Back in August, we covered Avengers #129 and Giant-Size Avengers #2, two memorable issues which together kicked off writer Steve Englehart’s “Celestial Madonna” saga — and the latter of which also saw the death of an Avenger, as the reformed villain called the Swordsman met his untimely end as an unquestioned hero. Read More
As we’ve discussed in this space previously, Marvel Comics seems to have been in an almighty rush to get as many “Giant-Size” comics to market as possible in the first half of 1974. Along with a multitude of title, frequency, price, and format changes, most seemingly made on the fly, one likely result of this haste was the release of Giant-Size Defenders #1 in April, 1974 as a mostly-reprint package, its only new content (not counting the Gil Kane-John Romita-Frank Giacoia cover) being a 9-page framing sequence. Written by Tony Isabella and illustrated by Jim Starlin and Al Milgrom, that strip unquestionably looked great, and it read just fine; there simply wasn’t enough of it. Read More
The primary subject of today’s blog post is the advent of artist Rich Buckler as the regular artist on Marvel Comics’ Thor (and despite the post’s title, we’ll be spending at least as much time on issue #227 — Buckler’s actual debut on the series — as we will on #228). But as it’s been a while since we last checked in on the God of Thunder (at least in his own book), it’s probably advisable that we take a few moments here at the top to orient ourselves to the current lay of the land in Thor, in terms both of its ongoing storyline and of its creative team. Read More
While this blog has briefly touched on the matter of Marvel’s 1974-75 line of “Giant-Size” comics in a few previous discussions, this is the first time we’ve devoted a post to a book in that fairly short-lived format. So, I hope you all won’t mind if we take a little time here at the top of the page, before we flip past Giant-Size Master of Kung Fu #1’s Ron Wilson-Mike Esposito cover to take a look at this issue’s specific contents, to get into a little background on the introduction and early days of the “Giant-Size” format in general. It’s an interesting story (at least in my opinion) that seems to indicate a certain degree of disorder in the Marvel offices around this time — disorder which might rise to the level of full-on chaos, but then again might not, depending on your point of view. Read More
In June, 1974, the Hyborian Age was clearly in full flower at Marvel Comics. Along with the latest installment of the publisher’s successful ongoing Conan the Barbarian series (issue #42, for the record), the month also brought the fans of Robert E. Howard’s famous sword-and-sorcery hero the first issue of a brand-new quarterly companion title, Giant-Size Conan. This new series got off to a spectacular start, featuring the first chapter of a multi-part adaptation of Howard’s one and only Conan novel, “The Hour of the Dragon”, as written by Roy Thomas and drawn by Gil Kane and Tom Sutton.
And that wasn’t even the biggest news in Conan comics this month; rather, that distinction went to the main topic of today’s blog post, The Savage Sword of Conan #1 — the first issue of a brand-new black-and-white bi-monthly magazine devoted to the barbarian adventurer and his fellow Howardian heroes. It was, in some ways, Conan’s third coming as far as the b&w comics market went, following as it did both the initial release of Savage Tales in January, 1971, and the subsequent relaunch of that title with its long-delayed second issue in June, 1973. It was also the biggest black-and-white comic Marvel had yet published — a square-bound number that weighed in at 80 pages (as compared to the then standard 64), and cost a whole buck (as compared to Marvel’s other b&w offerings’ going price of 75 cents). Read More
As regular readers of this blog may recall, I was never a regular buyer of The Incredible Hulk, back in the day. While I always enjoyed the character when he appeared as a guest star, or in a team setting à la the Defenders, for whatever reason his Jekyll & Hyde-cum-Frankenstein premise never had much appeal to me as the basis for a lead character. Or maybe I simply preferred my superheroes to have a little more going on upstairs. In any case, after dipping my toe in the water one time back in 1969, I had since refrained from picking up Hulk except on those occasions when it crossed over with another series I was currently buying, or when it tied up leftover plotlines from a canceled series I had been buying. Read More
I have to confess, that as fond as I am of the comic that’s the subject of today’s blog post, I’ve always had a little trouble thinking of it as a “real” first issue. After all, Doctor Strange had already had a first issue of his own solo title all the way back in 1968 — despite Marvel’s having opted at that time to continue the numbering of Doc’s previous home, the double-featured Strange Tales, by sticking a “#169” on it. That solo series had run for fifteen issues before succumbing to cancellation in 1969, so no way was the comic book that showed up on stands in the middle of March, 1974, the actual first issue of Doctor Strange. Heck, this wasn’t even the first issue of his current headlining feature, since that had begun a little less than two years previously, in Marvel Premiere #3. The hero’s MP run had continued through issue #14 and then picked up here after only a three-month break; so, as far as I was concerned, Doctor Strange #1 was little more than the latest issue of the Sorcerer Supreme’s successfully revived solo series. “Fabulous First Issue!”, my eye (of Agamotto). Read More
In August, 1973, the “Bullpen Bulletins” column that ran in Marvel Comics’ offerings each month opened with a self-congratulatory note about what an eventful summer the company had been having, citing the launches of new ongoing series for the Thing and the Black Panther as well as the debuts of such brand new characters as Brother Voodoo and the Son of Satan, before moving on to this item:
Voodoo.
It’s the current rage, don’t you know. Paperbacks on the subject litter newsstands throughout the world. Voodoo cults are reportedly springing up in major cities throughout the United States. And, figuring on television’s propensity for jumping on a fad with the obliterating properties of an overweight pachyderm, it probably won’t be too long before we see a Voodoo situation comedy laugh-tracking its way across our screens — Loa in the Family.
Leave it to the Marvel Comics Group, long renown [sic] for its many innovations in the comics field, to find a new slant on this late-breaking craze. And the result of this new slant promises to outlive the current interest in Voodoo.
— Tony Isabella, “Introducing Brother Voodoo! The Creation of Marvel’s Most Mysterious Superhero”, in Tales of the Zombie #2 (Oct., 1973). Read More
Back in November, 2021, we took a look at Marvel Premiere #1, in which Marvel’s new “Warlock” feature made its debut. As we discussed at the time, that first installment found writer Roy Thomas and artist Gil Kane dusting off a few old Stan Lee-Jack Kirby concepts from 1960s issues of Fantastic Four and Thor and combining them to create the most overt religious allegory that had yet appeared in superhero comics. In doing so, they were clearly seeking to tap into the cultural zeitgeist exemplified by the rock opera Jesus Christ Superstar both topping both the pop album charts and selling out shows on Broadway, and by the youth-driven “Jesus Movement” being featured on the cover of Time magazine, all of which happened in 1971. Read More
