Swamp Thing #10 (May-Jun., 1974)

With the publication of the subject of today’s blog post fifty years ago, the collaboration between writer Len Wein, artist Bernie Wrightson, and editor Joe Orlando on Swamp Thing that had begun with a one-off short story in House of Secrets #92 (Jun.-Jul., 1971) came to a close.  According to an interview Wein gave The Comics Journal in 1979, the trio’s issue-to-issue production of the ongoing Swamp Thing series — which, unusually for DC Comics at the time, regularly began with a joint plotting session between writer, artist, and editor held every couple of months in the latter’s office, followed by Wrightson pencilling the entire story before Wein wrote a word of the script (a version of the “Marvel method”, if you will) — started out as a great working experience… but then, somewhere along the way, it stopped being so:  Read More

Adventure Comics #431 (January, 1974)

It may be hard to believe, but despite having been a DC Comics reader since August, 1965, I’d never bought a single issue of Adventure Comics — the second comic-book series ever to have been released by the publisher, way back in 1935, and one of its longest running — prior to October, 1973.  What can I say?  I evidently had a huge blind spot in regards to the super-team who’d held the lead feature spot when I first got into comics in the mid-1960s — i.e., the Legion of Super-Heroes (a quirk I wouldn’t really get over until the team’s Paul Levitz-Keith Giffen era kicked off in 1982), and I also wasn’t much of a fan of Supergirl (who took over from the LSH in 1969).  Nor did I give Adventure a nibble when, following Supergirl’s graduation to her own title, editor Joe Orlando briefly switched the venerable series formerly known as New Comics to an anthology format with #425, then introduced a mysterious new superheroine, the Black Orchid, who held the cover spot for three issues (#428 to #430).

But the Spectre?  The Ghostly Guardian had been one of my favorite DC superheroes ever since I picked up his third tryout issue of Showcase, back in 1966, and I’d been missing him ever since his apparent “death” (how do you kill a ghost, anyway?) in Justice League of America #83 (Sep., 1970).  So once I learned that DC was bringing the Astral Avenger back in Adventure Comics, I became a buyer of Adventure Comics… at least for the duration.  Read More

Swamp Thing #7 (Nov.-Dec., 1973)

A few months ago, I wrote about the “house dress” that, by mid-1973, had become common on the DC comics edited by Joe Orlando.  It was a look that included a solid color banner that ran behind the title logo  and other necessities (e.g., the price tag, Comics Code seal, etc.) and took up roughly the top third of the cover area.  Not every Orlando cover followed this format (see, for instance, Plop), and other DC editors used it on occasion as well.  Still, in the period of comics history we’re presently discussing, it was a prevalent enough feature to count as an editorial signature for Orlando, if not precisely a trademark.

At the time of my previous comments, I wrote that giving over a third of the cover’s real estate to a single solid color effectively reduced the canvas available to Orlando’s cover artists.  But while that statement was true enough on its face, it really should have been accompanied by an acknowledgement of how Orlando routinely mitigated the negative effect of that design choice by keeping the amount of verbiage used on his covers to an absolute minimum.  Nowhere was that truer than with Swamp Thing, the covers of whose first thirteen issues included no blurbs or other typography (other than the necessary elements mentioned earlier) — depending entirely on the strength of Bernie Wrightson’s artwork to sell the comic. Read More

Plop #1 (Sep.-Oct., 1973)

In the early 1970s, when DC Comics publisher Carmine Infantino surveyed the then-current comic book industry landscape, he saw traditional superheroes — long a mainstay for his company —  seemingly in decline, while other well-established genres, such as romance, war, and westerns, were managing to hold on at best.  About the only sector that could be said to be actually thriving was the mystery books — the label “mystery” in this case having next to nothing to do with conventional crime or detective fiction, but rather signifying supernatural horror — or, at least, what passed for it under a Comics Code Authority that didn’t allow the word “horror” to be used in the title of a comic or even an individual story, despite the 1971 revisions to the Code that allowed “literary” monsters such as vampires and werewolves to appear in the color comics of DC and most other publishers for the first time since 1954.  Read More

Phantom Stranger #26 (Aug.-Sep., 1973)

Let’s start today’s post with a bit of gushing over Michael W. Kaluta’s incredible cover for its primary subject, OK?

Back around the first half of 1973, DC Comics editor Joe Orlando seemed to have settled on a preferred “house dress” for the titles in his charge that included a solid color banner that ran behind the title logo (as well as the DC emblem, price, etc.) and took up the top third of the cover area (more or less).  Not every single issue of every Orlando title during this period followed this design model (see Jim Aparo’s cover for Phantom Stranger #24 [Mar.-Apr., 1973] for one conspicuous outlier)… but most did.  And frankly, sometimes — maybe most times — you really wished he’d let his talented cover artists (a roster that, at the time, included Bernie Wrightson, Bob Oksner, Luis Dominguez, and Nick Cardy, in addition to Kaluta and others) have the entire area of the cover to work with, instead of limiting then to the bottom two thirds or so,  Read More

House of Secrets #109 (July, 1973)

Back in July, 2020, I wrote a post about the 188th issue of DC Comics’ House of Mystery, an issue notable for featuring one of the very first comic-book stories drawn by the Filipino-born artist Tony DeZuñiga to be published in the United States.   As we discussed in that post, DeZuñiga‘s advent at DC in 1970 would ultimately prove highly auspicious — not only for his own individual career, but also for the direction of the whole field of American comics over the next decade or so.  Read More

Swamp Thing #4 (April, 1973)

As I’ve written in previous posts, I bought both the first and second issues of Swamp Thing upon their release back in 1972, and enjoyed them both very much.  Somehow, though, I managed to miss the third issue when it came out in December of that year.  And so, I had some catching up to do when I first picked up the subject of today’s post, back in February of 1973.

When I’d last seen the tragically transformed Dr. Alec Holland at the end of Swamp Thing #2, he’d just managed to defeat the evil genius Anton Arcane.  Arcane had brought Holland all the way from the southern United States to an unnamed Balkan country, solely for the purpose of appropriating the latter’s mucky body (which he then planned to use to wreak vengeance on his perceived enemies, naturally).  That adventure had ended with Arcane (apparently) dead, and Holland alive and free (as well as still mucky) — but nevertheless stranded somewhere in the Balkans… and on top of a mountain, to boot.  Read More

Swamp Thing #2 (Dec., 1972-Jan., 1973)

According to an interview with Bernie Wrightson published in Back Issue #6 (Sep., 2004), the artist was initially reluctant to take on Swamp Thing, in large part because he wasn’t sure he’d be able to handle the deadlines required in producing a regularly published full-length comic book — even one that came out on a bi-monthly schedule.  What ultimately convinced him?  Mostly, he said, it was because he realized he’d never get a better chance to draw a series that would be “wall-to-wall monsters”.

That opportunity didn’t come immediately, of course; as readers of Swamp Thing #1 (or our August 13 blog post on same) already know, there’s just one bona fide monster in that issue — and he doesn’t even show up until well into the story.  But as we’re about to see, by only the series’ second installment, young Mr. Wrightson would be able to make his dreams come true.  Read More

Phantom Stranger #22 (Nov.-Dec., 1972)

Last November, we discussed Phantom Stranger #17, the fourth outing on the title for writer Len Wein. In that issue, Wein and his collaborator, artist Jim Aparo, showed us a more human side of the mysterious titular hero than we’d seen previously, largely through the introduction of a potential romantic interest.  But the Phantom Stranger bid farewell to that interest — a beautiful blind psychic named Cassandra Craft — at the end of #17; and the potential for more characterization-rich storytelling (and perhaps even a touch of issue-to-issue continuity) that Ms. Craft’s advent had seemed to signify wasn’t followed up on in the next couple of issues, both of which featured standalone adventures in which the Stranger operated as solitarily as he had before. Read More

New Gods #11 (Oct.-Nov., 1972)

As was related in our post about Forever People #11 at the beginning of this month, Jack Kirby is reputed to have already begun work both on that comic and on New Gods #11 when he received word from DC Comics that those two issues would be the last for both titles.  The official word was that the two series were being “temporarily suspended”; but Kirby seems to have known that this was truly the end for both of his cherished creations, at least for the foreseeable future.

While we’ll probably never know just how far the writer-artist had already gotten in plotting, drawing, or scripting either comic, there can be no doubt that he made whatever adjustments were necessary to be able to provide the readers of both Forever People and New Gods with not just one last adventure of the series’ titular heroes, but with an ending for each.  In the case of Forever People, Kirby quite literally took his characters off the field, transporting them across the cosmos to an idyllic planet far from the battlefront between the warring god-worlds of New Genesis and Apokolips.  Read More