Panel from Avengers #112 (Jun., 1973). Text by Steve Englehart; art by Don Heck and Frank Bolle.
As we covered in last month’s blog post about Avengers #113, writer Steve Englehart had introduced a mystery in the previous issue, #112, by briefly bringing onstage a brand-new character, Mantis, and her unnamed, only-seen-in-shadow companion. About all we were told about the latter character, in either his first or his second blink-and-you’ll-miss-it appearance (in #113) was that he had a prior association with the series’ titular super-team, and that he had strong, less-than-positive opinions about a recently departed Avenger, Hawkeye. Not a whole lot to go on, at least in the opinion of my fifteen-year-old self… though, to be honest, I probably didn’t give the matter a whole lot of thought at the time. After all, there were plenty of other comic books to be read back in the spring of 1973, and a caption in #113 had promised us that the next issue would bring a solution to the puzzle of this mystery man’s identity. So, I was content to wait to see what May would bring us.
As it turned out, when Avengers #114 was released, I wouldn’t even have to pull the issue all the way up out of the spinner rack to discover the answer to the two-month-old mystery, as the cover (probably by John Romita) prominently featured both Mantis and her shadowy beau — so much so, in fact, that the tops of the couple’s heads obscured some of the lower real estate of the book’s logo. And if I had had a moment’s confusion in trying to place the purple-costumed, mustachioed gent dominating the cover’s left half (which I’m pretty sure I didn’t), the story title blurb at the bottom would have clued me in by the time I got the comic all the way out of the aforementioned spinner rack, by letting me know that Mantis’ mysterious amour was none other than… the Swordsman! Read More
Fifty years ago, John Romita’s cover for the topic of today’s blog post promised a certain degree of novelty; not only did it nod to the then-hot horror genre via presenting the superheroic Falcon as a werewolf, but it also heralded the debut of a new supervillain — and a Black female one at that. (Nightshade may not have been the first such character to appear in American comics, but her particular race-gender combo made her stand out in this era, nevertheless… actually, as far as your humble blogger can tell, it still does.)
But we readers of May, 1973 couldn’t guess the full scope of the novelty awaiting us until we turned to this issue’s first page: Read More
For artist Frank Brunner and Marvel Comics’ Doctor Strange, the third time around would prove to be the proverbial charm.
As we’ve covered in previous posts, Brunner first brush with the Dr. Strange feature came with Marvel Premiere #4, for which he supplied finishes to pencilled art (mostly just layouts) by Barry Windsor-Smith. He returned four months later with Marvel Premiere #6, where his complete pencils were inked by Sal Buscema. But unhappy with writer Gardner Fox’s scripts, as well as with the overall H.P. Lovecraft-by-way-of-Robert E. Howard “cosmic horror” direction of the series (a direction we should note had been inaugurated by plotter-editor Roy Thomas in issue #4, and then continued by Fox), the young artist left again after only a single issue. Read More
It’s been some seven months since the blog last checked in with Captain America. As regular readers may recall, at that time we took a look at the storyline that kicked off new writer Steve Englehart’s tenure on the title — a four-issue saga in which our star-spangled Avenger (aka Steve Rogers) learned that during the post-World War II era, while he himself had been frozen in ice, he’d been replaced by another Captain America — the “Commie-busting” Cap whose adventures Atlas (aka Marvel) Comics had published for a few years in the 1950s. That iteration of the hero, along with his partner Bucky, had ultimately gone insane, becoming an avatar of bigotry — and a menace to society whom the real Captain America, along with his partner, the Falcon, and girlfriend, sometime S.H.I.E.L.D. agent Sharon Carter, had to take down before he could permanently damage Cap’s reputation… and a whole lot else, besides. Read More
It’s been a while — sixteen months, to be precise — since this blog checked in with Marvel Comics’ Man Without Fear. Granted, our last Daredevil-themed post was something of a marathon, seeing as how it attempted to cover writer Gerry Conway’s entire “Mister Kline” saga — a complicated (and ultimately unsuccessful) continuity that encompassed not only a whopping eight issues of DD’s own series, but also five installments of Iron Man, and even one random Sub-Mariner — in a single go. It was a long post, in other words; one in which no one could seriously claim we hadn’t given Matt Murdock and his alter ego a lot of quality time. Still — it has been a while. So, before we get on with the business of marking the milestone of ol’ Hornhead’s first hundred issues, we have some catching up to do in regards to what our Scarlet Swashbuckler been up to for the last 1 1/3 years. Read More
In March, 1972, Marvel Comics published the first issue of Hero for Hire. The new comic’s titular star, Luke Cage, wasn’t Marvel’s first Black superhero (that distinction belonged to the Black Panther, who debuted in 1966), or even its first Black American superhero (that would be the Falcon, whose first appearance came in 1969). But he was the first Black superhero to star in his very own comics title — not just from Marvel, but from any major American company — and that made the release of Hero for Hire #1 a milestone.
According to Roy Thomas, the initiative to create Luke Cage came from Stan Lee, who was then on the verge of ascending from his longtime role as Marvel’s editor-in-chief to become its publisher — and who was determined to diversify Marvel’s line on a number of levels, one of which was race. Taking obvious inspiration from the “blaxpoitation” trend in early 1970s American cinema, Lee and Thomas worked with writer Archie Goodwin and artist John Romita to conceptualize and design the new hero, before bringing two more artists on board — George Tuska and Billy Graham. (the latter being the only Black person among this assortment of talents) — to craft the first issue’s story with Goodwin. Read More
Behind an attention-grabbing cover pencilled by John Buscema from a rough layout by Jim Starlin (and inked by Frank Giacoia), the Defenders creative team of writer Steve Englehart, penciller Sal Buscema, and inker Frank McLaughlin began this latest installment of the super-team’s continuing adventures right where the previous one had left off.
It wasn’t exactly what you’d call a happy scene… Read More
I may be misremembering, but I have a vague recollection of my fifteen-year-old self looking at this one at the spinner rack back in October, 1972 and thinking, “The Justice League standing around a grave site? Again?” After all, it had only been three issues since artist Nick Cardy had built his cover for JLA #100 around a similar idea. On the other hand, it was October — the spooky season — and what could be spookier than an open grave? Especially when said grave was being ominously loomed over by… hey, is that thePhantom Stranger? In an issue of Justice League of America? Forget about repetitive cover concepts; I couldn’t wait to buy this one and take it home. Read More
In our last post we discussed Amazing Adventures #16, one of three comics published in October, 1972 in which a trio of young comic-book writers staged an unofficial crossover between Marvel and DC Comics, set at the annual Halloween Parade in Rutland, Vermont, and featuring themselves as characters, without telling their bosses they were doing so. In this post, we’ll be taking a look at another of those comics: Thor #207, which, behind its dynamic cover by Gil Kane and Joe Sinnott, features a script by Gerry Conway and art by John Buscema, Vince Colletta… as well as Marie Severin, whose mysterious credit for “good works” covers her renderings of the story’s likenesses of Conway, Steve Englehart, Len Wein, and Glynis Oliver (who, as it happens, also served as the story’s colorist, under her then-married name of Glynis Wein). Read More