Detective Comics

Batman Family #1 (Sep.-Oct., 1975)

Posted on by Alan Stewart

A couple of weeks ago, I noted that when I picked up Detective Comics #450 in the late spring of 1975, it had been well over a year since I’d bought an issue of that title.  As it happens, I could have said the same thing about most of DC Comics’ other Bat-books of the time.  The last issue of Batman itself that I’d purchased had been #255, which had come out at the end of 1973, and I hadn’t been paying any attention at all to World’s Finest (which of course was technically Superman’s book at least as much as it was Batman’s) since well before that.  Granted, I was a somewhat more frequent consumer of Brave and the Bold, where every new issue arrived possessing the baseline advantage of Jim Aparo’s reliably fine artwork, then might pick up additional interest based on who the Masked Manhunter’s co-star happened to be this time around.  Still, you get the basic idea; while I continued to like the character of Batman just fine, DC’s “Batman family” of comic-book titles was mostly leaving my younger self cold.  Read More

Detective Comics #450 (August, 1975)

Posted on by Alan Stewart

This 450th issue of Detective Comics — a numerical milestone, though not commemorated as such by DC Comics at the time of its release (probably because the major comics publishers hadn’t yet determined that such commemorations often provided a sales bump) was the first issue of the series my younger self had purchased since #439, back in November, 1973.  As I related in a post last fall, as much as I liked the “new” comics material in that issue, I was a hard sell on DC’s reprint-heavy 100 Page Super-Spectacular format.  That meant I ended up missing out on most of editor-writer Archie Goodwin’s tenure on Detective, which largely overlapped with the run of issues published in that format — and which included among its highlights the “Manhunter” backup serial by Goodwin and a new young artist named Walt Simonson.  That serial, which ran through all of the Goodwin-edited Detective issues, culminated in #443’s Batman/Manhunter crossover — a “book-length” story which not only marked the end of the “Manhunter” feature itself (and the concurrent end of Archie Goodwin’s stint as Detective‘s editor), but was also the very first time that Walt Simonson drew the Batman.  Read More

Batman #255 (Mar.-Apr., 1974)

Posted on by Alan Stewart

As of December, 1973, it had been seventeen months since my younger self had bought an issue of Batman.  For the record, that issue had been #245, in which the lead story (as well as the cover) had been drawn by Neal Adams.  The last issue I’d bought before that had been #244, which had also had a lead story illustrated by Adams; the last one before that had been #243, which was drawn by (you guessed it) Neal Adams; and before that came #242, which didn’t feature the art of Neal Adams, but did continue the Ra’s al Ghul saga begun in issue #232 by writer Denny O’Neil and artist… Neal Adams.  You see the pattern, right?  Adams’ art wasn’t the only factor that came into play when I stood at the spinner rack and pondered over whether to buy the latest issue of the Masked Manhunter’s title — but it was definitely the largest factor, and the presence of the artist’s work made it pretty much a no-brainer that I would buy that particular comic book.  Read More

Swamp Thing #7 (Nov.-Dec., 1973)

Posted on by Alan Stewart

A few months ago, I wrote about the “house dress” that, by mid-1973, had become common on the DC comics edited by Joe Orlando.  It was a look that included a solid color banner that ran behind the title logo  and other necessities (e.g., the price tag, Comics Code seal, etc.) and took up roughly the top third of the cover area.  Not every Orlando cover followed this format (see, for instance, Plop), and other DC editors used it on occasion as well.  Still, in the period of comics history we’re presently discussing, it was a prevalent enough feature to count as an editorial signature for Orlando, if not precisely a trademark.

At the time of my previous comments, I wrote that giving over a third of the cover’s real estate to a single solid color effectively reduced the canvas available to Orlando’s cover artists.  But while that statement was true enough on its face, it really should have been accompanied by an acknowledgement of how Orlando routinely mitigated the negative effect of that design choice by keeping the amount of verbiage used on his covers to an absolute minimum.  Nowhere was that truer than with Swamp Thing, whose covers through most of its existence included no blurbs or other typography (other than the necessary elements mentioned earlier) — depending entirely on the strength of the artwork to sell the comic. Read More

Batman #242 (June, 1972)

Posted on by Alan Stewart

In addition to being a fine piece of artwork by Michael W. Kaluta, the cover of Batman #242 represents a minor milestone of sorts; outside of those for a small handful of giant-sized all-reprint issues, it was the first cover since October, 1969 for either Batman or its companion title, Detective Comics, not to have been drawn by Neal Adams.  (That particular month, not so coincidentally, was the same one in which those titles’ editor at DC Comics, Julius Schwartz, introduced the Caped Crusader’s “Big Change” — a return to a moodier, more grounded approach to the hero that was largely inspired by what Adams had been doing over in Brave and the Bold for the last year or so.) Read More

Batman #237 (December, 1971)

Posted on by Alan Stewart

Batman #237’s “Night of the Reaper!” wasn’t the first comic book story set at the real-life Rutland, VT Halloween Parade; that distinction goes to Avengers #83, which was published one year earlier (and was covered here on this blog last October).  Nor would it be the last such tale.

But it was almost certainly the best of the bunch.

That’s really not surprising, given that the story was crafted by one of the most outstanding creative teams of the era — writer Denny O’Neil, penciller Neal Adams, and inker Dick Giordano — as well as that it, more than most of its fellows, aspired to be about something more than either the Parade itself, or conventional superheroic goings-on — something decidedly more serious, in fact — and was largely successful in achieving this aim, ultimately addressing the subject of the Holocaust in a dramatic, but sensitive, manner.

Nevertheless, the origins of this classic story in certain actual (but not very serious) events — and the appearance within its pages of several equally actual persons who either already were, or would soon become, well-known comics industry professionals — can’t help but be responsible for a certain amount of “Night of the Reaper!” lasting appeal.  And it’s with those events, and persons, that we begin.  Read More

Justice League of America #94 (November, 1971)

Posted on by Alan Stewart

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

Mister Miracle #4 (Sep.-Oct., 1971)

Posted on by Alan Stewart

When I was nine years old, I fell in love with a superheroine whose unlikely name — a name that still brings a wince of lust and embarrassment to my face when I say it — was Barda. Big Barda. I have never recovered, thank God, from my first sight of her, in Mister Miracle #8 (September 1972).  — Michael Chabon, “A Woman of Valor”, 2004.

Your humble blogger’s own first meeting with Big Barda came four issues earlier than did that of the Pulitzer Prize-winning author of The Amazing Adventures of Kavalier & Clay; and I was fourteen years old at the time, not nine.  Nevertheless, I can definitely relate.  Read More

Batman #234 (August, 1971)

Posted on by Alan Stewart

Over the course of writer Denny O’Neil and artist Neal Adams’s classic early-’70s collaboration on Batman, the team was responsible not only for introducing one major new adversary (Ra’s al Ghul) to the ranks of the Darknight Detective”s greatest foes, but also for reclaiming and refurbishing of two vintage baddies who’d fallen out of favor in recent years.  The second of these restorations to appear, “The Joker’s Five-Way Revenge!” (Batman #251 [Sept., 1973]), is doubtless the best-remembered of the two, due to its ultimately having had such a dramatic impact not only on the Bat-mythos, but on the DC Universe as a whole — rehabbing what had become a joke of a character (no pun intended) during the camp “Batmania” era of the mid-Sixties into the comics medium’s quintessential avatar of psychopathic evil — a character arguably more popular than all but a small handful of DC’s best-known superheroes, and one with enough cultural gravitas for screen portrayals of him to have earned Academy Awards for two different actors.

I didn’t buy that one.  Read More

It was April, 1970…

Posted on by Alan Stewart

On July 21, 2015, this blog made its debut with a post entitled “It was the summer of ’65…”.  In that first installment, I described my earliest experiences with comic books, leading up to to my very first comics purchase in the, well, summer of ’65.  Since then, I’ve been writing about some of the most interesting individual issues I bought in my first few years as an avid comics reader (and nascent collector), while also attempting to chronicle, more generally, the evolution of my own comics tastes and interests, and setting that personal narrative in the broader context of what was going on in the funnybook industry (and, more broadly, in American culture), during those years.

But now, almost half a decade after starting this project, I’ve reached the point in the narrative of my comic book buying and reading where that story almost came to an end, fifty years ago.  I’ve arrived at the time in my life when, at least for a while, I stopped buying comics.  Read More