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 Lieber’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
In addition to being a fine piece of artwork by Michael W. Kaluta, the cover of Batman #242 represents a minor milestone of sorts; outside of those for a small handful of giant-sized all-reprint issues, it was the first cover since October, 1969 for either Batman or its companion title, Detective Comics, not to have been drawn by Neal Adams. (That particular month, not so coincidentally, was the same one in which those titles’ editor at DC Comics, Julius Schwartz, introduced the Caped Crusader’s “Big Change” — a return to a moodier, more grounded approach to the hero that was largely inspired by what Adams had been doing over in Brave and the Bold for the last year or so.) Read More
In October, 1971, Don and Maggie Thompson’s fanzine Newfangles reported:
There are indications that DC is in serious trouble. Dealers are not too keen on the 25¢ comic book[s], sales are skyrocketing for Marvel, Charlton and Gold Key (GK has 15¢ books, Marvel and Charlton 20¢)… DC’s titles are also reported to be dying in droves on the stands, if they get that far—wholesalers prefer to handle the 20¢ books, apparently.
A couple of months later, with disappointing sales reports now in for about a quarter-year’s worth of the “bigger & better” format DC had inaugurated in June, publisher Carmine Infantino prepared to make some course adjustments. The most significant upcoming change would be to the format itself (more on that later), but there were other indicators of Infantino’s efforts to staunch the bleeding as 1972 got underway; for example, Green Lantern, one of the signature series of DC’s Silver Age, was cancelled with its 89th issue, shipping in February. As for the titles written, drawn, and edited by Jack Kirby, with which DC had clearly hoped to clean up with sales-wise following Kirby’s 1970 defection from DC’s chief rival, Marvel Comics: Jimmy Olsen was removed from Kirby’s purview with the 148th issue (which, like GL #89, came out in February); and while Infantino wasn’t quite ready to pull the plug on Kirby’s three remaining titles — the core books of the star creator’s interconnected “Fourth World” epic — he appears to have been determined to take a more active role in guiding their respective directions than he had before. If the King could ever have been said to have had free rein in managing “his” comics at DC (and that’s by no means an indisputable statement), that day was over. 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