Back in April, we took a look at Marvel Premiere #3, which relaunched Doctor Strange as an ongoing solo feature following a 32-month absence. That comic, featuring a script by the Master of the Mystic Arts’ original writer, Stan Lee, and art by rising young star Barry Windsor-Smith, inaugurated a story arc centered on a mysterious new menace — someone as yet both unseen and unnamed, but powerful enough to compel the service of Nightmare, one of Dr. Strange’s mightiest foes. The issue ended with the sorcerous superhero returning home to his Sanctum Sanctorum following his defeat of Nightmare, unaware that a silhouetted stranger waited there for him.
Two months later, Marvel Premiere #4 picked up exactly where the previous episode left off — but with a significantly changed creative team. In his 2009 introduction to Marvel Masterworks — Doctor Strange, Vol. 4, Marvel’s then new editor-and-chief (and once and future Dr. Strange scripter) Roy Thomas provided this explanation: Read More
Back in July of last year, we covered the advent of the Marvel Comics superhero team the Defenders in Marvel Feature #1. This new team’s debut had come following a tryout of sorts in two late-1970 issues of Sub-Mariner; although in those comics, the grouping went by the unofficial moniker of “Titans Three”, and their number included the Silver Surfer, rather than the guy who ended up actually being the de facto leader of the team (whose other members were Sub-Mariner and the Hulk, by the way) — Doctor Strange — for the simple reason that Marvel editor-in-chief Stan Lee had a proprietary interest in the Surfer, and wouldn’t let associate editor/writer Roy Thomas use him as a permanent member of the new super-team, now formally christened “the Defenders”, when it became the basis for an ongoing feature. Read More
As this post goes out on April 30, 2022, we’re a little less than a week away from the premiere of the second multi-million dollar motion picture from Marvel Studios starring Doctor Strange, Master of the Mystic Arts.
But fifty years ago, in the last week of April, 1972, Marvel Comics was just hoping that maybe the good Doctor might be able to sustain his own solo comic book series again, his last such having been canceled in 1969. Although they were hedging their bets a little by bringing him back not in his own title — not yet, anyway — but in the tryout book Marvel Premiere. Read More
In early 1972, despite the fact that I’d been reading Amazing Spider-Man for four years (albeit with a single ten-month hiatus between March, 1970, and February, 1971), one of his longest-established supporting characters — Eugene “Flash” Thompson — was, if not exactly an unknown quantity to me, still less than a truly familiar face. My first issue of Spidey’s title, #59, had been released one full year following #47, the issue in which storytellers Stan Lee and John Romita had shipped Flash off to military service in the Vietnam War. Sure, I had read enough reprints of the early, high-school-set material by Lee and Steve Ditko to have a good grasp of the character’s original bullying-Peter-Parker-while-idolizing-Spider-Man shtick. But my “real time” encounters with Flash had been limited to a few scenes that appeared in a run of late-’69 to early-’70 issues, where the young soldier had made a return visit stateside just long enough to incur Peter’s jealousy over Gwen Stacy, due to a misunderstanding that thankfully got cleared up (more or less) before Flash headed back to Southeast Asia. Read More
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
As regular readers will recall, we’ve begun the last two Marvel-focused posts on this blog with excerpts from the Bulletin Bulletins page that ran in the company’s comics published in July, 1971 — and we see no reason to break that run with this installment. Especially since the very next Bulletin following those we’ve already shared is specifically about the subject of today’s post.
Coming after a Roy Thomas editorial and “ITEM!” that dealt with Lee’s decision to take a brief sabbatical from comics writing (and what that meant for the series he usually scripted, such as Amazing Spider-Man) — and directly preceded by another item announcing the move of several Marvel titles (including Conan the Barbarian) to a larger, 25-cent format — this Bulletin caught the attention of readers (well, this particular fourteen-year-old reader, at any rate) with a graphic by Gene Colan and Tom Palmer from Doctor Strange #180, featuring that book’s titular star — a hero who, in the wake of the cancellation of his series with issue #183, had been conspicuous by his absence from the Marvel Universe ever since a late-1969 guest appearance in Incredible Hulk which had effectively retired the character: Read More
When Sub-Mariner #34 came out in November, 1970, it had been precisely one year since I’d bought an issue of the title. It’s somewhat ironic, then, that there’s a well-known direct connection between that issue, Sub-Mariner #22 and the subject of today’s post — even if it’s a connection that’s only obvious — and perhaps even only exists — in retrospect.
That connection, of course, is that both comics are generally understood to be major building blocks in the development of the Defenders, the “non-team” that, for some of us old geezer fans, all but epitomizes 1970s Marvel Comics (at least as far as superheroes are concerned). Read More
Back in September, I wrote about buying and reading my first issue of Sub-Mariner, #20, a mostly done-in-one tale (in keeping with Marvel’s new “no continued stories” policy) which nevertheless ended on an inconclusive note — though Namor, Prince of Atlantis, had escaped the clutches of Doctor Doom, he was still a fugitive in New York City, hunted by the U.S. military as well as by the municipal police, and unable to escape to the ocean depths due to having had his gills surgically closed by a forgettable villain from outer space called (checks notes) the Stalker. I ended the post by asking the question: would my twelve-year-old self be invested enough in Namor’s plight to come back for issue #21? On the face of it, it seemed a dubious prospect, as I was becoming somewhat less interested in comics in general around this time. After all, if I was on the verge of dropping titles I’d been buying regularly for a year or more, including Avengers and Daredevil, what sense would it make for me to start getting involved with yet another series? Read More
As I’ve related in previous posts, I was a little slow in warming up to Doctor Strange. Marvel Comics finally got me in late 1968, however, through the double-barrelled approach of first giving him a visual makeover, and then guest-starring him in The Avengers. Those moves caught my interest — which, according to what Roy Thomas (a Marvel associate editor at the time, not to mention the writer of both Doctor Strange and Avengers) would state decades later in his introduction to Marvel Masterworks – Doctor Strange, Vol. 3, was precisely what the publisher had hoped they’d do.
But the next issue of Doctor Strange to hit the stands after Avengers #61 was a reprint, featuring the good Doctor’s “old look” — though, since it was a reprint of a classic tale by Steve Ditko and Stan Lee that co-starred Spider-Man, and which was 100 % new to me, I didn’t really have much to complain about. Still, I was happy to see Doctor Strange #180, the “real” follow-up to Avengers #61, when it finally arrived in early February, 1969. Read More
As I’ve mentioned n a number of previous posts, my young comics-reading self of a half century or more ago had rather conservative tastes. All these years later, that’s my best explanation for why and how I missed out on virtually all the new DC comic book titles that came out in the years 1967 and 1968, in what comics historians Gerard Jones and Will Jacobs would later call “The DC Experiment”. This sudden onrush of new series, most but not all of which launched with try-outs in DC’s Showcase title, roughly coincided with the ascent of former freelance artist Carmine Infantino to an executive role at the publisher. The push was an effort on Infantino’s part to recover market share DC had lost to the ascendancy of upstart rival Marvel on one hand, and the ebbing of “Batmania”-fueled sales on the other, by coming up with something new — preferably, a lot of somethings. Read More