Twinkle, twinkle little savage star!

 Week Ending 5th July 1975

Some comics burn brightly for years, while others only burn brightly for weeks, before they are matched with another. This blog is all about the creation of, the merging of and the end of some great comics, the "Hatch, Match and Dispatch." I revel in new mags, have mixed emotions at the merging of mags, but at least they aren't gone for ever and then there's the lamenting of a cherished childhood classic. The saddest of all, but here in the Beehive I like to look at it with positivity and what we've got here this week is some positively wonderful weeklies to read. So let dive in.

The Mighty World of Marvel #144

Herb Trimpe (pencils,) and John Severin's (inks,) cover from the Incredible Hulk issue 155 is re-used as this week's cover, with it's grotesque villain, Captain Axis, pushing many of the tropes that British comic readers would recognise from the many UK war comics that hit the nation's newsagent's shelves. It's a really great cover.  

The Incredible Hulk “The one-man blitzkrieg of Captain Axis!”

Writer: Archie Goodwin

Artist: Herb Trimpe

Inker: John Severin

Originally published in The Incredible Hulk #155

Cover date September 1972

(Published in June 1972)

The Herb Trimpe, or was it Ron Wilson, cover from last week's issue is re-used as the opening splash page for this week's second part. A fine way of getting the best out of your buck as it more or less fits in seamlessly with the story's continuity. A new credit box is added with three new recap boxes, that are beautifully written matching Goodwin's own prose. The new story title is a delicious delight, “The one-man blitzkrieg of Captain Axis!” feels so British yet filled with Marvel hyperbole. 

On a Micro-world the Shaper of Worlds has transformed Otto Kronsteig's dreams into the reality of a world conquered by nazi terror. Only the Hulk has other ideas as he leads an army of American commandos against Kronsteig in defiance. The nazi's retaliation in this nightmare world, is to imagine the reality of an "Übermensch". A concept devised by German philosopher Friedrich Nietzsche during the late 19th century, which is often translated as "overman" or "superman." Kronsteig is transformed into the equivalent of Captain America or the Sub-Mariner, heroes who opposed the German tyranny during the war, thus here he becomes Captain Axis. 

The question of who would win between the Hulk and Superbman (the alter ego of  Park Bench,) is kind of answered here, the madder the Hulk gets the stronger he becomes, while never in Kronsteig's wildest dreams could he believe he could challenge the Hulk, so with little imagination and so much doubt the lie is revealed and Kronsteig shrinks in size with his own worth. The Shaper then appears, furious with the Hulk for ruining the illusion. Pitching the Hulk's own fantasies into reality the Shaper creates illusions of his friends like Bill Wilson, Betty Ross and Jarella as well as General Ross and Major Talbot, as part of a dream world the Shaper considered the green brute would of wanted. Yet the Hulk's simple mind knowing that they weren't the real thing, lashes out at them. Unable to appease the stubborn Hulk, the Shaper of Worlds sends the Hulk back on his journey into infinity. The Shaper having become exhausted with moulding this primitive planet leaves this Micro-world, reflecting on everything that it has encountered. This classic Hulk story has been a hell of a ride, with a wonderful concept, superb script and imaginative artwork to die for, making it a story beyond my wildest dreams. The Hulk's journey continues next week, "Ending in an emerald atom!"

The Mighty Marvel Mailbag

Richard Philips KOF, RFO, from Essex describes Marvel hitting its peak with MWOM #132, he goes on to write that the power of the Hulk was shown by the great drawing of him pulling out the side of the cliff-face, adding that the Hulk is a poor tormented brute. John McCulloch from Glasgow gives his thoughts on writing to Marvel, encouraging letter writers to continue writing in because he believes that it is worthwhile, as the Bullpen reads as many letters from the readers as they can. Gary Mooney RFO, KOF, QNS from Newcastle-Upon-Tyne thinks that British Marvel mags editors are doing a grand job as the holes in the story-lines from his American mag collection are disappearing quickly. Peter Watkins RFO, KOF, QNS from London has a clever way of saying that Marvel comics are guilty of producing two more great weekly comics with the Super-Heroes and the Savage Sword of Conan. He also thinks that Steranko's cover from MWOM #129 is so great that words fail him.

Daredevil “The death of Mike Murdock!”

Writer: Stan Lee

Artist: Gene Colan

Inker: John Tartaglione 

Originally published in Daredevil #41

Cover date June 1968

(Published in April 1968)

There's no splash page for this week's second part, instead the original tenth page is kept with a new story title squeezed smartly into the first panel and a credit box slipped into the second. Daredevil has returned to his own reality but still a micro-second out of sync, with his super-senses shaping the world around him. With incredible imagination from Stan Lee, if not any creditable scientific theory Daredevil uses his billy club cable at high speed to hook a speeding car, holding on for dear life he manages to pull himself out of limbo and into the correct time frame.

The stunt works but his costume is shredded in the process. No fit hero can fight crime when looking like a tramp so he heads home to pick up his spare costume. Karen Page is there so Daredevil acts like Mike Murdock and while talking to Karen he hatches a plan to get rid of his pointless fake alter ego. Following the unique sound of the Exterminator's T-Ray generator he finds the lair of the Unholy Three, just in time to rescue Foggy. Daredevil wades through the super villains, taking him closer to the T-Rays master control so that he can then short out the "time mechanism", by almost too simply the pulling of a lever which causes a large explosion seemingly killing the Exterminator. With the machine's destruction, Debbie returns to normal at the office of Nelson and Murdock. Wanting to be rid of his Mike Murdock identity, DD rips the "DD" emblem from his chest, allowing Foggy to believe that Daredevil died in battle, when he finds it in the wreckage of the Exterminator's lab. Personally I'm really glad that the Mike Murdock identity has been binned, it was a stupid idea that solved no plot lines but created an incredible unbelievability in the story with its crap soap opera mentality. It took the story no where other than a dead end. Mike Murdock RIP (Rubbish Ineffective Plot). Will it mean the end of the Man without fear? Find out in next week's "The New Daredevil!" OK so I guess it won't.

The Fantastic Four “What lurks behind the Beehive? Part two”

Writer: Stan Lee 

Artist: Jack Kirby

Inker: Joe Sinnott 

Originally published in The Fantastic Four #66

Cover date September 1967

(Published in June 1967)

The Jack Kirby and Joe Sinnott's Fantastic Four issue 66 cover makes this week's second half symbolic opening splash page with all the usual bits and bobs added. In the Beehive an explosion prompts the Enclave troops to race to Lock 41 to contain the danger. The scientists explain that they have been working for years to create an artificial life-form, but their creation broke free from its tank and hid itself deep inside Lock 41, using its fantastic powers to force everyone out with it's blinding light. Alicia's blindness means that it won't have any effect on her.

The Thing returns to Alicia's apartment with some flowers but discovers his teammates already there, with Reed setting up his Heat-Image Tracer, a device that can measure and project heat patterns from the near past. Reed hopes to reconstruct what happened to Alicia. After scanning the room, they replay what they have captured and witness her leaving through a wall with an oddly dressed stranger. At the Beehive, Alicia and Hamilton begin suiting up to enter Lock 41. Inside, they push through the rocky terrain until they are held back by a flaming barrier. At the Baxter Building Reed closely examines the footage he has captured, he notices that the stranger was using a "Space Warpers wrist band"  and believes he can replicate the devices. Back at the Enclave, Alicia and Hamilton prepare as the creature known as Him begins to approach them. "The Power of...Him!" is not only a sensational title but its a great teaser for next week. Now where have I heard something like that title before?

Now I half expected that there would be some serious news on Marvel's greatest savage star this week, more on what I expected later in this blog. But what we did get was "An informal history of the Thomas and Smith Conan." We are told that  Comics are all about storytelling and the modern comic-book writer and artist, whether working in tandem or on their own, are the modern equivalent of the wandering troubadour who used to roam the countryside singing a song of the glories of Camelot and the fall of the many-towered Troy, or of the Irish bards and poets who told of Cuchulain and Conchobar. When Marvel Comics acquired the rights to continue the sorcery-laden saga of Conan the Barbarian, who descended from the high windy hills of Cimmeria to sit the throne of proud Aquilonia, Roy was pleased to toss the artistic end of the chores to one Barry Smith, who was just beginning to make a name for himself in Britain. Barry like Roy, had a deeply-felt interest in telling a story, not just in peopling a lot of panels with well-drawn vacuities and meaningless displays of technique... this was a simplified view of Roy Thomas's epic dissertation of the Hyborian hero which will appear in a splendid 100 page full colour masterpiece, news of which will appear next week. The text seen in the promo featured originally in the inside front cover of the fourth Marvel Treasury Edition, which this in-house advert is promoting and continues on the inside back cover of that classic. The portrait in the circle panel is of Barry Windsor-Smith, I can't be sure who drew it, my gut tells me it could be Gene Colan, Michael Golden or Marie Severin, but they could all be wrong. The right-hand side image of Conan was originally from the Marvel/Curtis magazine Savage Tales issue 3, cover dated February 1974, published October 1973, it was designed by Anthony Baslie and used again in the Marvel Treasury Edition issue 4. This teaser also appears in this week's Avengers weekly, Dracula Lives, the Super-Heroes and the Savage Sword of Conan.

Spider-man Comics Weekly #125

Ron Wilson created this cover especially for this week's Spider-man Comics Weekly as the original American cover is used on next week's weekly. This cover focuses on Spider-man's origin that gets retold by Stan and John in the first part of this story, so this necessitates the inclusion of Uncle Ben, Betty Brant and a spectacled Peter Parker's floating head around a posing Spider-man. The head banner reads that Thor's true origin will be revealed in this issue, making hints that this week's mag was a little bit of an origin issue. It is strongly believed that John Tartaglione inked Ron's work.

Spider-man “On wings of death!”

Writer: Stan Lee

Artist: John Romita Sr.

Inker: John Buscema

Originally published in the Amazing Spider-man #94

Cover date March 1971

(Published in December 1970)

Even if British Marvel readers couldn't get their hands on an import copy of the Amazing Spider-man #94 they could have already read this classic Spider-man tale in the Marvel Annual 1974 from the winter of 1973/74. That annual had been my first experience of Spider-man and Marvel comics, so you'll have to forgive me if the sentimentality of it colours my opinion. It is by far the greatest Spider-man tale, encapsulating Peter Parker's teen teenage angst, while showcasing Spider-man's ability to get in and out of troublesome situations on a super-hero action level, but more on that in next week's second part.

With Peter down hearted with the absence of Gwen Stacy from his life, after she has left New York to spend time with her Uncle and Auntie in Britain after the death of her father in SMCW #118, who she blames Spider-man for. Peter's anxiety gives Stan Lee and John Romita Sr. the perfect opportunity to retell Spider-man's origin, because of my biased love of this version I see it as the genuine article, surpassing Steve Ditko's original, I have to shamefully admit. Lee and Romita simplify and soften the tale, adding heart and emotion while tipping a nod to Ditko's nine panel pages when re-telling his creation, although a six panelled page sneaks in when Peter becomes the TV sensation. I love the cast of villains splash page summing up Spider-man's rogues gallery, its worth noting that Ditko created six of the eight, yet Romita has almost made their design his own. Peter bumps into Betty Brant, used here to rub salt in his emotional wounds as he remembers that she was the first girl he ever loved before Spider-man forced them apart.

In one panel Romita features Peter's cast of friends that the artist shaped into people who meant the most to Peter and who the readers care about. Peter heads to his Aunt May's house, hopefully to get his head around all his problems, totally unaware that above him Spider-man's arch villain the Beetle flies past looking for an easy shop to rob. For the super-powered armour of the Beetle it's like steeling candy from a baby and it's ironic that the shop he chose was a candy store. The Beetle and his target could make him a figure of fun. His costume is so Ditko-like, a bullet helmet, big steel wings and long gangly suckers on his hands, but Romita breathes more life into the character than the villain deserves, making him a dangerous power house, more than the police can handle. As much as I love Peter Parker's teenage problems, I get a real kick out of Spider-man's web-slinging adventures, so I'm buzzing to read next week's conclusion.

The Web and the Hammer

Marcus Everett thinks that the shortage of Spider-man pages in SMCW #106 was "Disgusting appalling" and "rubbish!" He would prefer it if Iron Man was removed so that Spider-man could have more pages. M Vines from Berkshire writes that Spider-man went through a sticky patch back around SMCW #88, but now he's back on top. M can't understand why many people write in saying that Iron Man is no good, as he thinks he's just fine. Martin RFO, KOF, from Birmingham has an almost complete collection of British Marvel comics, but he would appreciate it if anyone has a spare SMCW issue 11 to complete it. Timothy Stubbings from Oxfordshire Writes about Aurora models, saying the Spider-man one looks great with the web-slinger "duffing up" Kraven. Timothy would be happy to get readers one of them  if they send him a letter with a postal order for 89p, which is for the price of the kit and 20p for postage. Gareth Bowen from South Wales thinks Spider-man is his favourite super-hero because he is so true to life. If there were such a person swinging about in New York City he would probably experience such problems as Peter Parker does. Terry Laaveley RFO, from London liked the Spiderman suit he saw on Magpie and wondered if they would be able to buy these suits in our shops. Sadly the outfit was made especially for the show.

Iron Man “The origin of Iron Man”

Writer: Archie Goodman

Artist: Gene Colan

Inker: Johnny Craig

Originally published in Iron Man #1

Cover date May 1968

(Published in February 1968)

This week's issue of SMCW is a bit of an origin special, what with Spider-man's origin earlier, this interlude and a look at Don Blakes involvement with Thor's origin later. There must have been three pages that needed filling for this one. It didn't need re-telling and originally this strip was used in the launch of Iron Man's solo comic a year after the Iron Man versus the Melter story whose second part is featured next. This abridged version repeats Iron Man's origin from SMCW #50, but this time told by Archie Goodwin and Gene Colan in a concise and smart way.

Iron Man “Final showdown with the Melter!”

 Writer: Stan Lee

Artist: Gene Colan

Inker: Frank Giacoia

Originally published in Tales of Suspense #90

Cover date June 1967

(Published in March 1967)

The cover from Tales of Suspense issue 89 is repurposed here as the opening splash page to this second part story with all the usual bits and bobs added. It works as a fine bridging piece, but the next page's first panel shows Tony Stark ready for action in his original golden armour. The Melter is holding off the Police with his newly re-designed melter gun when Iron Man arrives. 

The old armour is heavy and slow, but Iron Man's tactic is to keep the Melter on the offensive so that he will consistently fire his new weapon. Tony Stark knows that with the design flaw he had built into it, it will over heat burning the villain's hand. The melter drops it to the floor. Iron Man finishes it off by crushing the hot gun in his metal hand. The police take the villain away. Look I know these early Marvel tales from the sixties can be short and charming, all about action, less about plot, but didn't the Melter's head gear fire rays that could melt metal too earlier on? Has Stan and Gene forgotten about that already. Oh well, next week "The Crusher!"

The Mighty Thor “The answer at last!”

Writer: Stan Lee 

Artist: Jack Kirby

Inker: Vince Colletta

Originally published in The Mighty Thor #159

Cover date December 1968

(Published in October 1968)

This story examines the question that was left unanswered from Thor's origin, "Who is the real Don Blake?" To find the answer the reader joins Doctor Blake after completing surgery, he begins to ponder about the secrets of his double identity. Namely, is he really Thor or Donald Blake? And if he is the latter, what happened to the original Thor? As he falls asleep his mind drifts into a dream about going to Asgard as Thor and asking Odin for the answers that have been plaguing him. The dream becomes reality as the omnipotent Odin senses that it is knowledge that Blake craves and knowledge he shall have. Blake awakens as Odin appears before him to recall the truth of what happened to Thor many years ago. 

Odin tells him of a time when Thor was brash, arrogant, and reckless. One day while chasing a bird-beast, the Thunder God trespassed into Niffelheim, the realm of the Storm Giants, violating a truce between Odin and the giants. This led to a confrontation between Thor and an army of giants, beautifully rendered by Jack Kirby. Pages and panels that are worth the price of the comic alone even at today's inflated prices. Balder arrives and Thor tells his friend what sport lies in store for them if he enters the fray. But not so as he has been quested with pulling Thor from the fight, citing that the Thunder God was at fault for trespassing and at fault for the conflict. Balder would have him turn from combat, so that he would honour the royal treaty. Thor's hammer affords them safe passage, but next week Mjolnir won't be able to protect him from Odin's rage.

Avengers Weekly #94

This symbolic cover by Gene Colan's was originally from the US edition of the Avengers issue 64 and apart from the slight differences in colours, particular Yellowjacket's costume, which in the American cover features his top coloured yellow, here it's more suitably grey, much of it remains the same. The Grand Comics Database lists George Klein as the inker, yet the Marvel.Fandom.com lists no inker at all.

Master of Kung Fu “A small spirit slowly shaped...”

Writer: Doug Moench

Artist: Ron Wilson, Ed Hannigan and Aubrey Bradford

Inker: Sal Trapani

Originally published in Master of Kung Fu #28

Cover date May 1975

(Published in February 1975)

Shang-Chi visits a penny arcade to "observe" the attraction of the games with their lights and noises. Black Jack Tarr and Clive Reston arrive telling him that Sir Denis Nayland Smith has been kidnapped with the only clue is a bamboo tube. Shang-Chi realises how it can be opened. Inside it he finds a note that is addressed to him and reads "we will talk under the tree where a little spirit was slowly shaped." Shang-Chi concludes that it didn't come from his father, but from his sister Fah Lo Suee.

Memories recall eight years ago when his father led him to a tree in the courtyard of his fortress in China, to meet his half sister for the second time. Fah Lo Suee showed him a bonsai tree and asked which was more beautiful: the small tree, meticulously trimmed, or the large tree, shaped by nature? Shang-Chi could not make a choice as the large tree is overwhelming in size, but grows freely, while the small tree is intimate and shaped to conformed to one's personal vision of beauty. Fah Lo Suee points out that there is beauty in both large and small, much like his spirit that is shaped as he grows or is it directed and moulded. But is his choice to be shaped by time or the hand of man. Shang-Chi flies with Tarr and Reston to China, but once arrived Shang-Chi slips away from them so that he can break into his father's fortress, where he finds Fah Lo Suee on Fu Manchu's throne. He follows her to the courtyard where she sits under the tree so that they can talk. The art from Wilson, Hannigan and Bradford isn't anywhere near as good as Gulacy or Buscema, but Doug Moench's writing and plot more than make up for that, making me hungry for next week's second half.

Assemble!

Andrew Greenwood from Preston writes that all the merry Marvel mags are wizard, with fantastic stories and art. John Romita is his favourite artist, along with Gene Colan. Graeme Wolfe from Surrey has been thinking up some puns to sigh off with, they are, Till Dracula becomes a blood donor; Till Conan passes his "A" levels; Till the Silver Surfer gets sea-sick; Till Sand-Man gets beached; Til Dr. Doom uses after-shave; Till Dr. Strange runs out of rabbits; Till the Green Goblin gets VERT-igo; Till Daredevil goes on the blink; Till Iron Man needs a tin-opener. Simon Bergish from Essex would like to see the X-Men or the Silver Surfer replace Doctor Strange. I think the Super-Heroes is the comic for Simon. C Titcombe from Surrey stopped reading comics for a while but after finding Marvel comics in a newsagent the memories came flooding back so he started again. However to his dismay he discovered Iron Fist and Shang-Chi, who he describes as "two horrible characters," who should never be called true super-heroes. David A Jakubovic RFO, from Blackburn describes the Avengers weekly, especially with the

Martial Arts heroes, as by far the best mag yet. Adding if only it wasn't spoilt by Doctor Strange. David can't see why Marvel doesn't like Marvelites informing other Marvelites about things that will happen in the future! Those readers have got info from the American issues and want to spill the beans. He thinks that knowing what they're in for would be good. Hasn't David heard of Spoilers? Bonzo St.Field (I'm not sure that's their name but it's all I have to go with,) from Poole agrees with Neil Sneddon's letter from Avengers weekly #83, saying "You've gotta get rid of this Kung-Fu guff!" adding that "Kung Fu is a farce, nothing more than a twisted trend."

The Avengers “Like a death ray from the sky!”

Writer: Roy Thomas

Artist: Gene Colan

Inker: George Klein

Originally published in The Avengers #64

Cover date May 1969

(Published in March 1969)

Back in the early days of "the Marvel Way" story titles were added after the art was created, but Thomas would at times write the title at the same time as the plot. This time he added the nursery rhyme "Twinkle, twinkle little star..." which Gene Colan incorporated into the opening three pages, cumulating with the wonderful misquoted title "Like a death ray in the sky!" 

After testing his new death ray, from his orbiting space station Egghead makes an ultimatum demanding the United States agree to his terms. Listening to the news report the Avengers plan their next course of action just as Black Widow and Goliath enter the room, The pair fill their teammates in on last week's event that had sent the Avengers on a wild goose chase looking for the Widow, while Hawkeye had donned the new Goliath outfit and taken Hank Pym's latest growth serum. 

 Suddenly a signal from Jarvis alerts them that a visitor will be coming in. The heroes don their masks in time for their butler to introduce Barney Barton, who is known to the Avengers as a mob leader, but unknown to them as also Goliath's brother. Barney was in charge of various rackets and at one time employed by Egghead. Barton had been approached by Egghead with details of his space station, including its coordinates, with hope that Barton and his gang join them as his army. Barton doesn't agree to join him as he hadn't spent time building up the city's rackets to turn it all over to a would be Hitler. Knowing that the knowledge Barton possesses could spoil his plans the super-villain sends an android after him. By luck and guile Barton makes his way to the Avengers mansion. The Avengers don't completely trust him but with little else to go on they have to believe he's telling the truth and take his offer of aid.

Doctor Strange “The spawn of Sligguth!”

Writer: Archie Goodwin

Artist: Barry Windsor-Smith

Inker: Frank Brunner

Originally published in Marvel Premiere #4

Cover date September 1972

(Published in June 1972)

When I think of the writers who shaped my love of early seventies Marvel, like Lee, Thomas, Moench and Wolfman, Archie Goodwin doesn't instantly come to mind. Yet with his current run on the Hulk and this week's Doctor Strange plot and script I might have to adjust that opinion somewhat. Barry Windsor-Smith's art helps my appreciation of this story as well. Oh and don't forget Frank Brunner's inks are perfect too. 

After last week's adventure finished with a dark figure watching the Doctor's return. Once he enters his Sanctum Sanctorum Doctor Strange senses an unknown presence in his study. Confronting him he introduces himself as Ethan Stoddard who has come seeking Dr. Strange's help. He explains that his fiancée Bethel Doan had grown up with him in the New England town of Starkesboro, where they attended the Salem State College together. Beth's thesis was on the occult arts, with some of her research on Doctor Strange himself. She returned to her hometown to continue her studies in particularly the occult book the Thanatosian Tomes. Suspicious of Stoddard's story Strange uses the Eye of Agamotto to probe his mind and memories. The next day the Doctor and Stoddard travel to Starkesboro to discover an eerie town whose freakish townsfolk are called to a midnight mass at a local church. Strange meets with the Ancient One on the astral plane to discuss the book, the Thanatosian Tomes, which tells of a cosmic obscenity that slumbers and of a cult of a lost race that waits for its slumber to end. The Ancient One warns his disciple that there are forces moving over the globe, whose power is older and maybe more powerful than theirs. This tale continues next week.

Dracula Lives #37

This cover by Gil Kane (pencils,) and Tom Palmer (inks,) originally from Tomb of Dracula issue 17 has had a British Marvel make-over in that the back-ground has been re-coloured bright orange, rather than the more mute grey, green and blue. Bright colours sell to young readers and British Marvel mags revelled in it. 

Dracula “Murder on the Transylvania express!”

Writer: Marv Wolfman

Artist: Gene Colan

Inker: Tom Palmer

Originally published in Tomb of Dracula #17

Cover date February 1974

(Published in October 1973)

Last week's horrendous cover is re-used as this week's second part opening splash page and let me tell you it hasn't improved in seven days. The title is a clever one though. Dracula is travelling on a Transylvania-bound train where he feeds on a woman whose screams attract the attention of Drake, Van Helsing as well as two other passages, Gruber and Granet. Dracula flees in his mist form before Frank and Rachel arrive. Dracula curses his mistake only to be interrupted by the arrival of Gruber and Granet who followed Dracula to his room. They trick him into opening the door by posing as the porter. Granet shoots Dracula with a gun. But the pathetic attack is laughs off by Dracula who easily knocks Granet aside.

Thinking that Granet and Gruber are in league with Harker, Dracula kills Granet by throwing him from the train, before he can explain who he really works for. Gerber flees the scene. Dracula follows him, but then runs into Drake and Van Helsing. He easily manages to get past the two vampire hunters in the tight quarters of the train. He tells them that he will meet them again at Castle Dracula, where he will see to their doom. When Dracula corners Gruber, the courier says that he is charged with protecting important documents for his master. Dracula scoffs at the importance a mere mortal's paperwork would be to a vampire. Upon hearing that is attacker is a vampire, Gruber fearfully leaps through  a window to his own death. Before any sense can be made of what happened, Van Helsing appears with a crossbow and attempts once more to stake Dracula. The vampire flees into the night sky. Back down the line, the body of Gerber is found by a man who reports in on radio that Herr Granet and Gruber are dead as ordered and that the case has been retrieved, just as Doctor Sun had commanded. Next week a cross over that would make Universal Pictures proud as the dark lord meets the Werewolf by Night.

Letters to the House of Dracula

Gary Kajdaneh from Hampshire describes MWOM and Dracula Lives as perfect, SMCW is very good, the Avengers weekly is quite good, SSOC isn't bad and the Super-Heroes is the best of the lot. Gary doesn't like Planet of the Apes, calling it the worst mag Marvel sell. Dave Woodcock from Coventry thinks Dracula Lives is great but could be even better if Frankenstein was taken out and replaced by Morbius. Mark Island from Wiltshire thinks Dracula Lives is fantastic with Gene Colan's artwork really doing justice to Dracula. I have to say the next letter is a weird one, David Young RFO from Surrey writes "I am writing this letter to you to let you know I can write. In order to save a stamp, if you do not need to know this information will you please contact me saying so and I will not bother to send you this letter." He then goes on to say that he's a fast writer and asks if the editors are slow readers. In truth I'm not sure what his letter is all about, maybe he was trying to psych out the editors or just confuse them.

Werewolf by Night “Death of a golden dream!”

Writer: Marv Wolfman

Artist: Mike Ploog

Inker: Frank Chiaramonte

Originally published in Werewolf by Night #14

Cover date February 1974

(Published in November 1973)

The original US cover from Werewolf by Night issue 14 is used as this week's second part opening splash page with a couple of re-cap text boxes to help readers get up to date with the story. To save his step father Jack Russell must return to Taboo's lair and somehow retrieve his stepfather's mind from the mutated monster called Algon. On the way Jack's car is chased by another car driven by an agent of the Committee. They drive their car at Jack's stalled car, forcing them both off a cliff. Jack leaps onto a tree branch saving his own life. 

Jack makes his way to Taboo's mosque, who has responded to Topaz's betrayal by using the Skull of Daimon to take direct control of her soul and complete the spell to give Algon the power of transmutation. The second night falls and Jack transforms into the Werewolf once more. Taboo commands Algon to use his new powers to transform the Werewolf into gold, as now everything Algon touches turns to gold. When a transmogrified statue becomes too heavy it falls, crushing Taboo under its weight. The Werewolf knocks Algon into the Skull of Daimon, killing him and in the process freeing the souls of Topaz and his step-father. The next day, Jack learns the true story of his mother's death from his step father. Philip is Jack's father's brother and it was the Committee who were responsible for his mother's accident after Philip attempted to stop their blackmail payments. After reconciling with his uncle/step-father, Jack leaves with Topaz for Transylvania, to visit the Balken village where his father had died. Next week a supernatural team-up of horrific proportions. 

Frankenstein’s Monster “Codename: Berserker!”

Writer: Doug Moench

Artist: Val Mayerik

Inker: Bob McLeod

Originally published in The Frankenstein Monster #16

Cover date May 1975

(Published in February 1975)

Following on from last week, Eric Prawn had rescued the Monster and his friend, Ralph Caccone, from the New York warehouse headquarters of ICON, (International Crime Organisation Nexus,) a shady criminal organisation whose intention was to create an army of super-soldiers, using the template of Frankenstein's Monster to perfect the process. Now Prawn's true intent is revealed has he holds the Monster and Ralph at gun point to cash in on his client, the last surviving relative of Frankenstein, who will pay handsomely for their ancestors creation.

Prawn's skills extend to driving and later piloting an aircraft while having his gun fixed on the Monster and Ralph as he transports them to Switzerland, arriving at the Swiss Alps chalet of the last descendant of Frankenstein. Having never met his client, Prawn is shocked to learn she's a woman and even more to learn she's a scientist. Doug Moench and Mayerik wrap this monster strip in scenes that could easy fit a James Bond movie. Veronica Frankenstein is both beautiful intelligent and mysterious. You are left thinking is she a typical villain, in the mold of a Bond villain or does she genuinely have more layers. Despite Cardinal's claim that she only wanted to destroy the Monster to remove that shame from her family's history, Veronica Frankenstein assures them that her path to atonement lies through aiding the Monster. 

Although the Monster seems docile, Prawn states that he is intelligent, which is confirmed by Ralph. She notices that the Monster is silent and is unable to speak. Gently she asks the creature if he would like to speak again. To which he nods affirmatively with joy at once more regaining the ability to communicate to express joy, sadness and the injustice that has been heaped upon his soul. She orders her assistant, Warner, to prepare the lab for the operation. During the operation Warner sneaks away to fire a flare out of a window, betraying them to Cardinal and Indigo from ICON who have arrived by helicopter, with a small force of assault troops. Continued next week.

Planet of the Apes #37

Another generic ape cover from Ron Wilson that doesn't fit perfectly with the current Planet of the Apes story, but I guess the necessity and speed of requirement meant that it was another quick turn over. I wonder if a photo cover could have been used, but would that require extra expense. Mike Esposito inked Ron's cover.

The inside front page features a full page advert for realistic, moveable figures from, at the time, TV's favourite shows. This was years before Star Wars toy mania took off. From Palitoy a chance to create your own real life adventures with realistic looking characters from two of TVs cult classics, Planet of the Apes or the original Star Trek TV series. You could foil the clever apes as they plan to ambush a lost astronaut. Notice that there was only one human, so maybe it was intended to be from the film version of the Planet of the Apes. Or have the crew of the Enterprise in their fight against the war like Klingons. From Planet of the Apes the figures looked like General Ursus, Zira and Cornelius with a generic looking astronaut. As for the Star Trek cast, Bones, Mister Spock, Captain Kirk and Scottie are listed with a generic Klingon, those were the days before they had a Cornish pasty fixed to their forehead. Artist Frank Langford drew this advert, the British artist known for his work on Lady Penelope for her own comic, Doctor Who for Countdown in 1971 and TV Action in1973. Also about the same time he drew romance comics for DC in the US. As well as comic strips he produced a number of advertisements like this one as a sideline. These posable figures were eight inches tall with moveable arms and legs. I'll be honest I never owned one or even remember seeing one in any toy shop. I guess I was more interested in toy cars and comics. This week's Super-Heroes comic also carried this advert.   

Planet of the Apes “Enslaved”

Writer: Doug Moench

Artist: Alfredo Alcala

Inker: Alfredo Alcala

Originally published in Planet of the Apes (US) #7

Cover date April 1975

(Published in February 1975)

This second part opening page is exactly like it appeared in the American Marvel/Curtis magazine. However the US version had the name of the writer and artist at the bottom of the page in plain text, while in the UK version it is absent. Possibly because this page was scanned from the original board and the credits were added later. This first page replays the cliffhanger from last week were Nova and Brent hide in the undergrowth after listening to General Ursus discussing invading the Forbidden Zone, when the astronaut breaks a twig, attracting the attention of a passing gorilla soldier. 

The gorilla wildly shoots into the bush, scaring a bird, but the bullet gashes the shoulder of Brent. Nova takes him to the home of Zira and Cornelius where after some stunned dialogue about discovering another talking human Zira dresses Brent wound. Even though it hurts she reassures the human that she is a trained vet. After explaining their previous encounter with Taylor and where he had traveled to there is a knock at the door. Hiding the humans away Cornelius opens it to reveal Doctor Zaius. Zira pretends that the blood and bandages were for her as Cornelius had hit her for her bad behaviour at the earlier meeting. Zaius warns that there is a dangerous force somewhere in the Forbidden Zone and he with General Ursus are leaving to investigate it. He asks Zira and Cornelius to become the guardians of the higher principles of science in his absence. If he fails to return the whole future of the ape civilisation will be theirs to preserve or destroy. He adds "so think well before you act." More ape and human adventure next week.

Apes Forum 

Mark Powell from Surrey writes that Terror on the Planet of the Apes is brilliant thanks to Doug Moench's brilliant plot, in which the Apes as portrayed as both heroes, like Alex, The Lawgiver, and Gunpowder Julius and villains like Brutus and his mob. It also showed that the apes were every bit as "Human" as the humans themselves. As well as the quality writing Mark credits Mike Ploog and Frank Chiaramonte as doing a fine job. Mark Warren from Suffolk thinks that POTA is a great magazine but critics some of the poorer stories like "Enter: the machine age." Ian Sheppard from Essex thinks that POTA is the best comic you can buy, especially with the great interviews. He would like to know if there is a book on how to draw Apes, as he's been drawing them for ages and keen to learn more.  

The Power of Warlock “The Apollo eclipse!”

Writer: Mike Friedrich

Artist: Gil Kane

Inker: Tom Sutton

Originally published in The Power of Warlock #3

Cover date December 1972

(Published in September 1972)

Adam Warlock and his four young friends sail a motorboat on the ocean off the coast of South California. Why they do that you'll have to ask Mike Friedrich or Gil Kane. Maybe because it just looks good. Warlock is hit by lightning and levitates in the sky, summoned by the High Evolutionary to recap events from over the last four stories. 

After their discourse Adam falls back to the boat, landing unconscious on its deck. Unaware that from the murky depths of the ocean a dark sub-marine rises like a killer shark, commanded by one of the Man-Beast's lieutenants, Apollo. Warlock awakes, crackling with energy he leaps into the Ocean ready for battle with the latest threat. Evading torpedos fired from Apollo's vessel, Warlock has to wrestle metal octopus-like tentacles that strangle him tighter and tighter! Breaking free from their bondage, Adam Warlock next faces oily black smoke released by the sub-marine which burns Adam's eyes. Can he escape and if he does will he survive the battle with Apollo? Find out next week.

 

The Apes on TV

Another promotion for the Planet of the Apes TV series that may have been repeated on some ITV regions at the time. The photos used show General Urko searching for astronauts fugitives Virdon and Burke, while the chimpanzee Galen joins the two humans in the ape city.

Golden Voyage of Sinbad “Land of the Lost”

Writer: Len Wein

Artist: George Tuska

Inker: Vince Colletta

Originally published in Worlds Unknown #8

Cover date August 1974

(Published in April 1974)

Continuing the adaption of the film The Golden Voyage of Sinbad, starting with a preview of Sinbad's future adventure, followed by a recap of the last two week's events, in  which and his crew discover the island of Lemuria and it's lost temple. But they are followed by the evil sorcerer Prince Koura. 

Koura leads his men into the Temple of the Oracle. Confronted by Sinbad and his men the two factions fight, but Koura doesn't play fairly as with the use of magic the sorcerer animates a giant six-armed statue of the goddess "Caro". In the film the Goddess is called Kali, the short version of Kalika, who in Hinduism is a major Goddess, primarily associated with time, death and destruction. Sinbad's crew take on the statue, but many fall to its slashing blades. When young Haroun falls Caro turns to deliver the death stroke, but this momentary distraction is all that Sinbad requires to strike, pushing the statue from a ledge to shatter on the ground below, revealing the third hidden amulet. Sinbad's victory is short lived as Prince Koura marshalls the strange savages to attack Sinbad and his men after their Goddess had been desecrated. Join me next week for the exciting conclusion of the Golden Voyage of Sinbad!

The Super-heroes #18

John Romita Sr.'s cover from the Silver Surfer issue 5 (US edition,) is re-coloured for this UK comic with the Stranger appearing with the full colours of his costume revealed, while the American version it appeared in shadows of blue and grey. The sky behind the alien elder of the universe glows in an orange hue, originally it was seen blue. Was this another sign that brighter covers sell better in Great Britain. I think this version is stunning so am going to make it my Cover of the Week.

Silver Surfer “...Comes a Stranger”

Writer: Stan Lee

Artist: John Buscema

Inker: Sal Buscema

Originally published in Silver Surfer #5

Cover date April 1969

(Published in January 1969)

Last week's cover by Kieth Pollard and Mike Esposito is repurposed as this week's Silver Surfer second part opening splash page. And why not, it's too good to use just once. A new credit box, recap box and a short but simple new title is added. After recapping events that took place in the X-Men strips from the Super-Heroes #15 and #16 the Stranger approaches the Silver Surfer, warning him that he intends to plant a Null-Life bomb to destroy humanity before they can spread like an infection through the cosmos.

The Surfer returns to Earth in order to save mankind. He tells Harper of the threat, who then goes to warn the police, but no-one believes his story of the alien bomb. The Surfer and Harper search for the bomb, with Harper taking a portable geiger-scope to detect the bomb's radiation. Zeroing in on the bombs location the Surfer leaves Harper to find the Null-Life bomb, while he seeks out the Stranger. Upon finding him, the two of them engage in combat. Meanwhile, Harper must escape an angry mob of locals who are suspicious of his device and his claims of an alien attack. With desperate determination the physicist breaks free from the maddening crowd to continue his search. Once he finds the bomb he begins to dismantle it. But the device is booby trapped, it begins to emanate lethal toxic vapours that slowly start to kill Harper. However, for the sake of mankind with his last breath he disables the bomb. Sensing that his bomb has been neutralised, the Stranger accepts defeat, leaving the Earth unharmed. The Surfer tracks down his friend's body, giving him a proper burial, as a tribute, he leaves an eternal flame at his grave site. I really love this tale, it was so refreshing to have a normal human become the saviour of the world, rather than a costumed hero.

This Marvel Masterwork pin-up of Marvel Girl sees her demonstrating her telekinetic powers in Professor X library, with the handwritten tag line, "All my love- Marvel Girl". I have no clue who drew it, it could well have been by a British artist as the fine pencil and ink line work looks nothing like any American artists I can recognise from that time. If you look very closely at Marvel Girl's right foot that is just tucked behind the desk, there above the shadow is a signature. As far as I can make out it reads KATY or it could be PATY. Whether that's a name or a set of initials I don't know. Any answers or sensible guesses let me know. 

Cosmic Communications

Brett Grainger KOF, RFO, QNS, from Staffordshire writes in appreciation of the two brilliant new mags, the Super-Heroes and Savage Sword of Conan. He writes that SSOC could not be better, but has a suggestion for the X-Men strip, couldn't after introducing their foes the next 30 or so issues of the American run could be missed out to get to the better stories that feature the Sentinels and Factor Three. Brett asks who will replace the Silver Surfer when his material runs out? Will it be Captain America, Captain Marvel or the Defenders? The editor says all will be revealed in time. Another reader who is curious about the future Silver Surfer's replacement is Christopher Phillips from Staffordshire, who like Brett points out that there were only 18 issues of the Surfer's American mag. Christopher says that the only really long running heroes are Captain America and the Sub-Mariner. He does live in hope that the Surfer may regain popularity in America and another go at a comic for him could in the future be printed in the UK after Cap and Namor's time has run out. The editor likes his logical suggestion, but there's one big difficulty as the Silver Surfer was one of Stan's pet projects and he has never been able to give the nod for another writer to take over the scripting. And at the moment, Stan doesn't have the time to do any Silver Surfer scripting himself.

The X-Men “Continuing...the origin of Professor X!”

Writer: Stan Lee

Artist: Jack Kirby

Inker: Chic Stone

Originally published in The X-Men #12

Cover date July 1965

(Published in May 1965)

The cover from the original US X-Men comic, issue #12, by Jack Kirby with inks by Frank Giacoia, is re-used as this week's second part opening splash page, keeping the original comic title logo and the two top text boxes as story titles and description. A new credit box and catch-up box have been added. Outside the mansion, Cain breaks through the X-Men's makeshift defences.

The Professor has just enough time to tell the final part of his story. Cain and Charles were enlisted in the military and had been sent to fight in the Korean War. Under fire Cain had deserted, seeking refuge in a cave. Charles rushed after him in an attempt to save him from a court-martial only to find they had stumbled into the long lost temple of Cyttorak. There in front of an ancient idol sat a giant red ruby. The greedy Cain grabbed a crimson gem. Upon reciting the inscription and contact with the gem Cain was transformed into a hulking form. Bombing from the outside caused the cave to collapse burying Cain under tons of rock. Charles was lucky enough to escape. Finishing his story, Charles realises that Cain had finally dug himself out from the cave seeking revenge on his step-brother. The front doors of the mansion are made from near impervious steel, but to the X-Men's surprise, Cain is able to smash through them with ease. Knocking the X-Men aside he reveals himself for the first time in years, garbed in a special mystical armour. The Professor calls him a human Juggernaut. Don't miss next week's battle.

Savage Sword of Conan #18

The cover from Conan the Barbarian issue 18, by Gil Kane (pencils,) and John Romita Sr. (inks,) is used as this historic cover, that as I'll discuss later, will be the last Savage Sword of Conan weekly cover. Which by sword and sorcery standards is quite bland.

Conan the Barbarian “The thing in the temple!”

Writer: Roy Thomas

Artist: Gil Kane

Inker: Dan Adkins

Originally published in Conan the Barbarian #18

Cover date September 1972

(Published in June 1972)

Continuing last week's adaptation of the Robert E Howard penned story, "The Gods of Bal-Sagoth" we discover Kyrie, formally Aala, now ruling Bal-Sagoth, with Conan and Fafnir as her de-facto bodyguards. That evening the new Queen retires for the night with Conan standing guard while Fafnir, feeling surprisingly drowsy takes a nap. A brutish monster crawls from behind the wall hangings, its movement alerts the also tired Conan, who fights off his fatigue enough to push the creature into a fire. Seeing more movement behind the hangings, Conan stabs blindly a hidden priest loyal to Gothan, the former priestly ruler of the island. 

The Priest had cast a sleeping spell on Conan and Fafnir, then sent out the monster, but luckily Conan is made of sterner stuff. Just then a scream from Aala's chamber alerts the two warriors. A giant bat-creature has sneaked into her room. Conan and Fafnir struggle with the beast. As Fafnir chases it into the tunnels Aala forbids Conan to follow his comrade whom she thinks is doomed. Conan tosses her aside to follow Fafnir. Furious with the two men she orders her soldiers to kill them both. Finding an underground temple, Fafnir and Conan come upon Gothan's body, who had apparently been killed by the bat-creature. With the death of its master, the temple begins to collapse and as Conan and Fafnir try to flee. They run into Ska, another pretender to the throne. Fafnir makes short work of the man and the two barbarians make it out of the tunnels as the entire area caves in, as the volcano erupts, burying the city. The two men cobble together a raft and desperately sail away, a drift on the sea. As the dawn sun rises out of the sea a Turanian ship pulls along side them. They tell the ships captain their tale, leaving out Fafnir's pirate roots. The captain, Prince Yezdigerd of Turan, finds the fall of Bal-Sagoth interesting and offers the two barbarians employment in his army. More adventures from them next week.

The Hyborian Page

Like Raj Samra letter in last week's MWOM, Timothy Thorpe RFO, KOF, from Surrey has written a quiz, mostly themed around the Super-Heroes and SSOC mags. Here's the questions:

1. Who was the Silver Surfer a herald for?

2. What is the real name of Cyclops?

3. Who was Norrin Radd?

4. What is the name of Thor's hammer?

5. What is the name of Peter Parker's teacher?

6. Who did Doctor Doom take the throne of Latveria from?

7. Who made Conan and King Kull?

8. Who is the green-haired girl Hulk loves?

9. Who is the King of the Inhumans?

10. Who is the British artist who draws Conan?

I'll list the answers later. Alex Hagen QNS, RFO, from Falkirk has only read two Conan adventures before, but having liked what he's read he would say that Marvel have a success on their hands. Chris White from Slough has been an avid Conan fan for three years, so you can imagine how enthusiastically he was with the introduction of the SSOC. Roy's writing on this strip is at its best, while Barry Smith's art is beyond compare. Keith Bramhall from Middlesborough noticed that when Kull was dropped from the comic and replaced with Ka-Zar the cover still advertised Kull. He thinks that some of the later Kull strips have the best artwork he's ever seen, especially when drawn by Severin. Now the answers to Tim Thorpe's mini quiz; 1, Galactus; 2, Scott Summers; 3, Silver Surfer; 4, Mjoilnir; 5, Professor Warren; 6, King Rudolfo; 7, Robert E Howard; 8, Jarella; 9, Black Bolt; 10, Barry Windsor-Smith.

This Marvel Masterwork Pin-up of King Kull was drawn by Neal Adams, it appeared in the Marvel/Curtis Magazine Kull and the Barbarians issue 1, cover dated May 1975, published March 1975, as part of a portfolio of barbarian characters by Adams, that helped illustrate Roy Thomas's editorial retrospective, "Hail the Barbarians",  as a look at Robert E Howard's work and the history of his characters in Marvel comics to that point. The Neal Adams pin-ups may well have been used earlier than that issue, but I couldn't find any evidence. Let me know if I'm wrong.   

Kull the Conqueror “A kingdom by the sea!"

Writer: Gerry Conway

Artist: Marie Severin

Inker: John Severin

Originally published in Kull the Conqueror #5

Cover date November 1972

(Published in August 1972)

John Severin's original cover from Kull the Conqueror issue five is used as the second part opening splash page, keeping the original comic's title logo and footer tagline as this week's story title. A credit box and recap box still had to be added. The Rebel Four write a letter to H'nar, wishing that Kull could be "eliminated". His answer to them is a simple drawing of a hangman's gallows. Brule is sent by Kull to spy on H'nar and M'ku, was captured by M'ku. H'nar had lied to Kull and stated he had been captured by Zakar's demons.

The raid was launched the next day, soon the battle started between the Valusians and the "Rikans", in fact vessels of the dead had been animated by M'ku right in the harbour of Demascar, under the concealment of black clouds. As Kull noticed the Demascans did not join the fight, H'nar revealed his plan. Meanwhile Brule had escaped and killed M'ku. His death had caused the dead to crumble. Distracted, H'nar was maimed by Kull. Krista had found M'ku's body and witnessed his spell to destroy Demascar's rival evil neighbour Rikos had turned on Demascar. Krista headed to the chamber that held the children of Demascar, a generation free of sorcery that she convinced King Kull of Valusia to take aboard one of his ships as both Demascar and Rikos sank beneath the waves.

Sadly that would be the last issue of the Savage Sword of Conan, at least until it was rejuvenated as a monthly in the winter of 1977, cover dated  November 1977. Conan would next week merge with the Avengers weekly with issue 95, temporally pushing Doctor Strange out of the mag, but more on that next week. No warning of it was hinted at in any of this week's mags, the dreaded dip in sale had struck British Marvel for the first time and it wouldn't be the last. For me it was a shame as I quite enjoyed these 18 weeklies. Possibly more now as an adult than I would have if I had read them as a kid. They had some beautiful art and some imaginative stories. At least with six comics a week instead of seven, I get more time to read more comics instead of writing this blog. I think I'll go and read one now, so till next week... 

See you in seven.

Make Mine Marvel.