For over thirty years, the Marvels Masterworks line has collected the most seminal stories of your favorite Marvel heroes. Across 299 volumes, the iconic tales of Spider-Man, the Avengers, the X-Men, Spider-Woman, Dazzler, and more have been presented in this stunning hardcover collections, Marvel is proud to present the 300th volume of Marvel Masterworks. While there were several worthy candidates for this milestone edition, only one waddled away with victory: Howard the Duck! See below for a special direct market exclusive variant cover to commemorate this landmark edition!
Steve Gerber and his artistic cohorts Val Mayerik, Frank Brunner,and Gene Colan delivered one of comics’ most iconoclastic and hilarious characters when they created Howard the Duck. His inaugural Masterworks kicks off with his quirky first appearance as a “fowl out of water” alongside the macabre Man-Thing, where they team up to protect Cleveland from the Man-Frog and Hellcow. The satirical stories continue with Howard and gal pal Beverly Switzler taking on dire threats such as the Space Turnip, the Beaver and — public transportation??! All this and more restored in Masterworks glory!
MARVEL MASTERWORKS: HOWARD THE DUCK VOL. 1 COLLECTING: HOWARD THE DUCK (1976) 1-14; MARVEL TREASURY EDITION (1974) 12; MATERIAL FROM FEAR (1970) 19; MAN-THING (1974) 1; GIANT-SIZE MAN-THING (1974) 4-5; FOOM (1973) 15
When we last left our heroes, Captain America and the Falcon had returned to New York City after liberating a Caribbean island from Nazis and once again foiling the Red Skull’s Cosmic Cube machinations. Upon their return in #120, the question became what the status quo would be for the new partnership in their new environment.
The new status quo would take a few issues to show up, but starting with #139, for almost two years – two years which saw Captain America and the Falcon handed off from Stan Lee to Steve Englehart (by way of Gary Friedrich and Gerry Conway) – Cap writers went back to one of the oldest scenarios in comics.
By night, Captain America and the Falcon would patrol New York City as vigilante superheroes. By day, they would adopt civilian identities that spoke to their ideas of civic engagement: Sam Wilson returned to his job as a social worker, Steve Rogers took up a new job as a cop. Both worked the Harlem beat.
Written by Steve Orlando Pencils V Ken Marion Inks Sandu Florea Colored by Andrew Dalhouse Purchase
The final showdown between Aquaman and Scorpio!
Batman: The Adventures Continue (2020-) #5
Written by Alan Burnett, Paul Dini Pencils Ty Templeton Inks Ty Templeton Colored by Monica Kubina Cover by Joe Quinones Purchase
Deathstroke and Robin face down Firefly, but can the two stand the heat after the firebug gets the upperhand? And who’s hired Deathstroke to take down the Dark Knight?
Captain America: Marvel Knights Vol. 1
Written by Chuck Austen, John Ney Rieber Art by John Cassaday, Trevor Hairsine, Jae Lee Cover by John Cassaday Purchase
Collects Captain America (2002) #1-16.
Captain America gets the critically acclaimed Marvel Knights treatment! In the aftermath of 9/11, Captain America – already a man out of time – must adjust once again to a terrifying new global landscape. From the ruins of the World Trade Center to the horrors of a small town rocked by terrorism, the star-spangled super-soldier is forced to consider what it means to be the Sentinel of Liberty in an age of incomprehensible new threats. Meanwhile, the man named Redpath has his own American dream, and he orders his Extremists to cleanse the country by force. Only a true patriot, the living embodiment of the United States, can stop them. But when Captain America uncovers new truths about his decades trapped in the ice, the scale of the conspiracy may bring him to his knees!
Daredevil by Ed Brubaker & Michael Lark Ultimate Collection Vol. 1
Written by Ed Brubaker Art by David Aja, Michael Lark Cover by Tommy Lee Edwards Purchase
Collects Daredevil (1998) #82-93.
The critically acclaimed, award-winning creative team of Ed Brubaker and Michael Lark make their explosive debut! For the past few years, Matt Murdock’s life has been teetering on the edge of destruction. Now, pushed beyond the limit, Matt finds himself behind the eight ball with no clear way out, the people he calls friends slowly deserting him, and Hell’s Kitchen gradually slipping out of control. The question is, when his back is against the wall. just how far will Daredevil go to get back what is his? Plus: a special episode focusing on Daredevil’s best friend, Foggy Nelson. Spinning out of the stunning finale of Brian Michael Bendis and Alex Maleev’s ground-breaking run, Brubaker and Lark pick up the billy club and run as hard and as fast as they can to leave their own mark on one of comics’ most enduring legends.
Daredevil by Ed Brubaker & Michael Lark Ultimate Collection Vol. 2
Written by Ed Brubaker Art by Paul Azaceta, Lee Bermejo, Gene Colan, Marko Djurdjevic, Michael Lark, Alex Maleev, John Romita Jr., Bill Sienkiewicz, Lee Weeks Cover by Marko Djurdjevic Purchase
Collects Daredevil (1998) #94-105.
Critically acclaimed, award-winning creators Ed Brubaker and Michael Lark continue their explosive run! Everything Matt Murdock thought he’d gotten back teeters on the edge of a precipice, ready to shatter all around him, as he fights a battle on both fronts of his life — in the courtroom and on the rooftops of Hell’s Kitchen! And with the post-CIVIL WAR fallout all around him, the price of being Daredevil just got even higher. Nominated for three Eisner Awards: Best Continuing Series, Best Writer and Best Penciler-Inker Team!
Daredevil by Ed Brubaker & Michael Lark Ultimate Collection Vol. 3
Written by Ed Brubaker, Ann Nocenti, Greg Rucka Art by David Aja, Paul Azaceta, Michael Lark, Clay Mann, Tonci Zonjic Cover by Marko Djurdjevic Purchase
Collects Daredevil (1998) #106-119 and #500.
Critically acclaimed, award-winning creators Ed Brubaker and Michael Lark conclude their explosive run! The Hand is back in New York, and Lady Bullseye is in league with them! The Kingpin has also returned, forging a surprising pact with Daredevil to target the ninja cult — but what is the former crime boss’s true plan? Plus: An old friend brings Matt Murdock the last-minute appeal of a Marvel villain sitting on death row. What will he do when confronted with a convicted bad guy who’s completely innocent? Nominated for three Eisner Awards: Best Continuing Series, Best Writer and Best Penciler-Inker Team!
Dead of Night Featuring Man-Thing
Written by Roberto Aguirre-Sacasa Art by Kano, Brian Denham, Nic Klein, Nick Percival, Javier Saltares Cover by Kaare Andrews Purchase
Collects Dead of Night Featuring Man-Thing #1-4.
Biochemist Ted Sallis and his team are on a mission: To recreate the serum that spawned the world’s first super-soldier. But like the swamp itself, there are dangers lurking beneath the surface. Ted’s partner Eric, his girlfriend Ellen, the government, terrorists – everyone wants what Ted has, but what Ted doesn’t realize is that the swamp itself may want him! A radical re-imagining of the Man-Thing’s origin begins here, in a horror-tinged tale narrated by Digger, keeper of the Tower of Shadows!
The classic story, The Death of Captain Marvel, is back in an all-new printing! This trade collects Marvel Super-heroes (1967) #12-13, Captain Marvel (1968) #1 and #34, Marvel Spotlight (1979) #1-2, and Marvel Graphic Novel #1: The Death of Captain Marvel by Stan Lee, Roy Thomas, Jim Starlin, Steve Englehart, Doug Moench, Gene Colan, and Pat Broderick.
Get your copy in comic shops now and in book stores January 15th! To find a comic shop near you, visit http://www.comicshoplocator.com or call 1-888-comicbook or digitally and online with the links below.
Marvel provided Graphic Policy with FREE copies for review This post contains affiliate links, which means that if you click on one of the product links and make a purchase, we’ll receive a percentage of the sale. Graphic Policy does purchase items from this site. Making purchases through these links helps support the site
Various (w) • George Evans, Gene Colan, Pete Morisi & Sheldon Moldoff (a) • Matt Baker (c)
Your favorite horror anthology heads for the high seas of screams, in this sinisterly saturated selection of soaking-wet weirdness straight from Davey Jones’ locker! Classic creeps from the deeps are surfacing on a tidal wave of terror! Hold your breath—Haunted Horror #32 is just around the bends! Get it? Get it!
Tomb of Dracula by Wolfman, Colan, and Palmer has long been considered one of the best Marvel Comics of the 1970s. Colan’s atmospheric artwork was the perfect companion to Wolfman’s dark and foreboding stories—together they formed a classic series.
This Artist’s Edition collects five fantastic stories, plus an incredible gallery section.
HC • BW • $125.00 • 144 pages • 12” x 17” • ISBN: 978-1-68405-217-2
It’s Tuesday which means it’s new comic book day at book stores! This week we’ve got the Inhumans!
Inhumans: Beware the Inhumans collects Marvel Super-Heroes (1967) #15, Incredible Hulk Annual #1, Fantastic Four (1961) #81-83 and #99, Avengers (1963) #95 and #105, Amazing Adventures (1970) #1-10, and Not Brand Echh #12 by Stan Lee, Jack Kirby, Roy Thomas, Gerry Conway, Gary Friedrich, Archie Goodwin, Arnold Drake, Neal Adams, Gene Colan, Mike Sekowsky, Marie Severin, John Romita, and Tom Sutton.
Marvel provided Graphic Policy with FREE copies for review This post contains affiliate links, which means that if you click on one of the product links and make a purchase, we’ll receive a percentage of the sale. Graphic Policy does purchase items from this site. Making purchases through these links helps support the site.
As I discussed in Week 5, a lot of work had to be done to make Captain America work for the 1960s. But in addition to the political work I talked about (and will discuss a lot more in the future), it also meant a good deal of cultural work as well.
Sometimes, this could be rather awkward, as Stan Lee (48 at the time) hustled like hell to keep Marvel comics relevant in an industry whose primary consumers were teenagers in the midst of one of the largest generational divides in U.S history:
And as my colleague Elana notes, it often takes comics a decade or more to catch up to cultural changes, which can lead to awkward juxtapositions where characters like Nightwing are rocking a 70s disco v-neck costume well into the 90s (oh no! I just got DC in my Marvel!)
But sometimes, sometimes, even the squarest comic book writers and artists can catch onto a wavelength from youth culture and create something fascinating. Hence why in Marvel continuity, Captain America saved the Altamont Free Concert from the (copyright-friendly equivalent of the) Hells Angels:
Captain America is kind of an interesting choice for this storyline, because you have a member of “the Greatest Generation” (albeit one who is mentally and physically in his mid-20s rather than almost in his 50s) stepping in-between a conflict within the Baby Boomers between hippies and bikers. At the same time, as I discussed before, Cap was in a searching and receptive mode as he sought to find a new identity for Steve Rogers, and that brought him in synch with both aspects of the counter-culture:
On the one hand, Cap basically agrees with the hippie’s critique of his generation; on the other, Cap’s solution for how to find his identity is to get a motorcycle and go looking for America. And sure enough, the moment Cap gets onto a motorcycle, he gets arrested by cops who are hassling bikers and mistake him for a member of the Satan’s Angels who they are arresting on sight (which is surprisingly sympathetic to the perspective of the biker gang who are the antagonists of the issue). In turn, the Satan’s Angels decide to break Cap out of prison out of a commitment to the code of the road:
Incidentally, I love that the visual reference for the leader of the Satan’s Angels has some pretty strong resemblance to Marlon Brando in the Wild One. Unlike in classic biker films, however, the Satan’s Angels aren’t the antagonists of Cap #128 because they are threatening the values and mores of Square America, but because they are threatening that most precious and beautiful of things, a hippie rock concert:
In another case of Captain America comics being surprisingly positive about the counter-culture, Stan Lee and Gene Colan present this hippie rock concert as an unambiguously positive force, preaching the message of peace and love, and who share with Cap a common belief in the universal equality and brotherhood of mankind. Part of the reason for this positivity is that Issue #128 came out in August of 1970, less than a year after the Altamont Free Concert. As with the historical concert (which featured Jefferson Airplane, Crosby, Stills, Nash & Young, the Rolling Stones, and where the Grateful Dead were supposed to appear), this concert is publicized as a free concert and open to all comers. And as with Altamont, which was supposed to be a “Woodstock West,” this concert is clearly more about spreading a cultural and political message.
And as with Altamont, the concert is threatened by the disdain that the Satan’s Angels have for hippies, centered around their anti-war politics. Here, the biker leader “Whitey” expresses a very specific hatred of “peaceniks” and the “yella-bellied,” and threatens violence against his own kid brother if he tries to become a “flower child.”
Given that Stan Lee is writing this issue, this is pretty savvy cultural commentary. For all that Ken Kesey and Allan Ginsburg thought that the Hells Angels represented fellow spirits – chronicled in Tom Wolf’s Electric Koolaid Acid Test– there was very little in common between the Hells Angels and the hippie movement beside their mutual alienation from mainstream society. Indeed, much of the Hells Angel’s membership were military veterans who found the biker lifestyle an alternative to transitioning back into the civilian world, and were actively and violently anti-anti-war.
As Hunter Thompson describes in his book, Hells Angels: A Strange and Terrible Saga, the combination of close quarters and intellectual mis-understanding between the Hells Angels and the hippie movement was a lethal combination:
The Hells Angels’ massive publicity – coming hard on the heels of the widely publicized student rebellion in Berkeley – was interpreted in liberal-radical-intellectual circles as the signal of a natural alliance. Beyond that, the Angels’ aggressive, antisocial stance – their alienation, as it were – had a tremendous appeal for the more aesthetic Berkeley temperament.
…The honeymoon lasted about three months and came to a jangled end on October 16, when the Hells Angels attacked a Get Out of Vietnam demonstration at the Oakland-Berkeley border. The existential heroes who had passed the joint with Berkeley liberals at Kesey’s parties suddenly turned into venomous beasts, rushing on the same liberals with flailing fists and shouts of “Traitors,” “Communists,” “Beatniks!” When push came to shove, the Hells Angels lined up solidly with the cops, the Pentagon and the John Birch Society. And there was no joy that day in Berkeley, for Casey had apparently gone mad.
The attack was an awful shock to those who had seen the Hells Angels as pioneers of the human spirit, but to anyone who knew them it was entirely logical. The Angels’ collective viewpoint has always been fascistic…The Angels, like all other motorcycle outlaws, are rigidly anti-Communist. Their political views are limited to the same kind of retrograde patriotism that motivates the John Birch Society, the Ku Klux Klan and the American Nazi Party. They are blind to the irony of their role…
Hence why it was a historically bad idea for the Rolling Stones’ manager Sam Cutler to hire the Hells Angels to be security for a hippie rock concert, and then to pay them in $500 worth of beer, which they proceeded to drink on the spot. Mutual antagonism between the crowd and the Angels lead to escalating violence – with the Angels chucking full beer cans and wielding pool cues and motorcycle chains, initially to keep the crowd away from the stage, but increasingly in a series of tit-for-tat fights. The violence escalated – Denise Jewks of the Ace of Cusp had her skull fractured by a thrown beer bottle, Marty Balin of Jefferson Airplane got knocked unconscious by an Angel, Mick Jagger was punched in the head, and Meredith Hunter was stabbed to death by Hells Angel Alan Passaro. (As all of this was filmed by a documentary crew at the time, you can watch the whole event here.)
Altamont was almost instantly turned into a symbol of the excesses of the counter-culture, the dark shadow of Woodstock, and a sign of the end of the hippie movement. As Richard Brody argued much later, “What emerges accursed is the very idea of nature, of the idea that, left to their own inclinations and stripped of the trappings of the wider social order, the young people of the new generation will somehow spontaneously create a higher, gentler, more loving grassroots order. What died at Altamont is the Rousseauian dream itself.”
But in the Marvel Universe that didn’t happen, because Captain America was on the scene to stop the Satan’s Angels and save the day:
If you step back and look at it, not only is this a fight of motorcycle vs. motorcycle, but also a fight between two veterans over how to deal with the counter-culture and the related anti-war movement. And not only does Captain America oppose the Satan’s Angels physically, but as is appropriate for a character who would absolutely play a Warlord in D&D 3.5 Edition, Cap’s example inspires the gentle hippies to enter the fray in defense of their new defender:
The implicit argument is rather interesting, suggesting that the hippie movement’s non-violence is simply because they disagree with the cause that violence is being urged for. It’s an interesting little bit of culture-jamming, positioning Captain America as the Hippy Defender and suggesting that the kids are alright, because with the right symbol and the right cause to fight for, they’ll engage in all-American fisticuffs. However, the hippies can’t take down the sheer power of a motorcycle gang on their own, so there will always be a need for Captain America’s mighty shield:
On its own, Captain America #128 is a rather disposable one-shot. But what interests me is the broader cultural impact of Cap’s intervention in the Marvel Universe. For example, if Altamont is seen as a success in Earth-616 due to Captain America, does Don MacLean still write “American Pie” as a despairing elegy to the lost innocence of rock and roll? Is Peter Fonda’s character in Easy Rider named Captain America not as a satirical jab at 60s Americana but rather because Captain America is seen as a protector of the hippie movement and an endorsement of the counter-culture from the living embodiment of American idealism?
Speaking as someone who loves the fact that Marvel’s shared universe was set in the real New York, one of the things that I’ve felt hasn’t been done enough in the Marvel Universe is an exploration of how the presence of superheroes since WWII had influenced American culture, especially not in comparison to Alan Moore’s Watchmen or Publick and Hammer’s Venture Brothers. We know that Janet Van Dyne is a renowned fashion designer, but we rarely see ordinary people in street scenes wearing Van Dyne-inspired ensembles. We know that the beatniks down at Coffee A Go-Go became enthralled with Beast’s enormous feet, so show me Alan Ginsberg’s ode to Hank’s hoofs.
In other words, if Captain America is a symbol, show us what that symbol came to mean for the generations who grew up with him after his rebirth from the ice in the Mid-60s…
Script/Art: Gene Colan, Doug Crane, Jon D’Agostino, Mindy Eisman, Barry Grossman, Pat Kennedy, Rudy Lapick, Rex Lindsey, Rich Margopoulos, Tom Moore, Bill Yoshida
Cover: Rex W. Lindsey, Rosario “Tito” Peña
On Sale Date: 9/11
120-page, full color comic
Get ready for a wild ride through time! Jughead has been drafted into a time-traveling police force, tasked with keeping history from going haywire. Is Jughead the right kid for the job? Find out in this digital-only collection! Collects the complete Jughead’s Time Police storyline epic!
YOE AND IDW LIFT THE BAN ON “ZOMBIES”! The Chilling Archives of Horror Comics open for another epic dose of terror May 30th!
San Diego, CA (May 29, 2012) – In the shuffling, deranged footsteps of Dick Briefer’s Frankenstein and Bob Powell’s Terror comes a thrilling, spine-tingling collection of classic, taboo horror comics. Hitting shelves with a vengeance tomorrow, IDW Publishing and Yoe Books are proud to present ZOMBIES!
It’s difficult to imagine an era where work from comics titans like Wally Wood, Gene Colan, Bob Powell, Reed Crandall, Jack Cole, and Lou Cameron was kept away from readers, but these 1950’s zombie tales were so terrifying, parents and politicians the nation over made sure they were banned!
Conjured back to print by Eisner-winning Editor and designer Craig Yoe, these classic, lost tales are being reproduced in astonishing detail in a beautiful hardcover edition that belies the unstoppable, macabre forces within!
Complete with an introduction by the book’s co-Editor Steve “Karswell” Banes, host of the popular “The Horrors of It All” vintage comics blog, ZOMBIES is a must-own tome for lovers of the undead!
ZOMBIES ($21.99, 148 pages, hard cover, full color) will be available in comic book stores May 29, 2012. ISBN 978-1-61377-213-3.
IDW is an award-winning publisher of comic books, graphic novels and trade paperbacks, based in San Diego, California. Renowned for its diverse catalog of licensed and independent titles, IDW publishes some of the most successful and popular titles in the industry, including: Hasbro’s The TRANSFORMERS and G.I. JOE, Paramount’s Star Trek; HBO’s True Blood; the BBC’s DOCTOR WHO; Nickelodeon’s Teenage Mutant Ninja Turtles; Toho’s Godzilla; Wizards of the Coasts Magic: The Gathering and Dungeons & Dragons; and the Eisner-Award winning Locke & Key series, created by best-selling author Joe Hill and artist Gabriel Rodriguez. IDW is also home to the Library of American Comics imprint, which publishes classic comic reprints, and Yoe! Books, a partnership with Yoe! Studio.
IDW’s critically- and fan-acclaimed series are continually moving into new mediums. Currently, Jerry Bruckheimer Films and Disney are creating a feature film based on World War Robot, while Michael Bay‘s Platinum Dunes and Sony are bringing Zombies vs. Robots to film.