Jack Abel

Strange Tales #178 (February, 1975)

Posted on by Alan Stewart

Back in June, we took a look at Captain Marvel #34, which was the last issue drawn and plotted by Jim Starlin.  As we discussed in that post, Starlin abruptly quit the series after delivering only one chapter of his first post-“Thanos War” storyline, unhappy with Marvel Comics’ seeming unwillingness, or inability, to give him a single consistent inker on the bi-monthly title.

Per remarks the creator has made in interviews over the years, his leaving Captain Marvel amounted to his leaving Marvel, period, at least for a little while.  As he explained in 1998 for an interview published in Comic Book Artist #2:  Read More

Grim Ghost #1 (January, 1975)

Posted on by Alan Stewart

In November, 1974, your humble blogger was pretty much a “just Marvel and DC, please” kind of guy where color comic books were concerned.  But, naturally, that didn’t mean I was unaware of the wares of other companies.  How could I have been?  All of the spinner racks I can recall from the first decade or so of my comics buying didn’t sort the new books by publisher (or by any other system, for that matter).  So if you wanted to make sure you got a look at every new DC or Marvel book out in any given week, you generally got at least a cursory glance at every new Archie, Charlton, Fawcett, Gold Key, and Harvey, as well.

And if a brand-new publisher showed up?  You noticed — especially if one of their books sported a cover by Neal Adams, like Atlas/Seaboard’s Ironjaw #1 did.    Read More

Captain Marvel #34 (September, 1974)

Posted on by Alan Stewart

So, how do you follow up a grand, multi-issue crossover superhero epic in which your protagonist and his allies have just barely managed to eke out a win against an insane god in time to save the universe?

If you’re Captain Marvel plotter, penciller, and colorist (maybe we should just go with auteur?) Jim Starlin, you opt for moving straight into a new multi-issue storyline.  Though surely no one will begrudge you taking a few pages at the top of the new narrative’s premiere installment to wrap up a few loose ends, and otherwise provide a nice coda for the tale you’ve been telling for the past nineteen months or so…  Read More

Hulk #178 (August, 1974)

Posted on by Alan Stewart

As regular readers of this blog may recall, I was never a regular buyer of The Incredible Hulk, back in the day.  While I always enjoyed the character when he appeared as a guest star, or in a team setting à la the Defenders, for whatever reason his Jekyll & Hyde-cum-Frankenstein premise never had much appeal to me as the basis for a lead character.  Or maybe I simply preferred my superheroes to have a little more going on upstairs.  In any case, after dipping my toe in the water one time back in 1969, I had since refrained from picking up Hulk except on those occasions when it crossed over with another series I was currently buying, or when it tied up leftover plotlines from a canceled series I had been buying.  Read More

Captain America #173 (May, 1974)

Posted on by Alan Stewart

In February, 1974, the X-Men hadn’t appeared in a new story in their own title in over four years — but while gone, they were hardly forgotten.  (Actually, they weren’t even gone, since their book had been resurrected as a reprint title by Marvel’s then-publisher, Martin Goodman, eight months after he’d cancelled the series with issue #66.  But you know what I mean.)  That’s because a number of people working for Marvel just plain liked the characters, regardless of their allegedly limited commercial viability; and, as writer Steve Englehart puts it in his 2009 preface to Marvel Masterworks — The X-Men, Vol. 8, “the Marvel Universe was a coherent entity, so the X-Men continued to exist in it even if they had no comic to call their own.”  Read More

Tomb of Dracula #10 (July, 1973)

Posted on by Alan Stewart

Back in April, 1973, I don’t expect anyone who saw and appreciated artists Gil Kane and Tom Palmer’s fine cover for the tenth issue of Marvel Comics’ Tomb of Dracula anticipated how historically significant this image — the first sight ever provided the general public of a new character named Blade — would eventually become; probably not even that character’s creator, writer Marv Wolfman.  In retrospect, it seems more than fitting that the figure of Blade dominates Kane’s composition, taking up more space than (and pulling focus from) the comic’s titular star; after all, the wooden-knife-wielding vampire hunter would ultimately come to overshadow the very series that gave him four-color life, at least in terms of mass public awareness… and the financial rewards reaped by Marvel.  Read More

Swamp Thing #1 (Oct.-Nov., 1972)

Posted on by Alan Stewart

First off, please be advised that this blog post is going to be one of the long ones.  That’s primarily due to the fact that, in addition to covering the specific fifty-year-old comic book that gives the post its title, your humble blogger is also going to take a shot at answering the age-old conundrum: who came first, DC Comics’ Swamp Thing or Marvel Comics’ Man-Thing?  (Regular readers may recall that when the blog spotlighted the second Man-Thing story, back in March, I promised something of this sort would be forthcoming; that moment has at last arrived.)

But it’s also destined to be at least a bit on the long side because before I can even get into discussing Swamp Thing #1, I feel that it’s necessary to give some attention to an even older comic, one that came out over fifty-one years ago.  Of course, I’m talking about House of Secrets #92, published by DC in April, 1971; the comic book whose first eight pages gave us the very first “Swamp Thing” story, as written by Len Wein, drawn (mostly) by Bernie Wrightson, and edited by Joe Orlando.  Neither the behind-the-scenes story of how Swamp Thing-the-series came to be — nor my own initial reactions to the first issue of the latter, as a fifteen-year-old reader in August, 1972 — make a whole lot of sense outside of the context of that classic tale.  So, that’s where we’re starting, on what in all probability will indeed be a lengthy (though hopefully also enjoyable) journey.  Forewarned is forearmed, eh?  Read More

Daredevil #84 (February, 1972)

Posted on by Alan Stewart

In his 2013 book Marvel Comics: The Untold Story, Sean Howe tells of how young writer Gerry Conway first came to work for the publisher, circa 1970:

Born in Brooklyn, Conway was eight years old when Fantastic Four #1 hit the stands. By the time he was sixteen, he was writing scripts for DC Comics; soon after, he met [associate editor] Roy Thomas, who assigned him a Marvel writers’ test. But [editor Stan] Lee was, as usual, less than impressed with the way another writer handled the characters he shepherded.

 

“He writes really well for a seventeen-year-old kid,” Thomas reasoned.

 

Lee, who himself had first walked into Marvel’s offices at that age, paused. “Well, can’t we get someone who writes really well for a twenty-five-year-old kid?”

The point of the anecdote (at least for Howe) seems to be the irony of Lee’s doubting that someone could be ready to start writing for Marvel at age seventeen, when that’s exactly how old he’d been himself when he’d begun working for his cousin’s husband, Martin Goodman, circa 1940.  But, after some consideration, your humble blogger is of the opinion that Stan the Man may have been on to something.

Maybe Gerry Conway wasn’t quite ready to handle the monthly adventures of Daredevil, Iron Man, Sub-Mariner, et al, fresh out of high school.  Read More

The Brave and the Bold #79 (Aug.-Sept., 1968)

Posted on by Alan Stewart

The topic of today’s post is, I believe, one of the most important single comic books in the evolution of Batman to appear during the character’s nearly eighty-year history — probably ranking in the top five or so such comics.  Chronologically speaking, it’s certainly the most important Batman comic that DC Comics had published since 1964’s Detective Comics #327, the issue in which editor Julius Schwartz and artist Carmine Infantino debuted a “New Look” for the Caped Crusader — and I think that a strong case can be made that there wouldn’t be another single Bat-book quite so significant until the publication of the first installment of Frank Miller’s Batman: The Dark Knight, in 1986.

That’s because “The Track of the Hook”, written by Bob Haney and illustrated by Neal Adams, serves as the clearest point of origin for the most thorough overhaul ever of one of comics’ most iconic heroes — an overhaul that has often been called a return to the character’s original 1939 roots, but is probably more accurately viewed as an approach based on what comics writer Denny O’Neil once described as “remembering how we thought it should have been” [emphasis mine].  It was an approach which returned an air of mystery, a touch of noir, to Batman and his milieu — one which did indeed recover visual and thematic elements that had been present, or at least implicit, in the character’s earliest published adventures, but which explored and elaborated on those elements in a more sophisticated fashion than readers had ever seen before.  And it all started with Brave and the Bold #79, and the art of Neal Adams.  Read More

Justice League of America #64 (August, 1968)

Posted on by Alan Stewart

As longtime readers of this blog may recall, Justice League of America was the first comic book title I ever subscribed to through the mail, way back in early 1966.  By June, 1968, that one-year subscription had long since expired, but I was still managing to score every issue off the stands, and at this point had an unbroken run extending back to my first issue, #40 — twenty-five issues in all.  I think it’s safe to say that it was still my favorite comic book series at that time (although The Amazing Spider-Man was definitely beginning to give it a run for its money).  Read More