At the conclusion of Avengers #70, published fifty years and one month ago, readers were promised that the next issue would feature “the most shocking surprise guests of all!!” A month later, those fans who picked #71 up off the spinner rack wouldn’t have to look any further than the dynamic Sal Buscema-Sam Grainger cover to learn the identity of those guest stars — though it’s likely that a lot of them had already gotten the news courtesy of the Mighty Marvel Checklist entry for the book that ran in that month’s Marvel comics’ Bullpen Bulletins text page: “The battle that time forgot! The Avengers take on Cap, the Torch, and Namor in wartime Paris! Don’t miss “Endgame!”
In October, 1969, my twelve-year-old self had yet to read a single Golden Age Marvel (or Timely, if you prefer) comic book story. And while I’d gleaned enough information in my few years of reading current Marvel comics to know that Captain America, the original Human Torch, and the Sub-Mariner had all been around in the 1940s, I’m not sure if I knew whether or not they’d ever appeared in the same story together before. I certainly didn’t know about the Invaders — and neither did anyone else, including their creator Roy Thomas (also the scribe of our current tale), since they wouldn’t actually exist for another six years. So to see these three characters in World War II-era action was a whole new thing for me (and probably for a lot of other readers as well). Read More
In his Introduction to the 2008 Marvel Masterworks volume reprinting this issue, scripter Roy Thomas compliments his artistic collaborator Sal Buscema for the “dramatic yet difficult cover”, noting that “it’s always hard to have a bunch of little guys fighting one big guy — and Goliath’s in-between size just complicated things further.” That’s undoubtedly true; but my recent re-reading of Thomas’ words in preparation for writing this post reminded me of another cover that met the very same challenge, with at least a couple of the same characters — namely, Sal’s big brother John’s cover for Avengers #45, which came out almost exactly two years prior to Avengers #69, and which also just so happens to have been not only my first Avengers comic, but my first Marvel comic, period. There’s no good reason why any of that should be particularly significant to anyone except me, I realize; but I hope you’ll pardon my momentary self-indulgence in deciding to highlight it here anyway. Read More
Fifty years (and one month) after the fact, I’m honestly not sure whether, upon first seeing the cover for Avengers #67 back in June, 1969, I had any idea that it hadn’t been pencilled by John Buscema, but rather by his younger brother, Sal. The look of the featured characters was so close to what I was accustomed to seeing from the elder Buscema that It probably didn’t occur to me to consider that the piece might have been drawn by someone else — and, after all, I only knew Sal Buscema as an inker at this point (and only of his big brother’s work on Silver Surfer, at that).
But I feel fairly confident that a month later, when I first saw the cover of Avengers #68, I realized that something was different about it, even if I can’t claim to have any distinct memory to that effect. Sure, the Avengers still closely resembled John Buscema’s renditions, but they were “off-model” just enough that I had to know they weren’t quite the same.
And once I’d picked up the book and flipped to the first page, i realized that more than just the cover art had changed… Read More
Last month, the blog tackled Avengers #66, which featured the first chapter of writer Roy Thomas’ second-ever storyline featuring the super–villainous robot Ultron, as well as the first mention ever of Wolverine’s favorite metal, adamantium. Today, we’re moving on to the second chapter of this three-part tale, which, like the first, was illustrated by the young British artist Barry Windsor-Smith — save for the cover, that is, which was instead drawn by an American artist, named Buscema. Unlike with issue #66, however, the Buscema who pencilled #67’s cover (inked, as #66’s had been, by Sam Grainger) wasn’t the veteran John, but rather John’s brother, Sal.
The younger Buscema had been working as an inker for Marvel Comics for a little over half a year — among his first published jobs, he’d embellished his sibling’s pencils for the classic Silver Surfer #4 — but this cover represented his Marvel debut as a penciller. It would soon prove a harbinger of bigger things to come, as with the very next issue of Avengers, #68, the 33-year-old artist would graduate to becoming the regular artist for its interiors. Read More
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
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
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
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
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