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
As I wrote in this space back in May, in 1970 my younger self bought the first two issues of Marvel Comics’ new double-feature title Amazing Adventures upon their release — but then skipped the next two. Half a century later, I can’t recall what my decision-making process was (and the vagaries of distribution being what they were at the time, it’s entirely possible that I never saw AA #3 and/or #4 on the stands). But I’d guess that I simply wasn’t all that crazy about what I’d found in #1 and #2. Even though I liked the Inhumans a whole lot, and was an admirer of Jack Kirby’s art (I was also a fan of his plotting, of course, if only unconsciously, since I didn’t yet comprehend the extent of the King’s creative contributions to his collaborations with Marvel editor/scripter Stan Lee), the two-part tale that inaugurated the Inhumans feature, written as well as drawn by Kirby, didn’t feel like essential work. At the time he produced these stories, Kirby was on the verge of unleashing a tremendous amount of pent-up creativity with his “Fourth World” project for DC; but, as with a lot of his other material for Marvel at the end of his monumental ’60s tenure at the publisher, his heart didn’t really seem to be in this stuff.
As for the title’s second feature, the Black Widow — she was more of an unknown quantity for me, anyway. Besides the obvious fact that this was her first solo strip, I had at this point read very few of her earlier appearances in Avengers and elsewhere, and had little to no investment in the character. Despite the reliably fine draftsmanship of John Buscema on her first two installments (with John Verpoorten inking Buscema’s pencils), I didn’t find enough there to hook me and bring me back. Read More
Fifty years ago, one didn’t necessarily expect fresh linguistic coinages to turn up in comic books right away. If anything, comics were notorious for incorporating slang words and expressions (especially those presumably favored by America’s youth) years past their peak of popularity– if, indeed, they’d ever been popular at all.
But in its incorporation of the phrase “male chauvinist pigs” on its cover, Marvel Comics’ Avengers #83 seems to have been right on the money. Read More
As I’ve previously related on this blog, I didn’t start buying Marvel comics on a regular basis until January, 1968 (though I’d bought my very first such issue almost half a year earlier, in August, ’67); therefore, I pretty much completely missed the era of Marvel’s original “split” books, Strange Tales, Tales to Astonish, and Tales of Suspense. Indeed, the month I became a full-fledged Marvelite was the very same month that Marvel rolled out Captain America and the Hulk in their brand-new solo titles, with Iron Man, Sub-Mariner, Doctor Strange, and Nick Fury soon to follow. It was a near miss, for sure; but it was a miss, all the same.
Still, even if I hadn’t experienced the old split book format firsthand, I knew what it was. So, I doubt I was more than mildly surprised (if that) to see Marvel bringing it back after an absence of more than two years with the premiere issues of Amazing Adventures and Astonishing Tales, both released in May, 1970. Read More
On July 21, 2015, this blog made its debut with a post entitled “It was the summer of ’65…”. In that first installment, I described my earliest experiences with comic books, leading up to to my very first comics purchase in the, well, summer of ’65. Since then, I’ve been writing about some of the most interesting individual issues I bought in my first few years as an avid comics reader (and nascent collector), while also attempting to chronicle, more generally, the evolution of my own comics tastes and interests, and setting that personal narrative in the broader context of what was going on in the funnybook industry (and, more broadly, in American culture), during those years.
But now, almost half a decade after starting this project, I’ve reached the point in the narrative of my comic book buying and reading where that story almost came to an end, fifty years ago. I’ve arrived at the time in my life when, at least for a while, I stopped buying comics. Read More
Today’s post is the fourth in a series we’ve devoted to chronicling a storyline that ran through a number of Marvel comics in the first few months of 1969 — a sort of “stealth crossover” in which a number of the publisher’s heroes got involved (some without even knowing it) in foiling the dastardly plot of three (allegedly) big-brained super-villains intent on (what else?) taking over the world. The comics readers of that time (your humble blogger among them) had to be paying close attention to all the editorial footnotes in the comics involved to follow the story (and even then, it was a hit-or-miss affair) — because, in high contrast to today’s multi-title “events”, Marvel’s in-house promotion for the crossover was virtually non-existent.
Things had first gotten rolling in January with Captain Marvel #12, in which the titular hero battled a powerful android, the Man-Slayer, that was trying to wreck a U.S. missile base in Florida called “the Cape” (as in Canaveral). The Man-Slayer’s rampage was ultimately shut down not by Mar-Vell, however, but rather by S.H.I.E.L.D. operative the Black Widow, who was promptly taken prisoner by the Man-Slayer’s unseen masters. Moving into February, Avengers #63 revealed the Widow’s captors to be the Mad Thinker, Egghead, and the Puppet Master. The Widow was rescued by her boyfriend, the Avenging archer known as Hawkeye, though not before he’d downed a vial of Dr. Henry Pym’s growth serum and become the new Goliath. Read More
When we last left Captain Mar-Vell of the Kree, at the conclusion of our Captain Marvel #12 post back in January, the alien soldier-cum-Earth superhero had just emerged from a battle against a mysterious android, the Man-Slayer, that had been rampaging across “the Cape”, a U.S. missile base in Florida. Meanwhile, both Mar-Vell’s Earth secret identity of Dr. Walter Lawson and his costumed-adventurer persona of Captain Marvel were now wanted for treason, leaving our protagonist in a bit of a pickle. All of this was serving to distract Mar-Vell from what should be job number one — using the awesome new powers granted him by the cosmic entity Zo to exact vengeance on his mortal enemy, the Kree colonel named Yon-Rogg, whom Mar-Vell held responsible for the death of his beloved Medic Una.
And while all this was going on on the printed page, Captain Marvel was facing challenges behind the scenes as well — because after already going through three writers and an equal number of artists over its fourteen-issue run (counting two issues of Marvel Super-Heroes), his series was about to welcome aboard yet another writer, Gary Friedrich, and artist, Frank Springer. With Captain Marvel #13, both of those gentlemen dove right into the ongoing storyline that had been developed over the past couple of issues by the previous scripter (Arnold Drake) and penciller (Dick Ayers) — and then proceeded to tread water for twenty pages. Read More
For younger readers of current comics, accustomed to publishers trumpeting every single guest appearance or “event” tie-in months in advance, the notion of a “stealth crossover” may seem all but incomprehensible. Yet, that’s exactly what Marvel Comics did in the first quarter of 1969, as they carried over a plotline from the January-shipping issue of Captain Marvel into February’s Avengers (the subject of today’s post) without even so much as an editorial footnote in the first book to let fans know it was happening. What the heck were they thinking fifty years ago, there at the “House of Ideas”?
But before we get into all that, we need to acknowledge the other two significant events happening in Avengers this month, one “in-story”, and the other behind the scenes, though both were heralded by the cover: the first, a major change concerning the superhero code-named Goliath; the second, the advent of a new regular artist — for after drawing Avengers for most of the last two years, John Buscema was being pulled off of the title to do layouts for Amazing Spider-Man, while Gene Colan was giving up Daredevil to take on Earth’s Mightiest Heroes. Read More
Regular readers of this blog will have heard me say this before, but it bears repeating — sometimes, I just have no idea why my younger self chose to buy a particular comic book fifty years ago.
That’s certainly the case with the subject of today’s post. After passing Captain Marvel by on the stands for almost a year, in January, 1969 I decided to gamble twelve cents on the series’ twelfth issue. How come?
Was it the cover, by John Romita and Sal Buscema (or maybe George Tuska and Buscema — the usual reference sources differ)? I suppose it could be. It’s not a particularly distinguished composition (at least, not to my present-day, 61-year-old eyes), but it’s not what I’d call bad — and those bright, contrasting colors really do pop. So, maybe.
Perhaps it was the result of a long-simmering curiosity about the character that had been sparked by my reading of the “Captain Marvin” parody in the ninth issue of Marvel’s Not Brand Echh series, back in May of ’68. That piece, produced by the “real” Captain Marvel’s onetime writer and penciller (Roy Thomas and Gene Colan, respectively) had served as a sort of primer on the origin, powers, and modus operandi of “Marvel’s Space-Born Super-Hero!™” — though one read through a cracked glass, as it were. It had also been pretty funny to my then ten-year-old sensibilities, even if Thomas’ gags referencing the original Captain Marvel had gone right over my head. So, maybe I recalled this story when I saw Captain Marvel #12 on the spinner rack, and decided to give the “real thing” a try. Read More
By September, 1968, when the subject of today’s post came out, I was buying The Avengers semi-regularly. Of course, “semi” literally means “half” (at least in the original Latin) — which is my way of saying that though I’d bought issues #53, #56, and the 1968 Annual, I’d skipped, or at least missed, issues #54, #55, and #57. So, not only did my eleven-year-old self miss out on the debut of the Vision (in #57), but I was also completely in the dark about the malevolent robot who’d allegedly created him, Ultron-5, introduced in issues #54 and #55 as the mysterious leader of the “new” Masters of Evil.
Thus, when I came across Avengers #58 in the spinner rack, I may have been momentarily daunted. Even if I had no obvious way of knowing that this issue tied into the Masters of Evil storyline from several months back, it was clear from the cover that the story was a direct follow-up to the previous issue’s Vision tale.
But the cover also made it crystal clear that the book featured appearances by Captain America, Iron Man, and Thor — the Avengers’ “Big Three”, whom series writer Roy Thomas wasn’t allowed to use as regular team members by the fiat of editor Stan Lee, but whom he nevertheless shoehorned into the book every chance he got — and I had been conditioned by now to recognize this as being something of a special event (if not necessarily a rare one). And, in the end, that must have sold me. I’d buy the book, and trust that the creative team — which included penciler John Buscema and inker George Klein, in addition to Thomas — would catch me up. Read More