TALES OF SUSPENSE #44: All the Time ’n’ the World

Published: August, 1963

Published: August, 1963

“The Mad Pharaoh!”
Plot: Stan Lee
Script: Robert Berns
Art: Don Heck
Letters: Sam Rosen

Boy, that Tony Stark sure does lead the jet-setting life! First, he travels to Egypt, to help an archaeologist pal locate King Hatap’s tomb, and later, when Iron Man excavates the tomb and the evil Hatap is revived from suspended animation, the “Mad Pharaoh” uses a “golden charm” to travel back in time to ancient Egypt, taking Tony Stark with him! So, in this story, Stark does it all, traveling through both space…and time!

I dare any jet-setter to beat that feat!

In ancient Egypt, Stark dons his Iron Man suit, fights the Romans, and saves the queen, Cleopatra. In the commotion, Hatap accidentally falls on a sword. Grateful and impressed, Cleopatra asks Iron Man to stay and rule with her. He’s tempted by her beauty, but ultimately declines the offer, instead returning to his jet-setting world of technological wonders and adoring beautiful babes.

GIRLS! GIRLS! GIRLS!
tos44cleoIf you ask me, Stark was simply being polite when he engages in his moment of indecision—-“Gee that’s Cleopatra sure is a looker! Maybe I oughta stay!” Sure, she’s a looker, sporting those cat eyes and classic high cheekbones, but in my mind, it’s a toss-up who’s more attractive: Cleopatra… or the shapely present-day belly dancer on page 3!

tos44bellyAs mentioned before, the artists of Marvel Comics in these early days do not seem entirely skilled in the artistic depiction of attractive women. I say “do not seem,” because I have to wonder: are they indeed not skilled, or did they simply not take the time to put their full effort into drawing pretty girls? How many awful Jane Fosters have we seen? How many smudgy-faced Sue Storms? Our first view of Pepper Potts—I can’t even tell if we’re supposed to think she’s good looking!

But I sense all this is getting ready to change, and cite this shapely belly dancer as perhaps a first step in that direction. This is, by far, the most provocative image I’ve yet run across in Marvel Comics. Here is a woman who is not only attractive, but also exudes sexuality. As the 1960’s readership continues to shift from little boys to young men, I predict we will see more images like this. Young men won’t be content with scary, creepy aliens—they also want to ogle hot babes! And even if we don’t immediately get a plethora of hot babes, hopefully we are entering an era when the depictions of women will be given the same respect and attention to detail as everything else on the page.

tos44tonyCase in point: In this issue, there’s yet one more toss-up. Best looking of the bunch: Cleopatra, the belly dancer, or Tony Stark? If you ask me, Stark wins this one, hands down. You could say he has to be the most attractive, because nobody wants to look at a nebbishly plain hero. Besides, isn’t it a lot more fun when your millionaire playboy looks like Rock Hudson, David Niven, or…dare I say it…Robert Downey Jr.?

So, artist Don Heck offers us an extremely rugged and good-looking hero. I just have one question: why does the colorist insist on giving his hair red highlights? Don’t tall, dark and handsome leading men generally have blue highlights?

MOVIE PROMO?
Though this is the August 1963 issue of Tales of Suspense, two months earlier the Elizabeth Taylor movie Cleopatra premiered in American movie theaters. It makes me wonder if Marvel is promoting the movie, having fun with pop culture, or simply trying to cash in with reference to an existing property?

I talked with Russ, and he explained that comic books were always dated several months into the future, so the books could remain on newsstands as long as possible. So this issue, taylorcleodated “August,” would have actually been available as early as May or June—right before the movie came out! Do we have our answer? An unashamed promotional tie-in?

On the cover, as Iron Man rescues Cleopatra, she’s smiling, looking nothing like a damsel in distress. And that’s probably because this scene never actually happens in the story. Cleopatra knows it’s just a photo op, and like any beautiful celebrity, she’s making the most of it. Almost makes you wonder why they didn’t try to get Liz Taylor to pose for the shot.

FRIENDS AND VILLAINS
Villain Hatap makes a brief appearance in this comic, and will never be seen again (if you don’t believe me, check the Chronology Project), so I won’t waste a lot of time on him, except to say, “He lives, he lives again, he meets Iron Man, he dies.”

However, I do want to say something about Tony Stark’s archaeologist “friend,” Paul. Sadly, Paul doesn’t seem to have a lot of confidence in his amazing friend. “Gosh, Tony…” he says, “If only you COULD” get Iron Man to help with the dig. Why does he doubt? If they’re really friends, doesn’t Paul know Iron Man is Stark’s bodyguard, and by extension, his employee? And shouldn’t he realize that when your billionaire boss tells you to do something, “Well…let me think about it,” is probably not the most likely response?

We’ve seen this kind of doubting response from Sue Storm, when Reed is about to do something fantastic, and I’ve lamented that there’s just no good reason for it. I’d like to think that if I lived in the Marvel Universe in the company of the super-smart and superheroes, I’d have a little more confidence that anything is possible.

ENGLISH 101
Now, I will apologize beforehand, but my inner “Grammar Nazi” is going to make a brief appearance.

tos44sacredOn the cover, Pharaoh is misspelled “P H A R O A H.” Not that big a deal, since most people don’t know how to spell Pharaoh, anyway. Be honest: would you have noticed, if I hadn’t mentioned it?*

Okay, one more: Splitting the word “sacred” in the middle so it reads as “Sack Red.” I’ve long been a contender that if you have enough room to put the “dash” when splitting a word, you might as well squeeze in the rest of the word. In this case, there’s no question the words could have been better arranged in the balloon.

TIME TRAVEL ISSUES
Now on to more integral aspects of the story. How about that whole “time travel” business? Guess Iron Man doesn’t adhere to the pesky Prime Directive. He jumps right in to affect history, with little regard to whether or not a fly he swats in ancient Egypt will result in Earth being ruled by the Martians. Perhaps not as responsible as one would like their hero, but certainly a lot more fun!

I may have mentioned before that time travel stories really boggle my mind, and this one is no exception. Some questions arise:

• How did Hatap learn about Stark, and how “brilliant” he is? How does he even know it’s the 20th century and he’s been suspended for 2,000 years? The only plausible explanation is that after being awakened, he lurked around listening to the workers. But that’s not explained, so it leaves us wondering if he comes by this knowledge by some form of sorcery, or by simple eavesdropping.

• If Hatap has the time-traveling “golden charm” when he awakens in 1963, why didn’t he use it in the past? And if he didn’t have it in the past, how does he know about it when he awakens?

tos44chariot
• The “golden charm” transports Hatap and Stark to the past via a “non-existent” chariot of time. Even as they’re traveling, Stark muses, “I know I’m under some occult hypnotic spell,” which indicates he doesn’t believe this is really happening, but immediately follows up with, “We are traveling through time.” Well…which is it? Hypnosis, or the reality of time travel?

• At the end of the story, when Stark is returned to 1963, Paul points out a hieroglyphic that shows Cleopatra embracing a golden-armored figure. Was that image always there, indicating that Iron Man has always gone back to save the day, or were the hieroglyphics altered after his latest adventure?

THE NOBLE HERO
I’m noticing a trend in these Iron Man stories, where the villain threatens that if Stark will not assist in his evil plan, innocent people will die. So Stark agrees, but of course he always has something up his sleeve…or should I say, in his attaché case!

smallvilleI’m not much of a Superman fan, but when we recently watched the Smallville series, I noted that Clark Kent/Superman/Red-Blue Blur would never actually kill the bad guy, but somehow the villain always managed to get himself killed. Same thing here: Hatap stumbles as he tries to catch the “golden charm” that slips out of his hand. But, it slipped out of his hand because Iron Man sprayed it with oil! Iron Man goes so far as to shout, “Hey! Watch out!” but still, Hatap manages to fall on an upturned sword, presumably killing himself. Technically, Iron Man does not actually kill Hatap…but without Iron Man’s “assistance,” Hatap would not have died.

So, Iron Man serendipitously gets the job done without actually having to damage his reputation as a noble hero. The villain is no more, and Iron Man/Tony Stark remains a true Renaissance Man of honor and heart.

asm4avatarNot so much next time, when a younger, more impulsive hero finds he must bend and break the rules in order to capture a villain who can be neither bent nor broken. Join me again soon for more surprises and fun, right here in the Marvelous Zone!


*I’ll be honest, as well: I didn’t notice “pharaoh” was misspelled, either; Russ pointed it out.

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FANTASTIC FOUR #17: Who’s Clutching Whom??

Published: August, 1963

Published: August, 1963

“Defeated by Doctor Doom!”
Story: Stan Lee
Pencils: Jack Kirby
Inks: Dick Ayers
Letters: Art Simek

Okay. I have a couple of things to say, and you might not like it. While this story was okay, I experienced a level of frustration in just about every aspect. I kept waiting for a big moment in the history of the Fantastic Four, but mostly, this was simply more of the same old thing. And the same old thing is getting old.

First, a brief synopsis:

Doctor Doom kidnaps Alicia and sets a trap to destroy the Fantastic Four, should they attempt to rescue her from his sanctum sanctorum in the clouds. However, Reed’s potion temporarily reverts Thing to Ben Grimm so he can break through Doom’s disintegrator defenses and disable the diabolical device. The others follow, and all must escape a number of booby traps. Eventually, Alicia is rescued, but Doom escapes.

That went quickly, didn’t it? I’ve got it down to the bare bones, but then, the actual STORY is a bare bones affair. Let’s take a closer look at what else is going on.

ff17robbed

As I began reading, I kept looking at the page numbers, wondering when some real action would start up. First we rehash the previous issue, then go into a couple of comedy bits, before some semblance of a story finally gets underway on page five. We spend a couple more pages with Doom’s floating marshmallow men chasing the four all over the city, scratching our heads and asking, “What the…?

Finally, on page nine, the real story kicks in.

Yes, it takes until page nine of 22 before we know where this story is going. But even then, it doesn’t go far, since this is a mostly forgettable tale that simply revisits the same themes we’ve seen thus far in the FF series.

For instance:

Once again, we are reminded how fortunate the FF are to have a brilliant scientist on their team. Reed employs an electro scanner, a modified electro-detector, a magnetically powered one man plastic bubble, a highly refined radar set, and of course the volatile serum that transforms Thing to Ben Grimm. I’m tellin’ ya, this guy is more useful than McGyver!

But we already knew that.

mcgyverHowever, you’d think the others would realize it, right? Wrong. Because immediately after Thing frantically wonders if there’s really some way to fight Doom, and Reed replies, “There is, old friend!” Sue chimes in with, “Oh Reed! If only you COULD find a way!” Hello, Sue! Haven’t you been paying attention? Didn’t Reed just boldly assert that he’d found a way? Sue needs to get with the program and realize that when her boyfriend says he’s got a plan to outwit the villain, it’s all over, ’cept for the crying.

Of course, in grand Fantastic Four tradition, Reed does not win the day on his own. Thing employs sheer brute strength, Johnny throws “flame images” to confuse Doom, and Sue also does her part with trickery and invisibility. Teamwork! As usual, each plays an essential part in their success—a part none of the others have the means to accomplish.

So they rescue Alicia, but once again, in the end, Doom escapes! Here’s where I have a problem. How many times have we seen Doom escape so far? Three? Four? Five? As I said: more of the same.

I’m relatively new to comics, so forgive me if I’m misinterpreting, but to my way of thinking, there’s a danger in continually allowing the villain to escape. Obviously there’s a danger to the good citizens of the Marvel Universe, if wild maniacs continue to run amok, but I’m not talking about that. It concerns me that each time Doom and the FF tangle, with neither gaining the upper hand—ff17actionthey simply spar, cause minor damage, then retreat to fight again—the readers may be increasingly apt to sigh, “Ho hum, ho hum…what else is new? Hey! Maybe I should check out what Superman’s been up to!”

Of course, Superman is probably doing just about the same as the FF, battling fierce villains that inexplicably cannot be captured and subdued, despite all the amenities at the heroes’ disposal. Admittedly, the FF and Doom are equally powerful forces for good and evil, but how long can they go on butting heads like this? If one side doesn’t eventually outshine the other, the battle is bound to lose its luster for the readers.

Readers will start asking themselves: How good can the Fantastic Four be, if they continually FAIL to subdue Doctor Doom? And how villainous is Doom, if he can never get anywhere close to achieving his goal of destroying the Fantastic Four? And then the inevitable and terrifying possibility: maybe, rather than both sides being equally good, they are both equally awful.

I discussed this with Russ, and he reminded me that, at least at this point in the Marvel Universe, the FF are not attempting to “bring Doom to justice,” or capture him to be sent to jail, they are simply reacting to whatever fire he has set to get their attention. Last time, they were all about helping the citizens of Micro-World. Before that, the main order of business was to get Reed and Doom back into their own bodies, so Doom would stop his disguised shenanigans. Here, the only objective is to rescue Alicia. And they do that. So yeah, I guess you could say the Fantastic Four are indeed “successful.”

ff17nobleBut what about Doom? Is he successful? His prime directive: destroy the FF. On the surface, he’s consumed by hatred for the group—however, if you look closer, the driving force in this hatred is a raging jealousy against old classmate, Reed Richards. That jealousy is evident in everything Doom does. I’ve talked before about how Doom may be a lonely, bitter figure who, in addition to despising his intellectual rival’s achievements, also resents Reed’s close bonds of friendship and love. Doom’s desire to destroy the FF is ultimately an attempt to obliterate everything Reed Richards both IS and HAS.

However, if Doom wasn’t—as Russ puts it—such a “noble villain,” he could have easily made more progress by this time. In this story alone, I have to ask: if Doom is really so “diabolical,” why does he simply kidnap Alicia? Why not kill her as well? The four would still attempt a rescue, and if for some reason, Doom’s disintegrator failed to destroy them, he would still have achieved the psychological advantage of causing our heroes unbearable guilt and agony when they arrive on the scene to find Alicia dead.

So. Why do we not go there? Will Doom not murder a defenseless female because he is a “noble villain”? But what good is nobility to a villain, if it doesn’t contribute to his villainy? Or is it an external story reason? Perhaps it is Stan who is unwilling to kill the defenseless female, fearing that the audience might not accept and appreciate Alicia’s murder? Was thought given to the tender constitutions of the little boys and young men, who may have been uncomfortable imagining their own mothers and sisters and girlfriends suffering Alicia’s fate? Nowadays, anything goes, but back in the happy-go-lucky 1960’s, perhaps our comic book villains needed to be more “comics” and less VILLAIN. I feel here that Doom is simply playing at being a villain, rather than jumping into the role with all the gusto of, let’s say, a Freddie Krueger or Hannibal Lecter.

ff17jfkWell…okay. Maybe the social climate of the era has some effect on the acceptable level of villainy, but what about this odd bit: In this story, Doom suddenly aspires to become part of the Presidential Cabinet. Huh?? What?? That doesn’t sound like a mad despot to me! Doom seems the type to want to usurp the President himself, or more likely, install himself as Ruler of the Universe. I simply can’t imagine him playing nice with the other Cabinet members. Anything resembling “civil servant” just doesn’t ring true for the dreaded Doctor Doom. Trying to figure out this peculiar development, all I can come up with is that Stan and Jack were simply looking for an easy way to work in JFK’s forehead.

So I end this entry with a mighty…SIGH. More questions than answers. However, I did enjoy these amusing bits:

ff17grotesqueff17polkaFrom the ridiculous to the sublime: A bystander observes of the mighty Thing, “He’s so grotesque that he’s almost beautiful!”

Sue’s floating “follower” has pink polka dots, whereas the others are plain white, a cross between the Michelin Man and the Pillsbury Doughboy.

While Ben travels in the “silent, transparent, magnetically-powered one man plastic bubble,” looking more than anything like an illustration from a 5th grade health film about reproduction, he exclaims “Made it!! I’ve PENETRATED Doom’s disintegrator defenses!” ff17spermThis is not the first time I’ve noticed an image or remark that could be misinterpreted by “dirty minds,” and it makes me wonder if anyone has ever written a book or done a scholarly paper on Freudian and sexual symbolism in the world of Marvel Comics.

Well, that’s all I have to say about this story. A few good moments, but mostly, just more of the same, and some of it doesn’t hold together very well for me. I notice that the cover proclaims the FF are “In the Clutches of Doctor Doom!” but I’m looking forward to the day when Doom does not so easily escape the clutches of the Fantastic Four. I can’t wait to see what happens when both sides finally take off the kid gloves and seriously get down to business.

tos44avatarNext time in the Marvelous Zone, our hero gets right to the business of disabling the villain, and he doesn’t care if he has to cross time and space to do it. He’ll do what has to be done…and look good doing it!

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Meanwhile…: July, 1963

Here are the other “Marvel Universe” books published in July, 1963:

sgtf2
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TALES TO ASTONISH #45: Float Like a Butterfly, Sting Like a Wasp!

Published: July, 1963

Published: July, 1963

“The Terrible Traps of Egghead!”
Plot: Stan Lee
Script: H.E. Huntley
Art: Don Heck
Letters: Art Simek

Before I read a single word of this new Ant-Man story, I noticed on the cover that the Wasp is depicted as a Damsel in Distress, imprisoned in a bubble from which the mighty Ant-Man will no doubt need to rescue her. Coming so close on the heels of Iron Man’s encounter with Kala, Queen of the Netherworld—in which I lament how quickly and easily our first female villain is neutralized—I’m just about ready to throw up my hands in disgust and say, “Well! It’s the early 60’s! What should I expect?” At this point, I found myself hoping the Wasp was not simply introduced as a handy plot device to give Ant-Man something TO DO.

In their first adventure, he pulled her away from danger, and it appears he’ll have to do that again. Will this be a recurring theme? If so, it will become mighty tiresome, especially for my 21st century sensibilities.

Apparently Egghead, the villain in this story, has appeared before, but I have not spoken of him, as that was one of the stories I skipped over, so this blog won’t be stuck in the 1960’s when I’m 98 years old. From what we can see here, though, the name “Egghead” derives not only from his unusually shaped head, but also from a grand intellect, as evidenced by his scholarly facial hair, and penchant for poetic justice when he devises “a lovely, intricate scheme” of employing an anteater to bring about the demise of Ant-Man. Your common criminal might employ an anteater to destroy Ant-Man, but he would never use the words “lovely” and “intricate” to describe his “scheme.”

As our story begins, we get more information about the villain, a “twisted mind eaten with bitterness and the galling ache for vengeance.” Man! These may just be comic books, but I swear, sometimes they read like poetry! (Giving credit where credit is due, Stan devised the plot for this story, but H.E. Huntley came up with the script.) tta45lasttimeAnd later, we get even more information, so that it doesn’t matter whether or not you ever read the first Egghead vs. Ant-Man story, because the entire thing is rehashed in the first page and a half.

We learn that Egghead was relieved of his duties at the atomic research center for selling government secrets, so with all the free time now on his hands, he plots to destroy Ant-Man. Rather than simply set forth a plan to STEP ON Ant-Man (to which Egghead would reply, “He’s not that easy to step on, my friend”), he creates a device to turn the ants against their tiny leader. But since Egghead “misunderstood the psychology of ants,” his plan fails miserably and he ends up a bum in a flop-house.

Now, months later, two thugs named Ape and Twister team up with Egghead in a diabolical scheme to destroy Ant-Man. Egghead grows a beard and assumes the disguise of Dr. Carl tta45waspstrikeStriker, a respected zoologist, who devises a convoluted plan to capture the Wasp by first stealing a famous diamond. There are a lot of steps in this plan, and Ape and Twister don’t understand why it has to be so complicated, and frankly, neither do I. But when Janet van Dyne shows up at the Professor’s wasp exhibit and sees the stolen jewels hidden in a wasp’s nest, she makes the bold decision to solve the crime on her own, so Henry will stop thinking of her as “a scatterbrained little girl.”

Of course we know that any time a member of a team decides to strike out on their own, it can only mean trouble, and that’s exactly what happens. The Wasp is captured, and when she sends for Ant-Man, Egghead forces him to fight an iguana, then the anteater. Yet in the end, it is the Wasp who, finding new reserves of strength and power, uses a straight pin to “sting” the criminals.

Twister and Ape are captured, but Egghead escapes in the commotion, vowing to do better next time he faces his arch-enemy…the diminutive Ant-Man!

Okay, yeah. It’s all kinda silly, I admit. But as this is the second appearance of Egghead, and he escapes in the end, vowing vengeance, I’m sure we’ll see him again. So I guess I’ve got to say a word or two about Egghead. Sigh…

Egghead. What good is he, you might ask? I say “you might ask,” because I find myself asking that very same question. Okay, he’s smart, but so are a lot of other villains. He’s bitter and full of hatred, but then again…so are a lot of other villains. So what sets this villain apart, makes him fearsome, a force to be reckoned with? His egg-shaped head? Sorry, not good enough. I’m unimpressed.

But there are other elements to recommend this thirteen page tale. In case there was any lingering doubt, we now know with certainty that Janet is in love with Henry, and will do just about anything to prove her love to him. Anything, that is, except to do as he asks.

waspstingMore importantly, though, the Wasp finds the one thing she previously lacked: real power! It’s not enough to be small and look cute in your costume, a REAL wasp has a stinger! And now our little superheroine has advanced to a higher level with the discovery of her own distinct WEAPON. It seems unlikely a small girl with a straight pin could cause any real damage, but in this story, Wasp gets the job done…and with gusto!

So I’ll be back for more Ant-Man tales, if for no other reason than this: unlike Kala, our first Marvel villainess from this month’s Tales of Suspense, who was softened and neutralized, our newest superheroine, the Wasp, is now empowered! And any time a superhero adds to their arsenal of weapons, it’s a good thing.

At one point in this story, we see Wasp marvel to Ant-Man, “Your catapult is still faster than my wings.” To which I say…so what? They both arrive on the scene about the same time, and with her straight pin, in her own small way, the Wasp is now able to make a valuable contribution to the fight against evil.

As for that “bubble” prison depicted on the cover, it did not appear in the story. Bait and switch? You decide. And as for Ant-Man having to rescue his pretty partner, yes, it’s true. But at the same time, once free, Wasp joins in the battle, no longer the hapless female. Something new is happening here. It’s still only 1963, but with the introduction of the Wasp and her one little straight pin, it seems Marvel has poked its first tiny hole in the social climate that will eventually evolve into the upheaval of the late 60’s and 1970’s.

And that, too, is a good thing.

You go, girl!

ff17avatarAnd speaking of upheaval, in our next story, all signs point to certain doom for our team of superheroes. But…you don’t really think that’s going to happen, do you? Find out next time, when we meet for further travels through the Marvelous Zone!

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