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
With this post, we continue our coverage of Lois Lane‘s forays into Jack Kirby’s Fourth World, courtesy of editor E. Nelson Bridwell, scripter Robert Kanigher, penciller Werner Roth, (primary) inker Vince Colletta, and uncredited Superman/Clark Kent head-finisher Murphy Anderson. As you may recall, the intermittent usage of Kirby’s concepts and characters in the title had begun in #111, then resumed in #115 before continuing into #116. 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
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
Over the course of writer Denny O’Neil and artist Neal Adams’s classic early-’70s collaboration on Batman, the team was responsible not only for introducing one major new adversary (Ra’s al Ghul) to the ranks of the Darknight Detective”s greatest foes, but also for reclaiming and refurbishing of two vintage baddies who’d fallen out of favor in recent years. The second of these restorations to appear, “The Joker’s Five-Way Revenge!” (Batman #251 [Sept., 1973]), is doubtless the best-remembered of the two, due to its ultimately having had such a dramatic impact not only on the Bat-mythos, but on the DC Universe as a whole — rehabbing what had become a joke of a character (no pun intended) during the camp “Batmania” era of the mid-Sixties into the comics medium’s quintessential avatar of psychopathic evil — a character arguably more popular than all but a small handful of DC’s best-known superheroes, and one with enough cultural gravitas for screen portrayals of him to have earned Academy Awards for two different actors.
I didn’t buy that one. Read More
It’s summertime! The most wonderful time of the year — especially if you’re a fan of DC’s original super-team, the Justice Society of America, and the year happens to fall within the range of 1963 to 1985 — ’cause that means it’s time for the annual team-up between the JSA and their pals in the Justice League of America. 1971 brought the sixth of these events that I’d personally enjoyed since becoming a comic-book reader, and the ninth published overall. And judging by the cover heralding this year’s team-up — more specifically, the two columns of floating heads flanking the dramatic central image by Neal Adams — 1971’s iteration of this beloved tradition was going to offer us something new: for the first time, the featured rosters of the two teams would be identical. We were going to get two Supermen, two Flashes, two Green Lanterns, and so on — all for the price of one. (Of course, as heralded by that “only 25¢ Bigger & Better” slug at the very top of the cover, the “price of one” had just gone up a substantial amount. But more about that in a bit.) Read More
“Harlan Ellison Month” (well, “Harlan Ellison Week +1”, anyway) continues here today at “Attack of the 50 Year Old Comic Books”, as we take a look at the second half of a two-issue crossover between Avengers and Hulk, originally published in March, 1971, which the writer of those two Marvel series, Roy Thomas, adapted from a plot synopsis by Mr. Ellison.
I’m not going to provide a summary of the tale’s opening chapter here, mostly because the recap provided on the first three pages of Hulk #140 (which’ll be coming up shortly) will tell you pretty much everything you need to know to be able to follow the rest of the story — and also because you can, at any time, click on this link for the Avengers #88 post if you missed reading it a few days ago, and you really do want all the details. Even so, before we plunge head-first into the comic’s narrative, we need to take a moment to note what Thomas, as scripter, is going to be getting up to in these pages. And to facilitate our doing that, we’re going to quickly flip to the back of the book, to have a look at the letters column. Read More
As noted in my recent post regarding Gold Key’s Star Trek, I didn’t get to see the TV series on which that comic was based until it hit my local market in syndicated re-runs, around 1970-71. And since I started consuming licensed Trek tie-in media (what there was of it) almost immediately upon discovering the show, concurrent with my viewing the television episodes for the very first time, my initial encounters with some classic Trek stories ended up being by way of the printed page, rather than the cathode-ray tube. That’s because the earliest licensed prose fiction based on the property, a series of paperback books written by James Blish and published by Bantam Books, were collections of short stories adapted from the TV episodes themselves. Read More
Back in December, I wrote about the departure of Dick Giordano from his position as an editor at DC Comics. Giordano’s last day on staff at the publisher appears to have been November 4, 1970 — but, since the processes involved in producing periodical comic books don’t stop (or start) on a dime, the fruits of his stewardship would continue to appear in the titles he’d supervised for another few months, even after he was no longer the editor of record. The same principle had of course applied at the beginning of his tenure at DC; and thus, just as Giordano’s first issue of Teen Titans (#15, May-Jun., 1968) had featured a story almost certainly procured by his predecessor, George Kashdan, the first issue edited by his successor, Murray Boltinoff, would present a tale that had actually been written and drawn under Giordano’s direction.
Well, mostly written and drawn under Giordano’s direction. While the story in Teen Titans #32 is solely credited to writer Steve Skeates and artist Nick Cardy, its actual provenance is… rather more complicated. Read More