We're Lost in a Masquerade

Doug: Just too much of a good thing...

Buried Treasures: Aurora Comicscene Model Kits

Redartz:  Greetings, everyone!  Under the banner of "Buried Treasures", we have been treated to glimpses of various Bronze Age rarities pulled from the dust of time (and storage box). Today I'll share a story of 'buried treasure' which might be better described as a 'reacquired treasure': the 1974 Aurora Spider-Man model kit, and it's accompanying comic.

 In 1966 Aurora Plastics started a line of model kits featuring superheroes from Marvel and DC, including Superman, Batman, Hulk,  Captain America and Spider-man. They were produced until 1970, and then in 1974 they were revived. This newer release featured an instruction book which also contained a short comic story telling the tale of the assembled model scene. In the case of the Spider-man kit, the comic was written by Len Wein and drawn by Spidey's own John Romita! 

1974 also happened to be the year when I caught the comic fever, and when I saw that Spider-Man kit on sale at the local Woolworth's, it was ordained. Had to have it. Thanks to my kindly, understanding parents, that cool plastic face-off between Spidey and Kraven was soon sitting on my bedroom shelf. And so it stayed for some years...until somewhere at college it vanished. Never found it, and figured it gone, and basically forgot about it. 

Until, that is, my wife and I attended a local flea market earlier this year, and lo and behold: sitting on a table was that same Aurora Spider-Man model, boxed even!  The dealer didn't think the comic was still there, but I opened it up to see if the kit itself was intact. Amazingly, not only were all the pieces still there, but so was the comic- and in brand new condition! Well, just like that day years before, I was hooked. Took it home, took two weeks to assemble and paint it (the webbing was the biggest challenge). This time thanks went to my understanding wife, as I spent each evening after work upstairs with a very tiny brush and tube of Testor's cement.

The finished product:

And now, as many of you may never have seen this item, here are some pages from the instruction 'comic', beautifully rendered by the Jazzy One. Incidentally, page 5 shows only the background, as it was provided for use as a display for the model kit. Enjoy!

 

  

Does it strike anyone else that Spider-man seems rather unconcerned that his webbing was responsible for the destruction of some valuable, historic tapestries?





 

Dangermash commented today on the likelihood of the Spider-Man model kit being based upon Amazing Spider-Man 34. Here's a  panel from that issue- no Kraven, but the pose and setting are certainly similar...

And that's my tale for today. Anyone else have this, or one of the other kits? How did the assembly work out for you? Any details on the other instruction comics? Tell us all about it...

Who's The Best... Class of Powers?

Martinex1:   The heroes and villains from Marvel and DC can be classified fairly easily according to their primary power sets.   I am sure there are more categories than I have listed below, but I find that most characters can be catalogued in nine groups.  Even if a character has multiple powers they will continue to rely on their core capability.  So which group is the best?   Do you gravitate to a type of hero with certain abilities?  Does one set have better intrinsic value or interest? How about costumes and visual depiction - is one group generally better than others?   Or is there a classification that I have not mentioned that you consider superior?

Outlined below are my broad categories and some pictorial examples to get the conversation going:

• The Blasters:   These are characters who use energy as a weapon.  Whether utilizing fire, heat, ions, sonic waves, or light rays - they have some method of hurling or sending energy forces at their opponent. More often than not technology and science play a role in their powers.
• The Flyers:   These characters rely on their wings, whether feathery or mechanical, to take to the air.  Many characters can fly, but for these flight is their primary power
• The Runners:   This group relies on speed, speed, and more speed.    They can run, hit, and even vibrate faster than the human eye.  
• The Athletes: Not always super-powered, this group consists of the fighters, martial artists, acrobats, gymnasts, and sportsmen.   Typically they are honed to the peak of human perfection.  They work hard to stay in shape but often take a beating.  These are the gold medalists of the spandex set.
• The Brains: This set sometimes has supernatural abilities like telekinesis and telepathy.   They may be manipulators of the mind.   Or they may simply be extraordinarily smart - they are the genius class and the thinkers.   It is the grey matter that matters here.
• The Muscle:  The characters in this group are super-enhanced.   Their strength goes beyond the norm.   They can bench-press a mack-truck if needed.   Typically their brute strength is their primary attribute.
• The Magicians:  Here are the sorcerers, wizards, warlocks, and witches.   They have abilities that don't adhere to the laws of science and physics.   These are the other-worldly, pan-dimensional masters of the weird.
• The Robots: Call them androids, synthezoids, droids, or robots - these artificial creations with human emotions are a science fiction trope.
• The Size-Changers:   Whether enlarging to 30 feet or shrinking to the molecular level, this group of giants and insects have a "growing" population in our comic kingdoms.



The Energy Blasters!

The Brain-trust!

The Winged Warriors!

The Speedsters!

The Mighty and the Muscled!

The Magicians!

The Athletes and Acrobats!

The Size Shifters!

The Artificials!

So is it mind over matter?  Or brawn over brains?   Is it the fleet-footed or those that take flight?  Is it the energy fiends or those that need energy drinks?   Size over substance?  The witches or the whip smart?  From you comic book lovers out there - who's the best in this power struggle?  


Share your own classifications, considerations, examples, thoughts, and opinions,

Doug's First "Rubber Mask" - Captain America 179

Captain America #179 (November 1974)(cover by Ron Wilson and Frank Giacoia)
"Slings and Arrows"
Steve Englehart-Sal Buscema/Vince Colletta

Doug: I didn't own this comic as a youngster, but a close friend of mine did. We were great pals, spending all our summer days reading comics, drawing, and playing Megos in his basement. Along the way we listened to AM radio and sang along with Wings, Elton John, and whatever one-hit wonders came our way (I'm looking at you, Carl Douglas, and your Kung fu Fighting). I'd missed the whole of the "Secret Empire" arc, but having the Cap Mego and having enjoyed some of the animated Tales of Suspense adventures on reruns of the Marvel Super-Heroes show, I was all-in to read this issue. Then, and especially now with my adult fixation with rubber mask reveals, it didn't disappoint.

Ah, the rubber mask. What is it about that corny comic convention that appeals to me? How about HOW INCREDIBLY STUPID IT IS?? Really... any "master of disguise" schtick is going to require a large helping of suspension of disbelief. But when some shmoe does it and gets away with it? No way. See this Man-Bat story if you don't believe me. How in the world does one obtain or create such a lifelike mask, only to later reveal something like an iron mask or a furry face, or even humongous bat-ears lurking beneath? The mind boggles. And that, I suppose, is why I like it -- for sheer lunacy. Zanier than our boy Bob Haney, that's for sure.

Sink your teeth into a 100-Word Review: 

Just three issues removed from the fall-out of the Secret Empire adventure, Cap and Falc have split ways. Cap has stuck to his word of hanging up the shield, and he’s settling into a civilian life alongside his love, Sharon Carter (SHIELD’s Agent-13). But a new menace has attacked – the Golden Archer. A sun-hued relic seemingly from the age of Robin Hood, he attacks Cap multiple times. Subplots involve Falc trying to beat the Harlem mob, Cap telling Peggy Carter that they’re through, and more would-be fill-in Caps across the country. Cap finally bests the Archer, who turns out to really be…

The Good: Usually I begin by lauding the art team. I'll get to that in a moment or three. But what struck me as I read this was the pacing of the story, and its organization. Many authors are masters of the subplot (John Byrne comes to mind specifically). Here Steve Englehart gives us a whirlwind of topical points between the comic's 18 story pages. We see our main arc for four pages, then a Falcon vignette, back to Steve Rogers for one page, then to a biker gang whose leader wants to become the new Captain America. A page later we're back to Steve for five pages, then one page to see how it turned out for our wannabe shield-slinger. The book concludes with a five page climactic battle between Steve and the Golden Archer. It's nicely laid out, with each interlude serving to heighten suspense for what was really a pretty basic plot in the main tale.

Englehart chose some sort of old English form (which is certainly debatable, I'm sure) of speech for the Golden Archer. The "real" Golden Archer had actually appeared in Avengers #85 as part of the Squadron Supreme. His costume was different from what we see here; the next time we'll see the Archer, he will be in this same outfit. I liked the Archer's depiction here -- very much a swashbuckler, and the fact that he was stalking Cap and could turn up at any time was fun. In fact, the Archer seemed to know some of Steve Roger's habits, patterns of movement...

I was not enough of a regular Cap reader to make too much of a judgement on the Steve/Sharon/Peggy love triangle, but I will say that from a distance the Steve and Sharon pairing made more sense than the Steve and Peggy relationship. That being said, Steve seemed to sort of take advantage of his fountain of youth, trading in for a younger model. His prerogative of course, but the ditching of Peggy in this issue seemed cruel. Come to think of it, why is that in the "good" category? I guess because the relationship, any relationship, humanizes Cap -- he of the "duty first" devotion.

Although the Falcon's solo adventures were on hold for 90% of this issue, I really liked in this era that he got to be featured as his own guy. A solo series would have been an easy sell to me in the Bronze Age; I enjoyed his one-off in Marvel Premiere.

Lastly, the big reveal at the end of Hawkeye as the Golden Archer, rubber mask and all, was excellent. What a dopey scene. Sure enough -- ol' Hawk's mask popped right up into form, no mashing or flattening at all. It's just silly -- silly as a Silver Age DC -- but I love it. And I loved how Hawkeye threw some shade at Thor's Asgardian-speak.

The Bad: Wait, you say -- you didn't talk about the art. You are correct. I saved it for this space. Oh it isn't bad bad. In fact, it's really pretty consistent from what we'd seen throughout the "Secret Empire" arc. But for whatever reason, in this issue I am seeing Sal Buscema and I am seeing Vince Colletta. Not a conglomeration of the two, as in previous issues. Instead, I just see Sal's forms and Vinnie's feathery inks. There's no blending here. It's tough to put my finger on, and I don't know if you'll get the same vibe from the art samples provided (perhaps my best example is the full page scan at the top of the post). But if you use the link just above and check out some of the books from a few months prior, I think you'll see that Vinnie's inks were a little heavier in general. I just see all the featheriness that many of his detractors cry out about. So it's not awful. But I noticed. In my opinion, I shouldn't notice. I should see the combination, the sum of the parts, and it should be pleasing to me as an art gestalt. Tell me if I'm off base.

The Ugly: Nuthin'. Unless you thought Steve was a HUGE jerk to Peggy. Then you might be mad.

Overall this was another fun one. I have come to really enjoy most of the solo adventures of my favorite Avengers -- Cap, Iron Man, and Thor. There were some solid creators on those books in the Bronze Age. Sure, sometimes there was a little hit-and-miss, but more often than not one could certainly get their quarter's worth of fun. Makes me want to be a kid again and feel that as I stand in front of the drug stores shelves.

Happy Labor Day to our Stateside friends. Enjoy the holiday!

Who's the Best... Captain America Cover by Mike Zeck?

Doug: Thomas F. is back with another Who's the Best? covers post. And he has some beautiful offerings for your consideration today.

Thomas F.: Talented penciler Mike Zeck got his start in the comics industry at Charlton Comics in the early Seventies. Most of his subsequent work, though, was for Marvel, with the occasional cover or one-page job in an anniversary issue for DC. Most of us are most familiar with Zeck’s artwork in the pages of Secret Wars, GI Joe, Master of Kung-Fu, and the highly successful 1986 The Punisher limited series which ran for five issues.

Incidentally, the first Thanos solo story, featured as the backup tale in Logan’s Run #6, was also penciled (and inked) by a twenty-seven-year-old Mike Zeck in 1977. As for why the story was included in the pages Logan’s Run #6, of all places—and not in The Avengers—tight deadlines was the official reason cited.
But for me, some of Zeck’s best work was in the pages of Captain America. During his popular run on the book, which lasted from 1978 to 1986, Zeck turned out some truly striking covers, many of which would make fantastic posters or pinups. I couldn’t help but notice that the cover of Captain America #277 is obviously a swipe of Neal Adam’s Detective Comics #395, from 1970.I’ve selected a dozen of my own favorite Zeck covers here. (If I had to choose just one, it would be a tie between #332 and Annual #8.)

Which do you like most, and are there any you feel I’ve left out?

  

 

*Doug: Apologies to Thomas and our readers for the less-than perfect lay-out today. You know I wanted those covers to be justified on the margins. But it just wasn't happening!