A half century ago, when your humble blogger picked the object of today’s post up out of the spinner rack and eyeballed the cover for the first time, I was awfully curious as to who — or what — that wraithlike, red-tinged figure descending into Aquaman’s body might turn out to be. At the same time, I wasn’t the least bit curious about the identity of the cover’s artist — since, with the exception of the usual left-hand column’s worth of floating JLA heads rendered by Murphy Anderson, the cover was the obvious work of Neal Adams. And as Adams had either pencilled, inked or provided complete art for more Justice League of America covers than any other artist in the three years since his very first (for issue #66 [Nov., 1968] ), that was no surprise at all.
But interior art by Adams in an issue of JLA? That was unexpected; nevertheless, on turning past the cover to the book’s opening splash, that’s exactly what my fourteen-year-old self beheld: Read More
There’s a lot going on on the cover of Green Lantern #86. Besides boasting an outstanding illustration by Neal Adams that would probably be even better remembered than it is if it hadn’t followed right on the heels of its instantly iconic predecessor, the cover also boldly heralds the inclusion within the comic’s pages of “an important message” from no less a personage than the 1966-73 mayor of New York City, John Lindsay — and proudly announces that Green Lantern has won the Academy Award for Best Comic. That’s a lot to take in — but don’t worry, we’ll get to it all, starting with the subject of Adams’ compelling cover image — the concluding installment of the groundbreaking two-part story focused on drug addiction that Adams and writer Denny O’Neil had begun in the previous issue, #85. Read More
July, 1971 brought DC Comics fans the second half of the year’s Justice League-Justice Society team-up (the ninth such event since the institution of the annual summer tradition in 1963). Like the first half, it was produced by the regular JLA creative team of Mike Friedrich (writer), Dick Dillin (penciller), and Joe Giella (inker). And, as you might expect, it began with a recap — though in this case, a bit more time and space were spent recapping the basic concept of the inter-dimensional assemblage of superheroes than the specific events of the story’s opening chapter: Read More
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
Although writer Denny O’Neil and artist Neal Adams had begun their tenure on Green Lantern in 1970 with a run of grounded stories featuring more-or-less realistic antagonists, as they moved into their second year they appeared more willing to incorporate the sort of colorfully code-named and costumed supervillains that had been the series’ bread-and-butter prior to their own advent. Already in GL #82 they’d brought back Sinestro, the renegade ex-Green Lantern; and now, two issues later, they were drafting yet another veteran foe back into active service — although you couldn’t tell that from the cover, which (like #82’s before it) gave no hint of who the story’s main bad guy actually was. While O’Neil and Adams (and their editor, Julius Schwartz) may have decided that it was a good idea to include more old-school superhero genre elements in their storytelling, they evidently didn’t think putting a returning villain’s puss on the cover would have much if any impact on the book’s sales. 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
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
As I noted in my post about Green Lantern #81 back in October, that issue had concluded on a note of finality, with Denny O’Neil’s script commemorating the end of the cross-country (and cross-galaxy) journey that the title character and his fellow emerald-hued hero, Green Arrow, had been on since O’Neil and artist Neal Adams had launched the series on a new, “relevant” trajectory, beginning with issue #76. Readers at the time might well have wondered if Green Lantern had been cancelled, especially when an issue of the title, previously published on an eight-times-a-year schedule, didn’t appear on the racks in November, as had been the case since the 10th issue back in 1961.
But, in December, 1970, a new issue of Green Lantern (now being published bi-monthly) did finally show up — and things didn’t seem to have changed much, if at all. As proclaimed by the cover logo, this was still the “all-NEW! all-NOW! Green Lantern co-starring Green Arrow”. Neal Adams’ presence as cover artist indicated continuity with preceding issues as well. If anything seemed off at all, it might have been that after a couple of issues whose covers heralded their socially relevant themes quite overtly — i.e., #80‘s graphic evocation of the Chicago 8 trial, and #81’s direct reference to the “population explosion” in its blurb text — #82’s depiction of our two heroes being besieged by mythological harpies suggested that we’d moved back into the area of pure fantasy.
Or did it? Could it be, perhaps, that those harpies… weren’t just harpies? Read More
Green Lantern #81, the sixth issue of writer Denny O’Neil and artist Neal Adams’ classic “Green Lantern/Green Arrow” run, represented a couple of “firsts” for the series. For one, the superheroine Black Canary, who’d previously appeared in issues #78 and #79, was cover-billed as a guest-star for the first time. For another, this was the first installment that overtly heralded the major social issue dramatized within the book’s pages with a cover blurb, i.e., the “Population Explosion!”
Along with these firsts, however, issue #81 almost had the added distinction of being the last issue drawn by Neal Adams. As the artist would later tell interviewer Arlen Schumer (in Comic Book Marketplace #40 [Oct., 1996]), “I thought we started to run out of ideas when we ran the overpopulation story… Politically, I had a problem with the book.” Read More
According to the Mike’s Amazing World of Comics web site, Robert Kanigher scripted 2,707 comic book stories in his five-decade career, the vast majority of them for DC Comics. But despite the fact that I’ve been reading DC comics myself for over five decades — three of which overlap with those during which Kanigher was working — I’ve never really felt like I had a handle on the guy. Read More