In last month’s blog post about Avengers #64, we covered how the titular superhero team quashed the villainous scientist Egghead’s attempt to blackmail the governments of Earth using an orbiting death-ray satellite. Our heroes’ victory, however, was marred by the violent death of their unlikely ally, a mob boss named Barney Barton — who, in an unexpected twist, turned out to be the older brother of the Avenger who, up until issue #63, had been known to one and all only as “Hawkeye”, but had now assumed the identity of Goliath — and who readers now learned had the given name of “Clint”.
Barney’s heroic sacrifice decisively ended the overarching bid for world domination by what had begun as a mad-scientist triumvirate, which consisted of the Mad Thinker and the Puppet Master in addition to Egghead. The chronicle of this trio’s nefarious doings had actually begun in Captain Marvel #12, of all places, before weaving into Avengers #63, Sub-Mariner #14, and Captain Marvel #14, and then finally returning to Avengers for issue #64’s ultimate battle. But Egghead had escaped at the end of that issue, meaning that there was at least one loose end left to tie off — a loose end that was given greater urgency by the fact that it involved an Avenger’s need to avenge his own dead brother. Additionally, the revelation of Hawkeye/Goliath’s “real” name in the context of his previously unknown sibling relationship with a notorious gangster raised at least as many questions as it answered. It would be the task of the series’ creative team, scripter Roy Thomas and penciller Gene Colan (joined this issue by new inker Sam Grainger), to address most, if not all, of this unfinished business in the pages of Avengers #65. Read More
I first made the acquaintance of Marvel Comics’ X-Men in April, 1968 — one year prior to the publication of the subject of today’s post. — when they made a guest appearance in Avengers #53. That particular issue turned out to be the last chapter of a crossover story that had begun in the mutant team’s own book; and even though I now knew how everything would turn out, I was still curious enough about the characters and situations to go back and pick up the preceding chapter in that same month’s issue of X-Men (and even to buy the issue before that, when the opportunity presented itself). But though I enjoyed those two comics well enough, I wasn’t taken enough with either of them to keep following the series. As I wrote in my X-Men #45 post last year, that may have been partly due to the somewhat atypical circumstances surrounding the book at the time I sampled it. Marvel had then just recently decided to start downplaying the team concept in the series’ cover designs, in favor of spotlighting the individual members (or, in a few cases, major story events); a decision that was soon mirrored in the stories themselves, as the team actually broke up in the issue immediately following the Avengers crossover, #46. In addition, I was almost certainly influenced in my decision to pass on X-Men (at least for the time being), by my lack of enthusiasm for the competent but underwhelming art that then filled the title’s pages, by the likes of Don Heck and Werner Roth.
Apparently, I wasn’t alone in my general attitude of indifference to Marvel’s Merry Mutants, as, by virtually all accounts, the title was the publisher’s worst selling at the time — if not yet right on the edge of cancellation, then still uncomfortably close to it. Which is why, when Neal Adams — the hottest young artist at Marvel’s main competitor, DC Comics — came to Marvel expressing an interest in doing some work for them, and editor-in-chief Stan Lee gave him his choice of assignments… Adams chose to work on X-Men. Read More
When we last saw Matt Murdock, at the end of last month’s post about Daredevil #51, our Man Without Fear was in pretty bad shape. After undergoing an ordinary blood test in his costumed identity, he’d had a drastic adverse reaction to the due to the radioactive particles in his bloodstream (or something like that), and after wandering around in a delirium for a bit, had collapsed in an alley. Meanwhile, the New York Police Department, having been clued in about the imminent danger to the Scarlet Swashbuckler, had put out an all-points bulletin for our hero. And while all this was going on, DD’s current nemesis, a sinister robotics genius named Starr Saxon, had accidentally stumbled onto his foe’s secret identity — and had also, on pretext of being a friend of Matt’s, had convinced the blind lawyer’s almost-girlfriend, Karen Page, to accompany him, leading her into who knows what dread danger. Read More
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
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
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