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Post by BigPapaJoe on May 12, 2014 4:28:39 GMT -5
Wow. I actually enjoyed Fantastic Four #5. About 13 issues in now, I feel it's one of the better stories. The way I look at it, ALL of these stories aren't going to make sense in terms of logic at this point. I don't expect things to start shaping up for a while. So plothole and lack of common sense page after page is just something that has to be tolerated. I didn't see Ben Grimm's decision to want to stay in the past coming. That is the spark of strife between the protagonists that is definitely missing in the first few issues of X-Men I was reading. Funny because X-Men was done a while later. Anyways, the only huge gripe that really bugged me was Doom's time travel plot in the first place. The entire paradox would just screw everything up. And Doom shouldn't have to wait X amount of time if he sent someone to the past to do something. The chest would have been brought back immediately. Perhaps I have to read it again, but I remember enjoying this issue more than most of the others I've read. Although the most recent with The Impossible Man (#13 I think) was interesting.
Well, keep the reports coming.
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Post by Slam_Bradley on May 12, 2014 10:22:24 GMT -5
The glass pathway at the end of FF5
Why doesn't the water flow over the path again? This is an example of "show don't tell": the picture demonstrates that the path is higher than its surroundings. The process of super heating the river bed would cause air bubbles to expand, making the vitrified substance bulge upwards. The most likely candidate fro Dr Doom's castle is Dark Island Castle (now known as Singer Castle), which is built on a shallow part of the riverbed, so Johnny would not need to expand the bed very far. Incidentally, this is the first known use of the Torch's power to extract heat as well as supply it.: vitrification relies on removing as well as adding heat: en.wikipedia.org/wiki/VitrificationIt's cool he's using his power, but the "show don't tell" doesn't really work all that well. If it's that shallow there's no reason to think that the Thing couldn't just wade across. He shouldn't be bothered much by Alligators. Reed could easily stretch across and Johnny could carry Sue...he already carried Sub-Mariner further. Ultimately it's an attempt to shoe-horn some science in that really doesn't work. It's not a big deal...just one more niggling thing. Atlantis as a metaphor for Cuba :How could Namor swim from "his land" to New York in just "minutes"? We are told that he swam as fast as a torpedo. Wikipedia says the fastest torpedos exceed 100 mph. Namor is of course super-powered like The Thing, so that much energy is possible.
His time was measured in "minutes" not hours, so has an upper limits of just under an hour. This means he could swim up to 100 miles. As Namor had a history of interacting with the surface world it is likely that his empire built an outpost near to New York. The problem here is...Johnny is still standing on the same dock when Namor comes back. How long would he reasonably stand there with thumb in his nose? If Atlantis is fifty miles out then it's an hour round trip at 100 miles per hour. I personally wouldn't stand on the dock staring out to see for an hour and Johnny doesn't seem the most patient feller in the world. Maybe he had nothing better to do than stand there and sing sea shantys. Reed had nothing better to do than talk to passing helicopters to see if they'd by chance seen Johnny.
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Post by tolworthy on May 12, 2014 13:35:21 GMT -5
It's cool he's using his power, but the "show don't tell" doesn't really work all that well. If it's that shallow there's no reason to think that the Thing couldn't just wade across. Very good point. As you say, crossing that water was easy for any of the men, so why make it a problem? The reason is implied in the previous panels: this is not about getting from A to B, this is about competing to show who is toughest. At this point they are not a cohesive team. The men are all passive aggressive, and sometimes at each others' throats. Look at the order of events: 1. The big strong men are rescued by the tied up female. Ben and Reed both wanted to impress her, whereas Johnny just wants to be the cool adventurer. So while the others are recovering, Johnny, leaning forwards, says "what do we do now?" Take a snapshot of the scene: Ben hates Reed, did not want to come back, and wants Sue to look at him the way she looks at the nerd. Reed wants to dominate the team, but is not doing such a good job. Johnny wants to be the hot adventurer. So what happens next: 2. Ben is first: he wants to destroy the castle. That will make HIM look good. 3. Reed is next: he stops Ben by saying the castle might be booby trapped: he must hope it is because solving those puzzles will make HIM look good. Sue sides with Reed: a result! So he claims his alpha status: "We'll do it MY way." 4. Reed then orders Ben around: his body forms a natural bridge, just as he did earlier in the story, but this time other males do not want to use it in front of Sue. There was no reason to stretch into a bridge otherwise: any assistance in breaking the window was trivial. But note that it contradicts Reed's claim to be worried about booby traps: hey, let's make my body super visible to any cameras! Reed just did not want Ben to look like the alpha male. 5. Now it's Johnny's turn to show off: "this is something I've been wanting to try for months". Sue is impressed at Johnny (a result for the kid!) and Ben is more than happy to metaphorically show Reed the finger. 6. The rest of the story is their continued competition: Johnny tries to get Doom: this was not necessary, as Reed, who can grab a hunter missile from the sky, could have grabbed him just as easily. But they weren't thinking about stopping Doom, they were thinking about each other, the real enemies. When Johnny slipped up it allowed Reed to be condescending and Ben to insult Johnny. Ben then says next time they'll do it HIS way. I like the power plays in these early stories. The underlying competition. It's not about "how do we defeat X" it's about who is in charge, while each man tries to look like the responsible male, each pretends they only have the good of the team at heart. I love it! How long would he reasonably stand there with thumb in his nose? This is what makes the story so real to me. That little touch gives the story such power. Johnny had just quit the team and stormed off. "The whole country is looking for him" (page 4), so this is not a five minute thing. We previously saw Johnny plan to spend the night at a low grade hotel, just wiling away the hours reading those old 64 page 1940s comics. He had plenty of time to kill. Page one had it dark outside, and he's ready for another night, so he's been kicking back for at least 24 hours. He's a troubled kid, wandering aimlessly. He reminds me of me, just before my divorce, when I would spend hours a day on long walks. I can imagine Johnny staring out to sea for hours, the rolling waves soothing his troubled mind. And now that he has discovered another rebel, another angry young man (at least that's how he was portrayed in the comics) that's a big deal. Johnny is not the hot head people say: he has the patience to fix cars and read comic books. He could stare at those waves, watching the activity of the busy port, all day. I imagine his thoughts. He's a troubled kid, raised by his sister, the Baxter Building was just built. Reed is trying to take his sister/"mom" away from him, Ben wants to kill him, nobody appreciates his power. He had a lot to think about and all the time in the world to do it. Just staring into the distance, thinking of Namor and a hundred other things. Trying to make life changing decisions: decisions that would each take many hours. It adds such pathos. It's a beautiful little touch, and these stories are full of them. Sittin' in the morning sun I'll be sittin' when the evening comes Watching the ships roll in Then I watch them roll away again, yeah I'm sittin' on the dock of the bay Watchin' the tide roll away, ooh I'm just sittin' on the dock of the bay Wastin' time I left my home in Glendale Headed for the Bowery Bay Cuz I've had nothing to live for And look like nothing's gonna come my way So, I'm just gon' sit on the dock of the bay Watchin' the tide roll away, ooh I'm sittin' on the dock of the bay Wastin' time Looks like nothing's gonna change Everything still remains the same I can't do what three people tell me to do So I guess I'll remain the same, listen Sittin' here resting my bones And this loneliness won't leave me alone, listen Two thousand miles I roam Just to make this dock my home, now I'm just gon' sit at the dock of a bay Watchin' the tide roll away, ooh Sittin' on the dock of the bay Wastin' time
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Post by tolworthy on May 15, 2014 3:18:27 GMT -5
I hope I haven't killed this thread by taking it too seriously. I considered diverting my comments to a new thread, "Chris Tolworthy reads Fantastic Four issue 1, part 1". I spent several hours yesterday preparing outlines for the first ten posts: - A rather lengthy introductory post on the symbol "IND" in the top left corner of the cover - the significance of the distribution agreement with National in the origins of silver age Marvel.
- The word "the" - how it was added as an afterthought, and on the significance of the definite article, how "The Batman" became "batman" etc.
- The word "Fantastic", how its meaning changed in the 1960s, and the influence of the FF on language.
- The word "Four", on the significance of four member teams, and on alliteration.
- The title "fantastic four" as foreshadowing the theme of the multi year story: the desire to be fantastic, the tension between the individual and the team, the changing focus and nature of the family, etc.
- The symbol "MC", and the role of advertisers' convenience in determining which titles sold, foreshadowing the history of comics distribution and its effect on sales.
- The number "1", its significance to readers then and now, the role of US Post Office fees in comic numbering, why early comics could not be late and what that implied.
- The month "Nov", why dates were so far in advance and what effect if any that had, the date the title was on sale and when it as planned, and how current events influenced its creation and its success.
- The importance of the top third of a cover to decision rack choices, both from reader and distributor points of view.
- Miscellaneous topics on the top third of that cover.
Etc., etc. At this point I decided to rename my thread "Chris Tolworthy reads the cover to Fantastic Four issue 1" but I realised it would take at least two months just to compose the essays. At this point it dawned on me that my threads probably say more about me than they say about the comics. So maybe I'll just read quietly. Can't wait for your next instalment, Slam.
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Post by Slam_Bradley on May 15, 2014 10:43:42 GMT -5
No problems at all Chris. Life has intervened and I haven't had a lot of time for funnybooks. I expect to get Incredible Hulk #2 up in the next day or two.
I don't take most funnybooks very seriously. Love them. And respect them. But my tongue is definitely in my cheek with this thread. Hopefully that doesn't offend too much.
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Post by tolworthy on May 15, 2014 11:21:51 GMT -5
Naw, I love your stuff. Looking forward to Hulk 2. I'll probably be mocking the toad men and metal master along with everyone else. What were they thinking?
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Post by wildfire2099 on May 15, 2014 11:24:29 GMT -5
I think that post by Chris is the funniest post ever. I appreciate your passion, and especially your ability to not take yourself too seriously. I'm really enjoying the comments Slam, in fact I'm thinking of ripping this idea off and doing a DC one when I start the JLA omnibus that is currently sitting on my floor
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Post by Hoosier X on May 15, 2014 13:30:57 GMT -5
I hope I haven't killed this thread by taking it too seriously. I considered diverting my comments to a new thread, "Chris Tolworthy reads Fantastic Four issue 1, part 1". I spent several hours yesterday preparing outlines for the first ten posts: - A rather lengthy introductory post on the symbol "IND" in the top left corner of the cover - the significance of the distribution agreement with National in the origins of silver age Marvel.
- The word "the" - how it was added as an afterthought, and on the significance of the definite article, how "The Batman" became "batman" etc.
- The word "Fantastic", how its meaning changed in the 1960s, and the influence of the FF on language.
- The word "Four", on the significance of four member teams, and on alliteration.
- The title "fantastic four" as foreshadowing the theme of the multi year story: the desire to be fantastic, the tension between the individual and the team, the changing focus and nature of the family, etc.
- The symbol "MC", and the role of advertisers' convenience in determining which titles sold, foreshadowing the history of comics distribution and its effect on sales.
- The number "1", its significance to readers then and now, the role of US Post Office fees in comic numbering, why early comics could not be late and what that implied.
- The month "Nov", why dates were so far in advance and what effect if any that had, the date the title was on sale and when it as planned, and how current events influenced its creation and its success.
- The importance of the top third of a cover to decision rack choices, both from reader and distributor points of view.
- Miscellaneous topics on the top third of that cover.
Etc., etc. At this point I decided to rename my thread "Chris Tolworthy reads the cover to Fantastic Four issue 1" but I realised it would take at least two months just to compose the essays. At this point it dawned on me that my threads probably say more about me than they say about the comics. So maybe I'll just read quietly. Can't wait for your next instalment, Slam. Chris, you can post this stuff at Baxter Building Bulletins, if you want. This sounds like the kind of stuff that the thread was created for. (That, and making fun of Spinnerette.)
I was just about to post some comments there on Essential Fantastic Four, Volume 6, because I have to take it back to the library tomorrow.
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Post by Slam_Bradley on May 18, 2014 15:21:48 GMT -5
Incredible Hulk #2
Written by Stan Lee Pencils by Jack Kirby Inks by Steve Ditko
Cover:
Another gray cover as we see The Hulk tearing through metal to get at some terribly non-threatening aliens that are talking to General Ross on a tele-screen. Three word balloons and a pretty static cover make this one a book that wouldn't be terribly interesting on the stands.
The Story:
Well right off the bat The Hulk is green now. And his pants are purple. And with the addition of Ditko The Hulk takes on a very definite Frankenstein look in the 2/3 splash to open the book. So we have the newly green Hulk coming out of a swamp and heading in to a town to wreck havoc. He happens to come right out where a police car is located and is recognized as being The Hulk and it is noted that “he's still alive”. Which tells us that he's been doing something since issue 1. In town, The Hulk destroys a truck, pulls down a lamp pole and beats up four policemen. Luckily Rick Jones is there to lead him away and give us a one and a half page origin recap.
An advance scout for The Toad Men is looking for the most intelligent man on Earth to see if Earth Science can defeat their invasion. They use their magnetic grappler to do this...and Take That Reed Richards...it's Bruce Banner. By the way...Magnetism can do absolutely everything. Whatever needs to be done it can be done with magnetism. This issue has funnybook science at its absolute worst.
Banner and Rick Jones are heading out into the wilds to construct a cage for The Hulk. Ross expresses his hatred for Banner, because he's a milksop and a goldbrick. Apparently creating weapons for Ross to use isn't manly enough. The set-up to contain The Hulk clearly contains large amounts of heavy machined metal. Where it came from and how Banner and Jones got it there is immaterial. Because they're attacked by The Toad Men, who use “Magnetism” to capture both of our intrepid heroes. Banner and Jones are taken to the Toad Men's ship where it's explained that they will destroy the Earth with “Magnetism” if it doesn't surrender. Why “Magnetism” can even make water jump out of the oceans. Banner, of course refuses to tell the Toad Men what they want, whatever the heck that is, and since Rick agrees with him they send him back to Earth. Why they brought him in the first place is a mystery. And why they didn't just shoot him out in to space is a Comic Code anomaly.
As the spaceship moves to the dark side of the Earth Banner turns in to the Hulk. The Toad Men don't know this because apparently they decided to turn off the tele-screen instead of watching their prisoner. The Hulk takes away the Toad Men's hand-held weapons and thumps them. He then decides he'll take over the ship and “wipe out mankind.” This is not only a fairly intelligent Hulk...he's pretty darn evil. Ross uses the Army's missiles to shoot down the ship (how it got back to that part of the world and why Hulk didn't turn back to Banner before it is shot down isn't important). But he's Banner when it hits the ground and he's arrested as a traitor by Ross because he's the only one who comes out of the ship that attacked Earth. The Toad Men have tunneled into the ground under the ship. And Ross apparently isn't bright enough to send anyone in to search the ship...or they weren't bright enough to find a big hole that was dug by the Toad Men.
The escaped Toad Men signal the invasion of their fleet which starts as Banner is in a cell...because he's a traitor. Thuderbolt Ross vows that the world won't surrender to the Toad Men...because he's clearly the spokesman for the entire world. We don't actually see much battle with the Toad Men though, because Banner turns in to the Hulk and therefore the Army must fight with The Hulk instead of the invading aliens. We then get six pages of The Hulk destroying the army base and Ross' home, fighting soldiers and menacing Betty before “Magnetic quakes” knock everyone out.
The sun rises and Banner is himself again. Banner goes to his lab and magics up a Gamma-Gun to reverse the Magnetism and send the Toad Men back where they came from. Since he did that it's obvious that he's not a traitor. We end with a shot of The Hulk in his prison beneath a lake. Thoughts…
It's interesting to have a protagonist who is, quite frankly, a villain. Not unprecedented, but unusual...and extremely unusual since the inception of the Code. This isn't a misunderstood, limited intelligence Hulk. This is a fairly smart evil Hulk. I know that this was revisited in the 90s, but I wasn't reading many superhero books at the time.
The funnybook science in this one reaches absurd levels. Really...just stupid levels even for comics of this vintage. “Magnetism” can do anything. Absolutely anything.
Rick Jones is getting smacked by The Hulk at least once an issue. How that kid didn't end up with broken bones or brain damage, I have no idea. But he keeps coming back for more. The cycle of abuse keeps going.
It's clear that the Ross vs. Hulk/Banner will be a hallmark of the series as will the Betty/Banner/Hulk love triangle.
The plot. Holy Moses this is an awful story. There's virtually no part of this that makes sense. Just...just horrible.
The Art: This is a very strong book art-wise. Hulk is getting bigger. Ditko's inks help make him look much more menacing than he had been previously.
The toll: One truck. One light pole. One jail cell. One railway line. One howitzer. One Observation tower. One airplane. General Ross' home.
Grade for historic importance: B, but that's pretty much only for the fact that he turns Green. Story - D Art – B
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Post by Hoosier X on May 18, 2014 15:56:03 GMT -5
Hulk #2 has been one of my favorite comics from the early Marvel years ever since I first saw it in the late 1970s in a paperback book that reprinted Hulk #1 to #6. (The panels were so tiny!)
Oh, I can't argue with the specifics of Slam's critique. It is dumber than heck. But, man, that art! Ditko inking Kirby always amazes me. And the story is SO CRAZEEE!
That bit where the Hulk ponders out wiping out mankind with the Toad-Men's ship is one of the most chilling moments in comics. (Sharp-eyed readers might notice that my sig line is from that very panel! And Earth is saved (from the Hulk) only by the ship orbiting out of the darkness and into the rays of the sun and the Hulk's transformation into Banner.
I would love to see a 12-issue series based on a "What If?" scenario where the Hulk evaded the sun's rays and attacked the Earth with the Toad Ship. And only using the Marvel Universe as it was in 1962. The Fantastic Four, Henry Pym (not yet Ant-Man), Tony Stark (not yet Iron Man), Dr. Droom (from Amazing Adventures), Namor, Dr. Doom and maybe Jimmy Woo, the Yellow Claw, pre-SHIELD Nick Fury. (Maybe some of the cast from Avengers 1959!)
That would be great!
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Post by Slam_Bradley on May 21, 2014 17:56:55 GMT -5
Amazing Fantasy 15 (story 1)
Written by Stan Lee
Pencils by Steve Ditko Inks by Steve Ditko
Like FF #1 this one is hard to do. Partly because I've read it dozens of times. Partly because it's probably the second most important Marvel Comic ever.
Cover:
A classic cover that shows our brand new hero in action. Except it's by Kirby and not Ditko. I've seen the rejected Ditko cover...and honestly I do like this one better. This is really a strong simple image.
The Story:
The opening page here is a classic. Peter Parker is introduced and explained as a "professional wallflower". I don't think the pay is great. We do know that he'll be Spider-Man...which is actually some fairly cool foreshadowing. The captioning re: "long underwear characters" is Stan at his corny best. And Liz Allen's face is clearly redrawn...allegedly by Al Hartly.
The first page introduces in more depth to Peter Parker. He's a scrawny bespectacled science nerd who lives with his aged Aunt and Uncle. He's a wiz at science, but the other kids at school don't like him because he doesn't know a waltz from a cha-cha and he's not dreamy like Flash Thompson. Poor Peter has to go by himself to a science exhibit where they demonstrating radioactivity...with absolutely no shielding. Because radioactivity is never dangerous. Just ask Madame Curie. It's so darn safe that a spider gets irradiated and in its "safe" death throes bites Peter. This makes him feel queasy for a minute, which is a subject of levity among the scientists present. Potential radiation poisoning is always funny. As he wanders home, Peter is almost run over by a passing motorist. He jumps out of the way with the proportional jump of a spider and clings to the wall. The motorist doesn't notice this, but thinks it's incredibly funny that that he almost hit someone. Humor in the MU in 1962 is pretty primative.
Peter quickly learns that he can climb walls, cables and is strong enough to crush a steel pipe. As he continues home he sees a contest where he can win $100 (about $750 in todays money) if he stays three rounds with wrestler Crusher Hogan. He runs home, doffs his glasses and puts on a mask and a sweatshirt (with dress shoes). Using his super spider strength and agility, along with his ability to climb a big pole that is there for no apparent reason, he wins the challenge and an agent that is in the crowd. Again at home Peter whips up a Spider-man costume (he's got a future as a seamstress) and his handy dandy web-shooters (science wiz). He can walk on the ceiling...even in gloves and boots...because...radioactive spideryness.
Part two finds our hero performing in his first television spectacular, to the amazement of all. After the show he has a chance to stop a thief before he get on the elevator and away from a convenient cop. But he lets the guy by because He ain't gonna be pushed around no more. At home Uncle Ben and Aunt May give him a new microscope. they're the only ones who have ever cared for him...this doesn't bode well. Spidey appears on TV a number of more times...but one night coming home he is stopped by the police at his home. Uncle Ben has been shot. In a frenzy, Peter changes to Spider-man and goes to where the murderer is holed up, vowing vengeance. Using his spider powers, and his web-shooters (we see him swinging for the first time) he enters the warehouse and confronts The Burglar, thumping him quickly. But The Burglar is the same person who he let go to the elevator and escape. If he had stopped him, Uncle Ben might be alive. Peter lowers the captive Burglar to the police in a web, and wanders despondently through the streets. With great power there must also come...great responsibility.
Thoughts…
This one really hits the nail on the head of the promise for a different kind of Super-hero. Parker is a nebbish. He's not the Greek God we've seen for years as a hero. He's an unpopular kid. This goes right to the heart of super-hero wish fulfillment, but it is only in his secret identity. You might want to be Spider-Man, but at this point nobody would want to be Peter Parker.
It's clear that the shadow of Uncle Ben will loom large over this series.
When I can only pick a small handful of nits in a story of this vintage, and most of them are minor...this is simply the best thing we've seen in the MU thus far.
The plot. This is really almost a perfect comic story. It's compact. There's very little that is wasted. While there's funnybook science, it's generally not as jarring as what we've seen in FF or Hulk. The story moves along at a perfect pace introducing us to the characters and weaving them into the plot.
The Art: Ditko ain't Kirby. And that's fine. The thin angularity works perfectly in this story. One thing that does strike me (and it ain't Ditkos doing) is that the story is REALLY yellow.
The toll: Nothing, really. Well...except a dead uncle.
Grade for historic importance: A+. One of the most important comics ever
Story - A Art – B+
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Post by Roquefort Raider on May 21, 2014 20:27:01 GMT -5
One of the most important comics ever...And you did it justice, Slam!
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Post by Ish Kabbible on May 22, 2014 2:50:52 GMT -5
Ummm Nuff Said
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Post by Slam_Bradley on May 25, 2014 22:33:08 GMT -5
Journey Into Mystery #83 (Thor story)
Plot by Stan Lee Script by Larry Lieber Pencils by Jack Kirby Inks by Joe Sinnott
Cover:
We are introduced to our new new hero with flowing blonde locks and clad in primary colors swinging his battle hammer as he's attacked by stony green aliens atop a city-scape.
The Story:
We open with Dr. Don Blake vacationing on the coast of Norway. We know he's vacationing because he's wearing a blue suit, a tie and a homburg. As he turns to walk away an alien ship lands behind him, escaping his notice. The green rock aliens from the cover are now orange. They are from Saturn, so obviously the oxygen in the atmosphere makes them stronger. Couldn't be the gravity...nope...oxygen. And for some reason one of them has to jump off a cliff to prove how invulnerable his body is. Because...if it isn't...then he will break his legs or die. This also proves that nothing on Earth can harm them. And they have alien weapons.
The aliens are seen by an old fisherman who reports to the village what he's seen. They of course think he's nuts. Everyone, that is except Dr. Don Blake, who goes off looking for aliens. He spies them, but has to flee, something he can't do very quickly, because he's lame. He also has a problem with his legs. He hides in a cave and spends a page whining while he plays with a wooden stick he found there. But he inadvertently smacks it against the wall and turns in to Thor while the stick turns into a hammer. Based on the inscription on the hammer he must be worthy.
We now get a few pages of Thor trying out his new powers. This starts out with a truly bizarre ¾ splash in which Thor looks like a Norse leprechaun. Seriously. His arms are as long as his body from the tip of his head to his knees. And this fingers are just stupid long. And thus far Thor has been a pretty slim hero, but here he's barrel-chested to the point of being ridiculous. Thus starts 2 ½ pages of him monologuing, as we discover he changes back to Blake if he lets go of the hammer for 60 seconds, can whip up storms, the hammer returns if thrown and he can strike it on the ground to turn back to Blake.
Meanwhile, the Saturnians are attacking en mass. For some reason this includes a 3-D picture of a dragon that inexplicably causes the NATO pilots to ditch their planes rather than shoot at it. The NATO missiles are also ineffective against the alien's “atomic force fields.” The only hope for the world is Thor. We find that he can fly by swinging the hammer and hurling it while holding on to the strap. Fine...magic. Thor takes out the invasion in a 2 2/3 page battle. We do get to see a bit of the vaunted Thor hubris as he declares himself and his hammer invincible and unconquerable. Don Blake is seen by the NATO troops, but clearly he can't be Thor. The final panel assures us that Thorr will return...without the extra “R”.
Thoughts…
We've had nine “Marvel Universe” tales thus far and three of them have involved alien invasions. Of the three I think the Skrulls are the only ones who really have stuck for the long haul. Stuck for a story...let's have aliens invade.
Other than the Don Blake to Thor hook, this is by far the most traditional super-hero we've seen from Marvel thus far. At this point he's essentially Superman with weather powers. Don Blake isn't really all that far removed from Clark Kent...though at this point he is completely undefined as anything but a lame doctor.
There is zero indication that this is anything other than Don Blake becoming bigger and stronger. There is no sign of the traditional Thor-speak and nothing tying him to Norse mythology other than the name, powers and hammer. Certainly not the blonde hair and bare face.
You can already tell the “letting go of the hammer” is going to get tiresome.
The Story. There's nothing terribly interesting here. Standard alien invasion. Lots of fighting. Pretty badly over-written from a dialogue stand-point.
The Art: Not the best art job by Kirby & Sinnott. Overall it's not bad, save and except that really horrible splash. But nothing special in any way.
The toll: Not a lot of collateral damage by Thor on this one. He does destroy one innocent tree completely unprovoked.
Grade for historic importance: A. First Thor.
Story - C-
Art – C+
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Post by Slam_Bradley on Jun 1, 2014 20:44:00 GMT -5
Tales to Astonish 35 (Ant Man story)
Plot by Stan Lee Script by Larry Lieber Pencils by Jack Kirby Inks by Dick Ayers
Cover:
We're re-introduced to Hank Pym and introduced to Ant Man in a pretty nice cover that shows us our hero and an ant's-eye view of a menacing thug with a gun. Of course given the size comparison of the ants to the desk and the thugs foot these are giant ants.
The Story:
When last we met Hank Pym he was dumping his shrinking formula because it was too dangerous and apparently he's not interested in making money. Apparently he's changed his mind, though the answer is to remake the formula and then lock it way...because...reasons. Pym has also become fascinated by ants after his close-call in the ant hill. So he makes an extensive study of ants, coming up with a cybernetic helmet that he hopes will allow him to communicate with them, and a suit to withstand ant bites when he shrinks. The suit is made with “unstable molecules” that allow it to shrink with him. Hmmm...so who came up with “unstable molecules” Pym, Reed Richards, or did they find them contemporaneously?
The ant studies are sidelined because the government wants Pym and his team to come up with an “anti-radiation gas” to give people immunity to radiation. Apparently, Pym, who had previously been a laughingstock among his peers is now a scientific whiz kid. And they're successful, because the Commies get wind of it and send agents to steal the formula. The Commie spies tie up Hanks assistants while they search the lab...but for some reason they leave Pym alone in his lab since he's the only person to know the entire formula. Pym decides he'll use the formula and his suit and magic helmet to do something about the spies. So, making a funky catapult, he shrinks down and catapults himself to the window where he climbs out under it. His destination, of course is...an ant hill. Not, you know, the FBI or the police.
In the ant hill, Pym finally turns on his helmet to see if it works (it would make too much sense to have tested it first) and lo and behold it does. His “wavelength” is stronger than the ants, so he stops most of them, but is attacked by one. He finds he still has his normal strength when he's shrunk (Holy Atom!) and judo throws the ant. He then survives a pincher attack because of his ant-proof suit. He then uses his wavelength to order the ants to follow him (no explanation for how he speaks ant). He then single-handedly defeats a beetle by digging a hole with is normal strength before riding ant-back with a herd of ants back to the lab.
Pym unties his assistants, but they can't fight the armed spies. So he has the ants attack the spies causing them to drop their weapons, whereupon, “honey ants” gum the weapons up with “honey.” There actually are honey ants...they don't, however, work that way. The assistants are now able to subdue the spies with good old American violence. These are either very tough scientists for very poorly trained spies. Meanwhile, Pym changes out of his ant suit and into his scientist suit, wondering if he'll ever need to be Ant Man again.
Thoughts…
So...the Marvel Universe has a working missile defense system and an anti-radiation gas. Very cool.
This is really another very traditional super-hero story. None of the human pathos or genre changes that we were seeing in Fantastic Four or The Incredible Hulk. In fact, given that Dr. Don Blake is lame, Hank Pym is easily the most standard alter ego yet.
Unstable Molecules seems like a no-brainer name for a band.
The Story. There's nothing terribly interesting here. Pretty standard super-hero fair.
The Art: on the other hand is pretty spiffy. One of the best so far by Kirby and Ayers. And Ant Man's costume is a winner. .
The toll: No real collateral damage by Ant Man on this one.
Grade for historic importance: A -. First Ant Man in costume and first mention of unstable molecules
Story - C-
Art – B -
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