The wedlock and the headlock!

 Week Ending 13th July 1974

Lew Stringer (the newly inducted winner of the Hall of Fame Award at the London Comic Festival,) commented on last week's blog about one of the letters from the weeklies, in which Richard Moore from Cheshire couldn't find the US imports. Lew wrote "Fact is that from April to July 1974 inclusive the Marvel imports did cease for some reason. I was one of many readers "trying harder" by searching every newsagent in this town and the next but they had stopped coming over. Something that Marvel UK would admit at some point. (When they returned with the August 1974 cover dates the cover price had risen from 6p to 7p.)" Lew posted two images of articles written by Nick Landau from Comic Media News in 1974 detailing what was going on. I've copied the two images and posted them in this blog for anyone who didn't see that Facebook post. Hope you don't mind Lew, you're a British comic historian legend and well worthy of the Hall of Fame award. I've only meet Lew once, at a Preston Comic Con, but I can say he's a top bloke.

The Mighty World of Marvel #93

Another made for British Marvel weekly cover from Rom Wilson (pencils) and Mike Esposito (inks). The original cover from the US Hulk mag gets used next week. This cover bears little to the actual Hulk strip and seems a waste. I don't know why the cover from the Fantastic Four Annual issue 3 wasn't used instead as it was busy and filled with lots of colourful Marvel heroes and villains. 

The Incredible Hulk “A Titan stalks the tenements!”

Writer: Roy Thomas

Artist: Herb Trimpe

Inker: John Severin

Originally published in The Incredible Hulk #131

Cover date September 1970

(Published in June 1970)

It's surprising what a difference a different inker makes. The art isn't shockingly different now that Herb Trimpe isn't inking his own pencil work, but I feel that John Severin lifts out more minor details that may be Trimpe never had the time to embellish when he had the ink pot. On the whole I think that Trimpe's artwork benefits from having Severin inking it, some might say not, but without me soundings like an online bore, what do you think?

One thing that neither Trimpe or Severin get quite right is their version of Iron Man. It's OK in some panels, like the "landing" Iron Man in the right panel, but the "flying Iron Man in the left panel looks a bit cartoonish to me. In this story the separated Hulk befriends a homeless orphan from the Los Angeles getto, Jim Wilson. Much later we'll find out that Jim is the nephew of Sam Wilson, Captain America's partner the Falcon.We first encounter Jim as he steals a purse from a lady as he's desperate and needs money for food. He's quickly shown in tears, upset that he has stooped so low as to become a common thief. 

The Hulk wants Jim to bring Bruce Banner to him, the lad agrees to do so as Jim feels he has more in common with the Hulk than the rest of society. When Jim finds out Bruce isn't bad, he can't lead him to his slaughter. As a young black American Jim Wilson looks, sounds and acts pretty much like I imagine a young black American in the 70's would, at least from my point of view as a white English kid in the 70's and old man in 2024 thinks he would. I think on the whole Roy Thomas pitches it right but I can also understand those who think Jim Wilson is a racial stereotype. Banner, General Ross and Iron Man with the help of Jim formulate a plan that will help the Hulk and Banner to coexist once more. Will it work? Find out next week.

The Mighty Marvel Mailbag

Mark Elworthy from Kent says when some wise guy who spends hours trying to find a mistake for a No-Prize, it should be the editors who deserve a prize for all the blood, swept and tears they put into the work. He points out that all those who demand colour in the weeklies, should take a look at other British comics, very few are in colour so why should they expect Marvel weeklies to be. K Van deSchans does not get much variety of comics in Australia, but the British Marvel mags are the best. Robert Ericsson RFO, KOF, from Birmingham was about to send a very angry letter to UK Marvel about the American Marvel's vanishing, but in an attempt to calm down he read one of his UK Marvel mags and in the Bullpen page news from Stan Lee's Soapbox revealed that they were returning to the shops of Briton. Robert would like to see a Checklist in the British Bullpen Bulletins page for the current US editions, Micheal McGreever from Cheshire wants to complain about all the readers who complain about the Hulk. He would much rather do away with the Avengers, the X-Men The Fantastic Four and Daredevil than do away with the Hulk!

The Fantastic Four “Day of wedlock--Day of fear!”

Writer: Stan Lee

Artist: Jack Kirby

Inker: Vince Colletta 

Originally published in The Fantastic Four Annual #3

Cover date October 1965

(Published in July 1965)

An enlargement of the fifth panel from page 27 of last week's issue (It had been the third panel of the twelfth page of the original story.) was used as the opening splash page for this weeks Fantastic Four strip to great effect. Daredevil fans might have picked up this issue and thought that old DD was once again appearing in his own strip. Daredevil is truly a man without fear, how a blind man can drive an out-of-control truck through the busy streets of New York must take some guts. His super-senses might be able to make some kind of picture with noise and screams from pedestrians but how does his radar sense work through the glass windscreen? I aways felt a panel where DD smashes the windscreen with his billy club should have been added. 

The evil Black Knight blasts at the out of control truck with its Vortex bomb payload, until the high-flying Angel swoops down to stop him. The Mandarin in turn blasts the X-Man with his new "Nerve-ray" ring which brings the rest of the X-Men to his rescue. Electro, the Unicorn (I think this must be his first UK Marvel appearance,) the Melter and the Beetle join the Mandarin in that skirmish. It's a heated battle that follows, the Eel appears briefly making this his first UK Marvel appearance too. The Thinker uses his Awesome Android to fight Iron-Man but the armoured Avenger is more than a match for it. 

Another villain making his first UK Marvel appearance his the Human Top who meets his match when Quicksilver dispatches the Giant-man villain with ease. Doctor Doom's emotion impulse machine might not have reached Namor, the Sub-Mariner but it does reach Attuma and his under sea army, luckily Daredevil manages to navigate the speeding truck to the waterfront, sending it, with the Vortex bomb, crashing headlong into Attuma and his forces. The forces of good and evil are evenly matched but that might be about to change as the Watcher arrives to observe the melee, but how with his vow of non-interference can he help?

The watcher finds a loop-hole in that vow, removing Reed Richards from the battle they travel through the fourth dimension to the home of the Watcher so that the leader of the Fantastic Four might find a key to victory.  The Watcher isn't at liberty to explain what any of the strange devices do, as he's not permitted to interfere whatsoever. It's a bit like being the getaway driver but not being responsible for your passengers who rob the bank. He might as well put up signs that read "pick this one" pointing to a strange machine as Reed chooses a device which the Watcher describes as having "unimaginable power"! The Watcher sends Reed back to Earth as he remains to observe events from the Moon as he says "For my task is merely to watch--and my eyes can pierce the universe!" I imagine if he was ever asked where was he when this battle occurred he could say he was on the Moon at the time as part of his defence, "Honest guv! I had nowt to do with it!"

Reed Richards, being the genius he is, analyses the alien device in seconds, coming to the conclusion that it is a "Sub-atronic time displacer!" with the capability to transport living beings back to their immediate past. It also has a handy feature that they have no memory of anything that happened. In writing terms it's a "reset" device, a "get-out-of-jail card", a dandy Lee/Kirby plot solver. I'm not knocking Stan or Jack for this, it's comic-book genius, the kind of cleverness that gives them legendary status. It's the kind of thing that you can really only use once and I'm glad it was used in this story. I like how much thought must have gone into it from Jack Kirby in its design. In my weird minds eye Reed's brain waves interface with the machine through the two head probes so that it picks out who to send back, then it reads the minds of the villains to find out when and where. Classic Kirby!

Some might say why don't the villains return as they would again be affected by Doom's emotion ray, causing a time loop? That's a great question. answers on a postcard or in the comments. May be the "Sub-atronic Time displacer" overloaded Doom's devise. Who knows? Ask the Doctor. Anyway we finally get to see the happy couple exchange vows as they are pronounce "Man and Wife."

Stan writes "No mere words can truly describe the tenderness of this moment...so we won't even try!" The happy couple kiss.

This moment is special in comic history, it cements the idea that the Fantastic Four are the first family of Marvel Comics. They may have their ups and downs but they're the corner stone of Marvel. It's the mixture of real life and the extraordinary that makes the Marvel Universe the greatest Universe of all.

At every wedding not everybody can be the bride, someone has to be the bridesmaid. So this tale ends on a happy note and a funny epilogue as two bridesmaids don't get to experience the happy day, because they haven't got an invite. Nick Fury's agents of SHIELD send the two wise guys packing. So Stan and Jack head back to the Bullpen to think up the next chapter in the life of the Fantastic Four. 

Bullpen Bulletins

This week's first item from the Bullpen Bulletin continues from last week's item on how a comic strip is produced, dealing with the writing, drawing and lettering process. The next looks at how a colourist who would use water colours on black and white copies of the original artwork to indicate to the printers what the finished comic should look like. Next proofreaders check for mistakes, at that point in Marvel history Don McGregor and Dave Kraft where two of the. proofreaders, both would later make their names as comic writers, I guess many writers started as proofreaders, Marv Wolfman, Steve Englehart, Doug Moench and Roy Thomas all started there with their blue pens nitpicking for mistakes. Then the Comic Code Authority would take a close look at it to see if it broke any of their rules. More on that at another time. All the comic needs now is a cover, so art director John Romita Sr and Roy Thomas would choose a design and an artist to realise the final artwork for that. The comic goes to the printers for mass production and we all sit back and enjoy the Marvellous masterpiece. In a Special to the Mighty World of Marvel we find out that Stan Lee's first ever piece of writing was a story called "Captain America foils a traitor's revenge!" in Captain America #3 (cover dated May 1941, published March 1941.).  More on Stan' Soapbox and the other Items when I look at the Bullpen Bulletin page in this week's Avengers weekly.

Captain America “The origin of Captain America!”

Writer: Stan Lee

Artist: Jack Kirby

Inker: Frank Giacoia 

Originally published in Tales of Suspense #63

Cover date March 1965

(Published in December 1964)

This version of Captain America's origin was adapted from Captain America Comics #1, however, mainly due to the Comics Code, several parts of the original story were omitted or changed. Here Operation Rebirth's top scientist is named Dr. Erskine, while he was named Dr. Reinstein in Captain America Comics #1. In the pre comics code origin Dr. Erskine inserted Super-Soldier Serum into Steve Rogers' body with an injection, in this 1964 version Steve Rogers  must drink the Super Soldier formula out of a large test tube. This is classic Lee and Kirby that feels like the one and only original origin story. John Stern and John Byrne heavily used this version as well as other retellings to make the definitive version that was printed in Captain America #255, cover dated March 1981, published December 1980. I remember the Stern/Byrne version very well from the Marvel UK Captain America Summer Special from the summer of 1981. That version feels modernised but this classic is an absolute nostalgic blast.

Spider-man Comics Weekly #74

Yet another specially made for the UK cover by Ron Wilson (pencils) and Mike Esposito (inks). As the strip that featured in this week's mag had been running for three weeks two specially commissioned covers were produced. This one was auctioned by HeritageAuctions.com on the 19th June 2021for $6,600, which in British pounds is £5,206.48. Wow some price! It's not the greatest piece of art I've ever seen, but compared to this week's other two covers it's my Cover of the Week.  

Spider-man “In battle joined!”

Writer: Stan Lee

Artist: John Romita Sr

Inker: Jim Mooney

Originally published in the Spectacular Spider-man magazine #2

Cover date November 1968

(Published in August 1968)

This week's opening page uses last week's ending page in a classic Doctor Who "cliffhanger/recap sequence", with a new title, credit box and a recap text box added. After two week of build up we are gifted a battle royal between the web-slinger and the grotesque Green Goblin. The pair exchange webbing for Goblin blasts, right hooks for pumpkin bombs.  

The deadliest of the Goblin's jack-o-lanterns is the accurately named "psychedelic pumpkin bomb",  much like every other freaky pumpkin bomb but this one releases a strange vapour that send Spider-man into the worst trip from hell, as he hallucinates demons and monsters from the darkest corners of his mind.

Shapes that change into Peter's family and friends, either mocking him, hurt by him, angry at him or let down by him. Pushing him to the edge of despair. Those images change into the deadliest of Spider-man's foes lead by the Green Goblin. They become gigantic opponents pressing down on him, defenceless and weaponless, unable to escape, his only hope is his brain. His brain tells him that it can't be real, there can be freedom if he doesn't panic. Spider-man's spider-strength overcomes the psychedelic gas, giving him the seed of an idea to defeat the Goblin.

 In the real world the Goblin swoops in for the kill, expecting Spider-man to be a whimpering shell ready for the final blow. Only to find the web-slinger ready for his attack. Letting the Goblin's ego get the better of him Spidey drives home his advantage with a flurry of punches. Weakened and disorientated the Goblin can't resist the effect of his own psychedelic pumpkin gas once Spidey removes his hideous mask, which he uses as part of the hallucinogenic dream to make Norman Osborn afraid of the horrible Green Goblin and Spider-man. 
 

The shock and the agony of the psychological reaction to psychoactive gas sends Norman into a shell, forcing his mind to have nothing to do with the Goblin or Spider-man. After a quick change Peter takes Norman to a hospital, making up a story on the spot that after the fire they headed to the hospital. It's a good thing he picked up his clothes on the way there and that Harry was too worried to ask any probing questions. Peter walks off into the morning sunrise with two beautiful women on his arms. Life can't be that bad for Peter. At least until Norman gets his mind back that is. 

It's a nicely tied up plot line by Stan Lee and John Romita Sr, just don't think too hard about the plot-holes, just inhale that Marvel magic gas. 

 

The Web and the Hammer

David Bradshaw from Cheshire thinks he's spotted two mistakes, in SMCW #54, when JJ Jameson drops his cigar in one panel and in the next he's smoking it and the other is that in the mailbag from MWOM #73 the editor spells Ghost Rider as G-O-S-T Rider. Well for his chance of winning a No-Prize it's no cigar. John Angelo from London asks "is it true that US Marvel comics will stop coming to Britain?" To which the editor replies that they are "sending more than ever." R Morrison from Cheshire is a new reader of Marvel comics and in his letter he asks can they tell him more about it? Well where do you start? I say keep reading and you'll catch up. Or keep reading the Power of the Beesting blog each week and I'll do my best to fill the gaps in.  

The Mighty Thor “The maddening menace of the Man-Beast!”

Writer: Stan Lee

Artist: Jack Kirby

Inker: Vince Colletta

Originally published in The Mighty Thor #135

Cover date December 1966

(Published in October 1966)

Thor and Jane Foster are confronted by the hyper-evolved being known as the Man-Beast whose attack is surprisingly a match for the Thunder God. The High Evolutionary and his Ani-Men arrive briskly using a "Sub-sonic Discordion" device which causes the Man-Beast pain, it's basically a high tech dog-whistle from the mind of Jack Kirby. Thor attempts to stop the fleeing fiend by throwing his hammer, only to have it deflected by the Man-Beasts mental powers. Reaching the High Evolutionary's genetic laboratory the Man-Beast enters as Thor attempts to follow the creature, the Evolutionary stops him, preventing him from crashing into the Anti-Matter Barrier erected around the lab. The High Evolutionary fears that the Man-Beast may try to create more creatures like himself with his Evolution Ray.

The New-Men Knights patrol Wundagore Mountain and witness the release of the rays of life from its tower. The Man-Beast has found the Evolution Ray and has mastered how to use it. Thor requests that Jane Foster finds a safe place to hide while the High Evolutionary, the New-Men and himself draw out the Man-Beast for a full out assault. The Evolutionary uses a "Vibra-beam " device to disable the Anti-Matter barrier and open his lab. The Man-Beast has created in no time an army of evil New-Men who savagely attack the mighty warriors. Count Tagar, who was created to be the High Evolutionary's ambassador to the rest of the world don's a "Cathode Glove" to join in the battle with only his ancestors abilities that may still aid him in the troubles ahead as he strikes for the honour of the New-Men in their defence of Wundagore. More ferocious action and the origin of the High Evolutionary next week as this classic Lee and Kirby adventure reaches its colossal climax. 

Avengers Weekly #43

Ron Wilson (pencils) and Mike Esposito (inks) complete a hat-trick of covers this week for British Marvel. Although Nick Caputo from the Grand Comics Database does list that the inks were either by Frank Giacoia by himself or that Giacoia and Esposito inked the artwork together.

Master of Kung Fu “The enemy within!”

Writer: Doug Moench

Artist: Paul Gulacy

Inker: Al Milgrom

Originally published in Giant Size Master of Kung Fu #1

Cover date September 1974

(Published in June 1974)

This second part of the Master of Kung Fu story opens with the original "Part two" from the US version, with only the "Part Two" removed from the title banner and the "The" font changed to make up the space. On his way to confront Fu Manchu, after removing his effigy from a lamp post, Shang-Chi passes a beautiful girl standing in the shadows. Alert to any danger she might pose doesn't raise any concerns to him so he continues on his way crossing the street.

The danger comes from below as Shang-chi is abruptly dragged down into a manhole by another Si-Fan assassin. A brutal battle in the sewers takes place, with Shang-Chi defeating his skilled opponent, only to see the assassin  take the easy option of death by biting on a poison capsule. Climbing out through the manhole he is helped by the oriental woman, whom Shang-Chi had earlier dismissed as a prostitute. Yet another assassin throws a single shuriken towards the resting young China man, but missing him it hits the woman in her thigh. Shang-Chi gives chase, the assassin believes he has outfoxed Shang-Chi, however that isn't the case as he has sneaked around him. He too takes the poison. 

Shang-Chi takes the woman to her apartment, to bandage her wound. A servant of Fu Manchu reports that two more agents have failed to kill his son. Coldly the evil Fu Manchu ponders that a third may yet succeed. With all the charm of a "Lady of the night" Shang-Chi's female friend attempts to make him comfortable, lolling him into a false sense of security she tries to garrotte him. But seizing her own long hair he nearly strangles her. Her spirit breaks and Shang-Chi makes yet another error of judgment as he frees his grip she dives out the window to her death. More kick-ass kung-ku action next week. 

Bullpen Bulletins 

Stan Lee uses his Soapbox to praise the colleagues he has worked with who have always maintained a high level of workmanship. Testifying that he has never known a more ethical or honourable creative group, he has seen artists sacrificing long hours to help other artists perfect their work, writers who give up their own time to polish another author's scripts. In a Special to the Avengers the bullpen asks what the readers think about Doug Moench the new writer on the Master of Kung Fu strip after he has taken over the writing chores from Steve Englehart. The next item is another artist biography like the one about John Romita Sr from the Bullpen pages in the mags from week ending 4th Mat 1974, this time it's about Don Heck. Don's early years saw him at Woodrow Wilson Vocational High School in Jamaica New York for four years, then he spent two years at Community College in Brooklyn. He then spent time working for one comic company that went out of business so on a friend's advice he went to see a comic editor about getting some work. He mistook some of his friend's instructions that Wednesday's wouldn't be a good day to see the editor. He turns up on a busy Wednesday afternoon with his portfolio in hand. The editor was amazing that anyone would dare turn up on that day but he must have liked Don's work because Stan offered him work right away and he's been working for Marvel ever since. 

The Avengers “In our midst...an immortal!”

Writer: Roy Thomas

Artist: Don Heck

Inker: Don Heck

Originally published in The Avengers #38

Cover date March 1967

(Published in January 1967)

The original Gil Kane art from the cover of the Avengers #38 (US) is reused as this week's second part opening splash page, minus the floating heads of the Avengers around the Prince of Power.  Under the powers of the Enchantress Hercules attacks the Avengers overpowering each of them. 

This cover by Kane from the US edition, could have been used for this week's Avengers weekly cover. It's a pity that more classic Avengers covers weren't used during this period. I like Master of Kung Fu, but every week? There's a great piece on floating heads in Marvel covers from the 60's by Alan McKenzie in his blog, the Marvel Silver age. Always a great read.

Where was I? Oh yes, the Scarlet Witch sends a distress signal to Hawkeye and the Wasp, who had left last issue after falling out with Goliath over the membership of the Black Widow. Still sore about it they seem to ignore the call.

But of course they wouldn't be Avengers if they ignore a call to "Assemble" and the pair join the fight. Hawkeye uses a "Sulphur Arrow" which explodes in a flash of blinding light in front of Hercules. A second exposure of Brimstone undoes the spell which the Enchantress had cast when she used the Waters of Eros. The Asgardian witch renews her attack on the Avengers but Hercules defends them. An angry Zeus appears, claiming that it is forbidden for an Olympian God to journey into the world of mortals without his leave, even if he was tricked into doing so. As punishment he must remain in exile on Earth for one year. In truth Hercules' was brought into this series because Roy Thomas had asked Stan Lee if he would allow the return of Thor to the Avengers. Stan said no but suggested Hercules as an alternative. So it wasn't as much Zeus who made Hercules an Avenger, it was Stan Lee, the "All-father" of Marvel.

Avengers Readers Assemble

Dean Ormstrom from Barnsley has got hundreds and hundreds of comics, with hundreds of them from other comic firms, but he strongly believes that Marvel comics are the best. Steven Keane RFO, KOF, FFF has picked up on a couple of things, firstly teenagers don't have short back and sides haircuts, the artists should draw Peter and his friends with shoulder length hair. He wants a British super-hero to appear in the Avengers weekly. He also lists a number of heroes and villains he would like to see. In the last part of his letter he requests a feature film starring none other than the Avengers. Now that's a novel idea. I can see that working. Jan Lock from Kent is a female fan with eight 'O' levels, an orange belt, (in karate, I presume,) and is currently studying for a science 'A' levels, giving her age away she remembers the "Fantastic", "Terrific", "Pow", "Wham" and "Smash" comics from the late 60's. The only repercussion with this is she's read all the current Marvel stories before, but as she says the best books are read twice, she's onto her sixth readings of some stories. Stephen Park from Essex gets all three Marvel weeklies and want's to read a full colour comic in the future. 

W.M. Gillies from Glasgow thinks that Marvel comics without colour don't deserve to be called Marvel. She goes on to say that they're imperfect replicas, no longer works of art, devoid of aesthetic pleasures. She shudder to think what will happen to the artwork she saw in recent American Thor comic when it gets reprinted in black and white. Her solution is that colour versions of the weeklies should be printed at the same time as the black and white versions but with the price set accordingly so that fans could choose which they could afford. Comics shouldn't have a "class structure", they should be affordable when possible to everyone. R.J. Shawhy from Wellingborough points out that in MWOM #73 and the Avengers #23 the Fantastic Four and the Avengers were fighting Attuma at the same time. Well R.J. who's to say those stories occurred at the same time? George Warner RFO from Buckinghamshire writes in to see if back issues of the Avengers and Captain America are available? I think by that question he's a keen US import Marvel Fan.

Doctor Strange “The fearful finish..!”

Writer: Stan Lee

Artist: Marie Severin

Inker: Marie Severin

Originally published in Strange Tales #155

Cover date April 1967

(Published in January 1967)

Doctor Strange must race through the mystical portal ahead of the Umar's energy bolt to prevent it from striking Clea dead. Bravely he  manages to deflect it back against the evil sorceress. Doctor Strange and Clea must then take action against the many traps cast by Umar. Desperate Doctor Strange calls upon the Ancient One for help. The Ancient One locates the pair and sends a bridge of elemental thought into the Dark Dimension to lead the two back to Earth.

The Ancient One banishes Clea to a realm where she will be safe from Umar whose anger and determination still pose a threat. Doctor Strange begins to wonder if the Ancient One is losing his mind when he also attempts to do the same thing to his disciple, however Strange resists. Puzzled and angry he asks why he has sent Clea away and tried to do the same with him the Ancient One replies there is barely time to speak but if Strange remained within the Ancient One's chamber or even in that very universe he would surely perish! Adding that Umar now walks the Earth! More mystical madness next week.

This week has been packed with fantastic tales with the weeklies of late, but it feels that they have reached a point where each one is a winner. The summer of 1974 must have been a great time to read Marvel comics, next week reaches a point in which all three weeklies hit their strides and fans can hold their heads up and bask in the warmth of these magnificent mags. Find out why next week.

See you in seven.

Make Mine Marvel.