BHOC: PETER PARKER, THE SPECTACULAR SPIDER-MAN #27
This issue of PETER PARKER, THE SPECTACULAR SPIDER-MAN is probably the most noteworthy and sought-after one in the whole of the run, for reasons that were not apparent to me when I first read it. And that’s because it represents the first time that artist Frank Miller works on the character of Daredevil–a series that he would transform into one of Marvel’s hottest just a couple of years later.…
View On WordPress
38 notes
·
View notes
Spider-Woman #20 (Gruenwald/Springer, Nov 1979). What’s weirder? That it took so long for Pete and Jessica to meet? That Jessica is a Spider-Woman with such different powers than Spider-Man? No, it’s that after 18 years, Jessica has never heard of Spider-Man and assumes he’s imitating her!
25 notes
·
View notes
Giant-Size Conan the Barbarian #4 -June 1975-
Adapted from the novel:
"The Hour of the Dragon" by Robert E. Howard
writter & editor: Roy Thomas
artists: Gil Kane
embelished: Frank Springer & Vince Colletta
colors: Phil Rachelson
letters: Joe Rosen
26 notes
·
View notes
Dazzler Vol 1 #24 / Published: October 26, 1982 / Artist: Frank Springer
16 notes
·
View notes
Summer 1977. While the Alex Schomburg cover might suggest that this is some kind of Golden Age reprint compilation, this was in fact an all-new full-length story. Created by Roy Thomas (initially with artist Frank Robbins, who also wrote many a Batman story in the 1960s and 1970s), THE INVADERS was set during WW2 and was intended to recapture the spirit and energy of the comics of that time. It starred a pre-deep-freeze Captain America, a younger Namor, the original Human Torch and Toro, and as many other old Timely characters as Roy could cram in. For this Annual, Thomas also arranged to hire several Golden Age artists who'd worked at Timely in the 1940, including Schomburg, Don Rico, and Lee Elias; each does a chapter, with Robbins doing the framing sequence.
Thomas gave these guest artists a script of singular ludicrousness. In fact, what happens in the Namor chapter is SO weird that I fear you will not believe me unless you see some excerpts for yourself.
To set the scene: Just prior to the following sequence, Namor had attempted to save a British freighter from a weird shark-shaped torpedo, only to have the torpedo administer a massive electric shock that knocked him unconscious. When he wakes up:
Who could it be who changed Namor's shorts while he was knocked out? And well you might ask!
The Shark is a Golden Age villain, albeit an extremely obscure one who didn't actually appear until after the war. (If you're curious, Thomas explains why elsewhere in the issue.) But why would this dastardly villain steal Namor's trunks (the only clothes Namor was wearing) while he was unconscious? Surely not for any of the awful reasons you may be thinking — this was a mainstream comic published in 1977, after all, and it DOES carry the Comics Code Authority seal on the cover, so it couldn't be TOO nefarious, could it? Fear not, as one thing one may reliably expect in any Roy Thomas superhero comic of this vintage is exposition. The villain explains:
Well, okay then! ("Pressure-resisting materials" indeed.)
I must regretfully now explain that the ACTUAL, IRL explanation for this bit of sartorial legerdemain is even more ridiculous. You see, the genesis of THE INVADERS was a story Roy Thomas had done when he was writing THE AVENGERS several years earlier. In THE AVENGERS #71 (December 1969), Kang the Conqueror had thrown some of the Avengers back in time to WW2 Paris, where they had briefly encountered the Captain America, Namor, and Human Torch of that time. This Annual was intended to bookend that earlier story. However, somewhere along the way Roy happened to notice, or recall, that in that 1969 Avengers story, artists Sal Buscema and Sam Grainger had inadvertently drawn the Sub-Mariner with trunks that were not consistent with the ones he was normally drawn with in the comics of 1941–1942! Horror!
Now, a reasonable person might simply assume that Namor owned more than one pair of trunks and rotated them occasionally, a solution Thomas later applied to explain why the Golden Age Hawkman's mask was so inconsistently drawn. Instead, we not only get this whole absurd plot about creating INVINCIBLE NAZI FROGMEN from Namor's SUPER-TRUNKS — which, to be clear, is intended to rationalize a very minor art discrepancy in exactly nine panels (10 if you count the cover) of a comic book published eight years earlier — Roy has the Shark call out the earlier art glitch in dialogue:
Was this all a private joke? Did Thomas and Sal Buscema have a good laugh about this? (I certainly hope so.)
I generally try to remain fairly po-faced in presenting this stuff, but I just can't do it with this one. This is quite possibly the silliest goddamn thing I've ever seen, and I have read a LOT of completely ridiculous comic books.
24 notes
·
View notes
Police Action #2: Whatever Happened To Luke Malone?!
by Gary Friedrich (W.); Mike Ploog (P.);Frank Springer (I.) and Gaspar Saladino (L.)
Atlas Seabord
11 notes
·
View notes
Peter Parker, The Spectacular Spider-Man #24 (Mantlo/Springer, Nov 1978). I didn’t know the Hypno Hustler had backup singers! The funniest thing about Amazing and Spectacular running side-by-side is that the writers disagree about every ongoing plot. Marv wants Pete to be hopeful about rekindling things with Betty Brant; Bill thinks this is nuts, Betty’s not over Ned and Pete’s not over MJ. Marv wants Pete to be casual about his delayed graduation; Bill says Pete’s embarrassed.
11 notes
·
View notes