Designed to compete with DC Comics‘ successful launches of House of Mystery and House of Secrets,[2]Tower of Shadows, like its companion comic Chamber of Darkness, sold poorly despite the roster of artists featured. After its first few issues, the title, published bimonthly, began including reprints of “pre-superhero Marvel” monster stories and other SF/fantasy tales from Marvel’s 1950s and early 1960s predecessor, Atlas Comics. After the ninth issue, the title changed to Creatures on the Loose, and the comic became a mix of reprints and occasional sword and sorcery/SF series.
Daredevil debuted in Marvel Comics‘ Daredevil #1 (cover date April 1964), created by writer-editor Stan Lee and artist Bill Everett, with character design input from Jack Kirby, who devised Daredevil’s billy club. When Everett turned in his first-issue pencils extremely late, Marvel production manager Sol Brodsky and Spider-Man co-creator Steve Ditko inked a large variety of different backgrounds, a “lot of backgrounds and secondary figures on the fly and cobbled the cover and the splash page together from Kirby’s original concept drawing”.
Writer and comics historian Mark Evanier has concluded (but cannot confirm) that Kirby designed the basic image of Daredevil’s costume, though Everett modified it. The character’s original costume design was a combination of black, yellow, and red, reminiscent of acrobat tights. Wally Wood, known for his 1950s EC Comics stories, penciled and inked issues #5–10, introducing Daredevil’s modern red costume in issue #7.
The Hulk first appeared in The Incredible Hulk #1 (cover dated May 1962), written by writer-editor Stan Lee, penciled and co-plotted by Jack Kirby, and inked by Paul Reinman. Lee cites influence from Frankensteinand Dr. Jekyll and Mr. Hyde in the Hulk’s creation. The Hulk’s original series was canceled with issue #6 (March 1963).
In the debut, Lee chose gray for the Hulk because he wanted a color that did not suggest any particular ethnic group.Colorist Stan Goldberg, however, had problems with the gray coloring, resulting in different shades of grey, and even green, in the issue. After seeing the first published issue, Lee chose to change the skin color to green. Green was used in retellings of the origin, with even reprints of the original story being recolored for the next two decades, until The Incredible Hulk vol. 2, #302 (December 1984) reintroduced the gray Hulk in flashbacks set close to the origin story. Since then, reprints of the first issue have displayed the original gray coloring, with the fictional canon specifying that the Hulk’s skin had initially been grey. An exception is the early trade paperback, Origins of Marvel Comics, from 1974, which explains the difficulties in keeping the gray color consistent in a Stan Lee written prologue, and reprints the origin story keeping the gray coloration.
Lee gave the Hulk’s alter ego the alliterative name Bruce Banner because he found he had less difficulty remembering alliterative names. Despite this, in later stories he misremembered the character’s name and referred to him as “Bob Banner”, an error which readers quickly picked up on. The discrepancy was resolved by giving the character the official full name of Robert Bruce Banner.
Tales of Suspense became Captain America with #100 (April 1968) This series — considered Captain America volume one by comics researchers and historians, following the 1940s Captain America Comics and its 1950s numbering continuation of Tales of Suspense — ended with #454 (Aug. 1996).
Fantasy Masterpieces, became Marvel Super-Heroes with issue #12 began showcasing a try-out feature as each issue’s lead. This encompassed solo stories of such supporting characters as Medusa of the Inhumans, as well as the debuts of Captain Marvel (#12), the Phantom Eagle (#16) and the Guardians of the Galaxy (#18). The Spider-Man story drawn by Ross Andru in issue #14 was originally planned as a fill-in issue of The Amazing Spider-Man but was used here when that title’s regular artist, John Romita Sr. recovered more quickly than anticipated from a wrist injury. Andru would become the regular artist on The Amazing Spider-Man several years later.
Comics-artist contemporary John Severin recalled in an interview conducted in the early 2000s that in the late 1950s, Kirby had approached him to be partners on a syndicated, newspapercomic strip “set in Europe during World War Two; the hero would be a tough, cigar-chomping sergeant with a squad of oddball GIs — sort of an adult Boy Commandos“, referring to a 1940s wartime “kid gang” comics series Kirby had co-created for DC Comics.
Sgt. Fury and his Howling Commandos followed an elite special unit, the First Attack Squad, nicknamed the “Howling Commandos”, which was stationed in a military base in England to fight missions primarily, but not exclusively, in the European theatre of World War II. Under Captain “Happy Sam” Sawyer, Fury was the cigar-chomping noncom who led the racially and ethnically integrated unit, unusual for the time.
Sgt. Fury and his Howling Commandos Annual #1 G-VG $9
Sgt. Fury and HIs Howling Commandos King-Size Special #3 VG $12
Sgt. Fury and his Howling Commandos King-Size Special #5 VG-F $8
Sgt. Fury and his Howling Commandos King-Size Special #6 F $12
Early X-Men issues introduced the original team composed of Cyclops, Marvel Girl, Beast, Angel and Iceman among a few others, their archenemy Magneto and his Brotherhood of Evil Mutants featuring Mastermind, Quicksilver, Scarlet Witch, and Toad. The comic focused on a common human theme of good versus evil and later included storylines and themes about prejudice and racism, all of which have persisted throughout the series in one form or another. The evil side in the fight was shown in human form and under some sympathetic beginnings via Magneto, a character who was later revealed to have survived Nazi concentration camps only to pursue a hatred for normal humanity. His key followers, Quicksilver and the Scarlet Witch, were Romani. Only one new member of the X-Men was added, Mimic/Calvin Rankin, but soon left due to his temporary loss of power.
The title lagged in sales behind Marvel’s other comic franchises. In 1969, writer Roy Thomas and illustrator Neal Adams rejuvenated the comic book and gave regular roles to two recently introduced characters: Havok/Alex Summers (who had been introduced by Roy Thomas before Adams began work on the comic) and Lorna Dane, later called Polaris (created by Arnold Drake and Jim Steranko). However, these later X-Men issues failed to attract sales and Marvel stopped producing new stories with issue #66, later reprinting a number of the older comics as issues #67–93.
Tales of Suspense, Issue #39 (March 1963) introduced the superhero Iron Man, created by editor and plotter Lee, scripter Lieber, and artists Heck and Jack Kirby. He starred in generally 13-page but occasionally 18-page adventures, with the rest of Tales of Suspense devoted to the anthological science fiction and fantasy stories the comic normally ran.
After debuting with bulky gray armor, Iron Man was redesigned with similar but golden armor in his second story (issue #40, April 1963). The first iteration of the modern, sleek red-and-golden armor appeared in #48 (Dec. 1963), drawn by Ditko (though whether he or Kirby, singly or in collaboration, designed it, is uncertain). From #53-58 (May-Oct. 1964), the cover logo was “Tales of Suspense featuring The Power of Iron Man”. Two months before the debut of the sorcerer-hero Doctor Strange, Lee, Kirby and scripter Robert Bernstein, under the pseudonym “R. Berns”, introduced a same-name criminal scientist and Ph.D., Carl Strange. Making his sole appearance in the Iron Man story “The Stronghold of Dr. Strange” in Tales of Suspense #41 (May 1963), the character gained mental powers in a freak lightning strike. The Mandarin debuted in issue #50 (Feb. 1964) and would become one of Iron Man’s major enemies. The Black Widow first appeared in #52 (April 1964) and Hawkeye followed five issues later.
Tales of Suspense #28 FN+ $125
Tales of Suspense #46 FN- $349
Tales of Suspense #58 CGC 8.0 Off-White Pages $695
Tales of Suspense #66 FN+ $65
Tales of Suspense #72 VF- $40
Tales of Suspense #74 CGC 8.5 Off-White Pages $149
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