In May, 1971, DC Comics continued to chronicle the ongoing saga of the war between the god-worlds of New Genesis and Apokolips in three new releases: Mister Miracle #3, Jimmy Olsen #139 — and Lois Lane #111.
True, the progenitor of that cosmic saga, Jack Kirby, neither wrote, nor drew, nor edited the third of the comic books listed above; indeed, he may not even have served as an informal consultant in its production. Nevertheless, the latest episode in the continuing adventures of “Superman’s Girl Friend” leaned heavily on concepts developed by Kirby for Jimmy Olsen, with a plot centered on an attempt by the minions of Darkseid, Lord of Apokolips, to assassinate Lois’ mighty beau. And why not? Whatever else Kirby’s Fourth World was, it was clearly part of DC’s shared universe, with especially strong ties to Superman’s corner of that fictional world; after all, in his guise of Clark Kent, Superman even had a minion of Darkseid for his boss. It only made sense, therefore, that the cosmic conflict at the heart of Kirby’s four series (which included Forever People and New Gods in addition to Jimmy Olsen and Mister Miracle) would eventually spill over into the rest of DC’s line — and that any stories resulting from such a spillover would and should “count”, continuity-wise, every bit as much as did the King’s.
At least that’s how my thirteen-year-old self saw the matter, fifty years ago; and since I was then avidly following any and all developments in the Fourth World saga, that was enough to get me to pick up my first issue of Lois Lane in almost five years. Read More
“Please –-” begs a kneeling Man of Steel on the cover of Superman #238, “You’re the only one on Earth who can help –”
“No!” replies the figure standing before him with arms impassively folded. “I am not human! I care nothing for you and your world!” The figure is Superman’s doppelgänger in every respect — save that it appears to be made completely out of yellow sand.
If all that you knew about early-’70s Superman comics was what you’d previously read on this blog, you’d still be able to tell that quite a bit had happened since the last issue I wrote about, back in November. In that heralded first installment of “The Amazing New Adventures of Superman”, a scientific experiment gone haywire resulted in an explosion that temporarily knocked our hero down and out, but then was revealed to have had the welcome, and apparently permanent, effect of turning all kryptonite on Earth into iron. The first indication that something rather less welcome had also resulted from the blast came thirteen pages into the story, when Superman experienced a moment of weakness as he flew over the spot in Death Valley where he’d fallen during the explosion. Two pages later, a figure slowly rose from the desert sands of that very spot, and while this “thing” had a marked resemblance to the Man of Tomorrow, it didn’t yet have a face — so you could hardly expect it to speak, as we now see it doing on Carmine Infantino and Murphy Anderson’s dramatic cover for issue #238 (which, incidentally, is the first Superman cover since #230 to be neither pencilled nor inked by Neal Adams. Now you know.)
So, yeah, a lot happened in the last four issues. Let’s see if we can get you caught up, shall we? Read More
Portrait of Dick Giordano by Joe Orlando, published in many of Giordano’s inaugural DC letters columns in1968.
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
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