Behind an attention-grabbing cover pencilled by John Buscema from a rough layout by Jim Starlin (and inked by Frank Giacoia), the Defenders creative team of writer Steve Englehart, penciller Sal Buscema, and inker Frank McLaughlin began this latest installment of the super-team’s continuing adventures right where the previous one had left off.
It wasn’t exactly what you’d call a happy scene… Read More
In previous posts, we’ve discussed a couple of early “unofficial” crossovers between DC and Marvel Comics that appeared in 1969 and 1970. Both involved an issue each of DC’s Justice League of America (#75 and #87) and Avengers (#70 and #85), and both were built on a conceit of each super-team series parodying the stars of the rival company’s book during the same month. Part of the fun — at least for the creators responsible — was its mildly illicit nature, as none of the writers involved (JLA‘s Denny O’Neil and Mike Friedrich, Avengers‘ Roy Thomas) informed their bosses (DC’s Julius Schwartz, Marvel’s Stan Lee) what they were up to. The results were perhaps something of a mixed bag (both as crossovers and simply as stories), but for the most part, these books made for a good time for comic-book fans. 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
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
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
The subject of today’s post has the distinction of being the first Marvel Comics “first issue” I ever purchased. That may actually be somewhat less of a big deal than my putting it that way makes it sound, since, way back fifty years ago in May, 1968, I’d only been buying Marvel’s books regularly since the beginning of the year — and also because prior to January, 1968, launches of brand-new Marvel comics were pretty rare birds. Read More