Marvel Treasury Edition #12 (1976)

As of October, 1976, Marvel Comics had primarily used their tabloid-sized “Treasury” format (which had premiered in the summer of 1974) as a vehicle for reprint material.  Exceptions to date had included MGM’s Marvelous Wizard of Oz (1975), Marvel Treasury of Oz Featuring The Marvelous Land of Oz (1975), and Superman vs. the Amazing Spider-Man (1976), the first and last of which were co-productions with DC Comics; more recently, the past summer had seen the release of two new 10″ x 13.5” extravaganzas written as well as drawn by Jack Kirby: Marvel Treasury Special Featuring Captain America’s Bicentennial Battles and 2001: A Space Odyssey.  Read More

Marvel Spotlight #31 (December, 1976)

Assuming your humble blogger hasn’t missed something in his research, the comic we’re going to be looking at today was, fifty years ago, the first to feature Nick Fury, agent of SHIELD — as opposed to Sgt. Nick Fury, leader of World War II’s Howling Commandos — in a headlining role since the cancellation of, um, Nick Fury, Agent of SHIELD, back in 1969.  Not that the eye-patched director of the Marvel Universe’s foremost spy agency had been at all out of sight through the first half of the 1970s; indeed, for a while he seemed to be popping up in one book or another almost every single month.  Read More

Marvel Premiere #33 (December, 1976)

Back in September, 1976, the artist of the comic book story we’ll be discussing today — Howard Chaykin, that is — wouldn’t have ranked among the most prolific of the generation of talented young illustrators who’d entered the American comic book industry in the late 1960s and early 1970s.  Unlike other such “Young Turks” of the era as Barry Windsor-Smith, Bernie Wrightson, Frank Brunner, and Jim Starlin, Chaykin still hadn’t had a run on a series lasting more than four issues — and that personal record had been set back in 1973.  Nor had his one- (or two-) off jobs over the past few years been all that plentiful, or frequent.  Read More

Defenders Annual #1 (1976)

In last Saturday’s post, we discussed Marvel Comics’ Thor Annual #5 — which, in the summer of 1976, was the first annual starring the God of Thunder to have appeared since 1971.  Today, we’ll be looking at another ’76 Marvel annual… although this one has the distinction of being the first ever such comic featuring the Defenders, since the so-called “non-team” hadn’t yet debuted in their own ongoing title at the time Marvel had phased out their annuals publishing program some five years before.  Read More

Savage Sword of Conan #14 (September, 1976)

You’d likely never guess it from the wholly acceptable, but not especially memorable Earl Norem cover to the comic book that’s our topic for today — but, half a century ago, Savage Sword of Conan #14 represented something of the end of an era… even if no one knew it at the time.  That’s because its pages contained the very last collaboration between writer Roy Thomas and artist Neal Adams — two creators whose previous joint efforts, though relatively few in number, comprised some of the high water marks of the late Silver and early Bronze Ages of comics.  Read More

Doctor Strange #18 (September, 1976)

With this post, we come to the regrettably untimely end of writer Steve Englehart’s run on Doctor Strange.  But before we get into DS #18’s “The Dream Is Dead!”, we’ll first need to take a look at the previous issue, which presented the first installment of what was originally planned to be an ambitious, multi-part story arc organized around the American Bicentennial; and since the ultimately truncated storyline’s conclusion (such as it was) occurred in the following, Englehart-less #19, we’re going to be covering that one here today as well.  All of that’s to let you know that, well, we may be here for a while.  Read More

Defenders #38 (August, 1976)

With this post, we continue our coverage of writer Steve Gerber and artist Sal Buscema’s “Headmen/Nebulon Saga” in Defenders, following our recently established routine of taking on two issues of the lengthy storyline at a time.  This go-round, we’ll be starting with Defenders #37, whose cover by Gil Kane and Mike Esposito heralds the imminent return to this title’s pages of Luke Cage, Power Man — a hero who’d first fought alongside Marvel Comics’ premiere non-team back in issues #17-19, and then had renewed his non-membership when the group battled the Sons of the Serpent in #24-25.

As regular readers will hopefully recall, Defenders #36 had ended with three of our heroes — leader Dr. Strange, veteran Nighthawk (in his civilian guise of Kyle Richmond), and newbie Red Guardian — having been captured by Plantman, who intended to hold the wealthy Richmond for ransom.  But rather than immediately picking things back up with those characters, our creative team (which in addition to Gerber and Buscema includes inker Klaus Janson) start off issue #37’s “Evil in Bloom!” with another Defender, namely the Hulk.  Read More

Defenders #36 (June, 1976)

As regular readers of this blog will be aware, we haven’t had a post about Marvel Comics’ Defenders title since we covered issue #34 back in January — which means that our continuing coverage of writer Steve Gerber and artist Sal Buscema’s “Headmen/Nebulon Saga” must resume here not with the issue whose number and cover are shown directly above, but with the one whose cover you see pictured at left.  And that Gil Kane-Mike Esposito number fronting Defenders #35 (May, 1976) is a doozy, isn’t it?  If you’ve never read this comic before, I can’t wait for you to find out who that utterly bizarre unicorn-horned, bird-claw-footed, tentacle-armed monstrosity fighting the Valkyrie really is.  Why, I bet you’ll be just as surprised as Chondu the Mystic was!  (Wait, did I just give the whole thing away?  Damn.)  Read More

Astonishing Tales #34 (March, 1976)

As regular readers of this blog might recall, we ended our October post about Astonishing Tales #33 with the observation that with that issue, Marvel Comics seemed to have finally found a solid creative team for “Deathlok the Demolisher”, with the feature’s primary creator, plotter, and artist Rich Buckler now supported by Bill Mantlo as scripter and Klaus Janson as inker and colorist.  Meanwhile, Buckler’s frequently meandering plotline seemed to have found some new forward momentum as well.  Was it possible that this series — which, to be sure, had still generally been entertaining in (mostly) bi-monthly doses, where one might simply enjoy the gritty atmosphere and violent action without being overly concerned with the incoherence of the overall story arc — was finally on the verge of realizing its considerable potential?  Read More