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King of the Monsters!
The long and winding road that has been the Longbox Graveyard has taken some unexpected side trips. When I began this blog I intended it only as a means of keeping myself on track as I cataloged and sold off my Accumulation of unwanted comics.
But a funny thing happened on the way to eBay … I started reading my comics again, and found that I kinda sorta still liked them. After decades away from funny books, suddenly I was hip deep in the buggers, not only reviewing favorite books like Conan and Thor, but also looking at newer series like Ed Brubaker’s run on Captain America, and even exploring the intersection of comics and technology with books like Operation Ajax and the vintage comics on offer through Marvel’s Digital subscription service.
Surprises all! What I never expected — with so many issues of Master of Kung Fu, Fantastic Four, Batman, Daredevil, and Swamp Thing as yet unexamined — was that I would devote an entire column to Marvel’s Godzilla.
Inspiration comes when you least expect it. There I was, arguing the merits of John Carter with fellow blogger Mars Will Send No More when the conversation turned — as it will among learned men — to the merits of fictional T-Rexes. Before I knew it I was committed not only to reviewing Godzilla, but also to participating in a March Madness T-Rex Beat-Down tournament (for the results of which, mouse over to Mars’ blog).
Mars and I don’t always see eye-to-eye, but I echo his blog comments excluding Godzilla from our tournament, and not merely because Godzilla isn’t a proper T-Rex. As Mars put it, “… Godzilla annihilates everything, everyone, everywhere, always. And any story where he didn’t is a lie.” Godzilla is an outsized character who can’t help but dominate any scene he enters, whether he’s sharing the stage with a field of cinematic dinosaurs or the headline characters of the Marvel Universe.
Godzilla annihilates the S.H.I.E.L.D. Helicarrier (and the Golden Gate Bridge for good measure)
And so what of Marvel’s Godzilla? Does this big green galoot annihilate everything and everyone, everywhere and always? Or is Marvel’s version of the King of Monsters a big pile of lies?
My plan was to review just those Godzilla books I had in the Accumulation — issues one to six or so — but after the first half dozen books I found myself unaccountably caught up in the admittedly thin story. So rather than dump my Godzillas for pennies on eBay, I instead went into WonderCon determined to fill out my run, but found that the dealers on the convention floor thought their Godzilla back-issues were worth ten bucks a pop.
Hey, I like the book, but there’s a limit. My first impulse was to review what I had and offer the first “incomplete” grade on the Longbox Graveyard report card, but then thirteen bucks and a trip to eBay secured a copy of the black & white Essential Godzilla, and the great Godzilla review project was on once more!
So what was the deal with Godzilla, anyways? The year was 1977, and Marvel would try just about anything, including adding the Godzilla license to the Marvel Universe. What could have been a disaster was instead a workman-like book in the tradition of late 1970s Marvel, where solid editorial standards and dependable mid-list talent ensured a firm floor for the entire comics line. It’s rare to find a truly dreadful Marvel book from the late 70s, and thanks to an energetic effort from the Doug Moench on scripts and a professional job from penciller Herb Trimpe we have two years of Godzilla books that for the most part deliver the goods — neither very good nor very bad, but always entertaining and probably better than the series had any right to be.
A snappy first issue introduces Godzilla to the Marvel Universe (and you can read that issue online, in it’s entirety, over at Mars Will Send No More). It does feel like Marvel was hedging their bets, at least at first. Pitting Godzilla against S.H.I.E.L.D. was an inspired choice, but we get the S.H.I.E.L.D. B-team here, with secondary Helicarriers commanded by Dum Dum Dugan rather than the iconic Nick Fury. When Godzilla stomps Alaska, Seattle, San Francisco, and San Diego in short order, it really should get the attention of the Avengers and Fantastic Four (but we will have to wait until the end of the series for that moment). Rather than scrambling even the B-team Defenders to the rescue, we get the forgettable Champions for a serviceable superhero battle with the Big G most memorable for Hercules taking down Godzilla with a judo flip.
The Marvel Universe has always been New York-centric, but you figure it would get national attention when Godzilla destroys Hoover Dam, stomps Las Vegas, and wrecks Salt Lake City during a battle with bizarre space monsters … but Godzilla is still regarded as a hoax when he finally makes it to Manhattan in issue #20, and only then do Marvel’s most iconic heroes scramble for a pretty decent superhero fight against Godzilla.
(image grabbed from Comic Vine)
But I’m not sure Moench could have handled Godzilla any other way. In contemporary terms, Godzilla attacking the United States would warrant a summer’s worth of Marvel Comics cross-overs, bleeding into every book in the line, but in 1978 Moench and Marvel elected to keep Godzilla partitioned in his own little bubble of the Marvel Universe. The only alternative would have been to go right at it — to deeply integrate Godzilla in the line with increasingly improbable cross-overs every issue, which would have been a hoot with an absurdist writer like Steve Gerber or David Anthony Kraft, but there’s no way it could have been a sustainable premise.
Instead, Moench went to the Marvel monster playbook, adopting the tropes on display in books like Man-Thing, Tomb of Dracula, and even Hulk, where his title character is a remote and sometimes unfathomable anti-hero, while the subplots and characterization revolve around supporting characters trying to help or hinder the star of the book. And this proves one of the weaknesses of Godzilla. Along with the aforementioned S.H.I.E.L.D. back-up squad we have a team of generic Japanese scientists trying to stop Godzilla, including a twelve-year-old boy who (of course) bonds with a giant robot to fight the monster that he is convinced is good at heart.
Godzilla versus obligatory giant robot Red Ronin
In the first year of the book, Moench also gets some play out of examining Godzilla’s motivation. Is he a rampaging monster, or a misunderstood victim? The cast eventually comes down on Godzilla’s side, but Dum Dum Dugan needs some convincing.
The second year of the book is a little more whimsical, and while the plot contrivances of pitting Godzilla against cowboys (in a distant echo of Valley of the Gwangi), or having Godzilla shrunk down by Hank Pym’s reducing gas to fight rats in the sewers of New York will make Godzilla purists apoplectic, I found the less leaden tone of these later tales more entertaining. The last half of the book also gave me a renewed appreciation for Herb Trimpe, about whom I always thought the best I could say is that he wasn’t Sal Buscema. Trimpe struggles with facial expressions — Dum Dum’s cigar pops out his mouth the hundred-odd times he wears his “surprised” face, which is identical to his “angry” face. There are plenty of those recycled Trimpe panels where a character’s foreshortened index finger fills half the frame, as someone points, blank-faced, at something happening beyond our view. But Trimpe has real strengths when it comes to draftsmanship, and the backgrounds of his New York are appropriately detailed and authentic. The two-part western interlude also let Trimpe draw horses — Trimpe got his start doing western comics, and he draws good horses, something that’s not as common among comic book artists as you might think.
And he pulled off the odd inspired Godzilla panel, too.
In all, Godzilla does what you’d expect. Our hero stomps a bunch of cities, and he battles but is never really beaten by S.H.I.E.L.D. and Marvel’s superheroes. He crosses-over with Devil Dinosaur, fights a sewer rat, and he shares a panel with Spider-Man. He’s at the center of some ridiculous story lines (at one point reduced to human-size, led around the New York Bowery in a hat and trench coat!), but it didn’t bother me as I’m one of those ignorant gaijin who finds it hard to parse “Godzilla” and “quality” in the same sentence. No matter these indignities, Godzilla emerges from his weird, twenty-four-issue Marvel odyssey with his reputation intact, clearly still King of the Monsters, and having delivered a solid, entertaining run of comic books.
Godzilla in a trench coat! (image via Tars Tarkas.net)
In all, Marvel’s Godzilla isn’t a bad read. I won’t tumble to the inflated prices those WonderCon guys want for this book, but I’d happily fish an issue or two out of the dollar box, and the out-of-print but readily-available black & white Essential Godzilla is an inexpensive way to experience this series for yourself. Where else where you see Thor bonk Godzilla on the nose with his enchanted hammer?
Yep, that happened. Godzilla really was part of the Marvel Universe! A second-class citizen, sure, and this might seem a second-rate book. But Godzilla is not a second-rate effort. Sometimes comics are art, but most of the time comics are just comics, and as a guy who wrote a lot of inventory assignments himself, I have genuine admiration for the team that turned in such consistent effort along the way to bringing this self-contained run to a satisfactory conclusion. I doubt I’ll go back to this series, but I’m happy to have spent a couple nights with Godzilla, stomping through the Marvel Universe. Hail to the King!
- Title: Godzilla
- Published By: Marvel Comics, 1977-1979
- Issues Reviewed By The Longbox Graveyard: #1-24, August 1977-July 1979
- LBG Letter Grade For This Run: C
- Read The First Issue Online: Mars Will Send No More
Originally published as Longbox Graveyard #43, April 2014.
MONDAY: The Tournament of Terror Begins!
Master of Kung Fu Returns!
Last week brought welcome news of the return of Shang-Chi, the Master of Kung Fu!
Arguably my favorite 1970s Marvel Comics series, Master of Kung Fu has never received the reprint/collection treatment it deserves, allegedly owing to licensing issues with the estate of Sax Rohmer, who wrote the original Fu Manchu stories that Master of Kung Fu uses as a springboard. It appears those issues have been resolved at last, and this classic run — with all its mystery, intrigue, espionage, and boots-to-the-head — will return in a series of Omnibus reprints starting in 2016!
It’s been awhile, but I have written a bit about Master of Kung Fu here at Longbox Graveyard, starting with Snowbuster, and early tale by Doug Moench and Paul Gulacy, which shared my youthful obsession with Bruce Lee:
Later, I wrote about Shang-Chi’s adventure on Mordillo’s Island, one of the weirder interludes in what could be a very weird book indeed:
I even put together a Shang-Chi Pinterest Gallery!
And all of this reminds me that I am long overdue in blogging about this book. I’ve been meaning to write about the “Clock of Shattered Time” story from issues #42-43 of MoKF — maybe this impending reprint will put a kung fu boot to my bottom to finally get going again!
Gamma Goes Grey: The Rampaging Hulk!
Once again, Paul has allowed me, your old pal, Dean Compton, to venture into the Bronze Age with you guys! It’s funny, but I have noticed that whenever I get out of my 90’s comics bubble, (which all of you can read more about at The Unspoken Decade) and come here to chronicle some Bronze Age favorites, I only deal in the very bright (as my prior articles on SHAZAM! and All-Star Squadron prove) or the very seedy (Punisher, this article) elements of the age. Just like Billy Joel, I don’t know why I go to extremes, but unlike Billy Joel, I allow characters like Hulk to take me to extremes. Also unlike Billy Joel, I cannot play the piano.
Another thing Billy Joel and I do not have in common is the fact that he was a living, breathing being when The Rampaging Hulk debuted in 1977, while the world would have to wait with bated breath for two more years for me to emerge. That’s just another reason for me to be jealous of Billy Joel. I mean, he had a great career, he married Christie Brinkley, and he also had the chance to buy something as cool as The Rampaging Hulk right off the shelf.
If your pulse doesn’t feel pounded after this first issue, you deserve your money back.
There’s no proof that Billy Joel frequented 7-11 after 7-11 while on tour, pushing back magazine after magazine until they were dog-eared so that he might find these Hulk comic books, but there really isn’t any proof that he didn’t either, and I prefer to think that we live in a world where the Piano Man demanded his tour bus stop at newsstands as he tried to find these. I also prefer to think that his tour bus is shaped like a giant piano, so my thoughts are most likely not worth much. Besides, isn’t that a funny image to have in your head now?
The images in The Rampaging Hulk usually are not so funny. They tend to be somewhat visceral, as black and white does Bruce Banner’s green alter ego very well! Of course, it does not hurt that we get some great art by several masters. The first few issues are done by Walt Simonson in what i think may be his most underrated work ever, which is nothing short of a war crime in my book.
Before I show you any of that though, let’s discuss the magazine…I hear you whining, Ok, one picture from Simonson, but then it is right back to the background behind The Rampaging Hulk!
It isn’t just how beautiful the pictures look; it’s how magnificent of a storyteller that Walt Simonson is, and apparently always was.
Now that your appetite for Walt Simonson has been momentarily sated, let’s chat a bit about the background of this magazine. It started in January of 1977, which is a good year and a half before Hulk debuted on TV. With issue #10 of the magazine’s run, the magazine will become full color and start to focus more on adventures like the ones TV Hulk would have, and it would also start to have lots of interviews with the cast and crew of the show. After those changes, I find myself disenchanted with the magazine. I know this is probably blasphemous, but I have never cared for the Lou Ferrigno/Bill Bixby Hulk TV show. Even as a youngster, I thought them to be cheesy and silly. Later, when I saw the made-for-TV movies with Daredevil and Thor, I liked them more due to my penchant for crossovers, but I still hated the changes that were made to Thor and Daredevil.
That having been said, I wonder why this was launched when it was. Was there an outcry for more Hulk material in 1976 and 1977? Was this just added in anticipation of the TV show? If it was added for the TV show, they did it in a rather odd way, as the first none issues deal with filling in gaps in Hulk’s history.
That’s right. This title is set YEARS earlier than when it is released. In fact, it is designed to fill in gaps between the end of Hulk’s original series (which only lasted six issues, believe it or not) and when he started appearing regularly in Tales to Astonish,so in many ways, this is one of the first “retcon” type of title. Of course, it apparently caused more harm than good, and so later it was determined that these stories were all fake, told by one of the characters located therein. I find it sad that they could not work any of these into continuity (for whatever that is worth) because these issues are very fun and very solid. Doug Moench writes most of them (Jim Starlin writes a GREAT issue) and while I do not think it stacks against his Master of Kung Fu or Moon Knight work, I still like it a lot, and it is probably unfair to make the comparison. It is sort of like comparing albums by The Beatles. I mean, Rubber Soul isn’t as good as Revolver, but they are both amazing albums by amazing creators.
One big complaint that I have about the magazine is that it did not really take advantage of its medium. When I did my Punisher article here at LBG, I noted that the black and white magazines put out by Warren, Marvel, Skywald, and others during the 70’s had a dangerous vibe to them. Many of them were a little more violent and offered a little more sexuality than color comic books (regulated by the code) could. I was not interested in the Cinemax adventures of The Hulk, but I would have liked to have seen this medium used more effectively, even if the storylines were a little more mature with some social commentary and whatnot. This magazine cost a buck in 1977, which means that the people who could afford it not only wanted more for their money, but they also were almost certainly an audience of an older age, one who would have expected some meatier stuff than what they got. Jim Starlin’s issue has some excellent death/outer space imagery (IMAGINE THAT) that fits into the grindhouse/nigh-seedy feel of 1970’s black and white magazines, but the rest of the series sort of falls flat.
That doesn’t make it a bad read though, and in fact, I highly recommend it just for the art of Walk Simonson, George Perez, Jim Starlin, Kieth Giffen, and more! In fact, there’s so much incredible imagery that it is going to be beyond difficult to keep this article to a manageable level; some of you probably already find it too wordy, so here’s some more Simonson!!!
It’s the most awesome drawing of a staircase you have ever seen.
I also want to give props to Alfredo Alcala for his great inking job; he makes Simonson come alive in a way I think many others could not. Alcala is a favorite of many pros I know, and this really makes one see why.
The basic story is that Hulk is thwarting a secret invasion of Krylorians. He does this working alongside his pal and the mascot of the Marvel Universe, Rick Jones. Of course, we all are probably aware of how intertwined Bruce Banner and Rick Jones are due to Rick basically being the catalyst for the chain of events that formed Hulk, but in case you didn’t know, Walt Simonson and Doug Moench break it down in a really cool manner.
The second part of the origin story is what I gave you when you were clamoring for Simonson; Breaking all the rules!
We see very little of the traditional Hulk supporting cast. After issue #1, there’s no Better Ross, Thunderbolt Ross, or Glenn Talbot. Due to flying saucers being spotted over London, Hulk and Rick Jones head for Italy. What I especially enjoy though, is how jingoistic Thunderbolt Ross is. I mean, there’s certainly no surprise that a general in the U.S. Army is very blindly patriotic, but few would convey it in as humorous a fashion as good ‘ol Thunderbolt.
He calls the wine of Italians cheap while smoking a 15-cent cigar.
I have no idea what a milksop is, but I am working that into my everyday insult collection. Instead of hurling expletives at the drivers in Atlanta, I will shoot a milksop or two at them. My road rage is becoming more refined, and I feel like that makes me a better person. It doesn’t, but at least it makes me feel like it.
That’s really the last we see of the usual gang of Hulk Hangers-On! (Hello Stan Lee alliteration) Instead, Hulk and Rock head for Europe, where they meet the Krylorian who is on our side, Bereet!
That name may sound familiar, because she was the alien Starlord forgot he had aboard in the incredible Guardians of the Galaxy movie. She is a neat character, and due to her gentle nature, status as a techno-artist, and neat tricks like a spatial distorter and a banshee mask that doubles as a supersonic ship!
I feel like if I could just find that crown and put it on then I would become Space Emperor.
Once this trio joins forces, they gallant all across Europe, thwarting Krylorian plan after Krlylorian plan. Their adventures also lead them to meet The Uncanny Original X-Men! I do not know if Walt Simonson ever got to do the original X-Men elsewhere (other than a stint on X-Factor, which only sort of counts in my eyes), but he does them justice here. His Danger Room sequence packs in more excitement than many other artists rendition of the X-Men in action against actual foes!
You say that Cyclops, yet it looks like you are just playing a giant video game.
The Danger Room sometimes seems like a false danger, in that they are holograms and the like. I know that these holograms can be deadly, but there’s something much more viscerally satisfying about watching these young mutants dodge spiked balls and knives on poles. The danger comes to life, as it does when Simonson draws the Hulk completely unleashed!
If this were the 90’s, I could make a “Talk to the Hand” joke. As it is, I will just let it go.
Moments like the X-Men’s arrival propel this title, but I think the best overall issue is the one Jim Starlin wrote and drew. Jim Starlin has so much talent; I wonder if he could lend me some. We often discuss Starlin and his greatness, and I think nearly everyone would agree that he is indeed one of the all-time greats, but I think we often overlook his ability to do good Hulk stories. One of my favorite Hulk moments of all time happened in Infinity Gauntlet, where he and Wolvering are chatting on the roof of Avengers Mansion. The dialogue is perfect, and the if the characterization where anymore spot on, Gordon Ramsay would be here to tell you all about it,
Jim Starlin also draws a tremendous Hulk, as evidenced by his bittersweet standalone story in The Rampaging Hulk.
That’s some of my favorite Starlin work, and if that double-page splash doesn’t convince you of Starlin’s greatness, then I guess you only have about 439783498734983 other great things he did to convince you. Something about the black and white of this magazine makes Starlin’s work sinister at the edges; that’s perfect for this book and the story he tells here, which takes Hulk away from the main tale of beating up Krylorians left and right. Starlin does not ignore the main story though, as he bookends his tale of outer space and magic with how Hulk got there and how Hulk got home in one of those bittersweet tales that Jim Starlin is really good at doing.
The other two big highlights of the series are Hulk meeting people from the rest of the Marvel Universe before he “actually” would have met them. His meeting with Namor, the Sub-Mariner is a 2-parter, and it is one of the highlights of the book to me. Namor is a favorite of mine, and I love the line of nobility and savagery that he manages to walk! Or is that swim? OR EVEN FLY? The possibilities remain endless!!!
A Hulk vs. Namor fight almost always delivers. Namor’s arrogance and prodigious strength of his own almost never allow him to admit defeat in the face of a foe, even one as superior in strength as the Incredible Hulk, while Hulk, well, HUlk just wants to smash, of course.
I am unsure when Namor got all He-Man/Conan, but that is what he decided is necessary to beat Hulk on this cover.
The Hulk in the corner box looks like he is trying to use Kung Fu on us. Wrong black and white mag, Hulk!
One thing is for sure, though; I have no problem believing that indeed, is the axe of Namor. Look at how ornate it is. Also, did they build a replica of the domed cities of Atlantis on his shield? That seems pointless, seeing as how while it may look beautiful, that part of the shield is just gonna get crushed, unless you are fighting Hulk, in which case it will get SMASHED.
I especially like the post fight sequence where Namor sees off the Hulk and the Hulk’s pals.
Namor has a friend-crush on Hulk!
Also, Namor obviously lays down his smooth game on Bereet, as they become smitten with each other. I am glad Namor is not real, lest he would steal every single lady living on the surface…and some of the married ones too! Just ask poor Reed Richards! (By the way, I think there is no contest. As much as I love Namor, Sue and Reed belong together. Butt out Atlantean!!!!)
Also, isn’t it funny how Namor is talking up how green Hulk is? I mean, we all know he is green and all, but it tickles my funny bone to see Namor refer to him as green when the comic book is black and white. It shouldn’t, but hey, it’s a little pleasure, and if life isn’t about little pleasures, what do we have? Maybe a Hulk vs. Avengers story?
The last two issues before the magazine went color featured Hulk taking on/teaming up with the original Avengers…BEFORE THEY WERE AVENGERS! I find it a smidge surreal to see, but it gets pulled off fairly well, and if you say you aren’t intrigued by this cover featuring the funeral of crystal-encased Hulk, you’re guilty of perjury in the court of comic books, son!
Thor is too cool to actually hold Hulk up, which is why I think Iron Man has that look of horror on his face; he is unsure how much longer he can support the weight of the Hulk. I see Wasp and Ant-Man back there, but no way they are supporting that weight very well. Quit being a dick and put your hammer in your other hand, Thor!
Sal Buscema does a great job on this issue, as we wrap up the retcon portion of The Rampaging Hulk (which would be renamed “HULK” with the following issue) with a bang. The story starts in #8, and it is a really good example of the Marvel “when heroes meet” formula, in that when heroes meet in the Marvel Universe, they fight.
A lot.
One of those fights that I think we all love, is Hulk vs. Thor. Thor, the noble warrior, the scion of Asgard, and the sort of arrogant prick, takes on Hulk, who is savage, unrelenting, and uncaring. I think that on the surface, we are all required to cheer for Thor, but deep down, many of us hope Thor gets put in his damn place. It’s sort of like watching a car chase on Cops. I mean, we know that the people speeding away did something wrong and are causing problems, but man, those cops act so full of themselves and righteous that I’ll be damned if we don’t start cheering for the bad guys to get away about 3 minutes into the chase.
Unless you are me, then you are cheering for the bad guys the whole time (unless they murdered someone or are putting too many other drivers/people in danger). But I am of the 90’s folks, when things were extreme and we loved “Stone Cold” Steve Austin for being the bad guy! To the kids reading, I have two things to say: Mine is not the example to follow, and also, go read an actual comic book!
For the rest of you, here’s Thor and Hulk punching on one another.
Hulk has some drawbacks, but man, is he loyal to his pals.
If this happened today, that cop would have already tased Rick Jones.
So we get to see “The Avengers” team up and stave off a threat to the planet before they even existed! I find great comfort in the fact that Hulk treats them about the same before, during, and after his tenure as an Avenger. I like the world to be a simple place…at least sometimes.
The editor of the book provided an epitaph of sorts for The Rampaging Hulk era of this magazine:
Another of them? The B & W mags must have been dropping like flies!
It is very true that some of the greatest artists stepped in to try their hand at Hulk. I have already mentioned several of them, but I would be remiss if I did not show you some of what George Perez did. Perez is, in my opinion, the best artist in comic book history not named Jack Kirby. Controversial? Perhaps, but no one makes the page live for me like him.
He never did a regular feature on The Rampaging Hulk, but he did do a pin-up gallery featuring the history of a few of Hulk’s associates and enemies:
One thing I found fascinating about this gallery (and there are a couple more Perez Pin-Ups in the book) is that one can see the vast impact different inkers can have on the same penciller. That’s something that can be hard to notice for the artistically disinclined such as myself. Here though, it’s as blatant as a bank robbery in broad daylight where the perpetrator is dressed like the Hamburglar and is carrying big sacks with “$” on them. The Stranger looks mighty different than the Silver Surfer. Kieth Giffen gets to do his own gallery in issue #4, and he channels his best Jack Kirby!
I love Giffen’s work and how he has the ability to take on so many different styles. Look at this next to his stuff from the 90’s, like Trencher, and one would be astonished to find out it was the same guy working on both.
The only other thing to really mention is the back-ups, but I won’t spend too much time on them. For those picking up the magazine, like say, Billy Joel, they’d get treated to some sweet back-ups featuring Bloodstone, Man-Thing, and Shanna, the She-Devil, among others.
The back-ups are one of the most enticing elements to the black and white magazine boom of the 70’s. I have heard many folks talk to me about Bloodstone. I am not a huge fan, but just even just skimming through it made me realize that I will be back into these soon to learn more about this guy. The Man-Thing stuff interested me a great deal, as Steve Gerber can really write that sort of character just so much better than anyone else. Of course, it still could never live up to this pin-up:
Woe to the lumberjacks to who have to cut down spiky trees for a living.
All in all, I’d say the series is solid. I’d say it is must-read for Hulk fans, and a I would say the Simonson and Starlin issues (#1-4) are must read for any fans. The rest is good, but one would not be missing out on something spectacular if one were not to grab them. The series is a fun read, and the arch does definitively conclude in issue #9, so if you have the completionist bug and get #1, you will find it enticing enough to grab all 9. I also think that these have been re-printed in an Essentials volume, which would be one of the rare Essentials that would not lose anything by now being in black and white.
I want to thank Paul again for letting me write about these Bronze Age gems! I highly encourage you to check out all the cool stuff here if you haven’t, and when you are out of cool stuff here, come check out The Unspoken Decade! JNCO Jeans are coming back, so why not check out some 90’s comic book action as well? You’ll find it at The Unspoken Decade! Let Paul and I know what you think below, and I am looking forward to my next article here at The Longbox Graveyard! Hell, I am looking forward to Paul’s too!
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