Marvel Super Action #1 (January, 1976)

As was discussed in detail in our post about Marvel Preview #4 several weeks ago, by 1975 all four of the black-and-white comics magazines with which Marvel Comics had made a big push into that market just two years before were winding down.  But Marvel was far from throwing in the towel on the B&W format itself.  Accepting that the early-’70s horror boom that had inspired the launches of Dracula Lives and its ilk was pretty much over, Marvel now looked to other genres for new titles that could replace those that had made up the “Marvel Monster Group”.  Read More

Plop #1 (Sep.-Oct., 1973)

In the early 1970s, when DC Comics publisher Carmine Infantino surveyed the then-current comic book industry landscape, he saw traditional superheroes — long a mainstay for his company —  seemingly in decline, while other well-established genres, such as romance, war, and westerns, were managing to hold on at best.  About the only sector that could be said to be actually thriving was the mystery books — the label “mystery” in this case having next to nothing to do with conventional crime or detective fiction, but rather signifying supernatural horror — or, at least, what passed for it under a Comics Code Authority that didn’t allow the word “horror” to be used in the title of a comic or even an individual story, despite the 1971 revisions to the Code that allowed “literary” monsters such as vampires and werewolves to appear in the color comics of DC and most other publishers for the first time since 1954.  Read More

Avengers #68 (September, 1969)

Fifty years (and one month) after the fact, I’m honestly not sure whether, upon first seeing the cover for Avengers #67 back in June, 1969, I had any idea that it hadn’t been pencilled by John Buscema, but rather by his younger brother, Sal.  The look of the featured characters was so close to what I was accustomed to seeing from the elder Buscema that It probably didn’t occur to me to consider that the piece might have been drawn by someone else — and, after all, I only knew Sal Buscema as an inker at this point (and only of his big brother’s work on Silver Surfer, at that).

But I feel fairly confident that a month later, when I first saw the cover of Avengers #68, I realized that something was different about it, even if I can’t claim to have any distinct memory to that effect.  Sure, the Avengers still closely resembled John Buscema’s renditions, but they were “off-model” just enough that I had to know they weren’t quite the same.

And once I’d picked up the book and flipped to the first page, i realized that more than just the cover art had changed…  Read More

Avengers #58 (November, 1968)

By September, 1968, when the subject of today’s post came out, I was buying The Avengers semi-regularly.  Of course, “semi” literally means “half” (at least in the original Latin) — which is my way of saying that though I’d bought issues #53, #56, and the 1968 Annual, I’d skipped, or at least missed, issues #54, #55, and #57.  So, not only did my eleven-year-old self miss out on the debut of the Vision (in #57), but I was also completely in the dark about the malevolent robot who’d allegedly created him, Ultron-5, introduced in issues #54 and #55 as the mysterious leader of the “new” Masters of Evil.

Thus, when I came across Avengers #58 in the spinner rack, I may have been momentarily daunted.  Even if I had no obvious way of knowing that this issue tied into the Masters of Evil storyline from several months back, it was clear from the cover that the story was a direct follow-up to the previous issue’s Vision tale.

But the cover also made it crystal clear that the book featured appearances by Captain America, Iron Man, and Thor — the Avengers’ “Big Three”, whom series writer Roy Thomas wasn’t allowed to use as regular team members by the fiat of editor Stan Lee, but whom he nevertheless shoehorned into the book every chance he got — and I had been conditioned by now to recognize this as being something of a special event (if not necessarily a rare one).  And, in the end, that must have sold me.  I’d buy the book, and trust that the creative team — which included penciler John Buscema and inker George Klein, in addition to Thomas — would catch me up.  Read More