Number 1052


Subhuman giants, ghouls, Bigfoot and Sasquatch...


...are all the same, or at least according to these two stories, both of which are about Bigfoot, under different names.

"Do They Exist?" is from Adventures Into the Unknown #137, 1962 (probably a reprint from an earlier issue with a different title), and "Return Of the Ghoul" comes to us via a reprint in IW's Daring Adventures #9, 1958. It was originally from Blue Bolt Weird Tales of Terror #115, and according to the GCD, was a sequel to "The Ghoul Of the North" from Avon's Eerie #15. Got all that? There will be a quiz.

The first story is drawn by Edmond Good, an artist we have featured here before, in Pappy's #985 and Pappy's #994. Jay Disbrow does the ghoul story. I believe he wrote it (he could be wordy, perhaps graduating from the Al Feldstein School of Comic Book Writing). His Bigfoot is more of a shape shifter than the traditional hairy giant of the woods. This is the first story I've shown by Disbrow.

Which reminds me. I sent my son a scan of the cover of the above book, showing Bigfoot in Pennsylvania. I sent it as a joke, telling him to "watch for Bigfoot in the woods when you drive through them." At the time he was commuting to college in Western PA via a two-lane road through a heavily wooded area. After I sent it he told me one morning in winter, very early in the morning, he saw a large, manlike shape between two trees just off the road, as if waiting to cross. I don't believe in Bigfoot, although a lot of people do. I don't think my son believes in Bigfoot, either, but he saw something, and his story gave me a shiver.













Number 1051


Mr. Universe and the jungle that time forgot


Mister Universe ran for five issues in the early '50s, and it had different artists handling each issue. Ross Andru did some penciling and inking in number one, but number two, which I'm showing today, is the only issue done front to back by the Andru and Mike Esposito team, and the only issue with a book-length story.

"Jungle That Time Forgot" is credited to writer Harry Kantor. It's a precursor to many stories Andru and Esposito would later do for DC, featuring lost worlds and modern soldiers fighting dinos.

I took the scans from an online source, and although I've cleaned them up to the best of my ability, they still show that the issue was printed poorly with off-register colors. I've mentioned several time in this blog it's probably no surprise to anyone who has read comics for many years that early comics were the Rodney Dangerfield of the publishing world. They got no respect, printed by the millions on giant web presses by (sometimes) indifferent pressmen.


























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Number 1050


Veteran's Day 11/11/11


Today is Veteran's Day in the U. S., honoring all who have served in the armed forces of the United States. That's a lot of veterans, and includes me.

For the occasion we've got a couple of special war stories, one story from Our Army At War #8, 1953, written by Robert Kanigher and drawn by Irving Novick. It's in the form of the original art taken from the Heritage Auctions site. I also took the other story from Heritage, which harkens back to an earlier era of conflict. It's from the next-to-last issue of Tomahawk*, #139, 1972, written by Bob Haney and drawn by Fred Ray. Ray, who had drawn Tomahawk for years, was an expert on the Revolutionary War period, and looks like he could handle the Civil War period, also.

These stories are dedicated to my fellow veterans, and to those serving now. Thanks to all of you!


















*The cover logo says Son of Tomahawk.
[This review by Doug Glassman, who blogs at Astrakhan Industries.]

When last we left Tony Stark (in Invincible Iron Man: Worlds Most Wanted), he was brain-dead and Norman Osborn was victorious as the Iron Patriot. As the Siege of Asgard unfolds around him, Tony battles for life. Siege isn’t too important to this story, except that it does explain where these issues fit into the overall event narrative thanks to the Ghost.

The title Iron Man: Stark: Disassembled refers back to the Avengers: Disassembled event, which precipitated Iron Man’s Extremis armor, House of M, Civil War, Secret Invasion and Dark Reign. Matt Fraction clearly intends this story to end that chapter of Tony Stark’s life and start a new one. I believe that he succeeds in reference to both Stark’s story arc and Stark’s character. Tony starts over in more ways than one, and while the ending of this story has been called a deus ex machina, the context of later issues diffuses feelings of a simple ending.

Not only is Tony rebuilt (both physically and metaphorically) in this story, but so are his friendships. War Machine, Pepper Potts, Maria Hill, Thor and the original Captain America are necessary to revive him, and it even ends up being their choice to resurrect him in the first place. Other allies, such as the Black Widow, the current Captain America and Dr. Strange, are also on hand to help Tony. After years of stories in which the Marvel heroes have become fractured and, to an extent, unlikeable, Stark: Disassembled lays the cornerstones for the new Heroic Age, in which differences won’t have to be settled with Negative Zone prisons and Norman Osborn rising to power.

Opposing Tony’s resurrection is the Ghost, who starts to rise to the position of one of Iron Man’s top enemies. I feel that Stark: Disassembled puts him on the level of the Mandarin, Titanium Man, Crimson Dynamo and Spymaster. His anti-corporate leanings have come to the forefront after being sporadically used, making him a perfect foil for Stark. Only a last-minute hoisting with his own petard stops the Ghost, and it also starts him on his road of change as seen in the Thunderbolts series. I do like that there’s a clear point where he leaves the Thunderbolts’ mission to Asgard to attack Stark, as delineated both in this book and in Siege: Thunderbolts. It seems like Marvel’s various titles are really starting to sync up.

Also opposing Tony is his own mind, and a good half of the story is dedicated to his internal battle to return to consciousness. One of Tony’s driving factors has always been guilt; the Armor Wars is the best example. Even his friends aren’t sure whether he should come back, leading to a frank discussion of resurrection in the Marvel Universe. There’s a sequence in which Stark confronts the people who have died because of him, most notably Happy Hogan and Ho Yinsen, but also a few more obscure people. Although they aren’t named, I’m fairly certain that a glasses-wearing man is supposed to be Tony’s technical genius Abe Zimmer, while a blonde woman may be Kathy Dare, the stalker who shot him and destroyed his spine.

Salvador Larocca continues his epic run on Invincible Iron Man. The Fraction/Larocca team may go down in history alongside the Michelinie/Layton runs as one of the best consistent Iron Man writer/artist teams. One of Larocca’s strengths is that his characters can actually show emotion, an ability key to this storyline. He does use some interesting motion blurs, which can be distracting at times, but it does demonstrate how far comic book technology has come. Larocca also did the intriguing cover designs for the issues. The cover for the trade isn’t an example of these (although it is fine artwork), but Larocca created modern-art covers with unique color palettes and a circular design scheme. I really wish unique covers like these could be used more often.

While Stark: Disassembled ends Invincible Iron Man’s two-year-long story, it also ends a seven-year-long character arc. Tony Stark has gone from a Secretary of Defense, to a superhero registration enforcer, to a Director of S.H.I.E.L.D., to a troubled businessman, to a criminal fleeing from what used to be his organization, and finally to a brain-dead shell. This is truly the rebirth of Iron Man, and I highly recommend picking up this trade and those before it.

Thanks Doug! New reviews and more coming next week ... don't miss it!