Comic Books – Page 44 – Coke & Comics

Tales of Suspense #53

The Black Widow Strikes Again!

Featuring: Iron Man
Release: February 11, 1964
Cover: May 1964
12 cents
Story plot by: Stan Lee
Script by: N. Korok
Art by: Don Heck
13 pages

Iron Man takes a big step forward. Since his debut, he’s been the lead feature of Tales to Suspense, featured on the cover with his name somewhere prominently, and his visage in the little box up top. This issue, he gets a logo. Large font in a standard position atop the page reads, “The Power of Iron Man”. The comic is still “Tales of Suspense”, as noted at the top; yet, the comic’s title is the subordinate font. In big bold letters, we see clearly this is Iron Man’s comic. Marvel will do the same with Thor next month. For whatever reason, they seem less inclined to advertise Human Torch or Giant-Man so boldly.

While less impressive, it should be noted that The Watcher gets acknowledged on the cover in a text box. No other covers have or will mention his backup features. That coincides with a change in the Watcher tales. He will no longer be narrating other tales but starring in his own adventures.

Black Widow returns, now with black hair (though this time it looks red on the cover). Last issue, her only role was distraction by seduction. Here, she steals a powerful new Stark weapon, but we still don’t see her demonstrating many talents of her own.

Her plan largely hinges on Stark’s stupidity (which worked well for her last time). He shows her his new top secret super weapon, perhaps because he is smitten with her. She then steals the weapon. We learn Stark was not smitten, but pretending to trust her to learn her plans. There was no need for that. The events of last issue provide plenty of evidence she was a Soviet spy and an accomplice in the murder of Professor Vanko. There was no reason to learn her new plan. Just have her arrested.

Tales of Suspense #52, Story C

The Failure!

Featuring: Watcher
Release: January 10, 1964
Cover: April 1964
12 cents
Story plot: Stan Lee
Script + art: L.D. Lieber
Inking: P. Reinman
Lettering: S. Rosen
5 pages

With this story, we finally finish all the January comics, after some jumping around in time. We’d already ready some February books, but now we have officially reached February in our reading.

The Watcher has another tale for us, concerning the one man on Earth who was seen as a failure because he refused to pursue success in business. He and his lady end up rulers of a galactic empire. The Watcher asks: “Can any of us ever really know who is a failure and who is not?”

Tales of Suspense #52

The Crimson Dynamo Strikes Again!

Featuring: Iron Man
Release: January 10, 1964
Cover: April 1964
12 cents
Plot by: Stan Lee
Story by: N. Korok
Art by: Don Heck
Lettering by: S. Rosen
13 pages

N. Korok is an alias for Don Rico. Stan credits Rico with the story and himself with the plot. I would love to know what Stan thinks the difference between “plot” and “story” is. Rico had been working with comics, and Marvel Comics in particular, since 1939, as artist or writer or editor. By this time, he had mostly left comics behind and become a successful novelist– likely why he’s not using his real name on this comic work. Any comics work by Rico from this point forward will be quite uncommon.

Khrushchev decides it’s time to deal with the traitorous Crimson Dynamo. He sends for Russia’s best agents, Boris and Natasha.

No, not those two.

PRELUDE: Mystic Comics #4, Story E

The Black Widow

Featuring: Black Widow
Release: June 12, 1940
Cover: August 1940
10 cents
By: George Kapitan and Harry Sahle
7 pages

I’ll confess I have very little idea what I just read. Sometimes, that’s because the storytelling is wonky and I can’t parse what’s happening in the moment. Othertimes, I think I do follow what’s happening and that confuses me even more.

We’re about to meet the modern Black Widow. So I thought it would be worth looking at the original 1940s Black Widow. I may come to regret that decision.

On the other hand, Black Widow might be the very first female superhero. If so, it certainly makes this a notable–if very strange–story.

Toonpedia discusses the question in gory detail. Don Markstein notes Black Widow has two notable superheroesque predecessors. Fantomah used extraordinary powers to combat evil. The Woman in Red wore a flashy costume while battling evil. Black Widow was the first woman in comics to do both.

However, while undeniably super, was she a “hero”, given that her charge was to collect souls for her master Satan? I’ll leave that to you to decide.

Let’s get to the story, such as it is.

We’re at a seance. Check. Claire Voyant. I get it. I’m with it for one panel. I’m not sure what’s happening in the second panel. Maybe Satan is appearing?

Whatever happened, the customer is very upset by the third panel. She wanted a seance, not witchcraft. She apparently sees some clear distinctions, where I personally find the lines pretty fuzzy. By the fourth panel of this story, Claire is cursing the family who was just attending her seance. Perhaps because she’s possessed by Satan. Maybe? By the end of the second page, I think I’m starting to follow. But a lot happened really fast.

As best I can gather, the psychic promised to make the woman’s late husband appear. Instead, Satan appeared, upset the family, possessed the psychic, who cursed the family, which caused a car crash. That’s a dense 6 panels.

James Wagler’s mother and sister are killed in the crash. He swears revenge, being himself now under the influence of Satan.

See how it’s weird even when I’m starting to follow?

Fantastic Four #26

The Avengers Take Over!

Featuring: Fantastic Four
Release: February 11, 1964
Cover: May 1964
12 cents
Unforgettably written in the grand manner by: Stan Lee
Powerfully drawn in the heroic manner by: Jack Kirby
Inked by: George Bell
Lettered by: Art Simek
23 pages

Thing stands alone no longer.

The Avengers and Fantastic Four team up to battle the Hulk. If there’s a better issue that serves as a microcosm for what the Marvel Universe is all about, I don’t know what it is.

I think this is perhaps the best comic cover we have yet come across. It’s very atypical of the Kirby covers in a number of ways. Likely stemming from having to cram an atypical number of characters in. But we see the full figure of each character, each taking up a small amount of cover real estate. He usually likes characters on his covers to be bigger. He also shows less concern about perspective than usual, since we see neither the floor nor any overlapping characters. He allows the action to be basically 2-dimensional and each character to be small, while overlapping none of the characters. He wants us to be able to see each character and their pose clearly. I’m reminded more than anything of posing action figures.

The whole of the scene with its 11 characters still fills a small amount of the cover. Kirby gives a lot of top real estate to word balloons. He could have zoomed in more if he wanted to. He didn’t. He wanted what is probably the widest cover shot we’ve seen yet.

This concludes a two-part Fantastic Four story, the best Fantastic Four story yet, but it’s also part of a bigger saga. It’s been building since Hulk quit the Avengers in Avengers #2, carried over into the Avengers’ battles with Hulk and Namor in Avengers #3 and #4 and will have an epilogue in Avengers #5, where the Avengers have one last encounter with Hulk, at least for now.

Still, it doesn’t really end there. Events at the end of Avengers #5 lead directly into issue 6, which itself ties in with Sgt. Fury #8. And the Hulk’s story continues, with the toll these events have taken on him leading indirectly to his upcoming battles with Spider-Man and Giant-Man. These two issues are at the center of a giant interconnected web of stories, which revolve around Hulk being (justifiably) upset with how the world’s been treating him.

It’s all part of the long build-up to Hulk finally getting his solo adventures again. He was the first superhero of the new Marvel Age to have his title cancelled and will be the first to be revived.

Fantastic Four #25

The Hulk vs. The Thing

Featuring: Fantastic Four
Release: January 10, 1964
Cover: April 1964
12 cents
Sensational story by: Stan Lee
Astonishing art by: Jack Kirby
Incredible inking by: G. Bell
Lighthearted lettering by: S. Rosen
22 pages

I have no idea why it took us so long to get to something like this. It seems like such an obvious superhero story to me: a good old-fashioned slugfest. Take two very strong characters and just have them duke it out. Thing and Hulk are perfect for a brawl. They met before, but it wasn’t a brawl. There was a mystery and a Commie plot and all this stuff. This time, the rest of the team is quickly taken out of contention. And it’s up to Ben Grimm to hold his own against the Hulk.

Worth the wait.

We get some preamble. Hulk has returned to New Mexico with the Avengers in pursuit. Unbeknownst to them, he turned around suddenly and went to New York to find them. He read in the paper that Captain America had replaced him and thought Rick had betrayed him. He is off to finally destroy the Avengers. Of course, Rick never betrayed him. And the Avengers only replaced him because he quit.

Avengers #4

Captain America Joins… The Avengers!

Featuring: Avengers
Release: January 3, 1964
Cover: March 1964
12 cents
Gloriously written by: Stan Lee
Grandly illustrated by: Jack Kirby
Gallantly lettered by: Art Simek
23 pages

No inker is given in the credits for some reason. The GCD suggests the inker is George Roussos, who has been doing a lot of inking lately under the pseudonym George Bell. I don’t think we’ve yet seen a single comic where Kirby has done his own finishes. Probably because he’s drawing a half dozen comics each month.

There’s something that troubles me about these credits, and it’s the type of thing that makes Stan Lee a controversial character to this day. Look to the acknowledgement on this first page. Stan notes that Jack drew the original Captain America comics. That’s true and good to point out. But that massively understates Kirby’s contribution. Kirby and Simon created Captain America. The box should say. “Jack Kirby is one of the creators of Captain America.” Now, this may have been mere thoughtlessness on Stan’s part. Kirby used to draw Captain America and now is drawing him again; Stan used to write Captain America and now is writing him again. That may be the only point he wanted to make, and perhaps no other thoughts occurred to him. But the phrasing seems careful, and reflects the longtime legal stance of the many companies that have owned Marvel, that people don’t create characters, companies do. You can read an article from Brian Cronin on a piece Stan Lee had written in 1947 crediting publisher Martin Goodman with the idea for Captain America. The piece is basically fictional. Joe Simon came up with the character independently, and Kirby helped him flesh out the details. Stan’s failure to credit them for that goes back a long ways.

PRELUDE: Captain America #78, Story D

The Hour of Doom

Featuring: Captain America
Release: May 19, 1954
Cover: September 1954
10 cents
By: John Romita
6 pages

We bring Captain America’s very short 1950s revival to a close with the final story of the final issue. We read the first story of this issue, where Captain America fought Electro. We skipped the terrible racist second story and we skipped a Human Torch story and a prose story.

This might be the best Captain America story of the era, but it’s a low bar to clear.

The story concerns Chuck Blayne, a television pundit who has become very influential amongst children. Captain America does not like what he has to say, even comparing his words to Hitler’s.

Blayne’s plans seems subtle and insidious, to influence the hearts and minds of America’s youth. Then he goes and plants a bomb at the UN. So much for subtlety.

PRELUDE: Captain America #78

His Touch is Death!

Featuring: Captain America
Release: May 19, 1954
Cover: September 1954
10 cents
By: John Romita
6 pages

Well, that didn’t last long. After getting his old series back with issue 76, it’s cancelled with issue 78. Something about “Captain America… Commie Smasher!” didn’t resonate with audiences the way anti-Nazi propaganda had a decade earlier.

Captain America fights Electro. Not to be confused with the Spider-Man villain who will be introduced a decade later. Or the robotic superhero introduced 15 years earlier. (Of course, the only reason we are reading this story is to cover our bases and meet all the Electros.)

The opening splash has a lot of detail. The sign in the background was at first confusing, but makes sense within the story. That appears to be a fireman checking out the battle.

PRELUDE: Captain America #76

The Betrayers

Featuring: Captain America
Release: January 18, 1954
Cover: May 1954
10 cents
6 pages

Credits aren’t evident. My copy of the Marvel Masterworks claims John Romita is the artist, but I don’t think that’s correct. The GCD offers a different interpretation, citing the same Marvel Masterworks volume I am looking at. Perhaps they have a newer edition. I am anyways assured the GCD credits are correct by no less an expert than Michael Vassallo, and that this story is the work of Bill Benulis and Jack Abel, not John Romita. It is possible Romita touched up some of the faces.

It’s 1954. The publisher once known as Timely is now known as Atlas. It will eventually be best known as Marvel.

We last checked in with Captain America in 1948, when an injured Bucky was replaced as Cap’s partner by Betsy Ross, the Golden Girl. Let’s briefly review his publishing history in the interim.

Bucky recovered in issue 71 for a couple more adventures. Captain America Comics continued until issue 73, published in 1949. Golden Girl remained his occasional partner until the end.

With issue 74, the series changed its name to Captain America’s Weird Tales. We saw one final battle between Captain America and Red Skull along with a handful of horror short stories. This was the end of Marvel’s time publishing superhero comics. For the next several years, they would focus on romance, humor, horror, crime, and western tales. The final Sub-Mariner story had been published 4 months earlier, with the final Human Torch and Blonde Phantom stories 3 months before that.

Captain America’s Weird Tales #75 (1949) did not feature Captain America at all. His name adorned the comic’s cover, but he was nowhere to be found amongst the horror stories within. With that, the series ended. A somewhat ignoble end to the comic career of America’s favorite superhero.

Jump forward to August 1953. Young Men #24 gave us the return of Captain America, Human Torch, and Sub-Mariner. We already reviewed that issue’s Sub-Mariner story. In that issue, we learned Steve Rogers had retired from being Captain America, but was still teaching at the Lee School, except it now seems to be a college. Bucky was now a college student, though he didn’t look any older. The Red Skull’s return convinces Captain America and Bucky to come out of retirement.

I plan to do a survey of Red Skull’s history separately, so am purposely not covering that story in any more detail now.

We turn now to Captain America #76. The numbering picks up where Captain America’s Weird Tales left off, but Captain America reclaims the book’s interior.

For 3 issues.