Mike Sekowsky

Metal Men #45 (Apr.-May, 1976)

Posted on by Alan Stewart

As of January, 1976, your humble blogger had been reading DC Comics publications for over ten years — but never, in all that time, had I read a single comic-book story featuring the Metal Men, those robotic heroes created in 1962 by writer Robert Kanigher and artist Ross Andru.  Not any of their 4 tryout issues of Showcase, nor any issue of their own series (which consisted of 41 original installments released in 1963-69, followed by 3 reprint editions published in 1972-73)… not even any of their 6 Brave and the Bold team-ups with Batman and other DC heroes.  Oh, I knew who they were, all right, through the normal process of comics-fan osmosis (house ads, letters-page references, etc.); I might even have been able to rattle off their names.  But I’d never read a single one of their adventures.  Read More

Grim Ghost #1 (January, 1975)

Posted on by Alan Stewart

In November, 1974, your humble blogger was pretty much a “just Marvel and DC, please” kind of guy where color comic books were concerned.  But, naturally, that didn’t mean I was unaware of the wares of other companies.  How could I have been?  All of the spinner racks I can recall from the first decade or so of my comics buying didn’t sort the new books by publisher (or by any other system, for that matter).  So if you wanted to make sure you got a look at every new DC or Marvel book out in any given week, you generally got at least a cursory glance at every new Archie, Charlton, Fawcett, Gold Key, and Harvey, as well.

And if a brand-new publisher showed up?  You noticed — especially if one of their books sported a cover by Neal Adams, like Atlas/Seaboard’s Ironjaw #1 did.    Read More

Justice League of America #113 (Sep.-Oct., 1974)

Posted on by Alan Stewart

Beginning in 1963 and continuing through 1973, the June issue of Justice League of America had featured the first chapter of the latest team-up event between the JLA and their Earth-Two counterparts in the Justice Society of America.  It was an annual summer tradition that no DC Comics fan would have expected to see change in June, 1974.

And indeed, the Nick Cardy-drawn cover for JLA #113 gave nary a clue that anything was different this time around, what with its blurb trumpeting “A New JLA-JSA Shocker!”  But I suspect that for many readers (your humble blogger most definitely being among them), the real “shocker” would come when they got to the end of page 20 of “The Creature in the Velvet Cage!” and discovered that they’d just finished reading a complete story.  There would be no second serving of joint Justice League-Justice Society adventuring this year (let alone a third, as we’d had in 1972); rather, they (and we) were one-and-done, until next summer.  Read More

The Brave and the Bold #112 (Apr.-May, 1974)

Posted on by Alan Stewart

By my reckoning, DC Comics’ The Brave and the Bold was one of the first comic book titles I ever spent my own money on (for the record, it was preceded only by Superman, Detective Comics, Green Lantern, Justice League of America, Flash, and Lois Lane).  I bought my first issue, #64, in December, 1965 — drawn in, no doubt, by its irresistible Gil Kane cover — and BatB soon became one of my most consistent regular purchases as a nascent comics fan.  No, I didn’t buy every single issue, but that was true of virtually every other title as well (the sole exception in those early days being Justice League of America, to which I quickly subscribed).  The ongoing appeal of the book, of course, was that you were always guaranteed at least two superheroes for the price of one (sometimes, as with issue #65’s team-up between the Flash and the Doom Patrol, you got even more).  That wasn’t quite as good a deal as JLA, which might give you as many as ten costumed crusaders cavorting in the same story… but it was still pretty sweet.  Read More

Justice League of America #110 (Mar.-Apr., 1974)

Posted on by Alan Stewart

From a creative standpoint, 1973 had been a very stable year for Justice League of America.  Everyone who’d been working on the book as the year began — writer Len Wein, penciller Dick Dillin, inker Dick Giordano, cover artist Nick Cardy, and (of course) editor Julius Schwartz — remained in place as 1973 neared its end.  From a business perspective, however, it was a rather different story.  After having been published on a nine-times-a-year schedule from 1965 to 1971, DC Comics’ premiere super-team title had dropped back to eight issues per year in 1972; and then, with the first issue of 1973, had its frequency reduced even further, to a bimonthly status.

And then, December, 1973 brought a change that was even bigger (in more ways than one), as JLA joined several other DC titles in transitioning to the “100 Page Super Spectacular” format — a giant-sized package that featured some three pages of reprints to every one of new art and story, at a cost of 50 cents — more than twice that of the “standard” format comic JLA had been prior to the change, which sold for 20 cents.  (With the following month, the price of the “Super Spectacular” format would go up to 60 cents, making these comics a full three times more expensive than DC’s standard size books… but of course we fans of the time didn’t know that yet.)  Read More

Justice League of America #105 (April, 1973)

Posted on by Alan Stewart

In September, 1965 — the month your humble blogger first started buying Justice League of America — DC Comics made an adjustment to the publication frequency of that title, adding a ninth issue — an all-reprint “80 pg. Giant” — to the eight-times-a-year schedule the book had been on since 1962.  My eight-year-old self didn’t manage to pick up the first of those giant-sized issues, which came out not only a couple of weeks before my own initial JLA purchase (issue #40), but also a mere four weeks after the first comic book I remember ever buying for myself — but I faithfully bought each one thereafter, at least for the next three years.  And why wouldn’t I?  For one penny more than it would cost you to buy two regular issues, you got three full-length Justice League adventures, by the same writer (Gardner Fox) and artist (Mike Sekowsky) who were producing the series’ current stories (up through issue #63, anyway).  Read More

Jimmy Olsen #152 (Aug.-Sep., 1972)

Posted on by Alan Stewart

Regular readers of this blog will recall how, over the past year, we’ve been tracking the Fourth World-adjacent story material that appeared in various “Superman” family titles — mostly in Superman’s Girl Friend Lois Lane — during the period that Jack Kirby was writing, drawing, and editing Superman’s Pal Jimmy Olsen.  The most significant piece of this material was that having to do with Morgan Edge, the head of Galaxy Broadcasting (and thus the boss of Lois and Jimmy, as well as of Superman’s alter ego Clark Kent).  Originally created by Kirby, Edge was introduced in his first Fourth World comic, Jimmy Olsen #133, as being secretly involved with the criminal organization Intergang — and thereby, as shown in the very next issue, also an operative of the dark lord of Apokolips, Darkseid.  More recently, however, it had been revealed in Lois Lane #118 that the Morgan Edge we readers had been reading about in all the Superman books wasn’t the real Edge at all — rather, he was an evil clone who’d been created by Darkseid’s minions in the Evil Factory to pose as the media mogul.  Read More

House of Mystery #202 (May, 1972)

Posted on by Alan Stewart

In March, 1972, the format change that DC Comics editor Joe Orlando had brought to the company’s House of Mystery title at the beginning of his tenure had been in place for four years.  This format — which emulated the approach of the horror anthology comics of the early 1950s to the extent possible under the strictures of the Comics Code Authority — had proven very successful, leading to similar revamps of other DC titles (House of Secrets and Tales of the Unexpected) as well as the launch of brand new titles cut from the same rotting gravecloth (Witching Hour and Ghosts).  Even DC’s arch-rival Marvel had been moved to try its hand at the “mystery” anthology comics game (though so far without much success).

Through it all, House of Mystery had kept to the course charted by Orlando in 1968, centered on a mix of short stories of supernatural horror (generally featuring twist endings), interspersed with a page or two of macabre cartoons, all “hosted” by Cain the Caretaker.  To the extent that anything had changed in the last four years, it was largely in the makeup of the talent roster that produced the title’s content.  Even so, it was still possible to pick up an issue and be completely surprised — as was the case with the very comic we’re looking at today.  Read More

Justice League of America #97 (March, 1972)

Posted on by Alan Stewart

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

Avengers #95 (January, 1972)

Posted on by Alan Stewart

In October, 1971, Avengers #95 brought us what might be the most unusual installment yet in the ongoing epic of the Kree-Skrull War.  From one perspective, concerned primarily with the progress of the war and the Avengers’ role in it, it could quite reasonably be deemed the least consequential chapter in the entire saga.  From a different point of view, however — namely, that of the Inhumans — it might be the most significant of all.

That’s because Roy Thomas and Neal Adams took advantage of the opportunity Avengers offered not only to wrap up the story they’d begun telling in their most recent previous collaboration — the “Inhumans” strip in Amazing Adventures — but also to deepen the Inhumans’ mythos; especially that part of it wrapped up in the personal histories of the two royal brothers, Black Bolt and Maximus, whose animus had been the driver of most of the narratives Marvel Comics had produced concerning that hidden race ever since Stan Lee and Jack Kirby introduced them back in 1965. Read More