Featuring: Daredevil Release: April 1, 1965 Cover: June 1965 12 cents Written with the inventive genius of Stan Lee Drawn with the artistic brilliance of Wally Wood Lettered with the scratch penpoint of S. Rosen 20 pages
Featuring: Daredevil Release: February 4, 1965 Cover: April 1965 12 cents Written by the master of the spoken word: Stan Lee Drawn by the master of the printed picture: Wally Wood Lettered by the monster of the blurb balloon: Artie Simek 20 pages
Interviewed in London about 7 years back, Stan Lee was asked what his favorite story he ever wrote was. At first he claimed they were all his favorites. But after a moment’s reflection, he began to describe a comic he wrote where Daredevil and Sub-Mariner fought. His description contained some inaccuracies; he was 92 at the time and never renowned for his memory. Yet his description of the ending was pretty much spot on.
And in the end the Sub-Mariner went… back to the ocean and he left Daredevil kind of lying exhausted on the sand, and he said something like, “You were a noble competitor…” I enjoyed the way I think I made them both seem heroic, even though they were fighting each other.
Stan Lee, London Film and Comic Con, 2014
Stan Lee wrote hundreds of superhero comics and in many interviews could barely keep any two characters straight. Yet somehow he spoke with a nostalgic fondness about a single moment at the end of this particular story 50 years later, a single page that he did seem to remember rather clearly.
This is Wally Wood’s third issue of Daredevil. Wood is an artist and storyteller on par with Kirby and Ditko, but won’t be at Marvel long enough to leave the same mark on the characters they did. His greatest contribution to the nascent Marvel Universe will be this issue.
Let’s start with the obvious. Right from the cover, we see Daredevil has a new costume. It’s not really that different from a penciler’s perspective than the one he wore last issue. It’s mostly the color scheme that’s changed. The costume is all red now. Fitting for a devil.
And somehow it makes all the difference in the world. From the worst Marvel costume to an iconic look that will be forever associated with the character. This is the look of Daredevil that endures.
Wood puts more detail into the world than either Kirby or Ditko. We’ve never seen Atlantis quite like this in Kirby’s rendering. Kirby drew beautiful and bold and bizarre shapes in Atlantis, but Wood makes it feel full, like there’s a real city there fading into the background. His cityscapes of New York will be equally impressive.
Namor gets an impressive array of titles.
In next month’s Avengers, which we have already read, Namor turns down a request to join the Avengers because he has vowed to conquer the surface world. This story must take place shortly after that encounter, despite being published earlier.
Featuring: Daredevil Release: December 3, 1964 Cover: February 1965 12 cents Written with the fabulously flawless fantasy of… Stan Lee Illustrated in the magnificently modern manner of… Wally Wood Lettered in the screamingly sophisticated style of… Sam Rosen 20 pages
A neat effect that’s unique to Daredevil is the little logo box. For the first few issues, it was just his logo in the top corner of the first page, not so different from what we see in other titles. Then the next couple issues added a close up of Daredevil’s face to the logo. Now Wood is varying the theme, showing a mini-picture of Daredevil leaping into action over the logo. We’ll get a new logo picture next issue.
I’d like to talk about super-villains vs. super-villain henchmen. Most of the villains we’ve met like to be in charge. They are their own boss and plan their own crimes. They sometimes team up, but then fight over who is in charge. Occasionally, independently minded super-villains can form a team and have someone be in charge, as with the Masters of Evil, led by Zemo.
The Enforcers are different. We met them when they were working for Big Man. Then later Green Goblin, then later Sandman. They don’t try to be top villains. They are for hire, and work for the big super-villains. Dr. Doom had a similar gang, the Terrible Trio. They’ve tried to strike it on their own as their own bosses, with limitedsuccess.
Of course, the Evil Mutants serve Magneto. He’s the big super-villain they take orders from.
Understand the two tiers of the super-villain hierarchy?
In this issue, we see Ox for the first time apart from his fellow Enforcers. But he’s still doing what he does, hiring himself out to super-villains. In this case he works for Mr. Fear.
Eel does something unique here. He was a super-villain in his own right, with his own plans and his own base of operations. He twicefought the Human Torch. But now he’s a henchman, working for the bigger super-villain, Mr. Fear. It’s something of a demotion for the Eel.
The covers have rarely (never?) mentioned the creative team, yet this one is quite proud to have the already legendary Wally Wood on the team. Joe Orlando had done the last 3 issues of Daredevil, but has now left Marvel forever. The narration takes the time to thank the creators that helped start this series: Everett, Orlando, Colletta.
Wally Wood will be on board for 6 issues of Daredevil.
The letterer, presumably Sam Rosen, goes uncredited.
Daredevil gets a new logo. Rather than the boring “D” on his chest, it’s the slightly more interesting “DD”. The first notable change that Wally Wood will bring to the character of Daredevil. Still not the best logo, but one that will basically endure.
Featuring: Daredevil Release: August 4, 1964 Cover: October 1964 12 cents Sensational story by: Stan Lee Awe-inspiring art by: Joe Orlando Infallible inking by: Vince Colletta Lots of lettering by: S. Rosen 22 pages
Daredevil still has that stupid hood sack thing to keep his civilian clothes. They had somehow taken a bad costume and made it even worse.
Fortunately, he’ll realize early in the issue that it’s impractical to the point of imbecilic and we’ll be rid of it.
This issue introduces Purple Man, who has the power to sap people’s wills and make them responsive to his commands. Only Daredevil seems resistant to his influence.
Featuring: Spider-Man Release: June 9, 1964 Cover: September 1964 12 cents Written by: Stan Lee, master of the spoken word Illustrated by: Steve Ditko, dean of dramatic drawings Lettered by: S. Rosen, sultan of sparkling spelling 22 pages
Let me start by wishing a happy birthday to Steve Ditko, who would have been 93 today had he not passed away in 2018.
Ditko has created a number of new villains for this series, while maintaining a generally pretty high quality (Green Goblin excepted). The team has only once borrowed a villain so far, when Spider-Man fought Dr. Doom in issue 5. This is the second time borrowing a villain, but they dig deeper, bringing back Ringmaster from Incredible Hulk #3 two years earlier. We’ve read over 200 comics since we last met Ringmaster and his Circus of Crime.
Aunt May still insists Peter accept a blind date with Mary Jane Watson. Peter makes the reasonable protestation that he has a girlfriend. May notes they are not engaged. Does May just not like Betty for some reason? On the other hand, it doesn’t necessarily have to be a date. Peter could just offer to hang out with Mrs. Watson’s niece as a favor to Aunt May. I feel like they could compromise here.
Featuring: Daredevil Release: June 2, 1964 Cover: August 1964 12 cents Written with raw realism by: Stan Lee Illustrated with daring drama by: Joe Orlando Inked with actual artistry by: Vince Colletta Lettered with Perfect Precision by: S. Rosen 22 pages
Some like him and some hate him, but so far he’s the easiest inker to spot. None of the other inkers we are following do the crosshatching like Colletta.
Last issue, Orlando and Colletta gave us an unusual amount of background detail for the period. This issue gives less, as is the style of the time, likely induced by deadline pressure.
All that said, we get some good visuals from the art team, notably a trippy opening panel with a lot of eyes.
Last issue, Daredevil borrowed a villain from Spider-Man. He now gets his first super-villain of his own, the Owl. The Owl is the worst kind of super-villain: a Wall Street investor, described as a ruthless financial wizard. Also, he can fly and likes to trap his enemies in giant bird cages. Typical Wall Street guy.
Featuring: Daredevil Release: April 2, 1964 Cover: June 1964 12 cents Story: Stan Lee Art: Joe Orlando Inking: Vince Colletta Lettering: S. Rosen 22 pages
The credits have two names that are new to us. Last issue was drawn by Bill Everett, who did an excellent job, but apparently also missed his deadline by a wide margin. Whatever happened, he was not invited back.
The artist is now Joe Orlando, who has been working in comics since the early ’50s, including occasional freelance work for Marvel. This is his first superhero work, previously drawing horror, western, and war comics, most notably for EC Comics. He worked in the comics field for many decades as artist, writer, and editor, most of that time with DC comics. As far as I can tell, this short stint on Daredevil is the last work he’ll ever do at Marvel.
Here’s a peek at some of the work he’d been doing in the previous 13 years.
Vince Colletta had been working as an artist for Marvel for about a decade, primarily on romance comics. He had recently moved toward inking. He will soon become a regular inker over Jack Kirby, and begin a very long run inking Thor. I believe this is also his first ever superhero work.
His work is not always loved by critics or his colleagues. He has a reputation for choosing professionalism over artistry. I see no evidence of this or any other flaw in this particular comic. I will caveat that I haven’t always the best eye for art, nor any particular talent for separating the contributions of the penciler from the inker when I look upon a page.
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.
