Marvel’s Top Ten Stories: 1971-1975

I ranked my favorite Marvel Comics stories of 1961-65 and 1966-1970 a while back, so it’s long past time I examined the next five-year period.

The early 1970s isn’t my favorite Marvel era, but it’s definitely a fascinating one, as well as an improvement over the late ’60s (which needed some shaking up). In a way, it’s almost like a proto-Marvel Cinematic Universe. The X-Men have been sidelined. The Fantastic Four have waned. Spider-Man’s still going strong. The Avengers are on top. Thanos is coming into prominence as one of the most powerful villains in the MU. Marvel’s original Captain Marvel is enjoying his heyday. And all sorts of interesting new characters are joining the mix.

It’s also an era of comics creators breaking free from past constraints, with new titles, new genres, new ideas, and bigger, longer storylines that occasionally delve into philosophy and social issues.

So, here’s what I consider the best of this bunch (45+-year-old spoilers ahead!) …

10) The Avengers #113 (by Steve Englehart and Bob Brown)

Vision and Scarlet Witch’s romance goes public, and while most people are excited for them, a small group of bigots decides this is the end of civilization as we know it—androids are going to replace us! So, like bigots do, they turn themselves into living bombs so they can blow themselves up and take the Vision with them.

In this straightforward, single-issue story, the Vision and Scarlet Witch represent the interracial couples of their day, the homosexual couples of the future—really, anyone whose lifestyle is met with unreasoning hostility in any era. Interestingly, the bigots depicted in the comic are a multicultural group; even though they’ve overcome their racial prejudices, they’ve latched onto a new excuse to hate someone for being different. And their hatred ultimately infects the Scarlet Witch, renewing the mutant’s animosity toward humans, even though the overwhelming majority of humans were supportive of her and the Vision.

The comic isn’t subtle, but rather than just preaching, it shows us that hatred is destructive, unreasonable, and, sadly, cyclical.

9) The Incredible Hulk #140 (by Harlan Ellison, Roy Thomas, and Herb Trimpe)

In quite a few early Hulk comics, Hulk was just looking for a place to belong. He was, in a way, undergoing the hero’s journey home—even though he had no idea what “home” was. With this Harlan Ellison plot, we get the best of this Hulk genre so far.

The Hulk is stranded in a subatomic world, where he inadvertently saves a kingdom of green-skinned people, immediately earning their adoration. Bruce Banner’s brain takes over Hulk’s body, and he becomes engaged to the queen of this world. He’s respected and admired, and he has much to offer. He’s not a monster here. So of course it’s all going to get ripped away from him.

The ending has a perfectly tragic touch. As the Hulk reverts to his usual brainless self, he’s vaguely aware of the happiness he had, and he bounds off in search of that place—unaware that it’s within a mote of dust clinging to his clothes.

8) Luke Cage, Hero for Hire #8-9 (by Steve Englehart and George Tuska)

One of the joys of the Marvel Universe is the never-ending opportunity to pair wildly divergent characters who have no business being in the same book. And one especially delightful example is when Doctor Doom hires Luke Cage to track down some runaway robots hiding out in New York.

The second part is where the fun kicks into high gear. After Doom stiffs Cage on the payment, Cage borrows transportation from the Fantastic Four and flies all the way to Latveria to collect his bill. He stumbles into the middle of a revolution already in progress, having no allegiance to either side—just his own values.

It’s a ridiculous scenario that paints a vivid picture of what kind of man Luke Cage is.

7) The Avengers #89-97 (by Roy Thomas, Sal Buscema, Neal Adams, and John Buscema)

The Kree-Skrull War makes a great bridge from Marvel’s Silver Age to its future. It’s a sprawling epic, at different times both micro and macro in scale, one that draws inspiration from recent real-world history as well as Marvel history. There’s a thinly veiled McCarthy figure over here and an android in love over there, plus a loose end from an old Fantastic Four story tied up for good measure—all that and more inside the framework of an interplanetary conflict, with Earth caught in the middle.

If anything, there’s too much going on, so much so that the Avengers themselves nearly get lost in the shuffle sometimes, but part of the charm is the unbridled imagination at play as Marvel breaks into new storytelling possibilities while respecting what has come before.

6) The Amazing Spider-Man #96-98 (by Stan Lee and and Gil Kane)

Spidey fights drugs! The storyline’s main claim to fame is defying the Comics Code Authority to actually show drug use rather than just preaching against it. There’s still some preaching within, but the showing bolsters the message. And by weaving the message into exciting superhero action and relationship drama, Stan Lee elevates these issues into a classic.

The Green Goblin remains Spidey’s most compelling villain of the era. His knowledge of Spider-Man’s secret identity raises the stakes, and the fact that he’s the father of Peter’s best friend adds another layer of tension and gives Spidey the opportunity to appeal to the humanity beneath the garish mask.

5) Doctor Strange #1-2, 4-5 (by Steve Englehart and Frank Brunner)

An anti-magic zealot stabs Doctor Strange in the back and kills him. Or does he? Strange’s attempt to flee death itself plunges him into a surreal odyssey through “unreality.” He’s dying, and nothing makes sense anymore, as a guest appearance by the Alice in Wonderland caterpillar makes abundantly clear (or unclear?).

What starts as a struggle for survival takes on greater meaning, as Strange learns it’s not enough to merely continue living. To beat death, he must conquer his own fear of death. Death is inescapable, after all. And as Strange conquers this fear, the story highlights the distinction between knowledge and wisdom. This is Doctor Strange as it should be—juggling big ideas and memorably weird visuals.

(Issue #3 omitted since it’s mostly a reprint.)

4) Captain America #153-156 (by Steve Englehart and Sal Buscema)

Captain America vs. … Captain America? Marvel had previously attempted to resuscitate the character of Captain America (with sidekick Bucky) in the 1950s. It didn’t work out nearly as well as the next such attempt in the ’60s.

And out of this piece of Marvel trivia, writer Steve Englehart manages to simultaneously turn forgotten stories into canon and confront Captain America with his own potential dark side. Cap sees himself as he might have been—so consumed with blind patriotism that he descends into bigotry and madness.

Recasting the 1950s Captain America as a failed successor may be a retcon, but it’s a retcon with a purpose, one that shows just how exceptional the real Captain America is.

3) Captain Marvel #25-33, The Avengers #125 (by Jim Starlin and friends)

This wasn’t the first Thanos story, but it was the first Thanos epic and the first time he used a supremely powerful artifact to attain godhood. This also happens to be the best the original Captain Marvel series ever got.

Captain Marvel, at this point, is less a character and more an avatar of self-actualization. He’s linked with perennial sidekick Rick Jones; only one can exist in the universe at a time. Rick has long since been the young reader’s stand-in character, and Captain Marvel is, in a sense, his stand-in character, representing the stalwart superhero Rick and the reader have always yearned to be.

During the course of the Thanos War, Captain Marvel evolves, transcending his warrior past to become a universal protector with cosmic awareness. Thanos, meanwhile, uses the Cosmic Cube to elevate himself into a god, but he’s unable to leave his ego behind—and that’s his downfall. Both Captain Marvel and Thanos ascend, but only one does so with wisdom. It’s not so much a superhero story as it is a cosmic tale of philosophy, using aliens to explore human nature. And it’s all written and drawn passionately and exuberantly.

2) The Amazing Spider-Man #123 (by Gerry Conway, Gil Kane, and John Romita)

The runner-up is the follow-up to the #1 story. We spend an issue dealing with the consequences of Spider-Man’s failure, and Spidey works through the anger stage of his grief by battling Luke Cage, hired by J. Jonah Jameson to bring Spider-Man in, dead or alive, for the murder of Norman Osborn.

Superheroes meeting while fighting is hardly uncommon, but as a nice change of pace, this fight feels organic. Cage is just doing his job, and throughout the altercation, Spidey and Cage keep pushing each other’s buttons, escalating the conflict further. Meanwhile, various subplots brew. Previous comics on this list might be more ambitious in scope, might tackle bigger ideas, but this one excels all the more by focusing on character.

1) The Amazing Spider-Man #121-122 (by Gerry Conway and Gil Kane)

Remember on Seinfeld when they wanted to get rid of George’s fiancé, so they just casually killed her by having her lick toxic envelopes? The Amazing Spider-Man had a similar problem, and similar solution, but the execution was so much better (and devoid of toxic envelopes).

Peter Parker’s girlfriend, Gwen Stacey, wasn’t working out story-wise. There was nowhere for the character to go. She simply wasn’t that interesting, but Peter loved her and there was no plausible way to break them up other than to keep wedging Spider-Man between them.

So they killed her. But they made the death count, dealing Spidey his most tragic failure yet, one that would continue to haunt him as much as Uncle Ben’s murder. Gwen’s murder occurs during a climactic conflict with the original Green Goblin, a quarrel that brings Spidey right up to the edge and requires him to be strong and decent enough to step back from that edge.

And the final page, where Mary Jane awkwardly attempts to comfort Peter, is a work of beauty and says so much about both characters, using relatively few words to do so. A masterpiece of superhero comics.

Daredevil and Perseverance

I encountered some technical difficulties while making this video, but I persevered.

See what great lessons we learn from superheroes?

The best ’60s Marvel battles featured the superhero as the underdog. The classic Daredevil #7 (1965) features a lopsided fight between Daredevil and Namor the Sub-Mariner, in which DD showcases one of his greatest attributes — perseverance. 

The Avengers and the Cycle of Hatred

In my latest video, I examine Avengers #113 from 1973, written by Steve Englehart and drawn by Bob Brown. The comic uses the Vision and Scarlet Witch’s relationship as a metaphor for anyone who might be different, and it tells a strong story in the process.

(And this time, I tried out the pure voice-over approach. Still fine-tuning to see what works best. The learning process continues!)

Marvel’s Top Ten Stories: 1966-1970

At long last, round two! We looked at the top ten stories from the Marvel (Comics) Universe’s first five years a few months ago, so let’s move on to the second five years.

In that previous five-year span, everything was fresh, exciting, and unlike anything previously seen in comic books. The freewheeling creativity resulted in a wide range of quality, but certainly plenty of enduring ideas and memorable stories. In this second increment, the Marvel creators have settled into a more comfortable rhythm, achieving a more consistent level of quality. It won’t be every modern reader’s cup of tea, but the era definitely has its share of classics. Here’s ten of them:

10) The Amazing Spider-Man #65 (by Stan Lee and John Romita)

The police arrest an injured Spider-Man…right before the prisoners revolt. Spidey has to use his wits to navigate the situation—and save the life of his girlfriend’s father, Capt. Stacy. It’s a fun adventure that offers a different type of threat than usual, while ongoing subplots continue to simmer in the background. The issue helps strengthen the growing bond between Spider-Man and Capt. Stacy, giving Peter a much-needed friend and mentor, one who instinctively knows Spider-Man can’t be all that bad. Continue reading

Marvel’s Top Ten Stories: 1961-1965

Presenting, just for fun, Marvel Comics’ ten best stories from 1961-1965!

Why only a five-year period? For proper apples-to-apples comparisons, firstly. The comics medium has changed quite a bit over the years, so it’s hardly fair to compare, say, ten-year-old comics to fifty-year-old comics. Plus, the shorter period is more manageable and allows me to highlight more great books over time—sometimes complete storylines, sometimes standout single issues, whatever is merited. (I’ll get to later periods…eventually. And note that these are grouped by release date, not cover date.)

So we begin at the dawn of the Marvel Universe. True, many books from this era don’t hold up particularly well, not to the adult reader. They are dated indeed. But in the foundation of each series are strong, enduring concepts and flawed but heroic characters that people of varied backgrounds can relate to. Plus, the old comics offer plenty of charm with their fast-paced displays of free-flowing imagination. Looking back on these early issues, it’s not hard to see why the characters have survived the decades.

(Spoilers ahead, but these came out over five decades ago, so…)

Let’s get to it. As Stan Lee would say, Face Front, True Believers! Make Mine Marvel! Excelsior! ’Nuff Said!

Wait. Not ’Nuff Said yet. We need the list…

10) The Amazing Spider-Man #3 (by Stan Lee and Steve Ditko)

The superhero genre has a simple but effective formula: The hero almost loses to the villain but ultimately prevails, often improving him or herself along the way. Doctor Octopus’s debut shows an early example of that formula in action, back when flawed superheroes were still a fresh idea. As the book opens, Spider-Man is feeling supremely confident in his crimefighting abilities, and he’s itching for a challenge.

And he gets one, and he gets clobbered, leading Peter to wonder if he’s even cut out for this superhero lifestyle after all. So he’s got a choice: quit, or try again but do it better this time.

Peter Parker is still growing into his role at this stage, and that’s part of what made this series so novel—the superhero was actually growing as a person.

And we haven’t seen the last of Spider-Man on this list. The Amazing Spider-Man was easily Marvel’s strongest series of this era. Continue reading

Today’s Super Comic — Iron Man #1 (1998)

Every so often, a long-running comic book series just needs to get back to the basics…and Iron Man definitely needed that by the late ’90s.

Marvel killed Iron Man a few years earlier and replaced him with a teenage version of himself from an alternate timeline. Then that teen version died along with the rest of the Avengers in the “Onslaught” crossover, leading to the Heroes Reborn stunt in which popular Image Comics creators reimagined and relaunched the Fantastic Four, Avengers, Captain America, and Iron Man in a separate, new continuity. Then a year later, after that had run its course, those characters were restored to the proper Marvel Universe and relaunched with new first issues.

Seemed like as good a time as any to have the real Tony Stark return. The details are sketchy as to why and how the adult Stark returned rather than the teen version…and I’m okay with that. Why dig the hole any deeper? The creative team had an opening to efficiently get back on track, and they seized it in the relaunched Iron Man #1.

Of course, Tony Stark can’t just waltz back from the dead and reclaim his company as if he hadn’t been killed and replaced by his younger self for a while. A competitor had bought out Stark Enterprises, so the big question for the first issue is…will Tony try to reclaim his company? Or will he start something new?

The script by Kurt Busiek gets at the heart of the character. Tony Stark is always trying to build both himself and the world around him into something better. Here, he needs to figure out how best to do it.

Oh, and an unseen old foe wants to kill him. Got to have that physical peril thrown in there, too.

A fine restart all around, and a much-needed one at the time.

Writer: Kurt Busiek

Penciler: Sean Chen

Inker: Eric Cannon

Publisher: Marvel Comics

How to Read It: back issues; Marvel Unlimited; Comixology

Appropriate For: ages 11 and up

Today’s Super Comic — The Uncanny X-Men #201 (1986)

Many superheroes have lost their powers in various storylines, and that includes many X-Men. Usually, it’s presented as an obstacle interfering with an immediate goal, and it’s a solid trope—it shows the hero is more than his or her powers. But the best examples of the trope have also used it to further develop characters, to provide consequences beyond the immediate short story.

Storm lost her powers for a few years’ worth of X-Men comics. She took the bullet for Rogue and then had to figure out how to reinvent herself without the abilities that had defined her for so long. More than most X-Men, her powers affect her personality; in earlier days, she would often repress her emotions because of how her feelings affected the weather around her. She was already beginning to loosen up before this event (see the mohawk), but this pushed her further into new territory.

By Uncanny X-Men #201, she was ready to return to the X-Men, despite the continued absence of her powers. Meanwhile, new father Cyclops isn’t quite ready to leave the team. He obviously should leave to concentrate on his young family, but Professor Xavier’s recent departure and Magneto’s recent arrival as the New Mutants’ new headmaster give him an excuse to try to cling.

But Storm knows Cyclops is in no shape to lead the team at the moment, so she challenges him to a Danger Room duel, with the stakes being leadership of the X-Men. And she prevails, demonstrating the better wisdom, temperament, and physical fitness for the job, even without the aid of powers, and she reminds us why she’s perhaps the X-Men’s most formidable leader.

Storm’s power loss did prove her skills beyond controlling the weather, but it also humanized her. She could no longer be the aloof goddess of her earlier appearances, and her disconnection from the weather put her more in tune with the people around her. And when her powers inevitably did return, those lessons remained in effect.

The X-Men’s success isn’t hard to figure out. The characters grew over time, and their growth kept things interesting and fresh. The Storm and Cyclops facing off in issue #201 aren’t exactly the same people who first met ten years earlier in Giant-Size X-Men #1, but they’re10 consistent with everything that’s come before.

Writer: Chris Claremont

Penciler: Rick Leonardi

Inker: Whilce Portacio

Publisher: Marvel Comics

How to Read It: back issues; Marvel Unlimited; Comixology; included in Essential X-Men Vol. 6 (TPB)

Appropriate For: ages 10 and up

Today’s Super Comics — Fantastic Four #67-70, 500 (2003)

Doctor Doom finally figures out how to one-up Reed Richards in Fantastic Four #67-70 and 500. And yes, those numbers are correct. Marvel likes to have it both ways with numbering—reboot for a new #1 to designate a jumping-on point, then revert to the original numbering for anniversary issues.

Anyway, there’s one subject area where Reed is in over his head. He can’t comprehend magic. The world’s smartest man is an idiot when it comes to sorcery. But Doom understands the fundamentals, and as the son of a gypsy, it’s an established part of his heritage. So in his ongoing quest to humble Mr. Fantastic, Doom rejects science in favor of magic and strikes at the Fantastic Four through their children.

There are no higher stakes than imperiled children. Not even saving the whole world or universe reaches that level, because the scale is too grand to remain relatable. But your kids are in trouble? We can all understand that terror.

The script by Mark Waid nails the characterization of both Doom and Reed, particularly how arrogant they can both be. The storyline shows how they’re perfect antagonists for each other. They reflect each other’s strengths and weaknesses, and their conflict has always been personal. Appropriately for an anniversary issue, there’s history here, and the feud escalates to the next level.

Marvel has published many superb Fantastic Four stories over the decades, and this is in the top tier. And it begs the question—why isn’t Marvel currently publishing Fantastic Four comics?

Writer: Mark Waid

Penciler: Mike Wieringo

Inker: Karl Kesel

Publisher: Marvel Comics

How to Read It: back issues; Marvel Unlimited; Comixology; included in Fantastic Four by Waid & Wieringo Ultimate Collection, Book 1 (TPB)

Appropriate For: ages 11 and up

Today’s Super Comic — The Avengers #144 (1976)

A former romance comic protagonist becomes a superhero in Avengers #144. Or she gets the super-powered costume, at least.

The Avengers, with tagalong Patsy Walker, had been captured by the Squadron Supreme (Marvel’s stand-ins for the Justice League, but evil). This issue sees them trying to escape the Brand Corporation complex—and being a fictional corporation, you can safely assume it’s up to no good.

The fun comes from the interplay between the characters, with the highlight being the casual camaraderie between Captain America and Iron Man. But the big development arrives when longtime superhero fan Patsy gets a chance to become one herself, despite the objections of her protectors. It’s a wish-fulfillment moment free of angst or melodrama, and it introduces an upbeat heroine to the Marvel Universe. You know right away that Hellcat will add something fresh to the mix. (And yes, Patsy is the comics version of the character we saw in Jessica Jones on Netflix.)

Meanwhile, other Avengers wrap up a storyline set in the Wild West. All sorts of craziness can peacefully coexist in Marvel Comics.

The issue is an excellent reminder about how innocently fun comics can be.

Writer: Steve Englehart

Penciler: George Perez

Inker: Mike Esposito

Cover: Gil Kane

Publisher: Marvel Comics

How to Read It: back issues; Marvel Unlimited; Comixology; included in Essential Avengers vol. 7 (TPB)

Appropriate For: ages 8 and up