Welcome to the Psychedrome!

 Week Ending 28th July 1976

When I research the Power of the Beesting Week Ending blogs one great line of information is the ComicArtFans.com web pages, especially when looking for original art that is used in the British weeklies, like covers, poster/pin-ups/centre spreads and second or third part linking pages. But for some reason that site has been down for a while so that sort of thing becomes harder but not impossible. Even with that extra line of investigation it can be hard to locate the names of artists and inkers whose work was a vital part of these weeklies. The term "unnamed artist" is a frustrating one to use but necessary at times. As I place a deadline on these blogs it has become more of a necessity, but I hope that it doesn't spoil it too much as there's still lots of stuff and nonsense to find out for the first time or remember once more after 50 years. With this being the two hundredth Week Ending blog where better to start but where I normally do with the Mighty World of Marvel and this incredible landmark issue.

The Mighty World of Marvel #200

This cover sticks in my memory, even though this was an anniversary issue it was my big brother's copy which he gifted to me soon after he read it. The special features and strips are so vivid, they feel like I read them just yesterday. This cover is burnt into my soul. It was by Larry Lieber, who signed it on the left under Daredevil's foot, doing his best impression of Jack Kirby, with Frank Giacoia inking Lieber's artwork. As the top banner reads "See savagery unleashed when Conan battles the Wizard-Spawn!" but you also got Action! Suspense! and Drama! with the Hulk, the Avengers and Daredevil. The original artwork was sold by Heritage Auctions on the 26th June 2026 for an incredible $10,625, which is about £7942. It featured the Hulk, the Avengers, Conan and Daredevil rushing to greet the readers over a mound of Mighty World of Marvel mags. If you look closely at the comic covers, especially in the black and white original artwork you can make out individual covers from the previous 199 weeklies. This mag, with its bright and bold cover fired my imagination and birthed my love for Marvel comics. It is absolutely my Cover of the Week!

This special issue starts off with a bicentennial message from Stan Lee himself. Or at least someone pretending to be him. Like Stan I can't believe it would have been 200 weeks of British Marvel comics. 200 issues for a UK weekly is pretty good, (the Beano, Dandy, Commando, War Picture Liberty, Bunty and 2000AD being the modern exceptions.) especially for comics that started in the 70's, plus it's just over half way through it's life in issues and years. I kind of think it was possibly at it's best, although many consider the classic period when it had the Hulk, Daredevil and the Fantastic Four was it's greatest and you know they might well be right. But I love this issue, as I said earlier, with it being a gifted comic from my brother and the fantastic strips and contents it just means so much more than a dusty old mag with rusty staples. The inverted pyramid of super-heroes and the following strips fired my imagination. The number of holiday trips to the Lake District or Wales or Scotland as a kid in which I imagined the Hulk rampaging through the countryside and these heroes assembling to stop him, but then teaming up to counter a deadly threat from a mysterious super-villain. it was 8 pence well invested, the years of joy priceless! This collage of images was mainly based on Marie Severin's work, note the signature SEV next to Thor's foot. The images of the Silver Surfer, the Vision (Avengers #57 John Buscema), the Human Torch, the Invisible Girl, Hawkeye and Iron Man have been added.

The Incredible Hulk “Between Hammer and Anvil!”

Writer: Len Wein

Artist: Herb Trimpe

Inker: Herb Trimpe

Originally published in The Incredible Hulk #182

Cover date December 1974

(Published in September 1974)

As a child I read this comic before the previous week's adventure and didn't fully appreciate the character of Wolverine, who made a quick exit on the second page. The setting of the Canadian wilderness connected with the many trips to the countryside landscape of northern Wales, the Lake District and Scotland. A fantastic setting for a boy's imagination and his favourite super-heroes. Deep in the Great North wood of Quebec Canada a military helicopter arrives with orders for Wolverine to stand down as he's had his allotted six hours to capture the Hulk. Begrudging Wolverine steps down and allows a special ops force to try and capture the Hulk in stead. They drop a metal net but the brute rips it to pieces. They fire a rocket at him that releases knock-out gas that renders the Hulk unconscious. Dragging him into a containment cage the helicopter airlifts him out of the area. The rush of chilled air to his face awakens the emerald behemoth a short time later.

The furious Hulk breaks free and flees into the countryside. As he tramples through the forest he overhears music and smells food. He finds Crackajack Jackson, a travelling hobo. Jackson invites the Hulk to join him with the offer of some of the beans that he is cooking up. The Hulk accepts the invitation and the two become friends. Elsewhere two escaped convicts, Johnny Anvil and "Hammer" Jackson, a racist white man and a hate filled black man who have escaped from prison. The prison officers thought it would be fun to chain them to each other because of their mutual hatred of one another. As they fight with each other they cross paths with a crashed alien ship and its injured pilot. Hammer using a stolen gun fires bullets at the creature. Surprisingly the alien speaks English and thanks them for preventing his "termination" when they "injected" metal into its body that sustained its internal supports systems. In thanks, the creature replaces the chains that they are shackled together with a power enhancing umbilicus that connects the two men together. They are furious at first but soon they realise that the new "chain" has given them superior powers. They decide to put their hatred for each other aside and join forces with revenge in mind. The next morning Crackerjack Johnson teaches the Hulk how to fish and reminisces about his life, The Hulk and the hobo become friends. See if their friendship blossoms next week.

The Mighty Marvel Mailbag

James McIntyre RFO, KOF, FOOMer, has an explanation as to why Bruce Banner's trouser's don't rip that goes against the Bullpen's "artistic licence" cop-out. His explanation is the atoms of the trousers have been exposed to Gamma radiation that allows them to "stretch out" and enlarge. Rod Summer PMM, FFF from Bristol pens a letter on the history of Robert Ervin Howard, the creator of Conan. He was born in Peaster, Texas in 1906. From the age of about twenty onwards Howard turned out a giant volume of "pulp" fiction, everything from sport and western stories to adventure and ghost stories. Best known for his contributions to "Weird Tales", especially his stories of Conan the Cimmerian, a "black-haired, sullen-eyed, sword in hand, a thief, a reaver, a slayer, with gigantic melancholies and gigantic mirth." Howard shot himself in the Texas Desert when

his mother died in 1936 and thus ended a promising literary career. Years later several unfinished pieces were discovered. Lin Carter and L. Sprague de Camp edited them for publication. Among his stories were tales about Solomon Kane, a straight faced African adventurer and King Kull of Atlantis, who served as a prototype Conan. Mark Heynes RFO, KOF FOOMer from Middlesex wants Marvel to bring back Doc Savage and says that in the Marvel Mastermind quiz it said the two villains created by Gamma rays were the Leader and The Abomination. What about the Harpy? Karl Harbour from Essex asks is MWOM connected with "Vulcan"? (No.) What's the major difference between British Marvels and American? (One is produced in Britain the other America.) And how come MWOM is 8p yet The Titans is 9p?  (the editor's answer is they are still absorbing increased overheads on Mighty World of Marvel.)

Allen Wellington from Middlesex thanks Marvel for stopping him from wasting all his money on sweets and making him buy action packed mags instead. His letter is full of praise for everything Marvel. Simon Barnes from Essex writes how well the Conan stories have been handled. He first read a Conan story while on a Christmas holiday in Germany with his friend's family. After coming back to Britain he started to collect the Conan paperback books. Simon also says he knows the 60's pop-star Long John Baldry is a fan of Marvel. He told him his favourite super-hero is the Silver Surfer. Julie Streatfield from Kent tells Marvel that they have got the singer of the most fab group in the world reading Marvel mags! He is Leslie McKeown, the "delicious" lead-singer of the "delectable" Bay City Rollers. Gary Pinson from Northampton asks Marvel to advertise the FF comic album with the Marvel Colouring Books and the Marvel Comic Books. The Mysterious "Friendly neighbourhood letter-writer" pens that it was nice to see a different cover star on MWOM #187 for a change, but the artwork of the X-Men wasn't of a great standard. The last year or so Herb Trimpe's artwork on the Hulk has been way below his usual standard. Don Heck's artwork suffered by being enlarged from the American mag size. But he's happy with Roy Thomas' writing in both strips. He got the original US mag in which Karen Page unmasked Daredevil in 1969, but missed the following issue so had to wait 186 issues of MWOM to find out what happened next.

The Avengers “An Alien in our midst!”

Writer: Roy Thomas

Artist: Neal Adams

Inker: Tom Palmer

Originally published in The Avengers #94

Cover date November 1971

(Published in August 1971)

This new second part opening splash page was created by an unnamed artist which shows a flashback in which the newer Avengers leaving the mansion at the request of three of the original Avengers, who it turns out are imposters. The three heroes are shocked to hear those about those events. The Vision continues to narrate his story, after being ordered to disband, Vision, Quicksilver, Scarlet Witch and Goliath have to hire a car to meet up with Captain Marvel at the farm that Carol Danvers had arranged to take him to. 

Soon they arrive to find the farm fenced with a high metal security fence, with warning signs that read "keep out" and "No trespassing". Goliath grows taller to step over the fence and goes on a head. The Vision offers to help the Scarlet Witch over, but Quicksilver reacts angrily saying that his sister needs no help from him as they have spent years depending on each other. Wanda defends the Vision's offer but coldly the Android says to her it's alright and he understands. He then flies over the fence. The past events had made people skeptical of Avenger, mutant or android, as much as this would lead to the beginning of hate, of prejudice and the end of wisdom. As he drifts over head in sombre thoughts three blasts of energy strike him down, causing him to crash to the ground amongst three cows. Wanda and Pietro witnessed the attack and go to their teammates aid, when suddenly the cows morph into Mister Fantastic, the Thing and the Human Torch. Out numbered and out fought the Scarlet Witch and Quicksilver were captured but the Vision escaped thanks to his density controlling powers. Unable to help as the rays had immobilised him the Vision sinks beneath the ground. When the three changelings had left with their captives the Vision rose from the clammy soil using the last vestige of density-control to slowly steer himself  to the mansion. As the Vision finishes explaining his story, the Avengers vow to rescue their friends and Mar-Vell, as we'll see in next week's issue.

Bullpen Special Alex Harvey

Following last week's interview with Marc Bolan from T.Rex British Marvel Editor Neil Tennant interviews the pop-star Alex Harvey from the Sensational Alex Harvey Band, who on stage perform fast-moving rock 'n roll pantomime, featuring a brace of heroes culled from comic books and adventure stories with Witches, Raiders, Punks, Pirates and Super-Heroes, like the Tomahawk Kid. Alex describes the spectacle as "the World's only Rock'n Roll Marvel Comic". They present themselves as Super-Heroes in their very own concert programme comic, in which they liberate the world from the dull tyranny of Dr. Killjoy. Alex said that life in Glasgow just after the Second World War had ended was pretty boring, until one day, entering the local newsagent, he noticed a different smell, an addition to the mingled odours of rationed chocolate and tobacco, the smell of American newsprint, Comics! Alex had always enjoyed a good adventure story, particularly the books of Robert Louis Stevenson and James Fennimore Cooper. He bought the Classics Illustrated version of Fennimore Cooper's "Deerslayer" after reading the novel. Alex appreciated the value of pictures over the printed word and the magic of words and pictures combined. He became a comic book fan and has remained one ever since. In the Nineteen-Seventies, comics and Alex are a lot older and a lot wiser, there's a lot more to comics today. He likes Spider-man because of the witty dialogue. He enjoys the Silver Surfer stories because they were thoughtfully written. And he likes Conan and the Hulk for the action. Alex's own creation, Vambo, the fantasy punk hero of Hot City was part of the band's act was until recently played by Alex who would spray VAMBO RULES OK across the back of the stage! Alex is also a fan and collector of American pulp comics and magazines from the 30's 40's and 50's, which featured hot shot detectives and battle scarred war heroes in tough, punchy stories. He likes Sgt. Fury better than any other Marvel Hero today because of Fury's tough and punchy way of speaking, the hard-hitting verbal dialogue. When a lorry containing much of the band's musical equipment was stolen in 1975 Alex mourned the loss of his collection of Sgt. Fury comics stored in the lorry more than the band's stolen equipment! Also in 75 the Sensational Alex Harvey Band released a single entitled "Give My Regards To Sgt. Fury:"

Conan the Barbarian “To kill a Cimmerian!”

Writer: Roy Thomas

Artist: John Buscema

Inker: Joe Sinnott

Originally published in Conan the Barbarian #46

Cover date January 1975

(Published in October 1974)

This third part opening splash page was drawn by an unnamed artist, it shows Conan with Stefanya, who he had saved from an angry mob. Her master the sorcerer called Zoqqanor had seemingly died, but that would have been impossible as his death was tied with hers. They return to her master's castle when they discover the wizard's grim inhuman guardian, Shokkoth of the Many stones! In an effort to protect the girl Conan takes his sword to the monster's hide, but the sheer shock of its impact sends spasms of agony up the barbarian's bronzed sword arm. 

Relentlessly Shokkoth moves onwards, its stone heels crushing underfoot vials and beakers filled with potions and chemicals used in Zoqquanor's alchemy and witchcraft. Conan tries stabbing the monster but his blades tip doesn't pierce the mosaic monster or cause it to pause, instead it swipes the blade from the barbarian's grip. Conan blindly in desperation wields a tripod stand over the creatures head, but the frightful blow merely causes it to bend. For the first time the living statue speaks, telling them that nothing can harm Shokkoth of the many stones. Conan hides the girl behind him telling her he will die on his feet if he must die. As he looks wildly about he notices in amazement that Shokkoth's feet have trod in pools of liquid from the vials broken on the floor, some of the stones have fallen away. Conan tells Stefanya that her master's conjuring acids were potent after all. Finding a cupboard fill with vials the Cimmerian hurls them towards the stone monster. As they strike the chemicals melt the creature into its component stones, dissolving the cosmic glue that bounds them together. Stefanya leads Conan in to next room where they find the body of Zoqquanor. Stefanya vows to return the sorcerer to life, or die trying.

So what do you think of it so far?

This article looks back over the last 200 issues of MWOM and starts by asking you where were you in '72 when issue one featuring the Hulk, Spider-man and the Fantastic Four hit the newsagents. With issue 19 the original line-up changed when Spider-man got his own comic with Thor as the back-up strip in Spider-man Comics Weekly, while Daredevil took Spidey's slot in MWOM. The Avengers first appeared in MWOM #46 before heading out to their own comic four week's later. That week the X-Men replaced them in MWOM. In 1974 both MWOM #67 and SMCW #48 got glossy covers. On the 31st August 1974 MWOM reached its 100th issue while the Avengers weekly reached its 50th. In the October of 1974 MWOM, SMCW and the Avengers weekly were joined by Dracula Lives and Planet of the Apes making five fantastic weeklies. British Marvel Comics didn't stop there, on the 8th March 1975 saw the introduction of two more weeklies with the Super-Heroes and the Savage Sword of Conan. Sadly SSOC only lasted eighteen issues before it merged with the Avengers weekly. The article suggests that the merger was because of disappointing sales. I feel like the Avengers weekly or Conan have been thrown to the dogs there a bit. By October 1975 a new format was created for a new weekly. The Titans "landscape" format meant that by putting the comic on its side, it was possible to print two American story pages per one British page! It was so successful that the format was quickly utilised to merge The Super-Heroes and Spider-man Comics Weekly into one mighty Mag, Super Spider-man with the Super-Heroes, which featured an unparalleled display of Superhero action! The article finished with the current British Marvel line-up which it suggests that it has recently consolidated its position by merging Dracula Lives with Planet of the Apes and last issue by combining the Avengers weekly with the Mighty World of Marvel. It hints at the stage has been cleared for the biggest surprise with the most exciting innovation in a British Marvel Comic since October '72! They end with, "As we celebrate this Mighty World of Marvel Bicentenary, all of the British Marvel weeklies feature only reprinted American stories, a state of affairs which will not last for ever." If you understand that cryptic comment you're going to love what's ahead in the next six months, or even if you don't get it just stick with the Power of the Beesting blog to find out how great it'll be.

Daredevil “A day in the life!”

Writer: Roy Thomas

Artist: Gene Colan

Inker: Syd Shores

Originally published in Daredevil #64

Cover date May 1970

(Published in March 1970)

This second part opening splash page was created by an unnamed artist. Daredevil recalls is battle with the Gladiator that had delayed him from talking Karen Page out off leaving. Later with the discovery of a note pad his super-sensitive touch had read that she had planned to move to Los Angeles. Matt Murdock had followed her west. Throughout the days and nights he had searched for her, as Matt and Daredevil, without any luck.

The man without fear's search doesn't go unnoticed, an out-off work actor watches from the shadows, pleased the he didn't recognise him. The actor goes for a job interview as the stuntman in a motorcycle movie. He gets the job and celebrates too much causing his wig to fall off. It was a disguise he chose to hide the fact that he was a convicted criminal known as the Stunt-Master. If they had known they might not have offered him the job. Days later he turns up early at the shoot and discovers that he's been played and the producer had planned to use him as a fall-guy in a fake movie as part of a cover-up for a strong armed robbery of an old movie print that's worth millions. The heist continues next week.

Super Spider-man with the Super-Heroes #181

The majority of this cover art was taken from the Amazing Spider-man issue 132, penciled by Gil Kane and inked by John Romita Sr. with the outer artwork to Spider-man's and the Molten Man'a left and right possibly added by Larry Lieber (pencils,) and Mike Esposito (inks), such as the Molten man's outstretched left leg and the crowd scenes on the left and right, plus minor battle damage shown. All the text on the main cover art is the same at the American version except that "He's not kidding!" has been added to the start of Spider-man's thought balloon text. Which sounds American so I imagine that the US editors added it as "He's not joking" would be the British version. 

Spider-man “The master plan of the Molten Man!”

Writer: Gerry Conway

Artist: John Romita Sr.

Inker: Paul Reinman and Tony Mortellaro

Originally published in the Amazing Spider-man #132

Cover date May 1974

(Published in February 1974)

This page was recreated by inker Dave Hunt to reformat the story for the UK's landscape page. format from John Romita's original splash page.

It's winter in New York and the clammy chill is felt even through a skin-tight Spider-man costume. The web-slingers attention is drawn to a robbery at the museum. The walls and a display case containing rare meteor fragments had been melted, foot prints have been melted into the floor. Spider-man is forced to flee when the police fire at him. He changes back into Peter Parker and walks head down not noticing a blonde woman. Elsewhere on the lower West side tenement a man shouts at a cleaner who demands that he should not be disturbed. To get her own back the cleaner rings the Daily Bugle to tip them off about the tenant's, a Mister Raxton, strange behaviour. 

Meanwhile the blonde woman recognises Peter, she is his old friend Liz Allan, who he graduated high school with in SMCW #22. She's exhausted so Peter brings her to Mary Jane's apartment. Peter explains that Liz is an old friend from high school who he hasn't seen since graduation, although they did briefly meet in SMCW #24, Peter asks MJ to watch over her for the night. Meanwhile Bugle reporter, Ned Leeds, checks out the tip off from the cleaner. Leeds witnesses a large explosion at the building, when he goes inside he finds the unconscious cleaner, then he's attacked by the strange man. 

When Peter arrives at the Bugle, he is told by Robbie of Ned's assignment and that they need someone to take pictures. later Peter arrive as Spider-man and finds Ned unconscious, but alive.  Soon attacked by his old foe the Molten Man. A battle between the two rages. The Molten Man's powers have now gotten stronger than ever before, thanks to the rocks that he had stolen. The villain rips through the webbing that Spidey throws over him with ease. The fight ends when Spidey knocks the Molten Man outside of the building and onto a fire-hydrant, drenching the villain in a torrent of water. Under the cover of the steam the Molten Man escape. Spider-man then grabs Ned and takes him to the nearest hospital, changing back to Peter Parker while Ned is unconscious before admitting him. After examining him the doctors inform Peter that Ned has been exposed to a harmful dose of radiation. Realising that the rocks that the Molten Man stole must have been radioactive. Peter tries to leave the hospital to track down the villain before he can he collapses with radiation sickness. Is this the end of Spider-man? Find out the answer next week.

Moon Knight “The deadly gambit of Conquer-Lord!”

Writer: Doug Moench

Artist: Don Perlin

Inker: Don Perlin

Originally published in Marvel Spotlight #29

Cover date August 1976

(Published in May 1976)

Soldier-of-fortune, cab driver, sophisticated financier and super-hero known as the Moon Knight tries to prevent the Conquer-Lord from assassinating the mayor. The villain managed to wound the mayor with a shot, but the Moon Knight leaps on to the Conquer-Lord back to prevent him from finishing him off. Using Marlene as their hostage the Conquer-Lord makes his escape.

After making sure that the Mayor is alright Moon Knight calls Frenchie to take him back to his alert-ego Steven Grant's mansion to change into his other identity, the cab-driver Jake Lockley. As he's changing he hears someone eavesdropping, pulling the door quickly open Merkins falls through the door way. He tells Grant that he was hired by his butler as his valet. Grant didn't ask for a valet and thinks that Merkins is one of the Conquer-Lord's spies. Merkins panic and bolts for the door crying that he'll kill him if he's captured, he makes a run for it after knocking Grant out. As part of Moon Knight's plan he pretends to get knocked out so that he can follow him to the Conquer-Lord's secret base. Jake Lockley changes into the Moon Knight and breaks into a warehouse to face Conquer-Lord's men. Elsewhere in the building the villain toys with Marlene by suspending her over a pit with alligators, when one of his minions alerts Lord to the Moon Knight's infiltration.

The Web and the Hammer

Christopher Aukess from Middlesex likes how most of Peter Parker's problems came to a head in SSMwtSH #162, the plot was extremely well-thought-out, he found it coupled with superlative art, benefited from the smaller panels and good dialogue. Although corny in places it was almost free of the boring cliches which so frequently present themselves in Hulk stories, it made an excellent, enjoyable story. The part that made an impact on Christopher was the realism that was so vivid and convincing. He adds if the high standard of stories like the death of Captain Stacy episode are continued to be churned out he for one will be very impressed. Paul Wright KOF from Wolverhampton complains that as a fan of the Ghost Rider his addition to the Dracula Lives line-up has caused financial problems as he already buys three comics, The Titans, MWOM and Super Spider-man. Paul rejoiced when the Spider-man cartoon appeared on his local ITV network. He questions why the Fantastic Four swapped places with the X-Men in The Titans and MWOM. The editor says it's all part of a master plan.

Stephen Gooch FOOMer from Warwickshire writes that Spider-man is his favourite character Spidey. Although the art is always very good, it's not what singles him out, it's the fact that each story is true-to-life in nearly every detail. Each frame "flows" along, one after the other. You become so engrossed in the story that you could feel that you are actually there, witnessing the events. Stephen would like to warn all Spideyphiles that the Spider-man stories will catch up with his American counterpart around July of 1977. Kelvin Moult from Nottingham thinks that the new look Spider-man mag is great because there's more action per page, although he admits that the old shape did give more detail to the artistry in each frame. Alan Laurence from Merseyside wants to see replicas of super-hero costumes for sale in the British mags.

This superb centre spread of Nick Fury with SHIELD agents Valentina Allegra de Fontaine and Dum Dum Dugan was drawn by Rick Basile as playfully signed on the machinery on the bottom right of the page. 

Iron Man “Of beasts and men!”

Writer: Archie Goodwin

Artist: George Tuska

Inker: Johnny Craig

Originally published in Iron Man #16

Cover date August 1969

(Published in May 1969)

Nick Fury and SHIELD are monitoring Tony Stark and Agent Jasper Sitwell's aircraft that was carrying Stark's latest invention, the Cosmic Ray Intensifier. The Unicorn had attacked the craft causing it to crash. Sitwell pushes Stark out with a parachute. Tony had thought that Jasper had died in the crash but he made it out safe after the Unicorn had escaped with the Cosmic Ray Intensifier. SHIELD sent a medical team to recover Sitwell. The Unicorn had taken the Cosmic Ray Intensifier to the Red Ghost who double crossed him by trapping in his base following an explosion. Hero and villain agree to team-up to escape the wreckage and stop the Red Ghost who plans to create an army of super-powered apes.

Doctor Strange “From here to Eternity!”

Writer: Steve Englehart

Artist: Gene Colan

Inker: Tom Palmer

Originally published in Doctor Strange Vol 2 #23

Cover date April 1976

(Published in January 1976)

This landscape second part splash page was drawn by an unnamed artist. Over the last few weeks Doctor Strange has been seeking to appeal to Eternity to not carry out his threat to the destroy the planet Earth!

Doctor Strange travels into the Eye of Agamotto hoping to enter Eternity's realm but instead enters the Dimension of Dreams. Strange battles Nightmare who is trying to keep the sorcerer from a sphere. Wildly the demon demands that he leave the globe alone. Yet the Master of the Mystic Arts ignores the shrill cry creating hope that he may be nearing what he's searching for. The Sorcerer Supreme casts a spell that opens the sphere to reveal Eternity held captive by Nightmare. The cosmic glow that usually emanates from the abstract entity has become dark after being subjected to Nightmares insanity. Doctor Strange uses the Eye of Agamotto to cast light onto the cosmic entity that re-awakens him, As the awesome Eternity rises slowly to his phantom feet, deep within his sullen darkness a sun begins to burn, then another with three moons beyond it. Soon the Cosmos is once more awhirl in his form. Eternity tells Strange that he is life beyond limits, beyond death beyond end! In short he is the Universe! He and his brother, Death, comprise all of reality. From his substance life was drawn. Over the eons life grew from simple single cell creatures, into two cells then many cells, into plants and into creatures, to fish, to mammals, to primates, to man! The effect of their growth made Eternity more pronounced. 

The entity recently turned his sight on mind explorations through many doorways into other dimensions, such as the Nightmare's realm. Since one third of the Earth is asleep at any given time the Dream-Demon's power grew enough to strike at Eternity. The warning of the World's end that Strange received and the trails against himself was all but Eternity's dreams. But his dreams become reality and the Earth is truly destroyed as part of Nightmare's mad scheme. Strange asks if Eternity can put things right, alas he cannot tamper with what has already occurred, the stress on the fabric of reality would be too great. No matter how much the Doctor tries to appeal the cosmic entity he refuses. Suddenly the Ancient One arrives and battles with Eternity to a standstill. As the Ancient One talks to his disciple on the wisdom of life and death Eternity changes his mind, even though the people of Earth will drive themselves relentlessly towards their own destruction for whatever reasons they devise he restores the Earth recreating the planet and rapidly speeding up its evolution to the modern era, before returning Doctor Strange to his home. Next week the mystic mage battles Dracula Prince of Darkness. 

An in-house advert for the mighty Marvel bicentennial issue of the Mighty World of Marvel. Described as a Marvel milestone and a collector's item! And the hyperbole doesn't stop there as it features a Stan Lee introduction. But take it from me this lives up to it and more. Would I exaggerate, true believer?

The Mighty Thor “The World is lost!”

Writer: Stan Lee 

Artist: John Buscema

Inker: Joe Sinnott

Originally published in The Mighty Thor #187

Cover date April 1971

(Published in February 1971)

Thor is horrified to find that his own father, Odin, has turned against him after becoming possessed by the power of Infinity. The macabre possession happened when Odin went to battle the cosmic being and learned the beings secret identity. Thor is then forced to battle his own father. The Thunder God cannot readily strike back against his father's rage and flees through a tunnel into deep catacombs. The walls of the subterranean caves suddenly explode as Odin follows his son to continue their battle while Infinity continues to consume the entire universe, one planet at a time, causing intergalactic upheaval. On Earth, total environmental chaos occurs causing the entire population to panic and war to erupt all over the globe. While in the Golden Realm of Asgard, the Great Vizier tries all methods available to stop the Odinsword from unsheathing from its scabbard. Next week "To see Infinity!"

Planet of the Apes and Dracula Lives #93

Jeff Aclin has created loads of great pieces for British Marvel comics, whether it be cool covers or second part connecting artwork, he always manages to "ape" the regular artists, some of his original pin-ups and posters are out of this world! But I'm not quite with this cover. The idea is fine, it's supposed to be a collage of scenes, but the layout makes you think that Lightsmith with Jason are driving the Wonder Wagon through a gauntlet of killer gorillas and mutant drones. The size of Brutus on horse back and the building on the bottom don't match. It just confuses me. Jeff Aclin and Duffy Vohland's signatures can be seen under the Wonder Wagon as penciller and inker.  

Planet of the Apes “Demons of the Psychedrome”

Writer: Doug Moench

Artist: Mike Ploog

Inker: Tom Sutton

Originally published in Planet of the Apes (US) #19

Cover date April 1976

(Published in February 1976)

In the Marvel/Curtis Magazine US editions of the Planet of the Apes the Terror on the Planet of the Apes strip was paused for five months while the comic strip adaptations of "Escape from" and "Conquest of" the Planet of the Apes, as well as Future History Chronicles Part II: "Dreamer in Emerald Silence" and Future History Chronicles Part III: "Graveyard of Lost Cities" where printed. So in that time Terror on the Planet of the Apes saw Tom Sutton ink Mike Ploog's artwork. For British readers the wait for Demons of the Psychedrome was only a week.

High on a torturous mountain pass a caravan of doom is paused on the order of its leader, Brutus. The caravan is bizarre in appearance, its members consist of a grotesque crew with Brutus and his gorilla terrorists and the mutant drones of the Inheritors with their awesome steel juggernauts called the War-Machines. Stiff from days of arduous riding is Warko, Brutus' first lieutenant, who points out to his superior, distant smoke rising from a camp fire. The encampment belongs to the savage pack of gorillas know as the Assismians. Surrounding the encampment Brutus enters to discuss with Maguanus their mutual enemies, the human Jason and friends. Meanwhile Jason with Lightsmith, Alex, Malagueña, and Gilbert have arrived at a strange city where they are greeted by friendly apes who welcome them and feed them. Lightsmith talks with the apes leader about the possible location of the Psychedrome. As they talk Maguanus leads Brutus to the city and into conflict next week.  

Son of Satan “The gateway to Hell”

Writer: Gary Friedrich 

Artist: Herb Trimpe

Inker: Frank Chiaramonte

Originally published in Marvel Spotlight #13

Cover date January 1974

(Published in September 1973)

Continuing from the Son of Satan story that was left unfinished in Dracula Lives #87, this second part opening page was drawn by an unnamed artist. Daimon Hellstrom recalls on his 21st birthday he  inherited his parent's home on Fire Lake, where he discovered his mother's diary and learn the truth about his origins. On that day he was summoned by Satan himself to hell, as he took the secret passage way down beneath his family home. Satan would give him a tour and offer his own life eternal and power incarnate if he chose his path of evil.

Later Daimon found himself on the floor of his mansion, teleported by Satan, to mull over the offer. He spent hours wracking his brain to find a solution to his dilemma, to join him or oppose his father who stands opposite to everything he believes in, which would mean his own destruction. One more Daimon enters the mystic enterance in the cellar, through the steaming cavern's towards the Earth's core. But before he could meet his father he is confronted by a demonic guardian from the pits of hell. More hellish meetings next week.

Man-Thing “And when I died...!”

Writer: Steve Gerber

Artist: Mike Ploog

Inker: Frank Chiaramonte

Originally published in Man-Thing #6

Cover date June 1974

(Published in March 1974)

Earlier that night a little clown committed suicide in the swamp. The warm night suddenly turns to a chill as the ghost of the clown called Darrel rose from its corpse to direct Richard Rory, Ruth Hart, Ayla Prentiss, Traag and the macabre Man-Thing in a kind of autobiographical drama with the swamp as the stage. The price of admission is his soul!

Richard is first to ask the restless spirit why they have been chosen as both he and Ruth never knew the clown. The spectre needed four and the swamp monster specifically for his play to become actors in a drama. The play is watched by Critics, hooded creatures that represent Heaven, Hell and the Realm Between. 

The play is on the life of Darrel Daniel. The three Critics will determine where Darrel's soul belongs, in heaven, in hell or somewhere inbetween. The first act of the play takes place during his childhood in the year 1944. Traag, Ayla, Richard and Ruth, are transformed into a young boy who looks like a bully, a young girl, the young Darrel and his mother. Garvey, the owner of the circus appears and he too is transformed into his father. The first act is "The breakfast." The young Darrel informs his father over the breakfast table that there is a circus in town, but his father has eyes only for the Wall Street Journal and calls the circus dirty and foolish. The young Darrel gets angry and under the Man-Thing's direction throws a breakfast bowl at his father, who raise a hand to smack him, but tells him he will never be a wealthy man with foolish ideas like the circus. He tells his wife that their son isn't normal, that he's sick. Darrel tells his imaginary friend, the Man-Thing, that maybe he is stupid and selfish as nobody else is laughing, so why should he be able to? Reserve your front row seat for next week's Act two. 

Ka-Zar “Spike-tail panic!”

Writer: Gerry Conway

Artist: John Buscema and Sonny Trinidad

Inker: Sonny Trinidad

Originally published in Ka-Zar Vol 2 #9

Cover date June 1975

(Published in February 1975)

This second part opening splash page was drawn by an unnamed artist. Ka-Zar and Zabu face an enraged ankylosaur who had discovered its mate cruelly slain and mistook them for the perpetrators of the malicious murder. Ka-Zar is forced to slay the dinosaur to save his sabre-toothed friend. Meanwhile the real murderer returns to his village. He enters a hut where in his ageing father, the once noble chief, lays on his death bed. 

The father asks his son about the rumours that he and his brother have argued and become estranged. He admits it is true but he has brought his father a trophy, the horn of a Pterodactyl. His father knocks it away, asking him can you make cloth from it? Can you eat it? Can you shelter in it at night? He tells him that trophies are for children. As the old man sleeps Tomas recalls when he had lead a party of hunters to slay a mammoth. But they had all died with Tomas retuning with nothing to show for it. With no hunters left to gather food his brother had instructed the men of the tribe in methods of harvesting food. This lead to resentment between the two brothers.

Planet of the Apes “Planet of the Apes"

Writer: Doug Moench

Artist: George Tuska

Inker: Mike Esposito

Originally published in Planet of the Apes (US) #1

Cover date August 1974

(Published in June 1974)

When you get to the end of this week's mag you quickly realise that Dracula is no longer in it. Instead the last five pages are taken up with a re-print of the original adaption of the Planet of the Apes film that in the UK had originally appeared in Planet of the Apes issue 1 from 92 week's ago. Surely regular readers would remember it as it was only a year and nine months old. The problem was the British Planet of the Apes strip was quickly catching up with the American mag. The current strip was only five months old. Last week's Dracula strip would have been followed by a cross over with Doctor Strange which actually gets printed in next week's Super Spider-man and the Super-Heroes. But after that there was only five months of US mags worth of strips. A pausing of the strips and the repeat of the Planet of the Apes may have given them a period of grace. But was it really necessary? They thought it was, maybe they thought that the "Terror of" strip was taking the comic too far from the original fan base. Not having Count Dracula in this mag that bares his name on the title feels really strange. I think that was a mistake too.

A sleek starship darts through the black velvet of space past constellation sweeping across the cold void. An insignificant speck of light in the vast cosmos that glides through the stygian nothingness. Its captain, named Taylor, speaks, within the hour they shall complete the sixth month of their flight from Cape Kennedy. They have been travelling at the speed of light and according to theory the Earth would have aged a few hundred years since their departure. After he makes his final report he returns to his sleep of suspended animation with his three crew mates. While he does the ship is pulled by a gravitational pull. The ships systems are alerted to the danger, but no crew are there to see it. Until it crashes into a lake on a strange planet. Only the Taylor, Dodge and Landon survive. Sadly Stewart dies in her sleep many centuries ago.

The Titans #41

Larry Lieber re-drew Jack Kirby's original cover from the Fantastic Four issue 98 to fit it into a landscape cover by flipping the character possess from right to left and positioning them level with each other. Larry Lieber's signature can be found on the left hand side, but the inker Frank Giacoia's signature isn't shown. The top banner is a little wrong, it reads "Now! Action abounds when Nick Fury and SHIELD defy the deadly Dreadnought!" Yet the Hydra killer robots don't appear in this week's strip.

The Fantastic Four “Mystery on the Moon!”

Writer: Stan Lee

Artist: Jack Kirby

Inker: Joe Sinnott

Originally published in The Fantastic Four #98

Cover date May 1970

(Published in March 1970)

An unnamed artist repositions and adds to Jack Kirby's original opening splash page with this landscape version. We are told in a text box that the date is June 1969. Most other British printed strips have the date changed to the current year, but in this story that date is very relevant as we'll see.

The United States is about to send the first manned mission to the Moon. But of course the Fantastic Four have already landed there in MWOM #27, so that doesn't line up with continuity but no one seems to care as it's never mentioned. A Kree Sentry has received orders from the Kree Council Supreme that he must prevent the mission to the Moon. The androids rockets itself to a remote island, where inside the island an advanced device lays hidden that will insure that the Apollo mission ends in failure. This Sentry isn't named or numbered and no direct mention of Sentry 459 is made so continuity is a little messy. It makes it easier to assume that this Sentry is different than Sentry 459 although some readers might consider that they are the same and it had survived the battle with the Fantastic Four in MWOM #140 and would survive this battle and later be discovered by the military and so would later attack Captain Marvel in POTA #42. 

When a news article says that the NASA mission will land near the Sea of Tranquillity Reed is concerned that the Kree might sabotage it. It's not explained in the comic but again I imagine that Reed has realised that the ancient city on the dark side of the moon was built by the Kree, judging by the technology. Reed takes Ben and Johnny on their rocket ship following the Kree transmission to the island where they battle with the Kree Sentry. After the Sentry is defeated they destroy the device it intends to use to destroy the Apollo mission. When Reed and Johnny are injured Ben carries them back to their ship and blasts off for home, just as the Apollo space craft lands and Neil Armstrong says his historic words: "That's one small step for a man, one giant leap for mankind!" The Sentry also escapes the islands destruction, which kind of makes me feel it was a different android than Sentry 459. Next week the uncanny Inhumans return and "The Torch goes wild!"

The Sub-Mariner “For President..the man called Destiny!”

Writer: Roy Thomas

Artist: John Buscema 

Inker: Dan Adkins

Originally published in Sub-Mariner Vol 2 #7

Cover date November 1968

(Published in August 1968)

The Sub-Mariner's old foe Destiny has resurfaced in America, he calls the country's leaders traitors and standing up to be elected as the next President. A typical tactic used by tyrants to unite the population behind them. His psychic powers mesmerise the public and he gains a large following as the public praise him for promising things, but not explaining how he will accomplish his promises. In Atlantis Namor wakes up from dream in which he witnessed the public lord up Destiny, but dismisses it as a nightmare. Namor reviews the rebuilding of Atlantis and checks out his prisoner, Tiger Shark. Later he and Lady Dorma travel to New York to inform the villain's sister that he is still alive. Meanwhile Paul Destine is continuing his campaign and even dress in the regalia of a military conqueror. He plans when he gains power his first military target will be Atlantis. 

This landscape centre spread of King Kull and Brule the Spear-Slayer fighting winged demon monsters was drawn by Jeff Aclin and inked by Dan Adkins.

Nick Fury, Agent of SHIELD “Rescue!”

Writer: Roy Thomas

Artist: Jack Kirby (layouts) and Jim Steranko

Inker: Jim Steranko

Originally published in Strange Tales #153

Cover date February 1967

(Published in November 1966)

With the return of the Nick Fury strip from two weeks ago the second part opening splash page uses the cover artwork from Strange Tales issue 153 by Jim Steranko. Laura Brown, the daughter of the old Supreme Hydra has been pardoned by the President and was being transported by SHIELD agents Gabe Jones and Jasper Sitwell when a Hydra squad had attacked them. Nick Fury and DumDum Dugan had raced to rescue them in a captured Hydra saucer. The mission was successfully but unknown to SHIELD the new Supreme Hydra had donned the disguise of "Agent Bronson", a SHIELD man, who is currently their prisoner. "Bronson" arrives at the Heli-Carrier just in time to join the team racing to help Fury. After helping capture several Hydra thugs, "Bronson" gains Fury's confidence.

Captain America “Death battle with the destruction!”

Writer: Stan Lee

Artist: Jack Kirby

Inker: Joe Sinnott

Originally published in Captain America #100

Cover date April 1968

(Published in January 1968)

This landscape second part opening splash page was drawn by an unnamed artist. Captain America and the Black Panther fight to save the world from Baron Zemo's orbiting Death Ray, with the help of SHIELD's Agent 13. 

The three valiantly fight their way out of the control room, however when they reach the end of the corridor they are surrounded by Zemo's reinforcements so they have to escape upwards through a ventilator shaft. Zemo orders the activation of his ultimate bodyguard robot, the "Destructon" to go after the heroes. As the Panther exits the ventilator shaft first the robot hits him from behind. Cap throws some strong punches that gives the Panther time to recover and join in the fight. Eventually Cap manages to smash the robot's mobility control and it falls to the floor. When the Baron and his men arrive, Zemo gets close enough for Captain America to grab him and unmask him. Revealing him to be an imposter, his pilot who the Marvel Wiki name as Franz Gruber, last seen in Avengers weekly #12, who had taken Zemo's place after the Baron's death in the same comic. The soldiers realising they had been tricked shoot the imposter dead. Before they can act any further, Black Panther unmasks himself revealing to them that he is the leader of Wakanda and that his warriors have already surround their base. He orders them to surrender as they will receive a fair trial. With no other choice they surrender peacefully. Agent 13 contacts Nick Fury to inform him that their mission was a success and with that SHEILD fires missiles at the solar ray satellite destroying it. Later, Captain America offers the Black Panther the chance to join the Avengers as his replacement, which he does in Avengers weekly #71. With one old villain vanquished another returns in next week's issue Cap must face the Red Skull. 

Ghost Rider “Season of the Witch-Woman!”

Writer: Gary Friedrich

Artist: Tom Sutton

Inker: Syd Shores

Originally published in Marvel Spotlight #11

Cover date August 1973

(Published in May 1973)

Last week the Ghost Rider had tried to out run the police, but he only managed to escape thanks to Linda Littletrees, the Indian girl also known as the Witch-Woman. However her intention is to deliver Johnny Blaze's soul to her master, Satan. Easily subduing and binding the Ghost Rider she reveals her origins to him. Less than a year ago Linda left for college in the east, She was young and innocent, yet frightened and excited. Her father and her fiancé Sam Silvercloud saw her off on the plane, proud as she was the first of her people to win a scholarship to an exclusive woman's college. 

When she arrived at college she was determined to be a loner as she never considered that anyone would want to be friends with an Indian, but to her surprise she quickly made friends with her roommate called Jennifer Glatzer. Jennifer was a Satanist, who under the pretence of harmless fun got Linda involved in Satanism. At first it was fun while it lasted but soon turned darker when she took her to a witch's black mass. There Linda was asked to accept the honour of taking her place on the Sacrificial Altar of Satan. The dark ritual continues next week.

That's enough dark rituals for one week, the nostalgic ritual of a weekly look at British Marvel mags continue next week with more stuff and nonsense, so till then...

See you in seven.

Make Mine Marvel.