From the improbable to the impossible!

 Week Ending 10th March 1973

Just a quickie before I look at Marvel UK for this week, last weeks blog included a special Marvel UK puzzle page from MWOM#22. As fate would have it Weldon Adams, who is a cataloger at Heritage Auctions posted the original artwork on the The Mighty World of British Comics Facebook page and asked about the two sets of initials. One seemed to be MIG or possibly MLG, which may be a shorten version on Milgrom. The other could be BB or possibly RB which might be for Bob Brown, or Rick Buckler.

Could it be a JR? As in John Romita senior, who was at this time the Art Director for Marvel. Or could it be a very early piece of artwork from John Romita junior? John junior would have been around 16 years old at the time of this artwork was published. John junior did do some artwork for Marvel UK in the 70's but there is very little info on which pieces and how many he did. In all honesty I couldn't say it is a JR or if I need new glasses. 

One thing I do know is I spotted twenty intended errors in that page as I mentioned last week, on the back page of this weeks MWOM#23 it lists all twenty errors. So I feel smug in two ways, first for getting them all right and on the second way that's nearly twice as many errors on average found in my blog per week! 

The Mighty World of Marvel #23

Daredevil gets his second cover after his debut in issue 20 with Jim Starlin once again setting down the layout of the artwork, Al Milgrom finishing the pencil work and Mike Esposito completing the cover with his ink pen and brush. Daredevils costume looks more authentic this time. Starlin fills the page to what should be dramatic effect as Electro sends a lightning bolt towards DD but the red and gold hero swings above it as the Fantastic Four end up on the receiving end. But I feel that DD's pose should be more dynamic, may be as his feet and legs should move upwards or some other pose, as this cover seems to be very cut and paste. But still it's very bright and eye catching.

The Incredible Hulk "To live again!"

  

Writer: Stan Lee

Artist: Jack Kirby

Inker: Mike Esposito

Originally published in Tales to Astonish #70

Cover date August 1965

(Published in May 1965)

Now I don't want to start off on a negative point but straight off from the get go Stan makes a massive error as General Ross and his troops investigate the Leaders base and as they discover a life size replica of the Hulk one of the troops declares "The Leader Escaped! The place is deserted!" But the Leader escaped well before the Generals troops entered his base last issue, so they wouldn't have known who's base it was. Glen Talbot was tracking a signal from Banner who he strongly believes that Bruce is a traitor, he even goes as far as telling Betty Ross that she must "learn to forget him! He was a traitor not worth of your love!". Now you could say that Major Talbot said that to put Betty off his rival, and it's possible that Banner informed them when he radioed for help last week that the Leader was responsible but that isn't shown on the page. Previously, the Leader was portrayed as a secret unknown spy, but I think Stan decided it was time for the world to know who the Leader was. 

I've wrote previously that the return of Jack Kirby to the Hulk left me feeling a little nonplussed as I was enjoying Steve Ditko's take on the green goliath. But I also suggested that I would probably grow to enjoy Jack's second run on the Hulk. I think that's happening already. There's plenty of Kirby weirdness and incredible Kirby technology, there's lots to like. The artwork isn't perfect and I feel there's artists yet to come who are more suited to the Hulk strip but this is fine while we wait for them. During my research for this blog I found out that in the original publication of this story in Tales to Astonish #70 Mickey Demeo was named as Kirby's inker. Mickey Demeo is a pseudonym for Mike Esposito, the Marvel UK editors must of felt it was worth correcting this on the MWOM Hulk credits box. I wonder if Esposito, who was inking the covers for MWOM and SMCW at the time was asked to do some correction work on the comic strips before they went to the UK for print, changed his name for the British version, or even asked his name to be changed? The truth is I don't know. May be it was felt that in building a British fan base keeping the names of creators to a manageable level that engaged fans in constructive conversation, as opposed to things like "I like Mickey Demeo's inks but not Mike Esposito!" 

The Leader seems to be taking more of a direct approach in these stories now. I think his ego is growing as much as his Humanoids. Speaking of Humanoids, Stan had used a single Humanoid, then a horde of Humanoids, followed by masses of miniature humanoids so where next for Stan? A giant Humanoid, now that's an idea! I can hear the conversation between Stan and Jack right now.

Stan: "I need something bigger to fight the Hulk in this months Tales to Astonish story."

Jack: "Why don't I draw a big robot?"

Stan: "You and your robots. It needs to be as strong as the Hulk. No stronger!"

Jack: "Why don't I draw a really big robot?"

Stan: "It needs to be gigantic! Colossal! Gargantuan! It needs to be really big!"

Jack: "Why don't I a draw one of the Leaders Humanoids as a giant!"

Stan: "No wait I've got a better idea, a giant Humanoid!"

Jack: "Right Stan I'll get on with it."

Stan: "Great! Now about the Thing, I'm thinking of having him join the Frightful Four!"

In this weeks Mighty Marvel Mail Bag Philip Jones from South Wales states flatly that MWOM is the "best comic on sale!" He also asks should the Hulk be classified as a super-hero or a super-villain? The editor points out that he's done things that the authorities frown upon but he's also saved the world many times, so in the long run the scales weigh in the misunderstood monster's favour! David Rogan from North Doncaster reads MWOM for Spider-man, his favourite character. I wonder did he still read it every week or jump comic to Spider-man Comics Weekly? David points out too that when he saw "the Hulk stepped onto the air and flew." he never imagined he could fly! It just looks that way, simply put he can't. Newcastle lad, Ian Turner asks could Marvel explain why in issue 5 it's shown that Sue Storm designed the Fantastic Four' costumes but in a feature printed in issue 6 its states that Reed Richards designed their costumes. The true answer is Reed designed the unstable molecules cloth that Sue cut and sowed together to make the final costumes. Team work is always the answer. In this weeks mail bag Marvel printed a list of other faithful followers who had written in, far to many for me to write out but have a look at the page you might see your name.   

Next to the Mail Bag is an advert for a Buccaneer SMK 2A 1/72 scale model kit from Frog. For only 54 pence, which feels like a bargain. Although with inflation that's worth about £6.31 in todays money. I don't remember Frog model kits, I do remember Airfix models, my older brother was really great at building them. I was considerably less great at building them. The less said about that the better.

  Daredevil "And, in this corner...Electro!"

Writer: Stan Lee

Artist: Joe Orlando

Inker: Vince Colletta

Originally published in Daredevil #2

Cover date June 1964

(Published in April 1964)

This opening splash page comes from the cover of Daredevil #2, by Jack Kirby with inks from Vince Colletta, with adjustments. The comic logo is removed and a new title is added in its place. The reference to the Things guest appearance is removed and over the top a recap text box is placed. You can see where an art bodger has added lines to where this had appeared on the left hand side of the roof. The creator credits are added in a circle text box.

In colour the original cover looks great, with Daredevil in a pose more fitting for the actual scene. I do think that a pose somewhere between this and Jim Starlin's MWOM Daredevil cover would work better. But what do I know, I've never drawn a Marvel cover, probably as I'm rubbish, so I'll better stick to just appreciating them for the fantastic artwork they are. 

And so onto the second half of Daredevils confrontation with Electro. It's not a story I'm going to like, the stretching of disbelieve is at breaking point. A real shame after such an amazing start to the Man without fear in issue 20. My problem is that when Daredevil does anything that is totally impossible for a blind man Stan Lee goes to extreme lengths to explain it. Instead of tailoring the story to a more grounded possibility and explain the feats of incredible achievement at a slower logical pace!

Here's a plot corner that Stan writes himself into then out of. After Electro renders DD unconscious and stores him aboard the Fantastic Four's rocket in last weeks cliffhanger, Electro tries to operate the remote controls to fire the rocket. How he knows how to do that is anyone's guess. An electrician he may have been but an astro physicist he isn't! Stan makes a point that Reed Richards' launching device will only respond to a human with the same molecular body structure as one of the Fantastic Four! Why not just say Electro doesn't possess the intelligent to operate it? But to solve this problem and make the scene more fantastic Electro just hurls a lightning bolt at the panel as the catalyst to start the launch sequence. In mere mortal terms "if in doubt give it a clout!"

Then there comes a passage of improbable and impossible events followed by long-winded pointless explanations on how Daredevil performs these incredible tasks. DD is tied up and unconscious but even with the G-force on his body he manages to loosen his bonds in a manner that Harry Houdini would be proud. Once in space (Reed Richards has given artificial gravity to this rocket it seems!) DD locates the flight deck of a futuristic craft he has never seen (or in blind Matt Murdock's case sensed,) before! And operates the controls to reverse the rockets flight path back to Earth with only the explanation that he can "hear the levers move, feel the power needed, sense the direction flight!!" Not bad for a blind lawyer with absolutely no astronaut experience! How can he read a monitor? How can he navigate a flight path to Earth, let alone New York? How does he know how much power the rocket requires? He can hear the slight movement of an "astro-compass" to gauge the correct direction and feel the action of the "radarscope" to pinpoint his landing in Central Park???!!! Sorry it's way too far fetched for me. 

Then after surviving the landing, which is surely more like a crash, he carries on with his "Planes, trains and automobiles" theme as he steals a horse to ride, (with the sound of car engines and the smell of gasoline helping him direct his mount!) then hops onto a helicopter to race back to the Baxter Building, as he's familiar with the schedule of the whirlybird, why would a blind man be aware of that? It's a case of "Rockets, horses and helicopters"! 

After more incredible if not improbable scenes follow, too many to mention, Daredevil defeats the high voltage hoodlum by dropping a theatre curtain on him! 

To wrap up the story the police arrive and short circuit the scoundrel with water hoses. Health and safety warning- do not hose down a high voltage lightning throwing super-villain with water! it is very very dangerous! 

Within a page Daredevil fixes all the damage to the Baxter Building including making welding repairs to the FF's safe, excluding returning the FF rocket from the crash site in Central Park! Then he gets changed to his civvies and return to the office to get fired by the returning FF as he hasn't had the chance to go though the lease papers for the Baxter Building in time. No wonder as miracles can happen but the impossible does take a little longer! This story might have a certain charm but it's not for me. let's hope next weeks is better.

MWOM's centre spread features the second sensational Marvel Mini-Poster! It's the turn of the Human Torch, I guessing it was done by Jack Kirby this week. There's plenty of suggestion of how they can be used. I feel that they would be better at full page size and these Mini-posters are cool but underwhelming. May be I should follow John Souths cool idea from Facebook, which was to scan them, then blow them up to a larger size and frame them. Ive had a closer look and these mini marvels are growing on me. Opposite page features an in-house advert for this weeks Spider-man Comics Weekly, spoiling the reveal of Doc Ock unmasking Spider-man and Thor confronting the Tomorrow Man. To be fair SMCW's cover show a similar scene and the title is "Unmasked by the Dr. Octopus!" so there's not much that hasn't already been spoiled. Another advert for FOOM as per usual with these colour page designs. 

The Fantastic Four "The Impossible Man"

 

Writer: Stan Lee

Artist: Jack Kirby

Inker: Dick Ayers

Originally published in Fantastic Four #11

Cover date February 1963

(Published in November 1962)

This story was printed as the second story in Fantastic Four #11 following last weeks "A visit with the Fantastic Four". Both were written, drawn, inked and lettered by the same creators but this story seems rushed. By rights it should have been the lead story with "A visit..." the back up but that story was by far the better of the two. Don't get me wrong there is lots to love with loads of zany ideas.

The Impossible Man is a loveable but irritating character both in the Marvel Universe and on the page. I don't think his character has ever developed more than that. In this origin/first appearance story we learn that he's from a race of aliens from the planet Poppup, who have evolved into a species that instantly evolve their bodies to counter any dangerous predators. Their change of shape and size comes with a "Pop" sound. Impy as he his later known, although Poppupians have no name, has a very low boredom threshold with very little consideration to others. 

Sometimes he can be charming and harmless like when he is confronted by Sue Storm, he simply changes into a shower of flower petals.

 

Other times he can be quite deadly in a careless way, but it's quite easy to judge that what ever his change of shape may be he may have a conscious reason behind it. like knowing that a giant water balloon would stop the Human Torch.

I see it as Stan and Jack just having loads of fun and getting away with things that normally they couldn't as readers would write in with complaints. I'm not against humour in action/adventure comics, although if it was every week I would get bored. Now and again is fine. Stan and Jack pretty much get it right, because they're good at humour and action. 

 

The back page Pin-up is pretty cool. I can't track down who the artist is. The tank has Bodavian lightning bolt logos on it so I imagine it was drawn especially for Marvel UK. There is a touch of Jim Starlin in the Hulk body, with the face looking like it was drawn by Gil Kane. But then again I see bits of Sal Buscema in the artwork too. Does anyone want to throw some names at it?

Spider-man Comics Weekly #4

This is a beautiful cover by Jim Starlin, the two thirds vertical split works really well. It's bright, colourful and really lets you know what's going on in the comic. The composition of the characters is wonderful, it's dynamic and engaging for both the left and right sides. It's one of my favourite Marvel UK covers and in my opinion the best since SMCW#1. My only grumble is Doc Ock's face doesn't look quite right but oh well, it's a minor groan. There's no Al Milgrom helping out with this cover, which is possibly why it looks good. Although I think Milgrom would have fixed Doc Ock's face but Starlin is young at this time and learning his trade so it's fine to make mistakes. On the whole his use of the page was excellent. Al Milgrom is a great artist and his ink work on Captain Marvel and Warlock series are exceptional.  John Costanza provided the inks for the finished work. 

Spider-man "Unmasked by Dr. Octopus!"

  

Writer: Stan Lee

Artist: Steve Ditko

Inker: Steve Ditko

Originally published in the Amazing Spider-man #12

Cover date May 1964

(Published in February 1964)

This splash page tells you all you need to know about this issue. It's a direct continuation of last weeks adventure with Doc Ock still at large and running rampant across the country, but wondering why the web-slinger isn't hot on his trail. Peter Parker is no jet setter, with school and his part time work at the Daily Bugle he rarely leaves New York State. Betty Brant seems to have over come her heart break at the loss of her brother and so returns to secretary duty at the Bugle. But the peace and quiet doesn't last for long as Doc Ock returns to New York to publicly challenge Spider-man, by telling Jameson to publish his demand that Spider-man fight him at Coney Island and to make the threat more urgent he kidnaps Betty. 

As Peter Parker luck would have it Peter catches a virus that weakens the teenager. Feeling woozy Peter still changes to Spider-man and confronts the fiend at the amusement park. Being the worst for wear Doctor Octopus easily defeats Spider-man. So much so that he can't believe how easy it was. When he unmasks the web-slinger in front of Betty and Jameson they instantly believe that Peter dressed up as Spider-man in a sweet but dangerous attempt at rescuing his girlfriend as Spider-man hadn't turned up. Doc Ock leaves very frustrated. Handy little plot line that from Stan. It's an idea similar to when Flash Thompson dressed up as Spider-man in issue 15 and 16 and was kidnapped by Doctor Doom.

 It give more reason to lengthen the story as after Peter recovers he has a second chance at defeating Doc Ock. It also gives Steve Ditko a chance to do what he does best, that is drawing Spider-man in action. 

Only Ditko could dream up moving the fight from the city roof tops to a deserted sculptors studio, just so he can draw the most weird and wonderful scenes. Steve would have loved that as he spent most of his working life in a New York art studio and later as a recluse in his own studio situated in Manhattan's Midtown West neighbourhood.   

A nice little in joke, that I can't claim to have originally spotted, is this scene where Doc Ock rips a sign off a building and Spider-man saves the passing public under it by webbing it up. The name of the company is Leedit Inc, as in incorporated being another way to say company or co for short, a play on the words LeeDit Co. As you probably guessed Spider-man does defeat Doctor Octopus and turns down a date with Liz Allan to take up a date with Betty Brant. A nice happy ending for a very nice strip.

 As the front cover headline said inside Thor tells us more about Marvel's fabulous free gift. The first clue was "It's a real swinger!" the second clue is "It's taken from real life!" Any ideas? Could it be a real monkey? The second coupon is a smiling Thor! Across the page an advert for Mighty World of Marvel #23 via a panel that features the Fantastic Four and the Impossible Man, again an advert for FOOM takes up the rest of the page. 

The Web and the Hammer letter page starts of this week with a letter from Philip Stephens from Bolton who wants to know how Spider-man doesn't accidentally fire his web shooter when slugging super villains? The editor answers that he has to press the trigger twice to operate it. Lloyd Walpole from Suffolk has enjoyed every issue of MWOM so far, and wonders who originally thought up the concept of super-heroes? The editor answers by saying man has always tried to explain the mysteries of nature and early man did this by creating larger than life beings with super powers. And gives examples of mythological beings like Greek, Roman and Norse Gods. Mark Griffiths has been following Marvel comics for years, so when MWOM started reprinting classic early sixties he absolutely loved it and he can't wait to read the classic Kirby/Ayers Thor stories. Well if he started buying Spider-man Comics Weekly he would get his wish.  

Inside football and striker gets a full page advert in this weeks SMCW after many weeks of half page adverts, which they must have felt was worth it to attract new readers from a super-hero comic. At 6 pence an issue it was more expensive than either of Marvel UK comics but it must have had a dedicated following.            

The Mighty Thor "On the trail of the Tomorrow Man"

Writer: Stan Lee, Larry Lieber

Artist: Jack Kirby

Inker: Dick Ayers

Originally printed in Journey into Mystery #86

Cover date November 1962

(Published in September 1962)

 Jack Kirby finally this issue gets to draw futuristic giant robots as Thor travels forward to the year 2262, three hundred years into the future from the time this story was written, two hundred and eighty-nine from when British readers saw it in Spider-man Comics Weekly and only two hundred and thirty-nine years from the time of writing this blog. Doesn't time fly when you're having fun! 

 

   

After three centuries in the future peace and technological perfection brings contentment to all mankind, except for one man. Zarrko a scientist who has grown bored with his mundane world and dreams of ruling the planet. Sounds like Kang the Conqueror doesn't he? Well Stan beat himself to it with Zarrko by two years, but may be in Avengers #8 (US cover dated September 1964, published July 1964,) he'd forgotten that he and Jack had already created a 23rd century bored scientist/conqueror and decided to create a 30th century bored scientist/conqueror instead! Sometimes if you've got a good idea get the most out of it! In 2262 mankind had abandoned weapons of mass distraction, so Zarrko used a "Time Scope" to locate a suitable weapon to conquer his world from a more barbaric time. He found it in the twentieth century, a newly developed Cobalt Bomb! Atomic bombs, Gamma bomb and now Cobalt bombs, what a violent and dangerous time the 60's (and 70's) were! Zarrko constructs a Time Machine to go back in time to steal the C-bomb, But wouldn't it be simpler to just build a bomb himself? Well yes it would, but that would spoil the whole story!

Zarrko arrives in 1972 (or is that 1962?) to find Thor guarding the demonstration of the Cobalt bomb, but still manages to steal it right from under Thor's watchful eyes. Later in the future Zarrko threatens to destroy the planet by detonating the bomb. While here the US government are just testing it in the desert next to Thor! They really did play around with atomic power like children in 60's Marvel Universe! 

Thor summons his father Odin to grant him the power to travel through time to recover the bomb. This is the first time we see a full front face image of Odin. It's now set in stone that Thor isn't just the body of a god with the mind of Doctor Don Blake. He fully remembers his ancestry.

 

Zarrko has adapted labour robots to become an effective private army. Couldn't he have just done that to conquer his world? It would have meant that Thor wouldn't have come from the past to stop his plans. Alright I'll stop that now, no more analysing the plot to stop a good story. One of the robots grabs Thors hammer right from his grip, that robot must be worthy. OK that was the last one before we get into is an elevator worthy or a coat rack worthy MCU rabbit hole?

Thor defeats the robots and recovers the cobalt bomb, leaving an amnesiac Zarrko to be detained by his worlds authorities, as Thor speeds back to his rightful century and returns the Cobalt bomb to the awaiting US military. When you look at the panel of the General and pipe smoking scientist in the New Mexico desert it makes me think that Stan and Jack could so easily have used General Ross and Doctor Bruce Banner with a Gamma bomb. I guess we're so programmed for a cross over it's easy to imagine that, but at the same time we would demand that the Hulk teams up with Thor to battle Zarrko! Which would be great but would that be necessary? It's a cracking story in its own right. Back in the early 60's so many characters lived in their own worlds. But with many heroes like the Fantastic Four, Spider-man and Daredevil interacting with one another that would surely change.

This week in two Marvel UK comics Jack Kirby draws three out of the five stories, (he also does the splash page for Daredevil this week.) this Thor story was the best of this weeks efforts. Earlier this week on Tweeter Colin Smith (@Colin_TBTAMC ) put it best in a series of tweets, when he tweeted this...

On sale in July 1963: 10 comics with covers pencilled by Jack Kirby for Marvel. 137 pencilled interior pages by Kirby also saw print, along with 10 both pencilled & inked. He’d also co-plotted or solo-plotted these tales & designed new characters from The X-Men to Rama-Tut!

(If that wasn’t enough, there is, the GCD writes, good reason to believe Kirby also inked his Sgt Fury cover too. Whenever you think you’ve found the improbable limits of Kirby’s astonishing productivity, you discover he did even more.)

My maths is never very good. So those figures may be out here and there. But they tell a truth all the same. Kirby was a creative genius and a titan of productivity. And Marvel, then and later, never rewarded him with the tiniest fraction of what he deserved. For shame.

Colin is so right. It's an incredible work load, so if some were of lesser quality I'll give him some slack. Jack Kirby was and always will be The King of comics. Can't wait for next week to read some more. 

See you in seven.

Make Mine Marvel.