Essential Captain America volume 4

Essential Captain America volume 4 consists of Captain America and the Falcon #157-186. The writing covers most of Steve Englehart's run and just touches on the start of John Warner's brief one with scattered contributions by Steve Gerber, Roy Thomas, Tony Isabella and Mike Friedrich. The art covers the bulk of Sal Buscema's run, the start of Frank Robbins's and individual issues by Alan Weiss and Herb Trimpe.

This volume sees the series go on an uptick, having finally found a strong writer for the long run who directly tackles a number of problems and criticisms related to the character. A common jibe is that Captain America is physically not the most powerful of heroes; an early issue here sees him gain super strength when the Super Soldier Serum in his blood reacts with the venom of the original Viper. The result is an incredibly powerful Cap, though as time passes the strength is shown and referenced less and less. His gaining enhanced strength puts another strain on his partnership with the Falcon, who feels an inferior costumed athlete as a result. This leads to some soul searching, during which he finally gets together with Leila albeit in his costumed identity (though he seems to have revealed his identity to her, albeit it's not explicitly clear that she knows until much later), and a search for enhanced abilities that leads him to Wakanda where the Black Panther gives him his wings. Meanwhile Cap goes through some major soul searching in this volume as he faces a series of events that force him to reconsider some of his world views. Early on comes the revelation that a police officer is crooked, a sign of how corruption can be found even in places not traditionally expected, but worse is to come.

The highlight of the volume comes in the middle section with the Secret Empire storyline. In this Cap faces challenges on many fronts, starting when he's depicted as a dangerous vigilante by a hostile advertising campaign run by the Viper and Quentin Hardeman of the Committee to Regain America's Principles. Next he's framed for the murder of the Tumbler and faces being replaced by new hero Moonstone (later Nefarius), actually an agent of the Committee. Cap is arrested and seems all alone, with the Falcon away in Africa getting his wings and taking on the mobster Stoneface. However help comes in the form of "America's Sanitation Unit" of high tech vigilantes who break into his cell. This forces Cap to decide whether to break the law or turn down the only chance to clear his name, though the decision gets made or him when he's overwhelmed by the Unit's gas and taken away. Discovering that they too are agents of the conspiracy against him. With the Falcon now returned to the States and branded an accomplice, he and Cap are forced to go on the run in search of the clues to clear their names, and get attacked by the Banshee, still a foe rather than an ally of the X-Men. This brings another reversal of fortunes as they wind up allying with the handful of the X-Men who haven't been captured by the conspiracy. (This appearance came a year before the X-Men's relaunch and seems to have been designed to wrap up loose plot threads from the Beast's solo series in Amazing Adventures.) The group clashes with S.H.I.E.L.D., before learning the true foe is the shadowy organisation called the Secret Empire. Once more Steve and Sam are forced to take action they wouldn't normally do by stealing a device in order to gain the confidence of the Secret Empire in their civilian guises. This brings them to the heat of the operation where the organisation is planning to conquer America, using the ever growing popularity of Moonstone as a way to convince the people to surrender when the Secret Empire's flying saucer, powered by the brainwaves of captured mutants(!) , lands in Washington. However in the climax Cap and the others manage to escape execution thanks to the inside help of S.H.I.E.L.D. agents Gabriel Jones and Peggy Carter, and they destroy the equipment then take down Moonstone who confesses to the whole conspiracy. All the living members of the conspiracy are soon arrested, though Number One flees and commits suicide.

At a distance of some decades it's not always easy to spot the targets of some of the more overt political satire. To some the Committee to Regain America's Principles is merely a shock that Marvel would print such a name or a source of hilarity for the acronym "CRAP". But the name was clearly based on the Committee to RE-Elect the President; similarly Quentin Hardeman's name is evocative of Nixon's first Chief of Staff H. R. Haldeman. This tale of a secret conspiracy to take over the country by destroying confidence in existing institutions and systems and replacing them with the creations of political propaganda was reflective of the turbulent times the story was written in, but it also makes Cap face a changing world.

More so than any previous storyline, the Secret Empire tale forces Captain America to face up to the conflict between his ideals and loyalties. As he finds his reputation damaged and his actions bringing conflict with the police, he's left with little choice but to go beyond the law, even if this vindicates the attack campaign that portrays him as a vigilante. Up until now, Captain America has always been a hero of the establishment, acting for authority that was assumed inherently benign and having no doubt about what "serving my country" means. But now he finds himself in a much greyer world, where established symbols, positions and systems can't always be trusted, where venerated figures can turn out to be crooks, where public opinion can quickly turn against a dedicated symbol and where sometimes the only way to achieve results is to go outside the law. 1974 was the year in which both the Punisher and Wolverine debuted and, whilst neither may have been intended to go on to become major stars at the time, they both symbolised the way in which the presentation of morality in superhero comics was changing away from the simplicity of the Golden and Silver Ages. It was inevitable that Captain America would have to face the blast of change. And it comes in one of the most dramatic, and potentially libellous, ways imaginable. On the final page of issue #175 Captain America pursues Number One into the White House and unmasks him in the Oval Office, recognising the face beneath. We're not shown the face but dialogue states he holds "high political office" but "my power was still too constrained by legalities!" Could there be any doubt who it was meant to be? Perhaps this famous South Park dialogue could have been applied:

I knew it was you all along, Richard Nixon!

So Marvel in the summer of 1974 all but named the President of the United States as a crook. Who would have thought that Richard Nixon could be anything but squeaky-clean? I'm amazed that something so daringly libellous could have been put out and got away with. Today there would no doubt have been an outrage.

However, this may not have always been the plan. In the preceding issue Number One mentions "the fortuitous Watergate scandal! Ah, if only we'd known that was coming! How much simpler it has made our work." True it could be a red herring but it also might indicate how last minute the revelation was decided upon. It's not the only revelation that doesn't quite fit with what's come before, with Sergeant Muldoon turning out to be the Cowled Commander, trying to whip up public opinion to reform the police force on tougher lines. This sits uneasily with his actions after suspension in which he investigated Steve and seemed to believe the rookie cop was the Commander. It's not the only sudden revelation that comes out of nowhere in this volume.

But regardless of how far in advance the shock ending was planned, it leads to a dramatic follow-up as for a whole issue Cap fights no foes but reflects upon how he came to be, how the world has changed since the Second World War and how he can no longer serve an America that is much changed and where the government has been shown to be self-serving. His friends and allies try to dissuade him, but he decides to abandon the costume. And he doesn't quickly resume it.

For the next seven issues we have a world in which Steve Rogers is no longer Captain America. At first this pushes the Falcon into centre stage, but it becomes increasingly clear that Steve can't stay out of the action, much to both the Falcon and Sharon's annoyance, and Hawkeye forces the point by posing as the Golden Archer and attacking him, so Steve eventually adopts a new costumed identity as Nomad - the Man without a Country. Meanwhile a succession of other men decide they have what it takes to be the next Captain America, but each soon learns they don't. Eventually one is killed by the Red Skull and this brings a catharsis as Steve realises the things he fights for are not out of date. He fights not for a government but for the "American Dream" and against all threats to it, whether from without or within. As a result he resumes the costume. It's amazing that he was kept out of it for so long but by the end it's become clear - Captain America is not just a costume that anyone can put on; he is far, far more. He is not an agent of the US government but a servant of the whole country, dedicated to a set of ideals. It's a powerful storyline and statement that gets to the heart of the character and defines him for the long run.

Elsewhere this run finally resolves the loose ends relating to Cap's wartime sweetheart whose name he hasn't even known until now. Having lived in shock for three decades, Peggy Carter is a more personal reminder of how much the world has grown and changed since the Second World War, being now a middle aged woman who has suffered amnesia and been kept in isolation until the intervention of Dr Faustus causes her to relive events and come to her senses. I wonder just how much research into psychiatric issues was actually undertaken for this storyline. The reunion is touching, but Steve and Sharon deliberately try to avoid telling Peggy that the man she has waited so long for is now with her sister, resulting in some awkward dancing round the point. Although it's not addressed directly here, this does raise a question about Sharon's ethics and conduct in keeping Peggy and Cap in the dark about each other whilst taking up with the latter. Over time Peggy comes to realise what she and Cap had is long gone and instead she and S.H.I.E.L.D. agent Gabriel Jones are drawn to each other. One irritation I find with Peggy's return is the inability to decide if her hair is light or dark, with it changing across issues.

Outside of the Secret Empire and Nomad sagas, the villains in the volume are somewhat limited, with the original Viper fairly prominent in the early run, at first working for the Cowled Commander both solo and in combination with other foes as the group "Crime Wave" which also contains the Porcupine, the Eel, the Scarecrow and Plantman. The Viper and the Eel then form the Serpent Squad with the Cobra; later on they are joined by both Princess Python and Madame Hydra, with the latter killing the Viper and taking his name before putting the group into an alliance with the Atlantean warlord Krang. Elsewhere there are return appearances by Dr Faustus and the Harlem crimelord Morgan and from the X-Men comes Lucifer. The Yellow Claw also clashes with Cap and the Falcon for the first time, allied with new foe, the female scientist Nightshade. Unfortunately her impact is somewhat diminished when her serum temporarily turns the Falcon into a were-wolf. Equally weak is Solarr, who has the power to absorb and discharge solar energy. Another new foe who initially seems to be a mere one-off is the Phoenix, the vengeance seeking son of Baron Zemo. Coming in an outlandish costume and falling into a vat of corrosive chemicals, not to mention being in a fill-in issue with a different writing team, it's surprising that anyone would or could bring him back, but he's gone on to do many things as Baron Zemo II.

The very end of the volume sees the quality take a sudden nosedive thanks to three separate developments. Frank Robbins takes over on the art but his style feels completely wrong for the series and just looks awful. The Red Skull returns but there is a shift in his aims away from seeking to conquer the world and more towards spreading fear and destruction. Unfortunately this turns him into a Joker clone and at times he's practically chewing the scenery. And there's a very awkward retcon about the Falcon, changing his past completely to make him a crook and pimp who had crashed on the island where Cap first met him. The Red Skull had used the Cosmic Cube to completely change his personality, memories and the world around him in order to provide the perfect partner for Cap, then eventually use the Falcon as a sleeper agent in reserve in case other plans failed. For this he has enhanced Sam with mental powers to communicate with the falcon Redwing (resulting in the brief assumption that the Falcon is a mutant, a point that would curiously dog the character for many years to come) and also made him completely responsive to the Skull's orders, no matter how humiliating the command. The whole thing appears to be motivated by a desire to paper over the previous backstory of ex-Axis agents hiding on a seemingly deserted island advertising for a falconer who arrived by regular freighter, but rather than just shrugging off a bit of Silver Age silliness the Falcon is instead twisted into becoming a cliché, as though no black in America can be allowed to be free of crime. It's also absurd long-term planning by the Skull - and at this point in 1975 the series was still setting events in real time so Cap had been revived in 1964 and known the Falcon for six years - and a very bizarre use for the Cosmic Cube. All in all this feels like a 1970s version of the Avengers saga "The Crossing".

It's unfortunate that the volume should end on such a mess when so much of it has been so bold and memorable. By taking on the main problems both the series and the main character have had, not to mention the changing attitudes to "America" and patriotism, the result is a bold uptick that makes this a strong and decisive volume. There are some odd moments but overall a lot of development has been done. Although the Falcon has taken steps both forwards and back, Captain America is much the stronger character as a result.

Essential Captain America volume 3

In addition to continuing our Captain America month, today sees the return to UK screens of Marvel's Agents of S.H.I.E.L.D. So here's a volume with, amongst other things, some appearances of S.H.I.E.L.D.

Essential Captain America volume 3 is made up of issues #127-156, with the book's title becoming Captain America and the Falcon from #134 onwards. Additionally it contains the covers from the all-reprint annuals #1 & #2. The writing covers the end of Stan Lee's run, brief runs by Gary Friedrich and Gerry Conway, and then the start of Steve Englehart's. The art is a mixture of runs by Gene Colan, John Romita and Sal Buscema, with individual issues contributed to by Gray Morrow and Gil Kane.

This volume continues the search for a clear identity and direction for both the character and series, with a mixture of science-fiction spy drama, down to earth tales from the road, gritty urban crime and some bizarre out of this universe moments all presented as a succession of authors grapple with the problem. However, solutions slowly present themselves. The first issue in this volume sees a blow to the status quo as Cap falls out with S.H.I.E.L.D. and Nick Fury after they question his loyalty and put him through a fierce test to smoke out a traitor in the ranks. S.H.I.E.L.D. may nowadays be portrayed as a ruthless organisation who will suspect anyone easily, but at the time its portrayal in earlier issues was as a cosier, friendlier organisation. Such an abrupt shift in presentation is jarring, even though it serves a purpose in cutting down on Cap's ties to allow him to go on the open road. The next few issues see Cap climb on the bandwagon of going out on the road to find one's self, taking off on a motorbike into the country at large. Although it doesn't last long, it does allow the opportunity to take him away from the various trappings around him and drill down into the character as he sees the country at large and faces up to the fact that not everything is black and white. At one stage he tries to ditch his costumed identity but he soon finds himself drawn back to it. "Looks like I can no more shed my shield-slinging other self than Nixon can shed ol' Spiro!" declares Cap in issue #129. (Clearly he didn't foresee events of the next few years when Spiro Agnew would prove rather easier to lose than the average Vice President.)

"Here's where I oughta step in and make like a swingin' hero! But how do I know whose side to take?" thinks Cap as he watches a student riot in issue #130. The famous Green Lantern/Green Arrow #76 was only five months old at this stage, and indeed may not have been the first to highlight this point, but the idea was clearly taking root that heroes can't always simply swoop into a tense situation and put things to right by vanquishing one side. Later in the same issue Cap goes on television to talk about law and order, but instead he steers a middle line against both violence and aloof establishments that drive people to desperate measures. Here we see the first clear repositioning of Cap as loyal to the concepts underlying his country rather than to the authorities of the day. It may at this stage seem to be a subtle splitting of the hair but it helps to move the character away from an authoritarian, establishment line that would likely have doomed him to cancellation as the 1970s wore on.

And then we get multiple attempts to provide Cap with a partner. A two-part story during this road stage sees the seeming return of Bucky, but it feels badly disjointed. The first part sees Baron Strucker searching the gyms of San Francisco for suitable bait to trap Cap and coming across an amnesiac young man who looks exactly like Bucky. Strucker is soon defeated and Cap is left apparently reunited with his partner. However the next issue reveals that this is in fact a robot duplicate made by Doctor Doom as part of a challenge set by Modok and A.I.M., with Strucker having been manipulated by Modok. Unfortunately Doom has made the robot too well so that it perfectly duplicates Bucky's outlook and thus it cannot bring itself to kill Cap. Although the elements of the plots are actually quite good when considered on their own, give or take Doctor Doom so easily performing a task for others just because his skill has been deliberately questioned, the way Strucker is suddenly revealed to have been unknowingly guided by thoughts implanted by Modok feels like a fast U-turn. The fact that it comes so close to Cap acquiring a regular partner - notably an equal rather than a mere sidekick - suggests that originally the intention was to bring back the real (and original) Bucky before someone decided that this wouldn't be such a great move and so retconned him out this way, then went down the Falcon route.

The Falcon had already been introduced in the previous volume but he returns in #133 where he and Cap realise they have a lot in common, both being lone heroes but they soon come to work together. The pairing may seem surprising, with Cap traditionally focused on national or global threats and the Falcon operating against urban crime in Harlem, but there's a strong bond between the two that sees each drawn into the other's world, helped somewhat by Cap also gaining a day time job in his alter ego of Steve Rogers. Initially asked to go under cover as a police officer to investigate disappearances in Harlem, Steve opts to maintain the role, finding a purpose for himself away from the Avengers and S.H.I.E.L.D. However there are signs that he can't maintain the job forever, often having to call in sick or go away because of his work as Cap, ad by the end of the volume his sergeant and patrol car partner are secretly investigating him. Still it allows Steve a chance to evolve away from the mask.

Meanwhile the Falcon finds himself caught between multiple roles. As Sam Wilson, his day job is a social worker in Harlem but he finds himself often denigrated for working with whites and being "an Uncle Tom". Even a woman he is attracted to attacks him for this. At the same time his relationship with Cap has its ups and downs and the two briefly split but soon find they need each other the more. The Falcon is loyal and dependable but absolutely not a subordinate sidekick, and the two make for a good odd couple many years before the teaming of Power Man and Iron Fist.

Although Cap initially breaks with S.H.I.E.L.D., the organisation doesn't disappear and he soon finds himself working with them again and again, though Nick Fury is angry about Cap's refusal to become a full time S.H.I.E.L.D. agent and at one stage issues an order revoking Cap's S.H.I.E.L.D. clearance and banning any agent from having contact with him. Fortunately for Sharon Carter this doesn't last and she and Steve soon resume and develop their relationship. Meanwhile S.H.I.E.L.D. demonstrates what passes for its equal opportunities policy when it presents "Femme Force One", with Sharon yelling "Right on, sisters!" and "If this doesn't make you believe in the women's lib movement... I don't know what will!" Cap quietly just says he believes in Femme Force "and let it slide at that!" It's not the most liberated presentation of women and the unit is not helped by a rather catty relationship between Sharon and her deputy, Val de Fontaine, due to the latter's flirting with Cap, apparently in reaction to Nick Fury's relations with another woman. The whole mess climaxes when Fury turns up at Steve's apartment to have it out with him, until Val shows up to explain her actions. The whole storyline feels awkward, forcing several people to act out of character to make it work, and it's unsurprising that it's swept aside so easily in the first issue by a new writer.

There's an attempt to develop a supporting cast away from S.H.I.E.L.D. with a couple of significant characters introduced, each a part of the down to earth urban environment both heroes are now based in. Leila is a strong minded woman from Harlem who looks down on Sam for supposedly selling out, but he is nevertheless strongly attracted to her. Sergeant Muldoon is Steve's immediate superior as a police officer. A hardliner who reminds Steve of his wartime superior Sergeant Duffy, Muldoon is subsequently suspended for bribery and corruption but then embarks upon a private investigation of Steve's affairs.

As on a number of titles, Stan Lee departs on a cliffhanger, here midway through a saga involving the Grey Gargoyle and S.H.I.E.L.D. Lee's final page shows the S.H.I.E.L.D. helicarrier destroyed and the Gargoyle about to seize the most dangerous substance on Earth. A replacement helicarrier is soon deployed and the Gargoyle defeated, but it's a telling sign of how series were often written on the hoof as though it were a game of Consequences.

If there's one area where the series continues to be particularly deficient, it's in the villains. Only two new foes of any substance are introduced in these pages. One is Stone-Face, a Harlem crimelord, and the other is the Monster Ape, a scientist who becomes a giant primate. There are a few imports from other series in the form of encounters with first the Mole Man and later the Grey Gargoyle and the Kingpin, then the Scorpion and Mr Hyde in tandem. Meanwhile of Captain America's more established foes, the Red Skull shows up here on no less than three separate occasions whilst Batroc appears twice, the first time with "Batroc's Brigade" made up of Whirlwind and the Porcupine, the second time with a Brigade made up of ordinary thugs. Baron von Strucker, Modok and AIM also all appear again, albeit in just one storyline. And then there's Hydra, with the Supreme Hydra on this occasion revealed to be the son of the Kingpin, actually serving as a subordinate to reclusive Las Vegas millionaire "Harold Howard" who is in fact the Kingpin himself, who in turn doesn't realise it's his son under the mask, but both are in fact being manipulated by the real mastermind, the Red Skull, who unleashes yet another sleeper robot to attack the US. Isn't this all a wee bit excessive? Or there's the case of Batroc's second appearance in this volume when he's again accompanied by his Brigade, who are kidnapping on behalf of an unseen contractor who seemingly turns out to be the Stranger but is in fact the being Jakar, the sole survivor from another universe, impersonating the Stranger. I suspect the original plan was to use the actual Stranger until there was an editorial intervention, and the result is the rapid creation of a lookalike character to cover the usage.

Whatever the intention, the Jakar story sees the series at a low, entering a science fiction world in which the villain is trying to repopulate his world and has hired Batroc to kidnap people for it. The two just jar heavily, even more if Jakar was actually meant to be the Stranger, and the whole thing feels like a storyline more at home in the Fantastic Four or Thor. The earlier storyline with Hydra, the Kingpin and the Red Skull also feels out of place, with the setting of Las Vegas and a villain having kidnapped a Howard Hughes type reclusive millionaire and using his business empire for criminal schemes showing the influence of the James Bond film Diamonds Are Forever a little too much.

The last four issues see the arrival of Steve Englehart as writer and almost immediately the series makes a bold step forward, starting to explore more deeply the role of Captain America amidst competing visions of patriotism. Englehart's first storyline explains the Captain America stories published in the 1950s, revealing that the Captain America and Bucky (and, in passing, also the Red Skull) seen in them were all replacements. With Roy Thomas as the editor, it's easy to see where the idea came from. But instead of a straightforward exercise in retroactive continuity, we get something that works on a whole different level as we get a solid contrast between differing visions of patriotism and the eras the Captain Americas are drawn from. For the 1950s Captain America embodies fanatical super-patriotism that denounces disagreement as Communism and treachery, and dismisses blacks and others as not being "pure-blooded Americans". Together with an equally fanatical and vicious Bucky by his side, the result is a strong clash of ideologies between the original Captain America, with his Roosevelt-Kennedy liberal patriotism, and the 1950s Captain America, awash with McCarthyism. When originally published in the early 1970s the President of the United States was Richard Nixon, who had built his national reputation as an anti-Communist two decades earlier. Was this story also an early subtle jab at Nixon? The 1950s Cap and Bucky have been brought out of suspended animation by men upset by Nixon's to China (now there's a challenge and a half for those who try to update the Marvel timeline!) but for many these actions did not negate his earlier role. At a more personal level the original Captain America is left shaken by the possibility that he too could have easily gone down the route of "super-patriotism, madness, and mayhem" but for having received the vita-ray treatment which his successor did not get. Equally chilling is the fact that his 1950s counterpart was a fan and historian who took his worship of his subject all the way to having plastic and vocal cord surgery to completely resemble the original. The very term "fan" is short for "fanatic" and often fanatics can do the most terrible things in the name of their idols, with the idols having no say in the matter.

It's fitting that it's an issue (#155) from this final story which provides the cover, as it's here that the series gives every indication of stepping up a pace. Most of the earlier adventures are so so with some dips as the series takes an awkward turn or two, but the Falcon has proved a successful new element who has shaken up the series for the better. Things are encouraging for the next volume.

Essential Captain America volume 2

This month sees the release of Captain America: The Winter Soldier and so all this month I'll be looking at more of Cap's adventures...

Essential Captain America volume 2 consists of Captain America #103-126. The art sees the end of Jack Kirby's run and the start of Gene Colan's, with the period in the middle drawn by Jim Steranko, John Romita and John Buscema. Everything is written by Stan Lee.

The stories in this volume were originally published between 1968 and 1970, during some of the most turbulent years in modern US history. Abroad the country was embroiled in the Vietnam War, a conflict against a small country that proved much harder to win militarily than many expected, damaging self-confidence. At home that conflict, the methods involved and the actions of soldiers on the ground were growing ever more controversial, and many were resisting conscription whilst there was other deep social unrest. Racial tensions continued. Many a university campus erupted into riots and chaos. Automatic respect for authority that believed it was inherently right simply by virtue of being authority was evaporating. Assassinations took the lives of Martin Luther King and Robert Kennedy.

"[1968] was a year in which everyone was protesting, it seemed: the South against blacks, the blacks against whites, the young against the war, the Northern working class against the young, and the 70 per cent of Democrats who remained faithful to their party against Richard Nixon."
Brogan, Hugh The Penguin History of the United States of America (London; Penguin, 1990) p.682

It was a country uneasy with itself and with its traditions. And it was a country where it was no longer possible to simply point to the flag and use patriotism to garner instant support. It was a very different world from the one in which Captain America had been created.

"Throughout the world, the image of Captain America has become a symbol -- a living embodiment of all that democracy stands for! But now -- there are those who scorn love of flag -- love of country! Those to whom patriotism is just a square, out-moded word! Those who think of me -- as a useless relic -- of a meaningless past! I'm like a dinosaur -- in the Cro-Magnon age! An anachronism -- who's out-lived his time! This is the day of the anti-hero -- the age of the rebel and the dissenter! It isn't hip -- to defend the Establishment! -- only to tear it down! And, in a world rife with injustice, greed, and endless war -- who's to say the rebels are wrong? But, I’ve never learned to play by today's new rules! I've spent a lifetime defending the flag -- and the law! Perhaps -- I should have battled less - and questioned more! Yet evil comes in many forms -- and it isn't only the young -- and the rebellious -- who dare fight it! Somewhere -- somewhere -- there must be a place for me -- a use for me -- a life for me!"
Captain America, issue #122

Stan Lee, Jack Kirby and others had done many amazing things in creating the Marvel universe and a whole new style of comics. However they weren't always so good at adapting to prevailing social forces outside the comics market. And there was an age factor. Everything in this run is written and, with the exception of Jim Steranko on three issues, drawn by men born before Franklin D. Roosevelt became President of the United States, and who had all worked on comics since at least the 1940s. Of course it's not impossible for longstanding industry veterans to adapt to a changing environment - in the wider field it's a prerequisite for survival - but it can make it difficult to adapt to circumstances that now make a particular individual character problematic. Captain America is a man out of his time in more ways than one, and it's unsurprising to see that this is reflected ever more in the series as he searches for a purpose and Marvel searches for a way to keep selling the tales of a man literally wrapped in the flag in such an environment. Whilst the long term answer has not yet been found in this volume, the questions are raised here and a number of individual issues do show signs of the trends in wider society, even if the fictional versions put a superhero spin on cause and effect.

One of the most obvious signs of reflecting events in the real world comes in issue #120 as Nick Fury tricks Cap into going undercover on a university campus where the students are protesting violently. However it's mostly down to the interference of AIM as they try to kidnap an expert on atomic equations under cover of riots they've stirred up and once Cap has defeated them things calm down with the student leaders and university administrators more prepared to sit down and negotiate rationally. But before then some of the students' demands seem bizarre, particularly the one that a student committee be put in charge to decide what is taught and to whom - although such nonsensical demands really were made in real life. And not all students followed them - we see counter protests by those who feel their reasonable demands have been met and complaining about the disruption to their education. The whole thing feels stilted, as though written with no greater research than news reports and almost mocking the student protesters but then tying to pull away from alienating a potential key section of the readership. As far as I know Stan Lee's politics are moderate US liberal (too liberal for Steve Ditko but too conservative for Kirby) but whilst he may have had sympathies with the student radicals, the tone of the story feels far more pro administration, showing it as trying to work reasonably and only disrupted by outside influences.

The other big sign of the changing times comes in issue #125 sees the strip make only its second visit to Vietnam. And it's a very interesting take on the war. Coming at the start of 1970, when in the real world the US embarked on a policy of "Vietnamization" to transfer the burden of active ground conflict to South Vietnam, there is no overt sign (at least in black and white) of any military involvement by the US or other foreign countries and instead the war as shown is being entirely fought between North Vietnam and South Vietnam. US involvement is largely shown as humanitarian, with a high profile neutral doctor going missing and each side blames the other, using his disappearance the intensity of the conflict, so Cap goes on a rescue mission to find the doctor and reduce tensions, helping peace talks along. This is a very different take on the US's overseas military activities from past tales, particularly the gung ho crusading of the Second World War where there was a clear enemy to be fought and victory to be won, or the anti-Communism of many 1960s Marvel stories. Instead, here we have the living symbol of the United States of America on a mercy mission, trying to do his bit to bring about a negotiated peace. The two sides of the conflict are shown as so similar that it's not even clear which is which, with generic terms such as "the enemy" used for the opposing forces and Cap's costume does not yield any mention of whether the US has backed or fought the troops who fire on him. The story does have "goodies" and "baddies" in the form of Cap and the Mandarin (the doctor's actual kidnapper) respectively, but the conflict itself is not reduced to such a level. With only nineteen pages - a victim of Marvel's brief policy of restricting all stories to a single issue - there's not enough space to go into a nuanced consideration of just what the US's role in the world should be, though such a debate was raging at the time. But it's an interesting step away from Cap's origins as a flag waving crusader and implicitly reflects the question raised by Cap himself in his earlier soliloquy as to just what his role is in a changed world.

What of the overall direction of the series? We get yet more conflicts with the Red Skull and Cap working for S.H.I.E.L.D. plus tensions between him and Sharon over the latter's work (though oddly these aren't explicitly presented as a clash of generational views on the role of women), but a few small attempts to develop a distinctive niche. At one point Cap fakes the discovery of a mask that makes the world assume that "Steven Rogers" was just a disguise adopted by him, allowing him to regain his secret identity, and he moves out of Avengers Mansion, though because of his lack of background or identification the only place he can find to live is a bedsit. Still it allows him to start to find his own place in the world. Although a number of his adventures still arise out of his S.H.I.E.L.D. or Avengers connections, Cap is also starting to assemble some of his own connections. But first there are his existing relations.

The volume kicks off with the revelation that Agent 13's real name is Sharon Carter. Why it's taken so long for Steve to discover this is a mystery, as are the circumstances in which he learnt it. Still it gives her a stronger identity of her own, but her role in these adventures is a mixture of being absent of S.H.I.E.L.D. missions and disagreeing with Cap about whether she should step back from the danger, to the point they split. Also fading out for now is Rick Jones who is dismissed by what he thinks is Cap (actually the Red Skull in disguise) and concludes he will never be a true successor to Bucky so he tears up his mask and leaves Avengers Mansion and the series, departing for new ventures in Captain Marvel.

But the big introduction is the Falcon. Another character whose real name isn't initially given (though that's rectified in his second appearance), he is first encountered on the Exiles' island where he's been tying to help the native population fight back against the intruders; he is a bird handler with his own falcon, Redwing. Lacking success until now, he accepts the suggestion of a stranger - Cap in the form of the Red Skull - that he adopt a symbolic identity to inspire them and so he becomes the Falcon. Working together with Cap to defeat the Red Skull, he shows himself to be a good viable character and one who works well with Cap. Although he opts to settle and stay in Harlem, there is a clear level of respect between the two suggesting that they can work together as equals against the various threats Cap faces.

Introduced in the last issues of the first volume but not really used until now are the Exiles, a group of would-be conquerors from various powers who've been in hiding since the end of the Second World War. Made up of characters with names such as Baldini, Gruning, Cadavus, Iron-Hand Hauptmann, Krushki, General Ching and Gottfried, between them they represent most of the US's main enemies of the preceding thirty years. Baldini even looks a bit like Mussolini and Gruning like Göring, and the group as a whole reminds me of the assembly of various anti-American leaders in the opening scene of the film The Naked Gun, but getting there a couple of decades earlier. The group initially work with the Red Skull but later fall out when he refuses to share the power of the recovered cosmic cube. However he is brought down by the intervention of Modok and AIM. Meanwhile Batroc returns, this time working with the Swordsman and the Living Laser, both from the pages of the Avengers, or the Trapster from Strange Tales and the Fantastic Four, or the Scorpion from the Amazing Spider-Man, plus the aforementioned Mandarin from Iron Man. We also get some more traditional propagandising when the Chinese, under the orders of Mao Zedong (though he's not actually named on panel; which seems to have been standard practice for depicting real world leaders of hostile states), created a replica of Cap intending it to kill and replace him then destroy his reputation. New foes include Doctor Faustus, a criminal psychiatrist and illusionist, Madame Hydra, now better known as the Viper, the ruthless female commander of the organisation, the Man-Brute, the result of an attempt to recreate the super soldier serum, Suprema and Scarbo, siblings who performed a hypnotism act but have now turned to trying to become crimelords, and Diamond Head, the leader of a black supremacist group.

Issue #109 carries yet another retelling of Cap's origin (in issue #121 a character actually thinks to himself "the origin of Captain America has been told and retold endlessly" before leading into a brief two-page further retelling), with the main addition being the use of "Vita-Rays" to accelerate and stabilise the effects of the serum, and move away from the implication that Cap is using a performance enhancing drug. Was it a coincidence that this issue would have been written around the time of the Olympics? However the story retains the awkward origin of Bucky - he discovers Steve Rogers wearing the Captain America costume and immediately deduces that this weakling soldier is the real Cap, who in turn decides he is unable to explain the situation away and instead accepts a minor's demands to become his sidekick in highly dangerous situations. Whilst this dubious scenario dates back to the original telling in 1941, both comics and their audience had grown more sophisticated in the intervening years and it strains credulity that Steve made no attempt to cover up his situation or dissuade Bucky from joining him. He is shown to feel guilt about Bucky's death (which is ruthlessly exploited by Doctor Faustus), but usually it's a mix of survivors' guilt and a focus upon his failure to save Bucky on that critical day, rather than guilt over ever taking on a sidekick in the first place. More on Cap's past comes in issue #112, which has the hallmarks of an emergency fill-in issue as Jack Kirby briefly returns. With Cap presumed dead, Iron Man reviews his Avengers file and the reader is treated to a summary of Cap's career, including name-checking many of his Golden Age foes. By this time in 1969, Marvel had now reprinted a number of his Golden Age adventures in Fantasy Masterpieces and so came the time to acknowledge them as part of the current continuity. However once again the post-1945 adventures weren't addressed, even though the debut of the All-Winners Squad from 1946 had been reprinted there.

Overall this volume works as a fast paced speed through Captain America's continuing adventures but raises more questions than it answers about the lead character's role and purpose in a very changed world. It was bold to actually bring up the problem within the strip itself, but often Cap spends a lot of his time brooding on his problem rather than seeking a solution. There's also a continued overuse of the Red Skull in two more multi-part adventures, whilst most of the new foes don't feel like they'll last too long. But the introduction of the Falcon offers a sign for the future and the dips into real world problems such as chaotic university campuses and Vietnam at least show a willingness to adapt with the times even if the initial attempts aren't the greatest. This is a volume of a series in a degree of transition.

Essential Savage She-Hulk volume 1

Essential Savage She-Hulk volume 1 contains issues #1-25 of The Savage She-Hulk, the complete run of the character's original title. The first issue is written by Stan Lee and drawn by John Buscema; they are succeeded by David Anthony Kraft and Mike Vosburg for the entire of the rest of the run. Bonus material includes Official Handbook of the Marvel Universe entries for She-Hulk and Man-Wolf.

As I've discussed before, She-Hulk, like Spider-Woman, was created solely for the corporate aim of securing the intellectual property on a female version of one of Marvel's big name heroes before a television company did. With The Incredible Hulk television series a strong success there was a fear that it could lead to spin-offs and imitation characters, and so Marvel decided to create their own female Hulk to see off such attempts. But whereas Spider-Woman had been distanced from Spider-Man as much as possible, She-Hulk is a much closer character to her male counterpart in both relationship and origin.

The first issue establishes all the key points and the origin, but surprisingly it's rather ambiguous about whether it follows comic or television continuity and at times tries to side step the issue. Dr Banner arrives in Los Angeles but the story actively declines to tell us if his first name is Bruce, David or Bob (a mistake in an early guest appearance that was later morphed into his full name) and bizarrely his cousin calls him "Doc". There's even reference to a medical career. When he recounts the origin of the Hulk it's the comic version, but his identity is publicly known by this stage whereas in the television series he's assumed dead and on the run using assumed aliases. So for his cousin to not know what's happened to him suggests either a high degree of ignorance for a lawyer or else a mixed attempt to be accessible to both the comic and television audience. Nowadays it's standard for comics to just ignore the changes to character names, tone and continuity of spin-off adaptations, or make limited lip service, but it seems in times past some more active efforts were made to bring new readers in. Unfortunately this just creates odd moments - the idea Jennifer Walters always calls and even thinks of her cousin as "Doc" just seems strange, and highlights the story's sitting on the fence between two different continuities.

The origin itself is simple - lawyer Jennifer Walters is shot and given a blood transfusion by her cousin, but this also makes her change into a big green monster. She may be closely tied into her male counterpart, but tying to avoid them had been a mistake with Spider-Woman and so perhaps it's better that this time Marvel went down the Supergirl route and made her a relative, though in practice throughout her history she's largely stood or fallen on her own merits. This starts right here with her cousin's only other appearances being a couple of brief flashbacks and a group pin-up at the end. She-Hulk is also notable as the last character co-created by Stan Lee for many years (until Ravage 2099 in the 1990s) but his sole issue here doesn't feel that great. Jennifer doesn't turn into the She-Hulk until late in the story and there isn't any real exploration of just how much control she has or what her limits are. At this point she's just a big fighting green-skinned woman. It's a disappointing (near) end to a long string of successful creations and origins with Lee's name on them.

Lee and Buscema leave after the first issue and it's astounding for the era (1979-1981) that all of the remaining twenty-four issues have the same writer and artist with no fill-ins at all. It's just unfortunate that the series itself is somewhat strained and tired, probably because like Spider-Woman its main reason for existing was legal rather than creative. Yet oddly the series stayed a monthly throughout its entire run and didn't dive for guest stars - perhaps because of the differences between copyright and trademarks with different effects on what does and doesn't need to be kept in print. Whatever the reason we have another series starring a female spin-off that tries to operate outside the normal comfort zone of the Marvel universe, which takes its time to sort out the lead character's background and which makes some changes to the status quo along the way, although these are more minor than Spider-Woman's. It's not the most encouraging sign, though at the time the series was launched Spider-Woman was only halfway through its run and only formally signalled the warning signs during the last few months of Savage She-Hulk.

At its core the series presents Jen Walters, a lawyer in Los Angeles who can now transform into a large, very strong green woman. For the first half of the series the transformations largely come about whenever Jen gets angry - and she is easily inflamed by arguments in court or the office - but following a serum developed by Morbius to cure other problems, Jen is now able to transform back and forth at will. There's a clear continuity of memory and identity between Jen and She-Hulk, in contrast to her cousin who has spent most of his history fighting the Hulk as separate personalities, but at times both Jen and She-Hulk refer to the other in the third person and increasingly prefer to stay as the She-Hulk as much as possible. The most prominent point where the two are going in different directions comes in their relationships, with She-Hulk having an active relationship with Jen's childhood friend Danny "Zapper" Ridge and Jen herself falling for Richard Rory, formerly of the Man-Thing series. She-Hulk's character is very different from later portrayals, being angry, violent, paranoid and untrusting, in sharp contrast to the fun-loving at ease version who even knows she's a comic character. Her clothing is invariably rags and it's not clear which is the greater mystery - why does the transformation always tear the clothes in such a way that her breasts are kept covered or how does Jen manage to afford the large number of clothes she literally goes through?

Jen's life is reasonably well developed with a supply of supporting cast members, but some of the details of her background surprisingly only slip out as the series progresses. We never actually see a flashback showing her mother's death and instead it's only steadily dropped in that she was killed by gangster Nick Trask. Jen has an awkward relationship with her father, local sheriff Morris Walters, which deteriorates over the course of the series when they clash over her decision to defend Morbius from murder charges and then when Morris falls for Beverly Cross a gold-digger also seeking revenge for her boyfriend's arrest, who manipulates him in pursuit of money. This is another plot point badly handled as we never actually see Morris and Bev meet and although Morris discovers the truth and throws Bev out, the cancellation of the series means we never see the final showdown as she seeks revenge. Morris also falls into the Thunderbolt Ross role of doggedly determining to bring the She-Hulk in, but he eventually relents when evidence emerges clearing her of all charges.

So too does Assistant District Attorney Dennis "Buck" Bukowski with whom Jen regularly clashes both inside and outside the courtroom. Buck is indirectly responsible for the She-Hulk being accused of murder when he rams his car at her, mistakenly assuming she's about to attack Jen in her car. In fact the driver is Jen's friend Jill and the car has been sabotaged, with the result Jill crashes and dies. Jen takes her failure to save her friend bitterly, and when the car is subsequently examined and Buck realises his mistake he becomes a very different man, guilt-ridden and far less confrontational. Unlike other changes in the series this one feels a natural flow as Buck's realises the cost of his arrogant assumptions. Jill's death impacts in other directions as Zapper hopes Jen will turn to him. A medical student, Zapper has known Jen since childhood when she used to baby-sit and protect him, and whereas he has a big crush on her she seems to still regard him as a little surrogate brother. However She-Hulk takes him differently and the two at times retreat to his parents' isolated beach house. Zapper makes mistakes though, such as when he's tricked into thinking She-Hulk can help cure cancer when in fact it's a ploy to study her genetics. Their relationship is also complicated by Jen falling for Richard Rory, who has briefly found huge luck gambling in Las Vegas, before losing his money when the radio station he buys is ruined by an energy wave. Richard and Zapper remain tense rivals throughout the latter half of the series but are able to put this aside when needs be to help Jen/She-Hulk. In the end she decides she prefers being the She-Hulk and settles with Zapper, to the sadness of Richard.

The series has a handful of guest stars, starting with the Hulk and Iron Man, before moving onto the likes of the Man-Thing, Morbius the Living Vampire, here partially cured, the Man-Wolf and Hellcat. But despite the appearance of some superheroes, She-Hulk does not see herself as a superhero, and explicitly says so more than once. However she faces a wide variety of foes. The first handful of issues focus upon Jen's defence of gangster Lou Monkton from a murder charge frame by crimelord Nick Trask and subsequent actions against both Jen and She-Hulk - Trask is the first to discover they are one and the same. The storyline takes an odd turn in issue #5 when Los Angeles is plagued by earthquakes and refineries are finding their oil is being stolen - it's all being done by Trask using a giant burrowing machine shaped like a snake. Perhaps fortunately he loses control of it and ends it being buried in the centre of the Earth as the character has been twisted beyond his original purpose, even if he is responsible for the death of Jen's mother. It's a pity as in theory he could have been opened out into an archenemy, but the change in scope is too blunt for this to work. After this She-Hulk faces a mixture of foes including some quite bizarre ones. A trip to Florida brings an encounter with a civilisation who have discovered eternal life but have lost the spirit of life in the process. Back home there's "the Word", the charismatic head of a cult who can persuade anyone of anything, and his daughter Ultima, who has developed superstrength, and then comes Gemini, a being who can split into two halves with opposing personalities and outlooks. There's the Grappler, a master of leverage. Finally the last few issues see She-Hulk put through a gauntlet by the mysterious "Doc" (no relation) who works through subordinates such as would-be new crimelord the Shade, or through student Ralphie Hutchins who is evolved into a variety of monstrous forms including the Brute, the Seeker, Radius, Torque and Earth-Lord.

Not every story has such clear foes, and in succession She-Hulk faces the problems on a microscopic world that exists upon her necklace then a young would-be singer suffering from diabetes and an inability to recognise her own failures, and then the problems of microwave transmitters when a company erects a communication tower on a childcare centre. This latter issue (#16) feels like a generic rant about the way such technology has been imposed upon people (and it was written a few years before mobile phones had even arrived on the market let alone before transmitters were everywhere) and just sits oddly in the series overall. Later a rich businessman develops a special hydraulic suit and seeks to capture She-Hulk using the identity of the Man-Elephant.

The later issues also see Jen succumbing to preferring the form of She-Hulk the more and in her paranoia fleeing from all others who she feels have betrayed her, despite their only trying to help. It's not a full on identity crisis but rather a question of lifestyle and the addiction of power, and this makes for a somewhat different focus from the average Hulk tale. The series ends semi-abruptly with the defeat of Doc, reconciliation between Jen and Morris, the choice of Zapper over Richard and the final decision to stay as She-Hulk. However a handful of plotlines are left dangling such as the disappearance of Morbius and just how Bev will get her revenge on Morris.

The series may be competent but it's never really spectacular. Maybe it's because the foes and situations the She-Hulk faces are rarely memorable. Perhaps it's the weak characterisation of the main character as over angry and untrusting. Reading through the volume it's hard to escape the conclusion that there wasn't a great deal to the character before John Byrne got his hands on her, first in Fantastic Four and then later in her second series, Sensational She-Hulk, which launched in 1989. At this stage she's underdeveloped, brought into existence for corporate necessity rather than any natural outgrowth, and without a particularly good lure the result is a somewhat pedestrian series that just doesn't excite.

Essential Monster of Frankenstein volume 1

Essential Monster of Frankenstein volume 1 contains Monster of Frankenstein #1-5 then under the title Frankenstein Monster #6-18, plus Giant-Size Werewolf #2 and material from the magazines Monsters Unleashed #2 & #4-10 and Legion of Monsters #1. It also includes the Monster's entry from the Official Handbook of the Marvel Universe. The writing on all the series is mainly split between Gary Friedrich and Doug Moench, with Bill Mantlo contributing the final issue of Frankenstein Monster. The art is by a mixture of mainly Mike Ploog, John Buscema and Val Mayerik, with individual issues by Bob Brown and Don Perlin.

The series opens with a three part adaptation of the original novel combined with a framing sequence set in 1898 as Robert Walton, the great-grandson of the captain of the same name from the novel, leads an expedition to the Arctic locate the Monster's body. However it soon becomes clear the Monster is far from dead. As with the Tomb of Dracula, Monster of Frankenstein takes the famous novel as its starting point, treats it as an account of real events (although unlike Dracula the book itself is never actually mentioned in the comics) and introduces the descendants of some of the characters in it. Indeed the idea goes back even earlier to the original Silver Surfer series where the Surfer clashed with the descendant of Frankenstein himself. The Monster himself is notably different from the classic Universal Pictures Boris Karloff appearance, being closer to the deformed creature of Mary Shelley's text. However as the series and character develop there's an increasing drift towards the Hollywood image of a monster called "Frankenstein" lumbering through fellow monsters and other wild situations. Issue #6 sees the series' title change to Frankenstein Monster, a word order that can satisfy the popular use of "Frankenstein" for the Monster rather than the creator but without upsetting those who are aware of the distinction. And although it varies a bit with the different artists, there are times when the depiction of the Monster gets much closer to the traditional Hollywood portrayal.

But despite these drifts the series broadly remains faithful to Shelley's vision, with the original novel adapted quite well and even adhering to the narrative structure of telling it in flashback, with the narrators here consisting of the younger Captain Walton and the Monster himself. We get an additional tale of the creature's final exploits around the start of the nineteenth century and overall we get a rather sympathetic portrayal of the poor creature brought to life in a world that hates and fears him, rejected from birth by his "father" and cursed to wander the world, not even dying but entering suspended animation twice, once after the events of Shelley's novel and another time in issue #12 when the creature is moved from 1898 to the present day. The series doesn't pull its punches about the grittiness of the situation, with the Monster killing a number of people and animals in the course of his wanderings, and almost everybody he befriends soon comes to grief.

A recurring theme is the Monster's relations with the Frankenstein family. Having failed to kill Victor Frankenstein with his own hands, he seeks vengeance upon the heirs. In 1898 he eventually meets Vincent Frankenstein, a great-great nephew of his creator, but is denied his chance when a maid kills her master for neglecting his wife. Unknown to the Monster, Vincent is not the last of the Frankensteins as his wife has died giving birth to a boy. In the present day we meet Veronica Frankenstein, a descendant, who helps the Monster by repairing his larynx, thus restoring his power of speech. It seems as though nearly two centuries of hate and bitterness have come to an end with this reconciliation. However the very last page of the comic series (though not the volume) sees the introduction of Baroness Victoria von Frankenstein, who states she is the great-granddaughter of his creator. How she can be a direct descendant when the Monster killed Victor's only wife on their wedding night isn't explained here (and let's not get into the quagmire of counting generations). The Official Handbook entry for the Monster states she is heiress to the family title but not a direct descendant so it remains to be seen what her connection is or why Vincent and Veronica were seemingly unaware of her line, believing themselves to be the last of the Frankensteins.

This isn't the only sign where the series's continuity lapses a bit. This is particularly noticeable around issue #12 when the Monster is taken to Vincent Frankenstein's London townhouse in 1898 but leaves what looks like an eastern European castle but appears to be located in northern Europe (although a later issue establishes the Monster had re-entered the ocean in Switzerland - a landlocked country). The Monster falls into suspended animation for many decades, during which what appears to be the Franco-Prussian War of 1870-1871, or an even earlier conflict, is fought. When the Monster is revived in the present day, the details of his resurrection are glossed over in the pages of his own series, with readers directed to issues of the magazine Monsters Unleashed, and the placement order of in the volume keeps those tales back until the end. Meanwhile the 1898 encounter with Dracula in issues #7-9 is at variance with the vampire's early continuity, and may have contributed to considerable confusion in his series about just how long he had been inactive for. And up until this encounter the Monster is able to speak but then his larynx is torn. Yet ten issues later Veronica Frankenstein performs an operation to allow him to speak and he's treated as though this is the first time he's been able to do this.

The X-Men had briefly encountered an alien android who was presented as having been the basis for the Monster. The Official Handbook entry mentions the android only for long enough to establish it as a separate character without going into detail now that the novel had been accepted as a real account. Otherwise the volume contains no mention of any other appearances of either Frankensteins or beings like the Monster. But this doesn't mean the series exists in isolation from the rest of Marvel's output. But despite spending some time in New York City there are no appearances by the most familiar superheroes. Instead the Monster crosses over with other characters from the horror output. The trinity of Dracula, the Frankenstein Monster and the Werewolf have become commonplace not just in Marvel but across the horror genre in general and so it's entirely appropriate that the Monster encounters Dracula here, even if it is at the expense of understanding the vampire's continuity, and goes on to meet with the Werewolf. The fight with Dracula is by far the more significant as a gypsy girl who has befriended the Monster is transformed into a vampire and tears his larynx, ending his ability to speak and so altering the dynamic of subsequent encounters. The story is slightly reminiscent of an earlier issue in which a young woman befriends the Monster only to turn out to be a werewolf, a fact he doesn't realise until after he has slain the beast.

The Monster wanders afar with a sense of nobility, often willing to help others in danger in the hope that he can find fiends and a sense of identity, but invariably with tragic consequences. Some of the people he saves reject him in terror. Others turn out to be, or are turned into, dangerous beings that have to be stopped. Others still become friends but are soon killed. The Monster is a truly tragic figure, lacking a clear identity and made up of various bits and pieces. Unfortunately the series becomes the same.

The early issues show a coherency as the Monster is revived and sets out to find the last remaining Frankenstein, with the late nineteenth century setting helping to contribute to a neo-Gothic feeling. However there are some strange individual moments, such the giant spider that feeds on souls and resides in the German Castle Frankenstein. Vincent Frankenstein is a creation much closer to the Hollywood legend version of his great-great uncle rather than the literary portrayal, complete with a laboratory in a castle (also named "Castle Frankenstein" though it's in the United Kingdom) and a deformed hunchback servant who doesn't always agree with what his master is up to. Once in the present day the situations become more random as the Monster encounters and fights, variously, a Satanic cult, a bizarre creature formed by an accident in genetic engineering, the shady International Crime Organization Nexus (ICON) and the Beserker android.

A major flaw in the presentation of the series, reproduced in this volume, is the holding back of the details of the Monster's revival in the present day for the series Monsters Unleashed. As a result this volume leaps forward and backwards within the Monster's chronology, and the revival tale doesn't feel strong enough to justify using it in a separate and non-Code series. We get a rambling tale (which, on its original publication, skipped an issue and so took many months to tell) in which a neuroscientist has invented a means of transplanting brains between bodies in order to survive but gets transferred into the Monster's body when his student assistant foolishly assumes this is the solution to dying of cancer. An accident results in the scientist's brain being eventually transferred into the body of a mouse, with the mouse's brain temporarily controlling the Monster and accidentally crushing the scientist. Throw in the scientist killing the assistant, a bit of zombie magic thrown in to allow the assistant to fight the scientist even after death and a trapeze artist whose brain and body also get transferred around, and the whole thing just becomes one chaotic mess. There's a few elements that would have been barred from appearing in a Code approved comic such as the assistant coming back as a zombie and possibly the basics of transferring brains, but the story is so weak the use of such elements just doesn't justify taking a key part of the Monster's story away from his own series. The rest of the Monsters Unleashed stories are better with one tale of a man who believes himself to be ugly after he was rejected by a woman and so donned an ugly mask and recruited other "freak" outcasts for his revenge. However the revelation of his real face causes the outcasts to turn on him. The Monster saves the woman and hopes she might become his friend as he carries her unconscious form home, protecting her on multiple occasions, but when she regains consciousness she rejects him and flees.

The final two stories in the volume offer a glimmer of hope of a better approach. The last in Monsters Unleashed sees the Monster sneak aboard a train where he is befriended by a female hobo. They discover the train is a decoy for a Presidential trip and get caught up in assassination attempts. Tragically the girl is killed when the train is blown up, leaving the Monster once more all alone. The story from the sole issue of Legion of Monsters sees the Monster stumble into a costume party where he is accepted by all and falls for a beautiful woman, but he is tricked into following one man whilst another kills the girl and frames the Monster. He deals with the killer but once more he is left alone and friendless with others assuming the worst of him.

The Monster is an unfortunate creature who was created with great hopes but was assembled from bits and pieces drawn from a wide variety of sources and wandering about in search of an end to its agony and in search of a purpose in life. Unfortunately some of that description also applies to the series in general. It starts off amazingly well but gradually loses its way. Perhaps the turning point is the encounter with Dracula which shows the problems of the Monster interacting with the wider Marvel universe in 1898, but most of the stories set in the present day feel somewhat aimless. The Monster lacks a name but has a strong identity and a nobility that deserved stronger material than this.

Essential Captain Marvel volume 1

Essential Captain Marvel volume 1 contains the Captain Marvel strips from Marvel Super-Heroes #12-13 then Captain Marvel #1-21 and a bonus story from the comedy series Not Brand Echh #9. Marvel Super-Heroes was an anthology series, previously entitled Fantasy Masterpieces, which variously combined try-out new material with reprints from the Golden Age; later it would carry reprints of more recent material including a long run reprinting the Incredible Hulk. Stan Lee writes the first Marvel Super-Heroes and is then followed by Roy Thomas who writes up until issue #4 of the titled series and again from #17 and also the Not Brand Echh story. Arnold Drake and Gary Friedrich write most of the intervening issues, with one other by Archie Goodwin. Gene Colan draws as far as issue #4 and also the Not Brand Echh story, then the others are drawn by Don Heck, Dick Ayers, Frank Springer, Tom Sutton, Gil Kane and John Buscema.

Captain Marvel was not only one of the last Marvel Silver Age superhero features to get an Essential volume, but was also the last one to be created in that era. After the initial burst of creativity that produced everyone from the Fantastic Four to Daredevil, there was then a period in which the emphasis was on consolidation rather than expansion, giving pre-existing characters their own strips, and the debuts seemed to be done with. Then in 1967 came this new feature. Was he the product of a late surge of creativity that led to Stan Lee and his artists to come up with just one more character? Or did he serve some ulterior purpose?

Even without consulting wider comic histories it seems clear it was the ulterior purpose and it shows. Captain Marvel appears to be the first in a long line of Marvel characters created for the purpose of securing intellectual property rights. Often such characters get rushed into print before the idea has been thoroughly thought through, resulting in some rather confusing early years as the premise, powers and/or backstory get revised in order to work better, and eventually the character is given up with the codename transferred to a new hero, often one with no connection at all to the original. Unfortunately this pattern is all too clear with Captain Marvel. Over the course of this single volume we get a series that starts off as a tale of an alien military spy yet by the end he's become a cosmic powered hero fused with a human being. The series got its first cancellation during the course of this volume yet it was revived barely six months later as a bimonthly. The last regular issue in the volume ends with a note explaining this has been a try-out and "Now, his fate is in your hands -- you, the reader! We'll be waiting for your verdict!" But these two issues were just a try-out and the series did not continue for another two years. It's hard to disguise that the series had not been terribly successful and yet Marvel kept on trying to keep the name "Captain Marvel" on the newsstands.

The real purpose was clearly down to the "use it or lose it" requirements of trademark law that mean a company can't simply hold onto a name to prevent competitors from using it; they must regularly actively exploit the trademark. Exactly how frequently can vary, as can the precise means by which the mark is used, but one consequence is a particular code name can appear on the shelves repeatedly and for multiple characters simply because of the risk of otherwise losing it. This is why names like "Spider-Woman" have been used so many times and also why some of the various "Captain Marvel"s have no connection to each other whatsoever. The name "Captain Marvel" had been used before; first for a highly successful character published by Fawcett Comics in the 1940s & 1950s until DC brought a copyright suit, and then the name had been briefly used by M. F. Enterprises for a short-lived hero. Clearly the risk of rivals being able to publish comics with "Marvel" in the title was too great and so Marvel were clearly moving to tie up the trademark before yet another company printed a comic called "Captain Marvel". Indeed when the Marvel series was revived again in 1972 from issue #22, it came just a few months before DC revived the Fawcett Captain Marvel (since DC could hardly breach its own copyright). Had Marvel foreseen its rival's move and rushed to reinforce its mark? It just served to reinforce the pattern as a whole succession of Captain Marvels would be wheeled out over the years. (DC revived the Fawcett character but because Marvel had already got to the trademark, DC have been unable to sell their version under the logo of "Captain Marvel" - although this doesn't affect what the character is called inside the strip - leading to the use of alternatives such as "Shazam".) But in the process Marvel forget to create a particular exciting scenario and series, and eventually had to change just about everything other than the lead character's name.

The series starts by tapping into the contemporary fads of spies and space science fiction. We see Mar-Vell, a captain in the Kree armed forces, sent on a mission to Earth, though the precise details of his mission vary between revenge for earlier defeats and spying upon the world to determine the threat level. The original given mission is ridiculous for one man, even one as skilled as Mar-Vell, so it's no surprise that it gets changed early on under a different writer. However the new mission becomes equally silly because a Kree scout ship is hiding in orbit and observing Mar-Vell all the time - so why not just cut out the middle man and do the spying from orbit without the risk of arousing suspicions on Earth? A lot of the problem is that the real reason for sending Mar-Vell onto the planet is the jealousy of his superior, Colonel Yon-Rogg, for Mar-Vell's relationship with medic Una. Yon-Rogg belongs to a line of suitors who believe that simply disposing of a rival without even concealing their involvement or hatred will result in a woman falling into their arms. I don't have the real life statistics to hand to check just how many men have succeeded with this method of courting, but I suspect it's very few if that.

There's an attempt to make this a science-fiction romantic story with the regular complications of Yon-Rogg trying to get Mar-Vell either killed on his mission or executed as a traitor, but it rapidly becomes tiresome, even when an additional angle is added to the triangle in the form of human Carol Danvers (later Ms. Marvel then Binary then Warbird then Ms. Marvel again then yet another Captain Marvel - have I missed any out?). It's trying to give a sense of purpose and tragedy to the story but we don't see a great deal of Una and what we do see just doesn't make her a compelling character but instead a weeping wet blanket. It's hard to grasp just what Mar-Vell and Yon-Rogg see in her to the point that the Colonel is prepared to destroy one of his best officers in pursuit of her. The result is that the core motivation for the hatred between Mar-Vell and Yon-Rogg just doesn't convince and so we're left with an endless succession of adventures as Mar-Vell settles on Earth, assuming the guise of the dead Dr Walter Lawson, and finds himself torn between his orders and his realisation of the value of the planet. As a result he comes to the protection of humans multiple times, under the "Americanized" form of his name, Captain Marvel, and equally regularly has to justify his conduct as Yon-Rogg tries to get him prosecuted.

The idea of the noble enemy who comes to a society with orders to destroy it yet rebels when they discovers what the inhabitants are like had been done before with the Silver Surfer and no doubt with many earlier ones, but often it isn't too obvious just what they see in the society or how it is they always seem to meet the best examples. Here Mar-Vell spends most of his time around a missile base in Florida or at a nearby motel with a suspicious night clerk, interacting with a limited number of base personnel and townsfolk, and getting caught up in protecting humans from various alien incursions. At the base the main characters are the base commander General Bridges and the security chief Carol Danvers. Carol is presented as a clear potential romantic interest from the outset and we soon get the all too familiar scenario whereby she falls for the hero but is hostile to his secret identity. Eventually she and Mar-Vell share a kiss, to the delight of the watching Yon-Rogg and the horror of Una, but nothing really comes of it and Carol disappears when the series overhauls itself.

Mar-Vell battles a number of menaces ranging from a Kree sentry to the Super Skrull. The latter is, I think, the first time a Kree and a Skrull had faced off in a Marvel comic though we learn they've been enemies for centuries. Other existing Marvel foes include Quasimodo the living computer. There are new threats such as the Metazoid, a mutated being created by the Communists, or Solam, a solar energy creature drawn to Earth by accident, the Aakons, another alien race, the Organization, a criminal outfit, the Cybrex, a robot built by the real Walter Lawson, the Man-Slayer, a robot created by Communists and the Puppet Master (in a crossover with the Avengers and th Sub-Mariner, however only the Captain Marvel issue is included here). There are also the inevitable clashes with other heroes such as Namor the Sub-Mariner, Iron Man and, later on, the Hulk, though the Captain America depicted on the volume's cover (reused from issue #17) is in fact an illusion generated by Mar-Vell to draw Rick Jones in.

From issue #11 onwards the series starts to transform itself into something different and steadily ditches a lot of the baggage. Una is casually killed off by a stray shot in battle with the Aakons, and Mar-Vell boards a rocket which gets thrown into deep space where he meets an all-powerful being who gives him enhanced powers, including flight, casting illusions and teleportation. Subsequently we learn that Mar-Vell has long been manipulate by the Kree ministers Ronan the Accuser and Zarek as part of a planned coup against the Supreme Intelligence. Zarek is motivated by concerns about the Kree racial stock but fortunately for a black and white reprint this is about the only moment that touches upon the racial tensions within the Kree Empire whereby blue-skinned Kree have come to see themselves as the original pure stock and are hostile towards pink-skinned Kree such as Mar-Vell, seeing them as the result of mixing with lesser races. As a reward the Supreme Intelligence gives Mar-Vell yet further powers and a new costume, his most familiar one, but the hero is now cut off from the Kree. He is soon trapped in the Negative Zone and the only escape, however temporary, is through bonding with another being and regularly trading places with them. And so Rick Jones is lured into a cave in the desert.

When introduced in issue #17, Rick Jones seems several years younger than he's normally portrayed, looking almost like a child. Was this just an error by Gil Kane or was it a deliberate homage to Billy Batson, the original Fawcett Captain Marvel? There are other elements to his introduction that feel like a retread of how Billy was introduced to Shazam, and indeed in the pre-Crisis Fawcett & DC stories Captain Marvel and Billy were treated as separate personalities. But whatever the motivation, the result is that Captain Marvel now shares his existence with a mortal. After a final tidy-up with a showdown in which Yon-Rogg is killed and Carol saved, the series now embarks fully in its new direction.

However the last few issues are just strange. In one Rick finds himself caught up in a strange sociological experiment run by a scientist who uses a luxury block of flats as a giant laboratory. Then in the revived try-out Mar-Vell clashes with both the Hulk and the Rat Pack, a bunch of hi-tech looters. By the end of the series everything has changed beyond recognition and it's no longer clear at all just what it's all about.

Captain Marvel is a series that's quite well drawn and the individual issues flow quickly without any obvious stinkers. But the overall direction of the series is a total mess and the result is a rather meandering flow. The Not Brand Echh story included here plays on the fact that "Captain Marvin" can't remember what his mission is. Whether by accident or design it winds up parodying the series in more ways than one as it really doesn't know what its purpose is for. This was one of the earliest series whose sole reason for existing was legal rather than creative and its artificialness is all too easy to see.

Essential Tales of the Zombie volume 1

Essential Tales of the Zombie volume 1 contains all ten issues of the magazine Tales of the Zombie plus a story from each of the first couple of issues of the magazine Dracula Lives! Bonus material consists of the cover of Annual #1, an all reprint issue. The early issues of Tales of the Zombie and one of Dracula Lives! also carried some reprints of stories from Marvel's earlier horror comics and these are included here; they come from the likes of Mystic, Menace, Journey into Mystery and Chamber of Darkness. Writers on the series include Roy Thomas, Steve Gerber, Kit Pearson, Marv Wolfman, Tom Sutton, Tony Isabella, Doug Moench, Gerry Conway, John Albano, Len Wein, Carl Wessler, Larry Lieber, David Anthony Kraft, Chris Claremont and John Warner. Artists include Sutton, John Buscema, Pablo Marcos, Win Mortimer, Vincente Alcazar, Enrique Badia, Rich Buckler, Vic Martin, Ron Wilson, Ernie Chan, Syd Shores, Dick Ayers, Frank Springer, Alfredo Alcala, Michael Kaluta, Virgilio Redondo, Yong Montano and Tony DeZuniga. Unfortunately some of the reprints predate the era of credited creators so there's a degree of omission and guess work (which invariably is better at identifying artists than writers) involved here. Identified creators include writers Stan Lee and Chuck Robinson, and artists Ayers, Gene Colan, Bill Everett, George Tuska, Ralph Reese, Tony Dipreta, Bill Walton and Russ Heath. One of the Dracula Lives! stories is a reprint drawn by Dipreta, the other is new and written by Thomas and drawn by Colan. That's a HUGE amount of credits so the labels have spilled over into three other posts, one and two for new work and a third for reprints.

One of the joys of the Essentials is to be shown glimpses of fads in popular culture that have otherwise been generally forgotten. Here is a strong reminder of early 1970s America's fad for all things Voodoo (and that's the spelling used throughout rather "Vodou" or "Vodun"), which is otherwise primarily preserved for modern audiences in the James Bond film Live and Let Die. (Issue #4 of the magazine even carried a rather critical review of that film by Don McGregor, reproduced here along with so many other text features. I had to suppress a chuckle at the text's comment about how actor David Hedison was probably one of the few glad that the film lacked the scene from the book where Felix Leiter is fed to a shark. But it took sixteen years before Licence to Kill dipped Hedison into a shark tank.) Voodoo magic, especially the walking dead, was fascinating many. The magazine format meant that Marvel could produce, or reproduce, material that wasn't bound by the shackles of the Comics Code Authority, starting with the series's very name as the lead character could be unambiguously presented as a "zombie" rather than a "zuvembie" or some other Code friendly spelling that takes away the impact and sheer horror associated with the word.

But this series wasn't the first time Marvel had dabbled with zombies. A number of their 1950s titles had featured them and several stories are reprinted here. Such was the impact of the original stories that one of them, simply entitled "Zombie!" from Menace #5, was selected and built upon to provide the main character and his daughter. Bill Everett thus emerged as the creator of an ongoing character some two decades after working upon the original strip and right at the end of his life. (An editorial in the first issue wishes Everett a speedy recovery but sadly it was not to be. Not included here is a tribute piece from the second issue.) Oddly the first issue doesn't credit Stan Lee's work on the story - maybe his infamously bad memory was at work and perhaps just once he failed to do what he semi-jokes he always does and take any credit that isn't nailed down. The original story is reprinted as the Zombie's chronological second appearance, but the twist at the end of the tale is now lost because of what is shown before it. However the newly created origin ties in well with the original story, though I don't know if the latter underwent any modifications from what was printed in the 1950s in order to match the new material. And the new material came in many different forms.

The magazines were more than just comics by another name. As well as several strips, both new and old, they also contained a number of features and the occasional text story. In several ways they remind me of London Editions Magazines/Fleetway Editions's Superman and Batman titles from c1988-1995 which had a similar strip and text feature approach and which were amongst my introduction to US superhero comics (if I remember and understand correctly, the earlier years of LEM's output was in an exceptionally rare period when the DC superheroes had a better presence on the British newsstands than the Marvel ones; Marvel UK at the time being primarily focused on licensed spin-off titles). These articles delve into a number of aspects relating to both zombies and Voodoo, ranging from the origins of the religion to some of the best books then available on the subject to the portrayal in movies to the culture clash in New York as the rituals of animal sacrifice met legislation barring them and the public's reaction to finding decapitated animals in the park. There are in-depth looks at a number of Voodoo and zombie movies, including some previews. Overall the tone of the articles is highly sympathetic to Voodoo, even though most of the authors appear to be atheists, noting that it has been distorted by media depictions but in fact is rather harmless. "In fact, with the exception of those rites involving animal sacrifice, Voodoo is probably as harmless as Presbyterianism, albeit more colorful," writes Chris Claremont in issue #7 before going on to point out "...there have been no Voodoo holy wars, no Voodoo inquisitions, and no Voodoo tax-exempt real estate holdings." In general the series sets out to portray Voodoo in a non-negative light despite also having to meet popular expectations. However it's not so clear about the differences between the Voodoo practised in Haiti, in west Africa and in Louisiana and in other parts of the United States, tending to present them all as one.

Within that we get a mixture of new and reprinted stories, some focusing upon the title character, others telling one-off tales of encounters with zombies and Voodoo. Whether original or reprinted, these back-up strips are often highly entertaining and at the same time quite dark. We see the fate of an butterfly collector as his son's wish that he'd stop capturing and sticking pins into the insects comes true, or four female prisoners escape and reach the isolated home of one of their aunts only to come to grief one by one. Then there's the white hunter in Dahomey (now Benin) who is searching for gold and his long lost brother, but his atrocious treatment of the locals backfires on him. There are tales of murder victims taking their own revenge or of families turning upon one another and more. The anthology format is now rarely seen amongst US comics but it's always good to allow creators the chance to come up with completely one-off stories and the results are a strong pleasing mix.

However the main attraction is the lead feature, telling the story of the zombie that was New Orleans businessman Simon Garth. Reading through these tales I found it absolutely astounding that there is an almost total lack of appearances by the wider Marvel universe. Simon Garth may have popped up in Dracula Lives! but only as a passing cameo when Dracula visits New Orleans. Indeed the story could easily have been left out but I guess somebody wanted this volume to be the definitive Zombie collection. (The story had already seen print in Essential Tomb of Dracula volume 4 so it wasn't as if people might assume a major team-up was missing.) Otherwise the only visitor from another series is Brother Voodoo in a couple of stories, one filling in for the lost Zombie tale. These stories are both fairly okay but fall into the realm of back-up strips and so aren't the main attractions. Still it's good to see Brother Voodoo operating without the constraints of the Comics Code Authority, even if he does still talk about "Zuvembies" instead of "Zombies". This restraint is probably the main reason why Simon Garth didn't get used in other Marvel comics at the time - significantly he didn't appear in either Marvel Team-Up or Marvel Two-in-One when virtually every other Marvel horror star did at some stage or other. This isolation works well, reflecting the lead character's own isolation but also allows the series to stand on its own feet instead of swamping things out with an endless stream of guest stars.

The first story introduces the main characters who recur throughout the series. Simon Garth is a ruthless businessman who has climbed to the top in the coffee industry but in the process he's lost much of his humanity. Arrogant and domineering in both the boardroom and the home, he has alienated his wife and tries to run his adult daughter Donna's life. He is also oblivious to the feelings of his secretary Layla. Then he is brought down when he dismisses the gardener Gyps for making unwanted advances on Donna but in retaliation Gyps kidnaps him and takes him to a Voodoo ceremony where the mambo (priestess) is Layla. She tries to free him but Gyps catches up with him and kills him, then forces Layla to bring Garth back as a zombie. Wearing the Amulet of Damballah which allows anyone holding its twin to control him, Garth now wanders the Earth as a stumbling corpse. However vestiges of his former life remain and he refuses Gyps's command to kidnap Donna, instead killing Gyps. He then spends much of the rest of the series wandering, occasionally coming under someone's control as the Amulet is successively found and lost, and otherwise surviving. The series doesn't pull its punches - the violence isn't gratuitous but it's also held back on and we see the impact on humans and animals as Garth takes action against them.

The setting shifts between Louisiana and Haiti and back again, with Garth a noble figure whose lack of speech and thought is compensated for by one of the few occasions when second person narration works. Over the course of his wanderings he encounters a number of bizarre situations, ranging from a mad scientist who briefly transforms Donna into a giant spider, to a house murder where members of a family are being picked off, to a New Orleans cult in association with a local crime lord, to a reclusive family looking after their deformed son. Garth is used and abused by a succession of individuals, most notably a group of "swingers" (party types rather than switchers) who use him to perform pranks on a number of people who've annoyed them, not realising just how dangerous this can be. Despite such abuses, Garth manages to maintain a degree of dignity throughout, helped by a part of the zombie curse that gives him a fast healing power. Midway through the series Garth is reunited with Layla, now an outcast after she tried to save him, yet tragically the swingers make him attack her for her past actions in the typing pool. However she survives long enough to give her soul to allow Garth to be restored to full life for twenty-four hours.

Issue #9 sees Garth now restored as he gets the chance to put right a lot of his past mistakes. He attends his daughter's wedding and reconciles with his ex-wife. He visits his business and apologises to his partner, then sells up and has the proceeds put into a fund for his ex-wife, his daughter and the deformed boy. And he takes action against the New Orleans crime lord and the cult who transformed him in the first place. Finally he returns to zombie form but retains enough control to use the Gris-Gris bottle Layla obtained that allows him to permanently die. The story may offer a sense of closure for Garth, but it wasn't intended that way. An editorial note at the start of issue #10 confesses how a story depicting his resurrection was written and drawn, but many of the pages were diverted in transit and ended up in Guam. It was rescheduled for issue #11 but then the series was cancelled, presumably as the Voodoo and zombie fad was now passing. Since there's nothing added after issue #10 it seems the story never saw print in any other series.

The format of the series means there aren't that many pages devoted to Simon Garth and so his story is much briefer than just about any other character with their own Essential volume. But it allows a much closer and personal story than is often the case, and shows how even the most obscure of characters from decades earlier can be put to great use. Meanwhile the other stories and features all work to give an enhanced experience. It's a pity that the magazine format will probably never be seen again as this volume offers a good look at how such a format can deliver so much.

Essential Tales of the Zombie volume 1 - creator labels 1

This volume has by far the largest number of creator credits so the labels need three extra posts. Links to post 2 & post 3.

Essential Tales of the Zombie volume 1 - creator labels 2

This volume has by far the largest number of creator credits so the labels need three extra posts. Links to post 1 & post 3.

Essential Tales of the Zombie volume 1 - creator labels 3

This volume has by far the largest number of creator credits so the labels need three extra posts. This one focuses on the reprinted material. Links to post 1 & post 2.