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
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
Sub-Mariner was the last Marvel solo superhero title of the late ’60s that I got around to sampling as a young comics reader. As I indicated in my Incredible Hulk #118 post a few months back, it probably took a while for me to warm up to the Avenging Son of Atlantis (as it likely also did for ol’ Greenskin) simply because it was hard for me to see the guy as a bona fide superhero. After all, when I encountered Prince Namor in other comics — mostly reprints of Fantastic Four and Avengers stories from the early Sixties — he was usually fighting other heroes while attempting to conquer the surface world. And though I understood that, these days, he was no longer actively trying to overthrow human civilization, the Sub-Mariner still seemed to have such an attitude. He was a damned imperious sort of Rex, if you know what I mean. 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
At the conclusion of our discussion of Thor #166 three months ago, we left the God of Thunder about to face the judgement of his omnipotent All-Father, Odin, for his crime in succumbing to the affliction of Warrior Madness. Thor had been driven to this state of irrational, uncontrollable fury following the abduction of his lady, Sif, by the artificially-created superhuman called Him (later to be known as Adam Warlock). As things turned out, Sif was safely rescued, and Him, though soundly thrashed by the scion of Asgard, escaped without mortal injury. Nevertheless, at the issue’s end Thor was called home to the Golden Realm to face the music; what he didn’t yet know, but we readers did, is that Odin had already determined that his punishment would be to go on a cosmic quest to find the world-devouring Galactus, learn the secret of his origin, and end his threat forevermore. 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
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
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
There’s a case to be made that the God of Thunder’s adversary in the issue of his comic we’re discussing today — the being known at this point only as “Him”, though he’d later pick up the less confusing appellation “Adam Warlock” — was the last major character creation of artist/storyteller Jack Kirby during his most important and productive tenure at Marvel Comics. As recalled by comics writer and historian — and longtime Kirby associate — Mark Evanier (and reported by numerous writers, including Mike Gartland in The Jack Kirby Collector #24), the story that Kirby plotted and drew for Fantastic Four #66 – 67 was a tale of well-intentioned scientists who create an ultimate human being, an entity who’s not only physically perfect but also possesses godlike powers, only to have this being, once it’s emerged from gestation within its cocoon, turn on them and destroy them, simply because they don’t meet his standards of perfection. However, when it came time to script the story, Kirby’s collaborator (and editor), Stan Lee, jettisoned this theme — intended as Kirby’s ironic commentary on Ayn Rand’s Objectivist philosophy — possibly because it didn’t present a clear-cut “bad guy”. In Lee’s version of the story — which was the one that saw print, of course — the scientists wanted to use their creation to dominate the world; “Him” realized this, and destroyed the would-be despots before taking his leave of humanity. Already disgruntled with Lee (and with Marvel Comics, generally) over a number of matters — including the way that Lee had appropriated and reinterpreted an earlier Kirby creation for FF, the Silver Surfer — Kirby may have seen this latest alteration of his creative vision to be, in Gartland’s words, “the last straw”. From this time on, the theory goes, the “King” would refrain from bringing his full creative powers to bear on the work he did for Marvel, with the result that he would introduce few, if any, truly significant new characters in his last couple of years before jumping ship for DC Comics. Read More