Six comics in six hands!

 Week Ending 18th October 1975

It feels like a calm week in the Beehive. Only six sensational Marvel mags to review this week! I wouldn't have said that a year ago, with just three weeklies, oh how things have changed. The quiet before the oncoming storm that is the Titans and a magnificent seven super comics. Enjoy this week's fare while you can, because next week's going to be quite a ride.

The Mighty World of Marvel #159

Apart from the issue number, cover date, a slight change in colour contrast of Tiger Shark's costume and the bottom right text box colours, this cover is exactly the same as Mighty World of Marvel #154, which shouldn't have used this cover as obviously the Hulk never fought the Tiger Shark in that issue. The top head line, "Inside: Daredevil faces his deadliest foe!" appears on both issues, in that issue Daredevil fought the Jester, while this week he fights the Stilt-Man, but who would you consider to be his deadliest foe? The bottom right text box on both implies that it's the end of the Fantastic Four, each story could easily be relatable to that statement. Keith Pollard drew the artwork while Mike Esposito inked it. 

The Incredible Hulk “The jaws of the Tiger Shark!”

Writer: Steve Englehart

Artist: Herb Trimpe

Inker: Sal Trapani

Originally published in The Incredible Hulk #160

Cover date February 1973

(Published in October 1972)

This opening page for the second part of this week's Hulk strip was one of the more easiest to discover who drew it, thanks to the artist signing it on the bottom left hand corner. Howard Bender draws the savage Tiger Shark leaping out of Niagara Falls and smashing the Hulk in the choppers. Of course a credit box, story title and catch-up box is added. It's a great splash page in every sense of the word, but one thing that marred my reading experience is the text in the catch-up box, "Upon his arrival the British behemoth has suddenly been attacked by the man known as Tiger Shark." I didn't know that the Hulk was British, I always thought he was an America "Brutish" behemoth! You can't blame auto-correct for that one.

Tiger Shark has been in hiding ever since he helped Llyra kill the Sub-Mariner's human father. So his ambushing of the Hulk was his way of sending a message to the Sub-Mariner, who he believes has sent the Hulk to get revenge, that he's not scared of anyone. As the two titans battle it out in the Falls, Glenn calls General Ross to alert thim of the Hulk presence. Ross tells him to not let Betty know that the Hulk and Banner are alive and to get her as far away as possible. He rushes back to the hotel and suggests that they go and take a trip up into Canada, in the most unconvincing manner you can imagine. Submerged under water the Hulk is easily outmatched by the Tiger Shark in his natural environment. Needing air he flees to the surface, Tiger Shark follows to resume the fight, which proves to be the villains undoing. Here the Hulk easily defeats him, smashing him about, then grabbing him by the fin he slams him into rocks before throwing his unconscious body into the waters below. By this point General Ross and the HulkBusters have arrived, prompting the Hulk to retreat by punching a tunnel through the rocks. The HulkBusters pull back having lost the Hulk until he resurfaces, which he does many miles later over the Canadian border. Unaware of his surroundings, the Hulk bounds onwards in his quest to find Betty, oblivious to the car beneath him carrying Betty and Gwen Talbot. The Canadian adventure continues next week in "the spawn of the flesh-eater!"

Stan tells fans that Marvel is on the move again by bringing out yet another "Titanic" masterpiece that would be "unprecedented in the history of comics." A new format that would be twice as much story and twice as much fun. Keep your eyes open for further news, cos' it's going to be a winner! 

John Romita Sr. drew the image of Stan that would also be used to advertise the Spider-Man audio album called "Reflections of a Rock Hero" and in December 1975 featured as one of the Series B "puzzle-piece" stamps, that if you collected all ten would form a complete image.  

The Mighty Marvel Mailbag

Peter Adlon-Fionn Conn from Sheffield has an overwhelming admiration for John Buscema's art on the Silver Surfer in the Super-Heroes #8. He's never seen him in better form. It shows a side of Thor's life that he thinks has been a little overlooked, somehow, the Asgardian idea of a party must be something special and the story captured a superbly VIKING flavour in those scenes. Matthew Watson RFO, KOF, from Cornwall knows there is a proposal to put a Daredevil series on US Television. He also thinks that the Doctor Strange epic "The Secret of Sligguth" had some  great story and art. Matthew wonders why Conan was put in The Avengers when you already have "The Savage Sword of Conan" out? First off the Daredevil series was at the time, as yet, only a PROPOSED series. As for the Conan/Avengers merger the editor only says that "we joined "The Savage Sword of Conan" with "The Avengers" and won't give up any more than that. 

Under the first letter page is an advert for Pocket Meccano set that allows you to build 100's of models for 80 pence with plans for the first 25 in every kit. 

Stephen Lester from Leicester has every issue of MWOM from the first issue, but has only got a few Avengers. He counts himself lucky to own a copy of the Fantastic Four #109, which he hangs on his bedroom wall between two pieces of glass. Ron Statinides from London noted in SMCW, Spider-man quoted, "Sometimes I feel like I was born to be Spider-man", the same day, in MWOM, Daredevil said: "Sometimes I think I was born to be Daredevil". Coincidence? He asks "Who draws the speech bubbles, the artist or the letterer?" Well the artist and writer discuss the story-line, then the artist draws the story in the allotted pages. The writer okays the pictures then writes the continuity boxes and the dialogue. The pages then go off to the letterer, who letters the dialogue. Then the inker finishes it off. Mick McKenzie from Stockport writes a letter in that is in Nick Fury's own words. Christopher Braid RFO, KOF, from Dyfed answers Stan Lee's question about what was the longest sentence. He finds a 45 word sentence and a 50 word sentence. Jeremy Gaydon RFO, KOF, from Cardiff watched the "Clapperboard" programme on HTV on which he saw an excerpt from a film called "Doc Savage, Man of Bronze" and wants to know if it is the same one as you have in the US mags. The answer is yes it is.

Daredevil “The Stilt Man falls!”

Writer: Stan Lee

Artist: Gene Colan

Inker: George Klein

Originally published in Daredevil #48

Cover date January 1969

(Published in November 1968)

Gene Colan's cover from Daredevil issue 48 is repurposed as this week's second part opening splash page, with a new title, catch-up boxes and a credit strip. Daredevil has laid in wait for the Stilt-Man who has been hired to assassinate Foggy Nelson, by the mob who don't want a law and order District Attorney. The villain smashes the man without fear outside the office, at such a great height Daredevil grabs onto one of the villain's hydraulic stilts and holds on until the mechanised leg is retracted, leaving our hero to fall to his doom.

With quick reactions Daredevil as he uses his billy club hook and cable to catch a flagpole allowing him to swing back and attack the Stilt-Man. Gene Colan uses tall panels and splash pages to beautifully portray the danger of the combat. When the police tactical squad turns up so the Stilt-Man beats a hasty retreat by retracting his legs and ducks into a building. Daredevil follows but the building was used by a perfume company, whose sweet odours blocked horn-head's super-senses, allowing the villain to slip away. Later that day Foggy Nelson wins the District Attorney election by a landslide. Foggy pledges to rid the town of crime. When asked about the chance of offering Matt Murdock a job, still smarting from Matt's un-interest in the election, as seen last week when he pretended to be uninterested so that he could stop the Stilt-Man, he dismisses the question with a sharp "Murdock can do whatever he pleases." A sad ending as Matt leaves the victory party, while answering questions from the journalists with a blunt "no comment!" Next week "DD drops out" too!

Another Airfix New Models File that masquerades as a fun fact feature but is in fact however a blatant advert, which I for one like to see. This week's subject/product are the British Eighth Army new multi-pose kit. At 1:32 scale this construction kit was added to the world's biggest range of kits. "The Desert Rats that were a plague on Rommel" reads the headline. The British Eighth Army, or the Desert Rats as they later became known as, were organised in September 1941 by their Commander, General Sir Alan Cunningham, into the XIII Corps with the XXX Corps, and later incorporating the famous 7th Armoured Division. More history can be found in the advert, but it also told the reader that each kit contained over 100 polystyrene parts that are interchangeable to form a variety of positions. News and details of other Airfix models could be found in the Airfix magazine for the price of 22 pence. 

The Fantastic Four “Battle for Earth!”

 Writer: Stan Lee

Artist: Jack Kirby

Inker: Joe Sinnott 

Originally published in The Fantastic Four #72

Cover date March 1968

(Published in December 1967)

Jack Kirby's (pencils,) and Joe Sinnott's (inks,) cover from the Fantastic Four issue 72 is used as a second part opening splash page with new catch-up boxes, new story title and credit box added. It doesn't match the story perfectly but still it's a classic.

The Surfer, having seen the world full of nothing but bigotry, hatred, greed, and oppression decides to attack humanity in the hope that it will unite the population to forget their differences. 

This brings him into combat with the Thing and the Human Torch. The army prepares to launch a special missile to deal with the Surfer while the Watcher stops the train that Sue and Reed are riding on to ask Reed to aid his friends in stopping the Surfer. Leaving Sue behind, Reed is transported by the Watcher to the Baxter Building. There he joins Johnny and they travel to where the Thing is battling the Surfer alone. At that moment the military launches their special Sonic Shark missile, Reed and Johnny chase after the Surfer in the Pogo plane, when the Surfer is hit with the missile that starts to drain his cosmic energies. The Thing knocks the missile into orbit before it can explode and kill the Surfer and the weakened and humbled Surfer realises the error of his logic. Once again he is in the debt of the Fantastic Four as he considers that there is truly hope for humanity with the spark of divinity in all who live, think and strive. Reed hopes that the spark will one day ignite and illuminate the universe. The Surfer bids them farewell so that he can continue his journey to find his place on the Earth. Reed ends it on one final thought, in all the universe there'll never be another like the Silver Surfer!" But the next week teaser adds "..except Dr. Doom!" 

It's that time of year again when children make up their wish lists, parents start to spread the cost of Christmas and Father Christmas double checks the naughty and nice lists. And so it is that the festive annuals start to hit the shelves of newsagents and bookshops alike. WH Smiths would get their display stands out and the back pages of weekly comics would advertise the fantastic action packed full colour classics that could possibly bring joy to all the nice little nippers on Christmas morning. In the Autumn of 1975 World Distributors released three cracking Marvel Annuals for 1976. Following last year's three sensational packages we see the return of Spider-man, The Avengers and Marvel annuals. On sale in October 1975, for one pound each. Now that feels like a bargain. Now is too soon to go into each volumes details, but who knows what 2025's Christmas might bring? A bonus blog may be? This advert also appears on the back page of this week's Spider-man Comics Weekly.

Spider-man Comics Weekly #140

This cover was originally from the Amazing Spider-man issue 101, penciled by  Gil Kane with John Romita Sr. applying the inks. Two of Marvel's greatest cover artists team-up to create one of Marvel's most iconic covers. The first appearance of Morbius and the first "appearance of a vampire" after the Comic Code Authority had band the use of vampires from comics as set out in the 1954 Code criteria. The actual rule reads, "Scenes dealing with, or instruments associated with walking dead, torture, vampires and vampirism, ghouls, cannibalism, and werewolfism are prohibited." The Code would be reviewed and watered down a number of times during 1971, initially on January 28, when it was pointed out that "vampires, ghouls and werewolves... when handled in the classic tradition such as Frankenstein, Dracula, and other high calibre literary works written by Edgar Allan Poe, Saki, Conan Doyle and other respected authors whose works are read in schools around the world" Common sense won out and vampires return to comic fiction. This week's Cover of the Week for me.

Spider-man “A monster called...Morbius!”

Writer: Roy Thomas

Artist: Gil Kane

Inker: Frank Giacoia

Originally published in the Amazing Spider-man #101

Cover date October 1971

(Published in July 1971)

The cover artwork is repeated on the inside front cover as this week's second part opening splash page, keeping the lower tagline as this week's story title and Morbius's dialogue from the cover. A brief catch-up box and a credit box is added. Which reminded me that last week I should have said that this story was Roy Thomas's first Spider-man tale as Stan Lee left the strip with the "The Spider or the Man?" story from SMCW #137 and #138. 

Night falls, and the man who would be later known as Morbius returns to the ship. With pale skin he resembles a vampire, he thirsts and so he slaughters the crew to drain their blood before dawn. Dawn returns, as does Morbius's rationalism and conscience. Overwhelmed with guilt he leaps into the sea in an attempt at suicide. But that fails as soon he is washed up ashore. walking along the beach he finds what looks like a deserted beach house. With an up-lunging effort on the morning breeze he flies into an open window on the upper floor and begins to sleep. A few floors below Spider-man is becoming increasingly frustrated with his failed attempts at curing himself, leading him to smash a test tube which wakes up Morbius. The living vampire spies on Spider-man and recognises his costume but can't quite place where. He notices the six arms as well but in is hunger he doesn't care and hastily swoops down and attacks. 

Morbius smashes into Spider-man only for the six armed hero to  rebound quickly. Morbius jumps towards him once again grabbing at his throat. Recognising his attackers as the resemblance of a vampire Spidey doesn't believe him to be a super-natural monster instead he considers him to b another kooky super villain. Spider-man bats Morbius away but he quickly bounces back with his fangs inches from Spider-man's throat. With two extra pairs of arms Spidey flounders in the fight. Each arm getting in the way of his others. Seeing that Morbius's features aren't just a costume or a gimmick Spider-man realises that his attacker must be some sort of vampire. Scoffing at the name he attacks with more ferociousness, he is more than a mere vampire he is Morbius! The force of his attack sends Spider-man flying over the second floor stair rail, landing dazed on the ground in a perfect state for Morbius to feed upon. Just then Doctor Connors arrives, dodging Morbius's attack the scientist begins to panic which sets off his transformation into the monstrous Lizard. The two creatures argue about who will be the one to kill Spider-man just as their victim wakes up. Continued next issue, 'nuff said!

The Web and the Hammer

Alan Watson from Scotland says his pals laugh and scoff at him when they see him deeply engrossed in his weekly ration of Marvel lore. But he proudly proclaim to these unbelievers the things they are missing, and they laugh no more. Ivor Davis RFO, KOF, QNS, from Dunbartonshire discusses TJ MacGuinness from SMCW #82 in which he found the so-called maturer American letters "absolutely boring and uninteresting." What arrogance!-that a writer so dull and boring. Stephen Aylward RFO from Sussex thinks the artwork in the mags is Super, especially in Daredevil and the Fantastic Four. He wants Captain America to replace the Silver Surfer when his series ends in Super-Heroes, Glenn Dakin from Hunts had a letter printed in SMCW #106 and saw Stephen Sontigate's letter in #119 telling Glenn to digest my tongue, he replies to it by saying "NO, Stephen! You've got it all wrong! I wrote my letter when Don Heck was doing the art, but due to the time taken between printing and letter-writing," Ian Merryweather from West Midlands discovered that Loki was "The BEAUTIFUL but evil god in Scandinavian myth." and Balder was "The god of peace." Kev Wilson from Herts writes that the Spider-man cartoon on TV was really fantastic.

Iron Man “The day of the Demolisher!”

Writer: Archie Goodwin

Artist: Johnny Craig

Inker: Johnny Craig

Originally published in Iron Man #2

Cover date June 1968

(Published in February 1968)

This week's strip sees Johnny Craig take over the pencils art chores from Gene Colan. Johnny Craig is a good inker, but his pencils aren't a patch on Colan's. Craig continues to ink the strip, over his own pencils. This story sees the first appearances of Drexel Cord, a competitor of Tony Stark, and his daughter Janice Cord. Janice will become a very important supporting character in the Iron Man strip. Drexel Cord, is convinced that Stark is more successful because of Iron Man so he builds a robot, dubbed the Demolisher, to destroy the Avenger. 

Janice, doesn't agree with her father and goes to warn Iron Man. After locating Tony Stark's private yacht the Demolisher attacks. Stark is forced to don his armour and repel the robot. Meanwhile, Janice Cord arrives at the Stark Industries plant and meets Jasper Sitwell. After she tells him of her father's plans they both set off to get to the Demolisher's master controls while Iron Man battles on against the killer robot.

The Mighty Thor “Veil of madness”

 Writer: Stan Lee

Artist: Jack Kirby

Inker: Vince Colletta

Originally published in The Mighty Thor #166

Cover date July 1969

(Published in May 1969)

The opening splash page for this second part uses Jack Kirby's and Vince Colletta's cover from the Mighty Thor issue 166. A credit box, catch-up box and new title are added. Thor and Him battle in multiple splash pages and pages spit into four, all rendered by "the King" himself, Kirby. And all of it witness from Asgard by Odin, who recognises that Thor is going through the Warriors Madness. Odin finds this grave as those who fall to it must pay a penalty, even the son of the all-powerful Odin. 

Thor is denied his vengeance when Him suddenly enters into a cocoon form and flies off into space to return to the stars. The Warriors Madness begins to fade. He realises to his horror what he had gone through. With Him defeated Sif is freed from the sphere and reunited with Thor. With the battle over, Balder, Thor and Sif realise that there is a hefty price to pay for his succumbing to the Warrior Madness. Back in Asgard, a space ship that has been prepared to send an Asgardian into space to seek out Galactus. Odin decides that Thor's punishment will be to pilot the ship to seek out the world devourer to learn the world destroyer's origins. Thor has to leave his friend and face the punishment alone.

Avengers Weekly #109

This cover riffs off Sal Buscema's original cover from the Avengers (US edition,) #71, although this time Keith Pollard rearranges the clashing heroes with more of a straight forward Avengers on the left and the "Invaders" on the right. Steve Stiles inked Keith's art. 

Conan the Barbarian “The fall of the towers!”

Writer: Roy Thomas

Artist: John Buscema

Inker: Ernie Chua

Originally published in Conan the Barbarian #26

Cover date May 1973

(Published in February 1973)

John Romita Sr. laid out the artwork for the cover of Conan the Barbarian issue 26 which was used as this week's second part opening splash page, with John Buscema finishing off the art and Ernie Chua adding the inks. Only Buscema and Chua's names appeared on the artwork. The new story title had appeared on that cover. Conan finds himself in the room with the Living Tarim only to discover that the god incarnate that all have been fighting for is in fact a diseased, inbred imbecile.

 The soldiers of Turan break in to the chamber of mirrors in search for the Cimmerian's head and a healthy reward for delivering it to Prince Yezdigerd. With sword in hand Conan lays into the Turanian troops. But rather than trading sword blows their leader calls forth archers to kill Conan. Using a wooden throne the barbarian saves himself, the Tarim isn't as lucky as the barrage of arrows hit the living god, who falls onto a burning brazier.

Conan flees the chamber in all the chaos. Above in the castle grounds the king is finally tracked down and slaughtered, leading to victory for the Turanian army. The Cimmerian makes his way to find Chumbella Bay and Queen Melissandra in the catacombs. Conan rebukes the Queen's nice words, recalling the last time they spoke when she gave him an amulet that nearly got him killed, as seen in Avengers Weekly #100. The truth comes out that it was Kharam-Akkad who asked her to give it to Conan to protect him. The three make their way through the catacombs to face a monstrous giant rat that block their exit. Quickly dispatching it and following occasional run-ins with the Turanians, Conan, Melissandra, and Chumballa reach the coast. The Cimmerian rides south while the others travel towards Melissandra's father. After discovering the charred remains of the Tarim, Yezdigerd makes plans to celebrate his victory with a parade.  Marching through the city with all the glory and pomp, Yezdigerd and Sulimar ride upon a cart either side of the seated robed form of the Tarim. With only those two knowing that underneath the robes the skeleton remains remain invisible to curious eyes.

This must have been a fantastic year to be a Marvel fan in Britain. You could visit the Marvel Art Exhibition of original artwork at the Institute of Contemporary Arts at Nash House, the Mall, London from the 18th to the 31st of October 1975. It wasn't open on Mondays, I don't know why, I guess everybody deserves a day off. From 12.30 to 9.30 pm. It would have been an opportunity to see the original artwork from stories and covers by all your favourite artists and all for free! 

The Avengers “The final battle!”

Writer: Roy Thomas

Artist: Sal Buscema

Inker: Sam Grainger

Originally published in The Avengers #71

Cover date December 1969

(Published in October 1969)

Sal Buscema's wonderful cover artwork from the Avengers (US edition,) issue 71 is repurposed as the opening splash page from the second part of this classic. The lower text from the original cover is kept as this week's story title with catch-up and credit boxes added. In France of 1941, the three Avengers square off one by one against the greatest allied heroes of that era. Black Panther fights Captain America, Yellowjacket battles Namor, and the Vision dogfights the Human Torch in the skies above Paris.

Smart planning by the Black Panther gives the Avengers the upper hand as T'Challa and the Yellowjacket portion themselves as bait to line up the "Invaders" so that the Visions can fly through them in a semi-intangible form, beating the World War Two heroes without killing them. With their victory, the Avengers are returned to the future. Having won both phases of the contest Kang demands to be granted his power over life and death. However he didn't win the first contest as the Black Knight had interfered in the final battle so the first phase has ended in stalemate. The Grandmaster offers him a choice between a short lived power to give life or to take it. Kang was about to choose to revive the Princess Ravonna just as the Avengers, freed by the Black Knight enter the room. Seeing them he requests  the power of death so that he can destroy the Avengers. 

However, the powers granted to him by the Grandmaster have no effect against the Black Knight, who isn't a member of the Avengers. The Knight quickly defeats Kang, and the Grandmaster considers the contest complete and returns the Avengers and Black Knight to their own era. Once returned to their own time the Avengers officially invite the Knight into their ranks. Which he gratefully accepts and at some point the Wasp must have nipped out and changed her outfit for the final splash page group photo. It's an iconic image that is synonymous with the Avengers and one of my all time favourite pieces of Avengers art. Earth's mightiest heroes assembled!

Master of Kung Fu “In the lair of Fu Manchu!”

Writer: Doug Moench

Artist: Keith Pollard

Inker: Sal Trapani

Originally published in Giant-size Master of Kung Fu #4

Cover date June 1975

(Published in March 1975)

An unnamed artist created this specially commissioned opening splash page for this third chapter. The title, "In the Lair of Fu Manchu!" doesn't make any sense as at no point this week do we see the evil villain's lair, still it sounds good. A brief catch-up box and credit strip finish off the page. In the sewers, Shang-Chi and Hackstabber manage to stalk the robbers to a manhole that leads upwards to a subway station. 

Shang-Chi saves Hackstabber from an oncoming train, just in time to see the robbers board it. Quickly Shang-Chi and Hackstabber leap onto the rear platform and give chase. They have to leap onto the back of the departing train too. Meanwhile Sir Denis Nayland Smith gets a call from the police commissioner, asking if Fu Manchu has something to do with the twelve bank robberies committed that day. Smith thinks not, but he and Black Jack Tarr will look into it. The robbers get off the train at the next station. Quickly Shang-Chi subdues them and under questioning they learn that they left the loot in the truck for the man who hired them, Tiger-Claw! The story continues next issue!

All be it a week away already there's an order form for the new British Marvel comic, The Titans. Featuring the fantastic adventures of some of Marvel's greatest heroes readers are promised tales of excitement with Captain America, the Sub-Mariner, the Inhumans, Captain America again, (I think that should have been Captain Marvel,) and Nick Fury agent of SHIELD! Faithful ones where requested to not miss it by filling in the order form and give it to your local newsagent, or Mr. Newsagent as Marvel like to call him.  

On the back of this week's Avengers weekly is another Dinky Toys advert for three Dinky models, two of which I'm pretty sure have featured before, The first I'm also pretty sure as not been featured is an A6 M5 Zero Sen airplane under the advert's title "Aerial raid! Zero Sen scores a direct hit!." The Japanese war plane is Model No. 739 and has a wingspan of 184mm. Under that is once again the Eagle Transporter from the latest Gerry Anderson TV series Space 1999. Model No. 359 comes at a length of 222mm long. Well of course it was a wise idea to push this space craft as the TV series would have been riding on a popular high. The last model is a 88mm gun in a 1/35th scale, on a base with three figures. The model number isn't listed on the advert but thank's to the power of the internet the Power of the Beesting believes that it is Model No.662. 

Dracula Lives #52

The Grand Comics Database doesn't list the penciler who drew this cover, however it did suggest that Mike Esposito could well have inked it. A woman's hands opens a door to face Count Dracula, which its quite original when compared to other Dracula Lives covers.

Dracula “Shadow over haunted castle!”

Writer: Marv Wolfman

Artist: Gene Colan

Inker: Tom Palmer

Originally published in Tomb of Dracula #23

Cover date August 1974

(Published in May 1974)

This week's opening splash page for the second part of this story uses the cover from Tomb of Dracula issue 23, by Gil Kane (pencils,) with Tom Palmer (inks,) which wasn't used as the cover of this week's or last week's Dracula Lives, as it was used earlier on the front of Dracula Lives #10. The cover artwork was an homage to the cover of the DC comic Batman #227, cover dated December 1970, by Neal Adams,  which in itself an homage to the cover of Detective Comics #31, cover dated September 1937, by Bob Kane. 

With Shiela's story done, Dracula tells her he has other business to attend to, in reality he hungers for blood and has he intends to keep Shiela as his familiar he chooses to go out to find a fresh meal. Which he does with a woman named Caroline Bascombe, who is driving through the night. Dracula allows her car to strike him and when she checks to see if he's been injured he feeds on her. While alone Shiela looks around her mansion when she is visited by the spirit of Alestar Dunwick. Alestar explains he was in reality her father and not her uncle. He had been murdered by her mother for his inheritance. He explains that he pledged his soul years ago to the dark gods and spent the years keeping track of her in hopes of sacrificing her soul to his master. Shiela refuses to believe any of that, however the ghost of Dunwick takes her to the basement where she finds the skeletal remains of those he had sacrificed before in an attempt to reanimate his body. She refuses to allow herself to be sacrificed willingly The spirit of Dunwick attempts to smash her with levitated objects, however Dracula shows up and fights off the spirit's attack. He grabs Dunwick's corpse, throwing it against the wall. With the bodies destruction the spirit of Dunwick is banished back to Hell. More Terror next week in "Terror in Trafalgar!"

Cryptic Correspondence

J K Curry writes that Doc Savage improved the Super-Heroes no end and the new Dracula Lives story, the Living Mummy, is a definite improvement on the simmering Frankenstein. Steve Gerber's plot was good but Rich Buckler can produce better artwork as he shows some of his real talent on page 26 from Dracula Lives #42. Steven Gerraghty from West Yorkshire has noticed that the letter pages are getting loads of correspondence from readers telling Marvel how great the POTA and Dracula Lives are and suggests that they could be combined into one comic. The price might have to be put up a little. Could Steven be predicting the future. Tom Tatlock from St. Helens is back again, writing about the current ecstatic changes made to Dracula Lives. The cover was not up to par, but the inside story was good. He likes the idea of Dracula having his own diary, where different short stories are depicted with his own emotions. Of course, Gene's pencilling was great, as usual.

The Living Mummy “The Asp's big score”

Writer: Tony Isabella

Artist: Val Mayerik

Inker: Val Mayerik

Originally published in Supernatural Thrillers #11

Cover date February 1975

(Published in November 1974)

Val Mayerik's art in this story is really reaching another level for detail and horror, it's a joy to read. The story opens with Richard Harper, who calls himself "The Asp," telling his partner, Miles Olddan, that the Ruby Scarab is going to make them more money than they could imagine. They intend selling it to Alexi Skarab and then stealing it back to sell on to another buyer. However, before they can be met by Skarab they are attacked by the Living Mummy, who has finally tracked the two down in his own hunt for the mystical jewel. 

During the fight, Olddan throws an oil lantern at the Mummy, causing him to burst into flames. The burning Mummy smashes through the wall and extinguishes the flames in the mud outside, before passing out. As Asp and Olddan leave, Asp reflects on the moments in his life that brought him to Egypt, how as a small time crook with big aspirations he is finally getting the big pay-out. When arrested for a crime, he meet Miles Olddan, as his cell mate. Olddan, an old time crook with plenty of skills, took the young Asp under his wing and the two would mastermind their criminal career. As Asp and Olddan sell the Scarab to Doctor Skarab, Zephyr arrives in Cairo to collect the Living Mummy. She meets a prostitute pimp who judges her by her scantily clad outfit and offers to take her on under his wing for their mutual benefit. She summons the force of the winds and sends him flying into the sky, to only make landfall some 36 hours later. Zephyr continues her search eventually finding N'Kantu in the mud. Using her powers she begins to heal him. More next week.

Werewolf by Night “The monster breaks free!”

Writer: Mike Friedrich

Artist: Don Perlin

Inker: Vince Colletta

Originally published in Werewolf by Night #20

Cover date August 1974

(Published in May 1974)

Gil Kane's (pencils,) and Mike Esposito's (inks,) cover from Werewolf by Night issue 20 is repurposed her as this week's second part opening splash page, the original text from the bottom of the cover is lifted up to the top left to form this week's story title. A credit box is also added. Jack had figured out the connection with Baron Thunder and the Committee. Using a ring in the shape of a wolf, that Jack took from attorney Geraldo Kabal, which gives the wearer control over their werewolf form even when there isn't a full moon, Jack transforms into the Werewolf but remains in control of the beast. The Werewolf enters the Baron's castle.

There he discovers his captured sister, Lissa, but also confronted by Baron Thunder and his employee Ma Mayhem. Thunder believed that the blood of a werewolf was capable of enhancing a person's strength to superhuman levels. He had used the Committee's inner circle to reach his goal of obtaining Jack's blood to enhance his own strength to superhuman levels. Jack now in full control of his werewolf side battles the Baron in an even fight that only swings in the Werewolf favour when some damaged machinery falls on the Baron trapping him. Jack frees his sister and the pair escape from the castle as the fire spreads. I have to be honest I'm not enjoying the current Werewolf by Night stories, it a bit wishy-washy with ideas and plots that are all over the place. The horror has left it and all in all there's little to enjoy. Will it improve? We'll have to keep reading to find out. 

Planet of the Apes #52

Another Ron Wilson Planet of the Apes cover, this time showing a caged wild gorilla strangling Doctor Milo when the three ape astronauts are moved to a zoo infirmary. This scene doesn't appear in this week's story, it does appear in next week's issue. Mike Esposito inks this cover.  

Planet of the Apes “Between two worlds!”

Writer: Doug Moench

Artist: Rico Rival

Inker: Rico Rival

Originally published in Planet of the Apes (US) #12

Cover date September 1975

(Published in July 1975)

This week's opening splash page is said by the Grand Comics Database to be by Gary Brodsky. Purely as a symbolic representation of events it looks like three caged monkeys are shunted along multiple worlds, which has little in real terms to do with the Planet of the Apes story line. So I guess the need for credits or catch-up boxes would only confuse readers even more, anyway I feel that every reader just turned the page and didn't even think about it. 

Escape from the Planet of the Apes is one of the films that I remember the most from my childhood with a good bit of fondness. But let's be honest it is one of the five Ape films with the least action. A characteristic that the comic strip adaption shares. Still the artwork more than makes up for that, coupled with  Doug Moench's intelligent retelling it's a very mature strip. The only thing is most of this week's story is setting up for what's to come. The three apes are taken to a local zoo infirmary for examination, where they are housed in a cage next to a gorilla. The human heroes of this piece arrive, Doctors of Animal Psychology Doctor Lewis Dixon and Doctor Stevie Branton. They are there to assess the intelligence of the chimpanzee astronauts. The apes maintain their silence while still displaying they have greater intelligence than typical apes, until Lewis asks the keeper why they won't eat. Zira replies to the open question with "Because we loathe and detest bananas!" much to the shock of the humans. Next week more of "strangers in a strange land!"

Apes Forum

Stephen Cannon from Cumbria congratulates Marvel on the great Planet of the Apes mag. The stories are great and full of action, unlike the TV series, which he says doesn't do justice to the films of which he has enjoyed all five. Every week on TV the three travellers would aid someone with a minor problem using their knowledge of science and an occasional fight that was all the action shown. Stephen writes that the mag is always full of action and excitement, especially the Apeslayer stories. Karen from Cheshire thinks that Planet of The Apes is the greatest mag out and suggests bringing out a binder, so that collectors can keep their mags clean and not "filthy and spoiled!". Jim Briggs from Middlesex also enjoyed the mag and has spotted several boobs, but he's no "No-Prize hunter" so he won't name them. In the US mags Jim has seen adverts for Marvel's American edition of POTA with covers that are possibly the best to adorn the giant-sized black and white mags. He asks why they're not reprinted in the British editions? Well some covers definitely are. At the bottom of the Apes Forum there's an order form to buy this year's Marvel annuals, one for £1.20, two for £2.20 and all three for £3.20. More on them later.

The Power of Warlock “And in the end”

Writer: Mike Friedrich

Artist: Bob Brown

Inker: Tom Sutton

Originally published in The Power of Warlock #7

Cover date August 1973

(Published in May 1973)

Gil Kane's (pencils,) and Mike Esposito's (inks,) cover from the Power of Warlock issue 7 is repurposed as this week's second part opening splash page with the usual addition of a new story title, catch-up box and credits. From last week the Brute steals Earth-Corer-1 to bores deep down in to the Earth core to consume the planet's energies. Using the Earth-Corer project's auxiliary car Victor Von Doom with Jason Grey, David Carter and Ellie Roberts follow Adam Warlock as he uses the Soul Gem to cut through rock to reach the Brute.

At the centre of the Earth the Brute in a mad idea has absorbed so much geothermal energy that he manages to overpower Warlock. Seeing the events Von Doom realises that the Brute as absorbed too much energy, more than his body can contain, so it will reach a critical mass that could explode like an atomic bomb, causing a disaster at the heart of the planet. To aid Warlock and to help his best friend, Victor wants to "gimmick up" a radiation absorber in Earth-Corer-1. The Brute tries to stop Doom from reaching the machine but the Doctor gets there just in time. The Earth-Corer-1's radiation shields are converted to absorb the deadly radiation, absorbing all of the Brute's energy, halting the disaster and in the process turning the Brute back in to Reed Richards. The absorber, however, drained too much energy and explodes, killing Victor Von Doom. Warlock acknowledges death has no meaning to the dead, their journey is already made. It is the living who give it meaning for each other and Doom's sacrifice gave the planet hope. He sets up a monument on the surface for Victor that reads, "Victor Von Doom He died that another might have life. No greater love-or-life can a man have than this."

Just in case you didn't already know, "comin' your way.." next week are The Titans. Twice the amount of action and adventure for your money! Five..count them five big features, Captain's America and Marvel, the Sub-Mariner, Nick Fury agent of SHIELD and the Inhumans! Plus there'll be all new centre-spread posters with issues one and two. It all begins in seven days effendi, be here so you won't regret it.

Captain Marvel “Enter: The Sub-Mariner”

Writer: Roy Thomas

Artist: Gene Colan

Inker: Vince Colletta

Originally published in Captain Marvel #4

Cover date August 1968

(Published in May 1968)

This week's second part uses the cover artwork by Gene Colan (pencils,) and Vince Colletta (inks,) from Captain Marvel issue 4 as the opening splash page. The tagline from that cover is enlarged and lifted to become this week's story title. A credit panel is added with one single text box that simply reads "And the battle of the century is about to begin..but first..." The next page sees a ship, sent to recover a failed rocket before the deadly bacteria on board it is released. In the guise of Walter Lawson, Mar-Vell observes events.

Via Mar-Vell's wrist monitor Yon-Rogg orders the Captain to prevent the humans from stopping the release of the bacteria, as the Kree Colonel is hoping to test the humans' susceptibility to germ warfare. With the arrival of the Sub-Mariner, Mar-Vell changes into his Kree uniform. He had suspected Yon-Rogg's involvement in the crashed rocket and had hoped to enlist the Atlantean Prince's help in preventing the bacteria's release, but knowing that Yon-Rogg would be monitoring him he had no choice but to obey orders. Mar-Vell and the Sub-Mariner battle. With little love for humanity but knowing the danger to life and his need of the Fantastic Four's help Namor tries to prevent the bacteria from escaping. The battle is preconceived by those aboard the ship as though the Sub-Mariner is the aggressor and Captain Marvel as the hero trying to stop the bacteria, when ironically it's the other way around. However, Mar-Vell allows the Sub-Mariner to "defeat" him so that Namor can disarm the bacteria. When the rocket explodes, both men are thrown clear from it. Next week you'll find out "What is...the Metazoid?" But not in the pages of the Planet of the Apes! 

The Super-heroes #33

Keith Pollard produces another cover, the third this week. He shares the penciling duties with Aubrey Bradford. The Inks are applied by Frank Giacoia. Not sure why they didn't use an original American cover, but it seems that every week British commissioned art features on the cover of the Super-Heroes. 

Giant Man and the Wasp “Giant-Man and the wonderful Wasp battling the Human Top!”

Writer: Stan Lee

Artist: Jack Kirby

Inker: Steve Ditko

Originally published in Tales to Astonish #50

Cover date December 1963

(Published in September 1963)

After the opening splash page this week's story begins with the origin of the Human Top. David Cannon grows up as a young man with the uncanny ability to spin really fast, almost like a toy spinning top. He would then use his powers to bully his peers, cheat in sporting events and cash in on betting money. But that wasn't enough for Cannon, after a crime spree he becomes a costumed criminal that the papers would call the Human Top.

In the present day, Henry Pym reads about the Human Top's most recent robbery, which he dismisses as a cheep crook who is beneath his attention as its time for the Wasp's briefing session. The two check their spy-ant monitoring device for any leads on crime in the city. Through it they learn that the Human Top is plotting to rob Danly's Department Store the next day at 10:00 am. Giant-Man decides to intervene and plans the criminal's capture. Meanwhile, the Human Top in his civilian guise is practicing for an ice show when he is sent home early. He scoffs at the pittance he earns as an ice skater. Donning his newly designed top-inspired costume he begins plotting how he will rob the Danly's payroll the next morning.

Cosmic Communications

Paul Etchells RFO, KOF, QNS, from Yorkshire has two theories he would like to discuss. The first is how the Beetle's extended fingers work, It's all to do with compressing Oxygen and Hydrogen. The second is a theory about heavens and hells. In the Silver Surfer Mephisto claimed to be the Lord of Darkness, but in Doctor Strange there is Dormammu, who also claims to be Lord of Darkness. Paul says that in truth they BOTH are, but in far different dimensions. Satan is Mephisto's right-hand man so to speak. He watches over earth while Mephisto looks after the rest of the universe. Pluto is another of Mephisto's underlings. Odin and Zeus are both all-fathers in their own right, and share the ruling of the good cosmos. Marco Lciek from Stoke-on-Trent strongly disagrees with Lawrence Mead who stated in his letter that "J Buscema was never suited to Silver Surfer". Marco believes that Buscema is the only artist to do justice to the Silver Surfer. As for Lawrence's suggestion R Buckler as a potential Surfer artist Marco ask's who's he kidding? Finbarr Dooney from County Antrim has got the Spider-man cover patch, then getting the Hulk one he thinks that a Silver Surfer patch would be a great idea.

The Cat “The Owl and the pussycat!”

Writer: Linda Fite 

Artist: Marie Severin 

Inker: Jim Mooney

Originally published in The Cat #2

Cover date January 1973

(Published in October 1972)

The Cat stands on the roof of a hospital puzzling over the strange sensation that her mentor, Doctor Joanne Tumulo, who she left there in a critical condition, may be dead. Suddenly she is attacked by a trio of costumed fiends that glide to the rooftop using their Owl outfits to land safely. The Cat stops them and the three escape in an Owl themed helicopter piloted by the super-criminal the Owl. 

The security guard asks her too many probing questions so she leaps away only to return later. Climbing outside the doctor's window she is relieved to overhears the doctors discussing that Tumolo would recover. When they leave she moves to the Doctor's bedside and seemed to hear the professor's voice in her head. Mixed and broken sentences that say, "Man not nephew, evil, from Donalbain, Confused, frightened, Greer." The Cat returns home to rest until the next day. What follows is an extended flashback in which Greer recalled how she and Shirlee Bryant had participated in an experimental conditioning program designed by Doctor Tumolo and funded by Mal Donalbain. The doctor discovered Donalbain was using the program to create an army of enhanced women and a chain of health spas as a front to take over the nation. Dressed in the Cat uniform, Shirlee was to be the prototype. But she followed Donalbain's orders, without regard to her own safety, which lead to her death after a fall. Tumolo fled, taking one of the uniforms as evidence. Donalbain ordered his henchmen to set off an explosion at her lab to destroy the evidence. Greer took the Cat uniform and set off to stop Donalbain and avenge her mentor. Next week "the Owl attacks!"

A Marvel Masterwork pin-up of the Silver Surfer, originally from the Silver Surfer volume one, issue two, cover dated October 1968, published July 1968, in which it featured as the opening splash page for part two of the Surfer story "When lands the Saucer!" "Let the Earth be the prize!" written by Stan Lee, drawn by John Buscema and inked by Joe Sinnott. That tale would be presented in the Super-Heroes #4.

Also in this issue is a full page in-house advert for Dracula Lives, featuring that mag's horror stars Count Dracula, the Living Mummy and the Werewolf by Night, as well as a fleeing woman. "Tales of mystery...horror and suspense...now on sale" it says. The image of Dracula and the "fleeing woman", who must have been Shiela Whittier, are taken from the cover artwork Dracula Lives #49 by Pablo Marcos. The Mummy and the Werewolf art has been cut and pasted from the cover of Dracula Lives #50, artwork by Aubrey Bradford.

The X-Men “Lo! Now shall appear the Mimic!”

Writer: Stan Lee

Artist: Werner Roth

Inker: Dick Ayers

Originally published in The X-Men #19

Cover date April 1966

(Published in February 1966)

This week's story opens with the X-Men in another training session supervised by Cyclops. A nice touch is that Marvel Girl is levitating while reading a copy of Spider-man Comics Weekly issue 141, which will be reviewed next week. After the session is ended the team leave to go into the city in their civilian guises. Hank and Bobby meet Bobby's girlfriend Zelda in a library and are joined by Hank's blind date, Zelda's friend Vera. After Hank's reservations he becomes smitten when he finds that Vera works at the local library. Along the way they run into Calvin Rankin, a young man who is jealous that Vera is out with Hank. 

The hot tempered Rankin starts a fight with Hank, who pulls his punches to hide his mutant powers. Somehow Calvin has the same powers as him. After he easily trounces Hank, Bobby joins in, but Calvin throws a snowball in his face. A group of construction workers stop the fight by throwing bricks at Calvin, which he dodges by creating an ice wall to protect himself. Surprised at these new abilities, Calvin flees while recognising that his new powers belong to Beast and Iceman however they eventually fade away once he is far enough away from the people he mimicked them from. While out shopping Jean Grey accidentally bumps into Calvin who rudely shouts at her. Mimicking telekinetic powers he realises that the redhead girl must be none other than Marvel Girl. Calvin follows Jean to the Mansion. Later he showing up wearing a pair of ruby quartz glasses. How he knows that ruby quartz are the only way to hold back Cyclops powers is anyone's guess. Under the false pretence of "apologising" for the earlier fight he asks to join Xavier's school. Professor X attempts to probe Calvin mind but can't as his own powers have also been mimicked. and finds that he cannot access his mind. The story continues next week.

This version of "the 1976 Annuals" advert appears on the back of this week's issues of Dracula Lives, Planet of the Apes and the Super-Heroes. For all intended purposes its the same as the one that featured on the back of this week's Mighty World of Marvel and Spider-man Comics Weekly, except for the three annuals are pictured in a yellow box instead of the lower part of the page being filled in yellow, the "£1 each" circle is moved to the right and the Thing tells the reader that they are "available from you newsagent or use the coupon on page 10!" The coupon would be seen at the bottom of the letter pages, however the letter page in Dracula Lives appeared on page twelve without the coupon, the Apes Forum letter page in POTA appeared on page eleven but did have the coupon. The Super-Mail letter page in the Super-Heroes did appear on page ten with the coupon, so at least that time the Thing was right. 

Right that wraps up this week's blog. Time to prep for next week's giant-sized Power of the Beesting, with twenty-two comic strips, seven covers, five letter columns, the odd article and a good amount of adverts and promotions to discuss, the work never ends. Just about time for a brew, until next week...

See you in seven.

Make Mine Marvel.