Tag: Bronze Age

Marvel Two-In-One (1970’s)

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Marvel Two-in-One continued from the team-up stories starring the Thing in the final two issues of Marvel Feature and lasted for 100 issues from January 1974 through June 1983. Seven annuals were also published. Artist Ron Wilson began his long association with the title with issue #12 (November 1975) and worked on it throughout its run. With issue #17, the series had a crossover with Marvel Team-Up #47, which featured Spider-Man. The second Marvel Two-in-One Annual was a crossover with Avengers Annual #7 both of which were written and drawn by Jim Starlin. The “Project Pegasus” storyline in Marvel Two-in-One #53-58 saw the introduction of the name “Quasar” for the Wendell Vaughn character and the transformation of Wundarr into the Aquarian.

Many notable comics creators contributed to the series, including Steve Gerber, Frank Miller, Jack Kirby (who did pencils on several covers during its run), John Byrne, John Buscema, George Pérez and Marv Wolfman.

Marvel Two-In-One ended after one hundred issues and was immediately replaced with a Thing solo series.

DC Treasury Editions (1970’s)

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Limited Collectors’ Edition was launched with a collection of Rudolph the Red-Nosed Reindeer stories which went on sale October 24, 1972. DC Comics vice president Sol Harrison had suggested the format stating that “We could create a tabloid size comic that would stand out on the newsstand.” Limited Collectors’ Edition shared its numbering with two other treasury format series, Famous First Edition and All-New Collectors’ Edition. The final issues of the latter two series were tie-ins to the release of Superman: The Movie. DC later published treasuries as part of DC Special Series in 1981 and as a number of one-shots from 1999 to 2003 primarily produced by Paul Dini and Alex Ross.

Rōnin (1983)

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Ronin (formally written as Rōnin) is a limited series published between 1983 and 1984, by DC Comics. The series was written and drawn by Frank Miller with artwork painted by Lynn Varley. It takes place in a dystopic near-future New York in which a ronin is reincarnated. The six-issue work shows some of the strongest influences of manga and bande dessinée on Miller’s style, both in the artwork and narrative style.

Ronin was in part inspired by Kazuo Koike and Goseki Kojima‘s manga series Kozure Okami. (Though Kozure Okami would receive an English localization several years later as Lone Wolf and Cub, at the time Miller could not read the text and had to rely on the artwork for his understanding of the story.) According to former Marvel Comics editor-in-chief Jim Shooter, Ronin was originally slated to be released as part of Marvel’s Marvel Graphic Novel series. Ultimately, however, Miller was persuaded by publisher Jenette Kahn that DC Comics would give him as much freedom as he desired for the series, and the first issue of Ronin was published by that company in 1983.

The Tomb of Dracula V1 (1970’s)

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The Tomb of Dracula was published by Marvel Comics from April 1972 to August 1979. The 70-issue series featured a group of vampire hunters who fought Count Dracula and other supernatural menaces. On rare occasions, Dracula would work with these vampire hunters against a common threat or battle other supernatural threats on his own, but more often than not, he was the antagonist rather than protagonist. In addition to his supernatural battles in this series, Marvel’s Dracula often served as a supervillain to other characters in the Marvel Universe, battling the likes of Blade, Spider-Man, Werewolf by Night, the X-Men, and the licensed Robert E. Howard character Solomon Kane.

E-Man (1983) First Comics

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When Staton became art director at First Comics, the publisher acquired the rights to the character from Charlton and launched a series. Cuti was asked to write the title, but his obligations to DC Comics prevented him from accepting. The series was initially written by Martin Pasko, who had previously worked with Staton on Plastic Man and Metal Men. After Pasko’s run, Staton and Paul Kupperberg wrote the series until Cuti took over as writer with issue #24.

As a direct-market publisher not distributed to newsstands, the First series was not obligated to seek Comics Code Authority approval and could address more mature topics than Code-approved comics. Where the Charlton series featured broad whimsical themes, the First Comics series engaged in more specific satire directed at targets including the X-Men, Steven Spielberg, and Scientology.

The first 10 issues each contained a one-page parody of the Hostess snack advertisements that ran in comics through the 1970s and 1980s. These parodies were written and drawn by different creators and featured characters from across the independent comics industry.

Superman’s Pal Jimmy Olsen (1970’s)

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Superman’s Pal, Jimmy Olsen is a series published by DC Comics from September–October 1954 until March 1974, spanning a total of 163 issues. Featuring the adventures of Superman supporting character Jimmy Olsen, it contains stories often of humorous nature.

The 1952 television series Adventures of Superman co-starred actor Jack Larson, who appeared regularly as Jimmy Olsen. Largely because of the popularity of Larson and his portrayal of the character, National Comics Publications (DC Comics) decided to create a regular title featuring Jimmy as the leading character. Curt Swan was the main artist on the series for its first decade.

Many of the issues include Jimmy undergoing a transformation of some form.

Infinity Inc. (1984)

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Roy Thomas and his wife, Dann Thomas, wrote the series throughout its run. Artists on the series included Jerry Ordway, Don Newton, Todd McFarlane, Michael Bair, and Vince Argondezzi.

The group was organized by Sylvester Pemberton, the original Star-Spangled Kid, in Infinity Inc. #1, when a number of JSA protégés were denied admission to the JSA. They instead formed their own group. Members of Infinity, Inc. were known as Infinitors.

The series ended in 1988 with the death of the Star-Spangled Kid (by then known as Skyman), and presumably the group disbanded shortly thereafter. Several members have gone on to supporting roles in other comics series. Fury filled a pivotal role in The Sandman and is the mother of Daniel Hall. Hourman, Obsidian, Nuklon (as Atom Smasher), Silver Scarab(as Doctor Fate), and Power Girl eventually joined the 21st century incarnation of the JSA.

Originally, the series took place on the parallel world of Earth-Two, but in 1986 it was merged with the rest of DC continuity following Crisis on Infinite Earths. From then on, they shared their spot as Los Angeles’ superteam with the Outsiders, and were involved in a crossover with the New Teen Titans.

Shogun Warriors (1979)

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The Shogun Warriors characters were licensed by Marvel Comics to create a comic book series written by Doug Moench and drawn by Herb Trimpe. The series was composed of 20 issues that were published from February 1979 to September 1980. In the comic book series, the Shogun Warriors were created by a mysterious group called the Followers of the Light, and human operators were chosen from all around the world to operate the massive robots in order to battle evil.

Giant Size Chillers V2 (1975)

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Giant Size Chillers V2 was publish in 1975 and lasted only 3 issues. They contained new Stories combined with 1950’s Atlas reprints. Some of the artists included, G.Kane, B.Everett, D.Heck, B.Wrightson, J.Kirby,  G.Colan, BWSmith, A.Alcala & M.Severin.

Thor (1980’s)

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Walt Simonson took over both writing and art as of #337 (Nov. 1983). His stories placed a greater emphasis on the character’s mythological origins. Simonson’s run as writer-artist lasted until #367 (May 1986), although he continued to write – and occasionally draw – the book until issue #382 (Aug. 1987). Simonson’s run, which introduced the character Beta Ray Bill, was regarded as a popular and critical success. Simonson’s later stories were drawn by Sal Buscema, who describes Simonson’s stories as “very stimulating. It was a pleasure working on his plots, because they were a lot of fun to illustrate. He had a lot of great ideas, and he took Thor in a totally new direction.” Asked why he was leaving Thor, Simonson said that he felt the series was due for a change in creative direction, and that he wanted to reduce his work load for a time. After Simonson’s departure, Marvel’s editor-in-chief at the time, Tom DeFalco, became the writer. Working primarily with artist Ron Frenz, DeFalco stayed on the book until #459 (Feb. 1993).