Amazing Spider-Man #75 (August, 1969)

Back in October of last year, I wrote a post about Amazing Spider-Man #68, the first installment of the “petrified clay tablet” story arc that would run for a full eight issues (or ten, depending on how you look at it — more about that later).  If you’re a regular reader of the blog, you may remember that I identified this storyline as a major highlight of my early years as a Spider-Man fan, and that I wrote I planned to return to it for at least a couple more posts before we reached the 50th anniversary of its finale.

Well, it’s kind of funny how things go, sometimes.  The fact is, there have been so many other fine comics hitting the half-century mark over the past seven months that Spidey has kept getting squeezed out.  But there’s no way I can let the climactic chapter, issue #75’s “Death Without Warning” pass by without posting about it; and so, here we are.  Read More

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X-Men #58 (July, 1969)

I feel pretty confident in making the statement that Neal Adams’ cover for X-Men #58, featuring the debut of Scott “Cyclops” Summers’ younger brother Alex in the costumed hero identity of Havok, is one of the most iconic of the late Silver Age at Marvel Comics.  But apparently, not everyone associated with that cover was, or is, completely happy with how it turned out — at least, not in the published version.

According to a 1999 article for the comics history magazine Alter Ego by the issue’s scripter (who was also Marvel’s associate editor at the time), Roy Thomas:

…Neal turned in a real beauty for X-Men #58, with a color-held overlay of Havok as the focal point.  Alas, Neal’s suggested color scheme wasn’t followed.  Instead of the blue that would have been the closest equivalent of the black in his costume inside, it was decided (by whom I dunno, but it wasn’t me, babe) that the Havok figure should be color-held in orange and yellow.  Bad idea.

Well, maybe.  I gotta say, though, that that orange-and-yellow has always worked for me. I mean, those colors really popped against the cover’s dark blue-gray background; and besides, blue ain’t black, after all.  Too bad we don’t have a “blue” version to compare the published version with… wait, what did you say?  We do, kind of?  Courtesy of the cover to the trade paperback edition of Marvel Masterworks – The X-Men, Vol. 6, featuring Adams’ art newly recolored by Richard Isanove?  Oh, okay then.  Read More

Avengers #66 (July, 1969)

Following Gene Colan’s three-issue stint as penciller on Marvel Comics’ Avengers series, the 66th issue brought yet another artistic change — though not the one that the book’s cover appeared to indicate.  That illustration, which depicted the team of heroes — including, unusually for this era, both Thor and Iron Man — battling one of their own, the Vision, across multiple levels of their mansion HQ — was by John Buscema, who’d been the series’ regular artist for the better part of the two years immediately preceding Colan’s brief tenure.  The interior art, however, was by one of Marvel’s newest (and youngest) artists, the nineteen-year-old British import we’d eventually come to know as Barry Windsor-Smith.  Read More

Hulk #118 (August, 1969)

By May, 1969, I’d been reading Marvel comics regularly for about a year and a half, and had sampled at least one issue of most of their superhero-fronted titles — most, but not quite all. This month, I finally got around to checking out The Incredible Hulk. 

At this time, my knowledge of the Hulk was pretty much limited to what I’d been able to glean from his guest appearances in comics I had read, the most substantial of which had been in Avengers Annual #2 (Sept.,1968) and Captain America #110 (Feb., 1969).  From those, I’d learned at least some of the basics regarding the character — I knew, for instance, that the Hulk was the super-strong alter ego of Dr. Bruce Banner, an otherwise “ordinary” human being.  I even knew a bit about his past history with a teenager named Rick Jones.  But I also knew that he was belligerent, dangerously uncontrollable, and — at least sometimes (especially as depicted by artist Jim Steranko in CA #110) — rather frightening.  Based on what I’d seen so far, I didn’t quite understand what made the Hulk a superhero.

But Marvel certainly seemed to be positioning him as a superhero, as best as I could tell; and I liked Marvel superhero comics.  Thus, it was inevitable that I’d give the Hulk’s series a shot sooner and later; and when Hulk #118 came along, it probably seemed like an ideal opportunity to take the plunge, if only because the issue guest-starred the one other Marvel heroic headliner whose title I still hadn’t sampled: Prince Namor, the Sub-Mariner.  Read More

Captain America #116 (August, 1969)

After having bought Captain America for five months straight (or almost straight, as I somehow managed to miss issue #111), in early 1969 I took a couple of months off from reading the Star-Spangled Avenger’s adventures.  Five decades later, I can’t quite remember why I did so.  Obviously, beginning with #114 there was a considerable stylistic shift in the look of the book, which had just seen the end of Jim Steranko’s brief but epochal run as the series’ artist — but it seems unlikely that I would have turned up my nose at the work of either John Romita (who drew both the cover and interiors of #114) or John Buscema (who contributed the interior art for #115, behind a Marie Severin cover), considering how much I enjoyed their work on other titles.  Admittedly, the Romita cover is a little dull, at least in comparison to the Steranko (and Jack Kirby) jobs that immediately preceded it, but it’s hard for me to believe I would have passed on Severin’s dramatic rendition of a shrunk-down Cap being held prisoner within a transparent cube by the Red Skull, while Sharon Carter looks on helplessly.  Perhaps I never actually saw that issue on the stands (or the one preceding it, for that matter).  Read More

Thor #166 (July, 1969)

There’s a case to be made that the God of Thunder’s adversary in the issue of his comic we’re discussing today — the being known at this point only as “Him”, though he’d later pick up the less confusing appellation “Adam Warlock” — was the last major character creation of artist/storyteller Jack Kirby during his most important and productive stint at Marvel Comics.  As recalled by comics writer and historian — and longtime Kirby associate — Mark Evanier (and reported by numerous writers, including Mike Gartland in The Jack Kirby Collector #24), the story that Kirby plotted and drew for Fantastic Four #66 – 67 was a tale of well-intentioned scientists who create an ultimate human being, an entity who’s not only physically perfect but also possesses godlike powers, only to have this being, once it’s emerged from gestation within its cocoon, turn on them and destroy them, simply because they don’t meet his standards of perfection.  However, when it came time to script the story, Kirby’s collaborator (and editor), Stan Lee, jettisoned this theme — intended as Kirby’s ironic commentary on Ayn Rand’s Objectivist philosophy — possibly because it didn’t present a clear-cut “bad guy”.  In Lee’s version of the story — which was the one that saw print, of course — the scientists wanted to use their creation to dominate the world; “Him” realized this, and destroyed the would-be despots before taking his leave of humanity.  Already disgruntled with Lee (and with Marvel Comics, generally) over a number of matters — including the way that Lee had appropriated and reinterpreted an earlier Kirby creation for FF, the Silver Surfer —  Kirby may have seen this latest alteration of his creative vision to be, in Gartland’s words, “the last straw”.  From this time on, the theory goes, the “King” would refrain from bringing his full creative powers to bear on the work he did for Marvel, with the result that he would introduce few, if any, truly significant new characters in his last couple of years before jumping ship for DC Comics.  Read More

Aquaman #46 (Jul.-Aug., 1969)

When I look back fifty years, attempting to recollect my early comics-buying experiences, I can readily remember all of the places where I regularly purchased my books, circa 1969.  In order of (probable) shopping frequency, they were the Tote-Sum* convenience store on Triangle Drive, the Short-Stop* on Northview Dr., a second Tote-Sum on Forest Ave., and the Ben Franklin Five-and-Dime on Meadowbrook Rd..  I have some sense memory of each of those long-gone places — how they were laid out, the lighting, the location of the Icee machine behind the checkout counter, and so forth.  By and large, however, I don’t have memories of buying specific comic books; for example, I have no idea at which store I bought either Avengers #65 or X-Men #57, the two comics I’ve blogged about here most recently.

But I do remember where, and maybe even when, I bought the subject of today’s post.  I’m quite certain that I purchased it at the Triangle Drive Tote-Sum, and I’m fairly sure it was in the evening, after dark.

Why do I recall buying this particular comic book, and not others I picked up at around the same time?  Well, it wasn’t due to artist Nick Cardy’s cover illustration, as compelling (though also, as we’ll soon see, ultimately rather misleading) as it was; or even to that illustration’s promise that within the comic’s pages, the titular hero’s months-long quest to find his kidnapped wife Mera would reach its end at last.

Rather, it was due to the fact that it was the first comic book I saw that reflected the price increase for “standard” size comic books that went into effect across the industry at that time — as the cost of a single issue rose from twelve to fifteen cents — a twenty-five percent increase.**    Read More