Wednesday, November 9, 2011

Marvel Preview #10


In my last post, I mentioned that there was an issue of Marvel Preview that featured Thor and that I would write about it in the future. I decided that I'd might as well go ahead and write about it now, while the topic is still fresh in my mind.

The issue in question is Marvel Preview #10 (1977).

If you're anything like me, you're probably wondering why there would be an issue of Marvel Preview with Thor, a mainstream Marvel hero, in it. After all, he has his own title and is a member of The Avengers. What could possibly justify his occupying a spot in the schedule of a black-and-white magazine that typically showcases creator-owned properties and other decidedly non-mainstream characters?

The answer could lie within the fact that the story exists outside of regular Marvel continuity, long before Thor even became a superhero, back when he was "just" a god. While it's true that there have been issues of Thor that have dealt with the god's youth, I suppose this story just wouldn't fit anywhere else. It's also a bit more "adult" than the Marvel fare of the Bronze Age (though not much). In the modern comic market, it might have been published as an annual or perhaps as a special edition.

The real selling point for me, however, was that it was penciled by Jim Starlin, an artist whose work I find irresistable.

The story, which I assume is called "Blood Quest," although that title only appears on the cover and not in the comic itself, concerns Thor's and Loki's being charged with a quest by Odin. Long ago, a magical gemstone, The Crystal of Blood, was created, with the power to "generate total non-existence." Odin fears that this crystal, though hidden in an underground chamber, could someday be used to overthrow him and asks that his sons find it so that it can be safeguarded by Odin himself.

Naturally, they agree.

They begin their quest by consulting the witch Shamballa, who, it is said, knows the location of the gemstone. She attempts to betray Loki to the monsters that dwell beneath her castle, but Thor easily defeats them with his hammer. Shamballa apologizes for her treachery and gives them the information they seek.

The brothers finally reach the Cavern of the Screaming Skull. Therein, they battle titans and a dragon before "earning" the magical relic. Loki, predictably, claims the gemstone for himself and plans to use it to exact revenge against Odin for "all the indignities" he has suffered in Thor's "shadow."

Loki attacks Thor with the crystal until one of the titans, thought defeated, assails the trickster from behind and prepares to destroy the gods with it. Thor hurls Mjolnir and knocks the titan down, shattering the crystal in the process. In typical fashion, the cavern begins to collapse, and Thor and Loki, escaping, return to Asgard.

They are sorry to report that the crystal was destroyed, but Odin explains that he had planned to destroy it himself anyway. He dismisses Loki but asks to speak to Thor privately. When asked about his brother's conduct during the quest, the thundergod, wishing to please his father, replies that Loki was nothing short of valorous. Odin then reveals that he had been observing them the entire time and that the real reason for the quest was so that he could determine which of his sons was better suited to one day assume his mantle.

The story, in some ways, reminded me of something that might have appeared in Savage Tales. Sword & sorcery (well, perhaps hammer & sorcery) through and through, it contains all the elements that fans of the genre have come to expect and appreciate. It didn't read like a typical Thor story, and that, to me, is what made it worthwhile (not that there's anything wrong with typical Thor stories).

But wait.

What the cover didn't tell us is that the issue contains another story, not about Thor, but about Hercules.

The fact that the second feature, "The Isle of Fear," was illustrated by Val Mayerik (whose work on The Living Mummy in Supernatural Thrillers absolutely floored me) qualifies this as one of the best purchases I've ever made. I couldn't believe my luck.

Like the Thor story, this tale is set long before Hercules became a Marvel superhero and does not disappoint.

Hercules sets out with Jason (yes, that Jason) to find the "Gold of the Gorgon" to appease Kreon, the king of Phylos, whom Jason has managed to thoroughly piss off. The heroes journey to the island in question aboard the Argo, fully aware that danger awaits.

After defeating a griffin in a hard-fought battle, the heroes encounter and overpower Medusa, claiming her golden apples and winged steed. Victorious, they return to the court of Phylos, and Kreon gets what he deserves.

The art in this tale is immensely satisfying, capturing the atmosphere of mythical ancient Greece superbly.

There aren't many near-perfect comics out there, but this is definitely one of them. Immaculate from cover to cover and completely unique to the time in which is was created, Marvel Preview #10 is an absolute gem.

Thursday, November 3, 2011

Marvel Preview #22


The Seventies was a period of expansion and experimentation for Marvel Comics, and arguably one of the most effective examples of this was Curtis Magazines.

Aimed at older readers and unaffected by the Comics Code, these black-and-white magazines provided artists and writers with greater creative freedom and more pages in which to develop their ideas.

One of the longest-running series in the Curtis imprint was Marvel Preview. Utilizing the talents of some of the industry's greatest creators, it showcased a variety of stories and characters, even including an issue featuring Thor (I will discuss this in detail in a future post).

Anyone familiar with my tastes in comics knows that John Buscema is one of my favorite artists. It was this little fact that led me to seek out a copy of Marvel Preview #22 (1980), which features (strangely enough) Merlin.

Buscema is probably best known for his Conan illustrations. I went through an intense Conan phase during my junior and senior years of high school, devouring novels and Savage Sword of Conan (the only magazine that survived the "boom"), but my interest in the character has waned considerably since then (although I have "rediscovered" him recently). It was during this period that I came to love Buscema's work, and his renderings were forever cemented in my mind as the definitive Conan art (apologies to Barry Windsor-Smith).

Buscema is, in many ways, the consummate Marvel artist (which is probably why Stan Lee chose him as co-author of How to Draw Comics the Marvel Way). His dynamic layouts, command of anatomy, and ability to draw any character with precision made him a superstar and me a lifelong fan.

I like Arthurian legends fairly well, but I certainly wouldn't call myself a rabid fan of them. Buscema's art is chiefly what prompted me to buy this book, and I don't regret the decision.

(I'd like to point out that the beautifully painted cover by Earl Norem has little to do with the issue's contents. Merlin never at any point in the story removes his shirt, and I seriously doubt he's cut like that.)

The illustrations (inked by frequent Buscema collaborator Tom Palmer) are, naturally, top notch. The washes are effective in creating the desired mood for the tale, and I honestly believe that the art wouldn't have looked as good had it been colored. There are 55 pages of story, and by the end I felt as if I had read a graphic novel.

The story concerns Arthur's discovery of a young man named Beliar who is mortally wounded. After Merlin heals him, the youth tells the king and his knights that he sustained his injuries in a fight with a dragon. Beliar proves to be quite popular at Camelot and is taken on as apprentice to the Round Table. Despite all this, Merlin is suspicious, and his fears are confirmed when he catches Beliar in his chambers, though the youth denies any wrongdoing.

A month later, Beliar shows himself to be unchivalrous in a tournament, and Arthur banishes him. He disappears that night, taking Guinevere with him. Arthur and Merlin set out to rescue her, facing many perils along the way. They eventually reach a castle, wherein resides the "Prince of Evil." His lair is not unlike Hell, and it is revealed that Beliar is, in fact, his son.

A duel between Arthur and Beliar ensues, and the Prince and Merlin soon lend their powers to their respective allies. Beliar proves too powerful, though, and Arthur is driven to the ground. Victory seems assured for the bad guys, but Merlin, exploiting an error made by the Prince, turns the tide, incapacitating Beliar, beheading the Prince, and rescuing the queen. The severed head, however, begins to laugh maniacally and declares, prior to exploding, that the Prince will return, leaving room for a sequel that never happened.

I cannot find much to criticize about this issue. It is masterfully illustrated and has an effective story, co-written by Buscema and Doug Moench. Buscema's myriad Conan comics certainly prepared him for the fantastic nature of this tale, and although it's more-or-less a standard questing story, it didn't really need to be anything else. If I had to offer one criticism, it would be that the issue isn't just about Merlin, although he is the main character. I expected it to be a "solo adventure" featuring the legendary wizard, but it's more about his partnership with Arthur (of which he is an indispensable element).

Definitely worth picking up.