I never owned a “Captain Action” doll action figure as a kid, and to the best of my recollection, I never wanted one all that much.
Not that I had anything against dolls action figures as a class, you understand. Indeed, I was a proud owner of a “G.I. Joe” (the real one, mind you), and I also had a “Man From U.N.C.L.E.” that the box claimed was Napoleon Solo (though if that were actually true, it was the worst likeness of actor Robert Vaughn ever). But the concept behind Captain Action didn’t have all that much appeal for me, apparently — even though I think I could still appreciate how clever it was, even as a child. Read More
For younger readers of current comics, accustomed to publishers trumpeting every single guest appearance or “event” tie-in months in advance, the notion of a “stealth crossover” may seem all but incomprehensible. Yet, that’s exactly what Marvel Comics did in the first quarter of 1969, as they carried over a plotline from the January-shipping issue of Captain Marvel into February’s Avengers (the subject of today’s post) without even so much as an editorial footnote in the first book to let fans know it was happening. What the heck were they thinking fifty years ago, there at the “House of Ideas”?
But before we get into all that, we need to acknowledge the other two significant events happening in Avengers this month, one “in-story”, and the other behind the scenes, though both were heralded by the cover: the first, a major change concerning the superhero code-named Goliath; the second, the advent of a new regular artist — for after drawing Avengers for most of the last two years, John Buscema was being pulled off of the title to do layouts for Amazing Spider-Man, while Gene Colan was giving up Daredevil to take on Earth’s Mightiest Heroes. Read More
When I first saw the cover of Daredevil #51 on the spinner rack fifty years ago, I believe I must have known something was up.
After all, I’d been buying and reading this series for a whole year now, and even if I wasn’t the most sophisticated spotter and identifier of individual artists’ styles at age eleven, I believe that I could tell a Gene Colan Daredevil cover from, well, anyone else’s.
Not that there hadn’t been any non-Colan DD covers in the twelve months I’d been following the book — there’d been issue #43‘s, which was a Jack Kirby job. But that particular issue had guest-starred Captain America, and since Kirby was Cap’s regular artist at that time (and also his co-creator, of course, though I probably didn’t know that yet), that had made sense.
But who was this, who’d drawn the cover for #51? I mean, Daredevil’s head looked… different (and not just because it was giant and translucent). There was something sort of Kirbyesque about it, actually, but it wasn’t Kirby. So who? Read More
As I’ve related in previous posts, I was a little slow in warming up to Doctor Strange. Marvel Comics finally got me in late 1968, however, through the double-barrelled approach of first giving him a visual makeover, and then guest-starring him in The Avengers. Those moves caught my interest — which, according to what Roy Thomas (a Marvel associate editor at the time, not to mention the writer of both Doctor Strange and Avengers) would state decades later in his introduction to Marvel Masterworks – Doctor Strange, Vol. 3, was precisely what the publisher had hoped they’d do.
But the next issue of Doctor Strange to hit the stands after Avengers #61 was a reprint, featuring the good Doctor’s “old look” — though, since it was a reprint of a classic tale by Steve Ditko and Stan Lee that co-starred Spider-Man, and which was 100 % new to me, I didn’t really have much to complain about. Still, I was happy to see Doctor Strange #180, the “real” follow-up to Avengers #61, when it finally arrived in early February, 1969. Read More
As readers of my post about Captain America #110 a few months back may remember, my eleven-year-old self read and enjoyed that comic book — the first in a classic trilogy of issues by Jim Steranko — when it came out in November, 1968, and I finished it ready and waiting to buy and read the next one. However, for one reason or another (either it never made it to any of the retail outlets in Jackson, MS, where I bought my comics, or I just didn’t manage to get to the store before it sold out), I never saw, and thus couldn’t buy, Captain America #111. Because, seriously — how could I have passed up a book with a cover that awesome, if I had seen it?
That issue continued the storyline created and developed by Steranko, who plotted as well as drew these issues (supported on the dialoguing end by writer-editor Stan Lee) in which Cap took on a new partner, Rick Jones, while also confronting the threat of the newly resurgent terrorist organization Hydra. Issue #111 had ended with the apparent death of Captain America, showing the Star-Spangled Avenger’s silhouetted body struck by a hail of bullets as he dove from the roof of a waterfront building into New York City’s East River. Read More