No credits given. The GCD credits Don Rico and John Romita.
With a big sigh of relief, we come to the last Red Skull story from the pre-Marvel era. By my count he made 13 appearances, and we’ve read 11 of them, all to get ready for his triumphant return in 1965. That was more than I meant to read, but there was a particular reason for each choice.
Captain America and Red Skull, now a card-carrying Communist, battle one final time.
No credits are given. The GCD attributes the story to Don Rico and John Romita, except the first panel which it attributes to Mort Lawrence.
It is 1953, 4 years since the final Captain America story, which itself brought and end to the company’s entire line of superhero books, the Human Torch and Sub-Mariner sagas having ended a little sooner.
Marvel’s only nod to the superhero genre in the time since is their science fiction hero, Marvel Boy, whose series lasted 6 issues.
They’re ready to try again. Now generally branded as “Atlas Comics”, the company that had been known as “Timely” and would be best known as “Marvel” offers this superhero revival, bringing back their 3 most successful superheroes of the 40s: Human Torch, Sub-Mariner, and Captain America.
All three return in this very issue. We read the Sub-Mariner story previously. Spinning out of this Young Men series, all three will soon get their own titles as well. Sub-Mariner’s return will last 10 issues, while Human Torch and Captain America each get three issues, before again being consigned to oblivion for another decade.
We read several issues of the Captain America revival to prepare to read Captain America’s lasting return in 1964. Those posts met with the sharpest criticism in the comments section I have yet received. I was called naive, arrogant, ignorant about comics… The internet can be a cruel place sometimes.
Featuring: Dr. Strange Release: November 10, 1964 Cover: February 1965 12 cents Edited by: Stan Lee, and his magic typewriter. Script by: Don Rico, and his mystic fountain pen. Illustrated by: Steve Ditko, and his miraculous lead pencil. Lettered by: Sam Rosen, and his melancholy penpoint. 10 pages
Welcome to the 300th Marvel Age story! We’re almost 1% finished!
I think the periods that end each credit above are the first periods we have ever seen. Stan Lee holds to a pretty strict exclamation point-only policy. But then, Stan Lee didn’t write this.
For the second time this month, and the second time in our entire Marvel Age reading, Stan Lee claims no story credit for the issue. His name still comes first, but he takes credit for editing. The only other time we’ve seen this is with Tales to Astonish #64, published just a week earlier, and scripted by Leon Lazarus.
Rumor is that publisher Martin Goodman was concerned of the power Lee held by being the sole writer on these increasingly successful titles, and instructed Lee to diversify the writing staff. However, neither Rico nor Lazarus became regular writers. So if that was Goodman’s intent, he was not successful.
We’ve met Don Rico twice before, though he used the alias of N. Korok, when he worked on Tales of Suspense #52–53 and helped introduce Black Widow. The first time we saw him work with Stan, Stan credited himself with “story” and Rico with “plot”. I don’t know the difference either.
This is Rico’s final scripting assignment for Marvel, a company he’s worked for off and on for 25 years at this point. It’s pretty close to his last comics work. He’d basically already left comics behind for prose writing at this point. A couple miscellaneous pieces in the 70s, including the art for a short Captain America story.
Featuring: Daredevil Release: February 4, 1964 Cover: April 1964 12 cents Written by: Stan Lee Illustrated by: Bill Everett Lettered by: Sam Rosen 23 pages
Spider-Man and the Fantastic Four do not actually appear in this issue. They mention Spider-Man on the cover and the first page in an attempt to market Daredevil as their next Spider-Man.
Daredevil has a pretty distinctive logo, an expanding font with a swoosh running through it. Preceded by a “Here comes…”. And then the tagline which will endure to this day: “The Man Without Fear”.
Bill Everett is a name we should be plenty familiar with by now even though this is his first time showing up in the Marvel Age. We know him from our “Prelude” reading as the creator of Namor the Sub-Mariner 25 years earlier. Reportedly, he was very slow working on this issue of Daredevil, leading to this issue being released a full 7 months after it was originally scheduled. So he won’t be invited back to illustrate more Daredevil stories. He’ll be put on covers and finishes, jobs where he’s less likely to blow deadlines. A shame, because he does great work here.
Featuring: Iron Man Release: February 11, 1964 Cover: May 1964 12 cents Story plot by: Stan Lee Script by: N. Korok Art by: Don Heck 13 pages
Iron Man takes a big step forward. Since his debut, he’s been the lead feature of Tales to Suspense, featured on the cover with his name somewhere prominently, and his visage in the little box up top. This issue, he gets a logo. Large font in a standard position atop the page reads, “The Power of Iron Man”. The comic is still “Tales of Suspense”, as noted at the top; yet, the comic’s title is the subordinate font. In big bold letters, we see clearly this is Iron Man’s comic. Marvel will do the same with Thor next month. For whatever reason, they seem less inclined to advertise Human Torch or Giant-Man so boldly.
While less impressive, it should be noted that The Watcher gets acknowledged on the cover in a text box. No other covers have or will mention his backup features. That coincides with a change in the Watcher tales. He will no longer be narrating other tales but starring in his own adventures.
Black Widow returns, now with black hair (though this time it looks red on the cover). Last issue, her only role was distraction by seduction. Here, she steals a powerful new Stark weapon, but we still don’t see her demonstrating many talents of her own.
Her plan largely hinges on Stark’s stupidity (which worked well for her last time). He shows her his new top secret super weapon, perhaps because he is smitten with her. She then steals the weapon. We learn Stark was not smitten, but pretending to trust her to learn her plans. There was no need for that. The events of last issue provide plenty of evidence she was a Soviet spy and an accomplice in the murder of Professor Vanko. There was no reason to learn her new plan. Just have her arrested.
Featuring: Iron Man Release: January 10, 1964 Cover: April 1964 12 cents Plot by: Stan Lee Story by: N. Korok Art by: Don Heck Lettering by: S. Rosen 13 pages
N. Korok is an alias for Don Rico. Stan credits Rico with the story and himself with the plot. I would love to know what Stan thinks the difference between “plot” and “story” is. Rico had been working with comics, and Marvel Comics in particular, since 1939, as artist or writer or editor. By this time, he had mostly left comics behind and become a successful novelist– likely why he’s not using his real name on this comic work. Any comics work by Rico from this point forward will be quite uncommon.
Khrushchev decides it’s time to deal with the traitorous Crimson Dynamo. He sends for Russia’s best agents, Boris and Natasha.
