We come to Thor’s final adventure in Journey Into Mystery, the series concluding after 125 issues. We’ll see next month what they have instead. Such a finale would be a good time for an overview of the series as a whole, but I gave a summary to celebrate the 100th issue, so I’ll just point to that. It may even spoil what’s coming next month.
“By the bristling beard of Odin,” Thor exclaims. We’ll start hearing that oath a lot. Have we heard it before? I failed to note it if we did.
Thor’s battle with the Demon concludes pretty readily and Thor takes the final Norn Stone to return to Odin.
Featuring: Tales of Asgard Release: November 4, 1965 Cover: January 1966 12 cents How gallant, this script by: Stan Lee How glorious, this artwork by: Jack Kirby How gracious, this inking by: Vince Colletta How come? This lettering by: Artie Simek 5 pages
Is it not passing strange that the Grim One– the taker of countless lives in battle–should be so eager to protect the single life of Balder?
Ah, the Odinsword Saga. I made the decision not to read the whole thing at once, but that means we need to remind ourselves where we left off. In theory, the impetus for the Saga is that an unknown enemy has cracked the Odinsword, and Thor is leading a voyage to find the culprit. Along the way, Loki schemes to kill Thor, and the voyage encounters obstacles unrelated to the main quest. They just resolved one, involving a Dragon and Balder blowing a Horn. This issue introduces another such obstacle.
Featuring: Thor Release: November 4, 1965 Cover: January 1966 12 cents Story by: Stan (The Man) Lee Pencilling by: Jack (King) Kirby Delineation by: Vince (the Prince) Colletta Lettering by: Artie (Sugar Lips) Simek 16 pages
“Those arms of his can crush concrete! And yet!–“ “He’s holdin’ that kid as gently as if she was made outta egg-shells.”
Stan has a different nickname for the creators every issue it seems. But this is not the first time he’s referred to himself as “The Man” and to Jack as “King”, and these nicknames are the ones that will stick with them across the decades. Despite its rhyming qualities, “Vince the Prince” will not stick. I have no comment on the prevalence of this nickname for Artie.
The newsstand is selling the latest issue of Strange Tales, emphasizing what I’ve noted before: just how great a month for comics this is, perhaps the best in Marvel’s history.
Thor is reading a newspaper which is reporting on the Demon. As we’ve noted, there are no really clear stopping points in Thor’s saga anymore. Most ongoing threads resolved last issue, except last issue also began this Demon story, which is still just getting started; Thor and the Demon will finally meet in this issue’s final panels. That story involves a Vietnamese Witch Doctor finding a Norn Stone, so ultimately still traces back to the Trial of the Gods from issue 116 and Thor’s battle with the Viet Cong in issue 117. Jane remains in the hospital from smoke inhalation after being kidnapped by Harris Hobbs, as we saw in issue 122. While the Demon saga will resolve itself next issue, this issue, as the cover notes, also introduces Hercules to the mix, and a story which will continue on. The last year of Thor tales have covered a very short span of time.
Featuring: Daredevil Release: January 4, 1966 Cover: March 1966 12 cents Story: Stan Lee Pencilling: John Romita Inking: Frankie Ray Lettering: Artie Simek 20 pages
The kids are growing up. After two issues with Kirby layouts, Lee is ready to let Romita stand on his own feet and draw the comic from scratch, which likely means a lot of the plotting for this issue is also owed to Romita. Frank Giacoia is brought in to finish.
This will wrap up the Ka-Zar saga. Bit of a recap of the key points. Ka-Zar and the Plunderer are brothers. Ka-Zar’s original name was Kevin Plunder. Their father Lord Plunder had been an explorer who discovered a Vibrating Ore with strange and powerful properties. The secret of the mound lies in having the completed medallion that he gave half of to each son.
Plunderer has brought Ka-Zar and Daredevil to his castle in England, and called the local authorities on them, taking advantage of his nobility to accuse them of murder.
Featuring: Sgt. Fury and his Howling Commandos Release: November 11, 1965 Cover: January 1966 12 cents Written with block-buster force by Stan Lee! Drawn with machine-gun power by Dick Ayers! Inked with dive-bomber impact by Carl Hubbell! Lettered with bloodshot eyes by Artie Simek! 20 pages
We last saw Dum Dum two issues back. He was wounded in America and sent to the hospital. The Howlers couldn’t wait for him because they were urgently recalled to base to battle (maybe) the Red Skull. Dum Dum was in for a worse fate, because his wife and mother-in-law were going to visit him in the hospital.
This will be Dum Dum’s chance to shine in a largely solo feature.
We see the rest of the team in the beginning for a mission brief that fills us in on what Dum Dum has been up to since his recovery.
Featuring: Captain America Release: November 11, 1965 Cover: February 1966 12 cents Blazing story: Stan Lee Burning layouts: Jack Kirby Blistering artwork: George Tuska Burnt-out lettering: Artie Simek 10 pages
Nazism, and all the evil it stood for, are dead! They must never live again!
Solid cover design.
This arc opened pretty strong. Red Skull vowed that his revenge would come 20 years after the day of his death on “Der Tag” when the Sleepers awakened. And the Sleepers turned out to be giant robots that combined together to make an even bigger robot. Solid premise. But hasn’t done much with it. We met one robot, then another. In the finale, we meet the third.
Featuring: Iron Man Release: November 11, 1965 Cover: February 1966 12 cents Story: As only the fabulous Stan Lee can tell it! Art: As only the fantastic Adam Austin can draw it! Inking: As only the flamboyant Gary Michaels can delineate it! Lettering: As only the frantic Artie Simek can scribble it! 12 pages
Somehow– I feel as though my whole world is crashing down around me–!
Jack Abel returns under the Gary Michaels pseudonym. He’ll be the regular inker for a period of time.
Recall Happy had been badly injured during the battle with Titanium Man in issue 71, and last issue he was kidnapped from his hospital by the Black Knight. Iron Man rescued Happy and the Black Knight fell to his death, but now Iron Man is out of power.
To add a bizarre but strangely common wrinkle to the relationships, Pepper now decides she loves Iron Man and hates Tony. It used to be the other way around. Tony loves Pepper but can’t be with her because he has a bad heart, so he’s been intentionally cruel. Happy loves Pepper, but Pepper couldn’t love him back because of Tony, but now she’s over Tony and in love with Iron Man.
Featuring: Captain America Release: October 12, 1965 Cover: January 1966 12 cents Spellbinding script by Stan Lee! Spectacular layouts by Jack Kirby! Sensational pencilling and scintillating delineation by George Tuska! Stereophonic lettering by A. Simek! 10 pages
I’ve seen the First Sleeper– and this is the Second! What can the Third be like??
Part 2 of a 3-part saga. 20 years to the day since the death of the Red Skull amidst the fall of Berlin in World War II. Red Skull’s revenge is 3 giant robots that will awaken and destroy the world. Last issue, the first one awoke. This issue… the second.
This one flies! Even though the story’s title is ironically, “Where Walks the Sleeper”.
And the two Sleepers join up to form an even bigger robot!
Featuring: Iron Man Release: October 12, 1965 Cover: January 1966 12 cents Stan Lee, Roy Thomas, Adam Austin, Gary Michaels, Sol Brodsky, Flo Steinberg, and Merrie Ol’ Marie Severin! 12 pages
Now look, Avenger– No one takes the law into his own hands– not even you!
Stan seems to be crediting an unusual amount of people, but it’s really people who are always involved. Lee always credits himself, this time presumably in an editing role. Roy Thomas is the scripter, Adam Austin (aka Gene Colan) the penciller, Gary Michaels (aka Jack Abel) the inker. The other names show up less commonly in credits. Sol Brodsky is the production manager, and usually is, though uncredited. Marie Severin is the colorist, and frequently is, though uncredited. (Unfortunately we won’t see any of Severin’s coloring in my images, as I’ve only found the digital version online, which is entirely recolored, and that’s likely Stan Goldberg coloring the cover above.) What’s interesting here is Flo Steinberg, who’s been behind the scenes since the beginning, handling the office work for Marvel. She gets her name here apparently because she assisted Roy with the plot.
Weirdly, for all that crediting, they forgot to mention the letterer. Apparently this time normal letter Artie Simek is joined by Ben Oda.
Speaking of Roy Thomas, that’s the new guy we first met on Modeling with Millie, which was released one week earlier. This is his first superhero work. Wonder if he’ll do any more.
Jack Abel is also new to us in our modern reading, though we read an old Captain America story he’d likely contributed to. He’d worked for Marvel back in the 1950s, often inking Bill Benulis or Bob Forgione, but lately has been focused on DC’s war comics. It’s probably why he uses a pseudonym here, so DC won’t know he’s doing side-work. He’ll eventually move on to DC’s superhero line and become the main inker on Superman stories. Here’s a sampling of his artwork.
Journey Into Mystery #20, Marvel, 1954
Our Fighting Forces #50, DC, 1959
Sea-Devils #14, DC, 1963
And a sampling of his finishing work.
Western Outlaws and Sheriffs #72, Marvel, 1952, pencils by Warren Broderick
Adventures into Terror #11, Marvel, 1952, pencils by Bill Benulis
Combat Casey #11, Marvel, 1953, pencils by Bill Benulis
All-American Men of War #25, DC, 1955, pencils by Bob Forgione
Wyatt Earp #1, Marvel, 1955, pencils by Bob Forgione
Turok, Son of Stone #3, Dell, 1956, pencils by Bob Correa
As a complete aside, the plot of that Adventures into Terror story amused me to no end. Lots of these stories about somebody murdering a partner for ambition. But in this case, they were a two-man horse act, and the guy who played the end of the horse wanted to play the horse’s head. Talk about ambition!
Featuring: Spider-Man Release: November 11, 1965 Cover: February 1966 12 cents Script and editing: Stan Lee Plot and illustration: Steve Ditko Bordering and lettering: Artie Simek Reading and enjoying that ol’ web-spinner: you! 20 pages
I’ve failed! Just now– when it counted the most– I’ve failed! But, I can’t give up! I must keep trying! I must!! I’ve got to free myself– no matter how impossible it seems! And lifting is the only way! The– only– way–! Uhhhhh I can’t! — So exhausted– after all that fighting– I- I feel so weak–! It’s lying there– just beyond reach– as though mocking me– taunting me– It’s the one thing– the only thing– that can save Aunt May! And I can’t bring it to her–! If she– doesn’t make it– it’ll be my fault! Just the way I’ll always blame myself for what happened to Uncle Ben…! The two people in all the world who have been kindest to me! I can’t fail again! It can’t happen a second time! I won’t let it– I won’t! No matter what the odds– no matter what the cost– I’ll get that serum to Aunt May! And maybe then I’ll no longer be haunted by the memory of– Uncle Ben! Within my body is the strength of many men…! And now, I’ve got to call on all that strength– all the power– that I possess! I must prove equal to the task– I must be worthy of that strength– or else I don’t deserve it! The weight– is unbearable! Every muschle– aches–! My head– it’s spinning– everything’s beginning to whirl around–! The strain! It– it’s unbearable! The crack in the ceiling– it’s growing wider– getting bigger every second! I’ll never make it– I can’t–! No! I dare not give up now! If I close my eyes– I’ll go under! Must stay awake– must clear my head! Keep trying– trying–! I’ll do it, Aunt May! I won’t fail you! No matter what– I won’t fail–! Anyone can fight– when the odds– are easy! It’s when the going’s tough– when there seems to be no chance– that’s when it counts! Everything going black– my head– aching! Hold on– I must hold on–! It’s moving! Can’t stop now! Last chance! Must keep the momentum–more! Just a little more–!
One of my all-time favorite comic covers.
The Final Chapter. Perhaps the most aptly named comic ever. That’s certainly how I’ve come to view this comic.
Most Ditko stories begin with a splash page opening that serves almost as a second cover. This leaves that out in favor of panels to recap the story so far. Aunt May dying because of a transfusion from Peter’s radioactive blood. Dr. Connors unable to help unless Spider-Man can retrieve this canister. Dr. Octopus and his henchmen in the underwater layer. Spider-Man trapped beneath tons of steel in the base, which seems on the verge of flooding.
How strong is Spider-Man? We don’t really know. “Proportional strength of a spider”. He’s not as strong as Thor, Hulk, or Thing, all of whom could probably lift the equipment with ease. But he’s stronger than Captain America, who couldn’t possibly do it. He’s strong enough to lift several tons, but not strong enough to do that easily, and not strong enough to be confident he can do it at all. This is him at his physical limit.
He does lift the machinery off, but it takes 5 pages, a full quarter of the comic spent on Spider-Man lying on the floor, trapped. It’s a famous sequence.
