Featuring: Giant-Man and Wasp Release: October 1, 1964 Cover: January 1965 12 cents Sensationally superb story by: Stan Lee Absolutely adorable art by: Carl Burgos Incredibly imaginative inking by: Chic Stone Logically lovable lettering by: S. Rosen 12 pages
Giant-Man was the clumsiest superhero, but he’s been working really hard to improve that image, learning to shrink and grow really fast while practicing gymnastics.
The covers have rarely (never?) mentioned the creative team, yet this one is quite proud to have the already legendary Wally Wood on the team. Joe Orlando had done the last 3 issues of Daredevil, but has now left Marvel forever. The narration takes the time to thank the creators that helped start this series: Everett, Orlando, Colletta.
Wally Wood will be on board for 6 issues of Daredevil.
The letterer, presumably Sam Rosen, goes uncredited.
Daredevil gets a new logo. Rather than the boring “D” on his chest, it’s the slightly more interesting “DD”. The first notable change that Wally Wood will bring to the character of Daredevil. Still not the best logo, but one that will basically endure.
Featuring: Tales of Asgard Release: October 1, 1964 Cover: December 1964 12 cents Superbly written by: Stan Lee Supremely drawn by: Jack Kirby Savagely inked by: Vince Colletta Sagatiously lettered by: Artie Simek 5 page
The theme of many of these early Thor stories is that Loki is still considered a friend and ally by Thor, yet Loki is always secretly trying to get Thor killed, usually in pretty non-subtle ways. This has been going on since they were children.
Loki has recommended a short cut through a forbidden forest, then goads Sigurd and Thor into battle. Balder is suspicious.
Featuring: Thor Release: October 1, 1964 Cover: December 1964 12 cents Written with the mastery of: Stan Lee Illustrated with the genius of: Jack Kirby Delineated with the delicacy of: Chic Stone Lettered with the India ink of: Artie Simek 16 pages
It is a pretty cover. I would argue the box about not having captions counts as a caption.
The two panels devoted to the love of Odin’s youth is far more interesting than the many pages devoted Thor fighting Cobra and Mr. Hyde.
It’s tantalizingly sparse in details. Balder sings a song of Odin’s youth and own forbidden love, until Loki interrupts, fearing Balder is trying to sway Odin to be fairer to Jane. Odin and the unnamed girl he was forbidden to marry took “one last ride over the eternal chasm together”. What does that even mean?
Featuring: Tales of Asgard Release: September 1, 1964 Cover: November 1964 12 cents Writer: Stan Lee Illustrator: Jack Kirby Delineator: Vince Colletta Letterer: Art Simek 5 pages
King Rampok is dead. The meek Prince Rivvak must now lead their forces against Asgard. Armies gather, and not for tea.
During the battle, Odin repeatedly employs questionable tactics and does not seem to bring his full power to bear. Ultimately, the Asgardians retreat in defeat.
Featuring: Thor Release: September 1, 1964 Cover: November 1964 12 cents Spectacularly written by: Stan Lee Magnificently drawn by: Jack Kirby Powerfully inked by: Chic Stone Eventually lettered by: Art Simek 16 pages
This image of Thor holding the wounded Jane resembles an extremely common trope in superhero comics. It’s a standard way to depict a character as dead while another mourns them. This is the first time we’ve seen it in our Marvel reading. The Distinguished Competition had a cover with a similar pose a year earlier to depict the death of Robin.
Generally, these are described as “pieta covers”, referring to the resemblance to La Pieta by Michelangelo, in which Mary holds the body of her dead son, Jesus.
This blog post on metropolisplus gives an overview of the trope. Depending on how much of a purist you are, this Thor cover might not quite fit the pieta trope. As Jane is wounded, not dead; and Thor is protecting her, not mourning her. But it’s pretty close.
Featuring: Captain America Release: September 8, 1864 Cover: December 1964 12 cents Writer: Stan Lee Artist: Jack Kirby Inked by: Chic Stone Lettered by: Art Simek 10 pages
Last issue, Captain America fought a gang of generic villains in purple jumpsuits. This issue, the generic villains are wearing green jumpsuits and work for Zemo. “Army of Assassins” may be their official name, as it’s used repeatedly.
There really won’t be much in the way of a story here, so what value we find will have to be in dramatic expressions and posing, and of course in the high energy action on display. I suspect Kirby will come through.
Featuring: Iron Man Release: September 8, 1864 Cover: December 1964 12 cents Written by the king of comi-drama: Stan Lee Illustrated by the master of panoramic spectacle: Don Heck Inked by the prince of line design: Dick Ayers Lettered by the sultan of shaky borders: Sam Rosen 13 pages
Iron Man is suspected of murdering Anthony Stark! But how can that be when Iron Man and Stark are the same person!
The art team is Heck and Ayers. We recently saw their work on Avengers #9 and will soon see it on Avengers #10. I was not impressed with their Avengers work. They acquit themselves much better here, even when rendering the Avengers. The faces are clear and distinct. The lines are clean.
Here’s where we were. Iron Man’s heart problems have accelerated. He needs the constant flow of power from his suit to his heart. He cannot remove his suit even for a minute, lest he risk his heart giving out. This means he cannot appear as Tony Stark. He made some excuses as Iron Man for Tony’s disappearance, but Pepper and Happy are suspicious.
This story seems to take place pretty soon after the ending of last issue. Pepper and Happy are searching for Mr. Stark. We saw that Avengers #9 explicitly took place in the middle of all this, with Iron Man reflecting on Stark’s disappearance and Pepper and Happy’s suspicions.
Featuring: Avengers Release: September 8, 1964 Cover: November 1964 12 cents Story superbly written by: Stan Lee Art adorably drawn by: Don Heck Inked by darlin’ Dick Ayers Lettered by stalwart Sam Rosen 20 pages
The issue’s title is “The Avengers Break Up”. Yet, at no point in the issue do the Avengers appear to break up. Instead, characters go to great lengths repeatedly to explain the title via the dialogue. “Now that Thor’s over there and Iron Man’s across the room, it’s basically like they’ve broken up.”
The Heck/Ayers art looks much as it did last issue, which I see as a negative. I’ll give them credit for a couple nice panels. A trippy one of Immortus and an easy-on-the-eyes Enchantress.
We get a weirdly sexist moment in an era filled with weirdly sexist moments. I don’t know if I’m ready to claim it’s the worst, but it’s up there. Iron Man recommends giving Rick Jones a uniform and making him an official Avenger. “…why don’t we make his membership in the Avengers official, as the Wasp’s is…”
Featuring: Fantastic Four Release: September 8, 1964 Cover: December 1964 12 cents Script: Smilin’ S. Lee Art: Jolly Jack Kirby Inks: Chucklin’ Chic Stone Lettering: Amiable Art Simek 20 pages
Kirby has used these photo collages a few times now, but this is the first cover that combines art with photographs in a cool collage.
This is the first time Stan’s name has ever been abbreviated in the credits: “S. Lee”. I’m guessing the letterer just ran out of room.
Namor is again the king of Atlantis (the exact same month Aquaman is first named king of Atlantis at the Distinguished Competition). Namor has the most fickle people. They moved the entire kingdom once so he couldn’t find them because of his affection for Sue. But I guess that’s all forgotten now.
Meet Attuma. We’ll be seeing him again.
The story is that Dorma betrayed Namor because he scorned her love, so she helped Attuma’s armies gain entry to Atlantis so Attuma could seize the throne. Women, eh?
