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[May 4, 1967] The Marvel Superheroes Have Arrived! (Marvel Comics in the UK)

May 4, 2022 Kris Vyas-Myall 1 Comment

by Mx. Kris Vyas-Myall

Last Weekend in London, the most happening party of the year took place, The 14 Hour Technicolour Dream.

In order to help raise funds for International Times legal defence fund, Alexandra Palace was hired out for an extravaganza of the most “out there” artists around. Throughout the whole of Saturday Night there were a wide array of different entertainments to enjoy.

The 14 Hour Technicolour Dream crowds at Alexandra Palace — The crowds at Ally Pally

Whether that be the psychedelic music of Pink Floyd, the films of Kenneth Anger, the auto-destructive art of Yoko Ono or just Beatniks throwing flour bombs, it was an experience that London has never quite seen before. Quite a long way from the extended poetry reading at the Albert Hall less than 2 years ago.

With ads everywhere, from the underground papers to the up-market boutiques of Chelsea, it became the place to be seen with everyone from members of The Beatles to Warhol. From Dick Gregory to the near mythical Suzy Creemcheese.

The Exploding Galaxy Dance Troupe perform ‘Fuzzdeath’

Whilst some of the mods in attendance didn’t really dig the young men in long scruffy hair wearing cowbells or some of the interactive art, it has been hugely popular with an estimated 7000 attendees. There have been discussions of what to do with all the money, although a hitch that some of the tickets appear to have been stolen, so proceeds may come up short of what is expected.

A person Preparing to make another cut as part of Yoko Ono’s ‘Cut Piece’ — Preparing to make another cut as part of Yoko Ono’s ‘Cut Piece’

With this new generation of flower loving beatniks (or ‘hippys’ according to the American press) coming up there is definitely a change in the kind of artistic expression they like. And one surprising thing they seem to enjoy is Marvel Superhero comics:

Getting Here From There

When Marvel’s superhero line began a few years ago there were two main ways to read them in the UK, neither of which were easy.

The first was via reprints from Alan Class. This company has several titles devoted to reprinting American comic strips. The problem with these is they would often be a pretty random selection of titles, considering these superheroes not really as ongoing stories, just the same as one-off horror and SF tales to sprinkle occasionally through issues. Also, at a shilling these are at the more expensive end of the comic book market, where around sixpence is the usual price.

Marvel Edition of Spider-Man with UK Price Stamp on it — Spidey reminding you to pay 10 pence, not 12 cents!

The other was through direct import, predominantly via Thorpe & Porter. These, however, did not have wide distribution compared with British comics and, when the company went bankrupt last year, it was purchased by IND, National’s (AKA DC) distributor and the flow of Marvel imports slowed to a trickle.

So, acquiring these stories was a real challenge for UK readers. That is until another surprising source came through. One due to the success of British Comics superstar, Leo Baxendale.

A Non-Cowardly Lion

Starting in the early 50s Leo Baxendale began working for DC Thompson on The Beano, Britain’s top selling comic book (over a million issues a week, about the same as national newspapers like the Daily Telegraph). For it he created some of their best loved strips, such as Minnie The Minx, When The Bell Rings and Little Plum.

When The Bell Rings and The Tiddlers Panel Comparison — Spot the difference, When The Bell Rings and The Tiddlers

After leaving DC Thompson, Odhams hired him to create a new humour comic for them, the result was Wham! launching in 1964. Whilst containing some new ideas, it contained a number of very similar ideas from DC Thompson titles (e.g. The Beezer has The Numskulls, about the inner life of a child’s senses, Wham! has Georgie’s Germs, about the lives of germs on a dirty child).

However, it was successful enough for Odhams to want a second title in the same style. This was Smash! which followed in early 1966 in much the same style, with the Minnie-esque Bad Penny and another microscopic strip The Nervs, along with parodies, such as The Man From BUNGLE.

House Ad for Hulk’s arrival — House Ad for The Hulk’s arrival

A few months in they began to import two American strips. The Newspaper version of Batman and Marvel’s The Hulk.

Hulk Smashes On To The Scene

Smash! Hulk Cover — A much older Banner and a flesh toned Incredible Hulk make their first appearance in Smash!

I think it is important to start with the differences in the importation of these strips. The first, and most obvious point, is that British comics do not have many colour pages. Smash! itself only has them on the front cover (used for the first half of the Batman strip) and the back (currently occupied by surreal humour strip Grimly Feendish), and, even then, in a limited number of tones. As such all of the Hulk’s exploits are in black and white.

Comparison of Marvel and Odhams hulk Pages — How a page break becomes an issue break for Smash! (Notice the slight difference between bottom left and bottom right panel).

Secondly, as this is in the standard British weekly anthology style of comic book, it does not often have the space to reprint an entire story. As such they have to be broken up into multiple issues. At the same time, British comic dimensions are slightly different, so some panels have to be either rearranged or modified to fit.

Two Letter to Smash! — Contrasting views on the changes from David and Nicholas

Whilst some readers did not appreciate their Baxendale style comedy being interrupted by superhero antics, in general the changes have been well received and Hulk continues to lumber on. Which leads to third difference: Odhams made the choice to follow the characters through their appearances as best as they can, regardless of what book they were originally published in. Which leads us to the arrival of The Fantastic Four.

(Flower) Power Comics

Fantastic Four Ad in Wham! — A reminder in Smash! of where to read The Fantastic Four

As Marvel readers in the US will probably recall, there was a period between the ending of Hulk’s own series and his continued strip in Tales to Astonish. Rather than simply stopping one and starting the other, they follow his continued exploits. Next is his encounter with the Fantastic Four, so they are the next to be imported. After an introductory story, the tales of them facing each other begin in Smash!, followed by The Fantastic Four appearing regularly in big-sister title Wham!.

Next, he is on to The Avengers where things get particularly interesting. First off, these are rebilled as The Incredible Hulk and The Avengers (later V. The Avengers), to reflect the continuing adventures of Bruce Banner’s alter ego. However, what it also did was introduce readers to a whole range of characters they wanted to see more of.

The Incredible Hulk: The Monster and the Matador — The story you always wanted, what happens when The Hulk becomes a bullfighter!

Secondly, there are gaps in the Hulk’s story between issues, so they have their own strips drawn to fill them in. the first of which explaining what happened to him after he goes into the sea near Gibraltar.

Power Comics Christmas Message — Christmas wishes from Power Comics (which Tony Stark seems to take as a sales pitch)

This combination of showing off the range of heroes available and willingness to play with exclusive material opened the floodgates, leading to new branding of them as Power Comics and the launching of three primarily superhero titles.

First, is Pow!. In this are two reprints, Spider-Man and Nick Fury (originally Agent of SHIELD but since replaced by Howling Commandos era). In between are a few forgettable humour strips and two new adventure strips, Jack Magic, about a magician’s assistant who is transported to the present day, and The Python, where two adventures fight snake men and their giant mechanical reptile.

Then came Fantastic, this time containing three Marvel titles, Thor, Iron Man and The X-Men. In addition, they have their own superhero series, The Missing Link. Originally a Hulk like character menacing London King-Kong Style, he has recently got into a nuclear reactor accident which has given him super-intelligence and a normal appearance, whilst keeping his superhuman strength.

The most recent to debut is Terrific, which is entirely reprints, giving us the adventures of The Submariner, Dr. Strange and The (now Hulkless) Avengers. Plus occasional horror shorts from Marvel’s back catalogue in order to fill the space if the main stories run short.

All of this means the majority of Marvel’s superhero line is now being reprinted in these “Power Comics”. With a recent announcement that Daredevil is in negotiation, this just leaves Giant Man, who I don’t see anyone crying out for, and Captain America, who might need some localization to work. Maybe he could follow GI Joe’s lead and become “Captain Action”?

The Power-House Period

Now, going back to my introduction, what we are seeing is the new generation of beatniks seem to love them. Reportedly a recent poll of Berkley students placed The Hulk as the 6th greatest man in the world (Dylan won, obviously) and I regularly see ads in British fanzines and underground presses for people seeking out copies of the American originals.

Doom Patrol and TV Century 21 — Why does free love not extend to the soapy antics of Doom Patrol or the TV Century 21 crossovers?

What is the reason for this? Some have cited some of the technical innovations with more serialization, crossovers and soap opera dynamics. However, many of these are elements already present in many British comics and certainly seen in more recent DC titles like Doom Patrol and The Legion of Superheroes.

Dr. Strange and Fantastic Four Panels — Psychedelia and Progressive Politics? A Power-House indeed!
(from Dr. Strange and Fantastic Four respectively

I think the answer lies in the characters they are creating. The Hulk and the Thing are figures of great angst. Peter Parker and Johnny Storm are much more relatable teenagers than the richer but flatter Teen Titans. Nick Fury appeals to the Bond fans, whilst Dr. Strange is pure psychedelia. There are also regular smart uses of progressive politics, such as dealing with hate organizations or the existence of an advanced African society. A stark contrast of the excruciating message issues we get from other companies.

“It's a sign of the times, and a year ago I never could have seen it”

Until recently both Odhams and the British youth scene seemed mired in the past, with Eagle being a shadow of itself and extremely high-priced boutiques churning out the same modish styles for rich kids to dance to the same beat sounds since ’63.

Over the last year we have seen fascinating new life emerging, with the Americans trying to teach us Brits a thing or two. Let’s see if we can learn the lessons.

Elektra Ad for Doors and Love Albums — The latest exciting American bands coming out from Elektra

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Comics

[April 22, 1967] Make War Not Love (Comics)

April 22, 2022 Jason Sacks 2 Comments

by Jason Sacks

Hello from sunny Seattle, where spring has sprung, the rain has (mostly) stopped, cherry blossoms are on the trees at the U-Dub, and Don & the Goodtimes are topping our city's pop charts.

https://youtu.be/h23867MzHeQ

My friends and I love hearing that wonderful local pop ditty on Kolorful KOL Radio while driving in his Corvair. Most often we wander down to the Spanish Castle, down in south King County (past my beloved Sicks' Stadium where the Seattle Angels play). At the Spanish Castle we get to watch some amazing pop, funk and jazz musicians deliver performances to warm us up on Seattle's rainy nights. Local standbys The Wailers, The Kingsmen and a very talented young man named Jimmy Hendrix have played there. Remember the name 'Hendrix'. According to rumors, he's keeping busy in England these days and may be working on a full album. My friends and I hope our local boy makes good.

But from one type of entertainment to another… It's been about a year since I talked in Galactic Journey about the state of American comic books. This seems like the perfect opportunity to give you an update on some changes I would never have expected.

In fact, before I dig into super-hero comics, I want to look at two genres of comics the fans seldom seem to notice: war comics and love comics. Yeah, neither genre has costumed heroes, but both are fascinating here in 1967.

Make War (Comics) No More?

National dominates war comics, while its closest competitor, Charlton, is frankly pathetic. Where is Marvel in the list? Well, Marvel still publishes Sgt. Fury and his Howling Commandos, but that comic has much to do with life in the army as Gomer Pyle, USMC does. Fury's style of goofy heroism may be a good read for the kiddies but it's too shallow for anyone over the age of 12. Anyone who is fascinated by the horrors and passions of war should read the good stuff.

Our Army at War is the flagship title of National's war comics line. This series stars Sgt. Rock and the combat-happy Joes of Easy Company. For several years now, writer Robert Kanigher has teamed up with the incredibly talented Joe Kubert to deliver some of the finest continuing-character war comics in my memory. Each story is like an opera of violence and martial situations with tight, terse prose matched by a gorgeously intense, slashy but stolid style by Kubert.

In fact, though I've seen Kubert's work for many years – he drew "Hawkman" in the Golden Age and drew the first Flash feature in Showcase, among hundreds of other stories – Kubert's style is hard to describe. Look at the below original page (from a friend's collection) to see what I'm trying to put into words.

Look at the incredible storytelling by Kubert. The tumbling coins on the left add tension while the top three panels on the right show the misery, fear and determination in the eyes of the soldiers. Note, too, the clever way Kubert both divides and unifies the single image. That's a clever use of paradox to heighten the tension of the page. There's just nobody drawing comics like Kubert these days.

In fact, while many fans criticize DC/National frequently for having a house art style, their costumed hero books employ much more homogenization than their war titles . Perhaps Kubert deserves some of the credit for that, as he edits many of the titles.

To a lesser extent, we see Kubert's artistic approach to the other war comics National releases. For instance, Russ Heath is the main artist on the "Hunter's Hellcats" feature in Our Fighting Forces, and Heath brings a slightly more polished but equally visceral style to its art pages. Even old-timer Irv Novick brings a looser, more unconventional style to bear with his stories of "The Losers" in G.I. Combat.

More than anything, the DC war series feature a dark, despairing tone. Readers get a real sense of the horrors of war. Though Capt. Storm or Sgt. Rock may succeed in their missions, the battles obviously take their toll on the protagonists.

I wish the same could be said for the many war comics which quirky publisher Charlton Comics releases. I should talk more about Charlton in a future column. One thing I have to discuss is how their comics are published alongside song lyric mags, crossword puzzle magazines and cereal boxes, but that's a topic for another week.

Instead, I'm here to bemoan Charlton's seemingly endless line of bland, dull war comics. Whether it's Fightin' Marines, Fightin' Army, Fightin' Navy (see a pattern?), War Heroes or Marine War Heroes, these chest-thumpin' men of action seem to never question their mission and never feel any pain from their incredible struggles. If you've ever wondered how the Pentagon would write comics intended for five-year-olds, read a Charlton war comic. I dare you.

While I'm discussing war comics, I should lament again the abrupt cancelation of Blazing Combat, Warren Publishing's often brilliant contribution to the war comics anthology genre. During its four-issue run last year, BC included sensational artwork by comics stalwarts such as Heath, Alex Toth, Gene Colan and many others. Writer Archie Goodwin told stories of wartime combat without filters, unnecessary heroism or national bias. With its ever-shifting anthology approach, Goodwin and his artists delivered stories which felt as contemporary as the Vietnam War and as timeless as the Peloponnesian War. Look, for instance, at the lovely page below drawn by the inimitable Reed Crandall.

These comics were created in black and white, published magazine sized, and often illustrated with ink wash or pointillistic techniques. For those reasons, the stories in Blazing Combat aimed higher than most comic books. Indeed, their audience was mainly adults. Tragically, that selfsame adult audience spelled doom for Blazing Combat. Reportedly publisher Jim Warren had to pull the plug on BC when PX bases across the world canceled their orders after author Goodwin penned a story critical of the war in Vietnam. Sales were too poor to sustain a money loser for long.

Make Love (Comics) No More?

I wish I could praise the many, many love comics published by National or Charlton but I sadly can't. Hey, I'm a man who likes women, I'm fond of my wife, my sister and my mother, so why can't there be comics for women which don't insult their intelligence? Sadly, neither publisher seems able to pull off that skill. This is one area Marvel hasn't plunged into in 1967; probably good news for them. (Millie the Model is more an Archie-style humor comic than a love comic, by the way.)

Once again, Charlton leads the way with garbage, flooding the newsstand with interchangable junk like Career Girl Romances, I Love You, Just Married, Teen-Age Love, Sweethearts and many more. Like the sweethearts candies you got in your fourth grade class on Valentine's Day, these comics are laced with sweetness and may put you into a coma.

The love comics from National are marginally better, at least boasting work by professional cartoonists. But their attitudes seem stuck in the Eisenhower era.

In fact, a reader should expect out-of-date attitudes. Comics like Girls' Love, Young Love and Falling in Love frequently feature reprints of comics from a decade earlier. Staff artists, modify the art to include modern hairdos or clothes. But their conformist attitudes reflect an earlier era when a girl's greatest goal was to be a housewife. It would be a bold statement for one of these comics to reflect the "free love" or hippie movements. The creators need to change with the time. Their musical beats should be attuned to the Beatles rather than Frank Sinatra.

I'd like to think there's a place for love comics in today's era. Perhaps some of the emerging group of so-called underground cartoonists can revive the genre, maybe with a twist. I know I would chortle to see a comic on the stands called Young Lust instead of Young Love.

Make Steve Ditko Comics at Marvel No More

Perhaps the biggest shock of the last year was the resignation of the brilliant Steve Ditko from Marvel Comics. Ditko, who was the prime force behind Spider-Man and Dr. Strange, apparently was engaged in a long, pitched battle with key Marvel editor/writer Stan Lee over the identity of a villain in the already-classic Master Planner saga. Ditko, who was the main plotter for the series, wanted to follow one direction for a character reveal. Lee disagreed and apparently that latest disagreement was the metaphorical last straw.

It's a shame because Ditko was reaching his apex on both series at the time this incident happened. Spider-Man was achieving new levels of bathos and power and was a solid, constantly interesting series.

Ditko's work on Dr. Strange, meanwhile, existed on a level few other comics have ever reached. In a vast, multi-chapter epic spanning some dozen issues, an increasingly desperate and isolated Strange journeys to lands scarcely imagined by mortal men. There, he encounters beings so unknowable and cosmically powered that their mere existence is beyond our mortal ken. Ditko set Strange as one single solitary man desperately trying to save our entire universe even while the rest of the universe continued on, blissfully unaware of the strange battles happening around them.

As you can see in the above excerpt, characters like Eternity live in great cosmic landscapes, full of bizarre and almost incomprehensible sparks which bespeak our insignficance as humans. And yet Strange, a mere human with expanded consciousness, fights desperately to avoid massive cosmic destruction.

That astounding storyline, a truly cosmic saga, drew the curtain on Ditko's Marvel era with a real sense of majesty.

The "Dr. Strange" strip has been drifting without Ditko's presence, with pointless stories and uninspired artwork. But I'm mention to you that Ditko's other great series, The Amazing Spider-Man, has reached new heights in 1967.

John Romita has stepped in to fill Ditko's shoes. Lo and behold, the impossible seems to have happened: the comic has gotten better. Amazing Spider-Man is now more fun, somehow both lighter and darker than before. More importantly, some charming supporting characters have emerged. I'm keeping my eye on Romita's groovy interpretation of Gwen Stacy. She seems like she could become a compelling love interest for poor ol' Peter Parker.

And the series seems to be finding its level. Amazing Spider-Man #50 was just released two weeks ago, so I don't want to ruin its fascinating twists and turns. But look at that wonderful page above and tell me you're not intrigued. Romits delivers drama Ditko couldn't reproduce in quite the same way and points to an exciting new future for the old web-head.

Jaunty Jim Debuts

Speaking of exciting futures, comic fandom has been buzzing over the last few months about the emergence of a new creator at Marvel who seems to have a unique set of skills. Jim Steranko is in a role unprecedented at Marvel, both writing and drawing the "Nick Fury, Agent of SHIELD" strip in Strange Tales. As far as I can remember, no Marvel creator has assumed the duties as writer and artist of an ongoing. His work is intriguing and unprecedented, and so far it's been spectacular.

Steranko displays a dynamism and energy in his panels which rivals his mentor, Jack Kirby. His men seem coiled with power, drawn with dynamic foreshortening that holds tremendous power on the page even while the anatomy makes no sense in real life. In the page above, look at the wild energy of the final panel in the excerpt above, with its massive overwhelming machinery contrasting with the negative space to add power to Nick Fury's battle. Nobody, not even Kirby draws like Steranko. Who knows what the man can achieve in the coming years?

The King Remains and Reminds Us Why He's King

…which doesn't mean the King isn't carrying his own weight. Jack Kirby continues to deliver some ace action yarns in Fantastic Four and Thor. The recent Doctor Doom-Inhumans crossover story had me on the edge of my seat, as Doom schemed to assume the Silver Surfer's Power Cosmic and, with that power, control the world. That storyline was a deeply dynamic drama, definitively delineated by Kirby's crispy lines.

The Black Panther is perhaps the most dynamic character find of the last year. He debuted in the pages of Fantastic Four #52. T'Challa is the king of a futuristic kingdom deep in Africa who dons his ceremonial outfit to battle perfidious villainy, in this case embodied in the nefarious Klaw.

It's thrilling to see a Black hero appear at Marvel, especially one who can defeat our estimable heroes in battle while maintaining his regal presence. I'm so intrigued by this new hero. I hope he returns soon. I can't wait to read more about him. (Seems to me he'd be a great member of the Avengers.)

And as for Thor, if there ever was a case where a picture says a thousand words, the below image does that!

If you don't want to read that issue of Thor, you clearly lack an imagination!

The Debut of Batgirl

Life at National Comics has been a little quieter than life at Marvel these days. Their quietness has started to make National's line of heroes feel a bit stodgy compared with their Marvel counterparts. Lately the Justice League of America has veered a bit into camp, which felt appropriate when the Batman TV series was at the top of the charts. Since people are starting to get bored of Batman's repeating jokes, likely sales of Batman-related comics will begin to sag as well.

For instance, the return of the Penguin to comics in Batman #190 boasts a wonderful cover by Carmine Infantino but… darn, look at the stiff and uninspired artwork inside the issue.

Maybe the introduction of the dynamic new Batgirl will revitalize the Batman comics a bit. College student Barbara Gordon, the daughter of Commissioner Gordon, donned her distaff version of the cape and cowl in Detective Comics #359, late last year. Fan reaction to her appearance has been all over the place. Many have praised the idea that this new Batgirl can actually throw punches and kick some heads in – unlike the more old-fashioned Bat-Girl of the 1950s. Others have complained about the need to tie Commissioner Gordon more closely with our heroes. And some younger fans have complained about Batgirl acting like a big sister to Robin, which embarasses him since a girl can often out-achieve him (of course the female fans love that aspect of the heroine).

Under Infantino's pencils, the new Batgirl is a lilthe, athletic fighting machine. She's also kind of a women's libber, fighting with the ability of a man while maintaining her female identity. She would be a welcome addition to the Batman TV series. I hope she gets added to it soon.

Sadly, unless her series takes a radical turn, I can't imagine Wonder Woman becoming a feminist icon. I dare you to look at the cover below and tell me I'm wrong.

The tremendously prolific Robert Kanigher writes Wonder Woman. He's is one of the key forces behind the war comics I mentioned earlier. Maybe's he's too busy in his mental combat to consider the abuse he's heaping on his heroes.

In fact, of DC's heroes line, only "Legion of Super-Heroes" in Adventure Comics resonantes for me (well, okay, one other series has sparked excitement – see below for the details). My newfound love for the Legion surprises me. I usually yawn at the Superman family of titles (which this is part of). Readers get one variation after another of the same full stories. But new writer Jim Shooter has brought a new energy to the future's finest super-teens. Just this year, "The Doomed Legionnaire" brought an unexpected death to the team (I promise I won't tell you who dies!) This month, we're viewing an incredible flash-forward to a time when the Legionnaires are adults. It's spellbinding stuff, written for teenagers with an energy and freshness which makes me wonder if Shooter himself is a teen.

And finally…

This article has aleady run long, so I'd better add a few final notes before I head down to the Spanish Castle to see Paul Revere and the Raiders…

Doom Patrol continues to be DC's ginchiest comic book – miss it and weep, pals!
Archie's super-hero parodies like Captain Pureheart are a giggle a minute if you're in the right mindset. They are well worth your twelve pennies.
Warren continues to publish the outstanding horror comics Creepy and Eerie, and each feature work by the delightful Mr. Ditko. Miss them at your peril.
Look for copies of King Comics' Flash Gordon on your local stands. If you can find it, you will find some breathtaking comic art by the likes of Al Williamson and Reed Crandall.
And lastly and leastly, a reminder that the weakest and dullest comics in the Marvel line is The X-Men. Save your cents for its much better imitator, Doom Patrol. When will Marvel wise up and give up on this series?

Till next time, sayonara!

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Comics

[June 10, 1965] Comics Go James Bond

June 10, 2020 Jason Sacks 1 Comment

By Jason Sacks

Secret agent mania is everywhere these days. After the gilt-edge success of Goldfinger last year, the passion for dashing, daring, handsome men of action has reached a fever pitch. I’ve been picking up paperbacks of Matt Helm, Nick Carter, John LeCarre and even Doc Savage at my local Woolworths, devouring the thrilling adventures of these men of action, ready with a quick shot, a fast woman and a speedy sportscar.

I’ve also been passionately watching The Man from U.N.C.L.E. on NBC. I love so many of the quirks of that show – setting the entrance to UNCLE HQ inside a flower shop, for instance, as well as the dashing agents Solo and Kuryakin and the whole larger-than-life setting of it all.

Comics have had their share of secret agents over recent years, too, from “John Force, Magic Agent” appearing in the back pages of American Comics Group’s Unknown Worlds late last year to the spy adventures of Charlton’s new Sarge Steel (which includes impressive art by an up-and-comer named Dick Giordano – watch that name, folks) to a two issue DC pilot spotlight on spy King Faraday in last year’s Showcase #50 and 51 (albeit reprints from 1950, in the latter case – DC has never been a company known for their innovation).

But no comics company has fully jumped on the spy trend, not in the way it cries out for.

Until, that is, this month’s issue of Strange Tales, starring a super spy named Nick Fury, Agent of S.H.I.E.L.D.

The great Stan Lee and Jack Kirby deliver one of the most intriguing, exciting, whizzbang first adventures of any comic story in recent memory, full of bizarre gadgets, nasty villains and a dynamic dollop of mighty Marvel action.

As if they felt constrained by their small twelve-page allocation in this issue, Kirby and Lee deliver a story in which everyone seems to be moving at top speed, showing off cool gadgets, discussing nasty spy rings, showing flying cars and flying aircraft carriers and all the other trappings of a great adventure tale. Even in large set-pieces, like the scene above (which looks oddly like a key location in last year’s film Doctor Strangelove), it seems every character has their own bit of business to take care of, their own set of a million tasks to accomplish and no time to complete them. These are busy, important men on the mission to save the Earth, and they will work together with everything they have in order to defeat the evil organization Hydra.

At the center of it all is good ol’ Nick Fury, twenty years removed from leading the Howling Commandos, now promoted from sergeant all the way up to colonel, with an eye patch over his left eye and an everpresent stogie in his mouth. Fury acts as the reader proxy in the story, leading us to discover just what in the world he is getting himself involved with – heck, even as he’s strapped into a bed with wires taped all over his nearly naked body, Fury is wondering “what in blazes is going on?”

What is going on, Col. Fury, is that you’ve been recruited to a super spy agency, the Supreme Headquarters International Espionage Law-enforcement Division by name – ignore that extra “E” please. SHIELD seems constantly under attack – as we discover on page three of this all-out action thriller, in the space of seven seconds, robot versions of Fury are attacked by evil doers – including one who has a gun hidden in a mailbox (I would hate to be the mailman working that route!) We soon witness Fury’s car attacked by a fiery missile before the wheels of the sports car transform into jets which transport our hero to an astounding floating fortress.

And those villains! Hydra seems to be an equal match for SHIELD, with astonishing technology, a vicious hatred for humanity, and – seriously – the greatest motto I can remember at a spy agency (and evil women, too – wonder if Nick Fury can turn Agent H to the good side!

Lee and Kirby have been growing a reputation for unstoppable, hurtling action but this tale takes that energy to a whole new level.

I do want to briefly mention that this story only takes up half the issue, and if “Agent of SHIELD” is an extrovert’s delight, “Doctor Strange” is just as much an introvert’s thrill. Drawn by Kirby’s opposite, Steve Ditko, this issue finds our sorcerer supreme on the hunt for the mysterious meaning of “eternity.” Just check out that gorgeous splash page below and contrast its brooding intensity with the dynamic thrills of the Nick Fury splash. Both are amazing work by men at the top of their talent but they each offer very different visions.

Fury’s world is one of men walking, talking and shooting. The men in that story look around – often to the reader – with a sense of purpose and energy. In Strange’s world, however, men and women look around furtively, live in almost unknowable strange worlds, are communicating secretly. If Nick Fury is like James Bond, Stephen Strange is like a hero from a Philip Dick or John Brunner novel, cursed by his greater knowledge and abilities to fight a lonely war.

Together, these two series provide about as dramatic a contrast in styles as any comic I can remember. What a welcome and unique issue. Strange Tales #135 is a good example of why I'm quickly becoming more and more inclined to Make Mine Marvel!