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Post by codystarbuck on Nov 29, 2018 18:33:45 GMT -5
Let's not forget Gary Friedrich's first motorcycling comic hero - Hell-Rider, from Skywald: For some reason, I had it in my head that Hell-Rider was later and forgot that Friedrich was involved in that.
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Post by rberman on Nov 29, 2018 18:39:38 GMT -5
Is "The Wild Bunch" in Hell-Rider a biker gang that combines the name of The Wild Bunch...
With the characters of The Wild One?
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Post by Rob Allen on Nov 29, 2018 19:04:30 GMT -5
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Post by chaykinstevens on Nov 30, 2018 17:24:11 GMT -5
P Craig Russell and mentor Dan Adkins (and Mark Kersey) handle the art, as Herb has departed the series. Russell will finish this out. Dan Adkins laid out the issue and Mark Kersey was another Adkins assistant, who helped with this, his only job for Marvel. According to GCD, Kersey inked some of Conan the Barbarian #21, which PCR and Dan Adkins also worked on.
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Post by beccabear67 on Nov 30, 2018 18:47:55 GMT -5
I had most of the Marvel Feature Ant-Mans once, probably too expensive to buy back now what with the movies... Some nice art in all these early '70s comics!
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Post by Roquefort Raider on Dec 3, 2018 13:16:02 GMT -5
Thoughts: The credits say "Featuring concepts created by Robert E Howard." Uh-hunh. It should read, blatant rip-off of.......... That's quite true, saying that a story is based on REH stories themselves based on Lovecraft's is a bit disingenuous. The name "Shuma-Gorath" does come from Howard, but that's about it!
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Post by codystarbuck on Dec 5, 2018 15:15:53 GMT -5
Gonna start with the last Ant-Man story... Marvel Feature #10Creative Team: Mike Friedrich-writer, P Craig Russell-pencils, Frank Chiaramonte-inks, June Braverman-letters, Stan Goldberg-colors, Roy Thomas-edits Synopsis: Hank and Jan have been kidnapped by a guy in a third rate villain outfit, called Dr Nemesis. He's been experimenting on them and restores Hank's ability to grow to normal size. There is a catch; he must help Dr N to break into Avengers Mansion, or Jan doesn't get the cure and she will die. He gives hank new duds and they use an old AIM tunnel, under Manhattan. Hank tricks him into turning off his energy shield, which protects Dr N, and smashes the control. Then, they have a size-changing slobberknocker, which ends in victory for Hank. We get a one page recap of the series, then Jan tries to seduce Hank, while he dictates his memoirs. He puts the memoirs aside and the series comes to an end. The rest of the issue features reprints of old horror stories. Thoughts: Kind of a lackluster end to what started out as a slightly goofy, yet entertaining revamp of Hank Pym, as Ant-Man. Dr Nemesis is a pretty cliched and non-descript villain, with an ugly costume. He turns out to have been one of the henchmen of the guy who stuck Hank at micro size, back in issue #4. The art looks rather bad, too. Russell was still pretty green; but, he looked fine earlier. The loss of Dan Adkins finishing things is noticeable. The fight with Nemesis is less than spectacular, as there is nothing to give a sense of scale and it looks like a generic fight, even though both change size more than once. It just looks like a wrap-up was rushed into place when it was clear the series wasn't pulling in sales. I kind of think it was inevitable, as they ran out of ideas quickly. Once the novelty of the small hero and the regular world become familiar, you don't have much elsewhere to go. Still, it is a sad end to what was a pretty fun series, for the first third to half, especially with herb Trimpe on the art. Worst of all? No Orkie! I guess he did in the lab fire and Roy didn't want to tell us. It's the Brady Bunch and Tiger all over again! Orkie, Dog Wonder 4/18/1972-4/17/1973 "Alas, poor Orkie; we knew him Horatio Hellpop!"
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Post by berkley on Dec 6, 2018 3:37:36 GMT -5
Russell doesn't yet look like Russell, just as (Barry Windsor-)Smith didn't look like Smith in his earliest Marvel work, but I think Russell here is a bit closer than BWS was to finding his own style.
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Post by Deleted on Dec 6, 2018 4:23:45 GMT -5
Russell doesn't yet look like Russell, just as (Barry Windsor-)Smith didn't look like Smith in his earliest Marvel work, but I think Russell here is a bit closer than BWS was to finding his own style. A big part of PCR's look though is his inking style. His pen and brushwork are what make his "look" and here he is pencils only, with Chiaramante inking him. The inking isn't bad, it's just not Russell, so it keeps the art from having the Russell look. It becomes more apparent that PCR's look is in the inking when you look at his work inking others (I am thinking Gil Kane on Jungle Book and Mignola on several projects) and see how mcuh that art has the PCR look even though he is not doing the layouts and pencils on it. -M
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Post by tarkintino on Dec 6, 2018 6:18:11 GMT -5
Russell doesn't yet look like Russell, just as (Barry Windsor-)Smith didn't look like Smith in his earliest Marvel work, but I think Russell here is a bit closer than BWS was to finding his own style. Russel's work was...frankly amateur-ish, with the anatomy of characters being noticeably off. Marvel of this period often gave tryout title assignments to the "C" and "D" crew (with the exception of many covers for obvious sales appeal reasons), and this Ant-Man story was no different. Knowing Pym's better days in the hands of artists like Kirby and Buscema, Russel left much to be desired.
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Post by codystarbuck on Dec 6, 2018 16:07:42 GMT -5
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Post by codystarbuck on Dec 6, 2018 16:33:33 GMT -5
Marvel Spotlight #6Creative Team: Gary Friedrich-writer, Mike Ploog-art, Frank Monte (Chiaramonte)-inks, John Costanza-letters, Roy Thomas-edits Synopsis: A bunch of bikers are prowling the street, as the sounds of Steppinwolf and Davey Allen and the Arrows are heard... They are lookin' for skulls to crush and come across the lone Ghost Rider and give chase. GR can't outrun them (he hasn't got the hellfire chopper, yet) and instead engages, running straight at them, scattering them. He earns the respect of the gang's leader, Curly Sampson, who invites him to join the gang. Johnny needs a place to hide and think and accepts. At the gangs' pad, he relates the previous issue, then falls under a hypnotic spell from Curly. Turns out, he is working for Old Scratch and he performs a ritual to present Ghost Rider to his master... Old Scratch can't have his soul, yet, as Roxanne still has the key to his heart. So, Curly, who turns out to be a shadow to hide the soul of Crash Simpson, is sent to break that barrier, meaning he has to kill his own daughter. Johnny wakes up and heads back to Roxanne and to do the show, when he crashes again and wakes up to the moon, having transformed again. Roxanne is in the middle of the show when Satan's Servants (as the gang are known) roll in and grab her. GR shows up and there is a chase through stunt ramps and loops, culminating in Johnny rescuing Roxanne. Roxanne goes back to her dressing room, where Curly is waiting and he puts her under his spell and departs, to deliver her to old Scratch. Thoughts: Decent issue; a recap of the previous story is a bit much, especially the room given to it. I think a couple of panels would have sufficed. The stuntshow battle is exciting and dynamic, thanks to Ploog's rubbery style with things. The script is a bit cautious, in terms of what you could really do with this story; but, it's still a Code-approved book. This could have been really gonzo, if it tried just a bit harder. The character and series are still forming, so it isn't getting too radical and this mostly just reminds of of how it began, in case you missed the pevious issue (which was likely, given newsstand distribution, of the era. They can't continue like this or the series will never progress. Luckily, they didn't.
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Post by codystarbuck on Dec 6, 2018 18:03:59 GMT -5
Marvel Premiere #6Creative Team: Gardner Fox-script, Frank zBrunner & Sal Buscema-art, Gaspar Saladino-letters, Roy Thomas-edits Synopsis: When we last left Dr Strange, he was hip deep in water, with a crazy lady about to stick a trident in him... Doc uses his cape to take the trident away and Ebora throws a hissy fit and leaves. Doc uses the trident to free his trapped leg and swims away, under water, with his heavy cloak and billowy robes not hindering him. Slugguth turns up and grabs him and the fight is on... Doc hits him with the conveniently located evil cross and suffocates Slugguth by holding his gills closed (science!) That wakes up papa Shambler, who ain't happy. Meanwhile, Wong and Clea arrive and meet up with the kid and then get attacked by the villagers. The men go down quickly and Clea's magic won't work, so she just gives up and is taken prisoner (more or less). They are dragged up to the edge of a cliff and chained to an altar as a sacrifice. Clea loses her s!@#, 'cause she's a girl, and Doc turns up to free them an whoop the monster; but, he isn't strong enough. Luckily, the Ancient One has travelled there, in astral form and gives Doc the power to win. They pick up a chest the monster dug up and find a map of England, with Stonehenge indicated. So, that is where they are headed next, Thoughts: Pretty good story, though Fox seems to have little use for Clea, except as the cliched damsel-in-distress. Then again, Wong didn't acquit himself much better. They've barely arrived and met the lumbering villagers when, quicker than you can say Margaret Brundage, they are chained to the old stone altar. The Ancient One has to save Doc's bacon, 'cause he sucks, too. How again is the the Sorcerer Supreme, if the Ancient One has to keep rescuing him? The monsters are all scaly and squiggly, making for nice disgusting enemies. Shambler even has face tendrils. All we need are tentacles and we are all set. Frank Brunner elevates this tremendously, with his art. Not fond of how Clea looks in here; but, most everything else is great and Brunner even homages Ditko... This is only a brief stop, for Brunner, who will return, to stay, in issue 9.
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Post by codystarbuck on Dec 13, 2018 18:19:11 GMT -5
Marvel Feature #11Creative Team: Len Wein-writer & timekeeper, Jim Starlin & Joe Sinnott-trainer & cut-man and artists, Artie Simek-announcer & letterer, Glynis Wein-ring girl & colors, Roy Thomas-matchmaker Synopsis: Our story opens with ben cutting a promo on Reed and smashing his latest device to restore Ben to human form. Reed is stunend and ben rils about not facing another failure, then recounts his past. Meanwhile he is being monitored by Kurrgo, Master of Planet X, from FF #7, who recounts how the FF saved his people but overthrew him as despot. he is back and he is going to tag-team with the leader, to control the Hulk. Kurrgo wants him as a weapon, Leader wants him to cure his paralysis. They propose a fight of champions: Kurrgo gets Ben, leader gets the Hulk, winner gets both to use as he sees fit. Ben gets whisked away and told fight or the world gets nuked, by the Leader. Before you can say "Pearl Harbor," the Hulk beams in and the ref calls for the bell. Hulk's got the power; but, as Gordon Solie would say, The Thing would fight a buzzsaw and give it the first two rounds! They go back and forth and Hulk gets the first knockdown, then the Thing makes a comeback and knocks Hulk loopy. He tries to "kayfabe" the Hulk about the bomb; but, Hulk wants to "shoot." Thing gets the upper hand, then goes looking for the bomb. he finds it but it is a fake. Hulk lays him out from behind. Come on, ref; are you blind? Leader wins and beams up Hulk; but, ben grabs hold and the both end up in Kurrgo's ship. he sicks Gort on him and Thing and Hulk make like Jerry Lawler and Bill Dundee and take him out, smashing the controls to the ship along the way. They jump out of the ship, before it explodes, the Hulk jumps away, leaving Ben to hoof it home. Synopsis: Fun little battle issue, with silly contrivances to bring Ben and Hulk together. however, the fight is great and makes you forgive the cliched story. Starlin & Sinnott are awesome on the art and Len Wein gives them enough plot to have some fun. This was a very early story for both Wein and Starlin and they acquit themselves well. This issue leads into the next, where Thing meets Iron Man and battles Thanos, in his debut, which is covered in my Courting Death-Thanos Reviews thread. So, this is it for Marvel Feature. ben's appearances turned out to be popular enough to warrant his own book, which led to Marvel Two-in-One and a long run of great and not-so-great team-ups. Marvel Feature turned out to be a so-so anthology and it was retired after issue #12. So, we will be leaving it behind. Glossary:Cutting a promo-a wrestling interview where one wrestler calls out his opponent and tells how he will beat them in their upcoming match, always taking care to mention the venue and date, so fans will buy tickets. Gordon Solie-legendary wrestling announcer, worked for Championship Wrestling From Florida (with the likes of Dusty Rhodes, Ernie Ladd, Kevin Sullivan, Jack Brisco and other greats), Georgia Championship Wrestling (flagship promotion on Ted Turner's WTBS, that evolved into World Championship Wrestling, with Tommy "Wildfire" Rich, Buzz Sawyer, The Masked Superstar and Mr Wrestling II), Continental Wrestling (Alabama and Knoxville, Tenn promotion of Ron Fuller, with the likes of his brother Robert Fuller, aka Col Rob Parker, Jimmy Golden, the Armstrong clan, and the Nightmares), as well as co-host of Pro Wrestling This Week, a magazine showcase, from the mid-80s. Gordon called the action seriously and was called "The Walter Cronkite of Wrestling," making the matches more like real sports and less cartoony than in the WWF, of the Hulk Hogan era. Solie was famous for his catch phrases, including "crimson mask" (bloody face), Pier-6er (wild brawl), "Katie Bar the Door" (ditto), "Pearl Harbor" (ambush), "Human Chess At Its Finest" (wrestling), "He's not fast, he's sudden!" and more. Comeback-when the hero fires back, after the heel beats him up for a while. Kayfabe-carnival-derived code talk between wrestlers. It was a form of pig latin used to discuss behind the scenes stuff, when outsiders were around. When an outsider came around, one would utter, "Kayfabe" and they would switch to carny. Also used for anything that was derived for story purposes. Shoot-a real fight. Wrestlers who were accomplished amateur wrestlers were known as "shooters." In the carnival days, they would take on contestants from the crowd and wrap them up like pretzels. If someone proved a bit too tough, they put them against a "hooker," who would use crippling submission holds on them. Kurt Angle, as an Olympic champion, was a shooter. Lou Thesz, the NWA World Champion of the 40s, 50s and 60s was a hooker, having learned submission wrestling from a young age. Stu Hart, father of Bret and Owen Hart, was also a known hooker. Gort-robot from The Day The Earth Stood Still. Kurrgo has a similar robot standing by. Jerry Lawler and Bill Dundee-Jerry Lawler was the top star of the long-running Memphis promotion (and co-owner, from the 80s onward), wrestling as both heel and beloved babyface. he's the one who wrestled Andy Kaufman and slapped him on Letterman, portraying himself in Man on the Moon. Now an announcer for the WWE. he still wrestles, occasionally. Bill Dundee was another top star in Memphis and Lawler's biggest rival. he was born in Scotland and raised in Australia; but, only stood somewhere around 5ft 6. he had been a circus performer who moved into pro wrestling, in Australia, then came to the US. he settled in memphis, where he was also a hated heel and beloved babyface. He often teamed with and turned on Jerry Lawler, sometimes in the same match. A common angle was that one would rescue to other from some dastardly attack and decide to team up against the foe, with their former enemy, since they know how tough the enemy was. then, the partner would turn on the other and join the current enemies, leading to a new program. Lawler and dundee did this for about 20 years and drew big houses.
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Post by codystarbuck on Dec 14, 2018 1:05:49 GMT -5
Marvel Spotlight #7Pulpy Satanic cults meet Supernatural Motorcycle Hero; it must be the 70s! Creative Team: Gary Friedrich-story, Mike Ploog and Frank Chiaramonte-art, Herb Cooper-letters, Roy Thomas-edits Synopsis: The reanimated Crash Simpson has daughter Roxanne and Beelzebub wants a sacrifice... Crash argues but gives in and stuffs Roxanne in a barrel and loads her in a trunk, to sneak her out. meanwhile, Johnny Blaze is hassled by the Man, as cops chase him around, while he recaps last issue. After some really awesomely drawn Evel Knievel stunts, Johnny escapes the cops and goes to a graveyard to un-whine... Meanwhile, Crash arrives in Greenwich Village, home of freaks and weirdos (just ask Dr Strange), where a cult has an altar, down in a cellar, for the Church of Satan (minus Anton La Vell)... Johnny Blaze wakes up in the graveyard, back in human form and heads home to rest before the show. he is informed of Roxanne's disappearance and sends Slade, his rival for her affection, to find her. he goes on with the show; but, Slade hasn't found Roxanne; but, a guard saw Curly (Crash in disguise) leave her room the night before. Johnny transformas and heads for Satan's Servants clubhouse, and lights up the place... They point him to the underground church and we cut to there, to find Roxanne dressed in the latest from the Frank Thorne Collection, where she is chained to the altar. Crash is about to sacrifice her when GR shows up and melts the knife. Crash, who is in Curly form, is reverted to Crash Simpson form, given a sword and sicked on Ghost Rider. They face off as the comic ends. Thoughts: Nice issue, lot of great stuff from Mike Ploog. His cartoony, Eisner-influenced style really adds a nice touch to things and keeps it dynamic and spooky. The bike action scenes are fantastic! You can kind of see things starting to gel, even if the stories are rather simplistic, at this stage. Not all of the classic elements have come together, though, like the hellfire Chopper; but, that gives us something to look forward to. I do think Friedrich is drawing this out a bit too much, as we are now going to a third issue, with the corrupted soul of Crash Simpson and we are only now getting to a confrontation, while spending a page or two on recap of the last issue. It's really time to get to the climax. It's a common problem with newer writers and sheds light on the problem of an editor who really doesn't have that much experience in a mentoring/managerial position.. Some people are naturals at that, others grow into it. Roy is still pretty new to the job, at this point, though he has been groomed by Stan, though more in a writing capacity than a managerial. Ultimately, I think this is a big part of why the EIC job became a revolving door, when Roy stepped down, as the managerial side hadn't been groomed in people; only the writing side. Archie Goodwin was the first with real managerial experience; but, also, a distaste for more of the business aspects, vs the mentoring aspects and he only took the job temporarily and reluctantly. Shooter was the first who had really been groomed as a manager, while still acting as a mentor. he was good with the business side, and good about conveying the basics of storytelling to neophytes. His problems came more when he was dealing with veterans, in the same manner. At this point, I think Gary needs to be pushed to develop his story more, before extending it for more than a couple of issues and that should be (and probably was) Roy's focus, though it sounds like he could be somewhat laissez faire in dealing with talent, possibly more involved in early conceptual stage, than in execution, though I am really inferring a lot, with little evidence to back that up. He may be more involved than I give him credit, at this stage. It's just a kind of hunch. Whatever the case, Ghost rider is turning into an exciting book, with exciting art, which will be a notable segment of Marvel, for the next several years.
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