Cometh the Iceman, cometh the saviour!

 Week Ending 7th June 1975

Last week as I finish the Power of the Beesting blog, news broke about the passing of legendary comics writer Peter David. David died on the evening of May 24, at the age of 68 after many years of painful health conditions. He had wrote so many of the titles that I had enjoyed, especially through the late 80's 90's and 2000's when well written comic stories where few and far between as style had taken over content. A great body of work remains, gems like "The Death of Jean DeWolff", "Incredible Hulk: Future Imperfect", "The Last Avengers Story", as well as long runs on the Incredible Hulk, X-Factor and Spider-man 2099, plus other tales that you may at first not noticed as his work. He stood up for creator's rights even criticising one of his regular employers, Marvel. He wrote a regular column in the Comics Buyer's Guide, "But I Digress", in which he offered criticisms of publishers and industry personalities like Frank Miller, Jim Shooter and Todd McFarlane, all for valid reasons. He wrote novels and for television too. The tragedy of it all was he had ill health for over a decade and a half, his family and friends had to start a GoFundMe campaign to pay for his medical bills after Peter was rejected for Medicaid and couldn't afford his treatment particularly for the last three years. I'm not suggesting that the NHS would have made his life last longer, but at least it would've given him some form of dignity towards the end of his life. Thank you Peter for the good reads, this blog is dedicated to your memory. 

Peter David. 23rd September 1956 to 24th May 2025. RIP 

The Mighty World of Marvel #140

Marie Severin (pencils,) with Frank Giacoia (inks,) created this simple but very effective cover originally for Tales to Astonish #93. The only real difference between the US and UK versions is a colour change from a brown/red back ground to a blue. Marie Severin doesn't get the credit she deserves, but her Hulk and Silver Surfer are as good as any Trimpe, Kirby or Buscema versions. Well deserving of a Cover of the Week award from me. 

The Incredible Hulk “He who strikes the Silver Surfer”

Writer: Stan Lee

Artist: Marie Severin

Inker: Frank Giacoia

Originally published in Tales to Astonish #93

Cover date July 1967

(Published in April 1967)

Finally British Marvel comics readers get to read this story that should have been printed in MOWM #39, but was left out because the Surfer hadn't, at the time, made his first British appearance. Although anyone who was lucky enough to be gifted the Marvel 1975 Annual at Christmas 1974 would have read it in that volume. Last week the Hulk finally discovered that, what he at first believed to be a flying saucer, turns out to have been the Silver Surfer. But his reason to meet the aliens/Surfer remains the same, a lift off the planet. The Hulk is totally unaware that the Surfer is unable to leave the Earth.

The Hulk and the Surfer have, by Marvel super-hero standards, a light squabble until the police soon show up as the Surfer makes his escape. The police keep the Hulk at bay with flame throwers. The Surfer returns to fly the Hulk to safety. This could be start of a "Defenders friendship," however the two start to battle once more. These vintage Hulk tales from Tales to Astonish were short, neat tales that were, and still are brilliant. Sadly the ending had to come just when the story got going. So the shortest way to end it is have the Hulk knocked unconscious, something that hardly ever happens, if ever. The Surfer uses his Power Cosmic to probe the Hulk's mind, to which he finds that he could cure Banner's curse. He never mentions that he could do that in any of their future meetings. When he does attempt to cure the Hulk, the green goliath awakens, believing that the Surfer is attacking him. The Surfer leaves in frustration and the Hulk vows to one day make him help him escape this planet. The end text reads, "Next: The New Man!" which could well leave a continuity pot-hole next week. But we'll see in seven if it does.

The Mighty Marvel Mailbag

Duncan Stroud from Kent has been able to get 16 different Marvel US titles over two months. He would get more, but apart from Man-Thing he doesn't like the monster comics. With limited financial resources he had to stop getting SMCW and the Avengers weekly, although he's keeping MWOM. T O'Hanlon from Leeds Asks if getting SMCW, MWOM and POTA each week earns him a RFO? Yes it does. Paul Timm RFO, from Sunderland thinks Spiderman is weak, puny and much over-rated, whereas Hulk and Thor are easily stronger. The Hulk could easy destroy the Vulture, the Prowler and the Green Goblin. Paul has collected loads of British Marvel mags thanks to being a member of "Bradford Street Marvel Club", where between the 14 members he has raided the club "swap-shops". A Coley from Essex gives a little review of the Marvel mags with one of the highlights is Hulk is a weird story and art. Other readers who wrote to MWOM are Paul Edwards from Suffolk, David Best from Glasgow, Martin Finn from Leicester, Duncan MacGregor from Buckinghamshire, Lee Cartwright from Nottingham, Paul Benelon from Middlesex, David Duck from Humberside, P Judge from Lewisham, Mark Bunnage from Sussex, Paul Hickling from Barnsley, Mark Leigh from Sheffield, Mark Hackwell from Essex and Martyn Delbeke from Surrey.

Daredevil “Deadlier than ever...the Unholy Three!”

Writer: Stan Lee

Artist: Gene Colan

Inker: George Tuska

Originally published in Daredevil #39

Cover date April 1968

(Published in February 1968)

This second part opening splash page comes from the cover of Daredevil issue 39, drawn by Gene Colan. It even uses the lower text from that cover as this week's story title. A catch up text box and credit box are added to the top of the page, where the original comic logo would have been. The splash page is more symbolic than actual as the next page features the Bird Man and Cat Man questioning their boss, the Exterminator, over his use of his "T-Ray", which he had fired at the Ape Man, causing the villain to be wiped out of existence.  

The Ape Man had returned minutes later, with the Exterminator explaining that the ray had displaced their colleague into the future mere minutes. The master criminal now issued the Unholy Three with portable versions of the device, to fulfil a plot to blackmail Foggy Nelson. Foggy, with his new girlfriend Debbie Harris, Matt and Karen are spotted at a nightclub by an informer who tips off the Exterminator, who then sends the Unholy Three to get revenge on the woman who helped place them behind bars and to kidnap Debbie to use her as leverage against Nelson if he became elected as District Attorney. The Unholy Three crash in, giving Murdock no time to change into Daredevil. They blast Debbie with their T-Ray weapons, vanishing her out of existence. Believing Debbie to be dead, Foggy begs Matt to get his "brother" Mike to avenge her as Daredevil. Matt realises with his radar sense that Debbie is not dead, but in another dimension. How that works is anyone's guess? Are his radar senses time sensitive? We haven't got time to figure that one out, because it all ends with the teaser for the next issue, "The fallen hero!"

The Fantastic Four “Last stand of the sinister Sentry!”

Writer: Stan Lee

Artist: Jack Kirby

Inker: Joe Sinnott 

Originally published in The Fantastic Four #64

Cover date July 1967

(Published in April 1967)

Like the Daredevil strip this week, the second part uses the original cover from the US comic that it originally appeared in, in this case The Fantastic Four (US) issue 64. But unlike the Daredevil splash page this one fits better into story continuity, well almost! The Human Torch appears on the US cover and on this splash page, but he has yet to appear on the remote island that is the location for Reed, Sue and Ben's encounter with the Sentry.

The Thing and Mister Fantastic battle the Kree android, giving Sue time to video call the Baxter Building. Johnny and Crystal are getting cosy with minor interruptions from Triton and Lockjaw, when the distress call comes. Johnny rushes to their aid with the Inhuman pet dog's teleportation power. Soon the Torch reaches the South Pacific Island and joins the team, chipping in with the action just as Jack Kirby draws best. Big scenes, big sound effects and big explosions. This is why I love the Fantastic Four so much. Eventually the battle ends in a chaotic climax, when the Torch's multiple flame blasts hit with laser intensity an underground Kree power supply, setting off a chain reaction that would lightly blow the whole island sky high. The Thing rescues the archaeologist and his guide so all six teleport to safety thanks to Lockjaw, leaving Sentry 459 to remain at his post while Outpost Ten disintegrates in nuclear flames around him. It's a cracking adventure, even if readers at the time may have felt it didn't go anywhere, it would pave the way for some very important plots that hold together the Marvel Universe for decades to come.

Coming soon to a newsagent near you, Marvel's comic strip adaption of the film "Beneath the planet of the Apes", will be appearing in the Planet of the Apes weekly comic. I for one can't wait, it's one of the better adaptations and possibly my second favourite Apes film. Sharing this In-house advert page is Dracula Lives, promising the readers "Spine chilling thrills." The cover half shown on that promo is Dracula Lives #9, seen some twenty-two weeks ago. Next to that is an in-house ad for this week's Spider-man Comics Weekly, introducing Spider-man vs. Iceman, yet another action packed story. The cover is absolutely up-to-date featuring Joh Romita Sr.'s cover, as you soon see for yourself.

Spider-man Comics Weekly #121

Any other day and I would give this John Romita Sr. cover a CotW award. It certainly ticks lots of boxes. Great action, dynamic set play and a good guest star. Originally from the Amazing Spider-man issue 92, the UK colouring does muddy some of my attraction to it. Still it's a great cover.

Dracula Lives gets a bigger and bolder In-house advert in this week's Spider-man Comics Weekly. Appearing on the inside front page the glossy paper really shows off Luis Dominguez's painted artwork. It's a bit of a shame that it wasn't in full colour. Originally it had appeared on the front cover of the Marvel/Curtis magazine Dracula Lives (US) volume 2 issue 1, or issue 5 if you prefer the legacy numbering, cover dated March 1974, published December 1973. The American version of Dracula Lives does get very complicated. Volume one went from issue one to four, published bi-monthly from February to August 1973. Then volume 2 started with issue one in December 1973, before continuing with the original numbering, with issue six released in March 1974. Anyway the "spine-chilling tales" of vampirism with Dracula and barbarism with the Werewolf would be what British readers could easily pick up from their newsagents, came in the pages of the Dracula Lives weekly, as hinted at with the Ron Wilson/Mike Esposito half shown cover of Dracula Lives #30, from the week ending 17th May 1975.  

Spider-man “When Iceman attacks”

Writer: Stan Lee 

Artist: Gil Kane

Inker: John Romita Sr.

Originally published in the Amazing Spider-man #92

Cover date January 1971

(Published in October 1970)

I'm a sucker for a Spider-man team-up and this week's team-up with Iceman predates the Spider-man and his Amazing Friends cartoon by some eleven years, if you go from the original US comic and some eight years from the British version, as the cartoon was shown in September 1981 in America and in October 1983 in the UK. I have fond memories of that TV series, even though at the time, being thirteen/fourteen I was probably too old for cartoons. Anyway, back to "When Iceman Attacks", Spider-man enters Peter Parkers apartment and find Sam Bullet with Gwen Stacy waiting for him. In sheer panic Spidey grabs Gwen and leaps out of the window! Well that won't defuse the situation.

To everyone, including the reader, it looks like Spider-man is kidnapping Gwen. Which plays into Sam Bullits campaign of law and order ticket to becoming the next District Attorney. On the streets below Bobby Drake, with an unnamed girlfriend, witnesses the abduction. Bobby makes an excuse to leave his girlfriend and ices himself up to race after the web-slinger. Quick-freezing an ice bridge the young mutant quickly catches up with Spider-man, just as the web-slinger is making matters a whole lot worse with Gwen by coming up with a story to explain his appearance at Peter's flat without giving anything away about his true identity. We then get some brilliant fight scenes between Spidey and the Iceman, that could only be delivered by the wonderful Gil Kane with help from the ink pen and brush of John Romita Sr. Which is worth the price of the comic alone. Their fight brings the attention of the police so Spidey swings off, leaving Iceman to return Gwen safely to the ground. Much to Sam Bullit's manipulative delight.

Sam Bullit's media manipulation might be working on some levels, but thank goodness for the Daily Bugle and J Jonah Jameson's moral compass. He might be Spider-man's biggest hater but when it comes to social, political and moral facts he and his paper champions the truth. After Joe Robertson's suspicions of Bullit and his hired help putting their strong-armed muscle on Peter, Jonah and Joe dug up some dirt on the DA candidate. It produced quite a dossier on Bullit and the lunatic hate groups who backed him. His law and order plans would have dealt heavily with minority groups. Bullit doesn't like what Robertson had to tell him, using a gangster bully line to warn him to shut up, by telling him he knows "too much, black man?" Jameson doesn't like those kind of threats, so the Bugle will be acting on the evidence they've gathered and renounced their support for his election. 

Bullit shows his true colours when he directly threatens Robertson, using a racist name that would be quite common in the early seventies, but even with the use of it in this contexts of showing how xenophobic Bullit is, I'm surprised that it wasn't edited out. I checked a reprint of this story from 2013 and it remains. Which I salute as it keeps the integrity of the story and highlights the modern horror of bigotry. It was a brave choice by Stan, Gil and John to show it. I'll not repeat it here, but it's on the panel to the left. Bullit's not pleased with Robertson, so he gets two of his hoods to persuade the city editor to go for a walk with them, with a gun at his back. Peter witnesses that and quickly swings into action as Spider-man, only to have the Iceman cometh again. The action continues next week.

The Web and the Hammer

At the top of the letter page there's an explanation from the editor about issues 129-132 of MWOM and 110-113 of SMCW, the first two issues of each of those weeklies were held up in the London dock strike in March. So in order to keep up the weekly sequence those were put on sale out of order.

Peter Coulson KOF, RFO from London knows for a fact that Merry Marveldom is going to be scrapping its way to the nation's TV screens, because he watched "Magpie"that featured Stan Lee and Mick Robinson said: "Spiderman will be appearing on ITV later this year." So all those begging letters weren't ignored. Nial Sheridan RFO, KOF from County Dublin asks "Why do you always put TM on your comics and posters? It wrecks them?" The editor replies "TM, stands for the words 'Trade Mark', Niall. And they're a legal necessity to safeguard the sanctity of our characters." Colin Renouf from London thinks that Spider-man is "terrific, super, great," but would like to have few more pages for his story. Stephen Payen RFO from Derby saw Stan on Magpie in March and his Mum thought that Stan looked gorgeous. Neil Fisher from St. Helens writes that the new Super-Heroes mag is fantastic. But Spider-man Comics Weekly is still his favourite. On the Silver Surfer he thinks that as he's a popular hero in Britain new Silver Surfer homemade stories should be made for British mags.

Iron Man “Crisis..at the Earths core! Part two.”

 Writer: Stan Lee

Artist: Gene Colan

Inker: Jack Abel

Originally published in Tales of Suspense #87

Cover date March 1967

(Published in December 1966)

The fourth panel from last week's page twenty and the fourth panel from page twenty-one, both from last week's issue are enlarged and reused to create this week's second part opening page, with a new title, catch-up box and credit box added. Tony Stark, as Iron Man, is testing a new Earth-Digger when an earthquake causes a nearby building to collapse. Members of a subversive spy ring see an opportunity to use the public distrust of Stark's experiment as cover to break into stocks factory and sabotage Stark's American weapon program for their bosses behind the "bamboo curtain."

 

It's not about political beliefs or ideology, their reason is one of the most evil reasons that drive the worst in mankind, greed. They break into Stark's lab and end up attacking Iron Man, who easily knocks them out, just as the entire Stark Industries factory also falls through a sink hole through the Earth. Climbing from the mostly intact building he discovers two figures in the shadows near a missile launcher. It's the Mole Man with one of his Moloids. The Mole Man fires a missile at the armoured Avenger, which causes the underground cavern to cave-in. Next issue "The answer!" to all the questions you haven't bothered asking about this tale.

The Mighty Thor “Behind him...Ragnarok!”

Writer: Stan Lee

Artist: Jack Kirby

Inker: Vince Colletta

Originally published in The Mighty Thor #157

Cover date October 1968

(Published in August 1968)

With the aid of his hammer and the typewriter of Stan Lee with the pencil of Jack Kirby, Thor takes on the unstoppable menace of Mangog who is intent on destroying Odin, Asgard and most probably the universe by drawing the Odinsword and beginning Ragnarok! Thor hurls his mighty Mjolnir towards the monstrous Mangog, who punches it back towards the Thunder God with as much might, causing a distraction that allows him to disappear. 

Meanwhile Balder is battling Karnilla's Legion of the Lost, a band of warriors who had been bewitched by the Norn Queen for daring to incur her wrath.  Balder fights on, refusing to profess his love to her or face death. His show of bravery shatters the spell over the Queen's control. Furious Karnilla complies with Balder's request to free them all, teleporting them back to Asgard where they rally together to help defend the realm from the oncoming attack. Mangog has been journeying towards the famed realm without any opposition due to his tunnelling through the very ground under the gods feet. He makes it to the surface and smashes the city's walls. Balder leads a thunderous horde of reinforcements against the defiant foe, who happens to possess the power of a billion, billion beings. At the same time Thor hurtles through the star-strewn skies to join in the battle, on a mission to save the cosmos. For victory or for death. But which? We'll find out next week. 

Avengers Weekly #90

Yet another great cover artist graces one of this week's mags. John Buscema's cover from The Avengers (US) issue 62 is reused for this UK edition. It's a wonderful cover and I think that the colour changes to the lower background for the British version actually improves the look of it. Another good shout for a CotW award.

Master of Kung Fu “Daughter of darkness!”

Writer: Doug Moench

Artist: Keith Pollard

Inker: Sai Trapani

Originally published in Master of Kung Fu #26

Cover date March 1975

(Published in December 1974)

Sir Denis Nayland Smith is in Egypt, meeting an old friend, Lord Robert Greville. Greville recalls a dream in which a bewitching woman appears promising that he would unearth the Golden Beetle of the pharaoh Seth-Amon. The next morning all that physically remains of the dream is a ring. Smith tells him that his father, Shan, encountered this same woman, Fah Lo Suee, the daughter of Fu Manchu. She can't be trusted, she nearly destroyed him. Greville will have none of it. English novelist Sax Rohmer originally created Fah Lo Suee in 1931 for his fourth book in the Fu Manchu series, "Daughter of Fu Manchu". As Marvel lost the copyright for Sax Rohmer characters modern Marvel Comics refer to her as Zheng Bao Yu. Fah Lo Suee actually means sweet perfume.

Smith informs Greville that he is in Egypt looking for Fu Manchu, who he believes to be shadowing his daughter. A hooded figure sits at a close table listening into their conversation. Shang-Chi has been searching the area but with no evidence of his father's presence he heads to Smith's appointed meeting place. As he  arrives at the restaurant he notices a growing group of Si-Fan assassins, disguised by robes, have been followed him. The robed assassins wait outside by the window. Calmly Shang-Chi informs Smith of the presence of his father. The hooded man at the near table stands up revealing his identity. On cue the assassins burst through the windows to cover Fu's escape. As much as I love Paul Galucy's artwork, his replacement this week, Keith Pollards does a pretty good job, especially with the kung fu fighting scenes.  The ensuing scuffle fails to convince Greville of the danger he is in. He leaves. Shang-Chi remembers his first meeting with his half sister. She had observed him while being trained as a master assassin as a young boy. The most vivid memory was that she had told him that a day might come when the both of them might want Fu dead. Smith and Shang-Chi attend a nearby library, where his research leads Sir Denis to discover the story of a Golden Beetle, that the pharaoh believed could hypnotise anyone, thus giving the user ultimate power over their subjects. Smith realises that Fah Lo Suee wants the Golden Beetle and that Fu Manchu wants to keep his daughter from gaining that power, which could be used against him.

Avengers Assemble!

In answer the offer of a No-Prize mentioned in the Avengers weekly #79 Jon Potter RFO, KOF from Nottingham explains why Captain Marvel didn't appear in that Avengers strip. Captain America and Rick Jones weren't with the Avengers because Captain America hadn't been rescued by the Avengers and thereby Rick Jones hadn't partnered with Cap so Rick wouldn't have chased the illusion of Cap and discovered Captain Marvel. Robert Szczenba from Yorkshire is concerning that the letter pages are getting full of readers who take up half a page just telling us which comics they've got. Also many readers seem to have forgotten that some stories are ten years old and it displeases him when he sees people comparing the current "well-drawn" Hulk with the "poorly-drawn" Fantastic Four. Those stories are about five years apart, Kirby's art had not quite "developed". Through Kirby's Marvel period, most Marvel books had his influence. Herb Trimpe, for instance was influenced greatly by the Kirby style. Robert Trimpe's artwork was deteriorating but in the US mag his artwork is recovering. Mark Perry from Salop thinks that the U.S. mags the letters are more mature than the UK ones because they aren't always asking for No-Prizes for spotting boobs. He thinks the Avengers stories with John Buscema's artwork are first-class. The title pages to Doctor Strange have been great,especially "Ice and Fire", "Grave where is the victory?" and "With one beside him." The idea of having an Avengers story with Doctor Strange in was good. The Iron-Fist/Spidey combo was good, but there wasn't enough action and the enemy was a bit plain.

The Avengers “The Monarch and the Man-Ape!”

Writer: Roy Thomas

Artist: John Buscema

Inker: George Klein

Originally published in The Avengers #62

Cover date March 1969

(Published in January 1969)

Now never has British Marvel continuity made itself a bigger mess than this. And to solve their own created problems their boldest and simplest solution is to just forget what had happened in the past. This week's Avengers story follows on from the Doctor Strange adventure that saw him team-up with the Avengers and the Black Knight battle Surtur and Ymir, as seen in  the Avengers weekly #77 and #78, who had been unleashed onto the world by the Sons of Satannish's leader Asmodeus, when he quoted the spell of Fire and Ice in the Avengers weekly #74. But roster of Avengers in that British weekly had been Hawkeye, the Black Panther and Thor, who had replaced the Vision in all the panels that the android had appeared in, as he had yet to make his debut in the Avengers strip. But in this follow up story the Vision is there without any explanation. We'll have to check out the future letter pages to see how the readers and the editor reacts to that cock up.

Stranded in the Antarctic, the Black Panther summons a remote vessel that flies him with his friends to Wakanda. Once they arrive in the hidden kingdom they are greeted by Wakandan troops who attack the other Avengers with guns until Black Panther stops them. When asked who authorised them to carry such weapons, they tell the Panther that it was by royal order from he who rules in T'Challa's absence, M'Baku. Angered the Wakendan King calls M'Baku to answer to him. M'Baku explains that he ordered the troops to carry weapons because he had heard reports that Klaw was back in Wakanda. During their meal, Black Panther, and his comrades are  drugged. Waking up from his drugging, the Black Panther finds himself in costume, faced with M'Baku who is dressed in the garb of a white gorilla. Such an outfit is forbidden in Wakanda. Calling himself the Man-Ape, M'Baku explains that he will kill T'Challa and take over the kingdom and have everyone worship the white gorilla instead of the panther god. The Panther and the Man-Ape battler the right to rule. The winner will be revealed in next week's "Fury of the Man-Ape!"

Presenting a surprise pin-up page featuring Hercules, Prince of Power. This pin-up by Don Heck (pencils,) with George Roussos (inks,) was originally from the Avengers Annual issue 1, cover dated September 1967, published July 1967. 

Doctor Strange “The mystic and the monster!”

Writer: Roy Thomas

Artist: Herb Trimpe

Inker: Artie Simek

Originally published in Doctor Strange #126

Cover date April 1970

(Published in January 1970)

Last week's Avengers weekly cover, by Keith Pollard (pencils,) and Mike Esposito (inks,) is reused as this second part opening splash page, with a new title, re-cap text box and credit box. The Hulk is confronted by the Night-Crawler who uses his Sceptre of Shadow to envelop the green goliath in darkness. The Hulk shatters the spell with the release of a wave of heat caused by smashing one of the floating rocks with one of his incredible punches. 

The battle continues until Barbara shatters the Crawlers Sceptre with a rock, causing the demon to unleash his deadly "sonic beams of indescribable force. The Hulk counters it with his own incredible thunderclap, which sends back the Night-Crawler's sonic beams, destroying the entire universe. The Night-Crawler transports himself, Hulk and Barbara into the universe of the Undying Ones. Battling the Nameless One and its minions, the Hulk and Barbara find that Doctor Strange has been holding back the forces of the Undying Ones with a spell that required a human host to seal the portal between the dimensions. The Hulk offers to free Strange from the poles of ethereal force by smashing them but even the brutes strength would not be able to break them. Barbara, feeling guilt over what her cult had done, offers to take Strange's place to keep the Undying Ones in their realm. Strange and Hulk return to New York City, where Strange tells Banner that it is time to put aside his former life as a sorcerer and become the plain ordinary Stephen Strange a useful medical consultant. They leave their separate ways.

As what is becoming a standard feature each week, the Checklist goes through the magnificent Marvel mags that are on sale every week, with the seven comic covers and a brief summary of the mags contents. All are correct, save for the Savage Sword of Conan synopsis. It states that issue fourteen slips back to the Hyborian age with Conan, who is supported by Kull as the second feature. However Thongor is the support strip not Kull. This Checklist is also found in Dracula Lives.

Dracula Lives #33

The fourth cover this week is drawn by yet another master of cover art, Gil Kane shows why he's one of the Marvel editors first choices to whip up some attractive artwork to grace the money maker. This one would certainly attract young horror fans to splash the cash. Frank Giacoia inked Kane's artwork.

Dracula “Resurrection!”

Writer: Marv Wolfman

Artist: Gene Colan

Inker: Tom Palmer

Originally published in Tomb of Dracula #14

Cover date November 1973

(Published in August 1973)

Like the Doctor Strange second parter in the Avengers weekly, this week's second part Dracula strip uses the cover from last week's mag as the opening splash page. A new title, catch up boxes and credit box are used. Father Josiah Dawn intends to make his Church of the Forever Resurrected more popular by showing his congregation that believe in the lord can give you the power to resurrect the dead. Frank Drake discovers a poster promoting the event and the vampire slayers are shocked to see that Dracula is the subject of the priest resurrection.

Marv Wolfman's writing on this particular strip is for obvious reasons very heavily laced with religious connotations that in many ways would fit well in an American Bible belt loving setting, even though the setting was supposed to be Surry in England. I'm not sure that it quite works with a British view of religion mentality. Even though Wolfman and Colan are riffing the vibe of a Universal movies horror classic. A British audience would be well aware of the part religion plays in vampire horror films, just view the Hammer horror classics. But religion by and large is sung in a different key on both sides of the Atlantic. I think in the UK we don't like faith hammered down your throat like the way they do in the states. I also think the UK editors of this particular story agreed with that view as they edited out some of the religious preaching from Father Josiah. Compare the US and UK versions seen above. Blade tries to warn Josiah about reviving the vampire lord, but the congregation holds them back. When the church's flock realise what Dracula is truly evil the attendance draw crucifix's upon him. Blade and the other hunters try to fight through the crowd, but Dracula takes advantage of the chaos to escape. In fury Dracula summons a lightening storm, frightening the attendees. Believing that the power of God can stop Dracula, Josiah Dawn approaches him with a large crucifix. Dracula mocks Josiah and his faith, the vampire lord calls down another bolt of lightening, this time it strikes the crucifix. Dracula's mocking continues with him telling the priest that he couldn't possibly kill someone who is undead, while he is now dying, never to return. Remaining true to his faith Josiah with his dying breath, tells Dracula that his immortal soul will live on long after Dracula is destroyed, with his last words carrying strong religious tones that the editor choose not to remove. I thought I would be in two minds about this tale. I'm in no way religious and thought I would be put off by the heavy theological tones. But I surprised myself and quite enjoyed it. 

Cryptic Correspondence

P Hesling from Leeds Dracula Lives isn't one of his favourite mags, but the latest development in the Dracula strip has forced him to write in. Blade has really livened the whole strip. For the first time he really wanted Dracula to get what he has deserved. G J Tremain from Pontypool has all MWOM, SMCW, Avengers, POTA, Dracula Lives, Conan and Super-Heroes since number 1 and he wouldn't part with them for the world. Adrian Haythorne from Doncaster is a Marvel mag fan and enjoys all the weeklies but "Dracula Lives" is the best. He's read lots about vampires and Dracula. A few weeks ago he read a second-hand copy of American Marvel "Vampire Tales" No. 6. What really impressed him was "Lilith" Dracula's daughter. Why not bring this mag over to Britain and turn it into a new Marvel Masterpiece called, simply, "Lilith", like "Dracula Lives" and "Conan" he asks.

Werewolf by Night “Cry Monster”

Writer: Marv Wolfman

Artist: Gil Kane

Inker: Don Perlin

Originally published in Werewolf by Night #12

Cover date December 1973

(Published in September 1973)

The cover from Werewolf by Night (US) issue 12 is used as this second part opening splash page, that even incorporates the comic's title logo and no-cover-title into the page, with obviously a new catch up text box and credit box. One other feature from the original John Romita Sr., Ron Wilson, Ernie Chan and Alfredo Alcala cover that was changed was the removal of the woman's face from the right hand side of the page.

I have no idea why a woman's face was seen on the original. May be it was meant to be Buck and Jack Russell's sister, Lissa in the front. It a classic cover that was worth showing in all its full colour gory glory. The replacing of the woman's face with a male face matches with the story's two Committee agents front passengers, who had kidnapped Jack Russell, unaware that the full moon was rising and Jack would soon become a Werewolf.

The shock of Jack's transformation had forced the car off the road, resulting in a crash that would kill the two Committee hoods. The Werewolf tracks down the Hangman. Catching up with him the two fight one another inside the Hangman's lair. Inadvertently the Werewolf frees the other prisoners. The beast throws the psychopathic Hangman into a wall supporting pillar, that causes the ceiling to collapse, pinning the Hangman to the floor. The Hangman begs the Werewolf to end his life, but Jack ignores the villain's pleas and runs off. Next week, "His name is Taboo!"

Brother Voodoo “The unloving legions of Baron Samedi!”

 Writer: Len Wein

Artist: Gene Colan

Inker: Frank Giacoia

Originally published in Strange Tales #171

Cover date December 1973

(Published in September 1973)

Another cover is repurposed as the opening splash page for this second part story conclusion, this time taken from Strange Tales issue 171, drawn by Gil Kane and inked by Frank Giacoia. Like the Werewolf by Night cover used earlier the comic logo is kept together with the story title from the original cover. Brother Voodoo's speech bubbles are also kept, with a new catch-up box and credit box added. 

Brother Voodoo awakens to find himself strapped to a strange machine in a laboratory. Baron Samdei is really an agent of AIM who has been using the device to create Zombies, or Zuvembies as it is written in the story's text. However, these Zombies are really living people who have had their minds wiped by the machine. The Baron intended to do the same with Brother Voodoo's mind. The machine seemingly has no effect on Brother Voodoo who pretends that it did so that he can get close enough to attack Samdei and the AIM agents. The Voodoo hero fights the Baron, while explaining how he used his powers to command a nearby lizard to chew through the machines wires while the Baron had revealed the machines purpose. I personally feel that this is one of Brother Voodoo's weirdest powers and goes someway to make him one of Marvel's most ridiculed characters. A stray shot hits the machine causing it to explode, freeing all the "Zuvembies" from AIM's control while setting off a chain reaction in the base. Brother Voodoo sends everyone to the surface. Baron Samdei attacks again, only to be crushed to death when part of the complex collapses on him. Brother Voodoo is said to return in a future issue, but I'm not too sure he will in a British Marvel mag. 

With the departure of Brother Voodoo this issue, a slot in next week's Dracula Lives needs filling. This spectacular painted piece of art by Bob Larkin informs the readers that Frankenstein's Monster will be returning to this mag next week. The classic look takes its style from the Universal Pictures  1931 classic Frankenstein movie, where Boris Karloff played the monster. This artwork was commissioned for the front cover of the Marvel/Curtis magazine Monsters of the Movies issue 2, cover dated August 1974, published June 1974. 

Planet of the Apes #33

This original British Marvel cover is a pretty cool one, drawn by one of British Marvel's most regular cover artists, Ron Wilson. It's a shame that my copy had a large "ten" written over it. It was a second-hand copy so at some point the seller must have thought it was worth ten pence, or it was intended for number ten in some unnamed street. Either way I do wish they had written it smaller and not as prominently over the title logo. The Grand Comic Database couldn't decide if Frank Giacoia or Mike Esposito inked Ron's artwork. 

Planet of the Apes “Chapter 4:The Island out of time”

Writer: Doug Moench

Artist: Rico Rival

Inker: Rico Rival

Originally published in Planet of the Apes (US) #10

Cover date July 1975

(Published in May 1975)

For the third time this week the covers of the previous British weekly's are reused as the opening second part, or in the case of this Planet of the Apes tale, third part's splash page. I guess that the British Marvel editors were getting their moneys worth out of the commissioned artwork. Even with the catch up text boxes it doesn't smoothy transition into the main story. From Derek Zane entering the office of Xirinus, the orangutang leader of this mad city of apes, to confront the apes murderer Gorodon, the gorilla general, then to have the scene changed to a gorilla knight on horse back confronting Zane is quite a jump that for casual readers doesn't get explained.

Doug Moench's story does jump around a bit too, from the previous two weeks mating of H G Wells The Time Machine with Pierre Boulle's Planet of the Apes novel and the following film adaptation, to this week's choice of literature classic A Yankee in King Arthur's Court by Mark Twain, were Zane finds an Island were apes and humans live in a mediaeval world based on the knight of the round table legend. But for Rico Rival's beautifully rendered artwork, this tale under another artist would have become another butt of fans jokes like the much maligned Apeslayer. The gorilla Gawain takes Zane to see the courts leader, an orangutang named King Arthur. Zane takes up a Merlin sort of roll, with demonstrations of magic from the "modern" items found in his backpack. There's also a fair maiden in the form of a human girl called Lady Andrea. Zane is charged with performing the task of slaying a "dragon", a mutated lizard that had been terrorising the locals. Which he does, but in the process he ignites the jealousy of Sir Gawain who challenges him to a joust. Using a torch and a lasso Zane sends the gorilla knight tumbling from his horse in a most embarrassing fashion. The tournament continues next week with "Attack and Battle!"

Apes Forum

Brian Smyth from London has seen three Apes films and thought they were all very good. The second Apes feature was almost as good as the first one. He noticed that the weapons used by the apes seem to be very modern. He spotted one ape firing what might have been a Laser gun! Two weeks ago he was the only person on his estate to get the POTA mags. Since then his neighbour was spotted reading a comic. All of his life Kamal Mansour from Essex has been interested in Marvel comics and how they have done a really good job making them. Kevin Young, RFO, KOF from Rochdale writes that the Planet of the Apes story from POTA #18 was superb with a smart ending. Kevin really likes the picture of Urko on the page, facing the story. It proves that Ploog can do some fantastic artwork when he wants to, including the terrific drawing of the Forbidden Zone. 

Knowing your place on the Planet of the Apes

This article was written by Gary Gerani. It takes a closer look at Pierre Boulle's ideas and how they were developed into five ape movies and they connect to a science fiction genre. It forms quite a comprehensive essay, one that Planet of the Apes fans should take time out to read it. There's a nice smattering of images from all five films. It was originally printed in the Marvel/Curtis Magazine version of Planet of the Apes (US) issue 8, cover dated May 1975, published March 1975.

At the end of the article a sub-chapter appears listing the Apes class structure from all five Planet of the Apes films. The class structure is composed of Apes: Gorillas, Orangutangs, Chimpanzees. Humans: Astronauts in the future, 20th-Century humans, humans who enslave apes, humans who live side-by-side with apes and Mutants: Telepaths at the end of the world, revolutionists during Caesar's reign.

PLANET OF THE APES

Orangutangs Chimpanzees 

Gorillas

Humans of the time, Human astronauts

BENEATH THE PLANET OF THE APES

Gorillas

Orangutans

Chimpanzees

Humans of the time and astronauts, telepathic mutants

ESCAPE FROM THE PLANET OF THE APES

Humans of the time

Chimpanzees

CONQUEST OF THE PLANET OF THE APES

*BEGINNING OF FILM*

Humans who enslave apes

Apes

*END OF FILM*

Apes

Humans who enslave apes

BATTLE FOR THE PLANET OF THE APES

Chimpanzees

Orangutans, Gorillas, Humans of the time*

*The moral at the end of Battle is hopefully apes and humans can eventually live in harmony as the film ends with offspring of both living happily in peace.

The Power of Warlock “Day of the Prophet!”

Writer: Roy Thomas

Artist: Gil Kane

Inker: Tom Sutton

Originally published in Warlock #1

Cover date August 1972

(Published in May 1972)

The High Evolutionary contemplates whether to destroy his creation Counter-Earth or not, when he is alerted to a rocket probe launched from Earth to explore the other side of the Sun. The sci-fi concept of a twin planet on the opposite side of the Sun didn't just spring from Roy Thomas's fertile mind it had its has roots in ancient Greek cosmology. The pre-Socratic philosopher Philolaus circa 470 to 385 BC, proposed a theory of a "Counter-Earth" orbiting a "Central Fire" on the opposite side of the Solar System. The 1969 film by Gerry & Sylvia Anderson "Journey to the Far Side of the Sun" (also known by its original title Doppelgänger,) also predated Thomas's comic concept by a number of years. 

The High Evolutionary considers the dilemma with not one solution but two. One lever lets Counter-Earth vibrate on a different plane, a microsecond out of sync with the original Earth to avoid detection, while a second lever aborts his flawed experiment, disintegrating Counter-Earth. But having given his word to Adam Warlock he chooses to take the first so that the two worlds exist in sweet ignorance. Needing communion with Adam Warlock the Evolutionary summons his adopted son. Warlock levitates to the heavens and the cosmic communication begins. The scientist tells Warlock that he plans on destroying Counter-Earth, but he will not break his promise to Warlock by doing so. Warlock then tries to convince High Evolutionary that he can still bring good to Counter-Earth, but in the end, the status quo remains because of a promise. Returning to the surface, where David, Jason, Ellie, and Eddie ask him what happened. He ignores the questions but asks if any of them would like to abandon him at this point in the journey. The majority agree to not abandon him, except for Jason, who says he wants to go back. The group tries to convince him to stay, however Warlock tells them to respect Jason's decision. Ultimately Jason is persuaded. They all head towards the city and next week we will see why.

I think that the British editors of the Planet of the Apes were becoming well aware that the fill in stories for the main feature where not as well liked as the original movie adaptation. The letter page, Ape Forum could easily have been filled with correspondence from readers who viewed the dissatisfaction. Although strategically those kind of letters hadn't been printed in the amounts that they would later be. So promoting the coming of the second adaptation had become a priority. This in-house teaser even featured a mock up cover of the weekly that it would start in. Although it doesn't say that issue will be on the newsagents shelves in two week's time with issue 35. I for one will be looking forward to reading it. 

The back page also joins in with the self promotion with a picture from the second ape film, Beneath the Planet of the Apes, featuring lost Astronaut Brent, played by  James Franciscus and the chimpanzee doctor, Zira, played by Kim Hunter from the 1970 film.

The Super-heroes #14

Another John Buscema cover originally from the Silver Surfer issue 16, inked by Chic Stone. You might think that the large amount of text on the cover was added to the British version, but apart from the "star" text box that reads "36 peerless pages", all the other text lines came from the original American mag. 

Silver Surfer “In the hands of...Mephisto!”

Writer: Stan Lee

Artist: John Buscema

Inker: Chic Stone

Originally published in Silver Surfer #16

Cover date May 1970

(Published in April 1970)

This iconic image of the Silver Surfer by John Buscema has appeared in various images, I knew I'd seen it before, but couldn't quite place it. Now I know it was taken from this Stan Lee/John Buscema classic were the Surfer ponders the fragile life of humanity, who no matter what God they pray to, or what flag they follow their goal is always to gain earthly power. But power fades and crumbles to ruins and dust, when and if mankind learned to live in peace they will learn that love is the supreme power. Stan's Surfer was always a space hippie and all the better for it.

The opposite of this Marvel Jesus is Mephisto, who travels to Earth disguising himself in human clothes so he can walk amongst the humans, as he schemes to win the Surfer's noble soul. Tiring of the humans the evil demon creates a violent storm to ward off the crowds. Then Mephisto summons the Silver Surfer to come to him, with the offer of freedom from Galactus' barrier! Suspicious at first of Mephisto's intent, but the Surfer is surprised to finally be able to end his exile on Earth. Quickly he returns to Zenn-La, but finds that his beloved Shalla-Bal had been captured by Mephisto. Returning to Earth, the Surfer engages the evil entity in an intense battle which attracts the attention of Nick Fury and SHIELD. Mephisto tells the Surfer he can prevent Shalla-Bal's suffering if he agrees to destroy SHIELD. Find out what happens next week in "The epic you never expected to See!!"

Cosmic Communications

J C Ward from Huddersfield has just joined FOOM although he's been a reader of Marvel comics for a long time. He thinks the Super-Heroes is great but his one grumble is that the first X-Men story had been repeated from MWOM #49 and #50. Barry Dawson from the Isle of Wight thinks X-Men are Xtremely good. They get X-hausted with all the X-ercise they do. Barry gets very X-cited when he reads the X-Men. And here's an X-tra item. He tries to read every X-ploding issue of SMCW. John Knight from Sutton Coldfield cannot believe the greatness of Marvel's two new comics, The Superheroes and Savage Sword of Conan. The posters were brilliant, especially the Conan one. Uran Goyal from London also wants to congratulate Marvel on The Super-Heroes with the Silver Surfer and the X-Men and Savage Sword of Conan, adding that King Kull is also very good. The artwork of Big John on the Silver Surfer is excellent, together with Stan's writing it truly makes the epic great.

The X-Men “Bombastic battle with the Blob!”

Writer: Stan Lee

Artist: Jack Kirby

Inker: Chic Stone

Originally published in The X-Men #7

Cover date September 1964

(Published in July 1964)

The cover from The X-Men issue 7 is repurposed as the opening splash page for this week second part conclusion with a new title, catch-up box and a credit box, although the appearance of this page was mainly foreshadowing the X-Men's battle with the Blob. At the Greenwich Village coffee shop, Bobby Drake and Hank McCoy enjoy a taste of the Bohemian side of New York, as they try to fit in with the "way out" culture, when Warren arrives to gather the two young mutants to face the Blob and Magneto's Brotherhood of Evil Mutants.

Magneto challenges the X-Men to a fight at an abandoned factory. What follows is a set of set-plays that had become the norm for Stan Lee/Jack Kirby team strips in the early 60's. You could almost change the mutants for the Avengers or the Fantastic Four without anyone noticing. Not that it was a bad thing as readers lapped it up. Cyclops quickly showed his leadership skill as he leads the X-Men in successful counter attacks to everything that the evil mutants throw at them, including missiles. However seeing the chance to destroy the X-Men once and for all Magneto fires a second round of missiles at the group who had gathered around the Blob. Finding safety behind the bulky villain the teenage mutants survive as the Blob takes the missiles' full force. Magneto seeing that his plans have failed, orders the Brotherhood of Evil Mutants to retreat. Seeing the Blob abandoned by his teammates the X-Men offer to help the him, even extending another chance at membership, but the bulky brute refuses, as he's fed up with fighting other people's fights. The Blob returns to the carnival, leaving the X-Men to make their own way home.

Savage Sword of Conan #14

Originally from the American Conan the Barbarian issue 13, drawn by Barry Windsor-Smith. You'll notice that Conan's Rion's Pendant (the three disc pendant young Conan liked to wear.) appears once again on the cover and after last week's absence once more in the pages of this week's Conan strip.

Conan the Barbarian “Web of the Spider God”

Writer: Roy Thomas and John Jakes (plot.)

Artist: Barry Windsor-Smith

Inker: Sal Buscema

Originally published in Conan the Barbarian #13

Cover date January 1972

(Published in October 1971)

This week's tale was plotted by John Jakes, the American writer, best known for historical and speculative fiction, as well as the author of "Brak, the Barbarian". He was a member of the Swordsmen and Sorcerers' Guild of America (SAGA), a loose-knit group of heroic fantasy authors founded in the 1960s and led by Lin Carter. Brak first appeared in the April 1965 issue of "Fantastic", an American digest-size fantasy and science fiction magazine. Later the novel, "Brak the Barbarian" was published as a paperback by Avon Books in July 1968. 

Conan travels through the desert northeast of Zamahn, following events seen in the previous issue. The introduction text reads "east of Ophir", but that should be considered an oversight, since the story begins near the northern frontier of Corinthia and Zamora. I really need a detailed map of the a Hyborian Age, Conan's travels can be very confusing. When Conan is attacked by marauders of the "brotherhood", lead by the many scarred Sarkon. Out-numbered Conan is knocked unconscious and left for dead as the bandits steel his horse and sword as the thieves flee, fearing the guards of the nearby city of Yezud just on the other side of the Zamorian border. See I told you I need a map! Conan awakens much later, stumbling through the desert for a time. Fever caused by dehydration brings him a vision of a giant spider. Fighting the illusion his senses come too in time to beat off a vulture's attack. Finally he arrives at another oasis where he is helped by an elderly desert dweller, Thanix. The old man tells Conan about the priests of Omm, who worship a spider-god in the Zamoran city of Yezud, who have kidnapped his daughter, Lea, in order to sacrifice her to the creature. In return for saving his life, Conan travels with Thanix to Yezud.

Reaching the city Conan antagonises the city guards, who tosses both Thanix and the barbarian into the dungeon where all the sacrifices are kept. There, father and daughter are reunited. Conan meets Tork, a spy and engineer from Shadizar, who had discovered the city was built on unstable foundations and that a rockslide in the caverns would bring it crumbling down. Conan creates a distraction allowing Tork to escape. Thanix, Lea and Conan are brought to Modar, the high priest of Omm, for sacrifice. The gigantic spider reminds Conan of the creature he had fought in the Tower of the Elephant as seen in SSOC #4. Conan breaks free and throws the frail priest into the spider's web where he is killed. The Cimmerian is pushed into the web himself, but manages to fend off Omm. The wounded spider tries to crawl back into its cave but Conan continues stabbing the monster until it is weak enough to push down a pit to its doom. Furious Omm's worshippers attack killing Thanix. At that moment the city starts to collapse into the ground as Tork's sabotage has worked. Conan and Lea, escape past Sarkon, the scarred faced leader of the marauders, who must have been captured by the Yezud guards, but the city's destruction gives Conan no time to rescue the webbed up bandit even if he had wanted too. Tork meets up with Lea and Conan outside of the destroyed city. The young couple go to Shadizar as Conan continues his wanderings to face fresh adventures.

The Hyborian Page

Like many letters printed in the Cosmic Communications to the Super-Heroes letter page Steven Boyd from Scotland also wants to send his congratulations on the two latest mags,"Conan" and "Heroes". He reviews SSOC #1, "The coming of Conan", He writes that Barry Smith seemed to get to a pretty slow start on the artwork and the shading didn't help. But he adds that the story and script were good. Excellent, in fact. With SSOC #2  it seems that Barry is getting into his stride with the pencils. Light shading, too. Jonathan Pyper RFO, QNS from Hempstead likes the idea of the Super-Heroes mag in which you can alternate characters whenever you want. Conan is different and will attract more fans of a different nature to Marveldom. Kull, an obvious choice for a back-up story, is quite good. Stephen Wood from Glamorgan didn't think British Marvel comics would give Conan his own mag, but he's glad they did.

Thongor! Warrior of Lost Lemuria! “The demon of Zangabal!”

Writer: George Alec Effinger

Artist: Val Mayerik

Inker: Vince Colletta

Originally published in Creatures on the Loose #22

Cover date March 1973

(Published in December 1972)

This second part opening splash page uses Jim Steranko's artwork from the cover of Creatures on the Loose issue 22, keeping the story's title logo and the story title "The Demon of Zangabal!" from the original cover. Val Mayerik takes over the art chores for the rest of the story. Thongor searches for a Black Mirror in the house of the sorcerer Athmar Phong.  Thongor had been hired by Kaman Thuu to steal the mirror,

Searching one of the many dark rooms Thongor encountered a beautiful girl who tells the warrior that she has been kept in bondage by Athmar Phong for seven years as his slave. Her charms allow her to get closer to Thongor so that she can remove his talisman, the Shield of Cathloda, that had been given to him by Kaman Thuu to fend off evil. 

Thongor Warrior of lost Lemuria “Where broods the demon!"

Writer: George Alec Effinger

Artist: Val Mayerik

Inker: Vince Colletta

Originally published in Creatures on the Loose #23

Cover date May 1972

(Published in February 1972)

Update: Chapter two of the Thongor strip was actually from the next issue of Creatures on the loose #23. So I've added those detail. 2/6/2025.

Suddenly her form changes, revealing her true identity to the barbarian, as the Demon of Zangabal, who Athmar Phong had tasked with guarding his Black Mirror. Thongor fights the demon but does he have the strength to beat it when "The man-monster strikes!"? Find out next week when I'll be back with more of the usual stuff and nonsense.... 

See you in seven.

Make Mine Marvel.