One of the great storytellers of the Bronze Age wasn’t a writer at all — it was an artist.
Mike Ploog had the rare ability to pull readers into a narrative before they ever opened the comic. His covers weren’t static illustrations; they were invitations, emotional hooks, and glimpses into scenes already in motion. Ploog understood that the most powerful horror isn’t just shown — it’s implied, interrupted, or about to burst loose.

Once you begin to recognize this, you start to feel guided by him, almost manipulated in the best possible way. Ploog doesn’t show you a moment; he leads you into it. He gives you just enough information to feel the emotion of the scene, then leaves you to imagine the next heartbeat — the retaliation, the discovery, the escape, or the attack.

To show the depth of his visual storytelling, let’s look at six covers, each revealing a different kind of narrative instinct. Three come from Werewolf by Night, where a foreground character frames the moment and sets the emotional tone. The next three demonstrate how Ploog built horror through anticipation, chaos, and looming dread. Together, they illustrate why Ploog’s covers stand among the most cinematic of the Bronze Age.

Werewolf by Night #3 — Shock, Retreat, and Gathering Fury

In this cover, the Werewolf has been thrown off balance by the sudden appearance of an axe-wielding mystical figure emerging from a magical book. Ploog captures the exact beat between surprise and retaliation: the Werewolf has fallen back, claws extended, teeth bared, gathering his strength for the counter-attack. The “mad monk” stands framed in an ornate, gilded backdrop, giving the supernatural confrontation a ritualistic grandeur.

Werewolf by Night #7 — Discovery and Imminent Chaos

Here, a circus performer stumbles into a darkened tent and discovers the Werewolf perched on a crate, half-hidden in the shadows. Her wide-eyed shock becomes the emotional entry point, while the distant group of performers — one pointing, another rushing forward — transforms the scene into a moment on the brink of chaos. It’s a scene of rising panic, a stage set for disaster, all unfolding within a single frozen instant.

Werewolf by Night #14 — Ritual, Interruption, and Unspoken Motives

The foreground figure here is a woman lying upon a stone altar, incense curling upward, skulls watching from the shadows — imagery that signals secrecy and ancient rites. She isn’t bound, suggesting a willing participant in the ceremony, but her calm contrasts sharply with the Werewolf’s explosive entrance. His rage is directed not at her, but at the priest, whose outstretched arms almost plead for an explanation. In one image, Ploog presents a ritual disrupted, alliances unclear, and motivations left for the reader to interpret.

Great horror storytelling often comes from giving the viewer just enough information to feel dread — a glimpse of something terrible, or the sense that the next moment will be far worse. Ploog excelled at that too. These next three covers show how he built terror through anticipation, chaos, and imminent danger, each using a different horror vocabulary.

 Marvel Premiere #5 – The Terror We Cannot See

Dr. Strange is chained in the shadowed depths of an ancient, candlelit chamber, surrounded by zealots whose chanting summons an unimaginable horror. Ploog casts the cultists in deep blue shadow, so our attention is drawn to the true threat: a massive, otherworldly hand erupting from the stone floor. The hand alone dwarfs everything in the scene, a cosmic force so overwhelming that Strange’s struggle against his chains feels hopeless. Even without showing the monster itself, Ploog lets us dread its arrival — the terror lies in what we cannot see.

Werewolf by Night #1 – Impending Doom

On an ordinary night, a couple strolls down a quiet street while a man and his dog cross their path, blissfully unaware of the horror unfolding in the next alley. Under the moonlight, Jack Russell completes his transformation, emerging from the shadows as the Werewolf by Night. His eyes burn with predatory intensity, his growl already rising in his throat. Ploog freezes the moment just before violence erupts, leaving us to wonder who — if anyone — will escape the coming attack.

Monster Frankenstein #1 – Chaos Beginning

Snapping his restraints with violent force, the Frankenstein Monster lunges toward his creator in an eruption of panic and fury. Every detail heightens the chaos — leather straps whipping loose, cloth wrapping flying upward, green mist spilling from shattered vials. Doctor Frankenstein’s face captures a perfect blend of shock and terror as the creature claws toward him. The escape has already begun, but Ploog makes it clear: the worst is still seconds away.

All these years, we thought Mike Ploog was just a great artist. When you study his covers, you see that he hid great storytelling behind the amazing art. He lured us into the narrative with shocked faces, monsters emerging from darkness, and danger approaching from just outside the panel. His images ignite our imaginations, pushing us to picture the moment that comes next — the hallmark of a true storyteller.

by Ron Cloer

For a year-by-year list of the most expensive Bronze Age comic books and top Bronze Creators, see the

Bronze Age Comic Book Archive

America spent most of 1976 celebrating the Bicentennial with hometown parades, fireworks, and a flood of red, white, and blue merchandise. The Summer Olympics in Montreal gave the country another reason to cheer—especially when Bruce Jenner won the decathlon and instantly became a national hero. At the movies, Rocky reminded audiences that grit, determination, and a stubborn refusal to quit could overcome any obstacle. All of it was a welcome distraction from a tough first half of the decade marked by brutal inflation, Watergate, and stubbornly high unemployment.

In comics, though, the cultural mood didn’t coalesce around a single theme. Instead, the industry splintered in every direction at once. The earlier years of the Bronze Age had been defined by clear movements—the Gothic horror revival, the rise of the anti-hero, the martial-arts boom (See this Index for a full list of years)— but 1976 was different. It wasn’t the year of one movement. It was the year of many. Creators experimented wildly with genre, format, and tone, producing superhero milestones, indie breakthroughs, British imports, oversized treasuries, Spire religious books, and underground comix—often sitting side by side on the same spinner rack.

That eclectic spirit carries directly into the list of the year’s most valuable comics. After the big headliners—X-Men #101, Daredevil #131, Marvel Preview #4—the rankings break wide open into one of the strangest, most unpredictable mixes you’ll ever see in a Bronze Age Top 25. Fast Willie Jackson stands next to Hansi: The Girl Who Loved the Swastika. A self-published Harvey Pekar comic sits beside a Marvel/UK superhero debut. Two Wrightson horror covers hold their own against a Superman/Spider-Man treasury. In 1976, the unusual wasn’t the exception—it was the norm. And the result is a list as fractured, creative, and surprising as the year itself.

1. X-Men #101 — $750 for 9.4 raw
   1st appearance of Phoenix. Dave Cockrum delivers one of the most explosive covers of the decade as Jean Grey erupts from the water as the Phoenix—a dramatic rebirth that changed the course of X-Men history. Transforming Jean from a side character to a cosmic force. Easily the crown jewel of 1976. 
2. Daredevil #131 — $340 for 9.4 raw
   1st appearance of Bullseye. Bullseye’s debut is one of the most important villain introductions of the Bronze Age. His lethal skillset and unhinged personality would become central to Daredevil’s mythology, culminating in classic storylines like Born Again. Netflix’s portrayal of Bullseye by actor Wilson Bethel helped introduce him to the world.
3. Marvel Preview #4 — $340 for 9.4 raw
   1st appearance of Star-Lord. This black-and-white magazine introduces Peter Quill in a moody sci-fi tale illustrated by Gray Morrow. Look closely at the cover—almost everything is slightly off-center: Quill’s stance, the moon, the horizon. Whether intentional or not, the subtle asymmetry mirrors Star-Lord himself: imperfect and unconventional.
4. Captain Britain #8 — $280 for 9.4 raw
   1st appearance of Betsy Braddock. Before she became Psylocke, before the body swaps and the ninja era, Betsy Braddock debuted here in Marvel UK’s exclusive series. British print runs were smaller and distribution inconsistent, making high-grade copies significantly scarcer than their American counterparts.
5. Marvel Premiere #28 — $225 for 9.4 raw
   1st appearance of the Legion of Monsters. 
   Ghost Rider, Morbius, Man-Thing, and Werewolf by Night—four of Marvel’s spookiest icons thrown together for the first time. The mash-up is delightfully chaotic and perfectly captures the tail end of Marvel’s early-70s monster craze. A Bronze Age classic with growing collector interest.
6. All-Star Comics #58 — $215 for 9.4 raw
   1st appearance of Power Girl. Kara Zor-L blasts onto the scene in one of DC’s biggest Bronze Age keys. Power Girl brought attitude, confidence, and a fresh energy to the Justice Society revival. The combination of her debut, the All-Star comeback, and the rising value of high-grade 1970s DC books makes this an essential 1976 issue.
    
7. Hansi: The Girl Who Loved the Swastika — $200 for 9.4 raw
   Autobiographical comic of Maria Anne Hirschmann. It’s hard to imagine a more jarring cover: a smiling blonde schoolgirl framed by Nazi imagery. Published by Spire Christian Comics, the book tells Hirschmann’s story of indoctrination and eventual escape from the Nazi youth movement. Collectors are drawn to it for the sheer shock value of the cover—one of the most infamous visuals of the Bronze Age.  
8. American Splendor #1 — $200 for 9.4 raw
   Harvey Pekar’s underground autobiographical debut. Self-published and printed on low-quality paper, this issue launched Pekar’s lifelong project chronicling the mundane, frustrating, and oddly poetic details of everyday life. A movie by the same name was released in 2003 about this self-proclaimed curmudgeon.  Less than 100 copies have ever been graded.
    
9. X-Men #102 — $190 for 9.4 raw
   Colossus vs Juggernaut Battle. Kids debated this matchup on playgrounds for years: could Colossus really stand up to the unstoppable Juggernaut? Cockrum and Claremont delivered the definitive answer in this issue, continuing the rising momentum that followed Phoenix’s debut. 
10. Fast Willie Jackson #1 — $180 for 9.4 raw
    Often referred to as “the black Archie”. One of the earliest and most important Black-led humor comics, Fast Willie Jackson offered a vibrant slice-of-life look at teenage culture from a Black perspective—a rarity in mainstream 1970s comics. Only 135 copies have been graded by CGC, and a mere 11 have reached 9.8, giving this title genuine scarcity and cultural weight. 
11. Fast Willie Jackson #2 — $150 for 9.4 raw
    Gus Lemoine cover and interior artwork. Even scarcer than issue #1, this second installment of the groundbreaking Black teen-humor series has only 29 graded copies on the CGC census, with just 6 earning a 9.8. The low distribution, culturally important content, and tiny survival rate make this one of the rarest mainstream-adjacent Bronze Age comics of 1976. 
12. Marvel Spotlight #28 — $150 for 9.4 raw
    1st Moon Knight solo story. Before Moon Knight headlined his own comic, before the multiple personalities and Egyptian mythology fully crystallized, he starred here in a gritty solo story that gave readers their first extended look at Marc Spector. A key stepping stone in the development of one of Marvel’s most complex characters.
13. Captain Britain #1 — $150 for 9.4 raw
    1st appearance of Captain Britain. Marvel’s first true attempt at building a hero specifically for the UK market debuted here with Brian Braddock’s origin. As with all Marvel UK titles, limited distribution and fragile paper stock make high-grade copies difficult to secure.  
14. Nova #1 — $140 for 9.4 raw
    1st appearance of Nova (Richard Rider). Influenced by Silver Age everyman heroes like Peter Parker, Nova burst onto the scene as Marvel’s new teen cosmic adventurer. While he never became a household name in the ’70s, modern fans see this as a major Bronze Age key with steady long-term demand.  Fans eagerly await a Nova movie.
15. Superman vs. The Amazing Spider-Man #1 — $125 for 9.4 raw
    100-page Battle of the Century. This massive Treasury Edition united Marvel and DC’s flagship heroes for the first time in a standalone story. At 100 oversized pages for $2.00, it was a genuine event comic—long before “event comics” existed. High-grade copies are notoriously difficult because of the giant format and flimsy binding.
16. DC Super Stars #11— $100 for 9.4 raw
    Zatanna Cover by Gray Morrow. Few memorable Zatanna covers existed prior to the late 1970s, which gives this beautifully illustrated piece by Gray Morrow extra importance. The dramatic pose and wonderful detail make it one of the standout Zatanna images of the Bronze Age.  Most of the other covers with Zatanna are weird floating head images of her.
17. Incredible Hulk #197 — $100 for 9.4 raw
    Wrightson cover. If you doubt Bernie Wrightson’s mastery, compare this issue to the Hulk covers that came before and after it. While most artists favored smooth, rounded anatomy, Wrightson carved shadows into muscles, tendons, and veins, giving the Hulk a raw, almost unsettling physicality. The Man-Thing crossover is the perfect pairing for his moody style.
     
18. House of Secrets #139 — $90 for 9.4 raw
    Wrightson cover. A scarecrow with a face stitched from human skin. Jack-o’-lanterns carried over a moonlit field. This issue is pure Wrightson—macabre, textured, and dripping with atmosphere. As DC’s horror line sputtered toward cancellation, Wrightson was still producing unforgettable imagery like this.
     
19. Howard the Duck #1— $81 for 9.4 raw
    1st issue in own title. Spinning out of Man-Thing and the pages of Giant-Size Man-Thing, Howard’s first ongoing series delivers satire, absurdity, and political parody. The character became a minor pop-culture phenomenon in the mid-80s, making this debut a popular Bronze Age collectible.  The Howard the Duck movie was released in 1986.
     
20. Limited Collectors Edition C-44 — $75 for 9.4 raw
    Christmas with the Super-Heroes. One of DC’s oversized holiday treasuries, packed with festive stories featuring Superman, Batman, and other iconic heroes. Treasury books are notoriously tough in high grade due to their size. 
21. Eternals #1 — $75 for 9.4 raw
    1st appearance of Eternals. Jack Kirby’s cosmic imagination was on full display here as he introduced a race of immortal beings and the godlike Celestials. Values spiked prior to the MCU film but have cooled since, making it a fascinating case study in how movie speculation affects the market. 
22. Peter Parker, The Spectacular Spider-Man #1 — $70 for 9.4 raw
    1st new Spider-Man title since 1963. This series gave collectors another choice to explore Peter Parker’s supporting cast and ground-level conflicts. A Bronze Age staple for Spider-Man collectors. 
23. Marvel Treasury Edition #18 — $53 for 9.4 raw
    Fantastic Four vs. Dr. Doom.  Another oversized Treasury battle, this time pitting Marvel’s First Family against their greatest villain. The huge format gives the artwork a dramatic presence, but it also means surviving 9.4 copies are uncommon.
     
24. Black Goliath #1 — $52 for 9.4 raw
    1st appearance of Black Goliath (Bill Foster).Bill Foster finally steps into his own series after years as Hank Pym’s lab partner. Though the run was short-lived, this issue carries significance for fans of Marvel’s expanding roster of Black heroes during the Bronze Age. 
25. 2001: A Space Odyssey #1 — $50 for 9.4 raw
    Kirby Treasury Edition. Jack Kirby takes on Kubrick’s masterpiece in a bold, oversized adaptation filled with cosmic grandeur. The Treasury format lets his pencils breathe, and the series would later give birth to Machine Man—making this a cult favorite among Kirby collectors. 

1976 was an eclectic year—one in which the nation unified to celebrate the Bicentennial while the comic book world splintered into every genre imaginable. Even the small things reflected this odd diversity: a renowned horror artist like Bernie Wrightson drawing an Incredible Hulk cover, or Howard the Duck—already one of Marvel’s strangest creations—launching his own title. And then there’s Hansi, a comic so visually jarring that its swastika-covered cover still stops collectors in their tracks.

Ironically, some of the actual Bicentennial-themed comics of 1976 aren’t valuable enough to make this list, leaving them outside the spotlight during the very year they were meant to commemorate. But if nothing else, this Top 25 proves just how unpredictable and wide-ranging the Bronze Age had become. In 1976, the unusual wasn’t a rarity—it was the rule.

by Ron Cloer

For a year-by-year list of the most expensive Bronze Age comic books and top Bronze Creators, see the

Bronze Age Comic Book Archive

1. Giant-Size X-Men #1 — $11,000–13,500

The rebirth of the X-Men.
If one book defines 1975, it’s this one — the moment Marvel reinvented the X-Men for a new era. Instead of suburban teenagers in matching uniforms, Len Wein and Dave Cockrum assembled an international team: a German acrobat, a Kenyan weather goddess, a Russian farm boy, a Japanese hothead, a Native American warrior, and a feral Canadian with claws. This wasn’t just a new lineup — it was a complete reimagining of what a superhero team could look like. Giant-Size X-Men #1 didn’t just revive a cancelled series; it helped reshape the Bronze Age moving forward. Due to the value and importance of this Gil Kane cover, it’s instantly recognizable.

The beginning of the modern X-Men saga.
If Giant-Size X-Men #1 was the spark, X-Men #94 was the engine that kept the franchise running. This issue marks the first regular-series appearance of the new team and the start of Chris Claremont’s legendary run. The tone shifts immediately — more character-driven, more emotionally intense, and more serialized than anything Marvel had attempted before. In many ways, X-Men #94 is the true start of the “All-New, All-Different” era, and its soaring value reflects the enormous influence this single issue had on everything that followed.

1st appearance of Moon Knight.
This explosive debut introduces Marc Spector, the mysterious “Fist of Khonshu,” hired to hunt down Jack Russell, the Werewolf by Night. Some fans call Moon Knight “Marvel’s Batman,” but the comparison falls apart quickly — Marc Spector suffers from dissociative identity disorder, shifting between multiple personas, and is bound to an Egyptian moon god who resurrected him. His greatest battles are often internal, not just on the streets.
This issue remains one of the most important Bronze Age first appearances, combining horror, martial arts, and supernatural detective noir into a character who only grows stranger and more compelling over time.

A Fanzine glimpse into the new X-Men.
Released just one month before Giant-Size X-Men #1, FOOM #10 is a fascinating artifact from the relaunch period. It captures the creative energy at Marvel right before the X-Men exploded into a new era. Printed in very small numbers compared to regular comics, high-grade copies are scarce, making this a coveted preview of the most important team overhaul of the 1970s.  CGC has graded 347 total copies and 12 were a 9.8, which makes it one of the lowest census totals for such an important book.

Bernie Wrightson cover.
There’s currently a strong Bernie Wrightson multiplier happening in the comic market. Regular issues of Secrets of Haunted House aren’t expensive or heavily collected, but this black cover by Wrightson is special.
CGC has graded only 136 copies total, of which just 3 are 9.8 and 7 are 9.6 — astonishingly low supply for a 1970s DC issue.  The Wrightson effect is happening across his gothic line of work.

2nd full appearance of Moon Knight.
The follow-up to Moon Knight’s debut deepens both his mythos and the intensity of his rivalry with the Werewolf. In this issue, we see the earliest hints of the fractured identity structure that defines him today — the tension between Marc Spector’s personas and the unsettling influence of Khonshu, the moon god who brought him back to life.
As a second appearance, this issue continues the shockwave started in #32 and stands as an essential companion to one of 1975’s most influential new characters.

1st Joker solo title.
After Neal Adams and Danny O’Neil redefined the Joker in the early 1970s as a homicidal, calculating, frightening villain (“The Joker’s Five-Way Revenge!” in Batman #251 is the benchmark), DC almost immediately rewound to a cheesier Joker.  The menaical Joker was downgraded to a trickster who would prank Batman and ultimately fail miserably.  The CCA wouldn’t allow a villain to win or be a murderer without consequences, so DC was forced to make him a gimmicky shell of his dark past.

1st Spider-Clone (Ben Reilly prototype).
This issue concludes the Jackal storyline and delivers one of the most controversial — and ultimately influential — twists in Spider-Man history. Amazing Spider-Man #149 introduces the first Spider-Clone, a genetic duplicate of Peter Parker created by the Jackal.  This will become a long-term storyline and the source of collector arguments for years to come.

1st origin story of the Punisher.
Because the Punisher’s origin is so brutal, this magazine garners well-deserved attention. It features the fourth full appearance of the Punisher and his first leading role. This marks a critical moment in his evolution — he is no longer just a Spider-Man villain. Here, he becomes a leading man with a skull shirt and a bad attitude.

The Death of Thunderbird.
Only one issue after the relaunch, the new X-Men face a loss that defines the emotional tone of the decade. X-Men #95 delivers the shocking death of Thunderbird, proving that this team — diverse, global, and intensely human — wasn’t protected by plot armor. This issue told readers that the X-Men’s world was dangerous, unpredictable, and willing to take risks the Silver Age never dared. The willingness to embrace consequence so early is a key reason the X-Men resonated with 1970s readers.

1st appearance of Hong Kong Phooey.
Saturday morning cartoons meet Bronze Age comics in this quirky Hanna-Barbera adaptation. Although humorous animal books rarely make a Top 25 list, Hong Kong Phooey #1 has become a sleeper due to its blend of nostalgia, low print numbers, and crossover appeal among animation collectors. The price spike in high grade is real — this book is far scarcer in 9.4+ than most superhero issues from the same year, and its pop-culture charm keeps it in demand.

1st appearance of White Tiger (Hector Ayala).
Hector Ayala debuts as Marvel’s first mainstream Latino superhero, brought to life by George Pérez (Puerto Rican) and Bill Mantlo (Puerto Rican heritage). His gritty street-level stories pulled directly from the turmoil of 1970s New York — a city battling bankruptcy, rising crime, and intense social pressure. White Tiger isn’t just another martial-arts hero; he represents a major shift in representation and the growing urban realism of the Bronze Age.

1st appearance of Gamora.
Gamora appears on a single page but has five panels and several lines of dialogue, making this notably more than a cameo. Over time, her backstory as the sole survivor of a genocided race and her traumatic upbringing under Thanos became central to the cosmic Marvel landscape. This issue marks the first step in the evolution of a character who would grow into one of Marvel’s most complex anti-heroines.

Iconic Neal Adams Bruce Lee cover.
Among the most recognizable martial-arts covers of the Bronze Age, Neal Adams delivers a striking homage to Bruce Lee that leaps off the page. Though the story is solid, the true value lies in the cover — a perfect fusion of the 1970s kung-fu craze and Adams’ peak-era dynamism. A gorgeous cover that begs to be displayed in your comic book room.

15. Giant-Size Spider-Man #4 – Raw 9.4: $150
3rd full appearance of the Punisher.
This issue pairs Spider-Man and the Punisher in one of Frank Castle’s earliest extended stories, published at a time when Marvel was still deciding what kind of character he would become. His edge, brutality, and intensity are already present in these early Punisher appearances.  This has always been one of my favorite covers with Spider-Man suspended above the ground, helplessly entangled in barbed wire.  The yellow sky doesn’t make any sense, but it highlights Spider-Man perfectly from a color perspective.

16. Iron Fist #1 – Raw 9.4: $150
1st appearance of Iron Fist in his own title.
Following his debut in Marvel Premiere, Iron Fist graduates into his own solo series. The character embodies the 1970s fascination with martial arts while incorporating mystical elements from K’un-Lun. This issue helps solidify Danny Rand as one of Marvel’s core street-level heroes and an eventual half of “Power Man and Iron Fist,” one of Marvel’s most enduring Bronze Age partnerships.

1st appearance of Korvac.
What begins here as a cosmic curiosity eventually becomes one of Marvel’s most powerful villains. Korvac’s storyline wouldn’t reach its full potential until the classic Avengers saga in the late 1970s, but this issue marks his essential debut. As a Bronze Age villain introduction, the long-term importance of Korvac lifts this book higher than its price alone might suggest.

A scarce Marvel fan magazine with a striking Jim Starlin three-color cosmic cover. The back-cover homage to Special Marvel Edition #15 with all female characters gives it added collector appeal, especially among Bronze Age cosmic fans.  Most of the Foom magazines have been overlooked for years, but they are loaded with early appearances and information.  It would not surprise me if these issues continue to rise in value.

3rd appearance of Howard the Duck.
Not as iconic as his earliest appearances, but still an important Bronze Age chapter for the character who would become Marvel’s strangest cult-favorite satirist.

Bernie Wrightson cover.
Another standout piece from Wrightson, whose Bronze Age covers have skyrocketed thanks to low census numbers and renewed interest in classic horror illustration.

1st appearance of Misty Knight.
One of the most important female street-level characters Marvel introduced in the 1970s, and a future partner to Iron Fist and Luke Cage.

2nd appearance of Gamora.
Gamora’s second appearance, continuing her early involvement in Jim Starlin’s cosmic saga. A companion piece to #180 for collectors completing her early arc.

Full appearance of Gamora.
Often labeled the 1st full appearance of Gamora due to her expanded presence compared to Strange Tales #180–181. A key chapter in her Bronze Age development.

1st issue in new series
The launch of a World War II–era superhero team featuring Captain America, Namor, and the Human Torch. A nostalgic revival of Golden Age concepts for Bronze Age readers.

1st issue in new series
The oddball team of the Bronze Age — Hercules, Black Widow, Ghost Rider, Iceman, and Angel. A quirky lineup that has gained a cult following despite its short lifespan.

 

Looking back at 1975, it becomes clear why this year stands apart. The All-New, All-Different X-Men weren’t just a successful relaunch — they became the most important superhero team of the next forty years. Their prominence in this list reflects their real-world impact: they revitalized a dormant franchise and launched Chris Claremont’s unparalleled 16-year run. 

But the Bronze Age wasn’t shaped by mutants alone. The martial arts movement that gripped film and television found a powerful home in comics, producing some of the decade’s most iconic covers, most dynamic fight sequences, and most culturally resonant characters. White Tiger’s debut — the first mainstream Latino superhero at Marvel — came through martial arts storytelling. Iron Fist moved into his own title. Bruce Lee tributes appeared on magazine racks. Even the Punisher, whose origins were explored in Marvel Preview #2, carried the gritty, hard-edged tone of the era’s street-level films.

Together, these two forces — the global reinvention of the X-Men and the kinetic surge of martial arts storytelling — defined 1975 as a turning point. The comics of 1975 weren’t just popular; they were transformative. And their influence is still felt today in every mutant saga, every street-level vigilante book, and every corner of the Marvel Universe shaped by the legacy of this remarkable year.  Few years have had such an enduring impact on the comic book community.

by Ron Cloer

For all the years, see the Bronze Age Comic Book Archive

Bernie Wrightson was one of the defining artistic voices of the Bronze Age, blending Gothic horror, expressive linework, and a uniquely eerie sensibility that reshaped the era’s visual identity. Although his influence spans dozens of titles from DC, Marvel, Warren Publishing, and various independent projects, a select group of covers stand out as the most valuable—driven by iconic imagery, historical importance, and strong collector demand.

First Published Work

Bernie Wrightson’s first published professional comics work appeared in House of Mystery #179 (May 1969), where he illustrated the story “The Man Who Murdered Himself.” Even with a $200 raw 9.4 price tag, this early assignment remains undervalued considering Wrightson’s eventual impact on Bronze Age horror art.

First Paid Cover

Wrightson’s earliest paid cover assignment is widely attributed to Web of Horror #3 (1970), published by Major Publications. Printed in low numbers and rarely found in high grade, it represents the true beginning of Wrightson’s professional cover career. CGC has graded just 52 copies, with zero 9.8s and zero 9.6s, so any high-grade copy should be slabbed immediately.

Below are the Top 25 Bernie Wrightson cover comics, ranked by desirability and current market value. Only covers fully penciled by Wrightson are included—no inks-only jobs or partial contributions.

Top 25 Most Valuable Wrightson Cover Comics

#1 — House of Secrets #92 (1971)

Value (CGC 9.4): $14,000+
Wrightson’s masterpiece and the debut of Swamp Thing. One of the most important Bronze Age comics—horror, first appearance, and iconic cover art. This issue sits at the very top of both Wrightson’s legacy and Bronze Age collecting.

#2 — Web of Horror #3 (1970)

Value (CGC 9.4): $1,500+
Wrightson’s first paid cover assignment; extremely scarce, fragile, and highly prized. With six graded 9.4s and none higher, scarcity catapults this issue into elite territory for Wrightson collectors.

#3 — House of Mystery #214 (1973)

Value (CGC 9.4): $925
Stylish, elegant Wrightson horror imagery—one of his strongest anthology pieces. The skull-and-bone voodoo styling headdress on the wrinkled old man gives this cover unforgettable personality.

#4 — House of Secrets #103 (1972)

Value (CGC 9.4): $840
A haunting, atmospheric gem that has rapidly appreciated in recent years. The bold image of a single face, rendered with hypnotic detail, is mesmerizing.

#5 — House of Secrets #94 (1971)

Value (CGC 9.4): $800+
Part of Wrightson’s remarkable 1971 run; eerie texture and moody composition make it a standout. The contrast between the bright, spotlighted woman and the creature shrouded in shadow amplifies the tension.

#6 — Secrets of Haunted House #5 (1975)

Value (CGC 9.4): $790
A creature crawling from a jack-o’-lantern twists a simple childhood ritual into something sinister. Now one of the strongest mid-1970s Wrightson values.

#7 — House of Mystery #236 (1975)

Value (CGC 9.4): $675
One of Wrightson’s creepiest and most sinister compositions, with a skull emerging from the depths. A chilling mid-Bronze Age highlight.

#8 — House of Mystery #207 (1972)

Value (CGC 9.4): $650+
A bold and shadow-heavy Wrightson cover featuring an elderly woman clawing at the chest of a man revealing a partial skeleton. Classic Bronze Age horror.

#9 — House of Mystery #204 (1972)

Value (CGC 9.4): $650
Classic Wrightson tone elevates this issue. The awkward yet believable pose of the woman in the red dress draws you into the unfolding terror.

#10 — House of Mystery #217 (1973)

Value (CGC 9.4): $650
A refined and visually striking cover from Wrightson’s peak DC horror era. Roots reaching toward a young girl add an element of creeping dread.

#11 — House of Secrets #93 (1971)

Value (CGC 9.4): $600+
A dreamlike, Gothic composition that continues to rise in value. You may not know exactly what’s occurring, but you know enough to be frightened.

#12 — House of Mystery #193 (1971)

Value (CGC 9.4): $550+
A quintessential early Bronze Age horror cover—macabre, cinematic, and deeply textured. A shackled man is carried toward a mausoleum as one lone figure hides behind a tombstone.

#13 — Swamp Thing #1 (1972)

Value (CGC 9.4): $500+
The launch of the Wrightson/Wein classic. Surprisingly, this is the only issue from the Swamp Thing run to crack the top 25—suggesting a buying opportunity for collectors.

#14 — Weird Mystery Tales #21 (1975)

Value (CGC 9.4): $450
Classic Wrightson atmosphere with a desperate man pinned against a tree while three wolf-creatures close in on him.  Notice the awkwardness of his pose and the aggressiveness of the creature’s pose.

#15 — House of Mystery #213 (1973)

Value (CGC 9.4): $450
One of Wrightson’s best anthology covers. Strange muscular rooftop monsters toying with a man seeking entertainment and not terror.  Wrightson is capturing the moment before the full horror is revealed, again.

#16 — House of Mystery #195 (1971)

Value (CGC 9.4): $400+
A beautifully atmospheric horror cover gaining steady momentum. Action, ambiance, and a veiled figure sprinting for his life make it a standout.

#17 — House of Secrets #106 (1973)

Value (CGC 9.4): $400
Overflowing with Wrightson’s signature atmosphere—ghouls attacking, heavy shadows, and another imminent attack.  The woman who is stepping into this nightmare is crouched peering out from the brambles.

#18 — House of Secrets #139 (1976)

Value (CGC 9.4): $350+
Wrightson worked wonders with pumpkins, and this eerie composition is no exception—moody, seasonal, and wonderfully unsettling.

#19 — House of Secrets #100 (1972)

Value (CGC 9.4): $325
A memorable anniversary cover. The ghouls have escaped, but the pale figure on the bed never will.

#20 — House of Secrets #96 (1972)

Value (CGC 9.4): $325
An underrated Gothic horror cover that haunted the dreams of many young readers.  A ghoul coming to life from a painting trying to usher this little boy into their torture.  So creepy.

#21 — House of Mystery #194 (1971)

Value (CGC 9.4): $300
A dramatic horror scene where the mundane—reading alone at night—becomes anything but normal under Wrightson’s touch.  The chaotic coloring and demons from the top of the cover contrasting with the muted colors of the lady reading at the bottom, stunning.

#22 — House of Mystery #209 (1972)

Value (CGC 9.4): $300
A clever use of perspective. From inside a grave we see both the man who dug it and the skeleton ready to drag him down forever.

#23 — House of Mystery #211 (1973)

Value (CGC 9.4): $260
A shadowy showdown involving a vampire and a clawed creature rising from a grave. Classic Wrightson storytelling.

#24 — House of Secrets #107 (1973)

Value (CGC 9.4): $240
A dramatic confrontation with Abel, the longtime host of House of Secrets. A solid, affordable Wrightson entry.

#25 — Detective Comics #425 (1972)

Value (CGC 9.4): $225+
A beloved non-horror Wrightson cover—moody, atmospheric, and unlike anything else in Batman’s Bronze Age run. As both a Wrightson and Batman fan, I’d personally place this one higher.

Conclusion

Bernie Wrightson’s cover work in the Bronze Age represents some of the finest horror and fantasy art in comic book history. Powered by the success of House of Secrets #92, his groundbreaking Swamp Thing work, and a string of unforgettable DC horror covers, these issues continue to climb in value as collectors deepen their appreciation for Wrightson’s genius.

Whether you’re building a Wrightson collection or exploring Bronze Age classics, these 25 covers are the ones to watch.  The best deals for Wrightson covers can be found in the few issues he created at Marvel.  Look at Chamber of Darkness 7 and 8 as well as Tower of Shadows 8 and 9 for the most inexpensive Wrightson covers.

by Ron Cloer

For a year-by-year list of the most expensive Bronze Age comic books and top Bronze Creators, see the

Bronze Age Comic Book Archive

The definitive guide to the most valuable, influential, and culturally significant comics of the 1970s and early 1980s.

Welcome to the Bronze Age Archive

Between 1970 and 1984, comic books underwent one of the most dramatic cultural evolutions in their history. This hub collects every year of my ongoing series — providing a master index for collectors, historians, and fans.

Each year’s guide includes:

• The Top 25 most valuable issues
• Key first appearances
• Cultural/historical background
• Market analysis + value insights
• Hidden gems & undervalued picks

Year-by-Year Guides

Below are the first six completed entries. As additional years are written, this page will expand into the definitive Bronze Age resource on the web.

1970: The Bronze Age Begins

Most Valuable Comics of 1970
A transitional year marked by darker themes, emerging social awareness, and early tremors of the horror revival.

1971: The Comics Code Breaks Open

Most Valuable Comics of 1971
January’s CCA revision unleashed Gothic horror — leading to Morbius, revamped Batman, and a wave of experimentation.

1972: The Gothic Revival Explodes

Most Valuable Comics of 1972
Tomb of Dracula. Werewolf by Night. Supernatural Thrillers. DC’s brooding counterparts like Swamp Thing, The Demon and Dark Mansion of Forbidden Love. A turning point for horror and storytelling ambition.

1973: The Year Comics Grew Up

Most Valuable Comics of 1973
Gwen Stacy’s death. Blade’s debut. Thanos emergence.  Neal Adams’ iconic Joker Cover.
A year of shock, realism, and character reinvention.

1974: The Era of the Anti-Hero

Most Valuable Comics of 1974
Within 12 months: Wolverine, Punisher, Nomad, Deathlok.
Watergate, the oil embargo, and soaring inflation shaped the year’s tone and themes.

1975: The New X-Men Dominate

Most Valuable Comics of 1975
Few years have been as thoroughly dominated by a first appearance as the X-Men in 1975.  There was a significant martial arts boom, a Saturday morning cartoon book, and Bronze Age horror still running strong.

1976: The Most Eclectic Year

Most Valuable Comics of 1976
In the Bicentennial year, which united America in celebrations, comics were scattered in all sorts of ways.  It was a year that behaved in ways no one expected.

1977: ***Coming Soon***

 

Bronze Age Creator Spotlight

Most Valuable Bernie Wrightson Covers
Iconic, atmospheric Bronze Age Gothic at its best. 

Mike Ploog – Bronze Age Storyteller and Artist
Bronze Age master of storytelling using the cover art.

Len Wein – The Quiet Architect of the Bronze Age
Quietly created some of the best characters of the Bronze Age.

***More Coming Soon***

As this list continues to expand, I hope that you will return again.  No other Bronze Age lists were consulted or viewed before I created these lists.  These are 100% researched and created by me, for your enjoyment.  So if these lists are unique and different from the typical, you know why.

by Ron Cloer

Comic books and the escapism they offer do not exist in a vacuum, sealed off from real-world events. 1974 is a perfect example of how the culture outside the spinner rack seeps directly into the stories on it.

Watergate and the fall of Richard Nixon dominated the year, eroding public trust in the U.S. government and leaving the nation questioning its institutions. Out of that environment of political cynicism emerged the rise of the anti-hero. Within a single twelve-month stretch, readers met Wolverine, the Punisher, Nomad, and Deathlok — four characters who embodied America’s growing appetite for grit, moral ambiguity, and rebellion.

Meanwhile, the Arab Oil Embargo (October 1973–March 1974) reshaped everyday life. Long gas lines, rationing, and soaring inflation became part of the national landscape. Oil prices quadrupled in just five months, and the ripple effects touched everything — including comic books. The era of the cheap, disposable comic was coming to an end. In 1970, a typical issue cost 15 cents; by 1976, it had doubled to 30 cents. Before the Bronze Age closed in 1984, it would double again to 60 cents.

Publishers scrambled to adapt. In 1974 alone, Marvel launched nine separate Giant-Size titles—books with higher page counts and higher cover prices. DC responded with its line of 100-Page Giants, expanding page counts across its core titles. Both approaches acknowledged a simple reality: the economics of comics were changing just as dramatically as the characters who populated them.

What follows is a list of the 25 most valuable comic books from 1974—an era-defining mix of first appearances, second appearances, and unforgettable confrontations.

1. Incredible Hulk #181 –
1st full appearance of Wolverine. Herb Trimpe delivers a fantastic cover featuring the iconic fight between Hulk and Wolverine—sorry, Wendigo, you’re barely a footnote here. And is it just me, or does Wendigo look like an old man yelling at neighborhood kids to get off his lawn? This comic is so iconic that anyone who has even heard of Wolverine or seen an X-Men movie will recognize it. What they won’t immediately know is to look for the Shanna the She-Devil Marvel Value Stamp tucked inside.

2. Amazing Spider-Man #129 –
1st appearance of the Punisher. The brilliance of this bright yellow cover isn’t just the color—it’s the layout. We’re seeing Spider-Man from the Punisher’s point of view while simultaneously seeing Punisher from another angle. Notice how the Punisher breaks outside the panel border, just like his persona breaks outside traditional hero morals. Gil Kane absolutely dominated 1973 and 1974, creating first-appearance covers for Blade, Ghost Rider, Red Sonja, Howard the Duck, Punisher, and Iron Fist. This one might be his most recognizable work.

3. Incredible Hulk #180 –
1st Wolverine cameo appearance (full splash page). The final page of Hulk #180 is arguably the greatest cameo in all of comicdom. Had Wolverine appeared in any additional panels, this might have been considered his full first appearance, but by the strict rules of cameo vs. first appearance, this one lands firmly in “cameo” territory. Herb Trimpe handled the cover and interior art for this now-eternal Bronze Age key.

4. Marvel Premiere #15 –
1st appearance of Iron Fist. Martial arts films peaked in popularity in 1973 and 1974, so Iron Fist’s debut couldn’t have been timed better. Gil Kane draws Iron Fist, splattering three attackers and a streetlamp in a single move. Is it believable? Not really. Is it crazy cool? Absolutely.

5. Amazing Spider-Man #135 –
2nd appearance of the Punisher. I love the creativity of John Romita Sr., who divided this cover into segments by using a spider. It’s like a soap opera for Spider-Man, and the key figure is the one with the epic eyebrows and a gun.

6. Incredible Hulk #182 –
2nd appearance of Wolverine. The trifecta of key Wolverine issues wraps up with #182. All three issues—#180, #181, and #182—include a Marvel Value Stamp, which keeps collectors on their toes. From a value and historical standpoint, this is a must-own Bronze Age key. Artistically, though, it’s a mixed bag: a tiny man hoisting Hulk, a Hammer whose head looks too small, and a Hulk with a neck twisted just a little too far. Still, whatever its quirks, it unquestionably belongs in every Wolverine fan’s collection.

7. Astonishing Tales #25 –
1st appearance of Deathlok. Rich Buckler’s cover gives Deathlok a Frankenstein vibe as electricity crackles around him in his grim resurrection scene. Equally important: this issue contains George Pérez’s first paid comic book work—just two pages, but that spark ignited one of the most monumental careers in comics.

8. Giant-Size Chillers #1 –
1st appearance of Lillith. The first of five Giant-Size books to make this list, and with good reason. John Romita Sr. sets a muted, gothic backdrop and places Dracula and his daughter squarely in the spotlight. Giant-Size books are notoriously tough in high grade: tight boxing shifts the spine, and the added thickness often causes bottom-spine rips. According to the CGC census, only 48 copies have ever been graded 9.8. A frighteningly low number for such an important Bronze horror key.

9. Doctor Strange #1 –
1st appearance of the Silver Dagger. CGC has graded 211 copies at 9.8 and another 351 at 9.6, proving that collectors care deeply about this issue. Frank Brunner knew exactly how to craft a Doctor Strange cover—freaky, surreal, and just a little unsettling. I’m not sure what that skull-octopus creature with claws is supposed to be, but that’s the whole point. Strange deals in forces we can’t understand, so his covers should look like beautiful nightmares.

10. Savage Sword of Conan #1 –
1st issue in a new series. Because Curtis Magazines didn’t need Comics Code Authority approval, Savage Sword could push boundaries with more violence, more intensity, and more “Conan being Conan,” including rescuing barely-clad women and dismantling his enemies. The painted cover by Boris Vallejo is a masterwork from one of fantasy art’s most underappreciated giants.

11. Amazing Spider-Man #136 –
1st appearance of the 2nd Green Goblin (Harry Osborn). This is the moment Harry Osborn steps out of his father’s shadow and brings back one of Spider-Man’s greatest sources of pain. The cover, drawn by John Romita Sr., captures that emotional turmoil beautifully—friends turned foes, loyalty turned to rage. It’s a key turning point in the ongoing Spider-Man saga and a powerful reminder that the Goblin legacy doesn’t rest easy.

12. Captain Marvel #33 –
Origin of Thanos. Long before Jim Starlin wrote Infinity Gauntlet in 1991, he was already shaping the destiny of the Mad Titan. Starlin handled both the cover and interior art for this issue, which expands Thanos’ backstory and hints at the cosmic epic to come. The cover—Thanos gripping Captain Marvel by the head and dangling him off a rooftop—is pure Bronze Age drama in the best way.

13. Captain America #180 –
1st appearance of Nomad (Steve Rogers). How deep was America’s disillusionment after Watergate? Steve Rogers threw away the star-spangled Captain America suit for the black Nomad suit because he didn’t want to be associated with America. In this issue, Steve uncovers corruption that hints at reaching all the way to the Oval Office—a storyline mirroring real-world events with surprising boldness for 1974.

14. Tomb of Dracula #18 –
1st battle between Dracula and Werewolf by Night Part 1. Comic fans have always loved a good showdown—Thor vs. Hulk, Hulk vs. Thing, Superman vs. Muhammad Ali. Dracula vs. the Werewolf fits right into that tradition of monster-meets-monster spectacle. Although the two have clashed plenty on the big screen, this is their first confrontation in comics, setting the stage for one of the most memorable horror crossovers of the Bronze Age.

15. Werewolf by Night #15 –
1st battle between Dracula and Werewolf by Night Part 2. Mike Ploog delivers one of his finest covers here: an ancient castle with looming gargoyles, Dracula’s magnificent cape, and a werewolf ready to tear into him with feral intensity. The castle’s unusual green hue feels strange at first glance, but it actually pulls your attention toward the central conflict. Ploog created some of the best horror covers of the era—Marvel Spotlight, Werewolf by Night, Monster of Frankenstein—and this one ranks right up there.

16. Deadly Hands of Kung Fu #1 –
1st appearance of the Sons of the Tiger. Bruce Lee passed away in the summer of 1973, and less than a year later, this martial arts magazine arrived—perfectly timed for the kung-fu wave sweeping America. Neal Adams delivers a powerful, cinematic cover featuring a Bruce Lee–inspired figure striking with impossible precision while chaos erupts behind him. As both a cultural artifact and a key Bronze martial arts debut, this issue is pure 1974 energy.

17. House of Secrets #123 –
Frank Robbins Horror Cover. Frank Robbins only drew one cover for House of Secrets, but he made it count. The image juxtaposes the sweet innocence of an ice cream cone with the horror of a skeletal hand offering a melting, flesh-covered face. It’s grotesque, surreal, and unmistakably Robbins—a stark reminder of how boundary-pushing DC’s horror line could be when it wanted to.

18. Adventure into Fear #24 –
1st meeting of Morbius and Blade. Artists who understand how to capture the split-second before chaos make the best covers, and Gil Kane was a master of that technique. Here we see Morbius plunging toward Blade, and you know instantly the next panel is going to be mayhem. Inside, Morbius dismisses Blade as unhinged for claiming to have fought Dracula, who, in Morbius’s mind, is obviously fictional. It’s an underrated but pivotal moment in Marvel’s horror universe.

19. Giant-Size Creatures #1 –
1st appearance of Tigra. The first appearance of Tigra gives this book significance, but the cover itself is more functional than iconic. What it does have is rarity: according to the CGC census, only 18 copies have been graded 9.8, and just 41 have earned a 9.6. For a Bronze Age key, those numbers are shockingly low and make high-grade copies much more elusive than many collectors realize.

20. Giant-Size Spider-Man #1 –
Cameo appearance of Equinox. Spidey & Morbius team up. This issue pairs Spider-Man with Morbius in a classic Bronze horror/superhero mashup. According to the CGC census, only 11 copies have been graded 9.8, and 39 have been graded 9.6—astonishingly low for a Spider-Man book of this era. The combination of a fan-favorite team-up and scarcity makes this an underrated gem among the Giant-Size releases.

21. Detective Comics #441 –
1st appearance of Harvey Bullock. Harvey makes his brief debut here in July 1974 before vanishing for nearly a decade, finally resurfacing in Batman #361. From that point on, he becomes the rule-bending but fundamentally honorable detective we all know. Jim Aparo provides a molten-metal cover that feels more intense than most Bat-titles of the era. This is also one of DC’s 100-page giants—created for the same reason Marvel experimented with Giant-Size issues: inflation demanded more pages for a higher price.

22. Giant-Size Man-Thing #1 –
The Bronze Age’s most unintentionally giggle-inducing title. It’s still amazing that Giant-Size Man-Thing made it past editors and the Comics Code Authority without anyone raising an eyebrow. According to the CGC census, 14 copies have been graded 9.8 and another 43 have earned a 9.6, making high-grade examples surprisingly scarce. If you own a sharp copy, by all means—encase your Giant-Size Man-Thing in plastic. I couldn’t resist.

23. Marvel Premiere #16 –
2nd appearance of Iron Fist. Another Gil Kane cover lands on the list, though this one has an odd quirk: Iron Fist has turned his back on someone wielding a scythe and appears to be punching the concrete instead. Everything else on the cover works, but the main action is baffling and delightfully weird. Still, it’s an important second appearance and an essential part of Iron Fist’s origin arc.

24. Giant-Size Super-Stars #1 –
Thing vs. Hulk. Let superheroes race each other or fight each other, and every kid in town wants a copy. Marvel and Rich Buckler knew what they were doing with this issue. According to the CGC census, there have been 26 copies of this book graded 9.8 and 68 copies graded 9.6.

25. Adventure into Fear #20 –
1st Morbius in his own title. This issue marks Morbius’s transition from supporting player to headliner, giving him the spotlight in his own feature for the first time. It also includes the debut published artwork of Paul Gulacy, who would go on to become one of Marvel’s most distinctive artists. And yes—another Gil Kane cover. His run in 1973 and 1974 was simply legendary.

 

If the early ’70s taught us anything, it’s that comics grow up fast. And nowhere is that clearer than in 1974, a year when distrust in government spilled directly onto the page. Watergate gave readers a world where heroes questioned institutions—and in turn, comics introduced a new breed of character: the anti-hero. Wolverine, Punisher, Deathlok, and even Steve Rogers himself, who abandoned the Captain America identity to become Nomad, all reflected a country wrestling with its own ideals. First appearances hit the stands like a freight train, while Marvel’s Giant-Size experiment delivered bigger stories at bigger prices, mirroring the economic upheaval of the oil crisis.

And running through the year was a strong vein of Gothic horror—Dracula, Werewolf by Night, Morbius, Blade, and even House of Secrets muscled their way into the Top 25. Taken together, these books capture a medium in transition, embracing darker themes, experimental formats, and complicated new characters shaped directly by the world around them.

by Ron Cloer

For all the years, see the

Bronze Age Comic Book Archive

1973: The Year Comics Came of Age

If 1971 broke the rules and 1972 embraced the dark, 1973 was the year comics grew up.
It was a year of shock, renewal, and transformation — when heroes stumbled, boundaries expanded, and readers witnessed the medium take its boldest step toward the modern age.

In June and July, Marvel published The Amazing Spider-Man #121–122 — two issues that changed everything. Gwen Stacy’s death shattered the illusion of safety that had defined the Silver Age. In that moment, Peter Parker — and his readers — learned that even love could die, and even heroes could fail. The follow-up, the death of the Green Goblin, felt less like victory and more like trauma. It was the end of innocence and the beginning of realism. From this point forward, superhero stories would never be the same.

Yet as one door closed, another opened.
In the same year that tragedy reshaped Spider-Man’s world, new voices and faces began reshaping comics themselves. Within months, readers met Blade (Tomb of Dracula #10), Brother Voodoo (Strange Tales #169), Nubia (Wonder Woman #204), and Killmonger (Jungle Action #6). These weren’t side characters or curiosities — they were headline heroes and villains with depth, identity, and purpose. For the first time, mainstream superhero comics made serious strides toward racial inclusion.

1973 can credibly be called “the year Black characters entered the Bronze Age mainstream.”

At the same time, new genres surged to the forefront. Iron Man #55 launched Jim Starlin’s cosmic odyssey with the debut of Thanos, Special Marvel Edition #15 introduced Shang-Chi amid the martial-arts craze. Horror still thrived in the pages of Ghost Rider and Tomb of Dracula, while sword-and-sorcery reached new heights in Conan the Barbarian.

It was a year that redefined both who could be a hero and what a hero’s story could mean. Here are the most significant and valuable comics from 1973, each one marking a step in that evolution.

1. Iron Man #55 –
1st appearance of Thanos, Drax, Eros (Starfox). Thanos’ appearance is the singularly most important introduction for the Marvel Universe.  His presence and mission drove the MCU for a decade.  This book has undergone some downward pressure, but it’s still a blue-chip key issue.  This is the right time to be a buyer for this issue instead of a seller.
2. Amazing Spider-Man #121 – 
Death of Gwen Stacy.  A comic that felt more like a punch to the gut than a story.  All of those times we related to Peter Parker’s situations or lack of popularity made this issue more personal.  We always believed that he could save the day, and when he couldn’t, our innocence died with Stacy.  It was a poignant moment in comic history. 
3. Amazing Spider-Man #122 – 
Death of Green Goblin.  Looking at this powerful John Romita Sr. cover, you read the word bubbles and you feel the vitriol swell.  Norman intentionally and maliciously stole the life of this beautiful young lady whom Peter loved.  After Green Goblin’s death, there is no joy or satisfaction, just more unnecessary pain. 
4. Tomb of Dracula #10 – 
1st appearance of Blade the Vampire Slayer.  This classic introduction became Marvel’s first black horror lead.  A character like Blade is essential to any vampire story; there has to be someone to challenge the supernatural killer.  This Gil Kane cover captures an impromptu moment with Blade on the stairs and Dracula with his victim, fiercely staring at whoever would interrupt his meal.  Iconic cover.
5. FOOM #2 –
Marvel’s Earliest printed image of Wolverine.  Often overlooked but released well before Incredible Hulk 180 or 181.  This issue was a fan-club exclusive that deserves all the attention it can get.  The Steranko cover is gorgeous with a shackled and ripped Hulk heaving a crumbling boulder over his head.  I would put this Steranko Hulk cover in the same category as Captain America #110, which features Hulk chasing Bucky through a wall.
6. Ghost Rider #1 – 
1st solo Johnny Blaze series.   In 1973, there was a strong movement toward the mystical with Ghost Rider leading the way on a flaming motorcycle.  This Gil Kane cover has that rebellious ’70s motorcycle vibe with Ghost Rider bursting through a police barricade while doing a wheelie.  Kids in the neighborhood were trying to imitate this move with their banana-seat Schwinn bicycles.
7. Special Marvel Edition #15 – 
1st appearance of Shang-Chi.   Bruce Lee’s Enter the Dragon was released in August 1973; this issue was on sale September 4th, 1973. (according to the Comic Reader) To say that Marvel’s timing was perfect is an understatement.  There was a real Kung-fu craze happening in the early ’70s, and Mighty Marvel wasn’t missing this trend.  Jim Starlin’s cover reminds me of Batman 232, featuring a larger green figure with sharp nails behind the action.
8. Batman #251 –
“The Joker’s Five-Way Revenge!” — To understand why this book matters, look at the last Joker cover in Batman, which is issue #186.  Joker is a goofy, gag-ridden shell of his diabolical self.  Adams & O’Neil returned the Joker to a murderer who would kill for no reason.  To me, this is the greatest Adams cover of all time.  
9. Strange Tales #169 – 
1st appearance of Brother Voodoo.  Continuing Marvel’s Mystical Mystery tour with the addition of Brother Voodoo.  He is the second black lead character and the second mystical character in this list.   John Romita Sr.’s cover is powerful with Haitian-born hero Brother Voodoo walking out of the flames of a fiery car wreck.
10. Shazam! #1 – 
Revival of Captain Marvel.  After a 20-year gap, Shazam returns with an introduction by Superman.  The title has a retro feel that is immediately apparent as C.C. Beck, who worked on Whiz Comics and Captain Marvel in the 1940s, created the cover art for the first nine issues.
11. Wonder Woman #204 – 
1st appearance of Nubia.  Nubia, as she was originally written, was Queen Hippolyta’s second daughter, making her as strong as Wonder Woman.  After four plus years of Wonder Woman wearing jump suits, DC decides that Princess Diana should wear her iconic costume again and not look like one of Charlie’s Angels.  Good choice.  Nubia’s first appearance and Wonder Woman’s return to greatness make this a book that is collector-worthy.
12. Jungle Action #6 – 
1st appearance of Killmonger.  This book has seen some elevated and deflated values related to his big screen introduction in 2018’s Black Panther.  Regardless, he is an important character in the MCU and in comics.  This is the fourth black character introduced in 1973, showing a strong trend toward a more diverse comic community. 
13. Conan the Barbarian #23 – 
1st appearance of Red Sonja.  This is another Gil Kane cover that doesn’t feature Red Sonja and has a misspelling in the upper left corner.  Who knew that “Barbarian” was so difficult to spell?  Because Red Sonja doesn’t appear on the cover, some collectors choose to buy Conan the Barbarian #24 with a gorgeous Barry Windsor-Smith depiction of Red Sonja.
14. Adventure into Fear #19 – 
1st appearance of Howard the Duck.  He is unnamed; however, he is identical in appearance to Howard the Duck #1.  A duck wearing a hat, suit, and tie while smoking and talking.  Once again, Gil Kane was at the drawing board; the guy was very busy in 1973.  So much drama in a single cover, Man-Thing is falling off a crumbling facade, a warrior swings a flaming sword over a bikini-clad woman in red boots.
15. Marvel Premiere #10 –
1st appearance of Shuma Gorath.  Dr. Strange’s mystical powers are the perfect fit for 1973.  He battles a demon called Shuma Gorath with the Ancient One in the balance.  Frank Brunner’s artwork is dark and dramatic, matching the tone of the times.
16. Swamp Thing #7 – 
Swamp Thing and Batman meet for the 1st time.  As the city stretches in the distance, Swamp Thing clings to a building’s ledge as the Dark Knight approaches from below.  This is Bernie Wrightson showcasing his immense talent, blending horror and a moody Batman together. Stunning cover.
17. Avengers #113 – 
Social commentary issue.  In the early 1970s, several suicide bombers took hostages and sometimes killed them.  The most infamous were the Bloody Friday bombing in Belfast and the Munich Olympic Massacre in September 1972.  This grave story of a hate-filled group called the living bombs mirrors the real world of the time.  This issue, along with the two Spider-Man issues above, displays how comic books grew up.
18. Defenders #10 – 
Thor vs. The Hulk test of strength cover.  With all the serious tones and darker themes, this is the kind of book that kids love.  Similar to the Superman vs. The Flash races at DC, this is Marvel’s version: Thor vs Hulk.  Who is stronger?  You can visit forums and Reddit today and find a similar topic, as we still love to debate.
19. Monster of Frankenstein #1 –
After the Comics Code Authority finally relaxed its rules in 1971, Marvel wasted no time resurrecting the classic monsters that had shaped early horror literature. Monster of Frankenstein #1 is the company’s most faithful attempt at adapting Mary Shelley’s iconic creature, presenting him not as a gimmick or guest villain but as a tragic, fully realized protagonist. Mike Ploog’s atmospheric artwork delivers the perfect gothic tone—moody shadows, torch-lit stonework, and a lumbering creature who looks more sorrowful than savage. This book stands as a reminder that horror wasn’t just a trend—it was becoming a pillar of the Bronze Age.
20. Amazing Spider-Man #124 – 
1st appearance of Man-Wolf (J. Jonah Jameson’s son) The man who called Spider-Man a menace has a son who is a menace?  Every fan of Spider-Man loves to see J. Jonah Jameson cowering in fear on this fun Romita cover.  The horror genre continued to blend with the superhero genre in 1973.
21. Amazing Spider-Man #125 –
Man-Wolf saga continues.  When Spider-Man screams, “I won’t let you die–not like Gwen!  not like GWENNNN!”, I feel the pain.  Isn’t it too soon to bring this up again?  Gwen just passed, and now you’re tormenting us with this cover.  John Romita Sr. didn’t show any compassion with this Spider-Man cover.
22. Captain Marvel #26 – 
1st cover appearance of Thanos and 2nd full appearance of Thanos.  The mastermind reveals himself alongside Death in a splash page on the final page.  From this point on Thanos is trying to impress or win over his love, Death, by murdering people.  Awww, isn’t that cute? 
23. Captain Marvel #27 – 
1st full appearance of Eros.  Part three in the Thanos war introduces us to Eros, Thanos’ brother. Jim Starlin created this action-filled cover.
24. Captain Marvel #25 – 
Starlin’s cosmic Thanos war begins.  Before the Thanos Quest of 1990 or the Infinite Gauntlet series of 1991, there was the Thanos War of 1973 and 1974.  The Mad Titan has been problematic for a long time.
25. House of Mystery #214 – 
Bernie Wrightson Bronze Age horror.  After years of little interest, Bronze Age horror books in general and Wrightson books, specifically, are experiencing new popularity.

Looking back, 1973 feels like the year comics stepped out of adolescence.
The innocence of earlier decades was gone, replaced by stories that dared to wound their readers and characters who reflected a broader, truer world. The deaths of Gwen Stacy and the Green Goblin closed one chapter, even as Blade, Brother Voodoo, Nubia, and Killmonger opened another. Horror deepened, mysticism expanded, and cosmic storytelling reached new heights.

These twenty-five comics show a medium in motion — restless, diverse, willing to take chances. If the Bronze Age had been building its foundation since 1970, then 1973 was the year the structure took shape. A year of loss, a year of representation, a year of reinvention.

A year comics finally came of age.

By Ron Cloer

For all the years, see the

Bronze Age Comic Book Archive

 

1972: The Gothic Horror Revival at its Peak

If 1971 opened the door to the supernatural, 1972 stormed straight through it—into the creaky halls of a haunted mansion. In the wake of the Comics Code revisions the year before, both Marvel and DC dove headfirst into the Gothic revival. Within a single twelve-month stretch, readers saw an unprecedented surge of new horror titles.

Marvel seized the moment with a flood of new series — Tomb of Dracula, Werewolf by Night, Chamber of Chills, and Supernatural Thrillers — each steeped in classic horror atmosphere. But DC was no bystander; its answer came through mood and tone rather than monsters. Swamp Thing emerged from the murky depths of House of Secrets, giving horror a tragic, literary dimension. Weird War Tales twisted battlefield heroics into ghost stories, and the scarred gunslinger of All-Star Western #10, Jonah Hex, brought a haunting Gothic sensibility to the Western genre.

Each of these books signaled a creative and tonal shift — away from costumed crime-fighters and toward fog-shrouded castles, moonlit transformations, and doomed protagonists. The era’s best artists, from Wrightson and Adams to Kane and Kirby, gave horror a newfound elegance. 1972 wasn’t just a year of scary stories; it was the moment the Bronze Age embraced the macabre as high art.

While monsters and mystery ruled the spinner racks, superheroes adapted as well — Luke Cage broke barriers in Hero for Hire, Ghost Rider blazed across Marvel Spotlight #5, and Neal Adams turned Batman into a mythic detective once more. The result was a lineup that perfectly captured 1972’s creative diversity: equal parts fear, fantasy, and experimentation.

Here are the most significant and valuable comics that defined 1972 — a year when darkness, imagination, and innovation shared the same spotlight.

1. Marvel Spotlight #5 –
   1st appearance of Ghost Rider (Johnny Blaze).  The late 1960s experienced a huge surge in biker movies, such as Easy Rider, and Evel Knievel was jumping 12 cars.  Capturing that energy, Johnny Blaze jumped a flaming motorcycle through a gang of thugs.  If you were a kid in 1972, this comic book spoke your language.

2. Swamp Thing #1 –
   1st appearance of Swamp Thing (Alec Holland).  The Swamp Thing in House of Secrets #92 is Alex Olsen, so these two are technically different.  The first ten issues all feature Bernie Wrightson’s covers and art, paired with the spectacular writing of Len Wein. To me, these are the best ten issues in the Bronze Age.

3. All-Star Western #10 –
   1st appearance of Jonah Hex.  This book blends an Old West setting with a touch of horror. In all the years that CGC has been grading All-Star Western #10, a total of 8 issues have ever been graded 9.8.

4. Hero for Hire #1 –
   1st appearance of Luke Cage. The poignant thing about Luke Cage was that he was a uniquely Harlem hero.  He was an ex-con paid to defend his neighborhood, street by street, with his fists of iron (not Iron Fist—that came later). Some of the language in these books is a little cheesy, but there had to be a starting point.

5. The Demon #1 –
   1st appearance of Etrigan the Demon.  Etrigan is the bridge that connects the Gothic and the superheroic, similar to Swamp Thing or Ghost Rider.  1972 heroes blended the supernatural or paranormal with the superhero genre.  This is the title Jack Kirby did after he finished his Fourth World books.

6. Marvel Premiere #1 –
   1st appearance of Adam Warlock.  Before this, he was known as HIM, a being of unchecked power and ego.  After receiving the Soul Gem, he gained a mission and apparently a conscience.  This book features a great Gil Kane cover showcasing Adam’s power.

7. Batman #244 –
   Classic Neal Adams cover.  How can you improve on a desert duel with swords, a shirtless display of testosterone between Ra’s al Ghul and the Dark Knight?  According to an older interview with Neal Adams, Batman was originally depicted without pants.  His editor, Jules Schwartz, made him color Batman’s right leg, and that’s why you see two pairs of pants for Batman.

8. Marvel Spotlight #2 –
   1st appearance of the Werewolf by Night.  Remember that 1971 revision to the CCA guidelines that allowed werewolves?  Marvel saw the potential and introduced werewolves, vampires, Frankenstein, and ghouls the following year.

9. Action Comics #419 –
   1st appearance of the Human Target.  There could be some inspiration taken from Sub-Mariner #7 with a partial photo cover.  But this is an iconic Neal Adams cover, Superman blasting up through the city skyline.  The artwork of Neal’s Superman, mixed with the realism of the photo backdrop, strengthens the believability.

10. Avengers #100 –
    Centennial issue featuring full team roster.  Barry Windsor-Smith drew this great cover and the interior artwork.

11. Marvel Team-Up #1 –
    Debut of the team-up series.  In the previous blog post, we discussed the growing popularity of Spider-Man; this was another way for Marvel to capitalize on it.  This series featured Spider-Man teaming up with someone 93 times out of the first 100 issues.    

12. Amazing Adventures #11 –
    1st appearance of a furry Beast.  Before this issue, Beast was a non-hairy ape-like guy with large hands and feet.  Gil Kane created this dynamic, tilted-angle action cover, featuring the Beast crushing some guards.  The yellow background and orange-clad guards help to accentuate Beast’s new gray fur.

13. Night Nurse #1 –
    1st appearance of Linda Carter, the Night Nurse.  The series would only last four dramatic issues, but it was a grounded non-superhero book.  This was Marvel’s attempt to gain female readership with an ethical, everyday hero.

14. Tomb of Dracula #1 –
    Launch of Marvel’s horror flagship.  This title would run for seventy issues, outlasting Werewolf by Night, The Monster Frankenstein, and Chamber of Chills.  Neal Adams captures Dracula carrying his gorgeous victim, across a misty, rotting forest with his castle in the distance.  Great cover.

15. Defenders #1 –
    1st ongoing Defenders title. Necrodamus, not Nostrodamus, captured Namor and now seeks to destroy him with a keris dagger. Sal Buscema maintains the creepy, spooky vibe from 1972 with this cover.

16. Werewolf by Night #1 –
    1st issue of the regular series.  Mike Ploog creates this gritty, dirty cover with a bit of humor.  My favorite part is the white dog who knows something is about to happen as soon as the werewolf steps out of the shadows.  Ploog did the first nine covers and a few others later.  Take a look at issue #15 for a fantastic Dracula vs. Werewolf fight.

17. Batman #241 –
    Neal Adams cover.  This issue features a new logo for Batman that would remain in use until 1986.  Long before Todd McFarlane made Batman’s or Spawn’s cape the centerpiece, Neal Adams did it.  
18. House of Mystery #208 –
    Nick Cardy art; Gothic DC anthology.  Death stands guard at the entrance to a cemetery, with inquisitive kids nearby.  It’s a haunting cover and one of Nick’s best covers.
19. Dark Mansion of Forbidden Love #3 –
    Iconic gothic title.  This isn’t a common comic book on most top comic lists, but the value and styling make it a must-have.  Jeff Jones created this mysterious cover with a young woman fleeing a dark figure.

20. Kamandi, The Last Boy on Earth #1 –
    Kirby’s post-apocalyptic “Last Boy on Earth” debut.  Kirby created this fantastic Statue of Liberty cover four years after the Planet of the Apes epic final Statue of Liberty reveal.  That doesn’t take away from the power of this post-apocalyptic masterpiece.

21. Supernatural Thrillers #1 –
    Jim Steranko cover: 1st appearance of It.  Steranko is the master of the style.  Notice how IT raises its hands defensively above its head as gunmen fire—a classic Steranko composition. The gunmen have wide stances with their weight on one leg.  A cloud-shrouded moon with a red night full of bats completes the scene.

22. Marvel Premiere #3 –
    Doctor Strange’s solo revival after a five-year absence. Writer Stan Lee and artist Barry Windsor-Smith (fresh from Conan the Barbarian) returned the Sorcerer Supreme to psychedelic form—flowing capes, Ditko-style dimensions, and cosmic narration intact. This issue reignited the mystic side of Marvel just as horror and magic were creeping back into the mainstream.

23. New Gods #7 –
    Origin of Darkseid and Orion. “The Pact,” arguably Jack Kirby’s finest single issue of the Fourth World. Here, he reveals the secret origin of Darkseid, Highfather, and the tragic exchange of their sons between New Genesis and Apokolips. Though sales were modest, its mythic grandeur and emotional depth turned this issue into the cornerstone of Kirby’s entire cosmic mythology. Today, it stands as one of DC’s most important Bronze-Age stories.
24. Harlem Globetrotters #1 –
    A cheerful counterbalance to the year’s gloom. Based on the Saturday-morning Hanna-Barbera cartoon, this Gold Key one-shot brought real-world sports icons into comics for younger readers. Its exaggerated tricks, slapstick humor, and wholesome optimism made it a snapshot of early-’70s pop culture—and a reminder that not every 1972 comic involved graveyards and curses.
25. House of Secrets #100 –
    Pure Bernie Wrightson magic. The terror in the eyes of this pale, trembling victim as green ghouls crowd into his personal space is unforgettable. There’s a touch of Saturday-morning nostalgia here too—the ghouls could almost pass for the Creeper from Scooby-Doo, if the stakes weren’t so grim. Wrightson’s early-’70s work has become increasingly sought after, with high-grade copies (9.6 and 9.8) commanding premium prices among collectors.

 

1972 was the year comics learned to live with their shadows. The horror revival transformed fear into art, Neal Adams and Bernie Wrightson redefined atmosphere, and Jack Kirby proved that myth could live alongside monsters. From the haunted moors of Tomb of Dracula to the cracked streets of Harlem and the blasted ruins of Kamandi, the Bronze Age found its soul in contrast—light and darkness, heroism and tragedy, realism and imagination. 

by Ron Cloer

For all the years, see the

Bronze Age Comic Book Archive

1971 was shaped by revisions to the Comics Code Authority (CCA), issued in January 1971 — the first update since the Code’s creation in the 1950s. The revision stated:

“Scenes dealing with, or instruments associated with, the walking dead, or torture, shall not be used. Vampires, ghouls, and werewolves shall be permitted to be used when handled in the classic tradition, such as Frankenstein, Dracula, and other high-calibre literary works written by Edgar Allan Poe, Saki, Conan Doyle.”

Because of this change, Marvel introduced Morbius the Living Vampire, opening the floodgates to Gothic horror. By 1972, titles such as Tomb of Dracula, Werewolf by Night, and The Monster of Frankenstein carried that dark momentum forward, igniting the horror revival that would dominate comics for the next several years.

The most valuable comics of 1971 were defined by four forces: Neal Adams’ dramatic covers, the soaring popularity of Amazing Spider-Man, Jack Kirby’s ambitious “Fourth World” saga at DC, and an unmistakably creepy tone. When Adams shifted Batman away from the cheesy (but lovable) 1966 TV era toward a darker, more serious detective, that mood rippled across the industry.

 

The seismic shifts of the late 1960s — from social upheaval to pop-culture revolutions — rippled into the panels and covers of mainstream comics. Gone, for the most part, were carefree capers; in their place rose a tougher, darker sensibility. Warren Publishing led the renewed fascination with eerie, Gothic themes through Creepy, Eerie, and Vampirella, setting a tone that mainstream publishers would soon echo.

The bright optimism of the Silver Age was fading, replaced by shadows, grit, and a new seriousness in storytelling and art. Neal Adams reshaped the visual language of superheroes, and horror began creeping around the edges of both Marvel and DC — early hints of the full Gothic revival that would erupt only a couple of years later. Even familiar heroes started feeling the weight of a changing world.

Beyond the shift in tone, the first generation of organized collectors was beginning to take shape. San Diego held its first comic convention, and the debut of the Overstreet Comic Book Price Guide offered a unified reference point that helped move the back-issue market from scattered enthusiasm to a more coordinated collecting culture.

1970 was the moment comics stopped being disposable entertainment and started becoming a community of collectors.

It was a year of transition — both stylistically and in the emerging collector marketplace. After digging through publisher records, artist credits, first appearances, sales trends, and value shifts, here’s my look at the most influential and valuable comics of 1970.

1. Scooby-Doo…, Where are you?  –
   1st Appearance of Scooby-Doo  Graded 9.8 copies have sold for $25,000.  High grades are almost impossible to find because kids loved Scooby-Doo and read the comic until the pages fell off.  There are four issues of Scooby-Doo published in 1970, all four could be included in this list.
2. Batman 227 –
   Cover swipe of Detective Comics 31. Put a haunted mansion on a hill with the Dark Knight, and you have a winning cover.  Some call this the most iconic Batman cover of the Bronze Age, and they aren’t wrong.  Neal Adams’ artwork dominates this list from 1970, with this being the most valuable.
3. Green Lantern 76 –
   This marks the beginning of Neal Adams’ art on Green Lantern.  It’s more than that, though.  Previous issues were typical superhero comics, starting with issue 76, it became a social commentary, with Green Lantern as the conservative and Green Arrow as the progressive.
4. Ebon 1 –
   2nd black superhero in his own title.  This book continues to escalate in value because of its rarity and its importance.  Lobo #1 from 1965 is the first, but this book is rare because it was published by a small publisher called San Francisco Comic Book Company.
5. Detective Comics 400 –
   1st Appearance of Man-Bat  Another iconic Neal Adams cover with Man-Bat and Batman towering over Gotham, which looks like NYC with the Chrysler Building.
6. Conan the Barbarian 1 –
   1st Appearance of Conan. This is the issue that most people think of when they hear top comic book of 1970.  Barry Windsor Smith’s art is captivating and unique, featuring a gradient background that fades from brown to yellow.
7. Batman 222 –
   Beatles cover and story.  This cover is great for the artwork and the story it tells.  Look closely at this cover, read the text, and you are compelled to open it up and read it.  It teases you with a mystery that you need to pursue.

   

8. Superman’s Girlfriend Lois Lane 106 –
   Controversial black Lois Lane issue.  For years, the Lois Lane title was overlooked and minimized, but this cover by Curt Swan demands attention. This book is a well-intentioned but deeply flawed attempt to address race from a 1970s lens. Its inclusion on the list speaks less to artistic achievement and more to its cultural awkwardness — an artifact of its time that would never be made today.
9. Superman’s Pal Jimmy Olsen 134 –
   1st Cameo Appearance of Darkseid. We get one delicious page with Darkseid, the ruler of Apokolips.  This issue features Neal Adams’ art with a wicked cool biker gang carrying Superman and Jimmy Olsen, not acting like a pal.
10. Fantastic Four 94 –
    1st Appearance of Agatha Harkness.  It has a haunted mansion like Batman 227 and a first appearance.  This book skyrocketed during the hype and then dropped when the hype faded.  Ultimately, this is still a great Kirby cover with a first appearance and thus worthy to be included. 
11. Silver Surfer 14 –
    1st Meeting of Spider-Man & Silver Surfer.  Whenever Spider-Man makes an appearance in another title, people want that book.  Look at Avengers 11 or Daredevil 16 for further evidence.  When you add Spider-Man, the most popular character in comics, there is a value jump.
12. X-Men 64 –
    1st Appearance of Sunfire.  Sal Buscema’s cover is full of action, using the Capitol building as a powerful background.
13. Detective Comics 405 –
    1st Appearance of the League of Assassins.  This cover has a creepy vibe, with moss hanging from an old, craggy tree, as the League approaches under a full moon.
14. X-Men 66 –
    The Incredible Hulk makes his first crossover appearance in an X-Men title.  Marie Severin creates a chaotic scene with the X-Men fighting Hulk on the Vegas strip.  This also marks the end of original stories in the title until X-Men 94.

    

15. Detective Comics 395 –
    1st Neal Adams, Denny O’Neil collaboration.  These two creators tag-teamed on some amazing issues, and this is the start of it.  Three months after this issue was released, they worked on Green Lantern #76 together.  Batman #251, with the iconic Joker card cover, was another issue that featured Denny and Neal. 
16. House of Secrets #88 –
    Neal Adams epic mansion on a hill cover.  The Bronze Age horror books are seeing strong increases in interest and value.  They are much more affordable than pre-code horror and feature fantastic Adams, Wrightson, Morrow, and Kaluta artwork. There is more potential in these types of titles than any other type because they capture the interest of the time period.  
17. Silver Surfer 15 –
    Classic Silver Surfer vs. Human Torch Cover.  Another crossover for this short-lived but popular title.  The series ends with issue 18, but it was packed full of guest appearances from Thor to Spider-Man to Human Torch.  All of which are desirable issues to own.
18. Amazing Spider-Man 90 –
    Death of Captain George Stacy – Spider-Man and an important event will find a way on this list.
19. Amazing Spider-Man 86 –
    Black Widow Origin and New Costume – One of the best costume changes of all time.  She replaces a dated look for a modern 1970s look with full body spandex.

    

20. Underdog 1 –
    1st Appearance of Underdog – A Superman-type character with a lovable dog and a super energy pill.  The villains had fantastic comic book names like Simon Bar Sinister, Cad Lackey, and Riff Raff.  Difficult to find in high grade because kids loved this title. 
21. Amazing Spider-Man 83 –
    1st Full Appearance of Vanessa Fisk. The Netflix Daredevil show highlighted Vanessa Fisk and helped raise interest.  She can be portrayed as a powerhouse with the drive to be a Kingpin.
22. Brady Bunch 1 –
    1st Appearance of the Brady Bunch – The television show started in 1969 and lasted until 1974.  This issue shouldn’t surprise anyone who lived through the early 70s.  It was an extremely popular show, especially among kids.
23. Vampirella 5 –
    Frank Frazetta Cover – Frazetta was a master artist, not just good or great, a master.  Two figures on a windswept mountain, “Cornered” by a beast with ill intent, is stunning and captivating.
24. Amazing Spider-Man 87 –
    Peter Parker Reveals His Identity, and that’s enough to raise the value to one of the top 25 most expensive books in 1970.
25. House of Mystery 189 –
    Hand out of the Grave. Yet another Neal Adams cover that is powerful and creepy, with a hand clawing its way out of a grave while a sinister-looking cat watches.  Everyone who sees it wants this book.

1970 wasn’t a year defined by a single explosive moment, but by a series of quiet shifts that reshaped the medium from the inside out. Horror was returning, artistry was evolving, and heroes were beginning to mirror a world that no longer felt simple or safe. Yet even as comics grew moodier and more ambitious, the lighter side of the industry stayed firmly in place. Titles like Scooby-Doo, The Brady Bunch, and Underdog remind us that the market still embraced young readers — and that nostalgia, humor, and television tie-ins were very much part of the era’s fabric.

Taken together, these contrasting books reflect exactly what made 1970 such a compelling transition year. The Silver Age was closing, the Bronze Age was stirring, and publishers were experimenting across the entire spectrum — from Gothic shadows to Saturday-morning funnies. The foundations of modern collecting were taking shape as well, with fans beginning to preserve and categorize the very comics earlier generations treated as disposable.

That’s why 1970 still matters.
Not because every book was profound, but because the year captured the full range of what comics could be — dark, light, ambitious, clumsy, and everything in between — as the medium prepared to enter a new era.

by Ron Cloer

For all the years, see the

Bronze Age Comic Book Archive