Featuring: Iron Man Release: April 9, 1964 Cover: July 1964 12 cents Written by: Friendly Stan Lee Illustrated by: Faithful Don Heck Lettered by: Fearless Art Simek 13 pages
For the second issue in a row, a comic I own in original form, because it was too hard to find the Watcher story in the back any other way.
The title is, “No one escapes the Mandarin!” Iron Man is currently a prisoner. Willing to bet money someone will escape the Mandarin by issue’s end. (In fact, someone will escape the Mandarin by page 3.)
I need everybody to agree on a couple points. Iron Man is a captive. He is tied up just like he was at the end of last issue. That’s the first point. The second is that he is wearing a different helmet than he was a moment ago. There is a clear lack of bolts down the face. Somebody explain.
Featuring: Iron Man Release: March 10, 1964 Cover: June 1964 12 cents Written (in his magic Marvel manner) by: Stan lee Drawn (in his famous flashing fashion) by: Don Heck Lettered (in his smooth subtle style) by: Art Simek 13 pages
We reach a personal milestone for me in this reading. Up to this point, every story I’ve read, I’ve used some form of reprint, often a collection from one of their reprint lines like Marvel Masterworks, sometimes a later comic that happens to reprint the old story.
This comic I own. Cover barely hanging on, brown at the edges, but this is mine. That cover? That’s a scan of my copy. Most of the other covers have been taken from the GCD.
So that’s pretty exciting.
Now for the bad news. The Mandarin returns. Iron Man’s lamest villain yet (despite some stiff competition) is back for round 2.
Iron Man gets a new helmet. The face mask no longer protrudes out, making his head a smoother shape, and there are visible bolts along the mask. I get the bolts along where the facemask meets the helmet, but not sure what the ones down the middle are doing. They won’t be around long. In fact, they’ll disappear mid-story suddenly without any plausible explanation.
It’s a pretty weird look, frankly. It will be better when that middle line of bolts goes away.
Featuring: Avengers Release: May 5, 1964 Cover: July 1964 12 cents Written by the inspired typewriter of: Stan Lee Drawn by the enchanted pencil of: Jack Kirby Inked by the gifted brush of: Chic Stone Lettered by the scratch pen of: S. Rosen 23 pages
As if it wasn’t hard enough trying to figure out how to fit the Avengers’ solo adventures around this title, issue 5 ended with an urgent call from the Teen Brigade to go on a mission unrelated to the Lava Men adventure they just had, which itself was unrelated to the Hulk adventure that started that issue. Leaving almost no space for solo adventures.
Here, the narration informs us they are still on the way to New York to respond to the urgent call, but needed to refuel in Chicago.
Between New York and Chicago, Iron Man and Giant-Man have gotten new costumes, and Wasp has a new hairdo and headpiece.
Captain America meanwhile has new glove magnets and miniature transistors installed in his shield that allow him to control its motion.
Iron Man designed the shield transistors. He is apparently an engineering genius on par with Tony Stark, the man nobody has ever seen him with, despite being Stark’s bodyguard.
And then Thor gives Captain America his mail. Wait? What? I thought this was a refueling stop in Chicago. Where did they get the mail? Where are they?
Not many details in the scene. Some equipment makes it look like a lab. Cap is sitting on a chair, so they seem to not be on a plane or at a refueling station.
Featuring: Avengers Release: March 3, 1964 Cover: May 1964 12 cents An epic tale told with high drama and heroic dignity by: Stan Lee Illustrated with deep sincerity and dazzling beauty by: Jack Kirby Inked by: Paul Reinman Lettered by: S. Rosen 23 pages
Rick Jones gets his name on the cover and on the opening page alongside the book’s actual stars. He i fact is given billing over Giant-Man and Wasp in both places. His placement suggests he comes with Captain America, as though they are partners.
This tale is getting closer to what I feel like a traditional Avengers tale should be. There should be some menace to the world, a threat so great that no single hero can stand against it. Mostly so far, they’ve just fought Hulk over and over again. And he just wants to be left alone.
In this issue, the Lava Men invade Earth. When last we met them, they were referred to as Lava People; not sure how the unneeded gendering crept in.
Almost what I’m looking for. Only two problems. The first is that the Lava Men/People invaded before and Thor stopped them all by himself. So it’s not clear they’re an Avengers-worthy threat. The second is that in addition to fighting the Lava Men, the Avengers also all attack Hulk again. They really should just give the guy a break. This is now their fifth battle with the Hulk, and they all end in a stalemate.
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.
Featuring: Fantastic Four Release: February 11, 1964 Cover: May 1964 12 cents Unforgettably written in the grand manner by: Stan Lee Powerfully drawn in the heroic manner by: Jack Kirby Inked by: George Bell Lettered by: Art Simek 23 pages
Thing stands alone no longer.
The Avengers and Fantastic Four team up to battle the Hulk. If there’s a better issue that serves as a microcosm for what the Marvel Universe is all about, I don’t know what it is.
I think this is perhaps the best comic cover we have yet come across. It’s very atypical of the Kirby covers in a number of ways. Likely stemming from having to cram an atypical number of characters in. But we see the full figure of each character, each taking up a small amount of cover real estate. He usually likes characters on his covers to be bigger. He also shows less concern about perspective than usual, since we see neither the floor nor any overlapping characters. He allows the action to be basically 2-dimensional and each character to be small, while overlapping none of the characters. He wants us to be able to see each character and their pose clearly. I’m reminded more than anything of posing action figures.
The whole of the scene with its 11 characters still fills a small amount of the cover. Kirby gives a lot of top real estate to word balloons. He could have zoomed in more if he wanted to. He didn’t. He wanted what is probably the widest cover shot we’ve seen yet.
This concludes a two-part Fantastic Four story, the best Fantastic Four story yet, but it’s also part of a bigger saga. It’s been building since Hulk quit the Avengers in Avengers #2, carried over into the Avengers’ battles with Hulk and Namor in Avengers #3and #4 and will have an epilogue in Avengers #5, where the Avengers have one last encounter with Hulk, at least for now.
Still, it doesn’t really end there. Events at the end of Avengers #5 lead directly into issue 6, which itself ties in with Sgt. Fury #8. And the Hulk’s story continues, with the toll these events have taken on him leading indirectly to his upcoming battles with Spider-Man and Giant-Man. These two issues are at the center of a giant interconnected web of stories, which revolve around Hulk being (justifiably) upset with how the world’s been treating him.
It’s all part of the long build-up to Hulk finally getting his solo adventures again. He was the first superhero of the new Marvel Age to have his title cancelled and will be the first to be revived.
Featuring: Fantastic Four Release: January 10, 1964 Cover: April 1964 12 cents Sensational story by: Stan Lee Astonishing art by: Jack Kirby Incredible inking by: G. Bell Lighthearted lettering by: S. Rosen 22 pages
I have no idea why it took us so long to get to something like this. It seems like such an obvious superhero story to me: a good old-fashioned slugfest. Take two very strong characters and just have them duke it out. Thing and Hulk are perfect for a brawl. They met before, but it wasn’t a brawl. There was a mystery and a Commie plot and all this stuff. This time, the rest of the team is quickly taken out of contention. And it’s up to Ben Grimm to hold his own against the Hulk.
Worth the wait.
We get some preamble. Hulk has returned to New Mexico with the Avengers in pursuit. Unbeknownst to them, he turned around suddenly and went to New York to find them. He read in the paper that Captain America had replaced him and thought Rick had betrayed him. He is off to finally destroy the Avengers. Of course, Rick never betrayed him. And the Avengers only replaced him because he quit.
Featuring: Avengers Release: January 3, 1964 Cover: March 1964 12 cents Gloriously written by: Stan Lee Grandly illustrated by: Jack Kirby Gallantly lettered by: Art Simek 23 pages
No inker is given in the credits for some reason. The GCD suggests the inker is George Roussos, who has been doing a lot of inking lately under the pseudonym George Bell. I don’t think we’ve yet seen a single comic where Kirby has done his own finishes. Probably because he’s drawing a half dozen comics each month.
There’s something that troubles me about these credits, and it’s the type of thing that makes Stan Lee a controversial character to this day. Look to the acknowledgement on this first page. Stan notes that Jack drew the original Captain America comics. That’s true and good to point out. But that massively understates Kirby’s contribution. Kirby and Simon created Captain America. The box should say. “Jack Kirby is one of the creators of Captain America.” Now, this may have been mere thoughtlessness on Stan’s part. Kirby used to draw Captain America and now is drawing him again; Stan used to write Captain America and now is writing him again. That may be the only point he wanted to make, and perhaps no other thoughts occurred to him. But the phrasing seems careful, and reflects the longtime legal stance of the many companies that have owned Marvel, that people don’t create characters, companies do. You can read an article from Brian Cronin on a piece Stan Lee had written in 1947 crediting publisher Martin Goodman with the idea for Captain America. The piece is basically fictional. Joe Simon came up with the character independently, and Kirby helped him flesh out the details. Stan’s failure to credit them for that goes back a long ways.
Featuring: Thor Release: December 2, 1963 Cover: February 1964 12 cents Written by: Stan Lee Drawn by: Jack Kirby Inked by: G. Bell Lettered by: S. Rosen 13 pages
We are one week late reading this comic because it begins a two-part battle against Tomorrow Man. How this comic fits in with Thor’s appearances in Avengers is pretty complicated, and we’ll be addressing that in a later post.
I’ll remind readers that the Avengers really do have some urgent business to get back to. Both Hulk and Namor remain at large. It should also be noted that Giant-Man recently fractured his ankle, but seems better now.
Jack Kirby is back and here to stay. Perhaps he’ll be able to turn around what up to this point has been one of the worst comics. Perhaps not, as he was there for the earliest issues of Thor and they were still of low quality. But Stan Lee was also farming out the writing to a variety of people. Now, for the first time, Stan and Jack will be the team on this book, just like on Fantastic Four and Sgt. Fury. They’ve also reached the point in their working relationship where their “coplotting” of the stories likely involves Stan less and less. Kirby will be taking greater control of the storytelling going forward. We’ll see how it goes.
Now that Lee is scripting, there is a detectable difference in Thor’s speech patterns. Under other writers, he had slowly evolved from talking like he was Don to talking like he was Thor. Now, there’s a certain haughty regality to the language. Words like “naught”.
