Featuring: Avengers Release: July 8, 1965 Cover: September 1965 12 cents Wham-Type script by Stan Lee Pow-type pencilling by Don Heck Zowie-type inking by Wallace Wood Rather nice lettering by Artie Simek 20 pages
There’s something about being an Avenger… that seems to get into your blood and never let go!
The creative team is almost never mentioned on the cover of these (or any) comics. This is certainly the first time we’ve seen the inker advertised. Stan knows he’s lucky to have Wally Wood, and perhaps already knows he won’t have him much longer.
We saw Wood inking Heck in Tales of Suspense #71, which comes out one month after this one. So this is properly their first collaboration.
The cover is a rare Kirby/Wood collaboration, and pretty awesome. A team I think many would like to have seen more work by.
We see a rare feat of teamwork for these new Avengers. They seem to be defeating the Swordsman when he disappears.
He finds himself in the lair of the Mandarin. Who wishes to destroy the Avengers, though he’s never met them*. His foe is Iron Man, who used to be an Avenger. And it follows that he must destroy these Avengers, which don’t include Iron Man. Because Iron Man is his foe. And… the Mandarin’s plans may just be too crafty for my little brain.
Featuring: Avengers Release: June 8, 1965 Cover: August 1965 12 cents Writer: Stan Lee Artist: Don Heck Inker: Dick Ayers Letterer: Artie Simek 20 pages
“Marvel Pop Art Productions”? This phrase started appearing on covers these last couple months. The letters page explains that fans object to these magazines being called comics, perhaps as that implies they are humorous and juvenile. So Stan is going to start calling them “pop art books”. I started reading these things about 25 years later and heard they were called comics, so I’m not sure this rebranding will stick.
Swordsman tries to join the Avengers but is rebuffed after a fight.
Featuring: Captain America Release: August 10, 1965 Cover: November 1965 12 cents Written with the passion of Stan Lee Laid-out with the power of Jack Kirby Pencilled with the punch of George Tuska Inked with the prowess of Joe Sinnott Lettered with the penpoint of Sam Rosen 10 pages
In a war, Bucky, many people suffer! It isn’t necessary to be in the armed forces.. to be a casualty!
Because this Greymoor Castle story is a 3-part saga, we’ve gotten a little ahead in Cap reading. This comic premieres the same day as Fantastic Four #44. They share an inker, Joe Sinnott. This is an important development, and I have a lot to say about Joe Sinnott. But I’m going to save it for when we get to FF#44. Stay tuned.
The FF comic will feature Sinnott properly inking Kirby. While Kirby did the layouts for this issue, the art is really Tuska/Sinnott.
It’s time now for the conclusion of this tale. Dr. Rawlings has betrayed his country to the Nazis. His sister Celia is opposed to this.
When the Nazis try to kill Celia, Rawlings at last turns against them.
Featuring: Captain America Release: July 8, 1965 Cover: October 1965 12 cents Story by Stan Lee Layouts by Jack Kirby Lettering by S. Rosen Art by George Tuska 10 pages
My own nation has refused to recognize my talents! But the Nazis are willing to pay me handsomely for my help!
We get a new artist, George Tuska. “One of the giants from the golden age of comics”, says Lee. As with most new artists, Lee still needs Kirby to lay out the story for them.
Tuska has worked in the industry since 1939, and became well known in the 1950s for his stellar work on crime comics. His first work with Marvel was in 1949. Lately, he’s been focused on newspaper strips, having taken over Buck Rogers in 1959. Here’s a sampling of his earlier work.
Zanzibar the Magician, Mystery Men Comics #1, Fox, 1939
Tom Barry of the Royal Mounted, Wonderworld Comics #4, Fox, 1939
Featuring: Captain America Release: June 8, 1965 Cover: September 1965 12 cents Script by: Friendly Stan Lee Layouts by: Frolicksome Jack Kirby Rendering by: Frivolous Dick Ayers Lettering by: Fearless Artie Simek 10 pages
Cedric, even if you care nothing for yourself or me– think of your country! You’re betraying us all!
Kirby does the layouts. He’s been doing a lot of that this month as he is over-stretched. Ayers is credited with the rendering. The difference from the previous issues with proper Kirby art really shows.
The plot here is that a scientist has a radiation experiment the Nazis can use to kill Captain America and Bucky. But it will only work if they are first helpless captives. At which point a gun would probably suffice.
Featuring: Everybody Release: August 21, 1996 Cover: October 1996 $2.95 Scintillating script by Stan Lee Prurient plot by Fabian Nicieza Pulse-pounding pencils by Sal Buscema, John Buscema, John Romita, Sr., Steve Ditko, Gene Colan, Marie Severin & Ron Frenz Incredible inks by Tom Palmer, Joe Sinnott, Terry Austin, Bill Reinhold, Marie Severin & Al Milgrom Kaleidoscopic colors by John Kalisz (with perfect page one and colossal cover coloring by Paul Becton) Lascivious letters by Richard Starkings and Comicraft/ad Effervescent edits by Matt Idelson Aching assistant edits by Paul Tutrone Evil editing-in-chiefing by Bob Harras Very special thanks to: Mariano Nicieza, Darren Auck, Scott Koblish, Gil Kane, The Raiders, and the many terrific talents of the Mighty Marvel Bullpen Based on Fantastic Four Annual #3 by Stan Lee and Jack Kirby 48 pages
Just between us, Alicia– I’ve been ready ever since I met the man!
I’m not trying to include too many POSTLUDE entries, but don’t have a clear standard for when I do. Having a copy of the comic in my living room as opposed to in storage somewhere is a good motivator. Plus, I actively used this comic as a reference when making my Fantastic Four Annual post, in deciding who might have been present at the wedding but off-panel.
Heroes & Legends is a loving retelling of the wedding of Sue and Reed from 1996, by continuity nerd Fabian Nicieza with a rotating cast of classic artists and a script by Stan Lee.
We know Steve Ditko very well by this point. We’ve seen some early work of John Romita, but he’s just about to join our regular cast of artists. Gene Colan just started drawing Namor’s adventures. Marie Severin has been working behind the scenes, and we’ll see her artwork soon enough. We’ve already seen some artwork of her brother John. John and Sal Buscema will be shaking things up eventually, and Ron Frenz in the more distant future. We’ll see Tom Palmer soon enough. We’ve briefly met Joe Sinnott a couple times, but he’s just about to become a regular. I’d bemoaned he wasn’t the original inker on the annual. It came out just one month too early. The other inkers will be coming along later.
This tells the same story as the Fantastic Four Annual, but with over twice as many pages.
In a short while, we’ll also read Marvels #2, which includes yet another take on this wedding to contrast with these two takes.
We’ll compare the new comic to the original and note the artist on the new comic. The original art is all by Jack Kirby and Vince Colletta. As noted above, for everything but the first page, John Kalisz did the colors in the new one.
The opening page deliberately mirrors the original.
New art by Sal Buscema & Tom Palmer with colors by Paul Becton
The big addition is a kid named Mark, a superhero fan who gets separated from his father in the commotion, and targeted by villains and saved by heroes. He serves as the centerpiece for this retelling.
Featuring: Fantastic Four Release: July 1, 1965 Cover: 1965 25 cents Written by: Stan Lee Drawn by: Jack Kirby Inked by: Vince Colletta Lettered by: Artie Simek 23 pages
I now pronounce you man and wife! You may kiss your bride!
It’s the wedding of the century. Today’s the day. Half the Marvels have been invited! And the rest of them are turning up anyway!
This issue represents by far the largest gathering of heroes and villains yet, forever binding these disparate characters into a universe.
This issue represents the idea that there is no status quo, that these characters are at their best when they change and grow. Forward momentum is an essential ingredient to storytelling. Genuine, non-illusionary, change.
This is the most significant moment in the early Marvel Universe.
I think I’d have come up with a better title than “Bedlam at the Baxter Building”.
I wish Chic Stone or Joe Sinnott had been the inker. A few months too late to have Stone and one month too early to have Sinnott. Also, Colletta is uniquely suited to a long special issue with many characters because he’s famously expedient.
I appreciate that the headline takes for granted the public knows who Reed and Sue are without the need for surnames or superhero identities. The cover does the same for its audience.
Pretty cool this worked out to be the 400th story in our reading order. Currently on track to also have the 500th story be a particularly special issue of Fantastic Four as well. When we read Avengers #1, it was the 100th story, but then I went and retroactively mucked with the ordering.
Featuring: Avengers Release: May 11, 1965 Cover: July 1965 12 cents Slyly written by: Stan Lee Smoothly drawn by: Don Heck Suavely inked by: Dick Ayers Superbly lettered by: Artie Simek Stoically read by: You (if you’ll ever turn the page…!) 20 pages
I thought our purpose was to battle crime! Why need we concern ourselves with international affairs?
Of all the stories in the early Marvel Universe, these Cold War stories are the worst across the board. The very worst are the Cold War stories set in Asia, as they tend to mix in racism with the blatant US government pro-war propaganda.
It’s awful because they are aimed at children, with the seeming intent to indoctrinate them into supporting the war in Vietnam or whatever else.
If you remove all the ways they are plainly awful jingoistic racist propaganda, they still tend to be prettyawfulnarratively. The closest thing to an exception is the recent Thor story, which did have an actual narrative about a conflict between brothers and a family divided because one brother joined the Viet Cong.
But maybe this story where the Avengers invade an Asian nation at random to battle their Communist leader and overthrow the government will be the exception.
Spoiler. It won’t be.
This story is interesting because it’s both forgettable and forgotten… at least mostly forgotten for about 55 years… until 2019 when someone decided it should be one of the foundational cornerstones of the entire history of the Marvel Universe.
Featuring: Captain America Release: May 11, 1965 Cover August 1965 12 cents Writer: Stan Lee Artist: Jack Kirby Inker: Frank Ray Letterer: Sam Rosen 10 pages
The story’s title, “The Sentinel and the Spy”, seems to refer to Captain America’s nickname, “The Sentinel of Liberty”. It’s not clear to me how established that nickname is at this point. It’s been associated with the character since his first appearance in 1941, as the Sentinels of Liberty was the name of his fan club.
At the end of last issue, Cap still seemed to be brainwashed, but he’s snapped out of it by the opening splash page.
Featuring: Captain America Release: April 8, 1965 Cover: July 1965 12 cents Story and art by: Stan Lee and Jack Kirby Inking: Frank Ray Lettering: Artie Simek 10 pages
