As of March, 1971, my thirteen-year-old self was picking up Detective Comics on a fairly consistent basis — but it was a habit I’d acquired only recently (or perhaps I should say reacquired, as I’d been a regular reader of the title before, back in 1965-67). For that reason, I’d missed writer Denny O’Neil’s first two “League of Assassins” stories, which had run in issues #405 and #406, respectively. On the other hand, I had bought and read Detective #408, whose lead Batman story, though not scripted by O’Neil, had featured an attempt by the villainous Dr. Tzin-Tzin to eliminate the Darknight Detective at the League’s behest. So it wasn’t like I was completely unfamiliar with the sinister organization prior to my purchasing issue #411. Rather, I was intrigued by the little I knew — and though I realized I was coming in late, I was eager to catch up. Luckily, this third installment of O’Neil’s League saga didn’t depend very much on knowledge of the previous two at all — and what little I did need to know, I’d manage to pick up easily through the script’s unobtrusive exposition. 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
Back in December, I wrote about the departure of Dick Giordano from his position as an editor at DC Comics. Giordano’s last day on staff at the publisher appears to have been November 4, 1970 — but, since the processes involved in producing periodical comic books don’t stop (or start) on a dime, the fruits of his stewardship would continue to appear in the titles he’d supervised for another few months, even after he was no longer the editor of record. The same principle had of course applied at the beginning of his tenure at DC; and thus, just as Giordano’s first issue of Teen Titans (#15, May-Jun., 1968) had featured a story almost certainly procured by his predecessor, George Kashdan, the first issue edited by his successor, Murray Boltinoff, would present a tale that had actually been written and drawn under Giordano’s direction.
Well, mostly written and drawn under Giordano’s direction. While the story in Teen Titans #32 is solely credited to writer Steve Skeates and artist Nick Cardy, its actual provenance is… rather more complicated. Read More
In October, 1970, Dick Giordano had been an editor at DC Comics for roughly two and a half years. Since moving over from a similar position at the smaller Charlton Comics, Giordano had made his mark on such DC titles as Beware the Creeper, The Hawk and the Dove, Aquaman, and Teen Titans — all of which featured work by creators he’d previously employed at Charlton, including Steve Ditko, Denny O’Neil, Jim Aparo, and Steve Skeates. He had also served in the vanguard of a new cohort of DC editors who, like himself, had worked as comics artists before ascending into editorial positions. This was an innovation driven largely by Carmine Infantino, himself a veteran freelance artist who had recently moved into an executive role at DC; Giordano, however, had been hired not by Infantino, who in early 1968 was still “only” DC’s Art Director, but rather by Executive Vice President Irwin Donenfeld. Very soon after Giordano’s arrival, Donenfeld was ousted from the company, with Infantino being promoted to Editorial Director — a change which made him Giordano’s new boss. And although Giordano highly respected Infantino as an artist, he soon found it difficult — and ultimately, impossible — to work with him within their new roles. Read More
There’s an interesting story behind Detective #408’s lead Batman feature (and cover story), “The House That Haunted Batman!”. Or perhaps we should say, in the interest of total accuracy, that there are four of them.
Back in 1998, in the 1st issue of Comic Book Artist, editor Jon B. Cooke published “The Story That Haunted Julie Schwartz”, a collection of interviews with four of the personnel who’d been involved with producing this classic Detective story: editor Julius Schwartz, writers Len Wein and Marv Wolfman, and penciller Neal Adams. The funny thing about it, though, was that in spite of the interviews’ brevity (the entire article ran only two pages) the four veteran comics pros’ recollections differed in certain details, lending the whole enterprise a Rashomon-like quality.
This much, at least, the quartet could agree on: Quite early on in their professional careers, longtime friends Len Wein and Marv Wolfman wrote a Batman story together which they hoped to sell to Julius Schwartz. Somewhere along the line, Neal Adams took an interest in the as-yet-unbought script and ended up drawing it in his spare time, on spec — a remarkably generous gesture, considering how busy the artist was (not to mention what his time was worth). Ultimately, despite the irregularity of the process, editor Schwartz did indeed buy the completed 15-pager, and scheduled it for the next available issue of Detective Comics. 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
Seven months ago, I blogged about a number of comics that I wish I’d bought back in April, 1970, the only month in the last 55 years in which I didn’t acquire a single new comic book. (At least not until April, 2020, when COVID-19’s temporary shutdown of the comics industry took the matter out of my, and everyone else’s, hands for a while.) Regular readers of this blog with good memories may recall that among those “comics that got away” was the 400th issue of Detective Comics.
That, of course, was the issue that featured the first appearance of Man-Bat — an important new adversary (and sometime ally) of Batman — created by artist Neal Adams. Unless, of course it was actually editor Julius Schwartz who came up with the character. In any event, it wasn’t writer Frank Robbins. Probably not, anyway. 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 Grand Comics Database’s entry for this issue, the cover of Batman #227 has been reprinted seven times by DC Comics. The story it illustrates? Just twice.
The perennial popularity of the cover isn’t all that surprising, of course. It’s a wonderfully atmospheric and technically accomplished effort by the artist widely considered to be the definitive visual interpreter of Batman during this era, Neal Adams — a great cover even if (like my thirteen-year-old self, back in October, 1970), you have no idea that’s it’s an homage to a classic Batman cover from the first year of the Darknight Detective’s existence… Read More