Mighty Marvel Masterworks: The Black Panther, Volume 1 by Stan Lee, Jack Kirby, Roy Thomas, John Buscema, et al.

Mighty Marvel Masterworks Presents The Black Panther, Volume 1: Collecting The Fantastic Four Nos. 52-54, 56, Tales of Suspense Nos. 97-99, Captain America No. 100, The Avengers Nos. 52, 62, 73-74 & Daredevil No. 52

Collection published: 2022
Contents originally published: 1966-70
Read: January 2024

Writers: Stan Lee, Roy Thomas

Pencilers: Jack Kirby, John Buscema, Barry Windsor-Smith, Frank Giacoia
Inkers: Joe Sinnott, Syd Shores, Vince Colletta, George Klein, Johnny Craig, Sam Grainger, Tom Palmer
Letterers: Sam Rosen, Art Simek

I've been reading Black Panther comics in original publication order, but read this out of sequence because it's a collection of material from 1966-70 that wasn't released until after I'd read other material from this era. I didn't discover it until I'd got up to the early 2000s; I jumped back to read it after finishing Christopher Priest's run. Confusingly, it's called Mighty Marvel Masterworks Presents The Black Panther, Volume 1 but the stories collected are totally different to those collected in Marvel Masterworks Presents The Black Panther, Volume 1. Not sure why Marvel would have two so similarly titled reprint series, but I'm sure it must make sense to someone. (Note that the marketing calls this volume Claws of the Panther, but that title doesn't actually appear on the cover, title page, or copyright page of my digital copy from Hoopla.)

The story collects the Black Panther's original two appearances in Fantastic Four #52-53 (which I had already read, so I did not reread), plus the half of #54 where he appears (which I had not), and then goes on to reprint early guest appearances alongside the FF, Captain America, and Daredevil, as well as a few of his appearances with the Avengers. The first few stories are all Stan Lee and Jack Kirby, then Roy Thomas takes over as writer with John Buscema on pencils.

Playing baseball against Mr. Fantastic doesn't really seem fair.
from The Fantastic Four vol. 1 #54 (script by Stan Lee, art by Jack Kirby & Joe Sinnott)

Fantastic Four #54 and 56 are largely curios. It is neat to see the Black Panther play baseball against the Fantastic Four, but you have to suffer through a lot of blather about the Inhumans even though it's only ten pages long; the Panther doesn't really appear in #56, which is about Klaw returning to bedevil the Fanstastic Four. This has some amazing Kirby art but the writing is not Stan's finest, with a pathetic Sue and some pretty random resolutions. The Captain America comics didn't do much for me either, they are very much Captain America stories with Black Panther as a supporting character who could pretty much be any other hero, though I guess it shows that Marvel were interested in keeping the character going.

Who was this loser, anyway?
from The Avengers vol. 1 #52 (script by Roy Thomas, art by John Buscema & Vince Colletta)

Then Roy Thomas takes over, and he clearly is very interested in the character because we suddenly get him and his world fleshed out a lot more. The Avengers stories weren't great, but were noteworthy. We get the story where Black Panther joins the team, the first appearance of Man-Ape, and a two-parter that introduces singer Monica Lynne, Panther's future fiancée who would play a big role in Don McGregor's and Christopher Priest's work. The story where T'Challa joins the team is weird; it has him in a mask where his lower face is visible, and he's not called "the Black Panther," his codename is just "the Panther." Clearly this minor attempt at a revamp did not stick—to the extent that in that in one of the later stories we're told he deliberately hides that he is Black so that he can avoid judgments on his skin color! The story has him being framed for murdering the Avengers, but the eventual explanation for what happened makes little sense. It is pretty easy to read this story with Priest's retcon that T'Challa only joined the Avengers to spy on them in mind, too.

You would've been happier in the long run if you'd stayed out of it, Monica.
from The Avengers vol. 1 #74 (script by Roy Thomas, art by John Buscema & Tom Palmer)

The two-parter was pretty interesting at first; Black Panther and Monica get mixed up in the attempt of white nationalists to stir up racial animus. Initially, it seems like it's about them taking down the kind of people who might say things like "pointing out racism is the real racism!" Pretty woke, Roy Thomas! But then we learn that the white nationalist demagogue and the Black anti-racism crusader are part of the same evil organization, working together to undermine America. Not so woke after all. But you can see why Monica stuck around; she instantly pops off the page.

Is this that "concrete city" they're always talking about?
from Daredevil vol. 1 #52 (script by Roy Thomas, art by Barry Smith & Johnny Craig)

The best story here is the Daredevil one. It's a bit nonsensical in parts, but it's a neat story about the police trying to find Daredevil (he's been poisoned) but mistaking Black Panther for him, and so T'Challa helps them find Daredevil. Barry Windsor-Smith does some of the best non-Kirby art in this book, good atmosphere. We don't learn much about Black Panther here but it is well told.

So overall, a decent collection to read if you want a sense of where the Black Panther came from.

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"With the sleekness of a jungle beast, the Prince of Wakanda stalks both the concrete of the city and the undergrowth of the veldt, for when danger lurks he dons the garb of the savage cat from which he gains his name! The BLACK PANTHER!"

from Black Panther vol. 1 #3
(script & pencils by Jack Kirby, inks by Mike Royer)

With the cancellation of Jungle Action, the Black Panther was available for Jack Kirby to take over upon his return to Marvel in the late 1970s, giving the character his first self-titled series. Black Panther vol. 1 lasted fifteen issues from 1977 to 1979. It's not clear to me reading it if Kirby even really knew what had been done with the character he co-created after him; there are some footnotes pointing the reader to information from the Black Panther's appearances in Avengers, but in the Kirby-written issues I didn't notice a single reference to anything written by Don McGregor.

This run is much-derided but to be honest, even weak Kirby is still great stuff. It is a bit of a jarring transition to go, as I did, straight from Jungle Action vol. 2 #24 to Black Panther vol. 1 #1: one minute, T'Challa is being beat up by white supremacists in the American Deep South, the next minutes, he is travelling in the company of a monocled dwarf adventurer named Abner Little in search of a frog statue than can send people through time. Abner is one of a group of collectors of rare artifacts, and T'Challa must work with him—despite Abner's own ruthlessness—to stop other collectors, especially Princess Zanda, from exploiting the frog... and to send a hyper-evolved human being from the year six million back to its own time!

from Black Panther vol. 1 #2
(script & pencils by Jack Kirby, inks by Mike Royer)

In the first issue, I was faintly baffled; by the second, I was on board. Sure, this wasn't nothing like the dark poetry of Don McGregor... but one of the big reasons I love superhero comics is how they can constantly reinvent themselves. Kirby is the king of weirdness and the continuing strange turns of the collectors story arc (issues #1-7) are a delight: soon T'Challa and Abner are infiltrating a hidden enclave of immortal samurai! Like, why not? This isn't peak Kirby, but like I said, even middling Kirby is fun to read. (This must have seemed so old-fashioned in 1977-78, though.)

The second story arc shifts the action back to Wakanda; T'Challa mentions he's been gone a long time, so presumably he hasn't been home since before the "Panther vs. the Klan" story arc that began in Jungle Action #19. A regent named N'Gassi has been ruling in the Panther's absence, but General Jakarra, T'Challa's half-brother, has begun a coup. With T'Challa still away, N'Gassi summons distant members of the ruling family from around the globe: a medical student, a racecar driver, and so on.

from Black Panther vol. 1 #12
(script & pencils by Jack Kirby, inks by Mike Royer)

Again, people seem to deride this, but I kind of liked it. The idea of T'Challa having an estranged half-brother is a good one... though admittedly not much is done with it, and nothing carries over from  McGregor's vision of Wakandan politics to Kirby's. But the idea of these pretty ordinary people having to learn how to work together to defeat a vibranium-mutated Jakarra is a great one. (Unfortunately, however, they dub themselves "the Black Musketeers.") Meanwhile, T'Challa keeps encountering delay after delay in reaching Wakanda. One or two of these would have been fine, but they do pile up to beggar belief. I did, however, love the one where he ends up trapped by a science fiction film shooting in the Sudanese desert: a very topical reference to Star Wars.

The last few issues of Kirby's run are a bit of a fizzle, as with Jakarra defeated, a new villain is introduced, who sucks the life force from people. And then, I guess, Kirby must have abruptly left the title, as issue #13 wraps up that storyline, but is by a totally different creative team in a totally different style: Jim Shooter, Ed Hannigan, Jerry Bingham, and Gene Day. I didn't like how they had the Black Panther fail to rescue most of the people the villain had captured.

from Black Panther vol. 1 #14
(script by Ed Hannigan, art by Jerry Bingham & Gene Day)

The new creative team (minus Shooter) continues on for the series's last two issues, which abruptly change the set-up. Now T'Challa is setting up an embassy in the United States to bring an end to Wakandan isolationism, and he ends up working with the Avengers to battle the villain from his very first appearance, the Klaw. I didn't feel like the Klaw's plan made a lot of sense even by supervillain standards, and it was very jarring to me for T'Challa to be palling around with the Avengers. (I know he'd appeared in a lot of issues of Avengers by this point, but I haven't read most of those.) I get that Klaw is Black Panther's first villain, but... he kind of sucks, right?

Hannigan does bring back a couple characters from McGregor's run: Monica, Kevin, and Windeagle cameo, foreshadowing a much-deferred resolution to the Klan storyline. Unfortunately, issue #15 was the last of Black Panther vol. 1. This storyline would eventually appear in three issues of Marvel Premiere, but those weren't in the comiXology sale I got all my Black Panther comics from and don't appear in any of the collections available on Hoopla, so I won't be reading them. (Other reviewers, however, have not been kind. It does seem pretty baffling that Marvel actually tied up a three-year-old storyline from a series cancelled for low sales!)

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The Origins of the Black Panther by Stan Lee, Jack Kirby, Roy Thomas, Frank Giacoia, et al.

from Fantastic Four vol. 1 #52

A couple years ago, I picked up a number of Black Panther comics for free from comiXology in the wake of Chadwick Boseman's death. I tend to read digital comics over breakfast when I don't have some kind of hard copy comic to hand, but at the time I was already reading Titan's Doctor Who comics, and then I moved onto The Wicked + The Divine. Now that I'm done with both of those, I'm turning my attention to the Black Panther comics. They aren't comprehensive, but they are pretty close, and it gets even closer if I supplement with what's available on Hoopla. I'll be reading and reviewing in publication order, though moving things around slightly so that I read series in chunks when two series were released simultaneously.

from Black Panther: The Sound and the Fury #1

The three earliest comics in the sale were Fantastic Four #52-53 from 1966, which introduced the Black Panther and provided his origin, and The Avengers #87 from 1971, which recapped and expanded on his origin, and it's those I'll be reviewing in this post. The two Fantastic Four stories, by Stan Lee and Jack Kirby, have the Black Panther luring the Fantastic Four to Wakanda and then battling them; it turns out he did it as a final challenge to himself. He then recaps his origin, where his father was killed by the villain later known as Klaw, and then Klaw turns up and everyone battles him. (In between all this, one is subjected to pages featuring the Inhumans.)

It's Lee and Kirby at their peak, so it has potency and power—and excess. You can see there's a lot here to run with, but I don't know that I enjoyed it so much as I appreciated the inventiveness of it all. Lots of crazy ideas, but also lots of exposition, and no one ever accused Stan Lee of being elegant. I also have these issues in a Fantastic Four Omnibus that I haven't got around to reading, and I wonder if I'll appreciate them more in their original context whenever I get around to that.

from Marvel Tales: Black Panther #1

The issue of the Avengers is from when the Black Panther was a member of the team; in classic Roy Thomas fashion, he decides to tell everyone a very detailed version of his backstory. This expands on what was told in Fantastic Four #53, adding more details to how T'Challa grew up partially outside of Wakanda, and giving him a friend who (of course) ultimately betrays him. Again, it fills in a lot of backstory for T'Challa (sometimes since FF #53, he'd gotten that name too), and I'm sure there will be a lots of future callbacks to it, but it's not so much a story in itself.

Overall, these three issues make a useful foundation, and I'll be curious to see where we go from here.

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"The Black Panther!" was originally published in issue #52 of Fantastic Four vol. 1 (July 1966). The story was scripted by Stan Lee, illustrated by Jack Kirby, inked by Joe Sinnott, and lettered by Sammy Rosen.

"The Way It Began..!" was originally published in issue #53 of Fantastic Four vol. 1 (Aug. 1966). The story was scripted by Stan Lee, illustrated by Jack Kirby, inked by Joe Sinnott, and lettered by Artie Simek. It was reprinted in Black Panther: The Sound and the Fury #1 (Apr. 2018), which was edited by Mark Basso.

"Look Homeward, Avenger!" was originally published in issue #87 of The Avengers vol. 1 (Apr. 1971). The story was written by Roy Thomas, illustrated by Frank Giacoia and Sal Buscema, lettered by Mike Stevens, and edited by Stan Lee. It was reprinted in Marvel Tales: Black Panther #1 (Nov. 2019), which was edited by Jennifer Grünwald.

Fantastic Four #52 was the only one of these three offered in its original format; the other two were in reprint comics. Note that The Sound and the Fury #1 also contains an original story, but I'll read that when I get up to 2018's comics in this readthrough. I have the other three issues in Marvel Tales: Black Panther #1 in other forms, so this is the only comic from it I'll be reading directly.

Review: The Jack Kirby Omnibus, Starring Green Arrow

A couple Doctor Who: Short Trips reviews have been posted over at Unreality SF: Adric meets the fourth Doctor again in "The Ingenious Gentleman Adric of Alzarius" and Susan meets the eighth Doctor again in "All Hands on Deck."

Comic trade paperback, 304 pages
Published 2011 (contents: 1946-59)
Acquired December 2016
Read January 2017

The Jack Kirby Omnibus, Volume One: Starring Green Arrow

Written by Joe Simon, Jack Kirby, France E. Herron, Bill Finger, Dave Wood, Robert Bernstein

Pencilled by Jack Kirby
Inked by Jack Kirby, Joe Simon, George Roussos, Frank Giacoia

This volume collects everything Jack Kirby drew during his first two tenures freelancing for DC Comics (1941-49 and 1956-59) that doesn't fit into the other Jack Kirby omnibus volumes DC has released (e.g., The Sandman, The Newsboy Legion, The Boy Commandos); it's basically an assortment of random issues of Real Fact Comics, House of Secrets, House of Mystery, Tales of the Unexpected, My Greatest Adventure, and All-Star Western, plus Green Arrow features from Adventure Comics and World's Finest Comics.

This isn't Kirby at his best; most of the time he's writing to someone else's scripts, or at least someone else's demands. I mean he's still a great illustrator, and I love seeing his image of our supposed rocket-age future:

I just love the assured tone of this thing: "probably called 'rocketeers.'" Like, why? What leads you to think that will "probably" be the case, Jack and Joe? Also, where's my rocket tube to China?
from Real Fact Comics #1 (script & art by Joe Simon & Jack Kirby)

...but giving him a two-page feature in Real Fact Comics (don't worry, there are no real facts to be found) is a waste of his talents. The Sandman, from the same era, is a much better use of Kirby's abilities; there's little trace of his trademark dynamism here.

Kirby is good at drawing bizarre monsters, so the stories from 1950s "weird" titles are more suited to him, though they're still not great. There's an odd subset of these stories that present "rational" explanations for seemingly irrational events. But I'm actually found it more plausible that a criminal found a magic lantern during a jailbreak that the idea that an undercover cop planted it there and arranged to have the criminal's three wishes granted on command in a convoluted plot to discover the location of money the criminal had stolen. I guess "impossible" trumps "highly unlikely" in the probability stakes. This must have been a thing, though, because there are a lot of stories with these kinds of endings (I'm not really telepathic, the metal plate in my skull is just picking up your dictaphone from miles away; I'm not really immortal, I just wanted to obtain your money; I'm not really a yogi, I just wanted to sell my crystal ball to another fake yogi and so commissioned a women to pretend to be a Cleopatra waxwork and kiss you; and so on).

I feel like if Oliver Queen can get something like that to fly around in circles on command, there has to be a better application for it than trick arrows.
from Adventure Comics vol. 1 #251 (script & art by Jack Kirby)

This is actually the third time I've read the Green Arrow tales collected here, since DC previously reprinted them in both a thin volume of Kirby's Green Arrow work, and (in black and white) in Showcase Presents The Green Arrow. I have to say, they don't hold up to repeated rereading. Some I still didn't remember reading, though! And man, does Oliver Queen have a loose definition of "arrow" and an ability to make incredibly un-aerodyamic objects fly regardless.

"Straightened out." I think your manservant is having a little fun with you.
from Tales of the Unexpected vol. 1 #24 (writer unknown, art by Jack Kirby)

Still, there are times the King of Comics gets to strut his stuff: the cool visuals of "The Two-Dimensional Man" were probably my favorite thing in the whole book. Give Kirby something totally bizarre to draw, and he will always knock it out of the park.

Faster than a DC Bullet: Sandman Mystery Theatre, Part XI: The Sandman

Comic hardcover, 300 pages
Published 2009 (contents: 1942-74)
Borrowed from the library
Read March 2011

The Sandman

Stories and Art: Joe Simon & Jack Kirby
Additional Inks: Mike Royer

In 1941, DC gave the Sandman a new costume and a new sidekick in an attempt to revive a fading character by making him more like a superhero-- they even ditched Wesley Dodds's girlfriend Dian. It probably would have failed, had not Joe Simon and Jack Kirby taken over the character in 1942, fresh off their success creating Captain America for Marvel. Every story the two of them collaborated on is here. They're goofy, sure, but they're also really quite good-- they've got art by Jack Kirby, you know! Kirby and Simon's layouts are dynamic, with stretching borders and crossing the gutter and just all-out dynamism. The Sandman no longer uses his gas gun or mask here (alas), but the name is kept appropriate with the use of dreams in the stories. Frequently, characters are motivated by their dreams (or even lack thereof), and all the villains in New York City dream of the Sandman. In fact, when Wesley Dodds is replaced by an impostor, Sandy figures it out because "Dodds" mentions dreaming of the Sandman!

Some are better than others, of course, and as you might imagine from a book featuring twenty-four different stories, it eventually gets repetitive. Some are just dumb, but there are a lot of neat ones, too. I also enjoyed the glimpses of World War II propaganda; the Sandman and Sandy exhort the reader to buy war bonds, but even better is the comic about Hitler, Mussolini, and Hirohito reading The Boy Commandos. They get flat-out terrible at the end, but I think those ones might not actually be by Simon and Kirby-- though I'm basing that on the most fleeting of evidence! It's just weird to think that these adventures happened to the same guy as Sandman Mystery Theatre. And it's even weirder to think that that version of Wesley Dodds hung out with an obnoxious snot like Sandy. (Okay, he's nowhere near as bad as Green Arrow's kid sidekick Speedy.)

Also included is the first issue of the 1974-76 series about the second Sandman, Garrett Sanford, which reunited Simon and Kirby for the last time ever. It's weird and doesn't quite hang together-- what is General Electric's plan, anyway?-- but the concepts and visuals are as captivating as always. You can see why Roy Thomas brought back this version (and even game him a name, which Simon and Kirby did not), and why Neil Gaiman nicked some of the concepts for his Sandman series.

Faster than a DC Bullet: Project Star City, Part XVIII: The Green Arrow

Perfect-bound comic, 71 pages
Published 2001 (contents: 1958-59)
Borrowed from the library
Read March 2010

The Green Arrow

Writers: Jack Kirby, Bill Finger, Dave Wood, Ed Herron, Robert Bernstein
Artists: Jack Kirby, Roz Kirby

This volume collects all the Green Arrow stories drawn by Jack Kirby before he went to Marvel and co-invented the Fantastic Four. It's just eleven six-page stories, not exactly a lot of a reading-- or very complicated reading. At that length, there's scarcely even room for plot complications. The writing of only one of the stories is officially credited to Kirby, but Kirby disciple Mark Evanier's introduction reveals that he usually rewrote the stories as he drew them. The most Kirby-esque one is the two-part "The Mystery of the Giant Arrows"/"Prisoners of Dimension Zero!", where Green Arrow (and sidekick Speedy) are plunged into another reality where everyone is a giant... including a very familiar crime-fighter called Xeen Arrow. Nothing here stands out very much, aside from GA's ridiculous original origin story, "The Green Arrow's First Case". Who keeps a diary on a cave wall?

Green Arrow has gotten flack ever since Quiver for the boxing glove arrow, but what reading this story revealed is that it is one of the least bizarre arrows in GA's arsenal. In these mere eleven stories, he deploys the heli-spotter arrow, the ricochet arrow, the mummy arrow, the boomerang arrow, the rain arrow, the cable arrow, the cocoon arrow, the jet arrow, the firecracker arrow, the balloon arrow, the parachute arrow, the rope arrow, the short-circuit arrow, the acetylene arrow, the aqua-lung arrow, the two-way radio arrow, the fountain-pen arrow, the dry-ice arrow, the flare arrow, the two-stage rocket arrow, the siren arrow, the tear-gas arrow, the smokescreen arrow, the machine-gun arrow, the fan arrow, the net arrow, the ink arrow, and the greatest of all, the fake-uranium arrow. And that's not even counting arrows from other sources, such as the charmingly stereotypical Green Arrows of other countries, or the people of 3000 A.D., who send GA hi-tech arrows. But you do have to admire the single-minded worldview of these stories: there's not any problem that can't be solved through the deployment of the appropriate arrow.