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!
Featuring: Marvels Release: December 14, 1993 Cover: February 1994 $5.95 Writer: Kurt Busiek Artist: Alex Ross Letterers: Starkings w/ John Gaushell Editor: Marcus McLaurin Assitant editor: Spencer Lamm Editor in Chief: Tom DeFalco Cover design & logo: Joe Kaufman Interior design: Comicraft 45 pages
The real story was the people who’d been scared too long. Who’d been wound tight by talk of mutant menaces and hidden conspiracies and shadows under the bed.
I’ve mentioned before I want to frame our reading around the Marvels miniseries from the 1990s. That hasn’t really been obvious yet. We read Marvels #0, which retold a few pages from Marvel Comics #1. And we read Marvels #1, which paralleled 1940s Marvel comics. But our reading is concentrated in the 1960s. Finally, we get to Marvels #2, which parallels the 1960s Marvel stories, ranging from Avengers #6 (May 1964), the 191st entry in our reading, through Tales of Suspense #69 (June 1965), the 404th entry in our reading. Quite the range. We are reading it after completing the Iron Man story from Tales of Suspense #72, because we’d first needed to tie up some continuity ends.
We’ve hinted before at the theme of this comic, and I’d like to just discuss it up front. The two centerpiece stories are the wedding of Reed and Sue in Fantastic Four Annual 3, and the attack on the X-Men by the Sentinels in X-Men #14. The writer Kurt Busiek had noted in his own Marvel Universe research what we also found in our reading here, that these events must occur on nearly consecutive days. That’s not obvious from any comic, but does follow from a close reading of the many interconnected comics. And the two stories make for quite the juxtaposition.
The contrast between these two arcs becomes the central tension of this issue. The Fantastic Four wedding is the celebrity event of the century. The press covered it, crowds of fans gathered, famous people like Tony Stark and Millie the Model attended. The Fantastic Four are super-powered heroes and beloved by the public.
The X-Men are also super-powered heroes. But where the Fantastic Four gained their powers from cosmic radiation, the powers of the X-Men are innate, based on an accident of birth, perhaps from radiation their parents had been exposed to. The “Children of the Atom”. And that difference is big enough that the same public who cheered on the wedding of the FF members would listen with interest and nods of approval as Bolivar Trask went on the airwaves to declare mutants a menace and announce he’d created robot-hunting Sentinels to hunt and kill the X-Men.
We read the Heroes & Legends retelling of the wedding, which focused on this very tension in the form of a child, who was a huge fan of the Fantastic Four, but afraid of the X-Men. He learned better by issue’s end.
Here, the arc will play out within Phil Sheldon, the photojournalist who specialises in shots of the people he’s dubbed the Marvels. A person who idolizes heroes like the Fantastic Four and Avengers, but fears mutants like the X-Men.
It’s entirely irrational, just like all forms of bigotry.
That’s enough belaboring of themes. Let’s dive into the story. As we do, we’ll try to draw the parallels between what’s happening on the page and our reading.
I’ll note that the title is called “Monsters”, which brings to my mind Thing and Hulk. The latter doesn’t appear, and the former is a minor player at best.
It’s 20 years after the events of Marvels #1. Phil Sheldon is now an established freelance photojournalist happily married with two kids. We see hm doing freelance work for Barney Bushkin at the Daily Globe. The shadows on the page somewhat obscure Phil’s eyepatch, a lifelong injury sustained last issue by getting too close to a superhero battle.
We remember meeting Barney in Amazing Spider-Man #27. He’s nicer than Jonah, but asked too many questions for Peter’s tastes.
Featuring: Iron Man Release: August 10, 1965 Cover: November 1965 12 cents A study in splendor by Stan Lee, writer! A muse of majesty by Don Heck, artist! A glimmer of glory by Wally Wood, inker! A nice lettering job by Art Simek, bon vivant! 12 pages
Featuring: Iron Man Release: July 8, 1965 Cover: October 1965 12 cents Story: Scribbled and scrawled by: Stan Lee Illustration: Doodled and dawdled by: Don Heck Delineation: Battered and blotted by: Mickey Demeo Lettering: Mumbled and jumbled by: Sam Rosen 12 pages
Featuring: Iron Man Release: June 8, 1965 Cover: September 1965 12 cents Story by: Stan Lee, the idol of Millions! Art by: Don Heck, the toast of two continents! Inking by: V. Colletta, the pride of the bullpen! Lettering by: Sam Rosen, the last angry letterer! 12 pages
But, Iron Man must accept the challenge! It’s a matter of national pride… of prestige!
There are many stories I consider iconic. And, usually, who knows how this impression forms. Decades of reading comics and talking about comics has given me a sense of some stories that stand out.
I think of this as an iconic story and I know exactly why I think that. Very early in my Marvel reading, I also collected Marvel cards. The 1990 set had a set of famous battles. This was one of the chosen battles.
We’ve seen one famous battle (per that card deck) before, the Hulk/Thing fight from Fantastic Four #25–26. And are currently in the middle of another, the “Nick Fury vs. Hydra” battle begun in Strange Tales #135.
Of course, Titanium Man has one other claim to fame. Paul McCartney selected him alongside Magneto as villains to write a song about. (He also references Crimson Dynamo.)
The MCP wants Iron Man to attend the wedding in the middle of the events of this issue. I don’t see why it can’t just be before this issue. Maybe I’m missing some subtlety. As the issue opens, he’s spent weeks working on this sub-miniature reverser. He could have taken a brief break to attend a wedding.
Continuity does get complicated here though. Avengers #20 is concurrent to Tales of Suspense #70. Avengers #19 takes place in the middle of the Hydra Saga, yet Tony Stark’s life gets complicated starting now, so issue 69 or before is the best chance for his appearances in Strange Tales, including his appearances after the Hydra saga. And of course Iron Man shares a comic with Cap. As Nick Fury does with Dr. Strange, the latter of which we are months behind on reading.
For a reading order, we’ll read the Iron Man/Cap stories, then the Avengers stories, then the Dr. Strange/Nick Fury stories. But we’ll talk about what must be concurrent and what must fit where as we go.
Titanium Man is the Soviet answer to Iron Man. He issues a public challenge to prove Soviet superiority. Titanium is more powerful than Iron, so his armor is more powerful, but also slower and bulkier.
Featuring: Iron Man Release: May 11, 1965 Cover August 1965 12 cents Edited by: Stan Lee (who hasn’t slept since!) Written by: Al Hartley (who could never sleep!) Art by: Don Heck (who was under sedation!) Inked by: Mickey Demeo (who couldn’t have visitors!) Lettered by: Sam Rosen (who knows!) 12 pages
This is the third Al Hartley story we’ve read. He wrote last month’s Giant-Man finale and drew a Thor story way back. He is a Marvel regular, just normally on the humor titles this blog hasn’t focused on.
We can still count on one hand the number of stories Stan hasn’t claimed writing credit on. But he gets his name at the top of the credits anyway.
From the title page, this almost seems like the same story as last issue. Last issue, Count Nefaria took over Iron Man’s dreams to make him fight visions of his enemies. Now it looks like Iron Man is seeing visions again. Turn the page, and we learn Count Nefaria is involved again.
Featuring: Iron Man Release: April 8, 1965 Cover: July 1965 12 cents Written by our roguish writer: Stan Lee Pencilled by our prankish penciller: Don Heck Inked by our impish inker: Mickey Demeo Lettered by our other letter: S. Rosen 12 pages
The drama from last issue continues. Happy has quit; Pepper is sad; she blames Iron Man.
Count Nefaria of the Maggia returns, but with a new gimmick and identity. He now calls himself the Master of Dreams. Perhaps also Dream-Maker or Dream-Master; Stan can’t decide from one page to the next. He controls Iron Man’s dreams and sends old foes against him; if Iron Man dies in the dream, he will die.
