During the nearly yearlong period (June, 1971 through April, 1972) that DC Comics published most of their books in a giant-sized, 25-cent format, Justice League of America presented a particular sort of challenge for its editor, Julius Schwartz. The problem arose from the fact that the new, larger format called for a certain amount of reprint material — generally, 13 to 15 pages’ worth — to fill out each issue. And whereas for Schwartz’s other books, such as Batman, Flash, Green Lantern, and Superman, there was a ready archive of suitable old stories featuring the titular stars, the same wasn’t true for JLA, which from the beginning had been devoted to issue-length tales of more than 20 pages. Such stories weren’t going to work as backups in the new format without being either cut in half or severely abridged, neither of which options seems to have appealed to the veteran editor. Read More
As the year 1972 began, Jack Kirby had only two issues left to go in his Jimmy Olsen run. According to Mark Evanier (one of Kirby’s two assistants at the time), the writer-artist-editor hadn’t been enjoying the assignment all that much, and it’s probably safe to assume that he wasn’t sorry to see the end of it. Nevertheless, before making his exit from the “Superman family” of DC Comics titles, Kirby would take the opportunity to deliver on an implicit promise regarding the Man of Steel which he’d made his readers at the end of Forever People #1, published a little over a year previously… Read More
In considering the last third of Jack Kirby’s run on Jimmy Olsen — a run of five issues beginning with #144 that starts out pretty well, but finishes up rather anticlimactically, with a number of tantalizing plot threads left simply dangling — it’s probably worth remembering that Kirby was never all that excited about chronicling the adventures of “Superman’s Pal” in the first place.
In a 2011 blog post concerning JO #144, Mark Evanier (one of Kirby’s two assistants in 1971) wrote:
Jack didn’t much like working on Jimmy Olsen. It was someone else’s character, someone’s else’s book…and when you worked on the “Superman family” comics then, you had to coordinate with a half-dozen other editors who also had Superman (and sometimes Jimmy) in their comics… Many at DC hated the way Jack drew Superman and Olsen and his renderings of those characters were being redrawn by others… and Kirby was just sick of the assignment.
With this post, we continue our coverage of Lois Lane‘s forays into Jack Kirby’s Fourth World, courtesy of editor E. Nelson Bridwell, scripter Robert Kanigher, penciller Werner Roth, (primary) inker Vince Colletta, and uncredited Superman/Clark Kent head-finisher Murphy Anderson. As you may recall, the intermittent usage of Kirby’s concepts and characters in the title had begun in #111, then resumed in #115 before continuing into #116. Read More
Regular readers of this blog may have noticed, and perhaps even wondered at, the absence of Jimmy Olsen in recent months. After all, beginning with the advent of Jack Kirby as writer-artist of the adventures of Superman’s freckle-faced pal with JO #133, we’ve devoted an entire post to each and every issue of the series, sans one (that one being #139, featuring the first half of the “Goody Rickels” two-part storyline) — or at least we had done so, up through #141 (the second half of said two-parter). Since July, however, there’s been no sign of the red-headed reporter for the Daily Planet around these parts. So, well might you wonder: what’s up with that? Read More
A little less than half a century ago, in the letters column of Lois Lane #119 (Feb., 1972), reader Karl Morris of San Diego, CA commented favorably on the title’s recent use of elements from Jack Kirby’s Fourth World mythos, but expressed concern that writer Robert Kanigher might be treading on dangerous ground: “Unless he keeps a very close check on Jolting Jack, Rapid Robert might find himself out of sync with Kirby’s Fourth World. (Though God only knows how anyone keeps up with it!)”
Not to worry, responded LL‘s editor, E. Nelson Bridwell: “…the way we keep up with the Kirby epic is that yours truly proofreads all his mags when the artwork comes in from California, where Jarring Jack lives.” From there, Bridwell segued into a plug for the then-current issue of New Gods (#7) which, though obviously well-intentioned, arguably gave away more of that comic’s monumental Big Reveal than Kirby, or most of his readers, might have wished. But, hey, water under under the bridge; and besides, that’s not why we’re bringing all this up. Read More
A half century ago, when your humble blogger picked the object of today’s post up out of the spinner rack and eyeballed the cover for the first time, I was awfully curious as to who — or what — that wraithlike, red-tinged figure descending into Aquaman’s body might turn out to be. At the same time, I wasn’t the least bit curious about the identity of the cover’s artist — since, with the exception of the usual left-hand column’s worth of floating JLA heads rendered by Murphy Anderson, the cover was the obvious work of Neal Adams. And as Adams had either pencilled, inked or provided complete art for more Justice League of America covers than any other artist in the three years since his very first (for issue #66 [Nov., 1968] ), that was no surprise at all.
But interior art by Adams in an issue of JLA? That was unexpected; nevertheless, on turning past the cover to the book’s opening splash, that’s exactly what my fourteen-year-old self beheld: Read More
July, 1971 brought DC Comics fans the second half of the year’s Justice League-Justice Society team-up (the ninth such event since the institution of the annual summer tradition in 1963). Like the first half, it was produced by the regular JLA creative team of Mike Friedrich (writer), Dick Dillin (penciller), and Joe Giella (inker). And, as you might expect, it began with a recap — though in this case, a bit more time and space were spent recapping the basic concept of the inter-dimensional assemblage of superheroes than the specific events of the story’s opening chapter: Read More
With this issue of Superman, the story arc begun eight months earlier in the iconic #233 (“Kryptonite Nevermore!”) came to a close — and the revamp of the Man of Steel inaugurated in that issue by writer Denny O’Neil and editor Julius Schwartz was at last complete. But before we dive into issue #242’s “The Ultimate Battle!”, written by O’Neil and illustrated by his usual artistic collaborators, Curt Swan (penciller) and Murphy Anderson (inker), we’ll need to back up one month to take a look at issue #241’s “The Shape of Fear!”, by the same creative team — which not only leads right into #242’s concluding chapter of the “Sand-Superman saga”, but also follows directly from the previous chapter in issue #240 — which, of course, also happens to be the last issue we posted about on this blog.
As you may recall, that installment had ended with a moment of great personal triumph for Superman, who, though his powers had been thoroughly leeched from him by his mysterious sandy duplicate, had yet managed to save both himself and I-Ching (the mentor of Diana Prince, as seen regularly in Wonder Woman) from a vicious attack by the Anti-Superman Gang. But as we’ll soon see, the note of optimism with which that chapter ended is about to turn decidedly sour… Read More
Why Don Rickles?
That was the question I had, back in the spring and summer of 1971, as Jack Kirby devoted not just one, but two issues of Jimmy Olsen — the first two following the conclusion of his initial story arc for the series, a six-chapter saga that he’d begun in his very first issue — to a tale focused on the famous insult comic.
It’s not that my fourteen-year-old self had anything against Don Rickles; I actually thought the guy was pretty funny. But that didn’t necessarily mean that I wanted to see him — or any comedian, really — in my superhero comics. I certainly didn’t expect it, in any event. Read More