Sgt. Fury Masterworks Vol. 3 (Sgt. Fury and His Howling Commandos (1963-1974)) Reviews & Opinions
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I had the amazing fortune to search 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 problems #24 to #32 and for amazing messure The unique D DAY ver 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 present 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 explore a Nazi plot to search out about the Manhattan Project and its up to them to prevent Adolph from getting the A bomb.Fury Wars Alone is amazing 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 amazing trip down memory enjoying sure you will too.
FINALLY...I own all three hardcover volumes collecting the original run of "Nick Fury, Agent of SHIELD." What a treat!Of course, the series itself had a checkered career, starting with its extraordinary debut by Stan Lee and Jack Kirby and ending on its sorry cancellation about four years later. But how amazing is it to have the whole enchilada available in three gorgeous hardcover volumes?As mentioned in an earlier review, the stories collected into this third volume aren't all that stellar, in either the story or art departments. Besides a single remaining Steranko tale (and a classic it is!), the rest of the items here is a hodgepodge, but an interesting hodgepodge nonetheless for Marvel Comics and Nick Fury fans.And hooray -- there are BONUSES included:* The Avengers story that tied up loose ends from the final Fury book (and brought back Scorpio).* A ten-years-later reprint of a tale that added some necessary doodads to the Nick Fury mythos.* The covers from those problems beyond #15 that merely reprinted early stories from the STRANGE TALES a nice introduction to the book by Roy e quality of these SHIELD stories don't sing like those from the two years of Jim Steranko's run, but this is a fine collection anyway. Certainly worth it for completists.
This is quite a book . In the sixies Nick Fury of SHIELD was made cuz of the " BOND " craze at the time . He began , sharing a book with DOCTOR STRANGE in STRANGE TALES , then got his own book title later. Though Steranko created Him popular , only just one or two of His are in this issue, He did do most of the cover art .Archie Goodwin , Roy Thomas and Stan Lee did the writing and an had a few various artists such as Herb Trimpe and Frank Springer. Now toward the end of the sixies the " secert agent items was on the method out , and it started to present also that since Fury didnt have any "super powers " or sidekicks . His books started to wane . This book is about the latest of the best stories of Nick Fury . As a child I owned four outta the nine featured here back in the sixies. So if you do collect Nick Fury , this book should be added to your collection . Like all my MARVEL MASTERWORKS , I usually look here for the best price , the selection is wide an have a lot of choices .
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 issue with this book is right there in black and white on the credits page - six various writers, six various pencilers, six various 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 created that choice for them; Nick Fury was to be a supporting hero 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 issue was the inevitable dilution of talent that ensued when Marvel launched a lot of fresh titles when their distribution issues were sorted a masterwork the book has all the amazing production values we've come to expect. The book is padded out with a lot of 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 child in the 1960s, finding and affording comics was difficult at r me, it was all about the artwork. Amazing 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 search 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 problems (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 problems are a brilliant showcase of Frank Springer's work for Marvel in the 60s. Problems #8-10, not so much, but that has more to do with the coloring of those problems than anything else. Perhaps the art was not as imaginative as the Steranko problems (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 created 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 problem #1. This could have been a amazing 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 movie "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, a lot of Bond fans have come to appreciate that movie 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 problem has historical e Herb Trimpe problems were always a disappointment, but he was also pencilling The Wonderful 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, made as a tough-as-nails WWII Sergent he was later promoted to Colonel Fury Agent of SHIELD, a cold battle 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 issue 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 test to continue Sterenko's innovations but there's nothing truly spectacular. Problem 11 stands out as a amazing 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 small sense. In one problem Nick Fury has small problem taking a SHIELD 'self-orbiting attack craft' into space. The next problem 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 android game to try his loyalty but the portrayal of what was true and what was not is not consistent within the e latest problem 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 problem of the e book ends with an problem 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 poor story but Nick feels out of hero tip for the first book remains the same. If you're looking for the amazing items 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 real 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 created 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 create the series latest longer than it should have. Overall, this is amazing 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 excellent condition. While I liked the earlier stories better, there are some classics in the later years that are worth getting the whole collection.
Namor the Sub-Mariner has just suffered a conquer to an opponent by the name of Destiny, which lead to the man escaping with the Helmet of Power which grants him superhuman abilities. Namor is in a destructive rage as he sets off after Destiny vowing revenge. -summaryNamor is one of the more under-appreciated characters under the Marvel banner and always has been. I have two guesses to this; one is probably because a lot of people never really grew a liking to his underwater fantasy adventures, because his rogues gallery was kind of lacking when compared to a lot of other characters. Plus, like Dr. Strange his globe does feel quite various from the town roaming heroes. The second is more than likely due to his attitude. Namor feels more like an anti-hero, and to a certain degree a villain when looking at some of the company he kept; but Namor's attitude was definitely an problem because his temper either caused his issues or created them worse. He wasn't the goody-goody Cap or Spidey type, and that place people I know off. In any case, he was a hero that I felt much later on, but coming back to some of these older stories helps me appreciate his earlier run. This TPB collects Prince Namor, The Sub-Mariner problems 2 - 13, and continues his own running series, in which he earlier shared the Tales to Astonish title with the mor's hero is either a like or don't like for the most part. He seems more driven by private pride and issues, and sometimes even hesitates to bother helping mankind because he simply cannot stand humans; his inner musings are some times hilarious as he goes off about things concerning his enemies, and even how mankind gets on his nerves with polluting their own waters. I really couldn't turn too a lot of pages without being thoroughly entertained in some way. The plot follows Namor as he begins his find for Destiny, which lands him in encounters with Plant-Man, as well as one of the Inhumans named Triton. These first problems are fun with a beautiful amazing war between Namor and Triton that begins underwater then makes it to e story arc concerning the Helmet of Power takes up the entire book which finds Namor in a slugfest with the Thing. Then later one of his future nemesis' makes his debut in the form of Tiger Shark, and this is some really amazing slugfesting fun.While the story is fairly well paced with plenty of things happening, it gives off a rather madcap like feel, as if writer Roy Thomas is just making up things as he goes along. At times it feels unfocused even though there's a path leading somewhere; but I really can't knock it much since it was rarely boring for hn Buscema, Marie Sullivan, and Gene Colan deliver some entertaining pencils with nice underwater backgrounds, fairly decent hero designs, and some amazing hard hitting action. While the war with the Thing has gone down as a classic, and one of the greatest slugfests to many. I lean towards the war with Tiger Shark as being my favorite of the two. The art displays him as being quite strong and I found it to be better written as a amazing is is a TPB that I can definitely recommend and it's a beautiful amazing starting point. However, unlike let's say the early Thor (especially), Iron Man, and Unbelievable Four volumes. I would recommend going back to the earlier volumes at some point, especially to see Namor's memorable clash with the Hulk in the latest volume, which took put in Tales to Astonish problem 100. If one still has no interest in Sub-Mariner but wishes to read that fight, it can also be found in Marvel Masterworks: The Wonderful Hulk Vol. s: Some really amazing artwork, actionCons: Storytelling has rough spots, some people may not care for Namor
This book is a gem of the Marvel Masterworks series. The Sub-Mariner has always been a somewhat minor hero in the Marvel cannon---a hot blooded antihero or quasi-villain who has often rubbed fans the wrong way. Writer Roy Thomas loved the hero as a child and these stories reflect his admiration expressed during a time period that witnessed Thomas surpass Stan Lee as Marvel's premier writer. Thomas creates a fascinating back story that bridges sword and sorcery ideas into Marvel's superhero universe. For seven of the 12 problems included in this volume, he is joined by perhaps Marvel's premier draftsman, John Buscema, who adds a dynamic power to the stories. Buscema would later create his work more Jack Kirby like to attempt to appeal to a broader audience, but these stories showcase his work at the most dynamic. His rendition of Namor's would be queen, Lady Dorma, is a revelation of how a blue skinned female can exude such breath taking beauty. This volume recounts the begin of the Serpent Crown, which has become an necessary part of Marvel mythology. It also collects Sub-Mariner # 8, which is an example of all the craftsmanship that Roy Thomas can bring to the comic book medium. I highly recommend this book to all comic fans.
Classic 60s Marvel courtesy of Roy Thomas, John Buscema and others. The Serpent Crown makes its first appearance in its real form here, making it a must read for fans of later Serpent Crown tales by Steve Englehart, Tag Gruenwald and Ralph Macchio. Fun Stuff.
The gems capture all the excitement of what was called "The Marvel Age of Comics" during the 1960's. Amazing stories and art by the titanic talents of Roy Thomas, John Buscema, Gene Colan, Stan Lee and more. See what created Marvel great!
Collects Sub-mariner 2-13, with material from Not Brand Ecch #9 as e method John Busema draws Namor, you can believe he's one of the most strong beings in the Marvel Universe (while under water). Namor wrecks havoc on machinery in the first panel. Buscema also excels at the underwater scenes and creatures. Page 3 panel 2 has Namor knifing into the ocean with a trail of bubbles following his plunge. Admittedly, Plantman is not a worthy foe for Namor, but Plantman tricks Triton into battling the exiled Prince of the Depths. As Namor explodes out of the water on page 10, I had the impression of an orca erupting out of the ocean. Frank Giacoia does an perfect job inking Huge John in the first four issues.Buscema turns in some iconic covers in this volume: Triton versus Namor in 2, Namor versus Attuma in 4, Namor versus Barracuda in 5 and 6, and Namor versus Thing in e Attuma and Gorgul story is a highlight in this volume, in my opinion. I would've liked if the crazy seer role of Saru-san was explored in more depth, but the story doesn't suffer for it. The war with Attuma is one of Namor's better matches with his long-time sues 5 and 6 have the first appearance of Diane Arliss, her tragic brother Todd, Dr Dorcas and the marauding Tiger Shark, another one of Sub-mariner's best adversaries. I love the strong sequence from page 90-91. If Sub-mariner had more of that in his long run, the title might have ranked near the top and still be going!In 7, the Man Called Destiny, started in Tales to Astonish 101 finally 8, Subby goes toe-to-toe with the Thing. Torch and the Avengers create brief appearances (as well as an old friend!) This problem ends Huge John's brief run. These problems and their covers are well worth the price of the Masterworks, but, as they say on the TV ads, there's more…You also obtain the Serpent Crown Saga. Karthon, the first appearance of Naga, and rie Severin and Dan Adkins do a amazing job filling in on #9. Problems 10-11 are done masterfully by Gene Colan. personally, I like John better for Sub-mariner, but Gene adds a murkiness and moodiness to the story while still maintaining much of the potency in action. I'm awe-struck by the shear fury of page 200, with Namor shooting out of a cresting wave to strike a ship. This full-pager was created to be a wall-sized poster!Issue 12 has the weakest art, with Marie Severin handling all the chores. Possibly they encountered the dread deadline of doom and she was a last-minute fill-in. This was the begin of regular pencilling on the title for her, but this problem looked sue 13 was solid with Joe Sinnott providing powerful inks to Marie's pencils. Gargantos the giant octopus provided Namor a tough war to conclude the Serpent Crown ere's still more… as a bonus, we have Bulk versus Prince No-More battling in the pages of Not Brand Ecch # always Roy Thomas' writing is powerful throughout and his introduction adds perspective to the question I have is who did the coloring for this volume? The coloring was first-rate (for 1968) and the Masterworks restoration is, again, top is is a volume essential to any collection, especially fans of Namor. The price has been creeping up and stocks appear to be dwindling. Do yourself a favor a pick this one up from a reseller while the price is still low.
If like me you're a lover of late sixties to mid seventies Marvel comics the squad of Roy Thomas and John Buscema is no doubt familiar to you. This collection of stories features Thomas and Buscema in perfect form as they depict the adventures of Namor in his quest for justice versus the villain called Destiny. As you might expect, Namor encounters a few detours along the way. John Buscema's stellar artwork lends the title character a Classical sense of drama and staging. If you crossed Michelangelo with Jack Kirby you'd obtain John Buscema. His storytelling is superb too. Roy Thomas, while relying heavily on purple prose, keeps the stories brisk and entertaining while crafting a complex characterization of a character who is sometimes his own worst enemy. This collection is highly recommended.
By about 1968 Stan Lee had hit the wall as a comic book writer. The titles he still wrote, Unbelievable Four, Spider-Man, Captain America, etc were becoming increasingly stale and repetitive. They were still for the most part quite readable but the energy and imagination from the middle years of the '60s were rtunately, Lee had brought aboard Roy Thomas to do the writing on some of the "lesser" Marvel titles, like Avengers, Dr. Strange, Sgt. Fury, X-Men, and Sub-Mariner. These titles helped hold Marvel afloat creatively when comic book sales started a precipitous decline in the late 'e Sub-Mariner was never one of my favorite Marvel characters. His issues always seemed largely self-inflicted due to his arrogance and temper making him difficult to sympathize with. I always thought he worked best as the "noble villain" rather than as a "flawed hero". I didn't really think he could carry a e comics in this volume, Sub-Mariner #2-#13 from 1968 and 1969, largely proved me wrong. Thomas sets up an interesting story arc involving a mysterious helmet. But we have plenty of diversions along the method as Namor runs into the inhuman Triton, meets an old opponent Attuma and a fresh opponent Tiger Shark, picks up some more supporting cast in Diane Arliss and old mate Betty Dean Prentiss, and finally finishes up with Lemuria, Karthon, and ere are a few missteps along the way. Thomas offers up the obligatory heroes war each other (Namor and Triton) before combining versus the villain (Plant Man). Namor has his usual counter productive and self defeating outbursts of temper. The main plot thread (the helmet) does present signs of being created up as it goes along.But all in all this is a quick paced 12 problem romp that keeps the reader involved. John Buscema's art is terrific and Gene Colan and Marie Severin do not disappoint either. There is even a gift parody story from Marvel's humor title Not Brand Echh. Finally, the reproduction is short, this is as amazing a title as Marvel had in the late '60s, with the possible exception of the Avengers. Highly recommended.
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.
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.
With powers like yours. The Fury is directed by Brian De Palma and adapted to screenplay from his own novel by John Farris. It stars Kirk Douglas, John Cassavetes, Carrie Snodgress, Charles Durning, Amy Irving, Fiona Lewis and Andrew Stevens. Melody is by John Williams and cinematography by Richard H. Kline. De Palma once again indulges in the strange globe of psychic abilities and telekinetic powers, with mixed results. On one hand it features powerful performances, some masterful techniques by De Palma, a superb score by Williams, and an ending fit to grace any horror movie past or present. On the other it's exposition heavy, too draggy in the mid- section and much of the screenplay isn't narratively cohesive. Yet getting through the chores is worth it, the latest third of movie enters the realm of the weird and the bloody, gripping in texture and execution. Far from excellent but when it hits its straps it soars. 7/10
The Furies: Creatures of classical mythology, charged with keeping order by punishing the guilty in the Underworld. The Furies is directed by Anthony Mann and adapted to screenplay by Charles Schnee from the Niven Busch novel. It stars Barbara Stanwyck, Walter Huston, Wendell Corey, Judith Anderson and Gilbert Roland. Melody is by Franz Waxman and cinematography by Victor Milner. "This is a story of the 1870's. . .in the Fresh Mexico territory. . .when men made kingdoms out of land and cattle. . .and ruled their empires like feudal lords. Such a man was T.C. Jeffords. . .who wrote this flaming page in the history of the amazing Southwest." Anthony Mann was a fascinating and talented director, his career in direction of movies can be broken into three sections. The 40s where he progressed from "B" films to movie noir, the 50s where he can be credited as a main player in taking the Western to a fresh and more adult level, and finally the 60s where he would helm two enormous historical epics. In short he was versatile and one of the most significant American directors during that 30 year period. 1950 was a prolific year for him, a year that saw him direct four movies, three westerns and Side Street, a crime procedural with noirish leanings. Of the three Westerns, it's Winchester '73 that has the huge reputation and the distinction of being the first of the five westerns created with James Stewart that are rightly held in high regard in Western film circles. Yet the other two, seemingly under seen or forgotten about, are at least worthy of the same praise. With Devil's Doorway, in this writers' opinion, actually a better film than Winchester '73. The Furies serves as the excellent bridging film between Mann's movie noirs and his Westerns because it blends the two courtesy of the Western setting and the story, taking both and cloaking it neatly with noirish atmospherics. To which it is underpinned by two very powerful and passionate father and daughter characters played by Huston and Stanwyck. She is wealth obsessed and single mindedly driven, yet still having shades of vulnerability, whilst he is a crude land and cattle baron who has a kink for Napoleon! It's their relationship, as murky and stand offish as it is, that is at the core of The Furies. However, there are a number of plot off shoots also dwelling in the narrative, making this a complex story, one that pulses with psychological smarts and psycho-sexual undercurrents, with part of the latter appearing to be an incestuous arc between father and daughter. While it's not a Western for those after the more "traditional" gun play trappings of the genre, it does have some intelligent set pieces and moments of adrenaline raising. Including a shocking stage that wouldn't be out of put in a Hitchcock thriller. But ultimately this above all else is about the story and the flawed characters within. This was to be Huston's latest movie appearance, he would sadly pass away shortly after filming of The Furies had wrapped. Nice to report that he signed off from the mortal coil with a top performance, attacking the role of T. C. Jeffords with gusto and relish - with the ending of the movie proving to be rather poignant. Stanwyck is perfect as Vance Jeffords, an actress capable of putting a lot of layers to any hero she was asked to play, here she two folds it by being utterly unlikable with ease, yet in a blink of an eye garnering our sympathy by method of kid like vulnerability. In help Corey is fine as card sharp Rip Darrow, the man who Vance deeply courts, and someone who has a serious agenda with T. C. Jeffords. Yet it's Judith Anderson who takes the acting honours in the help ranks. Charged with the task of playing a hero who threatens to take Vance's put in her fathers world, Anderson nicely combines subtle underplaying with emotive driven thesping. With Mann going for massive atmosphere, Milner's photography is deep in focus and suitably evocative, and Waxman provides a robust - storm-a-brewing, musical score. Prime Mann offering that's deserving of more exposure and more appreciative praise. 8.5/10
Tormentors and the tormented given Lang's gifted touch. Out of MGM, Fury is directed by Fritz Lang and stars Spencer Tracy and Sylvia Sidney and features Walter Abel, Bruce Cabot, Edward Ellis and Walter Brennan in support. It's adapted by Lang and Bartlett Cormack from the story Mob Rule written by Norman Krasna. Loosely based around the happenings that surrounded both the Brooke Hart murder in 1933 and the Lindbergh kidnapping/murder case in 1932, the story sees Tracy as Joe Wilson, an innocent man who is jailed and apparently killed in a fire started by a rampaging lynch mob. However, as the lynch mob go on trial for his murder, Joe surfaces but is twisted by thoughts of revenge on those who happily watched him burn. Widely considered a classic, this first Hollywood outing from director Fritz Lang is a remarkable look at mob violence and one man's limit pushed to its breaking point - and then some. That Lang survived studio interference to craft such a penetrating study of injustice is a minor miracle. Fury is neatly place together as a story, the calm before the storm as Joe & Kath are brought to us as the satisfied face of Americana. Then it's the middle section as rumours run out of control, the dangers of idle prattling rammed home as things begin to escalate out of control-culminating in the savage assault on the jail (a gusto infused action sequence indeed). Then the fall out of mob rule actions - the court case and Joe's malevolent force of vengeance, that in turn comes under scrutiny. The movie was said to have been Lang's favourite American film, which is understandable given it bares all his trademarks. The expressionistic touches, shadow play dalliances and supreme cross-cutting between tormentors and the tormented, for sure this is prime Lang, with no frame wasted either. While it's no stretch of the imagination to think that Lang, having fled Nazi Germany, was pondering what he left behind as he moulded the picture together. Of the cast, Tracy is majestic as our main protagonist, while Sidney is brightly huge eyed and hugely effective as the moral centre of Joe's universe. Controversial at the time, the movie has naturally lost some of that controversial power over the decades. But as the movie points out with the lynching statistics, there was once a time when inhumanity was able to rear its ugly head in the blink of an eye. Fury serves to remind two-fold that not only is it a potent social commentary, but also that it's a damn fine piece of skilled cinema. 9/10
this android game is an exact copy of Latest Shelter Survival (or Latest Shelter is an exact copy of this one) same missions, same guide etc. Constantly log off from the server, on phone network or WiFi... the video test seems very boring, the melody is repetitive... I give it 2 stars cause I really like the art, but besides that nothing else seems worth it :c
Its a amazing game. My only issue is the android game size. For a android game like this, I expected less size, instead there's actually a lot. Hope you'll lessen the android game data. And also, want that uploading my own profile pic would be free instead.
I am 25yrs old. Zgirls is the first android game I have ever play on android, I never play any other popular android game before. I don't even test Zgirls2. Zgirls3 be third android game I ever play. Thete is a android game call Flood, still under development. I dont even rate Zgirls because I cant, over years of released still not available in region. There is no wonder, a lot of of amazing and popular android game released for thousand of years ago still not available in region. So now she is, she deserve.
Amazing game!! Takes put 3 years after ZGirls 1, so it feels like a sequel. You will see some of the original enablers from ZGirls 1, plus a lot of more fresh ones. Much more intuitive and complex than the original, so you will not be playing the same game. Also feels like ZGirls and SimCity had a baby, and ZGirls 3 was born.
I will love to give 5 stars but It lacks some of the features of the 1st android game that I like which are ~when the upgrades below 5 minutes u can instant [email protected]#$%! ~Can change picture without paying and heck why are most pf the things needs to be paid? I mean changing profile pic for 1 dollar outrageous in my opinion ~3d characters kind of look unpolished and lack of sense in my opinion Kind of a bit buggy but its a fresh android game so lots more improvemnts required but anyway goodgame
A lot of improvements from ZGirls 1 have been made, the only thing that really bothers me, is the out of put models used for the charcters on the maps, as they look nothing like the actual charcters, and I hope this is addressed in the future, as this was a issue with technology in the first game, but was later addressed with fresh icons.
The Hulk sits alone in a desert and ponders on why the globe fears and hunts him. At that moment he's captured by his enemy, the underworld ruler Tyrannus. It appears that Tyrannus is badly losing a turf battle to the Mole Man, and he needs the Hulk to support him; the green skinned goliath agrees to support and the war soon begins. -summarySimilar to Stan Lee's run on The Awesome Spider-Man. It appears Lee knew immediately the formula to obtain the Hulk going. It quickly becomes clear to me on what created the Hulk into one of Marvel's most famous characters. This batch of problems are rarely dull as the Hulk is not only plunged into one slugfest after the other, but the reader will start to feel for this tortured soul as he quickly learns there's just no put for him among mankind. Marvel Masterworks: The Wonderful Hulk Volume 3 collects Tales to Astonish problems 80 - 101 and The Wonderful Hulk 102. It's worth noting that during The Hulk's Tales to Astonish run he at one point shared the title with Namor the Sub-Mariner; Namor's stories are collected in his own an Lee kicks things off well enough with the Hulk's continuing hero development as he searches for some form of acceptance; by this time he had already been kicked out of the Avengers and he literally had only one mate in Rick Jones, and this was mainly because he knew that Bruce Banner was the Hulk. Eventually the series becomes more complicated when the Hulk's identity is revealed, and the woman whom loves Banner by the name of Betty Ross, constantly pleads with her father General Ross not to slay him. There are plenty of subplots tossed into this, along with a developing love triangle taking put with Major Glenn Talbot, whom wants Banner dead in order to claim Betty for e stories are well balanced with drama and action which is a amazing thing. The action segments follow Hulk taking on the US Troops and even militaristic terrorist groups; but things pick up quite a bit as the mercenary Boomerang targets the Hulk as an enemy, due to the green goliath interfering and ruining a job for him. Lee wrote these confrontations well giving Boomerang something of a possibility versus him. For those unfamiliar with this feud, and mainly know Boomerang as a nemesis for Spider-Man, this war really isn't that lopsided as one may expect. These problems feature a classic confrontation with the Silver Surfer, the first appearance and a brutal slugfest with the Abomination, and finally one of the more savage wars between Hulk and Sub-Mariner which easily goes down as one of my top private e flaws in these problems mainly come from how familiar some of this already feels due to the earlier volumes. However, this really shouldn't be an problem since this is what the Hulk is about; tragedy, loneliness, and simply being misunderstood makes these stories and Lee finds various ways to discover these things. If I do have a complaint, then it's the Abomination battle. That conflict had potential to become one of the greatest all out brawls of all time, yet it felt method too short and should have gotten the length that other stories had rie Severin becomes the main artist, but others such as Jack Kirby, Bill Everett, John Buscema, and Gil Kane join in with some amazing to amazing action panels. There's plenty of fun here with some devastating looking blows and explosions. This is how a powerhouse hero should be portrayed, and this is the main reason why I always and very quickly fell for the Hulk before Thor. The hero designs at times can be the only true flaw due to inconsistency, with the Hulk not looking as menacing as he should, plus Boomerang being drawn with quite possibly the worst costume I have ever seen.Overall, this is a solid batch of problems and it probably wouldn't damage to begin here. Stan Lee wrote a beautiful amazing Hulk run but I think there were others to come after him that pulled it off much better. In any case, I think the Hulk titles are among the easier old Silver Age series to run through, and if you're looking for some cool action at times then you have it s: Solid follow up that delivers some amazing actionCons: Feels rushed at times and even quite repetitive
This is the Marvel comics I remember from the 60s and 70s. What's not to like? I've been waiting about 40 years to finally search out the fate of the Boomerang, and I got to see the origin of the Abomination. And who can forget the classic Hulk v Silver Surfer duel that wasn't? Throw in the second appearance of the High Evolutionary and you have a winner! At least for me, this blast from the past holds up really well -- this is amazing items from Kirby/Everett, Gil Kane and Marie Severin -- and the reason why I became a Hulk fan.
This is a classic run on a very underrated series. Of all the Marvel Age "secondary heroes" ( i.e. not Spider-man, the Unbelievable Four, Thor or the Avengers), the 72 problems of the Sub-Mariner are a gem. This volume collects the Sub-Mariner encounter with who he thinks is the original Human Torch, the Sea that Time Forgot, a clash with Doctor Doom and a lot of other Roy Thomas penned classics. I highly recommend this volume.
Got this book because I really wanted to reread and view the color ver of Sub-Mariner #20 again...it's like stepping back in time and reliving a moment with child-like wonder, for me it was well worth the trip! :) Also I'd like to mention that #20 has a nice small plot of playing the Sub-Mariner (the anti-hero) versus Dr. Doom (the villain) both of which quite often visited the pages of the "Fantastic Four" (which became my all time favorites later).
As I will be selling my comic collection when i reach retirement , I`d like copies of the comics not just on disk, but with tactile feel..(if you are under 35 you probable would not understand) , oldies love things we can feel as well as see..like ese Masterworks give a amazing rendition of those old comics..if a bit more colorful..that I loved to collect as a boy till now!Surpringly well bound tomes for the price!
...this volume shows how.I've never been a large fan of the Sub-Mariner. To me he came off as far too much of an arrogant jerk whose issues seemed largely self inflicted by an out of control temper. Those qualities are much in evidence in the 12 problems collected in this volume. But as writer Roy Thomas scripts him the nobility and inherent decency of the man take center stage. He becomes far more likable than the bully who grabbed by the throat and lifted off the ground anyone who didn't genuflect in his presence. In this volume also we see Namor actually taking his duties as a head of state seriously instead of spending months away from Atlantis and returning to be shocked, shocked!, that someone rules in his stead. In this volume Prince Namor seems to be growing up a is volume is up to the finest Masterwork standards as another title makes it out of the Silver Age and into the 1970s. Roy Thomas gives another exhibition of memory in an interesting four page introduction. Extras amount to only one original artwork page.Highly recommended volume of a Marvel B-lister.
I was surprised when Marvel Comics sent me a copy of the hard covered book, "All Winners #3", and amazed when I saw my name on the cover and reproduction of my early work inside. After all, I did draw for the company and Stan Lee in my younger years. Fans, you will be delighted with this book with the early work of myself and others.Oh yes, I plan to participate in the International Comic-Con in San Diego this July, and look for me in Artists Alley and bring the book and I will be delighted to sign it.With best wishes to all,Allen Bellman
This book collects Problems 9-14 of Timely's Quarterly comic All Winners, featuring stories with the Human Torch, Sub-Mariner, and Captain America from Summer 1943-Winter 1944/1945. The book has some more stories, but if you're looking for the best Golden Age comic books this is a collection to skip. The draft had taken a toll on Timely's writers and also the magazine had a far less engaged editor than the drafted Stan Lee.1) The Human Torch only appeared in five of the six issues, but I think his stories were probably the best. He kept mostly to battling typical battle time foes, but this was done with the gusto. The best story in the book was Sky Demons over America which has the Torch battling the Hawk, who's a superb looking villain. There's a attractive spread of a aircraft carrier early in the story.2) The Submariner probably has the largest artistic issues in the book. His head just seemed to grow more and more out of proportion as the battle went on. Still, his stories aren't half bad. A very nice tale has Sub-mariner trying to convince the Germans he's got tired of fighting for the allies (You could almost believe it with him.) In Problem #11, the Sub-mariner began to use alliterative interjections at an alarming rate (all similar to the sea.) These interjections included Sleeping Salamanders, Shriveling Shrimp, and Galloping Guppies. (All that on one page.) Overall, these aren't amazing Sub-mariner stories but again solid.3) Captain America really has an uneven quality about him. The first three stories are ho hum. Whoever was writing Cap during the battle had lost track of what created the hero so appealing so when we were only getting a plain adventure strip. Things picked up a small bit with Problem #12's "Four Trials of Justice" in which the Red Skull returns to war the Four Freedoms. Problem #13 comes closest to capturing the Simon/Kirby style with a true horror story. Problem 14 is a dumb story that's battle propaganda that depends on people throwing away puzzles when it's found out they're created in Japan.4) The Whizzer: These six-seven page stories were mostly filler. The best one of them was in Problem 13 where a angry scientist sets elaborate traps for Timely's speedster.5) The Destroyer: Without Stan Lee, this hero went downhill. The stories are dull and fairly hoe hum affairs, with a amazing moment or two thrown in. He was only in four problems and that was a e book contains some fine cover art, a few public service announcements featuring Captain America, and some bland text stories. The book has as much politically incorrect material as any other book in the era.Overall, this isn't poor but there are much better collections out there.
this volume reprints all winners # 9-14 and you obtain alot of standard wartime comics from marvel of the day. WIth heroes like the human torch, the whizzer, destroyer and others providing the action. Every problem features unpolitically correct stories in which the axis foes are depicted as less than human. But that was wartime and overall these remain fun tales from a bygone era. the art is amazing generally if you tried to buy these vintage comic books the price would be enough for amazing downpayment on a house probably so it's a amazing thing they are putting them out in reprint form. another amazing thing is that these are not scans from old comics that look poor but really well remastered panels that look better than ever. The stories are not as complex as todays comics but these superhero tales are still amazing reads and worth checking out.
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.
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.
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.