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
Readers of our Avengers #105 post back in July may recall how that issue’s plot — the first from the title’s brand new writer, Steve Englehart — concerned the team’s search for their missing member Quicksilver, who’d disappeared towards the end of the previous issue. Following the inconclusive resolution to their efforts in that tale, Earth’s Mightiest Heroes would continue their quest for the mutant speedster for months to come. But, surprisingly — well, it surprised me, back in November, 1972 — when Pietro Maximoff was finally “found”, it didn’t happen in the pages of Avengers; instead, Quicksilver resurfaced in, of all things, an issue of Fantastic Four — which, as it happened, was the new super-team scripting gig of Roy Thomas, the man who’d written Avengers for the last five-plus years prior to Englehart taking over, and thus the guy who’d launched the whole “where is Pietro?” mystery in the first place. From a creative standpoint, it made a certain kind of sense that Thomas would be the one to ultimately wrap things up; but in terms of the ongoing mega-story of the Marvel Universe, it seemed to come out of nowhere. How did Quicksilver ever manage to end up in the Himalayan homeland of the Inhumans, the Great Refuge? And why the heck was he fighting the Fantastic Four’s Human Torch, Johnny Storm? Read More
Writing about Avengers #100 back in March of this year, I referred to the four issues that immediately followed that milestone as a “victory lap” for Roy Thomas, whose nearly-six-year tenure as the title’s writer was about to come to an end. In characterizing Avengers #101-104 in such a fashion, I don’t mean to denigrate them; they’re not bad comics, by any means. But coming directly upon the heels of the three-part “Olympus Trilogy” crafted by Thomas with Barry Windsor-Smith — and, right before that, the “Kree-Skrull War” epic by Thomas, Neal Adams, and Sal and John Buscema — these comics can’t help but seem somewhat anticlimactic by comparison. I suppose there’s always been a part of me that kind of wishes that Thomas had just quit while he was ahead. Read More
Any of you out there who aren’t already familiar with this particular comic book may be taking a look at its John Buscema-Joe Sinnott cover right now and thinking, “Nice, but what’s so special about Ka-Zar rasslin’ a big alligator, even underwater, that Astonishing Tales #12 should rate its own blog post?” The fact of the matter, however, is that this issue (along with its immediate follow-up, Astonishing Tales #13) represents a significant chapter in the histories of not one, but two, semi-major Marvel Comics characters — neither one of whom happens to be the self-styled Lord of the Savage Land. Read More
The final panel of Avengers #99 had promised that “this hour” would see an imminent invasion of “the hallowed halls of Olympus!!“, as Earth’s Mightiest Heroes prepared to mount a rescue of their amnesiac comrade, Hercules, who’d just been snatched away by servants of Ares, the Greco-Roman God of War. So you’d naturally expect the next issue to begin with such a scene — or if not, then maybe a scene of something happening simultaneously to the invasion, just to draw out the suspense a little bit longer.
As we’ll see momentarily, that’s not quite what happens in the opening pages of the Avengers’ hundredth issue. But our heroes’ delay in launching their assault on the home of the gods turns out to have some justification behind it. After all, it takes a little time to gather all of the characters on view in artist Barry Windsor-Smith’s instant-classic cover image — a first-time-ever assemblage of every Marvel character who’d ever been an Avenger as of March, 1972. Read More
Cover to Journey into Mystery #1 (Jun., 1952). Art by Russ Heath.
Cover to Journey into Mystery #83 (Aug., 1962). Art by Jack Kirby and Joe Sinnott.
As milestone issues of long-running comic-book series go, Thor #200 is a fairly odd duck, for a number of reasons. The first, of course, is that it’s not really the 200th issue of “Thor“ at all; rather, it’s the two-hundredth sequential release of a periodical publication that began its existence in 1952 as Journey into Mystery, an anthology title which had nary a thing to do with the Norse God of Thunder until the Marvel version of that mythological figure made his debut in its 83rd issue, ten years into the book’s run.
Since the title of the publication wasn’t changed from Journey into Mystery to Thor until issue #126, there hadn’t ever been a Thor #100. (To the best of my knowledge, there hasn’t been one in later years, either, despite multiple relaunches of the series over the last few decades; and given Marvel’s current publishing model, which simultaneously incorporates both successive restarts and “legacy” numbering, there probably never will be.) The actual 100th issue of “Thor” as a continuing feature had been #182 — and though that was a pretty good issue, featuring a battle with Dr. Doom as well as marking the beginning of John Buscema’s multi-year tenure as the series’ new regular artist, it hadn’t taken any special note of the occasion. By the time issue #200 rolled around, however, Marvel had made the 100th issues of Fantastic Four and Amazing Spider-Man causes for celebration — and they were about to do the same with Avengers #100, which would arrive on stands one week after Thor #200 (it’ll also arrive on this blog one week from today, just in case you were wondering). With 200 being such a nice round number, it would have been surprising if Marvel hadn’t chosen to commemorate Thor‘s issue numbering reaching it, as arbitrary as the milestone was in some ways.
But all of that represents just one way that Thor #200 was somewhat off-model as commemorative issues go. Another was that the main story was a retread of a tale originally presented in 1966 (right around the time Journey into Mystery became Thor, coincidentally enough). And yet another was that that story was a fill-in — or, at least, it read like one. Read More
When we last left Conan back in December, he and his two companions — Zephra (daughter of Conan’s old foe, the wizard Zukala), and Elric (ruler of an otherworldly realm called Melniboné) had just fended off an attack by Prince Gaynor the Damned and his Chaos Pack of beast-men. We now pick up the tale where Conan the Barbarian #14 left off, as presented by the same storytellers — plotters Michael Moorcock (creator of Elric) and James Cawthorn, scripter Roy Thomas, artist Barry Windsor-Smith, and co-inker (with Windsor-Smith) Sal Buscema: 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
When we last checked in with the Fantastic Four, the team was dealing with the aftermath of the temporarily deranged Thing’s rampage through Manhattan in FF #111, and subsequent rumble with the Hulk in issue #112 — a battle which had apparently left Ben Grimm no longer among the living. As revealed in the following month’s #113, however, Ben wasn’t completely dead, and Reed Richards (aka Mister Fantastic) was ultimately able not only to resuscitate his old friend, but reverse the ill effects of Reed’s attempt to cure him back in #107, restoring Bashful Benjy to his old irascible (but not antisocial) self.
Notwithstanding that good news, the FF still had some major problems with which to contend. Public opinion had turned strongly against them over recent events, to the extent that there was a warrant out for their arrest; plus, their landlord at the Baxter Building was trying to throw them out of their headquarters. But most urgent of all was a surprise visit from an old friend, whose coming was teased throughout the first thirteen pages of the story by a bright light in the sky that drew steadily closer and closer until, at last, it entered in through the FF’s window, and revealed itself as… the Watcher! Read More
While any specific memory of the occasion has been lost to time after half a century, I feel pretty sure I was at least mildly startled when I dropped in at my neighborhood Tote-Sum in the first week of August, 1971, and discovered that all the new Marvel comics — including the latest issues of three series I was buying regularly, Daredevil, Iron Man, and Thor — were now 25 cents (up from 15), and 48 pages, not counting covers (up from 32).
I wasn’t completely surprised, of course. After all, DC Comics had raised their prices and page counts by the exact same amounts two months earlier, and it only made sense that Marvel would eventually follow suit. (The only other comics industry price hike I’d experienced personally — the move from 12 cents to 15 cents back in 1969 — had been effected by both DC and Marvel more or less simultaneously.) What was more, several Marvel titles, such as Conan the Barbarian, had already made the jump to the new format/price point back in July — a move that Marvel had at least hinted could be a harbinger of things to come via a comment on that month’s Bullpen Bulletins page. (“As for what the future holds in store for the rest of our magniloquent mags — well, keep lookin’ forward, pilgrim, ’cause that’s where the future’s coming from!”) But a hint’s not the same thing as a promise, and just because one expects something to happen eventually, doesn’t mean one won’t still be surprised when said thing happens right now. So, I’d say that at least some mild startlement was in order for my fourteen-year-old self, as well as for most of my comics-buying peers. Read More