Featuring: Iron Man Release: March 10, 1966 Cover: June 1966 12 cents Spectacular story by Stan Lee Pace-setting pencilling by Gene Colan Indescribable inking by Gary Michaels Lonesome lettering by Artie Simek 12 pages
Ultimo, who never really lived– is now truly dead!
Stark factories are closed because Senator Byrd has cancelled the Defense contracts. Tony Stark is missing because Iron Man is in Asia battling Ultimo, the android creation of the Mandarin.
We get a cool time lapse splash page. Ditko often did these time lapse panels in his Spider-Man stories.
Of course, the flip side of all these splash pages and large panels is we get fewer panels to tell the story.
Featuring: Iron Man Release: February 10, 1966 Cover: May 1966 12 cents Homerically written by: Stan Lee Heroically pencilled by: Adam Austin Historically inked by: Gary Michaels Hysterically lettered by: Sam Rosen 12 pages
This is a grave moment in hour nation’s history! A time for patriotism… for dedication to the cause of freedom! There must be no special privileges for self-seeking opportunists like Stark, who flout their country’s laws!
Adam Austin has long since been unmasked as Gene Colan, but he is going back and forth between the two aliases. It’s worth noting that his art seems to improve each month.
Gary Michaels is a pseudonym for Jack Abel. He’s been working with Colan on this series off and on for a few issues now.
When we left off, Tony Stark was a prisoner of the Mandarin and Ultimo is rising. Confusingly, we’ve also seen Tony Stark filling in as the head of SHIELD since then. It’s hard to balance all the things one might want to in a reading order, and sometimes the chronology has to give. Stark’s appearances with SHIELD must take place either before or after this adventure. It’s hard because Tony’s just been pretty busy, and I like to keep the reading order relatively close to publication date.
Mandarin had thrown Stark’s attache case out the window, not realizing it contained the Iron Man armor. What can Stark do without his armor?
Mandarin kidnapped Stark from America to Asia via teleportation. Stark at the time had been in Senator Byrd’s car on the way to Congress to testify about the identity of Iron Man.
Featuring: Prince Namor, the Sub-Mariner! Release: March 3, 1966 Cover: June 1966 12 cents Story by Smilin’ Stan Lee Pencils by Grinnin’ Gene Colan Inks by Dazzlin’ Dick Ayers Lettering by Snarlin’ Sam Rosen 12 pages
Where were we. Krang and Puppet Master have teamed up to control the Behemoth. Hank Pym and Janet were around at some point. We’ll catch up with them next time in the pages of Avengers.
We’re supposed to believe that because Krang is controlling the Behemoth through the clay puppet, the creature has better reflexes than it would otherwise. That makes little sense to me.
Featuring: Prince Namor, the Sub-Mariner Release: February 3, 1966 Cover: May 1966 12 cents Now this is a story! By: Stan Lee Now this is pencilling! By: Adam Austin Now this is delineation! By: Bill Everett Now this is lettering! By: Artie Simek 12 pages
Without much fanfare, we have Bill Everett inking Gene Colan. Bill Everett is the creator of the Sub-Mariner. Of course, for whatever reason, it’s the publisher and not he that controls the character. So Marvel gets to publish and profit off Sub-Mariner stories, and he only gets paid if he does more work. So here he is inking Colan’s pencils with Stan adding dialogue. Once Everett wrote and drew Namor’s adventures entirely on his own.
He’s slowly coming back to do more work for Marvel. The last thing he did for them was create Daredevil. But his Daredevil comic was drawn with immaculate detail and unfortunately not within deadline. So he got immediately removed from his own character, and only now 2 years later is starting to get regular work with Marvel again.
As of last issue, he’s the regular finisher on the Hulk stories within this title. He’s just filling in on this Namor story, but will be returning to Namor regularly soon.
I was down to two choices for the pull quote at the top of this quote. I went with one that best exhibited Namor’s personality. I could have gone with the more standard Stan Lee heroic purple prose: There is a time to flee– and a time to fight! While life endures–I shall ever choose the latter course!
I’m never quite clear on what the powers of all these characters are. Namor sometimes seems like Superman. But we see here he’s not bulletproof. He gets shot in the shoulder, and is wounded and losing blood.
Featuring: Prince Namor, the Sub-Mariner Release: January 4, 1966 Cover: April 1966 12 cents Blue ribbon story by: Stan Lee Prize winning pencilling by: Adam Austin Academy Award winning inking by: Vince Colletta Booby prize lettering by: Artie Simek 12 pages
Fire! The one element which is alien to me! The one element I fear!
Austin had unmasked as Gene Colan last issue. Not sure why were are back to the pseudonym.
We are into Namor’s second story arc in his new series. Though it will turn out to be less of an arc than a bunch of loose threads. Surface experimentation is threatening Atlantis; Namor resolves to go to the surface to stop it; the earthquakes created unleash the Behemoth; Namor finds Hank Pym and Janet Van Dyne–formerly Giant-Man and Goliath–responsible for the testing.
Featuring: Prince Namor, the Sub-Mariner Release: December 2, 1965 Cover: March 1966 12 cents Stan Lee, writer Gene Colan, penciller Vince Colletta, inker Sam Rosen, letterer 12 pages
Supreme is the head that wears the crown! The decision must be Namor’s alone to make! Imperius Rex!
A secret has been revealed! Not to us, because I spoiled it when he first showed up. But this is the first time Gene Colan’s name has shown up in the credits. Yet it’s clearly the same artist as last issue, drawn by “Adam Austin”. So Adam Austin must be Gene Colan!
Just like superheroes have secret identities, artists do too. In this case, it was likely to disguise the fact that he was moonlighting for both DC and Marvel. Some comic artists used pen names so that their lesser comic work wouldn’t get conflated with the great novels or works or art they were one day to create. For many, it may have been to make their names sound less Jewish.
Since Namor got his own series back in issue 70, he’d been on a continuous quest to retake his kingdom from Krang. Last issue was almost a clean ending to that quest, save for the final pages. Namor was now the ruler again, with Lord Vashti his Grand Vizier. But then an earthquake strikes, and Namor suspects atomic tests of the surface world are responsible. He resolves to go to the surface world to sort this.
If Namor is the ruler of Atlantis, why is he Prince Namor? Why not King Namor? The Atlanteans must do it differently.
Vashti sits on Namor’s council and offers the wisdom that the choice of action is Namor’s, as the absolute monarch. Then why even be on the council, Vashti? Namor knows it’s his decision. Advise him!
This next story arc is going to get quite convoluted. The last one was relatively clean. Krang had taken the throne. Namor needed to recover some ancient artifact to reclaim it and followed a series of clues. This story begins with an earthquake and Namor’s plan to go to the surface world to get them to stop the tests. Let’s see where it goes from there.
Featuring: Iron Man Release: January 1, 1966 Cover: April 1966 12 cents Tenderly written by: Stan Lee Lovingly pencilled by: Adam Austin Gently delineated by: Gary Michaels Finally lettered by: Sam Rosen 12 pages
Look at you! Bedraggled and red-eyed! Too much celebrating last night, eh? I always said you were nothing but a playboy!
Marvel has given up on the idea of clean story breaks, which makes reading tricky when I’d like to put the stories together. This is part 3 of the Happy-as-The-Freak arc, but also part 1 of the Ultimo arc. Essentially they seem to want to end every issue on a cliffhanger, so they begin the next story now. I can’t just keep reading Iron Man. We already are getting ahead of the Captain America stories he shares the title with, because I need to align those with the SHIELD arc. And there’s a whole Marvel Universe to check in with. Which means I need to either break last issue with the Freak saga unresolved, or break after this issue with the Ultimo saga unresolved. The Freak saga resolves in about 2 pages, but the Ultimo saga really only takes up the last 2 pages. The ongoing Senator Byrd subplot dominates the middle bit. I don’t know. We’re reading this now, then we’ll take a break. And see what happens with Ultimo at a later date.
Where were we. The experimental treatment on Happy turned him into a Freak. Iron Man had a thing that might save Happy, at risk to himself.
Well, it worked.
This was all a fallout from the Titanium Man battle. That’s when Happy was injured saving Iron Man, and revealed he knew (or suspected) Tony’s secret. This is their first chance to talk since then.
Featuring: Iron Man Release: December 9, 1965 Cover: March 1966 12 cents Titanically written by: Stan Lee Tremendously drawn by: Adam Austin Tumultuously inked by: Gary Michaels Timorously lettered by: Sam Rosen 12 pages
He’s got to learn that Iron Man cannot work only for him, when the entire nation might benefit by his powers!
Happy Hogan has been turned into a Freak. A depowered Iron Man is in pursuit.
The Freak takes an interest in Pepper.
Senator Byrd has been a thorn in Iron Man’s side. Not a villain, but a nuisance. Does he have a point though? Should the powers of Iron Man benefit the entire nation, and not be controlled by a single corporation?
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: 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!
