Jimmy Olsen #135 (January, 1971)

The month of November, 1970 brought comics readers the third installment of writer-artist Jack Kirby’s run on Superman’s Pal, Jimmy Olsen — a book which also happened to be the third installment of the massive, multi-title, interconnected epic that we’d eventually come to know as Jack Kirby’s Fourth World, though few if any of us who were reading the comics as they came out fifty years ago had more than the vaguest inkling of that fact.

But it hardly mattered, because Kirby was giving us so much to thrill to and wonder at in each issue of Jimmy Olsen on its own, with no need for reference to any larger narrative.  The “King” had come roaring out of the gate with his very first issue, #133, which set Jimmy and his new best friends, the Newsboy Legion, on a mission into the mysterious Wild Area, where they immediately got mixed up with a community of motorcyclists called the Outsiders, who made their home in a “tree city” called Habitat.  The next issue, #134, found Jimmy and company taking their super-vehicle, the Whiz Wagon, out onto a subterranean drag strip called the Zoomway, joining the Outsiders in a quest for the Mountain of Judgement — which turned out to be an enormous, high-tech mobile home, the headquarters of yet another hidden society, the Hairies.  In the issue’s climax, a bomb that had been surreptitiously placed in the Whiz Wagon was discovered and — with the help of Superman, who’d followed Jimmy and his colleagues to the Wild Area — dealt with just in time to prevent the Mountain of Judgement and its inhabitants from being blown to bits.  The issue ended with Jimmy’s new boss, Morgan Edge — the man who’d built the Whiz Wagon for the Newsboys in the first place, and then sent them and Jimmy into the Wild Area — reporting in to his own, secret boss: a forbidding-looking fellow named Darkseid.

Quite a lot to take in for just two issues, wouldn’t you say?  Read More

Phantom Stranger #11 (January, 1971)

In August, 1970, DC Comics retired the logo that had, with minor adjustments, appeared on the cover of their publications since 1949.  (For the record, the red lettering had been added in 1954.)  It was replaced by a new branding approach that basically consisted of the letters “DC”, the comic’s title, and a graphic representing the comic’s subject matter.  That approach gave us a few imaginative and distinctive new logos, such as the eagle-and-shield emblem that graced the Justice League of America’s covers for a couple of years; for the most part, however, the publisher’s books defaulted to a simple formula of “DC” + title + image of the headliner(s), often with some or all of those elements enclosed within a circle.  The end result was that every series seemed to have its own individual (if not necessarily memorable) logo, with even those comics that were part of a larger “family” of titles — such as those starring Superman or Batman — standing on their own, with little sense of a shared identity.

There were a couple of exceptions, however, both of which involved anthology titles that didn’t have continuing characters who starred in every issue — specifically, DC’s romance and mystery comics.  Read More

The Brave and the Bold #76 (Feb.-March, 1968)

When I picked up this issue of Brave and the Bold fifty years ago (give or take a couple of weeks), Batman’s co-star in the book, Plastic Man, had been around for over twenty-six years — almost as long as the Caped Crusader himself.  But he’d only been a DC Comics hero for a little over one year — which is about as long as my ten-year-old self had been aware of him.  Read More