Fire And Water: The Human Torch vs. Sub-Mariner!
It’s time for another Super-Blog Team-Up, where Longbox Graveyard joins with pop culture blogs from around the world to celebrate a particular comics trope. This time, in honor of this week’s release of Captain America: Civil War (and also Batman v Superman, I suppose), we’re looking at great “Versus” comics events!
For my contribution, I went all the way back to the source … to the summer of 1940, when the Human Torch fought the Sub-Mariner!
If you were expecting this titanic clash to appear on the cover of Marvel Mystery Comics #8, you could be excused for missing it. It’s easy to overlook that Torch vs. Subby sidebar on the left, especially when the dominant image features some kind of four-armed caveman gunslinger, and the Golden Age Angel coming perilously close to punching a monster below the belt.
But make no mistake — no matter what the cover might show, the first meeting of the Human Torch and the Sub-Mariner was this issue’s main event!
Barely a half-dozen issues old, Sub-Mariner and the Human Torch were still the new kids on the block in 1940, but after a debut that sold nearly a million copies across multiple printings, these two new superheroes had already managed to stand out from the host of Superman imitators hitting the newsstands. It was perhaps because these characters were so different from Superman that they found an audience. Harkening to the noir world of pulp fiction, which was just now yielding in popularity to comics, Sub-Mariner and the Human Torch were anything but an embodiment of truth, justice, and the American way.
To be fair, Superman hadn’t fully evolved into that all-American paragon quite yet, either … but these new characters were still a breed apart. Carl Burgos’ Human Torch was an android who ignited into a creature of living flame when exposed to air, and who was buried alive by fearful humans before breaking free to take vengeance on the world that shunned him. In time, the Torch mastered his emotions, and become a defender of the common good, but his Frankenstein-like origins made for an unpredictable and sometimes menacing hero. And if it was unpredictability and menace that you wanted, you needed to look no further than Bill Everett’s Prince Namor, the Sub-Mariner, an undersea avenger that made war on the human race, and was elevated above outright villainy only by his own noble nature and a slippery moral code that (sometimes) saw Namor doing the right thing.
When our story opened, Namor was in rare form, waging a one-man war of revenge against New York city. Now, the people of New York did send Namor to the electric chair (!) the issue before, having found him guilty, more-or-less, of being a maniac. Disastrously for New Yorkers, a jolt from the chair just awakened the powers of a groggy Namor, who escaped from custody and then made Gotham pay.
What a rampage! Namor got started by flooding the Holland Tunnel with a depth charge …
… then downing a police biplane. Poor fool!
Next Subby hit the Bronx Zoo, freeing wild animals to wreak havoc.
Plus, poisonous reptiles. Couldn’t forget the poisonous reptiles.
Or the killer (!) elephant. Turn ’em all loose!
Namor suffered temporary remorse when he saw a baby threatened …
… but no sooner did he deliver the baby to a hospital than he was off to knock the top off the Empire State Building, before wrecking the George Washington Bridge!
I don’t know about you, but I love this stuff. This was Golden Age comics at their raw, heedless, unbridled best, with little concern for consequences or continuity, or even making much sense from panel to panel. The Sub-Mariner is pissed off, and he’s a freaking force of nature. What more do you need to know?
It’s on the George Washington Bridge where the Human Torch finally catches up with Namor. And … it’s not a great page. At all. There is little drama when these characters finally meet — the action is remote and restrained, the Torch is seen at a distance throughout, and Namor has his back to the audience the whole time.
You can’t win them all. Bill Everett was all of twenty-three when he created this tale. Even Everett couldn’t be a genius all of the time.
Alex Ross and Kurt Busiek render the meeting in more dynamic terms when they revisited this scene, half a century later, in the pages of Marvels #1.
But Ross and Busiek had an advantage — they could look backwards through time. Neither Everett nor fellow twenty-something creator Carl Burgos could have guessed that their crazy comics story was giving birth to the Marvel Universe. Yet you can argue that is exactly what they did — bringing these two characters together, and proving they lived in the same world, where the consequences of each character’s actions would reverberate through each other’s stories. Heroes and anti-heroes, stories told in shades of grey, big events in real cities with hapless human bystanders caught in the crossfire — that’s the Marvel storytelling DNA, right there, decades before Reed, Johnny, Ben, and Sue rocketed into space in the pages of Fantastic Four #1.
Marvel Mystery Comics was an anthology book, with separate stories of the Torch and Namor in each issue, along with characters like the Angel and Ka-Zar. This team-up was notable in that it spanned two stories in issue #8. Bill Everett’s Sub-Mariner story led the issue, and concluded with that meeting on the bridge — then Carl Burgos’ Human Torch story took over, with the Torch, now a policeman, tasked with capturing Namor on his first day on the job!
Burgos’ entry largely re-told the Everett story, from Torch’s point-of-view, but where Namor was tearing things apart, the Torch was putting them back together, herding zoo animals back into their cages, and dispatching a rampaging gorilla with a flaming right-cross.
Issue #9 continued the clash, with a twenty-two page lead feature by Bill Everett, and (finally) a cover image worthy of this tale …
The battle even rated a splash page heralding the fight as the “Battle of the Comic Century!”
In this second part, the Human Torch was mostly a punching bag — not unreasonable, given that much of the battle took place underwater.
But in a strange turn of events, Namor seemed to lose his mojo — first failing to break a bubble (!) that carried the Torch to the surface, then falling prey to chlorinated reservoir water. So, yeah, Namor is the lord of the seven seas, but keep him away from the water park!
Weakened by chlorine, and with his ankle-wings singed off by the Torch’s flame, Namor escaped by highjacking a plane, and returned to his old homicidal ways, only to think better of his actions in the very next panel. He was nothing if not mercurial, our Namor.
He was also a thinking-man’s madman, rendering the Human Torch powerless by trapping him inside a “translite tube.”
And that’s how issue #9 concluded, with readers encouraged to think how they’d break the stalemate!
So, who was the greater hero in this hero vs. hero tale — Subby, or the Torch?
How about … neither of them?
The true hero of this story — and about the only person who behaves with an ounce of sense — was policewoman Betty Dean. As Namor’s only friend among the surface-dwellers, and as a member of the police force like the Human Torch, Betty was uniquely qualified to see both sides of this conflict, and propose a peaceful solution.
The problem was that she couldn’t get these meatheads to listen to her.
How many times was Betty supposed to offer the answer before someone got the point?
Four times, by my count. Gotta give Betty points for persistence, and bonus points for telling the Torch he was a fool, right from the get-go.
And so the conflict ended sensibly — if not very excitingly — when Betty brokered a peace in the single-page conclusion to the story in Marvel Mystery Comics #10:
Of course, it would have been cooler if they’d fought.
(And Ross and Busiek seemed to agree).
But what the heck? This was the Golden Age, where anything was possible — even Subby and the Torch turning into the Get-Along Gang because Betty Dean told them to make nice. Never mind what happened to the Empire State Building, or the Holland Tunnel, or the Bronx Zoo! I’d say it was all water under the bridge — but Namor knocked the bridge down, too!
Bridge or no bridge, this story was the high-water mark for Namor’s mayhem. Succeeding stories would mostly see the Sub-Mariner venting his rage on Nazis and Imperial Japanese agents, while the Human Torch fought corruption and gang bosses in New York City.
(Well, true, there was Human Torch #5 where Namor hurled a tidal wave against New York City, but we’ll just forget that ever happened …)
The two heroes teamed again in Marvel Mystery Comics #17 to foil a Nazi attack on America, and modern Marvel continuity would team them with Captain America in the WWII hero squad the Invaders. Namor would go on to become a featured Silver Age character in his own right, after being reintroduced in Fantastic Four #4, while the Human Torch — now identified as the “Original” version, to set him apart from the Fantastic Four’s Johnny Storm — would suffer an even stranger fate in modern Marvel comics, getting bound up in the origin of the Vision, among other things.
But that’s really all too complicated, and serves only to obscure the core nature of these primal characters, who have rarely been better than in this story, in all it’s crude and unvarnished glory. My heart belongs to the Bronze Age, but sometimes the old ways are the best ways, as when fire and water clashed, with no punches pulled, at the dawn of the Marvel Universe!
Thanks for reading! Let me know what you think of the Golden Age Torch and Sub-Mariner in the comments section, below, but not before checking out these other “Versus” features from the Super-Blog Team-Up crew!
- Bronze Age Babies: Civil War, Silver Age Style — Tales of Suspense #58
- Between The Pages: Star Wars Versus
- Crapbox Son Of Cthulhu: Versus Edition
- Chris Is On Infinite Earths: Justice League of America
- Coffee & Comics Blog: Spider-Man vs Ghost Rider
- In My Not So Humble Opinion: Captain America vs Wolverine
- Superhero Satellite: Batman vs. Guy Gardner
- The Unspoken Decade: War Machine vs. Cable
- The Retroist: The Joker vs Sherlock Holmes
IN THREE WEEKS: #160 X-Men: Genesis!
Fantastic Four Annuals #1-3
Welcome back to The Dollar Box, my irregular feature where I review single-issue comic stories with an original cover price of a dollar or less. To help dispel the stench of the most recent Fantastic Four film misfire, I thought I’d take a look at the Fantastic Four Annuals of the Stan Lee & Jack Kirby era. This column looks at the first three Annuals, with a review of Annuals four through six to follow at a later date.
While modern Annuals would sometimes seem little more than jumped-up fill-in stories, the early Marvel Silver Age Annuals were a delight, featuring bonus-length feature stories, original back-up tales, reprints of relevant issues from the past, and page after page of pin-ups highlighting adventures or enemies from the year gone by. The art might sometimes look rushed (with these Annuals amounting to the thirteenth or fourteenth issue that had to be drawn in a twelve-month period), but this was offset by the sheer size of the story that you got for your quarter, and the big, must-read events at the center of the best issues.
Fantastic Four Annual #1 (1963)
One of those must-read events was front-and-center in the first Fantastic Four Annual — the Sub-Mariner’s attack on the human race! Newly restored to his throne, Subby doesn’t waste any time before throwing his weight around, delivering unreasonable terms to the Fantastic Four, to the effect that surface men must have nothing further to do with the sea, on pain of conquest! Reed relays Namor’s terms to the United Nations, but it doesn’t take long for everything to go pear-shaped, and the invasion is on.
Namor’s troops conquer Manhattan without firing a shot. Perhaps the New Yorkers were overawed by Jack Kirby’s imaginative underwater war machines …
I always thought that the coolest thing about Subby’s undersea legions were the bubble helmets full of seawater that they wore, so they could breathe on land. It’s such a wonderfully ridiculous idea — literal fishbowls for helmets. Unfortunately for the Sub-Mariner, Reed instantly divines the weakness of this scheme, and concocts a device that evaporates their helmet water from a distance, putting paid to the invasion.
After that, it’s all downhill for the Sub-Mariner. The invasion is doomed, and when Subby shows compassion for Sue Storm, his own subjects turn on him, leaving the Sub-Mariner abandoned in his palace, a king without a kingdom.
The Sub-Mariner’s invasion of New York sounds like a dynamite idea for a story, but it doesn’t quite come together here. More space is devoted to scene-setting and getting our heroes out to sea in a cruise ship than to the invasion itself, and Dick Ayer’s inks look hurried and muddy in places (over what may well have been hurried pencils from Jack Kirby). If the story had lived up to that splash page, this would be an all-time classic, but the whole is less than the sum of its parts.
But I do have some favorite moments, like Nikita Khrushchev banging his shoe on the table while Reed informs the U.N. of the Atlantean threat …
… and Subby being Subby …
… and one of the pinup features (of which there are several!), where we learn that Reed’s hair turned white at the temples because of some unspecified terror when helping Allied prisoners escape from the Nazis. Was that story ever told? I have to know.
There’s also a backup story: a sort of remastered telling of Spider-Man’s first encounter with the Fantastic Four, originally shown in two pages by Steve Ditko in Amazing Spider-Man #1, but here expanded into a fight scene of several pages by Kirby that is just … OK.
While laps better than any Fantastic Four movie, this first Annual is the weakest of the Kirby era — big concepts that are just adequately executed, earning a Longbox Graveyard score of 6/10.
Fantastic Four Annual #2 (1964)
The second Lee/Kirby Annual outing is a considerable improvement over the first, featuring the origin of Doctor Doom, in the first of two new Doom stories in this volume (to go along with another reprint, and a great new batch of pin-ups).
We are introduced to the future Doctor Doom when he is still a boy, howling for revenge after his father — a Gypsy healer — is killed by a vengeful noble after the elder Doom failed to heal the royal princess.
Doom takes the revenge business seriously, learning sorcery after discovering his mother was a witch. Grown to adulthood, Doom plays tricks on the cruel nobles of Latveria, stealing them blind or humiliating them by selling them enchanted treasures that backfire on their owners. He becomes a thorn in the side of the ruling class — a kind of Romani Robin Hood — and when he is caught and put before a firing squad, we get our first glimpse of the kind of high-tech robotic shenanigans that would prove Doom’s trademark through the years.
(How Doom becomes a high-tech robotic genius working from out the back of a Gypsy wagon is not addressed!)
I liked this nearly-heroic Doom … he could be cruel, but his victims were crueler still, and as an orphan Gypsy in a hostile land, Doom was an underdog (almost) worth rooting for. But Doom’s odious nature would soon assert itself. Winning a scholarship thanks to his scientific prowess, Doom leaves his home behind, and when he returns, he will be a very changed man.
No sooner does he land in the United States for school than Victor Von Doom becomes Victor Von Dick. His megalomania in full bloom, Doom wants nothing to do with the good-natured Reed Richards, who makes every effort to befriend the brilliant Doom.
Doom is expelled from school when a lab experiment nearly blows up the school (and definitely blows off Doom’s face). Doom, through twisted logic, blames his failure on Reed Richards, and does what any self-respecting supervillain-in-training might do — he sets off to Tibet to learn the black arts, and forge armor and a mask that will let him project a frightening image to the world that did him wrong.
Who needs a college diploma? Only Doom is qualified to confer a doctorate on Doom! In short order, Doom returns to Latveria and becomes its ruler, leading to the wonderful ironclad despot that we know and love today.
The “back-up” story is anything but — the return of Doctor Doom and his latest diabolical plot to destroy the Fantastic Four!
The tale commences with Doom’s rescue from outer space, and a tongue-twisting face-to-face with Rama Tut, who may (or may not) be a future version of Doctor Doom. Or something.
The whole Doom/Rama Tut thing made my head hurt when reading Bronze Age tales, and it is oddly reassuring to see that things were just as muddled in the Silver Age!
Doom’s plan hinges on luring the Fantastic Four to lower their guard during a reception at the Latverian embassy. With Doom believed dead, our heroes see nothing sinister in this set-up, which is an acceptable bit of storytelling chicanery, especially when it affords us the opportunity to watch Ben Grim cut up the dance floor with a Margaret Dumont-style grand dame.
Doom’s plan is to set the Fantastic Four against each other, spiking the “fruit juice” served in champagne glasses at the embassy, then spurring the hallucinating heroes to beat the tar out of each other. Doom’s scheme is well on its way to success, when Doom unaccountably undermines himself by gazing at his face in the mirror. It’s a wonderful bit of melodrama, but it really makes no sense in the context of the story, and lends credence to reports that Stan Lee & Jack Kirby were sometimes not on the same page when plotting/drawing/writing these stories.
Doom’s plan quickly unravels, and the villain is put to flight. The denouement is notable largely for confirming that Reed Richards is the world’s dumbest smart guy …
That kind of exchange was common for Reed and Sue in the Silver Age, when it seemed that Stan Lee was constitutionally incapable of writing female characters — Sue Storm, the Wasp, and Karen Page (among others) were all doormats and feather-heads on Lee’s watch. But you take the good with the bad, and this story has far more good than bad. Besides, who can resist the ridiculous machinations of … Doom!
Overall, Annual #3 is a great little romp — fast-paced and action-packed — and the Fantastic Four are never better than when battling their arch-nemesis, Doctor Doom. Your Longbox Graveyard score: 8/10.
Fantastic Four Annual #3 (1965)
You can judge the quality of a hero by the villains he fights, and you can especially judge the standing of a hero by the quality of bad guys that attack their wedding! Remember when the Circus of Crime attacked the wedding of the Wasp and Yellowjacket? I rest my case!
For Marvel’s wedding of the century — between Reed Richards and Susan Storm — nothing less than an attack by practically every villain in the Marvel Universe would do. In a plot orchestrated by Doctor Doom, villains from the Fantastic Four’s past (and even villains they had never before met) were mobilized to strike at our heroes on their day of joy.
The bulk of this story is a parade of heroic cameos and chaotic fighting in the streets of Manhattan. If you ever wanted to see Kirby’s original X-Man battle the Mole Man, then here is your chance. You also get Thor vs. Super-Skrull, Daredevil vs. the hordes of Hydra, and Hawkeye vs. Mr. Hyde. It’s like a superhero Wrestlemania!
With the fisticuffs finished, the blessed moment arrives …
a nice bit of meta-story, as Stan and Jack can’t get into the wedding!
It is a silly story, but with the star power on display it should be a great one. Unfortunately, that reckons without considering a menace greater than any that assaults the Fantastic Four in this tale — Vince Colletta’s inks! With trademark indifference, Colletta renders much of Kirby’s pencil work inert and amateurish, which is a real shame, as this single issue might otherwise be the go-to guide for Kirby’s rendition of nearly every character Marvel has. It’s still a fun book, but with better inks it might have been so much more, reflected in my Longbox Graveyard score of 7/10.
All three of these Annuals carried a cover price of twenty-five cents, but of course they will set you back a lot more than that now. Still, with the original run of the Fantastic Four so completely out of reach, collecting the first Annuals is a worthy alternative for fans wishing to own a little Silver Age Marvel magic. You’ll pay hundreds of dollars for an Annual in superior condition … but that beats the thousands that the first issue of the series itself will set you back.
Share your memories of these first three Fantastic Four Annuals in the comments section below, then join me later when I finish my review of the Lee/Kirby FF Annuals!
NEXT MONTH: #152 Dark Genesis
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.
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!
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!!!
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.
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.
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!
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!
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!
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.
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.
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!
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.
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.
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:
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:
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!