An Annual Post

Thumbing through a pile of back issues, I decided to give these three Fantastic Four Annuals a re-read for possibly the first time in 35+ years, and it wasn’t entirely unpleasant.

First up, FF Annual #13, on sale in July 1978 (so spoilers for FF #200 that came out a month later in August 1978; yeah the Fantastic Four get back together as a team), written by Bill Mantlo and drawn by Sal Buscema (inked by Joe Sinnott).

The Mole Man is up to no good, stealing statues, and kidnapping all the ugly and blind folk from the streets of New York. So it’s a no-brainer that Alicia Masters is on his hit-list (being both a sculptress and blind  - duh!), which means the newly reunited Fantastic Four get involved in his dastardly plot to give all those ugly and blind people a place to call home beneath the Earth’s surface. No matter that they’ll all be dimly lit; they’ll no longer be ostracised from an uncaring society and will have all these beautiful statues to look at. Can anyone else see (no pun intended) a problem with that?

Anyway, the Fantastic Four bust up on the Mole Man and his Moloids until Alica breaks up the fighting by pointing out that the Mole Man’s intentions were good (though probably misguided), and that many of those he kidnapped are more than happy to shuffle around in the near dark, bumping into statues and being reminded of their lack of good looks. So as a parting gift she sculpts a statue of the Mole Man in all his glory, he’s happy, and the Fantastic Four depart - along with a few of the kidnapped citizens that required some medical attention from falling over all those stolen statues just lying around. I made that last part up.

Despite being dumb, this was an enjoyable read. I especially liked how Mantlo portrayed the Fantastic Four’s interactions with other New Yorker’s while wandering around the city, and Sal Buscema, as far as I’m concerned, was THE Marvel Bronze Age artist. Reading this issue was like sliding my feet into an old pair of slippers - so comfortable.

Annual #14, on sale in October 1979, written by Marv Wolfman and drawn by George Perez (inked by Pablo Marcos) was a perfect example of why you should never judge a book by its’ cover. Behind a rather dull Franklin Richards cover was an unexpected delight; not so much a Fantastic Four story, but a spotlight issue for Agatha Harkness. Who totally kicks ass.

The Fantastic Four (with Franklin) accompany Agatha on her yearly sojourn back to New Salem, so she can lead the New Salemnites (?) in their annual ritual to cleanse their magics. Obviously, Salem’s Seven and Nicholas Scratch get involved and it all goes to hell; but the Fantastic Four are almost incidental in their own book, as it is Agatha who takes the lead in sorting the whole mess out (with a little help from Franklin and his not so dormant cosmic powers).

This issue was thoroughly entertaining, helped not-just-a-little by  Perez’ dynamic pencils. Though I’ve never been a fan of Pablo Marcos’ inks, they were tolerable here.

Well worth reading.

Which is not something I can say for Annual #15, on sale in July 1980, written by Doug Moench and drawn by George Perez (inked by Chic Stone),  which was was quite frankly a bit of a mess.

I’m not even sure I can summarise the plot for this one; it involves Reed inventing some kind of teleporting machine by accident, some invading Skulls, and Captain Mar-Vell. And some time travel hilarity. Or not.

I never really enjoyed Moench’s time on Fantastic Four, and this issue pretty much cemented my feelings on that. However, there was a really nice back-up story (written by Moench and drawn by Tom Sutton) that shows Zorba failing to maintain his newly liberated Latveria, and the ultimate resurrection of Dr Doom. A lot of nice ideas here about newly democratised people not really feeling the love for their new status quo.

Unemployment, higher taxes, and lots of picketing; yeah, that’ll get you down. What you really need is a megalomaniacal terrorist in charge. Sorted.

Bronze Age Marvel Greats: Sal Buscema

Despite my love for Marvel’s Bronze Age, I would be the first to admit that there are few extended runs during this period that really hold up to repeated readings. Many are flawed by inconsistent art teams, THE DREADED DEADLINE DOOM!, or sudden shifts in writers. One of my most revered Bronze Age Marvel runs is Steve Gerber’s time on The Defenders, marred only by his very sudden departure to be replaced by Gerry Conway.

In issue #41, in response to a letter, an unnamed Marvel employee (but it is most likely Gerber himself) writes:

“In any event, we’re not necessarily sorry you disagree with Steve Gerber’s plots or that they disagree with you, because Gerber’s been relieved of his duties on the book. Next issue, Gerry Conway takes over the scripting and he promises that THE DEFENDERS will shortly resemble a super-hero book – and not the outtakes from “Mary Hartman, Mary Hartman” – in plotting and dialogue once again.”

Ouch!

It struck me, though, after recently re-reading the run in its entirety, that the unsung hero is Sal Buscema. Never a flashy artist, he is an excellent storyteller and adds much needed consistency. His characters are always on-model (a practise a few of the later, more stylised, Marvel artists ignored, to the detriment of the Marvel Universe as a whole), and perfectly captures some of the more outrageous aspects of Gerber’s scripts. Just take a look at that panel above, with Val, Dr Strange and the Hulk wearing bozo masks, and marvel at the way Sal highlights the absurdity of the situation with an apparently matter-of-fact illustration. The tension between the absurd and the mundane is palpable.

Sal was inked by a variety of talented individuals (and Vinnie Colletta), but though Klaus Janson was nice (if a little overpowering), I am very partial to the inks of Mike Esposito. The most enduring image from Gerber’s run, for me, has always been Valkyrie’s despatch of a rat menacing a child in the slums, and Sal and Mike played the scene exceptionally. Enjoy.

Captain America #148

Cover date: April 1972

Writer: Gary Friedrich

Artist: Sal Buscema

Inker: ?

“Eat some dirt! It may be the last thing we ever taste!”

So says Cap on the final page, and one can only wish... it’d be preferable to the bad taste left in my mouth by this stinker of a comic.

Yep, it’s the Red Skull (again!) with his dreams of Nazism and the rise of the Fourth Reich. He even has another Sleeper (the fifth), because Cap only defeated the last four. Oh hum.

So Cap is given an ultimatum; to surrender to the Sleeper (as tall as a skyscraper!) on the outskirts of Las Vegas, or the Red Skull will crush the free world with his unbeatable Sleeper. Leaving the Falcon to contact SHIELD and FEMME FORCE, and The Kingpin to rouse his men (organised crime in armoured vehicles), Cap sets of by jet-pack.

You can guess the rest. SHIELD, FEMME FORCE and The Kingpin’s men attack the Sleeper to no avail, while Cap sneaks aboard. Battlin’ his way through the Red Skull’s hordes, he confronts ol’ Skully who pulls a gun on him. Luckily, Redwing (Falc’s trained Falcon) swoops in and saves the day, and Cap accidentally knocks the Red Skull to his death. Cap and the Falcon smash up the controls and the Sleeper explodes.

So much for the unstoppable Sleeper, and the rise of Nazism!

Everything about this comic stunk. The plot, the pacing and the dialogue (oh, the dialogue is the worst!). It’s only saving grace are some nice panels here and there by Sal Buscema, who I am going to hazard a guess was inked, or finished, by Romita. I wonder why no inker was given a credit? Too embarrassed, maybe?

Buy Captain America #148 at My Comic Shop

The Avengers #98

Cover date: April 1972

Writer: Roy Thomas

Artist: Barry Smith

Inker: Sal Buscema

Following the events of the Kree-Skull War, it’s time for the Avengers to take stock and ask some important questions... like, where is Clint (Goliath) Barton?

Last seen upon an exploding space craft, the gathered heroes are uncertain whether their missing teammate survived; so Thor announces he will return to Asgard (to peer into some mystic mirrors looking for answers), Iron Man reckons Tony Stark (wink wink) has some other resources that’ll help in their search, and Captain America puts on the radio...to discover that a pro-war rally – led by a Mr. Tallon – is taking place in the city.

As acting Chairman, the Vision sends Cap, the Scarlet Witch and Quicksilver (with Rick Jones tagging along) to investigate Mr. Tallon and his Warhawks, but all are soon swayed to the pro-war sentiment by the mysterious music played by Mr. Tallon’s two robed associates.

Meanwhile, Thor has returned to Avengers Mansion, unable to enter Asgard (this tale apparently takes place before, or perhaps after, the ‘legendary’ events of Thor #198). The Vision tries to contact Iron Man, but he too has fallen under the spell of Mr. Tallon; so it is left to the android and the god (both immune to the other-worldly music) to make things right.

The Vision sends Thor to the rally, while he goes to confront Iron Man. After a titanic tussle, Iron Man is freed from the spell when another of the pan pipers is killed in the clash. The two then join Thor, who recognises Mr. Tallon as Ares, the Greek god of war.

As Thor’s mighty hammer is caught in one of the Scarlet Witch’s hex spheres, an explosive arrow flies towards it, disabling the hex and allowing the hammer to return to Thor. The Vision makes quick work of the two remaining pipers, revealing them to be Satyrs, and the crowd (and the other Avengers) are returned to normal. The mysterious archer then makes himself known. It’s Clint Barton, in a hideous new outfit, and again calling himself Hawkeye. Putting off any questions to how he survived being stranded in space, Hawkeye announces he has a companion – an amnesiac Hercules!

This was a strong return to form for Roy Thomas after the mangled climax to the Kree-Skrull War, and he is ably abetted by an ever improving Barry Smith. Smith still has some problems with faces (the eyes are invariably too close together), but his storytelling is effective, clear, and dynamic.

Shame about that new outfit for Hawkeye though; what an eyesore!

Buy The Avengers #98 at My Comic Shop

Marvel Feature #2

Cover date: March 1972

Writer: Roy Thomas

Artist: Ross Andru

Inker: Sal Buscema

If it’s Halloween, we must be in Rutland, Vermont. Cue the obligatory Bronze Age cameos for Tom Fagan and a Marvel writer; in this instance Roy Thomas (with wife Jeanie)*.

It’s the night before All-Hallows Eve, and some witchy folks in robes are summoning The Dread Dormammu. When he shows up he isn’t too pleased. What he needs is the vessel to escape his otherworldly dimension, and in this instance that would be Dr. Strange (just his body will do). Some of those same witchy robed folks have journeyed to New York’s Greenwich Village and the good doctors Sanctum Sanctorum, where they trick Dr. Strange’s astral self from his body so they can kidnap it before returning to Rutland. Wong puts up a good fight but soon succumbs; luckily he was on the telephone to Clea at the time. She soon arrives, and after Wong fills her in decides she better summon some help. Interestingly, it appears that Stephen Strange and Clea are on the outs at this time, and her powers have waned somewhat.

Using the Eye of Agamotto, Clea manages to broadcast an image of Dr. Strange to two recent allies, Namor the Sub-Mariner and the Hulk, and both answer the summons to New York and a dark alley where Clea and Wong are waiting. After dressing Namor in some civilian wear, Clea hypnotises Hulk into transforming back into Bruce Banner and gives him some tranquilisers to keep his mood swings in check. They then catch a bus to Rutland to rescue Dr. Strange’s body.

Up on Bald Mountain, proceedings have begun to release Dormammu so he can reside in Dr. Strange’s body and conquer our dimension. Our intrepid band of rescuers climb the mountain, battling witchy robed folks on the way, and when they reach the summit, just as Dormammu appears, Dr. Strange’s astral self shows up - he was hiding within Wong. A battle ensues, and Dormammu is once more banished.

Roy Thomas’ script is efficient at bringing these three very different characters together, but if The Defenders are to continue as a team, a less convoluted means will need to be found to accomplish that on a regular basis. The concept does have a lot of potential though, and I enjoyed the interaction between the three leads (+ Clea). Ross Andru, inked by Sal Buscema, captures the mood necessary to this type of story, filling the pages with an eerie atmosphere and strong storytelling (and his Clea is a delight too -weird hair and all).

*last seen in The Avengers #83

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There’s also a ‘fabulous Fifties featurette’, from Sub-Mariner Comic #36, showcasing Namor’s astute Atlantean intelligence. After helping an alien world drain the Earth of its water, Namor suddenly realises...

“Ah...good! Now the sun will go to work, and the world’s population will perish without water!! Oh, what sweet revenge! At last I’ve gotten even! But...WAIT!!! What have I done??? Without water, my own race will die off, too!!!”

Oh, Namor...

Captain America #147

Cover date: March 1972

Writer: Gary Friedrich

Artist: Sal Buscema

Inker: John Verpoorten

Cap and Femme Force have raided a Hydra Base near Las Vegas to rescue a captured Sharon Carter. While Femme Force mops up sundry Hydra goons, Cap confronts The Supreme Hydra who seemingly fries Sharon. Cap, driven to a murderous rage, unmasks The Supreme to reveal that he is...The Schemer!

No, me neither. Apparently he last appeared in Spidey #83-85, and with that reveal comes another. The man masquerading as Howard Hughes (sorry, Harold Howard), father of The Supreme Hydra/The Schemer, and in control of Hydra, is none other than The Kingpin!

I think we need some explanation, so cue some flashbacks.

After the events in Spidey #83-85, The Kingpin had some kind of breakdown thanks to his son’s, erm, scheming, so to make amends his son joined Hydra (don’t worry, he has a plan). After rising to the position of The Supreme Hydra he kidnaps his old Dad and subjects him to some experimental shock treatment. Luckily (!) The Kingpin survives the remedy and his son makes his Mom promise that she’ll never reveal who was responsible for curing him, and, oh yeah, to also make sure that his Dad takes over Hydra.

Phew! Got all that?

Meanwhile, Sam Wilson is on his way to Las Vegas at the behest of Nick Fury.

Anyway, The Supreme escapes from Cap and makes his getaway in a rocket, so Cap follows with a jet-pack strapped to his back all the way to Las Vegas, where The Supreme lands his rocket craft on top of a hotel owned by Harold Howard. Cap follows him up to Howard’s penthouse, and is met by The Kingpin who engages him in battle. As always, the hero is surprised by how fast and agile the larger opponent is, and is almost beaten until the sudden arrival of The Falcon. With the tide of battle turned, we’re due another twist and a cliff-hanger ending. Someone else is actually in charge...

“Silence swine...and all will be made clear! The Kingpin is not the head of Hydra...nor was his son...nor was any Supreme Hydra who ever supposedly was in charge!”

Gulp! I wonder who that could be.

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Astonishing Tales #10

Cover date: February 1972

Writer: Roy Thomas & Gerry Conway

Artist: Barry Smith and Sal Buscema

Inker:

This is the scrag end of a three-part story involving some soldiers - German and English - from WWII, continuing to fight the good fight after they somehow ended up in the Savage Land; with a twist. Naturaly, Ka-Zar and faithful Zabu put an end to that.

Admittedly, I wasn’t much looking forward to reading this as I’ve never been too fond of this particular Tarzan knock-off (except for the early Eighties Bruce Jones and Brent Anderson run), but it wasn’t that bad. Conway pitched in to help Thomas out, and I’m going to hazard a guess that Smith provided lay-outs for Buscema, as the art lacks Smith’s customary detail. Of note, there is a very brief appearance by Barbara ‘Bobbi’ Morse, the future Mockingbird and Mrs Hawkeye.

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Captain America #146

Cover date: February 1972

Writer: Gary Friedrich

Artist: Sal Buscema

Inker: John Verpoorten

Cap and his >ahem< Femme Force break up a Hydra hijacking of a Shield airliner, while Sharon Carter lies mortally wounded; later, Hydra kidnap Sharon from the hospital she was taken in a bid to lure Cap into another trap.

I like Captain America. Honestly, I do. The Star-spangled Avenger from another era, slightly out of date with modern times and grappling with an America gone sour – but this isn’t that Cap just yet. This one just fights Hydra agents endlessly with late 60’s super-spy elements tacked on. I can’t even say Femme Force without imagining a feminine hygiene product....as one of the gals says “KEEP ‘EM UP! Just because we’re female doesn’t mean we won’t shoot!”

Quite.

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