Radical Chic and rings of power!

 Week Ending 16th November 1974

I have to be honest, as much as I like the Planet of the Apes comic, I've got great memories of watching all five original films, I've got the DVDs and enjoyed the re-boots too, but I can't confess to being an "Apes super-fan". I can only recall seeing the odd episode of the TV series, so I can't claim to be an POTA expert. But it's a good thing that there are Power of the Beesting readers who know a great deal more than me. Like Mark Rice, who via the Facebook group, UK Marvel in the Seventies, pointed out a mistake that the editors of last week's POTA issue made with the text used in the back page pin-up, which I foolishly repeated without doing my research and checking it. The back cover of POTA#3 featured a gorilla on horseback and the text mentioned the apes name was Marcus and seemed to suggest that he was from the TV series. However as Mark pointed out there wasn't any character called Marcus in the TV series. Mark says the photo was from the 1973 film, Battle for the Planet of the Apes. He goes on to say in the original 1969 film the character of Marcus, was the gorilla that Zaius speaks to ("What's Dr Zira trying to prove?") just before he rubs out Taylor's writing in the sand. After I did some late Simian research and found out from the Planet of the Apes Wiki that Marcus is the gorilla who recaptures Taylor, declaring that he is now in custody of the Ministry of Science, to which Taylor yells at him "Take your stinkin' paws off me you damn dirty ape!" Big thanks to Mark Rice on clearing that up, there's a big Simian Power of the Beesting No-Prize (PotBNoP,) on its way. 

The Mighty World of Marvel #111

I'm going to say this from the start, this is my Cover of the Week! I know that might create quite a stir, maybe as much as the story behind its creation would, but I really like the cleverness behind how it was formed. Gil Kane originally drew the centre figure of the Hulk with the Sub-Mariner and Doctor Strange. Later the Silver Surfer was added by John Romita Sr, completing the Defenders bursting out of a comic strip page.  Frank Giacoia inked the finished artwork which became the cover for Giant-Size Defenders #1, cover dated July 1974, published April 1974. The basic idea and character silhouettes are reused with Arvell Jones redrawing Daredevil over the Sub-Mariner, the Human Torch over the Silver Surfer and the Thing over Doctor Strange. Only the Hulk artwork by Kane remains the same. You'll notice their poses remain the same. with the exception of the Thing is looking forward when Doctor Strange looks slightly to his right and the Torch's legs are together, when the Surfer had a bent right knee. The comic strip background on the MWOM cover are strips taken from Daredevil and Fantastic Four strips instead of the Defenders strip shown in the original. It does seem a lot of work to create a cover, when Jones could just have drawn a new cover. Jones' versions of the three heroes aren't as good as Gil Kane's original, but I like the overall effort, so it's my CotW! 

The Incredible Hulk “They shoot Hulks, don't they?”

Writer: Roy Thomas

Artist: Herb Trimpe

Inker: John Severin

Originally published in The Incredible Hulk #142

Cover date August 1971

(Published in May 1971)

Well there's a lot of American literature references in this strip as Roy Thomas was flexing his intellectual muscles, that might have gone right over young British readers' heads. First up is the title, it's a play on Horace McCoy's 1935 novel "They shoot horses don't they?" which possibly is better known as the1969 film of the same name, directed by Sydney Pollack. A story of American psychological drama which focuses on a group of individuals desperate to win a depression-era dance marathon and an opportunistic master of ceremonies who urges them on. The second and stronger linked theme is the plot which was inspired by the Tom Wolfe 1970 book "Radical Chic & Mau-Mauing the Flak Catchers." In fact the credits of this strip note that the story was "inspired by the book Radical Chic by Tom Wolfe." That book is composed of two essays, the first "These Radical Chic Evenings", was first published in the June 1970 issue of New York magazine" It focuses on a gathering held to raise awareness and funds for the Black Panther Party on the 14th January 1970 by Leonard Bernstein, the American conductor and composer and his wife. The couple were highly criticised for it being a publicity stunt for the New York City socialite scene. Paired with Wolfe's essay was "Mau-Mauing the Flak Catchers", focuses on the response of many minorities to San Francisco's poverty programs. Both essays looked at the conflict between black rage and white guilt, here Thomas mixes in Women's lib themes and turns up socialites pursuing radical ends for social reasons. 

I've always had a slight "love/hate" for these Hulk stories. As a young reader I wanted action and adventure, but many stories rolled out the same "Hulk smash" storylines week after week with what ever the guest monster/villain was. At the same time I wanted to be a kid who was reading more interesting mature themes. May be I was guilty of having fallen for my own "Radical Chic." This story blends both action and intelligent commentary together beautifully. I first read the complete story in the Marvel UK, The Mighty World of Marvel Special from the summer of 1983. At that time I was at the perfect age to enjoy both sides of the story. It was also repeated in the Marvel UK comic MWOM volume 3 #35, cover dated 2rd November 2005. Following events of last week the Hulk seeks solitude on top of the Statue of Liberty. News attention, attracts socialites Malicia and Reggie Parrington to the possibility of organising a benefit for the Hulk, believing him to be persecuted and discriminated against. Samantha, their daughter, suggests that a benefit for her Women's Lib movement would be more constructive. They decline since others have held one previously. The three sneak onto Liberty Island and with Samantha's help they persuade ol' greenskins to come with them.

Things go really meta as "Radical Chic" is mentioned and Tom Wolfe makes a guest appearance, his second in the Marvel Universe, his first being in a Roy Thomas penned Doctor Strange story, (Doctor Strange #180, US,  cover dated May 1969, published February 1969.) that will appear in the Avengers weekly #79, cover dated 22rd March 1975. There's also a panel in which the Hulk spots a girl with green hair, but his mention of Jarella is edited out, which would have referenced a story which should have been printed two issues ago. What's also strange, or possibly a No-Prize is that Jarella is green skinned with blonde hair.

Samantha's father takes all the credit for calming the Hulk, which infuriates the girl as her own parents are playing fireman on a social ladder. Samantha sets off to arrange her own counter protest by picketing her parents party with her Women's Liberation group. The Asgardian, the Enchantress seeks revenge against the Hulk for events in MWOM #45, although the editor says in was in MWOM #50, but that's wrong, I feel a No-Prize on it's way. The Enchantress uses Samantha as an instrument of revenge, by endowing the mortal with the powers of the vengeful Valkyrie. The Enchantress had disguised herself in that identity in a story from Avengers #83 (US), cover dated December 1970, published October 1970. British readers would have to wait till the Avengers weekly #130, cover dated 13th March 1976 and we'll have to wait till next week to see how the Valkyrie gets on battling the Hulk. 

The Mighty Marvel Mailbag

Andrew Saul from lovely Keswick in the Lake District encourages

Marvel fans to write in to ITV demanding they show Spider-man cartoons across every ITV region, because he has seen those cartoons on the Granda (which is the North West of England region, if you didn't know.). David Knight from Sussex Pints out that in Stan in his Soapbox column make good sense that racial unity should be brought through in all fields of life, but while those philosophies are being discussed, while at the same time, in Spiderman Comics Weekly, there's the great all-American Iron-Man who is knocking off hordes of those nasty evil Russian and Chinese communists. He suggests that those adventures are dropped and replaced with more modern and sensible ones. Martin Kelly from London bought some old "Marvel mags" from a friend but was curious to find them to have been published by Alan Class and Co. limited. He asks who are they? The editor answers that long before they began publishing in Britain, long before the days of "Fantastic", "Terrific", "Smash", etc., Marvel

used to grant permission to certain small publishers to produce one-off editions of some of Marvel's material for a fee. Alan Class & Co., were one of those publishers. Paul Mount from Cardiff is so pleased that the US editions have returned after previously complaining about them vanishing.

Danny Morgan from London thinks that all the artists are doing a great job on each of their strips. His only complaint is that there should be more colour pin-ups in the mags. Danny gave the address of Thames TV so Marvelytes can write to them about broadcasting Marvel TV cartoons. Mr. M Armario from Kent is pretty angry about the cover of SMCW #78 that clearly shows

students demonstrating, which in itself he's fine with, however in the background a student is clearly throwing what looks like a petrol bomb, and another is ready to throw a brick, and judging from his words he is clearly provoking Spiderman to act violently. M. doesn't approve of this kind of violence. What really made M. sick was the fact that the students were demonstrating about the violence of the world (The Banner that reads "War No

More!") and yet employing violence themselves. Also, the banner on page 5, last panel, "We Demand Love!" Whoever heard of love being demanded? He adds "Love is a feeling, something which cannot be demanded." The editor has a strong push back at Mr. Armario, making some good points. But I think they all missed the point that Marvel comics are special because they reflect real life, both good and bad actions by people of differing opinions about today's society. People who acted for what they believed was for a good intension sometimes overstepped the mark. Comics are drama not a manifesto on how to live and act in real life. It reminds me of the over-reaction to the Carlos Ezquerra illustration of a street riot from the serial "Kids Rule OK" on the cover of Action #32 , cover dated 18th September 1976. A policeman's helmet lay on the ground near a man who was being attacked by a "youth". It lead to John Sanders, IPC Youth Group’s publisher,  having to appear on Nationwide to defend artwork to Frank Bough. That started the slow downfall of the comic. What happened to that moral campaigner Frank Bough? Google Frank Bough/Sex and drugs scandal and see. John O'Brien from Liverpool wants to pay tribute to the artists at Marvel who do such a fantastic job, and to the Fans who immediately recognise which artist did which picture. John admits that he couldn't tell the difference between the artists, but he knows what he likes. Andy Pearson From Birmingham has over 1,500 UK and US comics and wants to have his full address printed so that he can correspond with other fans.

Daredevil “The mystery of the Midnight Stalker!”

Writer: Stan Lee

Artist: Gene Colan

Inker: Frank Giacoia

Originally published in Daredevil #24

Cover date January 1967

(Published in November 1966)

After last week's issue Daredevil finds himself stranded in a hostile European country, facing a bunch of armed guerrilla bandits. I think Stan or Gene thought that parts of Europe were like Central America. Daredevil beats the bandits, who just happen to also have their own jet plane. Somehow the man without fear steals the airplane and pilots it to England. How he knows how to fly a plane, how he can read the instruments and which direction England is in, is beyond me. A sly ol' Stan offers the explanation that he can feel the vibrations of the needles and dials within the instrument panel and his own radar sense takes care of the rest, but I have trouble suspending my disbelief to swallow that. Later in England, he reads a news item about Ka-Zar being accused of becoming savage and masquerading as the "Midnight Stalker" who has been terrorising London. Daredevil sets of to Plunder Castle to help his friend.

The third and final week of Marvel's Charades competition,  with all five British weeklies giving the readers another set of different clues in each comic. If you missed the last two weeks there have been ten clues spread out over the five mags that relate to one very special word. It's a three syllable word and so far those first ten clues relate to the first two syllables. This final stage of the game gives you the last two clues - one for the whole word and the second for the third and final syllable. 

Here's this week's final clues from the Mighty World of Marvel:-

Clue 1. Sometimes I help to bring TV shows from distant countries.

Clue 2. If you see me at night I look the way my third syllable sounds.

The full list of prizes are:-

2 Colour Television sets.

2 Second prizes of a Pound-a-Week Pocket Money for a Year.

10 LPs - "The Spine-Chilling Tale of Vampirism!" narrated by Christopher Lee, courtesy of E.M.I./Studio 2/ Hammer City Records.

10 Mighty Marvel Calendars, each one personally signed by Stan (the man) Lee.

50 "Fantastic Four" 100-page Colour Specials.

Two more pairs of clues are printed in Spider-man Comics Weekly, the Avengers weekly, Dracula Lives and Planet of the Apes, as you'll see later in this blog.

The Fantastic Four “The Black Panther!”

Writer: Stan Lee

Artist: Jack Kirby

Inker: Joe Sinnott 

Originally published in The Fantastic Four #52

Cover date July 1966

(Published in April 1966)

Thank goodness that the timing schedule allows the Black Panther's first appearance to be printed before he makes his debut in the Avengers weekly. Ben, Sue and Reed are trying out a new aircraft gifted to the FF by the mysterious ruler of Wakanda. Little is known about that African country or its ruler, so out of curiosity the group, with the Human Torch and his college roommate, Wyatt Wingfoot, accept the Black Panthers invitation to joint him in his kingdom.

Wakanda is a mix of traditional African influences and modern technologies from the mind of Jack Kirby. The African chieftain, T'Challa, is protected by guards who carry machine gun and spears, while dressed in traditional attire. A Panther carved effigy rises from an underground silo, with hidden panels that house computer banks and T'Challa stalking costume. We all know what's to come but for US readers back in 1966 and British readers in 1974 these scenes must have amazed them. Kirby was having a ball thinking up these ideas and making them real as he put pencil to paper. 

Kirby is not only flexing his fingers he's letting the readers not forget about his other weird, but still wonderful creations. The Inhumans make a guest appearance, They are still trapped in their hidden city, the Great Refuge, behind an unbreakable barrier constructed by Black Bolt's brother Maximus the mad. No doubt this was meant as a teaser for a future story.

The Wakandan jungle looks like any African rain forest but soon as the craft carrying the Fantastic Four breaks through the dense foliage an even more spectacular sight is witnessed. A hidden land of a man-made jungle, built from topography and flora that are electronically controlled mechanical apparatus.  The branches are composed of wires, flowers are highly complex buttons and dials, the boulders hide computer dynamos! Kirby is having a ball and Stan Lee has to run along to keep up, explaining the wonderful sights. They're the comic book version of Lennon and McCartney, before they fell out. 

All is not tranquil in the jungle of Wakanda. Carefully laid traps have been set out of a hunt, with the Black Panther being the hunter and the Fantastic Four his prey! More techno jungle action (and I don't mean a rave!) in next week's adventure. 

"Now ya gotta believe that mighty Marvel is on the move again!" This half page in-house advert for Planet of the Apes, although the headline wants the readers to know that Marvel's movement isn't just one weekly but two! Who ever set up this advert forgot to include Dracula Lives in it as the second new weekly, but never mind. What does spring to mind is it's showing what looks like an unused Planet of the Apes issue 2 cover. However that's not the case, the back ground is indeed the used cover but in the foreground a mean looking gorilla with a rifle that in this black and white presentation it does make it look like a new cover. 

After the summer of 1974's successful Marvel Treasury Edition #1 starring the Spectacular Spider-man, dated 1974, published June 1974, Marvel was quick to follow that up with what I imagine many in the UK would call a winter special, what in all his marketing majesty would term a Giant Superhero Holiday Grab-bag. This Giant sized thirteen and a half inch by ten inch spectacular would be another winner with one hundred pages in full colour for only fifty pence! This deluxe edition didn't follow the numbering of the Marvel Treasury Editions like later versions of the Holiday Grab-bag would. Some people would group it with the treasuries but this super mag was unique in that the head banner called it a Marvel Treasury Special. It contained a mix of strips, with a "slight Christmasy themed" Marvel Team-up strip from Marvel Team-up #1, cover dated March 1972, published December 1971, Daredevil from #7, cover dated April 1965, published February 1965, a very Christmasy themed Black Widow strip from Amazing Adventures Vol 2 #5, cover dated March 1971, published December 1970 and two Fantastic Four strips that featured the Hulk and the Avengers from the Fantastic Four #25 and 26, cover dated April 1964, published January 1964 and cover dated May 1964, published February 1964 respectively. British Marvel readers would have read the Daredevil in MWOM #75 while the Fantastic Four stories would have been read in MWOM #49 and #50,  

Spider-man Comics Weekly #92

Apart from the colour changes in certain parts of the background this is the John Romita Sr cover from the Amazing Spider-man #76. It's a pretty great cover and could on any other week be my Cover of the Week, but this week it has to be a close runner up.

Spider-man “The Lizard lives!”

Writer: Stan Lee

Artist: John Buscema and Jim Mooney

Inker: Jim Mooney

Originally published in the Amazing Spider-man #76

Cover date September 1969

(Published in June 1969)

Sorry Steve Ditko fans but I really think that John Romita Sr is the best artist for Spider-man, but this week we start a run of six stories, over twelve weeks, of John Buscema art. I have to say it's on par with Romita's best. It'll take us right into the new year. Just take a look at this opening splash page, it's amazing! Spider-man drops off the rescued Martha and Billy Connors while he goes in search of their husband/father who is hiding somewhere as the Lizard. Later returning to his civilian identity, Peter calls his Aunt, chews the breeze with Harry and goes to see Gwen to make up with her for his countless disappearances. 

He wins her over, although I'm not sure I would have him back with such weak excuses, but it must be love because it seems to work. It also help that Gwen's father, Captain Stacy and his friend Robbie Robertson enter the scene after their meeting in which they discuss the why and wherefores of Spider-man. Stacy asks Peter if he has noticed any unusual mannerisms that could identify Spider-man's true identity. Peter says he hasn't but he agrees to meet up with Captain Stacy to discuss the subject later. The next day Peter awakes to news that a creature, that can only be the Lizard, has been spotted. As quick as a web-slinger of a web-line Spider-man is in action against the reptile fiend. Now this is what we came for, all out action. Soak it up, Spider-man at his best. Sadly it had to finish but there's a promise it will continue next week, with the Human Torch as a guest star. I can't wait for that!

It's Spider-man's turn to give Spider-man Comics Weekly readers his two Charade clues:-

Clue 1. Sometimes | help to bring TV shows from distant countries.

Clue 2. If you see me at night I look the way my third syllable sounds.

However these sets of clues have already been used in this week's the Mighty World of Marvel and each weekly should have a different set of clues. I feel yet another No-Prize coming my way. 

Two more sets of clues to the same mystery word can be found in this week's Avengers weekly, Dracula Lives and Planet of the Apes, later in this blog. So keep reading.

The Web and the Hammer

J. Palmer from Leeds thinks that SMCW is too good for words, especially SMCW #75 which featured the Web-slinger alongside the Avengers. J. wouldn't mind seeing a super-hero team, like the X-Men, as part of the SMCW line-up. Ian Shuttleworth RFO, KOF, FFF, FOOMer from Belfast takes aim at George Monteith of Glasgow pointing out that the Troll King's name is Geirrodur. I'm not sure when George got the Troll King's name wrong, but as he can't defend himself, I'll say could it have been a spelling mistake caused by the type setter? Stephen Henderson from Northumberland congratulates the editors for getting rid of Iron Man in SMCW #73, this letter reads a little awkwardly as the golden Avenger returns in the following issue. 

Another letter from a reader pointing out errors in readers letters this time it's from Russel Churney RFO, KOF, QNS from Liverpool who tells Sue Tudor, Peter Hinton and a couple of other writers, that about five years ago Granada TV broadcast the Spider-man Cartoon series. Ian Cairns from Newcastle-upon-Tyne thought the depiction of Jack Kirby in "Auntie Goose Rhymes Dept" from SMCW #70 was great it had him in stitches. Sean Clark from Kent spotted a Spider with ten legs in the fourth panel of the twenty-first page of MWOM #73. Ian Lee from Cumbria has been reading SMCW since issue 7, he says that the artwork and plots on Spider-man have been getting better and better, so much so that he would like to see him getting his stories back to 23 pages in length. 

Iron Man “The Origin of the Mandarin!”

Writer: Stan Lee

Artist: Don Heck

Inker: Dick Ayers

Originally published in Tales of Suspense #62

Cover date February 1965

(Published in November 1964)

 

The captured Iron Man has to listen to the oriental villain, the Mandarin, as he recalls his origin. He claims his father was a direct descendent of Genghis Khan, but he died when he was but a baby, as an idol fell upon him. His mother died of a broken heart, leaving his aunt to look after the child. Believing him to be an evil omen, his aunt thought about abandoning the baby, but soon changed her mind when a chandelier toppled, nearly crushing her. She raised the child, teaching it to hate the world just as she did herself. He grow up spending all his wealth on studying science and the art of warfare, then as an adult the man who would become the Mandarin was forced to leave his home by the Chinese government.

The Mandarin journeyed searching for what he believed the gods intended for him, this journey lead him to the forbidden Valley of Spirits. Lured by a glow in the distance he found the ruins of a mysterious alien spaceship. Realising that it held power never before seen on Earth,  he explored the vessel, discovering a machine that fed into his mind the logs of the ship's captain, an alien explorer called Axonn-Karr of the planet Maklu-4. Axonn-Karr looked like a dragon of ancient myth, where on Earth, he was fatally wounded by terrified humans. The Mandarin retrieved the ship's power source, ten rings that contained unlimited energy and set up a new home in a deserted castle in the Valley. For years he studied the alien science of Axonn-Karr and harnessed the power of the ten rings. Each one had a different power he could command at will. With the rings he subjugated an entire village to his will, thus embarking on a journey of conquest under the identity of the Mandarin. Iron Man tales can be a little tedious, but this week's fair had an interesting feel to it, as long as you are prepared to accept the power of the rings.

Here's a smart half page in-house advert for UK Marvel's latest weeklies. This time both Planet of the Apes and Dracula Lives covers feature in the advert. Although the covers used are slightly out of date as issue two for both Planet of the Apes and Dracula Lives are shown. Still it's nice to see that these pair of mags getting a bit of attention in one of the super-hero weeklies. They share the page with an Airfix advert for its "Flight Deck". I can't remember seeing one but I imagine you had to land a model Phantom jet on a carrier flight deck using a control stick. It also says to look out for it on TV, but I can't recall any TV adverts for it. Can you? 

The Mighty Thor “The Super-Skrull strikes”

Writer: Stan Lee

Artist: Jack Kirby

Inker: Vince Colletta

Originally published in The Mighty Thor #142

Cover date July 1967

(Published in May 1967)

Thor continues his struggle against the Super-Skrull, who uses all the power of the Fantastic Four against him.It's a wonderful battle royal displayed in all of Jack Kirby's artistic glory. The two are pretty evenly matched in combat. But eventually Thor's Asgardian might is no match for even the Things strength, Mister Fantastic's stretching abilities, the Invisible Girl's invisibility and force fields, or the Human Torch's flame powers, leading to the Super-Skrull being significantly weakened enough for Thor to use his enchanted hammer to create an "anti-force" to banish the evil alien from Earth, rocketing him into the coldness of space. Watching from exile, Loki is furious as once more his plans are spoiled by the Thunder God.

Avengers Weekly #61

This may look like an original Master of Kung Fu cover, but in fact it is another adapted cover modified especially for this Avengers weekly. The original piece was taken from Marvel Premiere #15, cover dated May 1974, published February 1974, but it wasn't Shang-Chi who kung Fu kicked his way out of a one-sided beating. No, originally the kung fu star was Iron Fist, who was replaced with Shang-Chi thanks to Arvell Jones' neat pencil and ink work. The original artist was Gil Kane with help from John Romita Sr and Dick Giordano applying the inks.  

The Avengers “Magneto's vengeance!”

Writer:Roy Thomas

Artist: John Buscema

Inker: George Tuska

Originally published in The Avengers #47

Cover date December 1967

(Published in October 1967)

The opening splash page smartly mixes the third panel from page thirty-three, showing Magneto sitting on a stool, with the third panel from page thirty-four, were the Toad locks the dungeon door, both from last week's issue. The background is nicely re-drawn to smoothly complete the desired effect. Magneto plans to revive the Brotherhood of Evil Mutants, although he decides to ignore Mastermind for the time being. I think that Roy Thomas didn't want to over egg the pudding with another character that wasn't needed. 

After a quick re-cap no how Magneto first meet Quicksilver and the Scarlet Witch, he sends the siblings a coded message to attend a mysterious rendezvous at Garrett Castle. The twins answer the call as they were on monitor duty, falling right into Magneto's trap, a giant armour figure attacks the pair, controlled by the magnetic powers of Magneto. He wants to test the mutants twin's powers. When the Scarlet Witch crushes the giant under a chandelier Magneto reveals himself and offer them a chance to join him. The Witch tells him that they are no longer criminals, but members of the mighty Avengers. The refusal angers Magneto who sends an army of medieval suits of armours to battle them. Quicksilver and the Scarlet Witch fight valiantly but inevitably are overcome. Magneto triumphant even with the rebuff, the master of magnetism plans to have Homo Superior conquer the world. Next issue more of Magneto's mutant madness and the Black Knight too! Can't wait! 

The Avengers weekly has its last pair of clues to the Marvel Charade competition, here they are:-

Clue 1. Round and round I go.

Clue 2. My final syllable rhymes with "light".

You know I think I've just got, but I'll hold off any spoilers till next week. Two more sets of clues will follow in Dracula Lives and Planet of the Apes.

Doctor Strange “In the shadow of...death!”

Writer:Roy Thomas

Artist: Tom Palmer

Inker: Dan Adkins

Originally published in Doctor Strange #171

Cover date August 1968

(Published in May 1968)

Well known inker Tom Palmer takes over from Dan Adkins for two weeks as Dan inks Tom's artwork. I have to say I do like the detail this strip has. Doctor Strange returns home to his Sanctum Sanctorum to renew his search for Clea with help from the Orb of Agamotto, when a strange mystic being, the herald of Satannish, appears after Strange recites an ancient incantation. The being says that mortal men may not command the herald of Satannish but his master bids him to give the Doctor aid. Strange asks where dwell those who fall under the spell of everlasting vanishment? The herald reveals an image of Clea, giving him a clue of where to find her. The Ancient One told Strange that he must act in consort with another female with whom he had shared a mystic rapport. He enlists the aid of Victoria Bentley, the two mystics travel to a world without parallel with strange vistas and a weird globe that draws first Victoria and then Stephen into its mass. The mystery villain will be revealed next week, although the "Next:" end box does give it away, but I won't...Spoilers!

Bullpen Bulletins

Only the Avengers weekly offers a Bullpen Bulletin page this week. Stan opens with his Soapbox column. In it he raises a glass in a toast to Roy Thomas who was the co-guest of honour at the New York Comic Art Convention that year. John Romita Sr, Marie Severin, Gil Kane and a host of Bullpeners lent their talents to the panels and demonstrations around the place. The page also features a Mighty Marvel Checklist, which looks more impressive these days with listings for all five weeklies. The next Item had already been printed in last week's Bullpen page seen in Avengers weekly, but after that the following Item was new, advising readers who haven't already to track down the giant-sized Marvel Treasury Edition featuring 100 pages of Spider-man, as John Romita Sr was responsible for the commemorative cover. The next three Items all appeared in the Bullpen pages from last week's Dracula Lives and Planet of the Apes mags.

Avengers Readers Assemble

Steve Long from Liverpool asks the editors to not print letters that clamour for No-Prizes unless it's really necessary. No-Prizes have to be won, not handed out on a silver plate. Keith Williams from Shropshire loves the continuity of Marvel stories, he says they all inter-lock, blend, and flow into each other. Paul Finch from Norfolk asks Marvel to not bring out another mag as he wouldn't be able to afford all four every week. Maxwell Usher from Liverpool asks why doesn't geniuses like Doctor Doom or the Leader fly through a cosmic storm like the Red (or is it "Mad"?) Ghost to gain super-powers? Stephen McGonacie from Dunbartonshire has spotted Vince Colletta's name misspelt in one credit box. The final writer remains nameless but they come from London with this idea, "Give a readout on heroes and baddies in all three comics, together with their conflicts with each other."

Master of Kung Fu “Death in mid-air!”

Writer: Doug Moench

Artist: Paul Gulacy

Inker: Jack Abel

Originally published in Giant-Size Master of Kung Fu #2

Cover date December 1974

(Published in September 1974)

The first panel from page ten of last week's comic is used as the opening splash page to the second part of this Master of Kung Fu story, although if you hadn't seen that issue it might seem strange that two attackers are leaping out of the trees to be seen in the next page, unconscious around the feet of Shang-Chi and Sandy, but never mind. Shang-Chi finally meets with his intended rendezvous, Sir Nayland Smith. Shang-Chi and Sandy join the British spy on a horse drawn carriage and is relayed information for the chinaman's next mission, detailing that he will be a body guard for a scientist and his research in Peking. Neither Smith or Black Jack Tarr seem to be bothered that Sandy hears the conversation. More will be made of that later I'm sure.

Smith continues to give Shang-Chi his instructions even as he boards the plane for Peking. Sir Denis and Black Jack will rendezvous with him in China, but he has placed agents on the plane for backup. Once aboard, Shang-Chi wonders who are the agents Smith has sent. Quickly he realises that the plan has gone awry when a stewardess tries to garrotte him. The other passengers shed their innocent appearances and also attack, but the kung fu hero dispatches them in his usual manner. Shang-Chi knocks out the pilots and finds the real crew tied up in a locker compartment, along with his contact. The plane lands in Peking. This story is a long slow build but it's packed with kung fu action, can't wait for more next week.

The back page of the Avengers weekly has the same advert for the Marvel Treasury Special, Giant Superhero Holiday Grab-bag that was presented on the back cover of this week's the Mighty World of Marvel. But instead of a yellow background here it's a shade of orange in  colour. This version is also repeated on the back covers of Dracula Lives and Planet of the Apes this week. With this bumper feast of Marvel action and three British Marvel annuals there was a lot to hope for in your Christmas sack in eight weeks time. 

Dracula Lives #4

Another US cover that was adapted for the UK, here Neal Adams original artwork is flipped for some strange reason, from the cover of Tomb of Dracula #1, cover dated April 1972, published November 1971. I can't see any possible reason for doing that, other than may be the Count's head fitted nicely between the "Lives" part of the title and the corner box. But in saying that they had to move the word "Lives" over to the right to fit him in, arguably they could have kept it the same as the US version and moved "Lives" over the the left. I do like this cover but I can also see why they chose the Pablo Marcus cover for Dracula Lives #1 instead. 

Dracula “With sunlight comes doom!”

Writer: Gerry Conway

Artist: Gene Colan

Inker: Vince Colletta

Originally published in Tomb of Dracula #2

Cover date May 1972

(Published in February 1972)

The fifth panel of page eleven from last week's comic is enlarged to make a nice opening splash page to the second part of this story, with a new story title that does foreshadow how this tale ends. After hearing Jeanie's scream from Drake's hotel room Dracula leaves showing his faith in the female vampire, believing she will succeed in killing both humans. Spotting his next victim he follows her into a pub. Using his charm he offers to buy the woman a drink, until he is interrupted by Bart, her jealous boyfriend. Bart picks a fight with Dracula, however the vampire easily overpowers him and lures the girl into a dark alley outside. Her screams alerts Bart and the other bar patrons who witness Dracula transforming into a bat and flying away. Later Dracula boasts that Drake made an error, having Dracula's coffin is not fatal to the vampire at all. It's the dirt inside which Dracula needs to be able to sleep.

In Frank's room a tied up Jeanie convinces Clifton that Frank has gone crazy. Still jealous over the fact that Frank had won Jeanie's heart, he decides to betray Frank in order to win her back by spiking Frank's coffee. Once Frank is knocked out he unties her as Dracula arrives to reclaim his coffin. Frank recovers, entering the room with a crucifix in hand. Dracula sends the mind controlled Clifton to attack Frank, who drops the crucifix. The Lord of the Undead then attacks his ancestor. Jeanie hungers and turns to feed on Clifton. Managing to free himself from Dracula, Frank grabs a broken table leg and rams it into the female vampire's back. The dawn starts to rise causing Dracula to retreat, transforming into a bat he flies away. As the sun rises Jeanie starts to disintegrate as she pleads with Frank that she does not want to die that way. Nothing can be done to save her. All is left is a pile of ashes and a weeping lover. 

Dracula Lives offers two clues for the Marvel Charade competition , it's really getting easy now.

Here they are:-

Clue 1. Boy! I'm really in orbit.

Clue 2. A singular first person is the centre of my final syllable.

Planet of the Apes will have the final two clues.

Werewolf by Night “Death of a monster!”

Writer: Roy Thomas, Jean Thomas and Gerry Conway

Artist: Mike Ploog

Inker: Mike Ploog

Originally published in Marvel Spotlight #2

Cover date February 1972

(Published in September 1971)

A blown up second panel from last week's nineteenth page opens the fourth part of this Werewolf by Night story. After hearing his mother conclude her tale, Jack realises she married Philip in the hopes of wiping out his true father's bloody memory. She makes Jack promise that he will never raise a hand in anger to his stepfather. Jack swears he, will just as his mother passes away. 

As the full moon rises, Jack feels his transformation start. Racing from the hospital the Werewolf prowls the city. Instinctively, he heads towards an empty warehouse where he finds Max Grant. Max is a large, muscular man and does not believe that his attacker is a true werewolf, but a thug in a werewolf mask sent by Russell to get out of paying Grant the money he wanted. He tackles the creature, holding his own for several minutes. During the melee, Grant confesses that Philip owes him ten-thousand dollars and adds that Russell should have thanked him for sabotaging the brakes on Jack's mother's car.

On hearing that his step-father might have payed his chauffeur to cut the brakes on his mother's car, possibly to inherit the entire Russoff fortune causes Jack in his werewolf form to go mad. But that inflames Grant's resolve and he grabs the Werewolf by his neck, strangling the life out of him. It's that kind of cliffhanger that would send Mary Whitehouse into raptures of moral crusading anger. It's a good thing that she never read comics. She spent far too much of her time watching Doctor Who and Dennis Potter plays to bother with comics.

This Marvel Masterwork pin-up was actually the cover of Marvel Spotlight #2, which this Werewolf by Night story was taken from, with artwork by Neal Adams and Tom Palmer. The quote "Even a man who is pure in heart and says his prayers by night, may become a wolf when the Wolfbane blooms and the autumn moon is bright." is an old folk poem, that was quoted in the classic 1941 horror film "The Wolf Man" by many characters including Jenny Williams as played by actress Fay Helm.

This week's super-hero weeklies get their own advert in both the Dracula Lives and Planet of the Apes comics. It proudly claims that they're full of "Action--in the mighty Marvel tradition!" and that these "three more triumphs from Marvel" are "now on sale!" As if Marvel readers didn't already know. But if they didn't it's good to be informed. 

Frankenstein’s Monster “Death is a four-letter word!”

Writer: Gary Friedrich

Artist: Mike Ploog

Inker: Mike Ploog 

Originally published in The Monster of Frankenstein #2

Cover date March 1973

(Published in December 1972)

The sixth panel from the last page of last week's Frankenstein's Monster is blown up and used as an opening splash page for this second part. The Monster is retelling Frankenstein  how a hunting pack of dogs had attacked the fleeing Monster, allowing the pursuing hunters to catch up with him. One of them fired a gunshot into the creature's shoulder, to which the Monster responds by hurling a large boulder at the men, sending them scattering. Shortly after that incident the Monster came to Geneva and killed Victor's brother, William.

The monster finishes his tale by telling Frankenstein that the only way he can redeem himself is by creating a mate for him. Even though he is repulsed by the idea, he feels he has no choice but to comply. Victor Frankenstein spends several nights roaming cemeteries, digging up bodies for any vital organ he can find. The Monster assists in the project by murdering a young woman and stealing her still-beating heart. Frankenstein sews the body parts together and brings the hideous "she-thing" to life. Horrified at what he has created the scientist cannot possibly allow two such creatures to exist. He flies at the female monstrosity, stabbing her repeatedly with his knife until she falls over dead. Later the Monster flies into a rage when he learns what Victor has done, murdering Frankenstein’s close friend Henry Clerval. The authorities arrest Frankenstein for Henry’s death believing him to be the killer. Captain Walton concludes his own retelling of the story, as the Monster with his hostage, Sean Farrell, seeks refuge high up the ship's mast. Suddenly, the ship strikes an iceberg and pitches over. "Revenge of the creature!" next week!

This in-house advert, from the inside back page of Dracula Lives, tells us "Don't miss the latest issue of... Planet of the Apes." well I won't. It's up next!

Planet of the Apes #4

It's another cover especially made for the UK version of Planet of the Apes. It certainly is more horrific than any other British Marvel cover, or possibly any other British boys comic at the time, but even the lobotomised Dodge, Taylor's co-astronaut, doesn't win it any prizes this week. In the film and the strip (shown next week,) it was Dodge's disembodied head seen, not "Dodge the mindless zombie" as shown on this cover. Don't you think that the "mindless zombie" looks a bit like Charlton Heston? Ed Hannigan drew the cover while Mike Esposito applied the inks.

Planet of the Apes “Chapter Four: Manhunt!”

Writer: Doug Moench

Artist: George Tuska

Inker: Mike Esposito

Originally published in Planet of the Apes #3

Cover date December 1974

(Published in October 1974)

After discovering that there's more to Taylor than he first seems, Zira takes him into her private office. She gives Taylor a pad and pencil and begins questioning him. Cornelius is still not convinced that Taylor's gifts are little more than clever mimicry. Taylor gives details of where he came from and how he arrived on this strange world. 

Cornelius asks how could he arrive, adding that flight is impossible. As an example of how Taylor could have flown to the planet, the astronaut folds a piece of paper into the shape of a plane and flys it. Cornelius picks it up and reads the word "Here!" on it. Taylor  asks for a map so he can point out where his ship landed. The interview is cut short by the abrupt arrival of Dr. Zaius, who isn't pleased that Taylor has been allowed out of his cage, even if it is for scientific study. He calls a guard to return the human back to his cage. Zaius picks up the discarded paper plane and asks what it is? Cornelius says it's a toy that floats on the air. "Nonesense." replies Zaius.

Some time later, a gorilla arrives to escort Taylor out of the hospital. He tells another gorilla that under orders from Dr. Zaius they intend to geld him. After hearing that, Taylor breaks free from his cage when the guard is alone, knocking him out, he flees, but someone is alerted to his escape and whistles are sounded. Next week "Capture!"

Right here's the final set of clues for the Marvel Charades competition:-

Clue 1. You could call me stuck-up, because I look down on the world.

Clue 2. The beginnings of the Llama has two things in common with my third syllable.

Right once you got the word all you had to do was fill in the coupon from any of this week's five comics, with your name, age, address and the word. You also have to decide upon the sort of name that the Bullpen might give to the object. Like if the word was a ship you could name the ship HMS Nightshade, if you were a John Wagner fan. And the winners of the colour TV sets will be awarded to the two Marvelites who not only have the word right, but who also, in the opinion of the judges, christen it with the most original names. The other prizes would be awarded on the basis of originality in christening our object. If you did work out the word well done, but I wouldn't send off your entry, you're fifty years too late.

Ka-Zar “Back to the Savage Land”

Writer: Gerry Conway

Artist: Barry Windsor-Smith

Inker: Sam Grainger

Originally published in Astonishing Tales #3

Cover date December 1970

(Published in September 1970)

Gerry Conway takes over the writing chores from Roy Thomas, while Barry Smith, known to many in Britain as Barry Windsor-Smith, takes over the art chores from Jack Kirby. Windsor-Smith's style in these early days is very reminiscence of Kirby's style, with may be a touch of John Buscema. But you can also see Windsor-Smith's own style forming too. He's great, I can't wait for his Conan strip to appear in these weeklies. When it does you'll be in for a treat, although it will mean seven weeklies for me to review, which is a possible nightmare for me.

The Petrified Man relates his life story to Ka-Zar, starting over five hundred years ago when he was a lowly sailor on board the British ship HMS Drake, which was lost in rough seas around Antarctica. He managed to survive on floating wreckage that was pulled to warmer water that lead to a hidden world. The man who would become the Petrified Man wandered through the impossible jungle until he stumbled onto a strange head-like shrine that had an eerie light glowing from its inhuman eyes. The sailor drunk from the waters below it. Savages discovered the intruder, chasing him away for his sacrilege for defacing the glory of Garokk, their Sun God. The sailor fled through the insane jungle, discovering the true terrors that make this jungle live up to its name, the Savage Land. Returning to the civilised world he found that he wouldn't grow any older as people round him aged and died. Inwardly he knew he must have drunk an elixir of life. The curse of his immortality took its toll causing a terrible metamorphis as his features hardened into rock. 

The Petrified Man goes on to tell Ka-Zar that he has dreamed of the Year of the Sun King, a year of death created by the Empire of the Sun, who's people Ka-Zar knows of,  believing them to be peaceful. The Petrified Man claims that they have a new leader, Zaladane, who has plans of conquest in the name of the Sun God, Garokk! The pair travel back to the Savage Land. Where they are attacked by Ka-Zar's friend Tongah who sees the Petrified Man as a symbol of the Sun People's tribe, who have slaughtered his family and his tribe! Ka-Zar calms his rage but already the Tribe of the Sun-People are attacking on giant birds as Zaladane leads her tribe into a war with the Lizard Men of the north in the name of Garokk, the Sun King! Next week: "Let there be battle!"

Gullivar Jones “Wasteland..on a weirding world”

Writer: George Alec Effinger and Gerry Conway

Artist: Ross Andru and Marie Severin

Inker: Sam Grainger

Originally published in Creatures on the Loose #18

Cover date July 1972

(Published in April 1972)

Another change of writers and artists for this third Planet of the Apes strip and they come in pairs with George Alec Effinger teaming up with Gerry Conway for the writing chores, while Ross Andru teams-up with Marie Severin to handle the artwork. But the change makes it more of the same as Gullivar Jones wakes up after being kidnapped by the monster known as Phra, with his fellow captive, Chak, the story leads into yet another retelling of how Gullivar Jones meets Lu-Pov and journeyed to Mars in the future, to battle a host of strange fantasy creatures and of his search for the golden princess Heru. What is new is that we learn that the civilised people of Mars faced a great earthquake that destroyed many cities, killing many people. Civilisation fell into barbarism and tribes evolved to survive. Some evolving into beasts. I'm not enjoying this story as much as I first did, may be it's become a little too predictable. Hoping it'll improve next week.

Planet of the Apes returns the favour from Dracula Lives' inside back page with an in-house advert for this week's Marvel horror comic. "Mind-wrenching thrills and chills!', with Dracula, the Werewolf and Frankenstein! Horror aficionados would quickly point out that it should be Count Dracula, Werewolf by Night and Frankenstein's Monster. But enough of that, let's enjoy it for what they are. Great thrilling tales. So with that I'm off to read some more great thrilling tales for next week's blog, till then...

 

See you in seven.

Make Mine Marvel