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Jan 14 17 9:30 AM
Joseph William Marek wrote:Mighty Thor #150, March 1968 [published 2 Jan 68] Origins of the Inhumans: “Triton”Script: Stan Lee, Pencils: Jack Kirby, Inks: Joe Sinnott, Letters: Artie Simek Someone has forgotten all the breathing tubes (or whatever) that are supposed to cover Triton’s skin.
Jan 14 17 9:32 AM
Jan 14 17 9:33 AM
Joseph William Marek wrote:Mighty Thor #150, March 1968 [published 2 Jan 68] Page 10: The Wrecker destroys a building, and for once we’re not told first that it was a derelict awaiting destruction! I’m not sure if the ending feels a little bit contrived … or not. Origins of the Inhumans: “Triton”Script: Stan Lee, Pencils: Jack Kirby, Inks: Joe Sinnott, Letters: Artie Simek Someone has forgotten all the breathing tubes (or whatever) that are supposed to cover Triton’s skin. Page three, panel three: I wouldn’t know for sure; but I don’t think underwater cameras look like that … Boris, ha-ha-ha! I’m glad this isn’t a single episode story. I want something more complicated. Lettercol: There seems to be a mixed reaction about Tales of Asgard’s departure.
Jan 14 17 9:43 AM
supersteel wrote:prefer tales of asgard to the Inhumans.
Jan 14 17 9:47 AM
Joseph William Marek wrote: Hey Alex (and everyone). This is my youngest grandchild, Victoria. She was born March 29, 2016.
Jan 14 17 9:50 AM
Joseph William Marek wrote:Iron Man and Sub-Mariner #1, April 1968 [published 2 Jan 68] Sub-Mariner: “Call Him Destiny... or Call Him Death!” Script: Roy Thomas, Pencils: Gene Colan, Inks: Frank Giacoia, Letters: Sam Rosen I really don’t care for Destiny’s appearance; it’s kind of hokey.
Jan 16 17 4:59 PM
Jan 16 17 5:04 PM
Joseph William Marek wrote:Strange Tales #167, April 1968 [published 2 Jan 68] Dr. Strange: “This Dream -- This Doom!” Script: Denny O’Neil, Art: Dan Adkins, Letters: Sam Rosen Adkins style has really matured during his tenure on Dr Strange.
Jan 17 17 1:55 AM
Jan 17 17 7:40 AM
Jan 17 17 3:04 PM
botolo wrote:Where do you guys read these comics? Have they all been reprinted in Masterworks? Are you reading them on Marvel Unlimited???
Jan 17 17 4:07 PM
Joseph William Marek wrote:Sgt. Fury and His Howling Commandos #52, March 1968 [published 2 Jan 68] Of course Fury has a torn shirt on the cover, but only a little bit. “Triumph at Treblinka” Script: Gary Friedrich, Pencils: Dick Ayers, Inks: John Severin, Letters: Artie Simek Again, the story starts with a lot of action. I’m going to presume that the depiction of aircraft is well researched by Messers Ayers and Severin. Page three, panel one: How did the German pilot/bombardier know the Howlers were aboard? Page four, panels three-six: The brave pilot goes down with his plane, and out of the plot of this story. Page five: The emotions displayed over the pilot’s death were a nice touch. Sometimes I think John Severin is going to restore the Cap’n’s hatchet face look, and other times it doesn’t seem he will. Page six: Dr Karl Von Rusteg appears to be a fictitious name. Pages seven-eight: The cut over to Izzy Cohen’s dilemma was a nice touch, as he hasn’t been mentioned for a while. Page nine, panel one: I suddenly want a recap of how Happy Sam got injured – and wound up with a desk-job. Page nine, panel six: Shouldn’t Eric and Dino have disguised themselves as guards? Page ten: This is inconsistent. The Howlers always understood a little German. Page 11, panel 8: You know, these stories are significantly different from other Sgt Furys, and other work by Friedrich. Are the stories being written by his dad, or by John Severin? Page 12, panel one: I would say Nick Fury probably has a major concussion. Page 14, panel five: And how exactly did that guard NOT hear Fury sawing through the floor? Page 15, panel four: You would think it would be more natural for Eric to summon the truck, being (1) German, and (2) formerly in the Reich’s military. Page 17, panel six: Shouldn’t it take more than a bullet to ignite an oil drum, like some kind of flame? Page 19, panel three: You know, lettering a sound effect is probably a fine art.
Jan 17 17 4:15 PM
Joseph William Marek wrote:X-Men #42, March 1968 [published 9 Jan 68] A friend of mine saw the cover and thought the X-Men had reverted to their old costumes. I explained that it was just a fluke that Cyclops, Angel and Beast all had blue cowls. “If I Should Die...!” Script: Roy Thomas, Pencils: Don Heck, Inks: George Tuska, Letters: Sam Rosen Page one: The inking on Angel’s tunic (or whatever) is awful; who the heck would think it should be done this way. Man! Tuska’s a pro; he should know better! Page two, panel four: Angel: “I’m not even sure of that anymore!” – very astute observation. Roy writes angry people awfully well. Page four, panel two: I hate this, when some character manifests a power just because it’s convenient for the writer. I can do without Roy trying to emulate Stan’s alliteration. No one does it like Stan. Page five, panel two: the source of Grotesk’s vision isn’t what he might think. I guess I’m in a state of mind – or have achieved a degree of maturity – where I can appreciate Mr Heck’s composition. Jean’s behavior is very very unusual. Page seven, panel three: Roy! A psychic doesn’t suspect things! A psychic knows things!! And I still hate the term “Mental Bolt”; can’t we say “Psychic Attack” or something similar? Page eight, panel six: That face has a Steranko-ish look to me. Page nine, panel five: Roy! When a character suddenly pulls an unknown weapon out of nowhere it is just too much of a deus ex machina. (Usually when I say deus ex machina I mean the Enchantress has suddenly shown up, but this time I mean its more standard definition.) I know that talking at all during a fight is ludicrous, it just doesn’t happen. Maybe this is one time at least we can have the Beast not use big words as it throws the rhythm of the scene off. Page eleven: Having Professor X and Marvel Girl pool their abilities like that is insane because their abilities are nothing alike. Ever since July 1963 when X-Men #1 went on sale there have been too many instances when Professor X’s power was more like psychokinesis then it should have been. Roy! If you’re going to tell us the Prof still uses his mechanized legs, then you have to show us every once in a while. Not drag them out of nowhere after 20 or more issues! Grotesk seems like a focused, driven individual; does he? That’s better than frittering away his time like so many of today’s youth. Apparently when fans complained they’d seen enough of the Brotherhood of Evil Mutants, Stan thought they meant they’d seen enough of all mutants. Marvel tried so many gimmicks to save this series; have the Professor kidnapped, have the Professor die, get new costumes, split them up. Blankety-blank—blank-blank-blank!!! All it needed was friggin’ good writing! For too many years it was the same plot: have the other X-Men get in trouble and then have Cyclops or Professor X bail them out – over and over again. Oh, I got so tired of it! We just needed good writing: don’t slow down the action, get an artist who can pace a story, put them in interesting situations, go back to the civil rights parallels. Something! Argh!!! The best action scene Werner Roth ever drew in this series was when they were in their street cloths fighting bikers! Get a friggin’ clue! Origins of the X-Men: “The End...Or the Beginning?” Script: Roy Thomas, Pencils: Werner Roth, Inks: Herb Trimpe, Letters: Al Kurzrok The first page caption refers to this as a four-part origin, but I really consider this series first chapter, “A Man Called X”, as part of Cyclops’ genesis. Page two, panel five: Professor X suddenly displays Psychokinesis when the plot calls for it. I hate that! Page four, panel four: I disagree with Professor X’s analysis. It was Jack Winter’s mutation that interacted with radioactivity to produce the Living Diamond. Page five, panel three: I think Roth should have worked harder to duplicate Cyclops’ costume as it appeared in X-Men #1. I had read that Stan Lee originally wanted to call this new book The Mutants, but that Martin Goodman argued that no one knew what a mutant was, so The X-Men were born. I always considered Chris Claremont’s The New Mutants an hommage to Stan’s original idea. Lettercol: One fan suggest matching letterers with pencilers. Another fan diagnoses the kinds of letters that get published. Another writer thinks all the Marvel merchandise cheapens the stories. Royal Balloon gets a second letter published.
Jan 17 17 4:26 PM
Joseph William Marek wrote:I couldn't help but think: With all the excitement about the 1968 Expansion, I still prefer Marvels from just four years before that. You just can't beat these titles for excitement!
Jan 18 17 4:15 AM
Jan 18 17 4:39 AM
Joseph William Marek wrote:Strange Tales #167, April 1968 [published 2 Jan 68] Cover: I kind of like Clay Quartermain’s perennial grin. Nick Fury, Agent of S.H.I.E.L.D.: “Armageddon!” Script & Pencils: Jim Steranko, Inks: Joe Sinnott, Letters: Sam Rosen I think the ending was really cheesy … plus did we set a record for full pages in a story of this length?
Jan 18 17 8:28 AM
Comicsdad wrote:Joseph William Marek wrote:Strange Tales #167, April 1968 [published 2 Jan 68] Cover: I kind of like Clay Quartermain’s perennial grin. Nick Fury, Agent of S.H.I.E.L.D.: “Armageddon!” Script & Pencils: Jim Steranko, Inks: Joe Sinnott, Letters: Sam Rosen I think the ending was really cheesy … plus did we set a record for full pages in a story of this length? It was. Clearly Steranko wanted some big surprise ending, but this was just... Bad plotting.
Jan 18 17 8:30 AM
Jan 18 17 10:15 AM
supersteel wrote:I dont think the agent is meant to be happy. More like serious and stressed. a grimace not a smile.
Jan 18 17 12:39 PM
Comicsdad wrote:supersteel wrote:I dont think the agent is meant to be happy. More like serious and stressed. a grimace not a smile.Yeah, I know... But he looks so happy!
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