Already the Stygian darkness looming ahead… blotting out the comforting glow of a thousand stars…!
Where were we. While Thor was fighting Pluto in the Netherworld, Jane’s roommate Tana Nile sent her away with mind control. Tana Nile has since been revealed as a Rigellian and conquered earth via a Space Lock from Rigel. Thor has traveled to Rigel to destroy the Space Lock.
The Rigellians have some pretty advanced technology, and aren’t used to losing. But Thor is Thor.
Ay! The gladness in his heart doth make mine own regal soul rejoice! Too long hath he been brother to sorrow! Too long hath grim duty o’ershadowed his days! Yet, a feeling of unease lies within my heart! I fear that happiness may still be denied to the so-richly-deserving, most noble Thor!
Thor’s comic has become one ongoing saga to the point where it’s hard to figure out where to cut. We obviously did cut after the last issue, which basically ended the Hercules/Pluto saga. But here we are picking up right where that left off, with Thor and Hercules returning from the Netherworld to Olympus.
We’re just going to plow through the next 6 issues of Thor, getting a bit ahead in time of the rest of the Marvel Universe. There are probably 3 distinct arcs among them, but they all just flow together. Really, the main plot of this issue has been building for a bit now. Jane has had a strange roommate named Tana Nile, who’s up to some stuff. It’s been in the background, but now comes to the foreground. And Jane’s encounter with Tana Nile will be the springboard for the next two arcs.
Of course the other springboard is Thor’s decision to marry Jane, even though a god and a mortal may not marry. Thor is ready to surrender his immortality for this.
Featuring: Sgt. Fury and his Howling Commandos Release: May 10, 1966 Cover: July 1966 12 cents Exquisitely non-edited by: Stan Lee Ecstatically scripted by: Roy Thomas Excitedly drawn by: Dick Ayers Elatedly inked by: John Tartaglione Eventually lettered by: Sam Rosen 20 pages
“Now lissen, ya blasted goldbricks, and lissen good! This medic’s come all the way from the States to find out what makes us Howlers tick, an’ anybody that gives him trouble will answer to me! The doc’s here to see to it that none’a you jaw-flappin’ hyenas conks out on a mission! Like the sayin’ goes, a chain’s only as good as its weakest link!” “Ain’t that pretty, Reb?” “It sho’ nuff is, Gabe! Hey, Sarge… y’all think up that li’l ol’ speech by yoahself?” “Shuddup!”
Stan has something of a mixed reputation amongst fans today. One of the common complaints against him is that he took more credit than was due, that he accepted the credit and pay of a writer on works where his role was closer to that of an editor.
As he’s been handing off scripting duties to folks like Thomas and O’Neil, he’s stopped taking writing credit. But still gets his name first in the credits, now as an editor. (Interestingly, Roy Thomas is facing a bit of controversy lately for claiming to much creative credit from his later role as an editor.)
Amusingly, the credits admit Stan is now on vacation and wasn’t able to edit this particular book. So he claims credit for not editing the comic.
And still gets his name at the top of the credits!
We’d recently read a Daredevil comic from the same month where O’Neil had to finish the script because Stan took a vacation.
This actually may be the first comic we’ve come across that Stan Lee claims no credit for.
It’s possible this was Stan’s first vacation in five years.
Featuring: Spider-Man Release: June 9, 1966 Cover: September 1966 12 cents Writer: Stan Lee Penciller: John Romita Inker: Mickey Demeo Letterer: Sam Rosen 20 pages
And so, at long last– The Green Goblin will introduce himself– Take a look, Parker– a good, long look– It’s the last face Spider-Man will ever see– It’s the real face of the Green Goblin– the face of [SPOILER REDACTED]
Steve Ditko has officially left Marvel, which won’t leave me with too many other excuses to bring up Steve Ditko. However, this is the first issue of Spider-Man to not be drawn by Steve Ditko. Which is a fine excuse for bringing up Steve Ditko.
Among those interviewed was Steve’s younger brother, Patrick Ditko, who passed away just last month.
I’ve made no secret how much I love Steve Ditko’s work on Amazing Spider-Man, and have spent this blog clumsily trying to explain why over 38 issues worth of posts. Perhaps this characterization of Spider-Man from the Rolling Stone article gets to the core of how I see myself reflected in the character.
He lacked social skills.
A more charitable interpretation of my own character is perhaps found in their characterization of Steve Ditko as a man…
…who never fit into social norms, yet cultivated thriving relationships.
They go on.
Similar to how Peter Parker never lets loved ones get too close for fear it would put them in danger, Ditko compartmentalized his life, keeping work and family distinct to retain some power in a world that overwhelmed him. And the same way Spider-Man’s neuroticism makes him amazing, the traits that people marginalized Ditko for are what transformed comics forever.
…he had much more in common with his most popular co-creation, Spider-Man, especially his alter ego, Peter Parker. They had the same lanky build. Same comb-over. Same thick glasses. Same bumbling social skills. Ditko’s senior-yearbook photo could have been Parker’s. With their collared shirts and slacks, it looked as if they shopped at the same clothing store —
The late comics retailer Bob Beerbohm assembled this high school photo of Ditko next to high school Peter Parker. Perhaps there is a lot of Ditko in Peter.
So what then is Spider-Man without Steve Ditko? Is the series over?
In some sense, it is plainly not. We have here issue 39. Stan Lee continues to write the comic and has found a new artist to draw it (and probably soon to do most of the writing as well).
If issue 38 was the ending, it wasn’t a clean one. Lots unresolved. Betty is missing. Gwen and Peter are growing closer. Norman Osborn is up to some shady stuff. We never learned the secret of the Green Goblin.
Some say the reason Ditko left Spider-Man is because he and Stan disagreed over the secret of the Green Goblin. We’ll reflect on that at the end of the post.
For now, let’s see what life after Ditko looks like for the Amazing Spider-Man.
John Romita is on art. Unlike Ditko, he tends to draw good-looking people. His career in advertising taught him well to draw good-looking people.
Featuring: Fantastic Four Release: May 10, 1966 Cover: August 1966 12 cents Script: Stan Lee Art: Jack Kirby Inks: Joe Sinnott Lettering: Artie Simek Native Dances: The Ballet Forbush Terpsichorean Troupe 20 pages
From this moment forth– I live with but one thought– one aim– one goal!! This deed must be avenged! Klaw shall pay– in full measure! I shall be as strong– and as fearless– as the sacred Black Panther!! This do I swear to T’Chaka– my father who is no more!
I’m sure my highly literate readers don’t need me to tell that that terpsichorean means “referring to dancing”. It’s obviously not a new word to me either, as I’ve read this comic plenty of times before. But this was the first time I bothered to look it up.
Thing is perplexed by the contrast between the advanced scientific gizmos and the primitive customs. Perhaps he should reflect on what it means to be primitive. Maybe he is the primitive one?
Featuring: Fantastic Four Release: April 12, 1966 Cover: July 1966 12 cents Script by: Smilin’ Stan Lee Art by: Jolly Jackie Kirby Inking by: Gentleman Joe Sinnott Lettering by: Hammy Sammy Rosen 20 pages
The time has come for the Black Panther to stalk once more!
I’m going to repeat something I’ve been saying for the last year’s worth of Fantastic Four stories: just how impressive this moment in time is. What they accomplish in four consecutive stories arcs is unparalleled in comics history. Unprecedented and unequalled. To introduce the Inhumans, then have that story bleed into introducing Galactus and the Silver Surfer, then have that story bleed into the seminal “This Man This Monster”, to then immediately follow that up with the introduction of the Black Panther. Next issue will introduce the villainous Klaw and tell the origin of the Black Panther.
That’s a run of 10 incredibles issues. This run was preceded by the famous wedding, which was preceded by an epic three-part battle with the Frightful Four, which was preceded by one of their most iconic battles against Dr. Doom over the previous two issues…
The comic has been on fire with a sustained level of quality no other comic series has ever reached.
It can’t last forever. Fantastic Four #54 is a solid but ultimately forgettable comic. Though the stretch of stories that follow is also excellent, on par with anything except this incredible 10-issue stretch.
Let’s dive into the story without further hyperbolic build-up, and then we’ll take some time at the end to reflect on this new character we’ve just met, the Black Panther.
Featuring: Daredevil Release: May 5, 1966 Cover: July 1966 12 cents Story by: Smilin’ Stan Lee Art by: Jazzy Johnny Romita Inks by: Fearless Frank Giacoia Lettering by: Swingin’ Sammy Rosen 20 pages
Karen is about 99% convinced that I’m really Daredevil! But, she still hasn’t said she’ll marry me!
Next to the credits, we learn Stan had scripted 7 pages before taking a vacation, and that Denny O’Neil finished the script.
We met Dennis O’Neil on the final two issues Ditko’s Dr. Strange, his first comics work. He won’t be at Marvel long. He’ll go on to pretty good things at the Distinguished Competition.
Foggy enters a costume shop featuring various superheroes and villains. Recall how we saw a lot of superhero sculptures from Wally Wood to show off his takes on the characters; this is Romita’s chance to show he’s qualified for a variety of titles. Unfortunately Wood left before trying his hand at other Marvel characters.
Romita will be with Marvel for the rest of his days, and have generally more positive things to say about Stan and their relationship than the artists we’ve been seeing up until now. And Romita will get plenty of chances in the future to draw the characters he’s depicting here.
Featuring: Marvels Release: January 25, 1994 Cover: March 1994 $5.95 Writer: Kurt Busiek Artist: Alex Ross Letterers: Starkings w/ John Gaushell Editor: Marcus McLaurin Assistant editor: Spencer Lamm Editor in chief: Tom DeFalco Cover design & logo: Joe Kaufman Interior Design: Comicraft 45 pages
And then it was quiet. No one around. They were all inside– or gone. Was this what it was going to be like? Silence and emptiness– forever?
We again jump back to 1994. As noted in this post, which serves as something of a vision statement, my goal here is to be able to reread my first comic, Avengers #309, but this time with full context, without feeling like I was missing anything or that I had read things out of order. More than that, it’s an attempt to try to see decades of disparate titles by a variety of creative voices as telling a larger single story.
I see Marvels, the masterpiece by Busiek and Ross, as an attempt to come to terms with that same story, and then to tell it in miniature. In general I try to take a contemporaneous viewpoint, looking at our 1966 stories from the perspective of 1966, and not spending too much thought on what later stories have to say. Marvels is the exception, as I’m using Marvels to frame our reading and my thinking about this reading.
For example, we jumped a little bit ahead in our X-Men reading lately. The rush through X-Men was to line up with this issue of Marvels. I was eager to read this comic right after the Galactus saga, but knew I had to hold back until after the X-Men battled Count Nefaria. And the choices in reading order we made with respect to the Avengers and Fantastic Four stories were inspired by how Marvels presented them.
There is no other later series I let impact my thinking on these stories. That’s born both out of a love of Marvels and its creators, and a trust in Kurt Busiek to have done his homework.
As this post is a bit long and picture-heavy, I’ve broken it into twoparts.
The series Marvels covers the Marvel Universe from 1939-1973. I don’t know how far this blog will go before I get bored or die, but I’m hoping to at least hit 1973 and finish Marvels. But that is several years away.
There’s also a bit of timing in the writing of this blog that has recontextualized Marvels and the stories it represents again. I started this blog in 2019 and reached Marvels #1 in 2020, and found new meaning in Phil’s desire for the world to return to normalcy. I write this blog post in 2024, with 2020 four years in the past, but the pandemic continuing to affect lives in big and small ways.
Marvels #1 starts with the dawn of Marvel in 1939 and takes us into the war in Europe, likely around 1943. We then jump forward 20 years and Marvels #2 covers the ground of part of our reading. It skips the introductions of most of the heroes and takes us to 1964 and Avengers #6 (May 1964), then ends in 1965 with Tales of Suspense #69 (around July 1965). Its focus was on the juxtaposition of two major events, the wedding of Reed and Sue in Fantastic Four Annual 3, and the introduction of the Sentinels in X-Men #14-16.
Thinking in terms of Fantastic Four, a title which has been a monthly constant in our reading, Marvels #2 covers the ground of approximately Fantastic Four #29-43.
Marvels #3 will cover a little less ground, Fantastic Four #44-50, bringing us to around February 1966. And most of the page count is dedicated to recapturing a single story, the battle between the Fantastic Four and Galactus in Fantastic Four #48-50. Due to its wonky arrangement with other stories, the original battle only covered about 48 pages of comics originally, so the retelling in miniature is not actually that much shorter, taking up almost 32 pages.
Of course, this retelling will not be from the perspective of the Fantastic Four, but our man Phil Sheldon.
The story has been about Phil, but also about his changing opinion of the Marvels. In the 1930s, he thought they were something to fear when he first saw Human Torch and Sub-Mariner, but came to conclude they were something to cheer on when he saw Captain America, and then all the heroes teaming up against Nazis. He continued to cheer them on into the 1960s, loving the Fantastic Four and the Avengers… but not the X-Men. Mutants, he hated. Though he grew a bit by the end.
Now he begins to wonder if he’d put a bit too much faith in all the Marvels, put them too much on a pedestal. As they become embroiled in controversy after controversy… had he overestimated them? He begins to have doubts.
Featuring: X-Men Release: June 2, 1966 Cover: August 1966 12 cents Edited in ecstacy by Stan Lee Written in rapture by Roy Thomas Drawn in delight by Werner Roth Delineated in depth by Dick Ayers Lettered in a lawn-chair by Artie Simek 20 pages
It is only in this form, in which I have no solid substance, that I can know anything like the thrill of walking again!
Werner Roth had been referring to himself as “Jay Gavin” these last several issues. But now he’s ready to use his real name in the credits.
We pick up where last issue left off, with the X-Men prisoners of Count Nefaria and the new Maggia, with lieutenants picked from an assortment of titles.
Now Nefaria executes his plan, holding Washington DC hostage, blackmailing America, and framing the X-Men.
