Back in July of this year, we took a look at Wonder Woman #202 — an issue which, in addition to being the penultimate issue of that title’s four-year “Diana Prince” run (which had found the Amazing Amazon battling bad guys sans her traditional powers or costume), featured the comic-book debut of Fafhrd and the Gray Mouser, two heroes of sword-and-sorcery fiction who’d been appearing in the stories of Fritz Leiber since 1939. In the comic’s story, Diana and Catwoman journeyed to the the world of Nehwon (spell it backwards), where they tussled briefly with the two blade-wielding adventurers before teaming up against their common foes.
Immediately following the story’s conclusion, a half-page ad promised us readers of 1972 that this was by no means the last we’d see of Fafhrd and the Mouser: Read More
In July, 1972, I bought my second-ever issue of Wonder Woman. My first issue had been #171 (Jul.-Aug., 1967) — and as I wrote here on the blog back in May, 2017, my nine-year-old self hadn’t been all that taken at the time with Robert Kanigher’s silly scripts, nor had the art by Ross Andru and Mike Esposito held much appeal for me. So, what motivated me to finally get around to giving the title another go, five years later?
It wasn’t the whole “New Wonder Woman”, white-jumpsuited Diana Rigg Prince thing, for sure; that had been around since 1968, and if it hadn’t inspired me to lay down my coin to check it out yet, it wasn’t going to. No, it was the appearance on the Dick Giordano-drawn cover of perhaps the two most unlikely guest stars I could have imagined — science fiction and fantasy author Fritz Leiber’s sword-and-sorcery heroes, Fafhrd and the Gray Mouser. What the heck were those guys doing on the cover of any DC comic book — let alone Wonder Woman? Read More
People who’ve known me for a while are likely to know that as much as I love comic books, they’re not the only thing I geek out over. Another of my abiding passions, going back more than forty years, is the legend of King Arthur and the Knights of the Round Table, in all its cultural manifestations — classic literature, modern prose fiction, art, films, music, and — of course — comics. Over the last few decades I’ve been fortunate enough to have had several opportunities to combine my interests in Arthuriana and comics in ways I can share with others — beginning with an article in the late, lamented fanzine Amazing Heroes in 1984, continuing with contributions to academic (!) works such as The New Arthurian Encyclopedia, and more-or-less culminating in my web site, “Camelot in Four Colors: A Survey of the Arthurian Legend in Comics” — est. 2000, and looking every day of its age (still, you should check it out, OK?).
I got the Arthurian bug in a big way around 1973 or thereabouts. It was sparked by a number of factors, among the most significant being T. H. White’s novel The Once and Future King (as well as its stage and movie musical adaptation, Camelot), Mary Stewart’s Merlin novels, and C. S. Lewis’ contemporary science fantasy That Hideous Strength. Those were all manifestations of the Arthurian legend that I encountered as an adolescent in the early Seventies — but, of course, like many if not most other English-speaking people of the modern world, I was first exposed to King Arthur and his mythos during the earlier period of my childhood. And what was probably one of the first truly significant exposures came along in September, 1966, in the form of World’s Finest #162 — in which the ranks of the Round Table knights were joined by none other than my two favorite heroes, Superman and Batman. Read More