Week Ending 22rd November 1975
I'll keep no secret that when these magnificent Marvel masterpieces came out in their beautiful British bouquets I was very young. Probably too young to really appreciate them as I peered over my brother's shoulder at the wonders that filled these weekly pages. In the Autumn of 1975 I was a wee nipper of five, six by two weeks before Christmas. But if I was older I would have truly believed what a wonder time to be a British Marvel fan. Within these seven weeklies some of Marvel's best works could be found. With the Mighty World of Marvel featuring Steve Engleharts and Herb Trimpe's best Hulk stories, Daredevil with Barry Windsor-Smith and the Fantastic Four reaching the best Stan and Jack had to offer. In Spider-man Comics Weekly Roy Thomas and Gil Kane made you marvel at Spider-man's adventures in the Savage Land. Stan and Jack ramped up the excitement as not only did Galactus appear in the FF he now faced Thor. In the Avengers weekly the best Writers and artists offered the best characters every weeks as Roy Thomas and John Buscema gifted the world Conan and the Avengers, while Steve Englehart with Frank Brunner made magic with Doctor Strange. Dracula Lives offered horror readers the best frights around. In Planet of the Apes the readers were made to think about social issues in new and wonderful ways thanks to Doug Moench and Tony Isabella writing in the apes strip, the utterly brilliant Man-Gods from Beyond the Stars and "The Star-Magi", with incredible art by Rico Rivel, Alex Niño and. the legendary Gene Colan. Finally the masters of comics Roy Thomas and Neal Adams took over from the King himself to start a classic in The Inhumans. Don't take my word for it, read this blog to find out how great this period was, or better yet pick up the mags and find out for yourself. But before you do the stuff and nonsense starts here.
The Mighty World of Marvel #164
This is a specially commissioned cover that I think is better than the American cover that will appear on next week's MWOM. This "The jaws of death!" cover was drawn by Arvell Jones with inks by Mike Esposito. The top headline reads "Inside: Once again the sensational Silver Surfer!" which is ironic because he doesn't appear as both the Fantastic Four and Galactus are searching for him.
The Incredible Hulk “The phantom from 5,000 fathoms”
Writer: Steve Englehart
Artist: Herb Trimpe
Inker: Sal Trapani
Originally published in The Incredible Hulk #164
Cover date June 1973
(Published in March 1973)
This tale had already appeared in the Marvel Annual 1975, from winter last year. But it's still one worth reading again. The Hulk finds himself on the frozen shores of the arctic ocean after his Canadian adventures and yearns for the New Mexico desert he calls home. With his natural homing senses he knows he has to cross the endless water to get there, so using icebergs he bounds southwards until he runs out of solid masses and is forced to swim. Along the way he's attacked by a US military sub, which he damages in his own defence. This attack is witnessed by Captain Omen aboard his ship, the Infra-World, who orders his gargantuan crew to lay claim to the subs salvage.
This Marvel Masterwork Pin-up was drawn by Rich Butler (pencils,) and Frank Giacoia (inks,) or at least the image of Daredevil was as it first appeared on the cover of Daredevil issue 100, cover dated June 1973, published March 1973, with a different orientation and back ground.
The Mighty Marvel Mailbag
Many people criticise comics as childish escapism, but this story has thrown Marvel's Spider-man from mere escapism to something approaching realism. Robert Wolstenholme QNS, TTB from Kent bought both Spider-man and Hulk cover patches. He likes Daredevil, Doctor Strange, Shang-Chi and Iron Fist, especially when Barry (Windsor-) Smith draws Doctor Strange and Paul Gulacy drawing Shang-Chi. Mark Baker from London went on holiday to Switzerland and found Marvel mags written in German, they were Spider-man, Frankenstein, and Dracula. In Berne he saw a Hulk comic written in Italian.
Daredevil “Cry Rampage!”
Writer: Stan Lee
Artist: Barry Windsor-Smith
Inker: Johnny Craig
Originally published in Daredevil #50
Cover date March 1969
(Published in January 1969)
Gary Brodsky drew this week's second part opening splash page as you can see from his signature near the mislaid dumbbell on the right of the page. A quick catch-up text box with a new story title and credit box are added. I'm not sure that this or any new piece of art was required for this second part, as Barry Windsor-Smith's next page of art, showing the android crushing Daredevil down to the floor could have been used, with a bit of work, into a very serviceable opening splash page.
Starr Saxon's android is now working at the "ultimate power" to beat Daredevil. However all is not lost, by shifting his balance and swing ing his legs he manages to slip from under the android. But the giant robot regains its footing and charges towards DD, who had positioned himself in front of a fuse box in the hope that if he times it right the android will short circuit itself. Things don't go well, Daredevil gets pinned to the wall and the android is only stunned. But the surge of power has upset the androids programming. It leaves by crashing through the gym ceiling and out onto the street halting the traffic. It then stumbles off to carry out its new orders. What they are we'll have to discover next week.
An In-house advert for Spider-man Comics Weekly as well as one for the Avengers and the Savage Sword of Conan that are "Comin' your way.." Well that might be true for the Spider-man Comics weekly mag, which shows next week's cover art, but the Avengers weekly cover, issue 112, was from two weeks ago. Under that promotion is an order form for the three Marvel Annuals, the Avengers, Spider-man and of course Marvel, on sale in time for Christmas. With postage it would cost you £1.20 for one annual, £2.20 for two annuals and £3.20 for all three. Readers would have to look sharp as Christmas would be less than six weeks away!
The Fantastic Four “Worlds within worlds!”
Writer: Stan Lee
Artist: Jack Kirby
Inker: Joe Sinnott
Originally published in The Fantastic Four #75
Cover date June 1968
(Published in March 1968)
Reed, Ben and Johnny have journeyed to a remote island from New York as they wait the coming of Galactus who's returned to Earth in search of his former herald, the Silver Surfer. The Surfer has vanished, but to where they know not. This island will make a safe battle ground when the space god seeks answers from them. In deep space, Galactus finishes probing the Earth. With his hunger growing, Galactus must find the Silver Surfer and find a new world soon or else he will be forced to break his vow to spare the Earth and consume it instead.
Galactus realises that the key to finding his exiled herald lays in convincing the Fantastic Four to betray his location. He uses his powers to attack them, rending the ground from beneath them, he sends the trio into the upper atmosphere but returns them to Earth before they die in the void. Recovering from the ordeal Reed, Johnny and Ben are shocked to find constructs of themselves suddenly rise from the water. As these cosmic powered doppelgängers battle the real Fantastic Four, the Human Torch wonders how the Surfer can hide from something so powerful? Elsewhere at that moment the Surfer continues to shrink down in size, flying onto the slide on a microscope in Reed's Baxter Building lab. He shrinks sufficiently enough to enter the Microverse. In this strange alternate universe that seemingly existing within the molecules of the world, he knows feelings of peace fill his heart as now he can soar the vast empty space of a universe for the first time since his exile. But peace can't last forever As we'll find out next week as "war within worlds" inevitably follows.
Bullpen Bulletin
Spider-man Comics Weekly #145
It's a strange week to pick a Cover of the Week, because I can't pick between two of the seven weeklies, this is one of them. This Spidey cover was drawn by Ron Wilson, an artist who may not be cover artist as spectacular as John Buscema, Kirby and Kane, but he is reliable and in his own way he's very creative. This "Snake attack" cover looks really powerful and a lot more dynamic that some of his recent Planet of the Apes covers, that it's fair to say are a little bland. Frank Giacoia and possibly Mike Esposito inked Ron's art for this cover according to the Grand Comics Database. I've made my decision so for this week this is going to be my Cover of the Week.
Spider-man “Gog!”
Artist: Gil Kane
Inker: Frank Giacoia
Originally published in the Amazing Spider-man #103
Cover date December 1971
(Published in September 1971)
The thirteenth page of the original American comic strip is ideal as this week's second part opening page with its close-up wide panel on Peter and Gwen that's quickly followed by a single larger panel showing a strange jungle temple with a gruesome lizard idol with a giant gong strung before it. All that's needed was a credit box. Jameson wants Peter to take photos of Gwen in front of it. But as they talk about the best way to cover an article for the Savage Land the publisher's curiosity gets the better of him. As if a child seeing a big button that says push, Jameson takes a swing at the gong with a near by hammer and sounds the alarm.
It doesn't summon the head waiter, but instead brings the savages who built the temple running. The savages speak an unfathomable language with the only clear word being "Gog. Reading themselves against an attack Jameson's party are shocked when the creature the savages worship appears through the foliage, an immense alien creature known as Gog. The creature grabs Gwen and leaves, Peter tries to stop the monster but is swatted away like a fly, landing in a nearby river. Gwen is then taken to a man who's "adopted" the monster, who turns out to be none other than Spider-man's old foe, Kraven the Hunter!
The Web and the Hammer
This "Thor Maze Puzzle" was indeed from the Spidey archives, in the UK it had previously appeared in Spider-man Comics Weekly issue 22, from the week ending 14th July 1973. In that issue the top headline read "The Marvel Man Page starring the Might Thor!" It felt right back in the summer of 1973, but in the winter of 1975 surrounded by the current mags it does feel a little childish.
Iron Man “Unconquered is the Unicorn!”
Writer: Archie Goodwin
Artist: Johnny Craig
Inker: Johnny Craig
Originally published in Iron Man #4
Cover date August 1968
(Published in May 1968)
Tony Stark uses his Enervator to transform the Freak back into Happy Hogan under Pepper's waiting gaze from behind a protective wall. Meanwhile a world away, behind the Iron Curtain the Unicorn is treated by another ray from a machine called the Hyper-Activator with the intention of increasing his strength. The communist scientists want to shut it down as the dose is too large, but the Unicorn tells them to continue. With a show of his new strength he rips the table he'd been laid on from its secured fittings. He is then given a new redesigned costume.
The Mighty Thor “The awesome answer!”
Artist: Jack Kirby
Inker: George Klein
Originally published in The Mighty Thor #168
Cover date September 1969
(Published in July 1969)
Galactus decides that Thor is worthy enough to hear his origin starting from the very beginning. Galactus recalls some of that tale that he started last issue, of how he was aboard a ship that crashed, as witnessed by a member of the Watchers. How that Watcher found that the entire crew had been slain by some strange plague, all except for one, a strange being that was glowing with energy, one whom would soon become Galactus.
Thor deduces as much and the recalled memories sends Galactus into a brief fury, which he takes out on Thor. However the Thunder God doesn't retaliate, instead he sympathises with the space traveller, sensing that he is sorely troubled. This calms him enough to explain how he came to that point. Galactus explains that he originated from a utopian world known as Taa, an advanced civilisation that knew peace for many years. However, that paradise would soon become doomed as its people began succumbing to the Creeping Plague, a sickness that was killing countless alien worlds, and was now infecting the people of Taa, travelling faster and further than he had feared, reaching his home world's very heartland. This grim tale continues next week.
Avengers Weekly #114
John Buscema penciled this cover that originally appeared on The Avengers (US edition,) #75. with Tom Palmer inking it. I love Buscema and would pick his art every week to be my Cover of the Week, which would become too repetitive. What I have noticed and I don't know if it was intended is that the logo starts off red with the word "Avengers", which matches Goliath's top and towards the right "Conan" is in blue that matched Quicksilver's costume. The symmetry is cool.
Conan the Barbarian “Two against Turan!”
Writer: Roy Thomas
Artist: John Buscema
Inker: Ernie Chan
Originally published in Conan the Barbarian #29
Cover date August 1973
(Published in May 1973)
This Marvel classic was freely adapted by Roy Thomas from the "Two Against Tyre" story by Robert E Howard, which during his lifetime was an unpublished story featuring Eithriall the Gaul, one of Howard's lesser-known characters. In the Spring of 1970 it was found and published in The Howard Collector #12, by Glenn Lord. The story celebrated the pageantry of medieval knighthood, the exoticism of the Orient, the ferocity of the invaders from the steppes, the mysteries of the seraglio, and the rise and fall of great dynasties, following Howard's knack of creating vivid, action-packed narratives, set in a rich historical world.
The Avengers “The warlord and the witch!”
Writer: Roy Thomas
Artist: John Buscema
Inker: Tom Palmer
Originally published in The Avengers #75
Cover date April 1970
(Published in February 1970)
At the Avengers mansion the intruder alarm system warns Jarvis of an infiltrator, who turns out to be the former Avenger, Quicksilver, who urgently seeks the Avengers aid. When the mutant learns that the group are at the docks seeing Henry Pym and Janet Van Dyne off on a scientific study on the effects on oil fields on wildlife in Alaska, the speedster abruptly leaves streaking towards the pier head, where the Pyms have already set sail.
Doctor Strange “The crypts of Kaa-u!”
Writer: Steve Englehart
Artist: Frank Brunner
Inker: Ernie Chan
Originally published in Marvel Premiere #9
Cover date July 1973
(Published in April 1973)
I have over the last good number of months started to become disillusioned with the Doctor Strange strip. There seemed to be little continuity in the plot that zig-zagged from OK, to Good, to poor. The constant change in creative teams didn't help, nor did the rotating with Shang-Chi help, causing a a lack momentum on both stories. I have to say that rotating of strips doesn't stop here, although the Doctor does settle for a while when it moves to another comic in February 1976, which is wonderful. But what makes it palatable till then is the introduction of Doctor Strange's best ever creative team with writer Steve Englehart and artist Frank Brunner. Ernie Chan's inks are a bonus too!
Dracula Lives #57
I nearly pick this as my Cover of the Week, it looks really graphic. Drawn by Gil Kane, the master of Marvel covers at one point, it appeared originally on the American comic Supernatural Thrillers issue 12, cover dated April 1975, published January 1975. It's nice that another horror star appears on the cover of Dracula Lives other than Dracula himself. Last week's Bullpen Bulletin did mention that the covers would feature different characters every week. May be I should have given it the CotW, but I'll stick with Spider-man I think.
Dracula “Where lurks the Chimera!”
Writer: Marv Wolfman
Artist: Gene Colan
Inker: Tom Palmer
Originally published in Tomb of Dracula #26
Cover date November 1974
(Published in July 1974)
Pawnshop owner Joshua Eshcol shows his son David the final components of a mystical statue called the Chimera, a symbolic creature of nightmares. While debating the danger of the statue David is concerned about the power it might bring. Suddenly smoke fills the room and a group of professionals thieves steal the statue. When the smoke clears David finds his father dead, clutching in his hand, the tail of the Chimera.
Cryptic Correspondence
Werewolf by Night “The murderer is a maniac!”
Writer: Doug Moench
Artist: Don Perlin
Inker: Vince Colletta
Originally published in Werewolf by Night #23
Cover date November 1974
(Published in August 1974)
Jack Russell was arrested last week after being found unconscious in the fountain of dead movie producer Simon Kolb's mansion. With no hard evidence to make the charges stick Jack is released on bail thanks to a phone call to his friend, Buck, who drives him back to his apartment. Jack notices that Buck's chest has been bandaged up and realises that he must have clawed at him during the full moon. Jack is distraught but Buck tells him to forget about it as he's got news about the Hollywood killer.
Bullpen Bulletin
The Living Mummy “Slaves”
Writer: Tony Isabella
Artist: Val Mayerik
Inker: Dan Green
Originally published in Supernatural Thrillers #13
Cover date June 1975
(Published in March 1975)
The sixteenth page from Supernatural Thrillers issue 13 makes an ideal second part opening splash page with only a new story title and credit box needed. Ron and the Living Mummy arrive at the new court of Hellfire in the centre of Cairo. The Elementals have been spending their time since taking over the city, lording it over the people there, who now worship them like their new gods.
One of the worshippers asks for rain to water his crops, Hydron angered, draws the waste water from the sewers, drowning the farmer with careless abandon. Another man sticks up for the farmer, which angers Hydron even more, with a gesture he evaporates the moisture from the man's body, nearly killing him. Ron angered with the display and attacks with the Mummy. Their attack succeeds in freeing Asp, Olddan and Zephyr from their bonds. They clash once again with Hellfire, Magnum and Hydron, before they are swept away on the winds generated thanks to Zephyrs air manipulation powers. Arriving back at the hideout, they find that Skarab and Janice are gone without a trace. But to where? Find out in "the wizard within!"
More in-house adverts for this week's mags. For the fans of super-hero action that could pick the Avengers with the Savage Sword of Conan as Quicksilver and the Scarlet Witch return. Or Spider-man Comics Weekly with the web-slinger wrestling with a giant snake.
Planet of the Apes #57
Now I nearly thought that Ron Wilson had drawn this cover, but in fact it was drawn by Pat Gabriele. It's a weird concept where Zira and Cornelius are being interrogated about the future Earth that they had come from, as they are shown video evidence that apes hunted humans in the future. This seen never happened in the film or the comic strip. But I guess that the artist thought it would make a better cover than a table and chairs interview. Mike Esposito inked the cover artwork.
Planet of the Apes “In the cradle of a Father's sins”
Writer: Doug Moench
Artist: Rico Rival
Inker: Rico Rival
Originally published in Planet of the Apes (US) #15
Cover date December 1975
(Published in October 1975)
Part four of Marvel's adaptation of Escape from the Planet of the Apes appears here with one minor change, in the British version it reads "Escape from the Planet of the Apes Part eight." The second session of the Presidential Commission to investigate the "Ape-onauts", Zira and Cornelius concludes, without the two chimpanzees being present. The conclusions found are, first that the apes will be removed from the public eye, then provided with employment suitable to their high intellectual capacities.
Apes Forum
Man-Gods from beyond the stars “Return to the beyond!”
Writer: Doug Moench and Roy Thomas (plot)
Artist: Alex Niño
Inker: Alex Niño
Originally published in Marvel Preview #1
Cover date July 1975
(Published in February 1975)
Interlude, Peru, the 3rd February 1975, two archaeologist discover an ancient box, that had been tooled by machine, with no sign of corrosion or rust, excavated from the same level in their dig site as artefacts from the Stone Age had been discovered.
In the past Commander Raaman continues telling the shaman that the injustice they had done could not be undone, they should live on their own terms in pride and humility, sorrow and joy, hope and despair, all of their own making. But also they must be aware of their own genesis. Raaman gifts the shaman a device that he should guard through the ages, as the sons of his sons will one day understand it and be able to use the knowledge it contains.
This story was brilliant on so many levels, how the control of knowledge allows people to rise above others, how even though we feel wise enough to use knowledge for good there is temptation to step beyond our own rules, even if we consider it as love. I recommend, if you can, you read this complete story, either as serialised in these issues of Planet of the Apes, issues 54 to 57. Or in Star Wars Weekly from 1978 in issues 10 to 14. Or better yet its original publication in the Marvel/Curtis Magazine Marvel Preview issue 1, cover dated February 1975, in its completed form. I have all three, so believe me it's possibly the best comic story of 1975. Read it again, you'll thank me.
This four page feature showed Roddy McDowall's film and television portfolio from his, at the time, thirty-five year career. Early parts he played included Ginger from the film "Just William" from 1939 at the age of eleven, Young Benjamin Blake in "Son of Fury: The Story of Benjamin Blake", Ken McLaughlin in "My Friend Flicka", Joe Carraclough in "Lassie Come Home" and Huw Morgan in "How Green Was My Valley". As an older actor rolls included, Ted in "Killer Shark". After these earlier films Roddy went on to appear in around 80 films including "Cleopatra", "The Poseidon Adventure", "The Longest Day" and "The Loved Ones". And of cause there's the Planet of the Apes films.
The third part of the Bullpen Bulletin review is exactly the same as it appears in Dracula Lives. Still with news on the Avengers and the Savage Sword of Conan, the Bullpen asks the readers what they think about the new art team of John Buscema and Ernie Chua (more commonly known as Ernie Chan.) One of the questions they ask is do readers prefer Barry (Windsor-)Smith's artwork on the barbarian or the current, older and more massive Cimmerian? Still on the strips in the Avengers weekly there is news on Doctor Strange, Marvel's mystic master. After the cosmic conclusion of his quest for the horrors of Shuma-Gorath, he'll be facing the strangest menace of his career, a gent by the name of Sise-Neg! The editor hints a little clue to that character by asking readers to try the old comics trick of spelling that backwards, for a taste of things to come! Steve Englehart (again!) and Frank Brunner will produce this wonderful strip for a good while. After the Doctor finishes up with Sise-Neg, he'll be given a breather while the martial arts master, Iron Fist, steps into the Avengers weekly. That's all from the Bullpen Bulletin page this week, part from saying that this page also appears in this week's Super-Heroes.
In this story an alien arrives at Sandson Tyme's antiques shop to purchase some Slow Glass as a gift for his mate. The owner of the shop, Sandson O Tyme, is the only distributor of Slow Glass in the universe and the glass would make a perfect gift as the alien hoped that it would capture the light rays from his planet before he and his mate had witnessed it's destruction. They had been explorers who had travelled the stars seeking out new life. Determined to find a new home for his mate and their unborn child, he had sort a gift ti ease his mate's thoughts over their ancient world. But as the glass must be present to absorb the light patterns there would be no way to capture the past. The alien considers racing to other galaxies where the light from his dead world hadn't reached to capture it. But that would take years. Suddenly his mate, Liala, arrives. She has found a new homeworld for them. She had meet a race of aliens who were historians and had agreed to give them a new home in exchange for the memories of her old world. The male alien is shocked that she would give her memories of the world she loved completely away. She tells him she remembers nothing of the old world only her love for him, as the past doesn't matter if she can give him the future. They disappear to live it. The art of giving gifts is wise, but those aliens who were willing to sacrifice their greatest treasures for one another might seem quite foolish, but these two were the wisest of all.
The cover art from Tales to Astonish issue 52 fits perfectly as this story's second part opening splash page, even with the artwork being drawn by Jack Kirby with inks by Sol Brodsky and not Dick Ayers. The original logo and cover text was removed so that a new story title, catch-up and text boxes could be added. Giant-Man has been caught up in the Black Knight's bolo and is forced to let go of the helicopter when the Knight blasts him with, of all things, an "itch ray". That kind of story telling takes this story to the comic-cuts of the Beano and Dandy.
While falling Giant-Man takes a shrinking capsule and is rescued by the Wasp, who lands him on the back of the Knight's horse. Resuming his giant size he knocks the lance out of the Black Knight's hands. The two struggle with the Knight knocking Giant-Man off his horse, who only saves himself by grabbing onto a nearby amusement part ride. The Wasp pinches the winged horse, causing it to buck its rider. The Knight and Giant-Man battle on the roller coaster, while the Wasp tries to get the horse under control, however she too is thrown from the horse. Giant-Man abandons his fight to save her. The Black Knight tries to shoot him from behind with the paralyser pistol while the preoccupied Giant-Man rescues the Wasp. Sensing the villain behind him, he takes another shrinking capsule, dodging the blast. Thinking he has gone mad, the Black Knight stumbles off the roller coaster and onto his horse to make his escape.
Phil Winters from Yorkshire thought that the Silver Surfer story, "Gather Ye Witches" was truly well thought out, with a theme to captivate even the most restless readers, with art no less than Buscema's best, that really did complemented Stan Lee's story-line throughout each and every panel. Phil predicts divided reaction among Marvelites to Doc Savage. What he says about the X-Men is that Werner Roth's art is equal to that of the most practical artist. Although Doc Savage is considered by some to be the father of Super-heroes, Graeme Adams from Humberside would say he is the "God" of Super-heroes. Buscema and Dezuniga's artwork is fantastic, with its mood one of Grandeur and the thirties. As for Doug Moench's writing, Graeme believes that Doug has done a bang-up job, with richly-captured pages that are a far cry from Doug's old "THEN ." and "NEXT DAY ...
There isn't much more to say, other than Jim Starlin's art looks great, but the plot is less than great. At one point the Man-Bull smashes headlong into a building that turns out to have been a cattle pen, releasing the herd of cattle inside to stampede through the streets of Chicago. Now I'll be honest is Chicago known for its cattle farming and if it is would they be kept in the city? The Cat knocks some sense into the Man-Bull's head, that as a catalyst transforms him back into the human form of William Taurens. Who is trodden on as the "berserk" herd of cows return to their pens! With the Cat rounding any strays she leaves when the police arrive, who let her go because "Chicago needs a Super-heroine!" This strip was struggling for direction and ended quickly after four issues in America. But next week we get a Marvel Team-Up tale in its place as "the Cat meets..Spider-man!"
The X-Men attempt to break out of their prison, to no avail until Jean uses her telekinetic powers to operate the release switch on the cell's control panel. They ambush one of the robot guards and head towards Lucifer's control room. With the alarm sounding, Lucifer sends his robots out to apprehend the X-Men. The mutants duck out of sight to avoid detection, then rush Lucifer. They receive a mental command from the Professor telling them not to damage the computer, however Iceman and Angel don't believe the command came from the Professor and attempt to destroy it anyway, until Marvel Girl and Cyclops stop them. This leads to a scuffle between teammates until they decide to hold off on destroying the computer until Lucifer is dealt with. As the X-Men destroy all of Lucifer's robots, the alien rushes to the communication device for more orders. When the Supreme Leader appears on the screen, informing him that the ultra robots where the only things that could operate the computer. With them destroyed, their mission fails. Lucifer must return to his home planet to be punished. Suddenly, Lucifer and all of his equipment are teleported away. The Professor explains reason why he ordered them not to attack the computer directly, after mentally probing the Dominus computer, he learned it had a specific defence mechanism were it would redirect any force thrown against it right back at it's attackers, putting his students at risk. The X-Men and the Professor depart the base to return home, unsure if Lucifer or the aliens he represented will threaten the Earth again.
Black Bolt realises that Maximus has gained the power to blank men's minds, leaving him with no other option but to encase his brother within a stasis container. Not all are happy with his decision. Karnak questions it as Black Bolt leaves to find the Inhumans a safe place to live in peace among the mistrustful humans. Meanwhile, Gorgon and Karnak believe their leader has gone too far in entombing Maximus and attempt to free him. As Black Bolt arrives in San Francisco the first group of people he comes across are criminals who are forcing a small boy to climb in through a building window and unlock it to burglarise it. The boy, Joey, does not want to do it and when he refuses his "Uncle Roscoe" beats the lad. Filled with rage Black Bolt steps in and easily defeats thugs and aids the injured boy. In the Great Refuge Karnak succeed in freeing Maximus, who sends a burst of brain wave energy around the world, striking Black Bolt down. Maximus gloats that he has blanked Black Bolt's mind so as he won't recall that his voice is a massive destructive force. The small boy that Black Bolt has helped encourages the stranger to speak. Find out what happens in "Hell on Earth!" next week.
Krang sends his robot-tanks to punish the Atlantian mutineers, regaining his rule. As this is happening Vashti the Elder escapes on a specially bred sea-horse to seek out the Sub-Mariner while Krang calls back his robot-tanks. As Namor continues to battle the Faceless Ones as Vashti approaches their caverns and is accidentally thrown from his ride when his sea-horse is frightened by a unseen terror below, sending Vashi falling down a magma-beam shot from the depths below. Namor manages fight off the Faceless Ones as they burst in to the pasti-cage, however the cage's destruction has injured Dorma in the process. Her death approaches as Prince Namor now has finds himself surrounded by the Faceless Ones as they slowly start to close in. Will the Sub-Mariner find "the end of the quest!"? Find out next week.
Elsewhere, the Red Skull shows off Captain America to Hitler to demonstrate his full control over the hero. Convinced, Hitler then orders an attack on London. Learning of the Nazi's plot, Bucky knocks out a Nazi soldier to take his place on the plane. Bucky remains silent even in front of Cap. Flying over London during the cover of an air strike, Cap and the Nazi soldiers parachute down onto British soil. There, Bucky tries to talk sense into Cap, however, he is removed by a bunch of Nazi soldiers while Cap is ushered onward. Bucky manages to fight them off and chase after Cap. Meanwhile, Cap and the Nazi troops make their way to the Allied commander's office where Cap pulls a gun to shoot the commander, but pauses. One of the Nazi soldiers then has to force Cap to pull the trigger.
Mar-Vell returns to his hotel as "Lawson" and learns about Carol's kidnapping. Realising that Cyberex had been the kidnapper Mar-Vell tracks the robot back to Lawson's lab. Where not only does Mar-Vell have to face Cyberex but also another Aakon squad who have arrived. Mar-Vell realises that the Cyberex is attracted to Lawson's scent on his note book, so he writes a Kree code number on the cover of the book, and leaves it for the Aakon to get a hold of. When the Aakon think it's a coded Kree plan, they become targets of Cyberex who kills them to get a hold of the source of Lawson's scent. Then Mar-Vell manages to destroy Cyberex once and for all with his Uni-Beam, which smashes open the robot's housing, breaking its repair mechanism. With victory, he collects Lawson's notebook. Carol shows her gratitude to Mar-Vell for rescuing her, which fuels Una's fears that she is losing her lover to the Earth woman.
Roddy McDowall Photo-Folio
Bullpen Bulletin
“The Star-Magi”
Writer: Tony Isabella
Artist: Gene Colan
Inker: Frank Chiara monte
Originally published in Unknown Worlds of Science Fiction #3
Cover date May 1975
(Published in February 1975)
As part of Tony Isabella's linking prose from Unknown Worlds of Science Fiction, in the Marvel/Curtis Magazine short run, which connects the stories together, this story fuses the "Prologue" and "Epilogue" together to make this strip. Previous example of this "Light of other days" had been printed in Planet of the Apes #45. Again it deals with the concept of "Slow Glass", a concept that originally came from the short science fiction story "Light of other days" by Bob Shaw. Which had originally been published in Analog Science Fiction and Fact, in August 1966.
The Super-Heroes #38
This Super-Heroes cover was a bit of a team effort, Arvell Jones and Audrey Bradford penciled it together, then Frank Giacoia and Mike Esposito finished off with the inks. I wonder how they would do it? Would one artist start the layouts then the other take over? Or would they do sections in turn? It's not a bad result no matter who did what.
Giant Man and the Wasp “The origin of the Black Knight!”
Writer: Stan Lee
Artist: Dick Ayers
Inker: Dick Ayers
Originally published in Tales to Astonish #52
Cover date February 1963
(Published in November 1963)
Cosmic Communications
of a few years ago. Doug's research has paid us back, even down to Monk and Ham's bickering. Christopher Rowe RFO, KOF, FOOMer from Surrey was pleased that one morning the mail arrived with a rather outsize envelope that contained FOOM #9 and not one but four fantastic features on the Silver Surfer, Captain Marvel, Warlock and the Watcher!
The Cat “The charge of the Man-Bull!”
Writer: Linda Fite
Artist: Jim Starlin and Alan Weiss
Inker: Frank McLaughlin
Originally published in The Cat #4
Cover date June 1972
(Published in March 1972)
I have no idea who drew this second part opening splash page, other than it's not Jim Starlin. It must have been commissioned as a UK opening splash page. The Cat continues her fight with the Man-Bull, out-thinking and out-manoeuvring him as he charges about.
The X-Men “The last battle!”
Writer: Stan Lee
Artist: Werner Roth
Inker: Dick Ayers
Originally published in The X-Men #21
Cover date June 1966
(Published in April 1966)
Werner Roth (pencils) and Dick Ayers (inks) cover artwork from The X-Men issue 21 is used as this week's second part opening splash page, with a new title, catch-up and credit boxes added. The X-Men have separated with Angel, Cyclops and Marvel Girl falling into a transparent cage. Beast and Iceman, meanwhile, are attacked by one of Dominus's robots and are also captured. Lucifer gloats over his victory with his intention to use the Dominus computer to activate a device that would strip humanity of its will, turning them into slaves to work for his alien race, the Quist.
The Titans #5
Kieth Pollard is another great cover artist. Here he's done this specially commissioned Inhumans cover. This is the first Titans cover to feature the "cover star's" name on the logo. It's not the Inhumans though, it their leader, Black Bolt. The Captain America vignette image is like last week's, again taken from the John Romita Sr.'s July pin-up in The Mighty Marvel Bicentennial Calendar from 1976. The Captain Marvel vignette is taken from Captain Marvel #7, cover dated November 1968, published August 1968, again by John Romita Sr.
The Inhumans “His brother's keeper!”
Writer: Roy Thomas
Artist: Neal Adams
Inker: Tom Palmer
Originally published in Amazing Adventures Volume 2 #5
Cover date March 1971
(Published in December 1970)
Issue four of Amazing Adventures second volume, with the Inhumans strip, as seen in last week's blog, was the last complete strip Jack Kirby worked on before he left Marvel for DC. Comic historians will point out that he drew the layouts for the Fantastic Four issue 108, but that, an unused story initially rejected for not being exciting enough by Stan Lee was intended for Fantastic Four #103. It was "cannibalised" as the story goes, when Stan decided to use the story anyway in order to capitalise on Kirby's work over at DC, he massively re-wrote it and had both Buscema and Romita add the new story pages. With Jack gone his work would be continued on the Fantastic Four with other artists as will be told in future blogs. His replacement on the Inhuman could't have been better chosen with Neal Adams taking over the art chores with his gorgeous pencils, enhanced by Tom Palmer's inking. And the writing couldn't have been left in safer hands than Roy Thomas. A great strip with a lot of potential has now reached its potential and become simply wonderful.
The Sub-Mariner “When fails the quest!”
Writer: Stan Lee
Artist: Gene Colan
Inker: Vince Colletta
Originally published in Tales to Astonish #74
Cover date December 1965
(Published in September 1965)
Namor has given up his quest for Neptune's Trident in order to rescue Lady Dorma from the Faceless Ones. Arriving at the Faceless One's cavern just in time as the monstrous creatures start to break through the plati-cage that held Lady Dorma captive. The Sub-Mariner fights through the horde of seemingly mindless monsters. Meanwhile in Atlantis his people revolt against the tyrannical Warlord Krang. The rebels enter his control room but the dictator manages to escape capture by closing an impenetrable wall between himself and his attackers.
Nick Fury, Agent of SHIELD “The prize is...Earth!”
Writer: Stan Lee
Artist: Jack Kirby
Inker: John Severin
Originally published in Strange Tales #137
Cover date October 1965
(Published in July 1965)
Nick Fury commands the agents of SHIELD to abandon all other missions and concentrate on their prime target, stopping Hydra's mission of Global domination. What weapons and devices a SHIELD agent will use are shown off in a scene that could have been from a James Bond film as the head of SHIELD's weapon devision demonstrates what they have to offer, including a periscope hat, a radio tie that can also be used as an incendiary device, a shirt that can be used as a high explosive (that could be dangerous if you are wearing it at the time!) and a bulletproof suit. Elsewhere agents of Hydra are closing in on a SHIELD agent who is carrying vital information. Those secrets will be revealed next week.
This Marvel Masterwork Centrespread #5 featured Nick Fury and his agents of SHIELD fighting against the hordes of Hydra. My physical copy of The Titans issue 5 does still have this centrefold, but the size of it does make it difficult to scan. As for my digital copy of this issue, that I use to compile this blog, it had that page missing, presumably because that scanned issue was also missing that page. So I had to look elsewhere for this poster. I found a wonderful collection of Centrespreads on Cravens! Comics and Stuff! A fantastic blog site that deals with loads of content from British comics from I believe Gordon 'Kid' Robson, who was a comics letterer who had worked on various British comics including 2000AD, the Judge Dredd Megazine and Revolver. Sorry Kid I hope you don't mind I stole this jpeg from you. Check out his blog for more great stuff. As for the artist of this centrespread I still don't know.
Captain America “Lest tyranny triumph!”
Writer: Stan Lee
Artist: Jack Kirby
Inker: Frank Giacoia
Originally published in Tales to Astonish #67
Cover date July 1965
(Published in April 1965)
Captain America has been captured and brainwashed by the Red Skull. Then sent to assassinate the Allies' top military leader. Cap leads an army of Nazi soldiers on a training routine before going on their mission. Meanwhile, Bucky, who was also captured stands in front of a Nazi firing squad, however their guns weren't loaded and it was all a cruel joke. Bucky leads a rebellion to gain freedom for the prisoners and himself. Following that Bucky then begins searching the Nazi base for his partner.
Captain Marvel “Between hammer and anvil!”
Writer: Arnold Drake
Artist: Don Heck
Inker: John Tartaglione
Originally published in Captain Marvel #9
Cover date January 1969
(Published in October 1968)
Captain Marvel is attacked by a party of Aakon troops. After a brief battle with the Aakon aliens, Mar-Vell manages to escape. Meanwhile Carol Danvers arrives at the hotel where "Walter Lawson" stays. She convinces Mister Logan to admit her into "Lawson's" room. However, before she can find anything of value, the repaired Cyberex appears and takes Carol hostage, returning with her to Lawson's lab.
We'll find out more about the Kree Woman's broken heart, when I get round to finishing off next week blog! So till then...
See you in seven.
Make Mine Marvel.
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