Stan Lee's Lonely Hearts Club Band

 Week Ending 12th April 1975

It was fifty years ago today, that Stan taught the Bullpen to reprint some of the greatest strips. They've been going in and out of style, but they're guaranteed to raise a smile. So may I introduce to you the class acts you've known for all these years, British Marvel comics presents these lovely weekly bangers. 

One piece of from last week's blog, in the comments Mark Lotinga thought he had seen the Conan tale "Zukala's Daughter" in a previous British Marvel annual. Steven W. from the fantastic blog, Steve Does Comics, pointed out that it was in the Marvel Annual published by Fleetway in 1972. The story can be found in the Power of the Beesting review of that annual from way back at Christmas 1972. Now on with the blog.

The Mighty World of Marvel #132

Wow! Two fringe X-Men make the front cover! The truth is though most British readers might not have realised or even known who Havok and Polaris are. For a change Ron Wilson hasn't drawn the MWOM fill in cover, Ed Hannigan was given a go at drawing this one. His version of Havok and Polaris are perfect, however I wasn't thrilled with his version of the Hulk. It was either Mike Esposito or John Tartaglione inked this one. 

The Incredible Hulk “Day of Havok!”

Writer: Archie Goodwin

Artist: Herb Trimpe

Inker: John Severin

Originally published in The Incredible Hulk #150

Cover date April 1972

(Published in January 1972)

The cover of the Incredible Hulk #150 by Trimpe and J. Severin, which also featured on last week's MWOM cover, makes a great opening splash page for the second part of this Hulk adventure, but the next page feels like a panel was missed out as the green haired girl had disappeared. In truth a panel had been removed from last week's ending and this jump helps whip up the mystery around the Girl. 

The mystery girl is, if you didn't already know, Lorna Dane, also know as Polaris, who had traveled to the New Mexico desert to meet up with future boyfriend Alex Summers, better known as Havok the brother of the X-Men Cyclops. A full page from the original strip had been removed, detailing how after a quarrel with Bobby Drake, the Ice Man to you and me, over his then girlfriend Lorna. Alex had nearly killed Bobby, so Alex had fled to this remote setting in fear of hurting anyone again. Any reference to the X-Men and their connections to the mutant group was removed as to prevent spoilers for the strip that was only in its early stages in British Marvel's Super-Heroes weekly. The Hulk is still following Lorna, due to his mistaking her for Jarella. Havok changes into his fighting togs to defend Lorna from the Hulk. The hastily written text box at the bottom of page five reveals that the full story behind Havok would pop up when you least expect it. British readers would have to wait over five years for that to happen, in the monthly incarnation of MWOM called Marvel Super-Heroes #362, cover dated June 1980.

The young mutant and the Hulk clash in some impressive fight scenes, including one where the green goliath rips off a massive chunk of a mountain side to crush Havok with, but with Lorna standing on top the danger is magnified. It is strange that Lorna never uses her magnetic powers at any stage, may be she had temporarily lost them, to be honest I think that the plot needed a damsel in distress for Havok to rescue. Later Havok would lower Lorna down from the cliff top with his powers, that isn't how his powers work, so may be she lowered herself using her magnetic abilities, which seems reasonable, even if it does put holes in the plot. A sticking plaster would be she refrained from using her abilities to get Alex out of his self pitting frame of mind. Havok defeats the Hulk by mastering his mutants powers and concentrating them on the Hulk's mind, rendering him unconscious. Alex and Lorna leave to start a new life, while Major Talbot and Betty Ross discover the unconscious form of Bruce Banner. Betty cradles Bruce in her arms only to hear him call out another's name, "Jarella...my love!" Next week "Blood of a monster!" Find out what that means in seven days. 

The Mighty Marvel Mailbag

Martin Almond from Lincolnshire has only just become a a Marvel reader but he love's them so far and as a new reader he asks who are the old and new Avengers? Chris Lane from Staffordshire needs some information about a book called "Marvel" "A full Colour Comic Album No.1". It was priced at 2/6d, (that's around £2.40 in today's money.) which dates it before British Marvel comics were published. Well I think it was the yellow covered annual from 1969, produced by World Distributors of Manchester under licence from Marvel. G J Clemett from Devon writes that his English teacher at his school gave the class some homework on the proper use of words. He said we should use words like FANTASTIC, COLOSSAL and FABULOUS for special purposes and not like commentators or comics who use them wrongly. He thinks that MARVEL is FANTASTIC, the covers are FABULOUS and the Hulk's strength is MAGNIFICENTLY COLOSSAL, as far as he's concerned those words have been used properly. B Levitan from Essex writes that it's good to read the letter pages as they're far more serious than they used to be. Dennis Williams from Hull is a from a 20-year-old student True Believer! He had quite a collection of American mags when he was a youngster. However, he gradually sold off his collection and when he joined college. But now his new collection is going strong once again.

Daredevil “Beetle in the sky with diamonds!”

Writer: Stan Lee

Artist: Gene Colan

Inker: John Tartaglione

Originally published in Daredevil #34

Cover date November 1967

(Published in September 1967)

This week's second part opening splash page is actually the fourteenth page of the original US strip, but moved to this point in the tale. A hesitantly written text box on the next page would read "Let's backtrack a little shall we? This is where we left off last ish.." as the Beetle's gang carry a tied up Daredevil towards the exhibition centre. Later as the Beetle tells the watching world that he plans to reveal the Man Without Fear's real identity Daredevil slips his bindings another text box reveals, "And this is where we came in.." leading the reader back to the action on the opening page. 

 

Daredevil battles the gang of thugs and the Beetle on live television. During the fight the villain uses his hydraulic feelers to form an unbreakable cage around DD and is only saved when Foggy lends a hand by jumping onto the Beetle's back. This turns the tide and odds in Daredevil's favour just as the Canadian Royal Mounties turn up and make several arrests. All the loose ends are tied up, Daredevil informs the Mounties of the location of the Regina necklace and Karen informs DD that she checked his civilian clothes into a locker. All ends well save for the fact that Karen is missing Matt leaving "Mike Murdock" jealous of himself. More Daredevil action next week with Daredevil "On the trail of the Trapster!" 

The Fantastic Four “...With a little help from my friends!”

Writer: Stan Lee

Artist: Jack Kirby

Inker: Joe Sinnott 

Originally published in The Fantastic Four #62

Cover date May 1967

(Published in February 1967)

With the second title on a Beatles lyric theme, "..With a little help from my friends!" opens this second part Fantastic Four adventure with a splash page last seen last week on page thirty-one of last week's MWOM, with all of Reed's speech bubbles intact. The action quickly follows with Triton attacking a sub-marine piloted by a group of international terrorists. But after returning to the Inhuman Royal Family he is ordered to go with the newly arrived Crystal and Lockjaw to aid in the rescuing of Reed Richards who is still lost in the Negative Zone. 

Black Bolt's judgement is that the amphibian Inhuman has all the necessary skills to survive in the vastness of the swirling sea of sub-space. How anyone can survive in the Negative zone is beyond me. Only Stan and Jack know how anyone can breathe. With the aid of a hand held air-jet gun to move through the void and his own super-senses he locates Mister Fantastic on the edge of the debris belt seconds away from plunging into the exploding atmosphere. 

Reed reaches out for a helping hand and the pair are pulled back to safety. Also on the astroid trapped in an adhesion suit a figure starts to stir. Blastaar breaks free from his bondings and spies the two Earthlings escaping. The Negative Zone criminal uses his own incredible powers to follow them to our universe. With Reed Richards rescued and everyone thanking Triton no-one notices Blastaar slip past them into the positive world. He is greeted by the Sandman who hasn't given up on destroying the Fantastic Four. What this team-up will mean for the FF will be seen in next week's issue. 

It seems that last week's teaser with the Mighty Thor was intended to tease the next Marvel Treasury Edition. Issue 3 featuring "The Mighty Thor"! One hundred full colour pages of giant sized Asgardian action and adventure for only fifty pence. And like the previous Spider-man, Fantastic Four and Marvel Treasury Special, Giant Super-Hero Holiday Grab-Bag, specials they really mean "giant size" at thirteen and a half inches by ten inches, it certainly is the biggest threat that television has ever had to face! The image of Thor is taken from the opening page of the first ever Thor story seen in SMCW #1, (Journey Into Mystery #83,) by Jack Kirby with Joe Sinnott inks. The Treasury cover is by John Romita Sr. This blue background in-house advert also appears on the back page of Spider-man Comics Weekly this week.

Spider-man Comics Weekly #113

This is a nice cover, although no-one seems to know who drew it. Answers on a postcard if you think you do. What is known is that Frank Giacoia inked the artwork. Spoilers! I know this scene is going to be part of the Spider-man strip coming in three week's time but I really have a feeling that this artwork was copied from another piece of artwork. May be this original UK cover has just left an impression on me. It could have been a CotW winner but not this week.

Spider-man “The arms of Doctor Octopus!”

Writer: Stan Lee

Artist: John Romita Sr.

Inker: Jim Mooney

Originally published in the Amazing Spider-man #88

Cover date September 1970

(Published in June 1970)

The creative team of Lee, Romita and Mooney are on fine form as this week's adventure opens with a tantalising opening splash page and title. Doctor Octopus's mechanical arms are placed on display at New York's Museum of Natural Science, while the incarcerated Otto Octavius uses his mental link to them to command them to jump into life and bust him out of prison. 

By chance Spider-man happens to be swinging past and tries to stop them, but he has to let them go when the damage caused by the tentacles to a building means that Spider-man has to prevent it from collapsing while civilians are evacuated. Exhausted Spidey returns to his apartment to changed back into Peter Parker, so that he can catch up with his slipping studying, but instead he ends up falling asleep.

The next day, Peter goes to class and is more than pleased to see Gwen Stacy who seems to have completely forgotten about Peter's feverish incident when he revealed he was really Spider-man, now that "Spider-man", really Hobie Brown, have given him an impressive alibi. Peter reads a note from Professor Warren wanting to see him in his office. The Professor warns Peter that his grades are getting dangerously low and if they continue to drop he may lose his scholarship. Professor Warren would make a serious impact on Spider-man's future, but at this point I think he had Peter's wellbeing at heart. Elsewhere, the arms of Doctor Octopus had managed to reach the prison and free their master. Putting on his arms once more, Octopus flees the prison to begin his criminal activities almost straight away, when he breaks onboard a private jet that was transporting General Su, a military leader from a foreign country to a United Nations meeting. Find out more about the skyjacking next week.

The Web and the Hammer

Tony from Essex points out the similarities between the Lizard's origin and the film called "The Alligator People", the basic plot of that film is a group of doctors created a serum distilled from alligator fluids with the purpose of growing new limbs on people who had lost limbs in accidents. Instead, the people treated gained the characteristics man-eating alligators and finally the lizard's looks. Stephen McConagle from Dunbartonshire writes his opinions on Marvel comics in general. It's a hefty piece that takes up two columns of the letter page. There's loads of opinions on his favourite artists, writers and characters, from the birth of the Marvell age to the new creations and creators in the early seventies with far too much to summarise in any detail. But it is one the better letters of this period, so if you've got the time give it a read.

C W Nobbs from Lancashire thinks that Marvel produces some fantastic strips, but they take umbrage with one letter writer who wrote "Tolkien's work would be great in comic form". He condemns that writer to a lynching with the Marvel editor for agreeing with them. He believes that Marvel artists are great in your own field, but they could not hope to reproduce the genius of a Tolkien. Adding it would in fact cause Marvel to fall far, far short. After reading A B's letter from SMCW #97, Fiona Brooks from London feels the same when she writes asking the Bullpen to promise never to dream of "cartoonising" "The Lord of the Rings". William Atmore from London wants to know if any readers fancy swapping any of the old "Terrific" comics. Angelo Fithenry from London asks when the first American Marvel Mag came out. The editor says it was the Fantastic Four #1, cover dated November 1961, published August 1961, but it was Journey Into Mystery #69, cover dated June 1961, published April 1961, is said to be the first comic to appear under the Marvel comic brand. Previously Marvel comics had been known as Atlas comics with the first comics to fall under that brand with covers dated November 1951, before that it had been known as Timely comics, with the first ever comic titled Marvel Comics #1, cover dated October 1939, published August 1939. Derek Judge from London wants to create a British Marvel fan club that'll sweeping all the minority clubs into one pile. The Web and the Hammer also heard from Jonathan Parr from Bournemouth. Neil Carrol from Essex. R Henton from Kent. David Moreton from Staffordshire. Stuart Nelson from Scotland, Chris Trafford from West Yorkshire. lan Belger from Liverpool. D. Ferris from Belfast, Mark Frankcombe. Paul Briphy from County Tipperary, Darren Marshall from Kent. Jonathan Kane from London and Tony Haines from Liverpool.

Iron Man “The power of Iron Man!”

Writer: Stan Lee

Artist: Gene Colan and Jack Kirby

Inker: Dick Ayers

Originally published in Tales to Astonish #82

Cover date August 1966

(Published in May 1966)

This story wasn't taken from the Tales of Suspense US comic that printed Iron Man's own strip, but instead from Tales to Astonish #82 which also featured the Sub-Mariner's own strip. This is one of the early, if not earliest occurrence of one story continuing in a different comic. Gene Colan drew the first two pages of art for this strip before he caught a flu bug and had to hand over the art chores to Jack Kirby. I have to be honest the artwork from the Colan pages looks like he was suffering with some serious "Man-flu!" It's not great.

If I'm going to be completely honest again Jack Kirby's artwork looks like someone had drawn it as a homage to Jack Kirby and not the King himself. Not that drawing in the style of Kirby is a bad thing. Back in the 90's I used to get a kick out of reading the works of Shaky Kane or Shakey 2000 as he was sometimes known, from 2000AD and Judge Dredd the Megazine. I'm just not sure I expected to see it here or whether I like it or not. Anyway the Sub-Mariner seeks revenge against Iron Man for interfering in his quest to get revenge on Lady Dorma for leaving him to marry Warlord Krang. The fight rages on until Namor's keen eyesight spots Krang's submarine out at sea. He breaks off the fight and dives into the ocean after his hated enemy Warlord Krang. With the battle over. Later out of his armour, Tony Stark ponders over if he has the right to keep the secret of Iron Man's armour from the government when the technology could be vital for the American government's vital interests. He decides that it's time to call Senator Byrd and sort things out once and for all.

A page full of in-house adverts for the current issue of the Mighty World of Marvel and the spine-chilling Dracula Lives.

The Mighty Thor “..But Dr. Blake can die!”

Writer: Stan Lee

Artist: Jack Kirby

Inker: Vince Colletta

Originally published in The Mighty Thor #153

Cover date June 1968

(Published in April 1968)

Now this is more like the Jack Kirby artwork I know and love, even if it is inked by Vince Colletta. During last week's battle with Ulik, Thor was distracted, allowing Loki to steal his enchanted hammer. Within sixty seconds the Thunder God would transform back into Donald Blake, so Thor begs Karnilla to transport him to Loki to reclaim his hammer. As the Norn Queen is in Thor's debt she sends Sif with Thor to Earth just as he begins to transform back into his mortal identity.

On Earth, we find Loki in a mortal guise. A police officer finds Loki's sudden appearance suspicious and starts to interrogated him. Loki hands over Thor's hammer to the police officer, who is unable to hold it. Both are shocked when the hammer, now out of Thor's grasp for 60 seconds, suddenly changes into a walking stick. The perplexed police officer leaves, Loki realises what the transformation means. Detecting the arrival of Sif and the mortal Don Blake the God of mischief transforms into his godly form to confront and kill his half brother. When Loki approaches Blake, Sif steps in the way to defend her lover. After a brief struggle, Loki tosses Sif into Donald Blake, and then fires a mystical blast at them. Sif takes the brunt of the blast, knocking her unconscious. Furious, Blake gets up and manages to wrest his cane from Loki's grasp. Within seconds he transforms himself back into Thor, quickly engaging in combat with his long time enemy. Who he easily overpowers, tying him up with a parking sign. Just then Thor hears a call for help, but that call will have to be answered next week.

Avengers Weekly #82

Right, let's get straight to the point, this cover is my Cover of the Week. It's a classic by John Buscema showcasing the latest Avengers super-star, the Vision. What makes this UK version of this artwork unique and in many ways superior to the original is the fact that it features all the characters in their true full colours, while the original cover is seen in shades of red, which is great as it creates atmosphere, but when you read black and white comics every week it's really nice to have the characters shown in their correct colour to give your imagination a reference point. George Klein inked Buscema's original pencils.  

Iron Fist “Daughters of the Death-Goddess”

Writer: Tony Isabella

Artist: Arvell Jones

Inker: Vince Colletta

Originally published in Marvel Premiere #21

Cover date March 1975

(Published in December 1974)

Page nine from last week's issue is used again as this second part opening splash page, which sees Iron Fist discovering Professor Wing and his daughter Colleen chained to a statue of Kali, the Goddess of Death. Colleen's call alerts him to a surprise attack which he evades. The Living Goddesses introduce themselves they are Shaya, the Shade and Usas, favoured of the sun. 

Iron Fist tells them that Goddesses do not particularly impress him, even if they do me, he asks why their assassins seeks to slay his friends. Their answer is that was they seek to reclaim the ancient Sacred Volume of Kali that had been stolen by the infidel Professor Wing, as it was important to their faith. The Professor calls out that the book contains the secret to the ultimate destruction of K'un-Lun! Iron-fist will not allow any peril to menace the fabled city so instantly he attacks. Shaya releases her Cloak of Darkness which fills the temple with endless shadow, while the only light comes from her sister's glowing nunchakus. Iron Fist moves to fight her but her skill is great and he is plucked off his feet like a strew caught in a hurricane. In all the action Professor Wing calls out through the darkness which gives a direction for Danny to head to. Calling on his inner chi he shatters the chains that bond his friends, but at the same time wearing the statue of the Kali, causing it to sway. Shaya drops her Cloak of Darkness so that her sister can shatter the statue and save their men.

Iron Fist fights on against the followers of the Kali with Colleen also showing that she is a very talented martial artist. But in the heat of the battle Professor Wing is captured by one of the assassins who holds a knife to his throat, he threatens to kill him if Iron Fist doesn't stop. At that point the Professor tells him that "the old man will not die!" as he transforms into the Ninja and once more tries to reclaim the book. Colleen is shocks that her father could be the Ninja. However, in an attempt to kill the man who was holding the book of the Kali, the Ninja throws a shuriken into his back causing him to drop the book into the flames of a torch, incinerating it.

When the book is destroyed the Ninja and Lee Wing separate into two entities. With the realisation that the Dragon Lords of K'un-Lun had imprisoned him within the book and fearing that the book's destruction would mean his own, the Ninja had protected the volume from harm. Literally guarding his own prison. Deciding to get revenge on K'un-Lun the Ninja then attacks Iron Fist, hoping to kill city's one true hope. Next week Iron Fist vs the Ninja and hopefully a whole heap of answers.

Avengers Mailbag

T J McGuinness from Kent suggests that Shang-Chi is kicked out and replaced by the X-Men, but their main point is they were shocked beyond belief when one letter writer thought the letters in American Marvels are more mature than British ones. T J  buys about 15 US Marvels a month and think's that the letters in those mags are absolutely boring and uninteresting. R Allen KOF, RFO from Northampton got something that not many other people would have heard of. It's the Avengers record, which he taped off his friend, who had a copy. It's a version of the Avengers story which British readers would have read in Avengers weekly #1. He thinks it's fantastic.

The lower half of the Avengers mailbag features an in-house advert for the Super-Heroes with a Silver Surfer image by John Buscema. 

Robert Mulvey from Glasgow thinks that the Avengers weekly is still Britain's greatest comic. Robert put forward two chances of winning a no-prize, the first is from SMCW #98, page 2, where it says the Prowler's real name is Jobie Brown, however it should be, Hobie Brown. His second attempt is from the cover of Planet of the Apes #10 were Taylor said "Zais" when is should have been 'Zaius." The editor sayed that they don't offer No-Prizes for spelling mistakes. Peter Leckie from Liverpool comments on Captain America #180 and says US comics are here to stay. Peter also says that Gene Colan should be kept on Daredevil. Michael O'Neill from Dublin thinks that they should keep Not Brand Echh's double page features like the one seen in Avengers weekly #64. Paul Williams from Belfast has been reading Marvel comics for 9 years and was over joyed when British Marvel's first came out. Paul makes a very valid point about reader's demand for the Silver Surfer in a UK weekly, there have only been 18 issues ever published. This second mailbag page also features an in-house advert for both the Super-Heroes and Savage Sword of Conan weeklies, with both first issues focusing on the lead stars.

The Avengers “Behold...the Vision!”

Writer: Roy Thomas

Artist: John Buscema

Inker: George Klein

Originally published in The Avengers #57

Cover date October 1968

(Published in August 1968)

Now everyone be quiet while I read this classic story one more time. It's possibly the greatest ever single Avengers story ever created. It's got the serious life stories of our favourite heroes, it's got a mysterious new character who has the best introduction ever. It's beautifully written and superbly drawn. Go and get yourself a copy of Avengers #57 (US edition,) or this and next week's Avengers weekly, or the 1982 Marvel UK special, A Marvel Treasury the Avengers, which was where I first read it in full. The Marvel Treasury Edition featuring the Avengers #7 from 1975, the Ultimate Graphic Novel the Avengers Birth of Ultron Classic XII, Marvel's Mightiest Heroes The Vision #42 or any of the number of essentials, masterworks or omnibus editions that this story appeared in. You've no excuse. I could choose any of those, except for the US original, well I'm not made of money.

"Rain falls on the parched city...a rain that sends all scurrying for shelter. All save one who stalks the concrete canyons heedless of the torrential downpour...because it does not touch him...!" Wow! You've hooked me there Mister Thomas. "Then silently, effortlessly like some great, vengeful bird of pray he swoops into the moonless , cloud draped sky towards a towering structure nearby...Behold...the Vision!" Thomas and Buscema work together beautifully, knowing what each other does best. Now that should have whet your appetite, to pick up a copy of it, like the ones I mentioned before. Sadly this is where British Marvel comics let their readers down in 1975, or could it have been the printers? Either way the second and third pages of this story got swapped. Making it seem that the Vision has suddenly appeared in the Wasps apartment. Mentally place them back into the right order if you have the weekly version it's important for Hank Pym and Janet Van Dyne's relationship. Thomas was fantastic at plotting the long game. Anyway the Vision enters, approaching the Wasp. Goliath hears a signal from his belt transceiver and rushes in to find the Vision crumpled in a heap on the floor. 

Meanwhile, Hawkeye visits Natasha to find she has decided to become the Black Widow again. This story took place well before events seen in SMCW #109 and #110 where the Widow designed and wore a new costume. Natasha tries to discuss a new SHIELD mission she is about to go on, but Hawkeye receives a call to return to the mansion, which prevents a lovers tiff. Elsewhere the Black Panther foils a robbery. When some kids are impressed with his "street level hero-ing" he considers his future plans when he also receives the call. At the mansion Goliath exams the Vision when he suddenly bursts back into life, attacking the Avengers. Hawkeye and the Panther tackle him but he throws them to the ground. It is the Goliath who eventually subdues him and calmly reason things through. The Vision says there is nothing to reason about, he has been sent to destroy them. Next week we'll find out more about "the incredible secret of the uncanny Vision!

Doctor Strange “Death in the Dream Dimension!”

Writer:Roy Thomas

Artist: Gene Colan

Inker: Tom Palmer

Originally published in Doctor Strange #181

Cover date July 1969

(Published in April 1969)

The order of pages 12 & 13 from the original US comic have been swapped with the thirteenth page repurposed as this week's second part opening page, a new title "Death in the Dream Dimension!" is used with credits listed in a new text box. Sometimes I wished that these British weeklies were in full colour as the kaleidoscopic cosmos of the Dream Dimension would have looked as amazing as a Lucian Freud, a Salvador Dali or a Wassily Kandinsky painting.

Doctor Strange has to face a horde of nightmarish creatures that the Lord of the Dream Dimension has set upon him. The Minons of Nightmare are many, like the Demons of Despair that could kill with a single scratch from their lethal fangs. The Doctor opens an abyss and sends them falling into the yawning chasm.

 

After defeating numerous demons Strange must confront his old foe once again using the Eye of Agamotto. However, this proves to be his undoing. Nightmare has prepared for such an attack, he takes control over the Eye, redirecting its power back towards Strange, knocking him out, leaving Nightmare to boast about the pending dissolution of the barrier between their respective realms. Wong and Clea watch on via the Orb of Agamotto, in horror. Next week Doctor Strange must face more "Chaos!"

This yellow backed in-house advert for the latest Marvel Treasure Edition appears on the back pages of the Avengers weekly, Dracula Lives, Planet of the Apes, the Super-Heroes and the Savage Sword of Conan. It's much the same as the blue backed version seem on the back of the Mighty World of Marvel and Spider-man Comics Weekly but with some of the text moved around and a different font for the headline, "Thor Special!" 

Dracula Lives #25

Earl Norem painted this beautiful piece of art, originally for the cover of the Marvel/Curtis magazine Dracula Lives #4 (US). It's stunning and detailed and should by any stretch of an art lover's imagination win the Cover of the Week award. But I just absolutely love the Avengers "Behold...the Vision!" story and anything to do with it so my heart voted for that one. My head says this cover is better crafted. however heart always wins over head. Norem produced covers and interior-art spreads for men's adventure magazines in the 50's and 60's. In the 70's he created some really stunning covers for Marvel/Curtis magazine's mature line. One thing that I haven't talked about much is the American version of Dracula Lives, which featured mature Dracula material from  February 1973, twenty months before the UK got their weekly version. It was a black and white magazine with some really great stories and features in it. But one thing about the UK version that was superior to the American one was the title logo. The British version just looks so much better in every way.  

Dracula “Fear stalker”

Writer: Marv Wolfman

Artist: Mike Ploog

Inker: Ernie Chua

Originally published in Dracula Lives (US) #4

Cover date January 1974

(Published in August 1973)

Louis Belski, whose name sounds like a play on Bela Lugosi's name and drawn to look like Vincent Price, screens his big come back film "The Fangs of Dracula" for McCrudder the producer of the film, who is less than enthusiastic about the aging actors performance as Count Dracula. McCrudder cans the film. The embittered Belski begins to drink his sorrows away unaware that the real Dracula has recently arrived in Hollywood. The studio name "Mallet Studios" parodies Hammer Film Productions. This is another one of those one-off Marvel/Curtis magazine Dracula Lives stories that doesn't fit in with the main Dracula continuity.  

Completely drunk, Belski gets in the middle of a fight between McCrudder and his girlfriend Liza who also works as his assistant. When McCrudder tries to rough up Belski, the drunken actor somehow manages to throw the producer against a wall so hard that the impact kills him. With Belski's sanity pushed over the edge, he attempts to feed on Liza like the vampire he portrayed so many times, then flees back to his dressing room. Louis is then confronted by the real Dracula who mocks the man who has dared to imitate him. Thinking that Dracula is really a replacement actor, Louis pulls out a gun and attempts to kill the vampire king, but is shocked when the bullets have no effect. Dracula's mocking laughter drives Louis more insane and he hides out on the studio lot.

The page on the left is the original American version with the lower panel split into three scenes, however the final scene shows Count Dracula drinking the blood from Liza in a very sexual manner. In the British version on the right an art bodger skilfully adapted the panel to remove that scene. I'm not sure it was totally necessary. It's worth noticing that the British versions of artwork from any of the Marvel/Curtis magazine are taken from the base copies before the tones are added. The US versions always had better shading than the UK versions which was always harshly done.  

Two weeks pass with no sign of Belski and one night Liza and her new man, Sammy, sneak on to the lot. When the two try to have a romantic interlude, they find one of Liza's colleagues dead. Fleeing in fear, Liza runs into Belski who once more thinks that he is Dracula and attempts to feed upon her again. The real Dracula reappears throwing the pathetic actor aside and feeds upon Liza himself. When Belski gets to his feet and attempts to attack Dracula again. The vampire hypnotises Belski, reducing him to a blubbering coward before Dracula kills him as well. Later at the city morgue, Sammy identifies the bodies of Belski and Liza. He leaves with the coroner just as the two cadavers rise as vampires, attacking the two men.

Cryptic Correspondance

Niel McNab from Hertfordshire is sick of people complaining about the lack of American Marvel mags in British shops but if you live near the big cities like Birmingham, Liverpool, London, etc., you might find them in big newsagents. He also mentions that if you like Thongor or Conan books there are paperbacks about them in the science fiction sections of modern bookshops. Christopher Moore from Sheffield thought that in Dracula Lives the Werewolf by Night story the Island of Doom was fantastic. But there is one weak point on the comic, that is Frankenstein. Timothy Walker from Dorset was shocked to discover Dracula Lives, but asks why there isn't any colour inside of the comic. Mark Grebby from Long Eaton has been an avid fan and collector of vampire comics. He thought that issue one was good but the cover was a bit deceiving as it showed Dracula without stake and alive was wrong, since he was dead all that issue. Geoffrey King from Dorset thinks that Dracula Lives is fabulous and that the art in the Werewolf by Night strip from Dracula Lives #9 looked both realistic and vivid.

Werewolf by Night “The Lurker behind the door!”

Writer: Len Wein

Artist: Werner Roth

Inker: Paul Reinman

Originally published in Werewolf by Night #

Cover date August 1973

(Published in May 1973)

Werner Roth is the guest artist on Werewolf by Night and I have to say that I don't think he suits this kind of horror strip. The title "The Lurker Behind the Door", is reminiscent of the story titles commonly used by gothic horror writer Howard Phillips Lovecraft. The Werewolf is loose in the California foothills after escaping Calliope's Carnival when he comes across a campfire with fresh kill roasting on a spit. Feeding himself the meat awakens the hunters who flee when they see their food thief, but not before getting off a shot that grazes the Werewolf's head.  

After returning to human form, Jack considers that he has one more night of the full moon to get through before he can feel safe going back to his friends. He finds a cave, and decides to spend the night alone inside, or at least he thinks he's alone until he hears moaning coming from deep within the cave. Jack follows the moaning to find a sealed door. Breaking through the door he finds the room empty save for a skeleton and dairy of Amos Treach, which tells the story of Treach, a practicing Warlock who had used magic to summon a demon called Krogg. Treach had trapped the demon in the cave many years ago.

Frankenstein’s Monster “To birth a monster”

Writer: Doug Moench 

Artist: Val Mayerik

Inker: Jack Abel

Originally published in The Frankenstein Monster #13

Cover date November 1974

(Published in August 1974)

The first panel from last week's thirty-fourth page is enlarged to make this splash page for this week's second part. Ralph Caccone befriends the Frankenstein's Monster after he had spoke out for the Monster and the creature had defended him against a group of so-called friends. Ralph asks the Monster who is he, but as he is suffering from a gun wound and still cannot speak the Monster shows Ralph the book he stole from a book shop, "Frankenstein or the modern Prometheus" by Mary Shelley.

Ralph believes that his father may have answers that can help the Monster so he takes him to see him. Meanwhile Ralphs Mother, Janice Caccone calls on her husband only to find him asleep in his lab. Angrily she throws a mixture of chemicals into a vat where his cloning experiment rested. She leaves still not satisfied. Ralph arrives with the Monster to find his father dead, with the strange clone creation standing over him. Next week sees the "Fury of the jigsaw monster!"

Planet of the Apes #25

Here's a great example of how you adapt a cover for one story and make a new piece of art. Some may call it plagiarism, while others might call it graffiti, others still might call it drawing an apes head on a mutant's body. make of that what you will. Gone are the sexy Sirens, gone are the kinky stripper boots, gone is the Alice band and in comes the shirtless top, macho man, in comes the full gorilla look and in comes a cry-out to "make way for Apeslayer!" Herb Trimpe and John Romita Sr. penciled the artwork, with Romita possibly making alterations to the piece. While Mike Esposito inked it with Romita making altercations to the inked also. I honestly don't know who made the alterations for the UK version. I do have to say that I much prefer the Planet of the Apes version of this cover.

Planet of the Apes “Sirens of 7th Avenue”

Writer: Gerry Conway and Roy Thomas (plot)

Artist: Howard Chaykin

Inker: Frank McLaughlin

Originally published in Amazing Adventures #19

Cover date July 1973

(Published in April 1973)

The "War of the Planets of the Apes" continues in this mish mash of sci-fi classics as British Marvel comics fills a gap in its weekly output with the Apeslayer saga. Where they take their follow up to The War of the Worlds and draw ape heads on some of the antagonists. I'm half surprised that they didn't draw ape heads on these three ladies who were the Sirens of 7th Ave.

Neal Adams had left the War of the Worlds strip after it's first issue so Howard Chaykin took over the art chores, but I have no idea who decided to "cover-up" the three Sirens for the British version. Yeah the original version looked like a fetish porn comic, so may be they felt that those kind of images would be too corruptive for young British readers in the mid 1970's. By the mid 1980's and into the 90's anything was game. I'd have to be honest, the inclusion of the Sirens in the War of the Worlds plot was very unnecessary, but they are even more so in the Apeslayer saga.

Truthfully with the small exception of the Apeslayer battling a few ape headed humans this story is the most War of the World like. It features a fair few Martian Tripods that even the thickest reader wouldn't fail to realise that this story was actually about something else other than the Planet of the Apes. May be the editors should have just come clean and printed the Killraven strip instead of any Planet of the Apes strip for a while and started the weekly off with some articles about the Ape films or TV series to keep Apes fans interested. Would that have been comic suicide? Who knows? But may be this did work as it survived this period and lasted one-hundred and twenty-three issues before merging with the Mighty World of Marvel. 

Apes Forum

Pat McCann offers congratulations on the new mag Planet of the Apes, but he corrects a mistake that was made in "The Apes on TV" article seen in POTA #13, which stated Roddy McDowall was a veteran of four Ape films. Pat points out that he appeared in all five. The editor accepts the correction. The truth is he starred in four of the Planet of the Apes film, but only appeared as Cornelius in archive footage in the second film, Beneath the Planet of the Apes and remained uncredited. Pete Taylor TTB, FOOMer from Birmingham voices his disapproval with the tawdry little TV reviews and film articles that clutter up Planet of The Apes, other magazines do it much better. Kevin Conlan from Merseyside is greatly appreciative of "Tales of The Watcher." Mark Walsh from Lancashire enjoyed the Planet of The Apes comic and TV series. He would like to see Marvel print a picture of Urko with the mask. as he is a great fan of his. Guy Lawley from Buckinghamshire loves the POTA  but has a "beef" with the weekly, in POTA #12 at the beginning of the story "Terror on the Planet of The Apes" it states that man was once mute, but has now been allowed to regain the power of speech. This implies that the story takes place after "Planet of The Apes" right? But are the creators of that strip forgetting that at the end of the movie sequel, "Beneath the Planet of The Apes" the Earth is blown up. This leads Guy to the inescapable conclusion that both the TV series and "Terror" take place after the fifth movie, and well before the. original "Planet of the Apes" film, which you will recall, takes place years after the fifth film, Battle for the Planet of the Apes when man has lost the power of speech due to the centuries of ape dominance reducing him to the level of a beast. He sees it as the only way to fit the TV series and "Terror.." into the frame of the "Apes" myths.

“Dr. Jekyll and Mr. Hyde!”

Writer: Ron Goulart

Artist: Win Mortimer

Inker: Win Mortimer

Originally published in Supernatural Thrillers #4

Cover date June 1973

(Published in March 1973)

This story was adapted from the original 1886 novella The Strange Case of Dr. Jekyll and Mr. Hyde by Robert Louis Stevenson and it remains pretty faithful to it. You might say that this kind of horror story would be suited to Dracula Lives, rather than the sci-fi concept comic Planet of the Apes, which is a very good point. But the Victorian horror uses many tropes like mankind playing with evolution through mad science that regularly appear in stories found in the Planet of the Apes weekly.

You all know the story, Doctor Jekyll, a kind, well-respected scientist who struggles with his darker side of his personality. So he begins to work on an idea of separating the two sides, which culminated in him devising a potion that would do just that. Robert Louis Stevenson's narrative about the complexities of science and the duplicity of human nature remain in tact throughout this adaptation, thankfully British Marvel choose to print it in full and not take the soft option and split it in half, like the Doctor's personality and shoehorn another story in the mag to spread their bets. It's actually a great read, Win Mortimer's artwork suits the story perfectly and Ron Goulart's writing gave the right amount of detail without over preaching the plot. I imagine that many young readers might have picked up the Stevenson novel the next time they were in their school library, just to flick through it to compare it to the strip, which isn't a bad thing. The highlight of this week's comic by far.

 In a special feature in this week's Planet of the Apes comic the editor took up a page to showcase two young girls who independently started up fan clubs for two of the Planet of the Apes TV series stars. Janice Cronin from Milton Keynes started up a James Naughton fan club. Naughton who played marooned astronaut Pete Burke. And Jancie Clements started a Ron Harper fan club. Harper played stranded astronaut Alan Virdon. Both Janice's received letters of encouragement from the two actors. I wonder how long did the fan clubs go on for and do the girls remember anything of that time? 

This Planet of the Apes photo feature of Galen as played by Roddy McDowell in the TV series is placed in the middle of the Dr. Jekyll and Mr. Hyde! strip. I only mention that because surely it would have made more sense to place it on the inside front page so it was printed on a glossy page. 

The photo feature could even have been saved till the inside back page so that it could be printed on the glossy paper and any Roddy McDowell fans could cut it out with the minimum of damage to the comic. Instead the inside pack page featured one advertisement for you to become a "real He-man!" and two in-house adverts for Marvel weeklies. The first is the standard Dracula Lives advert that would always appear in Planet of the Apes. The second ad was for the Savage Sword of Conan weekly. It boasted "yet another barbaric tale of the savage sword of Conan! And it's on sale now Marvelites!" However it featured the cover of last week's comic. 

The Super-heroes #6

Keith Pollard drew this original UK cover mixing up the best demon/monster/cosmic hero action you could ever imagine, with possibly Dan Adkins finishing it off with his efficient inks. 

Silver Surfer “Duel in the Depths”

Writer: Stan Lee

Artist: John Buscema

Inker: Joe Sinnott

Originally published in Silver Surfer #3

Cover date December 1968

(Published in 1968)

In the original US series part two of "The Power and the Prize!" came with a wonderful sinister splash on page twenty-one, with a new sub-title "Duel in the depths". All that British Marvel needed to do was remove the "Part Two" headline and add the credits from the first page, making a seamless start. Mephisto sits on his underworld throne with the captive Shalla-Bal paraded in front of him. He continues to formulate his plans when the Surfer suddenly appears before him. The cosmic super-hero had no problem tracking Mephisto to his realm. 

Mephisto warns him that he holds Shalla-Bal hostage as he tempts the Surfer with wealth, lust, and power, to win him over. However the offer of material things fail. For many the obvious similarities between the Silver Surfer and Jesus Christ are played out throughout the Surfer's series, none more so than in this particular story, which can easily be likened to the temptation of Christ by Satan during Jesus's time in the wilderness. As seen in Matthew 4:1-11. Stan Lee and John Buscema twist the idea instead of Satan going to tempt Jesus on Earth, the Surfer enters the Devil's domain, and faces off against Mephisto's trickery and lies. The courage, purity and resolve of the Surfer aren't affected by the Lord of Lies words.

Angered by this defiance, Mephisto attacks the Surfer with his demons. While each subsequent creature is stronger and deadlier than the last, none can stand up to the Surfers cosmic might. Mephisto envelopes him in amoebic energy, draining his cosmic strength, restricting any chance of escape but still his soul isn't Mephisto’s to have. Desperate Mephisto implants the Surfer into the labyrinth of his own brain, so that he can slowly twist him to his will. However, the Surfer’s purity is so vibrant and strong it causes Mephisto too much pain, forcing him to release the mind lock. With one final attempt to conquer the Surfer's resolve Mephisto threatens to send Shalla-Bal back to Zenn-La unless the Surfer swears his allegiance to him. Tormented to see their long-anticipated reunion cut short, both Shalla-Bal and the Silver Surfer realise that to end Mephisto's plan she must go back to her homeworld. The Surfer gloats the demon into freeing his love but in doing so shatters his own heart. Satisfied with their anguish, Mephisto sends them both away and vows to one day defeat the Surfer. The Cosmic and the Satanic meet and boy what a story it was! Thanks to Messrs Lee and Buscema.

The X-Men “Attack of the one ton mutant!”

Writer: Stan Lee

Artist: Jack Kirby

Inker: Paul Reinman

Originally published in The X-Men #3

Cover date January 1963

(Published in  1963)

The original cover artwork from X-Men issue three is used as this week's second half opening splash page. The Blob returns to the carnival with fresh self-importance after discovering that his uncanny abilities are caused by his mutant genes and starts to organise the carnival troupe into his personal army which he leads against the X-Men and begins to attack the school. 

The X-Men are caught on the hop when the Blob and his organised carnival troupe attack the mansion. So much so that the X-Men are all captured through various means. This seems to be what happens with these early X-Men tales, they are becoming very formulaic in how the stories are written and drawn. However that plot tactic does fill some pages and allows some interesting set pieces. The time given to that action enables them to hold off the Blobs carnival troupe and allow time for Professor Xavier to develop a "thought intensifier." The Professor gives orders to Marvel Girl so that she can escape and free her fellow teammates so that they can defeat the invaders. It's Professor X who hits the imaginary reset button when he uses his "thought intensifier" to erase Blob's short term memories and those of his carnival friends. 

The inside back page offers readers a chance to "pick a pair of Marvel winners" from these two triumphs from mighty Marvel, with an in-house advert for this week's Mighty World of Marvel and Spider-man Comics Weekly. There's also a repeat of last week's "Behold...the Vision!" mini in-house advert, for this week's Avengers weekly.

Savage Sword of Conan #6

This Barry Windsor-Smith artwork originally appeared on the cover of Conan the Barbarian issue 6 with very little changes between the two. In fact it was only three colour changes, Hajii's dress goes from green to red, Jenna's skirt goes from red to a light orange and the giant bat's fur was brown in the original while in the UK version it looks a darker purple colour. One last thing about this cover is the bottom tag line about "Kull..and the death dance of Thulsa Doom!" Neither Kull or Thulsa Doom appear in this week's comic, instead Ka-Zar takes Kull's place. So was that a last minute change or a communication error between the editor and cover editor?     

Conan the Barbarian “Devil-wings over Shadizar”

Writer: Roy Thomas

Artist: Barry Windsor-Smith

Inker: Sal Buscema

Originally published in Conan the Barbarian #6

Cover date June 1971

(Published in 1970)

These early Conan tales are wonderfully brilliant, they really shape the character into the comic strip version that I adore. Thomas and Windsor-Smith are, as ever, on top form. Conan seeks his fortune in the Zamoran capital city of Shadizar, where he encounters Fafnir and Blackrat, arguing over stolen booty. Conan decides to relieve them of the treasure himself by quickly takeing care of the two incompetent thieves. 

He later enters a bar, striking up a conversation with Jenna, an attractive local wench. Then a group of revellers strike up a fight, which lead to Conan getting punched in the face, so Conan decides to leave with Jenna, who surprised at the amount of gold in his purse, takes Conan to meet her "uncle", Maldiz, a blacksmith, so he can melt down the suspicious-looking gold into a new shape. One unusual thing about the bar scene is the use of the word "Kushite!" When I first read it I wondered was it a covered up swear word, but later I discovered that it was the name of an ancient kingdom in Nubia, centred along the Nile Valley in what is now northern Sudan and southern Egypt. Maybe Robert E Howard knew of this and used it in his Conan stories that Thomas picked up on. Well everyday is a school day. 

With word spreading about the earlier robbery, Maldiz forged the gold into one untraceable heart shaped gold piece. Conan takes a moment to enjoy Jenna's company under a palm tree. This is quite tender and romantic for a kids comic but welcome nevertheless. It's also short lived as a trio of red-robed men knock the barbarian unconscious. Curiously, they leave the gold but take the girl. Conan seeks help from Maldiz, who recognizes Conan's description of the men and declares Jenna lost, as he tells Conan that they are followers of the Night-God, who sacrifice a young girl once a month to their evil lord. With direction given Conan heads towards their temple. There he steals a robe, and enters the evil cult's lair in disguise.

He arrives just as the Night-God's priestess, Hajii, completes her prayer. Behind her on an alter lays Jenna. The priestess extinguishers a brazier's flame to plunge the open-roofed temple into darkness. A loud ultrasonic noise fills the air of the temple. None are effected save for Conan whose actions reveal himself to and intruder. Frantic seconds later the brazier is uncovered to reveal the secret of the Night-God. It is a giant bat-like creature who swoops in, grabbing Jenna in its claws. Instinctively Conan leaps onto the monster's back with Hajii in one hand and the blazer on the other. All three humans are flown into the sky. 

Conan thrusts the burning brazier repeatedly into the beast's eyes and body. Hajii desperately tries to stop the barbarian from slaying her god, she pushes the "blasphemer" Conan off the creature, but his ferocious actions cause the monster to plunge towards the ground. The beast and its unwanted passengers crash into the desert sands, leaving Conan concussed, allowing time for Hajii to pull a dagger to strike the Cimmerian in vengeance. Luckily for Conan, Jenna knocks the priestess out with the brazier before she can deliver the deadly blow. In a final twist, taking advantage of Conan's disoriented state Jenna lulls him to sleep, uttering the words "Dream golden dreams". When Conan awakens, he discovers that both Jenna and the gold are long gone. With irony Conan bids farewell to the ancient city, naming it Shadizer the Wicked. Adding that he'll pass through its gates the next time he has gold to spare. It's safe to say neither Conan or the readers of this comic will have seen the last of Jenna. This story deserves a closer looking at so if you've got the time or the passion for all things Conan check out 50 Year Old Comics for Alan Stewart's thoughts about this tale.

Ka-Zar “A day of tigers!”

Writer: Roy Thomas

Artist: Gil Kane

Inker: Frank Giacoia

Originally published in Astonishing Tales #11

Cover date April 1972

(Published in January 1972)

The Savage Sword of Conan comic is better suited to these jungle adventures than when it had run in Planet of the Apes comic. This story follows on from the Ka-Zar story from POTA #11, as it sees Bobbi Morse and Paul Allen being lead out of the hidden jungle by Ka-Zar. Giving Roy Thomas a perfect opportunity to retell the jungle lords origin, which Thomas does with amendments that smooth out past versions. 

It tells how Lord Plunder discovered the Savage Land and Vibranium. How he returned to civilisation with his discovery, but other governments and organisations around the world wanted the "anti-metal". When one group, who use very aggressive methods of persuasion to get what they want, threaten his father Kevin Plunder comesto his aid with the help of Willis their butler. Notice it's not Feepers who was Lord Plunders manservant,  last seen in MWOM #90. Ka-Zar's brother, who would become the Plunderer, hides away from the danger. Lord Plunder takes Kevin to the Savage Land so that they cannot be found by those who want Vibranium for themselves, but leaves his youngest son in England with Willis for safe keeping. The young Kevin feels right at home in the jungle, something his father isn't pleased with. The father and son are attacked by a tribe of Man-Apes, Maa-Gor their leader kills Lord Plunder and hunts down the young lad. Luckily an orphaned sabre-toothed tiger rescues the lad, leading to a friendship that see Ka-Zar and Zabu as a partnership that will become legend.

It's wonderful to be here, it's certainly a thrill. You're such a lovely audience, I'd like to take you home with me, I'd love to take you home, but as another week ends I've got another blog to prepare. So till next week...

See you in seven.

Make Mine Marvel.