Atlas Era Tales of Suspense Masterworks Vol. 1 (Tales of Suspense (1959-1968)) Reviews & Opinions
Submit Atlas Era Tales of Suspense Masterworks Vol. 1 (Tales of Suspense (1959-1968)) review or read customer reviews:
100 Reviews Found
Watch Atlas Era Tales of Suspense Masterworks Vol. 1 (Tales of Suspense (1959-1968)) video reviews and related movies:
Scroll down to see all opinions ↓
This is a collection of horror, science fiction, and fantasy by some of the amazing comic book artists and writers of the time (early 60s). The book itself is printed on much higher quality paper than what was available back then. Anyone who appreciates the comics of that day will appreciate this volume. 'Nuff said.
I think Tales to Astonish had more consistent quality, but the best of Tales of Suspense holds up compared to Tales to Astonish. From the subscription rates that Marvel quoted in the 60s, TTA outsold TOS by about 10% most r the Marvel Age fan, this volume is packed with concepts or characters later reused and artists that would create their name in the Silver Age doing super-heroes. Jack Kirby, Steve Ditko, Don Heck, John Buscema, Joe Sinnott, @#$% Ayers, and Stan Lee. This volume contains Russ Heath (better known for Playboy cartoons, Sgt Rock and Haunted Tank at DC), John Forte (from the Legion of Super-heroes fame or infamy, depending on your view) and Al Williamson, one of the all-time amazing sci-fi artists. Paul Reinman, inker on a lot of Silver Age super-hero tales, has some fine work on four stories. Bill Everett, creator of Sub-mariner, and Carl Burgos, creator of the Human Torch, also each have a story ug Wildey, co-creator of Johnny Quest, has a amazing story in here called "the Runaway Planet". He also does a unbelievable job on "The Wrath of Chondu" for those Defenders fans out sue #1 highlights - After a amazing Buscema cover, we obtain Steve Ditko's "Prisoner of the Satellites" features amazing art and an interesting premise with daily man Tag Coren afflicted by a power from outer space. This could've been turned into an Atom nearly two years before his Silver Age debut in Showcase #34.#2 - After a amazing Steve Ditko cover, the lead story is by Jack Kirby "Invasion from Outer Space". The ending is a bit silly, but I like the intent. The best story is once again turned in by Steve Ditko with "The Secret of Planet X".#3 - The highlight here is Kirby's "The Not good Time Machine". Ditko's "The Thing from Planet X" is interesting but probably not intending to be hilarious. The face of the Flower just cracks me up. Don Heck turns in amazing moody artwork for "The Haunted House".#4 - "One of Our Spacemen is Missing" by Kirby is an interesting premise with a strange ending. "The Voice of Doom" requires some suspension of disbelief but is a neat premise with very amazing artwork by Carl Burgos. "Beware of the … Robots" has greet Al Williamson artwork. Finally "One of us is a Martian" by Ditko would stand up well in Awesome Fantasy.#5 - "Ditko's "I Fought the Tyrannasaurus" is perfect with very powerful artwork by Steve and an unexpectedly soulful story about an out-of-time traveler.#6 - "I Hear it Howl in the Swamp" by Ditko as he turns in a giant monster story with heart. Joe Sinnott explores the globe of Mutants almost four years before the X-men in "The Mutants and Me".#7 - "I Come From the Shadow World" is a spooky Ditko tale with a amazing ending. "I Know the Power of the Genie" has some of Don Heck's best artwork ever and shows his real potential. "My Name is Robot X" by Paul Reinman is a novel story that Awesome Adventures would revisit in a few years in a various context. "I Was Trapped Inside of the Martian Maze", Ditko's second tale, again exalts the common man. "I Fought the Molten Man-Thing" is a decent Kirby Creature story.#8 - This is the best problem of the bunch!After an wonderful Kirby cover, we obtain the lead story also done by Kirby, "Monstro… the Menace from the Murky Depths" straight out of Challengers or the FF, we obtain the scientist character versus the Atomic Monster. What I always search remarkable is how polished his artwork looks here compared to the early problems of Unbelievable Four and Avengers, which looked very raw and uneven in comparison several years later. Dick Ayers, one of my favorite Kirby inkers, inks this one. Bill Everett turns in another one of his one-shot hero gems with "the Story of Sammy Snork". Everett's thick and lush brushwork is on evidence here. He had a magic quality to render daily women as sublimely beautiful, but still in an understated way. "I Am the Changing Man" from Steve Ditko is his best art in this collection. The alien from the planet Deth could be a prototype for the Skrulls in FF#2, still more than a year away. "The Runaway Planet" by Doug Wildey is a amazing apocalyptic tale. "It Walks by Night" is a fantastically creepy story by Don Heck.#9 - Another amazing Kirby one-two of cover and lead story with "Diablo… the Demon from the Fifth Dimension". Diablo was resurrected in the all Atomic Creature Hulk Annual #5 (which I crave to be masterworked).The story doesn't keep up as much as the art does, with inking by Dick Ayers. The figure at the story's end doesn't look like a typical Kirby or Ayers figure but more like Everett line work to me. I've always loved "The Wrath of Chondu" by Doug Wildey. The splash has unbelievable artwork of Chondu, who would later appear in the Defenders as Chondu the Mystic. "Earth Will Be Destroyed" is an perfect Ditko story. "The Return of the Living Robot" reprises the earlier powerful story in this volume, also by Heck.#10 - The third in a row with Kirby providing powerful artwork for both cover and lead story. "I Brought the Mighty Cyclops Back to Life" has a romance story pop up in the middle of a giant creature tale! Once again Ayers inks really create Kirby's art shine. Reinman turns in amazing artwork in "I Was Trapped in Nightmare Valley". Ditko has another masterful tale in "Behind My Door Waits… Medusa" which vies for #8' Changing Man for the best tale in the collection. I love his bearded hero and the ornate door that he holds the skeleton key up to. This could've been a backup tale in Doctor Strange! Lastly, Heck does decent work with "I Am the Shaggy Creature".These latest four problems in particular are treasures of the transition period from the Altas Era genre stories into the Marvel Age. All the earmarks are here: creature as sympathetic anti-hero a la the Thing and the Hulk, scientist as character a la Hank Pym, Tony Stark and Reed Richards, Robot as hero, related to Iron Man, mystic tales gravitating to Doctor Strange with Chondu and …Medusa. The alien menaces that would soon confront the Unbelievable Four. Mutants! The ever-present fear of the Red Menace. This is a valuable window into the evolution of Ditko, Kirby, Lee, Heck into the stalwarts that usher in the Marvel ping all that is a wonderfully informative introduction by Dr. Michael J. Vassallo. He points out several interesting tidbits about the artists and stories, such as intriguing info on Bill Everett and John Buscema's tales in here as well as placing the collection in its historic context post-Atlas implosion and e hardcover has long-since sold out so grab the softcover while there are still copies for this rare glimpse into an underrated and by-gone era in comic literature and art.
If you're after it just for the giant creatures (as I was), then they are Oog, Klagg, Bruttu, the Monster in the Black Bog, the Insect Man, Monstrollo, the Thing That Crawled at Night, the Martian Who Stole a City, the ghost on The Haunted Roller Coaster, and the Creature in the Iron Mask.But this isn't meant to denigrate the other stories, some fantasy, some sci-fi, some paranormal--all well done. As another reviewer pointed out, we got these comics a month at a time when we were children and were thus unaware of the repetition, but now, when you read them all together, you can see how plots got recycled and recycled and recycled yet again. However, all the stories remain entertaining, which shows how skilled Lee, Kirby, Ditko, Ayers, et al. were at putting a fresh twist on an old ese Masterworks books memorialize an era which will never be repeated in comics, the Age of (and the fascination with) The Giant Monster--unless the true globe unleashes another inexplicable horror upon us like Atomic Fear.
I love this period of Marvel's history, and cannot obtain enough of these stories. Even though I own most of the original comics this hardcover will be read again and again. The fresh intros by the likes of Roy Thomas and Dr. Mike Vassalo are unbelievable and informative.
Although marketed as an Atlas era masterwork, this masterwork actually overlaps into the "Marvel Age". Sprinkled throughout are bottom of the page blurbs for the Unbelievable Four, the Hulk, and Awesome Adult Fantasy. Unfortunately, the winds of change did not blow very strongly through this e artwork is its strongest selling point. Indeed, the Atlas era masterworks are broadly aimed at fans of Jack Kirby and Steve Ditko. Those fans will have small to complain of in this book. Ditko's stories especially will resonate strongly with readers of his Dr. Strange feature. To my eye is the stellar work of Don Heck. Heck is finally getting the respect as the consummate professional that he was. His stories in this book demonstrate that super heroics wasn't his strongest genre. Paul Reinmann also turns in fine e writing is still at the levels of the late Atlas era. Repetitive, derivative, and unsophisticated. Stan Lee's major strength was in dialog and characterization and the short stories here gave small scope for that. All the wretched text stories are uncredited; no doubt their authors prefer it this e major difference between this and the two previous volumes is the additional problem included in this book. This is presumably setting up the next volume to finish up the non Marvel Age features that started in a few issues. Such planning is typical of series editor Cory Sedlmeier as is the superb commended to all those aware of the limitations of the stories of this era. Few of these stories keep up as stories; there appeal is strictly artistic.
These science-fiction and horror stories from the so-called Atomic Age (the 1950s) keep a unique fascination for me. There were a number of these anthology style titles from this publisher stretching all the method to the Silver Age and slightly beyond. The stories were sometimes cliched and formulaic, featuring one strange and unusual creature after another (it was always fun seeing what they would come up with next). Some were earnest and ironic and featured lessons about human nature, ethics, and morality. The artists were often amazing names like Jack Kirby and Steve Ditko, already known to a lot of readers here. If you like these kinds of stories, you will like this book. After the latest of Marvel's reprint titles from the '70s was discontinued, finding these stories became difficult if not impossible. In Marvel Masterworks, we now have an perfect format for reading them.
Affordable edition - amazing to see all these Kirby & Ditko artwork before they made Unbelievable Four, Spider-man & others. Want they would publish more of the Marvel Masterworks of these sci-fi/monster comics in this affordable format & not just hardcover.
Collects Tales to Astonish 1-10 (1959-1960). Stan Lee writes the introduction.Tales to Astonish had all of early Marvel's top artistic talent. In some ways, their artwork here is even better than it would be for the first few years under Marvel's heroes, possibly due to lower page rates? Yes, some of the tales appear a bit predictable and some of the characters are one-dimensional, but what amazes me is the shear dozens of various stories Kirby and Ditko were doing at this time. Kirby did 7 covers and 4 stories that were published in Jan '60 (Tales to Astonish 7, which he did the cover and "We Met in the Swamp", published in this volume). He was doing Westerns, Romance and Battle stories in addition to these Sci-Fi, Fantasty/Horror and Atomic Creature tales. Kirby has 8 stories in this collection. Ditko has ry few characters repeat in these stories. Kirby's Genie and Ditko's Colossus are the only two in this volume. Each month, they had to invent completely fresh worlds and fresh casts, introduce us to them along with the threat or mystery, and wrap it up all within 5 pages. A lot of of these stories leave me wishing we could see would happened just before or just after the story ends.Even artists that were considered lesser talents during the Marvel Age, such as Don Heck and Paul Reinman, turn in fine work during this period. Joe Sinnott and @#$% Ayers have several stories that they pencil e hardcover has been sold out for awhile. Copies now sell for $100-200, so this softcover is a amazing method to have fun these classic stories.Highlights from the problems (all writing credits are unattributed. The collection assigns plot and script to Stan Lee and Larry Lieber. I'll mention who is credited with the art):#1 - "We Found the Ninth Wonder of the World" by Kirby, starts off with a twelve-foot lobster terrorizing a research vessel and their issues continue to obtain bigger. "I Know the Secret of the Poltergeist" by Ditko has moody art as only Ditko can deliver. This story would fit well within the globe of Dr. Strange. "I Was the First Person to Set Foot on… the Mystery Planet" by Carl Burgos (creator of the original Human Torch) and, some folks speculate, Jack Kirby. This story is an interesting sci-fi tale about an interplanetary explorer and the strange globe he finds.#2 - "When Aliens Meet" is a amazing morality tale and drawn surprisingly well by Don Heck. "I Was a Man in Hiding" is a amazing sci-fi piece by John Buscema, one of only six stories he did for Atlas during the first half of 1959. He wouldn't return to Stan Lee's fold until 1966.#3 - I liked every story in this sci-fi packed issue. Ditko's "I Journeyed Back to the 20th Century" is an interesting take on time travel. His art in this story is very various than the first, using a much thinner stroke. "I Discovered the Men from Mars" has amazing artwork from Joe Sinnott and looks like it could've been a supporting story to DC's Legion of Super-Heroes from the early 60s. "I Found the Excellent Hiding Place" has stylized art by Carl Burgos and is an interesting morality tale that tries to convey the vastness of space. "I Am the Giant from Outer Space" has amazing artwork from Paul Reinman. The ending might be a bit expected by us now and was not exactly original even then, but it was probably much less predictable to readers of the late 50s. "I Escaped to the Stars" by Bob Forgione is an interesting introspective on dealing with imprisonment in the future.#4 - "I Was a Prisoner of the Martians" has some of the best full artwork that I've ever seen from Joe Sinnott. Likewise "My Forbidden Paintings" has exceptional art from Don Heck and is a neat tale in the vein of "be careful what you want for." Ditko has Captain Racer war Bogane in "The Man who Floats in Space."#5 - This is another potent issue. Kirby turns in strong art on "I was Trapped by the Things on Easter Island." I really enjoyed "I Can See Tomorrow" about the risks in predicting the future. "I Found the Nightmare Note" has attractive renderings of a gray cat by Al WIlliamson. "I Landed on the Forbidden Planet" by Ditko is an amazing tale about a globe gone giant. Marvel might have had this story in mind when Steve was briefly tasked with the Micronauts.#6 - "I Saw the Invasion of the Stone Men" is one of Ditko's rare Giant Creature works and it's fine indeed. "I Laughed at the Amazing God Pan" shows Kirby's penchant for mythology tales. "I Was the Man Under Glass" by Joe Sinnott is a amazing morality tale about the folks in power having such disregard for those beneath them. I remember reading a tale from earlier in the Atlas Era that was more directly colonial than this sci-fi allegory, but had a related conclusion.#7 - Here is where sister title Tales of Suspense and Tales to Astonish really take off. Don Heck has spectacular art in a giant creature tale called "He Waits for Us in the Glacier". "We Met in the Swamp" has terrific art by Kirby in a tale about aliens and otherworldly cultural differences. "I Lived a Ghost Story" has spooky art by Paul Reinman."I Spent Midnight on Bald Mountain" and its companion story in #8 "I Live Again" are my two favorite stories in this collection. A sculptor moves to a deserted castle in central europe to craft his masterpiece. He uses material from hallowed grounds to construct his colossus of amazing and material from locations of infamy to construct his figure of evil to depict the symbolic struggle of "Good versus Evil". Lightning strikes the clay causing it to spring to life. This colossus is not directly similar to the monster called "It, the Living Colossus" made by Jack Kirby in Tales of Suspense #14 but definitely seems to be a source of inspiration, especially from the second tale.#8 - "I Live Again" is a unbelievable tale, though the Colossus is significantly bigger this time around and more of the scale for The Living Colossus. The ending to this one is haunting indeed, if you hold your disbelief suspended. "I Dared Defy the Floating Head" by Reinman emulates Kirby to a degree. "I Am the Genie" is a amazing mystical story by Kirby with perfect inking by Ditko. "Mummex, King of the Mummies" has wonderful art by Don Heck. It's a shame we didn't obtain more of this ver of Heck during the Marvel Age. I would definitely have fun Mummex versus Iron Man.#9 - "The Return of the Genie" bears small resemblance to the Genie story from #8, this time Kirby is inked by Christopher Rule and the tale is more sci-fi oriented. "No Method Out" by Steve Ditko has a Twilight Location flavor to it. "I Saw Droom The Living Lizard" us a amazing Godzilla/Gorgo tale done by Don Heck. (Steve Ditko did several problems of the Gorgo comic starting a half year later in 1961 for Charlton Comics.)#10 - For the finale, we obtain a double-dose of Jack Kirby: "I Was Trapped by Titano the Creature that Time Forgot" and "What Was the Strange Power of Simon Drudd". "Something Lurks Inside" is an perfect sci-fi horror is is a unbelievable volume and something that young and old alike can enjoy. Fans of Marvel's Silver Age will have fun seeing these artists in their pre-superhero mode but still see the heritage of a lot of Silver Age stories.
Atlas Era: Strange Tales Vol.1 is one of the earliest horrormags from Timely/Atlas/Marvel and is slighty inferior tohis sister publication Journey into Mystery, partly becauseAtlas staff didn't know exactly how to sell and promotesuch a strange beast like a horror comic (remember that weare on early fifties!!!)and partly because the majority of theearly scripts really e first four or five problems have some highlights butthe overall quality is not good. Later problems are much betterplotted and drawn,despite some clunkers. Atlas horror isnot distinguished for scripting sophisticated stories butsome of them are very fun and enganging and the level of artis remarkable high.If you don't know the fascinating horror comics from thefifties I strongly recommend the comics from E.C. likeTales from the Crypt and Vault of Horror and the Atlasas a second are my private ratings:Atlas Era: Strange Tales Vol. 1:Strange Tales #1:Strange Men ===================== **1/2The Beast ======================= *The Room That Didn't Exist ====== *1/2A Call in the Night ============= **Strange Tales #2:The Egg! ======================== *****Trapped in the Tomb! ============ ****1/2The Pin! ======================== **1/2The Island of Madness =========== **Strange Tales #3:The Shadow ======================= ****The man Who Never Was ============ *****The Invisible Death ============== **The Madman ======================= *1/2Voodoo =========================== **1/2Strange Tales #4:The Evil Eye! ===================== ****Dial... Town Morgue =============== ***1/2It ================================ **The Man on the Beach ============== **Strange Tales #5:The Room Without Door ============ ****The Small Man Who was There ===== ****1/2The Trap ========================= *****My Brother Harry ================= ****1/2Strange Tales #6:The Unihabited ==================== *****The Eyes of March ================= ****The Back Door ==================== **1/2The Assassins ======================= ****1/2The Ugly Man ==================== ***Strange Tales #7:My Brother Talks to Bats ============== ****1/2He Wished He was a Vampire ========== ***1/2Tap!Tap!Tap! ======================= ****Who Stands in the Shadow ============ ***1/2The Horrible Man ==================== ****Strange Tales #8:The Old Mill =========== ****1/2Fame =================== ***1/2The Storm ============== ****Something in the Fog === ***If the Shoe Fits ======= ****Strange Tales #9:Blind Date ============== **Strange Android game =========== *The Man from Mars ======= **Drink Deep Vampire ====== **1/2The Voice of Doom ======= ***1/2Strange Tales #10The Boy Who Was Afraid ====== ****1/2The Monster's Son =========== ****1/2The Frightful Feet! =========== *****The Hidden Head =========== ****1/2Keep Out! ================= *****
Collects Strange Tales 1-10, covering from June 1951 to September 1952. Contains a six-page essay from Dr. Michael J. Vassallo titled The History of Atlas Horror/Fantasty (Origins and Pre-Code 1949-1951).Strange Tales is the longest running horror title from Marvel pre-cursor Atlas, lasting 100 problems until The Human Torch took over in problem 101. Until I read this essay, I had no idea just how prolific Atlas was in the 50s. They produced an avalanche of titles across all genres until the Atlas Implosion (details within the essay). This deluge of horror stories came at a price: an occassional missfire was place to press. Atlas provided more artistic freedom than the other top publishers, doing away with a "house" e first few problems look a bit rough to me. Some of the material looks related to Adventures into the Unknown (ACG) from the same time period. By early 1952, Atlas artists were each creating their own special style, aided by intense coloring (mostly by Stan Goldberg). This led to awesome artwork that just kept getting better through the mid-50s.Highlights:#1 - "A Call in the Night" with art by George Tuska finds a TV repairman heading out to an odd house on a stormy night. His wife pleads with him not to go, but the caller said he would create it worth his while. Once there, an unusual looking set, a locked door and a mysterious photo on the screen build into a nightmare for sue #2 doesn't have much to redeem it, except for camp appeal. Russ Heath provides artwork far from his peak on "The Pin", which features a freakishly huge baby on the signed splash page.#3 - "The Shadow" with art by Joe Maneely is an perfect story and has amazing art by Maneely but hasn't quite developed into his style yet. A man gets into a war with his long-time nemesis, George, in front of his lady, Iris. Now things are going quickly downhill when Iris stands him up for their date and his shadow is disconnected from his body. With each step, his shadow seems to be getting further away. Iris still refuses to speak to him. What did George say to her and what does this have to do with the hallucinations he's having about his shadow?"The Man Who Never Was" with art by John Romita and Les Zakarin was printed ten years before the Twilight Location episode that seems to have drawn inspiration from it.#4 - "The Evil Eye" has lush art by Bill Everett. I love the fabrics that he painstakingly rendered: plaids, pinstripes, floral prints, and a angry scientist with crazy hair and a crazier grin. The story itself is not the best that ever showcased his unbelievable work, but it was a fun read.#5 - This problem starts off with a bang with awesome art by Joe Maneely and amazing writing by Hank Chapman. "Within its rotting walls lay hidden the hideous mysteries of the past... and the unknown wonders of the future... but how was it possible for me to open... The Room Without a Door" It's Black Magic vs. Science. Oh, and Henry is a true nut."The Small Man Who Was There" is a creepy story with art to match by long-time Marvel Age artist Jim Mooney. A small man with a wry smile and sleepy eyes keeps following Captain Ames, first in a shell hole in the middle of the Korean War, then in an troops hospital in Florida. Next, on a crowded train. Even worse, it seems that tragedy follows in the small man's wake, tragedy that Captain Ames narrowly avoids each time. What secret does the small man carry with him?"My Brother Harry" by Tony DiPreta has a related plot to an acclaimed film created 47 years later in 1999.#6 - "Uninhabited" with art by Russ Heath is a chilling sci-fi tale about a squad that lands on a desolate moon. Nineteen other squads have attempted the landing but simply vanished en route. Now that this spaceship has successfully lands on the dead planet, one by one the squad is disappearing..."The Killers" is a rousing thriller by Harry Lazarus about a virus that escapes a lab, infecting a assassin who is now loose in the city. If the assassin isn't found soon, the virus may spread into a homicidal epidemic. Only ace reporter Jason Hudkins seems to realize where this mystery leads."The Ugly Man", written by Carl Wessler and with art most likely by Vern Hinkel, finds deathrow inmate Brock Hines escapes prison and carjacks an ugly man who can't stop laughing, even with a tommy gun pointed in his face. "Look at his face, and you'll know that there are things beyond the death... an evil that reaches beyond the grave!"#7 - Joe Maneely gives us another perfect tale in "My Brother Talks to Bats" A young boy tells the reader "That's him. That's my brother George. And it's true... he really does talk to bats. But that's not why we have him chained up like that. It's for something much more horrible."Gene Colan provides amazingly moody art on "He Wished He Was a Vampire", related to his epic Tomb of Dracula work for Marvel twenty years "Tap! Tap! Tap!", Joe Sinnott renders an perfect tale of a ruthless submarine commander who leaves a wounded crewman on the deck as he orders the sub to dive."Who Stands in the Shadows" is an eerie chiller with artwork to match from Pete Tumlinson. Len Ambers desperately wants to obtain out of his marriage. Someone in the shadows leaves a note on his back porch, offering tip on how to obtain out of his predicament.#8 - This problem starts off with a creepy cover by Bill Everett. Next, "The Old Mill" has more intense artwork by Gene Colan. "The Storm" is eerily rendered by Vic Carrobotta. Miko has committed the excellent murder and dumped the body into the water below when a police officer spots him and wings him. Now, Miko's only possibility is to lose the police at the airport, but he's in for the flight of his life. "If the Shoe Fits" is another gem drawn by Joe Maneely.#9 - "The strangest thing happened when Mac Farrand picked up that gorgeous redhead in the convertible. He soon found out she was somebody else's... Blind Date" with pencils by Mike Sekowsky. The text story "Death Finds a Way" with Joe Sinnott art features a drawing of a gruesome skull by Bill Everett. "Drink Deep Vampire" is a macabre tale about a graveyard watchman who wants to create a deal with a castle full of wealthy vampires that will create him quite rich.#10 - Jim Mooney draws a amazing Frankenstein's creature in "The Monster's Son". "Keep Out" is a amazing crime suspense story with art by @#$% Ayers.
This volume is actually a mix of precode horror and sci fi. The sci fi stories become lass evident as each problem of Strange Tales was e art is amazing in this volume with amazing artists like Bill Everet, Joe Maneely, Gene Colan and a lot of others lending a story or two in the series first ten issues. Thankfully Marvel decided to release these in this format so that you can affordably read them. These tales were not overly gory but they are entertaining; in full color, and they look better in this volume than they ever did in their original comic books. The book has the first ten problems of Strange Tales (including cool cover reprints) and it is a very enjoyable read as the magazine launches itself along into the Horror field of it's day. And the amazing news is that more comics from the marvel's 1950 output are making their method to us. Hopefully some of their amazing battle comics; which were among the best of the entire 1950's will also see a Masterworks along side these other well done reprints.
collecting all the masterworks some are very hard to find, it is nice to know i can come to amazon to search the missing ones, this is a unbelievable book and series worth collecting for reading or saving for your children which is what i intend to do.
If you know much history about this period for Marvel, you can have fun these collections for their strengths while overlooking their shortcomings. To wit:1. A still-young Jack Kirby was cranking out reams of pages to fill these books, and the work ranges from solid Kirby to absolute brilliance. There's a raw power to his pages that became smoothed over and lost as he shifted to superheroes (and slicker inkers). It you wish to see what create Kirby's raw power at its most undiluted, these stories are the place.2. The stories are, with rare exceptions, tripe. Like Kirby, Stan Lee was cranking out scripts at a madman's pace, and these stories reveal three things. First, Lee always had that terrific knack for dialogue that helped lift Marvel to distinction in the sixties. Second, Lee was at the same time a cheat who was content to crank out mediocre stuff; a lot of of these stories, and especially a lot of the Kirby giant-monster stories, are obvious reworkings of the same easy plot over and over, and almost all of the stories are forgettable. Third, though Lee built a reputation as the driving force behind Marvel's success, these stories present over and over that Kirby was by far the prime talent and that Lee merely assisted and complemented Kirby's stunning imagination. I think Marvel would have still been amazing (if perhaps not quite as great) without Lee, but it would never have been amazing without Kirby. The same applies to Steve Ditko, whose early work is richly represented in these volumes. Although far less prolific and less of a driving presence than Kirby, Ditko had a style and power that stands out despite Lee's mundane stories.A couple other things:1. Don Heck is also amply represented in these volumes, and while his figures were stiffer than Kirby's and Ditko's, his compositions during this era were superb. See for yourself.2. Those whose experience primarily began (as mine did) in the mid-sixties with Marvel's superhero line will search a fresh appreciation for @#$% Ayers, who by then was delivering mediocre pencils on titles like Sgt. Fury. These volumes reveal the younger Ayers to be a masterful inker and probably the best inker Kirby ever had. To see these stories and then think of all those years Marvel allow Vince Colletta destroy Kirby's work makes you wish to cry.Enjoy!
Collects Tales to Astonish #21-30. Extras contain an introduction by Jon B. Cooke and a page each of original art from Kirby and Ditko from #l of the Kirby art in here, 14 stories in all, are inked by @#$% Ayers. The first two Kirby stories are double-length. I enjoyed every Ditko story in here and most of the Don Heck stories. We also obtain a couple of Bob Forgione stories as well as the return of Gene Colan to Marvel in "The Scheme" in #28. The production quality, as with all the Masterworks edited by Cory Sedlmeier and printed by RR Donnelly, looks gorgeous. These volumes are a treasure to own.Highlights:1 - "The Silent Screen" by Ditko has unbelievable art and a attractive escher-esque quality to the story. "Open Wider Please" is an interesting take on an oft-told story of hidden factions on our world. Here, the battleground takes the form of a mundane dentist's office.2 - With "I Dared to War the Crawling Creature", Kirby takes us to a hidden land below the Earth's surface and unleashes an ancient terror to our world. "Help" by Don Heck is a mystery about a magic typewriter. In "For Whom the Drum Beats", Ditko delves into the realms of magic.3 - "Less than Human" by Don Heck has amazing art in this morality allegory. "The Voice from Nowhere" by Ditko is a amazing sci-fi yarn about expectations and perceptions of life in space.4 - "I Found the Abominable Snowman" by Kirby is an odd tale with amazing art about a reality TV present that presents the viewer whatever they ask for. In this case, a rival present sends in a phony request for the Yeti and the show's host wants to deliver at all costs. "He Waits in the Dark" is a Ditko-Lee morality tale lushly rendered by Ditko with a strange man in black and a slumlord.5 - "Behold him! He is a Martian" has amazing Kirby/Ayers artwork. "The Gypsy's Revenge" by Heck is a amazing story. "Where Lurks the Ghost" has a unbelievable splash page and is an interesting story that might surprise you.6 - "Look Out! Here Come the Four-Armed Men" is Kirby's take on the Bill Everett - Stan Lee classic from the Atlas Era horror comic, Menace. Even better is Kirby's "I Walked Through Walls". "Run Rocky Run" by Bob Forgione is a wonderfully rendered tale and an interesting take on an ending I've seen a couple of times from Atlas. Lee and Ditko squad up on their popular "Dream World" in another Escher-esque storyline. The lead hero looks like a combination of Peter Parker and Harry Osborne.7 - Did Kirby suspect the future for his scientist-hero, Henry Pym when he penciled "The Man in the Ant Hill"? Costumed super-hero a few months later when he returns in Tales to Astonish #35 and then a year later, star in two titles as a founding member of the Avengers. I loved this story. Heck delivers his most macabre tale in this collection with "Mirror Mirror on the Wall". Anne reminds me of Janet van Dyne. She's even wearing a yellow vest with red sleeves and skirt when we first meet her and then a red and black ensemble on page 168.8 - "I am the Gorilla-Man" by Kirby starts with a amazing sequential panel cover, and then strikes with a strong splash of the Gorilla Man exploding through a stone wall. As much as I've always liked the panel cover, how much more would the splash have worked as a cover? Maybe it was deemed too terrifying as a cover while we were still deep in the comic code era? Kirby and Ayers demonstrates flexibility by also delivering a moody piece in "Midnight on Haunted Hill". In "The Frightening Fog", Ditko and Lee give us a tale that echoes the Watcher in Unbelievable Four hiding our planet from Galactus.9 - "When the Zone Beasts Attack" look like prototypes for the parademons Kirby would use a decade later in the Fresh Gods. Heh, it just crossed my mind that this story could be a "what if?" tale to "The Frightening Fog" story from latest issue. Luther Gorr could easily have been the leader of the Mongoors from latest issue. "The Man Who Blew Up the Earth" has Kirby conjuring the Hunchback and a lot of other tragic disfigured soles from Mole Man to The Thing. "The Latest Laugh" had a amazing ending on the eternal prankster.10 - "The Return of the Gorilla-Man" by Kirby and Ayers rivals the first one. "What Was the Staggering Secret of the 13th Floor" is another exceptional piece by Don ter rereading this volume again for the review, I really want that Marvel would masterwork the rest of Journey into Mystery and Strange Tales.
Collections like these are published mostly to be just that - collections. Masterworks have evolved to the point where the goal is to preserve, in a high quality format, the comics of bygone eras. In this respect the current Masterwork is an unqualified success; the book is gorgeous. It is a tribute to collections editor Cory Sedlmeier and his staff. Only a few nits can be picked. The two page introduction by Jon B. Cooke is uninspired. Artist Bob Forgione, who did two stories in the book, does not rate a do the stories keep up on their own merits? Not well at all unfortunately. The art is very nice to look at. Indeed, I'm guessing that the main attraction to most buyers will be the Jack Kirby and Steve Ditko gems within that would otherwise be hard to search otherwise. The much underrated Don Heck holds his own nicely compared to those two stalwarts.But the stories are virtually unreadable to one with adult sensibilities. The stories run the gamut from absurd to illogical to the same plot over and over. What small glimmer of interest that there is comes from the Ditko stories for my taste. Everyone who reads the text pieces (not many) condemns them rightly as pure drivel. What is not so well appreciated is that they are not far below the level of the main stories - they just don't have Kirby, Ditko, or Heck distracting from their looming flaws.I can only recommend this book to those for whom it is intended - the aficionado who knows what he's in for with these stories. All others - you have been warned. I couldn't even recommend this for current ten year olds; the stories are too dated.
The book wasn't as monster-packed as I would have liked, but bear in mind, the giant creatures of TTA, as well as Tales of Suspense, Strange Tales, Journey Into Mystery, and so on in Marvel's Atlas years, always shared the book with three or four other non-monster tales (a la Twilight Zone, Outer Limits, etc.). Nonetheless, it is a fun read, and for boomers who remember these old books, it'll really take you back. Some, but far from all, of these old stories have been digitized and are on Marvel's subscription site. You might wish to subscribe to the website first (about $60) before buying the reprint books -- unless you're like me and have to have the feeling of a book in your hands.
Back in 2006 the Marvel Masterworks line expanded into hitherto uncharted territory, the "Atlas Era", as opposed to the original "Marvel Age" which largely came after and the "Golden Age" which came before. The first title in the Atlas Era Masterwork range was Tales to Astonish Volume 1. The show book is Tales to Astonish Volume 4 which closes out the Tales to Astonish line as that title became a superhero only e show volume not only does not contain the Ant Man/Giant Man and the Wasp stories as one might expect it also does not contain the "Tales of the Wasp" horror stories. All these stories are in the relevant Marvel Age Masterworks.What we do have here is exactly in line with the three Tales to Astonish published hitherto. The major differences are the artistic talent that gradually bled away as more and more superhero features are launched. The first to go is Jack Kirby who drew the Ant Man stories which appeared from TtA #35 on. Steve Ditko continues on through most of the book complemented by Don Heck and others. Finally, Larry Lieber is left doing the pencilling with different inkers. But don't obtain the wrong impression - the book has enough classic art and artists to satisfy most e writing is still mediocre with occasional flashes of brilliance and occasional train wrecks. The text pieces are in put in the first four "full" problems but for the remaining problems through #57 the text stories were reprints; the only the titles and original appearances are given. Given the quality of the text stories, my disappointment wasn't too always, highly recommended for the comic connoisseur. The rather lame writing makes it unsuitable to those looking for amazing reads. Even kids will search the stories horribly dated.
I have all 4 volumes of both Tales To Astonish And Tales Of Suspense and just love them all. Fun all the method through and a amazing historical essay starts each volume. Highly Recommended!!!
This book, has the latest gasp of Astonish's tales,as marvels age of heroes kicked into high gear.I particulary like Matt Fox's Wolverton like inks on larry liebers nsidering the prices asked for the old books these stories came from,this is a bargin.
IF one seeked out these original problems of Strange Tales.11-20 on ebay, your talking in fine+ shape, more or less, 5,000. Amazing work from some of the industries best from the mid ere will be at least eight more volumes, all worth getting!
Collects Strange Tales 11-20, cover dates October 1952-July 1953. Contains a unbelievable 6-page introduction by Dr. Michael J Vassallo. Each problem contains 4 or 5 stories from some of the best artists in the business during the atomic age. I'll give a non-spoiler teaser for the stories from each problem that were the best. Atlas horror had awesome coloring, using an expanded palette from their competition, and having a surreal mix of colors. Often, a figure would be cast in a single color with a tone for shading. Atlas stories usually had an economy of dialog and narration when compared to their contemporaries, but enough material to invest you in the characters and their world.11 - "The Devil and Donald Webster" by Stan Lee and Paul Reinman is about a brow-beaten worm that's had enough and makes a deal with the devil."Darkness" by Jim Mooney is a unbelievable idea about a convict who's tired of being imprisoned. As he flees to freedom, a mishap finds him adrift in a dark sea. He wakes to an oppressive darkness that he can't escape.12 - "The Corpse" also by Jim Mooney. "Maybe the whole thing wouldn'ta happened if that crummy watchman hadn'ta spotted me before I finished my haul." A three-time loser commits murder during a routine burglary and is now on the run. He has a slim possibility of beating the rap but his soulless ways catch up with him."Graveyard at Midnight" by Bill Everett. The Man of a Thousand Faces disguises himself, holds up a bank, and then ditches the disguise in an old cemetary. A billboard outside his dressing room proclaims him as Charles Squad starring in "The Devil's Alibi", which also would've been an perfect title for this strange tale. Bill Everett's art shines as always.13 - "The Witching Hours" by Ed Goldfarb poses the dilemma of a young man who falls in love with a beauty queen but spies a witch trying to cast a spell in her direction. The young woman is thankful for the man's attention. Still the skull-faced witch follows the couple. What is her sinister purpose?"The Hiding Place" by Carl Wessler and John Tartaglione pits three greedy criminals versus each other. They each create a pact to hide the loot until the heat is off but then they become increasingly suspicious of each other. The color scheme uses a controlled pallette, panel to panel, with lurid and haunting effect.14 - "Horrible Herman" has terrific art by Joe Maneely. Maneely, paired with Stan Lee as they often were, tell the tale "Herman Hooper... little and ugly! But he was also the most risky man on Earth.""The Man Who Talked to Ghosts" by Stan Lee and Carl Burgos, the man who made the Human Torch. This 4-pager has some of Burgos' best art of his career.15 - "Mary and the Witch" has fantastically stylized art by Bernie Krigstein. Carl is a magician who appears to use true magic in his act, creating jewels from thin air. Mary is bent on discovering his secret so that she can shower herself with wealth."The Latest Word" by Larry Womoray is an interesting story about Wilbur, a husband who married a rich wife in Minerva that he doesn't search attractive. He really has eyes on broadway actress, Gloria. Wilbur begins to crack under the strain but thinks he has the excellent plan until it all falls apart."Don't Look Down" by Silver Age Marvel mainstay George Roussos. "How far is down? To Benson, it could be a foot or a mile.. but even an inch meant a vast yawning chasm of death!""Afraid" has special art by Sam Kweskin with primarily shades of blue and orange.16 - "The Man in the Mud" by Sy Barry illustrates how fickle fate can be but how steadfast karma an Lee is paired with Harry Anderson in one beautifully drawn story called "You Can't Slay Me" and then "They Created Me a Ghost" with Mike Sekowsky.17 - "Feud" is by Stan Lee and Jerry Robinson, with a take on a McCoy-Hatfield style Appalachian family war, with the trigger for the feud told from each family's viewpoint."Father-in-Law Trouble" by @#$% Briefer has a twist on the man who marries into a wealthy family versus the father's wishes. Now he finds out that the daughter is chop off from daddy's bank account. He thinks he has a method out, except he didn't acc for her father's influence.18 - "John Doe" by Stan Lee and Joe Maneely has an inventor that proclaims he can build a robot that can think and feel just like a human. His daughter, Erika, has a boyfriend, Danny, that figures this invention could be worth a fortune if he can explore how her father does it."Witch Hunt" by Larry Womoray and Matt Fox has unbelievable art and colors. This strange tale is about a village that's suddenly plagued by mysterious and ominous signs of witchcraft. An old hag promises to rid the city of the devil and his coven, but at what price?"Boris and the Bomb" by Gene Colan is a unbelievable cold battle piece about.. "what happens when something goes wrong during an H-bomb test? When the bomb-button touches off nothing but an hour of horrifying suspense?!"19 - "You Created the Pants Too Long" by Stan Lee and Fred Kida gives us another morality play about karma."Look Out" by long-time Marvel artist George Tuska has another swindler that's about to obtain his comeuppance.20 - "He Swallowed It Up" by Gene Colan is eerily is collection also contains art from Joe Sinnott, John Forte, Bob Brown, and Werner Roth. Three perfect covers from Bill Everett and Russ Heath each with the collection's cover for #16 drawn by Harry Anderson.
I've read all the Atlas Era horror masterworks as they've been released. All are beautifully reproduced. All have (for the most part) amazing artwork featuring a lot of various and varied artists. Some of these artists have been long neglected or forgotten entirely because of career changes or premature demise. For me personally it has been a true treat to see some stories by John Forte who worked on the Bizarro and Legion of Super-Heroes features in the 1960s before his untimely death.But it has equally been the case that the writing quality has been anywhere from fair to downright wretched. Even the stories in the much ballyhooed Menace volume did not present much improvement. So I am satisfied to report that there has been a large upswing in writing quality in the show volume. That's not to say that the wretched and mediocre stories are gone; they're still well represented. But there are now stories that are actually interesting, engaging, and genuinely package some punch, especially towards the end of the book. Even some of the text pieces (yes, I do read the text pieces) read like they were written by and for someone within hailing distance of short, if you've been frustrated with the story quality of these horror masterworks this volume should offer some relief. Not up to the quality of the EC volumes (what is?) but there are stretches here where one doesn't have to force oneself to hold reading. As always, Dr. Michael J. Vassallo provides a thoughtful and detailed introduction. Highly recommended for fans of the genre who are cognizant of the material's strengths and weaknesses.
This is another entry in Marvel's Atlas Era Masterworks series. This is the 4th volume in the long running Strange Tales book. This volume has two necessary distinctions from the previous three. First, only 9 problems are included instead of the usual 10. This is no doubt due to a desire to hold the remaining books at a consistent length. Second, the Comics Code comes into result about halfway through this though, Dr. Michael Vassallo, in his usual unbelievable and detailed introduction, makes a huge deal of this, to me there is very small difference in story quality. Like previous volumes, about 50% of the scripts have no redeeming merits, about 35% have a germ of a amazing idea, and about 15% seem to be decently e art is a various matter, of course. Some really fine craftsman worked on the stories in this volume, some well known, some not so much. One of the amazing things to come out of the Atlas Era Masterworks are the rediscovery of so a lot of artists that worked for comics only in this era and that have been hitherto forgotten or underappreciated. Why can't DC give us collections from this era?Reproduction, as always, is absolutely first rate. The writing is just too lame to give this book a full five stars. If you plan to read it instead of just look at it I can only recommend it in little doses. Visually, it's fantastic.
While I was never a huge Namor fan (and this boy growing up in The Bronx had to watch where he plunked down his 12 cents for a Marvel fix) he was involved in tales with the Avengers and Unbelievable Four so I knew his origins story. Most of the Sub Mariner stories here are circa 1966 and have SUCH a total '60's feel to them. I have always loved Gene Colan's work. At this point he was working for DC and wanted to work on Namor so the pseudonym Adam Austin (Adam was a baby name he and his wife were considering) was born. Stan Lee claims not to know why in the foreward but any history of Marvel will reveal how woefully underpaid these guys were. Anyway if you like Gene you MUST check this out because with the exception of 4 stories- the 1939 origin, a Daredevil #7 pencilled by Wally Wood and 2 Kirby stories it's all Austin nee Colan, such a treat to watch the evolution of an artist. Gene in an interview expressed displeasure in his early SM work but IMO it's just a perfectionist never being totally satisfied with the finished product. The deep sea panels are beautiful, I suggest you check them out for yourself as I uploaded a few. As for the stories, eh, never a fan of all Namor's regal posturing but it had its' place. This was a favorite of Stan Lee's and I love it as it showcases the artwork of Gene Colan.
An perfect volume in the Marvel Masterworks series, but probably not for everyone. Besides brief appearances by Iron Man and Daredevil, there's not a lot of connection to the regular Marvel Universe. And there's a lot of reading - you know, actual reading - so that might be off-putting to a lot of modern eat stories and some unbelievable artwork by Gene Colan and Bill Everett, including Everett inking Colan. Unfortunately, most of the first few stories are inked by Vince Colletta, completely destroying Colan's moody artwork. Colletta can do some amazing work, but he wrecks detailed pencils with his e stories beautiful much present Namor reclaiming his kingdom, finding Neptune's trident to cement his rule, all amidst the machinations of Warlord Krang. Interesting, near-Shakespearean dialogue highlights these unbelievable old tales! Recommended!
Now available on Kindle! I started collecting the Kindle versions of the early Marvel Comics latest year. This was a gap I wanted to fill! The Sub-Mariner guest appeared in stories since his Silver Age revival in 1962, but he finally got his on series in Tales To Astonish #70 replacing Giant Man. Daredevil # 7 is his latest guest appearance before his TTA series debut and Tales of Suspense #80 is part of a crossover war with Iron Man.
Though I'd rather have the comics, Tales to Astonish are not only rare, but 's a blast watching Gene Colan develop. At first he is somewhat hobbled by Vince Colletta's inking, but as his style develops, Colletta is forced to improve too. Bill Everett inks 2 issues, and their opposite styles really blend well. To my surprise, Colan's most stunning art (before Doctor Strange) are the two problems #80 & #81 inked boldly by @#$% Ayers. The art is fluid and like distorted, odd-angle photographs. Though Colan would return for fill-ins on Sub-Mariner #'s 10, 11, and a run in the 40's, he never captured the majesty, arrogance and power of Namor as he did in the two best problems of TOS. The quest theme allows the extended storylines that Stan Lee excelled in. It's funny how Namor goes from being cool & stand-offish to the smitten Dorma, but a few problems later is head-over-heels & launching into violent tirades of jealousy. Much of the writing is humorous since Namor is so headstrong and sometimes insulting to his minions. Lucky for us he never took anger management e problems by Jerry Grandinetti & Bill Everett are amazing too, though Everett's style was so stylized, it looked dated by the '60's (& pre-historic by the mid-70's, before his untimely death). But let's be clear, Everett made Sub-Mariner by himself. Part of Stan Lee's genius was bringing back characters from another era, like Subby & Cap, and making them exciting to newer e Kirby fill-ins are fantastic, because The King never got to draw Namor & Iron Man enough. Usually just guest-stint in early FF or Avengers. His Iron Man is classic, and even if you don't like his take on Namor, no one, but nobody draws action sequences like Kirby. On top of that, you obtain a Wally Wood Daredevil vs. Sub Mariner issue, at the peak of Wood's style. Overall a fine collection at a decent price.
I am glad Marvel is publishing paperback versions of their Masterpiece collections... this book is amazing and does show the best of the Sub-Mariner storys. I love watching the progression of Gene Colons work (under several various inkers) and the Jack Kirby drawn tales. Love the paper and coloring as well... thank you Marvel.
When I was a kid, growing up on the Atlantic, I had a connection with Namor. Aquaman never did it for me. When I was in the ocean all day I wanted to be Subby. Mad because of the injustice done to his people by the human race, Namor was a much more complex hero than most. He was def before his time, being an anti-hero and his speech and cry of "Imperious Rex" was a declaration of the underdog. I loved his fast temper and his immaculate physique, I had no access to his old stories-give or take a couple in "History of Comic" books that were published at the time, so it all began here, in these stories for me.I had never read the Daredevil #7 by Wally Wood , which is, as mentioned here, a very unique comic. I can't really place my finger on why it's so great- there is something very unique about it, not just the art, story etc., but it really stands out. Maybe it's the method Namor is portrayed as a very stoic yet ethically/morally correct figure and it's meshing with Wood's illustration? The "Quest for the Trident" story line is stellar. It's a true "Hero's Journey" story. Namor having to prove himself by obtaining the Trident, that Neptune himself has offered up to the true ruler of the Atlantis. Namor's obstructions are enormous:massive Octopus, Seaweed man, Deadly Diamonds, and my fave, the Faceless Ones!! Krang is the prime antagonist, not only wanting Namor's spot as ruler, but also his love for The altruistic Lady Dorma!! Krang's "RoboTank" stands out as one of the amazing weapons. From problem 70 to 76 tension is high. In 76 Namor finally gets his hands on Krang, who of course,has more tricks up his sleeve! Krang then gets Puppet Master to support him out, which he does by awakening the Behemoth!!! Subby wars the scientific surface man over the polluted water/nuclear testing; represented by Hank Pym (Ant-Man), and Namor's time in NYC always provides illustrations with verve and flair and action at it's peak!! I don't need to mention the awesome art by Adam Austin (Gene Colans pen name) which just gets better as the story moves along- this has been mentioned over and over in these reviews. I never believed to this day that Subby gets the respect he deserves in the Marvel Universe. I understand that his ambiguity is probably the reason for this. He is one of my favorite characters and this is the best put to start. Stan's Trident Find story is in his top 10 in my opinion ever. I think he has a amazing respect for the hero and it shows tremendously in this collection.
In the 60s with James Bond, the Man from U.N.C.L.E. and other superspies at the height of their popularity Marvel comics had the inspiration of retooling their tough-as-nails Globe Battle II hero Sergent Fury into the greatest superspy of them all: Nick Fury Agent of is book covers Nick's earliest adventures and his first encounters with sinister organizations like Hydra, AIM, the Druid and the Secret Empire. The creative minds of Jack Kirby and Stan Lee are on fine display as Fury visits flying aircraft carriers, drives around a flying Porsche, and wars all sorts of insane schemes to rule to world. All the while he does it while speaking in an outrageous Noo Yawk accent and griping about how things were a lot simpler back in the mehow the crazy mix works. Fury serves as our character and as our point of view character, always commenting on how crazy the situations are and somehow always getting the job why only 3 stars? For one thing the art in this book is rather lackluster, Kirby provided layouts but the art was finished by a host of mediocre draftsmen. For another it ends just as the series was getting good, when Jim Sterenko's innovative layouts and designs would really create it a classic. Lastly, there is a much cheaper and better reprint out there in the form of 'Nick Fury Agent of SHIELD' which covers most of Sternko's run and a lot of of the classic moments people still remember unless you are devoted fan of the hero and wish to see where it all began, the Marvel Masterworks edition is really not for you.
Growing up and watching Marvel cartoons, S.H.I.E.L.D. and Nick Fury we're given a mixed portrayal. While generally, the villains hated them, they also ended up fighting heroes like Spider-man and even the Hulk. This portrayal has gotten more nuanced with the militaristic S.H.I.E.L.D. being viewed with distrust in the wider Marvel ever, it wasn't always so. In the 1960s, with James Bond and the Man from U.N.C.L.E. a phenomena, Stan Lee and Jack Kirby launched Nick Fury, Agent of S.H.I.E.L.D. as a regular half-issue feature in Strange Tales. This book collects the 12-page stories from Problems 135-153 of Strange Tales plus a crossover with Captain America in Tales of Suspense #78 and Fury's first post-World Battle II story which appeared in Unbelievable Four #21 and had Fury as a CIA e stories are great, the villains are superb classic 1960s poor guys on an epic scale. The supporting cast is powerful as well with Fury supported by fellow Globe Battle II Commandos Dum Dum and Gabriel Jones, as well as conscientious rookie Jasper Sitwell, who also brings a bit of comic ever, the star is the huge feature and it's Nick Fury. The silver age incarnation of this tough as nails Globe Battle II commando turned super spy could only have been effectively played by John Wayne. Fury is wise-cracking, ornery, and courageous with a firm and steady admiration between him and his men. Fury is the type of character they just don't create any more. Truly, a amazing hero in all of his quirks such as his cigars and his tendency to appear shirtless (some times without any explanation.) This was a blast and I can't wait to read Volume 2.
This volume isn't as stong as what would come later; But it's got alot of amazing stories in which Shield lead by NIck Fury go after the forces of darkness like hydra and aim. Both of which are like forms of spectre. I disagree that the art is lackluster , it's just not as spectacular as what would come later. Except of course for the kirby and steranko work in this one. I do think John Severins work is as amazing as anybody out there. his style is fluid and awesome, john buscema as well is a amazing artist. So that makes four greats imo, howard purcell who really can draft a fine artpage is in here too. You can really see his best work in the 'doctor fate' archives book from d.c. Here he is still doing a amazing job. The other artists are decent though and even ogden whitney who did alot of funny books is in here. THe stories are typical spy stories and they have lots of action. And one of shields agents is a african american, that's a step up for comics. These were 12 page stories that usually told one epic over several issues. Stan lee scripts of course and jack kirby does most of the layouts. Primary art and then the others work over him. This is a cheap method to obtain all these tales.
I disagree with the previous reviewer who says this volume "really isn't for you". I enjoyed Sgt. Fury's exploits and was quite glad when Marvel brought the hero back as Colonel Nick Fury - now with S.H.I.E.L.D. Yes, the artwork is mostly not by Steranko, but so what? Most of the Marvel titles -- including Sgt. Fury and his Howling Commandos -- were not drawn by Steranko, and I love his work. Here we obtain to see the first stories of Colonel Fury and the first glimpses of Hydra and A.I.M. in Marvel's Strange Tales series. Plus the pairing of Nick Fury and Captain America! Both this and the following Nick Fury Volume are well worth it.
Received it when estimated and was not disappointed. It was amazing to read the early SHIELD stories in color and in their uncut fullness. Several of the stories I had read earlier in reprints, but this collection includes the original pages and panels in put and I was surprised with some fresh scenes I had never come across before. Excellent!
I thoroughly enjoyed Sgt. Fury's exploits and was quite glad when Marvel brought the hero back as Colonel Nick Fury - now with S.H.I.E.L.D. Here we obtain to see the first stories of Colonel Fury and the first glimpses of Hydra, A.I.M. and -- in the latest two stories -- the artwork of Jim Steranko -- all from Marvel's Strange Tales series. Plus the pairing of Nick Fury and Captain America! Both this and the following Nick Fury Volumes are well worth it.
I got this thinking it would be a trade paperback ver of the magazine(Issues 1-3).When the magazine came out it was ~60% fresh stories and ~40% repeats from the past. Well this puts it all in ..repeats(from before the Mag. was published)...articles and the at the time fresh stories(some of the articles maybe new). To add insult to the whole thing...it is the size of a book digest(5-3/4"X8-7/8"). It is just a small bigger then a is also very much thinner(1/2") then a trade l in black and white for $20. Just be warned....this is not what it seems and from now on I will watch what I buy from Marvel before seeing it myself first. Shame on you Marvel.
First to the reviewers who commented here already-- are you kidding me?The size is listed in the description-- shame on you for not reading it. This was a GREAT book reprinting those black and white magazines Marvel place out in the 1970s, the paper is bright white and much higher quality than their Essentials line which is printed on ese reprint problems 1-3 of Vampire Tales, yes including all of the articles and amazing image spreads from vampire films from the 1920s up through the 70s-- it's a REPRINT folks-- it REPRINTS the problems in question-- I'd be disappointed if it didn't!These stories are moody and effective entries into the horror genre from a period when Marvel was stagnating with umpteen Spider-Man and X-Men titles.Featuring works by some of the amazing South American artists Marvel employed in the 70s as well as reprints of earlier horror tales by such masters as Carmine Infantino, John Romita (Sr) and more-- this was a really entertaining read and excellent for a cool fall ze wise it's digest-- a small bigger than a typical Manga collection-- but the work is beautifully reproduced. My only complaint is the cover-- very generic and not much thought given to an otherwise unbelievable it worth $20? No, but that's why I bought it on Amazon for $n't wait for the second volume-- highest possible recommendation--
This is a faithful reprint edition of the old Marvel Vampire Tales Magazines from the 1970s. Complete black white horror comics as well as reviews and short fiction shine in this odd-ball formatted edition. This is a amazing method to read all those old horror stories without having to track down the original issues. I bought this for myself, and liked it so much I bought one for a mate (she loves it, too). It just goes to present that vampire mania cycles in and out of American pop culture every few years!
I missed out on the early Steranko work for Marvel so this was a book that I really wanted.I had high expectations based on the Steranko work that I had already read and this was not a e book itself was nicely packaged and the coloring which comes out 'bolder' on fine paper instead of the cheap comicbook paper of that time looked only complaint is that the latest Steranko problem (#5) was not included in Vol. 2 and I had to buy Masterworks SHIELD 3 to complete the Steranko run. But that volume can be found fairly cheaply and does contain a Barry Windsor Smith problem along with some creative Frank Springer problems so I can't complain too much.If you are a Steranko fan then I also recommend Masterworks Captain America Vol. 3 which has a mini-run of Steranko problems that is very nice.
This is a amazing look at Jim Steranko's take on Nick Fury in his classic Strange Tales run. If you're a Nick Fury fan or a Jim Steranko fan, this is worth the read. The introduction from Steranko is particularly interesting and getting to see the art and panels in nice, crisp color, as if the comics had come new off the newsstands, is a treat as well.
The first SHIELD Masterwork introduced the reader to Nick Fury repackaged from WWII as a modern spy in Marvel's attempt to capture some of the interest in the James Bond-fad of the mid 1960s. Steranko began his work in that volume, but now he takes over with a wild energy rarely seen before in comics. He pushes the art in all sorts of directions and actually writes dialogue and script that reads more like a novel than the typical comic. This volume collects the best of his series. Though a few Steranko problems will appear in the next volume, this is the one that is all for the quality of reproduction, it has the same glossy paper of the other Masterworks. As for the coloring, it is closer to the original than the "modernized" coloring that appeared in the Marvel reprints of a few years ago. This preserves more of Steranko's original work.
These were originally published in the 70s for a black and white horror magazine. If you are old enough to remember magazines like that (or young but still have amazing taste in amazing things) then you are going to love these. Are the stories scary? Eh, some of them are legitimately horror stories. Others are more like adventure tales (especially the ones featuring Morbius the Living Vampire) but they are all fun and the artwork is amazing. If cheesy 70s vampire fun sound amazing to you, then you are amazing and you should probably read this book.
Vampires are serious business. Before they were usurped and created unfathomably glamorous by Anne Rice and Stephenie Meyer, vampires were actual beings from folklore and carried a mythology that genuinely terrified people in a simpler time--and Marvel (thankfully) wants us to remember e Vampire Tales series is a lot of things, but modern parlance might call it a `zine. While a majority of these pages are filled with beautifully executed comics, this book also features extended essays and collages that delve into the true mythology of vampires, and critical analyses of literary works in and of the genre. In this way, it truly transcends the primary nature of a comic book and becomes something greater, and almost scholarly, in between pages about Marvel's most popular vampire, mpire Tales is about 4/5ths the size of a typical comic, and executed in gorgeous grayscale. There's a very special aesthetic that appears within these classic horror comics: unbelievably ornate, with an acute appreciation of light and shadow, and obviously, a penchant for the grotesque that Bronze Age comics did not generally explore, making these an entirely special animal worth visiting. While the story of Morbius runs through each problem of the comic, these collected problems are also peppered with short vampire stories written and illustrated by a who's who of respected comic re, we now live in a time in which every horror twist and turn has been explored ad nauseam and isn't that difficult to anticipate, and it might be difficult to scare or creep out even the most casual or cowardly reader, but the trademark exuberant drama of Marvel is infectious and makes this collection beautiful great. Men who wish to become vampires to escape their jobs and wives, vampiric demons who haunt the snow, and other surreal depictions of vampires run the gamut of undead, bloodsucking e back cover of this volume describes this as "explicit content," though there doesn't seem to be anything offensive inside, if you have any concept of vampires whatsoever. They're sexy (but not overtly or displaying any nudity, aside from a scantily clad cavegirl), they sometimes die in violent ways (though stakes through the heart and burning alive are far more subtle ways to die than being physically torn in half, in full color, as Marvel's been doing lately), and vampires are generally beautiful elegant creatures, so they don't spew any profanity. While the theme of vampires spends much time focusing on death by necessity, there's nothing here that goes beyond the contents of the average modern mpire Tales is an economical, classic method to leap onto the ongoing vampire craze while still exhibiting an appreciation for classic horror comics, and it's a attractive thing to ed by Collin David
When I received "Vampire Tales-Vol.3", I was surprised that it was beautiful thin. I would like to clarify that the trade paperback is NOT 536 pages as specified in the Product Info section, but only 198 pages. That's a large advertising error. Come to think of it, even Amazon has the Product Description listed wrong. Here is the correct info: "Vampire Tales-Vol.3" consists of Vampire Tales Problems #8, #9, #10, and #11.
At this time the description of VAMPIRES TALES VOL. 3 is incorrect. Here is the correct information:Volume 3 - 1st printing. Collects Vampire Tales (1973-1975) #8-11. Cover by TONY DEZUNIGA. Prepare to be horrified by all the blood, bats, fangs and coffins you can handle! Witness Morbius the Living Vampire desperate for blood, unleashed upon the Old West and in the clutches of the mysterious Morgana! See Blade the Vampire Slayer versus the legions of the unliving dead! Experience the tragic tale of Bernardo Latta and the impossible quest of Zarathon! Including a surprise appearance by Jack the Ripper! Softcover, 5 1/2-in. x 8 1/2-in., 200 pages, B&W. Mature Readers Cover price $19.99.
Tales of Wedding Rings looked to have promise, so I ordered the first volume. It does obtain off to a amazing begin and shows potential as a fantasy series. We have Satou, a high school student and his best mate Hime. He's fond of Hime and when she tells Satou she's moving away, he decides to follow. This gets involved as Hime is leaving the planet to resume her role as princess of a distant globe and enter into an arranged marriage with a prince. When there is trouble, Hime changes her mind and gives her wedding ring to Satou. In fact, that ring gives him the power to be the mighty character who will save their globe from the Abyss King, who is threatening devastation. Married life gets off to a complicated begin as Hime is nervous and just wants to stay mates for the time being. Meanwhile, it seems that there are four other rings held by four other princesses and Satou might have to marry them all to gain the power he's going to need to conquer the Abyss King. Despite her "just friends" notion, the idea of sharing Satou doesn't go over well with Hime. Besides Satou and Hime, they are joined by Sage Alabaster Getomik, the court wizard and Prince Marse, Hime's intended groom, who is proving to be a nice guy and a amazing ally. i will continue to follow this series; it can boast of a powerful cast and a promising storyline. Fantasy readers will wish to give Tales of Wedding Rings a look.
This is a collection of short graphic novel stories. The characters range from major players like Darth Vader to very minor like the robot with the poor servo that Luke's uncle almost buys. The stories also range from serious to r the most part, I preferred the serious stories that added to the overall story. The small bits of info just add that nice feeling of getting to see behind the curtain of the main scene show. The exception for me was the Jar Jar Binks story. It wasn't a poor story and it did add to the mythos. The issue was it was just so annoying reading the pigeon speech that they e parodies and humorous stories tended to be just silly. There is plenty of room for humor in Star Battles stories, but they still need to have a focus to them. They need to be more than just a e artwork also had a wide range naturally. Usually, the more serious the story was meant to be, the better the artwork was. For some of the humorous stories, the artwork was very cartoony.I would have to say there are some very amazing stories with perfect artwork in this collection. But there are also some stories that just weren't that amazing with artwork that was fairly poor as well. So for the whole collection, I can only give it an average rating of three stars.
Ideally I'd give problem one of star battles tales 2.5 stars. But 3 is ok. It is a compilation of various stories all of which are "non-canon". The one that was amazing is about "Skippy The Jedi Droid". The other stories are just poor in stoy and presentation. They have Mara Jade and she is depicted as a bimbo who wears impossible tall high heels, extremely tight leather, and let's say very huge "assets". Another story has a certain Sith guy war with a Jedi lady. She, strangely, is also depicted as barely having any clothes, despite the implied old age. She looks like she was 50 or 60 but had Botox to tighten her face. Anyways that hero is also very weird for Star Battles n't think I am just a prude who wants to pick on depictions of women in comics. I am not like that. It's just the depiction of women in these short stories seems to be so sensualized and unrealistic, in addition to being simply out of put in the Star Battles universe.On the other hand, all of the comics in this compilation are essentially fan fiction, so there isn't a true standard of quality to base criticism on.
Star Battles Tales puts to pen and paper what every fanboy out there has imagined. It takes beloved characters, and puts fresh spins on them by placing them in situations that they would never search themselves in film, or other media. The story doesn't just begin, and end with the main characters from Star Battles (Luke, Leia, Han, Chewie, Darths Vader and Maul, etc.), it develops whole fresh ones further breathing life into the background of the Star Battles Universe. It's not excellent by any means, and there's a lot that doesn't jive with the movie characterizations, but if you take it for what it is, the Star Battles Tales volumes are all fairly enjoyable, and amazing value for the price.
It has tales, and they are from Star Wars. For the penny a page or so I got them on sale I'm satisfied. They're not exactly chronologically in order, (Tales 2 has a prequel C3PO to Tales 1's intro for example, but go ahead and obtain the first one. If you like it, obtain the next - lather rinse repeat until you've had enough. Not a poor method to spend a flight all in ese are not as amazing as the best of modern graphic novels, not in terms of artwork or writing,but nostalgia can create up for a lot.
Let's begin with what this book comes down to: an over-priced comic book...but a amazing one! The quality of book itself, from the glossy sheen of the pages and the thickness of the paper tell the reader that this is well-made; it won't be falling apart anytime ere are a dozens of stories within, each from the point of view of a various artist and writer, giving the reader a sense that the next story is something special and interesting.Unfortunately, I wouldn't recommend this to anyone because even with Amazon's amazing prices, this series of comic book collections is still over-priced. When you finish reading it you'll realize that the stuble on your chin hasn't even STARTED to re-grow since you shaved last! In other words, it is a very short read for the price.I thought I would delve into this "TALES" series, as it caught my eye at the nearest "giant bookstore," but after series two (2) I decided to stop and continue with the cheaper (and longer reads) $7.99 Star Battles novels.
A small bit of everything from all eras of Star Wars. Whether you like the serious side, the contemplative, the speculative, or the utterly silly parts of. The Star Battles universe, there is a small something for everyone here. Being a collection of short stories, some are heads and shoulders above others, but as a whole, these are very fun, well written, and well drawn stories.
This is an problem with the book itself or the condition of which it might have been stored. The binding is not set very well and the pages come loose. I read each edition I ordered (I ordered all six volumes) and in almost each on pages were coming loose after only one reading. If you wish to read this in anything other than ideal conditions then don't expect it to latest very long.
as ive seen in other complaints,the binding of these books are aweful,thats my only e stories are still cool though,but Dark Horse could have done better with keeping these books together,soon as i opened it,it was falling apart,so its defineately safe to say they did a not good job with the glue on the binding,thats the only reason i didnt give it a 5 star rating
With all the hoopla about the Star Battles buyout by Disney and the impending films, it would be simple to refer to the Thrawn trilogy for story ideas. But Star Battles tales gives a collection of stories ranging across the spectrum and--the visuals are stunning. "Extinction" would have translated beautifully to a live-action sequence. I think the writers need to look at the visual mediums to see what imaginations are out there. If nothing else, we might avoid another Jar-Jar.
This book collects almost all of the Hulk's stories from Tales To Astonish. Problems 60 to 96. But it doesn't have his first appearance in problem 59 where he wars Giant Man and Problems 97 to 101 which are the latest 5 stories before he gets his own comic book in 1968 (Hulk 102).
Although the original Wonderful Hulk series was cancelled after only six issues, a string of memorable appearances in other Marvel titles such as the Avengers and the Unbelievable Four led to a tremendous resurgence in popularity, earning him a starring put in Tales to Astonish, a double-feature style magazine in which the Hulk was paired with Giant Man, and later with Namor the Sub-Mariner. It was truly in the Tales to Astonish series, most of which is collected here, that the Hulk began to flourish. The book introduced mainstays such as Glenn Talbot, the Leader, and the Abomination, and set up the soap opera-ish, serialized storytelling for which Marvel would become famous.Tales to Astonish kicks things off by beginning the Hulk’s very first long-running storyline, a saga which also introduces his greatest nemesis. The brain to the Hulk’s brawn, the Leader is the ultimate foil and to this day rightfully stands as his opposite number. While Bruce Banner was a brilliant scientist changed by gamma rays into a rampaging monster, the Leader was, by contrast, an unskilled laborer whose brush with gamma rays transformed him into an insane, evil genius. The Hulk and the Leader are like two sides of the same coin; related origins, but with various backgrounds and circumstances propelling them down two various directions. It’s only natural that they would become the deadliest of enemies. The Abomination, another longtime foe of the Hulk, also has a certain resonance. More akin to a dark reflection, a twisted mirror photo that shows what could happen if the Hulk’s power was harnessed for the purposes of evil, the Abomination is even stronger than the Hulk and maintains his normal intellect, still making him one of the most risky adversaries the Hulk ever erestingly, Stan Lee continues to experiment with the Hulk’s personality. When Tales to Astonish begins, the Hulk has a brutish, thug-like persona that’s very cunning and belligerent. As the series progresses, however, the Hulk’s intellect slowly declines to the level of a little child, then he quickly gains the mind of Bruce Banner (although he still winds up talking like a thug), and then the process repeats, with the gradual regression back to the childlike savage that would define the characterization of the Hulk for the entirety of the next ch will also be said about the art, and rightfully so. The contributions of such legends as Jack Kirby, Steve Ditko, John Romita Sr., and more, support to skyrocket these stories into the “Epic” ddled only by the Communist overtones of certain problems and some dated dialogue, these early Hulk stories remain a treat to the diehard Marvel fan, showing the continual evolution of a fan-favorite character, the solidification of his supporting cast and the settling into a reliable means of storytelling. These truly are Tales to Astonish!
It took me a while to obtain into this book but in the end I really enjoyed it. There were a lot of fresh facets to the story and outright differences from the Disney film (all of the books in the Twisted Tales series are retellings of the Disney movies) as well as filling in obvious gaps/plot holes. I really enjoyed the subtle nods to the film as well as the empowering of Belle. She was a powerful hero in the film but in this book she has even more agency and thereby is even more is story gets really dark and upsetting at the end. It's not quite Stephen King but you may wish to be mindful. I suppose it's not much of a spoiler to say that the asylum only hinted at in the film is more prominent and it is exactly what true asylums were like in the past. If descriptions of what was done to patients would disturb you or your child, then you may wish to skip parts at the end.Speaking of the ending, it was lovely. A various sort of happily ever after but one I wholeheartedly support. I kind of want this was the story for the fresh live action remake.
*Original review on Goodreads & My Blog*I just read the most unbelievable story =) ♥At first I was a small confused and then my light bulb went off!This starts a story of Rosalind and Maurice. Rosalind had magical powers as did a lot of in the village. But the evil King and Queen didn't like this and starting taking all of the magical people away. They were attacked on the streets, etc. Most of these les charmantes were very nice people - ish. Most of the ones that were left, moved to right outside the village to a fresh village of their own. Maurice and Rosalind had small Belle =) ♥Cut to awhile down the street and Belle is older, she trades the beast of a hidden castle to take her prisoner instead of her father. < -- yeah that sounds all crazy to those that don't really know the story but you will just have to read it to search out the whole beginning items =) No spoilers today!Belle finds that she's in an enchanted castle, or is she . . . Almost everything was fluttering and shuffling: the china was indeed waking from whatever slumber it enjoyed; dishes were carefully shuddering themselves to life; teacups were bouncing and trying to obtain out of their glass cabinet prison. The stove, which seemed so cheerful and warm and fiery at the end of the room, now began to yawn and stretch its amazing black iron arms and exhaust pipe. Bell drew into herself a little, alarmed. Stories of witches with their fires and stoves and terrible, not good endings played through her head. Baba Yaga, Hansel and Gretel. . .Belle finds out about the curse on the put and wants to support the Beast and servants out. They also search out a revelation about the curse. What?!It was all just super fun to me and I enjoyed the twist on the tale. I also didn't have to listen to singing. I don't really like musicals! =(And the ending was beautiful satisfied indeed.Happy Reading!Mel ♥
When reading this particulate take on the 1991 Disney classic, I found it to be a quite enjoyable read. I love how we obtain to see who belle's mother is; both as the enchantress that cursed the beast and who she was when Maurice first met her. What was going on with the beast really set that he has a heart and it really created in more sympathetic as the story when on. Belle was level headed and proactive as she should be. Even thought they don't obtain much time devoted to them, I still like the enchanted objects but really want they had more of a role in this story. Really, I'm just nitpicking. Love the portrayal of Maurice's past and the current change to the status quo. Loved how in hero everyone is, especially that one deeper look into a certain hero later on. Overall, a beautiful amazing read.