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
That was the question facing Marvel Comics in general, and Avengers writer/de facto editor Roy Thomas in particular, fifty years ago. In terms of its length and scope, the aforementioned nine-issue storyline had been all but unprecedented at the publisher. Not to mention the fact that the epic’s back half had (mostly) been visualized by perhaps the hottest artist in American comics at the time, Neal Adams.
So what do you do for an encore? Well, if you’re Thomas, you segue right into a three-parter which, even if it can’t beat the KSW for length, at least gives it a run for its money in terms of scale — and which wraps things up with a very special 100th issue featuring every single Marvel character who’s ever been an Avenger, however briefly. And as your collaborator on this trilogy, you bring back an artist who, since his first brief Avengers stint in 1969, has evolved from a raw but promising young talent to, well, another of the hottest artists in American comics, Barry Windsor-Smith. Read More
I’m not sure exactly what my fourteen-year-old self was expecting to see on the cover of Avengers #97 when it first turned up in the spinner rack, back in December, 1971; nevertheless, I’m pretty confident that Gil Kane and Bill Everett’s illustration highlighting Captain America, the original Human Torch, and the Sub-Mariner — plus four other guys I didn’t recognize — wasn’t anywhere near it. I mean, it was a great image, but aside from Cap, none of those characters were Avengers. And “Rick Jones Conquers the Universe!”? OK, that last bit wasn’t so unexpected — it had been pretty clear from the latter scenes of the preceding issue that Rick was going to play an important role in the conclusion of the Kree-Skrull War. But still — where the heck were the Avengers? Or the Kree or the Skrulls, for that matter? Read More
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
In crafting the installment of their ongoing “Kree-Skrull War” epic that arrived on stands in September, 1971, the Avengers creative team hadn’t had the luxury (or, if you prefer, the burden) of 34 pages to work with, as they’d had for a single issue with the previous month’s issue #93. Rather, the first 20-cent edition of the title featured a mere 23 pages of art and story.
Nevertheless, the reduction of space didn’t deter writer Roy Thomas from continuing to break each issue’s episode of the galaxies-spanning saga into multiple chapters — or from giving every chapter its own individual title, each inspired by a well-known work of science fiction. For #94’s “More Than Inhuman”, the reference was to Theodore Sturgeon’s 1953 novel, More Than Human: Read More
If there’s a single comic book that best exemplifies the potential of the all-new, 48-page format which Marvel Comics rolled out to great fanfare in August, 1971 (or, as we’ve christened it on this blog, Giant-Size Marvel Month), it surely must be the subject of today’s post: Avengers #93, featuring the 34-page story “This Beachhead Earth” — which, in addition to being the mid-point of the extended storyline known as the Kree-Skrull War, was also the first installment of a short but superlative run on the series by the creative team of scripter Roy Thomas, penciller Neal Adams, and inker Tom Palmer.
And if any set of classic comics exemplifies just how contentious two talented creators can become over the issue of who deserves the credit for which aspects of their storied collaboration, it’s the same short Avengers run by Thomas, Adams, and Palmer. Read More
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 our last post, we took a look at Justice League of America #89 — a very special issue of DC Comic’s premiere super-team book, in which writer Mike Friedrich paid homage to one of his literary heroes by basing his story’s central character of “Harlequin Ellis” on the noted science fiction author and screenwriter, Harlan Ellison.
By a remarkable (but apparently entirely random) coincidence, the same month that saw the publication pf JLA #89 (March, 1971) also saw the release of a very special issue of the Marvel Comics series featuring that publisher’s nearest analogue to the Justice League, Avengers, which writer Roy Thomas had scripted from a plot outline by the real Harlan Ellison. You really can’t make this stuff up, y’know? Read More
Some fifteen months ago, I blogged about Avengers #70, which featured the first full appearance of the Squadron Sinister. Regular readers may recall my sheepish confession in that post that, despite how blindingly obvious it is to me now that these four characters were homages to/parodies of (take your pick) DC Comics’ Superman, Batman, Flash, and Green Lantern, in September, 1969 my then twelve-year-old self didn’t pick up on the joke at all.
Nor was I aware that this comic book was one half of a “stealth crossover” of sorts between Marvel Comics’ Avengers and its counterpart title over at DC, Justice League of America. Said crossover apparently had its origins at a party at which comics writer Mike Friedrich suggested to a couple of his cohorts, Roy Thomas (the writer of Avengers) and Denny O’Neil (then the writer of JLA), that they each present a “tip of the hat” of some sort from the super-team book they were writing to its rival, in issues coming out in the same month. Thomas and O’Neil both agreed, and Avengers #70 and JLA #75 were the results. But while the inspiration for Thomas’ Squadron Sinister was all but self-evident (though of course not to me, or to the other fans who chimed in after my September, 2019 blog post that they hadn’t caught on either), the relationship of the supposed Avengers analogues in O’Neil’s story — evil doppelgängers of the Justice League called “the Destructors” — to their Marvel models was obscure to the point of opacity, with the parallels being limited to such bits as having Superman’s dark twin refer to himself as being as powerful as Thor. (Um, sure.) I didn’t actually buy JLA #75 when it came out, but I’m all but 100% certain I wouldn’t have realized what O’Neil was up to with such subtle shenanigans, even if I had. Read More
As the year 1970 wound down, it seemed that mainstream American comic books had, at last, embraced the “sword and sorcery” fantasy subgenre in all its pulpy glory. After some tentative moves in that direction — courtesy of DC Comics’ three “Nightmaster” issues of Showcase in 1969, which were followed in 1970 by Marvel’s publication of several S&S short tales in its new horror anthology titles like Chamber of Darkness and Tower of Shadows — Marvel finally jumped into the deep-end of the pool in July, 1970, with a licensed adaptation of the field’s most prototypical character, Robert E. Howard’s Conan: Read More