Last November, we discussed Phantom Stranger #17, the fourth outing on the title for writer Len Wein. In that issue, Wein and his collaborator, artist Jim Aparo, showed us a more human side of the mysterious titular hero than we’d seen previously, largely through the introduction of a potential romantic interest. But the Phantom Stranger bid farewell to that interest — a beautiful blind psychic named Cassandra Craft — at the end of #17; and the potential for more characterization-rich storytelling (and perhaps even a touch of issue-to-issue continuity) that Ms. Craft’s advent had seemed to signify wasn’t followed up on in the next couple of issues, both of which featured standalone adventures in which the Stranger operated as solitarily as he had before. Read More
As was related in our post about Forever People #11 at the beginning of this month, Jack Kirby is reputed to have already begun work both on that comic and on New Gods #11 when he received word from DC Comics that those two issues would be the last for both titles. The official word was that the two series were being “temporarily suspended”; but Kirby seems to have known that this was truly the end for both of his cherished creations, at least for the foreseeable future.
While we’ll probably never know just how far the writer-artist had already gotten in plotting, drawing, or scripting either comic, there can be no doubt that he made whatever adjustments were necessary to be able to provide the readers of both Forever People and New Gods with not just one last adventure of the series’ titular heroes, but with an ending for each. In the case of Forever People, Kirby quite literally took his characters off the field, transporting them across the cosmos to an idyllic planet far from the battlefront between the warring god-worlds of New Genesis and Apokolips. Read More
Fifty years ago, this issue brought the conclusion of the tenth annual Justice League-Justice Society summer team-up extravaganza — a special event which also served to commemorate the League’s reaching its 100th issue milestone. Making the occasion even more memorable, this JLA-JSA get-together was the first to take up three whole issues; it also featured the unexpected return, after twenty-seven years, of yet another DC Comics superhero team: the Seven Soldiers of Victory.
Or maybe that should be most of the Seven Soldiers of Victory, since one of the key mysteries of the storyline concerns a lonely grave standing on a Himalayan peak, with a stone marker inscribed to an “Unknown Soldier of Victory”. As of the conclusion of JLA #101, small teams of Justice League and Justice Society members have retrieved four out of seven of the time-lost Soldiers (or Law’s Legionnaires, as they’re also called) — the Crimson Avenger, the Shining Knight, Green Arrow, and Stripesy — with three more left to go. So who’s buried in the Unknown Soldier’s grave? Is it Vigilante? The Star-Spangled Kid? Speedy?
The answer, as many of you reading this already know, is: none of the above. Which is, and simultaneously is not, a cheat. But we’ll get to that soon enough — just as we’ll get to the solution to the separate mystery posed by Nick Cardy’s superb cover (his best yet for the title, in the opinion of your humble blogger) — who else among our heroes is doomed to die? Read More
First off, please be advised that this blog post is going to be one of the long ones. That’s primarily due to the fact that, in addition to covering the specific fifty-year-old comic book that gives the post its title, your humble blogger is also goiing to take a shot at answering the age-old conundrum: who came first, DC Comics’ Swamp Thing or Marvel Comics’ Man-Thing? (Regular readers may recall that when the blog spotlighted the second Man-Thing story, back in March, I promised something of this sort would be forthcoming; that moment has at last arrived.)
But it’s also destined to be at least a bit on the long side because before I can even get into discussing Swamp Thing #1, I feel that it’s necessary to give some attention to an even older comic, one that came out over fifty-one years ago. Of course, I’m talking about House of Secrets #92, published by DC in April, 1971; the comic book whose first eight pages gave us the very first “Swamp Thing” story, as written by Len Wein, drawn (mostly) by Bernie Wrightson, and edited by Joe Orlando. Neither the behind-the-scenes story of how Swamp Thing-the-series came to be — nor my own initial reactions to the first issue of the latter, as a fifteen-year-old reader in August, 1972 — make a whole lot of sense outside of the context of that classic tale. So, that’s where we’re starting, on what in all probability will indeed be a lengthy (though hopefully also enjoyable) journey. Forewarned is forearmed, eh? Read More
As I previously covered back in June in my post about the first issue of The Demon, sometime in the first half of 1972 DC Comics requested writer-artist-editor Jack Kirby to come up with a couple of new series concepts to complement the three titles already on his schedule. The results were pitches for what ultimately became The Demon and Kamandi, the Last Boy on Earth — and DC liked them a lot. Indeed, from Kirby’s perspective, they may have liked them a little too much. Read More
The fifty-year old comic book that’s the subject of today’s post features the middle chapter of the three-month-long celebration of Justice League of America‘s reaching its hundredth-issue milestone, as well as of the tenth annual summer event co-starring the JLA’s predecessors from the Golden Age of Comics, the Justice Society. Your humble blogger is as eager as the rest of you to jump back into the story by writer Len Wein, penciller Dick Dillin, and inker Joe Giella — but before we do, let’s take a good, close look at the cover by Nick Cardy.
Like all of the other JLA covers of this era, it features a left-hand column of League members’ floating heads (this particular issue also includes a right-hand column of JSA heads as an added bonus). But unlike virtually any other such cover, there are only three full-time active members of the League included in this group of five — the presently non-powered Diana Prince being on a leave of absence, while Metamorpho is only a “reserve member”. That meager number is the max number of “official” JLAers appearing in the story as well. Read More
Neal Adams’ cover for Batman #244 is probably one of the most famous and iconic comic book covers of its era. There are a number of good reasons for that, starting with the sheer drama of the moment it depicts, as our hero lies vanquished, perhaps even dead, at the feet of his greatest enemy, Ra’s al Ghul. Then there’s the strength of Adams’ composition, which frames that dramatic moment so perfectly, as well as the sophisticated coloring by Adams and Jack Adler, which wonderfully enhances the mood as well as the visual appeal of the illustration.
And then there’s the chest hair. Oh, and the nipples, of course. Mustn’t forget the nipples. Read More
In July, 1972, I bought my second-ever issue of Wonder Woman. My first issue had been #171 (Jul.-Aug., 1967) — and as I wrote here on the blog back in May, 2017, my nine-year-old self hadn’t been all that taken at the time with Robert Kanigher’s silly scripts, nor had the art by Ross Andru and Mike Esposito held much appeal for me. So, what motivated me to finally get around to giving the title another go, five years later?
It wasn’t the whole “New Wonder Woman”, white-jumpsuited Diana
Rigg Prince thing, for sure; that had been around since 1968, and if it hadn’t inspired me to lay down my coin to check it out yet, it wasn’t going to. No, it was the appearance on the Dick Giordano-drawn cover of perhaps the two most unlikely guest stars I could have imagined — science fiction and fantasy author Fritz Lieber’s sword-and-sorcery heroes, Fafhrd and the Gray Mouser. What the heck were those guys doing on the cover of any DC comic book — let alone Wonder Woman? Read More
I’ll be honest with you — it feels a little strange to be writing about the first issue of Jack Kirby’s The Demon in June, at a time when I still have my final posts about Forever People and New Gods coming up in August. That’s because for the better part of the past half-century, I’ve tended to categorize the bulk of Kirby’s work at DC Comics in the 1970’s as being either “the Fourth World” or “everything after the Fourth World”. But the fact of the matter is that those categories overlap chronologically, even if only by a couple of months. And that’s significant, I believe, as it reflects the fact that when the writer-artist came up with the series concepts for both The Demon and Kamandi, the Last Boy on Earth fifty years ago, he thought of them as complementary — and probably secondary — to his ongoing Fourth World epic, rather than as the replacement for that ambitious project that they inevitably became.
Which doesn’t necessarily mean that Kirby would have approached the development of Demon and Kamandi differently, had he known that these two series were what he was going to be spending the majority of his working hours dealing with for the next year or more. But it’s something to think about, at least. Read More
Regular readers of this blog will recall how, over the past year, we’ve been tracking the Fourth World-adjacent story material that appeared in various “Superman” family titles — mostly in Superman’s Girl Friend Lois Lane — during the period that Jack Kirby was writing, drawing, and editing Superman’s Pal Jimmy Olsen. The most significant piece of this material was that having to do with Morgan Edge, the head of Galaxy Broadcasting (and thus the boss of Lois and Jimmy, as well as of Superman’s alter ego Clark Kent). Originally created by Kirby, Edge was introduced in his first Fourth World comic, Jimmy Olsen #133, as being secretly involved with the criminal organization Intergang — and thereby, as shown in the very next issue, also an operative of the dark lord of Apokolips, Darkseid. More recently, however, it had been revealed in Lois Lane #118 that the Morgan Edge we readers had been reading about in all the Superman books wasn’t the real Edge at all — rather, he was an evil clone who’d been created by Darkseid’s minions in the Evil Factory to pose as the media mogul. Read More