Featuring: Watcher Release: January 10, 1964 Cover: April 1964 12 cents Story plot: Stan Lee Script + art: L.D. Lieber Inking: P. Reinman Lettering: S. Rosen 5 pages
With this story, we finally finish all the January comics, after some jumping around in time. We’d already ready some February books, but now we have officially reached February in our reading.
The Watcher has another tale for us, concerning the one man on Earth who was seen as a failure because he refused to pursue success in business. He and his lady end up rulers of a galactic empire. The Watcher asks: “Can any of us ever really know who is a failure and who is not?”
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: Jack Frost Release: April 20, 1941 Cover: August 1941 10 cents Story by: Stan Lee 6 pages
A bit of an interlude from our run of old Captain America Comics.
I’ve gotten in the habit of reading these Golden Age superheroes when their namesakes were introduced, but I missed this one. Iron Man fought the new Jack Frost in Tales of Suspense #45. Perhaps that would have been a good time to introduce the Golden Age superhero of the same name. But we didn’t.
I’d say I didn’t have the idea of going back to look at namesakes in my head yet, but that’s clearly not true. Our second post goes back to 1939 to meet the original Human Torch for no reason other than we’d just introduced the new one in Fantastic Four #1. And then a couple posts later, the introduction of the new Gorilla Man gave us all the excuse we needed to meet the original gorillamen. I guess I should admit that I just forgot about Jack Frost.
I thought of him now because we just read Stan Lee’s first Marvel story, and this features Stan’s first superhero co-creation.
Stan created Jack Frost along with the uncredited Charles Nicholas.
Also, I wanted to read the Captain America story from USA Comics #6, which had me anyway looking at the first issue of USA Comics.
And, man if that dude left suspended in a block of ice isn’t good foreshadowing for what’s coming…
Maybe this is a fine time to read this story. Or maybe I should rearrange things to place it back alongside Tales of Suspense #45. Plenty of time to decide that, I guess.
Featuring: Captain America Release: March 17, 1941 Cover: May 1941 10 cents By: Stan Lee 2 pages
Marvel comics up through the 1960s have often included short prose stories. We haven’t covered any yet in detail, as none have been sufficiently relevant. In the 1960s, they have been short one-off tales of science fiction or fantasy.
The first two Captain America comics also each featured a text story we did not cover. We have not even covered all the Captain America comic stories from those first two issues. We are just doing a brief scan of Captain America’s history prior to his return in 1964.
Why cover this particular text piece? The author is notable.
Featuring: Wasp Release: February 4, 1964 Cover: May 1964 12 cents Story plot: Stan Lee Script and art: Larry Lieber Inking: George Bell Lettering: Sherigail 5 pages
This is the first lettering we’ve seen attributed to “Sherigail”, a pseudonym for Morrie Kuramoto. The name is a combination of both his wife and daughter’s names.
I originally attributed the lettering to Ray Holloway. Thanks to Nel Yomtov for the correction.
I recognize that “gypsy” is an outdated and offensive word, but it’s in the title of the comic, and it’s how the comic describes the strange alien visitor.
Though the era of weird tales is ending, through the Wasp’s stories we get two more in this title.
Featuring: Giant-Man and Wasp Release: February 4, 1964 Cover: May 1964 12 cents Story by: Happy Stan Lee Art by: Heroic Dick Ayers Lettering by: Honest Art Simek 18 pages
For the third comic in a row, I feel the need to point out that we are reading a February comic when not yet done with the January comics. I have reasons.
Please recall that Hulk and Namor remain at large.
How does Wasp feel about not getting her name on the jackets?
Actually, you often look foolish and clumsy. Do you have any footage of your recent battle against El Toro?
Human Top is Dr. Pym’s third repeat villain, after Egghead and Porcupine. Returning villains have become much more common across all the titles these last couple months, now that a staple has been built up.
Featuring: Tales of Asgard Release: February 4, 1964 Cover: April 1964 12 cents Masterfully written by: Stan Lee Magnificently illustrated by: Jack Kirby Majestically inked by: Chic Stone Meritoriously lettered by: Art Simek 5 pages
This is how it all begins. Quite literally.
The story of Thor’s early days continues. He is now an adult and wields the magic hammer. We see now the story of the dawn of humanity on Earth, and Thor’s role in the tale.
The tale begins in the mountains of Asgard, where the dwarfs dwell. We are told the dwarfs forge all the weapons of Asgard. However, not quite all. We learned in the main story of this issue that Odin himself forged Thor’s hammer. That fact is affirmed in this very story.
Sindri is the king of dwarfs and has built the magical ship, Skipbladnir. It’s a tiny ship that magically grows to full-size when needed. Skipbladnir will transport Thor to Mirmir.
