Enter the Invaders!

In 1975, Marvel Editor Roy Thomas took an ambitious step to more clearly connect and integrate Captain America’s “Golden Age” and “Marvel Age” storylines. “I’ve been waiting 30 years to do this one,” Thomas wrote in a commentary piece. “After all, hadn’t Captain America been created solely to protect our shores from the Nazis and the Japanese—to serve as a living symbol of the Land of the Free?”[1] Except for the first few issues, the action during the entire run of Invaders comics takes place during 1942. We’ll highlight all of their adventures together at once, then turn to other Invaders stories that take place later in the war.

Giant-Size Invaders #1 opens “December 22, 1941” with Cap and Bucky fighting saboteurs on the docks near Washington, D.C. FBI agents inform Cap that “Dr. Anderson” (from the ToS #63 origin story) is dying and needs his help. Following this is a flashback of Cap’s origin story (drawn largely from ToS #63).[2] Cap and Bucky meet Anderson at Walter Reed hospital, where he relates the story of his discovery of a Nazi “super-soldier” program, which has produced a new threat: “Master Man.” Cap and Bucky are joined by the Human Torch, Toro, and Submariner to fight the menace; they save Winston Churchill, who dubs the team the “Invaders.”

    G-S Invaders #1 (Frank Robbins,  John Romita, G. Saladino;  Invaders #1 (Romita & Saladino)

These proto-Avengers reassemble in late Dec. 1941 in response to seeming Teutonic versions of the Nordic Gods, who turn out to be aliens (#1-2)! In the early weeks of 1942 (#3-4) they save Churchill again, this time from a rogue Atlantean super-soldier dubbed U-Man. Churchill addressed a joint session of Congress Dec. 26, 1941 and traveled through the U. S. and Canada for four weeks; so this must be sometime before he returned to England. We also get a glimpse of Namor’s volatility here when he roughs up a U-boat captain to get information. As Cap stops him, Namor protests, “But – he’s a lousy Nazi!” The response is classic Cap:

And we’re no better if we start using their methods—beating up defenseless prisoners. We’re in the was, Namor, and we’re going to win it—but lets make sure we’re still the ‘good guys’ when we do! Or else—we don’t deserve to win.

Enraged, Namor goes after the renegade Atlantean himself, with a reluctant Bucky in tow.[3]

The Red Skull returns in issue #5. FDR remarks at a briefing, “he was presumed dead,” which connects nicely with the Skull’s last Golden Age appearance in CAC #7 (Oct. 1941). The Skull captures Cap, Torch, Toro, and Namor, leaving Bucky behind as “of little use.” In a story that weaves through Marvel Premier #29-30 and Invaders #6, Thomas reintegrates several Golden Age heroes into the “modern” Marvel Universe as members of the home-front “Liberty Legion.”[4] MP #30 introduces NY Yankees batboy Fred Davis, who plays “Bucky” in a ruse to lure the Red Skull to his defeat (and will later figure prominently in Thomas’s reworking of Cap & Bucky’s end-of-the-war “demise”).[5]

     Invaders #6 (Jack Kirby, Joe Sinnott, Saladino); Marvel Premier #30 (Kirby, Frank Giacoia)

In Fantastic Four Annual #11 (1976), the FF travel back in time to “Early 1942,” arriving in the middle of a meeting in London in which the Invaders are being briefed about the “Nazis planning something big” in occupied France. A container of Vibranium, sent to the past by Doom’s time machine, has given Germany a technology advantage which they will use to win the war (alternate future/time paradox and all that!). The Invaders team up with the FF, traveling to France and encountering Baron Zemo. This story depicts Cap’s first battle with Baron Zemo, resulting in the “Adhesive X” incident that permanently fixed Zemo’s hood to his face. The FF return to the present having retrieved only half of the missing Vibranium. It’s up to Ben Grimm, the Ever-Lovin’ Thing, to return to 1942 himself to finish the job (Marvel Two-In-One Annual #1 and MTIO #20 (both 1976). This time Grimm teams up with the Liberty Legion to battle Master Man, Warrior Woman, U-Man, and SkyShark, stopping the Nazis from developing a prototype “Flying Swastika” sky fortress.

The Invaders saga moves to England in mid 1942 (#7-11), introducing the original Union Jack (Lord Montomery Falsworth, a member of a WWI team called “Freedom’s Five) and his daughter Jacqueline. Falsworth’s brother Jonathan turns out to be the Nazi super-vampire Baron Blood. When Jacqueline is bitten by the vampire, a blood transfusion from the Human Torch interacts with the vampire venom in her bloodstream, giving her super-speed. She takes the costumed identity “Spitfire” and eventually joins the Invaders. Baron Blood is impaled, but Lord Falsworth’s legs are crushed, ending his brief career as the first Union Jack in the Invaders.[6]

       Fantastic Four Annual #11 (Kirby, Sinnott); Invaders Annual #1 (Alex Shomburg)

After travelling to the Warsaw Ghetto in Poland to rescue a Jewish boy who has the ability to turn into the super-human Golem of Hebrew myth (#12-13), the team returns to London and encounter a group of British superheroes called the Crusaders. The team includes one Yank–The Spirit of ’76–and the diminutive Dyno-mite, later revealed to be Roger Aubrey, a close friend of the missing Falsworth heir, Brian (#14-15).[7] The team’s next adventure (#16-21) takes them to Germany, where they face Master Man, his new “mate,” Warrior Woman, and Hitler himself! This storyline is precipitated when Nazis kidnap G.I. Biljo White, who turns out to be the creator of a popular Cap knock-off comic, Major Victory. Since that hero’s origin story was a thinly-veiled imitation of Cap’s own, seems “the Nazis may suspect that a comic book artist . . . knows something about the carefully-guarded Super-Soldier Formula!”[8]

Thomas took advantage of a summer Annual to return to events first depicted in a “pre-Invaders” time travel story he’d written in Avengers #71 (Dec. 1969). both stories repr. in GS Avengers/Invaders #1, 2008). In the original Avengers story, Cap, Black Panther, and Yellow Jacket travel back in time to Paris in the summer of 1942 (“1941” in the Avengers story), where they battle Namor, the Human Torch, and—Captain America! This time the story is told from the Invaders’ point of view, reconciling, as much as possible, every little detail which had not been considered in 1969 (including the mistaken dating)![9]

The subject of Japanese-American internment during the war is tackled when the team travels to California to seek medical treatment for the wounded Toro (#25-26). When they find most qualified surgeon for the task (a Japanese-American) and his family have been sent to the camps, Cap rips into the openly racist camp C.O.: “These people–herded here like so many animals! While we’ve been off fighting the Fascists, has our own country taken a page from our enemies?” With Bucky and Toro remaining state-side, Cap, Torch, and Namor return to Europe, reconnecting with Spitfire and Union Jack to confront a new menace: Komtur, the Teutonic Knight. Meanwhile, Bucky and Toro form a new team of youngsters called “Kid Commandos” and Hitler finds a way to summon Thor (yes, the actual MU God of Thunder) to aid the Nazi cause! (#28-34).[10]

The Liberty Legion returns for a run (#35-37) in which Golden Age heroes the Whizzer and Miss America replace Union Jack and Spitfire on the team. A new Nazi menace, the Iron Cross, also makes his first appearance. The first Invaders series winds up (#38-41) in something of a mega “All Star” bout featuring the now “All-Winners Squad”-styled team of Americans against Baron Blood, Master Man, Warrior Woman, Merrano, and a new Asian villainess called Lady Lotus. Nothing like going out swinging!

       Invaders #15 (Kirby, Sinnott)                                Alter Ego #20 (Al Milgrom)

“For yours truly,” Thomas later reflected, “The Invaders was always, despite its World War II setting, a giant stage on which almost any drama could be played—or any type of homage be paid to heroes and/or villains of yesteryear . . . .”[11] For Captain America, it foreshadowed his later role as “The First Avenger,” placing him in a team context for the first time (chronologically, at least).

[1] Giant-Size Invaders #1 (June 1975). The Invaders series was more than just an imaginative presentation of war-time action. Thomas determined to bring together the “old-style long-on-action-short-on-sense” style of stories of the Golden Age with the “sensational super-villains which are such an integral part of today’s comics scene.” Yet he was also very specific about maintaining flexibility in the connections between past and present. Events in Golden Age stories may have “actually happened, more or less, [but] we’re ordinarily not going to consider ourselves bound by anything which occurred in the old Timely mags unless we also verify it in the ‘Invaders’ tales themselves” (he even specifically mentions a story in CAC #9 (Dec. 1941; though he writes #7) to head off objections to his dating the first Invaders story on December 22, 1941). Still, few people (except, perhaps, Ed Brubaker) have done more give Golden Age characters contemporary relevance. Early issues of Invaders are peppered with Thomas’s wonderful “Nostalgic Notes on the Golden Age of Comics.”

[2] Thomas also “reconciled the ‘Dr. Reinstein’ of CAC #1 and the ‘Dr. Erskine’ . . . of ToS #63” in this Invaders story (“World War II Forever (But Only In Comic Books!), Alter Ego #20 (Jan. 2003), p. 6. In this article, Thomas provides many insights into the creative process behind the Invaders, his various reinterpretations of Golden Age heroes, as well as a general synopsis of each story in the title’s 41-issue run.

[3]Invaders #3 (Jan. 1976), Thomas. The opening scene of issue #4, with Cap, Torch and Toro in “hot” pursuit across a D.C. Army Air Corps base, is later recalled by journalist Ben Urich in Conspiracy #1 (Feb. 1998).

[4] The Liberty Legion was formed in June 1942, according to CA:Patriot #1 (2010). When Cap makes specific reference to the Patriot in Invaders #5, Bucky protests: “Aw, get serious, Cap! He may wear your colors, but he’s not in your league!” Cap chastises him: “They’re not ‘my colors’, lad. They belong to 134,000,000 Americans.” This issue also shows Bucky and Toro reading early issues of Captain America Comics and Marvel Mystery Comics. Bucky points to two defects in the stories: “they’ve got a lot of details all wrong” and “they have us fighting most of our battles here in the states.”

[5] After Cap and Bucky’s “death’” near the war’s end, Davis will ultimately become the new Bucky for real along side William Naslund and Jeff Mace in the late 1940s (see “Post-War Caps” below). Davis also will later join the V-Batallion and become a member of the revived Penance Council in 1951. For more on the reintegration of Golden Age Heroes in the “modern” MU, see Appendix 1.

[6] In the midst of this arc (issue #10), Thomas makes a direct connection between Cap’s Invaders activity and an actual Golden Age story. Reflecting on Lord Falsworth’s recent brush with death, Cap recalls “The Reaper . . . the Nazi foe [Bucky] and I fought months ago back in the states.” Noting that while the “hard facts” of the encounter remained classified, “A basically accurate account of it is going to be published state-side, any day now. The comic book version’ll be called – “Captain America Battles the Reaper!” The remainder of the story reprints the original tale from CAC #22 (Jan. 1943). Thomas will also use the Invaders platform to reinterpret Toro’s origin (#22) and reprint (in #24) an early team-up between Torch and Namor from MMC #17 (March 1941).

[7] In his previously mentioned Alter Ego article, Thomas the Crusaders were designed with specific “Golden Age lineages” in mind. The Spirit of ’76, “clearly based on Nedor’s Fighting Yank,” will be used again by Thomas just a few months later in his classic What If? #4 reinterpretation of Cap’s 1945 “demise” (Aug. 1977; see more in “Post War Caps” below). Brian Falsworth is revealed to be Golden Age hero the Destroyer in Invaders #18 (he then becomes second Union Jack in #21, and Aubrey takes up the role of the Destroyer). See more details on Thomas’s reinterpretation of these characters in Appendix 1.

[8] Biljo White, an actual artist and friend of Thomas’s, was not only featured in the story as a fictional version of himself, he even drew the artwork of Major Victory’s origin story in a full-age “comic within a comic” (#16). Major Victory was an actual Golden Age hero who appeared in 1941-42 issues of Chesler’s Dynamic Comics and Yankee Comics (as related in Thomas’s Alter Ego article).

[9] Invaders Annual #1 (1977). This tale fits between events in Invaders #15 & #16 and includes a nice editorial from Thomas carefully explaining the connections with the original Avengers story.

[10] Issue #29 includes a flashback to Cap & Bucky’s first encounter with Komtur in late 1941, “some weeks before there was a team called the Invaders.” The Kid Commandos include a Japanese-American girl (“Golden Girl”) and an African-American boy (“Human Top”). The Thor encounter ends with the Thunder God coming to his senses, but wiping the memory of his appearance from everyone (albeit with a nod to Avengers future): “’Twas not meant that Thor should walk amongst mortals at this time. Mayhap one day, ere long, as ‘twas prophesied . . . .” The story also features a cryptic appearance by time travelling Victor von Doom, his face wrapped in bandages.

[11] “World War II Forever . . .” Alter Ego (Jan. 2003).

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Captain America Among the “Marvels”

Captain America’s origins as the “Living Legend of WW II” began in the pages of Golden Age Captain America Comics and several other Timely titles published during the war years (see earlier posts for details).  But for most Cap fans now, his exploits a WW II hero have been largely the product of “retconning”–the wonderfully creative Marvel affinity for re-imagining and connecting Golden Age stories with the evolving Marvel Universe.

This new development in Cap’s narrative is rooted in his “return” to the modern MU in the landmark Avengers #4 (1964), followed by reinterpretations of Golden Age stories in Tales of Suspense #63-68 (1965-66).  Roy Thomas’ Invaders series and What If? #4 from the 1970s, practically Ur-texts in the “retconning” process, will be discussed in detail in an upcoming post.  A key effort in crafting a more comprehensive Marvel mythos for the modern age is found in Kurt Busiek & Alex Ross’s masterful Marvels series (1994).


Cover for Marvels #1, Alex Ross

Over four wonderfully-creative issues, Marvels chronicles the emergence of super-humans in the mid-20th C. as viewed from the perspective of photographer Phil Sheldon. Sheldon dubbed these new hyper-humans “Marvels” as he recorded their impact, both for good and ill, for New York newspapers and ultimately in a book of that title.

In first issue, Sheldon and a colleague walk down the street as “Fall turned to Winter and Forty turned to Forty-one.” They pass two kids playing “good guys vs. Nazis,” and Sheldon’s friend pauses: “Take a listen, Phil.”

marvelscap1  marvelscap2

A nearby youngster, pulling an issue of Life Magazine out of his back pocket (with a nice two-page spread of the new phenomenon that is Captain America), proclaims,

“I wanna be Cap’n America.  He’s the best! He’d jump onta ya. Rip off yer canopy—and stuff them bombs down yer Nazi throat! Nothin’ stops him! A tank? He’d kick onto its back like a turtle! A platoon? Scattered like duckpins! He’s Cap’n America, Maxie! He’s the best!”

Sheldon’s take on the new hero?

He hit like a blitzkriek. You couldn’t go anywhere without hearing about him. Nobody admitted to knowing anything at the Department of the Army—but they were sure smug about something . . . . The Nazi saboteurs—the assassination rings—the Fifth Columnists—every day it seemed like there was something new. He strolled out of Nazi strongholds like he was walking through the park. Shrugged off bayonets—and we ate it up like candy . . . . He was as much of a Marvel as the Torch or the Sub-Mariner—but he was never a threat like they were. Was it because they were outsiders—and he was one of us? Our own personal American champion?

After Pearl Harbor and the American entry into the war, Sheldon becomes a war correspondent and writes home to his wife.

“The Marvels are here to stay. And there’s more of them all the time—Citizen V, the Whizzer, the Blue Diamond. And nobody has any idea what the future’s going to bring. But do you know what? It’s going to be one heck of a ride finding out!”[1]

The same year that Marvels was published, CA #423 (Jan. 1994) featured a story set in “early 1941,” that opens with a classic Torch-Submariner battle over New York. In this story, Namor kidnaps FDR, and Cap and Bucky go to his rescue. This story shapes up as the first meeting of Cap and Namor (the two did not meet in Golden Age comics until the war’s end). The Marvel’s Project storyline depicts Namor stalking the streets New York “in the summer of 1941,” plotting his revenge against “the Flaming Man” and all humanity. The cataclysmic confrontation between Fire and Water devastates New York (echoing somewhat events from Human Torch Comics #5, Sept. 1941) and ends with Namor being taken out by Captain America’s shield. As Cap and the Torch look upon their stunned foe, Cap queries, “Who is this guy?”[2]

July 1941. Cap is at the docks in NYC, busting up some “swastika-sympathizing saboeurs” who have infiltrated the dock workers. The scene is covered by Daily Bugle reporter Jeff Mace, who nabs a fleeing bad-guy. Meeting after the altercation, Cap extends a grateful hand to Mace, who responds, “It’s an honor, sir! I’d do it again in a New York minute!”

“I’m sure you would,” Cap replies, “even if I wasn’t here.” As he pulls away on his motorcycle, Cap tosses back, “We’re going to need a lot more like you, mister! If you ask me, you’re not just a citizen . . . you’re a patriot!”[3]

from CA: Patriot #1 Mitch Breitweiser

from CA: Patriot #1
Mitch Breitweiser

The Marvels Project narrative concludes (#8) in December 1941.  Knowledge of impending invasions both at Pearl Harbor by the Japanese and in Washington, DC by a German/Atlantean force brings the “Marvels”  into action.  The Pacific threat is met by Torch and Toro; Cap, Bucky, and Namor take up defensive positions on the East Coast. The Torches’ involvement at Pearl Harbor and the East Coast invasion were kept secret from the general public so as not to detract from the heroic efforts of the soldiers involved “who fought without the benefit of science.”

The Marvels Project #8 cover by Steve Epting

The Marvels Project #8 cover by Steve Epting

By the end of the year, FDR has commissioned a new super-human team called the Invaders.  Namor is pardoned for his crimes against humanity on the condition he join the group.  Their story is coming up soon, but before we go there, we’ll take a brief look at some of Cap’s earliest war-time adventures.

Next Up:  America Goes to War

[1] Marvels #1 (Jan. 1994). One panel features newspaper headlines from Boston Globe: “Captain America Nabs Spy!”; the Daily Star: “Captain America Prevents Dam Explosion”; New York Times: “Captain America Nation’s No. 1 Spy Buster”; the Daily Bugle: “Who is Captain America?” The issue closes with beautiful two-page spread painted by Alex Ross depicting Cap & Bucky, Namor, Vision, Namor, Torch, Toro, and several other Golden-Age heroes parachuting into a German stronghold.

[2] The Marvels Project #6 (April 2010), Brubaker. Namor, at this point, is unaware of an impending Atlantean collaboration with Nazis in the works during his absence.

[3] Captain America: Patriot #1 (Nov. 2010).  In this four-issue miniseries, Karl Kesel traces Mace’s emergence as the home-front Patriot, telling much of the story in Mace’s classic mid-century reporting style and drawing masterfully from both Golden Age (Human Torch #3/4 and 4/5, Summer-Fall 1941; Marvel Mystery #21-44 (July 1941 – June 1943) and #49 -74, Nov. 1943 – July 1946) and modern ret-conned sources (What If? #4, Invaders #5-6, Marvel Premier #29-30; more on these events to come).

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Captain America in the Golden Age of Comics

Steve Rogers’ early adventures as Captain America unfold in relative sequence throughout 1941 in the pages of Captain America Comics. Since the U.S. is not yet involved in the war, Cap & Bucky go into action mostly against Nazi spies, “Bund” operatives, assorted criminals, and occasional bizarre monstrosities. Betty Ross, who became a series regular, debuted in the second story of CAC #1, captured by members of a Nazi spy ring she has been “investigating for the U. S. Government.”

from CAC #1, Simon & Kirby

from CAC #1, Simon & Kirby

The third story in issue #1 introduces the Red Skull, a villain destined to become Cap’s greatest nemesis. Cap seems to have heard of the Skull, but at the end of this initial encounter, this “Red Skull” is revealed to be aircraft industrialist George Maxon, who appears to commit suicide. The cover of issue 2 (April 1941) again shows Cap & Hitler, obviously in Germany. In the issue’s second story Cap and Bucky make their first appearance in Europe, where they actually do punch out Hitler and Goehring![1] The Red Skull returns #3 (May 1941), still identified as “Maxon” (having survived the poison thought to have earlier killed him). After using his “Power Drill” to dig up NYC, he again “dies” in a bomb blast at the story’s end. Issue #5 (August 1941) takes Cap and Bucky to the Pacific for the first time, where they encounter the “Dragon of Death” super submarine (an unusual vessel described as “Asiatic” and controlled by “Orientals”).[2]

CAC #5, Simon & Kirby

from CAC #5, Simon & Kirby

Cap’s exposure broadened in two new titles, both published in the summer of 1941. Young Allies was Timely’s version of the popular “boy gang” comics of the time, but this gang also included Bucky and the Human Torch’s sidekick, Toro. The gang’s first adventure took them around the world (Germany, Russia, China, and across the Pacific) and up against the Red Skull. Cap and the Torch have to step in to rescue the boys in the end, the two heroes’ first Golden Age meeting. All-Winners Comics was launched as a character showcase title, and every issue of its five-year run featured a Captain America story.[3]

All_Winners_Vol_1_1 Young_Allies_Vol_1_1  cover art by Alex Shomburg (All-Winners) and Jack Kirby (Young Allies)

By the end of the first year’s run of CAC, only a few of Cap’s 40-some stories showed him in action outside of the U.S. But soon after America’s entry into the war after Pearl Harbor, Cap and other Timely heroes began taking the fight to the Japanese. The cover of All-Winners #4 (Spring 1942) shows Cap leading the charge flanked by Torch, Namor, Bucky, Tory, Whizzer, and the Destroyer. Cap is shown punching Tojo on the cover of CAC #13 (April 1942). Both titles featured stories set in the Pacific and/or Japan; each hit the newsstands in early 1942.

All_Winners_Vol_1_4 Captain_America_Comics_Vol_1_13  cover art (both) Al Avison

Tales of Suspense “Retellings”

Not long after his “modern day” revival in Avengers #4 (1964), Cap began to share the Tales of Suspense title with fellow Avenger Iron Man. As we’ve already seen, Lee and Kirby retell “The Origin of Captain America” in ToS #63, and the next several issues continue to draw from material from early CAC stories. ToS #65 (May 1965) retells the first Red Skull story (CAC #2) in more or less the same detail, but with some significant differences. Here neither Cap nor Bucky seem to have previous knowledge of the Red Skull. When this “Skull” is revealed as “Maxon,” he claims he’s “not the real John Maxon.” He escapes rather than committing suicide, and Cap and Bucky still believe this man is the Red Skull.

In ToS #66 (June 1965) Lee & Kirby give us “The Fantastic Origin of the Red Skull,” a story that resolves the “Maxon/Skull” mystery. The story opens with Cap in Germany–with no explanation as to how or why he got there–a captive of the Red Skull! “Tell me,” the Skull says, “How did you learn that Maxon wasn’t the real Red Skull last month?” Cap replies it was because he was so easily defeated, “And I had heard of your fighting prowess!”

Tales_of_Suspense_Vol_1_66 Tales_of_Suspense_Vol_1_68  cover art by Jack Kirby

The “real” Skull now reveals his “true” origin: an orphan neglected and unwanted, he was a bellboy at a hotel where Hitler, on a whim, selected him to be trained “to be evil personified.” Hitler gave him a uniform, mask, and name: “Henceforth, you shall be known as the Red Skull—answerable only to me!” More backstory indicates Skull’s infamous activities in Europe began well before this encounter with Cap. He had grown in power second only to Hitler, to the point of having control of entire naval wolf packs (which sank a convoy Cap was with, leading to his capture). Cap is given a chemical potion that makes him renders him the Skull’s mental slave.[4] Over the next two issues (#67-68) Cap encounters Hitler himself, is rescued by Bucky, and returns to Britain, where his Army unit is training.

With the U.S. now directly involved in the war, CAC covers during 1942-44 more often showed Cap and Bucky involved in war-related activities, but many of his Golden Age stories continued to be centered on his home-base at Camp Lehigh. His forays into Europe, Africa, and the Pacific theater increased significantly after CAC #31 (Oct. 1943), but stories involving home-front plots, criminals, and occult/sci-fi themes continued to appear regularly. Cap’s shelf-presence expanded with his becoming the feature character in USA Comics #6 (Dec. 1942; continuing through issue #17 in 1945). Along with Torch and Namor, Cap was also featured in All-Select Comics #1-10 (1943-46). The stories in these two titles run the gamut from war action to mystery to monsters.

All-Select_Comics_Vol_1_1 U.S.A._Comics_Vol_1_6  cover art (both) by Alex Shomburg

Almost always, even when Cap was shown in war action, the details (and often the locations) in Golden Age stories were sketchy, generic, and always fantastical. It would not be until the modern Marvel Age and the magic of “retconning” that the “real stories” of the Living Legend of WW II would finally be told.

Next Up:  Cap Among the “Marvels”

[1] Since the U. S. is not yet officially involved in the war, this is perhaps a propaganda-motivated exaggeration of Cap’s early activity in Europe (as many Golden Age stories are later said to be). In a flashback in Avengers #213 (Nov. 1981, Jim Shooter), Steve Rogers is shown “on a recon patrol with [his] unit” in Germany. “It was early in my career,” he recalls, “after I had established myself but before I had seen much front line combat.” The Official Index to the Marvel Universe places this flashback during the events of CAC #2, but specific dates for events are difficult to pin down at this point unless they are clearly mentioned.

[2] The Dragon Ship shows up again near the end of the war in an Invaders story in the short-lived Marvel Universe series (#1-3, 1988).

[3] Cap made guest appearances in Young Allies #1-2, 4-7, 9 and 12. In the Young Allies 70th Anniversary Special (Aug. 2009), Bucky remembers his “first mission” with the group: “Of course, the propaganda office played up that exploit, calling us the “Young Allies.” For a while, we even had our own comic book. The comics exaggerated the story, inventing wild fantasies about us. The art was more caricature . . . it made us all look like twelve-year-olds. And, of course, the publishers altered my friends’ names as well.” The re-imagined tale names the “allies” as Patrick O’Toole (“Knuckles”), Washington Carver Jones (“Whitewash”), Geoffrey Worthington Vandergill, and Henry Yosuf Tinklebaum (“Tubby”).

[4] “Maxon,” it seems, was a mere puppet for the real Red Skull, whose name is revealed to be Johann Schmidt in CA #298 (1984). The Red Skull also appears in Young Allies #4, CAC #7 and #16, and All-Select Comics #2 (all 1942). He is constantly “dying,” then inexplicably reappearing. In “The Red Skull’s Deadly Revenge” in CAC #16 (July 1942) he’s shown breaking out of prison. His green jumpsuit is at first shown with a Japanese military flag on the chest, then switches toward the story’s end to the more familiar swastika! Once again, he is shown “killed” at the end. Finally, Cap fights the Skull (now in a yellow jump suit) again in All-Winners #12 (Fall 1944).

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Marvel Milestones (part 4): from Silver to Bronze

Imagine a time when nearly all the heroes of the Marvel Universe could appear in five small panels across a single page! The image below is from the Nick Fury story in Strange Tales #156 (May 1967), by Jim Steranko. Who’s missing? Dr. Strange (but he was elsewhere in this same comic); Quicksilver (who should be in the middle Avengers panel), and Namor, the Sub-Mariner (who was more of a villain in these early days).  The mysterious Inhumans, descended from prehistoric humans genetically modified by the Kree (see below), first appeared in FF #45 (Dec. 1965) but had not yet become major players in the MU.


That was all about to change as Marvel entered a new expansion phase that brought the end of core heroes sharing Atlas-era titles and launched a whole universe of new heroes and titles.

1966-68 The Marvel Universe animated with the premier of “The Marvel Super Heroes” TV show (followed by FF, Spider-Man shows)

In 1966 Marvel also introduced two new characters that would open new horizons for the MU.  In Fantastic Four #48 the Silver Surfer arrived on Earth as the herald of the planet-consuming Galactus.  The backstory of this enigmatic cosmic surfer was told two issue later, and he was given his own title and storyline in 1968).  FF #52 introduced the Black Panther, ruler and protector of the African nation of Wakanda, the first black superhero in mainstream American comics (FF cover art by Jack Kirby, Joe Sinnot).

Fantastic_Four_Vol_1_50 Fantastic_Four_Vol_1_52

The modern MU began with the FF’s journey into space; the late 60s and early 70s brings the cosmos to Earth and takes Earth’s Mightiest Heroes to the cosmos. The expansion-minded Kree Empire sent Captain Mar-Vell to Earth as a spy, but he instead betrays his orders and becomes Captain Marvel, Earth’s cosmic protector (Marvel Superheroes #12, Dec. 1967). The original Guardians of the Galaxy fight alien invaders in the 30th century (MSH #18, Jan. 1969; they would later time-travel to the “present” in Avengers stories).  In the early 70s, one of Marvel’s first extended story arcs appears in Avengers #89-97 (1973-4), as the Avengers (along with Captain Marvel) are drawn into the Kree-Skrull War. One of the MU’s most nefarious villains, the Thanos of Titan (who debuted in Iron Man #55) makes a big splash in new-look Captain Marvel #25-33 (1973).

Marvel_Super-Heroes_Vol_1_12 Marvel_Super-Heroes_Vol_1_18

Captain_Marvel_Vol_1_33    Avengers_Vol_1_97_002Marvel Super-Heroes covers by Gene Colan.  Captain Marvel cover by Jim Starlin.  Avengers cover by Gil Kane & Bill Everett.

The cover of the final issue of the Avengers Kree-Skrull War  (above) depicts Rick Jones’ psychic manifestations of several Golden Age heroes:  The “Big 3” (top) plus (bottom l-r) Patriot, Blazing Skull, Vision, and the Fin.  One of the feats of “Marvel Magic” of this era was Roy Thomas’ determination to connect Timely’s Golden Age with the contemporary MU.  A modern reinterpretation of the Vision had already been introduced in Avengers #57 (Oct. 1968).  In Avengers #71 (Dec. 1969), Thomas sent the Vision, Yellowjacket, and Black Panther back in time to face the Golden Age “Big 3.”

1970-75  Thomas’ boldest Golden Age retcon came in the mid-70s, but before we go there, let’s take a quick survey of major Marvel highlights of the early to mid 1970s:

  • Prehistoric “Sword & Sorcery”Conan the Barbarian #1 (1970) followed soon by Kull the Conqueror and Red Sonja.
  • Supernatural & “Neo-Horror”Man Thing debuted in the Conan mag, Savage Tales #1 (1971) and was given his own title three years later.  Tomb of Dracula #1 (972) followed by Frankenstein. The new Marvel Spotlight title introduced “Werewolf by Night” (#2-4): Ghost Rider (demon-possessed motorcycle stunt-man Johnny Blaze, #5-11); and Son of Satan (#12-24), and Moon Knight, mercenary Marc Spector restored to life by the Egyptian god Khonshu (#28-29).
  • Martial Arts & “Jungle Action”Shang-Chi first appeared in Master of Kung-Fu #1 (1974); Danny Rand as Iron Fist debuted in Marvel Premier #15. Ka-Zar (Marvel’s “Tarzan”), a frequent guest-star in other comics, headlined Astonishing Tales #1-20 and his own a short-lived title; Black Panther went solo in Jungle Action #5-24 (and later his own title and as an Avenger).
  • Blacksploitation, Marvel Style—African-American hero Sam Wilson, The Falcon, first appeared in CA #117 (1969) and then became Captain America’s partner (with issue #134, Cap’s title became Captain America and the Falcon). Luke Cage, a tough urban former gang member, was introduced in Hero for Hire #1 as the first African-American hero to have his own book (he later teamed up for many years with Iron Fist).  Eric Brooks debuted as Blade, Vampire Slayer in Tomb of Dracula #1 (1973).
  • Still Winning the West—Classic Atlas-era Western Heroes Two-Gun Kid, Rawhide Kid, and Kid Colt, which continued to run reprints and new stories, were joined by new Native American hero Red Wolf (1st in Marvel Spotlight #1, then in his own short-lived title).
  • Off the Bench—some characters who had been either frequent guest-stars or team members were given a chance to go solo. The Inhumans (genetically-altered by mysterious “terrigen mists”) and Black Widow (originally a Soviet spy) shared space in Amazing Adventures #1-8; X-Man Hank McCoy (“Beast”), having turned even more “beastlier,” went solo in #11-17. Adam Warlock headlined Marvel Premier #1-2; this new “try out” title also featured Dr. Strange (#3-14), Iron Fist (#15-25) and a host of one-shots.
  • Back to the Future—alternate futures for the MU were settings for bionic soldier Deathlok (Astonishing Tales #25-36 and Marvel Spotlight #33) and “War of the Worlds” (Amazing Adventures #18-39, where Killraven leads resistance fighters after the Martian invasion of Earth).
1975 poster by John Buscema shows many new faces in the expanding MU

1975 poster by John Buscema shows many new faces in the expanding MU

1975-80 Marvel ends out this era with the formation of several new teams and a few new characters that proved to have long-lasting appeal:

Defenders_Vol_1_50    Champions_Vol_1_1  Defenders # 50 (1977) cover by Al Milgrom; Champions #1 (1975) cover by Gil Kane

  • A few of Marvel’s early “majors” who’d suffered sometimes erratic publishing histories (Hulk, Dr. Strange, Sub-Mariner), had gathered as the Defenders in 1972.  This misfit “anti-team” eventually included members such as Nighthawk, Valkyrie, Moon Knight, Hellcat (and others) and remained popular until the mid 80s.
  • The short-lived Champions gathered together two X-Men, Black Widow, Ghost Rider, and the demi-God Hercules on the West coast.
  • Roy Thomas reached back to the Golden Age with retconned stories of Cap, Torch, Namor, and their sidekicks teamed up as the Invaders.
    In his new What If? series, Thomas explained why Captain America was still in action long after the end of WW II (his role had assumed by other Golden Age heroes).

Invaders_Vol_1_1   What_If?_Vol_1_4  Invaders #1 (1975) cover by John Romita; What If? #4 cover by Gil Kane

  • Marvel Team-Up had been featuring Spider-Man teamed with another hero since 1972; a new Super-Villain Team-Up title (1976-80) did the same with Dr. Doom, Magneto, the Red Skull, and other prominent bad guys.
  • Marvel had been publishing reprints in the U.K. since 1972, but in 1976 the created a new hero for the market, Captain Britain (scientist Brian Braddock empowered by Merlin to be “Britain’s new champion”). The same year Marvel tried to channel early Spider-Man magic into Nova, an insecure teenager (Richard Rider) who becomes part of a cosmic law enforcement corps.
  • Three new strong female characters (though all quite derivative) joined the MU as the 70s ended: Marvel (Carol Danvers, empowered by mysterious Kree connections); Spider-Woman (Jessica Drew, a subject of genetic engineering); and She-Hulk (Jennifer Walters, who was transformed by a blood transfusion from her cousin, Bruce Banner).
Marvel's Women of the 70s, poster by Mike Mayhew

Marvel’s Women of the 70s-80s; poster by Mike Mayhew (too bad he left out Spider-Woman)

Of course, one of the major developments of Marvel’s Bronze Age was a new interpretation of the X-Men in 1975, which set the stage for the “mutant mania” of the 80s and 90s.  We’ll save that story for our next chapter..

Next Up:  “Make Mine Mutant!”

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Steve Rogers and Bucky Barnes

In the summer of 1941 Private Steve Rogers reported for duty at Camp Lehigh, where he got to know camp mascot “Bucky” Barnes and learned to deal with the routine abuse of Sargent Michael Duffy. He’s called to Washington D.C. to meet with President Roosevelt, who reviews the highlights of his career so far then gives him an updated uniform and his new circular shield. Both Bucky and the new shield will be his constant companions for the duration of the war; the shield, of course, for much longer.[1]

CA #255, John Byrne art

CA #255, John Byrne art

In an oft-recounted story[2], camp mascot “Bucky Barnes” enters Rogers’ tent unannounced and catches him changing into CA uniform. Here’s how various versions depict what happens next:

(CAC #1) “From now on we must both share this secret together,” Rogers says. “That means you’re my partner, Bucky.” (CA 109) Bucky promises, “I’ll keep your secret, Cap—I swear it! All I ask is—let me join you! Let me be your partner!” The story concludes, “And so was born the famous fighting team that battled tyranny and crime in every corner of the Earth!” The original story closes with Cap and Bucky (in uniform), going into action “against the vicious elements who seek to overthrow the U. S. Government!”

Jack Kirby's classic rendition from CAC #1

Jack Kirby’s classic rendition from CAC #1

(Mythos) Cap: “Things are going to change. You’re going to have to change, too.”
Bucky: “You’re Captain America. All along, it was you. I can’t believe it.”
Cap: “You can never tell a soul, Bucky. Everything that I am depends on it. Understand?”
Bucky: “Wh—what are you going to do?”
Cap: “It’s not what I’m going to do, son. From now on its what we’re going to do together.”

In CA 215, Cap exclaims, “That crazy kid! He virtually blackmailed me into letting him become my junior partner!” Bucky’s origin story is related with much the same detail in CASL #12, which intermixes a retelling of their final 1945 Baron Zemo battle (see Avengers #4 and 56) with flashbacks to Bucky’s first adventures with Cap, including the Nazi sub episode from ToS #63.

CASL #1, Doug Braithwaite cover art

CASL #1, Doug Braithwaite cover art

In AdvCA Bucky’s discovery of Rogers’ secret is depicted in issue 3, but he does not become Cap’s sidekick right away. After some training, Bucky accompanies Cap on an adventure to Europe to rescue Col. Fletcher, who has been captured by the Nazis. In issue 4, Cap and the Red Skull face off in a gladiator-style battle; Bucky helps Cap defeat the Skull and they return; Bucky shown in uniform in a back-page splash. In the ToS #63 story a few panels elaborate a bit on Bucky’s training, followed by a seeming first mission together—stopping a Nazi supply sub offshore from delivering goods to sabateurs.

CA vol 4 #26 has a flashback set just after Bucky has discovered Steve’s identity as CA. Steve (in Cap uniform) and Bucky sit in the office of one “Colonel Price” as he questions them about the “SNAFU.” Cap defends Barnes’ youthful enthusiasm. Price replies, “Calm down, soldier—it’s not quite what you think. The brass has determined that we could use a propaganda figure against the Hitler Youth. Effective immediately, Captain Rogers, you’re to train this young buck as your new partner.” (Bucky flashes a smirky smile!)[3]

CA vol 4 #26 Chris Bachalo art

CA vol 4 #26 Chris Bachalo art

Bucky’s New Groove

Bucky’s origins have been revisited with his reintroduction to the Marvel Universe in 2006 (more on that later!). Recent stories have peeled back the myth of a naïve teenage sidekick that was presented in the Golden Age comics.[4] CA vo. 5 #50 follows Bucky through several birthdays, beginning in March 1941. He’s depicted here, turning 16, being sent to England for “special combat training.” He recalls, “Next thing I knew, I was meeting Steve Rogers, and the brass was making a cover story for the press . . . ‘Camp kid becomes Cap’s Sidekick.” Both the 2005 “Winter Soldier” arc (CA vol. 5 #11-14) and the 2011 “First Blood” arc (CA #620-25) revisit Steve and Bucky’s early months together.[5]

CA vol 5 #12, Steve Epting Art

CA vol 5 #12, Steve Epting Art

The “Bucky reinterpretation” is a prime example of trend in the contemporary Marvel Universe to distinguish between Golden Age “comic book stories” (presented to the public in embellished form, primarily for kids) and the “real-life” versions of said adventures (being “revealed” in our own time, presented in comics that are more artistically “realistic” and aimed at older readers). Bucky and Toro were occasionally shown reading the first sort of “Marvel Comics” in actual Golden Age Marvel Comics (even FDR was once shown reading Marvel Mystery Comics–in MMC #34!). This theme is being explored even more deeply in 2011’s All-Winners: Band of Brothers limited series and 6th Captain America series (see appendix), which literally depicts Timely Publications producing comics as propaganda under the direction of the government.

Of course, the most significant aspect of the “Bucky reinterpretation” came from the pen of Ed Brubaker, who brought Cap’s young lost sidekick back to life in his “Winter Soldier” CA arc and subsequent solo comics beginning in 2005. Rick Remender also provides a few flashbacks to Bucky’s early days training and later working with Cap in his 2014 Winter Soldier series. These historic vignettes are full of classic Cap wisdom, such as: “We’re here to fix what the Nazis have broken, not as some invading army. We don’t murder a defeated foe, for any reason” and : “It looks bad, Bucky, but we’re not done! As long as we draw breath—we fight!”[6]

Between Golden Age tales and Modern Age retcons, there are a lot of stories to tell about the war, it’s bitter end for our heroes, and all that lies between then and now. Let’s begin by getting Cap and Bucky into action together.

Next Up:  Cap & Bucky in the “Golden Age”

[1] CA #255 specifically set the meeting with FDR in June (also shown in CASL #7). Steve and Bucky are shown at Camp Lehigh in July in a scene with Bucky reading exploits of Captain America in the newspaper as in CAC #1. But CAC #1 also shows Bucky first in action with Steve when he has his triangular shield—again; more shield confusion!

[2] CAC 1; ToS 63; CA 109, 215; CASL #12 (1999); Mythos: CA (Aug. 2008), and elsewhere. A ToS footnote states, “When Bucky Barnes’ G.I. father died in training, Fort Lehigh adopted the orphaned boy as camp mascot.” The Mythos depiction places this event in early December, 1941, just after the Japanese attack on Pearl Harbor, news of which Bucky is bringing to Steve Rogers. While this is a nice literary devise, that date cannot be reconciled with many other established aspects of continuity, not the least of which is more recent assertions that this event was a PR fabrication. Bucky himself says in CA #603 (April 2010, Brubaker) that this was “just a cover the army made up. I was trained to be Cap’s partner before I ever met him.”

[3] CA vol 4 #26 (July 2004), Robert Morales & Chris Bachalo.

[4]See CA: Sentinel of Liberty 12 (1999), issue “0” of CA: White (Sept. 2008), Mythos: CA (Aug. 2008), CA vol. 5 #12, 14 (2006) and #50 (2009); CA #620-ff (retitled Captain America & Bucky for this arc). In the latter, more details are given about Bucky’s youth and his father’s death, c. 1935-38. His sister is sent to boarding school, and Bucky is placed “on the base, with Dad’s old pals looking out for me.”

[5] In CA #12 (2005) Steve Rogers is shown in August 1941 watching an athletic, combat-adept Bucky in training, with hints that he is being prepared to be his partner. Rogers and Barnes meeting in #14. An extended version of the scene, which also shows Steve and Bucky meeting for the first time, is in CA & Bucky #620 (Sept. 2011). While Steve has historically been portrayed as a Private during this time, and Bucky as “camp mascot,” in the #14 meeting Steve is introduced as “Corporal Rogers” to “Pvt. Barnes.”

[6] Winter Soldier: The Bitter March (5 issues, 2014).

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Worldviews: Five Themes for the Journey

“This is a philosophical story we are in, and we will confront opposite philosophies at each fork of [the] road . . . .  Time and history do not matter now.  The same philosophies, the same alternatives, the same choices that confront you in your world, we ancients had in ours.” — Peter Kreeft, The Journey

In this remarkable little book, philosopher Peter Kreeft presents an allegory after the model of Bunyan’s Pilgrim’s Progress and C. S. Lewis’s Pilgrim’s Regress.  “I thought about entitling it Pilgrim’s Egress,” he writes, “since it is about a pilgrimage to find the meaning of life, and about an egress, or escape, from ten wrong turns on this pilgrimage.TheJourney”  Kreeft opted instead simply for The Journey, and in it he imagines himself being led by Socrates on a quest for the meaning of life.

This journey begins in Plato’s philosophical “cave” with the first challenge set forth before a step is even taken in any direction:  “Shall I question?  Shall I go on this quest for truth at all?”  The first philosopher who appears to dissuade “Kreeft” from proceeding is Epicurus, who beckons him to simply stay in his “garden of delights” and “make the most of the only world you have”–that of worldly pleasures set before you.  “Eat, drink, and be merry.”

Tempted, “Kreeft” asks Socrates if he can provide a reason why traveling on would be better than staying.  “I cannot,” Socrates responds.  “I am asking you to question  . . . , to wonder.  Philosophy begins in wonder, you know.”

“Suppose I choose not to wonder?”

“Then you have chosen not to choose.  Remember–you do not have a choice between some philosophy and no philosophy, only between good philosophy and bad philosophy.”

And so they begin.  As they make their way, they encounter ten “crossroads” where various philosophical or religious figures attempt to convince them they’ve either arrived at their destination or why there’s no sense in going further.  Each crossroads takes them through a progression of humanistic worldviews:  skepticism, cynicism, nihilism, materialism, relativism, atheism.

Having discerned the limitations of each potential “stop,” the travelers must now face the biggest question of all:  how (or does) God fit into all of this?  And if so, what is the nature of this God?  New religious options arise:  pantheism, deism, polytheism, monotheism.  What’s to be made of the claims of the Jews to be “God’s Chosen People” and the source of a “Messiah” in whom alone the fullest and truest meaning of life could be found?

Kreeft’s The Journey makes an excellent companion to go along with this class.  In it we see the Socratic Method employed to understand the premises of various worldviews and follow them to their logical ends (their telos).  Partly from Kreeft, partly from Jostein Gaarder’s Sophie’s World, and partly from twenty years of broad reading and reflection, I’ve come to see five themes that transcend time and culture in which all worldviews are anchored.  The themes are not entirely progressive–that is, one is not completely surpassed by the next.  But most have enjoyed a period of ascendance and cultural hegemony that pushed others to the margins of cultural influence.

  1. What’s Your Story? – understanding the world through the imagination.


  • All human civilizations begin with a “myths,” stories which provide answers for the “Three Big WV Questions.”  These stories are rooted in culture and language, they incorporate narrative archetypes, and they often include an element of revelation.
  • Myth and religion in early human history are intricately connected; both use stories to provide imaginative explanations for human origins and reveal deep truths about the human experience.
  • What do ancient sacred writings, drama and literature reveal about truth, beauty, goodness, and the nature of our humanity? Where should we exercise prudence and caution in the realm of imagination?
  1. Making Sense of Things – understanding the world through senses & experience.


  • “Natural philosophy” in many civilizations challenged imaginative stories and supernatural explanations as the valid ways of understanding the “real” world.
  • Naturalism focuses on what can be gleaned only by experience using the senses, leading ultimately to science as a primary foundation for explaining the world and the materialist presumption that only physical substances and forces constitute “reality”.
  • How do science and empirical methodology shape our understanding of our humanity and our place in the natural world? How do we respond to scientific reductions of all things to mere materiality?
  1. What’s on Your Mind? – understanding the world through reason, logic, intellect.


  • Classical philosophers in the Greco-Roman world, Asia, and Medieval Europe considered “thinking man” one of the defining characteristics of our humanity.
  • The relationship between mind and body and the role of reason and logic was a primary concern of philosophy, theology, and ultimately the social sciences in modern times.
  • How do classic philosophical questions show us how to live life in proper relationship to our world and our fellow humans? What is the source of morality and ethics? What defines goodness, truth, beauty?  Is it all up to us, or is there more
  1.  How Do You Feel About That? – understanding the world through feelings & emotions.

inside out

  • Enlightenment Rationalism emphasized the “thinking individual” and his/her place in society over traditional structures of authority.  Optimistic faith in progress manifest in social reform movements and the politics of human rights.
  • Modern Romanticism revived the place of the imagination, giving primacy to the “feeling self” as the sole interpreter of transcendental truth.  “Creative genius” is celebrated and idolized in the “high culture” of the arts.
  • Is progress inevitable?  What role do our feelings play in our understanding of ourselves and our place in the world? Where are the lines between self and society? How do the arts reveal goodness, truth, beauty?

5.  Truth Be Told – understanding the world through the claims of the Gospel.


  • The Gospel is the essential human story from Creation to Covenant to Christ to Church to Consumation.  It makes fullest sense of the Created order: it provides the fullest meaning and understanding to the Big Questions of life; it gives fullest expression to our deepest needs and longings.
  • The identity, incarnation, ministry, death and resurrection of Jesus as the Christ is the ultimate “hinge of history” and the fulfillment of God’s design, purpose, sovereignty, love, and grace.
  • A Gospel understanding of the world animates and reveals the Truth in the previous 4 themes, while also providing the wisdom and discernment needed to navigate their claims in this fallen world.
  • How do you reconcile the Truth of the Gospel with other truth claims such as those of Islam and other religions, scientistic evolution, relativistic pluralism, non-religious spirituality?  How do you balance the exclusive claims of the Gospel with the pluralistic realities of contemporary culture?

Stay tuned for more as eventually I hope to unpack each one of these themes in a series of classes (and corresponding posts)

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Marvel Milestones (part 3): The Silver Age Begins

MakeMineMarvelDC kicked off a superhero revival in the late 50s with new versions of its classic heroes, and followed that success with the Justice League of America, a team comprised of their most popular heroes. Goodman’s Marvel Comics, responded with the Fantastic Four, and a new era began for the MU. Stan Lee was the creative force behind most of Marvel’s most iconic heroes, working in the early days with Jack Kirby, Steve Ditko, Don Heck, and eventually John Romito, Sr., Jim Steranko, Jim Starlin, and others to bring them to life. Marvel heroes were portrayed as real people, often with real-life problems. Great attention ways paid to crafting a coherent “universe” in which they lived, centered in real-life New York City. Stories connected to real-life events (every president since FDR has been featured in a Marvel comic!). Comics moved to the forefront of popular culture.

Related Events: “The Sixties,” Vietnam War (1964-73), Civil Rights Mvt. (1954-68)

Important Terms: popular culture, metaphor, Baby Boomers, counter-culture

Discussion Points:

  • What made Marvel Comics different from DC Comics?
  • Why did Marvel Comics appeal to older readers (such as college students)?
  • How did Marvel interpret/reflect social issues of the sixties?

View Comic Book Superheroes Unmasked segment 3 (@34:50-54:00)


1961-2 Marvel’s “First Family,” the Fantastic Four (Mr. Fantastic, Invisible Girl, Thing, Human Torch) debuts in Fantastic Four #1 (Nov. 1961).  Alien Skrulls 1st appear in #2.  Ultimate Marvel villain Victor von Doom makes his first appearance in #5.

Fantastic_Four_Vol_1_1    Fantastic_Four_Vol_1_5

1962-64   The “Marvel Universe” expands with iconic characters, old and new.  The Sub-Mariner returns, “discovered” suffering from amnesia by the FF’s Human Torch (FF #4, May 1962). He makes regular guest-appearances in FF, then in 1965 begins to share the Tales to Astonish title with the Hulk in #70-101).

Fantastic_Four_Vol_1_4     Tales_to_Astonish_Vol_1_70

Dr. Hank Pym first used shrinking particles to become the size of an ant in Tales to Astonish #27, then invented a way to communicate with them and became Ant Man (TTA #35, Sept. 1962).  He was joined by partner Janet Van Dyne (the Wasp) in TTA #44, and ultimately learned to grow into Giant Man (TTA #49, Nov. 1963).

Tales_to_Astonish_Vol_1_27 Tales_to_Astonish_Vol_1_35 Tales_to_Astonish_Vol_1_44 Tales_to_Astonish_Vol_1_49

Dr. Bruce Banner, bombarded by “gamma rays,” becomes the Hulk (Hulk #1, May 1962; Hulk will do a number of guest appearances in other titles and later share the Tales to Astonish tile with Giant Man (#59-69).

Incredible_Hulk_Vol_1_1    Tales_to_Astonish_Vol_1_60

Teenager Peter Parker, bitten by a radioactive spider, becomes Spider-Man (Amazing Fantasy #15, Aug. 1963).  In the first issue of his own title (March 1963), he meets the Fantastic Four, and Johnny Storm appears at Peter Parker’s high school in ASM #3!

Amazing_Fantasy_Vol_1_15 Amazing_Spider-Man_Vol_1_1

The thunder god Thor awakens in Dr. Don Blake (Journey into Mystery #83, Aug. 1962); Hulk appears in FF #12 and Tony Stark creates his first suit of Iron Man armor Tales of Suspense #39 (both March 1963); Dr. (Stephen) Strange first appears in a short story in Strange Tales #110 (July 1963), which has been featuring solo stories of the Human Torch since #101.  Torch and Strange share the title until #134 (though Torch gets cover preference).


The cover of Strange Tales #114 (Nov. 1962) teases readers with the return of Captain America.  This one turns out to be an imposter; but Cap’s actual return right around the corner following the formation of the Avengers (#1, Sept. 1963), a new team which gathered Iron Man, Thor, Ant Man, Wasp, and (briefly) the Hulk.  The Avengers soon find the real Cap frozen in suspended animation in #4 (March 1964), offering up a new story that he and Bucky had been lost on a mission in 1945 and presumed dead.

Strange_Tales_Vol_1_114    Avengers_Vol_1_4

The same month that Marvel launched the Avengers, another team made up of young mutants Cyclops (Scott Summers), Marvel Girl (Jean Grey), Iceman (Bobby Drake), Beast (Hank McCoy), and Angel (Warren Worthington) are gathered together “In the Sensational Fantastic Four Style” by Charles Xavier, “Professor X” in X-Men #1 (Sept. 1963).  They are connected to the broader MU through an appearance with Iron Man in ToS #49 (Jan. 1964).

X-Men_Vol_1_1     Tales_of_Suspense_Vol_1_49

Nick Fury’s WWII exploits leading a squad of ethnically-diverse characters are told in Sgt. Fury and His Howling Commandos (beginning in May 1963).  “Present day” Fury (now with an eye patch) first appeared as a CIA agent in FF #21 (Dec. 1963) and became the Director of super-spy agency S.H.I.E.L.D.  in Strange Tales #135 (Aug. 1965).

Sgt_Fury_and_his_Howling_Commandos_Vol_1_1   Strange_Tales_Vol_1_135

In 1964, a multi-series crossover (primarily in the form of guest appearances) begins in Avengers #3 with the disgruntled Hulk and Sub-Mariner joining forces.  Hulk then battles Thor in JIM #112, and Sub-Mariner turns up in Avengers #4 (where he angrily throws Cap’s ice block into the sea for the Avengers to find on their way back from the encounter in Av #3!).  Meanwhile the Thing and the on-the-run Hulk face off in FF #25 (in which the Avengers also appear).  Finally the Avengers catch up with the Hulk in the desert Southwest in Av #5, where they manipulate him into helping defeat the Lava Men.

Avengers_Vol_1_3    Journey_into_Mystery_Vol_1_112

Fantastic_Four_Vol_1_25     Avengers_Vol_1_5

Blind lawyer Matt Murdock becomes Daredevil (Daredevil #1, Apr. 1964; notice the cross-title references on the cover!).  Spider-Man nemesis the Green Goblin (Norman Osborn) appears in ASM #14 (July 1964), along with the Hulk (he really gets around!).

Daredevil_Vol_1_1     Amazing_Spider-Man_Vol_1_14

In late 1964, Cap and Iron Man begin sharing the ToS title (continues #59-99).  ToS #63 featured a retelling of Cap’s origin story, and his stories from then through #72 are set in WW II and include “The Fantastic Origin of the Red Skull” in #66.  After all of the original Avengers resign in Av #16 (May 1965), Captain America is left to form a new team made up of two mutant siblings (Scarlet Witch and Quicksilver) and super-archer Hawkeye (Clint Barton).

Avengers_Vol_1_16 Tales_of_Suspense_Vol_1_59

Rounding out a half-decade of energetic creative frenzy, the core players of the modern MU are finally set.  In 1965 the Avengers and X-Men face off in X-Men #9 and Daredevil guest-stars in FF #39.  In FF Annual #3 (Oct. 1965) everyone got together (villains included!) when Reed Richards and Susan Storm were married!  Spider-man and Daredevil, who would find common ground in the gritty streets of New York (and share a common enemy in the Kingpin), meet up for the first time in Daredevil #16 (May 1966).

X-Men_Vol_1_9     Fantastic_Four_Vol_1_39


Up Next:  the MU goes global, cosmic, and more!

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Marvel Milestones (part 2): The “Atlas Era”

Soon after the end of World War II, Timely Publications had already begun to shift its focus to cAtlaslogoomics featuring “funny animals”, romance, western action, and several new “adolescent antics” titles (Patsy Walker, Millie the Model, Nellie the Nurse), aimed primarily at girls. The early 50s saw new emphasis on horror and crime stories, science-fiction fantasies, war stories, weird monsters, and humanity in an atomic age. These comics were distributed by Goodman’s new Atlas News Company, and the Atlas icon on their covers gave this era its name.

Related Events: Cold War (begins c. 1947), Senate Hearings on Delinquency (1954)

Important Terms: communism, morality tales, stigma, retrocontinuity

Discussion Points:

  • How did fear of communism influence comics?
  • Is your behavior influenced by what you read?
  • Is government responsible for protecting us from harmful influences?

View “Comicbook Superheroes Unmasked” segment 2 (@26:00-37:00).  You can also find a narrative “Brief History of the Marvel Universe” with more cover art online at http://metropolisplus.com/marvelhistory/index.htm


1948-51 The primary Western Heroes of the MU get their start (later stories in the “Modern Marvel” era establish these gunslingers are part of MU history):


Marvel’s three main Western Heroes together on the cover of 1968 reprint series, art by Dick Ayers


  • Two-Gun Kid and Kid Colt (both start in 1948); Rawhide Kid (1955)
  • Apache Kid (1951; renamed Western Gunfighters in 1956)








1950 The only Atlas-era “superhero,” Marvel Boy, (who had grown up on Uranus!) first appeared in his own comic (title changed to Astonishing with issue #3). H After a year as something of a romance comic, stories of Greek goddess-turned-heroine Venus shift to horror themes.


1951-52 The first issues of Strange Tales and Journey into Mystery published.  These titles and others from the Atlas Era will serve as launch publications for many of Marvel’s classic heroes of the 60s.

Strange_Tales_Vol_1_3    Journey_into_Mystery_Vol_1_1

1953-55 Timely’s Golden Age “Big 3” briefly returned in Young Men #24-28, Men’s Adventures #27-28, Human Torch #36-38, Sub-Mariner # 33-43, and Captain America #76-78.

Young_Men_Vol_1_24   Men's_Adventures_Vol_1_28

1954  Dr. Fredric Wertham’s Seduction of the Innocent published; Comics Code Authority formed after the U. S. Senate’s Hearings on Juvenile Delinquency (see details in the video).

Adventurer Ken Hale is cursed to become the Gorilla Man in a story in Men’s Adventures #26. M-11, the Human Robot, first appeared in Menace #11.

Agents of Atlas

1956  F.B.I.Agent Jimmy Woo first appears in Yellow Claw #1. Two years later, Woo would become the leaders of a group of Atlas Era characters (Venus, Marvel Boy, Gorilla Man, M-11) as the Agents of Atlas.* A cousin of the Sub-Mariner, Namora, who appeared in many Golden Age stories and three issues of her own title in 1949, also was a member of the team.

1959  The first issues of Tales to Astonish and Tales of Suspense published (also important “launch” titles for Marvel’s 60s superhero revival).

Tales_of_Suspense_Vol_1_1    Tales_to_Astonish_Vol_1_3

Avengers1959WWII hero Nick Fury  assembled a group of individuals to investigate resurgent Nazi activities around the world. Calling themselves the “Avengers,” the group consisted of Golden Age heroines Blond Phantom and Namora along with “modern” characters Ulysses Bloodstone, Dominic Fortune, Kraven, Sabertooth, and the original Silver Sable.*




*Denotes “retrocontinuity” stories published after Marvel’s Silver-Age super-hero revival, but set prior to the events in Fantastic Four #1 (below). Marvel has made great use over the years of the art of character “retconning,” a device used to make creative changes to past stories (or in entirely new stories) to “retroactively” place them into established Marvel Universe “continuity.”  Agents of Atlas first first appeared in their own series in 2006.  Fury’s “1959 Avengers” appeared in New Avengers vol. 2 #10 and in Avengers 1959 (both 2011).

Up Next:  The “Modern Marvel Universe” is born!

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Marvel Milestones (part 1): Timely’s Golden Age (1940s)

Comic books as we know them got their start in the early 1930s, first as published collections of daily newspaper comic strips. Major Malcolm Wheeler-Nicholson founded National Allied Publications (later named DC) in 1934 and began publishing original material (but not yet superheroes) in Adventure Comics (1935) and Detective Comics (1936).

TimelylogoMartin Goodman was a publisher of a wide variety of pulp magazines (including titles such as “Marvel Tales” and Marvel Science Stories”!) since the early 30s, started Timely Publications (later named Marvel) in 1939 when he first entered the comic book market with Marvel Comics.

Related Events: Depression (1930s), WW II (1938-45), Pearl Harbor (Dec. 7, 1941)

Important Terms: archetypes, propaganda, holocaust, fascism, stereotypes

Discussion Points:

  • Why did superheroes become so popular?
  • How did the War influence comics?
  • Who should “own” the characters created for comics?

View “Comicbook Superheroes Unmasked” segment 1 (to @26:00).  You can also find a narrative “Brief History of the Marvel Universe” with more cover art online at http://metropolisplus.com/marvelhistory/index.htm


1938  National’s Superman first appears in Action Comics #1 (June)

1939 National’s Batman first appears in Detective Comics #27 (May)

Timely’s Human Torch (a synthetic flaming man) and Namor, the Sub-Mariner (a human/Atlantean hybrid) first appear (Marvel Comics #1, Oct.)


1940 Fawcett’s Captain Marvel first appears in Whiz Comics #2

Timely changes the name of their original title to Marvel Mystery Comics and starts two new titles — Daring Mystery Comics and Mystic Comics. The Human Torch gets a new title under his own name. Torch and Namor meet for the first time in MMC #8, the first “crossover” in the Marvel Universe.


1941 Timely’s Captain America first receives the Super Soldier Serum, his original shield, and his teen sidekick, Bucky (Captain America Comics #1, March). It was the beginning of a big year for Timely:


  • Cap will also regularly appear, along with other new heroes, in two new titles created later that year: All Winners Comics and USA Comics.


  • Cap’s sidekick Bucky began appearing with Torch’s partner Toro with an odd group of boys in Young Allies Comics #1 (Torch and Cap, coming to the boys’ rescue, meet for the first time).


  • Sub-Mariner also gets a new title under his own name.

1942  National’s Wonder Woman first appears in Sensation Comics #1

1943 Timely launches All-Select Comics, which features more stories of its “Big 3” (Torch, Namor, Cap) and other heroes. In MMC #49, Timely introduces its first major female character, Miss America (she got her own title in 1944)


1946 Timely’s All-Winners Squad, a team comprised of Captain America, Bucky, Human Torch, Toro, Sub-Mariner, Whizzer (Marvel’s “speedster”), and Miss America first appears in All-Winners Comics #19, further establishing that all of Timely’s characters inhabit the same “universe.” A new female crime-fighter, the Blonde Phantom, first appeared in All-Select Comics #11 (which was renamed for her with issue #12).


1949  Timely’s “Golden Age” ends with these final issues: Blonde Phantom #22 (March), Human Torch #35 (March), Sub-Mariner #32 (June), MMC #92 (June), and Captain America #74 (October, now billed as Captain America’s Weird Tales, which gives you an idea where comics are headed as we move into the 1950s!).


Up Next:  The Atlas Era

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“Who Is Captain America?” A Legend is Born

The beginning of Steve Rogers’ career as Captain America has been significantly embellished over the years, as has that of his wartime partner, “Bucky” Barnes. In the original 1941 origin story, we jump from the end of the “Rebirth” to a panel asking, “Who is Captain America?” Cap, in uniform with his original triangular shield, is shown surrounded by newspaper headlines touting his early escapades (“Captain America Captures Spy Ring . . . Nabs Spy . . . Prevents Dam Explosion!”). Since it would be nearly a year until the U.S. was actually involved in the war, Cap’s initial heroic activities involved thwarting domestic espionage and sabotage.


Suddenly, we find ourselves at “Camp Lehigh of the U. S. Army,”[1] where Private Steve Rogers (identified by name for the first time!) is shown being approached by camp mascot, “Bucky Barnes.” The two are apparently already acquainted, and Barnes holds a newspaper and calls out to Steve: “Look’t this . . . Captain America is at it again!” (also in ToS #63 & CA #109 & #215, but the camp is not identified). In CAC #1 Bucky seems to immediately discover Steve is Cap, leading to their partnership, but subsequent stories shed light on Steve’s activities in the weeks that follow his transformation (the Rogers/Barnes relationship—and its transformation over the years—will be discussed in more detail to follow).

Cap’s first order of business: training. “Shortly after Dr. Erskine’s tragic death, Rogers was put into a special training program to teach him how to use his new body. For three months, he worked out with the greatest boxers, wrestlers, body builders, and gymnasts the free world had to offer!” (CA #255). Since he “would be the only one of his kind . . . Steve listened to his instructors well and trained his new body to the perfection the professor had made possible . . . and he prayed that one super-soldier could make a difference” (The Marvels Project #5, cover variant below by Steve McNiven).


In January 1941 (according to a calendar shown), Steve meets briefly with General Phillips in Washington, D.C. Phillips has been reading from the 1781 diary of Rogers’ colonial namesake (see above) and remarks, “Your ancestor led quite an illustrious career, Rogers . . . you should be proud . . . .” Steve replies, “I am, sir. The Captain was a brave man in a time that needed brave men. I am proud to have been named for him.” He hands the general a sketch he’s made of the colonial Captain’s uniform before going back to his training. “. . . A brave man . . .” General Phillips ponders, looking at the sketch, “. . . in a time that needed brave men . . . .” (CASL #7)

After his training is complete, Rogers is briefed by Gen. Philips on a Nazi special agent—the Red Skull.[2] “The Skull has come to personify the evil of Nazism,” Philips says. “We need desperately need an agent who is his opposite . . . a man who will be a living symbol of life and liberty.” He gives Rogers his first CA uniform and triangular shield. “We need you to inspire the public–to give them hope through the dark days that lie ahead.” In uniform for the first time, Captain America steps forth:

Then I pray that I’m equal to the task, General. This land of our may have seen some hard times, and maybe it hasn’t always lived up to the promise of the Founding Fathers . . . but America at its best has always stood for the rights of man, and against the rule of tyrants. And if America needs a man to stand for her principles, to battle the forces of tyranny—then, as God is my witness, I shall be that man! (CA # 255, CASL #7).

Three nights later in rural Maryland, Cap stops an attempt to kidnap “a high ranking colonel.” The following night, he takes down “a major Nazi bund leaders” meeting in New York and stopped the attempted theft of new technology from the nearby Grumman aircraft plant. Two weeks later he disrupts a smuggling ring, and a week after that he’s in the American West thwarting an attempt to destroy Boulder Dam (all CA #255, nicely giving form to many of the newspaper headlines from earlier stories).


(from Tales of Suspense #63, Jack Kirby art)

The “Marvels Project” version of Cap’s public debut is narrated by Dr. Thomas Holloway, the masked hero known as “The Angel.” He arrives in costume “just in time to witness the first appearance of a true marvel.” Cap, in original costume, crashes his motorcycle into a warehouse and captures a ring of Nazi spies. “I’d never seen anyone move the way he did—so quick, so efficient. I was good . . . but he was something else entirely.” Cap and the Angel meet at the end of the altercation. “Wait,” Holloway says as Cap turns to leave. “What do I call you?”


(The Marvels Project #5, Steve Epting cover)

“Me? I’m Captain America.” To Holloway, the meeting is life changing. “It was my second time meeting a living legend, but this time I knew what it meant . . . that the world had already changed again. We just hadn’t noticed it yet.”[3]

Later re-imaginings of Cap’s earliest ventures abroad (based on the presence of his original triangular shield) include forays into Africa and Europe. Sometime “in early 1941,” Cap led a special forces unit into Africa, where he encountered the Protector-King of Wakanda, the Black Panther (T’Chaka). When Cap and his unit are captured and interrogated, he tries to explain to the king that their motive is simply to warn the mysterious Wakandans of the growing Nazi threat in Africa. Assured by T’Chaka that his fears are unwarranted, Cap must satisfy the King’s concerns that his people’s secrecy will be compromised if the Americans are allowed to leave. “By letting you go, I am placing our entire future in your hands,” the King observes. “Give me one reason why I should trust you. Just one will do.” Cap pauses, then he hands his original triangular shield to the King. “Very good, Captain,” T’Chaka replies. “Very good indeed. I see we are going to be good friends!”[4]


(Black Panther vol. 3 #30, cover art by Sal Vallutu)

In a recent 75th Anniversary story, Cap appears in winter in Coignieres, France leading soldiers against Nazis when his triangular shield is shattered by an enemy shell. Post-conflict panels show him meeting with a group of government ad men, who are trying to sell him on the idea of a flamboyant assault weapon they call the Amerigun. “The shield reads weak,” they tell him. “Weak?” Cap replies. “I think you boys need to bone up on your iconography. We’re not conquerors. We didn’t come here to take something. We came to protect something. You wanna send a message? Get me a shield.”[5]

Next up:  Steve gets a partner, and a new shield!

[1] How much time passed between “Rebirth” and Rogers’ arrival at the camp is uncertain. The model for “Camp Lehigh” (located in New Jersey) where Steve and Bucky were to be based during their early careers, most likely was “Camp Kilmer” in New Jersey, named for Joyce Kilmer, the soldier-poet from nearby New Brunswick who was killed in World War I. Camp Kilmer served as the New York Port of Embarkation. It’s connection with the Amboy branch of the Lehigh Valley Railroad is the likely source of its fictional name here. AdvCA #1 also shows Rogers’ arrival at Camp Lehigh and a “pre-Cap” adventure breaking up a ring of smugglers. Rogers meets James Buchanan “Bucky” Barnes in issue #2, continues to fight smugglers, and receives his original uniform (modeled after drawings of a costumed here he’d created) and triangular shield. As CA, he battles three Nazi assassins are sent by the Red Skull to find the secrets behind Project Rebirth.
[2] According to another calendar depicted in CASL #7, it is now March 1941. The Marvels Project #5 show the Red Skull embarking on his own sadistic reign of terror in occupied France at the same time. The Red Skull character debuted in the second story in CAC #1 (with complications; more details to follow). Meanwhile, in Germany, one “professor Burstein” continues the Nazi quest for Erskine’s formula (his son, Noah, mentioned in passing, will later be responsible for Luke Cage’s transformation into Power Man!).
[3] MP #5. A short tale in CA Annual #13 (“Symbols,” Ron Marz, 1994) depicts the early discovery of Steve Rogers’ CA identity by an African-American soldier named “Biz” Duckett. Biz promises never to reveal the secret, and when “agents of a foreign power” try to beat the secret out of him, he’s rescued by Captain America (in original costume, with triangle shield). Rogers recalls the story decades later when he attends Duckett’s funeral.
[4] Black Panther vol 2 #30 (May 2001, Christopher Priest), which “reveals the never-before told fate of the original shield” (or at least one version of it!). This story was expanded in the 4-issue limited series, CA/BP Flags of Our Fathers (2010, Reginald Hudlin). In this telling, Baron Wolfgang Strucker and the Red Skull are directly involved; the “special forces” are Sgt. Fury the Howling Commandos, the Panther and his Wakandan warriors have already brutally dispatched a detachment of Nazis; Cap and the Howlers are captured and detained, but they ultimately work together with the Black Panther to defeat the Nazis. While fascinating on many counts, this retelling raises major continuity issues. Cap is not generally thought to have met Fury & the Howlers until well after this. This Panther knows Cap’s identity as Steve Rogers (and T’Chaka is shown as a boy). Cap asks the Panther to join the Invaders (the Invaders are not formed until late December, 1941). Master Man and Warrior Woman, notable villains from the Invaders series who don’t turn up until 1942, are not only present but are killed at the end of the story. This story addresses some interesting conflicts in the values and motives of Cap and the Black Panther and features Marvel’s first African-American character, Gabe Jones, as the narrator. It also depicts Cap’s triangular shield being destroyed and Cap using the Panther’s round shield as a substitute, and insinuates that this more powerful offensive tool inspired Cap’s new round shield.
[5] “Presentation,” by Joss Whedon, in CA #7 (March 2016). This is a prime example of shield confusion, since Cap could not have been in Europe with American troops early in 1941. It seems that early in his career, Cap’s shield was something of a fluid commodity. While the triangular shield was gone by CAC #2, it still appears in occasional retro-continuity stories (like this one), the design varying in number of stars, stripes, and even shape. The new circular shield (which we’ll come to next), while always depicted in modern times (and in modern retconned stories set in WWII) as having red-white-red concentric stripes with white star on inner blue circle, was shown in many golden age stories as having an extra inner white circle-stripe or even an outer blue circle-stripe.
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