As regular readers will recall, we’ve begun the last two Marvel-focused posts on this blog with excerpts from the Bulletin Bulletins page that ran in the company’s comics published in July, 1971 — and we see no reason to break that run with this installment. Especially since the very next Bulletin following those we’ve already shared is specifically about the subject of today’s post.
Coming after a Roy Thomas editorial and “ITEM!” that dealt with Lee’s decision to take a brief sabbatical from comics writing (and what that meant for the series he usually scripted, such as Amazing Spider-Man) — and directly preceded by another item announcing the move of several Marvel titles (including Conan the Barbarian) to a larger, 25-cent format — this Bulletin caught the attention of readers (well, this particular fourteen-year-old reader, at any rate) with a graphic by Gene Colan and Tom Palmer from Doctor Strange #180, featuring that book’s titular star — a hero who, in the wake of the cancellation of his series with issue #183, had been conspicuous by his absence from the Marvel Universe ever since a late-1969 guest appearance in Incredible Hulk which had effectively retired the character: Read More
One week ago, in our post about Amazing Spider-Man #101, we shared the two lead items from the Marvel Bullpen Bulletins page that ran in that issue (as well as in other Marvel comics shipping in July, 1971), which explained how, due to editor Stan Lee taking a couple of weeks off his comics-scripting duties to work on a screenplay, other writers would be temporarily stepping in to handle his titles.
But Stan’s sabbatical wasn’t the only big news out of Marvel that month, as was indicated by the very next Bulletin: Read More
As we’ve discussed in previous posts on this blog, the year 1971 brought the first significant revisions to the American comic book industry’s self-regulating mechanism, the Comics Code Authority, since its establishment in 1954. Among the most important changes made to the Code in that year was the relaxing of restrictions on the depiction of certain sorts of imaginary creatures; or, as a newly added statement read: “Vampires, ghouls and werewolves shall be permitted to be used when handled in the classic tradition such as Frankenstein, Dracula, and other high calibre literary works…” Read More
Avengers #92 was a transitional issue for the Marvel Comics series in several ways, a couple of which are signified by the issue’s cover. For one, the cover marks the arrival of artist Neal Adams, who’d begin a brief but glorious run as the title’s penciller and co-plotter with the very next issue. For another, the prominence given to Thor, Iron Man, and Captain America presages the end of an era in which those heroes only appeared on a semi-regular basis in Avengers; while the old dictum of editor Stan Lee that none of the “Big Three” could appear in the title except as occasional guest stars had been honored largely in the breach for a couple of years now, up to this point you might still have stretches in which none of them showed up at all (in fact, none had appeared in the previous three issues, and, as we’ll soon see, they barely play a role in #92, cover prominence notwithstanding). From issue #93 forward, Cap, Thor, and Iron Man would simply be “Avengers”, on the same basis as their fellow members who didn’t have their own books — effectively ending what had been the status quo of the title ever since issue #16 (May, 1965). Read More
When we last checked in with the Inhumans feature in Amazing Adventures, back in December, the new creative team of writer Roy Thomas and artist Neal Adams had just launched a new multi-part storyline. The beginning of this new arc found the Inhumans’ monarch, Black Bolt, traveling to the United States — more specifically, to San Francisco — to begin the process of developing better relations between his people and the outside world. (Exactly how he expected to accomplish this by skulking around an urban waterfront at night, especially given his self-enforced muteness, was unrevealed.) BB got off to a somewhat rocky start, getting involved in an altercation with some petty criminals as he came to the defense of a boy named Joey, the nephew of the hoods’ leader, Roscoe. Meanwhile, back in the Great Refuge, the king’s mad brother Maximus lay in what appeared to be a state of suspended animation — something Black Bolt had set up prior to his departure, without explaining his reasons to the other members of the Inhumans’ royal family. A suspicious Gorgon and Karnak elected to wake Maximus up, which turned out to be a bad move, since the previously non-super Max had recently developed immense mental powers. Maximus promptly unleashed a brain blast that traveled halfway around the world before striking down Black Bolt, simultaneously robbing him of his memory. This ten-page installment ended with young Joey, having just managed to rouse his mysterious new friend, trying to get him to say something — unaware that if the Inhumans’ incognito ruler uttered but a mere whisper, the power of his voice would unleash terrible destruction. Yipes! Read More
In the waning months of 1970, with the early sales reports on their new Conan the Barbarian series good enough to warrant bumping the title up from bi-monthly to monthly publication, Marvel Comics — likely driven at least in part by the enthusiasm of Conan writer (and Marvel associate editor) Roy Thomas — decided to take a chance on another sword-and-sorcery barbarian hero created decades earlier by pulp writer Robert E. Howard: King Kull.
Though he’d almost immediately come to be seen by comics fans (well, by this one, anyway) as Howard’s “number two” hero, Kull was actually the earlier creation, predating the author’s imagining of Conan the Cimmerian by some three years. Kull could even be seen as the prototype for the later, more commercially successful hero, as the very first Conan story, “The Phoenix on the Sword” (published in the magazine Weird Tales in 1932) was a reworked version of an unsold Kull yarn, “By This Axe I Rule!”Read More
In October, 1970, I returned to Marvel Comics’ Avengers after a hiatus of one full year, during which time I hadn’t bought or read the title at all. Avengers had been one of my most reliable Marvel purchases for a year or so prior to that break, but, for reasons lost to time, I was a little tentative about committing to the series again; and after buying (and, as I recall, enjoying) both #83 and #84, I sat out the next three months, not picking up another adventure of the Assemblers until #88, in March. That one seemed to do the trick, however, because from that point on I wouldn’t miss another issue. (Well, not until 1980 or thereabouts, anyway — but that’s another story.)
Or maybe it wasn’t #88 that sealed the deal — that Harlan Ellison-plotted issue, enjoyable as it was, essentially functioned as a lead-in to the same month’s issue of Hulk, and didn’t spend much energy encouraging readers to come back for the next month’s Avengers. Avengers #89, on the other hand, kicked off a multi-issue storyline that just kept building and building, never offering anything like a reasonable jumping-off point. By the time that storyline — the Kree-Skrull War, as we’d all quickly come to call it — came to an end with #97, it was December, and buying Avengers had become an ingrained habit for your humble blogger. Read More
In January I posed about Conan the Barbarian #4, the first issue I’d ever picked up of Marvel Comics’ series featuring Robert E. Howard’s pulp hero. As I wrote at the time, my thirteen-year-old self was quite favorably impressed by the efforts of writer Roy Thomas and artist Barry Windsor-Smith in that comic — impressed enough that I feel fairly certain that I meant to buy the next issue when it came out. Somehow, though, I didn’t manage to do so. I suppose it’s possible that I never actually saw Conan #5 on the stands; but if that’s true, that was the last time that kind of thing ever happened. Because with #6, I was back on board, and would thenceforth faithfully acquire every issue through #118 (Jan., 1981), some 9 1/2 years later. (The occasion for my dropping the book then was Roy Thomas’ exit a few issues earlier; as far as I was concerned, Thomas was Conan’s official biographer, and without him at the series’ helm, it just wasn’t the same.) Read More
“Harlan Ellison Month” (well, “Harlan Ellison Week +1”, anyway) continues here today at “Attack of the 50 Year Old Comic Books”, as we take a look at the second half of a two-issue crossover between Avengers and Hulk, originally published in March, 1971, which the writer of those two Marvel series, Roy Thomas, adapted from a plot synopsis by Mr. Ellison.
I’m not going to provide a summary of the tale’s opening chapter here, mostly because the recap provided on the first three pages of Hulk #140 (which’ll be coming up shortly) will tell you pretty much everything you need to know to be able to follow the rest of the story — and also because you can, at any time, click on this link for the Avengers #88 post if you missed reading it a few days ago, and you really do want all the details. Even so, before we plunge head-first into the comic’s narrative, we need to take a moment to note what Thomas, as scripter, is going to be getting up to in these pages. And to facilitate our doing that, we’re going to quickly flip to the back of the book, to have a look at the letters column. Read More