead feature or with Dracula. After all, I wouldn’t want to shortchange you on that material, would I? Read More
In May of last year, I blogged about Sub-Mariner #40, an issue that completed a crossover storyline that had begun in Daredevil #77 and which also guest-starred Spider-Man. That comic also happened to be the first installment of a ten-issue run written by Gerry Conway and drawn by Gene Colan and others; my younger self, having enjoyed the crossover storyline that kicked off Conway’s tenure, ended up sticking around for his whole run. But with issue #50, both Conway and Colan were gone, replaced in their respective roles by a single creator, Bill Everett — the writer-artist who had in fact created the Sub-Mariner, way back in 1939, and was thus one of the primary progenitors of what we would come to know as Marvel — both as a company, and as a Universe. Read More