Showing posts with label Super-Villain Team-Up. Show all posts
Showing posts with label Super-Villain Team-Up. Show all posts

Friday, 23 October 2015

What If... Essential Champions volume 1?

Another look at a series as if it had been collected in an Essential volume, including all the additional issues included in other collections. This one is otherwise found in Champions Classic volumes 1 and 2.

Essential Champions volume 1 would contain all seventeen issues of the 1970s series plus the crossover issue Super-Villain Team-Up #14, the guest appearances in Iron Man annual #4 and Avengers #163, and also the epilogue in Peter Parker the Spectacular Spider-Man #17 to #18. (This is also the combination of the forthcoming Masterworks edition.) That would be a slim volume but there are some Essentials this thin. Bonus material, if it were needed, could include some unused covers - the Classics include one for issue #7 that had only minor changes - and also entries from the Official Handbook of the Marvel Universe. The writing on the main series is initially by creator Tony Isabella who is succeeded by Bill Mantlo with one issue by Chris Claremont. The art on the main series is by Don Heck, George Tuska, Bob Hall and John Byrne with most making at least one return during the run. The Iron Man annual is written by Mantlo and drawn by Tuska, the Avengers issue is written by Jim Shooter and drawn by Tuska, the Super-Villain Team-Up one is written by Mantlo and drawn by Hall, and the Peter Parker the Spectacular Spider-Man issues are written by Mantlo and drawn by Sal Buscema.

1975 was a big year for team titles at Marvel. As well as the ongoing exploits of the Avengers, Defenders and Fantastic Four it also saw the launch of the All New All Different X-Men, the debut of the Invaders and the start of the Champions. But whereas all the other titles would last for several years, Champions would limp along for just over two years, confined to the odd eight-issues-a-year format that would make multi-part stories take ages to resolve and never really breaking out into a big hit. In the years since there has been little in the way of revivals bar a one-off reunion to work with X-Force in one of the 1998 team-up annuals. Otherwise the team has been mostly forgotten and treated as a joke when remembered, with Iceman once bemoaning "Do you have any idea how hard it is to find a major super-villain in Los Angeles?" (We'll find out in this review.) The nadir must surely have been when the right to use the name was won in a poker game by the team usually known as the Great Lakes Avengers but even they didn't make much of a mark with it before finding yet another name. And so the Champions have languished in obscurity.

Part of the problem may be the sheer difficulty of getting the original team back together under the title "Champions" - after the original series ended a different comic company adapted a role playing game property by the same name and at least twice Marvel has been rebuffed in attempts to reobtain the trademark. (The X-Force/Champions '98 annual was probably part of one of these attempts.) But also the team members are a pretty disparate bunch normally found spread across very distinctive parts of the Marvel universe and it can't be the easiest task to obtain the whole set for even a one-off reunion.

The team itself is initially comprised of five heroes, with another joining midway through. Leading the group is the Black Widow, who has recently left Daredevil and is developing ever more into a strong independent character in her own right. She's also one of the first women leaders of a Marvel team and also brings to the team both her adoptive father Ivan Petrovich and demons from their past in the Soviet Union. Bankrolling the team is the Angel, fresh out of the X-Men, now that newer members have taken over, heavily enriched through inheritance and ditching his secret identity in favour of being open and free with the world. Also recently having left the X-Men, but maintaining his secret identity for now, is Iceman. The youngest team member, he initially feels he wants to get on with his life and plans on dropping aside as soon as the team is fully established, but finds himself staying around to the point that this plan gets forgotten, especially under a new writer. The team's muscle is provided by Hercules, who proves to be the catalyst around which the group is initially drawn together, and he stays around for the adventure. The most distant is all the five is the Ghost Rider, seen here in the early years of his career when Johnny Blaze had full control over his flaming alter ego, who often feels distrusted and out of place amongst his teammates. Midway through the run the team is joined by Darkstar, a new hero from the Soviet Union with dark energy powers and a mysterious past. The main supporting cast member is Richard Feinster, a recently sacked lecture agent at UCLA who becomes the team's business manager.

The Champions are based in Los Angeles and have as their aims to help the "common man" with more down to earth problems, in contrast to the more global and intergalactic threats faced by other teams. It's a worthy aim, as is setting the series away from the New York norm of the Marvel universe. But in practice the team wind up facing quite a number of established larger than life super-villains and take on global and even universal threats. It looks harder to escape the conventions than it seems.

With very little pre-existing ties to bring the team together the series starts by creating a set of coincidences to get all of them to the campus of UCLA in order to get caught up in the same menace. Iceman is starting studies there and is visited by the Angel whilst Hercules has been appointed a visiting lecturer on the reality behind Greek myths. The Black Widow is applying for a post as a Russian language teacher and the Ghost Rider's alter-ego of Johnny Blaze happens to be motorcycling through the campus. The initial menace is the arrival of Pluto the Greek god of death who seeks to force Hercules and Greek god turned little remembering Atlas era hero turned new lecturer in humanities Venus to marry his allies, Hippolyta, queen of the Amazons, and Ares, god of war, so that they will be unable to battle against Pluto's planned take-over of Olympus. The opening adventure takes up the first three issues with a journey to Olympus itself thrown in and results in the five working together and realising how well they mesh as a team. It's hard to disguise that most superhero teams have had awkward origins precisely because they rely on cautious loner heroes suddenly discovering how well they work together, but the Champions seem especially forced given the ongoing distrust of Ghost Rider and the initial reluctance of Iceman. It's as though they were thrown together by dictat rather than emerging as a natural combination.

The team takes a few more issues before it's fully constituted, complete with its own transport in the form of the Champscraft and a headquarters in a Los Angeles skyscraper. However both get assembled by dodgy contractors and a minor recurring theme are the problems with equipment failure though it doesn't come to the forefront until the epilogue in Peter Parker the Spectacular Spider-Man. The team's public relations are also a bit of a mess, with their official launch coinciding with an adventure such that only the Angel and Hercules are available for the press conference which gets attacked by the Crimson Dynamo, the Griffin, and the Titanium Man, whilst a photoshoot of the dissolution of the team is an equal damp squib with only the Angel still around when Peter Parker arrives.

When one looks at the foes encountered by the Champions it rapidly becomes clear just how easy it is to find supervillains in Los Angeles including some quite major ones. As well as the initial clash with Pluto there are encounters with a group of Soviet foes including the Titanium Man, a new Crimson Dynamo whose real identity is a shocker for the Black Widow and Ivan, and the Griffin. This group also includes the first appearance of Darkstar but she soon defects. Then there's an encounter with Warlord Kaa of the shadow-people with guest appearances by Hawkeye and the time-displaced Two-Gun Kid. The team's most wide-ranging adventure initially seems to be up against the Stranger but he is in fact looking to save Earth and the real threat comes from Kamo Tharnn (later better known as the Possessor) who seeks to recapture the Runestaff that can save the day. The Avengers appearance sees conflict with the Greek Titan Typhon who forces battle between the two whilst the Iron Man annual brings them up against Modok and AIM. The crossover with Super-Villain Team-Up involves a strange contest between Doctor Doom and Magneto in which the latter must find a way to stop the ruler of Latveria from taking over the world with a special neurogas, forcing the Master of Magnetism to seek out allies, finding them in the form of first the Beast and then the Champions. The final issue sees an attack by the Vanisher, utilising both the Sentinels and the mutants the Blob, Lorelei and Unus the Untouchable. The biggest new foe introduced here is Swarm, a collective sentient hive of bees with the mind and skeleton core of a Nazi scientist. There are a few lesser foes such as new ones like Dr Edward Lansing, a scientist abusing a care home in order to perform experiments, or Rampage, an inventor hurt by the economic downturn who dons an exo-skeleton to initially rob banks. Rampage is the most recurring of the team's foes, being used by the Soviet foes in an action that leaves him paralysed and then coming back for an act of revenge at the very end. There's also an encounter with Stilt-Man that's so forgettable he's left in the hands of the guest-starring Black Goliath whilst the Champions deal with the Stranger's problem.

The series ultimately lasted only seventeen issues and ends on a mini-cliffhanger as the Champions wonder about Darkstar's true nature. But this goes unresolved and the team is unceremoniously disbanded in a flashback in the pages of Peter Parker the Spectacular Spider-Man which otherwise serves as a straightforward team-up with the Angel (in fact it's a surprise this story wasn't told in the pages of Marvel-Team-Up) as they face down against the Champions' old foes Rampage and the shoddily constructed building. And that was the end of the Champions' story, bar one very brief reunion many years later.

So is Champions a title that should have had an Essential collected edition? The existence of the Classic reprints is the most obvious argument against but there are certainly other titles in the Essentials that have been collected elsewhere in colour. And the bar for inclusion in the Essentials was not actually that high - several short-lived 1970s series such as Godzilla, Ms. Marvel and Super-Villain Team-Up all qualified for a single Essential volume so not lasting long was clearly no barrier. Nor is the series anywhere near as mediocre as some material included in the Essentials. It may not be the most memorable of titles and the team suffers from feeling like it was assembled to fit arbitrary criteria, but there's a sense of trying and purpose to these tales that hold together reasonably well. A single collected edition would be thin without much obvious extra stuff to include - very maybe the X-Force/Champions '98 annual but that would be a much later pick and otherwise that's pretty much it as a contemporary appearance in Godzilla would be a monster of a rights issue. But there's just about enough already. This is a series that certainly does deserve reappraising as whilst it's not the greatest team title ever it's certainly a lot more credible than the dismissive comments and jokes of later years would suggest. I don't know how the trademark situation would have been an issue, though it clearly didn't stop the Classics doing two volumes. All in all the Champions is a good little series that would certainly have earned a place amongst the Essentials.

Friday, 29 May 2015

Essential Avengers volume 7

Essential Avengers volume 7 consists of issues #141 to #163 and Annual #6 plus Super-Villain Team-Up #9. The writing see Steve Englehart finish his run to be followed by Gerry Conway and then Jim Shooter, with a few issues seeing overlaps and #150 incorporating part of issue #16 scripted by Stan Lee. The main story in the annual is by Englehart and a back-up by Scott Edelman whilst the Super-Villain Team-Up is written by Bill Mantlo. The bulk of the art, including the main story in the annual, is by George Pérez with other issues by Don Heck, Keith Pollard, John Buscema and Sal Buscema, with issue #150 reusing part of the Jack Kirby drawn #16, the annual back-up by Herb Trimpe and the Super-Villain Team-Up by Jim Shooter.

I don't normally comment on the other credits in a volume but there's a notable disjoint in this volume and it appears to come right around the period of Editor-in-Chiefship that can be dubbed "The Conway Weeks". I say "appears" because until the late 1970s, after the end of this volume, Marvel was rather loose with the credit "editor", sometimes giving it to a series's regular writer (even on fill-in issues by other writers), sometimes to another staff member who now appears on the canonical list of Editors-in-Chief which seems to involve some retroactive determination, and sometimes to someone else altogether. As a result it's difficult to determine at a glance just when one Editor-in-Chief replaced another, particularly in the period from 1972 to 1978 when there were no less than seven in post and one could be credited for a few months on material all basically approved under their predecessor. But here there seems to be a clear point of changeover with consequences engulfing the series as a long-term regular writer suddenly drops out to be replaced by the incoming then outgoing Editor-in-Chief who then lasts barely half a year, to be succeeded by another staffer who would go on to be Editor-in-Chief when the music finally stopped. The result is an example of an all too common situation in comics whereby big ideas and plans from one writer get taken up by another with minimal interest in them, grand storylines get finished by different hands and in different ways from those intended by those who started them, and there's fill-ins and reprints at completely the worst moments. All this contributes to a volume that is trying to live up to the levels of its predecessor, admittedly quite a daunting task in itself, but which instead winds up plodding along.

The worst moments are the aforementioned fill-ins. Issue #144 is part of the Serpent Crown saga and ends on a critical moment as the Avengers set off for the Squadron Supreme's home dimension. Yet this cliffhanger is not continued until issue #147 and in the meantime we get a two-part fill-in that openly leaves the question of its place in chronology up to the readers as they endure a two-part fill-in as the mysterious Assassin seeks to take the team down one by one. Given its length it may have been prepared for Giant-Size Avengers before that series switched to all reprints or else for an annual, but its presence here is just an irritating interruption. Also suffering is issue #150, where the cover promises "A Spectacular 150th Anniversary Special" but inside what was clearly structured as an extended meeting to refine the active team membership interspersed with a news reporter taking us through the history of the team in bite-sized chunks is instead paused after just six pages and the rest of the issue is padded out with sixteen pages lifted from Avengers #16, reliving the first major change in the membership. There's no denying the significance of that issue, and in later years of giant-sized anniversary issues with some reprints it would have been an obvious candidate for inclusion, but here it just shows itself up as being used as padding in what must have been one of the most eagerly anticipated issues at the time. Issue #151 has the rest of the issue with some drawn out bits to make up the extra pages but overall the whole thing is a very disappointing end to Steve Englehart's run on the series.

Englehart's last issues are not as well known as his earlier ones, and are dominated by the first part of the Serpent Crown saga. Building upon a plot device from other series we get an interdimensional tale in which the Serpent Crown is linked to its counterparts across other dimensions, leading to an encounter with the Squadron Supreme under the most obvious of titles - "Crisis on Other Earth", though the following issue's "20,000 Leagues under Justice" is also less than subtle. The Squadron Supreme's role as a pastiche of the Justice League of America has never been more obvious than here, with a further team member introduced in the form of the Amphibian, clearly the counterpart of Aquaman. Also show is the Squadron's base, a satellite orbiting the Earth. More surprising are the main agents the crowns operate through. On the normal Earth the crown is worn by Hugh Jones, of the Brand Corporation, but on the Squadron's Earth the crown is worn by the President of the United States, who here is none other than Nelson Rockefeller - this world apparently never having experienced Richard Nixon. What the real Rockefeller, then Vice President, thought of this is not known but it was a kind of success after three failed bids for the Presidency. I wonder who would be placed in the role if the story were created today? Next year may show who the perennial also ran candidate is. The story also allows for some polemicism as the Beast lectures the Squadron on blindly accepting orders from politicians and businessmen, to the point that when the Avengers return home the Squadron declines to pursue them. Thus it's only the Avengers who face down Brand in the initial climax, in which the corporation deploys Namor's old foe Orca the Killer Whale.

The earliest issues also contain a coda to the Kang saga. Hawkeye's attempts to recover the Black Knight have led him to travel through time where he gets knocked off course and arrives in the American West in 1873. He is followed by Thor and Moondragon for a final battle with Kang in which the time travelling warlord's weaponry overloads, destroying him. Just to confirm his fate, Kang's future self Immortus sends a projection to explain his role in his younger self's downfall and then to fade out, confirming he has now never existed. It's a rather low key ending for someone who had been arguably the Avengers' greatest foe and it also raises the whole question of how time travel works and just what has and hasn't been changed by Kang's death. With the Serpent Crown storyline also running through these issues it feels rather underwhelming, as though it was an after thought.

More surprising is the team-up with five of Marvel's western heroes, the Two-Gun Kid, the Rawhide Kid, Kid Colt, the Ringo Kid and the Night Rider (who was published under the name "Ghost Rider" but has since been renamed multiple times). It's a bold move to fully incorporate them into the Marvel superhero universe. At the end of the adventure the Two-Gun Kid successfully petitions to be allowed to visit the Avengers' own time where he and Hawkeye settle for adventures and work out on the western ranches. There may have been big plans for the Two-Gun Kid's adventures in the present day but very little seems to have come of them and he's reduced to an occasional humorous side moment such as when the telephone rings at a time of great crisis but the Kid just casually shoots it as he doesn't understand what the device does. Still it's good to see that no Marvel character will ever be truly abandoned.

Also not abandoned is Patsy Walker who shows up at the mansion to demand the Beast repay the debt he owes her and she gets caught up in a raid on the Brand Corporation. There she discovers the discarded costume of the Cat, now Tigra, and dons it, becoming the superhero Hellcat. Her story is one of contrasts, with now ex-husband Buzz Baxter now a jaded cynic after his experiences in Vietnam and working for Brand whilst Patsy retains the optimism of her teenage years. She's clearly being built up as the next member of the Avengers but when it comes to finalising the line-up she's whisked away by Moondragon for a period of intense training, no doubt at the behest of incoming writer Conway. It's a pity as Hellcat shows a lot of promise, but fortunately she would soon reappear in another series.

The change of writers coincides with a revised line-up. Moondragon departs, taking Hellcat with her, but not before she's sewn doubts in Thor's mind about being a god working alongside mortals and he too drops out. Hawkeye has already stepped aside and so the team we get is made up of Iron Man, the Wasp, Yellowjacket, Captain America, the Scarlet Witch, the Vision and the Beast. But they are soon joined by a surprise return - the resurrection of Wonder Man.

The second half of the volume meanders through a string of forgettable encounters with old and new foes. If there's one clear theme it's of the Vision's extended family with storylines focusing upon his "brother", his "brother"'s brother, his father-in-law & brother-in-law, his father and his "grandfather". Wonder Man is revived as a "zuvembie" by a new Black Talon but gains full revival thanks to the effects of the Serpent Crown worn by the Living Laser and then the Golden Age Whizzer shows up once more seeking help in dealing with his son Nuklo, with the adventure concluded in the annual which also shows the Vision facing off against Whirlwind. Later Avengers mansion is invaded by the Grim Reaper who has come to determine which of the Vision or Wonder Man is truly his brother. Then Ultron embarks on a strange scheme to create a female android with the mind of the Wasp to be his mate in a display of a classic Oedipus complex, with his "father" Yellowjacket abused and brainwashed into thinking he's Ant-Man in the early years so as to help his creation without knowing it. The female android is not fully brought to life but would go on to become the appropriately named Jocasta.

There's also a forgettable crossover with Super-Villain Team-Up as the Avengers get caught up in the battle between Doctor Doom and Attuma, but it has all the feel of wandering into another series by mistake without ever really explaining things and leaving no real impression here. Worse still it takes up no less than three issues of Avengers. Then there's an encounter with the possessed stone body of the Black Knight in what feels like another filler. The most notable new foe is Graviton, a man who has acquired power over gravity until it goes awry. There's also the beginning of what feels like a greater use for Jarvis as he takes initiative and rescues one of Graviton's victims. Finally there's a clash with the Champions at the behest of Hercules's old foe Typhon.

It would be wrong to imply the first half of the volume is truly spectacular when it actually feels like it's only marking time and tying up loose ends, with the next big thing to come later. But it nevertheless keeps up enough momentum from the previous volume to maintain the promise. However it all gets derailed by reprints, fill-ins and a change of writer, leaving the series stumbling around with a few good ideas such as the resurrection of Wonder Man and a lot of dull ones like the crossover. Only towards the end does it start to get exciting again. Overall the whole volume feels rather disappointing.

Wednesday, 11 December 2013

A few Sub-Mariner previews

Whenever I complete a full set of Essential volumes for any particular series and character I intend to take a look at any later issues reprinted in other volumes. Other than the Spider-Man and Daredevil titles, Sub-Mariner is the first such series that qualifies, as there is just one solitary volume out so far.


Sub-Mariner #20 written by Roy Thomas and drawn by John Buscema, reprinted slightly abridged in Giant-Size Super-Villain Team-Up #1, reprinted in turn in Essential Super-Villain Team-Up volume 1

It's my understanding that the abridgement consists of panels in adjacent pages amounting to the equivalent of one whole page. It doesn't seem to have affected readability. This is a fairly straightforward tale in which Namor, who has lost both his power of flight and the ability to breathe underwater, flees though New York until he stumbles upon the Latverian embassy where Dr. Doom tries to recruit him as an ally, first by persuasion and then by coercion. It's easy to forget that there was a time when Namor rivalled Doom as the Fantastic Four's greatest foe and the two briefly allied. However they have each gone a long way since and this issue shows how far apart they now are, with a renewed alliance well and truly off the cards. The issue is very much a character piece as it shows the different outlooks and approaches of the two. Ironically it was reprinted at the start of Giant-Size Super-Villain Team-Up despite being a strong indicator as to why a permanent teaming of the two can never work. Doom attempted to overcome the problems, but the story wound up as a premature obituary for that series.

Sub-Mariner #22 written by Roy Thomas and drawn by Marie Severin, reprinted in Essential Doctor Strange volume 2 and also in Essential Defenders volume 1

This was the middle part of a storyline run across Doctor Strange, Sub-Mariner and the Incredible Hulk, wrapping up the leftover threads from Doctor Strange's series. Namor returns to Atlantis where his ability to breathe is restored but then he gets summoned to Boston by Doctor Strange to help in the struggle against the Undying Ones. The crossover is structured reasonably well so that it's possible to just read this issue by itself, but other than the opening scenes in Atlantis this does feel much more like a Doctor Strange issue than a Sub-Mariner one. As a key issue in restoring the title hero's abilities it probably shouldn't have been combined with a wider crossover; an approach that was unfortunately used all too often in later years. There's the start of a strong understanding between Namor and Doctor Strange that would come to the forefront in the Defenders, but as yet no hint of any regular teaming between them.

Sub-Mariner #34-35 written by Roy Thomas and drawn by Sal Buscema, reprinted in Essential Defenders volume 1

These two issues see Namor in search of allies to neutralise a human device that accidentally  threatens the world. In recruiting the Hulk they come into conflict with the military forces of San Pablo, yet another Latin American military dictatorship. Their battle devastates the military forces such that rebels are able to overthrow El General. Then the group, dubbed "Titans Three", head to the island where the device is along with Dorma and the Atlantean scientist Ikthon. Titans Three clash with both the army guarding the device and a squad of Avengers sent in, until Ikthon repairs a flaw and everyone realises the danger that has been averted. These two issues were clearly testing the water for the concept that became the Defenders and show how Namor can assemble some allies when needs be but his confrontational approach isn't always the ideal solution. I find Latin American military dictatorships an excessively used cliché in Marvel comics from this era, especially when they come with rebels seeking to overthrow them. Titans Three is an interesting idea for a team made out of hot-headed loners often at odds with the human world, but such character types are inevitably not team players and some additional unifying element is needed if the group is to work on a regular basis.


By coincidence these issues between them show Namor interacting with nearly all the characters he's best known for teaming up with; the main exception is Captain America. (His interaction with the Fantastic Four over the years is rather more complicated.) There are signs of just how prickly he can be but also how well he works with those he respects and/or needs. Otherwise the issues show glimpses of wider developments in the series such as his temporary power restriction or steps towards marriage to Dorma, and wet the appetite for another Essential Sub-Mariner volume.

Friday, 8 November 2013

Essential Super-Villain Team-Up volume 1

Essential Super-Villain Team-Up volume 1 contains the Dr. Doom stories from Astonishing Tales #1-8, followed by Giant-Size Super-Villain Team-Up #1-2, Super-Villain Team-Up #1-14 & #16-17 (#15 reprinted Astonishing Tales #4-5), plus crossover storylines in Avengers #154-156 and Champions #16. Astonishing Tales was yet another anthology, this one from the early 1970s and its initial issues featured Dr. Doom and Ka-Zar. The Champions was a brief lived superhero team of the mid 1970s that teamed up the likes of the Angel, Ice-Man, the Black Widow, Hercules, Ghost Rider and Darkstar. Bonus material includes the cover of Marvel Super-Heroes #20 (an anthology series which combined try-out new material with reprints from the Golden Age) and a two-page spread omitted from that issue's story when it was reused in Giant-Size Super-Villain Team-Up #1.

The Astonishing Tales stories are written by Roy Thomas, Larry Lieber and Gerry Conway, and drawn by Wally Wood, George Tuska and Gene Colan. Giant-Size Super-Villain Team-Up is written by Roy Thomas and Larry Lieber, and drawn by John Buscema, Larry Lieber, Frank Giacoia and Mike Sekowsky. The regular size Super-Villain Team-Up is written by Tony Isabella, Jim Shooter, Bill Mantlo, Steve Englehart and Peter Gillis, and drawn by George Tuska, Bill Everett, George Evans, Sal Buscema, Herb Trimpe, Keith Giffen, Jim Shooter, Bob Hall, Carmine Infantino, and Arvell Jones. The Avengers issues are written by Conway and Shooter, and drawn by George Pérez and Sal Buscema. The Champions issue is written by Mantlo and drawn by Hall. That's an awful lot of creators, not helped by the first issue of the regular size series having three pencillers on a single issue. The first issue of the Giant-Size is also complicated by incorporating amended reprints of Prince Namor, the Sub-Mariner #20 and Marvel Super-Heroes #20 into the actual narrative. Because of this long list some of the labels have been placed in a separate post.

The Astonishing Tales stories come from an attempted revival of the double feature book in the early 1970s, but I don't know if there were any other series of the type at the time. Within these eight issues we get a number of stories with the oddity of the lead character being a villain, yet we don't get many defeats. Instead we see Doom first face off an attempted overthrowal by the pretender to the throne of Latveria with the aid of an alien, whilst also facing an experiment going wrong and releasing an android with his own mind patterns on the country. Subsequent issues see Doom facing off an invasion of Latveria by the Red Skull and his allies the Exiles, a group of ex-soldiers from all the Axis powers seeking to establish the Fourth Reich, or trying to raid vibranium from Wakanda only to be seen off by the Black Panther. But even this latter story leaves open the question of which ruler has won - Doom who escapes unharmed or T'Challa whose kingdom is devastated by an earthquake caused by Doom's mining. The final issue sees Doom attempt to rescue his mother's soul from the clutches of the Devil but fails to defeat her captor's champion. (At this stage Marvel tended to portray various demons, most obviously Mephisto, as being the actual Devil/Satan without always depicting him consistently across series. In later years they'd back away from this idea but at the cost of sowing chaos across some characters' continuity - Ghost Rider can be particularly tricky.)

The series is brief but manages to fill out most of the details about Doom such as why he wears the mask, his past relationship with Valeria, his seizure of the throne of Latveria and the fate of his mother. We don't get an actual flashback to the infamous accident that scarred his face or a reminder of his quest for power but this is probably to the advantage as the details we are given come woven into ongoing stories, rather than taking up the first issue with loads of details a good chunk of the readership would already know. With only eight issues and each instalment just ten pages long there isn't much time to explore things in too much dept, but Doom emerges with his dignity and power intact. That said it's hard to deny that this strip's appearance here is largely filler material to make up the page count as Doom doesn't actually team up with any other super-villains in these stories. Issues #4-5 may have been reprinted in Super-Villain Team-Up #15 but the issues show a confrontation not an alliance between Doom and the Red Skull. Still without their appearance here we probably wouldn't have got to see these stories at all.

Onto Super-Villain Team-Up itself. As ever with a team-up title here's a list of the banner stars in each issue, though formally naming them on the cover doesn't start until issue #3 and the earlier issues have the stars at the top of the intro pages.

Giant-Size 1. Doctor Doom and the Sub-Mariner
Giant-Size 2. Doctor Doom and the Sub-Mariner
1. Doctor Doom and the Sub-Mariner
2. Doctor Doom and the Sub-Mariner
3. Doctor Doom and the Sub-Mariner
4. Doctor Doom and the Sub-Mariner
5. Doctor Doom and the Sub-Mariner
6. Doctor Doom and the Sub-Mariner
7. Doctor Doom and the Sub-Mariner
8. Doctor Doom and the Sub-Mariner
9. Doctor Doom and the Sub-Mariner
10. Doctor Doom and the Sub-Mariner
11. Doctor Doom and the Red Skull
12. Doctor Doom and the Red Skull
13. Doctor Doom and the Sub-Mariner
14. Doctor Doom and Magneto
(15. Doctor Doom and the Red Skull - reprinting Astonishing Tales #4-5)
16. The Red Skull and the Hate-Monger
17. The Red Skull and the Hate-Monger

As can be seen from this list the overall approach to the series was rather different from the format of Marvel Team-Up and Marvel Two-in-One where the guest stars rotated virtually every issue. Instead the first half or so of the run is about the only time in the Bronze Age that I'm aware of when Marvel successfully launched a "buddy book" title of two pre-existing characters. (Marvel Team-Up was initially going to be a regular Spider-Man and the Human Torch series but rapidly switched to the rotating format, which was then adopted from the outset for Marvel Two-in-One. The Champions was originally going to be a duo of the Angel and Ice-Man, but during conception it morphed into a more general team title, albeit one that selected characters to fill various boxes.)

However it's quickly clear that this series wasn't exactly a conventional teaming. Neither the Red Skull nor Magneto actually team-up with Doom in the issues in question but instead battle with him, and much of the rest of the first sixteen issues (including the Giant-Size) are devoted to the strained relations between Doctor Doom and the Sub-Mariner as the former tries to recruit the latter to his scheme to conquer the world, rather than actually showing the two engaged in this plan. Part of the problem, as Doom eventually realises, is that the Sub-Mariner is primarily an anti-hero seeking the advancement of his undersea kingdom and only attacks the surface world in anger for perceived actions against Atlantis. Back in the early issues of Fantastic Four the Sub-Mariner was a wandering loner whose kingdom had disappeared and he did take on a more villainous role, even teaming up with Doctor Doom to take on the Fantastic Four. But the character had come a long way since then and a series that tries to recapture the spirit of Fantastic Four #6 just isn't going to work without major alterations to at least one of the characters. That's probably why new directions are announced for both issues #4 & #10, and then issue #14 brings another, though the end of the issue announces it's the end of the series. I'll come back to that claim in a bit. In the meantime the main bond forced between Doom and the Sub-Mariner are the-then recent alterations to the latter's body chemistry making it impossible for him to last out of water, especially when the life support suit he's wearing in the early issues begins to fail. Doom's supply of a cure results in Namor being honourbound but it's an uneasy process.

In the course of the alliance Doom and Namor face a number of both heroes and other villains, most of whom have previously clashed with at least one of them before. Early on they clash with Andro, the android from Astonishing Tales, and later on the Latverian legitimist pretender and the Red Skull. Namor's past conflicts soon bring Attuma, Tiger Shark and Dr. Dorcas, then later Krang. We also get a brief visit to Latveria by the Circus of Crime. The Fantastic Four also come into conflict with Doom over attempts to save the Sub-Mariner from being honourbound into the alliance. The Avengers crossover involves further conflict with Attuma but also brings a couple of encounters for what I think are the first time in the modern era - Namor and the Whizzer, and a fight between Doom and Iron Man. Finally in the original run we get a clash with both Magneto and the Champions. This brief team has often been mocked in hindsight for its unlikely combination and being located in Los Angeles - a famous line by the Angel in later years was "Do you know how hard it is to find supervillains in Los Angeles?" - but here they come across as reasonably competent, if beset by personality disputes. The more surprising portrayal is Magneto who initially seeks an alliance with Doom, proclaiming them to both be "homo superior". It's a reminder that Magneto hasn't always been the militant mutant superiority fighter he's best known as, and for many years was a more generic would-be world conqueror.

We get a few new creations such as the Symbionic Man, but the most significant is the Shroud. A mysterious figure in a dark costume with an origin that combines elements of Batman's (young boy sees his parents shot by a street criminal, vows vengeance on all crime and trains himself accordingly) and Doom's (makes his way to a Himalayan cult where he learns more but has his face burned in the process). It seems Steve Englehart wanted to write Batman but at this point he was at the wrong company, though all that would change the following year. Apparently he was actually drawing on the Shadow rather than Doom, but then again rather a lot of fictional characters have acquired special skills and magic from near mythical places in the Himalayas.

Issue #3 has a particularly dramatic moment when Betty Dean, Namor's original romantic interest, sacrifices herself to save Namor from being shot by Dr. Dorcas. Given the character's long term significance, she's dispatched rather suddenly even if she had only made a dozen or so new appearances since the 1960s revival of the Sub-Mariner. There are some other odd moments relating to women. We're occasionally reminded of Doom's loss of Valeria, but a really odd moment comes in issue #7 when he goes to a peasant's house and asserts droit de seigneur ("right of the lord") - which isn't fully spelt out here (Doom merely states he has "absolute right to the company of any woman in the land") but it was the purported feudal right of lords to bed virgins on the estate. There's no historical evidence that such a custom existed in medieval Europe but that wouldn't necessarily stop Doom. However it seems completely out of character for him to be pursuing such lust with any random woman and feels like a clumsy attempt to reinforce the character's wickedness. But Doom doesn't need to be shown asserting such rights to achieve that.

More curious is a moment in issue #6 where it's revealed that Doom has conducted a peace treaty with the United States that gives him greater protection from US based heroes who are now at risk of causing international incidents. The treaty is personally concluded with none other than Henry Kissinger. I presume that in the mid 1970s there weren't Republican watch groups who would pounce on portrayals in media and publicly attack companies for "misrepresenting" their side. But the whole incident feels a little clumsy again as it leads to rants by the Fantastic Four about appeasement and Kissinger's realpolitik. It's hard to escape the conclusion that these issues (#6-7), published in early 1976, was being used by Englehart for naked political soapboxing. It's also amazing that he could get away with it, but 1976 was the Year of The Three Editor-in-Chiefs at Marvel and amidst such turbulance oversight standards were presumably not the best.

Overall the initial run of the title takes a rather bizarre concept and does its best to try and make it work. Some of the issues have ambiguous endings and Doom sometimes triumphs over other foes. But in general it's very hard to base a series around villains and even harder to do so when one of them doesn't easily slot into the role the title implies. The series came out in a period when the length of regular sized Marvel comics shrank from nineteen to eighteen and then seventeen pages per issue so the stories fly pretty fast. But it's hard to escape the idea this series never really had a clear idea of what it was for or where it was going, hence the two new directions and the eventual shift away from the Doom/Sub-Mariner relationship to a more general Doom and a rotating guest star title. However it was too little too late and it's easy to see why issue #14 ends with "This is the last issue of Super-Villain Team-Up".

Yet somehow despite the series announcing its ending in 1977, three more issues came out, one per each of the following years. I'm not sure why this was but as issue #15 is a reprint, it's probable it was a rush job. Maybe it was a fill-in to take the place of a delayed title at the printers at a time when publishers were fined if the presses went empty. Alternatively the issue was on sale in August 1978 which seems to be the exact month the effect of the "DC Implosion" hit the newsstands with a dramatic cutback of the number of DC titles - was Marvel rushing some extra books into print to capitalise on the released marketshare? Presumably the issue sold well enough for someone to give the title another chance, but this time going for a more general team-up of villains. So six months later issue #16 appeared in early 1979... and then nothing for over a year before the story was concluded with the publication of issue #17. Was this a monumental production delay, was the revived series never properly scheduled or was it just being printed as and when gaps in printing were looming?

The final two issues tell a brief story that seems to be motivated more by tying up an obscure part of Marvel continuity than with actually doing anything major with the Red Skull. We get the tale of how the Skull and the Hate Monger are running a Nazi island in the Caribbean - it makes a difference from the Latin American jungle I guess - where they're using technology to create a new Cosmic Cube whilst fending off the interference by agents of Mossad and SHIELD. However there's a twist as the Hate Monger is none other than Adolf Hitler.

Part of the story's purpose is to tidy up Marvel continuity with the revelation that Hitler is occupying a clone of his original body with his mind having been projected out when he was "killed" in the Berlin bunker at the end of the Second World War by the original Human Torch. In the 1950s Marvel had created this alternate take on Hitler's death and it may have seemed a great idea at the time but it now seems rather crass. They then made an alternative version of this crassness in 1963 when a Fantastic Four issue ended with the revelation the defeated and dead Hate Monger had been... Adolf Hitler. At the time the idea of Hitler having survived the war was a fairly popular idea in fiction (and Marvel was ignoring its 1950s stories altogether) but again it can seem to trivialise one of the most evil men real history has thrown up. It would probably have best to have just dismissed the original Hate Monger as one of Hitler's doubles. But instead we now get a tale teaming up Marvel's most prominent Nazi with the real world's greatest Nazi. The story itself is tame, show how the Skull fends off the attack but also out double-crosses the Hate Monger, trapping the latter inside the new Cosmic Cube which is in fact merely a prison.

The story allows the Red Skull to put Hitler the man behind him whilst still pursuing Hitler's goals and philosophy. But the Skull didn't need such a moment - Hitler could have been left dead and the Hate Monger dismissed as an old double of Hitler. If a confrontation and continuity tidy was needed, this would have allowed the Skull to establish himself as the supreme heir to Nazidom without the crass treatment of the founder. Overall this story is rather dissatisfying and a pretty low ending for the series. It had never really found a direction and by this point it was just Super-Villain Team-Up in name only.