Category: Marvel Superheroes

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Spider-Man: Fever


By Brendan McCarthy & Steve Cook, with Stan Lee & Steve Ditko (Marvel)
ISBN: 987-0-7851-4125-9 (TPB)

Peter Parker was a smart, alienated kid when he was bitten by a radioactive spider during a school trip. Developing astonishing abilities – augmented with his own natural chemistry, physics and engineering genius – the boy did what any lonely, unappreciated, geeky nerd would do with such newfound prowess: try to cash in for girls, fame and money…

Hiding behind a home-made costume (in case he fails and makes a fool of himself), Parker becomes a minor media celebrity – and a criminally self-important one. To his eternal regret, when a thief flees past him one night, the cocky teen doesn’t lift a finger to stop him. When the boy returns home that night, he learns that his beloved guardian uncle Ben Parker has been murdered.

Crazed with a need for vengeance, Peter hunts the assailant who made his devoted Aunt May a widow and killed the only father he had ever known, and discovers, to his horror, that it is the self-same felon he neglected to stop. The traumatised boy is fixated on the fact that his irresponsibility resulted in the death of the man who raised him, and swears to forevermore use his powers to help others…

Since that night he has tirelessly battled miscreants, monsters and madmen, with a fickle, ungrateful public usually baying for his blood even as he perpetually saves them…

It wasn’t too long after his spectacular launch that Stan Lee & Steve Ditko’s astonishing Spider-Man proved himself a contemporary hero who fitted every possible milieu and scenario; equally at home against cheap hoods, world-busting super-menaces or the oddest of alien incursions, and this superbly outré modern masterpiece – available in trade paperback and digital formats – celebrates that astounding versatility by reprising one of the most brilliantly bizarre team-ups from the early Marvel Age.

The legendary classic first meeting of Mystic Master and Wondrous Wallcrawler occurred in Amazing Spider-Man Annual #2 and it’s rightly included at the end of this beguiling tome featuring über-imaginatively narrative art trendsetter Brendan McCarthy’s tribute to Ditko’s dazzling graphic magic.

London-born McCarthy came to prominence in comics on 2000AD before branching out into international comics stardom whilst pursuing parallel careers in film, television and design. His most notable works range from Strange Days and Paradax to Judge Dredd, The Zaucer of Zilk, Zenith, Skin, Rogan Gosh, Dream Gang and innumerable stunning covers. His moving media credits include The Storyteller, Highlander, Lost in Space, Reboot, Mad Max 4: Fury Road and so much more.

Collected here is a digitally-psychedelic, intoxicatingly appealing 3-issue miniseries from 2010 and produced for the mature-audience Marvel Knights sub-imprint. Written and illustrated by McCarthy with lettering and additional colouring from old comrade Steve Cook, it begins with the web-spinner battling frequent flyer archfoe The Vulture even as Sorcerer Supreme Stephen Strange explores a few Outer Realms and inadvertently activates an ancient trap set in an old grimoire – the Lost Journal of Albion Crowley…

The “webwaze” energy escapes into the very architecture and infrastructure of New York City, finding its way to the cornered Vulture: possessing the bad old bird before passing through him, permeating and infecting the Friendly Neighbourhooded one…

When Strange further examines the cursed chronicle, he discovers the sorry tale of Crowley and his unlucky acolyte Victor Neumenon, whose long ago trans-dimensional forays led them into fateful contact with cosmically peripheral spider-demons dubbed Arachnix, lurking in the darkest corners and crannies of Creation.

Both were subjected to unimaginable atrocity at the many hands of the hairy horrors, but only Crowley returned to recount his experiences, and spin their adventures his way…

Meanwhile, ensorcelled Spider-Man, reeling in delirious torment, has instinctively crawled into the bathroom of Strange’s Sanctum Sanctorum where his now-tainted soul is suddenly snatched away by arcane Arachnix-Hunter Daddy Longlegs, who drags the essence of the hero to its hideous homelands to be devoured by the ghastly King Korazon…

Arriving too late to assist, the Master of the Mystic Arts gives chase through increasingly impossible planes of existence, following the ethereal webwaze paths in his frenzied attempts to save his old friend from utter horror and eternal damnation…

Along the way the wizard meets keenly helpful void-dwellers Fetch Doggy Fetch and Pugly, even as Peter Parker’s enmeshed spirit faces consumption by the Eight-Legged Tribe. Somehow, however, the hero’s dual nature confounds the beasts. They cannot determine if he is Spider – and therefore kin – or Man, and thus the most appealing meal ever presented to any Arachnix…

To decide his prey’s future fate Korazon despatches the befuddled soul-shell through the Insect Gate to catch the fabled feast known as the Sorror-Fly from the home dimension of all arthropods. If the arbitrary man-spider can snare the elusive treat he is their brother, but if he returns empty-handed, he’s just lunch…

Whilst the englamoured hero hunts in the insect realm, Strange rescues fellow Earth-born traveller Ms. Ningirril, long-trapped during her own dimensional Walkabout. In gratitude, the Antipodean wanderer provides the mage with useful intelligence, sound advice and a safer, swifter means of navigating his search for Spider-Man…

In a fantastic City of Termites our befuddled hero has succeeded in his task and is dragging the woeful Sorror-Fly back to the Arachnix: further succumbing with each passing moment to the inexorable, bestial allure of his Spider side, even as his garrulous meal relates the dread history of the insect dimension and a prophecy of telling magnitude.

When the Sorcerer Supreme and his allies fortuitously arrive, the Fly transforms back to a form he has not held for over a century, presaging the redemption and cure of the fallen Wall-crawler and a spectacular end to an infinitude of eight-legged terrors…

Bold, ambitious and visually compelling and off the wall, this superb magical mystery tour is perfectly augmented here by that aforementioned first meeting…

In 1965 Steve Ditko was blowing away audiences with another oddly tangential, daringly different superhero. Amazing Spider-Man King Size Annual #2 revealed ‘The Wondrous World of Dr. Strange!’: introducing the webslinger to other realities after he accidentally interrupts an attack by wannabe wizard Xandu upon the Master of the Mystic Arts.

The villain had stolen the puissant Wand of Watoomb from Strange to achieve ultimate power, and when that pesky, interfering Spider-Man butts in, the power-crazed dilettante exiles him to an alien dimension – but not before the hero’s webbing snatches the arcane artefact from Xandu’s hand and takes it with him…

Cue an involuntary incredible journey to phantasmagorical, mind-bending worlds pursued by unstoppable zombie slaves and a desperately determined Doctor Strange in a dimension-hopping masterpiece of mystery and imagination…

Moody, creepy and staggeringly engrossing, this eerie eldritch escapade also includes the author/artist’s ‘Notes on the Design and Story Ideas for Spider-Man: Fever’ – a selection of commentary, roughs and sketches offering a fascinating glimpse of into the creative process of a truly unique talent, as well as a selection of Ditko pinups detailing the M.O.’s of The Circus of Crime, The Scorpion, The Beetle, Jonah’s Robot and the Crime-Master…

Here’s another superb and crucial selection starring the timeless teen icon, superhero symbol and big screen superstar fans just cannot afford to do without
© 1965 and 2017 Marvel Characters, Inc. All rights reserved.

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Avengers Marvel Masterworks volume 12


By Steve Englehart, Bob Brown, Sal Buscema, Don Heck & various (Marvel)
ISBN: 978-0-7851-5879-0 (HB)

One of the most momentous events in comics (and now, film) history came in the middle of 1963 when a disparate gang of heroic individuals banded together to combat an apparently out of control Incredible Hulk.

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

The everchanging roster proved that putting all one’s star eggs in a single basket can pay off big-time. Even when all Marvel Royalty such as Thor, Captain America and Iron Man are absent, there’s no detriment: it merely allows the team’s lesser lights to shine more brightly.

Of course, the founding stars are never away for too long due to a rotating, open door policy ensuring most issues include somebody’s fave-rave.

After instigators Stan Lee & Jack Kirby moved on, the team prospered under the guidance of Roy Thomas who grew into one of the industry’s most impressive writers, guiding the World’s Mightiest Heroes through a range of adventures ranging from sublimely poetic to staggeringly epic. He then handed over the scripting to a young writer who carried the team to even greater heights…

This stunning hardcover compilation – also available in eBook iterations – assembles Avengers #112-119, plus crucial crossover episodes from Defenders #8-11: collectively covering June 1973 to January 1974 and celebrating the beginning of an era of cosmic catastrophe and cataclysmically captivating creative cross-pollination…

This bombastic tome commences with Avengers #112 in ‘The Lion God Lives!’ (illustrated by Don Heck & Frank Bolle) wherein a rival African deity returns to destroy the human avatar of the Panther God. As the Black Panther and his valiant comrades tackle that threat, in the wings an erstwhile ally and enemy and his exotic paramour made their own plans for the team…)

Unreasoning prejudice informed #113’s ‘Your Young Men Shall Slay Visions!’ (Bob Brown & Bolle) as a horde of fundamentalist bigots – offended by the “unnatural” love between Wanda, the mutant Scarlet Witch and the Vision – turn themselves into human bombs to destroy the sinful, unholy couple. Soon after, ‘Night of the Swordsman’ in #114 (Brown & Esposito) formally introduces the reformed swashbuckler and his enigmatic psychic martial artist paramour Mantis to the team… just in time to thwart the Lion God’s latest scheme.

In 1973 wunderkind scripter Steve Englehart (who provides a context-enhancing Introduction in this collected volume) was writing both Avengers and Defenders (as well as Doctor Strange, the Hulk and Luke Cage, Hero for Hire) and, yearning for the days of DC’s summer blockbuster annual events, decided to attempt his own massive multi-player epic.

Bravely given the editorial go-ahead at a time when deadline crunches regularly interrupted ongoing storylines, the author and his regular pencillers Sal Buscema and Bob Brown laid their plans…

Threads had been planted as early as Defenders #4 with Englehart carefully putting players in place for a hugely ambitious cross-over experiment: one that would turn the comics industry on its head.

For kids – of any and all ages – there is a simply primal fascination with brute strength and feeling dangerous, which surely goes some way towards explaining the perennial interest in angry tough guys who break stuff and as best exemplified by Prince Namor, the Sub-Mariner and the Incredible Hulk. When you add the mystery and magic of Doctor Strange the recipe for thrills, spills and chills becomes simply irresistible…

Last of the big star-name conglomerate super-groups, the Defenders would eventually number amongst its membership almost every hero – and some few villains – in the Marvel Universe. No surprise there then since the initial line was composed of the company’s major league bad-boys: misunderstood, outcast and often actually dangerous to know. For Marvel in the 1970s, the outsider super-group must have seemed a conceptual inevitability – once they’d finally published it.

Apart from Spider-Man and Daredevil, all their heroes regularly teamed up in various mob-handed assemblages, and in the wake of the Defenders’ success even more super-teams featuring pre-existing characters would be packaged: The Champions, Invaders, New Warriors, Inhumans, Guardians of the Galaxy and so on… but never again with so many Very Big Guns…

The genesis of the team in fact derived from their status as publicly distrusted “villains”, and they never achieved the “in-continuity” fame or acceptance of other teams, but that simply seemed to leave the creators open to taking a few chances and playing the occasional narrative wild card.

After earthly madwoman Barbara Norris was cursed by amoral Asgardian Amora the Enchantress, the human was transformed into an incarnation of old Avengers enemy Valkyrie. The denouement of the tale also left part-time Avenger and Defender the Black Knight an ensorcelled, immobile stone statue. As Strange and Co. searched for a cure, aided by the Silver Surfer and tempestuous Hawkeye (another ex-Assembler looking to forge a solo career), they all fell into a subtle scheme orchestrated by two of the greatest forces of evil in all creation….

The classic confrontation finally commenced in Avengers #115 with lead story ‘Below Us the Battle!’ (Brown & Esposito) wherein the still-understaffed heroes travel to England and the castle of the Black Knight, only to encounter mystic resistance, a troglodytic race of scavengers and a comrade long missing…

The issue also contained a brief prologue at the end. ‘Alliance Most Foul!’ reveals other-dimensional Dark Lord Dormammu and Asgardian god of Evil Loki allying to secure an ultimate weapon which will give them ultimate victory against all their foes. This despotic duo plan a false flag operation to deceive the Defenders into securing the six component parts: surreptitiously “revealing” that the reconstructed Evil Eye can de-petrify and restore the Black Knight – a plan that opens with a similar prologue at the end of Defenders #8…

‘Deception’ (Englehart, Sal Buscema & Esposito) is the first chapter in ‘The Avengers/Defenders Clash’, disclosing how a mystic SOS from the spirit of the Black Knight is intercepted by the twin gods of evil, leading directly to ‘Betrayal!’ in Avengers #116, wherein the World’s Mightiest Heroes, hunting for their missing comrade, “discover” their oldest enemies Hulk and Sub-Mariner may have turned Black Knight to stone…

This and third chapter ‘Silver Surfer Vs. the Vision and the Scarlet Witch’ see the rival teams split up: one to gather the scattered sections of the Eye and the other to stop them at all costs…

Defenders #9 (with Sal Buscema & Frank McLaughlin art) begins with tense recap ‘Divide …and Conquer’ before ‘The Invincible Iron Man Vs. Hawkeye the Archer’ and ‘Dr. Strange Vs. the Black Panther and Mantis’ sheds more suspicion and doubt on the vile villains’ subtle master-plan…

In Avengers #117, ‘Holocaust’, ‘Swordsman Vs. the Valkyrie’ and crucial turning point ‘Captain America Vs. Sub-Mariner’ (all illustrated by Brown & Esposito) lead to the penultimate duel in Defenders #10 (Sal Buscema & Bolle) in ‘Breakthrough! The Incredible Hulk Vs. Thor’ and the inevitable joining together of the warring camps in ‘United We Stand!’. Tragically, understanding comes too late as Dormammu seizes the reconstructed Evil Eye and uses its power to merge his entire dimensional realm with Earth’s.

Avengers #118 delivers the cathartic, climactic conclusion in ‘To the Death’ (Brown, Esposito & Frank Giacoia) wherein all the heroes of the Marvel Universe resist demonic invasion on hideously mutated home soil whilst Avengers and Defenders plunge deep into the Dark Dimension itself to end forever the threat of the evil gods (well, for the moment, at least…).

With the overwhelming cosmic threat quelled, the victorious Defenders attempt to use the Eye to cure their petrified comrade, only to discover that his spirit has found a new home in the time of the Crusades.

In #11’s ‘A Dark and Stormy Knight’ (Sal B & Bolle), the group battle 12th century black magic, fail to retrieve the Knight and acrimoniously go their separate ways – as did overworked scripter Englehart, who dropped the “non-team” to concentrate on “The World’s Greatest Super-Heroes”…

Those never-ending struggles resume and the adventuring pauses after a delightfully traditional spooky Halloween tale as the Avengers – warned by clairvoyant vision from enigmatic Mantis – head once more to Rutland, Vermont for the ‘Night of the Collector’ (#119, by Brown & Heck): encountering old friends, a dastardly and determined foe, blistering action, staggering suspense and blistering battle…

As if extra enticements be needed, also included in this compendium are pages and pin-ups from company fanzine F.O.O.M. (#5, 6, 7: Mantis by John Byrne & Duffy Vohland, Jarvis by Marie Severin and a bombastic team shot by John and Sal Buscema), plus house ads for Avengers #116, previous collection covers from Carlos Pacheco, Jesus Merino & Ang Tsang, John Romita & Richard Isanove and original art pages by Brown & Esposito and #119’s Romita cover.

Roy Thomas and Steve Englehart were at the forefront of Marvel’s second generation of story-makers; brilliantly building on and consolidating the compelling creations of Stan Lee, Jack Kirby and Steve Ditko while 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 superhero sagas done just right and also a pivotal step transforming the little company into today’s multinational corporate colossus. Best of all, Englehart’s forthcoming concoctions would turn the Marvel Universe on its head and pave the way for a new acme of cosmic adventure…
© 1973, 1974, 2018 Marvel Characters, Inc. All rights reserved.

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Fantastic Four Marvel Masterworks volume 13


By Roy Thomas, Gerry Conway, John Buscema, Ross Andru, Ramona Fradon, Joe Sinnott & various (Marvel)
ISBN: 978-0-7851-5040-4 (HB)

Monolithic modern Marvel truly began with the adventures of a small super-team who were as much squabbling family as coolly capable costumed champions. Everything the company produces now is due to the quirky quartet and the groundbreaking, inspired efforts of Stan Lee and Jack Kirby…

This full-colour compendium – available in hardcover and digital editions – collects Fantastic Four #129-141: spanning December 1972 to December 1972 with Stan Lee leaving his most significant co-creation to his top disciple Roy Thomas – and latterly Gerry Conway – whilst John Buscema & Joe Sinnott did their utmost to remake Jack Kirby’s stellar creation in their own style and image and outdoing themselves with every successive issue.

…And when they weren’t around there was a ready pool of visual talent to tap…

What You Should Already Know: maverick scientist Reed Richards, his fiancé Sue Storm, their close friend Ben Grimm and Sue’s teenaged tag-along little brother Johnny miraculously survived an ill-starred private space-shot after cosmic rays penetrated their stolen ship’s inadequate shielding. As they crashed back to Earth the uncanny radiation mutated them all in unimaginable ways…

Richards’ body became astoundingly elastic, Sue gained the power to turn invisible and project forcefields whilst Johnny could turn into living flame and tragic Ben devolved into a shambling, rocky freak. They agreed to use their abilities to benefit mankind and thus was born the Fantastic Four.

Following an effusive Introduction from Thomas and a candid, context-creating and fact-filled second essay – ‘Foreword into the Past’ – from Conway, the dramatic tensions resume with the team in turmoil as usual. Having just survived a three-way war between Mole Man, Kala, Empress of the Netherworld and immortal dictator Tyrannus, the exhausted team return to their Baxter Building HQ just in time for lovesick, heartsore Johnny to leave for the hidden kingdom of Attilan and explosively confront lost love – and Inhuman Princess – Crystal.

Tragically as he leaves, ‘The Frightful Four… Plus One!’ (by Thomas, Buscema & Sinnott) sees the Thing ambushed by The Sandman, Wizard and Trapster, beside their newest and almost uncontrollable ally… super-strong amazon Thundra.

Happily, Crystal’s sister Medusa is there to pitch in as the clash escalates and spread to ‘Battleground: the Baxter Building!’ wherein baby Franklin Richards begins exhibiting terrifying abilities. Always left holding the baby and fed up with her husband’s neglect, Sue finally leaves Reed, whilst in the Himalayas Johnny has forced his way to Crystal’s side only to find his worst nightmares realised…

Fantastic Four #131 describes a ‘Revolt in Paradise!’ (illustrated by Ross Andru & Sinnott) as Crystal, her new fiancé Quicksilver, and the rest of the Inhumans are attacked by their genetically-bred and programmed slave-race the Alpha Primitives.

At first it seems that insane usurper Maximus is again responsible for the strife but a deeper secret lurks behind the deadly danger of ‘Omega! The Ultimate Enemy!’, and when the rest of the FF arrive Reed soon ferrets it out…

Issue #133 celebrated the holiday season with plenty of fireworks in ‘Thundra at Dawn!’ as the mysterious Femizon returns to battle Ben once more, courtesy of incoming scripter Gerry Conway, guest penciller Ramona Fradon & Sinnott, after which ‘A Dragon Stalks the Sky!’ in #134 (Buscema & Sinnott) finds Reed, Johnny, Ben and Medusa fighting forgotten super-rich foe Gregory Gideon and his latest acquisition the Dragon Man: a bombastic battle which concludes in a struggle to possess ‘The Eternity Machine’…

The secret of that reality-warping device is revealed in a two-part thriller as cosmic entity Shaper of Worlds creates a horrific paranoid pastiche of 1950s America: re-running the conflicts between rebellious youth and doctrinaire, paternalistic authority in ‘Rock Around the Cosmos!’ and the surreal conclusion ‘Rumble on Planet 3’ which also taps into the ongoing struggles of the Civil Rights movement…

In the sub-plot arena, the never-ending stress had forced Sue Richards away from her husband but their son’s rapidly-developing strange, undiagnosed cosmic powers and problems were pulling them reluctantly back together …

Mr. Fantastic was not taking the trial separation well and issue #138 finds him left behind in an increasingly disturbed depressive state when old comrade Wyatt Wingfoot comes looking for assistance against impossible, unimaginable disasters.

‘Madness is… The Miracle Man’ began a period when rocky everyman Ben Grimm became the de facto star of the Fantastic Four and here he, the Torch and Medusa travel to Wingfoot’s tribal lands in Oklahoma to battle a cheesy hypnotist first encounter in their third adventure.

Now, however, thanks to the charlatan’s subsequent studies under mystic Cheemuzwa medicine men, the maniac actually can reshape reality with a thought…

The battle concluded in the next issue as ‘Target: Tomorrow!’ sees the villain able to control matter but not himself spiralling frantically out of control, with our heroes struggling indomitably on until the Miracle Man makes a fatal, world-threatening error…

Reed’s travails take a darker turn in Fantastic Four # 140 as ‘Annihilus Revealed!’ finds the insectoid Negative Zone tyrant of a dying antimatter universe kidnapping the ever-more powerful Franklin before invading the Baxter Building in search of new worlds to ravage.

In triumph, the bug horror discloses his incredible origin to the helpless Wingfoot before dragging all his enemies back to his subspace hell to engineer ‘The End of the Fantastic Four!’

However, even though the beaten heroes counterattacked and gained an unlikely victory, Annihilus’ prior tampering with Franklin triggers a cosmic catastrophe. As the boy’s limitless power spikes out of control, his tormented father is compelled to blast the boy, shutting down his mutant brain and everything else.

Appalled at the callous cold calculations needed to put his own son into a coma, Johnny and Ben joined Sue in deserting the grief-stricken Mr. Fantastic and declaring their heroic partnership defunct.

To Be Continued…?

This power-packed package also includes unused a full cover gallery – including that of all-reprint Annual 10 – by Buscema, Frank Giacoia, Rich Buckler, Jim Steranko and John Romita, as well as many examples of original art and covers to add to the overall Costumed Drama and delight fans everywhere.

Although Kirby had taken the explosive imagination and questing sense of wonder with him on his departure, the sheer range of beloved characters and concepts he had created with Lee served to carry the series for years afterwards and these admittedly erratic and inconsistent stories kept the Fantastic Four ticking over until bolder hands could once again take the World’s Greatest Comics Magazine Heroes back to the stratospheric heights where they belonged.

Solid, honest and creditable efforts, these tales are probably best seen by dedicated superhero fans and continuity freaks like me, but can still thrill and enthral the casual browser looking for an undemanding slice of graphic narrative excitement.
© 1972, 1973, 2017 Marvel Characters, Inc. All rights reserved.

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Spider-Man Newspaper Strips volume 1: January 3rd 1977-January 28th 1979


By Stan Lee & John Romita, with Frank Giacoia (Marvel)
ISBN: 978-0-7851-8561-1 (TPB)

By 1977 Stan Lee had all but surrendered his role as editor and guiding light of Marvel Comics for that of a roving PR machine to hype-up the company he had turned into a powerhouse. In that year two events occurred which catapulted Marvel’s standout and signature character into the popular culture mainstream. One was the long-anticipated release of the Amazing Spider-Man live action TV show – a mixed blessing and pyrrhic victory at best – whilst the other, and one much more in keeping with his humble origins, was the launch of a syndicated newspaper strip.

Both mass-audience outreach projects brought the character to a wider audience, but the later offered at least a promise of editorial control – a vital factor in keeping the wondrous wallcrawler’s identity and integrity intact. But even this closely-aligned creative medium dictated some tailoring of the Merry Marvel Madness before the hero was a suitable fit with the grown-up world of the “Funny Pages”.

Which is a longwinded way of saying that completists, long-time fans and lovers of great artwork will enjoy this collection of periodical strips, as will any admirer of the stunning talents of the senior John Romita (latterly inked by the great Frank Giacoia); but the stories, tame, bowdlerised and rather mediocre, struggle without the support network of a Marvel Universe, and might feel a tad toned down and simplistic for readers not familiar with the wider cast or long history.

The strip was first posited and peddled around the papers in 1970 (Lee & Romita’s initial proposal and two weeks of trial continuities are included at the back of this book) but The Amazing Spider-Man only began on January 3rd 1977. It ran as a property of the Register and Tribune Syndicate until 1985, briefly switched to Cowles Media Company before becoming part of the King Features Syndicate in 1986. The strip went on hiatus following Lee’s death with the final new strip appearing on March 23rd 2019. Lee was still credited as writer even though Roy Thomas has been the ghost writer since 2000.

Romita illustrated the strip for the first four years, after which Stan’s brother Larry Lieber (in two separate stints), Fred Kida, Dan Barry and Alex Saviuk – all aided by a legion of artistic stand-ins – provided the visuals.

This initial collection – available in both landscape paperback and in digital formats – is a modified rerelease of a hardback tome from 2008, offering extra editorial and commentary as it re-presents the first two years of the strip, with traditional single tier monochrome dailies supplemented by full-colour, full page Sunday strips.

If the reader is steeped in the established folklore of the comicbook Spider-Man, the serials here – solidly emphasising Peter Parker‘s personal relationships in the grand manner of strip soap opera drama – introducing Dr. Doom and Dr. Octopus are merely heavy-handed, light on action but intrinsically familiar riffs on what has gone before. However, for the presumed millions of neophyte readers the yarns might have been a tad confusing: presented as if all participants are already fully-established, with no development or real explanation of backstory.

After the full-on Marvel villains are successively trounced, serpentine new baddie The Rattler stalks the city, followed in turn by the more appropriate and understandable (for strips at least) gangster The Kingpin who combines seditious politics with gun-toting thuggery.

Only then do the creators finally get around to a retelling of the origin, albeit one now based on that aforementioned TV show rather than the classic Lee/Ditko masterpiece. It’s safe to say that in those early years the TV series informed the strip much (too much) more than the monthly comicbooks…

A revised Kraven the Hunter debuted next, presenting an opportunity to remove glamourous good-time girl Mary Jane Watson from the strip in favour of a string of temporary girl-friends, more in line with the TV iteration. This also signalled a reining-in of super-menaces in favour of less-fantastic and far-fetched opponents such as a middle-Eastern terrorist.

The launch of a Spider-Man movie (surely the most improbable of events!) then takes photojournalist Peter Parker to Hollywood and into a clash with a new version of deranged special-effects genius Mysterio, before Dr. Doom returns, attempting to derange our hero with robot pigeons and duplicates of Peter Parker’s associates….

This is followed by an exceptional and emotionally-stirring run of episodes as three street thugs terrorise senior citizen Aunt May for her social security money, after which Spider-Man must foil a crazed fashion-model who has discovered his identity and is blackmailing him… These human-scale threats are a far more fitting use of the hero in this more realistic milieu – which pauses here with a protection racket romp set in the (feel free to shudder) discotheque owned by young entrepreneurs Flash Thompson and Harry Osborn, courtesy of newly-returned corpulent crimelord Kingpin…

To Be Continued…

Adding to the time capsule of arachnid entertainment is that aforementioned proposal by Lee & Romita; archival interviews with both creators conducted by John Rhett Thomas and Alex Lear plus a gallery of six Sunday title panels (used to summarise events and set the tone for reader who only read the sabbath colour strips), as well as a classic Romita pin-up page starring the artist and his greatest co-creations…

Sadly, the stunning art can’t fully counteract the goofy stories that predominate in this oddball collection, nor has time been gentle with much of the dialogue, but there is nonetheless a certain guilty pleasure to be derived from this volume, if you don’t take your comics too seriously and are open to alternative existences….
© 1977, 1978, 2019 Marvel. All rights reserved.

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Captain America Marvel Masterworks volume 5


By Stan Lee, Gene Colan & various (Marvel)
ISBN: 978-0-7851-4200-3 (HB)

During the Marvel Renaissance of the early 1960’s Stan Lee & Jack Kirby tried a tactic that had reaped huge dividends for DC Comics. Although initially generating mixed results their efforts eventually changed the nature of comicbooks. Julie Schwartz had scored an incredible success with his revised versions of the company’s Golden Age greats, so it seemed natural to try and revive the characters that had dominated Timely/Atlas in those halcyon days.

A new Human Torch had premiered as part of the revolutionary Fantastic Four, and in the fourth issue of that title the Sub-Mariner resurfaced after a 20-year amnesiac hiatus (everyone concerned had apparently forgotten the first abortive attempt to revive an “Atlas” superhero line in the mid-1950s).

The Torch was promptly given his own solo feature in Strange Tales from issue #101 on and in #114 the flaming teen fought an acrobat pretending to be Captain America. With reader-reaction strong, the real thing promptly resurfaced in Avengers #4 and, after a captivating and centre-stage hogging run in that title, was granted his own series as half of the “split-book” Tales of Suspense with #59 (cover-dated November 1964). An unmissable string of classics ensued and in 1968 the Star-Spangled Avenger won his own solo title… but not for long…

This groundbreaking full-colour compilation (available in hardback and digital editions) spans May 1970 to April 1971 and re-presents Captain America #125-#136, with the action and drama occurring at an unprecedented moment of social, political and generational upheaval in the Land of the Free, as evocatively contextualised by historian and archivist Bruce Canwell in his potent Introduction.

Captain America #125 dips into sensational contemporary headline fare as the Sentinel of Liberty seeks to rescue a kidnapped peacemaker only to become ‘Captured… in Viet Nam!’ The mystery villain du jour is anything but politically motivated and the hero’s brief visit – as recounted by Stan Lee, Gene Colan and Frank Giacoia – owes more to super-villainy than nationalistic interventionism…

The Star-Spangled Avenger’s long-anticipated reunion with his erstwhile associate and partner Sam Wilson features in #126’s ‘The Fate of… the Falcon!’: tapping into the blossoming “blaxsploitation” trend to recount an entertaining (although, sadly, not always intentionally) caper of gangsters and radicals in funky old Harlem that still has a kick to it. Just play the (original) theme from Shaft whilst reading it…

Still working off-the-books for super-scientific government spy-agency S.H.I.E.L.D. (which back then stood for Supreme Headquarters International Espionage Law-enforcement Division), Cap demands ‘Who Calls Me Traitor?’ (#127, July 1970, by Lee, Colan & the astounding Wally Wood).

This pacy romp finds the veteran hero framed and manipulated by friend and foe alike in the search for a double agent in the ranks, after which the embittered warhorse drops out and decides to “discover America” – as so many kids were doing in the era of Easy Rider – on a freewheeling motorcycle.

Inked by Dick Ayers, ‘Mission: Stamp Out Satan’s Angels!’ finds the Red, White and Blue wanderer barely clear the city limits before encountering a nasty gang of bikers terrorising a small-town rock festival, after which his oldest enemy resurfaces to exact ‘The Vengeance of… the Red Skull’ as a simple albeit satisfying by-product of his main plan to start a Middle East war…

Issue #130 finds Cap ‘Up Against the Wall!’ when old foe Batroc the Leaper leads the Porcupine and Whirlwind in a fully paid-for ambush by a hidden villain just as the Sentinel of the Establishment is attempting to defuse an imminent college riot. The mysterious contractor then resorts to a far subtler tactic: launching a psychological assault in ‘Bucky Reborn!’…

With the mystery manipulator finally exposed, the tragic true story behind the resurrected sidekick comes out in ‘The Fearful Secret of Bucky Barnes!’ – a powerful, complex drama involving ruthless science terrorists A.I.M., their murderous master Modok and even Doctor Doom…

Back in New York, Advanced Idea Mechanics again feature prominently in #133 as Modok foments racial unrest by sending another killer cyborg to create ‘Madness in the Slums!’ The inner-city crisis allows Cap to reunite with his protégé the Falcon – whose name began appearing on the cover from the next issue…

Operating as full-fledged, official partners, the dynamic duo battle ghetto gangsters in ‘They Call Him… Stone-Face!’ (Captain America and the Falcon #134, with Ayers inking), before the Avenger introduces his new main man to S.H.I.E.L.D. in the chilling ‘More Monster than Man!’

Inked by Tom Palmer, this moody spin on the Jekyll and Hyde theme sees a love-struck scientist turn himself into an awesome anthropoid to steal riches, only to end up in ‘The World Below!’

With the Falcon coming to the rescue (and the legendary Bill Everett applying his brilliant inks to Colan’s eerily effective pencils) the battle of man against beast continues with the greedy technologist soon reduced to a collateral casualty of the Mole Man‘s latest battle with the champions of the surface world….

With a cover gallery by Marie Severin, Jack Kirby, Herb Trimpe, John Romita and Colan plus the cover to all-reprint Captain America Annual #1 (January 1971) to round out the riotous adventure, this is a titanic tome no Fights & Tights fan could possibly do without…

Any retrospective or historical re-reading is going to turn up a few cringe-worthy moments, but these tales of matchless courage and indomitable heroism are fast-paced, action-packed and illustrated by one of the greatest artists and storytellers American comics has ever produced.

As the nation changed Captain America was finally discovering his proper place in a new era and would once more become unmissable, controversial comicbook reading, as we shall see when I get around to reviewing the next volume…
© 1970, 1971, 2016 Marvel Characters, Inc. All rights reserved.

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Uncanny X-Men Marvel Masterworks volume 5


By Chris Claremont, Mary Jo Duffy, Bob Layton, John Byrne, Terry Austin, John Romita Jr., Bob McLeod, Dave Cockrum, Ricardo Villamonte, John Buscema, Klaus Janson, George Pérez, Alfredo Alcala & various (Marvel)
ISBN: 978-0-7851-5872-1 (TPB) 978-0-7851-1698-1 (HB)

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 the title was revived at the end of the year as a cheap reprint vehicle, the missing mutants were reduced to guest-stars and bit-players throughout the Marvel universe and the Beast was refashioned as a monster fit for the global uptick in scary stories until Len Wein & Dave Cockrum revived and reordered the Mutant mystique with a brand-new team in Giant Size X-Men #1 in 1975.

To old foes-turned-friends Banshee and Sunfire was added one-shot Hulk hunter Wolverine, and all-original creations Kurt Wagner, a demonic German teleporter codenamed Nightcrawler, African weather “goddess” Ororo Monroe AKA Storm, Russian farmboy Peter Rasputin, who transformed at will into a living steel Colossus and bitter, disillusioned Apache superman John Proudstar who was cajoled into joining the makeshift squad as Thunderbird.

The revision was an instantaneous and unstoppable hit, with Wein’s editorial assistant Chris Claremont writing the series from the second story onwards. The Uncanny X-Men reclaimed their own comicbook with #94 and it quickly became the company’s most popular – and high quality – title.

Cockrum was succeeded by John Byrne and as the team roster shifted and changed the series rose to even greater heights, culminating in the landmark Dark Phoenix storyline which saw the death of arguably the book’s most beloved and imaginative character.

In the aftermath team leader Cyclops left but the epic cosmic saga also seemed to fracture the epochal working relationship of Claremont and Byrne. Within months of publication they went their separate ways: Claremont staying with the mutants whilst Byrne moved on to establish his own reputation as a writer on series such as Alpha Flight, Incredible Hulk and especially his revolutionised and freshly-groundbreaking Fantastic Four…

After Apache warrior Thunderbird became the team’s first fatality, the survivors slowly bonded, becoming an infallible fighting unit under the brusque and draconian supervision of Cyclops. When Jean seemingly died to be reborn as a fiery godlike super-psionic, the team’s adventures became unmissable reading as there seemed to be no telling what shocks might come next…

This fifth fabulous compilation (available in luxurious hardcover, trade paperback and eBook editions) is perfect for newbies, neophytes and even old lags nervous about reading such splendid yarns on fragile but extremely valuable newsprint paper. It celebrates the absolute peak of Claremont & Byrne’s collaborative synergy (with regular inker Terry Austin very much a part of the magical experience) as the mutants confirmed their unstoppable march to market dominance through groundbreaking, high-quality stories: specifically, issues #132-140 of the decidedly “All-New, All-Different” X-Men plus Annual #4 – spanning April 1980 to July 1981, plus chronologically askew treats from Phoenix: the Untold Story and Bizarre Adventures #27.

In the previous volume two new mutants – Kitty Pryde and Disco diva Alison “the Dazzler” Blair – debuted as the X-Man clashed with plutocratic secret society The Hellfire Club: a battle the heroes survived by the skin of their teeth, and now the saga resumes in #132 as ‘And Hellfire is their Name!’ brings the Angel back into the fold. Their latest foes are in actuality a centuries-old association of the world’s most powerful and wealthy individuals and Warren Worthington’s family have been members in good standing for generations.

What better way of infiltrating the organisation than with someone already deep on the ultra-privileged inside?

As Wolverine and Nightcrawler scurry through sewers beneath the society’s palatial New York headquarters, Warren inveigles the rest in through the grand front doors into the year’s swankiest soiree whilst he and the Professor await events.

It’s a bold move but a pointless one. Although the rank and file are simply spoiled rich folk, there is an Inner Circle led by mutant powerhouse Sebastian Shaw which comprises some of Earth’s most dangerous men and women… and they have been waiting and watching for the mutants-in-mufti’s countermove…

As soon as the heroes are inside, mystery mindwarper Jason Wyngarde strikes, pushing Jean Grey until she succumbs to a fictitious persona he has woven over months to awaken her darkest desires. With the Phoenix’s overwhelming power added to the Inner Circle’s might, former friends quickly fall before the attack of super-strong Shaw and cyborg human Donald Pierce. Even Wolverine is beaten, smashed through the floors to his doom by mass-manipulating mutant Harry Leland…

As the Inner Circle gloat, Cyclops – connected to Jean by their psionic rapport – sees the world through his lover’s corrupted, beguiled eyes and despairs. However, when Wyngarde, revealed as mutant illusion caster Mastermind, apparently stabs Cyclops, the effect on “his” Black Queen is far from anticipated…

Far below their feet, a body stirs. Battered but unbowed, ‘Wolverine: Alone!’ begins to work his ruthless, relentless way through the Club’s murderous minions. His explosive entrance in #134’s ‘Too Late, the Heroes!’ gives the captive heroes a chance to break free and strike back, soundly thrashing the Hellfire blackguards. Sadly for Mastermind, not all his tampering has been expunged, and when Jean catches him, Jason Wyngarde’s fate is ghastly beyond imagining…

As the mutants make their escape the situation escalates to crisis level as the mind-manipulation finally unleashes all Jean’s most selfish, self-serving desires and she shatteringly transforms into ‘Dark Phoenix’…

Manifested as a god without qualm or conscience, Jean attacks her comrades before vanishing into space. Soon she reaches a distant system and, cognizant that she is feeling depleted, consumes the star, indifferent to the entire civilisation that dies upon the planet circling it…

Passing the D’Bari system is a vast and powerful ship of the Shi’ar star fleet. Rushing to aid the already extinct world, they are merely a postprandial palate cleanser for the voracious Phoenix…

X-Men #136 opens with the horrified Shi’ar Empress Lilandra mobilising her entire military machine and heading for Earth, determined to end the threat of the ‘Child of Light and Darkness!’ On that beleaguered world Cyclops has called in the Beast to build a psychic scrambler to disrupt Jean’s immeasurable psionic might but when she cataclysmically reappears to trounce the team, the device burns out in seconds.

Sporadically Jean’s gentler persona appears, begging her friends to kill her before she loses control, but Dark Phoenix is close to destroying the world before, in a cataclysmic mental duel, Xavier shuts down her powers and establishes psychic circuit breakers to prevent her ever going rogue again…

With Jean left as little more than mind-maimed human, the exhausted heroes shudder in the aftermath of Earth’s latest close call when suddenly, in a flash of light, they all vanish…

The epic concludes in X-Men #137 as the outraged and terrified Shi’ar arrive in orbit to settle ‘The Fate of the Phoenix!’

With observers from the Kree and Skrull empires in attendance, Lilandra has come to exact justice and prevent the Phoenix from ever rising again. She is not prepared to accept her fiancé Charles Xavier’s word that the threat is already ended…

Summary execution is only avoided when Xavier invokes an ancient rite compelling Lilandra to accept a form of trial-by-combat. Relocating to the enigmatic Blue Area of the Moon (with its artificial pocket of breathable atmosphere) the mutants engage in all-out war with a brigade of cosmic champions the Shi’ar Imperial Guard (an in-joke version of DC’s Legion of Super Heroes). However, despite their greatest efforts they are pushed to the brink of defeat.

With collapse imminent and her friends doomed, Jean’s psychic shackles slip and the Phoenix breaks free again. Horrified at what will inevitably happen, Jean commits suicide to save the universe…

Days later on Earth, the X-Men mourn her passing in #138’s ‘Elegy’ as Cyclops recalls his life with the valiant woman he loved so deeply – and we get a comprehensive recap of the mutant team’s career to date. Heartbroken, the quintessential X-Man resigns just as phase shifting teenager Kitty Pryde moves in…

Breaking from the monthly run, X-Men Annual #4 then describes ‘Nightcrawler’s Inferno!’ (by Claremont, John Romita Jr.& Bob McLeod) as Doctor Strange is called in after Kurt Wagner is targeted by a demonic Lord of Limbo and uncovers a secret family connection to uber-witch Margali Szardos…

A new day dawns in issue #139’s ‘…Something Wicked This Way Comes!’ as the Angel returns to the squad just in time to see Nightcrawler join Wolverine in heading north for a reconciliation with the Canadian’s previous team, Alpha Flight. The visit turns into a hunt for carnivorous magical monster Wendigo, culminating in a brutal battle and an increasingly rare clean win in #140’s concluding chapter ‘Rage!’

Wrapping up the mutant mayhem are a selection of tales retroactively crafted for this period of X-history. The first is a marketing oddity of the period. Phoenix: The Untold Story was released in 1984 and reprinted in X-Men #137… mostly.

By all accounts that epic conclusion was originally completed with a different ending and Jean Grey surviving the battle against the Shi’ar. That was before then Editor-in-Chief Jim Shooter overruled the outcome and decreed that she should die for her sins. You can judge the merits of the decision for yourself. Also included here are ‘The Dark Phoenix Tapes – a candid conversation between Byrne, Shooter and Claremont’ on the contentious issue.

That’s followed by monochrome magazine Bizarre Adventures #27 (published in July 1981) which offered untold tales under the umbrella heading of ‘Secret Lives of the X-Men’…

Preceded by ‘X-Men Data Log’ pages by illustrated by Dave Cockrum, solo tales of idiosyncratic stars begin with Phoenix in ‘The Brides of Attuma’ by Claremont, John Buscema & Klaus Janson. Here the dear departed mutant’s sister Sara Grey recalls a past moment when they were abducted by the undersea barbarian and Jean proved to be more than any mortal could handle…

That’s followed by Iceman vignette ‘Winter Carnival’ by Mary Jo Duffy, George Pérez & Alfredo Alcala, wherein Bobby Drake becomes embroiled in a college heist with potential catastrophic consequences before ‘Show me the way to go home…’ by Bob Layton, Duffy, Cockrum & Ricardo Villamonte pits Nightcrawler against villainous teleporter the Vanisher in a light-hearted trans-dimensional romp involving warrior women, threats to the very nature of reality and gratuitous (male) nudity…

For many fans these tales – and those in the next volume – comprise the definitive X-Men look and feel. Rightly ranking amongst some of the greatest stories Marvel ever published they remain thrilling, groundbreaking and painfully intoxicating and an invaluable grounding in contemporary fights ‘n’ tights fiction no fan or casual reader can afford to ignore.
© 1979, 1980-1984, 2014 Marvel Characters, Inc. All rights reserved.

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Incredible Hulk Marvel Masterworks volume 9


By Steve Englehart, Archie Goodwin, Roy Thomas, Steve Gerber, Chris Claremont, Herb Trimpe & various (Marvel)
ISBN: 978-0-7851-9194-0 (HB)

As the 1970s tumultuously unfolded, the Incredible Hulk settled into a comfortable – if excessively and spectacularly destructive – niche. A globe-trotting, monster-mashing plot formula saw tragic Bruce Banner hiding and seeking cures for his gamma-transformative curse, alternately aided or hunted by prospective father-in-law US General Thaddeus “Thunderbolt” Ross and his daughter – the scientist’s unobtainable inamorata – Betty, with a non-stop procession of guest-star heroes and villains providing the battle du jour.

Herb Trimpe had made the character his own, displaying a penchant for explosive action and an unparalleled facility for drawing technology – especially honking great ordnance and vehicles. Beginning with Roy Thomas – unofficial custodian of Marvel’s burgeoning shared-universe continuity – a string of skilful scripters effectively played the afflicted Jekyll/Hyde card for maximum angst and ironic heartbreak as the Jade Juggernaut became a pillar of Marvel’s growing pantheon.

This chronologically-curated hardback and eBook compendium re-presents issues #157-170, encompassing cover-dates November 1972 to December 1973, and opens after a revelatory Introduction from new regular writer Steve Englehart offers a few more intimate behind-the-scenes secrets…

Having just returned to Earth and normal size after a heartbreaking sojourn in a sub-atomic realm, the Jade Goliath promptly and potently battles a brace of old enemies in ‘Name My Vengeance: Rhino!’ (written by Archie Goodwin, with art by Trimpe & Sal Trapani) before being deviously dispatched – thanks to gamma genius The Leader – to the far side of the Sun. Here he discovers bizarre parallel world Counter-Earth and clashes with both the messianic Adam Warlock and his satanic antithesis in ‘Frenzy on a Far-Away World’, courtesy of Thomas, Steve Gerber, Trimpe & Trapani.

Meanwhile, on our planet heartbroken Betty Ross, believing her one true love is forever gone, marries the over-attentive, ever-present military martinet Major Glenn Talbot…

Steve Englehart took over the scripting chores with #159 as ‘Two Years Before the Abomination!’ sees Banner and the Rhino explosively returned to our embattled globe only to again be attacked by General Ross’ Hulkbuster forces. The grizzled soldier is more determined than ever to kill Banner – to safeguard America and preserve his unsuspecting daughter’s new marriage. However, the resulting conflagration awakes a comatose Gamma monster even more deadly than the Hulk…

‘Nightmare in Niagara!’ sees the misunderstood man-brute instinctively drawn to the honeymooning couple, only to encounter deranged amphibian outcast Tiger Shark in another blockbusting battle issue, after which his northerly rampage takes the Green Goliath into Canada. Typically, ‘Beyond the Border Lurks Death!’ as the Hulk becomes a reluctant ally of the recently hyper-mutated Hank McCoy – better known as the Bludgeoning Beast – in a battle against the Mimic. This veteran X-foe possesses the ability to absorb the attributes of others, but this gift has become a curse, going tragically, catastrophically haywire and threatening to consume the entire planet…

Still under Northern Lights, Hulk encounters a terrifying carnivorous, cannibalistic horror called the Wendigo in ‘Spawn of the Flesh-Eater!’ but the maniacal man-eater harbours a shattering secret which makes it as much victim as villain…

Pushing ever Pole-ward, the Hulk reaches the top of the world but cannot elude Ross’ relentless pursuit. After a cataclysmic arctic clash, both man-monster and his stalker fall into the super-scientific clutches of Soviet prodigy the Gremlin (mutant offspring of the Hulk’s very first foe the Gargoyle) in ‘Trackdown’ and, although the Gamma Giant breaks free with ease, the American General is left behind to become a highly embarrassing political prisoner…

Shambling into Polar seas, the Hulk then is captured by a fantastic sub-sea colony of human aquatic nomads in #164’s ‘The Phantom from 5,000 Fathoms!’ Decades ago, egomaniacal Captain Omen had created his own mobile submarine nation and roamed the ocean beds at will, and foolishly thought the Jade Goliath would be his latest freakish beast of burden. Sadly, the draconian dictator has no idea how his dissatisfied clan hungers for freedom, fresh air and sunlight and would disastrously rebel to follow ‘The Green-Skinned God!’ to their doom…

Incredible Hulk #166 finally sees the Green Goliath back in the USA, hitting New York just in time to clash with Battling Bowman Hawkeye and a brain-eating electrical monster dubbed Zzzax in ‘The Destroyer from the Dynamo!’ Meanwhile in the sub-plot section, a bold bid to rescue General Ross from the godless Commies succeeds, but seemingly costs the life of his new son-in-law…

Jack Abel took over the inking duties in #167 with ‘To Destroy the Monster!’ as grieving widow Betty Ross-Talbot suffers a nervous breakdown and is targeted by intellectual murder mutant Modok and his agents of Advanced Idea Mechanics who need an infallible weapon to break the Hulk.

Just as ghetto kid Jim Wilson reconnects with the Emerald Behemoth, Bruce Banner’s bestial alter ego effortlessly destroys Modok’s giant robot body but fails to prevent Betty’s abduction. She returns in the next issue as a Gamma-mutated avian horror programmed to destroy her former lover in ‘The Hate of the Harpy!’

Issue #169 finds the temporarily triumphant Harpy and her verdant victim trapped aboard an ancient floating fortress in the sky in ‘Calamity in the Clouds!’ and battling together against a monstrous android Bi-Beast. When Modok attacks, intent on controlling the alien tech of the flying city, the response destroys the last vestige of the sky-citadel, propelling the now-human Banner and Betty onto a lost tropical island inhabited by incredible alien creatures…

The Englehart, Chris Claremont, Trimpe & Abel monster-romp ‘Death from on High!’ cataclysmically concludes this volume in tried and true terrain-trashing style.

Before it all ends, though, there’s one last treat in the form of a gallery of original art pages by Trimpe & Abel…

The Incredible Hulk is one of the most well-known comic characters on Earth, and these stories, as much as the movies, cartoons, TV shows, games, toys and action figures, are the reason why. For an uncomplicated, honestly vicarious experience of Might actually being Right, you can’t do better than these yarns.
© 1972, 1973, 2018 Marvel Characters, Inc. All rights reserved.

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Thor Marvel Masterworks volume 11


By Gerry Conway, Stan Lee, John Buscema & various (Marvel)
ISBN: 978-0-7851-5885-1 (HB)

With the constantly expanding Marvel Universe growing ever more interconnected as it matured, characters literally tripped over each other in New York City and its environs, but such was not the case with Thor.

The Asgardian milieu and the soaring imagination of Jack Kirby had long drawn the Thunder God away from mortal realms into stunning new landscapes. When the unthinkable happened and the increasingly discontented King of Comics jumped ship from the House of (His) Ideas for arch-rival DC in 1970 an era ended.

Left to soldier on, Stan Lee called in artist John Buscema to carry a seemingly unbearable burden and after initial loss of focus and impetus a new type of tale began to emerge…

In case you came in late: disabled doctor Donald Blake took a vacation in Norway only to stumble into an alien invasion. Trapped in a cave, he found an ancient walking stick which, when struck against the ground, turned him into the Norse God of Thunder! Within moments he was defending the weak and smiting the wicked.

Months swiftly passed with the Lord of Storms tackling rapacious extraterrestrials, Commie dictators, costumed crazies and cheap thugs, but these soon gave way to a vast kaleidoscope of fantastic worlds and incredible, mythic menaces.

This bombastic transitional compendium (available in hardcover and digital formats) reprints Mighty Thor #195-205, spanning January-November 1972, with the puissant Thunder God going both forward and back between mortal and godly realms. By the time of these monthly episodes the Thunderer and his Asgardian companions were slowly devolving into a muddled, self-doubting band of fantasy spacemen roving the outer limits of the Marvel Universe under the earnest governance of young science fiction novelist Gerry Conway and a dedicated, talented but still unsettled string of artists. Now, however, a new path was being forged…

The new era is contextualised by scribe Conway in his Introduction before the action resumes with ‘In the Shadow of Mangog!’ (illustrated by John Buscema & Vince Colletta): the first part of another extended odyssey wherein Thor and friends are dispatched to the ends of the Universe. In his righteous rage All-Father Odin had banished second son Loki to a fantastic world, momentarily forgetting that once there the Prince of Evil might awaken the most vicious, unbeatable monster in the Asgardian universe ….

Now the Storm God, with Warriors Three Fandral the Dashing, Voluminous Volstagg and Hogun the Grim, finds himself lost ‘Within the Realm of Kartag!’ and facing slug-men and bewitching temptress Satrina, even as the All-Father and the hosts of the Shining City struggle to hold the liberated Mangog at bay.

Meanwhile, on the planet Blackworld Lady Sif and her muscular shield-maiden Hildegarde are undertaking another Odinian quest and find themselves caught up in a time-bending nightmare…

Thor #197 witnesses the heroes overcoming all odds to find ‘The Well at the Edge of the World!’, meeting the conniving, all-powerful Norns and recruiting colossal former foe Kartag for their desperate return to shattered Asgard.

On Blackworld, Sif and Hildegarde encounter monsters and men making uncontrollable evolutionary leaps towards an unguessable future, but make an unlikely ally and guide in aged sailor Silas Grant.

The male heroes return to find Asgard in flaming ruins and the cataclysmic confrontation with the Mangog nearing an apocalyptic end, whilst on Blackworld Sif, Hildegarde and Silas met alien Rigellian Colonizer Tana Nile and the horrendous creature behind the evolutionary jumps. Simultaneously, the battle in Asgard reaches a horrific climax when Mangog is at last defeated ‘…And Odin Dies!’

In issue #199, the ravaged home of the gods becomes adrift in a dimensional void, allowing Thor – clutching to a desperate last hope – to cocoon his deceased father in a timeless forcefield. This prevents Death Goddess Hela from claiming his soul, but sadly, she isn’t the only deity hungry for the All Father’s spirit and ‘If This Be Death…!’ reveals Grecian netherlord Pluto invading the broken realm to take Odin into his own dire domain.

…And, on Blackworld, Tana Nile hints at the origin of the monstrous Ego-Prime and how it can force such terrifying uncontrollable time-warps…

Back in free-floating Asgard, things go from bad to worse as brave Balder‘s beloved Karnilla deserts him just as invincible Pluto bests Hela and aims a killing blow at Thor…

The denouement was aggravatingly delayed as anniversary issue #200 hit the pause button to flashback to an earlier age.

‘Beware! If This Be… Ragnarok!’ was crafted by Stan Lee, John Buscema & John Verpoorten and spectacularly depicts the fall of the gods through the mystic visions of Volla the Prophetess, with only a bridging Prologue and Epilogue by Conway & Buscema revealing how the Norns save Thor’s life just in time for the concluding battle against Pluto to resume in #201 (with Jim Mooney providing lush finished art over Buscema’s layouts).

When Hela relinquishes her claim to the father of the gods and Odin enjoys a miraculous ‘Resurrection!’, on Earth absentee Asgardians Heimdall and Kamorr began seeking out mortals for a another Odinian master-plan even before the battle with Pluto is fully concluded…

As they scour Midgard, on Blackworld Ego-Prime advances the civilisation into atomic Armageddon and Sif barely transports her companions to Earth in time to escape thermonuclear conflagration.

Luckily Thor, Balder, and the Warriors Three are in New York City to meet the refugees, since the deadly, now self-evolving, Ego-Prime has followed the fugitives…

Thor #202 boasts ‘…And None Dare Stand ‘Gainst Ego-Prime!’ (Colletta inks) although Silas, Tana Nile and the assembled Asgardians try their best as the now-sentient shard of Ego, the Living Planet rampages through the city. It makes monsters and shatters entire streets whilst Odin calmly observes the carnage and Heimdall and Kamorr gather their human targets for the concluding ‘They Walk Like Gods!’

Here all Odin’s machinations are finally revealed as Ego-Prime inadvertently creates a new race of 20th century deities. Sadly, the All-Father’s long and single-minded scheme appals his son and weary, war-torn subjects, and their wholly understandable rebukes lead to them all being ‘Exiled on Earth!’ in #204 (Buscema & Mooney) and immediately targeted by terrifying satanic tempter Mephisto…

Soon, only the Thunderer is left to oppose the devil: recklessly invading his private hell and gloriously liberating hundreds of demon-possessed humans from ‘A World Gone Mad!’ (Colletta inks). Their triumphant return, however, is merely to Midgard, not the gleaming spires of forbidden Asgard…

To Be Continued…

This book (which also includes a gallery of Buscema original art pages and a cover by Gil Kane) is an absolute must for all fans of the superhero genre. Although the tales gathered here may lack the sheer punch and verve of The King, fans of cosmic Fights ‘n’ Tights fantasy will find this tome magnificently rendered by artists who were every inch his equal in craft and dedication, making this a definite must for all fans of the character and timeless adventure.
© 1971, 1972, 2017 Marvel Characters, Inc. All rights reserved.

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Captain America Marvel Masterworks volume 4


By Stan Lee, Gene Colan, John Romita Sr., John Buscema & various (Marvel)
ISBN: 978-0-7851-2936-3 (HB)

During the Marvel Renaissance of the early 1960’s Stan Lee & Jack Kirby tried a tactic that had reaped huge dividends for DC Comics. Although initially generating mixed results, their efforts eventually changed the nature of comicbooks. Julie Schwartz had scored an incredible success with his revised versions of the company’s Golden Age greats, so it seemed natural to try and revive the characters that had dominated Timely/Atlas in those halcyon days.

A new Human Torch had premiered as part of the revolutionary Fantastic Four, and in the fourth issue of that title the Sub-Mariner resurfaced after a 20-year amnesiac hiatus (everyone concerned had apparently forgotten the first abortive attempt to revive an “Atlas” superhero line in the mid-1950s).

The Torch was promptly given his own solo feature in Strange Tales from issue #101 on and in #114 the flaming teen fought an acrobat pretending to be Captain America. With reader-reaction strong, the real thing promptly resurfaced in Avengers #4 and, after a captivating and centre-stage-hogging run in that title, was granted his own series as half of the “split-book” Tales of Suspense with #59 (cover-dated November 1964). An unmissable string of classics ensued and in 1968 the Star-Spangled Avenger won his own solo title… but not for long…

This groundbreaking full-colour compilation (available in hardback and digital editions) gathers Captain America #114-124 – spanning June 1969 to September 1970 – and opens with a captivating Introduction from illustrator Gene Colan revealing amongst other things how he created The Falcon…

The comics portion of this treat opens as the Sentinel of Liberty has just acrimoniously retired from superhero service and reclaimed his anonymity after impetuously revealing his secret identity to the world mere months earlier.

The hiatus doesn’t last long as, again a man of mystery, Captain America bursts into action to save his lover Sharon Carter (SHIELD Agent 13) from a suicide mission against Advanced Idea Mechanics.

The tale coincided with an ongoing period of artistic instability as here John Romita the Elder (inked by Sal Buscema) illustrated Stan Lee’s tense spy-caper ‘The Man Behind the Mask!’.

The action and suspense were merely prologue to an extended war against the Red Skull. Issue #115 – ‘Now Begins the Nightmare!’ – was drawn by John Buscema and inked by his brother Sal, wherein the fascist arch-villain uses the reality-warping Cosmic Cube to switch bodies with the shield-slinger and trash the hero’s reputation, after which ‘Far Worse than Death!’ in #116 follows Cap’s frantic attempts to escape his own friends and allies the Avengers, as well as the villain’s callous reality-warping torments.

This issue saw the start of Gene Colan’s impressive run on the character, here augmented by the smooth, slick inks of Joe Sinnott.

This next instalment returns him to the Isle – and clutches – of aging war criminals the Exiles in a tale that introduced Marvel’s second black superhero.

‘The Coming of … the Falcon!’ in issue #117 was a terse, taut build-up to a cataclysmic clash before the neophyte hero-in-training takes centre-stage in ‘The Falcon Fights On!’ after which all the ducks drop neatly into place for a spectacular finale in ‘Now Falls the Skull!‘ in #119.

As 1970 dawned, Marvel imposed a moratorium on continued stories for most of their titles, and Cap – having returned to his hectic twin lives as unofficial SHIELD Agent and mighty Avenger – here hops on the disaffected youth/teen revolt bandwagon for a series of slight but highly readable puff-pieces promising nothing but delivering much.

Kicking off is ‘Crack-up on Campus!’ by Lee, Colan & Sinnott: an odd mélange of student radicalism and espionage that sees itinerant cipher Steve Rogers become a Physical Education teacher to foil a scheme by the sinister cyborg Modok and his AIM cohorts.

Demented bio-chemist Silas X. Cragg then rediscovers the fabled Super Soldier serum that had originally created Captain America in ‘The Coming of the Man-Brute!’ Sadly, the bonkers boffin picks the wrong candidate to become his Blockbuster stooge…

Spider-Man’s old sparring partner mugs the wrong guy in #122’s ‘The Sting of the Scorpion!’ and subsequently falls to Cap’s bludgeoning fists before issue #123 taps into the seemingly eternal “battle of the sexes” zeitgeist with ‘Suprema, The Deadliest of the Species!’ turning her espionage-tinged attentions to the Star-Spangled Avenger…

The blazing battle action then concludes here as AIM returns with a deadly new hi-tech human weapon. Despite all their efforts the Sentinel of Liberty triumphs yet again in ‘Mission: Stop the Cyborg!’…

Supplementing the drama is Romita’s original art cover for #114s and its colour roughs.

These are tales of dauntless courage and unmatchable adventure, fast-paced and superbly illustrated, which rightly returned Captain America to the heights that his Golden Age compatriots the Human Torch and the Sub-Mariner never regained. They are pure escapist magic. Glorious treats for the eternally young at heart, these are episodes of sheer visual dynamite that cannot be slighted and should not be missed.
© 1969, 1970, 2016 Marvel Characters, Inc. All rights reserved.

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Amazing Spider-Man Masterworks volume 17


By Len Wein, Bill Mantlo, Archie Goodwin, Scott Edelman, Marv Wolfman, Ross Andru, Don Perlin, John Romita Jr., Sal Buscema & various (Marvel)
ISBN: 978-0-7851-9186-5 (HB)

Peter Parker was a smart yet alienated kid when he was bitten by a radioactive spider during a school science trip. Developing astonishing arachnid abilities – which he augmented with his own natural chemistry, physics and engineering genius – the boy did what any lonely, geeky nerd would do with such newfound prowess: he tried to cash in for girls, fame and money.

Making a costume to hide his identity in case he made a fool of himself, Parker became a minor media celebrity – and a criminally self-important one. To his eternal regret, when a thief fled past him one night, the cocky teen didn’t lift a finger to stop him. When Parker returned home he learned that his beloved guardian uncle Ben Parker had been murdered.

Crazed with a need for vengeance, Peter hunted the assailant who had made his beloved Aunt May a widow and killed the only father he had ever known, finding, to his horror, that it was the self-same felon he had neglected to stop. His irresponsibility had resulted in the death of the man who raised him, and the traumatised boy swore to forevermore use his powers to help others…

Since that night he has tirelessly battled miscreants, monsters and madmen, with a fickle, ungrateful public usually baying for his blood even as he perpetually saves them.

By the time of the tales in this 17th superbly scintillating full-colour hardcover compendium (and eBook) of web-spinning adventures the wondrous wallcrawler was a global figure and prime contender for the title of the World’s Most Misunderstood Hero. Spanning May 1976 to May 1977 and chronologically re-presenting Amazing Spider-Man#169-180 and Annual #11, plus a crossover story that began in Nova #12 (spanning cover-dates June 1977 to May 1978). The dramas are preceded by an appreciative appraisal from Len Wein in his Introduction before the action resumes with ‘Confrontation’ (by scripter Wein and illustrators Ross Andru & Mike Esposito), wherein obsessive personal gadfly J. Jonah Jameson accosts Peter Parker with photographic proof that confirms the lad is the hated wallcrawler. The evidence has been supplied by a mystery villain but even as our hero seemingly talks his way out of trouble, a new foe emerges in the corpulent form of evil psychologist Doctor Faustus who targets Spider-Man with drugs and illusions to prove ‘Madness is All in the Mind!’ (co-inked by Frank Giacoia)…

Next follows that aforementioned crossover…

The Man Called Nova was in fact a boy named Richard Rider. The new kid was a working-class teen nebbish in the tradition of Peter Parker – except he was good at sports and bad at learning – who attended Harry S. Truman High School, where his strict dad was the principal.

His mom worked as a police dispatcher and he had a younger brother, Robert, who was a bit of a genius.

Rider’s life changed forever when a colossal star-ship with a dying alien aboard bequeathed to the lad all the mighty powers of an extraterrestrial peacekeeper and warrior. Centurion Rhomann Dey had been tracking a deadly marauder to Earth. Zorr had already destroyed the warrior’s idyllic homeworld Xandar, but the severely wounded, vengeance-seeking Nova Prime was too near death and could not avenge the genocide.

Trusting to fate, Dey beamed his powers and abilities towards the planet below where Rich is struck by an energy bolt and plunged into a coma. On awakening, the boy realises he has gained awesome powers… and all the responsibilities of the last Nova Centurion…

Nova #12 (August 1977, by Wolfman, Sal Buscema & Giacoia) asks ‘Who is the Man Called Photon?’ by teaming the neophyte hero with the far-more experienced webslinger in a fair-play murder mystery, brimming with unsavoury characters and likely killers after Rich’s uncle Dr. Ralph Rider is killed by a costumed thief…

However, there are ploys within ploys occurring and, after the mandatory hero head-butting session, the kids join forces and the mystery is dramatically resolved in Amazing Spider-Man #171’s ‘Photon is Another Name For…?’ courtesy of Wein, Andru & Esposito.

Amazing Spider-Man Annual #11 follows as ‘Spawn of the Spider’ (by Archie Goodwin & Bill Mantlo, Don Perlin & Jim Mooney) pits the wallcrawler against a deranged and disgruntled movie special effects man who creates a trio of bio-augmented arachnoid monsters to destroy the wallcrawler…

Brief back up ‘Chaos at the Coffee Bean!’ was written by Scott Edelman and inked by Al Milgrom and details how Peter and Mary Jane Watson are caught up in a hostage situation at their college bistro. It’s probably most noteworthy as the pencilling debut of future superstar creator John Romita Jr.

ASM #172 features ‘The Fiends from the Fire!‘ (Wein, Andru & Giacoia) as Spidey trashes idiotic skateboarding super-thief Rocket Racer only to stumble into true opposition when old enemy Molten Man attacks, desperately seeking a way to stop himself evolving into a blazing post-human funeral pyre…

Mooney inked concluding chapter ‘If You Can’t Stand the Heat…!’ as a cure for the blazing villain proves ultimately ineffectual and personally tragic for Parker’s oldest friends, after which #174 declares ‘The Hitman’s Back in Town!’ (inks by Tony DeZuñiga & Mooney). This sees still relatively unknown vigilante Frank – The Punisher – Castle hunting a costumed assassin hired to remove Jameson, but experiencing an unusual reticence since the killer is an old army pal who had saved his life in Vietnam.

Despite Spider-Man being outfought and out-thought in every clash, the tale resolves with the hero somehow triumphant, even though everything ends with a fatality in the Mooney-embellished conclusion ‘Big Apple Battleground!’ in #175.

The remainder of this volume is taken up with an extended epic that sees the return of Spider-Man’s most manic opponent. Illustrated by Andru & DeZuñiga, ‘He Who Laughs Last…!’ features the return of the Green Goblin, who targets Parker’s friends and family…

When the original villain – Norman Osborn – died, his son Harry lost his grip on sanity and became a new version, equally determined to destroy Spider-Man. On his defeat, Harry began therapy under the care of psychiatrist Bart Hamilton and seemed to be making a full recovery. Now both patient and doctor are missing…

The assaults on Parker’s inner circle increase in ‘Goblin in the Middle’ (Esposito inks) with the emerald psychopath expanding operations to challenge crime-boss Silvermane for control of New York’s rackets whilst in ‘Green Grows the Goblin!’ (inked by Mooney) and ‘The Goblin’s Always Greener!’ (Esposito) a devious plot and shocking twist lead to a near-death experience for Aunt May before an astonishing three-way Battle Royale ends the crisis in ‘Who Was That Goblin I Saw You With?’

Added extras this time around include Gil Kane & Giacoia’s front-&-back covers for Marvel Treasury Edition #14 (The Sensational Spider-Man), and its frontispiece by Andru; House ads for Spider-family titles and 1977 Annuals, plus the usual biography pages to complete another superb and crucial selection starring this timeless teen icon and superhero symbol.
© 1976, 1977, 2015 Marvel Characters, Inc. All rights reserved.