Superheroes vs Monsters: A Gallery Of Great Comic Book Covers From The 1970s

From View Obscura Comics

Brave and the Bold #92, October 1970 Issue - DC Comics

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Batman and the Bat-Squad star in "Night Wears a Scarlet Shroud." Script by Bob Haney, art by Nick Cardy.

While in England, Batman begins investigating incidents of murder on the set of a film telling the story of England's famous Scarlet Strangler. Enlisting the aid of the "Bat-Squad" consisting of Mick, Margo, and The Major. The foursome search the streets of London trying to find clue of the Strangler. Eventually after a few encounters, and mysteries leading the group to wonder if they traveled back to the Stranglers time, they find the Strangler in an old wine cellar.

Saving Margo, and learning that the Strangler is film actor Basil Coventry, Batman's fight with the killer is stopped when they break through the floor and Batman finds himself pinned under a Nazi Bomb left over from World War II. Batman ordering everyone to leave the site before the bomb explodes manages to escape before it's impending explosion. Afterwards, Basil explains that he is the grandson of the original Strangler, and that the family obsession made him crack and believe he himself was the Strangler. With the case wrapped up, Batman expresses his interest in someday to work with the "Bat-Squad" again in the future.

Batman #296 - February 1978 Issue - DC Comics

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"The Sinister Straws of the Scarecrow!" Script by David V. Reed, art by Sal Amendola.

The Scarecrow, with the help of his two Strawmen, Otto and Raymond, develops a chemical that produces phobophobia, the fear of one's own fears, and then releases the most supreme dread in a specific victim. His latest modus operandi is to have his men use the chemical on persons suspected of unsolved crimes, force the victims to return the loot at a specific place and time, and snatch the swag while they are delivering it. Their first target is Jarvis Skibo, who fearfully returns $50,000 in stolen bonds to a bank. But Batman discovers Skibo's identity through an informant, and has Commissioner Gordon leak the information that the bonds returned were counterfeit. The Scarecrow attempts to terrorize Skibo again, but Batman appears to fight him and the Strawmen. The villains manage an escape. Batman pries the details of the Scarecrow's operation from Skibo. He then disguises himself as Thurston Blaine, who is suspected of stealing a Gutenberg Bible. When the Scarecrow and his gang attempt to terrorize him, Batman reveals himself, resists the fear chemical, and battles and captures them.

Conan The Barbarian #37, April 1974 Issue - Marvel Comics

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Script by Roy Thomas, art by Neal Adams!

Eons in the past, the sorcerer Rotath falls at the hands of the warrior King Kull. Dying, he places a curse upon his own bloodline and invokes the name of an unspeakable deity. Centuries later, one of Rotath's own descendents discovers Rotath's solid gold skeleton. Upon making contact with it, the man's body is taken over by the spirit of Rotath

Months later, Conan and his Turanian confederate Captain Kiribor are escorting the captured princess Yolinda through the northern hills of Aghrapur. Aghrapuran raiders attack the party, but Conan finds aid from a Kushite named Juma. The raiders defeat them and bring them back to the Valley of the Sun. Princess Yolinda is handed over to Rotath - who has since been reborn in a body of solid gold. Conan and Juma are enslaved and sent to mine for gold in the valley's deep caverns. After mining for gold for several days, Conan and Juma decide to escape. A gigantic slug monster raids the cavern and begins attacking the guards. Conan and Juma grab two bags of gold and run down the mine shaft. They reach the surface, but the slug continues to chase them. Conan begins to realize that it is the gold that the creature requires and throws his weighted sacks. Rotath appears in the central square, and the slug is distracted by the sorcerer's golden flesh. While the slug eats Rotath, Conan rescues Princess Yolinda and rides off with Juma.

Amazing Spider-Man #124, September 1973 Issue - Marvel Comics

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First appearance of Man-Wolf (John Jameson) in "The Mark of the Man-Wolf." Script by Gerry Conway, pencils by Gil Kane, inks by John Romita Sr. and Tony Mortellaro. Romita cover.

Web-slinging through the city, Spider-Man stops to take a look at the local papers, and becomes mad that the Bugle is the only newspaper that's calling him a murderer in connection with the death of Norman Osborn (which nobody knows was really the Green Goblin due to someone taking off his costume after his death before his discovery by the authorities.) At the Bugle, Joe Robertson questions Jameson about his editorials, believing that Spider-Man should be allowed due process before being demonized by public opinion. Their debate is interrupted by the arrival of Jonah's son John.

John has recently been on a mission to the moon, and he has come to visit his father with his fiance Kristine Saunders. However, John begins to act strange (unnoticed to others this is due to a necklace he is wearing.) It is passed off as strain from his job and jokes about Kristine not taking good care of John.

Meanwhile, Peter Parker decides to attend class for the first time since Gwen's death, but cannot handle the pressure of working around his classmates who must be thinking about his situation and storms out of class. When Mary Jane and Flash try to talk sense into him, Peter snaps at them both and storms away. Elsewhere in the city, John Jameson suddenly transforms into a werewolf beast which will soon be dubbed the Man-Wolf. The creature stalks its way to the Daily Bugle where it attacks J. Jonah Jameson.

Iron Man #42, October 1971 Issue - Marvel Comics

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"When Demons Wail!" Story by Gerry Conway. Art by George Tuska and Frank Giacoia.

Tony and Marianne are both haunted by nightmares of each other, but affirm their mutual love. In his hideout, Mr. Kline contacts his agent Mikas to destroy Iron Man. In a hospital, Jasper Sitwell tries to convince his doctor that he is fit enough to depart and rises from his hospital bed, only to soon collapse. Iron Man meets with Ben Crandal in Washington, but it turns out to be a trap to turn him over to Senator McJavit, who labels Iron Man an anarchist and takes him into custody. Mikas appears near Marianne and places her in a trance. As McJavit mocks Iron Man in his cell, an image of Mikas and Marianne appears with Marianne having assumed a demonic appearance. Iron Man smashes out of the cell to investigate. McJavit removes his "face" to reveal himself as Operative 12 and reports in to Mr. Kline, who then destroys him. Iron Man realizes that the image must have been an illusion, but a flash of light brings him to a demonic realm where Mikas and Marianne appear. Mikas claims to draw godlike power from the Earth and says he will help Marianne understand her ESP abilities. Iron Man battles Mikas but to no avail. As Iron Man grows woozy and passes out, Marianne seems to have accepted Mikas as her master.

Captain America #144, December 1971 Issue - Marvel Comics

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"HYDRA Over All!" Script by Gary Friedrich, art by John Romita Sr.

The most senses-stunning shocker yet! Cap and Falcon split up! And then - enter the hordes of Hydra!

The Bronze Age of Comic Books is an informal name for a period in the history of mainstream American comic books usually said to run from 1970 to 1985. It follows the Silver Age of Comic Books, and is followed by the Modern Age of Comic Books.

The Bronze Age retained many of the conventions of the Silver Age, with traditional superhero titles remaining the mainstay of the industry. However, a return of darker plot elements and more socially relevant storylines (akin to those found in the Golden Age of Comic Books) featuring real-world issues, such as drug use, alcoholism, urban poverty, and environmental pollution, began to flourish during the period, prefiguring the later Modern Age of Comic Books. - Wiki

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