We’re going to start this post off a little differently than any other among the 405 (!) that have preceded it, as before we can proceed to our discussion of Captain Marvel #31, your humble blogger has an apology — and a correction — to make regarding our Captain Marvel #30 post from October.
You see, I left the whole last page of that issue’s story out of the post. Arrgh. Read More
As we covered here back in August, the twelfth — and final — issue of Marvel Feature ended with Benjamin J. Grimm (aka the Thing), stranded in a desert in the American Southwest. But we Marvel Comics readers of 1973 had no need to worry over the fate of our rocky orange hero, since just two months later, the narrative of Ben’s travails picked right up in Marvel Two-in-One #1 — the first issue of a brand-new title devoted to the “Thing Team-Up” series premise that had made its debut in Marvel Feature #11.
With the new title came a (mostly) new creative team; for, while longtime Fantastic Four inker Joe Sinnott soldiered on, making sure that Aunt Petunia’a favorite nephew remained reliably on-model, the series was now being written by Steve Gerber and pencilled by Gil Kane. Gerber and Kane faithfully picked up the threads left behind by previous storytellers Mike Friedrich and Jim Starlin, having Ben Grimm finally reach civilization and buy a bus ticket home to New York — only to exchange it for one for Florida, after catching sight of a news story regarding a certain muck-encrusted mockery of a man who’d been sighted shambling about the Sunshine State’s swampy Everglades. “Like it ain’t bad enuff just bein’ the Thing –!” Ben complained aloud to an uncaring universe. “This bug-eyed mudball’s gotta come along and rip off my name!” Read More
The primary subject of today’s post, Defenders #11, is the official conclusion of Marvel’s Avengers/Defenders War crossover event of summer, 1973 — though you’d be hard-pressed to find any evidence of that fact on the book’s otherwise very fine Sal Buscema cover.
Still, as the opening splash page clearly tells us, this is indeed “The 12th and final chapter of the greatest super-epic ever told!” And surely writer Steve Englehart must know whereof he speaks. Mustn’t he? Read More
It’s September, and we’ve finally arrived at the climax of Marvel Comics’ pioneering crossover event of the summer of 1973, the Avengers/Defenders War. Having realized at last that they share a common enemy, the superheroes of the two feuding teams have united to save the world.
So it’s fitting that, for the first time since the storyline began, the cover of this chapter gives us a group shot of multiple members from both teams — although artists Ron Wilson and John Romita have probably chosen wisely in not trying to cram all fourteen heroes, plus supervillains Dormammu and Loki, into a single shot. Rather, they’ve opted to go with just nine, and it’s interesting to take note of who’s been included. Unsurprisingly, every character starring in their own series — that’s Thor, Iron Man, Captain America, and Black Panther (in Jungle Action) from the Avengers, plus Sub-Mariner, Hulk, and Doctor Strange (in Marvel Premiere) from the Defenders — makes the cut. But that still leaves two slots, and they’ve both gone to female characters — the Avengers’ Scarlet Witch and the Defenders’ Valkyrie — which serves to make the cover at least slightly less of a sausage fest. Better luck next time, Silver Surfer, Vision, Hawkeye, Swordsman, and Mantis (the only shero who didn’t make the cover).
Still, if you’re hankering for a big group shot featuring all the heroes from both teams, no exceptions, then have no worries; Marvel’s got you covered on the book’s opening splash page: Read More
Today we continue our coverage of Marvel Comics’ groundbreaking crossover event of summer, 1973, the Avengers/Defenders War. As you’ll recall from our post about Avengers #117 two weeks ago, the latest battle in the ongoing conflict between the super-teams ended without a clear winner or loser, as Captain America and the Sub-Mariner called a time-out to investigate their suspicions that the heroes were being played against each other by a malevolent third party (which was indeed absolutely the case).
But, as had been promised in no uncertain terms by Avengers #117’s end-of-issue “coming next” blurb — and which was proclaimed even more forcefully by Defenders #10’s John Romita cover — whatever “Breakthrough!” might be imminent wouldn’t arrive in time the stop the Mighty Thor and the Incredible Hulk from throwing down. And that was a good thing, since if that match-up hadn’t come to fruition, sixteen-year-old me would have asked for my money back. (Well, not really, since I was well aware the guy working the counter at the Tote-Sum would simply have looked at me like I was crazy if I pulled something like that. But you know what I mean.) As it was, however, I could just kick back and wait for writer Steve Englenart and artists Sal Buscema and Frank Bolle to bring on the brawlers… Read More
Before we leap right into the latest installment of Marvel Comics’ crossover event of summer, 1973 , the Avengers/Defenders War, let’s pause to note how its cover represents yet a third approach to representing the event in the context of a single 20-cent comic book — a comic which Marvel would have been keen to have a prospective buyer pick up, even if they hadn’t bought the ongoing storyline’s two previous episodes. To wit: while the cover of Avengers #116 had spotlighted only the three heroes actively engaging in battle within its pages (i.e., Vision, Scarlet Witch, and Silver Surfer), and that of Defenders #9 “symbolically” shoehorned the three original Defenders (i.e., Dr. Strange, Hulk, and Sub-Mariner) into a scene of Iron Man vs. former Avenger/current Defender Hawkeye, this John Romita-Mike Esposito number puts the focus on the two marquee combatants (i.e., Captain America and Sub-Mariner) while giving us a selection of other Avengers in the form of floating heads, as well as teasing us with a partially-seen guest star… while never using the words “Defender” or “Defenders” at all. It certainly makes for a marked contrast with the covers of most later multi-title crossover events at both Marvel and its rival DC Comics, where the emphasis is on making sure that a prospective buyer knows that a particular issue is part of the event, and so a “must-buy” for anyone following/collecting it… versus trying to downplay the possibility of someone not buying the comic because they don’t have all the previous chapters. Times sure have changed, amirite? Read More
In summer,1973, my younger self was still pretty isolated as a comic-book reader. Good, lasting face-to-face friendships with fellow enthusiasts were on the horizon, but had not yet arrived, and I wasn’t reading fanzines. Therefore, I generally picked up on hot new titles — or on newly hot streaks on older titles — via the publishers’ own marketing efforts, or by reader buzz in the letters columns… or by sheer happenstance.
So how did I finally catch on to what artist-plotter Jim Starlin was up to in Captain Marvel, some five issues and eight months into his soon-to-be-classic run? As best as I can tell, it was due mostly to the latter of those three options — more specifically, via a very unlikely tie-in with, of all things, Daredevil. Read More
According to writer Steve Englehart, the multi-issue Marvel Comics crossover event most of us refer to as the Avengers/Defenders War (Englehart himself prefers to call it the Avengers/Defenders Clash, God bless ‘im) had its origins in his personal affection for the classic Marvel Annuals he’d enjoyed as a fan in the 1960s — epic, overstuffed extravaganzas like the very crashed wedding of Reed Richards and the Invisible Girl in Fantastic Four Annual #3 (1965), or the save-the-timeline battle between the “new” and the “old” Avengers in Avengers Annual #2 (Sep., 1968). As the writer confided in his 2010 introduction to Marvel Masterworks — The Defenders, Vol. 2, “I have great memories of finding these gems and sitting down in the shade of a tree on a sunny summer’s day to read them.” But in recent years, such summertime Annuals as Marvel had continued to produce were mere collections of reprints — nice enough if you didn’t already have those stories, many of which were already classics, but not something you could really get excited about in the same way you could the extra-length, brand-new, “event” stories featured by the Annuals in their heyday. Read More
Like its immediate predecessor, the 122nd issue of Amazing Spider-Man leads off with a cover by John Romita, which, if not quite as iconic as that of #121, is still an exceptionally arresting image. Not to mention one which, back in April, 1973, would likely have shocked the hell out of any semi-regular reader of the web-slinger’s series who had somehow managed to miss not only that most monumental of issues, but also any fannish discussion of same over the several weeks since its release on March 13th.
If there were any such readers fifty years ago, and if they hoped for some sort of recap to bring them up to speed on the details of how so something so unthinkable as the murder of Spider-Man’s beloved Gwen Stacy had come to pass, they were pretty much out of luck — because the creative team behind both the previous episode and this one — i.e., scripter Gerry Conway, penciller Gil Kane, foreground inker John Romita (who may have also contributed to the plot) and background inker Tony Mortellaro — weren’t about to break their storyline’s headlong momentum with any more exposition than was minimally required, let alone any flashbacks: Read More
In our post last October regarding Sub-Mariner #57, we discussed how Subby’s creator Bill Everett, who’d returned to write and draw the series in 1972 with issue #50, began to have trouble keeping up with the book’s monthly schedule due to chronic health issues; this situation eventually led to occasional fill-ins by other creators, as well as to ongoing help for Everett on both the writing and artistic ends of things.
During this period, the continuing uncertainty over Everett’s status month-to-month was evidenced in the title’s letters pages, where the anonymous Marvel Bullpener(s) responsible for answering reader correspondence would be telling fans in one issue (#55) that Everett probably wouldn’t be handling every story going forward, as “getting back into the swing of a monthly deadline is harder than you might imagine”; then, a few months later (in issue #58), explaining that “due to deadline problems, Bill will now be doing final art over the layouts of Irv Wesley [i.e., Sam Kweskin, who occasionally used the Wesley pen name], while Steve Gerber, working closely with the ebullient Mr. Everett, who will continue to plot the yarns, handles the scripting chores”; and then, finally, acknowledging (in #59) that “Bouncin’ Bill Everett has, indeed, moved on to other projects for Mighty Marvel (the monthly deadline on Subby’s book, sadly, proved too much for the compulsively conscientious Mr. Everett to handle)”. Read More