During his two years on the title, Roger Stern augmented the backgrounds of long-established Spider-Man villains, and with Romita Jr. created the mysterious supervillain the Hobgoblin in #238-239 (March–April 1983) Fans engaged with the mystery of the Hobgoblin’s secret identity, which continued throughout #244-245 and 249-251 (Sept.-Oct. 1983 and Feb.-April 1984). One lasting change was the reintroduction of Mary Jane Watson as a more serious, mature woman who becomes Peter’s confidante after she reveals that she knows his secret identity. Stern wrote “The Kid Who Collects Spider-Man” in The Amazing Spider-Man #248 (January 1984), a story which ranks among his most popular.
David Michelinie took over as writer in #290 (July 1987) that led to the marriage of Peter Parker and Mary Jane Watson in Amazing Spider-Man Annual #21. The “Kraven’s Last Hunt” storyline by writer J.M. DeMatteis and artists Mike Zeck and Bob McLeod crossed over into The Amazing Spider-Man #293 and 294. Issue #298 (March 1988) was the first Spider-Man comic to be drawn by future industry star Todd McFarlane, the first regular artist on The Amazing Spider-Man since Frenz’s departure. McFarlane revolutionized Spider-Man’s look. His depiction – large-eyed, with wiry, contorted limbs, and messy, knotted, convoluted webbing – influenced the way virtually all subsequent artists would draw the character. McFarlane’s other significant contribution to the Spider-Man canon was the design for what would become one of Spider-Man’s most wildly popular antagonists, the supervillainVenom. Issue #299 (April 1988) featured Venom’s first appearance (a last-page cameo) before his first full appearance in #300 (May 1988). The latter issue featured Spider-Man reverting to his original red-and-blue costume.
Other notable issues of the Michelinie-McFarlane era include #312 (Feb. 1989), featuring the Green Goblin vs. the Hobgoblin; and #315-317 (May–July 1989), with the return of Venom. In July 2012, Todd McFarlane’s original cover art for The Amazing Spider-Man #328 sold for a bid of $657,250, making it the most expensive American comic book art ever sold at auction.
Amazing Spider-Man #214 Newsstand CGC 9.8 White Pages $120
Luke Cage was created by Archie Goodwin and John Romita, Sr. shortly after Blaxploitation films emerged as a popular new genre. He debuted in his own series, Luke Cage, Hero for Hire, which was initially written by Goodwin and pencilled by George Tuska. Cage’s adventures were set in a grungier, more crime-dominated New York City than that inhabited by other Marvel superheroes of the time. The series was retitled Luke Cage, Power Man with issue #17.
As the Blaxploitation genre’s popularity faded, Cage became unable to support his own series and was paired with another superhero whose popularity was based on a declining film genre, the martial arts hero Iron Fist, in an effort to save both characters from cancellation. Though the series title would remain Power Man in the indicia for a while longer, with issue #50 (April 1978) the cover title became Power Man and Iron Fist. It would remain thus until the series’s cancellation with issue #125 (September 1986). The series’s final writer, James Owsley, attempted to shed Cage’s Blaxploitation roots by giving him a larger vocabulary and reducing usage of his catchphrase, “Sweet Christmas!”.
In 2011, IGN listed Secret Wars as one of the best comic book events. Their writers found the action and goofiness of the story to be enjoyable. They also highlighted the impact it had on the Marvel Universe by introducing the symbiote and new characters. In 2011, Alex Zalben of MTV News ranked Secret Wars as the second biggest comic event ever; he praised its story and lasting effect.
Shortly after the publication of the treasury edition, Kirby continued to explore the concepts of 2001 in a monthly comic book series of the same name, the first issue of which was dated December 1976. In this issue, Kirby followed the pattern established in the film. Once again the reader encounters a prehistoric man (“Beast-Killer”) who gains new insight upon encountering a monolith as did Moon-Watcher in the film. The scene then shifts, where a descendant of Beast-Killer is part of a space mission to explore yet another monolith. When he finds it, this monolith begins to transform the astronaut into a star child, called in the comic a “New Seed”.
Issues #1-6 of the series replay the same idea with different characters in different situations, both prehistoric and futuristic. In #7 (June 1977), the comic opens with the birth of a New Seed who then travels the galaxy witnessing the suffering that men cause each other. While the New Seed is unable or unwilling to prevent this devastation, he takes the essence of two doomed lovers and uses it to seed another planet with the potential for human life.
In issue #8 (July 1977), Kirby introduces Mister Machine, who is later renamed Machine Man.Mister Machine is an advanced robot designated X-51. All the other robots in the X series go on a rampage as they achieve sentience and are destroyed. X-51, supported by both the love of his creator Dr. Abel Stack and an encounter with a monolith, transcends the malfunction that destroyed his siblings. After the death of Dr. Stack, X-51 takes the name Aaron Stack and begins to blend into humanity. Issues #9 and 10, the final issues of the series, continue the story of X-51 as he flees destruction at the hands of the Army.
2001 A Space Odyssey 1 CGC 9.6 Off White to White Pages $79
Moon Knight received his first ongoing series in 1980, with Doug Moench and Bill Sienkiewicz as its main creative team. The character received an expanded origin story in issue #1, which also introduced several recurring characters as well as recurring enemy Bushman. The series depicted several characters who doubted the moon god Khonshu was real and believed Marc Spector only experienced a hallucination while near death. It was never explained why other characters, such as Spector’s lover Marlene, concluded this when there was no other explanation for Marc’s spontaneous recovery from his wounds and a death-like state and when it was well known by this time that many gods of myth in the Marvel Universe (such as Thor and Zeus) were real, living entities from other dimensions and planets.
After early sales were good, Marvel made the Moon Knight series a flagship title available in comic shops starting with issue #15. The companion mini-series Moon Knight: Special Edition reprinted the Hulk and Marvel Preview Moon Knight stories in color and standard comic format, as opposed to their original magazine format. Sienkiewicz left the series after issue #30, though he continued to contribute covers until the series ended with issue #38.
Marvel Premiere ran for 61 issues from April 1972 to August 1981. The series introduced new characters and reintroduced characters who no longer had their own titles. Writer Roy Thomas and penciler Gil Kane significantly revamped Him as the allegorical Messiah Adam Warlock in Marvel Premiere #1 (April 1972). Iron Fist first appeared in issue #15, written by Roy Thomas and drawn by Gil Kane. Other introductions include the Legion of Monsters, the Liberty Legion,Woodgod, the 3-D Man, and the second Ant-Man (Scott Lang). The series also featured the first comic book appearance of rock musician Alice Cooper. Later in the title’s run, Marvel Premiere was used to finish stories of characters who had lost their own series including the Man-Wolf in issues #45-46 and the Black Panther in issues #51-53.
Captain America continued from Tales of Suspensewith artwork by Kirby, as well as a short run by Jim Steranko, and work by many of the industry’s top artists and writers. It was called Captain America and the Falcon from #134 (Feb. 1971) to #222 (June 1978) although the Falcon’s name was not on the cover for issues #193, 200, and 216. The 1972–1975 run on the title by writer Steve Englehart and artist Sal Buscema saw the series become one of Marvel’s top-sellers. In 2010, Comics Bulletin ranked Englehart and Buscema’s run on Captain America fourth on its list of the “Top 10 1970s Marvels”. Kirby returned to the series as writer and penciler with issue #193 (Jan. 1975) ]and remained through #214 (Oct. 1977).
The Micronauts began life as comic book characters thanks to a fortuitous accident on Christmas 1977. Marvel Comics writer Bill Mantlo’s son Adam opened a new present, a line of the Mego Corporation‘s Micronauts action figures. Seeing the toys, Mantlo was instantly struck by inspiration to write their adventures. Convincing then Editor-in-chief Jim Shooter to get the comics license for these toys, Mantlo was hired to script their series.
The series centered on the exploits of Vanth Dreadstar and his crew—powerful mystic Syzygy Darklock, the cybernetic telepath Willow, cat-like humanoid Oedi, and freebooter Skeevo. Vanth, newly arrived in the Empirical Galaxy after the events of Metamorphosis Odyssey, tries to live a pastoral existence on Oedi’s planet of peaceful cat-people, but his peace is disturbed by the arrival of Darklock, who wants him to get involved in the conflict between the two major forces in the galaxy, the Monarchy and the theocratical Instrumentality. Vanth refuses until the war comes to his planet, wiping out most of the population. Oedi survives and joins them; Willow and Skeevo join later, though the team is in place for the first issue.
Dreadstar takes the side of the Monarchy against the evil Lord High Papal of the Instrumentality, but his team end up becoming fugitives when the Monarchy falls, and go to great lengths to try to uncover a traitor in their midst. The transition to First Comics happened just when the traitor was about to be revealed, and the first issue published under First Comics, #27 contained this revelation.
Encouraged by the success of Ghost Rider and The Tomb of Dracula, both of which starred occult characters, Stan Lee proposed a series starring Satan, to be titled The Mark of Satan. Editor Roy Thomas had reservations about this idea and suggested a series focusing on the son of Satan instead. (Due to an oversight, “The Mark of Satan” is mentioned in a blurb in Ghost Rider #1).
The character Daimon Hellstrom first appeared in Ghost Rider vol. 1, #1 (Sept. 1973), then was spun off into a feature, “Son of Satan”, in Marvel Spotlight #12–24 (Oct. 1973 – Oct. 1975). During the “Son of Satan” run, Marvel Spotlight was a controversial series, with numerous readers writing to object to the depictions of satanism and wiccanism as being either inaccurate or furthering the cause of evil. Nonetheless, sales were strong, prompting Marvel to launch the character into his own series, Son of Satan, written by John Warner. The character’s success faded soon after the series launch, and Son of Satan was cancelled with issue #7, though an unused fill-in was published as Son of Satan #8 (Feb. 1977).
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