Back in the Bronze Age, the Ghost Rider was packed full of devilish ideas, and it was certainly a sign of the times. Many books featured cults, devils, and all sorts of satanic shenanigans. From the beginning of Ghost Rider’s days in comics, he was wrapped in these themes, and for the most part still is now. There have been different iterations but in the end, the character can’t get away from that aspect of his origin.
This particular issue features not only the flame-headed, motorcycle riding man/ghost himself, Johnny Blaze, but a new villain named Inferno, and the coup de grâce, Satan himself! For a very long time there was an unwritten rule at Marvel that God and Satan (post Comics Code Authority) were off-limits to comic books. On a few different occasions, Marvel tried to explain away any appearances by Satan, in saying it wasn’t really “Satan” but some other lesser demon masquerading as the infernal devil. Why they felt the need to back-peddle or avoid the situation totally, I can’t be certain (because nothing makes sense since we’re talking about fictitious characters in comic books, but again, probably the Code), but certainly in years to come things would change. There is a story that the writer (Tony Isabella) tells about how he wanted to eventually name a character he created in this series as being God/Jesus, but an editor changed the story before it was printed. Not the first time we’ve heard of this going on, and I’m sure not the last.
The story was written by Tony Isabella, who went on to create characters like Black Goliath, and Black Lightning (for DC comics). The art team consisted of Jim Mooney (pencils), and Sal Trapani (inks), both of whom were seasoned artists by this time period. Since the Golden Age, Mooney and Trapani worked steadily in comics. Mooney most notably for DC comics on Supergirl, and Trapani for his inking during this very time period (plus his work for Dell comics earlier). Phil Rachelson was the colorist, and John Costanza the letterer. Again , two names most know from their consistent work in this time period. The book was edited by Roy Thomas. The magnificent cover is by the legendary Gil Kane (pencils) and (long time inker/artist) Dan Adkins!