In September, 1971, I bought my first issue of Captain America in almost two years; today, fifty years later, I’m not sure how to account for my long abstinence from the adventures of the Star-Spangled Avenger, especially considering that I was buying every other superhero title Marvel Comics was putting out at that time. (Well, almost every other title. Hulk remained a tough sell for your humble blogger, except for those occasions when his series crossed over with other books I followed, like Avengers.) Read More
In our last post, we took a look at Justice League of America #89 — a very special issue of DC Comic’s premiere super-team book, in which writer Mike Friedrich paid homage to one of his literary heroes by basing his story’s central character of “Harlequin Ellis” on the noted science fiction author and screenwriter, Harlan Ellison.
By a remarkable (but apparently entirely random) coincidence, the same month that saw the publication pf JLA #89 (March, 1971) also saw the release of a very special issue of the Marvel Comics series featuring that publisher’s nearest analogue to the Justice League, Avengers, which writer Roy Thomas had scripted from a plot outline by the real Harlan Ellison. You really can’t make this stuff up, y’know? Read More
When last we saw Captain America, back in May, the Living Legend of World War II was in a very tight spot. His greatest foe, the Red Skull, had used the awesome power of the Cosmic Cube to switch bodies with him, and then, after forcing him into conflicts with police officers, his buddies in the Avengers, and even his girlfriend Sharon Carter, had banished him to the remote Isle of the Exiles. Read More
When the blog last checked in with Daredevil, back in March, we saw how, at the climax of issue #52, our hero was forced to let his defeated adversary — the murderous roboticist named Starr Saxon — get away free, due to Saxon having quite inconveniently learned that the Man Without Fear is secretly blind lawyer Matt Murdock. Then, following a retelling of his origin story in issue #53, DD came up with the perfect solution — he’d kill off Matt! As he put it in the issue’s last panel: “My problem isn’t Daredevil — and never was! It was always Matt — the blind lawyer — the hapless, helpless invalid! He’s been my plague — since the day I first donned a costume!”
This was probably the worst idea ol’ Hornhead had come up with in a very long time — and considering all the other bad ideas he’d contemplated and then implemented over just the past year or two, that’s really saying something. These bad ideas had included (in chronological order): faking the death of both Daredevil and his “third” identity of Mike Murdock (Matt’s fictional twin brother) in an explosion, so that he could live an unencumbered life as Matt; then, after realizing he really did still want to be a costumed hero, having to invent a new, second Daredevil, supposedly the original hero’s replacement; then deciding to retire as Daredevil yet again, a resolution that lasted less than an issue, as a robot assassin sent by Starr Saxon to kill DD instead attacked Matt, having found him by scent (long story); that event required him to suit up again, and ultimately led to his current predicament of subject to being blackmailed by Saxon over his secret identity. Read More
After having bought Captain America for five months straight (or almost straight, as I somehow managed to miss issue #111), in early 1969 I took a couple of months off from reading the Star-Spangled Avenger’s adventures. Five decades later, I can’t quite remember why I did so. Obviously, beginning with #114 there was a considerable stylistic shift in the look of the book, which had just seen the end of Jim Steranko’s brief but epochal run as the series’ artist — but it seems unlikely that I would have turned up my nose at the work of either John Romita (who drew both the cover and interiors of #114) or John Buscema (who contributed the interior art for #115, behind a Marie Severin cover), considering how much I enjoyed their work on other titles. Admittedly, the Romita cover is a little dull, at least in comparison to the Steranko (and Jack Kirby) jobs that immediately preceded it, but it’s hard for me to believe I would have passed on Severin’s dramatic rendition of a shrunk-down Cap being held prisoner within a transparent cube by the Red Skull, while Sharon Carter looks on helplessly. Perhaps I never actually saw that issue on the stands (or the one preceding it, for that matter). Read More