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
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 November, 1971, the cover of Avengers #96 heralded a new era for the title, as a streamlined new logo created by Gaspar Saladino replaced the one that had graced almost every issue of the Marvel Comics series since its launch back in 1963. A previous attempt to replace the original logo in 1969 had lasted a mere eight issues; this latter effort obviously proved a great deal more durable, as Saladino’s design, while undergoing multiple modifications over the years, has survived in recognizable form down to the present day. 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 October, 1970, I returned to Marvel Comics’ Avengers after a hiatus of one full year, during which time I hadn’t bought or read the title at all. Avengers had been one of my most reliable Marvel purchases for a year or so prior to that break, but, for reasons lost to time, I was a little tentative about committing to the series again; and after buying (and, as I recall, enjoying) both #83 and #84, I sat out the next three months, not picking up another adventure of the Assemblers until #88, in March. That one seemed to do the trick, however, because from that point on I wouldn’t miss another issue. (Well, not until 1980 or thereabouts, anyway — but that’s another story.)
Or maybe it wasn’t #88 that sealed the deal — that Harlan Ellison-plotted issue, enjoyable as it was, essentially functioned as a lead-in to the same month’s issue of Hulk, and didn’t spend much energy encouraging readers to come back for the next month’s Avengers. Avengers #89, on the other hand, kicked off a multi-issue storyline that just kept building and building, never offering anything like a reasonable jumping-off point. By the time that storyline — the Kree-Skrull War, as we’d all quickly come to call it — came to an end with #97, it was December, and buying Avengers had become an ingrained habit for your humble blogger. Read More