Through early morning fog, I see Visions of the things to be.

 Week Ending 22rd March 1975

A hand full of things before I get into the blog, first up is this week's title. I generally like to leave their meaning up to the reader, but the ones I would have chosen might have been misread in the wrong way. As a kid I loved watching M.A.S.H. on BBC2. For those who didn't it was a comedy set in the Korean War about a United States Army Mobile Army Surgical Hospital. It dealt with very dark and adult themes in a dark humoured way. Even now the repeated episode can dampen eyes. I loved the theme tune, often singing the dark lyric, even as a child. When the Manic Street Preachers released their version when I was in my late teens I could be heard singing it louder. Well many of this week's stories have very adult themes that remind me of the lyrics from that theme. Such as Frankenstein's Monster's longing for deaths well as humanity's fear, hatred and mistrust in the Silver Surfer strip. In the Planet of the Apes strip this week Solomon the gorilla and Jovan the human witnessing first hand where mankind's anger has lead them. This week's three strips that have been adapted from Robert E Howard's work connect with his own mortality. But there's always beauty, there's always hope, that's why I chose the starting lyric and not the song's sun-title "Suicide is painless". I could have use any of the lines, "It brings on many changes, And I can take or leave it if I please, The game of life is hard to play, I'm gonna lose it anyway, The losing card I'll someday lay, So this is all I have to say." Live for the joy, not the pain.

Onto lighter things, Dangermash commented that the address form from the FOOM advert would get cut out and stuck on the mouth of the Hulk's face which covered the A4 envelopes in which FOOM as sent out in. I did know that as I've seen them for sale on eBay, but I'm grateful for Dangermash reminding me and the blog readers. Another blog commentator, Johnny spotted that Peter Taylor from Birmingham got a letter printed in both MWOM and SMCW in the same week. I'll admit I didn't notice that. A third comment from Tony spotted a mistake that I made, the Avengers #70 cover art was by the great Sal Buscema not his brother John, I've corrected that now. Thanks to all three and please accept a Power of the Beesting No-Price (PotBNoP.) for all your comments. I'm running out of space and time to add another point that I really wanted to talk about, so instead I'll tease it for another blog interaction. "Are British Marvel Comics and Marvel UK comics really British comics?" Well there's a clue there in their names. On with this week's the Mighty World of British Comics, oh sorry miss typed, that's the name of a fabulous Facebook group that features loads of British comics, annuals and mags, one of my favourite reads, but on with the Mighty World of Marvel.

The Mighty World of Marvel #129

Let's not beat around the bush, this cover is my Cover of the Week. Why? Well it's simply incredible! Originally from the cover of The Hulk King-Size Special #1, cover dated October 1968, published July 1968. That special featured the Hulk's first encounter with the Inhumans, which British Marvel readers will remember serialised in MWOM #58 , #59 and #60. On the original US version the Hulk is seen crushed between his name, carved in stone and the Inhuman's name again carved in stone. For the UK version an unknown art bodger changes "Inhumans" into "Inheritor" matching perfectly the original font and design. That isn't all that's been changed, or should I say, "what wasn't changed". Confused? Well you will be. The original artwork was penciled, inked, coloured and lettered by Jim Steranko and what an amazing job he did, I can't stress that enough, but the powers that be, most probably Stan Lee, thought that Steranko's version was "too fierce," as Jim had drawn the Hulk's head with beads of sweat and bulging veins. So for the American version Marie Severin redrew the Hulk's face. Steranko wasn't happy with the results, he dubs Marie's version "the teddy bear Hulk." British Marvel readers actually get to see the original artwork, all be it with the Hulk standing on "Inheritor" and not the "Inhumans". It has the side-effect of making this issue of the Mighty World of Marvel more sort after by collectors from both sides of the Atlantic, inflating the asking price somewhat. 

The Incredible Hulk “...And who shall claim this earths own? The Inheritor”

Writer: Archie Goodwin

Artist: Herb Trimpe

Inker: John Severin

Originally published in The Incredible Hulk #149

Cover date March 1972

(Published in December 1971)

After the Hulk was captured in last week's issue we find the Hulk sedated and kept under lock and key at Project: Greenskin, with General Ross and Major Talbot pretty pleased with that situation. Betty Ross is less so, as even under the tranquilliser the docile Hulk still hasn't become the man she loves. She sees a shooting star in the night sky and wishes on it that Bruce can be cured.

The producers and writers of the first Men in Black film might have been big comic fans, as the plot for that film plays on themes from this very comic. Betty's shooting star turns out to be, what a pair of midnight poachers believe is a meteorite, that crash in the wilderness spoiling their illegal activities. But in reality that meteorite turns out to be an alien space ship, piloted by a humanoid beetle-like creature. He claims to have come home. We'll discover his origin next week. Meanwhile at the Gamma Base the Hulk's tranquilliser attachment has worked loose leaving an agitated Hulk confused and angry at his current confinement and the absence of Jarella. He tears through the steel-reinforced concrete walls of his cell. Luckily for the watching General and Major, he doesn't get to the second wall before tranquilliser gas is automatically pumped in sending the Hulk back to sleep.

A good sleep is all that's needed for when Betty returns to the Gamma Base in the morning she discovers that the green monster has finally transformed into Bruce Banner who is hard at work using Project: Greenskin's considerable research equipment to find a cure for himself. Wearing a specially designed harness, which he himself created to monitor the chances of him becoming the Hulk again. He hopes to discover a way to drain off the radiation in his body that could lead to a permanent cure. Elsewhere a shipment of radioactive material is heading towards the Gamma Base is abruptly stopped by the punch of the strange beetle-like creature who now refers to himself as the Inheritor! The radioactive cargo spills all over the Inheritor in a glow that gives the creature a feeling of resurgence in his strength and vitality, as well as the return of a memory. "The senses shattering secret of the Inheritor" will be revealed next week. 

I always like to see in-house adverts for the newest comics from the House of Ideas. This full page gives equal importance to both of British Marvel's weekly masterpieces. The Super-Heroes are here, because you demanded it, with Jack Kirby's version of the Silver Surfer taken from the cover of the Super-Heroes #1, to represent himself and his co-stars, the X-Men. The Savage Sword of Conan is packed with barbarian adventures from Robert E Howard's heroes Kull, King of Atlantis and Conan the Barbarian, who his represented by an image by Barry Windsor-Smith also taken from the cover of Savage Sword of Conan first issue. 

Daredevil “Behold--the Beetle!”

Writer: Stan Lee

Artist: Gene Colan

Inker: John Tartaglione

Originally published in Daredevil #33

Cover date October 1967

(Published in August 1967)

It's a cracking start to this strip. Spider-man's old foe, the Beetle gets disturbed by the man without fear, as the insect themed fiend attempts to rob an armoured truck. Ultimately the villain makes off with the loot after beating the tired hero. Who was still weak from his battle with Mister Hyde and the Cobra. Time for a break maybe, so Matthew, in his guise of "Mike" Murdock suggests a trip to the 1967 World's Fair in Montreal Canada, as just the ticket for rest and relaxation. He invites both Karen and Foggy. 

Karen suggests that they can't leave Matt behind, so she calls him to offer an invite. That could have been a problem, but clever Murdock recorded his own voice making an excuse not to go. On the train ride north it turns out that "Mike" Murdock's intension wasn't as clear cut as a holiday, as the train was also carrying a shipment of jewels, which he intended to use as bait for the Beetle. It works as soon the insect villain-wrong-un breaks his way past the jewels security. Before long Daredevil is on the case. I'll admit I haven't been this strips biggest fan over the last month or two, but I really enjoyed this one. Even "Mike" Murdock is growing on me. It isn't because of a change of writer of artist, I just think that Stan Lee is trying harder and John Tartaglione is getting the best out of Gene Colan's art. This weekly is truly hitting it's prime with all three strips reaching great heights.

The Mighty Marvel Mailbag

R. Leyland from London has been reading Mighty World of Marvel since the 1st of October 1972 and says he has become disgusted by the way your comics have been downgraded once you had built up your sales. He goes on to add that he wouldn't buy any of the British Marvel mags until they do something to improve the low standards. The editor gives a strong reply to rebuke the writers criticism and the use of the word downgraded. J. Hasler from London gives a more up beat review of MWOM, although he describes Doctor Doom's name as corny, which in truth he's probably right. Aston Kaye from Buckinghamshire found in a Northampton market bookstall copies of Avengers weekly # 2-13. MWOM #20 and SMCW #11 and more for either 3p or 2½p each. Do you remember the ½ pence? Brian Longshaff from Sheffield doesn't like it when people contradict themselves when they write in saying that "this story is rubbish or this mag is rubbish", but then finish their letters with "Make Mine Marvel". John Rigby from Leeds was surprised to see on the cover of MWOM #107 that the Hulk was wearing red trousers when, but in the previous issue's Mailbag the editor claimed that he only wore purple pants.

The Fantastic Four “The sands of doom!”

 

Writer: Stan Lee

Artist: Jack Kirby

Inker: Joe Sinnott 

Originally published in The Fantastic Four #61

Cover date April 1967

(Published in January 1967)

The Fantastic Four, (well should that be three? Where's the Torch gone?) return to the safety of the Baxter Building after last week's epic battle with the cosmically powered Doctor Doom! Only to find that some of their equipment has a life of its own as it attacks them. But before we can find out why we are taken to Latveria and find the Silver Surfer tormented by his jailers in one of Doctor Doom's dungeons. If only he had one iota of his power that Doom had previously stolen from him. As if on cue the Surfer's board comes crashing through the cell wall to liberate him.

What amazed me when I first read this story and still does all these many years later is the poor pacing of events. How can the Fantastic Four return home so quickly yet the Surfer's board has only just freed him from his cell? You can find other examples of this miss-timed storytelling in other FF stories, I have to put the blame on Jack Kirby who was making up the story as he went along. Stan Lee over looked these continuity errors, because Jack's imagination of design was so incredible everything else could be forgiven. It certainly doesn't stop me from enjoying this flawed masterpiece. Back to the Baxter Building and the FF discover who has been setting their own equipment onto them. In a new costume the Sandman makes his presents known and explains why he can set advanced equipment against them, it's because in the Wizards absence he took a refresher course in science. That's a prime example of Stan Lee filling some of Jack Kirby's plot-holes. The best teams work together to cover up each other's weaknesses.

Spider-man Comics Weekly #110

This original UK cover was drawn by Sal Buscema with inks by either Al Milgrom or Mike Esposito, The Grand Comics Database isn't completely sure. I really like this cover, although there's noway it's going to beat Steranko's MWOM cover. It's very much a changing of stereotypes, with the female antagonist dominating the scene as the male character is shown in a submissive position. I'm not sure that this cover would have passed the Comics Code Authority in the US. A tied up woman on the front of cover would have been a big no-no! A domineering woman in an all-in-one black catsuit, certainly would have been frowned upon. I wouldn't call it risky, but what would Mary Whitehouse have to say about it?

Spider-man “Beware...the Black Widow!”

Writer: Stan Lee

Artist: John Romita Sr.

Inker: Jim Mooney

Originally published in the Amazing Spider-man #86

Cover date July 1970

(Published in April 1970)

John Romita Sr.'s wonderful cover from last week's comic and the Amazing Spider-man #86 is smartly reused as the opening splash page to this week's second part. We find Spidey still a little worse for wear after his battle against the Kingpin and the Schemer. So when the Black Widow attacks him, to test out her new equipment and tell the world that the Black Widow is back, as sexy as ever, it gives Spider-man a excuse as to why in many ways she beats him. It does feel a little like Lee and Romita were "mansplaining" to the readers. 

Cards on the table Spider-man has super-powers, the Widow has advance training and some cool weapon, so I don't need patronising that she can only beat Spidey because he was a bit unwell. Let's be fair to Messers Lee and Romita, they do make a great story out of Spider-man's weakness, next issue. And this week's adventure is pretty damn great. Just maybe a little of its time. I'm not being sexist, I'm just being truthful, the Black Widow looks sensational and I would certainly want to see more of her. No that wasn't intended to be a suggestive comment, pick your filthy mind up off the floor. Stan asked the readers if this adventure had whetted their appetite for the Black Widow's appearance in her own monthly strip, which he calls "Amazing Tales". The American monthly in which the Widow would appear would be call "Amazing Adventures" and be released in May 1970, the month after the original US version of this strip was released in the Amazing Spider-man #86. She would share that title with the Inhumans. So Peter's not well, but next week his problems get worse as he's "Unmasked at last!"  

The Web and the Hammer

Pete Redfern from Derby gives some very convince theories on who's stronger Thor or Hercules. Trevor White from Blyth writes about the Norse legend that Odin was told the future by a talking head given to him by Minos, a legendary Cretan king. Minos was very wise and made good laws for his people. If anybody did wrong it was Minos who decided his fate. Soon Minos died and the talking head which he gave Odin spoke with the same wisdom as Minos himself. Paul McKenna from Birmingham took out a book from his local library called "Comics". It details the early days of Marvel when it was called Timely and later Atlas comics. Richard Thomas from Cheshire was watching the television show Clapper Board, where it showed a comic called POW that starred our friendly neighbourhood Spiderman. Also they showed us a clip from one of his cartoons. Stephen Henderson from Northumberland also saw the same TV program, as did Adrian Sharp from Sussex. Jimmy Hill from London has been following Marvel comics for some time, but he does say that he finds the British letter pages very boring compared to the "Yankee" ones.

Antony Biewitt from Suffolk gives his opinions on MWOM #118, SMCW #99, Avengers weekly #68 and Dracula Lives #11. To summarise MWOM and SMCW are as good as ever, the Avengers have been "rapidly getting worse, although he's more positive about Shang-Chi and Doctor Strange. As for Dracula Lives' stories they're all good. Mohammed Alzal from Bradford thinks that Marvel should release films for home projectors to raise money for the company. Timothy Robins, David Taylor and David Evans from Cardiff have joined together to form their own Marvel fan club. What makes them different from other fan clubs is that any profit they make will go towards charity! The fan club will include information on all your mags, American and British alike. The booklet they provide on membership is free but a years membership cost 5 pence. 

I really should like this in-house advert for this week's Mighty World of Marvel, but the background shading is appalling! You can only see the Hulk, Fantastic Four and Daredevil's logos. You have to squint to read what it actually says "The Incredible Hulk, the ever fabulous Fantastic Four and Daredevil meets the Beetle. All in this week's action-packed issue of MWOM on sale now!" Although if you did read it like it says you would be fooled into thinking that the Hulk, the FF and Daredevil all battle the Beetle. Still it's a damn good cover that I wouldn't get tired of looking at. Under that in-house ad readers are informed that there'll be a new feature appearing in Dracula Lives called "Monsters of the Movies" by Denis Gifford, with info on the great monster movies of our time. As regular readers of the Power of the Beesting "Week Ending..." blogs know Denis has done four already, starting with Dracula, Frankenstien's Monster, the Hunchback of Notre Dame and the Wolfman. Find out what the fifth is later in this blog.

Iron Man “Crescendo!”

Writer: Stan Lee

Artist: Gene Colan

Inker: Jack Abel

Originally published in Tales of Suspense #78

Cover date June 1966

(Published in March 1966)

 

Iron Man must face the Mandarin's latest creation, the giant android he has named Ultimo. The armoured hero averts himself from a lethal impact when the giant hurls him against a rocky outcrop. Although surviving the contest he's out-matched physically in every way. His weapons and strength are useless as he reels before the onslaught of Ultimo's eye beam attacks. Directing the action from afar the Mandarin can taste victory. Acting on the knowledge he gained as Tony Stark in the Mandarin's Castle, Iron Man lures the giant humanoid back to the volcano in which it was created, then forcing Ultimo to unleash the power of the volcano by dodging the eye beams. 

Ultimo is ultimately undone by the lava flow loosened by its own eye blasts. The Mandarin believes that Iron Man also perished in the molten rivers that were released. Believing that both Iron Man and his employer Tony Stark have died the fiend takes solace in his supposed victory and abandoned any further interest in the Avenger. Still stranded in Red China, although for the last two issues it has been referred to as Bodavia, even though it has in past adventures been referenced to as China and Communism. The editors must have remembered their policy not to offend young British children with talk of left-wing ideologies. Iron Man crosses the landscape on foot to reach an air base of the Red Army that had been threatening the Mandarin before Ultimo attacked. Under-powered, Iron Man over powers some troops and steals a MiG fighter to fly him to the USA, but not before he is intercepted by US fighters, avoiding taking friendly fire he shows his Avenger security clearance. Back in the States Tony Stark finds that Senator Byrd has ordered Stark Industries to shut down, with his money frozen and a warrant for his arrest issued. Next week's episode is "Disaster!" However this week's tale was anything but, it was a great read. 

This really cool Marvel Masterwork pin-up featuring Iron Man was actually the cover artwork from Tales of Suspense #77, by Gene Colan (pencils,) and Jack Abel (inks,), cover dated May 1966, published February 1966. 

The Mighty Thor “Thor be Thunder God once more!”

Writer: Stan Lee

Artist: Jack Kirby

Inker: Vince Colletta

Originally published in The Mighty Thor #151

Cover date April 1968

(Published in February 1968)

The tenth page of the original US edition is used to open this second part of Thor's adventure, with Odin's declaration that "Thor be Thunder God once more!" used as the story title and the creators credits shown in the blast from Odin's Power sceptre. Odin has finally seen how events have unfolded and decided to restore Thor's full strength and godly might. In the pulse pounding battle, eloquently drawn by Jack Kirby with his "whited out" blows of hammer and fists clashing. Thor realises his full power has been restored when his hammer suddenly pulls out of the Destroyer's grasp and returns to him. Rejoicing at having his full power back, Thor resumes his fight against the Destroyer with his most powerful blows. Jack Kirby is having some fun drawing this battle, as I am reading it. 

As the battle swings Thor's way the Destroyer activates its disintegrator, even as Sif's soul is unable to stop it the Asgardian armour fires a beam towards the Thunder God. Meanwhile in the land of the Norns, Ulik has arrived with orders from his master Geirrodur, to kill Karnilla. The noble Balder comes to her protection, but with the request that if he does so she will grant Sif and his freedom. Karnilla complies with at least freeing Balder who begins a battle with Ulik. While back on Earth, Thor manages to dodge the disintegrator blast and duck into a dead end alleyway, with nowhere to go he is cornered against a nearly unstoppable foe.

Avengers Weekly #79

Now this cover could easily be my Cover of the Week any other week, in fact if it had been used last week, when the story "Fire and Ice" had concluded, I probably would have it as the CotW. That saying the "old" Avengers vs the "new" Avengers cover from last week's Avengers weekly wouldn't top Steranko's Hulk cover, but as the Avengers vs Avengers cover could have been saved for next week's issue or the week after's conclusion issue. The artwork for this cover is by John Buscema, with possibly George Klein applying the inks, from the Avengers (US edition,) issue 61, cover dated February 1969, published December 1968. If you read "the magnificent seven" blog from two week's ago or last week's "of apes and men" you will have seen that an art bodger had to replaced the Vision with Thor, as the Vision featured in the original US version of that tale, but he has yet to appear in the UK editions, the same had to be done for this cover. I wonder was it not ready for either of the last two weeks?  

Iron Fist “Assassins”

Writer: Tony Isabella

Artist: Arvell Jones

Inker: Dan Green

Originally published in Marvel Premiere #20

Cover date January 1975

(Published in October 1974)

The Master of Kung Fu strip takes a rest for a while as it had caught up with  the US editions, so its Iron Fist's turn to take up the kung fu slot in Avengers weekly. The original title for this strip was "Batroc and other assassins" but as the British editors wanted to keep Batroc's appearance till later a secret the title for the British edition was simplified to just "Assassins". We open this week's adventure with Iron Fist once again fighting off an attack on Professor Lee Wing, by members of the Cult of Kara-Kai. He had agreed to act as Professor Wing's assistant and bodyguard nine week's ago in Avengers weekly #70.

The new creative team of Isabella, Jones and Green have carried on fairly well from where the previous team left off. Tony Isabella is a smart super-hero writer and as a former editor of these British editions I think his pacing suits the UK's split strip format. Arvell Jones has already produced some tidy covers for the Avengers weekly but I still think he has a bit to learn about the craft of super-hero comic strips, but I'll give him time to perfect that craft. Dan Green had already worked on Captain Marvel and the Defenders mags as an inker in the US, of course he has a big future ahead of him as a inker. Notably inking John Romita Jr's X-Men pencils. Iron Fist decides to try once more to clear his name. He visits Joy Meachum to explain that her father was murdered by a mysterious Ninja. However, she still won't believe him. Her Uncle Ward Meachum has him attacked by his latest paid assassin, Batroc! This is Batroc's first UK appearance, although his first US appearance was in Tales of Suspense #75, cover dated March 1966, published December 1965, where he fought Captain America. British Marvel readers will see that tale when it eventually appears in the Captain America strip printed in The Titans #13, week ending 17th January 1976. 

Avengers Assemble!

Andy Pearson from Birmingham describes himself as a "Marvel Maniac" as he buys all of the comics that are distributed in the UK. That includes the colour mags, the 75 cent mags and even one or two dollar mags. Andy also seems to have a little back issue business going on the side. M Street from Sussex is pleased to see the return of Iron Fist, describing it as a higher standard than Shang-Chi. Spider-man is also in great form, but Iron Man ruins a good comic. Chris G Sutor has spotted something  he believes is a mistake, in the Avengers Annual 1975, where Thor places his Uru hammer of a table, but if no-one can pick up the hammer, the table must be "super strong." to support it. Andrew Stephen from Sussex writes another letter after seeing his letter published in SMCW #87, he doesn't beat around the bush when he says that he can't stand Shang-Chi. He's more up-beat when he says that John Buscema and Jim Mooney's  artwork in Spider-man is absolutely amazing. The Avengers mailbag also heard from, Robert Gregg from Essex. Trevor White from Blyth. Stephen Mosey from Merseyside. Paul Finch from Norwich, Micheal Howard from Staffordshire, Dominic Webb from Essex. John Morrissey from  Dublin, Ewan Morton from Glasgow. Paul Brown from Leeds, David Rainford from the Wirral and Antonio Caxele from Bedfordshire.

The Avengers “Scarlet Centurion!”

Writer: Roy Thomas

Artist: Don Heck and Werner Roth

Inker: Vince Colletta

Originally published in The Avengers Annual #2

Cover date September 1968

(Published in July 1968)

This week's second part uses the timely place page ten of the original American Avengers Annual #2, as the opening splash page. The original Avengers are paid a visit by the Scarlet Centurion, whom apparently they owe a great debt too. He informs them that the five super powered beings they had fought were the ones he had previously said were the evil beings who would one day arrive.

Meanwhile hiding in the subway tunnels, Goliath considers that in their timeline, he had helped construct this device, called a Herodotron, which would record all historical data. There maybe a possibility that it might still exist in this timeline. With nothing to lose they go to Long Island where the Herodotron was housed in their own time. The well educated Roy Thomas came up with the idea to name the time viewer Herodotron, after Herodotus, the ancient Greek God who was the "Father of history." After breaking in they find it does exist in this alternate reality. Captain America is chosen to use the device has he has the will power to handle all the incoming information, while Goliath has the scientific knowledge to operate it. Searching through the recorded history, Captain America finds the truth. Following their battle with the Space Phantom, during the early days of the Avengers, way back in MWOM #47 , before the Hulk could leave the group they were visited by the Scarlet Centurion. Who offered them knowledge of the future so that the group may conquer famine, plague, and pestilence from the world and bring on a golden era of peace. Deciding to hear him out he tells them that the world's problems are the result of the many super-powered beings running loose. Under his orders they capture all the super-beings, starting with the Fantastic Four, then Spider-man, the X-Men, the Sub-Mariner and Doctor Strange. They prevent SHIELD from ever forming by capturing its founding members, and finally defeat Daredevil. Why they don't go after all the evil super-powered villains first remains a mystery, it would make more sense. But obviously the Scarlet Centurion is persuading them with something more than just words or logic. What happens next will be found out next week.

Doctor Strange “Eternity”

Writer: Roy Thomas

Artist: Gene Colan

Inker: Tom Palmer

Originally published in Doctor Strange #180

Cover date May 1969

(Published in February 1969)

Doctor Strange has a dream of Eternity, who tells him that he survived his battle against Dormammu, however when Strange approaches, Eternity changes into his old enemy Nightmare. Awakening from an actual nightmare, Wong informs Strange that it's New Year's Eve and that he has agreed to take Clea out on a date. Strange dresses in his sorcerer's gab, without its full "blank faced" mask, before casting the illusion of everyday attire. Which still is quite flamboyant. 

Gene Colan's artwork is as flamboyant as ever, with big panels that cut the page up into sharp angles. Still it's a joy to read, as you never get lost in the controlled anarchy, like you can with some modern artists work. Stephen arrives at Clea's apartment and as he intends them to view the New Year in with all the other revellers around Times Square, Strange casts another spell that transforms Clea's outfit into more suitable attire for a cold, snowy evening. Clea has never heard of snow. She describes snowflakes like rain, but colder and softer. As they forgot an umbrella Stephen suggests he conjure up a magical one. Clea, like a child, tells him to not to as she likes this "snow!"

They reach Times Square minutes before the count down to the New Year starts and encounter Tom Wolfe an old friend of Stephens. Tom Wolfe was a guest at Reginald Parrington's fundraising party for the Hulk, as seen in the Hulk story from MWOM #111. In real life Tom Wolfe (1930-2018), was an American author and journalist known for his association with New Journalism, possibly better known for his first novel, "The Bonfire of the Vanities", published in 1987.  He actually mentioned Doctor Strange in his best-selling non-fiction book The Electric Kool-Aid Acid Test, published in 1967. The count down to the New Year soon begins. A reveller says it will soon be 1975, but in the original US version it would soon be 1969. Next week we'll find out what happens when the clock strikes midnight.

The Scarlet Witch presents three more triumphs from Marvel With images of this week's Spider-man Comics Weekly, the Mighty World of Marvel (I never get tired of that cover,) and the Planet of the Apes. As well as all that there's a small panel showing this week's Dracula Lives comic, the line reads "Don't dare miss this latest spine-chiller!" It would have been nice and make more sense to include that comic in the main in-house ad.

Dracula Lives #22

The cover, by Frank Brunner (pencils,) and Tom Palmer (inks,) first appeared on the front of Tomb of Dracula issue 11. Dracula vs a biker gang, now that's could be a great movie!

On the inside front cover of this week's Dracula Lives is another "The many faces of Count Dracula" photo feature. This time its Christopher Lee as the Prince of Darkness from the 1966 Hammer Horror film of the same name. Dracula: Prince of Darkness, was the third Hammer film to feature Christopher Lee in the title roll. 

 

Dracula “The Voodoo-Man!”

Writer: Marv Wolfman

Artist: Gene Colan

Inker: Jack Abel

Originally published in Tomb of Dracula #11

Cover date August 1973

(Published in May 1973)

Following his battle against Blade, Dracula seeks rest before the break of dawn. He makes his way back a mortuary on the edge of  forest in Surrey, where his coffin awaits within. Reflecting on the events of the past few nights he decides that he will get revenge against the bikers who attacked him a few nights previous before pursuing his other goals.

Elsewhere, the leader of the biker gang, Lucas Brand, who had occupied Dracula's vengeful thoughts, is discussing a job offered to by Jason Faust. Faust, a man trapped in an iron lung, asks Brand to help him murder three men before he can finally rest peacefully. The first is banker Oliver Gordon, who Faust wants Lucas to put the scare in him. Brand rejoins his fellow bikers and speeds off to do Faust's dirty work. Along the way, the bikers speed by Frank Drake and Rachel Van Helsing, splashing both of them with a puddle. Rachel calms Frank down by suggesting that they go and check out a play about Dracula. Lucas and his gang arrive at Gordon's bank. He had refused to cash bonds from Faust making it impossible for him to pay for an important operation that would have saved him from needing to live in an iron lung. This news horrifies Oliver, who is angered when Brand tells him that Faust intends to get revenge via Voodoo. On Brand's signal Faust used his animatronic to arms stab a voodoo doll made in the image of Gordon. Oliver to keel over and die instantly. As night falls Dracula starts to track the biker gang down. Much later Brand reports to Faust who explains that two more men will face his vengeance. He tells him why he ended up in the iron lung. Years ago he was suggested to make a business trip to Haiti when his guides and friends abandoned him when he is attacked by a local tribe. The Voodoo priest, Molodowi the Hexman, who sought to punish Faust for travelling on sacred land. Immobilised with a voodoo doll, he was tortured for months before eventually, saved by the military. The lasting effects of the torture on his nervous system required that he be confined to an iron lung. He tells Brand that he's next victim will be Henry Lastman, his ex-partner who abandoned him.

Cryptic Correspondance

John Bronson writes that no magazine, even one as skilfully done as Dracula Lives, can continue to be entertaining issue after issue when its prime function is concerning itself with the blood-sucking escapades of a single vampire, even with back ups from the Werewolf by Night, who he calls "totally uninteresting" and Frankenstein's Monster, who he describes as "just another strong brainless Hulk." Judging from the rest of his letter he would be quite happy to see the reaction to his comments. Ray Matthews from Birmingham has been reading Marvel comics for over eight years and did have a collection of over 300 American editions before his Dad made him throw them out. He adds not to worry they went to a good home. He asks is he too old for comics? The answer is never! Stephen Johnson RFO, KOF from Middlesex also had a parent who told him to get rid of his UK Marvel collection, this time it was his mum who told him to give them to a mate, who threw them out, but he has started again with Planet of the Apes. Philip Russell from Northern Ireland bought issues 11 and 12 of Dracula Lives and says they are the best yet, except for the two covers, which he thinks are two of the worst yet. 

This full page in-house advert for the Super-Heroes is much like the one seen in this week's Mighty World of Marvel, except that The X-Men replace the Silver Surfer on the top half. The images are by Jim Steranko taken from the fourteenth page of X-Men issue 50, cover dated November 1968, published September 1968. John Tartaglione inked Steranko's artwork. The positions of the characters have been shifted around slightly and Polaris has been removed from the Angels arms. The Image of Conan has been taken from the artwork of this week's Savage Sword of Conan cover, but flipped from right facing to left facing. You can find the details of that artwork later in this blog.

Werewolf by Night “Werewolf in chains”

Writer: Len Wein

Artist: Mike Ploog

Inker: Frank Bolle

Originally published in Werewolf by Night #6

Cover date June 1973

(Published in March 1973)

This week's second part opening splash page used the cover artwork from the Werewolf by Night issue 6, by Mike Ploog. The Werewolf By Night logo becomes part of this week's title with the "by Night" part of it exchanged for "in chains." Meanwhile at the Los Angeles Police Department Lieutenant Lou Hackett is interested in the murders of Joshua and Luther Kane and how they relate to supposed sightings of a werewolf.

 Jack Russell has been kidnapped by the sinister Swami, who uses some sort of will-sapping gas which turned Jack into nothing more than a submissive zombie-like captive. Swami intends to use the Werewolf to unlock the secret of the "Blood Stone" which supposedly held the secret to the incredible treasure of Kaman-Ru. As the full moon rises Jack becomes the Werewolf in the circus's freak show. Mige the dwarf Lion Tamer frees the Werewolf out of jealousy, but in doing so he condemns the circus members to the beasts attack. 

Monsters of the Movies

No.5 The Mummy

By Denis Gilford

This week the Mummy is in the movie spotlight, as portrayed by Boris Karloff in the 1932 film "The Mummy." Karloff, as he was simply billed on the titles, had quickly become the movies top monster. From "Frankenstein" to "The Old Dark House" to "The Mask of Fu Manchu", and now Im-Ho-Tep, High Priest of the Temple of the Sun at Karnak, in little over a year. His iconic make-up was designed and applied by Jack P Piece, who was the master of movie make-up. Later reincarnations of the Egyptian horror were portrayed by Lon Chaney Junior, in the Universal Pictures series of Mummy films in the Forties and Christopher Lee in the 1959 Hammer Film, but that time in colour. Don't just take my word for it, read Denis Gilford piece, as always they are packed full of interesting facts. 

Frankenstein’s Monster “A cold and lasting tomb!”

Writer: Doug Moench

Artist: Val Mayerik

Inker: Vinnie Colletta

Originally published in The Frankenstein Monster #12

Cover date September 1974

(Published in June 1974)

The Frankenstein Monster lumbers away from Castle Frankenstein, suffering from a gun wound from Victor Frankenstein's revolver, he wanders through the forest Where he encounters a pack of hungry wolves that attack him. Wearily the Monster defends himself and with incredible reserves he brutally crushes the wolves skulls.

He feels compelled to walk on towards a glistening panorama of a snow capped mountain range. He climbs higher and higher until he reaches its peak. On the summit he hauls himself up preparing to greet death with nobility and calm. He steps forward, to close to the edge as it gives way sending the Monster over the edge of an icy cliff. The monster falls unconscious and enters into a state of hibernation. It's very deep as this story deals with the Monster wanting to commit suicide. A very heavy subject for a kids comic. 

After Mike Ploog and then John Buscema, Val Mayerik becomes the third artist to try his pencils on Marvel's version of Mary Shelley's Monster. This is the final Frankenstein story to take place in the 19th century as we'll find out next week. 

This in-house advert is the same as the one seen in this week's Avengers weekly, but what is really interesting about this page is the panel to the bottom left that advertises that in next week's Dracula lives, the Monster of the Movies article will feature cinema monster royalty when Denis Gilford takes a look at King Kong. 

Planet of the Apes #22

Ron Wilson takes events from this week's Planet of the Apes adventure and with this specially created for British Marvel cover produces one of his better POTA covers.

Planet of the Apes “What fools ye be!”

Writer: Doug Moench

Artist: Ed Hannigan

Inker: Jim Mooney

Originally published in Planet of the Apes #5

Cover date February 1975

(Published in December 1974)

After finding shelter in a cave, where an ape-human hybrid named Mordecai provided them with food, Solomon the gorilla and Jovan the human spent time resting and recovering from their wounds. Over time Mordecai's soft solemnity of presence, offered somber wisdom and nursing so that the two can heal. This opening splash page is a montage of images cut and pasted from page 25 of the Marvel/Curtis Magazine issue 5, but some of Mordecai's aid was left out. I can't see any reason for doing that as the whole page would have suit just as well. In the pieces cut Solomon and Jovan decided that they must continue their struggle to find out which one is superior.

Mordecai points out that having saved their lives and nurtured them both back to health he has no wish to watch them both destroy each other. He urges them to solve their differences without bloodshed in a contest without weapons, or murder to decide. The ape and man bind themselves to one another's wrist with a sash so their actions could dictate who was superior and they resume fighting once more. Mordecai cannot and will not watch their conflict, even when it is over and neither one remains victorious he refuses to look at them. He sadly asks that they repay him for his aid by casting them out and that they walk south, together towards an ancient city that was consumed by fire and explosions that rained down from the sky, a place called the Forbidden Zone. So that they see what hatred, like theirs had brought. The devastation they then witnessed showed what his words could not. Stunned, they put aside their hatred, clasped hands and vowed to end the war together. Their epiphany was short-lived, though, as they were caught between bands of Mutant Men and Mutant Apes squaring off to protect their ridges of rubble. The crossfire killed them both, their corpses a testament to Mordecai's wisdom. Sometimes the artwork in this epic doesn't quite live up to the concept, but even so this is one of the best Planet of the Apes tales told. Doug Moench once again shows what an amazing writer he is.

Urko Unleashed!

Chris Claremont, the future X-Men writer, carried out this interview with actor, Mark Lenard, who was famous for playing the gorilla, General Urko in the CBS TV series, Planet of the Apes, on the 29 October 1974. It was originally published in the Marvel/Curtis Magazine Planet of the Apes issue 6, cover dated March 1975, published January 1975. Mark discusses the reasons for taking the role and his reaction to fandom. There's loads of great photos from the TV series too.

“Dig me no grave”

Writer: Roy Thomas

Artist: Gil Kane

Inker: Tom Palmer

Originally published in journey into Mystery Vol 2 #1

Cover date October 1972

(Published in July 1972)

This story that details the events of an occultist's death when Satan comes to claim him. Roy Thomas adapted the Robert E. Howard story "Dig Me No Grave". It intertwines elements of horror, the occult, and the supernatural and original appeared in Weird Tales volume 29 issue 2, published in February 1937, eight months after Howard's death by suicide on the 11th June 1936. Weird Tales was an American fantasy and horror fiction pulp magazine which printed early work by H. P. Lovecraft, Seabury Quinn, and Clark Ashton Smith as well as many Robert E. Howard stories.

Howard's original piece contained elements from the Cthulhu Mythos, which is a mythopoeia and a shared fictional universe, that originated in the works of American horror writer H. P. Lovecraft. It was coined by August Derleth, a protégé of Lovecraft, to identify the settings, tropes, and lore that Lovecraft and his literary successors employed. Many writers continued to use the concept such as Lin Carter, Brian Lumley and Stephen King in their own writing. Roy Thomas's adaptation contains some variations from the original, such as name changes, including Grimlan who is named John Grimlan, and John Kirowan who becomes "Dan Kirowan". Thomas names drops "Shuma-Gorath", a name created by Robert E. Howard from his short story "The Curse of the Golden Skull."

The Super-heroes #3

Another stunning John Buscema cover that would also be a strong contender for my Cover of the Week award. I love the way that the Badoon alien is given most of the cover which would attract interested readers, it's a brave choice, but one that really works. Joe Sinnott inks John's pencils. 

Silver Surfer “When lands the saucer!”

Writer: Stan Lee

Artist: John Buscema

Inker: Joe Sinnott

Originally published in Silver Surfer #2

Cover date October 1968

(Published in July 1968)

The Silver Surfer is found floating on the edge of Earth's outer atmosphere, mourning his continuing exile, when a meteor storm crashes into him. He realises that he cannot aimlessly drift over this planet for ever. Arrives at an Alpine town, but her is driven away by the panicked locals who distrust the Surfer's alien look. The Surfer investigates society in an American city instead, however upon his arrival he is also met with the same fear, distrust and hatred. 

The Surfer returns to space desperately making attempts to force himself through Galactus' invisible barrier. Over and over again he is unsuccessful. Resting with exhaustion his mind drifts to memories of his beloved Shalla-Bal. Who at the same time is thinking of the times they had together before Norrin Radd became the Silver Surfer. Meanwhile in Earth orbit the Surfer notices an alien space ship, hurtling towards Earth. It heads towards New York City, landing in a highly populated area, yet no-one seems to notice it as the alien crew render it invisible to human sight. The Surfer warns people on the streets, but they accused him of trying to spread fear or start a riot. The police arrive to arrest him for disturbing the peace, but no prison can hold him as his board returns to its master, crashing through the wall to liberate him.

Deciding to confront the aliens directly he enters their space ship, wherein he is greeted by the Brotherhood of the Badoon, who say that they have come in peace and they only want to share their knowledge and technologies with humanity. Skeptical of their intentions the Surfer recalls rumours of the Badoon, in his travels that tell of the fear and dread that they bring. The Badoon insist that they can be trusted, but an Earth girl suddenly bursts into the room warning the Surfer that they are monsters that captured her to learn of Earth's language and customs, stolen from her mind by some strange "telepathy ray." Their true intension is to enslave and destroy earth. However, before she can say anymore, the girl is shot from behind, falling unconsciously into the Surfer's arms. With the truth now revealed the Badoon inform the Surfer that their main fleet is on its way and that they will give him twenty-four hours before they will hunt him down in a perverse game. The Silver Surfer leaves with the dead girl in his arms vowing to them that even if the humans fail to heed his warning, he will save the Earth on his own if he must.! John Buscema captures all the emotions of every character in this story perfectly, from the Surfers loss, the human's anger, mistrust, hatred and fear for the unknown. To the unnamed girl's horror, the Badoon's menace and Norrin Radd's calmness and later fury at what he intends to do. This is a classic tale that they should taught to kids in schools. No I'm not kidding, this series should be looked at with the classics, it's that good. It will continue next week as the Silver Surfer must face the Badoon and "Let Earth be the prize!"

The X-Men “No one can stop the Vanisher”

Writer: Stan Lee

Artist: Jack Kirby

Inker: Paul Reinman

Originally published in The X-Men #2

Cover date November 1963

(Published in September 1963)

After last week's victory over Magneto Professor Xavier telepathically orders his students to return. It's strange that their journey takes them through the city in a number of hijinks set plays, while two week's ago they had to take a car and then a plane ride to Cape Citadel. Once at the mansion the Professor informs them of a new mutant super-villain, who calls himself the Vanisher. Earlier he had robbed the National Bank by using his teleportation powers to sneak past the bank's security guards. To prepare for the upcoming fight with the Vanisher he sends his students off for extra training.

The boldness of the evil mutant is so great that he appears in a heavily guarded conference room at the heart of the Pentagon, interrupting a meeting about continental defence plans, to tell the highest ranking General that he intends to steal those plans in a few days time. Naturally, next week we will find out how the X-Men will stop him.

Savage Sword of Conan #3

Yet another strong cover, this time from Barry Windsor-Smith, which originally appeared on the front of Conan the Barbarian issue 3. He signed it "Barry Smith" on the Grim Grey God's wrist. Barry became disillusioned with the comics industry sometime in 1972. He moved into fine art changing his name to Barry Windsor-Smith, Windsor being his mother's maiden name. Later in 1982 he returned to Marvel drawing some really great comics.

Conan “The twilight of the Grim Grey God!”

Writer: Roy Thomas

Artist: Barry Windsor-Smith

Inker: Sal Buscema

Originally published in Conan the Barbarian #3

Cover date February 1971

(Published in November 1970)

I wasn't over thrilled with last week's Conan tale. The story and in truth the art didn't grab me, but this week it's a belter. This tale is adapted from the  Robert E. Howard story "The Grey God Passes!" This tale in itself has a long history, originally Howard's story “Spears of Clontarf” was rejected by Soldiers of Fortune multiple times. He rewrote it again giving it a new title, “The Grey God Passes.” but that too was rejected by Weird Tales publication. Hoping to salvage something from it Howard wrote an entirely new, contemporary horror tale called  “The Cairn on the Headland” based on many of the same elements. It was eventually published by Baen Books under its working title, “The Twilight of the Grey Gods”.

Conan tries to break his slave chains he was forced to wear when Hyperborean slave traders waylaid him, when he encounters a man who claims that war is coming. The man, all mysterious and godlike, reveals to Conan the flying-horse-riding "Choosers of the Slain". Later Conan crosses paths with Dunlag, a Brythunian, who tells him of a war that is brewing between Hyperborea and Brythunia. At Dunlag's camp the two meet Dunlag's lover, Eevin. All the while a secret rendezvous in the woods between Malachi, the Brythunian cavalry commander and the wife of King Tomar of the Hyperboreans takes place. Malachi agrees to betray Brian, king of Brythunia. Back in the Brythunian camp, Eevin sees visions of the Grey God who Conan met earlier. She warns Dunlag of the danger but as he is determined to fight she bestows him a coat of golden chain mail. 

Seeking revenge on those who enslaved him Conan joins the Brythunians. The armies clash the next morning and Conan gets revenge on several Hyperboareans, especially one particular blonde slaver who whipped him. Malachi waits on a ridge, refusing to bring his cavalry to bear. Conan suspects treachery, when Dunlag is slain the enraged Conan leads the Brythunian foot soldiers to victory before he chases and kills Malachi. The kings Brian and Tomar meet in the Brythunian camp, both slay the other as the Grey God watches. The "Choosers of the Slain" fly from the sky and take the honoured dead as Conan realises he had just encountered the god Borri the Grim Grey God. Conan recalls a God's last vow, "Soon you shall witness the passing of kings, aye, and of more than kings!" This is a fantastic tale, Roy Thomas is on top, top form adapting Howard's concepts beautifully. And beautiful is how I would describe Barry Windsor-Smith's perfect art, knowing what needs to be shown, what doesn't, with detail that always requires multiple readings. Both artist and writer work together in harmony. Take the last four panels of the page to the right. The Grim Grey God looks down over the warring kings as they simultaneously stab each other's hearts. Their finals words they speak symbolises the futility of their war as they fall to the ground, viewed by the reader as shadows. Conan's shadow falls on their empty hands. All is left is silence. 

Kull “The Shadow Kingdom”

Writer: Roy Thomas

Artist: Marie Severin

Inker: John Severin

Originally published in Kull the Conqueror #2

Cover date September 1971

(Published in May 1971)

"The Shadow Kingdom" was adapted from Robert E. Howard's first Kull story of the same name that was published in Weird Tales Volume 14 Number 2 in August 1929. As well as the first appearance of Kull that issue of Weird Tales also marked the first appearance of  the setting of Valusia, Brule the Spear-Slayer and for their first and only time the Serpent-men, as Robert E Howard never used them again. They were later adopted by other authors for derivative works and inclusion in the Cthulhu Mythos. Even though Ross Andru and Wally Wood are great artists in their own right, Marie and John Severin team up to draw this week's tale and I have to say their efforts are far more stunning.

When Kull rose to the throne of Valusia, ambassador Ka-Nu of the Picts informed him of the existence of the Serpent-men and sent Brule with the task of exposing those who were living in Kull's Kingdom. Concentrating on the court Tu, the King's Chief Counsellor attempted to murder Kull only to meet death at the King's sword, revealing that he was in fact a Serpent-Man.

While Brule the Spear-Slayer removes Tu/Serpent-man's body Kull recalls a legend for his tribe, of a Valusian King who was ambushed by Atlanteans and slain at the hands of Gandaro. Upon his death his body transformed into a Serpent-man. Brule returns quickly to Kull's throne room, but before he can answer the King's question he throws his spear towards him intending to kill him. A waken violently to the danger Kull draws his sword and guts Brule, who once dead transforms into another Serpent-man. When the real Brule returns another body needs disposing off, but this time Kull goes with Brule. In the catacombs of the castle they witness the ghostly apparition of Eallal, the King who reigned a thousand years ago, who was hideously murdered in his throne room. Kull recalls another dreaded legend that if a man be slain by a snake-man, his ghost becomes their slave for all eternity. The mystery deepens next week.

This stunning pin-up of Conan is drawn by Tom Conrad who signed his name TAC. He when on to write, draw, ink and colour, various works for the Marvel/Curtis magazine line as well as for Marvel's Epic Illustrated comic book. You can tell he was very much influenced by  Neal Adams, Jack Kirby and especially Barry Windsor-Smith. I. certainly would love this pin-up on my wall. Anyway no time to admire this thing of beauty, I've got things to do, a cup final to watch, comics to read and next week's blog to write, so until then...   

See you in seven.

Make Mine Marvel.