Shut Your Eyes and Trust in Me - Daredevil 163

Daredevil #163 (March 1980)
"Blind Alley"
Roger McKenzie-Frank Miller/Klaus Janson

Doug: If you can recall our April conversation on mismatches, and if you've checked our list on the sidebar that touts upcoming reviews, then you know my inspiration for today's post and the upcoming Thor retrospective. As many of us remarked a few months ago, underdog stories are fun. Sure, we generally know how they'll turn out, but the question remains: can the creators make the telling of the tale interesting along the way?

Doug: Here's your helping of the meat and potatoes of this yarn, courtesy of a 100-Word Review:

While Matt Murdock and crew are attending a fundraiser for the re-election of DA Blake Tower, Murdock picks up the sound of the Hulk’s heartbeat nearby. Ditching Foggy Nelson and recently ex-girlfriend Heather Glenn, Matt does his thing in pursuit of ol’ Jade Jaws. Finding him, Murdock actually talks the Hulk down from his rage and coaxes Bruce Banner out. But Banner can’t stay in one place, so the next day he leaves Murdock’s brownstone. Trouble ensues, and the Hulk is loosed in downtown Manhattan. This time DD is forced to fight the Hulk, and is beaten nearly to death.

Doug: I would have bought a Frank Miller-drawn Hulk series. It's interesting to see Miller and inkers Klaus Janson and Josef Rubenstein play around with the Hulk's scale and overall look as the story plays out. So why not let this just lead us into...

The Good: Of course it's the art, right? To finish my thought, the artists pretty much stick to "the Hulk is 7 feet tall", and it works great. If I remember correctly, when we had our conversation about the Thing and his listed height/weight in the Marvel Handbook, someone commented that the Hulk increased in size the angrier he became. While that may be true, it seems to me that it's a post-Bronze Age convention; please correct me if I am wrong, as I was never a regular reader of the Hulk's comic or magazine adventures. Here the Hulk stays the same size - big. Not huge, just big. It's perfect. From Daredevil's non-super-powered perspective, the Hulk is an engine of destruction. Miller conveys that to us. He's appropriately well-muscled, but without all the extra lines, no popping veins, etc. -- none of the excess we'd see a little over a decade later. I'd say that facially the Hulk is drawn about right, too. He's angry, but again, not bloodshot-eyes-angry. Am I getting across that I was pleased with this aspect of the story?

Another oft-used element of Miller's art that doesn't ever get old for me is the use of the motion panel. Miller uses it twice (we've seen it before here on the BAB) in this issue and it's quite effective. The pink silhouette is perfect to convey where DD had been and the direction in which he's moving. Did you ever make a flip-the-pages book (I'm sure there's a better name for it -- showing my ignorance) using stick figures and depicting walking, running, or falling? I did, and these panels remind me of that.

I'm digging Ben Urich when I re-read these 35-year old DDs. The guy's just one of those stereotypical "gumshoe" reporters. The slow reveal of Matt's alter ego is well-handled, and the pay-off in the issue following this one is solid. Urich's appearances in DD added depth to the existence of the Daily Bugle. I will add that I'm glad Urich had been in the cast for many issues prior to this McKenzie/Miller/Janson run. Had Urich been added only a half dozen issues prior and then this secret identity thing dropped, it would have been wholly rushed and quite artificial. The way it was executed showed some organic development.

The (Not so) Bad: What to do with the Hulk? We've all talked recently about the addition of the Hulk to any story automatically creates that Civil War-like trope. And so here you have a tale where the outcome is pretty set in stone, powerset-wise. But overall it was satisfying... but just that. I enjoyed the angle the creators took, with Murdock able to calm the Hulk by convincing Greenskin to trust him and then befriend Bruce Banner, culminating in a nice little twist at the end -- Daredevil actually getting the Hulk to quit fighting by uttering the same request about trust. I did not have the same feeling at the end of this yarn as I did the first time I read DD #7 (vs. Sub-Mariner) or Fantastic Four #25-26 (Thing vs. Hulk). In each of those previous cases, one hero was classically overmatched against his opponent, but the will to win ended up being the true triumph of the story. And although Daredevil was certainly knocked around to the point of hospitalization here, I just didn't have the same sense of awe as I've had in other stories of this type. Could it just be me? I wouldn't deny it. But don't leave here thinking that I thought this was a bad story; quite the contrary.

I'll say this as well -- a real challenge for a creative team is handling the Hulk in a Comics Code world. The recent films have dealt with this better, showing that his very presence seems to cause millions of dollars in property damage. We get a taste of that here, when he bursts not only through the top of the subway car but clean through the street. The Hulk also totals a taxi and a city bus, and rips up some asphalt. But it's nothing like the end of that first arc in The Ultimates, which was of course outside the Code and a bit more "realistic".

The Ugly: I can't admit to being put off by anything in this story, but in the interest of not leaving this space blank, I'll just throw out as a point of conversation that I tire of the love triangles/difficulties of heroes, their secret identities, and significant others. I even noticed that sort of thing when I was a kid.

Oh, wait -- thought of another. Purple pants. How in the world did Matt Murdock give Banner (and moreso, WHY?) purple pants to wear when Banner was staying over after the initial Hulk-out in this tale? Diversify your wardrobe, Banner. Sheesh...

 

Heroes and Horrors: Captain America 254

Captain America #254 (Feb. 1981)
"...To Battle Baron Blood!"
Roger Stern-John Byrne-Joe Rubenstein

Doug:  Only 10 more days to Halloween, and what says "October" like 100-year old vampires chewing on the neck of the Star-Spangled Avenger?  I say to thee -- nothing!  So let's get after it with the conclusion to last week's quite-fun cliffhanger.

Doug:  We start where we stopped last issue, with Captain America in a trance brought on from the powers of the vampire Baron Blood.  John Byrne draws a wiry ugly in the Baron, and we see him snaking around Cap's back and about to sink his fangs into our heroes neck.  Also on the scene are Lord Falsworth, in whose bedroom the scene climaxes, his daughter Jackie Crighton (the former Invader Spitfire), and her son Kenneth.  We get a 6-panel flashback to catch us up, and then the fangs sink into... nope, they don't.  Chain mail.  Getcha every time.  As a kid reading Avengers reprints drawn by Don Heck, I always thought Cap's shirt had little feathers all over it, somehow related to the wings on his mask.  I've said around here before that I did enjoy the manner in which John Cassady left no doubt as to the shirt's make-up.  Anyway, here the Baron gets nothing but a toothache -- and that ticks him off!  He lunges for Cap, swearing to break his neck.  All that breaks then is Hell, on the loose!  Cap launches his nemesis across the room, and then Kenneth stupidly moves in brandishing a floor lamp.  Against a supernaturally-strong vampire.  A floor lamp.  Blood dodges it and grabs Ken about the throat -- what is it with these guys and throats??  Fortunately the sun moves above the horizon, and you know what that means.  Everyone gets a chance to catch their breath.  Well, after Cap makes one more lunge to try to get Blood; he misses, but does a nice landing (certainly with a high degree of difficulty) after his trouble.

Karen: I much prefer a concise flashback to the  modern "Previously in Captain America" text page. That just seems like the easy way out. Besides, it's fun seeing how they will manage to incorporate the flashback. Will it be a memory or a recounting to another character, or something else entirely? Regarding Cap's chain mail, it seems to me that most artists tended to draw it more like scale mail -the "feathers" you so aptly describe, Doug. There's a big difference between chain and scale mail, as any former Dungeons and Dragons player could tell you! Here, Byrne and Rubenstein seem to get it right. You'd think Baron Blood would be smart enough not to try to bite through metal, but maybe he's gotten a bit daft over the years  And Kenneth...ah Kenneth...he has the Falsworth fire, but not the skill. He's lucky Cap interceded. And what an agile move by Cap as he tries to grab the fleeing Baron. I always think of Cap as being just a notch below Spidey and the other acrobatic heroes. 

Doug:  I couldn't agree more about the recent tradition of recap pages to lead off a comic.  It just seems to me like the reader, already paying a price point of around $4, loses a story page.  You're also right at the need for creativity in incorporating the storyline's summary into a somewhat seamless presentation to new readers (without ticking off the reader who was present for those previous issues!).

Doug:   As the group at Falsworth Manor collects themselves, Kenneth's friend Joey Chapman strolls onto the scene, in a bit of a crabby mood.  It seems the ruckus of the fight, as well as the thousands of rats Blood had marshaled, served to wake up ol' Joe.  Cap cops an attitude with him, though, asking him how it was that right when Baron Blood disappeared, Chapman appeared.  Joey doesn't take to kindly to the accusation and grabs Cap's left arm.  A pop in the noggin and quick reversal later, and Joey's shoulder's about to crack.  Kenneth talks Cap down, assuring him that Joey's not the vampire.  Cap simmers down, and then asks Jackie to go with him to contact Scotland Yard.  As they leave, Kenneth gets Joey put back together and then tells him the origin of Baron Blood.  Longtime readers of the Invaders would recognize this tale from that book's first year and a half.  John Falsworth had been largely cut out of his father's will, with brother James instead getting the mantle.  Ticked off, John went to the continent and made his way to Transylvania, where he figured he'd just go find Dracula and wake him up.  You know, to control him.  Riiiiight.  The Dark Lord awoke, bit ol' John on the neck, and now who's controlling who, huh?  Falsworth ended up back in Britain as an agent for the Kaiser and stirred up some trouble in the First World War.  Later, he cozied to the Nazis where he encoutered the Invaders, and his death.  During the final melee, the original Union Jack was crippled in battle and Jackie Falsworth ended up in need of a blood transfusion -- she got it from the Human Torch!  Of course, you may recall that the mingling of his android blood with her own gave her super speed (only in the comics, friends!).  Joey hears all this and thinks it's no wonder Cap was a little tense!

Karen: This is one of those rare times where we actually see Cap ticked off. He just manhandles Joey. It's embarrassing. Then another flashback! The whole Dracula story is pretty silly, but it's a means to an end. I haven't read those Invaders issues in ages. As I've mentioned before -loved the concept and most of the stories, but hated the art. 

Doug:  Cap was stressed in this story, wasn't he?  I think he felt a real responsibility to Union Jack and Spitfire, now aged and unable to protect themselves from the threat at hand.  Cap's always had a paternal side, though.

 

Doug:  We cut to a cottage, where a very large bat takes aim at an open window on the second floor.  Crossing the sill, it's Baron Blood who lands inside.  Licking his wounds from his battle against Captain America, he knows he'll have to have a better plan.  But for the time being, he needs to get into his disguise, which protects him from the sun.  And that disguise is...?  Doctor Cromwell, who we met last issue.  And doesn't John Byrne draw him creepy here!  The doctor greets his patient Jenny at the door -- she of the low iron in her blood who we met last ish.  Cut to the Falsworth home where an assault team is being assembled to sniff out Baron Blood.  Kenneth and Joey offer to help, and Cap says they can use every hand on deck.  On the sidelines, this riles Lord Falsworth, who feels responsible for Blood.  As the team fans out to search the countryside and nearby villages, we see later in the day our two young friends take a break in their favorite pub.  Who should wait on them but Jenny?  Kenneth remarks that she looks pale, and then drops us a line that he intends to marry her.  As she protests, saying Kenneth's mom would never allow him to marry a commoner, she faints.  As the boys move her to a cot in the back room, Joey notices fang marks on her neck!

Karen: I like the way this slowly unfolds. The vampire hunters do the usual job scouring the near-by area for the vampire, not suspecting he's right there among them. Lord Falsworth's quiet desperation tugs at the heart strings. And the Cromwell disguise is so bizarre -it's so distinctive that I wonder if  Byrne might have intended it to be a caricature of someone in the comics industry.

Doug:  Next is a brief interlude, as Bernie Rosenthal helps Mrs. Kapplebaum clean Steve Roger's apartment.  They engage in some small talk, with Mrs. Kapplebaum attempting to do some match-making.  Bernie's having none of it when the phone rings.  It's a guy with an advertising job for Steve -- and he quickly withdraws the offer upon hearing that Rogers is in England with no contact number!  Bernie wonders how this will turn out between she and Steve, while Mrs. Kapplebaum things they should plan a June wedding!

Karen: And speaking of caricatures -was "Carmine" from the advertising agency supposed to be Carmine Infantino?

Doug:  Or, Carmine could have been "The Big Ragoo" from Laverne and Shirley.  Nah...

Doug:  Back in the UK, we get a rather touching scene as Cap returns to Falsworth Manor.  Intent on upping the security around the home, he checks in on James Falsworth -- to find his old ally suited up as Union Jack!  While still wheelchair bound, the former hero of two World Wars tells Cap that maybe he can draw his brother out of hiding.  He also tells Cap that should the Baron get the best of him, Cap has his authority to end his life so that he not become a vampire.  Jackie happens by, and thinks to herself that her dad has his spark back.  She wonders if she, too, could be of help and sees her old Spitfire costume hanging on the wall.  Too many years, she says.  Too many years...

Karen: Seeing the two men together, two heroes from wars long past, but one old and infirm, and the other still miraculously young, we are reminded that the qualities that define a hero are more than just physical. Lord Falsworth's desire to be useful,  to make a sacrifice that will ultimately save lives, gets at the true core of what it is to be a hero. 

Doug:  And not an "anti-hero".  A Hero.  However, Jackie just as quickly turns on her father.  I think she became scared for him -- if she, at 20-some years younger could not compete in this battle, certainly he'd be killed instantly.  But he resists her verbal assault and again reiterates that because Blood is a Falsworth, it's their responsibility to deal with him.  But in the excitement, his heart acts up and he nearly lurches out of his wheelchair.  Some time later, he's in his bed (still clothed in his fightin' togs) when Dr. Cromwell arrives.  Uh oh -- this ain't gonna end well for somebody!  Cromwell does some preliminary examination of Lord Falsworth, and then ushers Cap and Jackie out of the room -- you know, it's going to be a long exam.  But as soon as they exit, the wolf leaps from the sheep's clothing and it's a quite-distraught Union Jack who says to Baron Blood, "but... you were defeated... your remains locked away in the Tower of London... How?"  Blood gives him the lowdown about his revival, the ruse of manipulating the real Dr. Cromwell and of killing him and his daughter (hence, the female skeleton in the casket in the Tower).  Then he tells Union Jack that he's going to drain his blood slowly, and make him an eternally old man among the undead.  But what should surprise the heck out of us but a suddenly revitalized, built-for-destruction hero rising from the mattress and slashing Baron Blood's midsection??

Karen: I gotta say, I really love that Union Jack costume. The full-face mask, the midnight blue -that's just a sexy outfit.

Doug:  Not only did Union Jack sit up all musclebound, he lays a double-footed roundhouse on the Baron's chin!  Blood figures that this is obviously some imposter, and in his rage wants to end it quickly.  Jack gets off a shot but misses.  Suddenly Cap bursts through the room's door as Blood knocks the revolver from Jack's hand.  Cap plants his left boot firmly in Blood's gut and then socks him in the head as Jack doubles the vampire over backwards.  But Blood is able to escape and flies out into the hallway.  He yells behind that he is leaving Falsworth Manor -- but a star-spangled shield to the gut changes his mind.  Union Jack follows Cap and leaps upon Blood, brandishing a silver dagger.  But the vampire is not to be taken so easily, and lunges for Jack, fangs bared.  Cap cannot get there in time, so throws open the drapes -- yep, it's still daylight.  Blood cries out, and yells at Captain America that he will not be saved by the sun again.  Cap's able to parry the next attack with his shield, and jumps onto Blood's chest as the vampire hits the floor.  Each man spouts his mantra, Cap of life and liberty, Blood of death.  As the vampire rends Cap's mail shirt, our hero reflects on something Lord Falsworth had told him last issue -- "There is only one way to totally destroy a vampire!"  Cap fights his conscience, his faith, and his oath as an Avenger... and then decapitates John Falsworth.

Karen: Cap really lays into Blood!That kick looks like it could take down a horse. The way Byrne and Rubenstein portray him, Cap is quite formidable. I never felt like he was truly out-classed by Baron Blood, despite the difference in their power levels. As for Blood's ultimate demise, I was truly struck by Cap's remorse. Despite -no, perhaps because of his time served during the war, taking any life, even one as abased as Blood's, causes Cap great distress. It seems like this is a trait of Cap's that developed later in the Silver and specifically the Bronze Age, to the point where ten years after this book came out, he'd be getting into a major disagreement with Iron Man over whether or not to kill the Kree Supreme Intelligence at the end of the "Operation Galactic Storm" storyline.  Here, Cap is quite devastated by having to end  Blood's reign of terror in such a gruesome manner. This took me back to earlier this summer, watching the new Superman film, Man of Steel, and all the controversy over having the main character take a life in it. I think Cap fulfills the same role (or used to) in the Marvel universe that Superman does/did in the DC universe -that of moral compass. Both set an example for the heroes of their worlds and we expect the best of them. What Cap does here is necessary but he still regrets having to do it.

Doug:  I am trying very hard to remember my reaction to the Black Knight's decision to slay the Kree Supreme Intelligence during "Operation: Galactic Storm".  I recall at the time having that "heroes don't kill" thought.

Doug:  As the rest of our cast enters the room, Joey Chapman removes the mask of Union Jack.  He tells Kenneth that he never would have been able to withstand Blood's attack; Kenneth doesn't argue.  Later, as night falls, the body of Baron Blood is taken to the moors and laid on a funeral pyre.  His remains become smoke, and Kenneth says to his grandfather that Baron Blood will not again menace the Falsworths.  But Cap tells him that Lord Falsworth cannot hear him.  You see, as his brother's body burned, James Falsworth went to meet his Maker.  The last page of the story is a wonderful splash, and you can see it below.  To say it carries a degree of grandeur would be an understatement.

Karen: The illustration is beautiful, although I had mixed feelings about the text. I don't know that I'd want to celebrate everything about Britain's 'empire'- but I'll take it in the spirit of the story. All in all, I really enjoyed this two-parter. It was a nice reminder of Cap's past adventures during the War, featured his sense of obligation and loyalty, gave us a glimpse into an era of his personal life that didn't involve SHIELD or other super-powered friends, and the horror story aspect was highly reminiscent of classic Hammer horror films. And what can you say about the art? Simply fantastic.

Doug:  Great choice of a story for the middle of the month, partner!  Really, if all comics were this good...  Well, I don't even know what I should say next but I think you know what I mean.  Roger Stern and John Byrne made a fabulous combination during this all-too-short run.  I'd like to comment, too, on the inks of Josef Rubenstein.  I mentioned last week that I'm reading from the Marvel Premier Hardcover that reprints the run.  At least in the version I have, Rubenstein's inks gave off an early Silver Age vibe at times, akin to those who layered Kirby's work in early Avengers and Tales of Suspense stories.  It was kind of cool to me, given the ages-spanning aspect of this story.  Fun, fun, fun!

Heroes and Horrors: Captain America 253

Captain America #253 (January 1981)
"Should Old Acquaintance Be Forgot"
Writer: Roger Stern
Pencils: John Byrne
Inks: Joe Rubenstein

Karen: Today we start a two-part review, and it's sort of doing double-duty: one, it's part of our "Heroes and Horrors" line-up for October, and two, we're getting to more of that great Roger Stern-John Byrne Captain America run that we've planned to review. This story was both familiar and unusual for Cap, as it revisited his history with the Invaders yet dealt with a supernatural menace.

Doug:  Both of these creators had by this time established themselves as premier talent in the Marvel Bullpen.  John Byrne shows that he could work with other writers (beside Chris Claremont) at a very high level.  This is just a very readable comic, full of characterization, action, and intrigue.  Talk about 20 minutes well spent!

Karen: We open on a very rainy night in a village just north of London. A policeman and a doctor are inspecting the body of a young woman. She's had her throat slashed and been drained of blood. This is the third victim of such a death this month and the men are beside themselves. After taking the body to the doctor's office, they go to inform near-by Lady Crichton of the grisly discovery. The older woman (who looked a bit like Judy Dench to me) tells the men that she'll contact Inspector Sweeney of Scotland Yard. However, upstairs and hidden from view, an elderly man in a wheelchair thinks to himself that he knows who is responsible, but none of these men can stop the perpetrator. The only one who can is in America. That's our cue to the streets of New York City -specifically, a liquor store that's being robbed. As two thugs harass the shop-owner for more cash, the star of our book appears. Cap calmly dodges a shotgun

blast and knocks out one thug, then uses his shield to stop the other, who was running down an alley to escape. This one still has his gun though. But Cap shows no fear and approaches the thief, telling him that lots of men have tried and failed to kill him, so he'd better just hand over the gun. The creative team does a nice job of showing Cap's overwhelming confidence and authority. The robber meekly hands over his pistol and Cap then gives it to the elated shop-keeper, who said he called the police and they're on their way. Since Cap was in a hurry, he leaves the man holding the gun on the thief! I found this a bit hard to believe, but even Cap says he would normally wait for the cops to show up. Cap then takes to the rooftops to recover his valise, containing his clothes, and changes into civilian gear.

Doug:  You mention Cap's authority -- isn't that a character trait inherent to this hero?  Really, no matter what era Cap was written or written in, it's his larger-than-life persona that's stands above almost everyone else around him.  I did not, however, buy the line from the second hood that he thought Cap was a myth.  C'mon...  could anyone really utter that in a comic published in 1981?  That just seemed silly.  I liked that Cap kept his clothes in his artist's portfolio -- seemed to me a much better ruse than stuffing one's shoes and sportcoat into a cape-pocket!  But back to the beginning of the story, and your comments.  I really like stories set overseas.  Part of the allure is that stereotypical Old World vibe that we get from American writers, but it gives any yarn like this an aura of mystery.

Karen: We discover why Cap was in such a hurry: he has a date with his girlfriend, Bernie Rosenthal. They're going to see a production of "Oklahoma" and Steve is just barely on time. Steve muses to himself that the first time he saw it was in 1943! Later, they go back to his place and talk over coffee and a little snuggling on the couch. Bernie remarks about how old-fashioned he is. He hasn't yet revealed to her his Captain America identity. While they are getting close, he gets a call from Jarvis, the Avengers' butler. A telegram has arrived for Cap, in some sort of code. It indicates that he is needed in England and is signed "Falsworth." This puts a charge into Steve. He tells Bernie he has to leave immediately on "personal business," apologizing for disrupting their weekend plans. Bernie says its OK, an old boyfriend is coming to town and she'll be fine. Once she leaves she chides herself for making up a foolish story like that, just because she was mad that Steve wouldn't tell her what was going on. Steve wishes he could be more honest with her, but he doesn't feel ready yet.

Doug:  The hero/girlfriend/secret identity trope gets tired, doesn't it?  Although we all knew that Cap had to get to vampire huntin' sooner or later, I wanted to enjoy a bit of the development in Steve and Bernie's romance.  I know these things are played for tension and serve as a vehicle toward a hero's clay feet, but the scene could have lasted just a bit longer.  One of the things I've enjoyed about Cap's mag over the years is that the Avengers (and their mythos) are reoccurring supporting cast members.  That Jarvis called didn't seem like a guest appearance -- it was quite natural and comfortable.  Bernie's reaction was understandable -- I especially liked that she dispensed her venom with such a carefree, matter-of-fact delivery.  There were no icy words, just a quick and effective good-bye.  Yet, when we got to see her out in the hall I had a real sense that this couple cared for each other and she was truly remorseful for reacting as she did.  But Cap was ever-dutiful, wasn't he?

Karen: As Steve flies over to England -on a Concorde - he thinks back to his days with the Invaders. "Falsworth" of course refers to the two British members of that WWII group: Union Jack, who was originally Lord Montgomery Falsworth, and then his son, Brian, and Spitfire, who was Lord Falsworth's daughter, Jacqueline. He manages to get his shield through customs with a quick flash of his Avengers ID, and then he's off to the Falsworth estate. He comes across an older woman working in the garden and discovers it's Jacqueline. She is now Lady Crichton. She is excited to see him, but quickly realizes that she is now older than him. After briefly cleaning up, they regroup in the mansion and do some catching up. Steve explains that he hadn't completely recovered all of his memory until recently (a nice way to explain why he hadn't recognized his old buddy the Sub-Mariner and a number of other things that were retconned into existence) and Jackie tells him of her marriage, and recent widowhood. But when Steve asks why she summoned him there, she's puzzled. She didn't send the telegram! Suddenly Lord Falsworth appears, pushed into the room in a wheelchair. He is physically frail, but very fired up. He tells Steve that their old enemy, Baron Blood has returned! He describes the murders but Jackie interjects that the inspector believes it to be the work of a madman. Besides, Baron Blood's body is locked up in the Tower of London. Lord Falsworth is insistent though. Steve says he'll check things out, and Lord Falsworth is wheeled away to get his medication. Jackie apologizes and says her father is senile, but Steve will hear none if it. He says Falsworth is as sharp as ever, and Cap is going to investigate.

Doug:  For those of you who have read this story and its conclusion, you know that it is dedicated to Frank Robbins.  We've long discussed our general disdain for Robbins' art on the Invaders, but you know what?  I really cannot "see" the Invaders in my head unless it's an image from Robbins' pencil.  That's impact, friends.  The scene of Cap going through customs was awesome -- you talk about authority!  That agent's reaction to Steve's ID bordered on reverence!  Jaqueline Falsworth certainly wasn't the first woman who'd known Steve Rogers from the war years to feel the unkind effects of aging in his foutain-of-youth presence.  I was doing a little math concerning Lord Falsworth, the original Union Jack.  Active in World War I, Falsworth must have been born somewhere around 1890 or so -- he'd have certainly been an old codger by 1981!  But as we've discussed Marvel's lack of legacy heroes, it was nice to see not only the Invaders flashbacks in this issue, but the use of characters from "the War years" as well -- though obviously they were retconned as so only six years prior to this issue's publication!

Karen: Now in his red, white, and blue suit, Cap goes to the office of the village doctor to talk to him. Dr. Cromwell is just saying good-bye to a young female patient, telling her to keep taking her iron supplement and she'll be fine (hmmmm....) when Cap arrives with the constable. At first the Doctor is pleased to meet him; he says he saw Cap in action during the war. But as soon as Cap mentions the possibility of the killer being a vampire, the doctor goes ballistic and orders him out. The constable explains to Cap that the doc is

sensitive about vampires. It seems a few years before, when the doctor was new to the village, there was a vampire scare, with the villagers believing Dracula himself was on the loose. They thought they trapped a vampire in the doctor's cottage and set it on fire. But the doc's daughter was inside. He rushed in and tried to save her but it was too late. The doctor got badly burned (he is drawn with a huge bead and glasses but you can see some scars). I have a feeling there's more to this doctor than meets the eye.

Doug:  The doctor's stunning about-face when Cap mentioned vampires took me by surprise, and although we'd only seen the guy previously in a few panels seemed really off.  So that you suggest something might be amiss is perhaps the effects of capable foreshadowing.

Karen: Cap then goes to the Tower of London to check out Baron Blood's body. The corpse is kept in a vault covered with crosses and garlic. When Cap and Inspector Sweeney reach the coffin, they unseal it and inside rests what appears to be the costumed skeletal remains of the Baron, with a wooden stake protruding from its chest. Cap looks it over for a moment and then yanks the stake from its chest! The Inspector is shocked but Cap says the corpse isn't a vampire -it's not even a man! The coroner later confirms this; it is the body of a woman, dead perhaps twelve years. Baron Blood is on the loose!

Doug:  I really enjoyed all of the classic vampire antidotes, talismans, what have you that were employed in this story.  Why is this story in our October monsters reviews?  Sheesh -- ya hafta ask?  I was curious, though, as to why Stern/Byrne chose to say that Baron Blood had been out of the crypt for 12 years.  Why, then, had he seemingly just surfaced to menace the locals?  That's a long time to just be hanging out (albeit upside down, I suppose).

Karen: Cap returns to Falsworth manor just as Jackie's son Kenneth has come home, bringing along a pal, Joey. Apparently Jackie is upset because she feels Joey is low-class. Joey greets Cap enthusiastically, but before much can be said, Lord Falsworth shows up and Cap tells him he was right in his suspicions. The old man goes ballistic, while Jackie questions Cap's findings. Cap and Falsworth go off to the library to discuss the situation. In a touching scene, Falsworth realizes that everyone thinks he's senile. He asks Cap if he's losing his mind. Cap assures him he isn't and that he will stay there and stop Baron Blood.

Doug:  I was unsure what to make of Kenneth and his boi Joey.  Joey wanted to wrestle with Cap -- that really made me think something was up, that he might somehow be Baron Blood in disguise.  Stern had me thinking.  And I agree with you about the scene between Cap and Falsworth -- shoot, Cap would be in his mid-60s if he'd aged naturally (assuming real time instead of Marvel time).

Karen: The object of Falsworth's fears is lurking just above their heads, sitting atop the manor roof. He waits til the occupants have gone to bed and then creeps, spider-like, down the walls to the window of the room where Cap lies in bed. He's just about to sink his fangs into his neck when Cap backhands him with his shield. Cap, playing possum obviously, jumps up and is about to attack when the Baron knocks him into the hall. Despite his slight frame, Cap reminds himself, the vampire is possessed of supernatural strength. But Cap is prepared. He grabs a string of garlic from under his shield and shoves it in Blood's face, slowing him. However, the Baron has all the powers of the vampire, and turns himself into a mist, reforming behind Cap and striking. While they tangle inside, Blood uses his abilities to summon hundreds of rats outside the estate. Jackie and Ken hear the commotion and come out of their rooms. As Cap and Blood struggle, they knock open the door to Falsworth's room, and the aged lord sees his old enemy again. Cap is about to regain his feet when Blood strikes with his hypnotic powers, and freezes the Captain in his tracks. Unable to move, Cap stands stock-still while Jackie and Ken look on as Baron Blood prepares to drain Cap of his blood, killing him and eventually turning him into a vampire!

Doug:  Frenetic scene, huh?  This was all-out action, with Cap perhaps overmatched?  It's difficult to think of a Marvel hero of Cap's powerset who wouldn't be overmatched.  Spider-Man, certainly super-strong, would have an advantage in agility.  Daredevil, while perhaps able to anticipate a vampire's next move, would certainly fall short in the strength department.  So this is an interesting match-up.  While it's a grudge match, there really isn't any mention of Blood's Nazi-era past.  Nope, this one's personal as Cap tries to protect the Falsworth family as well as get to the bottom of the mysterious murders near their estate.  I know Jackie Crighton had remarked earlier that she's lost her Spitfire powers, but did you half-expect her to find just a bit of that super-speed on her way into Steve's quarters?  I was hopeful, but then I'm a sucker for nostalgia.

Karen: I enjoyed the first part of this story. It's been many years since I read this and I don't recall all the details so it's almost like a fresh story. It's an interesting mix of Cap's past and the unusual setting for him of the supernatural, something he didn't deal with all that often. It also reminded the reader about Cap's past and that Cap was still very much a "man out of time." As the years went on, this seemed to be less relevant to the character, but here, that idea was brought back and used very well. The art is also spectacular and complements the story. Looking forward to the conclusion!

Doug:  You're lucky, as you had read this previously -- this is my maiden voyage, and I'm sure glad you chose this for this month's docket (Karen slotted all of the reviews this month, fans -- and she did a great job!).  What a great period for Marvel, just before (in my opinion) they began to ebb with the close of the Bronze Age.  I was out of comics when this would have hit the stands, but the X-Men were still riding relatively high, Daredevil was of course going strong, Amazing Spider-Man was steady as was the Fantastic Four, and etc., etc.  I have the Marvel Premier Hardcover Captain America: War and Remembrance, which covers the Stern/Byrne run.  Wise investment on my part.  See ya in 7 for the conclusion!

Giant-Size July: Marvel Two-In-One Annual 2

Marvel Two-In-One Annual #2 (1977)
"Death Watch!"
Jim Starlin-Starlin/Josef Rubenstein

Doug:  It's sad to see this one go, folks!  After the introduction of Thanos way back in Iron Man #55 (February 1973), Jim Starlin would conclude what became one of the true epics in all of comic book history with the publication of Marvel Two-In-One Annual #2.  Four years, and no decompression in sight!  Let's not waste any time, but instead enjoy the master as he puts the final stamp on his magnum opus.

Doug:  Oddly enough, we begin with Peter Parker, the spectacular Spider-Man lost in a dream state.  I'll say right from the top, I felt this story was better suited to have appeared in Spidey's own Marvel Team-Up Annual (in case you're wondering, there was no 1977 Annual for that mag.  Hmmph).  I say that because I felt that Spider-Man was really the headliner in this story, as opposed to its proprietor, Benjamin Grimm.  But both heroes get a moment or two in the sun along the way, as do the Avengers and Starlin's cosmic cast.  So Parker is having visions of the space opera that took place in Avengers Annual #7.  We get a nice 2-page recap of that chapter's events, and then discover that it is Moondragon reaching out to Spider-Man in distress.  We then get some not-previously-seen material, of Thanos and his thralls (man, did Starlin overuse and abuse that word over these last two stories!) defeating and capturing the Avengers.  Even the heavyweights -- Thor, Iron Man, and Captain Mar-Vell -- fall.  The corpse of Adam Warlock was then brought before the power-crazed Titan, and Warlock's soul gem was removed from his cold forehead.  Thanos intended to use it as a love offering for his prospective mistress, Death.

Karen: I agree, Spidey does seem to be more the focus than Ben, but I think they were just trying to find a place to finish telling Warlock and Thanos' story, so it got plopped into MTIO. Of course if this were done today, it would be a 12-part series with tie-ins to every book in the line. In retrospect you'd think Moondragon would reach out to someone like Dr. Strange, wouldn't you? But it just wouldn't be the same story.

Doug:  Oh, yes -- "Atlantis Attacks" or some such summer "epic".  Ugh...  And as I've said, I'm no Dr. Strange expert, but I'm thinking with as powerful as he's sometimes portrayed, this whole thing could have been over sooner than later.

Doug:  Spidey wakes with his heart pounding, questioning everything that had just gone before.  Somehow he knows it was real, and knowing that with great power must also come great responsibility, sets out to find allies for what he knows could be a death-mission.  Somewhere in the fabric of space/time, Order and Chaos discuss how Thanos must be defeated.  They know that Spider-Man will be a champion, and that he will ally himself with the Thing -- and they hope that their union will turn the tide.  Sure enough, Spidey arrives at the Baxter Building and easily gets through the recently-updated security systems.  In one of those scenes that we've witnessed before, but is always priceless, Ben's curled up with a stogie and a scary book.  Spider-Man, of course sensing the moment in spite of the gravity of the situation, lightly taps Benji on top of his noggin, causing him to inhale his entire cigar and choke on it.  Great stuff!  After things settle down over a couple of cups of coffee, Spidey relates his dream to Ben.  Ben really doesn't question it, and instead offers an experimental space shuttle that Reed's been working on.  The two heroes blast off, not really knowing where they are going or what they are looking for.

Karen: That's a pretty good scene. Ben's reading Salem's Lot by Stephen King, which I can say is a pretty terrific book (and I don't even consider myself a King fan). But what's up with the little white cat padding around near his feet? That seemed odd. In any case, it was a good laugh. I will say that I didn't think Starlin quite had Ben's voice -he just sounded a little off, a little stiff maybe. But not enough to ruin it for me. 

Doug:  Even though Spidey had no coordinates for Thanos' ship, it really wasn't too hard to find -- the thing is huge!  Our guys find themselves caught in a tractor beam, and Ben warns the Webslinger that once docked, there's going to need to be some butt-kicking administered -- you know, Ben has experience with that sort of thing.  Indeed, clobberin' time does commence.  Two pages later, Thanos has seen enough and eliminates gravity in the chamber where the battle is taking place.  Totally thrown off his game, the Thing is put down with a blast, as is Spider-Man.  Back in space/time, Order and Chaos monitor the events -- although Spider-Man and the Thing are necessary for what will transpire, they are merely catalysts for bringing forth the true champion:  Adam Warlock.  Say what?

Karen: That was a nice touch, the old veteran of cosmic adventures calmly explaining what's going to go down next. Even after seeing that gigantic spaceship, Ben is not phased. Well  until he hears Thanos' voice, and realizes they're in the deep doo-doo. The interludes with Chaos and Order let us know that something of great magnitude is happening here. I thought it made sense that both Order and Chaos would represent life - life is full of chaos, after all, and chaos would require life and activity, so it would be an enemy of death and entropy. Comic book metaphysics...probably not worth thinking about too much really.

Doug:  We journey into the soul gem, Jim Starlin's version of Heaven or Paradise.  As we saw at the end of Avengers Annual #7, Adam Warlock now inhabits this space of peace alongside his friends Pip the Troll and Gamora, as well as even several former enemies.  It is a true respite from any and all suffering.  Adam says to his friends "I pray it can last."  Yeah...  Back on Thanos' mother ship, the Thing and Spidey awaken to find themselves at the feet of Earth's Mightiest Heroes, all contained in a stasis field.  Thanos is at a control room, but materializes in between our heroes at Ben's provocation.  But what he really wanted to do was gloat over his possession of Warlock's soul gem, and how he will use it to destroy our sun.  Ben gasps, wanting an explanation.  Starlin uses the next half-page to give the reader more backstory on Thanos' ill-fated love affair with Death.  As he concludes, Ben's had enough -- he delivers, with gusto, his "world-famous Knuckle Knock-Out formula!"

Karen: It's sort of easy to forget that Thanos, despite his menacing appearance and power, is really just a pathetic guy trying to impress the woman he loves. Of course, that woman is the personification of Death. But still...He's no Dr. Doom, trying to conquer and gain power for the sake of personal aggrandizement and to control others. He's no Magneto, with a cause he fervently believes in. He's not even a Galactus, who transcends good and evil. He's just a madman in love.

Doug:  I'll say this for Starlin and the other creators who touched on Thanos over the years of the Bronze Age -- they never did stray from the intent you state:  that he's a guy just trying to get the right bouquet for his lady-friend!

Doug:   For his trouble, Ben is laid out with a single blow.  He's really lucky Thanos didn't kill him, as he had Warlock.  Thanos challenges Spider-Man, who chooses the better part of valor and flees.  What did you think about this?  I thought it was a nice piece of Peter Parker writing -- Spidey gives off the lovable loser, but staunch hero vibe all at the same time.  He knew he couldn't do anything right there and then -- Peter's a scientist, and a chance to collect his wits and analyze the situation was what he needed.  So he fled.  Thanos, not liking it one bit, orders his menagerie of aliens after the Webhead.  Spidey has to engage a few of them, but is finally able to find a place to hide out for a few moments.  And then he takes matters into his own hands -- he launches himself right into a weak point on the contraption containing the Avengers -- and all hell (and the team) breaks loose!

Karen: My take on this, both when I first read it and now, 36 years later, is that Spidey freaked out and ran! He had a momentary panic attack when faced with a threat way beyond anything he'd ever had to deal with, and just flat out ran! The fact that he was thinking to himself about how could he get back to Earth really makes me believe that for a few moments at least, he was planning on splitting. But after he's had a chance to sort of mentally regroup, he realizes he has to go do something. Figuring that only Thor can stand up to Thanos he knows that freeing him is his best plan. And that's why he's a hero. Spidey doesn't give up, and even sacrifices his body to free the Avengers.

Doug:  I can see your point.  To be honest, I like your take -- it's very humanistic.  Even with Spider-powers, this is a scene pretty far removed from fighting the Vulture or the Molten Man!

Doug:  Jim Starlin and Joe Rubenstein then treat us to five pages of sheer mayhem, as Thanos' army descends on the chamber to try to clean up the mess.  The Avengers are fully-engaged, and we get several great shots of Thor and the Thing tag-teaming on the Titan himself.  I'll be really curious to see how this plays out in Avengers 2 with the Hulk standing in for the Thing -- now that is going to be some real fun, particularly with the ramped-up film version of ol' Jade Jaws!  And what of Spidey?  He's numb from the jolt he received when jumping onto the machine, and as he clears his head, he has an inkling that there's something he's about to do (what?) and it's going to be pivotal (better move, then!).  In space, Order taps into Warlock's mind, preparing him for what will come next.  Back on Thanos' ship, Spider-Man now knows that he must get to the soul gem.  His mind begins to go haywire -- no spider-sense, really no vision.  He busts through some of Thanos' goons, and then has to resort to flailing his arms about in an effort to dislodge the gem from its container.  He's successful, as the gem hits the floor and an explosion goes off -- releasing a golden, flaming hero calling himself "the Ultimate Avenger".  We know who he is -- and so does Thanos!!

Karen: I wish my comic wasn't so muddy looking. The full page shot with Ben trying to restrain Thanos while Thor is about to strike the mad Titan with Mjolnir is pretty cool. I think I would have preferred to see a less cluttered page but it's still a nice shot.  The three panel sequence that follows is even better. (This would make a really cool diorama (triorama?).

Doug:  While I did not purchase any of the Marvel Legends dioramas (everyone versus Galactus, the Hulk vs. the Thing, and the cover of Fantastic Four #1), I would agree that this image would be a worthy contender to have been immortalized in resin.  In regard to the muddy look, I have a ton of comics that had white back covers that are all dirtied up from the pre-bag era of my collecting.  But additionally, I also have many, many books from the Bronze Age that have that muddy look from the poor paper quality and printing processes.  It is frustrating.  While I don't always like the coloring on trade paperbacks, at least it's clear.

Doug:  The BIG FINISH is sort of funny; almost anticlimactic.  Adam Warlock ends Thanos' life as quickly as Thanos had ended Warlock's earlier.  With but one touch, Thanos is transformed into a statue of solid granite.  A monument to his wild obsession with conquest and destruction as a means to love Death.  The next page, the penultimate of the epic, needs to speak for itself, and appears below.

Karen: Adam returns as "the ultimate avenger". Well everyone's an Avenger nowadays...I kid, I kid. With the golden coloring and the flames, I thought immediately of an angel, and not the happy, harp-playing kind. I thought it was interesting that he tells Thanos he had to return while he remained a threat to "my universe!" I wonder what Starlin's intent was there? Of course Warlock had served as a Christ stand-in on Counter-Earth. Had his death and life in the soul gem allowed him to ascend to a higher level of consciousness? As an aside, I wonder if anyone has done a story that went back to Counter-Earth and showed people worshiping Warlock all these years after his death and resurrection? Or is that potato still too hot?

Karen: Captain Marvel's eulogy was well-said, and ironic, since he too would be dead in a short time -and killed by the same man! At least his life was somewhat happier than Warlock's.

Doug:  As we close this one out, I just want to again say "thanks" to Karen for getting these issues on the docket.  What a wild ride!  I'm really glad I read all of these, and as I said earlier now need to get into some of the Warlock stories.  Jim Starlin was quite a talented writer in these yarns.  Just a small quibble on the art in today's issue.  While I know that this issue was created concurrently with last week's fare, I would just note that I thought the overall art performance was better in Avengers Annual #7 than here.  Given that it's the same team, I just have to write that off to the burden of the deadlines.  But hey -- Jim Starlin and Joe Rubenstein operating at 85-90% efficiency beats a whole lot of other people, for sure!

Karen: I'm really glad you enjoyed them, Doug! I think they are a true Bronze Age epic. I do agree with you about the art in this issue -it does seem not quite as polished as the Avengers Annual. My guess is it got rushed. But as you say, it's still better than most! Now that I have seen the super clean scans from that trade paperback, I'm going right over to Amazon to buy it. It makes my comics look like they've been dragged through the mud!