His name is Beesting!

 Week Ending 16th May 1975

Who or what is the Beesting? Well as a child I used to draw comics and superheroes badly, but one of my favourite creation's was the Beesting. An insect themed super-hero who used his bio-energy to "sting" his enemies and fly through the air. I did many designs, I even had decorative "fairy wings" on his back, but they were soon dropped. The base look was something of a cross between Yellowjacket and Spider-man, in a yellow and black design. I was a big Spider-man, Avengers and Yellowjacket fan at the time. Still am. At one time he had Alan Davis' Captain Britain/Killraven boots, the black Spider-man mask eyes and a sting logo on his chest. The character changed over the years but he was always at the back of my mind. When I needed an alter-ego to face-up my passion for comics the Beesting was already there. That's why his name is Beesting! And this is this week's look at the wonderful world of British Marvel mags from the Week Ending the 16th of May 1975.  

The Mighty World of Marvel #136

This cover was originally from the Incredible Hulk issue 152, drawn by Herb Trimpe, with inks by John Severin. The only significant change in the British version is the Hulk's purple pants, in the US version he worn blue jeans. There is a mistake with this cover, the top headline reads "Plus: The final defeat of the Fantastic Four!" but the FF only appear as guest stars in the Hulk strip and in flashback in the Daredevil strip. In neither of them are the foursome defeated. What Fantastic Four story was this headline intended for? Not a clue, it's anyones guess. 

The Incredible Hulk “...Defender of the doomed!”

Writer: Gary Friedrich and Steve Englehart

Artist: Dick Ayers and Herb Trimpe (Hulk's face)

Inker: Frank Giacoia

Originally published in The Incredible Hulk #152

Cover date June 1972

(Published in March 1972)

This opening page for this week's second part uses page eleven of the original US comic which happened to be perfectly timed for chapter two of the original story, Although I did at first suspect that it was drawn especially for the UK comic because the artwork isn't great. But it was from the original comic, I'm not a big fan of Dick Ayers' pencils. The "Chapter Two" has been removed from next to the title and a new credit box has been added. Matt Murdock is asked to represent Bruce Banner at his trial. Murdock accepts the job and accompanies Bruce on the flight to New York as his counsellor. We get to see some future Daredevil spoilers like, he's in a relationship with the Black Widow and they live in San Francisco. 

Banner wants to be found guilty believing that the electric chair would be a mercy compared to his life as the Hulk. Murdock, concerned about his client's state of mind, asks that General Ross reduce the amount of sedatives used on Banner. Ross refuses, so Murdock threatens to call the Attorney General and have the case overturned for violating his clients rights. Ross has to concede. Banner starts to panic, realising that he's placing the plane in danger. Murdock's attempts to calm Banner down fails and he transforms into the Hulk. Bravely the blind lawyer manages to calm the beast down until the plane safely lands at New York in front of the awaiting press with J. Jonah Jameson, Peter Parker and the Fantastic Four in attendance. Ross orders Murdock out of the plane so that the military handle the Hulk who goes into a frenzy, believing that he's been lied to. Smashing his way out the Hulk faces the army and the Fantastic Four ready to engage him on the day of "The terror...and the trial!"

Daredevil “Don't look now, but it's..Dr. Doom!”

Writer: Stan Lee

Artist: Gene Colan

Inker: John Tartaglione

Originally published in Daredevil #37

Cover date February 1968

(Published in December 1967)

Continuing from last week's Daredevil is attacked by Doctor Doom. The Latverian monarch plans to use Daredevil as part of his revenge against the Fantastic Four. Daredevil had previously aided the Fantastic Four against Doom when they had temporarily lost their powers, as concluded in MWOM #85 so I imagine that using the hero against them would make his revenge taste sweeter. Easily beating him Doom carries the fallen hero to an awaiting limo which takes them both to the Latverian Embassy. Revived Daredevil tries to free himself, but ultimately fails. At the embassy Daredevil manages to escape from his cell but is assaulted by the embassy's defences.

Meanwhile, Doctor Doom gloats over how he manage to cheat death during his last encounter with the Fantastic Four, as seen in MWOM #128, when he used the Silver Surfer's stolen powers, but Reed Richards had tricked Doom into fleeing his new device, "the Cosmic Wing" by piercing the barrier around Earth that Galactus had put in place to hold the Surfer on the planet. Weakened, Daredevil tries to attack Doctor Doom again. His effort is valiant but the man without fear gets entrapped within a glass cylinder. Some artists are great drawing certain styles, certain strips and certain characters. I love Colan but his artwork on Doctor Doom, the Fantastic Four and this story are pretty poor. I could easily place the blame on John Tartaglione's inks, but I really think that Colan is having a bad day at the art board.

The Mighty Marvel Mailbag

Nicholas Calvert from Humberside wants to see the stars of each MWOM strip take a turn to feature on the covers. Christopher Phillips, Ian Parker, Keith Scotter, Leslie Salter, David Race, Christopher Thomas and Stephen Saunders from Staffordshire have been fans of Marvel for six years and if Marvel started a new comic featuring the X-Men they would certainly buy it. Pop Robson from Sunderland asks why does the Thing have to be orange and the Hulk have to be Green? The editor's answer is those things are just that way. Well that's simple then. Jane Fisher  asks as there are lots of girls who read Marvel mags, will they put something in them for the girls? The reply that follows is they aren't designed for boys alone, any more than they are designed for any particular race or creed. Phillip Carter from Hertfordshire says the lady in the newsagents said Marvel will be quitting printing MWOM soon. Is this ridiculous statement true? Of course not. John Porter from London offers himself as The Marvel Information Bureau for any readers who have a Marvel related question they need answering.

Colin Robinson from County Antrim gives his review for all five British Marvel comics with some comic themed puns when he says that Dracula Lives covers are ghastly and that they're not monkeying around with Planet of the Apes. Ian Magill from Carlisle gives his thoughts on the British Marvel mags from the Week Ending 4th January 1975. Paul Mount QNS from Cardiff writes that a lot of water has flowed under the bridge since that day in late 1972 when he bought the first copy of MWOM, but as fashions change, and time passes Spiderman Comics Weekly was released and he continued to enjoy both mags, until, in September 1973, the Avengers weekly appeared, with what he calls those "infernal shiny covers!" Soon enough MWOM and SMCW followed. Paul makes an appeal to the silent sufferers who hate shiny covers to write and ask for their "normal-type mags" back. Nicholas Wilmott from Somerset wants more annuals to reach the south west of England. Ray Pinder from Hertfordshire is writing in to discover if there are any copies of the Marvel Treasury Edition #2 "The Fabulous Fantastic Four" coming to Britain as he wants one.

Spider-man Comics Weekly #117

Sal Buscema created this cover for Marvel Tales volume 2, issue 38, cover dated October 1972, published July 1972. That US comic re-printed Spider-man adventures in order, sometimes years later going back and re-printing them for a second or third time. Issue 38 actually re-printed the story from the Amazing Spider-man issue 53, cover dated October 1967, published July 1967. So other than featuring Spider-man and Doctor Octopus it had nothing to do with the adventure printed in this week's mag. 

Spider-man “The tentacles of terror!”

Writer: Stan Lee

Artist: Gil Kane

Inker: John Romita Sr.

Originally published in the Amazing Spider-man #90

Cover date November 1970

(Published in August 1970)

Following last week's events Spider-man finds himself thrown by Doctor Octopus from the rooftops to the streets below. Quickly Spider-man grabs his foe's mechanical tentacles and uses them to swing through a nearby window. The tentacles still reach after him, but he evades them by hiding in a ventilator shaft. As the arms retreat, Spider-man tags one with a Spider-Tracer to track his foe later. Slipping away into a nearby alley the web-slinger changes back into Peter Parker. The battle has taken more out of him than he first realised as he stumbles out onto the street to be confronted by Captain George Stacy, who has been looking for him. Peter passes out before he can explain himself.

Later, Peter wakes up in the Stacy home with Gwen watching over him. George remarks how amazing Peter's recouperative powers are, leaving Peter to worry that Gwen's father might have guessed Peter's secret identity. Peter is Left alone to rest, giving him time to mull over the possibility that his secret is out, although he has done nothing to expose it. Much later Peter decides to track down Doctor Octopus. Peter heads back to his apartment, to work on a new web fluid formula that will hopefully give him the edge against Doctor Octopus. After rigging up the new batch to his cartridge belt, Peter checks on his sleeping roommate, Harry Osborn, before taking to the roofs and changing into Spider-man once more to scour the city searching in search of Doctor Octopus.

The Web and the Hammer

A. Jagues from Blackpool asks three questions, 1) Will the Silver Surfer appear in future editions of Spiderman? 2) Who is Ghost Rider? And 3) When will we see Spidey vs. Doctor Doom?. The answers are the Surfer will appear in his own mag. The Ghost Rider is one of Marvel's newer characters and You've already seen  Spidey vs. Doctor Doom. Micheal Nicholdon RFO, KOF, ONS.

from Cumbria suggests that every 4 issues they should print a story featuring Spidey with another hero, like the Thing. He's disappointed that he missed Stan Lee's appearance on "Pebble Mill at One" as he was at school when it was on. Kenneth Bailey RFO, KOF, from Dublin has been collecting British Marvel comics after his friends told him about them. The Web and the Hammer also heard from Simon Davies from Oxford, S Tanno from Ealing Common, Micheal Conn from Essex, Gary Longhurst from Essex, Brian Khan from London, Roger Booth from Lancashire, Craig Crowhurst from Hertfordshire, John Croot from Swansea and K Jackson from Hertfordshire. 

Iron Man “The other Iron Man!”

Writer: Stan Lee 

Artist: Gene Colan

Inker: Frank Giacoia

Originally published in Tales of Suspense #84

Cover date December 1966

(Published in September 1966)

 

Tony Stark appears before Senator Byrd's Congressional Committee meeting in theUS Senate to reveal the secrets of Iron Man for national security. The pressure of the meeting causes Tony Stark to suffer a heart attack before can say anything on record. A doctor is called to examine him, revealing to the whole world that Tony Stark has had to wear a chest plate to keep his heart beating due to the injury he received in Viet Nam, as seen in SMCW #50.

Stark is admitted to a hospital with Pepper Potts and Happy Hogan at his side. Stark is forced to reveal that the chest plate prevents a piece of shrapnel from piercing his heart. It isn't long before the press starts wondering why Tony Stark and Iron Man are never seen in the same place together. In order to protect Stark's secret identity, Happy dons Iron Man's armour, so that the Avenger can be seen in public while Stark is in the hospital. When his mission is complete, Happy returns to Stark's hospital room to return the armour. Tony thanks him when suddenly Happy, while still wearing the armoured suit is teleported away by the Mandarin. Injured heart or not Stark vows to help save his friend from "the jaws of death!" next week.

The Mighty Thor “Now ends the Universe!”

Writer: Stan Lee 

Artist: Jack Kirby

Inker: Vince Colletta

Originally published in The Mighty Thor #155

Cover date August 1968

(Published in June1968)

Thor soars above New York, worried that he's not heard from Odin since his warning of impending Ragnarok. Deciding that he has waited for word long enough, the Thunder God returns to the hospital, where Sif has been recovering from injuries sustained while battling Loki, before he plans to sets off to Asgard. Finding Sif in good health, she accompanies him back to Asgard. Meanwhile at the fortress of Karnilla, Balder continues to refuse the Norn Queen's advances. To punish him she reanimates frozen forms of previously spurned lovers to attack the warrior. 

In deep space the alien Regellians detect strange pulsations that could mean the end of the universe, the Recorder reports back that all is normal with Ego the living planet in the Black Galaxy and that the danger must be coming from someplace else. At the same time in Asgard, the Warriors Three engage in a bar brawl until they are stopped by Loki, who informs them that he has taken over rule of Asgard while Odin is in the Odinsleep. He orders them to face the threat of Mangog. Although the trio dislike their temporary ruler, they accepts his order and head into battle against the menace that might mean the destruction of Asgard and the universe. Convinced that he has sent the Warriors Three to their doom, Loki returns to his throne where he is surprised to find that Thor and Sif have returned. Thor is furious to find Loki in control, however he is also powerless to oppose his rule as he was first to sit upon Odin's throne when their father had entered the Odinsleep.  Thor informs Loki that his rule will be useless if Mangog succeeds in bringing about Ragnarok, to which Thor asks the Trickster God to help fight the threat of Mangog. Loki refuses to give aid, telling Thor that battling the threat is his own task to worry about.

Avengers Weekly #86

John Buscema (pencils,) and George Klein (inks,) created this cover for the Avengers issue 59 (US edition.).If you've read this (and next week's conclusion,) you'd known that it is symbolic in nature only, but if you see this cover cold you'll find it pretty shocking. One of the strongest Avengers defeated by a mystery man whose name is Yellow Jacket! That's got to grab you. There's very little difference between the UK and US version other than the Wasp's costume colour scheme and the colour of the background from a bright red in the US edition, to a darker, more in keeping with the drama of the scene, black background. Cover of the Week? Oh yeah, you got me at Buscema! 

Master of Kung Fu “Museum madness!”

Writer: Doug Moench

Artist: Paul Gulacy

Inker: Vince Colletta

Originally published in Giant-size Master of Kung Fu #3

Cover date March 1975

(Published in December 1974)

Page sixteen from the original US comic is used as this week's second part, the sub-title of "London" and a text circle of "Chapter II" is replaced with the new UK title of "Museum madness!" and a re-cap text box. A new credit box is also added.  Shang-Chi and Reston fly across the Atlantic with the China man sitting in silence as Reston tells him all about his Great-Uncle and how he would consider the case to be "an elementary matter!" Last week and this week show small moments that Reston has a number of famous relatives. His father was supposed to be James Bond, shown with his love for using terrible puns, while this week his great-uncle, Sherlock Holmes, gets a mention of sorts. Obviously due to licensing rights neither relatives are mentioned outright. 

Shang-Chi informs Reston that he is still wanted by the authorities in England for murdering Doctor Petrie. The British spy gives him a falsified passport. The pair later find Smith in the Orientology Hall at the British Museum of Natural History where he and Black Jack Tarr search through the debris from a break-in. Smith says that the Phansigars have recently ransacked several such places, searching for something that they have not yet found as nothing at both locations had been taken. With no clues to be found they head out of the museum. Shang-Chi asks Smith Why they have focused his efforts on England? Smith says that a policemen found a note reading, "I am alive" signed Petrie, the English man Shang-Chi was ordered to kill by Fu Manchu as seen in Avengers weekly #28. They pass an exhibit of cavemen who suddenly spring to life and attack. Reston looks for some deeper meaning behind this sort of attacker, but Smith assures him that Fu Manchu is simply showing off. Paul Gulacy is showing off too, with his beautiful cinematic art that makes it a joy to read.

Avengers Unite!

John Locke from Clwyd has made up initials for fans of different heroes, there's too many to list but click on the letter page, zoom in and fill your boots. M Melsam, RFO, KOF, QNS, from Wiltshire thinks that Gene Colan and Jack Able are Iron Man's saviours since they took over the art chores on his own strip. M wants the Avengers to feature in poll position of their own comic. Ran Sanira from Aberdeen thinks the Shang-Chi story from Avengers weekly #77 was well written by Doug Moanch, with Mike Vosburg and Dan Adkins. Ran thinks that having Shang-Chi being fired out of a torpedo-hatch was a bit far fetched and in the Avengers story a World War Two soldier wouldn't know who Liz Taylor was when he says "Well, Liz Taylor it ain't." 

The Avengers “The name is...Yellowjacket!”

Writer: Roy Thomas

Artist: John Buscema

Inker: George Klein

Originally published in The Avengers #59

Cover date December 1968

(Published in October 1968)

A new costumed hero named Yellowjacket has appeared on the streets of New York City, his exploits have gained him media attention after busting up a bunch of fur coat stealing crooks. Yellowjacket is brash and cocky and you easily feel that he'll spell trouble for the Avengers. Meanwhile the Black Pantherwith Hawkeye are training at the Avengers mansion, while waiting for Wasp and Goliath to arrive for their morning meeting. The Wasp shows up, but with still no sign of Goliath, the group dismisses his absence and decide to fill him in when he arrives. 

The four Avengers present are preoccupied with their own thoughts, the Wasp dwells on Goliath's  neglect of their relationship and his devotion to science, Black Panther dwells on his role as leader  of  Wakanda on the world stage. The Vision's thoughts are of humanity's fearful feelings towards him and Hawkeye's thoughts are about the Black Widow, who has resumed her costume identity as an agent of S.H.I.E.L.D. as she prepares for a new secret mission. Like Paul Gulacy, John Buscema knows how to design a very pleasing page. This double page spread is wonderful.  

The arrival of Yellowjacket interrupts the groups meeting. He has broken into the mansion in an attempt to win Avengers membership. The Black Panther tells the intruder that the Avengers only accept members on recommendation, with Hawkeye questioning Yellowjacket on his foreknowledge that Goliath won't show up for the meeting. He then tells them that he killed Goliath, which revelation causes the Wasp to faint. Yellow Jacket gives them more details on how he defeated the giant Avenger. 

Doctor Strange “Beware the Undying Ones!”

Writer: Roy Thomas

Artist: Gene Colan

Inker: Tom Palmer

Originally published in Doctor Strange #183

Cover date November 1969

(Published in July 1969)

The opening splash page for this second half uses Gene Colan's cover artwork from Doctor Strange #183. The comic book title and the story title are shown as they would have on the cover. A new re-cap box and credits have been added. The Doctor visits an old friend but his hired help tells him to let Kenneth Ward rest. Strange investigates later when the "hired help" had left Ward alone. He learns that while Kenneth was exploring the Himalayan mountain range, he found an idol of the Undying Ones and since then he's been haunted and ill ever since. 

Their meeting is interrupted as the "hired help" are revealed as demons under the employ of the Undying Ones. Strange battles them, eventually kills them by exposing them to sunlight. He's efforts are a little too late, as Kenneth dies during the battle. However, Stephen vows to stop the Undying Ones' evil from polluting the earthly realm. This strip would mark the last issue of the first solo Doctor Strange US comic run. At the time it was abruptly cancelled because it could not sustain enough readership to continue publication. But don't worry the good Doctor's adventures would be tied up in various US mags and British readers would still get to read them as they would continue in the Avengers weekly for some time, so come back next week for more magical adventures.

Dracula Lives #29

The artist who drew this cover is unknown, although the Grand Comics Database lists the inker as Mike Esposito. You might think you've seen this cover before, it does bear many similarities with the original cover for Tomb of Dracula issue twelve,  the second half of which is printed in this very issue. In the original cover Dracula is seen flying off with Edith Harker, with almost a red trail behind him, reflecting the inner lining of his cape as the artist wanted to show movement and speed. Quincy Harker, Frank Drake and Rachel Van Helsing watch on in shock from the ground below. In the cover created for the British mag, the scene is very similar except that Edith Harker is no longer being lifted off the ground by Dracula, instead Taj Nital is on the vampire's back trying to force him to the ground. Rachel fires a crossbow bolt at Dracula and it appears that there is a woman with the grounded slayers, possibly Edith Harker. The Tomb of Dracula cover (issue 12, cover dated September 1973, published June 1973,) was drawn by Frank Brunner with Tom Palmer inking the finished piece. It was used as the cover of Dracula Lives #24 (UK edition,) with the grounded slayers removed from the art.

Dracula “The house that screams!”

Writer: Marv Wolfman

Artist: Gene Colan

Inker: Tom Palmer

Originally published in Tomb of Dracula #12

Cover date September 1973

(Published in June 1973)

The cover artwork from last week's Dracula Lives, by Ed Hannigan (pencils,) and Mike Esposito (inks,), is repurposed as the opening splash page for the week's second half Dracula story, with a new title, catch-up text boxes and a credit box added. Continuing from last week Frank and Taj split up to find Dracula and his hostage Edith, when they find that Edith's embroiled handkerchief. Searching further, Frank is startled by the arrival of Blade, who knocks away Frank's gun before Frank can accidentally shoot him. The two argue with each other about how to best deal with Dracula, as an unseen hand releases two poisonous tarantulas which slowly crawl toward Frank's leg.

Taj meanwhile, finds Edith, however before he can go to the girls aid he is knocked out by Dracula. In the hall, Blade notices the spiders and saves Frank's life, rolling them up in a carpet and tossing them away. Hearing Edith's screams, Blade rushes in to find Dracula standing over her. The vampire and slayer fight, which spills out onto the hallway as Dracula knocks Blade over the railing, however the slayer grabs hold of a chandelier saving himself from the fatal fall. Frank lunges at Dracula with a fire axe, but his ancestor easily overpowers him. Before Dracula can dispose of him, Blade attacks once more, slashing the vampire's face with his wooden daggers. 

The vampire lord flees, smashing through a window while turning into his bat form. Edith enters and begs her father to leave. No amount of reassurance from her father can change her demand as she reveals that Dracula has turned her into a vampire. She demands that they must kill her before the urge to feed overtakes her will power. She leaps from the stairs to the ground below, with the force of her uncontrolled landing knocking her out. First his wife Sonya and now his daughter with a heavy heart Quincy Harker pulls the handle from his cane to reveal a wooden stake, with which he ends his daughter's curse giving her peace. Frank Drake rushes to the window and vows to the fleeing Dracula that they will destroy him. Next week the "Death of a vampire!"

Cryptic Correspondance

The first letter to this week's Cryptic Correspondence is from an unsigned reader from Kent, who thinks both POTA and Dracula Lives magazines are great, they also read three of the Ape books, "Escape", "Conquest" and "Battle". Janine Gallico from Dublin has been reading Marvel comics since the characters used to feature in Fantastic and Terrific back in the late 60's. They where confused when they read a letter from Ian Small in Cryptic Correspondence in Dracula Lives, were he talked about the origin of Count Dracula, but editor's answer really puzzled them, where does Gullivar Jones come in? B Duncan thinks that the two new mags that have hit the British comic scene are both superb. Take Dracula Lives for instance, the Dracula stories are nothing short of brilliant with good art and good, understandable plots that are intelligently conceived. The best character in the book is Jack Russell, alias the Werewolf. Conway and Ploog must be one of the best comic strip duo's since Lee and Kirby. The Frankenstein Monster stories are on a par with the Werewolf stories. His only complaint is they should stop printing those dated Ditko/Lee mystery stories. Graham Poole from Birmingham tells a sad story about how he stopped collecting Marvel comics and at that point his mum threw them out. When he discovered Dracula Lives he started collecting them once more, this time his mum won't get the chance to do it again.

Werewolf by Night “Night of fear..night of madness!”

Writer: Gerry Conway

Artist: Tom Sutton

Inker: Tom Sutton

Originally published in Werewolf by Night #10

Cover date October 1973

(Published in July 1973)

The cover artwork from Werewolf by Night #10, by Tom Sutton is repurposed as the opening splash page for the week's second half Werewolf by Night story, with Lissa's speech balloon kept from the cover but a new title, catch-up text boxes and a credit box added. Jack, having arrived at Buck's place, asks his friend if he knows anyone who specialises in sound technology. Buck calls a friend named Jim Kerry, who agrees to provide Jack with something to help him out. 

Meanwhile, Sarnak uses his control whistle to assemble a crowd of mutated freaks, which he calls the Legion of Fear, who rampages through the streets of Los Angeles, attacking innocent civilians and overturning cars. The police arrive, but they are woefully outnumbered. Jim Kerry meets Jack and hands him a device that Jack describes as a sonic screen, which will block out sound in the upper frequencies. That evening Jack goes in search of his sister, knowing full well that as the day falls and the full moon rises Jack will transform into the Werewolf once more. The Sonic screen, now seen attached to his arm, blocks out all of the effects of Sarnak’s control whistle. No longer forced to obey his commands, the Legion of Fear turns on their master, Sarnak, attacking him. The Werewolf leave with the now freed Lissa. The Legion rip Sarnak's mask from his face, revealing a normal face beneath it and a shattered mind that had imagined that his own injured and supposedly scarred for life features had to be hidden behind a green emerald mask. More horror of the body and the mind next week as here "Comes the Hangman!" 

Brother Voodoo “Birth of a legend”

 

Writer: Len Wein

Artist: Gene Colan

Inker: Dan Adkins

Originally published in Strange Tales #169

Cover date September 1973

(Published in June 1973)

Again the cover from the original US comic is repurposed as the second half's opening splash page, this time the artwork is by John Romita Sr. Re-cap boxes, a credit box and a new story title is added. Jericho Drum visits his dying brother Daniel, who tells his brother about the arrival in Port-au-Prince of an evil man claiming to be Damballah the Serpent God, with his intension being to educate the locals in the ways of black magic. Daniel had been the previous Brother Voodoo who sought to stop Damballah, but Damballah cursed him with a wasting disease. 

Daniel tells Jericho to seek out an old Houngan named Papa Jambo, as he was the only one with the power to end Damballah's influence. As midnight strikes, Daniel dies. Knowing that Damballah was responsible Jericho races outside of the house and finds Damballah waiting for him. The voodoo doctor beats him to within an inch of his life, only sparing him because he sees him as not even worthy of killing. Auntie Matilda carries him inside. Fulfilling his brother's wishes, Jericho wrapped his brother's body in a shroud and takes him to find Papa Jambo. A giant boa constrictor attacks Jericho but he manages to kill it. Weak and battered his body continues a while longer before he collapses. When he wakes he finds Papa Jambo who asks him to explained his situation. After hearing his story Papa Jambo tells him that he can only teach Jericho the ways of Voodoo so that he could become the next Brother Voodoo. His story continues next week in the "Baptism of fire!"

 I quite liked this horror/super-hero mash up although many would refer to it as a joke. It was made by a committee of creators, Stan Lee proposed a heroic practitioner of Voodoo, while then editor-in-chief Roy Thomas suggested the name "Doctor Voodoo". Lee then suggested "Brother Voodoo". The task of fleshing out the character was given to writer Len Wein and Marvel's art director John Romita Sr. Wein recalls, "We talked about the sense of the character. I designed the 'V' in the circle on the forehead in John's office." Romita did most of the costume design, while Wein's fresh out the character and his powers. Gene Colan drew his first appearance, as you've just seen, using the Marvel method. However Wein left little for Colan to do in the way of plotting and pacing. Wein wrote the plots, laying out the story page-by-page, even panel-by-panel. According to comics journalist Michael Aushenker in an article titled "Disposable Heroes" in Back Issue! #71, from April 2014, "Colan took what would surely have been, in lesser hands, a very corny idea and infused it with an artistry which not only gave it flair and style but a kind of realism and straight-laced credibility that these otherwise ridiculously costumed individuals would actually appear to belong to our world." Thank goodness for Colan!

Planet of the Apes #29

This is a Ron Wilson original British cover, possibly inked by Al Milgrom, or at least that's what the Grand Comics Database says. You can tell that Ron is very experienced at drawing Apes covers, It's certainly not just a case of drawing a gorilla head on a human body.

Planet of the Apes “The mutants slayers!”

Writer: Don McGregor

Artist: Herb Trimpe

Inker: Yolande Pijcke

Originally published in Amazing Adventures #21

Cover date November 1973

(Published in August 1973)

The Warlord and Sandra Simian, a lazy play on the naming of a new character who in the original War of the World comic strip was called Carmilla Frost, watch Apeslayer fighting off their mutated cyborg gorilla soldiers in their Alteration Division lab. Drawing ape faces on soldiers is one thing and changing names of the characters another, but I feel that the editors were becoming very board of adapting this story to fit in as a Planet of the Apes tale. At one point the letterer bodger changes the woman's name but leaves in that she is one of the "Martians' foremost molecular biologists." "Simian's" would have made the sentence a bit of a tongue twister but the line, "Sandra Simian, you may be one of your Ape masters' foremost molecular biologists" would have worked. 

The cyborg gorilla soldiers fare badly against the Apeslayer, so the Warlord steps in, bringing tha Apeslayer down with a metal fist. LaterApeslayer awakens strapped to a table, with the Warlord telling him that he will become the latest guinea pig in the total dominance of his ape masters. Sandra takes the Warlord aside and suggests that Apeslayer might lead them to other groups of Freemen. In the dungeons, the Apeslayer's group of Freemen try to unsuccessfully escape. Sandra goes to her lab to get a cloned mutant named Zom. They subdue the dungeon ape guard and free the Freemen. Meanwhile the Warlord tortures the Apeslayer with a laser scalpel. The final part of the Apeslayer saga plays out next week.

Exclusive Interview with Marvin Paige

Susan Munshower interviews Marvin Paige, the casting director for the Planet of the Apes television series. This article originally appeared in the Marvel/Curtis Magazine's Planet of the Apes issue 7 (US version.), cover dated April 1975, published February 1975. Marvin Paige gives the lowdown on his career and what it takes to play an ape in the 20th Century Fox series. 

Apes Forum

John Cantwell from London writes in reply to Mark White's letter seen in POTA #20, you did not make a mistake with

"Terror on The Planet of The Apes". The last film."Battle" was a prologue was set in the year 2965. 965 years after the main action of "Battle", 120 years before the TV series and 980 years before Taylor arrived on, and later destroyed the Planet. And since the Lawgiver was one of the stars. "Terror" must have been set around 2965. Mohammed Nadam from Bolton also takes up Mark White's letter, in "Beneath" Dr Zaius gives a farewell speech before he sets off to the Forbidden Zone, in the background is a statue of the Lawgiver, who was in "Terror on The Planet of The Apes" can be seen. The Lawgiver was the apes' prophet. He existed before Earth was blown-up, thus he appeared in "Terror. Mark Edwards RFO from Somerset also replies to Mark White's letter his point is in "Beneath the Planet of The Apes" the earth was destroyed, but in "Escape" Hasslein says that he believes that the future can be changed. Virgil says a similar thing in "Battle". So you could follow the film stories, and then carry on with your own tales. The last letter in this week's Apes Forum comes from the Hulk, who must now be living in Leicester, he asks for a No-Prize for spotting spelling mistakes in his own mistake filled letter.

The power of Warlock “...Comes the Man-Beast!”

Writer: Roy Thomas

Artist: Gil Kane

Inker: Dan Adkins

Originally published in Marvel Premiere #1

Cover date April 1972

(Published in November 1971)

Gil Kane and Dan Adkins cover from Marvel Premiere issue 1 is re-used as this week's symbolic second part opening splash page, with a new title, credit box and re-cap boxes added. The High Evolutionary plans to create life on a new earth, then advance it by a billion years. His wish is to create man as he should have been, deprived of his killer instinct in a world where there would be no wars or gross aggression. 

Roy Thomas really goes to town on his "creation story" in a blatant Marvel version of God's creation of a world and his son saving it from the evil that poisons the garden of eden. The Evolutionary creates man but due to the stress, he falls asleep during the final important stages. Elsewhere the Man-Beast watches ready to mould the new world into a nightmare. Attacking the High Evolutionary's ship the Man-Beast boards, with Sir Raam the first casualty. Man-Beast then revives the killer instinct in humanity with no-one to stop him. 

“Doorstep”

Writer: Gerry Conway

Artist: Gil Kane

Inker: Tom Sutton

Originally published in Worlds Unknown #2

Cover date July 1973

(Published in April 1973)

"Doorstep" was adapted from a story by Keith Laumer that first appeared in Galaxy Science Fiction, an American digest-size science fiction magazine. Brigadier General Straut is in charge of handling the mysterious giant disc that appeared at a remote farm. Also a small cube is found that is sent over to a military headquarters for closer examination. Straut takes charge and wants to get closer to the object to assess if it is dangerous. A hatch opens suddenly killing a soldier. Then a monstrous creature exits the object and attacks the troops.

Another soldier is killed and Brigadier General Straut, eager for recognition and fearful for the surrounding civilians, opts for aggressive retaliation, even though Lieutenant Carstairs informs him that General Margrave has ordered him to hold off until scientists from the state university can arrive. After a bombardment that seemingly invalidates the threat, a final communication reveals that the small cube was actually a plea from an extraterrestrial asking for care for its little girl as they'll be back for her very soon. I really like this short tale, it was well written originally by Laumer  and later in Gerry Conways adaption. Gil Kane does an excellent job on the art together with Tom Sutton's inks. Brigadier General Straut is a wonderful character that is easy to dislike as you should  and the twist in the end is beautifully dropped in. 

The Super-heroes #10

With the need of an original cover for the Silver Surfer second part Keith Pollard steps up to draw this one with Dan Adkins inking it.

Silver Surfer “The legacy of Frankenstein!”

Writer: Stan Lee

Artist: John Buscema

Inker: Sal Buscema

Originally published in Silver Surfer #7

Cover date August 1969

(Published in May1969)

This second part opening splash page wasn't part of the original US comic, nor was it the repurposed cover art or a collage of various images, it was probably one of the first specially commissioned pages for a British weekly. I personally feel that it looks a little like Keith Pollard may have produced it right after he finished the cover artwork, but I have no evidence other than a gut feeling. Frankenstein tricks the Surfer into becoming the host for Experiment X and begins to siphon the power cosmic from him, redirecting it into a lifeless clay model. Imbued with cosmic life, its form starts to morph into the appearance of the Silver Surfer. Frankenstein orders the false Surfer to slay the original, then to teach the villagers the meaning of fear.

The Silver Surfer is still alive so Frankenstein shoots him. The Surfer stands unharmed and demands to know what are his plans for the clone. Borgo reveals that his master plans to use the duplicate to bring fear to the world. The Silver Surfer departs to stop his evil doppelgänger. The two Surfers confront each other in combat that rages throughout the village. With human life endangered the Surfer carries the battle out into Earth’s atmosphere to avoid harming others. Both combatants are evenly matched. Back in the Alps, the diminutive Borgo decides that he has taken the Count's abuse for long enough as he tackles Frankenstein, who had been firing down on the villagers. Both of them topple out of the castle window where they fall to their deaths. 

In the heavens the duplicate decides to bring the battle to a major city. The Silver Surfer grabs hold of the false Surfer and begins to drain him of his cosmic energy. Before long, there is nothing left of the clone and he disappears into thin air. The Surfer is once again attacked by a military jet who believe that he was responsible for so much destruction. In Earth's orbit the Surfer rests and ponders his doppelgänger's demise, the very weakness it had mocked, the pitying of others, had brought the original Surfer victory as he was strengthened by compassion for his fellow living beings and would have been willing to die to save mankind. For the clone having no compassion the thought of death had made him panic and lose control, causing his own downfall. The Surfer ponders why he has risked so much to save those who hate him the most. Stan Lee mixes Biblical themes, with Mary Shelley's classic take on the consequences of man defying nature and acting like a god, there's also the theme from the Jewish legend of the Golem too. But there's a closer look at the primitive theme of hating those who are different as well. The Silver Surfer strip is always packed with food for thought.

The X-Men “The Angel is trapped!”

Writer: Stan Lee

Artist: Jack Kirby

Inker: Paul Reinman

Originally published in The X-Men #5

Cover date May 1964

(Published in March 1964)

The original cover from the X-Men issue 5 is repurposed as the symbolic opening splash page for this second half story, with the original text at the top kept with part of it as this story's title. A re-cap and credit boxes are added with the seventh panel from last week's page thirty-four to re-start the story. Magneto captures the Angel and after a short fight with the X-Men the Brotherhood flee taking the Angel with them, but leaving the Toad behind. Magneto interrogates the Angel as to the location of the X-Men's headquarters, but Angel refuses to tell him.

The X-Men try to decide what to do with Toad when he suddenly falls into a trance. His only thoughts are to return to Magneto. With a communicator he summons a capsule. The X-Men follow him on board, with the hope it will take them to the Angel, even though it could be a trap. On Asteroid M Mastermind is surprised to see the returned Toad. The X-Men launch their attack. Magneto  pushes a button that will kill the X-Men, but Scarlet Witch sabotages the console as she cannot take part in murder. Magneto and the two siblings argue over their loyalties, giving the X-Men time to free the Angel. The battle causes some extensive damage to Asteroid M, which starts to fall apart. Cyclops is trapped in a section of the asteroid that breaks away from the others so Iceman creates an ice tunnel, allowing Angel to rescue their leader. The X-Men escape in a capsule and return to Earth. Upon returning to the mansion, to tell Professor Xavier what had occurred, however he informs them that he was able to follow events because he did not lose his telepathy! Since the X-Men performed this solo mission perfectly, they passed their final exams and their training is over.

Savage Sword of Conan #10

Barry Windsor-Smith originally drew this cover for Conan the Barbarian issue 10 but the colours for the British version is 100% better. The Bull God on the American cover was red but this brown version feels so more realistic. Like last week a text box tells the reader that this comic also stars Ka-Zar Lord of the Hidden Jungle! But like last week that strip doesn't appear in this mag. 

Conan the Barbarian “Beware the wrath of Anu!”

Writer: Roy Thomas

Artist: Barry Windsor-Smith

Inker: Sal Buscema

Originally published in Conan the Barbarian #10

Cover date October 1971

(Published in July 1971)

Arriving at a Corinthian city-state, Conan and Jenna have trouble entering. The guards don't look kindly on strangers who could be thieves, but they are distracted by a patrol chasing a pair of thieves. When Conan gets in the way of their arrows, they turn their wrath on him. He is saved in turn by the thieves, as they help him escape onto the roofs, unfortunately leaving Jenna behind. They first tell her to meet them at the Temple of Amu. It turns out one of the thieves is Burgun, whom Conan briefly allied with in the lost city Lanjau, as seen in SSOC #8. 

Burgun, Conan and the third man, Igon, arrive at the temple of Anu, where its head priest acts as their fence on a regular basis. Jenna reunites with Conan and they decides to help Burgun on his thieving runs, staying one step ahead of Captain Aron until they target the Red Priest Nabonidus who is the secret ruler of the city. Meanwhile, Captain Aron traces them back to the Temple of Anu, He bribes the priest to help him set a trap, in which Burgun is captured. Igon, more interested in Jenna, doesn't seem to care that his partner is imprisoned and refuses to help Conan break him out. Burgun is hanged, but Conan notes Aron meeting with the priest in the window of the Temple of Anu. Angered beyond belief, Conan confronts the priest, who summons Anu himself, a humanoid bull-god. The priest is protected from Anu's rage by as amulet, but Conan notices it and snatches the amulet from around the priest's neck.  

Growing larger and larger Anu goes on a rampage crushing the priest in its hand. With its blood thirst stilled, the Bull-God grows hundreds of feet tall and wraith-like vanishes back into the heavens. The priest, near death, asks for mercy, which Conan gladly delivers with a blow from his sword. Conan returns to the gallows, slits the throat of the guard, cuts down Burgun's body and burns the scaffold to the ground. Outside the city Conan buries his friend. "No river of blood can wash away the ache, the emptiness which hovers at Conan's shoulders and no dungeon which looms in Conan's un-glimpsed future can ever reave his barbarian's heart like the death of a friend betrayed!" That's Thomas's versatile writing for you. I don't confess to be a super expert on Robert E Howard's work, but I don't think that this tale is, other than the strips' hero and supporting cast, connected to any of his writing. Roy Thomas just took the barbarian's moral code and wrote a fresh story. Please let me know if I'm wrong. 

The Hyborian Page

Greg Webstar from Bedfordshire gets the honour of having his letter printed first in the first ever "The Hyborian Page" letter page. Great name for a Conan letter page. Greg wants to be a comic-book artist. He asks how Barry Smith became a Marvel artist. The editor gives any budding artist some great advice, but they also point out that Barry was already an established comic-book artist when he came to Marvel. Check out those old British Power comics. Jeff Stygall RFO, KOF, from Kent suggests that Conan also appeared in the Bayeaux Tapestry with a history lesson about Count Conan of Brittany, the details can be found in his letter. Neil Marshall from Carlisle writes that "The Super-Heroes" and "Savage Sword of Conan" was unbelievable, especially Barry Windsor-Smith's fantastic artwork. He goes on to say that Kull really amazed him. Ross Andru is a great artist, accompanied by the great Roy Thomas' writing. Philip Hopkins writes a checklist on every hero that Marvel had introduced to Britain.

Kull the Conqueror “The Demon-Horde of Thulsa Doom!”

Writer: Roy Thomas

Artist: Marie Severin

Inker: John Severin

Originally published in Kull the Conqueror #3

Cover date July 1972

(Published in April 1972)

This opening splash page uses the John Severin artwork from the cover of Kull the Conqueror issue 3, with a new re-cap and credit boxes added at the top. The title at the bottom remains the same as it did on the cover. After last week's instalment Kull leaves on a quest to see Ka-Nu. 

It may be as a dream or mystic incantation, but events see Kull's horse flying through the sky, eventually becoming crumpling old bones sending its rider falling over a bridge into demon infested waters. Kull's vision clears, finding his horse he blindfolds its eyes and continues his journey. Arriving at the Pict camp he meets Ka-Nu and asks him to take the serpent eye gem. As the gem touches his hand his form morphs into Thulsa Doom. Doom then takes him chained to the court of Kull’s subjects to demonstrate to all how powerful he has become. Brule throws his spear to break Kull's chains, just as Thulsa Doom squeezes the two gems together. Kull strikes his enemy with the chains but he is too powerful. 

But that power becomes too much as it reduces Thulsa to nothing as he become part of everything. The gems split into two falling to the grown. Marie and John draw the most beautiful of panels to depict that scene. The pair are so underrated but as you can see they were sensational artists. Kull reflects on events, eventually he picks up one gem and drops it into the bottomless pit of Hell that was left after Thulsa Doom's demise. The other he keeps. Weeks of pondering follow, with the construction of a statue of a chained wrist with its hand holding the chain in defiance. Whether it was to symbolise Kull's victory over Thulsa Doom or over his past as a slave who broke the chains that bound him and became a king, we won't know. 

The Power of the Beesting continues next week with even more of the same.

See you in seven.

Make Mine Marvel.