Nick Fury, Agent of S.H.I.E.L.D. Masterworks Vol. 1 (Strange Tales (1951-1968)) Reviews & OpinionsSubmit Nick Fury, Agent of S.H.I.E.L.D. Masterworks Vol. 1 (Strange Tales (1951-1968)) review or read customer reviews:
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Most Marvel Masterworks volumes are quite readable if not outstanding. This one is one of the rare exceptions. If you've read the Ant Man/Giant Man or the Human Torch volumes you have a fair basis for comparison. This ranks below e problem with this book is right there in black and white on the credits page - six different writers, six different pencilers, six different inkers. With few exceptions the stories in this volume have no sense of pacing, laughable plots, the most simplistic of characterization, and are a chore to read. This is not the fault of any particular creator (how could it be?) but a complete lack of any idea of where to take the book from editor Stan Lee on down. Sales made that choice for them; Nick Fury was to be a supporting character henceforth.Did it have to be this way? The mid-60s "spy craze" was well over by then but comics have outlived the fads that spawned them before. Both Jack Kirby and Jim Steranko did very creditable work (especially artistically) on this feature as seen in the previous two Shield masterworks. I think the ultimate problem was the inevitable dilution of talent that ensued when Marvel launched a lot of new titles when their distribution problems were sorted a masterwork the book has all the great production values we've come to expect. The book is padded out with many extras including the Nick Fury story from Marvel Spotlight #31 (December 1976). There is an unused cover and some collection and reprint covers as l in all for the completist only.
As a kid in the 1960s, finding and affording comics was difficult at r me, it was all about the artwork. Great artwork could compensate for a lack-luster story almost every time (except for Neal Adams' Skate Man, but that's another story altogether).I had heard about Steranko's legend as a teen, but the only Nick Fury comics I could find were #6, 7, and 11 with Steranko covers and interior art by Frank Springer. Much has been said about the uneven nature of the stories, but most were done-in-one issues (try finding that today), so I don't level the same harsh criticism as some other ong with #4's S.H.I.E.L.D. origin story, these four issues are a brilliant showcase of Frank Springer's work for Marvel in the 60s. Issues #8-10, not so much, but that has more to do with the coloring of those issues than anything else. Perhaps the art was not as imaginative as the Steranko issues (Steranko also wrote most of the stories he drew), but Springer was a more competant draftsman: There was a realistic quality to his work that rivaled Will Eisner's at times.I would later experience Steranko's work and was very impressed by it. But, for me Frank Springer's art stood out on Nick Fury. When I told Mr. Springer this at San Diego Comic Con one year, he was characteristically modest, praising Steranko's contributions instead, so much so that he was surprised that I wanted him to sign my comics. As an aside, a Nick Fury action figure was made that was packaged with a comic book reprint. It had the cover of #4, but the interior was that of Steranko's "Who is Scorpio?" from issue #1. This could have been a great intro to Springer's work on S.H.I.E.L.D. had the interior of that reprint matched the is Marvel Masterworks volume finally reprints the Springer stories so that readers who never read them can appreciate them for the first time.Let me offer an analogy of sorts: When it was released, the film "On Her Majesty's Secret Service" was hated by James Bond fans. George Lazenby was no consolation to the withdrawal that fans felt over Sean Connery's departure. Upon later reflection, many Bond fans have come to appreciate that film as one of the franchise's better outings, Lazenby notwithstanding. So too is the case of Frank Springer following to the Barry (Windsor) Smith issue, he was still finding his way, stylistically, but for comics fans, his issue has historical e Herb Trimpe issues were always a disappointment, but he was also pencilling The Incredible Hulk at the same time. When Jack Kirby was pencilling 4-6 comics per month during the early 1960s for Marvel, his quality was not 'up there' either.While not the best Marvel Masterwork of the series, it is not painful to read as the first volume of Ant Man/Giant Man was (but, even then, it shows Marvel in its 1960s infancy).
Nick Fury is a neat character, created as a tough-as-nails WWII Sergent he was later promoted to Colonel Fury Agent of SHIELD, a cold war super-spy.His 60s adventures are best remembered for a short but innovative run by master artist Jim Sterenko whose innovative layouts and art are still admired today. The problem is most of them were covered in Volume 2 of this series. Book 3 has just one Sterenko drawn story (Agent of SHIELD #5) and then several other stories by a host of writers and artists. Some of the artists such as veteran penciler Herb Trimpe and up-and-comer Barry Windsor-Smith do competent enough jobs and even try to continue Sterenko's innovations but there's nothing truly spectacular. Issue 11 stands out as a good one where the first few pages are drawn as psychodellic album cover e stories are even more lackluster, often feeling like retreads of older SHIELD tales or making little sense. In one issue Nick Fury has little trouble taking a SHIELD 'self-orbiting attack craft' into space. The next issue he has to go begging to NASA for a lift into space. Oddly both stories are by the same writer. Later an interesting story where Fury is framed as a traitor is then dismissed as a mind game to test his loyalty but the portrayal of what was real and what was not is not consistent within the e last issue of Agent of SHIELD has Nick gunned down by Bullseye, the gaudiest sniper in history. With his own book canceled Nick's fate is revealed a few months later in an issue of the e book ends with an issue of Marvel Spotlight where Jim Starlin and Howard Chaykin explain just how a WWII vet can still be fit and healthy in 1976. It's not a bad story but Nick feels out of character advice for the first book remains the same. If you're looking for the good stuff either pick up Nick Fury Agent of SHIELD vol 2, or hunt down the older paperbacks that reprint Sterenko's run. This book has some interesting moments but it not worth hunting down unless you have a true love for the character.
This is the weakest book in the Masterwork collections of Nick Fury, Agent of SHIELD. Steranko did one story and then other writer/artists tried to emulate or "succeed", but they didn't have an idea of what made Nick and SHIELD great! Nick was brought about in a time of James Bond excitement and the early adventures were like comic versions of the best of 007. Then the creativity was gone and they tried to make the series last longer than it should have. Overall, this is good for the Steranko story and the covers, but look elsewhere for excitement.
The third volume with the history of SHIELD with Nick Fury arrived on time and in perfect condition. While I liked the earlier stories better, there are some classics in the later years that are worth getting the whole 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 World War II character 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 battles 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 hero 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 make 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 many of the classic moments people still remember unless you are devoted fan of the character and want 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 Issues 135-153 of Strange Tales plus a crossover with Captain America in Tales of Suspense #78 and Fury's first post-World War II story which appeared in Fantastic Four #21 and had Fury as a CIA e stories are great, the villains are superb classic 1960s bad guys on an epic scale. The supporting cast is strong as well with Fury supported by fellow World War 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 big feature and it's Nick Fury. The silver age incarnation of this tough as nails World War 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 hero they just don't make any more. Truly, a great character 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 good 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 good as anybody out there. his style is fluid and awesome, john buscema as well is a great 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 good 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. Basic art and then the others work over him. This is a cheap way to get 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 character 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 get 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 great 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 contains the original pages and panels in place and I was surprised with some new scenes I had never come across before. Excellent!
I thoroughly enjoyed Sgt. Fury's exploits and was quite glad when Marvel brought the character back as Colonel Nick Fury - now with S.H.I.E.L.D. Here we get to see the first stories of Colonel Fury and the first glimpses of Hydra, A.I.M. and -- in the last 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 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 last Steranko issue (#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 include a Barry Windsor Smith issue along with some creative Frank Springer issues 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 issues that is very nice.
This is a great 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 fresh 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 issues 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 science-fiction and horror stories from the so-called Atomic Age (the 1950s) hold a special fascination for me. There were a number of these anthology style titles from this publisher stretching all the way to the Silver Age and slightly beyond. The stories were sometimes cliched and formulaic, featuring one strange and unusual monster 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 great names like Jack Kirby and Steve Ditko, already known to many readers here. If you like these kinds of stories, you will like this book. After the last 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 excellent format for reading them.
Affordable edition - great to see all these Kirby & Ditko artwork before they created Fantastic Four, Spider-man & others. Wish 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 variety of different 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 War stories in addition to these Sci-Fi, Fantasty/Horror and Atomic Monster 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 new worlds and new casts, introduce us to them along with the threat or mystery, and wrap it up all within 5 pages. Many 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 great way to enjoy these classic stories.Highlights from the issues (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 problems continue to get 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 world 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 world he finds.#2 - "When Aliens Meet" is a great morality tale and drawn surprisingly well by Don Heck. "I Was a Man in Hiding" is a great 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 different than the first, using a much thinner stroke. "I Discovered the Men from Mars" has great 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 Perfect 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 good 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 wish for." Ditko has Captain Racer battle Bogane in "The Man who Floats in Space."#5 - This is another potent issue. Kirby turns in powerful 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 beautiful renderings of a gray cat by Al WIlliamson. "I Landed on the Forbidden Planet" by Ditko is an awesome tale about a world 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 Monster works and it's fine indeed. "I Laughed at the Great God Pan" shows Kirby's penchant for mythology tales. "I Was the Man Under Glass" by Joe Sinnott is a great 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 similar 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 monster 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 good and material from places of infamy to construct his figure of evil to depict the symbolic struggle of "Good vs Evil". Lightning strikes the clay causing it to spring to life. This colossus is not directly related to the creature called "It, the Living Colossus" created 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 fantastic 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 keep your disbelief suspended. "I Dared Defy the Floating Head" by Reinman emulates Kirby to a degree. "I Am the Genie" is a great mystical story by Kirby with excellent inking by Ditko. "Mummex, King of the Mummies" has unbelievable art by Don Heck. It's a shame we didn't get more of this version of Heck during the Marvel Age. I would definitely enjoy Mummex vs Iron Man.#9 - "The Return of the Genie" bears little resemblance to the Genie story from #8, this time Kirby is inked by Christopher Rule and the tale is more sci-fi oriented. "No Way Out" by Steve Ditko has a Twilight Zone flavor to it. "I Saw Droom The Living Lizard" us a great Godzilla/Gorgo tale done by Don Heck. (Steve Ditko did several issues of the Gorgo comic starting a half year later in 1961 for Charlton Comics.)#10 - For the finale, we get a double-dose of Jack Kirby: "I Was Trapped by Titano the Monster that Time Forgot" and "What Was the Strange Power of Simon Drudd". "Something Lurks Inside" is an excellent sci-fi horror is is a fantastic volume and something that young and old alike can enjoy. Fans of Marvel's Silver Age will enjoy seeing these artists in their pre-superhero mode but still see the heritage of many Silver Age stories.
This Marvel Masterworks volume (one of the paperback versions) was a fun read, featuring the first 10 issues of Marvel's Tales of Suspense, the comic that would eventually be home to Iron Man and later become Captain America's ese stories are all more of a science fiction bent than the companion titles like Tales to Astonish or Strange Tales, but some of the monster or quirky stories fall into the groove here, too. There's plenty of great artwork by artists that are legends: Jack Kirby, Steve Ditko, Don Heck, John Buscema, Al ink of this as a comic book version of television's The Twilight Zone, or perhaps Tales of Tomorrow. It will fill your average rainy afternoon quite nicely.
Affordable edition - great to see all these Kirby & Ditko artwork before they created Fantastic Four, Spider-man & others. Wish they would publish more of the Marvel Masterworks of these sci-fi/monster comics in this affordable format & not just hardcover.
A masterly collection of great science fiction stories and art work from the late 1950s and early 1960s. Favourite stories: One Of Us Is a Martian; Who Hides Beneath My Mask; and Earth Will Be Destroyed. In truth, all the stories were entertaining. If you are into creepy monsters and quirky martians from Planet X, then you will certainly enjoy....
This is a collection of horror, science fiction, and fantasy by some of the great 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 make 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 includes 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 great sci-fi artists. Paul Reinman, inker on many 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 great story in here called "the Runaway Planet". He also does a fantastic job on "The Wrath of Chondu" for those Defenders fans out sue #1 highlights - After a great Buscema cover, we get Steve Ditko's "Prisoner of the Satellites" features great art and an interesting premise with everyday man Mark 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 great 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 Terrible 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 great 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 good 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 Amazing Fantasy.#5 - "Ditko's "I Fought the Tyrannasaurus" is excellent with very strong 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 creature story with heart. Joe Sinnott explores the world 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 great ending. "I Know the Power of the Genie" has some of Don Heck's best artwork ever and shows his true potential. "My Name is Robot X" by Paul Reinman is a novel story that Amazing Adventures would revisit in a few years in a different 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 Monster story.#8 - This is the best issue of the bunch!After an unbelievable Kirby cover, we get the lead story also done by Kirby, "Monstro… the Menace from the Murky Depths" straight out of Challengers or the FF, we get the scientist hero against the Atomic Monster. What I always find remarkable is how polished his artwork looks here compared to the early issues of Fantastic 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 character gems with "the Story of Sammy Snork". Everett's thick and lush brushwork is on evidence here. He had a magic quality to render everyday 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 great apocalyptic tale. "It Walks by Night" is a fantastically creepy story by Don Heck.#9 - Another great Kirby one-two of cover and lead story with "Diablo… the Demon from the Fifth Dimension". Diablo was resurrected in the all Atomic Monster Hulk Annual #5 (which I crave to be masterworked).The story doesn't hold 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 fantastic artwork of Chondu, who would later appear in the Defenders as Chondu the Mystic. "Earth Will Be Destroyed" is an excellent Ditko story. "The Return of the Living Robot" reprises the earlier strong story in this volume, also by Heck.#10 - The third in a row with Kirby providing strong 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 monster tale! Once again Ayers inks really make Kirby's art shine. Reinman turns in great 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 character 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 last four issues in particular are treasures of the transition period from the Altas Era genre stories into the Marvel Age. All the earmarks are here: monster as sympathetic anti-hero a la the Thing and the Hulk, scientist as hero a la Hank Pym, Tony Stark and Reed Richards, Robot as hero, similar to Iron Man, mystic tales gravitating to Doctor Strange with Chondu and …Medusa. The alien menaces that would soon confront the Fantastic 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 information 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.
While I was never a big 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 Fantastic 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 happy 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 excellent 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 fantastic 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 good work, but he wrecks detailed pencils with his e stories pretty much show 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 wonderful old tales! Recommended!
Now available on Kindle! I started collecting the Kindle versions of the early Marvel Comics last 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 last guest appearance before his TTA series debut and Tales of Suspense #80 is part of a crossover battle 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 issues #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 issues 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 issues 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 issues by Jerry Grandinetti & Bill Everett are good 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 created 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 get 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 great and does present the best of the Sub-Mariner storys. I love watching the progression of Gene Colons work (under several different 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. Angry because of the injustice done to his people by the human race, Namor was a much more complex character 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 quick 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 special comic. I can't really put my finger on why it's so great- there is something very special about it, not just the art, story etc., but it really stands out. Maybe it's the way 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 real "Hero's Journey" story. Namor having to prove himself by obtaining the Trident, that Neptune himself has offered up to the real 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 great weapons. From issue 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 help him out, which he does by awakening the Behemoth!!! Subby fights 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 amazing 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 place to start. Stan's Trident Search story is in his top 10 in my opinion ever. I think he has a great respect for the character and it shows tremendously in this collection.
If you're after it just for the giant monsters (as I was), then they are Oog, Klagg, Bruttu, the Creature 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 Monster 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 kids 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 new 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 real world unleashes another inexplicable horror upon us like Atomic Fear.
I love this period of Marvel's history, and cannot get enough of these stories. Even though I own most of the original comics this hardcover will be read again and again. The new intros by the likes of Roy Thomas and Dr. Mike Vassalo are wonderful 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 Fantastic Four, the Hulk, and Amazing 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 little 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 little 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 extra issue 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 hold up as stories; there appeal is strictly artistic.
Excellent reprint of some interesting golden age characters. Reading the Marvel Masterworks for many of their golden age titles has shown me that while they were dominated by Captain America. The Torch and the Sub-Mariner. Timely/Marvel had afairly good stable of characters, many of which we didn't see Roy Thomas touch upon in the seventies.
Like many of the early Timely Comic titles, among them Daring Mystery, USA at first has no regular line-up of strips appearing issue to issue. Many appearances were one-shots. USA Comics was one of those in its earliest days, so the issues presented here give the reader a chance to get a rare peak of what worked for Timely and what didn't. Some heroes were not well written or thought out, but were more or less "a stab in the dark," some catching on, many not. That is what makes this volume a MUST HAVE and MUST READ by the Golden Age comics fan, and by the Marvel reader of today. Every company "had its roots," so to speak, and to appreciate Marvel's heroes of today [for good or bad], one must know of the past and see what has come before. This volume is a great way of doing this....being able to see MORE than just the Torch, Capt. America and the Sub-Mariner, the main-stays for the company down through the years. Seeing is believing, and you'll dig this great tome.
Marvel already had Marvel Mystery Magazine, and solo titles for Sub-Mariner, Captain America, and the Golden Age Human Torch. Narvel comics honcho Martin Goodman was never one to settle for good enough and so USA comics was yet another one of the comics and this book collects Issues 1-4, each containing multiple was home to a lot of second tier material and characters and at least in a couple of places, , but the book was not without its charm. The first three issues featured long stories of nearly twenty pages, a rare thing in the golden age, allowing for complex plots. So let's dig into the highlights and lowlights of this book:1) Rockman: This is a cool hero who really could have been developed further. Rockman was leader of an underground kingdom who surfaced (ha ha) when learning about the dangers of the coming war. The design and powers of the characters were cool. With a better creative team, this could have emerged. It's not quite the Destroyer, but still a great little feature.2) The Whizzer: Marvel's golden age speedster superhero acquired his power after getting injected by mongoose blood. The character was really one of the best of Marvel's second tier golden age characters and his origin story (silly as it is) is here.3) Captain Terror: This character appeared only in Issues 2-4, but was memorable. In his true life identity Dan Kane, he was not allowed to join the Navy due to his heart troubles and is persistently turned down when trying to help the country. However as Captain Terror, he's able to take on the enemies of America and be a heroic figure. The character is just inspiring and I can't help but wonder if in the back of his mind, Stan Lee wasn't inspired by this character when he created his own hero with heart problems, Iron Man. Lee was a young man at the time, working for Marvel and even wrote a couple stories in this book.4) Corporal Dix: This feature only appeared in Issue 4 but was actually pretty well-done and endearing. Dix is a tough soldier on furlough and spending time with his little brother whose falling in with a bad crowd. It's a sweet, moving, and patriotic tale. I've read that there's more about him in the 2nd volume of USA comics which gives him a promotion to Sergeant.5) Jack Frost: This is where I become a little less positive. Frost was a decent enough character and his ice powers were fun to watch, and the story in Issue 4 was particularly good, but really he seemed to be like an ice version of the sub-mariner with a very similar personality.6) The Vagabond: A story about law enforcement officer who disguises himself as a hobo, and often the disguise just doesn't make any sense. It seems a little dumb.7) The Defender: His story was actually a 19-page cover in USA comics #1 and was a prime example of Marvel ripping off itself. The Defender was dressed in a red, white, and blue costume and fought evil alongside a boy sidekick who looked almost identical (except for hair color) to Bucky. In addition, the costume is just atrociously designed. Red and white striped pants aren't patriotic. The thought behind this seemed, "To be a hero like Captain America except in the Marines, without the super soldier serum, and in a poorly designed costume." The scripts were weaker versions of Captain America stories. The only good thing I can say for the book is that it really made me appreciate the elegance and timelessness of Jack Kirby's design for Captain America even more.And the one-shot features, "The Young Avenger" and "Powers of the Press" are both forgettable.Overall, the collection has some good points such as Captain Terror and the Whizzer's origin that make it a decent book, but certainly not one that's worth its retail price.
Who hasn't thrilled to the golden age adventures of Rockman, Young Avenger, Major Liberty, and Captain Terror? What's that you say, you haven't? Or you? Or you? Therein lies both the interest in this collection of golden age comics and the explanation for why it falls is collection reprints issues 1-4 of U.S.A. Comics, which began publication in 1941. Timely (now Marvel) Comics had a huge hit on their hands with Captain America and hoped to capitalize on Cap's success with an entire comic's worth of patriotic superheroes. Unfortunately, just slapping a red, white, and blue outfit on someone and sending him out to punch Nazis without the backstory and care given to Captain America made for lackluster stories and clearly forgettable e collection begins with the Defender, the worst of the Cap knock-offs. While his name doesn't shout patriotism the way Cap's does, his red, white, and blue uniform (with "USA" printed down the front in the first adventure) leaves no doubt. Captain America hides his identity by posing as a low ranking solider in the Army? The Defender hides his identity by posing as a low ranking solider in the Marines. Captain America has a costumed kid sidekick named Bucky? The Defender has a costumed kid sidekick named Rusty. This would perhaps be forgivable if the stories were stellar or even better than average, but they are poorly plotted and, in the case of the Defender, the most racist golden age stories I have yet read (which given the sad standards of the golden age is really saying something).The Young Avenger story in the first issue (his first and last comic book appearance) is a useable example of how poorly these stories are written. The story begins in the den of Nazi agents plotting to blow up key American industrial centers, but what's this? A shadow overhears them! The shadow then flits to the Young Avenger's apartment, wakes him up with a warning of what the Nazis are up to, and then Young Avenger is off to stop them. Who or what is this mysterious shadow? No idea, as it isn't seen again after Young Avenger suits up and heads out to fight Nazis. Do shadows report to the Young Avenger as part of his powers? Does this one shadow just really hate Nazis so it legged it over to Young Avenger of its own accord? If you'd like to know, you're asking too much; the plot here being "give Young Avenger a reason to punch Nazis and then Young Avenger punches Nazis." This throwaway storytelling, prevalent throughout this collection, explains why these superheroes have mostly been forgotten and why this collection isn't going to appeal to the average comic book fan, even those with an interest in golden age ere are some redeeming elements here, however. The Jack Frost story in the first issue was written by Stan Lee, one of his first comic book credits. Rockman has an interesting concept (though the stories are formulaic), and I genuinely enjoyed the stories of the Vagabond, a hero who hides his true identity by dressing up as a hobo. Also, Major Liberty's super power (forgotten in two of his four stories in which he is just a Captain America knockoff dressed Revolutionary War style) is to call forth patriotic ghosts to help him battle Nazis, and as a native Vermonter, I was amused to see the ghosts of Ethan Allen and the Green Mountain Boys kick some Nazi e only two heroes appearing in these four issues that I had heard of before were Jack Frost (who Roy Thomas used in the Liberty Legion in the 1970s) and the Whizzer, Marvel's answer for the Flash, who became the only hero in this book (despite a truly unfortunate name) to find at least a smidgen of golden age success (with stories appearing in All Winners Comics alongside stories of Captain America, the Sub-Mariner, and the Human Torch). The first issue here contains his first appearance, however, and he is even given an origin story, albeit it a lame one: he gained his super speed when his father injected him with mongoose blood (don't try this at home kids!).In a nutshell, I wouldn't recommend this to the average modern comic reader--whose taste for even the best of golden age stories may be limited--but I also wouldn't recommend this to someone who regularly reads golden age stories, as the ones here really are subpar. However, if you're a big fan of golden age superheroes and want to fill in your collection with some tales of forgotten heroes you are unlikely to come across anywhere else then this may be for you. It is a hardcover book with glossy color pages, though, so the accompanying retail price may scare off all but the most determined of golden age fans. I was fortunate enough to get my copy for more than half off the retail price. Otherwise this isn't something I would have picked up.
"The mightiest army of red-blooded patriots ever assembled under one cover! Gathered together from those halcyon days when comic books were all in color for a dime."As our troops met the menace of the Axis powers on the land, sea and air, back home the nation's adolescent readers took comfort in the daring exploits of: The Defender (by Al Avison, Al Gabriele, George Klein & Joe Simon), The Whizzer (by Al Avison, Al Gabriele & Howard James), Mr. Liberty (by Phil Sturm, Syd Shores & George Klein), Rockman (by Basil Wolverton, Stan Lee & Charles Nicholas), Young Avenger (by Howard Purcell), Jack Frost (by Stan Lee, Charles Nicholas, Frank Giacoia, Carmine Infantino, Pierce Rice & Louis Cazenueve), Captain Terror (by Mike Suchorsky), Major Liberty (by Syd Shores & George Klein) and Vagabond (by Ed Winiarski.) These were Timely Comics (Marvel Comics' granddad) greatest Nazis-smashers brought to the page by comics' most talented writers and artists of the rvel Masterworks: U.S.A. Comics Vol. 1 reprints U.S.A. Comics issues 1-4 in all it's patriotic four-color glory and is a must have for any Marvel comic fan or early comic book enthusiasts who have enjoyed vintage comic collections like @#$% Briefer's The Monster of Frankenstein or Monster Masterworks.
I had a chance to order this at a good price and did for nostalgia's sake.....but I was worried it wouldn't hold does! Totally entertaining, I fell right back into the dynamics of the individual Howlers. I'm docking a star for realism, but there's always been something about this comic that makes it a great nd of like how I grew up (in the '70's) on reruns of 60's TV shows, some neighborhood friends steered me to (60's) Sgt Fury when we first visited the local comic book store (The Comic Book Place of Bel Air, Maryland, for the record). I went on to buy half a dozen back issues or so, a couple of which are in this volume: "Fury Fights Alone" is the first one I ever bought.Ok, so it's ridiculous how they escape again and again from certain execution....then again, if a group of guys DID manage a few such escapes, they could get some confidence/karmic mojo working. And the Nazis certainly weren't the buffoons the Howlers encounter them as....then again, if a group of guys WERE to be in regular hand to hand with the same enemy, of course their best shot at prevailing would be to cultivate a fearless confidence by diminishing the enemy's strength in their own right, I'm never gonna justify all the miraculous escapes and victories.....I'm just sayin'. If you were ever a fan, you'll still love 'em. They hold up as much as they ever did.If you've never read 'em......all I can tell you is, I just read this from cover to cover and it ended too soon!
...but has a charm all its t. Fury and his Howling Commandos was reportedly launched to prove a point. Editor and writer Stan Lee maintained to publisher Martin Goodman that the newly devised "Marvel style" could be applied to any genre, not just superheroics. Goodman reportedly scoffed, "Even war books?"Lee proved his point. Sgt. Fury was the "war mag for people who hate war mags!" It featured over the top action combined with heavy doses of characterization and a strong measure of soap opera style continuity. It also had lots of supporting characters and recurring villains also, staples of superhero books but almost unknown in war books. Each Howler (as the Commandos were known), although clearly based on common sterotypes (Irishman, Brooklynite, stiff upper lip Briton, etc), acquires greater depth as the series moves along. Lee's and later Roy Thomas' snappy dialog adds much real humor to the title.What isn't here is any hint of a realistic portrayal of warfare. One could easily come away with the notion that war is just fun and games. The Howlers are rarely shown shooting the enemy but are usually engaging in fisticuffs. The problem is recognized though and we do have occasional deaths of supporting characters and depictions of Nazi brutality. There is also no clear concept of what the various combatants were actually capable of. Secret weapons abound and we have preposterous plots of German Me 109 fighters (and Ju 87 dive bombers) attacking bombers being ferried across the e present volume is a little on the thin size (213 pages) for reasons that are not made clear. Possibly it is an attempt to hold the line on price. There are only 9 issues and 1 annual included. Noteworthy is the first appearance of future Howler Eric Koenig. The book also marks the handing over of the scripting chores from Lee to Thomas (in mid story). There is only an unused cover by penciller @#$% Ayers as an extra but Roy Thomas delivers yet another highly detailed and enjoyable quired reading for all Silver Age Marvel fans (which is no doubt why Fury is being Masterworked) but war book fans in general might have issues with the whole approach.
I had the good fortune to find SGT Fury is out again in a handsome hardcover I bought and read these in the late 1960s.Oh well,nobody stays young ever,this series covers issues #24 to #32 and for good messure The special D DAY version is thrown two favorites are The [email protected]#$%! The Home Front.Fury and the boys go on furlough to 1940 WW2 America,they meet each others families,go to a jazz club,and also go to a USO show where they meet Bing Crosby,Bob Hope,Barry Fitzgerald,Groucho Marx,etc.I wonder why John Garfield,Humphrey Bogart,Deanna Durbin,Joe E Brown,Bette Davis,Errol Flynn,etc were not also there,Go Figure.Anyway getting on with the plot the boys discover a Nazi plot to find out about the Manhattan Project and its up to them to prevent Adolph from getting the A bomb.Fury Fights Alone is good with the Sergent in the heart of Nazi occupied Europe and its up to him to save the day alone againt Fatso Goring and his rat is is a good trip down memory enjoying sure you will too.
This guide is absolutely amazing. I know the power of the pressure cooker in making food quick and easy. However, I have always assumed that the flavor is just mushy and tasteless. Well, that is what I felt until I tried the amazing recipes in this book. I love the fact that this book has pictures of the different recipes. Even the kids love the recipes from this book. They want to help prepare the meals because they are so easy. It has become a new family favorite activity around the pressure cooking making food together. This was an amazing book on multiple levels!
There aren't many healthy recipes. The Lean Turkey Lasagna has 20 grams of fat per serving!
This guide is absolutely amazing. I know the power of the pressure cooker in making food quick and easy. However, I have always assumed that the flavor is just mushy and tasteless. Well, that is what I felt until I tried the amazing recipes in this book. I love the fact that this book has pictures of the different recipes. Even the kids love the recipes from this book. They want to help prepare the meals because they are so easy. It has become a new family favorite activity around the pressure cooking making food together. This was an amazing book on multiple levels!
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 bad 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 little bits of information just add that nice feeling of getting to see behind the curtain of the main stage show. The exception for me was the Jar Jar Binks story. It wasn't a bad story and it did add to the mythos. The problem 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 Wars 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 good stories with excellent artwork in this collection. But there are also some stories that just weren't that good with artwork that was fairly bad as well. So for the whole collection, I can only give it an average rating of three stars.
Ideally I'd give issue one of star wars tales 2.5 stars. But 3 is ok. It is a compilation of different stories all of which are "non-canon". The one that was good is about "Skippy The Jedi Droid". The other stories are just bad 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 large "assets". Another story has a certain Sith guy fight 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 character is also very weird for Star Wars 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 place in the Star Wars universe.On the other hand, all of the comics in this compilation are essentially fan fiction, so there isn't a real standard of quality to base criticism on.
Star Wars Tales puts to pen and paper what every fanboy out there has imagined. It takes beloved characters, and puts new spins on them by placing them in situations that they would never find themselves in film, or other media. The story doesn't just begin, and end with the main characters from Star Wars (Luke, Leia, Han, Chewie, Darths Vader and Maul, etc.), it develops whole new ones further breathing life into the background of the Star Wars Universe. It's not perfect by any means, and there's a lot that doesn't jive with the film characterizations, but if you take it for what it is, the Star Wars Tales volumes are all fairly enjoyable, and good 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 get the first one. If you like it, get the next - lather rinse repeat until you've had enough. Not a bad way to spend a flight all in ese are not as good as the best of modern graphic novels, not in terms of artwork or writing,but nostalgia can make up for a lot.
Let's start with what this book comes down to: an over-priced comic book...but a good 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 variety of stories within, each from the point of view of a different artist and writer, giving the reader a sense that the next story is something unique and interesting.Unfortunately, I wouldn't recommend this to anyone because even with Amazon's awesome 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 Wars novels.
A little 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 Wars universe, there is a little 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 issue 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 want to read this in anything other than ideal conditions then don't expect it to last 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 poor 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 Wars buyout by Disney and the impending films, it would be easy to refer to the Thrawn trilogy for story ideas. But Star Wars 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.
Marvel Team-Up was Marvel Comic's answer to the DC's Brave and the Bold, a book dedicated to Batman team ups. Marvel Team-Up would have Spider-Man anchoring the book. This title has had mixed reviews over the years. Some criticize it for being a lot of sound and fury signifying nothing while others praise it as being a well written and well drawn way to be introduced to the Marvel universe without being burdened with too much continuity. Both views have a certain amount of truth to them.I've never been writer Gerry Conway's biggest fan but I have to admit I was rather impressed with his efforts here. He skillfully has Spider-Man, over the same story arc, teaming up with multiple heroes as they pass the guest star baton. A story that starts with the Vision ends up with the Thing. Another story begins with Iron Man, picks up the Human Torch, and ends up with the Inhumans. And to his credit there are nice touches of characterization along the way. I really enjoyed the scene where a bemused Thor chides Peter Parker for self pity. His plots weren't the greatest but quite serviceable; only the team up with the Cat seemed be really egregiously e art was a revolving door but at least a talented one with Ross Andru, Gil Kane, and Jim Mooney. Fortunately, their styles (along with even more inkers) did not clash too is book reprints the first eleven issues. It will be interesting to see how quickly (or even if) we get a follow up. This is an easy book to pass up due to the low impact on Marvel continuity. It's a must have for Spider-Man fans but I recommend others to give it a try as well. Extras are a little thin - two pages of original art. Recommended.
Marvel Team-Up was originally conceived as Marvel's answer to World's Finest, with Spider-Man and The Human Torch standing in for Superman and Batman. They soon realized that it was difficult to maintain continuity between Marvel Team-Up, Amazing Spider-Man and The Fantastic Four when all three titles were written by different people. So, Marvel Team-Up was changed it Marvel's answer to The Brave and The Bold, with Spider-Man standing in for Batman and teaming with a different hero every month. When I was a kid, I loved Marvel Team-Up because I got two superheroes for the price of one. Now that I'm an adult, I realize that this wasn't the best comic book that Marvel every published, but it's still a lot of fun.
"Marvel Masterworks: Marvel Team-Up - Volume 1"(Marvel Comics). . .I went back and forth on this one for months. Part of me was like, Yeah! those old MTU adventures are good, simple fun from a bygone era -- it'd be cool to read them again, and another part of me was all, Are you kidding? You read those things as a kid and you know how crappy they are... Don't do it! Spend your money more wisely! Well, finally, I found this book at the right price and gave in, ready to delve again into the comics I collected and read to tatters as a kid, and maybe pass along to my kid if they stood up after all these years."Marvel Team-Up" was one of the first books Marvel published in the early 1970s when it emerged from a restrictive distribution deal that kept the company from publishing more than a dozen or so titles at any given time, and its success unleashed a flood of new books. It was also the second title devoted to Spider-Man, although this new book featured Spidey being paired up with another Marvel hero (just like DC's "Brave And The Bold" did with Batman...) Initially it was conceived of as a buddy-book with just Spidey and the Human Torch, but that combo got old quick, and starting with issue #4, other heroes were paired up with good old deed, that issue -- MTU#4 (dated September, 1972) -- featured none other than the Uncanny X-Men, whose own book had been cancelled, and it was the popularity of this appearance (and similar X-Men cameos in other books) that led to the X-Men revival a few years later. I loved "Marvel Team Up" #4, and read it more times maybe than any other comicbook I owned -- it had Spidey, a creepy villain (the vampire Morbius), and of course the mysterious X-Men who were for some reason dressed in civilian street clothes rather than spandex uniforms, which just made them seem even more mysterious and distinctive. Above all, it had some excellent, angular artwork by veteran illustrator Gil Kane, work that proved to be the best in the MTU series, at least until John Byrne took over the book four years later.And this brings us to the heart of the matter, the very reason that "Marvel Team Up," like many comics of the era is simultaneously terrible and terrific: the stories and artwork were generally pretty dumb and pretty bad. Deliciously so. This was a time when superhero comics really were for kids, they were juvenile and slapdash, and kind of dopey and fun, in a kitschy kind of way. Years earlier, readers had been dazzled by the intense creative burst of the 1960s, when hippies, college kids and science nerds embraced the groundbreaking Lee-Ditko-Kirby-Romita masterpieces and comicbooks were finally recognized as an artform worthy of serious consideration (much as the Beatles had legitimized rock'n'roll...) But as the 1970s dawned, Marvel Comics had largely lost its creative mojo, as a new generation of writers and illustrators took over, and delivered the rather sloppy, garish, just plain stupid stories that become known as Marvel's "Bronze Age" ere are a lot of 'Seventies comic creators -- illustrators, in particular -- whose work I didn't like, even as a kid, and some of them are featured here. Ross Andru, who became "the" Spider-Man artist for much of the decade, started his run drawing Spidey right here with issue #1 of MTU, working with a variety of inkers. By the mid'70s, I came to loathe his artwork, along with that of Herb Trimpe (who did the Hulk) and to a lesser extent Sal Buscema, who did just about every other Marvel comic at the e funny thing is, though, reading this stuff again, now -- as a sophisticated, urbane, all-grown-up-but-still-reading-comics-as-an-adult total dork -- I still find myself charmed by them, and entertained at about the same, I-know-this-is-trashy, but-I-like-it-anyway level as I did back then. Writer Gerry Conway (who I learned from the introductory essay was just a college-age kid when he wrote this stuff) was one of those writers who banged out silly, quick-and-dirty sock-'em-up Bronze Age superhero stories, and like many other writers of the era tried to create dramatic tension by having characters, in this case the good guys, argue over everything. The kvetchy, crabby tone not just of Spidey but also most of his co-stars ("Hey, watch it web-head!! Do you know who you're messing with here?!?") is a weird affectation, and part of the goofy charm of these old stories. I also found myself surprised at how much I was able to appreciate Ross Andru's art for its good points, rather than frown on it for its weaknesses. Sure, it's ugly, but it's also effective: now I notice efficiently Andru was able to guide the reader's eye to follow the line of action, in a semi-Kirbyesque way... This isn't stylish work, but it is dynamic and draws you in. Of course, it makes a big difference who's inking his work. I actually like Jim Mooney's work as both inker and penciller, but there is one issue, inked by some guy named Frank Bolle, that is one of the ugliest mainstream comicbooks you're ever likely to read.Anyway, to sum up, these Spidey stories from 1972-73 are not great art, but they are kind of fun, and are certainly emblematic of the style of the time. It seems doubtful that I'll re-read them so much that the cover will fall off like I did with the original issues, but I think I'll be able to hand them to my kid and say, "Hey, look at the dumb stuff Daddy read as a kid... It's fun, right?" (DJ Joe Sixpack, ReadThatAgain kids' lit book reviews)
Sure, it has some clunky passages (it was the 1970s, after all) and is sometimes overwritten and overdone...but McGregor and his collaborators were trying to forge something of a new and different path in comics storytelling at Marvel, and it was the first really serious attempt to tackle not just a black character, but one whose history lay on another continent, rather than in the United States. It's sometimes surprisingly strong stuff, and while there are elements that might make modern readers cringe a bit (and sometimes a lot), the sheer force of the storytelling in "Panther's Rage" propels the series forward. This is the series that led directly to the upcoming Black Panther movie, have no doubt of that.
Jungle Action featuring the Black Panther is a lengthy read.. three fourths of it is an epic series that involves T'challa against Killmonger, set in Wakanda.. the final part of the collection is somewhat anti-climactic and IMO could have been placed in another collection..
This book is amazing! I was hooked and excited for the second book before even getting to the 6th chapter in this one! The medical terms were well explained as well as the techniques needed to tend to the patients. Great characters too!
A book you won't want to put down. Paced perfectly so it keeps you reading for the next moment. Trigger warning: there is somewhat detailed scenes of cutting. The main character Elora is relatable to anyone who has a rocky past that has followed them into the present. Great character development as you read her grow into herself. I recommend this for anyone who likes Psycological thrillers.
two thirds of these reviews are for other editions of this book. this book was released in 2012 and is a beautifully illustrated reprinting of the original marvel comics/golden age human torch origin story as well as back up stories featuring other (more obscure) golden age marvel heroes. this latest line of marvel masterworks is what they should have been putting out all along, none of that overpriced, hardback, six issue a pop nonsense, or [email protected]#$% black and white phone book collections that the "essential" series st of these reviews are out of date, DON'T APPLY TO THE PRODUCT, and should be deleted.
The first Timely Comics were crude affairs and not worthy of the high price charged for the hard bound edition. But a trade paperback? That's what I'm talking about. See the beginnings of World War II's dynamic duo, The Human Torch and Sub-Mariner.
NOTE: This review is in regards to the PAPERBACK edition.I have been buying all the Marvel Masterworks series since Marvel Comics started releasing them in paperback editions. (And thank you, whomever at Marvel realized there may be fans who want these books, but who can't afford the hardback editions!) I knew I would be buying every single Silver Age volume...but I wasn't sure whether I would be purchasing the Golden Age and Atlas Era the release date for the Golden Age Marvel Comics volume approached, I decided I would buy it--after all, the beauty of the paperback editions is that they're pretty affordable. Even if I regretted my purchase, it would be a small loss, and I would then know not to bother with future Golden Age volumes.Well, I can happily report I don't regret the purchase at all.While some of the features suffer from the fact most comics during the time were aimed at what was viewed as their only audience--children of the Depression and WWII era--there are some really good stories contained in these books. I found Bill Everett's Sub-Mariner (also an example of some of the best drawn Golden Age material, in my opinion) and the Ka-Zar features particularly criticism people cited regarding the hardback edition of this volume--and which made me hesitate in regards to purchasing the paperback edition--had to do with the quality of the art reproduction. While I don't have a copy of the hardback edition, and I don't have copies of the original comics, I have seen a digital scan of an original copy of the second issue of Marvel Comics. The digital copy was well scanned--not a poor quality microfiche copy--and I got a clear indication of the detail of the art in the original comics. Based on this, I was impressed with the quality of the art reproduction when I received my copy of this volume. If the quality of the art reproduction was really so poor with the hardback edition, I can't help but assume Marvel took the time to fix that issue with the paperback edition.While I'll still be "playing it by ear" in regards to other Golden Age/Altas Era volumes, this book has helped me decide to purchase future volumes of the Golden Age Marvel Comics series.
With the medium of comic books exploding, and the genre of super-heroes combusting right along with it, many publishers entered the comic book field. One such person, Martin Goodman, a publisher of pulp magazines, contracted for material for his own line of comics. The line was called Timely. The first offering was "Marvel Comics", an anthology book that featured a mix of super-heroes, westerns, and detectives. In doing so, Goodman and his creators inadvertently laid a corner stone for one of the most popular comic book universes to arise in rvel has produced five series of golden age Masterworks. They inaugurated their series with this, "Golden Age Marvel" Vol. 1, which reprinted in their entirety the first four issues of "Marvel Comics." Well, "Marvel Comics" #1, and then "Marvel Mystery Comics" #s 2-4, as the title had changed: a common practice in the golden is series introduced three major super-hero characters: the Human Torch, the Sub-Mariner, and the Angel. Truthfully, while Angel was important, he was relegated to the second tier when Captain America was introduced a year later. The Torch and the Sub-Mariner stayed big sellers for the remainder of the golden 's not hard to see why. First, as DC had made it impossible to blatantly ape Superman, other creators had to find new takes on super-heroes very quickly. In this case, Timely (rather ahead of its time) created characters who found doing the right thing wasn't always easy (admittedly, Superman did some rather strange things in his early days). Carl Burgos' Human Torch was an android who, thanks to a design flaw, burst into flames when he made contact with the air. While the character meant well, initially he was an unintentional menace, as his flame was so hot that it could melt all metals in his immediate vicinity. Eventually, he learned to control his powers quickly, and used them to combat evil. Oddly, although the Torch only graced the first cover of "Marvel", he had the highest page count; nearly fifteen or so pages. The popularity of the character was such that Stan Lee and Jack Kirby based their own Johnny Storm, the Human Torch of the Fantastic Four, on the Burgos character. Of the big three from Timely, Torch had the hardest time catching on again e other true classic from this volume is Bill Everett's Sub-Mariner. In contrast with the Torch, Prince Namor was from a water-breathing race that held the surface world responsible for the tragedy that had befallen his people. Thus, he started out as something of a villain, wreaking havoc on surface folk, often murdering those who opposed him. However, he soon shifted gears when he concluded some surface dwellers were worse than others, and he began a war against the Axis. Everett's art is some of the sharpest line-work to be found in the golden age. Unfortunately, the coloring didn't always bring that out. In the first Sub-Mariner stories, the underwater setting led to a heavy use of dark blues and greens, frequently blurring the action. As time progressed, the color scheme grew more realistic, and the pencils were allowed to speak for themselves. Namor remains a popular favorite in comics, although he's still not always a friend to e third super-hero, the Angel, was actually a more straightforward vigilante. The art by Paul Gustavson is quite sharp, supporting some very interesting action tales. The Angel is actually quite violent. In his first story, he is hired by a community that is being preyed upon by a gang of racketeers. Angel simply kills the gang's leaders. Never one of Timely's big guns, Angel nonetheless had a lengthy career. His penchant for violence led him to finance his own vigilante gang in later years.Of course, Goodman wasn't putting all his eggs in the super-hero basket. Other features shared "Marvel" with the super-types. The "Masked Raider" was a western series that overtly aped the Lone Ranger, as the Raider rode around righting wrongs. "Ka-Zar the Great" was actually based on a pulp novel, and nakedly aped (pardon the puns) Tarzan. Later on, the robot Electro, and the PI Ferret were introduced. However, while Ka-Zar was revised dramatically, only the super-heroes continued on more or less unchanged.I applaud Marvel's decision to reprint their golden age material. I disagree with the criticism that the reprinting is shabby. It is not. Rather, the original production process of the comic books was quite primitive. As the volume progresses, the quality takes a dramatic up-swing. Consider the early Superman stories in their Archives--many of the same flaws exist from 1938 to about 1940. Marvel's product is a fine bundle of goodies.
Ok...this was a real bummer for me. The reproduction is terrible. The line art looks...well, I can only describe it as pixelated. Like the they were working from some low-res digital photos of the original comics as the source material for the book. Still, I was in the mood to be forgiving. It was only when I compared this edition to an earlier Marvel reprint of Marvel Comics #1 published in 1990 (ISBN 0-87134-729-1) that I got totally bummed. The 1990 edition is really nice. The lines are clean, the color is clean. It's like the total opposite of this. If you're looking for clean reproduction and can live with a reprint of only one issue, search out that at stated, the stories are great. These early Sub Mariner stories are incredible, the Human Torch is totally bizarre, the Angel, Ka-Zar--almost surreal. Still, if it were a $15.00 paperback, that'd be one thing. As a $30+ hardcover, I'd say check it out from the library.
Marvel really dropped the ball with this one. This volume contains some comics not seen since they were originally published, over fifty years ago. Unfortunately, the reproduction of the artwork in this volume is hideous. The artwork is splotchy and looks like it was xeroxed. It's too bad Marvel couldn't invest a little time and effort in this rare material like DC has done with their very high quality Archives. I'm giving this book one star just because of the scarcity of the material it contains. What a disappointment.
I saw this book at a book store and decided to check it out. I was considering buying it; however, my experience with comic reprints cautioned me to be wary of the quality of print. Unfortunately, this book is pathetic in its reproduction. The printing is so bad that it detracts from any enjoyment of these old comics. I had to abandon the whole idea of buying it. The bad far outweighed the good.