DC Comics

Swamp Thing #13 (Nov.-Dec., 1974)

Posted on by Alan Stewart

As we covered in a post back in February, the 10th issue of DC Comics’ Swamp Thing marked the end of the award-winning collaboration on the title of writer Len Wein, artist Bernie Wrightson, and editor Joe Orlando, as Wrightson chose to leave the book after that installment.  But of course, that didn’t mean the end of Swamp Thing itself.

According to an interview with Orlando published in Amazing World of DC Comics #6 (May-Jun., 1975), among the artists who were considered to replace the muck-monster’s co-creator on the series were a young and mostly untried illustrator named Arthur Suydam, as well as the veteran Filipino artist Alex Niño.  In the end, however, it was another well-seasoned komiks creator from the Philippines, Nestor Redondo, who got the nod.  Read More

Phantom Stranger #33 (Oct.-Nov., 1974)

Posted on by Alan Stewart

Cover art by Michael W. Kaluta.

Cover art by Nick Cardy.

It’s been quite a while since we covered an issue of Phantom Stranger on the blog — more specifically, since May, 2023, when we took a look at PS #26.  As I wrote at the time, that issue’s crossover between the comic’s lead and backup features (the latter then being “The Spawn of Frankenstein”) represented the end of an era for the Joe Orlando-edited title, as the very next issue, #27, would bring a complete overhaul of the creative teams for both strips.

Gone from the front of the book were writer Len Wein (who’d written every Phantom Stranger story since issue #14) and artist Jim Aparo (whose association with the character went all the way back to #7); replacing the duo were Arnold Drake and Gerry Talaoc, respectively.  Meanwhile, writer Marv Wolfman and artist Michael W. Kaluta had departed the back pages, leaving the chronicling of the modern adventures of Mary Shelley’s classic creation to Steve Skeates and Bernard Bailey.  Read More

Adventure Comics #435 (Sep.-Oct., 1974)

Posted on by Alan Stewart

About a year ago, in a post about Plop #1, we spent some time musing about the flourishing of the word “Weird” in the titles of various DC Comics series of the early-to-mid-1970s.  As Joe Orlando — who was the editor of the majority of these titles — would later put it in a 1998 interview for Comic Book Artist #1:  “I started using the word and [publisher] Carmine [Infantino] decided that ‘Weird’ sold anything. Weird War, Weird Western, Weird Worlds, Weird Mystery.”  Read More

Justice League of America #113 (Sep.-Oct., 1974)

Posted on by Alan Stewart

Beginning in 1963 and continuing through 1973, the June issue of Justice League of America had featured the first chapter of the latest team-up event between the JLA and their Earth-Two counterparts in the Justice Society of America.  It was an annual summer tradition that no DC Comics fan would have expected to see change in June, 1974.

And indeed, the Nick Cardy-drawn cover for JLA #113 gave nary a clue that anything was different this time around, what with its blurb trumpeting “A New JLA-JSA Shocker!”  But I suspect that for many readers (your humble blogger most definitely being among them), the real “shocker” would come when they got to the end of page 20 of “The Creature in the Velvet Cage!” and discovered that they’d just finished reading a complete story.  There would be no second serving of joint Justice League-Justice Society adventuring this year (let alone a third, as we’d had in 1972); rather, they (and we) were one-and-done, until next summer.  Read More

The Shadow #6 (Aug.-Sep., 1974)

Posted on by Alan Stewart

Last November, we took a look at the third issue of DC Comics’ The Shadow — the first issue by the team of writer/editor Denny O’Neil and artist Michael W. Kaluta to carry a credit for another creative talent.  In this case, it was Kaluta’s friend and fellow artist, Bernie Wrightson, who stepped in to help out his pal when the former artist ran behind on his bi-monthly deadline.

Kaluta ended up having some uncredited help on issue #4, as well — this time from Howard Chaykin and Stephen Hickman as well as Wrightson — although this seems to have been a case of the other artists just wanting to pitch in for the fun of it, rather than a matter of necessity.  Kaluta drew the cover solo, however, just as he had the previous three; like them, it was enhanced by the special washtone process utilized by colorist Jack Adler.  (For the record, this issue also featured an additional writing credit for the first time, as Len Wein co-scripted the story with O’Neil.)

Then, in March, 1974, The Shadow #5 brought the largest creative shakeup yet, as Kaluta was entirely absent from the issue; instead, both the cover and story were illustrated by an artist with a diametrically different style, i.e., Frank Robbins.  Read More

Swamp Thing #10 (May-Jun., 1974)

Posted on by Alan Stewart

With the publication of the subject of today’s blog post fifty years ago, the collaboration between writer Len Wein, artist Bernie Wrightson, and editor Joe Orlando on Swamp Thing that had begun with a one-off short story in House of Secrets #92 (Jun.-Jul., 1971) came to a close.  According to an interview Wein gave The Comics Journal in 1979, the trio’s issue-to-issue production of the ongoing Swamp Thing series — which, unusually for DC Comics at the time, regularly began with a joint plotting session between writer, artist, and editor held every couple of months in the latter’s office, followed by Wrightson pencilling the entire story before Wein wrote a word of the script (a version of the “Marvel method”, if you will) — started out as a great working experience… but then, somewhere along the way, it stopped being so:  Read More

The Brave and the Bold #112 (Apr.-May, 1974)

Posted on by Alan Stewart

By my reckoning, DC Comics’ The Brave and the Bold was one of the first comic book titles I ever spent my own money on (for the record, it was preceded only by Superman, Detective Comics, Green Lantern, Justice League of America, Flash, and Lois Lane).  I bought my first issue, #64, in December, 1965 — drawn in, no doubt, by its irresistible Gil Kane cover — and BatB soon became one of my most consistent regular purchases as a nascent comics fan.  No, I didn’t buy every single issue, but that was true of virtually every other title as well (the sole exception in those early days being Justice League of America, to which I quickly subscribed).  The ongoing appeal of the book, of course, was that you were always guaranteed at least two superheroes for the price of one (sometimes, as with issue #65’s team-up between the Flash and the Doom Patrol, you got even more).  That wasn’t quite as good a deal as JLA, which might give you as many as ten costumed crusaders cavorting in the same story… but it was still pretty sweet.  Read More

Justice League of America #110 (Mar.-Apr., 1974)

Posted on by Alan Stewart

From a creative standpoint, 1973 had been a very stable year for Justice League of America.  Everyone who’d been working on the book as the year began — writer Len Wein, penciller Dick Dillin, inker Dick Giordano, cover artist Nick Cardy, and (of course) editor Julius Schwartz — remained in place as 1973 neared its end.  From a business perspective, however, it was a rather different story.  After having been published on a nine-times-a-year schedule from 1965 to 1971, DC Comics’ premiere super-team title had dropped back to eight issues per year in 1972; and then, with the first issue of 1973, had its frequency reduced even further, to a bimonthly status.

And then, December, 1973 brought a change that was even bigger (in more ways than one), as JLA joined several other DC titles in transitioning to the “100 Page Super Spectacular” format — a giant-sized package that featured some three pages of reprints to every one of new art and story, at a cost of 50 cents — more than twice that of the “standard” format comic JLA had been prior to the change, which sold for 20 cents.  (With the following month, the price of the “Super Spectacular” format would go up to 60 cents, making these comics a full three times more expensive than DC’s standard size books… but of course we fans of the time didn’t know that yet.)  Read More

Detective Comics #439 (Feb.-Mar., 1974)

Posted on by Alan Stewart

As of November, 1973, it had been twenty-seven months since the last time I bought an issue of Detective Comics.  (For the record, that issue was #416, featuring the fourth appearance of Man-Bat.)  There hadn’t been any conscious “drop” decision involved in this long dry spell between purchases; like a lot of other titles, Detective was simply one of those books I made an individual buy-or-not-buy choice about every time I saw a new issue on the stands.  I’d check out the cover, glance at the credits for the Batman story, note who Bats was fighting this go-around — maybe even see who was starring in the backup feature (there was always a backup feature back then) — and if one or more of those aspects grabbed me (or, if the spinner-rack pickings were really slim that week, even just mildly interested me), I bought the comic book.  Read More

The Shadow #3 (Feb.-Mar., 1974)

Posted on by Alan Stewart

In November, 1973, the third bimonthly issue of DC Comics’ The Shadow arrived on newsstands as scheduled, sporting yet another instantly-classic cover by regular series artist Michael W. Kaluta and colorist/washtone-process master Jack Adler.  Turning to the opening splash page, a prospective buyer might have noted that the creative lineup for the book’s interior contents remained basically consistent with the title’s previous installments as well, its story having once again been scripted by writer/editor Denny O’Neil, and drawn by Kaluta and… Bernie Wrightson?  Read More