Back in July of this year, we took a look at Wonder Woman #202 — an issue which, in addition to being the penultimate issue of that title’s four-year “Diana Prince” run (which had found the Amazing Amazon battling bad guys sans her traditional powers or costume), featured the comic-book debut of Fafhrd and the Gray Mouser, two heroes of sword-and-sorcery fiction who’d been appearing in the stories of Fritz Leiber since 1939. In the comic’s story, Diana and Catwoman journeyed to the the world of Nehwon (spell it backwards), where they tussled briefly with the two blade-wielding adventurers before teaming up against their common foes.
Immediately following the story’s conclusion, a half-page ad promised us readers of 1972 that this was by no means the last we’d see of Fafhrd and the Mouser: Read More
I may be misremembering, but I have a vague recollection of my fifteen-year-old self looking at this one at the spinner rack back in October, 1972 and thinking, “The Justice League standing around a grave site? Again?” After all, it had only been three issues since artist Nick Cardy had built his cover for JLA #100 around a similar idea. On the other hand, it was October — the spooky season — and what could be spookier than an open grave? Especially when said grave was being ominously loomed over by… hey, is that thePhantom Stranger? In an issue of Justice League of America? Forget about repetitive cover concepts; I couldn’t wait to buy this one and take it home. 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
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 Leiber’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
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
Batman #243 picks up the ongoing Ra’s al Ghul storyline from the previous issue without missing a step –and with the welcome return to the proceedings of Ra’s’ co-creator, artist Neal Adams, who contributes the comic’s fine cover prior to rejoining writer Denny O’Neil and inker Dick Giordano for the story within. Read More
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
As regular readers of this blog may have noticed, we haven’t featured an issue of DC Comics’ Green Lantern title here since #86, way back last August. If you happen to be one of those readers, you might well wonder what’s been up with that, considering that I’ve written about every other issue in the Denny O’Neil-Neal Adams “Green Lantern/Green Arrow” run from the first one I bought (#80) onwards.
The reason’s a pretty simple one; on this blog, I only write about comic books I got new off the stands fifty years ago… and I didn’t get either GL #87 or #88 upon their initial release (in October and December, 1971, respectively). My decision not to purchase #88 is, I think, still essentially supportable; it was an all-“vintage” issue (though not all-reprint, as I’ll explain presently), and technically not part of the O’Neil-Adams “GL/GA” canon at all. (For what it’s worth, at age fourteen I had yet to develop the collector’s mentality that would have me pick up an otherwise undesirable comic book so as not to “break the run”.) But Green Lantern #87? My opting not to pick that one up out of the spinner rack (or, having already picked it up, to put it back without buying it) is one I ruefully kick myself for to this very day. Read More
With this post, we continue our coverage of Lois Lane‘s forays into Jack Kirby’s Fourth World, courtesy of editor E. Nelson Bridwell, scripter Robert Kanigher, penciller Werner Roth, (primary) inker Vince Colletta, and uncredited Superman/Clark Kent head-finisher Murphy Anderson. As you may recall, the intermittent usage of Kirby’s concepts and characters in the title had begun in #111, then resumed in #115 before continuing into #116. Read More