Dick Giordano

Doctor Strange #1 (June, 1974)

Posted on by Alan Stewart

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

Dracula Lives #6 (May, 1974)

Posted on by Alan Stewart

In March, 1974, Marvel Comics’ black-and-white magazine Dracula Lives entered its second year of publication with a format relatively little changed from its first issue — meaning that it featured three all-new stories of the titular vampire (one set in the present, two set in the past), supplemented by illustrated text features and a reprint or two, all packaged behind a color painted cover.  (In this case, the cover was provided by Luis Dominguez, an Argentinian artist who’d been busy of late drawing covers [and occasional stories] for various DC Comics anthology titles; this was his third published cover for a Marvel horror magazine.)  Read More

Marvel Premiere #15 (May, 1974)

Posted on by Alan Stewart

In early 1974, when a slot for a new continuing feature opened up in Marvel Premiere (due to the previous tenant Dr. Strange having vacated the premises to return to headlining his own title), it must have seemed a virtual no-brainer to offer it to a character who could help Marvel Comics cash in even further on the burgeoning martial arts craze than they were already doing with the Master of Kung Fu series (which had debuted in September, 1973) and its brand-new black-and-white magazine spinoff The Deadly Hands of Kung Fu (which launched in early February, just a couple of weeks prior to the release of today’s featured fifty-year-old comic).  But for Marvel to do that, someone was first going to have to invent such a character; and in this instance, that process of invention began with the company’s then-editor-in-chief, Roy Thomas.  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

Marvel Premiere #14 (March, 1974)

Posted on by Alan Stewart

In December, 1973, the lead feature spot in Marvel Premiere was about to become vacant, as Doctor Strange’s 20-month, 12-issue tenancy as the publication’s headliner neared its end.  For the Master of the Mystic Arts — and his fans — it was a happy occasion, as he was about to return to starring in his very own title for the first time since 1969.

Though, of course, before the good Doctor could move into his new digs, he’d have to survive the third and final chapter of the storyline the series’ creative team of Steve Englehart (co-plotter/scripter) and Frank Brunner (co-plotter/artist) had initiated back in Marvel Premiere #12 — a storyline that presently found Strange and his arch-enemy, Baron Mordo, journeying backwards through time to the dawn of Creation, trailing a sorcerer from the far distant future named Sise-Neg (though, for reasons now unknown, the copy affixed to Brunner’s cover for issue #14 called him Cagliostro — the 18th-century mage Sise-Neg had impersonated in the previous issue).  Read More

Justice League of America #110 (Mar.-Apr., 1974)

Posted on by Alan Stewart

From a creative standpoint, 1973 had been a very stable year for Justice League of America.  Everyone who’d been working on the book as the year began — writer Len Wein, penciller Dick Dillin, inker Dick Giordano, cover artist Nick Cardy, and (of course) editor Julius Schwartz — remained in place as 1973 neared its end.  From a business perspective, however, it was a rather different story.  After having been published on a nine-times-a-year schedule from 1965 to 1971, DC Comics’ premiere super-team title had dropped back to eight issues per year in 1972; and then, with the first issue of 1973, had its frequency reduced even further, to a bimonthly status.

And then, December, 1973 brought a change that was even bigger (in more ways than one), as JLA joined several other DC titles in transitioning to the “100 Page Super Spectacular” format — a giant-sized package that featured some three pages of reprints to every one of new art and story, at a cost of 50 cents — more than twice that of the “standard” format comic JLA had been prior to the change, which sold for 20 cents.  (With the following month, the price of the “Super Spectacular” format would go up to 60 cents, making these comics a full three times more expensive than DC’s standard size books… but of course we fans of the time didn’t know that yet.)  Read More

Detective Comics #439 (Feb.-Mar., 1974)

Posted on by Alan Stewart

As of November, 1973, it had been twenty-seven months since the last time I bought an issue of Detective Comics.  (For the record, that issue was #416, featuring the fourth appearance of Man-Bat.)  There hadn’t been any conscious “drop” decision involved in this long dry spell between purchases; like a lot of other titles, Detective was simply one of those books I made an individual buy-or-not-buy choice about every time I saw a new issue on the stands.  I’d check out the cover, glance at the credits for the Batman story, note who Bats was fighting this go-around — maybe even see who was starring in the backup feature (there was always a backup feature back then) — and if one or more of those aspects grabbed me (or, if the spinner-rack pickings were really slim that week, even just mildly interested me), I bought the comic book.  Read More

Justice League of America #109 (Jan.-Feb., 1974)

Posted on by Alan Stewart

Nick Cardy’s cover for Justice League of America #109 is interesting in that it completely ignores the conflict that drives roughly 80% of the plot of this issue’s story.  Rather, it seeks to hook the prospective buyer by way of a tantalizing mystery — who is leaving the team?  It’s not a bad strategy, really, since even casual fans of the JLA would likely be curious to learn the answer.

The only real problem with hanging the cover’s whole pitch on this mystery is that the answer is given immediately, on the story’s very first page.  So if our hypothetical prospective buyer was only interested in that bit of information, and they so much as flipped past the cover while still standing at the spinner rack, they might well have opted to put the comic back rather than spend two dimes on it.  But, hey, see for yourself:  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, the covers of whose first thirteen issues included no blurbs or other typography (other than the necessary elements mentioned earlier) — depending entirely on the strength of Bernie Wrightson’s artwork to sell the comic. Read More

Justice League of America #108 (Nov.-Dec., 1973)

Posted on by Alan Stewart

In August, 1973, the second half of the 11th annual team-up event between the Justice League of America and the Justice Society of America led off with a cover (by Nick Cardy) that clearly called back to a particular predecessor — namely, the cover that had graced the second half of the 5th such summertime event, way back in July, 1967.  And why not?  That Carmine Infantino-Murphy Anderson number is an all-time classic, which, aside from its own individual excellence, arguably established the motif of “two line-ups of superheroes charging each other” that has been a staple of super-team comic book covers ever since.

That said, it rankled me just a bit at the time — and, what the hell, I guess it still does — that to make the idea work in the context of JLA #108’s story by writer Len Wein and artists Dick Dillin and Dick Giordano, editor Julius Schwartz had to fudge the cover copy a bit.  After all, there aren’t just “two different Earths” represented among the eight costumed stalwarts heading towards blows whom we see on the cover above — there are three.  The JLA’s Earth-One, the JSA’s Earth-Two, and — as had been introduced to DC Comics’ readers just one issue before — Earth-X.  A world inhabited by yet another team of heroes, newly dubbed “the Freedom Fighters”, who had been published during the Golden Age of Comic Books by DC’s now-defunct rival, Quality Comics… and also a world where the Nazis had won World War II.  Read More