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The Marvel Magazine Thread
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111 posts in this topic

A few weeks before Halloween 1972 Marvel finally got their magazine line started after a nearly 2 year absence from the stands since Savage Tales #1 was released. As mentioned in the first entry here Monster Madness returned Marvel  to their roots with the humor monster mag format for a second time. The monster pictures were great but the humor was bad even in 1972. The series lasted only 3 issues for a good reason. The final issue #3 did attempt to broaden the scope with articles and columns but it was too little, too late. We would have to wait until Marvel’s Monsters of the movies in 1974 for any real attempt at a proper monster mag. Nevertheless this was the beginning of Marvel’s magazine line in 1972 without any inference from Martin Goodman who was gone by now. At the time Marvel had expanded their monster comic books line with new additions like Crypt of Shadows, Chamber of Chills, Journey into Mystery, Supernatural Thrillers with more on the way (see the ad below from Monster Madness #1 promoting some of them). More importantly their “monster horror series” were underway now. The month Monster Madness #1 was released Man-Thing was a few issues into his own series (as was the Ghost Rider),Tomb of Dracula was up to issue #6, Werewolf by Night #3 was out and Frankenstein #1 was released that month  with more to come. The Marvel age of monsters had begun!

 

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By February 1973 Monster Madness was 2 issues in when Dracula Lives #1 hit the newsstands. Sporting the first of many covers by Boris at Marvel  (he had done work at Skywald and Warren previously) this is his only Dracula Lives cover he did although he would provide one for Vampire Tales later. Tomb of Dracula #8 was out the same week as Dracula Lives #1 so vampire lovers got a double dose of blood sucking this month. The magazine series would provide both stand alone and continuity stories in its run. After several false starts finally Marvel could build a real lineup of horror magazines starting this month. Other notable happenings at Marvel this month were Worlds Unknown #1 and the War of the Worlds (Killraven) series began in Amazing Adventures. 

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An amazing thread, Nerv!  (thumbsu 

If I could add a footnote to this story, it would be that because of this sudden flood of Marvel horror mags, it led to the untimely demise of companies like Skywald, which unfortunately couldn't compete with the overwhelming number of horror magazines appearing on the stands in the mid 1970's. This really was a shame, because Skywald was putting out some really cool horror mags at that point, led by the charismatic Al Hewetson (who coincidentally had worked for Stan Lee shortly before becoming the editor at Skywald!) From what I remember, only Warren publishing actually survived this explosion of Marvel mags. And the truly ironic thing is that most of these mags (with the exception of Savage Sword of Conan) didn't really last very long, either...:preach:

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1 hour ago, The Lions Den said:

An amazing thread, Nerv!  (thumbsu 

If I could add a footnote to this story, it would be that because of this sudden flood of Marvel horror mags, it led to the untimely demise of companies like Skywald, which unfortunately couldn't compete with the overwhelming number of horror magazines appearing on the stands in the mid 1970's. This really was a shame, because Skywald was putting out some really cool horror mags at that point, led by the charismatic Al Hewetson (who coincidentally had worked for Stan Lee shortly before becoming the editor at Skywald!) From what I remember, only Warren publishing actually survived this explosion of Marvel mags. And the truly ironic thing is that most of these mags (with the exception of Savage Sword of Conan) didn't really last very long, either...:preach:

 

 

Editor Al Hewetson, in an interview given shortly before his death of a heart attack on January 6, 2004, asserted the demise of Skywald was caused by

...Marvel's distributor. Our issues were selling well, and some sold out. Such returns as we received were shipped overseas, mainly to England, where they sold out completely... When Marvel entered the game with countless [black-and-white horror] titles gutting [sic] the newsstand, their distributor was so powerful they denied Skywald access to all but the very largest newsstands, so our presence was minimal and fans and readers simply couldn't find us. ... The Waldmans [Israel and business manager Hershel Waldman] and I had a business lunch with our distributor in the fall of '74 and we were given very specific information about the state of affairs on the newsstands – which had nothing to do with Warren's or Skywald's solid readership base.

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Eerie publications which started in 1966 until 1981 lasted nearly as long as Warren (1983) did (although I’m guessing Eerie Publications were selling to a fan with certain tastes).

There are varied reasons why certain companies came and went but I think by the 1980’s we were entering into the direct market era with Graphic Novels and other assorted formats being tried. I know I was losing interest in  comic type magazines in general by the mid to late 70’s. I was drawn to the new “indie” things direct sales allowed by both large and small publishers so magazines kind of got set aside. 

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On 6/23/2018 at 3:11 AM, N e r V said:

Before I move on to the Pussycat mag I thought I’d list a little bit more info. on the 2 1968 Spider-man magazines on what might have the start of a magazine line for them earlier if not for Martin Goodman. He would prove to be a problem again in 1971 too with the first Savage Tales magazine. 

First though a little history on what was going on at Marvel comics in 1968’s “expansion year” from Mark Evanier:

 

What happened was that in late '67, Goodman finally won a major point in his ongoing battle with Independent. He wanted to publish more comics than they'd allow him to put out, and he wanted to do things like ghost comics and love comics, which they were then denying him. Finally, he said to them, in effect, "Look…my contract with you is expiring in March of 1969. At that point, you're either going to let me publish what I want or I'm going to find a distributor who will. You and I are both trying to sell our companies so we have a mutual interest in inflating our grosses. Let me expand now and it will give both companies a big boost." Jack Liebowitz, who ran DC and Independent, had previously been worried about allowing Goodman to flood the newsstands with product, fearing it would harm the market and harm DC. But he was then angling to sell DC and Independent to a company called Kinney National Services, and he saw the wisdom of even a temporary jolt to the distributor's fortunes. He also knew that Goodman wasn't bluffing; that he could find a distributor who would let him publish without restriction. Liebowitz wanted to keep Marvel under the Independent umbrella if that was at all possible, so they negotiated a new arrangement. It didn't lift all restrictions right away but it did allow him considerable expansion room, which he used to begin adding more titles.

The decision probably helped both companies. Grosses were up when Liebowitz concluded the deal to sell to Kinney. Goodman soon sold Marvel to an outfit called Perfect Film and Chemical Corporation. The only snag for DC was that since Perfect Film owned a magazine distributor, Marvel moved there when their old distribution contract expired.

 

Concerning that first issue of Spectacular Spider-man from Marvel Comics Chronology:

 

This is Marvel Comics' first foray into the magazine format. It wasn't something that publisher Martin Goodman was particularly behind, but it was part of Stan Lee's outreach to older readers.

From John Romita Sr.'s introduction to Marvel Masterworks: Amazing Spider-Man vol. 7:

1968 also brought Stan and me a completely new opportunity, the chance to launch a black-and-white magazine with Spider-Man stories for older readers, a sort of film noir on paper with longer stories and more subtle character relationships. We envisioned a somewhat photographic arty style with halftones and deep shadows that were just right for Spider-Man... we were aware it was going to be a challenge and a gamble, but we were excited and raring to go. Looking back, I wish we'd had more time to develop the tone technique, but having a full schedule of comics to put out on a monthly basis limited us. Since we didn't want to wait too long, we put in the extra hours and struck while the iron was hot. With pride, I think we turned out an impressive, groundbreaking first issue. You can judge for yourself.

I'll quote more from the Masterworks intro on the entry to issue #2, explaining why the series went full color for the second issue and why that wound up being the final issue of this experiment. In the part i have quoted here, it seems like there was some immediate opportunity they were taking advantage of ("didn't want to wait too long", "iron was hot") but i don't know what that may have been.

The fact that Spider-Man was the character of choice demonstrates the popularity of the character and, since the target was older readers, it was a good choice since the cast of supporting characters allowed for more human soap opera themes than most super-hero books. This first issue's story is also i guess an attempt at a more adult theme in the sense that it deals - superficially - with politics.

A Richard Raleigh is running for mayor of New York.

 

 

Finally despite an ad below for issue #3 Goodman put a stake in the format despite positive sales pushing Marvel’s full venture into magazines away for a few more years still. A little what if had they continued on with magazine publishing in 1968...

 

T

There's still really nothing here that wasn't already being offered in the regular comic book at this point though. It seems that Stan Lee didn't feel that anything more needed to be added (or subtracted, e.g. this issue plays directly into regular ASM continuity) to reach the older audience he was targeting with this magazine; the format itself seemed to be the key. Stan was probably also hoping fans of the comic would follow the magazine; after all, this issue concludes a running subplot from that book. Nonetheless, this was the final issue of the short lived series.

In John Romita Sr.'s introduction to the Marvel Masterworks trade reprinting these Spectacular issues, after describing how Marvel came to work on the black & white magazine format (which i quoted in the previous entry of this series), it says:

Martin Goodman, our publisher, however, felt that we should stick to what we did best and decided the second Spectacular would be in full color. This solved my halftone problem, but disappointed as we were, we put out a great second issue that brought the Green Goblin back in the culmination of a long-running subplot.

Unfortunately, Mr. Goodman really disappointed us when he cancelled the magazine after #2, claiming it was too difficult to distribute and chose to stay with our regular comics. This set up a voice we could never fill. An ad at the end of #2 showed readers that "The TV Terror" was the next issue planned, but since it was never completed, requests from fans steadily trickled in asking to see that story; though we tried twice in the following decade, sadly, it was never done.

The saddest thing of all was that when the sales figures came in, the magazine had sold extremely well, but Mr. Goodman could not be convinced to resume publishing the title. We can only guess what we missed. The bright side is that you can still enjoy these two rare issues here.

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Thank You, Thank You, Thank You,  I have always wondered why there was no issue 3. I guess I should read the liner notes in Marvel Masterworks. 

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Having used vampires as their monster of choice in Dracula Lives last month March 1973 would see Marvel giving a nod to the Werewolf with Monsters Unleashed #1. Gray Morrow provided the cover which caught a nice mood of terror with the girl in distress and the classic full moon shining in the woods. He’s also the subject of the other cover this month I’ll get to but up to this point I believe he’d only done 2 other covers at Marvel. A Man-Thing issue and the now classic Woodstock cover on My Love #14. He was more than up to the task at providing thrilling horror themed covers and Marvel would go back to him several times later.

The Monsters Unleashed series would follow mostly standalone stories for its 11 issue run (plus an annual) but also featured some pretty good reprints of Marvel under its Atlas banner period in the 1950’s and the Man-Thing and Frankenstein among others would show up later in new stories.If nothing else the 1970’s are a treasure trove of 1950’s Atlas horror comic reprints. The first issues lead Werewolf story was taken from a Robert Bloch story and illustrated by Pablo Marcos but I’m kind of fond of the Robert E. Howard story drawn by Ralph Reese. They also used some blue this time around to break up the b&w art. Kinda neat. 

This wasn’t the only new publication out this month either but since the other was a digest I felt it deserved its own piece next. For now enjoy some of the art from issue #1. It’s a howl...

 

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An ad in this issue for another new publication as mentioned.

 

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Finally perhaps the true  horror in a Marvel publication  this month wasn’t in their b&w magazines but rather in one of their color comics and even then  it wasn’t even a horror comic.

This was the month that Amazing Spider-Man #121 hit the stands with the surprise death of Gwen Stacy. Real horror is perhaps the horror that is closest to reality.

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Not a magazine (at first) but certainly part of the Marvel b&w magazine line was the 2 issue run of the digest sized Haunt of Horror. This was the second of the 2 Gray Morrow covers for Marvel this month and he delivered the goods. I bought this one off the stands and have kept copies of both in my collection ever since. From SFE:

 

This title was Marvel Comics's only effort at a straight prose fiction magazine during its period of publishing various black and white Comics-format Horror and sf magazines in the 1970s. It is regrettable that sales were so poor for the periodical as it featured stories by a number of leading authors including Ramsey Campbell, Arthur Byron Cover, George Alec Effinger under his pseudonym John K Diomede, Harlan Ellison, Ron Goulart, R A Lafferty and Anne McCaffrey. Effinger also served as assistant editor. Fritz Leiber's Conjure Wife (April 1943 Unknown; assembled in Witches Three, anth/omni 1952, ed Fletcher Pratt1953; vt Burn, Witch, Burn! 1962) was reprinted in two parts in the publication's short existence. The Ellison story "Neon" (June 1973; rev August 1973) had two pages transposed in its initial appearance and so was republished with the error corrected. A third issue containing stories by Alan Brennert, John Jakes and George Zebrowski was advertised and reportedly bound but never published. The covers were by Gray Morrow (#1) and Frank Kelly Freas (#2).

2. Letter-size Comics-format magazine printed on newsprint. Published by Marvel Comics under their Curtis Magazines subsidiary imprint. Editors were Tony Isabella, Roy Thomas and Marv Wolfman. Five issues, April 1974 to January 1975.

Marvel, always reluctant to abandon a potentially lucrative title, revived The Haunt of Horror in comic format several months after the demise of the digest version (1 above). #1 featured a graphic adaptation of Thomas M Disch's "His Own Kind" (New Worlds of Fantasy #2, anth 1970, ed Terry Carr) plus the text story "Heartstop" by George Alec Effinger, originally intended for #3 of 1 above. However, the rest of the run was primarily centred on two characters inspired by the horror film The Exorcist (1973). The major character was Satana, "the devil's daughter", a half-human succubus (see Supernatural Creatures) who operates as either a Hero or Villain depending on the circumstances. Her co-star was Gabriel, Devil-Hunter, an exorcist-priest patterned directly on characters in the film. Assorted Monsters also appeared. This title proved one of the least successful of Marvel's black-and white horror magazines and soon folded. #1 retains some popularity among collectors, largely because of its glowing werewolf cover by artist Bob Larkin.

 

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They covered some of #2 above already but I’ll revisit it again in the thread. I was one of the kids who waited (pointlessly) for an issue #3 and was pretty disappointed much later by the magazine version.

This is why I understand what kids went through in 1968 waiting for issue #3 of the Spectacular Spider-Man magazine. I later found that this process of promised books or issues without delivering the goods would happen to me several times again.  lol

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By April 1973 Monster Madness was releasing its last issue (#3) but Dracula Lives was just getting started with issue #2 out and Marvel was going to reach back into their past to bring back a character for a new horror series. More on him later. First Dracula Lives had a cover by one Jordi Penalva which itself is interesting since his work was pretty limited here in the US but also because it’s the first to set the tone for most of the Dracula Lives covers which had the count and the damsel in distress theme over and over again. This issue also brings up the point of why Stalin never tried to get rid of Dracula. The communist vs the count could have been a grand epic for some writer or maybe it’s just a boring story of how the USSR just ignored the count and let him be. 

I was collecting comics by now but missed this issue and wouldn’t pick up my first copy until issue #3. Perhaps more interesting than Dracula Lives this month is what was happening in the counts own color comic. My first issue of Tomb of Dracula happened to be issue #10 which introduced a new character named Blade.

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From Dan Dare:

 

Jordi Penalva
Penalva's original art for one of the interior plates in the 1960 Kit Carson Annual.

Jordi Bosch Peñalver, (better known as Jordi Penalva) was born in Barcelona (Catelonia) in 1927. He studied at the Escuela Superior de Bellas Artes in Barcelona under Ernest Santasusagna. The young Jordi had the ambition of becoming a serious artist and many of the pieces that he did in the 1940's can still be found at modest prices.

He began working as an illustrator in the late forties for the publishers Janés and Juventud, where he illustrated covers for paperback reprints of Zane Grey and PC Wren. 

In 1952 he moved briefly to Brazil before returing to his native Spain. It is probable that he was commissioned via one of the art agencies that flourished at the time: either the Anglo-Spanish Bardon or the Belgian A.L.I. His work however speaks for itself. 

I have found no reference to his ever working on a comic strip per se, and like Alessandro Biffignandiand others, the bulk of his output seems to have been covers.

He started working on Fleetway's Cowboy Picture Library series in the late 50's and contributed two colour plates for the 1960 Kit Carson Annual, published in September 1959. This was a sure sign of Fleetway's faith in Penalva as the colour plates in these annuals were always done by their quality artists such as Derek Eyles and Septimus Scott. 

Times and tastes were changing by the early sixties: westerns were making way for the new war comics and it was in this genre that Penalva is best known in the UK. When Cowboy Picture Library folded he started working for Battle Picture LibraryWar Picture Library and the Front Line Series racking up over 200 covers for these three titles alone. He stopped working for Fleetway in about 1968 and started with their arch rival D.C. Thompson on their Commando comics where he contributed hundreds of covers.

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Frontline Series no. 22 - Penalva's original cover art. 

As Penalva was not a "house" artist, but a freelance artist, he was also contributing work to other markets, notably the Swedish. By the mid-1970's Penalva was contributing to the Swedish version of James Bond published by Semic: these were re-prints of the original Daily Express newspaper strips by John McLusky and Yaroslav Horak, but with a Penalva cover. He was also producing paperback book covers for various European publishers.

Not contending himself with the European market, in 1978 Penalva started working for the US market in the shape of Warren where he contributed covers for Eerie, The Rook, 1984 (later re-named 1994) andVampirella, thus aligning himself alongside the likes of Frank Frazetta, Sanjulian (a fellow Spaniard who had also worked for Thompson's Commandocomics) and Enrich. Penalva actually won an award for the cover of Eerie no. 96 as Best Cover of the Year for 1978, and in total he contributed 15 covers to the title.

After Warren closed up shop (rumour being because of the settlement to Harlan Ellison for publishing one of his stories without permission) Penalva re-established himself back in his native Spain where he contributed covers to Zona 84 and Cimoc.

Jordi Penalva has an older brother, Antonio Bosch Peñalver born in 1925, who has created several comic strips in Spain. Brother Antonio signs his work Bosch Peñalver - so Jordi signed his as Jordi to avoid confusion. Antonio Bosch Peñalve has worked on several comic covers for the German market - mostly westerns.

 

 

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Penalva's original art for one of the interior plates in the 1960 Kit Carson Annual.

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Frontline Series no. 22 - Penalva's original cover art.

 

 

 

 

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Before I introduce the next magazine series let’s go all the way back to March 1953 when readers of Atlas comics (Marvel) Menace comics got the fourth issue which had this blurb towards the end.

 

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A month later they were treated to (IMO) one of the best Everett covers and features that he would produce in the 1950’s. Overreaching? Maybe. You decide....

 

 

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From the Timely-Atlas-Marvel blog by Doc V:

 

Menace #5 is probably the single most notable Atlas pre-code horror issue of all. Stan Lee has now perfected his simple, basic, descriptive narrative technique, and together with Bill Everett, are both at the height of their pre-code talents.  First there is the starkly gripping cover.  We’ve already seen various depictions of familiar horror characters like animated skeletons, vampires and werewolves. Now blaring across the middle of the cover is the solitary word “Zombie!”, and Everett renders a horrific, wasted, emaciated corpse-like abomination bursting through the surface of a nighttime city street to the shock and horror of stunned pedestrians.  Though not graphic to the extent issue #1’s cover was, this image is incredibly jarring it its effect.
 
Inside, the first image seen is an Everett splash page depicting a shot of the zombie standing solemnly amidst a fetid swamp.  Stan’s hyperbole at the top of the page informs the reader that he/she … “ is about to read a tale which is simply, merely the greatest!”.  The story is a simple one, for the first time in history a zombie rebels against his master, and with good reason (which I won’t reveal here).  Without having to resort to horrific graphics, Everett’s storytelling paces Lee’s narration (written as a full -script) to a poignant conclusion.  The story is a perfect meshing of plot, mood and setting.  Everett’s artwork is fantastic, inked in a slick manner, yet the artwork is much tighter than his usual  renderings.  He has taken greater pains on this story and languished the panels with incredible beauty and characterization. His characters are fully conceived from the moment they appear in panels. You know the Zombie master’s personality and motivations from his initial image. It’s all right there. 

 

 

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On 6/24/2018 at 7:16 PM, wpbooks01 said:

Since Marvel only gave us a small taste of Pussycat and left some of us wanting more, with the help of a few others I was able to track down all 66 episodes of her adventures. Then I took it upon myself to remedy one of history's great wrongs and create not only a hardcover collection of said tales, but a TPB I can take on the road when needed! Someday Marvel will come to their senses and make my girl legit, but until then, this works just fine! Viva Pussycat!!! (sorry for the crappy webcam pix.......you work with what you got!)

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Oh er Missus! That Cat is showing off her quite ample wears and a nice set of wears it is.<3

It reminds me of the Elvira movie as she also had an ample pair of tassels.

 

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