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 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

Tomb of Dracula #7 (March, 1973)

Calendar-specific note for anyone reading this blog post on or soon after its original date of publication:  No, your humble blogger hasn’t gotten his holidays mixed up.  But I’m at the mercy not only of what comics were published a half century ago this month, but also of which comics my younger self actually bought… and my December, 1972 haul was decidedly light on seasonally appropriate fare.  On the other hand, Tomb of Dracula #7 does at least have snow in it, so maybe that counts for something.  And now, on to our regularly scheduled fifty year old comic book…

In December, 1972, a little over a year since its debut, Marvel Comics’ Tomb of Dracula had seen six issues delivered to stands — a run of stories which, despite having been drawn by a single artist, had been written by three different authors (five, if you count plotting contributions made to the first issue by Stan Lee and Roy Thomas).  That sort of creative churn generally didn’t bode well for the long-term health of an ongoing series; but for ToD, the fourth attempt at finding a regular writer for the book would prove to be the charm, as Marv Wolfman came on board with issue #7 — and then remained at the helm for the next sixty-three issues, or (to put it another way) the next six-and-a-half years.  Read More

Justice League of America #103 (December, 1972)

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 the Phantom 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

Thor #207 (January, 1973)

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

Thor #203 (September, 1972)

Three weeks ago, I promised the readers of this blog that we’d be covering the beginning of Marvel Comics’ “Phase Two” era in today’s post.  And we will definitely be doing that, before we’re done for the day — though, first, we still have some “Phase One” business to finish up with; namely, the conclusion of the Blackworld/Ego-Prime storyline that had been running in Thor (though only as a secondary plot to the series’ main action) ever since issue #195, which had come out in October, 1971.  Read More