The truth about Trimpe.

Herb Trimpe sadly passed just only a week ago on the 13th April 2015 in his 75th year. He was born in Peekskill in NewYork on 26th of May 1939. An artist legend best remembered for an incredible run on Marvel's Hulk. Perhaps not celebrated in the same way as his artist peers. 

Telling the truth about Trimpe, I haven't always favoured his style of artwork. Which I think comes from my British point of view among other things. So I'll look mainly at his British published work to get to know why that is. You say to any MarvelUK fan the name of Herb Trimpe the reply is The Mighty World of Marvel. Trimpe's Hulk run, which is incredibly long, comes right at heart of MWOM strongest period, where the Hulk was the titles headline week in week out. The second thought would be he was the artist involved in the creation of Britains own Super hero, Captain Britain. Trimpe also became known for another green giant who appeared in Marvel Comic, Dez Skinn' action/adventure comic that came from his Marvel Revolution transformation of MWOM, as Godzilla came to the Marvel universe.

    Although Trimpe did have his British fans not all Brits sang his praises. MWOM letter pages where filled with reader comments about how he'd lost his pencil sharpener, with his line work getting thicker and thicker the more artwork he drew. Although it mainly was meant as a joke, I couldn't help but agree with it. A blunt pencil may have been the cause, or possibly the choice of inker may be to blame, who can say. Many readers preferred "hipper" artists like Jim Steranko, Neal Adams, Jim Starlin, Paul Gulacy Frank Brunner & a young John Byrne. Artists like Kirby, Dikto and Trimpe were seen to much as the past generation. I have to add as a kid I always loved Spider-man over the Hulk. Cause I was skinny as a child I felt I more incommon with the teenage Peter Parker than the power house Hulk or his scientist alter ego Banner. So when I read those stories back in the 70's all I saw was a precession of meaningless monster battles and meaningless dialogue, "Hulk Smash!" But was that Herb's fault? The writers of that time, Roy Thomas and Len Wein are some of my favourite writers. But Marvel give comic readers what they wanted, big battles. These days I see a lot more than that. Trimpe's work had detail and emotion. 

  

Could you ever imagine the Hulk fishing, or sitting around a camp fire with a friend like CrackaJack Johnson like this in a modern Hulk Comic?

Trimpe was a strange choice for Britains first flagship hero. Chris Claremont handled the writting mainly 'cause he had lived in the UK and also he was free to write it. Trimpe was also free to produce the artwork needed to fill Captain Britains weekly demands. So he was handed the job after a publicity trip to the UK with Stan Lee in 1976. 

Trimpe was also criticised over his portrayal of English life with strange looking police bobbies and unusual architecture. But to be fair London isn't New York, I can imagine many American artist would be able to capture the English look, with the exception of Byrne. Although I must admit I love his version of British Airways Concorde. Trimpe English characters in many ways could have been French, German or Italian. I still have a soft spot for these stories and Trimpe's CB work. 

It should be noted that not only did Herb create the look for Captain Britain, but also he also brought us Elizabeth Braddock (the Captains sister who would become Psylock), Courtney Ross and Chief Inspector Dai Thomas among others characters. One of the criticism of Chris and Herbs run was that Brian Braddocks life mirrored Peter Parker, with Courtney the love interest, Dai Thomas as a hero hater similar to Jonah Jameson and even a early Flash Thomson style bully in the form of Jacko Tanner. Agents of SHIELD fans should note that Claremont/Trimpe also created a British STRIKE (the British version of SHIELD) agent called Lance Hunter. Although their version had a Bobby Charlton comb over, looking nothing like Nick Blood's version. 

Another another character said to have been created by Trimpe was Wolverine. This is a bit of an urban myth. John Romita Sr created the concept artwork for Wolverine, while Len Wein, the Hulk scripter formed the character. Trimpe recalls in a 2009 interview how he "distinctly remembers" Romita's sketch, and that, "The way I see it, Romita and writer Len Wein sewed the monster together and I shocked it to life!" But that's what Trimpe did best, he give life to the stories we wanted. His work was always filled action, adventure and a big helping of humanity even with the biggest of monsters. 

These days my opinion of the Hulk has changed, mainly because my opinion  of Herb Trimpe has changed. I read these stories with nostalgia and without my childish habit of trying to be cooler than I was by acting older. Smashing tales from happy days, "Hulk Smash!"

Herb Trimpe, rest in peace.

Make Mine Marvel.

 

British Spider-can!

These days Spider-Man changes his costume design all the time, but back in 1984 Peter Parker only wore one set of long johns. At least to British eyes. In America Spidey had took a trip to the stars with the Marvel Heroes, to the Beyonder planet in Marvel Superheroes, Secret Wars and came back with a black and white outfit. At first American fans hated it, but soon grew to love it. It was thought that British fans would also share their cousins dislike of it. We're not supposed to like change! I loved Spider-Man British weeky that had been running since 1972, but as a reader of the U.S. additions I knew what was coming and had no fear that the changes wouldn't spoil this love. MarvelUK wasn't to sure that the rest of the UK could handle it, so it was decided to carry on with the red and blue version of the web slingers adventures but written and drawn by Brits for a British readership. 

So on the 27th of October 1984 in issue 607 MarvelUK published Britished made Spider-Man adventures. This wasn't the first time MarvelUK had used American charactors as leads for strips, back in 1979 Dez Skinn created The Hulk Comic with Nick Fury, the Black Knight and the emerald giant starring in British created strips. Captain Britain, who had started in a MarvelUK comic, originally written and drawn by American creators, was also in a lengthy critically acclaimed British produced run, at that time Mighty World of Marvel monthly. To publicise Spidey's first British foray the plot used the creative idea that Spider-Man was asked to appear on ITV's Saturday morning kids TV show, Saturday Starship. A costumed Spider-Man look-a-like also appeared for real on the show that same day as the published comic. 

Mike Collins who's early work had appeared in a Marvel Showcase in MWOM monthly not to long ago was handed script duties. Barry Kitson handled the artwork, his first professional work. Mark Farmer finished it off with inks. Collins would go on to work successfully for publishers on both sides of the Atlantic as well as a story boarder for BBCs Doctor Who and sometimes artist on Doctor Who Magazine. Kitson went on to draw Transformers for MarvelUK which lead on to success for US and UK companies. Farmer became an inker well known for inking Alan Davis artwork. 

Collins took over the artwork from Kitson in issue 608 for part two. Possibly to keep up to the weekly deadline. This didn't damage the story in anyway, in fact his artwork looked very similar, possibly their style was intended to be the in house Spider--Man style. This style worked really well and was a very enjoyable read.

Kitson returned to pencil the third issue 609. In keeping with the UK Spider-Man style, which was helped by Mark Farmers classic inking.

For the final British instalment Collin scripted and penciled again. On the whole it was a successful experiment, but one that sadly wouldn't be continued. The product was great but it was seen impossible to maintain new continuity with the original US version and produce a strip weekly. Ironically MarvelUK would choose not to use American or British continuity to solve the question of black and white or red and blue. Instead when the time came they turned the comic into an infant rag comic much like Ultimate Spider-Man produced by Panini, a three weekly comic aimed at very young children. which ignores all and any continuity. This move did nothing but leaving many loyal readers to abandon the weekly for the original American imports. 

The 1984 tale finishes off with some modern pop culture references and then dovetails into the next issue, an American produced story written by the legend that is Stan Lee. The web slinger still wearing his original red and blue togs, but the black costume was on the way whether MarvelUK liked it or not. Sadly not soon enough. But that's a tale for another day. 

Make Mine Marvel.

 

Cover story.

Now Christmas is long gone and the decorations have been boxed up for another year it's time to look at a modern tradition I've started these last three years. As long as I've been on twitter I've enjoyed sharing classic covers that set my fan senses tingling. So much so that for the previous two years I've posted a gallery of classic covers with a seasonal slant as an advent calendar, pictures of British annuals, winter specials or any magazine that was published around that time of year with any Christmasy trappings. Father Christmas, a Christmas tree or even snow. For my third year I tried something different. I picked twelve original American covers and compaired them to their British cousins, making up the 24 days of advent.

  

I started off with an absolute classic from the "King" himself, Jack Kirby's cover from The Fantastic Four #45. It pictures the Fab Foursome searching for the mysterious Inhumans in Stan Lee and Kirby's fabulous "Among us hide the Inhumans!" The bright cover of the original must have caught the eye of many a young comic fan as it sat on comic racks, but to me it was too brightly lit. The moon although full is behind all the characters, the FF should be in shadows as they search the dismal ruins. The lnhumans look lit from in front, but the moon is behind them too. MarvelUKs somber, moody version from Fantastic Four Pocket Book #2 suits the scene perfectly, as I imagine Jack originally intended. 

   

This is one of the most creative uses of a character interacting with a comic book title and a story title as Jim Steranko's straining Hulk is crushed between the two, with the green goliath raging, veins bulging and sweat pouring from his stressed body and face. The editor or the powers that be suggested that Steranko's savage version of the Hulk was "too fierce" for the cover of Hulk King Size Special #1, so Marie Serverin, the Hulks regular artist at the time was asked to re-draw the Hulks face, to which Steranko as now referred to as "the teddy bear Hulk." Strangely enough the savage version did see the light of day over six years later, with face intact on MarvelUKs The Mighty World of Marvel #129, the only difference being Steranko's lettering, the Hulks foot crushing the word "Inheritor" instead of the "Inhumans", as this comic featured a different story "The Inheritor" originally from the Incredible Hulk #149. 

 

Days five and six advent covers come from John Romita JR and Bob Layton as they modestly show you how the crimson and golden Avenger gets dressed. I like the use of light shining off the armour, plus the simple panel layout to tell a story. There's not much difference between the two versions but in the UK Iron Man never starred in his own comic, but made it loads of time as back up feature in many comics, this time he backs up Captain America as any good Avenger would. 

  

This cover shows how subtle changes can improve on an already perfect John Buscema cover. The main difference from the American Avengers #58 and the British #84 was the Visions ghostly presents. Yes in many ways the white Vision is the correct colour choice, but in the classic story- "Even an android can cry!" the tale features the Vision. He's the linchpin of the story so in my mind the blue version highlights this, his appearance behind the Avengers could be seen as a menace or teammate. In this part of his history we've yet to find out full which. Notice how the Visions collar/cloak are more defined in the second cover, I can't give any reason for this. 

John Romita SRs dramatic cover for the Amazing Spider-Man #151 shows our hero holding back a torrent of water in a confined drain sewer. In the original he shouts "Flooding this sewer won't help you mister!" to an unseen hostile, which would probably be the Shocker. MarvelUK cranks up the suspense and tension by laying the cover on a landscape format crushing down the web slinger in Super Spider-Man and the Titans #203. The danger is most certainly from the waves of water, pitting Spidey against the most cruelest of elements in a claustrophobic image. Truly amazing! 

 

Wolverine takes centre stage on the cover for the Uncanny X-Men #133. John Byrne's style is near perfect for action intense covers. But again MarvelUK make one slight change that increases the action packed frenzy as Wolverine lashing out. The black box frame cuts out some of Byrne's detailed back ground, boxes in a warehouse. In Rampage Magazine #51 the fighting mad mutant slashes Hellfire Club goons out of the page. It's almost a 3D cover now! 

 

John Byrne is the artist for my next classic cover. As always Byrne is pencil perfect with this foreboding image of Dragon Man chewing on the star spangled Avengers shield like a dog with a bone. Johns colours are moody for Captain America #248, while British comics generally are darker in presentation MarvelUK ops for a brighter colour palette with #2 of their take on the Captain's comic. Not a bad decision when British racks are filled with grim and broody war and sci fi comics at the time. 

 

John Buscema this time renders splendid work for this clash of God verses Cosmic Hero! The colour from Silver Surfer #4 and the Super-Heroes #8 changes slightly, but doesn't effect the scene, however what I find interesting is the Surfer seems to be the antagonist while Thor stands ready to defend himself. In the second version Thor's hammer whirling movement signal equal battle frenzy as the titans prepare to clash. Was it removed from the original or added in the later? 

 

Wolverine and the Hulk clash this time in what has become the ultimate hero battle. This Herb Trimpe classic cover has been re-draw many times by different artists. If you look on-line for it there are different versions of the original. All basicly the same, some have more of a red background, some have the Hulks face turned slightly. I think this is the correct version of The Incredible Hulk #181 that I've shown. I imagine the confusion comes from the millions of copies that cover t-shirts, mugs, bags and other merchandise which use this cover. Some even use the Mighty World of Marvel #198 version with the Hulks face in full view and the subtle changes of position for Wendigo and Wolverine. John Romita SR is said to have made changes to the original cover, this may be why these variants appear. I dare say the the Canadian Rockies will have seem a red sky at sunset but was it for artist reasons. White skies have a more real feel. 

  

MarvelUK knows how to re-use a classic, in this case they take Jack Kirby's soaring Surfer cover from the Fantastic Four #72 and re-use it for a different story, this time the Silver Surfer's first solo story in The Super-Heroes #1. Minus the onlooking Watcher. The enigmatic red background is also changed for an ecliptic colour scheme.  if I'm honest it makes no difference to which one I prefer, they're both equally cosmic!

  

We reach days twenty one and twenty two of my advent calendar, this pop culture/Salvardor Deli inspired Captain America cover from #111 by Jim Steranko ticks all boxes. As the centre issue of a sensational three issue run by the artistic genius it's no wonder it was chosen as the cover of the 1980 MarvelUK/Grandreams hard backed annual. If truth be told I saw the annual first and spent many hours reading and re-reading this classic tale which included the Hulk, Rick Jones, Hydra, Madame Hydra, Nick Fury and the Avengers, so it's no wonder that I adore this yellow framed version with it nostalgic memories. 

 

My Christmas advent calendar is completed with another tension filled John Romita SR cover of Spider-Man and torrents of water. This time our hero is unconscious and shackled as the water level raises, from the Amazing Spider-Man #52. Jameson looks on in stark horror as he too is minutes away from death in the Kingpin's sub basement. It a desperate and dark scene to finish off with you may think, but MarvelUK, possibly with tongue in cheek added "A happy Christmas to all Marvelites" across the top of Spider-Man Comics Weekly #46, an issue that was published the Christmas week in 1973. A fitting sentiment to post on Christmas Eve. 

Make Mine Marvel.