I may be misremembering, but I have a vague recollection of my fifteen-year-old self looking at this one at the spinner rack back in October, 1972 and thinking, “The Justice League standing around a grave site? Again?” After all, it had only been three issues since artist Nick Cardy had built his cover for JLA #100 around a similar idea. On the other hand, it was October — the spooky season — and what could be spookier than an open grave? Especially when said grave was being ominously loomed over by… hey, is that the Phantom Stranger? In an issue of Justice League of America? Forget about repetitive cover concepts; I couldn’t wait to buy this one and take it home. Read More
Fifty years ago, this issue brought the conclusion of the tenth annual Justice League-Justice Society summer team-up extravaganza — a special event which also served to commemorate the League’s reaching its 100th issue milestone. Making the occasion even more memorable, this JLA-JSA get-together was the first to take up three whole issues; it also featured the unexpected return, after twenty-seven years, of yet another DC Comics superhero team: the Seven Soldiers of Victory.
Or maybe that should be most of the Seven Soldiers of Victory, since one of the key mysteries of the storyline concerns a lonely grave standing on a Himalayan peak, with a stone marker inscribed to an “Unknown Soldier of Victory”. As of the conclusion of JLA #101, small teams of Justice League and Justice Society members have retrieved four out of seven of the time-lost Soldiers (or Law’s Legionnaires, as they’re also called) — the Crimson Avenger, the Shining Knight, Green Arrow, and Stripesy — with three more left to go. So who’s buried in the Unknown Soldier’s grave? Is it Vigilante? The Star-Spangled Kid? Speedy?
The answer, as many of you reading this already know, is: none of the above. Which is, and simultaneously is not, a cheat. But we’ll get to that soon enough — just as we’ll get to the solution to the separate mystery posed by Nick Cardy’s superb cover (his best yet for the title, in the opinion of your humble blogger) — who else among our heroes is doomed to die? Read More
The fifty-year old comic book that’s the subject of today’s post features the middle chapter of the three-month-long celebration of Justice League of America‘s reaching its hundredth-issue milestone, as well as of the tenth annual summer event co-starring the JLA’s predecessors from the Golden Age of Comics, the Justice Society. Your humble blogger is as eager as the rest of you to jump back into the story by writer Len Wein, penciller Dick Dillin, and inker Joe Giella — but before we do, let’s take a good, close look at the cover by Nick Cardy.
Like all of the other JLA covers of this era, it features a left-hand column of League members’ floating heads (this particular issue also includes a right-hand column of JSA heads as an added bonus). But unlike virtually any other such cover, there are only three full-time active members of the League included in this group of five — the presently non-powered Diana Prince being on a leave of absence, while Metamorpho is only a “reserve member”. That meager number is the max number of “official” JLAers appearing in the story as well. Read More
In the spring of 1972, Len Wein had been writing comics professionally for almost four years. The career trajectory of the 23-year-old fan-turned-pro had thus far taken him from writing scripts for DC titles like The Adventures of Jerry Lewis, House of Secrets, and Hot Wheels, to similar work at other publishers including Marvel, Skywald, and Gold Key (Star Trek being among his gigs at the latter outfit), and then back to DC, where he’d been scripting Phantom Stranger for about a year, among other assignments. But his experience with the publisher’s best-known super-heroes had largely been limited to a single issue of Teen Titans, one Batman story in Detective (both co-written with his friend Marv Wolfman), and, more recently, a smattering of tales in Superman, Flash, World’s Finest, and Adventure. So you can imagine his surprise (and excitement, and trepidation) when, out of the blue, editor Julius Schwartz asked him if he’d like to write Justice League of America on a regular basis: Read More
As regular readers of this blog may have noticed, we haven’t featured an issue of DC Comics’ Green Lantern title here since #86, way back last August. If you happen to be one of those readers, you might well wonder what’s been up with that, considering that I’ve written about every other issue in the Denny O’Neil-Neal Adams “Green Lantern/Green Arrow” run from the first one I bought (#80) onwards.
The reason’s a pretty simple one; on this blog, I only write about comic books I got new off the stands fifty years ago… and I didn’t get either GL #87 or #88 upon their initial release (in October and December, 1971, respectively). My decision not to purchase #88 is, I think, still essentially supportable; it was an all-“vintage” issue (though not all-reprint, as I’ll explain presently), and technically not part of the O’Neil-Adams “GL/GA” canon at all. (For what it’s worth, at age fourteen I had yet to develop the collector’s mentality that would have me pick up an otherwise undesirable comic book so as not to “break the run”.) But Green Lantern #87? My opting not to pick that one up out of the spinner rack (or, having already picked it up, to put it back without buying it) is one I ruefully kick myself for to this very day. Read More
During the nearly yearlong period (June, 1971 through April, 1972) that DC Comics published most of their books in a giant-sized, 25-cent format, Justice League of America presented a particular sort of challenge for its editor, Julius Schwartz. The problem arose from the fact that the new, larger format called for a certain amount of reprint material — generally, 13 to 15 pages’ worth — to fill out each issue. And whereas for Schwartz’s other books, such as Batman, Flash, Green Lantern, and Superman, there was a ready archive of suitable old stories featuring the titular stars, the same wasn’t true for JLA, which from the beginning had been devoted to issue-length tales of more than 20 pages. Such stories weren’t going to work as backups in the new format without being either cut in half or severely abridged, neither of which options seems to have appealed to the veteran editor. Read More
A half century ago, when your humble blogger picked the object of today’s post up out of the spinner rack and eyeballed the cover for the first time, I was awfully curious as to who — or what — that wraithlike, red-tinged figure descending into Aquaman’s body might turn out to be. At the same time, I wasn’t the least bit curious about the identity of the cover’s artist — since, with the exception of the usual left-hand column’s worth of floating JLA heads rendered by Murphy Anderson, the cover was the obvious work of Neal Adams. And as Adams had either pencilled, inked or provided complete art for more Justice League of America covers than any other artist in the three years since his very first (for issue #66 [Nov., 1968] ), that was no surprise at all.
But interior art by Adams in an issue of JLA? That was unexpected; nevertheless, on turning past the cover to the book’s opening splash, that’s exactly what my fourteen-year-old self beheld: Read More
There’s a lot going on on the cover of Green Lantern #86. Besides boasting an outstanding illustration by Neal Adams that would probably be even better remembered than it is if it hadn’t followed right on the heels of its instantly iconic predecessor, the cover also boldly heralds the inclusion within the comic’s pages of “an important message” from no less a personage than the 1966-73 mayor of New York City, John Lindsay — and proudly announces that Green Lantern has won the Academy Award for Best Comic. That’s a lot to take in — but don’t worry, we’ll get to it all, starting with the subject of Adams’ compelling cover image — the concluding installment of the groundbreaking two-part story focused on drug addiction that Adams and writer Denny O’Neil had begun in the previous issue, #85. Read More
July, 1971 brought DC Comics fans the second half of the year’s Justice League-Justice Society team-up (the ninth such event since the institution of the annual summer tradition in 1963). Like the first half, it was produced by the regular JLA creative team of Mike Friedrich (writer), Dick Dillin (penciller), and Joe Giella (inker). And, as you might expect, it began with a recap — though in this case, a bit more time and space were spent recapping the basic concept of the inter-dimensional assemblage of superheroes than the specific events of the story’s opening chapter: Read More
As we related on this blog back in February, in early 1971 Marvel Comics became the first major American comic-book company to publish a story dealing with drug abuse, when they released three monthly issues of Amazing Spider-Man without the Comics Code Authority’s Seal of Approval. But DC Comics could easily have been the first to do so, instead, if only they’d had the nerve — or at least that’s how artist Neal Adams tells the story.
That story appears to begin with a project that DC was invited to produce for a government agency (either the City or the State of New York, depending on the version of Adams’ narrative you consult). Both Adams and his creative collaborator on DC’s famously socially conscious title Green Lantern, writer Denny O’Neil, were asked to submit treatments for a comic book about drug addiction. This, presumably, would have been some sort of giveaway comic, distributed in such a manner that the Comics Code would have been irrelevant — but the project never came to fruition. As Adams told interviewer Bryan Stroud in 2007: Read More