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
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
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
Last month, in our epic Swamp Thing #1 post, we covered at some length the parallel creation and development of Man-Thing and Swamp Thing, two swamp monsters who were both introduced to the comic-book-reading world in early 1971 by the two largest American comics companies, Marvel and DC. As noted in that post, while both characters received their own ongoing color-comics series in the summer of 1972 — well over a year after their respective introductions in Savage Tales #1 and House of Secrets #92 — Man-Thing managed to make it out of the gate a month before his distinguished competition, with the July release of Fear #10. Read More
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
First off, please be advised that this blog post is going to be one of the long ones. That’s primarily due to the fact that, in addition to covering the specific fifty-year-old comic book that gives the post its title, your humble blogger is also goiing to take a shot at answering the age-old conundrum: who came first, DC Comics’ Swamp Thing or Marvel Comics’ Man-Thing? (Regular readers may recall that when the blog spotlighted the second Man-Thing story, back in March, I promised something of this sort would be forthcoming; that moment has at last arrived.)
But it’s also destined to be at least a bit on the long side because before I can even get into discussing Swamp Thing #1, I feel that it’s necessary to give some attention to an even older comic, one that came out over fifty-one years ago. Of course, I’m talking about House of Secrets #92, published by DC in April, 1971; the comic book whose first eight pages gave us the very first “Swamp Thing” story, as written by Len Wein, drawn (mostly) by Bernie Wrightson, and edited by Joe Orlando. Neither the behind-the-scenes story of how Swamp Thing-the-series came to be — nor my own initial reactions to the first issue of the latter, as a fifteen-year-old reader in August, 1972 — make a whole lot of sense outside of the context of that classic tale. So, that’s where we’re starting, on what in all probability will indeed be a lengthy (though hopefully also enjoyable) journey. Forewarned is forearmed, eh? Read More
Writing about Avengers #100 back in March of this year, I referred to the four issues that immediately followed that milestone as a “victory lap” for Roy Thomas, whose nearly-six-year tenure as the title’s writer was about to come to an end. In characterizing Avengers #101-104 in such a fashion, I don’t mean to denigrate them; they’re not bad comics, by any means. But coming directly upon the heels of the three-part “Olympus Trilogy” crafted by Thomas with Barry Windsor-Smith — and, right before that, the “Kree-Skrull War” epic by Thomas, Neal Adams, and Sal and John Buscema — these comics can’t help but seem somewhat anticlimactic by comparison. I suppose there’s always been a part of me that kind of wishes that Thomas had just quit while he was ahead. Read More
Neal Adams’ cover for Batman #244 is probably one of the most famous and iconic comic book covers of its era. There are a number of good reasons for that, starting with the sheer drama of the moment it depicts, as our hero lies vanquished, perhaps even dead, at the feet of his greatest enemy, Ra’s al Ghul. Then there’s the strength of Adams’ composition, which frames that dramatic moment so perfectly, as well as the sophisticated coloring by Adams and Jack Adler, which wonderfully enhances the mood as well as the visual appeal of the illustration.
And then there’s the chest hair. Oh, and the nipples, of course. Mustn’t forget the nipples. Read More
In July, 1972, I bought my second-ever issue of Wonder Woman. My first issue had been #171 (Jul.-Aug., 1967) — and as I wrote here on the blog back in May, 2017, my nine-year-old self hadn’t been all that taken at the time with Robert Kanigher’s silly scripts, nor had the art by Ross Andru and Mike Esposito held much appeal for me. So, what motivated me to finally get around to giving the title another go, five years later?
It wasn’t the whole “New Wonder Woman”, white-jumpsuited Diana Rigg Prince thing, for sure; that had been around since 1968, and if it hadn’t inspired me to lay down my coin to check it out yet, it wasn’t going to. No, it was the appearance on the Dick Giordano-drawn cover of perhaps the two most unlikely guest stars I could have imagined — science fiction and fantasy author Fritz Leiber’s sword-and-sorcery heroes, Fafhrd and the Gray Mouser. What the heck were those guys doing on the cover of any DC comic book — let alone Wonder Woman? Read More
Batman #243 picks up the ongoing Ra’s al Ghul storyline from the previous issue without missing a step –and with the welcome return to the proceedings of Ra’s’ co-creator, artist Neal Adams, who contributes the comic’s fine cover prior to rejoining writer Denny O’Neil and inker Dick Giordano for the story within. Read More