In October, 1971, Avengers #95 brought us what might be the most unusual installment yet in the ongoing epic of the Kree-Skrull War. From one perspective, concerned primarily with the progress of the war and the Avengers’ role in it, it could quite reasonably be deemed the least consequential chapter in the entire saga. From a different point of view, however — namely, that of the Inhumans — it might be the most significant of all.
That’s because Roy Thomas and Neal Adams took advantage of the opportunity Avengers offered not only to wrap up the story they’d begun telling in their most recent previous collaboration — the “Inhumans” strip in Amazing Adventures — but also to deepen the Inhumans’ mythos; especially that part of it wrapped up in the personal histories of the two royal brothers, Black Bolt and Maximus, whose animus had been the driver of most of the narratives Marvel Comics had produced concerning that hidden race ever since Stan Lee and Jack Kirby introduced them back in 1965. Read More
As was discussed in last month’s post on Fantastic Four #102, that issue — featuring the final collaboration of Stan Lee and Jack Kirby on the title — also included a “Stan’s Soapbox” column informing Marvel Comics’ readers that Kirby was departing not just from FF, but from Marvel as a whole. Though I didn’t mention this fact in the earlier post, the same Marvel Bullpen Bulletins text page that featured that announcement also included a relatively lengthy biography of John Romita — a creator who’d been a Marvel mainstay since 1966, and had been either the full penciller or the layout artist for Marvel’s other top title, Amazing Spider-Man, for most of that period. By this time, then, he could hardly have been thought to be an unfamiliar figure to most regular Marvel readers; nevertheless, editor-in-chief Lee seemed to think it was a good idea to introduce (or re-introduce) Romita to the publisher’s True Believers in the wake of Kirby’s abrupt (and unexpected) exodus. Read More
It was the comics industry story of 1970 — and if you were a hip, well-connected fan who subscribed to Don and Maggie Thompson’s newszine Newfangles, you learned about it not all that long after the industry pros did, in March:
If, on the other hand, you were just a run-of-the-mill, solitary comics-reading twelve-year-old like yours truly, you probably had no idea that this was happening until June, when you perused the Bullpen Bulletins page that ran in all Marvel’s comics cover-dated September, 1970 (including Fantastic Four #102), and read the stunning news in Stan Lee’s “Soapbox” column: 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
With the 94th issue of Fantastic Four, Marvel Comics’ new single-issue story policy, first announced by editor-in-chief Stan Lee in a “Stan’s Soapbox” editorial three months earlier, finally caught up with the publisher’s flagship title — its implementation there having been delayed for a couple of issues while Lee and his collaborator Jack Kirby wrapped up their “Skrull gangster planet” multi-parter. Prior to that storyline, the book had featured another serialized tale, involving the Mole Man, that filled up two issues and spilled over into a third; that story had in turn followed a Dr. Doom epic that ran four issues; and so on. In fact, the last real “done-in-one” story to appear in Fantastic Four had been “Where Treads the Living Totem!” in #80 (Nov., 1968) — an issue which happened to be not only the second-ever FF comic I’d ever bought, but also my least favorite issue to date. Outside of reprints, prior to October, 1969 that was likely the only single-issue, non-continued Fantastic Four story my twelve-year-old self had ever read. Read More
The titular subject of today’s post is the first full chapter in the final complete multi-issue storyline of Stan Lee and Jack Kirby’s Fantastic Four. Along with that distinction, this story arc is well remembered for being one of the best examples of how Kirby, by this time deeply dissatisfied with his situation at Marvel Comics, was rather brazenly lifting his story ideas from stuff he’d seen on TV. Several months earlier, he’d “playfully parodied the theme of” (as an item in this very month’s Marvel Bullpen Bulletins put it) the British cult program The Prisoner for the main conceit of a four-part Doctor Doom epic. This time, it was an episode of Star Trek — or, more probably, two episodes of Star Trek. But before we get into all that, here’s a bit of background to help set the stage… Read More
In December, 1968 — about a year and a half after my first sampling of Marvel Comics’ wares, and a year after I’d begun buying the company’s books on a regular basis — I finally got to read a story featuring their number one super-villain. Of course, I’m talking about Doctor Doom.
And by this time, I was more than ready to make the not-so-good Doctor’s better acquaintance. After all, not only had I caught him on several episodes of the Fantastic Four’s Saturday morning TV cartoon show (one of which, “The Way It All Began”, had even provided a stripped-down version of his origin story), but I’d also encountered him in flashback or other cameo appearances in several comics, including Silver Surfer #1 and Not Brand Echh #9 (though the latter was technically not the “real” Victor von D., but rather the “Marble Comics” parody version, “Doctor Bloom”. Read More
Ah, but in the Good Ol’ Days (AKA the Silver Age of Comics), the major funnybook publishers really knew how to celebrate them some nuptials. For an example, take Aquaman #18 (Nov.-Dec., 1964), where the whole blamed Justice League of America turns out for the Sea King’s undersea wedding to Mera (bubble helmets thoughtfully provided by the Royal Atlantean Event Planning Committee, I’m sure), Or Fantastic Four Annual #3 (1965), in which not only do all of Reed Richards’ and Sue Storm’s super friends show up, but so do a whole passel of super foes, as well, thanks to the machinations of the diabolical Doctor Doom. Now that’s what I call a wedding to remember. Not a dry (or un-blackened) eye in the house, y’know what i mean?
And then, there’s Avengers #60, featuring “‘Til Death Do Us Part!”, by Roy Thomas (writer), John Buscema (penciler), and Mike Esposito (inker, as “Micky Demeo”) — which not only gives us an Avengers Mansion-ful of super-powered guests and gatecrashers, but also brings the wacky on a level rarely seen before or since. Read More
As I’ve related in previous posts on this blog, my introduction to Marvel Comics’ Inhumans came not by way of their usual stomping grounds in Fantastic Four, but rather via an issue of Amazing Spider-Man that featured Medusa. Soon afterwards, I encountered Medusa’s little sister Crystal as a supporting character in FF — but all I knew about her at first was that she was the Human Torch’s girlfriend, and that she had a weird pattern in her hair. It wasn’t until issue #81, in which Crys suited up in blue to become the Invisible Girl’s temporary replacement on the team, that I even learned that she had superpowers, let alone that she was a member of the mysterious Inhumans’ royal house.
And then, just one month later, it was at last time to meet the rest of the family… Read More
Sometimes, it can seem like most of the introductory paragraphs I write for these blog posts are explanations (or apologies) for the posts I’m not writing — i.e., the posts about the classic comic books I can’t write about here (at least not directly), because I didn’t buy them new off the stands fifty years ago. That’s been especially true for the comics of 1968 — a year seemingly chock full of milestones, of which I seem to have missed at least as many as I caught. The latest example came just last week, when I had to explain in the introduction to my Avengers #58 post how I’d missed the three issues that led up to that landmark story. And this week, we have yet another one.
If you’re a regular reader, you may recall that my first issue of FF was #78, which featured the first half of a two-part story in which Ben Grimm was cured (again) of being the Thing; unfortunately, I missed the next month’s issue, and by the time I got back on board, with #80, Ben was all orange ‘n’ rocky again, and he and the other guys were having a brief adventure way out West prior to the birth of Sue and Reed Richards’ child. But hey, at least I got to witness the return of one-time regular supporting character Wyatt Wingfoot, along with the awesome debut of a brand-new villain, Tomazooma! Still, that would soon prove small consolation for my missing the next issue of Fantastic Four to hit the stands — namely, the 1968 Annual, which featured not only the debut of a considerably more impressive (and durable) villain, Annihilus, but also the introduction of a brand-new supporting character: none other than Reed and Sue’s bouncing baby boy, Franklin Benjamin Richards.