In crafting the installment of their ongoing “Kree-Skrull War” epic that arrived on stands in September, 1971, the Avengers creative team hadn’t had the luxury (or, if you prefer, the burden) of 34 pages to work with, as they’d had for a single issue with the previous month’s issue #93. Rather, the first 20-cent edition of the title featured a mere 23 pages of art and story.
Nevertheless, the reduction of space didn’t deter writer Roy Thomas from continuing to break each issue’s episode of the galaxies-spanning saga into multiple chapters — or from giving every chapter its own individual title, each inspired by a well-known work of science fiction. For #94’s “More Than Inhuman”, the reference was to Theodore Sturgeon’s 1953 novel, More Than Human: Read More
If there’s a single comic book that best exemplifies the potential of the all-new, 48-page format which Marvel Comics rolled out to great fanfare in August, 1971 (or, as we’ve christened it on this blog, Giant-Size Marvel Month), it surely must be the subject of today’s post: Avengers #93, featuring the 34-page story “This Beachhead Earth” — which, in addition to being the mid-point of the extended storyline known as the Kree-Skrull War, was also the first installment of a short but superlative run on the series by the creative team of scripter Roy Thomas, penciller Neal Adams, and inker Tom Palmer.
And if any set of classic comics exemplifies just how contentious two talented creators can become over the issue of who deserves the credit for which aspects of their storied collaboration, it’s the same short Avengers run by Thomas, Adams, and Palmer. Read More
Avengers #92 was a transitional issue for the Marvel Comics series in several ways, a couple of which are signified by the issue’s cover. For one, the cover marks the arrival of artist Neal Adams, who’d begin a brief but glorious run as the title’s penciller and co-plotter with the very next issue. For another, the prominence given to Thor, Iron Man, and Captain America presages the end of an era in which those heroes only appeared on a semi-regular basis in Avengers; while the old dictum of editor Stan Lee that none of the “Big Three” could appear in the title except as occasional guest stars had been honored largely in the breach for a couple of years now, up to this point you might still have stretches in which none of them showed up at all (in fact, none had appeared in the previous three issues, and, as we’ll soon see, they barely play a role in #92, cover prominence notwithstanding). From issue #93 forward, Cap, Thor, and Iron Man would simply be “Avengers”, on the same basis as their fellow members who didn’t have their own books — effectively ending what had been the status quo of the title ever since issue #16 (May, 1965). Read More
When we last checked in with the Inhumans feature in Amazing Adventures, back in December, the new creative team of writer Roy Thomas and artist Neal Adams had just launched a new multi-part storyline. The beginning of this new arc found the Inhumans’ monarch, Black Bolt, traveling to the United States — more specifically, to San Francisco — to begin the process of developing better relations between his people and the outside world. (Exactly how he expected to accomplish this by skulking around an urban waterfront at night, especially given his self-enforced muteness, was unrevealed.) BB got off to a somewhat rocky start, getting involved in an altercation with some petty criminals as he came to the defense of a boy named Joey, the nephew of the hoods’ leader, Roscoe. Meanwhile, back in the Great Refuge, the king’s mad brother Maximus lay in what appeared to be a state of suspended animation — something Black Bolt had set up prior to his departure, without explaining his reasons to the other members of the Inhumans’ royal family. A suspicious Gorgon and Karnak elected to wake Maximus up, which turned out to be a bad move, since the previously non-super Max had recently developed immense mental powers. Maximus promptly unleashed a brain blast that traveled halfway around the world before striking down Black Bolt, simultaneously robbing him of his memory. This ten-page installment ended with young Joey, having just managed to rouse his mysterious new friend, trying to get him to say something — unaware that if the Inhumans’ incognito ruler uttered but a mere whisper, the power of his voice would unleash terrible destruction. Yipes! Read More
In October, 1970, I returned to Marvel Comics’ Avengers after a hiatus of one full year, during which time I hadn’t bought or read the title at all. Avengers had been one of my most reliable Marvel purchases for a year or so prior to that break, but, for reasons lost to time, I was a little tentative about committing to the series again; and after buying (and, as I recall, enjoying) both #83 and #84, I sat out the next three months, not picking up another adventure of the Assemblers until #88, in March. That one seemed to do the trick, however, because from that point on I wouldn’t miss another issue. (Well, not until 1980 or thereabouts, anyway — but that’s another story.)
Or maybe it wasn’t #88 that sealed the deal — that Harlan Ellison-plotted issue, enjoyable as it was, essentially functioned as a lead-in to the same month’s issue of Hulk, and didn’t spend much energy encouraging readers to come back for the next month’s Avengers. Avengers #89, on the other hand, kicked off a multi-issue storyline that just kept building and building, never offering anything like a reasonable jumping-off point. By the time that storyline — the Kree-Skrull War, as we’d all quickly come to call it — came to an end with #97, it was December, and buying Avengers had become an ingrained habit for your humble blogger. Read More
“Harlan Ellison Month” (well, “Harlan Ellison Week +1”, anyway) continues here today at “Attack of the 50 Year Old Comic Books”, as we take a look at the second half of a two-issue crossover between Avengers and Hulk, originally published in March, 1971, which the writer of those two Marvel series, Roy Thomas, adapted from a plot synopsis by Mr. Ellison.
I’m not going to provide a summary of the tale’s opening chapter here, mostly because the recap provided on the first three pages of Hulk #140 (which’ll be coming up shortly) will tell you pretty much everything you need to know to be able to follow the rest of the story — and also because you can, at any time, click on this link for the Avengers #88 post if you missed reading it a few days ago, and you really do want all the details. Even so, before we plunge head-first into the comic’s narrative, we need to take a moment to note what Thomas, as scripter, is going to be getting up to in these pages. And to facilitate our doing that, we’re going to quickly flip to the back of the book, to have a look at the letters column. Read More
In our last post, we took a look at Justice League of America #89 — a very special issue of DC Comic’s premiere super-team book, in which writer Mike Friedrich paid homage to one of his literary heroes by basing his story’s central character of “Harlequin Ellis” on the noted science fiction author and screenwriter, Harlan Ellison.
By a remarkable (but apparently entirely random) coincidence, the same month that saw the publication pf JLA #89 (March, 1971) also saw the release of a very special issue of the Marvel Comics series featuring that publisher’s nearest analogue to the Justice League, Avengers, which writer Roy Thomas had scripted from a plot outline by the real Harlan Ellison. You really can’t make this stuff up, y’know? Read More
Some fifteen months ago, I blogged about Avengers #70, which featured the first full appearance of the Squadron Sinister. Regular readers may recall my sheepish confession in that post that, despite how blindingly obvious it is to me now that these four characters were homages to/parodies of (take your pick) DC Comics’ Superman, Batman, Flash, and Green Lantern, in September, 1969 my then twelve-year-old self didn’t pick up on the joke at all.
Nor was I aware that this comic book was one half of a “stealth crossover” of sorts between Marvel Comics’ Avengers and its counterpart title over at DC, Justice League of America. Said crossover apparently had its origins at a party at which comics writer Mike Friedrich suggested to a couple of his cohorts, Roy Thomas (the writer of Avengers) and Denny O’Neil (then the writer of JLA), that they each present a “tip of the hat” of some sort from the super-team book they were writing to its rival, in issues coming out in the same month. Thomas and O’Neil both agreed, and Avengers #70 and JLA #75 were the results. But while the inspiration for Thomas’ Squadron Sinister was all but self-evident (though of course not to me, or to the other fans who chimed in after my September, 2019 blog post that they hadn’t caught on either), the relationship of the supposed Avengers analogues in O’Neil’s story — evil doppelgängers of the Justice League called “the Destructors” — to their Marvel models was obscure to the point of opacity, with the parallels being limited to such bits as having Superman’s dark twin refer to himself as being as powerful as Thor. (Um, sure.) I didn’t actually buy JLA #75 when it came out, but I’m all but 100% certain I wouldn’t have realized what O’Neil was up to with such subtle shenanigans, even if I had. Read More
When I first started buying Marvel comics in 1968, Daredevil was one of the first of the company’s titles that I sampled; over the next couple of years, it would be one of my most consistent purchases from any publisher. With that in mind, it seems a little odd that when I returned to the adventures of the Man Without Fear in December, 1970, after more than a year’s hiatus, I came back by way of a crossover with Iron Man — a Marvel series I’d only read intermittently up to this point. Read More
As the year 1970 wound down, it seemed that mainstream American comic books had, at last, embraced the “sword and sorcery” fantasy subgenre in all its pulpy glory. After some tentative moves in that direction — courtesy of DC Comics’ three “Nightmaster” issues of Showcase in 1969, which were followed in 1970 by Marvel’s publication of several S&S short tales in its new horror anthology titles like Chamber of Darkness and Tower of Shadows — Marvel finally jumped into the deep-end of the pool in July, 1970, with a licensed adaptation of the field’s most prototypical character, Robert E. Howard’s Conan: Read More