Superman #240 (July, 1971)

With this issue of DC Comics’ flagship title, the “Sand Superman” saga that writer Denny O’Neil and penciller Curt Swan had initiated with the iconic Superman #233 (“Kryptonite Nevermore!”) moved into its climactic final phase.  In the previous chapter (published in #238, incidentally, as #239 was a giant-sized reprint issue), the Man of Steel had been brought to his lowest ebb yet.  While he’d ultimately managed to save the day in that episode, the victory had been a close one; with his powers still seriously depleted from multiple encounters with his mysterious sandy doppelgänger, our hero mused to himself in the story’s final panel:  “I’m a pretty poor excuse for a Superman these days… and that must change!  I’ll regain my former might — and soon! — or die trying!

Despite these determined words, however, when we turn past Neal Adams’ simple but dramatic cover for #240 to the story’s opening pages, we find that the Man of Tomorrow’s status remains pretty much the same as it was, well, yesterday:  Read More

Lois Lane #111 (July, 1971)

In May, 1971, DC Comics continued to chronicle the ongoing saga of the war between the god-worlds of New Genesis and Apokolips in three new releases:  Mister Miracle #3, Jimmy Olsen #139 — and Lois Lane #111.

True, the progenitor of that cosmic saga, Jack Kirby, neither wrote, nor drew, nor edited the third of the comic books listed above; indeed, he may not even have served as an informal consultant in its production.  Nevertheless, the latest episode in the continuing adventures of “Superman’s Girl Friend” leaned heavily on concepts developed by Kirby for Jimmy Olsen, with a plot centered on an attempt by the minions of Darkseid, Lord of Apokolips, to assassinate Lois’ mighty beau.  And why not?  Whatever else Kirby’s Fourth World was, it was clearly part of DC’s  shared universe, with especially strong ties to Superman’s corner of that fictional world; after all, in his guise of Clark Kent, Superman even had a minion of Darkseid for his boss.  It only made sense, therefore, that the cosmic conflict at the heart of Kirby’s four series (which included Forever People and New Gods in addition to Jimmy Olsen and Mister Miracle) would eventually spill over into the rest of DC’s line — and that any stories resulting from such a spillover would and should “count”, continuity-wise, every bit as much as did the King’s.

At least that’s how my thirteen-year-old self saw the matter, fifty years ago; and since I was then avidly following any and all developments in the Fourth World saga, that was enough to get me to pick up my first issue of Lois Lane in almost five years.  Read More

Superman #238 (June, 1971)

Please –-” begs a kneeling Man of Steel on the cover of Superman #238, “You’re the only one on Earth who can help –”

No!” replies the figure standing before him with arms impassively folded.  “I am not human!  I care nothing for you and your world!”  The figure is Superman’s doppelgänger in every respect — save that it appears to be made completely out of yellow sand.

If all that you knew about early-’70s Superman comics was what you’d previously read on this blog, you’d still be able to tell that quite a bit had happened since the last issue I wrote about, back in November.  In that heralded first installment of “The Amazing New Adventures of Superman”, a scientific experiment gone haywire resulted in an explosion that  temporarily knocked our hero down and out, but then was revealed to have had the welcome, and apparently permanent, effect of turning all kryptonite on Earth into iron.  The first indication that something rather less welcome had also resulted from the blast came thirteen pages into the story, when Superman experienced a moment of weakness as he flew over the spot in Death Valley where he’d fallen during the explosion.  Two pages later, a figure slowly rose from the desert sands of that very spot, and while this “thing” had a marked resemblance to the Man of Tomorrow, it didn’t yet have a face — so you could hardly expect it to speak, as we now see it doing on Carmine Infantino and Murphy Anderson’s dramatic cover for issue #238 (which, incidentally, is the first Superman cover since #230 to be neither pencilled nor inked by Neal Adams.  Now you know.)

So, yeah, a lot happened in the last four issues.  Let’s see if we can get you caught up, shall we? Read More

Jimmy Olsen #138 (June, 1971)

Behind an attention-arresting cover, which — like most others Jack Kirby produced for DC Comics around this time — was built around an imaginative photo collage (and which also, like the cover of the issue of Jimmy Olsen that had immediately preceded it, featured Neal Adams’ inks over Kirby’s pencils), the comics readers of April, 1971 — including your humble blogger — were treated to the thrilling conclusion of the first multi-part storyline (indeed, the first storyline, period) of the massive Fourth World project written, drawn, and edited by Kirby.  Read More

Justice League of America #89 (May, 1971)

As noted in my recent post regarding Gold Key’s Star Trek, I didn’t get to see the TV series on which that comic was based until it hit my local market in syndicated re-runs, around 1970-71.  And since I started consuming licensed Trek tie-in media (what there was of it) almost immediately upon discovering the show, concurrent with my viewing the television episodes for the very first time, my initial encounters with some classic Trek stories ended up being by way of the printed page, rather than the cathode-ray tube.  That’s because the earliest licensed prose fiction based on the property, a series of paperback books written by James Blish and published by Bantam Books, were collections of short stories adapted from the TV episodes themselves.  Read More

Jimmy Olsen #137 (April, 1971)

Taken together, the first six issues of Jack Kirby’s run on Superman’s Pal, Jimmy Olsen — beginning with #133, and continuing on through #138 — comprise one long story, which, for purposes of discussion, can conveniently be broken down into three discrete parts, each two issues long.

In the first part (#133-134), Kirby hits the ground literally racing, introducing such new characters and concepts as the new Newsboy Legion, Inter-Gang, the Wild Area, the Outsiders, Habitat, the Zoomway, the Mountain of Judgment, and the Hairies — oh, and some fellow named Darkseid — without giving Jimmy, his pal the Man of Steel, or us readers, a chance to catch a breath.

Moving into the middle section (#135136), the writer-artist-editor slows things down a bit, as the headlong narrative comes to rest (at least temporarily) at the Project, a secret U.S. government initiative successfully experimenting with human cloning.  In these issues, the majority of scenes function in an expository mode — though that mode is significantly interrupted at one point by violent action, in the form of an attack from the Project’s rival operation, the Evil Factory.

Finally, in the third and final part, the pace ratchets up again, as the Evil Factory unleashes a second, more deadly assault on the Project — one which threatens virtually all of the characters and locales we’ve met in the series to date, including the entire city of Metropolis.  Read More

Teen Titans #32 (Mar.-Apr., 1971)

Back in December, I wrote about the departure of Dick Giordano from his position as an editor at DC Comics.  Giordano’s last day on staff at the publisher appears to have been November 4, 1970 — but, since the processes involved in producing periodical comic books don’t stop (or start) on a dime, the fruits of his stewardship would continue to appear in the titles he’d supervised for another few months, even after he was no longer the editor of record.  The same principle had of course applied at the beginning of his tenure at DC; and thus, just as Giordano’s first issue of Teen Titans (#15, May-Jun., 1968) had featured a story almost certainly procured by his predecessor, George Kashdan, the first issue edited by his successor, Murray Boltinoff, would present a tale that had actually been written and drawn under Giordano’s direction.

Well, mostly written and drawn under Giordano’s direction.  While the story in Teen Titans #32 is solely credited to writer Steve Skeates and artist Nick Cardy, its actual provenance is… rather more complicated. Read More

Jimmy Olsen #136 (March, 1971)

In early 1971, when the subject of today’s post blog first showed up on spinner racks, Jack Kirby had been producing new comic books for DC Comics for almost half a year.  Not only had three issues of Kirby’s debut project, Jimmy Olsen, been released by this time, but so had the premiere issues of his three brand new titles — Forever People, New Gods, and Mister Miracle (the latter actually hitting stands on the very same day as Jimmy Olsen #136, January 14).  He was becoming established (or, more accurately re-established) at the publisher, in other words.  Perhaps that’s the main reason that this fourth Olsen outing, unlike the first three, didn’t feature Kirby’s name anywhere on the cover; after five months, DC may have figured they no longer needed to tell us readers that Kirby Was Here — by now, we must know that, surely.  Read More

Justice League of America #87 (February, 1971)

Some fifteen months ago, I blogged about Avengers #70, which featured the first full appearance of the Squadron Sinister.  Regular readers may recall my sheepish confession in that post that, despite how blindingly obvious it is to me now that these four characters were homages to/parodies of (take your pick) DC Comics’ Superman, Batman, Flash, and Green Lantern, in September, 1969 my then twelve-year-old self didn’t pick up on the joke at all.

Nor was I aware that this comic book was one half of a “stealth crossover” of sorts between Marvel Comics’ Avengers and its counterpart title over at DC, Justice League of AmericaSaid crossover apparently had its origins at a party at which comics writer Mike Friedrich suggested to a couple of his cohorts, Roy Thomas (the writer of Avengers) and Denny O’Neil (then the writer of JLA), that they each present a “tip of the hat” of some sort from the super-team book they were writing to its rival, in issues coming out in the same month.  Thomas and O’Neil both agreed, and Avengers #70 and JLA #75 were the results.  But while the inspiration for Thomas’ Squadron Sinister was all but self-evident (though of course not to me, or to the other fans who chimed in after my September, 2019 blog post that they hadn’t caught on either), the relationship of the supposed Avengers analogues in O’Neil’s story — evil doppelgängers of the Justice League called “the Destructors” — to their Marvel models was obscure to the point of opacity, with the parallels being limited to such bits as having Superman’s dark twin refer to himself as being as powerful as Thor.  (Um, sure.)  I didn’t actually buy JLA #75 when it came out, but I’m all but 100% certain I wouldn’t have realized what O’Neil was up to with such subtle shenanigans, even if I had.  Read More

Flash #203 (February, 1971)

When I originally started buying comic books back in 1965, The Flash was one of the first titles I picked up;  over the next couple of years, it was one of my most regular purchases.  But my interest in the title fell off sharply following the end of Carmine Infantino’s tenure as penciller, and as of December, 1970, I hadn’t bought an issue of the Scarlet Speedster’s own title in over two years.  I still liked the character, and enjoyed reading about him in Justice League of America and elsewhere (I’d especially relished seeing him win his third race with Superman in World’s Finest #199, published just a couple of months previously), but his solo series had lost its appeal for me.

Until Flash #203 hit the spinner rack — and its stunning Neal Adams-Jack Adler cover grabbed me by the eyeballs, not letting me go until after I’d plunked my fifteen cents down on the Tote-Sum counter and taken that bad boy home.  Read More