In July, 1969, Marvel Comics editor-in-chief Stan Lee announced in his “Stan’s Soapbox” column that the company was instituting a new “no continued stories” policy for all its titles. Today, that policy (which remained in place for about a year and a half, at least officially) is widely considered to have been not Lee’s own idea, but rather one that was imposed on him by his then-boss, publisher Martin Goodman. Assuming that’s true, it’s interesting to consider how much Lee flouted the policy in one of the relatively few books he still wrote himself, The Amazing Spider-Man — which, as it happens, was also the company’s best-selling title, and thus probably the one most likely to be noticed by Goodman. Read More
At the conclusion of Avengers #70, published fifty years and one month ago, readers were promised that the next issue would feature “the most shocking surprise guests of all!!” A month later, those fans who picked #71 up off the spinner rack wouldn’t have to look any further than the dynamic Sal Buscema-Sam Grainger cover to learn the identity of those guest stars — though it’s likely that a lot of them had already gotten the news courtesy of the Mighty Marvel Checklist entry for the book that ran in that month’s Marvel comics’ Bullpen Bulletins text page: “The battle that time forgot! The Avengers take on Cap, the Torch, and Namor in wartime Paris! Don’t miss “Endgame!”
In October, 1969, my twelve-year-old self had yet to read a single Golden Age Marvel (or Timely, if you prefer) comic book story. And while I’d gleaned enough information in my few years of reading current Marvel comics to know that Captain America, the original Human Torch, and the Sub-Mariner had all been around in the 1940s, I’m not sure if I knew whether or not they’d ever appeared in the same story together before. I certainly didn’t know about the Invaders — and neither did anyone else, including their creator Roy Thomas (also the scribe of our current tale), since they wouldn’t actually exist for another six years. So to see these three characters in World War II-era action was a whole new thing for me (and probably for a lot of other readers as well). Read More
If you’re a regular reader, you may recall that at the conclusion of last month’s post concerning Avengers #69, your humble blogger unburdened himself of a shameful, half-century-old secret — namely, that upon his first encounter with the brand-new supervillain group the Squadron Sinister way back in August, 1969, he had not the faintest clue that they were intended as parodies of the Justice League of America — who were, of course, the Avengers’ counterparts over at Marvel Comics’ Distinguished Competition, not to mention a team that he’d been reading about regularly for almost four years.
Imagine my gratified surprise when, subsequent to that post going up, I heard from a number of fellow old fans that they, too, had failed to get writer Roy Thomas’ joke back in the day. I’m honestly not sure whether that means that my twelve-year-old self wasn’t all that dumb after all, or simply that a lot of us were that dumb, but either way, I’ll take it as a win. Read More
In his Introduction to the 2008 Marvel Masterworks volume reprinting this issue, scripter Roy Thomas compliments his artistic collaborator Sal Buscema for the “dramatic yet difficult cover”, noting that “it’s always hard to have a bunch of little guys fighting one big guy — and Goliath’s in-between size just complicated things further.” That’s undoubtedly true; but my recent re-reading of Thomas’ words in preparation for writing this post reminded me of another cover that met the very same challenge, with at least a couple of the same characters — namely, Sal’s big brother John’s cover for Avengers #45, which came out almost exactly two years prior to Avengers #69, and which also just so happens to have been not only my first Avengers comic, but my first Marvel comic, period. There’s no good reason why any of that should be particularly significant to anyone except me, I realize; but I hope you’ll pardon my momentary self-indulgence in deciding to highlight it here anyway. Read More
I know there must have been plenty of Marvel Comics fans who were dismayed when, in the summer of 1969, that year’s crop of giant-sized annuals arrived — and they were all 100% reprint material. And perhaps I was a little disappointed, myself, as I’d very much enjoyed the brand new double-length stories and fun bonus features in the previous year’s Amazing Spider-Man and Avengers annuals (not to mention the same year’s Fantastic Four Annual #6, or 1967’s Avengers Annual #1, both of which I’m pretty sure I’d read by this time, having bought or perhaps borrowed them from a friend). Read More
In the letters column of the comic that’s our main topic today, reader Normand LaBelle of Sherbrooke, Quebec expressed his great displeasure with the Captain Marvel series’ recent turn of direction, finding fault especially with the drastic changes to the titular hero’s powers and mission that had come about in issue #11. In responding to Mr. LaBelle, the anonymous editorial staffer — probably Marvel Comics associate editor (and, as of this very issue, returning Captain Marvel writer) Roy Thomas — essentially agreed with him: Read More
When last we saw Captain America, back in May, the Living Legend of World War II was in a very tight spot. His greatest foe, the Red Skull, had used the awesome power of the Cosmic Cube to switch bodies with him, and then, after forcing him into conflicts with police officers, his buddies in the Avengers, and even his girlfriend Sharon Carter, had banished him to the remote Isle of the Exiles. Read More
When the blog last checked in with Daredevil, back in March, we saw how, at the climax of issue #52, our hero was forced to let his defeated adversary — the murderous roboticist named Starr Saxon — get away free, due to Saxon having quite inconveniently learned that the Man Without Fear is secretly blind lawyer Matt Murdock. Then, following a retelling of his origin story in issue #53, DD came up with the perfect solution — he’d kill off Matt! As he put it in the issue’s last panel: “My problem isn’t Daredevil — and never was! It was always Matt — the blind lawyer — the hapless, helpless invalid! He’s been my plague — since the day I first donned a costume!”
This was probably the worst idea ol’ Hornhead had come up with in a very long time — and considering all the other bad ideas he’d contemplated and then implemented over just the past year or two, that’s really saying something. These bad ideas had included (in chronological order): faking the death of both Daredevil and his “third” identity of Mike Murdock (Matt’s fictional twin brother) in an explosion, so that he could live an unencumbered life as Matt; then, after realizing he really did still want to be a costumed hero, having to invent a new, second Daredevil, supposedly the original hero’s replacement; then deciding to retire as Daredevil yet again, a resolution that lasted less than an issue, as a robot assassin sent by Starr Saxon to kill DD instead attacked Matt, having found him by scent (long story); that event required him to suit up again, and ultimately led to his current predicament of subject to being blackmailed by Saxon over his secret identity. Read More
By May, 1969, I’d been reading Marvel comics regularly for about a year and a half, and had sampled at least one issue of most of their superhero-fronted titles — most, but not quite all. This month, I finally got around to checking out The Incredible Hulk.
At this time, my knowledge of the Hulk was pretty much limited to what I’d been able to glean from his guest appearances in comics I had read, the most substantial of which had been in Avengers Annual #2 (Sept.,1968) and Captain America #110 (Feb., 1969). From those, I’d learned at least some of the basics regarding the character — I knew, for instance, that the Hulk was the super-strong alter ego of Dr. Bruce Banner, an otherwise “ordinary” human being. I even knew a bit about his past history with a teenager named Rick Jones. But I also knew that he was belligerent, dangerously uncontrollable, and — at least sometimes (especially as depicted by artist Jim Steranko in CA #110) — rather frightening. Based on what I’d seen so far, I didn’t quite understand what made the Hulk a superhero.
But Marvel certainly seemed to be positioning him as a superhero, as best as I could tell; and I liked Marvel superhero comics. Thus, it was inevitable that I’d give the Hulk’s series a shot sooner and later; and when Hulk #118 came along, it probably seemed like an ideal opportunity to take the plunge, if only because the issue guest-starred the one other Marvel heroic headliner whose title I still hadn’t sampled: Prince Namor, the Sub-Mariner. Read More
After having bought Captain America for five months straight (or almost straight, as I somehow managed to miss issue #111), in early 1969 I took a couple of months off from reading the Star-Spangled Avenger’s adventures. Five decades later, I can’t quite remember why I did so. Obviously, beginning with #114 there was a considerable stylistic shift in the look of the book, which had just seen the end of Jim Steranko’s brief but epochal run as the series’ artist — but it seems unlikely that I would have turned up my nose at the work of either John Romita (who drew both the cover and interiors of #114) or John Buscema (who contributed the interior art for #115, behind a Marie Severin cover), considering how much I enjoyed their work on other titles. Admittedly, the Romita cover is a little dull, at least in comparison to the Steranko (and Jack Kirby) jobs that immediately preceded it, but it’s hard for me to believe I would have passed on Severin’s dramatic rendition of a shrunk-down Cap being held prisoner within a transparent cube by the Red Skull, while Sharon Carter looks on helplessly. Perhaps I never actually saw that issue on the stands (or the one preceding it, for that matter). Read More