Back East, I remember reading about a fictitious gun-fighter named the Two-Gun Kid! I don’t know whatever happened to him, but I think I’ll borrow the name!
We see the signatures for Lee, Kirby, and Ayers. The GCD credits the coloring to Stan Goldberg, and the letters to Artie Simek.
We just met Marvel’s original Two-Gun Kid, Clay Harder from 1948. In 1962, Marvel introduced the new Two-Gun Kid. Marvel had been reviving the idea of superheroes with the Fantastic Four and Hulk. And just two months earlier introduced Thor, Spider-Man, and Ant-Man.
Stan and Jack bring the sensibility that had been working for them on the superhero titles to the western genre as they reimagne the Two-Gun Kid. For example, this new one will have a mask and secret identity.
Featuring: Sgt. Fury and his Howling Commandos Release: November 10, 1966 Cover: January 1867 12 cents Editing– Stan Lee Script– Roy Thomas Art– Dick Ayers Inking– John Tartaglione Lettering– Bob Agnew Technical advisor this ish– Morrie (Super-samurai) Kuramoto 20 pages
I think you fellas must have me confused with the rats that bombed Pearl Harbor! Personally, I’ve never been west of San Francisco!
Bob Agnew is a new name to us. 99% of the comics we’ve read have been lettered by Sam Rosen or Artie Simek. The lettering here is by Agnew, in what is as best as I can tell his only Marvel work. His stint in comics seems to have been brief.
Morrie Kuramoto is credited with technical advising, with no more clarity offered as to what that entails. Kuramoto is Japanese-American who served the US in WWII, and this comic will introduce a Japanese-American soldier. The credit calls him a super-samurai, so it’s also possible he advised on the martial arts on display in this issue.
We’ve seen Kuramoto’s work occasionally as a letterer, under the pen name Sherigail.
Morrie Kuramoto was associated with Marvel on and off going back to 1946. He just joined back as a regular member of the Bullpen, and would be with Marvel continually for the next two decades. Morrie passed away in 1985 at the age of 64.
Featuring: X-Men Release: November 3, 1966 Cover: January 1967 12 cents Stan Lee editor Roy Thomas writer Werner Roth artist J. Tartaglione inker Artie Simek letterer Irving Forbush noise-maker 20 pages
How could these puny humans– who dwell among the smoke and noise that they call civilization– hope to appreciate such matchless beauty?
So my normal standard for making posts is to prepare the post one day, but not publish it the same day. I sleep on it and give it a last lookover before publication.
I’m skipping my usual standards today. Because today is St. Patrick’s Day. So I’m posting this without my usual extra day to edit. And from a pub. While some number of drinks in.
As seems appropriate.
This issue feels appropriate for St. Patrick’s Day because it introduces the character of the Banshee.
Who I think is Irish. Though they don’t say so. At least, I associate banshees with being Irish. Of course, I also associate banshees with being women, so shows what I know.
Release: November 3, 1966 Cover: January 1967 12 cents A Stan Lee * Gene Colan contemporary classic! Inked by: Frank Giacoia Lettered by: S. Rosen 20 pages
Starting this issue, Colan gets a credit like Romita got last month, and like Kirby and Ditko had been getting. Rather than just crediting him with art, the entire story is credited to the combo of Stan and Gene. This implicitly acknowledges Colan’s contributions to the writing. While still putting Stan’s name first.
On continuity, we haven’t travelled far into the future. Daredevil escaped Owl’s island while the Rhino was first being tried, and got into his tiff with the Tri-Man very soon after. That ended with him trapped in Europe with no money. And he’s still stuck. So this isn’t long after Amazing Spider-Man #43, perhaps still before Amazing Spider-Man Annual 3.
Featuring: Spider-Man Release: November 10, 1966 Cover: February 1967 12 cents A Stan (The Man) Lee — John (Ring-a-ding) Romita adventure in agonizing action Lettering – Sam Rosen Web-untangling – Irv Forbush 20 pages
When your two arms were helpless against me before, what did you expect to accomplish now?
In this story, Spider-Man fights the Lizard again. With one arm tied in front of his back.
Romita gets the same credit Stan had been giving Ditko and Kirby. Rather then merely crediting him with illustration, Lee gives them each co-credit for creating the entire story, acknowledging that Romita is doing much of the writing.
Featuring: Spider-Man Release: October 11, 1966 Cover: January 1967 12 cents Story: Smilin’ Stan Lee Illustration: Jazzy John Romita Lettering: Swingin’ Sam Rosen Luggage: Honest Irving Forbush 20 pages
Ditko and Lee created a number of great villains for Spider-Man: Chameleon, Vulture, Tinkerer, Dr. Octopus, Sandman, Lizard, Living Brain, Electro, Big Man and the Enforcers, Mysterio, Green Goblin, Kraven the Hunter, Scorpion, the Spider Slayer, Molten Man, the Cat, Looter, Robot Master, a Guy Named Joe…
A temptation when writing a Spider-Man story is to have the premise: “Spider-Man fights _ again.”
Which is the worst idea for a Spider-Man story. In fact, two of Ditko’s weakest issues, written after he had basically given up on the series, involve Spider-Man fighting Kraven or Molten Man again.
That’s not to say these villains shouldn’t return. They should. But their return needs to tell a different story with them or move their own story forward.
That’s the big question. Is this story advancing the saga of this villain or bringing it in circles?
Dr. Octopus fought Spider-Man. When they fought again, it led to the death of Betty Brant’s brother and Spider-Man being unmasked. The villain returned but it was a new story. When they fought again, Dr. Octopus assembled six of Spider-Man’s most sinister foes to battle him. Again, a different story. Finally, they had their greatest battle with Dr. Octopus in the guise of the Master Planner. I heaped plenty of praise on that saga at the time. But suffice it to say, I think there was more of a premise to that story than “Spider-Man fights Dr. Octopus again.”
Spider-Man fought the Lizard, but then learned he was a good man Dr. Connors transformed by his own science experiments.
We saw that man again, cured of his Lizard ways, now acting as a scientific advisor to Spider-Man. We saw him again last issue in a similar capacity, advising against the Rhino. That time he idly wondered if the powers of the Lizard could be used against the Rhino. Spider-Man convinced him that thinking is dangerous.
So as we read stories where Spider-Man fights a classic villain again, I have a couple thought questions. Is the story moving the villain’s story forward? Is it telling a new story with the villain? Is there more to the premise than “Spider-Man fights _ again”?
I’m not objecting per se to Spider-Man fighting the Lizard again. Romita is an artist with a distinctive style from Ditko, so it’s fun to see his take on Ditko’s villains.
And the story will be good because Romita’s art is good and because he’ll do a good job with the side characters and soap opera. But will the story be good?
Featuring: Sgt. Fury and his Howling Commandos Release: October 11, 1966 Cover: December 1966 12 cents Editor: Smilin’ Stan Lee Scripter: Rascally Roy Thomas Artist: Darlin’ Dick Ayers Inker: Jivey John Tartaglione Letterer: Sandy Sammy Rosen Technical advisor in charge of parachuting: Jovial Johnny Hayes, ex-para-trooper, Marvel’s swingin’ circulation manager. 20 pages
Now, like the blamed fly-boys always say… Geronimo!
A credit to Johnny Hayes, a name we don’t see often. We did recently see his name because a Bullpen Bulletin made it a point to name some of the behind the scenes staff. Here he gets credit for offering some consulting based on his days parachuting in the military.
I’m going to say that Thomas is really finding his footing on this title. Under Kirby this had been one of Marvel’s best comics, but it fell quickly to mediocrity when he left, with thin cookie cutter plots.
Stan Lee had remained the writer, but in practice as he was “writing” 20 titles every month, most of the storytelling was left to Ayers, who wasn’t up to it. We’re 9 issues into Thomas’ run, who likely is providing more plotting and scripting guidance to Ayers. Thomas had a slow start, but more and more, the comic feels like somebody is writing it.
Featuring: X-Men Release: October 11, 1966 Cover: December 1966 12 cents Edited by Stan Lee Scripted by Roy Thomas Drawn by Werner Roth Inked by Dick Ayers Lettered by Sam Rosen (Wouldja believe Artie Simek?) 20 pages
…as long as there are evil mutants abroad in the world, the X-Men must remain vigilant!
Recall last issue ended with Cyclops accidentally (or so he claims) injuring Angel. Meanwhile, Jean Grey ran into Cal Rankin at Metro College. Cal Rankin had fought the X-Men as Mimic, but he doesn’t recall the encounter because Professor X futzed with his brain.
We pick up with the X-Men battling Mimic again, now seeming to recall their last encounter. After the in media res opening, we see how we got here.
Featuring: Fantastic Four Release: December 8, 1966 Cover: March 1967 12 cents Dazzlingly depicted by: Stan Lee and Jack Kirby Inking by: Joe Sinnott Lettering by: Sam Rosen 20 pages
I… never felt… pain.. like this… before..! ..Never knew anything… could hurt… so much… But… can’t let go… can’t knuckle down…! All I got is… my strength..! If I let that fail me… there’s nothin’ left…! Nothin’..! Fight it, Ben… fight it!! Fight… ya ugly , good-fer-nothin’ orange-skinned meathead… fight..! What’s a little bit… of pain… to a big beautiful slob… like you..!
Black Bolt has spoken, and his voice had the power to destroy the Negative Zone surrounding the Great Refuge. And now he along with the Royal Family and Court of the Inhumans venture forth into the wider world. Meanwhile, Dr. Doom continues to wield the cosmic power of the Silver Surfer.
As noted, I’m here for Doom on a surfboard. That’s what this story is about to me. And this is the best image of that yet.
The Human Torch tries to take on Dr. Doom by himself. It won’t go well.
