Back Issue #86 by TwoMorrows Publishing

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BRONZE AGE MARVEL GIANTS & REPRINTS ISSUE!

FEARSOME FRIGHT-FEST! Dr. Strange! Dracula! Man-Thing! Conan! Werewolf! Chillers! Monsters! & more

SUPERHERO GRAB-BAG! Daredevil! Spidey! Avengers! Defenders! FF! Thor! X-Men old and new! & more

THE RETRO COMICS EXPERIENCE!

Edited by MICHAEL EURY, BACK ISSUE magazine celebrates comic books of the 1970s, 1980s, and today through recurring (and rotating) departments like “Pro2Pro” (dialogue between professionals), “BackStage Pass” (behind-the-scenes of comicsbased media), “Greatest Stories Never Told” (spotlighting unrealized comics series or stories), and more!

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“Bronze Age Fantastic Four!” The animated FF, the FF radio show of 1975, Human Torch goes solo, Galactus villain history, FF Mego figures… and the Impossible Man! Exploring work by RICH BUCKLER, JOHN BUSCEMA, JOHN BYRNE, GERRY CONWAY, STEVE ENGLEHART, GEORGE PÉREZ, KEITH POLLARD, ROY THOMAS, LEN WEIN, MARV WOLFMAN, and more! Cover by KEITH POLLARD and JOE RUBINSTEIN.

“‘80s Independents!” In-depth looks at PAUL CHADWICK’s Concrete, DAVE SIM’s Cerebus the Aardvark, and RICHARD AND WENDY PINI’s Elfquest! Plus see ‘80s independent comics go Hollywood, DAVID SCROGGY remembers Pacific Comics, TRINA ROBBINS’ California Girls, and DENIS KITCHEN’s star-studded horror/sci-fi anthology Death Rattle. Cover by PAUL CHADWICK!

“Let’s Get Small!” Marvel’s Micronauts, The Atom in the Bronze Age, JAN STRNAD and GIL KANE’s Sword of the Atom, the rocky relationship of Ant-Man the Wasp, Gold Key’s Microbots, Super Jrs., DC Digests, and Marvel Value Stamps. Featuring the work of PAT BRODERICK, JACKSON GUICE, ELLIOT S! MAGGIN, BILL MANTLO, AL MILGROM, ALEX SAVIUK, ROGER STERN, LEN WEIN, & more. Cover by PAT BRODERICK!

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“When Comics Were Fun!” HEMBECK cover and gallery, Plastic Man, Blue Devil, Marvel’s Star Comics imprint, VALENTINO’s normalman, Bronze Age’s goofiest Superman stories, and the Batman/Dick Tracy team-up you didn’t see! Featuring MAX ALLAN COLLINS, PARIS CULLINS, RAMONA FRADON, ALAN KUPPERBERG, MISHKIN & COHN, STEVE SKEATES, JOE STATON, CURT SWAN, and more!

“Weird Issue!” Batman’s Weirdest TeamUps, ORLANDO’s Weird Adventure Comics, Weird War Tales, Weird Mystery Tales, DITKO’s Shade the Changing Man and Stalker, CHAYKIN’s Iron Wolf, CRUMB’s Weirdo, and STARLIN and WRIGHTSON’s The Weird! Featuring JIM APARO, LUIS DOMINGUEZ, MICHAEL FLEISHER, BOB HANEY, PAUL LEVITZ, and more. Batman and Deadman cover by ALAN CRADDOCK.

“Charlton Action Heroes in the Bronze Age!” DAVE GIBBONS on Charlton’s WATCHMEN connection, LEN WEIN and PARIS CULLINS’ Blue Beetle, CARY BATES and PAT BRODERICK’s Captain Atom, Peacemaker, Peter Cannon: Thunderbolt, and a look at Blockbuster Weekly! Featuring MIKE COLLINS, GIORDANO, KUPPERBERG, ALAN MOORE, PAT MORISI, ALEX ROSS, and more. Cover by AL MILGROM.

“Flash and Green Lantern in the Bronze Age” (crossover with ALTER EGO #132)! In-depth spotlights of their 1970s and 1980s adventures, MARK WAID’s look at the Flash/GL team, and PAUL KUPPERBERG’s Lost GL Fillins. Bonus: DC’s New York Office Memories, and Green Lantern: Ganthet’s Tale by LARRY NIVEN and JOHN BYRNE. With BARR, BATES, GIBBONS, GRELL, INFANTINO, WEIN, and more. Cover by GEORGE PÉREZ.

“DC Bronze Age Giants and Reprints!” An indepth exploration of DC’s 100-PAGE SUPER SPECTACULARS, plus: a history of comics giants, DC indexes galore, and a salute to “human encyclopedia” E. NELSON BRIDWELL. Featuring the work of PAT BRODERICK, RICH BUCKLER, FRANK FRAZETTA, JOE KUBERT, BOB ROZAKIS, BERNIE WRIGHTSON, and more. Super Spec tribute cover featuring classic art by NICK CARDY.

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“Bronze Age Events!” With extensive coverage of the Avengers/Defenders War, JLA/JSA crossovers, Secret Wars, Crisis’ 30th anniversary, Legends, Millennium, Invasion, Infinity Gauntlet, and more! Featuring the work of SAL BUSCEMA, DICK DILLIN, TODD McFARLANE, GEORGE PÉREZ, JOE STATON, LEN WEIN, MARV WOLFMAN, MIKE ZECK, and more. Plus an Avengers vs. Defenders cover by JOHN BYRNE.

“International Heroes!” Alpha Flight, the New X-Men, Global Guardians, Captain Canuck, and Justice League International, plus SpiderMan in the UK and more. Also: exclusive interview with cover artists STEVE FASTNER and RICH LARSON. Featuring the work of JOHN BYRNE, CHRIS CLAREMONT, DAVE COCKRUM, RICHARD COMELY, KEITH GIFFEN, KEVIN MAGUIRE, and more! Alpha Flight vs. X-Men cover by FASTNER/LARSON.

“Supergirl in the Bronze Age!” Her 1970s and 1980s adventures, including her death in Crisis on Infinite Earths and her many rebirths. Plus: an ALAN BRENNERT interview, behind the scenes of the Supergirl movie starring HELEN SLATER, Who is Superwoman?, and a look at the DC Superheroes Water Ski Show. With PAUL KUPPERBERG, ELLIOT MAGGIN, MARV WOLFMAN, plus a jam cover recreation of ADVENTURE COMICS #397!

“Christmas in the Bronze Age!” Go behind the scenes of comics’ best holiday tales of the 1970s through the early 1990s! And we revisit Superhero Merchandise Catalogs of the late ‘70s! Featuring work by SIMON BISLEY, CHRIS CLAREMONT, JOSÉ LUIS GARCÍALÓPEZ, KEITH GIFFEN, the KUBERT STUDIO, DENNY O’NEIL, STEVE PURCELL, JOHN ROMITA, JR., and more. Cover by MARIE SEVERIN and MIKE ESPOSITO!

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Volume 1, Number 86 February 2016 EDITOR-IN-CHIEF Michael Eury PUBLISHER John Morrow

Comics’ Bronze Age and Beyond!

DESIGNER Rich Fowlks COVER ARTIST John Romita, Sr. (Artwork originally appeared as the cover of Giant-Size Marvel Triple Action #1.) COVER DESIGNER Michael Kronenberg COVER COLORIST Glenn Whitmore PROOFREADER Rob Smentek Stephan Friedt Michael Gallagher Grand Comics Database Heritage Comics Auctions Tony Isabella Rob Kelly David Anthony Kraft James Heath Lantz Chris Marshall Al Milgrom Barry Pearl Carl Potts Ken Quattro Jim Salicrup Anthony Snyder Roger Stern Linda Sunshine Roy Thomas John Trumbull Irene Vartanoff Len Wein

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BACK SEAT DRIVER: Editorial by Michael Eury . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2 FLASHBACK: The House of Recycled Ideas . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3 Bullpen veterans recall the tales behind the Marvel’s Bronze Age reprint titles, with a mega-index of superhero and adventure titles BACK IN PRINT: X-Men Revisited . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .35 A look at the reprint years of Marvel’s Mighty Mutants FLASHBACK: When Giants Ruled the Spin Racks! . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .39 An in-depth look at Marvel’s Giant-Size project of the 1970s FANTASY COVER GALLERY: The Marvel Giant-Sizes That Weren’t . . . . . . . . . . . . . . . . . .58 Make-believe Marvel covers, including Giant-Size Giant-Man and Giant-Size Warlock FLASHBACK: The Other Marvel Team-Up: Fireside and Marvel . . . . . . . . . . . . . . . . . . . .61 With bombastic Stan Lee intros, these collected editions brought Marvel to the masses BACK IN PRINT: Following Fireside . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .71 The post-Simon & Schuster Marvel collected editions FLASHBACK: Marvel’s Bronze Age Reprint Paperbacks . . . . . . . . . . . . . . . . . . . . . . . . . . .73 The birth of the “mini-Masterworks” BACK IN PRINT: Marvel Digests . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .79 From ALF to Spider-Man, Marvel’s mini-editions FLASHBACK: Marvel Special Edition Reprints, 1982 to 1985 . . . . . . . . . . . . . . . . . . . . . .85 A deluxe presentation for Marvel Silver and Bronze Age classics BACK TALK . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .93 Reader reactions

BACK ISSUE™ is published 8 times a year by TwoMorrows Publishing, 10407 Bedfordtown Drive, Raleigh, NC 27614. Michael Eury, Editor-in-Chief. John Morrow, Publisher. Editorial Office: BACK ISSUE, c/o Michael Eury, Editor-in-Chief, 118 Edgewood Avenue NE, Concord, NC 28025. Email: euryman@gmail.com. Six-issue subscriptions: $67 Standard US, $85 Canada, $104 Surface International. Please send subscription orders and funds to TwoMorrows, NOT to the editorial office. Cover art by John Romita, Sr. Avengers, Dr. Strange, Daredevil, and related characters TM & © Marvel Characters, Inc. All Rights Reserved. All characters are © their respective companies. All material © their creators unless otherwise noted. All editorial matter © 2016 Michael Eury and TwoMorrows Publishing. BACK ISSUE is a TM of TwoMorrows Publishing. ISSN 1932-6904. Printed in China. FIRST PRINTING. Marvel Bronze Age Giants and Reprints

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Ads for Marvel Giants TM & © Marvel Characters, Inc.

SPECIAL THANKS Neal Adams Richard J. Arndt Mark Arnold Terry Austin Al Bigley Eliot R. Brown Rich Buckler Bob Budiansky Sal Buscema Kurt Busiek Jarrod Buttery Nick Caputo Lex Carson Paty Cockrum Gerry Conway Stephen Curiel Tom DeFalco Jo Duffy Scott Edelman Kayla Ellingsworth Steve Englehart John S. Eury Andrew Farago Danny Fingeroth Irving Forbush

Michael Eury

In addition to nostalgic and behind-the-scenes looks at Marvel Comics’ reprint and Giant-Size series of the Bronze Age, this issue is jam-packed with issue-by-issue indexes of those series, similar to what we did with DC’s reprint books in last June’s BACK ISSUE #81. These indexes (or indices, if you prefer) provide important information about each issue’s content and their reprints’ source material, the kind of data that collectors appreciate. But researching and preparing the indexes was a labor-intensive process. The Grand Comics Database (www.comics.org) was a valuable resource for those issues outside of our personal collections. For those of you seeking an online database that includes creative team credits (which space prohibits here), you’ll find no better source online than GCD. Still, as I discovered firsthand when preparing the copy-saturated indexes for the 100-Page Super Spectaculars and other DC reprint series for BI #81, indexing is a slow, thankless process. So allow me to take this opportunity to extend my gratitude to the writers who toiled to produce issue #81’s indexes: Stephan Friedt, Dan Johnson, Jim Kingman, Chris Marshall, Bryan D. Stroud, John Trumbull, and John Wells. Two of them were insane kind enough to return this issue, as evidenced by this page’s salute to our ragtag team of Howling Indexers. And allow me this chance to acknowledge two other too-oftenunheralded members of BI’s team, who have pulled double-duty in the production of these indexes: proofreader Rob Smentek and designer Rich Fowlks! Sgt. Fury and His Howling Commandos and art TM & © Marvel Characters, Inc.

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Almost as soon as its Universe had started, Marvel began reprinting some of its earliest stories for fans that had missed the low-key launches. Appropriately, the granddaddy of the modern reprint titles was Marvel Tales. Marvel can trace its origins to Marvel Comics #1 (Oct. 1939), featuring the debut of the Human Torch, Sub-Mariner, and others. The title changed to Marvel Mystery Comics with issue #2 (Dec. 1939) and to Marvel Tales with issue #93 (Aug. 1949). Marvel—originally Timely, and then Atlas— ended its longest-running series with issue #159 (Aug. 1957). Resurrecting the name, Marvel Tales #1 (1964) was a 72-page Annual reprinting the first appearances of Spider-Man, the Hulk, Ant-Man, Giant-Man, Sgt. Fury, Iron Man, and Thor. (The first appearance of the FF had been reprinted previously in Fantastic Four Annual #1, 1963.) A year later, Marvel Tales #2—another giant Annual—reprinted the origins of the X-Men, Avengers, Dr. Strange, and more. In 1966, Marvel Tales became a bimonthly title, reprinting Spider-Man, Thor, Human Torch, and Ant-Man stories. It alternated with Marvel Collectors’ Item Classics, which reprinted Fantastic Four, Iron Man, Dr. Strange, and Hulk adventures. Fantasy Masterpieces also debuted, reprinting fantasy stories and WWII superheroes. Tales of Asgard #1 (Oct. 1968) collected and reprinted the first ten of the backup stories from Journey into Mystery.

Jarrod Buttery

All covers TM & © Marvel Characters, Inc., except Planet of the Apes TM & © 20th Century Fox.

THE FLOODGATES OPEN In 1968, Marvel’s publisher—Martin Goodman—sold the company. Finding a new distributor, Marvel was no longer constrained to publishing eight titles per month. Not only could Marvel publish as many comics as it liked, but there was a warehouse of previous material to draw upon—and not just superheroes. Romance comics were revived with My Love #1 (Sept. 1969) and Our Love Story #1 (Oct. 1969). Both titles presented new material, but after six issues each, both included reprinted stories from the ’50s and ’60s from such long-defunct titles as Teen-Age Romance, Lovers, and Love Romances. By 1973, both books featured reprints only—both often reprinting stories (and covers!) from earlier in their runs. In just one example, My Love #34 (May 1975) simply reused the cover and one of the stories from issue #16 (Mar. 1972). Regardless, the artwork was almost universally beautiful. With John Romita, Sr. and John Buscema handling many of the issues, one could expect nothing less. One would be hard-pressed to dispute that it’s Gwen Stacy on the cover to Our Love Story #11 (June 1971), Natasha Romanoff on My Love #6 (July 1970), and Janet Van Dyne on My Love #24 (July 1973). There is, however, no truth to the rumor that Michael Eury modelled for the cover of My Love #11 (May 1971). The late ’60s also saw a few rare comics for kids. Peter the Little Pest #1 (Nov. 1969) reworked strips from Melvin the Monster (Atlas Comics, 1956)— itself an imitation of Dennis the Menace (who first appeared in 1951). Homer the Happy Ghost #1 (Nov. 1969) didn’t even bother renaming the character from the 1955 series. If imitation is indeed the sincerest form of flattery, Casper the Friendly Ghost should have been delighted. Alongside romance and humor, Westerns surged back onto the stands toward the end of the ’60s. Mighty Marvel Western #1 (Oct. 1968) collected reprints from the Two-Gun Kid, Rawhide Kid, and Kid Colt Outlaw. Rawhide Kid was in continuous publication but the others were on hiatus at the time. After a 20-month break, Kid Colt Outlaw returned to the stands with issue #140 (Nov. 1969), containing a couple of new stories, but becoming a full-reprint title two issues later (except for issue #201, Dec. 1975). Maintaining its status as a 64-page book, Marvel Collectors’ Item Classics was renamed as Marvel’s Greatest Comics with issue #23 (Oct. 1969). The title eventually became a standard 32-page comic, reprinting Fantastic Four stories until its cancellation in 1981.

1970 The reprint books of the time never credited a reprint editor. Stewardship is usually attributed to Stan Lee, and then Roy Thomas. As the superhero, Western, and romance reprints continued, Thomas recalls of the era, “Yes, the reprints were increasingly on something resembling ‘automatic pilot’… although in the early

Marvel Bronze Age Giants and Reprints

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Moonlighting Maids of Marvel? (top) Hey, is that the bombastic Black Widow belting out a ballad on the Buscema/Romita cover of My Love #6? (middle) A groovy Gwen Stacy doppelganger on Jazzy Johnny’s Our Love Story #11 cover. (bottom) Nice day for a Wasp wedding? Romita cover to My Love #24. TM & © Marvel Characters, Inc.

days of Fantasy Masterpieces, Stan selected the material (including which Golden Age stories to reprint) himself … and I suspect [Martin] Goodman took an interest in the earliest ones, because he wanted to enforce his claim on Cap, Torch, and Sub-Mariner … also on other things like the name ‘Marvel’ (hence reprints of Black Marvel and Marvel Boy, though I’d have wanted to reprint the latter myself when I found B&W Photostats of them). After a while, I chose the Golden Age material, including the All Winners Squad reprints, the reprints in the Human Torch reprint book, occasionally others.” One of the Marvel Age’s earliest titles, Sgt. Fury, debuted before Avengers or X-Men, with a May 1963 cover date. Issue #80 (Sept. 1970) started reprinting stories. With #121 (Sept. 1974) it became an all-reprint book. Nevertheless, Sgt. Fury outlasted almost all the other reprint titles. In comparison, Ka-Zar #1 (Aug. 1970) was the first of only three issues, reprinting encounters with Daredevil, Spider-Man, and the X-Men—and including some inventory stories featuring Hercules and the Angel. But 1970 was the year of the Westerns. Ringo Kid #1 (Jan. 1970) commenced reprints of the eponymous cowboy from the 1950s. After a 27-month holiday, Two-Gun Kid returned as a reprint title with issue #93 (July 1970). Interestingly, issues #99–103 featured stories of the 1950s Kid (Clay Harder) retouched in the outfit of the 1960s character (Matt Hawk). Western Gunfighters #1 (Aug. 1970) told new stories of the original Ghost Rider (Carter Slade) alongside various Western reprints. It was in this series that Carter met his end, whereupon his less-honorable brother, Lincoln, adopted the mantle (issue #7, Jan. 1972). Western Gunfighters became an all-reprint title with issue #8. Also beginning with an August 1970 cover date, Rawhide Kid started including reprinted stories with issue #79. Issue #86 (Apr. 1971) reprinted the story from issue #17 (Aug. 1960) describing how Johnny Bart became the Rawhide Kid to avenge the shooting death of his Uncle Ben. The title became all reprints with issue #116 (Oct. 1973). Outlaw Kid #1 (Aug. 1970) initiated reprints of that character’s 1950s exploits. But it wasn’t just cowboys. The first—and perhaps the best—of Marvel’s “horror” reprints appeared with Where Monsters Dwell #1 (Jan. 1970). Issue #6 (Nov. 1970) reprints the first appearance of “Groot! The Monster from Planet X!” and issue #21 (May 1973) reprints “Fin Fang Foom!” Issue #38 (Oct. 1975)—the final issue—reprints “No Human Can Beat Me!” featuring a green, savage, fin-headed, dragon4 • BACK ISSUE • Marvel Bronze Age Giants and Reprints

like alien conqueror single-handedly besting Earth’s greatest combatants. Where Creatures Roam #1 (July 1970) and Fear #1 (Nov. 1970) followed in the same vein, reprinting Marvelous 1960s monster/fantasy stories from Lee/Kirby/Ditko/Heck. Perhaps realizing that the well had been visited too often, Where Creatures Roam lasted eight issues. Fear #10 (Oct. 1972) began publishing original Man-Thing stories while continuing short horror backup tales. The Muck Monster was replaced with the Living Vampire, Morbius, in issue #20 (Feb. 1974), who headlined all-new tales until the final issue #31 (Dec. 1975). The period was also right for some original horror. Tower of Shadows #1 (Sept. 1969) is as beautiful a book as you will ever find, featuring original work by Jim Steranko, John Romita, and John Buscema. Issues #6–9 contained increasing amounts of reprints. Tower of Shadows King-Size Special #1 (Dec. 1971) reprinted some of the series’ finest stories. Chamber of Darkness #1 (Oct. 1969) followed a similar pattern, commencing with original material but gradually ceding to reprints. We can imagine that someone found random issues of Little Lennie, Little Lizzie, and Li’l Willie from the 1940s. And that’s probably how we got Li’l Kids #1 (July 1970).

THE WAREHOUSE After Thomas, Irene Vartanoff became Marvel’s reprint editor. Irene grew up reading DC comics and penned numerous fan letters. She was invited to DC’s offices and took the DC tour many times. After graduating college she approached DC for a job, but [editor] “Julie Schwartz broke my heart by telling me to go home and get married.” However, a couple of years later, Roy Thomas—whom she had met several times—needed a new Gal Friday. “I started in April 1974,” Vartanoff tells BACK ISSUE. “I was not Roy’s secretary—Roy needed someone who could handle all the art and story submission correspondence that had piled up on his assistant’s desk, and proofread the reprints, and do anything else editorially anyone came up with. At the time, we had a huge lineup of comics and not enough people to write, draw, or edit them. We’d hire anyone who came to us with a fan background, because there was no time to train anyone.” We may never know who chose each individual story to be reprinted, but Tony Isabella conducted some research for his blog (reprinted— appropriately—in BACK ISSUE #79, Apr. 2015). Isabella found that the most likely suspect was Tony Mortellaro. Vartanoff supports this: “Tony Mortellaro was the reprint production manager and had an office down the hall in production.

Back in the Saddle Again (left) Ringo Kid #1 (Jan. 1970) helped kick off Marvel’s Bronze Age reprint series. Cover by Joe Maneely. (right) A gaggle of gunslingers in Western Gunfighters #1 (Aug. 1970). Cover by Dick Ayers. TM & © Marvel Characters, Inc.

He was also in charge of the warehouse. Like some other redoubtable individuals of the older generation at Marvel, he was not a personality that one questioned. That’s why I have no idea on what basis the old horror comics were chosen. He merely delivered them to be proofread, already pasted up. When he encountered a serious family health situation and sol brodsky had to resign, I boldly went to Sol Brodsky and told him I wanted that job. I got it, and then fairly © Marvel. soon after, Sol, Barry Kaplan (the controller), and I took a tour of the Marvel warehouse and they asked me to clean it up and inventory it. “It was a mess. The brown paper envelopes containing original art sent back to Marvel were in piles on the floor or in leaning shipping crates. The warehouse itself was merely a room in an industrial building. We got in new lighting (the building was so old that it was wired for DC lighting, not AC), and new shelving, and I hired various people who were interns or otherwise employed at Marvel to work extra hours there with me to sort through everything and put the artwork in new envelopes. I have no idea if the envelopes we used did anything more to preserve the original art than the brown paper wrappers had, but at least now there was some order out of the chaos. And I did the inventory. In an un-air-conditioned building during the summer of 1976. Not much fun.” Thomas contributes: “Tony Mortellaro has been dead for some years now. He had his whole family engaged in pasting up material, and I think that at some stage Goodman or someone decided he was feathering his own nest too much … that may have been when he had to leave. I don’t know the ins and outs of it, really. There may well have been a ‘serious family health situation’… I just don’t recall knowing about it.”

Shame on You, Zabu! The Marie Severin/John Verpoorten cover of Ka-Zar #1 (Aug. 1970) has become infamous among fandom for its hidden expletive. TM & © Marvel Characters, Inc.

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1971 Thor moved from Marvel Tales to Special Marvel Edition #1 (Jan. 1971). Published every five months, each Special Marvel Edition issue contained three Thor stories plus one Tale of Asgard. Issues #5–14 (July 1972–Nov. 1973) then reprinted single Sgt. Fury stories. Shang-Chi debuted in issue #15 (Dec. 1973) and the title became Master of Kung Fu with issue #17 (Apr. 1974). Thor next moved to Marvel Spectacular #1 (Aug. 1973), continuing the story from Special Marvel Edition #4 (Feb. 1972). One had to be patient for a continuation in those days! Clearly the Wild West was a dangerous place where very few men aged to adulthood. Most of the characters seemed to be “Kids”! Western Kid #1 (Dec. 1971) reprinted 1950s stories and continued for five bimonthly issues. This author admits to not having a complete collection of Millie the Model, but it appears the book became a reprint title with issue #192 (Oct. 1971). But there were still not enough monsters on the newsstands. Monsters on the Prowl #9 (Feb. 1971) continued the numbering from Chamber of Darkness #8 (Dec. 1970), with a combination of new stories and reprints. The title became all-reprints with issue #17 (June 1972), showcasing more Lee/Kirby/Ditko/etc. delights. The reprint editor strived to avoid confusion, making edits where required. Issue #24 (Aug. 1973) reprinted “The Wonder of the Ages!!! Magneto!” from Strange Tales #84 (May 1961), but changed the antagonist’s name to “Magnetor.” Similar edits changed “Goliath” to “Gigantus” in Where Monsters Dwell #10 (July 1971) and “Xemnu the Hulk” to “Xemnu the Titan” in Monsters on the Prowl #14 (Dec. 1971)— however, in both instances, references to their original names accidentally remained. Tower of Shadows became Creatures on the Loose with issue #10 (Mar. 1971), featuring all-new adventures of King Kull. Issues #11–15 then presented more monster reprints before Gullivar Jones became the headliner with new stories beginning in issue #16 (Mar. 1972). Backup reprints continued as Gullivar Jones relinquished the title firstly to Thongor (issue #22, Mar. 1973), and then Man-Wolf (issue #30, July 1974).

Houses of Mystery (top left) Romita rocks the cover of the premier ish of Tower of Shadows, while (bottom left) this Kirby/Ditko/Romita Cyclops cover opened the series Where Monsters Dwell. (below) Marvel passed on this stark Steranko cover produced for Tower of Shadows #1 for the more traditional Romita above. Original art courtesy of Heritage Comics Auctions (www.ha.com). TM & © Marvel Characters, Inc.

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1972 The cowboys kept a-comin’ as somebody (Mortellaro?) discovered some 1950s Wyatt Earp stories. These were reprinted as Wyatt Earp #30–34 (Oct. 1972–June 1973). Odd issues of It’s a Duck’s Life and other funny-animal comics were reprinted as Li’l Pals #1–5 (Sept. 1972–Mar. 1973). Lo-Zar starred in Jungle Action from 1954–1955. Renamed Tharn, he was joined by Lorna the Jungle Queen and Jann of the Jungle in the new Jungle Action #1 (Oct. 1972). Despite exquisite artwork, the jungle threesome lasted only four issues of Jungle Action before making way for the Black Panther. The first issue of a resurrected Journey into Mystery (Oct. 1972) presented all-new horror stories, but the title Marvel’s Greatest Comics was became all reprints with issue #6 continuing to reprint Fantastic Four (Aug. 1973). Chamber of Chills #1 stories—but this clearly wasn’t enough. (Nov. 1972) was similar, becoming an The cover to Marvel Triple Action #1 all-reprint title with issue #8 (Jan. 1974). (Feb. 1972) advertised Dr. Doom, the Despite some beautiful original covers— Thing, and Silver Surfer, while reprinting including a stunning Mary Jane Watson FF #55 (Oct. 1966) and 57 (Dec. 1966). irene vartanoff lookalike by Larry Lieber (issue #13, The (triple) FF action continued for Nov. 1974)—the interiors focused on the next three issues. Issue #5 (Sept. 1950s reprints from titles such as Suspense, Astonishing, 1972) advertised Thor, Captain America, and Iron Man, and Men’s Adventures. and reprinted Avengers #10 (Nov. 1964). Avengers Opinions vary on the quality of the material. Isabella reprints subsequently continued until 1979. writes on his blog: “The most fun I had proofreading was when I worked on the horror and monster reprints. 1973 Those giant monster stories by Stan Lee, Larry Lieber, “Marvel became more interested in reprint books after and Jack Kirby were old favorites of mine and getting 1972 when Marvel became a separate entity with Stan as president and publisher,” explains Roy Thomas. paid to reread them was a definite perk. Just as delightful to me were the reprints from 1950s titles like Menace, “Suddenly the company had more salaries to support. Mystic, and Spellbound. Prior to my coming to work for Reprint books, if they brought in a little money for little Marvel, I had not seen many of these stories. They were outlay, could keep the overhead down.” More horror was required. Vault of Evil #1 (Feb. 1973), an education.” Irene Vartanoff disagrees: “In my personal opinion, the horror comics we reprinted from the 1950s Beware! #1 (Mar. 1973), Dead of Night #1 (Dec. 1973), were garbage. Nasty stuff. Those old horror comics died Uncanny Tales #1 (Dec. 1973), and Weird Wonder Tales #1 (Dec. 1973) presented more 1950s reprints. a deserved death.” Marvel Bronze Age Giants and Reprints

Behind the Scenes of a Reprint Cover (right) Courtesy of Heritage, original art by Marie Severin for the Spider-Man cover panel for Marvel Tales #26 (May 1970). Note in the published version (left) that interior art was used for the Thor and Torch panels. TM & © Marvel Characters, Inc.

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S.H.I.E.L.D. #1 (Feb. 1973) featured Lee/Kirby Nick Fury reprints from Strange Tales #146–147 (July–Aug. 1966). Issue #3 reprinted Jim Steranko’s first Marvel work, but the series was canceled—partway through the story—with issue #5 (Oct. 1973). Steranko also produced the cover to Tex Dawson, Gun-Slinger #1 (Jan. 1973). The next two issues were simply titled Gun-Slinger but all three comics featured Western Kid reprints—retitled “Gun-Slinger.” If Millie the Model could go into reprint status, so too could her red-headed rival. Chili #21–26 (Feb.–Dec. 1973) presented reprints from earlier issues. Alongside the Westerns, romance, horror, and humor, someone must’ve found a stack of war comics. War is Hell #1–6 (Jan.–Nov. 1973) reprinted 1950s stories from titles such as Battle, Battle Action, Battlefront, and Battleground. The following two issues presented Sgt. Fury reprints (including the death of Fury’s WWII girlfriend) before the title introduced John Kowalski in an interesting original supernatural/ war series. Rounding out the year, Marvel Double Feature #1 (Dec. 1973) commenced reprints of Iron Man and Captain America stories from Tales of Suspense.

1974–1976 Coinciding with a push to boost the profile of its flaming FF member, Marvel released Human Torch #1 (Sept. 1974). Each issue featured a Johnny Storm reprint from his 1960s Strange Tales solo series, as well as an original Human Torch story from the ’40s or ’50s. As discussed above, Roy Thomas took a personal interest and involvement in choosing these tales. Speaking of flaming heroes, Ghost Rider (Johnny Blaze) had proved popular enough to be given his own book. The original Western Ghost Rider (Carter Slade) was thus renamed and his early appearances were reprinted in Night Rider #1–6 (Oct. 1974–Aug. 1975). Beware! changed its name to Tomb of Darkness with issue #9 (July 1974), continuing the 1950s reprints. One of the few A-list superheroes not to have

Big John and Li’l Kids John Verpoorten’s cover art for Li’l Kids #1 (July 1970), a series that repackaged and contemporized late-Golden Age kiddie comics. Courtesy of Heritage. TM & © Marvel Characters, Inc.

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headlined a reprint title was Daredevil. He was given his chance with Marvel Adventure #1 (Dec. 1975), reprinting Daredevil #22 (Nov. 1966) by Stan Lee and Gene Colan, but the series only lasted six issues. Following the popularity of the movies and TV series, Planet of the Apes became one of Marvel’s most successful black-and-white magazines— adapting the movies and presenting new material. Barely a year later, the movie adaptations were reprinted—in color, in comics format— starting with Adventures on the Planet of the Apes #1 (Oct. 1975). Eleven issues reprinted adaptations of the first two movies, concluding with pretty much the most definitive ending imaginable. “I was moved to special projects,” remembers Vartanoff, “working in Sol Brodsky’s department on a long lineup of Simon & Schuster books, newspaper inserts, newspaper strips, and more. Eventually, the weight of also supervising the reprints was lifted from my shoulders.” The reins were handed to Roger Stern, who tells BACK ISSUE, “I started working at Marvel as an assistant editor in late December of 1975. It was understood from the beginning that my main duties were to proofread all of the reprint titles and the letters pages. And then, if I had any extra time, to help out with the new titles. Irene Vartanoff would supply me with proof sheets that went back, in some cases, almost two decades. I would then sort through them and try to find the best stories that hadn’t already been reprinted two or three times. (Someone really liked ‘Mister Morgan’s Monster.’ It had been reprinted something like five times before I came on staff.) Irene kept pretty good track of things, and we had some reference copies in an old file cabinet that we could refer to. But a lot of times we had to rely on memory. Records from before our tenure were spotty at best.” Asked about the proof sheets, Stern explains, “Proof sheets were blackand-white positive copies of the artwork at print size, as it had appeared in the source comics. When we reprinted those stories, new Photostats were shot from the proofs, and part of my job was to go over the stats, marking where linework had faded out and needed to be touched up—and, likewise, where any lettering corrections needed to be made. There were artists and letterers in the production bullpen that handled corrections on the reprint books, the same as they did for the rest of the line. John Tartaglione was my main retouch artist for the reprints. “And, yes, there were some real gems in those proofs,” Stern continues. “Irene found us some wonderful stories drawn by Mort Drucker, Jack Davis, Bernie Krigstein, and Joe Kubert. We were able to reprint most of Jack Davis’ Rawhide Kid stories before the Western titles went away.

We also reprinted some of Bill Everett’s later Venus did more than one, and sometimes it was two or three stories before the monster/mystery books went away. covers per day. Then there were random cover assignments If we didn’t reprint an existing cover, someone—usually from assistant editor Tony Isabella, who assisted with most Ed Hannigan—would create a sketch for a new cover, of the British reprint titles. He also worked on regular titles. I think the Planet of the Apes covers and a few covers for often penciled by Gil Kane or Jack Kirby.” the supernatural titles were done for Tony. Sal Buscema was another artist who was often “I was the ‘go to’ guy at Marvel for just called upon—creating new covers for classics about anything. I could handle all genres such as the unmasking of the Green Goblin and I was not limited to just superheroes in Marvel Tales #29 (Jan. 1971) and the like most of the artists. first encounter with Galactus in Marvel’s “In the evening I would return Greatest Comics #36 (July 1972). home and put in five or six hours at Completely understandably, Buscema the drawing board for my regular admits, “As you can imagine, I have story pages. Every weekday when I no memory of doing these covers. commuted to Manhattan from my But, I can tell you this: Whenever I did Bronx apartment, I made sure I always a cover for a reprint, I always had a had something to hand in at Marvel. sketch to follow, done by someone at John Verpoorten, the production Marvel. Wish I could be more specific, manager at that time, would greet but these were done 100 years ago.” me with: ‘Hey, Rich! You got those Rich Buckler was another in-demand sal buscema pages?’ And I always did. cover artist. He remembers: “Back then “For me, every cover was a chalI worked at Marvel’s offices with my own workspace in an office away from John Romita and the main lenge,” Buckler concludes. “It wasn’t so much about the Bullpen. I would come in every day and trek to John Romita’s drawing, but getting across a scene that was welloffice. He was always expecting me. John and I had a good designed and reflected what happened in the actual work relationship. We worked hand-in-glove, and thankfully story the cover was based upon. So, whether it was he gave me a lot of creative freedom. I would draw covers Western or horror or science-fiction subject matter— for whatever was due immediately—and I would sketch each cover I was assigned to draw presented its own problems. A lot of problem-solving under pressure. And up ideas on the spot (usually one sketch would do it). “Once John got Stan to approve the sketch, I would then there was always the mandate to make it look draw up the cover that day,” Buckler continues. “Usually I ‘Marvel,’ which I always seemed to have a handle on.”

Marvel Bronze Age Giants and Reprints

Thrilling Days of Yesteryear (left) John Romita’s original cover art to Western Kid #1 (Dec. 1971). Joining the Kid in this dynamic scene are his horse Whirlwind and dog Lightning. (right) Dick Ayers cover art for Wyatt Earp #31 (Dec. 1972). The production note at top right indicates that this was a rush job. Both, courtesy of Heritage. TM & © Marvel Characters, Inc.

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HACK AND SLASH For several years, original 20-page stories had to be trimmed to fit 18- or 17-page reprint books. “Oh, it could be painful, cutting those pages,” admits Roger Stern. “I had to excise a panel here and a panel there, and then rearrange things so that the story itself wasn’t compromised. And in those pre-digital days, that meant literally cutting apart Photostats with an X-Acto knife. The hardest stories to cut were the ones for Sgt. Fury. At the time, we were reprinting from Gary Friedrich’s tenure as writer, and he had produced very dense, meaty stories.” Cathartically, Scott Edelman has written the online column “If You Hated Marvel’s ’70s Reprint Comics—Blame Me!” Edelman produced several reprint Annuals and Treasury Editions, and volunteers fascinating examples of the processes roger stern involved in cutting original stories to fit the reprinted format. After Stern, Jo Duffy worked on some of the reprints. She concurs: “One of the thankless jobs of the reprint editor was finding out what could be sacrificed, and create any bridging material you needed, to keep it narratively coherent in the reprint. Stan and Roy, those guys—brilliant writers— their stuff was strongly character-driven as well as having a strong narrative line, so what do you do? If you keep the narrative tight you’re losing the character stuff. Or, you leave the character stuff, then there’s not much of the story there.” Duffy explains: “There was a period in the 1970s—now this applied to the entire Marvel line, and I’m pretty sure the entire DC line as well—but there was kind of a bookkeeping boondoggle, that I believe had its origins in a simple mistake on someone’s part. The belief became widely held that editorial content was being done at a loss and all of the profits came from printing those awful, awful ad pages—the X-ray specs, the Sea Monkeys—page after page of advertising, and editorial was losing money. This went on for years. “It ended when Jim Shooter became editor-in-chief. He argued with anything that sounded wrong to him and in so doing, in this case, he unearthed the mistake—which is that editorial was being charged not only for the editorial content but all of the printing costs, including the costs of printing all the advertising. The minute they reassigned the proper share of printing costs against the advertising revenues it became clear that, in fact, the advertising was losing money and editorial was quite healthily profitable. But given the myth that content was losing money and advertising was selling money, every couple of years they would cut another page of story and throw in another page of ads, thinking they were helping keep the company afloat. “One of the big yays for Jim is that he hunted down the source of the myth and he set it right,” Duffy adds. “And in very short order we regained five pages of content through his endeavors. Everybody likes to talk about what they feel Jim did wrong, but one of the things Jim did very, very right was get us back a lot of the content.” Stern remembers the period: “By the early ’80s, Marvel’s story content had expanded to 22 pages, and they were reprinting 19- or 20-page stories. The reprint books actually needed more material; it was a total opposite of the ’70s, when we had to cut pages. So, I wound up contributing some new material to the last few issues of Marvel Super-Heroes and Marvel Super Action. For MSH, I worked with Jack Abel, Herb Trimpe, and—mostly—Terry Austin on short Hulk humor pages. And for MSA, I wrote a couple of two-page ‘Avengers Hall of Fame’ features. If the titles had continued, I probably would have written more.”

MONSTERS ON THE DECLINE All of the romance and humor books were gone by 1977 and the monster and Western books were on the way out. “Sales were always the major factor in cancellations,” confirms Stern, “but I’m not sure that the market for reprints was shrinking by that much. It may just have been a case of the new superhero

Old Pros and New Pros Everyone from seasoned vets like (top) John Severin and up-andcomers like (bottom) Jim Starlin (inked by Joe Sinnott) tried their hand at new covers produced for Marvel’s reprint series. Original cover art to Special Marvel Edition #5 (July 1972) and Marvel’s Greatest Comics #41 (Mar. 1973), courtesy of Heritage. TM & © Marvel Characters, Inc.

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Steranko! Jim Steranko art graced the covers of (top left) Tex Dawson, Gun-Slinger #1 (Jan. 1973) and S.H.I.E.L.D. #1 (Feb. 1973). (bottom) An undated Nick Fury illo, courtesy of Heritage. TM & © Marvel Characters, Inc.

books selling so much better. I don’t know. Periodically, we’d get the word from the circulation department that certain titles were going to be axed, and that was that. Those decisions were made far above my pay grade. To end the final issue of Tomb of Darkness (#23, Nov. 1976), I got to run a little four-page story entitled ‘The Old Couple.’ It was about an elderly husband and wife facing the end of life and reliving the joys of youth. It was so sweet; it just struck me as a perfect coda to the title.” Weird Wonder Tales was the last of the horror/fantasy books, but Stern at least tried to do something different in the final few issues: “I was always looking for stories for the mystery/monster books—Chamber of Chills, Tomb of Darkness, and Weird Wonder Tales—that hadn’t already been reprinted. I was lucky to have an index of the pre-hero Marvel titles that my old friend Don Rosa had compiled for the Rocket’s Blast-Comicollector fanzine. And in going over that index, I noticed that a short series of ‘Dr. Droom’ stories had appeared in early issues of Amazing Adventures. So I asked Irene to pull the proof sheets on those issues. Once I had the proofs in hand, I saw potential for a regular Droom feature. For one thing, they looked great. They were drawn by Jack Kirby, and for the origin story, Jack’s pencils had been inked by Steve Ditko! But I thought that the name ‘Dr. Droom’ might be a problem … it sounded a little too much like Dr. Doom. I remember Chris Claremont was hanging out in the old editorial Bullpen, so I asked him, ‘Do you think it would confuse anyone if we reprinted the Dr. Droom stories?’ “And Chris replied, ‘What Dr. Doom stories?’ [laughs] “Well, that answered my question. We clearly needed to change Droom’s name. It was Len Wein who suggested Dr. Druid … as I suspect he had a couple years prior. I didn’t know it at the time, but during Len’s tenure as editor, the sole non-Kirby Droom story—it was drawn by Paul Reinman—had been reprinted in Giant-Size Man-Thing #3, with ‘Droom’ re-lettered as ‘Druid.’ “So I followed through, rewriting the origin story to remove a bit of unintended racism—at the end of the original story, Droom suddenly changed from Caucasian to Asian, making him look a bit like a distant cousin of the Yellow Claw—and re-established him as Dr. Druid. Then, John Tartaglione touched up Druid’s appearance, sprucing up his beard and giving him a more consistent look. “And, just like that, I had a ‘new’ star character as the main feature and host of Weird Wonder Tales. At least, for the last four issues. “Len was so tickled with what I’d done that he decided to guest-star Dr. Druid in Incredible Hulk #210–211 (Apr.–May 1977). Then, Jim Shooter featured Druid in an issue of Ghost Rider, and the good doctor quickly became a real part of the Marvel Universe. He got his own entry in the Official Handbook of the Marvel Universe and everything. “And a decade later, when I needed an acerbic mentalist for the Avengers … well, there he was.” Marvel Bronze Age Giants and Reprints

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Jo Duffy agrees: “What I wound up reprinting was the Despite having to trim the superhero stories, Stern Westerns and the war comics. Nick Fury by this point was admits that the job was educational. “I’d already read ‘Agent of S.H.I.E.L.D.’ and they had long since stopped doing new Sgt. Fury stories. By being the reprint editor them all, of course, many times. But in going over I got to read all of those and had a marvellous those stories more closely, page by page and time. I had read most of the superheroes in panel by panel, I started to see more of the real time, but I had missed the Westerns craft that went into creating them. I do and the war comics which were done by believe that the time I spent proofreading Stan Lee, Jack Kirby, y’know—the same Lee/Romita Spider-Man stories and great teams. As a kid I watched tons Lee/Kirby FF’s helped me hone my of wholesome cowboy adventure on own storytelling skills. television. So, Kid Colt Outlaw, Rawhide “But it was just as much fun working Kid, Two-Gun Kid—these were right up with the other genres. I selected the my alley. Those characters, plus Sgt. stories for Chamber of Chills, Tomb of Fury, were my main reprints. Darkness, Weird Wonder Tales, Rawhide “These were basically superhero Kid, Two-Gun Kid, and Kid Colt Outlaw. adventures with horses, where the (Story selection wasn’t really necessary superpower was the skill with the gun, for the superhero reprints, since those jo duffy or the ability to conceal his identity, stories were reprinted in more or less or to leap through a window shooting chronological order.) With those other genres, I was often encountering those stories for backwards over his shoulder and never kill but only the first time, so it was more of a discovery process … a disarm. And there were secret identities to be had— Matt Hawk, the lawyer, who was actually the Two-Gun sort of comics archeology.” Kid! So I loved them. They were cowboys, but since they were being done by Stan and Jack, and Dick Ayers, and who you will, they were basically Marvel Comics telling the superheroes of the mid-19th Century. And Sgt. Fury was the superhero of the mid-20th Century.” Whilst the superhero (and even Sgt. Fury) stories were reprinted in chronological order, the Western reprints were seemingly random. Was this because they tended to be standalone stories? Duffy agrees with that aspect: “But more than that, I’m not absolutely certain that people were taking good care of the original printing film of the Western comics. Back when these books were being done, nobody was much looking to a future where they would be reprinted and used again. There was a general attitude that this was

WESTERNS ON THE WAY OUT

Marvel Milestones Revisited Sal Buscema re-interpreted two of Marvel’s most notable moments with his covers for (right) Marvel Tales #29 (Jan. 1971) and (left) Marvel’s Greatest Comics #36 (July 1972; original art courtesy of Heritage). TM & © Marvel Characters, Inc.

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A TREASURY TALE by Roger Stern

As part of my reprint duties, I had to supervise and proofread Marvel’s tabloid-sized Treasury Editions. And since the page proportions of tabloids were slightly different, some of the panels would have to be trimmed for the pages to fit properly. This often meant taking as much as quarter-inch or more off each row of panels—not just each page, but each row of panels— usually, but not always, from the bottom of those rows. And often, our production staff would start working on trimming Photostats of the pages before I even saw them. Now, generally that wasn’t a problem; much as you hate to see any artwork get cut for publication, the sense of the story was preserved, and that was what mattered the most. Then came the Howard the Duck Treasury Edition [Marvel Treasury Edition #12, 1976]. Howard’s not very tall, is he? (Can you see where this is going?) In addition to a new Duck story—which was already drawn in proportion to the tabloid size—the Treasury reprinted Howard’s first appearance from the Man-Thing series, his backups from Giant-Size Man-Thing, and the first issue of Howard the Duck. So, by the time I saw the pasted-up stats for the reprint section, the bottom portion of most panels had already been trimmed and discarded … with the result that Howard had practically been trimmed out of the stories. On many pages, all I saw was the top of his feathery head and his word balloons. The production department had to shoot a whole new set of stats, which I then went over with a blue pencil, indicating where to trim them. This required moving more word balloons, but at least Howard no longer was missing from his own Treasury. TM & © Marvel Characters, Inc.

throwaway entertainment. On the other hand, Sgt. Fury had the advantage of having been folded into the superhero continuity. So they were willing to allow the possibility that they might need Sgt. Fury again (plus it had a much more serialized narrative). But the cowboy comics, I think people didn’t take good care to make sure all of that material remained available for future use.”

SUPERHEROES ON THE SLIDE

(below) Dick Ayers and Frank Giacoia’s cover art for the then-reprint series Sgt. Fury #115 (Oct. 1973). Courtesy of Anthony Snyder (www.anthonyscomicbookart.com). TM & © Marvel Characters, Inc.

TM & © Marvel Characters, Inc.

Marvel Double Feature #16 (June 1976) reprinted Tales of Suspense #92 (Aug. 1967), which originally featured Cap’s immortal line (see inset): “Only one of us is going to walk out of here under his own steam … and it won’t be me!” (This was featured as Marvel’s greatest blooper in The Official Marvel No-Prize Book #1, Jan. 1983.) The line was changed appropriately in the reprint. Stern admits, “Yes, I was the one who caught Cap’s incredibly humble line and fixed it.”

World War II Revisited

Stern gleefully inserted “Goodbye Linda Brown” into Marvel Tales #83 (Sept. 1977). This short story from Strange Tales #97 (June 1962) featured the wheelchair-bound Linda farewelling her Aunt May and Uncle Ben. After Marvel Double Feature #21 (Mar. 1977) reprinted the Captain America stories from Tales of Suspense #98–99 (Feb.–Mar. 1969) the title was canceled. It was superseded by Marvel Super Action #1 (May 1977), reprinting Captain America #100 (Apr. 1968). The Cap reprints continued for 13 issues, except for a Uranian interruption in issue #4 (Nov. 1977): “The Marvel Boy reprints came about because someone in Marvel’s legal department decided that we needed to cover-feature Marvel Boy in something in order to renew the copyright or the trademark or both,” explains Stern. “Marvel Super Action was just the easiest place to do that.” The cover date of March 1979 saw the publication of Marvel’s Greatest Comics #82 (reprinting Fantastic Four #102, Sept. 1970). The next month produced Marvel Triple Action #47 (reprinting Avengers #54, July 1968) and Marvel Super Action #13 (reprinting Captain America #111,

Marvel Bronze Age Giants and Reprints

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The same month also saw the debut of three new reprint series with Mar. 1969). All three titles then disappeared—in the middle of ongoing storylines. Kid Colt Outlaw #229 (Apr. 1979) and Rawhide Kid #151 recycled names: Amazing Adventures reprinted X-Men #1 (Sept. 1963), (May 1979) were the last of the Western books. Only Marvel Tales, Fantasy Masterpieces #1 reprinted Silver Surfer #1 (Aug. 1968), and Tales to Astonish #1 reprinted Sub-Mariner #1 (May 1968). Marvel Super-Heroes, and Sgt. Fury remained. Much like its previous volume, Fantasy Masterpieces was Marvel’s Greatest Comics #83 (reprinting Fantastic Four a squarebound book. But even 34–36 pages of story wasn’t #103, Oct. 1970) and Marvel Super Action #14 (reprinting enough to reprint the 38–40-page stories from the first Avengers #55, Aug. 1968) returned with December seven issues of the Surfer’s solo series. When the original 1979 cover dates, with Danny Fingeroth officially Surfer stories decreased to 20 pages in length (issue credited as reprint editor. “I came to Marvel in 1977 #8), Fantasy Masterpieces used the extra space to as Larry Lieber’s assistant editor/production manager start reprinting Jim Starlin’s Adam Warlock saga on the British Weeklies,” Fingeroth reminisces. from Strange Tales #178 (Feb. 1975). “Much of my job involved preparing reprints for The first seven issues of (Uncanny) X-Men ranged British use, so I gained experience with reprints between 22–24 pages each. Rather than cut them all doing that. down to 17 pages, each early story was split across “When the British department went fully to two issues when reprinted in Amazing Adventures. England I became British liaison, as well as general The extra space was filled using X-Men origin backassistant to Sol Brodsky and to Jim Shooter. During ups which had originally appeared in X-Men #38–48 that period, among numerous other tasks, I was danny fingeroth (Nov. 1967–Sept. 1968). given several reprint titles to edit, and Shooter Fingeroth had nothing to do with any of these approved when I requested to list my name as reprint editor. So the only titles on which I was reprint editor were the decisions, and admits he doesn’t know who did, but it was his responsibility to shorten the Sub-Mariner and Silver Surfer stories. “I was a huge Marvel ones with my name so-indicated in the credits.” fan as a kid, and cared enough about comics to seek out a job at Marvel, but I wasn’t a product of ‘capital-F’ Fandom,” Fingeroth says. “I saw trimming the pages as a challenge, kind of like doing a puzzle. To me (and everyone else, really), these were reprints which were literally being put out to fill pages to honor a commitment to advertisers.” Fingeroth has a theory about the reprints: “My impression was that Marvel had promised advertisers who bought ads in the entire line that their ads would appear in a minimum number of comics. To honor those agreements, Marvel had to have titles out on the stands. I don’t know if the commitment regarded number of titles or number of printed comic books. So to fulfill that commitment—perhaps because Marvel had canceled other titles—the reprint comics I was editing came into being.” With X-Men stories split across two comics, a new cover and splash page had to be prepared for every second issue. Fingeroth enlisted Bob Budiansky, John Byrne, and Al Milgrom to provide covers. “Carmine Infantino penciled the new splash for the reprint of the second half of X-Men #2 [in Amazing Adventures #4].” Milgrom remembers the covers and splash pages: “I was trying my darnedest to channel my inner Kirby/Reinman. I was moderately successful, I think. Very happy with those.” Budiansky enjoyed the assignment, too: “I don’t remember feeling that I was having extra fun drawing the original X-Men. I didn’t have a close association, as an editor, artist, or fan, with that version of the X-Men, so I wasn’t craving to draw a cover featuring them. But I enjoyed drawing those covers.” As discussed by Duffy and Stern, Marvel’s comics suddenly found themselves with five extra pages of content in November 1980 coverdated books. The reprint titles began including extra material, but this couldn’t stave off cancellation. After only 14 issues each, these last three reprint attempts—as well as Marvel’s Greatest Comics—were canceled at the start of 1981. “I’d guess that either the commitment Marvel had made to advertisers had run out, or else the company had enough new titles to fulfill the commitment,” opines Fingeroth. “People generally did not know things were canceled until they sent them off to the printer,” remembers Duffy. “It wasn’t that they weren’t telling you, it was probably that someone was hard at work on the next reprint and a boss walked in and said, ‘Oh, we don’t do that anymore.’ ” One exception was Sgt. Fury. Tom DeFalco was in charge of the title for its last year: “I do recall that I was told the book was

From Droom to Druid Amazing Adventures’ Dr. Droom (top) was rebranded Dr. Druid for Bronze Age readers in (bottom left) Weird Wonder Tales. (bottom right) The renamed character got a second lease on life after the WWT reprints. TM & © Marvel Characters, Inc.

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scheduled for cancellation and decided to end it with a because I was a big fan of the Lee/Ditko stories, followed by the Lee/Romita material.” reprint of Sgt. Fury #1,” DeFalco tells BI. Marvel Tales didn’t remain alone. Another Tales of Marvel Super Action #37 (Nov. 1981), Sgt. Fury #167 (Dec. 1981), and Marvel Super-Heroes #105 (Jan. 1982) Asgard one-shot (Feb. 1984) reprinted stories about Fafnir were the final issues of those titles. Only one reprint and Harokin—complementing Walt Simonson’s thencurrent Thor run. Classic X-Men (starting from Giant-Size book remained. Marvel Tales continued reprinting Spider-Man stories X-Men #1) ran for 110 issues from Sept. 1986 to Aug. 1995. When a new Ghost Rider roared off the stands, until issue #291 (Nov. 1994). However, issue #137 The Original Ghost Rider and The Original Ghost (Mar. 1982) marked a big change in direction. Rider Rides Again soon followed. Conan Editor DeFalco reprinted Spidey’s origin Classic and Sabretooth Classic reprinted from Amazing Fantasy #15 (Sept. 1962), original appearances in an affordable as well as Dr. Strange’s origin from format. X-Men: The Early Years and Strange Tales #115 (Dec. 1963), before Spider-Man Classics started all the way continuing the reprints from Amazing back at issue #1 once again. There were Spider-Man #1 (Mar. 1963). “I’m sure others, but never as many as the Bronze I discussed the decision with Mark Age heyday of 30 reprint titles at a time. Gruenwald, who was my assistant at the time,” explains DeFalco. “Neither Even though some reprints were one of us was particularly enthusiastic churned out with little care, it’s clear about the then-current reprints in the that there were some creators who had book, and we both thought that going a love of the medium, and the material, back to the beginning might spark tom defalco and were doing the best they could. sales. We also thought going back “When I started it was still something Luigi Novi / Wikimedia Commons. would tie in with the whole ‘back to of a mom-and-pop operation, and everybasics’ approach that we were attempting with the then-new material we were preparing for the Spider-Man body was great about working together and doing what books. We sort of timed everything to quietly signal a was needed,” reminisces Duffy. “We all had just a wonderful and hilariously good time. And I assure you, I said to any new approach to all the Spider-titles.” Another famous mistake highlighted in the No-Prize poor soul who would stand still and listen, that I had the Book occurred in Amazing Spider-Man #3 (July 1963), best job in the world, and I still think that’s true.” wherein Dr. Octopus addressed Spider-Man as Superman. The author would like to express This was adjusted accordingly in Marvel Tales #140 his sincere gratitude to Rich Buckler, (June 1982). “I made a lot of corrections in the reprint Bob Budiansky, Sal Buscema, Gerry titles,” states DeFalco. “One reviewer at the time was so Conway, Tom DeFalco, Jo Duffy, Scott incensed with some of my changes that she suggested Edelman, Danny Fingeroth, Allen that someone should bring a gun to a convention and Milgrom, Roger Stern, Roy Thomas, ‘blow me away.’ (Contrary to current opinion, the and Irene Vartanoff. Internet didn’t invent inappropriate behavior.) Anyway, JARROD BUTTERY lives in Perth, I contacted her publisher and informed him that my Western Australia. He grew up lawyer had a copy of her article and would sue the on Marvel’s reprints—long before publication, the editorial staff, and him personally if that trade paperbacks or online editions, assassination ever came to pass.” Crazies aside, DeFalco they were the only way to read admits the assignment was fun: “I was having a ball vintage stories. Marvel Bronze Age Giants and Reprints

Waning Years The House of Ideas’ reprints titles began trickling away in the late 1970s. Here are three books that launched during that time: (left) Marvel Super Action #1 (May 1977), (center) Fantasy Masterpieces #1 (Dec. 1979), and (right) Tales to Astonish #1 (Dec. 1979). TM & © Marvel Characters, Inc.

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MARVEL BRONZE AGE SUPERHERO AND ADVENTURE SERIES REPRINT INDEX 1970–1986 [Editor’s note: The sheer volume of reprint series published by Mighty Marvel during the Bronze Age prohibits their indexes from appearing in a single issue of BACK ISSUE, even an extra-sized edition like this one. Joltin’ Jarrod Buttery has indexed them all, however, and those non-superhero and adventure Marvel reprint titles’ indexes will be serialized in future issues, beginning in BI #92 with the horror anthologies.] ADVENTURES ON THE PLANET OF THE APES ADVENTURES ON THE PLANET OF THE APES #1 Oct. 1975 Cover artists: Rich Buckler and Joe Sinnott Editor: Tony Isabella Reprints: • “Planet of the Apes” from Planet of the Apes (magazine) #1 (Aug. 1974) ADVENTURES ON THE PLANET OF THE APES #2 Nov. 1975 Cover artists: Rich Buckler and Dan Adkins Editor: Tony Isabella Reprints: • “World of Captive Humans” from Planet of the Apes (magazine) #2 (Oct. 1974) ADVENTURES ON THE PLANET OF THE APES #3 Dec. 1975 Cover artists: Ron Wilson and Vince Colletta Editor: Tony Isabella Reprints: • “Manhunt!” from Planet of the Apes (magazine) #3 (Dec. 1974) ADVENTURES ON THE PLANET OF THE APES #4 Feb. 1976 Cover artists: Gil Kane and Frank Giacoia Editor: Tony Isabella Reprints: • “Trial” from Planet of the Apes (magazine) #4 (Jan. 1975) ADVENTURES ON THE PLANET OF THE APES #5 Apr. 1976 Cover artists: Rich Buckler and Klaus Janson Editor: Tony Isabella Reprints: • “Into the Forbidden Zone” from Planet of the Apes (magazine) #5 (Feb. 1975) ADVENTURES ON THE PLANET OF THE APES #6 June 1976 Cover artists: Jim Starlin and Klaus Janson Editor: Tony Isabella Reprints: • “The Secret” from Planet of the Apes (magazine) #6 (Mar. 1975)

ADVENTURES ON THE PLANET OF THE APES #7 Aug. 1976 Cover artists: Michael Nasser (Netzer) and Klaus Janson Editor: Tony Isabella Reprints: • “Beneath the Planet of the Apes” from Planet of the Apes (magazine) #7 (Apr. 1975) ADVENTURES ON THE PLANET OF THE APES #8 Sept. 1976 Cover artists: Gil Kane and Mike Esposito Editor: Tony Isabella Reprints: • “Enslaved!” from Planet of the Apes (magazine) #7 (Apr. 1975) ADVENTURES ON THE PLANET OF THE APES #9 Oct. 1976 Cover artist: Alfredo Alcala Editor: Tony Isabella Reprints: • “The Warhead Messiah” from Planet of the Apes (magazine) #8 (May 1975) ADVENTURES ON THE PLANET OF THE APES #10 Nov. 1976 Cover artists: Paty Anderson and Klaus Janson Editor: Tony Isabella Reprints: • “Children of the Bomb” condensed from Planet of the Apes (magazine) #9 and 10 (June and July 1975) ADVENTURES ON THE PLANET OF THE APES #11 Dec. 1976 Cover artist: unknown Editor: Tony Isabella Reprints: • “The Hell of Holocaust” condensed from Planet of the Apes (magazine) #10 and 11 (July and Aug. 1975) AMAZING ADVENTURES AMAZING ADVENTURES #1 Dec. 1979 Cover artists: Jack Kirby and Sol Brodsky Editor: Danny Fingeroth Reprints: • X-Men in “X-Men [Part 1]” from X-Men #1 (Sept. 1963) • Professor X in “A Man Called … X” from X-Men #38 (Nov. 1967) AMAZING ADVENTURES #2 Jan. 1980 Cover artists: Bob Budiansky and Danny Villamonte Editor: Danny Fingeroth Special features: Beast and Cyclops pinups by Jack Kirby Reprints: • X-Men in “X-Men [Part 2]” from X-Men #1 (Sept. 1963) • Cyclops in “Lonely are the Hunted” from X-Men #39 (Dec. 1967)

AMAZING ADVENTURES #3 Feb. 1980 Cover artists: Bob Budiansky and Mike Esposito Editor: Danny Fingeroth Special feature: Marvel Girl pinup by Jack Kirby Reprints: • X-Men in “No One Can Stop the Vanisher! [Part 1]” from X-Men #2 (Nov. 1963) • Cyclops in “The First Evil Mutant” from X-Men #40 (Jan. 1968) AMAZING ADVENTURES #4 Mar. 1980 Cover artists: Jack Kirby and Paul Reinman Editor: Danny Fingeroth Reprints: • X-Men in “No One Can Stop the Vanisher! [Part 2]” from X-Men #2 (Nov. 1963) • Cyclops in “The Living Diamond!” from X-Men #41 (Feb. 1968) AMAZING ADVENTURES #5 Apr. 1980 Cover artists: Jack Kirby and Sol Brodsky Editor: Danny Fingeroth Reprints: • X-Men in “Beware of … the Blob! [Part 1]” from X-Men #3 (Jan. 1964) • Cyclops in “The End … or the Beginning?” from X-Men #42 (Mar. 1968) AMAZING ADVENTURES #6 May 1980 Cover artists: John Byrne and Joe Rubinstein Editor: Danny Fingeroth Reprints: • X-Men in “Beware of … the Blob! [Part 2]” from X-Men #3 (Jan. 1964) • Cyclops in “Call Him … Cyclops” from X-Men #43 (Apr. 1968) AMAZING ADVENTURES #7 June 1980 Cover artists: Jack Kirby and George Roussos Editor: Danny Fingeroth Reprints: • X-Men in “The Brotherhood of Evil Mutants! [Part 1]” from X-Men #4 (Mar. 1964) • Iceman in “The Iceman Cometh!” from X-Men #44 (May 1968) AMAZING ADVENTURES #8 July 1980 Cover artist: Al Milgrom Editor: Danny Fingeroth Reprints: • X-Men in “The Brotherhood of Evil Mutants! [Part 2]” from X-Men #4 (Mar. 1964) • Cyclops and Iceman in “And The Mob Cried ... Vengeance!” from X-Men #45 (June 1968) AMAZING ADVENTURES #9 Aug. 1980 Cover artists: John Byrne and Al Milgrom

Editor: Danny Fingeroth Reprints: • X-Men in “Trapped: One X-Man! [Part 1]” from X-Men #5 (May 1964) • Cyclops and Iceman in “…And Then There Were Two” from X-Men #46 (July 1968) AMAZING ADVENTURES #10 Sept. 1980 Cover artists: Jack Kirby and Paul Reinman, with Marie Severin (alterations) Editor: Danny Fingeroth Reprints: • X-Men in “Trapped: One X-Man! [Part 2]” from X-Men #5 (May 1964) • Iceman in “I, the Iceman” from X-Men #47 (Aug. 1968) AMAZING ADVENTURES #11 Oct. 1980 Cover artist: Al Milgrom Editor: Danny Fingeroth Special features: X-Men/Fantastic Four/ Mad Thinker’s Awesome Android pinup by Jack Kirby; X-Men/ Spider-Man pinup by Dan Adkins Reprints: • X-Men in “Sub-Mariner Joins the Evil Mutants [Part 1]” from X-Men #6 (July 1964) • Beast in “Yours Truly the Beast” from X-Men #48 (Sept. 1968) AMAZING ADVENTURES #12 Nov. 1980 Cover artists: Jack Kirby and Chic Stone Editor: Danny Fingeroth Reprints: • X-Men in “Sub-Mariner! Joins the Evil Mutants [Part 2]” from X-Men #6 (July 1964) • Nick Fury in “Today Earth Died” from Strange Tales #168 (May 1968) AMAZING ADVENTURES #13 Dec. 1980 Cover artists: Jack Kirby and Chic Stone Editor: Danny Fingeroth Reprints: • X-Men in “The Return of the Blob” from X-Men #7 (Sept. 1964) AMAZING ADVENTURES #14 Jan. 1981 Cover artists: Jack Kirby and Chic Stone Editor: Danny Fingeroth Special features: Iceman vs. Magneto and Angel pinups by Werner Roth Reprints: • X-Men in “The Uncanny Threat of … Unus the Untouchable!” from X-Men #8 (Nov. 1964) FANTASY MASTERPIECES FANTASY MASTERPIECES #1 Dec. 1979 Cover artists: John Buscema and Joe Sinnott Editor: Danny Fingeroth Reprints: • Silver Surfer in “The Origin of the Silver Surfer!” from Silver Surfer #1 (Aug. 1968)

TM & © Marvel Characters, Inc. except Planet of the Apes TM & © 20th Century Fox.

16 • BACK ISSUE • Marvel Bronze Age Giants and Reprints

FANTASY MASTERPIECES #2 Jan. 1980 Cover artists: John Buscema and Joe Sinnott Editor: Danny Fingeroth Reprints: • Silver Surfer in “When Lands the Saucer!” from Silver Surfer #2 (Oct. 1968) FANTASY MASTERPIECES #3 Feb. 1980 Cover artists: John Buscema and Joe Sinnott Editor: Danny Fingeroth Reprints: • Silver Surfer in “The Power and the Prize!” from Silver Surfer #3 (Dec. 1968) FANTASY MASTERPIECES #4 Mar. 1980 Cover artists: John Buscema and Sal Buscema Editor: Danny Fingeroth Reprints: • Silver Surfer (and Thor) in “The Good, the Bad, and the Uncanny!” from Silver Surfer #4 (Feb. 1969) FANTASY MASTERPIECES #5 Apr. 1980 Cover artist: John Romita, Sr. Editor: Danny Fingeroth Reprints: • Silver Surfer in “—And Who Shall Mourn for Him?” from Silver Surfer #5 (Apr. 1969) FANTASY MASTERPIECES #6 May 1980 Cover artists: John Buscema and Sal Buscema Editor: Danny Fingeroth Reprints: • Silver Surfer in “Worlds Without End!” from Silver Surfer #6 (June 1969) FANTASY MASTERPIECES #7 June 1980 Cover artists: John Buscema and Sal Buscema Editor: Danny Fingeroth Reprints: • Silver Surfer in “The Heir of Frankenstein!” from Silver Surfer #7 (Aug. 1969) FANTASY MASTERPIECES #8 July 1980 Cover artists: John Buscema and Dan Adkins Editor: Danny Fingeroth Reprints: • Silver Surfer in “Now Strikes the Ghost!” from Silver Surfer #8 (Sept. 1969) • Warlock in “Who is Adam Warlock?” from Strange Tales #178 (Feb. 1975) FANTASY MASTERPIECES #9 Aug. 1980 Cover artists: John Buscema and Dan Adkins Editor: Danny Fingeroth Reprints: • Silver Surfer in “—To Steal the Surfer’s Soul!” from Silver Surfer #9 (Oct. 1969) • Warlock in “Death Ship!” from Strange Tales #179 (Apr. 1975)

FANTASY MASTERPIECES #10 Sept. 1980 Cover artists: John Buscema and Dan Adkins Editor: Danny Fingeroth Reprints: • Silver Surfer in “A World He Never Made!” from Silver Surfer #10 (Nov. 1969) • Warlock in “The Judgment!” from Strange Tales #180 (June 1975) FANTASY MASTERPIECES #11 Oct. 1980 Cover artists: John Buscema and Dan Adkins Editor: Danny Fingeroth Reprints: • Silver Surfer in “O, Bitter Victory!” from Silver Surfer #11 (Dec. 1969) • Warlock in “1000 Clowns!” from Strange Tales #181 (Aug. 1975) FANTASY MASTERPIECES #12 Nov. 1980 Cover artists: John Buscema and Dan Adkins Editor: Danny Fingeroth Special feature: The Mighty Marvel Cover Gallery: Warlock #9 (Oct. 1975) Reprints: • Silver Surfer in “Gather, Ye Witches!” from Silver Surfer #12 (Jan. 1970) • Warlock in “The Infinity Effect” from Warlock #9 (Oct. 1975) FANTASY MASTERPIECES #13 Dec. 1980 Cover artists: John Buscema and Dan Adkins Editor: Danny Fingeroth Reprints: • Silver Surfer in “The Dawn of the Doomsday Man!” from Silver Surfer #13 (Feb. 1970) • Warlock in “How Strange My Destiny!” from Warlock #10 (Dec. 1975) FANTASY MASTERPIECES #14 Jan. 1981 Cover artists: John Buscema and John Romita, Sr. Editor: Danny Fingeroth Reprints: • Silver Surfer (and Spider-Man) in “The Surfer and the Spider!” from Silver Surfer #14 (Mar. 1970) • Warlock in “How Strange My Destiny Part 2” from Warlock #11 (Feb. 1975) HUMAN TORCH HUMAN TORCH #1 Sept. 1974 Cover artists: John Romita, Sr. and Joe Sinnott Editor: Roy Thomas Reprints: • Human Torch in “Johnny Storm, the Human Torch” from Strange Tales #101 (Oct. 1962) • Golden Age Human Torch in “Horror Hotel!” from The Human Torch #33 (Nov. 1948) HUMAN TORCH #2 Nov. 1974 Cover artists: Larry Lieber and John Romita, Sr. Editor: Roy Thomas

Reprints: • Human Torch in “Prisoner of the Wizard” from Strange Tales #102 (Nov. 1962) • Golden Age Human Torch in “The Hyena Strikes!” from The Human Torch #30 (May 1948) HUMAN TORCH #3 Jan. 1975 Cover artists: Ron Wilson and Frank Giacoia Editor: Roy Thomas Reprints: • Human Torch in “Prisoner of the 5th Dimension!” from Strange Tales #103 (Dec. 1962) • Golden Age Human Torch in “Reptile’s Revenge!” from Sub-Mariner Comics #23 (Summer 1947) HUMAN TORCH #4 Mar. 1975 Cover artists: Ron Wilson and Frank Giacoia Editor: Len Wein Reprints: • Human Torch in “The Human Torch Meets Paste-Pot Pete!” from Strange Tales #104 (Jan. 1963) • Golden Age Human Torch in “The World’s End” from The Human Torch #38 (Aug. 1954) HUMAN TORCH #5 May 1975 Cover artists: Gil Kane and Al Milgrom Editor: Len Wein Reprints: • Human Torch in “The Return of the Wizard!” from Strange Tales #105 (Feb. 1963) • Golden Age Human Torch in “In Korea!” from The Human Torch #38 (Aug. 1954) HUMAN TORCH #6 July 1975 Cover artists: Gil Kane and Vince Colletta Editor: Len Wein Reprints: • Human Torch in “The Threat of the Torrid Twosome” from Strange Tales #106 (Mar. 1963) • Golden Age Human Torch in “Flame On!” from The Human Torch #38 (Aug. 1954) HUMAN TORCH #7 Sept. 1975 Cover artists: Ron Wilson and Frank Giacoia Editor: Len Wein Reprints: • Human Torch in “The Master of Flame vs. the Monarch of the Sea!!” from Strange Tales #107 (Apr. 1963) • Golden Age Human Torch in “Human Torch—Fugitive at Large!” from Sub-Mariner Comics #35 (Aug. 1954) HUMAN TORCH #8 Nov. 1975 Cover artists: Ron Wilson and Frank Giacoia Editor: Marv Wolfman Reprints: • Human Torch in “The Painter of a Thousand Perils!” from Strange Tales #108 (May 1963) • Golden Age Human Torch in

“The Un-Human!” from Marvel Super-Heroes #16 (Sept. 1968) JUNGLE ACTION [Editor’s note: The 1972 revival of the adventure anthology series Jungle Action began as an all-reprint title. Beginning with issue #6, an all-new Black Panther series headlined the title, with a backup reprint in each issue, until new material took over the magazine with issue #8. Only the issues of Jungle Action that included reprints are indexed below.] JUNGLE ACTION #1 Oct. 1972 Cover artist: John Buscema Editor: Roy Thomas Reprints: • Lorna in “Agu the Giant!” from Lorna the Jungle Queen #1 (July 1953) • Tharn (originally Lo-Zar) in “The Trail of Sudden Death!” from Jungle Action #1 (Oct. 1954) • The Unknown Jungle: “Striped Fury!” from Jann of the Jungle #14 (Dec. 1956) • Jann in “Double Danger!” from Jann of the Jungle #14 (Dec. 1956) JUNGLE ACTION #2 Dec. 1972 Cover artist: Gil Kane Editor: Roy Thomas Reprints: • Lorna in “Jungle Uprising” from Lorna the Jungle Queen #1 (July 1953) • Tharn (originally Lo-Zar) in [“Red Poison”] from Jungle Action #2 (Dec. 1954) • Man-Oo in “Survival of the Mighty!” from Jungle Action #1 (Oct. 1954) • Jann in “The Day of Jungle Wrath!” from Jann of the Jungle #14 (Dec. 1956) JUNGLE ACTION #3 Feb. 1973 Cover artists: Jim Starlin and Frank Giacoia Editor: Roy Thomas Reprints: • Tharn (originally Lo-Zar) in “Elephant Charge!” from Jungle Action #4 (Apr. 1955) • Lorna in “The Devil’s Lagoon” from Lorna the Jungle Queen #4 (Dec. 1953) • The Unknown Jungle: “The Challenge of the Pit!” from Jungle Tales #1 (Sept. 1954) • Jann in “Rampage!” from Jungle Tales #1 (Sept. 1954) JUNGLE ACTION #4 Apr. 1973 Cover artists: Gil Kane and Frank Giacoia Editor: Roy Thomas Reprints: • Tharn (originally Lo-Zar) in “Menace from the Past!” from Jungle Action #6 (Aug. 1955) • Lorna in “Wildfire!” from Lorna the Jungle Girl #6 (Mar. 1954) • The Unknown Jungle: “The Judgment of the Beasts!” from Jann of the Jungle #9 (Jan. 1956) • Jann in “With Fang and Talons!” from Jann of the Jungle #9 (Jan. 1956)

TM & © Marvel Characters, Inc.

Marvel Bronze Age Giants and Reprints

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JUNGLE ACTION #5 July 1973 Cover artist: John Romita, Sr. Editor: Roy Thomas Reprints: • Black Panther/The Avengers in “The Monarch and the Man-Ape!” from Avengers #62 (Mar. 1969) JUNGLE ACTION #6 Sept. 1973 Cover artists: Rich Buckler and Frank Giacoia Editor: Roy Thomas Special feature: “Map of the Land of the Wakanda” 1-page filler New story: • Black Panther in “Panther’s Rage!” Reprints: • Lorna in “Double Danger!” from Lorna the Jungle Girl #6 (Mar. 1954) JUNGLE ACTION #7 Nov. 1973 Cover artists: Rich Buckler and Klaus Janson Editor: Roy Thomas Special feature: “Do You Know the Way to Wakanda?” 1/2-page text feature by Steve Gerber New story: • Black Panther in “Death Regiments Beneath Wakanda!” Reprints: • Tales of the Jungle: “The Fury of the Tusk!” from Lorna the Jungle Girl #22 (Dec. 1956) KA-ZAR KA-ZAR #1 Aug. 1970 Cover artists: Marie Severin and John Verpoorten Editor: Stan Lee New Story: • Hercules in “In His Footsteps, the Huntsman of Zeus!!” Reprints: • X-Men in “The Coming of … Ka-Zar!” from X-Men #10 (Mar. 1965) • Daredevil in “The Mystery of the Midnight Stalker!” from Daredevil #24 (Jan. 1967) KA-ZAR #2 Dec. 1970 Cover artists: John Romita, Sr., with Marie Severin (alterations) Editor: Stan Lee New Story: • Angel in “From the Sky ... Winged Wrath!” Reprints: • Daredevil in “Sightless, In a Savage Land!” from Daredevil #12 (Jan. 1966) • Daredevil in “The Secret of Ka-Zar’s Origin!” from Daredevil #13 (Feb. 1966) KA-ZAR #3 Mar. 1971 Cover artists: Marie Severin and Sal Buscema Editor: Stan Lee New Story: • Angel in “…In the Den of the Dazzler!” Reprints: • Spider-Man in “The Coming of Ka-Zar!” from Amazing Spider-Man #57 (Feb. 1968) • Daredevil in “If This Be Justice…!” from Daredevil #14 (Mar. 1966)

MARVEL ADVENTURE

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MARVEL ADVENTURE #1 Dec. 1975 Note: Indicia reads Marvel Adventures Cover artists: Gene Colan and Frank Giacoia Editor: Irene Vartanoff Reprints: • Daredevil in “The Tri-Man Lives!” from Daredevil #22 (Nov. 1966)

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MARVEL ADVENTURE #2 Feb. 1976 Note: Indicia reads Marvel Adventures Cover artists: Gene Colan and Frank Giacoia Editor: Irene Vartanoff Reprints: • Daredevil in “DD Goes Wild!” from Daredevil #23 (Dec. 1966) MARVEL ADVENTURE #3 Apr. 1976 Cover artists: Gene Colan and Frank Giacoia Editor: Roger Stern Reprints: • Daredevil in “The Mystery of the Midnight Stalker!” from Daredevil #24 (Jan. 1967) MARVEL ADVENTURE #4 June 1976 Cover artists: Gene Colan and Frank Giacoia Editor: Roger Stern Reprints: • Daredevil in “Enter: The Leap-Frog!” from Daredevil #25 (Feb. 1967) MARVEL ADVENTURE #5 Aug. 1976 Cover artists: Gene Colan and Frank Giacoia Editor: Roger Stern Reprints: • Daredevil in “Stilt-Man Strikes Again” from Daredevil #26 (Mar. 1967) MARVEL ADVENTURE #6 Oct. 1976 Cover artists: Gene Colan and Frank Giacoia Editor: Roger Stern Reprints: • Daredevil in “Mike Murdock Must Die!” from Daredevil #27 (Apr. 1967) MARVEL DOUBLE FEATURE MARVEL DOUBLE FEATURE #1 Dec. 1973 Cover artists: Jack Kirby and Dick Ayers, with John Romita, Sr. (alterations) Editor: Roy Thomas Reprints: • Iron Man in “The Other Iron Man!” from Tales of Suspense #84 (Dec. 1966) • Captain America in “If a Hostage Should Die!” from Tales of Suspense #77 (May 1966) MARVEL DOUBLE FEATURE #2 Feb. 1974 Cover artists: Jack Kirby and Frank Giacoia (top), Marie Severin and George Tuska (bottom) Editor: Roy Thomas Reprints:

Captain America in “Them!” from Tales of Suspense #78 (June 1966) Iron Man in “Into the Jaws of Death” from Tales of Suspense #85 (Jan. 1967)

MARVEL DOUBLE FEATURE #3 Apr. 1974 Cover artists: Jack Kirby and Frank Giacoia Editor: Roy Thomas Reprints: • Iron Man in “Death Duel for the Life of Happy Hogan!” from Tales of Suspense #86 (Feb. 1967) • Captain America in “The Red Skull Lives!” from Tales of Suspense #79 (July 1966) MARVEL DOUBLE FEATURE #4 June 1974 Cover artists: Jack Kirby and Don Heck, with John Romita, Sr. (alterations) Editor: Roy Thomas Reprints: • Iron Man in “Crisis—At the Earth’s Core!” from Tales of Suspense #87 (Mar. 1967) • Captain America in “He Who Holds the Cosmic Cube” from Tales of Suspense #80 (Aug. 1966) MARVEL DOUBLE FEATURE #5 Aug. 1974 Cover artists: John Romita, Sr. and Frank Giacoia Editor: Roy Thomas Reprints: • Captain America in “The Red Skull Supreme!” from Tales of Suspense #81 (Sept. 1966) • Iron Man in “Beyond All Rescue!” from Tales of Suspense #88 (Apr. 1967) MARVEL DOUBLE FEATURE #6 Oct. 1974 Cover artists: Jack Kirby and Frank Giacoia Editor: Roy Thomas Reprints: • Captain America in “The Maddening Mystery of the Inconceivable Adaptoid!” from Tales of Suspense #82 (Oct. 1966) • Iron Man in “The Monstrous Menace of the Mysterious Melter!” from Tales of Suspense #89 (May 1967) MARVEL DOUBLE FEATURE #7 Dec. 1974 Cover artists: John Romita, Sr. and Frank Giacoia Editor: Irene Vartanoff Reprints: • Captain America in “Enter … the Tumbler!” from Tales of Suspense #83 (Nov. 1966) • Iron Man in “The Golden Ghost!” from Tales of Suspense #90 (June 1967) MARVEL DOUBLE FEATURE #8 Feb. 1975 Cover artists: Jack Kirby and Frank Giacoia Editor: Irene Vartanoff Reprints: • Captain America in “The SuperAdaptoid!” from Tales of Suspense #84 (Dec. 1966) • Iron Man in “The Uncanny Challenge of the Crusher!” from Tales of Suspense #91 (July 1967)

MARVEL DOUBLE FEATURE #9 Apr. 1975 Cover artists: Gil Kane and John Romita, Sr. Editor: Irene Vartanoff Reprints: • Captain America in “The Blitzkrieg of Batroc!” from Tales of Suspense #85 (Jan. 1967) • Iron Man in “Within the Vastness of Viet Nam!” from Tales of Suspense #92 (Aug. 1967) MARVEL DOUBLE FEATURE #10 June 1975 Cover artists: Jack Kirby and Frank Giacoia Editor: Irene Vartanoff Reprints: • Captain America in “The Secret!” from Tales of Suspense #86 (Feb. 1967) • Iron Man in “The Golden Gladiator and ... the Giant!” from Tales of Suspense #93 (Sept. 1967) MARVEL DOUBLE FEATURE #11 Aug. 1975 Cover artists: Gil Kane and Mike Esposito Editor: Irene Vartanoff Reprints: • Captain America in “Wanted: Captain America!” from Tales of Suspense #87 (Mar. 1967) • Iron Man in “The Tragedy and the Triumph!” from Tales of Suspense #94 (Oct. 1967) MARVEL DOUBLE FEATURE #12 Oct. 1975 Cover artist: Gil Kane Editor: Irene Vartanoff Reprints: • Captain America in “If Bucky Lives..!” from Tales of Suspense #88 (Apr. 1967) • Iron Man in “If a Man Be Stone!” from Tales of Suspense #95 (Nov. 1967) MARVEL DOUBLE FEATURE #13 Dec. 1975 Cover artists: Jack Kirby and Frank Giacoia Editor: Irene Vartanoff Reprints: • Captain America in “Back From The Dead!” from Tales of Suspense #89 (May 1967) • Iron Man in “The Deadly Victory!” from Tales of Suspense #96 (Dec. 1967) MARVEL DOUBLE FEATURE #14 Feb. 1976 Cover artists: Gil Kane and Frank Giacoia Editor: Roger Stern Reprints: • Captain America in “…And Men Shall Call Him Traitor!” from Tales of Suspense #90 (June 1967) • Iron Man in “The Coming of … Whiplash!” from Tales of Suspense #97 (Jan. 1968) MARVEL DOUBLE FEATURE #15 Apr. 1976 Cover artists: Gil Kane and Frank Giacoia Editor: Roger Stern Reprints:

TM & © Marvel Characters, Inc.

18 • BACK ISSUE • Marvel Bronze Age Giants and Reprints

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Captain America in “The Last Defeat!” from Tales of Suspense #91 (July 1967) Iron Man in “The Warrior and the Whip!” from Tales of Suspense #98 (Feb. 1968)

MARVEL DOUBLE FEATURE #16 June 1976 Cover artists: Larry Lieber and Frank Giacoia Editor: Roger Stern Reprints: • Captain America in “Before My Eyes, Nick Fury Died!” from Tales of Suspense #92 (Aug. 1967) • Iron Man in “At the Mercy of the Maggia” from Tales of Suspense #99 (Mar. 1968) MARVEL DOUBLE FEATURE #17 Aug. 1976 Cover artists: Rich Buckler and Frank Giacoia Editor: Roger Stern Reprints: • Captain America in “Into the Jaws of ... A.I.M.!” from Tales of Suspense #93 (Sept. 1967) • Iron Man in “The Torrent Without— the Tumult Within!” from Iron Man and Sub-Mariner #1 (Apr. 1968) MARVEL DOUBLE FEATURE #18 Oct. 1976 Cover artists: Jack Kirby and Frank Giacoia Editor: Roger Stern Reprints: • Captain America in “If This Be ... MODOK!” from Tales of Suspense #94 (Oct. 1967) • Iron Man in “Alone Against A.I.M.! [Part 1]” from Iron Man #1 (May 1968) MARVEL DOUBLE FEATURE #19 Dec. 1976 Cover artists: Jack Kirby and John Verpoorten Editor: Roger Stern Special feature: Captain America pinup by Jack Kirby Reprints: • Captain America in “A Time to Die—A Time to Live!” from Tales of Suspense #95 (Nov. 1967) • Iron Man in “Grand Finale! [Part 2]” from Iron Man #1 (May 1968) MARVEL DOUBLE FEATURE #20 Jan. 1977 Cover artists: Jack Kirby and Frank Giacoia Editor: Roger Stern Reprints: • Captain America in “To Be Reborn!” from Tales of Suspense #96 (Dec. 1967) • Captain America in “And So It Begins..!” from Tales of Suspense #97 (Jan. 1968) MARVEL DOUBLE FEATURE #21 Mar. 1977 Cover artists: Jack Kirby and Frank Giacoia Editor: Roger Stern Reprints: • Captain America in “The Claws of the Panther!” from Tales of Suspense #98 (Feb. 1968) • Captain America in “The Man Who Lived Twice!” from Tales of Suspense #99 (Mar. 1968)

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MARVEL SPECTACULAR MARVEL SPECTACULAR #1 Aug. 1973 Cover artists: Jack Kirby and Vince Colletta Editor: Irene Vartanoff Reprints: • Thor in “The Power of Pluto!” from Thor #128 (May 1966) • Tales of Asgard: “The Challenge!” from Journey into Mystery #116 (May 1965) MARVEL SPECTACULAR #2 Sept. 1973 Cover artists: Jack Kirby and Vince Colletta Editor: Irene Vartanoff Reprints: • Thor in “The Verdict of Zeus!” from Thor #129 (June 1966) • Tales of Asgard: “The Sword in the Scabbard!” from Journey into Mystery #117 (June 1965) MARVEL SPECTACULAR #3 Oct. 1973 Cover artists: Jack Kirby and Vince Colletta Editor: Irene Vartanoff Reprints: • Thor in “Thunder in the Netherworld!” from Thor #130 (July 1966) • Tales of Asgard: “The Crimson Hand!” from Journey into Mystery #118 (July 1965)

Tales of Asgard: “The Grim Specter of Mutiny!” from Journey into Mystery #122 (Nov. 1965)

MARVEL SPECTACULAR #8 July 1974 Cover artists: Jack Kirby and Vince Colletta Editor: Irene Vartanoff Reprints: • Thor in “The Thunder God and the Troll!” from Thor #137 (Feb. 1967) • Tales of Asgard: “The Jaws of the Dragon!” from Journey into Mystery #123 (Dec. 1965) MARVEL SPECTACULAR #9 Sept. 1974 Cover artists: Jack Kirby and Vince Colletta Editor: Irene Vartanoff Reprints: • Thor in “The Flames of Battle!” from Thor #138 (Mar. 1967) • Tales of Asgard: “Closer Comes the Swarm!” from Journey into Mystery #124 (Jan. 1966) MARVEL SPECTACULAR #10 Oct. 1974 Cover artists: Jack Kirby and Vince Colletta Editor: Irene Vartanoff Reprints: • Thor in “To Die Like a God!” from Thor #139 (Apr. 1967) • Tales of Asgard: “The Queen Commands” from Journey into Mystery #125 (Feb. 1966)

MARVEL SPECTACULAR #4 Nov. 1973 Cover artists: Jack Kirby and Vince Colletta Editor: Irene Vartanoff Reprints: • Thor in “Behold … the Living Planet!” from Thor #133 (Oct. 1966) • Tales of Asgard: “Gather, Warriors!” from Journey into Mystery #119 (Aug. 1965)

MARVEL SPECTACULAR #11 Nov. 1974 Cover artists: Jack Kirby and Vince Colletta Editor: Irene Vartanoff Reprints: • Thor in “The Growing Man!” from Thor #140 (May 1967) • Tales of Asgard: “The Summons!” from Thor #126 (Mar. 1966)

MARVEL SPECTACULAR #5 Jan. 1974 Cover artists: Jack Kirby and Vince Colletta Editor: Irene Vartanoff Reprints: • Thor in “The People-Breeders!” from Thor #134 (Nov. 1966) • Tales of Asgard: “Set Sail!” from Journey into Mystery #120 (Sept. 1965)

MARVEL SPECTACULAR #12 Dec. 1974 Cover artists: Jack Kirby and Vince Colletta Editor: Irene Vartanoff Reprints: • Thor in “The Wrath of Replicus” from Thor #141 (June 1967) • Tales of Asgard: “The Meaning of … ‘Ragnarok’!” from Thor #127 (Apr. 1966)

MARVEL SPECTACULAR #6 Mar. 1974 Cover artists: Jack Kirby and Vince Colletta Editor: Irene Vartanoff Reprints: • Thor in “The Maddening Menace of the Super-Beast!” from Thor #135 (Dec. 1966) • Tales of Asgard: “Maelstrom!” from Journey into Mystery #121 (Oct. 1965)

MARVEL SPECTACULAR #13 Jan. 1975 Cover artists: Jack Kirby and Vince Colletta Editor: Irene Vartanoff Reprints: • Thor in “The Scourge of the Super Skrull!” from Thor #142 (July 1967) • Tales of Asgard: “Aftermath!” from Thor #128 (May 1966)

MARVEL SPECTACULAR #7 May 1974 Cover artists: Jack Kirby and Vince Colletta Editor: Irene Vartanoff Reprints: • Thor in “To Become an Immortal!” from Thor #136 (Jan. 1967)

MARVEL SPECTACULAR #14 Mar. 1975 Cover artists: Jack Kirby and Vince Colletta Editor: Irene Vartanoff Reprints: • Thor in “—And, Soon Shall Come: the Enchanters” from Thor #143 (Aug. 1967)

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Tales of Asgard: “The Hordes of Harokin!” from Thor #129 (June 1966)

MARVEL SPECTACULAR #15 June 1975 Cover artists: Jack Kirby and Vince Colletta Editor: Irene Vartanoff Reprints: • Thor in “This Battleground Earth!” from Thor #144 (Sept. 1967) • Tales of Asgard: “The Fateful Change!” from Thor #130 (July 1966) MARVEL SPECTACULAR #16 Aug. 1975 Cover artists: Jack Kirby and Vince Colletta, with John Romita, Sr. (alterations) Editor: Irene Vartanoff Reprints: • Thor in “Abandoned on Earth!” from Thor #145 (Oct. 1967) • Tales of Asgard: “The Warlock’s Eye!” from Thor #131 (Aug. 1966) MARVEL SPECTACULAR #17 Sept. 1975 Cover artists: Jack Kirby and Vince Colletta Editor: Irene Vartanoff Reprints: • Thor in “—If the Thunder Be Gone!” from Thor #146 (Nov. 1967) • Tales of Asgard: “The Dark Horse of Death!” from Thor #132 (Sept. 1966) MARVEL SPECTACULAR #18 Oct. 1975 Cover artists: Jack Kirby and Vince Colletta Editor: Irene Vartanoff Reprints: • Thor in “The Wrath of Odin!” from Thor #147 (Dec. 1967) • Tales of Asgard: “Valhalla!” from Thor #133 (Oct. 1966) MARVEL SPECTACULAR #19 Nov. 1975 Cover artists: Jack Kirby and Vince Colletta, with John Romita, Sr. and John Verpoorten (alterations) Editor: Irene Vartanoff Reprints: • Thor in “Let There Be … Chaos!” from Thor #148 (Jan. 1968) • Tales of Asgard: “When Speaks the Dragon!” from Thor #134 (Nov. 1966) MARVEL SUPER ACTION MARVEL SUPER ACTION #1 May 1977 Cover artists: Jack Kirby and Syd Shores, with Joe Sinnott (facial alterations) Editor: Roger Stern Reprints: • Captain America in “This Monster Unmasked!” from Captain America #100 (Apr. 1968) MARVEL SUPER ACTION #2 July 1977 Cover artists: Jack Kirby and Syd Shores Editor: Roger Stern Reprints: • Captain America in “When Wakes the Sleeper!” from Captain America #101 (May 1968)

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Marvel Bronze Age Giants and Reprints

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MARVEL SUPER ACTION #3 Sept. 1977 Cover artists: Jack Kirby and Syd Shores Editor: Roger Stern Reprints: • Captain America in “The Sleeper Strikes!” from Captain America #102 (June 1968) MARVEL SUPER ACTION #4 Nov. 1977 Cover artists: Dave Cockrum and Joe Sinnott Editor: Roger Stern Reprints: • Marvel Boy in [“Marvel Boy and the Lost World”] from Marvel Boy #1 (Dec. 1950) • Marvel Boy in “The Deadly Decision!” from Astonishing #5 (Aug. 1951) MARVEL SUPER ACTION #5 Jan. 1978 Cover artists: Jack Kirby and Syd Shores Editor: Roger Stern Reprints: • Captain America in “The Weakest Link!” from Captain America #103 (July 1968) MARVEL SUPER ACTION #6 Mar. 1978 Cover artists: Jack Kirby and Dan Adkins Editor: Roger Stern Reprints: • Captain America in “Slave of the Skull!” from Captain America #104 (Aug. 1968) MARVEL SUPER ACTION #7 Apr. 1978 Cover artists: Mike Zeck and Joe Sinnott Editor: Roger Stern Reprints: • Captain America in “In the Name of Batroc!” from Captain America #105 (Sept. 1968) MARVEL SUPER ACTION #8 June 1978 Cover artists: Jack Kirby and Frank Giacoia, with John Romita, Sr. (alterations) Editor: Roger Stern Reprints: • Captain America in “Cap Goes Wild!” from Captain America #106 (Oct. 1968) MARVEL SUPER ACTION #9 Aug. 1978 Cover artists: Jack Kirby and Frank Giacoia Editor: Jim Salicrup Reprints: • Captain America in “If the Past Be Not Dead...” from Captain America #107 (Nov. 1968) MARVEL SUPER ACTION #10 Oct. 1978 Cover artists: Jack Kirby and Syd Shores Editor: Jim Salicrup Reprints: • Captain America in “The Snares of the Trapster!” from Captain America #108 (Dec. 1968) MARVEL SUPER ACTION #11 Dec. 1978 Cover artists: Bob Budiansky and Klaus Janson

Editor: Jim Salicrup Reprints: • Captain America in “The Hero That Was!” from Captain America #109 (Jan. 1969) MARVEL SUPER ACTION #12 Feb. 1979 Cover artist: Jim Steranko Editor: Jim Salicrup Reprints: • Captain America in “No Longer Alone!” from Captain America #110 (Feb. 1969) MARVEL SUPER ACTION #13 Apr. 1979 Cover artist: Jim Steranko Editor: Jim Salicrup Reprints: • Captain America in “Tomorrow You Live, Tonight I Die!” from Captain America #111 (Mar. 1969) MARVEL SUPER ACTION #14 Dec. 1979 Cover artists: John Buscema and George Klein Editor: Danny Fingeroth Reprints: • Avengers in “Mayhem Over Manhattan!” from Avengers #55 (Aug. 1968) MARVEL SUPER ACTION #15 Jan. 1980 Cover artists: John Buscema and George Klein Editor: Danny Fingeroth Reprints: • Avengers in “Death Be Not Proud!” from Avengers #56 (Sept. 1968) MARVEL SUPER ACTION #16 Feb. 1980 Cover artists: John Buscema and Frank Giacoia Editor: Danny Fingeroth Reprints: • Avengers in “…And Time the Rushing River…! [Part 1]” from Avengers Annual #2 (Sept. 1968) MARVEL SUPER ACTION #17 Mar. 1980 Cover artists: Don Heck, Werner Roth, and Vince Colletta Editor: Danny Fingeroth Reprints: • Avengers in “The Avengers Must Die! [Part 2]” from Avengers Annual #2 (Sept. 1968) MARVEL SUPER ACTION #18 Apr. 1980 Cover artists: John Buscema and George Klein Editor: Danny Fingeroth Reprints: • Avengers in “Behold … the Vision!” from Avengers #57 (Oct. 1968) MARVEL SUPER ACTION #19 May 1980 Cover artists: John Buscema and George Klein Editor: Danny Fingeroth Reprints: • Avengers in “Even an Android Can Cry” from Avengers #58 (Nov. 1968)

MARVEL SUPER ACTION #20 June 1980 Cover artists: John Buscema and George Klein Editor: Danny Fingeroth Reprints: • Avengers in “The Name is … Yellowjacket!” from Avengers #59 (Dec. 1968) MARVEL SUPER ACTION #21 July 1980 Cover artists: John Buscema and George Klein Editor: Danny Fingeroth Reprints: • Avengers in “…Till Death Do Us Part!” from Avengers #60 (Jan. 1969) MARVEL SUPER ACTION #22 Aug. 1980 Cover artists: John Buscema and George Klein Editor: Danny Fingeroth Reprints: • Avengers in “Some Say the World Will End in Fire... ...Some Say in Ice!” from Avengers #61 (Feb. 1969) MARVEL SUPER ACTION #23 Sept. 1980 Cover artists: John Buscema and George Klein Editor: Danny Fingeroth Reprints: • Avengers in “The Monarch and the Man-Ape!” from Avengers #62 (Mar. 1969) MARVEL SUPER ACTION #24 Oct. 1980 Cover artists: Gene Colan and George Klein Editor: Danny Fingeroth Reprints: • Avengers in “And In This Corner… Goliath!” from Avengers #63 (Apr. 1969) MARVEL SUPER ACTION #25 Nov. 1980 Cover artists: Gene Colan and George Klein Editor: Danny Fingeroth Reprints: • Avengers in “Like a Death Ray From the Sky!” from Avengers #64 (May 1969) • The Hulk in [“Lightning slashes the night…”] from Hulk Comic (Marvel UK) #1 (Mar. 1979) MARVEL SUPER ACTION #26 Dec. 1980 Cover artists: Gene Colan and George Klein, with John Romita, Sr. (alterations) Editor: Danny Fingeroth Reprints: • Avengers in “Mightier Than the Sword?” from Avengers #65 (June 1969) • The Hulk in [“What a homely town…”] from Hulk Comic (Marvel UK) #2 (Mar. 1979) MARVEL SUPER ACTION #27 Jan. 1981 Cover artists: John Buscema and Sam Grainger Editor: Danny Fingeroth Reprints:

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Avengers in “Betrayal!” from Avengers #66 (July 1969) The Hulk in “Hulk Faces the Fury of a Giant Alligator!” from Hulk Comic (Marvel UK) #3 (Mar. 1979)

MARVEL SUPER ACTION #28 Feb. 1981 Cover artists: Sal Buscema and Sam Grainger Editor: Danny Fingeroth Reprints: • Avengers in “We Stand at … Armageddon!” from Avengers #67 (Aug. 1969) • The Hulk in [“Off the Florida coastline sails the cruise ship Paradise…”] from Hulk Comic (Marvel UK) #4 (Mar. 1979) MARVEL SUPER ACTION #29 Mar. 1981 Cover artists: Sal Buscema and Sam Grainger Editor: Danny Fingeroth Reprints: • Avengers in “…And We Battle for the Earth!” from Avengers #68 (Sept. 1969) • The Hulk in [“What’s all this about, Sergeant?”] from Hulk Comic (Marvel UK) #5 (Apr. 1979) MARVEL SUPER ACTION #30 Apr. 1981 Cover artists: Sal Buscema and Sam Grainger Editor: Danny Fingeroth Reprints: • Avengers in “Let the Game Begin” from Avengers #69 (Oct. 1969) • The Hulk in [“State troopers have pursued the Hulk…”] from Hulk Comic (Marvel UK) #6 (Apr. 1979) MARVEL SUPER ACTION #31 May 1981 Cover artists: Sal Buscema and Sam Grainger Editor: Danny Fingeroth Reprints: • Avengers in “When Strikes the Squadron Sinister!” from Avengers #70 (Nov. 1969) • The Hulk in [“Alone—a young man walks sorrowfully…”] from Hulk Comic (Marvel UK) #7 (Apr. 1979) MARVEL SUPER ACTION #32 June 1981 Cover artist: Marie Severin Editor: Danny Fingeroth Reprints: • Avengers in “Endgame!” from Avengers #71 (Dec. 1969) • The Hulk in [“We ain’t found him yet, Sheriff…”] from Hulk Comic (Marvel UK) #8 (Apr. 1979) MARVEL SUPER ACTION #33 July 1981 Cover artists: Sal Buscema and Sam Grainger Editor: Danny Fingeroth Reprints: • Avengers in “Did You Hear the One About Scorpio?” from Avengers #72 (Jan. 1970) MARVEL SUPER ACTION #34 Aug. 1981 Cover artists: Marie Severin and Sam Grainger

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20 • BACK ISSUE • Marvel Bronze Age Giants and Reprints

Editor: Danny Fingeroth Reprints: • Avengers in “The Sting of the Serpent” from Avengers #73 (Feb. 1970) • The Hulk in [“In the lush foliage of the north woods…”] from Hulk Comic (Marvel UK) #9 (May 1979) MARVEL SUPER ACTION #35 Sept. 1981 Cover artists: John Buscema and Tom Palmer Editor: Danny Fingeroth Special feature: “The Avengers Hall of Fame #1: Thor” by Roger Stern and Keith Pollard 2-page filler Reprints: • Avengers in “Pursue the Panther!” from Avengers #74 (Mar. 1970) MARVEL SUPER ACTION #36 Oct. 1981 Cover artists: John Buscema and Tom Palmer Editor: Danny Fingeroth Special feature: “The Avengers Hall of Fame #2: Hulk” by Roger Stern and Keith Pollard 2-page filler Reprints: • Avengers in “The Warlord and the Witch!” from Avengers #75 (Apr. 1970) MARVEL SUPER ACTION #37 Nov. 1981 Cover artists: John Buscema and Tom Palmer Editor: Danny Fingeroth Special features: “The Avengers Hall of Fame #3: Iron Man” by Roger Stern and Bob Budiansky Reprints: • Avengers in “The Blaze of Battle ... the Flames of Love!” from Avengers #76 (May 1970) MARVEL SUPER-HEROES MARVEL SUPER-HEROES #21 July 1969 Cover artists: Marie Severin and John Romita, Sr. Editor: Stan Lee Special features: Cyclops, Marvel Girl, and Beast pinups Reprints: • Avengers in “The Avengers Meet … Sub-Mariner!” from Avengers #3 (Jan. 1964) • X-Men in “No One Can Stop the Vanisher!” from X-Men #2 (Nov. 1963) MARVEL SUPER-HEROES #22 Sept. 1969 Cover artists: Jack Kirby and John Verpoorten Editor: Stan Lee Special features: cover gallery; Daredevil pinup Reprints: • Daredevil in “The Evil Menace of Electro!” from Daredevil #2 (June 1964) • X-Men in “Beware of the Blob!” from X-Men #3 (Jan. 1964) MARVEL SUPER-HEROES #23 Nov. 1969 Cover artists: Jack Kirby and George Roussos (top), Vince Colletta (bottom) Editor: Stan Lee New Story: • Tales of the Watcher: “Melvin and the Martian” reworked from Amazing Adult Fantasy #12 (May 1962)

Reprints: • X-Men in “The Brotherhood of Evil Mutants!” from X-Men #4 (Mar. 1964) • Daredevil in “The Owl, Ominous Overlord of Crime!” from Daredevil #3 (Aug. 1964) MARVEL SUPER-HEROES #24 Jan. 1970 Cover artists: Jack Kirby and Vince Colletta Editor: Stan Lee Reprints: • Daredevil in “Killgrave, the Unbelievable Purple Man!” from Daredevil #4 (Oct. 1964) • “I Was a Decoy for Pildorr: the Plunderer from Outer Space!” from Strange Tales #94 (Mar. 1962) • X-Men in “Trapped: One X-Man!” from X-Men #5 (May 1964) MARVEL SUPER-HEROES #25 Mar. 1970 Cover artists: Jack Kirby and Chic Stone Editor: Stan Lee Reprints: • X-Men in “Sub-Mariner Joins the Evil Mutants” from X-Men #6 (July 1964) • The Hulk in “The Incredible Hulk” from Tales to Astonish #60 (Oct. 1964) • Daredevil in “The Mystery of the Man with the Mask!” from Daredevil #5 (Dec. 1964) MARVEL SUPER-HEROES #26 May 1970 Cover artists: Jack Kirby and Chic Stone (left), Wally Wood (right) Editor: Stan Lee Reprints: • The Hulk in “Where Strides the Behemoth” from Tales to Astonish #67 (May 1965) • X-Men in “The Return of the Blob” from X-Men #7 (Sept. 1964) • Daredevil in “Trapped by the Fellowship of Fear!” from Daredevil #6 (Feb. 1965) MARVEL SUPER-HEROES #27 July 1970 Cover artists: Jack Kirby and John Verpoorten Editor: Stan Lee Reprints: • Daredevil in “In Mortal Combat with ... Sub-Mariner!” from Daredevil #7 (Apr. 1965) • The Hulk in “Back from the Dead” from Tales to Astonish #68 (June 1965) • X-Men in “The Uncanny Threat of … Unus the Untouchable!” from X-Men #8 (Nov. 1964) MARVEL SUPER-HEROES #28 Oct. 1970 Cover artists: Marie Severin and Bill Everett Editor: Roy Thomas Special features: Daredevil pinup; cover gallery Reprints: • Daredevil in “The Stiltman Cometh!” from Daredevil #8 (June 1965) • Iron Man in “My Life For Yours!” from Tales of Suspense #73 (Jan. 1966) • Iron Man in “If This Guilt Be Mine..!” from Tales of Suspense #74 (Feb. 1966) • Iron Man in “The Origin of Iron Man” from Iron Man #1 (May 1968)

MARVEL SUPER-HEROES #29 Jan. 1971 Cover artists: Marie Severin and John Romita, Sr. Editor: Roy Thomas Reprints: • Daredevil in “That He May See!” from Daredevil #9 (Aug. 1965) • “The Watchers!” from Amazing Adventures #5 (Oct. 1961) • “Beware!!! Of the Little Toy Men!!” from Journey into Mystery #58 (May 1960) • Iron Man in “The Fury of … the Freak!” from Tales of Suspense #75 (Mar. 1966) • Iron Man in “Here Lies Hidden … the Unspeakable Ultimo!” from Tales of Suspense #76 (Apr. 1966) MARVEL SUPER-HEROES #30 Apr. 1971 Cover artist: Sal Buscema Editor: Roy Thomas Reprints: • Daredevil in “—And Men Shall Call Him … Ox!” from Daredevil #15 (Apr. 1966) • “The Silent Giant” from Strange Tales #108 (May 1963) • Iron Man in “Ultimo Lives!” from Tales of Suspense #77 (May 1966) • Iron Man in “Crescendo!” from Tales of Suspense #78 (June 1966) • “The Iron Warrior” from Strange Tales #108 (May 1963) MARVEL SUPER-HEROES #31 Nov. 1971 Cover artist: John Romita, Sr. Editor: Roy Thomas Special feature: Daredevil pinup Reprints: • Daredevil in “Alone—Against the Underworld!” from Daredevil #19 (Aug. 1966) • Iron Man in “The Monstrous Menace of the Mysterious Melter!” from Tales of Suspense #89 (May 1967) • “Robot on the Rampage!” from Tales to Astonish #18 (Apr. 1961) • Iron Man in “The Golden Ghost!” from Tales of Suspense #90 (June 1967) MARVEL SUPER-HEROES #32 Sept. 1972 Cover artist: Sal Buscema Editor: Irene Vartanoff Reprints: • The Hulk in “Trapped in the Lair of the Leader!” from Tales to Astonish #69 (July 1965) • Sub-Mariner in “To Walk Amongst Men!” from Tales to Astonish #77 (Mar. 1966) MARVEL SUPER-HEROES #33 Nov. 1972 Cover artists: Jim Starlin and Joe Sinnott, with John Romita, Sr. (alterations) Editor: Irene Vartanoff Reprints: • The Hulk in “The Hulk Must Die!” from Tales to Astonish #78 (Apr. 1966) • Sub-Mariner in “The Prince and the Puppet!” from Tales to Astonish #78 (Apr. 1966)

MARVEL SUPER-HEROES #34 Jan. 1973 Cover artists: Gil Kane and Frank Giacoia Editor: Irene Vartanoff Reprints: • The Hulk in “The Titan and the Torment!” from Tales to Astonish #79 (May 1966) • Sub-Mariner in “When Rises the Behemoth” from Tales to Astonish #79 (May 1966) MARVEL SUPER-HEROES #35 Mar. 1973 Cover artists: Alan Weiss and Frank Giacoia Editor: Irene Vartanoff Reprints: • The Hulk in “They Dwell in the Depths!” from Tales to Astonish #80 (June 1966) • Sub-Mariner in “To the Death!” from Tales to Astonish #80 (June 1966) MARVEL SUPER-HEROES #36 May 1973 Cover artists: Jack Kirby and Bill Everett Editor: Irene Vartanoff Reprints: • The Hulk in “The Stage is Set!” from Tales to Astonish #81 (July 1966) • Sub-Mariner in “When a Monarch Goes Mad!” from Tales to Astonish #81 (July 1966) MARVEL SUPER-HEROES #37 July 1973 Cover artists: Gene Colan and Dick Ayers Editor: Irene Vartanoff Reprints: • Sub-Mariner in “The Power of Iron Man!” from Tales to Astonish #82 (Aug. 1966) • The Hulk in “The Battle Cry of the Boomerang!” from Tales to Astonish #82 (Aug. 1966) MARVEL SUPER-HEROES #38 Sept. 1973 Cover artist: Bill Everett Editor: Irene Vartanoff Reprints: • The Hulk in “Less Than Monster, More Than Man!” from Tales to Astonish #83 (Sept. 1966) • Sub-Mariner in “The Sub-Mariner Strikes!” from Tales to Astonish #83 (Sept. 1966) MARVEL SUPER-HEROES #39 Oct. 1973 Cover artists: Gene Colan and Dick Ayers Editor: Irene Vartanoff Reprints: • The Hulk in “Rampage in the City!” from Tales to Astonish #84 (Oct. 1966) • Sub-Mariner in “Like a Beast at Bay!” from Tales to Astonish #84 (Oct. 1966) MARVEL SUPER-HEROES #40 Nov. 1973 Cover artist: Bill Everett Editor: Irene Vartanoff Reprints: • Sub-Mariner in “—And One Shall Die” from Tales to Astonish #85 (Nov. 1966) • The Hulk in “The Missile and the Monster!” from Tales to Astonish #85 (Nov. 1966)

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Marvel Bronze Age Giants and Reprints

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BACK ISSUE • 21

MARVEL SUPER-HEROES #41 Jan. 1974 Cover artists: Herb Trimpe, with John Romita, Sr. (alterations) Editor: Irene Vartanoff Reprints: • The Hulk in “The Birth of … the Hulk-Killer!” from Tales to Astonish #86 (Dec. 1966) • Sub-Mariner in “The Wrath of Warlord Krang!” from Tales to Astonish #86 (Dec. 1966) MARVEL SUPER-HEROES #42 Mar. 1974 Cover artist: Gil Kane Editor: Irene Vartanoff Reprints: • Sub-Mariner in “Moment of Truth!” from Tales to Astonish #87 (Jan. 1967) • The Hulk in “The Humanoid and the Hero!” from Tales to Astonish #87 (Jan. 1967) MARVEL SUPER-HEROES #43 May 1974 Cover artists: Gene Colan and Bill Everett, with John Romita, Sr. (Hulk head and alternations) Editor: Irene Vartanoff Reprints: • Sub-Mariner in “A Stranger Strikes from Space!” from Tales to Astonish #88 (Feb. 1967) • The Hulk in “The Boomerang and the Brute!” from Tales to Astonish #88 (Feb. 1967) MARVEL SUPER-HEROES #44 July 1974 Cover artist: Gil Kane Editor: Irene Vartanoff Reprints: • Sub-Mariner in “The Prince and the Power!” from Tales to Astonish #89 (Mar. 1967) • The Hulk in “…Then, There Shall Come a Stranger!” from Tales to Astonish #89 (Mar. 1967) MARVEL SUPER-HEROES #45 Sept. 1974 Cover artists: Ron Wilson and Frank Giacoia Editor: Irene Vartanoff Reprints: • The Hulk in “The Abomination!” from Tales to Astonish #90 (Apr. 1967) • Sub-Mariner in “To Be Beaten By Byrrah!” from Tales to Astonish #90 (Apr. 1967) MARVEL SUPER-HEROES #46 Oct. 1974 Cover artist: Gil Kane Editor: Irene Vartanoff Reprints: • The Hulk in “Whosoever Harms the Hulk..!” from Tales to Astonish #91 (May 1967) • Sub-Mariner in “Outside the Gates Waits … Death!” from Tales to Astonish #91 (May 1967) MARVEL SUPER-HEROES #47 Nov. 1974 Cover artist: Jim Starlin Editor: Irene Vartanoff

Reprints: • The Hulk in “Turning Point!” from Tales to Astonish #92 (June 1967) • Sub-Mariner in “It Walks Like a Man!” from Tales to Astonish #92 (June 1967) MARVEL SUPER-HEROES #48 Jan. 1975 Cover artists: Marie Severin and Frank Giacoia Editor: Irene Vartanoff Reprints: • The Hulk in “He Who Strikes the Silver Surfer” from Tales to Astonish #93 (July 1967) • Sub-Mariner in “The Monarch and the Monster!” from Tales to Astonish #93 (July 1967) MARVEL SUPER-HEROES #49 Mar. 1975 Cover artists: Gil Kane and Jim Mooney Editor: Irene Vartanoff Reprints: • The Hulk in “...To the Beckoning Stars!” from Tales to Astonish #94 (Aug. 1967) • Sub-Mariner in “Helpless, at the Hands of Dragorr!” from Tales to Astonish #94 (Aug. 1967) MARVEL SUPER-HEROES #50 May 1975 Cover artists: Marie Severin, with John Romita, Sr. (alterations) Editor: Irene Vartanoff Reprints: • The Hulk in “A World He Never Made!” from Tales to Astonish #95 (Sept. 1967) • Sub-Mariner in “The Power of the Plunderer!” from Tales to Astonish #95 (Sept. 1967) MARVEL SUPER-HEROES #51 July 1975 Cover artists: Ron Wilson and Al Milgrom, with John Romita, Sr. (alterations) Editor: Irene Vartanoff Reprints: • The Hulk in “What Have I Created?” from Tales to Astonish #96 (Oct. 1967) • Sub-Mariner in “Somewhere Stands ... Skull Island!” from Tales to Astonish #96 (Oct. 1967) MARVEL SUPER-HEROES #52 Sept. 1975 Cover artists: Marie Severin and Dan Adkins Editor: Irene Vartanoff Reprints: • The Hulk in “The Legions of the Living Lightning” from Tales to Astonish #97 (Nov. 1967) • Sub-Mariner in “The Sovereign and the Savages” from Tales to Astonish #97 (Nov. 1967) MARVEL SUPER-HEROES #53 Oct. 1975 Cover artists: Ron Wilson and Frank Giacoia Editor: Irene Vartanoff Reprints: • The Hulk in “The Puppet and the Power!” from Tales to Astonish #98 (Dec. 1967) • Sub-Mariner in “…To Destroy the Realm Eternal!” from Tales to Astonish #98 (Dec. 1967)

MARVEL SUPER-HEROES #54 Nov. 1975 Cover artists: Jack Kirby and Vince Colletta Editor: Irene Vartanoff Reprints: • The Hulk in “When the Monster Wakes!” from Tales to Astonish #99 (Jan. 1968) • Sub-Mariner in “When Falls the Holocaust!” from Tales to Astonish #99 (Jan. 1968) MARVEL SUPER-HEROES #55 Jan. 1976 Cover artists: Jack Kirby and Syd Shores, Marie Severin and John Romita, Sr. (alterations) Editor: Irene Vartanoff Reprints: • The Hulk in “Where Walk the Immortals!” from Tales to Astonish #101 (Mar. 1968) • Sub-Mariner in “…And Evil Shall Beckon!” from Tales to Astonish #101 (Mar. 1968) MARVEL SUPER-HEROES #56 Mar. 1976 Cover artists: Ron Wilson and Joe Sinnott Editor: Roger Stern Reprints: • The Hulk in “—This World Not His Own!” from Incredible Hulk #102 (Apr. 1968) MARVEL SUPER-HEROES #57 May 1976 Cover artists: Marie Severin and Frank Giacoia Editor: Roger Stern Reprints: • The Hulk in “And Now … the Space Parasite!” from Incredible Hulk #103 (May 1968) MARVEL SUPER-HEROES #58 July 1976 Cover artists: Marie Severin and Frank Giacoia Editor: Roger Stern Reprints: • The Hulk in “Ring Around the Rhino!” from Incredible Hulk #104 (June 1968) MARVEL SUPER-HEROES #59 Sept. 1976 Cover artists: Marie Severin and Frank Giacoia Editor: Roger Stern Reprints: • The Hulk in “This Monster Unleashed!” from Incredible Hulk #105 (July 1968) MARVEL SUPER-HEROES #60 Oct. 1976 Cover artists: Marie Severin and Frank Giacoia Editor: Roger Stern Reprints: • The Hulk in “Above the Earth— A Titan Rages!” from Incredible Hulk #106 (Aug. 1968) MARVEL SUPER-HEROES #61 Nov. 1976 Cover artists: Marie Severin and Frank Giacoia Editor: Roger Stern

Reprints: • The Hulk in “Ten Rings Hath ... the Mandarin!” from Incredible Hulk #107 (Sept. 1968) MARVEL SUPER-HEROES #62 Jan. 1977 Cover artists: Marie Severin and Frank Giacoia Editor: Roger Stern Reprints: • The Hulk in “Monster Triumphant!” from Incredible Hulk #108 (Oct. 1968) MARVEL SUPER-HEROES #63 Mar. 1977 Cover artists: Herb Trimpe and John Severin Editor: Roger Stern Reprints: • The Hulk in “The Monster and the Man-Beast!” from Incredible Hulk #109 (Nov. 1968) MARVEL SUPER-HEROES #64 May 1977 Cover artists: Herb Trimpe and John Severin Editor: Roger Stern Reprints: • The Hulk in “Umbu, The Unliving!” from Incredible Hulk #110 (Dec. 1968) MARVEL SUPER-HEROES #65 July 1977 Cover artists: Herb Trimpe and Dan Adkins Editor: Roger Stern Reprints: • The Hulk in “Shanghaied in Space!” from Incredible Hulk #111 (Jan. 1969) MARVEL SUPER-HEROES #66 Sept. 1977 Cover artists: Herb Trimpe and Dan Adkins, with Mike Esposito (alterations) Editor: Roger Stern Reprints: • The Hulk in “The Brute Battles On!” from Incredible Hulk #112 (Feb. 1969) MARVEL SUPER-HEROES #67 Nov. 1977 Cover artists: Herb Trimpe and Mike Esposito Editor: Roger Stern Reprints: • The Hulk in “Where Fall the Shifting Sands?” from Incredible Hulk #113 (Mar. 1969) MARVEL SUPER-HEROES #68 Dec. 1977 Cover artists: Herb Trimpe and Dan Adkins, with Dave Cockrum (alternations) Editor: Roger Stern Reprints: • The Hulk in “At Last I Will Have My Revenge!” from Incredible Hulk #114 (Apr. 1969) MARVEL SUPER-HEROES #69 Jan. 1978 Cover artists: Gil Kane and Frank Giacoia Editor: Roger Stern Reprints: • The Hulk in “Lo, the Leader Lives” from Incredible Hulk #115 (May 1969)

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22 • BACK ISSUE • Marvel Bronze Age Giants and Reprints

MARVEL SUPER-HEROES #70 Mar. 1978 Cover artists: Ron Wilson and Joe Sinnott Editor: Roger Stern Reprints: • The Hulk in “The Eve of … Annihilation” from Incredible Hulk #116 (June 1969) MARVEL SUPER-HEROES #71 May 1978 Cover artists: Mike Zeck inked by either Frank Giacoia or Joe Sinnott Editor: Roger Stern Reprints: • The Hulk in “World’s End?” from Incredible Hulk #117 (July 1969) MARVEL SUPER-HEROES #72 July 1978 Cover artist: Herb Trimpe Editor: Jim Salicrup Reprints: • The Hulk in “At the Mercy of— Maximus the Mad!” from Incredible Hulk #119 (Sept. 1969) MARVEL SUPER-HEROES #73 Aug. 1978 Cover artist: Herb Trimpe Editor: Jim Salicrup Reprints: • The Hulk in “On the Side of … the Evil Inhumans!” from Incredible Hulk #120 (Oct. 1969) MARVEL SUPER-HEROES #74 Sept. 1978 Cover artist: Herb Trimpe Editor: Jim Salicrup Reprints: • The Hulk in “The Hulk’s Last Fight!” from Incredible Hulk #122 (Dec. 1969) MARVEL SUPER-HEROES #75 Oct. 1978 Cover artist: Herb Trimpe Editor: Jim Salicrup Reprints: • The Hulk in “No More the Monster!” from Incredible Hulk #123 (Jan. 1970) MARVEL SUPER-HEROES #76 Nov. 1978 Cover artist: Herb Trimpe Editor: Jim Salicrup Reprints: • The Hulk in “The Rhino Says No!” from Incredible Hulk #124 (Feb. 1970)

MARVEL SUPER-HEROES #79 Mar. 1979 Cover artist: Herb Trimpe Editor: Jim Salicrup Reprints: • The Hulk in “Mogol!” from Incredible Hulk #127 (May 1970)

MARVEL SUPER-HEROES #88 May 1980 Cover artist: Herb Trimpe Editor: Jim Salicrup Reprints: • The Hulk in “…Sincerely, the Sandman!” from Incredible Hulk #138 (Apr. 1971)

MARVEL SUPER-HEROES #80 May 1979 Cover artist: Herb Trimpe Editor: Jim Salicrup Reprints: • The Hulk in “And in This Corner ... the Avengers!” from Incredible Hulk #128 (June 1970) MARVEL SUPER-HEROES #81 July 1979 Cover artist: Herb Trimpe Editor: Jim Salicrup Reprints: • The Hulk in “Again, the Glob!” from Incredible Hulk #129 (July 1970)

MARVEL SUPER-HEROES #89 July 1980 Cover artist: Herb Trimpe Editor: Jim Salicrup Reprints: • The Hulk in “Many Foes Has the Hulk!” from Incredible Hulk #139 (May 1971) MARVEL SUPER-HEROES #90 Aug. 1980 Cover artist: Sal Buscema Editor: Jim Salicrup Reprints: • Hulk and the Avengers in “The Summons of Psyklop!” from Avengers #88 (May 1971)

MARVEL SUPER-HEROES #82 Aug. 1979 Cover artists: Ron Wilson and Joe Rubinstein Editor: Jim Salicrup Reprints: • The Hulk in “If I Kill You—I Die!” from Incredible Hulk #130 (Aug. 1970) MARVEL SUPER-HEROES #83 Sept. 1979 Cover artist: Herb Trimpe Editor: Jim Salicrup Reprints: • The Hulk in “A Titan Stalks the Tenements!” from Incredible Hulk #131 (Sept. 1970) MARVEL SUPER-HEROES #84 Oct. 1979 Cover artists: Herb Trimpe and John Severin Editor: Jim Salicrup Reprints: • The Hulk in “In the Hands of Hydra!” from Incredible Hulk #132 (Oct. 1970) MARVEL SUPER-HEROES #85 Nov. 1979 Cover artists: Herb Trimpe and Bill Everett Editor: Jim Salicrup Reprints: • The Hulk in “Day of Thunder— Night of Death!” from Incredible Hulk #133 (Nov. 1970)

MARVEL SUPER-HEROES #77 Dec. 1978 Cover artist: Herb Trimpe Editor: Jim Salicrup Reprints: • The Hulk in “…And Now, the Absorbing Man!” from Incredible Hulk #125 (Mar. 1970)

MARVEL SUPER-HEROES #86 Jan. 1980 Cover artists: Herb Trimpe, with Dave Cockrum (alterations) Editor: Jim Salicrup Reprints: • The Hulk in “Among Us Walks … the Golem!” from Incredible Hulk #134 (Dec. 1970)

MARVEL SUPER-HEROES #78 Jan. 1979 Cover artist: Herb Trimpe Editor: Jim Salicrup Reprints: • The Hulk in “…Where Stalks the Night-Crawler!” from Incredible Hulk #126 (Apr. 1970)

MARVEL SUPER-HEROES #87 Mar. 1980 Cover artist: Herb Trimpe Editor: Jim Salicrup Reprints: • The Hulk in “Descent into the Time-Storm!” from Incredible Hulk #135 (Jan. 1971)

MARVEL SUPER-HEROES #91 Sept. 1980 Cover artist: Herb Trimpe Editor: Jim Salicrup Reprints: • The Hulk in “The Brute … That Shouted Love … At the Heart of the Atom!” from Incredible Hulk #140 (June 1971) MARVEL SUPER-HEROES #92 Oct. 1980 Cover artist: Herb Trimpe Editor: Jim Salicrup Reprints: • The Hulk in “His Name is … Samson!” from Incredible Hulk #141 (July 1971) MARVEL SUPER-HEROES #93 Nov. 1980 Cover artists: Herb Trimpe and John Severin Editor: Jim Salicrup Reprints: • The Hulk in “They Shoot Hulks, Don’t They?” from Incredible Hulk #142 (Aug. 1971) • The Bulk in “The Origin of Brucie Banter … and Friend [Part 1]” from Not Brand Echh #3 (Oct. 1967) MARVEL SUPER-HEROES #94 Jan. 1981 Cover artists: Herb Trimpe and John Severin Editor: Jim Salicrup Reprints: • The Hulk in “Godspawn [Part 1]” from Incredible Hulk #145 (Nov. 1971) • The Bulk in “The Origin of Brucie Banter … and Friend [Part 2]” from Not Brand Echh #3 (Oct. 1967) MARVEL SUPER-HEROES #95 Mar. 1981 Cover artists: Jack Abel and Al Milgrom Editor: Jim Salicrup Reprints: • The Hulk in “Godspawn [Part 2]” from Incredible Hulk #145 (Nov. 1971) • The Hulk in “And the Measure of a Man is … Death! [Part 1]” from Incredible Hulk #146 (Dec. 1971)

MARVEL SUPER-HEROES #96 Apr. 1981 Cover artist: Herb Trimpe Editor: Jim Salicrup Reprints: • The Hulk in “And the Measure of a Man Is … Death!” [Part 2] from Incredible Hulk #146 (Dec. 1971) • The Hulk in “The End of Doc Samson!” from Incredible Hulk #147 (Jan. 1972) MARVEL SUPER-HEROES #97 May 1981 Cover artists: Herb Trimpe and John Severin Editor: Jim Salicrup Special feature: “How Herb Trimpe Gets That Dynamic Hulk-Art!” pinup by Roger Stern and Herb Trimpe Reprints: • The Hulk in “But Tomorrow … the Sun Shall Die!” from Incredible Hulk #148 (Feb. 1972) MARVEL SUPER-HEROES #98 June 1981 Cover artists: Herb Trimpe and John Severin Editor: Jim Salicrup Special features: “Captain Hulk?” parody pinup and “The Two-Green Kid?!” pinup (Hulk as a Western hero) by Roger Stern and Herb Trimpe Reprints: • The Hulk in “The Inheritor!” from Incredible Hulk #149 (Mar. 1972) MARVEL SUPER-HEROES #99 July 1981 Cover artists: Herb Trimpe and John Severin Editor: Jim Salicrup Special feature: “Wha…? Who?” pin-up (Hulk as a WWII hero) by Roger Stern and Herb Trimpe Reprints: • The Hulk in “Cry Hulk, Cry Havok!” from Incredible Hulk #150 (Apr. 1972) MARVEL SUPER-HEROES #100 Aug. 1981 Cover artists: Herb Trimpe and John Severin Editor: Jim Salicrup Reprints: • The Hulk in “When Monsters Meet!” from Incredible Hulk #151 (May 1972) • The Hulk in “But Who Will Judge the Hulk?” from Incredible Hulk #152 (June 1972) MARVEL SUPER-HEROES #101 Sept. 1981 Cover artists: Herb Trimpe and John Severin Editor: Jim Salicrup Special feature: “Star Hulk” pinup (Hulk as a sci-fi hero) by Roger Stern and Herb Trimpe Reprints: • The Hulk in “The World, My Jury!” from Incredible Hulk #153 (July 1972) MARVEL SUPER-HEROES #102 Oct. 1981 Cover artists: Herb Trimpe and John Severin Editor: Jim Salicrup Special feature: “My Hulk, My Love” pinup (Hulk and Jarella as romance characters) by Roger Stern, Herb Trimpe, and Jack Abel

TM & © Marvel Characters, Inc.

Marvel Bronze Age Giants and Reprints

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BACK ISSUE • 23

Reprints: • The Hulk in “Hell is a Very Small Hulk!” from Incredible Hulk #154 (Aug. 1972) MARVEL SUPER-HEROES #103 Nov. 1981 Cover artists: Herb Trimpe and John Severin Editor: Jim Salicrup Special features: “Hulk-Hare” (Hulk as a funny-animal character) and (Hulk as a teenager from Riverdale) pinups by Roger Stern and Terry Austin Reprints: • The Hulk in “Destination: Nightmare!” from Incredible Hulk #155 (Sept. 1972) MARVEL SUPER-HEROES #104 Dec. 1981 Cover artist: Herb Trimpe Editor: Jim Salicrup Special features: “Two-Gun Hulk” (Hulk as a Western character) and “Hulkis the Horrendous!” (Hulk as “Dennis the Menace”) pinups Roger Stern and Terry Austin Reprints: • The Hulk in “Holocaust At the Heart of the Atom!” from Incredible Hulk #156 (Oct. 1972) MARVEL SUPER-HEROES #105 Jan. 1982 Cover artist: Herb Trimpe Editor: Jim Salicrup Special features: “His First Night” (Hulk’s first transformation) pinup by Roger Stern and Greg LaRocque; “Hulk: the Barbarian” pinup by Roger Stern and Herb Trimpe; The Hulk in a “What is this?!? Marvel Super-Heroes has been canceled?!” 1-page cartoon, via Roger Stern and Greg LaRocque Reprints: • The Hulk in “Name My Vengeance: Rhino!” from Incredible Hulk #157 (Nov. 1972) MARVEL TALES MARVEL TALES #24 Jan. 1970 Cover artist: Steve Ditko Editor: Stan Lee Special feature: Spider-Man pinup Reprints: • Spider-Man in “If This Be My Destiny…!” from Amazing Spider-Man #31 (Dec. 1965) • Thor in “The Power of the Thunder God!” from Journey into Mystery #111 (Dec. 1964) • Human Torch in “3 Against the Torch!” from Strange Tales #122 (July 1964) MARVEL TALES #25 Mar. 1970 Cover artist: Steve Ditko Editor: Stan Lee Special feature: Thor vs. the Hulk pinup Reprints: • Spider-Man in “Man on a Rampage!” from Amazing Spider-Man #32 (Jan. 1966) • Human Torch in “The Birth of the Beetle!” from Strange Tales #123 (Aug. 1964) • Thor in “The Mighty Thor Battles the Incredible Hulk!” from Journey into Mystery #112 (Jan. 1965)

MARVEL TALES #26 May 1970 Cover artists: Marie Severin and Bill Everett (Spider-Man), Jack Kirby and Chic Stone (Thor), Kirby and Dick Ayers (Human Torch) Editor: Stan Lee Reprints: • Spider-Man in “The Final Chapter!” from Amazing Spider-Man #33 (Feb. 1966) • Human Torch in “Paste-Pot Pete!” from Strange Tales #124 (Sept. 1964) • Thor in “The Vengeance of the Thunder God!” from Journey into Mystery #115 (Apr. 1965) MARVEL TALES #27 July 1970 Cover artists: Marie Severin and Sam Grainger Editor: Stan Lee Reprints: • Spider-Man in “The Thrill of the Hunt!” from Amazing Spider-Man #34 (Mar. 1966) • Human Torch and the Thing in “The Sub-Mariner Must Be Stopped!” from Strange Tales #125 (Oct. 1964) • Thor in “The Trial of the Gods!” from Journey into Mystery #116 (May 1965) MARVEL TALES #28 Oct. 1970 Cover artists: Marie Severin and Bill Everett Editor: Stan Lee Reprints: • Spider-Man in “The Molten Man Regrets…!” from Amazing Spider-Man #35 (Apr. 1966) • Dr. Strange in “The Pincers of Power!” from Strange Tales #140 (Jan. 1966) • Spider-Man in “When Falls the Meteor!” from Amazing Spider-Man #36 (May 1966) MARVEL TALES #29 Jan. 1971 Cover artist: Sal Buscema Editor: Stan Lee Special feature: Amazing Spider-Man #39 cover pinup Reprints: • Spider-Man in “How Green Was My Goblin!” from Amazing Spider-Man #39 (Aug. 1966) • Spider-Man in “Spidey Saves the Day!” from Amazing Spider-Man #40 (Sept. 1966) • Dr. Strange in “Let There Be Victory!” from Strange Tales #141 (Feb. 1966) MARVEL TALES #30 Apr. 1971 Cover artists: Marie Severin and Sal Buscema Editor: Stan Lee Special feature: “Peter Parker and Ol’ Webhead” pinup from Amazing Spider-Man #20 New Story: • The Angel in: “To Cage an Angel!” Reprints: • Spider-Man in “To Kill a Spider-Man!” from Amazing Spider-Man #58 (Mar. 1968) • Spider-Man in “The Horns of the Rhino!” from Amazing Spider-Man #41 (Oct. 1966)

MARVEL TALES #31 July 1971 Cover artist: John Romita, Sr. Editor: Stan Lee Special feature: “Greetings Spidey Style” pinup, reworked from Amazing Spider-Man #20 Reprints: • Spider-Man in “Once Upon a Time, There Was a Robot…!” from Amazing Spider-Man #37 (June 1966) • Spider-Man in “The Birth of a Super-Hero!” from Amazing Spider-Man #42 (Nov. 1966) • Dr. Strange in “Those Who Would Destroy Me!” from Strange Tales #142 (Mar. 1966) MARVEL TALES #32 Nov. 1971 Cover artist: John Romita, Sr. Editor: Stan Lee Reprints: • Spider-Man in “Rhino on the Rampage!” from Amazing Spider-Man #43 (Dec. 1966) • Spider-Man in “Where Crawls the Lizard!” from Amazing Spider-Man #44 (Jan. 1967) • Iron Man in “Victory!” from Tales of Suspense #83 (Nov. 1966) MARVEL TALES #33 Feb. 1972 Cover artist: John Romita, Sr. Editor: Stan Lee Reprints: • Spider-Man in “Spidey Smashes Out!” from Amazing Spider-Man #45 (Feb. 1967) • Spider-Man in “In the Hands of the Hunter!” from Amazing Spider-Man #47 (Apr. 1967) MARVEL TALES #34 May 1972 Cover artists: Gil Kane and John Romita, Sr. Editor: Stan Lee Special feature: Vulture pinup from Amazing Spider-Man Annual #1 Reprints: • Spider-Man in “The Wings of the Vulture!” from Amazing Spider-Man #48 (May 1967) MARVEL TALES #35 June 1972 Cover artists: Gil Kane and Vince Colletta Editor: Stan Lee Special feature: Kraven the Hunter pinup from Amazing Spider-Man Annual #1 Reprints: • Spider-Man in “From the Depths of Defeat!” from Amazing Spider-Man #49 (June 1967) MARVEL TALES #36 Aug. 1972 Cover artists: John Romita, Sr. and Frank Giacoia Editor: Stan Lee Reprints: • Spider-Man in “In the Clutches of … the Kingpin!” from Amazing Spider-Man #51 (Aug. 1967) MARVEL TALES #37 Sept. 1972 Cover artist: John Romita, Sr. Editor: Roy Thomas

Reprints: • Spider-Man in “To Die a Hero!” from Amazing Spider-Man #52 (Sept. 1967) MARVEL TALES #38 Oct. 1972 Cover artist: Sal Buscema Editor: Roy Thomas Reprints: • Spider-Man in “Enter: Dr. Octopus” from Amazing Spider-Man #53 (Oct. 1967) MARVEL TALES #39 Nov. 1972 Cover artists: John Buscema and Frank Giacoia Editor: Roy Thomas Reprints: • Spider-Man in “The Tentacles and the Trap!” from Amazing Spider-Man #54 (Nov. 1967) MARVEL TALES #40 Dec. 1972 Cover artists: Gil Kane and Frank Giacoia Editor: Roy Thomas Reprints: • Spider-Man in “Doc Ock Wins!” from Amazing Spider-Man #55 (Dec. 1967) MARVEL TALES #41 Feb. 1973 Cover artists: Gil Kane and Jim Mooney Editor: Roy Thomas Reprints: • Spider-Man in “Disaster!” from Amazing Spider-Man #56 (Jan. 1968) MARVEL TALES #42 Apr. 1973 Cover artist: John Romita, Sr. Editor: Roy Thomas Reprints: • Spider-Man in “The Brand of the Brainwasher!” from Amazing Spider-Man #59 (Apr. 1968) MARVEL TALES #43 June 1973 Cover artist: John Romita, Sr. Editor: Roy Thomas Reprints: • Spider-Man in “O, Bitter Victory!” from Amazing Spider-Man #60 (May 1968) MARVEL TALES #44 Aug. 1973 Cover artist: John Romita, Sr. Editor: Roy Thomas Reprints: • Spider-Man in “What a Tangled Web We Weave..!” from Amazing Spider-Man #61 (June 1968) MARVEL TALES #45 Sept. 1973 Cover artist: John Romita, Sr. Editor: Roy Thomas Reprints: • Spider-Man in “Make Way for … Medusa!” from Amazing Spider-Man #62 (July 1968) MARVEL TALES #46 Oct. 1973 Cover artist: John Romita, Sr. Editor: Roy Thomas Reprints: • Spider-Man in “Wings in the Night!” from Amazing Spider-Man #63 (Aug. 1968)

TM & © Marvel Characters, Inc.

24 • BACK ISSUE • Marvel Bronze Age Giants and Reprints

MARVEL TALES #47 Nov. 1973 Cover artist: John Romita, Sr. Editor: Roy Thomas Reprints: • Spider-Man in “The Vulture’s Prey!” from Amazing Spider-Man #64 (Sept. 1968)

MARVEL TALES #56 Dec. 1974 Cover artist: John Romita, Sr. Editor: Irene Vartanoff Reprints: • Spider-Man in “Death without Warning!” from Amazing Spider-Man #75 (Aug. 1969)

MARVEL TALES #65 Mar. 1976 Cover artist: John Romita, Sr. Editor: Roger Stern Reprints: • Spider-Man in “The Kingpin Strikes Back!” from Amazing Spider-Man #84 (May 1970)

MARVEL TALES #74 Dec. 1976 Cover artist: John Romita, Sr. Editor: Roger Stern Reprints: • Spider-Man in “The Lady and—the Prowler!” from Amazing Spider-Man #93 (Feb. 1971)

MARVEL TALES #48 Dec. 1973 Cover artist: John Romita, Sr. Editor: Roy Thomas Reprints: • Spider-Man in “The Impossible Escape!” from Amazing Spider-Man #65 (Oct. 1968)

MARVEL TALES #57 Feb. 1975 Cover artist: John Romita, Sr. Editor: Irene Vartanoff Reprints: • Spider-Man in “The Lizard Lives!” from Amazing Spider-Man #76 (Sept. 1969)

MARVEL TALES #66 Apr. 1976 Cover artist: John Romita, Sr. Editor: Roger Stern Reprints: • Spider-Man in “The Secret of the Schemer!” from Amazing Spider-Man #85 (June 1970)

MARVEL TALES #75 Jan. 1977 Cover artist: John Romita, Sr. Editor: Roger Stern Reprints: • Spider-Man in “On the Wings of Death!” from Amazing Spider-Man #94 (Mar. 1971)

MARVEL TALES #49 Feb. 1974 Cover artist: John Romita, Sr. Editor: Roy Thomas Reprints: • Spider-Man in “The Madness of Mysterio!” from Amazing Spider-Man #66 (Nov. 1968)

MARVEL TALES #58 Apr. 1975 Cover artist: John Romita, Sr. Editor: Irene Vartanoff Reprints: • Spider-Man in “In the Blaze of Battle!” from Amazing Spider-Man #77 (Oct. 1969)

MARVEL TALES #67 May 1976 Cover artist: John Romita, Sr. Editor: Roger Stern Reprints: • Spider-Man in “Beware … the Black Widow!” from Amazing Spider-Man #86 (July 1970)

MARVEL TALES #50 Apr. 1974 Cover artist: John Romita, Sr. Editor: Roy Thomas Reprints: • Spider-Man in “To Squash a Spider!” from Amazing Spider-Man #67 (Dec. 1968)

MARVEL TALES #59 June 1975 Cover artist: John Romita, Sr. Editor: Irene Vartanoff Reprints: • Spider-Man in “The Night of the Prowler!” from Amazing Spider-Man #78 (Nov. 1969)

MARVEL TALES #68 June 1976 Cover artist: John Romita, Sr. Editor: Roger Stern Reprints: • Spider-Man in “Unmasked at Last!” from Amazing Spider-Man #87 (Aug. 1970)

MARVEL TALES #76 Feb. 1977 Cover artists: John Romita, Sr. and Sal Buscema Editor: Roger Stern Reprints: • Spider-Man in “Trap for a Terrorist!” from Amazing Spider-Man #95 (Apr. 1971)

MARVEL TALES #51 June 1974 Cover artist: John Romita, Sr. Editor: Irene Vartanoff Reprints: • Spider-Man in “Crisis on the Campus!” from Amazing Spider-Man #68 (Jan. 1969)

MARVEL TALES #60 Aug. 1975 Cover artists: John Romita, Sr., with alterations possibly by Mike Esposito Editor: Irene Vartanoff Reprints: • Spider-Man in “To Prowl No More!” from Amazing Spider-Man #79 (Dec. 1969)

MARVEL TALES #69 July 1976 Cover artist: John Romita, Sr. Editor: Roger Stern Reprints: • Spider-Man in “The Arms of Doctor Octopus!” from Amazing Spider-Man #88 (Sept. 1970) MARVEL TALES #70 Aug. 1976 Cover artist: John Romita, Sr. Editor: Roger Stern Reprints: • Spider-Man in “Doc Ock Lives!” from Amazing Spider-Man #89 (Oct. 1970)

MARVEL TALES #52 Aug. 1974 Cover artist: John Romita, Sr. Editor: Irene Vartanoff Reprints: • Spider-Man in “Mission: Crush the Kingpin!” from Amazing Spider-Man #69 (Feb. 1969)

MARVEL TALES #61 Sept. 1975 Cover artist: John Romita, Sr. Editor: Irene Vartanoff Reprints: • Spider-Man in “On The Trail of … the Chameleon!” from Amazing Spider-Man #80 (Jan. 1970)

MARVEL TALES #53 Sept. 1974 Cover artist: John Romita, Sr. Editor: Irene Vartanoff Reprints: • Spider-Man in “Spider-Man: Wanted!” from Amazing Spider-Man #70 (Mar. 1969)

MARVEL TALES #62 Oct. 1975 Cover artist: John Romita, Sr. Editor: Irene Vartanoff Reprints: • Spider-Man in “The Coming of the Kangaroo!” from Amazing Spider-Man #81 (Feb. 1970)

MARVEL TALES #71 Sept. 1976 Cover artists: Gil Kane and John Romita, Sr. Editor: Roger Stern Reprints: • Spider-Man in “And Death Shall Come!” from Amazing Spider-Man #90 (Nov. 1970)

MARVEL TALES #54 Oct. 1974 Cover artist: John Romita, Sr. Editor: Irene Vartanoff Reprints: • Spider-Man in “The Web Closes!” from Amazing Spider-Man #73 (June 1969)

MARVEL TALES #63 Nov. 1975 Cover artist: John Romita, Sr. Editor: Irene Vartanoff Reprints: • Spider-Man in “And Then Came Electro!” from Amazing Spider-Man #82 (Mar. 1970)

MARVEL TALES #72 Oct. 1976 Cover artist: John Romita, Sr. Editor: Roger Stern Reprints: • Spider-Man in “To Smash the Spider!” from Amazing Spider-Man #91 (Dec. 1970)

MARVEL TALES #55 Nov. 1974 Cover artist: John Romita, Sr. Editor: Irene Vartanoff Reprints: • Spider-Man in “If This Be Bedlam!” from Amazing Spider-Man #74 (July 1969)

MARVEL TALES #64 Jan. 1976 Cover artist: John Romita, Sr. Editor: Irene Vartanoff Reprints: • Spider-Man in “The Schemer!” from Amazing Spider-Man #83 (Apr. 1970)

MARVEL TALES #73 Nov. 1976 Cover artist: John Romita, Sr. Editor: Roger Stern Reprints: • Spider-Man in “When Iceman Attacks” from Amazing Spider-Man #92 (Jan. 1971)

MARVEL TALES #77 Mar. 1977 Cover artist: Gil Kane Editor: Roger Stern Reprints: • Spider-Man in “—And Now, the Goblin!” from Amazing Spider-Man #96 (May 1971) MARVEL TALES #78 Apr. 1977 Cover artist: John Romita, Sr. Editor: Roger Stern Reprints: • Spider-Man in “In the Grip of the Goblin!” from Amazing Spider-Man #97 (June 1971) MARVEL TALES #79 May 1977 Cover artists: Gil Kane and Frank Giacoia Editor: Roger Stern Reprints: • Spider-Man in “The Goblin’s Last Gasp!” from Amazing Spider-Man #98 (July 1971) MARVEL TALES #80 June 1977 Cover artists: Gil Kane and Frank Giacoia Editor: Roger Stern Reprints: • Spider-Man in “A Day in the Life of—” from Amazing Spider-Man #99 (Aug. 1971) MARVEL TALES #81 July 1977 Cover artists: Gil Kane and Frank Giacoia Editor: Roger Stern Special feature: 3 pages of the proposed, but never used, original Spider-Man newspaper comic strips by Stan Lee and John Romita, Sr. Reprints: • Spider-Man in “Walk the Savage Land! [Part 1]” from Amazing Spider-Man #103 (Dec. 1971)

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MARVEL TALES #82 Aug. 1977 Cover artists: Gil Kane and Frank Giacoia Editor: Roger Stern Special feature: Spider-Man pinup from Amazing Spider-Man #21 Reprints: • Spider-Man in “Walk the Savage Land! [Part 2]” from Amazing Spider-Man #103 (Dec. 1971) • Spider-Man in “The Beauty and the Brute!” [Part 1] from Amazing Spider-Man #104 (Jan. 1972) MARVEL TALES #83 Sept. 1977 Cover artists: Gil Kane and Frank Giacoia Editor: Roger Stern Reprints: • Spider-Man in “The Beauty and the Brute! [Part 2]” from Amazing Spider-Man #104 (Jan. 1972) • Linda Brown, and her Aunt May and Uncle Ben (possibly Peter Parker’s relatives, or prototypes) in “Goodbye to Linda Brown” from Strange Tales #97 (June 1962) MARVEL TALES #84 Oct. 1977 Cover artists: Gil Kane and Frank Giacoia Editor: Roger Stern Reprints: • Spider-Man in “The Spider Slayer!” from Amazing Spider-Man #105 (Feb. 1972) MARVEL TALES #85 Nov. 1977 Cover artists: John Romita, Sr. and Frank Giacoia Editor: Roger Stern Reprints: • Spider-Man in “Squash! Goes the Spider!” from Amazing Spider-Man #106 (Mar. 1972) MARVEL TALES #86 Dec. 1977 Cover artists: John Romita, Sr. and Frank Giacoia Editor: Roger Stern Reprints: • Spider-Man in “Spidey Smashes Thru!” from Amazing Spider-Man #107 (Apr. 1972) MARVEL TALES #87 Jan. 1978 Cover artist: John Romita, Sr. Editor: Roger Stern Reprints: • Spider-Man in “Vengeance from Vietnam!” from Amazing Spider-Man #108 (May 1972) MARVEL TALES #88 Feb. 1978 Cover artists: John Romita, Sr., with Frank Giacoia (alterations) Editor: Roger Stern Reprints: • Spider-Man in “Enter: Dr. Strange!” from Amazing Spider-Man #109 (June 1972)

MARVEL TALES #89 Mar. 1978 Cover artist: John Romita Editor: Roger Stern Reprints: • Spider-Man in “The Birth of … the Gibbon!” from Amazing Spider-Man #110 (July 1972)

MARVEL TALES #98 Dec. 1978 Cover artist: John Romita, Sr. Editor: Roger Stern Reprints: • Spider-Man in “The Night Gwen Stacy Died” from Amazing Spider-Man #121 (June 1973)

MARVEL TALES #90 Apr. 1978 Cover artists: John Romita, Sr. and Frank Giacoia Editor: Roger Stern Reprints: • Spider-Man in “To Stalk a Spider!” from Amazing Spider-Man #111 (Aug. 1972)

MARVEL TALES #106 Aug. 1979 Cover artists: Gil Kane and John Romita, Sr. Editor: Jim Salicrup Reprints: • Spider-Man in “The Punisher Strikes Twice!” from Amazing Spider-Man #129 (Feb. 1974)

MARVEL TALES #99 Jan. 1979 Cover artist: John Romita, Sr. Editor: Roger Stern Reprints: • Spider-Man in “The Goblin’s Last Stand!” from Amazing Spider-Man #122 (July 1973)

MARVEL TALES #107 Sept. 1979 Cover artists: John Romita, Sr. and Tony Mortellaro Editor: Jim Salicrup Reprints: • Spider-Man in “Betrayed!” from Amazing Spider-Man #130 (Mar. 1974)

MARVEL TALES #91 May 1978 Cover artist: John Romita, Sr. Editor: Roger Stern Reprints: • Spider-Man in “Spidey Cops Out!” from Amazing Spider-Man #112 (Sept. 1972) MARVEL TALES #92 June 1978 Cover artist: John Romita, Sr. Editor: Roger Stern Reprints: • Spider-Man in “They Call the Doctor ... Octopus!” from Amazing Spider-Man #113 (Oct. 1972) MARVEL TALES #93 July 1978 Cover artist: John Romita, Sr. Editor: Roger Stern Reprints: • Spider-Man in “Gang War, Shmang War! What I Want to Know is ... Who the Heck is Hammerhead?” from Amazing Spider-Man #114 (Nov. 1972)

MARVEL TALES #100 Feb. 1979 Cover artist: John Romita, Sr. Editor: Roger Stern Special features: “The Secrets of Spider-Man!” from Amazing Spider-Man Annual #1 (1964); Spider-Man pinup by Gil Kane and Joe Rubinstein New story: • Hawkeye and Two-Gun Kid in “Killers of a Purple Rage!” Reprints: • Spider-Man in “…Just a Man Called Cage!” from Amazing Spider-Man #123 (Aug. 1973) MARVEL TALES #101 Mar. 1979 Cover artist: John Romita, Sr. Editor: Jim Salicrup Reprints: • Spider-Man in “The Mark of the Man-Wolf!” from Amazing Spider-Man #124 (Sept. 1973)

MARVEL TALES #94 Aug. 1978 Cover artist: John Romita, Sr. Editor: Roger Stern Reprints: • Spider-Man in “The Last Battle” from Amazing Spider-Man #115 (Dec. 1972)

MARVEL TALES #102 Apr. 1979 Cover artist: John Romita, Sr. Editor: Jim Salicrup Reprints: • Spider-Man in “Wolfhunt!” from Amazing Spider-Man #125 (Oct. 1973)

MARVEL TALES #95 Sept. 1978 Cover artist: John Romita, Sr. Editor: Roger Stern Reprints: • Spider-Man in “Suddenly … the Smasher!” from Amazing Spider-Man #116 (Jan. 1973)

MARVEL TALES #103 May 1979 Cover artist: John Romita, Sr. Editor: Jim Salicrup Reprints: • Spider-Man in “The Kangaroo Bounces Back!” from Amazing Spider-Man #126 (Nov. 1973)

MARVEL TALES #96 Oct. 1978 Cover artists: John Romita, Sr. and Jim Mooney Editor: Roger Stern Reprints: • Spider-Man in “The Deadly Designs of the Disruptor!” from Amazing Spider-Man #117 (Feb. 1973)

MARVEL TALES #104 June 1979 Cover artist: John Romita, Sr. Editor: Jim Salicrup Reprints: • Spider-Man in “The Dark Wings of Death!” from Amazing Spider-Man #127 (Dec. 1973)

MARVEL TALES #97 Nov. 1978 Cover artist: John Romita, Sr. Editor: Roger Stern Reprints: • Spider-Man in “Countdown to Chaos!” from Amazing Spider-Man #118 (Mar. 1973)

MARVEL TALES #105 July 1979 Cover artist: John Romita, Sr. Editor: Jim Salicrup Reprints: • Spider-Man in “The Vulture Hangs High!” from Amazing Spider-Man #128 (Jan. 1974)

MARVEL TALES #108 Oct. 1979 Cover artists: Gil Kane and Frank Giacoia Editor: Jim Salicrup Reprints: • Spider-Man in “My Uncle … My Enemy?” from Amazing Spider-Man #131 (Apr. 1974) MARVEL TALES #109 Nov. 1979 Cover artists: Gil Kane and John Romita, Sr. Editor: Jim Salicrup Reprints: • Spider-Man in “The Master Plan of the Molten Man!” from Amazing Spider-Man #132 (May 1974) MARVEL TALES #110 Dec. 1979 Cover artist: John Romita, Sr. Editor: Jim Salicrup Reprints: • Spider-Man in “The Molten Man Breaks Out!” from Amazing Spider-Man #133 (June 1974) MARVEL TALES #111 Jan. 1980 Cover artist: John Romita, Sr. Editor: Jim Salicrup Reprints: • Spider-Man in “Danger Is a Man Named … Tarantula!” from Amazing Spider-Man #134 (July 1974) MARVEL TALES #112 Feb. 1980 Cover artist: John Romita, Sr. Editor: Jim Salicrup Reprints: • Spider-Man in “Shoot-Out in Central Park!” from Amazing Spider-Man #135 (Aug. 1974) MARVEL TALES #113 Mar. 1980 Cover artist: John Romita, Sr. Editor: Jim Salicrup Reprints: • Spider-Man in “The Green Goblin Lives Again!” from Amazing Spider-Man #136 (Sept. 1974) MARVEL TALES #114 Apr. 1980 Cover artists: Gil Kane and Frank Giacoia Editor: Jim Salicrup

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26 • BACK ISSUE • Marvel Bronze Age Giants and Reprints

Reprints: • Spider-Man in “Death-Trap Times Three!” from Amazing Spider-Man #137 (Oct. 1974) MARVEL TALES #115 May 1980 Cover artist: John Romita, Sr. Editor: Jim Salicrup Reprints: • Spider-Man in “Madness Means … the Mindworm!” from Amazing Spider-Man #138 (Nov. 1974) MARVEL TALES #116 June 1980 Cover artists: Gil Kane and John Romita, Sr. Editor: Jim Salicrup Reprints: • Spider-Man in “Day of the Grizzly!” from Amazing Spider-Man #139 (Dec. 1974) MARVEL TALES #117 July 1980 Cover artists: Gil Kane and Mike Esposito Editor: Jim Salicrup Reprints: • Spider-Man in “…And One Will Fall!” from Amazing Spider-Man #140 (Jan. 1975) MARVEL TALES #118 Aug. 1980 Cover artist: John Romita, Sr. Editor: Jim Salicrup Special feature: Spider-Mobile pinup Reprints: • Spider-Man in “The Man’s Name Appears to Be … Mysterio!” from Amazing Spider-Man #141 (Feb. 1975) MARVEL TALES #119 Sept. 1980 Cover artist: John Romita, Sr. Editor: Jim Salicrup Reprints: • Spider-Man in “Dead Man’s Bluff!” from Amazing Spider-Man #142 (Mar. 1975) MARVEL TALES #120 Oct. 1980 Cover artists: Gil Kane and John Romita, Sr. Editor: Jim Salicrup Reprints: • Spider-Man in “…And the Wind Cries: Cyclone!” from Amazing Spider-Man #143 (Apr. 1975) MARVEL TALES #121 Nov. 1980 Cover artists: Gil Kane and John Romita, Sr. Editor: Jim Salicrup Reprints: • Spider-Man in “The Delusion Conspiracy” from Amazing Spider-Man #144 (May 1975) • Golden Age Human Torch in “Human Torch—Fugitive at Large!” from Sub-Mariner Comics #35 (Aug. 1954) MARVEL TALES #122 Dec. 1980 Cover artists: Gil Kane and John Romita, Sr. Editor: Jim Salicrup

Reprints: • Spider-Man in “Gwen Stacy Is Alive … and, Well…?!” from Amazing Spider-Man #145 (June 1975) • Inhumans in “The Origin of … the Incomparable Inhumans!” from Thor #146 (Nov. 1967) MARVEL TALES #123 Jan. 1981 Cover artist: John Romita, Sr. Editor: Jim Salicrup Reprints: • Spider-Man in “Scorpion … Where is Thy Sting?” from Amazing Spider-Man #146 (July 1975) • Inhumans in “The Reason Why!” from Thor #147 (Dec. 1967) MARVEL TALES #124 Feb. 1981 Cover artists: Gil Kane and John Romita, Sr. Editor: Jim Salicrup Reprints: • Spider-Man in “The Tarantula is a Very Deadly Beast!” from Amazing Spider-Man #147 (Aug. 1975) • Inhumans in “…And Finally: Black Bolt!” from Thor #148 (Jan. 1968) MARVEL TALES #125 Mar. 1981 Cover artists: Gil Kane and John Romita, Sr. Editor: Jim Salicrup Reprints: • Spider-Man in “Jackal, Jackal … Who’s Got the Jackal?” from Amazing Spider-Man #148 (Sept. 1975) • Inhumans in “Silence or Death!” from Thor #149 (Feb. 1968) MARVEL TALES #126 Apr. 1981 Cover artists: Gil Kane and Frank Giacoia Editor: Jim Salicrup Reprints: • Spider-Man in “Even If I Live, I Die!” from Amazing Spider-Man #149 (Oct. 1975) • Inhumans in “Triton!” from Thor #150 (Mar. 1968) MARVEL TALES #127 May 1981 Cover artists: Gil Kane and Frank Giacoia Editor: Jim Salicrup Reprints: • Spider-Man in “Spider-Man … or Spider-Clone?” from Amazing Spider-Man #150 (Nov. 1975) • Inhumans in “Inhuman at Large!” from Thor #151 (Apr. 1968)

Editor: Jim Salicrup Special feature: “What the Well-Dressed Spider-Man Will Wear” 4-page filler from Amazing Spider-Man Annual #4 Reprints: • Spider-Man in “Shattered by the Shocker!” from Amazing Spider-Man #152 (Jan. 1976) MARVEL TALES #130 Aug. 1981 Cover artists: Gil Kane and John Romita, Sr. Editor: Tom DeFalco Special features: “Spidey’s Greatest Talent” 2-page filler from Amazing Spider-Man Annual #4; Spider-Man pinup by Marshall Rogers; Spider-Man and Dr. Strange pinup by Keith Pollard Reprints: • Spider-Man in “The Longest Hundred Yards!” from Amazing Spider-Man #153 (Feb. 1976) MARVEL TALES #131 Sept. 1981 Cover artists: Gil Kane and John Romita, Sr. Editor: Tom DeFalco Reprints: • Spider-Man in “The Sandman Always Strikes Twice” from Amazing Spider-Man #154 (Mar. 1976) • Captain Britain in “Beginning … the Saga of Captain Britain!” from Captain Britain (Marvel UK) #1 (Oct. 13, 1976) MARVEL TALES #132 Oct. 1981 Cover artist: John Romita, Sr. Editor: Tom DeFalco Reprints: • Spider-Man in “Whodunit!” from Amazing Spider-Man #155 (Apr. 1976) • Captain Britain in “Rebirth!” from Captain Britain (Marvel UK) #1 (Oct. 13, 1976) and 2 (Oct. 20, 1976) MARVEL TALES #133 Nov. 1981 Cover artist: John Romita, Sr. Editor: Tom DeFalco Special feature: “Special No-Prize Section” acknowledgment that Spidey’s spider-sense was used incorrectly throughout the issue and a challenge to readers to provide an explanation Reprints: • Spider-Man in “On a Clear Day, You Can See … the Mirage!” from Amazing Spider-Man #156 (May 1976) • Captain Britain in “Trial of Iron” from Captain Britain (Marvel UK) #2 (Oct. 20, 1976)

MARVEL TALES #128 June 1981 Cover artist: John Romita, Sr. Editor: Jim Salicrup Reprints: • Spider-Man in “Skirmish Beneath the Streets!” from Amazing Spider-Man #151 (Dec. 1975) • Inhumans in “While the City Shrieks!” from Thor #152 (May 1968)

MARVEL TALES #134 Dec. 1981 Cover artist: John Romita, Sr. Editor: Tom DeFalco Reprints: • Spider-Man in “The Ghost That Haunted Octopus!” from Amazing Spider-Man #157 (June 1976) • Dr. Strange in “Dr. Strange Master of Black Magic!” from Strange Tales #110 (July 1963)

MARVEL TALES #129 July 1981 Cover artists: Gil Kane and John Romita, Sr.

MARVEL TALES #135 Jan. 1982 Cover artist: Ross Andru Editor: Tom DeFalco

Reprints: • Spider-Man in “Hammerhead is Out!” from Amazing Spider-Man #158 (July 1976) • Dr. Strange in “Face-to-Face with the Magic of Baron Mordo” from Strange Tales #111 (Aug. 1963) MARVEL TALES #136 Feb. 1982 Cover artists: Ross Andru and Frank Giacoia, with John Romita, Sr. (alterations) Editor: Tom DeFalco Reprints: • Spider-Man in “Arm-in-Arm-in-Armin-Arm-in-Arm-in-Arm with Doctor Octopus!” from Amazing Spider-Man #159 (Aug. 1976) • Dr. Strange in “The Return of the Omnipotent Baron Mordo” from Strange Tales #114 (Nov. 1963) MARVEL TALES #137 Mar. 1982 Cover artists: Jack Kirby and Steve Ditko Editor: Tom DeFalco Special features: “Marvel Mails” editorial by Tom DeFalco about the origin of Spider-Man and the future of Marvel Tales; Dr. Strange pinup; “Peter Parker as … Spider-Man” pinup Reprints: • Spider-Man in “Spider-Man!” from Amazing Fantasy #15 (Sept. 1962) • Dr. Strange in “The Origin of Dr. Strange” from Strange Tales #115 (Dec. 1963) MARVEL TALES #138 Apr. 1982 Cover artists: Jack Kirby and Steve Ditko Editor: Tom DeFalco Reprints: • Spider-Man in “Spider-Man” from Amazing Spider-Man #1 (Mar. 1963) • Spider-Man in “Spider-Man vs. the Chameleon!” from Amazing Spider-Man #1 (Mar. 1963) MARVEL TALES #139 May 1982 Cover artist: Steve Ditko Editor: Tom DeFalco Reprints: • Spider-Man in “Duel to the Death with the Vulture!” from Amazing Spider-Man #2 (May 1963) • Spider-Man in “The Uncanny Threat of the Terrible Tinkerer!” from Amazing Spider-Man #2 (May 1963) MARVEL TALES #140 June 1982 Cover artist: Steve Ditko Editor: Tom DeFalco Special feature: Spider-Man pinup Reprints: • Spider-Man in “Spider-Man versus Doctor Octopus” from Amazing Spider-Man #3 (July 1963) MARVEL TALES #141 July 1982 Cover artist: Steve Ditko Editor: Tom DeFalco Reprints: • Spider-Man in “Nothing Can Stop … the Sandman!” from Amazing Spider-Man #4 (Sept. 1963)

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MARVEL TALES #142 Aug. 1982 Cover artist: Steve Ditko Editor: Tom DeFalco Reprints: • Spider-Man in “Marked for Destruction by Dr. Doom!” from Amazing Spider-Man #5 (Oct. 1963) MARVEL TALES #143 Sept. 1982 Cover artist: Steve Ditko Editor: Tom DeFalco Reprints: • Spider-Man in “Face-to-Face with ... the Lizard!” from Amazing Spider-Man #6 (Nov. 1963) MARVEL TALES #144 Oct. 1982 Cover artist: Steve Ditko Editor: Tom DeFalco Reprints: • Spider-Man in “The Return of the Vulture” from Amazing Spider-Man #7 (Dec. 1963) MARVEL TALES #145 Nov. 1982 Cover artist: Steve Ditko Editor: Tom DeFalco Reprints: • Spider-Man in “The Terrible Threat of the Living Brain!” from Amazing Spider-Man #8 (Jan. 1964) • Spider-Man in “Spider-Man Tackles the Torch!” from Amazing Spider-Man #8 (Jan. 1964) MARVEL TALES #146 Dec. 1982 Cover artist: Steve Ditko Editor: Tom DeFalco Reprints: • Spider-Man in “The Man Called Electro!” from Amazing Spider-Man #9 (Feb. 1964) MARVEL TALES #147 Jan. 1983 Cover artists: Steve Ditko (Enforcers), Jack Kirby and Dick Ayers (Spider-Man) Editor: Tom DeFalco Special feature: pinup of an unused cover by Steve Ditko for Amazing Spider-Man #10 (Mar. 1964) Reprints: • Spider-Man in “The Enforcers!” from Amazing Spider-Man #10 (Mar. 1964) MARVEL TALES #148 Feb. 1983 Cover artist: Steve Ditko Editor: Tom DeFalco Reprints: • Spider-Man in “Turning Point” from Amazing Spider-Man #11 (Apr. 1964)

Reprints: • Spider-Man in “The Sinister Six!” from Amazing Spider-Man Annual #1 (1964) MARVEL TALES #151 May 1983 Cover artist: Steve Ditko Editor: Tom DeFalco Reprints: • Spider-Man in “The Menace of … Mysterio!” from Amazing Spider-Man #13 (June 1964) MARVEL TALES #152 June 1983 Cover artist: Steve Ditko Editor: Tom DeFalco Reprints: • Spider-Man in “The Grotesque Adventure of the Green Goblin” from Amazing Spider-Man #14 (July 1964) MARVEL TALES #153 July 1983 Cover artist: Steve Ditko Editor: Tom DeFalco Reprints: • Spider-Man in “Kraven the Hunter!” from Amazing Spider-Man #15 (Aug. 1964) MARVEL TALES #154 Aug. 1983 Cover artist: Steve Ditko Editor: Tom DeFalco Reprints: • Spider-Man in “Duel with Daredevil” from Amazing Spider-Man #16 (Sept. 1964) MARVEL TALES #155 Sept. 1983 Cover artist: Steve Ditko Editor: Tom DeFalco Reprints: • Spider-Man in “The Return of the Green Goblin!” from Amazing Spider-Man #17 (Oct. 1964) MARVEL TALES #156 Oct. 1983 Cover artist: Steve Ditko Editor: Danny Fingeroth Reprints: • Spider-Man in “The End of Spider-Man!” from Amazing Spider-Man #18 (Nov. 1964) MARVEL TALES #157 Nov. 1983 Cover artist: Steve Ditko Editor: Danny Fingeroth Reprints: • Spider-Man in “Spidey Strikes Back!” from Amazing Spider-Man #19 (Dec. 1964)

MARVEL TALES #149 Mar. 1983 Cover artist: Steve Ditko Editor: Tom DeFalco Reprints: • Spider-Man in “Unmasked by Dr. Octopus!” from Amazing Spider-Man #12 (May 1964)

MARVEL TALES #158 Dec. 1983 Cover artist: Steve Ditko Editor: Danny Fingeroth Special feature: Spider-Man pinup Reprints: • Spider-Man in “The Coming of the Scorpion!” from Amazing Spider-Man #20 (Jan. 1965)

MARVEL TALES #150 Apr. 1983 Cover artist: Steve Ditko Editor: Tom DeFalco

MARVEL TALES #159 Jan. 1984 Cover artist: Steve Ditko Editor: Danny Fingeroth

Special features: “Marvel Mails” presenting modern-day updates of a scene from Amazing Spider-Man #19 (Dec. 1964), by Bob DeNatale, as part of Assistant Editors’ Month; Spider-Man pinup Reprints: • Spider-Man in “Where Flies the Beetle…!” from Amazing Spider-Man #21 (Feb. 1965) MARVEL TALES #160 Feb. 1984 Cover artist: Steve Ditko Editor: Danny Fingeroth Reprints: • Spider-Man in “The Clown and his Masters of Menace!” from Amazing Spider-Man #22 (Mar. 1965) MARVEL TALES #161 Mar. 1984 Cover artist: Steve Ditko Editor: Danny Fingeroth Special feature: Spider-Man pinup Reprints: • Spider-Man in “The Goblin and the Gangsters” from Amazing Spider-Man #23 (Apr. 1965) MARVEL TALES #162 Apr. 1984 Cover artist: Steve Ditko Editor: Danny Fingeroth Reprints: • Spider-Man in “Spider-Man Goes Mad!” from Amazing Spider-Man #24 (May 1965) MARVEL TALES #163 May 1984 Cover artist: Steve Ditko Editor: Danny Fingeroth Special feature: Mysterio pinup from Amazing Spider-Man Annual #1 Reprints: • Spider-Man in “Captured by J. Jonah Jameson!” from Amazing Spider-Man #25 (June 1965) MARVEL TALES #164 June 1984 Cover artist: Steve Ditko Editor: Danny Fingeroth Special feature: Green Goblin pinup from Amazing Spider-Man Annual #1 Reprints: • Spider-Man in “The Man in the Crime-Master’s Mask!” from Amazing Spider-Man #26 (July 1965) MARVEL TALES #165 July 1984 Cover artist: Steve Ditko Editor: Danny Fingeroth Special feature: Crime-Master pinup from Amazing Spider-Man Annual #2 Reprints: • Spider-Man in “Bring Back My Goblin to Me!” from Amazing Spider-Man #27 (Aug. 1965) MARVEL TALES #166 Aug. 1984 Cover artist: Steve Ditko Editor: Danny Fingeroth Special feature: Dr. Doom pinup from Amazing Spider-Man Annual #1 Reprints: • Spider-Man in “The Menace of the Molten Man!” from Amazing Spider-Man #28 (Sept. 1965)

MARVEL TALES #167 Sept. 1984 Cover artist: Steve Ditko Editor: Danny Fingeroth Special feature: Lizard pinup from Amazing Spider-Man Annual #1 Reprints: • Spider-Man in “The Wondrous Worlds of Doctor Strange!” from Amazing Spider-Man Annual #2 (1965) MARVEL TALES #168 Oct. 1984 Cover artist: Steve Ditko Editor: Danny Fingeroth Special feature: Scorpion pinup from Amazing Spider-Man Annual #21 Reprints: • Spider-Man in “Never Step on a Scorpion!” from Amazing Spider-Man #29 (Oct. 1965) MARVEL TALES #169 Nov. 1984 Cover artist: Steve Ditko Editor: Danny Fingeroth Special feature: “Jonah’s Robot” pinup from Amazing Spider-Man Annual #2 Reprints: • Spider-Man in “The Claws of the Cat!” from Amazing Spider-Man #30 (Nov. 1965) MARVEL TALES #170 Dec. 1984 Cover artist: Steve Ditko Editor: Danny Fingeroth Special feature: Kraven the Hunter pinup from Amazing Spider-Man Annual #1 Reprints: • Spider-Man in “If This Be My Destiny…!” from Amazing Spider-Man #31 (Dec. 1965) MARVEL TALES #171 Jan. 1985 Cover artist: Steve Ditko Editor: Danny Fingeroth Reprints: • Spider-Man in “Man on a Rampage!” from Amazing Spider-Man #32 (Jan. 1966) MARVEL TALES #172 Feb. 1985 Cover artist: Steve Ditko Editor: Danny Fingeroth Reprints: • Spider-Man in “The Final Chapter!” from Amazing Spider-Man #33 (Feb. 1966) MARVEL TALES #173 Mar. 1985 Cover artist: Steve Ditko Editor: Danny Fingeroth Reprints: • Spider-Man in “The Thrill of the Hunt!” from Amazing Spider-Man #34 (Mar. 1966) MARVEL TALES #174 Apr. 1985 Cover artist: Steve Ditko Editor: Jim Owsley Reprints: • Spider-Man in “The Molten Man Regrets…!” from Amazing Spider-Man #35 (Apr. 1966)

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28 • BACK ISSUE • Marvel Bronze Age Giants and Reprints

MARVEL TALES #175 May 1985 Cover artist: Steve Ditko Editor: Jim Owsley Reprints: • Spider-Man in “When Falls the Meteor!” from Amazing Spider-Man #36 (May 1966) MARVEL TALES #176 June 1985 Cover artist: Steve Ditko Editor: Jim Owsley Reprints: • Spider-Man in “Once Upon a Time, There Was a Robot…!” from Amazing Spider-Man #37 (June 1966) MARVEL TALES #177 July 1985 Cover artist: Steve Ditko Editor: Jim Owsley Reprints: • Spider-Man in “Just a Guy Named Joe!” from Amazing Spider-Man #38 (July 1966) MARVEL TALES #178 Aug. 1985 Cover artist: John Romita, Sr. Editor: Jim Owsley Reprints: • Spider-Man in “How Green Was My Goblin!” from Amazing Spider-Man #39 (Aug. 1966) MARVEL TALES #179 Sept. 1985 Cover artists: John Romita, Sr. and Mike Esposito Editor: Jim Owsley Reprints: • Spider-Man in “Spidey Saves the Day!” from Amazing Spider-Man #40 (Sept. 1966) MARVEL TALES #180 Oct. 1985 Cover artists: John Romita, Sr. and Mike Esposito Editor: Jim Owsley Reprints: • Spider-Man in “The Horns of the Rhino!” from Amazing Spider-Man #41 (Oct. 1966) MARVEL TALES #181 Nov. 1985 Cover artists: John Romita, Sr. and Mike Esposito Editor: Jim Owsley Reprints: • Spider-Man in “…To Become an Avenger!” from Amazing Spider-Man Annual #3 (Nov. 1966) MARVEL TALES #182 Dec. 1985 Cover artist: John Romita, Sr. Editor: Jim Owsley Reprints: • Spider-Man in “The Birth of a Super-Hero!” from Amazing Spider-Man #42 (Nov. 1966) MARVEL TALES #183 Jan. 1986 Cover artist: John Romita, Sr. Editor: Jim Owsley

Reprints: • Spider-Man in “Rhino on the Rampage!” from Amazing Spider-Man #43 (Dec. 1966) MARVEL TALES #184 Feb. 1986 Cover artist: John Romita, Sr. Editor: Jim Owsley Reprints: • Spider-Man in “Where Crawls the Lizard!” from Amazing Spider-Man #44 (Jan. 1967) MARVEL TALES #185 Mar. 1986 Cover artist: John Romita, Sr. Editor: Jim Owsley Special features: “The Secret of Spider-Man’s Mask” and “Spidey’s Costume” from Amazing Spider-Man Annual #1 (1964) Reprints: • Spider-Man in “Spidey Smashes Out!” from Amazing Spider-Man #45 (Feb. 1967) MARVEL TALES #186 Apr. 1986 Cover artist: John Romita, Sr. Editor: Jim Owsley Special feature: “The Secrets of Spider-Man” from Amazing Spider-Man Annual #1 (1964) Reprints: • Spider-Man in “The Sinister Shocker!” from Amazing Spider-Man #46 (Mar. 1967) MARVEL TALES #187 May 1986 Cover artist: John Romita, Sr. Editor: Jim Owsley Reprints: • Spider-Man in “In the Hands of the Hunter!” from Amazing Spider-Man #47 (Apr. 1967) MARVEL TALES #188 June 1986 Cover artist: John Romita, Sr. Editor: Jim Owsley Special feature: Vulture pinup by Steve Ditko Reprints: • Spider-Man in “The Wings of the Vulture!” from Amazing Spider-Man #48 (May 1967)

MARVEL TRIPLE ACTION MARVEL TRIPLE ACTION #1 Feb. 1972 Cover artists: John Buscema and Frank Giacoia Editor: Roy Thomas Reprints: • Fantastic Four in “When Strikes the Silver Surfer!” from Fantastic Four #55 (Oct. 1966) • Fantastic Four in “Enter … Dr. Doom!” from Fantastic Four #57 (Dec. 1966) MARVEL TRIPLE ACTION #2 May 1972 Cover artists: Gil Kane and John Romita, Sr. Editor: Roy Thomas Special feature: Dr. Doom pinup Reprints: • Fantastic Four in “The Dismal Dregs of Defeat!” from Fantastic Four #58 (Jan. 1967) MARVEL TRIPLE ACTION #3 June 1972 Cover artists: Gil Kane and Vince Colletta Editor: Roy Thomas Reprints: • Fantastic Four in “Doomsday” from Fantastic Four #59 (Feb. 1967) MARVEL TRIPLE ACTION #4 Aug. 1972 Cover artists: Sal Buscema and Joe Sinnott Editor: Roy Thomas Reprints: • Fantastic Four in “The Peril and the Power!” from Fantastic Four #60 (Mar. 1967) MARVEL TRIPLE ACTION #5 Sept. 1972 Cover artist: Sal Buscema Editor: Roy Thomas Special feature: Captain America pinup Reprints: • Avengers in “The Avengers Break Up!” from Avengers #10 (Nov. 1964) MARVEL TRIPLE ACTION #6 Oct. 1972 Cover artists: Sal Buscema and Frank Giacoia Editor: Roy Thomas Reprints: • Avengers in “This Hostage Earth!” from Avengers #12 (Jan. 1965)

MARVEL TALES #189 July 1986 Cover artist: John Romita, Sr. Editor: Jim Owsley Reprints: • Spider-Man in “From the Depths of Defeat!” from Amazing Spider-Man #49 (June 1967)

MARVEL TRIPLE ACTION #7 Nov. 1972 Cover artists: Jim Starlin and Frank Giacoia Editor: Roy Thomas Reprints: • Avengers in “Trapped in ... the Castle of Count Nefaria!” from Avengers #13 (Feb. 1965)

MARVEL TALES #190 Aug. 1986 Cover artist: John Romita, Sr. Editor: Jim Owsley Reprints: • Spider-Man in “Spider-Man No More!” from Amazing Spider-Man #50 (July 1967)

MARVEL TRIPLE ACTION #8 Dec. 1972 Cover artist: Sal Buscema Editor: Roy Thomas Reprints: • Avengers in “Even Avengers Can Die!” from Avengers #14 (Mar. 1965)

MARVEL TRIPLE ACTION #9 Feb. 1973 Cover artists: Gil Kane and Frank Giacoia Editor: Roy Thomas Reprints: • Avengers in “Now, By My Hand, Shall Die a Villain!” from Avengers #15 (Apr. 1965) MARVEL TRIPLE ACTION #10 Apr. 1973 Cover artists: Gil Kane and Frank Giacoia Editor: Roy Thomas Reprints: • Avengers in “The Old Order Changeth!” from Avengers #16 (May 1965) MARVEL TRIPLE ACTION #11 June 1973 Cover artists: Jack Kirby and Frank Giacoia Editor: Roy Thomas Reprints: • Avengers in “Four Against the Minotaur!” from Avengers #17 (June 1965) MARVEL TRIPLE ACTION #12 Aug. 1973 Cover artists: Jack Kirby and Dick Ayers Editor: Roy Thomas Reprints: • Avengers in “When the Commissar Commands!” from Avengers #18 (July 1965) MARVEL TRIPLE ACTION #13 Sept. 1973 Cover artists: Jack Kirby and Frank Giacoia, with Don Heck (headshots) Editor: Roy Thomas Reprints: • Avengers in “The Coming of … the Swordsman!” from Avengers #19 (Aug. 1965) MARVEL TRIPLE ACTION #14 Oct. 1973 Cover artists: Jack Kirby and Wally Wood Editor: Roy Thomas Reprints: • Avengers in “Vengeance is Ours!” from Avengers #20 (Sept. 1965) MARVEL TRIPLE ACTION #15 Nov. 1973 Cover artists: Jack Kirby and Wally Wood Editor: Roy Thomas Reprints: • Avengers in “The Bitter Taste of Defeat!” from Avengers #21 (Oct. 1965) MARVEL TRIPLE ACTION #16 Jan. 1974 Cover artists: Jack Kirby and Wally Wood Editor: Roy Thomas Reprints: • Avengers in “The Road Back” from Avengers #22 (Nov. 1965) MARVEL TRIPLE ACTION #17 Mar. 1974 Cover artists: Jack Kirby and John Romita, Sr. Editor: Roy Thomas Reprints: • Avengers in “Once an Avenger…” from Avengers #23 (Dec. 1965)

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BACK ISSUE • 29

MARVEL TRIPLE ACTION #18 May 1974 Cover artists: Jack Kirby and Dick Ayers Editor: Roy Thomas Reprints: • Avengers in “From the Ashes of Defeat..!” from Avengers #24 (Jan. 1966)

MARVEL TRIPLE ACTION #27 Jan. 1976 Cover artists: Ed Hannigan and Klaus Janson Editor: Irene Vartanoff Reprints: • Avengers in “The Light That Failed!” from Avengers #35 (Dec. 1966)

MARVEL TRIPLE ACTION #36 July 1977 Cover artists: John Buscema and Vince Colletta Editor: Roger Stern Reprints: • Avengers in “The Valiant Also Die!” from Avengers #44 (Sept. 1967)

MARVEL TRIPLE ACTION #19 July 1974 Cover artists: Jack Kirby and Dick Ayers Editor: Roy Thomas Reprints: • Avengers in “Enter … Dr. Doom!” from Avengers #25 (Feb. 1966)

MARVEL TRIPLE ACTION #28 Mar. 1976 Cover artist: Don Heck Editor: Roger Stern Reprints: • Avengers in “The Ultroids Attack!” from Avengers #36 (Jan. 1967)

MARVEL TRIPLE ACTION #20 Sept. 1974 Cover artists: Don Heck and Frank Giacoia, with John Romita, Sr. (alterations) Editor: Roy Thomas Reprints: • Avengers in “The Voice of the Wasp!” from Avengers #26 (Mar. 1966)

MARVEL TRIPLE ACTION #29 May 1976 Cover artists: Jack Kirby and Dan Adkins Editor: Roger Stern Reprints: • Avengers in “To Conquer a Colossus!” from Avengers #37 (Feb. 1967)

MARVEL TRIPLE ACTION #37 Sept. 1977 Cover artists: John Buscema and Vince Colletta Editor: Roger Stern Reprints: • Avengers in “Blitzkrieg in Central Park!” from Avengers #45 (Oct. 1967)

MARVEL TRIPLE ACTION #21 Oct. 1974 Cover artists: Ron Wilson and Frank Giacoia Editor: Irene Vartanoff Reprints: • Avengers in “Four Against the Floodtide!” from Avengers #27 (Apr. 1966) MARVEL TRIPLE ACTION #22 Nov. 1974 Cover artists: Jack Kirby and Frank Giacoia Editor: Irene Vartanoff Reprints: • Avengers in “Among Us Walks … a Goliath!” from Avengers #28 (May 1966) MARVEL TRIPLE ACTION #23 Jan. 1975 Cover artists: Don Heck and Frank Giacoia Editor: Irene Vartanoff Reprints: • Avengers in “This Power Unleashed!” from Avengers #29 (June 1966) MARVEL TRIPLE ACTION #24 Mar. 1975 Cover artists: Jack Kirby and Frank Giacoia, with John Romita, Sr. (alterations) Editor: Irene Vartanoff Reprints: • Avengers in “Frenzy in a Far-Off Land!” from Avengers #30 (July 1966) MARVEL TRIPLE ACTION #25 Sept. 1975 Cover artists: Don Heck, with Jack Kirby (alterations) Editor: Irene Vartanoff Reprints: • Avengers in “To Smash a Serpent!” from Avengers #33 (Oct. 1966) MARVEL TRIPLE ACTION #26 Nov. 1975 Cover artist: Don Heck Editor: Irene Vartanoff Reprints: • Avengers in “The Living Laser!” from Avengers #34 (Nov. 1966)

MARVEL TRIPLE ACTION #30 July 1976 Cover artists: Gil Kane, with John Romita, Sr. (alterations) Editor: Roger Stern Reprints: • Avengers in “In Our Midst … an Immortal!” from Avengers #38 (Mar. 1967) MARVEL TRIPLE ACTION #31 Sept. 1976 Cover artists: Don Heck and George Roussos Editor: Roger Stern Reprints: • Avengers in “The Torment … and the Triumph!” from Avengers #39 (Apr. 1967) MARVEL TRIPLE ACTION #32 Nov. 1976 Cover artists: Don Heck and George Roussos Editor: Roger Stern Reprints: • Avengers in “Suddenly … the Sub-Mariner!” from Avengers #40 (May 1967) MARVEL TRIPLE ACTION #33 Jan. 1977 Cover artists: John Buscema and George Roussos Editor: Roger Stern Reprints: • Avengers in “Let Sleeping Dragons Lie!” from Avengers #41 (June 1967) MARVEL TRIPLE ACTION #34 Mar. 1977 Cover artists: John Buscema and George Roussos, with Marie Severin (alterations) Editor: Roger Stern Reprints: • Avengers in “The Plan—and the Power!” from Avengers #42 (July 1967) MARVEL TRIPLE ACTION #35 May 1977 Cover artists: John Buscema and George Roussos Editor: Roger Stern Reprints: • Avengers in “Color Him … the Red Guardian!” from Avengers #43 (Aug. 1967)

MARVEL TRIPLE ACTION #38 Nov. 1977 Cover artist: John Buscema Editor: Roger Stern Reprints: • Avengers in “The Agony and the Anthill!” from Avengers #46 (Nov. 1967) MARVEL TRIPLE ACTION #39 Jan. 1978 Cover artists: Gil Kane and Bob Wiacek Editor: Roger Stern Reprints: • Avengers in “Magneto Walks the Earth!” from Avengers #47 (Dec. 1967) MARVEL TRIPLE ACTION #40 Mar. 1978 Cover artist: George Tuska Editor: Roger Stern Reprints: • Avengers in “The Black Knight Lives Again!” from Avengers #48 (Jan. 1968) MARVEL TRIPLE ACTION #41 Apr. 1978 Cover artist: John Buscema Editor: Roger Stern Reprints: • Avengers in “Mine is the Power!” from Avengers #49 (Feb. 1968) MARVEL TRIPLE ACTION #42 June 1978 Cover artist: Ernie Chan Editor: Roger Stern Reprints: • Avengers in “To Tame a Titan!” from Avengers #50 (Mar. 1968) MARVEL TRIPLE ACTION #43 Aug. 1978 Cover artists: John Buscema and Joe Sinnott Editor: Jim Salicrup Reprints: • Avengers in “In the Clutches of … the Collector!” from Avengers #51 (Apr. 1968) MARVEL TRIPLE ACTION #44 Oct. 1978 Cover artists: John Buscema, with Dave Cockrum (additions) Editor: Jim Salicrup Reprints: • Avengers in “Death Calls for the Arch-Heroes!” from Avengers #52 (May 1968) MARVEL TRIPLE ACTION #45 Dec. 1978 Cover artists: John Buscema and George Tuska

Editor: Jim Salicrup Reprints: • X-Men in “Magneto Walks the Earth!” from X-Men #45 (June 1968) MARVEL TRIPLE ACTION #46 Feb. 1979 Cover artists: John Buscema and George Tuska Editor: Jim Salicrup Reprints: • Avengers in “In Battle Joined!” from Avengers #53 (June 1968) MARVEL TRIPLE ACTION #47 Apr. 1979 Cover artist: Steve Ditko Editor: Jim Salicrup Reprints: • Avengers in “…And Deliver Us from— the Masters Of Evil!” from Avengers #54 (July 1968) MARVEL’S GREATEST COMICS MARVEL’S GREATEST COMICS #23 Oct. 1969 Cover artists: Jack Kirby and Chic Stone Editor: Stan Lee Special features: pinups of Hawkeye, Black Widow, and Iron Man Reprints: • Fantastic Four in “The Mad Menace of the Macabre Mole Man!” from Fantastic Four #31 (Oct. 1964) • Iron Man in “Hawkeye and the New Black Widow Strike Again!” from Tales of Suspense #64 (Apr. 1965) • Tales of the Watcher: “The Watcher’s Power” from Tales of Suspense #57 (Sept. 1964) • Dr. Strange in “Face-to-Face at Last With Baron Mordo!” from Strange Tales #132 (May 1965) MARVEL’S GREATEST COMICS #24 Dec. 1969 Cover artists: Jack Kirby and Chic Stone Editor: Stan Lee Special features: pinups of the Thing, the Fantastic Four, Iron Man, and Dr. Strange Reprints: • Fantastic Four in “Death of a Hero!” from Fantastic Four #32 (Nov. 1964) • Iron Man in “If I Fail, A World is Lost!” from Tales of Suspense #66 (June 1965) • Tales of the Watcher: “The Watcher Must Die” from Tales of Suspense #58 (Oct. 1964) • Dr. Strange in “A Nameless Land, A Timeless Time!” from Strange Tales #133 (June 1965) MARVEL’S GREATEST COMICS #25 Feb. 1970 Cover artists: Jack Kirby and Chic Stone, with Gil Kane and Frank Giacoia (Captain America headshot) Editor: Stan Lee Special feature: Captain America pinup Reprints: • Fantastic Four in “Side-by-Side with Sub-Mariner!” from Fantastic Four #33 (Dec. 1964) • Iron Man in “Where Walk the Villains!” from Tales of Suspense #67 (July 1965) • “Captain America” from Tales of Suspense #59 (Nov. 1964) • Dr. Strange in “What Lurks Beneath the Mask?” from Strange Tales #136 (Sept. 1965)

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30 • BACK ISSUE • Marvel Bronze Age Giants and Reprints

MARVEL’S GREATEST COMICS #26 Apr. 1970 Cover artists: Jack Kirby and Chic Stone Editor: Stan Lee Reprints: • Fantastic Four in “A House Divided!” from Fantastic Four #34 (Jan. 1965) • Iron Man in “If A Man Be Mad!” from Tales of Suspense #68 (Aug. 1965) • Captain America in “The Army of Assassins Strikes!” from Tales of Suspense #60 (Dec. 1964) • Dr. Strange in “When Meet the Mystic Minds!” from Strange Tales #137 (Oct. 1965)

MARVEL’S GREATEST COMICS #31 June 1971 Cover artists: Jack Kirby and Chic Stone, with Wally Wood (Daredevil) Editor: Stan Lee Reprints: • Fantastic Four in “A Blind Man Shall Lead Them!” from Fantastic Four #39 (June 1965) • Fantastic Four in “The Battle of the Baxter Building!” from Fantastic Four #40 (July 1965) • Human Torch and the Thing in “Quicksilver and the Scarlet Witch” from Strange Tales #128 (Jan. 1965)

MARVEL’S GREATEST COMICS #27 June 1970 Cover artists: Jack Kirby and John Verpoorten Editor: Stan Lee Reprints: • Fantastic Four in “Calamity on the Campus!” from Fantastic Four #35 (Feb. 1965) • Captain America in “Break-Out in Cell Block 10!” from Tales of Suspense #62 (Feb. 1965) • Iron Man in “If I Must Die, Let It Be with Honor!” from Tales of Suspense #69 (Sept. 1965) • Dr. Strange in “If Eternity Should Fail!” from Strange Tales #138 (Nov. 1965)

MARVEL’S GREATEST COMICS #32 Sept. 1971 Cover artists: Jack Kirby and Sol Brodsky Editor: Stan Lee Reprints: • Fantastic Four in “The Brutal Betrayal of Ben Grimm!” from Fantastic Four #41 (Aug. 1965) • Fantastic Four in “To Save You, Why Must I Kill You?” from Fantastic Four #42 (Sept. 1965) • Human Torch and the Thing in “The Terrible Trio” from Strange Tales #129 (Feb. 1965)

MARVEL’S GREATEST COMICS #28 Aug. 1970 Cover artists: Jack Kirby and John Verpoorten Editor: Stan Lee Reprints: • Fantastic Four in “The Frightful Four!” from Fantastic Four #36 (Mar. 1965) • Captain America in “The Gladiator, the Girl and the Glory!” from Tales of Suspense #76 (Apr. 1966) • Iron Man in “Fight On! For a World is Watching!” from Tales of Suspense #70 (Oct. 1965) • Dr. Strange in “Beware…! Dormammu is Watching!” from Strange Tales #139 (Dec. 1965) MARVEL’S GREATEST COMICS #29 Dec. 1970 Cover artists: Jack Kirby and Dick Ayers Editor: Stan Lee Special feature: “Fantastic Four Family Album,” a 6-page collection of “photos” (panels) with commentary by Sue Reprints: • Fantastic Four in “The Incredible Hulk” from Fantastic Four #12 (Mar. 1963) • Fantastic Four in “The Mad Menace of the Macabre Mole Man!” from Fantastic Four #31 (Oct. 1964) MARVEL’S GREATEST COMICS #30 Mar. 1971 Cover artists: Marie Severin and Sal Buscema Editor: Stan Lee Reprints: • Fantastic Four in “Behold! A Distant Star!” from Fantastic Four #37 (Apr. 1965) • Fantastic Four in “Defeated by the Frightful Four!” from Fantastic Four #38 (May 1965) • Human Torch and the Thing in “The Mystery Villain” from Strange Tales #127 (Dec. 1964)

MARVEL’S GREATEST COMICS #33 Dec. 1971 Cover artists: Jack Kirby and Vince Colletta Editor: Stan Lee Reprints: • Fantastic Four in “The Gentleman's Name is Gorgon!” from Fantastic Four #44 (Nov. 1965) • Human Torch and the Thing in “Meet the Beatles!” from Strange Tales #130 (Mar. 1965) • Fantastic Four in “Among Us Hide … the Inhumans” from Fantastic Four #45 (Dec. 1965) MARVEL’S GREATEST COMICS #34 Mar. 1972 Cover artists: Gil Kane and Frank Giacoia Editor: Stan Lee Reprints: • Fantastic Four in “Those Who Would Destroy Us!” from Fantastic Four #46 (Jan. 1966) • Fantastic Four in “Beware the Hidden Land!” from Fantastic Four #47 (Feb. 1966) MARVEL’S GREATEST COMICS #35 June 1972 Cover artists: John Buscema and Joe Sinnott Editor: Stan Lee Special feature: “Fantastic Four Go Home” pinup Reprints: • Fantastic Four in “The Coming of Galactus!” from Fantastic Four #48 (Mar. 1966) MARVEL’S GREATEST COMICS #36 July 1972 Cover artist: Sal Buscema Editor: Stan Lee Reprints: • Fantastic Four in “If This Be Doomsday!” from Fantastic Four #49 (Apr. 1966)

MARVEL’S GREATEST COMICS #37 Sept. 1972 Cover artists: Gil Kane and Frank Giacoia Editor: Roy Thomas Reprints: • Fantastic Four in “The Startling Saga of the Silver Surfer!” from Fantastic Four #50 (May 1966) MARVEL’S GREATEST COMICS #38 Oct. 1972 Cover artist: Sal Buscema Editor: Roy Thomas Reprints: • Fantastic Four in “This Man … This Monster!” from Fantastic Four #51 (June 1966) MARVEL’S GREATEST COMICS #39 Nov. 1972 Cover artists: Jim Starlin and Joe Sinnott Editor: Roy Thomas Reprints: • Fantastic Four in “The Black Panther!” from Fantastic Four #52 (July 1966) MARVEL’S GREATEST COMICS #40 Jan. 1973 Cover artist: Sal Buscema Editor: Roy Thomas Reprints: • Fantastic Four in “The Way It Began..!” from Fantastic Four #53 (Aug. 1966) MARVEL’S GREATEST COMICS #41 Mar. 1973 Cover artists: Jim Starlin and Joe Sinnott Editor: Roy Thomas Reprints: • Fantastic Four in “Whosoever Finds the Evil Eye..!” from Fantastic Four #54 (Sept. 1966) MARVEL’S GREATEST COMICS #42 May 1973 Cover artists: Jack Kirby and Joe Sinnott Editor: Roy Thomas Reprints: • Fantastic Four in “Where Soars the Silver Surfer!” from Fantastic Four #72 (Mar. 1968) MARVEL’S GREATEST COMICS #43 July 1973 Cover artists: Jack Kirby and Joe Sinnott Editor: Roy Thomas Reprints: • Fantastic Four in “Klaw, the Murderous Master of Sound!” from Fantastic Four #56 (Nov. 1966) MARVEL’S GREATEST COMICS #44 Sept. 1973 Cover artists: Jack Kirby and Joe Sinnott Editor: Roy Thomas Reprints: • Fantastic Four in “Where Stalks the Sandman?” from Fantastic Four #61 (Apr. 1967) MARVEL’S GREATEST COMICS #45 Oct. 1973 Cover artists: Jack Kirby and Frank Giacoia Editor: Roy Thomas Reprints: • Fantastic Four in “…And One Shall Save Him!” from Fantastic Four #62 (May 1967)

MARVEL’S GREATEST COMICS #46 Nov. 1973 Cover artists: Jack Kirby and Joe Sinnott Editor: Roy Thomas Reprints: • Fantastic Four in “Blastaar, the Living Bomb-Burst!” from Fantastic Four #63 (June 1967) MARVEL’S GREATEST COMICS #47 Jan. 1974 Cover artists: Jack Kirby and Joe Sinnott, with John Romita, Sr. (alterations) Editor: Roy Thomas Reprints: • Fantastic Four in “The Sentry Sinister!” from Fantastic Four #64 (July 1967) MARVEL’S GREATEST COMICS #48 Mar. 1974 Cover artists: Jack Kirby and Joe Sinnott Editor: Roy Thomas Reprints: • Fantastic Four in “…From Beyond This Planet Earth!” from Fantastic Four #65 (Aug. 1967) MARVEL’S GREATEST COMICS #49 May 1974 Cover artists: Jack Kirby and Joe Sinnott Editor: Reprints: • Fantastic Four in “What Lurks Behind the Beehive?” from Fantastic Four #66 (Sept. 1967) MARVEL’S GREATEST COMICS #50 July 1974 Cover artists: Jack Kirby and Joe Sinnott Editor: Roy Thomas Reprints: • Fantastic Four in “When Opens the Cocoon!” from Fantastic Four #67 (Oct. 1967) MARVEL’S GREATEST COMICS #51 Sept. 1974 Cover artists: Jack Kirby and Joe Sinnott Editor: Roy Thomas Reprints: • Fantastic Four in “His Mission: Destroy the Fantastic Four!” from Fantastic Four #68 (Nov. 1967) MARVEL’S GREATEST COMICS #52 Oct. 1974 Cover artist: Jack Kirby Editor: Roy Thomas Reprints: • Fantastic Four in “By Ben Betrayed!” from Fantastic Four #69 (Dec. 1967) MARVEL’S GREATEST COMICS #53 Nov. 1974 Cover artist: Jack Kirby Editor: Roy Thomas Reprints: • Fantastic Four in “When Fall the Mighty” from Fantastic Four #70 (Jan. 1968) MARVEL’S GREATEST COMICS #54 Jan. 1975 Cover artists: Jack Kirby and Joe Sinnott Editor: Irene Vartanoff Reprints: • Fantastic Four in “…And So It Ends…” from Fantastic Four #71 (Feb. 1968)

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BACK ISSUE • 31

MARVEL’S GREATEST COMICS #55 Mar. 1975 Cover artists: Jack Kirby and Joe Sinnott Editor: Irene Vartanoff Reprints: • Fantastic Four in “The Flames of Battle” from Fantastic Four #73 (Apr. 1968) MARVEL’S GREATEST COMICS #56 May 1975 Cover artists: Jack Kirby and Joe Sinnott Editor: Irene Vartanoff Reprints: • Fantastic Four in “When Calls Galactus” from Fantastic Four #74 (May 1968) MARVEL’S GREATEST COMICS #57 July 1975 Cover artists: Jack Kirby and Joe Sinnott Editor: Irene Vartanoff Reprints: • Fantastic Four in “Worlds Within Worlds!” from Fantastic Four #75 (June 1968) MARVEL’S GREATEST COMICS #58 Sept. 1975 Cover artists: Ron Wilson and Joe Sinnott Editor: Irene Vartanoff Reprints: • Fantastic Four in “Stranded in SubAtomica!” from Fantastic Four #76 (July 1968) MARVEL’S GREATEST COMICS #59 Sept. 1975 Cover artists: Jack Kirby and Joe Sinnott Editor: Irene Vartanoff Reprints: • Fantastic Four in “Shall Earth Endure?” from Fantastic Four #77 (Aug. 1968) MARVEL’S GREATEST COMICS #60 Nov. 1975 Cover artists: Jack Kirby and Joe Sinnott Editor: Irene Vartanoff Reprints: • Fantastic Four in “The Thing No More!” from Fantastic Four #78 (Sept. 1968) MARVEL’S GREATEST COMICS #61 Jan. 1976 Cover artists: Jack Kirby and Joe Sinnott Editor: Irene Vartanoff Reprints: • Fantastic Four in “A Monster Forever?” from Fantastic Four #79 (Oct. 1968) MARVEL’S GREATEST COMICS #62 Mar. 1976 Cover artists: Jack Kirby and Joe Sinnott Editor: Roger Stern Reprints: • Fantastic Four in “Where Treads the Living Totem!” from Fantastic Four #80 (Nov. 1968) MARVEL’S GREATEST COMICS #63 May 1976 Cover artists: Jack Kirby and Joe Sinnott Editor: Roger Stern Reprints: • Fantastic Four in “Enter … the Exquisite Elemental!” from Fantastic Four #81 (Dec. 1968) MARVEL’S GREATEST COMICS #64 July 1976 Cover artist: Joe Sinnott Editor: Roger Stern

MARVEL’S GREATEST COMICS #74 Nov. 1977 Cover artists: Jack Kirby and Joe Sinnott Editor: Roger Stern Reprints: • Fantastic Four in “Ben Grimm, Killer!” from Fantastic Four #92 (Nov. 1969)

MARVEL’S GREATEST COMICS #82 Mar. 1979 Cover artists: John Romita, Sr. and John Verpoorten Editor: Jim Salicrup Reprints: • Fantastic Four in “The Strength of the Sub-Mariner” from Fantastic Four #102 (Sept. 1970)

MARVEL’S GREATEST COMICS #66 Oct. 1976 Cover artists: Jack Kirby and Joe Sinnott Editor: Roger Stern Reprints: • Fantastic Four in “The Name is Doom!” from Fantastic Four #84 (Mar. 1969)

MARVEL’S GREATEST COMICS #75 Jan. 1978 Cover artists: Jack Kirby and Frank Giacoia, with John Romita, Sr. (alterations) Editor: Roger Stern Reprints: • Fantastic Four in “At the Mercy of Torgo!” from Fantastic Four #93 (Dec. 1969)

MARVEL’S GREATEST COMICS #83 Dec. 1979 Cover artists: John Romita, Sr. and John Verpoorten Editor: Danny Fingeroth Reprints: • Fantastic Four in “At War With Atlantis!” from Fantastic Four #103 (Oct. 1970)

MARVEL’S GREATEST COMICS #67 Nov. 1976 Cover artists: Jack Kirby and Joe Sinnott Editor: Roger Stern Reprints: • Fantastic Four in “Within This Tortured Land” from Fantastic Four #85 (Apr. 1969)

MARVEL’S GREATEST COMICS #76 Mar. 1978 Cover artists: Jack Kirby and Joe Sinnott Editor: Roger Stern Reprints: • Fantastic Four in “Tomorrow … World War Three!” from Fantastic Four #95 (Feb. 1970)

MARVEL’S GREATEST COMICS #84 Jan. 1980 Cover artists: John Romita, Sr. and John Verpoorten Editor: Danny Fingeroth Reprints: • Fantastic Four in “Our World … Enslaved!” from Fantastic Four #104 (Nov. 1970)

MARVEL’S GREATEST COMICS #68 Jan. 1977 Cover artists: Jack Kirby and Joe Sinnott Editor: Roger Stern Reprints: • Fantastic Four in “The Victims!” from Fantastic Four #86 (May 1969)

MARVEL’S GREATEST COMICS #77 May 1978 Cover artists: Jack Kirby and Mike Royer (recreation of Kirby/ Joe Sinnott original cover) Editor: Roger Stern Reprints: • Fantastic Four in “The Mad Thinker and His Androids of Death!” from Fantastic Four #96 (Mar. 1970)

MARVEL’S GREATEST COMICS #85 Feb. 1980 Cover artists: John Romita, Sr. and John Verpoorten Editor: Danny Fingeroth Reprints: • Fantastic Four in “The Monster in the Streets!” from Fantastic Four #105 (Dec. 1970)

MARVEL’S GREATEST COMICS #78 July 1978 Cover artists: Jack Kirby and John Verpoorten Editor: Roger Stern Reprints: • Fantastic Four in “The Monster from the Lost Lagoon!” from Fantastic Four #97 (Apr. 1970)

MARVEL’S GREATEST COMICS #86 Mar. 1980 Cover artists: John Romita, Sr. and Joe Sinnott Editor: Danny Fingeroth Reprints: • Fantastic Four in “The Monster’s Secret!” from Fantastic Four #106 (Jan. 1971)

MARVEL’S GREATEST COMICS #79 Sept. 1978 Cover artists: Jack Kirby and Joe Sinnott, with Al Milgrom (alterations) Editor: Jim Salicrup Reprints: • Fantastic Four in “Mystery on the Moon!” from Fantastic Four #98 (May 1970)

MARVEL’S GREATEST COMICS #87 Apr. 1980 Cover artists: John Buscema and Joe Sinnott Editor: Danny Fingeroth Reprints: • Fantastic Four in “And Now … the Thing!” from Fantastic Four #107 (Feb. 1971)

MARVEL’S GREATEST COMICS #80 Nov. 1978 Cover artists: Jack Kirby and John Verpoorten Editor: Jim Salicrup Reprints: • Fantastic Four in “The Torch Goes Wild!” from Fantastic Four #99 (June 1970)

MARVEL’S GREATEST COMICS #88 May 1980 Cover artists: John Buscema and John Verpoorten Editor: Danny Fingeroth Reprints: • Fantastic Four in “The Monstrous Mystery of the Nega-Man!” from Fantastic Four #108 (Mar. 1971)

MARVEL’S GREATEST COMICS #81 Jan. 1979 Cover artists: Alan Kupperberg and Joe Sinnott Editor: Jim Salicrup Reprints: • Fantastic Four in “The Long Journey Home!” from Fantastic Four #100 (July 1970)

MARVEL’S GREATEST COMICS #89 June 1980 Cover artists: John Buscema and Joe Sinnott Editor: Danny Fingeroth Reprints: • Fantastic Four in “Death in the Negative Zone!” from Fantastic Four #109 (Apr. 1971)

Reprints: • Fantastic Four in “The Mark of … the Madman!” from Fantastic Four #82 (Jan. 1969) MARVEL’S GREATEST COMICS #65 Sept. 1976 Cover artists: Jack Kirby and Joe Sinnott Editor: Roger Stern Reprints: • Fantastic Four in “Shall Man Survive?” from Fantastic Four #83 (Feb. 1969)

MARVEL’S GREATEST COMICS #69 Mar. 1977 Cover artists: Jack Kirby and Joe Sinnott Editor: Roger Stern Reprints: • Fantastic Four in “The Power and the Pride!” from Fantastic Four #87 (June 1969) MARVEL’S GREATEST COMICS #70 May 1977 Cover artist: Joe Sinnott (recreation of Jack Kirby’s original cover) Editor: Reprints: • Fantastic Four in “A House There Was!” from Fantastic Four #88 (July 1969) MARVEL’S GREATEST COMICS #71 July 1977 Cover artists: Jack Kirby and Joe Sinnott Editor: Roger Stern Reprints: • Fantastic Four in “The Madness of the Mole Man!” from Fantastic Four #89 (Aug. 1969) MARVEL’S GREATEST COMICS #72 Sept. 1977 Cover artists: Jack Kirby and Joe Sinnott Editor: Roger Stern Reprints: • Fantastic Four in “The Skrull Takes a Slave!” from Fantastic Four #90 (Sept. 1969) MARVEL’S GREATEST COMICS #73 Oct. 1977 Cover artists: Jack Kirby and Joe Sinnott Editor: Roger Stern Reprints: • Fantastic Four in “The Thing … Enslaved!” from Fantastic Four #91 (Oct. 1969)

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MARVEL’S GREATEST COMICS #90 July 1980 Cover artists: John Buscema and Joe Sinnott Editor: Danny Fingeroth Reprints: • Fantastic Four in “One From Four Leaves Three!” from Fantastic Four #110 (May 1971) MARVEL’S GREATEST COMICS #91 Aug. 1980 Cover artists: John Buscema and John Verpoorten Editor: Danny Fingeroth Reprints: • Fantastic Four in “The Thing ... Amok!” from Fantastic Four #111 (June 1971) MARVEL’S GREATEST COMICS #92 Sept. 1980 Cover artists: John Buscema and Frank Giacoia Editor: Danny Fingeroth Reprints: • Fantastic Four in “Battle of the Behemoths!” from Fantastic Four #112 (July 1971) MARVEL’S GREATEST COMICS #93 Oct. 1980 Cover artists: John Buscema and John Verpoorten Editor: Danny Fingeroth Reprints: • Fantastic Four in “The Power of … the Over-Mind!” from Fantastic Four #113 (Aug. 1971) MARVEL’S GREATEST COMICS #94 Nov. 1980 Cover artists: John Buscema and Frank Giacoia, with John Romita, Sr. (alterations) Editor: Danny Fingeroth Reprints: • Fantastic Four in “But Who Shall Stop the Over-Mind!” from Fantastic Four #114 (Sept. 1971) • Ant-Man in “The Day That Ant-Man Failed! [Part 1]” from Tales to Astonish #40 (Feb. 1963) MARVEL’S GREATEST COMICS #95 Dec. 1980 Cover artists: John Buscema and John Romita, Sr. Editor: Danny Fingeroth Reprints: • Fantastic Four in “The Secret of the Eternals” from Fantastic Four #115 (Oct. 1971) • Ant-Man in “The Reason Why! [Part 2]” from Tales to Astonish #40 (Feb. 1963) MARVEL’S GREATEST COMICS #96 Jan. 1981 Cover artists: John Buscema and Joe Sinnott Editor: Danny Fingeroth Reprints: • Fantastic Four in “The Alien, the Ally, and … Armageddon!” from Fantastic Four #116 (Nov. 1971) [NICK FURY AND HIS AGENTS OF] SHIELD SHIELD #1 Feb. 1973 Cover artist: Jim Steranko Editor: Roy Thomas

Reprints: • Nick Fury, Agent of S.H.I.E.L.D. in “When the Unliving Strike!” from Strange Tales #146 (July 1966) • Nick Fury, Agent of S.H.I.E.L.D. in “The Enemy Within!” from Strange Tales #147 (Aug. 1966) SHIELD #2 Apr. 1973 Cover artist: Jim Steranko Editor: Roy Thomas Reprints: • Nick Fury, Agent of S.H.I.E.L.D. in “Death Before Dishonor!” from Strange Tales #148 (Sept. 1966) • Nick Fury, Agent of S.H.I.E.L.D. in “The End of A.I.M.!” from Strange Tales #149 (Oct. 1966) SHIELD #3 June 1973 Cover artists: Jack Kirby and Jim Steranko Editor: Roy Thomas Reprints: • Nick Fury, Agent of S.H.I.E.L.D. in “Hydra Lives!” from Strange Tales #150 (Nov. 1966) • Nick Fury, Agent of S.H.I.E.L.D. in “Overkill!” from Strange Tales #151 (Dec. 1966) SHIELD #4 Aug. 1973 Cover artist: Jim Steranko Editor: Roy Thomas Reprints: • Nick Fury, Agent of S.H.I.E.L.D. in “The Power of SHIELD!” from Strange Tales #152 (Jan. 1967) • Nick Fury, Agent of S.H.I.E.L.D. in “The Hiding Place!” from Strange Tales #153 (Feb. 1967) SHIELD #5 Oct. 1973 Cover artist: Jim Steranko Editor: Roy Thomas Reprints: • Nick Fury, Agent of S.H.I.E.L.D. in “Beware … the Deadly Dreadnought!” from Strange Tales #154 (Mar. 1967) • Nick Fury, Agent of S.H.I.E.L.D. in “Death Trap!” from Strange Tales #155 (Apr. 1967) SPECIAL MARVEL EDITION SPECIAL MARVEL EDITION #1 Jan. 1971 Cover artists: Marie Severin and Joe Sinnott Editor: Stan Lee Reprints: • Thor in “Into the Blaze of Battle!” from Journey into Mystery #117 (June 1965) • Thor in “To Kill a Thunder God!” from Journey into Mystery #118 (July 1965) • Tales of Asgard: “The Golden Apples!” from Journey into Mystery #114 (Mar. 1965) • Thor in “The Day of the Destroyer!” from Journey into Mystery #119 (Aug. 1965) SPECIAL MARVEL EDITION #2 Apr. 1971 Cover artist: Sal Buscema Editor: Stan Lee

Reprints: • Thor in “With My Hammer In Hand…!” from Journey into Mystery #120 (Sept. 1965) • Thor in “The Power! The Passion! The Pride!” from Journey into Mystery #121 (Oct. 1965) • Tales of Asgard: “The Secret of Sigurd!” from Journey into Mystery #111 (Dec. 1964) • Thor in “Where Mortals Fear to Tread!” from Journey into Mystery #122 (Nov. 1965) SPECIAL MARVEL EDITION #3 Sept. 1971 Cover artists: Jack Kirby and Vince Colletta Editor: Stan Lee Reprints: • Thor in “While a Universe Trembles!” from Journey into Mystery #123 (Dec. 1965) • Thor in “The Grandeur and the Glory!” from Journey into Mystery #124 (Jan. 1966) • Thor in “When Meet the Immortals!” from Journey into Mystery #125 (Feb. 1966) • Tales of Asgard: “The Coming of Loki!” from Journey into Mystery #112 (Jan. 1965) SPECIAL MARVEL EDITION #4 Feb. 1972 Cover artists: Jack Kirby and Vince Colletta Editor: Stan Lee Reprints: • Thor in “Whom the Gods Would Destroy!” from Thor #126 (Mar. 1966) • Tales of Asgard: “A Viper in Our Midst!” from Journey into Mystery #115 (Apr. 1965) • Thor in “The Hammer and the Holocaust!” from Thor #127 (Apr. 1966) SPECIAL MARVEL EDITION #5 July 1972 Cover artist: John Severin Editor: Stan Lee Reprints: • Sgt. Fury in “Midnight on Massacre Mountain!” from Sgt. Fury #3 (Sept. 1963) SPECIAL MARVEL EDITION #6 Sept. 1972 Cover artist: Herb Trimpe Editor: Roy Thomas Reprints: • Sgt. Fury in “The Death Ray of Dr. Zemo!” from Sgt. Fury #8 (July 1964) SPECIAL MARVEL EDITION #7 Nov. 1972 Cover artist: Dick Ayers Editor: Roy Thomas Reprints: • Sgt. Fury in “Mission: Capture Adolf Hitler!” from Sgt. Fury #9 (Aug. 1964) SPECIAL MARVEL EDITION #8 Jan. 1973 Cover artist: John Severin Editor: Roy Thomas Reprints: • Sgt. Fury in “On to Okinawa!” from Sgt. Fury #10 (Sept. 1964)

SPECIAL MARVEL EDITION #9 Mar. 1973 Cover artist: Dick Ayers Editor: Roy Thomas Reprints: • Sgt. Fury in “The Crackdown of Capt. Flint!” from Sgt. Fury #11 (Oct. 1964) SPECIAL MARVEL EDITION #10 May 1973 Cover artists: Jack Kirby and Dick Ayers Editor: Roy Thomas Reprints: • Sgt. Fury in “When a Howler Turns Traitor!” from Sgt. Fury #12 (Nov. 1964) SPECIAL MARVEL EDITION #11 July 1973 Cover artists: Jack Kirby and Dick Ayers Editor: Roy Thomas Reprints: • Sgt. Fury in “Fighting Side-by-Side with … Captain America and Bucky!” from Sgt. Fury #13 (Dec. 1964) SPECIAL MARVEL EDITION #12 Sept. 1973 Cover artists: Jack Kirby and Dick Ayers Editor: Roy Thomas Reprints: • Sgt. Fury in “The Blitzkrieg Squad of Baron Strucker!” from Sgt. Fury #14 (Jan. 1965) SPECIAL MARVEL EDITION #13 Oct. 1973 Cover artists: Jack Kirby and Dick Ayers Editor: Roy Thomas Reprints: • Sgt. Fury in “Too Small to Fight, Too Young to Die!” from Sgt. Fury #15 (Feb. 1965) SPECIAL MARVEL EDITION #14 Nov. 1973 Cover artists: Jack Kirby and Dick Ayers Editor: Roy Thomas Reprints: • Sgt. Fury in “A Fortress in the Desert Stands!” from Sgt. Fury #16 (Mar. 1965) STRANGE TALES [Editor’s note: The 1973 revival of the former anthology series Strange Tales began as a tryout title for new material, starting with full-length Brother Voodoo stories in issue #169, then vacillated between running reprints (monster/ horror stories and Dr. Strange) and new material (The Golem, Warlock). Some of the issues headlining new material featured reprint backups. Only the issues of Strange Tales that included reprints are indexed below.] STRANGE TALES #172 Feb. 1974 Cover artists: Gil Kane and Frank Giacoia Editor: Roy Thomas New story: • Brother Voodoo in “Fiend in the Fog” Reprints: • “Voodoo” from Astonishing #56 (Dec. 1956)

TM & © Marvel Characters, Inc.

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STRANGE TALES #173 Apr. 1974 Cover artists: Rich Buckler and Ernie Chan Editor: Roy Thomas New story: • Brother Voodoo in “Sacrifice Play!” Reprints: • “Bait!” from World of Suspense #4 (Oct. 1956) STRANGE TALES #174 June 1974 Cover artists: Tony DeZuniga, with John Romita, Sr. (alterations) Editor: Roy Thomas New Story: • The Golem in “There Walks the Golem!” Reprints: • “Foolproof!” from Marvel Tales #110 (Dec. 1952) STRANGE TALES #175 Aug. 1974 Cover artists: Jack Kirby and Dick Ayers, with John Romita, Sr. (alterations) Editor: Roy Thomas Reprints: • “Torr” from Amazing Adventures #1 (June 1961) • “Midnight in the Wax Museum” from Amazing Adventures #1 (June 1961) STRANGE TALES #176 Oct. 1974 Cover artist: John Romita, Sr. Editor: Roy Thomas New Story: • The Golem in “Black Crossing” Reprints: • “The Man Who Couldn’t Be Killed!” from Adventure Into Mystery #8 (July 1957) STRANGE TALES #177 Dec. 1974 Cover artist: Frank Brunner Editor: Roy Thomas New Story: • The Golem in “There Comes Now Raging Fire!” Reprints: • “The Girl Behind the Glass!” from Astonishing #59 (Mar. 1957) STRANGE TALES #182 Nov. 1975 Cover artists: Gil Kane and Dan Adkins Editor: Irene Vartanoff Reprints: • Dr. Strange in “The Challenge of Loki!” from Strange Tales #123 (Aug. 1964) • Dr. Strange in “The Lady from Nowhere!” from Strange Tales #124 (Sept. 1964) STRANGE TALES #183 Jan. 1976 Cover artists: Jack Kirby and Chic Stone Editor: Irene Vartanoff Reprints: • Dr. Strange in “The Defeat of Dr. Strange” from Strange Tales #130 (Mar. 1965) • Dr. Strange in “The Hunter and the Hunted!” from Strange Tales #131 (Apr. 1965)

STRANGE TALES #184 Mar. 1976 Cover artists: Ed Hannigan and Dan Adkins Editor: Irene Vartanoff Reprints: • Dr. Strange in “Face-to-Face at Last With Baron Mordo!” from Strange Tales #132 (May 1965) • Dr. Strange in “A Nameless Land, A Timeless Time!” from Strange Tales #133 (June 1965) STRANGE TALES #185 May 1976 Cover artists: Ed Hannigan and Klaus Janson, with John Romita, Sr. Editor: Roger Stern Reprints: • Dr. Strange in “Earth Be My Battleground” from Strange Tales #134 (July 1965) • Dr. Strange in “Eternity Beckons!” from Strange Tales #135 (Aug. 1965) STRANGE TALES #186 July 1976 Cover artists: Ed Hannigan and Mike Esposito Editor: Roger Stern Reprints: • Dr. Strange in “What Lurks Beneath the Mask?” from Strange Tales #136 (Sept. 1965) • Dr. Strange in “When Meet the Mystic Minds!” from Strange Tales #137 (Oct. 1965) STRANGE TALES #187 Sept. 1976 Cover artists: Ron Wilson and Dan Adkins Editor: Roger Stern Reprints: • Dr. Strange in “If Eternity Should Fail!” from Strange Tales #138 (Nov. 1965) • Dr. Strange in “Beware…! Dormammu is Watching!” from Strange Tales #139 (Dec. 1965) STRANGE TALES #188 Nov. 1976 Cover artists: Gene Colan and Tom Palmer Editor: Roger Stern Reprints: • Dr. Strange in “The Pincers of Power!” from Strange Tales #140 (Jan. 1966) • Dr. Strange in “Let There Be Victory!” from Strange Tales #141 (Feb. 1966) TALES OF ASGARD TALES OF ASGARD #1 Feb. 1984 Cover artist: Walt Simonson Editor: Ralph Macchio Reprints: • Thor in “The Hordes of Harokin!” from Thor #129 (June 1966) • Thor in “The Fateful Change!” from Thor #130 (July 1966) • Thor in “The Warlock's Eye!” from Thor #131 (Aug. 1966) • Thor in “The Dark Horse of Death!” from Thor #132 (Sept. 1966)

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Thor in “Valhalla!” from Thor #133 (Oct. 1966) Thor in “When Speaks the Dragon!” from Thor #134 (Nov. 1966) Thor in “The Fiery Breath of Fafnir!” from Thor #135 (Dec. 1966) Thor in “There Shall Come a Miracle!” from Thor #136 (Jan. 1967) TALES TO ASTONISH

TALES TO ASTONISH #1 Dec. 1979 Cover artists: John Buscema and Sol Brodsky Editor: Danny Fingeroth Reprints: • Sub-Mariner in “Years of Glory— Day of Doom!” from Sub-Mariner #1 (May 1968)

TALES TO ASTONISH #8 July 1980 Cover artists: John Buscema and Dan Adkins Editor: Danny Fingeroth Reprints: • Sub-Mariner in “In the Rage of Battle!” from Sub-Mariner #8 (Dec. 1968) TALES TO ASTONISH #9 Aug. 1980 Cover artists: Herb Trimpe and Dan Adkins, with John Romita, Sr. (alterations) Editor: Danny Fingeroth Reprints: • Sub-Mariner in “The Spell of the Serpent!” from Sub-Mariner #9 (Jan. 1969)

TALES TO ASTONISH #2 Jan. 1980 Cover artists: John Buscema and Frank Giacoia Reprints: • Sub-Mariner in “Cry … Triton!” from Sub-Mariner #2 (June 1968)

TALES TO ASTONISH #10 Sept. 1980 Cover artists: Gene Colan and Dan Adkins Editor: Danny Fingeroth Reprints: • Sub-Mariner in “Never Bother a Barracuda!” from Sub-Mariner #10 (Feb. 1969)

TALES TO ASTONISH #3 Feb. 1980 Cover artists: John Buscema and Frank Giacoia Editor: Danny Fingeroth Reprints: • Sub-Mariner in “On a Clear Day You Can See … the Leviathan!” from Sub-Mariner #3 (July 1968)

TALES TO ASTONISH #11 Oct. 1980 Cover artists: Gene Colan and Dan Adkins Editor: Danny Fingeroth Reprints: • Sub-Mariner in “The Choice and the Challenge!” from Sub-Mariner #11 (Mar. 1969)

TALES TO ASTONISH #4 Mar. 1980 Cover artists: John Buscema and Frank Giacoia Editor: Danny Fingeroth Reprints: • Sub-Mariner in “Who Strikes For Atlantis?” from Sub-Mariner #4 (Aug. 1968)

TALES TO ASTONISH #12 Nov. 1980 Cover artists: John Romita, Sr. and Mike Esposito Editor: Danny Fingeroth New Story: • The Vision in “Double Vision” Reprints: • Sub-Mariner in “A World Against Me!” from Sub-Mariner #12 (Apr. 1969)

TALES TO ASTONISH #5 Apr. 1980 Cover artists: John Buscema and Frank Giacoia Editor: Danny Fingeroth Reprints: • Sub-Mariner in “Watch Out for … Tiger Shark!” from Sub-Mariner #5 (Sept. 1968) TALES TO ASTONISH #6 May 1980 Cover artists: John Buscema and Dan Adkins Editor: Danny Fingeroth Reprints: • Sub-Mariner in “…And to the Vanquished—Death!” from Sub-Mariner #6 (Oct. 1968) TALES TO ASTONISH #7 June 1980 Cover artists: John Buscema and Dan Adkins Editor: Danny Fingeroth Reprints: • Sub-Mariner in “For President— the Man Called Destiny!” from Sub-Mariner #7 (Nov. 1968)

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34 • BACK ISSUE • Marvel Bronze Age Giants and Reprints

TALES TO ASTONISH #13 Dec. 1980 Cover artists: Marie Severin and Joe Sinnott Editor: Danny Fingeroth New Story: • Nighthawk in “Deadly Game” Reprints: • Sub-Mariner in “Death, Thou Shalt Die!” from Sub-Mariner #13 (May 1969) TALES TO ASTONISH #14 Jan. 1981 Cover artists: Marie Severin and Frank Giacoia Editor: Danny Fingeroth Special features: Human Torch vs. Sub-Mariner Golden Age pinup by Bill Everett and Carl Burgos; Sub-Mariner pinup; “Sub-Mariner Gallery” 1-page filler (original art by Alan Weiss, from a proposed but unpublished Sub-Mariner series by Jim Shooter and Alan Weiss) Reprints: • Sub-Mariner in “Burn, Namor … Burn!” from Sub-Mariner #14 (June 1969)

Nowadays, they are household names in animated cartoons, video games, films, and, of course, comic books. Today one cannot walk into their local comic shop or peruse online vendors without seeing an X or a mutant in a Marvel title. Yet in the past, before becoming All-New, All-Different, and Uncanny during the epic stories of Len Wein, Chris Claremont, Dave Cockrum, and John Byrne, the X-Men relived past adventures in their own series. This article will look at the reprint years of X-Men and the reasons for the title’s change in direction before and after the strangest superheroes of all traveled through time through their old tales for 27 issues. by

MUTANT HISTORY X

James Heath Lantz

X-caping Cancellation Before the “new” X-Men, Bronze Age readers discovered the “old” X-Men when the series went all-reprint beginning with X-Men #67 (Dec. 1970). Cover by Marie Severin and Joe Sinnott. The double-sized mag originally reprinted two issues of X-Men but was cut back to a regular-sized title with issue #71, then reprinting only one X-Men tale. TM & © Marvel Characters, Inc.

To understand the reasons for X-Men becoming a reprint book, it helps to get to know some of the title’s history. Stan Lee approached Marvel publisher Martin Goodman with an idea for a series called The Mutants. Fearing people would not know what a mutant was, Goodman suggested a title change. Lee then got to work with artist Jack Kirby and later Werner Roth (who began his run under the pseudonym Jay Gavin, named for both of his sons) on X-Men, a series Lee later said was “an anti-bigotry story to show there’s good in every person.” X-Men followed the adventures of five teenaged students and their teacher, Professor Charles Xavier, a.k.a. Professor X, from Xavier’s School for Gifted Youngsters. The eye-laser-blasting Cyclops, the agile Beast with prehensile toes, the winged Angel, the frozen Iceman, and the telekinetic and telepathic Marvel Girl are mutants—beings born with superhuman abilities and gifts. The paralyzed Professor X uses his powerful mutant mind to train the young group, whom he calls X-Men for the X-gene that gives them their powers, to defend humanity in spite of the fear and hatred toward homo-superior, as mutants are later called. The X-Men face the likes of magnetism master Magneto, the unmovable Blob, the leaping Toad, the unstoppable Juggernaut (Xavier’s stepbrother), and the mutanthunting giant robots called the Sentinels. The team and Magneto’s Brotherhood of Evil Mutants even encounter a mutant (though technically he could be considered a hybrid) from the Golden Age of Comics— Prince Namor, the Sub-Mariner—in X-Men #6 (July 1964). The Lee/Kirby team had an impressive track record with such books as Fantastic Four, Thor, and Avengers. Yet while it had a cult following, X-Men failed to capture the imaginations of many readers in spite of the sagas giving audiences the first appearances of such mainstays in the mutant mythos as Professor X, Magneto, and Cyclops. On the beginnings of the comic book, Roy Thomas later surmised the following in a panel on the Silver and Bronze Age X-Men on June 11, 2000, transcribed in Alter Ego #24: “One of the reasons it wasn’t as big in the early ’60s is because its time really hadn’t come yet. It was before the age of the teenaged superhero. Nor was the ‘outcast’ thing quite as big earlier. Remember, ’63 was the Kennedy years. But by the late ’60s, with Vietnam and civil rights and all that, the idea of the outsider as the hero came in big.” The final Stan Lee issue, which was drawn by Werner Roth, was X-Men #19 (Apr. 1966). While Roth stayed on the book for some time, Lee handed over writing duties to Roy Thomas. Thomas, who would have extensive cycles on Avengers and Conan the Barbarian, would have two runs on the book—#20–43 (May 1966–Apr. 1968) and #55–64 (Apr. 1969–Jan. 1970) and #66 (Mar. 1970)—with Gary Friedrich (Ghost Rider), Arnold Drake (Doom Patrol), and Dennis O’Neil (Batman) penning some tales as well. Jim Steranko, who also designed the cover logo for the series, Don Heck, George Tuska, and Ross Andru were among the names of creators who had provided visuals for the mutant mayhem in the pages of X-Men. Most of Roy Thomas’ second outing of X-Men tales had him paired with artist Neal Adams, who had followed Jim Steranko’s advice to come work for Marvel after his stint on DC Comics’ Deadman had ended in 1969. Adams drew #56–63 of Thomas’ tales and plotted Dennis O’Neil’s fill-in dialogue for issue #65 (Feb. 1970). Sal Buscema would provide images for the last Roy Thomas tale. It featured

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Anatomy of a Cover The cover of X-Men #69 (Apr. 1971), from (top) Marie Severin’s cover sketch to (center) Sal Buscema’s finished art to (bottom) the published version. TM & © Marvel Characters, Inc.

Marvel’s Merry Mutants confronting a character that would later be big part of Buscema’s career—the Incredible Hulk. The Thomas/Adams cycle had increased sales for X-Men. Thomas himself has even said that Adams’ X-Men art inspired some of his finest comics writing. He went on to say the following in columnist Jorge Khoury’s article “Pop!: Roy Thomas: The Marvel GameChanger” at Comic Book Resources: “I remember that there were at least one or two issues that Neal and I did that did pick up in sales—the one with the big Ka-Zar figure on the cover, and that last one that actually Denny O’Neil ended up dialoguing from Neal’s plot. That second one actually had a Marie Severin cover. Those two seemed to have gone fairly well, and I think the general trend of the book’s sales was up … but I guess it was a case of too little, too late … or, more likely, that it was simply canceled an issue or two too soon.” The fact that the Thomas/Adams run had helped sales of X-Men was not known, according to Steve Stiles’ “The Groundbreaking Neal Adams: A Pivotal Figure in the Medium,” until six months after the book’s cancelation. In spite of the surge in profits for the comic, the Strangest Teens of All Time no longer had a title in which new adventures could be shown to readers. However, this didn’t finish things for Professor Charles Francis Xavier’s gifted students….

DAYS OF PAST PAST The X-Men’s encounter with the Hulk in X-Men #66 (Mar. 1970) ended with the words, “And they fought happily ever after…??” in the final panel. That may be true for the characters. Cyclops, Marvel Girl, Iceman, Beast, and Angel made guest appearances in such Marvel comic books as Captain America, Amazing Spider-Man, Avengers, Fantastic Four, and Incredible Hulk, yet the X-Men title itself was canceled by Martin Goodman. Once he saw sales figures for the later Thomas/Adams issues, however, Goodman did something he didn’t do often: He decided to publish the book again. Roy Thomas told both the aforementioned Jorge Khoury and BACK ISSUE that Goodman wanted to get X-Men out to the public. Yet he didn’t want to pay for new material. Issue #67 (Dec. 1970) began the reprints of previously published exploits of mutant madness. This went on for another 26 issues, with X-Men #93 being the last book to feature an older story. This was not the first time X-Men adventures had been re-presented. Marvel Super-Heroes, the title that gave us the first appearance of Mar-Vell, provided readers with the latter seven of the first eight X-Men issues, in MSH #21–27. The first X-Men Annual, then called a King-Size Special, also gave readers classic stories. The X-Men then returned in their own regular title, reliving classic adventures for curious new fans or those who missed out on

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the stories the first time around. These blasts from the past sold fairly well and cost very little overhead for Goodman and Marvel.

X-CHANGES X-Men #67 gave readers a 48-page doublefeature encore presentation of X-Men #12–13. The next three comics were released in the same way. X-Men #14–19 were reprinted in those comics. However, they were not in the order in which they were originally published. Issue #19 was placed after #16 in X-Men #69, with #17–18 going into the next issue. The encore of #19 has the first panel of page 20 omitted from the book. The 71st issue was a 32-page single-issue format with an encore of the creative team of Roy Thomas and Werner Roth’s first story. Another 48-page book came out with #72 (Oct. 1971), which featured #21 (June 1966) and 24 (Sept. 1966), before the series returned to the 32-page format. (See the index for more info.) From an editorial perspective, in the beginning not many changes were made to the re-packaged X-Men issues. The X-Men reprints sometimes had new covers by Marie Severin (#67, and partially on 88), Sal Buscema (#69, which was based on a sketch by Severin), Bill Everett (#73), George Tuska (#77), and Gil Kane (#74–76, #78–80). Reasons for different images, besides the obvious —to sell books—are various. Roy Thomas tells BACK ISSUE that maybe he or Stan Lee disliked the original ones used the first time around. Speaking in general terms, Tony Isabella concurs with Thomas, also stating that original scenes perhaps seemed dated. Barry Pearl, author of The Essential Marvel Age Reference Book 1961–1977 and the blog Barry’s Pearls of Wisdom, tells BACK ISSUE that Marvel was producing a lot of reprint comics at the time and had a “staff” ready to do new covers because the originals were not always on hand. Regarding Marie Severin’s work for #69, Scott Edelman tells BACK ISSUE, “Marie did lots of cover sketches. Sometimes she drew the final covers, and sometimes she didn’t.” Some of the classic cover images would be lettered anew by the likes of Sam Rosen and Morrie Kuramoto. One example is the dialogue added to Professor Xavier’s image for #68. Its cover was originally from X-Men #15, which initially had no balloons when it was released on October 5, 1965. Other re-used images would have new lines on previously released art as was the case with #88. Marie Severin made alterations to the George Tuska cover first seen on X-Men #40. Apart from a color change or different narration and/or dialogue, the stories were pretty much the same as originally presented inside the books at first. A good example is the new captions on the last panels on page 23 of #67, 68, 70, and 72. These were done to better suit the different presentation of the material. The diverse hues mentioned before occur in the single-sized #71.

The Supreme One commanding Lucifer, initially garbed in green and yellow in X-Men #20, has an orange helmet with three green bolts on the forehead in the reprint. Yet when #72 gave readers a repetition of #21, the Supreme One looked as he did in the original comic book. This could have been a colorist’s error. Yet Marvel was putting a lot of comics onto the newsstands and didn’t always have the color guides from the original issue by the time some books had to go to the printers. Perhaps one of the major content modifications in the X-Men reprint years came in issue #78 (Oct. 1972). The original title of the tale first seen in X-Men #30 was changed by letterer Art Simek from “The Warlock Wakes” to “The Menace of Merlin.” Simek also added a footnote from Stan Lee and Roy Thomas to Merlin’s speech on page three when the magician used the word Warlock. This was to avoid confusion with the character of Adam Warlock, first called Him when the original comic was on stands. Adam Warlock had his own series in Marvel Premiere when Merlin’s confrontation with the X-Men was presented again. Issues #86–93 (Feb. 1974–Apr. 1975) also featured partial changes. In their original forms, the X-Men books reprinted contained a backup feature called “Origins of the X-Men,” which was also sometimes named “X-Family Album,” running from issues #38–57 and telling solo tales of Professor X, Cyclops, Iceman, Marvel Girl, Beast, and Angel. Many of these stories took place before the characters were part of Xavier’s School for Gifted Youngsters. But the X-Men reprints for the issues which originally contained the contents of #38–45 have science-fiction tales from pre-superhero anthologies like Journey into Mystery and Amazing Adult Fantasy in the place of “Origins.” In general, the Marvel comics of the time had fewer non-ad pages, but X-Men didn’t contain readers’ letters in its reprint period, allowing for more room for comics. Each of the “Origins” stories contained five pages like the fantasy masterpieces presented in X-Men #86–93. However, much of the “Origins” co-feature also consisted of multiple chapter arcs, and the series was possibly one of the primary reasons for the book’s cancellation before the reprint years, In addition to that, plans that could have changed the future of the X-Men characters were underway. They would have interrupted the encores of both the main mutant sagas and “Origins of the X-Men.” Some episodes of the backup would later appear in Giant-Size X-Men #1 while the entire series later appeared alongside X-Men #1–14 in the December 1979–February 1981 reprint title Amazing Adventures vol. 3.

X-Men #93 (Apr. 1975), which gave readers a repeat of #45, was the last of the reprint issues for Charles Xavier’s mutant pupils. However, it was merely the end of one chapter as another was about to unfold. The blurb on page 23 read, “You’ll find the cataclysmic conclusion of this two-part thriller in Giant-Size X-Men #1.” In reality, a new game was afoot for the X-Men that would mean the dawn of new era for Marvel’s mutant heroes. It would bring them to greater heights of popularity which they had never seen before. As the X-Men title was reliving the past of its mutant team of superheroes, characters such as Angel and Beast were getting their own strips. The former, written by Superman’s co-creator Jerry Siegel and drawn by George Tuska, saw print in Ka-Zar and Marvel Tales, while the Beast grew fur and became the headliner of Amazing Adventures. As chronicled most recently in BACK ISSUE #83 and in this very issue’s Giant-Size Marvel article, in mid-1975 the X-Men were revitalized as a team of international heroes, and soon, particularly under the guidance of writer Chris Claremont and artists/co-plotters Dave Cockrum and John Byrne, became a franchise that is still a mainstay in superhero comics today.

Mutated Covers In addition to changes in coloring and logos, X-Men #68’s reprinting of issue #30 added word balloons for Professor X, while X-Men #88’s cover featured minor art alterations from its original source— note Frankenstein’s redrawn head and the position of the Beast’s eyes.

Special thanks to Roy Thomas, Scott Edelman, Tony Isabella, Barry Pearl, and Nick Caputo for their invaluable assistance on this article.

TM & © Marvel Characters, Inc.

Dedicated to my beautiful, marvelous wife Laura, who will always be my Marvel Girl; Pupino and the rest of our four-legged, gifted youngsters, who continue to prove peaceful co-existence of all species is possible; my nephew Kento, who continues to teach me about life like Professor Xavier; and all the parents of the Children of the Atom: the many writers and artists who made and continue to make the X-Men legend live on for generations to come. May the goodness of every hero—mutant and otherwise—guide you forever. JAMES HEATH LANTZ is a freelance writer who was heavily influenced by television, film, old time radio shows, and books— especially comic books—growing up in Ohio. He’s co-authored Roy Thomas Presents Captain Video with Roy Thomas. He also wrote the introductions for Pre-Code Classics: Weird Mysteries Volumes One and Two and Roy Thomas Presents Sheena – Queen of the Jungle Volume Three (all published by PS Artbooks) and reviews the New 52 Supergirl series and other comics for Superman Homepage. James currently lives in Italy with his wife Laura and their family of cats, dogs, a turtle, and humans from Italy, Japan, and the United States.

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X-MEN #67 Dec. 1970 Cover artists: Marie Severin and Joe Sinnott Editor: Stan Lee Reprints: • X-Men in “The Origin of Professor X” from X-Men #12 (July 1965) • X-Men in “Where Walks the Juggernaut” from X-Men #13 (Sept. 1965) X-MEN #68 Feb. 1971 Cover artists: Jack Kirby and Dick Ayers Editor: Stan Lee Reprints: • X-Men in “Among Us Stalk … the Sentinels” from X-Men #14 (Nov. 1965) • X-Men in “Prisoners of the Mysterious Master Mold” from X-Men #15 (Dec. 1965) X-MEN #69 Apr. 1971 Cover artist: Sal Buscema (from a Marie Severin sketch) Editor: Stan Lee Reprints: • X-Men in “The Supreme Sacrifice” from X-Men #16 (Jan. 1966) • X-Men in “Lo! Now Shall Appear—the Mimic” from X-Men #19 (Apr. 1966) X-MEN #70 June 1971 Cover artists: Jack Kirby and Dick Ayers Editor: Stan Lee Reprints: • X-Men in “…and None Shall Survive” from X-Men #17 (Feb. 1966) • X-Men in “If Iceman Should Fail—” from X-Men #18 (Mar. 1966) X-MEN #71 Aug. 1971 Cover artists: Werner Roth and Dick Ayers Editor: Stan Lee Reprints: • X-Men in “I, Lucifer…” from X-Men #20 (May 1966) X-MEN #72 Oct. 1971 Cover artists: Werner Roth and Dick Ayers Editor: Stan Lee Reprints: • X-Men in “From Whence Comes … Dominus?” from X-Men #21 (June 1966) • X-Men in “The Plague of … the Locust” from X-Men #24 (Sept. 1966)

X-MEN #73 Dec. 1971 Cover artist: Bill Everett Editor: Stan Lee Reprints: • X-Men in “The Power and the Pendant” from X-Men #25 (Oct. 1966) X-MEN #74 Feb. 1972 Cover artists: Gil Kane and Frank Giacoia Editor: Stan Lee Reprints: • X-Men in “Holocaust” from X-Men #26 (Nov. 1966) X-MEN #75 Apr. 1972 Cover artist: Gil Kane Editor: Stan Lee Reprints: • X-Men in “Re-Enter: The Mimic” from X-Men #27 (Dec. 1966) X-MEN #76 June 1972 Cover artists: Gil Kane and Frank Giacoia Editor: Stan Lee Reprints: • X-Men in “The Wail of the Banshee” from X-Men #28 (Jan. 1967) X-MEN #77 Aug. 1972 Cover artists: George Tuska and Vince Colletta Editor: Stan Lee Reprints: • X-Men in “When Titans Clash” from X-Men #29 (Feb. 1967) X-MEN #78 Oct. 1972 Cover artists: George Tuska and uncredited inker (possibly Frank Giacoia) Editor: Roy Thomas Reprints: • X-Men in “The Menace of Merlin” (original title: “The Warlock Wakes”) from X-Men #30 (Mar. 1967) X-MEN #79 Dec. 1972 Cover artists: Gil Kane and Frank Giacoia Editor: Roy Thomas Reprints: • X-Men in “We Must Destroy … the Cobalt Man” from X-Men #31 (Apr. 1967) X-MEN #80 Feb. 1973 Cover artists: Gil Kane and Frank Giacoia Editor: Roy Thomas

Reprints: • X-Men in “Beware the Juggernaut, My Son” from X-Men #32 (May 1967) X-MEN #81 Apr. 1973 Cover artists: Gil Kane, Werner Roth, and John Romita, Sr. Editor: Roy Thomas Reprints: • X-Men in “Into the Crimson Cosmos” from X-Men #33 (June 1967) X-MEN #82 June 1973 Cover artist: Dan Adkins Editor: Roy Thomas Reprints: • X-Men in “War—in a World of Darkness” from X-Men #34 (July 1967) X-MEN #83 Aug. 1973 Cover artist: Dan Adkins Editor: Roy Thomas Reprints: • X-Men in “Along Came a Spider…” from X-Men #35 (Aug. 1967) X-MEN #84 Oct. 1973 Cover artists: Ross Andru and George Roussos Editor: Roy Thomas Reprints: • X-Men in “Mekano Lives” from X-Men #36 (Sept. 1967) X-MEN #85 Dec. 1973 Cover artist: Don Heck, with Bullpen alterations Editor: Roy Thomas Reprints: • X-Men in “We, the Jury…” from X-Men #37 (Oct. 1967) X-MEN #86 Feb. 1974 Cover artist: Dan Adkins Editor: Roy Thomas Reprints: • X-Men in “The Sinister Shadow of … Doomsday” from X-Men #38 (Nov. 1967) • “The Spirit of Swami River” from Amazing Adult Fantasy #9 (Feb. 1962) X-MEN #87 Apr. 1974 Cover artist: George Tuska Editor: Roy Thomas Reprints: • X-Men in “The Sinister Shadow of … Doomsday” from X-Men #39 (Dec. 1967) • “Mister Universe” from Amazing Adult Fantasy #10 (Mar. 1962)

TM & © Marvel Characters, Inc.

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X-MEN #88 June 1974 Cover artist: George Tuska, with Marie Severin alterations Editor: Roy Thomas Reprints: • X-Men in “The Sinister Shadow of … Doomsday” from X-Men #40 (Jan. 1968) • “Thru the Lens” from Venus #16 (Oct. 1951) X-MEN #89 Aug. 1974 Cover artists: Larry Lieber and Frank Giacoia Editor: Roy Thomas Reprints: • X-Men in “Now Strikes … the Sub-Human” from X-Men #41 (Feb. 1968) • “For the Rest of Your Life” from Amazing Adult Fantasy #11 (Apr. 1962) X-MEN #90 Oct. 1974 Cover artist: John Buscema Editor: Roy Thomas Reprints: • X-Men in “If I Should Die…” from X-Men #42 (Mar. 1968) • “Why Won’t They Believe Me?” from Amazing Adult Fantasy #7 (Dec. 1961) X-MEN #91 Dec. 1974 Cover artist: John Buscema Editor: Roy Thomas Reprints: • X-Men in “The Torch is Passed…” from X-Men #43 (Apr. 1968) • “Journey’s End” from Amazing Adult Fantasy #7 (Dec. 1961) X-MEN #92 Feb. 1975 Cover artists: Ron Wilson and Mike Esposito Editor: Roy Thomas Reprints: • X-Men in “Red Raven, Red Raven…” from X-Men #44 (May 1968) • “The Warning” from Mystery Tales #30 (June 1955) X-MEN #93 Apr. 1975 Cover artist: John Buscema Editor: Roy Thomas Reprints: • X-Men in “When Mutants Clash!” from X-Men #45 (June 1968) • “The Mechanical Men” from Journey into Mystery #74 (Nov. 1961)

Lex Carson

TM & © Marvel Characters, Inc., except Conan TM & © Conan LLC. and Doc Savage TM & © Condé Nast.

In the spring of 1974, Marvel launched a new series of Giant-Size comics. The House of Ideas had long published larger-sized Annuals (a.k.a. King-Size Specials) since the 1960s, and briefly made all of their comics 25-cent Giants in 1971, but this Giant-Size vision was even more ambitious. The project, launched in 1974, would publish Giant-Size titles on a “regular basis,” with both new and reprinted materials. One needs to look at a number of perspectives to fully analyze the Giant-Size era. This article will look at the publishing and editorial perspective, the creative influences and events, and, of course, the fan’s perspective. Going into the project, Roy Thomas recalls the momentum that began their publication: “The Giant-Size idea was Stan’s [Lee] as publisher … to increase revenue—at least, I don’t assume it came from Al Landau after he took over the job as president of Marvel when Stan relinquished it after a year or so. It seemed to make sense to try to produce more of the Fantastic Four, Spider-Man, Conan, and other top-selling characters and genres. It was hoped that having a different-sized, quarterly title wouldn’t take away from the regular titles.” But … would the concept work? Plans were announced in Marvel Comics fanzine Friends of Ol’ Marvel, commonly referred to as FOOM. In late 1973, FOOM #4 (Winter 1973) discussed Marvel’s recent 20% increase in price, from 20 to 25 cents. This negative news was offset in the magazines “Far-Out Fanfare and Infoomation” section with some positive information: “Two new, adventure filled, 35-cent Marvel color comics will be on our newsstand in the next couple of months, and though they will cost more, we think you will find them worthwhile.” Later, the section proposed other larger attractions to come: “More and better over-sized magazines are in the planning stages, and this spring you can look for a monthly supergiant-sized comic that will rock you right out of your tree.” The tree-shaking began with the publication of two “Giant” 35-cent comics with Giant-Size Super Stars #1 (May 1974) featuring the Fantastic Four, followed in May with Giant-Size Super-Heroes #1 (June 1974) featuring Spider-Man, and Giant-Size Chillers #1 (June 1974) featuring Count Dracula. As explained in an announcement section at the time, Marvel planned to produce three monthly rotating features with a 35-cent format. This was imitative of NBC’s Mystery Movie series that aired in a somewhat non-traditional format of 90 minutes. At this time, NBC rotated its series between Columbo, McMillan & Wife, and McCloud. Marvel planned to counter with a similar rotation of the Fantastic Four, Spider-Man, and Conan the Barbarian. At least that was the proposed plan.

THE GROWING PAINS OF A GIANT The best-laid publication productions of mice and Marvel soon went awry. A proposed and announced 35-cent Giant-Size Conan was never produced in that format. In its place was to be a 35-cent Giant-Size Super-Teams featuring the Defenders. This issue was also one that was never published in this format. The only other 35-cent Giant-Size book produced by Marvel at this time was Giant-Size Creatures #1 (July 1974) featuring Werewolf by Night, before Mighty Marvel decided to go with an even larger format. In May 1974, Marvel Comics editor-in-chief Roy Thomas published “An Awesome Apologia From Our Erudite Editor,” which proclaimed Marvel would produce a “brand-new line of 60-cent, one-hundred-page extravaganzas,” which would include Super-Giant Conan, Super-Giant Avengers, and Super-Giant Spider-Man Team-Up books. Thomas explains his thoughts and role as editor to BACK ISSUE: “Just a few years earlier, when Martin Goodman flirted for a month or so with the extra-size comic, it was decided that the 36-page comic was a better package than a 48-page or larger one. Most of the creators knew I liked the larger comics and wanted to get rid of the smaller one. While Goodman’s plan would at least have made our comics, like DC’s, only available at a higher price, this later move merely pitted the two sizes against each other.” Marvel’s proposed 100-page comics would be imitative of DC Comics’ 100-Page Super Spectacular format that was published in the early to mid-1970s. This particular 100-page format quickly became DC’s standard for “Giant” comics. [Editor’s note: Marvelites, do yourselves a favor a grab a copy of BI #81, surveying DC’s Bronze Age Giants and

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Reprints, to learn more!] However, Marvel’s imitative initiative of 100-page stories with new material never saw fruition. April of 1974 saw the release of two 50-cent Giant-Size comics with “68 Big Pages” with the publication of Giant-Size Defenders #1 and Giant-Size Spider-Man #1 (both cover-dated July 1974). The Defenders title had only nine pages of new material, a disappointment after the advertisement and ballyhoo over Marvel’s newest non-team advertised for Giant-Size Super-Teams #1. However, the Spider-Man story did feature the “team-up” angle as advertised, with a new 30-page story co-starring Dracula, which tied into Spider-Man’s ongoing adventures in his regular Marvel-Team-Up title. In FOOM #6 (Summer 1974), it was announced: “After some weeks of experimentation and planning, we’ve finally firmed up our plans to release a full line of 68-page, full-color comics. There will be nine of these giant-sized goodies coming to you on a regular, quarterly schedule at the price of 50 cents.” Roy Thomas’ idea of having two sizes of comics became a reality for the House of Ideas. Len Wein, who replaced Thomas as editor-in-chief later in 1975, insists that the number of Giant-Sizes that were produced each month were “arbitrary,” while Thomas himself counters, “If we didn’t produce nine regular titles, we were pretty darn close.” Who is correct, Len Wein or Roy Thomas? len wein Even the comic fans from the time could not tell. The fanzine Comic Reader #106 (May 1974) indicated even the contemporary market had trouble predicting Marvel’s publications. The news section from that issue declared: “I know it seems that the Giant-Size books are being released rather indiscriminately, and that we don’t have any idea what is to be expected. Well, neither does Marvel—their production schedule cannot be printed fast enough to keep up with the new titles.” And after all this experimentation, would mostly teen and pre-teen Marvel readers spend double the regular price—25 cents to 50 cents—to buy these new, larger books?

BRING ON SOME DIFFERENT GUYS!

Biggest Bargain in Comics Marvel’s 1974 announcement of its 100-page Super-Giant titles. TM & © Marvel Characters, Inc.

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As you might surmise from the titles that were proposed to be regularly published in a Giant-Size format, several were not the traditional superhero variety. Horror and macabre comics, as well as sword-and-sorcery works such as Conan and Kull, were a big part of the Marvel line in the 1970s. Of the published 35-cent Marvels, the same amount of non-superhero titles were produced as traditional superhero ones. As mentioned previously, to offset the first two issues featuring traditional heroes the Fantastic Four and Spider-Man came two non-costumed characters, with Dracula and the Werewolf by Night Jack Russell. The titles that went on to see regular publication in the 50-cent format were not necessarily the ones that a reader today would expect. Of course, Spider-Man, Fantastic Four, and Avengers were in the rotation. However, there was no regular publication of Thor, Iron Man, Captain America, or X-Men. The non-superhero Giant-Size titles that were regularly published for over a year were Conan, Dracula, Werewolf [by Night], and [Shang-Chi,] Master of Kung Fu. The superpowered non-team’s Giant-Size Defenders and the macabre [and provocatively titled—ed.] Giant-Size Man-Thing rounded out the regular offerings.

Although Conan no longer appears in Marvel Comics, Robert E. Howard’s creation, Conan the Barbarian, became a top seller for Marvel in the 1970s and was a part of the company’s merchandizing as well. Writer Roy Thomas’ collaborations on Marvel’s Conan the Barbarian with artists Barry Smith and John Buscema were awardwinning and became an enduring piece of comicdom. Marvel’s Conan the Barbarian #1 was first published as a bimonthly beginning in July 1970, with an October cover date. Sales on Conan slowly but steadily rose. The title went monthly with Conan #20 (Nov. 1972) and became one of Marvel’s most popular series. Thomas explains the phenomenon: “Conan kind of sneaked up on Marvel … although Stan and I knew it, and the people who wanted to merchandize Marvel characters knew it.” Marvel definitely knew they wanted Conan to be a big part of its Giant-Size offerings. Thomas wrote an all-new 26-page Conan tale for Giant-Size Conan #1 (Sept. 1974), which was enhanced by Gil Kane artwork. Kane and Thomas followed this collaboration with three 30-page stories in issues #2–4. Kane drew three Giant-Size Conan covers, with Jack Kirby and John Romita, Sr. putting together the final one in Giant-Size Conan #5.

On Second Thought… (top) Editor Roy Thomas explains Marvel’s Giant-Size format changes in his editorial in Giant-Size Spider-Man #1. (bottom right) This house ad touts Spidey as the star of issue #2 of Giant-Size Super-Stars, but (bottom left) that Spidey issue became Giant-Size Super-Heroes #1. Cover by Gil Kane and John Romita, Sr. TM & © Marvel Characters, Inc.

roy thomas Luigi Novi / Wikimedia Commons.

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The publication of the horror comics was also a big part of Marvel’s sales at this time. Dracula and other creatures of the night appeared in regular titles, as well as black-and-white magazines such as Dracula Lives!, (left) John Romita’s Vampire Tales, and Monsters Unleashed. This naturally led to the Giant-Size publication of Giant-Size Dracula cover rough for the and Giant-Size Werewolf. Marvel B&W editor Tony Isabella Spidey/Dracula recalls the dynamic between Marvel’s magazine formats and the emerging Giant-Size books: “We did prepare co-starring vehicle a lot of Shang-Chi and Dracula material for the blackGiant-Size Spider-Man and-white magazines, though Marv [Wolfman, writer and editor] would have been handling the latter. #1 (July 1974). I can’t recall if any Shang-Chi stories originally intended Courtesy of Al Bigley for the black-and-white mags ended up seeing print in the color comics first. However, some commissioned (www.albigley.com). by me, and some by Marv, ended up in some Giant(right) Its Size books.” During this time, Shang-Chi, Master of Kung Fu was published form. Marvel’s premier seller in the emerging martial-arts TM & © Marvel Characters, Inc. craze. Shang-Chi appeared in his own regular Marvel comic book, in British weeklies, and in the black-andwhite magazine Deadly Hands of Kung Fu. [Editor’s note: BACK ISSUE #88 will explore Bronze Age Comic Magazines, including Deadly Hands.] The character, the son of the insidious mastermind Fu Manchu, was co-created by Steve Englehart and Jim Starlin in Special Marvel Edition #15 (Dec. 1973). Shang-Chi quickly ascended to his own regular self-titled publication (taking over Special Marvel Edition and assuming its numbering), and began a signature run with writer Doug Moench and artist Paul Gulacy. Tony Isabella recalls his part in the production: “I did commission two new eight-page Shang-Chi stories for the British weeklies I was editing. I was concerned we’d run out of material when we started reprinting Master of Kung Fu in the [UK’s] Avengers weekly. These stories eventually saw print in a Giant-Size tony isabella Master of Kung Fu.”

Terrifying Team-Up

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NEW STORIES AND NEW CHARACTERS Tony Isabella is more remembered for his writing rather than his editing at Marvel Comics. One of Marvel’s most unheralded Bullpenners, his body of work remains extensive. A vivid example is his collaboration with artist Don Perlin on Giant-Size Creatures #1 (July 1974), where Marvel readers were introduced to an enduring character: Tigra the Were-Woman. Isabella recalls, “Roy [Thomas] asked me to write Giant-Size Creatures #1, which was to be a quarterly book featuring Werewolf by Night. Since I felt the first issue of even a character’s second title should be something special, I decided to reinvent Greer Nelson as Tigra.” Greer Nelson, originally called the Cat, the creation of Linda Fite, Marie Severin, and Wally Wood, was a feminist superhero adorned with yellow uniform and functional claws. She saw four issues of publication in Marvel’s 1972–1973 Claws of the Cat. The Cat is reprised today, somewhat, with Patsy Walker adorning the traditional costume as the self-styled Hellcat. [Editor’s note: See BACK ISSUE #17 and 46 for more about the Cat/Tigra, including a Bruce Timm Tigra cover on #17.] Isabella continues, “While Claws of the Cat had been a flop, I never liked seeing Marvel characters go to waste.” True to form, Isabella transformed Greer into a superpowered tiger-woman. “This worked out rather well for Greer. I love how she has become a major player in the Marvel Universe,” Tony modestly states. (Tigra has been named to the “100 Sexiest Women in Comics.”) However, Isabella has never liked his character portrayed as a “cowardly slut.” He counts her as one of his greatest accomplishments: “Along with Black Lightning and Misty Knight, Tigra remains one of my proudest comic creations. She is one of the relatively few characters I’d like to write again.” Roy Thomas and Frank Robbins launched a new super-team in Giant-Size Invaders #1 (June 1975). The World War II adventures of the Invaders began by detailing their creation in 1941, although the nucleus of this team—Captain America, Sub-Mariner, and the original

Giant-Size Chills and Spills (top left) The 1974 house ad for Giant-Size Chillers featuring the Curse of Dracula #1 (June 1974); cover by Romita. This title’s numbering was continued as the 50-cent series Giant-Size Dracula for the remainder of its run, issues #2–5, while (top right) the name Giant-Size Chillers was reused for a three-issue mystery series. Cover to issue #3 (Aug. 1975) by Bernie Wrightson. (bottom) Conan the Barbarian was among the many Marvel titles to get the GiantSize treatment. Original cover art to Giant-Size Conan #1 (Sept. 1974) by Gil Kane and Ernie Chan, with Romita alterations. Courtesy of Heritage Comics Auctions (www.ha.com). TM & © Marvel Characters, Inc. Conan TM & © Conan Properties, LLC.

Human Torch—had teamed together in the Golden Age as the All Winners Squad. Thomas and Robbins gave a fresh look and new stories to the “greatest heroes of World War II.” After launching with one Giant-Size issue, the Invaders series continued in a regular format for over 40 issues. Tales of the Invaders routinely see publication today. [Editor’s note: The Invaders were covered in BI #37.] The most enduring new characters originating in Marvel’s Giant-Size series would be the “All-New, All-Different X-Men.” This is a franchise that changed the direction of Marvel Comics as mutants would eventually come to dominate the company’s sales and circulation. Writer Len Wein and artist Dave Cockrum created four new characters for the team: John Proudstar, a.k.a .Thunderbird; Peter Rasputin, a.k.a. Colossus; Ororo Munroe, a.k.a. Storm; and Kurt Wagner, a.k.a. Nightcrawler. These four teamed with the Wolverine, Wein’s recent Canadian hero from the pages of The Incredible Hulk, to form the nucleus of the new, international group that debuted in Giant-Size X-Men #1 (May 1975). Marvel Bronze Age Giants and Reprints

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Giant-Size Memos Courtesy of Scott Edelman via Jarrod Buttery, Scott’s production notes on the first issues of Giant-Size Power Man and Giant-Size X-Men. TM & © Marvel Characters, Inc.

For better historical accuracy, we return to pages of Marvel’s official fanzine FOOM #8 (Dec. 1974), where Len first discussed his and Dave Cockrum’s X-Men concept: “The X-Men! The all-new, all-improved, all-out, hoo-hah X-Men! Yeah, Dave Cockrum and I got together one day and said, ‘They’re reviving X-Men and we’re going to do it.’ All-new X-Men, except for Professor X and the new, improved Cyclops. The other X-Men will be going their own way. The new X-Men will be international. There’s Colossus from Russia. There’s Nightcrawler from Germany. Storm, from Africa. The Wolverine from Canada and Thunderbird from Arizona. The first story is 36 pages long. Penciled and inked by Dave, written by myself…” Some fans credit other artists or embellishers, such as Peter Iro, as having contributed to Giant-Size X-Men #1. However, aside from the his cover collaboration with Gil Kane, Dave Cockrum was quite insistent until his death in 2006 that the interior artwork in this landmark issue was exclusively his own. Similarly, one item that seems to confuse fans is Chris Claremont’s role in the launch of this new series. Often Claremont is credited as a co-scripter including on Giant-Size X-Men #1. Len Wein tells BACK ISSUE, “Chris has done a fine job muddying the waters over the years. In point of fact, he contributed nothing to those original five New X-Men. All he did was suggest a possible way for Dave and me to get rid of Krakoa (the menacing Living Island) at the end of the first story, basically squirting him into the sky. Other than that, he neither wrote, nor plotted a word of Giant-Size X-Men #1. He did come on board to dialogue X-Men #94 and 95 off my finished plot. Of course, he took over

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writing the book entirely with issue #96.” Did Wein know he had hit gold with his new team of mutants? Not necessarily. The writer/editor notes, “You never know nothing until the sales come in.” [Editor’s note: An additional wrinkle in the new X-Men’s roots: Mike Friedrich was originally tapped as the new series’ scribe. The beginnings of the new X-Men were explored three issues ago, in BACK ISSUE #83.]

AN EMERGING ARTIST Marvel was also proud and promoting one of its fairly new artists at the time: Rich Buckler. Buckler had recently completed a run as the regular artist on The Avengers, had just begun as the new artist on Fantastic Four, and had also launched his own character, Deathlok the Demolisher, in the pages of Astonishing Tales. Marvel entered its Giant-Size era with Roy Thomas and Rich Buckler’s Giant-Size Super-Stars #1 featuring the Fantastic Four. The story and art itself is epic, as the Hulk and the Thing battle it out in New York City, briefly exchanging a few blows in a crowdpacked boxing ring at Madison Square Garden. Buckler’s image of the two man-monsters battling in the ring graced the cover of this premiere giant issue, abetted by Joe Sinnott’s inks. Readers and critics may note Buckler’s previous art in Avengers was somewhat different from his portrayals in Giant-Size Super-Stars and in Fantastic Four. This is not an unfair assessment, as the artist was experimenting with his style at the time. Buckler explains to BACK ISSUE, “The leaner, longer, and more sinewy figures were sort of my version of what John Buscema was doing on

Avengers before me. Most of my run on Fantastic Four was more of a sendup of Jack Kirby.” The in-demand artist produced three covers for Giant-Size Fantastic Four, which Giant-Size Super-Stars was renamed after its first issue. Buckler explains his thought process in creating a great cover: “My favorite covers were always the ones that depict something that actually happened in the story. I think that is what most comic readers preferred.” The artist also explains the creation of Marvel covers during this time: “Covers were drawn once the pencils on a story were done. But sometimes, the cover was needed ahead of time for promotion. When that happened, the idea was worked into one of the story pages later.” Buckler also stresses that it is important for readers today to understand how the Marvel Bullpen created their monthly mayhem during this time period. “All of the Marvel artists worked from brief written summaries,” Rich says. “Not every artist was comfortable with this and some preferred lengthy descriptions and notations for page breakdowns. I was normally given one or two typewritten pages for a story plot, sometimes even less than that. Roy’s editorial approach was to hire writers and artists who knew what they were doing and just cut them loose and let them do what they did best. So assignments were not catch-as-catch-can.” A vivid example of a Roy Thomas/Rich Buckler colossal collaboration is Giant-Size Avengers #1 (Aug. 1974). They were the regular creative team for the Avengers monthly title for much of 1972. For one Giant-Size Avengers issue in 1974, Thomas and Buckler reunited. Buckler’s art on the cover of this issue deserves discussion. Some have credited the cover to Marvel artist and its art director at the time, John Romita. Buckler tries to set the record straight: “That was definitely my pencils. The inking by John was heavyhanded, but I thought it came out great. I remember this was pasted up from a Photostat of the inked art, though. And there was way too much cover copy! Whoever was the copy writer drank too much coffee that day.” This cover was a labor. There were originally three sketches of the cover produced. In fact, the Marvel fanzine FOOM created a contest about the cover and—gasp!—gave Buckler’s art and sketches to the winners of the contest. Buckler notes, “It was rare that I ever had to do more than one sketch for my cover ideas. Sometimes there were minor corrections—move a figure to the left, make another one more prominent… This cover went through a few stages of approval. I don’t know why. I remember John Romita and I going back and forth on it and then finally I ended up working rich buckler on a version that he drafted using elements of my first sketch. John always had a good sense of what Stan would like. He wasn’t the art director at Marvel for nothing! What that actually was—well, that was never defined. Of course, team books with lots of figures and compositional elements, everything was more challenging. This cover, in the concept stages and final production, went through a lot of changes.” FOOM never announced who won the cover and the three sketches. A chagrined Buckler recalls, “I didn’t find out until later that Marvel was running one of their wacky contests—and the prize they were giving away was the actual original art for this cover! Nobody ever bothered to ask me what I thought about that.” Fans, art speculators, and inquiring minds would like to know: Who won that contest back in 1974, and who owns these great pieces of original art today? [If it’s you, or if you know, please contact BI editor Michael Eury at euryman@gmail.com.] Dan Adkins inked Buckler’s Giant-Size Avengers #1 interior art, whereas Joe Sinnott normally inked Buckler’s Fantastic Four work. How did the two compare? “I liked both of those inkers a lot,” Buckler opines. “Both Dan and Joe followed my pencil lines, but embellished without changing the drawing. Both were masters. I have to say, though, that I really did favor Joe Sinnott more.”

Luigi Novi / Wikimedia Commons.

The Rise of Rich Buckler (top) Uh-oh! Look who’s back in town! Page 1 of Giant-Size Super-Stars #1 (May 1974). (bottom) From the Heritage archives, original art from that issue, featuring the Thing and the Hulk, locked in combat. Art by Rich Buckler and Joe Sinnott. TM & © Marvel Characters, Inc.

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Marvel Fans, Assemble! (left) From the pages of FOOM, Buckler’s trio of cover sketches for Giant- (misspelled “Gaint”) Size Avengers #1, and (right) the published version, with heavy work by Romita. Note in two of the sketches that the book was being planned during the line’s original “Super-Giant” phase. TM & © Marvel Characters, Inc.

THE MARK OF KANE Another sign of the 1970s Giant-Size Marvels would be the artwork of Gil Kane. Kane did over half of all the new Giant-Size covers. (Some of the other Giant-Size cover reprinted Marvel Annual covers from the 1960s.) He also did interior art for several stories as well. The individual heroes Iron Man, Captain America, Thor, Hulk, Power Man, and Captain Marvel had one Giant-Size issue each, each one a reprint edition, but each of their covers featured all-new Gil Kane artwork. Giant-Size Kid Colt had three issues published, mostly with reprinted material, two of which featured tremendous Kane covers. And Giant-Size X-Men #2 (Dec. 1975) teased readers with a great Kane-illustrated battle scene of the original X-Men fighting the Sentinels. However, the story was actually a reprint of an immortal Roy Thomas/Neal Adams earlier collaboration. When assessing all of the cover art of the Giant-Size era, one also has to note the contributions of Ron Wilson. Comic researcher and historian Nick Caputo opines on the similarities and impact of Ron Wilson: “Along with Gil Kane, Wilson was one of the busiest cover artists of the period. Wilson is an amalgamation of many styles. I can usually distinguish his work, but

don’t ask me how. It echoes styles of John Romita, John Buscema, and Jack Kirby, which were clear influences.” When reading the accompanying index you will note numerous covers by Ron Wilson, sometimes with heavy inks from Marvel art director John Romita, which presents unique pieces of comic art. Gil Kane and Dave Cockrum’s aforementioned Giant-Size X-Men #1 illustrates one of Kane’s enduring innovations. Dave Cockrum’s wife Paty, a fellow renowned artist, recalls this work: “Gil did the cover, and he was the one who took Wolverine’s mask that John Romita had made for it for the Hulk book and flared the mask into points. When Dave inked it, he liked it, so he left it as Gil had drawn it and used the mask design from that point on.” Tony Isabella has similar praise for Gil Kane’s art and concepts: “He did the original visual design of Tigra, which was obvious and right on the money.” Paty Cockrum offers a short analysis of Gil Kane’s art: “His art wasn’t as stylized as [Steve] Ditko’s or [Jack] Kirby’s. I always loved his horses, which had a rather fantastic flair but were always very correct in their anatomy, something I was a stickler on, not as realistic as [John] Buscema’s horses in Conan and the Black Knight’s winged horse, but flashy and stylized.” Most of the creators during this time did not work as closely with Kane. One of Marvel’s top writers of the Bronze Age, Steve Englehart, recalls, “I liked Gil and he

Poor Jarvis! (opposite page) Buckler inked by Dan Adkins, from Giant-Size Avengers #1 (note the “Super-Giant” title stamp). Courtesy of Heritage. TM & © Marvel Characters, Inc.

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Rough Stuff by Kane (left) Gil Kane’s cover preliminary for 1975’s Giant-Size Daredevil #1, and the published cover, with Kane inked by Frank Giacoia. (right) Kane’s cover rough for Giant-Size Spider-Man #5 (July 1975), and the published version, with Tom Palmer inks. Cover prelims courtesy of Heritage. TM & © Marvel Characters, Inc.

liked me, but we never worked ‘together.’ Rather, we were pros who did our assignments. He did do a lot of covers for me and everyone else. I was always glad to have him on my covers.” Kane’s often-iconic covers have left a lasting impact upon the Marvel Universe.

BE THAT AS IT MAY BE (AND PROBABLY NEVER WAS) So much has been said and speculated about Marvel’s Giant-Size books that it is hard for a fan, and even a researcher, to separate fact from fiction. Time takes from us great creators like Gil Kane, Dave Cockrum, and John Buscema, just to name a few. Memory for the surviving creators of the Giant-Size era also becomes a bit hazy at times. Tony Isabella muses, “I’ve done so much over the past four decades that I can’t remember every detail. And to think I used to wonder why some of the older guys I worked with couldn’t remember every detail of their careers.” Tony does recall the setting, though: “It was an age of suits telling Marvel we had to make more money for the corporation and Marvel editors responding by green-lighting as many new books as they and the writers could think of. While we were always coming up with new concepts for titles, the order from above is what spurred all those new titles.” New concepts from this active period of Marvel’s Bronze Age included Rich Buckler’s Deathlok, Isabella’s Champions and Black Goliath, and Roy Thomas’ and Isabella’s Super-Villain Team-Up. Which new features and characters would appear in Giant-Size formats?

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Which would not? Buckler confirms that his Deathlok character was not planned for the Giant-Size format. But Super-Villain Team-Up was, starting with two issues of Giant-Size Super-Villain Team-Up before spinning off into a regular-sized series. Champions is a title that some fans assume was to debut in a Giant-Size format. If that is correct, its creator, Tony Isabella, doesn’t remember it that way. “Launching Champions as a Giant-Size comic might have been discussed at some time … or something I requested once the concept was changed from ‘Route 66 with two superheroes’ to a somewhat more traditional super-team,” Isabella says. “However, as my plot for the premiere issue was for a regular-size comic, I don’t think it went beyond a brief discussion.” That “brief discussion” appeared to take place again in the fanzine Comic Reader #117 (Apr. 1975). However, Comic Reader #118 (May 1975) detailed how Champions and other new Marvel #1s would actually be produced: “Future first issues will include The Inhumans to be written by Doug Moench and drawn by George Pérez; Starhawk and the Guardians of the Galaxy; and that new Tony Isabellascripted title mentioned last time, The Champions. It’s a new super-team consisting of the Angel, Iceman, the Black Widow, Hercules, the Ghost Rider, and the Black Goliath. It is to be drawn by Don Heck.” The same treatment appeared to go for Isabella’s new hero Black Goliath, who got his own solo series around this time period. “Black Goliath was not discussed as a Giant-Size comic,” says Isabella, “though, now that

To Giant-Size or Not to Giant-Size? (left) The two-part tale beginning in Avengers #145 (Mar. 1976) was intended to be a Giant-Size Avengers issue. Cover by Kane and Adkins. (right) After a two-issue stint as a Giant-Size series, Super-Villain Team-Up was relaunched as a regular-format title. G-S S-V T-U #1 (Mar. 1975) cover by Ron Wilson and Frank Giacoia. TM & © Marvel Characters, Inc.

I think about it, that would have been cool especially if I had been allowed to use my preferred name for the character. Then it would have been Giant-Size Giant-Man!” Marvel’s Giant-Size issues with original content were routinely broken down into distinct, segmented chapters. When readers see regular Marvel comics from this time period with shorter, distinct chapters—such as X-Men #94 and 95, Invaders #1 and 2, and Avengers #145 and 146—many assume that they were to appear in a Marvel Giant-Size book. Was this the case? “Yes, X-Men #94 and 95 were originally plotted as Giant-Size X-Men #2 and broken into two issues when circumstances changed,” Len Wein recalls. This also holds true with the Avengers issues. Tony Isabella and Don Heck prepared a Giant-Size Avengers story that was announced to be published in Giant-Size Avengers #5. That Giant-Size issue would actually a become reprint of Avengers Annual #1 (1967). What became of Isabella’s script? “It was conceived as an inventory story, which is why the original version stuck to my big five Avengers,” Tony says. “It was placed on the schedule because the regular title was running late; and I paid another writer [Scott Edelman] to do a rough draft script which I didn’t like. So I paid him off and scripted the pages myself. I gave him some sort of script assist credit.” This story, which has Captain America shot by a villain called the Assassin, would also need some editorial tweaks from Marvel editor Len Wein. Isabella explains, “Don Blake operating on Captain America makes more sense if you know Cap was originally shot with a conventional weapon. But Len decreed that Cap couldn’t be shot because his American-sense would have warned him or some such nonsense. I love Len like a cousin, but, man, did he come up with some silly rules while he was editor-in-chief.” Isabella’s story set for Giant-Size Avengers eventually saw publication in Avengers #146 and 146. The writer continues, “With the switch to two issues of the regular title, I had to add some pages. I tried to tie it into the ongoing continuity, which was probably a mistake because the lineup was in a state of flux at the time. On the plus side, I loved working with Don Heck and I think this story is one of my best Marvel jobs. It is one of those stories that gets mentioned a lot and in the most favorable terms when fans talk to me or write about my work.”

Other announced projects by Marvel for the Giant-Sizes never took place. Rich Buckler was to draw a Giant-Size Conan story that never saw the light of day. FOOM also announced that Roy Thomas and Steve Englehart would collaborate on a Giant-Size Avengers story. This also did not take place. The two did briefly collaborate in Avengers #132 (Feb. 1975) to begin “Kang War II” and the genesis of a detailed origin of the Vision. For almost four years, the Vision’s origin had expanded upon hints left by Roy Thomas and Neal Adams in The Avengers. For example, in Avengers #93 (Nov. 1971), Thomas and Adams had the Vision’s anatomy explored by Ant-Man and his three ants, Crosby, Stills, and Nash. Ant-Man seemed to make a shocking discovery, but Englehart solely tells the tale years later in a time that coincided with Marvel’s later Giant-Sizes. The proposed Thomas/Englehart Giant-Size collaboration on The Avengers appeared only in the promotional pages of FOOM. The pages of the fanzine Comic Reader announced in #114 (Jan. 1975), “Spidey will meet the Silver Surfer in an issue of Giant-Size Spider-Man,” and Comic Reader #115 (Feb. 1975) stated, “Giant-Size Werewolf will feature Modred the Mystic as the backup feature, to be written by Bill Mantlo.” Neither feature appeared to see publication during this time or in this format. Even more interesting are the stories prepared for publication in Giant-Sizes which saw print in the regular 25-cent titles. Comic Reader #110 (Sept. 1974) noted, “The Silver Surfer will make his reappearance in a three-parter featuring Dr. Doom in Giant-Size Fantastic Four #4, which will be scripted by Len Wein.” This story actually appeared in the regular title of Fantastic Four #155–157 (Feb.–Apr. 1975). More production problems plagued this Fab Four as Comic Reader #115 (also lamented, “Because of deadline problems a story originally due to appear in Fantastic Four #158 couldn’t be completed in time and so the story originally scheduled for Giant-Size Fantastic Four #5 will spread out over Fantastic Four #158 and #159.” And even more production problems continued for the same title as Comic Reader #116 (Mar. 1975) proclaimed the never-produced “Giant-Size Fantastic Four #6 will bring back Marvel Boy…” The cosmic Marvel Boy story later eventually saw publication in the regular Fantastic Four #164 and 165. FOOM also heralded a Len Wein character that debuted in Giant-Size Fantastic Four #4 (Feb. 1975) as “Zerox.” This “Multiple Man” character originally had a name that was a phonetic match of the photocopy

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company Xerox. The character would actually debut as “Madrox,” presumably to avoid copyright entanglements. Nevertheless, the Jamie Madrox character has been a longtime character in the pages of X-Men, other X-titles, and Marvel’s Ultimate Universe. Tony Isabella detailed in FOOM #9 (Mar. 1975) that the specific plans for Giant-Size Super-Villain Team-Up were to “bring back an old Ant-Man villain called Jason Craig, the man with the voice of doom, which nobody will remember. And just because of that we’re gonna reprint the original story in the back of the issue, or in the middle of the story, or maybe at the front of the book.” Forty years later, Isabella muses, “I don’t recall doing this.” However, Tony clarifies, “That does sound like the kind of obscure character thing I would have done. I could see Dr. Doom making use of a person with Craig’s ability.” Jason Craig is actually spelled Jason “Cragg” and anxious readers would over a decade, until Steve Englehart revived the “Voice” in West Coast Avengers #36 (Sept. 1988). Later, in the pages of Captain America, instead of Dr. Doom controlling the Voice, writer Mark Gruenwald would have the Voice handled by the equally nefarious Red Skull.

SUBSTANCE AND STYLE The thought process Isabella used in his proposed “Voice” story in Super-Villain Team-Up is a theme often seen in the Giant-Size issues. An obscure villain or other character would be re-introduced. Characters such as the time-traveling Rama-Tut, the Space Phantom, and the Golden Age All-Winners come to mind. To help reintroduce these characters, the Giant-Size books often reprinted these characters’ first, and often only, previous appearances. Isabella explains his understanding on which stories should be republished: ”If there was a reprint policy in place for these Giant-Size comics, it was never explained to me. In my case, I would go with whatever I thought would be good for the material. There were far fewer policies in place than most fans realize. We were always flying by the seat of our pants against the winds of dreaded deadlines.” Far from following any formula, Marvel editor Roy Thomas appears to echo Tony Isabella’s recollections: “We didn’t have any such plan. We were just reprinting stuff either in order, or what I thought would be good for the mag.” Thomas’

Watch Your Back, Adolf! Roy Thomas’ World War II-set The Invaders premiered as a Giant-Size one-shot before spinning off into a regular monthly title. Original cover art to Giant-Size Invaders #1 by penciler Frank Robbins and inker John Romita. Courtesy of Heritage. TM & © Marvel Characters, Inc.

reprint of “The Ray of Madness” from Human Torch Comics #33 (Nov. 1948) in Giant-Size Avengers #1 republished a team-up of Captain America and the Human Torch. This story, of course, coincided with the launching of Thomas and Frank Robbins’ World War II team, the Invaders, in Giant-Size Invaders #1, as well as Thomas’ introduction of a number of Golden Age characters such as the Whizzer, Miss America, and others from the All-Winners Squad into the 1975 Marvel Universe. In the editorial page of Giant-Size Avengers #1, Roy made a shocking declaration, calling the “antique” Golden Age “Ray of Madness” story “absurd.” The issue shows the Human Torch flying to Jupiter to battle aliens. Thomas noted in that issue’s editorial page that “Nobody now would believe that the Human Torch could fly to Jupiter.” What? Years of Marvel continuity are thrown out the window simply because it denies laws of physics and theories of science? Today, Roy Thomas further explains to BACK ISSUE his shocking 1975 announcement to readers. “I just needed to have a break with Golden Age continuity, I felt, so that not everything in them was gospel,” he says. “I preferred to count them as happened, when I could. I just wanted to be the one to decide, at that point.” Marvel creators used the Giant-Size format and continuity in different ways. Some of the stories stand alone. Others fit into continuity. Giant-Size Avengers, in particular, wove into the continuing storylines of the regular Avengers series. Kurt Busiek, a young comic fan at the time who later became a popular writer, states, “The most successful of the Giant-Sizes, to my eye, was Giant-Size Avengers, because after the solo story in #1, Steve Englehart simply wove those issues into his ongoing continuity, creating a bigger canvas on which to tell what turned out to be a vast story about cosmic stuff. So I liked the way those stories wove into and out of those issues. And it doesn’t hurt that Giant-Size Avengers #2, with gorgeous Dave Cockrum art and a killer story, is to my mind the single best issue of Avengers ever published.” Indeed, Giant-Size Avengers #2 (Nov. 1974) extended from the regular title, Avengers #129 (Nov. 1974), and continued an odyssey and eventual showdown with the Kang the Conqueror that resulted in a jaw-dropping “death of an Avenger” with the demise of the Swordsman. Steve Englehart has given numerous interviews touching upon this Giant-Size issue. However, he provides a bit more insight for readers of BACK ISSUE: “Dave Cockrum did his usual great job. However, that story was so complex that any problem could not be overlooked, and Dave, stepping right into the middle of the thing, left out or otherwise made the wrong choice in a few places. I had those places fixed, and he didn’t like it, and continued to not like it thereafter. I was sorry about that, but the story took precedence, and evidently that was the right decision, since a lot of people considered it a success.” It should be noted that in an all-out Avengers battle with the time-traveling Kang, a time-rupture takes place that Cockrum captures in cinematic style.

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As mentioned previously, three Giant-Size Avengers issues continue the regular issues’ storylines. Steve Englehart and company provided readers with the origin of the Vision, the beginnings of the endless war between the Kree and the Skrull empires, the marriage of the Vision and the Scarlet Witch, and the seemingly final fate of the Swordsman and Mantis. “I created Mantis and used the Swordsman to (a) bring her in and (b) bring back an interesting Avenger,” Englehart says. “But that’s as far as I thought at the time. Everything that happened afterward was what unfolded from that. I wasn’t planning it.” One comic creator who is unabashedly a fan of using larger formats and the necessary issues and pages to produce a proper literary work is Neal Adams. “I really don’t see large-page formats being used properly,” he shares with BI. “It’s a graphic novel size, but it’s used for short stories. So how does that embellish any work? Vignettes are nice, but I’ll take a story every time. In fact, vignettes tax the creative and very often throw away a very good idea to be wasted on a vignette situation. I think the graphic novel form or the novel form is better. If we are going to support our bookstores, we have to start working the novel form more and more. Real bookstores don’t sell books for $3.00. They sell books for $30.00. We are going to have to get used to that if the business is going to continue.” Adams has been vocal about the Thomas/Adams epic Kree–Skrull War in the regular pages of Avengers in 1971 as a story that needed a larger format. Adams notes, “I would like to finish off the Kree–Skrull War properly.” He visualizes a bigger stage for a story arc that he feels is unfulfilled, searching for a larger screen and stage. “I’m sorry to pull this out of my hat here,” Adams says, “but I want to see an Avengers movie where Ant-Man walks across the chest of the Vision with three ants, Crosby, Stills, and Nash, and jumps into the Vision’s mouth, and down his stomach, to investigate this brave, new world. And guess what? You neal adams don’t even have to be a part of that. I already Luigi Novi / Wikimedia Commons. did it. Can you imagine being in a theater and having that scene take place on a screen? And watching the audience rip up their seats? Now that would be cool.”

THE FALL OF THE GIANTS Comic Reader #117 (Apr. 1975) brought Marvel fans some bad news: “Giant-Size Dracula, Giant-Size Man-Thing, and Giant-Size Werewolf have all been canceled. Replacing them will be three all-new titles: Giant-Size Inhumans, to be written by Doug Moench, Giant-Size Guardians of the Galaxy, to be written by Steve Gerber and tentatively to be drawn Al Milgrom, and a third new title which cannot be revealed, to be written by Tony Isabella.” None of these new books were ever published as Giant-Size series. They did see publication in the regular Marvel format. Later in 1975, the last Giant-Size issue was published, Giant-Size Spider-Man #6 (Nov. 1975), a complete reprint of an earlier Spider-Man Annual. Marv Wolfman had replaced Len Wein as Marvel editor-in-chief. Why had the Giant-Size books fallen? Was it a lack of creative talent? Len Wein proposes that this was not the case: “At Marvel, we always seemed to have exactly as much talent as we needed to get the job done. I assume they simply weren’t selling well enough to maintain them.” Steve Englehart, who embraced the project perhaps better than anyone else, opines, “At first I thought it was great—more space to explore the Avengers— but it became hard to do because it was like adding an extra book and a half every three months, a decidedly unwieldy structure. Still, I was game to keep going because—more space to explore the Avengers!”

Giant-Size Plug Pulled (top) The first two issues of Marvel’s Doc Savage series, plus filler material, were gathered for this 1975 one-shot. Cover by John Buscema. (bottom) The Doug Moench/George Pérez Inhumans series was announced in early 1975 as a Giant-Size title but ended up in Marvel’s regular format. Cover to The Inhumans #1 (Oct. 1975) by Kane and Giacoia. Doc Savage TM & © Condé Nast. Inhumans TM & © Marvel Characters, Inc.

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The End is Nigh (left) After several significant new stories in Giant-Size Avengers, issue #5 (1975) was a reprint of (right) 1967’s Avengers Annual #1. TM & © Marvel Characters, Inc.

BACK ISSUE asked Neal Adams about the superstar team-up. Noted comic researcher and historian Nick Caputo takes an analytical perspective of the time: “The demise of the Giant-Size titles was likely “I actually didn’t feel that it was much of collaboration, when you sales-related, and perhaps the powers-that-be saw the sales of monthly come right down to it,” Adams says. “It certainly wasn’t more title numbers going down, and their new releases like Giant-Size Chillers interesting than drawing the original team. On the other hand, I have a and others not doing well. I think as time went on there was less soft spot in my heart for the original team. And it’s been kind of fun thought into the product and perhaps a glut of reprints didn’t help. to watch other people do them like Alan Davis and others. Again, this They were great while they lasted, though.” issue was more of a vignette, and I didn’t feel that Joss had a chance Self-described fan and award-winning writer Kurt Busiek has a to exercise his creative muscles there. I look forward to a future special place in his heart for Marvel’s Giant-Size line. “I didn’t start collaboration that might be more stimulating.” reading comics regularly until after the Giant-Sizes already existed, However, Roy Thomas had a much more palatable experience so I wasn’t around to see them debut,” Busiek says. “In fact, one of when he teamed with artist Lee Weeks for Giant-Size Invaders #2 the things that got me looking for comics in the first place was (Dec. 2005). This issue, with a new Thomas/Weeks 16-page that I saw another kid in class reading Giant-Size Avengers #3, story, was also published in 2005. “Marvel gave me a certain with the heroes knocking over big numbers indicating page count and basically turned me loose,” Thomas years on the cover. That looked odd and interesting explains, “so I wrote the story I wanted to write.” to me, so when I was next at the drugstore I looked Always a smooth chronologist, Roy was also pleased for it. I didn’t find it, but I did wind up buying to write a new story that nonetheless “came Daredevil #120, which hooked me into buying chronologically not long after the final issues of The comics regularly. And once I did see an Avengers Invaders series of the ’70s and ’90s.” on the stands, I grabbed it, and that hooked me In truth, most of the new millennium Giant-Size into Avengers.” Marvels were in short number, with shorter new Busiek continues, “The price of the books didn’t stories, not particularly tied to continuity, and a great bother me. I had three newspaper routes back then, deal of reprinted material. That leaves comic fans so I wasn’t on a budget comics-wise. I was buying with only nostalgic views of its earlier colossal time. back issues of X-Men, Daredevil, and other books for Kurt Busiek further explains, “It’s too bad they didn’t prices around a dollar, so 50 cents for a new book last. It was probably an editorial nightmare putting kurt busiek wasn’t a barrier. And the chance to get more stuff, them together—like doing four Annuals in a year. a longer book with more material, that was just a But they were fun to read!” real draw to me.” If the Bronze Age Giant-Size Marvels were a nightmare, editor Len The Giant-Size Marvels were no more after 1975. The Marvel Wein is certainly not complaining. We asked Len, a writer and editor Annuals would continue and even expanded over the years. At times, who added a great deal to the project, was it a failure? Overly ambitious? regular Marvel comics provided readers with a giant-sized issue for A success that inserted new energy and ideas into the Marvel Universe? a special event or anniversary issue. In the new millennium, new “Not a failure, whatsoever, other than it began a juggernaut that helps rounds of Giant-Size Marvels have been published. Instant buzz to sustain Marvel to this day.” appeared as books such as Giant-Size X-Men #3 (2005) were announced. This particular book linked legendary and former X-Men LEX CARSON is a Marvel Comics Silver and Bronze Age collector and historian artist Neal Adams with rising star and future Marvel movie writer and as well as a contributor to BACK ISSUE. He is also an active editor on the Wikia Marvel Database Project. director Joss Whedon. 52 • BACK ISSUE • Marvel Bronze Age Giants and Reprints

GIANT-SIZE AVENGERS #1 Aug. 1974 Cover artists: Rich Buckler and John Romita, Sr. Editor: Roy Thomas New story: • The Avengers in “Nuklo—the Invader That Time Forgot” Reprints: • Golden Age Human Torch in “The Ray of Madness” from Human Torch #33 (Nov. 1948) • The Wasp in “The Magician and the Maiden” from Tales to Astonish #58 (Aug. 1964) GIANT-SIZE AVENGERS #2 Nov. 1974 Cover artists: Ron Wilson and Frank Giacoia, with John Romita, Sr. (alterations) Editor: Roy Thomas New story: • The Avengers in “Blast from the Past!” Reprints: • Fantastic Four in “Prisoners of the Pharaoh” from Fantastic Four #19 (Oct. 1964) GIANT-SIZE AVENGERS #3 Feb. 1975 Cover artists: Gil Kane and Frank Giacoia Editor: Roy Thomas New story: • The Avengers in “…What Time Has Put Asunder!” Reprints: • The Avengers in “The Avengers Battle the Space Phantom” from Avengers #2 (Nov. 1963) GIANT-SIZE AVENGERS #4 June 1975 Cover artists: Gil Kane and John Romita, Sr. Editor: Len Wein New story: • The Avengers in “…Let All Men Bring Together” Reprints: • Ant-Man in “Betrayed by the Ants!” from Tales to Astonish #38 (Dec. 1962) • Black Widow in “The Came … the Black Widow” from Amazing Adventures #1 (Aug. 1970) GIANT-SIZE AVENGERS #5 1975 Cover artists: John Buscema and George Roussos, with John Romita, Sr. (alterations) Editor: Len Wein Reprints: • The Avengers in “The Monstrous Plan of the Mandarin” from Avengers Annual #1 (1967)

GIANT-SIZE CAPTAIN AMERICA #1 1975 Cover artists: Gil Kane and Mike Esposito Editor: Len Wein Special feature: 1-page pinup Reprints: • Captain America in “Captain America” from Tales of Suspense #59 (Nov. 1964) • Captain America in “The Army of Assasins Strike!” from Tales of Suspense #60 (Dec. 1964) • Captain America in “The Strength of the Sumo!” from Tales of Suspense #61 (Jan. 1965) • Captain America in “Breakout in Cell Block 10!” from Tales of Suspense #62 (Feb. 1965) • Captain America in “The Origin of Captain America!” from Tales of Suspense #63 (Mar. 1965) GIANT-SIZE CAPTAIN MARVEL #1 1975 Cover artists: Ron Wilson and Frank Giacoia Editor: Len Wein Reprints: • Captain Marvel in “And a Child Shall Lead You!” from Captain Marvel #17 (Oct. 1969) • Captain Marvel in “The Hunter and the Holocaust!” from Captain Marvel #20 (June 1970) • Captain Marvel in “Here Comes the Hulk!” from Captain Marvel #21 (Aug. 1970) GIANT-SIZE CHILLERS #1 Feb. 1975 Cover artists: Ron Wilson and Mike Esposito Editor: Marv Wolfman Special feature: “Chilling Tales” 2-page framing sequence New stories: • “The Gravesend Gorgon” • “The Monster of Hedgwood Moor!” • “The Lagoon Creature of Rising Sun” • “The Fountain” • “The Borrowed Face!” • “Gilt-Edged Gnomes!” Reprints: • “The Girl Who Couldn’t Die” from Adventures into Terror #6 (Oct. 1951) • “From Out of the Past!” from Astonishing #49 (May 1956) • “Next Stop Eternity!” from Adventure into Mystery #3 (Sept. 1956) GIANT-SIZE CHILLERS #2 May 1975 Cover artists: Gil Kane and John Romita, Sr. Editor: Len Wein New stories: • “Treasure Hunt with Death!” • “The House on Brook Street” • “The Triple Cross”

Reprints: • “Let’s Face It!” from Astonishing #36 (Dec. 1954) • “The Couple Next Door!” from Mystic #25 (Dec. 1953) • “The Pit of Fear!” from Adventures into Weird Worlds #10 (Sept. 1952) • “The Watchers!” from Amazing Adventures #5 (Oct. 1961) • “Fight for Life!” from World of Suspense #3 (Aug. 1956) • “The Next World!” from World of Fantasy #12 (June 1958) • “I Love a Mermaid!” from Tales to Astonish #4 (July 1959) GIANT-SIZE CHILLERS #3 Aug. 1975 Cover artists: Ed Hannigan and Berni Wrightson Editor: Len Wein Special feature: “Chilling Tales” 2-page framing sequence New stories: • “[Death is a Typewriter]” Reprints: • “Gargoyle Every Night” from Chamber of Darkness #7 (Oct. 1970) • “The Warlock Tree!” from Chamber of Darkness #3 (Feb. 1970) • “Desert Scream!!” from Monsters on the Prowl #9 (Feb. 1971) • “The Moving Finger Writhes…!” from Tower of Shadows #3 (Jan. 1970) • “The Monster!” from Chamber of Darkness #4 (Apr. 1970) • “To Sneak … Perchance to Scream!” from Tower of Shadows #4 (Mar. 1970) • “One Little Indian!” from Tower of Shadows #4 (Mar. 1970) GIANT-SIZE CHILLERS FEATURING THE CURSE OF DRACULA #1 June 1974 Note: Series retitled Giant-Size Dracula with issue #2 Cover artist: John Romita, Sr. Editor: Roy Thomas Special feature: “Keeping Track of Drac!” 2-page text article by Marv Wolfman New story: • Dracula in “Night of the She-Demon” Reprints: • “Have You Seen a Huge, Black Vampire” from Mystic #25 (Dec. 1953) • “The Village Graveyard” from Adventures into Weird Worlds #4 (Spring 1952) GIANT-SIZE CONAN THE BARBARIAN #1 Sept. 1974 Cover artists: Gil Kane and Ernie Chan, with John Romita, Sr. (alterations) Editor: Roy Thomas

Special features: “Acheron: A Revisionary Theory” 2-page text feature; 2-page Acheron map; 2-page “Conan the Unconquered” text article by Roy Thomas New story: • Conan in “Hour of the Dragon” Reprints: • Conan in “The Twilight of the Grim Grey God!” from Conan the Barbarian #3 (Feb. 1971) GIANT-SIZE CONAN THE BARBARIAN #2 Dec. 1974 Cover artist: John Buscema, with John Romita, Sr. (alterations) Editor: Roy Thomas Special feature: “The Hyborian Age of Conan” 2-page map New story: • Conan in “Conan Bound!” Reprints: • Conan in “Zukala’s Daughter” from Conan the Barbarian #5 (May 1971) GIANT-SIZE CONAN THE BARBARIAN #3 Apr.1975 Cover artists: Gil Kane and Tom Palmer Editor: Roy Thomas New story: • Conan in “To Tarantia—and the Tower!” Reprints: • Conan in “Devil-Wings over Shadizar” from Conan the Barbarian #6 (June 1971) GIANT-SIZE CONAN THE BARBARIAN #4 June 1975 Cover artists: Gil Kane and Tom Palmer Editor: Roy Thomas New story: • Conan in “Swords of the South!” Reprints: • Conan in “The Lurker Within” from Conan the Barbarian #7 (July 1971) GIANT-SIZE CONAN THE BARBARIAN #5 1975 Cover artists: Jack Kirby and Joe Sinnott, with John Romita, Sr. (alterations) Editor: Len Wein Reprints: • Conan in “A Sword Called … Stormbringer!” from Conan the Barbarian #14 (Mar. 1972) • Conan in “The Green Empress from Melnibone” from Conan the Barbarian #15 (May 1972) • Conan in “The Blood of the Dragon!” from Conan the Barbarian #12 (Dec. 1971)

TM & © Marvel Characters, Inc., except Conan TM & © Conan LLC.

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GIANT-SIZE CREATURES FEATURING WEREWOLF BY NIGHT #1 July 1974 Note: Series retitled Giant-Size Werewolf (by Night) with issue #2 Cover artists: Ron Wilson and Frank Giacoia Editor: Roy Thomas Special features: “Waiter, There’s a Werewolf in My Soup!” 2-page text feature; “Tigra’s Year” 2-page text feature New story: • Werewolf by Night (and Tigra) in “Tigra the Were-Woman!” Reprints: • “Where Walks the Werewolf!” from Creatures on the Loose #13 (Sept. 1971) GIANT-SIZE DAREDEVIL #1 1975 Cover artists: Gil Kane and Frank Giacoia Editor: Len Wein Special features: “An Explanation!” 2-page filler; “Inside Daredevil” 2-page filler; “Blueprint for an All-Purpose Billy Club!” 1-page filler; 3 pinup pages Reprints: • Daredevil in “Electro, and the Emissaries of Evil!” from Daredevil Annual #1 (1967) • Stan Lee and Gene Colan in “At the Stroke of Midnight” from Daredevil Annual #1 (1967) GIANT-SIZE DEFENDERS #1 July 1974 Cover artists: Gil Kane and Frank Giacoia, with John Romita, Sr. (alterations) Editor: Roy Thomas Special feature: 2-page Defenders pinup New story: • The Defenders in “The Way They Were!” Reprints: • The Hulk in “Banished to Outer Space” from Incredible Hulk #3 (Sept. 1962) • Sub-Mariner in “Bird of Prey!” from Sub-Mariner Comics #41 (Aug. 1955) • Dr. Strange in “To Catch a Magician!” from Strange Tales #145 (June 1966) • Silver Surfer in “The Peerless Power of the Silver Surfer” from Fantastic Four Annual #5 (1967) GIANT-SIZE DEFENDERS #2 Oct. 1974 Cover artists: Gil Kane and Klaus Janson, with John Romita, Sr. (alterations) Editor: Roy Thomas New story: • The Defenders in “H … as in Hulk … Hell … and Holocaust!” Reprints: • Sub-Mariner in “[The Shark People]” from Young Men #25 (Feb. 1954)

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The original Black Knight in “[Betrayed!]” from Black Knight #4 (Nov. 1955) Dr. Strange in “Beyond the Purple Veil” from Strange Tales #119 (Apr. 1964)

GIANT-SIZE DEFENDERS #3 Jan. 1975 Cover artists: Ron Wilson and Joe Sinnott Editor: Roy Thomas New story: • The Defenders in “Games Godlings Play!” Reprints: • Sub-Mariner in “The World Destroyers!” from Sub-Mariner Comics #38 (Feb. 1955) • Dr. Strange in “The House of Shadows!” from Strange Tales #120 (May 1964) GIANT-SIZE DEFENDERS #4 Apr. 1975 Cover artists: Gil Kane and Frank Giacoia Editor: Len Wein New story: • The Defenders in “Too Cold a Night for Dying!” Reprints: • The Sub-Mariner in “Namor … Again Ventures Out to Battle…” from Human Torch Comics #4 (Spring 1941) • Dr. Strange in “Witchcraft in the Wax Museum!” from Strange Tales #121 (June 1964) GIANT-SIZE DEFENDERS #5 July 1975 Cover artists: Ron Wilson and Al Milgrom Editor: Len Wein New story: • The Defenders in “Eelar Moves in Mysterious Ways!” Reprints: • Daredevil in “Quoth the Nighthawk, ‘Nevermore!’ ” from Daredevil #62 (Mar. 1970) GIANT-SIZE DOC SAVAGE #1 1975 Cover artist: John Buscema Editor: Len Wein Special features: 2 pinup pages; 5-page text article; 2-page cover gallery Reprints: • Doc Savage in “The Man of Bronze” from Doc Savage #1 (Oct. 1972) • Doc Savage in “Master of the Red Death!” from Doc Savage #2 (Dec. 1972) GIANT-SIZE DOCTOR STRANGE #1 1975 Cover artists: Gil Kane inked by Frank Giacoia and/or John Romita, Sr. Editor: Len Wein

Reprints: • Dr. Strange in “Nightmare!” from Strange Tales #164 (Jan. 1968) • Dr. Strange in “The Mystic and the Machine!” from Strange Tales #165 (Feb. 1968) • Dr. Strange in “Nothing can Halt … Voltorg!” from Strange Tales #166 (Mar. 1968) • Dr. Strange in “This Dream— This Doom!” from Strange Tales #167 (Apr. 1968) • Dr. Strange in “Exile!” from Strange Tales #168 (May 1968) GIANT-SIZE DRACULA #2 Sept. 1974 Note: Continues numbering from Giant-Size Chillers featuring the Curse of Dracula Cover artist: Pablo Marcos Editor: Roy Thomas New story: • Dracula in “Call Them Triad … Call Them Death!” Reprints: • “The Girl in the Black Hood!” from Tales to Astonish #32 (June 1962) • “On with the Dance!” from Menace #2 (Apr. 1953) • “Sweet Old Ladies” from Astonishing #18 (Oct. 1952) • “Vampire ar the Window” from Astonishing #18 (Oct. 1952) • “Drive of Death” from Astonishing #17 (Sept. 1952) GIANT-SIZE DRACULA #3 Dec. 1974 Cover artists: Gil Kane and Tom Palmer Editor: Roy Thomas New story: • Dracula in “Slow Death on the Killing Ground” Reprints: • “I was a Vampire” from Uncanny Tales #6 (Mar. 1952) • “The Wedding Present” from Spellbound #22 (May 1954) • “The Mark of the Vampire!” from Spellbound #22 (May 1954) • “The Man Who Changed!” from Uncanny Tales #6 (Mar. 1953) GIANT-SIZE DRACULA #4 Mar. 1975 Cover artists: Gil Kane and Tom Palmer Editor: Len Wein New story: • Dracula in “Let it Bleed” Reprints: • “Forbidden Drink” from Mystic #2 (May 1951) • “The Gargoyles” from Tales of Suspense #46 (Oct. 1963) • “I Am the Living Ghost” from Tales of Suspense #15 (Mar. 1961) • “You Can’t Escape” from Adventures into Terror #6 (Oct. 1951)

GIANT-SIZE DRACULA #5 June 1975 Cover artists: Gil Kane and Tom Palmer Editor: Len Wein New stories: • Dracula in “The Art of Dying” • “Dark Asylum” (horror story) Reprints: • “The Hidden Vampire” from Journey into Mystery #21 (Jan. 1955) • “They Fly by Night” from Adventures into Terror #30 (Apr. 1954) GIANT-SIZE FANTASTIC FOUR #2 Aug. 1974 Note: Continues numbering from Giant-Size Super-Stars featuring the Fantastic Four Cover artists: Gil Kane and Joe Sinnott, with John Romita, Sr. (alterations) Editor: Roy Thomas New story: • Fantastic Four in “Cataclysm” Reprints: • Fantastic Four in “The Fantastic Four versus the Red Ghost and His Indescribable Super-Apes!” from Fantastic Four #13 (Apr. 1963) GIANT-SIZE FANTASTIC FOUR #3 Nov. 1974 Cover artists: Rich Buckler and Joe Sinnott Editor: Roy Thomas New story: • Fantastic Four in “Where Lurks Death … Ride the Four Horsemen!” Reprints: • Fantastic Four in “The Hate-Monger!” from Fantastic Four #21 (Dec. 1963) GIANT-SIZE FANTASTIC FOUR #4 Feb. 1975 Cover artists: Rich Buckler and Joe Sinnott Editor: Len Wein Special feature: 6-page pinup gallery of “A Gallery of the Fantastic Four’s Most Famous Foes!” New story: • Fantastic Four in “Madrox the Multiple Man!” Reprints: • Fantastic Four in “We Have to Fight the X-Men!” from Fantastic Four #28 (July 1964) GIANT-SIZE FANTASTIC FOUR #5 May 1975 Cover artists: Jack Kirby and Frank Giacoia Reprints: • Fantastic Four in “Divide and Conquer” from Fantastic Four Annual #5 (1967) • Fantastic Four in “The Fantastic Four Battle … the Mad Thinker and his Awesome Android!” from Fantastic Four #15 (June 1963)

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GIANT-SIZE FANTASTIC FOUR #6 Oct. 1975 Cover artists: Ron Wilson and Joe Sinnott Special feature: “Questions and Answers About the Fantastic Four” 2-page filler Reprints: • Fantastic Four in “Let There Be … Life!” from Fantastic Four Annual #6 (1968) GIANT-SIZE HULK #1 Oct. 1975 Cover artists: Gil Kane and Klaus Janson Editor: Len Wein Reprints: • The Hulk in “A Refuge Divided” from The Incredible Hulk Special [Annual] #1 (1968) GIANT-SIZE INVADERS #1 June 1975 Cover artists: Frank Robbins and John Romita, Sr. Editor: Roy Thomas Special feature: “Another Agonizingly Personal Recollection” 1-page text page by Roy Thomas New story: • The Invaders in “The Coming of the Invaders!” Reprints: • Sub-Mariner in “Deep-Sea Blitzkrieg!” from Sub-Mariner Comics #1 (Sprin 1941) GIANT-SIZE IRON MAN #1 Oct. 1975 Cover artists: Gil Kane and Frank Giacoia Reprints: • Iron Man in “The New Iron Man Meets the Angel” from Tales of Suspense #49 (Jan. 1964) • Iron Man in “Hawkeye the Marksman!” from Tales of Suspense #57 (Sept. 1964) • Iron Man in “In Mortal Combat with Captain America” from Tales of Suspense #58 (Oct. 1964) GIANT-SIZE KID COLT #1 Jan. 1975 Cover artists: Larry Lieber and Vince Colletta Editor: Roy Thomas New story: • Kid Colt and the Rawhide Kid in “Meet the Manhunter!” Reprints: • Kid Colt in “It was a Neat, Clean Town” from Kid Colt Outlaw #52 (Sept. 1955) • Kid Colt in “With a Roar the Huge Beast Charged” from Kid Colt Outlaw #52 (Sept. 1955) • “The Ramrod” from Kid Colt Outlaw #52 (Sept. 1955) • Kid Colt in “I’ve Been Waiting for You, Dawson” from Kid Colt Outlaw #52 (Sept. 1955)

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Kid Colt in “Duel to the End” from Kid Colt Outlaw #62 (July 1956) Kid Colt in “Beware the Gunman” from Kid Colt Outlaw #62 (July 1956) Kid Colt in “The Dam!” from Kid Colt Outlaw #62 (July 1956)

GIANT-SIZE KID COLT #2 Apr. 1975 Cover artist: Gil Kane Editor: Len Wein New stories: • Kid Colt in “Showdown at Steer’s Skull” • Kid Colt in “Battle at Blood Creek” Reprints: • “When a Man’s Afraid!” from Kid Colt Outlaw #99 (July 1961) • Kid Colt in “Six-Guns Can Talk!” from Kid Colt Outlaw #75 (Nov. 1957) • Kid Colt in “The Menace of Bulldog Yates!” from Kid Colt Outlaw #103 (Mar. 1962) • “Lawmen Never Die!” from Kid Colt Outlaw #108 (Jan.1963) • Kid Colt in “Kid Colt, Coward!” from Kid Colt Outlaw #108 (Jan. 1963) • Kid Colt in “[untitled]” from Kid Colt Outlaw #35 (Mar. 1954) GIANT-SIZE KID COLT #3 July 1975 Cover artist: Gil Kane Editor: Len Wein New story: • Kid Colt and the Night Rider in “Duel with Dack Derringer!” Reprints: • Kid Colt in “Wolf Pack!” from Kid Colt Outlaw #65 (Oct. 1956) • “The Promise!” from Kid Colt Outlaw #65 (Oct. 1956) • Kid Colt in “Fury at Farrow Gap!” from Kid Colt Outlaw #140 (Nov. 1969) • “Rustler!” from Kid Colt Outlaw #73 (June 1957) • Kid Colt in “Dead on His Feet!” from Kid Colt Outlaw #73 (June 1957) • “Showdown in Smoke Mesa!” from Kid Colt Outlaw #65 (Oct. 1956) GIANT-SIZE MAN-THING #1 Aug. 1974 Cover artist: Mike Ploog Editor: Roy Thomas New story: • Man-Thing in “How Will We Keep Warm When the Last Flame Dies!” Reprints: • “Ice-Monster Cometh!” from Amazing Adult Fantasy #11 (Apr. 1962) • “I Was the Invisible Man!” from Strange Tales #67 (Feb.1959) • “Goom! The Thing from Planet X!” from Tales of Suspense #15 (Mar. 1961) GIANT-SIZE MAN-THING #2 Nov. 1974 Cover artist: John Buscema

Editor: Roy Thomas New story: • Man-Thing in “Of Monsters and Men!” Reprints: • “I Learned the Dread Secret of the Blip!” from Tales to Astonish #15 (Jan. 1961) • “He Stalks by Night!” from Strange Tales #51 (Oct. 1956) • “I Dared Enter the Forbidden World!” from Tales to Astonish #15 (Jan. 1961) GIANT-SIZE MAN-THING #3 Feb. 1975 Cover artists: Gil Kane, and Klaus Janson, with John Romita, Sr. (alterations) Editor: Roy Thomas New story: • Man-Thing in “The Blood of Kings!” Reprints: • Dr. Druid in “Kroog!” from Amazing Adventures #6 (Nov. 1961) • “Save Me from the Weed!” from Strange Tales #94 (Mar. 1962) • “Humans, Keep Out!” from Journey into Mystery #86 (Nov. 1962) • “Blackmail!” from Mystery Tales #11 (May 1953) GIANT-SIZE MAN-THING #4 May 1975 Cover artist: Frank Brunner Editor: Len Wein New stories: • Man-Thing in “The Kid’s Night Out!” • Howard the Duck in “Frog Death!” Reprints: • “I Entered the … Doorway to Doom!” from Strange Tales #72 (Dec. 1959) • “The Man with No Past” from Journey into Mystery #21 (Jan. 1955) GIANT-SIZE MAN-THING #5 Aug. 1975 Cover artists: Gil Kane and Dan Adkins Editor: Len Wein New stories: • Theodore Sallis (the future ManThing) in “Fear Times Three!” • Man-Thing in “There’s a Party in 6G” • Man-Thing in “The Sins of the Fathers…” • Man-Thing in “Lifeline!” • Howard the Duck in “Hellcow!” Reprints: • “A Sight for Sore Eyes” from Marvel Tales #109 (Oct. 1952) MARVEL TRIPLE ACTION GIANT-SIZE #1 May 1975 Cover artist: John Romita, Sr. Editor: Irene Vartanoff Reprints: • Avengers in “Never Bug a Giant!” from Avengers #31 (Aug. 1966) • Daredevil in “The Verdict is: Death!” from Daredevil #20 (Sept. 1966) • Dr. Strange in “The World Beyond” from Strange Tales #122 (July 1964)

MARVEL TRIPLE ACTION GIANT-SIZE #2 July 1975 Cover artist: John Romita, Sr. Editor: Irene Vartanoff Reprints: • Avengers in “The Sign of the Serpent!” from Avengers #32 (Sept. 1966) • Daredevil in “The Trap is Sprung” from Daredevil #21 (Oct. 1966) • Dr. Strange in “The Challenge of Loki!” from Strange Tales #123 (Aug. 1964) GIANT-SIZE MASTER OF KUNG FU #1 Sept. 1974 Cover artists: Ron Wilson and Mike Esposito Editor: Roy Thomas Special feature: Iron Fist in “Shaolin Temple Boxing,” a 2-page text article New stories: • Shang-Chi, Master of Kung Fu in “Death Masque!” • Shang-Chi in “Frozen Past, Shattered Memories” • Shang-Chi in “Reflectons in a Rippled Pool” Reprints: • Yellow Claw in “The Coming of the Yellow Claw!” from Yellow Claw #1 (Oct. 1956) GIANT-SIZE MASTER OF KUNG FU #2 Dec. 1974 Cover artist: Al Milgrom Editor: Roy Thomas New story: • Shang-Chi, Master of Kung Fu in “The Devil-Doctor’s Triumph” Reprints: • Yellow Claw in “The Yellow Claw Strikes!” from Yellow Claw #1 (Oct. 1956) • Yellow Claw in “[Trap for Jimmy Woo]” from Yellow Claw #1 (Oct. 1956) GIANT-SIZE MASTER OF KUNG FU #3 Mar. 1975 Cover artists: Gil Kane and Joe Sinnott Editor: Len Wein New story: • Shang-Chi, Master of Kung Fu in “Fires of Rebirth” Reprints: • The Yellow Claw in “Concentrate on Chaos!” from Yellow Claw #2 (Dec. 1956) • The Yellow Claw in “The Trap” from Yellow Claw #2 (Dec. 1956) GIANT-SIZE MASTER OF KUNG FU #4 June 1975 Cover artists: Gil Kane and Dan Adkins Editor: Len Wein New story: • Shang-Chi, Master of Kung Fu in “Why a Tiger Claw?!” Reprints: • Yellow Claw in “Temujai … the Golden Goliath!” from Yellow Claw #2 (Dec. 1956)

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Yellow Claw in “The Mystery of Cabin 361!” from Yellow Claw #2 (Dec. 1956)

GIANT-SIZE POWER MAN #1 1975 Cover artists: Gil Kane and Frank Giacoia Editor: Len Wein Special features: 2 pinup pages Reprints: • Luke Cage In “Retribution! Part I”” from Hero for Hire #14 (Oct. 1973) • Luke Cage in “Retribution: Part II” from Hero for Hire #15 (Nov. 1973) • Luke Cage in “Shake Hands with Stiletto! Part III” from Hero for Hire #16 (Dec. 1973) GIANT-SIZE SPIDER-MAN #1 July 1974 Cover artist: John Romita, Sr. Editor: Roy Thomas New story: • Spider-Man and Dracula in “Ship of Fiends” Reprints: • Human Torch in “On the Trail of the Amazing Spider-Man” from Strange Tales Annual #2 (1963) GIANT-SIZE SPIDER-MAN #2 Oct. 1974 Cover artists: Gil Kane and John Romita, Sr., with Tony Mortellaro (backgrounds) Editor: Roy Thomas New story: • Spider-Man and Shang-Chi, Master of Kung Fu in “Masterstroke!” Reprints: • Spider-Man (and the Avengers) in “…To Become an Avenger!” from Amazing Spider-Man Annual #3 (1966) GIANT-SIZE SPIDER-MAN #3 Jan. 1975 Cover artists: Gil Kane, Frank Giacoia, and Mike Esposito Editor: Roy Thomas New story: • Spider-Man and Doc Savage in “The Yesterday Connection!” Reprints: • Spider-Man (and Daredevil) in “Duel with Daredevil” from Amazing Spider-Man #16 (Sept. 1964) GIANT-SIZE SPIDER-MAN #4 Apr. 1975 Cover artists: Gil Kane and Frank Giacoia Editor: Len Wein New story: • Spider-Man and the Punisher in “To Sow the Seeds of Death’s Day!” Reprints: • Spider-Man (and Dr. Strange) in “The Wondrous World of Dr. Strange!” from Amazing Spider-Man Annual #2 (1965)

GIANT-SIZE SPIDER-MAN #5 July 1975 Cover artists: Gil Kane and Tom Palmer Editor: Len Wein New story: • Spider-Man and the Man-Thing in “Beware the Path of the Monster!” Reprints: • Spider-Man (and the Human Torch) in “Where Flies the Beetle…!” from Amazing Spider-Man #21 (Fe. 1965) GIANT-SIZE SPIDER-MAN #6 1975 Cover artists: Ed Hannigan, Frank Giacoia, and Mike Esposito Editor: Len Wein Reprints: • Spider-Man (and the Human Torch) in “The Web and the Flame” from Amazing Spider-Man Annual #4 (1967) GIANT-SIZE SUPER-HEROES FEATURING SPIDER-MAN #1 June 1974 Cover artists: Gil Kane and John Romita, Sr. Editor: Roy Thomas Special feature: 7-page pinup gallery “A Gallery of Spider-Man’s Greatest Foes!” from Amazing Spider-Man Annual #1 (1964) New story: • Spider-Man (vs. Man-Wolf and Morbius, the Living Vampire) in “Man-Wolf at Midnight!”/ “Duel of the Demon Duo!”/ “When Strikes the Vampire!” Reprints: • Stan Lee and Steve Ditko in “How Stan and Steve Create(d) Spider-Man!” from Amazing Spider-Man Annual #1 (1964) GIANT-SIZE SUPER-STARS FEATURING THE FANTASTIC FOUR #1 May 1974 Note: Series retitled Giant-Size Fantastic Four with issue #2 Cover artists: Rich Buckler and Joe Sinnott Editor: Roy Thomas New story: • Fantastic Four in “The Mind of the Monster!” Special features: “Giant-Sized SuperStacks,” Roy Thomas-written text feature; “A Gallery of the Fantastic Four’s Most Famous Foes!” from Fantastic Four Annual #1 (1963) GIANT-SIZE SUPER-VILLAIN TEAM-UP #1 Mar. 1975 Cover artists: Ron Wilson and Frank Giacoia Editor: Roy Thomas New story: • Sub-Mariner and Dr. Doom in “Encounter at Land’s End!”

Reprints: • Sub-Mariner in “In Darkness Dwells … Doom!” from Sub-Mariner #20 (Dec. 1969) • Dr. Doom in “This Man … This Demon!” from Marvel Super-Heroes #20 (May 1969) GIANT-SIZE SUPER-VILLAIN TEAM-UP #2 June 1975 Cover artists: Gil Kane and Al Milgrom Editor: Roy Thomas New story: • Sub-Mariner and Dr. Doom in “To Bestride the World!” Reprints: • Spider-Man in “The Living Brain” from Amazing Spider-Man #8 (Jan. 1964) GIANT-SIZE THOR #1 1975 Cover artists: Gil Kane and Joe Sinnott Editor: Len Wein Reprints: • Thor is “If Asgard Falls…” from Thor Annual #2 (1966) • Thor (vs. Hercules) in “When Titans Clash!” from Journey into Mystery Annual #1 (1965) • Tales of Asgard in “When Heimdall Failed” from Journey into Mystery #165 (June 1964) GIANT-SIZE WEREWOLF (BY NIGHT) #2 Oct. 1974 Note: Continues numbering from Giant-Size Creatures featuring Werewolf by Night Cover artists: Gil Kane and Tom Palmer, with John Romita, Sr. (alterations) Editor: Roy Thomas New story: • Werewolf by Night (and Frankenstein) in “The Frankenstein Monster Meets Werewolf by Night” Reprints: • “Mind Over Matter” from Adventures into Weird Worlds #16 (Mar. 1953) • “The Ape Man” from Strange Tales #85 (June 1961) • “The Barefoot Man” from Uncanny Tales #29 (Feb. 1955) • “The Werewolf of Wilmach!” from Astonishing #17 (Sept. 1952) GIANT-SIZE WEREWOLF (BY NIGHT) #3 Jan. 1975 Cover artists: Gil Kane and Tom Palmer Editor: Roy Thomas New story: • Werewolf by Night in “Castle Curse!” Reprints: • “The Visitor” from Adventures into Terror #13 (Dec. 1952)

TM & © Marvel Characters, Inc.

56 • BACK ISSUE • Marvel Bronze Age Giants and Reprints

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“The Man Who Went Back!” from Journey into Mystery #18 (Oct. 1954) “The Man Who Talked to Rats!” from Adventures into Terror #13 (Dec. 1952) “The Hands of Death” from Adventues into Terror #13 (Dec. 1952)

GIANT-SIZE WEREWOLF (BY NIGHT) #4 April 1975 Cover artists: Gil Kane and Frank Giacoia or Mike Esposito Editor: Len Wein New stories: • Werewolf by Night (vs. Morbius, the Living Vampire) in “A Meeting of Blood” • Werewolf by Night in “When the Moon Dripped Blood!” Reprints: • “The Return of the Brain” from Adventures into Terror #6 (Oct. 1951) GIANT-SIZE WEREWOLF (BY NIGHT) #5 July 1975 Cover artists: Gil Kane and Tom Palmer Editor: Len Wein New story: • Werewolf by Night in “The Plunder of Paingloss” Reprints: • “The Most Miserable Man in the World” from Mystic #16 (Jan. 1953) • “He’s Coming to Get Me!” from World of Fantasy #11 (Apr. 1958) • “The Unsolid Man” from World of Fantasy #13 (Aug. 1958) GIANT-SIZE X-MEN #1 July 1975 Cover artists: Gil Kane and Dave Cockrum Editor: Len Wein New story: • The New X-Men in “New Genesis” Reprints: • Cyclops in “Call Him … Cyclops!” from X-Men #43 (Apr. 1968) • Iceman in “I, the Iceman” from X-Men #47 (Aug. 1968) • Marvel Girl in “The Female of the Species” from X-Men #57 (June 1969) GIANT-SIZE X-MEN #2 1975 Cover artists: Gil Kane and Klaus Janson Editor: Len Wein Reprints: • X-Men in “The Sentinels Live” from X-Men #57 (June 1969) • X-Men in “Mission: Murder” from X-Men #58 (July 1969) • X-Men in “Do or Die, Baby” from X-Men #59 (Aug. 1969)

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As you read in the previous article, a handful of Marvel two-issue storylines were intended as single Giant-Size issues. And some Bronze Age Marvel debuts might have appeared under the Giant-Size banner if that 50-cent format hadn’t run out of steam. But here in BACK ISSUE land, we can pretend that Marvel’s beefiest books continued to face front! So enjoy these fantasy Giant-Size Marvels, their covers cannibalized, written, and art-directed by yours truly and designed by The Man’s best friend, Rich Fowlks. From the second appearance of the All-New, All-Different X-Men to a special treat for Tony Isabella—and ending with a title that usurps Giant-Size Man-Thing’s claim in infamy—these are…

Giant-Size logo, X-Men, Giant-Man, Human Torch, Hulk, Warlock, Him, and Ghost Rider TM & © Marvel Characters, Inc.

58 • BACK ISSUE • Marvel Bronze Age Giants and Reprints

Michael Eury

Marvel Bronze Age Giants and Reprints

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BACK ISSUE • 59

Shaft TM & © Ernest Tidyman.

Evel Knievel TM & © K&K Promotions.

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CHRIS IRVING follows the Blue Beetle’s 60+ years of evolution—from 1940s Fox Comics to Charlton Comics, to today’s DC Comics, including infamous Golden Age publisher Victor Fox, the Blue Beetle radio show, and Jack “King” Kirby’s Blue Beetle comic strip. Reprints the 1939 debut of The Blue Beetle from Mystery Men Comics #1! Featuring interviews with WILL EISNER, JOE SIMON, JOE GILL, ROY THOMAS, GEOFF JOHNS, CULLY HAMNER, KEITH GIFFEN, LEN WEIN, and others, plus never-seen Blue Beetle designs by ALEX ROSS and ALAN WEISS, as well as artwork by WILL EISNER, CHARLES NICHOLAS, STEVE DITKO, KEVIN MAGUIRE, and more! (128-page Remastered Color Digital Edition) $5.95

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HOW IT ALL BEGAN…

Stephan

Simon & Schuster established its imprints of Fireside/ Touchstone in 1970 to publish trade paperback editions. Aimed at younger readers, Fireside was originally a division focused on diet, health, exercise, and self-help. Touchstone was focused on more serious non-fiction and popular fiction. The Fireside imprint continued until being retired in 2010 and Touchstone remained the only imprint for that area of interest. In 1974, Linda Sunshine, the person responsible for bringing about the Batman and Superman books from Crown [see BI #81], became the new Fireside editor. “I believed I could bring the same kind of bestseller to Fireside,” she tells BACK ISSUE. “I contacted Marvel and Stan Lee. Stan was just great to work with! We’d decide a Fredt theme and the Marvel staff would pull it together and send it to us. I don’t recall them ever missing a deadline.”Starting with the first book, Origins of Marvel Comics, Stan Lee would approve the contents, write the introductions, and hand it off to special projects manager Irene Vartanoff to pull it all together. Irene was known to many comic readers from her multiple appearances in the letters columns. Just like Roy Thomas and several others, she made the transition from fan to the comic-book profession. In a 2009 interview posted in Jacque Nodell’s blog devoted to linda sunshine romance comics, Sequential Crush, Irene described some of her transitions at Marvel: “I started with various editorial assistant tasks and then moved to being the reprint editor (an assistant editor role) and then into managing reprint production. Then came special projects coordination … I spent most of my career at Marvel in production, supervising a handful of employees and freelancers and teaming with people from other companies to produce joint projects. I did hardcover and paperback books, newspaper inserts, posters, Star Wars reprints, newspaper strips, and more. I also did the infamous cleanup and inventory of the Marvel art warehouse.” She further related in 2010 in her own blog Temporary Superheroine: “I got handed final due dates for multiple projects and it was up to me to figure out how to get all the balls in the air, keep them in the air, and then get the final product to press on time. There wasn’t any kind of training; someone on the 9th floor cut the deal, and we on the 6th floor got handed the job.” I asked Irene about the original process for putting the books together. “I did not retain any documents pertaining to the original lineup, or the breakdown of how much was obtainable through film we already had, and how much it would cost to get new film made,” Vartanoff says. “Someone with access to our film inventory (I was not in charge of it) must have done the P&L [profit and loss statement]—possibly [production

Titanic Tome A countertop display for Fireside Books’ premier Marvel edition, 1974’s Origins of Marvel Comics. TM & © Marvel Characters, Inc.

Marvel Bronze Age Giants and Reprints

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manager] Sol Brodsky, for approval by [Marvel president] Jim Galton. The budget had already been set when I got the projects, and the delivery dates. Those were not editorial decisions, but they may have influenced some substitutions in the lineups. Marvel definitely did not want to spend a penny more than necessary, and poor film quality of a reprint was not considered a reason for going to the expense of making new film from originals (although I think I occasionally talked Sol into it). My point is that the deliverable was film, which Marvel hoped to use from its hitherto sloppily kept film archive. The S&S books may have influenced Marvel to finally recognize the value of the film. For years, it had sent original film all over the world for reprints without any thought about getting it back. “I was strictly the production manager on the S&S projects, obtaining all the art, coordinating all the freelancers involved, including the cover artists, and ensuring timely traffic both to the separator and to S&S,” Irene says. “Roberta (Bobbie) Gelman worked on those books with me,” Vartanoff explains. “Linda Sunshine was the acquisitions editor and Bobbie did the rest on the S&S side. Job titles being what they are, she could have been technically a ‘line editor’ or a ‘production editor’ or who knows? But she was my daily contact.” The first two volumes reprinted the origin stories from Marvel Comics’ stable of heroes, partnered with a current story of the same hero, and including an introduction to each hero from Stan Lee. Origins of Marvel Comics appeared in 1974, with Son of Origins of

Marvel Comics the following year, in 1975. The books were available in hardcover with a dust jacket as Simon & Schuster books and trade-paperback editions with the Fireside imprint. They were the true forerunner of our current hardbound collections and archives being published today. Roy Thomas tells BACK ISSUE, “We were all happy and proud when they started coming out. Marvel comic stories collected between hardcovers—who would ever have thought that could come to pass?” The first two books were even offered in a two-volume trade paperback slipcased edition. John Romita, Sr. provided the covers for six of the seven books. He signed all but the first one. And while Irene Vartanoff always managed to make deadline, Romita was sometimes on the wire with his cover illustration. While confirming that John did indeed do the first unsigned cover, Irene inquired for me and passed on, “Johnny Romita says he did the cover overnight from the figures stan lee he'd already sketched. He thought it was a ‘disaster’.” © Marvel. For the third book, Bring on the Bad Guys, Romita related at the San Diego Comic-Con in 2006, as noted at www.comics.org, “the cover was late, so [I] enlarged a stat drawing and painted it with Dr. Martin’s Dyes.” Romita wasn’t the only one finding the Fireside deadlines challenging. In an interview conducted by David Anthony Kraft for the 17th issue (Mar. 1977) of Marvel’s in-house fanzine FOOM. Stan Lee described his workday: “Then evenings I’ve got these books for Simon [&] Schuster. We’re doing one about the superwomen, which should be finished by now, yet I haven’t even begun it. I’ve got to start that this week. Then I’m doing the Silver Surfer with Jack Kirby—a hundred-page original hardcover. I’m excited about that. I hope it turns out to be a great book. I’m also doing How to Draw for the Comics with John Buscema.” That would eventually become S&S’s bestseller in the Marvel library, How to Draw Comics the Marvel Way, and is still in print. There was a style to Stan’s writings in the comics, in his Bullpen Bulletins, and in his introductions to chapters in the Fireside series that drew you in as a compatriot. He seemed to be talking directly to you, like one friend to another, telling you secrets, revealing his dreams and desires, unveiling shortcomings. He was right there … having a conversation with you … asking you questions as if he expected a reply … and many of us did, even if it was only in our own heads. Stan the Man was your buddy, your pal, and he was telling you insider information about the world to which many of us were deeply devoted. Forums and Facebook groups devoted to comics often get into arguments over Stan Lee supposedly taking full credit for creating the characters at Marvel. Over and over again in these Fireside introductions, Stan gives credit to his collaborators. Jack Kirby, Steve Ditko, John Buscema, and many others are cited by Stan for contributing ideas and creating and co-creating

62 • BACK ISSUE • Marvel Bronze Age Giants and Reprints

characters. He might not have had the power to change the economics of Marvel’s work-for-hire system, but in these introductions Stan constantly put the other Bullpen staff in front of us and never allowed us forget what they brought to the table. Time and time again we’d hear of him finding work for someone who needed it or bringing back one of the “Old Men” when they were looking for something to do. Many behindthe-scenes instances are revealed in Stan’s introductions in the Fireside series.

ORIGINS OF MARVEL COMICS (1974) As Stan writes in the introduction to Origins of Marvel Comics, “Call it a sampler if you will. Call it a few delicate drops of literary elixir gleaned from a bottomless sea of superhero sagas.” And that’s what we get. Stan tells us how he came up in the ranks of Marvel Comics, and of how [publisher] Martin Goodman wanted to duplicate the success of rival National’s (DC Comics) Justice League and tasked Stan to come up with something in the same vein. Stan describes how he gave Jack Kirby an outline for Fantastic Four and how Jack built the book, and how he went back and inserted the dialogue. For the Hulk story, Stan describes his process for repeating the success of Fantastic Four—how it had to have a similar excitement, but he didn’t want it to just be a repeat of what he had already accomplished, and how he once again teamed with Jack Kirby. And we are introduced to Marvel’s gamma-radiation-induced superhero, Dr. Bruce Banner, soon to become the gray (later green) behemoth, the Incredible Hulk. Stan explains the color shift in his introduction. For Spider-Man, Stan relates how he got the name from one of his favorite pulp heroes, the Spider, Master of Men. He reveals how Martin Goodman disliked insect-based heroes and nearly trash-canned the idea and how it was a throwaway story in a title scheduled for cancellation (Amazing Fantasy). Stan also lets us know how Kirby had some input in the origin, and how Steve Ditko was given the job of chronicling the stories in art. Stan walks us through some of his process in wanting to keep Peter Parker “normal”—a believable human with real-life problems that teenage and college fans could relate to. Stan takes us to Asgard next. Feeling he had already covered all the angles with the earlier heroes of the Marvel Age, he writes that he wondered what outside of a “God” would work as a new superhero: “I must have gone through a dozen pencils and a thousand sheets of paper in the days that followed, making notes and sketches, listing names and titles, and jotting down every type of superpower I could think of. But I kept coming back to the same ludicrous idea: the only way to top the others would be with a Super-God.” And thus the Thunder God, the Mighty Thor, was born. Stan also recalls coming to the realization that he was writing all of the heroes’ books. Not only was the load becoming huge, but what if something happened to him? Who would carry on? So for this first appearance of Thor, Stan turned to another in-house employee, his younger brother and Atlas (Marvel) artist, Larry Lieber. And here is where some of us first find out about Lee’s little brother and Stan’s reason for changing his own name. Regarding Journey into Mystery #83’s misspelling of its hero’s name as “Thorr” in the very last panel, Stan explains, “no matter how often we edit and re-edit every single page, every single panel—some idiotic, embarrassing error always seems to slip by,” noting how he turned that to his advantage with Marvel’s coveted “No-Prize,” an “award” to the reader that spotted an error of some sort in one of the Marvel comics. These were noted in various letters columns and actually consisted of a sealed, empty envelope from Marvel and Stan Lee to the lucky reader.

(I received one for an error that I spotted in an issue of Sgt. Fury and His Howling Commandos and the joy of receiving that silly envelope will be with me forever.) For the next origin, Dr. Strange, Stan reveals how the inspiration for the series was an old radio show that he had loved as a child, Chandu the Magician. Stan finds himself with a dilemma of whether to show us the first story of the good doctor, or his origin, which they didn’t get around to telling until his fifth appearance. In the first printing of Origins of Marvel Comics, they start with the first story. In later printings they flip-flop them and start with his origin. Stan also lets us know how much fun he had writing Dr. Strange for Steve Ditko to draw, and how the backstory for Strange and the dimensions he visited built upon itself almost of its own doing. Stan closes this book with an epilogue, noting, “Let’s call it a beginning, the beginning of an ever-continuing journey into the realm of Marvel Mythology—a realm where all, regardless of color, sex, or creed are truly kindred souls, united by a common love of adventure, fantasy, and just plain fun. Perhaps, just perhaps, that’s what Marvel’s really all about. Excelsior!” Fireside’s Origins of Marvel Comics was a hit. Kids and college students weren’t the only fans to contribute to the bestselling status of this first entry in the line. In a Los

Marvel Bronze Age Giants and Reprints

Marvel Twofor-One The slipcase for the dual pack of Origins and Son of Origins. TM & © Marvel Characters, Inc.

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Angeles Times column from that year called “The Book Corner,” no less than the literary giant, science-fiction and prose author Ray Bradbury, wrote a review of the book titled “Here’s a Pictorial Tonic to Relieve Virus Plaguing a World with Too Much Reality.” Mr. Bradbury observed that “I have no patience with intellectuals who hate horror films. I would gladly draw and quarter pretend liberals who wind up being reactionary conservatives against rockets and space travel. And now, with Stan Lee’s book ‘The Origins of Marvel Comics’ in my hands I realize I have one more to add to the list: intellectuals who don’t understand comic strips, never read the stuff and advise against it.” Bradbury admits that he’s no stranger to comics, having collected newspaper strips like Buck Rogers, Tarzan, Flash Gordon, and Prince Valiant since he was nine years old, and describes why tales of myth are important to us as a society, and have been a part of society since the beginning. He describes the perfect intellectual (little “I”) as someone with the capacity to “start off with Shakespeare, continue with Manchu and James Bond, jog further with Robert Frost, cavort with Moliere and Shaw, spring with Dylan Thomas, dip into Yeats, watch ‘All in the Family’ and Johnny Carson, and finish up at 1 in the morning with Loren Eisley, Bertrand Russell and the collected works of Johnny Hart’s B.C.” Bradbury notes that sympathy for the characters is needed, but that the characters described are no different than many in the Greek myths. He notes that while not all the art is Arthur Rackham or Harold Foster, it is still “dynamic and appropriate.” He also catches the cinematic influence in Jack Kirby’s art, and isn’t surprised given the common beginnings of both cinema and comic art.

SON OF ORIGINS OF MARVEL COMICS (1975) Stan Lee once again talks directly to readers in the prologue of the second volume: “Touched by your entreaties, warmed by your enthusiasm, and spurred by our own gnawing greed, we herewith present the second stellar production in a series that threatens to go on forever spurred by our own gnawing greed; we herewith present the second stellar production in a series that threatens to go on forever.” Stan starts us off with a history of the X-Men, Marvel’s first heroes “born” with their powers. The working title was to be “The Mutants,” but Martin Goodman felt it was too grownup of a title, so Stan played around with the concept that they were people with something “x-tra” … and “X-Men” was born. Stan, on the other hand, had always had a higher opinion of Marvel readers. Goodman always felt comics were “written and drawn for little kids.” Lee was of the opinion that “there was a whole world of older readers just waiting to be tapped,” but adds, “I was certain that younger kids are a lot smarter and more knowledgeable than was generally supposed.” Stan gives a short rundown of the various X-Men and why he likes each one, and also reveals how much he liked aspects added by Jack Kirby: the harness to hold Angel’s wings under his clothes and the design of Magneto’s helmet. With the Iron Man story for this volume, Stan explains that Marvel has no political tone, no political affiliation, though “most of the writers are young, idealistic, and passionately liberal. Some are more reserved, a bit middle-of-theroad.” He goes on to say the same about the artists that “also contribute a great deal to the basic plotting and structure of our tales,” and that the Marvel Bullpen represented “America in microcosm.” Written in 1963, Iron Man’s origin was set against the backdrop of the Vietnam War when it was still considered by many to be a necessary battle against the forces of Communism. Stan also wanted to have a hero with unlimited resources, so he had to be a tycoon of some sort, a playboy and man-about-town. But he needed to have a “problem,” some secret life-anddeath problem, which for Tony Stark was a heart condition, with the device that gives him superpowers also keeping him alive. Of selecting the Iron Man artist, the Man writes, “Dazzlin’ Donnie Heck had a style with both crispness and sophistication that would be perfect for the strip.” Lee recounts how he considered other names for the feature (including “Metal Man” and “Steel Man”) before settling on “Iron Man,” and how he gave his plot to brother Larry Lieber to script.

More Secret Origins (above) Courtesy of Heritage Comics Auctions (www.ha.com), John Romita, Sr.’s cover rough and color guide for Fireside’s second Marvel volume, Son of Origins. Compare it against (below) Romita’s painted, published version to note the subtle differences, and one major one—the Watcher’s position. TM & © Marvel Characters, Inc.

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All-New Fireside Books In addition to the line of “Origins” reprint trade paperbacks, Fireside also published the all-new graphic novel, The Silver Surfer, by Stan Lee and Jack Kirby, and the perennially reprinted How to Draw Comics the Marvel Way, by Lee and John Buscema. Look for articles about them (as well as The Official Marvel Comics Try-Out Book) in future editions of BACK ISSUE. TM & © Marvel Characters, Inc.

The next origin brings many of the established heroes together in a team: the Avengers! Stan starts us with some background on founding Avengers Ant-Man and the Wasp, since the then-current readers might not have been familiar with Ant-Man’s early run in Tales to Astonish issues. He then goes on to tell us about the mountains of fan mail Marvel received from all over the world in which the staff often used to see which heroes were liked best, which stories were not liked, etc. A team-up of heroes surfaced often in the suggestions, so Stan got together with Jack Kirby again, since Jack had drawn almost every one of the heroes at one time or another, and decided to build a team. Lee writes, “We’d start with The Hulk just to make it difficult. Then, we’d include Thor, ’cause there’s always room for the God of Thunder. Iron Man would be able to supply them all with weapons and bread whenever they needed it, and we’d toss in Ant-Man and the Wasp just for the sheer lunacy of it.” Stan goes on to talk about the “sense of realism” he wanted to keep in the stories, the rotating roster, and his delight in coming up with their rallying cry: “Avengers Assemble!” In the chapter featuring Marvel’s handicapped hero, the sightless Daredevil, Stan starts by revealing his love for speaking at college campuses across the country, explaining that the most frequent question he’d hear was, “Which is your favorite Marvel superhero?” While he says that each character, like children, is loved equally, he holds an extra fondness of Daredevil because of the more challenging nature of his creation. In his struggle to come up with a new superhero concept, Stan remembered a character he had enjoyed reading many years before, a blind detective named Duncan McClain, and realized that a blind superhero would be a “Gordian Knot” when it came to creating the kind of fantastic but still believable plots that drove Marvel Comics and delighted its readers. That was the beginning of Daredevil’s creation, and but it didn’t all gel overnight. The hero’s name was a natural, as any blind person attempting the sort of feats Stan had in mind would have to be a daredevil. Now all he needed was an artist. Stan had been trying to get one of Marvel’s original creators from the early days, Bill Everett, the creator of the original Sub-Mariner, to come back to the House of Ideas. Up to this point there hadn’t been a character or series that piqued Bill’s interest enough to commit, but as Stan remembers it, in 1964 over a couple of cups of coffee while discussing the character of Daredevil, Everett became intrigued and told him, “Hey! That’s the one I want to do!” And Daredevil was born. For the next chapter, Stan takes us to 1965. Sgt Fury and His Howling Commandos has been a successful series for Marvel, chronicling the WW II exploits of tough-as-nails Nick Fury. He lets us know that one of the most frequent questions Marvel receives is, “What is Fury doing now?” With a national spy craze underway and Stan being a fan of TV’s The Man from U.N.C.L.E. and the movies’ and fiction’s James Bond, the Supreme

Headquarters of the International Espionage Law-enforcement Division, or S.H.I.E.L.D., is born, with the one-time WWII soldier Nick Fury as its top spy. Stan knew that no one but Jack Kirby could come up with the weapons and gadgets that Fury would need in this spy thriller, and Jack jumped in with both feet. The multi-headed foe Hydra was a natural addition and Marvel’s entry in the spy genre became a reality. Our next chapter deals with a supporting character, but one Stan always had a fondness for, the Watcher. He first appeared in Fantastic Four #13 (Apr. 1963). Stan describes him as “Anywhere from 15 to 50 feet tall, usually depending on who was drawing him. A mystical being from a mystical world beyond the mystifying reaches of our own mysterious galaxy. A living entity who described his own world in the following awesome manner: I come from a world so far from hence that you do not even suspect it existence. Our entire home planet is one vast gigantic computer.” The origin of the Watcher is followed by the final origin story in Fireside’s second Marvel volume. Stan takes us back to the first appearance of the Silver Surfer. It’s 1966 and Stan and Jack are at lunch discussing how to menace the Fantastic Four in their next issue. After batting ideas back and forth, they came up with a being so seemingly omnipotent that he fed on the very matter of whole planets—the world-devouring Galactus! Galactus hit a nerve with the fans. Sales for the issues “soared” and fan mail “smothered us,” according to Stan. After plotting the three-issue story arc, Stan handed it over to Jack to draw. When Jack returned the first 20 pages for dialogue, an extra character had been added—“a silver-skinned, smooth-domed, sky-riding surfer atop a speedy flying surfboard.” Jack replied that a godlike creature like Galactus would obviously need some sort of herald to scout ahead of him. Stan loved Jack’s creation, and the Silver Surfer was born! Stan leaves us with an epilogue and a promise that the Marvel Universe “will see many more star-studded sagas sensationally spring to life on the pages of Marvel Comics.” He promises “new artists, new writers, new editors, and art directors” but the “same thrills, the same color, the same action and excitement, fantasy and imagination” will continue.

BRING ON THE BAD GUYS: ORIGINS OF THE MARVEL COMICS VILLAINS (1976) Stan dedicates this third Fireside volume to the fans. Stan Lee and Jack Kirby had produced four successful issues of their new series Fantastic Four. During a brainstorming session they started throwing ideas back and forth for a new villain. The name came first: “Doom.” Shortly they came up with the alliteration “Dr. Doom.” Next came background: he had to have an ego … at least an ego as big as Reed Richard’s. Why not a contemporary...? Heck, why not a former classmate?!

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Romita Rough Stuff (left) Jazzy Johnny’s cover preliminary for Fireside’s Marvel’s Greatest Superhero Battles. Courtesy of Heritage. (right) The published cover. TM & © Marvel Characters, Inc.

They finished by discussing his look. They didn’t plan for Dr. Doom to become as much of a star as he did, but the reader response to the first story was so overwhelming that they had to bring him back again and again. And it was two years before Stan had time to flesh out his origin. The next villain is the nemesis to Dr. Stephen Strange: Dormammu. Dormammu started out as a name first as well. But Stan had been referring to the “spell of the Dark Dormammu” and the “Dark Domain of Dormammu” for several months in Dr. Strange stories. Eventually the fans clamored enough about “Who is Dormammu?” and “What does he look like?” that Stan got together with Steve Ditko, who had been co-plotting the stories all along, and decided to bring him to life. Steve Ditko designed him and Stan added his dialogue. The storyline also introduced the major character of Clea, soon to become Dr. Strange’s companion. Stan and Jack used the “Tales of Asgard” backup feature in Journey into Mystery to highlight the origin of the next villain: Loki. They felt the larger aspects of that series— four panels per page as opposed to the five or six depicted in the regular series—would give Kirby some room to portray the grandeur of Asgard. The Red Skull premiered even before Stan Lee arrived at Marvel, but as fate would have it, Stan ended up proofreading and soon scripting Captain America stories with the Red Skull way back in the days of Timely. When Stan brought Cap forward to the Silver Age, it was only natural that he would bring back the hero’s major opponent.

Stan mentions that the next villain, Spider-Man’s nemesis the Green Goblin, was created early in Spidey’s career, with input by Steve Ditko. The Goblin’s background and origin did not become part of the history until much later when John Romita was working on the series. Next, Stan talks about the creation of the gamma ray-created villain who could go toe-to-toe with the Hulk—the Abomination—and how he thought “the Abomination” was a cool name but everyone else tried to talk him out of it, but how he kept it anyway because, after all, he was the publisher! The last villain in this volume is one of Stan’s favorites. He says he always took the writing of the Silver Surfer very seriously. Since the Surfer was the epitome of what mankind could be, he needed a foe that was the exact opposite … the incarnation of evil … the devil himself! Rather than assail the readers with religious incarnations, Stan settled on the name “Mephisto” as a derivative of “Mephistopheles.” Stan also reveals how John Buscema was not just the artist but instrumental in developing the plots and the stories for Silver Surfer at this point. Stan’s usual short epilogue ends the volume.

THE SUPERHERO WOMEN (1977)

For this volume, Stan Lee featured female heroes from the Marvel Universe. Roger Stern, a Marvel reprint editor at the time, had a hand in this volume and relates to BACK ISSUE, “I’m afraid that I don’t have much in the way of interesting stories about working on The Superhero Women or Greatest Battles. I mainly assisted Stan in picking the stories included in the collections john romita, sr. because 1) my editorial responsibility © Marvel. at the time had been putting together Marvel’s reprint comics, and 2) I had a pretty good memory for stories that had appeared in Marvel Comics from 1961–1978.

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“As I recall, the selection of stories on The Superhero Women was complicated by the fact that Simon & Schuster wanted the stories mainly to have been written by Stan, figuring that his name was a good selling tool. But it was Stan who insisted that we include other writers' stories of Red Sonja, Ms. Marvel, the Cat, and Shanna the She-Devil. My biggest contribution to the book was suggesting that we include the story from Fantastic Four #22, as that was the introduction of Sue’s [Invisible Girl] force-field powers.” Stan dedicates this book to one of the Marvel staff’s and readers’ favorite females, Marie Severin. One of the highlights of this volume is the reprinting of one of Marvel’s more mature entries: the Femizons. The tenpage story “The Fury of the Femizons,” written by Stan Lee and illustrated by John Romita, Sr., was originally produced for the black-and-white magazine Savage Tales #1 (May 1971). At that time Marvel’s magazine line staggered, but was later revived for a productive run. [Editor’s note: Come back in two issues as BACK ISSUE #88 explores Marvel’s magazine line and other comic mags of the Bronze Age.]

THE BEST OF SPIDEY SUPER STORIES (1978) During The Electric Company’s fourth season (1974–1975) on PBS, this program geared toward younger viewers added a segment developed in partnership with Marvel Comics called “Spidey Super Stories,” in which puppeteer Danny Seagren appeared as Spider-Man (always in costume) to work with the show’s cast to solve a problem. Spider-Man was licensed to the Children’s Television Workshop at no charge. The character never spoke except in word balloons to encourage viewers to practice their reading skills. The Spidey segments ended in the 1976–1977 season. From 1974–1982, Marvel published a companion comic-book series called Spidey Super Stories. It ran for 57 issues and was also geared for younger readers age 6–10. Many of the issues were written by Jim Salicrup and featured Spidey and characters from The Electric Company battling some Marvel villain often with another Marvel superhero guest-starring. The cover included the Children’s Television Workshop logo along with Marvel’s. Regarding the Fireside Marvel trade paperbacks, Jim Salicrup recalls, “The truth is, I really didn’t do too much on those S&S books. I was pretty much an office assistant at the time, and I would help get the proofs (large rolled-up sheets of paper that had four pages of comics material on each of them—the imprints from the metal plates used to originally print the comics), get the comics pages

Photostatted, and pass it on to Sol Brodsky or whomever, who would take care of the production from that point on. Stan Lee or Roy Thomas handled the editorial end. Other than having some of my stories reprinted in the S&S Spidey Super Stories book, I had nothing to do with that book.” Salicrup tells BACK ISSUE that he was involved with Simon & Schuster’s Marvel products outside of the Fireside Books line. “I was involved in the calendars S&S published,” Jim says, “starting out gathering the artwork for the early calendars, then co-writing the Spider-Man calendar with David Anthony Kraft, and finally writing and editing the Dr. Strange calendar on my own. I guess I must’ve really enjoyed those calendars, as I later ran a calendar on the back covers of Marvel Age.”

Good Eats and Good Treats Covers to three of Marvel’s non-reprint Fireside Books editions. Joe Giella, best known as a DC artist, illustrated The Mighty Marvel Superheroes’ Cookbook, as well as an even-odder entry, The Mighty Marvel Comics Strength and Fitness Book.

THE INCREDIBLE HULK (1978) The first of Fireside’s solo-hero volumes gives us the Hulk—who had just made the big time on the CBS-TV live-action series starring Bill Bixby and Lou Ferrigno—in all his glory. Stan starts us out with a lengthy introduction giving us some background into the Hulk’s history, tying it into the TV show, and explaining some of the differences between the show and the comics.

MARVEL’S GREATEST SUPERHERO BATTLES (1978) This volume highlights some of Marvel’s most memorable battles. Stan acknowledges that the stories for this one were chosen by Roger Stern, compiled by Irene Vartanoff, and handed off to Simon & Schuster by Sol Brodsky. “I probably contributed a bit more to the Greatest Battles book [than The Superhero Women],” Roger Stern reflects. Of course, suggesting the Fantastic Four/Avengers team-up—with the two groups battling the Hulk—and the Silver Surfer’s battle with Thor were obvious no-brainers. The Daredevil/ Sub-Mariner fight was another classic that I felt needed to be in there, and I lobbied for the story from X-Men #3, just because of Jack Kirby’s wonderful depiction of the X-Men taking on an entire circus. Likewise, the Iron Man/Sub-Mariner crossover from Tales of Suspense and Tales to Astonish was always a favorite of mine, as was Dr. Strange’s face-off with Dormammu. Coming up with the right battle of Spider-Man's was the most challenging, as there were so many to choose from; I believe that his battle with the Kingpin was Stan’s choice.”

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TM & © Marvel Characters, Inc.

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THE AMAZING SPIDER-MAN (1979) This is the last of Stan’s anecdote-filled introductions, as he tells us in six pages all about Spider-Man. The Man’s reminiscences would become much more succinct in future volumes. This volume includes the landmark three-issue story arc involving Spidey’s battle with the Green Goblin and Harry Osborn’s drug addiction, originally seen in 1971’s The Amazing Spider-Man #96–98. Because of the drug subplot, taboo by the watchdog organization the Comics Code Authority, these issues were rejected by the Code, but Stan pushed ahead with their publication without Code approval. Stan ends with a brief epilogue, and the volume is done.

THE FANTASTIC FOUR (1979) A Jack Kirby blow-out! Every story features artwork by the King! Stan delights us in his introduction with stories of the Timely days, meeting Carl Burgos, creator of the Human Torch, and Bill Everett, creator of Sub-Mariner. He touches on how he brought both characters back with his use of a “Human Torch” in Fantastic Four and re-introduction of the Sub-Mariner in the same series.

DOCTOR STRANGE: MASTER OF THE MYSTIC ARTS (1979) Stan starts this volume with a dedication to Steve Ditko and to Phil DeGuere, the latter being the producer of the 1978 Doctor Strange made-for-TV movie. This book is nearly a Steve Ditko extravaganza, almost every story drawn and either plotted or co-plotted by Steve Ditko. The final story takes a different turn—it’s a reprint of a Bronze Age favorite, the beginning of Dr. Strange’s new series that debuted in Marvel Premiere #3 (July 1972), plotted and illustrated by Barry Smith (not yet “Windsor-Smith”) and dialogued by Stan Lee. Stan then signs off with his usual brief epilogue telling us there is always more to come.

CAPTAIN AMERICA: SENTINEL OF LIBERTY (1979) This volume consists solely of Captain America stories, its release capitalizing upon the Star-Spangled Sentinel’s heightened media presence in two made-for-TV live-action movies. After Stan dedicates the book to Captain America’s creators, Joe Simon and Jack Kirby, the book’s first reprint is a retelling of Cap’s origin from Tales of Suspense #63 (Mar. 1965). In the introduction, Stan explains that the original art from Captain America Comics #1 (Mar. 1941) could not be located in 1965, so they instead retold the story. Actually, the original story was reprinted in Jules Feiffer’s The Great Comic Book Heroes that same year. This Fireside volume also included Stan’s first story as a writer, from Captain America Comics #3 (May 1941). Another highlight of the book is its patriotic painted cover by Dave Cockrum. That concludes the reprint books from the Marvel library in the Fireside imprint. Given this issue’s theme, we didn’t explore two of the most significant Marvel/Fireside books: Marvel’s first graphic novel, the Lee/Kirby masterpiece The Silver Surfer, or the ever-bestselling How to Draw Comics the Marvel Way, by Stan Lee and John Buscema; they will be examined in future editions of BACK ISSUE. Nor did we explore the Fireside/Marvel exercise book, the cookbook, or any of the activity books; they, too, will eventually be covered in these pages (although we refer you to BI #77’s article on Marvel Fun and Games Magazine and the main talent behind it, Owen McCarron, for background on the Marvel activity features of the Bronze Age), but for the benefit of collectors these activity books are listed in the index which follows. Special thanks to contributors Roy Thomas, Linda Sunshine, Irene Vartanoff, Roger Stern, and Jim Salicrup. Special thanks to Ken Quattro for providing the Ray Bradbury column. STEPHAN FRIEDT has been collecting and reading comics since the late 1950s, spends much of his time as the Senior Database Administrator for www.comicspriceguide.com, and researching and writing articles on comic books for fanzines and prozines.

FIRESIDE MARVEL REPRINT EDITIONS ORIGINS OF MARVEL COMICS Sept. 1974 Simon & Schuster (Hardcover)/ Fireside Books (Softcover) Page count: 254 Cover artist: John Romita, Sr. Editor: Linda Sunshine Special features: 1-page foreword and 1-page epilogue by Stan Lee Reprints: • Part One: “If One is Good, Four Will Be Better” 6-page introduction by Stan Lee covering his early career and his and Jack Kirby’s creation of the Fantastic Four • Cover to Fantastic Four #1 (Nov. 1961) • “The Fantastic Four,” “The Fantastic Four Meet the Mole Man,” and “The Mole Man’s Secret” from Fantastic Four #1 (Nov. 1961) • 1-page introduction by Stan Lee • Cover to Fantastic Four #55 (Oct. 1966) • “When Strikes the Silver Surfer” from Fantastic Four #55 (Oct. 1966) • Part Two: “There Shall Come a Jolly Green Giant” 7-page introduction by Stan Lee • Cover to The Incredible Hulk #1 (May 1962) • “The Coming of the Hulk,” “The Hulk Strikes,” “The Search for the Hulk,” “Enter … the Gargoyle,” “The Hulk Triumphant” from The Incredible Hulk #1 (May 1962) • 1-page introduction by Stan Lee • Cover to The Incredible Hulk #118 (Aug. 1969) • “A Clash of Titans” guest-starring the Sub-Mariner from The Incredible Hulk #118 (Aug. 1969) • Part Three: “The World’s Best-Selling Swinger” 8-page introduction by Stan Lee covering Jack Kirby and Steve Ditko’s role in the creation of Spider-Man • Cover to Amazing Fantasy #15 (Sept. 1962) • “Spider-Man!” from Amazing Fantasy #15 (Sept. 1962) • 1-page introduction by Stan Lee • Cover to The Amazing Spider-Man #72 (May 1969) • “Rocked by … the Shocker” from The Amazing Spider-Man #72 (May 1969) • Part Four: “Meanwhile, Back in Asgard…” 7-page introduction by Stan Lee • Cover to Journey into Mystery #83 (Aug. 1962) • “Thor the Mighty and the Stone Men from Saturn,” “The Power of Thor,” “Thor the Mighty Strikes Back” from Journey into Mystery #83 (Aug. 1962) • 1-page introduction by Stan Lee • Cover to The Mighty Thor #143 (Aug. 1967) • “…And, Soon Shall Come: the Enchantress” from The Mighty Thor #143 (Aug. 1967) • Part Five: “Mainly About a Master of the Mystic Arts” 6-page introduction by Stan Lee • “The Origin of Dr. Strange” from Strange Tales #115 (Dec. 1963) • 1-page introduction by Stan Lee • “Dr. Strange Master of Black Magic!” from Strange Tales #110 (July 1963) • “The Fearful Finish—!” from Strange Tales #155 (Apr. 1967) Note: The Dr. Strange stories are rearranged in later printings. For the fourth and subsequent

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printings, the story order is: • Part Five: “Mainly About a Master of the Mystic Arts” 6-page introduction by Stan Lee • “Dr. Strange Master of Black Magic!” from Strange Tales #110 (July 1963) • “The Origin of Dr. Strange” from Strange Tales #115 (Dec. 1963) • 1-page introduction by Stan Lee • “The Fearful Finish—!” from Strange Tales #155 (Apr. 1967) SON OF ORIGINS OF MARVEL COMICS Oct. 1975 Simon & Schuster (Hardcover)/ Fireside Books (Softcover) Page count: 249 Cover artist: John Romita, Sr. Editor: Linda Sunshine Special features: 2-page prologue and • 1-page epilogue by Stan Lee Reprints: • Part One: “Make Way for the Merry Mutants” 5-page introduction by Stan Lee • Cover to The X-Men #1 (Sept. 1963) • “X-Men” from The X-Men #1 (Sept. 1963) • Part Two: “When the Golden Avenger Was Gray” 4-page introduction by Stan Lee • Cover to Tales of Suspense #39 (Mar. 1963) • “Iron Man is Born” from Tales of Suspense #39 (Mar. 1963) • 1-page introduction by Stan Lee • Cover to Tales of Suspense #97 (Jan. 1968) • “The Coming of Whiplash!” from Tales of Suspense #97 (Jan. 1968) • Part Three: “If You Can’t Beat ’Em, Join ’Em!” 4-page introduction by Stan Lee • Cover to The Avengers #1 (Sept. 1963) • “The Coming of the Avengers!” from The Avengers #1 (Sept. 1963) • Part Four: “And a Blind Man Shall Lead Them” 4-page introduction by Stan Lee • Cover to Daredevil #1 (Apr. 1964) • “The Origin of Daredevil” from Daredevil #1 (Apr. 1964) • 1-page introduction by Stan Lee • Cover to Daredevil #47 (Dec. 1968) • “Brother, Take My Hand!” from Daredevil #47 (Dec. 1968) • Part Five: “Against the Hordes of Hydra” 4-page introduction by Stan Lee • Cover to Strange Tales #135 (Aug. 1965) • Nick Fury, Agent of S.H.I.E.L.D. in “The Man for the Job” from Strange Tales #135 (Aug. 1965) • Part Six: “He Also Serves” 4-page introduction by Stan Lee • “The Wonder of The Watcher” from The Silver Surfer #1 (Aug. 1968) • Part Seven: “To Span the Spaceways” 4-page introduction by Stan Lee • Cover to The Silver Surfer #1 (Aug.1968) • “The Origin of the Silver Surfer!” from The Silver Surfer #1 (Aug.1968) BRING ON THE BAD GUYS: ORIGINS OF MARVEL COMICS VILLAINS Oct. 1976 Simon & Schuster (Hardcover)/ Fireside Books (Softcover) Page count: 253 Cover artist: John Romita, Sr. Editor: Linda Sunshine Special features: 2-page prologue and 1-page epilogue by Stan Lee

Reprints: • Part 1: Dr. Doom pinup • “The Madness Behind the Mask!” 4-page introduction by Stan Lee • “Prisoners of Doctor Doom!”, “Back To the Past!”, “On the Trail of Blackbeard,” “Battle!”, and “The Vengeance of Doctor Doom!” from Fantastic Four #5 (July 1962) • 1-page introduction by Stan Lee • “The Fantastic Origin of Doctor Doom!” from Fantastic Four Annual #2 (Sept. 1964) • Part 2: The Dread Dormammu! pinup • “A Demon—From the World Beyond” 4-page introduction by Stan Lee • “The Domain of the Dread Dormammu!” from Strange Tales #126 (Nov. 1964) • “Duel with the Dread Dormammu!” from Strange Tales #127 (Dec. 1964) • Part 3: Loki pinup • “If a God Be Mad!” 4-page introduction by Stan Lee • “The Coming of Loki!” from Journey into Mystery #112 (Jan. 1965) • “The Boyhood of Loki!” from Journey into Mystery #113 (Feb. 1965) • “A Viper in Our Midst!” from Journey into Mystery #115 (Apr. 1965) • 1-page introduction by Stan Lee • “The Vengeance of the Thunder God” from Journey into Mystery #115 (Apr. 1965) • Part 4: Red Skull pinup • “Scourge of the Master Race!” 4-page introduction by Stan Lee • “The Fantastic Origin of the Red Skull” from Tales of Suspense #66 (June 1965) • “Lest Tyranny Triumph!” from Tales of Suspense #67 (July 1965) • “The Sentinel and the Spy!” from Tales of Suspense #68 (Aug. 1965) • Part 5: Green Goblin pinup • “The Fiend Flies By Night!” 4-page introduction by Stan Lee • “Spidey Saves the Day!” from The Amazing Spider-Man # 40 (Sept. 1966) • Part 6: Abomination pinup • “And There Shall Come a Monster!” 4-page introduction by Stan Lee • “The Abomination!” from Tales To Astonish #90 (Apr. 1967) • “Whosoever Harms the Hulk!” from Tales To Astonish #91 (May 1967) • Part 7: Mephisto pinup • “Blaze of Fire! Scent of Brimstone!” 4-page introduction by Stan Lee • “The Power and the Prize!” from Silver Surfer #3 (Dec. 1966) THE SUPERHERO WOMEN: FEATURING THE FABULOUS FEMALES OF MARVEL COMICS Nov. 1977 Simon & Schuster (Hardcover)/ Fireside Books (Softcover) Page count: 254 Cover artist: John Romita, Sr. Editor: Linda Sunshine Special features: 2-page preface and 1-page epilogue by Stan Lee Reprints: • Medusa and Spider-Man pinup by John Romita

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“Beware Her Scarlet Hair” 2-page introduction by Stan Lee “Make Way for … Medusa!” from The Amazing Spider-Man #62 (July 1968) Red Sonja pinup by John Buscema “She-Devil with a Sword” 2-page introduction by Stan Lee “Eyes of the Gorgon” from Marvel Feature #4 (May 1976) Invisible Girl pinup by John Romita “Now You See Her—Now You Don’t!” 2-page introduction by Stan Lee “The Return of the Mole Man” from Fantastic Four #22 (Jan. 1964) Ms. Marvel pinup by John Romita “And Oh, How She Flies” 2-page introduction by Stan Lee “This Woman, This Warrior!” from Ms. Marvel #1 (Jan. 1977) Hela pinup by John Buscema “The Touch of a Goddess!” 2-page introduction by Stan Lee “The Icy Touch of Death” from Thor #189 (June 1971) 1-page introduction by Stan Lee to the second half of the story “And So, To Die!” from Thor #190 (July 1971) The Cat pinup “Beware the Clutching Claws!” 2-page introduction by Stan Lee “Beware the Claws of the Cat!” from The Cat #1 (Nov. 1972) Wasp pinup by John Buscema “Float Like a Butterfly, Sting Like a Wasp!” 2-page introduction by Stan Lee “The Creature from Cosmos” from Tales to Astonish #44 (June 1963) Lyra, the Femizon pinup by John Romita “Fury in a Future World!” 2-page introduction by Stan Lee “The Fury of the Femizons” from Savage Tales #1 (May 1971) Shanna, the She-Devil pinup “Beauty and the Beasts!” 2-Page introduction by Stan Lee “The Sahara Connection!” from Shanna, the She-Devil #2 (Feb. 1973) The Black Widow pinup by John Romita “Then Along Came a Spider!” 2-page introduction by Stan Lee “Beware … the Black Widow!” from The Amazing Spider-Man #86 (July 1970)

THE BEST OF SPIDEY SUPER STORIES Jan. 1978 Simon & Schuster (Hardcover)/ Fireside Books (Softcover) Page count: 128 Cover artist: John Romita, Sr. Editor: Linda Sunshine Special feature: 1-page prologue by Stan Lee; “It’s Time to Take A Bow!” 1-page epilogue Reprints: • “Spidey: Beware of the Hair” from Spidey Super Stories #4 (Jan. 1975) • “The Long Arms of the LawBreaker” from Spidey Super Stories #2 (Nov. 1974)

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“Welcome to Crime City” from Spidey Super Stories #18 (Aug. 1976) “Ms. Marvel, Ms. Marvel!” from Spidey Super Stories #22 (Apr. 1977) “Who Is Ms. Marvel?” from Spidey Super Stories #22 (Apr. 1977) “Into the Jaws!” from Spidey Super Stories #16 (Apr. 1976) “Namor King of the Sea” from Spidey Super Stories #16 (Apr. 1976) “Greet the Green Goblin!” from Spidey Super Stories #10 (July 1975) “Green Grows the Goblin!” from Spidey Super Stories #10 (July 1975) “Guess What’s Coming to Dinner!” from Spidey Super Stories #9 (June 1975) “Let’s Pay a Visit to Peter Parker’s Place” from Spidey Super Stories #2 (Nov. 1974) “Dr. Doom” from Spidey Super Stories #9 (June 1975) “The Day of Doom!” from Spidey Super Stories #9 (June 1975) “Let’s See Some More of … Peter Parker’s Place” from Spidey Super Stories #2 (Nov. 1974) “The Silver Surfer!” from Spidey Super Stories #19 (Oct. 1976) “The Spider Meets the Surfer!” from Spidey Super Stories #19 (Oct. 1976)

THE INCREDIBLE HULK July 1978 Simon & Schuster (Hardcover)/ Fireside Books (Softcover) Page count: 253 Cover artist: Bob Larkin Editor: Linda Sunshine Special features: 3-page introduction and 1-page epilogue by Stan Lee Reprints: • “Banished to Outer Space” from The Incredible Hulk #3 (Sept. 1962) • 1-page introduction by Stan Lee • “The Origin of the Hulk” from Incredible Hulk #3 (Sept. 1962) • 1-page introduction by Stan Lee • “The Ringmaster” from The Incredible Hulk #3 (Sept. 1962) • “The Incredible Hulk,” “Mission: Stop the Hulk,” “Who Is the Wrecker?”, “The Hulk at Last” from Fantastic Four #12 (Mar. 1963) • 1-page introduction by Stan Lee • “The Avengers Meet … Sub-Mariner!” from The Avengers #3 (Jan. 1964) • 1-page introduction by Stan Lee • “The Incredible Hulk” from Tales to Astonish #60 (Oct. 1964) • “Captured at Last” from Tales to Astonish #61 (Nov. 1964) • “Enter … the Chameleon!” from Tales to Astonish #62 (Dec. 1964) • “A Titan Rides the Train!” from Tales to Astonish #63 (Jan. 1965) • “[The Hulk] Battles … the Horde of Humanoids!” from Tales to Astonish #64 (Feb. 1965) • “On the Rampage Against the Reds!” from Tales to Astonish #65 (Mar. 1965) • “The Power of Doctor Banner!” from Tales to Astonish #66 (Apr. 1965) • “Where Strides the Behemoth” from Tales to Astonish #67 (May 1965)

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“Back from the Dead!” from Tales to Astonish #68 (June 1965) “Trapped in the Lair of the Leader!” from Tales to Astonish #69 (July 1965) “To Live Again!” from Tales to Astonish #70 (Aug. 1965) “Like a Beast at Bay!” from Tales to Astonish #71 (Sept. 1965) “Within the Monster Dwells a Man!” from Tales to Astonish #72 (Oct. 1965) “Another World, Another Foe!” from Tales to Astonish #73 (Nov. 1965) “The Wisdom of the Watcher!” from Tales to Astonish #74 (Dec. 1965) “Boomerang and the Brute” from Tales to Astonish #88 (Feb. 1967)

MARVEL’S GREATEST SUPERHERO BATTLES Nov. 1978 Simon & Schuster (Hardcover)/ Fireside Books (Softcover) Page count: 253 Cover artist: John Romita, Sr. Editor: Linda Sunshine Special features: 2-page preface and 1-page epilogue by Stan Lee Reprints: • “Hulk vs. the Thing” 2-page introduction by Stan Lee • Cover to Fantastic Four #25 (Apr. 1964) • “The Hulk vs. the Thing” from Fantastic Four #25 (Apr. 1964) • “The Avengers Take Over” 1-page introduction by Stan Lee • “The Avengers Take Over!” from Fantastic Four #26 (May 1964) • “In Mortal Combat with Sub-Mariner” 2-page introduction by Stan Lee • Cover to Daredevil #7 (Apr. 1965) • “In Mortal Combat with … Sub-Mariner” from Daredevil #7 (Apr. 1965) • “Beware of the Blob” 2-page introduction by Stan Lee • Cover to The X-Men #3 (Jan. 1964) • “Beware of the Blob!” from The X-Men #3 (Jan. 1964) • “The Silver Surfer” 2-page introduction by Stan Lee • Cover to Silver Surfer #4 (Feb. 1969) • “The Good, the Bad, and the Uncanny!” from Silver Surfer #4 (Feb. 1969) • “Battling the Sub-Mariner” 2-page introduction by Stan Lee • Cover to Tales of Suspense #79 (July 1966) • “Disaster!” from Tales of Suspense #79 (July 1966) • “When Fall the Mighty” 1-page introduction by Stan Lee • “When Fall the Mighty” from Tales of Suspense #80 (Aug. 1966) • “The Power of Iron Man” 1-page introduction by Stan Lee • “The Power of Iron Man” from Tales to Astonish #82 (Aug. 1966) • “Dormammu is Watching” 2-page introduction by Stan Lee • Cover to Strange Tales #188 (Nov. 1976) • “Beware…! Dormammu is Watching!” from Strange Tales #139 (Dec. 1965)

Marvel Bronze Age Giants and Reprints

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“The Pincers of Power” 1-page introduction by Stan Lee “The Pincers of Power!” from Strange Tales #140 (Jan. 1966) “Let There Be Victory” 1-page introduction by Stan Lee “Let There Be Victory!” from Strange Tales #141 (Feb. 1966) “Mission: Crush the Kingpin” 2-page introduction by Stan Lee Cover to The Amazing Spider-Man #69 (Feb. 1969) “Mission: Crush the Kingpin!” from The Amazing Spider-Man #69 (Feb. 1969)

THE AMAZING SPIDER-MAN May 1979 Simon & Schuster (Hardcover)/ Fireside Books (Softcover) Page count: 128 Cover artist: Bob Larkin Editor: Linda Sunshine Special features: 6-page prologue and 1-page epilogue by Stan Lee Reprints: • “The Birth of a Super-Hero!” from The Amazing Spider-Man #42 (Nov. 1966) • “Rhino on the Rampage!” from The Amazing Spider-Man #43 (Dec. 1966) • “And Then Came Electro!” from The Amazing Spider-Man #82 (Mar. 1970) • “—And Now, the Goblin!” from The Amazing Spider-Man #96 (May 1971) • “In the Grip of the Goblin! from The Amazing Spider-Man #97 (June 1971) • “The Goblin’s Last Gasp!” from The Amazing Spider-Man #98 (July 1971) THE FANTASTIC FOUR September 1979 Simon & Schuster (Hardcover)/ Fireside Books (Softcover) Page count: 128 Cover artist: Bob Larkin Editor: Linda Sunshine Special features: 2-page preface and 1-page epilogue by Stan Lee Reprints: • Cover to Fantastic Four #4 (May 1962) • “The Coming of the Sub-Mariner” 2-page introduction by Stan Lee • “The Coming of … Sub-Mariner! Chapter 1: On the Trail of the Torch!”, “Chapter 2: Enter the Sub-Mariner!”, “Chapter 3: Let the World Beware!”, “Chapter 4: Sub-Mariner’s Revenge!”, “Chapter 5: Return to the Deep!” from Fantastic Four #4 (May 1962) • Cover to Fantastic Four #49 (Apr. 1966) • “The Galactus Trilogy” 4-page introduction by Stan Lee • “The Coming of Galactus!” from Fantastic Four #48 (Mar. 1966) • “If This Be Doomsday!” from Fantastic Four #49 (Apr. 1966) • “The Startling Saga of the Silver Surfer! from Fantastic Four #50 (May 1966)

• • •

Cover to Fantastic Four #86 (May 1969) “Dr. Doom” 2-page introduction by Stan Lee “The Power and the Pride!” from Fantastic Four #87 (June 1969)

DOCTOR STRANGE: MASTER OF THE MYSTIC ARTS Oct. 1979 Simon & Schuster (Hardcover)/ Fireside Books (Softcover) Page count: 132 Cover artist: Bob Larkin Editor: Linda Sunshine Special features: 3-page preface and 1-page epilogue by Stan Lee Reprints: • “Face-to-Face with the Magic of Baron Mordo!” from Strange Tales #111 (Aug. 1963) • “Return to the Nightmare World!” from Strange Tales #116 (Jan. 1964) • “Beyond the Purple Veil!” from Strange Tales #119 (April 1964) • “The House of Shadows!” from Strange Tales #120 (May 1964) • “The Challenge of Loki!” from Strange Tales #123 (Aug. 1964) • 1-page introduction by Stan Lee • “The Hunter and the Hunted!” from Strange Tales #131 (Apr. 1965) • “Face-to-Face at Last with Baron Mordo!” from Strange Tales #132 (May 1965) • “A Nameless Land, a Timeless Time!” from Strange Tales #133 (June 1965) • 1-page Introduction by Stan Lee • “The Wondrous World of Dr. Strange!” from The Amazing Spider-Man Annual #2 (1965) • 1-page introduction by Stan Lee • “While the World Spins Mad!” from Marvel Premiere #3 (July 1972) CAPTAIN AMERICA: SENTINEL OF LIBERTY Oct. 1979 Simon & Schuster (Hardcover)/ Fireside Books (Softcover) Page count: 128 Cover artist: Dave Cockrum Editor: Linda Sunshine Special features: 1-page prologue and 1-page epilogue by Stan Lee Reprints: • 1-page introduction by Stan Lee • “The Origin of Captain America!” from Tales of Suspense #63 (Mar. 1965) • “The Traitor’s Revenge” from Captain America Comics #3 (May 1941) • 2-page introduction by Stan Lee • “Captain America Joins … the Avengers!” from The Avengers #4 (Mar. 1964) • 1-page introduction by Stan Lee • “Captain America” from Tales of Suspense #59 (Nov. 1964) • “The Red Skull Lives!” from Tales of Suspense #79 (July 1966) • “He Who Holds the Cosmic Cube” from Tales of Suspense #80 (Aug. 1966) • “The Red Skull Supreme!” from Tales of Suspense #81 (Sept. 1966)

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“No Longer Alone!” from Captain America #110 (Feb. 1969) “The Sting of the Scorpion!” from Captain America #122 (Feb. 1970) GRAPHIC NOVEL

THE SILVER SURFER: THE ULTIMATE COSMIC EXPERIENCE Sept. 1978 Simon & Schuster (Hardcover)/ Fireside Books (Softcover) Page count: 132 Cover artist: Earl Norem Editor: Stan Lee Special features: 4-page preface by Stan Lee; 5 pages of creator bios and photos; Silver Surfer pinup by Kirby and Sinnott New story: • “The Silver Surfer,” a 100-page story written by Stan Lee, penciled by Jack Kirby, and inked by Joe Sinnott. ACTIVITY BOOKS THE MIGHTY MARVEL SUPERHEROES FUN BOOK June 1976 Simon & Schuster/Fireside Books (Softcover only) Page count: 128 Cover artist: John Romita, Sr. Book content: • Puzzles, riddles, and games written by Owen McCarron. THE MIGHTY MARVEL COMICS STRENGTH AND FITNESS BOOK Sept. 1976 Simon & Schuster (Hardcover)/Fireside Books (Softcover) Page count: 128 Cover artist: Joe Giella Book content: • Exercises demonstrated by Marvel characters. Written by Ann Picardo and drawn by Joe Giella. THE MIGHTY MARVEL SUPERHEROES FUN BOOK #2 June 1977 Simon & Schuster/Fireside Books (Softcover only) Page count: 128 Cover artist: Owen McCarron Book content: • Puzzles, riddles, and games written by Owen McCarron. THE MIGHTY MARVEL SUPERHEROES COOKBOOK Sept. 1977 Simon & Schuster/Fireside Books (Softcover only) Page count: 95 Cover artist: Joe Giella Special feature: Introduction by Stan Lee. Book content: • Marvel hero-themed recipes written by Ann Picardo and drawn by Joe Giella.

70 • BACK ISSUE • Marvel Bronze Age Giants and Reprints

THE MIGHTY MARVEL SUPERHEROES FUN BOOK #3 Sept. 1978 Simon & Schuster/Fireside Books (Softcover only) Page count: 128 Cover artist: Owen McCarron Book content: • Puzzles, riddles, and games written by Owen McCarron. MARVEL MAZES TO DRIVE YOU MAD Oct. 1978 Simon & Schuster/Fireside Books (Softcover only) Page count: 96 Cover artist: Owen McCarron Special feature: Introduction by Stan Lee. Book content: • 30 mazes introduced by Marvel characters in comic-story format. THE MIGHTY MARVEL PIN-UP BOOK November 1978 Simon & Schuster/Fireside Books (Softcover only) Page count: 45 Cover artists: various Book content: • Collection of pinups of Marvel characters. THE MIGHTY MARVEL SUPERHEROES FUN BOOK #4 1979 Simon & Schuster/Fireside Books (Softcover only) Page count: 128 Cover artist: John Romita, Sr. Book content: • Puzzles, riddles, and games written by Scott Edelman. MARVEL WORD GAMES Aug. 1979 Simon & Schuster/Fireside Books (Softcover only) Page count: 128 Cover artist: John Romita, Sr. Book content: • Word games (word finds, crossword and scrambled word puzzles, code breakers, and anagrams) written by Helene Hovanec. THE MIGHTY MARVEL SUPERHEROES FUN BOOK #5 Oct. 1979 Simon & Schuster/Fireside Books (Softcover only) Page count: 128 Cover artist: John Romita, Sr. Book content: • Puzzles, riddles, and games written by Scott Edelman. THE MIGHTY MARVEL JUMBO FUN BOOK 1979 Simon & Schuster (Hardcover)/ Fireside Books (Softcover) Page count: 352 Cover artist: John Romita, Sr. Book content: • Puzzles, riddles, and games.

From 1974–1979, Simon & Schuster’s Fireside Books filled fans’ bookshelves with Marvel classics and their minds with Marvel lore. In the early ’80s, a few other trade paperbacks trickled into the market in editions which some collectors might confuse with the Fireside books—yet these were not part of the Simon & Schuster library. Attracted by the success of Fireside’s “Marvel Origins” series, Ideals Publishing Corporation, a children’s book company headquartered in Milwaukee, Wisconsin, signed a deal with Marvel Comics to produce a quartet of “Secret Story” full-color trade paperbacks (also published in hardcover) with headliners Captain America, The Fantastic Four, The Incredible Hulk, and Spider-Man. At 68 pages each, the Ideals books weren’t as meaty as the Fireside volumes, but their $2.95 cover prices (for softcovers) were more agreeable to parents’ pocketbooks or their kids’ allowances. Standing in for the hyperbolic Stan Lee were David Anthony Kraft (who edited Cap, FF, and Hulk) and Roger Stern (editor of Spider-Man), who ably brought their young readers up to speed on the mythos of the Marvel Universe through carefully selected stories spanning generations, with text articles written by Dave and Roger that bridged the stories. Kraft tells

Michael Eury

BACK ISSUE, “I was [production manager] Sol Brodsky’s go-to guy for outside projects featuring Marvel characters,” which included a wide range of products such as custom comics produced for the Dallas Herald Tribune, pop-up books, and coloring books. His relationship with Brodsky was cemented by two factors: “I could produce the project and I could take a meeting,” Kraft laughs. The Ideals “Secret Story” line was assigned to Kraft, but he passed the Spider-Man volume on to Stern, who was enthusiastic about the project. The editors chose the reprints (see index), although Brodsky and other higher-ups vetted their selections. Kraft notes, “What was fun for me was to take many of the comics I had read as a kid and pick and choose what I thought made sense [for younger readers], then write copy in between them.” Kraft added creator biographies to the line and was involved with the evolution of their painted covers, although the passing decades have clouded his recollection of the cover artists’ credits. In addition to being released through the traditional book market, Kraft believes that these kid-friendly editions may also have been marketed directly to schools and libraries. These editions are relatively uncommon, commanding $35 apiece in NM- condition in the 2015 Overstreet Price Guide. Marvel Bronze Age Giants and Reprints

“Marvel Origins” Continues John Romita, Sr.’s rendition of the stars of Marvel’s first trade paperback, Mighty Marvel Team-Up Thrillers, as seen on its double-pagespread table of contents. © 1983 Marvel Comics Group.

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IDEALS PUBLISHING CORP. CAPTAIN AMERICA: THE SECRET STORY OF MARVEL’S STARSPANGLED SUPER HERO 1981 Page count: 68 Editor: David Anthony Kraft Special features: “Captain America— The Man and the Legend!” 2-page text article; “The Red Skull Lives!” 3-page text article; “The Avengers—Earth’s Mightiest Heroes!” 3-page text article; “The Birth of a Legend!” 1-page text article; “Captain America—Looking to the Future!” 1-page text article; “Now You Know…” 1-page text feature; “The Men Behind Captain America!” 1-page biography of creators (all text articles by David Anthony Kraft); Captain America pinup Reprints: • “The Red Skull Supreme!” from Tales of Suspense #81 (Sept. 1966) • “Captain America Joins … the Avengers!” from The Avengers #4 (Mar. 1964) • “The Living Legend!” from Captain America #255 (Mar. 1981) • “[Today],” 1-page excerpt from Captain America #255 (Mar. 1981) THE FANTASTIC FOUR: THE SECRET STORY OF MARVEL’S COSMIC QUARTET 1981 Page count: 68 Editor: David Anthony Kraft Special feature: “Fantastic Four” 13-page text article by David Anthony Kraft Reprints: • “The Fantastic Four!” from Fantastic Four #1 (Nov. 1961) • “Shall Man Survive?” from Fantastic Four #83 (Feb. 1969) • “…And a Child Shall Slay Them!” from Fantastic Four #203 (Feb. 1979) THE INCREDIBLE HULK: THE SECRET STORY OF MARVEL’S GAMMAPOWERED GOLIATH 1981 Page count: 68 Editor: David Anthony Kraft Special features: “The Incredible Hulk” 1-page text article; “The Monster and the Man!” 3-page text article; “The Avengers!” 1-page text article; “And the Defenders!” 1-page text article; “The Hulkbusters!” 1-page text article; “The Hulk-Star of TV” 1-page text article; “Now You Know…” 1-page text feature; “The Men Behind the Hulk!” 2-page biography of creators (all text articles by David Anthony Kraft) Reprints: • “The Coming of the Hulk,” “The Hulk Strikes,” and “The Search For the Hulk” from The Incredible Hulk #1 (May 1962) • “…And Now, the Absorbing Man!” from The Incredible Hulk #125 (Mar. 1970) • “The Monster’s Analysis” from The Incredible Hulk #227 (Sept. 1978)

SPIDER-MAN: THE SECRET STORY OF MARVEL’S WORLD-FAMOUS WALL CRAWKER 1981 Page count: 68 Editor: Roger Stern Special features: “Spider-Man” 2-page text article; “The Secrets of Spider-Man’s Web” 2-page filler; “Spidey’s Living Action Demonstration” 1-page pinup; “Spidey’s Spider-Sense” 1-page pinup; “The Secret of Spider-Man’s Mask” 1-page pinup; “The First Adventure!” 1-page text article; “The Spider, the Student, and the Power of the Press!” 3-page text article; “The Tangled Web of Romance!” 2-page text article; “Someone Wicked This Way Comes!” 1-page text article; 1-page pinups of the Vulture, the Chameleon, Sandman, Electro, the Enforcers, and Kraven the Hunter; “Spider-Man in the Seventies!” 1-page text article; “On into the Eighties!” 1-page text article; “Now You Know…” and “Can You Guess?” 1-page text feature; “Spider-Man Today” 1/2-page text article; “The Men Behind Spider-Man” 1 1/2-page biography of creators (all text articles by Roger Stern) Reprints: • “[The Secrets of Spider-Man]” from Amazing Spider-Man Annual #1 (May 1962) • Amazing Fantasy #15 cover reprint • “Spider-Man!” from Amazing Fantasy #15 (Sept. 1962) • Amazing Spider-Man #80 cover reprint • “On the Trail of … the Chameleon!” from Amazing Spider-Man #80 (Jan. 1970) MARVEL COMICS MIGHTY MARVEL TEAM-UP THRILLERS #1 1983 Page count: 166 Cover artist: Bob Larkin Special features: “The Silver Surfer and the Mighty Thor” 3-page chapter introduction; “Iron Man and Captain America” 2-page chapter introduction; “Spider-Man and Red Sonja” 2-page chapter introduction; “The X-Men and the Avengers!” 2-page chapter introduction; “The Thing and the Hulk!” 2-page chapter introduction; “Spider-Man and Daredevil” 2-page chapter introduction; “A Final Word” 3-page afterword (all text articles by Stan Lee) Reprints: • The Silver Surfer (and Thor) in “The Good, the Bad, and the Uncanny!” from The Silver Surfer #4 (Feb. 1969) • Iron Man (and Captain America) in “In Mortal Combat with Captain America!” from Tales of Suspense #68 (Oct. 1964) • Spider-Man and Red Sonja in “Sword of the She-Devil” from Marvel Team-Up #79 (Mar. 1979) • The X-Men (and the Avengers) in “Enter, the Avengers!” from The X-Men #9 (Jan. 1965) • The Thing and the Hulk in “Cry: Monster!” from Marvel Feature #11 (Sept. 1973) • Spider-Man (and Daredevil) in “Duel with Daredevil” from Amazing Spider-Man #16 (Sept. 1964)

72 • BACK ISSUE • Marvel Bronze Age Giants and Reprints

The Secrets Revealed Back cover to Ideals’ Spider-Man volume, teasing the entire line’s entries. TM & © Marvel Characters, Inc.

While Fireside’s The Silver Surfer (1978) was Marvel’s first graphic novel, 1983’s Mighty Marvel Team-Up Thrillers (MMTUT) #1 was the first trade paperback self-published by Marvel, weighing in at 166 pages with a $5.95 retail price. Following on the heels of its “Marvel Illustrated Books” paperback line (explored in the next article), MMTUT #1 was intended to be a continuation of the Fireside volumes, but with Marvel firmly in control. “At last! The sensational, best-selling ‘Marvel Origins’ series continues!” heralded its back-cover copy, and inside, the first words the reader encountered were an “Also by Stan Lee” book list of Fireside titles. From its energetic Bob Larkin painted cover to its back-cover and title-page illos by Jazzy John Romita to its rambunctious ramblings by the master of the chock-full-ofchatter introduction, Stan the Man himself, MMTUT sure seemed like a Fireside book. Yet this ambitious freshman effort was fraught with foul-ups, at least in the copy I own. Numerous pages and panels within its lead Silver Surfer/Thor tale are missing their black plates, making them a miasma of muddled colors, and a poor job of binding allows folios of pages to break free of the spine and fall into your hands. That aside, Mighty Marvel Team-Up Thrillers #1 (and only) is an interesting collectible for its historical significance. Further volumes in the “Marvel Origins” line did not occur, but before long the House of Ideas would launch its vaunted Marvel Masterworks line—and later, its affordable Marvel Essentials line—continuing the repackaging of its classics for new generations of readers.

Michael Eury

As has been covered in this magazine on many occasions, a hallmark of the Bronze Age of Comics was its alternative formats for comic books. Throughout the 1970s, traditional newsstand distribution was netting declining numbers, and to attract new readers publishers experimented with releasing comic-book material in a variety of formats, including jumbosized treasury editions (see BACK ISSUE #61), black-and-white magazines (which we’ll examine in BI #88), and hardcover and trade-paperback reprint editions released to bookstores. Paperbacks were another method employed by comic publishers to get their characters and backlist into readers’ hands—literally—in a personal, fit-in-your-palm softcover format. The comics-to-paperback trend was certainly nothing new: the popular, and frequently expanding, libraries of Peanuts, Dennis the Menace, and MAD Magazine reprints in paperback form stretched back to the 1950s; joining Charles Schulz, Hank Ketcham, and Alfred E. Neuman on book spinner racks were paperbacks collecting other syndicated comics including The Addams Family, Nancy, Hazel, Andy Capp, and The Born Loser. Paperback editions reprinting superhero comics enjoyed a blip on the pop-culture radar in the mid-’60s during the decade’s famed camp superhero craze. Batman (lots of him!) and Superman, the T.H.U.N.D.E.R. Agents, and the Mighty Crusaders were among the caped crusaders whose earlier adventures were re-presented in paperbacks—in black and white, reformatted to a smaller size. In 1966–1967, Lancer Books brought the House of Ideas to paperback readers with a series of six “Collector’s Album” softcovers comprising the first Marvel paperback editions: The Fantastic Four, The Amazing Spider-Man, The Incredible Hulk, The Mighty Thor, The Fantastic Four Return, and Daredevil. And on their heels came two original novels from Bantam Books starring Marvel heroes: 1967’s The Avengers Battle the Earth-Wrecker by legendary sci-fi and comics writer Otto Binder, and 1968’s Captain America: The Great Gold Steal by Ted White; both novels featured painted covers, a rarity during this era.

MARVEL POCKET COMICS A decade would pass before Marvel’s material would be repackaged in paperback editions. As chronicled elsewhere in this issue (as well as in BACK ISSUE #81), Fireside Books, an imprint of publishing powerhouse Simon & Schuster, began collecting Marvel material in trade-paperback form, starting with 1974’s Origins of Marvel Comics. Bolstered by the success of those trades, Pocket Books, a division of Simon & Schuster, brought the Marvel Universe to the paperback market in 1977. (Historically, Pocket Books was not simply a Simon & Schuster “division”—it was the United States’ first publisher of mass-market paperback editions, starting in 1939 and borrowing from European models that had begun even earlier. Pocket Books went through several owners until being acquired by Simon & Schuster in 1966. And it should not be confused with the “Pocket Books” Marvel reprint titles published in the United Kingdom, or with the more recent line of Pocket Books published by Marvel Comics itself.) Pocket Books’ Marvel series, consisting of ten titles released between September 1977 and September 1979, was branded as its “Pocket Comics” line but is also known as the “Stan Lee presents” line due to The Man’s signature being prefixed to each of its logos. They might also be called “Mini Marvel Masterworks,” as they reprinted material chronologically, rather than the random reprints usually appearing in comic paperbacks, and they did so in full-color, rather than the black and white of its Lancer predecessors. Overseen by Marvel’s production manager, Sol Brodsky, the editorial and production work on the Pocket Books line was handled by a variety of people whose names are familiar to longtime comics readers: Paty Cockrum, Jim Salicrup, Irene Vartanoff, Duffy Vohland, Andy Yanchus, and Nel Yomtov, among others.

All in Color for a Lot of Dimes The electrifying Steve Ditko cover to Pocket Books’ first Amazing Spider-Man volume, making pulse-pounding perils a hand-held experience in 1977. TM & © Marvel Characters, Inc.

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Early Marvel Paperbacks (left) Lancer’s The Amazing Spider-Man, one of six Marvel “Collector’s Album” paperbacks published between 1966 and 1967. (right) Ted White’s Captain America: The Great Gold Steal, the second of two Silver Age paperbacks featuring original novels starring Marvel characters. TM & © Marvel Characters, Inc.

The line launched with The Amazing Spider-Man, reprinting the Wall-Crawler’s first seven stories—his origin from Amazing Fantasy #15 and the first six issues of his own mag. They remained, as the cover blurb stated, “complete and unabridged,” even recycling one of Marvel’s most embarrassing bloopers, from the first Dr. Octopus adventure, where Doc Ock calls the Web-Spinner “Super-Man.” And wow, that cover—a sizzling Steve Ditko-drawn Spidey vs. Electro punch-fest, the bad guy’s crackling lightning contrasted by the cover’s stark black background! A cover so darn eye-catching, you don’t at first realize that Electro is not among the characters featured in the interior stories! But these are only minor quibbles about a book—and subsequent line—that elevated paperback comic-book reprints a notch. Instead of cannibalizing the original panels and rearranging them to adapt to the paperback format, as was the norm with comic-book reprints, Marvel’s Pocket Comics reprinted one full comic-book page per each paperback page, slightly expanding the space dividing panel tiers to fit the art to the taller dimensions of the paperback page. This creates the look of a mini-comic, but today, the aging eyes of the Pocket Books’ original readers may squint to read these palm-piloted classics. While the Pocket Books are faithful to their source material, in the first Incredible Hulk volume’s reprinting of Incredible Hulk #1, the Hulk is colored green instead of his original gray so as not to confuse the newbie reader.

Before and After, Part One The Gil Kane/Joe Sinnott cover art to Fantastic Four #143 (Feb. 1974) was reused as the paperback cover of Pocket Books’ 1977 Fantastic Four edition. In addition to the noticeable recoloring, #143’s stand-in FFer Medusa was replaced by FF founder Invisible Girl in the Pocket Books version. TM & © Marvel Characters, Inc.

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Most of the Pocket Comics include the hyperbolic prose of Stan Lee himself with Prologues that introduce each book’s star to those unfamiliar with his lore. In the first Spidey edition Stan even touts the forthcoming Amazing Spider-Man live-action television series. Speaking of Marvel’s TV presence in the late 1970s (see BACK ISSUE #5), it set the pace for the titles in the Pocket Books line: Amazing Spider-Man and two subsequent volumes; one Fantastic Four volume, as the FF headlined a Saturday morning cartoon series (with H.E.R.B.I.E. the Robot replacing the Human Torch, who was optioned for an unrealized live-action special); two The Incredible Hulk books, since the Hulk was in a live-action series during this time (the second Hulk edition even featured a “Star of TV” cover blurb); two Doctor Strange volumes, since the Master of the Mystic Arts was featured in a live-action TV movie; a Captain America volume, since Cap starred in not one but two live-action TV movies in 1979; and a Spider-Woman volume, coinciding with Spider-Woman’s debut as a Saturday morning cartoon star. Pocket Books’ Marvel titles did not end with the ten editions mentioned above and indexed below. In 1978, Pocket published the first of its Marvel Pocket Novel Series, The Amazing Spider-Man in Mayhem in Manhattan, an original novel co-written by Len Wein and Marv Wolfman and featuring a painted cover by Bob Larkin. It was followed by ten additional Marvel novels co-edited by Wein and Wolfman, written by various authors including Paul Kupperberg and David Michelinie, and starring a range of Marvel characters, all presented under gorgeous painted covers. These novels will be examined in a future edition of BACK ISSUE. Collectors sometimes confuse Ace Books’ six volumes of Conan the Barbarian reprints released in 1978 and 1979 with the Marvel Pocket Comics and understandably so, since their presentation is very similar. This sextet reproduces many of the earliest Conan epics originally produced for Marvel by writer Roy Thomas and artist Barry Smith (now Windsor-Smith). In 1979 Pocket Books also released The Incredible Hulk: A Video Novel, a single volume akin to the popular Fotonovels of the day, film adaptations using movie stills in a fumetti style. Pocket’s Incredible Hulk adapted the series’ pilot film in a video-comic format. Pocket Books’ final Marvel releases were released in 1980: The Amazing Spider-Man: The Great Newspaper Strip in Full-Color #1 and 2, collecting the earliest installments of the Stan Lee/John Romita, Sr. syndicated comic strip which debuted in January 1977 (and still runs today). Similarly, from June 1980 through June 1983, Ace Books’ Tempo imprint released five volumes of reprints of the Stan Lee/Larry Lieber Incredible Hulk newspaper strip, which began in 1978 once CBS-TV’s live-action Incredible Hulk program became a hit. Of all of the Marvel paperbacks surveyed or mentioned in this article, Tempo’s Hulk books are the toughest to find in the collectors market today. (Tempo also released two Incredible Hulk puzzle paperbacks, Incredible Hulk Word Webs in 1977 an Incredible Hulk Incredible Crosswords in 1978.)

Before and After, Part Two (top, inset) Marvel Treasury Edition #6 (1974) featured this amazing Dr. Strange cover by Frank Brunner. (top) When the art was reused and recolored for Pocket Books’ first Strange volume, Clea pulled a vanishing act! (bottom left) The 1979 Video Novel, from Pocket Books. (bottom right) The first of five rare editions of Hulk newspaper strip reprints, from Tempo Books. TM & © Marvel Characters, Inc.

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MARVEL MOVIE PAPERBACKS

superhero Pocket Books, resized art and adjusted panels to fit the paperback page dimension. Eliot recalls, “To my memory, there Another of Marvel’s Bronze Age grabs at new markets was its movie adaptations, was first a custom piece of artboard with facing pages, including with the House of Ideas hoping that box-office magic would conjure comicall the crop lines, done in non-repro blue. I think I came in as the book hits. While that certainly was true of Marvel’s 1977 launch of its wildly ‘leftover guy’ (which is not a phrase of the day), basically, whatever successful and long-running Star Wars title, its other efforts netted less impressive was not finished by end-of-business deadline day. I got to hustle results. Yet in the early ’80s, Marvel produced movie adaptations with wild that night to complete it. The process of transforming a regular abandon in its color-magazine format, which will be explored at length in comic-book page into a paperback book is basically doing a panel the forthcoming BACK ISSUE #89, as well as in the traditional comic-book count, taking those as pieces and laying them out to see what format. With the concurrent re-release of some of its superhero classics in fits and doesn’t. There are many times when a panel is overlapped paperback form, Marvel’s production department also repurposed numerous on another or a panel must be enlarged or shrunk to fit somehow. Marvel movie adaptations for publication as paperback editions for a handful It could be a puzzle. Often there was a piece of artwork that needed of publishers, including Marvel itself (see sidebar). to be extended. I do remember adding some bits to an X-Wing. One of the many “cogs in the machine” of Marvel’s production team Balloons had to be moved sometimes or a balloon outline was Eliot R. Brown, who tells BACK ISSUE, “I was on staff in November fixed. Little stuff … lots of fuss.” 1978, and the Pocket Books were oozing through the place. Eliot dug out his copy of the Empire PB to As stat-man, I primarily worked for Sol Brodsky’s department, refresh his memory for BI’s readers and says, “It’s which included merchandising and licensed projects. I would copyrighted 1980, so we may well have been see art come floating in, in all kinds of forms from a folded-up working on it in ’79—there was as great a delay silver print, to a piece of reworked, already-photostatted in paperback publishing as comics. If you find art, to the whole board with ‘holes’ in it, etc. Paty Cockrum page eight of your no-doubt well-thumbedwas the main day-to-day worker for Sol. She would often through copy, you will note in the upper panel come in, thumb-point me aside, and do her own stats. a rather prominent and ill-proportioned front She would rework the art to do whatever was needed. end of an X-Wing. Just behind it is a very This was the general method of all of Marvel. Random stuff likely toolbox. Nearly obscuring it is a thrilling would breeze in and out.” reproduction of a work stand. It is easy to see Among this “random stuff” was a paperback reprint why I am called ‘Mr. Technical.’ of The Empire Strikes Back, which was originally published “This book’s credits seemed to have everyone in the Spring 1980 color magazine Marvel Super Special eliot r. brown who worked for Sol at the time on duty,” Brown #16, written by Archie Goodwin and illustrated by Al continues. “Carl Gafford colored this book. I can’t Williamson; Empire was soon serialized in the monthly Star remember if we had transitioned from stats to Xerox copies for Wars title (beginning with issue #39) and, like the original six-issue Star Wars color guides (if it was still stats, I would have shot the book for Carl adaptation by Roy Thomas and Howard Chaykin, was reprinted in editions of to color). But Carl was very good with either one. Gaff was also a varying sizes and formats. Eliot Brown was among the artists doing paste-ups speed-demon, which was very useful. Gaff was a good colorist in and corrections on the paperback edition of Empire, which, unlike the that he worked the hot-cool, cool-hot bit very well—especially for a book like this. There was no time for subtlety, and you may note a lot of ‘knock-out’ panels—all one color.” Although Brown’s day job was in Marvel’s production department, he took on projects like the Empire Strikes Back paperback as a freelance, after-hours job. “Sol paid a literal dollar A checklist of paperback editions of Marvel movie and TV per page, which included everything necessary—pasting up, adaptations retouching art, re-lettering if needed, whiting out mistakes— anything. ‘Dollar a Page’ Sol was what I called him when in the • Battlestar Galactica (Ace/Tempo Books, #1 1978, #2 1979) presence of any freelancer who knew him, from then on.” • Blade Runner (Marvel Illustrated Books, 1982)

MARVEL AT THE MOVIES

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Conan the Barbarian: The Movie (Marvel Illustrated Books, 1982) Dragonslayer (Marvel Illustrated Books, 1981) Dune (Berkley Books, 1982) The Empire Strikes Back (Marvel Illustrated Books, 1980) The Incredible Hulk: A Video Novel (Pocket Books, 1979) James Bond in For Your Eyes Only (Marvel Illustrated Books, 1981) Return of the Jedi (Marvel Illustrated Books, 1984) Star Trek: The Motion Picture (Pocket Books, 1980) Star Trek: The Further Adventures of the Starship Enterprise! (Marvel Illustrated Books, 1982) Star Wars (Ballantine Books, #1–6, 1977) Star Wars (Marvel Illustrated Books, 1981) Star Wars 2: World of Fire (Marvel Illustrated Books, 1982) Willow (Del Rey Books, 1988)

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MARVEL ILLUSTRATED BOOKS In the early 1980s, after the Pocket Books reprints had ended, Marvel took on the publication of its own line of paperbacks under the brand name Marvel Illustrated Books. The line’s editor, Jim Salicrup, tells BACK ISSUE, “Despite what some critics may say, Marvel was always trying every way possible to get their comics out before as many people as possible.” Produced under the Marvel Illustrated Books banner were eight superhero reprint editions, an eclectic but engaging mix of classic material (Lee/Kirby Fantastic Four and Lee/Wood Daredevil, as examples) and fan-favorite material of the day (such as Wein/Cockrum and Claremont/Byrne X-Men and Stern/ Byrne Captain America). Six of the eight featured black-andwhite reprints, while the Hulk volume and the first Spider-Man issue were full-color. Also released as Marvel Illustrated Books were several movie adaptations and TV continuations of material originally released by Marvel in either magazine or comic-book form. The Marvel Illustrated Books line featured painted covers on the superhero and movie titles alike. The interiors did not include reprints of the original comics’ covers, nor did they feature the bombastic Stan Lee prologues that were featured in most of the Pocket Books editions. “While Marvel’s trade paperbacks today look awesome, especially with their uniform white-on-red MARVEL logos on all their spines, Marvel was attempting to brand their books way back when as well,” Jim Salicrup says, adding, “Maybe just not as

POCKET COMICS SERIES

Branded Books Note the “Marvel Illustrated Books” cover design, present on the majority of the paperbacks published under this imprint. Fantastic Four cover painting by Bob Larkin. TM & © Marvel Characters, Inc.

wisely. For example, just calling everything MARVEL is a great way to tie everything Marvel does together—movies, comics, toys, etc. The little mass-market paperbacks I got to work on tried to do many of the same things, but always a little off.” You may wonder, A little off? How so? “For example, Marvel called these paperbacks (as well coloring books, and other stuff) ‘Marvel Illustrated Books,’ which to my mind, set it apart from Marvel Comics, but not in a good way,” Salicrup explains. “The logo and cover frame that was designed for these paperbacks was not very evocative of comics. I don’t know why they had painted covers, either. Maybe because that’s what Simon & Schuster used on the Stan Lee Origins books. Just as TV in the ’80s couldn’t create great special effects in that pre-digital age, painted covers tended to not be as exciting or as impressive as some of today’s painted superhero covers. But the books do have a cheesy charm of their own, I guess.” Working within the parameters of the Marvel Illustrated Books cover graphics posed a problem for one particular edition. “The only cover I fought to change was the Blade Runner reprint,” Salicrup reveals. “I was able to run Steranko’s cover full-bleed, but had to compromise and add a pink border over the art. It didn’t look too bad, actually.” While the days of “Dollar a Page” Sol Brodsky may be long gone, “From what I hear, even today Marvel doesn’t invest too much into the production of the trade paperback and hardcover reprint collections,” Salicrup remarks, “although one advantage today’s books have is that they’re published the same size as the original comics. Those Marvel Illustrated Books paperbacks were considerably smaller than comic-book size, so that meant the interior comic-book pages were chopped up and crammed in to fit the smaller format. Not always as artfully as possible, I’m afraid.” Looking back at these Marvel paperbacks 30 years later, what does Jim Salicrup think of them today? “These days, due to my being at Papercutz, I know far more about the book-publishing business than I knew then. I can’t help but wonder if Marvel had tried to create an original mass-market paperback comic, how that would’ve fared. I remember being very excited as a fan when Gil Kane’s Blackmark was published in that format. It would’ve been cool to see a Spider-Man (or any Marvel character) comic created in that format. “I always tried to remember that anyone of those paperbacks could’ve been someone’s very first encounter with Marvel, and I tried my best to make them as enjoyable as possible,” Salicrup says. “But I’ve got to admit, I really thought the Lancer Marvel paperbacks were much better. Lancer’s books looked and felt more like Marvel Comics than Marvel Illustrated Books’ books did.”

THE AMAZING SPIDER-MAN [#1] (81443) Sept. 1977 Cover price: $1.95 Cover artist: Steve Ditko Special features: Prologue and epilogue by Stan Lee; “A Spidey Feature” 2-page filler and “The Secret of Spider-Man’s Mask” 1-page filler Reprints: • “Spider-Man!” from Amazing Fantasy #15 (Sept. 1962) • “Spider-Man” from Amazing Spider-Man #1 (Mar. 1963) • “Spider-Man vs. the Chameleon!” from Amazing Spider-Man #1 (Mar. 1963) • “Duel to the Death with the Vulture!” from Amazing Spider-Man #2 (May 1963) • “The Uncanny Threat of the Terrible Tinkerer!” from Amazing Spider-Man #2 (May 1963) • “Spider-Man versus Doctor Octopus” from Amazing Spider-Man #3 (July 1963) • “Nothing Can Stop … the Sandman!” from Amazing Spider-Man #4 (Sept. 1963) • “Marked for Destruction by Dr. Doom!” from Amazing Spider-Man #5 (Oct. 1963) • “Face to Face with … the Lizard” from Amazing Spider-Man #6 (Nov. 1963) THE AMAZING SPIDER-MAN #2 (81444) Feb. 1978 Cover price: $1.95 Cover artist: John Romita, Sr. Special features: Prologue and epilogue by Stan Lee Reprints: • “Return of the Vulture” from Amazing Spider-Man #7 (Dec. 1963) • “The Terrible Threat of the Living Brain!” from Amazing Spider-Man #8 (Jan. 1964) • “Spider-Man Tackles the Torch!” from Amazing Spider-Man #8 (Jan. 1964) • “The Man Called Electro!” from Amazing Spider-Man #9 (Feb. 1964) • “The Enforcers!” from Amazing Spider-Man #10 (Mar. 1964) • “Turning Point” from Amazing Spider-Man #11 (Apr. 1964) • “Unmasked by Dr. Octopus” from Amazing Spider-Man #12 (May 1964) • “The Menace of … Mysterio!” from Amazing Spider-Man #13 (June 1964) THE AMAZING SPIDER-MAN #3 (82579-8) Mar. 1979 Cover price: $2.25 Cover artist: John Romita, Sr. Editor: Irene Vartanoff Special feature: “Peter Parker and Ol’ Webhead” 1-page pinup Reprints: • “The Grotesque Adventure of the Green Goblin” from Amazing Spider-Man #14 (July 1964) • “Kraven the Hunter!” from Amazing Spider-Man #15 (Aug. 1964) • “Duel with Daredevil” from Amazing Spider-Man #16 (Sept. 1964) • “The Return of the Green Goblin!” from Amazing Spider-Man #17 (Oct. 1964) • “The End of Spider-Man!” from Amazing Spider-Man #18 (Nov. 1964) • “Spidey Strikes Back!” from Amazing Spider-Man #19 (Dec. 1964) • “The Coming of the Scorpion!” from Amazing Spider-Man #20 (Jan. 1965) CAPTAIN AMERICA [#1] (82581-X) May 1979 Cover price: $2.25 Cover artist: John Romita, Sr.

Reprints: • “Captain America Joins … the Avengers!” from Avengers #4 (Mar. 1964) • “Captain America” from Tales of Suspense #59 (Nov. 1964) • “The Army of Assassins Strikes!” from Tales of Suspense #60 (Dec. 1964) • “The Strength of the Sumo!” from Tales of Suspense #61 (Jan. 1965) • “Break-Out in Cell Block 10!” from Tales of Suspense #62 (Feb. 1965) • “The Origin of Captain America!” from Tales of Suspense #63 (Mar. 1965) • “Among Us, Wreckers Dwell!” from Tales of Suspense #64 (Apr. 1965) • “The Red Skull Strikes!” from Tales of Suspense #65 (May 1965) • “The Fantastic Origin of the Red Skull” from Tales of Suspense #66 (June 1965) • “Lest Tyranny Triumph!” from Tales of Suspense #67 (July 1965) • “The Sentinel and the Spy!” from Tales of Suspense #68 (Aug. 1965) • “Midnight in Greymoor Castle!” from Tales of Suspense #69 (Sept. 1965) • “If This Be Treason…!” from Tales of Suspense #70 (Oct. 1965) • “…When You Lie Down with Dogs…!” from Tales of Suspense #71 (Nov. 1965) DOCTOR STRANGE, MASTER OF THE MYSTIC ARTS [#1] (81447-8) 1978 Cover price: $1.95 Cover artist: Frank Brunner Special features: Prologue by Stan Lee; 2 1-page pinups by Steve Ditko; 1-page pinup by Frank Brunner; “Prophecies of the Ancient One” 1-page filler Reprints: • “Dr. Strange Master of Black Magic!” from Strange Tales #110 (July 1963) • “Face-to-Face with the Magic of Baron Mordo!” from Strange Tales #111 (Aug. 1963) • “The Return of the Omnipotent Baron Mordo!” from Strange Tales #114 (Nov. 1963) • “The Origin of Doctor Strange!” from Strange Tales #115 (Dec. 1963) • “Return to the Nightmare World!” from Strange Tales #116 (Jan. 1964) • “The Many Traps of Baron Mordo!” from Strange Tales #117 (Feb. 1964) • “The Possessed!” from Strange Tales #118 (Mar. 1964) • “Beyond the Purple Veil!” from Strange Tales #119 (Apr. 1964) • “The House of Shadows!” from Strange Tales #120 (May 1964) • “Witchcraft in the Wax Museum!” from Strange Tales #121 (June 1964) • “The World Beyond!” from Strange Tales #122 (July 1964) • “The Challenge of Loki!” from Strange Tales #123 (Aug. 1964) • “The Lady from Nowhere!” from Strange Tales #124 (Sept. 1964) • “Mordo Must Not Catch Me!” from Strange Tales #125 (Oct. 1964) • “The Domain of the Dread Dormammu!” from Strange Tales #126 (Nov. 1964) • “Duel with the Dread Dormammu!” from Strange Tales #127 (Dec. 1964) • “The Demon’s Disciple!” from Strange Tales #128 (Jan. 1965) • “Beware … Tiboro! The Tyrant of the Sixth Dimension!” from Strange Tales #129 (Feb. 1965) DOCTOR STRANGE, MASTER OF THE MYSTIC ARTS #2 (82582-8) July 1979 Cover price: $2.25 Cover artist: Frank Brunner

Special thanks to Eliot R. Brown and Jim Salicrup for their time and recollections. Thanks also to Irene Vartanoff, Chris Marshall, and Brett Weiss. TM & © Marvel Characters, Inc.

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Special feature: 1-page pinup by Frank Brunner Reprints: • “The Defeat of Dr. Strange” from Strange Tales #130 (Mar. 1965) • “The Hunter and the Hunted!” from Strange Tales #131 (Apr. 1965) • “Face-to-Face at Last with Baron Mordo!” from Strange Tales #132 (May 1965) • “A Nameless Land, A Timeless Time!” from Strange Tales #133 (June 1965) • “Earth Be My Battleground” from Strange Tales #134 (July 1965) • “Eternity Beckons!” from Strange Tales #135 (Aug. 1965) • “What Lurks Beneath the Mask?” from Strange Tales #136 (Sept. 1965) • “When Meet the Mystic Minds!” from Strange Tales #137 (Oct. 1965) • “If Eternity Should Fail!” from Strange Tales #138 (Nov. 1965) • “Beware…! Dormammu is Watching!” from Strange Tales #139 (Dec. 1965) • “The Pincers of Power!” from Strange Tales #140 (Jan. 1966) • “Let There Be Victory!” from Strange Tales #141 (Feb. 1966) • “Those Who Would Destroy Me!” from Strange Tales #142 (Mar. 1966) • “With None Beside Me!” from Strange Tales #143 (Apr. 1966) • “Where Man Hath Never Trod!” from Strange Tales #144 (May 1966) FANTASTIC FOUR [#1] (81445) Nov. 1977 Cover price: $1.95 Cover artists: Gil Kane and Joe Sinnott Special features: Prologue and epilogue by Stan Lee; 5 pinup pages Reprints: • “The Fantastic Four!”/“The Fantastic Four Meet the Mole Man” (3 chapters) from Fantastic Four #1 (Nov. 1961) • “The Fantastic Four Meet the Skrulls from Outer Space!” (4 chapters) from Fantastic Four #2 (Jan. 1962) • “The Menace of the Miracle Man!” (5 chapters) from Fantastic Four #3 (Mar. 1962) • “The Coming of … Sub-Mariner!” (5 chapters) from Fantastic Four #4 (May 1962) • “Prisoners of Doctor Doom!” (5 chapters) from Fantastic Four #5 (July 1962) • “Captives of the Deadly Duo!” (5 chapters) from Fantastic Four #6 (July 1962) THE INCREDIBLE HULK [#1] (81446-X) Apr. 1978 Cover price: $1.95 Cover artist: John Romita, Sr. Special features: Prologue and epilogue by Stan Lee; 1-page Hulk pinup; 2-page Hulk cast pinup Reprints: • “The Coming of the Hulk!” (5 chapters) from The Incredible Hulk #1 (May 1962) • “The Terror of the Toad Men!” (5 chapters) from The Incredible Hulk #2 (July 1962) • “Banished to Outer Space!” (3 chapters) from The Incredible Hulk #3 (Sept. 1962) • “The Monster and the Machine!” from The Incredible Hulk #4 (Nov. 1962) • “The Gladiator from Outer Space!” from The Incredible Hulk #4 (Nov. 1962) • “Beauty and the Beast!” from The Incredible Hulk #5 (Jan. 1963) • “The Hordes of General Fang!” from The Incredible Hulk #5 (Jan. 1963) • “The Incredible Hulk vs. the Metal Master!” from The Incredible Hulk #6 (Mar. 1963)

THE INCREDIBLE HULK #2 (82559-3) Jan. 1979 Cover price: $1.95 Cover artist: John Romita, Sr. Special features: 2 pinup pages Reprints: • “The Missile and the Monster!” from Tales to Astonish #85 (Nov. 1966) • “The Birth of … the Hulk-Killer!” from Tales to Astonish #86 (Dec. 1966) • “The Humanoid and the Hero!” from Tales to Astonish #87 (Jan. 1967) • “Boomerang and the Brute!” from Tales to Astonish #88 (Feb. 1967) • “…Then, There Shall Come a Stranger!” from Tales to Astonish #89 (Mar. 1967) • “The Abomination!” from Tales to Astonish #90 (Apr. 1967) • “Whosoever Harms the Hulk!” from Tales to Astonish #91 (May 1967) • “Turning Point!” from Tales to Astonish #92 (June 1967) • “He Who Strikes the Silver Surfer” from Tales to Astonish #93 (July 1967) • “…To the Beckoning Stars!” from Tales to Astonish #94 (Aug. 1967) • “A World He Never Made!” from Tales to Astonish #95 (Sept. 1967) • “Who Have I Created?” from Tales to Astonish #96 (Oct. 1967) • “The Legions of the Living Lightning” from Tales to Astonish #97 (Nov. 1967) • “The Puppet and the Power!” from Tales to Astonish #98 (Dec. 1967) • “When the Monster Wakes!” from Tales to Astonish #99 (Jan. 1968) SPIDER-WOMAN [#1] (83026-0) Sept. 1979 Cover price: $2.50 Cover artist: Joe Sinnott Special features: 2 pinup pages Reprints: • “Dark Destiny!” from Marvel Spotlight #32 (Feb. 1977) • “…A Future Uncertain!” from Spider-Woman #1 (Apr. 1978) • “A Sword in the Hand!” from Spider-Woman #2 (May 1978) • “The Peril of … Brother Grimm!” from Spider-Woman #3 (June 1978) • “Hell is the Hangman!” from Spider-Woman #4 (July 1978) • “Nightmare” from Spider-Woman #5 (Aug. 1978) • “End of a Nightmare!” from Spider-Woman #6 (Sept. 1978) • “July 4, 1978…” from Spider-Woman #7 (Oct. 1978) • “The Man Who Could Not Die!” from Spider-Woman #8 (Nov. 1978) • “The Suit!” from Spider-Woman #8 (Apr. 1978) ACE BOOKS/TEMPO STAR CONAN THE BARBARIAN #1 (11692) 1978 Cover price: $1.95 Cover artist: Barry Smith Special feature: Preface by Stan Lee Reprints: • “The Coming of Conan!” from Conan the Barbarian #1 (Oct. 1970) • “In the Cavern Waits … Doom!” from Conan the Barbarian #2 (Dec. 1970) • “The Grim Grey God!” from Conan the Barbarian #3 (Feb. 1971) CONAN THE BARBARIAN #2 (11693) 1978 Cover price: $1.95 Cover artist: Barry Smith

Reprints: • “The Tower of the Elephant” from Conan the Barbarian #4 (Apr. 1971) • “Zukala’s Daughter” from Conan the Barbarian #5 (May 1971) • “Devil-Wings Over Shadizar!” from Conan the Barbarian #6 (June 1971) CONAN THE BARBARIAN #3 (11694) 1978 Cover price: $1.95 Cover artist: Barry Smith Reprints: • “The Lurker Within!” from Conan the Barbarian #7 (July 1971) • “The Keepers of the Crypt!” from Conan the Barbarian #8 (Aug. 1971) • “The Garden of Fear!” from Conan the Barbarian #9 (Sept. 1971) CONAN THE BARBARIAN #4 (11695) 1978 Cover price: $1.95 Cover artist: Barry Smith Reprints: • “Beware the Wrath of Anu” from Conan the Barbarian #10 (Oct. 1971) • “Rogues in the House!” from Conan the Barbarian #11 (Nov. 1971) CONAN THE BARBARIAN #5 (11696) Sept. 1979 Cover price: $1.95 Cover artist: Barry Smith Reprints: • “The Dweller in the Dark” from Conan the Barbarian #12 (Dec. 1971) • “Web of the Spider-God” from Conan the Barbarian #13 (Jan. 1972) • “The Frost-Giant’s Daughter” from Conan the Barbarian #16 (July 1972) CONAN THE BARBARIAN #6 (11697) Dec. 1979 Cover price: $1.95 Cover artist: Barry Smith Special features: The Hyborian Age of Conan map and essay Reprints: • “A Sword Called Stormbringer!” from Conan the Barbarian #14 (Mar. 1972) • “The Green Empress of Melnibone” from Conan the Barbarian #15 (May 1972) • “The Blood of the Dragon” from Conan the Barbarian #12 (Dec. 1971) MARVEL ILLUSTRATED BOOKS THE AVENGERS: THE ORIGIN OF THE VISION (02822) June 1982 Cover price: $1.75 Cover artist: Earl Norem Editor: Jim Salicrup Reprints: • “Behold … the Vision!” from Avengers #57 (Oct. 1968) • “Even an Android Can Cry” from Avengers #58 (Nov. 1968) • “The Revolution’s Fine!” from Avengers #83 (Dec. 1970) CAPTAIN AMERICA BATTLES BARON BLOOD! (02883) May 1982 Cover price: $1.75 Cover artist: Bob Larkin (redux of John Byrne’s cover of Captain America #254) Editor: Jim Salicrup Reprints: • “Should Old Acquaintance Be Forgot!” from Captain America #253 (Jan. 1981) • “Blood on the Moors” from Captain America #254 (Feb. 1981) • “Cap for President!” from Captain America #250 (Oct. 1980)

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DAREDEVIL: THE MAN WITHOUT FEAR (02041) Nov. 1982 Cover price: $1.75 Cover artist: Bob Larkin Editor: Jim Salicrup Reprints: • “Trapped by the Fellowship of Fear!” from Daredevil #6 (Feb. 1965) • “The Stiltman Cometh!” from Daredevil #8 (June 1965) FANTASTIC FOUR FEATURING THE PEERLESS POWER OF THE SILVER SURFER (02838) Mar. 1982 Cover price: $1.75 Cover artist: Bob Larkin Editor: Jim Salicrup Reprints: • “Where Strikes the Silver Surfer!” from Fantastic Four #55 (Oct. 1966) • “What Lurks Behind the Beehive?” from Fantastic Four #66 (Sept. 1967) • “When Opens the Cocoon!” from Fantastic Four #67 (Oct. 1967) THE INCREDIBLE HULK: FEATURING A CLASSIC TALE BY HARLAN ELLISON (02832) Jan. 1982 Cover price: $2.50 Cover artist: Earl Norem Editor: Jim Salicrup Reprints: • “The Brute That Shouted Love at the Heart of the Atom!” from Incredible Hulk #140 (June 1971) • “They Shoot Hulks, Don’t They?” from Incredible Hulk #142 (Aug. 1977) SPIDER-MAN: HIS GREATEST TEAM-UP BATTLES (02722) Nov. 1981 Cover price: $2.50 Cover artist: Earl Norem Editor: Jim Salicrup Reprints: • Spider-Man and Quicksilver in “And Now … Quicksilver!” from Amazing Spider-Man #71 (Apr. 1969) • Spider-Man and Dr. Strange in “The Wondrous World of Dr. Strange” from Amazing Spider-Man Annual #2 (1965) • Spider-Man and the Hulk in “A Friend in Need!” from Marvel Team-Up #27 (Nov. 1974) SPIDER-MAN 2: TOGETHER WITH HULK, THOR, AND THE MAN-THING (02858) Oct. 1982 Cover price: $2.50 Cover artist: Bob Larkin Editor: Jim Salicrup Reprints: • Spider-Man and Man-Thing in “The Measure of a Man!” from Marvel Team-Up #68 (Apr. 1978) • Spider-Man and Havok in “Night of the Living God!” from Marvel Team-Up #69 (May 1978) • Spider-Man and Thor in “Whom Gods Destroy!” from Marvel Team-Up #70 (June 1978) THE X-MEN (02835) Mar. 1982 Cover price: $1.75 Cover artist: Dave Cockrum Reprints: • “Second Genesis!” from Giant-Size X-Men #1 (Oct. 1966) • “Psi-War!” from X-Men #117 (Jan. 1979)

One of the most durable formats in comic-book history is that of the digest. Varying in size and thickness over the years, most modern-day comic-book digests are 4.875" x 6.5" in size and range anywhere from 68 to 300 pages, sometimes up to 1000! Practically every major comic-book publisher has tried the format, with differing levels of success. Archie Comics is the most successful digest publisher by far, with well over 1000 digests with various titles published since Archie Comics Digest debuted in 1973. Gold Key, Harvey, DC, and Fawcett (with Dennis the Menace) also had lengthy digest runs, but none of them publish digests today. The peak period for standard comic-book digests was roughly from Gold Key’s Walt Disney Comics Digest #1 (June 1968) to the end of the Harvey digests, which appeared in late 1994. Marvel Comics strangely decided to enter into the digest field in 1982, around the same time as DC was starting to get out of it. DC was completely done by 1986, the same year that Marvel increased its digest activity. Marvel had previously attempted to do a digest series in 1973, when the company was also getting into publishing black-and-white magazines. The Haunt of Horror appeared as a digest for two issues prior to being reworked into a magazine format in 1974. Gerry Conway served as editor. The two digest issues bear little in common with later Marvel digests as they featured lengthy text pieces with minimal artwork as opposed to regular comic-book reprints. They have more in common with other digest magazines published in 1973 such as Alfred Hitchcock Magazine, Ellery Queen, Fantasy and Science Fiction, and Analog. Marvel’s initial entry to digests featuring comic-book reprints was due to a licensing acquisition. In 1981, Marvel acquired the lucrative Dennis the Menace comic-book license. Dennis was very successfully and continuously published from 1953–1980 by Standard, Pines, Hallden, Fawcett, and CBS, so Marvel felt it had a hot property on its hands. Marvel first became aware of the Dennis the Menace availability when the publisher acquired DePatie–Freleng Enterprises, the animation studio notable for The Pink Panther. DFE became Marvel Productions [see BACK ISSUE #59], and the final DFE project that they were finishing up was an animated Mother’s Day TV special entitled Dennis the Menace: Mayday for Mother. CBS had recently discontinued the Dennis the Menace comics titles in 1980, including the long-running Pocket Full of Fun! digest, ending with #50 (Mar. 1980). Since this title had a lengthy and profitable run since 1969, it was only natural that digests would continue in tandem with the new Dennis the Menace standard comic-book title from Marvel. Much hoopla was initially made about this acquisition, with articles appearing in The Comic Reader and Amazing Heroes touting the Menace’s arrival at Marvel. In all, six digest issues appeared: three of Dennis the Menace Comics Digest and three of The Very Best of Dennis the Menace (different from the CBS digest series). The major highlight of both of these series is the reprinting of some of the earliest Dennis tales, written by Fred Toole and drawn by Al Wiseman, the latter usually considered the top Dennis comic-book artist. Other reprints featured later artists Owen Fitzgerald, Frank Hill, and Bill Williams. Dennis creator Hank Ketcham did some of the covers, usually using reprinted comic-strip art. The Marvel Dennis the Menace comic-book series lasted only 13 issues and the entire enterprise was quickly and quietly shut down without much fanfare in late 1982. No editor was listed on the series, but stories were probably selected by Ketcham Enterprises. Special note must be made of the first issues of both series, as directmarket copies featured the DC logo and stated “The Biggest Little Buy in Comics,” instead of the Spider-Man head that usually graced the UPC box in Marvel direct-market copies. According to the 2010 Comic Book Checklist and Price Guide by Maggie Thompson, Brent Frankenhoff, and Peter Bickford, the emblem was placed on the cover in error by World Color Press. This makes perfect sense, as Marvel hadn’t previously had a digest with a UPC box and DC had been publishing digests regularly for over three years at that point. Tom DeFalco, at the time a Marvel editor, said this when asked about the error: “I can only assume it was a printer’s mistake. I don’t remember seeing this because I would have howled if I did.” Had Marvel waited a few years or had kept Dennis going a little longer, it might have garnered greater success when Marvel debuted its highly successful Star Comics line in 1984, a line featuring original characters and licensed properties with artists and writers coming in fresh from Harvey and Archie [see BI #77 for the Star Comics story].

Mark Arnold

Hand-Held Horrors Marvel’s first digest: The Haunt of Horror #1 (June 1973), a collection of mystery short stories, some of which feature illustrations from the likes of Walter Simonson, Mike Ploog, and Frank Brunner. Cover by Gray Morrow. TM & © Marvel Characters, Inc.

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Marvel and DC (?!) Present The direct-sales versions of the first issues of both of Marvel’s Dennis the Menace digest series feature a DC Comics blurb in their UPC boxes, making these rarities in-demand among collectors. Dennis the Menace © Hank Ketcham Enterprises.

The Star Comics line was popular enough that in 1986, Marvel premiered Star Comics Magazine. (Strangely, from this point on, any Marvel digest was entitled “Comics Magazine” as opposed to “Comics Digest.”) Star’s big star at this point was Geo Gately’s Heathcliff, based on the popular newspaper comic panel, and Heathcliff featured prominently on each cover of the 13-issue series that lasted through 1988. Other prominent stars featured included reprints from Top Dog, Muppet Babies, The Ewoks, Care Bears, and later on, Madballs. Spider-Man graced the cover of issue #9 (Apr. 1988). By issue #12, ALF was surpassing Heathcliff in popularity, and soon Star Comics Magazine was canceled and replaced by ALF Comics Magazine, which only lasted two issues into 1989. Sid Jacobson was the editor on these comics digests as well as on the Star Comics line along with help from Sue Flaxman. Jacobson had experience with digests in the past, as he had compiled the various Richie Rich and Casper digests from 1977–1982 during his first tenure at Harvey Comics. Michael Gallagher wrote many stories for the various Star Comics including ones that were reprinted in the digests. “I was very happy to see reprints of our Star stories out there—especially at the supermarket checkout,” Gallagher says. “So many of them were originally drawn on the older, slightly larger boards and had up to eight panels per page, so when they got shrunk down to digest size, the artwork seemed awfully small. But these days, everyone looks at tiny images on their smart phones, so it’s all relative. “The switch in paper size to the current 11" x 17" happened in the middle of ALF’s long run,” Gallagher continues. “As you can imagine, changing from eight to six panels per page had storytelling ramifications.” As the Star Comics line was winding down, the later issues of ALF and other titles previously listed as “Star” now were rechristened as regular “Marvel Comics,” and the line was phased out. Shortly after the debut of Star Comics Magazine, Marvel created separate digest series starring some of its most popular comic-book series at the time: G.I. Joe Comics Magazine in 1986 and Transformers Comics Magazine and Spider-Man Comics Magazine in 1987. G.I. Joe Comics Magazine featured reprints of the popular comic-book series that was usually written by Larry Hama. Tom DeFalco was the editor of this series and carried over to the digest. G.I. Joe was also a popular Marvel Productions animated TV series and star of a revamped toy line that featured three-inch action figures that were more exotic than the traditional 12-inch dolls sporting standard military and adventure uniforms. G.I. Joe Comics Magazine lasted the now-standard 13 issues, through the end of 1988.

DeFalco says of the series, “I remember that I didn’t like the paper the printer used and thought Marvel priced it too high.” The paper was Mando and the cover price was $1.50 for 68 pages. Rob Kelly’s Digest Comics blog also maligns the Flexographic process used on these later Marvel digests which made the printed images appear with “splotchy colors, dropped lines, and, as always, the eye-gouging colors.” Transformers Comics Magazine launched with a first issue that was coverdated January 1987 and lasted ten issues through July 1988, with Jim Salicrup as editor. Rob Kelly summed up the series this way: “I think of The Transformers the same way I think of Bon Jovi—I didn’t like them when they first came out and were massively popular, I didn’t like them when no one cared about them, and I don’t like them now that they’re popular again.” Finally, Marvel gave the digest nod to one of its own major characters. Spider-Man Comics Magazine also lasted 13 issues, running from cover dates January 1987 through January 1989. James Owsley was listed as editor of this series, along with Adam Blaustein and Steve Buccellato. The long-running Marvel Tales series in the traditional comic-book format was reprinting Stan Lee/John Romita Amazing Spider-Man stories at the time. Marvel Tales replaced those with reprinted Spider-Man stories from Marvel Team-Up, and the Lee/Romita ASM stories continued in the digest. Two special issues of note are Spider-Man Comics Magazine #12 (Nov. 1988), which features a digest-sized reprint of The Spectacular SpiderMan magazine #2 from 1968, with a pen-and-ink cover replacing the original’s fully painted cover; and the final issue, #13, which touted on its cover, “Is this the end of Spider-Man Comics Magazine”? This issue features a reprint of the debut story by Ross Andru as regular Spider-Man artist. Spider-Man Comics Magazine was the last Marvel Comics-related digest published. The format has been represented solely by Archie since Harvey discontinued publishing digests in 1994. Since 1988, Marvel has published various trade paperbacks and digest-style books like the Franklin Richards collections, but these aren’t quite the same. And, of course, all publishers have made it common practice to compile miniseries or other ongoing series into standard comic-book-size trade paperbacks or hardbacks, but that is beyond the scope of this article. Special thanks to Richard J. Arndt, Chris Marshall, Michael Gallagher, Stephan Friedt, Andrew Farago, Stephen Curiel, Robert Kelly, and the Grand Comics Database for help with the index which follows. MARK ARNOLD is a comic-book and animation historian with over seven books to his credit including books about DePatie-Freleng and Harvey Comics. He is currently at work on a book about Dennis the Menace comic books.

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ALF COMICS MAGAZINE

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ALF COMICS MAGAZINE #1 Nov. 1988 Cover artist: Dave Manak Editor: Sid Jacobson; Sue Flaxman, assistant Special feature: “[Ha! Urp!]” 1-page filler with ALF, Flintstone Kids, and Heathcliff Reprints: • ALF in “At Your Disposal” from ALF #1 (Mar. 1988) • ALF in “Snow Skin off My Nose” from ALF #1 (Mar. 1988) • Heathcliff in “Cat and the Beanstalk” from Heathcliff Annual #1 (Oct. 1987) • ALF in “Play Misty for Me!” from ALF #1 (Mar. 1988) • Heathcliff in “He’s A Card!” from Heathcliff’s Funhouse #1 (May 1987) • The Flintstone Kids in “Uncle Mintstone Comes to Town” from The Flintstones Kids #1 (Aug. 1987) • Heathcliff in “Bungle in the Jungle!” from Heathcliff Annual #1 (Oct. 1987) • Heathcliff in “The Bet” from Heathcliff’s Funhouse #1 (May 1987) • Heathcliff in “It’s in the Bag” from Heathcliff Annual #1 (Oct. 1987) • ALF in “All’s Fair” from ALF #2 (Apr. 1988) • ALF in “All My Life’s a Cycle” from ALF #2 (Apr. 1988) • ALF in “Space Ace” (source unknown)

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ALF COMICS MAGAZINE #2 Jan. 1989 Cover artist: Dave Manak Editor: Sid Jacobson; Sue Flaxman, assistant Reprints: (all ALF stories) • “Travels with Willie” from ALF #3 (May 1988) • “Hair Today—Gone Tomorrow” from ALF #6 (Aug. 1988) • “Mind Your Manners” from ALF #5 (July 1988) • “Stand-In by Your Man” from ALF #5 (July 1988) • “Monster Mash” from ALF #4 (June 1988) • “That’s the Ticket” from ALF #6 (Aug. 1988) • “It’s All in Your Minds” from ALF #4 (June 1988) • “One Tiny Mistake” from ALF #3 (May 1988) DENNIS THE MENACE COMICS DIGEST DENNIS THE MENACE COMICS DIGEST #1 Apr. 1982 Cover artist: Bill Williams Special features: “Dennis the Menace and his Pal Joey” coloring page; “Here’s How to Draw Dennis’s Dad” activity page Reprints: • “Tag-Along Trouble” from Dennis the Menace Triple Feature #1 (Winter 1961)

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“Dennis the Golfer” from Dennis the Menace #5 (July 1954) “The Kitty Catchers” from Dennis the Menace Triple Feature #1 (Winter 1961) “All Gummed Up—or Stuck with It!” from Dennis the Menace #154 (Nov. 1977) “Dennis vs. the Hiccups” from Dennis the Menace #1 (Aug. 1953) “Ballet is Okay!” from Dennis the Menace Triple Feature #1 (Winter 1961) “The Amazement Park” from Dennis the Menace Triple Feature #1 (Winter 1961) “The Compact Car Caper” from Dennis the Menace #55 (Nov. 1961) “Always a Lady” from Dennis the Menace Triple Feature #1 (Winter 1961) “Cake Walk” from Dennis the Menace Triple Feature #1 (Winter 1961) “The Dog Snatchers” from Dennis the Menace Triple Feature #1 (Winter 1961) “A Case of School-itis” from Dennis the Menace #55 (Nov. 1961) “Dennis the Salesman” from Dennis the Menace #5 (July 1954) “In This Corner…” from Dennis the Menace #5 (July 1954) “Dennis vs. the Zoo” from Dennis the Menace #1 (Aug. 1953) “Margaret the Artist” from Dennis the Menace Triple Feature #1 (Winter 1961)

DENNIS THE MENACE COMICS DIGEST #2 June 1982 Cover artist: Hank Ketcham Special features: 2 “Puzzle Page” activity pages Reprints: • “High Steaks” from Dennis the Menace #132 (May 1974) • “Unfinished Business” from Dennis the Menace #82 (Jan. 1966) • “Not Quite Suitable” from Dennis the Menace #131 (Jan. 1974) • “Strictly Against For the Birds” from Dennis the Menace #90 (May 1967) • “The Guessing Game” from Dennis the Menace #135 (Nov. 1974) • “On Your Market” from Dennis the Menace #131 (Jan. 1974) • “All Boxed In” from Dennis the Menace #122 (Sept. 1972) • “The News Leak” from Dennis the Menace #131 (Jan. 1974) • “Butterfly Business” from Dennis the Menace #134 (Sept. 1974) • “The Texas Stranger” from Dennis the Menace #39 (Nov. 1959) • “Electrickery” from Dennis the Menace #121 (July 1972) • “How the Ball Bounces” from Dennis the Menace #132 (May 1974) • “Surprise” from Dennis the Menace #55 (Nov. 1961) • “For Goodness Sake!” from Dennis the Menace #135 (Nov. 1974) • “The Big Flap” from Dennis the Menace #121 (July 1972) • “Dennis Mows ’em Down” from Dennis the Menace #1 (Aug. 1953) • “Energy Crisis” from Dennis the Menace #130 (Nov. 1973)

DENNIS THE MENACE COMICS DIGEST #3 Aug. 1982 Cover artist: Hank Ketcham Special features: 2 “Color This Page!” activity pages Reprints: • “The Case of the Soggy Doggies” from Dennis the Menace #38 (Sept. 1959) • “Ruff & Tough” from Dennis the Menace Bonus Magazine #101 (Feb. 1972) • “The Day the Sun Went Out!” from Dennis the Menace #47 (Dec. 1960) • “Ruff’s Family Tree” from Dennis the Menace Giant #14 (Summer 1963) • “Short & Sweet” from Dennis the Menace #96 (May 1968) • “The Chow Hound” from Dennis the Menace #133 (July 1974) • “Movie Mischief” from Dennis the Menace Giant #14 (Summer 1963) • “Ring Around a Rosie Margaret” from Dennis the Menace #131 (Mar. 1974) • “X.P.Z.A.” from Dennis the Menace #130 (Jan. 1974) • “Ruff, the Beachcomber” from Dennis the Menace and his Dog … Ruff #1 (Summer 1961) • “Dog Days from Dennis the Menace #129 (Nov. 1973) • “Doggy Talk” from Dennis the Menace #86 (Sept. 1966) • “The Quitter Sitter” from Dennis the Menace #120 (May 1972) • “It’s a Ruff Life” from Dennis the Menace and his Dog … Ruff #1 (Summer 1961) G.I. JOE COMICS MAGAZINE G.I. JOE COMICS MAGAZINE #1 Dec. 1986 Cover artists: Herb Trimpe and Bob McLeod Editor: Tom DeFalco Special features: “G.I. Joe Classified File: The Pit” 2-page filler; “G.I. Joe Classified File: Scarlett” 1-page filler Reprints: • “Lady Doomsday” from G.I. Joe, A Real American Hero #1 (June 1982) • “Hot Potato” from G.I. Joe, A Real American Hero #1 (June 1982) • “Panic at the North Pole” from G.I. Joe, A Real American Hero #2 (Aug. 1982) G.I. JOE COMICS MAGAZINE #2 Feb. 1987 Cover artists: Bob Hall and Al Milgrom Editor: Tom DeFalco Reprints: • “The Trojan Gambit” from G.I. Joe, A Real American Hero #3 (Sept. 1982) • “Operation: Wingfield!” from G.I. Joe, A Real American Hero #4 (Oct. 1982) • “ ‘Tanks’ For the Memories…” from G.I. Joe, A Real American Hero #5 (Nov. 1982)

G.I. JOE COMICS MAGAZINE #3 Apr. 1987 Cover artists: Herb Trimpe and Chic Stone Editor: Tom DeFalco Reprints: • “To Fail Is To Conquer … to Succeed is to Die!” from G.I. Joe, A Real American Hero #6 (Dec. 1982) • “Walls of Death” from G.I. Joe, A Real American Hero #7 (Jan. 1983) • “Code Name: Sea-Strike!” from G.I. Joe, A Real American Hero #8 (Feb. 1983) G.I. JOE COMICS MAGAZINE #4 June 1987 Cover artists: Mike Vosburg and Chic Stone Editor: Tom DeFalco Reprints: • “The Diplomat” from G.I. Joe, A Real American Hero #9 (Mar. 1983) • “A Nice Little Town Like Ours…” from G.I. Joe, A Real American Hero #10 (Apr. 1983) • “The Pipeline Ploy!” from G.I. Joe, A Real American Hero #11 (May 1983) G.I. JOE COMICS MAGAZINE #5 Aug. 1987 Cover artists: Herb Trimpe and Steve Mitchell Editor: Tom DeFalco Reprints: • “Three Strikes for Snake-Eyes” from G.I. Joe, A Real American Hero #12 (June 1983) • “Last Plane From Rio Lindo” from G.I. Joe, A Real American Hero #13 (July 1983) • “Destro Attacks” from G.I. Joe, A Real American Hero #14 (Aug. 1983) G.I. JOE COMICS MAGAZINE #6 Oct. 1987 Cover artists: Mike Vosburg and Jon D’Agostino Editor: Bobbie Chase Reprints: • “Red-Eye to Miami!” from G.I. Joe, A Real American Hero #15 (Sept. 1983) • “Night Attack!” from G.I. Joe, A Real American Hero #16 (Oct. 1983) • “Loose Ends” from G.I. Joe, A Real American Hero #17 (Nov. 1983) G.I. JOE COMICS MAGAZINE #7 Dec. 1987 Cover artists: Mike Vosburg and Jon D’Agostino Editor: Bobbie Chase Reprints: • “Destro Returns!” from G.I. Joe, A Real American Hero #18 (Dec. 1983) • “Joe Triumphs!” from G.I. Joe, A Real American Hero #19 (Jan. 1984) • “Home Is Where the War Is!” from G.I. Joe, A Real American Hero #20 (Feb. 1984) G.I. JOE COMICS MAGAZINE #8 Feb. 1988 Cover artists: Larry Hama and Klaus Janson Editor: Bobbie Chase

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Special feature: “Top Secret” 1-page filler Reprints: • “Silent Interlude from G.I. Joe, A Real American Hero #21 (Mar. 1984) • “Like Chimney Sweepers Come to Dust…” from G.I. Joe, A Real American Hero #22 (Apr. 1984) • “Moroccan Roll!” from Action Force #10 (May 9, 1987) • “Rigged! Part One” from Action Force #11 (May 16, 1987) • “Rigged! Part Two” from Action Force #12 (May 23, 1987) • “The Man in the Silver Mask!” from Action Force #13 (May 30, 1987) G.I. JOE COMICS MAGAZINE #9 Apr. 1988 Cover artist: Michael Golden Editor: Bobbie Chase Reprints: • “Cobra Commander Captured at Last!” from G.I. Joe, A Real American Hero #23 (May 1984) • “The Commander Escapes!” from G.I. Joe, A Real American Hero #24 (June 1984) • “Zartan!” from G.I. Joe, A Real American Hero #25 (July 1984) G.I. JOE COMICS MAGAZINE #10 June 1988 Cover artists: Mike Zeck and Bob Wiacek Editor: Bobbie Chase Reprints: • “Snake-Eyes: The Origin” from G.I. Joe, A Real American Hero #26 (Aug. 1984) • “Snake-Eyes: The Origin, Part II” from G.I. Joe, A Real American Hero #27 (Sept. 1984) • “Swampfire!” from G.I. Joe, A Real American Hero #28 (Oct. 1984) G.I. JOE COMICS MAGAZINE #11 Aug. 1988 Cover artists: Frank Springer and Klaus Janson Editor: Bobbie Chase Reprints: • “Beached Whale” from G.I. Joe, A Real American Hero #29 (Nov. 1984) • “Darkness” from G.I. Joe, A Real American Hero #30 (Dec. 1984) • “All Fall Down!” from G.I. Joe, A Real American Hero #31 (Jan. 1985) G.I. JOE COMICS MAGAZINE #12 Oct. 1988 Cover artists: Mike Zeck and John Beatty Editor: Bobbie Chase Reprints: • “The Mountain!” from G.I. Joe, A Real American Hero #32 (Feb. 1985) • “Celebration!” from G.I. Joe, A Real American Hero #33 (Mar. 1985) • “Shake Down!” from G.I. Joe, A Real American Hero #34 (Apr. 1985) G.I. JOE COMICS MAGAZINE #13 Dec. 1988 Cover artist: John Byrne Editor: Bobbie Chase Reprints: • “Dreadnoks on the Loose!” from G.I. Joe, A Real American Hero #35 (May 1985)

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“All the Ships at Sea!” from G.I. Joe, A Real American Hero #36 (June 1985) “Twin Brothers” from G.I. Joe, A Real American Hero #37 (July 1985) THE HAUNT OF HORROR

[Editor’s note: Given the rarity of Haunt of Horror, Marvel’s first digest series, more creator credits are provided below than in the majority of this issue’s indexes. These digests contain prose stories, some with spot illustrations.] THE HAUNT OF HORROR #1 June 1973 Cover artist: Gray Morrow Editor: Gerry Conway; George Alec Effinger, associate Special features: “In the Wind” 1-page text article; “Author’s Page” 2-page text article (all text articles by Gerry Conway) New stories: • “The Unspoken Invitation,” written by Gerry Conway • “Dr. Warm: The First Step,” written by George Alec Effinger; art by Frank Brunner (story credited to John K. Diomede) • “Neon,” written by Harlan Ellison; art by Walt Simonson (Note: Ellison had the last two pages of his story switched in editing and the story was printed out of sequence; the mistake was corrected in the next issue.) • “Loup Garou,” written by A. A. Attansio; art by Mike Ploog • “In the Wind,” written by Gerry Conway • “Seeing Stingy Ed,” written by David R. Bunch • “The Lurker in the Family Room,” written by Denny O’Neil • “A Nice Home,” written by Beverly Goldberg • “Ghost in the Corn Crib,” written by R. A. Lafferty; art by Dan Green • “Nightbeat,” written by Ramsey Campbell; art by Frank Brunner • “Boo Kreview: The Book of Skulls/ Dying Inside/The Dreaming City/ The Sleeping Sorceress,” written by Baird Searles Reprints: • “Conjure Wife,” written by Fritz Leiber, from Unknown Worlds (Apr. 1943); new art by John Romita, Sr. and Gene Colan • “Usurp the Night,” written by Robert E. Howard, from unknown source, circa 1970; artist unknown THE HAUNT OF HORROR #2 Aug. 1973 Cover artist: Kelly Freas Editor: Gerry Conway Special features: “In the Wind” 1-page text article; “Special Feature” 1-page text article; “Author’s Page” 1 1/2-page text article (all text articles by Gerry Conway) New stories: • “Conditional Terror,” written by Gerry Conway; art by Walt Simonson • “Devil Night,” written by Denny O’Neil; art by John Buscema

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“Pelican’s Claws,” written by Arthur Byron Cover; art by Dan Green “Dr. Warm: The Jewel in the Ash,” written by George Alec Effinger; art by Walt Simonson (story credited to John K. Diomede) • “Kilbride,” written by Ron Goulart; art by Frank Brunner • “Finders Keepers,” written by Anne McCafferty; art by Billy Graham • “Digging Up Atlantis,” written by Lin Carter; artist unknown • “Mono No Aware,” written by Howard Waldrop; artist unknown Reprints: • “Conjure Wife, Part 1” written by Fritz Leiber, from Unknown Worlds (Apr. 1943); new art by John Romita, Sr. and Gene Colan • “Neon,” written by Harlan Ellison; art by Kelly Freas (from The Haunt of Horror #1, June 1973, with the ending pages corrected) SPIDER-MAN COMICS MAGAZINE SPIDER-MAN COMICS MAGAZINE #1 Jan.1987 Cover artist: John Romita, Sr. Editor: James Owsley; Adam Blaustein, associate; Steve Buccellato, editorial assistant Reprints: • “In the Clutches of … the Kingpin!” from Amazing Spider-Man #52 (Sept. 1967) • “To Die a Hero!” from Amazing Spider-Man #51 (Aug. 1967) • “Enter: Dr. Octopus” from Amazing Spider-Man #53 (Oct. 1967) SPIDER-MAN COMICS MAGAZINE #2 Mar. 1987 Cover artist: John Romita, Sr. Editor: James Owsley; Adam Blaustein, associate; Steve Buccellato, editorial assistant Reprints: • “The Tentacles and the Trap” from Amazing Spider-Man #54 (Nov. 1967) • “Doc Ock Wins!” from Amazing Spider-Man #55 (Dec. 1967) • “Disaster” from Amazing Spider-Man #56 (Jan. 1968) SPIDER-MAN COMICS MAGAZINE #3 Apr. 1987 Cover artist: John Romita, Sr. Editor: Howard Mackie; John Morelli, associate; John Wellington, editorial assistant Special feature: Kingpin pinup Reprints: • “The Brand of the Brainwasher!” from Amazing Spider-Man #59 (Apr. 1968) • “O, Bitter Victory from Amazing Spider-Man #60 (May 1968) • “What a Tangled Web We Weave!” from Amazing Spider-Man #61 (June 1968) SPIDER-MAN COMICS MAGAZINE #4 July 1987 Cover artist: John Romita, Sr. (reprinted from Amazing Spider-Man #64) Reprints: • “Make Way for—Medusa!” from Amazing Spider-Man #62 (July 1968)

“Wings in the Night!” from Amazing Spider-Man #63 (Aug. 1968) “The Vulture’s Prey” from Amazing Spider-Man #64 (Sept. 1968)

SPIDER-MAN COMICS MAGAZINE #5 Sept. 1987 Cover artist: John Romita, Sr. (reprinted from Amazing Spider-Man #66) Reprints: • “The Impossible Escape!” from Amazing Spider-Man #65 (Oct. 1968) • “The Madness of Mysterio!” from Amazing Spider-Man #66 (Nov. 1968) • “To Squash a Spider!” from Amazing Spider-Man #67 (Dec. 1968) SPIDER-MAN COMICS MAGAZINE #6 Nov. 1987 Cover artist: John Romita, Sr. (reprinted from Amazing Spider-Man #69) Reprints: • “Crisis on Campus!” from Amazing Spider-Man #68 (Jan. 1969) • “Mission: Crush the Kingpin!” from Amazing Spider-Man #69 (Feb. 1969) • “Spider-Man, Wanted!” from Amazing Spider-Man #70 (Mar. 1969) SPIDER-MAN COMICS MAGAZINE #7 Jan. 1988 Cover artist: John Romita, Sr. (reprinted from Amazing Spider-Man #73) Reprints: • “The Speedster and the Spider” from Amazing Spider-Man #71 (Apr. 1969) • “Rocked by the Shocker” from Amazing Spider-Man #72 (May 1969) • “The Web Closes” from Amazing Spider-Man #73 (June 1969) SPIDER-MAN COMICS MAGAZINE #8 Mar. 1988 Cover artist: John Romita, Sr. (reprinted from Amazing Spider-Man #76) Reprints: • “If This Be Bedlam!” from Amazing Spider-Man #74 (July 1969) • “Death Without Warning!” from Amazing Spider-Man #75 (Aug. 1969) • “The Lizard Lives!” from Amazing Spider-Man #76 (Sept. 1969) SPIDER-MAN COMICS MAGAZINE #9 May 1988 Cover artist: John Romita, Sr. (reprinted from Amazing Spider-Man #77) Reprints: • “In the Blaze of Battle!” from Amazing Spider-Man #77 (Oct. 1969) • “The Night of the Prowler!” from Amazing Spider-Man #78 (Nov. 1969) • “To Prowl No More!” from Amazing Spider-Man #79 (Dec. 1969) SPIDER-MAN COMICS MAGAZINE #10 July 1988 Cover artists: Marie Severin and John Romita, Sr. (reprinted from Amazing Spider-Man #82 Reprints: • “On the Trail of the Chameleon” from Amazing Spider-Man #80 (Jan. 1970) • “The Coming of the Kangaroo!” from Amazing Spider-Man #81 (Feb. 1970) • “Then Came Electro!” from Amazing Spider-Man #82 (Mar. 1970)

82 • BACK ISSUE • Marvel Bronze Age Giants and Reprints

SPIDER-MAN COMICS MAGAZINE #11 Sept. 1988 Cover artist: John Romita, Sr. (reprinted from Amazing Spider-Man #84) Reprints: • “The Schemer!” from Amazing Spider-Man #83 (Apr. 1970) • “The Kingpin Strikes Back!” from Amazing Spider-Man #84 (May 1970) • “The Secret of the Schemer” from Amazing Spider-Man #85 (June 1970) SPIDER-MAN COMICS MAGAZINE #12 Nov. 1988 Cover artist: John Romita, Sr. (reprinted from The Spectacular Spider-Man [magazine] #2) Special feature: Green Goblin’s listing from The Official Handbook to the Marvel Universe. Reprints: • “The Goblin Lives” from The Spectacular Spider-Man [magazine] #2 (Nov. 1968) SPIDER-MAN COMICS MAGAZINE #13 Jan. 1989 Cover artists: Ross Andru and Bill Everett (reprinted from Marvel Super-Heroes #14) Special feature: Black Widow’s entry from The Official Handbook to the Marvel Universe. Reprints: • “Beware … the Black Widow!” from Amazing Spider-Man #86 (July 1970) • “Unmasked At Last!” from Amazing Spider-Man #87 (Aug. 1970) • “The Reprehensible Riddle of the Sorcerer” from Marvel Super-Heroes #14 (May 1968) STAR COMICS MAGAZINE STAR COMICS MAGAZINE #1 Dec. 1986 Cover artist: Warren Kremer Editor: Sid Jacobson Reprints: • Heathcliff in “The Cat-Napping Caper” from Heathcliff #1 (Apr. 1985) • The Ewoks in “The Rainbow Bridge” from The Ewoks #1 (May 1985) • Top Dog in “The Dog-Gone Beginning” from Top Dog #1 (Apr. 1985) • Muppet Babies in “The Haunted Nursery” from Muppet Babies #1 (Aug. 1985) • Heathcliff in “An Uplifting Experience” from Heathcliff #1 (Apr. 1985) STAR COMICS MAGAZINE #2 Feb. 1987 Cover artist: Warren Kremer Editor: Sid Jacobson Reprints: • Heathcliff in “Captain Katt’s Treasure” from Heathcliff #2 (June 1985) • Top Dog in “Dognapped” from Top Dog #1 (Apr. 1985) • The Ewoks in “Rites of Power” from The Ewoks #2 (July 1985) • Care Bears in “The Plot to Steal Summer” from Care Bears #1 (Nov. 1985)

STAR COMICS MAGAZINE #3 Apr. 1987 Cover artist: Warren Kremer Editor: Sid Jacobson Reprints: • Heathcliff in “Heathcliff Goes Hollywood” from Heathcliff #1 (Apr. 1985) • Heathcliff in “A Day at the Circus” from Heathcliff #4 (Oct. 1985) • Muppet Babies in “The Dream Machine” from Muppet Babies #4 (Nov. 1985) • The Ewoks in “Flight to Danger” from The Ewoks #3 (Sept. 1985) • Top Dog in “The Check-Up” from Top Dog #6 (Feb. 1986) • Top Dog in “The Swim of Things” from Top Dog #6 (Feb. 1986) • Heathcliff in “In Training” from Heathcliff #3 (Aug. 1985) • Heathcliff in “Shoveling It In” from Heathcliff #3 (Aug. 1985) STAR COMICS MAGAZINE #4 June 1987 Cover artist: Warren Kremer Editor: Sid Jacobson Reprints: • Top Dog and Heathcliff in “The Great Museum Mystery” from Top Dog #9 (Aug. 1986) • Muppet Babies in “The Big Space Adventure” from Muppet Babies #2 (July 1985) • Care Bears in “The Green-Eyed Monster” from Care Bears #2 (Jan. 1986) • Heathcliff in “A Moving Situation” from Care Bears #2 (Jan. 1986) STAR COMICS MAGAZINE #5 Aug. 1987 Cover artist: Warren Kremer Editor: Sid Jacobson Reprints: • Heathcliff in “Computa Cat” from Heathcliff #5 (Dec. 1985) • Heathcliff in “The Birthday Surprise” from Heathcliff #5 (Dec. 1985) • The Ewoks in “The Terrible Machine” from The Ewoks #5 (Jan. 1986) • Care Bears in “Cool it, Coldheart!” (UK Care Bears reprint) • Top Dog in “Spies!” from Top Dog #2 (June 1985) • Heathcliff in “It’s in the Bag” from Heathcliff Annual #1 (Oct. 1987) STAR COMICS MAGAZINE #6 Oct. 1987 Cover artist: Warren Kremer Editor: Sid Jacobson Reprints: • Heathcliff in “The Case of the Looney London Adventure” from Heathcliff #3 (Aug. 1985) • Madballs in “The Evil Dr. Frankenbeans” from Madballs #1 (Sept. 1986) • Top Dog in “Missing” from Top Dog #8 (June 1986) • Heathcliff in “Ghost in the Outfield” from Heathcliff #2 (June 1985) • Muppet Babies in “Here Come the Flying Heroes” Muppet Babies #11 (Jan. 1987) • Heathcliff in “Knight Life” from Heathcliff #12 (Nov. 1986)

STAR COMICS MAGAZINE #7 Dec. 1987 Cover artist: Warren Kremer Editor: Sid Jacobson Reprints: • Heathcliff in “Elasticat” from Heathcliff #7 (Apr. 1986) • Madballs in “CORN-ered!” from Madballs #1 (Sept. 1986) • Heathcliff in “Strong Impressions” from Heathcliff #7 (Apr. 1986) • Top Dog in “Frank ’n’ Stein” from Top Dog #6 (Feb. 1986) • Heathcliff in “Teamwork” from Heathcliff #7 (Apr. 1986) • Care Bears in “Blue Who?” from Care Bears #3 (Mar. 1986) • Heathcliff in “Tale of Two Kitties” from Heathcliff #5 (Dec. 1985) • Heathcliff in “Just for Kicks” from Heathcliff #5 (Dec. 1985) STAR COMICS MAGAZINE #8 Feb. 1988 Cover artist: Warren Kremer Editor: Sid Jacobson Reprints: • Heathcliff in “Adventures in the Toy Galaxy” from Heathcliff #8 (June 1986) • Madballs in “Dr. Frankenbeans Returns” from Madballs #2 (Oct. 1986) • Care Bears in “The Scare Bear” from Care Bears #4 (May 1986) • Heathcliff in “Mousecapades” from Heathcliff #2 (June 1985) • Muppet Babies in “The SuperTerrific Sand Castle” from Muppet Babies #11 (Jan. 1987) • Heathcliff in “Down For the Count” from Heathcliff #9 (Aug. 1986) • Heathcliff in “Courting Trouble” from Heathcliff #13 (Dec. 1986) STAR COMICS MAGAZINE #9 April 1988 Cover artists: Warren Kremer and John Romita, Sr. Editor: Sid Jacobson Reprints: • Top Dog and Spider-Man in “The Spectacular Comic Book Caper” from Top Dog #10 (Oct. 1986) • Heathcliff in “The Legend of Lake Nish” from Heathcliff #8 (June 1986) • Muppet Babies in “Color Crazy” from Muppet Babies #12 (Mar. 1987) • Heathcliff in “Finders, Keepers” from Heathcliff #8 (June 1986) • Madballs in “Meet Weirdbeard the Pirate” from Madballs # (Oct. 1986) • Heathcliff in “The Return of ‘Bigfoot’ ” from Heathcliff #7 (Apr. 1986) • Heathcliff in “No Smoking” from Heathcliff #7 (Apr. 1986) STAR COMICS MAGAZINE #10 June 1988 Cover artist: Warren Kremer Editor: Sid Jacobson Reprints: • Heathcliff in “Fright Day at the Bijou” from Heathcliff #13 (Dec. 1986) • Madballs in “Attack of the Badballs” from Madballs #3 (Nov. 1986) • Care Bears in “The Very F1rst Care Bear” from Care Bears #5 (July 1986)

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Muppet Babies in “Dr. Bunsenstein’s Monster” from Muppet Babies #12 (Mar. 1987) Heathcliff in “The Tragic Magic Lamp” from Heathcliff #3 (Aug. 1985) Heathcliff in “High Hat and Tails” Heathcliff #3 (Aug. 1985)

STAR COMICS MAGAZINE #11 Aug. 1988 Cover artist: Warren Kremer Editor: Sid Jacobson Special features: “Madballs Riddle Page” and “Son of Madballs Riddle Page” activity pages Reprints: • Heathcliff in “Curse of the Whoopies” from Heathcliff #14 (Feb. 1987) • Madballs in “Spaced Out” from Madballs #3 (Nov. 1986) • Care Bears in “The Disappearing Town” from Care Bears #8 (Jan. 1987) • Muppet Babies in “The Strange Case of the Missing Mermaid Costume” from Muppet Babies #13 (May 1987) • Heathcliff in “Mouse Sitter” from Heathcliff #4 (Oct. 1985) • Heathcliff in “Heathcliff’s Photo Album” from Heathcliff’s Funhouse #1 (May 1987) STAR COMICS MAGAZINE #12 Oct. 1988 Cover artist: Warren Kremer Editor: Sid Jacobson Reprints: • ALF in “Jungle Love” from ALF #2 (Apr. 1988) • Heathcliff in “Heathcliff Meets the Swamp Beast” from Heathcliff Annual #1 (Oct. 1987) • Madballs in “Meet the New Madballs” from Madballs #4 (June 1987) • The Flintstone Kids in “Bedrock Future Shock” from The Flintstones Kids #1 (Aug. 1987) • Heathcliff in “Beach Party Massacre” from Heathcliff Annual #1 (Oct. 1987) • Muppet Babies in “Out of This World” from Muppet Babies #13 (May 1987) • The Flintstone Kids in “Prehistoric Politics” from The Flintstone Kids #1 (Aug. 1987) • Heathcliff in “That Old Cat Magic” from Heathcliff Annual #1 (Oct. 1987) • Heathcliff in “Trick or Trial” from Heathcliff Annual #1 (Oct. 1987) STAR COMICS MAGAZINE #13 Dec. 1988 Cover artist: Warren Kremer Editor: Sid Jacobson Reprints: • ALF in “One Hero to Go” from ALF #4 (June 1988) • Heathcliff in “The Karate Kitty” from Heathcliff’s Funhouse #1 (May 1987) • Care Bears in “On the Beach” from Star Comics Presents Care Bears Mini Comic #1 (1987) • Heathcliff in “BURP!” from Heathcliff’s Funhouse #1 (May 1987) • Madballs in “Anchors Away!” from Madballs #4 (June 1987) • Heathcliff in “The Kitnap Kaper” from Heathcliff #12 (Nov. 1986)

Marvel Bronze Age Giants and Reprints

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BACK ISSUE • 83

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Muppet Babies in “The Magic Book” from Muppet Babies #15 (Sept. 1987) Top Dog in “On the Road” from Heathcliff #22 (Feb. 1988) Heathcliff in “A Shaking Gap” from Heathcliff #22 (Feb. 1988) THE TRANSFORMERS COMICS MAGAZINE

THE TRANSFORMERS COMICS MAGAZINE #1 Jan. 1987 Cover artist: Michael Golden (reprinted from The Transformers #2) Editor: Jim Salicrup; Adam Philips, assistant Special features: 2-page “Character Profiles” for Optimus Prime, Laserbeak, Jazz, Gears, Skywarp, and Prowl Reprints: • “The Transformers” from The Transformers #1 (Sept. 1984) • “Power Play!” from The Transformers #2 (Nov. 1984) THE TRANSFORMERS COMICS MAGAZINE #2 Mar. 1987 Cover artist: Michael Golden (reprinted from The Transformers #3) Editor: Jim Salicrup Special features: 2-page “Character Profiles” for Mirage, Ravage, Hound, Starscream, Swoop, Ratchet, Shockwave, Sunstreaker, and Soundwave Reprints: • “Prisoner of War!” from The Transformers #3 (Jan. 1985) • “The Last Stand” from The Transformers #4 (Mar. 1985) THE TRANSFORMERS COMICS MAGAZINE #3 May 1987 Cover artist: Alan Kupperberg (reprinted from The Transformers #6) Editor: Jim Salicrup Special features: 2-page “Character Profiles” for Slag, Warpath, Wheeljack, Thrust, Seaspray, Trailbreaker, Sludge, Scrapper, and Red Alert Reprints: • “The New Order” from The Transformers #5 (June 1985) • “The Worst of Two Evils!” from The Transformers #6 (July 1985) THE TRANSFORMERS COMICS MAGAZINE #4 July 1987 Cover artists: Mark Bright and Brad Joyce (reprinted from The Transformers #7) Editor: Jim Salicrup Special features: 2-page “Character Profiles” for Tracks, Quintessons, Trypticon, Windcharger, Snarl, Smokescreen, Shrapnel, Thundercracker, and Sideswipe; black-and-white rendering from Transformers #24 (inside back cover) Reprints: • “Warrior School” from The Transformers #7 (Aug. 1985) • “Repeat Performance” from The Transformers #8 (Sept. 1985)

THE TRANSFORMERS COMICS MAGAZINE #5 Sept. 1987 Cover artist: Mike Manley (reprinted from The Transformers #9) Editors: Daryl Edelman, Dan Daley Special features: 2-page “Character Profiles” for Slingshot, Superion, Sandstorm, Razerclaw, Ironhide, Omega Supreme, Rampage, Predaking, and Kickback; black-and-white image of Junkion (inside back cover) Reprints: • “DIS-Integrated Circuits!” from The Transformers #9 (Oct. 1985) • “The Next Best Thing to Being There!” from The Transformers #10 (Nov. 1985) THE TRANSFORMERS COMICS MAGAZINE #6 Nov. 1987 Cover artist: Herb Trimpe (reprinted from The Transformers #11) Editor: Daryl Edelman Special features: 2-page “Character Profiles” for Air Raid, Cliffjumper, Grapple, Blades, Breakdown, Beachcomber, Cosmos, Blaster, and First Aid Reprints: • “Brainstorm!” from The Transformers #11 (Dec. 1985) • “Prime Time!” from The Transformers #12 (Jan. 1986) THE TRANSFORMERS COMICS MAGAZINE #7 Jan. 1988 Cover artist: Don Perlin (reprinted from The Transformers #13) Editor: Daryl Edelman Special features: 2-page “Character Profiles” for Mixmaster, Inferno, Motormaster, Sandstorm, Megatron, Skids, Huffer, Onslaught, and Outback Reprints: • “Shooting Star!” from The Transformers #13 (Feb. 1986) • “Rock and Roll-Out!” from The Transformers #14 (Mar. 1986) THE TRANSFORMERS COMICS MAGAZINE #8 Mar. 1988 Cover artist: Herb Trimpe (reprinted from The Transformers #15) Editor: Daryl Edelman Special features: 2-page “Character Profiles” for Jetfire, Hot Spot, Long Haul, Rewind, Runamuck, Skydive, Perceptor, Ramhorn, and Long Haul Reprints: • “I, Robot-Master!” from The Transformers #15 (Apr. 1986) • “Plight of the Bumblebee!” from The Transformers #16 (May 1986) THE TRANSFORMERS COMICS MAGAZINE #9 May 1988 Cover artist: Herb Trimpe (reprinted from The Transformers #17) Editor: Daryl Edelman Special features: Seven 2-page “Character Profiles” the Transformers Universe limited series

Reprints: • “The Smelting Pool!” from The Transformers #17 (June 1986) • “The Bridge to Nowhere!” from The Transformers #18 (July 1986) THE TRANSFORMERS COMICS MAGAZINE #10 July 1988 Cover artist: Herb Trimpe (reprinted from The Transformers #19) Editor: Daryl Edelman Special features: 2-page “Character Profiles” for Hook, Blast Off, Dead End, Drag Strip, Metroplex, Sky Lynx, Menasor, Octane, and Rumble Reprints: • “Command Performances!” from The Transformers #19 (Aug. 1986) • “Showdown!” from The Transformers #20 (Sept. 1986) THE VERY BEST OF DENNIS THE MENACE THE VERY BEST OF DENNIS THE MENACE #1 Apr. 1982 Cover artist: Hank Ketcham Special features: “Dennis the Menace and Mr. Wilson” coloring page (inside front cover); “Have Fun Drawing Dennis’ Mom” activity page (inside back cover) Reprints: • “Trubble Bath” from Dennis the Menace Triple Feature #1 (Winter 1961) • “Driving Crazy (Everyone, That Is)” from Dennis the Menace #1 (Aug. 1953) • “School Daze” from Dennis the Menace Triple Feature #1 (Winter 1961) • “Tennis Anyone?” from Dennis the Menace #5 (July 1954) • “Jest Foolin’ ” from Dennis the Menace #154 (Nov. 1977) • “Hook, Line and Stinker” from Dennis the Menace #7 (Nov. 1954) • “The Kite Kaper” from Dennis the Menace Triple Feature #1 (Winter 1961) • “Dennis and the Rusklers” from Dennis the Menace #7 (Nov. 1954) • “Cee-Bee Gee Bees” from Dennis the Menace #154 (Nov. 1977) • “Square Dancing! Free Lessons Today!” from Dennis the Menace Triple Feature #1 (Winter 1961) • “Step Right Up, Folks!” from Dennis the Menace #7 (Nov. 1954) • “Play Ball!” from Dennis the Menace #7 (Nov. 1954) • “Spooky Stuff” from Dennis the Menace #5 (July 1954) THE VERY BEST OF DENNIS THE MENACE #2 June 1982 Cover artist: Hank Ketcham Special feature: “Quizzlers Baffle Your Buddies!” activity page (inside front cover)

84 • BACK ISSUE • Marvel Bronze Age Giants and Reprints

Reprints: • “Shore ’Nuff” from Dennis the Menace #54 (Sept. 1961) • “Record Time” from Dennis the Menace #132 (May 1974) • “To Each His Groan” from Dennis the Menace #134 (Sept. 1974) • “On the Dream Beam from Dennis the Menace #133 (July 1974) • “Birds of a Feather” from Dennis the Menace #122 (Sept. 1972) • “The Lunch Lesson” from Dennis the Menace #134 (Sept. 1974) • “Ice Scream” from Dennis the Menace #119 (Mar. 1972) • “Clearance Sale” from Dennis the Menace #125 (Mar. 1973) • “Dennis Loves Gina Margaret Sally” from Dennis the Menace #39 (Nov. 1959) • “Never Say Die(t)” from Dennis the Menace #125 (Mar. 1973) • “Something Fishy!” from Dennis the Menace #5 (July 1954) • “Horsin’ Around” from Dennis the Menace #122 (Sept. 1972) • “Hearing Things” from Dennis the Menace #34 (Apr. 1959) THE VERY BEST OF DENNIS THE MENACE #3 Aug. 1982 Cover artist: Hank Ketcham Special features: coloring page (inside front cover); “Bunny Funnies” 1-page text feature; coloring page (inside back cover) Reprints: • “Ruffing It” from Dennis the Menace #90 (May 1967) • “Putting on the Dog” from Dennis the Menace Giant #14 (Summer 1963) • “It’s Spring! It’s Spring! The Bird is on the Wing! My Word! Absurd! The Wing is on the Bird!” from Dennis the Menace #79 (July 1965) • “The Big Question” from Dennis the Menace #130 (Jan. 1974) • “Flea for your Life!” from Dennis the Menace and His Dog … Ruff #1 (Summer 1961) • “Mov(ie)ing Along” from Dennis the Menace #131 (Mar. 1974) • “Just Poolin’ from Dennis the Menace #39 (Nov. 1959) • “Nobody’s Tool” from Dennis the Menace and His Dog … Ruff #1 (Summer 1961) • “Meanwhile … Back at the Ranch…” from Dennis the Menace #23 (July 1957) • “Shower Power” from Dennis the Menace #108 (May 1970) • “The Hero from Dennis the Menace and His Dog … Ruff #1 (Summer 1961) • “The Pet Patrol” from Dennis the Menace #85 (July 1966) • “Ruff … the Wet Pet” from Dennis the Menace and His Dog … Ruff #1 (Summer 1961) • “Dennis on the War Path” from Dennis the Menace #21 (Mar. 1957) • “HFairy Tale” from Dennis the Menace #70 (Jan. 1964)

J o h n Tr u m b u l l

Marvel Comics had journeyed through multiple worlds since 1961, but by 1982 it was dealing with uncharted territory: the direct sales market. As Steven Grant explained in Marvel’s first special edition reprint, “Earlier [in 1982], Marvel began considering new formats and methods of distribution for Marvel. The magazine EPIC was doing well, and editor-in-chief Jim Shooter, V.P. Michael Hobson, and direct sales manager Mike Friedrich were looking for projects to further explore these new markets. For such projects, they needed top-quality material that would attract a lot of attention.” One of these projects was a new series of reprints on Baxter paper. [Author’s note: See Back Issue #81 for information on DC’s deluxe reprint series.] Then-Marvel executive editor Tom DeFalco clarifies: “In those days, you could only read the old stories in reprints or by finding a store that sold back issues. A lot of comics were still being thrown away once they’d been read—an idea that seems like heresy today, but was quite common then. We would often sit around the Bullpen and discuss our favorite stories—stories that held some emotional significance to us— [that] deserved to be back in print in a nice format.” Marvel editor Al Milgrom described the format’s specifics in Warlock #1 (Dec. 1982): “With the recent astronomical growth of [the direct sales market], Marvel is able to do something we never could before, namely produce comics with a smaller print run, a higher cover price and much better production values. The paper quality and printing of these publications far surpasses the usual comics seen on newsstands. The color is much more vivid, the reproduction much sharper, truer to the original art.” As Milgrom remembers today, “Every year, Jim Shooter and the editors would get together and create the budget. And it wasn’t what you’d think. It wasn’t like, ‘Here’s what we’re going to be able to spend this year.’ It was more a matter of projecting what they were going to publish that year and then trying to figure out other things they might want to try to do in order to make the most possible money for the year, because the owners of Marvel wanted their earnings to go up every year. And so if the book sales weren’t increasing, or even if they were, they were always looking for other projects. ‘Well, shall we create six new titles this year? Should we do some reprints this year?’ And then they would ask for suggestions about what material they thought we could do.” As it turned out, a little-seen book by the popular X-Men team of Chris Claremont, John Byrne, and Terry Austin would make the perfect test case.

STAR-LORD, THE SPECIAL EDITION #1 (Feb. 1982) As a science-fiction feature, Star-Lord had just missed its window. In 1977, Star Wars became a phenomenon for moviegoers and comic readers alike—but Marvel Preview #11’s revival of Star-Lord hit the stands three months before space opera became all the rage. Although the spacefaring Peter Quill is world-famous today thanks to 2014’s Guardians of the Galaxy movie, he was an obscurity in 1977—and 1982. Penciler John Byrne admitted on his forum Byrnerobotics.com in 2008, “I’d not even heard of the character before Chris asked me to do it. And any interest I had kind of petered out four or five pages before the end of the story.” Consequently, Byrne declined to do any new artwork for the reprint. Penciler Michael Golden replaced Byrne for a new framing sequence, and Glynis Wein colored the entire story for the first time. Unfortunately, the new coloring, combined with the zip-a-tone effects from Marvel Preview #11, made Star-Lord’s art appear murky. Inker Terry Austin tells the full story: “Glynis was a wonderful colorist whose work I personally miss; she did the best job that she could. The tragedy was that [original editor] Archie Goodwin had the foresight to see that Marvel would want to reprint the job in color someday, so,

Interstellar Launch Marvel’s deluxe reprint line started with Star-Lord, The Special Edition #1 (Feb. 1982). Here’s its back cover, illustrated by Terry Austin, who also drew its front cover. TM & © Marvel Characters, Inc.

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before I started inking the pages, he asked me to come up to the office of strong central figure of our hero surrounded by exciting, action-packed scenes from the story. I scribbled a penciled layout for approval on the every time that I had six or eight pages inked and have the pages statted before adding the zip-a-tone. So, once a week or so, I’d schlep up [to spot, as I only had a day or two to produce the finished art, and rushed home to pencil and ink it as fast as I could. Under the circumstances, Marvel] and wait around while the guys in the stat room would shoot the it’s not a bad cover considering what I was capable of at the time.” pages and then schlep back down to Continuity [Associates art studio], where I would spend the next several days adding the gray tones on the originals by cutting zip-a-tone with a single-edged razor blade. WARLOCK SPECIAL EDITION #1–6 (Dec. 1982–May 1983) When Star-Lord proved to be a success, Marvel began reprinting more Naturally, when Marvel eventually contacted me about the color titles from their 20-year history. Next up was another spaceman reprint, I informed them that there was a complete set of stats of the mid-’70s, Adam Warlock. The six-part Warlock miniseries without the tones somewhere in the office. They denied presented the golden-skinned hero struggling against any knowledge of them or their whereabouts, and, as Thanos, the Star-Thief, the Universal Church of Truth, Archie Goodwin was no longer with the company, and his own evil future self, the Magus, in stories from there didn’t seem to be any way to track them down. Strange Tales and Warlock. As editor Al Milgrom So, I wasted a lot of time walking back and forth to recalls, “There wasn’t much to do on them. Some Marvel and waiting for stats to be made so that they would kind of use the original coloring but just did it wouldn’t be available years later when needed to put on the better paper. Mainly, it was just a matter of out a quality product … such a shame!” getting them ready to go to press and, of course, On the new framing sequence, Austin states, “Mike doing my little Editori-Als for the inside front cover.” Golden had no real creative interest in the project since Original writer/artist/colorist Jim Starlin did new he hadn’t been involved in the original story, so he covers, splash pages, and pinups for the series. knocked out some quick layouts which I was given to hurriedly finish. I can’t say whether it enhanced the ROBERT E. HOWARD’S CONAN THE terry austin story any, but it accomplished its intended purpose, BARBARIAN #1 (1983) which was to add value to a rushed-out reprint meant Courtesy Inkwell Awards. “Red Nails,” one of Robert E. Howard’s best-regarded to capitalize on the popularity of the Claremont/Byrne/Austin team and novellas of Conan, had been adapted by Roy Thomas and Barry Smith in enhance Marvel’s profits for that particular fiscal quarter. the black-and-white magazine Savage Tales #2–3 (Oct. 1973–Feb. 1974). “Since John had declined to participate in the project, I was asked The two issues were collected in color in a 64-page one-shot in 1983. to produce a cover that was, in effect, ‘the poster for STAR-LORD: THE The text feature “Wind Chimes in Hyboria” by Alan Zelenetz ran in the MOVIE.’ I was told that the way to accomplish this was to have some sort inside front and back covers.

DOCTOR STRANGE/SILVER DAGGER #1 (Feb. 1983) In Steve Englehart and Frank Brunner’s four-issue saga from Dr. Strange #1–5 (June–Dec. 1974), the Sorcerer Supreme faced off against a mad cleric who trapped him in the Orb of Agamotto. Dr. Strange #3 (Sept. 1974) was not included in this collection, as it reprinted Strange Tales #126–127 (Nov.–Dec. 1964). Reprint editor Al Milgrom recalls this edition creating conflict with original artist Frank Brunner. “When they decided to do these reprints, they were paying the artists a premium rate for the covers,” Milgrom explains. “I think maybe it was $1000 for the cover. That would’ve been a generous rate for the time. I contacted Frank, and I said, ‘Frank, we’re doing these reprints of your Dr. Strange stuff, and I’ve love to have you do a cover, and it pays $1000.’ He had not worked for Marvel for a while. I said, ‘You’d have to sign this [work-for-hire] documentation.’ And he got real mad at me. We were kind of friendly, so I was a little shocked. He said, ‘No, I’m not signing that! It’ll mean I’m giving up all my rights to the Dr. Strange stuff I did.’ And I said, ‘Well, look, I’m sorry you feel that way, but it’s not like you own Dr. Strange. Marvel owns Dr. Strange. You might argue that Lee and Ditko have some claim to the character, but you don’t.’ And I saw in an interview in some fanzine, he said that I’d offered him a bribe to do covers for this stuff! I had not bribed him. I was an editor, I offered him a job, and it paid well for its time. And to this day, I don’t see [Brunner] owning Dr. Strange. So to me, it seems pretty much of a moot point. But whatever. He stuck to his principles, and we got a lovely Bernie Wrightson cover instead.”

SPECIAL EDITION X-MEN #1 (Feb. 1983) Special Edition X-Men #1 reprinted the first appearance of the “All-New, All-Different” X-Men from 1975’s Giant-Size X-Men #1, with Cyclops recruiting Nightcrawler, Wolverine, Banshee, Storm, Sunfire, Colossus, and Thunderbird to rescue the original team of Angel, Iceman, and Marvel Girl, with later add-ons Havok and Polaris. X-artist Dave Cockrum

Warlock by Starlin Wraparound cover art by Jim Starlin for (top) Warlock #1 and (bottom), in original art form, Warlock #3. Original art courtesy of Heritage Comics Auctions (www.ha.com). TM & © Marvel Characters, Inc.

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The Wright(son) Stuff (top) Bernie Wrightson stepped in to produce this spellbinding wraparound cover for Doctor Strange/Silver Dagger #1 (Feb. 1983), which collected an epic storyline by Steve Englehart and Frank Brunner. Original cover art courtesy of Heritage. (bottom) Wraparound covers to issue #1 and 2 of Moon Knight Special Edition, stunningly illo’ed by Bill Sienkiewicz. TM & © Marvel Characters, Inc.

drew a new wraparound cover of the GSXM lineup, as well as a pinup of the current team (which eventually became the cover of BACK ISSUE #29). Claremont and Cockrum authored a 12-page backup with Kitty Pryde giving Illyana Rasputin a tour of the X-Mansion, culminating in a surprise 14th birthday for Kitty. According to Claremont, this story gave the basics on the X-Men for anyone who’d never read the title before.

THE KREE–SKRULL WAR STARRING THE AVENGERS #1–2 (Sept.–Oct. 1983) This classic cosmic saga by Roy Thomas, Neal Adams, and others depicted Earth’s Mightiest Heroes caught in the middle of an interstellar war. The two-issue Kree–Skrull War largely ignored any non-Adams material, skipping the Sal Buscema-penciled Avengers #89–92 (June–Sept. 1971) entirely and starting with Adams’ first issue, Avengers #93 (Nov. 1971), instead. A seven-page prologue by Alan Zelenetz, Walt Simonson, and Tom Palmer summarized the missing issues. Writer Roy Thomas was not consulted on these changes, as he was then working for DC Comics. Thomas tells BACK ISSUE, “I was not happy [they] omitted Sal Buscema’s and my lead-in material … but otherwise no complaints or compliments.” While he doesn’t recall the specifics of this decision, reprint editor Bob Budiansky speculates, “Neal Adams was a fan-favorite artist and the Kree–Skrull War storyline was considered a classic Avengers story, so the thinking was to focus on the Adams-drawn chapters bill sienkiewicz and, by necessity, the John Buscema concluding story. Including the Sal Buscema-drawn stories would have increased page count and increased the [cover] price of the reprint; perhaps the calculation at the time was a higher price would have hurt sales, hence it was better to leave out the first parts of the story.” Budiansky penciled issue #2’s cover himself for Tom Palmer to ink. “I’m guessing neither Neal Adams nor John Buscema were available at the time,” Budiansky says today. “So I probably drew it myself as an act of desperation—someone had to do it! Since Marvel editors weren’t allowed to work for themselves, very probably Jim Shooter or executive editor Tom DeFalco asked me to draw the cover once it became clear that Neal and John were unavailable.”

Photo by Luigi Novi / Wikimedia Commons.

MOON KNIGHT SPECIAL EDITION #1–3 (Nov. 1983– Jan. 1984) Next up was the mercenary with multiple personalities, Moon Knight. These stories by Doug Moench and Bill Sienkiewicz in the direct sales Hulk magazine were more risqué than the typical Marvel fare, for which

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Steranko Showcases Jim Steranko’s groundbreaking work on (left) Nick Fury, Agent of S.H.I.E.L.D. and (right) Captain America received back-to-back two-issue Special Editions.

Beao / Wikimedia Commons.

artist Sienkiewicz was grateful: “I was glad I had a chance to cut my teeth on stories that were a bit more mature.” Editor Bob Budiansky says Moon Knight was reprinted because “Bill Sienkiewicz had become a fan-favorite artist in a few short years, and Marvel was trying to capitalize on that.” Although his art was more abstract by 1983, Sienkiewicz didn’t mind seeing his earlier work back in print. “Like any work that is done at the earlier portions of a career, one has to make peace with the growth and changes in style, abilities, and outlook that come with—if not maturity—then with simply getting older,” Sienkiewicz says. “Maturity and physical age are not synonymous. So I took it as ‘of a piece.’ ” Sienkiewicz points out that he wasn’t the only artistic breakthrough on Moon Knight: “It also happened to be the [Marvel] debut of Steve Oliff as colorist. So Moon Knight basically launched two careers at the same time.” Moon Knight Special Edition’s three issues included new wraparound covers with a seven-page portfolio of the series’ characters in the first issue. What was it like doing new pieces for a book he’d only just left in 1984? Sienkiewicz answers, “It was a version of old-home week. That’s a good way to put it.”

X-MEN CLASSICS #1–3 (Dec. 1983–Feb. 1984) As the Thomas/Adams/Palmer Kree–Skrull War had already been reprinted, naturally the trio’s 1969 X-Men run followed soon after. Once again, the emphasis was clearly on Neal Adams. The three-issue X-Men Classics did not include issues #56 (the climax of the Living Monolith story), 64 (the debut of Sunfire, with art by Don Heck and Tom Palmer), 65 (the return of Professor X, where Adams’ art was retouched by others), or 66 (the Sal Buscema-drawn battle with the Hulk). To make everything fit into three double-sized books, the stories from both X-Men #59 and 61 were split between issues. New first pages were drawn by cover artists Mike Zeck and Tom Palmer to make the halves flow as smoothly as possible (confused yet, True Believers?). Today, neither of the reprint editors, Carl Potts and Ann Nocenti, can recall much about the decisions—and omissions—that went into X-Men Classics. Original writer Roy Thomas merely says, “Yeah, the X-Men reprints were rather poorly done, given the late day.” Fortunately, this run would see more complete reprintings in the years to come.

frank miller

MICRONAUTS SPECIAL EDITION #1–5 (Dec. 1983–Apr. 1984) Next was 1979’s Micronauts, by writer Bill Mantlo and artist Michael Golden. As Al Milgrom tells BACK ISSUE, “Bill was a trooper. He would do anything we asked him to do. He actually brought that to Marvel. He said, ‘My daughter loves playing with these Micronauts toys. Maybe we should do a comic based on that.’ That was an interesting licensing job, because half the characters were based on the toys from Mego, and half of them were original characters that Bill created for the strip. [Author’s note: For an in-depth look at the Micronauts series, see BACK ISSUE #76.] Bob Budiansky edited the first issue, with Michael Higgins doing the remaining four. Budiansky clarifies, “Michael Higgins was my assistant editor at that time. It was common for reprint projects to be handled by assistant editors back then.”

A Dark Night in New York From the Heritage archives, cover art by Frank Miller for the one-shot Spider-Man and Daredevil Special Edition. TM & © Marvel Characters, Inc.

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NICK FURY, AGENT OF S.H.I.E.L.D. #1–2 (Dec. 1983–Jan. 1984) Swinging ’60s spy action came via reprints of Jim Steranko’s classic run on Nick Fury, Agent of S.H.I.E.L.D., with the spymaster combating the evil Scorpio. The Nick Fury thriller “Today Earth Died!” from Strange Tales #168 (May 1968) was split across the two issues as a backup. Editor Tom DeFalco had no trepidation about getting

He Cast a Spell on Fandom From Doctor Strange Classics #3, a pinup by Art Adams, then an emerging fan-favorite. Original art courtesy of Heritage. TM & © Marvel Characters, Inc.

Steranko to do a new cover for issue #1: “Jim was and still is a dream to work with. He is a total professional and a good friend. I just called him up and he agreed to do the cover.”

CAPTAIN AMERICA SPECIAL EDITION #1–2 (Feb.–Mar. 1984) The Steranko fun continued with a repackaging of his three-issue stint on 1969’s Captain America #110, 112–113 (Cap co-creator Jack Kirby filled in for issue #111). These tales had Rick Jones becoming the new Bucky to battle the forces of Hydra and Captain America restoring his secret identity of Steve Rogers. Steranko backups came from such unlikely places as Not Brand Echh and Our Love Story, along with a Captain America cameo from Strange Tales #159’s Nick Fury feature.

SPIDER-MAN AND DAREDEVIL SPECIAL EDITION #1 (Mar. 1984) Frank Miller was red-hot in 1984, and his Daredevil tryout from Peter Parker, the Spectacular Spider-Man #27–28 (Feb.–Mar. 1979) fetched high prices on the collector’s market. Spider-Man and Daredevil Special Edition offered both issues in a single affordable issue for curious readers. Bill Mantlo’s story had the Man without Fear helping Spider-Man through a temporary bout of blindness. Four new pages by Mantlo, Mark Bright, and Vince Colletta summarized the story so far, along with a text summary resolving the final cliffhanger. Although Miller was too busy to do new pages, he did contribute new front and back covers. A collection of early Miller covers rounded out the issue. Miller offered other pinups to include, but they couldn’t be located before press time.

DOCTOR STRANGE CLASSICS #1–4 (Mar.–June 1984) The four-part Doctor Strange Classics presented the serialized Strange Tales #130–141 (Mar. 1965–Feb. 1966) by the feature’s original creative team of Stan Lee and Steve Ditko. It followed the Master of the Mystic Arts on a fast-paced, globetrotting adventure, eventually bringing him face-to-face with Eternity himself. The storyline served as a last hurrah for the Lee/Ditko team—Lee turned the scripting over to others after only one more issue, and Ditko was gone by #147. John Byrne and Al Milgrom, doing their best Ditko pastiches, turned in four wraparound covers. Issue #1 atypically Miller put Daredevil’s various Elektra sequences into had inker Milgrom’s signature appearing before penciler chronological order, re-arranging some panels, rewriting Byrne’s, which Milgrom takes full responsibility for. and retouching others, even creating entirely new pages. “That was my fault. My only excuse is I either wished It was a lot of work for a reprint, but Miller’s idea paid it could have been my pencils or I was running on off—what had been isolated scenes starring Elektra very little sleep.” Dr. Strange writer Roger Stern became a complete story. Denny O’Neil was clearly suggested some edits to issue #4 to prevent the impressed in his afterword: “For me, it has been an series ending on a cliffhanger. educational project to edit. I’m astonished at how much All four issues featured bonus pinups by modern Frank’s change of emphasis alters my response to the Marvel artists. Pinup artist Carl Potts shares a tantalizing basic narrative—valuable information for a writer-editor story regarding Ditko and the doctor: “Several years to have, and a possible tool for the future.” later, I was talking to Ditko when he was visiting the Marvel offices. He mentioned that, when he quit carl potts PHOENIX: THE UNTOLD STORY #1 Marvel in the ’60s, he’d already plotted and penciled (Apr. 1984) two more installments of Dr. Strange for Strange Tales. Marvel’s next Special Edition had also been significantly He did not deliver them or voucher for them when he quit. I begged reworked, but for very different reasons. Phoenix: The Untold Story him to let me see the work, but he refused.” reprinted X-Men #137 (Sept. 1980) only to a point—it presented the Like any great magician, Steve Ditko left his audience wanting more. original version, where Jean Grey survived. In 1980, founding X-Man Jean Grey’s powers grew beyond her THE ELEKTRA SAGA #1–4 (Feb.–May 1984) The Elektra Saga featured the assassin who was Matt Murdock’s long- ability to control. Transforming into Dark Phoenix, the now-evil lost love in Frank Miller’s Daredevil run. As editor Dennis O’Neil wrote in Jean consumed a star, killing five billion aliens. Issue #137 was to end with the alien Shi’ar removing Jean’s mutant powers, leaving her a normal— Book Four of the miniseries, he and Miller wanted to “rescue her from being a supporting character in a magazine bearing another character’s but traumatized—human being. While editor-in-chief Jim Shooter was name and present her, pure, to an audience that might appreciate her. in favor of a long-standing Marvel hero becoming a villain, he disliked After an hour’s discussion, Frank convinced me that he could extract this resolution. Feeling that Dark Phoenix deserved more punishment, the Elektra story from the larger continuity it was embedded in and, Shooter demanded a new ending, and fast. As Chris Claremont recalled in “The Dark Phoenix Tapes,” a roundwith some additions and a little rewriting and a lot of restructuring, table discussion published in The Untold Story: “We had, basically 24 it would stand by itself.” Marvel Bronze Age Giants and Reprints

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Story Mutations An example of revisions between Uncanny X-Men #137 and Phoenix: The Untold Story: Is Cyclops talking to Angel or Gladiator? TM & © Marvel Characters, Inc.

hours, 36 hours to think up [a new ending] because John only had three days in his schedule to pencil it. There was no time to do anything else and there was no space. We couldn’t delay it for an extra month, because of commitments to the distributors, to the direct sale market…” Limited in their options, Claremont and Byrne opted to kill off Jean Grey in the final six pages of #137. The Untold Story also restored the original dialogue to many scenes, revealing new personal thoughts for the X-Men, who were more preoccupied with Dark Phoenix in the final version. An X-Men #137 panel with Cyclops and Angel became Cyclops wishing luck to his opponent Gladiator. Also included was the newly finished splash page to #138, a romantic moment between Scott Summers and Jean Grey that starkly contrasted the funeral scene of the final version. Terry Austin says inking the last pages of X-Men #137 “was somewhat bittersweet since I was finally getting a chance to do my job, albeit four years late, and it had now become a sort of Imaginary Story (to use a popular DC term from my childhood). I had already seen the penciled pages when John had originally done them and again when he gave the originals away to a friend of his in Florida. The guy was kind enough to return them so that they could be finished and printed in The Untold Story. It was almost as if the pages had gotten lost in the mail for several years and finally turned up for me to be able to do my thing.” Although the original ending was finally revealed to the world, the 12-page “The Dark Phoenix Tapes” might be even more fascinating. The roundtable discussion with Chris Claremont, John Byrne, Terry Austin, Jim Shooter, and original editors Jim Salicrup and Louise Jones provides a glimpse into the inner workings of Marvel Comics in the early 1980s. Highlights include Shooter declaring the death of Phoenix to be “irrevocable” and Byrne teasing a Jean Grey resurrection two years early. For his part, Claremont said: “You know, I kinda look at everything up to the re-done six pages as a first draft. And, I think the advantages of the original printed version is that it was a second draft—that I had a moment to go back and look at the script and what we rarely have a chance to do in comics—actually think about what you’ve written and look at it impartially, which there almost never is any time to do.”

FANTASTIC FOUR SPECIAL EDITION #1 (May 1984) This one-shot presented the story “Sub-Mariner versus the Human Race!” from 1963’s Fantastic Four Annual #1, in which Prince Namor reunites with Atlantis and invades the surface world. FF writer/artist John Byrne expanded Lee and Kirby’s one-page Sub-Mariner origin to a full five pages, incorporating details such as Namor’s wartime service in the Invaders and his return in Fantastic Four #4 (May 1962). According to reprint editor Tom DeFalco, the Byrne pages were done “to give the readers some added value and an additional reason to buy the reprint. FF Annual #1 held special significance to those of us who read the early Marvels. It was

the resolution of a major storyline and the beginning of a new chapter in the lives of the FF and the Sub-Mariner.” In homage to those early Annuals, Byrne drew five bonus pinups of the FF and the Sub-Mariner.

THE LIFE OF CAPTAIN MARVEL #1–5 (Aug.–Dec. 1985) Marvel’s last Baxter reprint was The Life of Captain Marvel, a fiveissue miniseries featuring the now-deceased Kree Captain Mar-Vell. These stories by Jim Starlin showed the hero’s first battles with Thanos from Captain Marvel #25–34 (Mar. 1973–Sept. 1974). Along the way, Captain Marvel gained cosmic awareness, sparkly flight trails a la the competition’s Captain Atom, and a new outlook on life. The fifth issue concluded with Mar-Vell’s defeat of Nitro, which indirectly led to Mar-Vell’s death in 1982’s The Death of Captain Marvel graphic novel. Issue #4’s cutaway map of Titan caused editor Al Milgrom extra grief. One caption read “Titan, Population Before Thanos: 114,” followed by “Titan, Population After Thanos: 35,630.” But as Milgrom tells BACK ISSUE, “It was supposed to read just ‘3.’ Because who were the survivors? Thanos, Mentor, and Eros. But apparently some wise guy in the production department decided to make a joke out it, like Thanos had been screwing the population into a population explosion. It was one of those things where I probably didn’t do a thorough proofreading job, or else they didn’t realize what the joke was supposed to be. It was supposed to point out that he’d wiped out virtually the entire population of his home planet. Instead, it sounded like our Thanos had been a busy, busy boy. That was definitely a practical joke misprint, and the actual number should’ve been just ‘3.’ ”

WAR ON THE INDEPENDENTS? A prevalent fan theory about Marvel’s 1980s reprint program is that it was partly meant to crowd out independent publishers from the comics racks. According to Marvel’s editors, this wasn’t the case. Carl Potts states, “As a new line editor at Marvel, all conversations I participated in or heard regarding sales and marketing strategies were based on selling Marvel’s publications on their own merits, not as an attempt to somehow screw over competitors. If there were discussions at Marvel about denying shelf space, they did not reach my ears.” Tom DeFalco concurs with Potts: “I’ve heard the same rumors, but there is no truth to them. Marvel barely paid any attention to DC in those days, and didn’t really take any real notice of the independents. Besides, we only did a handful of deluxe reprints—maybe a dozen or so in the course of a year. I doubt they took up all that much shelf space away from the independents. I think the rumors started because some independent publishers were looking for excuses to explain why their titles didn’t sell and Marvel was always a big target.” Marvel’s Special Editions ran their course by the mid-’80s, replaced by more comprehensive collections like the Marvel Masterworks line. When asked if there’s anything he wanted included in the Baxter reprints that wasn’t, Bob Budiansky provides some perspective. “Let me put your question in context—you’re asking me to remember what I was thinking 30 years ago about which books from even longer ago that Marvel should have reprinted. I barely remember what I was thinking about yesterday!” JOHN TRUMBULL thanks everyone he interviewed for this article, even if they didn’t remember. Special thanks to Terry Austin, Bob Budiansky, Tom DeFalco, Al Milgrom, Carl Potts, Bill Sienkiewicz, Roger Stern, and Roy Thomas.

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CAPTAIN AMERICA SPECIAL EDITION #1 Feb. 1984 Cover artist: Jim Steranko Editor: Jim Salicrup Special feature: Introduction by Jim Salicrup Reprints: • Captain America in “No Longer Alone!” from Captain America #110 (Feb. 1969) • Captain America in “Tomorrow You Live, Tonight I Die!” from Captain America #111 (Mar. 1969) • “At The Stroke of Midnight!” from Tower of Shadows #1 (Sept. 1969) CAPTAIN AMERICA SPECIAL EDITION #2 Mar. 1984 Cover artist: Jim Steranko Editor: Jim Salicrup Special feature: Introduction by Jim Salicrup Reprints: • Captain America in “The Strange Death of Captain America” from Captain America #113 (May 1969) • “Dark Moon Rise, Heck Hound Hurt!” from Not Brand Echh #11 (Dec. 1968) • “My Heart Broke in Hollywood!” from Our Love Story #5 (June 1970) • Nick Fury and Captain America in “Spy School!” from Strange Tales #159 (Aug. 1967) DOCTOR STRANGE CLASSICS #1 Mar. 1984 Cover artists: John Byrne and Al Milgrom Editor: Ann Nocenti Special features: Introduction by Stan Lee; pinups by Kevin Nowlan, Jay Muth, and Carl Potts Reprints: • Dr. Strange in “The Defeat of Dr. Strange” from Strange Tales #130 (Mar. 1965) • Dr. Strange in “The Hunter and the Hunted!” from Strange Tales #131 (Apr. 1965) • Dr. Strange in “Face-To-Face At Last with Baron Mordo!” from Strange Tales #132 (May 1965) DOCTOR STRANGE CLASSICS #2 Apr. 1984 Cover artists: John Byrne and Al Milgrom Editor: Ann Nocenti Special features: Introduction by Roger Stern; pinups by Tony Salmons, Al Milgrom, and Dan Green Reprints: • Dr. Strange in “A Nameless Land, A Timeless Time!” from Strange Tales #133 (June 1965) • Dr. Strange in “Earth Be My Battleground” from Strange Tales #134 (July 1965) • Dr. Strange in “Eternity Beckons!” from Strange Tales #135 (Aug. 1965) DOCTOR STRANGE CLASSICS #3 May 1984 Cover artists: John Byrne and Al Milgrom Editor: Ann Nocenti Special features: Pinups by Arthur Adams, Bill Sienkiewicz, and Craig Russell Reprints: • Dr. Strange in “What Lurks Beneath the Mask?” from Strange Tales #136 (Sept. 1965) • Dr. Strange in “When Meet the Mystic Minds!” from Strange Tales #137 (Oct. 1965) • Dr. Strange in “If Eternity Should Fail!” from Strange Tales #138 (Nov. 1965) DOCTOR STRANGE CLASSICS #4 June 1984 Cover artists: John Byrne and Al Milgrom Editor: Ann Nocenti Special features: Pinups by Michael Golden, Arthur Adams, and Steve Leialoha Reprints: • Dr. Strange in “Beware…! Dormammu is Watching!” from Strange Tales #139 (Dec. 1965)

• Dr. Strange in “The Pincers of Power!” from Strange Tales #140 (Jan. 1966) • Dr. Strange in “Let There Be Victory!” from Strange Tales #141 (Feb. 1966) DOCTOR STRANGE/SILVER DAGGER #1 Feb. 1983 Cover artist: Bernie Wrightson Editor: Al Milgrom Special features: Cover gallery; Dr. Strange pinup by Frank Brunner Reprints: • Dr. Strange in “Through an Orb Darkly” from Doctor Strange #1 (June 1974) • Dr. Strange in “A Separate Reality” from Doctor Strange #2 (Aug. 1974) • Dr. Strange in “…Where Bound’ries … Decay” from Doctor Strange #4 (Oct. 1974) • Dr. Strange in “Cloak and Dagger” from Doctor Strange #5 (Dec. 1974) THE ELEKTRA SAGA #1 Feb. 1984 Cover artist: Frank Miller Editor: Denny O’Neil Special feature: Spot illustrations by Frank Miller New story: • “The Wall: Book One of Four” [new material on pgs. 22–26] Reprints: • Elektra in excerpts from Daredevil #168 (Jan. 1981), Daredevil #190 (Jan. 1983), and Bizarre Adventures #28 (Oct. 1981) THE ELEKTRA SAGA #2 Mar. 1984 Cover artist: Frank Miller Editor: Denny O’Neil Special feature: Spot illustrations by Frank Miller; “Frank Miller Said” by Mike W. Barr New story: • “The Gantlet: Book Two of Four” Reprints: • Elektra in excerpts from Daredevil #174 (Sept. 1981), Daredevil #175 (Oct. 1981), and Daredevil #176 (Nov. 1981) THE ELEKTRA SAGA #3 Apr. 1984 Cover artist: Frank Miller Editor: Denny O’Neil Special features: Spot illustrations by Frank Miller; text piece by Jo Duffy New story: • “Last Hand: Book Three of Four” Reprints: • Elektra in excerpts from Daredevil #177 (Dec. 1981), Daredevil #178 (Jan. 1982), Daredevil #179 (Feb. 1982), Daredevil #180 (Mar. 1982), and Daredevil #181 (Apr. 1982), THE ELEKTRA SAGA #4 May 1984 Cover artist: Frank Miller Editor: Denny O’Neil Special feature: Spot illustrations by Frank Miller; text piece by Denny O’Neil New story: • “Resurrection: Book Four of Four” Reprints: • Elektra in excerpts from Daredevil #182 (May 1982), Daredevil #187 (Oct. 1982), Daredevil #188 (Nov. 1982), Daredevil #189 (Dec. 1982), and Daredevil #190 (Jan. 1983) FANTASTIC FOUR SPECIAL EDITION #1 May 1984 Cover artist: John Byrne Editor: Tom DeFalco Special feature: Fantastic Four pinup pages by John Byrne

New story pages: • The Sub-Mariner in “[The Origin of the Sub-Mariner]” by John Byrne [5 pages] Reprints: • Fantastic Four in “Sub-Mariner versus the Human Race!” from Fantastic Four Annual #1 (1963)

• Captain Marvel in “…To Be Free from Control!” from Captain Marvel #30 (Jan. 1974) • Iron Man and the Thing in “The Bite of the Blood Brothers!” from Marvel Feature #12 (Nov. 1973)

THE KREE–SKRULL WAR STARRING THE AVENGERS #1 Sept. 1983 Cover artists: Walt Simonson and Tom Palmer Editor: Bob Budiansky Special feature: “From Beyond the Galaxy to within These Pages” by Alan Zelenetz New story pages: • “Prologue” summarizing Avengers #89–92 Reprints: • The Avengers in “This Beachhead Earth,” “A Journey to the Center of the Android!”, and “War of the Weirds!” from Avengers #93 (Nov. 1971) • The Avengers in “More Than Inhuman!”, “1971: A Space Odyssey,” and “Behold the Mandroids!” from Avengers #94 (Dec. 1971)

THE LIFE OF CAPTAIN MARVEL #4 Nov. 1985 Cover artist: Jim Starlin Editor: Al Milgrom Special features: “Captain Marv-Al” 1-page cartoon; “Everything You Always Wanted to Know About Titan But Were Afraid to Ask”; cover gallery Reprints: • Iron Man and the Thing in “The Bite of the Blood Brothers! [Part 2]” from Marvel Feature #12 (Nov. 1973) • Moondragon in “Moondragon” from Daredevil #105 (Nov. 1973) • Captain Marvel and the Avengers in “The Beginning of the End!” from Captain Marvel #31 (Mar. 1974) • Captain Marvel and the Avengers in “Thanos the Insane God!” from Captain Marvel #32 (May 1974)

THE KREE–SKRULL WAR STARRING THE AVENGERS #2 Oct. 1983 Cover artists: Bob Budiansky and Tom Palmer Editor: Bob Budiansky Reprints: • The Avengers in “Something Inhuman This Way Comes…!” from Avengers #95 (Jan. 1972) • The Avengers in “The Andromeda Swarm!” from Avengers #96 (Feb. 1972) • The Avengers in “Godhood’s End!” from Avengers #97 (Mar. 1972)

THE LIFE OF CAPTAIN MARVEL #5 Dec. 1985 Cover artist: Jim Starlin Editor: Al Milgrom Special features: “Captain Marv-Al” 1-page cartoon; cover gallery Reprints: • Captain Marvel and the Avengers in “Thanos the Insane God! [Part 2]” from Captain Marvel #32 (May 1974) • Captain Marvel in “The God Himself!” from Captain Marvel #33 (July 1974) • Captain Marvel in “Blown Away!” from Captain Marvel #34 (Sept. 1974)

THE LIFE OF CAPTAIN MARVEL #1 Aug. 1985 Cover artist: Jim Starlin Editor: Al Milgrom Special features: “Captain Marv-Al” 1-page cartoon Reprints: • Iron Man in “Beware the … Blood Brothers!” from Iron Man #55 (Feb. 1973) • Captain Marvel in “A Taste of Madness!” from Captain Marvel #25 (Mar. 1973) • Captain Marvel and the Thing in “Betrayal!” from Captain Marvel #26 (May 1973)

MICRONAUTS SPECIAL EDITION #1 Dec. 1983 Cover artists: Butch Guice and Joe Rubinstein Editor: Bob Budiansky Special features: “Infinitesim-Al” 1-page cartoon; “Meet: The Micronauts” 1-page filler; cover gallery; Baron Karza bonus poster Reprints: • The Micronauts in “Chapter 1: Homeworld!” “Chapter 2: Homecoming” and “Chapter 3: Escape!” from Micronauts #1 (Jan. 1979) • The Micronauts in “Earth!” from Micronauts #2 (Feb. 1979) • The Micronauts in “Death-Duel at Daytona Beach!” from Micronauts #3 (Mar. 1979)

THE LIFE OF CAPTAIN MARVEL #2 Sept. 1985 Cover artist: Jim Starlin Editor: Al Milgrom Special features: “Captain Marv-Al” 1-page cartoon; cover gallery Reprints: • Captain Marvel and the Thing in “Betrayal! [Part 2]” from Captain Marvel #26 (May 1973) • Captain Marvel in “Trapped on Titan!” from Captain Marvel #27 (July 1973) • Captain Marvel in “When Titans Collide!” and “A Clash of Titans!” from Captain Marvel #28 (Sept. 1973) THE LIFE OF CAPTAIN MARVEL #3 Oct. 1985 Cover artist: Jim Starlin Editor: Al Milgrom Special features: “Captain Marv-Al” 1-page cartoon; cover gallery Reprints: • Captain Marvel in “…Mind Slave!” and “Prologue” from Captain Marvel #28 (Sept. 1973) • Captain Marvel in “Metamorphosis!” from Captain Marvel #29 (Nov. 1973)

MICRONAUTS SPECIAL EDITION #2 Jan. 1984 Cover artists: Butch Guice and Joe Rubinstein Editor: Michael Higgins Special features: “The Creation of the Micronauts: A Confession” 1-page text feature by Bill Mantlo; new splash page by Butch Guice; “Map of Homeworld” 2-page filler; cover gallery Reprints: • The Micronauts in “Death-Duel at Daytona Beach! [Part Two]” from Micronauts #3 (Mar. 1979) • The Micronauts in “A Hunting We Will Go!” from Micronauts #4 (Apr. 1979) • The Micronauts in “The Prometheus Pit!” from Micronauts #5 (May 1979) MICRONAUTS SPECIAL EDITION #3 Feb. 1984 Cover artists: Butch Guice and Joe Rubinstein Editor: Michael Higgins

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Special features: “Bringing a Microverse Into Being” 1-page text feature by Bill Mantlo; cover gallery; Endeavor pinup page Reprints: • The Micronauts in “The Great Escapes” from Micronauts #6 (June 1979) • The Micronauts in “Adventure Into Fear!” from Micronauts #7 (July 1979) • The Micronauts in “Earth Wars!” from Micronauts #8 (Aug. 1979) MICRONAUTS SPECIAL EDITION #4 Mar. 1984 Cover artists: Butch Guice and Al Milgrom Editor: Michael Higgins Special features: “The Enigma of the Enigma Force” 1-page text feature by Bill Mantlo; cover gallery; Time Traveler bonus poster Reprints: • The Micronauts in “The Coming of Captain Universe” from Micronauts #8 (Aug. 1979) • The Micronauts in “Home is Where the Heart Is!” from Micronauts #9 (Sept. 1979) • The Micronauts in “Defeat!” from Micronauts #10 (Oct. 1979) MICRONAUTS SPECIAL EDITION #5 Apr. 1984 Cover artists: Butch Guice and Al Milgrom Editor: Michael Higgins Special features: “The Evolution of the Micronauts” 1-page text feature by Bill Mantlo; cover gallery Reprints: • The Micronauts in “We are the Enigma Force!” from Micronauts #11 (Nov. 1979) • The Micronauts in “To the Victors Belongs a World!” from Micronauts #12 (Dec. 1979) • “Inside the Homeworld Microchip Endeavor!” from Micronauts #23 (Nov. 1980) • “The Origin of—Baron Karza!” from Micronauts #25 (Jan. 1981) MOON KNIGHT SPECIAL EDITION #1 Nov. 1983 Cover artist: Bill Sienkiewicz Editor: Bob Budiansky Special feature: 7-page Moon Knight Portfolio by Bill Sienkiewicz Reprints: • Moon Knight in “The Big Blackmail” from The Hulk! #13 (Feb. 1979) • Moon Knight in “Countdown to Dark” from The Hulk! #14 (Apr. 1979) MOON KNIGHT SPECIAL EDITION #2 Dec. 1983 Cover artist: Bill Sienkiewicz Editor: Bob Budiansky Reprints: • Moon Knight in “An Eclipse, Waning” from The Hulk! #15 (June 1979) • Moon Knight in “An Eclipse, Waxing” from The Hulk! #15 (June 1979) • Moon Knight in “Nights Born Ten Years Gone” from The Hulk! #17 (Oct. 1979) and The Hulk! #18 (Dec. 1979) MOON KNIGHT SPECIAL EDITION #3 Jan. 1984 Cover artist: Bill Sienkiewicz Editor: Bob Budiansky Reprints: • Moon Knight in “A Long Way to Dawn” from The Hulk! #20 (Apr. 1980) • Moon Knight in “The Mind Thieves” from Marvel Preview #21 (Spring 1980) • Moon Knight in “Vipers” from Marvel Preview #21 (Spring 1980) NICK FURY, AGENT OF S.H.I.E.L.D. #1 Dec. 1983 Cover artist: Jim Steranko

Editor: Tom DeFalco Special feature: “A Few Words about Jim Steranko” 1-page text feature by Stan Lee Reprints: • Nick Fury in “Who Is Scorpio?” from Nick Fury, Agent of S.H.I.E.L.D. #1 (June 1968) • Nick Fury in “So Shall Ye Reap... Death!” from Nick Fury, Agent of S.H.I.E.L.D. #2 (July 1968) • Nick Fury in “Today Earth Died!” from Strange Tales #168 (May 1968) NICK FURY, AGENT OF S.H.I.E.L.D. #2 Jan. 1984 Cover artist: Jim Steranko Editor: Tom DeFalco Special features: “Why I Failed to Become a Super-Star My First Year at Marvel (a diatribe in praise of Jim Steranko by Archie Goodwin)” 1-page text article; Nick Fury entry from Official Handbook of the Marvel Universe Reprints: • Nick Fury in “Whatever Happened to Scorpio?” from Nick Fury, Agent of S.H.I.E.L.D. #5 (Oct. 1968) • Nick Fury in “Dark Moon Rise, Hell Hound Kill!” from Nick Fury, Agent of S.H.I.E.L.D. #3 (Aug. 1968) • Nick Fury in “Today Earth Died! [Part 2]” from Strange Tales #168 (May 1968) PHOENIX: THE UNTOLD STORY #1 Apr. 1984 Cover artists: John Byrne and Terry Austin Editor: Louise Jones Special features: “She’s Dead, Jim!” 1-page text feature by Jim Salicrup; “The Dark Phoenix Tapes” 12-page text feature; original splash page from Uncanny X-Men #138 New story pages: • Original ending of “The Fate of the Phoenix!” [5 pages] Reprints: • The X-Men in “The Fate of the Phoenix!” from Uncanny X-Men #137 (Sept. 1980) ROBERT E. HOWARD’S CONAN THE BARBARIAN #1 1983 Cover artist: Barry Windsor-Smith Editors: Larry Hama and James Owsley Special feature: “Wind Chimes in Hyboria” 2-page text articleby Alan Zelenetz Reprints: • Conan in “Red Nails” from Savage Tales #2 (Oct. 1973) • Conan in “The Lurker from the Catacombs” from Savage Tales #3 (Feb. 1974) • Conan in “He Comes from the Dark” from Savage Tales #3 (Feb. 1974) • “Cimmeria” from Savage Tales #2 (Oct. 1973) SPECIAL EDITION X-MEN #1 Feb. 1983 Cover artist: Dave Cockrum Editor: Louise Jones Special feature: X-Men pinup by Dave Cockrum New story: • Kitty Pryde in “A Day Like Any Other” Reprints: • The X-Men in “Second Genesis!” from Giant-Size X-Men #1 (May 1975) SPIDER-MAN AND DAREDEVIL SPECIAL EDITION #1 Mar. 1984 Cover artist: Frank Miller Editor: Jim Salicrup Special features: “Frank Miller’s Coming to Town!” 1-page text feature by Jim Salicrup; Frank Miller cover gallery

New story pages: • Recap of previous issues [4 pages] Reprints: • Spider-Man and Daredevil in “The Blind Leading the Blind” from Peter Parker, the Spectacular Spider-Man #27 (Feb. 1979) • Spider-Man and Daredevil in “Ashes to Ashes!” from Peter Parker, the Spectacular Spider-Man #28 (Mar. 1979) STAR-LORD, THE SPECIAL EDITION #1 Feb. 1982 Note: Indicia reads Starlord. Cover artist: Terry Austin Editor: Jim Salicrup Special features: “The Saga of Star-Lord” • 2-page text feature by Steven Grant New story pages: • Framing sequence [6 pages] Reprints: • Star-Lord in “1: Windhölme/ [2:] Cinnibar /3: Sparta/4: The Hollow Crown” from Marvel Preview #11 (Summer 1977) • The Doctor in “Spider-God” from Doctor Who Monthly #52 (May 1981) WARLOCK [SPECIAL EDITION] #1 Dec. 1982 Cover artist: Jim Starlin Editor: Al Milgrom Special features: 1-page editorial by Al Milgrom; Adam Warlock pinup by Jim Starlin Reprints: • Warlock in “Who Is Adam Warlock?” and “Enter the Magus!” from Strange Tales #178 (Feb. 1975) • Warlock in “Death Ship!” from Strange Tales #179 (Apr. 1975) • Warlock in “The Judgment!” from Strange Tales #180 (June 1975) WARLOCK [SPECIAL EDITION] #2 Jan. 1983 Cover artist: Jim Starlin Editor: Al Milgrom Special features: “Editorial-Al” 1-page editorial; cover gallery; Adam Warlock pinup by Jim Starlin Reprints: • Warlock in “The Trial of Adam Warlock” from Strange Tales #180 (June 1975) • Warlock in “1000 Clowns!” from Strange Tales #181 (Aug. 1975) • Warlock in “The Infinity Effect” from Warlock #9 (Oct. 1975) WARLOCK SPECIAL EDITION #3 Feb. 1983 Cover artist: Jim Starlin Editor: Al Milgrom Special feature: “Deaditorial-Al” 1-page editorial Reprints: • Warlock in “How Strange My Destiny! Part I, Chapter I: The Price!” “Chapter II: Who Is Thanos?” and “Chapter III: Enter the Redemption Principle!” from Warlock #10 (Dec. 1975) • Warlock in “How Strange My Destiny Part 2, Chapter 4: Escape Into The Inner Prison!” and “Chapter 5: The Strange Death of Adam Warlock!” from Warlock #11 (Feb. 1976) • Warlock in “A Trollish Tale!” [Part 1] from Warlock #12 (Apr. 1976) WARLOCK SPECIAL EDITION #4 Mar. 1983 Cover artist: Jim Starlin Editor: Al Milgrom Special feature: “Deaditorial-Al” 1-page editorial New story page: • New splash page by Jim Starlin [1 page] Reprints: • Warlock in “A Trollish Tale! [Part 2]” from Warlock #12 (Apr. 1976)

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• Warlock in “…Here Dwells the Star Thief!” from Warlock #13 (June 1976) • Warlock in “Homecoming!” from Warlock #14 (Aug. 1976) • Warlock in “Just a Series of Events! [Part 1]” from Warlock #15 (Nov. 1976) WARLOCK SPECIAL EDITION #5 Apr. 1983 Cover artist: Jim Starlin Editor: Al Milgrom Special features: “Deaditorial-Al” 1-page editorial; Pip the Troll pinup New story page: • New splash page by Jim Starlin [1 page] Reprints: • Warlock in “Just a Series of Events! [Part 2]” from Warlock #15 (Nov. 1976) • Warlock and Spider-Man in “Spider, Spider on the Moon!” from Marvel Team-Up #55 (Mar. 1977) • Warlock and the Avengers in “The Final Threat [Part 1]” from Avengers Annual #7 (Aug. 1977) WARLOCK SPECIAL EDITION #6 May 1983 Cover artist: Jim Starlin Editor: Al Milgrom Special features: “Deaditorial-Al” 1-page editorial; cover gallery New story page: • New splash page by Jim Starlin [1 page] Reprints: • Warlock and the Avengers in “The Final Threat [Part 2]” from Avengers Annual #7 (Aug. 1977) • Warlock, the Avengers, Spider-Man, and the Thing in “Death Watch!” from Marvel Two-In-One Annual #2 (Dec. 1977) X-MEN CLASSICS #1 Dec. 1983 Cover artists: Mike Zeck and Tom Palmer Editors: Carl Potts and Ann Nocenti Special features: “The X-Men— Remembering When, Three Times Over” 1-page text feature by John Byrne; cover gallery New story page: • Mike Zeck and Tom Palmer Reprints: • X-Men in “The Sentinels Live!” from X-Men #57 (June 1969) • X-Men in “Mission: Murder!” from X-Men #58 (July 1969) • X-Men in “Do or Die, Baby!” from X-Men #59 (Aug. 1969) X-MEN CLASSICS #2 Jan. 1984 Cover artists: Mike Zeck and Tom Palmer Editors: Carl Potts and Ann Nocenti Special feature: Cover gallery New story page: • Mike Zeck and Tom Palmer Reprints: • X-Men in “Do or Die, Baby! [Part 2]” from X-Men #59 (Aug. 1969) • X-Men in “In The Shadow of … Sauron!” from X-Men #60 (Sept. 1969) • X-Men in “Monsters Also Weep!” from X-Men #61 (Oct. 1969) X-MEN CLASSICS #3 Feb. 1984 Cover artists: Mike Zeck and Tom Palmer Editors: Carl Potts and Ann Nocenti Special feature: Cover gallery New story page: • Mike Zeck and Tom Palmer Reprints: • X-Men in “Monsters Also Weep! [Part 2]” from X-Men #61 (Oct. 1969) • X-Men in “Strangers in a Strange Land!” from X-Men #62 (Nov. 1969) • X-Men in “War in the World Below!” from X-Men #63 (Dec. 1969)

favorite features. I assume it got squeezed out due to the astounding amount of material in this issue. While I was disappointed in its absence, it was nice to see that note even before I started reading; it seemed to say, “I don’t want you to get to the end of the magazine and be disappointed, so I’m giving you a heads-up now.” Granted, it was a small thing, but sometimes those small things are the ones that stick in our minds. Thanks for respecting the reader. – Michal Jacot

Send your comments to: Email: euryman@gmail.com (subject: BACK ISSUE) Postal mail: Michael Eury, Editor-in-Chief • BACK ISSUE 118 Edgewood Ave. NE • Concord, NC 28025

Michal, as you’ve no doubt discovered by now, the Giant-Size Marvel cover blurb was a production goof outside of ye ed’s hands, where an earlier version of the cover was mistakenly sent to the printer instead of the revised, intended cover for the issue.

Find BACK ISSUE on

E.N.B. WOULD BE PROUD

SUPER SPECTACULAR RESPONSE Thanks for a terrific BACK ISSUE. The era of the 100-Page Super Spectaculars evokes special memories of my comics-reading history. Seeing these massive collections suddenly showing up on the spinner racks opened doors to my enjoyment of comics. Since the stories spanned many decades of comics, I was introduced to the Golden Age that other comics people talked about. Super Specs let me become privy to characters of that time, original versions of modern characters, and the art styles. Sure, I was familiar with Golden Age Batman stories that were packed into the 80-Page Giants, but this was a wider range of decades. And oh, those wraparound covers. It may sound funny, but one of the things I liked about those covers was the logo. The banner across the top proudly proclaimed in no uncertain terms that you were getting ONE HUNDRED pages of entertainment. Seeing those big “100’s” staring you in the face assured you that you could plan on a lot of comics reading. Your cover homage was great; kudos to your art department. But I was a little confused by the mention of the Giant-Size Marvel coverage. Did that get squeezed out, or did I miss it somewhere among all the coverage? As always, BI’s articles are dense with information and entertainment. I greatly enjoyed all of the checklists, and will probably be referencing them in the future to fill holes in my collection. As I went through the issue, I was surprised to see how deep DC dove into the reprinting business. I remember the Metal Men and Legion reprint books, but my memory was jogged when I read about all of their other efforts. The Secret Origins coverage was entertaining, and perhaps there is enough material on that subject for a theme issue in the future. I always enjoy the parts of BI that have fun with our hobby. The “Super Spectaculars That Weren’t” was great fun to look at, and evoked a wistful sigh of, “Ah, if only they were real…” The World’s Fattest Superheroes issue was a laugh, harkening back to the less-politically-correct days of the Silver and Bronze Age. Plus, I remember every story referred to on that cover! “Prince Street News” was a delight as always, but something must be said about his amazing redo’s of a couple of classic Super Spec covers. Great stuff! Finally, another little touch from you that I appreciated: the note in the table of contents noting that “the Back Talk letters column will return next issue.” The BI letter forum is one of my

I’ve heard it said that if you wait at Piccadilly Circus long enough, then everyone in the world will eventually go past. I’m not sure that’s entirely true, but it does sum up the nature of BACK ISSUE rather well: that everything, regardless of how long forgotten, will at some stage be featured in its pages. Your latest issue (#81), evoking the golden age of the reprint, was quite possibly my favorite one yet, and unlike some of those 100-Page Super Spectaculars it featured, I devoured it at a single sitting. These unwieldy books with their cumbersome titles and hard to fathom numbering are the comics that no one really talks about, so it was good to see them finally get their place in the sun. The context for this sudden flowering—that they were weapons in a price and placement war—was especially fascinating. It seems a pity that reprints, in the shape of often garishly recolored hardback editions, have now become the exclusive of the deeppocketed enthusiast. Younger fans are unlikely to encounter them. The aftermath of the DC Implosion in late 1978, when I first began collecting, was on the whole a bleak time in the medium, but comic shops had ample back issues, and I soon saw what I’d missed. Those old comics with their reprints of even older stories introduced me to comics history in a way that isn’t really possible today. The spotlight on E. Nelson Bridwell, and the frequent references to him throughout the issue, gave color to a man who largely stayed in the shadows. A backroom boy if ever there was one, his devotion to DC Comics—reading between the lines—probably left little time for anything else. What was clear from the contributors was that in addition to his great knowledge, E.N.B. also cared very deeply about the characters and the medium. He would be totally unsuited to the comics of today, with their constant and seemingly casual reinventions. Of course, his stubborn insistence that a single reference, even if unintentional, was somehow canon wasn’t always helpful. The problems this caused, most notably for the Legion of Super-Heroes, are well documented. – Simon Bullivant P.S. On the subject of the DC’s Masterworks Series, I was intrigued to read that they were limited in their distribution. They were never in short supply in the UK, and filled many a bargain box for years. Simon, thank you for your kind words about BI #81. It’s my favorite issue to date as well, as I suspect you could tell by my byline dominating the material. I’m hoping that from his comfy reading chair in the afterlife, E.N.B. has looked down on BI #81 and smiled... Piccadilly Circus, eh? Great analogy. I suspect we’ll get around to covering everything that was published during the Bronze Age and early Modern Age, emphasizing, of course, the major, more commercial properties (sorry to disappoint you if you’re waiting for a 50-page, cover-featured article on Sonic Disruptors).

THE SIGNET AND TITAN DC PAPERBACKS First, thank you very much for your work on BACK ISSUE! While I do not purchase every issue, I find your articles very enjoyable and informative. I especially enjoyed the recent issue #81. As a child of the 1970s and 1980s, I grew up on these reprint books and have

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John, I purposely omitted those Signet paperbacks from BI #81 since they were Silver Age books and our magazine covers the Bronze Age, leaving the Silver Age (and Golden Age) to Roy Thomas’ Alter Ego magazine. And since the Titan books continued in that vein, they weren't included either. But I’m glad you brought this up, so we can at least give these books a nod. In addition to the paperbacks you cite, Signet also published Batman vs. The Fearsome Foursome, a tie-in novel to the 1966 Batman theatrical movie; a collection of letters titled Bill Adler’s Funniest Fan Letters to Batman; and a single Superman paperback.

LOTS OF LOVE FOR DC REPRINTS As a collector since 1964, I am amazed at the singular achievement that is BACK ISSUE #81. I cannot put it down, and it will be stored in a permanent place of honor in my bookcase. Thank you for the love and dedication you have shown to the DC reprint story.

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I hope you follow the exact same blueprint for BACK ISSUE #86: Marvel reprint indexes for the Giant-Size books, Fireside trades, and Pocket paperbacks! Please use any influence you have to convince John or Roy to do a 1960s 80-Page Giant/Marvel Annual issue of Alter Ego! – Ross Sprout An Alter Ego 80-pager or King-Size edition? Roy, that’s in your court! And Ross, as you’ve now noticed, the Marvel Giants and Reprints issue follows #81’s template.

BITS FROM THE BI MAILBAG (FROM FACEBOOK) Fantastic issue. I cut my teeth on the 64- and 52-page Giants and was a huge fan of the 100-Page Super Spectaculars. Having read my copy of Jules Feiffer’s Great Comic Book Heroes repeatedly, I loved all the Golden Age reprints. And titles like Wanted and Secret Origins were also personal favorites. Reading this issue brought back so many fond memories of my earliest comic reading and collecting days. – Doug Smith

many of them in my collection. It was fun to walk down memory lane, and to learn of a few I had missed that I can now go on a hunt for! I did have one question. I have a very dog-eared Signet Book paperback containing Batman reprints in my collection. It is very similar to the Tempo Books paperbacks that Chris Marshall details in his article on page 84 of BI #81, but contains different stories. My best guess is that this came out around the time of the 1960s Batman TV series. There are several copyrights listed by National Periodical Publications, ranging from 1940–1966. As near as I can tell, here are the stories it contains: • “The Legend of the Batman” from Batman #1 • “The Web of Doom” from Batman #90 • “Fan Mail of Danger” from Batman #92 • “The Crazy Crime Clown” from Batman #74 • “The Crime Predictor” from Batman #77 • “The Man Who Could Change Fingerprints” from Batman #82 • “The Testing of Batman” from Batman #83 Three other books are listed in the front pages as part of the Signet Batman book series: • Batman vs. Three Villains of Doom (This is an original novelization based on the 1966 Batman TV series.) • Batman vs. the Joker • Batman vs. the Penguin. I also have a series of books from Titan Books that I believe reprints the Signet Books. The Titan Books are copyrighted 1988. The first book, No 1: Batman and Robin, reprints all the stories I list above in the same order except for “Fan Mail of Danger” and “The Testing of Batman,” which are omitted. I have four other volumes, as follows: • No. 2: Batman vs. the Joker • No. 3: Batman vs. the Penguin. • No. 4: Batman vs. Catwoman • No. 5: Batman: Return of the Joker The first three volumes list: “First Published in Great Britain by the New English Library Ltd, 1966.” Nos. 4 and 5 do not state this, and have a listing of the issue numbers their stories appear in which Nos. 1–3 do not. I suspect that Nos. 1–3 are reprints of the original Signet Books, but this is conjecture on my part. All five volumes contain stories mostly from the 1950s, but there are a few 1940s stories as well. No. 5 lists a sixth book titled Batman and Superman, but I am unaware if this was ever published. As I read BI #81 I was surprised these were not listed, and I wanted to make you aware of them in case you were not familiar with them. I’d be happy to send you more detailed information if you wish. If so, please feel free to contact me. Again, thank you for all you do! – John Burk

I loved this issue! I snapped up a bunch of the 100-page specials back issues when I was a kid in the ’80s. – Petey L. Bracchi III I bought three copies of this! GREAT articles! – Shannon Link Every time I open this issue I find something that I didn’t see the last time I looked. I love all of the tidbits of info about the when, what, who and why of it all. That’s the reason BACK ISSUE is such a great mag. Never boring, never the same. – Todd Spangrud I really enjoyed Bryan Stroud’s article about DC’s Bronze Age Reprint Giants, with an interview with David Michelinie about Star Hunters (which I recently collected and read); Michael Eury’s informative Fireside Chat with Michael Uslan, along with Eury’s main article, “A Look at the Super Specs”; plus the many indexes to read and analyze. The cover is brilliant and colorful. There’s a lot to learn about the Bronze Age Giants and Reprints! Thanks for a very educational issue! – David Dunstan One of the most enjoyable issues to date. – Peter Rosengarten A nice, dense read! – Stan Evans

DEPARTMENT OF CORRECTIONS As you might suspect from a data-deep issue like #81, despite our best efforts we didn’t get a few of the details right… Dennis Neville drew the initial Hawkman story, not Sheldon Moldoff. – Francis A. Rodriguez Michael Eury, mucho thanks for BI #81, which I received I guess ’cuz I am quoted therein by Stephan Friedt concerning the late Phil Seuling, who by 1973 had added in Code comics to the alreadyexisting “underground” distribution system for alternative comic books which has its main nexus with Robert Crumb’s Zap Comics back midsummer of 1968 when Print Mint took it national, publishing #2 along with expanded reprints of #1 and #0. I have not been able as much these past years in keeping up with more recent occurrences of comics business history research as I once was. I hope to once again pretty soon. While there are a

Seagate’s NPP (DC) monopoly had been broken. To his dying day, Phil never acknowledged I was breathing when we were in the same room. Seagate began stuff like Masterworks as exclusive to them in efforts to remain relevant as the direct market began to explode once Marvel jumped in following a summer 1979 meeting during the San Diego Comic-Con, but that is another story, of which there are many which comprise my book I am working on again I call Comic Book Store Wars. – Robert Beerbohm

few other nuances I do not remember happening like was presented, as I observed and lived thru its growth, I do wish to make note— in the spirit of proper comics business history—that the New Media Irjax lawsuit referred to in the third paragraph which went on to state “…which in turn broke Seagate’s monopoly…” did not break said monopoly. That lawsuit was only concerning itself with National Periodicals Publications (DC Comics), not with Marvel Comics. In late 1973, the first Code comics began shipping from Sparta, Illinois. By this time we had four stores in four counties in northern California. I had dubbed our corporate entity Comics and Comix. Our first order was for Sandman #1, which we ordered 3000 copies from Seuling. Phil Seuling, along with his partner, Joni Levas, as Seagate Distributors were functioning with a “monopoly” on drop shipping National Periodicals (DC) for some years ever since the second Direct Donahoe Brudders had been opened directly by then-publisher Carmine Infantino. They never paid a cent to anyone, going out owing over a million dollars. Out of those ashes came Big Rapids, which later went down as well. Out of the ashes of Big Rapids rose Capital City Distribution, but I digress a bit. At some point in the late ’70s, Best of Two Worlds also became a sub-distributor called Common Ground with wholesale customers from Seattle (Rod Dyke of Golden Age Collectibles, etc.), all down the coast into aspects of Los Angeles. We bought our DC drop point from Seagate, supplementing getting to the $3K minimum some months with other stuff they offered we could not get anywhere else easily. Problem with Seagate was Seuling required two months before shipping pre-pay at time of placing one’s order. All the other early Direct Market distributors offered a modicum of credit upwards of 21 days once shipments arrived. The publishers were offering the Directs 45 days to pay One day Joni Levas sent Common Ground a letter stating that all sub-distributors, in order to purchase anything from Seagate, must purchase ALL their product Seagate offers, or they can purchase nothing. Some quick math told me in order to comply, Common Ground would need to front over $20,000 in advance in order to comply with this attempted dictate. During this time, the lawsuit filed by New Media Irjax seeking to open up the concept of drop shipping “direct” to sub-distributor entities had been in the courts for almost two years and not really getting anywhere. In disbelief Seagate had such power, in desperation I took this Seagate letter over to the Federal Building at 450 Golden Gate Ave. in San Francisco, seeking the Sherman Anti-Trust unit which, if I remember correctly, was on the 5th floor. My words to them included, “…I know this is not some big case like General Motors, AT&T, etc. … but this is going to put 23 full-time workers out of jobs, Best of Two Worlds might cease to exist … there is no way we can come up with this $20K+ front money….” I sat there while the SF Sherman Anti-Trust unit persons called their Manhattan counterparts. That phone call lasted at least half an hour. At some point the Manhattan guys talked with me as well. A semi-long story short, about a week later, Warner Bros. had been contacted direct, which rolled downhill on to NPP (DC), who were announcing “terms” for all bonafide sub-distributors could henceforth be drop shipped by any and all main distributors who qualified with a minimum $7K order.

Thanks for the BACK ISSUE issue on the Super Specs and reprints. A few of the credits were a bit askew, so I thought I’d share with you my list of which reprint collections mentioned or in that period that I edited. In that (Super Spec 100-page) period, most I didn’t do were Nelson’s, whether credited or not (like most of Archie’s Detecive issues— I only did one when Nelson was out sick for awhile). By 1975 or so Jack C. Harris and Bob Rozakis were doing some as well. The 32-page reprint flood of 1972 was a mixture of Nelson, Jeff Rovin, and Allan Asherman, with me only doing one issue of Metal Men when Allan was out sick. • Brave & Bold #113–117, 120 • DC Special #26 • DC Super-Stars #7 • Detective Comics #442 (uncredited) • House of Mystery #224–229 • Superman Family #181 • Super-Team Family #1–3, 7–9 • Tarzan #252–253 • Tarzan Family #65 • Unexpected #158–161 • Weird War #36 • World’s Finest #224–229 And Joe Orlando edited DC Special #29, which was credited to me. (I wrote the issue, a particular favorite, but he was in charge.) Hope this helps. – Paul Levitz Thanks, gentlemen! Next issue: While they’re duking it out in the movies, they’re the best of friends in our Batman AND Superman issue! World’s Finest in the Bronze Age, the Super Sons, the Batman/ Superman Villain/Partner Swap, the last days of Jimmy Olsen and Lois Lane’s solo titles, the Superman/Radio Shack giveaways, an interview with Batman and Psychology author DR. TRAVIS LANGLEY, and as a nod to Hollywood’s Batman v. Superman, we examine Justice League of America #200: “A League Divided”! Featuring the work of JIM APARO, MIKE W. BARR, BRIAN BOLLAND, RICH BUCKLER, CARY BURKETT, GERRY CONWAY, MIKE FRIEDRICH, BOB HANEY, JACK KIRBY, MARTIN PASKO, GEORGE PÉREZ, JIM STARLIN, and more. With a ’70s Batman/Superman cover (originally produced for a jigsaw puzzle) by DICK GIORDANO! Don’t ask, just BI it! See you in sixty! Your friendly neighborhood Euryman, Michael Eury, editor-in-chief

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