Memories in the corner of a Beesting's mind!

 Week Ending 9th August 1975

With "The Coming of Captain Marvel!" or "The Coming of.. Ka-Zar!" this week's super six has a fair few new super-stars with the Living Mummy, a Kree Captain and Doc Savage making their debuts and Ka-Zar first appearance printed in the UK for the first time. So strap in, we're in for a ride.

The Mighty World of Marvel #149

This cover by Ron Wilson (pencils,) with Frank Giacoia and Mike Esposito (inks,) was probably commissioned for last week's cover, because the text implies that Daredevil battles Captain America, which doesn't happen this week but did last. It also mentions the title of last week's Hulk/Defenders strip, "The day of the Defenders!" As both covers were drawn by Ron Wilson it was a case of "why not use both?" Last week's fitted with events in that weekly, while this week's kind of feels some slight connection with Doctor Strange using the Orb of Agamotto to find a nameless menace and after finding an image of Dormammu he considers summoning Sub-Mariner and the Hulk, so this cover with Strange watching Namor and the Hulk in crystal balls makes a little bit of sense. All in all I have to say that I really quite like the design and execution of this cover, it looks smart. It's my Cover of the Week.

The Incredible Hulk “Nightmare on Bald Mountain!”

Writer: Roy Thomas

Artist: Ross Andru

Inker: Sal Buscema

Originally published in Marvel Feature #2

Cover date March 1972

(Published in October 1971)

Even though this was originally a Defenders strip British Marvel editors saw an opportunity to expand the Hulk's strip longevity by filling in with another Defenders adventure. It was a shrewd move, especially because this strip is great. The second Defenders story continues with pretty much the same creative team except for Sal Buscema replacing Bill Everett as inker and although Bill is a legend, Sal's inks really makes an improvement to Ross Andru's artwork. The story begins on Bald Mountain in Rutland, Vermont, where a coven of satanic worshipers perform a secret unholy ceremony, a twentieth-century witches' sabbath.  

A rift in the sky opens revealing the master of the cultists, Doctor Strange's mortal enemy, the Dread Dormammu! Dormammu demands that his followers that a sacrifice must be made on the Eve of All-Hallows to allow Dormammu's crossing the void into the Earthly domain. Dormammu then demands that Doctor Strange be used as the sacrifice. The scene changes to New York's Greenwich village and the Sanctum Sanctorum of Doctor Strange, robed figures climb across the roof tops as the Sanctum's owner consults the Orb of Agamotto as the sorcerer searches the nameless menace that hovered unseen at his shoulder. The Orb reveals a future vision of Dormammu striding through a rift onto the Earth. Although the Lord of Darkness has sworn to never enter the Earth's dimension ,he did once try, but failed, as seen in the Avengers weekly #65 and #66. 

Following last week's meeting of the none team, the Defenders, Strange considers summoning the Hulk and the Sub-Mariner. Suddenly the Ancient One appears in his astral form. The Doctor in his Astral form follows his mentor into sky, but the Ancient Ones appearance turns out to be a distraction to the Doctor and allow Dormammu's followers to kidnap Strange's physical form. Wong enters and tries to stop them but he's out numbered and knocked out. When later Clea revives Wong, they use the Orb of Agamotto to find Stephen, but it has the weird result in sending an image of the Doctor to both Namor and the Hulk. Both heroes speed off to help their friend. The final panel uses next week's cover artwork by Ron Wilson. It's actually the first time British commissioned cover art featured inside a weekly before it was used for what it was intended for, as a front cover. The nightmare continues on Bald Mountain next week.

The Mighty Marvel Mailbag

Timothy Bradley KOF, RFO, QNS, from Staffordshire thinks that all the weeklies are improving. He also has a theory about the Thing's appearance and strength, when Ben was bathed in cosmic rays, he absorbed more than the others. As the energy hardened making his skin orange and scale-like. The surplus energy enlarged his mass and his muscles, making him super-strong. When cosmic rays bathed Mister Fantastic his molecules became unstable, giving him the ability to stretch. Tim has a theory about the mutant Toad, when he lands his mutant legs draw back the force of the landing, enabling him to leap even higher than before. The same applies to the Hulk. Tom Spasic RFO, KOF, QNS, FOOMer from Oxford offers thanks to the entire Bullpen, too many to list here, so just click on the letter page. Graeme Sutherland from Surrey loves Marvel comics and gets MWOM and SMCW delivered every week. Graeme asks why cross-words don't appear in the weeklies. Michael Wood from Brighton calls himself "Mike the Mad Marvelite" yet he doesn't know what a KOF, RFO and QNS means. 

Daredevil “I murderer!”

Writer: Stan Lee

Artist: Gene Colan

Inker: Dan Adkins

Originally published in Daredevil #44

Cover date September 1968

(Published in July 1968)

Right eagle eyed Power of the Beesting readers might have noticed that Vince Colletta was credited as the inker for this story in the first panel of this strip, yet I've named Dan Adkins as inker. Well Jean Baptiste Leblanc in August 2006 found, based on an examination of the art, that Dan Adkins may have actually been the strips inker. Nick Caputo from the Grand Comics Database confirmed that fact in Marvelmania #2 in June 2012 that Adkins was the inker. 

The Jester has returned to his one man crime wave, by breaking into a jewellery store, using a miniature robot jester. After the robbery, the Jester grows concerned over the likelihood of his enemies learning his true identity. After considering the problem he comes up with the idea that if he got rid of his civilian identity once and for all he would no longer have such a problem. He could also get rid of Daredevil at the same time by making it look like the man without fear had killed his civilian identity. The Jester in his civilian guise of Jonathan Powers enters a police station, announcing that he intends to reveal the true identity of Daredevil on the George Washington Bridge that evening. News spreads across the city of his intension, eventually reaching Matt Murdock who investigates as Daredevil. Arriving at the bridge Daredevil discovers Powers already there, but he'll have to hang loose till next week to find out what his intensions are. 

News on the Spider-man Cover patch offer from way back in the mags from Week Ending 17th May 1975. The first twenty applicants had their names drawn out of a hat for numbers 1 to 20. Are you one of these unique Cover Patch owners? No.1 Andrew McKirgaw from Formby, No.2 John Croot from Swansea, No.3 P Wiceman from Leicester, No.4 Christopher Vasiliou from Manchester, No.5 T Elefteriou from London, No.6 Stephen Carter from Hemel Hampstead, No.7 Paul L Burton, No.8 Roger Williams from Ashton-under-Lyne, No.9 David Robinson, No.10 Gerard Moriarty from London, No.11 Mark Berry from Wolverhampton, No.12 Cynthia Tobenhouse from Middlesex, No.13 Paul Allock from Stoke-on-Trent, No.14 Kevan Pass from Surrey, No.15 Philip Davies from South Wales, No16 Steven Lunn from West Midlands, No.17 Paul Burton from Kent, No.18 David Brown from Staffordshire, No.19 Simon Brake from Kent and finally Keith Painter Middlesex.

The Fantastic Four “Power of the Psycho-Man”

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)

This third part Fantastic Four vs the Psycho-Man story starts with an opening splash page that uses art from the cover of the Fantastic Four Annual issue five by Jack Kirby, inked by Frank Giacoia. The strange thing about the artwork used as the cover is that Crystal didn't appear in Psycho Man's hidden base when Lockjaw teleported Triton, the Torch and the Thing there. Presumably she stayed at the Baxter Building to help Reed look after Sue, while the original cover and this splash page shows her with the Inhumans, the Black Panther, Ben and Johnny fighting the Psycho-Man. Note also Gorgon also appears on this page, but he does turn up later to join the heroes.

The heroes battle their way through the Psycho-Man's deadly creatures and traps that are spliced with their greatest fears. But the heroes overcome those fears mixing up who fights what. Plus Gorgon arrive helps also. Cornering the villain Black Bolt blasts the Psycho-Man's giant mind ray weapon to smithereens. With the villain seemingly defeated all that is left is for the fiend to serve up a massive info-dump of his origin and motivation. Psycho-Man was a scientist from the Sub-Atomica worlds within the Micro-Universe  Realising that his world was becoming of a populated as his race multiplied at understandable rates. With a view to conquer other worlds outside of the Micro-verse, using his mightiest weapons, instruments that could control the minds of it's intended victims, playing on the emotions of hate, doubt and fear. Even though his giant "emoto-caster" had been destroyed he could easily build another smaller emotion-control-box to spread fear among the heroes just as they ready themselves to attack. Unseen by the Psycho-Man the Black Panther had arrived by a separate air vent above the villain, unaffected by the fear-blast the African King subdues the mad micro scientist. When they question him, they find that the Psycho-Man they captured was nothing more than a motionless body suit that could have been piloted by a small being who had escaped back to his own world.

Time for the next super-sized Marvel Treasury Edition, this time it's the Hulk's turn to star. The title of the fifth edition is "Hulk on the Rampage!" And as you might have already guessed this one hundred pages of full colour Marvel magnificent features a fistful of ol' Greenskins best tales, all for fifty pence! I'm a little surprised that this in-house advert didn't feature on the colour back pages of any of this week's mags. It might have been pushed into MWOM at the last minute as it wasn't in any of the other weeklies. Maybe next week this ad will get a colour slot. This week MWOM and SMCW gave their colour back pages to the Trebor Blobs advert seen a couple of week's ago. The Back covers of the Avengers weekly, Dracula Lives, Planet of the Apes and the Super-Heroes this week featured the Hulk-size cover patch "Smasheroo!" advert as also seen over the last couple of weeks. 

Spider-man Comics Weekly #130

This Gil Kane cover originally appeared as the cover of the Amazing Spider-man issue 96, even with the text strip that runs down the left, although that strip was originally red in the American version. The Green Goblin head in the strip on the left was drawn by John Romita Sr.

Spider-man “Memories in the corner of a Goblin's mind”

Writer: Stan Lee 

Artist: Gil Kane

Inker: John Romita Sr.

Originally published in the Amazing Spider-man #96

Cover date May 1971

(Published in February 1971)

The previous issue's cover, by Ron Wilson (pencils,) and Dan Adkins (inks,) is repurposed as an opening splash page with a new title and catch-up text box. No credits are listed this week. Spider-man swings down and saves a young drug befuddled teenager who had stepped off the side of a building. Luckily the police and paramedics  below give the lad mouth-to-mouth resuscitation as onlookers and Spider-man watch on. Within minutes, that feel to the witnesses like an eternity, the boy breathes again. Spidey quickly leaves as one policeman questions if the web-slinger is still a wanted man? Another officer points out that Spider-man saved the boy and he would rather turn in his own police badge before he busts him.  

Stan Lee uses the rescue to allow Peter to preach the evils of drug abuse, pointing out to the readers through his dialogue that any drug strong enough to give that kind of trip can seriously damage your brain, He wonders how can he warn the "kids" of the dangers of drug abuse. Using his life-style as Spider-man as an example that it is as dangerous as any, but he'd rather face a hundred super-villains than toss his life away getting hooked on hard drugs, 'cause that's a fight you can't win. He asks himself should Robbie Robertson or the other million editors keep grinding out editorials against the drug scene? It all feels like Stan is using this part of the strip to push forward his own views instead of his Soapbox column, but is that a bad thing? Did the readers on both sides of the Atlantic take notice?

Anyway Spidey changes into Peter Parker and joins Mary Jane, Harry and his father Norman outside the theatre before MJ's play starts. Harry ends up getting irritated with Peter when Mary Jane ends up flirting with Peter. Is this signs of her true feeling towards Peter now she knows Gwen is away in England and their relationship is having a break? Or is she just trying to make her boyfriend jealous? It's a kind of dynamic that Stan Lee has used before with Janet Van Dyne and Hank Pym. It might have felt normal to young readers, but with my 2025 eyes I wonder is this type of depiction hostile to women, no matter how well intended and genuine it was ment back in 1971. When Randy Robertson joins them, mentioning the earlier rescue of the falling drug victim, adding that it "bugs" him that everyone thinks that drugs are "the black man's bag". He gets into a brief argument with Norman Osborn about the reality of drug abuse in the city and how the rich sit in their "ivory towers counting their bread!" 

During the intermission of the show Harry asks his father what he thought about Mary Jane's performance, to which Norman goes all Trump and replies "Harry my boy, if I were twenty years younger.." That feels really creepy to me, but I suppose it was intended to be. Stan Lee is really trying to shoe horn as many social problems as he can in one story. Which must have touched the readership at the time as no other mainstream comic would make such an attempt to feel relevant. Modern comics aren't as active as this one, even though there are many who say they have gone "far too woke", God I hate that word. As much as I might have seen critical of Stan Lee's efforts I do think this tale was spot on, even if it did seem a little clunky with its application. Stan and Gil next delivered a key change with the following scenes. During the show, Peter's spider-sense warns him of danger, slowly becoming aware that Norman Osborn is acting very strange, especially when near a locked door. Osborne used to own the building before it became a theatre. When Harry abruptly leaves with Mary Jane in a jealous fit, Peter decides to follow after Norman Osborn as Spider-man. Could the building have been one of the Green Goblin's old safe houses? Peter is shocked to discover Norman in full Green Goblin costume with his memories returned. The drama continues next issue, as if you didn't already know.

The Web and the Hammer

Micheal Hoyan RFO, KOF from Liverpool described the Spider-man story from SMCW #118 as a masterpiece of artistic creation compared to the story of Doc Ock in the past few issues, although not without incidents, was not one of Marvel's best, but this conclusion made up for the poor quality. It shows the secret of Spidey's success, an unhappy ending. R Leyland from London is concerned that there had been numerous times in the weekly when mentions of the Scorpion's return, yet he has yet to materialise. R would like to see him back as it would make a change from The Kingpin. Doc Ock or the Vulture. David Wilson from Cleveland thinks that Marvel's characters convey a lot of the goodness, evil, strong-points and weak-points of the human race in general, no more so than Spidey's mag. In his mag David thinks they are the most human of all comic mag characters. Colin Price from Worcestershire mainly collects Spider-man Comics Weekly but of late he picked up MWOM #137 because the cover acted like a magnet to him.

David O'Verland QNS, RFO, from Newport writes that he has just put down  the "Fanriffic!" SMCW #118 which superbly depicted "The death of Captain Stacy", and he couldn't wait for the next issue. The Web and the Hammer also heard from Huw Roberts from Salop, John Olliffe from Hampshire, Terry Emment from London, Jimmy Hill from London, Alan Spencer from Northampton, Gordon McCalmont from Norfolk, Graham Gunns from Kent, David Sinclair from Wiltshire, Brian Bonhomme from Essex, Adrian Hutchings from Wiltshire, Nigel Barrell from Milford Haven, James Murray from Aberdeen, Philip Butler from London, Graham Parkinson from Sheffield, Colin O'Connor from Hull, Richard Carter from Nottingham, Adrain Ellis from Tyne-and-Wear, Edmund Curry from Northern Ireland, David Thomas from Castleford and Stephene Delanes from France. A good two thirds of the second letter page is devoted to the Marvel Comic Mart.

Iron Man “The tragedy and the triumph!”

Writer: Stan Lee

Artist: Gene Colan

Inker: Dan Adkins

Originally published in Tales of Suspense #94

Cover date October 1967

(Published in June 1967)

This second part opening splash page uses the fourth, fifth and sixth panels from last week's page 25 again, with a new story title, credit box and catch-up box added above them. Half-Face has sent the newly revitalised Titanium Man to destroy a village whose residence have been helping the American forces. Iron Man arrives and face the villain, taking the battle to him but making minimal progress other than giving the villagers some time to flee.

 

Meanwhile, while wandering the village Half-Face finds that his wife and child are alive and now live there. A turn of moral action takes place as the Vietnamese scientist realises that had it not been for Iron Man the village would have been doomed and his family would have been slain under his own orders. He calls his wife and child to leave with him, but she refuses saying that if the others must perish they shall also share their fate. While this family reunion is going on, Iron Man manages to knock the Titanium Man into a dried-out river bed, assuming his foe is now defeated he turns towards the cheering crowd. While talking to the villages, our hero is unaware that the Titanium Man has revived and is about to attack him with his "disinto-ray" until his opponent's armour explodes, knocking the villain out for good this time. Iron Man soon learns that Half-Face had caused the explosion, has he had decided to change his ways now that he has rediscovered his wife and child. Next week readers will have the chance to view another surprising change in the life of Iron Man.

This Marvel masterwork pin-up of the Invisible Iron Man is actually from the cover of Iron Man (US edition,) issue 8, cover dated December 1968, published September 1968, pencilled by George Tuska, with inks by Frank Giacoia. Originally the figure of the Gladiator loomed over Iron Man in the background. 

The Mighty Thor “While the Universe trembles...”

Writer: Stan Lee 

Artist: Jack Kirby

Inker: Vince Colletta

Originally published in The Mighty Thor #161

Cover date February 1969

(Published in December 1968)

The original Jack Kirby cover from The mighty Thor (US edition,) is repurposed as a new splash page to this week's second part, a new story title, plot recap and credits are included. The alien race of Wanderers' ship arrives just as Galactus has managed to turn the tide of the cosmic battle against Ego. Thor immediately jumps into action, in spite of the Recorders fear of Thor's destruction. 

Thor toss his hammer at Galactus, with the impact causing the world eater to pause, as it has actually caused him pain. Thor then goes in for a full frontal attack, however Galactus has erected a force field around himself making Thor's blows useless. Galactus then grabs the Thunder God and like a child's doll tosses him towards Ego's surface. A strange force pulls the young god towards the surface, cushioning his descent. On the Living Planet he is greeted by the newly arrived Wanderers with the Recorder, who have also been there safely by the Living Planet. Working together, the group constructs a stand that houses Thor's hammer and Thor uses it to fire a beam at Galactus. The force of the beam causes Galactus great pain and threatens to destroy him. Not wanting to be destroyed, Galactus decides it's best that he depart and flees the Black Galaxy in defeat, possibly for the first time.

The Wanderers rejoice at Thor's victory over Galactus, but as their starship is wrecked beyond repair they have nowhere to live. Suddenly the barren surface of the planet begins to change, where wasteland had been lush and rich soil appears. Instead of arid deserts crystal lakes and fresh streams take shape. A figure rises from the ground and to their surprise it is the embodiment of Ego who invites them to live on his surface, adjusting his form so that he can best communicate with the Wanderers. The grounds is fertile and will allow them to sustain a way of life. He offers them sanctuary and they are welcome to live on his surface for the rest of their lives.

Avengers Weekly #99

This UK commissioned cover was drawn by Jack Abel, as confirmed by Al Milgrom who inked it. The original artwork was sold on the 17th August 2022 by Heritage Auctions for $5,040, which is £3,773.97 for British readers. Shang-Chi's return is marked this issue with his appearance on the cover with the Avengers and Conan, I almost wondered if this cover was meant for last week's issue, because of the top banner text that reads,"Thrills and excitement, Conan faces the horrible Hell-Hound!" which did appear in last week's Conan strip, but doesn't in this week's.   

Conan the Barbarian “Monster of the Monoliths!”

Writer: Roy Thomas

Artist: Barry Windsor-Smith

Inker: Dan Adkins, Craig Russell, Val Mayerik and Sal Buscema

Originally published in Conan the Barbarian #21

Cover date December 1972

(Published in September 1972)

This Conan tale is part inspired by The Black Stone story by Robert E. Howard, which is part of the Cthulhu Mythos. "The Black Stone" was a horror short story by Howard that was first published in the November 1931 issue of the American fantasy and horror fiction pulp magazine, Weird Tales. The waking sun sends faint gold light onto the sea steps of Makkalet as the limp form of Conan washes up like unwanted flotsam. The citizens of the port recognise him as one of Turan's mercenaries delivered into their hands. With tools and bare fists they attack like wolfs attacking a wounded lion.

In hopes of extracting information, he is saved from the rabble by Narampyr, the commander of the kings guard. Taken to the royal dungeons he is given time to recover and later attended to by the royal court physician, readied for a royal audience. Bought by the soldier Khurusan before the King, Conan explains his situation when the Queen asks why he abruptly left the services of his Uranian hosts. He tells them of how Balthaz had killed his friend Fafnir, so he had revenged his friend by killing Balthaz and as the Turanian had been a friend of Yezdigrerd he had thought it better to jump ship. King Eannatum, amused, decides to let Conan work for him. Conan is sent to recruit the help of the queen's father, Khurusan, who would be obliged to offer aid to Makkalet if it was ever requested. Melissandra gives Conan a rune-carved armlet to keep him safe.  Conan, Khurusan, and several other soldiers ride from town. They encounter Turanian troops attempting to blockade the roads leading from town, but Conan's sword is strong and they break free. The Queen had requested that they take a detour instead of a direct route that leads them to a sacred place where they were to perform rites to win victory in the upcoming battles. Next week Conan must face "the menace of the monoliths!"

Avengers Assemble!

A Higgins from Coventry wants to straighten out some Marvel readers on Aden (not Odin as we'll find out). Midgard was in the centre of the world, above it stood Asgard, the home of the gods.

Round it was the sea, round that was curled the huge earth serpent, Jormungand. From the land of the giants to Asgard stretched the Rainbow bridge with Heimdal standing as the watchman whose duty was to give a warning should a giant attempt to invade Asgard. One day the gods Odin, Veli and Ve found two lifeless bodies, whom they endowed with life. Named Ash and Alder, they became the first man and woman. On the highest point of Asgard stood the throne of Aden (or Waden) father of gods and men. As he sat on his throne he was visited by his two ravens, Hugin and Nunin, who brought news of all that was going on in the world. But Aden (or Odin) was already possessed of all knowledge he had gained by pledging one of his eyes for the right to drink from the well at Mimir underneath the world. Mimir had his own head cut off, but his head continued to prophesy, and from it Aden learned the wisdom that was the source of his power. Marco Iciek from Stoke-on-Trent Admits that Jack Kirby has a great talent, but he doesn't regard him as being in the same league as "the most brilliant artist," John Buscema. Marco is amazed by the way Buscema enhanced the Avengers when he drew them. For the first time he saw an artist with enough skill to do the Avengers justice. Frank Butchered from Milton Keynes wants Marvel to reprint the Stan's Soapbox from the American edition of Daredevil issue 47 that felt with how parents and some adults put comic readers down. They did reprint it in the letter page and I'll do the same in full here. "Comic books are a medium of communication - just as television and motion pictures are. All three employ words and pictures, and all must be judged on their individual merits. A story is a story, whether presented between two covers or on a screen. If the words have dramatic impact, if the pictures are visually appealing, if the theme is emotionally relevant, then certainly it is worthy of a reader's attention. However, if the quality is lacking, then it rates little consideration. Isn't this equally true of a TV programme, a Broadway show, a motion picture, or any other form of entertainment? All we at Marvel ask is that our product be judged on the basis of quality - a quality which we sincerely believe is equal to that found in any other comparable media...Marvel Comics today are produced by the finest creative talent available. Read them first...and then decide."

The Avengers “Visions of betrayal!”

Writer: Roy Thomas

Artist: Barry Windsor-Smith

Inker: Syd Shores

Originally published in The Avengers #66

Cover date July 1969

(Published in May 1969)

I've no idea who drew this second part opening splash page it could have been one of those anonymous artist who were hanging around the Bullpen who got the gig. Iron Man is trapped in the Avengers training room, and while Thor and Goliath watch on. The giant Avenger suggests they simply switch the system off, but Thor answers that the computer systems are designed not to prove fatal in any tests and the golden Avenger's life may only look imperilled. The purpose for this line of dialogue is to imply later on that someone has tampered with the training room.

Iron Man forces his way through the barrage of fire power to reach the blasters panel and crushes the guns barrels. While the other Avengers are occupied getting him out, the Vision travels to the SHIELD helicarrier, slipping through the ships hull he over powers a guard and steals the cylinder of Adamantium. Moments after that the Avengers discuss the days events. Iron Man seems to be working on a machine that may have been part of the training room equipment that he had to smash, but many years ago I thought it was used by the villain whom we'll meet on the last page of this story. More on that at the end. Yellowjacket relates news from SHIELD that someone has just stolen the Adamantium cylinder from the carrier, who looked just like the Vision!

As the Avengers begin to speculate why Vision would betray them a muffed cry for help is heard from up stairs. The Avengers rush up to find that the Wasp had been attacked by the Vision. Yellowjacket rashly attacks the android but coldly the Vision phases into Pym causing him agony. Thor leads the Avengers next wave of attack. The Vision admits that he reprogrammed the computers so that they would be distracted and not search the rest of the mansion. The reason for his descent were beyond his control. He had stolen the Adamantium to rebuild his creator, the insane android known as Ultron. Right on cue his master the deadly deathless dreadnought comes crashing through the wall, proclaiming he is now named Ultron-6! Don't miss next week's continuation "But men can die!" 

Master of Kung Fu “A gulf of lions”

Writer: Doug Moench

Artist: Paul Gulacy

Inker: Dan Adkin 

Originally published in Master of Kung Fu #30

Cover date July 1975

(Published in April 1975)

The last time Shang-Chi appeared in the Avengers weekly was in issue 95, which featured the second part of Master of Kung Fu issue 28. With Conan merging with the Avengers the kung fu strip and Doctor Strange took it in turn to appear in the third strip slot. The return of the kung fu master should had premiered with "The Crystal Connection" from Master of Kung Fu issue 29, however the editors slipped up and completely missed that story. Instead this week's action starts with the Master of Kung Fu tale from issue 30 that sees Shang-Chi, Clive Reston and Black Jack Tarr in the middle of a mission with only the original text to fill the readers in, which coincidentally does make it feel like there had never been an issue before this one and start was intended to add to the mystery and tension. 

Sir Denis Nayland Smith had sent his operatives to Carlton Velcro's castle in the South of France with Reston under the cover guise of narcotics buyer "Mister Blue" to infiltrate Velcro's drug operation. Shang-Chi encounters Razor-Fist, Velcro's deadly assassin at the entrance to the castle, while beneath them a pit full of black panthers. Shang-Chi somersaults past and grabs a candelabra to defend himself from the blades that are Razor-Fist's forearms. Pinned against a wall, he tries to ignore the hot wax dripping on his chest. He dodges one blade that impales the wall. Holding the other between his palms, with one impossibly smooth move he makes his hands into fists, crossing them and breaks the held blade with his wrist bands. Black Jack Tarr finds Reston with Velcro in the heroin warehouse, but he is immediately spotted by the guards. Tarr crashes through a window, while tossing a smoke grenade that allows Tarr and Reston to escape in the smoke. However with the high numbers of men employed by Velcro they are quickly surrounded.

Razor-Fist corners Shang-Chi in front of a statue but embeds his remaining blade in the stone. Following through on his plan, Shang-Chi delivers a kick to the back of Razor-Fist's head, which results in a stone head-butt. The statue's head shatters, and Shang-Chi takes the ear. Now I adore Paul Gulacy's art and Dan Adkin's inks enhance the beauty of it beyond measure, but I've spotted a massive mistake in the fight scene, which once seen cannot be forgotten, so if you don't want your appreciation of Gulacy's work spoiled just skip on a bit. Earlier it was Razor-Fist's left blade that sticks in the wall and his right blade that Shang-Chi shatters. Four pages later Razor-Fist's right blade is intact, while his left hand blade is broken! Did he swap the blades from left to right in-between the pages so that his stronger arm had the fuller weapon. That makes sense. On the seaplane Sir Denis Nayland Smith and Doctor Petrie argue over how long they should wait to pick up their operatives as the rendezvous is already eighteen minutes late. Forgetting the one mistake this is a brilliant story, Razor-Fist is a superb villain, one of my all-time favourites. This is James Bond meets Bruce Lee, with Paul Gulacy drawing some of his best artwork. Can't wait for next week.

Dracula Lives #42

This UK commissioned cover was drawn by Pablo Marcos. It features vampire Lucas Brand, who readers will have to wait till next week to read about. (Spoiler!) This cover also features a brain in a glass tank on a pedestal, which has a ton of significance in next week's Count Dracula second half. It might have made more sense to have saved it for next week's issue, whose cover would have been more suited with this week's tale.

Dracula “The coming of Doctor Sun”

Writer: Marv Wolfman

Artist: Gene Colan

Inker: Tom Palmer

Originally published in Tomb of Dracula #20

Cover date May 1974

(Published in January 1974)

Dracula is trapped in the Transylvanian Alps, weak from blood hunger, as Frank Drake and Rachel Van Helsing chase after him in a helicopter. Rachel explains that Dracula has only recently managed to drink the blood from a mountain goat and with such poor diet the vampire lord is possibly at his weakest in years. Even so Dracula manages to evade them temporarily. However they find him again and begin shooting at him with wooden bullets. This attack infuriates Dracula, but he still manages to flee the chopper. 

The vampire hunts to find fresh blood to boost his strength. He finds a cave, where inside a recently dead climber who died from exposure. Desperate for blood he feeds on the body anyway, but finds the blood repulsive to his taste. Venturing further into the cave, Dracula finds a cash of gold and jewels and becomes furious because these things are worthless to him. While back aboard the helicopter, Frank asks why Rachel is so devoted to destroying Dracula. She explains how her grandfather the late Abraham Van Helsing was mortal foes with Dracula. One day when Rachel was still a young girl, Dracula returned to get revenge against the Van Helsing family for all the time her Grandfather had foiled his plans. He would kill Abraham, as well as Rachel's parents. However, before Rachel herself could become Dracula's next victim, Quincy Harker rescued her at the last minute, driving the vampire off with wooden darts fired from his modified wheelchair. It was then that Quincy took Rachel into his care, trained her to become a vampire hunter like himself. With Dracula's strength returning and the winds calming slightly Dracula leaves the cave and flies into the night sky. More of the same next week

Cryptic Correspondence

Margaret Robertson from Streatham thinks Dracula Lives is the greatest mag and intends to keep buying them for as long as they are published as she is thoroughly enjoying the adventures of the evil count and his enemies, Quincy Harker, Frank Drake and the rest. Robert Benirst from South Wales gets all six Marvel mags a week, his wife calls him "Horror Mad!" He writes "Maybe it's because she can't get in the bedroom for all kinds of horror books (mostly Marvel). It drives her up the wall." Stephen. Charsley from Stoke-on-Trent congratulate Marvel on an indescribably superb mag, "Dracula Lives" with the absolutely brilliant Dracula and Werewolf strips, but it was a mistake replacing Frankenstein Monster with Brother Voodoo. Mrs C Manser who writes as a "grateful Mum", her son, Shaun and daughter, Beverley, are Marvel/Planet of The Apes/Dracula Lives fans. Their delivery on Friday makes it the most peaceful day of the week as they both enjoy silently reading them inside out, upside-down and they just cannot get enough of them. She goes on to say that their bedrooms are covered in posters from Marvel and Planet of The Apes.

Werewolf by Night “The Behemoth!”

Writer: Mike Friedrich

Artist: Don Perlin

Inker: Don Perlin

Originally published in Werewolf by Night #17

Cover date May 1974

(Published in February 1974)

Following last week's event in Paris at the Notre Dame Cathedral Jack and Topaz evade the attention of police by the young girl mentally calming down the Werewolf, that is until she blacks out with the strain and the Werewolf reasserts its natural instincts and attacks two police officers. Luckily she regains consciousness and calms the beast once more until the dawn breaks and the Werewolf transforms back into Jack.

The pair return to Los Angeles and visits Jack sister,  Lissa and his step father, Philip Russell. Jack and Philip get on a lot better than before when Jack suspected him of being implicated in his mother's murder. Lissa confides in Jack that she is worried that in six months she will turn eighteen and if the family curse holds she would become a werewolf just like Jack.

While Jack is consoling Lissa an agent of the Committee is spying on the Russell family. I'm not a fan of Mike Friedrich's writing, I feel like he's moving the story plot away from the horror/supernatural world with the introduction of Baron Thunder, the Committee's secret leader. It makes nonsense of all the previous writers plots. There's even a scene when an underling asks the Baron about the reasons for the Committee's plans with Jack Russell, Taboo and the "pseudo-economics" they pushed around with Sarnak, to which the Baron answers with the lame a reply, "The reasons remain my own", which kind of a dismissal to those stories. The Baron intends to send his creation, a stone behemoth automaton after Jack.

The Living Monster “The Living Monster!”

Writer: Steve Gerber

Artist: Rich Buckler

Inker: Frank Chiaramonte

Originally published in Supernatural Thrillers #5

Cover date August 1973

(Published in May 1973)

After the Frankenstein Monster stories have dried up with a very unsatisfying ending British Marvel needed a quick horror replacement. The ideal choice was the Living Mummy, a mixture of horror and fantasy that suited Dracula Lives. In the desert two Israeli soldiers, Avram and Davida, sit under the moonlight like lovers, on the Gaza Strip contemplating their war-ravaged land. Avram hears a noise from behind them, he turns to see the powerful frame of a living mummy. 

Both soldiers open fire, but the bullets bounce harmlessly off the creature. It smacks Avram down with his hand, but falters as Davida stares horrified before him. The Mummy stops, turns around and walks away. Meanwhile at a museum in Cairo, an archaeologist, Alexi Skarab researches some Ancient Egyptian texts. His assistants, Janice Carr and Ron McAllister enter the room. Alexi tells them about the era of the Pharaoh Aram-Set who had enslaved the African tribe known as the Swarili and forced them to build a glorious temple in his name. The king of the Swarili was a tall, strong-bodied man named N'Kantu. Though his people laboured on behalf of the Pharaoh, N'Kantu quietly inspired his people to rebel against their masters. Nephrus, the Pharaoh's vizier learned of the plot and warned his master. 

Aram-Set commanded that all of the slaves are to be executed after his monument was completed. On the evening when the deed was to take place, N'Kantu incited his rebellion. Hurling his spear, he dealt a fatal blow to the Pharaoh. N'Kantu next turned his attention on to Nephrus, however he was prepared for the warrior-slave's treachery and splashed him with a chemical agent that caused immediate paralysis of N'Kantu's limbs. Nephrus ordered his men to remove N'Kantu to his private dungeon laboratory where he bound him with linen and injected him with a special fluid, that granted him immortality, at the price of his mobility. Nephrus sealed him inside of a sarcophagus, promising that he would suffer for all eternity as a Living Mummy. Moments after entombing N'Kantu, a great earthquake struck and devastated the temple, killing Nephrus and burying N'Kantu for centuries. The tale continues next week.

Planet of the Apes #42

Another British commissioned Planet of the Apes cover and another Ron Wilson cover. The Text box reads that Captain Marvel and Warlock appear in this week's comic, although Captain Marvel makes his UK debut in this comic Adam Warlock is missing from this issue to allow more of the Captain Marvel and Planet of the Apes strips to be printed. Mike Esposito inks Ron's pencils. 

Planet of the Apes “Mutations”

Writer: Doug Moench

Artist: Alfredo Alcala

Inker: Alfredo Alcala

Originally published in Planet of the Apes (US) #9

Cover date June 1975

(Published in April 1975)

This third part open page features artwork that must have been specially commissioned for this British weekly, However it was a poor choice as not only does it show the Apes entering the mutants underground city too soon, but also has Brent fighting Taylor and the reveal of the mutants true features before the story had got to those events. Drawn by Kieth Pollard with inks by Aubrey Bradford it would return next week more fittingly as the cover art for next week's issue. The next page shows Brent raging against the human/mutants hypocrisy as they continue to interrogate him on the apes intensions. 

They've tried pain, they've tried torture, yet still they are unable to extract the information they want from the time-lost astronaut. Next they try love, by bringing Nova to the tribunal area and their powerful mental powers they force Brent to embrace and kiss her. Again they ask about the apes. Brent tells them that the apes possess no threat as they are a primitive, semi-articulate and underdeveloped race whose technology has not developed beyond clubs and slings. This doesn't satisfy the mutants, they realise Brent is lying, the ape scouts they captured had rifles, a technology far more advanced than clubs and slings. Once more with their mental powers they force Brent to commit violence against Nova. This time Brent is forced to raise his foot above Nova's belly in readiness to stamp on her. With all the will power he can muster he begs them to get out of his head. Now at his weakest Brent tells them all he knows about the apes, including the important fact that they are marching towards the mutants underground city.

The gorilla army lead by General Ursus with Doctor Zaius sets off marching towards the Forbidden Zone. Their path is blocked by a small group of protesting chimpanzees with signs that read "Give us peace". Ursus orders a lieutenant to get them out of their way, which would have been carried out with extreme force. As he raises a gun to the young chimpanzees Zaius grabs his arm stopping the violence. Calmly the orangutang Doctor points out that they don't want martyrs. The chimpanzees are removed quietly to the side of the road. The army rides on crushing the protest signs under foot, horses hoof and cart wheel in the dirt. At the underground city Brent and Nova have joined the mutants humans in a sermon in the church of the atomic bomb. Prayers and hymns are sung to the "almighty and everlasting bomb." As the service reaches its crescendo the priest calls for the congregation to "Reveal the truth unto the maker!" The flock raise a hand to their heads and repeat "I reveal my inmost self unto my god!" as they all pull masks from their heads to reveal melted flesh and bare bone. The horror of this reveal is perfect, if only it hadn't been spoiled earlier. Alfredo Alcala's artwork is utterly perfect in every way from the forward looking human faces ready for the reveal, to the back view holding the tension, to the reveal then the shock on Brent and Nova's faces to the final panel with the horror of the normality as the priest says "Let us pray." Next issue the clash between mutant and ape in "the Children of the bomb!"

Apes Forum

Mark Powell from Surrey noticed while pouring over his POTA mags collection a letter from Jim Ivers about Doug Moench's scope of style, which Mark cannot agree with him more. Mark writes that Doug always adopts the correct vernacular in the dialogue for each character, and "Terror" certainly contained a lot of witty humour. Liz Hart from Leicester  was struck that there must be many Ape fans who read Planet of the Apes and would like to make friends with other readers. So Liz thought it would be a good idea to have a sort of pen-pal club for Ape fans. She offers herself up an Ape fan pen-pal match maker. Miss S Wicks from Essex is a regular reader who wrote a personal letter to her favourite film star, Roddy McDowall and got a rely. She is going to write to him again and ask him if she could start a Fan Club for him in England. She asks Marvel if there are any Roddy McDowall fans who would like to join a potential Fan Club. 

Captain Marvel “The coming of Captain Marvel!”

Writer: Stan Lee

Artist: Gene Colan

Inker: Frank Giacoia

Originally published in Marvel Super-Heroes #12

Cover date December 1967

(Published in October 1967)

I'm surprised that the British Marvel editors didn't use the tired old line of "because you demanded it we give you it," with the printing of this new ongoing series in Planet of the Apes, because truthfully some readers did actually demand that British Marvel should indeed print the Captain Marvel Strip. Possibly because they had read or seen the Jim Starling version. They might have been a tad disappointed with this early version, but like many of the early super-hero strips the quality gets better later on, you just have to stick with it. 

A mighty star ship approaches Earth, that had traversed half a universe to reach the unsuspecting world from a far-off galaxy ruled by the mysterious Kree. Its mission was to covertly monitor the progress of Earth primitive inhabitants. The Commando of that alien craft, Colonel Yon-Rogg orders Captain Mar-Vell to don his battle suit and partake in the one man mission. Yon-Rogg's ulterior motive is to separate the Captain from his lover, Medic Una, who the Colonel has become attracted to and sees his chance to get Mar-Vell out off the way on a mission set up to fail. The Kree's interest with Earth started with the destruction of one of its forgotten Sentries by the Fantastic Four, as seen in MWOM #139 and #140. Which lead to an investigation by Ronan the Accuser, although that mission failed as seen in MWOM #141 and issue 142. The Captain lands near a rocket test site which causing problems with the launch. The security unit track down Mar-Vell. This version of Captain Marvel has plot ideas that are forgotten in later stories, like Mar-Vell has to drink a potion to breathe for an hour in Earth atmosphere once his helmet is removed, he feels super-strong and can leap distances in the Earth's gravity. Next week Captain Marvel must find "where stalks the Sentry!"

The Super-heroes #23

This cover is attributed to Howard Chaykin by the artwork's inker, Al Milgrom. Although Chaykin on his Facebook group wrote "Milgrom says I did (the pencils). I have no recollection of this whatsoever." Even if Howard didn't remember it someone must have remembered it and liked it enough to spend $2,640 on the original artwork from Heritage Auctions on 10th April 2024. In pounds sterling that's £1,977.45. I really do like it but not enough to break my piggy bank for that much.

Silver Surfer “O' bitter victory!”

Writer: Stan Lee

Artist: John Buscema

Inker: Dan Adkins

Originally published in Silver Surfer #11

Cover date December 1969

(Published in September 1969)

After the Surfer had laid waste to the General's army the troops recover only to then face in panic the sight of Shalla-Bal's approaching space ship. A soldier finds the only remaining working cannon at shoots it down, prompting Yarro and Shalla-Bal to abandon ship. The soldiers take them prisoner and bring them to El Capitan. Meanwhile, the Silver Surfer notices the damaged ship and prevents it from crashing. After putting out the fire that consumes the crashing cockpit he enters it and realises that it was from Zenn-La. He wonders who was on it and why they came here.

Yarro and Shalla-Bal are brought to El Capitan and Yarro agrees to give him Zenn-Lavian technology if he spares his life, his ulterior motive is that Zenn-La technology could be used to kill Norrin Radd opening the way for him to win over Shalla-Bal's heart. Intrigued by his promises of weapons that can defeat the Surfer, El Capitan brings him to see his boss, the General. The Silver Surfer brings Maria back to her house, but he is attacked by men hiding inside. The men are rebels, part of the local Underground movement who are fighting the General's occupation. Maria stops the hostilities by convincing them that the Surfer is an ally. Find out what happens next week in "the exciting conclusion!"

Cosmic Communications

Jonathan Dennis from Lewisham reviews Super-Heroes #13 saying it is brilliant, although the X-Men look like "dumplings or plasticine"! The Surfer/Spider-men team-up was pure genius. Paul Richmond RFO, QNS, from County Durham wants to congratulate Marvel on the Super-Heroes. The combo of Silver Surfer (his favourite) and the X-Men (Mediocre) is fantastic. Paul asks British Marvel to not skip the original X-Men stories, as some letter writers suggests. The old classics are foundations for the later epics. I think you'll agree on that. Brendan Tierney RFO from Dublin thinks it's a darned shame that so many Marvelites are writing in to complain about Marvel. If it didn't exist they'd pick on somebody else. Brendan agrees with expressing opinions, but it is a bit tough on the writers, editors, inkers, letterers who sweat day and night to bring Marvel Mags up to perfection. Nickie Dartmoor from Lancashire thinks that the Silver Surfer is the best. Nick wonders at eighteen years old if he is too old to read Marvel mags, as his friends feel he's silly. Well the answer is that Marvel enthusiasts are all colours, all kinds and ALL AGES! Barry Dawson from the Isle of Wight thinks that our space-born friend couldn't be any better. "He looks Tiger-Terrific, and boy! Has he got courage!" What he says about the Iceman is less than flattering, when he says put him on a diet to make him look less like a marshmallow.

Doc Savage “The doom on Thunder Isle!”

Writer: Doug Moench

Artist: John Romita Sr.

Inker: Tony DeZuniga

Originally published in Doc Savage Vol 2 #1

Cover date August 1975

(Published in June 1975)

Previous in-house adverts had proclaimed to "Have no fear.. Doc Savage is here!" because the readers demanded, well I can't imaging many readers demanded it, but to be honest I'm very please that Doc Savage is here for reason's I'll explain in later blogs. This story originally came from the Marvel/Curtis Magazine issue 1. I'm really happy to read this story again as very recently I picked up a set of Doc Savage magazines, issues two to eight, so this is a prelude to me reading those mags. Although Doc Savage looks like an aryan hero, with his crew hair cut, jodhpurs and boots he isn't as crude as a nazi-super-soldier instead he shares more in common with Sherlock Holmes than Master-man.     

In Manhattan a newly constructed skyscraper is struck by a barrage of lightning that shatters New York's newest "stairway to heaven". You can tell that Doug Moench is writing this strip, with the subtle and not so subtle use of pop culture references. The next day we are introduced to Doc Savage's gang, Monk, Ham, Renny, Long Tom and Johnny. Each with different skills and specialties that will become useful in his adventures. Doc Savage himself is engaged in his daily exercise routine, which involves isometric exercises, mental exercises, tactile sensitivity as well as deep meditation that is designed to hone his strength, agility and mental prowess. Angelica Tresmaine arrives at Savage's headquarters, looking for the Doctor to help her find her brother Winston Tremaine, who had owned the building that had been destroyed by the lightning strike. Winston had stuffed a note in her hand before the skyscraper blew up and he had shoved his sister into a cab. The note had a digital code and an anagram, clues that Doc Savage has to solve. Just as the Doc was taking a look at the code he detected an eaves-dropper, who runs but as the Doc catches him the snapper turns out to be Angelica's fiancé, Thomas J Bolt. Just then three crack commandos dressed all in black with lightning logos on their pants top and full face masks smash through the skyscraper windows. Doc Savage stops them, but he won't get a chance to question them as two of them swallow capsules that kills them instantly while the third jumps through the window to his death. Next issue sees "Death in high Places!"

The X-Men “The coming of Ka-Kar”

Writer: Stan Lee

Artist: Jack Kirby

Inker: Chic Stone

Originally published in The X-Men #10

Cover date March 1965

(Published in January 1965)

Even though many British Marvel readers have already read stories that featured the Lord of the Savage Land, in the Hulk, Daredevil, Spider-man and even his own strip that ran in the Planet of the Apes for a while, this is actually the first appearance of Ka-Zar in Marvel continuity.  The story starts with the X-Men training in the Danger Room when they realise that the Angel isn't there, he's glued to the television watching a news report of an Antarctic expedition. One of their numbers discovered a strange muscle bounded human wearing only a loincloth and accompanied by a sabre-tooth tiger. The team wonders if the strange man might be a mutant. Professor X consents to have his students go to Antarctica to investigate. 

Sometime later, the X-Men arrive in Antarctica and travel across the frozen wastes until they arrive at the location where the jungle man had appeared. Investigating further they uncover a crack in the ice, using his optic beams Cyclops blasts the opening wider. Beneath they find a hidden tunnel. Along the way, they come across fresh dinosaur bones. At the end of the tunnel, they find a prehistoric jungle in the middle of the Antarctic. Flying up to scout the place out, Angel soon finds himself targeted by a swarm of pterodactyls. However a combination of Angel's fast flying and Cyclops' optic beams send the creatures fleeing. To the X-Men's surprise, they find many prehistoric animals long thought extinct in this strange "Savage Land." Angel scouts ahead further while the rest of the team explores on the ground. Next week "the mystery of Ka-Zar!"

The inside back page of the Super-Heroes features an in-house advert for the Living Mummy strip that will appear in Dracula Lives. There's loads of variety in this week's batch of strips. something for everyone. But it also means that I have to do extra work. Next week is more of the same, so I better start it already. So till then...

  

See you in seven.

Make Mine Marvel.