Astonishing Tales #36 - Marvel Comics

ASTONISHING TALES No. 36, July 1976

Considering that this comic’s cover proudly boasts it contains “a new beginning for the most action-packed series of all”, it probably came as something of a shock to its audience that Issue Thirty Six of “Astonishing Tales” was actually the title’s final instalment. In fact, the book’s secondary tale – “What To Do After The Apocalypse!”, even ends with a tantalizing cliffhanger as Deathlok disappears alongside the mysterious Godwulf in a flash of light to some other universe, and the periodical’s final panel promises that its next edition will feature some sort of “Frenzy In The Future!”.

However, quite possibly with hindsight it now seems clear that the ‘writing was most definitely on the wall’ for Rick Buckler’s production, seeing as how the Demolisher’s creator had quite literally separated the man from its cybernetic machine courtesy of a clone body, and sent the post-apocalyptic assassin’s still functioning remnants off on a seemingly suicidal mission down inside the Twenty-Third Street [underground tube] Station. Admittedly, penning a dejected, almost depressed Luther Manning sat hunched over a typewriter working on a lengthy report of his time as a computer-controlled killer isn’t the most uplifting of fates for the former United States Army Colonel. But along with Simon Ryker’s permanent descent into insanity, it does bring to an end the major motivating factors behind the character’s previous existence as a traumatised automaton.

Furthermore, the appearance of Buckler’s Green Arrow-like “Skulker of the City’s Underside” sadly smacks of the Bronx-born author desperately scratching around for someone to snatch Deathlok away from Earth-7484, and permanently sever the two separate beings’ mind-link once and for all. Just how a nearly naked man is able to successfully battle the modern-day technology of Ryker’s numerous goon squads is never even hinted at, and yet the American author clearly expects his readers to accept that the acrobatic archer has already built up so formidable a reputation with his heavily-armed opponents that they bolt for safety just as soon as they spot the bearded saboteur; “It’s him again! We haven't got a chance in --”

Lastly, it also seems arguably clear that some of the previous problems getting this particular publication out on time have returned, with Keith Pollard back providing some ‘embellishments’ and inks to Rich’s pencils. This ‘helping hand’ definitely has an impact upon the look of some of this comic’s layouts – especially during its aforementioned later yarn, and whilst theses panels look proficient enough, their overall different style would probably have caused any perusing bibliophile to have momentarily paused in their tracks – temporarily jarring them from out of the adrenalin-fuelled action.

Concept, Story & Art: Rich Butler, and Embellishment: Keith Pollard

Astonishing Tales #35 - Marvel Comics

ASTONISHING TALES No. 35, May 1976

Initially appearing to pit Deathlok against Simon Ryker deep inside the virtual world of the Omni-computer, Rich Buckler’s plot for Issue Thirty Five of “Astonishing Tales” contains so many twists and turns that it probably had many a bibliophile’s head spinning once they'd perused the entire seventeen-page periodical. Indeed, by the time this publication is only half-way through the Demolisher has already been depicted witnessing the backstory behind an enforced exodus of the Big Apple’s population to Long Island, participating in a battle of wills against his arch-nemesis, and awakening to find his consciousness momentarily inhabiting the physical body of Project: Alpha Mech’s diabolical leader.

Enjoyably however, despite many of these sensational incidents occurring without too much rhyme or reason, Bill Mantlo’s wonderful writing still makes many of their elements sound potentially plausible, and such is the euphoric pace of the prolific penmanship that most readers would have been merrily carried along for the ride without much thought as to its believability anyway; “Reverse the molecular flow! Blast it, man! Move!!”

Possibly this comic’s biggest ‘shake-up’ though comes in the guise of Teresa Deveraux and the seemingly limitless advanced technological savvy of Earth-7484’s Central Intelligence Agency. Almost within the space of just a handful of panels this latest organisation competing for control of a post-apocalyptic America not only manages to ensure Ryker is reduced to a naked, gibbering madman. But also does the supposedly impossible by relocating Luther Manning’s brainwaves into a fully-functioning clone body during “the first successful mind transference on a live subject” ever.

Equally as enthralling as a book packed full of arrogant dictators, all-knowing computer programmes, and highly covert government operatives, is Buckler’s prodigious pencilling. Along with the inks and colours of Klaus Janson, Deathlok’s creator does a first-rate job in sketching the cyborg at the height of his mechanical powers – whether that be him staying steadfast during the heat of battle as he locks hands with his mortal enemy in an unbreakable hold, or unhappily following along with Deveraux’s suspicious trip back to Fort Dix and the facility’s ominous surgical theatre. Furthermore, the artist provides Ryker with a convincing mental breakdown – especially when the tyrant discovers his personality has been inadvertently channelled directly into Manning’s decaying, undead corpse.

Script: Bill Mantlo, Concept, Plot & Art: Rich Butler, and Inks & Colors: Klaus Janson

Astonishing Tales #34 - Marvel Comics

ASTONISHING TALES No. 34, March 1976

Apparently produced, conceived, plotted and drawn by Deathlok’s creator Rich Buckler, it’s difficult to imagine what more could possibly have been squeezed into Bill Mantlo’s script for this seventeen-page periodical. Sure, the seemingly never ending twists and turns of Luther Manning’s ordeal may well have threatened to confound the senses of anyone picking the book up off from their local comic store’s spinner rack. But it’s arguably hard to find too much fault with a storyline that contains such an adrenalin-fuelled concoction of laser guns, helicopter attacks, enormous explosions, and sense-shattering sonic assaults.

Furthermore, this publication genuinely shows just how complex a post-apocalyptic world the cyborg assassin inhabits, with New York City’s civilisation evolving from just a dilapidated metropolis where cannibals lurk in every shadow into a genuine war zone in which various heavily-armed, and technologically-advanced factions are fighting tooth and nail for domination. Indeed, just as this ongoing series’ audience were settling down to the simple notion of the ill-equipped Provisional Revolutionary Army rebelling against Simon Ryker’s evil military dictatorship, the Demolisher discovers both the existence of Teresa Deveraux’s Central Intelligence Agency, and the deadly Machiavellian machinations of Hellinger’s covert operation too.

Of course, in order to make so many conflicting sub-plots merge together into a single, albeit complicated, storyline the Brooklyn-born writer has to take a few liberties when it comes to highly convenient happenstances - such as the C.I.A. having the expertise necessary to rebuild a badly-damaged Deathlok, and the mind of the surgeon responsible for the cyborg being transferred into a clone of Manning’s original body. However, the creative team appear to be rather laudably trying to tie together an incredible number of loose ends, whilst simultaneously introducing their audience to a number of all-new twists and enthralling turns; “You may not believe this, Luth’… Even if you could hear me -- But I hope you’re alive!”

It’s also clear that letterer Karen Mantlo was incredibly busy on this book, with panel after panel being filled to the brim with some occasionally utterly illegible text boxes. Resultantly, there’s a lot more weight resting upon Buckler’s artistic shoulders to keep any perusing bibliophile’s eyes locked onto the action – a task he does incredibly well, especially during the scene where Deathlok has his bionic arm destroyed.

Script: Bill Mantlo, Concept, Plot & Art: Rich Butler, and Inks & Colors: Klaus Janson

Astonishing Tales #33 - Marvel Comics

ASTONISHING TALES No. 33, January 1976

Buried beneath a veritable ton of hard to read white coloured text upon an inky black background, Bill Mantlo’s script for Issue Thirty Three of “Astonishing Tales” probably still managed to please most of its audience. In fact, the eighteen-page periodical contains a genuinely perturbing series of sub-plots which range from Deathlok slowly dying from a “partial drainage of life-support fluid”, through to the revelation that the despicable Major Simon Ryker apparently has an equally-evil brother who is known as the Homo-Ascendant!”

Disappointingly though, very few of these story-threads are arguably given the time they need to fully develop, and instead are seemingly just hurled together without much in the way of rhyme or reason. One such sequence involves the villainous Ryker himself undergoing some sort of surgical operation which results in the maniac being completely sedated and connected to his all-power Omni-Computer. It seems abundantly clear that the terrified doctors transforming the military officer into “the Saviour Machine” could easily assassinate him during the complicated procedure by “a slight adjustment in its programming” and escape. Yet even though this option is voiced aloud, the general consensus is that the moustached monster would apparently still somehow survive, and then simply take a terrible revenge upon them.

In addition, the sudden appearance of Hellinger (Harlan Ryker) inside a guarded estate belonging to the man-turned-machine’s sibling, debatably makes little sense whatsoever either. Just why the major would knowingly allow so dangerous an adversary access to his futuristic computer systems, create a clone of Luther Manning, and reside next to a room packed full of state-of-the-art laser weapons is never explained. Nor just how the shady character somehow manages to convince the Demolisher to hand-cuff himself to a bomb so as to blow up a castle containing Mike Travers and Nina Ferry; “Hey! The cable! It’s still on! It hasn’t released! That dirty, double-crossin’ son of a -- It’s gonna blow any second, ‘puter!”

What does work however, at least for the majority of this comic book, are Rich Buckler’s layouts. The creator of Deathlok appears to be particularly good at pencilling the inner turmoil taking place behind the resurrected soldier’s eyes, as well as the six-hundred pound cyborg’s physicality – even if he’s simply striding across a grass-covered lawn breaking its blades wherever he steps, or deciding whether to gun someone down.

Script: Bill Mantlo, Pencils: Rich Butler, & Inks/Colors: Klaus Janson

Astonishing Tales #32 - Marvel Comics

ASTONISHING TALES No. 32, November 1975

Considering the amount of behind-the-scenes mayhem which seems to have occurred to get Issue Thirty Two of “Astonishing Tales” fit for the spinner rack, it’s rather impressive that Rich Buckler’s plot arguably works out as well as it does. Indeed, quite neatly meshing together the somewhat separate storylines of Deathlok and Mike Travers, as the pair bravely forge ahead with their own adventures in post-apocalyptic New York City, “The Man Who Sold The World!” should have repeatedly caused its concerned audience to wonder whether either of the protagonists were ever going to make it to the end of the seventeen-page periodical alive; “You guys put too much faith in Ryker’s seeing eye dog! Don’t forget -- I helped build it!”

Perhaps somewhat surprisingly, one of these biggest fears debatably stems from Travers’ almost suicidal attempt to rescue Nina Ferry from the very “building where he [himself] was held captive.” This utterly reckless, one-man assault bodes very poorly just as soon as Luther Manning’s “ex-war buddy” enters the foyer and has to throttle the first of several armed guards he encounters inside. Eventually, the Lieutenant is completely surrounded. Yet rather than surrender he brazenly turns his automatic weapon on his would-be-captors in a heart-stopping do-or-die effort.

To be honest though, the Demolisher doesn’t appear to be any less willing to sacrifice himself for a hopeless cause either, and repeatedly throws himself into conflicts against superior numbers despite there being a “87.00967% probability of being destroyed.” In fact, Deathlok’s determination to find out the name of the surgeon who could theoretically transform him back into a living being is so palpable, that it surely appeared certain to many a bibliophile that the war veteran was repeatedly just a paltry panel away from trying to punch one too many homicidal human drones, or flesh-hungry cannibals.

In view of all these scares however, this publication’s greatest shock is most likely how strong its interior artwork looks, despite Buckler, Keith Pollard, Bob McLeod and “the whole blame Bullpen” having to get together to get the book fully illustrated. Naturally some of the sequences, such as Simon Ryker ordering a soldier to have his computer “assemble a read-out on a man named Victorio Quartuccio”, look understandably rushed and incongruous with some of the surrounding pencilling. But there should be no doubt that whenever Manning throws a punch, or hurls a subway’s trolley cart at a group of assailants, bones are most definitely being broken.

Plot, Concept & Script: Rich Butler, Script: Bill Mantlo, Artwork: Rich Butler, Keith Pollard, Bob McLeod & The Whole Blame Bullpen

Astonishing Tales #31 - Marvel Comics

ASTONISHING TALES No. 31, August 1975

Despite this edition featuring a fantastically-sketched cover of Deathlok by Ed Hannigan and Bernie Wrightson – something which apparently “really steamed” the character’s creator Rich Buckler when he found out about it, Issue Thirty One of “Astonishing Tales” most likely proved a dissatisfying read to many of its buyers. Sure, Doug Moench’s script certainly delves deep into the previously dead soldier’s resurrected psyche, and provides plenty of adrenaline-fuelled action as the cyborg battles a rooftop full of gun-toting killers. But it is also absolutely crammed full of unconvincing coincidences and startlingly concludes after just ten pages; “Of all the stinkin’ slimy, lousy, dirty rotten --”

In addition, having previously spent some considerable sheet space showing Mike Travers escaping the insane clutches of Simon Ryker and one of the madman's computer-controlled cells, the American author conveniently pens him walking straight into the titular half-human mechanism. This meeting, smack in the middle of a post-apocalyptic Manhattan seems highly unlikely, though nowhere near as implausible as Luther Manning’s subsequent encounter with a hoodlum who knows the specific location of “the surgeon who worked on that Deathlok Goon” on a random apartment’s rooftop.

Much more compelling than this comic’s penmanship though, is Buckler and Keith Pollard’s artwork – which is quite wonderfully inked by Klaus Janson. The previously mentioned battle between the Demolisher and some pistol-carrying criminals is extremely well-drawn, and must have left this publication’s audience wondering what other dynamic sequences might have occurred if Rich hadn’t allegedly prioritised pencilling “a few one-off stories for DC Comics” during this time period, as well as supposedly creating “a whole new feature” for Atlas/Seaboard Comics.

Perhaps this book’s best hook can therefore be found with Stan Lee’s back-up tale “Why Won’t They Believe Me?” Illustrated by the “genial Gene Colan”, this reprint from an old “Silver Surfer” periodical proves a much more succinct reading experience, and by its conclusion rather neatly answers a number of initially alarming questions as to just how a human can understand the scribblings inside an alien spacecraft's log book. Indeed, it’s arguably easy to see just why the notion of an amnesiac extra-terrestrial would later be reused by Roger Stern and John Byrne for a future instalment of “Marvel: The Lost Generation” some twenty-five years later.

Writer: Doug Moench, amd Artists: Rich Butler & Keith Pollard

Astonishing Tales #30 - Marvel Comics

ASTONISHING TALES No. 30, June 1975

Having impatiently waited four months for Deathlok the Demolisher’s most recent cliff-hanger to be resolved, thanks to its publisher deciding to reprint the Guardians of the Galaxy’s first appearance from Issue Eighteen of “Marvel Super-Heroes” in the bi-monthly’s preceding instalment, readers were probably rather disappointed by this comic's choppy collaboration of various writers and artists when it finally hit the spinner-racks. In fact, despite such a sizeable chunk of time passing before Luther Manning’s cybernetic return, the poor quality of both its script and layouts clearly shows just how badly illustrator-turned-author Rich Buckler struggled with the book’s latest deadline, and was eventually forced to turn to Doug Moench, as well as pencillers Keith Pollard and Arvell Jones, to finish most of the book's eighteen-page plot.

Disappointingly, this dire situation undoubtedly leaves its mark on “The Soft Parade… Of Slow, Sliding Death” with little of the action concerning the reanimated U.S. Army veteran arguably making much sense whatsoever – including the tragic death of Linc Shane who appears to have been thrown into the publication simply so the character could die pointlessly; “He stood up to Ryker’s goons on his own -- all alone… And for what?!” In addition, the comic’s conclusion probably had a fair few bibliophiles shaking their heads in disbelief, as the synthetic killing machine somehow manages to construct a giant crossbow out of disused car parts, and then somehow uses it to fire a metal beam straight into the super-tank which up until this point had seemingly appeared impervious to any and all firearms.

So unconvincing a tale sadly also extends as far as poor Mike Travers sub-story too, with Manning’s “ex-war buddy” apparently being able to simply re-programme the computer keeping him captive using a “sophisticated input card” he crafted inside his cell. Such ingenuity is clearly admirable. But just doesn’t ring true, especially considering that the man’s successful escape attempt is actually monitored by Simon Ryker’s artificial intelligence all along – and it does absolutely nothing to thwart his actions apart from pathetically plea to its pre-occupied creator for further instructions.

Easily this comic’s biggest let down though has to the book’s artwork, which perhaps understandably appears disagreeably inconsistent. The panels Buckler himself appears to have completed are dynamic enough. However, whilst both Pollard and Jones can clearly sketch an action sequence, the “traditional rendering style” of inker Al McWilliams jars quite a bit with some of the other sequences, and resultantly repeatedly takes the audience right out of the story as they have to acclimatise their eyes to his thin-lined embellishments.

Plot, Layout & Script: Rich Butler, Script: Doug Moench, and Art: Rich Butler, Keith Pollard & Arvell Jones

Astonishing Tales #28 - Marvel Comics

ASTONISHING TALES No. 28, February 1975

Despite this comic’s narrative lacking a bit of direction as its central character aimlessly meanders through a post-apocalypse New York City, many a Marvelite probably still enjoyed Issue Twenty Eight of “Astonishing Tales” due to its disconcertingly dark, cannibal-infested view of life in a futuristic Big Apple. Indeed, arguably this book’s biggest hook is how Rich Buckler pens Deathlok realising just how markedly different the noxious metropolis has become from the restaurant-packed place he used to regularly visit with his wife Janice five years earlier.

This stark contrast between the life Luther Manning vividly remembers and what the world has since become is perhaps best seen during the cyborg’s visit to the library/museum on 42nd Street, whilst investigating a black market meat operation. The trip itself later leads into the discovery that there is actually an armed rebellion taking place against the murderous machinations of Simon Ryker’s regime. But initially it presents itself as simply an adrenalin-fuelled spotlight upon the grisly day-to-day dealings of the vicinity’s disagreeable inhabitants, who appear to be perfectly happy to tear the Demolisher apart just to get at the veteran soldier’s few remaining scraps of human flesh; “They’re looking at me like I’m the morning menu!!”

Unhappily however, much of this well-written, engrossing atmosphere is then somewhat dispelled by the sudden arrival of a battle tank and a cluster of “creeps… packing lasers with heat conversion units.” This shocking plot-twist comes completely out of the blue, and despite the author’s attempt to suggest the aforementioned head-hunters were merely a pre-planned ruse to lead Deathlok straight towards the tightly-knit military force, disappointingly still debatably smacks of Buckler merely scrambling around in desperation for some big threat to throw at his co-creation.

Fortunately, due to the sense-shattering shenanigans which result from the armoured vehicle’s appearance, such an unconvincing element can probably be easily forgiven – especially when for once, the action actually shows Manning being heavily outmatched when it comes to firepower. In fact, a palpable sense of danger emanates from these prodigiously pencilled layouts as Luther’s helicopter is sketched tragically being destroyed, and the “born loser” finds himself cornered by the killer tank without any discernible means of escape.

Concept, Script & Artwork: Rich Butler, and Coloring: L. Lessmann

Astonishing Tales #27 - Marvel Comics

ASTONISHING TALES No. 27, December 1974

Essentially comprising of a shootout-turned punch-up between Deathlok and the War-Wolf, Doug Moench’s plot for issue Twenty Seven of “Astonishing Tales” probably did have many of its readers grimly ‘hanging on to their medals’ for their lives. Sure, the eighteen-page narrative may well have proved a little repetitive for some bibliophiles due to Luther Manning repeatedly questioning whether he can actually kill his former military buddy. But Major Simon Ryker’s ill-advised admission that Mike Travers “died on the operating table” before the ferocious fight even began soon puts an end to the cyborg’s self-doubts.

In addition, the script does a good job of showing just how close the two men must have been before their moustache-sporting arch-nemesis created Project Alpha Mech, and even alludes to the Demolisher being friends with his comrade-in-arms’ father too. These flashbacks genuinely help imbue the central protagonist with plenty of palpable emotion, especially once he realises he has been played for a fool, and decides to end the heavily-fanged monstrosity before him, rather than allow it to tear his own mechanical workings to pieces; “You just told me the one thing that would make me wanna fight back!”

Unfortunately though, both the occasional bit of backstory and multiple speeches reverberating inside Deathlok’s head, does cause the storytelling to be a bit confusing and confoundingly chaotic from time to time. Indeed, Manning’s revelation that the “other voice in my head” has gone two-thirds of the way through the comic, most likely pleased a fair few bibliophiles too, as it instantly results in them being able to simply focus upon the highly entertaining banter between Luther and his computer, rather than being savagely swamped with numerous, heavily worded dialogue boxes filled full of flowery rhetoric.

Understandably with such an action-packed publication, much of this book’s success also relies upon the layouts of Rich Buckler and Pablo Maros’ inks. Together the creative pair do a first-rate job in making a physically, and psychologically drained Demolisher appear to be at death’s door by its end. In fact, the cyborg is prodigiously pencilled taking so much damage and mental abuse, that at one point his visibly shaking frame appears to be about to quite literally expire at the feet of his beloved (ex)wife Janice.

Art/Story: Rich Butler, Inks: Pablo Maros, and Co-plot: Doug Moench

Astonishing Tales #26 - Marvel Comics

ASTONISHING TALES No. 26, October 1974

Despite Doug Moench’s utterly disconcerting decision to hurl his audience up and down Deathlok’s timestream to the point where some bibliophiles will struggle to know whether what they’re reading is set in Luther Manning’s past or present, Issue Twenty Six of “Astonishing Tales” still must have landed rather well with those “True Believers” who weathered this storm upon their senses. In fact, the seventeen-page plot is so prodigiously crammed full of adrenalin-fuelled gun-fights, savage shows of cyborg super-strength, as well as an insane roof-top battle against a horde of cannibals, that in many ways it could be argued as being pretty much perfect; “Final assailant aligned with meat-hook rail.”

Much of this success is entirely due to some wonderfully dramatic set-pieces in which the almost completely rebuilt Colonel battles an apparently unending army of United States agents, who are seemingly hell bent on bringing Simon Ryker’s ‘creation’ to his knees. These utterly engaging confrontations range in location from a rancid meat factory all the way to the Tower of Liberty’s foot-pedestal, and really go to great lengths in order to show just how formidable a killing machine the covertly-crafted super-soldier can be – even when facing seemingly insurmountable numbers and weapons fire.

In addition to this comic’s pulse-pounding pugilism and pace though, the American author is also very good at penning some entertaining dialogue between the central protagonist and his chest-mounted computer. Coupled with Deathlok’s evident loyalty to his former army buddy Mike Travers, these conversations go a long way to showing the Demolisher is far from being a generic two-dimensional assassin, but rather a human being who still cares for those who risked their lives alongside him during the war.

Equally adding an enormous amount of vitality to this book are Rich Buckler’s layouts, which genuinely help sell the notion of a walking/talking cyborg brutalising so many ‘enemy’ operatives without so much as a scratch – or at least just a “bum knee.” Furthermore, the artist does a first-rate job of showing just how many pent-up emotions Manning is going through in his search for his old battle buddy, and how desperate he is to see a friendly face after Ryker’s evident betrayal of everything the “Death Machine for Hire” stands for.

Art/Concept/Plot: Rich Butler, Script/Plot: Doug Moench, and Inks: Pablo Marcos

Astonishing Tales #25 - Marvel Comics

ASTONISHING TALES No. 25, August 1974

For those members of the Merry Marvel Marching Society looking forward to Doug Moench’s “steel-smashing origin of the world’s most offbeat superhero”, Issue Twenty-Five of “Astonishing Tales” would arguably prove something of a seriously word-heavy comic to navigate through. Indeed, absolutely crammed full of text, dialogue and numerous inner eulogies as to the cyborg’s state-of-the-art technology, many of this publication’s fifteen pages must surely have required repeated readings before it became even remotely clear just what the American author was trying to say; “Fell the exquisite pleasure of our flex-steel fingers vice-squeezing a streaking spurt of ripping searing boring light.”

Happily however, beneath this litany of letters, stumping sentences and perplexing paragraphs is actually a first-class story which tells of a veteran soldier desperately attempting to break the control of a computer programmed to monitor his every movement, and eradicate the very emotions which made him who he was. Admittedly, Colonel Luther Manning was never a truly moral man, as can be seen by the delight he takes in stalking his first two targets for assassination. But the veteran's rather entertaining banter with the artificial intelligence sending him commands clearly shows that he won’t simply be a thoughtless tool – and in fact ultimately desires to be returned to a fully-functioning human body.

Furthermore, the Inkpot Award-winner provides this publication with an utterly enthralling mystery as to the true motivation of Deathlok the Demolisher’s benefactor - Simon Ryker. The notion that the man-turned-machine-turned-monster isn’t destined to be the saviour of America’s post-apocalyptic future as was first thought is soon made abundantly clear, once the cold-blooded killer savagely shoots “the two men who were out to stop Project Alpha-Mech.” Yet, just what nefarious, money-making ambitions the thickly-moustached villain does have in mind aren’t made particularly clear either.

Also well worthy of a mention is Rich Buckler, who conceived, plotted and drew this comic book. The artist does a first-rate job in pencilling as many interesting glimpses into the mechanical workings of Manning’s robotic body as he can, as well as illustrates the savage barbarity of the world in which he lives with some incredibly dynamic, action-packed set-pieces - such as the anti-hero’s aforementioned contract killings in a cannibal-infested subway.

Conceived, Plotted & Drawn by: Rich Butler, Scripted by: Doug Moench, and Colored by: G. Wein

Astonishing Tales #5 - Marvel Comics

ASTONISHING TALES No. 5, April 1971

Gerry Conway undeniably gave his readers plenty to get their heart’s beating with his script for Issue Five of “Astonishing Tales”, thrusting the bi-monthly’s Lord of the Hidden Jungle into a seemingly ceaseless series of battles against the likes of Zaladane, a terrified pterodactyl, the ape-like Guardian of the Fire Pool and an utterly homicidal Petrified Man, and all within the space of just ten pages too. In fact, it’s arguably hard to imagine a more sense-shattering sequence of action-packed set-pieces than those a determined Ka-Zar faces during his mission to not only rid the Savage Lands of the High Priestess’ thirst for bloody conquest, but also the murderous insanity of his five hundred year old new friend, Garokk.

Fortunately, all these sensational shenanigans are dynamically drawn by Barry Smith, whose wonderful ability to imbue Kevin Plunder with all the natural athleticism one would expect from a man whose closest companion is a sabre-tooth tiger, adds even more vitality to an already hyper-active narrative. The London-born illustrator’s plethora of panels depicting Ka-Zar agilely back-flipping onto the back of an out-of-control flying lizard is particularly mouth-watering, and sets a staggeringly brisk pace which the penciller then continues to maintain once the eldest son of a British nobleman crash-lands back to the ground; “How forgetful of me, Ka-Zar! There’s one final detail --- The pool is most jealously guarded!”

Far less complicated, yet no less entertaining, is Larry Lieber’s storyline for “A Land Enslaved”, which features Doctor Doom returning from a sojourn on the French Rivera only to find his beloved kingdom of Latveria now under the rule of the Red Skull. Basically boiled down to the armour-clad monarch fighting an entire nation single-handedly, this quite silly caper still packs plenty of punch, as Victor confidently fights the swastika-loving invader and his goose-stepping goons one-on-one, in a string of confrontations which aptly demonstrate both the dictator’s much-hyped technological prowess and the whacky abilities of the Exiles.

Incoming artist George Tuska is equally up for the challenge of sketching Doctor Doom with all his infamous pomp and over-confidence. The American artist’s panels featuring the Latverian stomping through the underbelly of his castle are particularly impressive, as the tyrant’s green cape billows around the clearly angered-figure, and it’s incredibly easy to hear Victor’s metal clad feet clanking across the stone-floor in the character’s haste to navigate “this subterranean passageway [which] lead to the main power station!”

Writer: Gerry Conway, Artist: Barry Smith, and Inker: Frank Giacoia

Astonishing Tales #4 - Marvel Comics

ASTONISHING TALES No. 4, February 1971

Purportedly pitting the Jungle Lord against the Savage Land’s Sun God, at least according to its sensationally-sketched John Buscema cover illustration, Gerry Conway’s script for Issue Four of “Astonishing Tales” probably caught a fair few of the comic’s loyal readers somewhat off-guard in February 1971 due to the sheer complexity of its plot. Indeed, having initially appeared to be a simple ten-page tale depicting Ka-Zar and his friends attempting to thwart Zaladane “from slaughtering a group of peaceful villagers”, the Brooklyn-born writer’s storyline suddenly involves the capturing of a bedazzling unicorn, an attack by “one ponderous Tyrannosaurus Rex”, and the sudden rise to godhood of Garokk, the Petrified Man.

Undeniably adding to this fantastical feast for the eyes is Barry Smith’s exquisite artwork, which quite beautifully depicts both the soaring savagery of the High Priestess and the fearsome fireballs her pterodactyl-flying warriors bring down with devastating effect upon the City of the Vala-Kuri. The British illustrator’s menagerie of Savage Land wildlife is especially well-drawn, with the prehistoric King of Lizards and dazzling horned horse both appearing suitably formidable in their own unique ways; “Hold Zabu -- Ka-Zar claims this prize! The fabled unicorn is the swiftest of beasts ---“

Infinitely more hilarious, at least until is disconcertingly dark final splash page featuring plenty of Fourth Reich swastikas, is Larry Lieber’s tale concerning Doctor Doom quite preposterously deciding to take a holiday at “the world famous Riviera” whilst his peasants briskly rebuild his castle, following its destruction during Prince Rudolfo’s failed rebellion. Busy battling society’s elite at the roulette wheel, or effortlessly thwarting an attempt to steal his famous armour by a pair of hopeless burglars, this ludicrous scenario is surprisingly counteracted by the far more menacing appearance of the Red Skull in Latveria, and his bizarre entourage of “international would-be world conquerors… during World War Two.”

Proficiently pencilled by Wally Wood, the Exiles are the highlight of “The Invaders”, with the likes of Baldini, Hauptman, Krushki and Cadavus, Monarch of the Murder Chair, all being given their very own panels within which to exhibit their variety of super-powered attacks. Doom too is given plenty of sheet space with which to shine by “one of Mad's founding cartoonists”, repeatedly demonstrating his advanced technology’s superiority over the international resort’s unimaginative visitors by means of an electrical zap, a devastating punch, and the creation of a casino-wrecking swirling vortex.

Writer: Gerard Conway, Artist: Barry Smith, and Inking: Sam Grainger

Astonishing Tales #3 - Marvel Comics

ASTONISHING TALES No. 3, December 1970

Featuring the fascinating five-hundred year-old origin story of the Petrified Man, as well as the highly convoluted conclusion to an attack upon Doctor Doom’s Latverian throne, there probably wasn’t much time for this bi-monthly’s audience to catch their breath when first reading the comic in February 1971. For whilst Gerry Conway’s “excursion flight into the timeless world” of the Savage Land is certainly more sedentary in its pace than that of Larry Lieber’s cataclysmic destruction of Castle Doom and revelation as to “the secret of the Faceless One”, neither of this book’s two ten-page stories really provide much in the way of an action-stopping pause.

Happily however, such momentum doesn’t mean that any part of this publication is 'padded out' with superfluous fight scenes, as Gerry Conway’s enthralling script to “Back To The Savage Land” strongly attests. Firmly focused upon the tragic creation of a shipwrecked mariner into “a living avatar of the stone god Garokk”, as well as sensationally summarising the desperate desire of Queen Priestess Zaladane to have her Sun-People conquer the prehistoric preserve, this tale’s sole disappointment is that it has no sheet space with which penciller Barry Smith can depict the annihilation of Tongah’s village by pterodactyl-riding attackers.

Regrettably, Lieber’s plot conveying the final stages of Prince Rudolfo’s revolution in Latverian similarly suffers from a lack of panels, as Doom finally manages to bring an end to the threat of the Doomsman by simply impelling “my mental energy into his cerebral apparatus” through “a process of mind fusion”. Considering all the utter mayhem and wanton ruin Victor’s mechanical creation has already caused in this story’s past, it seems somewhat strange that the “would-be conqueror” didn’t put just such an end to the heavily-bandaged robot a lot sooner; “The Doomsman is beyond all reason -- all entreat! There is but one to stop him!”

So minor a quibble though really is nit-picking, especially when measured alongside the sheer breadth of Larry’s extraordinary narrative. Exploding human replicas, alien life forms piloting human-shaped lifeless vehicles, “molecules that expand upon contact with air”, a bombardment by anti-particles and even the teleportation to another dimension, are all crowbarred into this pulse-pounding adventure, and give Wally Wood plenty of sense-shattering opportunities with which to demonstrate his remarkable drawing skills.

Writer: Gerry Conway, Artist: Barry Smith, and Inking: Sam Grainger

Astonishing Tales #2 - Marvel Comics

ASTONISHING TALES No. 2, October 1970

Leading with an incredibly fast-paced fist-fight between Ka-Zar and Sergei Kravinoff at the summit of a Manhattan hotel, Issue Two of “Astonishing Tales” must have practically exhausted its adolescent audience by the time the comic’s writer, Roy Thomas, moved on to continue its secondary tale, “Revolution”, featuring the Master of Menace, Doctor Doom. In fact, almost from the very moment Kevin Plunder brazenly walks up to the guesthouse’s reception staff and demands “to see the man called -- Kraven! You will summon him, please -- at once!” the Missouri-born writer’s ten-page “Frenzy On The Fortieth Floor!” depicts the Lord of the Hidden Jungle doing little else but trading punches, kicks and taunts with the man who has kidnapped his Smilodon, Zabu.

Fortunately, so relentless a power struggle actually proves enthrallingly entertaining, not least because the lengthy, action-packed sequence portrays both antagonists using their brains and considerable cunning to consistently outwit one another, rather than just their substantial brawn. Perhaps somewhat significantly, the "Son of the Tiger" is especially well served in this story, allowing his rival to both snare him in an inescapable bola-net, and supposedly be rendered unconscious by “the potency of my tranquiliser spray”, just so the unarmed savage can learn precisely where within the multi-storey building Kraven has his four-legged fanged friend held captive.

Prodigiously pencilled by Jack “King” Kirby, the destructive body blows on show appear thunderously impactive, with Ka-Zar launching one particularly full-blooded punch that carries both Sergei and the Shazam Award-winner’s co-creation out through a glass-pane window; “Astounding! Your reflexes are those of some tree-born simian!” Disappointingly however, it would appear that a couple of the book’s panels featuring close-ups of Plunder were disconcertingly sketched by another unknown artist, and these distinctly dissimilar drawings rather jar with the rest of the pulse-pounding antics on show.

Infinitely more complex, and packed with a significantly larger cast of leading villains is Thomas’ narrative for Victor Von Doom’s rematch with Prince Rudolfo. Establishing both the Machiavellian machinations of the orb-headed Faceless One, alongside the “terrible potentialities” of the heavily bandaged Doomsman, this political piece somehow manages to contain a large scale assault on the impregnable palace of Latveria’s dictatorial monarch, as well as plenty of mystery as to the identity and motivations behind the armed coup.

Writer: Roy Thomas, Artist: Jack Kirby, and Inking: Sam Grainger

Astonishing Tales #1 - Marvel Comics

ASTONISHING TALES No. 1, August 1970

Conceived as a ‘split title’ depicting the solo exploits of Ka-Zar and Doctor Doom in their own separate ten-page stories, this inaugural issue of “Astonishing Tales” not only provided its readers with “Two of Marvel’s mightiest together in one mind-shattering mag”, but also two markedly contrasting stories. Indeed, Roy Thomas’ ancillary adventure, “Unto You Is Born… The Doomsman!” is so much more noticeably complex when compared to Stan Lee’s singularly straightforward lead tale, that this particular publication is arguably an excellent example as to just why Lieber felt he could trust his eventual successor as “Marvel Comics” editor “enough that he virtually never again read anything I wrote.”

Happily however, despite these differences this comic’s opening yarn, “The Power Of Ka-Zar!”, is a great first feature for Kevin Plunder, following the son of an English nobleman simply being side-lined as a supporting character in “The X-Men” and “Daredevil”. Clearly the master of all he surveys in the “vast unchartered jungle, bordered by the ever-drifting glaciers of far-off Antarctica”, the Lord of the Jungle’s tenacity to free his ‘friendly’ sabre-tooth tiger drives the action forward at an admirable rate, and resultantly, this book’s audience don’t have too long to wait until the "Son of the Tiger" cataclysmically confronts Zabu’s abductor in a no holds barred wrestling match.

Perhaps somewhat surprisingly though, the star of this story is undeniably Kraven the Hunter, who despite seeming to be rather overly-reliant upon his tranquilizer spray to defeat his foes, dominates each and every panel Jack Kirby pencils him in. In fact, even when Sergei Kravinoff’s face shows fearful incredulity as the “jungle savage” breaks his much-lauded grip, it is difficult not to still admire the dangerous nature of one of Spider-Man’s “most formidable enemies”.

Containing a far more convoluted narrative is Thomas’ “dramatic debut of a startling new series”, which depicts Victor Von Doom both developing “the ultimate weapon -- a super-powerful living being -- fed and activated by Cosmic Rays” and fending off an attempt by “the rightful ruler of Latveria” to depose him of his crown. Illustrated by Wally Wood, “a veteran of Nineteen Fifties EC Comics stories”, this entertaining mash-up of horror, romance and political intrigue soon bears an uncanny resemblance to one of Alex Raymond’s “Flash Gordon” escapades, courtesy of Prince Rudolfo’s rebels successfully attacking Doom castle whilst wearing jet-packs; “See how they gape, wide-eyed, at our flying belts!”

Writer: Stan Lee, Artist: Jack Kirby, and Inking: Sam Grainger