Week Ending 29th March 1975
That won't pacify PH, but it wasn't my intention. No one or no one thing is either just black or white, one thing or the other, left or right, right or wrong, good or bad. A British comic can be full of American stuff and nonsense, yet be quintessentially British. Well let's get on to the really big questions, like what happened in the British Marvel comics from the week ending 29th March 1975.
This cover feels a bit of a big let down after last week's incredible Jim Steranko cover. Originally appearing on the front of Tales to Astonish #85, cover dated November 1966, published August 1966, it was drawn by Bill Everett, with most likely Mike Esposito making alterations for this UK version. Most noticeable changes are that the Hulk's hair has grow, his left arm has been redrawn levelled towards the left, possibly to use the magazine's space better and the attacking jet flies more at a horizontal level. I'm surprised that a new cover wasn't produced, as this scene has next to nothing to do with the current Hulk story.
This opening page for the second part of this Hulk adventure uses the tenth page of the original US comic, that was seen in last week's Hulk strip on page twelve, but this time the first panel has been left out to make way for the new title and credit boxes. The Inheritor recalls memories of his creation, although part of it are missing. In the hope of finding answers he heads towards the Hulkbuster Base to find the source of the "glowing material", that's radioactive material to me and you, which will unlock the answer to his memory loss.
Of course a giant bug monster is going to set off some alarms as well as lots of action at the military base. The Inheritor breaks in to the gamma research centre, absorbing radiation as he does so. Memories flood back, he was one of the High Evolutionary's first "New Men", created and banished before the Hulk encountered the geneticist in MWOM #39. The "Bug Man's" attack on the base triggers Bruce Banner's transformation into the Hulk, which like every Hulk fan would have wanted see's the two creatures slug it out in a classic battle. But there has to be an exit point in any Hulk story and Archie Goodwin navigates this one perfectly. The machine that Banner was working on to remove the Hulk's gamma radiation from him, in an attempt to cure himself, drains the the radiation and genetic coding from the Inheritor, reverting the creature back to it's primitive form. Not knowing what has occurred the Hulk looks for his foes only to find a cockroach with strange markings on its back. I guess it's the green who will inherit the Earth! Next week the Hulk will meet an X-Man before most British Marvel readers would have in "Cry Hulk, cry Havok!"
Peter Press from London recalls two years ago on his way home from work casually picking up the first issue of the Mighty World of Marvel, not caring what the contents were. Little did he know what was about to be unleashed upon him. From that moment on he tries to get MWOM every week. Paul Tinslay from West Midlands suggests that the Marvel mags should have puzzle pages. Also the back pages should have pin-up posters. While lying in bed Guy Bowles RFO, KOF, QNS and FOOMer, came up with the idea of a Marvel dictionary. He gives some examples for Alicia, Ant Man, Avengers, Avengers Assemble and Baxter Building. David Fisher from Kent has invented a new machine for the Thing. It is a "matter transformer". What it does is transform the molecules of The Thing rearranging his structure and turning him back to Ben Grimm. Mark Burrows from Newport in Gwent, has spotted at least eleven American titles in his local newsagents, titles including Captain America, Iron Man, Thor, Black Panther, Daredevil, Marvel Team-up, and even Doctor Strange. There are also Marvel/Curtis magazines like Dracula Lives, Tales of the Zombie, Frankenstein's Monster (I think he means Monsters Unleashed,) and Kung-Fu monthly (which I imagine would be Deadly Hands of Kung Fu. Mark gives his opinions of the UK mags Avengers weekly, MWOM, POTA and Dracula Lives.
This second part opening splash page uses the original US versions page fourteen with a new title and credits obscuring the Beetle from the top of the page. When I look at this page I can't help thinking about the Reichenbach Falls scene from Arthur Conan Doyle's "The Final Problem." Did Gene Colan also have that thought while he drew the original strip? Or am I looking for connections where there aren't any?
Daredevil, like Sherlock, survives the fall and follows the Beetle to a small town. Where he is tackled by a group of local thugs who over power him at gunpoint. Allowing those redneck locals to think that they hold all the cards Daredevil questions them about a fugitive killer in a concealing costume, who calls himself the Beetle. They call out their boss, who just so happens to be the super-villain daredevil was looking for. Next week, among one of two other things, "the origin of the Beetle!"
As if that wasn't enough the ailing Peter Parker realises that today is Gwen Stacy's birthday and he hasn't got her a gift yet. In a moment of desperation, he uses his fading spider-powers to steal a pearl necklace from a jewellers, but stops himself at the last moment. Meanwhile Gwen's birthday party has already begun and Gwen is becoming anxious of Peter's absence. Her father, Harry and Mary Jane try to humour her so as she won't get upset. The party plays itself out as the guest depart leaving just Gwen, MJ, Harry and Captain Stacy to witness the arrival of Peter, who enters the party with Spider-man's mask in his hand. Whatever you do don't miss next week's instalment.
Mark Kearslake from Cheshire thinks that Planet of the Apes and Dracula Lives are great but he believes that it was a pity that the Sub-Mariner didn't get his own mag with Captain America and Ka-Zar as back-ups. Christopher Reakirt from County Kildare would like to see Captain America and Iron Man in SMCW. John Taylor from Buckinghamshire points out that Marvel's Charade competition which started in the British Marvel weeklies from week ending 26th October 1974, wasn't the correct version of the game as "Charades"which he describes as "a syllabic enigma, a riddle, the subject of which is a word that has be be found out from an acted representation of its several syllables and of the whole word." Mark Herrington from Essex has written a little poem, "Hulk and Spidey and all the rest, Stan and gang they do their best, It's up to us to do the rest." Shaun Beirne from Lancashire wants giant-size poster like the one's seen in "Not Brand Echh". Matthew Selby from London is bugged by his mother who keeps saying "Get those stupid Spider comics out of here!" every time I get a Spidey mag. He's had a "big think" about Marvel and how it was taking over his life. So when SMCW get's to it's one hundredth issue he's going to stop. Wow that's extreme, I wonder did he return to reading Marvel mags? Ian Howie from Ayrshire congratulate Marvel on the last two Iron-Man stories seen in SMCW#98 and #99.
Leslie Wilkes from Staffordshire asks Why isn't Spidey's webbing hanging around all over town? Most buildings should be covered in the stuff. J Berriman from Cornwall is a seventeen year old adult who enjoys the British Marvel magazine (not comics), as they remind him of the time when he read Spidey in POW! Paul Finch from Norwich thinks it's monotonous when super-villains demonstrate their new power every time they capture the hero. Jim May from. Sussex says he hasn't seen any American Marvel mags in his local newsagents. John Wootton from Middlesex has only been buying Marvel mags for twenty-one weeks but he spends all his money on old British and American Marvel mags. Rory Laffere from County Offaly congratulates Dan Adkins on his brilliant artwork on Doctor Strange. Paul Mewett from Sussex watched "Robert's Robots" and spotted a boy who reading an Avengers comic. P Hesling from Leeds thinks that John Romita is by far the best artist for Spidey and Daredevil. He says "Unfortunately in the past few issues his name was missing from the credits, replaced by John Buscema, who is very good, but lacks the flow that John Romita has."
Low on power, Iron Man rests by the harbour where he is attacked by Warlord Krang in his flagship Atlantean sub with Lady Dorma in tow. Krang hopes to win the heart of Dorma by showing his strength and courage by killing the surface hero. He attacks the armoured Avenger from behind with the weapons from his ship. Real men won't win the heart of real women with that kind of macho nonsense, Lady Dorma instead thwartes his actions by grabbing the controls, refusing to be a party to murder. That gives Iron Man a chance to blast the sub before it is forced to re-submerge. With his armour damaged and his power mere moments away from failing, Iron Man realises his only hope is to break into his own lab to recharge and repair himself. Crashing through the skylight and narrowly landing without injury, Iron Man is surprised by Prince Namor who enters proclaiming "that this is Iron Man's finish."
In the land of the Norns, Karnilla has restored Sif's soul back to her body as part of an agreement with Balder for him to battle Ulik on her behalf. The brave warrior engages in a battle against the strongest of all Rock Trolls which rages on. Thor is suddenly transported to Asgard, leaving the New York police to deal with the Destroyer's armour. Thor finds himself inside Karnilla's castle where she begs Thor to aid Balder in his fight against Ulik. Thor gladly steps in to battle his hated foe, in Balder's stead. The two are locked in a furious battle.
The Brigade is said to be about a thousand men, at least that what the writer wrote, but Arvell Jones draws it like the fight scene between Neo and Agent Smith in the Matrix Reloaded, twenty-eight years before that film was made. Iron Fist is able to hold them at bay, but eventually their large number seem to over power him until the mysterious Ninja appears to offer him aid once more.
After the fight is over, Iron Fist demands answers from the Ninja who silently teleports them both across town. His time in K'un-Lun has taught him to accept miracles, instead he drive home his question of why has the mysterious Ninja interfered in his affairs, but before he can force any answers Harold Meachum's killer disappears once more, only to materialise in Lee Wing's home, where he grabs the book that Professor Wing had uncovered. The Ninja vanishes and in his place the Professor himself appears holding the book. Things get wilder next issue as Iron Fist meets the Living Goddess.
Steven Kirkrndall KOF, RFO, TTB from Norfolk comments on Avengers weekly #69 starting with the excellent Shang-Chi with Jack Abel as the best inker for Paul Gulacy's artwork. The Avengers is very good, he didn't like Marie Severin's Doctor Strange but did like Steve Ditko and Dan Adkins' versions. However Gene Cole and Tom Palmer are the best artists for his strip. Mark Real RFO, KOF, QNS, PMM, TTB, FFF from Manchester thinks that Shang-Chi and Iron Fist are no good. C Abbinnon from Lancashire wants Doctor Strange "kicked out" and replaced by the X-Men. M Salin from London thinks that the Avengers magazine is good but would be fantastic if one vital ingredient was added. He thinks Marvel should have some black people in its stories. He's not talking about them being assistants his view is "They should be famous in their own way. There should be at least two blacks, one man and a woman in The Avengers. It does not matter if they are to be super-heroes or super-foes so long as they are in the story." Micheal Brown from Cardiff is fed up with people complaining about the way people sign off, and yet when they sign off they do the same thing. Zahid Khan Bsc Msc RFO, KOF from Surrey has been reading Marvel comics since 1965 and has obtained a Bsc and a Msc and is currently doing his PHD. So he's trying for a QNS, which he does get. For a FFF award he puts forward that he's just been to New York and at a comic shop called "Comic Sale Company purchased 377 comics. He hopes that will earn him a FFF but it's not enough to earn him the award.
Writer: Roy Thomas
Other dinosaurs, barbarians and beings from all over time start appearing in Times Square, attacking the frightened crowd, prompting Doctor Strange to transform into his sorcerers guise, publicly revealing his true nature. While fighting these threats, Nightmare suddenly appears with Eternity his prisoner. Nightmare challenges Doctor Strange to battle him so that he may finally have his vengeance on the sorcerer, who naturally accepts his challenge. The scheming lord of fear forewarns him that one misstep will lead to death. Next week "If a world should die...!"
Bit of a mystery this one, the Grand Comics Database lists Mike Esposito as the inker on this cover, but the penciler is unknown. Quite a good cover who ever it was.
Dales Knowles from Blackpool thinks that Dracula Lives is great and can't understand why other people want the support characters changed, keep it the same he says. B Fox from Halifax says that Dracula Lives #13 was probably the best issue yet. The cover was good but he'd prefer it if they omit word balloons on them. The story and art was excellent. although he admits in his opinion Werewolf by Night and The Frankenstein's Monster stories aren't quite on the same level. He says Gerry Conway is an excellent writer but he says that Mike Plugs artwork isn't suited of the Werewolf by Night. He also expresses his opinions on how Dracula Lives works with the British comic market as horror and the supernatural are the 'in' thing. Grown-ups and teenagers would buy magazines, so the Marvel /Curtis magazines "Haunt of Horror" and "Vampire Tales" are going in the right direction. He ends with "Let's have just one Teenage-Adult mag. We're not all stupid here in Britain. you know!" Paul Malamed from Manchester has trouble describing the eight penny blockbusters of POTA and Dracula Lives as words like "fantastic", "unbelievable", "works of art" just don't give them justice. He would like colour in Dracula Lives as the barbaric smear of blood across Dracula's mouth in black and white looks more like chocolate or oozy dribbling mud. Paul considers the Planet of the Apes mag to be even better than the Dracula Lives comic and he gives his reasons for that.
King Kong
After nearly a century of slumber the monster is found when in search for more mineral fuels a massive oil freighter crashes through an iceberg and dislodges a block of ice that holds the remains of Frankenstein's creation. It is defrosted but the Monster remains inert. This story recaps events from the previous issue as well as catching up the reader to what stories had transpired in Monsters Unleashed #2 to #6, which readers of Dracula Lives wouldn't have seen. Which is both a shame as re-printing those stories in Dracula Lives would have been great, but also because they didn't it leaves it somewhat confusing as the Monster is stolen from the freighter and sold to a carnival where it breaks free in a berserk frenzy. Then he is taken to a clandestine laboratory where he is studied by Derek McDowell before breaking free again. The final seen sees him walk past a building where a professor is giving a lecture on transplant operations. Where these mysteries will lead the Monster to we'll find out next week.
New stories from the American parent comic had dried up, although it was an ongoing series that would soon be adapting the second , third, fourth and fifth films, they would need to have a break to allow the British weeklies the space to have a good run at them. In a desperate move to find material to replace the Planet of the Apes strip in its own weekly mag someone in charge of the British comics took the clever idea to use an existing sci-fi tale and give it an ape makeover.
What was conceived as the ideal choice was the War of the Worlds saga which run from issue 18 of Amazing Adventures volume two. It was a futuristic apocalyptic follow up to the classic H G Wells alien invasion novel "War of the Worlds." set in 2018 in North America. Opening with the lead character, Jonathan Raven, who would become known as Killraven in the US version and Apeslayer in the UK adaption, fighting his way through a subway tunnel in New York. His objective is to enter Grand Central Station to find the "Keeper", who unleashes a few mutants against him. The Keeper was a human scientist traitor who was working for the Martians, experimenting on humans to create a slave race. In the UK Planet of the Apes version the Keeper became the "General", a human scientist traitor who was working for the dominant apes for much the same reasons. What was required to change this "Martians invaded Earth" story to a "War of the Primates" story was changes to some of the text and having some art bodger draw gorilla heads on some of the humans. This lead to some quite strange looks, as some apes had gorilla faces but had hairless human arms.
Some of the original story concepts form the War of the Worlds story remain intact, like giant martian tripods over New York, in the flashback scene were young Jonathan Dozer (They changed his name and his mother's surname from Raven to Dozer so that no-one would notice this was in any way the War of the Worlds strip. Well I'll be a monkey's uncle that fooled me...not!) and his mother Maureen Dozer are fleeing the Martians second invasion. Sorry this is Apeslayer it should be the "Apes invasion."
At the end of December 1972 Samuel James Maronie spent a day on the set of the 20th Century Fox film Battle for the Planet of the Apes, where he's given a chance to become an extra. He had hoped to be made up as one of the apes from the film but on the day he was allowed to visit the set no ape extras were required. Instead he spent the day as a "mutant" extra on the film. Samuel does get to see Roddy McDowall and the director J. Lee Thompson up close. As for his big break in film, well sadly his scene must have ended up on the cutting room floor. This article originally appeared in the Marvel/Curtis magazine Planet of the Apes issue 6, cover dated March 1975, published January 1975.
Roger Cooper from Suffolk offers six points, he's had enough of the X-Men when they were in the Fantastic comic. He doesn't want Iron Man or Doctor Strange, but he wants to see the return of Gullivar Jones. Dracula Lives is perfect, don't change a thing about it. Roger thinks that the articles in POTA are ruining the comic. And his last point was he had already read the Watcher story in the US Silver Surfer comic. D Thomas From Yorkshire thinks that Dracula Lives and Planet of The Apes are some of the best magazines you can buy. He discovered them by accident when he called into his local post office to pick up a bag of crisps. Joe from London wants Marvel to bring out a record of the theme music from the Planet of the Apes TV series??? Andrew Bennett RFO, KOF from Leeds has been on this "Planet of the Humans" for twelve years and in those years he considers the Planet of the Apes to be the best comic he has ever read. He thinks the articles on the actors from the TV series are extremely good. Christopher Little from Kent was very disappointed that Warrior of Mars is ended and wants another series of it.
David and his adopted father John move to an island away from the attention of the press and public prejudices, so that he could safely grow up in isolation. Eventually he learned to use his wings to fly. David's father passes away with natural causes, leaving David alone in the world, he freed himself from the island and fly with the birds. However he is mistaken for a hawk and shot down. He is nursed back to health by a girl, Ruth, who he falls in love with. David heals fine but is pressured by Ruth to lose his wings in order for them to lead a normal life. An operation is carried out to amputate his wings. The two marry and shortly after David and Ruth have a son. As time goes on Ruth becomes preoccupied with their son and David notices that his wings are regrowing.
David spends more time away from his family, on long business trips. Soon the wings grow so large that he can't ignore them any longer. He decides he will have to have them remove once again, but before doing so he wants to fly one last time. In the air David realises that in the freedom of the skies is where he truly belongs. With feeling of liberation he flies up as high as he can until fatigue over comes him and he falls into the ocean below, with no fear or regret, maybe it was how he expected it would end, after a brief lifetime of wild sweet flight, dropping contentedly to rest. Gil Kane does a splendid job of this story and its adult themes. It might have gone over some of the young readers heads, but it would possibly start many young minds onto creative and thought provoking paths. "Steve does comics" takes an alternative look at this story in his blog, which is always worth a read.
Believing that their invisibility is lost and that the humans can now see them, the Badoom quickly retreat, heading towards space. The Surfer sees an opportunity to escape Galactus's barrier and flies close to the fleeing ship, protected by its force field. At the last second, he remembers the injured girl that he left behind. Begrudgingly he leaves the protection of the ship to return to Earth. Just as he begins to heal the girl with his cosmic energy, a military force attacks the Surfer with another missile strike. Realising that with the military's hostility towards him he can't stay with the girl, so he leaves her barely clinging to life in the hope they can save her. As he zooms skyward he hears nothing of the soldiers abuse, only the agonising beat of his own tortured heart. So ends yet another truly brilliant epic tale by Lee and Buscema.
The Professor deduces that the Vanisher is a mutant that can teleport. The Vanisher demands ten million dollars for the return of the plans, he and his gang are meet by the X-Men outside of the White House in Washington DC. The Professor arrives ordering the X-Men to not interfere, he uses his mutant mind to render the Vanisher's powers useless. The X-Men quickly round up the Vanisher's gang. Later Cyclops asks the Professor how he managed to defeat the villain, to which he replies that the greatest power on Earth is the magnificent power they all possess, the power of the human brain! So ends a quite charming tale, but one that's not on the same level as the Silver Surfer tale.
Conan scales the wall and discovers another thief, Taurus, also in the courtyard. The pair join forces with Taurus dispatching most of the lions that guard the garden using a poison gas, leaving Conan to kill the last lion. The two thieves climb to the top of the tower. Taurus leaves Conan behind. He sneaks through a door but immediately falls out dead. Cautiously Conan enters the room to discover it filled with treasures. He also encounters the room's guardian, a giant poisonous spider. Conan battles and defeats the monster.
Conan descends into a lower chamber, where he encounters a green humanoid creature with an elephant's head. The lonely, blind creature introduces itself as Yag-Kosha. He explains to Conan his alien origin and how he was captured by Yara. How the fabled gem, the Heart of the Elephant, allows Yara to keep Yag-Kosha captive. He begs Conan to end his suffering by killing him, which Conan does. Conan then takes the gem to a sleeping Yara, who is mystically swallowed by the gem. Conan can see a fully healed and powerful Yag-Kosha inside the gem taking his final revenge on his captor.
With its builder's death the Tower of the Elephant begins to crumble, but Conan flees just in time to see it collapse into a pile of shards. I absolutely love this tale. Barry Windsor-Smith's art is gorgeous, maybe more so in the unfussy black and white pages of this UK weekly. Roy Thomas just captures Robert E Howard's original story and the period that this tale is set in just perfectly, with the alienness of Yag-Kosha's character and how that other worldliness could be seen as demonic and of dark magic at the same time. The original story was Roy Thomas's favorite prose by Robert E. Howard. He wanted to have John Buscema and Alfredo Alcala adapt it. That version on this tale can be seen in the Savage Sword of Conan, US Marvel/Curtis magazine, #24, cover dated November 1977, published September 1977. Which I also read when it was reprinted in the UK monthly version of the Savage Sword of Conan #11, cover dated September 1978. Like this version it's also brilliant
The fourth panel from page 35 of last week's comic is enlarged to form the opening page of this week's second part, with the fifth and sixth panels also repeated from last week's final page. A new title sits above it all. In a chamber below the royal castle King Kull and Brule discover the ghostly form of King Eallal, who was slain 1000 years before the reign of Kull by the serpent-men, still haunting the damp labyrinth.
Kull managed to seal the chamber. With his eyes open to the threat of the serpent-men, Kull swores to continue hunting them across land and sea. Kull with Brule calls a meeting of seventeen men from the prime councillors, each on of them opposed Kull's cause when he ascended the throne. Setting the trap Kull speaks calling out the word "Ka nama kaa lajerama!" which unmasks the serpent-men. Kull with Brule slayers them, with their deaths their serpent identities are revealed. But after the last has fallen the council chamber disappears into smoke, revealing that the two warriors were tricked. Heading to the real council chamber Kull discovers an imposter sitting on his throne. The real King slays him and leads the real councillors to a chamber where the dead serpent-men have been left. Kull seals them in with his sword, vowing after a few days rest he will carry on his war against the serpent-men.
The Mighty World of Marvel #130
The Incredible Hulk “The Inheritor revealed!”
Writer: Archie Goodwin
Artist: Herb Trimpe
Inker: John Severin
Originally published in The Incredible Hulk #149
Cover date March 1972
(Published in December 1971)
The Mighty Marvel Mailbag
Daredevil “To battle the Beetle!”
Writer: Stan Lee
Artist: Gene Colan
Inker: John Tartaglione
Originally published in Daredevil #33
Cover date October 1967
(Published in August 1967)
The Fantastic Four “Is this the end of Mr. Fantastic?”
Writer: Stan Lee
Artist: Jack Kirby
Inker: Joe Sinnott
Originally published in The Fantastic Four #61
Cover date April 1967
(Published in January 1967)
This second part opens with a splash page that uses the original artwork from the cover of the Fantastic Four #61 (US edition,) it mostly works well as the next page continues with the same action sequence, however the cover art also features the Human Torch being smothered by the Sandman's sandy foot, while the Torch only makes his appearance four pages later.
The Inhumans make their appearance later too, in a secret shelter somewhere in Europe. This also jars a little because they had previously left the Great Refuge to help Crystal look for Johnny Storm, while the Inhuman "commoners" rebuild their city after Black Bolt shattered the Negative Barrier and most of the city in the process. I kind of think Jack Kirby has forgotten about some of that as Crystal requests to search for Johnny with only Lockjaw as companion. Stan Lee smooths some of the hard edges of the plot out a little so most fans may not have noticed. Meanwhile the Torch returns to the Baxter Building a little too late to stop the Sandman from sealing himself within Reed's Negative Zone chamber.
The Torch melts through the wall but both he and Reed are attacked by the Sandman. The Sandman mixes his sand form with a freezing compound that when melted creates a poisonous gas. As the chamber fills with the toxic fumes, Reed quickly opens the portal to the Negative Zone in the hopes of sucking all the bad air out and saving their lives. The Sandman flees, smashing his way out of a nearby window. However, Reed is not as lucky as he is sucked in through the portal just moments before the door closes. Sue, Ben and Johnny watch in horror as the view screen shows Reed pulled into the Negative Zone, toward the area where positive-matter and anti-matter meet explosively, threatening to end his life in the process.
Spider-man Comics Weekly #111
John Romita Sr.'s artwork is pretty much the same as it appeared on the front of the Amazing Spider-man #87 apart from the added circles around the characters to heighten the drama. It certain draws in your attention. It won mine so I'm going to make it my Cover of the Week.
Spider-man “Unmasked at last!”
Writer: Stan Lee
Artist: John Romita Sr.
Inker: Jim Mooney
Originally published in the Amazing Spider-man #87
Cover date August 1970
(Published in May 1970)
This Spider-man tale deals with Peter's problems rather than Spider-man's, which to many readers may have felt like a big let-down. But as there's always loads of strips in the Marvel pantheon of comics and seven great British Marvel mags to read this week, it becomes rather nice to read a story that's more grounded about a teenager's problems, that as a kid, young adult of even now as a grey old man I can get behind. Especially as I know there'll be loads of action around the corner. As Peter has gradually felt weaker and weaker he performs some test upon himself, arriving at the conclusion that his spider-powers are fading for good.
The Web and the Hammer
Iron Man “Disaster!”
Writer: Stan Lee
Artist: Gene Colan
Inker: Jack Abel
Originally published in Tales of Suspense #79
Cover date July 1966
(Published in April 1966)
Returned to the States, following his battle against the Mandarin and his creation, Ultimo, Tony Stark finds his factories closed, his accounts frozen, and a warrant issued for his arrest. Stark has to find a place to change into his armour and recharge his batteries before his life giving chest plate runs out of power. Stark arrives at Pepper Potts' apartment building. With the chest plate's power running dangerously low. he manages to changing to Iron Man so that the power supplied by the suit can temporarily recharge his chest plate. As Pepper isn't home he decides to look for Happy Hogan next. Iron Man passes an empty Avengers mansion and later finds that Happy isn't home either.
The Mighty Thor “The dilemma of Dr. Brake!”
Writer: Stan Lee
Artist: Jack Kirby
Inker: Vince Colletta
Originally published in The Mighty Thor #152
Cover date May 1968
(Published in February 1968)
After having his full strength restored Thor continues his battle with the Destroyer, unaware that the soul of his lover, Sif, is trapped inside the mystical armour. Thor tosses his hammer at the Destroyer who grabs it and uses it against the thunder God. Before the Destroyer can do any more damage, it suddenly drops lifeless to the ground. While in Asgard, Odin watches over events surmising that the soul that existed within the Destroyer had departed rendering the body inert.
Avengers Weekly #80
Gil Kane has done some brilliant covers over the years, he's always been a contender of my Cover of the Week award. But I'm not fully taken with this one. Some minor things bug me that I can't get over. One is Batroc's left hand. It looks like he's holding something but there's nothing there. Another thing is Iron Fist's mask, there's something sticking out along his cheek. I know these seem very minor but I can't stop seeing them.
Iron Fist “The towering invasion!!”
Writer: Tony Isabella
Artist: Arvell Jones
Inker: Dan Green
Originally published in Marvel Premiere #20
Cover date January 1975
(Published in October 1974)
The fourth panel from page ten of last week's strip is re-used as the opening splash page of this week's second part. Not quite sure about the new title, "The towering invasion!!" maybe it's a play on the film title "The towering inferno!" but apart from this story being set in Meachun Tower it still sounds weird. Iron Fist had gone to see Joy Meachum to explain that he wasn't responsible for her father's murder, her Uncle, Ward Meachum has hired Batroc and his brigade to kill the young kung fu hero.
After the fight is over, Iron Fist demands answers from the Ninja who silently teleports them both across town. His time in K'un-Lun has taught him to accept miracles, instead he drive home his question of why has the mysterious Ninja interfered in his affairs, but before he can force any answers Harold Meachum's killer disappears once more, only to materialise in Lee Wing's home, where he grabs the book that Professor Wing had uncovered. The Ninja vanishes and in his place the Professor himself appears holding the book. Things get wilder next issue as Iron Fist meets the Living Goddess.
Avengers Assemble
This Doctor Strange, Master of the Mystic Arts pin-up by Gene Colan was positioned before the Avengers strip possibly so that the double splash page of the old Avengers fighting a montage of super-villains could be presented on pages opposite to each other. Here Colan shows the Doctor's love interests with Wong, the Ancient One and arch enemies Nightmare, Asmodeus from the Sons of Satannish cult and Satannish himself. It originally appeared in colour instead of the letter page in Doctor Strange #180, cover dated May 1969, published February 1969.
The Avengers “The Avengers must die!”
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 third part of this Avengers Annual story uses the splash page from page twenty-five, before pages twenty-one to twenty-four appear in the UK version. It was intended to be a symbolic splash page to open part two of the tale. Roy Thomas wrote in the Marvel Omnibus: The Avengers Part 2, that he had Don Heck draw this homage to one of Roy's favourite covers, All-Star Comics #35, from DC comics, dated June 1947, by Irwin Hasen.
With all the world's heroes captured, the Avengers turn their attention to capturing every super-villain in the world. A futile attempt by Doctor Doom with Electro, the Mandarin and Doctor Octopus to stop the Avengers fails as the Avengers had dismantled Doom's Time platform before he could use it to undo events that lead to the Avengers dominance. It's strange to see some of Marvel's more established tyrannies forced to flee from a more powerful group of tyranny. The Earth's Mightiest heroes declare control over the world, order the stop of all atomic tests and scientific inquiry in an attempt to halt the advent of new super-beings.
Stopping the history playback, Cap informs his fellow Avengers that their counterparts in this new timeline have turned the world into a dictatorship under their complete control. Maybe the golden age promised by the old Avengers is worth paying the price for, but Captain America points out that through the ages mankind has often tried to escape from freedom into the open arms of tyranny, but over the long haul the results have always been the same. He believes that the original Avengers have been sold a "bill of goods" that may destroy them. The group decides that the only way to stop them is by correcting the divergence they made in the timeline. They plan to re-collect Doctor Doom's time machine, which they learn has been disassembled and spread across the city. The Avengers split into groups to find each part. First up is Hawkeye and the Black Panther who must face off against Iron Man and the Hulk. The "Battle of the century" continues next week.
This double page centre spread pin-up was drawn by John Buscema and was originally featured in the Avengers Annual #2. It features all the super-heroes from the time who were given full Avengers membership. Haven't they forgot the Swordsman who was also briefly a member? Perhaps he doesn't count as he cheated his way to becoming an Avenger. At the top of this page and various other pages is a line informing readers that they can see Spider-man on TV in the Granada region during the Easter holidays on March the 25th, April the 1st and the 3rd at 9.30 in the morning. I wonder did other ITV regions also get the show?
Doctor Strange “Beware the witching hour!”
Writer:Roy Thomas
Artist: Gene Colan
Inker: Tom Palmer
Originally published in Doctor Strange #180
Cover date May 1969
(Published in February 1969)
The thirteenth page of the original US comic is used as the opening splash page for this second part. with a new title smartly added to the top left of the page and a credit box at the bottom. As the New Year begins as the clock strikes midnight a Pterodactyl crashes into the clock face. It's these kind of cinematic panels that feeds my love of Gene Colan's Doctor Strange. Roy Thomas is on top form too.
Other dinosaurs, barbarians and beings from all over time start appearing in Times Square, attacking the frightened crowd, prompting Doctor Strange to transform into his sorcerers guise, publicly revealing his true nature. While fighting these threats, Nightmare suddenly appears with Eternity his prisoner. Nightmare challenges Doctor Strange to battle him so that he may finally have his vengeance on the sorcerer, who naturally accepts his challenge. The scheming lord of fear forewarns him that one misstep will lead to death. Next week "If a world should die...!"
Dracula Lives #23
Bit of a mystery this one, the Grand Comics Database lists Mike Esposito as the inker on this cover, but the penciler is unknown. Quite a good cover who ever it was.
Dracula “And his method of vengeance: The dark profane art of voodoo!”
Writer: Marv Wolfman
Artist: Gene Colan
Inker: Jack Abel
Originally published in Tomb of Dracula #11
Cover date August 1973
(Published in May 1973)
The sixth panel from page ten of the original comic had been left of from last week's final Count Dracula story and placed under a panel taken from the cover artwork from Tomb of Dracula #2 by John Severin, cover dated May 1972, published February 1972. It was last seen by British Dracula Lives readers on the cover of Issue 2. Dracula has gone clubbing in London, but not for the nightlife, but for information on the Biker gang who attacked him back in Dracula Lives #18.
Dracula tracks the gang to Lastman's house, but they have departed, leaving Lastman who had already been killed by Voodoo. Jason Faust's next victim, Quincy Harker, is alone with his dog Saint when suddenly Brand and his gang burst through the door. They knock Quincy aside, however before Brand send a signal to Faust, Dracula bursts through the window. Dracula easily over powers Quincy's attackers and using his hypnotic powers orders them to leave and drive off the nearest cliff, save for Brand. Dracula tells Harker that his vendetta this night is with Lucas Brand only and that he will spare the crippled old vampire hunter for now. Dracula leaves with the hypnotised Brand. Brand arrives at Faust's home. When Faust received no signal from Brand he prepared a voodoo doll fashioned after the biker in case he betrayed him. But the doll fails to work as Brand attacks him anyway, biting Faust as his former boss, as Dracula had transformed him into one of the undead. As his teeth sink in Faust pushes the needle through the heart of the doll. Brand drops dead and Faust is horrified to find that moments later he too has become a vampire, trapped in his iron lung just as the sun slowly starts to rise through the window.
Cryptic Correspondance
Werewolf by Night “Ritual of blood!”
Writer: Len Wein
Artist: Mike Ploog
Inker: Jim Mooney
Originally published in Werewolf by Night #7
Cover date July 1973
(Published in April 1973)
The dwarf lion tamer, Mige, sets his pets onto the Werewolf, but as the beast fight, Swami Rihva uses his mental powers to pacify the Werewolf and the other lions. The next morning Jack wakes up and learns from Elmo, the friendly strongman, that Rihva specifically wanted a supernatural creature for a ritual to activate a mystical bloodstone, which will lead whoever controls it to its creator's hidden treasure. Buck and Lissa return to the carnival to look for Jack.
Monsters of the Movies
By Denis Gilford
They called him the Eighth Wonder of the World and to cinema viewers in 1933 who saw the fifty foot monster punch a pterodactyl, tear up a train and swot planes out of the sky he certainly was. The creation of this iconic film started with Merian C. Cooper, a soldier of fortune, who had taken cameras into the jungle to film his real-life explorations. He thought of the idea of a king size gorilla. Then came Willis O'Brien, a man with a mania for making movies with models. He liked dinosaurs, and had already turned Arthur Conan Doyle's famous fantasy novel, The Lost World into a film. Last came Edgar Wallace, another top British writer, whose play "The Terror" has been turned into one of the world's first scary talkies. Once again horror fan Denis Gilford describes what made King Kong such a legendary monster and film.
Christopher Lee as the iconic Lord of the Vampires, one of the many faces of Count Dracula.
Frankenstein’s Monster “Frankenstein lives!”
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 three panels from last week's final page are used again to start this week's second half. As the Monster falls from an icy cliff, he enters the cold icy waters unconscious and enters a state of hibernation. The century passes him by as time seems one organised dance of death called war, between country and country, after another war and another. Man lands on the moon and pollutes the planet in the name of advancement.
Planet of the Apes #23
This is quite an iconic cover, the first ever Apeslayer cover. Would Killraven/War of the Worlds fans recognise British Marvel's first ever original on-going character? I couldn't say who adapted Killraven's new look but Ron Wilson is the first artist to create cover artwork for this new character, completely original artwork designed for this UK comic. Mike Esposito inked Ron's pencils. More on Apeslayer's creation up next.
Planet of the Apes “Prologue: Future Imperfect!”
Writer: Gerry Conway and Roy Thomas (plot)
Artist: Neal Adams and Howard Chaykin
Inker: Frank Chiaramonte
Originally published in Amazing Adventures Vol 2 #18
Cover date May 1973
(Published in February 1973)
Humans to Apes weren't the only things to be re-drawn. Killraven had a complete re-design. Gone was the kinky stripper boots, "mankini" and headband, in came the black leather pants, boots and no headband. Although sometimes the headband would mysteriously return, check out the cover and the opening page, while on page three the headband has gone. Also in some panels the Apeslayer seems to have jet-black hair instead of his ginger locks, but that could well be down to the black and white shading of the UK comic. So be fair to the unknown art bodger they managed to compete with Neal Adams artwork, dare I say it, even improving Killraven/Apeslayer's look. In fairness to the writing too the changes to the script and plot kind of worked, although I could well be in a very small majority judging by future letters pages, many were less than impressed. Doug Moench is a fantastic writer and Neal Adams artwork is always stunning, but to many this version graffitied all over the original. Would anyone notice in Britain? Well loads did who bought the imported US comic. But who was responsible for this masterpiece/mutilation? Well Rob Kirby thinks he found out while researching his eagerly anticipated "From Cents to Pence" book about British Marvel and Marvel UK. He told Down the tubes website that “My researches into the 1970’s US Bullpen indicating the most likely candidate was the late Mark Hanerfeld, who was helping Marvel out with their archive at the time – as he later did for DC – and, reportedly, helping out with other work too." I'm not sure if Mark Hanerfeld was responsible for the script and plot changes or if he also adapted the artwork as I found very little online about Mark. Hopefully Rob Kirby's book will have more details. Put me down on the pre-order list Rob, I can't wait to read "From Cents to Pence".
So the summery of this first part goes like this, The Apeslayer is leading the revolt against "the simian Masters", who have enslaved the remaining pockets of humanity who live in the ruins of Earth's cities. The Apeslayer has managed to track down the human scientist known as the General who had been brainwashed into working for the simians, while war machines known as drone tripods decimated the planet beyond its post-nuclear state. Dying the General tells the Apeslayer how for the past century man has revolted against apes only winning the most futile victories. Once the apes had been backwards, they ignored science, but they learned to harness science to win the war. The boy who was to become the Apeslayer fleet with his mother. In a confrontation with a mutant creature they meet Ann Carver. What follows next week will be "The birth of the Apeslayer!"
Apes for a day
Apes Forum
“He that hath wings”
Writer: Edmond Hamilton and Gil Kane
Artist: Gil Kane
Inker: Mike Esposito
Originally published in Worlds Unknown #1
Cover date May 1973
(Published in February 1973)
Gil Kane adapted his story from Edmond Hamilton's tale, which originally appeared in Weird Tales July 1938. Hamilton was an American writer of science fiction short stories and novels who was well known for Captain Future. He also wrote for DC comics. This tale is about a boy who was born with wings. His mother died in child birth so he becomes adopted by his doctor.
“Enter: the machine age!”
Writer: Stan Lee
Artist: Sid Check
Inker: Sid Check
Originally published in Journey Into Mystery Vol 1 #17
Cover date August 1954
(Published in April 1954)
This tale had last been re-printed in Weird Wonder Tales #1, cover dated December 1973, published August 1973 after its original appearance in Journey into Mystery volume one #17. It is suggested that Stan Lee wrote this story but I can't find any refutable evidence to confirm that. Sid Check was best known for his stories in EC Comics. Following an atomic war, the survivors of the human race have moved underground, building machines to do their work for them. Years later, they return to the surface, leaving the machines behind, but the machines begin to think for themselves, and rise up to conquer the surface world.
The Super-heroes #4
The Silver Surfer was the main star of this new weekly, but as his adventures took two weeks to serialise there wasn't enough covers. So Keith Pollard stepped in and filled the gap with this cover of the Surfer facing off against the Badoon super heavyweight bio-construct. Shame the X-Men don't get a go on the cover, but their pyjama outfits of the original group don't really look as cool as Galactus's Ex-Herald.
Silver Surfer “Let Earth be the prize!”
Writer: Stan Lee
Artist: John Buscema
Inker: Joe Sinnott
Originally published in Silver Surfer #2
Cover date October 1968
(Published in July 1968)
This splash page was page 21 of the original US Silver Surfer comic, all that was required was the removal of the top banner which read "Part two of 'When lands the saucer!'" Leaving the ship with the injured girl, the Surfer promises to save the Earth. To keep the girl safe by wrapping her in a protective field of spatial energy. The Badoon leave the saucer on flying discs and remain invisible after undergoing a process that renders them invisible to human eyes.
They kill a man to test their "basic weapon", but those around the man think he has had a heart attack. Their next move is to launch a rocket at the Silver Surfer but he out manoeuvres it as it explodes in the side of a mountain. They unleash the Weapon of Weapons on him, a creature known only as the Monster of Badoon. This giant monster with a metal jaw clashes with the Surfer crashes in a battle over the city. The population watch in a state of panic because the Badoon's cloaking technology makes it look as though the Surfer is on a rampage against humanity. The Surfer has to unleashes the full extent of his Power Cosmic at the monster, but the Badoon retrieve their creation. Meanwhile, the military start their attack on the Surfer. Launching a volley of missiles towards him, but instead they hit the cloaked Badoon ship.
The X-Men “Havoc at the White House!”
Writer: Stan Lee
Artist: Jack Kirby
Inker: Paul Reinman
Originally published in The X-Men #2
Cover date November 1963
(Published in September 1963)
The second part to this X-Men tale uses the Jack Kirby cover artwork from the US second issue, as the opening splash page as a symbolic teaser of events to come. The Vanisher has amassed a gang of criminals under his command to aid him in attempts to steel state secrets. While the X-Men train in the Danger Room Professor X contacts Agent Duncan, a friend in the FBI, to discuss the Vanisher's threat. A short time later the Vanisher makes good that threat and steels the defence plans. The X-Men try to stop him but ultimately fail.
Savage Sword of Conan #4
Barry Windsor-Smith drew this cover that originally appeared on the front of the US edition of Conan the Barbarian #4
Conan the Barbarian “The Tower of the Elephant!”
Writer: Roy Thomas
Artist: Barry Windsor-Smith
Inker: Sal Buscema
Originally published in Conan the Barbarian #4
Cover date April 1971
(Published in January 1971)
I love this Conan classic, so much so in the very early days of the Power of the Beesting blog I wrote a piece on it called The tower of elephant, a moral view. In the "thief-city" of Zamora, Conan's attention is caught when he hears a slaver, boasting of his recent acquisition, the jewels secreted in the Tower of the Elephant. The rogue mocks Conan's interest in the impossible-to-obtain gem. Not the smartest of things to do. After leaving the dead Kothian's body behind, Conan approaches the tower, while observing Yara, the tower's mysterious occupant enter. Unnoticed by Conan the priest's feet do not touch the ground.
This in-house advert asks the readers to "Track down these two mighty Marvel mags...Now!" The chills and thrills with Dracula, Werewolf and Frankenstein's Monster in Dracula Lives! And science fiction fantasies plus humans hunted by apes in the Planet of the Apes weekly. What more could a comic mad kid ask for?
Kull the Destroyer “Wisdom from the grave!”
Writer: Roy Thomas
Artist: Marie Severin
Inker: John Severin
Originally published in Kull the Conqueror #2
Cover date September 1971
(Published in May 1971)
So ends another epic week of epic tales from mighty Marvel in the uniquely British format that you all know and love. I too need rest before I take up the keyboard and fight again with the ins and outs of British Marvel's greatest weeklies. So until then...
See you in seven.
Make Mine Marvel.
I enjoyed the opening essay about what "is" or "is not" a "British" comic and I'm surprised it's an issue for some in that particular Facebook group in 2025! I don't remember it being an issue in 1975, when UK comics had mostly been of the "Beano" or "Dandy" or "Beezer" comic paper type: the Marvel style seemed a breath of fresh air, which was probably why they were so successful, at least at the start, and helped pave the way for "2000 AD" to present an entire comic of SF/ Fantasy material. I've always felt that any comic printed and sold in the British market is a "British" comic, whatever the origin of the material it contains.
ReplyDeleteI remember feeling dreadfully let down by this week's "Planet of the Apes" issue and seeing the "War of the Worlds" strip being "adapted" in that way, having read it in it's original form a mere few years before (and the current issues of "Amazing Adventures" were among the regular US "Marvel All-Colour Comics" on sale every month). It was a big mistake on the part of the Marvel UK production team, especially as anyone who knew anything about the "Apes" movie saga knew that they had never attained the level of technology depicted and hadn't got beyond horses and carts!
It showed their trying to reprint contemporary monthly material on a weekly basis wasn't viable but their greed to cash in on a current craze was greater the supply of strips. Their Achilles Heel was beginning to show....
Glad you liked you enjoyed the opening of this blog, even as a young kid I completely understood the differences between British Marvel comics and American Marvel comics. And how the British Marvel weeklies were a breath of fresh air that helped open new interest for sci-fi, horror and sword and sorcery in British comics. Some say that Star Wars helped with the birth of 2000AD, but demand for that kind of comic came from the young readers who may have started reading British Marvel comics.
DeleteSorry, "greater THAN the supply of strips."
ReplyDeleteThe situation clearly taught them a lesson, though, as when the time came to produce a UK "Transformers" weekly they had a team in place to produce material to fit between the monthly US stories they'd be reprinting.
ReplyDeleteThanks for the plug for my blog, Mark. :)
ReplyDeleteWhen it comes to Apeslayer, I must admit I was originally unaware of what Marvel UK had done but, a few weeks after the strip started, I bought my first Killraven comic and noticed at once the similarity. I'd disliked Apeslayer even before that but discovering he was a completely different character redrawn really killed my interest in his strip.
Thank you Steve, your blog and your comments are always welcome.
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