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Post by owene on Jun 29, 2011 10:29:12 GMT -5
Thanks for that TtA The JiM issue is interesting, I've always believed that Stan was more confortable creating enemies for Thor than he was for Marvel's other powerhouse, the Hulk. Chen-Lu is the type of all-round character that could have kept the Hulk's book afloat a bit longer, and with gamma radiation powers he could have made a tough opponent. He was cleverly used in similar fashion in Avengers/JLA, when he produces kryptonite radiation against Superman. I remember that one, another case of Busiek using him well. This was quite an interesting issue. It's not exactly good by any objective standards but it does create a villain with a load of potential who could have been horrible. As you say it's a real shame he didn't show up in Hulk. Thor does seem to have been a fertile place for villains, even discarding the countless multi-appearance Asgardians and greek gods you have Radioactive Man, the Wrecker, Absorbing Man, Grey Gargoyle, cobra, Mr hyde all of which went on to become mainstays of the Marvel Universe as a whole. The high Evolutionary and Ego are a bit different but have appeared countless times in a whole bunch of titles. Spider-Man has the really classic rogues gallery, but I'd say Thor possibly even gives the FF a run for 2nd place.
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Post by owene on Jul 3, 2011 5:23:28 GMT -5
Tales to Astonish #44 The Creature from Kosmos By Stan Lee with Ernie Hart, Jack Kirby and Don Heck Villains: the Kosmosians, Communists Guest Appearances: The Wasp So What Happens?: Hank things back over his tragic marriage to the Hungarian dissident Maria Trovaya who had been murdered on their honeymoon trip to Hungary. This had proved part of the impetus for Hank becoming Ant-Man. Back in the present he is visited by Dr Vernon Van Dyne who is seeking help for his experiments on galactic communication. Hank is struck by his daughter Jan’s resemblance to his late wife but says that the experiments are too far outside his area of expertise to help. The Van Dyne’s leave, and that night, as Jan is out dancing, Van Dyne manages to contact an alien planet only for his communication ray to some how bring back an alien criminal who murders him on the spot. Jan later returns home to find her father dead and instantly contacts Pym. Unfortunately he thinks she is just a girl making up stories and wont believe her until his ants corroborate the story. He makes his way to the Van Dyne house and finds Janet crying over her fathers body. The crime scene shows that Van Dyne’s lab equipment had been ripped up by something incredibly strong and Pym’s ants note the presence of an alien version of formic acid. Hank is stuck by Jan’s desire to avenge her father and the way his death seems to have aged and strengthened her and invites her back to his lab. Once there he reveals his secret identity and offers to transform her into the wasp so she can avenge her father. He injects her with cells that will enable her to shrink and, once tiny, grow wings and antennae. The alien creature is on a rampage and Pym and Van dyne fly to the scene. Worried that she too might soon die Janet declares that she is falling in love with Hank but he has none of it, still thinking she is just a girl. They find the alien in the river, surrounded by military forces; however their weapons have no effect on it. Hank has seen enough to deduce that the alien is made up of formic acid and returns to his lab where he loads up a shotgun with a chemical to dissolve the acid. The ants carry the shotgun to confront the alien and Hank and Jan together manage to pull its trigger. The alien dissolves and the two heroes are caught in an embrace which Jan enjoys but Hank considers inappropriate. So is it any good?: The change in scripter is very noticeable, Hart is a lot more verbose than the other scripters to date and piles on the detail and characterisation in a way we haven’t seen previously. It doesn’t all work and is quite melodramatic throughout but it still makes an interesting change and is probably needed for a story that has a lot more going on than previous issues. Hank’s previously unmentioned wife comes and goes within 3 pages but the clear pain and the explicitly mentioned mental breakdown suffered by Pym due to her death is a lot more powerful than anything we have seen in any previous marvel age comic and provides a basis for all of the turmoil Pym has been through since. The idea of his wife being a political prisoner who had escaped the communists and then wants to go back to Hungary for her honeymoon is a much. The cold war intrigue of her brief appearance is much nastier than the red scare stories Marvel, and indeed pym, had already had and it’s quite hard to reconcile the injured Pym breaking down in a Hungarian consulate with the guy who had tackled commies without ever mentioning his history in previous stories. The added colour of Hart’s dialogue also makes its mark on Pym’s interaction with Jan, he dismisses her seconds after she has found her dead father and calls it all the fantasy of a spoiled brat. So it’s a strange story, one that doesn’t have much in common with Marvel stories of a similar vintage. Characters are introduced and shown to be important to people and then die quite gruesomely leaving real bodies and really hurt people and it sustains a feeling of menace in a way none of the previous alien MU stories have done. It is totally different from the bland ant-man stories that came before, it doesn’t quite fit really and it is far from totally successful but it’s still good to finally read something with some writing and characterisation in. The theme of vengeance runs through the story very clearly, in a way that it never really has for the Avengers themselves. The presence of Jan who immediately both humanises the strip and increases the intensity is felt straight away. Hank is shown to be almost blind to all of this, he eventually spots her need for vengeance and instantly experiments on her but won’t actually trust her feelings about anything else. A strange issue, even the shot gun ending feels a little strange for a marvel age story but it is so much better than the preceding Pym ones that you let that go. Are there any goofy moments?:The scenes of the two heroes straining to pull the trigger of a shot gun while the ants point it at the alien is quite dramatic but either one of them could have returned to normal size and done the job a lot easier. Trivia: Maria Trovaya would seemingly reappear years later in a west coast avengers arc. The Kosmosian from this story apparently didn’t die but was trapped by the Stranger, eventually appearing in Quasar 14 without any explanation. Despite the contact with Kosmos in this story being entirely down to Van Dyne’s experiments rather than Pyms the planet was eventually tied in to Pym Particles in a series of Avengers and Thunderbolts appearances. Is it a landmark?:Yes, the Wasp in many ways proved to be a more popular character than Hank and had a long career. Where can I read it?: In the Essential Ant Man or the first Ant Man/Giant Man Masterwork.
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Post by humanbelly on Jul 3, 2011 6:40:30 GMT -5
Tales to Astonish #44 The Creature from Kosmos By Stan Lee with Ernie Hart, Jack Kirby and Don Heck Villains: the Kosmosians, Communists Guest Appearances: The Wasp .
Wow, this is a fascinating bit of history here, owen. I'm almost certain that I've read part of this story as a reprint somewhere (as an extended flashback, maybe?), but I don't think I've ever gotten the full story. What's great is that Hank clearly had huge psychological issues almost without his writers' even realizing it. His initial denial & snotty response to Jan's panicked phone call? Geeze- what kind of heroic personality template is that? Absolutely reinforces Hank's long-standing "scientist first, superhero second" self-image-- and the frustration we see over & over again w/ him trying to balance both callings. Also the fact that he's not a particularly engaging, empathetic-- or even "nice"-- guy. The HUGE issue, though, is of COURSE the fact that he's readily willing to do wildly dangerous, spontaneous genetic experiments on a human being-! An uninformed, overwrought, highly distressed human-being, in fact. AND they're human/animal hybrid experiments, at that-! Regardless of the beneficial outcome (and the fact that Jan obviously has had no regrets), this is something that SUPER-VILLAINS do. . . not heroes! Heck, even for this early point in the Marvel age, it strikes me as an extremely shaky course for a hero to take. Which is really what makes it interesting to me, rather than the usual dumb science-illiterate shenanigans we've seen (a catapult that flings ant-sized objects accurately around a city??? Hello--- wind resistance? Gravity?). The science here isn't the gimmicky focus, and its use is plot-driven rather than ornamental. And it deeply reflects upon Hank's character (and not at all in a positive way, I'd say). You couldn't set the stage better for a character who has ever since had continuous unintentional problems with identity, self-image and particularly ethics. HB
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Post by owene on Jul 3, 2011 6:52:34 GMT -5
Wow, this is a fascinating bit of history here, owen. I'm almost certain that I've read part of this story as a reprint somewhere (as an extended flashback, maybe?), but I don't think I've ever gotten the full story. What's great is that Hank clearly had huge psychological issues almost without his writers' even realizing it. His initial denial & snotty response to Jan's panicked phone call? Geeze- what kind of heroic personality template is that? Absolutely reinforces Hank's long-standing "scientist first, superhero second" self-image-- and the frustration we see over & over again w/ him trying to balance both callings. Also the fact that he's not a particularly engaging, empathetic-- or even "nice"-- guy. The HUGE issue, though, is of COURSE the fact that he's readily willing to do wildly dangerous, spontaneous genetic experiments on a human being-! An uninformed, overwrought, highly distressed human-being, in fact. AND they're human/animal hybrid experiments, at that-! Regardless of the beneficial outcome (and the fact that Jan obviously has had no regrets), this is something that SUPER-VILLAINS do. . . not heroes! Heck, even for this early point in the Marvel age, it strikes me as an extremely shaky course for a hero to take. Which is really what makes it interesting to me, rather than the usual dumb science-illiterate shenanigans we've seen (a catapult that flings ant-sized objects accurately around a city??? Hello--- wind resistance? Gravity?). The science here isn't the gimmicky focus, and its use is plot-driven rather than ornamental. And it deeply reflects upon Hank's character (and not at all in a positive way, I'd say). You couldn't set the stage better for a character who has ever since had continuous unintentional problems with identity, self-image and particularly ethics. HB That sums it up really well. It's an incredibly strange read. Hardly any of Pym's behaviour is 'good' and Jan comes across as hurting and damaged and in need throughout only to be, as you say, experimented on. It really does get across a drive for vengeance in her. I'd imagine the name 'Avengers' doesn't have much to do with that, it was just a catchy name and it's not like she has been consistently written as she is here, but she strikes me as the one founder with real vengeance issues. I'd hesitate to call this a 'well written story' a lot of the intensity comes out of nowhere and is both bizarre and off putting when actually examined but it really does have bucket loads of intensity that other Marvel comics don't. I honestly can't think of any other issue of any of the titles to date that come close at all. Hart's following issues have a certain degree of it as well, it's like he really wanted to make sure his issues were more than hackwork. They are over-written, he's putting way more effort in per page than Stan ever did, but he actually seems to care about what he is writing.
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Post by owene on Jul 9, 2011 2:27:23 GMT -5
Strange Tales 109 The Sorcerer and Pandora’s Box By Stan Lee with Robert Bernstein, Jack Kirby and Dick Ayers. Villains: The Sorcerer Guest Appearances: the Fantastic Four, Sersi So What Happens?: The Torch is fed up that he has to stay in Glenville and in school rather than going on a mission with his teammates. He is determined to find something useful to do in Glenville and ends up saving some kids from the dogs of a local loner nicknamed the sorcerer. The Torch taunts the old man and says that he isn’t afraid of any black magic he might use to get revenge. Soon afterwards the Sorcerer manages to unlock Pandora’s box. One of many ancient artefacts he has in his mansion. He finds it full of imps that personify different evil emotions. Using the imp of hatred to cause chaos in a bank and the imp of forgetfulness to cover his traces the Sorcerer manages to steal thousands of dollars. He plays similar tricks in an art gallery and a fur coat merchants before a policeman mentions to the Torch that it all seems like magic and Johnny remembers daring the old man to use his magic. The Torch heads to the Sorcerer’s mansion and faces the imps of disease and flood, easily burning away their germs but being doused by the water. The Police arrive on the scene and shoot at the Sorcerer only for their bullets to fall prey to laziness. The Sorcerer seems to have won the day and the still soaked Torch begs to be able to choose which imp will get to kill him. He chooses “flame” and quickly absorbs the power to flame on once more. He quickly grabs Pandora’s box and flies off to throw it in the Ocean. As he was grabbing the box the imp of fear tried to escape and left the sorcerer convulsing in terror as the police arrest him. So is it any good?: It’s a fairly functional story that largely revolves around the callous way the Torch treats the sorcerer. He finds the villain trying to remove some trespassing kids from his land, in an admittedly heavy handed way, and goes out of his way to humiliate him and challenge him to find his revenge. Then when the sorcerer does actually start committing a range of crimes that clearly involve a super natural element the Torch has to be prompted by a policeman to even remember the guy. This only leaves two pages for their confrontation which is actually fairly dramatic but revolves around the villain allowing the Torch to choose his own means of dispatch and being dim enough not to think anything might be amiss when the wet Torch wants to be faced by flame. The issue actually starts with some extended characterisation seemingly there to make the Torch seem like an everyday kid and also includes some nice heroics around Glenville but the final impression of Johnny in this issue is of a cocky kid who causes most of his own trouble. He isn’t the most likeable of leads. Are there any goofy moments? The idea of the imps being based on evil emotions fits the greek myth but i’m not sure that flood should really be in there or that laziness could affect flying bullets. Trivia: The Imps are shown being forced back into Pandora’s box in ancient times by Circe. This kind of defeats the object of the original myth but in Marvel Universe terms counts as an appearance by the Eternal Sersi. Neither the sorcerer or the box appeared again. Other characters called simply the sorcerer would appear over the years, the most prominent in the silver age being the spider-man foe from Marvel super heroes 14. Is it a landmark?:No. Where can I read it?: In the Essential Human Torch or the first Human Torch Masterwork.
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Post by owene on Jul 9, 2011 2:34:15 GMT -5
Trapped by the Red Barbarian By Stan Lee, Robert Bernstein and Don Heck Villains: Red Barbarian, the Actor Guest Appearances: None So What Happens?: A commie spy ring think they have stolen a new atom bomb and loaded it onto a cargo ship but it turns out to be a dummy bomb containing Iron Man. He leaves the spies hoisted on a dock crane for the FBI Stark is also working on a disintegrator ray with the potential to destroy cities. Hearing of this the communist general known as the Red Barbarian dispatches the Actor, master of disguise, to the States to steal Stark’s research. The actor arrives in the US disguised as a film star and then takes on the role of a senator to arrange a meeting for Stark in Washington. Knowing Stark will be away the Actor dresses as Stark himself and makes his way into his heavily guarded lab with some fellow spies. He soon finds the disintegrator plans and works out that Stark must be Iron Man. Information he keeps to himself in case it can later help him with the communist hierarchy. Leaving his henchmen in the office to deal with Stark he jets back to Russia. Stark is jumped by the spies but manages to get into his Iron Man suit and defeat them. Commandeering a military rocket he shoots himself to Russia ahead of the Actor and tracks him down before he can meet with the Red Barbarian. Retrieving the plans and imprisoning the Actor Iron Man pays a visit to the Red Barbarian claiming to be the actor impersonating Iron Man. The Barbarian buys this and also agrees to wait a few hours for Stark’s time locked attaché case to open before they see the plans. Iron Man leaves to ‘get out of his disguise’ and goes to free the Actor. The Actor rushes to the Barbarian to apologise for losing the plans but doesn’t think to mention Iron Man being in Russia or what happened to him. Instead the Barbarian thinks the Actor is hiding the plans from him and has him shot. Iron Man returns home. So is it any good?: No its very poor. We’ve seen very similar stories featuring Ant Man, Thor and the Hulk already and none of the villainous characters have any personality at all. It is slightly interesting to see just how far the Iron Man concept needed to come, we have him pulling magnetic rayguns from his accessory belt and swinging away on a rope because his transistors are low but that really is the main source of interest in the story. As far as commie spy stories go the sections in America with the disguises and efforts to get Stark away from his lab are actually quite good. The villain manages to manipulate Stark quite well. It’s the Russian section that has the big problems. The Red Barbarian buys the idea that a guy who uses a little make up for disguises has managed to disguise himself as Iron Man. Then the convoluted way that Iron Man sends the Actor to his death really lets it down. It’s the first story that uses the link between Iron Man and Tony Stark (here largely called Anthony even in his own thought bubbles). The communists suggest that Iron Man must be guarding Stark’s lab and the Actor is the first person to learn that Stark and Iron Man are the same person so it does add a few little details to the characters history but it’s a poor story. Are there any goofy moments?:I know thought bubbles are largely there for exposition but would Stark really ever think “Now to switch to my secret identity as Anthony Stark” I liked the idea of Iron Man waiting inside a dummy atom bomb until some commies stole it. The Red Barbarian is quite funny in a campy way. I especially liked the way he knocked out an underling with a leg of pork for talking back to him. Stark keeps a mini atom bomb on his attaché case to stop anyone opening it. Wouldn’t a normal bomb be enough? Trivia:According to some original art in the Iron Man omnibus the cover of this issue was almost originally used for issue 41 complete with a reference to Dr Strange. The art on the villain is a much better fit for the Red Barbarian but the scene depicted is a lot closer to one in 41. Neither the Red Barbarian or the Actor ever appeared again. After the Chameleon and Comrade X the Actor is already the third communist master of disguise we have seen in the Marvel universe and later stories tended to use the Chameleon for similar roles. Is it a landmark?: not really, Where can I read it?: Countless places including the first Iron Man Essentials, Masterworks and Omnibus volumes.
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Post by humanbelly on Jul 9, 2011 5:46:14 GMT -5
Is it me, or is anyone else picking up that this Robert Bernstein seems to be the weak-link/common denominator in this rash of particularly bad issues? I must confess that his name isn't particularly familiar to me-- wasn't he possibly more of a DC guy over the years? But, yeesh, even giving him the benefit of the doubt-- like assuming he was trying to flesh out half-baked plots tossed out on the fly by Stan-- it would seem like he could be expected to improve a story to some degree.
Oy, and the Commie-bashing-! It's embarrassing to read it in this day & age-!
HB
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Post by owene on Jul 9, 2011 6:35:30 GMT -5
Bernstein was a long time DC guy, he worked with Kirby on Green Arrow which might be why he got brought over to Marvel.
amongst other DC things he created Mon-el of the Legion of super heroes, General Zod (and the phantom Zone as a whole) and the silver age aquaman.
But yeah he didn't really work out at Marvel at all, I dont think he is quite as bad as Larry Leiber and he seems to get a handle on Iron Man by the end of his run but there are a lot of poor stories and he really doesn't get Thor. As for the Torch I dont think anyone ever really got him to work so I'll give him the benefit of the doubt.
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Post by humanbelly on Jul 16, 2011 5:44:10 GMT -5
Bernstein was a long time DC guy, he worked with Kirby on Green Arrow which might be why he got brought over to Marvel. amongst other DC things he created Mon-el of the Legion of super heroes, General Zod (and the phantom Zone as a whole) and the silver age aquaman. But yeah he didn't really work out at Marvel at all, I dont think he is quite as bad as Larry Leiber and he seems to get a handle on Iron Man by the end of his run but there are a lot of poor stories and he really doesn't get Thor. As for the Torch I dont think anyone ever really got him to work so I'll give him the benefit of the doubt. Boy, and those are all pretty solid contributions to the DC Silver Age Universe, too. I wonder if the "Marvel Method" of comics-writing just wasn't a good fit for his personal creative process? Heh-- Stan's brother Larry: will he be eternally remembered for his sub-par writing, or his barely-adequate artwork? Ah, what a legacy. Personally, I think he's a better artist than writer. And it's kind of a kick to see him still illustrating the daily version of Stan's Amazing Spiderman newspaper strip. (It's not good by any stretch-- but it's oddly endearing. HBGirl follows it faithfully.). And you're right about the Torch. I think we may have discussed it a bit in an FF thread talking about his impending death-- but yes, his character has just never, ever clicked, really. The Strange Tales stories seem to vaguely emphasize his brash, hot-headed, teenage temperament, or something- and he only comes off looking liking a jerk every month. But what else is there with him? What else has there ever been to use as his distinctive personality "hook"? Man, he's got nothin'. Perennial immaturity- regardless of how some of us may uncomfortably relate to it -- isn't exactly an endearing trait for a mainstream hero. HB
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Post by owene on Jul 24, 2011 3:37:44 GMT -5
Fantastic Four #16 The Micro World of Dr Doom By Stan Lee and Jack Kirby and Dick Ayers. Villains: Dr Doom, Lizard Men of Tok Guest Appearances: Ant-Man, the Wasp So What Happens?: For several weeks the members of the Fantastic Four keep shrinking and hearing a female voice warning them about Dr Doom. They are initially too embarrassed to mention this to each other but eventually work out that it is happening to all of them and wonder if Doom survived being shrunk down to nothingness the last time they met. Reed calls in Ant-Man who gives them some of his formula to combat the shrinking. The team gather at the site where Doom had disappeared and use a modified version of ant-Man’s formula to shrink down to a sub atomic level. They find themselves in a feudal kingdom that is being ruled by Dr Doom. He immediately strikes them with a shrinking ray of his own and then lords it over the relatively tinier heroes explaining how he found himself on a sub-atomic world and seized control of it from Princess Pearla and the royal family. He then orders his guards to attack. Despite their tiny size the Ff fight back but they are soon defeated and tossed into a cell with the deposed royal family. Pearla, the local princess, warns them that their cell floats in a lake of acid and tells them that they have already been promised as slaves to an alien lizard race Doom wants as allies. Ant-Man comes to the Baxter building and finds the remains of his shrinking formula but no sign of the FF. He shrinks down to hunt for them and after putting up a fight against Doom’s guards is also captured. Reed works out a way to create a craft to get through the acid and back to the palace. Once there they use Doom’s ray to return to normal size and, with ant-man’s help fight off the arriving Lizard Men and cause Doom to flee back to Earth. The heroes leave with the gratitude of the royal family. So is it any good?:I enjoyed it a lot, the sub-atomic micro worlds haven’t appeared as much as Wakanda, the negative zone or blue area but they are just as much a sign of Lee and Kirby creating a whole universe for their heroes to explore. It’s probably the best Dr Doom story to date. Perhaps because having him as the tyrant of a feudal society fits his later depictions. He is still a bit ready to just run away when things go against him, in this one when Sue sneaks up and grabs his gun but even if he isn’t quite the finished Dr Doom it’s still a good story. It’s also a very good Ant-Man story, he seems braver and more ready to jump into the action here than in his own book and he even looks better, despite Kirby and Ayers doing their share of art in Tales to Astonish he just looks more dynamic here. The build up to the mystery includes some fun uses of the teams powers and this continues once they are in the micro-world. I loved the shots of a tiny Reed stretching over giant warriors, there was a touch of classic Kirby Thor in his depictions of doom’s sword and axe wielding warriors but they are actually more savage and more classically Kirby than anything we’ve actually seen in Thor to this point. In fact the art is very strong in this one, it has a lot of different things going on in it and Kirby deals with them all very well, I particularly liked the scenes depicting the FF as slaves of the Lizard Men. Are there any goofy moments?There are a few parts while the team is small, the tiny Thing sharing a cage with one of Reed’s guinea pigs is my favourite, a rare case of actually funny comic relief. I also liked the scenes of Sue trying (in vain) to find a perfume that won’t attract dogs to her invisible self. Trivia:The Thing and the Lizard Men both returned to the Micro World in Marvel Two In One 87, an early Scott Lang Ant man appearance. The Torch didn’t get to meet Pearla again until Issue 284 when the Micro World was attacked by Psycho-Man. Pearla and her world have appeared a few times in FF and Defenders since then. Is it a landmark?:It’s the first real team up in the title, issue 12 was far more of a battle against the Hulk even if it ended peacefully.
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Post by owene on Jul 24, 2011 3:41:49 GMT -5
Journey into Mystery #94 Thor and Loki attack the Human Race By Stan Lee with Robert Bernstein, Joe sinnott Villains: Loki Guest Appearances: none So what happens?:Imprisoned in Asgard but watching events on Earth Loki magically sends a nuclear missile off course. This causes Thor to be called in to put things right. Loki manages to mystically distract him while he is fixing it and Thor ends up hit on the back of the head by Mjolnir. Loki had timed things so perfectly that Mjolnir hit the chromosomatic gland, known for drastically changing people’s personalities from good to evil. Loki sends a message to the new evil Thor and he returns to Asgard. He pushes aside Heimdall and frees Loki from his chains. The two of them argue with the other gods before heading to Earth to cause mayhem. Thor sets off volcanoes, destroys dams and tourist attractions and helps Loki’s attacks on the world’s cities. Eventually a committee from the United Nations comes and surrenders to the two gods. They convene at the UN building where Thor attempts to smash the organisations logo by throwing Mjolnir at it. As the hammer returns to his hand Thor falls through a trap door. Mjolnir seems to hover before falling and striking Thor on the back of the head, restoring his personality. It turns out that the UN committee are actually Odin and the other Gods wearing masks. After Thor briefly attacks his half brother they take Loki into custody and undo all the damage before wiping the events from everyone’s memory. So is it any good?: No it’s rubbish. There are countless 60s Superman stories like this, some “imaginary stories” some not. The hero gets turned evil for some convenient reason and he goes on a rampage smashing up the handful of foreign tourist attractions an early 60s American kid would have heard of. In fact isn’t there a superman movie that does the same. It’s all very lame. The ending where the Gods put everything right with magic off panel and then wipe the minds of everyone on Earth is pretty dreadful too. Sinnott’s art is serviceable but merely adds to the feeling that this is a second rate story. Kirby could possibly have had some fun with the rampaging Thor but while he is fine on some of the faces Sinnott sucks the dynamism out of every action scene. I did quite like Thor gratuitously hitting Loki full strength in the back of the head with Mjolnir. I wondered for a second if it was linked to the idea of a personality changing spot on the head but It’s just a particularly mindless panel. Are there any goofy moments? There’s a helpful diagram showing you where you need to hit someone to change their personality, however it doesn’t actually match up with where Thor is hit two panels earlier. There is Odin in a full face rubber mask and wearing chain mail under a suit passing as a member of the United Nations. The whole bump on the head turns Thor evil so he smashes up the Eiffel Tower plot is itself totally goofy. Trivia: Due to the mind wipe ending it’s not a story that’s had many repercussions.
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Post by humanbelly on Jul 24, 2011 6:37:48 GMT -5
Fantastic Four #16
Wow-- this is a great cover. It just says "Marvel Comics" without even checking the corner box, y'know? A dramatic tight shot of a moment that cleverly has both a literal and metaphorical relationship to the story. With a lightly humorous view of Ant-Man thrown in. Here's something else that struck me-- if you had told me this was a John Byrne cover, I would have completely believed you. One assumes Jack had a large influence on JB (given JB's unbridled love of the FF), and here's a spot where we can see what JB was seeing, and how he may have assimilated it. It's a little hard, though, to reconcile this cover with some of the Tales to Astonish ones where Jack seems to have so much trouble with some of the big-vs.-small visual dynamics. . . HB
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Post by humanbelly on Jul 24, 2011 6:50:16 GMT -5
Journey into Mystery #94
Aaaaaaand then there's this cover, which looks so much like an issue of World's Finest to me, that I may have to track down the few old issues I have, just to be sure it isn't a direct rip-off. And then imagine my surprise that the entire story smack's of the worst of DC's paint-by-numbers imaginary stories. ("Chromosomatic gland"??!? REALLY???) But- ugh- find the one, sensational "how could this be?" moment in the story, and simply recreate it for the cover? And such a kinetically inert moment, at that? Geeze, just bad choices across the board. Very, very "Silver Age DC", as some might put it. HB
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Post by humanbelly on Jul 24, 2011 8:20:06 GMT -5
[ This story also brings to mind how the Marvel Universe eventually (and wisely) changed their whole microverse perspective from being "Worlds on top of/inside of/in between Atoms" (in other words, just really, really small worlds) to their being worlds accessible via a dimensional rift that occurs at the terminal extremes of the shrinking process. A delightful book called "The Physics of Superheroes" explores the major absurdities in the depictions of shrinking-related powers and effects. Mind you, regular science-fiction was fouling this up in hilarious fashion for years and years prior. Lord, there was one "serious" pulp adventure story I read where the sub-atomic hero was fortunate enough to find himself in a world where the (human!) natives spoke "a sort of Hawaiian", and was thus able to communicate with them. What a stroke of luck! But happily, at some point someone at Marvel remembered their Freshman Intro to Physics 101 class, and found a reasonable way to re-explain the phenomenon. Jarella's world- K'ai- was of course always one of my favorites. A surprisingly rich creation for as few times as it actually appeared. HB
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Post by Shiryu on Jul 24, 2011 11:03:32 GMT -5
Fantastic Four #16 The Micro World of Dr Doom By Stan Lee and Jack Kirby and Dick Ayers. Villains: Dr Doom, Lizard Men of Tok Guest Appearances: Ant-Man, the Wasp
I've just re-read this issue and for me it's a bit of a mixed bag. The sub-atomic world is intriguing, and it's a testament to Doom's ability that he had become so powerful in there only a short time after having been shrunk. But on the other hand the characters being too embarassed to tell each other that they had shrunk is pretty goofy, almost as much as the risk of Reed being used as a bridge by the lizards. Most of the issue sort of feels like an advertising for Ant-Man and Wasp, talking of which it's interesting to note that Hank calls her "Wasp" and not "Jan" even when they are alone. There is also a certain early Marvel fascination with evil lizard-like characters. I think by this point we had already been introduced to The Lizard on ASM, we have a lizardry population here and eventually of course Set and the Serpent Crown will both become mainstays. I suppose it's the influence of the Conan novels, although Stan has occasionally mentioned that he has never been a "sword and sorcery" fan, unlike Roy Thomas.
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Post by owene on Jul 25, 2011 12:25:49 GMT -5
Journey into Mystery #94
Aaaaaaand then there's this cover, which looks so much like an issue of World's Finest to me, that I may have to track down the few old issues I have, just to be sure it isn't a direct rip-off. And then imagine my surprise that the entire story smack's of the worst of DC's paint-by-numbers imaginary stories. ("Chromosomatic gland"??!? REALLY???) But- ugh- find the one, sensational "how could this be?" moment in the story, and simply recreate it for the cover? And such a kinetically inert moment, at that? Geeze, just bad choices across the board. Very, very "Silver Age DC", as some might put it. HB I didn't really pick up on that aspect of the cover but yeah you are right, DC, the Flash especially, loved covers showing their heroes in an unlikely situation like that even if they only barely appeared in the story themselves. at this point everyone was just writing Thor as a superman stand in anyway, with the asgardian aspect being quite a fluffy fairytale land rather than anywhere you could actually associate with viking warriors
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Post by humanbelly on Jul 25, 2011 15:53:47 GMT -5
Aaaaaaand then there's this cover, which looks so much like an issue of World's Finest to me, that I may have to track down the few old issues I have, just to be sure it isn't a direct rip-off. And then imagine my surprise that the entire story smack's of the worst of DC's paint-by-numbers imaginary stories. ("Chromosomatic gland"??!? REALLY???) But- ugh- find the one, sensational "how could this be?" moment in the story, and simply recreate it for the cover? And such a kinetically inert moment, at that? Geeze, just bad choices across the board. Very, very "Silver Age DC", as some might put it. HB I didn't really pick up on that aspect of the cover but yeah you are right, DC, the Flash especially, loved covers showing their heroes in an unlikely situation like that even if they only barely appeared in the story themselves. at this point everyone was just writing Thor as a superman stand in anyway, with the asgardian aspect being quite a fluffy fairytale land rather than anywhere you could actually associate with viking warriors The cover that it was reminding me of, oddly enough, was World's Finest #147 (I've completely forgotten how to attach images here, I'm ashamed to say-- but it Googles up with images easily enough). Although what's going on in each is different, the tone of that "hook" moment is very, very similar. Visually they both are rather static. Background is bland in both (non-existent in WF!). They're just cut from the same mold, y'know? HB
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Post by owene on Jul 26, 2011 3:43:54 GMT -5
I can see a similarity, like a lot of DC comics from that vintage it seems to be working on two completely contradictory levels at once. It wants to show an unexpected and dangerous event to grab your interest. But at the same time it also wants to use the art to show you that it will all be ok and that there's nothing really to worry about. Nobody in that cover except maybe Robin seems to be acknowledging what is supposedly happening at all.
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Post by owene on Jul 29, 2011 9:23:48 GMT -5
Tales to Astonish #45 The Terrible Traps of Egghead By Stan Lee with Ernie Hart and Don Heck Villains: Egghead, Ape, Twister Guest Appearances: none So What Happens?: Down on his luck, Egghead comes across some other criminals with a grievance against Ant-man and throws in with them. Deciding that the Wasp is the best way to attack him they come up with an elaborate plan to use her against Pym Egghead invents a device that can block insect communications and takes the time to build up such a reputation as a public speaker and zoologist that he is invited to give a talk on wasps at the reptile house of the zoo. They know that the Wasp will find this impossible to resist. Along the way they take the time to steal a huge diamond. Without the ants being able to contact Pym the villains get away before ant-Man and the wasp even know there is a crime. Once they have learnt about the robbery they quickly make their way to the scene but they can’t find any clues at all. Having stolen enough to keep his accomplices happy Egghead goes back to setting up his lecture hall. He surrounds it with handmade wasps nests and a heavy box containing a special trap for ant-man then finally puts a few of the stolen gems in the wasps nests to attract the attention of the Wasp. Visiting the lecture as Janet Van dyne the Wasp spots the gems and is determined to catch the thieves. Returning that night in her super hero costume she gets trapped inside the maze egghead had built inside the dummy wasp nests. She manages to send a cybernetic warning to Ant-Man who rushes to her aid but gets stuck inside an iguana tank. Egghead provides the trapped ant-man with a pin to use as lance against the, for pym, dragon sized lizard. Pym uses it to good effect defeating the iguana and then smashes his way out of the tank, quickly joined by the wasp who seems to have been freed during the excitement. Egghead then reveals his final two traps, an electrified wire running around the edge of the room and an anteater. Pym’s ant’s are terrified and run to their deaths on the wire. Desperate Pym manages to lasso the anteaters muzzle with some string and tosses the creature at the bad guys. Not to be outdone the Wasp turns off the current to save the ants and stabs Egghead in the hand with the discarded pin. Egghead’s panicking accomplices stumble into a snake enclosure where they are found by the police but the man himself escapes So is it any good?: Good is probably too strong a word but it’s fairly enjoyable and a lot better than some of the stories that preceded the introduction of the Wasp Egghead’s scheme is a bit too over elaborate and could have come from the Batman tv series but Hart has fun with the set pieces, I liked the tiny Pym, lance in hand, riding on an ant against a giant lizard. Jan instantly shows herself as spunky and intelligent even if she does get captured and Pym doesn’t really appreciate her. I also liked that Egghead’s plot included ways to panic and kill all of Pyms ants. He is of course still a villain who manages to get defeated when the Wasp sticks a pin in his hand. Heck’s art suits the plentiful out of costume scenes, he draws a great Jan. It’s actually a story that has fun with its own absurdity and that is something the title has needed for a while. Are there any goofy moments?:It’s egghead and a pet ant-eater against Ant-Man. In a story where the villains plan involves him starting a second identity as a zoologist and becoming famous as an expert on insects after a sequence of thrilling public lectures. He even makes (on panel) handmade fake wasps nests for a variety of wasp species. all of which he mentions I know this is a recurring thing, but why can’t the wasp simply grow to human size when trapped inside a hollow plaster wasps nest? Trivia: None really, it’s not a story that had a huge impact. Is it a landmark?:No.
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Post by humanbelly on Jul 29, 2011 13:52:24 GMT -5
Tales to Astonish #45 The Terrible Traps of Egghead By Stan Lee with Ernie Hart and Don Heck Villains: Egghead, Ape, Twister Guest Appearances: none
Owen, I have to say that, having this story described by you- and thus achieving an added layer of separation from it- may in fact reveal a depth of its absurdity that may even escape you as the first-hand observer/reader-! This plot would seem to be an absolute jaw-dropper in a sea of much-dropped jaws-- The fact that Egghead could just completely (and apparently legitimately) recreate himself as a world-class entomologist/public speaker ( What, did he triple-major in college???) is hi-flippin'-larious! I mean, every scientific community like that has a THRONG of rabidly competitive experts and notables all trying to climb to the top of their particular academic/scientific realm. Ol' Egghead just does it as a way to set up, what, a burglary? So he can get into the Bad Guys' Club? Ha! Also loving that the cover manages to cover so many plot points--- including the fearsome caged killer anteater in the background. . . HB
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Post by owene on Aug 4, 2011 13:47:46 GMT -5
Trapped by the Red Barbarian
Not sure it is exactly the same guy but a Red Barbarian has been appearing in recent Cap issues, along with a bunch of other old commie villains.
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Post by owene on Aug 4, 2011 13:51:49 GMT -5
Strange Tales 110 The wizard and Paste Pot Pete By Stan Lee with Ernie Hart and Dick Ayers. Villains: The wizard, Paste Pot Pete Guest Appearances: the Fantastic Four, So What Happens?: As Johnny spends his time reading his Human Torch scrap book instead of doing his homework his former foe Paste Pot Pete is planning to release the Wizard from prison to help him get revenge on the Torch.
He duly manages to break in and after freeing the Wizard the two escape easily and start to destroy the Torch’s reputation with rumours that he is a spy.
The Torch is soon getting picked on at school and refuses the help of the rest of the Fantastic Four.
Instead he dresses as a visiting rich businessman and waits for the Wizard to come to him. The wizard does so, dressed as the Torch as part of his smear campaign and Johnny manages to chase the two criminals back to the Wizard’s house.
Once there the villains trap the Torch in a mirrored room. With his feet pasted to the floor they start to remove the oxygen from the room.
The torch quickly burns through the paste, and the wall and the two criminals promptly surrender.
So is it any good?: It’s better than some Torch stories. It is only 13 pages long but spends the first eight reminding us who the villains are and showing their jail break. This doesn’t leave a lot of time for the actual story which is wrapped up incredibly quickly without any attempt at drama.
However Pete’s freeing of the Wizard is probably the best thing about the issue. Although he still has his absurd costume in this story he is written as a competent criminal who can think for himself and plans a better prison break than we usually see in comics.
I also liked the way he almost immediately regretted working with the Wizard and saw straight away that his ‘partner’ saw him as cannon fodder. One of Pete’s better appearances.
In the handful of books Hart has scripted there has been a lot more dialogue than usual and he seems to realise that the characters need someone to talk to if they are going to have any personality at all. This has worked well in his Ant-Man stories and it works quite well here too. Bickering criminals with the practical one resenting the brains of the operation aren’t exactly earth shattering but it’s a bigger attempt at characterisation than we have seen from previous Torch villains.
It’s not good, it uses over a quarter of its length on the torch looking at his scrap book and the last act is rushed and nonsensical but even so it’s better than some Torch stories.
Are there any goofy moments? One of the main points about Pete’s paste, as a torch villain, is that it is fire proof. The bad guys whole trap revolved around this. So it’s kind of cheating to just have the torch burn through it when he wants to escape.
Apparently the police wouldn’t think to look for the Wizard at his futuristic home. Despite the fact thats exactly what they did when he escaped from prison in issue 105
Trivia: While this seems like a dress rehearsal for the Frightful Four Pete’s annoyance with the Wizard seems genuine and he actually returns as a solo villain in Strange Tales 124 before he appears with the Wizard again.
His next appearance after this one is actually his brief but pivotal appearance in Avengers 6.
Is it a landmark?: No.
Where can I read it?: In the Essential Human Torch or the first Human Torch Masterwork.
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Post by owene on Aug 4, 2011 13:54:26 GMT -5
Strange tales 110 had two stories of course,
Dr Strange Master of Black Magic By Stan Lee and Steve Ditko Villains: Nightmare Guest Appearances: none So what happens?: Tortured by his dreams of a cloaked chained figure a man seeks out Dr Strange who he has heard can use magic to cure people’s problems.
Strange consults his master in Tibet before entering his client’s dreams and finding them haunted by a chained man.
Strange investigates and learns that the figure’s name is Crang, one of many people who suffered due to the evil deeds of Strange’s client but as he does so he is attacked by the ruler of the dream realm, Nightmare.
As this happens Strange’s client wakes, hears the name Crang linking him to earlier crimes and gets ready to murder the still entranced Dr Strange. Nightmare shows all of this to Strange and waits for his foe to be murdered.
Almost defeated by Nightmare Strange calls out to his master who uses Strange’s mystical amulet to attack his gun wielding foe. This in turn shocks Nightmare and allows Strange to escape.
Back on Earth Strange orders his one time client to confess his crimes in order to escape the haunting.
So is it any good?: It’s very short and very rough. Ditko’s art on Strange’s sanctorum and Wong is great but Strange himself looks quite odd, no cape yet and a very cartoony Basil Wolvertony face.
Nightmare is an elusive shadowy figure seen only in hazy dream images alongside the events in the real world and seems content to watch Strange murdered on earth while he is trapped in the dreams.
The early panels of the haunted figure seeking out Strange’s help are great, full of all the moody atmosphere Ditko gave to the horror stories previously running in Strange tales.
It feels a lot like a horror story in fact, it opens with the guy who comes to Strange for help and it never really gets inside Strange’s head, it is the tale of someone with an evil past who makes the mistake of going to the wrong person for help. It’s not a super hero or even mystical story about Dr Strange yet.
In fact, because of this there isn’t really much of a story yet, the events happen and we are then told what is happening, it is much heavier on captions than most Lee stories and there is very little dialogue at all. Just a lot of exposition explaining the various aspects of Strange’s world that is already really familiar to us as long term readers. Its a hard one to separate the reading experience from your own prior knowledge of the characters but as a Dr Strange and Ditko fan I still really enjoyed it.
Are there any goofy moments? Not really, it’s only 5 pages long and fairly serious throughout.
Trivia: Everything is still in a rough form here, Strange doesn’t have his cloak yet but wears some very distinctive spotty gloves that Ditko clearly took a lot of time on and the Ancient One is referred to as simply the master.
Is it a landmark?: Yes, as well as Dr Strange Nightmare still appears across the full range of Marvel titles .
Where can I read it?: Essential Dr Strange volume 1, the first Masterworks volume
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Post by humanbelly on Aug 7, 2011 9:26:24 GMT -5
Strange tales 110 had two stories of course, Dr Strange Master of Black Magic By Stan Lee and Steve Ditko Villains: Nightmare Guest Appearances: none So what happens?: Tortured by his dreams of a cloaked chained figure a man seeks out Dr Strange who he has heard can use magic to cure people’s problems. Strange consults his master in Tibet before entering his client’s dreams and finding them haunted by a chained man. Strange investigates and learns that the figure’s name is Crang, one of many people who suffered due to the evil deeds of Strange’s client but as he does so he is attacked by the ruler of the dream realm, Nightmare. As this happens Strange’s client wakes, hears the name Crang linking him to earlier crimes and gets ready to murder the still entranced Dr Strange. Nightmare shows all of this to Strange and waits for his foe to be murdered. Almost defeated by Nightmare Strange calls out to his master who uses Strange’s mystical amulet to attack his gun wielding foe. This in turn shocks Nightmare and allows Strange to escape. Back on Earth Strange orders his one time client to confess his crimes in order to escape the haunting. So is it any good?: It’s very short and very rough. Ditko’s art on Strange’s sanctorum and Wong is great but Strange himself looks quite odd, no cape yet and a very cartoony Basil Wolvertony face. Nightmare is an elusive shadowy figure seen only in hazy dream images alongside the events in the real world and seems content to watch Strange murdered on earth while he is trapped in the dreams. The early panels of the haunted figure seeking out Strange’s help are great, full of all the moody atmosphere Ditko gave to the horror stories previously running in Strange tales. It feels a lot like a horror story in fact, it opens with the guy who comes to Strange for help and it never really gets inside Strange’s head, it is the tale of someone with an evil past who makes the mistake of going to the wrong person for help. It’s not a super hero or even mystical story about Dr Strange yet. In fact, because of this there isn’t really much of a story yet, the events happen and we are then told what is happening, it is much heavier on captions than most Lee stories and there is very little dialogue at all. Just a lot of exposition explaining the various aspects of Strange’s world that is already really familiar to us as long term readers. Its a hard one to separate the reading experience from your own prior knowledge of the characters but as a Dr Strange and Ditko fan I still really enjoyed it. Are there any goofy moments? Not really, it’s only 5 pages long and fairly serious throughout. Trivia: Everything is still in a rough form here, Strange doesn’t have his cloak yet but wears some very distinctive spotty gloves that Ditko clearly took a lot of time on and the Ancient One is referred to as simply the master. Is it a landmark?: Yes, as well as Dr Strange Nightmare still appears across the full range of Marvel titles . Where can I read it?: Essential Dr Strange volume 1, the first Masterworks volume So let me ask a quick continuity question, here-- Would the assumption be that the Ancient One is not dead yet, somehow? Like, would this story sort of take place before (or in-between) the events in Strange's origin tale? I did not know that he first appeared as a full-fledged character before his origin was revealed-- that's kinda neat. HB
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Post by sharkar on Aug 11, 2011 17:54:19 GMT -5
Seeing that Thor cover made me think of this Silver Age DC cover (I don't have to spell out why, right? ):
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Post by sharkar on Aug 11, 2011 18:53:30 GMT -5
Bernstein was a long time DC guy, he worked with Kirby on Green Arrow which might be why he got brought over to Marvel. ... But yeah he didn't really work out at Marvel at all, I dont think he is quite as bad as Larry Leiber and he seems to get a handle on Iron Man by the end of his run but there are a lot of poor stories and he really doesn't get Thor. As for the Torch I dont think anyone ever really got him to work so I'll give him the benefit of the doubt. I wonder if the "Marvel Method" of comics-writing just wasn't a good fit for his personal creative process? Re Bernstein and the Marvel Method: At the time the "Marvel Method" was really the "Stan Lee Method." He'd used it for some time when working with Kirby and Ditko on the monster books in the late '50s; he also did this with the Millie and gal comics--he let the artist (usually Al Hartley) plot these. Stan then supplied the dialogue. (After all while Stan started using this method with other artists too, not all of whom liked it--it's been reported in many places that Ayers and Heck had difficulty adjusting to Stan's method in the ealy 60s; they preferred scripts.) Anyway, the other writers we've come across here in Owen's chronology--Berns/Berstein, Larry L, et al., did not use Stan's method--at least, not during the early days of Marvel that Owen is currently examining. Larry Lieber has said in many interviews that during this time he typed/wrote out scripts (i.e., panel breakdowns) for the artists, yes, even for Kirby. Robert Bernstein (aka Robert Berns) and Jerry Siegel (aka Joe Carter), both veteran comic book writers, did things the "old-fashioned" way--they typed/wrote up scripts when writing for early Marvel (and their stories were usually of the traditional type--secret identity crisis, etc.). Ernie Hart (aka H. E. Huntley) was an artist-writer, he'd done mostly funny animal work before doing a few scripts for Stan in the '60s (his funny animal background probably helped him inject some personality and humor into his characters, as in his handling of the interaction between Hank and Jan). He too typed/wrote up scripts (which Heck appreciated). It wasn't until Roy Thomas came on board that the Marvel Method (writer and artist discuss basic story or ideas, then the penciler takes over and basically plots the story, then once the pencils are done the writer supplies captions/dialogue) was consistently used by someone other than Stan.
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Post by humanbelly on Aug 11, 2011 20:03:39 GMT -5
I wonder if the "Marvel Method" of comics-writing just wasn't a good fit for his personal creative process? Re Bernstein and the Marvel Method: At the time the "Marvel Method" was really the "Stan Lee Method." He'd used it for some time when working with Kirby and Ditko on the monster books in the late '50s; he also did this with the Millie and gal comics--he let the artist (usually Al Hartley) plot these. Stan then supplied the dialogue. (After all while Stan started using this method with other artists too, not all of whom liked it--it's been reported in many places that Ayers and Heck had difficulty adjusting to Stan's method in the ealy 60s; they preferred scripts.) Anyway, the other writers we've come across here in Owen's chronology--Berns/Berstein, Larry L, et al., did not use Stan's method--at least, not during the early days of Marvel that Owen is currently examining. Larry Lieber has said in many interviews that during this time he typed/wrote out scripts (i.e., panel breakdowns) for the artists, yes, even for Kirby. Robert Bernstein (aka Robert Berns) and Jerry Siegel (aka Joe Carter), both veteran comic book writers, did things the "old-fashioned" way--they typed/wrote up scripts when writing for early Marvel (and their stories were usually of the traditional type--secret identity crisis, etc.). Ernie Hart (aka H. E. Huntley) was an artist-writer, he'd done mostly funny animal work before doing a few scripts for Stan in the '60s (his funny animal background probably helped him inject some personality and humor into his characters, as in his handling of the interaction between Hank and Jan). He too typed/wrote up scripts (which Heck appreciated). It wasn't until Roy Thomas came on board that the Marvel Method (writer and artist discuss basic story or ideas, then the penciler takes over and basically plots the story, then once the pencils are done the writer supplies captions/dialogue) was consistently used by someone other than Stan. Aaaaaaand a happily-bestowed exalt for you for such a thorough and well-researched response! See? See how nice it is when you pop in? It's like having a favorite relative unexpectedly arrive with a fancy chocolate dessert!. . . ;D ;D ;D ;D HB
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Post by owene on Aug 12, 2011 4:52:09 GMT -5
Yay Sharkar's back ;D I wonder if the "Marvel Method" of comics-writing just wasn't a good fit for his personal creative process? Re Bernstein and the Marvel Method: At the time the "Marvel Method" was really the "Stan Lee Method." He'd used it for some time when working with Kirby and Ditko on the monster books in the late '50s; he also did this with the Millie and gal comics--he let the artist (usually Al Hartley) plot these. Stan then supplied the dialogue. (After all while Stan started using this method with other artists too, not all of whom liked it--it's been reported in many places that Ayers and Heck had difficulty adjusting to Stan's method in the ealy 60s; they preferred scripts.) Anyway, the other writers we've come across here in Owen's chronology--Berns/Berstein, Larry L, et al., did not use Stan's method--at least, not during the early days of Marvel that Owen is currently examining. Larry Lieber has said in many interviews that during this time he typed/wrote out scripts (i.e., panel breakdowns) for the artists, yes, even for Kirby. Robert Bernstein (aka Robert Berns) and Jerry Siegel (aka Joe Carter), both veteran comic book writers, did things the "old-fashioned" way--they typed/wrote up scripts when writing for early Marvel (and their stories were usually of the traditional type--secret identity crisis, etc.). Ernie Hart (aka H. E. Huntley) was an artist-writer, he'd done mostly funny animal work before doing a few scripts for Stan in the '60s (his funny animal background probably helped him inject some personality and humor into his characters, as in his handling of the interaction between Hank and Jan). He too typed/wrote up scripts (which Heck appreciated). It wasn't until Roy Thomas came on board that the Marvel Method (writer and artist discuss basic story or ideas, then the penciler takes over and basically plots the story, then once the pencils are done the writer supplies captions/dialogue) was consistently used by someone other than Stan. Thanks for the overview, it's really apparent in Earnie Hart's work that he is writing full script and has actually spent some time over it. As you say Heck really responds, drawing quite unusual and detailed stuff I'd guess Bernstein must have written full script, Stan's plot credits probably amounted to him going 'have Thor and Loki team up' or something. DC was full script at this time, and would continue to be for a long time, and his work at marvel reads like any randomly picked up issue of action comics from the period. I dont actually mind DC from this period, it is so heavily stylised that it has it's own kind of camp charm but it really stands out reading a Marvel book in the same style.
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Post by owene on Aug 12, 2011 4:55:03 GMT -5
Just realised I didn't include a cover for Strange Tales Shame we didn't get some Ditko classic cover for Doc's first appearance, not sure this counts
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Post by owene on Aug 12, 2011 5:02:50 GMT -5
Amazing Spider-Man #3 Spider-Man versus Dr Octopus. By Stan Lee and Steve Ditko Villains: Doctor Octopus Guest Appearances: The Human Torch So what happens?: Spider-Man breaks up a heist and leaves the robbers webbed up for the police who have come following his spider-signal. As they are taken away spider-man worries that there aren’t any worthy opponents left for him. At a nearby atomic research establishment noted scientist Otto Octavious, nicknamed Dr Octopus, suffers a nuclear accident that leaves him brain damaged and fused to the metal arms he uses for carrying dangerous substances. He awakens paranoid and scheming and immediately takes over the hospital refusing to allow anyone to leave or enter. Jameson wants pictures and Peter Parker is sure he can provide them. Getting in is easy enough but Ock’s arms are strong enough to tear his webbing apart and mobile enough to capture spider-man so the scientist can slap him around the face and toss him out of the hospital. Dr Octopus eventually leaves the hospital and takes over the atomic lab where he used to work. Soldiers in anti-nuclear suits are unable to dislodge him. Spider-man has been so traumatised by being beaten that he refuses to do anything more about Ock but an inspiring visit to his school by the Human Torch convinces him to give it another go. Spider-man makes it into the lab and avails himself of some of their chemical supplies before he faces the scientist. He has created a compound that is strong enough to melt Octavious’s arms and uses it to fuse two of them together. This evens out the fight and after webbing the scientist’s eyes Spider-Man is able to knock him out. After delivering Ock to the army Peter goes to thank the mystified human torch for providing him with the impetus to beat the villain. So is it any good?: Yes, reading this issue it is worth remembering the comparative dud Chameleon and Tinkerer stories as otherwise you would be forgiven for thinking Spider-Man was operating on a totally different level than the rest of the Marvel line. This story follows the vulture introduction as rapidly becoming my favourite Marvel story so far. The villain is introduced in a series of iconic panels, his madness when he wakes in the hospital clearly evident from Ditko’s art. Throughout the issue he remains a real threat for Spider-Man and the pacing of the two battles leaves you really thinking spider-man had to dig deep inside to find a way to defeat his foe. This is a Ditko hallmark of course and is a real contrast from the concurrent stories in the former anthology books which don’t have the space to dwell on the battles after using 9 of their 12 pages on set up. Ditko manages to really set Peter up for a fall, while Lee trails this with the splash page describing Ock as the only villain to ever beat spider-man and has Peter openly saying there aren’t any challenges left Ditko imbues Peter’s body language with an incredible amount of smug self confidence when he is telling Jonah he will get photos of Octavious. It is followed up with a crestfallen peter sitting by the phone having to admit to Jonah he’s failed. This level of emotion in the art is totally absent from the other titles in the line. Ditko also contrasts Peter with the Human Torch. He does so without ever doing anything to explicitly put the character down, indeed both Peter and his school friends admire him, he is shown as the sort of golden boy who gives inspiring talks to kids his age. Someone good but not someone the reader would identify with. It’s an excellent issue, a compelling story with dynamic battle sequences, a genuinely creepy villain and the hero overcoming self-doubt to make it all more worthwhile. Classic Spider-Man. Are there any goofy moments? Not really, the Torch’s visit to the school is the section with the potential to come closest but it actually works well. Trivia:Spider-Man’s relationship with the Human Torch has seen a surprising amount of attention in recent years, being the subject of a number of nostalgic retroactive series. It’s interesting to see that here Peter really benefits from the Torch’s advice and is genuine in wanting to thank him for it. There was a clash between the two in issue 1 but this first Torch guest appearance is quite friendly. When we next see Ock he is in a prison cell and he has four metal arms in working order. Is it a landmark?: Yes, in the Green Goblin free period when I was introduced to spider-Man Dr Octopus was seen as the number one spider foe. He has slipped from that position but he’s still an important villain. Where can I read it?: Essential Spider-man volume 1, the Masterworks or Omnibus volumes
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