based on Stephen King’s 1978 novel of the same name. Based on the 1990 Complete & Uncut version of the novel, the comic adaptation was written by Roberto Aguirre-Sacasa with art by Mike Perkins and Laura Martin. Its thirty-one issues, divided into six story arcs, completed the telling of the unabridged novel. Stephen King served as Creative and Executive Director of the project.
S.W.O.R.D. was relaunched in December 2020 as part of “Reign of X“. Written by Al Ewing and drawn by Valerio Schiti, the initial team consisted of Abigail Brand, Cable, Frenzy, Fabian Cortez, Magneto, Manifold and Wiz Kid.
S.W.O.R.D. (Sentient World Observation and Response Directorate) was restored when Abigail Brand resigned from Alpha Flight after the Alliance-Cotati conflict feeling that the space program wasn’t properly utilized and when the mutant nation repowered the abandoned Peak space station. In cooperation with the Quiet Council of Krakoa, it became the mutant nation’s representative to the outer universe.
The first appearance of Frankenstein’s Monster in the Marvel Comics Universe came in the five-page horror comics story “Your Name Is Frankenstein”, by writer-editor Stan Lee and artist Joe Maneely in Menace #7 (Sept. 1953), from Marvel’s 1950s forerunner, Atlas Comics. The following decade, a robot replica of Frankenstein’s Monster appeared as an antagonist in The X-Men #40 (Jan. 1968), by writer Roy Thomas and penciler Don Heck, and was destroyed by the titular team of mutant superheroes. The actual Monster first appeared in Marvel Comics continuity in a cameo flashback in “The Heir of Frankenstein” in The Silver Surfer #7 (Aug. 1969), by writer-editor Lee and penciler John Buscema.
The character received an ongoing series, titled Frankenstein in the postal indicia and initially The Monster of Frankenstein (issues #1-5) and later The Frankenstein Monster as the cover logo, that ran 18 issues (Jan. 1973 – Sept. 1975). This series began with a four-issue retelling of the original novel, by writer Gary Friedrich and artist Mike Ploog. Several more issues continued his story into the 1890s, until he was placed in suspended animation and revived in modern times.
Groo the Wanderer is a fantasy/comedy series written and drawn by Sergio Aragonés, rewritten, co-plotted and edited by Mark Evanier, lettered by Stan Sakai and colored by Tom Luth. Over the years it has been published by Pacific Comics, Eclipse Comics (one special issue), Marvel Comics (under its Epic imprint), Image Comics and Dark Horse Comics.
Groo was one of the first widely successful creator-owned comics, one of the few successful humorous comic books (outside Archie Comics) during its time, and one of the longest-running collaborations in comic book history. In 2011 IGN ranked Groo 100th in the “Top 100 comic books heroes”.
Aragonés and Evanier negotiated a deal with Epic Comics, an imprint of Marvel Comics, for that company to take care of publication while preserving creator rights. This resulted in the longest run of Groo the Wanderer with 120 issues. In 1994, with Marvel facing financial difficulties, the title switched to Image Comics and was retitled Groo. (In the first issue Groo remarks “The marvels of the world are but images before me.”)
When Image in turn faced legal problems after publishing twelve issues, the title switched to Dark Horse Comics in 1998. Dark Horse is not publishing the title as a regular series, but is periodically releasing new material and reprints as mini-series and collections.
Fifty years from now, Logan – the man who no longer calls himself Wolverine – will have endured many atrocities: The Marvel Universe’s villains will have banded together and rid the world of its heroes. Logan’s closest friend, Hawkeye, will have been murdered in cold blood right before his eyes. And driven mad by the same radiation that gave him his superhuman strength, Bruce Banner will have fathered a family of hillbilly Hulks…that eventually went on to slaughter Logan’s wife and two children. But now, in the present, Old Man Logan wakes up to discover himself in a world before these atrocities, before the Wasteland. And he’s going to seize this opportunity and change history to ensure that his future never comes to pass…
Whereas The Gunslinger Born was largely based on the events of The Dark Tower IV: Wizard and Glass, Treachery, like The Long Road Home, consists mostly of new material not found in any of the novels.
The story depicts the ka-tet of Roland Deschain, Alain Johns and Cuthbert Allgood dealing with the events following their return to Gilead from Hambry, including the toll that Maerlyn’s Grapefruit has taken on Roland’s health, his obsessive desire to continue peering into its depths, and the search for John Farson and the Big Coffin Hunters.
Johnny Blaze has the perfect life: a wife and two kids, a job at an auto repair shop and a small-town community that supports him… But Johnny isn’t doing well. He has nightmares of monsters when he sleeps. And he sees bloody visions when he’s awake. This life is beginning to feel like a prison. And there’s a spirit in him that’s begging to break out!
Supernatural Thrillers ran 15 issues (cover-dated December 1972 – October 1975). The title was one of four launched by Marvel Comics editor-in-chief Roy Thomas to form a line of science fiction and horror anthologies with more thematic cohesiveness than the company’s earlier attempts that decade, which had included the series Chamber of Darkness and Tower of Shadows. Whereas those titles generally presented original stories, these new books would instead adapt genre classics and other stories.
Issue #5 (August 1973) introduced the Living Mummy in a standalone story about an African tribal prince enslaved by Egyptians and mummified by an evil priest, who eventually reawakens in modern times. The character, created by writer Steve Gerber and penciler Rich Buckler, returned two issues later as the starring character in a generally 15-page solo series that ran from #7 to the final issue, #15 (June 1974 – October 1975). The cover logo during this time was “Supernatural Thrillers featuring The Living Mummy”.
Strange Tales switched to superheroes during the Silver Age of Comic Books, retaining the sci-fi, suspense and monsters as backup features for a time. Strange Tales‘ first superhero, in 12- to 14-page stories, was the Fantastic Four‘s Human Torch, Johnny Storm, beginning in #101 (Oct. 1962). Here, Johnny still lived with his elder sister, Susan Storm, in fictional Glenview, Long Island, New York, where he continued to attend high school and, with youthful naivete, attempted to maintain his “secret identity” (later retconned to reveal that his friends and neighbors knew of his dual identity from Fantastic Four news reports, but simply played along).
The title became a “split book” with the introduction of sorcerer Doctor Strange, by Lee and artist Steve Ditko. This 9- to 10-page feature debuted in #110 (July 1963), and after an additional story and then skipping two issues returned permanently with #114. Ditko’s surrealistic mystical landscapes and increasingly head-trippy visuals helped make the feature a favorite of college students, according to Lee himself. Eventually, as co-plotter and later sole plotter, in the “Marvel Method“, Ditko would take Strange into ever-more-abstract realms, which yet remained well-grounded thanks to Lee’s reliably humanistic, adventure/soap opera dialog. Adversaries for the new hero included Baron Mordo introduced in issue #111 (Aug. 1963) and Dormammu in issue #126 (Nov. 1964). Clea, who would become a longtime love interest for Doctor Strange, was also introduced in issue #126.
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