Featuring: Ant-Man Release: February 5, 1963 Cover: May 1963 12 cents Plot: Stan Lee Script: Larry Lieber Art: Don Heck 13 pages
I read this story in Marvel Masterworks: Ant-Man/Giant-Man vol. 1.
Spiffy!
As with the Thor comic released the same day, this issue sports the spiffy new logo box with a picture of the lead character, the price, and the phrase “Marvel Comics Group”.
One of my gateways into the world of superheroes as a child was Batman: The Animated Series. A frequent feature of the show was villain origins that cast them in a sympathetic light. Often they were fired or otherwise screwed over by a corporate bigshot. Riddler, Clock King, Mr. Freeze… all were given origins where you could at least see why they were upset, even if supervillainy is rarely justified.
Professor Weems has such an origin. Fired based solely on his age. With the twist that he had been so excited to show his grandson his lab and his work. Not sure that would even be legal today. They’d at least need some better official story.
Featuring: Thor Release: February 5, 1963 Cover: April 1963 12 cents Plot: Stan Lee Script: Larry Lieber Art: Joe Sinnott 13 pages
I read this story in Marvel Masterworks: The Mighty Thor vol. 1.
Joe Sinnott is best known as an inker. We’ve seen him twice so far in that capacity, inking Kirby for the introductions of Thor and Dr. Doom, respectively. This is the first time we see him as the primary artist.
This event was teased already because I chose to read the last Fantastic Four slightly out of chronological order and because I accidentally read the last Strange Tales out of chronological order.
Spiffy!
But this is one of three comics released February 5 to sport the spiffy new Marvel logo. The others are Tales to Astonish and Patsy Walker. We are not currently including the Patsy Walker stories in our Marvel reading, not until she becomes more intertwined with the superheroes than she currently is.
There’s a lot going on that will become a feature of Marvel covers for years. The first is that there’s a little box with the picture of the lead character. Now, Journey Into Mystery is still an anthology title. There are two other scifi/fantasy tales within this very issue. But Thor is the star, now. And that little box makes that clear.
Then we get the price, 12 cents. That’s been the price of all the comics since Fantastic Four #3 raised the price from 10 cents. Usually, the price has been in a circle somewhere on the cover. Now it’s in this new logo box.
And then the phrase “Marvel Comics Group”. Previously, there had been the letters “MC” in a little box on the covers.
In an earlier story in this same issue, we saw Human Torch battle the Painter.
We read one earlier Merlin story in the pages of Tales of Suspense, also by Lee and Ditko. That was a modern tale, whereas this one takes us back to Arthurian days.
This era of these “weird tales” is soon coming to an end, as their pages will be given over entirely to these upstart superhero comics soon. We’ve read the occasional one, usually featuring legendary figures who will also appear in our superhero stories.
Merlin is actually quite the important character to our Marvel tales, featuring prominently in Black Knight and Captain Britain tales, though it’s not clear this issue is meant to have any connection. There was a short-lived 50s series called Black Knight in which Merlin was a major character, which will be quite important to our tale. We’ll read a couple of those stories as Prelude issues when they start to impact the stories we are reading here. They were also set in King Arthur’s court.
This is the tale of the jealous Sir Mogard, who challenges Merlin to a duel. Just as we saw in the last Merlin tale, the villain gets what’s coming to him.
Don’t hear the word “bandy” often; last time I heard it was from Gandalf.
This tale also involves a Black Knight, who in the classic series served Merlin against Modred. The original Black Knight was Sir Percy in disguise. This one turns out to be an empty suit of armor brought to life by Merlin. There will be other Black Knights to come.
Featuring: Human Torch Release: February 12, 1963 Cover: May 1963 12 cents Plot: Stan Lee Script: R. Berns Art: Jack Kirby Inking: Dick Ayers 13 pages
Kirby is back with Ayers inking after 2 issues of Ayers on main art. They will go back and forth some, but Ayers is going to be the more regular artist at this point. This is the second script we’ve seen by “R. Berns”, Robert Bernstein, who just provided the script for the last Iron Man story. We’ll see him in a few more places.
The basic idea of this comic is fun. The Painter has magic paint that makes whatever he paints come to life. The ending is somewhat absurd, and the story has some severe structural problems.
The splash page is pretty heavily expository and overly explains the plot of the issue, when really it should just be teasing it.
I mean… that’s pretty much the entire story.
We get a couple pages showing how Human Torch regularly helps police capture common crooks. This isn’t the type of thing we see any other FF members doing. It’s a regular activity for Ant-Man and semi-regular activity for Thor.
Featuring: Fantastic Four Release: February 12, 1963 Cover: May 1963 12 cents Script: Stan Lee Art: Jack Kirby Inking: Dick Ayers 22 pages
I read this story in Fantastic Four Omnibus vol. 1.
Kirby got a fill-in for almost every book he draws in the last couple months… except for this one. This is clearly his baby in a way the others are not. That is also evident in the fact that Lee does all the scripts. That the Human Torch, Thor, Ant-Man, and Iron Man stories have rotating scripters and fill-in artists tells you where they fall on the totem pole compared to Fantastic Four.
I’ve struggled some (actually, for years going on decades) with the question of what order to read these stories in. I’m not alone. Marvel has published indices dedicated to chronology. The Marvel Chronology Project has painstakingly ordered the events of each characters’ lives to make sense. The Complete Marvel Reading Order is focused on what makes the “best” read, which includes keeping stories together.
So far, I’ve mostly focused on release date, catalogued in Mike’s Amazing World. Going in order by date has yielded several insights. I can see when Kirby suddenly had lots of fill-in artists take over. I can see cool facts, like that Thor, Ant-Man, and Spider-Man were all introduced the same day. It’s added a lot to my understanding of the context of these stories to go in time order.
Since most issues have been self-contained and there’s been minimal crossover, there’s been no reason to go in anything but date order. But the stories will become increasingly complex. And it might be nice to read single story-arcs together to appreciate them best.
I did some light fudging last time. Fantastic Four #13 was released January 3, yet I chose to read it after two comics released January 10. Similarly, this comic was released on February 12, but I am reading it before two comics released on February 5. That is because issue 14 picks up right where #13 ended, with the FF still not back from the moon. This will become more common, that the ending of one story will lead into the beginning of the next, and I won’t always be able to place such stories together. But this was easy enough to do.
It says “Part 1”, but there seem to be no other parts. Part 1 of 1?
As an example of something lost in the shuffle if I don’t go in strictly chronological order… this is the first issue we see something pretty cool. There’s a new logo added to the cover, with the word “Marvel” appearing for the first time. I’ve been calling this the “Marvel Age”, and now we see why. This line of titles is officially taking the name “Marvel”! But it didn’t actually begin here. It began last week with Strange Tales and Journey Into Mystery. We’ll read those next.
The Fantastic Four Versus the Red Ghost and His Indescribable Super-Apes!/Menace on the Moon!/The Watcher Appears/Duel in the Dead City! Featuring: Fantastic Four Release: January 3, 1963 Cover: April 1963 12 cents Story: Stan Lee Art: Jack Kirby Inking: S. Ditko 22 pages
I read this story in Fantastic Four Omnibus vol. 1.
The great Steve Ditko provides inks for Kirby’s pencils. We last saw this legendary combination in Incredible Hulk #2.
This issue is the first to get to the heart of what I think the Fantastic Four should be about: exploration of the wondrous; an adventure into the imagination. Kirby is famed for his creativity, but this is the first issue where he’s really letting it flex. This issue is bursting with ideas, many tangential to the main story. The FF head to the moon, learn the blue area has a breathable atmosphere, find the ruins of an ancient civilization, battle a super-villain and his super-apes, and meet the enigmatic Watcher. Plus glimpses of the past and future, and of the destruction of a world. That’s a comic bursting with ideas.
Human Torch battles Sub-Mariner for no particular reason!
Face-to-Face with Prince Namor, the Mighty Sub-Mariner Featuring: Human Torch Release: January 10, 1963 Cover: April 1963 12 cents Plot: Stan Lee Script: Larry Lieber Art: Dick Ayers 13 pages
I read this story in Marvel Masterworks: The Human Torch vol. 1.
Dick Ayers is again the main artist. Kirby will be back next issue, but they will trade art duties for the remainder of the series. This is the pattern we have been seeing. Kirby is still around and will sometimes provide the art for the series he pioneered, but will be rotating with other artists. Heck has Ant-Man and Ayers has Human Torch.
This fairly useless series continues. The Fantastic Four series hasn’t once yet acknowledged anything about this series’ existence, including Sue and Johnny’s home in Glenville. In contrast, this series references lots of things about the Fantastic Four. The whole team has a cameo in this issue and there are references to the FF battles against Namor. You can tell which series is the ugly stepchild.
As the story–such as it is–begins, we find the three adult FF members had a meeting while Johnny was in school. They were taking notes on next month’s adventure, while Sue typed them up. It’s a bit odd, as most FF adventures are their responses to crises. It’s not clear what they’d be planning a month in advance.
Nice to see that even Sue had a role in the meeting…
The current issue of Fantastic Four came out a week earlier. We haven’t read it yet, because issue 14 picks up where it leaves off, so I’m reading it last this month. That adventure is a trip to the moon. Which does take some planning; however, in the issue itself, the trip is a surprise to the rest of the team. Only Reed had been planning it and had been planning not to take the others. So they must be referring to something else.
The armor makes him a superhero and keeps his heart beating.
Iron Man Versus Gargantus! Featuring: Iron Man Release: January 10, 1963 Cover: April 1963 12 cents Plot: Stan Lee Script: R. Berns Art: J. Kirby Inking: D. Heck 13 pages
I read this story in Iron Man Omnibus vol. 1.
Most of the credits only get first initials, perhaps to fit on a line. The letterer John Duffy doesn’t even get an initial, referred to as “Duffi”. Heck was the primary artist on the first issue of Iron Man, though building off some initial character work by Kirby. Here, Heck is credited with inking over Kirby. But to my eye, this issue mostly reminds me more of Heck than Kirby.
The script is credited to “R. Berns”. The first time we’ve seen that name. In fact, I think it’s the first writing credits given to anybody except for Stan or his brother Larry. The scripter is Robert Bernstein, who used the pseudonym “R. Berns” for all of his Marvel work, as he was mostly known for his DC superhero work at the time. He’d been working in comics for at least 17 years at this point, and had worked with Lee before on western and war stories. But he’d spent the last 4 years working in superhero comics at DC, famously reviving Aquaman for the Silver Age, and adding Aqualad and Aquagirl to the cast (working with Ramona Fradon). His Superboy stories (with George Papp) introduced the menace of General Zod and other Kryptonian criminals imprisoned in the Phantom Zone, concepts that would make it into the 1978 Superman film and the 2013 reboot. And he transformed Congo Bill into Congorilla (alongside Howard Sherman). An impressive pedigree to join our crew.
We saw 18 months of superhero comics made almost entirely by 3 people. It wasn’t sustainable as the number of heroes continued to grow, so we’ve seen an infusion of new writers and artists in the last month, some filling in, some here to stay.
A man spreads lies and fear to a crowd of people who soak it up.
The Voice of Doom! Featuring: Ant-Man Release: January 3, 1963 Cover: April 1963 12 cents Plot: Stan Lee Script: Larry Lieber Art: Don Heck 13 pages
I read this story in Marvel Masterworks: Ant-Man/Giant Man vol. 1.
This is Don Heck’s second issue of Ant-Man. The art duties will be a mix of Heck and Kirby going forward.
An accident at an atomic lab sends some charged particles into Jason Cragg’s microphone that imbue him with the power to make people follow his every command. We have seen other radiation-based anomalies–notably the effects of a bite from an irradiated spider and being caught in the blast of a gamma bomb–and we will see many more.
Watch out for that atomic radiation
There is perhaps some political commentary in this issue. An orator speaks and sways the crowd with demagoguery and fear-mongering. Ant-Man tries to point out the orator offers no evidence, but his cries are lost on deaf ears. Perhaps the creators were thinking of some 1960s politicians when writing this. It certain applies seems to describe a 2019 politician or two.
The Incredible Hulk vs The Metal Master Featuring: Hulk Release: January 3, 1963 Cover: March 1963 12 cents Story: Stan Lee Art: Steve Ditko 24 pages
I read this story in Incredible Hulk Omnibus vol. 1.
All good things must come to an end. Turns out things like this series also come to an end.
The great Steve Ditko takes over for Jack Kirby for the first full-length Hulk story since the second issue, and what is also the final issue of Incredible Hulk. Though no hint of that ending can be found in the cover or the letters pages. There simply isn’t an issue 7.
This Ditko guy draws a pretty good Hulk.
Perhaps it’s for the best. The first issue was one of the best comics we’ve read and showed so much potential. A dark psychological sci-fi drama, with elements of Frankenstein and Dr. Jekyll & Mr. Hyde. That potential was squandered on constant tweaks to the character, a series that had the feeling of throwing things at the wall until something stuck, then giving up when nothing stuck. It will take Steve Ditko to reshape the character into a more enduring form, but he won’t get a chance to do that now, as the series is being cancelled.
