Today’s post is the fourth in a series we’ve devoted to chronicling a storyline that ran through a number of Marvel comics in the first few months of 1969 — a sort of “stealth crossover” in which a number of the publisher’s heroes got involved (some without even knowing it) in foiling the dastardly plot of three (allegedly) big-brained super-villains intent on (what else?) taking over the world. The comics readers of that time (your humble blogger among them) had to be paying close attention to all the editorial footnotes in the comics involved to follow the story (and even then, it was a hit-or-miss affair) — because, in high contrast to today’s multi-title “events”, Marvel’s in-house promotion for the crossover was virtually non-existent.
Things had first gotten rolling in January with Captain Marvel #12, in which the titular hero battled a powerful android, the Man-Slayer, that was trying to wreck a U.S. missile base in Florida called “the Cape” (as in Canaveral). The Man-Slayer’s rampage was ultimately shut down not by Mar-Vell, however, but rather by S.H.I.E.L.D. operative the Black Widow, who was promptly taken prisoner by the Man-Slayer’s unseen masters. Moving into February, Avengers #63 revealed the Widow’s captors to be the Mad Thinker, Egghead, and the Puppet Master. The Widow was rescued by her boyfriend, the Avenging archer known as Hawkeye, though not before he’d downed a vial of Dr. Henry Pym’s growth serum and become the new Goliath. Read More
When we last left Captain Mar-Vell of the Kree, at the conclusion of our Captain Marvel #12 post back in January, the alien soldier-cum-Earth superhero had just emerged from a battle against a mysterious android, the Man-Slayer, that had been rampaging across “the Cape”, a U.S. missile base in Florida. Meanwhile, both Mar-Vell’s Earth secret identity of Dr. Walter Lawson and his costumed-adventurer persona of Captain Marvel were now wanted for treason, leaving our protagonist in a bit of a pickle. All of this was serving to distract Mar-Vell from what should be job number one — using the awesome new powers granted him by the cosmic entity Zo to exact vengeance on his mortal enemy, the Kree colonel named Yon-Rogg, whom Mar-Vell held responsible for the death of his beloved Medic Una.
And while all this was going on on the printed page, Captain Marvel was facing challenges behind the scenes as well — because after already going through three writers and an equal number of artists over its fourteen-issue run (counting two issues of Marvel Super-Heroes), his series was about to welcome aboard yet another writer, Gary Friedrich, and artist, Frank Springer. With Captain Marvel #13, both of those gentlemen dove right into the ongoing storyline that had been developed over the past couple of issues by the previous scripter (Arnold Drake) and penciller (Dick Ayers) — and then proceeded to tread water for twenty pages. Read More
By March, 1969, I’d been buying and reading Marvel comics regularly for about fifteen months, and I was gradually working my way through all of their superhero-headlining titles. This was the month that I finally got around to Iron Man.
While I’d enjoyed the few brief guest appearances of the character I’d seen in Avengers, and also been intrigued by some of the covers I’d seen on the racks or in house ads, somehow I hadn’t bitten the bullet before now. Maybe my younger self thought Tony Stark’s mustache made him look too old? I really don’t remember. 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
My interest in Marvel Comics’ Silver Surfer series seems to have been somewhat sporadic in the first half-year or so of its original run. As I’ve written in earlier posts, I bought the first issue in May, 1968, and though I liked that book a lot (at least, that’s how I remember things), I opted to pass on both the second and third issues (unless, of course, I never saw either of them on the stands, which is quite possible). Issue #4, however, was most likely a no-brainer purchase decision for my eleven-year-old self, what with its absolutely iconic cover (by John and Sal Buscema) depicting the Surfer and the mighty Thor about to come to blows. And considering how spectacularly that book delivered on its cover’s promise, my picking up the following issue when I saw it was probably a given, as well –even though its cover (by John Romita, according to the Grand Comics Database), while good, wasn’t quite in the same exalted class. Read More
Regular readers of this blog will have heard me say this before, but it bears repeating — sometimes, I just have no idea why my younger self chose to buy a particular comic book fifty years ago.
That’s certainly the case with the subject of today’s post. After passing Captain Marvel by on the stands for almost a year, in January, 1969 I decided to gamble twelve cents on the series’ twelfth issue. How come?
Was it the cover, by John Romita and Sal Buscema (or maybe George Tuska and Buscema — the usual reference sources differ)? I suppose it could be. It’s not a particularly distinguished composition (at least, not to my present-day, 61-year-old eyes), but it’s not what I’d call bad — and those bright, contrasting colors really do pop. So, maybe.
Perhaps it was the result of a long-simmering curiosity about the character that had been sparked by my reading of the “Captain Marvin” parody in the ninth issue of Marvel’s Not Brand Echh series, back in May of ’68. That piece, produced by the “real” Captain Marvel’s onetime writer and penciller (Roy Thomas and Gene Colan, respectively) had served as a sort of primer on the origin, powers, and modus operandi of “Marvel’s Space-Born Super-Hero!™” — though one read through a cracked glass, as it were. It had also been pretty funny to my then ten-year-old sensibilities, even if Thomas’ gags referencing the original Captain Marvel had gone right over my head. So, maybe I recalled this story when I saw Captain Marvel #12 on the spinner rack, and decided to give the “real thing” a try. Read More
My younger self of a half-century ago was a little slow in warming up to Marvel Comics’ Master of the Mystic Arts, Doctor Strange. As I related a few weeks ago in my post about Avengers #61, I think it mostly had to do with the good Doctor’s look — the mustache, the white temples, the blousy tunic, etc. — which didn’t seem quite “superheroic” enough for my eleven-year-old sensibilities. However, the “new look” that artist Gene Colan and writer Roy Thomas introduced in issue #177, effectively giving the sorcerous hero a more conventional costume of tights and a mask (the latter actually being a magical transformation of his physiognomy), intrigued me when I saw it in Marvel’s house ads — and the deal was sealed when I bought and read the aforementioned Avengers issue, in which Dr, Strange showed off his new look in a featured guest appearance. That book primed me to check out the Doc in his solo series, and I made plans to pick up the next issue when it came out.
But when I finally did see Doctor Strange #179 in the spinner rack, roughly a month later, I was in for a surprise. Because the face that gazed out at me from the cover wasn’t the new, blue one — rather, it was the mustachioed, white-templed visage that I thought was now old hat. What was going on? I had no clue, but hey — Spider-Man was guest-starring in the issue, and the wall-crawler was by now not just my favorite Marvel hero, but my favorite comic-book hero, period. I didn’t see how I could go wrong buying this comic; and thus, I put my twelve cents down on the convenience store counter, and took it home. Read More