As this post goes out on April 30, 2022, we’re a little less than a week away from the premiere of the second multi-million dollar motion picture from Marvel Studios starring Doctor Strange, Master of the Mystic Arts.
But fifty years ago, in the last week of April, 1972, Marvel Comics was just hoping that maybe the good Doctor might be able to sustain his own solo comic book series again, his last such having been canceled in 1969. Although they were hedging their bets a little by bringing him back not in his own title — not yet, anyway — but in the tryout book Marvel Premiere. 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
In early 1972, despite the fact that I’d been reading Amazing Spider-Man for four years (albeit with a single ten-month hiatus between March, 1970, and February, 1971), one of his longest-established supporting characters — Eugene “Flash” Thompson — was, if not exactly an unknown quantity to me, still less than a truly familiar face. My first issue of Spidey’s title, #59, had been released one full year following #47, the issue in which storytellers Stan Lee and John Romita had shipped Flash off to military service in the Vietnam War. Sure, I had read enough reprints of the early, high-school-set material by Lee and Steve Ditko to have a good grasp of the character’s original bullying-Peter-Parker-while-idolizing-Spider-Man shtick. But my “real time” encounters with Flash had been limited to a few scenes that appeared in a run of late-’69 to early-’70 issues, where the young soldier had made a return visit stateside just long enough to incur Peter’s jealousy over Gwen Stacy, due to a misunderstanding that thankfully got cleared up (more or less) before Flash headed back to Southeast Asia. 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
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
Back in October of last year, this blog took a look at Thor #195 — the initial chapter of incoming writer Gerry Conway’s first full story arc for the series, following two issues devoted to wrapping up a multi-parter begun by his predecessor, Stan Lee. If you’ve been wondering if we were ever going to get back to the God of Thunder’s quest for the Twilight Well at the World’s End, well, thou need’st worry no longer. Though, since it’s been a few months, we obviously have some catching up to do on the three issues that fall between #195 and the main topic of today’s post, Thor #199.
But before we jump into a recap of issues #196-198, it would probably be useful to briefly refresh our collective memory about what went down in #195. We have discussed a lot of other comic books in the last four months, after all. Read More
You know, Marvel may have never quite licked the horror/mystery/fantasy/science fiction/what-have-you anthology format during the Bronze Age of Comics — at least not in the color comics arena — but you’ve got to give them points for trying. From 1969 to 1975, the publisher launched at least sixteen series that can be grouped within that admittedly broad category (more, if you include all the title changes). It’s quite the bewildering array of funnybooks to try to get a handle on half a century later, even if you were buying and reading Marvels all through the era (as your humble blogger indeed was). Trying to account for all those Loose Creatures and Dwelling Monsters, not to mention the Shadowy Towers and Crypts and the Chambers offering you a choice of either Darkness or Chills, can feel like a real Journey into Mystery at times; honestly, it can be hard to know if you’re coming or going. Or Prowling or Roaming, if you catch my drift.
But never Fear, faithful reader — Attack of the 50 Year Old Comic Books is here to help. While I can’t promise you’ll possess a comprehensive understanding of all the varied aspects of this little chapter in comics history by the time you finish reading this post, I believe that I can at least relieve you of feeling like you’re trapped within a Tomb of Darkness, informationally speaking. Something like that, anyway. At least for the first couple of years of the phenomenon. 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
Regular readers of this blog may recall my mentioning my religious upbringing on a few earlier occasions. But for those who don’t know, or have forgotten, I was raised Southern Baptist. My parents were very devout — they’d actually first met at the church we all later attended as a family — and I was inculcated in church doctrine pretty much from birth. The very earliest stories that I consumed were Bible stories.
So you’d expect that the not-especially-subtle Christian allegory at the core of Roy Thomas and Gil Kane’s “Warlock” must have been glaringly obvious to me back in November, 1971, when at age fourteen I first read the comic that’s the subject of today’s blog post. Maybe I was offended, and maybe not, but surely I at least got it, right? Read More