I hadn't really noticed him at all, until about the third time I looked at the pin-up, for the write-ep.  The focus tends to be on Sue's Fantastic 2.

I don't remember Black Knight turning up, although one issue featured Merlin by Doug Moench and John Buscema.

I think I confused the Merlin one, based on one of the editorial pages saying Black Knight was to be down the road, in response the various suggestions from fans.

Marvel Preview #6



"I say, Holmes; bally flimsy nighty on that young woman. I shall examine her....er, hrm, for medical evidence."

"Oh, was she a woman? I hadn't noticed. Women don't seem to interest me much in these things, Watson."

Creative Team: same bunch, with Tony Dezuniga contributing to the art.

Synopsis: Sir Henry Baskerville returns to his hotel, shadowed by Holmes & Watson, who spy another....er, spy, shadowing Sir Henry. The spy spies their spying of said spy and spides....speeds away. Homes & Watson doing some digging then go to Sir Henry's hotel, where he is terrifying staff over missing boots. he has had a brown and a black boot go missing, though just the one each. Holmes tells him of the spy and they later meet the cabbie, who says the man claimed to be a detective and paid him 2 guineas to do what he wanted, for the day, then suddenly had him drive him to Waterloo station and not to spare the hore. he then said the man claimed to be Sherlock Holmes.



Holmes sends Watson to accompany Sir Henry to Dartmoor, where he will act as protector and send updates to Holmes, while he continues on another case. Watson travels with Sir Henry and Dr Mortimer and they run into a soldier, at a roadblock, in Devon. they are looking for the escaped Notting Hill murderer, Hugh Grant, I mean Selden. They travel on and arrive at Baskerville Hall, where they meet the Barrymores, the servants, who Holmes has already suggested as possible suspects, with much to gain if Sir Henry were out of the way. However, they talk of leaving the home, permanently. That night, Watson here's the sound of a woman sobbing, but it was not repeated. The only women in the house were a scullery maid, who slept on the other side of the house, and Mrs barrymore, whose husband assured Watson was not weeping in the night. Watson isn't sure he believes Barrymore. He goes to the village to check about a test telegram that Holmes sent and finds that it had been delivered to mrs Barrymore. He goes walking in the moor and runs into Stapelton, the natuarlist, who talks about the dangers of the moor, as a pony has become caught in a quagmire. Stapleton goes off, bounding across sound turf, chasing butterflies, while his sister warns away Watson. It turns out she thought he was Sir Henry and later tells Watson her warning didn't apply to him.



Watson files his report to Holmes, telling of the Stapletons dining with Dr Mortimer, Watson and Sir henry and how taken Sir Henry was with the female Stapleton. Her brother seemed upset at his attention. He later meets Mr Frankland, an old der neighbor, who is an amateur astronomer. He questions Barrymore about the telegram and sees signs of Mrs barrymore had been crying again, as Watson had believed. He later observes Mr Barrymore standing, with a lamp, at a window, during the night, then let out an audible groan, before moving on. Watson discusses things with Sir Henry and both believe he was watching for something. Sir Henry goes to walk in the moor and insists Watson not accompany him, so he sneaks after him and spots him meeting Miss Stapleton. he seems to implore her and she pull away, when they are interrupted by the brother, who reacts angrily. Watson catches up with Sir Henry, who admits to proposing marriage to the lady and being rejected and warned to leave.

Watson and Sir Henry observe Barrymore at the window again and spot a light in the moor. they investigate and finds barrymore and his wife; but miss the man they are meeting. they admit it was selden, the escaped convict, who is Mrs barrymore's brother, who is hiding there, starving. He signaled for food. They assure him he had nothing to do with Sir Charles' death. Later, Mr Frankland has spotted the escape convict, or so he thinks. Watson tracks the man to his lair and discovers it is Holmes, who camped out to watch in secret. he informs Watson that Stapleton's sister is actually his wife. She was used by her husband to get close to Sir Henry, though not allowed to get romantic with him. She sent the clipped warning. Their reunion is interrupted by screams and they race to find a body, savaged by a hound...



They believe it is Sir Henry and Stapleton turns up, also believing it is Sir Henry, when the light reveals it is Selden, the convict, in Sir Henry's clothes, obviously given him by the Barrymores. Holmes, at Baskervilles Hall, determines the truth of Stapleton's identity, does some further examining of evidence to establish the truth of it, then brings a reckoning to the moor and the Hound.

Thoughts: Again, lots of talking heads; but, much more action to liven things up a bit, plus some delightfully horrific imagery fro the night moors and hellhounds. I won't fully give way the ending, though the novel is well known. Again, the pace is a bit slow and things probably could have been condensed a bit. Mayerik's storytelling needed some creativity to keep the exposition lively. The story itself captures the novel quite well; but, the technical side lets it down, a bit. It wasn't quite as likely to launch a Holmes series, if that was the intent. As a literary adaptation, it is quite good and more lively than a Classics Illustrated. As a reular series, it could use a bit more adrenaline.

Archie informs us that Dezuniga is there to help Mayerik with the deadline, taking over the inking (apart from 2 pages done by P Craig Russell).

If you are a Holmes fan, you will probably enjoy this. if you have never read the novel or any of the stories, it serves as a fine introduction to Holmes. However, Holmes has been adapted to comics in far better manners. Scarlet in Gaslight pitted Holmes against Dracula in a Victorian detective/horror adventure, which was faithful to the spirit of both works, while carving out a new story. Meanwhile, Gene Day's brothers adapted some of the Holmes stories in far more engaging and lively manner. Scarlet was published by Malibu, who also put out reprints of Frank Giacoia's comic strip version. The Day material was published by Renegade Press. Guy Davis' Baker Street was done at Caliber, in a style that predates Sherlock by about 20 years. It's not exactly like Sherlock; but, is a modern take on it, though with a punk aesthetic.

All in all, these two issues present a writer-driven take on Holmes, with the text of Doyle playing a more important part, though Mayerik does a credible job of capturing the atmosphere of the story. He isn't quite as detailed as he could have been; but, the level of text needed room in the art, necessitating a loss of details. That is a point for which he is taken to task, by one letter writer, for the first issue. he doesn't fully capture the period, either; but, probably did so enough for the average reader.

The letters pages are mostly praiseworthy of part 1, apart from some minor nitpicks. There is one unrelated letter suggesting a more mature version of Spider-Man, for Marvel preview, which is deemed unnecessary, in the editorial response. Marvel did 2 issues of The Spectacular Spider-Man, in 1968, as a test of the waters, for invading Warren's territory. The issues featured Lee and Romita stories, which were later reprinted, in edited form, in Amazing Spider-Man. Not sure about sales, though Roy Thomas has said Martin Goodman wasn't keen on doing comics on the magazine stand and didn't support the idea (and didn't want potential issues with the Code, over doing non-Code comics). The magazine line was launched (relaunched, really) after he sold Marvel to Cadence Industries.

I wouldn't have minded more Holmes, with a better balance of story and art, capturing the spirit of Doyle, if not exactly the words. I also think there was more to be gained by doing new stories than just adaptations.

Marvel Fanfare #48



Creative Team: Dwight John Zimmerman-writer, Kerry Gammill-pencils, Josef rubinstein and Jose Marzan-inks, Morelli-letters, Neil Yomtov-colors, Al Milgrom-edits.

This was supposed to be an all-She-Hulk issue; but, Byrne bowed out after he was off the main She-Hulk comic. So, we get two She-Hulk stories and one from the Vision. Al's Editori-Al covers his dilemma and notes that the Vision's costume was now white, in WCA; so, he can't even go with a color scheme (though Viz is in green and yellow, here).

Synopsis: She-Hulk is in California to be a celebrity judge at a bodybuilding competition. She runs into her father, the sheriff, and has to inform him she is stuck as She-Hulk. He doesn't see She-Hulk as Jennifer Walters and basically disowns his daughter...



Turns out there is a mini-family reunion, as her unknown aunt is also there and has turned her son (Jenn's cousin) into a steroid freak, called Brawn, to get revenge on Jenn's dad, 'cause Dad liked him best. uh-hunh. Brawn shows up in the competition, attacks his cuz, gets shot by his uncle, who reconciles with his daughter, while nephew hops away with his mom.



Thoughts: Meh......Dealing with the past and family is a nice idea; but this is a mess that goes all over the place and the aunt is just plain silly. She also hates abstract art. Even Stan would have though that was corny.

"California Dreaming"
Creative Team: Sue Flaxman-writer, Don Perlin-pencils, Jim Novak-letters, Bob Sharen-colors

Synopsis: She-Hulk is contracted by some old friend we have never met, in a dream and goes to aid him and fights some corporate goon, in a dream world, as jennifer Walters, since the dude is psychic...



Thoughts: Double meh.............The point of these two stories seems to be reaffirming that She-Hulk is Jennifer Walters; but, it made for less than compelling stories, in both instances. The first one is better with the father-daughter bit; but, too short to do the idea justice. This seems more random.

Run Through The Jungle

Creative Team: Michael Higgins-writer, Ron Wilson-pencils, Jim Sanders III-inks & colors, Jim Novak-letters

Synopsis: The Vision still believes he is the Human Torch, in updated form and has "memories" of flash-frying Hitler. He is flying over a forest and runs into a psychic wall, causing him to crash.



He encounters a Vietnam vet who is having flashbacks, dealing with the death of a buddy, who is killed when he chased after the vet, after he shot up with heroin, in the jungle. He sees the Vision as the buddy and thinks he is a ghost, then his family finds him and he thinks they are Vietnamese villagers.



Vision blocks him and then phases his hand into the vet's head and fixes his brain, releasing him from the visions.



Thoughts: the Vision seems an odd character for this type of story and the psychic element is never really explained. Does the vet have a mental power or is the Vision now psychic? It isn't clarified. It just comes across as yet another story of a PTSD Vietnam vet. I have no idea of Higgins' background; but, given the time frame for his credits, I would think he was too young to be a Vietnam vet. This story might have had more impact from a Doug Murray, Larry Hama, Mike Grell, or Don Lomax.

None of these stories is particularly memorable and I doubt they would have been published in the regular series or as a one-shot, had not Fanfare been a dumping ground for material (certainly by this point of its life). The art is fine; but, the level of writing isn't exactly A-List or even B-List.

Marvel Fanfare #49



Creative Team: Story and art by Alan Weiss, LP Gregory-letters, Greg Theakston-colors, Al Milgrom-edits

Alan Weiss doing a western? YEEEEEEEEEeeeeeeeeeeeeHHHHHHHHHHHHHAAAAAAAAAAAaaaaaaaaaaaaaaaaaaaaaaaaaaWWWwwwwwwwwwww!!!

Synopsis: Nick Fury and Dum-Dum Dugan have been drawn to dr Strange's Sanctum; but, rather than find a threat, they find Wong, acting very stereotypically...



Dr Strange left a spell to bring them to him and give them the right look, as they time hop to the Old West. there, they find Doc dealing with some owlhoots who think he is a card sharp. Doc Strange magics the varmits guns; but gets a spitoon to the noggin, before Fury and Dum-Dum arrive, and Dugan opens fire with a Thompson submachine gun. he then smashes up the bar with the onry cayute's faces...



Doc is okay and wakes up and explains things to Fury and Dugan. There is a rift in the time stream, caused by a Native shaman, called Redblade. he intends to creatw an army of magic warriors to attack the whites. Doc says it will, at best, extend the Indian Wars to WW1 and lead to total genocide, as airplanes and machine guns will be employed to totally destroy them. They set off to stop Redblade.



Doc tracks them psychically and they catch a warrior, who points the way. They interrupt the ceremony and Doc and Redblade face each other in a battle of magic, one upping each other's spells...



Redblade turns into a wolf creature and Doc shoot shim with his Remington, causing him to revert form. he is alive and Doc addresses the assembled, basically telling them they are Fed and to use their hearts to survive what is to come. Turns out that Doc shot him with a gold bullet, which is pure enough to defy magic (and avoid a trademark infringement suit). The job done, Doc, Fury and Dum-Dum ride off into the sunset.

Thoughts: The story is a bit wonky and Doc's sentiments come across as a bit troublesome, given the actual history; but, it's a fun story. The troublesome is that it sounds like White Man's patrony, rather than real logic and inspiration. The art is fantastic and Weiss knows his western stuff. He bases his Doc on Errol Flynn, who did many a western and Fury on John Wayne, especially as Rooster Cogburn. Dum-Dum seems like an amalgam of Victor McLaglen and Alan Hale Sr, depending on the angle. Basically, a sidekick to Flynn or Wayne.



Two Guns Against the Gang

Creative Team: Mike Barr-writer, Tod Smith-art, Bill Oakley-letters, Paul Becton-colors

Synopsis: Matt Hawk gets an outlaw acquitted of a crime and the townspeople aren't happy. The judge invites him to supper but they are ambushed by the outlaw's gang. The judge tells them that their boss is going free; but, they want him framed for murder, so Bear Bronson can take over. They have a necktie on the judge, when Hawk gets loose and changes into the Two-Gun Kid, takes out the gang, shoots the noose and frees the judge (as Matt Hawk again). They thus have complete proof that the outlaw, redlin, was framed.



Thoughts: Very slight story that needs more room to set up a proper mystery. The dual identity thing doesn't really work well in this short space of time. Bar is a good mystery writer and culd have done better, with more room. Not sure he is the best for a western, though.

For more SHERLOCK HOLMES comics...

TESORO DE CUENTOS CLÁSICOS #86
Editorial Novaro / Mexico / Oct'64
"The Red-Headed League"


TESORO DE CUENTOS CLÁSICOS #90
Editorial Novaro / Mexico / Feb'65
"A Study In Scarlet"


TESORO DE CUENTOS CLÁSICOS #91
Editorial Novaro / Mexico / Mar'65
"The Sign of The Four"


TESORO DE CUENTOS CLÁSICOS #92
Editorial Novaro / Mexico / Apr'65
"A Scandal In Bohemia"


As far as I know, these are all done by Mexican writers & artists. The series began doing misc. "Classics" adaptations, then later focused on certain detective characters, and near the end of its run, became a horror book focused on stories about vampires-- all while maintaining a single tirle & numbering.

It looks to me like after the first Holmes story, when they got back into it a few issues later, they started with the first 3 Doyle stories in sequence... but then stopped.

In 1971, they began doing more Holmes stories, however, these later ones were brand-new stories, not adaptations!! They appeared in issues #161, 163, 166, 168, 172, 174, 176 and 182.