Captain Mar-Vell, Pt.1

(Continued from December 1967)

CAPTAIN MARVEL:  THE MISGUIDED “EPIC”

While many modern fans may not realize it, Timely / Atlas / Marvel was and continues to be a 2nd-rate publisher that combines hype with flooding the market to overwhelm their competition.  But for most of the 1960’s, there was a real golden period when the company was, due to their being distributed by National (DC), limited to 8 books a month.  During this period, the company's Editor and a small, core group of highly talented, creative people produced some of the most vibrant, dynamic, imaginative comics EVER in the history of the industry.  This is the story of one book that went horribly, terribly wrong…

BACKSTORY:  THE KREE   (and related etcetera)

Jack Kirby (writer-artist-and former editor & publisher), beginning with FANTASTIC FOUR, created comics like NO ONE had ever seen before.  The art was dynamic, the characters had real-life personalities and problems.  In addition, events did not happen in a vacuum—when something happened, it affected later stories, and was often referred back to.  Stories not only tended to be full-length (20 or more pages), after awhile, 2-parters or even longer stories  became more common.  Characters made cameo or guest appearances in each others’ series, giving the feeling it all was happening in the same consistent “world”.  Eventually, even crossovers started to appear that began in one book and finished in another.  Common today, extraordinary and rare back then.  And Kirby, especially, thought “big”, with his ideas & designs, creating characters, machinery and architecture the likes of which no one else has ever done.

In F.F. #13 (Apr’63), “The Red Ghost And His Indescribable Super-Apes!”, the heroes discovered a mysterious “blue area” on the moon which contained a long-abandoned dead city with its own sustained atmosphere!  There was no clue as to when it was built or by who, until writer Steve Englehart revealed it had been The Kree, in AVENGERS #133-135 (Mar-May’75).

An evil counter-part of the F.F. eventually turned up, The Frightful Four.  This group consisted of 3 returning baddies:  The Wizard, introduced as a Human Torch villain in STRANGE TALES #102 (Nov’62);  Paste-Pot Pete, ditto, in S.T. #104 (Jan’63); and The Sandman, originally a Spider-Man villain, in AMAZING SPIDER-MAN #4 (Sep’63).  The Wizard & Pete teamed up the first time in S.T. # 110 (Jul’63).  In the past, most villains always fought the same heroes; at Marvel they often switched like ball players getting traded.  F.F. #36 (Mar’65) featured “The Frightful Four!”, in which The Wizard recruited a 4th member—Madame Medusa.  Nobody knew anything about her, except she was very strong-willed, and for a woman looked like she could mop up the floor with the other 3 members of her team—another Kirby trademark!  The evil F.F. came back in F.F. #38, in which Pete changed his name to The Trapster, and they appeared to beat the heroes (and got away with it!).  They returned for a a 3-part epic in F.F. #41-43, the last time the original grouping was ever a going concern—the 3 men were all captured, but Medusa got away!

That month, Reed Richards & Sue Storm were married in F.F. ANNUAL #3, which featured cameos by almost every character Kirby, etc. had introduced over the previous 5 years.  The next issue had Joe Sinnott become the regular F.F. inker, bringing a glossy finish to the book absolutely perfect for science-fiction stories.  And Kirby went completely wild, ushering in a whole new era of “epic” stories that continued on for months on end.  Of course, this made it difficult to really appreciate or enjoy any single comic you might pick up, and has been carried on by others to such a degree these days that one might argue Kirby has a LOT to answer for… but that’s besides the point here.

Kirby’s first “big epic” in the F.F. introduced The Inhumans, and entire family of super-powered characters, of whom Medusa was merely one member, while their leader was named Black Bolt.  Further, it was revealed they came from an entire RACE of scientifically-advanced beings who lived apart from humanity in a secret, hidden city known as “The Great Refuge”, located somewhere in the Andes.  According to one character, their race had been far in advance of ours, even back when mankind still lived in caves!

Recently, I re-read the BLUE BOLT series done by Joe Simon & Jack Kirby from 1940, and was struck by certain similarities.  Blue Bolt and his nemesis, The Green Sorceress, are super-powered characters in an advanced, super-scientific city, located at the Earth’s core.  It was like a cross between Flash Gordon and Burrough’s “Pellucidar” stories.  What struck me was looking at the cover of F.F.  # 47 (Feb’66), “Beware The Hidden Land!”.  The F.F. get their first glimpse of the city of The Inhumans, standing atop a stone bridge high OVER the city.  This makes no sense in a mountain location, but could if the city was meant to be underground.  Could the cover have been done first, and then disregarded?  If so, it’s just possible Kirby was reviving concepts leftover from 25 years before!  (Never throw away any ideas…)

I’ve brought all this up because when The Inhumans received their own short-lived back-up series in THOR # 146 (Nov’67), Kirby revealed that their entire race was the result of genetic manipulation by an ALIEN race visiting Earth eons ago—The Kree!  (Amazing how many things get tied in together, isn’t it?)

Which brings me to the REAL (or at least, “obvious”) beginning of the story in question.


FANTASTIC FOUR  64   (Jul’67)
“THE SENTRY SINISTER!”

On an island in the South Pacific, a team of archeologists discover a vast, ancient, long-abandoned underground spaceport built by an alien race—The Kree.  This was the 1st time this name was mentioned in a Marvel Comic (any earlier connections were established long after-the-fact).  Trouble starts when it turns out a genetically-engineered “Sentry” is STILL alive and STILL looking over the island!  His mission is to guard the spaceport, and destroy all invaders.  By a wild coincidence, the F.F. arrive for a vacation, and almost get killed in the process.  An epic battle ensues--  NOBODY drew epic battles like Kirby—and in the end, the heroes barely escape with their lives, while The Sentry awaits his own annihilation, the island about to be destroyed when its energy station, damaged in the fight by The Human Torch, explodes.  In the finale, The Sentry stands, pondering the fact that he has not been contacted by The Kree for “untold ages”, and wonders if they’re long since dead—or not.  It’s almost sad.


FANTASTIC FOUR  65   (Aug’67)
“—FROM BEYOND THIS PLANET EARTH!”

In a dream, all four members of the F.F. are warned by The Supreme Intelligence—a disembodied brain—that for destroying The Sentry, they are all guilty of violating Kree law, and sentence will soon be carried out.  En route to Earth we meet Ronan The Accuser—a giant whose helmet suggests the wig of a British court judge—whose mission is to meet out punishment against any lesser beings who might dare challenge his “superior” race.  He questions the necessity of his mission, as Earth is such a backwater planet it’s of no importance to his people—but his sheer attitude of racial superiority drives him on.  He quickly captures the team to perform a “trial”—which they’ll have none of!  Another fight breaks out, and naturally his reaction is to say they leave him no choice but to carry out his sentence immediately.  Once again the F.F. barely escape with their lives, and Ronan departs, leaving Reed to state, “The Kree now know they are dealing with an intelligent race—and a fighting race!  And I pray that such knowledge will keep them from ever returning!”
  

Where would Kirby have gone with this story?  It’s hard to tell.  At this point, his editor seemed to spend more and more of his efforts trying to “pull back” Kirby’s wilder concepts, to re-mold them in the dialogue stage to fit his narrower vision of “good vs. evil” type of stories.  The following month saw a 2-parter that introduced “Him”, a scientifically-created super-being who later became Adam Warlock, and there’s evidence that "ye editor" so completely altered the intent of Kirby’s plot that it ended prematurely after only 2 episodes (rather than 4, as the early pacing would seem to indicate).   Also, in SILVER SURFER # 1 (Aug’68), "ye editor" & John Buscema revealed the origin of one of Kirby’s favorite characters, a story completely at odds with any ideas Kirby intended for him!  Tired of having too many of his ideas corrupted or “taken away” from him, and still not getting paid for the writing he was doing, Kirby told his boss to start plotting FANTASTIC FOUR on his own, and the book suffered tremendously as a result for the remainder of Kirby’s run.
  
As an aside, I first read these 2 stories in the mid-70’s as reprints in MARVEL’S GREATEST COMICS # 47-48.  I was blown away then.  Recently I got my hands on a copy of F.F. # 64, for a “mere” $7.00!  Joe Sinnott’s inking in the original comic is STAGGERING.  But in the reprint, his fine, precise lines either blur together or disappear completely.  This may be one more reason why original issues command such high prices—Marvel’s originals NEVER looked so good again later.  If I can afford ‘em, I prefer originals!
  
Meanwhile, "ye editor" wasn’t the only one putting his 2 cents in—but at least he was some kind of writer.  (If just barely.)


MARVEL SUPER-HEROES  # 12   (Dec’67)
cover by Gene Colan & Joe Giella 

“THE COMING OF CAPTAIN MARVEL!”

At some point, then-company-owner Martin Goodman (the editor's boss) told "ye editor" to create a character called “Captain Marvel”.  The original character by that name had ceased publication in the 50’s.  In 1966, a tiny publisher, M.F. Enterprises, came up with a short-lived series by that name.  Apparently Goodman wanted to STOP anyone else from using a name that could be confused with his company’s name!
  

In the 1960s, Marvel's "editor" allegedly employed a so-called “Marvel Method” in which a "writer" would come up with a loose plot, the “artist” would then add 50% or more, and then the “writer” would fill in word balloons after.  According to writer-artist Alex Toth, NOT by any means a decent way to create comics.  However, this was not exactly the truth.

Originally, the "editor", who wanted to make more money than the small number of books Marvel was allowed by their distributor to put out would allow, came up with a SCAM.  If artists wanted to work for him, they would write the stories themselves-- UNCREDITED, and UNPAID, he would write the dialogue, and get credit AND PAY for the full writing job.

In MANY instances, Jack Kirby would come up with the basic story ideas, which he would pass onto the "editor"-- who would then pass them on to the "artists", while taking credit AND PAY for them himself.  Most artists hired were capable of doing their own writing, even if they didn't really like doing it.  This kind of thing went on for a whole decade, which no doubt should explain why both Wally Wood and Steve Ditko left Marvel in the mid-60s, while Kirby (who had a family to support) was so desperate to get a contract that would guarantee he got paid for the writing he was actually doing... and why he had to go to DC to get such a contract.

There were 2 very different and distinct versions of "The Marvel Method".  The first-- where the "artists" wrote the stories, and the "editor" RE-wrote them at the dialogue stage-- and the second, where either a "writer" would come up with a plot, an "artist" would flesh it out, and the "writer" (or a 3rd person) would do the dialogue-- or where the "writer" and "artist" collaborated up-front on the plot.

The first person to actually use the "Marvel Method" as understood by most people (plot / art / dialogue), was former DC fanboy Roy Thomas, and the practice was used from the time he joined the company on up through the 1970s.

Over many years, I've concluded this was actually done-- and maintained-- to perpetuate the LIE that the company's editor had always been doing it that way in the 1960s, when nothing could be further from the truth.  Anyone who DIDN'T write this way, was often treated like a pariah while at the company!  (This included Jack Kirby, Jim Steranko, Don McGregor, Jim Starlin... notably several of their very best writers!)


Back to the sci-fi story...  Allegedly, one of Kirby's COUNTLESS ideas, was about an alien spy who would come to Earth on a secret mission-- only to switch allegiance to Earth once he got to know the people here.  THIS formed the basis for what became Marvel's "Captain Marvel" series!

Tragically, once past the 2 episodes in FANTASTIC FOUR #64-65, Kirby never touched the concept again!  We will never know how he might have handled such a storyline.

The "artist" picked for the assignment was Gene Colan, who was then doing DAREDEVIL, Iron Man (in TALES OF SUSPENSE) and previously been doing Sub-Mariner (in TALES TO ASTONISH).  Gene’s art is said to resemble photographs—back when, I always thought it felt like I was looking at paintings in a museum.  They had an huge, epic feel to them combined with a moodiness completely unlike ANYTHING anyone else in the 60’s was doing.
  
FANTASY MASTERPIECES had been, for 11 issues, a reprint anthology that featured stories from the "Golden Age" (1940s and 50s).  Rather than start a new magazine (while cancelling an existing one), it was decided to put the new "Captain Marvel" in there, while changing the name to MARVEL SUPER-HEROES.  The cover of MSH #12 shows a crowded street, people gasping in awe, as the imposing figure of Captain Marvel strides down the street, having been dropped off by an alien spacecraft, circling overhead in the background.  I still recall seeing the ad for this long ago and thinking, “What a GREAT scene!”  The representative of a alien race has come to Earth and announced his presence—WHAT happens next???  Inexplicably—this scene NEVER occurs in the entire run of the strip!

Note how the scene is nearly-identical to this earlier cover by John Buscema!

Gene and "ye editor" introduced Captain Mar-Vell, Medic Una & Colonel Yon-Rogg of The Kree space fleet.  Their mission is to succeed where Ronan failed.  While Ronan’s “punishment” was intended specifically for the F.F., they’re not mentioned here at all, as it seems all of Earth must now pay for their defiance!

However, the story, and their mission, is derailed ONE PAGE into the issue, when Yon-Rogg orders Mar-Vell to carry out the mission ALONE.  It seems Yon-Rogg is in love with Una, while she and Mar-Vell love each other.  Yon-Rogg feels that if he can KILL his rival, he’ll get Una.  So much for a “superior” race!  This lame soap-opera wouldn’t be a bad sub-plot, but it winds up over-riding the main plot and gets in the way of it ever building momentum.
  
The Kree spaceship is one of the clunkiest in Marvel history—sadly, Gene’s design seems completely out-of-place in this era of wild Kirby creations.  CM’s uniform, which at least seems impressive on that cover, became very awkward-looking in action, particularly the bulky collar and belt.  Kree can’t breathe in Earth’s atmosphere, so a special potion is used which allows Mar-Vell to survive for one hour without his helmet.  (Somehow I’m reminded of similar built-in and contrived weaknesses in characters like Aquaman and Ultra Man!)  Because Earth has a lighter gravity than the Kree homeworld, Mar-Vell is more physically powerful than Earthmen—and can leap great distances.  Gee, do you suppose these guys were reading early Siegel-Shuster Superman stories?  A “radiation factor” in Mar-Vell’s suit somehow affects a missile’s guidance system and puts him at odds with some army personnel, against which he uses one of many functions of his “Universal beam” weapon.  In this case, a black light ray temporarily blinds them—shades of Phantom Lady!
  
Out of uniform, Mar-Vell takes a room at a motel, signing in as “C. Marvel”.  In his room, he is briefly paralyzed by a beam from the spaceship while a wrist monitor is teleported and attached to his wrist, so his C.O. can keep a close watch on him.  Considering the guy wants to kill him and he knows it, this doesn’t make him very comfortable!
  
Gene Colan tends to pencil with a lot of shading & tonal rendering, which has always been a challenge for inkers to capture without losing most of the original intent.  Frank Giacoia had worked with Gene before and doesn’t do bad here, although it could have been better—and the book would get far worse.  What a way to start a series!

I only found out years later that Martin Goodman had been trying to work a deal with a toy company to do a toy line based on the new "Captain Marvel", but the deal fell through.  The moment I read this, the design of CM's uniform-- with the bulky helmet, the even more bulky belt, and the awkward "wrist-mounted" weapon, suddenly made PERFECT sense.  In all probability, those were not Gene Colan's designs-- but those of the toy company!!  This is really an example of "the tail wagging the dog".  (For all I know, the Kree spaceship may have also been a toy design.)
  
I first read this episode when it was reprinted in CAPTAIN MARVEL #36 (Jan’75), when a deadline was blown after Jim Starlin left and Alfredo Alcala only did one issue—just before previous inker Al Milgrom came back as penciller.  By the late 90s, prices of many 60’s Marvel back-issues had skyrocketed, especially key issues with 1st appearances and crossovers.  My comics-shop guy, Fred Marcus, had a copy on his wall going for $45.00.  But he was also selling books on consignment for a friend of his, who had one for “only” $28.00.  I figured it was a bargain, if only to get that GREAT cover.  While I wasn’t too thrilled with the episode way back when, now I really don’t think much of it.  Ironically, the best part of the issue was the Golden Age reprints in the back.  Between The Human Torch (Dick Ayers?), The Destroyer (?), Captain America (John Romita), The Black Knight (Joe Maneely) and Sub-Mariner (Bill Everett!!), the back-ups were more worth the price than the cover feature.
     (11-6-2003  /  updated 8-24-2018)

(Continued in January 1968)

All Text (C) Henry R. Kujawa
Artwork (C) Marvel Comics
Restorations by Henry R. Kujawa

December 1967

(Continued from November 1967)

STRANGE TALES  163
cover by JIM STERANKO

"AND THE DRAGON CRIED DEATH!"

Up front is one of Steranko's coolest covers yet, with a jet black bakcground somehow reminiscent of many 1950's Marvel books.  For once, I can see no hint of Joe Giella in Frank Giacoia's inks (heh).  The "plot"-- such as it is-- is more complex, convoluted, and confusing that anything we've ever seen in SHIELD before, and frankly, repeated readings, while making it more understandable, are NOT improving it in my eyes one bit.  And, we get 2 deadly cliffhangers in 2 episodes.  Nick must be slipping.

"THREE FACES OF DOOM"

This manages, with some rather spectacular sci-fi landscape backdrops courtesy of Dan Adkins, to pretty much wrap up the long and convoluted MESS that started when Umar appeared, was driven off by Zom, who ran off due to The Living Tribunal, who wanted to toast the Earth due to the "latent evil" that resulted in, among other things, Baron Mordo's return.  Earth was saved, Nebulos was wiped out, but the action still hasn't stopped, as now Strange must travel to the "world of nightmares" where Victoria Bentley was banished.  The entire run of Dr. Strange from Ditko's departure to the very last issue of STRANGE TALES runs without any breaks, though the upcoming "science vs. sorcery" arc kind of acts as a bookend to the "Kaluu" sequence that started it all.
     (5-18-2008)   

"AND THE DRAGON CRIED... DEATH!"

Synopsis:
As Fury escapes the monster octopus, The Yellow Claw uses a "Psionic-Revelation Eavesdropper" to spy on A.I.M.  Suwan, torn by her conscience, realizes she must contact Jimmy Woo.  Woo contacts Fury to pass on the info that the Claw plans to steal something called "The Ultimate Annihilator" from A.I.M.  Val recommends Fury take one of her fellow Spy School graduates, and introduces him to Clay Quartermain, a smiling eager-beaver almost too sure of himself.  Fury & Quartermain take on a squad of A.I.M. agents on the waterfront, and retrieve an ornate dragon statue.  Tests reveal nothing, and then the Claw materializes to steal it!  But it was only a duplicate-- and by accident, they learn the real Dragon speaks the names of 4 scientists when struck.  Fury arrives too late to save the first 3, but impersonates the 4th, getting the drop on The Claw.  But under hypnotic power, Fury collapses, and the Claw uses the Ultimate Annihilator on him...!!

Indexer notes:
Part 5 of 9.  Clay Quartermain based on Kirk Douglas.  The Dragon, when wrapped up, pays tribute to The Maltese Falcon.  A.I.M. fought Captain America in TALES OF SUSPENSE #92-94 (August-October 1967); next appearance against Iron Man in TALES OF SUSPENSE #97-99 (January-March 1968).
     (2007)

"THREE FACES OF DOOM!"

Synopsis:
Drawn by the force of evil, The Living Tribunal discearns that it is Nebulos' staff that has drawn him; and while Earth has indeed been saved, he must now destroy the staff, which absorbed all the evil from Baron Mordo.  As the Tribunal & Nebulos battle, Strange fears for the life of the missing Victoria, and also that he may be "marooned forever" on the "world of peril".  While using "Talons of Cosmic Fire" to get Strange out of his way, the Tribunal uses "Cosmic Lightning" to begin destroying Nebulos' entire home planet!  As Nebulos refuses to hand over his staff to the Tribunal, Strange flies by and wrests it away, just as Nebulos is buried by an "avalanche of death and destruction".  Strange hands the staff to the Tribunal, declaring the "Cosmic Balance" is now restored! In reward, the Tribunal sends Strange to the "terrifying world" where Nebulos imprisoned Victoria, warning him that "dangers more ghastly than the human mind can conceive" await him there...

Indexer notes:
Part 17 of 22; part 6 of the Living Tribunal sequence.  Several panels based closely on Steve Ditko panels; the effect resembles Ditko pencils plus Wood inks.
     (2007)


FANTASTIC FOUR  69
cover by Jack Kirby & Joe Sinnott

"BY BEN BETRAYED!"

No review this time-- I'll be covering this 4-parter in depth when it reaches its conclusion!
     (8-24-2018)


TALES TO ASTONISH  98
cover by DAN ADKINS

"TO DESTROY THE REALM ETERNAL"

This is the most convoluted, confused Subby episode yet.  Confusion and misunderstanding are the names of the game, as Subby is believed a traitor by his own people, a US submarine thinks Atlantis is shooting at them, and The Plunderer, who started the whole mess, loses his sub, but manages to escape in the mess.  By episode's end, Atlantis officially declares war on the surface world, while Namor is injured & unconscious.  Oy.  (Having 3 pages of this MISSING from my reprint isn't helping, either.)

"THE PUPPET AND THE POWER"

Hulk attacks Ross's missile base, and the Legions of the Living Lightning move in for a take-over.  Love-sick Talbot keeps thinking Hulk is a "traitor" somehow, and for the cliffhanger, Betty's dumped in a cell with a sleeping Hulk, who's about to awaken.  Doesn't the guy know Betty's the ONE person Hulk would NEVER hurt?
     (5-18-2008)   


AMAZING SPIDER-MAN  55
cover by John Romita & Joe Sinnott

"DOC OCK WINS!"

This was the very 1st Spidey comic I ever owned-- even if it was missing half the cover.  The story is beginning to show its cracks, but overall, it remains one of the BEST episodes from the entire Romita run.  Nearly every panel in this book seems worthy of being a pin-up, and it was one of those panels I re-used as part of the cover of my SPIDER-MAN 1968 music comp.  We haven't seen Spidey so PISSED since ASM #32, as he does his all to track down Ock, who is more arrogant than ever.  It ends is a magnificent showdown at Stark Industries (where, "ye editor" tells us, Iron Man is laying somewhere, "mortally wounded").  And then "ye editor" pulls the "amnesia" card. AUGH!  It probably didn't bother me so much back then, but by the mid-70's, I'd seen virtually every single TV series play that card (CANNON did it twice!) and swore I would NEVER write an "amnesia" story.  (I still haven't!)  Of course, at 8 years old, the end of this issue frustrated me...  It was bad enough when TV shows had 2-parters, which were often difficult for me to see both halves of.  I wasn't used to comic-books ending with "TO BE CONTINUED!"  What a rotten thing to do to kids!!!
     (5-18-2008)   

Here's my tribute to John Romita & Gray Morrow from 2004.

     (8-24-2018)


TALES OF SUSPENSE  96

cover by Jack Kirby & Joe Sinnott

"THE DEADLY VICTORY"

This issue opens with "ye editor" once again treating a deadly serious situtation like it's a joke ("I faw down an' go boom").  Jasper saves IM's life, then gets himself turned to stone.  But while it supposedly takes an hour to wear off, he's up and running again in what, the way the story reads, can't have been more than 5 minutes later.  WHAT th'...?  IM just barely manages to defeat the Grey Garygoyle, but his power's giving out, and he collapses.  At which point, Jasper, talking outloud to himself as he always seems to do, says, "Even though it's completely AGAINST ORDERS..."  WHAT th'...?  A couple of issues away from the SHIELD series, and "ye editor" has the guy not only being more annoying than ever, but acting in violation of SHIELD regulations?  (That's "ye editor" for you.)  Will Jasper REMOVE IM's helmet, to "save" his life, and find out his identity in the process?  (Not bloody likely...)

"TO BE REBORN"

A slew of imitation Captain Americas trying to take the place of the newly-retired Cap, and all become the target of an open contract on Steve Rogers!  (Why they didn't try to kill Cap BEFORE he quit being Cap is anybody's guess.)  Fury & Dugan are on hand again, and by story's end, Steve realizes he can't give up part of what he is.  I dunno... even with Kirby at the helm, this seems just as DUMB as ASM #50!  (WHY did he let the public know his secret identity again???)

     (5-18-2008)   

THOR  147

cover by Jack Kirby & Vince Colletta

THE AVENGERS  47

cover by Don Heck & Frank Giacoia

DAREDEVIL  35

cover by Gene Colan & John Tartaglione

X-MEN  39

cover by GEORGE TUSKA

"THE FATEFUL FINALE!"

At last, a conclusion the overlong "Factor Three" story.  Did we ever learn why the group was called "Factor Three"?  Never mind...  Russians shoot at half the X-team, even though seconds before they saved their lives... back home, the group rejoins just in time to find out the "Mutant Master" was really an alien from another planet out to turn all of Earth into a radioactive wasteland where no humans OR mutants could survive, and momentarily, the evil mutants join forces with the not-so-evil ones.  At the end, Marvel Girl gives everyone new costumes-- this time, each with its own color scheme, so at last, they're all "individuals".  I wish I could say Don Heck's art or storytelling was inspired, but I can't.  He just doesn't seem to fit on X-MEN the way he did on AVENGERS.  (Maybe Roy should have left Don where he was, and gotten John Buscema to draw the X-MEN???)  Vince Colletta's inks only make it worse... and I'll be honest, I'm reading this from the 1974 reprint in X-MEN #87, where the printing and line reproduction is ABOMINABLE!!!  Yes, ABOMINABLE!!!  I can't believe the original art looked nearly this bad.  Inexplicably, the 5-page "Origins" episode was replaced in the reprint with a 5-page Steve Ditko sci-fi story.  WHY???

     (5-18-2008)

MARVEL SUPER-HEROES  12

cover by Gene Colan & Joe Giella

"THE COMING OF CAPTAIN MARVEL!"

I've already reviewed this atrocity at great length elsewhere (ask me, I'll run my comments again). I will say that this time, it's VERY obvious to me which parts Frank Giacoia did not ink-- they look TOO GOOD.  This includes the cover, which I'm SURE was Joe Giella's work.  NICE lines.  I've always liked that cover, and always recall being very disappointed that the scene depicted on it-- alien envoy arrives on Earth to stunned looks of populace-- NEVER appeared anywhere in the issue, or anywhere in the ENTIRE SERIES for that matter.  That just ain't right.

I also see that, like THOR, DAREDEVIL, X-MEN and AVENGERS, MSH's cover-dates are one month behind the rest of the MU.  This went on 'til 1969, but still, I keep wondering... WHY?
     (5-18-2008)

Coming up next:  a special feature originally written for KLORDNY!

(Continued in Captain Mar-Vell,  Pt.1)

All Text (C) Henry R. Kujawa
Artwork (C) Marvel Comics
Restorations by Henry R. Kujawa

November 1967

(Continued from October 1967)

STRANGE TALES  162
cover by DAN ADKINS

"SO EVIL, THE NIGHT!"

Synopsis:
The Gaff presents Fury with his new car-- a Ferrari 330/P4 Berlinetta, which is made entirely out of clear fiberglass, making it "completely invisible" from 100 feet away!  It's also equipped with a color-changing rheostat, and vortex beams to replace the old mach-pressure fanjets.  Fury & Val go to SHIELD's rebuilt ESP Division.  There, Jimmy Woo detects that The Yellow Claw is in Chinatown (big surprise?).  Nick tells Val it's his job now, and goes there alone.  After a harrowing encounter with a pair of Claw goons, Fury impersonates one of them, and in a darkened shop, meets "Fang-Chu" (The Claw) face-to-face.  But Voltzmann gets the drop on him, and an instant later, he falls thru a trapdoor into the tentacles of a "monster cephalopod" (octopus).

Indexer notes:
Part 4 of 9.  2nd appearance of The Gaff & Val.  1st appearance of Fury's new car, and the new ESP Division, replacing those destroyed in STRANGE TALES #153 (March 1967) and the flashback in #160 (September 1967).  The Claw having Fury fight a giant octopus pays tribute to the Ian Fleming James Bond 007 novel, DR. NO (1958).  James Bond finally got a car capable of invisibility in the film DIE ANOTHER DAY (2002).
     (2007)

"FROM THE NEVER-WORLD COMES... NEBULOS!"

Synopsis:
Nebulos commands Strange to take hold of his "Staff of Polar Power"-- which places Strange under the alien's control.  He then sends Strange back to Earth, where he battles Mordo, whose power is absorbed by the staff.  Strange hurls a spell of "Cosmic Banishment" at Mordo, who like Strange before him, is cast "through endless galaxies, to the ultimate reaches of boundless time and space".  Strange goes to Stonehenge, relieved that the Sands of Doom have not finished running out, but confused as to why the hourglass is still there at all.  When he tries to cast it from Earth, he and it are pulled back to the Planets Perilous by Nebulos, whose staff returns to him on its own.  Nebulos says Victoria was his hostage to ensure Strange's return, and that the staff could have saved them both had he known.  But just then, Strange sees (off-panel) the approach of The Living Tribunal...

Indexer notes:
Part 16 of 22; part 5 of the Living Tribunal sequence.  Several panels based closely on Steve Ditko panels; the effect resembles Ditko pencils plus Wood inks.  1st 2-page spread in a Dr. Strange story!
     (2007)

"SO EVIL, THE NIGHT!"

This one has Steranko NOT inking for the first time, with interesting (if mixed) results.  With Frank Giacoia on board (at least for a couple episodes), the series looks at once more "alive" and more "cartoony" somehow.  There's a page where Fury drives thru Chinatown with multiple panels where Giacoia's inks only add to the feeling that I'm staring at something WILL EISNER might have done!  (Was Frank chosen for this very purpose, perhaps?)  The splash page is bizarre-- because it was apparently drawn at TWICE the size of every other page in the book, as all the lines and lettering are SMALLER than usual.  Maybe this was the only way Steranko could cram ALL THAT fine detail in there?  The new Ferrari is a riot.  While Fury's previous car could fly (and the way the wheels turned reminded one of the car in "THE SPY WHO LOVED ME"), this one can turn INVISIBLE.  Bond didn't get one of those until "DIE ANOTHER DAY"!

"FROM THE NEVER-WORLD COMES... NEBULOS!"

Speaking of Bond, Jim Lawrence becomes the latest writer to dialogue Dr. Strange-- not long after this, he would begin a LONG run writing the JAMES BOND 007 newspaper strip, doing mostly new stories but also a few of the later adaptations, in each case making major expansions and IMPROVEMENTS over the Ian Fleming original stories!  But near as I can tell, Dan Adkins is running the show-- a later episode actually had him credited solo with "plot", and I'm wondering if that wasn't the case in ALL his episodes, which seem to have a science-fiction bent to them (a pretty odd mix with it being a "supernatural" series).  With that sort of arrangement, Lawrence may have wondered why he was even there, which may explain why he only did a couple episodes.
     (5-16-2008)

Incidentally, I view ST #147-168 as a single 22-part storyline.  That said, you have "bookend" sequences with Kaluu (4 parts) and Yandroth (5 parts).  But, like watching DARK SHADOWS, it just rambles on and on without a break anywhere in the middle.

It's long been a pity Masterworks Vol.23 didn't include the ENTIRE Steve Ditko run.   Then the 2nd DS volume could have been "simply" these 22 episodes, nice and neat.
     (11-25-2015)


FANTASTIC FOUR ANNUAL  5
cover by Jack Kirby & Joe Sinnott

"DIVIDE AND CONQUER!"

You know, I've read this several times over the years, and for the life of me, I still can't figure what the heck the title "Divide and Conquer" has to do with the story (other than Ben & Johnny going off while Reed & Sue stay behind).  Someone made a big deal about Crystal being surgically removed from the art in the 2nd half of the story.  Maybe, but I don't see where she could have had room to add anything to the action if she had been there.  WHY did Frank Giacoia do this-- while Joe Sinnott did the MODOK story in SUSPENSE??  Just for a "change of pace"?  Everyone who loves to go ON about Mike Royer oughta take another look at this.  The art reminds me a LOT more of Kirby's 70's stuff than the usual stuff inked by Sinnott or Colletta.  I also see NO evidence of Joe Giella in the lead story-- though I do believe at least HALF of the Inhumans pin-ups were inked by Joe, not Frank.  And there's a 2-page FF pin-up inked by Sinnott.  Huh.

It's fun to see the FF's "extended family" all guest-starring together-- Ben, Johnny, Black Panther and ALL the Inhumans, while Reed & Sue are apparently planning to become stay-at-home types once it's announced Sue's having a baby.  (Someone suggested this probably takes place between pages 2-3 of FF #68-- too bad they couldn't have managed it neatly BETWEEN issue, huh?)  I've always loved Psycho-Man's "costume", though his sidekicks look like rejects from old Steve Ditko Spidey comics.

Not to be left out, Silver Surfer gets his 1st solo story in the back.  No clue here, but if memory serves, somewhere it was revealed that Kirby wrote the dialogue on this one himself.  (True or not?)  I noticed this time just how much he played with the whole "Hunchback of Notre Dame" bit in the action & body language of "Quasimodo".  A shame anyone ever had the urge to bring him (IT?) back after this one story.  (Just seems like with some characters, every rematch is less effective.)
     (5-16-2008)

Comicsdad:
“Yes!  Enforcers.  What was Black Panther actually doing in the Caribbean?”
     (11-22-2015)
No doubt that was explained somewhere in the 12 pages of Jack Kirby's story that were CUT at the very last minute to make room for the SILVER SURFER back-up that was originally intended for TALES TO ASTONISH.
     (1-20-2016)


FANTASTIC FOUR  68
cover by Jack Kirby & Joe Sinnott

"HIS MISSION:  DESTROY THE FANTASTIC FOUR!"

I know some people look down their nose at this whole storyline, but I disagree.  Sure, it's a "grudge match".  Sure, we've seen the villain-- and his androids, and his computers before (did anyone REALLY not figure it out by page 3 that it was The Mad Thinker???).  And, we've seen Ben turned into a murderer intent on killing the rest of the F.F.  But think about this...  Sure it screams "sequel".   But compare this to ANY other straightforward action-packed super-hero comic of that entire era.  Doesn't it STILL manage to make whatever ANYBODY else was doing back then look SICK?  These are good comics... I think anybody looking down their noses at them is setting their standards TOO DAMN HIGH!

By the way, I have all 4 parts of this in the MGC reprints-- AND the originals.  My copy of #71 was only the 2nd FF comic I ever owned, I got parts 1-3 in the 70's in MGC, and over the years since, I managed to pick up ALL 4 original issues.  (My initial copy of #71 was missing half the cover!  Then again, my MGC version of #69 is missing the entire cover... go figure!)
     (5-16-2008)   


TALES TO ASTONISH  97
cover by MARIE SEVERIN

"THE SOVEREIGN AND THE SAVAGES!"

This is probably the exact point where I felt like both Subby & Hulk started rambling.  Roy Thomas switched "his" artists around.  He wanted John Buscema on AVENGERS, so Don Heck took over X-MEN, and Werner Roth suddenly was on Sub-Mariner!  The Plunderer has a run-in with the Swamp Men, and Skull Island is destroyed, while Subby saves the leader of the Swamp Men and a feast is held in his honor.  (The feast, unfortunately, was one of the scenes CUT from the MARVEL SUPER-HEROES reprint.  Lucky I got myself a copy of TTA #97 real cheap a couple years back!)  I keep thinking I might be able to take the Plunderer & his men more seriously if they'd had the more "pirate" outfits Jack Kirby intended, instead of these generic "super-villain" suits John Romita designed back in DAREDEVIL.  (I mean, what's with the CAPES???)

"THE LEGIONS OF:  THE LVIING LIGHTNING!"

And, while Atlantis falls under the mistaken impression that Namor has allied himself with The Plunderer, that rat Major Talbot stumbles onto the lair of The Living Lightning, just as the leader of this criminal gang is convincing The Hulk that they're his "friends".  Oy!  At this point, it seems Talbot wants Hulk out of the way more because he's a romantic rival than a public menace.
     (5-16-2008)   


AMAZING SPIDER-MAN  54
cover by JOHN ROMITA

TALES OF SUSPENSE  95

cover by Gene Colan & Dan Adkins

"IF A MAN BE STONE"

A THOR villain, The Grey Gargoyle, attacks Stark Industries, so he can steal a weapon that will allow him to defeat Thor.  So, in his eyes, Iron Man's nothing more than a momentary distraction.  Sheesh!  Jasper Sitwell shows up, on direct orders from Nick Fury, and now Tony Stark has to deal with this skinny underage over-achiever.  Gene Colan somehow makes him look a lot younger than he ever was in SHIELD-- as if he were still in high school!  Stark has no idea who he is when they meet, which seems wrong, as I'd SWEAR Stark was there in the Heli-Carrier shaking Sitwell's hand over a year earlier.  (Maybe he just repressed the memory?)  The first time I read this, I found the minor "crossover" intriguing, as it seems the very moment that Iron Man almost got killed by the GG was when Doc Ock decided to attack the factory over in ASM #55 (and nobody but Spidey figured out he'd do it).  I mean, what are the odds?

"A TIME TO DIE-- A TIME TO LIVE"

Steve Rogers goes out on his first offical "date" with Agent 13-- and he STILL never finds out her name!  I'm reminded of one of the later episodes of GET SMART, when someone asks Max, "Why do you call your wife 99?"  "Because I don't know her name!"  Steve wants to propose, 13 lets her career get in the way... so STEVE quits HIS job!  Does this make any sense?  It seems rather contrived to me-- especially the abrupt bit where he lets the newspapers know what his "real" identity is under the mask.  You get the feeling he didn't think this through.  Nick Fury & Dugan turn up, and Nick-- as drawn by Kirby & Sinnott-- is his old self, square jaw and unshaved.  Makes you wonder if the "Burt Lancaster" Fury that Jim Steranko was drawing over in STRANGE TALES might be an imposter!  (Despite several repeated references on the letters pages, Clay Quartermain does NOT look like Burt Lancaster-- with that jaw, that smile, and that hair, he looks like Kirk Douglas!)

     (5-16-2008)

Comicsdad:

"There's something quite off about this story."
     (12-4-2015)

It's a shame we'll never know what was going on behind the scenes.  Because the guy who wrote the story wasn't allowed to write his own dialogue, and the guy who wrote the dialogue probably didn't give a S***, and is a habitual lier when asked any questions at all.

I mean, there's NO WAY to know what got lost in the "translation" since whatever Jack Kirby had in mind may have been completely mutilated at the dialogue stage by the guy who kept claiming he was the writer.

Perhaps this story was Jack Kirby making a statement about the way that, SEVERAL times by then, he had wanted to GET OFF the CAPTAIN AMERICA series... but his "editor" (and boy do I use that word loosely) repeatedly proved incapable of finding anyone capable of stepping into the breech and writing stuff as good as Kirby was writing.  Dick Ayers, George Tuska, John Romita (all 3 worked over Kirby's stories), Jack Sparling (presumably over Roy Thomas' story-- God help us!!!) and finally Gil Kane ("ye editor" hated his art so much, after the first 2 episodes, he yanked JOE SINNOTT onto the book to try and make it look prettier... which is how Sinnott wound up inking Kirby on several CAP episodes after Kane bolted back to DC.

About a year later, when it looked like Jim Steranko was all set to begin a LONG run on CAP, things went sour very quickly when his 3rd episode was held back both to make minor changes on it, and to insert an all-flashback story (by Kirby, who else?), which inspired Steranko to QUIT a series for the 2nd time in about a year.  Then you had in quick succession George Tuska (his story was rejected outright and not even published!), John Romita, John Buscema & Sal Buscema...before Gene Colan finally stepped in and did 22 issues in a row.  (Boy, was that guy DEPENDABLE or what???)
     (12-5-2015)
You know... it occurs to me... the MAIN reason S*** L** DROVE Steranko off of CAP was because as long as Steranko was on the book, L** couldn't collect a writer's fee for it.
     (12-5-2015)
Would you believe, when I wrote my new comments about the CAP story, I didn't even realize it took place the SAME month that Kirby had Ben Grimm go BERSERK and try to kill HIS BOSS?  I think I may be onto something.

As it turns out, looking around the Nov'67 issues, a LOT of stories that month had things in them that just didn't make any sense.

This was the same month, for example, that The Wasp hired a chauffer and let him wander freely around Avengers mansion WITHOUT first bothering to check his credentials (and it turns out he was a super-villain scouting the place for a full-scale villain-team invasion).

You know... when people insist they "really love the characters"-- it makes you wonder.  Because way too many of the characters in the Marvel Universe-- and I mean especially the "heroes"-- act like MORONS on a regular basis!

"Hard to see how that scene could have been made to make sense."

Again... there's no way to know what Jack Kirby might have had in mind when he wrote the story, because the guy who wrote the dialogue was somebody else.  Who, by this point (the company was on the verge of being sold) had a vested interest in making Kirby look bad... and replaceable.

It should NEVER be a case of a 2nd writer trying to make a 1st writer's work make sense.  Especially when there is NO actual "collaboration" going on.
     (12-6-2015)

Allen Smith:
"Don't you mean, 2nd rate writer, profh?"

Nah.  "2nd-rate" would have been an improvement.

What Marvel really needed was an editor.  You know... a REAL one.

That's somebody who gets the right people in place to do the work, and then gets out of their way and lets them do it... DOESN'T tell real writers what to write or how... FINDS and fixes ACTUAL problems (rather than creating problems that didn't exist before he interfered)... and who doesn't take credit and pay for OTHER people's work.
     (12-7-2015)

THOR  146

cover by Jack Kirby & Vince Colletta

"IF THE THUNDER BE GONE"

This installment has Thor working for... oh it's almost too painful to say it... The Circus of Crime.  The Ringmaster (who reminds me a bit of Hans Conreid-- or maybe David Carridine, heh) gives him a "Thor" costume to fit the name he's using.  Princess Python asks him what his "real" name is, and he says some things are best left unsaid.  Oh, the ignominity!  They put on a show, and NOBODY in the audience is aware that they're really "The Circus Of Crime". They must have records by now-- how is this possible?  They pull off their big crime-- but it goes awry, and Thor comes out of the trance he was in, as the bullet go flying.  Sif & Balder are unable to help, while Odin merely ponders his son must go thru his "pennance".  Hmm.

In the back, Kirby's teamed with Joe Sinnott on the new INHUMANS "Origins" series.  As one might expect, the art is spectacular, as we look back into the dim recesses of history.  This advanced race of scientists create an island refuge away from the savage primitive humans, known as "Atillan"-- makes me wonder if there's any possible connection with the "Atlantis" seen in TALES OF ATLANTIS (the back-up in SUB-MARINER).  I'm wishing I had all of these.  Unfortunately, I'm missing a few, and they were not included in the ESSENTIAL THOR reprint book.
     (5-16-2008)       

THE AVENGERS  46

cover by John Buscema & Vince Colletta

"THE AGONY AND THE ANTHILL"

Jan hires a chauffer, carelessly bringing him inside the Mansion with her where he can scout out its security, and not check references enough to realize he's Hank's old enemy, The Human Top.  Except, as part of Roy Thomas' overall make-over of the book, he's got a new costume & name--Whirlwind.  The Galactus-like head-vanes look to me like they'd get in the way of his "spinning" power.  How does he DO that without getting dizzy, anyway?  It's finally suggested that his power may be from his being a mutant.  Had to be something, I guess.  I still think he's one of the dumbest villains in Marvel history.  Strangely, Quicksilver doesn't remember him, even though he CLOBBERED the guy in F.F. ANNUAL #3.  George Roussos has been replaced by Vince Colletta... par for the course?

Meanwhile, Pietro's impatience with "humans" is growing, and Hercules decides to shave off his beard.  For good or not, Roy was clearly out to make THE AVENGERS his!
     (5-18-2008)   

DAREDEVIL  34

cover by Gene Colan & John Tartaglione

"TO SQUASH A BEETLE"

The former Human Torch baddie (who has a really inflated opinion of himself) decides to unmask DD on television.  It reminds me of the the 1st Joker story on the BATMAN tv series, which is probably fitting, as the tone of this series is one that just cannot be taken seriously.

I know I have the reprint of DD ANNUAL #1... but it's misplaced at the moment.  (Grrrrrrrrrrr.)
     (5-16-2008)   


DAREDEVIL ANNUAL  1
cover by Gene Colan & John Tartaglione

"ELECTRO AND HIS EMISSARIES OF EVIL!"

DD takes on an entire squad of "losers"!!  This book really worked best in this period when it was played for laughs.  It's the closest Marvel had to the BATMAN tv show.

Also, in the back...  someone has a fetish for re-using the title "AT THE STROKE OF MIDNIGHT" (I've found the same guy used it at LEAST 3 times over a 10 or more year period).  This vignette is also played for laughs, but if you read it, really read it, and pay attention... it's telling THE STONE-COLD TRUTH.  It's positively mind-boggling that so many people have read this thing over the years, and not realized that it WASN'T A JOKE.  And it's right there, IN PRINT.
          (4-18-2015)

X-MEN  38

cover by Don Heck & Frank Giacoia

"THE SINISTER SHADOW OF... DOOMSDAY!"

This brings us real close to the climax of Roy Thomas' "Factor Three" story.  And once again, in the middle of a multi-parter, they've played "musical artists" as Ross Andru is replaced by new regular Don Heck, along with his recent AVENGERS inker George Roussos.  It's a HUGE improvement over the Andru issues (especially the previous one which Heck inked so badly), but still only serviceable.  Meanwhile, Werner Roth is back-- in the back-- beginning the brand-new "Origins" series.  Inks are by newcomer John Verpoorten, who does some solid, bang-up work.  We finally get to see how Prof. X got involved with those guys from the government-- who were a little too quick on the draw for my tastes.  It also suggests that putting together the X-MEN was equal parts altruism and government conspiracy. If the Feds were involved in even a small way from the word go, WHY has the group had so much trouble since they went public??  "Consistent" this book AIN'T.

     (5-16-2008)   

GHOST RIDER  7

cover by Dick Ayers & Vince Colletta

(Continued in December 1967)

All Text (C) Henry R. Kujawa
Artwork (C) Marvel Comics
Restorations by Henry R. Kujawa

October 1967

(Continued from September 1967)

STRANGE TALES  161
cover by JIM STERANKO

"THE SECOND DOOM"

Synopsis:
At the Baxter Building, Reed Richards & Ben Grimm save Cap from falling to his death.  Fury barely saves himself by catching onto the Statue's crown.  Reed creates an "Electro-Amplifier Rifle" to overcome the invaders, and sends Ben in an experimental saucer to the Clay Substation near Syracuse to tap into its power.  Fury tries to destroy the Id-Paralyzer (which is shaped like a giant scorpion), but is overcome and tossed into the bay.  Cap arrives just in time to save him, and Reed's weapon activates just in time to stop the invaders, cutting off all power on the East Coast in the process.  Fury then blows up the Id-Paralyzer.  Back in the present, Jimmy Woo tells Fury he believes the man behind it all was The Yellow Claw.  In a hidden, underground base, The Yellow Claw, his niece Suwan & his ally Von Voltzmann eavesdrop on the conversation, as The Claw speaks of his "infallable" scheme-- "The Second Doom".

Indexer notes:
Part 3 of 9.  ("Project: Blackout! Part II").  Yellow Claw, Suwan & Von Voltzmann's previous appearance in THE YELLOW CLAW #4 (April 1957).  Flashback apparently takes place between STRANGE TALES #145-146, TALES OF SUSPENSE #78-79 and FANTASTIC FOUR #51-52 (all cover-dated June-July 1966).  Though none could have realized it, the name of The Claw's plan was a clue to the truth behind the entire story.  The Yellow Claw's new metal skull-cap is identical to the one worn by the villain "Ironhead" (Tom Reese) in the Matt Helm film MURDERERS' ROW (1966).
     (8-15-2007)

"AND A SCOURGE SHALL COME UPON YOU!"

Synopsis:
Mordo exiles Strange to "The World Of the Million Perils", then sets about restoring some of the magic to his new coven.  Lost in some distant galaxy (a real change from the usual other dimension), Strange suffers temporary memory loss, then faces a nameless beast within a hollow sphere.  He senses some intelligent force is controlling all that goes on around him.  Back on Earth, Victoria Bentley, freed of the evil, remembers how Strange saved her life in the past, and realizes what a menace Mordo is.  But just then, she finds herself being hurled between worlds, wondering if it's Mordo's doing.  Strange hears a cry for help, and discovers Victoria-- being menaced by a gigantic ant!  After saving her, the two face Nebulos, "Lord of the Planets Perilous", a bizarre alien creature, who claims they are part of some "sublime plan" of his...

Indexer notes:
Part 15 of 22; part 4 of the Living Tribunal sequence.  Between Jim Steranko & Dan Adkins, both series in STRANGE TALES now have artists partly inspired by Wally Wood.  Several panels based closely on Steve Ditko panels.  1st appearance of Nebulos.
     (8-15-2007)


"THE SECOND DOOM"

In retrospect, THIS is right where Jim Steranko started to "lose it".  Oh, sure, the art was great, but you know, the storytelling somehow wasn't as good as it was for the entirety of the "Hydra" epic.  He began to rely too much on gimmicks with the camera angles, plot twists, etc., and not enough on just good, solid, well-constructed plotting.  Then there's the "small" matter of Fury, in flashback, going into action in one of those form-fitting body-suits, many months before he ever wore one for the first time-- AND, this one's insulated against electric floors and the like, which the one he wore in the "Hydra" story wasn't.  Are we SURE when he plotted this story it was SUPPOSED to be a flashback??  Also, thumbing thru George Olshevsky's STRANGE TALES index book from the late 70's, I find myself agreeing with his suggestion that the "REAL" Yellow Claw was the one behind the invasion, AND much of what followed-- but that he was replaced by a robot while escaping during the raid on his "Sky Dragon" months later.  After all, he mentioned in the dialogue that he was using robot duplicates!  It's only the Dr. Doom 2-page finale shot that makes NO F****** SENSE at all!!!  (Too many drugs, Jim???)
     (5-15-2008)   

"AND A SCOURGE SHALL COME UPON YOU!"

Meanwhile, Dan Adkins makes his debut on Dr. Strange in mid-story, taking Doc to an alien planet (or is it a planet in an alien dimension-- I can't tell!).  The art looks a lot like Wally Wood here, except with bigger panels than Wood tended to use, and not quite as flashy.  Cool stuff-- but BOY was this storyline rambling by now!  Because of the defeat of Dormammu, Umar was unleashed-- to defeat her, Doc unleashed Zom, causing her to flee.  But to defeat Zom, Doc wound up unleashing "latent evil" into the world-- which drew the attention of the Living Tribunal, causing Zom to flee back to wherever he came from, never to be seen again (as far as I know).  Doc convinced the Living Tribunal to give HIM a chance to banish the "latent evil" before wiping Earth from existence, but it found its way into dozens of potential magicians, who freed & summoned Baron Mordo, who wound up exiling Doc to this alien landscape where he (and Victoria Bentley) confront Nebulos...  It's like a DARK SHADOWS storyline the way it keeps mutating.
     (5-15-2008)


"THE SECOND DOOM"

Oh, god.  This is the REAL mess.  Whether the whole thing comes across disjointed, or the dialogue seems stilted, or the art artwork seems stiff, is completely irrelevent.  I was never quite sure what to make of this thing... until I read an article written by J. David Spurlock, in which it was revealed that, when Jim Steranko wrote this, it was NOT supposed to be a FLASHBACK.  My initial reaction to learning this, of course, was... "WHAT?????"  

There is SO much in this story that would make perfect sense, if it wasn't.  There is SO MUCH in this story that DOESN'T make sense, if it is.  Just for example... Fury in a tight jumpsuit.  And not the black one he wore when he infiltrated Hydra Island (of which a big deal was made that he'd never worn an outfit quite like that one before).  This one was orange-- and it was INSULATED against electric shocks, which, the one he wore on Hydra Island WASN'T.  You upgrade your equipment, you don't DOWNGRADE it.  And then there was the E.S.P. Division, which had been destroyed at a certain point, but was up-and-running here.  And there was Nick Fury teaming up with Captain America.  The ONLY possible way for this to make sense as a flashback, would be if it took place DIRECTLY after the episode where Fury & Cap fought the A.I.M. android in Avengers Mansion.   And that's the kind of "cram it in between these 2 panels" kind of continuity that became a nightmare in the 70s.

It's clear this was turned into a flashback AFTER the entire episode had already been written & illustrated.  WHY was this done?  I can just picture it.  It's that spectre known as "EDITORIAL INTERFERENCE".  Somebody got a "cute" idea (NOT!!!!!).  Set the entire series of events during the 1965 NYC blackiout, in fact, let's have this story "explain" how that blackout happened.  But the problem is, apart from the extreme continuity problems doing this CAUSED (because obviously, it was done after-the-fact, rather than PLANNED OUT IN ADVANCE to do such a thing) the story's "connection" to the 1965 NYC blackout is slim bordering on non-existent.  In fact, it only crops up in ONE-- SINGLE-- block of narrative text, on that full-page spread near the end.  A block of text which is SO jumbled, SO confusing, SO difficult to follow, that's it's one of the worst examples of "bad writing" I've ever seen.  Or bad EDITING.  Or both.

The kicker, as it happens, came quite recently.  I ran across a design sketch that Wally Wood had done for DAREDEVIL for a character he'd never got around to using, and it struck me that it looked an awful lot like the "mysterious soldiers" who turned up in Steranko's 2-part "Project Blackout" story.  I didn't think much of it at first, because I knew most of Wood's ideas wound up getting used in various books, and I knew Steranko was a huge Wood fan (as well as being a fan of Kirby and Eisner).  But recently, looking back over that sketch, I noticed something that had completely escaped me before.  The name of that character Wood came up with was...  "BLACKOUT".  I can imagine how fitting it would be to have a DD villain who would cause the entire city to be plunged into darkness, where only a BLIND man could operate.  But in this case... it suddenly became even more obvious to me.  Steranko WAS using Wood's villain.  His editor saw it, and THAT-- MUST be where the idea to tie it in with the 1965 NYC blackout came from.

I can just picture in my mind how this happened...

"Hey, JIM! I've got a GREAT idea!!!!"
"CHRIST, Stan-- what the HELL is it NOW???"

Some "editors" should just stay the F*** away from some people's work, and let them do their damn jobs.

And people wonder why Jim Steranko left comics after such a short time.
          (4-20-2015)

"AND A SCOURGE SHALL COME UPON YOU!"

It matters not who fills in the word balloons.  It's no wonder Raymond Marais, Jim "007" Lawrence, and Denny O'Neil didn't stick around long.  After all, DAN ADKINS was actually getting credited for the stories.  Which makes perfect sense, as outside of comics, he was mostly a SCIENCE-FICTION artist.  What's a sci-fi guy doing on DR. STRANGE?  That's a good question.

Adkins was also a longtime Wally Wood assistant / protoge.  And Wood was known for having said, NEVER draw what you can swipe.  Illustrators do it all the time.  Mac Raboy (CAPTAIN MARVEL JR., FLASH GORDON) did it all the time.  Why Dan Adkins should get called to the carpet for it-- and CONTINUE to get bad-mouthed for it, decades later-- is a bit of a mystery.

Personally, my own theory has to do with the very fact that he WAS getting credited (AND THEREFORE, PAID!!!) for WRITING.  He was rocking the boat.  In 60s Marvel, it was mostly REQUIRED for "artists" to do their own writing.  They just weren't getting credit or pay for it.  (This goes for anytime "ye editor" was involved.  When he WASN'T doing dialogue, all of a sudden, the REAL writers could actually get paid for work they were already doing.  This is also EXACTLY how Jim Steranko was able to start doing his own dialogue.  He probably objected to that ONE episode where Roy Thomas wrote dialogue, but got paid for HIS story.)
          (4-25-2015)


FANTASTIC FOUR  67
cover by Jack Kirby & Joe Sinnott

“WHEN OPENS THE COCOON!”

After his "editor" totally screwed over his story in the previous episode, writer Jack Kirby threw his hands up and cut an intended 4-parter down to 2 parts.  It may look nice, but the published comic makes nearly no sense.  And while some fans complained about how the following 4 issues were a "retread" of previously-done stories, they probably didn't realize the motivating force was of a guy ANGRY AS HELL at his "boss".
          (4-23-2015)

Unfortunately, I only have the MGC reprints of these, and the one for #67 is REALLY fuzzy (barring the full-page spread and the last page).  I might not have noticed anything "off" here, if I hadn't read the infamous article about this story in TJKC.  It doesn't seem like anything's wrong with part 1, though I do wonder what might have gotten lost via "ye editor"s dialogue that got Kirby so incensed he threw up his hands while doing part 2.  The guys at the "Citadel of Science" seem like fairly decent guys in part 1-- but in part 2, they're flat out EVIL, bent on world domination, and more than once are referred to in the dialogue as "murderers".  HUH?  You know, I wound up wondering if the "HIM" 2-parter some time later in THOR may not have been part of the plot leftover from the never-done 2nd HALF of this story (assuming it was originally intended as a 4-parter).

After all the build-up, wouldn't it have seemed a LOT more natural for "Him" to decide that Alicia should be his mate, and for the THING to go completely into a berzerker rage (since he was already hafway there to begin with)???  Oh... OY.
     (5-15-2008)

“WHEN OPENS THE COCOON!”

Ah, the contentious tale.  "For those who came in late..." (as Lee Falk used to say when starting a new PHANTOM story in the papers), Jack Kirby had been doing quite a few 4-parters, and apparently felt quite comfortable with that length (kinda like the bulk of Tom Baker's run on DOCTOR WHO).  By the looks of it, he was planning another one right here.  He'd heard about Steve Ditko's OBSESSION with Ayn Rand's "Objectivism" business, and decided he wanted to write a story in which he totally DEBUNKED it.

But Kirby's "editor" DIDN'T understand it.  AT ALL.  It's like when Arkoff & Nicholson went over to Roger Corman while he was making "THE FALL OF THE HOUSE OF USHER" and, utterly confused, asked him, "WHERE'S THE MONSTER?"  Corman, thinking quickly, told them... "The HOUSE-- is the monster."  And then he included a line in the script, which Vincent Price told him "This doesn't make any sense!" about the house being "alive", which Corman assured him, "That line-- allows us to MAKE the picture."

Unfortunately, Kirby did not have this kind of control, seeing as he was working with a pathological Hollywood-style "script doctor" who INSISTED on making changes to whatever he was doing AFTER-THE-FACT, and always, EVERY TIME, for the worse.  In this case, the "editor" completely MURDERED the intent of Part 1, which got Kirby so DISGUSTED, he ended things with Part 2.

And then, he spent the next 4 issues doing what was probably the greatest "grudge match" in all of 60's Marvel.  Which I never noticed (until James Robert Smith pointed it out to me), involved Ben trying to MURDER HIS BOSS.  Tells you a lot about how Kirby felt, doesn't it?

By the way... if you wanna see what the 2nd HALF of this intended 4-parter was supposed to be like... check out the SEQUEL in THOR #165-166 (Jun-Jul'69).  And as you read, just substitute, in your mind, BEN for Thor, and ALICIA for Sif.  It makes MUCH more sense that way.  NO S***.
    (3-3-2014)


TALES TO ASTONISH  96
cover by DAN ADKINS

"WHAT HAVE I CREATED?"

"Hulk is not really the main character of this story"

This became the normal state of affairs beginning with the period when Marie Severin started writing the series.  In modern terms, the Hulk's "character arc" ENDED with the 3 John Buscema episodes, where he finished off Jack Kirby's "big story" that had been going since HULK #1.  Gil Kane's excessively nasty & violent 4 episodes were an uncalled-for interlude clearly designed to overturn what could otherwise have been a "happy ending", so that instead, we would get an endless, ongoing series of meaningless encounters with bad guys and monsters.  NOTHING of any real improtance happened in the series from here on out. It was just "there".

We'll never really know how interesting HULK could have been back then, because Kirby's "editor" was quite relentless in destroying the character's personality via his lame-A** dialogue, dumbing him down to the point where it just becomes impossible to give a S*** about the guy.  Typical "Hollywood" behavior (think Dr. Watson, Tarzan, Frankenstein).  Examples of Kirby's liner notes that have turned up show a LOT more going on in that green head, but unfortunately, almost none of it made it into the published books.  A real crime against "art", and writing.
          (5-15-2015)

"SOMEWHERE STANDS... SKULL ISLAND!"

Bill Everett's back on Subby, but is now inked by Vince Colletta. Their styles are similar-- they are-- but Colletta's NOWHERE near as good on inks as Everett.  To make matters worse, my MSH reprints are not only fuzzy, they're cutting 3 pages of Subby PER EPISODE!  How is it supposed to make sense?
     (5-15-2008)

"WHAT HAVE I CREATED?"

Hulk, meanwhile, looks pretty with Marie Severin on art-- but the High Evolutionary has clearly lost his marbles since departing Earth.  The story ends with him evolving himself into an ultimate future being-- devolving his New-Men back to their animal forms-- and sending Hulk home, with no memory of it every having happened.  (Which makes me wonder how the guy wound up coming back for an endless number of low-end sequels?  But that's Marvel for you...)
     (5-15-2008)


AMAZING SPIDER-MAN  53
cover by JOHN ROMITA

"ENTER:  DR. OCTOPUS"

This issue shows "ye editor"s running out of ideas.  He's been using "Enter..." in too many titles lately.  This is some of the BEST inks I have EVER seen from Mike Esposito-- he REALLY makes a damn good team with John Romita.  This episode was the basis for the 2nd Doc Ock cartoon, "The Terrible Triumph Of Dr. Octopus", from the demonstration of "The Nullifier" and subsequent fight, to his almost blowing Spidey to atoms with a bomb in a riverfront shack.  But apart from that, they changed everything else.  Gwen goes to the demo with Pete (and his science professor), Ock DOESN'T get the Nullifier (yet), it's an electronic device, NOT an anti-missile-missile.  When he threatens to drop it, it'll "injure dozens"-- in the cartoon, it would have BLOWN UP half the city!  (Man-- that makes the Doc Ock in the cartoon EVEN MORE DANGEROUS than the one in the comics!)  Harry's back to scowling, though we're not sure why, and Flash is in uniform, and smiling too much for an ape like him.  MJ's the same-- bless her-- but Gwen... this just ain't right.  On "ye editor"s orders, Romita is drawing Gwen to look like a blonde version of MJ.  It's hard to tell them apart.  I have a hard time believing this is the same girl at all from only 6 issues before.  I finally figured out who Gwen was probably based on, and now, I can't see ANY evidence of it in her face!   And you know... I've long considered THIS part of the run the "best-ever" for Spidey.  And I'm barely tolerating it.  Is it just me?  Have I gotten SO sick of Spider-Man that even the "good" stuff isn't doing it for me anymore?  Or was this stuff never as good in the first place as I once thought?
     (5-15-2008)   

"ENTER: DR. OCTOPUS"

The beginning of the end (okay, maybe that's premature but hear me out).  Here begins a 4-parter that has John Romita (the "real" one) at the PEAK of his game.  The art is FANTASTIC, and it's only a shame that to this day nobody outside of Romita himself wants to say that HE was writing the stories himself.  Spidey's NUMBER ONE arch-enemy returns, more dangerous and maniacal than ever.  Does it bother anybody that Norman Osborn, who was a rotten crook from day one, got sympathy, just because he picked up a case of amnesia, while Otto Octavius, who started out a decent man, gets NONE, since that accident turned him CRIMINALLY INSANE???

This story was adapted as the 2nd Doc Ock cartoon on the 1967 SPIDER-MAN show, "The Terrible Triumph Of Dr. Octopus".  The cartoon goes up to the climax of this issue, where Spidey is almost (!!!) caught in a bomb-blast trap meant for him... then, goes off in a completely different (and sadly, disappointing) direction.  The cartoon turned the "Nullifier" (an interesting idea for a gadget) into a mere bomb, and the highlight of the tv version was when Ock holds it out the window and threatens to DROP it on the city-- and Spidey says, "He's JUST the guy to do it!!"

Meanwhile... the destruction of Gwen Stacy continues right here.  When she was first introdeuced, her creator, Steve Ditko, had her as a somewhat severe-looking, strong-willed, conceited, self-serving B****.  I never liked her.  It was only after I watched the Howard Hawks version of "THE BIG SLEEP" about 8 or 9 times that I suddenly realized that Gwen, very likely, was based on "Vivian Rutledge" in that film, played by Lauren Bacall.  I never liked HER, either.  But she WAS an interesting character.  Given time, I feel sure Ditko could have shown Gwen to be an "interesting", if not always likable, person.

But once Ditko left, all that went OUT the window.  Overnight, Gwen (and Harry, and to a lesser extent, Flash) had their personalities CHANGED.  They became nicer, less UNLIKABLE people.  It wasn't a slow, natural evolution brought on by events in a series of stories.  It was all at once.  Because, while Romita had the job of WRITING the book, his "back-seat driver" editor kept telling him what to change.  You see, he was married to a BOSSY blonde.  And he wanted Pete and the blonde (Gwen) together.  It didn't matter if it didn't make sense for the characters.  That was easy.  CHANGE the characters.  He told Romita to "make Gwen nicer."  So he did.  At least she still LOOKED the same... for the most part.

But a year later, he told Romita "make Gwen PRETTIER".  So... he DID.  By the time Jim Mooney came along (in SPECTACULAR SPIDER-MAN #1), Gwen almost started to look like she'd have fit in an ARCHIE comic.

Another problem with this story is, while it was a 4-parter, it didn't END there.  Part 4 ended on a cliffhanger.  The issue after that also ended on a cliffhanger.  And the issue after THAT, also ended on a cliffhanger!!!  To make things worse, there were several other stories that should have easily fit between stories, but instead, fanatical fans have had to figure out WHICH PANELS of WHICH ISSUES they could possibly fit between, all because the "continuity" got TOO TIGHT, and yet TOO SLOPPY at the same time.

Anyway, anyone coming into this should enjoy it while they can.  JOHN ROMITA did full pencils for all 4 chapters.  After that... he was pulled away for other things, and had to cut back to "layouts" and "touch-ups".  What a crime.  But, no less than NOT crediting Romita for the writing he was doing.

I guess in his case it didn't hurt as much as it did for Jack Kirby...since Romita was collecting a FULL SALARY for being in the office 40 hours a week.
          (4-24-2015)


TALES OF SUSPENSE  94

cover by Jack Kirby & Joe Sinnott

"THE TRAGEDY AND THE TRIUMPH!"

Titanium Man returns again, bigger than ever, with less personality than ever.  Sigh.  I'm a little bugged by the "team-up" between Communist Russians and Chinese, since history has shown how much they HATED each other.  Frank Giacoia's (or whoever-- heh) inks are getting less slick (less sign of Joe Giella), and then Dan Adkins takes over, and HIS inks, surprisingly, aren't too sharp, either.  I know Gene Colan is often near-impossible to ink for many, but this feels like a last-minute rush job.  I guess Giacoia blew the deadline AGAIN-- and Adkins (like Ayers before on DD) wound up looking bad because of it.

     (5-15-2008)

"IF THIS BE... MODOK!"

Meanwhile, I'm staring at these Jack Kirby C.A. pages and wondering-- are we SURE these inks are by Joe Sinnott???  'Cause they don't quite looks the same as what I'm seeing in FANTASTIC FOUR at the same time.  Which prompts me to ask-- did Joe ever use assistants in the 60's?  I found it bizarre that Kirby should do 2 stories at the SAME TIME about scientists trying to creat a superior being who then goes out of control and menaces the ones who made him-- how very "Frankenstein". In one instance, it was the Citadel of Science and "HIM"-- in this case, it was the revived A.I.M. and... MODOK.  (No clue that MODOK is an acronym at this point.)
     (5-15-2008)   

THOR  145

cover by Jack Kirby & Vince Colletta

"ABANDONED ON EARTH!"

Not long after the Troll war and a relative "good" period between Thor & Odin, this thing comes along.  Odin, PISSED beyond all belief at having his rule of Asgard challenged by The Enchanters, lets it be known to all Asgard how he can be merciful-- but also how he can be VENGEANCE personified!!!  And at that moment, when he calls his warriors home from Earth, Thor has the temerity (stupidity?) to wanna argue.  GEEZ.  So OF COURSE, instead of the 3 of them (Thor, Sif, Balder) being "Abandoned On Earth" (as the title and "next issue" bit the previous month would have had us believe), instead, ONLY Thor is "abandoned".  THIS is what he gets for putting his life at risk?  This is what he gets for a momentary slip of the tongue?  OY.

Some of my least-favorite Kirby baddies turn up-- AGAIN!!!-- in the form of the Ringmaster and his Circus Of Crime.  Did Kirby (or his "editor") have some special love for the circus of something, to keep using them so often?  What a pack of losers!  Wouldn't you think they'd have criminal records miles long by now and be forced by law enforcement authorities to either be spending long terms in jail, or finding some other profession by now?  Also, has anybody ever established one way or the other if this guy is the SAME villain Cap fought back in 1941-- or maybe that guy's son or something?  (Same face, same outfit, same M.O.-- I mean, come on!)

Sadly, TALES OF ASGARD reaches "THE END!".  This last epic would make a great stand-alone movie, in the tradition of Harryhausen's SINBAD flicks.
     (5-16-2008)

THE AVENGERS  45

cover by John Buscema & Vince Colletta

"BLITZKRIEG IN CENTRAL PARK!"

I thing this issue may have been the birth of INFINITY INC.  Half the book, everybody just stands around and talks and talks and... geez.  They also seem to be playing musical inkers around here.  Vince Colletta got on AVENGERS, while George Roussos got on X-MEN.  Dan Adkins got on Iron Man, while Frank Giacoia did F.F. ANNUAL #5 and Nick Fury, and Joe Sinnott did Captain America.  Was there something funny going on to cause all this?

     (5-16-2008)   

DAREDEVIL  33

cover by Gene Colan & John Tartaglione

"BEHOLD... THE BEETLE!"

Man, is this BAD.  The whole "Mike Murdock" thing is just plain stupid.  About the only thing going for this book at this point is Gene Colan's art, and now, John Tartaglione is dragging it down!!  OY.

     (5-15-2005)

X-MEN  37

cover by Don Heck & Frank Giacoia

"WE, THE JURY..."

Ross Andru makes his Marvel debut on these 2 issues.  George Roussos murders the art in the 1st one.  But that's nothing.  DON HECK utterly destroys it in the 2nd.  Good grief.  Roy spends an entire issue having the X-Men trying to figure out how to get plane fare to Switzerland so they can go rescue Professor X.  Next, the commercial airliner they're on is almost destroyed by uncaring baddies out to get just them.  The plot of this issue-- the group put on trial for crimes against evil mutants, while several of their arch-enemies are in attendance-- seems to have been the basis for the 2nd-rate FANTASTIC FOUR cartoon, "The Tribunal".

     (5-15-2008)   

GHOST RIDER  6

cover by Dick Ayers & Vince Colletta

"??"

(Continued in November 1967)

All Text (C) Henry R. Kujawa
Artwork (C) Marvel Comics
Restorations by Henry R. Kujawa