The day of the Beesting!

 Week Ending 26th July 1975

It's been quite a jam this week getting the blog together and squeezing a trip to the cinema to watch Superman. This is not the place for film reviews, but as events in the real world and in some of these strips from 50 years ago cross over in relevance, particularly with this week's Planet of the Apes strip, I'll thought I would mention it. I'm not a big DC fan, save from the few gems like some Batman and the Vertigo group of characters, I've always hated Superman for many reasons, too many to point out, but this version of Superman was absolutely brilliant. It was the best DC movie I've ever seen. Certain sections of different media and political persuasions have called it "Woke!" God I hate that word it's used by stupid people who want to class things together that they hate. So what if Superman is a refugee from a destroyed world and all he wants to do is help people, do some good, to care and be kind. So what if Lex Luthor is a multi-millionaire who wants to destroy everything that doesn't conform to his own personal idea. But isn't that what he's always been? James Gunn hits every beat perfectly. It's a fun and in its way thought provoking film. But if you just want to see a man fly and save people then it's great too. The world has enough darkness, even this old cynical comic book reader wants to have a bit of lightness too. 

Also while I'm on my "SoapBox" I watched a brilliant video on Youtube from the Radio Times interviewing Mark Gatiss about his career, including his new show "Bookish". In the interview Mark says he thinks that "nostalgia is a great enemy and we have to be careful of it." He goes on to add "It's part of the reason we're in this mess, we have weaponised nostalgia. Nothing is as good as it used to be. People can't see that people always thought that, even when it used to be better." He does have a point, he does also say that he does love old stuff. So I guess a little bit of nostalgia is good for you but don't use it as a weapon. I enjoyed "Bookish" too, love a good murder mystery, I must be getting old. Anyway on with the blog.

The Mighty World of Marvel #147

The wonderful Neal Adams created this masterpiece that was originally featured on the cover of Marvel Feature issue one. which was published quarterly with a cover date of December 1971. Adams was at his peak at DC, growing praise for his work on the Batman strip in Detective Comics and the teamed up comic Green Lantern and Green Arrow, but by 1969 he began freelancing for Marvel Comics, where he penciled several issues of the X-Men. He said of that time "It didn't stop me from working at DC; they were a little annoyed at me, but that was a calculated plan. If people saw that I would do such a thing, then other people might do it. Beyond that, it seemed like working for Marvel might be an interesting thing to do. It was, as matter of fact. I enjoyed working on the X-Men. (The company was) more friendly, a lot more real and I found myself delighting in the company of Herb Trimpe, John Romita and Marie Severin. I found them to be people who were not as oppressed as the people at National (i.e., DC Comics) were." Both companies got best of his brilliance. This cover was just one of those examples. I've got a massive soft spot for the Defenders so this cover is fantastic and feels iconic and historic. And has to be my Cover of the Week. 

The Incredible Hulk “The day of the Defenders!”

Writer: Roy Thomas

Artist: Ross Andru

Inker: Bill Everett

Originally published in Marvel Feature #1

Cover date December 1971

(Published in July 1971)

This story more or less follows on from the Doctor Strange story, "The return!" that had been printed in Avengers weekly #91, the stories that had preceded that tale where a precursor to the formation of the Defenders. Strange had teamed-up with the Sub-Mariner in Avengers weekly #87 and #88, which was followed by him teaming up with the Hulk in Avengers weekly #89 and #91. A Defenders strip in the UK was on the cards as readers had either enjoyed those issue and wanted more, or had heard good things about the American comic, maybe they even had read any imported copies. Time was right for the Day of the Defenders! 

Doctor Strange sits in his study of his Sanctum Sanctorum in Greenwich Village, lost in his own thoughts, possibly directly after the end of "The return" as mentioned earlier, when a voice calls out to him. After following in his astral form that repetitive voice, Strange discovers it belongs to his old foe Yandroth on his deathbed. The last time Doctor Strange encountered the Scientist Supreme was in Avengers weekly #56, when the villain fell to his doom. As any villain worth their salt they don't die easily. Yandroth is dying but his megalomaniac tendencies have hatched a plan that if he dies the world must die too! So to do that the techno-wizard has created a doomsday machine called the Omegatron to destroy the Earth five hours after it's activated by his death. Like every psychopath he tells Doctor Strange of his plan so that he will experience the terror of the approaching Armageddon.

Strange desperately manipulates the medical staff at the hospital that Yandroth is in to try and save his life. The odds are overwhelmingly against them and Yandroth dies from his injuries. The world's only hope of surviving the nuclear holocaust that the Omegatron will unleash will be a group of titans that can destroy it before it destroys the Earth. The first titan Strange gathers is Namor the Sub-Mariner, who at first wants no part of the Doctor's group as he plans on searching for his lost father and his heritage, but when Strange tells him about the seriousness of the situation, he agrees to join. Namor recommends getting the Hulk or the Silver Surfer to help. Namor, the Hulk and the Surfer had teamed up before to form a group loosely named the Titans Three, a kind of forerunner to the Defenders, that appeared in Sub-Mariner Volume 2 issue 34, cover dated February 1971, published November 1970. British readers get to read that story around Christmas time of 1975, in the Marvel Annual 1976. It's in glorious colour and a real treat too. 

Using the Eye of Agamotto Strange finds the Surfer busy trying to break through Galactus' barrier. His attempts leave him unconscious, so Namor and Strange cannot wait for him to recover. So instead they seek the assistance of the Hulk to help them destroy the Omegatron, before it can start a nuclear chain reaction that will destroy the planet. Hulk isn't an easy choice and Doctor Strange has to trick the green goliath into chasing his astral form to make him come, but after Namor's intervention that stops the Hulk from crushing the meditating magician the Hulk agrees to become their friend and help them in the task ahead. Roy Thomas is excellent at forming a story from so many loose ends, weaving a rich tapestry from Marvel's most misfitted heroes. The Defenders shouldn't work, even with the Surfer later joining their ranks, but this non-team became a treasure chest of smart stories, that in the 70's I adored. Ross Andru's art felt a little scratchy to begin with but I soon became engrossed with it and couldn't wait for next week's second half when the Defenders face "the menace of the Omegatron!"

The Mighty Marvel Mailbag

Mark Loudon RFO, KOF, Belfast is straight to the point with his letter, "What happens when you run out of reprints for the present British mags?" he asks as he has a feeling that it will arise sooner than a lot of people think. He offers some replacements Captain America and Falcon, Captain Marvel, the Defenders, Sub-Mariner, Marvel Team-up, Man-Thing, Black Panther, Power-Man or Morbius Living Vampire. Mark is pleased with the current British mags especially the artwork on the Hulk, Spider-man has been good and Thor is fantastic, but Iron Man "gets up his nose". Steven Boyd from Scotland has been recently disturbed to read that seemingly immortal question "How about some colour?" Steven, for one, thinks that the black and white format (if handled properly) can be as good as, if not better than the colour format.

For example Jack Kirby's pencils currently appearing in the Fantastic Four, show up clearer and better than they did in their original colour format. To put it simply "Colour is good, but Black and White, when handled well, can be better and is a great deal cheaper." 

Daredevil “In combat with Captain America!”

Writer: Stan Lee

Artist: Gene Colan

Inker: Vince Colletta

Originally published in Daredevil #43

Cover date August 1968

(Published in June 1968)

Having first seen this story in the Marvel UK comic Marvel Super Adventure issue 2, cover dated the 13th May 1981, I fell in love with it back then and when I got a chance to complete my 1970's British Marvel comics collection years later I fell in love with it again. We're reaching a period of the Man Without Fear which that is a joy to read. Gene Colan is on top form as there artist, drawing the strip to Daredevil's strengths and although Stan Lee's dialogue can feel a bit laboured it still hits the right notes that a super-hero fan can get behind. Anyway Roy Thomas will be writing the strip soon, can't wait.

Daredevil is working off some steam in his personal gym after Karen Page has decided that she cannot continue working at Nelson and Murdock anymore. Her reason for leaving is because she and Matt cannot reconcile their feelings for each other. This sudden emotional jump feels a little odd, especially to my mature eye, but my younger self must have over looked it all as I raced to the clash of heroes that this story promised. Matt did have an opportunity to make her stay but he pushed her away not wanting to have her life put at risk if an enemy of Daredevil finds out his secret identity. That works as a plot for my younger self, but my aging self points out that Matt Murdock's friends and associates are always involved in dangerous adventures, how many times in the past has Karen been kidnapped. Isn't love worth the risk? Not wanting to take out his emotions on somebody else, Daredevil goes on the trail of the Jester, who is still on the loose after last week's bungled attempt at forcing Foggy to stop running in the DA election. Matt's hopes that capturing the criminal with help him forget his personal woes. While he searches for the villain he passes Madison Square Gardens, where Captain America is appearing in a charity fight to raise money for the Urban Poverty Fund. Daredevil considers it would be a blast if he tangled with Cap, but finding the Jester is his priority. But guess what? "Next Week DD vs Cap! 'Nuff said!"

The Fantastic Four “Divide..and conquer!”

Writer: Stan Lee

Artist: Jack Kirby

Inker: Frank Giacoia

Originally published in The Fantastic Four Annual #5

Cover date November 1967

(Published in August 1967)

Now than eagle eyed Power of the Beesting readers might have spotted that I named Frank Giacoia as the inker of this strip, when the credits on the page clearly list Joe Sinnott as the inker. If you take a long careful look at this week's artwork you might notice that Kirby's artwork looks slightly different to the artwork when Sinnott inks it. Note the back grounds seem slightly more basic and the characters aren't as defined as previous issues. Well it was confirmed in the first editorial reply on the letter pages of Fantastic Four #71, cover dated February 1968, published November 1967 that Sinnott was mistakenly credited as inker. I'm surprised that the UK version didn't correct the error. 

Some little time after returning from last week's adventure rescuing Alicia from the Beehive, Reed finds his wife, Susan Richards has suddenly fainted, prompting him to carry her to her bedroom look her over and call a doctor. However Sue dismisses it as just the heat. These events will have significant repercussions that readers would have to wait till next week to find out what it is. The Thing leaves to spend some time with Alicia. Elsewhere Psycho-Man punishes one of his subordinates for delivering a component of his device to the wrong address, gathering together his minions Shellshock, Ivan, and Live Wire to help recover the device. The wrong address turns out to be the home of Alicia Masters, where we find the Thing who is trying to figure out what the strange parcel is for. Soon they are attacked by Psycho-Man and his minions, who defeat Ben when he suddenly is overcome by a wave of fright. Meanwhile, the Black Panther leads an army to Panther Island, where he briefly gets into a battle against the Inhumans, before they all realise that they are mutual allies with the Fantastic Four. Karnak shatters a mound to reveal a Dome hidden beneath it. 

This story ends on two endings. The second ending is the correct one for this week, while the first ending was probably meant for next week's issue, but more on that in next week's blog, when we'll find out more about "the coming of the Psycho-Man!"

Spider-man Comics Weekly #128

The original cover artwork from the Amazing Spider-man issue 95 by John Romita Sr (pencils) and Sal Buscema (inks). It sold the comic with the pretence that Spider-man is in the UK, which makes this week's issue very symbolic to British readers. I wonder if this awoke the realisation in readers that Spider-man didn't live in Britain at all. Or would that come next week when he returns to New York?

Spider-man “London manhunt!”

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)

Last week's cover by Ed Hannigan (pencils,) and Al Milgrom (inks,) is repurposed as this week's second part opening splash page with a new title, catch up boxes and a credit box. Spider-man swings off around London to look for the terrorists who have kidnapped an American delegate and his son. John Romita Sr. does a great job of illustrating the look of London, treading the fine line between reality and the fantasy of British life. The cars and buses are perfect, Buckingham Palace and Piccadilly Circus are fair renditions of those locations without being too "post card" like and the fashions for the characters mix modern with Disney stereotypes, but I can live with a miniskirted lady and a bowler hatted gentlemen, its all cool. It could easily be scenes from the 2019 film, "Spider-man: Far from Home".

Gwen spies Spider-man swinging past her Uncle's window and faints at the sight. Her Auntie and Uncle presume that it was just her imagination. Spider-man eventually finds the terrorists and learns that the delegate and his son will die at seven PM unless their demands are met. Spider-man then begins to scour all of London again to find them, when he realises that the terrorists had given him a clue when they said "their fate is sealed by time itself." Quickly he races to the palace of Westminster where the clock faces on the tower read mere minutes to seven. Inside the tower he finds Herbert Knowles and his son tied to Big Ben. Quickly Spidey webs up the four clock faces to give him time to rescue them, before returning to defuse the bomb. All ends well until Peter finds a newspaper headline that reads "Spider-man foils terrorist plot", if he visits Gwen in England and with Spider-man also in England Gwen could put two and two together and figure out his secret identity. Cursing his stupidity, Peter is forced to go home without visiting the girl he loves. Spider-man's adventure in Britain did leave with one other positive conclusion, with the web-slinger being hailed a hero by the British press Gwen does realise that she could be completely wrong about Spider-man's involvement in her father's death. Even he would say that he didn't think Spider-man was bad. Both young lovers ache over missing each other. I wish some Cupid would shoot both of them with their love arrow, but I'm afraid that the god of love will have to wait as next week our hero must face the return of the un-god-like and un-cute, Green Goblin!

The Web and the Hammer

After reading the Iron Man story from SMCW #116 Mike Griggs from Kent had to write in that the Shell-head epic in the afore-mentioned issue was definitely the best-presented to date. Mike thought it was perfect in every respect. Even the story was good. On reading the previous issue, he thought the story line would be a flop. far surpassed his expectations. So much so he bought three issues. Mike had always admired Gene Colan's pencils, but till that issue he never realised just how important embellishment is to bring out the dimensional effect, he gives his thanks to Gary Michaels, the inker who was in fact Jack Abel. Tony Dunn from Sheffield after five years of reading British and American Marvel comics he decided to write in with criticisms, Planet of the Apes is great but he would rather have strips rather than articles. The Hulk is only just second best to the Fantastic Four, but Daredevil is boring. In Spider-man Comics Weekly the lead story has too many problems, as does Iron Man and Thor, but apart from that they're all great. Finally on the Super-Heroes, the Silver Surfer is the greatest story he's ever read, but the X-Men strip is a bit weak. Graham Bowden from North Devon thinks the covers from SMCW are great especially on SMCW #110. Graham considers that the mags are so much better value than other comics, as they take longer to read. Also he totally disagrees with Antony Blewitt who wrote in issue 110 that the Avengers were getting worse rapidly, to him they're getting a lot better.

Christopher Twain from Harrogate is a newcomer to Marvel, but when he saw the cover of Spider-man Comics Weekly with  Spidey in his brightly coloured costume he just had to grab a copy. He also feels the same way about the Hulk. He's going to get every issue of SMCW and MWOM if he can. Brian Clark from Cumbria has written into Border Television to ask them to show the Spider-man cartoons and he was lucky enough to receive a reply. It said "We are currently showing the Adventures of Superman, which will take us through to the end of the summer and maybe then we will be able to consider Spiderman." Brian finished his letter by asking Northern Marvelytes to lift their heads up as there's still hope for the web-slinger to swing onto their screen,  

The lower half of the page offers yet another chance for British readers to order issues 9, 10 and 11 of the FOOM magazine.   

Iron Man “Secret in the castle of terror!”

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'm not sure who drew this opening splash page but it must have been commissioned especially for this British comics second half that sees Iron Man racing towards Half-Face's castle after dodging the villains "Solar Energy Destructor Ray". Think the Solex powered ray gun from "The Man with the Golden Gun." Inside the castle Iron Man has to fight his way through a small army of dog/wolf robots, to get into Half-Face's lab where the villain is finishing his latest project. In the American version the story ended with page eighteen, but the British story continues here with Tales of Suspense issue 93.

Originally published in Tales of Suspense #93

Cover date September 1967

(Published in June 1967)

The first two pages from Tales of Suspense issue 93 are left out of the British mag as page three's full page splash appears next without any break in the action. We discover that Half-Face has been working on reviving the Titanium Man and repairing his armour, making him more bigger and more powerful than ever before. Titanium Man has Iron Man clash as Half-Face watches the two titans battle. The villain reflects on his past, how he had been a Vietnamese scientist who neglected his wife and child to devote his life to his country's red regime. His life took a turn when a chemical explosion injured his face. Since then he has left his past life behind. The strip, like Half-Face's story, comes to an end, with the second part of Tales of Suspense 93 continued next week with "the battle supreme!" This splitting and matching of American issues to fill the space available in each weekly will continue for a couple more weeks. It may feel like a generic Iron Man tale, but stick with it there will be a pay-off in a soon. 

The Mighty Thor “Behold 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)

Page thirteen of the original US comic is perfectly timed to make this week's second part opening splash page, with a catch up box that incorporates this week's title added with a new credit box. The devourer of world continues his travels through space only to pause when he detects the thoughts of a vastly intelligent and powerful creature. At the perimeter of the galaxy a dark shape forms that fires bolts of force at Galactus which the space god withstands. As in his own words Galactus bears no malice to no living being, only slaying to survive as his hunger continues to mount, once more he decides to seek out the source of the attack. 

Taking a smaller craft, Galactus flies into the Black Galaxy, where he discovers before him Ego the Living Planet. Meanwhile aboard the Rigellian flagship, Thor meets with the Rigellian commander and the Recorder to determine their plan of attack against Galactus. With their course set, Thor and the Recorder travel off in a ship to confront Galactus himself. Their craft head off into space, passing fleets of spaceships that have survived Galactus's destructive path.  Their craft has detected that Galactus is within the Black Galaxy , their destination as the two allies speed off to meet their foe there. They are observed by a group called the Wanderers, a group of aliens that have survived the destruction of their civilisations at the hands of Galactus, who seek revenge against the destroyer of worlds. They decide to follow after Thor and the Recorder. Deep in the Black Galaxy, Galactus and Ego boast about their mutual power and Galactus demands to consume Ego's energies. Ego unleashes a furious blast as powerful as a thousand suns, towards Galactus. It's magnitude is of such force that it reaches Thor and the Recorder, destroying their ship, leaving them adrift in space, seemingly killing them both. Find out if they live in next week's "the sound of thunder!"

Avengers Weekly #97

Arvell Jones drew this UK commissioned cover for this week's Avengers weekly. It features an insert of Conan which I'm sure was copied from a Conan strip by Jones. It represents the Avengers strip but I have to say it's of pretty poor quality. The inks were supplied by Dan Adkins.

Conan the Barbarian “The Black Hound of vengeance!”

Writer: Roy Thomas

Artist: Barry Windsor-Smith

Inker: Dan Adkins

Originally published in Conan the Barbarian #20

Cover date November 1972

(Published in August 1972)

Barry Windsor-Smith's beautiful art and Roy Thomas's exquisite writing dazzle us again this week. Conan returns to Prince Yezdigerd's ship after last week's battle in the city of Makkalet to look for his friend Fafnir. Between the masses of the dead and dying on board the ship Conan finds Fafnir, who had been dragged from the water, but has lost an arm after the foul sea water had infected an untreated wound. Conan keeps vigil over his friend's sleeping body until he is interrupted by Balthaz, who requires the Northern barbarian for a secret mission.

At first Conan isn't interested in any mission but the thought of revenge for the previous day's slaughter changes his mind. Balthaz intends to lead a small group of men with Conan into the town. A contact in the city has sent word that the wharf is unguarded and a clandestine mission to rescue the Tarim might be possible. After a few random encounters with guards hinders their progress towards the temple, they eventually make it inside. Conan is separated from the Turanians, and while he roams the hallways, Balthaz and his men make their way to the roof and light a signal for Yezdigerd. However, Balthaz's men are suddenly and mysteriously slaughtered, one by one. Meanwhile, Conan enters a temple and decides to liberate a gleaming sword in a ruby encrusted scabbard, when he encounters a young woman, who he believes is no-one more important than a simple temple wench. 

She calls herself Caissa and warns Conan that Kharam-Akkad is not in the habit of giving aways swords of state to thief's with northern accents. Suddenly the wizard high priest enters the temple telling Conan to keep it, or his life, but not both. Conan tells him that he'll carve him fit for slaughter and that he has comrades in the temple. Kharam-Akkad replies that they now walk a darker path thanks to the Black Hound! The seventh, eighth, ninth and tenth panels from this page are left out and replaced with a Map showing the geography of the Hyborian age as prepared from notes by Robert E Howard. I presume that those four panels will be used in next week's strip. Anyway it's always great to visualise where Conan's adventures took place. I would't mind a larger full colour version of this map on my wall.

The Hyborian Age

John Wallace RFO, KOF, QNS, from the Isle of Lewis gets all seven of the weekly mags, 19 of the American colour mags and a number of black and white America magazines, which when added together over the years makes well over 600 Marvel mags. He offers a reason why the Super-Heroes comic isn't called the "Silver Surfer" comic, it's because the Surfer only lasted up to 18 issues. He asks will there be any plans to see Warlock or Deathlok succeed him? Peter Badura from West Germany uses British comics to learn how to speak English. Although he has seen colour Marvel comics in Germany he likes the British ones the most. At first he thought black and white comics couldn't be so good as the colour ones, but not anymore. As he likes fantasy he's favourite hero was Thor, but not anymore as now he prefers Conan and Kull. Kevin Colan from Merseyside considers reading "Tower of the Elephant" to have brought the same nostalgic memories as listening to "Sgt. Peppers" or eating vanilla ice-cream on a hot summer day, as his first US comic was Conan issue 4. He plans to plug the gaps in his US Conan collection with the British reprints. To him "Tower of the Elephant"

is a classic, in that it blends the right amount of fantasy with the right amount of action. He asks Marvel to keep the fantasy, action and magic and he'll keep coming back for more.

The Avengers “Take two giant steps...”

Writer: Roy Thomas

Artist: Gene Colan

Inker: George Klein

Originally published in The Avengers #65

Cover date June 1969

(Published in April 1969)

More pieces of art are being commissioned as second part opening pages, rather than US covers or repeated and enlarged panels from the original strips. It does create a problem for me when it comes to identifying the original artists. It's possible that the artist may have been Arvell Jones, who drew this week's cover artwork with Dan Adkins inking it. This page could have been an effort at the cover itself, but in truth other than it looks very similar, I can't say if it was. The second part opens with the Swordsman breaking into the Avengers mansion to confront the assembled heroes at the request of the villainous mastermind, Egghead.

The Swordsman learns that Hawkeye is now calling himself Goliath. But as the villain is looking for a grudge match with Hawkeye the giant Avengers stops his teammates from getting involved in his personal battle against the Swordsman. After a combination of Goliath and the Swordsman narrowing the field the two of them fight each other. However the Swordsman defeats Goliath as the villains blade unleashes a brain numbing blast that renders the Avenger unconscious. Figuring that Barton could have been the Goliath that fought Egghead, as he is unaware at this point that Henry Pym had become Yellowjacket, the Swordsman delivers Goliath to Egghead. Egghead refuses to pay the Swordsman because he brought him the wrong man. While the two fight it out, Goliath regains consciousness, Egghead uses a stun blaster to fire the Swordsman through a window. But while the villain gamely hangs onto the windowsill the Goliath disarms the bald villain and rescue the Swords man with a hastily made make shift bow and arrow from a pipe, his belt and some wire. The Swordsman admits that after all those years Clint has proven himself the master of his craft. Barton is pleased that in some small way he has made up a little for the way he treated his brother. 

Doctor Strange “The lurker in the labyrinth!”

Writer: Gardner F Fox

Artist: Irv Wesley

Inker: Don Perlin 

Originally published in Marvel Premiere #5

Cover date November 1972

(Published in August 1972)

A new creative team takes over the reigns from Roy Thomas, Archie Goodwin and Barry Windsor-Smith, I have to say I don't like it one bit. It's not so much the writing, which I can get along with, it's the artwork. It's terrible! This opening splash page looks like a second rate second part commissioned page. But it's not, the Reptilian townsfolk of Starkesboro look amateurish. Wesley's panels are untidy, making the story a slog to follow.I wonder if Don Perlin's inks saved us from a worse fate. I don't normally give too much away about the future of any strip, but I'm glad to say that Irv Wesley doesn't stay longer than this story, so readers will only have to put up with it for two weeks.

Doctor Strange is held in bondage on the alter of the Spawn of Sligguth, in readiness to be sacrificed when Sligguth itself and the creature's dark priestess, Ebora appear from behind a serpent-studded tapestry. Ebora explains that the Great one, Sligguth is working with them in order to free their master, Shuma-Gorath, an ancient creature that plots to rule over humanity and the Earth. Buying some time to gather more strength and mystical might Strange demands to hear more about Sligguth and the Shuma-Gorath. I'll discuss more on Shuma-Gorath in future blogs however as a teaser here's a titbit, the character's name is taken from Robert E Howard's short story "The Curse of the Golden Skull." We find in the Marvel Universe, eons ago Shuma-Gorath had taken refuge in catacomb deep within the Earth to dream and lie in wait for a time to awaken. In this New England village fishermen had recovered an ancient inverted cross entwined with a serpent, they started to worship it in secret, slowly they change, growing more reptilian over time. Choosing a dark priestess the Starksboro church became desecrated as they would sacrifice victims on its alter to their serpent god Sligguth. With regained strength Strange breaks free and battles the serpent creature. Temporary defeating the creature and its flock of mutated worshippers. Strange explores the catacombs beneath the church. Even though he is attacked by bats he goes deeper and deeper in the hope of discovering "the secret of Sligguth!" as we'll see in next week's issue.

Dracula Lives #40

Rich Buckler drew this cover especially for this British weekly and I must say that I was surprised to discover that fact because I couldn't recognise any of his style in it. It's not up to his standard although I must admit the majority of this week's covers aren't of a great standard either. According to the Grand Comics Database Dan Adkins probably inked Buckler's artwork for this cover.

Dracula “Snowbound in hell!”

Writer: Marv Wolfman

Artist: Gene Colan

Inker: Tom Palmer

Originally published in Tomb of Dracula #19

Cover date April 1974

(Published in December 1973)

Wolfman and Colan create wonderful intrigue by starting this week's vampire tale further on than last weeks ending, we are presented with Rachel Van Helsing hiking through the winter ravaged Transylvanian Alps with Dracula her unlikely travelling companion. The two have become temporary companions relying on each other to survive. Rachel needs Dracula to help her off the mountain, while the vampire lord keeps her alive as a convenient supply of blood. Rachel slips off a cliff but she is saved by Dracula who is curbing his desire to slay the vampire hunter who had been stalking him for years. 

The two find shelter in a cave, where Dracula starts a fire, over which the two talk about their mutual hatred of one another. As Rachel rests, Dracula goes out once more into the snow after spotting a mountain goat, which he then feeds on. Its blood is revitalising, but the act of drinking non-human blood he finds repulsive. Dracula reflects on his current predicament. Following his battle with the Werewolf from last week, Rachel Van Helsing stole Gregor Russoff's diary, which contained a copy of the Montesi Formula to destroy vampires, originally taken from the Darkhold. She made her escape in a helicopter, but was followed by Dracula. The vampire managed to board the copter, causing with his added weight the helicopter to spiral out of control, throwing the pilot to his death.

Now this is where I have a big plot-hole problem. Last week I presumed it was Rachel and Frank Drake who escaped in the helicopter, because there are scenes where Frank pilots the craft earlier in that story, so where did this pilot come from and where did Frank go? It's pretty poor considering that Marv Wolfman wrote both stories. More on Frank next week, which won't clear any of it up, in fact it makes it worse. Dracula finds that Rachel had survived, his need to have the book is forgotten with his own survival now reliant upon Rachel's own. He administers first aid on his female companion as the two would begin their own quest for survival. Finishing his recollection, Dracula returns with the dead goat so that Rachel can cook it over the fire. The stand-off between the two of them continues as neither can kill the other without dooming themselves. Meanwhile, in Doctor Sun's Pagoda in Ireland, Mister Lo continues to hone the skills of vampire Lucas Brand, testing the full limits of his abilities. While on the mountains, Dracula and Rachel continue to struggle through the Alps, facing another near-death experience when Rachel falls down the icy mountain side. The danger continues next week.

Letters to the House of Dracula

Tom Tatlock QNS, from St. Helens thinks the Pablo Marcos cover from Dracula Lives are great, especially from issues 25 and 27. Even though he likes Brother Voodoo he wonders what happened to Frankenstein's Monster as it never finished the story. He adds that Tom Sutton draws the Werewolf by Night the best and Gene Colan is the best artist for Dracula. R Davis from Bristol is a fan of Dracula Lives, but he has spotted a mistake, in issue 1 the story said that Victor Frankenstein created the Monster, but he did not as it was Doctor Henri Frankenstein and in the strip Frankenstein brought the Monster to life by injecting it. This is also wrong, he brought it to life with electricity. The editor points out that maybe R is getting their information from the film version. C Preygnoebcki from Stoke is a devoted fan of Werewolf and wonders whether British Marvel are going to print him in his own comic, like they did with Spiderman when he first started in Marvel? C Lane from Staffordshire gives a brief run down on Dracula Lives. The lead story is great and the story flows quite smoothly. Werewolf by Night was slow at first but has warmed up rapidly. Finally Frankenstein's Monster was entered a promising stage when he was suddenly dropped and replaced with Brother Voodoo.

Werewolf by Night “Death in the cathedral!”

Writer: Mike Friedrich

Artist: Mike Ploog

Inker: Frank Chiaramonte

Originally published in Werewolf by Night #16

Cover date April 1974

(Published in January 1973)

At the airport in Paris, Jack and Topaz are waiting for their flight back to Los Angeles. Now if you've ever flown from Charles de Gaulle airport you will understand what a sh!thole it is. One where you would't want to be stranded at for any length of time. So I sympathies with Jack's frustration. I do have little sympathy for what happens next, it's the fourth night of the full moon, is that really a thing, three nights of a full moon is stretching it a bit. But why are they traveling by plane when there's a chance that Jack could turn into a raging beast? Although Werewolf on a Plane does sound like a great name for a film. Maybe it's the moon light in Paris that does crazy things to you. 

Jack's transformation into the beast causes more chaos at the airport, but to add to the mayhem an arriving airplane lands on the runway just missing the Werewolf, but on board a hunchbacked terrorist has hijacked the flight. Angrily the Werewolf enters the plane when a stewardess tries to escape through the emergency exit door. Raging through to the cockpit the beast attacks the hijacker. Passengers take this opportunity to flee as the pair fight. As the two fight the pilot defuses the bomb that the hunchback activated when he dropped the case it was in. Topaz in following her connection to Jack's werewolf mind enters the plane, causing the Werewolf to be distracted and suffer a blow from the hunchback that renders him unconscious. Needing a hostage the terrorist takes Topaz, leaving the armed police helpless to stop him from escaping. The Werewolf regains consciousness and follows Topaz's scent leading him to the river Seine and a large structure built on one of its islands. Next week we'll discover the "Werewolf in the Cathedral of Notre Dame!"

Frankenstein’s Monster “The lady of the house!”

Writer: Bill Mantlo

Artist: Val Mayerik

Inker: Val Mayerik and Dan Adkins

Originally published in The Frankenstein Monster #18

Cover date September 1975

(Published in June 1975)

Frankenstein's Monster and the ICON designed robot the Berserker battle on the tundra wasteland, matching each other's blow for blow until the Monster rips off Berserker's arm. Stunned the Frankenstein's creation asks with pity is the robot in pain? The Berserker doesn't understand the concept of pain and his confusion starts a philosophical question about life. The Monster asks the Berserker "Are you alive? Do you know if you live  or who you are?" These questions silence the robot.

Cardinal and Indigo have relocated to the Swiss headquarters of ICON, was this a continuity error or was that the intension all along, as in the previous week's comics they had monitored events in Veronica Frankenstein's chalet from their helicopter. The agents of ICON are shocked that their creation's transceiver has suddenly ceased to respond. The Monster and the Berserker continue their conversation as the pair enter a nearby dark forest. Ralph and Veronica see to the unconscious Eric Prawn, who had helped fight off ICON's attack last issue. Ralph spots the traitor Werner making his escape to Cardinal and Indigo's helicopter, which has returned to Veronica's chalet, making Cardinal and Indigo's appearance at the ICON headquarters earlier even more strange. Ralph grabs a gun from the injured Eric Prawn and chases after them. His wild shots manage to hit the copter's gas tank, causing it to explode. Out in the wilderness, the Monster and his new friend, the now tamed Berserker robot walk in deep conversation, deeper into the forest, unaware that they are being watched. In the twisting shadows the watchers multiply and begin to move in. Next week the watchers attack in "all My children!"

Planet of the Apes #40

This is another especially created piece of artwork for the cover of this British version of the Planet of the Apes, drawn by Ron Wilson (pencils,) with Frank Giacoia (inks,) that really isn't great, but at least it hints at this week's apes tale and it's better than a blank cover.

Planet of the Apes “Mutations”

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)

Last week's Beneath the Planet of the Apes end splash page makes a reappearance as this week's second part opening splash page with a new title added  as well as a catch-up box and a small credit box. Elsewhere in the city of apes Doctor Zaius and General Ursus discuss their planned expedition to the Forbidden Zone and the potential threat they might find there. Their conversation is very relevant today, as the General is prepared to go to war on the pretext of what the Lawgiver had written in the sacred scrolls. Including that God created apes in his own image as masters of the Earth. Zaius counters that God did not ordain that apes should go to war. Ursus's reply is has he ordained that apes should die of starvation? Are apes philosophies like humans now used to justify slaughter as opposed to curiosity and understanding.

Brent and Nova enter the underground city and discovers a  fountain in an ominously silent courtyard. Abruptly the silence is broken as it suddenly bursts into life. The two humans take this welcomed gift with good grace and drink from its cool waters. In mid sentence Brent stops and is over come with the urge to drown his female companion in the fountain's water. He is commanded by some form of mysterious mind-control that demands he drown Nova. This scene is perfectly choreographed with Alfredo Alcala's artwork, making it as powerful as it was in the original film, with most of the page without dialogue or captions the reader feels the horror and the danger of the mind controlled astronaut, even if they had never seen the film version. 

The following page shows Brent struggling to regain control of his own body and mind, but he does enough to release her. Still, a voice in Brent's head urges him to murder Nova. Brent urges Nova to stay away from him while part of him wants to kill her. Moving to inside one of the buildings Brent comes across a man worshiping an atom bomb as if the bomb were a god. The astronaut talks to the man who Brent suddenly realises replies without moving his lips, the stranger communicates with him telepathically. Brent is then escorted past a group of children who are singing a nursery rhyme as they dance around the fountain where Brent tried to kill Nova. "Ring-a-ring o' neutrons, a pocketful of positrons, a fusion! A fusion we all fall down!" He is lead into another building marked with the name Mendez XXVI. Inside busts of Mendes can be seem and in a chamber a group of similar telepathic humans study their unwanted guest. Next week Brent will face "the horror inquisition!"

The day of the Triffids “Chapter one”

Writer: Gerry Conway

Artist: Ross Andru

Inker: Ernie Chan

Originally published in Unknown Worlds of Science Fiction #1

Cover date January 1975

(Published in October 1972)

"The day of the Triffids" is based on the 1951 post-apocalyptic novel of the same name by the English science fiction author John Wyndham. In 1963 it became a British made film starring Howard Keel and Nicole Maurey, although like the novel I haven't read or seen either of them. What I do have a vivid memory of is the utterly brilliant 1981 series made by the BBC. Whether you read the novel, watched the film or the original TV series or even the 2009 version TV series or even the three radio drama series from 1957, 1968 and 2001, you can't have not heard about the Triffids. Their name has become part of the modern English language. This strip is another fine example of great science fiction story telling.

After detailing events that may have lead to the release of spores that give birth to the plants that became triffids the world awoke to strange plants that walked like animals. A young boy called Bill with his father enters their garden to fine one such mysterious plant. Curiosity gets the better of Bill and suddenly the plant attacked with its stinger. In rage his father took an axe to the triffid cutting it down, luckily Bill survived. People learned that these deadly plants contained a sap that held many medical wonders and they were soon cultivated in farms while the wild plants were destroyed. Bill, perhaps because of his early experience, he studied them in college and after graduating he found a job growing them. One day while working on the triffid farm one plant struck Bill once more blinding him, even though the farmed triffids had their stings removed one was either missed or grew back. He recovered in hospital but his bandaged eyes stopped him from seeing the firework show of an incredible meteor shower, that the rest of the world saw.

The next day Bill awoke to find chaos, removing his bandages he discovered a world gone mad. Those who looked at the nights before meteor shower became blind. Could it have been the radiation released from the light show? The unlucky few who retained their sight were wanted by the masses as guides to those who lost theirs. A blind bar tender who had given up any hope of a future wanted to drink a last drink with Bill before he killed himself. Suddenly a girl's scream sent Bill running to her aid in the street outside. A girl with full eye sight was tied to a man like a guide dog, the angry man was showing her who he thought should be the boss. Bill's sight gave him an advantage that allowed him to knock out the bully. Freeing the girl she tells him her name is Josella Playton. Josella and Bill fled to her home taking an abandoned van. She had left her father to fetch food when she had ran into the blind thug. On returning to her home they discovered that not only angry blind men are a threat. Triffids had escaped and started to attack humans.

Bill killed the triffid who had killed Josella's father. The two of them returned to the city to look for a safe place to stay. Finding refuge in a tower block the young couple get to know each other. That night Bill spies a light across the city. A beacon from other survivors. The next day Bill and Josella travel towards where the light was from, dodging wild Triffids on the way. The light had come from a University museum where a group of survivors had banded together. Soldiers keep any blind survivors outside, only allowing in the sighted. Bill and Josella join the group. Later Bill and Josella help the group to get supplies when they are attacked by a triffid. Bill is once again stung, but after two previous stings he seems to have built up a strong immunity to their venom. There they meet Coker, who had tried to join the  museum group, but had been turned away because his group had blind members. At first Coker doesn't trust Bill but later Coker wants Bill to join him as a leader of a blind group. Bill does so but he's also very suspicious of Coker's true intensions. Bill leads his group to look for food when they come across a rival group who fire on him. Bill's blind followers stumble in to a pack of Triffids to meet horrific ends. The city is filled with decaying bodies that are starting a plague and the growing masses of Triffids make survival nearly impossible. How will Bill survive? Find out next week.
 

"See the Apes Live!" the headline reads. A rodeo was travelling the country in 1975, holding shows at the South of England Show Ground at Ardingly, in Sussex on the 26th-27th July, the Royal Show Ground at Stoneleigh, Kenilworth in Warwickshire on the 2nd-3rd August, the Kent County Show Ground at Detling, Maidstone in Kent on the 23rd, 24th and 25th of August, the Staffordshire County Show Ground at Stafford on the 30th-31st August and the Lincolnshire Show Ground in Lincoln on the13th and 14th September. Where you could see Urko and his gorilla, Galan and the astronauts re-enact scenes from the ape series. Plus gunfights, broncos and stuntmen. Did anyone go to one of those shows? I imagine it was just rodeo performers doing their usual stunts but wearing ape masks. I'd love to know if you went did you enjoy it. Under that ad is an advertisement for Comicom 75! on the 2rd and 3rd of August. Admission to the event at the Regent Centre Hotel on Cardurton Street in London was just 50 pence. What was that like? I really would love to know.

The Super-heroes #21

The sixth of this week's covers was another commissioned especially for this British weekly, this one was drawn by Keith Pollard with inks by Dan Adkins. It copies a scene from this week's Surfer tale. It's fine but I couldn't say stunning. 

Silver Surfer “A world he never made!”

Writer: Stan Lee

Artist: John Buscema

Inker: Dan Adkins

Originally published in Silver Surfer #10

Cover date November 1969

(Published in August 1969)

Shalla Bal had previously travelled to Earth before, as seen in the Super-Heroes #5, in a spaceship that was guided by Mephisto. Again in order to find Norrin Radd, Shalla-Bal has sought the help of Yarro Gort one of Zenn-La's most skill scientists. Gort had only agreed to help her in order to prove that the Silver Surfer is either dead or has found another lover. Gort is counting on some of that being true as he hopes that Shalla-Bal will marry him once Norrin Radd is out of the picture. Using his skill and knowledge Gort has built a ship to take both of them to Earth.

Meanwhile on Earth the Silver Surfer comes to the rescue of a police officer who is trying to talk down a suicidal bridge jumper. They both fall from the bridge, but the Surfer swoops down and  catches them. The police officer is thankful of the Surfer's intervention, but even so the gathered crowd still refuses to believe that his intentions were good, their references to previous events when the Silver Surfer had appeared to have attacked the city, like in the Super-Heroes #4 #12 and #18. The Surfer leaves, determined to find out why humans are so untrustworthy. Arriving at the home of Al Harper the Silver Surfer picks up his civilian clothes and some money that he had left there to better mix with and understand what makes humanity fear him. Flying to a country somewhere in South America, that had been ravaged by warfare, the Surfer lands and sends his board away. Almost instantly soldiers turn their guns on him but their aggression is diffused when a woman throws water on them. The Surfer then dispatches them with his cosmic powers and discovers that a peasant woman named Donna Maria Perez, had soaked the soldiers. She invites him in so that she can tell him of her countries problems. Find out what they are next week.

Super-mail

Alan Franks RFO, KOF, QNS, from Leeds really did like the Surfer's origin from the Super-Heroes #2, still he offers two suggestions, the first is to add a third strip to the comic and secondly why not print the X-Men's origins. Graham Spinks from Birmingham is saddened to read the somewhat negative reactions to the 1963-model X-Men in the letters pages of "Super-Heroes". So he defends the "Golden Oldies", as he was around during 1963, by saying that there is nothing corny, antiquated or whatever about a group of mutant teenagers busting up the world-dominating schemes of homo-superior, evil variety. Stan Lee was and always will be, a creative genius behind the mind-blowing ideas. All great characters like the Fantastic Four, Spider-man, the Hulk, the Avengers, the X-Men and Daredevil were all unleashed on the world circa 1960-64. Without Marvel, '63 there wouldn't be any Marvel '75. Nazer Alikhan from Middlesex wondered why the letter page in the Savage Sword of Conan was filled with comments on the Surfer and the X-Men? It's a little strange that Nazer's letter gets printed in the Super-Heroes letter page.

The X-Men “The uncanny threat of...Unus, the untouchable!”

Writer: Stan Lee

Artist: Jack Kirby

Inker: Chic Stone

Originally published in The X-Men #8

Cover date  November 1964

(Published in September 1964)

British Marvel continuity returns to events that should have proceeded the Super-Heroes #14 after the X-Men's had fought the Blob for the second time. Professor X had temporary left the two issues previously in issue 12. Cyclops watches over the X-Men's training session where he helps Iceman develop his powers making him appear icier and more transparent. Which must have confused readers as after the last six weeks he had already appeared in this new ice form instead of his Snowman look. Following the workouts the group are given the day off. Jean tries to convince Cyclops to spend the rest of the afternoon with them, but he refuses, saying that he has too much work to do. It's becoming more obvious that Jean has fallen in love with Scott.

Hank and Bobby come across a child in danger of falling off a roof. Instantly he rescues the child but he and Bobby are attacked by the onlooking mob, who are angered that there was a mutant hiding among them. The pair escape but Hank is frustrated with the way humans treat them. He tells Scott he's quitting. Scott contacts Professor Xavier for advice but the Professor tells him there is nothing he can do and continues on his quest to find Lucifer. A week later, Hank has become a pro wrestler named The Beast. His latest opponent is Unus, the Untouchable. Hank attacks Unus, but each attempt fails, as an invisible forcefield keeps Hank back. Hank suddenly recognises Mastermind in the audience. After the fight, Mastermind heads into Unus' locker room to inquire whether he cares to join the Brotherhood of Evil Mutants. Mastermind informs him that he must prove his loyalty by defeating one of the X-Men. 

Later when out for a walk Unus sees a bank robbery and thinks that he could put the money to better use and robs the bank robbers. The nearby X-Men assume Unus is the bank robber and confront him. The four mutants are unable to beat a man they can't touch.The X-Men return to the mansion to plan a strategy, but find Beast in the lab, working on a strange new device. Beast informs them that the device is designed to increase Unus' powers. The X-Men thinks the Beast has joined with Magneto and attack him. Beast grabs his device and jumps out the window as the X-Men won't listen to him. The X-Men arrive too late to stop Hank from using the device on Unus, increasing his powers. At first, Unus is very pleased with his powers, but quickly realises he can no longer control them. He learns that he can't touch anything, including cigarettes or food. The Beast makes a deal with Unus to reverse the device's effects, as long as he does not join the Brotherhood of Evil Mutants. Unus agrees and returns to his wrestling career after being treated, and the Beast returns to the X-Men.

The Planet of the Apes and the Super-Heroes feature this Trebor Blobs advert on their back pages. If readers can help get the Chef Monster out of the soup by sending in their own menus with a starter, main course, dessert and a drink to wash it down, to Chef Monster at Trebor House in Essex. Anyone one who does will receive a Thank You letter from Patch and the best fifty recipes will win a two pound gift token. The pick of the bunch will appear on the next Blobs cartoon and even on the special batch of wrappers! The Chef Monster prefers his traditional "Slime stew with fungus dumplings!" Mmmmmm just taste the mould! 

The other four weeklies featured the Hulk sized "smashroo" in-house advert.

See a little bit of nostalgia can be harmless fun.

See you in seven.

Make Mine Marvel.