Monday, 10 January 2011


Cover art by Jim Starlin & Joe Sinnott

Okay, I know I'm a little late with this one, but there's still a
smattering of snow on the ground so I might just get away with it.
Feast your eyes on the cataclysmic cover of the "Christmas" issue of
The MIGHTY WORLD Of MARVEL #13 - pencilled and inked by
JIM STARLIN and JOE SINNOTT respectively.  This comic first
appeared on newsagents' shelves back on December 23rd, 1972 -
just over 38 years ago.  There's no point in padding this out any
further - this is one of those pictures that speaks for itself.


Steve said...

If only they'd been able to get Jim Starlin to draw all the covers for its entire run.

Kid said...

If only - although I did like Big John Buscema's cover for issue #1. I think Jim Starlin drew them right up until the early 20s.

Anonymous said...

Three months later (the time it takes to be sent by ship) it appeared in Australia, where it was the first issue of MWOM that I'd seen.

At that point I'd been reading comics for about 18 months, but thanks to the odd issue of Wham! or Fantastic!, and the various Hanna Barbera and Grantray/Lawrence cartoons, I was fairly cluey about how the characters worked.

One thing that struck me as odd about the British reprints was the way they tried to pretend that it was all new, exciting stuff - did you read it as such, or were you aware that it was reprinted material?

And did it bug you they way they laid on (sometimes overly so) the Letratone with a trowel?

B Smith

Kid said...

Having read most of it all before in the pages of the Power Comics, I was aware it was reprint - but I was grateful for the opportunity to re-read the stories and relive my childhood at the same time. (Being a jaded, decrepit, 13-14 year old teenager in 1972.) Although I remembered the stories, it wasn't to a degree of familiarity which prevented me from getting something new from them at the same time.

As for that Letratone, it wasn't too bad in the early issues - but once they switched to glossy covers, it started to obscure the artwork by coming out black. As the American B&W issues used Letratone and managed to successfully achieve the intended shades of gray, the failure of the British issues to do likewise must have been down to poor quality printing. After all, it was the same team in America who were responsible for the Letratone for US and UK editions.

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