Avengers #97 (March, 1972)

I’m not sure exactly what my fourteen-year-old self was expecting to see on the cover of Avengers #97 when it first turned up in the spinner rack, back in December, 1971; nevertheless, I’m pretty confident that Gil Kane and Bill Everett’s illustration highlighting Captain America, the original Human Torch, and the Sub-Mariner — plus four other guys I didn’t recognize — wasn’t anywhere near it.  I mean, it was a great image, but aside from Cap, none of those characters were Avengers.  And “Rick Jones Conquers the Universe!”?  OK, that last bit wasn’t so unexpected — it had been pretty clear from the latter scenes of the preceding issue that Rick was going to play an important role in the conclusion of the Kree-Skrull War.  But still — where the heck were the Avengers?   Or the Kree or the Skrulls, for that matter? Read More

Avengers #96 (Feb., 1972)

In November, 1971, the cover of Avengers #96 heralded a new era for the title, as a streamlined new logo created by Gaspar Saladino replaced the one that had graced almost every issue of the Marvel Comics series since its launch back in 1963.  A previous attempt to replace the original logo in 1969 had lasted a mere eight issues; this latter effort obviously proved a great deal more durable, as Saladino’s design, while undergoing multiple modifications over the years, has survived in recognizable form down to the present day.  Read More

Daredevil #84 (February, 1972)

In his 2013 book Marvel Comics: The Untold Story, Sean Howe tells of how young writer Gerry Conway first came to work for the publisher, circa 1970:

Born in Brooklyn, Conway was eight years old when Fantastic Four #1 hit the stands. By the time he was sixteen, he was writing scripts for DC Comics; soon after, he met [associate editor] Roy Thomas, who assigned him a Marvel writers’ test. But [editor Stan] Lee was, as usual, less than impressed with the way another writer handled the characters he shepherded.

 

“He writes really well for a seventeen-year-old kid,” Thomas reasoned.

 

Lee, who himself had first walked into Marvel’s offices at that age, paused. “Well, can’t we get someone who writes really well for a twenty-five-year-old kid?”

The point of the anecdote (at least for Howe) seems to be the irony of Lee’s doubting that someone could be ready to start writing for Marvel at age seventeen, when that’s exactly how old he’d been himself when he’d begun working for his cousin’s husband, Martin Goodman, circa 1940.  But, after some consideration, your humble blogger is of the opinion that Stan the Man may have been on to something.

Maybe Gerry Conway wasn’t quite ready to handle the monthly adventures of Daredevil, Iron Man, Sub-Mariner, et al, fresh out of high school.  Read More

Avengers #95 (January, 1972)

In October, 1971, Avengers #95 brought us what might be the most unusual installment yet in the ongoing epic of the Kree-Skrull War.  From one perspective, concerned primarily with the progress of the war and the Avengers’ role in it, it could quite reasonably be deemed the least consequential chapter in the entire saga.  From a different point of view, however — namely, that of the Inhumans — it might be the most significant of all.

That’s because Roy Thomas and Neal Adams took advantage of the opportunity Avengers offered not only to wrap up the story they’d begun telling in their most recent previous collaboration — the “Inhumans” strip in Amazing Adventures — but also to deepen the Inhumans’ mythos; especially that part of it wrapped up in the personal histories of the two royal brothers, Black Bolt and Maximus, whose animus had been the driver of most of the narratives Marvel Comics had produced concerning that hidden race ever since Stan Lee and Jack Kirby introduced them back in 1965. Read More

Marvel Spotlight #2 (February, 1972)

From the perspective of a half century later, the horror boom in American comics in the early 1970s looks all but inevitable.  The appeal of the classic movie monsters to young audiences had been clear ever since the first syndicated collection of old Universal horror films started showing up on TV sets in the late 1950s, quickly becoming widely popular.  The subsequent success of Warren Publishing’s Famous Monsters of Filmland magazine (originally produced in 1958 as a one-shot publication, but almost immediately converted into an ongoing periodical), can only have reinforced the sense among U.S. comics publishers that there was gold to be mined in those dark, storm-blasted hills of Gothic horror — as must have Warren’s following up FMoF in the next decade with the black-and-white comics magazines Creepy, Eerie, and, as the 1960s drew to a close, Vampirella.  Then there was the mid-to-late Sixties success of Dark Shadows, the daytime television serial that began its broadcast life firmly planted in the genre of Gothic romance, but soon morphed into a much more freewheeling fantasy show, happily recycling the tropes of both classic horror fiction and old monster movies, and bringing vampires, werewolves, zombies, and their ghastly ilk into America’s homes five afternoons a week.  Read More

Avengers #94 (December, 1971)

In crafting the installment of their ongoing “Kree-Skrull War” epic that arrived on stands in September, 1971, the Avengers creative team hadn’t had the luxury (or, if you prefer, the burden) of 34 pages to work with, as they’d had for a single issue with the previous month’s issue #93.  Rather, the first 20-cent edition of the title featured a mere 23 pages of art and story.

Nevertheless, the reduction of space didn’t deter writer Roy Thomas from continuing to break each issue’s episode of the galaxies-spanning saga into multiple chapters — or from giving every chapter its own individual title, each inspired by a well-known work of science fiction.  For #94’s “More Than Inhuman”, the reference was to Theodore Sturgeon’s 1953 novel, More Than HumanRead More

Avengers #93 (November, 1971)

If there’s a single comic book that best exemplifies the potential of the all-new, 48-page format which Marvel Comics rolled out to great fanfare in August, 1971 (or, as we’ve christened it on this blog, Giant-Size Marvel Month), it surely must be the subject of today’s post: Avengers #93, featuring the 34-page story “This Beachhead Earth” — which, in addition to being the mid-point of the extended storyline known as the Kree-Skrull War, was also the first installment of a short but superlative run on the series by the creative team of scripter Roy Thomas, penciller Neal Adams, and inker Tom Palmer.

And if any set of classic comics exemplifies just how contentious two talented creators can become over the issue of who deserves the credit for which aspects of their storied collaboration, it’s the same short Avengers run by Thomas, Adams, and Palmer. Read More

Conan the Barbarian #8 (August, 1971)

Conan the Barbarian #8 was the third consecutive issue of the Marvel Comics series that I bought, and the fourth overall.  But it was the first one that had the map.

By “the map“, I am of course referring to this work of imaginative cartography, familiar to virtually everyone who read Marvel’s Conan comics even occasionally back in the day:

Read More

Sub-Mariner #40 (August, 1971)

In the spring of 1971, roughly four months after he’d crossed over a couple of Marvel superheroes in Iron Man #35 and Daredevil #73, writer Gerry Conway did it again — though this time, the team-up tale started in Daredevil and ended in another title (Sub-Mariner), rather than the other way around.  What was more, Conway even managed to work in a third marquee hero — the biggest star among the three, actually — although that hero’s title, Amazing Spider-Man, wasn’t itself a part of the crossover.  Perhaps oddest of all, after getting the ball rolling in Daredevil, Conway completely dropped the Man Without Fear from his narrative, so that DD’s role in the second half of the crossover was limited to appearing in a single flashback panel.

Whatever the thinking was behind doing things this way, if the intention was to get Marvel fans who weren’t currently consistent buyers of Daredevil and/or Sub-Mariner to pony up for at least one issue of each series, then it worked, at least as far as my thirteen-year-old self was concerned.  Having been a fairly regular purchaser of DD’s book in earlier days (through most of 1968-69, to be more precise), and an occasional sampler of Subby’s title as well, I very likely would have grabbed both comics even if there hadn’t been a third co-star.  But adding Spidey to the mix made it virtually a no-brainer for me — as I suspect it also did for a good number of other fans. Read More

Amazing Adventures #5 (March, 1971)

As I wrote in this space back in May, in 1970 my younger self bought the first two issues of Marvel Comics’ new double-feature title Amazing Adventures upon their release — but then skipped the next two.  Half a century later, I can’t recall what my decision-making process was (and the vagaries of distribution being what they were at the time, it’s entirely possible that I never saw AA #3 and/or #4 on the stands).  But I’d guess that I simply wasn’t all that crazy about what I’d found in #1 and #2.  Even though I liked the Inhumans a whole lot, and was an admirer of Jack Kirby’s art (I was also a fan of his plotting, of course, if only unconsciously, since I didn’t yet comprehend the extent of the King’s creative contributions to his collaborations with Marvel editor/scripter Stan Lee), the two-part tale that inaugurated the Inhumans feature, written as well as drawn by Kirby, didn’t feel like essential work.  At the time he produced these stories, Kirby was on the verge of unleashing a tremendous amount of pent-up creativity with his “Fourth World” project for DC; but, as with a lot of his other material for Marvel at the end of his monumental ’60s tenure at the publisher, his heart didn’t really seem to be in this stuff.

As for the title’s second feature, the Black Widow — she was more of an unknown quantity for me, anyway.  Besides the obvious fact that this was her first solo strip, I had at this point read very few of her earlier appearances in Avengers and elsewhere, and had little to no investment in the character.  Despite the reliably fine draftsmanship of John Buscema on her first two installments (with John Verpoorten inking Buscema’s pencils), I didn’t find enough there to hook me and bring me back.  Read More