Back Issue #45 by TwoMorrows Publishing

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ENGLEHART’S JLA DAREDEVIL & BLACK WIDOW POWER MAN & IRON FIST CLOAK & DAGGER & MORE

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THE RETRO COMICS EXPERIENCE!

Edited by MICHAEL EURY, BACK ISSUE magazine celebrates comic books of the 1970s, 1980s, and today through recurring (and rotating) departments like “Pro2Pro” (dialogue between professionals), “BackStage Pass” (behind-the-scenes of comicsbased media), “Greatest Stories Never Told” (spotlighting unrealized comics series or stories), and more!

Go to www.twomorrows.com for other issues, and an ULTIMATE BUNDLE, with all the issues at HALF-PRICE!

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“Mutants” issue! CLAREMONT, BYRNE, SMITH, and ROMITA, JR.’s X-Men work, NOCENTI and ARTHUR ADAMS’ Longshot, McLEOD and SIENKIEWICZ’s New Mutants, the UK’s CAPTAIN BRITAIN series, lost Angel stories, Beast’s tenure with the Avengers, the return of the original X-Men in X-Factor, the revelation of Nightcrawler’s “original” father, a history of DC’s mutant, Captain Comet, and more! Cover by DAVE COCKRUM!

“Saturday Morning Heroes!” Interviews with TV Captain Marvels JACKSON BOSTWICK and JOHN DAVEY, MAGGIN and SAVIUK’s lost Superman/”Captain Thunder” sequel, Space Ghost interviews with GARY OWENS and STEVE RUDE, MARV WOLFMAN guest editorial, Super Friends, unproduced fourth wave Super Powers action figures, Astro Boy, ADAM HUGHES tribute to DAVE STEVENS, and a new cover by ALEX ROSS!

“STEVE GERBER Salute!” In-depth look at his Howard the Duck, Man-Thing, Omega the Unknown, Defenders, Metal Men, Mister Miracle, Thundarr the Barbarian, and more! Plus: Creators pay tribute to Steve Gerber, featuring art by and commentary from BRUNNER, BUCKLER, COLAN, GOLDEN, STAN LEE, LEVITZ, MAYERIK, MOONEY, PLOOG, SIMONSON, and others. Cover painting by FRANK BRUNNER!

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“Tech, Data, and Hardware!” The Official Handbook of the Marvel Universe, WEIN, WOLFMAN, and GREENBERGER on DC’s Who’s Who, SAVIUK, STATON, and VAN SCIVER on Drawing Green Lantern, ED HANNIGAN Art Gallery, history of Rom: Spaceknight, story of BILL MANTLO, Dial H for Hero, Richie Rich’s Inventions, and a Spider-Mobile schematic cover by ELIOT BROWN and DUSTY ABELL!

“Teen Heroes!” Teen Titans in the 1970s & 1980s, with CARDY, GARCÍA-LÓPEZ, PÉREZ, TUSKA, and WOLFMAN, BARON and GUICE on the Flash, interviews with TV Billy Batson MICHAEL GRAY and writer STEVE SKEATES, NICIEZA and BAGLEY’s New Warriors, Legion of Super-Heroes 1970s art gallery, James Bond Jr., and… the Archies! New Teen Titans cover by GEORGE PÉREZ and colored by GENE HA!

“New World Order!” Adam Warlock examined with JIM STARLIN and ROY THOMAS, the history of Miracleman with ALAN DAVIS & GARRY LEACH, JIM SHOOTER interview, Marvel’s post-STAN LEE editors-in-chief on New Universe, Logan’s Run, Star Hunters, BOB WIACEK on Star Wars and Star-Lord, DICK GIORDANO revisits Crisis on Infinite Earths and “The Post-Crisis DC Universe You Didn’t See,” new cover by JIM STARLIN!

“Villains!” MIKE ZECK and J.M. DeMATTEIS discuss “Kraven’s Last Hunt”, history of the Hobgoblin is exposed, the Joker’s short-lived series, Secret Society of Super-Villains and Kobra, a Magneto biography, Luthor and Brainiac’s malevolent makeovers, interview with Secret Society artist MIKE VOSBURG, plus contributions from BYRNE, CONWAY, FRENZ, NOVICK, ROMITA JR., STERN, WOLFMAN, and a cover by MIKE ZECK!

“Monsters!” Frankenstein in Comics timeline and a look at BERNIE WRIGHTSON’s and Marvel’s versions, histories of Vampirella and Morbius, ISABELLA and AYERS discuss It the Living Colossus, REDONDO’s Swamp Thing, Man-Bat, monster art gallery, interview with TONY DeZUNIGA, art and commentary from ARTHUR ADAMS, COLÓN, KALUTA, NEBRES, PLOOG, SUTTON, VEITCH, and a painted cover by EARL NOREM!

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“Comics Go to War!” KUBERT/KANIGHER’s Sgt. Rock, EVANIER and SPIEGLE’s Blackhawk, GEORGE PRATT’s Enemy Ace, plus Unknown Soldier, Wonder Woman’s return to WWII, the Invaders, Combat Kelly, Vietnam Journal, Sad Sack, the Joe Kubert School, art and commentary from AYERS, HEATH, KIRBY, ROBBINS, ROMITA SR., SINNOTT, and the return of GERRY TALAOC! JOE KUBERT cover!

“Family!” JOHN BYRNE’s Fantastic Four, SIMONSON, BRIGMAN, and BOGDANOVE on Power Pack, LEVITZ and STATON on the Huntress, Henry Pym’s “son” Ultron, Wonder Twins, Commissioner Gordon & Batgirl’s relationship, and Return of the New Gods. With art and commentary from BUCKLER, BUSIEK, FRADON, HECK, INFANTINO, NEWTON, and WOLFMAN, and a Norman Rockwell-inspired BYRNE cover!

“April Fools”! GIFFEN and LOREN FLEMING on Ambush Bug, BYRNE’s She-Hulk, interviews with HEMBECK, ALAN KUPPERBERG, Flaming Carrot’s BOB BURDEN, and DAVID CHELSEA, Spider-Ham, Forbush-Man, Reid Fleming, MAD in the 1970s, art and commentary from DICK DeBARTOLO, TOM DeFALCO, AL FELDSTEIN, AL JAFFEE, STAN LEE, DAVE SIM, and a Spider-Ham cover by MIKE WIERINGO, inked by KARL KESEL!

(NOW 8x/YEAR, WITH 16 COLOR PAGES!) “Cat People!” Catwoman, Black Cat, Hellcat, Vixen, Atlas’ Tiger-Man and Cougar, White Tiger and the Sons of the Tiger, Wildcat, Thundercats, Josie and the Pussycats, and the Badger! With art and commentary from BOLLAND, BRENNERT, COLON, CONWAY, DITKO, GOLDBERG, LEVITZ, MILGROM, MST3000’s MIKE NELSON, and more. Cover by JOE STATON and FREDDY LOPEZ, JR.!

(NOW 8x/YEAR, WITH 16 COLOR PAGES!) “Red, White, and Blue” issue! Captain America and the Red Skull, CHAYKIN’s American Flagg, THOMAS and COLAN’s Wonder Woman, Freedom Fighters, and Team America! With art and commentary from JOHN BYRNE, STEVE ENGLEHART, ROGER STERN, CURT SWAN, MARK WAID, LEN WEIN, MIKE ZECK, and more. Cover by HOWARD CHAYKIN!

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Volume 1, Number 45 December 2010 Celebrating the Best Comics of the '70s, '80s, and Beyond!

The Retro Comics Experience!

EDITOR Michael Eury PUBLISHER John Morrow DESIGNER Rich J. Fowlks COVER ARTIST Neal Adams COVER DESIGNER Michael Kronenberg PROOFREADERS John Morrow and Eric Nolen-Weathington SPECIAL THANKS Jason Adams Anthony Snyder Neal Adams Patrick Starnes Terry Austin Roy Thomas Kurt Busiek Felix Unger Timothy Callahan Trevor von Eeden Lex Carson Karen Walker Gerry Conway John Wells DC Comics Matthew West Jo Duffy Wikimedia Steve Englehart Commons Martin Grams, Jr. Marv Wolfman Grand Comic-Book David Yurkovich Database Paul Greer Craig Hamilton Ed Hannigan Heritage Auction Galleries Tony Isabella Alex Johnson Michael Kronenberg Library of Congress Michael Lovitz Oscar Madison Michael Mantlo Michigan State University Library Dennis O’Neil John Schwirian Jason Shayer Steve Skeates

BACK SEAT DRIVER: Editorial by Michael Eury . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2 FLASHBACK: Power Man and Iron Fist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3 Sweet Christmas! The story of how this Grindhouse Dynamic Duo joined forces INTERVIEW: Steve Englehart: The Man Who Saved the Justice League of America . . . .13 An issue-by-issue analysis by the writer who brought drama, discord, and deceit to DC’s premier super-team WHAT THE--?!: The Unexpected Teaming of Aquaman and Deadman . . . . . . . . . . .27 Steve Skeates and Neal Adams dive in to this oddball three-part crossover FLASHBACK: Daredevil and the Black Widow: A Swinging Couple of Crimefighters . . .31 How an Iron Man/Daredevil combo series morphed into one of comics’ most unexpected partnerships FLASHBACK: Green Lantern/Green Arrow: And Through Them Change An Industry . . .39 An in-depth exploration of the frequently reprinted O’Neil/Adams classics FLASHBACK: The Headlines Behind Green Lantern/Green Arrow . . . . . . . . . . . . . . .55 The stories behind the stories FLASHBACK: Shattered Dreams: Vision and the Scarlet Witch . . . . . . . . . . . . . . . . . .59 The amorous Avengers and their not-so-ordinary romance FLASHBACK: Cloak and Dagger: Child of Light and Child of Darkness . . . . . . . . . . .67 Insiders from Terry Austin to Ed Hannigan shine a light on this ’80s duo BACK TALK . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .76 Reader feedback on issues #41 and 42 BACK ISSUE™ is published 8 times a year by TwoMorrows Publishing, 10407 Bedfordtown Drive, Raleigh, NC 27614. Michael Eury, Editor. John Morrow, Publisher. Editorial Office: BACK ISSUE, c/o Michael Eury, Editor, 118 Edgewood Avenue NE, Concord, NC 28025. Email: euryman@gmail.com. Eight-issue subscriptions: $60 Standard US, $85 Canada, $107 Surface International. Please send subscription orders and funds to TwoMorrows, NOT to the editorial office. Cover art by Neal Adams. Green Lantern and Green Arrow TM & © DC Comics. All Rights Reserved. All characters are © their respective companies. All material © their creators unless otherwise noted. All editorial matter © 2010 Michael Eury and TwoMorrows Publishing. BACK ISSUE is a TM of TwoMorrows Publishing. ISSN 1932-6904. Printed in Canada. FIRST PRINTING. Odd Couples Issue

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Michael Eury

Our cover by the remarkable Neal Adams has an interesting genesis: Neal created it a few years back as a specialty item for the Warner Bros. retail stores, but when WB closed those outlets the art had no home. Until now. Thank you, Mr. Adams, for sharing it with us, and special thanks to Jason Adams for his help in providing art for this issue. We’re happy to spotlight the trailblazing Green Lantern/Green Arrow in this collection of comics’ “Odd Couples,” as well as examine the work of the ultra-talented combo of writer Dennis O’Neil and artist Neal Adams through interview comments old and new. GL/GA is one of the Bronze Age’s most re-readable classics—I’ve lost count of the times I’ve read GL #76, and I suspect I’m not alone. Given my passion for GL/GA, which back in the day anchored me to comics when I had reached a period when most kids were aging out of reading them, this issue is a personal favorite. Another of Denny and Neal’s collaborations featured an odd couple—Superman and (vs.) Muhammad Ali—and that 1978 classic is in the news this month. First, DC Comics, in cooperation with Muhammad Ali Enterprises, is reprinting the original megalength tale (originally published as Superman vs. Muhammad Ali in All-New Collectors’ Edition #C-56) in two hardcover formats, a comic-sized Deluxe Edition and tabloid-sized Facsimile Edition. And DC Direct is releasing a Superman vs. Muhammad Ali cold-cast porcelain statue with a logo base, sculpted by Jack Mathews and based upon the one-shot’s cover art by Neal Adams (which worked from Joe Kubert’s original cover to the series, you may recall). O’Neil and Adams aside, there’s much more interesting content this issue exploring several of comic books’ most unusual duos—and if you’re asking, Where’s Captain America and the Falcon?, please see BACK ISSUE #22.

A DIFFERENT GREEN TEAM Another odd couple—the Green Hornet and Kato—will be in movie theaters before our next issue hits, courtesy of director Michel Gondry and starring Seth Rogen as the Green Hornet, Jay Chou as Kato, and Cameron Diaz as Lenore Case. The odd coupling of man-child comic Rogen and costumed crimefighters outraged many fans, but some, ye editor included, have been persuaded to give the movie a chance upon the merit of its impressive summer trailer. If you’re more of a Green Hornet traditionalist, however, or if you’re green regarding the character’s past

and want to learn more, I heartily recommend the impeccably researched book The Green Hornet: A History of Radio, Motion Pictures, Comics, and Television by Martin Grams and Terry Salomonson (2010 OTR Publishing, LLC). This 812-page (!) reference volume raises the bar for this type of character guide with its in-depth episode and issue listings, behind-the-scenes information, and trivia.

ROY AND GENE MAKE A SPLASH Roy Thomas informs us that the penciled version of the splash page to Wonder Woman #288, which we showed on page 28 of issue #41, was later redrawn by artist Gene Colan to better mimic its inspiration, the Iron Man splash from Tales of Suspense #73. Pictured below are the published WW page and the Iron Man page.

BUNGLE IN THE JUNGLE BI #43’s print job unfortunately made the background art to page 1’s Table of Contents virtually illegible, so we’re including it here to give readers a second chance to appreciate it. It’s a jungle girl illo by Bill Wray, contributed by Jerry Boyd.

UNCLE ELVIS Mark Griffin has asked that we share the following announcement: I am working on an article about Uncle Elvis, one of the big letterhacks of the ’80s and ’90s. I was hoping you could please post in your outstanding magazine that I am seeking people with memories, impressions, and/or pictures of him. If anyone has any he or she is willing to share I can be contacted at quakezine@hotmail.com or through snail mail at Mark Griffin, 2164 Orndorff Mill Road, Russellville, KY, 42276. I’m not necessarily looking strictly for flattery from people so if someone was an “UnElvis” they are welcomed to comment as well. Art © 2010 Bill Wray.

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Wonder Woman TM & © DC Comics. Iron Man TM & © Marvel Characters, Inc.

Superman TM & © DC Comics. Muhammad Ali TM & © Muhammad Ali Enterprises.

Timothy Callahan

A man accused of a crime he didn’t commit undergoes an experimental procedure in prison and emerges as a superhero of the streets. An orphan finds himself in a hidden mystical city and learns to become one of the world’s greatest martial artists. Power Man. Iron Fist. Each a four-color offspring of the grindhouse cinema of the early 1970s. Iconic characters from the Bronze Age of Marvel Comics, and together they anchored a Power Man and Iron Fist series that ran for over eight knock-down, drag-out years. Luke Cage, the man later to be known as Power Man, appeared before his metal-fisted partner, one year after the Blaxploitation renaissance that was 1971. In the wake of Melvin van Peebles’ Sweet Sweetback’s Baadasssss Song, and Richard Roundtree’s turn as detective John Shaft in the first Shaft film, Archie Goodwin and George Tuska launched Luke Cage, Hero for Hire #1 (June 1972). The title character, co-created by Goodwin and John Romita, Sr., was a jive-talkin’ action hero with a chip on his shoulder and a heart in the right place. He may have been a hero “for hire,” but he was also a hero of the people—and his people were the denizens of the grungy corners of New York City, where pimps and gangsters ruled the land and a superhero with a mercenary mindset tried to clear his name while protecting those around him (and put a little money in his pocket when he could). Luke Cage was in the same universe as Spider-Man—even in the same city—but Cage’s turf, in and around the Gem Theater, might as well have been in a different galaxy from that inhabited by Peter Parker. Cage’s world was a rough-and-tumble one where switchblades were drawn quickly and a fall in the East River would ruin your chances of avoiding hepatitis. Two years after the debut of Luke Cage, his soon-to-be erstwhile companion hit the comic-book scene. Millionaire’s son Danny Rand, raised in K’un L’un by the likes of the Thunderer, learned to master his chi and inherit the mantle of the Iron Fist. One year after the death of the legendary Bruce Lee in 1973, during the height of what used to be called the “Chopsocky” movie genre, Iron Fist premiered in, appropriately enough, Marvel Premiere #15 (May 1974), in a story written by Roy Thomas and drawn by Gil Kane. Though born of trash—though fondly remembered— cinema like Luke Cage, Iron Fist patrolled a different type of dangerous street. His back alleys were loaded with kung-fu assassins and feral villains. His allies were just as dangerous, with their skill in edged weaponry and their penchant for sass. Supporting-cast members Colleen Wing and Misty Knight, sometimes known as the Daughters of the Dragon, were as intriguing as Iron Fist himself.

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The Grindhouse Dynamic Duo Luke Cage, before he was dubbed Power Man, and Danny Rand, a.k.a. Iron Fist. Details from this odd couple’s respective debut covers: Hero for Hire #1 (June 1972; cover art by John Romita, Sr.) and Marvel Premiere #15 (May 1974; cover art by Gil Kane and Dick Giordano). © 2010 Marvel Characters, Inc.

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Two-in-One Original/production cover art for the first issue to bear both heroes’ names in the title, by Dave Cockrum. The main figures are photostats from Cockrum’s earlier, rejected version of the cover in which Cage and Rand are busting through a brick wall. Courtesy of Heritage Comics Auctions (www.ha.com). © 2010 Marvel Characters, Inc.

GRINDHOUSE DYNAMIC DUO

which they were put together. And I think the reason that Perhaps it was inevitable that Luke Cage—by then I wound up taking over the series when Chris Claremont known as Power Man—and Iron Fist and would team up couldn’t do it was because I really wanted it. I was absolutely crazy nuts about both those characters for an extended run. Or maybe it was just that individually and I was dying to get them to Power Man and Iron Fist were the last two work together.” Writer Claremont, still a Blaxploitation/Chopsocky characters left few years away from his X-Men heyday, standing at Marvel by the late 1970s, shepherded Iron Fist through his solo long after the crazes had died down in Iron Fist stories, and wrote the threecinema. But no matter the reason, part tale that brought the two heroes Iron Fist joined Luke Cage in Power together to wrap up Power Man’s run Man #48 (Feb. 1978), and stayed on and launch the pair in Power Man as the series changed its title to Power and Iron Fist #50 and beyond. But Man and Iron Fist with issue #50 Claremont only lasted until issue #53, (Apr. 1978). From then on, Luke Cage and after a couple of fill-in issues by and Danny Rand were inseparable. writer Ed Hannigan and penciler Lee Until death did them part. Elias, Jo Duffy and Trevor von Eeden Former Marvel staff editor and jo duffy came in as the new creative team. longtime writer of Power Man and Duffy, who was credited as “Mary Iron Fist Jo Duffy recalls the decisionmaking behind the team-up of the grindhouse dynamic Jo Duffy” in the comic, explains how she ended up duo: “Finally the day just came that neither one could taking over for Claremont, even though she hadn’t quite support his own book, and that was the basis on written much more than a few single fill-in issues for The Incredible Hulk, Daredevil, and The Defenders at Marvel up to that point: “At the time there were not multiple editors, really,” says Duffy. “Marvel was still a small operation, and an editorial meeting consisted of about five people, and what had happened was that I was the only editor on staff who wanted to write that hadn’t been given an assignment.” Claremont was working on several books at the time, including Ms. Marvel, Power Man and Iron Fist, and Uncanny X-Men, and, according to Duffy, what then-editor-in-chief Jim Shooter expected “was that Chris would want to give up Ms. Marvel and give it to me because, ‘Oh, this would be so fitting, the girl would get the girl book.’ But I had no interest in Ms. Marvel and Chris loved her.” Claremont, with his tight schedule, was put in the position of choosing between his favorite characters. He couldn’t continue to write all of them. “I think he would have hung onto Iron Fist if he could,” says Duffy, “but what he wanted was to hang onto the X-Men first and foremost and then Ms. Marvel. And if he was going to give up anything it would be the one I wanted the most. But I think Chris really, really loved Iron Fist and the characters, and I don’t think he was ever quite as crazy about Power Man as I was.” Duffy was joined by artist Trevor von Eeden for the as-advertised-in-the-previous-issue “new direction” of Power Man and Iron Fist with issue #56, but while she stayed on the title all the way until issue #84, von Eeden bowed out after only four issues. Von Eeden says, “I liked Luke Cage well enough—although he became too much of a cartoon character sometimes, with ‘Sweet Christmas!’— but it was Iron Fist that really appealed to me, since I was a big martial-arts fan. Unfortunately, I didn’t get as many opportunities to draw him in action as I’d liked.” Right at the start of Duffy and von Eeden’s run, they told a two-part story that catapulted Power Man and Iron Fist into the superhero big time, giving them an epic story with the Living Monolith (and this was only one issue after the Ed Hannigan-penned issue that had Luke Cage working as an auto-show pitchman). It was a tale that also featured the X-Men, though Cyclops and company didn’t end up doing a whole heck of a lot. After the defeat of the Living Monolith at the hands of her protagonists, Duffy began telling stories that were more character-based and less involved in large-scale exploits. Not that her stories lacked strong

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plots, but instead of larger-than-life supervillains, Duffy populated her next few stories with street-level threats like El Aguila and urban terrorists. And von Eeden soon left the title, doing his last work on Power Man and Iron Fist #59 (Oct. 1979), though Trevor claims that his departure wasn’t his choice: “My leaving Marvel,” says the artist, “was due to my being fired by Jim Shooter, who’d told me specifically, when I’d first started there, to try and draw like Jack Kirby— and apparently wasn’t happy that I didn’t.” Marie Severin and Steve Leialoha filled in for an issue before artist Kerry Gammill came onboard with issue #61 (Feb. 1980). Presumably, Gammill had enough Kirby flair to keep him employed at Marvel for a long time, because he stayed with the series all the way through Power Man and Iron Fist #79 (Mar. 1982).

DUFFY MAKES HER MARK During that time, Duffy put her own distinctive mark on the tone of the series, as she balanced the humor of the oddball team-up nature of the two male leads with stories that explored deep thematic concerns. She avoided stories that were simple superhero slugfests, and part of that was due to the nature of Power Man and Iron Fist’s unique abilities, but part of it was her awareness of how to contrast various personalities off her lead characters, how to provide foils against which they could react.

She describes the conception of El Aguila— the street vigilante of the people with the bolero hat and the sword that can shoot blasts of electricity— and sheds light on the way she conceived threats for her heroes to face: “El Aguila was designed by Dave Cockrum and he had this big Zorro thing, and Zorro was another one of these characters that I was just crazy about and Power Man and Iron Fist was tricky,” Duffy explains. “These were not guys who could fly. Their superpowers were defensive and if they were offensive, it was going to be hands-on, and it’s remarkably tricky inventing a villain for somebody like that, because it can’t just be a regular guy, because then it’s just two big bullies beating up a regular guy— or a regular woman—and if it’s somebody that’s a big, huge supervillain then all the villain has to do is fire a raygun and fly away and the story’s over.” Duffy goes on to say, “It seemed to me that someone like Zorro but with one or two powers would be about the right level and since Iron Fist was a little bit easygoing and unworldly, and Power

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The Misty Knight Returns… …and so does Colleen Wing— the Daughters of the Dragon—in #66 (Dec. 1980), with its energetic cover by future Dark Knight artist Frank Miller (with inks by Klaus Janson). © 2010 Marvel Characters, Inc.

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A Larkin Masterpiece— Barely Seen! This gorgeous Bob Larkin painted cover for Power Man and Iron Fist #75 (Nov. 1981) was obstructed in print by copious cover graphics, including a large ad strip across the top promoting a contest to win a bicycle, so here’s a chance to see it unencumbered. Scan courtesy of Heritage. In the issue itself, writer Duffy took Danny Rand— joined by Luke Cage— back to K’un L’un. © 2010 Marvel Characters, Inc.

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Man was just so cranky and completely grounded in the here and now, giving him somebody with this playful panache would be frustrating. Iron Fist wouldn’t even get it, Power Man would be infuriated by it, and it would give El Aguila a certain amount of charm. So I wasn’t just thinking of the power problem, though it was a problem, but in terms of the characters—it had to interest me. And Power Man and Iron Fist were so well-realized as characters that if a villain wasn’t as equally well-realized, then what was the point in doing it? That was why I tried to give the villains big, colorful personalities whether it was for evil or good or fun or greed or what have you, as well as just superpowers. You had to care about them as characters.” El Aguila returned several times during Duffy’s run, always giving Power Man and Iron Fist a run for their money, and always providing the fodder for strong dramatic situations between the heroes. But the Marvel Universe Zorro wasn’t the only interesting character Duffy added to the mix. She also created the mountain climber and international criminal mastermind known as Montenegro, a villain who would turn out to be the force behind many of the ongoing problems faced by Power Man and Iron Fist during Duffy’s run. Montenegro was an unusual character, and Duffy had a very concrete idea of what the villain should be like. “I like manipulators,” says Duffy. “I wanted my own Moriarty for Power Man and Iron Fist. Mountaineers and acrobats absolutely fascinated me. You tend to think of superheroes as special effects or stunt men. But then you see a documentary on guys who climb mountains or you go to the circus, and you think, ‘There are actually people who can do this stuff.’ Montenegro was my combination of my wanting a mastermind—a really rotten evil mastermind—with my fascination that there really are people who can do superhero stuff without needing to be in a comic book to do it.” From Montenegro’s first appearance in Power Man and Iron Fist #71 (June 1981), through Duffy’s final issue over a year later, the character was a memorable addition to the Marvel Universe, scaling New York skyscrapers like they were ridges in the Alps, and plotting nefarious schemes that the heroes could never quite get their hands around. Montenegro was the behind-the-scenes villain for a few more stories, and Duffy gives us a brief Doctor Who homage before giving Power Man and Iron Fist a few more traditional superhero challenges, like the militant Warhawk in issue #83 and the tag-team of the Constrictor and Sabretooth in issue #84 (Aug. 1982), an issue which ended up being her last. Like von Eeden a few years earlier, Duffy didn’t leave because she wanted to abandon the series. “I would never have left if I had a choice,” says Duffy. “It was editorial pressure. There were people behind the scenes who were never behind the book. Power Man and Iron Fist was a lighthearted series. It had depths, but it was a light hearted series.” Duffy explains that not everyone at Marvel liked her distinctive approach to the characters: “There were people who thought Power Man wasn’t angry enough. There were people who thought Iron Fist wasn’t angry enough. There were people who thought Misty Knight should break up with Iron Fist and get together with Power Man. I was kind of replaced because they wanted somebody who was less like me and more like everybody else. I’m not opposed to

dark, violent characters—I had a wonderful time when I was later writing Wolverine and I had a wonderful time on Punisher—but that tone just wasn’t right for Power Man and Iron Fist.” Duffy’s editor, Denny O’Neil, tackled the scripts for the next few issues, handing the editor title to Ralph Macchio while O’Neil emphasized the urban action a bit more, and cut back on anything approaching the whimsy of a faux Doctor Who cameo. A young Denys Cowan drew the final five Duffy issues, and he continued on through O’Neil’s temporary run, with the exception of Power Man and Iron Fist #85, which featured Keith Pollard on artistic chores. O’Neil and Cowan’s work on their brief run was a prelude to what they would later do together on DC’s The Question beginning in 1987. But in 1983, their work in Power Man and Iron Fist wasn’t a coherently structured run. It was more along the lines of one O’Neil/Cowan fill-in after another, and the search for a new, long-term writer was inevitable. Cue the entrance of Kurt Busiek. Odd Couples Issue

LaRocque Goes for Broke A stunning, commissioned pencil portrait by artist Greg LaRocque, who drew a smattering of issues throughout Power Man and Iron Fist’s run. Illustrated at the 2008 Baltimore Comic-Con. From the collection of Paul Greer. Power Man and Iron Fist © 2010 Marvel Characters, Inc.

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Men of Steel (below) Writer Kurt Busiek and artist Ernie Chan show that Cage is tough in more than attitude in #95 (July 1983), courtesy of Anthony Snyder (www.anthonysnyder.com). (right) A 1983 convention sketch by Denys Cowan drawn for then-teenager (and current BI writer) Michael Aushenker. © 2010 Marvel Characters, Inc.

BUSIEK’S BUDDY BOOK

“Marvel had a weekly press release for the trade press Busiek was, at the time, a fresh face at Marvel, and a back then, and they’d announce, you know, ‘The next issue of Spider-Man won’t be inked by Mike rookie comic-book scribe when he stepped into Esposito, it’ll be inked by Bob McLeod.’ the writer’s seat with Power Man and Iron Fist Or, ‘Whirlwind is returning to the #90 (cover-dated Feb. 1983): “It was my Avengers.’ I’d take it all and type it up first ongoing series, and my first sale to and send it down to the editorial Marvel,” says Busiek. “The first issue office in Florida. There were guys there came out the same day as the first from The Comic Reader, and the thing I sold to DC. I sold a Green outlets that used that kind of thing. Lantern backup to DC in May of 1982, “Every month they kept telling us and I sold the first Power Man and that there would be a new writer on Iron Fist script in June or July. So I count Power Man and Iron Fist, taking over the GL as my first sale, but they both for Jo Duffy, and that new writer came out in the very last week of was going to be Bob Layton,” says December in that same year, so they Busiek. “But I’d already noticed that were my professional my debut.” kurt busiek several issues had come out that At the time he landed the gig with weren’t by Bob, and they were Power Man and Iron Fist, Busiek was single issue fill-ins by Denny O’Neil. working as the New York correspondent for the upscale fanzine Comics Feature. He explains his role at the time, And the news that we were getting through the press and how it helped to give him an opportunity at Marvel: conference was “and here’s another story by Denny. And here’s another story by Denny.” And I knew the stories that were coming up, and I was thinking, “maybe Bob’s not getting his plots in. Or maybe there’s a problem with it, or whatever. But it’s pretty clear that every month Denny has to write an issue in a hurry. Maybe he could use some help.” Busiek explains that he wasn’t doing this out of some feeling of benevolent generosity: “I was doing this because I saw an opportunity there. I’d actually written a review of Power Man and Iron Fist for—I think it was Comics Feature—that was one of the last reviews I had published. I wrapped it up in the last paragraph saying, ‘If Jo Duffy ever leaves this book, I don’t know who they’re going to get to write it, but they won’t be able to get anyone who would write it as well. I certainly wouldn’t know what to do with it.’ So there I am in

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print saying I wouldn’t know what to do with it, but it looked like there was an opportunity there, so I came up with a Power Man and Iron Fist story, and I typed it up as a page and a half. “I sent it in to Denny with a note saying that I’d like to pitch it for the Power Man book,” continues Busiek, “and that I was already selling professional scripts to DC Comics. I didn’t mention that what I’d sold to DC was seven pages. But I figured that if Denny knew that somebody up at DC liked my stuff enough to hire me to write something and pay me, maybe he’d give it a read over other stuff that he wouldn’t.” O’Neil called Busiek a few days later and asked him to flesh it out into a full script, but on spec. “He wasn’t giving me the assignment,” says Busiek. “He was saying, ‘Give it a try.’ So I typed it up into a full script and I sent that to him, and he bought it. So I pitched him another one, and he bought it. And I got brave, and I thought, ‘Well, I’ll pitch him a two-parter,’ so I pitched him a two-parter and he bought that.” Busiek, after writing four issues of the series, still hadn’t been confirmed as the new writer of Power Man and Iron Fist. And when he was officially announced, he was among the last to find out. “I was at the weekly press conference,” says Busiek, “and they announced that there was going to be a new regular writer on Power Man and Iron Fist, and I thought, ‘Well, it was fun while it lasted.’ And then they announced that it was me, and they pronounced my name wrong. So Denny never told me I was the regular writer. I found that out because I was at the press conference where they announced it.” Busiek had been a longtime fan of Iron Fist, followed the character into his team-up with Luke Cage, and adored the Jo Duffy run on Power Man and Iron Fist, particularly the playfulness of the approach, which would go on to inspire his own take on the series: “I read Claremont’s brief run and I read Ed Hannigan’s run, and then when Jo Duffy started, I felt like the book was really coming together, particularly when Kerry Gammill came in,” says Busiek. “I felt that there was a real liveliness to the stories. Jo didn’t mess around trying to be super-fancy or anything. She had fun with it. Once every issue, someone would mention that Luke Cage had steel-hard skin and super-strength, and it might be a kid watching Luke Cage carrying a Coke machine over his head, and he’d go, ‘Oh, man! There goes Luke Cage, he weighs like 300 pounds and has steel-hard skin.’ And someone would mention, or Iron Fist would think, or a caption would tell you that Iron Fist was the finest warrior from a lost civilization. “She didn’t hide the fact that she was filling you in on the characters,” Busiek adds. “She actually made kind of jokes out of it. ‘Look, it’s gonna come in here. Oh, look how she did it this time, ha ha, that’s funny.’ And the character emotions were great. The character drama was a lot of fun. She played it as a buddy book with them—contrasting personalities—in a way that was more successful than what Chris or Ed had done, and it just seemed like this was a real fun, energetic, upbeat, enjoyable comic book. It had a light touch that nobody else was doing anything like.” Busiek doesn’t hide how much the Duffy run inspired him: “For most of what I wrote, I was trying to imitate Jo. I didn’t know what to do with the series, but I know that Jo had made it work. I was trying as hard as I could to do what Jo did: that mixture of humor and characterization and action.” But what Busiek didn’t realize at the time was that his approach to the comic wasn’t in line with Marvel editorial’s way of thinking. He didn’t last very long on the series. “Denny O’Neil wasn’t really happy with the book being funny,” says Busiek. “So I was throwing in these gags thinking that’s what Jo would have done, but apparently Denny didn’t think that’s what

Jo was doing right. And I was trying to duplicate what Jo was doing. By the time I started to figure out what I wanted to do with the book, I was in this buildup to issue #100 so I couldn’t start doing it until after issue #100, and I was fired with issue #100.” Though Busiek’s tenure as writer of Power Man and Iron Fist came to an end with issue #100 (Dec. 1983), he ended up having another two scripts published in the series after he was fired. Busiek explains, “Issue #102 was an inventory story I’d been working on, and it turned out they needed it because the new writer who was supposed to start after issue #100 was Archie Goodwin. Because Archie was having such difficulty getting stuff done, they slotted the fill-in that artist Richard Howell was working on.” They also asked Busiek if he had any leftover story ideas from his run, and he did, so he was commissioned to write one more fill-in, again with art by Richard Howell, which ended up published in Power Man and Iron Fist #105 (May 1984). “I got on the book because somebody couldn’t meet their deadlines,” says Busiek, “and then after I got fired I got two more issues because somebody else couldn’t meet their deadlines.” In retrospect, Busiek takes pride in his short tenure on Power Man and Iron Fist. “Jo was clearly the most successful writer on the series,” says Busiek. “Jo picked up the series when it was bimonthly, and under her tenure it went monthly, and so sales went up, and it prospered. Then when she left, sales started dropping. It was no surprise they were dropping because when she left Denny was writing a fill-in every month. There wasn’t any strong series direction. I picked up the book, and the sales stopped dropping. They didn’t go up, but they stopped dropping. My claim to fame is, maybe I didn’t make the sales go up, but I didn’t make them go down either.”

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CALLING IN A PRIEST

Dynamic Original Covers (left) John Byrne’s explosive cover to issue #104 (Apr. 1984), which featured a story written by Archie Goodwin and drawn by Greg LaRocque. (right) The series ends with #125 (Sept. 1986). This cover showcases the art of series regular Mark “Doc” Bright, inked by John Beatty. Both courtesy of Heritage.

After Busiek’s official departure, the series didn’t have any consistency—with two inventory stories by Busiek, a handful of scripts by Archie Goodwin, and a few fill-ins by writers Alan Rowlands and Tony Isabella—until Power Man and Iron Fist #111 (Nov. 1984). With that issue, Captain Hero made his auspicious debut, and so did writer Jim Owsley. Owsley, who is now better known by the name Christopher Priest, took the self-proclaimed heroes for hire in an inventive new direction, and wrote the series until it reached its conclusion in issue #125 (Sept. 1986). His run remains controversial for its irreverent tone, and for the shocking way in which he killed off one of the main characters: Iron Fist. Priest described his experiences on Power Man and Iron Fist at length in an essay at his Digital-Priest website: “Power Man and Iron Fist was the first ongoing series I was assigned to. Marvel EIC Jim Shooter had been working with me on a few things, and Jim may have felt a regular series would be good training. In one of the more awkward moments of a long history of awkward moments, Jim took me down the hall to Editor Denny O’Neil, rapped on the door frame and said, ‘Meet your new Power/Fist writer.’ That was, pretty much, how things were done in those days.”

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Priest said that he had no idea about any preconceived editorial direction for the book, but, as he added in the essay, “Once Doc [artist Mark Bright] came on board, the book really came together.” Bright and Priest (as Owsley) established an ironic, absurdist, tragic tone for the series, perhaps best encapsulated by issue #115 (Mar. 1985), a one-shot tale entitled “Stanley’s War,” which begins with a sounding alarm and ends with a mushroom cloud amidst a bleak, frozen landscape. More than any other writer on the series, Priest took Danny Rand and Luke Cage out of their comfort zones. Unfortunately, his take on the characters, like Busiek and Duffy before him, was not popular within the halls of Marvel, though for different reasons than the previous writers. Priest, an African-American writer working in a decidedly non-diverse comic-book industry, faced a different kind of criticism: “There was some moaning up at the office about my handling of Luke Cage,” explained Priest at his website. “Doc and I toned Cage down a bit from the very loud, histrionic hair-trigger Hulk Smash guy, and gave him a wider vocabulary. As a result, I was told, by several Marvel staffers at the time, that I write ‘lousy black dialogue,’ and some even joked that I wasn’t ‘really black’ because none of my black characters ‘sounded black.’”

B.F.F. (Battling Foes Forever) A 1982 illo created for a Marvel magazine inside front cover, drawn by Denys Cowan and Bob Layton and contributed by Michael Lovitz (can anyone identify where this saw print?). © 2010 Marvel Characters, Inc.

For Priest, the Blaxploitation/Chopsocky genesis of Power Man and Iron Fist was a truth best left in the past, and he moved the characters away from their more stereotypical roots. The “Sweet Christmas!” exclamations from Luke Cage certainly appeared with much less frequency under Priest’s watch. But it’s really the series finale with Power Man and Iron Fist #125 that sticks in most fans’ memories as the signature moment of Priest’s run, for good or bad. In issue #125, a story called “Hardball,” Danny Rand uses his own power—which drains part of his own life force—to save Bobby Wright, the boy who assumed the mantle of Captain Hero. Captain Hero, who premiered with Priest’s first issue on the series, was a kind of Marvelized Billy Batson character. He was an orphan who could transform into a strapping hero, but he had a dark side within him and an impetuous rage that cost Danny Rand his life. In one of the final scenes of issue #125, Bobby Wright wakes up in his hospital bed in extreme pain, as the sleeping Iron Fist sits next to the bed, exhausted after saving the boy’s life. In his attempt to wake up Danny Rand, the boy transforms into Captain Hero and pummels Iron Fist, again and again, shouting, “Wake Up!” Iron Fist doesn’t survive the encounter. In the end it wasn’t some cosmic force or radiation sickness or criminal mastermind that killed Iron Fist. It was a random, senseless act by a supposed hero with the mind of a child. Priest wrote about that final issue: “Fist’s death was senseless and shocking and completely unforeseen. It took the readers’ heads clean off. And, to this day, people are mad about it. Forgetting, it seems, that (a) you were supposed to be mad, that death is senseless and Fist’s death was supposed to be senseless, or that (b) this is a comic book. I already had a way to bring Fist back, and Fist creator John Byrne would certainly bring him back if I didn’t get to it first.” Iron Fist has long since been resurrected by Marvel, and has now become a featured player in the New Avengers, but the series finale of Power Man and Iron Fist still evokes a great sense of tragedy, even over 20 years later.

HEROIC APPEAL The appeal of Power Man and Iron Fist, in their Bronze Age glory, boils down to this, says Duffy—and though she’s talking about the title characters, the words could be applied to the creative teams just as easily: “These guys do not have monster superpowers, so I was working with this theme of the book—that what they’re trying to do is a good job. And if you always win, it’s not that interesting. But if you’re trying to do something, and maybe you succeed according to the letter of what you’re trying to do, but maybe not the spirit. Someone who succeeds at what they were

trying to do but feels completely screwed over, that is a story I want to keep reading. I want them to get their happy endings, I want them to get their stories that end with a smile or a fist to the Coke machine, but if life gets too happy, it’s not a story anymore.” Yet, for all the conflict behind the scenes, it’s the conflict within the pages that’s been fondly remembered for the past three decades. The struggle of Luke Cage and Danny Rand, an unlikely pair of heroes in a Marvel Universe that often had little use for them. Their current popularity among Marvel creators and fans is a testament to their strength individually, and as a duo. And a testament to the work of writers like Duffy, Busiek, and Priest, writers who made these characters, and the Power Man and Iron Fist series, something special. Even if they did it without a smile or a fist to the Coke machine in the end. TIMOTHY CALLAHAN is an educator, husband, and father of two budding comic-book fans. His first book, Grant Morrison: The Early Years, premiered in 2007, and he is the editor of a collection of essays about the Legion of Super-Heroes entitled Teenagers from the Future. He blogs about comics at geniusboyfiremelon.blogspot.com.

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Shannon E. Riley conducted January 31, 2010

Threat + divide & conquer = tidy resolution. In 1976, DC Comics’ Justice League of America had a 15-year-old tried-and-true formula. A threat was introduced, heroes divided up into smaller groups to combat the foe, a tidy resolution was arrived at, and all was well once again. The team operated like a well-oiled machine. Villains as diverse as Starro, Despero, and Dr. Light were no match for the might and sheer power of a League united. Members were respectful, efficient, and trustworthy, rarely offering a strong word or differing opinion. In a word, things had gotten boring. Boring not only in Justice League but in other DC titles, as well. The publisher was losing top creators to Marvel in droves. DC needed a Hail Mary pass to raise flagging sales and infuse some creative adrenaline into its line. Enter veteran writer Steve Englehart. After injecting action into The Avengers #105–152 (Nov. 1972–Oct. 1976) for Marvel, Englehart was ready to quit comics, travel Europe, and focus on writing novels. Just when he was about to walk away, he got the call that sucked him back in. His mission: save the JLA. Over turkey sandwiches on a sunny January day, Steve and I talked second-stringers, unsung veteran artist Dick Dillin, sexism in comics, and how he slipped a beloved Marvel character into his Justice League run. – Shannon E. Riley SHANNON E. RILEY: Steve, for our “Odd Couples” theme I think it’s extremely fitting that we discuss your year writing Justice League of America. For DC Comics in 1976, it was certainly a different approach to try to bring some Marvel flavor to these stalwart heroes—but then, what choice did they have? STEVE ENGLEHART: Well, that’s what they asked me to do. DC was really at rock bottom at that point. All the people who were stars at DC had all gone to Marvel—Neal Adams, Gil Kane, Bob Brown. Until that point, DC had been secure/arrogant in their superiority. I started working at Marvel in the early ’70s and I was only there a couple months before Marvel surpassed DC in sales for the first time. [For] pretty much 98 percent of my career at Marvel in that first run in the ’70s, Marvel had surpassed DC in sales. DC really had its mind-set that “We’re DC, end of story, and we’ve been DC since the ’40s when we became number one with Superman and Batman, so we don’t have to change. This is a temporary thing.” By ’75, there were three or four years where they refused to change. All the people that were working for them started saying, “There’s more stuff going on at Marvel. I’d rather go over there.” So finally, in ’75, they got rid of Carmine Infantino as the publisher and hired Jenette Kahn to fix it. So the first thing she did was hire me and try to hire John Buscema. Stan [Lee] outbid [for John Buscema].

Superman vs. Wonder Woman Writer Englehart added friction among the members of the JLA, as seen in this detail from the cover of Justice League of America #143 (June 1977). Art by Dick Dillin and Jack Abel. TM & © DC Comics.

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Beginnings: Art assistant to Neal Adams on “The Soft, Sweet Lips of Hell!” in Vampirella #10 (Mar. 1971) / “Iron Man: D.O.A.” in Amazing Adventures #12 (May 1972)

Milestones: The Defenders / Captain America / The Incredible Hulk / Vampirella magazine (writing under the pseudonym “Chad Archer”) / The Avengers / Super-Villain Team-Up / Detective Comics / Justice League of America / Mister Miracle / Coyote / Green Lantern / Green Lantern Corps / Millennium / West Coast Avengers / Fantastic Four (writing under the pseudonym “John Harkness”) / X-O Manowar / The Avengers: Celestial Quest / Batman: Dark Detective

Works in Progress: The Plain Man / The Box Man / The Clock Man—continuing the story started in his first novel, The Point Man, published by Tor Books

Cyberspace: steveenglehart.com

steve englehart

Big Change JLA expanded its page count with Englehart’s first issue, #139 (Feb. 1977). Cover art by Neal Adams. TM & © DC Comics.

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I was leaving Marvel anyway. I was pissed off at Marvel. My brief then was to basically save DC, come in and fix everything. So they wanted me to write Justice League and do whatever I did—whatever mysterious thing I did—to turn the company around with all their major characters. I said yes I would do that, but I also really wanted to write Batman, per se, so that’s how that worked. But the original concept was to come in and fix these characters. RILEY: You’d had a really successful run on The Avengers, but you mentioned you were ticked off at Marvel. What happened and why did you leave? ENGLEHART: When I started at Marvel, Stan was still the editor. Within six months, it had become “Stan Lee Presents” and Roy Thomas [had stepped in as editor]. In fact, Roy Thomas had been the de facto editor for about a year or so, even though Stan was still listed. Then Roy did it for several years. Roy was more a creative guy than an executive guy. He didn’t like some of the business decisions that were made. Around ’73, he left. Then they went through this whole range of revolving [editors]— Marv Wolfman was editor for a while and Len Wein was editor for a while. Archie Goodwin was editor for a while. Then it became Gerry Conway. Gerry Conway has gone on to be a producer on the Law & Order TV franchise. He’s come quite a way, but he was a young guy in those days. He basically said, “I’m the editor at Marvel. I can do whatever I want to do. I want to write The Avengers and I want to write The Defenders.” So he just took them. He took The Avengers away from me and he took The Defenders away from Steve Gerber. We said, “This is not the collegial atmosphere that we’ve all been working under.” I quit. I got into Marvel because of the whole Bullpen, the whole ambience that you could see from the readers’ side. When I came in the door, it was exactly like that inside. Marvel was a wonderful place to work. This was a big change, this kind of “I have power” [mentality]. Stan could do anything he wanted to but he didn’t. Roy could take anything he wanted to [but didn’t]. It wasn’t that Draconian. I just said, “Screw it. This is not what I want to do.” In fact, my original idea was, “Fine, I’m done with comics. I’m going to go write novels.” Along the way, after quitting Marvel, before writing [The Point Man novel], I got a call from Jenette Kahn who said, “Let’s have lunch and talk about what you can do for us.” I really didn’t want to do comics a whole lot anymore. I had already planned that I was going to go to Europe and travel. My wife actually had done that, when she was young and single. She had gone for a year with a backpack and done that kind of stuff. I hadn’t done that. I’d been writing comic books. I had lunch with Jenette. I said, “Okay, yes, I’ll fix Justice League for you, but I’m only going to do this for a year.” RILEY: So that was the agreement? ENGLEHART: Yeah. I would come in and do whatever it is I do. Since I’m pissed at Marvel at the moment, I’ll try to do the best damn thing I can do for DC. In a year, I’ll be gone. Now, I had this idea that if I was actually going to do a story, and I was going to do lots of characterization, I couldn’t do all that in a standard-sized comic book. That’s why I came up with this idea of doing the double-sized thing. I still really like that concept. It was really fun to have that extra-long story each month. It was still a

GERRY CONWAY ON ENGLEHART LEAVING MARVEL “Being pretty young … I probably wasn't as smooth in my dealings with the writers and artists as I might have been [as editor-in-chief],” Gerry Conway notes. Ultimately, though, Conway’s job was to keep Marvel’s books on schedule; The Avengers, in particular, “was perennially late to the printer, which was costing Marvel a lot of money.” Gerry explains, “I asked Steve for a commitment to have his next plot for The Avengers in by Friday, so that George Pérez could get started on it by Monday. I gave Steve a Friday deadline for one reason—so that, if he didn't make it, I'd have time over the weekend to plot a replacement issue. I made it clear to Steve this is what I'd do. He agreed to have the plot in by Friday.” Conway recalls that Steve’s plot didn’t arrive by the agreedupon day. “I called him, and he denied he'd ever made any commitment to delivery by Friday—as far as he was concerned, George didn't need the plot until Monday, so he wasn't going to deliver a plot until Monday. When I

told him this wasn't what we'd agreed, so I was going to write a replacement plot myself, and he'd have to miss an issue, Steve responded [that] a fill-in story would ruin the overall storyline, and he accused me of trying to take over the book. He said if I insisted on doing a fill-in, he’d quit. “Well, if I was going to have any authority as an editor, I had to do what I said I’d do. Maybe someone else would have backed down and given Steve another chance to deliver his plot by Monday. I didn't feel I had that option. So Steve quit The Avengers.” Conway, himself, exited Marvel not long after Englehart. As he explains, “I met a great deal of entrenched opposition and resentment from some people whose egos were offended by the idea I'd been put in charge. Maybe that was because I'd left Marvel for a year and then returned to the top job. Maybe it was because of my personality. Whatever the reason, the hostility I encountered made the job intolerable, and I left after about a month and a half. ”

monthly book. Dick Dillin [had] been with DC for and somebody else does the art. Dick not only did years and had been doing Justice League of America 34 pages a month, they’re good pages! He’s not for a long time. In those days, everything was just banging it out with half the effort. Because it assigned. You didn’t go to the editor and say, “I’ve got all worked, it all really worked. I loved writing those George Pérez and we’d like to do a project.” It was longer stories. I loved Dick Dillin’s artwork … he just like, “You’re going to do Justice League and was old school. I like old school. somebody is going to draw it. We’ll let you know RILEY: What was the creative process like with Dick? who that is.” In this case, I knew it was Did you collaborate on stories with him, or did going to be Dick Dillin. I came up with you write the script in advance? this idea, “Let’s do 34 pages a month.” ENGLEHART: It was all scripted in They said okay and that was sort of advance. Marvel, in those days, the end of it. worked on what was called the RILEY: Dillin’s output was pretty “Marvel style.” Marvel doesn’t do amazing. He penciled JLA from this anymore either, but Marvel issue #67–183 (Aug. 1968– style, a writer comes up with a Oct. 1980), with only two exceptions. concept and writes down everyIssue #153 (Apr. 1978) was penciled thing the artist needs to know. by George Tuska and then Dillin did The artist draws that and then you the framing sequences for Juan come back and put in the dialogue. Ortiz in issue #157 (Aug. 1978). I like that way best. You’re taking That’s 12 solid years of work on the chance that the artist isn’t Dick Dillin one title. Not to mention your going to tell your story quite double-size issues! right, but you do get to see the ENGLEHART: [Only much later] did I get the concept pages that the reader is going to see. You can [that] somebody called up Dick Dillin and said, write everything to what’s going to appear in “Hey, Dick, you’re going to draw twice as many print. If you do script in advance, you can be pages every month.” Dick, as a working professional damn sure that everything that you want in the in those days, said, “Okay, I get twice as much story is going to be there, but you don’t know how money then.” He did the job. That’s what people did he’s going to do it. in those days. It was a job, but it was an adventure. This is just an anecdote, but I started out as an It never occurred to me, “How is this going to artist working with Neal Adams. Neal had a script impact Dick Dillin?” It was just like I do the writing from somebody. Neal is an Artist (with a capital “A”). Odd Couples Issue

TM & © DC Comics.

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Alternate Reality Englehart inserts himself into the story “The Ice Age Cometh” as Corazon of Ecuador. Page 2 of JLA #139. Art by Dillin and Frank McLaughlin.

He was saying, “Look at this script. It calls for something that can’t be drawn.” Everybody is holding up a beer mug and an arrow is supposed to come and sort of fly between their knuckles and the beer mugs. He’s going, “The knuckles touch the beer mugs. That’s impossible.” So he changed it to the arrow smashing all the beer mugs. It’s that kind of thing where if you made a mistake, it’s gone. As a writer, it’s gone. RILEY: Were you given carte blanche to do whatever you wanted to do? ENGLEHART: Yeah. The editor on both these books—Justice League and Detective—was Julius Schwartz. Julie was a great guy. He’d been an editor at DC for [over] 20 years at that point. He was legendary … probably their best editor. He was legendary because he quite often would think up the stories. He would bring the writer into his office and they would sit there. Julie would say, “I want to do something involving giant robots,” or whatever.

TM & © DC Comics.

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The writer would go, “Well, the Flash could do this.” Julie would go, “Yeah, and then they could do that.” They’d end up kind of co-writing the thing. Julie was known as the guy who really had his hand on top of everything. But he just let me do my thing. Once or twice during the year, out of both books, he would get on the phone and say, “Maybe we should do this a different way.” Mostly it was in Detective Comics. I had Hugo Strange beaten to death on camera. Julie said, “Why don’t we do this off camera? It’ll be a little less brutal about the whole thing.” It didn’t change my story and that was fine. He would chime in. He was the smartest guy, probably, in the company. Julie is one of those guys, like Stan Lee, who got older and older and older but was always 17. You know what I mean? RILEY: Isn’t that what we all strive for? ENGLEHART: Yeah. Julie never really got old mentally. RILEY: Your run kicked off with issue #139’s “The Ice Age Cometh” with the team racing down to Quito, Ecuador, to investigate a bizarre climate occurrence— a complete temperature inversion. They’re greeted by the president of Ecuador, who shares a radio broadcast with them—Captain Cold, the Icicle, and Minister Blizzard have made off with the priceless Minerva Diamond in Gotham City. Wonder Woman deduces that the threats are related—but not before chastising the Flash for not figuring it out fast enough. Even after the case is solved, there’s still underlying tension between Wonder Woman and several other members. While the League was able to rally and save the day, readers certainly weren’t used to seeing this kind of friction in JLA. Were you concerned about how it would be received? ENGLEHART: No. I wasn’t worried at all. See, I didn’t just write Captain America and put a blue cape on him. I tried to write these guys. As I do with any character, I tried to grok who they were and then see that bigger. If I only grokked everything that already existed, that was what had failed. I wanted to write a recognizable Hawkman, a recognizable Atom, a recognizable Wonder Woman, but see what they would be. If they weren’t limited, what would they be? If you just took what was there and saw more of it, I guess. I’ve always done that. I want my Wonder Woman to be Wonder Woman, I just want it to be a better Wonder Woman, but not the Scarlet Witch redux. I thought it was the right thing to do to move these guys forward and get them up and running. RILEY: This issue was really a turning point for DC. You’ve got these incredibly well-known characters who, up until this point, were fairly interchangeable. Green Lantern and Green Arrow are probably the exception—Denny O’Neil had done quite a bit in fleshing out their characters in Green Lantern. But here, you’re actually letting these previously stodgy heroes show flaws. It’s moving the story forward, but then it’s also letting the reader, I feel, relate a little bit more. Instead of being these perfect statues, they’re actually exhibiting a range of emotions. Granted, it has been taken to extremes over the years. Certainly we’ve seen the lines between hero and villain blur since your run. ENGLEHART: It did go a lot further later, particularly after Crisis in the ’80s …everybody became very dark. I’m a guy who likes heroes. I wanted to see them as human beings but heroic human beings as

opposed to flawed human beings who happen to be heroes. It was part of the process I was talking about a minute ago. I’d look at it and I’d go, “Well, this guy wouldn’t really like what this guy likes.” They would bounce off each other. Again, part of what I always did when I took over a book was I would grok the guy and go, “This is what I think he should be.” My method was, all right, he’s here and I want him to be there. The transformation, taking him exactly as we found him and then moving him, that’s a story right there, watching this guy. I took these guys as they were and saw more of them, and then let them play out as they kind of worked their way to wherever they were going to go. I was never into boom!—radical change just because I’m here. It’s not supposed to be about me. It’s supposed to be about [the characters]. RILEY: They were still recognizable. ENGLEHART: Yeah. RILEY: The Phantom Stranger’s appearance in your first issue was certainly a welcome one, as I’ve always loved the character. He appears and apprehends the Shadow Thief, who was behind the ice age. He first appeared with the League in JLA #103 (Dec. 1972), and continued to pop in and out as he saw fit. ENGLEHART: Yeah. I like him, too. [Earlier JLA writer] Len Wein had made him a semi-member, [and] he was part of what I could play with in

Taking a Cue from the King

Justice League. Again, I was really writing the Justice League. So anything that would kind of help me define the Justice League in a new light, I wanted to get at. The Phantom Stranger is not going to be a regular member still, but he’s part of it and he gives me an angle and a nuance that the others don’t have. And under the circumstances, I couldn’t very well say, “I’ll wait till next year before I start dealing with him.” RILEY: Right. There wasn’t going to be a next year. ENGLEHART: Yeah, let’s get him in there and see what that does to the thing. RILEY: “No Man Escapes The Manhunter!” in issue #140 (Mar. 1977) and its conclusion in the following issue really laid the groundwork for so many future stories—not only within this series, but your 1988 miniseries Millennium and the 2001 Justice League animated series two-part episode “In Blackest Night.” We see Green Lantern framed for the destruction of a planet by the bounty hunters, the Manhunters. Thinking he really did destroy a planet, Hal Jordan willingly allows himself to be apprehended by Manhunter Mark Shaw. In trying to free Hal, the League encounters a Guardian of the Universe who explains that the Manhunters are actually androids created by the Guardians themselves, to serve as an intergalactic police force and a precursor to the Green Lantern Corps. The Manhunters eventually rebel against their masters and begin recruiting humans into their cult.

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Jack Kirby’s Manhunter—seen at left on the Kirby/ D. Bruce Berry cover to First Issue Special #5 (Aug. 1975)— inspired Englehart to reinvent the concept as a precursor to the Guardians of the Universe, starting with (right) Justice League #140 (Mar. 1977; cover by Rich Buckler and McLaughlin). TM & © DC Comics.

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Playing Mantis (below) Marvel’s Mantis appears as Willow in JLA #142 (May 1977). Art by Dillin and McLaughlin. (right) That issue’s cover, by Buckler and Abel. TM & © DC Comics.

This is public defender Mark Shaw’s first appearance since First Issue Special #5 (Aug. 1975). Can you tell me what the inspiration was in bringing in Mark Shaw and weaving the Manhunters into the Guardians of the Universe mythology? ENGLEHART: I’m not sure. Obviously [this was] long before I wrote Green Lantern Corps, but I always liked Green Lantern quite a bit. I think I sort of gravitated towards him as the focal point of my first Justice League story. The Guardians were not a big deal [at that point]. They were there, but they weren’t nearly as big as [they became]—I did a lot with them in Green Lantern Corps. I think I was the first one to really get that far into them, but that was ten years later. Green Lantern led to the Guardians, [which] led to the Manhunter [Mark Shaw]. I had no idea—there was no thought in my mind about how this would all play out. I generally didn’t do that. I would do stuff that was interesting and then once it was there, then I would see where it would go next. The fact that [Shaw] became the

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beginning and the end of the whole sequence was not in there. That was, in fact, my first story [for the series]. That issue, I think it’s fairly clear, was written basically as two regular-sized stories. It wasn’t clear when I got started as to whether we were going to be able to do the double-sized thing, so it was written as two parts. Then when [DC] pulled the trigger and said, “Yeah, we’re going to do that,” they said, “That’s all well and good, but we only have one story for the previous issue.” So I went back after I wrote these and wrote that Shadow Thief thing. Anyway, so I started out with these guys. That later became the first episode of the Justice League animated series, too, which— RILEY: Included John Stewart instead of Hal Jordan. ENGLEHART: Yeah. I like John Stewart. RILEY: Yeah, he’s a great character. ENGLEHART: I had a good time with John Stewart later. We got off right out the door, people smashing in. The great thing about Green Lantern, in and of itself, is he does have this whole cosmic [mythology]— again, we didn’t really quite understand it in those days the way it is now, but it was established he had the Guardians and there was space involved and so forth. So I could do some sort of galactic epic, which seemed like a good way to start things off. If you’re going to say, “We’re doing something new here,” do a big epic that would get them out into space. Green Lantern is accused of stuff and then he admits it, which nobody understands. So you’ve got character conflict and people reacting and all that. It’s like all these things that seem like the right thing to do. RILEY: At the conclusion of this arc, Mark Shaw discovers he’s been manipulated, seemingly reforms and essentially gets a pass from the Justice League. He vows to “make

the Manhunter a real symbol of justice!” Did you initially have long-term plans for Mark Shaw after this storyline? ENGLEHART: It was organic. As I sit here, I’m trying to remember exactly when I decided how this was all going to play out. I think even when I brought him back as the Privateer, I still didn’t really have a long-term plan involved. Somewhere in there, I said, “All right, these are the elements I’ve got.” At this point, he tied into the Green Lantern thing. It was one of those Kirby characters. Kirby was just kind of throwing them all out at the time. Of the various ones that he threw out, I thought the Manhunters had some interesting aspects to them. RILEY: We also see more of Wonder Woman’s irritable behavior toward the Flash. While Barry Allen is momentarily knocked out in the course of their adventure, Diana admits “Please understand… I had no confidence in myself when the Justice League asked me to rejoin … I started putting you down because I had to reassert myself … and you, Barry, were the easiest target!” Diana had just completed months of trials to regain her status in the League after having lost and then regained her powers, as featured in Wonder Woman #212–222 (July 1974–Mar. 1976). Was focusing on Diana something you consciously chose or was it part of the organic process? ENGLEHART: No, I think that I consciously chose that. Again, what I did was I sat down and said, “Superman, Batman, Wonder Woman, Flash, Green Lantern—what am I going to do with each one of them?” That’s my brief here, to come up with something to do with each one of them. With Wonder Woman, I was kind of feeling like [her story should be], “I should be equal to these people, but it never kind of works out that way. That’s gotten under my skin now.” That’s sort of where I started with her. Again, as I say, everything at DC in those days was kind of limited. There hadn’t been that much exploration of it. I was basically the first one to kind of go, “What’s over here?” That was my opening shot for her really: Why isn’t she [on par with Superman and Batman]? That just kind of comes back to a sort of fanboy sort of thing, not in the story. It had to make sense in the story, but in my head, it’s like, “Superman. Batman. Wonder Woman. She’s not anywhere on the same real level as these other two guys.” Wouldn’t that piss her off? Every one of those characters, I said, “Who are they? Who would I like them to be? How does that affect other people?” I didn’t just say, “Let’s have an argument with the Flash because I need a page to fill.” There’s got to be a reason for it. RILEY: One of the strengths of Justice League historically is that you’ve got your heavy hitters—Superman, Batman, and Wonder Woman—but then you’ve got the second-tier characters who are the ones that you can really play with. You can only do so much with Superman, Batman, and Wonder Woman because they’ve got their own titles to carry. There’s nothing you can do in Justice League that wouldn’t require some editorial mandate from the owners of the other books. You can do more with other characters like Black Canary, Green Arrow, Atom, Elongated Man, and Aquaman. ENGLEHART: That’s always true, at any company with any group book. But still, I needed to do stuff with Superman and Batman as part of what I needed to do here. When I was doing The Avengers, I did stuff with Thor and Captain America. Again, you have to work it out. You have to say, “I want to do something here and coordinate it.” Certainly at Marvel, where books were more under the control of the individual writers, you just get in touch with the writer and say, “I need your character. I want to do this.” It was always a negotiation. You say, “I want him to be in Cleveland on Tuesday.” They go, “Well, he has to be in Dallas on Tuesday.”

So you go, “Okay, I’ll make it Wednesday or I’ll switch it to Dallas.” It was all very collegial. At DC, it was all Julie. He was in charge of not every superhero in this book, but most of them. To be frank, if I said, “I want to do something with Aquaman,” basically, I would have done it, from an editorial standpoint. They would have told the Aquaman [editor], “You have to defer to him because he’s the guy who’s fixing the whole thing.” RILEY: In reading through these stories again, I didn’t get the sense that there was a shared continuity, the way that there is today. ENGLEHART: Right. You mentioned Millennium earlier. When I did that, the whole point was it’s all tied into all the other books. That was the first time that I ran into guys going, “I’m not changing my story for you. Screw that.” So there were internal intricacies of doing Millennium. This stuff was simple. RILEY: The Construct makes its first appearance in “Return from Forever” in issue #142 (May 1977), hell-bent on wiping out humanity and proclaiming itself “the spirit of the world to come … the world of perfect automation … in the self-constructed form of an automaton.” We’re also introduced to Willow, a stunningly beautiful alien who is on a pilgrimage to save Earth from the Construct. Something seemed … familiar about Willow. Tell me about Mantis’ journey from Marvel to DC. ENGLEHART: I was at the San Diego [Comic] Convention when it was still held at the El Cortez Hotel. A fan came up to me and said, “Now that you’re at DC, does this mean we’re never going to see Mantis again?” I thought, “Maybe not.” I talked to Julie about it. I said, “I’ve got this really weird idea.” I do not know whether they just told him, “Accept anything from this guy” or whether he said, “It’s fine by me. It’s working,” or both. I said, Odd Couples Issue

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The Old Frontier (above) The prototypical Justice League in issue #144 (July 1977) and (right) the issue’s cover. Writer/artist Darwyn Cooke paid homage to this adventure in his celebrated New Frontier miniseries. TM & © DC Comics.

“Let’s bring [Mantis] back at another comic-book company.” She shows up and she goes, “I can’t tell you who I am and I can’t tell you where I came from, but I talk in this very distinctive manner.” It was fun. It was fun on a number of levels. Then later when I did Scorpio Rose with Marshall Rogers, she appears again under the name of Lorelei. I ended up doing Avengers: Celestial Quest (2001), where [Marvel] brought me back and said, “Fix her because now she’s gotten so f*cked up.” When I talk about what she’s been doing, I mention that she’s been there [in the DC Universe]. It’s all part of her legend. She just wanders from comic-book company to comic-book company. But it was really just some fan said, “What does it all mean?” I thought, “I can do that. I can make that work.” RILEY: I can’t imagine it happening today! Especially with DC and Marvel—they can be so antagonistic. ENGLEHART: It’s all very business and legal now. We had fun. That’s the bottom line about the Bronze Age. It was fun.

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RILEY: “The Origin of the Justice League—Minus One!” in issue #144 (July 1977) reminds me so much of Darwyn Cooke’s 2004 series DC: The New Frontier. ENGLEHART: Yes, New Frontier was based on it. [Darwyn has] said so. This was sort of my homage to DC. It was like, I’m going to build this super-detailed thing about what happened [in 1959] when these guys all got together. It was everybody from the ’50s— Lois in her pillbox hat, Vigilante, Rex, the Wonder Dog… Everybody, at some point, probably does the story that takes all of their childhood favorites. I can’t even say these were my childhood favorites because they weren’t super interesting, but they were part of my childhood. I didn’t really read the Blackhawks or Robotman or Vigilante or Rex, the Wonder Dog. Even then, in 1975, I expected that most of the audience wasn’t going to have the slightest idea who Rex, the Wonder Dog was! This was for the fanboy in me. And it was for the fanboy in Dick Dillin. I knew that I would bring in the Blackhawks for this and just give him a chance to draw those guys again. Then, having said, “Oh, boy, I’m going to have all this good fun and I’m going to do all this good sh*t,” then I’ve got to make a story out of it that actually works. It’s not enough for me to kind of go, “Look, everybody! I’m having fun!” RILEY: Yeah, “Look at all these forgotten characters!” ENGLEHART: Yeah, I had to build a story out of it. That’s fun, too, to turn all that into something that people would be interested in seeing and not just, “I had a good time.” RILEY: You created another significant event in “The Carnival of Souls” in issue #145 (Aug. 1977). Sorcerer Count Crystal summons the demon Azgore, is imbued with supernatural power, and then uses his new abilities to kill Superman. Ultimately, through the assistance of the Phantom Stranger and the rest of

JLA … the New Avengers?? The ghost of Superman, possessing the Phantom Stranger, implores his teammates to help him find eternal peace in writer Englehart’s Justice League of America #145. Original art page by Dillin and McLaughlin, courtesy of Heritage Comics Auctions (www.ha.com). TM & © DC Comics.

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Death and Life (left) The Dillin/Abel cover to the shocking JLA #145, the issue where Superman perishes (briefly). (right) Hawkgirl/woman joins, and Red Tornado rejoins, in #146 (Sept. 1977). TM & © DC Comics.

the League, Superman is saved from oblivion and returns to life. But the idea of killing a member of the mighty Justice League… ENGLEHART: Well, not just any member, Superman. You can’t kill Superman! So let’s do a story where we kill Superman. That was the genesis of that. I thought, “He’s the biggest statue of them all. Everything is built around this sort of immobile, immovable, impenetrable guy. Let’s kill him and see what happens.” Again, by the end of the issue, he’s back. I killed Captain America, or had Captain America quit, but he quit and stayed quit for quite a long time. Even then, in those stories, I would say, “You know he’s coming back, but how long can we do this?” In this case, it was just like, “Here’s an adventure in which he dies. How does that affect the Justice League? How does that affect him? How does he get out of this?” All of that kind of stuff was more of what I was interested in. Where I was trying to go with this was to come out of it at the end of the year with a much stronger, more nuanced Justice League so that all these characters could go and profit DC thereafter. It was just like he’s the one guy you can’t do anything to, so let’s kill him and see what happens. RILEY: Hawkgirl guest stars in the story and then becomes a full-fledged member in the next issue. ENGLEHART: I was—proud is probably a little strong for anything here—but she’s got exactly the same

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powers. Why isn’t she in this group? We only saw the Hawks sporadically, but they were tight. They were partners. There was no “He’s the hero and she’s the backup.” They both came from Thanagar to do their thing. And so I renamed her “Hawkwoman.” RILEY: The longstanding reason was the duplication of powers rule that the League had in place. ENGLEHART: Which is only a writer’s thing. They didn’t want to have to write two people with the same powers in a group like this, but I had the space. When I took over The Avengers, it was said to me that the Scarlet Witch’s thing is that she can do one hex and then she’ll fall down. I was told that’s how she works. I’m like, “Isn’t she a member of the Avengers?” RILEY: It’s sexist. ENGLEHART: Exactly. We’re talking the ’70s here. With DC, I don’t know if it was sexist so much as just duplication of powers, but from the moment I was told that, my first issue of The Avengers is the Scarlet Witch on the splash page going, “F*ck you guys!” It’s like, “No, she’s a member of the group. She’s not the mascot.” It was the same kind of deal over here. It was like, “It’s the ’70s. I’m a liberal. I don’t understand why this [woman] is not in the group.” I brought her in and as soon as I left, they took her out again. RILEY: But with the Justice League animated series— ENGLEHART: Right, she’s the one that’s in it and he’s out.

CRISIS ON EARTH-E(NGLEHART) Steve Englehart brought new levels of drama to Justice League. Here’s a quick look at some of the characters he focused on during his run: The Atom – “What earthly good is this power of mine, except on rare and special occasions?” asks Ray Palmer in issue #142. Willow, strange visitor from the stars (and Marvel Comics), helps the Atom restore faith in himself as they team up to defeat the Construct. However, this was not the last we would see of the Construct during Englehart’s run... Wonder Woman – Billed as “The Most Titanic Battle Ever!” on the cover of JLA #143, Wonder Woman’s knock-down, drag-out fight with Superman was due to the behind-the-scenes machinations of the Construct. “A Tale of Two Satellites” marked the culmination of Diana’s irritable behavior towards her fellow members, but not before she exclaims, “I’m just as much a part of this team as anybody else—but you all treat me like Snapper Carr!” Martian Manhunter – J’onn J’onzz appears in JLA #144, a flashback origin tale. Englehart posited that an invasion by White Martians actually brought the League together for the first time in 1959, teaming them with other heroes of that era—such as Plastic Man, the Blackhawks, and the Vigilante.

The Phantom Stranger – The enigmatic Stranger—having been offered membership in the League before, but never officially accepting—makes several appearances. He defeats the Shadow Thief in JLA #139, conducts a super-séance to communicate with a deceased Man of Steel in issue #145, and returns for the final Englehart-penned adventure, “The Key—or Not the Key” in issue #150. Hawkwoman – Having long played second fiddle to Hawkman, Englehart installed Hawkwoman as a full-fledged member in JLA #146. On Hawkwoman not being part of the team, Hawkman argues, “Traditions grow through inertia—not progress! The tradition against duplicating powers exists because no one has ever challenged it!” Shayera Hall would later go on to become one of the most popular characters in the Justice League animated series. Red Tornado – How many times can an android die? After having sacrificed himself twice before, Reddy is resurrected by the Construct and battles his teammates in issue #146’s “Inner Mission!” However, the Tornado rebels against his manipulator, declaring, “I will not be your pawn!” Having finally defeated the Construct, the Red Tornado is welcomed back with open arms and rejoins the League. Good timing, too—as the Tornado deduces that Mark Shaw has deceived the team into believing his methods are altruistic. At the conclusion of Englehart’s run, the Tornado addresses Shaw: “Your plan was to deceive human minds— but there are new realities now! The Justice League has gone beyond mere humanity, with my inclusion! Sleight-of-hand cannot fool a machine!”

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It’s a Snap! Former mascot Snapper Carr is unmasked as the menacing Star-Tsar on this Englehart/ Dillin/McLaughlin original page from Justice League of America #149 (Dec. 1977). Courtesy of Heritage. TM & © DC Comics.

RILEY: —clearly your run was the inspiration for including Hawkwoman. She’s such a strong character. ENGLEHART: As I say, the animated series started with this thing. Yeah, I liked having the Hawks together. They’re kind of a duo within the group, so that leads to more character interaction. RILEY: The Construct returns after having goaded Wonder Woman into attacking Superman. In issue #146 (Sept. 1977), the entity manipulates the Red Tornado, who was thought to be dead. Was there an editorial mandate to bring back Red Tornado? ENGLEHART: No, that was me. The story has always been that Roy Thomas thought up the red android, the Vision, and Denny O’Neil thought up the red android, the Red Tornado, independently at the same time. I have no reason to disbelieve that. The Vision just became such a superstar that the Red Tornado went way into the background. The Vision was intrinsically a far more interesting character. Roy had developed that character into something far more interesting than the Red Tornado had ever become. Again, I take them as I get them. I took

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him. He’s this fairly limited, sort of android-like being. “Now, how can I make something interesting out of that?” was kind of the deal. Of course, he’s the one who solves the ultimate problem at the end of the run. RILEY: The Construct was a cool concept, this villainous artificial intelligence. ENGLEHART: Certainly we were still a decade away from the Mac Plus and home computers. Computers existed—big, old, clunky computers. RILEY: The size of refrigerators. ENGLEHART: Yeah. That’s why, to an extent, that he’s the size of a refrigerator. The idea that “you could have intelligence in a computer,” again, that had been done before, but it was still a fairly rare concept in those days. I did like the idea of—I didn’t know the terms then, but the idea that if it’s artificial, you can’t really kill it. It can just be transferred someplace else. We didn’t have flash drives. Somehow or other, that sounded right for a computer. How would you get rid of it? You’d have to completely erase it. Again, I wouldn’t have even understood that in those days. RILEY: The next two issues, JLA #147–148 (Oct.– Nov. 1977), featured the annual team-up with the Justice Society of America. However, you didn’t write this—it was Paul Levitz and Marty Pasko. ENGLEHART: Yeah, I was looking forward to the JLA/JSA thing. Because I was getting toward the end of my run and people were looking past, where we go after this, I was informed that [I wouldn’t be writing this story]. I think Paul Levitz was involved in that. Maybe he made the decision. In any event, [he and Marty] were going to write this. I was like, “Oh, okay. That’s too bad.” RILEY: A chance to read your take on the first superteam would have been great. In any event, from here we go straight into the final two issues of your run on Justice League of America, where everything comes full circle. ENGLEHART: It’s really about one big story. RILEY: Dr. Light and the Key show up, while Mark Shaw returns as the Privateer. Was his swashbuckling look your idea or did you work with Dick on that? ENGLEHART: It’s mostly Dick. Again, I came up with the name Privateer and then he kind of ran with it and came up with the overall look of the character, which was fine with me. I don’t think the guy ever did anything with a sword because it was script in advance. I didn’t really see the sword in my head. When the sword appeared, it was like, “I’m already done.” That’s a very typical drawback to script in advance. You don’t get to play off the art. I don’t see what you’re going to see. These were going to be my last two issues. I knew that so I was able to put everything exactly where I wanted it to be in order to come out at the end, even though I needed a whole page of text to explain! RILEY: You also bring back old-time League mascot, Snapper Carr. Poor guy can’t catch a break—first he betrays the League after being manipulated by the Joker in issue #77 (Dec. 1969), then he suffers further humiliation when the Key seemingly bestows him with the powers of the Star-Tsar and sets him against the JLA again. Eventually, it is revealed that Mark Shaw was the real Star-Tsar. Ultimately, though, it all comes full circle with the inclusion of Snapper Carr. ENGLEHART: That was the point. It’s like you can’t do the Justice League without Snapper Carr. In those days, you couldn’t. Again, a lot of these guys were not super interesting to me because they’d never been super interesting. I say you can’t do Justice League without

Snapper Carr, but Snapper Carr was not a character that I was just lusting, “Oh boy, I’ve got great ideas.” If I’m on Justice League for a year and I’m revamping everything, you’ve got to do Snapper Carr. Also, two major Justice League villains and Snapper Carr helps you from thinking too much about the Privateer. He’s just part of the gestalt at this point, which is exactly what he’s supposed to be. He’s just one of the guys. No reason to look at him particularly. I’ve got to say I was pleased. I liked it that only the android [Red Tornado] could figure it out. He’s going to register everything. Nobody else noticed it. RILEY: It definitely proves Red Tornado’s worth to the team. Red Tornado always doubted himself and his ability—he wasn’t sure if he quite measured up. However, he figures out that Mark Shaw is the mastermind behind it all. ENGLEHART: Again, part of my brief and part of my general feeling toward these guys was, I wanted them all to come out at the end going, “I’m okay. At the very least, I’m okay.” The Atom had doubts, Red Tornado had doubts, they had doubts, but they worked them out. I was going to hand this thing off to whoever came afterwards, which oddly enough was Gerry Conway. Here everybody is reborn. RILEY: Anything you’d do differently, looking back? ENGLEHART: I don’t think so. I thought it went really well. I think if I had stuck around, if for some reason I had signed up for the duration, I would have developed some bigger-ticket villains in the second year. After I’d spent a year fixing the heroes, I would have fixed the villains in the second year. Again, Shadow Thief, the Key—I don’t think the Justice League had any formidable villain the way the Avengers have Kang or the Fantastic Four has Dr. Doom. They never had plots that involved grandeur, so nobody ever got to be grand in the process. I sort of picked the guys

who seemed like the biggest villains and tried to do some grandeur, tried to fix them at the same time. I think that was sort of the one difficulty in this. Do we really care that much about Dr. Light? That’s in fact sort of why I went for the Manhunter at the beginning, to come back to that. The Manhunter, just by one issue with Kirby, sort of loomed. He was more interesting than a lot of these guys, just because it was Kirby. RILEY: I really appreciate your time, Steve. Thank you so much! ENGLEHART: It was fun to go back.

No Man Escapes a Manhunter! (above) The Privateer is revealed as the villain of Englehart’s arc as the writer concludes his Justice League run in issue #150 (Jan. 1978). (left) The issue’s Buckler/Abel cover, featuring old JLA foe the Key.

SHANNON E. RILEY has been reading and collecting comics since 1978, when his dad bought him his first book, Detective Comics #475. He is an interactive producer and actor who has appeared on NBC’s Trauma and several Japanese TV shows. This is his first article for BACK ISSUE.

TM & © DC Comics.

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John Schwirian

Dead in the Water Our ill-fitted duo as rendered by Neal Adams: Aquaman is excerpted from the cover of The Brave and the Bold #82 (Feb.–Mar. 1969), one of the few times Adams has drawn the Sea King; and Boston Brand comes from the slipcase cover for the Deadman Collection.

At one time, there were a multitude of comics on the racks whose entire purpose was to bring together unusual heroes and have them team up to solve a crime. Books like The Brave and the Bold, Marvel Team-Up, DC Comics Presents, and Marvel Two-in-One come instantly to mind. However, before team-up books began to populate the comics stands, it was rare that two heroes paired off—especially since one had to take on the role of guest-star in another hero’s solo book title. This meant, of course, that the glory went to the series’ star. To have the gueststar actually save the day, well, that was practically unheard of! Yet such was the case in the bizarre teaming of Aquaman and Deadman in Aquaman #50–52 in 1970, where not only did Deadman save the world, but nobody, including Aquaman, knew that Deadman was there! The circumstances leading up to the meeting of the Avenging Ghost and the King of the Sea were just as strange as the printed story itself. When the team of writer Steve Skeates, artist Jim Aparo, and editor Dick Giordano took over Aquaman with issue #40 (July– Aug. 1968), they made waves by presenting a nine-part story arc in a time when two-part story arcs were rare. Having immediately shaken up the status quo with what has come to be known as the “Quest for Mera,” they were left with the quandary: What to do next? Writer Steve Skeates was happy that the year-and-a-half epic was over and took a breather with a dramatic single-issue tale. “I had come to believe,” Skeates explains, “that the best comic-book stories were those that were short and straight-to-the-point. Instead of struggling to make chapters resemble short stories, why not just write short stories instead?” So if Skeates wanted to stick with short stories, why did Aquaman #50 launch into a three-issue arc, complete with a Deadman backup feature? “Illness on the part of Jim [Aparo] was the primary cause of all this,” Skeates elaborates. “Illness which had already been responsible for Jim not inking the 46th issue and for forcing me to transform my 23-page final episode into two 16-page episodes [#47

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Deadman Begins Of the three issues with the Deadman backup, only Aquaman #50 (Mar.–Apr. 1970), with the first installment, mentioned it on the cover. Cover art by Nick Cardy. TM & © DC Comics.

and 48]. Jim had done a great job on issue #49, but it had been a struggle, and therefore (instead of having a relapse) he wanted to cut back on his workload. To accommodate Jim, Dick [Giordano] came up with the idea of doing an arc consisting of three 16-page episodes, and therefore, rather against my will, there I was, back working on a multi-part piece!” The story opens with Aquaman talking to his brother and arch-enemy the Ocean Master under a flag of truce, only to be ambushed by a band of strange aliens who zap him with an strange black energy that casts him into an alternate dimension— a rather clever plot device, actually, as it allowed Skeates to explore several themes of prejudice and intolerance while simultaneously giving Aparo the chance to draw all sorts of “psychedelic” settings and scenes. Now that the plot for the first 16 pages were set, one problem remained for Giordano: What to do with the remaining seven pages?

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The explanation was provided by Steve Skeates in a text piece published in Aquaman #52: “Days later, while Dick was still pondering this problem, the word somehow leaked out that there were now seven free, clean, and unused pages in the back of the Aquaman book. And suddenly, all of the younger writers (Gerry Conway, Marv Wolfman, Len Wein, and Mike Friedrich) started to deluge Dick’s office with new series ideas.” Gerry Conway confirms this statement. “I don’t recall this, but it sounds about right—any opportunity to write something back then would’ve brought all of us young snots out in force,” Conway says. “‘Young Snots” was the affectionate and ironic term the 20-something Denny O’Neil coined to refer to those of us who were younger than him. I think I was 18 at the time, so the term certainly applied to me.” However, Giordano wasn’t interested in a new, untested series. He wanted an established character to use in a way that would tie in closely with the events in the Aquaman story. The idea of using Deadman evolved during a conversation with his old friend, Neal Adams. Deadman was a character created by Arnold Drake and Carmine Infantino to take over the lead feature in Strange Adventures. In his first appearance [issue #205, Oct. 1967], Boston Brand, a circus acrobat whose gimmick was to perform deathdefying stunts in a costume and make-up that made him resemble a corpse, was murdered during an aerial performance one night by a mysterious man with a hook for a hand. Brand’s ghost was imbued by the goddess Rama Kushna with the power to possess the living and was sent forth to avenge his murder. Jack Miller took over the scripts and Neal Adams the art with the next issue, with Adams eventually assuming the writing as well. Deadman ran for 12 issues in Strange Adventures, only to be replaced by Adam Strange. Deadman’s story in the pages of The Brave and the Bold [issues #79 and 86], in Batman/Deadman team-ups connecting the Hook to the League of Assassins. After that, Deadman had nowhere left to go, and seemed destined for comics limbo. Giordano, who had edited the last five Strange Adventures of Deadman liked the character and suggested that Neal Adams revive him for the backup in Aquaman. “Unconsciously, or consciously,” Neal Adams recalls, “Dick and I never wanted Deadman to go away. But the bullsh*t that was going on at DC was too heavy to counter. And there was always something interesting to do. Dick had come to trust me as a writer, as did Julie [Schwartz], who shared the office with Dick. So I was in very friendly territory. Dick told me about the backup opportunity, and although I was busy on other stuff, we agreed that it might be a good idea to do a Deadman backup. Actually, agreed is not correct—agreed after a time would be correct. I didn’t think a backup was a good idea for Deadman. He’s a lead feature type character, not a backup. “So while Dick was proposing the idea, I was ruminating that I wasn’t enjoying these long, drawn-out, Skeates stories,” Adams says. “You could almost feel the burden that Steve was under, as he dragged these things out. Dick had brought both Denny [O’Neil] and Steve over from Charlton. And I chose Denny, because his stories chugged along,

and got to the point. So I wasn’t thrilled at the idea of backing up one of these ‘chuggers.’ At the same time, it seemed to me, a fast moving backup, whatever it would be, would reflect poorly on Steve’s efforts. And I liked Steve on a personal basis. “Much of the work was done on the Aquaman stuff,” Adams continues, “so I asked Dick if I could read it, and get some sense of the story. And sure enough, it was one of those chuggers. But while I was reading it, a thought came to mind: What if I could write a totally ’nother story that could interweave in and out through Steve’s story, but not cause it to change by one word, as if it were a ghost story? Then I took the thought further. What if I could actually make it part of the Aquaman story, and somehow explain the story? The thought made me a little giddy, because the idea seemed so preposterous. But Steve had left so much stuff lying around that it just might work if I planned it carefully, but at the same time, present it casually. By morning, I was convinced I could do it. I proposed it to Dick. Steve had already written all the chapters, but Dick was able to assure him there was no rewrite necessary, and that this would simply support his story.” Steve Skeates agrees with this assessment of events. “Probably my biggest contribution to these three issues,” Skeates chuckles wryly, “is what I didn’t write. It seems, you see, that it wasn’t until I was

just about to start writing my third and final episode of this series that it was finally decided what would be taking up the slack of those last bunch of pages in each of these three issues—that it would be a related Deadman story, one that would interact with our Aquaman epic. By then, I had already devised a reason and a manner in which Ocean Master had suddenly realized that Aquaman was his brother, but, upon learning of the nature of the backup here, I decided to forget about those particular ideas and let Neal (who’d be both writing and illustrating the backup) handle the Ocean Master’s backstory, thus insuring that these two three-parters would be interacting even more than most likely had originally been planned!” Like Yin and Yang, Skeates’ and Adams’ scripts did indeed complement each other. Skeates wrote the Aquaman adventure, deliberately leaving plot holes for the backup, while Adams patiently considered possible plots for Deadman. Skeates summed up the extent of their collaboration in the text piece printed in Aquaman #52 (July–Aug. 1970): “A few weeks later, I made another rare visit to the office, and found Neal waiting for me. He hadn’t yet started to plot the backup; he was waiting to see what happened at the end of my story. I handed him the third chapter. He read it over and corrected a few of the more obvious spelling mistakes. Then… Odd Couples Issue

Two A’s are Better Than One Jim Aparo meets Neal Adams, from Aquaman (hey, a third A!) #52: (left) an Adamsproduced Deadman page featuring Ocean Master, and (right) panels from the Skeateswritten/Aparo-drawn conclusion to the Aquaman tale repurposed into the Deadman story. TM & © DC Comics.

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Ghostly Guest-Star (top) An undated Adams Deadman sketch from Heritage Comics Auctions (www.ha.com). (below) Deadman takes possession of Ocean Master in this specialty piece currently for sale at nealadamsstore.com. Courtesy of Jason Adams. TM & © DC Comics.

“‘Wait a minute, Steve. You didn’t answer this question… or this… or even this!’ “‘Yes, I know. I saved those for you.’ “‘Thanks loads!’ “And I left secure in the knowledge that Neal would neatly tie everything up.” And tie it up he did. Adams took the approach that Deadman was the only person aware of the true threat, and he alone could stop it. Rama Kushna, knowing that the Ocean Master had allied with alien invaders bent on conquering the Earth (and then giving rule of the seas to the Ocean Master), ordered Deadman to stop them. Spying on the aliens, Deadman learned of their diabolical plans and that they intended to dispose of Aquaman for the Ocean Master. In an attempt to learn more, Deadman possessed the arch-villain, which jarred the criminal’s memory, curing him of his partial amnesia. His memories returned, and Ocean Master realized that he had sent aliens to kill his brother. Thus, he arranged to meet with Aquaman to try to warn him, only to unwittingly lead his brother into the aliens’ trap. Deadman, unable to stop the apparent destruction of Aquaman, set out to defeat the aliens. However, he, too, was banished to another dimension by the aliens. In a feat of amazing parallel structure, Adams has Deadman traveling through an alternate realm with a beautiful maiden at the same time Aquaman is doing the same in his part of the book. Deadman, with the help of the extradimensional maiden, escaped back to Earth in time to put a stop to the aliens’ invasion as well as encouraging Mera, Aquaman’s wife, to find the strength to retrieve her husband from his otherworldly banishment. And throughout it all, no one—except the readers— had the slightest clue that Deadman was the hero who saved the day. By day, JOHN SCHWIRIAN is a mild-mannered high school English/special ed teacher, but by night, he dons the role of comic-book historian. In addition to his passion for all things Teen Titans, he explores the sunken regions of the DC Universe in his self-published fanzine The Aquaman Chronicles.

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Lex Carson

At the height of the United States’ Cold War with the Soviet Union, take a straightlaced, somewhat conservative, blind New York lawyer and pair him with a Russian jet-setting femme fatale, and you easily have a very unlikely relationship taking place. That’s what happened when Matt Murdock, also known as the costumed crimefighter Daredevil, began a partnership with the former Soviet and S.H.I.E.L.D. spy Natasha Romanoff, a.k.a. the Black Widow. The concept was intriguing. Murdock had only one romantic interest since Daredevil #1 (Apr. 1964). On the other hand, Romanoff had not only been previously married, but also had a crush on Tony Stark (a.k.a. Iron Man) and more recently had been romantically linked with the Avenger known as Hawkeye! Be that as it may, in the early 1970s, Daredevil—“the Man without Fear”—boldly coupled with the Black Widow. Since his first appearance in the Marvel Universe, Matt Murdock had displayed his passion only for his secretary Karen Page. Although Daredevil’s later scribe Frank Miller would reveal that Murdock had an earlier affair of the heart with his college classmate Elektra Natchios, in 1971 readers only knew of Matt’s persistent, sometimes unrequited interest in Karen. And at this particular time, the two had agreed to end their relationship. Page had recently moved to Los Angeles to pursue an acting career. It was a career move that did not include accommodations for Matthew Murdock. Similarly, the Black Widow had also recently parted ways with her long time romantic interest, Clint Barton, a.k.a. Hawkeye.

Oh, What a Tangled Web… Writer/artist Frank Miller returned Black Widow to the pages of her ex-partner/ lover’s title in Daredevil #188 (Nov. 1982). Original art courtesy of Heritage Comics Auctions (www.ha.com). © 2010 Marvel Characters, Inc.

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LOVE AT FIRST WIDOW’S BITE

The Streets of San Francisco (below) Our Bay City heroes as rendered by fabulous Fred Hembeck. From the collection of Patrick Starnes. (right) The “new” Black Widow debuts in Amazing Spider-Man #86 (July 1970). Cover by John Romita, Sr. © 2010 Marvel Characters, Inc.

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Daredevil’s writer at the time, Gerry Conway, explains his vision for the two: “It was my idea to team up Daredevil and the Black Widow, mainly because I was a fan of Natasha, and thought she and Daredevil would have interesting chemistry. I’m not sure what I based this on, other than my desire to bring the characters together. I’m a sucker for redheads!” Natasha Romanoff (now identified as Natalia Romanova in the current Marvel Universe) had recently been updated in Amazing Spider-Man #86 (July 1970)—her hair, traditionally curled short and black, was now a shoulder-length dark hue of red. Shortly thereafter, the Black Widow became Marvel’s first female character to become a regular star in her own feature in Amazing Adventures vol. 2. This series began with much acclaim with writer Gary Friedrich and tremendous artwork from John Buscema. However, after eight issues the Widow had been replaced after much greater fan interest was shown in Neal Adams’ “Inhumans” feature in the same title. Daredevil’s own title was also struggling to stay solvent. Despite some great Gene Colan artwork, and recent appearances by Spider-Man, Iron Man, the Sub-Mariner, and Nick Fury in the series, sales were at such a low that Marvel announced in its Nov. 1971 “Bullpen Bulletins” page that Daredevil and Iron Man would be combining into one title with both heroes as co-stars. Gerry Conway recalls, “As far as I know, Daredevil wasn’t in imminent danger of cancellation, but there was a feeling the series was treading water and needed something to boost it creatively.” The Iron Man and Daredevil double-feature magazine never came to fruition. What did take place was the “boost” Conway was hoping for. The pairing of Daredevil and the Black Widow would prove a commercial and creative success with the Widow becoming a recurring guest star from issues #81 through 124, and serving as a titled co-star of Daredevil’s title from issues #93 to 108. Part of Matt Murdock’s initial attraction to Natasha might have been the Widow’s new look. She had been a part of the Marvel Universe for years, initially wearing formal dresses and box hats and later appearing in a Soviet-designed ensemble featuring suction boots, a cape, fish-net stockings, and a cat-mask. However, with her relaunching in Amazing Spider-Man, the Widow had designed herself a new outfit to be the envy of her jet-set crowd, complete with seamless anti-gravity boots and a S.H.I.E.L.D.-designed “Widow’s Web” for swinging and climbing. Her face was unmasked, and her costume was a jet-black, skin-tight, extreme form-fitting jumpsuit. This look of the Widow has been the depiction comic readers are most familiar with. The anti-gravity boots have been either removed or ignored by the Widow’s writers and editors over the years. However, the costume design has endured. In her sultry portrayal of the Black Widow in 2010’s blockbuster Iron Man 2, Scarlett Johansson wore a similarly snug black battlesuit. In the film, upon first seeing the Black Widow, Tony Stark quips what Matt Murdock may have also initially thought of the Black Widow: “I want one!” The stars seemed aligned in New York City when the Black Widow first saw Daredevil battling the Owl and subsequently being knocked unconscious and dropped from an aircraft into the Hudson River. She instinctively plunged into the deep and rescued the unconscious DD. Later, when Daredevil recovered, he was unaware of the Widow’s heroic actions. It took some time for him to later encounter the Widow and thank her for her help.

What Matt saw first in Natasha was a woman in need of an attorney. While battling Mr. Hyde, who later was revealed to be an android creation of the alien Mr. Kline, the Black Widow appeared to throw Hyde to his death from a New York City rooftop. Appearances can be deceiving, and Murdock was convinced of the Widow’s innocence. This did not prevent New York’s district attorney and Matt’s best friend, Franklin “Foggy” Nelson, from vigorously prosecuting the Black Widow to the fullest extent of the law. It was later revealed that Foggy was being blackmailed by Mr. Kline to pursue the Widow’s prosecution. Matt saw that Natasha was in need of good legal defense and opposed his former law partner and friend to represent the Widow.

GO WEST, YOUNG HEROES! The Black Widow’s appearances in Daredevil’s title allowed her much more character development. In Daredevil #82 (Dec. 1971), readers learn that Natasha’s last name is “Romanoff.” In the next few months, it is established and reinforced that the Black Widow is an independent, self-reliant, and highly competent heroine, whose only need for a partnership with Daredevil is because she enjoys his company. However, despite her apparent self-confidence, the Widow continues to ponder her long-standing, self-proclaimed “Widow’s Curse” to hurt any person that she comes to love. She often wonders if this will continue to be her self-fulfilling prophecy with Matt Murdock. Murdock is able to eventually able to clear the Widow’s name. Matt quickly reveals his secret identity to Natasha and has an immediate appreciation of her love of adventure and crimefighting. Natasha is a far cry from Karen Page, who never understood Murdock’s love of superhero antics and vigilante justice. Following the Widow’s much-publicized trial, Daredevil takes advantage of a generous offer from the apparently wealthy Natasha to get away from the Big Apple. Murdock leaves his estranged friend Foggy Nelson and New York City behind and

relocates with his new partner, the Black Widow, to San Francisco. The Widow had acquired a one-year lease on a scenic North Shore mansion in the Bay Area. Writer Gerry Conway explains the migration to the West Coast: “I’d just spent some time in San Francisco a month or two before, and I’d fallen in love with the city as a location. I thought the idea of Daredevil, who spent so much time leaping and diving from rooftop to rooftop, doing this in such a hilly city could make for spectacular visuals. I’ll admit the idea of a blind hero jumping around the rooftops that gave Jimmy Stewart vertigo appealed to me as well. Also, it would allow him to be the costumed hero for an entire city, which would allow him to flourish without having to defer to more superpowered heroes like Spider-Man or the Fantastic Four.” Conway orchestrated the Widow’s introduction to the series in Daredevil #81 (Nov. 1971) and oversaw their move to San Francisco and early adventures of the duo. Conway says, “San Francisco’s cultural identity was very film noir. Gene Colan’s art had terrific noir aspect, and I believed the San Francisco local would play to Gene’s artistic strengths.” Some might believe that Matt Murdock and Natasha Romanoff were the first unwed male-and-female partners of the Marvel Universe. However, that distinction goes to master of many sizes, Hank Pym, and Janet van Dyne, a.k.a. the Wasp. Reed Richards and Sue Storm, of course,

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Natasha Dives In (left) Black Widow made such a splash in Daredevil #81 (Nov. 1971) that she was soon co-starring with the titular titan. Cover by Gil Kane and Frank Giacoia. (below) An undated “Dare Devil” painting by the late—and underappreciated— Don Newton. Courtesy of Heritage Comics Auctions (www.ha.com). © 2010 Marvel Characters, Inc.

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teamed as part of a larger fantastic foursome prior to their protector. Petrovich was also a skilled fighter, weapons eventual nuptials. The actual distinctive first for Daredevil expert, and weapons designer. He would be wary of this and the Black Widow is that they are the first major Marvel new “partnership” of his female ward and Murdock for heroes to move outside of the New York City area. some time. (Current readers of Marvel Comics will note Aside from the ever-wandering man-monster the Hulk, that Petrovich’s parenting and tutelage of the young at this time all of the costumed heroes of the Marvel Natasha has been significantly downplayed. Her current Universe hung their cowls in Manhattan. portrayal indicates that Tasha spent most of Portraying an unwed couple in the her youth under the auspices of Soviet early ’70s was challenging for these Black Operations Spy training where creators at Marvel Comics. The politics she developed yet another romantic of not living alone in the Marvel relationship, with Bucky Barnes.) Universe came with conditions as After relocating to San Francisco, well as a need for the approval of the Matt Murdock and Natasha Romanoff Comics Code Authority. The living had to create a sensational ruse to arrangements at their North Shore maintain Murdock’s secret identity. mansion dictated that Natasha live Not concealing herself with a mask, on the first floor of the mansion. Matt the Black Widow had foregone any took up lodging on the second floor. illusions of a secret identity. Also joining the couple at the San However, Murdock was still trying Francisco residence was the Widow’s to maintain his. Bayside media gerry conway longtime guardian, protector, and quickly speculated that since Daredevil current chauffeur, Ivan Petrovich. and Matt Murdock, who were both Readers quickly learn that Petrovich was a more-than linked to the Black Widow in New York, were one and competent soldier for the Soviet Union during World the same person. The solution for Murdock was to War II. He had found the infant Natasha Romanoff in have his old friend the Black Panther masquerade as a war-torn Soviet area. After rescuing the child and Daredevil in the public presence of Matt Murdock to determining that she had no living relatives, Ivan had preserve the facade that Daredevil and Matt Murdock adopted the young child and had served as her were not the same person.

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Here’s Why Gene is “the Dean” (opposite page) A terrific 2007 DD/Black Widow commission by longtime Daredevil artist Gene Colan, with color art by Dave Gutierrez. Courtesy of Alex Johnson. (this page, left) The Kane/ Giacoia cover to #90 (Aug. 1972). Two issues later, BW would be added to the cover billing. (right) Hawkeye takes aim in Daredevil and the Black Widow #99 (May 1973). Cover by Romita. © 2010 Marvel Characters, Inc.

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GERBER’S BABIES

Sam Kweskin, and Sal Buscema. It was also the age of one A period of time passed where Natasha and Matt of Marvel’s most famous art directors, and many Daredevil enjoyed a strong relationship. Interestingly, for the first covers often featured pencils from John Romita, Sr. The thought process for the late Gerber’s time, there were supervillains who imperiled the City Daredevil stories are not easily detailed. by the Bay and of course they were confronted Daredevil’s former writer and one-time Marvel by the new crimefighting couple. Despite editor-in-chief Gerry Conway notes, “I don’t initial protests from San Francisco’s really recall having any conversations police commissioner, Robert “Iron with Steve about the book, other than Guts” O’Hara (who also happens to to tell him what I had in mind with be the uncle of Shanna the She-Devil) some plot threads I had left hanging.” that San Francisco does not need Gerber did show a penchant for assistance from superheroes, the connecting some of his own plot commissioner eventually changes threads by introducing characters to his demeanor after a rogues’ gallery the series that he had previously written of Daredevil’s old foes—Purple Man; elsewhere: Shanna the She-Devil, Electro; Melvin Potter, the self-styled Nekra, and the Mandrill, as well as Gladiator; the Stilt-Man; and Mr. one of his signature characters, the Fear—initiate criminal plots in San steve gerber Man-Thing. Slowly, under Gerber, Francisco. Despite almost constant Natasha’s role in the title diminished. scrutiny and peril, Daredevil and Upon taking the horns of the Man without Fear’s the Widow thrive in their new locale. Their bond title, Gerber immediately introduced a challenge to begins to grow and they soon speak of love. Steve Gerber began his tenure as writer in Daredevil the couple when the Black Widow’s old boyfriend, #97 (Mar. 1973) and remained through issue #117 Hawkeye, showed up at the North Shore Mansion and (Jan. 1975). Along the way, art chores were continued to attempted to rekindle the fires between him and Natasha be handled by Gene Colan, and later Don Heck and (Daredevil #99, May 1973). Daredevil’s confrontation with Bob Brown. Occasional art assists came from Syd Shores, Hawkeye was not yet clearly resolved when the Avengers visited San Francisco to recruit Daredevil and Widow to their ranks to help them fight Magneto. To repay the Black Panther for his recent help, the couple agrees to do so. After the ultimate defeat of Magneto, the Widow had reservations about continuing her relationship with Matt, and stayed in New York with the Avengers. However, she soon returned to San Francisco and her relationship with Matt Murdock continued. Steve Gerber also created a complex plot by a cadre of supervillains. When the Widow returned to San Francisco in Daredevil #101 (Aug. 1973), she found her partner embroiled in combating a series of mysteriously connected crimes. The mastermind behind the scene was eventually revealed to be none other than Murdock’s current law partner, Kerwin Broderick. In their ultimate battle, Broderick mutated himself into a powerful organic entity known as Terrex and seemed on the verge of overtaking the city. However, Daredevil and the Black Widow, aided by Captain Marvel, Moondragon, and Angar the Screamer, were able to destroy Broderick and his forces. The aftermath of the Terrex incident proved to be the beginning of the end of the relationship between Matt Murdock and Natasha Romanoff. In fact, the issue that showcases the showdown with Kerwin Broderick, Daredevil #108 (Mar. 1974), is the last one titled Daredevil and the Black Widow. Readers had become aware that during the Terrex saga, and Matt appeared to have developed some sort of relationship with the self-proclaimed goddess Moondragon. Just when the Widow began to question Daredevil about the nature of this relationship, Murdock hears a television report that his former partner and friend Foggy Nelson has been shot in New York City. He immediately asks Natasha to return with him to New York, but she curtly declines. She had not yet forgiven Foggy Nelson for his fraudulent prosecution of her earlier in New York. Without his partner, Daredevil leaves for New York, courtesy of Moondragon and her spaceship. Natasha tells Ivan that her relationship with Matt was over before it had truly begun. Writer Steve Gerber was clear in how he felt about the dynamic between the heroic partners. In a 1997 interview presented on ManwithoutFear.Com, he noted, “…I didn’t miss her. Daredevil works better as a loner.”

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IS BREAKING UP HARD TO DO? Without Natasha Romanoff, what occurs next for Matt Murdock is an unusual string of personal events. On the flight back to New York, Moondragon confesses her love for the sightless adventurer, but she tells him that the two of them are worlds apart. She drops him off in New York and leaves earth to meditate in deep outer space. Upon his arrival in New York, Matt finds his friend Foggy slowly recovering. He also encounters Nelson’s younger sister Candace, a student at Empire State University, who immediately begins a flirtation with Matt. Despite his initial misgivings, Murdock has dinner with Candace and appears to develop an interest in the young lady. Daredevil is also assisted on his first adventure in New York City by the almost-always scantily clad Shanna the She-Devil. A strange set of circumstances, indeed, as our Man without Fear, who had been monogamous with Karen Page for years, had become involved in multiple relationships with several striking women of the Marvel Universe. Back in San Francisco, the Black Widow is attacked, defeated, and captured by the underworld organization Black Spectre and their mutant leader the Mandrill. The Mandrill’s mutant power is to make all women love and unconditionally obey him. His power extends even over the strong-willed Natasha Romanoff. He brings her to New York along with his criminal organization and becomes embroiled in a battle with her former partner Daredevil. The sinister plot of the Mandrill is defeated and the Black Widow is released from his power. Natasha’s independent nature is displayed once again. While Matt stays in New York for some time with the still-recovering Foggy, Natasha returns to San Francisco with Ivan. For several weeks, Daredevil and the Black Widow have no contact. Murdock becomes involved in an adventure to stop a new villain, the Death-Stalker, and his henchman, the Gladiator, in the Florida Everglades. Meanwhile, the Black Widow seems to have exhausted

all of her personal income. She loses her lease on her mansion in San Francisco and begins living in the back of her limousine, still befriended by her guardian Ivan. Daredevil returns briefly to San Francisco, but has made a decision to move back to New York. Again, Natasha refuses Matt’s offer of what she refers to as “charity” and vows to stay in San Francisco until the two can meet again as equals. When Daredevil returns to New York, he does so with a new writer. Daredevil #117 (Jan. 1975) marks the last issue of Daredevil for Steve Gerber. After one fill-in issue by Gerry Conway, new scripter Tony Isabella brings the Widow back to the Big Apple and into Matt Murdock’s life once again.

The Woman without a Country (above) One-time Soviet spy Natasha Romanoff, in a 1979 watercolor illo by Ernie Chan. Courtesy of Heritage. (left) The Romita cover to Daredevil #106 (Oct. 1973). © 2010 Marvel Characters, Inc.

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In Daredevil #124 (Aug. 1975), Natasha finally leaves Matt again to discover who she really is. New Daredevil writer Wolfman would quickly introduce the socialite Heather Glenn and create a relationship with Heather and Matt. Wolfman recalls little about the Daredevil and Black Widow team: “I don’t remember anything about Black Widow at all in Daredevil. I remember what I actually write, but not always what I didn’t.” Natasha relocates back to the California Coast, this time Los Angeles, and helps form and chair a new super-group the Champions (written initially by Tony Isabella). While in New York, Matt Murdock again becomes a law partner again with Foggy Nelson. Over the years, each writer had portrayed the couple going through a number of literal bumps and bruises. Matt and Natasha physically fought on a number of occasions, not only when the Widow was mesmerized by the Mandrill, but also when she occasionally fell into fits of rage. On one occasion, Daredevil slaps the Widow’s face to bring her out of her violent state. The physicality of their relationship is not one-sided. The Black Widow enjoyed sparring with her partner in his private New York gymnasium, where blows were often struck with bad intentions. Speaking of bad intentions, the Widow felt free to slap the Man without Fear’s wrists if she felt he was getting “too liberal with his hands.”

JUST FRIENDS

Old habits die hard, and on occasion Matt and Natasha have continued to see each other socially. However, they soon discovered that the true nature of their relationship was a deep friendship. In Daredevil #188 The DD/BW relationship and the partnership (Nov. 1982), when Natasha is poisoned by the ninja ended in 1975 after a last adventure in New York. assassins known as “the Hand,” Daredevil comes to her Tony Isabella recalls, “I brought the Widow back to rescue. The Widow has returned the favor on more than New York City to end her relationship with Daredevil. one occasion. In Daredevil #190 (Jan. 1983), after quickly I felt both characters were stronger on their own.” deducing Matt’s deep feelings for Elektra, she helps him rescue and reanimate Elektra’s body. Later still, The Widow helped Daredevil, Nick Fury, and in Daredevil #201 (Dec. 1983), Natasha solves Fury’s Agents of S.H.I.E.L.D. stop a terrorist a murder case for Daredevil while he is plot of HYDRA’s. In the process, she gained recuperating from injuries received from a new appreciation for her longtime his nemesis Bullseye. Over the years, nemesis Foggy Nelson. the two have continued to cross paths. Isabella notes, “Since I was writing Tony Isabella perhaps best sums the Black Widow out of the book, up Matt and Natasha’s relationship: it didn’t seem right to leave this “They were both trying to make loose end dangling. I also thought the relationship work, but, as I saw it would add to the sadness of the it, it simply wasn’t meant to be.” Matt/Natasha breakup if the After their long history of Widow made peace with Matt’s love, partnership, and commitment, best friend.” The Widow became fans often fondly reminisce on the uncontrollably fixated on rescuing tony isabella ’70s partnership of Daredevil and the kidnapped Nelson from the the Black Widow. Their adventures clutches of HYDRA, and was together left each character stronger eventually successful in doing so. However, Isabella’s plans for Daredevil were never to be presented. After and more developed while providing years of exciting only four issues he was replaced by writer and new adventures for their fans. Who knows? Daredevil and Marvel editor-in-chief Marv Wolfman. Isabella notes, the Black Widow might reunite some day to thrill their “The incoming editor-in-chief wanted to write the fans again. book himself, so he took it away from me. Rank has its privileges. I wasn’t thrilled, but there was nothing I could do about it.”

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LEX CARSON is a comic historian and a somewhat regular contributor to BACK ISSUE. He is also an active editor of the Wikia Marvel Database Project.

John Wells

The right writer. The right artist. The right time. Green Lantern/Green Arrow was that odd mix of fire and water, liberal and conservative, reality and fantasy, that proved that sometimes opposites do attract. Writer Denny O’Neil and artist Neal Adams had arrived at DC Comics independently of one another in the latter half of the 1960s shortly after the company’s merger with the Kinney National Services. The gregarious Adams brought a realistic advertising-industry slickness to his comics work—mostly covers at first— and quickly began knocking down the barriers previously applied to page layouts and color palettes. A journalist by trade, O’Neil was comparatively neutral in making his own mark on comics, going so far as to employ the pseudonym Sergius O’Shaughnessy when penning a more personal social commentary piece like “Children of Doom” for Charlton Comics. At DC, O’Neil passed on an offer from editor Julius Schwartz to work on Batman. The character “was still in the throes—or in the death throes, perhaps—of the camp phase, and that didn’t have very much appeal for me,” O’Neil told Mike W. Barr in Amazing Heroes #50 (July 1, 1984). “I chose to do Green Lantern for him instead because that was a character that I had remembered enjoying as a kid.” O’Neil’s Lantern, secretly radio broadcaster Alan Scott, was mostly out of the limelight by this point, having been succeeded by test pilot-turnedinsurance salesman Hal Jordan in 1959. What both had in common was an emerald power ring that enabled them to create energy constructs, deflect projectiles, fly, and generally occupy the higher end of the superhero scale. Portentously, O’Neil’s debut story in 1968’s GL #63 (left) sported a cover by Neal Adams, the artist’s first and only contribution to the title prior to issue #76. Writer and artist continued to hover in the same orbit without actually coming into direct contact. Adams, for instance, created an entirely new look for all-but-dormant DC bowman Green Arrow in a Bob Haney-scripted story in The Brave and the Bold #85 (Aug.–Sept. 1969) while O’Neil had the hero’s alter ego Oliver Queen lose his fortune in Justice League of America #75 (Nov. 1969), imbuing him with the start of a new empathy for the common man (and romantic feelings for widowed teammate Black Canary). When O’Neil and Adams finally collaborated on the landmark Batman story “Secret of the Waiting Graves” (Detective Comics #395, Jan. 1970), the result was electrifying.

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In Brightest Day The Emerald Crusader in a painting by the incomparable Neal Adams. This original artwork is available for sale at www.nealadamsstore.com. Special thanks to Jason Adams for the scan. Green Lantern TM & © DC Comics. Art © 2010 Neal Adams.

On Green Lantern, O’Neil became part of a rotating THE GREEN TEAM band of writers, fairly typical of a Schwartz comic but Between 1968 and 1969, Green Lantern’s sales had increasingly maddening to readers like Alan Brennert. dropped a precipitous 24% and sell-through of a “I’m beginning to think Hal Jordan is a bit of a psycho,” typical issue averaged 48% (versus a comparatively Brennert declared in #75’s letter column. “Within the healthy 60%). Even allowing for the fact that comics past year, he’s had two jobs, three emotional upsets sales data was notoriously spotty and difficult to over girls, and about 65 fits of depression. … gauge, the outlook was grim. O’Neil pictures him as more of a Hal Jordan “The book was faltering,” O’Neil recalled masquerading as Green Lantern; [Gardner] in the Amazing World of DC Comics #4 Fox pictures him as Green Lantern (Jan.–Feb. 1975), “and Carmine masquerading as Hal; and [John] [Infantino, then DC’s president] said, Broome is the equalizer, blending both in effect, ‘If you have any ideas, go with personalities. It stands to reason that them.’ I had for a long time wanted to when three totally different viewpoints see if we could combine a journalistic combine in a series, the result is hash.” concern with the flamboyance and More generally, DC’s audience was fantasy that’s part and parcel of superbeing increasingly hijacked by upstart hero concepts. By happy coincidence, Marvel Comics, whose cool factor and Julie—and Neal Adams—were thinking acceptance of the younger generation along approximately the same lines.” stood in sharp contrast to stories Fresh off writing an anti-pollution denny o’neil like Green Lantern #71’s “Hip Jordan two-parter in Justice League of America Makes the Scene” that characterized #78–79, O’Neil prepared to take aim at long-haired types as foolish and dishonest. Even Hal other societal ills. “We would dramatize issues. We would Jordan’s regular artist and co-creator Gil Kane bailed not resolve them,” O’Neil wrote in Green Lantern/ on the book effective with #75, initially moving to The Green Arrow #1 (Oct. 1983). “We were not in the polemic Flash before becoming ensconced at Marvel. business. I was smart enough to know enormously complex problems couldn’t be dissected within the limitations of a 25-page comic book and humble enough to know that I didn’t have solutions anyway.” For O’Neil, Green Lantern represented the ultimate policeman, empowered by the blue-skinned Guardians of the Universe to enforce law and order. Although originally portrayed as a cocky blue-collar ladies’ man, he was about to become a symbol of the more privileged Establishment. “As I mulled possible plots, I realized that Green Lantern needed a foil, someone to argue with. Green Arrow was the logical choice, and not because of their first names, either,” O’Neil elaborated in 1983’s Green Lantern/Green Arrow #1. Noting the archer’s new costume and changing fortunes, the writer asked, “Why not give him a new characterization, particularly since the old one was so undefined that nobody really knew what it was? He could be a lusty, hot-tempered anarchist to contrast with the cerebral, sedate model citizen who was Green Lantern. They would form the halves of a dialogue on the issues we chose to dramatize.” Of his first story combining the heroes, O’Neil related in AWODCC #4, “I didn’t think Neal was going to draw it at the time; I thought it was going to be Gil Kane. For that story I wrote two pages of character and atmosphere notes, something very rare for me, since I generally leave that up to the artist. It so happened that Adams got the script, got—I assume from what he said—turned on by it, and other people got turned excited about it too: Julie … Carmine…” Learning of Green Lantern’s impending cancellation, Neal Adams had begged Julius Schwartz to allow him to draw the final issues. “All I wanted to do was draw Gil Kane’s character and live up to his image of it,” he explained in Comic Book Marketplace #40 (Oct. 1996). “Julie told me I had too much to do, but I knew I could do it. And I wanted to do it. I had done so much with Batman that everybody’s eyes were bugging out. So what was I going to do with Green Lantern?” After reading O’Neil’s script, he knew. “Stop!” screamed the cover of issue #76 (cover-dated Apr. 1970). “This is the new Green Lantern co-starring Green Arrow.” Below the revised logo, GA shattered GL’s power battery with an arrow in an iconic image

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illuminated only in shades of green. It was February 19, 1970 when the issue was released. A day earlier, the trial of the Chicago Seven had ended, the latest outgrowth of protests over the war in Vietnam. Campus unrest was nearing a flashpoint. Discrimination. Poverty. The Haves versus the Have Nots. And two Emerald Crusaders were going to confront it all head-on. Playing off a line in the oath Green Lantern used while recharging his power ring, “No Evil Shall Escape My Sight” asserted that Hal Jordan “[had] been fooling himself.” Rescuing well-dressed Jubal Slade from being beaten up in a Star City slum, GL was astonished when the locals—including Green Arrow himself—turned on him. In fact, the Emerald Archer explained, the “victim” was a slumlord intent on tearing down his properties to erect a parking lot and the poor tenants’ frustration and anger was beginning to erupt. Insisting he was only doing his job, GL was silenced when an old black man stepped forward to ask him a question. “I been readin’ about you … how you work for the blue skins … and how on a planet someplace you helped out the orange skins … and you done considerable for the purple skins. Only there’s skins you never bothered with … the black skins. I want to know … how come?! Answer me that, Mr. Green Lantern!” Shoulders slumped, head drooped, GL stammered, “I … can’t…” Technically speaking, as many would observe in later years, it was a bum rap but those three panels took on greater significance as a symbol of the comicbook industry’s renewed embrace of social issues and a world that was filled with more than just white skins. “It was pretty much all instinctive,” O’Neil asserted in Comic Book Marketplace #56 (Feb. 1998). “I knew that we had to set up the rest of the series, though we had only a vague idea of what it was going to be at the time, and we needed to bring about this humbling of Green Lantern.

A lot of the credit goes to Neal because, I think I said in the shot directions something like, ‘This has to be a great face,’ and he certainly gave me a great face.” Adams added in CBM #40, “A lot of people think this was drawn from a photograph. I would crave for a photograph.” Joining forces with Green Arrow, the chastened GL helped expose Slade as an attempted murderer. The Guardians of the Universe had taken a dim view of Green Lantern’s earlier strong-arm tactics against the slumlord (“This human has committed no crime!”) and were prepared to reprimand him when his bearded partner jumped in with a stunning monologue that invoked the spirits of the recently assassinated Martin Luther King, Jr. and Robert Kennedy. “Something is wrong! Something is killing us all…! Some hideous moral cancer is rotting our very souls!” GA cried. Green Arrow challenged the Guardians to “come off your perch” and experience humanity firsthand. Incredibly, they listened. Dispatching one of their number to Earth in the guise of a human, the Guardians commanded him to join Hal Jordan and Oliver Queen on a cross-country journey in a pickup truck to search for America. In doing so, they echoed the trek of Dean Moriarty and Salvatore Paradise in Jack Kerouac’s landmark 1950s novel On the Road. “So we went with it,” O’Neil continued in AWODCC #4. “We decided that for as long as it lasted we would plot stories from the headlines and from our personal concerns about what was happening in the United States and the world.” Adams heartily concurred, noting in Comic Book Marketplace #56 that “it was a real opportunity for Denny to go and kick out. And it was an opportunity for me.

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Battling Bowman (left) One of the comics that defined the early Bronze Age, Green Lantern #76 (Apr. 1970). Art by Neal Adams. (right) A 1980s Green Arrow sketch by Adams. Courtesy of Heritage Comics Auctions (www.ha.com). TM & © DC Comics.

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GL vs. Good Ol’ Boys (left) Adams’ cover rough for Green Lantern #77 (June 1970). Courtesy of Albert Moy (www.albertmoy.com). (right) The published version, which features considerable alterations to the figures. TM & © DC Comics.

I didn’t necessarily feel quite as angry about certain for a lot of our subsequent success—to go on and do the things as Denny did, but I was along for the ride.” other stories as well as the first, then to top ourselves. “The stuff that was inside these comic books was We were feeding off of each other and feeding off of the inside Denny,” Adams observed in CBM #40. “He was a tremendous amount of enthusiasm. And having a sense product of the sixties when all those issues arose, and he that maybe we were doing something with the format felt very strongly about them. He had some of that anger. that hadn’t been done before, which was very exciting.” I was available to take that and turn it into something THE RELEVANCE REVOLUTION that people hadn’t seen before. I was like a That excitement poured over into comics director who had found a writer who had fandom. In the months before its publifound his theme. Although Julie only cation, The Comic Reader news fanzine consulted with me on general theme (via editor and DC insider Mark concepts, it wasn’t until the end of the Hanerfeld) repeatedly touted GL series that I made any real story contri#76 as a milestone in comics history, bution, and that was the drug issues.” a sentiment shared by many of those As modern as their subject matter writing to DC itself. Among them might have been, the manner in which was Juan Cole, a Virginia teenager the comics were produced was still very whose parents had imbued him with much rooted in the assembly-line strong feelings about civil rights process that extended to the 1940s. while his father’s military career had O’Neil wrote complete scripts that moved them from base to base. neal adams were vetted through Schwartz and “Neal Adams and Denny O’Neil passed along to Adams to illustrate. have single-handedly revolutionized Like the Green Lantern and Green Arrow of the 1960s Justice League, they were part of the my entire concept of what a super-hero should and same team but rarely interacted directly with one another. could be,” he enthused in #79’s letters column. Even so, the mere awareness of Adams’ involvement “The key word to the entire magazine was: Relevance.” Inspired by GL/GA, “relevance” became the name of a influenced O’Neil greatly. “When I saw the artwork, movement throughout mainstream comics that saw social it exceeded my expectations,” he declared in Comics Interview #35 (1986). “I think that provided the impetus causes—particularly racism and civil rights—brought to the forefront as never before. Fueling the trend was a succession of reports in the news media. [Editor’s note: We’ll further explore the relevance trend in BACK ISSUE #49.] “The first press that came out of GL/GA did not mention Neal or me, which I was very angry about,” O’Neil remembered in Comic Book Artist #5. “I don’t know if that was deliberate but I kind of suspect that it wasn’t. Other people who were no more used to dealing with the press than I was dealt with this

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reporter from The Village Voice. There were a couple of articles at least before Neal and I began to get the spotlight. The first piece was in the Voice. Then we started to get invitations to talk at colleges. I don’t remember talking to many reporters and I remember being briefly on television when I went to speak at Michael Uslan’s class in Indiana which CBS covered. I think I was on for three seconds.” GL/GA’s “Search for America” began with a “Journey to Desolation” (GL #77, June 1970) and a shift from urban poverty to rural hardships. In a coal-mining company town, Hal, Ollie, and the “Old-Timer” [the Guardian] discovered that the residents were virtual slaves of mine-owner Slapper Soames. Fearing the rallying effect of local folk singer Johnny Walden’s Dylan-esque music, Soames and his thugs—one a former Nazi—attempted to kill a portion of the population to force the rest back in line. The green team brought them to justice, but Green Arrow tempered his partner’s declaration of victory with the observation that the locals had “nothing to look forward to except more poverty … and ignorance. You call that winning?” “I have no idea what suggested the story,” O’Neil notes in a 2010 interview for BACK ISSUE. “But the guys were out of see America, just like Sal and Dean, and a rural setting seemed natural.” Midway through the story, O’Neil also had the Guardians abruptly reduce the power of Green Lantern’s ring and declared that its energy would no longer protect him from mortal harm. This would be the status quo for the duration of the GL/GA series. It was characteristic of much of the writer’s work and his discomfort with superpowered figures. “My fantasies always tended more toward the modest and human, having to do with the perfection of humanity rather than the imposition of something from outside humanity,” O’Neil explained in Amazing Heroes #50. “And as close as I can get to it I think that’s why it was always more fun for me to write more modestly endowed characters.” O’Neil simultaneously took a similar approach to Green Arrow’s new girlfriend Black Canary. He’d bequeathed the heroine with a sonic “canary cry” in Justice League of America #75 (Nov. 1969) but had her quit using it effective with #80, citing its unreliability. As far as O’Neil was concerned, she would be a skilled martial artist, a status quo that held until Len Wein revived the sonic powers in 1974’s Justice League of America #110. “A Kind of Loving, A Way of Death” (GL #78, July 1970) brought Black Canary into her boyfriend’s series, albeit as a victim of a charismatic white supremist named Joshua. Preying on his followers’ doubts and weakness, he hypnotically transformed them into a gun-toting army that would slaughter “inferior races” like the inhabitants of an Indian village in Washington state. Black Canary broke her conditioning after she was commanded to kill Green Arrow, but Ollie remained troubled that there was something within so many humans that responded to Joshua in the first place. The story was generally regarded as a commentary on Charles Manson and his murderous followers [his “family”], but O’Neil insisted in AWODCC #4 that this was not the case. “I think that story may have been in bad taste at the time, but the fascism of the left concerns me very much. I’ve seen friends in the peace movement become terribly authoritarian. We were dealing, in that story, not with Manson qua Manson, but with the phenomenon of the authoritarian left. There’s a term in French: circle de politique—you come the full circle. That’s what we were concerned with. It’s unfortunate that that issue was almost unanimously interpreted as dealing with Manson. I can certainly, in retrospect, see why. But it was not specifically our intention.” In a 2010 interview for BACK ISSUE, Adams reiterates O’Neil’s statement. “Charles Manson never entered my head, and I’m quite sure it never entered Denny’s head. He would have said something, or made a note in the script. In fact, when I designed the character, I scattered

around in my head, to try to find physical characteristics of people I knew to make my character designs from. I was originally thinking a Bernie Wrightson type, but that seemed a little too jovial. Then I thought perhaps a tall Roy Thomas. That is, a young intellectual, but who had then gone wrong. So that was the beginning of my process.” “Ulysses Star Is Alive” (GL #79, Sept. 1970) focused directly on the issue of Native-American rights that had been touched on in the previous issue. Frustrated that an Indian tribe was caving in to pressure from a white-owned lumber company seeking their land, Hal and Ollie took alternate approaches. While Green Lantern worked the system in search of legal recourse, Green Arrow posed as the golden ghost of legendary Chief Ulysses Star in an effort to mobilize the Indians to action. In the end, GL and “Ulysses” were reduced to a fist-fight in a river over the merits of a slow judicial process versus immediate action. Of this episode, O’Neil observed in Comic Book Artist #5 (Summer 1999) that “the American Indian thing I was not close to emotionally but I think that we got lucky and the story works anyway.”

INKING ADAMS O’Neil, Adams, and Schwartz had been constants throughout the first GL/GA adventures, but the same couldn’t be said of those inking Adams’ pencils. The artist provided his own finishes in #76, followed by Frank Giacoia (#77, 78) and Dan Adkins (#79) in the follow-ups. Effective with #80, veteran editor and artist Dick Giordano became the series’ regular embellisher, providing finishes that were more simpatico than anyone save Adams himself. “The fifth issue was assigned to freelancer Mike Peppe,” Giordano noted in Green Lantern/Green Arrow #2 (Nov. 1983). “A week or so after he took the assignment something happened—again I can’t recall what exactly—and I was asked to pitch in and help Mike finish the book. He hadn’t very much of it done when I picked it up. As I recall, he’d inked parts of figures here and there … but nothing finished. Anyway I finished that issue and sorta became the regular inker. Peppe didn’t get a credit line … I suppose because his contribution didn’t warrant it.”

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Heroes with Issues GL and GA take on (left) cults and (right) the population explosion in issues #78 (July 1970) and 81 (Dec. 1970), respectively, both featuring Adams cover art. TM & © DC Comics.

Although he officially joined the series with its fifth installment, Giordano had vicariously been there from the beginning. “I was an editor at that time and, as was common practice, shared an office with another editor … Julius Schwartz!” Giordano said in GL/GA #2. “I was present when the ideas leading to the series were being discussed, when the first scripts were turned in … I got to watch Neal, who had an office space right across the hall from mine, drawing the first issues. You could tell from the beginning that they had a really good book brewing and I really enjoyed working on it and working with Neal.” Giordano ultimately inked the stories in GL #80–83, 86, 87, and The Flash #217 and 218. “Short of my own inking, I think that Dick was the best inker I had at DC Comics,” Adams declares to BACK ISSUE. “I would say at Marvel Comics, my best inker was Tom Palmer. I think I was very lucky to get the two best inkers in the field at the time.”

STRAYING FROM THE “SEARCH FOR AMERICA”

TM & © DC Comics.

Ending four issues of earthbound fare, “Even an Immortal Can Die” (GL #80) brought science fiction back to the comic with a vengeance. After choosing to save Green Lantern’s life over preventing an oil spill, Old-Timer was called out by his fellow Guardians and commanded to report to the judicial planet Gallo for trial. There, the protestations of the defendant, GL, and GA were silenced with muzzles and restraints. The scenario referenced the raucous trial of the Chicago Seven and the response of its judge to the war protesters’ repeated efforts to antagonize him. Discussing the science-fiction framework in 2010, O’Neil explains, “We wanted to do a story about what was happening in Chicago and to the judicial system. The needs of that story and the limitations of our medium almost dictated that it be SF and satirical.” “I was not all that terribly sympathetic to all the defendants’ standpoints in that case,” O’Neil had

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noted in 1975’s AWODCC #4, “but I didn’t like the way the trial was being conducted.” With Gallo’s court system in disarray, the Old-Timer was brought directly before the Guardians in “Death Be My Destiny” (GL #81). Stripped of his immortality, he was remanded to the Guardians’ grossly overpopulated birthworld of Maltus to live out the rest of his life. The shortages and disease that sprang from the population explosion were chillingly plausible even if the root cause—a cloning project of the tragic Mother Luna—was not. In the wake of her defeat, the Old-Timer insisted that Green Lantern not protest his punishment. His enlightenment on Earth convinced him that there was much he could do to help the people of Maltus. Aware that his life was now finite, the Old-Timer was fueled with a sense of urgency that his brothers lacked. “I thought we started to run out of ideas when we ran the overpopulation story,” Adams declared in Comic Book Marketplace #40. “That was almost my last issue. Politically, I had a problem with the book.” “My concern,” Adams elaborates in 2010, “was it seemed to me that Denny had run out of subjects to object to, if, in fact, all he could look to was the ‘overpopulation problem.’ It was a very stupid time in America. Americans were having vasectomies, and having their tubes tied, by the thousands, in a mindless liberal sacrifice play, to solve the overpopulation problem. When, in fact, Americans and Europeans contributed little or nothing to the overpopulation problem, which was a problem of lack of birth control in third-world countries. A problem that still continues to this day. The overpopulation issue was a bit of a joke in my opinion. It felt more like an Abbot and Costello comic book than a Green Lantern comic book.” The story’s last panels certainly had an air of finality to them, focusing on Oliver Queen and Dinah (Black Canary) Lance in the streets of Star City as a caption declared, “Thus, the journey is done! Perhaps they have found what they sought … and perhaps not…”

Black Canary took center stage in “How Do You Fight a Nightmare?” (GL #82, Feb.–Mar. 1971) with other-dimensional threats that included ancient harpies, the serpent-haired Medusa, man-hating Amazons, and even the sister of classic Green Lantern nemesis Sinestro. Reader reaction was decidedly mixed, with Juan Cole decrying the abandonment of the “Search for America” theme and informing the creative team, “You … blew it.” Of the issue at hand, he snapped, “If Women’s Lib was your subject, then you rather maligned it by suggesting that women who wish to be liberated have to be blood-thirsty Amazons or mythological hags.” O’Neil readily agreed, characterizing the story as “an atrocity” in Comic Book Artist #5. “I remember thinking as a good liberal that that was a story that I ought to be writing and I also now know that emotionally I was at least five years away from being able to accept that. I was basically a shanty Irish kid from north St. Louis and my understanding of what Women’s Lib was all about was woefully inadequate. Basically my paradigm of womanhood was house dress, kitchen, bedroom, take care of the kids, and have dinner waiting. Only because I felt that I ought to be espousing it did I do so. I felt that the story just failed all over the place because the writer was not up to dealing with the material.” Dick Giordano had fond memories of the cover, at least, as he explained in the Green Lantern/Green Arrow Collection, Volume Two: More Hard-Traveling Heroes (1993): “Julie Schwartz [was] showing off the cover of #82 to a group of us milling in the hall. The cover depicted Green Arrow and Green Lantern being attacked by beasts that were half women, half bird. Julie [admitted] he hadn’t yet worked out the cover copy. I turned to walk away, chanting ‘The harpies are coming, the harpies are coming’ (paraphrasing a popular movie of the day, The Russians Are Coming! The Russians Are Coming!). That turned out to be the cover copy. I was (am!) pleased.”

TAKING ON NIXON AND AGNEW “…And a Child Shall Destroy Them” (GL #83, Apr.– May 1971) was an improvement. Hal and Ollie followed Dinah to her new teaching job at a private school only to discover that its student body was at the mercy of a control freak named Grandy. Manipulating a mutant girl named Sybil, the madman directed her considerable power toward maintaining order and striking down anyone he perceived as an enemy. The gag here was that the subservient Sybil had the features of President Nixon and Grandy was a dead ringer for Vice President Spiro Agnew, who’d recently put parental permissiveness at the root of campus unrest and asserted that kids needed “sensible authority” to reign them in. Pulling no punches in a 2010 interview, Adams declares, “Agnew was a dingbat, who used the power of the president to beat up on the press, and make a very successful smokescreen for the crap—pardon the expression—that Nixon and his cohorts were left free to perpetrate. On a personal note, I believe Agnew encouraged Nixon far more than he would have been, because for the most part, Nixon was an honorable man, right up to Spiro Agnew’s running interference for him.

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Creating Controversy (below) GL/GA #83’s (Apr.–May 1971) use of Vice President Spiro Agnew’s license drew criticism. (left) Issue #82 did, too, for different reasons. TM & © DC Comics.

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Denny was after Agnew in the book, by having him use the little girl’s power. I extended that to going after Nixon, as the character that held the power that he wielded. He sure made an ugly little girl.” O’Neil has no argument. “I think that Nixon and his cohort were national disasters,” he opines in 2010, “and might have been the reasons that decent, smart kids were no longer attracted to politics, though I’m not sure they ever were. Don’t get me started…” The story brought down the wrath of publicity-craving former Florida governor. Claude R. Kirk, who’d been succeeded in office barely a month earlier and was already campaigning to regain his old job. Apprised of the comic’s existence, Kirk fired off an incendiary letter to DC. Neal Adams recalled in the Jack Kirby Collector #17 (Nov. 1997) that it “said how offended they were that the vice president was so maligned in the comic book, and that if DC Comics were ever to do such a thing again, he would see to it personally that DC Comics were not distributed in the state of Florida. What’s interesting about it is that he never noticed that the girl in the comic was based on Richard Nixon.” “Truth is,” Adams adds, “the Kinney executives had no idea we were doing it, until after we did. In fact, almost everything we did came as a surprise to everybody.” Less controversially, the story also saw Green Lantern’s longabsent girlfriend Carol Ferris return to the series in a wheelchair after getting on Grandy and Sybil’s bad side. In years past, they’d kept each other at arm’s length through Carol’s attraction to the glamorous hero and Hal’s insistence that he first win her love in his civilian identity. For an icon like Superman, such an eternal triangle was inviolable—but Green Lantern was learning there were no rules that couldn’t be broken. Moved by Ollie and Dinah’s own love affair and contemplative in the story’s final pages, GL realized that he’d been a fool, removed his mask, and told Carol that he loved her.

KA-LOOOOTA! “Peril In Plastic” (GL #84, June–July 1971) picked up where the previous issue left off, with the reunited couple rediscovering each other and Carol headed off to the community of Piper’s Dell in search of a cure for her legs’ paralysis. The smog-enshrouded company town was populated by men and women who’d effectively given up their free will to become part of the herd. Under the watchful eye of another old GL villain, Black Hand, Piper’s Dell kept dissent to a minimum with perfume from a brooch called the Kaluta and the thunderous sound of the punch-press that manufactured them (“Ka-loooota!”). Reflecting on the return of 1960s villains to the book, O’Neil notes in 2010, “We always remembered that we were selling superhero comics and superbaddies are part of the genre.” Black Hand’s unmasked alias Wilbur Palm seemed especially lifelike in that issue, particularly on the cover where he was represented by a photograph. “We were looking for a photo for the head of a corporation,” Neal Adams explains to BACK ISSUE. “Marc Iglesias was the vice president of DC Comics, for Kinney Corporation, at that time. I asked Carmine to ask Marc if he would mind being a villain in a comic book. He was very happy to do so, and gave us the photos. As it turns out, that particular photo kind of looks like Carmine Infantino, which then led to a little bit of confusion. No, that’s not Carmine. That’s Marc Iglesias. Carmine is much handsomer.” Better remembered is the in-joke named after fledgling artist Michael Kaluta that was inspired by another relative newcomer, Bernie Wrightson. “I had been hanging around the office for about a year … and I had gotten to know Neal,” Wrightson related in Comic Book Profiles #7 (Summer 1999). “I was always talking about Michael but I would never say ‘Michael,’ I would always say ‘Kaluta.’ And every time I said ‘Kaluta,’ Neal would giggle because he thought it was a funny-sounding name. And he would sit there and work and make up little ‘Kaluta’ songs while he was working, kind of singing to himself. So he’s doing the Green Lantern story and they needed a funny sound effect and a name for this little thing that sprays gas in people’s faces and controls them, and they decided to call it a ‘Kaluta.’” Months later, Michael Kaluta successfully lobbied Julius Schwartz for a “World of Krypton” assignment and chuckled in Comic Book Artist #5 over the veteran editor’s response when he identified himself: “Kaluta? I’ve heard that name before.” Wrightson, who’d previously inked a page in GL #82, provided finishes to the entirety of “Peril In Plastic.” Dick Giordano had good intentions of inking the story himself but it was not to be. He recalled in the Green Lantern/Green Arrow Collection, Volume Two: More Hard-Traveling Heroes that he was seriously ill and lying in bed when he the doorbell rang. “I could hear Sol Harrison (then DC’s Production Manager, my close friend, and a next town neighbor) talking to my wife Marie. He left shortly and Marie came up to tell me the news. They couldn’t wait for me to get better. The book was very late. They took the pages and [Bernie] Wrightson did a great job on inking them. But I really wanted to ink that job. Sigh.” On May 12, 1971, the series received a powerful pat on the back from the newly formed Academy of Comic Book Arts. At the first awards banquet, Green Lantern was named Best Continuing Feature, “No Evil Shall Escape My Sight” as Best Individual Story, and Denny O’Neil, Neal Adams, and Dick Giordano as respective Best Writer, Penciler, and Inker in the Dramatic category. DC proudly touted these and other wins in its Nov.-dated issues. Ironically, Green Lantern itself wasn’t among them, this being an odd month for the title whose sales still only justified being published six times a year.

Talking Heads No, that’s not Carmine Infantino’s photo on the cover of Green Lantern #84 (June-July 1971)… TM & © DC Comics.

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SPEEDY JUST SAYS “YES” Anyone imagining that Green Lantern/Green Arrow was beginning to coast on its success was stopped in their tracks by the cover of #85 in June of 1971. “You always have all the answers, Green Arrow,” GL declared. “Well, what’s your answer to that–?” In the foreground was a young man preparing to shoot up with heroin as GA gasped, “My ward is a junkie!” The entirety of “Snowbirds Don’t Fly” was a preamble to that scene. Shot in the arm by a crossbow-wielding drug addict, the injured Green Arrow called in Green Lantern to help him track down the assailant and his partners. Discovering his ward Roy “Speedy” Harper in their midst, GA assumed he was undercover and was oblivious when the teenager offered a reason why someone might do drugs: “Say a young cat has someone he respects—looks up to … an older man. And say the older man leaves … chases around the country … gets involved with others and ignores his young friend. Then … the guy might need a substitute for friendship—he might seek it in—junk!” And the story came full circle to an approximation of the cover scene as Ollie discovered his ward shooting up. To be continued. “That was one we wrote out of genuine concern,” O’Neil said in AWODCC #4. “I lived in a neighborhood heavily populated by drug addicts at the time. I saw people nodding out from heroin every day on the street. I had friends with drug problems, people coming over at 3 a.m. with the shakes.” Adams shared O’Neil’s passion and collaborated with the writer in a way they’d never done before. “DC Comics wanted to do a drug comic,” the artist explained in Comic Book Marketplace #40, “so Denny and I spent some time at Phoenix House and places like that. I was also chairman of my neighborhood drug rehabilitation center, making sure junkies weren’t robbing people in the area. I got to see an awful lot of that close up. Denny and I

separately presented concepts of comic books that DC might publish and give away for free. But the things we wanted to say about drug addiction were not the things DC wanted to say, like agreeing on the reasons for drug addiction. So DC decided not to do the project. “Still, Denny and I wanted to do something on drugs. But when I mentioned it, nobody at DC seemed interested because, of course, the Comics Code said we couldn’t do it. I knew I wasn’t going to get anywhere by trying to talk them into it, so I went home and drew what eventually became the cover of the first drug issue. “So I put the cover on Julius Schwartz’s desk and, of course, he picked it up and dropped it like a hot potato. ‘Why did you draw that?’ he said. ‘You know we can’t do it!’ I said, ‘Well, Julie, if you want to do it, we can do it.’ It was such an impossible cover that it wasn’t even considered.” And then Marvel Comics’ Stan Lee stepped forward with his own anti-drug story in Amazing Spider-Man #96–99, defiantly publishing it without the Code stamp. [Editor’s note: The story behind these non-Code Odd Couples Issue

Shooting Stars (left) Issue #85 provided “the shocking truth about drugs!” (right) Original Neal Adams art to page 19 of GL/GA #85, the first chapter of the drug two-parter. Courtesy of Heritage. TM & © DC Comics.

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Spider-Man issues was told just last issue.] “So DC hears about Stan’s book going to press, and they’re dying, beaten to the punch,” Adams continued. “And right on Julie Schwartz’s desk is a really true drug cover, and they blew it. They called for a meeting of the Comics Code council, and within two weeks, the whole Code was rewritten.” Adams frankly admits today that he’d grown discouraged with the direction of the series prior to GL #85: “I didn’t feel Denny and I were contributing anything at all by doing this comic book, yet I felt there were many areas that we never really dealt with, and it looked as if we were running out of gas. So before everything got thrown in the crapper, I drew and submitted the drug cover to my editor, in order to get some significant action out of all the work we had done. What I succeeded in doing, along with Stan Lee and his Spider-Man issue, was to get the Comics Code junked and thrown away. Which was far more than we ever hoped to accomplish.” The GL/GA two-parter created a firestorm of reaction that included a letter of support from New York City’s Mayor John V. Lindsay published in #86. Julius Schwartz also devoted a full six pages to reader responses, three apiece in #87 and 88. Like Green Arrow, teen sidekick Roy (Speedy) Harper had been around since 1941 and continued to appear regularly in Teen Titans. He hadn’t crossed paths with his guardian in years, though, and O’Neil and Adams played into that. “We got a lot of negative reaction because we made a long-standing superhero an addict: Speedy,” O’Neil recalled in AWODCC #4. “Sorry about the name, but there it was folks—I didn’t make it up. People said that superheroes should be idealized— above such things as addiction. There was a reason for doing it like that, though. I wanted a sympathetic character to be an addict for purposes of drama, and also to demonstrate that it’s a disease—and anybody can get sick. It’s not skuzzy, pimple-faced punks in the gutter that become addicted to heroin, it’s nice, clean, middle-class kids, too. “We had a total of like 44 pages to work with and that was not really enough room to create a character from scratch, build sympathy for him, get him addicted, kick, and also get action and plot. The only way to go was with a character already established, and Speedy was the logical choice.” Ten issues earlier, Green Lantern was confronted with his limitations and vowed to change. Green Arrow didn’t react nearly as well. Slapping Roy and kicking him out, Ollie was in total denial in the opening pages of “They Say It’ll Kill Me … But They Won’t Say When” (GL #86, Oct.–Nov. 1971). Instead, it fell to Hal Jordan and Dinah Lance to help Roy kick his habit. Elsewhere, Green Arrow went after the drug suppliers and, with GL’s help, managed to shut down one operation. At one point, O’Neil penned a cocktail party scene where the wealthy partiers decried “filthy, dopeswilling beatniks.” He noted in AWODCC #4 “that we were trying to be subtle […] and we were so subtle nobody saw it. In the cocktail party scene, we implied a condemnation of alcohol addition, too, but nobody, evidently, paid much attention to that.” As personal as the story had been for the collaborators, its conclusion was less than harmonious. “The script, as originally written, has Speedy basically telling GA he beat the habit by himself,” Adams remembered in Comic Book Marketplace #40. “GA says, ‘Good boy,’ and they walk off together.

“I read this and thought, no … what has changed? Somebody had to learn something. GA had to learn some kind of lesson. He had to learn to respect this person that he had beat up at the beginning of the story. I felt the strongest possible climax was necessary, considering how we started the story. I made my feeling perfectly clear to Denny, that I thought his ending was anti-climactic, but he let me know, basically, it was fine as is. “Well, I thought it was important enough to bring it up to the editor, so I wrote two extra pages where Speedy punches GA back, lets him in on his pain, and then splits. GA, the father figure, knows the kid’s right and realizes that he [GA] was an ass. This ending made all the sense in the world to me. I brought the pages to Julie and said, ‘I honestly think this is how the story ought to end.’ He read them and said to go ahead and do it.” Indeed, Adams’ revision was published although O’Neil maintained his disagreement. “I disapprove of the implied conclusion of that story,” he explained in AWODCC #4. “What’s implied is that a punch in the mouth solves everything.” Odd Couples Issue

Making Big News… …but that didn’t make big sales for Green Lantern, which was headed toward cancellation when this celebrated anti-drug issue hit the stands. Art by Adams. TM & © DC Comics.

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BLACK LANTERN AND GREEN MAYOR Green Lantern and Green Arrow had gone their separate ways in issue #87 (Dec. 1971–Jan. 1972), if only for the issue. The impetus had been a Green Arrow script by a Brandeis University student named Elliot S. Maggin that was submitted to Carmine Infantino and forwarded to Julius Schwartz. Approached to run for mayor of Star City, Ollie Queen concluded that politics really wasn’t for him. Intervening in a race riot as Green Arrow, his perspective changed when he saw a black teenager shot in the back. Still in a state of shock over the boy’s death, he arrived on Dinah Lance’s doorstep to announce that he would run for mayor after all. “There are some things I have to do.” Having written the script for a class and been disappointed in his B+, Maggin hoped for a better response with DC. In recounting the young man’s story in GL #89, Schwartz declared, “I’ve been a comix editor for over 27 years and never … have I ever come across a ‘first-time’ script … that can come within a light-year of equaling ‘What Can One Man Do?’ in professional slickness and comix know-how. … Indeed, to equalize this thrilling experience, I must go back three decades when, as a literary agent, I sold the very first story of a young Ray Bradbury!’ Following our suggestions, Elliot cut the story to 13 pages.” Schwartz’s opinion was strongly echoed not only by the GL/GA team but by the readership at large. Regrettably, Maggin’s powerful story— illustrated by Adams—was undercut by an immediate sequel in World’s Finest Comics #210, a Superman team-up in which Ollie abruptly dropped out of the mayoral race in the final panels. “I didn’t like it either,” Maggin admitted in the O’Neil Observer #1 (Summer 1999). “But I don’t think DC wanted to commit to a major subset of stories, for a long-term character, on a kid with no reputation.” In 1978, with several years of Superman and Green Arrow stories behind him,

Maggin got his chance for a do-over and finally penned a proper climax to the mayoral plot (World’s Finest #255’s “Nothing But a Man”). The Maggin/Adams story—partly shot from the artist’s pencils— only accounted for half the new material that Schwartz needed for issue #87, so an O’Neil-scripted Green Lantern story was slated for the lead. “Beware My Power” introduced John Stewart, a black Detroit architect whom the Guardians had designated as a backup Green Lantern should Hal Jordan be unavailable. Taking his sub out for a test spin, Hal feared that John’s cynical angry perspective was bad news, particularly given their involvement with a racist politician, but the newcomer proved up to the challenge. Adams asserted in Comic Book Marketplace #40 that John Stewart’s skin color came about from a conversation between him and Julius Schwartz after he learned that an alternate Green Lantern episode was in the works. Given the population of the world, the artist argued that “we ought to have a black Green Lantern, not because we’re liberals, but because it just makes sense.” “But then the script came in, and I found the guy’s name was Hannibal Lincoln, or Lincoln Washington, or something like that. I thought how ‘comic book’ of us. Why don’t we give him a regular name? How about John Stewart ? He’s an architect who’s out of work.” [Unknown to Adams, a 1943 Green Lantern story about racial intolerance in Comic Cavalcade #9 actually had included a black character with the clichéd name of Abraham Lincoln Jackson.] Regular correspondent Juan Cole took issue with the fact that DC’s first black superhero was merely a derivative of a white character and opined that characters like him, “no matter how Young and Angry they are, are never more than incidental, secondary characters.” It was, nonetheless, an important first step and Stewart specifically would be developed into a fully rounded character in the years that followed, still a presence nearly 40 years after his creation.

A FILL-IN AND A FAREWELL Issue #88 turned out to be a “special surprise issue,” the surprise being the return of the solo Green Lantern logo because the issue was entirely composed of reprints from 1959 and 1961 along with an unpublished 1949 story featuring Alan Scott’s GL. Neal Adams wasn’t going to make his deadline for the issue and a fill-in was inserted to maintain the schedule. Pencils of GL #89’s cover were included as a teaser for the next issue. (Readers wanting a fresh adventure that month had to settle for Green Lantern, Green Arrow, and Black Canary’s appearance with Batman in The Brave and the Bold #100 by the writer/artist team of Bob Haney and Jim Aparo.) Adams defended himself in the Comics Journal #43: “I was being asked to turn out Green Lantern/Green Arrow, but I was also being asked to do five covers a week for DC Comics. If you’ll recall the time, I was not only penciling those covers, I was penciling, inking, and coloring those covers. So, when people talk about my having trouble with deadlines, they tend to forget to mention things like, ‘Well, while Neal was having trouble turning out Green Lantern/ Green Arrow, Neal was also being asked by Carmine Infantino to turn out approximately five covers a week, pencils, inks, and colors. And when he let down on doing those covers and insisted that was more important, it was insisted to him by the publishers that indeed it was much more important to get out those covers because those covers sold more books. And, after all, Green Lantern/ Green Arrow wasn’t that important after all.’” “…And Through Him Save a World” (GL #89, cover-dated Apr.–May 1972) was decidedly unsubtle in attributing a messianic quality to environmentalist Isaac, particularly when he chained himself

New Directions Solo stories in Green Lantern #87 (Dec. 1971– Jan. 1972) introduced GL John Stewart and pointed GA toward a run for political office. TM & © DC Comics.

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crucifix-like to an experimental Ferris Aircraft jet that (like Boeing’s 2707 SST) was doing harm both to the environment and his personal health. Hanging in the cold night air, Isaac aggravated his lung disease and finally died. At the outset, it had been Green Arrow who delighted in the activist’s stunts to call attention to the matter, but Green Lantern gradually came around to his partner’s way of thinking. When Carol Ferris insensitively declared that “progress must always claim victims,” GL whirled around with his power ring and blew up the controversial jet. “What’s the idea…?” sputtered a Ferris manager. “That was a nine-million dollar aircraft!” “Send me a bill,” Green Lantern glowered. Any doubts that the series had come full circle were erased. While Green Arrow had stood with head bowed over Isaac’s passing, it was O’Neil’s symbol of the Establishment who’d erupted with righteous outrage. Adams asserts in 2010 that the cover’s crucifix imagery “was intended to punch people in the face very hard, and, of course, it did. I went through a lot of trickery to do that first cover, and yet to make it seem acceptable. Denny made it clear that this was his goal, but he wasn’t sure that it was even possible without slapping people around a lot, holding them upside down, and shaking the change out of their pockets. My job was to make it seem natural, while making the allusion. Yes, it was controversial. It’s controversial even today. You can’t look at that cover without understanding that. And if you read that book to the end, and you read what Green Lantern said after he destroyed the plane, you won’t be able to avoid exulting.” The SST controversy was an instance where O’Neil and Adams had been in complete opposition. O’Neil firmly believed that the plane’s development needed to be closed down altogether but Adams held a different stance, as expressed in The Comics Journal #43: “I found myself to be a fairly angry young man. But I generally attacked those things I really believed in, and not what other people told me I should believe in. I didn’t have any illusions. I was actually more oppressed by what the radicals were doing around me that was negative. I thought, for example, the defeat of the SST was an incredible, negative thing. I couldn’t believe it. On the other hand, fighting pollution is a great thing to do. But picking a target like the SST, which the company who was producing the SST was saying, ‘Listen, just tell us what you want and we’ll do it,’ and the people were saying ‘No! No! Just don’t do it!’—just take a segment of the whole American economy and through it down the drain. That was a real negative attitude to take, but they did it so they could go home and say, ‘I defeated the SST,’ and they could smile, sit in front of the television, and drink beer. Well, that doesn’t make sense. What you can do is tell the company what kind of plane you want, produce that kind of plane, and it’s all right. You keep industry in this country, and you deal realistically with the problems. But that takes work, that takes hard work and people don’t want to do it. It might

take some extra effort on some people’s part to figure out exactly what they want. They don’t want to do that. They want to march.” “If I lived in a Neal Adams world,” O’Neil said in part in The Comics Journal #66 (Sept. 1981), “I would value a 747 above a bicycle. (I believe a bicycle is the most beautiful machine there is. It’s simple, it’s economical, it does exactly what it’s supposed to do, and it doesn’t hurt anybody.)” “There [were] major differences [of political opinion between us],” Adams conceded in Comics Journal #43. “I don’t think Denny ever said anything that I disagreed with wholeheartedly that I didn’t think was worthwhile doing. I didn’t like his attitude towards the SST, but toward that airplane factory I felt really good. I felt if the SST was being implied in that airplane factory, then indeed it deserved being destroyed, but I never felt that’s what was happening, so I didn’t have any trouble with it. I think we agreed and we still agree about a lot of things.”

TM & © DC Comics.

A Wing and a Prayer Our heroes encountered Isasc, a modern-day messiah, in the last issue of the original Green Lantern/Green Arrow series. TM & © DC Comics.

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O’Neil added in Comic Book Artist #5 that Green Lantern’s destruction of the airplane “was Neal’s idea and I agreed to do that. I was a little uncomfortable because it seemed a little gratuitous but it didn’t screw up my story and it did give a strong ending.” That issue was, in fact, the ending of Green Lantern/Green Arrow, at least as far as an ongoing comic book. A full-page announcement at the end of the issue revealed that the series would continue as a co-feature in The Flash, beginning with issue #217. “According to Julie Schwartz,” it was reported in Etcetera & the Comic Reader #80 (Dec. 1971), “the book had been kept going for some time in the hopes that sales would finally go up into the range where the book would be a real profit-maker but when that did not materialize, it was killed.” “You buy what you’re used to buying,” Adams declared in 1978’s Comics Journal #43. “You’re not going to attract a general audience by doing different stuff because little kids, those people who are going to be your mass market, are not going to turn onto it for a long period of time. It takes a good year to get somebody used to a new idea. No comic-book concept, from the Fantastic Four to Conan, was an immediate success. None of them. They all took a year or two to catch on. And as a matter of fact, Conan almost failed in that same period of time. It takes awhile for the news to get around. By the time the news got around to Green Lantern/Green Arrow, it was canceled.” Adams later became convinced that comics speculators had also contributed to the problem, buying up quantities of each issue from local distributors who then reported those issues to DC as having been “destroyed.” “Sales had dropped,” Julius Schwartz stated bluntly in Comic Book Marketplace #56 (Feb 1998). “The average reader was not interested in relevancy. Publicity is not worth two cents if you don’t buy the magazine.” O’Neil touched on that in Amazing World of DC Comics #4: “There were people who really disagreed with our saying that there were some things wrong with this country. And there were those who had, I think, a stronger case. They said that that sort of thing had no place in a fantasy medium. I disagree with that simply because I think that anything you can do, you ought to do in any medium. But I understand their viewpoint: you pick up a comic book for escape, and get your headlines on the front page of the paper.”

aforementioned Brave and the Bold #100 by Bob Haney (although O’Neil and Adams insist that was not the case). Therein, GA had killed a thug with an arrow without batting an eye. In a 1978 interview in The Comics Journal #43, Adams expressed his horror at the scene, prompting a rebuttal from Haney in TCJ #45. “If anything,” Haney declared, “I was compelled by Neal’s more ballsy, bearded, swaggering huntsman in the art, along with trying to get away from the simpleton in a silly suit with his trick arrows stuff … especially in a serious story based on the real French Connection crime story.” “I love Bob Haney’s work,” Adams emphasizes today. “I loved every page I did with him in Brave and the Bold. But the idea that anybody would write Green Arrow shooting somebody in the back with a pointed arrow, and killing them, is anathema to me, and should be anathema to anyone who creates and loves comic books. Heroes don’t kill, unless it is as a last resort. Did somebody fail to read

LIFE AFTER CANCELLATION For their final act, O’Neil and Adams were on the same page again, eschewing topicality for a personal story in which Green Arrow accidentally killed a man with one of his arrows. Already shaken by his failures to save Roy Harper, Isaac, and the teenager in GL #87, Oliver Queen turned his back on a world be believed was beyond saving and entered a monastery. After Black Canary was nearly killed by a drunk driver, Green Lantern persuaded Ollie to return to civilization both to save her life with a blood transfusion and renew his commitment to fighting injustice. “The Killing of an Archer” (Flash #217, Aug.–Sept. 1972), “Green Arrow is Dead” (#218, Oct.– Nov. 1972), and “The Fate of an Archer” (#219, Dec. 1972–Jan. 1973) brought the landmark series to an emotional finish. “The conflict in it arises mostly from contradictions in Green Arrow’s character, the same contradictions that prompted him into his cherished role as costumed rebel,” O’Neil wrote in 1983’s Green Lantern/Green Arrow #1. “For once, we were turning inward instead of outward and perhaps unintentionally commenting on the failure of the dream of the Sixties.” Elaborating further in Comic Book Artist #5, O’Neil said, “In some ways, that three-in-one story is my favorite of the run because that’s the first time we dealt with pure character. That was not a relevancy issue, but what happens when you kill somebody. The story was about the character and nothing else. If the magazine had continued I think that we might have gone in that direction because basically I was out of causes. Everything that I had really cared about, I had already written about and some of them more than once.” In a sense, the story was an early response to the comics anti-heroes destined to emerge in the next few years. The trilogy almost seemed like a course correction of Green Arrow’s characterization in the

Calendar Boys Hal and Ollie by Neal Adams and Dick Giordano, from the 1976 Super DC Calendar. Original art courtesy of Heritage Comics Auctions. TM & © DC Comics.

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that last page in the instruction book? I’m kind of noticing some folks missing reading that page lately. It’s a free-wheeling business, comic books, but we have to have some standards. Killing is wrong. Don’t we know that?” O’Neil diplomatically adds, “Bob’s take on the heroes was different than mine and, let me emphasize, perfectly okay. Different does not mean inferior.” For better or worse, other hands were going to leave their creative fingerprints on Green Lantern and Green Arrow. Effective with Flash #220, Green Lantern went solo once more, still under the direction of Denny O’Neil but shrugging off relevancy for a return to outer space. Neal Adams was gone—save for a one-issue return in #226— but visual continuity was initially maintained through Dick Giordano’s full art. Effective with the Schwartz-edited Action Comics #421, Green Arrow became part of a rotating set of backup features. Elliot S. Maggin was the Ace Archer’s official writer for the next few years while the ubiquitous Giordano inked the first several installments. A Green Lantern/Green Arrow revival by O’Neil and Mike Grell began in 1976 and, whether because of this version’s lack of topicality or

simply the fact that the kids of 1970–1972 had finally decided to take a look, it was a sales success that was promoted to monthly status within eight issues. Starting in 1977, Green Arrow and Black Canary also managed to hold down secondary features of their own in World’s Finest Comics, courtesy of writer Gerry Conway. Even in O’Neil’s absence, his vivid characterization of the gregarious Green Arrow—stubborn and blind to his own failings but good-hearted and compassionate—defined the character for years to come. “Ollie was never a surrogate for me,” the writer insisted in Comic Book Marketplace #56. “I think right along I was more sympathetic to Hal than maybe people thought. I mean, my politics were basically Ollie’s, but I always thought of him as a hot head— a guy who leapt a helluva lot more often than he looked, and was probably over-emotional.” The passion that Green Lantern and Green Arrow—and O’Neil and Adams—brought to the page was one thing that all the players had in common, whatever side of a particular issue they were on. “One of the things Denny always said, which I take to heart, was that I was easy to write for,” Adams noted in Comic Book Marketplace #40. “Because the things that take a lot of energy to explain to other artists, I already knew, so that same energy could be put into the story. As a team, I took enough of the visual responsibility off his head to allow him to focus on his writing.” “On some unconscious level, we resonated and we somehow agreed on the right way to do comics,” O’Neil affirmed in Comic Book Artist #5. “But I remember on environmental issues, we couldn’t be further apart. We’re just very different.” While we were actually collaborating, though,” the writer declared earlier in Green Lantern/Green Arrow #1, “we hummed in unison like tuning forks, our psyches were twins. Only the best marriages approximate the closeness of such an artistic pairing. As marriages have an alarming tendency to culminate in divorce, close collaborations generate jealousy, rivalry, and pettiness. Neal and I never became actively hostile, but the relationship did get strained and edgy toward the end. It might have gotten worse had we continued working exclusively with each other.” For Dick Giordano’s part, he believed (as expressed in 1983’s Green Lantern/Green Arrow #2) that “in the early days, [Neal and I] must have been on exactly the same wavelength … we communicated without even talking. It was eerie! I like to think that our relationship was and is based on a mutual respect of each other’s abilities, attitudes, and sense of fair play.” Pragmatically, O’Neil declared in Comic Book Marketplace #56 that Green Lantern/Green Arrow had run its course. “We had just about exhausted the list of social causes that any of us was genuinely interested in, and yet, at that point, we had succeeded in maybe adding more character and depth to these heroes than was common in comics. So we had that going for us. The danger would have been ‘Cause of the Month Comics,’ which would have become boring and banal after awhile. “In some ways, maybe the series ended when it should have. We had a good run, we dealt with the issues we were genuinely concerned with, and maybe it was time to get off the stage. That’s not why we did it—we did it because the book was canceled. But looking back I don’t much regret that it didn’t go on longer than it did.” “I think Denny was right at the time,” Adams recently noted. “But this is a new day, isn’t it? I think it’s quite reasonable to assume that a new depth can be plumbed today in a new series like GL/GA. It would take an awfully good writer and artist.”

A LANTERN LEGACY Green Lantern/Green Arrow was dead, but its legacy lived on. While perhaps conceding that overt proclamations of “relevance” might scare off some readers, the comics industry nonetheless began to embrace the possibility that incorporating social concerns and more adult subject matter might help them hold onto an aging segment of the marketplace.

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Comix That Give a Damn The original, aborted cover layout for 1972’s first (of two) GL/GA paperback reprints. The back cover art was used on the front for the published version. Courtesy of Heritage. TM & © DC Comics.

Speaking strictly of his own considerable body of comics work since 1972, O’Neil recently mused, “Maybe it nudged me toward more character-driven plots and let me know that few subjects were off-limits— that comics had parity with every other medium.” Some fans of the series like Don McGregor and Mike Grell carried that influence into their own pro comics work. And others, like Juan Cole, left comics behind. Donating his entire collection to Evanston, Illinois’ Northwestern University in the fall of 1972, Cole eventually became a professor of history at the University of Michigan and a recognized expert on Middle Eastern affairs through his blog “Informed Comment.” Though unknown to the public at the time, the impact of “No Evil Shall Escape My Sight” extended to Washington, D.C. In the wake of the Kent State shootings in April of 1970, President Nixon had established a Commission on Campus Unrest with the unstated expectation that national policy would be absolved of any role in the deaths of four college students. Despite his best efforts, one of the task force’s members—23-year-old Joseph Rhodes, Jr.— saw that Judge Matthew Byrne’s draft of the Commission’s report was going to do just that. Charles A. Thomas’ “Mission Betrayed” (http://speccoll.library.kent.edu/4may70/MissionBetrayed.htm)

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revealed that Rhodes ultimately addressed his fellow members on the Commission in September of 1970 with a copy of Green Lantern #76 in hand. Speaking to Judge Byrne, he said, “You see this comic book? This comic book has more to say for America today than the report you drafted. I’d rather sign this comic book as our Report than sign your draft.” Incredibly, Rhodes’ last stand succeeded and the draft was rewritten, still compromised in its assessments but no longer a wholesale vindication of government policy. Green Lantern/Green Arrow may not have changed the world, but its impact was far greater than O’Neil, Adams, and Schwartz could ever have imagined. JOHN WELLS, the so-called Mark Waid of Earth-Two, is a comics historian specializing in DC Comics. He’s written for a variety of publications over the past quarter-century ranging from the Comics Buyer’s Guide to Alter Ego. John recently co-authored the Essential Wonder Woman Encyclopedia with Phil Jimenez.

Michael Kronenberg

The climate of youth culture began to change in America after World War II. Some may point to Allen Ginsberg’s poem The Howl (1956) and Jack Kerouac’s novel On the Road (1957) that led to the Beat Movement as the origins of the Counterculture (Hippie Movement). More likely it is the Free Speech Movement on the campus of the University of California, Berkeley that truly kick-started youth rebellion of the 1960s and early 1970s. In 1964, the students at Berkeley began an unprecedented series of protests demanding that university administration lift the ban on campus political activities and recognize students’ rights to free speech and academic autonomy. Within a year, organized student protests led Berkeley administrators to change the schools’ by-laws and recognize the students’ rights to express their political beliefs. The Free Speech movement started a ripple effect that permeated throughout college campuses, becoming the core of student rebellion in America. By the summer of 1967, the Counterculture began to saturate social and artistic circles. Music, movies, literature, and clothing began to change. The metamorphosis only escalated. By the late 1960s, both the political and cultural changes had many believing that the country was teetering toward a revolution. It wasn’t until 1970 that National Periodicals Publications (now known as DC Comics), the more conservative of the “Big Two” comic-book companies, fully acknowledged the climate of change in America. The release of Green Lantern #76 (Apr. 1970) represented a broad leap for the senior publishing company. The title’s 13-issue run with its co-star, Green Arrow, delved into different aspects of America’s turmoil and change at that time. Here is a guide to the real-life headlines explored in this landmark title:

Green Lantern #76 (Apr. 1970) “No Evil Shall Escape My Sight!” In the series’ inaugural issue, Green Lantern receives a gritty and hard lesson about race and poverty in America. In 1964, when Lyndon Johnson took over the presidency, he enacted the Great Society, a set of domestic programs proposed toward the elimination of poverty and racial injustice. Horrific race riots struck the nation during 1965 in Watts, California, and in 1967 in Newark, New Jersey, and Detroit, Michigan. Decades of racial and social injustice led to the Black Power movement of the late ’60s. By 1970, the tongue-lashing that Green Lantern receives from an elderly African American was not a shock. During Green Arrow’s soliloquy in the issue’s epilogue, he points out two significant events from 1968, the assassinations of Martin Luther King, Jr. and Robert Kennedy. The year 1968 is often mentioned as the watershed for shattering historical events: The Tet

Unfair and Imbalanced There’s no free speech for our heroes in this detail from the cover of Green Lantern/ Green Arrow #80. TM & © DC Comics.

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Offensive in Vietnam, the USSR’s invasion of Czechoslovakia, the Chicago Democratic Convention riots, the Parisian Student Revolt, among other things. Green Arrow also refers to a “Moral Cancer” rotting the country. This became a common phrase for describing the volatile events that overtook the late 1960s. The story’s ending showing GL, GA, and the Guardian searching for America reminds us of the 1969 film Easy Rider, whose catchphrase was “A man went searching for America. And couldn’t find it anywhere…”

Green Lantern #77 (June 1970) “Journey to Desolation!” This story continued to deal with America’s growing poverty problem. This time instead of an urban setting, it’s rural. For good measure, Denny O’Neil throws in coal miners, unionization, and a folk singer. The radical unionization of coal miners dates back to 1905 and the formation of the Industrial Workers of the World (IWW, or “Wobblies”). The IWW contend that all workers should be united as a class and that the wage system should be abolished. A radical organization, the IWW was a strong influence on many 1960s groups including Students for a Democratic Society (SDS), the Black Panthers, and the Weathermen. As in this story, the Wobblies used folk music as one of their most effective methods to unify workers.

Green Lantern #78 (July 1970) “A Kind of Loving, a Way of Death!” Despite the intentions of Denny O’Neil and Neal Adams, the character of Joshua in this story has often been interpreted as a “four color” version of Charles Manson. The similarities to Manson are striking, including Joshua’s crazed looks, his cult-like “Family” of young innocents who become killers, and his desire to spark a race war. It is argued that the triumph of the Counterculture was the 1968 Woodstock music festival, but not long afterward it came to a horrific end when Charles Manson and his followers went on their murderous rampage.

Green Lantern #79 (Sept. 1970) “Ulysses Star is Alive!” This issue dealt with the plight of Native Americans and their rebellion against the American government’s restrictions. In 1968 the Indian rights organization the American Indian Movement (AIM) was founded and led by Dennis Banks and Russell Means. During ceremonies on Thanksgiving Day 1970, commemorating the 350th anniversary of the Pilgrims’ landing at Plymouth Rock, AIM seized the replica of the Mayflower. Their eventual

On the Road (top) Lobby card from Easy Rider (1969). Courtesy of Heritage Auction Galleries (www.ha.com). (center) Ollie, Hal, and the Guardian hop into their pickup to search for America at the end of Green Lantern #76. (bottom left) Cover to The Black Panthers: Are These Cats Red?, a treatise produced in 1969 by the Conservative Society of America. (bottom right) Wounded Knee Indian Occupation pamphlet from 1973. Easy Rider © 1969 Columbia Pictures. Green Lantern/Green Arrow TM & © DC Comics. Credit for bottom row: Michigan Statue University Library, Special Collections Division.

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occupation of Wounded Knee, South Dakota, in 1973, the site of the last massacre of the Indian Wars, was AIM’s most famous protest. They occupied the tiny hamlet for 71 days drawing national attention to the plight of Native Americans.

Green Lantern #80 (Oct. 1970) “Even an Immortal Can Die!”

Nixon photo credit: Library of Congress. Agnew photo credit: Wikimedia Commons public domain photo.

The Judge from the planet Gallo is drawn by Neal Adams to look exactly like Judge Julius Hoffman, who presided over the Chicago Seven conspiracy trial (1969–1970). After the protests and riots at the 1968 Democratic Convention, conspiracy to riot indictments were brought down on what was eight of America’s most famous leftists: Abbie Hoffman, Jerry Rubin, David Dellinger, Tom Hayden, Rennie Davis, John Froines, Lee Weiner, and Bobby Seale. Early in the trial Bobby Seale (co-founder of the Black Panthers) verbally attacked Judge Hoffman, accusing him of being a fascist and a racist. Seale demanded to be tried separately so his own attorney could represent him. Judge Hoffman became enraged at Seale’s outbursts and proceeded to bind and gag him to a folding chair in the courtroom. This became a central symbol for not only the trial, but also the political conflict between the right and left. Seale being restrained was so resonating, that Neal Adams and DC saw fit to illustrate GL #80’s cover to resemble a newspaper front page. After Seale was expelled from court, the trial continued with seven defendants. The trial became a circus, drawing celebrities, protests, and the ire of the Counterculture. Though the evidence was flimsy, the seven were found guilty of conspiracy. In November 1972 the conviction was overturned.

Green Lantern #81 (Dec. 1970) “Death Be My Destiny!” The “population explosion” was the subject of much fear and speculation in the late ’60s and early ’70s, this was fueled by the book The Population Bomb (1968) by Paul R. Ehrich. It warned of the mass starvation of humans in 1970s and 1980s due to overpopulation and advocated immediate action to limit population growth. The book has since been heavily criticized for its alarmist tone and inaccurate predictions.

Green Lantern #82 (Mar. 1971) “How Do You Fight a Nightmare!” Betty Friedan’s book The Feminine Mystique (1964) helped ignite Women’s Liberation in the 1960s and 1970s. The phrase “Women’s Liberation” was first used in in1964. By 1968, the term “Women's Liberation Front” appeared in print and was starting to refer to the whole women's movement. Bra-burning also became associated with the movement, though the actual prevalence of bra-burning is debatable.

Green Lantern #83 (May 1971) “…And a Child Shall Destroy Them!” This issue was made popular by the depiction of Spiro Agnew and as the story’s main antagonist Grandy, although Neal Adams did draw the child Sybil to resemble Richard Nixon. Spiro Agnew was selected by Richard Nixon to be his running mate during the 1968 presidential election. Agnew had been the governor of Maryland. A relative political unknown, as vice president Agnew was Nixon’s “hatchet man.” His scathing criticism of political opponents, journalists, and anti-war activists was infamous. In 1973 he was formerly charged with accepting bribes as governor of Maryland. He became the only vice president to resign because of criminal charges.

Green Lantern #85–86 (Sept.–Nov. 1971) “Snowbirds Don’t Fly!” and “They Say It'll Kill Me … But They Won't Say When!”

Real-World Woes (top) While O’Neil and Adams’ xenophobic cult leader Joshua—seen here in a chilling three-panel sequence from Green Lantern #78—was not based upon Charles Manson, they spoke the same language of hatred. (below) Caricatures of US President Richard M. Nixon (left) and Vice President Spiro Agnew in GL #83 invited criticism.

Recreational drug use became prominent throughout the mid- to late 1960s. The Counterculture recognized marijuana and hallucinogenic drugs as a way to expand one’s mind. But by the early 1970s, the drug culture began to decay as far more addictive drugs like cocaine and heroin began to infiltrate the youth culture. Drug trafficking, particularly heroin, became one of the nation’s biggest targets in the war on crime. Rock star Janis Joplin’s death from a heroin overdose in 1970 became a rallying cry against the drug’s dangers.

Green Lantern #87 (Jan. 1972) “Beware My Power!” John Stewart’s character was heavily influenced by the state of race relations and the African-American community in the early 1970s. By 1971–1972, the Black Power movement was well underway. Branching off from what Martin Luther King, Jr. had started, Malcolm X and the Nation of Islam popularized the ideology that the black community should be autonomous and defend itself against the racist majority. One of the most popular and influential Black Power groups was the Black Panthers, headed by

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Two Very Different Highs (top) The rampant epidemic of drug addiction among Americans led DC Comics to address the crisis by having one of its superheroes—Green Arrow’s sidekick, Speedy (center)—struggle with a heroin addiction. (bottom) The Jesus Movement inspired GL #89’s resident messiah, Isaac. Photo from Capitalism Plus Dope Equals Genocide, by Michael “Cetewayo” Tabor, Black Panther Party, 1970. Courtesy of Michigan State University Library, Special Collections Division. Green Lantern art TM & © DC Comics.

Huey Newton and Bobby Seale. By the early 1970s, John Stewart’s hip, urban lingo had permeated into popular culture, particularly in movies. The shooting of the racist Senator Clutcher in the story was an odd premonition of the assassination attempt on presidential candidate George Wallace at a rally in January 1972. Wallace was an admitted segregationist.

“What Can One Man Do?” The race riot depicted in this story was something that plagued the country during the 1960s. The Watts Riot in Los Angeles during March 1965 left 34 people dead and thousands injured. The Newark, New Jersey, riots during July 1967 left 26 dead and hundreds injured. The Detroit, Michigan, riots during July 1967 left 43 dead and hundreds of injuries. Also, many cities dealt with riots after the assassination of Martin Luther King, Jr., particularly Washington, D.C. All of the cities that were affected by these riots continue to feel their ramifications.

Green Lantern #89 (May 1972) “…And Through Him Save the World!” As with many of the concerns of the late 1960s and early 1970s, ecology and the environment began making headlines. Earth Day began in April 1970. Eco-terrorism was in its infancy and became more prominent in the 1980s. By 1972, the portrayal of characters like Issac as modern-day messiahs was quite popular. Two plays/movies depicted this: Jesus Christ Superstar and Godspell. Jesus Freaks branched out from the Jesus Movement of the late 1960s and early 1970s. A Christian subculture became a wave that ran throughout the hippie and back-to-the-land movements. It focused on universal love and pacifism. In only a two-year span, Denny O’Neil and Neal Adams had touched upon many of the important events that drove the turbulent times of the 1960s and 1970s. They packed a lot into a short time and their comics series continues to be remembered and reprinted decades later. MICHAEL KRONENBERG is the co-author of The Batcave Companion. He is currently a designer for Marvel Comics, the Film Noir Foundation, and various other publishers.

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No Ordinary Romance Marvel’s oddest romantic couple, as seen in details from two Avengers covers: the Vision from issue #57 (Dec. 1967), drawn by Big John Buscema; and Scarlet Witch from #47 (Oct. 1968), by Don Heck and Frank Giacoia.

Karen Walker

Has there ever been a more tragic relationship in comics than that of the Vision and the Scarlet Witch? The persecuted mutant girl and outcast android came together despite so many obstacles. Their “love conquers all” story was inspiring. For many years the couple was a great example of a strong, committed relationship in the Marvel Universe. And then … things suddenly unraveled. How did it all go so wrong? The couple’s eventual downfall seems to boil down to one thing. The successful nature of their relationship was based on the belief that the Vision was human, or at least, human enough. But when that belief was denied, the relationship began to collapse like a house of cards. The Vision’s creator Roy Thomas had made it abundantly clear that the Vision was a synthetic man, essentially a human soul trapped inside an artificial body. Thomas’ successor Steve Englehart expanded on that and developed a much more complete Vision. However, John Byrne, as writer/artist on West Coast Avengers, nullified this concept by having the android torn to bits, his mind wiped clean and his emotions removed, making him a walking computer, devoid of any personality or humanity. Byrne then went on to have the couple’s children disappear, declaring that they had basically been imaginary. To complete this tragedy, Wanda went mad, and even evil for a time. The two former lovers were driven apart due to these circumstances. Even though the Vision later regained his personality and emotions, it seemed there was no going back— not for the couple, and not for the fans. Although the Vision had once been one of the most popular Avengers, after his deconstruction he never returned to his former prestige, and when he was destroyed in the Avengers Disassembled storyline, there was no outcry. On the other hand, plenty of fans seemed distressed over Wanda being the source of the team’s destruction, but by this point in time, after her repeatedly being shown as mentally fragile, most fans accepted the possibility of it. Both characters had suffered major revisions that drove them down disastrous paths. Today the Vision as we knew him no longer exists, and the Witch may be one of the most dangerous and hated people in the Marvel Universe. Of course, it all started out very innocently… Odd Couples Issue

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A WITCH IS BORN

Bewitched (above) Scarlet Witch sketches by Steve Rude, from 2001, courtesy of Jerry Boyd; and John Byrne, from the 1970s, courtesy of Anthony Snyder (www.anthonysnyder.com). (right) Wanda’s debut, in X-Men #4 (Mar. 1964). © 2010 Marvel Characters, Inc.

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The Scarlet Witch started her life as a reluctant villain. Created by Stan Lee and Jack Kirby as a member of Magneto’s Brotherhood of Evil Mutants in X-Men #4 (Mar. 1964), Wanda and her brother Quicksilver (a.k.a. Pietro) were young mutants who were in desperate need of guidance and protection. Magneto offered this to them. But they didn’t share his goal of wiping out humanity, and so they wound up elsewhere— no, not as X-Men, which would have made sense. Instead, the siblings became members of the Avengers! Wanda and Pietro became one-half of “Cap’s Kooky Quartet,” along with Captain America and new Avenger Hawkeye, who also had a checkered past. The foursome, while under-powered compared to their predecessors, became a formidable team and worked together for years. Wanda and her brother were a core part of the team for a long period. In the early days it often seemed like Wanda existed only to serve as the sole female member of the team or as a potential love interest for one or more of her male teammates. Her power—her “hex” ability— was poorly defined and unreliable. She did possess certain admirable character traits, though, such as a tremendous respect for Captain America and a loyalty to the Avengers as a whole. The relationship between brother and sister was always a difficult one. Pietro assumed a possessive role with Wanda—overprotective at best, and dominating at worst. Wanda at times seemed to resent this but mostly assented to his wishes. Her personality at this time (the 1960s) was much more passive than it would later become (a characteristic of most of the heroines of that era).

In issue #53 (June 1968), the two mutants left the pages of The Avengers, not rejoining the team until issue #75, nearly two years later. In the meantime, a new member would make a dramatic debut.

THE ANDROID AVENGER Not long after Wanda and Pietro left, the Vision premiered, in Avengers #57 (Oct. 1968). Writer Roy Thomas, feeling stymied by the editorial dictum that he not use any of the “Big Three” of Captain America, Iron Man, and Thor, wanted to create a new hero for the team. Thomas really wanted to use the original Golden Age Vision, a spooky, extra-dimensional being, but editor Stan Lee insisted that the new character be an android. Thomas took a best-of-both-worlds approach, used some of the look and mysterious nature of the original, and came up with the android Vision. The story, “Behold … the Vision!” introduced the Vision as the creation of Ultron, the Avengers’ robotic foe. The Vision rebelled against Ultron and helped the Avengers defeat him. Although they might not have been entirely comfortable around the brooding android, the Avengers apparently recognized his innate heroic nature, and by the next issue they offered him membership. Even though he was quickly accepted into their ranks, the Vision was still an outsider. He was isolated from society by the fact of his being an android, or “synthozoid,” as Thomas preferred to call him. In issue #58, as the Avengers ponder admitting him into their ranks, Goliath (a.k.a. Hank Pym) explains the Vision’s condition: “Not an android—but a synthozoid! You’re basically human in every way … except that your body is made of synthetic parts!” When the Avengers make the happy announcement that the Vision has been voted in as a member, he says incredulously, “You accept me … even though I’m not truly a human being?” Pym replies, “Is a man any less human because of an artificial leg … or a transplanted

heart? We ask merely a man’s worth … not the accident of his condition!” With these few words, we learned that “even an android can cry!” However, despite this acceptance, there were times when even his teammates had their misgivings. Repeatedly, the Avengers themselves commented on the android’s cold nature or chilling voice. Although he appeared aloof and unfeeling, nothing could be further from the truth. The Vision was capable of having the same emotions as any person, but he lacked the experience to know how to deal with them. He even wondered if his emotions were “real” or merely simulated by his android brain. The knowledge that his brain patterns were based on those of Simon Williams (the presumed-dead Wonder Man) also troubled him deeply, and the situation would only worsen when Wonder Man actually came back to life!

Hands Off My Sister, Pal! (above) This early flirtation between the Vision and the Scarlet Witch is objected to by Wanda’s brother, Quicksilver. From Avengers #93 (left, Nov. 1971), by Roy Thomas, Neal Adams, and Tom Palmer.

FORBIDDEN LOVE Just as we had learned an android could cry, we would discover that he could also fall in love. When Wanda returned to the team in issue #75 (Apr. 1970), the Vision seemed to take a special interest in her, and she in him. Writer Thomas explains how the romance came to be: “I felt that a romance of some sort would help the character development in The Avengers, and the Vision was a prime candidate because he appeared only in that mag … as did Wanda, for that matter. So they became a pair, for just such practical considerations. It would also, I felt, add to the development I was doing on the Vision’s attempting to become ‘human.’” Initially there were only some barest hints that the two were attracted to each other. This plot thread seemed to languish unexplored for quite some time. It was not until the time of the epic Kree-Skrull War that we truly saw these two express their feelings for one another. In issue #91 (Aug. 1971), while being held captive by the Kree emissary Ronan, their feelings for each other finally come to the surface. Wanda tells the Vision that “…nothing matters—just as long as you weren’t harmed. I know that now.” Just as they are about to kiss, the Vision suddenly pulls away. “No!” he cries. “It must not be.” When she asks why, he says because he is an android—“a mere copy of a human being.” While the Vision may have felt unworthy to return Wanda’s love, he still couldn’t prevent himself from caring deeply for her. When she is captured by the Skrulls during the war, he fights like a man possessed to save her. After the Avengers board the Skrull flagship (Avengers

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For Better or Worse A hand-colored sketch of our ill-fated lovers by George Pérez, from the collection of Michael Lovitz.

#96), the Vision begins furiously beating the Skrull commander, trying to extract from him Wanda’s location. Iron Man tries to stop him, saying, “You’ll kill him! You don’t know what you’re doing!,” to which the Vision replies, “Another correction, Iron Man! My brain is a miniaturized, high-speed computer. I always know precisely what I am doing. I—am—killing—him!” Although their mutual interest had become painfully obvious to their teammates, the Vision would not allow himself to act upon it. In issue #99 (May 1972), Thomas gives us a beautiful quiet scene between the synthozoid and the Avengers’ butler, Jarvis. Jarvis realizes that the Vision and the Scarlet Witch are in love, and tries to encourage the Vision to express his feelings to her. But he is still paralyzed by his own self-doubt. “There are things I could never give her … a normal home … a family…” Thomas would leave with issue #104 (Oct. 1972) and his hand-picked successor, Steve Englehart, would prove the Vision wrong—he and Wanda could have a life together. At least for a little while.

HAPPY TOGETHER Englehart wasted no time bringing the twosome together. As the relationship between android and mutant blossomed, they faced difficulties from many quarters. Some in the public rejected their relationship, disturbed

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by the thought of a human (or mutated human) falling in love with what they considered to be a machine. Their teammates supported them, with one stark exception: Quicksilver. Despite spending years on the same team with the Vision, Pietro reacted very badly to the news that his sister and the Vision were in love. He even told Wanda that he forbid her to “love that thing!” Into this hotbed of emotions would enter the Swordsman and Mantis. The Swordsman was a one-time enemy who had briefly joined the Avengers (way back in issue #20) to betray them. He had spent years as a petty criminal and drunk, but was seeking his redemption by joining the team. Mantis was an Englehart creation, a Vietnamese bar-girl who just happened to also be a supreme martial artist and empath. Mantis, as Englehart has said, was there to shake up the status quo. Her sudden switch in affections from the Swordsman to the Vision would definitely do that. Although the Vision did not reciprocate her interest, the situation caused Wanda to become extremely insecure, and created the first real test of their relationship. Wanda began to explore true sorcery as the apprentice of witch Agatha Harkness—the former nanny of the Fantastic Four’s young Franklin Richards. As always, the Marvel Universe was a small world! This growth in Wanda’s abilities also created a growth in her confidence—under Englehart’s hand, she became more assertive. However, Ms. Harkness made extreme demands on Wanda’s time, and this, too, began to drive a wedge between the couple. Wanda’s growth as a character was influenced by Englehart’s background, as well as the times. “Well, when I took over, someone told me the way to handle Wanda was, ‘She does a hex and then is out of energy (and the battle) for a while,’” Englehart says. “It was, in all honestly, a standard way to regard heroines at the time, since we were just on the cusp of the ’70s feminism wave. I was newly out of a liberal college, and a liberal by nature, so I said, ‘Y’know, she’s an Avenger. Why would they have her if that’s all she could do?’ So there I was, on my first splash page, with Wanda getting in your face—my announcement that I saw her as an equal player. This is not to blow my own horn too much; it was a time of transition, and I was on one side of it, and some others weren’t.” Regarding her turn to sorcery, Englehart explains, “Having decided she would be a full-fledged player, she then naturally developed a more assertive personality, and I wanted to know more about her rather vaguely defined powers since she’d be using them more. I could certainly have pushed her more toward the mutant end of the spectrum, but the name ‘Witch’ seemed like it could be more than just a superhero nom de guerre, so I went that way.” The most significant development of this period however, was the revelation of the Vision’s true origin. It was a story that spanned not only the regular title but the quarterly Giant-Size Avengers and involved both longtime foes Kang and Immortus. Finally, all of the clues which had been planted that indicated some sort of mystery about the creation of the Vision (starting with Ant-Man’s undisclosed find inside the Vision in issue #93) were explained. The reader learned that the Vision was, in fact, the original android Human Torch, modified by Ultron. With this information, the Vision knew that he was not simply the creation of a malevolent robot, but the first android known to man, and a hero from World War II to boot. This was an enormous breakthrough for him. As Englehart says, “His discovery of his complete origin solidified his self-identity, which gave him the inner

peace to finally ask Wanda to marry him. Until that point, there’d always been a void at his center, and though such people can get married, filling the void let him stop focusing on the past and turn his thoughts toward the future.” In Giant-Size Avengers #4 (June 1975), the Vision finally feels secure enough to propose to Wanda. She happily says yes, telling him, “Don’t you see love is for souls, not bodies?” We are then treated to possibly the strangest wedding ever, as not only the Vision and Scarlet Witch exchange vows, but Mantis and a dead Swordsman with the spirit of a Cotati (a long story…) also get hitched. Immortus presides over the affair and it is witnessed by their fellow Avengers. The Vision and Wanda were quite content for awhile. Of course, this couldn’t last forever.

FAMILY TIES Englehart’s last issue of Avengers was #151(it is credited as being written by Englehart, Gerry Conway, and Jim Shooter). With this issue (Sept. 1976), the couple’s newfound happiness would be threatened with the return of a character long thought dead: Wonder Man. His reappearance would turn their world upside-down. Face to face with the man whose brain patterns and perhaps personality he had “inherited,” the Vision once again began to question his own identity. Was he just a poor simulation of the real Wonder Man? The Vision began to behave erratically, sometimes acting coldly, but just as often flaring with anger, even at Wanda. It came to a head in issue #158, when Vision and Wonder Man engage in a fist fight in Avengers mansion over the android’s perception that Wonder Man was making a move on Wanda. The battle soon ends, resolving nothing, and leaving everyone involved an emotional wreck. However, after an encounter with the Grim Reaper in issue #160, the Vision and Wonder Man began to

grow closer, and eventually they would consider each other to be brothers of a sort. It’s at this point that the Vision and Wanda seemed to settle into a comfortable life. They even leave the Avengers and settle down in suburban New Jersey! The duo received their own four-issue miniseries titled The Vision and the Scarlet Witch in 1982. The major accomplishment of the series (by writer Bill Mantlo and artist Rick Leonardi) was to bring Wanda and Pietro together with their real father, Magneto. It also developed the Vision/Wonder Man relationship more. Back in Avengers, writer Roger Stern began a storyline in issue #238 (Dec. 1983) that would ultimately have grave consequences for the couple’s future. The Vision, who had been rendered comatose in a battle and was recuperating inside a stasis tank, was connected to I.S.A.A.C., the sentient computer of the moon Titan, in order to affect repairs. Unfortunately, I.S.A.A.C.’s programming subtly began to overtake the android’s mind. While many of the active Avengers were away fighting in the “Secret Wars,” the Vision took over

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In Their Own Series (left) The cover to Vision and the Scarlet Witch #1 (Nov. 1982), by Rick Leonardi and Jack Abel. (below) Vision’s past is torch-lit on this page by Mantlo/Leonardi/ Joe Rubinstein, from issue #3. © 2010 Marvel Characters, Inc.

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Man or Machine? (below) The Vision and I.S.A.A.C., from Avengers #255 (May 1985). Art by John Buscema and Tom Palmer. (right) Is it the Vision or a Ken doll? From West Coast Avengers #45 (June 1989), by Byrne and Mike Machlan. © 2010 Marvel Characters, Inc.

leadership of the group. But the Vision was acting strangely, far more emotional than ever before, and downright manipulative. In fact, he was harboring a secret plan. The Vision wanted to solve all the world’s problems—by taking it over! Stern built this story slowly and deliberately—in fact, we didn’t actually learn of the Vision’s plans until issue #251. The Vision decides to sacrifice his physical form in order to take over the world’s computer systems, and somehow create a utopia. In the nick of time, he is convinced by his fellow Avengers that this is a flawed idea, and he is restored to his body. However, he had become aware of a control crystal that Ultron had planted deep in his brain at the time of his creation, which not only made it possible for others to control him, but stunted his emotional growth as well. Turning his hand intangible, the android reaches inside his head and tears out the crystal! The removal of the crystal would have a tremendous effect on his personality—in fact, immediately after he did it, he began speaking with standard word balloons rather than the yellow, rectangular balloons that had been used for years to depict his hollow voice. Further, as shown in the 12-issue Vision/Scarlet Witch miniseries by Englehart and Rich Howell in 1985, the Vision began to exhibit extremely emotional responses to just about everything. It seemed like all the feelings that he’d had bottled up inside suddenly came rushing forth. This was not like the Vision we’d all known and loved, but represented a new aspect in his growth. The miniseries itself revolved around Wanda’s magical pregnancy and, eventually, birth of her twin boys. This was certainly the most unorthodox use of Wanda’s abilities, to say the least! But as writer Englehart says, “It’s superhero comics!” The Vision and Wanda settled down in New Jersey with their babes to attempt to lead a normal life. The duo disappeared from the pages of Avengers for over a year, until they rejoined the West Coast Avengers in issue #37 (Oct. 1988). Although the Stern “Unlimited Vision” storyline was certainly one of the best to focus on the Vision, it unfortunately led to the most disastrous event in the couple’s life: the complete loss of the Vision’s humanity in John Byrne’s “Vision Quest” story.

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GHOST IN THE MACHINE—OR TOASTER? The story begins in issue #42 (Mar. 1989) of the West Coast Avengers. The Avengers discover that the Vision is missing, and all efforts to locate him fail. They learn he has been kidnapped by a secret organization. At the end of issue #43, they finally discover what has happened to the missing android … and it is shocking. In a two-page spread, the Vision’s corpse is flayed out across a huge platform. A mechanical skeleton is clearly visible. His organic parts are contained in liquid-filled tanks, and his empty skin lies there like a deflated balloon. This image alone has probably done more to shape how future writers (and readers) perceive the character than anything before or since. Once seen broken down into component parts, it’s hard to truly move past that image and think of the Vision as a synthetic man, not a machine. The mysterious organization that did this to him is actually a coalition of agencies from governments around the world, united to prevent any possible repeat of the Vision’s global domination plans by completely dismantling him. Although Dr. Henry Pym physically reassembles the Vision, the covert group had also taken the precaution of wiping out all his memories and his brain patterns from Wonder Man. The Vision was in effect a blank slate. Pym downloads Avengers’ history into his memory units, but the Vision has only have a basic knowledge of people and events, not a personal context for either. His emotional capacity is gone. His ability to love his wife has also faded away, much to Wanda’s horror. The restored Vision is revealed in a full-page spread nearly as jarring as the dismantling scene. The Vision’s skin is all white, a side effect of his disassembly. Even worse, though, Byrne gives us a nude Vision, which answers an age-old fan question: does he or doesn’t he? Byrne’s answer was, No, he doesn’t. He authoritatively

gave us a neutered Vision (the implication being that he was likely always that way). This drove away any last vestiges of the android’s humanity. Byrne also decided to rewrite the Vision’s origin. No longer was he the original Torch, but a being made of the Torch’s spare parts (this was later reversed by Kurt Busiek in the miniseries Avengers Forever, 1998). To further complicate the situation, Wonder Man had decided he would not allow his brain patterns to be used again to restore the Vision. His reason? He was in love with Wanda and wanted a chance to be with her. Even more shocking was the fact that the Wasp encouraged him to pursue Wanda—despite the fact that she was still married and clearly distraught! The final blow to the relationship was the revelation that the couple’s children were essentially figments of Wanda’s imagination. They had been created from fragments of the demon Mephisto’s soul and when the demon reclaimed them, the kids disappeared. Wanda was emotionally devastated by all that had occurred and this left her extremely vulnerable. She wound up becoming sort of a “Dark Scarlet Witch” for a time. By issue #55 (Feb. 1990), Vision left the West Coast group to rejoin the original team, and Wanda began hanging out with dad Magneto. For all intents and purposes, their life together was over.

THE AFTERMATH As the years went by, the Vision would regain his personality and capacity to feel. Meanwhile, Wanda would develop a relationship with Wonder Man, although this would eventually end as the two agreed there was no real love between them. Wanda and the Vision both rejoined the Avengers, and it seemed as though the potential for the former lovers to get back together was there (particularly during Geoff Johns’ run in the third volume of the title), but they never truly became a couple again. Both were shown to still

have feelings for the other, but a relationship just never materialized. And not too much later, Wanda would go insane, and her powers would be used as never before, causing the Avengers to be torn apart—in the case of her ex-husband, literally, as a crazed She-Hulk ripped the Vision to shreds with her bare hands during Avengers Disassembled. Marvel would soon create a new Vision, a member of the Young Avengers who is in reality a combination of Iron Lad/Kang’s armor, Iron Lad’s brain patterns, and the original Vision’s operating system (making him sound even more like a machine). But the original Vision still sits in pieces in a box somewhere, neglected by both his Avengers teammates and writers. As for Wanda, after her reality-altering escapades in Avengers Disassembled and the House of M event, she appears to be living the quiet life in Wundagore, apparently completely unaware of her true identity. As of this writing in June 2010, it appears she may play a role in the upcoming title, Avengers: The Children’s Crusade, which features the Young Avengers (two members of which may be her children). Only time will tell if someone sees fit to revive the Vision, rehabilitate Wanda, and try to bring these two star-crossed lovers back together. As Englehart says, “It’s superhero comics!”— anything is possible.

Love Android Style (left) Rick Leonardi/Joe Rubinstein original cover art to Marvel Fanfare #14 (May 1984), courtesy of Heritage Comics Auction (www.ha.com). (right) The couple in a beautiful coloredpencil commission by Craig Hamilton, from 2005, courtesy of the artist. © 2010 Marvel Characters, Inc.

Many thanks to Roy Thomas and Steve Englehart for sharing their time and memories. KAREN WALKER is a mild-mannered research analyst by day, and a comics connoisseur by night. She has written chapters for Assembled!2: Earth’s Mightiest Heroes and Villains, edited by Van Plexico.

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“The darkness and light are both alike … I am fearfully and wonderfully made.” – Psalms 139:14

J a s o n V. S h a y e r

From their first appearance in the pages of Peter Parker, The Spectacular Spider-Man #64 (Mar. 1982), it was plain to see that Cloak and Dagger were not your usual Marvel characters. They were two single-minded teenagers with incredible powers driven to root out the evils of the drug trade at any cost. Cloak and Dagger were diametrically opposed, one of light and one of darkness, but forever bound together. Wronged and victimized, they didn’t set out as heroes, but rather as vigilantes, eager to exact their revenge. They struggled to be heroes as they tried to temper their vengeance with justice. They were devoted to each other, but often found themselves at odds. It was these conflicts, both internal and external, that made Cloak and Dagger so compelling. The 1980s was the comics generation of the teen with titles like The New Teen Titans, The New Mutants, and Power Pack exploring real youth issues. In 1982, First Lady Nancy Reagan kicked off her “Just say no” campaign against drugs, and it drew worldwide attention. Drugs, crime, and justice were themes Cloak and Dagger dealt with regularly. I recall not liking Cloak and Dagger when I had originally read their stories. Looking back on it now, I believe my dissatisfaction had to do with the tone of their stories rather than the characters. The Spider-Man titles were usually lighthearted and fun with a level of conflict that you knew wouldn’t have any significant impact. But the issues in which Cloak and Dagger guest-starred carried a certain weight to them. I’m not saying that a weight or depth to a comic book is a bad thing, but it was a radical shift in the escapism I had sought out as a kid. Cloak and Dagger’s relevant and hard-hitting stories didn’t hold any punches as they boldly and honestly discussed topics like prostitution, drugs, and violence.

ENTER CLOAK AND DAGGER It was initially difficult to understand Cloak and Dagger’s motivations through their early appearances in Peter Parker, The Spectacular Spider-Man (PPTSS). Writer Bill Mantlo successfully eroded any feelings of condemnation that readers might feel as they witnessed Cloak and Dagger’s brutal methodology. Cloak and Dagger were contrasted against SpiderMan, allowing both Mantlo and the reader to explore the role of vigilantes. They were children without colorful costumes or secret identities. They didn’t use witty banter to down play the seriousness of the violence they were perpetrating. While Spider-Man acted out of a sense of responsibility, Cloak and Dagger

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Marvel Team-Ups Appearances in Peter Parker, The Spectacular Spider-Man helped make Cloak and Dagger fan favorites in the early 1980s. (left) An Eisner-esque Ed Hannigan/Al Milgrom cover to issue #64 (Mar. 1982), and (right) another Hannigan/Milgrom winner, from #70 (Sept. 1982). © 2010 Marvel Characters, Inc.

acted out of a sense of necessity, feeling they had no choice as instruments of vengeance. They didn’t have the supporting cast that Spider-Man could depend on—they only had each other. In their first appearance, Spider-Man couldn’t stop them from killing a drug dealer. He tracked down the dangerous and misguided duo only to discover they had captured the drug dealers responsible for changing them into Cloak and Dagger. “It is not justice we want, Spider-Man. It is vengeance! These men must die!,” Cloak declared. Protagonists killing bad guys, even though it was difficult to condone, was not seen in the pages of any Marvel Comics at that time (even the Punisher at that time was using his “mercy bullets” rather than live ammunition). Cloak and Dagger blurred the line between villain and hero. Reading this issue, it was easy to sympathize with them and demand revenge. But you could also feel Spider-Man’s point of view, believing the drug dealers had to be brought to justice and not murdered in cold blood. Cloak and Dagger proved to be popular, spawning several more guest appearances in PPTSS. They tangled with the Wall-Crawler as they followed the drug chain, confronting powerful mobsters like Silvermane and the Kingpin. Spectacular Spider-Man #82 (Sept. 1983) was a significant issue as Mantlo cleverly used the Punisher

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as another point of contrast to Cloak and Dagger. As the Punisher’s war on crime escalated, it took a toll on him, eroding his sanity and driving him into madness. If Cloak and Dagger continued on their reckless path of vengeance, would they too spiral down into madness like the Punisher? With the growing popularity of Cloak and Dagger, there was a noticeable decline in their unrepentant vigilantism. In their early appearances, Cloak and Dagger had no moral reservations about killing the drug dealers they preyed upon, but if they were to be heroes, that approach had to change. Mantlo added a new facet to Dagger’s light daggers, allowing them to purge the devastating effects of drug addiction rather than inflicting deadly force. Cloak and Dagger’s righteousness was also tempered as they focused on the enablers rather than the victims. After their popular appearances in PPTSS, Marvel gave Cloak and Dagger their own miniseries in late 1983. Rick Leonardi drew the miniseries. “Rich Leonardi has brought an intensity and excitement to Cloak and Dagger that is more than I ever could have hoped for,” gushed Bill Mantlo in the Marvel-published fanzine Marvel Age #6 (Sept. 1983). “His design is daring and original. His characterization insightful. His draftsmanship a joy to behold.” This miniseries allowed readers to enter the world of Cloak and Dagger and to learn more about this obsessed and troubled couple.

ORIGIN The origin of Cloak and Dagger didn’t involve any radioactive spiders or cosmic rays or gamma bombs. Their destinies unfolded within the stark, brutal reality of the drug trade. Tyrone was a street-wise, insecure boy with a stuttering problem who grew up in a Boston ghetto. Tandy, on the other hand, was a spoiled but self-reliant girl born into her mother’s harsh socialite world. They were both runaways, escaping their old lives and naively hoping for a start fresh in New York City. Alone and afraid in Manhattan, they were preyed upon by agents of the drug trade. They were kidnapped and, along with other runaways, were used as guinea pigs for a new designer drug. The drug experiment proved to be failure as it had killed all in the test group but Tyrone and Tandy. Perplexed by how they survived (which would later be explained as the drug having activated their latent mutant abilities), Tyrone and Tandy escaped to discover that they had been forever changed. The inspiration behind Cloak and Dagger came to Bill Mantlo in the aftermath of one of many outings which were attempts to avoid penning his first Spider-Man story. He had visited Ellis Island and was deeply shaken by “the Island of Tears.” From Bill Mantlo’s article in Marvel Age #6, he explained their genesis: “They came in the night, when all was silent and my mind was blank. They came completely conceived as to their powers and attributes, their origin and motivation. They embodied between them all that fear and misery, hunger and longing that had haunted me on Ellis Island.” Cloak and Dagger’s co-creator and artist Ed Hannigan recalls, “Bill had a short page or two synopsis of the story that he showed me, and we discussed what the characters

would look like. He gave me a lot of leeway, but it was fairly obvious that Cloak would be black and have a big ‘animated’ black cloak and Dagger would be white with a skintight leotard-type thing. I am not sure, but I think I might have come up with her ballet angle. I put the same kind of amulet/clasp on both costumes and came up with the dagger-shaped cutout on her costume, which was quite daring at the time. The hardest part was determining what her ‘light daggers’ would look like.” In Marvel Age #25 (Apr. 1985), Mantlo further expanded on his beloved characters: “With Cloak and Dagger, I’m trying to deal with children at a very vulnerable and frightened age, where life is seen as oppressive, something that conquers, rather than is conquered. I want these two kids to find a way to survive, and to come out of this process changed and better— and the way they’re going to do that is by helping others. “I don’t know in the end run what form that growth is going to take, but I hope that they’re going

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Into the Darkness (below) Cloak takes care of a pimp on this startling original page to issue #2 of the miniseries. Art by Leonardi and Austin, and courtesy of Terry Austin. (left) The issue’s cover. © 2010 Marvel Characters, Inc.

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to come out of it better people, at least feeling better about themselves. So I view Cloak and Dagger as a process of growth—a chance to watch two people grow, morally, physically, and spiritually.” Michael Mantlo, Bill’s brother and caretaker, shares this about his sibling, who sustained a brain injury in a 1992 accident: “Bill was also pleased that Cloak and Dagger featured an interracial relationship between characters who were urban, inner-city residents. Bill worshipped New York City, and the Cloak and Dagger storyline echoed his sentiments. On more than one occasion, he did tell me that Cloak and Dagger was his proudest accomplishment.” The success and popularity of Cloak and Dagger were a combination of Mantlo’s grasp of his audience and the need of his audience to deal with these same issues. Cloak and Dagger were kids struggling with issues that real kids struggled with. Cloak and Dagger were changed by how they dealt with those issues in the same real way that real kids were. Readers felt they were being spoken to and hence connected with Cloak and Dagger, which created an immediate relationship. “I think they were just different enough to appeal to fans, and they weren’t the usual crimefighter types,” Ed Hannigan recalls. “The homeless/runaways angle probably struck a deep chord with many adolescents. They were a male/female combo, but one wasn’t the main hero with the other a sidekick, so they were unique. Also, they didn’t engage in the usual Marvel wisecracking patter, so they were a bit more serious, which played well off Spider-Man.”

VIGILANTES OR HEROES? Retrospectively, Cloak and Dagger might be seen to be part of the later 1980s’ trend of gritty, urban realism made famous by characters like the

Punisher and Daredevil. But it’s important to recognize that back in 1983, the Punisher was being used as a secondary character and Daredevil’s “Born Again” storyline was still a few years away. Cloak and Dagger were well ahead of their time in discussing vigilantism and social justice. It was more than exploring the cathartic yet empty feeling of vengeance. Through these characters, Mantlo engaged readers and explored these heavy, adult issues. These issues were hot topics in the mid-1980s because of the Bernard Goetz shootings, which had North America wrestling with vigilantism and frustrated with high urban crime rates. [Editor’s note: Bernard Goetz, also known as the “Subway Vigilante,” made headlines after shooting four alleged muggers, prompting public and political debates on self-defense.] These Cloak and Dagger stories can be viewed as a way to deal with the frustration that everyone involved with law and justice had to deal with. The brutal reality of their efforts was that there was no end to the street war, that there was always someone else desperate enough to join their ranks. “Bill [Mantlo] was studying law at the time—I’m not sure, perhaps he already had completed his bar exams—but he knew law, and in Cloak and Dagger, Bill found a means of presenting issues of a sociological and morality-based nature to his audience,” explains David Yurkovich, author of the biography Mantlo: A Life in Comics. Cloak and Dagger were kids dealing with strange and frightening powers and also tasking themselves with rooting out the evil that made them. In Cloak and Dagger #1 (Oct. 1983), Cloak boldly proclaimed their mandate: “Ours is a mission of vengeance. We seek out those who deal in darkness, in death … and slay them.” Their mission was ultimately a childish notion, believing two people, as powerful as they might be, could bring an end the drug trade. Recall your own perception of the world when you were a child and how as you grew up, you discovered that the world was far larger than you could have ever conceived. When they took down local drug dealers, they felt like they were striking a blow against the industry, but they weren’t. There was always a lineup of vermin ready to take the place of a fallen drug dealer and to take their turn at exploiting children. On an emotional level, they reacted as children would. When children are hurt, they lash out, instinctively not wanting to be hurt and wanting to hurt those that hurt them. From Mantlo’s article in Marvel Age #25: “They’re going to get involved in some very violent and bloody confrontations with the criminal elements that are pushing drugs and trading drugs for money, with terrorist organizations that are selling drugs to finance their political goals. And they’re going to take stands, and find out that their stands are naíve. They’re going to find out that their positions are formed on the basis of a seventeen-year-old’s understanding of geopolitical machinations. They’ll have to revise those ideas.” Yurkovich elaborates: “With Cloak and Dagger, the vigilante duo’s self-appointed ‘mission’ changed as the series progressed. Though possessed of noble intentions, they were ultimately in way over their heads. Their lofty goal to rid the world of illegal drugs was short-sighted, and the characters themselves came to know this. How simple it would have been to have kept Cloak and Dagger in New York, battling supervillain upon supervillain each month.” The 1983 miniseries was a success and just over a year after it had wrapped up, Marvel Comics green-lighted a bimonthly Cloak and Dagger ongoing series. With their origin revealed and the foundation for their mission set, this ongoing series focused on the relationship between Cloak and Dagger.

You Light Up My Life Cloak and Dagger scored an issue of Marvel Fanfare (#19, Mar. 1985) all to themselves, with Bill Mantlo writing short stories for different artists. This is an original page from a Dagger solo tale drawn by Kerry Gammill and George Freeman. Courtesy of Heritage (www.ha.com). © 2010 Marvel Characters, Inc.

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Are We Not Mutants? (above) Chris Claremont and Bill Sienkiewicz added twists to Cloak and Dagger’s story in New Mutants #23 (Jan. 1985). (right) Courtesy of Terry Austin, original Leonardi/Austin art to issue #3 (Nov. 1985) of Cloak and Dagger’s second series. © 2010 Marvel Characters, Inc.

SYMBIOTIC RELATIONSHIP “Let her go, Cloak!” cried Spider-Man in Spectacular Spider-Man #70 (Sept. 1982). “What kind of hold do you have over her?!” To which Cloak replied: “Whatever chains shackle us together are mutually imposed.” One of the more powerful facets of Cloak and Dagger was their haunting, symbiotic relationship that bound them together. Spawned as a byproduct of greed and violence, their lives were changed, but changed together, linked forever. Neither of them had anyone else to turn to. Alone and afraid, and still learning about themselves and their powers, they struggled together to live in a stark and dangerous world that had stolen their innocence. Dagger was an obvious symbol of light while Cloak was the darkness. She was seen as an angel while Cloak, a devil. Her powers cleansed while his consumed. They were diametrically opposed, but their need for each other tied them together. A symbiotic relationship can be broadly defined as a relationship between organisms in which both organisms benefit from the association. Through this relationship, both individuals improve the prospects of their survival and growth (Ahmadjian, Vernon and

Paracer, Surindar, Symbiosis: an introduction to biological associations, Oxford University Press, 2000). Cloak needed Dagger’s light daggers to quell the hunger of his extra-dimensional void. Without her light, Cloak would become a monster and zealously consume anyone’s life energy. Dagger needed Cloak as well. The light within Dagger’s body would build up and regularly needed to be defused into his hungry darkness. In PPTSS #94 (Sept. 1984), the hunger growing within Cloak had become an addiction: “A hunger far greater than any of you could understand—You spoke of a price—I will pay you in coin far greater than you could ever dream!” Despite knowing the hunger was consuming his soul as well as his victim’s, Cloak couldn’t help himself. “Without your light to sustain me, the darkness within me could rise up and consume every living thing on this earth,” Cloak told Dagger. Cloak was disturbed by his need to feed on Dagger’s light, fearing that his darkness would contaminate her purity: “At last the darkness can feast—and I need not take Dagger’s precious light to feed it!” From the moment he met her, Cloak loved Dagger. To him, she represented an innocence and purity, qualities he felt he could never achieve himself. Together they were forced to deal with how they were changed. Not only do their powers prevent them from returning to their normal lives, but with their

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Secret Wars II Crossover (below) A dazzling cover by Leonardi and Austin gueststarring the Beyonder, from issue #4 (Jan. 1986). Special thanks to Terry Austin. (right) Mike Mignola magic (inked by Austin) on issue #8’s cover. © 2010 Marvel Characters, Inc.

innocence shattered, they could no longer live in the idealistic childhood world they once believed existed. In Marvel Team-Up Annual #6 (Jan. 1983), the question of Cloak and Dagger being mutants was raised, but not answered, as they turned down an offer to join Professor Xavier’s New Mutants. A few years later, in The New Mutants #23 (Jan. 1985), Cloak and Dagger found themselves normal again as they’d transferred their powers to Roberto (Sunspot) da Costa and Rahne (Wolfsbane) Sinclair. Initially, Cloak and Dagger were relieved to be free of their curse. “We don’t want those powers back! (…) We d-d-deserve our chance at happiness,” Tyrone told the New Mutants. Imagine the frustration you would feel no longer being human, unable to remove a mask or costume like other heroes, and incapable of returning to a normal life. Being normal again didn’t sit well with Tyrone (The New Mutants #24, Feb. 1985). He feared losing Tandy as he felt they had nothing in common since their bond was now broken. Neither of them fit into each other’s world because their powers were no longer a unifying force.

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But Tyrone feared becoming Cloak again: “[You can’t know] what it’s like feeling d-d-darkness grow inside you like a c-c-cancer, an’ yourself becoming a slave to its awful h-h-hunger. Tandy, the more I use my power, the more I w-w-wanted to. Like I’m some kinda junkie or vampire. Towards the end, it was gettin’ harder an’ h-h-harder to control! It ain’t fair. Y’know?! I mean, why m-m-me. What’d I ever do to d-d-deserve that?!!” Tandy had always been Tyrone’s moral compass. It’s not that Tyrone didn’t know what was right or wrong, he would let his fears overwhelm his decisionmaking process. Tandy was always there to center him. She also didn’t have the same malicious drawbacks with her light powers. Tandy had been less enthusiastic about their vendetta, as she was lost in the weight of the responsibility of their transformation. On the surface she seemed hesitant, distracted by her desire to be like other teenagers, while Tyrone seemed so driven and certain their cause was just. But inside it was the reverse, with Tandy being the strong one and Tyrone being the one distracted by his internal conflicts. Tandy willingly took up her mantle as Dagger, feeling that no other person should bear the curse of their powers. Tyrone struggled with losing Tandy or losing his soul. During the process to regain their powers, Tyrone confronted his fears and emerged as Cloak, but with a sense of renewed hope and optimism. Another test of their relationship happened in Cloak and Dagger #1 (July 1985). Cloak, full of righteous fury after a heated debate with Father Delgado, turned on Delgado’s parishioners. Driven by his relentless hunger, he judged them unworthy and enveloped them in his cloak to feed. Dagger intervened, rescuing them from Cloak. And it’s during this outburst that we saw a hint that there might actually be some kind of monster within Cloak’s darkness.

CLOAK AND DAGGER—KEY APPEARANCES Peter Parker, The Spectacular Spider-Man #64 (Mar. 1982) Bill Mantlo stated that this issue was the best story he’d ever written. Ed Hannigan’s art stood out as well, capturing the dark and gritty urban sprawl with a Ditko-esque feel.

Cloak and Dagger #1–4 (Oct. 1983–Jan. 1984) This classic 1980s miniseries has been reprinted in a Marvel Premiere Edition which included as bonus material are Ed Hannigan’s complete layouts of the first issue as well as the full pencils of the first six pages.

In the aftermath, Dagger decided to leave Cloak, but was again tasked to intervene as Cloak lashed out against a group of reckless teens (Cloak and Dagger #2, Sept. 1985). Dagger turned to her mother in hopes of grounding herself, but she realized that her mother was more self-absorbed than she had remembered. And taking a page from Cloak’s book, she lashed out against her mother and her lifestyle. In the end, Dagger only had Cloak to turn to. Haunted by her return to Cloak and to their mission of vengeance (Cloak and Dagger #3, Nov. 1985), Dagger feared for her soul. Cloak’s response was straightforward: “Never say that. You are pure. Your excess light protects you from the dark presence that hungers inside me. It is that light that keeps us both from being eternally condemned.” In Cloak and Dagger #4 (Jan. 1986), Mantlo used a tie-in to a Marvel-wide event to his advantage. He dropped the Secret Wars II’s Beyonder, an all-powerful, god-like being, in the slums of New York City. It wasn’t long before the street vermin descended upon him and tried to exploit his naivety. Cloak and Dagger came to the Beyonder’s rescue, unaware of his omnipotence. He rewarded them by stripping them of the powers and freeing them of their burden. But when Cloak and Dagger explained to him what those drug dealers and pushers would have done to him, he realized the good that Cloak and Dagger did and the worthiness of their mission. The Beyonder then took their mission to the nth degree and unleashed the power of a god against those in the drug trade. This blind, widespread action forced Cloak and Dagger to confront the effects of their vigilantism, making an emotional connection to what they’ve done and what they were doing. At this pivotal moment, Cloak again challenged the righteousness of their mission, caught between his morals and his thirst for vengeance. What Mantlo cleverly did here was strip these characters down to their basics. When confronted about their mission by various authority figures like Spider-Man or Father Delgado, they stood proudly on the fact that their powers give them the right do to what they do. But here, the Beyonder gave them the opportunity to be free of their curse and to have the drug trade

Cloak and Dagger #4 (Jan. 1986) While it was a crossover with the Secret Wars II mega-event, this issue stood out as it examined who Cloak and Dagger were and what their mission was. If you want to read one issue that will give you a feel for Cloak and Dagger, this would be the one.

Cloak and Dagger #12–13 (June–Aug. 1990) Rick Leonardi returned to Cloak and Dagger to bring Terry Austin’s run on the title to a dramatic conclusion.

wiped out with the wave of his all-powerful hand. They chose to stand against him, and Cloak summarized their decision eloquently: “Were we to choose that course, Dagger. Then we would remain in a state of perpetual childhood. Never growing, never learning from experience, never striving and struggling towards some awareness of our role in the scheme of things … never achieving any control over our own existences.” “I have gone on record as saying that I am opposed to creating characters that aren’t organic— in the sense that you know everything there is to

Scarf and Dagger When the cloak found a new owner—the evil Ecstacy—it became a scarf in her possession. Mike Vosburg/Terry Austin art from the collection of terrific Terry. © 2010 Marvel Characters, Inc.

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Please, Mr. Postman (above) As Cloak and Dagger’s scribe, Terry Austin sent a postcard like this to each letter writer. (right) Kevin Nowlan’s interpretation of Marvel’s joinedat-the-hipsters, on the cover to Strange Tales #8 (Nov. 1987). © 2010 Marvel Characters, Inc.

know in issue one about his powers,” Mantlo explained in his interview in Marvel Age #25. “I would rather learn about the characters bit by bit by bit— learn about their powers bit by bit—watch the characters and their powers evolve and grow and become one with each other.” Their first instinct was one of revenge. Cloak and Dagger wanted to avenge their symbolic deaths and the deaths of their childhoods. But together they changed and adapted and learned. They were young kids who grew up, matured, and made mistakes. They continually questioned what they had become now and how they used their powers. And as they grew together, Dagger’s optimism was slowly eroded as she was forced to become more and more realistic. Cloak changed as well, with his righteousness tempered by hope the more time he spent with Dagger.

EXIT MANTLO—ENTER AUSTIN After a short run of 11 issues, the ongoing, bimonthly Cloak and Dagger title was canceled. Along with Dr. Strange, whose series had also been canceled, Cloak and Dagger were relaunched in a new volume of Strange Tales. Strange Tales #7 (Nov. 1987) was Bill Mantlo’s last as writer, but he would go on to further pen their adventures in a couple of graphic novels. David Yurkovich acknowledges that “it was obviously distressing to Bill when he was pulled from the book by the [then] powers-that-be. In sorting through old interviews with Bill, and from personal recollections from his brother, it seems obvious that Bill’s removal from Cloak and Dagger was based on in-house politics rather than Bill’s ability to produce good stories.” Cloak and Dagger’s new writer, Terry Austin, recalls, “Bill Mantlo was perceived to be running out of steam on Cloak and Dagger and sales were sliding downhill on Strange Tales. Since at one time they were popular enough for sales to spike upwards on any book in which they guest starred, the editorial powers-that-be decided that a drastic change was called for. “Editor Carl Potts, to whom the year before I had submitted an unasked-for plot for a Power Pack story that would eventually become issue #21 of that title, now asked me to submit some story ideas for

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where I would take Cloak and Dagger if I were given the opportunity to take the characters in a new direction and write their adventures. I did, he accepted, and we were off and running.” Austin didn’t waste any time establishing that new direction. In his first issue, Strange Tales #8 (Nov. 1987), Tyrone shed his Cloak powers thanks to the mysterious Mr. Jip. Fearing that his relationship with Dagger was jeopardized, Tyrone became Cloak once again, but that only succeeded in driving Dagger away. After burning off some steam with the Black Cat, Dagger returned to Cloak in time to rescue him from Mr. Jip. With this mystical monster, Austin created a foe for them beyond what had become a tired war on drug dealers. “My first thought was that readers had obviously gotten tired of seeing Cloak and Dagger endlessly go up against drug dealers, who, let’s face it, would never pose much of a challenge to them,” admits Austin. “Characters are never more interesting than when they have a seemingly unopposable force to push against, and to that end I came up with what I hoped would be their major reoccurring arch-foe, the maniacal Mr. Jip, and his foot soldiers Night and Day. “I began to lay the groundwork for their introduction in a story that I thought was necessary to show why these two teenagers from totally disparate backgrounds would remain together when they shared nothing in common beyond the story of the origin of their superpowers,” Austin continues. “To that end, I broke the partnership apart, sending Cloak off to have an adventure with the Dazzler, and Dagger off to have some mindless fun with the Black Cat, before bringing them back together to demonstrate to them (and us) that the bond that cements them together is nothing short of the love they share for one another.”

ORIGIN REVISISTED The origin of Cloak and Dagger has been revisited and retconned [retcon is the short form for “retroactive continuity”] numerous times. The earliest change to their origin had Professor X believing Cloak and Dagger were mutants. In The New Mutants #24 (Feb. 1985), Professor X revealed that the drug that had given Cloak and Dagger their powers had “interacted with the children’s DNA matrix … triggering a gradual ongoing mutation in their fundamental genetic structure. A mutagenic substance interacting with mutant genes.” Mantlo had left a dangling subplot that hinted at a malevolent entity existing within Cloak’s darkness. Austin picked up on that thread and fleshed it out, bringing to life the entity known as the Predator. This interesting twist shifted the focus of Cloak’s insatiable hunger away from an internal struggle with his own power and made him more of a victim, suffering under the burden of containing the Predator. Terry Austin was the first writer to pull Cloak and Dagger out from under that shadow of their drug theme. Unfortunately, his take on Cloak and Dagger never caught on despite his efforts. To his credit, Austin stayed on The Mutant Misadventures of Cloak and Dagger for 13 issues. Terry did all that he could to save the title, including answering fan mail in the letter pages. The title struggled for another six issues under an assortment of writers and artists. In the last issue of their second ongoing series (Cloak and Dagger #19, Aug. 1991), the demon called D’spayre claimed responsibility for creating Cloak and Dagger. In the most dramatic retcon of their origin, it was revealed that D’spayre had spawned a Lightform and Darkform which he bonded to Dagger and Cloak, respectively. When Cloak enveloped D’spayre and sent him to the dark dimension, his own creation, the Darkform, apparently consumed him. There was no mention of the Predator and how he existed within the Darkform. D’spayre’s destruction left Cloak and Dagger’s powers forever changed. Cloak still had some form of vacuum within his cloak, the ability to teleport, and to control his Cloak as if it was an extension of his body. And Dagger, who now found herself equipped with a light-shield, could generate light flares and light daggers, but lost her powers to cure addictions. Cloak and Dagger returned as part of the Civil War event and joined the ranks of the X-Men during the Dark Reign/Utopia event. In the Cloak and Dagger Special (Mar. 2010), their status as mutants was revoked and they were classified as “mutates” with the designer drug mutating them rather than activating their latent mutant powers.

SECOND-TIER CHARACTERS While researching this article, I kept asking myself why Cloak and Dagger never became more than secondtier characters. Looking back, a number of factors contributed to this fact. The teen-themed books had run their course and comic books fans were being inundated with X-Men titles in the early 1990s. The anti-drug campaign faded away with a new president and first lady. Cloak and Dagger had invariably become the embodiment of those 1980s social issues, and that limited their arc and popularity. “If the series had a different focus, if it was mainstream superhero, perhaps it would have found a larger audience and the characters would have become major players in the Marvel Universe,” David

From the Austin Sketchbook…

Yurkovich postulates. “Quite likely, however, readers would have regarded Bill as selling out. I personally believe that Bill would have had a finite life span in mind for these characters. Where Ty and Tandy once took on lofty opponents to stop the drug effort, we might have seen them realize that the most help they can offer runaways and drug-addicted teens was through individual counseling at volunteer centers.” Mike Mantlo adds the following: “I can only imagine that Bill’s characters would have grown, and matured, over a 25-year stretch. Like his idol, John Lennon, Bill had pretty much mellowed out by the early 1990s, and my guess is he would have moved Cloak and Dagger in the direction of adult champions of fighting social injustices.” Cloak and Dagger stood out in the Marvel Universe for a couple of decades as social symbols and personalities who dramatically changed in a short time frame when compared to most comic-book characters. They seem better suited to living in the shadows of limbo, ready to be called upon when their presence is required.

JASON SHAYER’s addiction to comic books and his 12-year-old mindframe have caused more than a few people to raise an eyebrow. When he’s not writing or reading, he’s teaching his three-year-old daughter the finer points of comic-book collecting.

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CONTEST OF CHAMPIONS This is Emmanuel from France (yes, you have readers here!) and I would like to thank Dan Tandarich for the wonderful article on Contest of Champions in BI #41. Dan, for a first try it’s a “coup de maître,” as we say here in France!!!! Highly documented, never boring, with a lot of “behind the curtain” secrets. I had great fun reading it and hope to see you again soon in BI! And congrats to you, Michael, to have found such a good “Clark Kent.” I also wish to thank TwoMorrows for your publications (I also bought the Extraordinary Works of Alan Moore and Grailpages books, as I am an original comic art collector): fun, nostalgic, high quality … just PERFECT! I hope to see more “cosmic files” on my favorites (Thanos, Galactus, Silver Surfer, Captain Marvel, Warlock, Eternity, the Living Tribunal, Nova) in the future, and please … keep on working for our pleasure! And maybe you could give more space to the guys who collect original art. I would be delighted to discover them better, their pieces of art, and the way they got them also. – Emmanuel Tosi, the “French Cosmic Collector” You’re welcome, Emmanuel, and thank YOU for your enthusiastic support. Three of those cosmic characters have been covered in earlier BACK ISSUEs: Thanos (#9 and 34), Warlock (#34), and Nova (#20). Next issue will include “The Last Galactus Story” as well as the unpublished Warlock #16, while Captain Marvel—with Thanos in tow—is our cover feature for issue #48, our Dead Heroes issue, with cosmic king Jim Starlin providing the cover art. – M.E.

A DOUBLE DOSE OF DARREN Just finished reading the 41st issue of BI, and as always have come away with a very satisfying experience. I’ve been with you since the beginning and just think it’s the best magazine about comics around. For fans like myself (the periods you cover were my prime period of interest), it’s great to get a look back on things with the advantage of hindsight. I just hope us older guys aren’t your total audience as I really think the younger generation of comics fans could certainly benefit by getting in on the history. Anyway, I just love what you’re doing here and I look forward to every single issue. My favorite article in #41 had to be Alex Boney’s terrific piece on DC’s Freedom Fighters. Alex started his piece with the mention of JLA #107–108 and that was indeed a special time for me (#107 was my first subscription issue of JLA), but my fascination with these guys (or at least a couple of them) goes back just a little further to 1972 with Superman #252. This was one of DC’s 100-Page Super-Spectaculars and it featured a great cover by

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Email: euryman@gmail.com (subject: BACK ISSUE) Postal mail: Michael Eury, Editor • BACK ISSUE 118 Edgewood Ave. NE • Concord, NC 28025

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Neal Adams with Superman and all sorts of flying heroes. I’d never seen a Siegel and Shuster Superman story before this reprint, and it was also my first exposure to seeing Golden Age stories of Hawkman, Dr. Fate, the Spectre, and Starman. But most importantly, it reprinted two stories of the Black Condor and the Ray by the great Lou Fine. Oh, man, I’d never seen anything like those two stories before, and Fine’s style and the distinct look of those two characters really fascinated me—so pretty much right from that point, I was invested in these heroes. I think this was probably their first actual appearance in a DC comic. I hope with the advent of the new Freedom Fighters series, DC will see fit to collecting the original series (maybe along the same lines of how they did the collection of the ’70s revival of All-Star Comics). Anyway, kudos to Mr. Boney for his fine work on this pretty comprehensive article, but there was just one little thing that he missed that should’ve been included here. As part of the DC Explosion, the Ray actually got his own backup series in the pages of Black Lightning (issue #11, to be exact), written by Roger McKenzie and drawn by John Fuller. Only one part saw print before the Implosion and another was completed and is part of Cancelled Comics Cavalcade #1. Oh, it’s easy to see how it could be forgotten (and that’s not a remark on what McKenzie and Fuller did on the strip—I really liked it), just being one of those small things that gets overlooked. But with Boney’s mentioning of other things that happened around these characters after their actual book, it deserves a little mention anyway. I can’t sign off without a couple of suggestions for upcoming issues, though reading in the letters page about an Avengersthemed issue for late 2011, it’s hard to imagine that we might see anything on these any time soon, but still I’ll toss them out there. I’d love to see an interview with Pat Broderick at some point down the road. He’s just one of these really great artists that at least in my eyes gets overlooked. Some coverage on Captain Canuck, Richard Comely, and George Freeman would be awfully cool. Man, I still remember the first time that I saw an issue of Captain Canuck and what an impact that had with Freeman’s distinct look in his art and their (at the time) innovative color process. IDW recently put out collections of that work and all those really needed were just some sort of in-depth articles or interviews to go with them. I’d also love to see First Comics’ Warp get some coverage, and not just the comic, but the actual stage play that the comic was based around. Oh, the comic was terrific, fun stuff from writers Peter B. Gillis and John Ostrander, and incredible artwork from Frank Brunner, Lenin Delsol, Bill Willingham, Jerry Bingham, and more. I know some of Neal Adams’ original designs for the play have been in print here and there, but near as I can recall, the only time I read anything about the stage play goes way the hell back to an issue of Starlog Press’ Future Life magazine (which even included a few photos from the play). Warp is one of those books that I tend to think gets a little lost in the big history of comics and it’s

significance to the rise of First Comics. Again, like so many other things, this is something that some enterprising publisher (I’m thinking of you, IDW) should collect up one day. – Darren Goodhart

Those are great suggestions, Darren, and they remind us— and readers—that there’s still a ton of untapped material for BACK ISSUE to explore. From your list the only thing scheduled for the immediate future is a brief look at Warp in #51’s interview with John Ostrander, but keep reading, and we’ll do our best to get around to them. – M.E. Much like ye ed, I was never really a fan of Western comic books as well, but I have to say, that didn’t stop my enjoyment over BACK ISSUE #42. Michael Browning’s interview with Michael Fleisher was terrific. I appreciate the fact that Browning gave him the chance to talk about the infamous lawsuit between him, Gary Groth, and Harlan Ellison without being overt about it (I’m thinking of the question about Fleisher’s staying away from the fan press). At the same time, I certainly respect the fact that if Fleisher didn’t want to talk about it, he certainly didn’t have to. Great to hear from a writer who we haven’t heard from in what seems like forever. My prime interests in this issue, though, were the articles about the Vigilante and the Two-Gun Kid. Jim Kingman’s article on the Vigilante was very much appreciated. I’ve always had a fondness for this character, even though that fondness is more part of his connection to the Seven Soldiers of Victory and any chance that I ever had of seeing those beautiful Golden Age stories by Mort Meskin reprinted. I still think the character has potential, and some of it was realized by Grant Morrison in his incredible Seven Soldiers series. I had real hope that James Robinson was going to full-on bring back the character after his brief flashback appearance in Jimmy Olsen Special #1. If memory serves, Robinson left the character alive, so one would hope that he might bring him back someday. Of course, Vigilante has been back real briefly in the pages of DC Legacies #2, in the fantastic Seven Soldiers of Victory story drawn by J. H. Williams—and it was a real treat. Jarrod Buttery’s article on the Two-Gun Kid and his interaction with the Marvel Universe was just fantastic, and those Avengers issues by Englehart and Pérez really piqued my interest when I was younger. But the two things that I most want to single out about that article are the following: 1. The brief talk with John Byrne over his and Bill Mantlo’s use of the character over in Byrne’s run on The Champions. Oh, man, just the fact that someone at long last talked to Byrne about that run was cool to me, even if Byrne wasn’t quite as invested in it as he was on other projects. That run on the book was without a doubt the highlight of it’s all-too-brief 17 issues, and really showed what the then-potential was with that team. 2. The talk about Scott Edelman, Mike Nasser, and Terry Austin’s “Killers of a Purple Rage” short story from Marvel Tales #100. Wow … I had almost forgotten about that story entirely and yet distinctly remember buying Marvel Tales #100 just for that story alone. That story was just tremendous fun. Whenever I saw anything by Mike Nasser back in the day, I was just a happy kid. Even happier when it was inked by Terry Austin or Joe Rubinstein or Bob Layton. I think prior to this,

Nasser and Austin had done the Green Arrow and Black Canary stories over in the World’s Finest Dollar Comics (at least the start of the series) and the Manhunter from Mars backup from Adventure Comics, and the impact of their art on me was just huge. Just the fact that Buttery got so much information out about what most would consider a throwaway story is a real testament to the love that the BACK ISSUE writers have for this period. Many, many thanks for this. – Darren Goodhart

COLOR THEORIES BACK ISSUE magazine has become a “must buy” for me due to the consistent variety of interesting articles each issue offers. The Wild West edition was no different. As you yourself stated in your Back Seat Driver editorial, I, too, have never considered myself a fan of Western comic books, however, that did not stop me from finding plenty of interesting content! I have even decided to make it a priority to track down some Jonah Hex comics to read, inspired by the interview with Michael Fleisher. It seems most of the recent letters columns have been full of positive reaction to the inclusion of color pages. Personally, whether there are color pages or not has little or no impact on my decision to read your magazine. However, since the color pages was a primary selling point on the recent price increase, I feel it is imperative that the correct pages be chosen to showcase the color content. For example, two pages of the “color content” for issue #42 (pages 35 and 36) featured large black-and-white images. I noticed the same thing in the previous issues’ color sections as well. This seems like a waste to me. Shouldn’t the color pages be used for color images? The black-and-white images I mentioned would have looked just as good anywhere else in the magazine. Just a thought. – Joe Hollon Joe, one of the hallmarks of not only BACK ISSUE but all of TwoMorrows’ magazines is comics line art and pencil/sketch art, which, of course, is in B&W. Running only color art on the color pages would exclude that art from those features. Ye ed does his best to position the articles with the most interesting color art within the color section, and we’ll keep digging to find appropriate color images to best utilize the color pages. (Art collectors with BI-appropriate color images—particularly color commissions and paintings— are encouraged to contact me at euryman@gmail.com if you’d like to share them for print. Thank you!) Our next letter writer, however, has a different view on BI #42’s color section… I just wanted to say some positive words about the recent issue of BACK ISSUE. BACK ISSUE has been on particularly good form this year, and the Wild West Issue has been one of the best yet. I’m a fan of Western comics, and films, so it was fun to see a whole issue on the subject, even more so as you yourself admitted you were not that great a fan of Western comics in general. Hopefully, even people who don’t care for the Wild West found something to enjoy in this issue. The Michael Fleisher interview was great and it was fascinating to hear from the talented yet somewhat enigmatic Mr. Fleisher. I also loved John Wells’ excellent article on DC’s Weird Western heroes and the article on Caleb Hammer. Hammer’s only solo appearance in Marvel Premiere #54 is one of my favorite comics, and I’m also lucky to have it reprinted in glorious black and white in a Marvel UK Special entitled Western Gunfighters from the same year (1980). The color section was very well done and Gray Morrow’s Mego work was a real stand-out. The only real minus point I have is no article about Doug Wildey’s excellent Western hero Rio, but hopefully he’ll turn up in a future issue. I’m looking forward to the upcoming issues, with the Greatest Stories Never Told issue sounding very interesting. I’d love to see something in it on the Dan Mishkin/Gary Cohn and

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Matthew, I also fondly remember Rio (I even gave my father-in-law a copy of the first graphic novel) and will try to work Wildey’s Western into a future issue. And while those Blue Devil stories aren’t part of the mix next issue (which is a Greatest Stories Never Told ish, as described in detail below), we’ll see what we can do about featuring them in a future installment of the GSNT department. – M.E.

YES TO WEST, NO TO WAR BI #42 was one of the best issues since you started. Unlike other theme issues, you actually stuck with the Western theme and followed it into many odd directions, instead of throwing in some absurd unrelated article (like comics featuring rock star Prince), which has often marred previous issues. I wish you had used this approach on BI #37, Comics Go to War, which was perhaps the most disappointing issue (that could have been a classic) in the BI run. Whoever decided to insert 9–10 pages on religious comics into a war-themed issue should be demoted. The only thing more boring than reading Pope comics or religious comics is reading a long-winded article about them. Was there a demand for that, or did some zealot shoehorn it into the mag? Also, to leave out art, interviews, and commentary on Russ Heath’s 1970s Sgt. Rock spectaculars (and Haunted Tank), and the same on John Severin’s work on Sgt. Fury (which went into the ’70s), as well as his DC war comics, would be like writing an issue about Marvel in the 1960s and then leaving out Jack Kirby and Steve Ditko. Seriously, I was stunned at the oversight. Weird War Tales, which had excellent art/covers by Neal Adams and many classic Filipino artists was ignored, too. I mention this only, because with great relief, this slipshod treatment was nowhere in evidence in BI #42. Fortunately, beyond an unnecessary editorial on your disinterest in Western comics, your writers were obviously very interested. Everything about this issue (articles, interviews, art, and color pages) was first-rate and a definitive statement on the peripheral world of Western comics. While I, too, love old superhero comics, there is room for detailed studies of Western, war, sci-fi, and horror comics as a breath of fresh air between deserving but sometimes repetitive Batman/Superman/ Spider-Man issues. I hope someday, while I’m still alive, you’ll do Westerns Part 2 with more on Kirby, Larry Lieber’s Rawhide Kid, on Gil Kane’s covers, and Herb Trimpe’s and Barry Smith’s early Western work. You mentioned Adams did a few great El Diablos (he did), but so did Gray Morrow. My last suggestion is a horror issue that focuses on 1970–1975: The Witching Hour, House of Mystery, House of Secrets, Unexpected, and the DC gothic mystery books, as well as the several Marvel ones from the early ’70s. There is a treasure trove of great art by Toth, Adams, Wrightson, Morrow, Smith, Kirby, Orlando, Aparo, DeZuniga, and Wood in them thar hills! You’ve done great ones on Dracula, Man-Thing, Phantom Stranger, and Deadman, so I’m sure you could do produce one of the same quality on the above theme, and you could throw in the Spectre for good measure! Thanks for a theme issue that exceeded all my expectations! – Mac Talley 78 • BACK ISSUE • Odd Couples Issue

Mac, I’m thrilled that you liked with Wild West issue. Regarding the Catholic heroes article, since we have an editorial staff of one part-time, freelance editor, demoting myself would leave no one to do the work! While our themes are designed to present an editorial structure and marketing angle to each issue, we still strive to feature as much diversity of content as possible. We don’t promise to be a comprehensive sourcebook on any of the issue’s themes, especially since page count limits the amount of material we can examine. Some subjects have resurfaced in the magazine (such as horror, monsters, and cosmic heroes), and it’s likely that war comics will be spotlighted again in the future. As you note, there’s a lot more ground to cover. And while you might not have liked the Catholic or Prince features, some folks did. A recurring remark from letter writers is that an offbeat or unexpected article reminds them of a forgotten series, or piques their interest in reading something they’d never heard of. Hopefully some of these articles will rub off on you, too. Incidentally, 1970s mystery series are the topic of 2011’s Halloween issue, #52. Thanks for writing, and for reading! – M.E.

THE VOICE OF THE VIGILANTE Thanks for the extra copy of BACK ISSUE. You know, I’ve been reading anything I could lay hands on concerning Vigilante since working on the strip and though there have been several attempts to produce a coherent history, Jim Kingman’s is clearly the best I’ve seen—and not just because he had kind words for the ’70s stuff that Mr. [Gray] Morrow and I produced. :) Btw, I remember a reboot of Vigilante as a modern-day character in the ’90s, but it wasn’t a Western and it wasn’t the same character—at least I don’t think so (once a single Earth was no longer adequate to contain the DC Universe, I decided it was too big for me). My old friend Paul Kupperberg was the only writer I remember on the book, but I love Paul’s “stuff” and he had the sense of humor to introduce a character (a villain, if my memory isn’t completely toasted) named “Kunkel” to the comic. I was living in Vegas at the time and picked up a copy when I spotted it at a 7-Eleven. I almost plotzed when I saw the name and when I went back and checked the credits, I cracked up. BI is a great magazine—and I love the option of getting digital distribution. Please thank Mr. Kingman for quoting me so accurately and to the entire staff for generating such a fun and credible read. – Bill Kunkel Thank you for the kind letter, Bill. DC’s second Vigilante had no connection to the character you wrote other than the same name and publisher. That Vigilante, who debuted in New Teen Titans Annual #2 (1983), was Adrian Chase, but Chase has been succeeded by others in more recent years. – M.E.

HE WONDERS, WHERE’S WANDER? Well, pardner, BACK ISSUE #42 was another mighty fine issue, ah reckon... While I’ve never been a super-big fan of Western comics, an odd thing really considering I grew up in the Canadian version of cowboy country, I would still pick up the occasional issue from Marvel, DC, or Charlton and ride the range in the vast empty prairie of my mind, so I quite enjoyed all the articles.

Denys Cowan Blue Devil stories that were supposed to appear in Blue Devil’s ongoing series before it got canceled in 1986. – Matthew Jones

Speaking of Charlton, though, why was there no mention of Jim Aparo’s humorous sci-fi Western backup feature “Wander” in Cheyenne Kid? One of the artist’s first works in comics, it dealt with the misadventures of a handsome humanoid alien who found himself shipwrecked in the Wild West, all the while speaking English like a medieval knight because, well, that was when his people were last on Earth. If you’re interested in learning more about him, the excellent Diversions of the Groovy Kind website reprints his first appearance at http://diversionsofthegroovykind.blogspot.com/2009/07/bring-on-back-ups-charlton-comics.html. Anyway, back to BACK ISSUE #42—the only thing I really didn’t care for were the negative comments made on the letters page about Tiger-Man and the short-lived ’70s Atlas Comics in general. I will make no secret about the fact that I was and still am a big fan of this comic line. In fact, with all their wonky distribution problems I’m probably one of the few people who actually managed to grab a complete collection when they first came out, this from a hick town so small and out of the way that we didn’t even get complete runs of the then current Marvel and DC books (heck, we were so small, as the local joke went, all the cowboys were Indians!). People forget, what with the spectacular failure of the line, how innovative Atlas Comics actually was. Sure, some of the titles seemed to be Marvel imitations (The Brute, for instance, although actually even there rather than being a Hulk rip-off it was more of a direct steal from the 1970 movie Trog, complete with a blonde lady scientist desperate to protect the unfrozen caveman just like Joan Crawford in that film), but for the first few issues at least (before publisher Goodman actually took a look at what editors Jeff Rovin and Larry Lieber were actually putting out there on the shelves and said, “No, no, no … make it more like Marvel!”) they were really doing new stuff and taking changes. Nobody just “phoned stuff in for bigger paychecks” as Chris Franklin said in his letter. The ’70s Atlas was doing “dark, grim, and gritty” long before it became the norm in the ’80s (heck, it would be at least another ten years before the Punisher even got his own comic!). Atlas had great art and writing and cool characters that were the equal of most everything the Big Two were putting out at the time, and I for one still dig their stuff out of my collection every year or so to give ’em a good read. – Jeff Taylor P.S.: By the way, I’ve been doing a bit more research and have discovered that someone has actually done a series of homemade Pumaman action figures and shows them of at www.figuronomy.com/customcon4/puma-man/. I’m a big Jim Aparo fan and am indeed aware of his Wander series, Jeff, but it’s really a product of the late Silver Age, not the Bronze Age, and per BI’s arrangement with our sister mag Alter Ego, as a rule we don’t explore Silver Age comics. Next issue: Greatest Stories Never Told! One of BI’s favorite departments takes over for an entire issue, revealing the scoop on the comics you didn’t see (but wanted to): MIKE GRELL discusses how his Savage Empire strip became DC Comics’ The Warlord, and we go beyond JOHN BYRNE’s Last Galactus Story. Plus: the Fantastic Four graphic novel Fathers and Sons, Star*Reach’s Batman, Aquaman II, the 1984 Black Canary miniseries, Pandora Pan, Captain America: The Musical, Miracleman: Triumphant, and Universal Monsters: Wolfman. It’s loaded with rare and previously unpublished art, as well as contributions by BRETT BLEVINS, MIKE DEODATO, DANNY FINGEROTH, RAMONA FRADON, CRAIG HAMILTON, AL MILGROM, MIKE SEKOWSKY, GREG WEISMAN, ALAN WEISS, and more. And a gorgeous Grell cover starring Travis Morgan, the Warlord! Don’t ask, just BI it! See you in sixty! Michael Eury, editor

S U B M IS S IO N G U ID E L IN E S BACK ISSUE is on the lookout for the following comics-related material from the 1970s and 1980s: Unpublished artwork and covers Original artwork and covers Penciled artwork Character designs, model sheets, etc. Original sketches and/or convention sketches Original scripts Photos Little-seen fanzine material Other rarities Creators and collectors of 1970s/1980s comics artwork are invited to share your goodies with other fans! Contributors will be acknowledged in print and receive complimentary copies (and the editor’s gratitude). Submit artwork as (listed in order of preference): Scanned images: 300dpi TIF (preferred) or JPEG (emailed or on CD, or to our FTP site; please inquire) Clear color or black-and-white photocopies BACK ISSUE is also open to pitches from writers for article ideas appropriate for our recurring and/or rotating departments. Request a copy of the BACK ISSUE Writers’ Bible by emailing euryman@gmail.com or by sending a SASE to the address below. Please allow 6–8 weeks for a response to your proposals. Artwork submissions and SASEs for writers’ guidelines should be sent to: Michael Eury, Editor BACK ISSUE 118 Edgewood Ave. NE Concord, NC 28025

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PENCILER, PUBLISHER, PROVOCATEUR CARMINE INFANTINO is the artistic and publishing visionary whose mark on the comic book industry pushed conventional boundaries. As a penciler and cover artist, he was a major force in defining the Silver Age of comics, co-creating the modern Flash and resuscitating the Batman franchise in the 1960s. As art director and publisher, he steered DC Comics through the late 1960s and 1970s, one of the most creative and fertile periods in their long history. Join historian and inker JIM AMASH (Alter Ego magazine, Archie Comics) and ERIC NOLEN-WEATHINGTON (Modern Masters book series) as they document the life and career of Carmine Infantino, in the most candid and thorough interview this controversial living legend has ever given, lavishly illustrated with the incredible images that made him a star. CARMINE INFANTINO: PENCILER, PUBLISHER, PROVOCATEUR shines a light on the artist’s life, career, and contemporaries, and uncovers details about the comics industry never made public until now. The hardcover edition includes a dust jacket, custom endleaves, plus a 16-PAGE FULL-COLOR SECTION not found in the softcover edition. New Infantino cover inked by TERRY AUSTIN!

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Face front, true believers! THE STAN LEE UNIVERSE is the ultimate repository of interviews with and mementos about Marvel Comics’ fearless leader! From his Soapbox to the box office, the Smilin’ One literally changed the face of comic books and pop culture, and this tome presents numerous rare and unpublished interviews with Stan, plus interviews with top luminaries of the comics industry, including JOHN ROMITA SR. & JR., TODD McFARLANE, ROY THOMAS, DENNIS O’NEIL, GENE COLAN, AL JAFFEE, LARRY LIEBER, JERRY ROBINSON, and MICHAEL USLAN discussing his vital importance to the field he helped shape. And as a bonus, direct from Stan’s personal archives, you’ll see rare photos, sample scripts and plots, and many other unseen items, such as: PERSONAL CORRESPONDENCE between Stan and such prominent figures as: JAMES CAMERON, OLIVER STONE, RAY BRADBURY, DENIS KITCHEN, ALAIN RESNAIS and (Sinatra lyricist and pal) SAMMY CAHN! Transcripts of 1960s RADIO INTERVIEWS with Stan during the early Marvel era (one co-featuring JACK KIRBY, and one with Stan debating Dr. Fredric Wertham’s partner in psychological innovation and hating comics)! Rarely seen art by legends including KIRBY, JOHN ROMITA SR. and JOE MANEELY! Plot, script, and balloon placements from the 1978 SILVER SURFER GRAPHIC NOVEL, including comprehensive notes from Lee and Kirby about the story. Notes by RICHARD CORBEN and WILL EISNER for Marvel projects that never came to be! Pages from a SILVER SURFER screenplay done by Stan for ROGER CORMAN! Notes and thumbnail sketches by JOHN BUSCEMA from HOW TO DRAW COMICS THE MARVEL WAY, and more! Excelsior! (Co-edited by ROY THOMAS and DANNY FINGEROTH.) Hardcover includes a deluxe dust jacket, plus 16 EXTRA FULL-COLOR PAGES of rare Archive Material!

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