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
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 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
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
I never owned a “Captain Action”
doll action figure as a kid, and to the best of my recollection, I never wanted one all that much.
Not that I had anything against
dolls action figures as a class, you understand. Indeed, I was a proud owner of a “G.I. Joe” (the real one, mind you), and I also had a “Man From U.N.C.L.E.” that the box claimed was Napoleon Solo (though if that were actually true, it was the worst likeness of actor Robert Vaughn ever). But the concept behind Captain Action didn’t have all that much appeal for me, apparently — even though I think I could still appreciate how clever it was, even as a child. 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
I gotta say, I sometimes have a hard time figuring out what was going through my younger self’s mind when I made certain choices at the spinner rack half a century ago. The subject of today’s post is a case in point. I mean — why would I put down 25 cents for a giant-size humor comic filled with satirical versions of Marvel characters I was only now getting to know in their “serious” incarnations?
I’m guessing that it was partly because Not Brand Echh, with its parodies of current movies and TV shows as well as comic books, reminded me of Mad magazine — which was one of my most regular comics purchases in the late Sixties, despite the fact that I haven’t yet devoted a blog post to it (probably because back in my younger days, I didn’t think of Mad as a bona fide “comic book”, due to its black-and-white magazine-size format). And, hey, my inclination to go for the “bargain” of getting multiple heroes for the price of one (which, in contrast to Mad, I’ve often noted on the blog), may have figured into my purchasing decision as well — even if these were parody version of the heroes, there were still a lot of ’em. Read More