Like many another character to arise out of the production methods of the two major American comic book companies, Marvel Comics’ supernatural superhero Ghost Rider — the one with the flaming skull — had a number of creative minds involved in his beginnings.
Or, alternatively, he was in every significant sense the creation of one sole individual. It all depends on whom you ask. (Or perhaps that should be “asked”, as more than one of the principals involved is no longer with us.)
That’s true in regards to a number of other comics characters as well, of course — though in most cases, the difference in opinion doesn’t make it all the way to federal court. But more on that a bit later. For now, let’s begin with a fact that’s not in dispute — to wit, that the flaming-skull guy who debuted in the 5th issue of Marvel Spotlight half a century ago was not the first comic book hero to bear the name “Ghost Rider”. Read More
Like its immediate predecessor, the second installment of writer Roy Thomas and artist Barry Windsor-Smith’s three-part follow-up to the Kree-Skrull War leads off with a cover inked by Windsor-Smith, but pencilled by John Buscema. If you happen to have read our post about part one, aka Avengers #98, then you may recall that your humble blogger was obliged to confess therein that he’d gone close to five decades not realizing that Buscema had anything to do with that book’s cover, never having recognized any hand at work on it save for that of Windsor-Smith. Something similar holds true for the cover of our present subject, Avengers #99 — only this time, it’s Buscema whose style I’ve always recognized, and Windsor-Smith whose contribution failed to register with your humble blogger until quite recently, when I checked the Grand Comics Database as part of my research for this post. (This fact probably has no significance beyond highlighting what a poor eye I have for picking out artists’ styles, but it’s still kind of amusing, at least to me.)
Behind the cover, on the other hand, Windsor-Smith’s work was unmistakable — and would have been even had the opening splash page carried no credits at all… Read More
(Your first Hulk vs. Thing slugfest, that is. Why, what did you think I meant?)
Technically, I suppose FF #112’s “Battle of the Behemoths!”, crafted by the regular Fantastic Four creative team of scripter Stan Lee, penciller John Buscema, and inker Joe Sinnott, wasn’t really my first experience seeing these two Marvel Comics heavy hitters go at it. Rather, that would have come several months earlier, courtesy of Marvel’s Greatest Comics #29 (Dec., 1970), which reprinted the characters’ very first meeting from FF #12 (Mar., 1963); the problem there, however, was that that story (a production of Lee, Jack Kirby, and Dick Ayers) was actually a bit of a bust, at least as far as Thing-Hulk dust-ups went. The two bruisers didn’t actually encounter each other until page 17 of a 23-page story, and in the three page fight scene that followed, ol’ Jade Jaws took on the entire Fantastic Four, not just Bashful Benjy Grimm. While both big guys got in some licks, the scene ultimately wasn’t very satisfying as a one-on-one match.
Also contributing to making this story less than a slam-dunk for my thirteen-year-old self was its age — or, more accurately, what its age signified in terms of the development of the characters, both visually and personality-wise. This was a decidedly different Hulk than the one I was familiar with — among other things, this guy spoke in the first person, and he wore purple trunks, rather than the tastefully torn trousers of the same hue that I was used to seeing him in — while this Thing was a lumpier and more belligerent fellow than the hero I was accustomed to, as well. 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
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
Honestly, I have no idea why it took so long for me to buy my first issue of Fantastic Four. After all, I’d been watching their Saturday morning TV cartoon since September, 1967, same as I’d been watching Spider-Man, which had premiered at the same time. But while I’d started picking up Spidey’s monthly comic in January, 1968, it took me another five months to take the plunge with the FF.
As I speculated in last week’s post about Captain America #105, it may have been that I was a little leery of Jack Kirby’s artwork, which looked different than the art in any other comic I was reading. Or, possibly, I was waiting for the continued story that, thanks to the issue descriptions featured in the monthly “Mighty Marvel Checklist”, I knew had been running since issue #74 — involving Galactus, the Silver Surfer, and Psycho-Man — to wrap up, so that I wouldn’t be jumping in in the middle of a storyline. At this late date, I have no way of knowing for sure. But in any event, when I saw #78 on the spinner rack in June of 1968, I was ready at last to put Marvel’s claim of global preeminence to the test. Read More