In the letters column of the comic that’s our main topic today, reader Normand LaBelle of Sherbrooke, Quebec expressed his great displeasure with the Captain Marvel series’ recent turn of direction, finding fault especially with the drastic changes to the titular hero’s powers and mission that had come about in issue #11. In responding to Mr. LaBelle, the anonymous editorial staffer — probably Marvel Comics associate editor (and, as of this very issue, returning Captain Marvel writer) Roy Thomas — essentially agreed with him: 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
I gotta say, I sometimes have a hard time figuring out what was going through my younger self’s mind when I made certain choices at the spinner rack half a century ago. The subject of today’s post is a case in point. I mean — why would I put down 25 cents for a giant-size humor comic filled with satirical versions of Marvel characters I was only now getting to know in their “serious” incarnations?
I’m guessing that it was partly because Not Brand Echh, with its parodies of current movies and TV shows as well as comic books, reminded me of Mad magazine — which was one of my most regular comics purchases in the late Sixties, despite the fact that I haven’t yet devoted a blog post to it (probably because back in my younger days, I didn’t think of Mad as a bona fide “comic book”, due to its black-and-white magazine-size format). And, hey, my inclination to go for the “bargain” of getting multiple heroes for the price of one (which, in contrast to Mad, I’ve often noted on the blog), may have figured into my purchasing decision as well — even if these were parody version of the heroes, there were still a lot of ’em. Read More
Last week I blogged about Avengers #53, a classic comic book featuring the titular super-team in battle with a second band of costumed heroes whom I hadn’t previously encountered as of April, 1968 — namely, the X-Men. That issue was actually the concluding chapter of a story that was continued from X-Men #45, making it the first comics crossover I ever experienced*. Unfortunately, I didn’t realize that the Avengers book was the second part of the crossover until after I’d already bought it and brought it home. That didn’t stop me from going ahead and reading the book — but as soon as I got the chance, I headed back to the convenience store to see if I could score a copy of the first part. Even though I already knew how the story ended, obviously, I still wanted to know how the heroes of both groups got themselves into the situation in which they found themselves at the beginning of Avengers #53 in the first place. Read More