Behind an attention-grabbing cover pencilled by John Buscema from a rough layout by Jim Starlin (and inked by Frank Giacoia), the Defenders creative team of writer Steve Englehart, penciller Sal Buscema, and inker Frank McLaughlin began this latest installment of the super-team’s continuing adventures right where the previous one had left off.
It wasn’t exactly what you’d call a happy scene… Read More
Readers of our Avengers #105 post back in July may recall how that issue’s plot — the first from the title’s brand new writer, Steve Englehart — concerned the team’s search for their missing member Quicksilver, who’d disappeared towards the end of the previous issue. Following the inconclusive resolution to their efforts in that tale, Earth’s Mightiest Heroes would continue their quest for the mutant speedster for months to come. But, surprisingly — well, it surprised me, back in November, 1972 — when Pietro Maximoff was finally “found”, it didn’t happen in the pages of Avengers; instead, Quicksilver resurfaced in, of all things, an issue of Fantastic Four — which, as it happened, was the new super-team scripting gig of Roy Thomas, the man who’d written Avengers for the last five-plus years prior to Englehart taking over, and thus the guy who’d launched the whole “where is Pietro?” mystery in the first place. From a creative standpoint, it made a certain kind of sense that Thomas would be the one to ultimately wrap things up; but in terms of the ongoing mega-story of the Marvel Universe, it seemed to come out of nowhere. How did Quicksilver ever manage to end up in the Himalayan homeland of the Inhumans, the Great Refuge? And why the heck was he fighting the Fantastic Four’s Human Torch, Johnny Storm? Read More
I may be misremembering, but I have a vague recollection of my fifteen-year-old self looking at this one at the spinner rack back in October, 1972 and thinking, “The Justice League standing around a grave site? Again?” After all, it had only been three issues since artist Nick Cardy had built his cover for JLA #100 around a similar idea. On the other hand, it was October — the spooky season — and what could be spookier than an open grave? Especially when said grave was being ominously loomed over by… hey, is that thePhantom Stranger? In an issue of Justice League of America? Forget about repetitive cover concepts; I couldn’t wait to buy this one and take it home. Read More
In our last post we discussed Amazing Adventures #16, one of three comics published in October, 1972 in which a trio of young comic-book writers staged an unofficial crossover between Marvel and DC Comics, set at the annual Halloween Parade in Rutland, Vermont, and featuring themselves as characters, without telling their bosses they were doing so. In this post, we’ll be taking a look at another of those comics: Thor #207, which, behind its dynamic cover by Gil Kane and Joe Sinnott, features a script by Gerry Conway and art by John Buscema, Vince Colletta… as well as Marie Severin, whose mysterious credit for “good works” covers her renderings of the story’s likenesses of Conway, Steve Englehart, Len Wein, and Glynis Oliver (who, as it happens, also served as the story’s colorist, under her then-married name of Glynis Wein). Read More
In previous posts, we’ve discussed a couple of early “unofficial” crossovers between DC and Marvel Comics that appeared in 1969 and 1970. Both involved an issue each of DC’s Justice League of America (#75 and #87) and Avengers (#70 and #85), and both were built on a conceit of each super-team series parodying the stars of the rival company’s book during the same month. Part of the fun — at least for the creators responsible — was its mildly illicit nature, as none of the writers involved (JLA‘s Denny O’Neil and Mike Friedrich, Avengers‘ Roy Thomas) informed their bosses (DC’s Julius Schwartz, Marvel’s Stan Lee) what they were up to. The results were perhaps something of a mixed bag (both as crossovers and simply as stories), but for the most part, these books made for a good time for comic-book fans. Read More
In May of last year, I blogged about Sub-Mariner #40, an issue that completed a crossover storyline that had begun in Daredevil #77 and which also guest-starred Spider-Man. That comic also happened to be the first installment of a ten-issue run written by Gerry Conway and drawn by Gene Colan and others; my younger self, having enjoyed the crossover storyline that kicked off Conway’s tenure, ended up sticking around for his whole run. But with issue #50, both Conway and Colan were gone, replaced in their respective roles by a single creator, Bill Everett — the writer-artist who had in fact created the Sub-Mariner, way back in 1939, and was thus one of the primary progenitors of what we would come to know as Marvel — both as a company, and as a Universe. Read More
In April, 1972, the third issue of Marvel Comics’ Kull the Conqueror arrived on stands — a full eleven months after the release of issue #2.
Of course, as folks who’ve been regular readers of this blog for a while already know, while Kull, the comic book, had been absent for almost a year, the same could not be said of Kull, the character. Marvel’s associate editor Roy Thomas, who in 1971 had launched this second series based on a Robert E. Howard fantasy hero in the wake of Conan the Barbarian‘s success (as relatively modest as that was, so far) was evidently determined to keep Conan’s literary forbear in the public eye — perhaps in hopes of eventually resuscitating the cancelled Kull title, or maybe just because he liked the hero and his milieu and/or was enjoying his collaboration (as the series’ writer) with sister-and-brother art team Marie and John Severin, who’d both come aboard Kull with issue #2. Read More
Any of you out there who aren’t already familiar with this particular comic book may be taking a look at its John Buscema-Joe Sinnott cover right now and thinking, “Nice, but what’s so special about Ka-Zar rasslin’ a big alligator, even underwater, that Astonishing Tales #12 should rate its own blog post?” The fact of the matter, however, is that this issue (along with its immediate follow-up, Astonishing Tales #13) represents a significant chapter in the histories of not one, but two, semi-major Marvel Comics characters — neither one of whom happens to be the self-styled Lord of the Savage Land. Read More
You know, Marvel may have never quite licked the horror/mystery/fantasy/science fiction/what-have-you anthology format during the Bronze Age of Comics — at least not in the color comics arena — but you’ve got to give them points for trying. From 1969 to 1975, the publisher launched at least sixteen titles that can be grouped within that admittedly broad category (more, if you include all the title changes). It’s quite the bewildering array of funnybooks to try to get a handle on half a century later, even if you were buying and reading Marvels all through the era (as your humble blogger indeed was). Trying to account for all those Loose Creatures and Dwelling Monsters, not to mention the Shadowy Towers and Crypts and the Chambers offering you a choice of either Darkness or Chills, can feel like a real Journey into Mystery at times; honestly, it can be hard to know if you’re coming or going. Or Prowling or Roaming, if you catch my drift.
But never Fear, faithful reader — Attack of the 50 Year Old Comic Books is here to help. While I can’t promise you’ll possess a comprehensive understanding of all the varied aspects of this little chapter in comics history by the time you finish reading this post, I believe that I can at least relieve you of feeling like you’re trapped within a Tomb of Darkness, informationally speaking. Something like that, anyway. At least for the first couple of years of the phenomenon. Read More
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