Back in April, we took a look at Marvel Premiere #3, which relaunched Doctor Strange as an ongoing solo feature following a 32-month absence. That comic, featuring a script by the Master of the Mystic Arts’ original writer, Stan Lee, and art by rising young star Barry Windsor-Smith, inaugurated a story arc centered on a mysterious new menace — someone as yet both unseen and unnamed, but powerful enough to compel the service of Nightmare, one of Dr. Strange’s mightiest foes. The issue ended with the sorcerous superhero returning home to his Sanctum Sanctorum following his defeat of Nightmare, unaware that a silhouetted stranger waited there for him.
Two months later, Marvel Premiere #4 picked up exactly where the previous episode left off — but with a significantly changed creative team. In his 2009 introduction to Marvel Masterworks — Doctor Strange, Vol. 4, Marvel’s then new editor-and-chief (and once and future Dr. Strange scripter) Roy Thomas provided this explanation: Read More
Like many another character to arise out of the production methods of the two major American comic book companies, Marvel Comics’ supernatural superhero Ghost Rider — the one with the flaming skull — had a number of creative minds involved in his beginnings.
Or, alternatively, he was in every significant sense the creation of one sole individual. It all depends on whom you ask. (Or perhaps that should be “asked”, as more than one of the principals involved is no longer with us.)
That’s true in regards to a number of other comics characters as well, of course — though in most cases, the difference in opinion doesn’t make it all the way to federal court. But more on that a bit later. For now, let’s begin with a fact that’s not in dispute — to wit, that the flaming-skull guy who debuted in the 5th issue of Marvel Spotlight half a century ago was not the first comic book hero to bear the name “Ghost Rider”. 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
Born in Brooklyn, Conway was eight years old when Fantastic Four #1 hit the stands. By the time he was sixteen, he was writing scripts for DC Comics; soon after, he met [associate editor] Roy Thomas, who assigned him a Marvel writers’ test. But [editor Stan] Lee was, as usual, less than impressed with the way another writer handled the characters he shepherded.
“He writes really well for a seventeen-year-old kid,” Thomas reasoned.
Lee, who himself had first walked into Marvel’s offices at that age, paused. “Well, can’t we get someone who writes really well for a twenty-five-year-old kid?”
The point of the anecdote (at least for Howe) seems to be the irony of Lee’s doubting that someone could be ready to start writing for Marvel at age seventeen, when that’s exactly how old he’d been himself when he’d begun working for his cousin’s husband, Martin Goodman, circa 1940. But, after some consideration, your humble blogger is of the opinion that Stan the Man may have been on to something.
Maybe Gerry Conway wasn’t quite ready to handle the monthly adventures of Daredevil, Iron Man, Sub-Mariner, et al, fresh out of high school. 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
From the perspective of a half century later, the horror boom in American comics in the early 1970s looks all but inevitable. The appeal of the classic movie monsters to young audiences had been clear ever since the first syndicated collection of old Universal horror films started showing up on TV sets in the late 1950s, quickly becoming widely popular. The subsequent success of Warren Publishing’s Famous Monsters of Filmland magazine (originally produced in 1958 as a one-shot publication, but almost immediately converted into an ongoing periodical), can only have reinforced the sense among U.S. comics publishers that there was gold to be mined in those dark, storm-blasted hills of Gothic horror — as must have Warren’s following up FMoF in the next decade with the black-and-white comics magazines Creepy, Eerie, and, as the 1960s drew to a close, Vampirella. Then there was the mid-to-late Sixties success of Dark Shadows, the daytime television serial that began its broadcast life firmly planted in the genre of Gothic romance, but soon morphed into a much more freewheeling fantasy show, happily recycling the tropes of both classic horror fiction and old monster movies, and bringing vampires, werewolves, zombies, and their ghastly ilk into America’s homes five afternoons a week. 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