Iron Man Marvel Masterworks volume 8


By Gerry Conway, Mike Friedrich, Robert Kanigher, Gary Friedrich, Roy Thomas, George Tuska, Herb Trimpe, Barry Windsor-Smith, Jim Starlin & various (Marvel)
ISBN: 978-0-7851-6623-8 (HB)

First conceived in the wake of the Cuban Missile Crisis at a time when the economy was booming and “Commie-bashing” was an American national obsession, the emergence of a new and shining young Thomas Edison, using Yankee ingenuity, wealth and invention to safeguard the Land of the Free and better the World, seemed an obvious development. Combining the then-sacrosanct faith that technology and business in unison could solve any problem, with the universal imagery of noble knights battling evil, Tony Stark – the Invincible Iron Man – seemed an infallibly successful proposition.

Of course, whilst Tony Stark was the acceptable face of 1960s Capitalism – a glamorous millionaire industrialist/scientist and a benevolent all-conquering hero when clad in the super-scientific armour of his alter-ego – the turbulent tone of the 1970s soon relegated his suave, “can-do” image to the dustbin of history.

With ecological disaster and social catastrophe from the myriad abuses of big business the new zeitgeists of the young, the Golden Avenger and Stark International were soon confronting a few tricky questions from the increasingly politically savvy readership.

With glamour, money and fancy gadgetry not quite so cool anymore the questing voices of a new generation of writers began posing uncomfortable questions in the pages of a series that was once the bastion of militarised America …

This grand and gleaming chronological compendium – available in hardback and digital editions – navigates that transitional period; reprinting Iron Man #39-53 (July 1971 to December 1972) as the title experienced an unprecedented and often uncomfortable number of creative personnel changes whilst the country endured a radical and often divisive split in ideology.

Tone and context for the times comes courtesy of Gerry Conway’s Introduction ‘A Few Last Words’ and the follow up essay from Mike Friedrich writer who replaced before Conway & Herb Trimpe open the graphic proceedings with ‘A Twist of Memory… a Turn of Mind!’ Insidious oriental mastermind White Dragon deviously turns Stark into a brainwashed pawn, thereby inadvertently enslaving the Golden Avenger too.

Stark’s devoted assistant Kevin O’Brian comes to the rescue, but is led down a path to inevitable doom when he assists his mind-locked employer in a torturous ‘Night Walk!’ (by regular penciller George Tuska & Jim Mooney) to save his sanity and defeat their sinister foe.

Simultaneously, Marianne Rodgers, the woman they both love, begins a slow glide into madness as her telepathic powers gradually grow beyond her control and eat at her mind…

Issue #41 continued a long and convoluted storyline dealing with mystery mastermind Mr. Kline. (For the full story you should also track down contemporaneous Daredevil and Sub-Mariner issues: you won’t be any the wiser but at least you’ll have a full set…)

‘The Claws of the Slasher!’ sees a squabbling pair of paranormal saboteurs attack Washington DC during a Senate investigation into Stark Industries; accidentally triggering a psychic transformation in Marianne.

She temporarily morphed into a mind-warping harpy in ‘When Demons Wail!’ (inked by Frank Giacoia), culminating in a blockbusting, extra-long battle against psionic godling Mikas in ‘Doomprayer!’(Mooney inks).

During that cataclysmic conflict O’Brian dons his own super-armour to join the fray as The Guardsman; causing his own mental state to rapidly deteriorate and making his eventual showdown with Stark ever more unavoidable…

Plotted by Conway, scripted by DC A-Lister Robert Kanigher and illustrated by Tuska & Vince Colletta, Iron Man #44 finds Stark near death after his last battle.

In ‘Weep for a Lost Nightmare!’ he is watched over by Kevin and Marianne as Kline dispatches a robotic copy of old Stark enemy The Night Phantom to finish the ailing hero off. The tale is truncated midway and completed in the next issue – presumably due to deadline problems.

Gary Friedrich scripted concluding chapter ‘Beneath the Armour Beats a Heart!’ in #45, after which Stark faces a revolt by his own Board of Directors who convince the jealousy-consumed O’Brian to stand with them.

When student protestors invade the factory, greed-crazed capitalist and reactionary revolt instigator Simon Gilbert convinces O’Brian to don his Guardsman suit and murderously teach the kids a lesson, leading to a horrific escalation in ‘Menace at Large!’ (inked by John Verpoorten) wherein Iron Man intervenes to save lives and causes the out-of-control O’Brian’s death…

In the aftermath Stark traumatically reviews his origins, twin careers and now-obscured objectives in the classic ‘Why Must There be an Iron Man?’ (# 47, by Roy Thomas, Barry Windsor-Smith & Mooney) after which, emotionally reinvigorated, the Armoured Ace welcomes new scripter Mike Friedrich and old artists Tuska & Colletta to face a renewed threat from radical incendiary anarchist Firebrand in ‘The Fury and the Inferno!’

Meanwhile, whilst attempting a new start in life, Marianne’s final breakdown begins…

‘… There Lurks the Adaptoid!’ finds her experiencing horrifying precognitive visions of a power-mimicking robot attacking Iron Man, leading to her accidental betrayal of the man she loves when the automaton arrives and evolves into an unbeatable new form in #50’s ‘Deathplay’.

This coincides with equally-troubled Z-list villain Princess Python attempting to kidnap Tony, even as the hero is targeted by power-leeching sub-atomic tyrants, before the bizarre saga concludes with bombastic battle in ‘Now Stalks the Cyborg-Sinister!’

New Age mysticism and West Coast celebrity-cults informed Iron Man #53 as Stark confronts ‘Raga: Son of Fire!’: an emotion-fuelled, flaming maniac trained by an evil guru who subsequently takes over from his failed disciple when things get too hot.

‘The Black Lama!’ (with additional pencils from star-in-waiting Jim Starlin) is also unable to destroy the Golden Avenger, but would subsequently return to become one of the hero’s greatest foes of the period.

Don’t fret folks; it all turns out alright in the end…

The galvanised wonderment also includes the cover of Iron Man Annual #2 and a selection of house ads to wrap up this collection with the Golden Gladiator being carefully politically repositioned at a time when Marvel solidly set itself up at the vanguard of a rapidly changing America increasingly at war with itself.

With this volume Marvel further entrenched itself in the camp of the young and the restless, experiencing first hand, and every day, the social upheaval America was undergoing. This rebellious teen sensibility and increased political conscience permeated the company’s publications as their core audience evolved from Flower Power innocents into a generation of acutely aware activists. Future tales would increasingly bring reformed capitalist Stark into many unexpected and outrageous situations…

But that’s the meat of another review, as this engrossing graphic novel is done. From our distant vantage point the polemical energy and impact might be dissipated, but the sheer quality of the comics and the cool thrill of the eternal aspiration of man in perfect partnership with magic metal remains. These superhero sagas are amongst the most underrated but impressive tales of the period and are well worth your time, consideration and cold hard cash…
© 1971, 1972, 2017 Marvel Characters, Inc. All rights reserved.

Avengers Marvel Masterworks volume 11


By Roy Thomas, Steve Englehart, Harlan Ellison, Chris Claremont, Stan Lee, Steve Gerber, Rich Buckler, Don Heck, John Buscema, George Tuska, Jim Starlin, Dave Cockrum, Sam Kweskin & various (Marvel)
ISBN: 978-0-7851-5038-1 (HB)

Win’s Christmas Gift Recommendation: Pure Blockbuster Entertainment… 8/10

One of the most momentous events in Marvel Comics history occurred in 1963 when a disparate array of individual heroes banded together to stop the Incredible Hulk.

The Avengers combined most of the company’s fledgling superhero line in one bright, shiny and highly commercial package. Over the decades the roster has unceasingly changed, and now almost every character in their universe has at some time numbered amongst their colourful ranks…

The Avengers always proved that putting all one’s star eggs in on single basket paid off big-time; even when all Marvel’s all-stars such as Thor, Captain America and Iron Man were absent, it merely allowed the lesser lights of the team to shine more brightly.

Of course, all the founding stars regularly featured due to a rotating, open door policy which meant that most issues included one of any reader’s favourites. The increasingly bold and impressively ambitious stories and artwork were no hindrance either even though at this particular time, creators were passing through at an even faster rate than the masked marvels…

Graced with a scene-setting Preface from outgoing scripter Roy Thomas and context-creating Introduction from new kid Steve Englehart, this sturdy hardcover and eBook compilation gathers the astounding contents of Avengers #89-100 (collectively spanning July 1972 – May 1973) and includes a cross-over moment from Daredevil and the Black Widow #99.

Now scripter extraordinaire Thomas was about to hand over the reins to an even more imaginative and groundbreaking author who took the team to dizzying new imaginative and dramatic heights, but before that he and debuting penciller Rich Buckler – doing his best Neal Adams impersonation – shone on a Harlan Ellison tale inked by Dan Adkins.

‘Five Dooms to Save Tomorrow!’ was based on an Ellison novella from 1964 and found the Avengers battling Leonard Tippit, an ordinary man granted incredible power so that he could murder five innocent human beings. To be fair though, those innocuous targets’ continued existence threatened Earth’s entire future…

Determined to stop him whatever the ultimate consequences, the Avengers eschewed the murky moral quandary and were tested to their utmost, before the crisis was averted…

The heroes were on firmer, more familiar ground in #102 when the Grim Reaper returned, offering to place the Vision’s consciousness in a human body in return for the android’s allegiance in ‘What to Do Till the Sentinels Come!’ (Thomas, Buckler & Joe Sinnott). Meanwhile, the mutant-hunting robots kidnapped the Scarlet Witch and started another scheme to eradicate the threat of Homo Superior forever…

A budding romance between the Witch and the Vision revealed tensions and bigotries in the most unexpected places as the cataclysmic tale continued with ‘The Sentinels are Alive and Well!’ as the team search the globe for the monstrous mechanical marauders before being captured themselves whilst invading their Australian Outback hive.

The tale concludes ‘With a Bang… and a Whimper!’ as the assembled heroes thwart the robots’ project to sterilise humanity – but only at the cost of two heroes’ lives…

The grieving Scarlet Witch takes centre stage in #105 as ‘In the Beginning was… the World Within!’ (by new scripter Steve Englehart and veteran artists John Buscema & Jim Mooney) as the team travel to South America and encounter cavemen mutants from the lost world known as the Savage Land, after which the Avengers discover ‘A Traitor Stalks Among Us!’ (illustrated by Buckler, George Tuska & Dave Cockrum) with the revelation that perennial sidekick Rick Jones has become atomically bonded to alien hero Captain Marvel: a revelation that triggers a painful flashback in memory-blocked Captain America, and just as an old foe turns the team against itself.

Avengers #107 reveals ‘The Master Plan of the Space Phantom!’ (with art by Jim Starlin, Tuska & Cockrum) and his complex and sinister alliance with the Grim Reaper even as the love-sick Vision finally accepts the Faustian offer of a human body.

Unfortunately, the corpus on offer is the Star-Spangled Avenger’s…

‘Check… and Mate!’ – illustrated by veteran Avenger artist Don Heck and inkers Cockrum & Sinnott – wraps up the intriguing saga in spectacular fashion as an army of Avengers thrash Phantom, Reaper and assorted hordes of Hydra hoods. However, the true climax is the Vision and Witch’s final acknowledgement of their love for each other.

The announcement provokes a storm of trouble…

In #109 Hawkeye, who’s always carried a torch for the beautiful Wanda, quits the team in a dudgeon and ‘The Measure of a Man!’ (Heck & Frank McLaughlin) find the heartsick archer duped by billionaire businessman Champion and almost responsible for causing the complete destruction of California before wising up and saving the day…

Next the depleted team of Captain America, Thor, Iron Man, Scarlet Witch, Vision and Black Panther investigate the disappearance of mutant heroes the X-Men and are thoroughly beaten by an old enemy with a new power.

‘… And Now Magneto!’ (Englehart, Heck, Frank Giacoia & Mike Esposito) ends with half the team brainwashed captives of the master villain with the remaining crusaders desperately searching for new allies. We then pop over to San Francisco and a crossover from Daredevil and the Black Widow #99 (May 1973, by Steve Gerber, Sam Kweskin & Syd Shores). ‘The Mark of Hawkeye!’ sees Natasha Romanoff’s old boyfriend fetch up on the Widow’s doorstep, determined to reclaim her. The caveman stunt culminates in the Archer’s sound and well-deserved thrashing, and when the last Avengers arrive, asking him to return and assist, he refuses. DD and the Widow don’t, though…

The saga resumes and concludes in Avengers #111 as, ‘With Two Beside Them!’ (Englehart, Heck & Esposito) the returned heroes and West Coast vigilantes successfully rescue the X-Men and Avengers enslaved by the malevolent Magneto. With the action over, Daredevil returns to California but the Black Widow elects to stay with the World’s Mightiest Heroes…

This titanic tome also offers extra treats: namely an unused page of Buckler’s beautiful pencil art and his Sinnott-inked cover for Avengers #104.

Roy Thomas and his artistic collaborators were always at the forefront of Marvel’s second generation of creators: brilliantly building on and consolidating Lee, Kirby and Ditko’s initial burst of comics creativity whilst spearheading and constructing a logical, fully functioning wonder- machine of places and events that so many others could add to.

These terrific tales are ideal examples of superheroes done exactly right and also act as pivotal points as the underdog company evolved into a corporate entertainment colossus. There are also some of the best superhero stories you’ll ever read and Englehart’s forthcoming concoctions would turn the Marvel Universe on its head and pave the way for a new peak of cosmic adventure…
© 1972, 1973, 2016 Marvel Characters, Inc. All rights reserved.

Essential Godzilla


By Doug Moench, Herb Trimpe, Tom Sutton & various (Marvel)
ISBN: 978-0-7851-2153-4

What’s big and green and leaves your front room a complete mess? No, not a Christmas tree, but (arguably) the world’s most famous monster.

Back in 1976 manga and anime were only starting to creep into global consciousness and the most well-known popular culture Japanese export was a colossal radioactive dinosaur who regularly rampaged through the East, destroying cities and fighting monsters even more bizarre and scary than he was.

At this time Marvel was well on the way to becoming the multi-media corporate colossus of today and was looking to increase its international profile. Comic companies have always sought licensed properties to bolster their market-share and in 1977 Marvel truly landed the big one with a 2-year run of one of the world’s most recognisable characters. They boldly broke with tradition by dropping him solidly into real-time contemporary company continuity. The series ran for 24 guest-star-stuffed issues between August 1977 and July 1979.

Gojira first appeared in the eponymous 1954 anti-war, anti-nuke parable directed by Ishiro Honda for Toho Films; a symbol of ancient forces roused to violent reaction by mankind’s incessant meddling. The film was re-cut and dubbed into English with a young Raymond Burr inserted for US audience appeal, and the Brobdingnagian beast renamed Godzilla. He has smashed his way through 27 further Japanese movies, records, books, games, many, many comics and is the originator of the manga sub-genre Daikaijû (giant strange beasts).

Although a certified sell-out, this mammoth monochrome collection is not generally available and – due, I presume to copyright issues – is not likely to resurface anytime soon in either physical or digital form, but if you’re a regular prowler in back issue bins you might get lucky. Stranger things have happened…

In this no-frills, no-preamble Marvel interpretation compilation, the drama begins with ‘The Coming!’, courtesy of Doug Moench, Herb Trimpe & Jim Mooney, as the monstrous aquatic lizard with radioactive fire-breath erupts out of the Pacific Ocean and rampages through Alaska.

Superspy organisation S.H.I.E.L.D. is quickly dispatched to stop the onslaught, and Nick Fury calls in Japanese experts Dr. Yuriko Takiguchi, his grandson Robert and their eye-candy assistant Tamara Hashioka. After an inconclusive battle of ancient strength against modern tech, Godzilla returns to the sea, but the seeds have been sown and everybody knows he will return…

In Japan many believe that Godzilla is a benevolent force destined to oppose true evil. Young Robert is one of them and he gets the chance to expound his views in #2’s ‘Thunder in the Darkness!’ (inked by Frank Giacoia & George Tuska) when the skyscraper saurian resurfaces in Seattle and nearly razes the place before being lured away by S.H.I.E.L.D. ingenuity.

Veteran agents Dum-Dum Dugan, Gabe Jones and Jimmy Woo are seconded to a permanent anti-lizard task force until the beast is finally vanquished, but there are also dozens of freelance do-gooders in the Marvel universe…

Sadly, when the Green Goliath takes offence at San Francisco’s Golden Gate Bridge, he attracts the attention of a local superhero team. The Champions – a short-lived, California-based team consisting of Black Widow, The Angel, Iceman, Ghost Rider and Hercules – rapidly respond in ‘A Tale of Two Saviours’ (with the solids inks of Tony DeZuñiga adding a welcome depth to the art). Typically, the humans spend more time fighting each other than the monster…

There’re only so many cities even the angriest dinosaur can trash before tedium sets in so writer Moench begins his first continued story in #4 with ‘Godzilla Versus Batragon!’ (guest-pencilled by the superb Tom Sutton and again inked by DeZuñiga), wherein deranged scientist Dr. Demonicus enslaves Aleutian Islanders to help him grow his own world-wrecking giant horrors… until the real thing shows up…

The epic encounter concludes in ‘The Isle of Lost Monsters’ (inked by a fresh-faced Klaus Janson) before ‘A Monster Enslaved!’ in #6 opens another extended epic as Herb Trimpe returns and Godzilla as well as the general American public are introduced to another now commonplace Japanese innovation.

Giant, piloted battle-suits or Mecha first appeared in Go Nagai’s 1972 manga classic Mazinger Z, and Marvel would do much to popularise the sub-genre in their follow-up licensed title Shogun Warriors, (based on an import toy rather than movie or comic characters but by the same creative team as Godzilla). Here young Rob Takiguchi steals S.H.I.E.L.D.’s latest weapon – a giant robot codenamed Red Ronin – to aid the Big Green Guy when he is finally captured.

Fred Kida stirringly inked the first of a long line of saurian sagas with #7’s ‘Birth of a Warrior!’ whilst the uneasy giant’s alliance ends in another huge fight in concluding chapter ‘Titan Time Two!’

‘The Fate of Las Vegas’ (Trimpe and Kida) in Godzilla #9 is a lighter-toned morality play with the monster destroying Boulder Dam and flooding the modern Sodom and Gomorrah, but it’s soon back to big beastie bashing in ‘Godzilla vs Yetrigar’: another multi-part mash-up that ends in ‘Arena for Three!’ as Red Ronin returns to tackle both large looming lizard and stupendous, smashing Sasquatch.

The first year ends with #12’s ‘The Beta-Beast!’: first chapter in an invasion epic. Shanghaied to the Moon, Godzilla is co-opted as a soldier in a war between alien races who breed giant monsters as weapons, and when the battle transfers to Earth in ‘The Mega-Monsters from Beyond!’, Red Ronin joins the fray for blockbusting conclusion ‘The Super-Beasts’ (this last inked by Dan Green).

Afterwards, loose in cowboy country, Godzilla stomps into a rustling mystery and modern showdown in ‘Roam on the Range’ and ‘The Great Godzilla Roundup!’ before the final story arc begins.

‘Of Lizards, Great and Small’ in #17 starts with a logical solution to the beast’s rampages after superhero Ant-Man’s shrinking gas is used to reduce Godzilla to a more manageable size. However, when the diminished devastator escapes from his cage and becomes a ‘Fugitive in Manhattan!’, it’s all hands on deck as the city waits for the shrinking vapour’s effects to wear off.

‘With Dugan on the Docks!’ then sees the secret agent battle the saurian on more or less equal terms before the Fantastic Four step in for ‘A Night at the Museum.’

The FF have another humane solution and dispatch Godzilla to a primeval age of dinosaurs in #21’s ‘The Doom Trip!’, allowing every big beast fan’s dream to come true as the King of the Monsters teams up with Jack “King” Kirby’s uniquely splendid Devil Dinosaur – and Moon Boy – in ‘The Devil and the Dinosaur!’ (inked by Jack Abel), before returning to the 20th century and full size for a spectacular battle against the Mighty Avengers in ‘The King Once More’.

The story and series concluded in #24 (July 1979) with the remarkably satisfying ‘And Lo, a Child Shall Lead Them’ as all New York’s superheroes prove less effective than an impassioned plea, and Godzilla wearily departs for new conquests and other licensed outlets.

By no means award-winners or critical masterpieces, these stories are nonetheless a perfect example of what comics should be: enticing, exciting, accessible and brimming with “bang for your buck.”

Moench’s oft-times florid prose and dialogue meld perfectly here with Trimpe’s stylised interpretation, which often surpasses the artist’s excellent work on that other big, green galoot.

These are great tales to bring the young and disaffected back to the comics fold and are well worth their space on any fan’s bookshelf. If only somebody could get all the lawyers in a room and have them battle out a solution to enable us to see them in a new edition…
© 1977, 1978, 1979, 2006 Toho Co., Inc. All Rights Reserved. Godzilla, King of the Monsters ® Toho Co., Inc.

X-Men Epic Collection volume 2 1966-1968: Lonely are the Hunted


By Roy Thomas, Gary Friedrich, Werner Roth, Don Heck, George Tuska, Ross Andru, Jack Sparling, Dan Adkins, Tom Sutton, John Buscema & various (Marvel)
ISBN: 978-0-7851-9583-2

In the autumn of 1963 The X-Men #1 introduced Scott (Cyclops) Summers, Bobby (Iceman) Drake, Warren (Angel) Worthington, Jean (Marvel Girl) Grey and Hank (The Beast) McCoy: very special students of Professor Charles Xavier.

The teacher was a wheelchair-bound telepath dedicated to brokering peace and integration between the masses of humanity and the emergent off-shoot race of mutants dubbed Homo Superior; considered by many who knew him as a living saint.

After nearly eight years of eccentrically spectacular adventures the mutant misfits virtually disappeared at the beginning of 1970 during another periodic downturn in superhero comics sales. Just like in the closing years of the 1940s, mystery men faded away as supernatural mysteries and traditional genre themes once more dominated the world’s entertainment fields…

Although their title returned at the end of the year as a cheap reprint vehicle, the missing mutants were reduced to guest-stars and bit-players throughout the ongoing Marvel universe, whilst the bludgeoning Beast was opportunistically transformed into a scary monster to cash in on the horror boom.

Even in their heyday the mutants were never a top seller and this volume reveals an increasing tendency for radical rethinks and attention-grabbing stunts that would soon be common currency throughout comics…

X-Men always enjoyed a small, devout and dedicated following, with the frantic, freakish energy of Jack Kirby’s heroic dynamism comfortably transiting into the slick, sleek cosy attractiveness of Werner Roth as the blunt tension of hunted outsider kids settled into a pastiche of college and school scenarios so familiar to the students who were the series’ main audience.

By the time of this turbulent compilation (collecting in trade paperback and digital formats X-Men #24-45 and Avengers #53, plus spoof skits from Not Brand Echh #4 and 8 from September 1966 to June 1968), attitudes and events from the wider world were starting to inflict an era of uncertainty on the Merry Mutants and beginning to infuse every issue with an aura of nervous tension.

During the heady 1960s, Marvel Comics had a vast following among older teens and college kids, and youthful scribe Roy Thomas spoke and wrote as they did. Coupled with his easy delight in expansive character casts this initially made X-Men a very welcoming read for we adolescent baby-boomers. However, with societal unrest everywhere, those greater issues were beginning to be reflected in the comics…

A somewhat watered-down version of the counter-culture had been slowly creeping into these tales of teenaged triumph and tragedy, mostly for comedic balance, but they were – along with Peter Parker in Amazing Spider-Man – some of the earliest indications of the changing face of America…

Illustrated by Roth with Dick Ayers inking, the action opens with the recently departed Marvel Girl (yanked out of the Xavier School – and consequently off the team – and packed off to college by her parents) visiting her old chums to regale them with tales of life at New York’s Metro University…

Her departure segues neatly into a beloved plot standard – Evil Scientist Grows Giant Bugs – when she enrols and meets an embittered recently-fired professor, leading her erstwhile comrades to confront ‘The Plague of… the Locust!’

Perhaps X-Men #24 isn’t the most memorable tale in the canon but it still reads well and has the added drama of Marvel Girl’s departure for college crystallizing the romantic rivalry for her affections between Cyclops and Angel: providing another deft sop to the audience as it enabled many future epics to include Campus life in the action-packed, fun-filled mix…

Somehow Jean still managed to turn up in every issue even as ‘The Power and the Pendant’ (#25; October 1966) found the boys tracking new menace El Tigre. This South American hunter was visiting New York to steal the second half of a Mayan amulet which would grant him god-like powers…

Having soundly thrashed the mutant heroes, newly-ascended and reborn as Kukulcán, the malign meta returns to Amazonian San Rico to recreate a fallen pre-Columbian empire with the heroes in hot pursuit. The result is a cataclysmic showdown in ‘Holocaust!’ which leaves Angel fighting for his life and deputy leader Cyclops crushed by guilt…

Issue #27 saw the return of some old foes in ‘Re-enter: The Mimic!’ even as the mesmerising Puppet Master pits power-duplicating Calvin Rankin against a team riven by dissention and ill-feeling, whilst in ‘The Wail of the Banshee!’ Rankin joins the X-Men in a tale introducing the sonic-powered mutant (eventually to become a valued team-mate and team-leader) as a deadly threat. This was the opening salvo of an ambitious extended epic featuring the global menace of sinister, mutant-abducting organisation Factor Three.

John Tartaglione replaced Ayers as regular inker with the bright and breezy thriller ‘When Titans Clash!’, as the power-duplicating Super-Adaptoid almost turns the entire team into robotic slaves before ending the Mimic’s crime-busting career, after which Jack Sparling & Tartaglione illustrated ‘The Warlock Wakes’.

Here old Thor foe Merlin enjoys a stylish upgrade to malevolent mutant menace whilst attempting to turn the planet into his mind-controlled playground, after which Marvel Girl and the boys reunite to tackle a deranged Iron Man wannabe who is also an accidental atomic time bomb in ‘We Must Destroy… the Cobalt Man!’ (by Roth & Tartaglione).

‘Beware the Juggernaut, My Son!’ then augments an aura of oppression and dire days ahead as Professor X is abducted by Factor Three and the X-Men are forced to stand alone against an unstoppable mystic monster…

The blistering battle against Juggernaut is interrupted by a helpful guest-shot from Doctor Strange (and his mentor the Ancient One) leading to a life-saving trip ‘Into the Crimson Cosmos!’

Armed with crucial knowledge regarding the nature of their enemy, the mutants are able to vanquish the unstoppable Cain Marko, but when the dust settles the kids are left with almost no resources to rescue their abducted leader…

Dan Adkins – in full Wally Wood appreciation mode – memorably illustrated #34’s ‘War… In a World of Darkness!’ as the desperate team’s search for Xavier takes them into the middle of a subterranean civil war between immortal Tyrannus and the Mole Man, before he inked Roth on follow-up ‘Along Came A Spider…’

When absent ally Banshee is captured mid-sentence during a crucial communication with the X-Men, everybody’s favourite wall-crawler is mistaken for a Factor Three flunky. After the desperate and distraught mutants find the hero the webslinger is forced to battle for his life against the increasingly unstable teens…

‘Mekano Lives’ (with art from Ross Andru & George Roussos, nee Bell) sees the cash-strapped teens delayed in their attempts to follow a lead to Europe by a troubled rich kid with a stolen exo-skeletal super-suit, but his defeat happily provides them with the wherewithal needed to resume their search…

Don Heck stepped in as inker over Andru’s pencils with #37 as ‘We, the Jury…’ finds the mutants finally facing Factor Three – now in alliance with a host of their oldest and most venal mutant foes – and primed to trigger an atomic war between the Americans and Soviet Union.

Heck assumed the penciller’s role for ‘The Sinister Shadow of… Doomsday!’ (inked by Roussos), before the tense Armageddon saga concludes with good and evil mutants temporarily united against a common foe in ‘The Fateful Finale!’ (embellished by Vince Colletta).

Werner Roth had not departed the mutant melee: with issue #38 a classy and compelling back-up feature had commenced, and his slick illustration was perfect for the fascinating Origins of the X-Men series. Inked by John Verpoorten ‘A Man Called… X’ began unveiling the hidden history of Cyclops, also revealing how Xavier began his cosy relationship with human FBI agent Fred Duncan

The second instalment, ‘Lonely are the Hunted!’ displayed humanity in full-on mob-mode as terrified citizens riot and stalk newly “outed” mutant Scott Summers: scenes reminiscent of contemporary race-riots that would fuel the racial outcast metaphor of the later Chris Claremont team.

Back at the front of the comicbook, Thomas, Heck & George Tuska ushered in a new era for the team with #40’s ‘The Mask of the Monster!’ as – now clad in new, individualistic costumes rather than superhero school uniforms – the young warriors tackle what seems to be Victor Frankenstein’s unholy creation, whilst in the second feature Scott Summers meets ‘The First Evil Mutant!’

‘Now Strikes… the Sub-Human!’ and sequel ‘If I Should Die…’ introduce tragic survivor Grotesk, whose only dream is to destroy the entire planet, and who institutes the greatest and most stunning change yet to the constantly evolving series.

I’m spoiling nothing now, but when this story first ran, the shock couldn’t be described as the last page showed the heroic, world-saving death of Charles Xavier. I’m convinced that at the time this was an honest plot development – removing an “old” figurehead and living deus ex machina from a “young” series – and I’m just as certain that his subsequent “return” a few years later was an inadvisable reaction to dwindling sales…

From the rear of those climactic issues ‘The Living Diamond!’ and ‘The End… or the Beginning?’ (this last inked by neophyte Herb Trimpe) signalled the creation of The Xavier School for Gifted Children as solitary recluse Professor X takes fugitive Scott under his wing and begins his Project: X-Men…

Issue #43 instituted the true reinvention of the mutant team with ‘The Torch is Passed!’ (Thomas, Tuska & Tartaglione) as arch-nemesis Magneto returns with reluctant confederates Toad, Quicksilver and Scarlet Witch to entrap the bereaved heroes in his hidden island fortress.

This epic action event was supported by educational back-up tale entitled ‘Call Him… Cyclops’ (Thomas, Roth & John Verpoorten), revealing the secrets of the mutant’s awesome eye-blasts, after which the next issue saw the modern-day Angel inexplicably escape and encounter a revived Golden Age Timely Comics hero whilst flying back to America for reinforcements against Magneto.

Rousing read ‘Red Raven, Red Raven…’ (Thomas and Gary Friedrich, with Don Heck layouts, Roth pencils & inks from Tartaglione) was accompanied by the opening of the next X-Men Origins chapter-play as ‘The Iceman Cometh!’, courtesy of Friedrich, Tuska & Verpoorten.

X-Men #45 led with ‘When Mutants Clash!’ as Cyclops also escapes, only to encounter the highly-conflicted Quicksilver; a battle latterly concluded in Avengers #53 as ‘In Battle Joined’ (Thomas, John Buscema and Tuska). This depicts Magneto’s defeat and apparent death. Meanwhile, back in the back of #45, Iceman’s story of small town intolerance continues – but does not here conclude – in ‘And the Mob Cried… Vengeance!’

Although the drama hits pause the comics do not as 1960’s superhero satire vehicle Not Brand Echh numbers #4 and 8 provide a brace of spoof sagas beginning with ‘If Magneat-o Should Clobber Us…’ (Thomas & Tom Sutton) whilst Friedrich & Sutton describe all-out mutant war in ‘Beware the Forbush-Man, My Son!’

This volume concludes with a glorious and revelatory selection of extras a batch of unused covers: Roth’s submissions for X-Men #25 and 33, Gil Kane’s banned (by the Comics Code Authority) take on #33’s and Tuska’s for issue #38.

After a brace of original art pages by Heck, a succession of pre-“tweaked” (modified by the Marvel Bullpen design team) covers follow – #40 & 42 – as well as three extra pages for X-Men #45, created for the story’s reprint run in Marvel Triple Action.

Closing down the mutant mayhem are a Kirby T-Shirt design plus previous Masterworks covers courtesy of The King, Roth, Tuska and painter Dean White.

These tales perfectly display Marvel’s evolution from quirky action tales to the more fraught, breast-beating, convoluted melodramas that inexorably led to the monolithic X-brand of today. Well drawn, highly readable stories are never unwelcome or out of favour though, and it should be remembered that everything here informs so very much of today’s mutant mythology. These are unmissable stories for the dedicated fan and newest convert. Every comics fan should own this book, so do…
© 1966, 1967, 1968, 2016 Marvel Characters, Inc. All rights reserved.

Mighty Thor Marvel Masterworks volume 1


By Stan Lee, Jack Kirby, Larry Lieber, Robert Bernstein, Joe Sinnott, Al Hartley, Don Heck & various (Marvel)
ISBN: 978-0-7851-1267-9 (HB)                    : 978-0-7851-4568-4 (TPB)

The Mighty Thor was the comic series in which Jack Kirby’s restless fascination with all things Cosmic was honed and refined through his dazzling graphics and captivating concepts. The King’s examination of space-age mythology began in a modest little fantasy/monster title called Journey into Mystery where – in the summer of 1962 – a tried-and-true comicbook concept (feeble mortal transformed into god-like hero) was revived by the fledgling Marvel Comics to add a Superman analogue to their growing roster of costumed adventurers.

This spectacular tome – in hard cover, trade paperback and eFormats – re-presents those pioneering Asgardian exploits from JiM #83-100, spanning August 1962 to January 1964 in a blur of innovation and seat-of-the-pants legend-revising and universe-building…

Following a typically frothy Introduction from Stan Lee, the wonderment begins with the lead tale from anthological Journey into Mystery #83, which saw a bold costumed warrior jostling aside the regular fare of monsters, aliens and sinister scientists in a brash, vivid explosion of verve and vigour.

The initial exploit followed crippled American doctor Donald Blake who takes a vacation in Norway only to encounter the vanguard of an alien invasion. Fleeing, he is trapped in a cave where he finds an old, gnarled walking stick. When in his frustration he smashes the stick into a huge boulder obstructing his escape, his puny frame is transformed into the Norse God of Thunder Mighty Thor!

Plotted by Lee, scripted by his brother Larry Lieber and illustrated by Kirby and inker Joe Sinnott (at this juncture a full illustrator, Sinnott would become Kirby’s primary inker for most of his Marvel career), ‘The Stone Men of Saturn’ is pure early Marvel: bombastic, fast-paced, gloriously illogical and captivatingly action-packed. The hugely under-appreciated Art Simek was the letterer and logo designer.

It was clear that they whey were making it up as they went along – not in itself a bad thing – and all that infectious enthusiasm shows in the next adventure…

‘The Mighty Thor Vs. the Executioner’ is a “commie-busting” tale of its time with a thinly disguised Fidel Castro wasting his formidable armies in battle against our hero. Dr. Blake’s nurse Jane Foster debuts; a bland cipher adored from afar by the Norse superman’s timid alter-ego.

The creative team settled as Dick Ayers replaced Sinnott, and with #85’s ‘Trapped by Loki, God of Mischief!’ the final element fell into place with the “return” of a suitably awesome arch-foe; in this case the hero’s half-brother. The evil magician and compulsive trickster escaped divine incarceration and his first thought was to bedevil Thor by causing terror and chaos on the world of mortals he was so devoted to…

Here a new and greater universe was first revealed with the tantalising hints and glimpses of the celestial otherworld and more Nordic gods…

Issue #86 introduced another recurring villain. Zarrko, bristling at the sedentary ease of 23rd century life, voyages back to 1962 and steals an experimental “C-Bomb”, forcing the Thunderer into a stirring hunt through time and inevitable clash with super-technology ‘On the Trail of the Tomorrow Man!’

On his return Blake became a target of Soviet abductors. Those sneaky spies even managed to make Thor a ‘Prisoner of the Reds!’ before our epic warrior eventually emerges unscathed and triumphant…

‘The Vengeance of Loki’ sees the god of Mischief’s return in #88: a malevolent miscreant uncovering Thor’s secret identity and naturally menacing Jane Foster after which ‘The Thunder God and the Thug’ offers adventure on a much more human scale as a gang boss runs riot over the city and roughshod over a good woman’s heart, giving the Asgardian a chance to demonstrate his more sophisticated and sympathetic side by crushing Thug Thatcher and freeing her from his brutal influence.

Issue #90 was an unsettling surprise as the grandeur of Kirby & Ayers was abruptly replaced by the charming yet angst-free art of Al Hartley, who illustrated Lee & Lieber’s stock alien-invasion yarn ‘Trapped by the Carbon-Copy Man!’ A month later the Storm Lord tackles ‘Sandu, Master of the Supernatural!’, with Sinnott handling pencils and inks in a thriller starring a carnival mentalist who – augmented by Loki’s magic – comes catastrophically close to killing our hero…

Sinnott illustrated JiM #92’s ‘The Day Loki Stole Thor’s Magic Hammer’ (scripted by Robert Bernstein over Lee’s plot) which moves the action fully to the mythical realm of Asgard for the first time as Thor seeks to recover his stolen weapon after Loki enchants the magnificent mallet.

Kirby & Ayers momentarily returned for Cold War/Atom Age thriller ‘The Mysterious Radio-Active Man!’ – again scripted by Bernstein – as Mao Tse Tung unleashes an atomic assassin in retaliation for Thor thwarting China’s invasion of India.

Such “Red-baiting” was common in early Marvel titles, but their inherent jingoistic silliness can’t mar the eerie beauty of the artwork. With this tale the rangy, raw-boned Thunder God completed his slow metamorphosis into the husky, burly blonde bruiser who dominated any panel he was drawn in.

Sinnott illustrated the next three somewhat pedestrian adventures, ‘Thor and Loki Attack the Human Race!’, ‘The Demon Duplicator’ and ‘The Magic of Mad Merlin!’, but these mediocre tales of magic-induced amnesia, scientifically-manufactured evil doppelgangers and an ancient mutant menace were the last of an old style of comics. Lee took over full scripting with Journey into Mystery #97 and a torrent of awesome action wedded to soap opera melodrama resulted in a fresh style for a developing readership.

‘The Lava Man’ in #97 was again drawn by Kirby, with the subtly-textured inking of Don Heck adding depth to the tale of an invader summoned from the subterranean realms to menace humanity at the behest of Loki. More significantly, a long running rift between Thor and his stern father Odin is established after the Lord of Asgard refuses to allow his son to love the mortal Jane.

This acrimonious triangle was a perennial sub-plot fuelling many attempts to humanise Thor, because already he was a hero too powerful for most villains to cope with. Most importantly this issue was notable for the launch of a spectacular back-up series. Tales of Asgard – Home of the mighty Norse Gods gave Kirby a vehicle to indulge his fascination with legends.

Initially adapting classic fables of the Elder Eddas but eventually with all-new material particular to the Marvel pantheon, he built his own cosmos and mythology, to underpin the company’s entire continuity. This first yarn, scripted by Lee and inked by George Bell (AKA old Golden Age collaborator George Roussos), outlined the origin of the world and the creation of the World Tree Yggdrasil.

‘Challenged by the Human Cobra’ introduced the serpentine villain (bitten by a radioactive cobra, would you believe?) in a tale by Lee & Heck, whilst Kirby – with them in attendance – offered ‘Odin Battles Ymir, King of the Ice Giants!’: a short, potent fantasy romp laying more groundwork for decades of cosmic wonderment to come.

The same format held for issues #99 and #100 with the main story (the first 2-part adventure in the run) introducing the ‘Mysterious Mister Hyde’ – and concluding a month later with ‘The Master Plan of Mr. Hyde!’

The modern yarn dealt with a contemporary chemist who could transform into a super-strong villain at will who frames Thor for his crimes, whilst in primordial prehistory Kirby detailed Odin’s war with ‘Surtur the Fire Demon’ and latterly (with Vince Colletta inking) crafted an exploit of the All-Father’s so different sons in ‘The Storm Giants – a tale of the Boyhood of Thor’. As always, Lee scripted these increasingly influential comicbook histories…

These early tales of the God of Thunder reveal the development not only of one of Marvel’s core narrative concepts but, more importantly, the creative evolution of perhaps the greatest imagination in comics. Set your common sense on pause and simply wallow in the glorious imagery and power of these classic adventures for the true secret of what makes comicbook superheroes such a unique experience.
© 1962, 1963, 1964, 2017 Marvel Characters, Inc. All rights reserved.

Ant-Man: Scott Lang


By David Michelinie, Bob Layton, Tom DeFalco, John Byrne, Jerry Bingham, George Pérez, Luke McDonnell, Ron Wilson, Greg LaRocque & various (Marvel)
No ISBN

With another Marvel filmic franchise follow-up hitting screens around the world, here’s a timely tie-in trade paperback (or eBook) collection designed to perfectly augment the cinematic exposure and cater to movie fans wanting to follow up with a comics experience.

This treasury of tales reprints all the early adventures of legacy hero Scott Lang, taken from Marvel Premiere #47-48, Iron Man #133-135 and 151, Avengers #195-196 & 223, Marvel Team-Up #103 and Marvel Two-in-One #87, convolutedly spanning April 1979 to March 1983.

The unlikeliest of valiant titans originally appeared in Tales to Astonish #27, released at the end of 1961, one month after Fantastic Four #1 hit the newsstands: a 7-page short which introduced maverick scientist Dr Henry Pym, who discovered a shrinking potion and became ‘The Man in the Anthill!’

Overwhelmed and imperilled by his startling discovering, the lonely researcher found wonder and even a kind of companionship amongst the lowliest creatures on Earth… and under it…

It was intended as nothing more than another here-today, gone-tomorrow filler in one of the company’s madly engaging pre-superhero “monster-mags”. However, the character struck a chord with someone since, as the DC Comics-inspired superhero boom flourished and Lee sprung the Hulk, Thor and Spider-Man on the unsuspecting kids of America, Pym was economically retooled as a fully-fledged costumed do-gooder for TtA #35 (September 1962).

You can read about his extremely eccentric career elsewhere, but suffice it to say Pym was never settled in his persona and changed name and modus operandi many times before junking his Ant-Man identity for the reasonably more stable and far more imposing identity of Yellowjacket

Comics creators are six parts meddler and five parts nostalgia buff and eventually somebody convinced somebody else that the concept and property of Ant-Man could be viable again…

Thus we begin here with the introduction of reformed thief Scott Lang who debuted in Marvel Premiere #47 (April 1979). Those first somebodies were David Michelinie, John Byrne & Bob Layton who produced ‘To Steal an Ant-Man!’, revealing how a former electronics engineer had turned to crime – more out of boredom than necessity – and after being caught and serving his time joined Stark Industries as a determinedly reformed character…

But then his daughter Cassie developed a heart condition which wiped out his savings, forcing Scott to revert to old ways to save her…

Desperate to find the wherewithal to hire experimental surgeon Dr. Erica Sondheim, he begins casing likely prospects, but is shattered when she is abducted by psychotic industrialist Darren Cross who is currently using all the resources – legal or otherwise – of his mega-corporation Cross Technological Enterprises to keep himself alive…

Needing cash now just to broach the CTE complex, Lang goes back to Plan A and burgles the lab of retired superhero Henry Pym and discovers mothballed Ant-Man gear and size-changing gases. In a moment of madness Lang decides not to sell the stolen tech but instead use the outfit to break in to Cross’ citadel and rescue Sondheim…

That plan doesn’t go so great either as the dying billionaire, in a desperate attempt to stay alive, had been harvesting the hearts of homeless people to power an experimental device which had mutated him into a monstrous brute…

After learning with horror ‘The Price of a Heart!’ (June 1979), Scott eventually triumphs; unaware until the very last that Pym had allowed him to take the suit and was backstopping him every inch of the way. With Cassie saved, Yellowjacket then invites Lang to continue as the new Ant-Man…

Crafted by Michelinie, Jerry Bingham & Bob Layton, Iron Man #133-135 (February – April 1980) then delivers the Small Wonder’s first proper exploit in ‘Hulk is Where the Heart Is! after his boss Tony Stark is confronted with a rampaging gamma goliath attacking the Long Island factory.

Having successfully calmed the creature back into his human Bruce Banner state, Stark calls in his newest whiz kid employee Scott Lang to help craft a micro-device to keep the tortured scientist in passive mode permanently.

Of course, that works out well…

With Hulk’s persona trapped in Banner’s body, the Stark team race to fix the foul-up before the patient fatally strokes out or worse in ‘The Man Who Would be Hulk’ but their success only leaves them with a really ticked-off Emerald Titan who resumes smashing everything in sight.

Forced to amp his armour to overload, Iron Man manages to knock out the Hulk, only to collapse, trapped and dying inside his own metal suit…

With his boss and friend in dire need, Scott then suits up and shrinks down to open the high-tech shroud and save ‘The Hero Within!’… if the suit’s internal defences don’t get him first…

In Iron Man #151 (October 1981, by Michelinie, Luke McDonnell & Layton) Ant-Man again takes centre-stage for ‘G.A.R.D.’s Gauntlet’ as the repercussions of yet another attack on Stark’s factory triggers a catastrophic systems failure, trapping Lang in an extremely hostile lab environment with the mechanized defence systems treating him as an intruder. Cue shrinking gas, many six-legged pals and total chaos…

Ant-Man got his first dose of team action in Avengers #195 (May 1980) in ‘Assault on a Mind Cage!’ (Michelinie, George Pérez, Jack Abel & Dan Green) when Hank Pym asks him to help infiltrate a suspicious asylum believed to be holding the Wasp hostage. What the miniature marvels uncover is illegal cloning for spare parts and a madman using the facilities to train henchmen for major villains and mob bosses…

The climactic clash resulting from ‘The Terrible Toll of the Taskmaster’ (#196 June 1980, by Michelinie, Pérez & Abel) wrecks the joint but leaves Lang one step closer to redemption and stardom…

Thanks to Michelinie, Greg LaRocque, Brett Breeding & Crew, Lang again faced Taskmaster in ‘Of Robin Hoods and Roustabouts’ (Avengers #223, September 1982) when he and Cassie attended a circus and stumbled into Hawkeye trying to extricate an old friend from the maniac’s clutches and influence.

It started becoming a regular event when Taskmaster resurfaced in Marvel Team-Up #103 (March 1983). Crafted by Michelinie, Jerry Bingham & Mike Esposito ‘The Assassin Academy’ sees the diminutive neophyte hero saving Spider-Man from becoming an object lesson for the graduating class at another deadly school for henchmen: a spectacular and memorable clash against the villainous lifestyle coach…

The last tale comes from Marvel Two-In-One #87 (May 1982) and begins when the Fantastic Four call in Ant-Man after The Thing is abducted by sub-atomic beings. The resultant rescue mission sees Scott help the rocky rogue defeat a duplicitous queen, high-tech barbarians and awesome aliens in the ‘Menace of the Microworld!’ by Tom DeFalco. Ron Wilson & Chic Stone…

The pint-sized, power-packed delights then conclude with a fulsome cover gallery, a fact-filled entry from the Marvel Universe Handbook, original art pages by Byrne, Layton, Bingham and McDonnell as well as a few surprise extras…

Hopefully answering any questions the silver screen sagas might throw up, whilst providing an immense amount of spectacularly bombastic fighting fun, this quirky slice of up-scaled and down-sized derring-do is a non-stop feast of tense suspense, whacky fun and blockbuster action: another well-tailored, on-target tool to turn curious movie-goers into fans of the comic incarnation and one more solid sampling to entice the newcomers and charm even the most jaded slice ‘n’ dice fanatic.
© 1978, 1979, 1980, 1982, 1983, 2015 Marvel Characters Inc. All rights reserved.

Iron Man Marvel Masterworks volume 7


By Archie Goodwin, Allyn Brodsky, Mimi Gold, Gerry Conway, Don Heck, George Tuska, Gene Colan & various (Marvel)
ISBN: 978-0-7851-5044-2

Created in the aftermath of the Cuban Missile Crisis and at a time when “Red-baiting” and “Commie-bashing” were American national obsessions, the emergence of a brilliant new Thomas Edison employing Yankee ingenuity, invention and wealth to safeguard and better the World seemed inevitable.

Combined with the then-sacrosanct belief that technology and business could solve any problem with the universal imagery of noble knights battling evil, the concept behind the Invincible Iron Man seems an infallibly successful proposition.

Of course where once Tony Stark was the acceptable face of 1960s Capitalism: a glamorous millionaire industrialist/inventor and a benevolent all-conquering hero when clad in the super-scientific armour of his metal alter-ego, the tumultuous tone of the times soon resigned his suave, fat cat image to the dustbin of history and, with ecological disasters and social catastrophe from the abuse of industry and technology the new mantras of the young, the Golden Avenger and Stark International were soon confronting some tricky questions from the increasingly socially conscious readership.

All of a sudden maybe that money and fancy gadgetry weren’t quite so fun or cool anymore…?

This sterling hardback – or eBook – compilation covers the period June 1970 through June, re-presenting Iron Man #26-38 and incorporating a tumultuous team-up with the Man Without Fear from Daredevil #73 which held a key portion of a rather complex comics crossover.

Following Gerry Conway’s informative retrospective Introduction ‘Iron in the Fire’ original Iron Man artist Don Heck returned for the fantasy-fuelled romp ‘Duel in a Dark Dimension!’ (scripted by Archie Goodwin and inked by Johnny Craig) with guest villain The Collector kidnapping Tony Stark’s right-hand man Happy Hogan in an arcane plot to secure an extradimensional super-sword…

America’s mounting racial tensions take centre-stage in ‘The Fury of the Firebrand!’, introducing an inflammatory radical with a secret and highly personal agenda of hate aimed squarely at Stark and the fat cats he represents. The incendiary fiend is also a human napalm grenade…

Goodwin bowed out with #28’s riotous return match ‘The Controller Lives!’, wherein the mind parasite attacks Tony Stark and SHIELD agent Jasper Sitwell through an old girlfriend, after which Mimi Gold scripted an old-fashioned commie-buster yarn, drawn by Heck and inked by Chic Stone in #29, as Iron Man liberates a tropical paradise from its enslaving socialist overlords in ‘Save the People… Save the Country!’.

Impressive new kid on the block Allyn Brodsky took over as scripter with #30’s ‘The Menace of the Monster-Master!’: a rousing rampage full of Maoist menace as a giant lizard ravages Japan until the Golden Avenger steps in, takes charge and uncovers a cunning plot…

Far more intriguing is ‘Anything… For the Cause!’ wherein back-to-nature hippie protesters and outraged teen radicals are manipulated by an unscrupulous local businessman. This social drama also adds cool, young Irish brainbox Kevin O’Brian to the regular cast.

Then in #32’s ‘Beware… The Mechanoid!’ (illustrated by George Tuska & “Joe Gaudioso”) relates a salutary tale of a benign alien explorer who makes the lasting mistake of exploring America whilst disguised as a black man…

Heck & Gaudioso (actually moonlighting Mike Esposito) handled the art for ‘Their Mission: Destroy Stark Industries!!’ as corporate raider Spymaster unleashes his Mission: Impossible-inspired team the Espionage Elite to deprive America of both the inventor and his company. This fast-paced thriller concluded in bombastic finale ‘Crisis… and Calamity!!’ which saw the near-death of a cast regular and the advent of a darker, more driven Armoured Avenger…

Something of a comics wunderkind, Gerry Conway assumed the writer’s reins in Iron Man #35 as the traumatised hero seeks ‘Revenge!’ on the Spymaster but is distracted by an ongoing battle between Daredevil, Nick Fury, Madame Masque and the global criminal network called Zodiac – all contesting ownership of an extra-dimensional wish-granting super weapon.

That battle spills over into Daredevil #73 and a mass abduction into another dimension in ‘Behold… the Brotherhood!’ (by Conway, Gene Colan & Syd Shores) before messily and inconclusively concluding halfway through Iron Man #36 (illustrated by Heck & Esposito).

The battle for the Zodiac Key is necessarily shelved as the Steely Centurion is waylaid by terra-forming aliens in ‘…Among Men Stalks the Ramrod!’

Incapacitated and with his recently transplanted new heart critically damaged, Stark reveals his secret to Kevin O’Brian ‘In This Hour of Earthdoom!’ (inked by Jim Mooney) before retrenching and ultimately repelling the invaders. The drama pauses here in hard-boiled fashion and a pleasantly low-key note in an engaging gangster caper from Conway, Tuska & Esposito wherein Iron Man is forced to respond quite assertively ‘When Calls Jonah…!’

The galvanised wonderment also includes the cover of Iron Man Annual #1 and a selection of house ads to wrap up this collection with the Golden Gladiator being politically repositioned at a time when Marvel solidly set itself up at the vanguard of a rapidly changing America increasingly at war with itself.

With this volume Marvel firmly set itself in the camp of the young and the restless experiencing first-hand the social upheaval America was undergoing. This rebellious teen sensibility and increased political conscience permeated the company’s publications as their core audience grew from Flower Power innocents into a generation of aware activists. Future tales would increasingly bring reformed capitalist Stark into many unexpected and outrageous situations…

But that’s the meat of another review, as this engrossing graphic novel is done. From our distant vantage point the polemical energy and impact might be dissipated, but the sheer quality of the comics and the cool thrill of the perennial dream of man in perfect synchrony with magic metal remains. These superhero shenanigans are some of the most underrated but impressive tales of the period and are well worth your time, consideration and cold hard cash…
© 1970, 1971, 2017 Marvel Characters, Inc. All rights reserved.

Avengers Marvel Masterworks volume 10


By Roy Thomas, Neal Adams, Sal Buscema, Barry Windsor-Smith, John Buscema, & various (Marvel)
ISBN: 978-0-7851-3331-5 (HB)

One of the most momentous events in Marvel Comics history occurred in 1963 when a disparate array of individual heroes banded together to stop the Incredible Hulk.

The Avengers combined most of the company’s fledgling superhero line in one bright, shiny and highly commercial package. Over the decades the roster has unceasingly changed, and now almost every character in their universe has at some time numbered amongst their colourful ranks…

The Avengers always proved that putting all one’s star eggs in on single basket paid off big-time; even when all Marvel’s all-stars such as Thor, Captain America and Iron Man were absent, it merely allowed the lesser lights of the team to shine more brightly.

Of course, all the founding stars regularly featured due to a rotating, open door policy which meant that most issues included one of any reader’s favourites. The increasingly bold and impressively ambitious stories and artwork were no hindrance either.

This sturdy hardcover and eBook compilation gathers the astounding contents of Avengers issues #89-100 collectively spanning June 1971 – June 1972: a riot of cosmic calamity which confirmed scripter Roy Thomas as a major creative force in comics whilst simultaneously demonstrating the potential the “debased” medium could aspire to.

At the time Thomas’ bold experiment was rightly considered the most ambitious saga in Marvel’s brief history: astounding sagas of tremendous scope which dumped Earth into a cosmic war the likes of which comics fans had never before seen. The Kree/Skrull War set the template for all multi-part crossovers and publishing events ever since and it was followed by another astounding epic proving that more and better was to come…

Following Thomas’s lengthy discourse on how it all happened in his Introduction, the drama begins relatively quietly as marooned Kree warrior Captain Marvel is finally freed from virtual imprisonment in a ghastly antimatter universe.

Mar-Vell was originally sent as a spy to Earth but he quickly went native and became a protector of humanity. After an intergalactic mission to save his former masters he was flying back to Earth when he was suddenly sucked into the anti-matter hell of the Negative Zone

The trapped warrior found a loophole through long-dormant Kree artefacts and Nega-bands. Inextricably bonding to professional human side-kick Rick Jones, he could switch places whenever danger loomed, but would be drawn back into the dread domain after three hours.

Following interminable, agonising months when Rick refused to trade atoms with his alien alter ego, ‘The Only Good Alien…’ (art by Sal Buscema & Sam Grainger) sees the bonded brothers finally separated just as, in the distant Kree Empire, the ruling Supreme Intelligence is overthrown by his enforcer Ronan the Accuser

On Earth, the rebellion results in the activation of a long-dormant robotic Kree Sentry which attacks Mar-Vell and the Avengers before enacting a deep-programmed protocol to devolve humanity to the level of cavemen in concluding chapter ‘Judgment Day’ (drawn and inked by Sal B)…

Even with Ronan taking personal charge of a compromised polar base, the scheme to eradicate humanity is narrowly defeated in ‘Take One Giant Step… Backward!’, but the cat is let out of the bag about the panic-inspiring notion that extraterrestrials lurk among us. Moreover, public opinion turns against the heroes for concealing the threat of repeated alien incursions…

In a powerful allegory of the anti-Communist witch-hunts of the 1950s, the epic expands in issue #92 (Sal B & George Roussos) as ‘All Things Must End!’ sees riots in American streets and a political demagogue capitalising on the crisis. Subpoenaed by the authorities, castigated by friends and public, the current team – The Vision, Scarlet Witch and Quicksilver – is ordered to disband by founding fathers Thor, Iron Man and Captain America.

Or are they…?

The plot thickens as Neal Adams & Tom Palmer assume the chores with double-sized Avengers #93 and ‘This Beachhead Earth’. Here the Vision is nigh-fatally attacked and those same founding fathers evince no knowledge of having benched the regular team.

With original Ant-Man Henry Pym undertaking ‘A Journey to the Center of the Android!’ to save the Vision’s artificial life, the Avengers become aware of not one, but two hostile alien presences on Earth: bellicose Kree and sinister, seditious shape-shifting Skrulls. The revelation triggers a ‘War of the Weirds!’ on our fragile globe.

Acting too late, the human heroes are unable to prevent mutant siblings Scarlet Witch and Quicksilver as well as their protector Mar-Vell from being abducted by the Super-Skrull

With more stunning Adams art, ‘More than Inhuman!’ in issue #94 entangles the long-hidden race of advanced beings called Inhumans in the mix, disclosing that their advanced science and super-powers are the result of genetic meddling by the Kree in the depths of prehistory. Now, with Inhuman king Black Bolt missing and his mad, malign brother Maximus in charge, the Kree are calling in their ancient markers…

Second chapter ‘1971: A Space Odyssey’ (pencilled by John Buscema) focuses on Mar-Vell as he is increasingly pressured to reveal military secrets to his shape-shifting captors. The Skrulls are ready to launch a final devastating all-out attack on their eons-old rivals, even as on Earth ‘Behold the Mandroids!’ exposes the American authorities attempting to arrest all costumed heroes…

In Avengers #95 ‘Something Inhuman This Way Comes…!’ coalesces the disparate story strands as aquatic Inhuman Triton helps defeat the US government robotic Mandroids before beseeching the beleaguered heroes to find his missing monarch and rescue his people from the pressganging Kree.

After so doing, and with a solid victory under their belts at last, the Avengers head into space to liberate their kidnapped comrades and save Earth from becoming collateral damage in the impending cosmos-shaking clash between Kree and Skrulls…

‘The Andromeda Swarm!’ (with additional inking from Adams and Al Weiss) is perhaps the Avengers’ finest hour, as a small, brave band of valiant heroes hold off an immense armada of star-ships, losing one of their own in the conflict. Meanwhile the Supreme Intelligence is revealed to have been pursuing its own clandestine agenda all along, after having bewildered sidekick Rick Jones abducted to further its terrifyingly ambitious plans….

The astounding final episode ‘Godhood’s End!’ brings the uncanny epic to a climactic close with a literal Deus ex Machina as the Supremor’s master-plan is finally revealed. However, the war is actually ended by the most unlikely of saviours and an avalanche of costumed heroes: an action overload extravaganza which has never been surpassed in the annals of Fights ‘n’ Tights fiction…

Even after saving the world, life goes on and seemingly gets more dangerous every day. ‘Let Slip the Dogs of War’ (Avengers #98, by Thomas, Barry Windsor-Smith & Sal Buscema) sees harried heroes Captain America, Iron Man, Vision, Quicksilver, Scarlet Witch and Thor debating the loss of their comrade Goliath, missing in action since he explosively stopped an alien warship from nuking Earth…

As the Thunderer heads for Asgard and its magic scrying mirrors, the fruitless debate is curtailed as war-mongering demagogue Mr. Tallon incites riot in the streets of New York. The gathered crowds attack the Avengers when they tried to quell the unrest and it is soon evident that the war-hawk has supernatural assistance.

…And in the dimensional void the Thunder God discovers all access to the Immortal Realms has been cut off…

By the time Thor returns to Earth his comrades are bewitched too. Joining with the seemingly immune Vision in a last-ditch, hopeless battle, the Storm Lord fights his best friends until the tide is turned by a perfectly aimed arrow, heralding the return of Goliath to his original Hawkeye identity…

Moreover, he has with him another Avenger: an amnesiac Hercules, Prince of Power, whose only certain knowledge is that Earth and Asgard are doomed…

Inked by Tom Sutton ‘…They First Make Mad!’ expands the epic as the Avengers call on all their resources to cure Hercules and decipher his cryptic warning whilst the World’s leaders seem determined to catapult the planet into atomic Armageddon.

As Hawkeye explains his miraculous escape from death in space and how he found Hercules the call goes out, summoning every hero who has ever been an Avenger. Suddenly two Grecian Titans materialise to trounce the team, dragging the terrified Prince of Power back to Olympus…

The epic ends in the staggeringly beautiful anniversary 100th issue ‘Whatever Gods There Be!’ (inked by Smith, Joe Sinnott & Syd Shores) as thirteen Avengers – including even the scurrilous Swordsman and blockbusting Hulk – indomitably invade the home of the Hellenic Gods to discover old enemy Enchantress and war god Ares are behind the entire malignant plot…

This titanic tome is packed with extra treats, including the cover of all-reprint Avengers Annual #5 plus the covers and new bridging material created by Alan Zelenetz, Walt Simonson & Palmer for the 1983 Kree-Skrull War starring the Avengers reprint miniseries. Also on show is Neal Adams’ take on the creation of the tale in ‘Three Cows Shot me Down’, supplemented by his cover for the 2000 and 2008 trade paperbacks. Upping the ante are original art pages and a selection of his un-inked pencil pages to delight every fan of fabulous Fights ‘n’ Tights fantasy action…

Roy Thomas and his artistic collaborators were always at the forefront of Marvel’s second generation of creators: brilliantly building on and consolidating Lee, Kirby and Ditko’s initial burst of comics creativity whilst spearheading and constructing a logical, fully functioning wonder- machine of places and events that so many others could add to.

These terrific tales are ideal examples of superheroes done exactly right and also act as pivotal points as the underdog company evolved into a corporate entertainment colossus. There are also some of the best superhero stories you’ll ever read…
© 1971, 1972, 2015 Marvel Characters, Inc. All rights reserved.

Super-Villains Unite: The Complete Super-Villain Team-Up


By Roy Thomas, Larry Lieber, Tony Isabella, Jim Shooter, Bill Mantlo, Steve Englehart, Gerry Conway, Peter Gillis, John Buscema, George Tuska, Bill Everett, George Evans, Sal Buscema, Herb Trimpe, Keith Giffen, George Pérez, Bob Hall, Carmine Infantino, Arvell Jones & various (Marvel)
ISBN: 978-0-7851-9406-4

Prince Namor, the Sub-Mariner was the second super-star of the Timely Age of Comics – but only because he followed the cover-featured Human Torch in the running order of Marvel Mystery Comics #1 in 1939. He has had, however, the most impressive longevity of the company’s “Big Three”: Torch, Subby and Captain America…

The Marine Marvel was revived in 1962 in Fantastic Four#4; once again an anti-hero/noble villain, prominent in the company’s pantheon ever since.

The following FF issue introduced the first great villain of the Silver Age in the form of technologically armoured dark knight Doctor Doom, who shares star-billing in this eclectic yet excellent trade paperback and eBook compilation of dastardly double-dealings encompassing Giant-Sized Super-Villain Team-Up #1-2, Super-Villain Team-Up #1-14, 16-17, as well as pertinent crossover appearances from Avengers #154-156 and Champions #16 and spanning March 1975 – May 1980.

Incidentally, Fantastic Four #6 featured the first Super-Villain Team-Up of the Marvel Age as Doom and Namor joined forces as ‘The Deadly Duo’: an epic regrettably omitted from this collection.

The Master of Latveria inevitably betrayed and tried to kill the Prince of Atlantis in that tale: an event which colours the relationship of the characters to this day…

So popular was the metal-shod maniac that during Marvel’s first big expansion, he helmed his own solo-series in Astonishing Tales #1-10. That feature vanished with no warning and Doom returned to his status as premier antagonist in the Fantastic Four and elsewhere until Giant-Sized Super-Villain Team-Up #1 was released (cover-dated March 1975); once more bathing the Deadly Despot in a starring spotlight.

In the intervening years the Sub-Mariner had also lost his own series, despite some very radical and attention-grabbing stunts. A nerve-gas dumping accident perpetrated by surface dwellers had catastrophically altered his hybrid body, forcing him to wear a hydrating-suit to breathe. The same toxin had plunged the entire nation of Atlantis into a perpetual coma…

For this new venture, Prince Namor – alone and pushed to the brink of desperation – rescues Doom from a deadly plunge to Earth after the Iron Dictator’s latest defeat (at the hands of the FF and Silver Surfer) in an impressive and effective framing sequence bracketing two classic reprint tales.

‘Encounter at Land’s End!’ (by Roy Thomas, John Buscema & Joe Sinnott) finds Doom plucked from the sea and the edge of death by a Sub-Mariner in dire need of scientific wizardry to cure his somnolent race. As such, he is prepared to offer an alliance against all mankind to get it…

Painfully aware of their unhappy past history, the outlaws recall a previous encounter (from Sub-Mariner #20 by Thomas, Buscema & Johnny Craig). ‘In the Darkness Dwells Doom!’ recounts how a fugitive Atlantean monarch was offered sanctuary in New York’s Latverian embassy before inevitably being blackmailed and betrayed (again) by the Devil Doctor…

Back in the present, initially reluctant Doom reconsiders the partnership deal after recalling a past battle against the diabolical Diablo…

‘This Man… This Demon!’ (Larry Lieber, Thomas, Frank Giacoia & Vince Colletta) was a solo try-out from Marvel Super-Heroes #20 in 1969, which restated the Doctor’s origins and revealed his tragic, doomed relationship with a gypsy girl named Valeria. That relationship was than exploited by demon alchemist Diablo who claimed he need an ally but instead wanted a new slave. Doom dealt with the charlatan in typically effective style…

The regal debate descends into another cataclysmic clash of egos and raw destructive power with both parties more bitterly opposed than ever, but the follow-up ‘To Bestride the World!’ (Thomas, Mike Sekowsky & Sam Grainger) in the all-original Giant-Sized Super-Villain Team-Up #2 (June 1975), sees Doom compelled to change his mind after his own android army rebels when the tyrant’s long-lost Doomsman (in its new guise of Andro) returns and co-opted them for a war against all organic life.

As a result of blistering battle and extensive carnage-wreaking, Namor and Doom triumph together and part as uneasy allies, only to regroup in the pages of Super-Villain Team-Up #1 (August 1975) in a chaotic ongoing series that began with ‘Slayers from the Sea!’ by Tony Isabella, George Tuska, Bill Everett & Fred Kida.

Doom actually contemplates treating an ally as an equal in the opening chapter ‘An Alliance Asunder?’, whilst in the second part ‘Frenzy on a Floating Fortress’ (illustrated by George Evans & Frank Springer) Namor is ambushed by old foes Attuma, Dr. Dorcas and Tiger Shark

This compels Doom to rush to his rescue in #2 as ‘In the Midst of Life…!’ (with art from Sal Buscema & Kida), the Sub-Mariner’s truest friend is murdered by his assembled enemies, leading to a brutal climax in ‘If Vengeance Fails!’ by Jim Shooter, Evans & Jack Abel.

Super-Villain Team-Up was an intriguing concept cursed with a revolving-door creative team crisis: nobody seemed able to stay with the series for more than a couple of issues. Somehow, the standards remained high but with no long-term planning the plots and characterisation jumped all over the place.

Bill Mantlo, Herb Trimpe & Jim Mooney produced ‘A Time of Titans!’ in #4 as Doom and Sub-Mariner battle each other and encountered a prototype Deathlok the Demolisher before splitting up yet again, after which Steve Englehart stepped in for ‘…And Be a Villain!’ (illustrated by Trimpe & Don Perlin).

Here the Lord of Latveria artificially exacerbates Namor’s breathing affliction and threatens to annihilate dormant Atlantis. Despite all the efforts of the Fantastic Four, Sub-Mariner is forced to swear fealty to Doom or see his people and himself perish forever…

This tumultuous issue also introduced mystic Batman knock-off the Shroud whose avowed mission was to free the world from the curse of Doom at any and all costs…

Jack Abel inked ‘Prisoner!’ in #6 as the FF invade Latveria to rescue the oath-bound Sub-Mariner, only to be sent packing by US Secretary of State Henry Kissinger who has just signed a non-aggression pact with Doom.

Another American observed no such legal or diplomatic niceties in ‘Who is… The Shroud?’ (Pablo Marcos inks) and, after revealing his origins to Namor, the Master of Darkness frees him from his vow by executing Dr. Doom.

As Shroud and Namor flee for the border chaos breaks out in Latveria, but in actuality Doom was not dead. Rescued and imprisoned by Namor’s cousin Namorita and girlfriend Tamara in ‘Escape!’ (illustrated by Keith Giffen & Owen McCarron) he bides his time, exploiting their misguided apprehension that they can make the Metal-shod Monarch help Atlantis and their Prince.

The international crisis escalates as it segued into an ongoing Avengers storyline, beginning ‘When Strikes Attuma?’ (Avengers #154 by Conway, George Perez & Marcos) as the Sub-sea slayer enslaves the World’s Mightiest Heroes and commands them to kill Namor…

The saga continued in Super-Villain Team-Up #9 (scripted by Mantlo, drawn by Jim Shooter & Sal Trapani) as the ‘Pawns of Attuma!’ attack, only to discover Doom in charge and easily able to thwart their half-hearted assault.

In Avengers #155 the beaten heroes are helpless captives, leaving only the confused, battle-crazed Namor and a substitute team comprising The Beast and aging WWII speedster The Whizzer to hunt down the barbarian sea lord, before the epic conclusion ‘The Private War of Doctor Doom!’ (#156, written by Shooter, drawn by Sal Buscema & Marcos) wherein the liberated and resurgent heroes unite to crush Attuma and prevent Doom from turning the situation to his own world-conquering advantage…

Meanwhile, behind the scenes in Latveria, Shroud has installed former ruler Prince Rudolfo as a faux Doctor Doom, but things go wrong very quickly in Super-Villain Team-Up #10 (Mantlo, Bob Hall & Perlin) when Captain America investigates ‘The Sign of the Skull!’

In the Latverian Embassy, the genuine despot learns from the Star-Spangled Avenger that Nazi overlord The Red Skull has once more invaded Doom’s homeland, even as the Sub-Mariner discovers greedy surface-men pillaging his comatose city of Atlantis.

As Doom and Captain America carve their way through Latveria’s formidable defences, the Skull proceeds in establishing his Fourth Reich, easily defeating the Shroud in ‘My Ally, My Enemy’ but when Namor rages in, tracking the ravagers of Atlantis to Doom’s castle, the tables are finally turned and the Iron Dictator swears to finally cure the Atlanteans in return for the Sub-Mariner’s aid against the Nazi invaders.

Firstly though, the Skull plans to enslave the Earth with a hypno-ray and must be crushed in ‘Death Duel!’, with the Iron Doctor pursuing the Fascist mastermind to his hidden moonbase, casually sacrificing the Shroud in the process…

Finally fulfilling his oath, Doom resurrects the comatose Atlanteans in SVTU #13, but only after a blistering sub-sea battle with amphibian arch-nemesis Krang and a Brobdingnagian sea beast in ‘When Walks the Warlord!’ (by Mantlo, Giffen & Perlin).

With Atlantis and Namor restored, a new era begins and ends with Super-Villain Team-Up #14 (October 1977).

‘A World for the Winning!’, by Mantlo, Hall, Perlin & Duffy Vohland, opens with mutant villain Magneto tricked into a duel with Doom who was at that moment de facto master of the world since he had seeded the planet’s atmosphere with a mind-control gas.

Ever the sportsman, the Lord of Latveria releases Magneto from his control, allowing him to liberate one other thrall and challenging them both to save the world from his ultimate dominance…

It was the troubled title’s last issue and the story concluded in Champions #16 (November 1977) as the Master of Magnetism and the Beast spectacularly overcome all odds and save the day in ‘A World Lost!’ (Mantlo, Hall & Mike Esposito).

A year later Super-Villain Team-Up #15 appeared from nowhere (dated November 1978 and presumably released to safeguard the copyright) with a reprint of the Red Skull story from Astonishing Tales #4-5. You’ll need to look elsewhere to see that yarn.

‘Shall I Call Thee Master?’ by Peter Gillis, Carmine Infantino & Bruce Patterson, was released a year after that (#16, May 1979, with one final issue 12 months after that) wherein the Red Skull, Hatemonger and radical geneticist Arnim Zola while away the days in a human atrocity lab conducting experiments on a camp full of human slaves.

This is a dark exploration of monstrous inhumanity where torture and degradation are simply a way of passing the time until the leftover Fascists can build a new Cosmic Cube and reshape all reality to their twisted whims…

In this instance they are thwarted by merely mortal secret agents in the long delayed but savagely effective conclusion ‘Dark Victory!’ (Gillis, Arvell Jones & Patterson), after which the concept and title were shelved for decades.

This eccentric and thoroughly fan-only compendium includes a full cover gallery by Ron Wilson, Gil Kane, Ed Hannigan, Rich Buckler, Jim Starlin, Marie Severin, Jack Kirby, Dave Cockrum, Giffen, John Byrne, Hall, Al Milgrom & Keith Pollard plus Roy Thomas’ editorial text feature ‘The Road to Land’s End’.

For all its flaws Super-Villain Team-Up was a bold experiment and a genuinely enjoyable dalliance with the different during the 1970s – as long as the reader had a solid knowledge of the company’s complex continuity. I truly wish more people would sample the delights of this offbeat saga, but I doubt any new reader could cope with the terrifying torrent of unexplained backstory.

Still, I’d be delighted if you prove me wrong…
© 1975, 1976, 1977, 1978, 1979, 1980, 2015 Marvel Characters, Inc. All rights reserved.

Avengers Marvel Masterworks volume 9


By Roy Thomas, Harlan Ellison, John Buscema, Sal Buscema, Frank Giacoia, Herb Trimpe, Sam Grainger & various (Marvel)
ISBN: 978-0-7851-3501-2

The Avengers always proved that putting all one’s star eggs in on single basket paid off big-time; even when all Marvel’s all-stars such as Thor, Captain America and Iron Man were absent, it merely allowed the lesser lights of the team to shine more brightly.

Of course, all the founding stars regularly featured due to a rotating, open door policy which meant that most issues included somebody’s fave-rave. The increasingly bold and impressively ambitious stories and artwork were no hindrance either.

This sturdy hardcover and eBook compilation gathers the astounding contents of Avengers issues #80-88 and a cosmic crossover from Incredible Hulk #140 spanning September 1970-June 1971): evocative, socially-informed tales which confirmed Roy Thomas as a major creative force in comics whilst simultaneously consolidating John Buscema’s status as the foremost artist of Marvel’s second generation.

Following another candid reminiscence from Thomas – unravelling the behind-the-scenes secrets of the Dawning Marvel Age in his Introduction – this epochal tome opens with the debut of the company’s first Native American costumed hero in ‘The Coming of Red Wolf!’ (Thomas, John B & Tom Palmer) as the Avengers are drawn into a highly personal and decidedly brutal clash between ruthless entrepreneur Cornelius Van Lunt and a tribe of Indians he is defrauding and persecuting.

The dramatic dilemma (heralding the team’s entry into the era of “Relevant”, socially conscious tales) divides the team and concludes with Vision, Scarlet Witch and Goliath aiding Red Wolf in concluding episode ‘When Dies A Legend!’, whilst the remaining team pursues super crime combine Zodiac and the Black Panther pursues what he believes is a personal quest beside Daredevil. (This last tale occurred in DD #69 but is not included here. You’ll need to see the equivalent Daredevil Masterworks volume [#9, I think] for that).

Sadly, the malevolent mega-mob move first and take the entire island of Manhattan ‘Hostage!’, leaving only the solitary sightless vigilante Daredevil free to save the day, after which Militant Feminism raises its disconcertingly strident head as the Wasp, Black Widow, Scarlet Witch and Madame Medusa are seduced into joining a new team called the Lady Liberators (yes, I know how that sounds now but the all-male creative team meant well…).

However, the Valkyrie who declares ‘Come on in… the Revolution’s Fine!’ had her own dark secret and sinister agenda that has nothing to do with justice or equality…

Avengers #84 featured part-time paladin Black Knight who had become addicted to the bloodthirsty hunger of his Ebony Blade, resulting in an otherworldly confrontation with alternate-Earth barbarian king Arkon and his latest paramour the Enchantress in ‘The Sword and the Sorceress!’ The resulting acrimonious clash subsequently left half the team lost in a parallel existence…

In ‘The World is Not for Burning!’ (inked by Frank Giacoia), Vision, Scarlet Witch and Quicksilver’s efforts to return home leave them stranded on an Earth where the Squadron Supreme are the World’s Greatest heroes and a solar Armageddon is only hours away…

Illustrated by Sal Buscema & Jim Mooney, ‘Brain-Child to the Dark Tower Came…!’ sees the extremely reluctant trans-Earth allies unite to save a very different world after which, back home, the Black Panther reprises his bombastic origin before taking leave of his comrades to assume the throne of his hidden African nation in ‘Look Homeward, Avenger’ (Giacoia & Sal B).

Novelist Harlan Ellison was a very vocal comics fan in the 1970s and occasionally collaborated on Marvel tales. Avengers #88 began a radical adaptation of one his best short stories, heralding ‘The Summons of Psyklop’ (Ellison, Thomas, Sal Buscema & Mooney) wherein an experiment to cure the Hulk of his destructive nature leads to the Jade Juggernaut’s abduction by a preternatural entity.

The saga concluded in Incredible Hulk #140 (Ellison, Thomas, Herb Trimpe & Sam Grainger) as ‘The Brute… That Shouted Love… at the Heart of the Atom!’ finds the man-monster experiencing truelove and idyllic peace in a sub-molecular paradise, only to lose it all when the demonic Psyklop tracks him down…

Following a reproduction of the cover of the all-reprint Avengers Annual #4, the romantic tragedy is somewhat leavened by a bonus yarn from Marvel’s spoof publication Not Brand Echh #5 (December 1967). Here Thomas, Gene Colan & John Tartaglione recount the sterling saga of ‘The Revengers vs Charlie America’, reinterpreting how – if not why – the heroes saved the Star-Spangled Simpleton of Liberty from icy entombment. Wrapping up the memorable magic is a brace of contemporary house ads and full biographies of all creative folk involved…

Thomas and John Buscema (and Sal too, actually) gloriously led Marvel’s second generation of creators in building on and consolidating Lee, Kirby and Ditko’s initial burst of comics creativity: spearheading and constructing a logical, fully functioning wonder- machine of places and events that so many others were inspired by and could add to.

These terrific tales are perfect examples of superheroes done exactly right and a pivotal step of the little company into the corporate colossus. They are also utterly fabulous stories you’ll never tire of reading
© 1970, 1971, 2015 Marvel Characters, Inc. All rights reserved.