Tales of Suspense #75, Story B

30 Minutes to Live!

Featuring: Captain America
Release: December 9, 1965
Cover: March 1966
12 cents
Stan Lee, script
Jack Kirby, layout
Dick Ayers, pencil
J. Tartaglione, inks
Artie Simek, lettering
Irving Forbush, cheerleader
10 pages

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But, there was one other! Our lives touched for only a short time– but I’ve never forgotten her! I can still remember our final date– when she whispered to me thru trembling lips… “I’ll wait till you return, Steve! No matter how long– no matter what happens– I’ll wait for you, my darling…!”

We read this issue’s Iron Man story a little while ago, in which Happy had turned into a Freak. We saved this story to make sure it tied into to the issue of Strange Tales that referenced it.

It was a tricky call for reading order, as I don’t like to separate issues, so I’d prefer to have read this story with the Iron Man story, and continuity-wise, the issue of Strange Tales we’re tying into doesn’t fit in where we left off with the Iron Man story. But I just couldn’t find a good way to juggle all the things I’m juggling to assemble a reading order.

This is a good comic with lots going on to talk about. I had to make a checklist for myself to ensure I covered the 10 most important points.

Though we’d taken a pause in reading Cap’s story, there is no break between the beginning of this story and the end of the last. As we open, Cap is hurtling toward the sea after the defeat of the Sleepers.

Except last seen, he had a working parachute. Sometime between the issues, his parachute seems to have failed, so we get a dramatic opening.

We cut to some shadowy figures observing a test of Inferno 42. Nick Fury was aware of this item and had sent an agent to retrieve it. We learned this in Strange Tales #142. Also in that story, Fixer referred to a mysterious organization that was his benefactor, known as Them. Is that who these shadowy figures are?

Back to Cap, we get a great moment. The sailors are in awe of him. One had idolized him as a child.

I have a notion in my head of who these characters are, formed from reading decades of comics beyond these. Cap inspiring awe in those around him is part of my basic image of Cap. But it’s not necessarily something we’ve seen a lot of in these early comics. We did see examples in Cap’s return in Avengers #4. But it’s not yet that common, so every such example is notable, as together they will form the basis for that aspect of Cap’s character.

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Tales of Suspense #70, Story B

If This Be Treason!

Featuring: Captain America
Release: July 8, 1965
Cover: October 1965
12 cents
Story by Stan Lee
Layouts by Jack Kirby
Lettering by S. Rosen
Art by George Tuska
10 pages

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My own nation has refused to recognize my talents! But the Nazis are willing to pay me handsomely for my help!

We get a new artist, George Tuska. “One of the giants from the golden age of comics”, says Lee. As with most new artists, Lee still needs Kirby to lay out the story for them.

Tuska has worked in the industry since 1939, and became well known in the 1950s for his stellar work on crime comics. His first work with Marvel was in 1949. Lately, he’s been focused on newspaper strips, having taken over Buck Rogers in 1959. Here’s a sampling of his earlier work.

  • Zanzibar the Magician, Mystery Men Comics #1, Fox, 1939
  • Tom Barry of the Royal Mounted, Wonderworld Comics #4, Fox, 1939
  • Cosmic Carson, Science Comics #1, Fox, 1940
  • Shark Brodie, Fight Comics #1, Fiction House, 1940
  • 64 Pages of New Captain Marvel Adventures #2, Fawcett, 1941
  • Uncle Sam Quarterly #3, Quality, 1942
  • Crime Does Not Pay #48, Lev Gleason, 1946
  • Casey – Crime Photographer #1, Marvel, 1949
  • My Love #2, Marvel, 1949
  • Strange Tales #1, Marvel, 1951
  • Kid Colt Outlaw #18, Marvel, 1952
  • War Adventures #1, Marvel, 1952

And here’s an example of his work on Buck Rogers.

Back to Captain America now. They Greymoor Castle saga continues.

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Tales of Suspense #69, Story B

Midnight in Greymoor Castle!

Featuring: Captain America
Release: June 8, 1965
Cover: September 1965
12 cents
Script by: Friendly Stan Lee
Layouts by: Frolicksome Jack Kirby
Rendering by: Frivolous Dick Ayers
Lettering by: Fearless Artie Simek
10 pages

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Cedric, even if you care nothing for yourself or me– think of your country! You’re betraying us all!

Kirby does the layouts. He’s been doing a lot of that this month as he is over-stretched. Ayers is credited with the rendering. The difference from the previous issues with proper Kirby art really shows.

The plot here is that a scientist has a radiation experiment the Nazis can use to kill Captain America and Bucky. But it will only work if they are first helpless captives. At which point a gun would probably suffice.

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Tales of Suspense #68, Story B

The Sentinel and the Spy!

Featuring: Captain America
Release: May 11, 1965
Cover August 1965
12 cents
Writer: Stan Lee
Artist: Jack Kirby
Inker: Frank Ray
Letterer: Sam Rosen
10 pages

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The story’s title, “The Sentinel and the Spy”, seems to refer to Captain America’s nickname, “The Sentinel of Liberty”. It’s not clear to me how established that nickname is at this point. It’s been associated with the character since his first appearance in 1941, as the Sentinels of Liberty was the name of his fan club.

At the end of last issue, Cap still seemed to be brainwashed, but he’s snapped out of it by the opening splash page.

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Tales of Suspense #65, Story B

The Red Skull Strikes!

Featuring: Captain America
Release: February 12, 1965
Cover: May 1965
12 cents
By: Stan Lee and Jack Kirby
Inking: Chic Stone
Lettering: S. Rosen
10 pages

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As with the last two issues, this is closely based on a story from Captain America Comics #1. As with the last two issues, Joe Simon is not credited.

We at this point are well versed in the Red Skull stories of the 1940s and 50s. We are now primed to see the modern take on the Red Skull, beginning with this retelling of his first adventure.

There are significant changes, many with the effect to sanitize the story, make it less violent and more kid-friendly. For example, in this version the Red Skull is not a killer. The plot of the original was all about him murdering people.

I’ll note the shared story beats common to the stories.

  • The story begins with Private Rogers and Mascot Barnes escorting Major Croy. They warn him it’s not safe to be alone, but he dismisses them any way.
  • The Red Skull attacks Major Croy.
  • Red Skull’s henchmen loot a bank.
  • Captain America and Bucky track down the Red Skull, but the Skull escapes them.
  • Mr. Maxon is observing a test of his new plane. Private Rogers is present. When the plane crashes, likely due to sabotage, Maxon expresses concern, but not for the lives lost, which upsets Rogers.
  • Red Skull attacks a General, and then is revealed to be Mr. Maxon.

With that corresponding outline, there are heavy differences.

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PRELUDE: Captain America Comics #37, Story C

Frozen Death

Featuring: Captain America
Release: February 11, 1944
Cover: April 1944
10 cents
15 pages

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The GCD credits the story to Otto Binder, Al Gabriele, and Vince Alascia.

Mostly a miscellaneous story we won’t dwell on. Three things stand out.

First, we note all clues about the identity of the Red Skull. He’s taken to using more German phrases than ever before. “Himmel”, “Donnervetter”. He refers to Captain America and Bucky as “American scum”. So perhaps this is a German villain, and not George Maxon.

Captain America and Bucky unmask him and recognize him as the “real” Red Skull they’ve fought before. This also implicitly acknowledges there may be “fake” Red Skulls out there.

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PRELUDE: Captain America Comics #16, Story D

Red Skull’s Deadly Revenge!

Featuring: Captain America
Release: April 30, 1942
Cover: July 1942
10 cents
Story by: Stan Lee
Art work by : Al Avison
24 pages

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Joe Simon and Jack Kirby created Captain America and were the driving force and primary creators behind the first 10 issues. But they left for the competition, for the company that would be DC.

That perhaps understates what happened. They learned publisher Martin Goodman had been cheating them out of royalties with shady accounting practices, and so started considering leaving the company. Goodman learned of their intentions and fired them before they could quit, losing his most successful creators in the process.

Stan Lee, now 19 years old, has since taken over the role of editing the Captain America stories, and had long been the writer on many backup features in the series, including Headline Hunter, Hurricane, Father Time, and the Imp.

This is his first credited Captain America comic story. (His first Captain America story was the prose piece in issue 3.)

His distinctive narration style is already recognizable even at a young age, filled with excitement and hyperbole. “…most dangerous adventure of their amazing, thrill-packed careers!”

We get a cool double splash page for the feature image.

Was he wearing his skull mask in prison? Why?

Red Skull apparently died at the end of most of his appearances, but he was captured at the end of issue 7, so opening with him in prison is correct. Somebody is paying attention.

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PRELUDE: Captain America Comics #7

The Case of the Red Skull and the Whistling Death

Featuring: Captain America
Release: August 4, 1941
Cover: October 1941
10 cents
Art and editorial by: Joe Simon and Jack Kirby
13 pages

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We’re well into Captain America’s adventures, but it’s worth noting this still predates America’s entry into World War II.

The Red Skull’s modus operandi has all been variations on a theme so far. Originally, he had a death gaze; he killed you by looking you. (It turned out he was also injecting you with a poison while he looked at you.) Then, the death touch; he killed you by touching you. (It turned out his glove was electrified and shocked his victims to death.)

Now… the tune he plays on his flute is deadly.

This time, the explanation is simpler. Red Skull whistles Chopin’s Funeral March, but then just shoots the guy.

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PRELUDE: Captain America Comics #1, Story D

Captain America and the Riddle of the Red Skull

Featuring: Captain America
Release: December 20, 1940
Cover: March 1941
10 cents
By: Joe Simon and Jack Kirby
14 pages

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When Captain America returned to the present in Avengers #4, we preceded that with a large read-through of a swath of his history from 1941-54. But we intentionally left out some pretty key issues. In particular, we neglected his battles against his nemesis, the Red Skull.

The last two issues of Tales of Suspense have both retold stories from Captain America Comics #1. This next one will do the same, retelling the first battle of Captain America and the Red Skull. We will then see some previously untold encounters between Captain America and the Red Skull in World War II. Eventually, the Red Skull will return in the present day to menace Captain America again.

In anticipation of all this, now seems like a good time to read through the early history of the Red Skull, starting with his introduction here in Captain America Comics #1.

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Tales of Suspense #63, Story B

The Origin of Captain America!

Featuring: Captain America
Release: December 10, 1964
Cover: March 1965
12 cents
Writer: Stan Lee
Illustrator: Jack Kirby
Inked by: Frank Ray
Lettered by: Art Simek
10 pages

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Rather than trying to tell a new Captain America story, this comic will retell the origin of Captain America. Subsequent adventures will recap his earliest issues and others will be new stories set in World War II.

I can only guess what’s going on here. One, you can imagine Kirby would like a bit of a break from drawing 5 stories a month, and it may be easier on him to retell old tales. Or, perhaps he is looking back on those tales now that he has grown as an artist and is looking to revisit them and tell them better.

I also suspect that Stan is starting to notice how much his readers care about the intercontinuity of the titles, something he probably doesn’t want to think about at all. Telling Captain America stories set in the past saves him the trouble of worrying that they line up with current Avengers comics.

I tend to find the best thing to do with these retellings is just go in depth and try to spot any differences from previous tellings, particularly the original story in Captain America Comics #1 (1941).

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