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.

Tuesday, October 18, 2011

Web of Horror #3


Web of Horror was a short-lived, anthology horror-comic magazine that intentionally aped the style of Eerie and Creepy. Three issues were produced between the fall of 1969 and spring of 1970. There were more issues planned, but things didn't work out. (You can read Bernie Wrightson's firsthand account of exactly what happened elsewhere, so I won't go into it.)

The most remarkable thing about Web of Horror is that it showcases the work of artists such as Wrightson, Bruce Jones, and Mike Kaluta before they were famous. Wrightson went on to co-create Swamp Thing soon after WoH went kaput and quickly established himself as comicdom's premiere horror artist. The others went on to successful careers in illustration, as well.

I found out about the magazine in Berni Wrightson: A Look Back (yes, he has alternated between ending his first name with and without an "e"), the now out-of-print comprehensive look at the artist's career. Alter Ego also ran a detailed article about it in its 2008 Hallowe'en issue. As you can imagine, the issues are pretty rare, but I managed to get a F copy of the third issue (reportedly the best) for a decent price recently and was thrilled.

Issue 3 features six stories, and I must say that even though the art is impressive (particularly Wrightson's and Frank Brunner's), the writing leaves something to be desired. In fact, two of the tales, "Strangers" and "Point of View," have basically the same story (i.e., becoming stranded in an alien environment and changing into something other than human).

Wrightson's offering, "Feed It" (written by Mike Friedrich), is the best-looking, and it's no surprise that he went on to great things. (Incidentally, I finally got a chance to meet him and get his autograph at Dragon*Con this year. Nice guy, if a bit on the shy side.)

The best of the lot storywise is probably "Curse of the Yeti," though it has a similar ending to the aforementioned two (perhaps a theme for the issue?).

One can easily see how this magazine was on the right track, and given time I'm sure it could have become fantastic. It was definitely worth a read.

Monday, October 17, 2011

Ring of the Warlords


Warren Publishing is best remembered for comic magazines such as Creepy, Eerie, and Vampirella (all of which are now being reprinted in beautiful hardcover editions by Dark Horse Comics and Dynamite Entertainment).

But in 1979 they introduced a quarterly title called Warren Presents, which appears to have had no rhyme or reason behind it. (In fact, many of the issues are simply known by their titles, which were, to say the least, eclectic, although they were mostly science fiction- and fantasy-themed.) The very first issue is called Ring of the Warlords, and to the casual observer it is not really clear just what the magazine is supposed to be.

I ran across this rare gem quite by accident while browsing eBay. I was intrigued by the cover but had no idea what it was. I searched the Internet but came across almost nothing. Despite this, I became a little obsessed with the magazine, though I was put off by the price a high-grade copy commanded.

I had almost decided to abandon the hope of ever getting one when I happened on an auction offering a VF copy with an opening bid of $7.50 (with free shipping). Never expecting to win, I threw my hat in, and, astonishingly, six days later the thing was mine.

It arrived quickly and in the condition advertised. I marveled at it for several minutes before trying to figure out exactly what it was. As I had anticipated, it's a black-and-white sword & sorcery anthology, much in the vein of Warren's horror anthologies. I read it quickly and was extremely impressed. Why there was never another issue is beyond me. (It could be related to the fact that sword & sorcery comics, with a few exceptions, have never sold particularly well.)

It's a rare treat to have found something that appeals so perfectly to my sensibilities. I dreaded getting to the end because, unlike readers who bought the thing when it came out, I knew there wouldn't be any more.

Now, to the stories.

There are six tales and not a stinker in the bunch. Two are illustrated by the legendary Wally Wood, while the others are drawn by Gonzalo Mayo and Esteban Maroto, two of Warren's most remarkable talents.

The first tale (written and drawn by Wood) is "The Curse." It's a traditional sword & sorcery story involving a beautiful, young enchantress who has enlisted a mysterious stranger to help her defeat the witch who, she claims, has cursed them both.

The second story, "The Last Dragon King," written by Roger McKenzie and illustrated by Maroto, is a gorgeously rendered yarn about a war between two reptilian races. Like many of the stories in this collection, it has a satisfying, not corny, twist ending.

"Jackie and the Leprechaun King," the third offering, is the tale of a boy who runs away from his abusive father and winds up in a village of dwarves, where he finds contentment and companionship. The detailed linework really gives the story a fantastical look that is particularly effective. Credits are not included for this piece, but I recognize the art style as that of Mayo.

"Prelude to Armageddon," the other story by Wood, is heavily influenced by Greek myths, featuring such creatures as centaurs and minotaurs engaged in a great war. There's also an army of the undead, which is always good.

The fifth story, "A Secret King," by Maroto, is a lushly illustrated tale of King Arthur, which appears to be heavily influenced by T.H. White's The Once and Future King (and, by extension, the Disney animated feature The Sword in the Stone), although it includes some elements that I had never encountered before, such as Merlin's beautiful female familiar Snivel. This is the longest story and is truly a visual feast for fans of black-and-white fantasy illustration.

"Dax the Damned," the final tale, also by Maroto, concerns a warrior ensnared in a deadly game of chess with an evil wizard. Like the rest of the stories, it's beautifully illustrated and remarkably engaging.

I thoroughly enjoyed Ring of the Warlords and wish there had been more. It's exactly the kind of magazine I'd be salivating for every three months.

The only thing I can't figure out is why it's called Ring of the Warlords, as there is no story with that title. I can only guess is that the "warlords" are the artists and writers, since their work is, at least to my mind, amazing. (You may recall that Ween did something similiar on their album 12 Golden Country Greats, which refers not to the songs, as there are only ten, but to the studio musicians they worked with.)

If this sounds like something you'd like, it's pretty easy to find a nice copy for around $12-15.

Update: I discovered some time after writing this that Ring of the Warlords is a collection of reprints of sword & sorcery stories that appeared in the pages of Creepy, Eerie, and Vampirella. Not that reprints are a bad thing, especially since I had never seen any of them before. Warren Presents #13, dubbed Sword & Sorcery Comix, has a similar theme and will be reviewed in a future post.