Justice League of America #91 (August, 1971)

It’s summertime!  The most wonderful time of the year — especially if you’re a fan of DC’s original super-team, the Justice Society of America, and the year happens to fall within the range of 1963 to 1985 — ’cause that means it’s time for the annual team-up between the JSA and their pals in the Justice League of America.  1971 brought the sixth of these events that I’d personally enjoyed since becoming a comic-book reader, and the ninth published overall.  And judging by the cover heralding this year’s team-up — more specifically, the two columns of floating heads flanking the dramatic central image by Neal Adams — 1971’s iteration of this beloved tradition was going to offer us something new: for the first time, the featured rosters of the two teams would be identical.  We were going to get two Supermen, two Flashes, two Green Lanterns, and so on — all for the price of one.  (Of course, as heralded by that “only 25¢ Bigger & Better” slug at the very top of the cover, the “price of one” had just gone up a substantial amount.  But more about that in a bit.)  Read More

Amazing Spider-Man #100 (September, 1971)

In June, 1971, we Marvel Comics readers turned to the “Bullpen Bulletins” text page appearing in that month’s issues (including the book that’s the topic of today’s post, naturally) to find the “Stan Lee’s Soapbox” reproduced below.  This was a particularly lengthy edition of editor Lee’s monthly column, taking up almost a third of the page’s available real estate — but considering the occasion, that didn’t seem at all inappropriate.  Read More

Forever People #4 (Aug.-Sept., 1971)

The fourth issue of Jack Kirby’s Forever People brought us the second chapter in the five-part story arc which would prove to be the centerpiece of this ultimately short-lived series.  But, published as it was on the first day of June, 1971, the issue was also the harbinger of a new era for its publisher, DC Comics — marking the end of the 32-page comic book at the company (at least for the next eleven months), as the standard-size comic’s page length was increased to 48 pages, and the price raised from 15 to 25 cents.

I don’t actually know whether this particular issue was the very first 25-cent DC comic I myself saw or bought — unlike the occasion of DC’s last price hike, I have no clear memory of the specific comic that presented me with the sensation of “sticker shock” that surely must have accompanied my discovery of the change.  (And it was a change I would have been utterly unaware of until I was confronted by it at the spinner rack; DC had given no hint this was coming in the past month’s books, and I was not yet plugged into any fan networks, formal or otherwise, that might have broken the news.)  But Forever People #4 could have been the first — it was in DC’s first batch of 25-cent releases, for sure — so I’m going to use its release as a platform for discussing the change.  Read More

Kull the Conqueror #2 (September, 1971)

In the waning months of 1970, with the early sales reports on their new Conan the Barbarian series good enough to warrant bumping the title up from bi-monthly to monthly publication, Marvel Comics — likely driven at least in part by the enthusiasm of Conan writer (and Marvel associate editor) Roy Thomas — decided to take a chance on another sword-and-sorcery barbarian hero created decades earlier by pulp writer Robert E. Howard: King Kull.

Though he’d almost immediately come to be seen by comics fans (well, by this one, anyway) as Howard’s “number two” hero, Kull was actually the earlier creation, predating the author’s imagining of Conan the Cimmerian by some three years.  Kull could even be seen as the prototype for the later, more commercially successful hero, as the very first Conan story, “The Phoenix on the Sword” (published in the magazine Weird Tales in 1932) was a reworked version of an unsold Kull yarn, “By This Axe I Rule!”  Read More

Conan the Barbarian #8 (August, 1971)

Conan the Barbarian #8 was the third consecutive issue of the Marvel Comics series that I bought, and the fourth overall.  But it was the first one that had the map.

By “the map“, I am of course referring to this work of imaginative cartography, familiar to virtually everyone who read Marvel’s Conan comics even occasionally back in the day:

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Superman #240 (July, 1971)

With this issue of DC Comics’ flagship title, the “Sand Superman” saga that writer Denny O’Neil and penciller Curt Swan had initiated with the iconic Superman #233 (“Kryptonite Nevermore!”) moved into its climactic final phase.  In the previous chapter (published in #238, incidentally, as #239 was a giant-sized reprint issue), the Man of Steel had been brought to his lowest ebb yet.  While he’d ultimately managed to save the day in that episode, the victory had been a close one; with his powers still seriously depleted from multiple encounters with his mysterious sandy doppelgänger, our hero mused to himself in the story’s final panel:  “I’m a pretty poor excuse for a Superman these days… and that must change!  I’ll regain my former might — and soon! — or die trying!

Despite these determined words, however, when we turn past Neal Adams’ simple but dramatic cover for #240 to the story’s opening pages, we find that the Man of Tomorrow’s status remains pretty much the same as it was, well, yesterday:  Read More

Lois Lane #111 (July, 1971)

In May, 1971, DC Comics continued to chronicle the ongoing saga of the war between the god-worlds of New Genesis and Apokolips in three new releases:  Mister Miracle #3, Jimmy Olsen #139 — and Lois Lane #111.

True, the progenitor of that cosmic saga, Jack Kirby, neither wrote, nor drew, nor edited the third of the comic books listed above; indeed, he may not even have served as an informal consultant in its production.  Nevertheless, the latest episode in the continuing adventures of “Superman’s Girl Friend” leaned heavily on concepts developed by Kirby for Jimmy Olsen, with a plot centered on an attempt by the minions of Darkseid, Lord of Apokolips, to assassinate Lois’ mighty beau.  And why not?  Whatever else Kirby’s Fourth World was, it was clearly part of DC’s  shared universe, with especially strong ties to Superman’s corner of that fictional world; after all, in his guise of Clark Kent, Superman even had a minion of Darkseid for his boss.  It only made sense, therefore, that the cosmic conflict at the heart of Kirby’s four series (which included Forever People and New Gods in addition to Jimmy Olsen and Mister Miracle) would eventually spill over into the rest of DC’s line — and that any stories resulting from such a spillover would and should “count”, continuity-wise, every bit as much as did the King’s.

At least that’s how my thirteen-year-old self saw the matter, fifty years ago; and since I was then avidly following any and all developments in the Fourth World saga, that was enough to get me to pick up my first issue of Lois Lane in almost five years.  Read More

Sub-Mariner #40 (August, 1971)

In the spring of 1971, roughly four months after he’d crossed over a couple of Marvel superheroes in Iron Man #35 and Daredevil #73, writer Gerry Conway did it again — though this time, the team-up tale started in Daredevil and ended in another title (Sub-Mariner), rather than the other way around.  What was more, Conway even managed to work in a third marquee hero — the biggest star among the three, actually — although that hero’s title, Amazing Spider-Man, wasn’t itself a part of the crossover.  Perhaps oddest of all, after getting the ball rolling in Daredevil, Conway completely dropped the Man Without Fear from his narrative, so that DD’s role in the second half of the crossover was limited to appearing in a single flashback panel.

Whatever the thinking was behind doing things this way, if the intention was to get Marvel fans who weren’t currently consistent buyers of Daredevil and/or Sub-Mariner to pony up for at least one issue of each series, then it worked, at least as far as my thirteen-year-old self was concerned.  Having been a fairly regular purchaser of DD’s book in earlier days (through most of 1968-69, to be more precise), and an occasional sampler of Subby’s title as well, I very likely would have grabbed both comics even if there hadn’t been a third co-star.  But adding Spidey to the mix made it virtually a no-brainer for me — as I suspect it also did for a good number of other fans. Read More

Fantastic Four #112 (July, 1971)

You always remember your first.

(Your first Hulk vs. Thing slughest, that is.  Why, what did you think I meant?)

Technically, I suppose FF #112’s “Battle of the Behemoths!”, crafted by the regular Fantastic Four creative team of scripter Stan Lee, penciller John Buscema, and inker Joe Sinnott, wasn’t really my first experience seeing these two Marvel Comics heavy hitters go at it.  Rather, that would have come several months earlier, courtesy of  Marvel’s Greatest Comics #29 (Dec., 1970), which reprinted the characters’ very first meeting from FF #12 (Mar., 1963); the problem there, however, was that that story (a production of Lee, Jack Kirby, and Dick Ayers) was actually a bit of a bust, at least as far as Thing-Hulk dust-ups went.  The two bruisers didn’t actually encounter each other until page 17 of a 23-page story, and in the three page fight scene that followed, ol’ Jade Jaws took on the entire Fantastic Four, not just Bashful Benjy Grimm.  While both big guys got in some licks, the scene ultimately wasn’t very satisfying as a one-on-one match.

Also contributing to making this story less than a slam-dunk for my thirteen-year-old self was its age — or, more accurately, what its age signified in terms of the development of the characters, both visually and personality-wise.  This was a decidedly different Hulk than the one I was familiar with — among other things, this guy spoke in the first person, and he wore purple trunks, rather than the tastefully torn trousers of the same hue that I was used to seeing him in — while this Thing was a lumpier and more belligerent fellow than the hero I was accustomed to, as well.  Read More

New Gods #3 (Jun.-Jul., 1971)

The Black Racer is undoubtedly one of the most enigmatic and ambivalent characters who ever appears within the pages of Jack Kirby’s Fourth World comics.  Somewhat ironically, however, his creator appears not to have originally intended him to be part of the sprawling cosmic epic that ran through his DC titles in the early 1970s.  According to Mark Evanier, who was working as an assistant to Kirby during that period:

At the time, it was intended as a stand-alone series, utterly unconnected to the NEW GODS, FOREVER PEOPLE or MISTER MIRACLE series, and what Jack wanted to do was to hold a big talent hunt to find a young black writer and a young black artist- or maybe one person who could do both under Jack’s supervision. He presented this all to Carmine Infantino, who was then the guy in charge at DC, and Infantino convinced Jack to launch the character himself…and to do so right away, in the pages of one of the above-mentioned three comics.  (“The Soul of Willie Walker”, The Black Racer and Shilo Norman Special [Oct., 2017].)

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