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Zeea Adams, Steve Englehart, Erik Larsen, Andy Price, James Robinson, and Jim Starlin are heading to Baltimore Comic Con

Don’t miss the Baltimore Comic-Con at the Inner Harbor’s Baltimore Convention Center this September 25-27, 2026. Baltimore Comic-Con welcomes Zeea Adams, Steve Englehart, Erik Larsen, Andy Price, James Robinson, and Jim Starlin as guests of the 2026 event! You can get your tickets online now!

Zeea Adams is best known for coloring the art of Neal Adams on DC, Image, and Dynamite covers such as DeadmanBatmanKilladelphiaMighty Mouse, and her first ever variant cover, Squish & Squash #1. Her most popular convention request is her color on commission art and her line of Voodoo Doll art. Zeea is fresh from her NYC gallery exhibition of Ben Casey hot girl paintings.

Steve Englehart‘s take on The Batman and the Joker established superheroes for grown-ups, first in comics, then in the film adaptation, the animated series, and the later movies. His take on Captain America rescued Cap and then rescued the MCU from fan service. His Wanda and Vision established Disney+. His Guy Gardner helped anchor James Gunn’s DCU. His Luke Cage and Hellcat helped solidify Netflix. His Night Man ran on regular TV. Plus, Star-Lord, Mantis, Doctor StrangeShang-Chi…and The AvengersThe DefendersThe West Coast AvengersThe Green Lantern CorpsThe JLAFantastic Four, Silver SurferHulkMister MiracleCoyoteScorpio RoseThe StrangersShadowmanVampirella, Kilowog, John Stewart, and Silver St. Cloud.

Erik Larsen has been in the comics business for over 40 years. He’s worked on every book you’ve ever loved, including Savage DragonSpider-ManThorThe PunisherDoom PatrolAquamanWolverineNovaSpider-Man NoirSpawnCaptain America: The EndFantastic Four: The World’s Greatest Comics MagazineSuperPatriotFreak Force, and Ant. He is the creator/writer/artist of Savage Dragon and was one of the seven founders of Image Comics.

Illustrator and writer Andy Price has been the lead artist for the record breaking My Little Pony: Friendship is Magic comic books from IDW Publishing. Andy is a graduate of the Joe Kubert School, and works in most mediums. His art runs from cute cartoon animals to superheroes to horrific terrors. Past work includes IDW Publishing, DC Comics, Marvel, Image, Storm King Productions, LEGO, and Archie Comics. Andy is also the illustrator for The Unofficial Horror Movie Coloring Book and the Cryptid Creatures Coloring Book, both available from Adams Media. He lives in the USA, where he watches horror films, scoops cat boxes, and celebrates James T. Kirk’s birthday.

James Robinson was born in Great Britain but has lived in the U.S. since 1989 where he began working in comics initially for DC and Dark Horse Comics. Among his more known and regarded works are Grendel Tales: Four DevilsOne Hell, sundry Legends of the Dark Knight arcs, SupermanJustice League of AmericaBatmanDetective ComicsWonder Woman, and Earth 2. He is perhaps most well-known for his award-winning runs on both Starman and Leave It To Chance.

After a long working relationship with DC Comics, James made the switch to Marvel Comics where he wrote All-New Invaders, the Fantastic FourNick Fury, and the Scarlet Witch among other titles. He also wrote Airboy for Image Comics, and Grand Passion and Felix Leiter for Dynamite Comics.

James work in films includes scripts for every major studio, including The League of Extraordinary Gentlemen for 20th Century Fox. He also wrote and directed the black comedy Comic Book Villains for Goldcrest. In TV, James was a writer/co-exec producer on Stargirl for the WB for three seasons.

After that, he returned to comics with several creator-owned series for Dark Horse including ‘PatraWelcome To The MaynardLos Monstruos, and The Adventures of Lumen N. He is also writing an on-going Kickstarter comic, Rogues’ Kingdom.

His first novel, The Singular Pair will be published this year.

James resides in Las Vegas with his wife Alyson and their dogs.

The multi-talented Jim Starlin has worked on both writing and creating art for some of the most noteworthy creations since his entry into the field of comics in the 1970s. The mind behind the Marvel character Shang-Chi, Master of Kung Fu, he is also responsible for a number of noteworthy cosmic characters in the Marvel Universe, including Gamora, Drax the Destroyer, and the villainous Thanos, all of whom are featured in the major motion picture, Guardians of the Galaxy. He developed noteworthy runs on Marvel’s Captain MarvelWarlock, and Silver Surfer, Marvel mini-series Infinity GauntletInfinity War, and Infinity Crusade, and DC Comics’ BatmanThe Weird, and Cosmic Odyssey. His Death of Captain Marvel was the first Marvel graphic novel to be published. More recently, he has provided writing and art for DC’s Stormwatch and writing on Green Lantern: Mongul, and he returned to his classic villain with Marvel’s Thanos: The Infinity Revelation.


This year’s confirmed guests for the show include: Jason Aaron (Teenage Mutant Ninja Turtles), Zeea Adams (Deadman), Marty Baumann (Pixar artist), Josh Blaylock (Mercy Sparx, courtesy of Hero Initiative), Russ Braun (The Boys), Jeffrey Brown (Hulk Teach, courtesy of Hero Initiative), Mark Buckingham (Fables), Jeffrey Burandt (Gonad the Ballbarian), Jim Calafiore (NED, Lord of the Pit), Richard Case (Doom Patrol), Keith Champagne (Stranger Things), Howard Chaykin (Time Squared), Jo Chen (Runaways), Cliff Chiang (Paper Girls), Frank Cho (Harley Quinn), Becky Cloonan (War), Michael W. Conrad (In Bloom), Steve Conley (The Middle Age), Amanda Conner (Harley Quinn), Olivia Cuartero-Briggs (The College Try), Paris Cullins (Blue Devil), Vito Delsante (Stray), Todd Dezago (The Perhapanauts), Colleen Doran (The Sandman), Scott Dunbier (DC Silver Age Covers and Stories Artist’s Edition), Steve Englehart (Captain America), Garth Ennis (The Boys), Trish Forstner (Feral), Jose Luis Garcia-Lopez (DC Nation), Chris Giarrusso (Mini Marvels), Randy Green (Witchblade), Torunn Grønbekk (Catwoman), Gene Ha (Mae), Bob Hall (West Coast Avengers), Larry Hama (GI Joe: A Real American Hero), Scott Hanna (Amazing Spider-Man), Tony Harris (The Whistling Skull), Dean Haspiel (Chest Face), Glenn Hauman (They Keep Killing Glenn), Mike Hawthorne (Deadpool), Marc Hempel (Sandman), Jamal Igle (Superman), Phillip Kennedy Johnson (Infernal Hulk), Dan Jurgens (Action Comics), Chris Kemple (Red Vengeance), Peter Krause (The Power of Shazam, courtesy of Hero Initiative), Mike Kunkel (Herobear and the Kid), Erik Larsen (Savage Dragon), Jae Lee (Inhumans), Nate Lovett (Commander Tomorrow), Kevin Maguire (Justice League), Laura Martin (Nubia: Queen of the Amazons, courtesy of Hero Initiative), Shawn Martinbrough (Red Hood: The Hill), Ron Marz (Green Lantern), Jose Marzen Jr. (Y: The Last Man), Mike McKone (Teen Titans), Bob McLeod (New Mutants), Carla Speed McNeil (Finder), Adriana Melo (Fantastic Four), Pop Mhan (He-Man and the Masters of the Universe), Al Milgrom (Spectacular Spider-Man), Terry Moore (Strangers in Paradise), Mark Morales (Thor), Bill Morrison (The Simpsons), Trevor Mueller (Bat Pat), Sarah Myer (TMNT Saturday Morning Adventures), Phil Noto (Fantastic Four: First Foes), Kevin Nowlan (Batman: Sword of Azrael), Patrick Olliffe (Untold Tales of Spider-Man), Ryan Ottley (Invincible), Jimmy Palmiotti (The Punisher), Dan Parent (Sabrina the Teenage Witch), Margeaux Pepoy (Simone & Ajax), David Petersen (Mouse Guard), Khoi Pham (Star Wars: Darth Vader), Andy Price (My Little Pony), Tom Raney (Incredible Hulk), Afua Richardson (Kahhori: Reshaper of Worlds), James Robinson (Starman), Tone Rodriguez (Feral, courtesy of Hero Initiative), Don Rosa (Uncle Scrooge), Craig Rousseau (The Perhapanauts), Andy Runton (Owly), Stuart Sayger (Red Sonja), Joe Schmalke (We Don’t Kill Spiders), Erica Schultz (Rogue), Mark Schultz (Xenozoic Tales, courtesy of Flesk Publishing), Louise Simonson (The Death of Superman 30th Anniversary Special), Walter Simonson (Thor), Don Simpson (Megaton Man), Matthew Dow Smith (DC’s Misfits of Magic), Scott Snyder (Friday and Sunday only, DC K.O.), John K. Snyder III (Suicide Squad), Mark Sparacio (Liberty Girl Deluxe), Jim Starlin (Dreadstar), Joe Staton (Dick Tracy), Brian Stelfreeze (Black Panther), Martha Thomases (Dakota North), Billy Tucci (Shi), Gus Vazquez (Sunfire and the Big Hero Six), Mark Waid (Action Comics), Steve Walker (Pay the Devil), Mark Wheatley (Breathtaker), Bob Wiacek (All-New Wolverine, courtesy of Hero Initiative), Matt Wieringo (Stargate Atlantis: Gateways), Chuck Wojtkiewicz (Justice League, courtesy of Hero Initiative), Rich Woodall (Sgt. Werewolf), Kelly Yates (Doctor Who), and Thom Zahler (Long Distance).

Preview: Vampirella Archives Vol. 3

Vampirella Archives Vol. 3

Writers: Various
Artists: Various
Cover: Sanjulian
FC | 380 pages | Horror | $34.99 | Teen+

Collecting issues #15-21 of the original Vampirella magazine series, Dynamite continues its resurrection of classic horror! Some of Vampirella’s most memorable stories, including the classic tale “…And To Be A Bride Of Chaos” and her unforgettable encounter with Dracula in “Dracula Still Lives!” A showcase of other short stories not seen in print since their inception are once again included in this collection. Short stories of horror, intrigue, and death are all contained in this beautiful volume. Also collected are more rare and vintage content like “Vampi’s Scarlett Letters,” “Vampi’s Feary Tales,” and “Vampi’s Flames” showcasing some of Vampirella Magazine’s best creators. Legendary talent whose work also appears in this amazing collection include Archie Goodwin, Jose Gonzalez, Steve Englehart, Doug Moench, Esteban Maroto, Richard Corben, and many more.

Vampirella Archives Vol. 3

Preview: The Vampirella Archives Vol. 2

The Vampirella Archives Vol. 2

writers: Archie Goodwin, Doug Moench, Len Wein, and more!
artists: Bernie Wrightson, Neal Adams, Jose Gonzalez, and more!
cover: Sanjulian
B&W | 408 pages | Horror | $34.99 | Teen+

Dynamite continues to expand its archival library with all-new trade paperback editions showcasing Vampi’s early adventures from the pages of Vampirella Magazine!

A murderers’ row of famed comics creators are on board for this second volume of the Vampirella Archives, including the beginning of legendary author and editor Archie Goodwin’s work on the character, which brought new levels of depth and sophistication to Vampirella and her world, becoming some of her most treasured stories of all time.

Featuring work by Jose Gonzalez, Neal Adams, Wally Wood, Barry Windsor-Smith, Jeffrey Jones, Dennis O’Neil, Steve Englehart, Dave Cockrum, Frank Brunner, Esteban Maroto, and more, The Vampirella Archives Volume Two trade paperback collects issues #8-14 of the magazine’s original run, all encased in a beautiful cover by master artist Sanjulian.

The Vampirella Archives Vol. 2

SDCC 2025: Vampirella Paperback Archives Fourth Volume Comes Forth!

Just in time for San Diego Comic-ConDynamite Entertainment has announced the fabulous fourth volume of its new paperback line of Vampirella Archives is coming this fall in October, covering key issues showcasing the Daughter of Drakulon and anthology adventures!

Volume Four of the Archives compiles issues #22-28 of the Vampirella magazine series released originally by Warren Publishing through much of 1973. Also included is the legendary 1972 annual with one of the most important stories in the Daughter of Drakulon’s history.

The preceding third volume kicked fully into the run of artist Jose Gonzalez, the definitive vision for the character in this Warren era. That masterful work continues here in the fourth, with Gonzalez once again drawing nearly every single Vampirella proper story within. The sole exception is #26’s “Demons in the Fog!” drawn by Ramon Escolano in his sole contribution to the character, though inked by Gonzalez in keeping a consistent look while presenting a unique twist.

This new volume features several juggernauts of the Bronze Age of comics that fans of the “Big Two” publishers’ output of the era will recognize. After his first contribution last volume, Steve Englehart‘s brief run on Vampirella continues here in issues #22-23 (though he also has anthology stories in #10 and #78). The writer picking up most of the other Vampirella tales here is Bill DuBay, a longtime editor and contributor to Warren titles. Creators of the anthology stories featuring horror, science fiction, fantasy, and other genres include Doug Moench, Tony IsabellaSteve Skeates, as well as great series mainstay artists like Esteban Maroto, Jose Bea, Ramon Torrents, Rafael Auraleon.

One key inclusion is the sole non-reprint story from the annual released in 1972. The “Origin of Vampirella” by J.R. Cochran and Jose Gonzalez expands the backstory of the Daughter of Drakulon to 15 pages and further detail, as the first major retelling and twice the length of her original introduction years prior.

The next volume after this will be an exciting one, with the introduction of Pantha, a run on Vampi’s stories by writer Flaxman Loew, and the most material by legendary artist Jeffrey Catherine Jones in any volume — joined on one piece by her “The Studio” compatriot Bernie Wrightson!

These paperback printings of the comprehensive archival reprints of Vampirella’s first decade-plus-spanning title are set to release every two months, working towards the 15 volume final set. Stories are primarily in black and white.

Vampirella Archives Vol 4

Preview: The Vampirella Archives Vol. 2

The Vampirella Archives Vol. 2

writers: Various
artists: Various
cover: Sanjulian
B&W | 408 pages | Horror | $34.99 | Teen+

Dynamite continues to expand its archival library with all-new trade paperback editions showcasing Vampi’s early adventures from the pages of Vampirella Magazine!

A murderers’ row of famed comics creators are on board for this second volume of the Vampirella Archives, including the beginning of legendary author and editor Archie Goodwin’s work on the character, which brought new levels of depth and sophistication to Vampirella and her world, becoming some of her most treasured stories of all time.

Featuring work by Jose Gonzalez, Neal Adams, Wally Wood, Barry Windsor-Smith, Jeffrey Jones, Dennis O’Neil, Steve Englehart, Dave Cockrum, Frank Brunner, Esteban Maroto, and more, The Vampirella Archives Volume Two trade paperback collects issues #8-14 of the magazine’s original run, all reprinted at their original magazine trim size and encased in a beautiful cover by master artist Sanjulian.

The Vampirella Archives Vol. 2

The Folio Society To Publish DC: Batman

The Folio Society, independent publisher of beautifully illustrated hardback books, in collaboration with DC, will celebrate the 85th anniversary of the first comic book appearance of DC’s Dark Knight Detective with the release of DC: Batman. Created by Bob Kane with Bill Finger, Batman first appeared in 1939’s Detective Comics #27 and since then the Dark Knight has stood as a symbol of determination, courage and justice to generations of fans for over 80 years. Batman is one of the most iconic fictional characters in the world, and is a self-made Super Hero, notable not for his super powers, but for his intelligence, determination, and tech savvy.

This collectible compilation includes twelve seminal comics, by a host of iconic writers and artists— including Bill Finger, Bob Kane, Jerry Robinson, Denny O’Neil, Neal Adams, Marshall Rogers, Frank Miller, Dave Mazzucchelli, Alan Moore, Brian Bolland and Kelley Jones—all selected and introduced by former DC President, Publisher and Editor-in-Chief of DC, Jennette Kahn. Along with the 320-page one-of-a-kind deluxe book, DC: Batman also comes with a stand-alone replica copy of Batman #1. Scanned in its entirety from an original 1940 copy, the replica copy of the Batman #1 comic book, which includes the original back-up strips and vintage ads and introduces DC’s Clown Prince of Crime, aka The Joker, and The Cat, who would come to be known as Catwoman.

DC: Batman includes:

Facsimile: Batman #1 (Spring 1940)
Writer: Bill Finger
Cover artists: Bob Kane, Jerry Robinson
Artists: Bob Kane, Sheldon Moldoff
Editor: Whitney Ellsworth

The Bat-Man
Detective Comics #27 (May 1939)
Writer: Bill Finger
Artist: Bob Kane
Editor: Vincent Sullivan

Batman and Green Arrow: The Senator’s Been Shot!
The Brave and the Bold #85 (September 1969)
Writer: Bob Haney
Cover artist: Neal Adams
Penciler: Neal Adams
Inker: Dick Giordano
Letterer: Ben Oda
Editor: Murray Boltinof

The Dead Yet Live
Detective Comics #471 (August 1977)
Writer: Steve Englehart
Cover artists: Marshall Rogers, Terry Austin, Tatjana Wood, Gaspar Saladino
Penciler: Marshall Rogers
Inker: Terry Austin
Colorists: Marshall Rogers
Letterer: John Workman
Editors: Julius Schwartz, E. Nelson Bridwell

Batman: Year One—Chapter One: Who I Am—How I Come to Be
Batman #404 (February 1987)
Writer: Frank Miller
Artist: Dave Mazzucchelli
Colorist: Richmond Lewis
Letterer: Todd Klein
Editor: Dennis O’Neil

The Last Arkham (Part One)
Batman: Shadow of the Bat #1 (June 1992)
Writer: Alan Grant
Cover artist: Brian Stelfreeze
Penciler: Norm Breyfogle
Inker: Norm Breyfogle
Colorist: Adrienne Roy
Letterer: Todd Klein
Editors: Scott Peterson, Dennis O’Neil

Robin—the Boy Wonder
Detective Comics #38 (April 1940)
Writer: Bill Finger
Artists: Bob Kane, Jerry Robinson
Editor: Whitney Ellsworth

The Crimes of Two-Face!
Detective Comics #66 (August 1942)
Writer: Bill Finger
Artists: Jerry Robinson, George Roussos
Letterers: Ira Schnapp
Editor: Whitney Ellsworth

Daughter of the Demon
Batman #232 (June 1971)
Writer: Dennis O’Neil
Cover artist: Neal Adams
Penciler: Neal Adams
Inker: Dick Giordano
Letterer: John Costanza
Editor: Julius Schwartz

The Dark Knight Returns
Batman: The Dark Knight Returns #1 (June 1986)
Writer: Frank Miller
Cover artists: Frank Miller, Lynn Varley
Penciler: Frank Miller
Inker: Klaus Janson
Colorist: Lynn Varley
Letterer: John Costanza
Editors: Dick Giordano, Dennis O’Neil

Batman: The Killing Joke (July 1988)
Writer: Alan Moore
Cover artists: Brian Bolland, Richard Bruning
Artist: Brian Bolland
Colorist: John Higgins
Letterer: Richard Starkings
Editors: Dennis O’Neil, Dan Raspler

Knightfall Part 1: Crossed Eyes and Dotty Teas
Batman #492 (May 1993)
Writer: Doug Moench
Cover artists: Kelley Jones, Bob LeRose
Penciler: Norm Breyfogle
Inker: Norm Breyfogle
Colorist Adrienne Roy
Letterer: Richard Starkings
Editors: Scott Peterson, Jordan B. Gorfinkel, Dennis O’Neil

The release of DC: Batman is the second release in the Folio Society publishing program with DC, following the release of the acclaimed DC: The Golden Age. DC: Batman has been made according to The Folio Society’s exceptional production standards. Scanned from original copies held in the DC archives, the comics have been reproduced in 10” x 7” treasury format. An anti-scratch laminated hardcover features Batman’s signature silhouette, with titles foil-embossed in yellow and midnight blue, the book itself cowled in a pitch-black slipcase bearing the famous Bat-Signal. A compendium of gothic artwork and Batarang-sharp storytelling, DC: Batman is an unmissable investigation into the adventures and pathology of one of the world’s most famous – and most troubled – DC Super Heroes. DC: Batman will be available from the Folio Society on February 20, 2024.

The Folio Society edition of DC: Batman, selected and introduced by Jenette Kahn, will be available for £65 / US $100 on February 20, 2024.  

People’s History of the Marvel Universe, Week 19: The Racial Problematics of “Snap Wilson”

As discussed last time, starting in Captain America and the Falcon #120, various Marvel writers[1] made a good deal of use out of the Falcon’s secret identity as Sam Wilson, social worker – Stan Lee used it as a vehicle for stories about youth problems, organized crime, and urban unrest (albeit ones that ended with costumed superheroes getting into punch-ups with similarly-attired supervillains), while Steve Englehart and Alan Weiss used it as a pretext to have Captain America and the Falcon investigate abuse in America’s prisons and encounter the Queen of the Werewolves.[2]

This changes in Captain America and the Falcon #186, where (in a follow-up to the original story that introduced Sam Wilson) the Red Skull reveals that everything we knew about Sam Wilson was a lie:

These four panels are worthy of some in-depth textual analysis. In the first, we see the young and innocent Sam Wilson on the rooftops of Harlem, complete with a thematic association between birds and freedom that we’ll later see embodied in his relationship with his falcon Redwing. (In future issues, this part of his backstory will be retconned to add in tragic violent crime-related deaths for both his mother and father that will inspire his vigilantism.) In the second, we see Wilson heading to Florida (like a lot of New Yorkers in the winter) only to be confronted with the specter of rural bigotry in Dade County, in a scene straight out of the shock ending of Easy Rider. By the third panel, we see that the experience has hardened our hero, and by the time that he gets to Los Angeles he’s learned to “get by” in the worlds of both street crime (as symbolized by the small crowd of black men standing on the corner) and organized crime (as symbolized by the white hand coming out of the car window). In the fourth panel, the transformation of Sam Wilson into “Snap” Wilson is complete – he’s now an L.A-based gangster complete with mob connections, a pimped-out Cadillac with vanity license plates, and some of the 70’s wildest fashions.

As we learn about on the next page, rather than arriving on the island of forbidden love as part of a vacation-turned-resistance-movement, “Snap” Wilson crash-landed on the island after attempting to hijack a small plane containing a “fortune” (presumably of drugs, given that the plane was returning from a trip to Latin America) belonging to the “Big Man,” his L.A-based crime boss.

More significantly, we learn that the social Sam Wilson that readers thought they knew was a creation of the Red Skull, a fiction specifically designed to appeal to Steve Rogers’ liberal values:

Steve Englehart, John Warner, and Frank Robbins had to lean heavily on the Cosmic Cube’s, well…cosmic powers here, because this is quite a retcon. Above and beyond the psychological impact on Wilson himself, the creative team had to explain how it was that we’ve seen Sam Wilson at work as a social worker – we’ve even seen his office with clients in it! – and it would be particularly odd for the Cube to somehow have also altered the memories of the entire “Social Admin” Department of New York City so that someone without official hiring paperwork or credentials would be given office space, a salary, and a caseload for several years.

This being a superhero comic, the retcon is then used by the Red Skull (once again using mind control) to pit the Falcon against Captain America in a lose-lose fight to the death. Naturally, Captain America triumphs and destroys the Red Skull’s HYDRA base, only for the Skull himself to flee to fight another day. Rather than resolving neatly in one issue like earlier “Cap goes evil” storylines, the dangling plot thread of “Snap” Wilson and the dueling backstories continues to dominate the book for the next several issues.

For example, in Captain America and the Falcon #189, Tony Isabella and Frank Robbins have Captain America once more fight Sam Wilson in a dubious SHIELD experiment to prove which is the real personality.

After a bunch of illusionary shenanigans, the Falcon snaps out of his “schizophrenic” state to reveal that, in fact, it is “Snap” Wilson who was the true personality and Sam Wilson who was the fake.

Tony Isabella, Bill Mantlo, and Frank Robbins would return to (and in their own words “bring to a close the end of an epic”) plot in issue #191, in which “Snap” Wilson is put on trial in Los Angeles County Court for the “importation and sale of illegal narcotics”: 

The Falcon is only saved from prison when, in a bid to prevent him from turning state’s witness against his former mob associates, the “Big Man” of Los Angeles hires, of all the many Marvel villains-for-hire, the Stilt-Man to attack the courthouse and assassinate the Falcon before he can testify. As one might guess, the ensuing action allows the Falcon to demonstrate his heroism to the judge, leading to a suspended sentence of parole (with Nick Fury of SHIELD standing in as his parole officer), thus demonstrating the fairness and mercy of the American court system when dealing with black defendants up on drugs charges in the first wave of Nixon’s War on Drugs.

The racial politics of this retcon are bizarre to say the least. The new “Snap” Wilson behaves like a quite different character than the one readers had known for sixty-nine issues: he’s more aggressive and violent both in interpersonal communication and combat, he uses stereotypical “jive” slang, and he’s far more cynical about white America and white institutions – an interesting departure for a character previously given to attempts at “cooling down” racial tensions. One could see it as an extrapolation of the “talker” versus “fighter” dynamic between Sam Wilson, social worker, and the vigilante known as the Falcon, if not for the charged nature of “Snap” Wilson’s gangster origin.

Two potential explanations for this change suggest themselves. The first is that we need to see this in the context of Marvel chasing the trend of blaxploitation, more prominently seen in the creation of the characters Luke Cage and Blade at around the same time. A streetwise gangster simply fits into the rather narrow schema of the blaxploitation genre better than a social worker out of a prestige “problem” film. However, Captain America and the Falcon was an established comic rather than a newer, more speculative venture like Power Man, and more importantly it was the comic of their flagship “flag suit” character, which tends to come with higher visibility and tighter editorial control within the company.

The second explanation, and one that has a certain amount of plausibility given that Cap #186 was authored by noted liberal Steve Englehart (just coming off of having Captain America go up against Richard Nixon), is that the retcon was prompted by a weird white liberal guilt trip that judo-flipped its way into being accidentally racist. Sam Wilson, as originally envisioned by Stan Lee, was an “articulate,” clean-cut, politically moderate black professional. It may have been argued at the time that the character of the Falcon was a paternalistically condescending bit of outreach to the black community from a bunch of white middle aged middle class folks at Marvel.  By contrast, a more “street” character, as we’ve already said more evocative of popular trends in black culture, who challenges the white establishment more consistently than before, may have been seen as a more “authentic” portrait of black masculinity in the 1970s. If so, it’s a very strange train of thought where an attempt to be racially sensitive boomerangs back around to being back-handedly racist.

The problem with this line of political logic is the question of representation. There’s nothing inherently wrong with an individual character having a backstory of coming from the “mean streets” of crime, but when you’re dealing with a situation in which there are very few characters of color in Marvel comics (especially back in the 1970s when the main struggle within Marvel was over introducing racial “firsts”), aspects of those characters become less individualized and more archetypal. When most if not all of Marvel’s black characters at the time came from “the street,” it starts to send a message that, according to Marvel creative and editorial (again, staffed almost entirely by white men), the “street” is where black characters come from. This becomes problematic when it means that having a black character with a different background – like, for example, a professional social worker – is seen as less “realistic” than an ex-hood.

So much for the “epic” of “Snap” Wilson. I know there are going to be some in the fandom who will say that, given the realities of a serial medium produced monthly over the course of almost fifty years by a variety of creative and editorial teams of varying levels of ability and care for the material, you’re going to get some bad stories worked in there. These stories – if left unchecked – can warp characters out of being usable recurring intellectual property, which is why retcons aren’t always a bad thing because they can right a sinking ship in the wake of a particularly ill-thought-out or poorly executed creative turn.

This is why, when we talk about the impact of a given story in comics, we can’t just talk about the aesthetic merit of a given panel or page or comic, but its longevity – did a given story have an enduring impression on the book and the larger Marvel Universe, or was it a flash in the pan that was swiftly cleaned up by the next team to work on the book?

The answer to that question is why the “Snap” Wilson retcon is such a big deal: it lasted for forty years, putting it up there as one of the longest-lasting retcons in Marvel history. It was the status quo when Steve Englehart left the book, it was the status quo when Jack Kirby returned to both write and draw the book (more on that in a future issue), it was the status quo for Mark Gruenwald’s classic run in the 80s, and it was the status quo for Ed Brubaker’s run that set the terms for the MCU Captain America films.

It wouldn’t change until 2015, when as part of the Avengers NOW! event[3] Sam Wilson was promoted to the role of Captain America for the first time (although not the first time that he’d worn the uniform) – a creative and editorial decision that would ultimately give rise to the Disney+ Falcon and Winter Soldier show. In All-New Captain America #3, intending to discredit as well as kill the new Captain America, Sin (the Red Skull’s daughter) and HYDRA engages in information warfare by releasing to the public the sordid details of “Snap” Wilson’s past:

To a significant extent, Remender designs All-New Captain America #3 to be in dialogue with Englehart’s Captain America and the Falcon #186 – no less than three pages out of the book are devoted to a beat-for-beat reproduction of the story of the Red Skull using the Cosmic Cube to re-write Sam Wilson’s backstory, for example. The major difference is that, rather than staying in a mind-controlled silent stupor while Steve Rogers plays the interlocutor to the Red Skull, here Sam Wilson is allowed to speak and he challenges Sin’s characterization of his past as a “liar, thug, and gangster” as “lies.” (Remender does his own editorializing by characterizing the “Snap Wilson” backstory as a “smear campaign” and presenting Sin as clearly an unreliable narrator given to monologuing about the victors rewriting history to suit their interests.)

In foiling both Sin’s smear campaign and (somewhat more importantly) her bomb plot, Sam Wilson defiantly asserts a brand-new status quo for his own backstory:

While Rick Remender is a writer whose politics I haven’t always agreed with – only two years before this issue, Remender had written Uncanny Avengers #5, which featured the now-infamous “M word” speech, and then reacted extremely poorly to criticism over how this speech handled the topic of minority identities and the mutant metaphor – I think he was on the right track in this case.

As I’ve suggested above in discussing the question of representation, “ex-gangster from the mean streets” was already something of a “tired stereotype” back in 1975, and it was only more of one in 2015 when you consider the increase in the raw numbers of African-American characters in big two comics, given how many of those new characters had been given “street” backgrounds themselves. By contrast, there is something innovative about a social worker backstory not just from the perspective of African-American characters but superheroes in general: whereas most heroes with secret identities are cops, private detectives, reporters (because those professions involve being “nosy” and thus lend themselves to story hooks involving investigations), or scientists (which lends itself to super-science story hooks), there really aren’t that many heroes who belong to one of the “caring” professions. As we discussed back in Week 18, social workers have a unique perspective on social phenomena, while still giving rise to sixty issues worth of story hooks.

Ultimately, however, the question of whether a given character’s backstory is innovative or stereotypical is rather subjective. Which is why the subjectivity of the creative and editorial teams matters – and why it mattered that for so long that the teams working on Captain America and the Falcon were all-white (as well-meaning as they might have been). Had there been more diversity in the room at the time, black creators might have been able to push back on the “Snap” Wilson retcon from the beginning instead of having to wait forty years for a white creator to decide it wasn’t all right.  


[1] Between Cap #120 and #186, there wasn’t a regular artist on the book on issues covering Sam Wilson as a social worker: artists ranged from Gene Colan on #120 and 134 to John Romita Sr. on #139 to Sal Buscema on #149 to Alan Weiss and John Romita Sr. on #164.

[2] A story notable for being the first but by no means the last time that CapWolf became a part of Marvel Comics. More on that in a future issue of People’s History of the Marvel Universe.

[3] Itself a continuation of the All-New Marvel NOW! event from 2013, which itself was a continuation of Marvel NOW! from 2012, but which shouldn’t be confused with All-New, All-Different Marvel which would launch later in 2015, eventually giving rise to the Secret Empire event. Needless to say, Marvel editorial hasn’t exactly made things easier for comics historians in their naming conventions in recent years.

Marvel, AAM-Markosia, Yen Press, and Harlequin all deliver New Releases on comiXology

There’s 13 new releaes on comiXology right now from Marvel, AAM-Markosia, Yen Press, and Harlequin. You can get shopping now or check out the individual releases below.

Marvel Weddings

Written by John Byrne, Gerry Conway, Steve Englehart, Stan Lee, David Michelinie, Fabian Nicieza, Jim Shooter, Roy Thomas
Art by Rich Buckler, John Buscema, Sal Buscema, John Byrne, Jack Kirby, Andy Kubert, Paul Ryan, Joe Staton
Cover by John Romita Sr.
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Collects Fantastic Four (1961) #150 And Annual #3, Incredible Hulk (1964) #319, Avengers (1963) #59-60, 127, Amazing Spider-Man Annual #21, X-Men (1991) #30. Reed and Sue, heart and soul of Marvel’s First Family of Super Heroes. Peter and Mary Jane, the spider and the supermodel. Scott and Jean, childhood sweethearts sworn to protect a world that hates and fears them. Bruce and Betty, the beauty and the beast. Break out the tissues, True Believer: The House of Ideas cordially invites you to celebrate the history-making nuptials of its greatest couples in this keepsake edition! From the Fantastic Four to Spider-Man to the X-Men, with a few surprises in between, this commemorative volume proves the power of love can overcome all odds

Marvel Weddings

New Invaders: To End All Wars

Written by Allan Jacobsen
Art by Jorge Lucas, C.P. Smith
Cover by Scott Kolins
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Collects New Invaders (2004) #1-9. Soldiers, super heroes, sentinels of liberty since the Second World War – they’re the Invaders, and they’re back! In 1941, the greatest heroes of the day united to battle the Axis powers. Today, the Invaders have reunited to combat the Axis Mundi, a global terrorist network born from the ashes of the Third Reich. Beyond borders, beneath the seas and behind enemy lines, they hunt the hidden terrors that threaten civilization!

New Invaders: To End All Wars

Rogue: Forget-Me-Not

Written by Tony Bedard
Art by Derec Donovan, Karl Moline
Cover by Scot Eaton
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Collects Rogue (2004) #7-12. A bold new direction for the Southern Belle! Rogue may be a hero now, but once upon a time she wasn’t so sweet…and that criminal past may just come back to haunt her! A traumatic encounter will leave her drastically changed…permanently!

Rogue: Forget-Me-Not

Sabretooth: Open Season

Written by Daniel Way
Art by Mark Pennington, Bart Sears
Cover by Paolo Rivera
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Collects Sabretooth (2004) #1-4. The most brutal villain in the Marvel Universe returns! But has he gone too far this time? Did Sabretooth destroy an entire island of innocent humans? And what will happen when the U.S. Military tries to bring him down? Will they succeed – or pay the ultimate price?

Sabretooth: Open Season

So I’m a Spider, So What? #52.2

Written by Okina Baba
Art by Asahiro Kakashi
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Read the next chapter of So I’m a Spider, So What? on all digital platforms!

So I'm a Spider, So What? #52.2

The Last Magician #3

Written by Sean Meighen
Art by Thien Uncage
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Still grappling with his newfound destiny as the legendary Last Magician, Christian soon faces his first challenge when he is abducted by the demonic Shadow People. Will Christian be able to defeat the dark entities and escape with his life, or will his first adventure as Rookwood’s sworn protector also be his last?

The Last Magician #3

The Last Mundane #2

Written by Jorge Perez Bucheli
Art by Jorge Perez Bucheli
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Alliances are put to the test during Adam and his friends’ long journey to Nuke City, only to discover that there is no single safe place on their way to their final destination. Meanwhile, a lurid menace begins to take shape, led by dark forces and threatening to establish a new world order!

The Last Mundane #2

Monument #4

Written by Richard Perry
Art by RH Stewart
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As Nicole and DCI Venn seek out to solve the string of murders in East London, they both find different clues that lead them to who is responsible. Nicole seeks advise from her mentors whilst Venn visits an old enemy that he believes holds the key to all the answers.

Monument #4

Possession #5

Written by Michael Norwitz, Mary Ann Vaupel
Art by Enrico Carnevale
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“All this has happened before, and all this will happen again.” This issue turns away from the usual Possession cast for a tale of times past, in which the 1940’s heroes Shaman & Flame share a turbulent romance and confront the two-faced Head of Janus in a tragedy on the border of reality!

Possession #5

A Scandalous Proposal #2

Written by Julia Justiss
Art by Misao Hoshiai
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Emily finally realizes her love for Evan, which has liberated her. But he has to marry the sister of his best friend. A big hurdle is now standing between the two, and because she loves him, Emily decides to leave Evan…and return to the high society that she abandoned years ago?

A Scandalous Proposal #2

Another Time

Written by Susan Napier
Art by Jun Togashi
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Helen is being fitted for her wedding dress when her fiancé’s brother, Alexander Knight, suddenly appears. He stares at Helen with his ardent black eyes and asks her, “Have you forgotten that night in Hong Kong five years ago?” What is he talking about? She’s never met him before! But there are blank spots in Helen’s memory due to a past illness… Is there a secret between the two of them hidden in her lost memories?

Another Time

Claiming My Bride Of Convenience

Written by Kate Hewitt
Art by Imeri Tsubakino
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Daisy, a poor waitress, decided to marry multimillionaire Matteo after they met by chance. Matteo needed a wife in order to take over his grandfather’s company and he assured her the marriage would be for two years only. However, three years have gone by now and Daisy is still married! Exasperated, she asks Matteo for a divorce. But she’s shocked when he proposes that they make their relationship real. He’s never so much as looked at her in the past three years, and now he wants a real marriage?

Claiming My Bride Of Convenience

Conveniently Engaged To The Boss

Written by Ellie Darkins
Art by Tomoko Takakura
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Eva is the secretary for the president of a high-end department store. One day, the son of the president asks her to pretend to be his fiancée to comfort his father, who’s suffering from cancer. She agrees to do it, since she’s fond of his father. In order to keep up appearances, they stay at a hotel together and even choose an engagement ring. Immersed in their new pretend life, the lines start to blur between what’s fake and what’s real…

Conveniently Engaged To The Boss

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Earth’s Mightiest Heroes: An Avengers Retrospective Part 8 – In the Beginning Was…The World Within

Guest contributor Gene Selassie is back with his latest retrospective of Marvel‘s The Avengers. Steve Englehart takes the helm of the series as issues #105 to #114 are covered here!


First things first, I wanted to give a shout out to the audience. As we reconvene for the next leg of this journey, reading every issue of The Avengers from the beginning, I wanted to say thank you for coming along on this zany ride. During these issues, we see how a new writer at the helm fares. We also bear witness to the return of several villains that have close ties to members of the team. Moreover, we see affairs of the heart push a few Avengers to the limit. Finally, the icons on the roster have to juggle their responsibilities to the team with the goings-on of their own books, more than ever before. Hop aboard the Quinjet as we take flight.

Avengers #105

Iconic scribe Steve Englehart takes the helm of Earth’s Mightiest Heroes with issue #105. The transition in writing duties from Roy Thomas to Steve Englehart appeared seamless. I’m used to the modern era, where every new writer has to put their “stamp” on the franchise. These issues featured Englehart continuing plot threads from prior issues, such as Scarlet Witch’s relentless search for her missing brother, Quicksilver. Unfortunately, the demeaning writing of women continues. In issue #105, while battling Beast-Brood of the Savage Land, Lady Sif (one of several Asgardians staying at the mansion due to events in Thor’s comic) became overwhelmed and needed rescuing. FFS, CAN WE HAVE ONE DAMN ADVENTURE WITHOUT THE OVERUSED CLICHÉS WHEN IT COMES TO WOMEN??? SHE’S A DAMN ASGARDIAN! Issue #113 opens with the aftermath of an adventure from Astonishing Tales #18, where the Statue of Liberty was severely damaged. We now see the Avengers repairing said damage. Wanda is almost crushed by falling debris, but Vision saves her. I am completely over Wanda “Damsel in Distress” Maximoff. Though he tended to use more bombastic narration and had the characters use more slang then they ever have previously, Englehart was the perfect person to carry the torch after Roy Thomas.

Villains that have personal scores to settle popped up quite a bit during this series of issues.

  • Issues #106-108 feature the return of the Grim Reaper, who has aligned himself with the Space Phantom (not seen since issue 2). While the Phantom wishes to kill the Avengers, Reaper reveals the truth in that Wonder Man’s body isn’t able to be revived. Eric’s real plan was to offer him Captain America’s body for Vision’s mind to be transferred to. With the Space Phantom obviously having no intention of honoring their deal, Reaper sides with the Avengers to help take him down.
  • Issues #110-111 feature the team heading to the long-hidden X-mansion to assist the X-Men, who were besieged by an unknown assailant. Wanda quickly deduces that the attacker is Magneto. The Master of Magnetism arrives and takes mental control over the X-Men AND Avengers due to his learning to control the iron content in blood flow to the brain. I loved the X-Men costumes of this era, especially Cyclops’, Marvel Girl’s and Angel’s. Magneto’s plan was to attack a conference for the Atomic Energy Commission and force them to increase atomic output to springboard a rise in mutations. Thor, Black Panther, and Vision are forced to call in backup…backup in the form of Black Widow and Daredevil.
  • In the issues leading up to #114, we saw Mantis and a silhouetted associate planning on meeting and joining the Avengers. In this issue, it’s revealed that her paramour is the Swordsman, who has turned over a new leaf and wished to join the team to make amends. It was so annoying how Mantis only referred to Swordsman as “my man”. Can ONE WOMAN in this series not be defined by her significant other?

Though some of these villains are favorites of mine, I am thrilled that they only appear every once in a blue moon. Modern over use of these characters have made me care less and less about them with each passing year.

Avengers #107

Wanda and Vision FINALLY made their feelings known to each other at the end of issue #108, though some were not happy about this.

  • The opening page to issue #110 shows Thor interrupting a sparring session. He gathers the team in the communications room as they’ve finally received contact from Quicksilver. He explained what happened after the attack on the Sentinel base in issue 104. Lockjaw of the Inhumans teleported himself and Crystal of the royal family to Pietro, completely by accident. They took him to the Great Refuge and nursed him back to health. Along the way, they fell in love. Pietro announces that he and Crystal are getting married. Wow, that was fast, even for Quicksilver. Yet when Scarlet Witch tells him that she and Vision have declared their love for each other, Pietro flips out, telling her it is wrong to be involved with a robot. Man, for someone who constantly snaps at their teammates for not understanding the struggles of being a mutant, Quicksilver sure comes across like a hypocrite during this era.
  • Hawkeye, who unsuccessfully made several passes at Wanda in prior issues, handled the news like an angry teenager and decided to leave the team. He heads out to San Francisco to see the Black Widow…even though she’s currently dating Daredevil. With her not being home, Clint decides to hang out in one of the trees out front until she gets there. Good grief, Clint wouldn’t take no for an answer back in the day. At the end of issue #111, Cap offers membership to both Daredevil and Black Widow. DD declines on behalf of both of them, which ticks off Natasha. Though she was right to be upset at Matt Murdock making that decision for her, she then got mad when Matt peacefully departed. Both she and Clint have issues they need to work out before they get into any more relationships.
  • In issue #113, Wanda and Vision’s relationship goes public. A group of hate mongers are sickened by the thought of a mutant and an android together and try to kill Vision, via suicide bombing, to prevent “androids taking over”.

This was quite the rough opening weeks for one of the defining couples of this franchise. Yet, their love would endure for quite some time.

Many of the resident Avengers have a multitude of duties. The ones that have their own books (Captain America, Iron Man, Thor, Rick Jones/Captain Marvel, and Black Panther) are beyond swamped during this run, nearly to the point of neglecting their duties elsewhere, or even neglecting their secret identities.

Avengers #110
  • In issue #110, Black Panther has been urged to return to Wakanda to take the throne once again with no more extended leaves of absence. Before he can make a decision on his future with the team, a bunch of Black protestors show up at the mansion and demand that T’Challa return to Africa. These protestors break down the front doors of the mansion and try to take Panther by force. They are led by a reporter, who we thought was slain a few pages earlier. Panther falls under his mental thrall, apparently like the protestors were. When the other Avengers step in to confront him, the reporter transforms into the Lion God, the centuries-old rival of the Panther God. He sought to siphon off all of T’Challa’s knowledge about the Panther God, but the Avengers, primarily Thor, were able to subdue the deity long enough to free the Panther. T’Challa decides that it’s not just Wakanda that needs him, so he decides to stay with the Avengers.
  •  During the Space Phantom/Grim Reaper ordeal, Captain America was flooded with memories that he had no recollection of. These memories were of him and Rick Jones storming a HYDRA base in Cap’s own book. The memories were wiped from Cap’s and Rick’s minds as this was part of the Space Phantom’s overarching plan. During this era, it seemed like Captain America was in five places at once, given all of his adventures outside of the Avengers book.
  • In issue #113, after Vision is critically wounded by one of the suicide bombers, T’Challa, Tony Stark and Doctor Don Blake have to work to repair him. Tony has to excuse himself so he can “go find Iron Man”. The armored Avenger gives Steve and Wanda an assist. Another of the terrorists attempt to detonate. Iron Man flies him high into the skies right before the explosion. Suddenly, Stark returns to assist the scientists, letting us know he’s alright. He tells Doctor Blake to “go roust out Thor” and pretty much hints that he knows Blake is Thor. Thor was pretty good about keeping his alter ego hidden, so if Tony knew, who knows how many other heroes knew at this point?

One of the reasons that I’ve always gravitated to the Avengers is that, for the longest time, it was the central hub of the Marvel Universe goings on. Be that as it may, despite enjoying seeing the big guns on the team, it seemed that many really needed to take a leave of absence to handle their other responsibilities.

When next we meet, we will recount the second event story and first official “crossover” in Avengers lore, The Avengers/Defenders War. With heavy-hitters like Doctor Strange, Namor, the Hulk, and the Silver Surfer filling the Defenders ranks, how will Earth’s mightiest heroes stand up to such power? Until next time, Avengers Assemble!

Earth’s Mightiest Heroes: An Avengers Retrospective Part 7: With a Bang and a Whimper

Guest contributor Gene Selassie is back with his latest retrospective of Marvel‘s The Avengers. The Kree-Skrull War is over and creator Roy Thomas departs the series after six years worth of tales.


Avengers #98

Fellow followers of those who fight the foes that no single hero could withstand, it’s that time once again. As I continue my review of every single issue of the Avengers from the beginning, the next leg of this journey deals with the fallout from the Kree-Skrull War. We see some characters coming to terms with their feelings for each other, others reverting back to their old ways and some finding themselves either completely preoccupied or in one case, obsolete. The coolness factor of seeing an adventure so grand that it requires every character who had ever been an Avenger increased exponentially as the very first instance of this occurred here. We also take a look at the more experimental storytelling by the creators during this stretch. Finally, we bid farewell to the steward of the last six years worth of Avengers tales and see what condition Roy Thomas left the toys in the toy box.

Avengers #98 opens up with Thor trying to pierce realms to return to Asgard, in the hopes that magicks there would be able to reveal the whereabouts of the missing Hawkeye. However, some unseen force prevents him from leaving Earth. Cap, Quicksilver, and Scarlet Witch confront an angry mob named the War Hawks. They seek to attack a visiting Asian dignitary. The Vietnam War seems to play quite a role in stories during the Silver AND Bronze ages of Avengers comics. A mohawked figure has his henchman play music that whips the crowd into a frenzy. Before long, it affects the Avengers on the scene. Thor and Vision investigate separately, with Vision being attacked by Iron Man, now under the same thrall that the other War Hawks were. Iron Man blasted Vision into the “Piper”, who somehow died upon impact. Thor uncovered the culprit behind the plot, Ares, the Greek god of war. Before the Thunder God could strike, Ares had the mind-controlled Scarlet Witch neutralize Thor’s hammer. The hammer is freed, from a blast arrow. Yet, no one saw which direction it came from. Hawkeye returns at the end of the issue…wearing a costume that garnered much derision back then. He doesn’t give an explanation for how he returned to Earth. However, he’s accompanied by a returning Hercules, who has no memory of who he is.

Avengers #99

Avengers #99 begins with Thor, using the power of his enchanted hammer (along with a device invented by Tony Stark) to jog Hercules’ memory. The device doesn’t work. Hawkeye recounts his encounter on the Skrull craft at the end of the Kree-Skrull War. Surrounded by shock troopers and no Pym Particles left in his system, Clint had to create a makeshift bow and arrows, to become Hawkeye once again. One of his errant arrows hit a main control circuit and caused an explosion. He got out in an escape pod before the entire ship blew up. Clint’s ship crash-landed in the former Yugoslavia. A traveling circus passed by and Clint hitched a ride with them until a torrential storm took Clint’s wagon nearly off the edge of a ravine. A strongman with the circus named “Hercules”, with blonde hair and clothing like a sideshow attraction, pulled the wagon out of harm’s way with his bare hands. Turns out, the blonde hair was a wig and the man was the real deal Prince of Power himself. They contact Tony Stark’s office to get a flight booked back stateside. Both Black Panther and Ant-Man, away on other matters, have been spending time working on a way to help Hercules, but to no avail. From out of nowhere, Clint makes a pass at Wanda, which ticks off Vision. At this point, Clint still is oblivious to the feelings Vision and Wanda has for one another. One who doesn’t let the obvious fly right over his head is Quicksilver. He asks Wanda for the truth and she admits her feelings about Vision to her brother. Vision also departs to the kitchen, where Jarvis offers his ear, as he’s done for so many throughout the years. He also can tell that there’s tension between Vizh and Wanda. Vision doesn’t know if she feels the same. Before any of the drama can play out, two Olympian warriors, Kratos and Bia, show up at Avengers mansion to retrieve the amnesiac Hercules. The Avengers put up one hell of a fight though. During the altercation, Wanda is injured (yes, again) and Vision attends to her a bit too long instead of helping during the fight, which Clint rudely points out. During the distraction, the Olympians, with Hercules in tow, vanish. Clint accuses Vision of blatantly ignoring the rest of the team in the middle of the fight. Wanda, angry at Vision for putting her above the rest of the team, just walks out. The rest of the team knows what they have to do to rescue the abducted Hercules, plan an assault on Olympus itself.

Avengers #100

Avengers #100 is a celebration featuring what has now become a classic and welcome trope of gathering every single person who had ever been an Avenger up to that point. Seeing Captain America, Iron Man, Thor, Ant-Man, the Wasp, the Hulk, Hawkeye, Quicksilver, the Scarlet Witch, Black Panther and the Black Knight all gathered (illustrated by Barry Windsor-Smith and inked by the legendary Joe Sinnott no less) alluded to a tremendous adventure ahead. Black Knight summoned the entire team to Garrett Castle in England to discuss the vision he saw via the spirit of his ancestor, the original Black Knight. The Ebony Blade, which Dane tried to have destroyed on Polemachus, somehow made its way to the outskirts of Olympus, where Ares laid claim to it. The Enchantress, following the sword there, forged an alliance with the Greek god of war, promising to conquer Olympus, Asgard, and Earth. Ares used the sword to kill the Titan guarding the Prometheum flame. He then destroyed the flame and every Olympian turned to crystal, except for the half-blood Prince of Power. While in a sparring session, Hercules accidentally kills Phoebus, who was just turned to crystal. Ares makes his presence known and his minions toss Hercules off of Olympus. As he slowly falls through space down towards Earth, his memories begin to fade. The War Hawks debacle, Thor being unable to return to Asgard, the attack by Bia and Kratos, all a complex plot by Ares. Another former Avenger happens to make their presence known, the Swordsman. He stole one of the Avengers’ craft and used their surveillance equipment to ascertain what the meeting was about. He stated that he was an Avenger as well, even for a short time, and wishes to help. I had to laugh when they hinted at Swordsman having escaped prison, but no one bats an eye. Thor, Iron Man, Vision, Black Knight, and the Hulk head to Olympus to gather intel and mount a rescue of Hercules. Of course, it is a trap. The Enchantress lets them know that their assault on Asgard is next and their true target, the Odinsword, a weapon which could bring about Ragnarok, the Norse apocalypse. Meanwhile, Captain America, Hawkeye, Swordsman, Scarlet Witch, Black Panther, Ant-Man, the Wasp, and Quicksilver fight off Ares’ forces in London. One would think that the Hulk would have smashed to his heart’s content. However, he was lulled, by the music of Satyrs, away from the battlefield. He just sat, chilled, and enjoyed the music like he was at Woodstock…until the forces that attacked Earth came back through the portal and rained on Hulk’s happy day. With Black Knight and Thor dispatching Ares, Hercules rescued and the Olympians returning to normal, the Avengers went through the portal back to Earth. Somehow, the portal was sealed by Thor and Hercules, whose fists collided at the same time.

Avengers #101

Avengers #101 is the famous Five Dooms to Save Tomorrow story that Thomas adapted from a Harlan Ellison story (one that was originally written for a Hawkman script but was rejected by DC). Rich Buckler filled in on art, doing a serviceable job on pencils. We open to a story where the Avengers are special guests at Stark Industries for a tournament between a world-renowned chess master (an arrogant Russian dignitary), and a supercomputer…a supercomputer called NIMROD. WHAT? I’m hoping this is just one of those wacky coincidences that happened in comics back in the old days. Just into the opening moves of the match, the dignitary crashes to the floor, with the Avengers thinking he’s having a heart attack. Once they get to the hospital, Thor buggers off, only to change to his alter ego of Doctor Don Blake. It’s apparent that Thor and Iron Man are still keeping their alter egos secret from their teammates. Cap had a hunch and kept the last chess piece that the dignitary touched before his malady. Iron Man scanned the residue, but even his computers couldn’t identify all of the elements. Doctor Blake was able to determine it was a poison from a remote section of Brazil. He lets them know that reverse engineering an antidote won’t be possible unless they find the person who poisoned him. If they don’t the dignitary will die and an international incident of the highest order would further stain America’s reputation. While the Stark Industries auditorium is empty, one man named Leonard Tippit was laying in wait until it was abandoned. Vision appears and startles the man. He knew that when the NIMROD made a certain move that was banned in Curacao in 1962 that it would force the Russian dignitary to make a specific move with a specific chess piece. Vision tries to stop him, but without warning, Tippit emits unusual energy, incapacitating even an intangible Vision. Yet Captain America appears and is able to knock out Tippit with just one punch. Tippit disappears, but as soon as the Avengers arrive, they all fall unconscious. Just after this, Tippit flashes back to two nights ago, when he woke up in his bed, thinking he had a dream. He is promptly contacted by no other than The Watcher. Uatu reveals to Tippit that he is a solid nexus point in all timelines and that a nuclear disaster will affect several timelines and only Tippit can prevent it. Uatu unlocks latent mental powers in Tippit. Uatu then tells him that he has to kill five key people…innocent people…who will give birth to key individuals that cause this holocaust. The Avengers share the vision as well and know of the plot that’s unfolding. They debate whether or not to intervene. The team finally splits up to intercept the other targets. However, Tippit seems to be able to be in all places, nearly simultaneously. He had only enough power to place the targets into a comatose state, not kill them, as the teleporting and battling the Avengers drained him. It was finally Pietro and Wanda who took him down and brought him into custody. The Watcher once again intervened. This time, it was to reveal that it wasn’t the five targets that would be responsible for the coming apocalypse, but Tippit himself. His power level was enough to possibly even kill Uatu. The Watcher sought to take Tippit outside of space and time, to be removed from the timeline forever. Uatu used the Avengers to defeat him. While they objected at first, Tippit himself saw how much of a threat he could become and willingly went with the Watcher in the end.

Avengers #102

Avengers #102 features the Vision being summoned to a closed frozen food locker to meet with the Grim Reaper. Eric still refers to Vision as his brother in a deranged manner. He remains hell-bent on killing the Avengers as payback for what happened to his real brother, Wonder Man. Eric reveals he has Wonder Man’s preserved body and wants Vision to not interfere with a future attack on the rest of the team, promising to put Vision’s brain in the body, making him human. Reaper also stated he booby-trapped the containment unit holding Simon. Vision is, of course, conflicted. Later, in the most clichéd TV soap opera moment ever, Wanda (on monitor duty at the mansion) is about to tell Clint she has feelings for Vision. But Clint forces himself on her and kisses her right when the Vision arrives. The Starcore deep space monitoring station picks up unusual blips flying out of the sun and heading towards Earth…it is a fleet of Sentinels. Quicksilver thinks back to their last encounter with the mutant-hunting robots in X-Men #57-59. He thought the robots were gone forever. Wanda gets dressed up and goes for an evening stroll. Pietro beckons Vision to go after her, finally understanding that both need to stop playing games and tell each other how they feel. Vision declines, only until he sees in the distance, something flying in Wanda’s direction. He jets out after it, with the other Avengers following. Wanda is attacked and captured by the Sentinel. I didn’t know these early models could adapt to mutant abilities, I thought that wasn’t until the NIMROD class. The one Sentinel holds off the entire team (Thor later stated he and Iron Man were holding back to ensure Wanda wasn’t hurt), then teleports away with Wanda. Pietro blows a gasket because the “so-called Mighty Avengers” couldn’t take one lone Sentinel. He vows to find his sister, alone.

Avengers #103

To start off Avengers #103, the team exchanges intel with SHIELD to locate the Sentinels, while Pietro explores an old Sentinel bunker he was once held prisoner in with the X-men and the Brotherhood.  He chases a lead to Judge Chalmers, someone who took in Larry Trask, the now orphaned son of Bolivar Trask, creator of the Sentinels. Larry has amnesia and Chalmers was trying to keep it that way. Be that as it may, Pietro did abscond from the residence with Trask. While the team conferences with Nick Fury about the situation, Vision contemplates using the amulet that Grim Reaper gave Vision to contact him. Peter Corbeau, from Starcore, contacts the team to let them know something is causing massive solar flares in the sun that may soon reach Earth. The flare-inducing beam is tracked to the Australian Outback. Just as the team is about to take off, Rick Jones appears, intent on joining them on this mission. Cap, however, states that the mission is too dangerous and wants Rick to sit out this one. Rick is pissed, due to the fact that he saved the universe a few months earlier (Kree-Skrull War). The team flew off in an experimental jet that hit supersonic speeds, with an engine designed by Tony Stark and powered by lightning from Thor’s hammer, which was pretty damn awesome. Trask had an amulet around his neck that suppressed his memories (man, amulets were pretty popular this arc). Quicksilver ripped it off and Trask’s memories flooded back. Pietro felt guilty for exploiting a mental illness, but he felt justified because of trying to find his kidnapped sister. Trask revealed the location of the Australian Sentinel base. Pietro stated if they don’t make it in time, Trask will pay with his life. The team attacks the Sentinel base. I appreciate Thor discussing a battle plan. Sometime in the 90s-2000s, Thor went from strategist on par with Captain America to giant brute that gets trounced by the new villain du jour, just to prove how badass said villain is. Vision jumped the gun and they were all attacked by Sentinels. In a passenger jet en route to the battle, Trask discussed that Sentinels never had the ability to teleport. Suddenly, Trask concentrated enough and he teleported the plane. He remembered now that his father wanted to hide a dark secret. Larry is a mutant. In addition to teleporting, he can see into the future. He predicted not only the death of Pietro’s teammates but everyone on Earth due to a massive solar flare.

Avengers #104

Avengers #104 is the end of an era, marking the final issue of Roy Thomas’ six-year run on The Avengers. While the Avengers continued to do their best against the Sentinels (with Vision only feigning injury in the last issue to sucker punch a couple of their attackers) Pietro and Trask found an alternate entrance into the base. A captive Wanda discovers her captors’ horrific plan. They seek to use Wanda to boost the power of their flare generator to create enough radiation to make all organic life on Earth sterile, a loophole around the Sentinels’ primary programming; to not bring harm to any non-mutant humans. Once the human race eventually dies off, the Sentinels will genetically engineer humans, removing the possibility of mutation. It was The Matrix, by way of Josef Mengele, quite unsettling. Quicksilver outwits a Sentinel that can move nearly at his speed. He intentionally face plants into a wall, knowing the Sentinel was too large to change direction in time and the Sentinel smashes into a control panel, killing two birds with one stone. Yet, Pietro is injured, forcing Trask to push on alone to stop the plan of the murderous robots. Trask gets another vision. This time, he sees the complete annihilation of Earth and then…nothingness. The leader of this pack of Sentinels, Number Two, took command after the Master Mold, the gargantuan unit that manufactures the Sentinels, was destroyed in X-Men #16. Though it looks half-melted, it is the biggest threat, namely because it doesn’t have the “non-lethal against humans” protocol that the other Sentinels do. Before it can dispatch Cap, Iron Man, Thor and Hawkeye, they’re saved by Vision and a now freed Scarlet Witch. A crude Cerebro-like device is noticed by both Scarlet Witch and by Larry Trask. They both notice it’s turned off. On a hunch, Trask activates it. Suddenly, all sensors home in on Wanda, Pietro, Trask…and Sentinel Number Two. When they flew close to the sun, some of the components and organics in the Sentinel mutated, making him essentially a non-organic mutant. This also gave Number Two the ability to teleport. The other Sentinels promptly turned and engaged Number Two in battle. Once he is destroyed, the Sentinels deactivate, one of them collapsing on and killing Trask. That is why his last vision was total darkness. He willingly helped the Avengers stop the murder machines built by his father.

It was around this time that Barry Windsor-Smith started experimenting more with his art, to amazing results. I loved the thin line work and more odd “camera angles” and expressions that really made his work stand out from the pack at the time. Speaking of amazing, I have to give credit where credit is due. Despite Stan Lee’s first three years with of issues, pushing the team as Marvel’s all stars, it was Thomas who really did explore the meaty dramatic elements with the secondary characters like Vision, Hawkeye, Scarlet Witch and Black Knight. He really gave Vision his voice and had the foresight to plant seeds leading to the first “event story” in Avengers lore (The Kree-Skrull War). On the one hand, reading tales penned by him will be missed. On the other hand, I cannot wait to dive into the upcoming writer’s run once again.

When next we meet, we celebrate the debut of Steve Englehart as the writer of Earth’s Mightiest Heroes. The Grim Reaper’s scheme unfolds, with guest appearances galore gracing the pages of the book. We also build up towards the next event story, The Avengers/Defenders War. Until next time, my friends…AVENGERS ASSEMBLE!!!

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