As I’ve discussed in a previous post, when Marvel Comics brought back their mid-Sixties double-feature format with two titles in 1970, my younger self promptly jumped on one of them — Amazing Adventures, co-starring the Inhumans and Black Widow — picking up both the first and second issues. For some reason, however, I put off sampling the companion title — Astonishing Tales, headlined by Ka-Zar and Doctor Doom — for several months, so my first issue was the series’ third. Yes, reader; that does indeed mean that I turned up my nose at new work from not just one, but two giants of comic book art — Jack Kirby (who already had one foot out the door at Marvel) and Wally Wood (who was just putting a foot back in). What can I say? I was a callow youth, who pretty much took Kirby for granted (he put a couple of new books out every month, after all; if you missed one, there’d be another one along in a couple of weeks) — and, truth to tell, I didn’t yet know who Wood even was, or why I should care. Read More
As regular readers of this blog may recall, I started picking up the Roy Thomas-Neal Adams-Tom Palmer run of X-Men with the second issue, #57, in which the book’s new creative team began their “Sentinels” storyline. I managed to score the next issue as well, and so was on hand for the debut of Alex Summers’ costumed identity, Havok — but then, the following month, I missed issue #59, and thus didn’t get to read the end of that storyline. Read More
I feel pretty confident in making the statement that Neal Adams’ cover for X-Men #58, featuring the debut of Scott “Cyclops” Summers’ younger brother Alex in the costumed hero identity of Havok, is one of the most iconic of the late Silver Age at Marvel Comics. But apparently, not everyone associated with that cover was, or is, completely happy with how it turned out — at least, not in the published version.
According to a 1999 article for the comics history magazine Alter Ego by the issue’s scripter (who was also Marvel’s associate editor at the time), Roy Thomas:
…Neal turned in a real beauty for X-Men #58, with a color-held overlay of Havok as the focal point. Alas, Neal’s suggested color scheme wasn’t followed. Instead of the blue that would have been the closest equivalent of the black in his costume inside, it was decided (by whom I dunno, but it wasn’t me, babe) that the Havok figure should be color-held in orange and yellow. Bad idea.
Well, maybe. I gotta say, though, that that orange-and-yellow has always worked for me. I mean, those colors really popped against the cover’s dark blue-gray background; and besides, blue ain’t black, after all. Too bad we don’t have a “blue” version to compare the published version with… wait, what did you say? We do, kind of? Courtesy of the cover to the trade paperback edition of Marvel Masterworks – The X-Men, Vol. 6, featuring Adams’ art newly recolored by Richard Isanove? Oh, okay then. Read More
I first made the acquaintance of Marvel Comics’ X-Men in April, 1968 — one year prior to the publication of the subject of today’s post. — when they made a guest appearance in Avengers #53. That particular issue turned out to be the last chapter of a crossover story that had begun in the mutant team’s own book; and even though I now knew how everything would turn out, I was still curious enough about the characters and situations to go back and pick up the preceding chapter in that same month’s issue of X-Men (and even to buy the issue before that, when the opportunity presented itself). But though I enjoyed those two comics well enough, I wasn’t taken enough with either of them to keep following the series. As I wrote in my X-Men #45 post last year, that may have been partly due to the somewhat atypical circumstances surrounding the book at the time I sampled it. Marvel had then just recently decided to start downplaying the team concept in the series’ cover designs, in favor of spotlighting the individual members (or, in a few cases, major story events); a decision that was soon mirrored in the stories themselves, as the team actually broke up in the issue immediately following the Avengers crossover, #46. In addition, I was almost certainly influenced in my decision to pass on X-Men (at least for the time being), by my lack of enthusiasm for the competent but underwhelming art that then filled the title’s pages, by the likes of Don Heck and Werner Roth.
Apparently, I wasn’t alone in my general attitude of indifference to Marvel’s Merry Mutants, as, by virtually all accounts, the title was the publisher’s worst selling at the time — if not yet right on the edge of cancellation, then still uncomfortably close to it. Which is why, when Neal Adams — the hottest young artist at Marvel’s main competitor, DC Comics — came to Marvel expressing an interest in doing some work for them, and editor-in-chief Stan Lee gave him his choice of assignments… Adams chose to work on X-Men. Read More