Any of you out there who aren’t already familiar with this particular comic book may be taking a look at its John Buscema-Joe Sinnott cover right now and thinking, “Nice, but what’s so special about Ka-Zar rasslin’ a big alligator, even underwater, that Astonishing Tales #12 should rate its own blog post?” The fact of the matter, however, is that this issue (along with its immediate follow-up, Astonishing Tales #13) represents a significant chapter in the histories of not one, but two, semi-major Marvel Comics characters — neither one of whom happens to be the self-styled Lord of the Savage Land. Read More
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
When we last left the Forever People, at the conclusion of their fourth issue back in June, our young heroes were in desperate straits. Having been captured by Glorious Godfrey and his Justifiers in #3, they had then been handed over to the not-so-tender mercies of Desaad, who’d imprisoned them in his own private “kingdom of the damned” — essentially a torture camp, though presenting itself to the outside world as an innocent amusement park called “Happyland”. The young gods’ sole hope seemed to lie with their living, sentient computer, Mother Box — and with the stranger into whose care Mother Box had teleported herself: a young man named Sonny Sumo. 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
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
As regular readers of this blog may recall, I started picking up the Roy Thomas-Neal Adams-Tom Palmer run of X-Men with the second issue, #57, in which the book’s new creative team began their “Sentinels” storyline. I managed to score the next issue as well, and so was on hand for the debut of Alex Summers’ costumed identity, Havok — but then, the following month, I missed issue #59, and thus didn’t get to read the end of that storyline. Read More
I first made the acquaintance of Marvel Comics’ X-Men in April, 1968 — one year prior to the publication of the subject of today’s post. — when they made a guest appearance in Avengers #53. That particular issue turned out to be the last chapter of a crossover story that had begun in the mutant team’s own book; and even though I now knew how everything would turn out, I was still curious enough about the characters and situations to go back and pick up the preceding chapter in that same month’s issue of X-Men (and even to buy the issue before that, when the opportunity presented itself). But though I enjoyed those two comics well enough, I wasn’t taken enough with either of them to keep following the series. As I wrote in my X-Men #45 post last year, that may have been partly due to the somewhat atypical circumstances surrounding the book at the time I sampled it. Marvel had then just recently decided to start downplaying the team concept in the series’ cover designs, in favor of spotlighting the individual members (or, in a few cases, major story events); a decision that was soon mirrored in the stories themselves, as the team actually broke up in the issue immediately following the Avengers crossover, #46. In addition, I was almost certainly influenced in my decision to pass on X-Men (at least for the time being), by my lack of enthusiasm for the competent but underwhelming art that then filled the title’s pages, by the likes of Don Heck and Werner Roth.
Apparently, I wasn’t alone in my general attitude of indifference to Marvel’s Merry Mutants, as, by virtually all accounts, the title was the publisher’s worst selling at the time — if not yet right on the edge of cancellation, then still uncomfortably close to it. Which is why, when Neal Adams — the hottest young artist at Marvel’s main competitor, DC Comics — came to Marvel expressing an interest in doing some work for them, and editor-in-chief Stan Lee gave him his choice of assignments… Adams chose to work on X-Men. Read More
As I’ve related in previous posts, I was a little slow in warming up to Doctor Strange. Marvel Comics finally got me in late 1968, however, through the double-barrelled approach of first giving him a visual makeover, and then guest-starring him in The Avengers. Those moves caught my interest — which, according to what Roy Thomas (a Marvel associate editor at the time, not to mention the writer of both Doctor Strange and Avengers) would state decades later in his introduction to Marvel Masterworks – Doctor Strange, Vol. 3, was precisely what the publisher had hoped they’d do.
But the next issue of Doctor Strange to hit the stands after Avengers #61 was a reprint, featuring the good Doctor’s “old look” — though, since it was a reprint of a classic tale by Steve Ditko and Stan Lee that co-starred Spider-Man, and which was 100 % new to me, I didn’t really have much to complain about. Still, I was happy to see Doctor Strange #180, the “real” follow-up to Avengers #61, when it finally arrived in early February, 1969. Read More
Regular readers of this blog will have heard me say this before, but it bears repeating — sometimes, I just have no idea why my younger self chose to buy a particular comic book fifty years ago.
That’s certainly the case with the subject of today’s post. After passing Captain Marvel by on the stands for almost a year, in January, 1969 I decided to gamble twelve cents on the series’ twelfth issue. How come?
Was it the cover, by John Romita and Sal Buscema (or maybe George Tuska and Buscema — the usual reference sources differ)? I suppose it could be. It’s not a particularly distinguished composition (at least, not to my present-day, 61-year-old eyes), but it’s not what I’d call bad — and those bright, contrasting colors really do pop. So, maybe.
Perhaps it was the result of a long-simmering curiosity about the character that had been sparked by my reading of the “Captain Marvin” parody in the ninth issue of Marvel’s Not Brand Echh series, back in May of ’68. That piece, produced by the “real” Captain Marvel’s onetime writer and penciller (Roy Thomas and Gene Colan, respectively) had served as a sort of primer on the origin, powers, and modus operandi of “Marvel’s Space-Born Super-Hero!™” — though one read through a cracked glass, as it were. It had also been pretty funny to my then ten-year-old sensibilities, even if Thomas’ gags referencing the original Captain Marvel had gone right over my head. So, maybe I recalled this story when I saw Captain Marvel #12 on the spinner rack, and decided to give the “real thing” a try. Read More
Fifty years ago, the decision to spend twenty-five cents on the comic book that’s the subject of today’s post was pretty much a no-brainer for my eleven-year-old self. I had already bought and read that month’s regular monthly issue of Avengers, which I had enjoyed a great deal — and while that issue’s main plotline was mostly resolved by the story’s last page, there were some tantalizing loose ends left hanging, that a caption in the last panel assured readers would be tied up in the title’s “1968 Special — now on sale!”
But even if that hadn’t been the case, I expect I would have snatched up Avengers Annual #2 simply based on its spectacular John Buscema – Frank Giacoia cover. “The New Avengers vs. the Old Avengers!” Two superhero teams for the price of one (even if it did look like a couple of the heroes were doing double duty on both teams). How could I pass up a deal like that? Read More