Captain America #176 (August, 1974)

In his 2016 introduction to Marvel Masterworks — Captain America, Vol. 9, Steve Englehart refers to the cover John Romita produced for the subject of today’s post as “iconic”.  That’s become a rather overused word in today’s culture, I grant you; all the same, I find it hard to disagree with him.  For this grizzled old fan, it’s virtually impossible to think about this particular era of Captain America comics without the image shown above leaping immediately to mind — and that’s close enough to iconic for the word to fit, at least in my book.  Read More

Savage Tales #4 (May, 1974)

As we previously discussed in our post about Savage Tales #3 last October, back in the fall of 1973 it seemed that Marvel’s one-and-only sword-and-sorcery-centric black-and-white comics magazine was about to be cancelled — for the second time.  The first incarnation of Savage Tales had seen but one issue published in January, 1971 before Marvel’s then-publisher Martin Goodman pulled the plug; then, the second iteration, launched in June, 1972 following Goodman’s departure from the company he’d founded, had come under the scrutiny of an auditor for the conglomerate (Cadence Industries) that now owned Marvel.  According to a rather downbeat editorial by Roy Thomas that ran in ST #3, a go-ahead for producing further issues wouldn’t be given until sales numbers had been received for the relaunch; and if you read between the lines, the signs didn’t seem very encouraging. Read More

Captain America #174 (June, 1974)

When we last saw Captain America and the Falcon, near the end of last month’s post about CA #173, our heroes had seemingly been successful in their subterfuge against the sinister Secret Empire — the clandestine organization behind both Cap’s recent woes (which include first having his reputation smeared by an ad campaign, then being framed for murder) and the mysterious disappearance of multiple mutants, including several members of Cap and Falc’s newfound allies, the X-Men.  We rejoin them here on page one of issue #174, as they make their descent into the proverbial belly of the beast…  Read More

Captain America #173 (May, 1974)

In February, 1974, the X-Men hadn’t appeared in a new story in their own title in over four years — but while gone, they were hardly forgotten.  (Actually, they weren’t even gone, since their book had been resurrected as a reprint title by Marvel’s then-publisher, Martin Goodman, eight months after he’d cancelled the series with issue #66.  But you know what I mean.)  That’s because a number of people working for Marvel just plain liked the characters, regardless of their allegedly limited commercial viability; and, as writer Steve Englehart puts it in his 2009 preface to Marvel Masterworks — The X-Men, Vol. 8, “the Marvel Universe was a coherent entity, so the X-Men continued to exist in it even if they had no comic to call their own.”  Read More

Captain America #172 (April, 1974)

The ostensible main topic of today’s post, Captain America #172, is the first issue of the series in which writer Steve Englehart and artist Sal Buscema’s “Secret Empire” saga has the center stage completely to itself.  But the storyline may be said to have properly started three issues before this, in #169; and its earliest seeds show up a full six issues before that, in #163.  Read More

Daredevil #105 (November, 1973)

In summer,1973, my younger self was still pretty isolated as a comic-book reader.  Good, lasting face-to-face friendships with fellow enthusiasts were on the horizon, but had not yet arrived, and I wasn’t reading fanzines.  Therefore, I generally picked up on hot new titles — or on newly hot streaks on older titles — via the publishers’ own marketing efforts, or by reader buzz in the letters columns… or by sheer happenstance.

So how did t I finally catch on to what artist-plotter Jim Starlin was up to in Captain Marvel, some five issues and eight months into his soon-to-be-classic run?  As best as I can tell, it was due mostly to the latter of those three options — more specifically, via a very unlikely tie-in with, of all things, DaredevilRead More

Captain America #164 (August, 1973)

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

Amazing Spider-Man #122 (July, 1973)

Like its immediate predecessor, the 122nd issue of Amazing Spider-Man leads off with a cover by John Romita, which, if not quite as iconic as that of #121, is still an exceptionally arresting image.  Not to mention one which, back in April, 1973, would likely have shocked the hell out of any semi-regular reader of the web-slinger’s series who had somehow managed to miss not only that most monumental of issues, but also any fannish discussion of same over the several weeks since its release on March 13th.

If there were any such readers fifty years ago, and if they hoped for some sort of recap to bring them up to speed on the details of how so something so unthinkable as the murder of Spider-Man’s beloved Gwen Stacy had come to pass, they were pretty much out of luck — because the creative team behind both the previous episode and this one — i.e., scripter Gerry Conway, penciller Gil Kane, foreground inker John Romita (who may have also contributed to the plot) and background inker Tony Mortellaro — weren’t about to break their storyline’s headlong momentum with any more exposition than was minimally required, let alone any flashbacks:  Read More

Sub-Mariner #62 (June, 1973)

In our post last October regarding Sub-Mariner #57, we discussed how Subby’s creator Bill Everett, who’d returned to write and draw the series in 1972 with issue #50, began to have trouble keeping up with the book’s monthly schedule due to chronic health issues; this situation eventually led to occasional fill-ins by other creators, as well as to ongoing help for Everett on both the writing and artistic ends of things.

During this period, the continuing uncertainty over Everett’s status month-to-month was evidenced in the title’s letters pages, where the anonymous Marvel Bullpener(s) responsible for answering reader correspondence would be telling fans in one issue (#55) that Everett probably wouldn’t be handling every story going forward, as “getting back into the swing of a monthly deadline is harder than you might imagine”; then, a few months later (in issue #58), explaining that “due to deadline problems, Bill will now be doing final art over the layouts of Irv Wesley [i.e., Sam Kweskin, who occasionally used the Wesley pen name], while Steve Gerber, working closely with the ebullient Mr. Everett, who will continue to plot the yarns, handles the scripting chores”; and then, finally, acknowledging (in #59) that “Bouncin’ Bill Everett has, indeed, moved on to other projects for Mighty Marvel (the monthly deadline on Subby’s book, sadly, proved too much for the compulsively conscientious Mr. Everett to handle)”.  Read More