Is the comic mightier than the sword?

 Week Ending 19th July 1975

It's HOT! It's really HOT! But is it as hot as these sizzling six super cool comics from British Marvel comics in 1975? Well let take a deep dive between the covers and see. Find a cool bit of shade, pour yourself a cool drink or some ice tea and relax as we relive the nostalgia from our childhood some fifty years ago. 

The Mighty World of Marvel #146

Herb Trimpe drew the original cover from the Incredible Hulk issue 156 which was used for the British weekly without any changes. It would certainly attract casual readers, but my problem with it is wouldn't it have given too much of the plot away?

The Incredible Hulk “Bitter victory!”

Writer: Archie Goodwin

Artist: Herb Trimpe

Inker: John Severin

Originally published in The Incredible Hulk #156

Cover date October 1972

(Published in July 1972)

The cover of last week's MWOM gets another run out as this week's second part opening splash page with "Bitter victory!" as the new title, a re-cap text box and a credit box. Following last week's rescue of Jarella the Hulk rises to lead a resistance army against Lord Visis and his loyal followers, resulting in victory after victory. With little choice, Visis and his people set sail to the Isle of Assassins. Pitll Pawob was once this world's oldest civilisation that predated the age of magic, where technology reigned. The island is populated by beings who hold the last of the many technological weapons that once existed on K'ai. In desperation Visis seeks to procure a weapon that will turn the tide of the conflict.

Pitll Pawod was one of the many references to writer Harlan Ellison's short story collection "The Beast That Shouted Love at the Heart of the World" seen in MWOM #125 and #126, Archie Goodwin and Chris Claremont ran with the throw-away line in MWOM #128 with the creation of Fialan an assassin from the order of the Pitll Pawob. In Ellison's short story the Pitll Pawob Division relates to an alien whose job requires him to interact with unwilling humans finds that the best way to calm them down is to give them what they want.  Krylar the head steward of all assassins has the ideal weapon to defeat the Hulk and his army, it is a weapon that manifests an opponents deepest fear into reality. As day breaks Visis challenges Jarella's greatest champion against a champion of his own choosing. Filled with confidence Banner/Hulk walks out to face whatever Visis throws at him, but he's shocked when the device creates his darkest fear, a savage version of the Hulk himself. The savage Hulk pounds Bruce to the point of defeat, Jarella begs Torla and the other magicians to reverse the spell that gives the Hulk Bruce Banner's mind on K'ai. Upon doing so the construct of the savage Hulk vanishes out of existence. The Hulk, furious, turns his anger at Visis and his castle, leaping towards the castle, just as Pym's size changing formula starts to wear off. Rapidly growing the Hulk smashes Visis' castle, seemingly destroying the tyrant as well. Once more Banner and the Hulk lose Jarella as he quickly grows beyond the Micro-verse. The last thing the Hulk sees is Jarella shedding a single tear. As the Hulk return to his normal size on Earth, he too sheds a tear although with the dimly perceived sense of loss he can barely recall why.

The Mighty Marvel Mailbag

Mark Howley from Sussex has got the Marvel bug, his first was issue 10. He gets around 18 to 19 US mags a month!!! He spends all his money on comics. P Mesling from Leeds writes that there has been a lot of talk about the quality of letters that are published in the British Weeklies. He points out that they are beginning to show a more interesting quality about them, proving that the British Marvelites, given a little time, can produce good material to read. Noel McCarter from Londonderry picked up a copy of Super-Heroes #5, in which he saw the title "The power and the prize," directly opposite the beginning of the Conan story then appearing in Savage Sword of Conan #5. The Conan story then continues through the whole of the Super-Heroes #5 with the mag finishing on the Kull story in "Skull of Silence". Fortunately Noel did pick up a complete copy of the Super-Heroes #5. That's a rare novelty that's worth treasuring. Paul Watson RFO, KOF, went on holiday to France and saw a big hundred page Marvel comic starring Ka-Zar and the X-Men. Neil Christie from Aberdeen writes three limericks about three Marvel heroes, the Hulk, Mister Fantastic and Shang-Chi. Mark Hannaford from Cheltenham writes in to thank the Bullpen for sending him the Fabulous Fantastic Four Marvel Treasury Edition that he won in the Marvel Charades Contest. 

Daredevil “Nobody laughs at the Jester!”

Writer: Stan Lee

Artist: Gene Colan

Inker: John Tartaglione 

Originally published in Daredevil #42

Cover date July 1968

(Published in May 1968)

Gene Colan's cover from Daredevil (US,) issue 42 is re-used as the second part splash page with a the fifth panel from page thirty-four of last week's mag, mating up well with the catch-up text box. A new credit box and a "Part Two" is added to the title. We find out that crooked mayoral candidate Richard Raleigh doesn't want a DA that he can't control, so he hires the Jester to eliminate Foggy Nelson from running for the District Attorney position. 

The Jester agrees when Raleigh offers him ten thousand dollars and starts straight away by confronting Foggy while he's out with Debbie, Karen and Matt, who have all gone for a romantic walk in the park. Matt allows himself to get captured so that the others go free. The Jester holds Matt as a hostage demanding that Nelson give up running for the position of the DA. Matt explains to the villain that Daredevil is still on the scene as his "brother" Mike had trained a new Daredevil. Jester speeds off with Matt and locks him up, but when he's alone Matt changes into Daredevil. Colan works his magic drawing the Man Without Fear battling the Jester. The crook uses his many gimmicks including a bag of marbles to throw Daredevil off balance allowing the villain to escape. The Jester will have to wait as next week Daredevil must face "the challenge of...Captain America!"

The Fantastic Four “The power of...Him!”

 Writer: Stan Lee

Artist: Jack Kirby

Inker: Joe Sinnott 

Originally published in The Fantastic Four #67

Cover date October 1967

(Published in July 1967)

The symbolic cover from the Fantastic Four (US,) issue 67 by Jack Kirby is used as this week's second part symbolic opening splash page, keeping the lower text box as the title and the jagged balloon from the original image. A new catch-up box and credit box are used. In pure Kirby style Mister Fantastic uses his newly created "Wrist Band to Nowhere" to transport himself, the Thing and the Human Torch to the site of Alicia's abductors.  They emerge from the transfer grid at the secret location known as the Beehive, where they are instantly attacked by the guards.

Deep within Lock 41, Hamilton catches up with Alicia to find her in communication with the being who calls himself Him. Hamilton tries to destroy it but Him fights back with a single blast, stunning both Alicia and Hamilton before beginning his final transformation. By this time, the Thing has forced a guard to reveal Alicia's location and the Fantastic Four rush to her rescue. Inside Lock 41, Hamilton is leading Alicia to safety when a wall collapses on him, killing him. Ben and Johnny find Alicia, realising the danger they spirit her away as Him's power levels continue to rise. The three surviving scientists who created Him realise that it is now time to activate the Anti-Gravity Transmitter that will eject their failed experiment into space, but it fails to work. As the Fantastic Four and Alicia pass through the doorway back home, Him emerges from Lock 41. A perfect, golden-skinned and blonde-haired man admonishes his creators for creating him for their evil ends and sentences them to death. Suddenly, the Beehive explodes, seemingly slaying all within. Or does it? I guess readers of Adam Warlock from POTA #28 know better.

Thunderbirds to the rescue! This is my favourite toy advert seen on the back pages of any mag. Straight from the Gerry Anderson "Thunderbirds" TV series is Thunderbird 2, Model No. 102. At 153 mm long this Dinky toy was magnificent. I should know, I had one and used to play with it all the time. It was incredibly detailed with the cargo pod capsule that could drop down when the main body of the craft was supported by four hydraulic legs. Alright they wasn't hydraulic and they used to "flip" out when the spring loaded button was pressed. The Pod door could be opened to reveal a perfectly sized Thunderbird 4. It was brilliant, in fact the only thing wrong with it was it was blue and not green like on the TV. I think they hoped that no-one would notice and if they did the stencilled "Re-Designed" text would get them out of that sticky problem. Also on this advert was a Dinky Die-cast model of a Scorpion Tank kit. At 120 mm long, it could shoot four rapid gun shells and had a revolving gun turret as well as flexible tracks. It came with six shells, handy if you lost two of them. 

Spider-man Comics Weekly #127

This cover that was commissioned for the British weekly was drawn by Ed Hannigan (pencils,) and Al Milgrom (inks). I love the fact that the terrorists are using a Rolls Royce as a get-away car! In the strip it wasn't, but I wonder do Americans think that all British citizens drink tea and drive Rolls Royce cars? Well to be fair we do drink a lot of tea. As far as iconic British cars go I can't imagine all the terrorist fitting into a Mini Cooper, but surely a Jaguar would have been more appropriate, just think of all those classic British TV series of the 60's and 70's. 

Spider-man “Trap for a terrorist!”

Writer: Stan Lee 

Artist: John Romita Sr.

Inker: Sal Buscema

Originally published in the Amazing Spider-man #95

Cover date April 1971

(Published in January 1971)

Peter is still moping about Gwen leaving for London, so may be a little web swinging with blow away the cobwebs and get Gwen off his mind. It doesn't as everything reminds him of her. He calls into the Daily Bugle to see if there's an assignment that might occupy his time. Joe Robertson seeing Peter looking down trodden, he pulls him aside and asks him how are Gwen and him holding up after the death of her father? When Joe learns that of what happened to Gwen, so out of the goodness of his heart or the clever plotting of Stan Lee, he sends Peter on an "Assignment" to England, with the only condition that he takes news photos for the Bugle while he's out there.

Flying there in a jet, he soon comes to learn that an American delegate and his son are on the plane flying to England on important government business. When the plane arrives in London an alert over the tannoyed informs the passages that the plane has been taken hostage by hijackers who demand that their colleagues are or released from prison otherwise they'll blow up the plane. To help as Spider-man he has to change in a very public place and smash his way out of the plane. How he manages to do that without giving his identity away is Stan Lee's guess, a bit like how Joe Robertson could legitimately give him the plane tickets. Thankfully he does, while also managing to locate the bomb, saving the airplane and the passengers on board. in the confusion the terrorists escape in their get-away car with the delegate and his son. Spider-man chases the gang, they fire at him but he manages to stick a Spider-tracker on the car. An Inspector Hargraves questions Spidey but the web-slinger doesn't want to answer any tricky question and swings away. Hargraves is content to keep him under surveillance. Continued next week.   

Spidey's fun page!

A bit of a one-off puzzle page that features three Spider-man themed brain teasers. The first is a "Spot the Difference" puzzle that uses the first panel from page eleven of the story "The impossible escape!" as seen in SMCW #66 showing Spidey "Zonk"ing! some criminal prisoners. Next up are thirty anagrams for you to solve, each one is a Marvel super-hero name or Marvel Super-hero team. Some may not have even been introduced in British Marvel yet! The last one is a Word Pyramid game, with six clues to six words, starting with a single lettered word, then finishing with a six lettered word. The answers will appear in this week's letter page if you fancied a go. 

Iron Man “Within the vastness of Viet Nam!”

Writer: Stan Lee

Artist: Gene Colan

Inker: Frank Giacoia

Originally published in Tales of Suspense #92

Cover date August 1967

(Published in May 1967)

I take two things from this Iron Man strip, the first is Gene Colan's Iron Man artwork is really in full swing, I always consider his Daredevil, Dracula and Doctor Strange (maybe his Howard the Duck could be added to that list,) are his best strips, but I do think at this point in the character's run Colan is the man for Iron Man. The second thing is Stan Lee has taken the armoured Avenger back to Viet Nam which might bring up some political issues with some readers now the Vietcong are portrayed front and centre as the villains. Previously Red China had been the choice of villains but that always felt like an American call back to World War II, Viet Nam feels more current when read in 75.

Iron Man has returned to Vietnam to help the US military test out bullets which chase their targets. While there Iron Man is asked to  help the military deal with the Communist's newest scientist, Half-Face, who is holed up in a castle not far from their position. Iron Man flies to the castle, defeating some Vietcong snipers along the way. Once he gets closer to Half-Face's castle the Vietnamese scientist detects Iron Man approaching so he releases a weapon that fires man-made lightning from the castle. 

It's ironic that Half-Face seems to have only lost his chin and not half his face, but three quarter face doesn't have a ring to it and Two-Face was taken. Half-Face was no Mandarin but he does feel like a villain I would associate with Iron Man at that time. Next week we'll see how he deals with the armoured American when they come "Face-to-Face with...what?" That the title, not my bad grammar. 

 

The Web and the Hammer

Paul Chirelstein is an American living in London who collects a lot of up-to-date Spider-man mags when at home in the States, but to find the stories from the past is something else. Paul would like to see notes in the comics that allow readers to track back to past events that characters might be talking about. Chris lives in France but isn't deterred from getting Spider-man Comics Weekly every week. When he was in England he was so hooked on Marvel comics. In France there is only one Marvel comic and it is called "Strange", a monthly that stars Spider-man. R Dennis from London loves the Marvel Treasury Editions "The Spectacular Spider-man". "The Fabulous Fantastic Four" and "The Mighty Thor". He asks what's the next one? The answer is Conan the Barbarian. David Ryley from Suffolk hadn't read Spidey for quite some time. But yesterday he bought one and now he's determined not to miss another issue. Here's the answers to the three puzzles, the first is the differences. The six differences are 1) Iron bar missing, 2) Fingers missing on Spidey's right hand, 3) A piece of Spidey's shadow is missing, 4) First villain's belt missing, 5) Second villain's foot is missing, 6) Spider symbol from Spidey's chest is missing. The thirty anagram Super-hero names and teams are 1 Iron Man, 2 Hawkeye, 3 Silver Surfer, 4 Black Knight, 5 Cyclops, 6 Doc Savage, 7 Luke Cage, 8 Daredevil, 9 Giant Man, 10 Avengers, 11 Destroyer, 12 Captain Marvel, 13 Yellowjacket, 14 Human Torch, 15 Marvel Girl, 16 Scarlet Witch, 17 Spider-man, 18 Sub-Mariner, 19 Black Bolt, 20 Defenders, 21 Quicksilver, 22 Invisible Girl, 23 Black Widow, 24 Captain America, 25 Black Panther, 26 Doctor Strange, 27 Fantastic Four, 28 Inhumans, 29 Mister Fantastic and 30 Falcon. The words that make up the Word Pyramid are A, An, Van, Vane, Knave and Kraven. 

The Mighty Thor “And now...Galactus!”

 Writer: Stan Lee

Artist: Jack Kirby

Inker: Vince Colletta

Originally published in The Mighty Thor #160

Cover date January 1969

(Published in November 1968)

After the last four weeks spent dealing with Thor and Don Blakes origin Stan and Jack shake things up with an epic adventure. And you can't get any bigger than Galactus! Thor notices a vessel from the stars landing on a nearby rooftop. After investigating it  he discovers it is a Rigellian ship piloted by Tana Nile, who has returned to Earth seeking the Thunder God's help. The last time he and her meet was way back in SMCW #67, with her race of people, the Colonisers from Rigal, taking her away in SMCW #72. This time she comes not to conquer but to enlist the Thunder Gods help in dealing with a powerful threat to the universe. 

Thor agrees to join Tana and the two depart for the stars at once. Meanwhile in far off Asgard,  the Rigellian Recorder is welcomed to have an audience with Odin, as he has been allowed to remain in Asgard as an ally of Thor. Sif then enters requesting that she may join the All Father's son. Just then the Recorder receives a summons to return to his home planet Rigel, as news of a cosmic threat is known. Odin senses danger for his true born son and denies Sif permission to join him. The Recorder departs to record the pressing cosmic events for his Rigellian masters. Sif screams after the robot asking it to tell her what danger. The Recorder dare not tell her, but even the robot grimly considers the fact that the galaxy must face the menace of he who is called Galactus.

Elsewhere in  deep space, Tana Nile explains to Thor that Galactus is neither good nor evil, he lives and he hungers, living off the living energy of worlds. Just then their ship is attacked and boarded by an alien creature. Tana explains that the alien is a Taurian, a raging survivor of one of the many worlds Galactus decimated. They manage to fight the creature into submission with the aid of Thor's strength and Tana Nile's mind blast. which subdues its rage. Begging for mercy it apologises for its actions as it had been totally distraught after its world had been destroyed. Resuming their journey, Tana takes Thor to a location where Galactus has previously fed, an area full of space debris created from the destruction of a planet at the hands of Galactus. Horrified by the sight, Thor vows to stop Galactus. As he does so the cosmic entity studies the cosmos in search for the next planet to devour. 

Avengers Weekly #96

Now I really love this cover featuring the Avengers, Doctor Strange and Conan busting through the cover, showing perfectly that this mag is packed full of "Swords, Sorcery and Super-Heroes, in one titanic title!" Keith Pollard pencils this cover with style with Dan Adkins applying smart inks. If I was going to be picky with it I'd point out that only the Vision out of the current Avengers line-up appears , but Thor, Iron Man and Captain America are the first names you think of when the Avengers are mentioned and it's still a brilliant cover that I'm going to name as my Cover of the Week! The original artwork by Kieth Pollard sold for $7500 by Heritage Auction on the 3rd of April 2021, at the current rate that's £5,555.97! 

Avengers Mail!

Anthony Kirton from Yorkshire agrees with Mark Jones's letter from Avengers weekly #85, in which he mentions that his friends are missing out on reading Marvel comics. Steven Boyd from Scotland writes directly to the editor, Matt Softley (who's real name is Maureen Softley,) in the hope of a No-Prize awarded to anyone who best explains why the space-born Captain Marvel doesn't appear within the Avengers story from issue 79. His letter goes into great detail including from the beginning when the Avengers found Captain America encased in a block of ice, to his joining the team to be continually pestered by Rick Jones and then later from as yet untold in Britain story of when Jones was separated from Cap and ran into the Red Skull, who had been transformed to look exactly like Cap. Rick mistook the transformed Skull for the real Captain America and mistakenly thought he had been betrayed by the real Cap. Meanwhile Captain Mar-Vell, trapped in the Negative Zone would enlist the help of the teenage Jones. But in the Scarlet Centurion's timeline the Hulk never left the Avengers so Captain America was never discovered and so Captain Marvel was never freed. The massive letter and explanation earns him a No-Prize. John Service from Bolton has noticed that no-one complains about the weeklies anymore. John believes that it's because they have been getting better and better. But also wonders what will they do when they catch up with the American monthlies? The editors answer is they'll really have to get creative.

The Avengers “Mightier than the sword?”

Writer: Roy Thomas

Artist: Gene Colan

Inker: Sam Grainger

Originally published in The Avengers #65

Cover date June 1969

(Published in April 1969)

The Swordsman, as dramatic as ever slices through a billboard, pirouetting and prancing through an alleyway to meet with a prospective employer. Who turns out to be the Egghead. He intends to hire the Swordsman to break into the Avengers mansion to get revenge on his old foe Giant-Man. To entice him Egghead recalls the Swordsman's first encounter with a young Clint Barton, who with his brother Barney asked to be taken on as hired hands at the carnival he worked at. 

The Swordsman agrees to taken on Clint and train him in the art of archery, but he had no position for Barney. One day Clint discovered that the Swordsman had robbed the Carnival paymaster. His mentor asked Clint to join him in his ill gotten gains but he refused. Clint ran and the Swordsman chased him with master confronting apprentice on the high-wire.  The Swordsman sliced the wire and Clint fell to the floor. As Egghead recall the tale reviewing that his apprentice would one day become the Avenger called Hawkeye.

Meanwhile at the Avengers mansion Clint Barton, now known as the Goliath, continues retelling events from that fateful day. His brother, Barney, was the first to discover him after he had fallen from the high-wire. Until last week's encounter with Barney, that was the last time he saw him. Distraught with all the years they spent apart Goliath promises he with revenge his brother. 

At that moment the Swordsman breaks into the mansion using the electronic key he kept when he was temporarily an Avenger. The Avengers hadn't been sitting on their laurels since he left, new alarms detected his presence but not before he made it to the main meeting room to confront the Avengers, particularly Hawkeye and Giant Man, who Egghead had mis-informed him is now called Goliath.

Conan the Barbarian “Hawks from the sea. Part two”

Writer: Roy Thomas

Artist: Barry Windsor-Smith

Inker: Dan Adkins

Originally published in Conan the Barbarian #19

Cover date October 1972

(Published in July 1972)

Barry Windsor-Smith's wonderful cover from Conan the Barbarian (US,) issue 19 is re-used as this week's second part opening page. Apart from the credit box at the bottom nothing is added, simply because nothing more needs to be added. Just enjoy the beauty of it. Conan's ship has meet up with the Turanian fleet to launch an assault on the city. King Eannatum is worried that the invading Turanian force will break through the battlements, his queen tries to calm him by telling him that Kharam-Akkad, the high priest of Makkalet, will know what to do. 

Kharam-Akkad has indeed got a secret plan to save the city. A plan that will end in him subtly taking control of the city from its weak king. As Balthaz leads Yezdigerd's troops into the city, Makkalet archers slaughter them in wave after wave of arrows. Kharam unleashes his secret weapon, nine giant undead warriors! They massacre the Turanian troops but Balthaz and Fafnir escape by climbing the walls that edges the battle ground toward the priest. The Makkalet archers spot their assault and pick them off. With Fafnir felled by an arrow Conan risks his life to reach his friend. He realises that other than pulling the arrow free he can do nothing. He does, however, notice that one of the giants seems to be a focal point for the other eight, so he climbs back down and enters the fray. As his injuries take their toll Fafnir rolls over and falls into the ocean. Conan confronts the central zombie, smashing its head in with a mace. The other giants crumble as soon as Conan victim falls. The monsters dissolve, as does the magical amulet that Kharam used to control the nine grim spectres. The Turanian forces take the eastern wall. Next week "the Black Hound of vengeance!" 

Doctor Strange “The mark 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)

After a one week break, owing to the Savage Sword of Conan merging with the Avengers weekly, Doctor Strange returns after being dropped so that the Master of Kung Fu strip could be completed.  

I have no idea who drew this splash page for this week's second part. Anyone got any ideas? Doctor Strange has travelled the small town of Starkesboro to help Ethan Stoddard who seeks the Doctor's help in finding his fiance Bethel Doan, who has turned to their old hometown to research the occult.

Doctor Strange soon discovers that the weird town folk worship a creature known as Sligguth and that they are slowly becoming reptilian. When Stoddard learns that his fiancé had suffered the same fate, he rushes to Strange who is investigating the shrine to Sligguth, a god from before pre-history who was worshipped by creatures who were never human, a serpent breed who was thought to have died out but survived by forming colonies with human-serpent hybrids. Outside the church the town folk gather, chanting Ethan's name. There the two are attacked by the townspeople, when suddenly Stoddard changes into one of them as well. Ethan tells Strange that he was used to lure Strange to town. During Stoddard's surprise attack, Strange is knocked out, when he comes too, he finds that he has been taken into the labyrinth under the church and tied to an alter in preparation for his sacrifice to Sligguth. Next week the Doctor must confront "the Lurker in the labyrinth!"

Dracula Lives #39

The original US cover from Werewolf by Night issue 15 by Mike Ploog gets re-used for the British comic. Mike Ploog's version of Dracula looks very much like Vincent Price, but the American actor never played the Count on film.

Werewolf by Night “Death of a monster!”

Writer: Marv Wolfman

Artist: Mike Ploog

Inker: Frank Chiaramonte

Originally published in Werewolf by Night #15

Cover date March 1974

(Published in December 1973)

This week Dracula gets to meet the Werewolf by Night in the Werewolf's own strip with Mike Ploog getting a chance to draw the vampire Count. Some of the artwork riffs off Gene Colan's first part from last week. Jack Russell and Topaz had traveled to Transylvania in search of a cure for his werewolf curse. The vampire Lord had kidnapped Topaz which brought on the full fury of the Werewolf. The Werewolf over-powers Dracula who escapes to find a fresh victim. Topaz manages to lead the Werewolf out of Dracula's castle Just then Frank Drake and Rachel van Helsing arrive spotting Dracula in his bat form who flies into their helicopter, attacking Frank. This causes their helicopter to spin out of control, just barely avoiding a crash, allowing Dracula to escape in the confusion.

The next day Jack awakes in his human form he and Topaz decide to inspect Gregory Russoff's diary more closely. Topaz locks the diary and learns the story about his ancestor Gregor Russoff, whose first wife was slain by Dracula in the 1700's. Seeking revenge, Russoff goes to Dracula's castle during the day and drives a stake through the vampire lords heart. After lining the coffin with garlic Russoff tosses it into a river,  then later he would wreck Dracula's home. In his rampage, he finds a woman named Lydia locked up inside the castle. She explains that she was taken from her parents and kept a prisoner. Gregor freed the girl, but that night in the full moon she transformed into a werewolf, who bites Gregor infecting him with the curse of the werewolf. Meanwhile, Rachel and Frank continue searching Dracula's castle. Dracula attacks the pair before fleeing when he realises that Jack and Topaz have found old Russoff's diary which the vampire Lord seeks for himself. However, before he goes to retrieve it, he plans on sabotaging their helicopter.

While back at the Russoff manor, with the coming full moon rising Jack prepares to change into the Werewolf once more. He tells Topaz to guide his Werewolf form in the coming battle with Dracula. Soon the two meet seconds before Dracula had any chance of wrecking the helicopter. During the fight Dracula lunges at Topaz who still has hold of Russoff's diary. Taking it from her, Dracula tries to escape when an arrow fired from Rachel van Helsing's crossbow knocks it out of Dracula's hand. Rachel grabs the book, but before Dracula can retrieve it the Werewolf attacks. While Dracula fights off the beast Frank and Rachel escape in their helicopter. Furious at himself for not wrecking the helicopter when he had the chance, Dracula turns into bat form and flies after them, leaving Topaz and the Werewolf behind. Next issue the Werewolf faces the new menace of the Hunchback of Notre Dame, while Dracula and Rachel Van Helsing are "Snowbound in hell!"

Cryptic Correspondence

In the Avengers mailbag this week John Service wrote that there are no letters complaining anymore, well the first letter in Cryptic Correspondence is from Geoff Reynolds from Hertfordshire who complains about all the letter writers who complain and look for mistakes. He points out that Comics are a source of entertainment which can be enjoyable, interesting and educational. In Marvel comics thousands upon thousands of people have found their ultimate in reading enjoyment. He points out that people just do not realise what a head-ache it is, writing and producing Marvel comics. Alistair Leslie from Fife enjoyed the text story in Dracula Lives #26 and hopes to see more. Kevin Hurney QNS from Walsall congratulate Stan on that Marvellous interview with Mick Robertson on the Friday the 7th of March episode of Magpie. Since Stan has been spreading the word about Marvel the British Marvel House of ideas has come out with four more great UK Marvel mags. One that Kevin is very glad to see is a Marvel horror mag in the UK range of mags as it is a well produced Marvel UK mag, with what he describes as a good future.

Frankenstein’s Monster “Phoenix aflame!”

Writer: Doug Moench

Artist: Val Mayerik

Inker: Bob McLeod

Originally published in The Frankenstein Monster #17

Cover date July 1975

(Published in April 1975)

The Ed Hannigan (pencils,) and Dan Adkins' (inks,) cover from the Frankenstein Monster issue 17 is used as the opening artwork for this week's tale with a catch-up box and credit box added. The story title, "Phoenix aflame!" is as it appears on the original cover. After the Monster has seemingly destroyed the Berserker Werner Schmidt re-enters the operating theatre, pretending to be worried about his employer and possibly lover, Veronica von Frankenstein. When everybody leaves Werner spies ICON's helicopter sending him a message that he must repair the Berserker. He signals them back.

The Monster, now with repaired vocal cords has become dissatisfied with his friends' inability to help him learn about his true identity. Veronica von Frankenstein can't give him any answers. He wanders off into the mountains, Ralph Caccone pursues him but the Monster knocks back any of help. Soon Werner has repaired the Berserker and sends it to find Frankenstein's creation. The robots prime directive is to capture the Monster, but all he wants to be is left alone. When the androids tries to restrain him the two of them renew their fight on the icy tundra. It all continues next week with "the Brute and the Berserker!" 

The inside back page of Dracula Lives features two in-house adverts, the first one is an offer for the readers to subscribe to issues nine, ten and eleven of the Friends Of Ol' Marvel magazine FOOM. Three issue for 95 pence, delivered all the way from America, across the Atlantic to your door, it seems too good to be true. Barring disasters FOOM issue 9 should arrive mid summer of 75, issue 10 sometime during the Autumn, while issue 11 turns up during the winter 1975/76. The second promotion is a pretty standard promotion of the Avengers weekly, although there is no sign of Conan who had enjoyed his second week merged with the mighty Avengers. 

Planet of the Apes #39

This painted cover by Earl Norem originally appeared in the Marvel/Curtis Magazine (US) issue 8, cover dated May 1975, published March 1975. I think I prefer the American version because it appears to be a little bit more lighter, although the British version might be said to be more truthful to the actual strip.

Planet of the Apes “The warhead messiah”

Writer: Doug Moench

Artist: Alfredo Alcala

Inker: Alfredo Alcala

Originally published in Planet of the Apes (US) #8

Cover date May 1975

(Published in March 1975)

The adaptation of Beneath the Planet of the Apes continues with what is titled "Part III", but as the UK version actually started in POTA #35, so that makes it part five as it takes two weeks to complete one part, this week's instalment should actually be "Part IV". Alfredo Alcala's art is getting better and better with every chapter of this adaption. The underground scenes are eerily beautiful and feel more than any part of the adaption better than the film. Just my opinion Ape fans, don't hunt me down.

Astronaut Brent and Nova have journeyed to the Forbidden Zone in search of Taylor, when they discover the decimated remains of Queens Borough Plaza, once part of Brent's world. It dawns on the astronaut that the world had been utterly destroyed and all that remains is this nightmare twisted shell. A nuclear holocaust that melted metal and stone, that killed everyone, leaving human bodies unburied in an underground train carriage, stripped of flesh by the passing of time. Brent considers that the human leaders who in the past could talk, made fools of themselves when they had a chance to talk around the tables of peace. Humans who would make war and obliterate the planet. Decimating their own race and allowing apes to take their place in making a mess out of things. With gorillas outside there was nowhere to go but deeper into the darkness. A faint humming leads them forward, or is it to warn them away?  It becomes deafening as the tunnel slopes upwards, a wind pulling them on. A man-made grill in the cave wall entices them onwards. When Brent touches it the humming stops. Inside the walls are white, sterile like a hospital corridor. Like Alice in wonderland they go on through to the end of the tunnel leading to a futuristic city with the feel of a cemetery. Find out more next week.

Apes Mail

John Boyce from Hanpshire describes the British Marvel comics as most unusual and rather refreshing after picking one up from a book stall, thinking he would give it a try. Even though he initially considered them to be published for juveniles, but now he's converted to them. Graham Tolley from Lancashire comments on the letter from Pete Taylor, seen in POTA #25, Pete did overstate his case a little. The name of this mag is after all, "Planet of The Apes" and as such it should feature not only the picture-strip stories, but info on all aspects of the Apes sagas. The present policy seems to work best, one week an Apes TV series feature, one week an Apes film feature and the next week packed with comic strips. That way everyone should be satisfied, whatever their interests. After all, everyone's entitled to their own opinions, and what may be "tawdry little TV reviews and film articles" to Pete are very interesting and informative to many others. 

The Power of Warlock “Come sing searing song of Vengeance!”

Writer: Mike Friedrich

Artist: Gil Kane

Inker: Tom Sutton

Originally published in The Power of Warlock #4

Cover date February 1973

(Published in November 1972)

Over the last couple of weeks there seemed to have been a trend to print one full length story with one half length tale in Dracula Lives, Planet of the Apes and the Super-Heroes. The Ape story could have been given the full length spot, but that would have eaten up the material British Marvel had to print, so instead The Power of Warlock was allowed the extra pages, with the original strip being nearly two and a half years old there was lots of material to work with, at least for a while. After a brief re-cap of events from last week, when the evil Apollo attacked Adam Warlock and then later the military base and the space rocket launched from it. Warlock had again fought Apollo who was then forced to reveal his true form, a hideous warthog New Man created by the High Evolutionary. 

Apollo, now revealing his true name as Triax the terrible, has taken Warlock's friends, Eddie and Ellie Roberts as hostages, with their father, the distraught Colonel Roberts watching helplessly. The mysterious woman known only as Astrella arrives with a suggestion that there is only one who can stop Triax, President in waiting, Rex Carpenter. Believing that stepping forward to help could be a gamble but the public show of action could help his carefully laid election plans, Carpenter steps forward to talk down the human monster. His interference in the battle between Triax and Warlock startles the New Man. Then suddenly Triax uses his flight suit to carry the twin to a higher vantage point, where he terrorises the watching crowd with the bodies of the twins. Triax signals his ship to attack, which Warlock meets with defence. 

By dodging Triax's craft's heat seeking missiles Warlock tricks them into destroying the flying submarine.  Colonel Roberts gives the command to three fighter jets to attack Triax. Angered by this show of force, the New Man throws Eddie Roberts off a building. Warlock is seconds too late to save him. In desperation Adam flies to save Ellie before Triax can carry out the same horrible fate on her. Savagely Warlock brutally beats the New Man who tries to flee but falls to his death when Warlock rips his fight suit from its back. 

Warlock returns Ellie to the ground as a father scoops up his fallen child as the base falls into silence. 

Elsewhere in a government laboratory in Livermore Valley a city comes from the steeled lips of a scientist, who to many readers, could almost be familiar with, yet on this Counter-Earth he is strangely different. He has discovered that the world is facing imminent disaster. And the one person who can stave it off is Victor Von Doom! Find out why and how next week "When strike the death-birds!"

The Super-heroes #20

I really like this cover by Keith Pollard, it's the second one from him this week, only missing out to his Avengers weekly cover for a CotW. Like the Avengers cover Dan Adkins inks this one too. I like the dramatic top head line, "Inside: Professor X cries: "My brother..my enemy!" That together with the wonderful cover would certainly make me pick this mag up.

Silver Surfer “Lest the Overlord triumph”

Writer: Stan Lee

Artist: John Buscema

Inker: Sal Buscema

Originally published in Silver Surfer #6

Cover date June 1969

(Published in March 1969)

The third panel from page twenty-one of the original US issue was removed from page twenty-three of last week's Super-Heroes to make space for an exit panel. This week it is enlarged to make this week's second part opening splash page with a new story title, re-cap and credit boxes added. The Surfer had been determined to break through Galactus's barrier to return to his beloved Shalla Bal. To do this he had used light speed velocity to travel into the future. There he discovered planet after planet in states of total destruction. All at the hands of the mutant colossal Overlord.

Overlord explains that he is an un-killable mutant who is worthy enough to rule the universe. He calls his slaves to deliver food to eat while he is entertained by his captive dancers. The Surfer thinks he sees Shalla Bal amongst the dancers. Realising that she is just a look-a-like he still tries to save her. She pleads to not defy the Overlord as while the universe lay dying he allowed her to live. The Surfer replies that is not life as a slave merely a different death? The Overlord lashes out at them both, killing the slave instantly. Angered by the senseless violence the Surfer attacks the tyrant, even though he senses the immense power of the mutant, the two battle but the Overlord knocks the Surfer unconscious. Thinking him dead, the mutant orders the Surfer to be taken away and disintegrated. 

Luckily, the slave in charge of disposing of the Surfer's body is a lone survivor of Zenn-La who remembers the legend of Norrin Radd. He realising that the Surfer still lives, he defies his master and uses futuristic technology to revive him. He makes him wear a suit of the highest ranking slave to hide him from the Overlord's soldiers, which allows them to move freely, while showing him that all who survive the Overlords conquests must live as the mutant's slaves or become part of a machine which extracts their life energy to power his world like living batteries. That's really quite creative from Stan Lee and John Buscema, this was decades before the Wachowskis penned the Matrix films. 

The slave from Zenn-La tells the Surfer the origins of the Overlord. How after countless planets had abandoned nuclear energy in favour of newer magnetic power sources, yet on one of the few worlds to use experimental atomic power his father had been a worker in such a plant when a defective nuclear reactor exploded and irradiated him. He survived but his genes had been irrevocably altered when months later his wife had given birth to their son, who was born a mutant. The boy quickly grew and so did his inner rage that became nigh on uncontrollable. After his parents' death, he conquered his planet, then set about rampaging across the universe, taking over all in his indestructible path.

The omnipotent Overlord discovers that his slave has revived the Surfer. His soldiers attack killing the Zenn-Lavian slave before the Surfer can stop them. Realising that all that has transpired in this nightmare future is a total abomination and an offence to god and man, so as he cannot defeat the Overlord, the Silver Surfer travels back in time and destroys the nuclear reactor before it could irradiate the Overlord's father. This act creates a new future where the Overlord ceased to exist and the universe is not destroyed. The Surfer returns to his own time to find himself once more trapped on Earth. I question why doesn't the Surfer try to escape through time again? Could he be worried that his travelling through time may undo what he had set to right? In truth the Surfer ponders other things like what is real or fancy? Did he save a universe or waken from a dream? Can a future that was, be forever erased? Is the cosmos but a flickering ember of imagination, ignited by random thought or snuffed out by man's will? It's all a bit Matrix(y), perhaps like the Surfer says it is better that we never know!

Now this teaser for next week's Planet of the Apes really would make me sit up and read. The comic strip adaptation of John Wyndham's 1951 novel "The day of the Triffids!" will start next week. This advert is made up from panels from next week's adaptation. Whether it was from the novel, comic strip or the brilliant BBC series, although that came much later in 1981, everyone knew what a Triffid was, it became part of the English language. Definitely a mag to pick up and look forward to next week.

Cosmic Communications

Noel Dunne from Dublin writes that "The Super-Heroes" is an

excellent magazine. with the Silver Surfer and the X-Men making a good combination. What with Stan's script on the Silver Surfer being skilfully written and John Buscema's art nothing less than superb. together with the X-Men, yet another Stan Lee/Jack Kirby creation, which is coming along just fine, although their greatest adventures have yet to come. After the Lee/Buscema series ends after eighteen stories Noel wonders could Gerry Conway, Roy Thomas or Steve Engleheart do the scripting and let John Buscema continue on with the art? Neil McIntyre from Chester writes that The Silver Surfer has the combination of beautiful art and excellent scripting, which, though rarely found, makes a comic book great. Neil prefers Joe Sinnott inks on John Buscema artwork rather than his brother Sal. Paul Dunlop from Birmingham would like to see the pin-ups printed separately from the rest of the comic so that it doesn't spoil the stories when the pin-up is removed.

The X-Men “How do you stop a Juggernaut?”

Writer: Stan Lee

Artist: Jack Kirby and Werner Roth

Inker: Joe Sinnott

Originally published in The X-Men #13

Cover date September 1965

(Published in July 1965)

The Jack Kirby (pencils,) and Joe Sinnott (inks,) cover from The X-Men (US,) comic issue 13 is used as this week's second part opening splash page with all the necessary catch-up and credit boxes added. It's pitched perfectly with the continuity of the split in the strip, as long as you don't look too hard and spot the Human Torch on the page before he has made is entrance. Sadly the artwork takes a dip on the following page when Werner Roth takes over the artwork from Kirby. His artwork is functional, but I feel he had tried too hard to convince the readers that his work was as dynamic as Jack Kirby's work was.

The Juggernaut manages to break free of Iceman's  ice block to face the Beast in hand to hand combat. But he's no match for him as the Beast only succeeds in injuring his own foot, however his quick thinking does lure the Juggernaut into the Danger Room though, where he activates all of it's traps in the hope that it will stop the seemingly unstoppable foe. It doesn't, the Juggernaut knocks the Beast out. By this time, the Professor has convinced the Human Torch to come to the X-Men's rescue. Marvel Girl keeps the Juggernaut off balance by lifting him in the air when the Torch arrives. Johnny uses his flame powers to blind the Juggernaut, while the Angel removes the Juggernaut’s helmet that Beast had loosened earlier on. Without his protective helmet, the Juggernaut is easily struck down by the Professor's mental powers. With the battle over, the Professor thanks Johnny for his help, but still erases his memory of the battle. What tale will be told next week in British Marvel's haphazards X-Men continuity? You'll have to wait and see. In this weather it's best to keep cool and carry on by reading cool mags. And drink lots of fluids too. Right I'm going to do just that and cool down with some of the coolest mags in all of comicdom! So until the next episode of the history of British Marvel mags...  

See you in seven.

Make Mine Marvel.