Featuring: Sgt. Fury and his Howling Commandos Release: September 8, 1964 Cover: November 1964 12 cents Possibly the most dramatic battle thriller ever written by: Sgt. Stan Lee Perhaps the finest example yet of the artistic skill of: Cpl. Dick Ayers A new inking triumph by: Geo. Bell Another lettering victory by: S. Rosen 20 pages
The Howlers are in an English pub. Axis Sally is on the radio. She is broadcasting Nazi propaganda from Berlin, calling on all Americans of German or Italian descent to turn against America and side with their own people. Of course, Dino Manelli is the Italian-American member of the Commandos, and has already had to deal with prejudice within the ranks.
Dino reminds us it’s possible to love his heritage and still want to fight against tyranny.
Featuring: X-Men Release: September 1, 1964 Cover: November 1964 12 cents Writer: Stan Lee Artist: Jack Kirby Inker: Chic Stone Letter: S. Rosen 20 pages
The X-Men are no longer students, but the status quo hasn’t changed much. They now train for missions; their training sessions look very similar to the classes they used to take. Professor X is still away and Cyclops is in charge; so he is running the training session. Hence, he is in a suit rather than a uniform. So you know he’s in charge.
Iceman practices making his body icier. As he does, some of the smoothness fades, allowing defined corners within his now icy body. These are the first hints of a new look forming. Iceman’s visual evolution is similar to Thing’s, going from a softer ill-defined look to lots of defining lines and corners.
It’s weird that Iceman is described as transparent and compared to the Invisible Girl. I usually think of the ice as a layer around him; they seem to be suggesting his insides are turning to ice as well, though the art indicates nothing of the kind.
Featuring: Fantastic Four Release: August 11, 1964 Cover: November 1964 12 cents Story by: Stan Lee who has never been more dramatic! Illustrations by: Jack Kirby who has never been more thrilling! Inking by: Chic Stone who has never been more realistic! Lettering by: S. Rosen who has never been more than an hour late! 21 pages
Featuring: Hulk Release: September 1, 1964 Cover: December 1964 12 cents Sensationally scripted by: Stan Lee Dynamically drawn by: Steve Ditko Impeccably inked by: George Bell Lovingly lettered by: Sam Rosen 10 pages
Even if he escapes this mess, the status quo is unsustainable. If Hulk might revert to Banner at any moment and has no control… he can’t keep that identity a secret.
In a recent issue of Amazing Spider-Man, we remarked the Enforcers were distinguished from other super-villains in that they were content to be lackeys, serving a major super-villain. Most of the super-villains are to arrogant to serve anybody, a plot point whenever two try to team up. The other “lackey” villains we’ve met are Dr. Doom’s Terrible Trio and Magneto’s Evil Mutants. The Terrible Trio tried to make the leap from lackeys to being their own bosses with limited success. Magneto’s mutants only serve him, while the Enforcers are clearly for-hire.
Chameleon is the first villain we see make the leap from super-villain to lackey. He’d teamed up twice with Kraven, but those seemed more like partnerships. Now, he works for the Leader. Chameleon has been getting around. Originally a Spider-Man foe, he recently fought the Avengers, and now faces off against Hulk.
More than the major crossovers, I like the cameos. I like that Captain America can just show up for a panel if the story calls for it. Makes the universe feel cohesive.
I’m loathe to call this the introduction of the Leader since we don’t see his face. I suspect Ditko hadn’t even finished designing him yet.
Featuring: Giant-Man and Wasp Release: September 1, 1964 Cover: December 1964 12 cents Written–as if you couldn’t guess by now–by smilin’ Stan Lee! Drawn–and here’s a little twist for you–by capricious Carlos Burgos! Inked–as if he knew what he was doing–by devestatin’ Dickie Ayers Lettered–as though each syllable is a gem–by amenable Artie Simek 12 pages
The cover is vertically split between the two stories. This will be a common format for these shared titles. Hulk’s story comes first on the cover, but the issue opens with the Giant-Man and the Wasp tale.
Don’t think we’ve ever seen Dick Ayers referred to as Dickie before. Carlos Burgos is normally Carl Burgos, who we recall is the creator of the original Human Torch. He’s already shown up once in the Marvel Age to draw a story with the new Human Torch. Art sometimes does go by Artie.
Giant-Man has found a way to make plants grow, as well as humans. It’s a little confusing, as he was able to shrink a chair before he shrank himself. His original goal for the technology was to revolutionize shipping. Originally, it was a liquid he pored on something (an object or his skin) to make it shrink. Then he got it into pill form. Lately, he’s been able to use his cybernetic helmet to make both himself and the Wasp change size with his thoughts. His plant growth serum comes in the form of a spray. He thinks he can use it to help with agriculture and solve world hunger.
Featuring: Hulk Release: August 4, 1964 Cover: November 1964 12 cents Author: The incomparable Stan Lee Illustrator: The inimitable Steve Ditko Inker: The indescribable George Bell Letterer: The inevitable S. Rosen 10 pages
Last issue, Bruce Banner built a robot. (They call it a robot, but it’s more like Iron Man’s armor, since somebody needs to be inside to pilot it.) An unnamed spy stole it. Hulk fought the “robot” to a stalemate. The robot escaped. Since the story didn’t end there, it might have been nice to read this next chapter immediately. Except… this Hulk story will basically never end. So we take the breaks where we can.
The robot has now found Hulk’s secret cave laboratory. Ditko really likes the shot of Hulk’s visage standing over Bruce’s shoulder.
Meanwhile, we meet Major Glen Talbot. He’s in charge of security now and suspects Bruce Banner is a traitor due to a pattern of suspicious behavior General Ross had noted. The Pentagon agrees with Ross’ assessment that Banner should be investigated.
Featuring: Giant-Man and Wasp Release: August 4, 1964 Cover: November 1964 12 cents Written by: Stan Lee (He’s getting to be a habit) And then the credits get complicated. 14 pages
We get a new logo for the shared title. Giant-Man never got a logo before. Tales to Astonish had remained the logo despite his starring role. The new logo somewhat cramped to fit all the names. “Giant-Man” is spread across two lines and has to share its text box with “and the Incredible”. No mention of Wasp in the logo. The cover real estate is split about equally between the two stories, with Hulk’s story up top. The cover box is similar to last issue, just rearranged a bit to put Hulk on top.
Somebody’s muscling in on your territory, Giant-Man.
The first page has Stan Lee’s credit, then some typed text pasted over the rest of the credit box. It explains that Ayers is on vacation, they had hired a new artist to fill in, but circumstances altered the plan, and Ditko and Roussos stepped in last minute to draw the issue.
As with most things Stan Lee says, that text box contains partial truths and partial falsehoods. Last issue, they had announced the artist would be Dick Rockwell. Rockwell had been working in comics since 1949. He did a little work for Marvel at the time.
Featuring: Spider-Man Release: September 8, 1964 Cover: December 1965 12 cents Written by: Spidey’s godfather, Stan Lee Illustrated by: Spidey’s big daddy, Steve Ditko Lettered by: S. Rosen (Spidey’s second cousin on his uncle’s side!) 22 pages
The conclusion of the “End of Spider-Man” trilogy sees Spider-Man’s triumphant return.
Recall the story so far. Spider-Man had been in a battle with Green Goblin when he learned Aunt May had been hospitalized; he ran away from the fight, provoking the whole town to talk about what a coward he is. In the next issue, he ran away from a fight with Sandman, fearing injuries to himself would leave nobody to look after Aunt May. A confluence of factors convinced him to retire the Spider-Man persona before Aunt May gave a well-timed speech which inspired him to change his mind. Now, he wants a rematch with the Sandman.
We tried to read Amazing Spider-Man #17-19 together, but Human Torch had at least one Strange Tales adventure in the middle, and Dr. Strange was involved in a two-part story in that same title, so we took a brief detour before wrapping up Spidey’s mini-saga.
That said, all the in-story information tells us is that Human Torch is weary from a battle he just had. That could be anything, one we saw or didn’t. However, if we trust Stan’s editor note, then Johnny is referring to Strange Tales #127. That doesn’t really make much sense, as that battle was in Utah. So why would Human Torch be in New York flying to his own house commenting on how he’s still exhausted from a battle in Utah. Did he not nap on the plane ride home?
Sandman and the Enforcers capture the Human Torch. Montana’s rope seems like a poor weapon against the Torch’s flame, but maybe it’s specially treated. Most likely, Human Torch’s weariness from the battle with that mystery villain in Utah is the only reason he was beaten.
Featuring: Dr. Strange Release: September 8, 1964 Cover: December 1964 12 cents Story by: Stan Lee, master of macabre menace Art by: Steve Ditko, weaver of wondrous witchraft Lettered by: S. Rosen, sultan of speedball sorcery 10 pages
Last issue saw the build-up to Dr. Strange’s fight with Dormammu. It established pretty clearly that Dormammu is one of the most powerful beings in the universe, on a level we can’t even comprehend. Dr. Strange has no chance against Dormammu. Last issue was quite clear on that, but then cut off just as they were about to battle.
The promised battle does not immediately commence. Dormammu gives Strange a chance to reconsider first, as this would be more slaughter than battle.
The girl from last issue finds Dr. Strange again, this time to show him the moral complexity of the situation. Dormammu poses a threat to Earth; that is why Dr. Strange must stop him. But Dormammu also rules his realm. Early indications are that he’s something of a tyrant, imprisoning people who question him or fail him.
He may be a tyrant; he may be evil; he may be about to destroy our world… but he’s also the only force standing between his subjects and the Mindless Ones. Whatever else he may be, he keeps his people safe. Even if Dr. Strange somehow succeeded in defeating Dormammu, the mystic shields sustained by Dormammu’s will would break, allowing the Mindless Ones to enter the Dark Realm, where they would proceed to kill all the inhabitants. Quite the moral quandary.
Featuring: Human Torch and Thing Release: September 8, 1964 Cover: December 1964 12 cents Written by the Overlord of Originality… Stan Lee Illustrated by the Archduke of Action… Dick Ayers Inked by the High Priest of Highlights… Paul Reinman Lettered by the Lama of Lexicography… Art Simek 12 pages
Recall from Strange Tales #126 that Dr. Strange was about to battle the Dread Dormammu. And Human Torch and Thing had just defeated Puppet Master for the 7th time or so. Let’s follow up on Human Torch and Thing first. After all, they get most of the cover space, while one of Marvel’s single greatest stories ever is fit into a tiny little box on the cover.
This story is titled, “The Mystery Villain!” Mystery villains always give me a crisis of conscience. The format I use for these posts necessarily spoils such things. And I wouldn’t want to take away the joy of reading this “excellent” Human Torch adventure fresh.
Maybe this time, if I’m careful, I can avoid explicitly revealing the identity of the mystery villain. Mind you, I can’t actually avoid revealing the identity of the mystery villain (given that I want to stick to my standard format), but I can leave it a little bit subtle, make you have to think if you want the spoiler.
