Behind an attention-arresting cover, which — like most others Jack Kirby produced for DC Comics around this time — was built around an imaginative photo collage (and which also, like the cover of the issue of Jimmy Olsen that had immediately preceded it, featured Neal Adams’ inks over Kirby’s pencils), the comics readers of April, 1971 — including your humble blogger — were treated to the thrilling conclusion of the first multi-part storyline (indeed, the first storyline, period) of the massive Fourth World project written, drawn, and edited by Kirby. Read More
In October, 1970, I returned to Marvel Comics’ Avengers after a hiatus of one full year, during which time I hadn’t bought or read the title at all. Avengers had been one of my most reliable Marvel purchases for a year or so prior to that break, but, for reasons lost to time, I was a little tentative about committing to the series again; and after buying (and, as I recall, enjoying) both #83 and #84, I sat out the next three months, not picking up another adventure of the Assemblers until #88, in March. That one seemed to do the trick, however, because from that point on I wouldn’t miss another issue. (Well, not until 1980 or thereabouts, anyway — but that’s another story.)
Or maybe it wasn’t #88 that sealed the deal — that Harlan Ellison-plotted issue, enjoyable as it was, essentially functioned as a lead-in to the same month’s issue of Hulk, and didn’t spend much energy encouraging readers to come back for the next month’s Avengers. Avengers #89, on the other hand, kicked off a multi-issue storyline that just kept building and building, never offering anything like a reasonable jumping-off point. By the time that storyline — the Kree-Skrull War, as we’d all quickly come to call it — came to an end with #97, it was December, and buying Avengers had become an ingrained habit for your humble blogger. Read More
The third issue of Forever People leads off with a cover very much in the vein of several of the other covers of Jack Kirby’s Fourth World comics that immediately preceded it in publication date, including that of FP #2; it’s built around a drawn image, pencilled by Kirby and inked by Vince Colletta, which is then set against a photographic background, and, finally, framed by copy — a lot of it. Based simply on this visual cue, one might expect this issue’s content to be as similar to that of the second issue as are the two books’ covers — i.e., for it to follow #2’s precedent of setting our young heroes from New Genesis against a powerful servant of Darkseid, a foe that ultimately can only be vanquished by summoning the more powerful adult champion Infinity Man to take their place, with everything being set back to the status quo by the end of the issue.
But if that’s what you were expecting, you’d be wrong. Because with Forever People #3, Kirby abandons the formula he seemed to have settled into with the prior issue’s adventure, moving instead into the first chapter of a four-part narrative considerably darker and more disturbing than anything we’ve seen in a Fourth World comic to date. Ultimately, this storyline will prove to be the central arc of the entire Forever People series (which, as most of those reading this likely already know, is doomed to meet a premature end with its eleventh issue), and one of the key narratives of the entire Fourth World project. It’s where Kirby’s great theme of radical freedom versus absolute control — or, in his formulation, Life versus Anti-Life — comes to the fore more fully than it has in any previous chapter. Read More
As of March, 1971, my thirteen-year-old self was picking up Detective Comics on a fairly consistent basis — but it was a habit I’d acquired only recently (or perhaps I should say reacquired, as I’d been a regular reader of the title before, back in 1965-67). For that reason, I’d missed writer Denny O’Neil’s first two “League of Assassins” stories, which had run in issues #405 and #406, respectively. On the other hand, I had bought and read Detective #408, whose lead Batman story, though not scripted by O’Neil, had featured an attempt by the villainous Dr. Tzin-Tzin to eliminate the Darknight Detective at the League’s behest. So it wasn’t like I was completely unfamiliar with the sinister organization prior to my purchasing issue #411. Rather, I was intrigued by the little I knew — and though I realized I was coming in late, I was eager to catch up. Luckily, this third installment of O’Neil’s League saga didn’t depend very much on knowledge of the previous two at all — and what little I did need to know, I’d manage to pick up easily through the script’s unobtrusive exposition. Read More
In January I posed about Conan the Barbarian #4, the first issue I’d ever picked up of Marvel Comics’ series featuring Robert E. Howard’s pulp hero. As I wrote at the time, my thirteen-year-old self was quite favorably impressed by the efforts of writer Roy Thomas and artist Barry Windsor-Smith in that comic — impressed enough that I feel fairly certain that I meant to buy the next issue when it came out. Somehow, though, I didn’t manage to do so. I suppose it’s possible that I never actually saw Conan #5 on the stands; but if that’s true, that was the last time that kind of thing ever happened. Because with #6, I was back on board, and would thenceforth faithfully acquire every issue through #118 (Jan., 1981), some 9 1/2 years later. (The occasion for my dropping the book then was Roy Thomas’ exit a few issues earlier; as far as I was concerned, Thomas was Conan’s official biographer, and without him at the series’ helm, it just wasn’t the same.) Read More
As discussed on this blog back in January, Teen Titans #32 ended with two of our young heroes, Kid Flash and Mal, trapped in a bizarre alternate reality following their inadvertently causing the death of a young caveman during a time-trip to the Stone Age. Having been coerced by this quasi-medieval world’s version of their adult mentor Mr. Jupiter — here a wizard called Jupiterius — into being tested to prove themselves worthy of his assistance, the final page of the story found Kid Flash attempting to match or best “Trueshot” — this world’s Speedy — in an archery contest: Read More
The cover of Mister Miracle #2, with its plethora of blurbs, follows in the tradition of the second issues of Jack Kirby’s Fourth World titles which preceded it. Even more than the covers of Forever People #2 and New Gods #2, however, this one’s not just wordy, it’s shouty. To my contemporary, 63-year-old sensibilities, it’s too much, at least by half.
But back in March, 1971, my thirteen-year-old self seems to have seen things differently. That’s my prevailing theory, anyway, when I consider the fact that, unlike virtually any other comics purchases I made in the general timeframe of fifty years ago, I can remember the particular circumstances of my acquiring Mister Miracle #2. While I don’t recall actually picking the book up out of the spinner rack at the Forest Ave. Tote-Sum in Jackson, MS, or paying for it at the counter, I do have a specific recollection of gazing upon that gloriously over-the-top cover as I held the comic in the front seat of my mom’s car, our having stopped at the aforementioned convenience store (at my request, I’m certain) on the way home from school. Read More
“Harlan Ellison Month” (well, “Harlan Ellison Week +1”, anyway) continues here today at “Attack of the 50 Year Old Comic Books”, as we take a look at the second half of a two-issue crossover between Avengers and Hulk, originally published in March, 1971, which the writer of those two Marvel series, Roy Thomas, adapted from a plot synopsis by Mr. Ellison.
I’m not going to provide a summary of the tale’s opening chapter here, mostly because the recap provided on the first three pages of Hulk #140 (which’ll be coming up shortly) will tell you pretty much everything you need to know to be able to follow the rest of the story — and also because you can, at any time, click on this link for the Avengers #88 post if you missed reading it a few days ago, and you really do want all the details. Even so, before we plunge head-first into the comic’s narrative, we need to take a moment to note what Thomas, as scripter, is going to be getting up to in these pages. And to facilitate our doing that, we’re going to quickly flip to the back of the book, to have a look at the letters column. Read More
In our last post, we took a look at Justice League of America #89 — a very special issue of DC Comic’s premiere super-team book, in which writer Mike Friedrich paid homage to one of his literary heroes by basing his story’s central character of “Harlequin Ellis” on the noted science fiction author and screenwriter, Harlan Ellison.
By a remarkable (but apparently entirely random) coincidence, the same month that saw the publication pf JLA #89 (March, 1971) also saw the release of a very special issue of the Marvel Comics series featuring that publisher’s nearest analogue to the Justice League, Avengers, which writer Roy Thomas had scripted from a plot outline by the real Harlan Ellison. You really can’t make this stuff up, y’know? Read More
As noted in my recent post regarding Gold Key’s Star Trek, I didn’t get to see the TV series on which that comic was based until it hit my local market in syndicated re-runs, around 1970-71. And since I started consuming licensed Trek tie-in media (what there was of it) almost immediately upon discovering the show, concurrent with my viewing the television episodes for the very first time, my initial encounters with some classic Trek stories ended up being by way of the printed page, rather than the cathode-ray tube. That’s because the earliest licensed prose fiction based on the property, a series of paperback books written by James Blish and published by Bantam Books, were collections of short stories adapted from the TV episodes themselves. Read More