By Namor Betrayed!

 

I had every reason to expect good things from What If #41 from October of 1983 (which happened to hit the stands around my 26th birthday), given that its premise was to take a different approach to the interference of Paul Destine (the man known as Destiny) in the Sub-Mariner's life, and the man's role in the destruction of the realm of Atlantis where Namor's mother (Princess Fen) and grandfather (Emperor Thakorr) met their deaths.

And yet, I was left disappointed on several fronts after reading this forty-page tale, a story which held promise but for much of its content lacked depth (so to speak). Written by Alan Zelenetz (whom you Conan readers may be familiar with), its artists (Marc Silvestri and Mel Candido) turn in pages that provide Zelenetz with ample opportunity to give this story weight and bring its characters to life; instead, you may find that these characters mostly play to type and offer little to compel any investment on the reader's part. For argument's sake, however, there's very little meaningful characterization to draw on at this particular point in time in regard to the Atlanteans, and to Namor, beyond what we were given in Golden Age stories (barring any development provided to Namor in his time with the Invaders). That's not meant to offer an excuse for the bare-bones presentation offered by Zelenetz... nor imply an effort made to provide the story with some measure of authenticity, which admittedly would be a stretch on my part.

Irregardless, we're left to read these characters as presented. Namor here is much like he was in his reappearance in 1962--quick to pass judgment, seeing things only in black and white, a royal Atlantean at his grandfather's beck and call; Byrrah, deceptive and manipulative with an eye on the throne; Krang, ambitious and as much of an opportunist as Byrrah; and the Atlanteans, a fickle people prone to fall in line and believe whatever well-spun lies are delivered to them in a desperate hour. Descriptions which make the grand two-page introduction of Atlantis itself appear to be a facade, and ripe for disaster.

The Final Hour of the Assassin!

 

We've been looking at the roughly six-month period of stories from 1971-72 which introduced the figure-in-shadows known as Mister Kline, whose agenda was to disrupt the lives of both Tony Stark and Matt Murdock for reasons unknown. To that end, he involved a number of criminal operatives to do his bidding, until finally turning to more dependable androids of his own construction--at which point Kline himself pulled back the curtain to reveal that he was also an android, in the service of another figure who was just as mysterious in regard to their ultimate goal.

And now, we come to see the situation somewhat resolved in the pages of Daredevil (the key word here being "somewhat"), where writer Gerry Conway brings an anticlimactic conclusion to this storyline that mostly fast-tracks closure for the character and story of "Mister Kline" (now designated "the Assassin" by his superior, Baal) by way of a bare minimum of explanation which may nevertheless satisfy those readers who are ready to move on. Oddly enough, it's made clear by story's end that those sentiments are also shared by Daredevil and the Black Widow.

Atlantis Attacks!

 

Having begun my reading experience of Fantastic Four in 1970, there are times in thumbing through back issues that I regret missing out on the title's early days in 1963, when those toiling at the typewriters and drawing boards at Marvel Comics must have realized they had a runaway hit on their hands--so much so that the book's first annual, with its presentation reflecting a mixture of spectacle, excitement, and adventure, came across in a way as a celebration of this flagship title that established Marvel's name and new direction with its budding and receptive readership.

I wasn't really enamored with the multi-colored "Christmas tree" aspect of the masthead's lettering, a design which continued in the following year's Fantastic Four and Amazing Spider-Man annuals:

By the time of the first Avengers annual from 1967, the practice appeared to have been discontinued. Otherwise, that annual's cover might have turned out a little too colorfully:

Regardless, if the thought in '63 was to make the FF annual's cover more eye-catching while conveying a "special issue" aspect that would make it stand out on the comics rack, mission accomplished. In addition, writer Stan Lee and artist Jack Kirby were apparently counting on what they might have hoped was the growing appeal of the Sub-Mariner, now making his fifth appearance in this title (tying him with Dr. Doom) and the principal antagonist in a 37-page story. We don't yet know the details or scope of what Namor plans--but with the return at last of his vanished subjects, displaced by an atomic explosion from the surface world (or so he believes), it seems clear that it's the human race he plans to hold accountable.

"Battle Royal!"

 

In comics, we've been witness to any number of clashes between characters where one's regal bearing added a level of complication and, in most cases, tension to their conflict. But all bets were off when both adversaries were of royal descent and each demanded obeisance from the other or otherwise claimed the higher ground in the dispute. A few such meetings come to mind: the Black Panther vs. Dr. Doom, for instance (and on more than one occasion); Doom's dealings with the Sub-Mariner (on too many occasions); Asgard's dealings with Olympus (ditto); or even Olympians vs. Olympians. Such clashes of power and ego have often proven to be entertaining glimpses into not only the situation but also the characters involved and their respective territories.

In mid-1980, another such conflict would begin to brew on Kiber Island, part of a chain of islands off the coast of Kenya which was annexed by Wakanda following the Panther's defeat of the so-called Kiber the Cruel--and which now serves as a meeting place for a smuggling operation being conducted by Wakandans and Atlanteans. (Tell me how that arrangement ever came about.)

The Wakandan's fears prove to be realized when all present discover that the Panther and his security forces have moved quickly on the information they've gathered from their captive--an encounter where the Panther learns this operation could well have the official sanction of Atlantis itself.

But if Prince Namor has any knowledge of these events, there's no such indication during a relaxing moment in the realm where he and Dr. Strange converse following the Defenders' battle with the Unnameable, a menace that could have brought about the extinction of Earth and countless other worlds without their intervention. Yet there is one Defender in particular whose life has potentially been impacted by the outcome of that struggle.

Soon enough, however, Namor is called away to be briefed on affairs of state--specifically, the developments on Kiber Island which have resulted in a Wakandan craft and its occupant being captured. At this point, Namor is unaware of the captured party's identity (and no, I have no idea why his officers wouldn't feel it necessary to convey that information beforehand--it seems a certainty that Namor would want that information prior to the captive being brought aboard), but it has no impact on either man's words to the other when the moment arrives.

And so the lines are drawn, with both of these men asserting their authority and stating their respective positions that would normally warrant a conference table for further discussion of the matter. Yet the situation will escalate--especially when another party insists on being heard.

The Sub-Mariner For The 1990s

 

The year 1990 brought a new series to the comics racks that I'm surprised I passed on:

Shaped and handled by artist/writer John Byrne, Namor the Sub-Mariner provides the title character with a new direction that takes advantage of his past dalliances as a figure with corporate holdings while also seeking to recast him as less of a man who is prone to fits of rage over perceived misdeeds or affronts. Given Byrne's proven record on Fantastic Four, this new series should have piqued my interest--so why wouldn't I have even picked up an issue to thumb through? There were a number of things that might have come to mind for me at the time--one being a sense of wariness, given that Byrne had more than once set up shop on an existing book only to subsequently exit not long thereafter. But more pertinent to me was the character of the Sub-Mariner himself, whom I came to believe would have difficulty sustaining another series of his own, in light of so many new directions attempted for him (either in his first series or afterward) not panning out. (I was surprised as anyone to see Namor as an Avenger; then again, sooner or later, everyone becomes an Avenger. ... Maybe not Mr. Hyde. Or Terrax. But I'm not ruling out Galactus.)

In this first issue, that trademark volatility of the Sub-Mariner is on full display when he emerges from the sea in view of two marine biologists and lands on a nearby island--where Byrne, in a nod to a classic scene from The Avengers, demonstrates that whatever the time or place, Namor has little regard or patience for native dwellers.

Soon afterward, our two biologists, Caleb Alexander and his daughter, Carrie, locate Namor in a dazed, hallucinatory state and convince him to return with him to their boat, the "Oracle," where a new twist is introduced to the story of the Sub-Mariner that serves to retcon the instances of violent behavior occurring in his past--once that behavior is, for want of a better word, diagnosed.

(No, I don't know how a tribal spear, like bullets, failed to make a dent in Namor's skin, and yet I.V. needles are inserted with no problem--though Namor isn't likely to look a gift horse in the mouth here.)

Now "out of the woods" for the time being, Namor has an opportunity to learn more of the Alexanders, characters which Byrne will deal into the book's stories for some time.

Later, in an issue which attempts to put to rest Namor's past crimes against humanity, it becomes apparent that Byrne intends to treat this new factor in Namor's behavior as a chronic condition to be managed.

As we can see, by this time Byrne has assumed inking duties on the book as well (and, for a time, lettering)--a nice show of his commitment to the series while demonstrating a level of talent that arguably surpasses his FF work from the '80s. Along the way, he deals in a number of characters that keep Namor and his book busy and an intriguing read from issue to issue, either affiliated with his company, the Oracle Corporation (named after Caleb's boat), or of a more super-powered nature, while also keeping ties to Namor's Atlantean heritage.

But "All good things...", as they say*, as Byrne began to taper off from the series with its 26th issue, removing himself from art for the book until finally exiting the series at the end of 1992--the Sub-Mariner by that time hip-deep in a savage conflict with Master Khan, a mystic threat who goes all the way back to a 1960 issue of Strange Tales and who began a vendetta against Namor when he freed Iron Fist from the fate that Khan had arranged for him. Issue 62 in 1995 would finally mark the end of the series, its current storyline to be continued in another title the following month.

*With apologies to Geoffrey Chaucer, Troilus and Criseyde.

BONUS!
Namor in his classic glory days, as depicted by Mr. Byrne.

All Hail Attuma--Ruler of Atlantis!

 

One villain whom we can always count on to remain a villain and never be reformed is surely the undersea barbarian known as Attuma, who goes as far back in Marvel history as late 1964 when he made his first appearance in Fantastic Four--and claiming a spot in their rogues gallery as one of their "most famous foes" for his trouble.

I don't know if Attuma would even rate an appearance on the FF's top 10 list of foes, much less as one of their "most famous." Yet he made the rounds often enough over time to cement his status as a viable threat for not only the Sub-Mariner but for other team books such as the Avengers and the Defenders, an aggressor which would add scope to a conflict as well as, it goes without saying, hordes of barbarians for our heroes to somehow fight their way through.

That would also be the case in a 1986 series of stories which pits Attuma against Namor, the Avengers, and Alpha Flight--a two-title/two-team crossover which centers on Marrina, the amphibious member of Alpha Flight whose future, sadly, is a tragic one, especially when taking into account Namor's proposal of marriage to her. For now, however, all we need to know are a few facts going in: Following Namor's second abdication of the throne of Atlantis, a triumvirate of Atlanteans acted to assume control and rule in his stead. But as Namor learns from his cousin, Byrrah, who has approached Namor in earnest while on the surface as a member of the Avengers, Atlantis then erupted in civil war when one of the triumvirate turned against the others--a vulnerability which drew the attention of Attuma, who then tried a different approach to conquering the realm.

Namor's pride and rage are a familiar sight to many of us who have followed his adventures through the years--yet Byrrah proves to be correct, when both lead to near-disaster for him when he arrives in Atlantis to free Marrina only to find that Attuma's propaganda strategy has successfully turned his former subjects against him. And despite his undeniable power when in his element, Namor is left with only one choice.

As Byrrah observes, it's evident that despite Namor's clarion call to his people to join with him in opposing Attuma, he is adamant in his desire to distance himself from the throne of Atlantis, his only concern now being to rescue his lost love.

And so to the Avengers he returns to petition for their aid, while Byrrah seeks out Alpha Flight to join in the effort--developments which will eventually lead to Vashti's prediction of Namor not letting this matter drop, and, consequently, another Attuma cover to add to the barbarian's credentials.

Fifty Years of Marvel Comics

 

What were some of you doing five decades ago? It's funny when you reach certain points where you find yourself recalling the world as it was then, and the realization hits that you lived during that period of time and lived through many of the events and changes which took place. For those of you in high school right now, you'll experience your own reflections of today's world in the year two-thousand seventy-two (!) -- and if you're like the rest of us, you're understandably not looking that far down the road, nor can you have a true conception of how your world, its people, its advances, and your own way of life will change.

Regrettably, it's safe to assume that by 2072 the price of a comic book will probably be around the cost of a monthly house payment, so be sure to factor that into your budget.

Fifty years ago, my own calendar would have put me at the year 1972, fourteen years old and looking forward to starting high school the next year. Here's a little of what my world looked like at the time:

• NASA was one flight away from closing out its Apollo moon mission, where America established itself as a pioneer of a sort but eventually realized it was spending a lot of money just to collect moon rocks;
  

• The SX-70 Polaroid camera was introduced, giving us film prints which developed themselves "right before your eyes"--an alternative to dropping your film off at "photo marts," but still too slow for those who reasoned that shaking the print feverishly would speed up the process (a reminder to think twice before following a wacky trend);
  
• Born in April of that year: actresses Jennifer Garner, Jenni Garth and Carmen Electra;
  
• The United States was nine months away from withdrawing its forces from Vietnam;
  
• The world's first law to officially recognize change of gender passed in Sweden;
  
• Winners of the 44th Academy Awards included The French Connection, Jane Fonda, Cloris Leachman, and Gene Hackman;
  
• The price of gas was at $0.55/gallon; the cost of a new home was around $30,000; a new car, $3,800; average rent, $165/mo.
  
• The home videogame industry took its first baby step with inventor Ralph Baer's patent for "A Television Gaming Apparatus and Method" (i.e., the home video game console).

But if you were a Marvel Comics reader in April, 1972, your focus away from school was probably on the comics stand at your local drugstore, shopping mart or whatever distributor carried comic books in your town, thanks to the Bullpen Bulletins page which often included the Marvel Checklist. If your comics collecting was in full swing, here's a "snapshot" of what Marvel Comics readers were plunking down their 20¢ for.

(WARNING: Please don't try shaking this image in the air for faster loading.)

The Day Atlantis Died!

 

As the original Sub-Mariner series closed in on its final issue, writer Steve Gerber began including within the book a five-part origin tale for Atlantis itself which would not only establish the roots of the rise of Namor's own kingdom but also be a strong contender* for how the legendary surface continent of Atlantis met its end. Taking place in 1973 from June-October, the story also offers fine artwork by Howard Chaykin (who was also this project's plotter) and Joe Sinnott, though Chaykin is replaced by Jim Mooney in the last two installments. Regrettably, Tales Of Atlantis, limited to only six pages per issue, would only be able to offer a digest version of what might have been possible in a dedicated series--covering all the important aspects but with little opportunity for meaningful character development, in addition to the blink-and-you-missed-it existence of Atlantis itself, which we learn more of through Gerber's narrative than from its dwellers.

*A collection of the various mentions in Marvel stories regarding the fate of Atlantis probably rates a post of its own, but the PPC has referenced one such version, which gives a much different account of the city's destruction than Gerber's effort. As for the history of Namor's Atlantis, the story is given more in-depth treatment (heh, get it?) in a separate post in terms of the devastation it suffered during the reign of Thakorr and, later, Namor.

For instance, we're told that the ancient city of Atlantis is located on an "island continent," which one might consider to be a contradiction in terms given the size differential between a continent and an island. In the writings of Plato around 360 B.C.--the only known records of its existence--the Atlantis we know was made up of several concentric islands separated by wide moats and linked by a canal that ran to a central island where sat the capital city. In Gerber's story, Atlantis the city was the ruling seat of an empire, which implies that Atlantis the empire was more like Rome in that its reach extended to broad expanses of other lands. Otherwise, you could liken it to, say, Australia, with the jury still out as far as that country being an island or a continent but usually referred to as the latter since it has its own tectonic plate (though it extends to other islands such as Tasmania).

At any rate, the takeaway is that in this story the original Atlantis was an ancient surface empire, which we come across in its last days as a world power and the city itself besieged by two foreign armies--one of which, the Lemurians (also apparently air-breathers, like the Atlanteans), is intent on destroying the city's protective dome in order to allow its forces and a naval assault by another kingdom to breach the city itself. The waters here are muddied a bit by the Atlanteans being portrayed as blue-skinned, which Marvel later clarified was attributed to a colorist error (Petra Goldberg is the credited colorist in the issue) which wasn't discovered until the proofs of the first Tales Of Atlantis story were seen (which also clears up the discrepancy of Kull being flesh-colored, despite being born in Atlantis). At the behest of Asst. Editor Marv Wolfman, the blue coloring was retained in further installments for consistency's sake.

Atlantis is ruled by Kamuu and the Lemurian-born Zartra, who like any warriors at the time are defiant to the end. Yet a fatal miscalculation meant to destroy the invaders at a stroke seals their own doom.

Cry Dentist!

 

A few weeks ago, alert PPC reader M.P. made an interesting observation of how artists will at times exaggerate a villain's facial features, specifically their mouths and teeth (as seen in a related post).

Well, you didn't expect me to leave a carrot like that dangling in front of me, did you?

Or, as Captain Axis might put it:

My Son... The Sub-Mariner!

Following the death of the Lady Dorma and the abdication of Namor The First and his subsequent departure from Atlantis, the grief-stricken Sub-Mariner turned to the surface world in an attempt to establish a life for himself there and explore his human heritage; yet, in failing, he discovers evidence that Capt. Leonard McKenzie, the human who long ago had wed Princess Fen, his mother, may still be alive. It would be the last course that longtime Sub-Mariner writer Roy Thomas would chart for the character before departing the book, a loose end which Gerry Conway would resolve in early 1972. In so doing, Conway would also demonstrate that he had in mind a different approach for Namor by severing Thomas's subplot of a Washington senator's campaign to secure amnesty for Namor by representing him as a champion of the environment.

The other loose end to be dealt with, of course, was the villainess Llyra, who had murdered Dorma yet escaped Namor's vengeance. And as Namor roams the streets of Boston for clues of his father's whereabouts, we find that Llyra has formed an alliance with one of Namor's oldest foes--Todd Arliss, Tiger Shark, who has his own plans for Namor.

Meanwhile, as marine biologist Walter Newell does some legwork of his own in investigating the whereabouts of McKenzie, we discover the 74-year-old captain spending the remaining years of his life in isolation in a Boston boarding house where he is looked after by a woman named Sara (presumably his landlady) and beset by memories of the loss he suffered fifty years ago. To understand the depth of that loss, we turn to a flashback narrated by Namor himself (via Thomas), in an exquisite origin sequence rendered by artist Ross Andru.

Events which Conway picks up on as we return to MacKenzie* again in late 1971, when we find his memories of that time are in the tortured form of bits and pieces which make clear that Fen's loss is something he has never healed from.

*Conway has changed the spelling of the last name, a trifling adjustment that could have been intentional or simply an oversight.

And so we finally rejoin Namor, who has crossed paths with MacKenzie without realizing it and now is lost in his own thoughts while walking the streets of Boston (seen here in scenes penciled by noted Sub-Mariner artist Marie Severin, with Jim Mooney).

What serves as the catalyst for finally drawing together the principal characters in this plot is the capture by Llyra and Tiger Shark of reporter Diane Arliss (Todd's sister), a woman hopelessly smitten with Namor and whose unwilling cooperation provides them with a powerful means by which they can bring Namor to them, and place him under their power.

A scene which at last opens the door to this saga's climax--for better or for worse.