Star Trek #10 (May, 1971)

As I’ve mentioned in passing a time or two before on this blog, I didn’t get to see Star Trek when it originally aired on the NBC television network from 1966 to 1969.  Until 1970, we only had two TV stations in the Jackson, MS metro area; and although one of them was an NBC affiliate, it sometimes pre-empted that network’s programming to carry something else (usually a program from ABC, the odd-network-out in our market).  My maiden voyage upon the starship Enterprise would thus have to wait until reruns of the by-then-cancelled show started airing locally in syndication, probably sometime in 1970.

Once first contact was finally made, however, I immediately (and unsurprisingly, considering the other stuff I was into) became a big Trek fan.  And I was keen to extend my enjoyment of the show through what we would now call ancillary media.  The thing was, in 1970 and 1971, there wasn’t a whole lot of licensed Trek story-product available.  Read More

Thor #188 (May, 1971)

Back in November of last year, we took a look at Thor #184 — the premiere installment in the first multi-issue, large scale epic that editor-scripter Stan Lee had attempted in the title since losing his longtime collaborator Jack Kirby to DC Comics.  Hyping the comic in the Nov., 1970 Bullpen Bulletins, Marvel went so far as to compare it to the debut of the Inhumans in Lee and Kirby’s Fantastic Four, some five years previously.  And upon my thirteen-year-old self’s actually reading it, it really did feel like Lee and his collaborators, penciller John Buscema and inker Joe Sinnott, had pulled out all the stops for this one.

This opening chapter of what would prove to be a five-issue story arc introduced us readers — as well as the mighty Thor, himself — to the menace of the World Beyond: a mysterious realm somewhere out past the farthest reaches of space, which was, somehow, devouring our universe from the edges in.  Associated with this menace was a word — perhaps a name — of unknown significance: “Infinity”.  We and Thor also met an intriguing new character, appropriately dubbed the Silent One, who had recently shown up in Asgard unannounced; All-Father Odin had since decided to let him hang around, sensing that he was in some way the key to the mystery.   Read More

Green Lantern #83 (Apr.-May, 1971)

A half-century after writer Denny O’Neil and artist Neal Adams’ history-making run on “Green Lantern/Green Arrow”, it’s easy to see those thirteen comics as being more of one piece than they actually were.  The run is well remembered, and rightfully so, for its consistent emphasis on social issues; but while it’s true that “relevance” was the watchword throughout the O’Neil-Adams tenure on Green Lantern, it’s worth noting that the expression of that guiding principle varied quite a bit over the two years of the project’s duration — as did the kinds of stories within which the writer-artist team couched their social commentary.  Read More

Jimmy Olsen #137 (April, 1971)

Taken together, the first six issues of Jack Kirby’s run on Superman’s Pal, Jimmy Olsen — beginning with #133, and continuing on through #138 — comprise one long story, which, for purposes of discussion, can conveniently be broken down into three discrete parts, each two issues long.

In the first part (#133-134), Kirby hits the ground literally racing, introducing such new characters and concepts as the new Newsboy Legion, Inter-Gang, the Wild Area, the Outsiders, Habitat, the Zoomway, the Mountain of Judgment, and the Hairies — oh, and some fellow named Darkseid — without giving Jimmy, his pal the Man of Steel, or us readers, a chance to catch a breath.

Moving into the middle section (#135136), the writer-artist-editor slows things down a bit, as the headlong narrative comes to rest (at least temporarily) at the Project, a secret U.S. government initiative successfully experimenting with human cloning.  In these issues, the majority of scenes function in an expository mode — though that mode is significantly interrupted at one point by violent action, in the form of an attack from the Project’s rival operation, the Evil Factory.

Finally, in the third and final part, the pace ratchets up again, as the Evil Factory unleashes a second, more deadly assault on the Project — one which threatens virtually all of the characters and locales we’ve met in the series to date, including the entire city of Metropolis.  Read More

New Gods #2 (Apr.-May, 1971)

Jack Kirby’s cover for New Gods #2 may be considered of a piece with that of Forever People #2, out earlier the same month.  Like its fellow installment in Kirby’s ongoing Fourth World saga, it features a black-and-white photo collage background, a dominant foreground figure, a set of floating heads…

And a whole lot of copy.  Even the book’s title acquires a couple of extra words, so that a newcomer to the series might think they were picking up a copy of Orion of the New Gods, instead of the indicia-official The New Gods. It’s a busy cover, you might say.

That’s my sixty-three-year-old self talking, though.  Back in February, 1971,when I first saw this cover at the age of thirteen, I doubt that the slightest critical thought passed through my mind.  I might not even have done much more than give the cover a glance before buying the comic and bringing it home.  I was, after all, already so invested in Kirby’s new epic that all I wanted to do was to open up the book to the first page, and find out What Would Happen Next.  Read More

Amazing Spider-Man #96 (May, 1971)

A half-century after the fact, I’m at something of a loss to explain why I stopped reading Amazing Spider-Man for almost an entire year, after my subscription ran out with issue #85 in March, 1970.  Regular readers of this blog may remember that my younger self went through a period of being considerably less interested in comic books than I previously had been, a period that began in the fall of 1969 and extended through the next spring.  But my subscription had actually carried through the bulk of that time span, as it had for my other favorite Marvel comic of the time, Fantastic Four; and I was back to picking up FF, at least occasionally, by June, 1970.  Somehow, though, even as late as February, 1971 — well after I’d resumed buying Avengers, Daredevil, and other Marvel standbys on a semi-regular basis — I was still avoiding becoming reacquainted with May Parker’s favorite nephew.

Until Amazing Spider-Man #96, that is.  This one brought me back into the fold.  Read More

Forever People #2 (Apr.-May, 1971)

While I can’t claim to have strong, specific recollections of my thirteen-year-old self’s reactions to the cover of Forever People #2 the first time I saw it, sometime in February, 1971, I’m sure I must have found it at least somewhat startling.  Mainly because the five titular heroes — presumably the stars of the book — were relegated to a row of floating heads at the bottom (where they might not even have been visible on the spinner rack), while a brand-new character, Mantis — evidently the villain of the piece — took the front and center spot.  Even the Forever People’s ally/secret weapon/kind-of-alter-ego, the Infinity Man, was relegated to the background, completely overshadowed by this “evil power vampire!

Power vampire?  I definitely recall being struck by the use of that latter word in the cover copy.  This was likely just because I was interested in vampires, thanks to my enthusiasm for the daytime television serial Dark Shadows.  But it may have also resulted at least in part from my subconscious realization of how unusual it was to see that word on the cover of a comic book — at least one published by either of my two favorite companies, DC and Marvel.  Read More

Conan the Barbarian #4 (April, 1971)

For me as a young reader in early 1971, the road to Robert E. Howard’s fantasy realms of the Hyborian Age — and Marvel Comics’ version of the same — led through the equally imaginary landscapes of J.R.R. Tolkien’s Middle-Earth.

This was true despite the fact that, just one year earlier, I probably wouldn’t even have been able to tell you what the word “fantasy” meant, at least in terms of genre.  Science fiction, horror, mystery, Western, romance — I had at least a rudimentary understanding of all of those, even at age twelve.  But fantasy?  What was that?  Read More

Teen Titans #32 (Mar.-Apr., 1971)

Back in December, I wrote about the departure of Dick Giordano from his position as an editor at DC Comics.  Giordano’s last day on staff at the publisher appears to have been November 4, 1970 — but, since the processes involved in producing periodical comic books don’t stop (or start) on a dime, the fruits of his stewardship would continue to appear in the titles he’d supervised for another few months, even after he was no longer the editor of record.  The same principle had of course applied at the beginning of his tenure at DC; and thus, just as Giordano’s first issue of Teen Titans (#15, May-Jun., 1968) had featured a story almost certainly procured by his predecessor, George Kashdan, the first issue edited by his successor, Murray Boltinoff, would present a tale that had actually been written and drawn under Giordano’s direction.

Well, mostly written and drawn under Giordano’s direction.  While the story in Teen Titans #32 is solely credited to writer Steve Skeates and artist Nick Cardy, its actual provenance is… rather more complicated. Read More

Jimmy Olsen #136 (March, 1971)

In early 1971, when the subject of today’s post blog first showed up on spinner racks, Jack Kirby had been producing new comic books for DC Comics for almost half a year.  Not only had three issues of Kirby’s debut project, Jimmy Olsen, been released by this time, but so had the premiere issues of his three brand new titles — Forever People, New Gods, and Mister Miracle (the latter actually hitting stands on the very same day as Jimmy Olsen #136, January 14).  He was becoming established (or, more accurately re-established) at the publisher, in other words.  Perhaps that’s the main reason that this fourth Olsen outing, unlike the first three, didn’t feature Kirby’s name anywhere on the cover; after five months, DC may have figured they no longer needed to tell us readers that Kirby Was Here — by now, we must know that, surely.  Read More