"Honor Thy Father"
Story by David Michelinie
Art by John Byrne and Klaus Janson
Colors by Bob Sharen
Letters by Gaspar Saladino and Diana Albers
Cover by Al Milgrom and Bob Layton
When Dr. Donald Blake informs the Avengers that it seems as though the very souls of Wanda and Pietro have been stolen, the group is stymied. Fortunately, Jocasta picks up an "organic energy flux" and the team is able to trace it to a rooming house in the Bowery. Meanwhile, in that aforementioned rooming house, the old man holding Wanda and Pietro's essence in two small puppets explains his origin to the baffled heroes. His name is Django Maximoff, a European gypsy (with magical powers thanks to a talisman known as the Nivashi Stone) who had a wife and two very special children, Mateo and Ana. People of the village torched Maximoff's camp and killed his wife after the gypsy stole food; the children fled. Years later, still searching for Mateo and Ana, Maximoff read of the adventures of the Scarlet Witch and Quicksilver and is now convinced they are his long-lost children. The Avengers arrive and Maximoff animates man-size puppets to battle them but the heroes make quick work of the wooden dummies. When the last mannikin has been reduced to a pile of balsa, the group turns their attention to the old gypsy. The Vision destroys the Nivashi Stone, returning the souls of the Witch and 'silver to their bodies. Wanda requests a leave of absence from the super-group, explaining that some of what the old man had told her was intriguing and needs investigating. -Peter Enfantino
Joe Tura: One thing's for sure: nobody draws "voluptuous robots" like John Byrne. Seriously, he makes Jocasta look like the Avengers will all think Ultron's one lucky evil SOB. And she flummoxes Gyrich by asking about regulations, which give us another reason to praise the metal moll. But that's just the beginning of a fine chapter that explains a little more of Wanda and Pietro's back story. Maybe. Who knows actually? Do we believe Ana and Mateo are real, or is this old puppeteer controlled by the powerful stone he yields? Meanwhile, Hawkeye and Beast are competing for the title of "Wisecracking Avenger," but Beast is much more jovial in his normally intelligent barbs, while Mr. Barton couldn't get that chip off his shoulder if he shot an arrow at it. One thing bothers me, though: how can a puppet eat a cookie? That's some magical puppet—or a damn good cookie.
It's not all Janson’s fault though, as sad to say, this is hardly Byrne's best effort; Byrne seems to have rushed thru a few pages, such as 15-16, leaving them virtually devoid of backgrounds. Well, since we’re talking about Byrne, it would be unfair not to identify a few highlights, so here goes: hmmm … the Toad swallowing Hank & Jan is cleverly done (p 23); clever moment also when the team clears their heads and finds themselves all together in one room, still back in the flophouse (p 26); and, cool look at the Vision (well, how could it not be) as he rises from the ground and arrests Maximoff’s flight (p 27).
Conan the Barbarian 97
“The Long Night of Fang and Talon Part Two”
Story by Roy Thomas
Art by John Buscema and Ernie Chan
Story by Roy Thomas
Art by John Buscema and Ernie Chan
Colors by Carl Gafford
Letters by Tom Orzechowski
Answering the call of Ajaga the Beast King, scores of ravenous animals crawl, slither and lope towards Conan, who is tied to the altar of Jhebbal Sag and soon to be the latest victim of the Bloodmoon Ritual. Bêlit and the mighty black lion Sholo arrive and leap into the fray — the She-Devil’s boot catches Ajaga in the chest and he falls, knocked unconscious when his head smashes into a jagged rock. The jungle cat, however, is held at bay by one of the ancient symbols of Jhebbal Sag — the original Beast King — carved into the ground. Ajaga’s warriors, led by brothers Krato and Beeya, launch their spears as Bêlit rushes to untie her lover.
As the Cimmerian is freed, Ajaga slowly rouses, horrified to see that the creatures he has summoned — cheetahs, baboons, alligators, snakes and others — have gathered around him. He tries to speak their tongues, but is still too dazed to form the correct words: his former subjects pounce and tear him to pieces. After Ajaga is devoured, the animals turn on one another in a ferocious melee of slashing teeth and claws. Ignoring the carnage, Conan, Bêlit and Sholo charge the Beast King’s confused warriors. When Krato gets the jump on the barbarian, the jungle cat leaps to his defense: the ebony warrior is killed by a vicious bite to the face but still manages to run his spear through Sholo’s belly, fatally wounding the fierce feline. Vowing revenge for his brother, Beeya rallies the remaining men but M’Gora and a force of Black Corsairs suddenly appear and the Beast King’s men are slaughtered — Beeya does manage to escape. After burying Sholo, the Cimmerian and Bêlit free the captured Corsairs and the kidnapped Black Coast princesses. -Tom Flynn
As the Cimmerian is freed, Ajaga slowly rouses, horrified to see that the creatures he has summoned — cheetahs, baboons, alligators, snakes and others — have gathered around him. He tries to speak their tongues, but is still too dazed to form the correct words: his former subjects pounce and tear him to pieces. After Ajaga is devoured, the animals turn on one another in a ferocious melee of slashing teeth and claws. Ignoring the carnage, Conan, Bêlit and Sholo charge the Beast King’s confused warriors. When Krato gets the jump on the barbarian, the jungle cat leaps to his defense: the ebony warrior is killed by a vicious bite to the face but still manages to run his spear through Sholo’s belly, fatally wounding the fierce feline. Vowing revenge for his brother, Beeya rallies the remaining men but M’Gora and a force of Black Corsairs suddenly appear and the Beast King’s men are slaughtered — Beeya does manage to escape. After burying Sholo, the Cimmerian and Bêlit free the captured Corsairs and the kidnapped Black Coast princesses. -Tom Flynn
There are quite a few panels devoted to the animals tearing one another apart after they are freed from Ajaga’s spell. It’s rough stuff, with Big John not shying away from shocking images of bloody biting and slashing. It’s probably the first and last time you’ll see an alligator chomping down on an eagle’s wing. The survivors basically disperse after things calm down and leave the fighting to the humans. I was a bit confused to see that M’Gora led the charge of the Corsairs: I thought he had left with Zula in #94. Maybe I read things wrong — but it is his first appearance since that issue so something was up. Roy delivers another one of his masterful touches with Beeya: he returns two decades later to threaten the barbarian’s life in the dungeon of Tsotha-Lanti in the amazing The Savage Sword of Conan the Barbarian #30. He’s basically a throwaway character in both instances, so it’s borderline genius that Thomas would take the time to connect the dots.
Buscema & Chan do everything possible to sell this moment. First we witness the unnatural, inexorable approach of the predators and scavengers (p 2), then see as Ajaga appears in complete command of the situation, and the deadly creatures he has summoned (p 6). But, the timely arrival of Bêlit and Sholo upsets the balance, and turns fortune’s wheel back onto Ajaga, as his moment of confusion gives way to panic, and he is undone by his own plot; “the Feast of Bloodmoon will be held, indeed, this night” (p 15). Big John & Ernie aren’t through yet, though, as they make the situation even more horrific when the blood-crazed creatures turn on one another; the chaotic sight of crocodiles biting eagles, and snakes crushing hyenas and panthers, reminds me of pre-Renaissance imaginings of some beast-infested level of Hell, or perhaps the end of the world itself.
"The Flame and the Fury"
Story by Roger McKenzie and Jim Shooter
Art by Sal Buscema and Don Perlin
Colors by George Roussos
Letters by Gaspar Saladino and Elaine Heinl
Cover by Keith Pollard and Al Milgrom
Though it appeared she was blowed up real good in a car explosion (last issue), Peggy Carter is thrown clear but sustains life-threatening injuries. Cap manages to overpower the two National Force goons and gets an ambulance for Peggy. While interrogating the thugs, Cap watches in horror as they both commit suicide by spontaneous combustion. In an effort to track the kidnapped Sharon Carter, Cap visits the Commissioner of police in the cop uni he hasn't worn in "months." Unfortunately, the Commish can be of no help and Cap is on his own. A stoolie tells the Avenger that the only man who might be of help finding the NF is ghetto crime king Morgan, so Cap pays the big man a visit. Though Cap tells Morgan it's to his benefit to reveal all about the hate group, Morgan insists he ain't playin' with no damn superheroes. Just then, one of Morgan's thugs bursts in and informs his boss that the NF is marching on Harlem. [How convenient. --MRB] Cap heads out and Morgan orders his men to "blast that National Force scum off our turf!" and, should the honky mofo America get in the way, "gun him down!" Meanwhile, across town, the leader of NF, the Grand Director, seems a bit confused as he takes orders from the real NF head honcho (to be unshadowed at a later date). Back at the Harlem riot, Cap is a little perturbed to discover the NF have brainwashed Sharon and she's leading the marching marauders. -Peter Enfantino
Matthew: This is a seriously sorry-ass issue, with the Wad-Shooter throwing his weight around as co-scripter and “boss”; wouldn’t boast about that if I were you. They appear to be going for another one of those stock-taking/back-to-basics dealios—not entirely unwelcome after all of the Post-Kirby Kaos, albeit a bit belated—but the execution is an epic fail, giving Sal and Don so little to do that they presumably shrugged their shoulders, punched the clock, and picked up their paychecks. “The Flame and the Fury!” is a great title…as it was when Stan used it for Silver Surfer #15 (April 1970), and I hope nobody expects us to be surprised at the identity of our red-haired, cigarette-holder-using mastermind…who has his lackey lie down on the couch.
“Hey, Sarge, what is this? We don’t work for that glory-hunting—” This seems to come completely out of left field, given the respect we’d expect from cop to Cap, until you get to page 14 and realize that McKenz-EIC were setting up an artificial contrast with the grateful cabbie/vet on page 10: “Only old men call me ‘hero’ today! Young folks think I’m a ‘glory hunter’!” Cap cavalierly walks into Steve’s apartment, forcing me to ask again, is he trying to blow the world’s worst-kept secret i.d.? On the next page, he thinks, “We haven’t been too secretive about our relationship,” which he suddenly frets is less real than his wartime fling with Peggy, and Carl’s phonetically stuffed-nose dialogue makes his already overlong two-page scene quite unbearable.
Morgan caps it all off: “Figures you’d run into friends of yours under those hoods, honky!” Um, am I wrong, or was Cap/Falc the first interracial super-hero partnership, and probably the only one for some time? But the “best” part begins on page 14 as Steve pulls his police uniform out of mothballs, thinking, “It’s been months since I used this…” If the footnote is to be believed, EIGHTY months. The Sarge (no, not that one) rants, “You’re lucky you still have your job, Rogers!” That’s a neat trick without showing up for more than six years, even allowing for the real-/Marvel-time conversion, and does he really still qualify as a rookie? Then, after chatting with the useless Commissioner, he abruptly dumps the outfit—leaving us right where we started!
As for the Grand Director, our one page with him is intriguing, as his single-minded confidence (briefly seen last issue) is replaced here by concerns and regrets for the bloodshed to come, and doubts regarding the legitimacy of his message, if mind-control is required to keep his followers allied to his cause. He’s reassured by the large man at the desk, who appears to have red hair, and is that a long cigarette holder I see in his right hand -? (p 27).
This is probably the most consistently solid Buscema/Perlin art we’ve seen for this title. Page 7 is probably the art highlight, as we witness the two Fronters go out in a blaze of fanaticism.
"Catch a Falling Lunatik!"
Story by Ed Hannigan
Art by Herb Trimpe and Mike Esposito
Colors by Bob Sharen
Letters by John Costanza and Rick Parker
Cover by Herb Trimpe and Joe Rubinstein
Returning from their "epic" battle with Omegatron, the Defenders splinter into two groups, with Nighthawk, Val, and Hellcat heading back to the Riding Academy and Strange and Banner staying at the Sanctum. Strange ominously tells Bruce that he must talk to him about something of the utmost importance. When they get inside, Stephen asks Banner if he can summon the Hulk so that they may save the world yet again. Banner nods and Stephen does his magic; the Hulk appears. Meanwhile, back at the Academy, the trio arrive to find a couple of Feds looking for Nighthawk, insisting that the government wants to talk to him about "tax evasion, stock manipulation, fraud..." and the matter of NH's reported death (back in #67). 'Hawk blows his cool and runs the feds off the property. Val is pleased to find an invitation to a "midnight mixer" at Empire State University. She and Hellcat attend and, just after they arrive, one of the students (Ledge, who was attacked and almost killed by Lunatik) fingers Professor Turk as Lunatik (who's been absent for, what, weeks?). Turk, in a huff, leaves the building but Val, suspicious, tags after him with Patsy in tow. Sure enough, the girls run right into Lunatik and Hellcat heads off to call Nighthawk for help. A huge, lyric-laced battle ensues between Val and Loonie, with Val gaining the upper hand. On her way back to the fray, Patsy runs into another Lunatik and the two duke it out. In another meanwhile, Nighthawk flies to the Academy, only to run into yet another Lunatik! All three battles end in favor of the Defenders and once they meet in the middle, the trio realizes something weird is up. Just then, Professor Turk scampers up and claims he's the real Lunatik! -Peter Enfantino
Chris: The return of Lunatik isn’t bad; the pop-culture patter is a bit distracting, but it’s not a deal-breaker. We’ve already been led to believe Prof Turk (not a member of the MU faculty, by the way) is Lunatik, so it’s a clever idea on Hannigan’s part to show us three Lunatiks, with none of them Turk himself (as he’s seen in the last panel, sans whiteface); as Val observes, “the mystery has just begun!”
Trimpe & Esposito turn out an above-average issue; I don’t think Esposito necessarily is the best choice as finisher for Trimpe, but the inks are clear and solid here. The nighttime setting for the three Defenders’ pursuit of the three Lunatiks is realized well, with a color assist from Bob Sharen.
"A Midsummer's Nightmare!"
Story by Ralph Macchio
Art by Tom Sutton and P Craig Russell
Colors by Glynis Wein
Letters by John Costanza
Cover by Rudy Nebres
During a well-deserved slumber, Doctor Strange is transported to the world of Nightmare, where the fiend reveals that his latest cohort in devilish dealings is none other than Cyrus Black. Cyrus has an axe to grind with Stephen since his several defeats at the hand of the Sorcerer Supreme sent Cyrus spiraling into a deep depression. Only the coming of Nightmare brought his spirits up and launched him into a new campaign of revenge. Unfortunately, Cyrus Black is still no match for the Master of the Mystic Arts and, despondent, he commits suicide. Disgusted by Black's lack of spine, Nightmare sends Strange back to his Sanctum but cautions that there will be a rematch soon. -Peter Enfantino
Chris: The conclusion and its aftermath remind us of a fundamental fact about Doctor Strange: a sorcerer supreme is more than simply a collection of well-learned and carefully-honed spells. As Strange himself puts it, “the true mystic is not ruled by the tawdry trappings of power … he is moved by the sublime stirrings felt deep within him.” And, before we close the issue with admiration for Strange as a superior being, scripter Macchio gives us a quiet moment of Doc’s reflection, as he recollects his dark, embittered past when, prior to his fateful meeting with the Ancient One, Strange too “embraced illusion when the pain of truth was too much.” Solid issue; early efforts show that relative newcomer Macchio is demonstrating a firm grasp of Strange the sorcerer, and the man within the costume, behind the spells.
For highlights, I’m almost tempted to reserve my praise solely for Nightmare’s far-out throne, with its spindly tendrils reaching from two circles (one within the other), plus a pair of dragon-headed arms, and a base composed of wailing gargoyle heads (p 6-7). But of course, there are other highlights, which include: Nightmare recoiling from Doc’s immense hand reaching for him (p 7, 1st pnl), then striking back, seen from his POV (pnl 2); Cyrus Black drifts in front of the confined Strange, as his cape turns to wisps at the bottom, curling around a shaft of green light shining down from Nightmare’s throne in the background (p 14, pnl 4); really vicious and determined Vipers of Valtorr, which gain the advantage very quickly over Doc (p 19), only to be contained in a clever Crystal of Cytorrak, which I don’t recall having seen before (p 22, 2nd pnl); Black appears to crumble to dust under the light of Agamotto (p 26), which anticipates his self-demise on the following page.
Matthew: Upon recognizing below-the-tiers villain Black on the interesting Nebres cover I thought, à la that beeyotch Violet, “Oh, no, we’re doomed,” reinforced by an origin involving comparable lowlife Xandu, yet damned if Macchio doesn’t add value to Cyrus, a suitable patsy for Nightmare. First, said backstory was omitted on his debut in Defenders #6, and second, his apparently actual death gives his return some heft. Of late, this mag has thrived on unusual art combos, with Sutton and Russell (sans P.) providing a fantastically ornate look commanding the eye to linger, and in general, there’s just a lot to love here, e.g., the HPL tome on Doc’s floor, Wong face-time, mystical beefcake, “vermin” pun, contemplative ending, sophisticated dialogue.
Matthew: Upon recognizing below-the-tiers villain Black on the interesting Nebres cover I thought, à la that beeyotch Violet, “Oh, no, we’re doomed,” reinforced by an origin involving comparable lowlife Xandu, yet damned if Macchio doesn’t add value to Cyrus, a suitable patsy for Nightmare. First, said backstory was omitted on his debut in Defenders #6, and second, his apparently actual death gives his return some heft. Of late, this mag has thrived on unusual art combos, with Sutton and Russell (sans P.) providing a fantastically ornate look commanding the eye to linger, and in general, there’s just a lot to love here, e.g., the HPL tome on Doc’s floor, Wong face-time, mystical beefcake, “vermin” pun, contemplative ending, sophisticated dialogue.
"When Worlds Die!"
Story by Marv Wolfman
Art by Keith Pollard and Joe Sinnott
Colors by Glynis Wein
Letters by Jim Novak
Cover by Keith Pollard and Joe Sinnott
Class, a little free-form educational experiment this week (it is the late '70's, Marvel U time). I'll be lesson planning in real time, batting out instant observations - unhindered by contemplation or reflection - as we go, page by page, through Marv Wolfman's latest attempt to raise the ghost of what once was "The World's Greatest Comic Magazine!"
First line beneath the title mentions, "...a world split in four parts..." Uh-oh, Wolfie's spacin' out already. It was four cities that survived when Adora's world got demoed last month, not the whole planet being drawn and quartered.
Same box, a mention of Reed and "...his wife, Sue..." Expected that to be followed by, "...the Professor and Mary Anne." All hail the patriarchy, eh, Marv?
Same box, same line: "..and the monstrous, orange-hided Thing..." What is this, FF #2?
And...oh sh*t! 140 words and we're still in the first word balloon. Kids, there's an instructive lesson here: most experiments in the '70's failed. So let's hit fast-forward.
The Fabs (minus Johnny) and Adora return to her planet via ion beam, arriving as the Skrulls are attacking (nicely rendered in a two page spread by Pollard & Sinnott). Ben and Reed take down a couple ships, driving off the attack.
CUT TO: Skrull Emperor Dorrek ranting it's "not fair" that "...the earth scum who have always resisted our overwhelming power" have arrived to give battle. Even worse, Skrull scanners pick up another earth ship heading their way. Dorrek orders an attack on the ship (which we'll have to buy the Marv-penned Nova #25 to witness), then we segue to the Watcher lamenting that, yes indeed, he did violate his oath last issue (shocker, right?). And then he laments that "...while the galaxy dies, I can do nothing..."
Because, ya know, his "oath."
CUT TO: Johnny settling into his dorm room at dubious Security University. Torchie isn't even creeped out by a security camera in his room because, "They're here for our security...to make sure we'll all be safe." 'Cause we all know what a nervous Nellie Johnny Storm is.
Then we check in with the Monocle and learn that the girl who dissed Johnny last month had done so under Mono's hypnotic sway, all - somehow - to induce the Torch's enrollment. Then M checks in with his unknown employer (face - natch - hidden by shadows), who informs the D-lister that, if shadow-man doubted him, he'd already be dead.
Back to Johnny as he crawls into bed, wondering what his teamies are doing. Uh, fighting the interstellar war you promised to join, last ish. He dozes off but half an hour later, the Torch and all his fellow students are rousted from their beds. "Mindlessly, Johnny falls in line with hundreds of other somnambulistic students, their mission to be revealed another time."
We return to Xandar, where Adora's partner, Tanak, who got blasted by the Skrulls, clings to life in a cryo-chamber. As Adora thirsts for revenge, Reed asks the chief scientist, a.k.a. Prime Thoran, what the Skrulls want with the gerbil-tunnel linked Quad-Cities. Thoran explains the green meanies are losing their war with the Kree and want to tap the power of "...the Living Computers of Xandar!" Pollard provides a splash page of same that produces a nice pang of vertigo, if little of Jack Kirby's gonzo grandiosity. The Thing dismisses it with, "Bah. I've seen better in Forbidden Planet"
The Living C stores the minds of all Xandar's dead, although how this would helps the Skrulls is unclear, but no time to sweat it as the green meanies again attack. The Fabs are gifted with flying belts to take to the skies, along with several unmentioned members of the Nova Corps, obviously thrown in to promote that mag. The five fight pages are somehow both vigorous and generic, the latter underlined by the FF's (the F3, actually) issue-ending capture, and has all the excitement of week-old tuna salad. -Mark Barsotti
Mark: Much like the esteemed Prof Matthew, my opinion of Marv Wolfman's work for late-'70's Marvel sinks lower each week. I'll continue to champion Marv's long run on Tomb of Dracula as his signature contribution to the House of Ideas and one of the best books of the decade. But Nova never did much for me (nor does the half-hearted almost crossover shoehorned in here), and his work on FF (the Doc Doom run-up to the 200th issue anniversary largely excepted) and Spidey have been...uninspired.
That unfortunate trend continues here. Not that Marv's jaking it; in fact, one can almost hear him huffin' and puffin', but WideScreen Space Opera just ain't his métier, as his near-incoherence regarding the Watcher painfully demonstrates.
Yet the real sore thumb here is the really STUPID Torch subplot. Let's us count - just a few - the ways. (1) Johnny's completely forgotten the mystery of how Security U suddenly recruited him.(2) The old Casanova hothead becomes the anti-Ed Snowden, welcoming peeping tom security cams in his bedroom (one of his stated back-to-school goals is co-ed companionship) so he can feel "safe," a sentiment unworthy of Forbush-Man.
But those are mere flies, buzzing around the turd. As unbelievably out of character as it was to have Johnny fink out on a Skrull fight to decide what he wanted to do with life, he has, opting for Joe College, ver.2, Marv now (3) forgets Matchhead's promise to join the fray, post-decision, then goes for broke with (4), having Johnny completely forget his family is battling aliens on another world as he snuggles into bed in his jammies.
"Wonder what Reed and the others (you'd think his sister might get top billing) are doing right about now?" indeed.
Have you no decency, Marv Wolfman?
At long last, have you no decency?
Matthew: Kudos for a rigorous and richly deserved takedown.
Matthew: Kudos for a rigorous and richly deserved takedown.
If there still are Pollard detractors out there, then I invite you to turn to these pages: p 2-3, where the action definitely is FF-worthy; the HAL 900,000 computer on p 17 (and how long did it take poor Joe to ink all of that -?); a three-ring circus of battle action, contained in four packed panels (p 23). Take that, naysayers!
Matthew: Guess that would be me. Am I alone in finding it weird that our first overt acknowledgment of a connection between this storyline (starting with Quasimodo in #202) and Nova is a throwaway footnote in page 10, panel 5? Or maybe not, considering how sketchily Marv has handled this whole arc, and I’d have said the Pollard/Sinnott art deserved better, yet even that is flawed. My eye-rolling at the splash-page hype about “a world of wonders the like of which you’ve never seen before” was justified by a double-spread that aims for Kirby/Buscema spectacle, but falls short with a mishmash where nothing is differentiated; then, Ben took the words right out of my mouth when he said of page 17, “Bah! I’ve seen better in Forbidden Planet,” its obvious model.
Ghost Rider 35
“Deathrace!”
Story by Jim Starlin
Art by Jim Starlin, Al Milgrom, Steve Leialoha and Michael Netzer
Colors by Petra Goldberg
Letters by Tom Orzechowski
Cover by Bob Budiansky and Bob Wiacek
[Note: this fill-in takes place between issues #13 and #14]
Letting off some steam by cruising through an isolated desert, Johnny Blaze inexplicably transforms into Ghost Rider as black thunderclouds approach — he soon comes across a solitary, skull-headed cyclist who claims to be Death. The Death Ryder challenges the Spirit of Vengeance to three races, with Blaze’s life hanging in the balance. Reluctantly, the flaming stuntman agrees. The first race is to a stranded motorcyclist in the distance. They tear off neckbone to neckbone, but Death’s satanic bike proves to be much more powerful and he reaches the man first. A simple touch of a boney finger and the innocent crumbles to dust.
The next challenge is to reach a lost little girl named Anna Devere, four miles to the north. At the last moment, the Rider jumps his bike off a rocky ledge, leaps forward and manages to win this leg. The frightened tyke runs off and reunites with her parents. Death informs the Rider that the final race will be for his very soul: the only way to survive is to reach a distant mountain range first without being touched. Before they start, Blaze blasts his deadly opponent with a burst of hellfire and rips the throttle of his iron horse — the Death Ryder easily shakes off the flames and quickly catches up, deadly hand outstretched. But the flame-headed hero kicks out with his left foot and strikes the front fork of Death’s bike: the demon hurtles off the mountainous path and explodes in a hail of sparks and metal below. -Tom Flynn
So, our hope lies with the art. Again, not a home run, but a solid, two-run double — which is obviously far superior than Don Perlin grounding into his usual double play. Now Starlin only provided layouts so the heavy lifting fell to Steve Leialoha and Michael Netzer — who I only knew as Mike Nasser. You can see touches of Starlin’s magic but not enough. The art is quite dramatic in many places but rather plain overall and relies heavily on the use of solid blocks of black ink. Which, I guess, is fitting. The close-ups of the combatants' boney visages are the best parts. So, in all, Ghost Rider 35 is a bit of a disappointment — but a breath of fresh air from the usual noxious exhaust fumes.
The other consideration, though, is timing. On page 2, Roger Stern informs us the events of our story took place between issues #13-14; on a bi-monthly publishing schedule, we're talking almost four years ago. Why is this only seeing the light now? If I had a story idea and layouts from Jim Starlin, I think the Isabella/Robbins issue scheduled for that month would've been pushed back to make room for this one, don't you?
As for the story itself, I can't say I was excited by yet another race, or chasm jump, or whatever. So, credit to Starlin for finding a surprising, very satisfying conclusion, as Death gets not his due -- if Death isn't playing by the rules, why should Ghost Rider? And I do mean Ghost Rider; I don't expect Johnny Blaze would ever resort to kicking out a fellow rider's wheel, to send him spiraling down a cliff. Even though the thought balloon is in Johnny's voice, it's safe to say ol’ GR's Satan-spawned influence is at work.
"Big Monster on Campus!"
Story by Roger Stern
Art by Sal Buscema and Jack Abel
Colors by Janice Cohen
Letters by Irving Watanabe
Cover by Ernie Chan
Finally arriving at Berkeley, Fred is shocked to see that Trish Starr and Hulk know each other. She tells Fred all about how her life has gone since they last saw each other, including her dalliances with the Defenders, losing her arm, and finally making her way back here with their old friends. She invites them both in to eat and relax. Back at Gamma Base, Marvel Man is debriefed by Senator Hawk and Clay Quartermain and tells them the next time they see him to use his new code name: Quasar! In Mexico City, Betty and Glenn Talbot talk about their marriage crumbling and resolve to remain friends. Back at Berkeley, Hulk is calmly trying to eat, but the others in the commune protest his being there. Hulk goes all smashy again, but Trish is able to calm him down and get him to sleep. One of the old hippies makes a phone call to a Corporation Agent, who contacts Jackson, and a plan is hatched that will dispose of the Hulk, as well as Machine Man. While Hulk sleeps, the commune is attacked by the agent in a Machine Man costume. A paralyzing gas is used and the Hulk can only watch as Trish is taken by this bogus Machine Man, who tells him to meet him in Central City and be prepared to fight. An hour later, Hulk wakes up and is mad as hell, vowing to go all smashy on Machine Man! -Scott McIntyre
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| My grandpappy once told me, "There's nothing sadder than a one-armed Solitaire player!" |
Matthew: This is a veritable old-home-week issue, with Abel briefly returning for the first time since his unbroken stint on #167-81, yet if the artwork is strictly meat and potatoes—with Jack now inking Our Pal Sal instead of Happy Herb—it’s no less tasty and nutritious. And Sterno gives us a nice summation of Trish’s checkered past, more welcome than most because her appearances since debuting as Egghead’s niece in Marvel Feature #5 have been rather desultory; her congenial relationship with Greenskin is a welcome contrast to his portrayal in the downward-spiraling Defenders as a one-note pill. We also look ahead, connecting the dots to Marvel Man-Boy’s new moniker (Quasar) and posting, at Project Pegasus.
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| "Not Quasar-Boy nor Quasar-Man. Just Quasar!" |
You can't keep a good evil multinational conspiratorial-conglomerate down, can you? The Machine Man costume is a ruse that would work with few other opponents but the Hulk; unfortunately, we can see it working perfectly in this case, and it should make for a whale of a MARMIS, which is always a bit trickier to unravel when the rage-filled, concrete-thinking Hulk is on one end of the misunderstanding. Nice work by Roger to weave Machine Man into the Marvel mainstream; one question though: how is the Hulk supposed to find Machine Man in "Central City"? Might we need DC to send us a roadmap, perhaps -? (note to faculty and students: shame on me for having forgotten the FF's fateful first flight originated from that very same fictional address. I hereby surrender my key to the faculty washroom.)
Buscema and Abel remind us how Trish Star built a career in modeling. She looks pretty fine on page 1, but later in the issue, it's easier to see her full lips and cool blue eyes (mmmmm –oh, excuse me). I'm sure she's adjusted to having lost her left arm, but I'd still feel better if some capable Marvel science-hound could rig up a replacement for her; maybe Misty Knight could put Trish in contact with her arm guy.
"Back from the Grave!"
Story by Roy Thomas and Don Glut
Art by Alan Kupperberg and Chic Stone
Colors by Carl Gafford
Letters by Tom Orzechowski
Cover by Alan Kupperberg and Joe Sinnott
Arriving at their rendezvous with the Kid Commandos, Cap and the Torch fail to stop U-Man from escaping with Golden Girl, in whom (as Davy’s thoughts reveal) Bucky and Toro have rival unvoiced interests. As the Torches try to pick up his trail, Meranno brings her to the warehouse lair of Lady Lotus, who reveals that she supplemented her inborn psychic abilities with “magic phrases [and] mystical finger signs,” convincing her curio-shop customers that she was Chinese once Japanese-Americans began to be “relocated.” Citing the Sabukis’ internment, she invites Gwenny Lou to join her freely “against the persecutors of our race” as the Torches, having spotted a suspicious plane parked on the nearby beach, return to fetch Cap and the others.
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| MU presents this image in the interest of holistic medicine only |
Now that I’ve gotten that (mostly) out of my system, Cap continues to fare conspicuously well at the hands of Alan and Chic—e.g., page 3, panel 4; page 26, panel 3—and this arc being the first time we’ve seen the Kid Commandos drawn by anybody but Fightin’ Frank, our multi-culti new members resemble actual human beings rather than caricatures. With both Baron Blood and U-Man back under the auspices of our Asian femme fatale, it looks like the stage is being set for an eleventh-hour return to the glory days of the book’s earliest and arguably best issues, while next time, we learn, “Two surprise super-villains return!” A quibble: Gwenny Lou’s teammates are remarkably insensitive with their frequent references to “Nips,” so Lady Lotus may have a point.
Mark: Even with Don (he-sure-ain't-Roy-Thomas)
And to give Don his due, his nimble effort here not only delivers sock-o action while toggling between two different plotlines, but intriguingly develops Lady Lotus, (including some almost overt flirting with Gwenny Lou), and works in some wholesome romantic teen tension between Bucky, Toro and G-Lou.
Mark: Even with Don (he-sure-ain't-Roy-Thomas)
And to give Don his due, his nimble effort here not only delivers sock-o action while toggling between two different plotlines, but intriguingly develops Lady Lotus, (including some almost overt flirting with Gwenny Lou), and works in some wholesome romantic teen tension between Bucky, Toro and G-Lou.
Of the two plotlines, U-Man is reduced to mere muscle under sway of the more textured villainy of Lady L (whose Buddhism is overridden by Nippon nationalism; plus she has a good case against the Americans, in re: interment camps). Across the pond, the Falsworth sibs (Union Jack and Spitfire) fail to prevent the de-stalagmite stalking of the now-awake 'n' hungry Baron Blood. I hope the fact that it was far-from-home Japanese soldiers on the vamp-revival mission (rather than much-closer Nazis) to England means Lady L has a loooong reach that will merge both plotlines.
Alan Kupperberg has more wonky moments than normal, but his art remains largely effective. And as for the simmering hormone teen triangle, Bucky gets in a blush-inducing clinch with G-Lou, but apparently she has the hots for Toro.
"A Ruse By Any Other Name..."
Story by Bob Layton and David Michelinie
Art by John Romita, Jr. and Bob Layton
Colors by Carl Gafford
Letters by John Costanza
Cover by Bob Layton
As Iron Man sinks into unconsciousness and the Atlantic, Rhodey and Bethany find nothing at the coordinates from the mayday, but while trying to land at the nearby island, they are fired upon by Capt. Jonas Hale, despite her invoking “special security clearance J-792!” After Rhodey is hit, she brings the chopper down and they are taken at gunpoint; meanwhile, IM awakens to find that Namor has saved him, just as Dobbs saved the Atlantean’s life days earlier, when he was overcome by the “toxic petro-chemical wastes” that he had discovered and buried beneath an undersea mountain. Hiram, who found Namor washed ashore and nursed him back to health, refutes Hale’s assertion that the army has been disposing of nuclear waste there for years.
As Hale reveals to the captives that his team is stealing the island on behalf of Roxxon Oil for its vibranium foundation, IM recharges with Hiram’s generator and hears how he and his late wife, Mary, chucked the rate race in Indiana 20 years ago to live as hermits. Realizing they’ve been duped but not knowing why, IM and Subby are skragging the ships when “the real Navy” is seen approaching, so Hale activates the explosives he’d planned to use for excavation, forcing IM to tow the remaining ships out to sea (yeah, right). As it shatters, the vibranium core absorbs the sound of the blast; in the aftermath, the Naval officer reveals that with Hale having vanished, his men clammed up, and the command room reduced to ashes, there is no way to link it to Roxxon. -Matthew Bradley
Matthew: I’m sorry, but I just don’t think this two-parter hangs together at all: if Namor truly felt that IM has “e’er been a noble foe in the past,” then why didn’t he listen when Shellhead said he was there to help, not attack, Dobbs, and where did ol’ Hiram get that high-tech weapon he turned on Iron Man? The involvement of Roxxon (Stainless, we hardly knew ye) would otherwise be a welcome callback, but I find it hard to believe that an entire Special Forces team could simply take itself off the grid like that—and did all of its members collude knowingly with Hale? There’s clearly more to Ms. Cabe than meets the eye, and she notices when IM pulls the classic super-hero boner of calling her “Beth”…although she and Shellhead have supposedly never met.
As with the current Captain America, the cover tagline, “The Prince and the Power!,” is good, as it was when they used it on said prince’s appearance in Defenders #52, while the formal title, “A Ruse by Any Other Name…,” is a nice pun, but it doesn’t really make much sense—what else would a ruse be called? Sloppy Stern/Shooter editing has transformed last issue’s 747 into a DC-10, as well as confusing “affect” and “effect” in page 31, panel 4, yet Hiram’s devastation at the loss of the island that represents both Mary’s last resting place and their dream is poignant. The Romita, Jr./Layton artwork is very nice as usual, with highlights including the splash page of IM in extremis, colored by Carl Gafford in such a way as to emphasize that Shellhead is underwater.
Romita Jr and Layton continue to gell. Highlights include: IM gradually returns to the land of the living, as Namor’s trademark head swims into view (p 7, 1st four panels); IM rolls up the deck’s steel plating, as the trapped Roxxon flunkies can do nothing but make Stooges faces (p 23, 1st pnl). Points also for the tastefully-topless Bethany; she appears extra enticing (as we catch a peek), without her exposure being exploitative either, as John ‘n' Bob resist the urge to give us a close-up of her slightly-clothed breasts.
Matthew: We'll just have to get our thrills from Invaders.
Matthew: We'll just have to get our thrills from Invaders.
"The Master Assassin of Mars, Chapter 8:
The Man Who Makes Murder!"
Story by Chris Claremont
Art by Mike Vosburg and Ricardo Villamonte
Colors by Ben Sean
Letters by John Costanza
Cover by Ernie Chan
Taken aboard the guild’s ship, Carter battles the assassins and takes the “hostage” Dejah—masquerading as Daria—atop the mast to gain vital intel; he tells her to fake a fight and think in English, which he’d had the foresight to teach her, of what led them there, forestalling other attempts to read her mind. We learn that in Daria’s chambers, she and Sola found evidence of a conspiracy infiltrating even the Jeddak’s guard, planning to wipe out the entire ruling family in one blow and replace them with a puppet ruler loyal to the guild. But after he accidentally learns something he wasn’t meant to know, his plan to send her back to Helium to warn Tardos Mors is scuttled when Carter is brought down with non-explosive bullets.
Summoned before the guild-masters, Carter is led in chains past men and women being trained in every type of armed and unnamed combat (“walking” across the top of page 17 in a clever series of horizontal panels). “Daria”—who, judging by page 22, panel 3, seems to have had a boob job as part of her imposture—is sentenced by guild-master Akai to trial by combat for failing to kill Carter, but although she succeeds in slaying her four female opponents, clad in body armor while she wears only leathers, her victory is brief as master assassin Tal Mordin returns from Helium and instantly identifies her as Dejah. Lord Mordin says, “The princess has survived the test of the many—now let her survive the test of the one,” a masked green Martian who begins to laugh. -Matthew Bradley
The Astonishing Ant-Man in
"To Steal an Ant-Man!"
Story by David Michelinie
Art by John Byrne and Bob Layton
Colors by Bob Sharen
Letters by Tom Orzechowski
Cover by Bob Layton
[OK, instead of falling victim to the Dreaded Deadline Doom this week, due to a nasty paper cut that occurred while grading term papers ("The Psychological Machinations of Ka-Zar and How They Influence the Savage Land's Atmosphere"—really???), I'm handing off Marvel Premiere this month to my intern and daughter, Cassie. I will say that this issue and next issue were two of the books I sought out after college, when I started collecting comics again and was neck deep into my Byrne obsession. Take it away, Intern!—Prof. Joe] (I think I speak for both myself and MU editor/proofreader/goofspotter Professor Matthew when I thank Ms. Tura for stepping in for Joe this week. It meant quite a few less punctuation errors to correct!- The Dean)
looks strangely like the Incredible Hulk, Darren Cross, who wants to destroy Ant-Man "rather utterly!" -Cassie Tura
Matthew: Sorry to have to start with a correction, and one that I've also made on another blog (no, not that one). But for the record, the location into which Scott breaks, and where he finds the Ant-Man suit, is not the CTE complex but Henry Pym's house, which makes much more sense. I know the point is obscured in the actual issue, having experienced the same confusion myself. Yet a close second reading clarifies that, thinking he'd need money to get into CTE, Scott then returns to his burglar-mode, and enters a private residence.
Strange to realize this two-parter is the same story that, 36 years later, would evolve—or perhaps I should say mutate—into the Ant-Man movie, which I surprised my colleagues by loving. In another classic cross-promotional effort, we get a lettercol ad for the current issue of Iron Man, the mag wherein the name, if not the likeness, of “S. Lang” first appeared in #117, and the Michelinie/Byrne/Layton team had assembled in #118. As a known Pym-fan, I resented this guy as a pretender when he debuted, particularly with founding member Hank having just been booted out of the Avengers by Gyrich, but I no longer feel a reflexive negativity towards him, and I notice he’ll make quite a few future appearances in my collection.
Before I go, there’s a mention on the letters page of a multi-part Black Widow story in the works for this title, co-produced by Ralph Macchio and George Pérez. Should be pretty great, right? Well – in case you were wondering – for some reason, this won’t see the light of day for over four years; when it finally runs in the underachieving Marvel Fanfare (starting with #10, August 1983), the four-part series will require six different inkers to complete it, which will leave the results of the Pérez pencils looking as mixed as you might expect.
"The Wings of the Fearsome Fly!"
Story by Marv Wolfman
Art by Keith Pollard and Jim Mooney
Colors by Ben Sean
Letters by John Costanza
Cover by Al Milgrom and Bob McLeod
J. Jonah Jameson is livid, blaming Spider-Man for killing his son, John, and has plans to have a huge headline claiming the wall-crawler is guilty in the next Bugle. City Editor Joe Robertston knows better, and explains why he's not printing JJJ's editorial for reasons of possible libel. JJJ also wants photographer Peter Parker fired for his association with Spidey, but instead Robbie tries to call Peter and give him a big assignment. But Peter's phone is busy, as he's talking to bathing Mary Jane (hey now!) as they set up a "date" to talk things over, plus we learn Peter is getting his diploma tomorrow, having completed his gym class. Getting the call from Robbie, Peter plans to take MJ to the King Tut exhibit, and swings off as Spider-Man, thinking everything is going his way. Suddenly, a car veers out of control on the streets below, but Spidey is able to save an old woman from getting killed—and of course she gets mad that a "murderer" is touching her. He also halts the car, saving the driver too, but the man is also scared that Spider-Man will hurt him. Then Spidey sees the front page of the Bugle: "Spider Man Killer," and he is cheesed!
—Joe Tura
The issue as a whole is uneven. Sure, the story is packed with good stuff, from Jameson flipping out and Joe Robbie doing his job, to MJ in a bathtub, to Peter's roller-coaster emotional ride, to Spidey 's problems with the public and tirade at Tower's office, to Smythe's sneakiness, Marv keeps the pages turning. If you don't stop to apply logic to it all, that is, or see through the obvious flaws in Smythe's foolproof plans. And the art goes from nicely drawn pages to smudged and blurry panels that seem as if the ink was tripled. Typical of this title as we head towards the end of the 70s, I must admit.The loud "KAA-RANG!" as Pete kicks his couch across his apartment is my favorite sound effect this month. Mainly because he gets to blow off some steam, learning his merch deal was killed thanks to JJJ's accusations, and quickly has a "D'oh!" moment, realizing it's the second piece of furniture he's ruined that day, after Tower's desk. That's not going to be easy on his empty wallet.
Matthew: “The Last Spider-Slayer”? Is that like “The [fill in the blank] and Final Sleeper”? You promise? Memo to Smythe: Die already. Probably inevitable that with JJJ’s “killer” kampaign, Marv is blotting Spidey’s clean rap sheet, which had its own problems, e.g., Tower’s probably kidding when he says, “you’ll get the bill,” but where would he send it? Apparently the same place Claredge Advertising sent the information about the punching bags: “Spider-Man, c/o Peter Parker’s Chelsea Apartment.” Bye-bye secret i.d. The disarray among arachno-writers regarding his love life is out of control; M.J. goes from giving him a big smooch in last month’s MTU to agreeing—grudgingly, at best—to “one date” here. Get it together, guys.Mark: Wait, Betty Brant's back working at the Bugle (p.6)? Since when? Peter won't give Betty the brush unless MJ (who recently blew off his marriage proposal) takes him back? Yes, class, we get random incoherence on Mr. Parker's side of the ledger, and another (mercifully brief) Spider-Slayer.
Speaking of which, besides Marv Wolfman's sudden and heretofore unknown insertion of nuclear materials into the Slayers - the better to have inventor Smythe dying of radiation poisoning - we now have the nutty professor whining about J Jonah "...forcing me to build Spider-Slayer after Spider-Slayer..." Was Flattop holding an invisible gun on you, Prof, or has all that non-existent nuclear material rotted your memory as well?
Why do New Yorkers suddenly believe Jameson's latest SPIDER-MAN KILLER headline? Why does Triple J seek out multiple-loser Smythe for the umpteenth time? Why does Spidey whip up a reformulated batch of web fluid and promptly forget to take any with him when he exits his apartment? Why does Smythe manage to capture both Webs and Jameson, handcuff them together between a bomb gizmo, and then give them 24 hours to escape?
But the most critical question about this one, kids, is when - oh Lord, WHEN - will Wolfman decamp to DC and save us from more of these increasingly malodorous stinkburgers?
Fortunately, Marv allows Peter to stay true to his anger, which begins to border on the all-consuming, without backing off to soak Peter in self-pity or self-doubt – or worse, questions of whether to continue the uncertain business of super-heroics, all of which made for painful reading in Marv’s Daredevil days.
The art is fairly weak; Pollard’s layouts are fine, if not terribly dynamic, but Esposito’s finishes (too thin? too quickly applied?) don’t add anything. Even Gafford’s colors look slightly dull, and Parker’s letters are dinky, as if everyone (except Jonah, of course) is speaking sotto voce. Marvel’s signature character appears in three new stories this month, and if his best depiction is presented by Mooney & Springer (in PPS S-M), then that’s trouble.
"Exodus!"
Story by Roger McKenzie
Art by Ernie Colón
Colors by Bob Sharen
Letters by Ernie Colón
Cover by Jeff Aclin
The traitorous Baltar stands on the surface of Caprica, surveying the carnage he has wrought. A Cylon patrol lands and tells him a group of survivors have escaped in whatever ships they can find. Baltar reminds the centurions of the Imperious Leader's orders to find and destroy any survivors. Meanwhile, Apollo has Starbuck and Boomer help him check the survivors' ships for solium leaks. On one freighter they find people crowded into cargo bays, hurt and starving. A man who worked on the luxury liner Rising Star tells of Sire Uri and his huge repository of food being served only to the upper class. An elderly Gemonese couple asks for help; Starbuck can’t understand their language, but a young “socialator” named Cassiopeia translates. She is also hurt and the others want her to go because of her profession. Starbuck is instantly attracted to her and flirts mercilessly as he gets her information. At the same time, Apollo tries to find answers to the food shortage from the Galactica, but is stonewalled with a vague acknowledgement of the problem. Stopping at the Rising Star, Apollo is approached by Serena who is concerned for Boxey. He sends Boomer on to the upper levels while he attempts to cheer up Serena’s son, who is mourning the death of his daggit Muffey, by giving him his rank insignia. Apollo and Serena connect thanks to this kindness, but Apollo has work to do. He reaches Uri’s cabin as Boomer is convincing a guard to allow them entry by the point of his gun. Apollo confiscates all the food and levels charges against Uri.
Scott: There is no way to review these adaptations without comparing them to the source material. Roger McKenzie sticks close to the final cut of the second hour of the pilot film. There are some small scenes edited, but for the most part, it’s pretty faithful. This early version of the format is much darker than the resulting series. There are some realistic portrayals of what could happen in these circumstances; leaving people behind, using rickety old ships leaking poison, greed, and famine. People are penned in like animals. Yet, aside from a quick mention in a later episode, this concept is all but forgotten thanks to the dictates of the network who wanted a kid-friendly TV series. Had they allowed creator Glen Larson to take it in the direction he originally wanted, we could have wound up with something closer to the Ronald Moore remake 25 years later (just, I guess, without the gratuitous sex). The art is pretty crummy and obviously rushed. Sometimes a character resembles an actor, but mostly not. A story longer than both Star Wars or Logan’s Run and it got kissed off with a piss poor, three-issue rush job.
"The Doom Trip!"
Story by Doug Moench
Art by Herb Trimpe and Dan Green
Colors by Ben Sean
Letters by Irving Watanabe
Cover by Herb Trimpe
The Thing makes up for knocking Godzilla into the shark tank by bashing him out of it, and Mr. Fantastic knocks him out by stretch-blanketing him. With Dum Dum in tow, the F.F. transport Godzilla to the Baxter Building, where the others arrive to hear Reed's plan—to use Dr. Doom's time machine to send Godzilla back to prehistoric times to be with "his own kind." After a moment of confusion, Godzilla accepts this new land as home, one that's already "threatened" by a gang of lizard-warriors and their "beasts of strife"—whom they send after Godzilla, roaring from the ridge! The bold battle draws the attention of Moon-Boy and Devil Dinosaur, who see Godzilla breathe fire on his enemies and think he is a "demon-beast come to slay all the creatures of our valley!" Devil attacks and the two titans battle to a near standstill, until Moon-Boy notices the lizard-warriors are gathering, ready to claim the Valley of the Flame. He halts the fight, and Godzilla, reminded of young Rob when he looks at Moon-Boy's mush, agrees to stand together with Devil to fight the enemies who would dare to steal "his new found peace…his new home."--Joe Tura
Joe: When the idea of Devil Dinosaur hit my eyes on the cover, and Dr. Doom's time machine showed up on the inside pages to explain the possible MARMIS (would that be GODZARMIS?), I was as skeptical as Dum Dum Dugan himself. Yet this issue actually works, especially when the Big G hits the past. Maybe it's a bit too quick that G accepts his new home, but what the heck else is he going to do? He's an animal, technically, so adjusting to new environments comes a little easier—and it helps to be Godzilla-sized. The battle with Devil Dinosaur wasn't bad, either, (except for the wrestling move by Godzilla on page 22—should have gone for the suplex!) and well drawn by Trimpe and Green. Certainly one of the top five issues of this title so far. Maybe Moench is a bit heavy-handed with the Godzilla thought captions, but it's not like the King can speak in word balloons. Well, maybe when Anguirus is around!
