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Iron Fist

Longbox Graveyard #121

I’ve already blogged about my affection for Bruce Lee, and how Marvel jumped on the martial arts craze of the early 1970s with books like Master of Kung Fu. While Shang-Chi was unquestionably Marvel’s most successful and longest-running martial arts character, there is a second hero from that era that remains at least somewhat well-known today. Less ambitious than Master of Kung Fu, with more emphasis on action and traditional comic book superheroics, Iron Fist was Marvel’s “other” kung fu book of the era, and despite its relatively short run the series offered several superior issues, and the character of Iron Fist (in various guises) has persisted into the present era — and come 2015, he’ll even be a television star! The book was also notable for the first Marvel Comics work of John Byrne, who would partner with Chris Claremont on the book before the two went on to make history together with X-Men (by way of Star Lord!)

Marvel Premiere #17, Gil Kane

Iron Fist debuted in the pages of 1974’s Marvel Premiere #15, an origin tale from Roy Thomas and Gil Kane that is a a mixed cocktail of borrowed tropes (with a savage chaser). We first meet Danny Rand — the future Iron Fist — as a child, trudging through Himalayan snows with his mother, his father, and his father’s evil business partner, looking for the fabled city of K’un Lun, a kind of Shangri-La that opens to the outside world only once per decade. In short order, Danny’s father is kicked off a cliff by his partner (evil, remember?), cartwheeling and ragdolling off the rocks while young Danny looks on … and then if that wasn’t enough, after Danny and his mother are abandoned to die, Danny gets to watch his mom torn apart by starving wolves before he is rescued by the warrior monks of K’un Lun.

Marvel Premiere #15, Gil Kane and Roy Thomas

It’s enough to make you yearn for a benign origin, like watching your parents gunned down in a Gotham City alley, but this trauma is put to good use, as Danny is adopted into the mystical city of K’un Lun, and montages into a vengeance-fueled martial arts master, eventually wrestling a dragon to the ground to steal the power of its heart, and refusing the gift of immortality to leave the city on a mission of vengeance when the gates reopen a decade later.

The book had a carousel of creative teams, as was often the case with 1970s Marvel series. Roy Thomas and Gil Kane were aboard only for the first issue (though Kane would do several striking covers for the series), and caretaker writer Len Wein quickly yielded to Master of Kung Fu scribe Doug Moench, who turned in a couple action-packed issues with the artistic team of Larry Hama and Dick Giordano that saw Iron Fist fight his way to the top of a skyscraper deathtrap, seeking revenge for his father’s death.

Marvel Premiere #18, Doug Moench and Larry Hama

After Moench, Tony Isabella more-or-less held serve for several issues (most notable for introducing Colleen Wing and Misty Knight, who would loom large as this series matured), but the art took a substantial step backwards under Arvell Jones, and Iron Fist might have been bound for untimely cancellation …

Iron Fist #3, Chris Claremont and John Byrne

… were it not for the arrival of Chris Claremont in Marvel Premiere #23, and, two issues later, the debut of John Byrne, marking the beginning of one of the great teams in comics history, and a definite upswing in Iron Fist’s fortunes. It takes a couple issues for Byrne to really get his mojo going (and the shift to Frank Chiarmonte’s inks from Al McWilliams didn’t hurt, though Byrne would fully arrive under Dan Adkins’ brush), but Claremont hits this series like a Double Leopard Paw Blow from the get-go, deepening the book’s characterization by giving Danny a personality (somehow overlooked to this point), and expanding and enhancing the strip’s supporting cast.

Iron Fist #7, Chris Claremont & John Byrne

Most startling is the transformation of Colleen Wing, going from an extra in a kung fu movie to a Third Dan Black Belt who can (almost) hold her own sparring with Iron Fist, and definitely scores a knockout lecturing Danny on the strengths of the “weaker” sex. By the time Danny invades the fortress of Jera’ad Al-Din in Iron Fist #6, springing Collen from captivity, it is unclear who is rescuing who.

Iron Fist #7, Chris Claremont & John Byrne

Claremont was known for writing strong female characters in Ms. Marvel and X-Men, and he is no different here, both with Wing and her erstwhile parter, Misty Knight, who cuts a forceful and foxy figure, providing instant direction for Danny’s aimless heroics, and rocking a groovy “MK” belt buckle with a quasi-superhero outfit that shows the creative team didn’t know quite what do do with her.

Misty Knight

But that would change, as Misty Knight quickly evolved into one of the strongest “supporting actresses” in the Marvel line, both figuratively and literally. With her mysterious bionic arm, Misty is outwardly powerful but secretly traumatized by the loss of her limb.

Misty Knight, bionic woman

With Colleen offstage, Misty proves Danny’s adventurous equal, and even tells our hero to get stuffed, walking out on him as Claremont plants the seeds for their eventual romance. In this transformation of stock characters — Misty, Colleen, even Danny — into compelling and multi-dimensional heroes, Claremont proves himself one of the most talented scribes of his era.

Claremont also gives Danny a zest for life (even a bit of a sense of humor), and promises future possibilities (never realized in this run) when he makes Danny the heir to his father’s fortune. Even K’un Lun gets a makeover, transformed from a generic lost paradise into a nest of intrigue, greed, and envy, where Danny was an orphan and an outsider, resented by the other students for his gifts and presumed arrogance in seeking the Heart of the Dragon.

Iron Fist #8, Chris Claremont & John Byrne

some joyful Iron Fist action, with the book’s creative team getting a cameo as the innocent bystanders

It is a heady transformation — in just a handful of issues, Claremont and Byrne pivot Iron Fist from another short-lived Marvel exploitation book and build a franchise. Unfortunately, the book never got traction with readers, and I remember its cancellation as one of cruelest I suffered as a young comics reader. Marvel would keep the character alive by splicing him into the re-named Power Man And Iron Fist, but first Byrne and then later Claremont would depart for mutant pastures, and the rich promise of Iron Fist would fall to other creators to realize.

It was fun while it lasted. The first several Marvel Premiere stories are uneven but the Claremont books constitute a minor classic, and are available on the back issue market for reasonable prices (aside from the first appearance of Sabertooth in issue #14). Apart from Wolfman and Colan on Tomb of Dracula, and Thomas and Buscema on Conan, few teams stuck together for long at 1970s Marvel, so it was always a matter of when (not if) the A-team Byrne and Claremont would depart the B-list Iron Fist … but there is such skill and joy in this brief run that the book can’t help but seem a path not taken. We know Claremont and Byrne would work mutant magic with X-Men. I would dearly love to have seen where they took Iron Fist.

Iron Fist #7, Chris Claremont & John Byrne

it was played for laughs, but Iron Fist held his own against the X-Men (for awhile)

The book had its idiosyncrasies, particularly as it found its footing, most memorable of which was the second-person narrative captioning style introduced by Roy Thomas in the character’s first appearance, and then adopted by following writers as a kind of holy writ (though it was eventually de-emphasized by Claremont). The style gave the book a distinctive voice, but could prove cumbersome and distracting, and I expect it drove Iron Fist’s writers batty.

Imagine if I wrote Longbox Graveyard in second person!

With trepidation and some self-loathing, you click on Longbox Graveyard. Will there be a new feature today? A new headline stalks into view. But you are cautious, Young Dragon. You have been burned before … by senseless “Panel Galleries” and regurgitated Pinterest links. Your breath quickens as you remember clicking on that “Top Ten Marvel Comics Characters” link every time you saw it on Twitter, forgetting that it was the same damn article every time. Every sense alert, you mouse-wheel down, revealing the garishly-attired green-and-yellow form of Iron Fist. You try to read the article as fast as possible, skipping the text and lingering on the art. A link appears — but does it promise enlightenment, or just a recursive visit to a Longbox Graveyard article of years past? Still your soul, exhale, and click …

Phew!

Let’s clear the palette with another John Byrne action page!

Iron Fist #10, Chris Claremont & John Byrne

There’s also an early over-reliance on providing each of Iron Fist’s attacks with an exotic-sounding name, perhaps as an attempt to spice up lackluster action art. I half suspect early Iron Fist writers were working from one of the innumerable martial arts manuals hawked on pages of early 70s Marvel books. In his many battles over this two-dozen issue run, Iron Fist employs the …

… Monkey Blow, Rock-Smash Blow, Lightning Kick, Cat Stance, Sword Hand, Ram’s Head Blow, Elephant Kick, Dragon Stamp Kick, Blow of the Hammer, Locking Block, Bear Thrust, Double-Circular Block, Upward Sweep, Reverse Smash, Horse Stance, Spinning Whip Kick, Flying Roundhouse, Leaping Deer Block, Cross-Arm Throw, Boulder Block, Swing Throw, Crane Stance, Crescent Kick, Leopard Paw Blow, Reverse Throw, Passive Stance, Double Monkey Blow, Tiger Claw Blow, Scorpion Blow, Ram’s High Kick, Dragon Kick, Thunder Punch, Reverse Shoulder Throw, Heel Palm Thrust, Thunder Kick, Double Sword Hand, Two-Handed Throw, Side Kick, High Line Block, Shoulder Toss, Double Dragon Kick, Inverted Fist Strike, sundry miscellaneous “blows” and “smashes” …

… and a good, old-fashioned right cross, which we’re told Danny remembers from watching television as a child!

Marvel Premiere #15, Gil Kane & Roy Thomas

But what of Danny’s finishing move — his eponymous “Iron Fist” attack? This attack is more rarely seen.

How rare? I’m glad you asked!

  • Marvel Premiere #15: Knocks the head off of robot Shu-Hu.
  • Marvel Premiere #16: Destroys Scythe’s … uh … scythe.
  • Marvel Premiere #17: Punches through an elevator door!
  • Marvel Premiere #20: Haven’t seen it in awhile, so Danny uses it twice — first against Batroc, then against Batroc’s whole “Brigade!”
  • Marvel Premiere #22: Destroys the Ninja’s flaming sword.
  • Marvel Premiere #23: Knocks Warhawk clear through a wall, and into the river.
  • Marvel Premiere #24: Wrecks a car (which, to be fair, Danny thought was a dragon!)
  • Iron Fist #1: Knocks Iron Man on his ass (for a moment).
  • Iron Fist #2: Thumps Sssesthugar The H’ylthri (don’t ask).
  • Iron Fist #3: Breaks open the chest plate of Radion, the Atomic Man, indirectly blowing up London’s General Post Office Tower!
  • Iron Fist #4: Danny heals himself with the power of the Iron Fist, as Chris Claremont expands our hero’s bag of tricks.
  • Iron Fist #5: Clear through a wall after punching at Scimitar (and missing).
  • Iron Fist #6: Used to “mind meld” with Colleen Wing (!)
  • Iron Fist #9: Punched through another wall, and also through Chaka (or a guy wearing his pajamas); also used to heal.
  • Iron Fist #10: Takes out Chaka’s weapon, a curiously-familiar “triple-iron.”
  • Iron Fist #11: Danny jumps up to Asgardian class, getting his butt kicked but also taking out Thunderball and the Wrecker’s weapons.
  • Iron Fist #12: Punches Captain America’s shield (SHKOW!), then gives the coup de grâce to the Wrecker.

Iron Fist #12, Chris Claremont & John Byrne

That’s a pretty impressive dance card for a second-string chop-sockey hero in green-and-yellow pajamas! Iron Fist has proven a surprisingly resilient concept, revisited by Ed Brubaker and Matt Fraction in 2006’s Immortal Iron Fist (and a new series is on the way), and even as a callow teen hero in the Ultimate Spider-Man animated series. But this original vintage Iron Fist still packs a kick, even after all these years, and this brief run (especially the Claremont/Byrne era) receives my enthusiastic recommendation.

IN TWO WEEKS: #122 Panel Gallery: It’s Clobberin’ Time!

Windhoelme (Star-Lord!)

Windhoelme (Star-Lord!)

The February installment of my Dollar Box column is now live over at StashMyComics.com.

Marvel Preview #11

This month I continue yesterday’s look at Star-Lord with an in-depth review of the best single issue in his limited, pre-Marvel Universe era — the superior space opera from Marvel Preview #11 by the ace team of Chris Claremont, John Byrne, and Terry Austin. This comic is historic as it was the very first time those three great talents came together on the same book … and it’s worth reading and remembering in its own right. Check it out!

Thanks to StashMyComics.com for hosting The Dollar Box!

Star Lord!

Longbox Graveyard #86

Obscure heroes have been my stock-in-trade here at Longbox Graveyard, and I’ve enthused about quite a few of them, whether it was pleading for respect for Captain Marvel, remembering the still-unrealized potential of Deathlok, or lamenting the unfinished saga of Killraven and his War of the Worlds.

But among my favorite heroes, more obscure by far would be Star Lord. At least, he was obscure until this guy came along.

Chris Pratt | Star Lord | Guardians of the Galaxy

That is Chris Pratt, and until yesterday, I didn’t know who he was. Maybe you didn’t, either.

But now he’s fast-tracked to join a holy trinity of Marvel leading men named Chris (along with Chris Evans and Chris Hemsworth) because Mr. Pratt will shortly share center stage with this motley crew:

Guardians of the Galaxy

That is concept art for Guardians of the Galaxy, Marvel’s superhero/science fiction movie coming in 2014, and that guy in the center with the two guns and the funky face mask is Star Lord (sort of … as we shall see). It is shocking enough that we live in a world where there is a Guardians of the Galaxy movie in the first place, but we are really through the geek looking glass when Star Lord is a part of it (though I suppose with Rocket Raccoon also coming to the screen that anything is possible). Still, even with Marvel’s developing reputation for using every part of the buffalo, it has to rate among the least likely of unlikely twists and turns that they’ve opened up their intellectual property vault and dusted off Star Lord for the big screen.

Who is Star Lord? (Besides Chris Pratt).

He’s was one of my favorite characters, and one lost to the ages — or he was until plucked from the purgatory of Marvel’s dead file to begin his transition into the Marvel Universe in the pages of Timothy Zahn’s quasi-canonical Star-Lord #2 in 1997, followed by his eventual integration with the Guardians of the Galaxy (and even the Guardians aren’t my Guardians, but that is another column!)

The NEW Guardians of the Galaxy

Of course, this is Longbox Graveyard, the comics blog where it is always 1978, so that 1997 comic story isn’t of real interest to me. I have read a bit of the rebooted Guardians of the Galaxy, and enjoyed both that team and the new Star Lord who leads it, but he isn’t really the Star Lord (or Star-Lord!) that I remember.

This is my guy:

Marvel Preview #4

My Star Lord debuted in the black-and-white magazine pages of Marvel Preview #4 in 1976, and he is a distant echo — or maybe the distant progenitor — of the Star Lord now fast-tracked for cinematic stardom. My Star-Lord practiced astrology (for an issue, at least), was loved by his sentient ship, had a pistol that fired blasts of the four elements, and he had a hyphen! A hyphen, do you hear? He was Star-Lord back in the day, none of this Star Lord business!

He was also a bit of a jerk. And definitely NOT a part of the Marvel Universe.

The old Marvel black-and-white magazines were often a place of experimentation. Sold for a buck and not covered by the Comics Code Authority, Marvel’s mags sometimes touched on more adult content than their color comic book line. Dozens (hundreds?) of them came and went over the ages, but aside from Savage Sword of Conan, few of them got much traction in the market. Marvel Preview, in particular, was all over the place, with a rotating cast of editors that all seemed intent on taking the magazine in a different direction. It’s a new character try-out book! It’s a showcase for edgy takes on costumed heroes! It’s a standard-bearer for the legitimacy of graphic fiction! It has tits so it can compete with Heavy Metal!

In its day, Marvel Preview was all of those things, but of interest today is that Marvel Preview was the birthplace of Star-Lord.

Star-Lord, by Bernie Wrightson

Bernie Wrightson‘s Star-Lord frontispiece for Marvel Preview #4

Developed by Steve Englehart under the editorial direction of Marv Wolfman, Star-Lord told the tale of Peter Quill, a young man who saw his mother killed by space aliens, and made it his life’s mission to avenge her death. Star-Lord’s origin story in Marvel Preview #4 is fast-paced and action-packed, during which we learn the astrological configuration of the sky at Peter’s birth approximated that of the birth of Christ; that the young man had a psychopathic father who wanted to kill his son at birth; that Peter’s mother got whacked by space lizards; and that Peter was a brilliant astronaut but not so nice a guy.

Steve Gan & Steve Englehart, Marvel Preview #4

whacked by space lizards (bummer)

In subsequent interviews, Englehart said he intended Peter Quill to be a bit of a dick — right down to giving him a prickly name — and that over a series of stories he intended to chart Peter’s gradual march toward enlightenment or at least being a mellow dude.
Englehart would leave Marvel before penning another chapter in his magnum opus, so what we have is this brisk and sometimes harsh origin story that doesn’t try to redeem our hero in any way.

The story sees Peter aboard a space station when an alien presence promises to turn someone into a superhero. Peter is instantly disqualified by his NASA bosses … then adopts a novel approach to fulfill his destiny. I believe it is singular in that Peter more-or-less steals a Star-Lord identity intended for a more worthy character. It would be like some mentally-unstable schmo laid something heavy across the back of Hal Jordan‘s head and took for his own that Green Lantern power ring proffered by Abin Sur.

Peter was so driven to get into space to avenge his mother’s death that he resorted to mass murder — I mean, how else are we to interpret this particular scene …

Steve Gan & Steve Englehart, Marvel Preview #4

… and I’m not sure we can excuse his behavior just because it leads to him becoming the Star-Lord, whatever the “Master of the Sun” might suggest.

Steve Gan & Steve Englehart, Marvel Preview #4

Still, it is an original superhero origin, this idea of stealing powers and identity that were supposed to go to some other character. It reminds me a bit of the story of one of my own Irish ancestors, who knocked out his brother and stole his ticket to America. Maybe that’s why this tale spoke to me, as a lad — or maybe it was because Peter and I were born in the same year of 1962, and if he was destined for some cosmic transfiguration, then maybe I was, too.

Whatever the reason, I liked Star-Lord, I liked that he was a bit of a prick, I liked his uniform and I liked that he flew around in space with a water pistol (excuse me, “element gun”). I wanted more Star-Lord, and (years) later, I got my wish, when the character received his “second launch” in Marvel Preview #11.

Star-Lord, by John Byrne & Terry Austin

This was a different Star-Lord. Englehart was gone, and with him all that astrology hooey. In it’s place was a two-fisted space opera tale, by the first-time-together superstar team of Chris Claremont, John Byrne, Terry Austin, and Tom Orzechowski. While not exactly a reboot, this was a new take on the character, picking up his adventures sufficient years into the future that our hero can be expected to have evolved past his difficult origins and become a kind of seeker and protector of the galaxy.

Citing Robert Heinlein’s “juveniles” as his primary inspiration, Claremont’s vision for Star-Lord was one of unapologetic space opera, and so we have an adventure centering on intrigue inside a stellar empire, with nobles wearing capes on the bridges of their starships, and a nifty bit of meta story-telling where we’re asked to reflect on the anachronism of men fighting for the destiny of stars by dueling with swords …

John Byrne & Chris Claremont, Marvel Preview #11

There is imagination to burn in this story, told at a breathless pace with exciting elements absorbed on the fly. Peter Quill is afraid of his own powers and potential! Peter has a secret heritage! Our hero helms a sentient, shape-changing starship that appears to be in love with him! There’s a sprawling interstellar empire out there brimming with intrigue and adventure!

If this tale had the good fortune to come out after Star Wars, instead of a few months before, Star-Lord might have become an instant superstar. Instead, John Byrne and Terry Austin moved over to X-Men with Chris Claremont to change the face of superhero comics, and Star-Lord’s next outings — in Marvel Preview #14 and #15 — failed to build on that dynamite tale from #11. Chris Claremont returned to script, but Carmine Infantino was at best serviceable on pencils. These issues were also smaller in scope and spirit of adventure than the previous tale, as Claremont abandoned the fast-paced space opera derring-do of his previous tale, opting for a planet-of-the-week kind of story that centered on Peter’s relationship with “Ship.” Having “Ship” take on humanoid female form was an interesting step (and it provided Infantino an opportunity to draw “Ship’s” female avatar in various states of undress, hubba-hubba), but the development of Peter and “Ship’s” relationship felt forced and rushed. Rather than teasing out details of “Ship’s” true nature on-the-fly as Claremont had done in issue #11, much of the character’s mystery is explained away by the end of issue #15, and the character was less intriguing for being better understood.

Carmine Infantino & Chris Claremont, Marvel Preview #14

hubba hubba

Doug Moench took the reins of Star-Lord for his final black & white adventure in Marvel Preview #18, then shepherded the character into his color era in Marvel Super-Special #10 and Marvel Spotlight #6 and #7. Moench retained Claremont’s planet-of-the-week structure but also saw Star-Lord as a vehicle for morality plays, putting the character in situations that tested his avowed and emerging pacifism. The Marvel Spotlight books were also the first Star-Lord stories published in conventional comics format, and under a Comics Code Authority stamp, which had little effect on the story, save to make Star-Lord seem that much more like any other Marvel book — indeed, looking back at it, I can see seeds being planted for Star-Lord’s eventual transition to the Marvel Universe.

Marvel Spotlight #6

The books themselves, ably illustrated by Tom Sutton, aren’t especially memorable. All of issue #6 is spent recapping and subtly cleaning up Star-Lord’s origin; issue #7 puzzlingly recaps the recap, before offering a talky and vaguely preachy parable where Peter gets involved in a karmic conflict on a planet called Heaven (which makes the preachy part inevitable, I suppose). Star-Lord seemingly becomes more homogenous by the page, but at least Moench and Sutton pull off the most convincing (and maybe the first) demonstration of the value of Star-Lord’s element gun to date.

Tom Sutton & Doug Moench, Marvel Spotlight #7

Star-Lord continued his nomadic publication ways, next appearing in Marvel Premiere #61, a Moench tale where all the gears were on the outside. “Planet Story” was a (you guessed it) planet-of-the-week story crossed with a (ta-da!) morality play. Using a bifurcated narrative to tell the same story twice, Star-Lord first encounters what from his point of view is a sentient planet along the lines of Harry Harrison’s Deathworld, where every rock and vine is out to kill him. Then we see the same tale from the living planet’s point of view, where all it wants is … love (sniff).

Marvel Premiere #61, Tom Sutton

This is all well and good, but Star-Lord has completely jumped the rails by this point. The promise of that warts-and-all-origin story and that spectacular, swashbuckling sophomore outing have given way to weak-sauce, second-tier Green Lantern-style stories. Marvel must have felt the character had come adrift, as well, as Star-Lord’s next appearance was in 1982’s Star-Lord Special Edition #1, which reprinted that great Star-Lord tale from Marvel Preview #11 (this time in color), and added a few pages of story wrapper that saw Peter reconciled with his actual and mysterious birth father, and rocketing off to new adventures with “Ship” and his old man.

Star Lord, now in color!

Star-Lord seemed to know who he was, even if his creators didn’t

And that was the end of Star-Lord. The name would next be used for a successor character, in Timothy Zahn’s 1990s-era series, before the character formally entered the Marvel Universe in 2004’s Thanos #8-12. By this point, the character was practically unrecognizable from his origins, with Peter blinged out with cybernetic inputs, “Ship” long gone, and a new uniform replacing those elegant 1970s threads of yore.

As an original vintage loyalist and curmudgeon of the first order, I came into this blog locked and loaded to blast this new character as not really being “my” Star-Lord (or Star Lord, as he is known in this brave, new, hyphen-less future) … but you know what? I can’t do it.

I can’t do it for two reasons.

Starlord re-design

First, the new Star Lord is an entertaining character. I hate the costume — he looks like a bellhop — but as Han Solo writ small and tasked with holding together the quarrelsome and bizarre new Guardians of the Galaxy, Star Lord is more readable than at any time since his inaugural appearances. His connection to that original character is one of name only but Star Lord works well in an ensemble format (who knew?).

Second, re-reading these Star-Lord books after so many years, I see there was no “there” there with the Star-Lord of my acquaintance. I thought I was a Star-Lord fan, but I see now that all I really had were memories of a promising origin story and a dynamite Claremont/Byrne/Austin space opera. Everything else published under the Star-Lord name was pretty dire — a rattling box of disparate concepts that didn’t fit together at all.

And so I consign Star-Lord back to the airless tomb of the Longbox Graveyard with a poor overall letter grade and the recommendation that you read my in-depth review of Marvel Preview #11 over at StashMyComics.com, and then drop the best two bucks you will ever spend on a color copy of that story’s reprint in Star-Lord Special Edition #1. My own issues likely won’t see the light of day again unless they improbably skyrocket in value when Star Lord leads his Guardians of the Galaxy into cinematic battle in 2014 … but maybe I shouldn’t bet against it, given the odds this peculiar character has overcome to make it this far. I suspect the best part of Star-Lord’s story is still to come.

  • Title: Star-Lord
  • Published By: Marvel Comics, 1976-1982
  • Issues Rescued From The Longbox Graveyard: Marvel Preview #4, 14, 15, 18; Marvel Super-Special #10; Marvel Spotlight #6-7, Marvel Premiere #61, Star-Lord Special Edition #1
  • LBG Letter Grade For This Run: C-minus
  • Read The Reprint: MyComicShop.com

NEXT WEDNESDAY: #87 By Any Other Name: Darkseid

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