Featuring: Captain America Release: August 9, 1966 Cover: November 1966 12 cents A Stan Lee Jack Kirby pandemonium-packed production! Delineated by: Richard Ayers Lettered by: Samuel Rosen (Or: How formal can ya be?) 10 pages
What can be wrong? I’ve adapted everything about Captain America… and yet… there is still a quality lacking!
AIM has fallen, but a dying Count Royale warned SHIELD that their creation the Adaptoid may yet finish their work.
The Adaptoid, a pantograph, infiltrated Avengers headquarters by assuming Jarvis’ form, then drugged Captain America, and assumed his form. He has also stolen Captain America’s shield.
Unfortunately for the Adaptoid, if you look like Captain America, his enemies become yours. The Tumbler has come to challenge Captain America and prove his superiority. So now he’s the Adaptoid’s problem.
The Maddening Mystery of the Inconceivable Adaptoid!
Featuring: Captain America Release: July 7, 1966 Cover: October 1966 12 cents Stan Lee authored the script Jack Kirby pencilled the story Frank Giacoia inked the drawings Artie Simek lettered the panels Irving Forbush sharpened the pencils 10 pages
I consider it a rare privilege to serve the mighty Avengers, sir!
Bucky was Captain America’s partner in World War II, killed by Zemo, who was working for the Red Skull.
But he seems to be back somehow?
No, it’s just a photograph.
Jarvis is the butler to the Avengers. He’d previously worked for Tony Stark, but Stark has been loaning his mansion to the Avengers for some time, and has lent Jarvis with it.
We don’t yet know much about Jarvis. He was introduced to us in Tales of Suspense #59, but presumably had been serving the Avengers since early on. He probably had second thoughts about the job when Hawkeye tried to prove his merits to join the team by attacking their butler.
This issue is the most lines he’s had yet. He notes it’s a privilege to serve the Avengers.
He offers to draw a bath for Cap, but Captain America can shower by himself. He’s a big boy.
No credits are given in the issue. The opening page is by Jack Kirby and Joe Simon. The rest of the art is by Al Avison, Syd Shores, and George Klein. Those are the credits given in the Golden Age Captain America Omnibus. The GCD credits the entire story to Jack Kirby and Joe Simon, but I believe they are incorrect.
We just read the beginning of Iron Man’s second battle with Titanium Man in Tales of Suspense #81. We had previously read the conclusion of that issue, which featured Captain America’s epic battle with Red Skull and his Cosmic Cube. Before we get to issue 82, I’d like to peek back at this old Captain America story, which introduces the villain Fang.
Fang is an Asian villain, and thus probably a racist stereotype of a character like most Asian villains in the 1940s. And the 1960s.
We learn Fang is based on San Francisco’s Chinatown. He meets with an agent of an “Asian aggressor nation”. I interpret that Asian aggressor nation to be Japan, particular given the agent’s surname of “Nushima”, though the comic prefers not to specify.
After all, America wasn’t at war with Japan in June 1941 when this comic was released.
Featuring: Avengers Release: August 9, 1966 Cover: October 1966 12 cents Stan (The Man) Lee, writer Dazzlin’ Don Heck, artist Adorable Art Simek, letterer Invincible Irving Forbush, snake charmer 20 pages
…beware of the man who sets you against your neighbor!
The cover features Scarlet Witch fighting against the Sons of the Serpent. But I think she’s in Europe and missing all the action.
The reprint of the story in Marvel Triple Action #25 corrects the cover, drawing instead Black Widow, who was in the story.
The Sons of the Serpent originally seemed to have the goal of getting all immigrants out of America. But when they attacked a Black American-born man, we saw their goals were a bit broader. Now, they mention creeds. They also are targeting people of different religions.
Featuring: Avengers Release: July 7, 1966 Cover: September 1966 12 cents Stan Lee, writer and raconteur Don Heck, artist and bon vivant Artie Simek, letterer and patron des artes Irv Forbush, scapegoat, junior grade 20 pages
Featuring: Captain America Release: May 3, 1966 Cover: September 1966 12 cents Script: Stan (The Man) Lee Art: Jack (King) Kirby Inking: Frank (Good Guy) Giacoia Lettering: Artie (Smarty) Simek Recruiting: Irv (Fall Guy) Forbush 10 pages
There is nothing I cannot do! The universe itself must bend to my wishes, so long as I hold the Cosmic Cube! My every wish– my every command– must be instantly obeyed!
At this point, of the many many nicknames we’ve seen in credits, Stan the Man Lee, and Jack King Kirby are by far the most common.
I’m doing a thing I don’t like doing and skipping into the middle of this comic, skipping the Iron Man story at the start.
We had a choice as we have at least two cliffhangers to resolve. See what happens between Namor and Iron Man or between Cap and the Red Skull? I’ve chosen the latter. The fight between Iron Man and Namor continues in Namor’s title, so we have to read that before we get to this Iron Man story. And I was eager to see the resolution of this Captain America story.
Also, this issue’s Iron Man story begins a new saga, one I don’t want to entangle with the web of comics we’re in the middle of.
Red Skull has the Cosmic Cube, giving him godlike power.
He gets in a good villain monologue we use for the pull quote above.
While Cap’s thoughts form a good heroic response.
My life means nothing! The fate of all mankind is at stake! If he isn’t stopped– humanity itself is doomed!
Red Skull creates a creature called the Man-Thing to menace Cap. Won’t be the last Marvel character to use this name.
Featuring: Captain America Release: May 10, 1966 Cover: August 1966 12 cents Stupifying script: Stan Lee Electifying illustration: Jack Kirby Dazzling delineation: Don Heck Luminiferous lettering: Artie Simek Frantic fund-raising: Irv Forbush 10 pages
So long as evil lives– to muster the forces of bigotry, greed, and oppression– the fight goes on! So long as men take liberty for granted– so long as they laugh at brotherhood– sneer at honesty– and turn away from faith– So long will the forces of the Red Skull creep ever closer to the final victory!
Them is an evil organization. AIM is an ordinary defense contractor. But Fury suspects a connection. Captain America remains unaware of this.
Eisenhower did warn us about the military industrial complex.
This conjunction of an immense military establishment and a large arms industry is new in the American experience. . . .Yet we must not fail to comprehend its grave implications. . . . In the councils of government, we must guard against the acquisition of unwarranted influence, whether sought or unsought, by the military-industrial complex. The potential for the disastrous rise of misplaced power exists and will persist.
My oldest enemy! The most dangerous menace to freedom and democracy that the world has ever known!! Then– this must be why fate has spared me so long–?! It’s my destiny to battle him– to stand between the Red Skull and free men everywhere!
Well, that’s a compelling title.
Costumed assassins attack a power plant in the heart of New York.
They seemed to expect Captain America to show up. How do villains set these traps to target a particular superhero in New York. “If I commit a crime in New York I’m bound to attract precisely the superhero I intend!” Green Goblin just had a bank robbery, trusting Spider-Man would show up to foil it. Would Daredevil turning up ruin these plans?
But nobody but Cap saw these villains. Is he going insane?
Featuring: Marvels Release: January 25, 1994 Cover: March 1994 $5.95 Writer: Kurt Busiek Artist: Alex Ross Letterers: Starkings w/ John Gaushell Editor: Marcus McLaurin Assistant editor: Spencer Lamm Editor in chief: Tom DeFalco Cover design & logo: Joe Kaufman Interior Design: Comicraft 45 pages
And then it was quiet. No one around. They were all inside– or gone. Was this what it was going to be like? Silence and emptiness– forever?
We again jump back to 1994. As noted in this post, which serves as something of a vision statement, my goal here is to be able to reread my first comic, Avengers #309, but this time with full context, without feeling like I was missing anything or that I had read things out of order. More than that, it’s an attempt to try to see decades of disparate titles by a variety of creative voices as telling a larger single story.
I see Marvels, the masterpiece by Busiek and Ross, as an attempt to come to terms with that same story, and then to tell it in miniature. In general I try to take a contemporaneous viewpoint, looking at our 1966 stories from the perspective of 1966, and not spending too much thought on what later stories have to say. Marvels is the exception, as I’m using Marvels to frame our reading and my thinking about this reading.
For example, we jumped a little bit ahead in our X-Men reading lately. The rush through X-Men was to line up with this issue of Marvels. I was eager to read this comic right after the Galactus saga, but knew I had to hold back until after the X-Men battled Count Nefaria. And the choices in reading order we made with respect to the Avengers and Fantastic Four stories were inspired by how Marvels presented them.
There is no other later series I let impact my thinking on these stories. That’s born both out of a love of Marvels and its creators, and a trust in Kurt Busiek to have done his homework.
As this post is a bit long and picture-heavy, I’ve broken it into twoparts.
The series Marvels covers the Marvel Universe from 1939-1973. I don’t know how far this blog will go before I get bored or die, but I’m hoping to at least hit 1973 and finish Marvels. But that is several years away.
There’s also a bit of timing in the writing of this blog that has recontextualized Marvels and the stories it represents again. I started this blog in 2019 and reached Marvels #1 in 2020, and found new meaning in Phil’s desire for the world to return to normalcy. I write this blog post in 2024, with 2020 four years in the past, but the pandemic continuing to affect lives in big and small ways.
Marvels #1 starts with the dawn of Marvel in 1939 and takes us into the war in Europe, likely around 1943. We then jump forward 20 years and Marvels #2 covers the ground of part of our reading. It skips the introductions of most of the heroes and takes us to 1964 and Avengers #6 (May 1964), then ends in 1965 with Tales of Suspense #69 (around July 1965). Its focus was on the juxtaposition of two major events, the wedding of Reed and Sue in Fantastic Four Annual 3, and the introduction of the Sentinels in X-Men #14-16.
Thinking in terms of Fantastic Four, a title which has been a monthly constant in our reading, Marvels #2 covers the ground of approximately Fantastic Four #29-43.
Marvels #3 will cover a little less ground, Fantastic Four #44-50, bringing us to around February 1966. And most of the page count is dedicated to recapturing a single story, the battle between the Fantastic Four and Galactus in Fantastic Four #48-50. Due to its wonky arrangement with other stories, the original battle only covered about 48 pages of comics originally, so the retelling in miniature is not actually that much shorter, taking up almost 32 pages.
Of course, this retelling will not be from the perspective of the Fantastic Four, but our man Phil Sheldon.
The story has been about Phil, but also about his changing opinion of the Marvels. In the 1930s, he thought they were something to fear when he first saw Human Torch and Sub-Mariner, but came to conclude they were something to cheer on when he saw Captain America, and then all the heroes teaming up against Nazis. He continued to cheer them on into the 1960s, loving the Fantastic Four and the Avengers… but not the X-Men. Mutants, he hated. Though he grew a bit by the end.
Now he begins to wonder if he’d put a bit too much faith in all the Marvels, put them too much on a pedestal. As they become embroiled in controversy after controversy… had he overestimated them? He begins to have doubts.
Soon, my limbs shall be swifter than ever before– while your hex power once again shall dazzle and defeat your enemies! All we need is patience, my sister– and an unaltering faith!
The Avengers are off to South America to save Goliath. And presumably will be here when Galactus attacks.
Hawkeye now likes Captain America, but still dislikes orders. As do I, Hawkeye. As do I.
Wasp recalls how they all used to share the command. It’s the first time they’ve really addressed this change. The original team had rotating chairs. The new team had Captain America as permanent leader. Given this, Hawkeye’s annoyance was understandable.
