Marv Wolfman

Werewolf by Night #15 (March, 1974)

Posted on by Alan Stewart

The second and concluding chapter of Marvel Comics’ 1973 crossover between Tomb of Dracula and Werewolf by Night introduces itself with a spectacular cover by Mike Ploog: one that epitomizes Marvel’s early-’70s horror trend as well or better than any other I can think of; and, truth be told, one of my very favorite covers in any genre from this particular era of comics.

Beyond the cover, writer Marv Wolfman, penciller Ploog, and inker Frank Chiaramonte pick up the story right where Wolfman, penciller Gene Colan, and inker Tom Palmer left off at the end of ToD #18, with our two series’ protagonists quite literally at each other’s throats: Read More

Tomb of Dracula #18 (March, 1974)

Posted on by Alan Stewart

I suppose we should probably begin today’s post by acknowledging that the battle between two of Marvel Comics’ biggest horror stars — the vampiric Count Dracula and the lycanthropic Jack Russell — that ran through that duo’s respective titles in November and December of 1973 wasn’t quite the first time that two of Marvel Comics’ monstrous headliners faced off with one another.  That distinction belongs instead to Frankenstein #8, which beat ToD #18 to the stands by just one month. Even so, while that comics’ Gary Friedrich-John Buscema tale certainly had its charms, it was set in the 19th century, and didn’t cross over from one monster’s title to the other’s; instead, the dust-up between Drac and the Frankenstein Monster concluded in the following bi-monthly issue of Frankenstein itself, which came out in December.  For those two reasons, it didn’t feel quite as special as the almost-concurrent Tomb of Dracula/Werewolf by Night crossover — at least, it didn’t to your humble blogger, either then or now.  (Naturally, your own mileage may vary, but for better or worse, the Dracula/Werewolf event is the one I’ve opted to write about.)  Read More

Werewolf by Night #14 (February, 1974)

Posted on by Alan Stewart

It’s been over a year since we last looked in on our favorite teenage werewolf, Jack Russell, so we have a bit of catching up to do before we get into our discussion of today’s main topic.  Following issue #3‘s conclusion of the extended plotline concerning the Darkhold — the mystical bound volume that had acted as a MacGuffin for most of the series’ early run — subsequent installments had seen Jack involved in a succession of one or two-part adventures that usually involved his younger sister Lissa (who learned Jack’s lycanthropic secret in issue #4) and/or his best friend Jack Cowan (who had to wait until issue #12 to get clued in regarding that vital info).  On the creative end, the feature’s original writer-artist team of Gerry Conway and Mike Ploog, who’d been on board ever since the Werewolf’s three-issue tryout in Marvel Spotlight, came to an end with #4; while Ploog remained the book’s penciller for three more issues, Conway was succeeded by Len Wein, who served as writer through #8.  That last issue was drawn by Werner Roth as his one and only effort on the title; the next saw the arrival of a new artist — Tom Sutton — who was joined by an “old” writer — Gerry Conway.  (As a side note, the same month that Werewolf by Night #8 came out saw the Werewolf meet Spider-Man in Marvel Team-Up #12 — a Conway-Wein collaboration that firmly established Jack Russell’s adventures as taking place in the main Marvel Comics continuity.)  Read More

Dracula Lives #3 (October, 1973)

Posted on by Alan Stewart

Arriving on stands in June, 1973, the third issue of Marvel Comics’ new “Marvel Monster Group” of black-and-white titles got off to a strong start with a spectacular cover by Neal Adams.  Over a year prior, the star artist had begun backing away from a long stint as the most prolific cover artist for Marvel’s primary rival, DC Comics — a tour of duty extending back past the turn of the decade, and one which at its productive peak had seen him turning out ten or more covers a month.  Of course, Adams had kept his hand in the cover game (at Marvel as well as its chief competitor) even after curtailing his commitment to DC; but the painting that graced Dracula Lives #3 represented a new phase for the artist, one which would see him produce a number of covers in that medium for Marvel (though not in any sort of quantity approaching that of his earlier output at DC), primarily for black-and-white titles that weren’t even out yet as of this issue’s release (e.g., The Deadly Hands of Kung Fu) — titles which, when they did eventually make it to the magazine racks, would end the present horror-centric hegemony of the Marvel Monster Group.  Read More

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

Posted on by Alan Stewart

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

Dracula Lives #2 (July, 1973)

Posted on by Alan Stewart

As was noted in last Saturday’s blog post, the date of April 17, 1973 saw Marvel Comics release not just one, but two different periodical issues devoted to the exploits of the world’s most famous vampire.  But while the color-comics format Tomb of Dracula #10, featuring the debut of Blade, is probably much better known to contemporary comics fans, I’m pretty sure that, back in the day, my fifteen-year-old self was at least as jazzed by the arrival of its black-and-white companion publication, Dracula Lives #2… and probably more so.  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

Tales of the Zombie #1 (July, 1973)

Posted on by Alan Stewart

Return with me now, if you will, to that long-ago era when the word “zombie” was virtually never paired with the word “apocalypse”… a time when one didn’t worry about having one’s brain (or other bodily parts) eaten by ravenous specimens of the walking dead because, well, those guys didn’t seem to eat much of anything, as far as one could tell from the stories about them… and when the animating agent that could make corpses clamber out of their graves and shamble about (no running or swarming in those days) was almost always associated with the magical traditions of voodoo (or, more properly, what passed for authentic voodoo in popular entertainment media), rather than derived from an imaginary contagion or some other “scientific” cause.  Read More

Sub-Mariner #62 (June, 1973)

Posted on by Alan Stewart

In our post last October regarding Sub-Mariner #57, we discussed how Subby’s creator Bill Everett, who’d returned to write and draw the series in 1972 with issue #50, began to have trouble keeping up with the book’s monthly schedule due to chronic health issues; this situation eventually led to occasional fill-ins by other creators, as well as to ongoing help for Everett on both the writing and artistic ends of things.

During this period, the continuing uncertainty over Everett’s status month-to-month was evidenced in the title’s letters pages, where the anonymous Marvel Bullpener(s) responsible for answering reader correspondence would be telling fans in one issue (#55) that Everett probably wouldn’t be handling every story going forward, as “getting back into the swing of a monthly deadline is harder than you might imagine”; then, a few months later (in issue #58), explaining that “due to deadline problems, Bill will now be doing final art over the layouts of Irv Wesley [i.e., Sam Kweskin, who occasionally used the Wesley pen name], while Steve Gerber, working closely with the ebullient Mr. Everett, who will continue to plot the yarns, handles the scripting chores”; and then, finally, acknowledging (in #59) that “Bouncin’ Bill Everett has, indeed, moved on to other projects for Mighty Marvel (the monthly deadline on Subby’s book, sadly, proved too much for the compulsively conscientious Mr. Everett to handle)”.  Read More

Amazing Adventures #18 (May, 1973)

Posted on by Alan Stewart

According to the account given by Marvel editor-in-chief Roy Thomas on the letters page of Amazing Adventures #18, the new feature that made its debut in that issue had been gestating for some time.  (“Two long and not always enjoyable years,” to quote the man himself.)  It had all started in 1971, when Marvel was looking to expand its market share in a big way, and Stan Lee (himself still editor-in-chief at that time) asked Thomas to submit a list of ideas for new comics for consideration by Lee and Marvel’s publisher, Martin Goodman.  Among those ideas was a series concept based on H.G. Wells’ classic late-Victorian science fiction novel, The War of the Worlds.

More specifically, Thomas imagined “a vast, hopefully unending sequel to the Wells classic.  A storyline which would pit earthmen in a kind of guerrilla warfare against the Martians, who had returned approximately 100 years after their initial invasion attempt… and who this time had come, seen, and conquered.”  Read More