Featuring: Nick Fury, Agent of SHIELD Release: January 10, 1967 Cover: April 1967 12 cents Edited by: Stan Lee (Marvel’s James Bond) Written and drawn by: Jim Steranko (Marvel’s Man Flint) Letted by: Sam Rosen (Marvel’s Secret Squirrel) 12 pages
And so saying, the SHIELD agent’s finger begins to tighten on the trigger… his trance-like face telling of the incredible turmoil seething within… Then, the overwhelming force of the spell sweeps over his ego, as once again, the Supreme Hydra’s command echoes through his mind…
Jim Steranko is now writing and drawing Nick Fury, Agent Of SHIELD, and credited for doing so. Wally Wood had wanted that for Daredevil but was turned down.
Does this show Lee’s faith in the newcomer Steranko? Or is it just that he’s busy and become somewhat indifferent?
Steranko delivers quite the opening splash page, so maybe he’ll do okay with this assignment.
What are we looking at? It’s called the Vortex Beam. It seems to be like a tractor beam they use as a fancy elevator. Best as I can tell, people get onto a disc on the ground and then get lifted onto the Heli-Carrier. We see some VIPs and a strange device coming on the ship that way.
Featuring: Nick Fury, Agent of SHIELD Release: December 8, 1966 Cover: March 1967 12 cents Edited by: Stan Lee Scripted by: Roy Thomas Plotted and drawn by: Jim Steranko Lettered by: Sam Rosen 12 pages
The training wheels are off for Jim Steranko. In his first couple issues, he’d been drawing off layouts from Kirby, but Kirby has stepped away. The newcomer Steranko has drawn this all by himself.
And he even gets a plotting credit for his work. Something it took Ditko and Kirby years to get. That folks like Orlando and Wood left the company over.
Roy Thomas was also on scripting duties last issue, but this won’t be a regular gig for him. This is his second and final turn on the series.
AUTOFAC is the AI system that does SHIELD’s thinking. If they feed it what they know about Supreme Hydra, it will deduce their identity.
Can you, reader, deduce the identity of Supreme Hydra before AUTOFAC can? If not, maybe we should just surrender to AI.
We get a detailed diagram of the Heli-Carrier. Below the story notes, we recorded all the rooms and notes.
Featuring: Nick Fury, Agent of SHIELD Release: November 10, 1966 Cover: February 1967 12 cents Seldom-equalled editing by Stan Lee Seldom-surpassed scripting by Roy Thomas Seldom-lacking layouts by Jack Kirby Seldom-rivaled rendering by Jim Steranko Seldom-legible lettering by Artie Simek 12 pages
The hour of Hydra has come at last– And nothing that the human race can do will cease our relentless march toward world domination!
Steranko takes on the cover solo, and does an impressive job. He probably won’t need Kirby’s handholding much longer.
Inside, it’s still the Kirby/Steranko art team, with the art seeming more and more Steranko each issue. What’s changed is the writer. Thomas has been the regular on X-Men and Sgt. Fury and occasionally filled in elsewhere. This is in that fill-in category. He won’t be a regular writer on this series.
We open in the barbershop. Not clear the status of it after the attack by AIM. Is it still a SHIELD base? Is it still secret?
We recognize the two agents working in the barbershop, but still haven’t learned their names.
The Power of SHIELD! Featuring: Nick Fury, Agent of SHIELD! Release: October 11, 1966 Cover: January 1967 12 cents Script: Smilin’ Stan Lee Layouts: Jolly Jack Kirby Artwork: Jaunty Jim Steranko Lettering: Adorable Artie Simek 12 pages
So long as men such as you exist– men who are dedicated not merely to the cause of nationalism– but to international freedom– to global justice– so long will the lamp of liberty continue to burn bright– until men of good will, everywhere, put down their arms and come forth to reason together!
Once again, Kirby is on layouts with Steranko on art, but the character work looks more like Steranko this issue than last, perhaps suggesting looser layouts from Kirby.
Worth noting this will be Stan Lee’s final work on Nick Fury, Agent of SHIELD. He remains the editor, of course.
Last issue, Nick had escaped Hydra, but was unwittingly piloting their Overkill Horn. We pick up there this issue. Sitwell is in charge of SHIELD, and manages to destroy the Horn, fearing he has killed Fury in doing so. But Nick gets free.
Featuring: Nick Fury, Agent of SHIELD Release: September 8, 1966 Cover: December 1966 12 cents Script: Smilin’ Stan Lee Layouts: Jolly Jack Kirby Illustrations: Jaunty Jim Steranko Lettering: Adorable Artie Simek Hood laundering: Irate Irving Forbush 12 pages
So you’re the guys who’re gonna take over the world, huh?
A new name in the credits. Who is this Jim Steranko on the art over Kirby’s layouts?
He had apparently dabbled in comics briefly in 1957, but I have no examples of that. His first work came out for Harvey just three months earlier. He co-created several adventure heroes for them like Spyman. And perhaps contributed to varying degrees to the stories.
Per The Comics Journal, some of this work such as in Double Dare Adventures is illustrated by Steranko.
Either way, he’s new to comics. This is a pretty big assignment for a rookie. Let’s see if he makes anything of himself.
Featuring: Nick Fury, Agent of SHIELD Release: August 9, 1966 Cover: November 1966 12 cents Script… Stan Lee Layouts… Jack Kirby Pencils… John Buscema Inks… Frank Giacoia Letterings… Sam Rosen Ear plugs… Irving Forbush 12 pages
‘Cut off a limb, and two more shall takes its place!’ We were right… Hydra still lives!
We read the second half of this issue already. Last issue really ended the AIM stuff, and this issue begins the return of Hydra arc, so I wanted that cutoff. But the Dr. Strange stories cut a bit differently, as this issue ends the Kaluu arc and next issue properly begins the Umar arc.
Kirby is on hand for the layouts, but the main art credit goes to John Buscema. We spoke of him at length with his return to Marvel in Tales to Astonish #85, published one week prior to this. And we’ll be seeing a lot more of him.
We begin with Nick in a strange contraption performing a dangerous test. So dangerous, he won’t let anyone else do it. It’s a prototype Overkill Horn. They are concerned an enemy has a real one.
Perhaps a Super-Overkill Horn. Adding the word Super in front of something already called the Overkill Horn seems like, well, overkill.
Featuring: Nick Fury, Agent of SHIELD Release: July 7, 1966 Cover: October 1966 12 cents Edited by: Stan Lee Layouts by: Jack Kirby Script by: Denny O’Neil Art by: Ogden Whitney Lettering by: Artie Simek Ammunition by the Forbush Pyrotechnic Co. 12 pages
Hydra can never be killed! Althrough you have captured Hydra’s body, its head is still free… It shall last forever! It has resources you have not dreamed of… resources that will insure its ultimate triumph!
It’s rare that the scripter doesn’t get credited ahead of the artists. When Lee was scripting, his name always came first. Now that Lee is editing, the editor’s name comes first. But then he put Kirby’s layouts ahead of the scripting and art in the credits.
The credits claim this issue’s writer and artist are surprises.
At this point, we know Denny O’Neil. He’s been taking over the scripting duties on Dr. Strange. But the name Ogden Whitney is new to us.
Featuring: Nick Fury, Agent of SHIELD! Release: June 9, 1966 Cover: September 1966 12 cents Edited (in absentia) by… Stan Lee Layouts and script by… Jack Kirby Pencilling and inking by… Don Heck Lettering by… Sam Rosen 12 pages
Part of the month when Stan is on vacation. Kirby did the script. Stan still claims to have edited the comic while also claiming to not be in the office. His name still comes first in the credits.
The first script we’ve seen Kirby get credit for in our Marvel reading.
Certainly not the first script Kirby deserved credit for.
The battle against AIM/Them continues. I’d almost gotten in my head that AIM and Them were just different names for the same organization. But then last issue AIM was described as a branch of Them.
Now the narrator tells us AIM is in league with Them.
After a failed attempt to kill Nick Fury, Count Bornag Royale notes that AIM must improve its prestige with Them. That suggests there really is a distinction. My current thinking is that AIM is a branch of Them.
Featuring: Nick Fury, Agent of SHIELD Release: May 10, 1966 Cover: August 1966 12 cents Script: Stan Lee Layouts: Jack Kirby Pencils: Don Heck Inks: Mickey Demeo Lettering: Sam Rosen Weapons: Forbush Novelty Co. 12 pages
…we of AIM feel we simply cannot deal with such an unlettered oaf! We find his very appearance offensive! The idea of America’s highest-priority counter-espionage leader going around in his shirtsleeves… unshaven, unkempt, and making a mockery of your own language– shocking!
Shadowy organizations. These secret power-hungry cabals. Hydra had been the big one, but they fell to SHIELD in Strange Tales #141. The Secret Empire seemed to collapse from within in Tales to Astonish #83. An unnamed shadowy cabal was behind Batroc in Tales of Suspense #75. Not sure if they are connected to one of these others, or their own thing.
Most relevant is the organization called Them. We learned they had employed the Fixer in Strange Tales #145. In Tales of Suspense #78, Fury warns Captain America that Them is a group of scientists looking to overthrow the government. We see they have beekeeper-like uniforms and work for someone called the Imperator. They send a Chemical Android after Captain America.
AIM (Advanced Idea Mechanics) is a defense contractor looking to supply the US government weapons to make up for the shutdown of Stark Industries. Count Bornag Royale is their representative, and has claimed SHIELD needs someone more sophisticated than Nick Fury at its helm.
AIM and Them seem to be the same organization, with AIM the public-facing front. In Tales of Suspense #79, we see Them/AIM is responsible for the return of the Red Skull and the creation of the Cosmic Cube. Fortunately, Captain America dealt with both threats. Seemingly for good.
Featuring: Marvels Release: January 25, 1994 Cover: March 1994 $5.95 Writer: Kurt Busiek Artist: Alex Ross Letterers: Starkings w/ John Gaushell Editor: Marcus McLaurin Assistant editor: Spencer Lamm Editor in chief: Tom DeFalco Cover design & logo: Joe Kaufman Interior Design: Comicraft 45 pages
And then it was quiet. No one around. They were all inside– or gone. Was this what it was going to be like? Silence and emptiness– forever?
We again jump back to 1994. As noted in this post, which serves as something of a vision statement, my goal here is to be able to reread my first comic, Avengers #309, but this time with full context, without feeling like I was missing anything or that I had read things out of order. More than that, it’s an attempt to try to see decades of disparate titles by a variety of creative voices as telling a larger single story.
I see Marvels, the masterpiece by Busiek and Ross, as an attempt to come to terms with that same story, and then to tell it in miniature. In general I try to take a contemporaneous viewpoint, looking at our 1966 stories from the perspective of 1966, and not spending too much thought on what later stories have to say. Marvels is the exception, as I’m using Marvels to frame our reading and my thinking about this reading.
For example, we jumped a little bit ahead in our X-Men reading lately. The rush through X-Men was to line up with this issue of Marvels. I was eager to read this comic right after the Galactus saga, but knew I had to hold back until after the X-Men battled Count Nefaria. And the choices in reading order we made with respect to the Avengers and Fantastic Four stories were inspired by how Marvels presented them.
There is no other later series I let impact my thinking on these stories. That’s born both out of a love of Marvels and its creators, and a trust in Kurt Busiek to have done his homework.
As this post is a bit long and picture-heavy, I’ve broken it into twoparts.
The series Marvels covers the Marvel Universe from 1939-1973. I don’t know how far this blog will go before I get bored or die, but I’m hoping to at least hit 1973 and finish Marvels. But that is several years away.
There’s also a bit of timing in the writing of this blog that has recontextualized Marvels and the stories it represents again. I started this blog in 2019 and reached Marvels #1 in 2020, and found new meaning in Phil’s desire for the world to return to normalcy. I write this blog post in 2024, with 2020 four years in the past, but the pandemic continuing to affect lives in big and small ways.
Marvels #1 starts with the dawn of Marvel in 1939 and takes us into the war in Europe, likely around 1943. We then jump forward 20 years and Marvels #2 covers the ground of part of our reading. It skips the introductions of most of the heroes and takes us to 1964 and Avengers #6 (May 1964), then ends in 1965 with Tales of Suspense #69 (around July 1965). Its focus was on the juxtaposition of two major events, the wedding of Reed and Sue in Fantastic Four Annual 3, and the introduction of the Sentinels in X-Men #14-16.
Thinking in terms of Fantastic Four, a title which has been a monthly constant in our reading, Marvels #2 covers the ground of approximately Fantastic Four #29-43.
Marvels #3 will cover a little less ground, Fantastic Four #44-50, bringing us to around February 1966. And most of the page count is dedicated to recapturing a single story, the battle between the Fantastic Four and Galactus in Fantastic Four #48-50. Due to its wonky arrangement with other stories, the original battle only covered about 48 pages of comics originally, so the retelling in miniature is not actually that much shorter, taking up almost 32 pages.
Of course, this retelling will not be from the perspective of the Fantastic Four, but our man Phil Sheldon.
The story has been about Phil, but also about his changing opinion of the Marvels. In the 1930s, he thought they were something to fear when he first saw Human Torch and Sub-Mariner, but came to conclude they were something to cheer on when he saw Captain America, and then all the heroes teaming up against Nazis. He continued to cheer them on into the 1960s, loving the Fantastic Four and the Avengers… but not the X-Men. Mutants, he hated. Though he grew a bit by the end.
Now he begins to wonder if he’d put a bit too much faith in all the Marvels, put them too much on a pedestal. As they become embroiled in controversy after controversy… had he overestimated them? He begins to have doubts.
