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?
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.
