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Thor Annual #6

Thor Annual #6

Thor is plucked out of 1977 and flung forward to the 31st century, where he pops in on Korvac, who rants and raves. (If you were a shopping cart from the waist down, you’d rant too). Korvac sends Thor out into space, where he freezes over. While this enables a nice call-back to the Avengers finding a frozen Captain America in the drink, it doesn’t make a lot of sense — I recall Thor flying through deep space in his cape and boots all the time. (Then again, I just saw something very like this scene in Avengers Infinity War, so I guess that’s ANOTHER thing we owe to the deeply-missed Len Wein).

Korvac plans to blow up the sun, but how his incompetent band of underling losers are to help in this is not clear. (To be fair, the slime guy was pretty cool). Punching and hammer throwing ensues. It is all very passable, and instantly forgetable. Sal Buscema was rarely better than his inker, and he has Klaus Jansen here, so he’s pretty good.

  • Script: Len Wein & Roger Stern
  • Pencils: Sal Buscema
  • Inks: Klaus Jansen

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Swamp Thing: Dark Genesis

Longbox Graveyard #153

Halloween is a month away, but all of October is Monster Month for me, and to kick things off I offer an especially timely Dollar Box column, where I look at single-issue comics stories with an original cover price of a dollar or less. This month is all about swamp monsters, and while Swamp Thing isn’t the first of his kind (that would be The Heap), and not even the first muck monster from the Big Two (as Marvel’s Man-Thing debuted several months earlier), Swamp Thing is certainly the most famous and best-realized of all the the many fiends stalking the four-color funny book bogs.

Swamp Thing #1, Bernie Wrightson

Originally appearing in a short story in House of Secrets #92, Swamp Thing made his first full-length appearance in somewhat altered form in 1972’s Swamp Thing #1. The product of a close collaboration between writer Len Wein and artist Bernie Wrightson, Swamp Thing is one of the greatest creature designs in all of comics. With his craggy brows and half-skull face, Swamp Thing is perched on the edge of uncanny valley, with a visage by turns soulful and monstrous, the perfect mask of torment for forlorn man-turned-monster Alec Holland.

portrait_70

Later creators — including luminaries like Alan Moore, Grant Morrison, Mark Millar, Brian K. Vaughn, and Scott Snyder — would develop Swamp Thing into an elemental champion at the center of a complex and expansive comics cosmology, but the original Wein & Wrightson version of the character is simplicity itself. Tasked with creating a bio-restorative formula by the government, scientist-couple Alec and Linda Holland retire to a remote swampland laboratory, where they are immediately menaced by thugs intent on stealing their knowledge. One thing leads to another, and before long a bomb has gone off and a flaming Alec Holland has plunged into the muck, only to rise as the avenging muck monster, Swamp Thing!

Bernie Wrightson & Len Wein, Swamp Thing #1

This is a taut and effective horror comic, strongly-written by author Len Wein and lent an extra layer of creepy by the uncredited letterer, who employs drippy caption boxes to good effect. Perhaps that letterer was artist Bernie Wrightson, who put his stamp on every other aspect of the book, creating a swamp-gothic look on the fly — a world of shadowy locales that are still perfectly detailed, and populated with heavy-featured thugs rendered with such skill that you don’t recognize the degree to which the art uses comic exaggeration until you’ve read the book two or three times.

Bernie Wrightson & Len Wein, Swamp Thing #1

Wrightson would go on to become one of the most celebrated artists in the medium, but he was largely unknown when Swamp Thing debuted … and what a debut it is. This is a mature work with a rare balance of style, mood, character, and storytelling.

Bernie Wrightson & Len Wein, Swamp Thing #1

It’s also a simple story, as befits the best origin tales, setting the table for stories to follow by introducing the main characters, and establishing our (anti) hero’s all-important powers and foibles. Of interest to fans of later incarnations of Swamp Thing (or readers more familiar with the minimally-sentient Man-Thing), this version of Swamp Thing is fully aware of what he is.

Bernie Wrightson & Len Wein, Swamp Thing #1

Alec Holland’s scientific mind instantly comprehends what has happened to him, and there is a minimum of mooning around and identity crisis before Swamp Thing gets down to the business of revenge.

Bernie Wrightson & Len Wein, Swamp Thing #1

And that’s the long and short of it, really — in “Dark Genesis” we have a bare bones Silver Age horror comic, an on-the-rails story that could pass for a one-and-done entry from EC’s Tales From The Crypt. Swamp Thing’s many complications and evolutions would come later, and it is a testament to the solid foundation laid down by Wrightston and Wein that this most basic muck monster is still surprising and delighting us forty years later. I personally revere Alan Moore’s 1980s reinvention of this character, but there’s also room in my collection for this simpler version of Swamp Thing, an effective and eminently memorable character in its own right. You won’t find this 20-cent comic in dollar boxes any longer, but affordable reprints are readily available, should you wish to familiarize yourself with the original adventures of this greatest of the swamp monsters! (A digital version of the story was also available for free direct from DC Comics at the time of this writing).

Lein Wein & Bernie Wrightson, Swamp Thing #1

(And if you want even more Swamp Thing, check out my review of the rest of the series, here!)

This article originally appeared at StashMyComics.com.

NEXT MONTH: #153 First Cut

Dark Genesis!

Dark Genesis!

Yesterday I wrote about the first four issues of Len Wein and Bernie Wrightson’s Swamp Thing, and I take an even deeper dive into the muck with this month’s Dollar Box column over at StashMyComics.com., which is all about Swampy’s origin tale from Swamp Thing #1!

Swamp Thing #1

This is one of the finest comics origin tales of all time, and it is well worth reading and remembering even forty years after it was originally published! Head on over to StashMyComics.com for more!

Thanks to StashMyComics.com for hosting The Dollar Box!

Escape From The Longbox Shortbox

Longbox Graveyard #51

A trilogy of titanic mini-reviews in this week’s Longbox Shortbox!

Detective

#469-479, May 1977-October 1978

Batman is one of the most malleable characters in comics. The Christopher Nolan interpretation dominates the contemporary imagination, but Batman began as a grim, murderous pulp character, and served time as a whacky Silver Age science hero and as a sometimes cartoonish gothic screen vigilante before morphing into the current Dark Knight that audiences know and love.

While the flashpoint for Batman’s current incarnation was clearly Frank Miller’s seminal 1986 series Batman: The Dark Knight, the transformation from “Batman” to “The Batman” arguably started a decade earlier in this late-1970s run in Batman’s companion comic, Detective. This is a stylish series of Bat tales from several creators, including Len Wein and Walter Simonson, but the most lasting impression was formed by the team of Steve Englehart and Marshall Rogers, knocking over the first domino leading to the Batman of today.

Like many successful writers, Steve Englehart doesn’t shy away from claiming credit where it is due. Over on Englehart’s page you can read about how he feels this series reinvented Batman for modern audiences, shedding the image of the Biff-Bam Adam West/TV era and leading the charater into the Dark Knight era, later popularized by Tim Burton’s Batman (which Englehart notes is based on his run). I’m not enough of a Batman scholar to verify these claims, but reading these books in the late 1970s, they felt like a breath of fresh, gritty Gotham air.

Marshall Rogers’ pencils are thin, tight, and detailed, with a solid sense of draftsmanship that made the cars and buildings of Gotham City seem real. In an era where Marvel and DC really cranked them out, the work of detail-oriented artists like Rogers and George Perez popped off the page.

The look of the series is more modern than Englehart’s scripting, which on review seem more rooted in tradition than that author would allow. His Penguin story, in particular — with it’s museum exhibit robbery and wordplay clues left by the villain — feels very much a Silver Age story. But there are also emerging elements of the a more grim and gritty Batman, who runs afoul of Professor Hugo Strange, sending Batman on a bad trip and compromising his identity as Bruce Wayne.

The series is also notable for Bruce’s adult relationship with Silver St. Cloud, who intelligently recognizes Bruce beneath Batman’s cowl the first time she sees Batman in the wild.

It is the Joker story that is best remembered from this run — and the imagery is vibrant, with Joker-faced fishes showing up as the herald of the Joker’s crazy plan, and the Joker himself deftly cast as a deranged, murderous lunatic obsessed with his impossible, insane crusade to secure royalties on every fish in the sea (!).

But despite Englehart’s superior work, it was the two-part Clayface story by Len Wein and Marshall Rogers that most stuck with me when re-reading this series, with Clayface cast as a victim more than a villain, hiding like the Phantom of the Opera in an abandoned wax museum, and confessing his longing to a wax dummy. The fire at the end of the tale was an inevitable cliche, but it was a tragic turn and I still felt for poor Clayface.

This run of Detective presents stories that are solid and worth experiencing in their own right, whatever you may think of Englehart’s claims to framing the modern milieu of Batman. Rogers’ pencils are still a delight and the Joker story ranks among the best in breed.

LBG Letter Grade For This Run: B

Read The Reprints: Shadow of the Batman.

Black Panther

#1-15, January 1977-November 1978

Jack Kirby originally brought us the Black Panther in issue #52 of Fantastic Four, and this was one of the characters where he was handed the keys upon his return to Marvel in 1976. If you’re looking for the wordy and introspective Black Panther of Don McGregor’s Jungle Action, or the noble and intriguing supporting character from the Roy Thomas’ Avengers run, then look elsewhere. Kirby’s Black Panther is a costumed adventurer caught up in cosmic happenings from page one of this short-lived series, as wonderfully out-of-step with the rest of Marvel’s line as was Kirby’s equivalently bizarre Bicentennial run on Captain America.

Kirby’s later work is an acquired taste — and it is a taste that took me decades to acquire. Reading his books in the 1970s, I was attracted to the energy, and the action, and the familiar heroes, but put off by stories that didn’t follow the usual rules and certainly didn’t seem to reside in the same Marvel Universe as the other books of the time. This Black Panther run is no different — from the first page, we are through the looking glass, as the Panther and the comical “Mr. Little” encounter a victim of “The Brass Frog,” a time-travel device much esteemed by a mysterious society of collectors with which the Panther has somehow come to be involved.

I think that by this time of his career, Kirby was bored with drawing the usual superhero fist operas, and he pretty much abandons the formula here — his Panther is more a witness to events, rather than a protagonist, and the world unravels around him in sort order. Before two issues are through we’ve seen a grim vision of man’s future and had a punch-out with a psychic slayer from the 66th century. It all barely makes sense but many pages swarm with Kirby dots and I personally find it irresistible.

Kirby’s run lasts twelve issues on the book (which would be cancelled after issue #15), and splits into two story arcs — the Panther and fortune-hunters seeking treasures of the past, and a Wakandan civil crisis brought about when T’Challa’s half-brother suffers a demonic transformation from Vibranium exposure. I found the treasure-hunting story more engaging, with an Indiana Jones-meets-Erich von Däniken vibe (about which more below). The civil war series has its moments, but spends too much time with the well-intentioned but embarrassing-in-retrospect “Black Musketeers” characters that Kirby created to flesh out the Wakandan royal family.

yes, this happened

This is not the Panther’s finest hour — mostly he reacts to events, rather than driving things forward, but he’s kept plenty busy smacking the robots, samurais, aliens, and tomb guardians let loose by his “Collector” companions, Mr. Little and Princess Zanda. As co-creator of the character, Kirby is due his idiosyncratic take on T’Challa, even if it conflicts with every impression of the character we formed before or since. There’s magic here if you don’t take things too seriously, and for all that the stories are bizarre, the King gives it his all.

LBG Letter Grade For This Run: C-Plus

Read The First Issue Online: Mars Will Send No More

Read The Reprints: Jack Kirby’s Black Panther

Eternals

#1-19, July 1976-January 1978

If Kirby’s Black Panther dabbled in the cosmic, Jack Kirby’s original 1970s Marvel series, The Eternals, dove right into a cosmic Bermuda Triangle, leveraging the mid-70s fascination with ancient astronauts to spin a tale of space gods, demi-gods, mutants, and humans thrown together in a crucible of prophecies and end times. Even more clearly influenced by von Däniken’s Chariots of the Gods than was his contemporary work on Black Panther, Eternals is a masterclass in world building from an artist who had for decades made his bones by capturing the cosmic with pencil and paper.

Judging by the pace of the story, Kirby must have intended this tale to run a hundred issues or more. Unfortunately, the series was cancelled after a scant nineteen issues, leaving behind scattered artifacts and clues as inscrutable as Kirby’s space gods themselves. Mostly what we get is Kirby deploying his chess pieces — but what pieces they were! Kirby set out to tell a big story here, and even the generous full and double-page panels he uses in this series aren’t big enough to contain his vision.

The series revolves around the Celestials — ancient, gigantic space gods who mysteriously return to earth to judge the human race. It was the Celestials who were responsible for life on earth, mutating primitive life forms to give birth to earth’s three races — we humans, the now-revealed demi-god Eternals, and the demonic Deviants.

In many ways this series feels like an extension of Kirby’s work on DC’s New Gods. It is less overtly superheroic and gonzo than that earlier series (no escape artists or Jimmy Olsens here!), and is maybe a bit less fun, but the concepts are stronger for all that the series lacks memorable characters. Kirby contents himself with Eternals that are paradigms for mythic heroes like Mercury or Icarus, and for his bad guys co-opts ancient Lemuria. His human characters exist only as viewpoint characters for the cosmic goings on initiated by the return of the space gods to earth. None of the characters really resonate — it’s as if Kirby was too intrigued with his cosmic canvas to do more than rough in the characters on his stage — and the series suffers for it.

The book is at its best when he concentrates on the enigmatic Celestials, and the human reaction to the “Fourth Host” in their midst. For me the series high point is when the Soviets set out to nuke a space god, with predictable results.

We’ll never know where the series might have gone if Kirby had a full run of issues to explore his concepts. Later writers would bring the Eternals more firmly into the mainstream Marvel Universe, but for such a personal work as Eternals, those books are at best non-canonical, and at worst another example of the commercial exploitation of Jack Kirby’s world-building genius. I prefer to think that the world of the Eternals is still out there someplace, balanced on a knife-edge as Kirby was forced to leave it, with Arishem’s thumb hovering between earth’s salvation and condemnation.

Read The Reprints: The Eternals Omnibus

That brings us to the end of another Longbox Shortbox! Thanks for reading, and please give me your reactions in the comments section below. And for more Jack Kirby goodness, please check out my review of the first Nick Fury, Agent of S.H.I.E.L.D. story over in my Dollar Box column debuting today at StashMyComics.com!

NEXT WEDNESDAY: #52 Longbox Soapbox — Our One Year Anniversary!

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