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).
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.
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.
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.
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, newspaper comic 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.
Giant size reprint of classic Stan Lee and Jack Kirby backup stories from Journey into Mystery (Issues 97 thru 106).
Thor debuted in the science fiction/fantasy anthology title Journey into Mystery #83 (cover-date Aug. 1962), and was created by editor-plotter Stan Lee, scripter Larry Lieber, and penciller-plotter Jack Kirby. A different version of the mythological Thor had appeared previously in Venus #12-13 (Feb.-April 1951).
In a 1984 interview Kirby said “I did a version of Thor for D.C. in the Fifties before I did him for Marvel. I created Thor at Marvel because I was forever enamored of legends, which is why I knew about Balder, Heimdall, and Odin. I tried to update Thor and put him into a superhero costume, but he was still Thor.” And in a 1992 interview, Kirby said “[I] knew the Thor legends very well, but I wanted to modernize them. I felt that might be a new thing for comics, taking the old legends and modernizing them.”
Journey into Mystery was retitled Thor (per the indicia, or The Mighty Thor per most covers) with issue #126 (March 1966). “Tales of Asgard” was replaced by a five-page featurette starring the Inhumans from #146–152 (Nov. 1967 – May 1968), after which featurettes were dropped and the Thor stories expanded to Marvel’s then-standard 20-page length.
The Silver Surfer debuted as an unplanned addition to Fantastic Four #48 (March 1966). The comic’s writer-editor, Stan Lee, and its penciller and co-plotter, Jack Kirby, had by the mid-1960s developed a collaborative technique known as the “Marvel Method“: the two would discuss story ideas, Kirby would work from a brief synopsis to draw the individual scenes and plot details, and Lee would finally add the dialog and captions. When Kirby turned in his pencil art for the story, he included a new character he and Lee had not discussed. As Lee recalled in 1995, “There, in the middle of the story we had so carefully worked out, was a nut on some sort of flying surfboard”. He later expanded on this, recalling, “I thought, ‘Jack, this time you’ve gone too far'”. Kirby explained that the story’s agreed-upon antagonist, a god-like cosmic predator of planets named Galactus, should have some sort of herald, and that he created the surfboard “because I’m tired of drawing spaceships!” Taken by the noble features of the new character, who turned on his master to help defend Earth, Lee overcame his initial skepticism and began adding characterization. The Silver Surfer soon became a key part of the unfolding story.
Chamber of Darkness is a horror/fantasy anthology comic book published by Marvel Comics that under this and a subsequent name ran from 1969-1974. It featured work by such notable creators as writer-editor Stan Lee, writers Gerry Conway and Archie Goodwin, and artists John Buscema, Johnny Craig, Jack Kirby, Tom Sutton, Barry Windsor-Smith (as Barry Smith), and Bernie Wrightson. Stories were generally hosted by either of the characters Digger, a gravedigger, or Headstone P. Gravely, in undertaker garb, or by one of the artists or writers.
After the eighth issue, the title changed to Monsters on the Prowl, and the comic became almost exclusively a reprint book.
EHT Comics 