Thomas J. McLean

Writer, Editor, Author

Star Trek (Marvel) #8 (Nov. 1980)

Cover to Star Trek #8 (Nov. 1980), art by Dave Cockrum.

“The Expansionist Syndrome” (22 pages)
Writer:
Martin Pasko
Artists: Dave Cockrum & Ricardo Villamonte
Letterer: Ray Burzon
Colorist: Carl Gafford
Editor: Louise Jones
Editor in Chief: Jim Shooter
Cover artist: Dave Cockrum

A few changes this issue, with Marty Pasko stepping in as writer and Ricardo Villamonte as inker on Dave Cockrum’s pencils. There’s good and bad in these changes: Pasko’s script starts off strong and action packed — the best so far of the original stories — but suffers from trying to wedge in a full TV episode’s worth of plot in a comic book space. It quickly becomes clear there’s just not enough space to give the ideas space to breathe or context to give it meaning. Villamonte fares better, bringing a much cleaner look to Cockrum’s pencils that better suits the series. It’s the best-looking book so far in the series, even with Cockrum’s design biases on clear display in the creation of the alien Machs (who look a lot like the Sidri from X-Men).

This issue begins with a solid splash page of the bridge crew reacting in pain as alien ships can seen on the main viewer — and Spock looking like he’s in a trance. The captions explain the Enterprise is on its way on an emergency medical mission to Starbase 14 and its course has taken it into the Agena system, where the inhabitants of the fourth planet have taken their appearance in their space as an invasion.

A decent splash page, but that title lettering is weak.

We then get a pretty good two-page spread, with the Agenan ships trapping the Enterprise with energy bands resembling the web seen in the third season TV episode “The Tholian Web.” The energy is causing the bridge crew extreme pain and disrupting the matter/anti-matter generators, trapping the ship in space with all other systems operational. The last panel reveals the medical mission the trap disrupts is getting an ill agricultural engineer to the Starbase for a live-saving procedure. Without it, she’ll die in 24 hours.

Shades of “The Tholian Web,” but still a pretty dynamic two-page spread from Cockrum.

Complicating matters, Spock is “digitized” off the bridge to one of the alien ships, which heads to the planet surface. So, naturally, Kirk prepares to fight back only to hear from Scotty that the energy disruption is affecting weapons systems and that unless they stop the aliens the Enterprise will explode in four hours.

Spock goes to pieces. Or maybe he just really likes the cover to Talking Heads’ 1978 album, “More Songs About Buildings and Food.” I think he and David Byrne would get on well.

Villamonte’s inks and Burzon’s very clear lettering show how mismatched Janson’s style was with the book. The story so far has breezed along easily, clearly and is quite entertaining. Cockrum’s art looks like Cockrum’s art. And it continues in some cool alien designs and layouts as Kirk leads a landing party to a surface full of interesting aliens and a fair bit of action.

And here’s where the story starts to run into itself. First, we have the humanoid aliens on the planet calling themselves Orgs and their enemies are the Mox. More on that in a bit. And then the critical patient on the Enterprise, Professor Lenore Fowler, starts smacking tools out of Dr. Chapel’s hands as she demands to see McCoy.

Cockrum again delivers with a nice alien in the first panel and then that fourth panel with the projectile-tossing arm just visible on the edge.

The Enterprise sensors pick up Spock’s life form readings as the only such readings in a 200 km radius, and lead the landing party to his location within a large temple. There’s some slug-like creatures all around called the Kamahr that generate force fields. An org named D’vid explains the Orgs and Mox are enemies fighting for control of the planet. The Mox have control and confine the Orgs to small areas unable to support their population. So they starve and are now ready to fight back with a planned invasion of the Mox temple.

Next, we find Spock inside the temple with the Mox citing self defense as they attempt to convince him to use his telepathic abilities on the Kamahr in some way. Spock refuses, of course.

Kirk and McCoy, meanwhile, are in the temple and see the Mox for the first time. Together, they figure out that the Mox are Machs, as in machines, and the Orgs are organisms. Mastering the obvious is apparently a difficult course to pass at Starfleet Academy. When the Mox guard spots D’vid, it attacks and the landing party defends itself by destroying the guard. They then find and free Spock, who, like some kind of pointy-eared Clarissa, tells it all: the Mox have learned of the Orgs invasion and are seeking a way to defend themselves as nonviolently as possible by tapping into the Kamahr and their telekinetic abilities.

Kirk and McCoy put their half-brains together and figure out the obvious.

Meanwhile, Chapel makes the mistake of turning her back on the professor, who uses a hypospray on her doctor to escape. Back on the planet, McCoy and Kirk debate whether killing the Mox is murder, when the Orgs attack. Spock, of course, fixes the whole thing by mind melding with the Kamahr and using their telekinesis to free the Enterprise from the Mox ship. Kirk orders the ship to fire its phasers in a wide target on stun mode, which stops the invasion by knocking out all the Orgs.

The Fowler stuff aside, I like the little debate in the bottom half of this page. It really evokes the feeling of the original series.

The professor, meanwhile, stuns the transporter crew and beams down in time to tell Kirk she has a solution to the planet’s problem — just as she collapses due to her fatal disease.

Suddenly, Kirk, Spock and McCoy are back on the Enterprise bridge. Kirk reveals how Spock’s mind-meld revealed that the Mox and Org were both from Earth — refugees from the Eugenics wars of the 1990s.

A good page for some typical Trek-like banter — too bad none of it makes sense.

Then Professor Fowler on the planet communicates that she’s doing great with the mechanical heart the Mox designed for her and that she’s got high hopes for the truce she arranged between them. She’s already got them building hydroponics gardens, high-rise housing and instituted a population control program.

Since THAT all worked out somehow, Kirk orders the ship on to its next mission.

And just in case you weren’t confused enough, here’s a final attempt to explain this story before it ends.

This is a script that really tries to evoke the feeling of the TV show, and succeeds in a number of ways. But it ends being too much story for a 22 page comic book. (In case you were wondering, Marvel did up its story page count in 1980 from 17 to 22 pages at the same time it raised prices from 40 cents to 50 cents.) Trying to jam this much story into a single issue fails to give any of the elements the space to build any suspense or have the payoff mean much of anything in any of its plot lines. The klunkiness of the Mox and Orgs and D’vid is pretty mawkish, and the Professor Fowler character has no rational motivation for her actions and ends up pretty much just a plot device designed to increase danger and resolve the story.

The rest of the comic is pretty solid, though. The mention of the Eugenics Wars of the 1990s predicts and pre-dates plans to bring back Khan in the next movie. The art is clean and clear and has the personality and flair you expect from Dave Cockrum. The colors aren’t flashy, but they do their job. And the lettering is clean and clear. I think Marvel must have upgraded its printing along with expanding the page rates, because there’s far less of the muddiness seen in previous issues to be found here. Even the cover is a big improvement, actually showing one of the main characters — Spock — prominently and in a perilous situation interesting-looking enough to entice readers to part with their half-dollars. No letters page this issue, but there are plenty of signs that the book is improving in many ways for hopeful Trekkers in the summer of 1980.

Comic-Shop Memories: All About Books & Comics (Part I), 1986-87, Phoenix, Ariz.

I don’t know how quickly I was able to discover All About Books & Comics after moving to Arizona, but it was pretty quick, likely within a month or so after arrival.

The shop was farther from home, about 16 miles from home or a half-hour each way in the car, at 535 E. Camelback Road. Like most comics shops, it was in an unremarkable building, albeit one that had bright letters and even characters at times painted on its street-facing windows.

It would be an understatement to say I was impressed when I first walked into the store. Not only was the space large, but it was crammed to the gills with new and back issue comics — more than I’d ever seen in any other shop. And, I quickly learned, there was lots more in the back. If you couldn’t find what you were looking for, just ask, and they’d come back shortly with the book you needed in fantastic shape. I have a stone-cold mint copy of X-Men #147 I acquired from the “back room,” and an equally nice copy of X-Men #142.

What impressed me most at first was the back issue selection, which was deep. I checked out the X-Men selection and — just in the box — they had just about every issue back to #143, the end of the John Byrne run. The issues before that were prominently displayed along the walls in mylar sleeves for “exorbitant” prices that ranged from $10 to $30 for most except the earliest issues of the “new” X-Men run. Every other title was stocked just as deeply, if not more so, since those early new X-Men issues were the hottest thing going at the time and there were no reprints. So to read them, you had to get the originals. Classic X-Men had just started and it was going to be a while before it got to the Dark Phoenix issues.

A later printing of the first X-Men trade paperback, with a great cover by Bill Sienkiewicz.

I say that with one exception, that applies directly to this visit. While checking out a rack in the corner, I came across the first X-Men trade paperback, published in 1984, collecting issues #129-137, for the cover price of $7.95. I had to have this book, but couldn’t afford it at the time. Luckily, Christmas was coming up, and I told my parents this is what I wanted. So my dad drove me down to the store again, we bought it — I was sure it would be gone by that point — and it went home to be wrapped awaiting Christmas morning. I remember reading it that Christmas Day of 1986 and absolutely loving it. I’ll have to do a whole post on that book another time.

The following May, I graduated high school and was due to attend the University of Arizona in Tucson starting in the fall. My dad was working for a personnel company that had a temp business that served American Express, which had extensive operations in the Phoenix area. So he got me a summer temp job at one of their call centers, answering a national informational toll-free number for the Amex business card. The hotline was advertised in USA Today and other high-profile places, so my job was to answer these calls, answer basic questions about the card, take down the caller’s information and pass it on so that an application would be sent to them, or — if they were a larger company — a sales rep could contact them. It was boring and easy. Most of the calls came from the East Coast, so the afternoons slowed to a crawl and I’d read sci-fi books I borrowed from the library at my desk until I was done at 4:30. The perks included being able to look up cardholder addresses in the computer — few comics folks seemed to have Amex cards, but I never stopped putting their names in the system — and a fantastic deli in the complex called The Duck and Decanter, which is still there and makes the most incredible sandwiches. And it was located at 16th Street and Camelback road, just nine blocks down the street from All About Books & Comics!

So 4:30 would hit and, about twice a week, I’d make All About my first stop. I had this summer job and sufficient financial aid to pay for university, so I felt free to spend a little money on comics. I was in full-on X-Men fandom mode at the time, and so these trips were used primarily to raid those deep back issue bins. I’d grab four or maybe five issues per visit, adding in a few other back issues to series I still had holes in — The New Mutants and Alpha Flight in particular. When I started frequenting All About, my X-Men collection ran back from the current issue (around issue #220) back to about #174, with a couple of older issues in there. By the end of the summer, I’d filled it in all the way back to #141, plus annuals. I’d also brought up to date my run of The New Mutants.

I was really interested at the time in the issues from Dave Cockrum’s second run as artist, which I was reading for the first time. They were very different in tone and style than the stuff that hooked me on X-Men: issues Claremont produced with artists Paul Smith, John Romita Jr., John Byrne and Art Adams. But the more I read the Cockrum stuff, the more I really came to love it fully and completely, faults and all.

I also started trying out more comics, still mainly Marvel. Favorites included: Avengers by Roger Stern, John Buscema and Tom Palmer; West Coast Avengers by Steve Englehart and Al Milgrom; and Silver Surfer by Englehart and Marshall Rogers. All About was well stocked, and you could pick up at cover price, new off the racks, the last six or so issues of these titles plus any recent annuals. And new comics cost 75 cents at the time, so it was not terribly expensive to try out six or so issues of a new series.

I recall flipping through a copy of an issue of Batman: Year One and not buying it — which was, again, really dumb. I did later acquire those originals for a very reasonable price.

As I mentioned in my previous post, I had been getting my subs through Fog Hollow Comics until it closed, and then those subs were transferred to a shop called AAA Best Comics. On Fridays, I would often hit All About and then drive up to Fog Hollow for my subs and then home. It took an hour in the car in Phoenix summer heat — without air conditioning. But this was my thing and I was all in. I almost always went for a swim as soon as I got home to refresh my sweaty self and remember for a moment what it was like to be cool.

The day before I was scheduled to drive down to university with my parents and move into my first apartment with a roommate I had yet to meet, I wanted to get my new comics from All About. It was new comics day, but in those days that was far less of a weekly event than now. The books came in and sat in piles on the counter throughout the afternoon as the staff worked to verify quantities before they could be put on sale. So I waited. For quite a while. I looked through back issue bins. I checked out the small section next to the comics where All About stocked used paperbacks and discount comics. Finally, the new books were freed and I picked up my comics, including X-Men #224, and began the long drive home in the late-afternoon heat.

Cover to X-Men #224 (Dec. 1987). Cover art by Marc Silvestri and Bob Wiacek.

If you’ve ever been to Phoenix in the summer, you know it gets really damn hot. And when the monsoons come, it gets worse because the humidity goes up from nothing to something. This was a monsoon day. I could see the thunderheads building up in the mountains, and was driving toward them as our house was near the foothills of the McDowell mountains. I had sweat through my clothes several times over in my AC-less VW Beetle. And then I got a flat on Hayden Road, just north of Via de Ventura. I pulled off onto a side street and, having no working spare, found a nearby pay phone to call for help. Which took a very long time to come because it was rush hour and our other car was otherwise occupied. So I found some kind of shop to sit in, with my comics, and read them until I got some help and could get home, wash off the day with a dip in the pool and try to prepare for the next day’s events. But I had my comics. That made me happy. And since I had an apartment, I did take with me my collection — about three long boxes at this point.

On to Tucson, and another town of new comics shops.

Comic-Shop Memories: Fog Hollow Comics, Phoenix, Ariz., 1986-87

Old Town Scottsdale is the kind of place where tourists like to overpay for snakeskin cowboy boots, extra-hot salsa, cheap turquoise jewelry and elaborate Kachina dolls. On the plus side, you can just as easily find some really good tacos and cold Mexican beer.

My family moved Oct. 2, 1986, to Scottsdale, Arizona. We lived in a home in what was then the north edge of town, somewhere between Shea Boulevard and Cactus Road, just west of 92nd Street. My comics collection at the time fit in one long box.

Of course, the first thing I did was consult the phone book for a nearby comics shop, finding several listings but none nearby. The first one I found and the closest was Fog Hollow Comics, located at 3215 E. Thunderbird Road, almost nine miles away. (Thanks to the AZFandom.org folks for recalling its name!) It’s still today an 18 minute drive, without traffic, each way, from our old address. So it wasn’t convenient, but at least it was a place I could make it to once my perception of what’s too far away to drive to adjusted to Arizona standards.

At the time, there were no freeways in the area. Phoenix and Scottsdale were massively spread out areas with nary a two-story building in sight. It was, truly, a city built more for cars to live in than people. And being on the edge of Scottsdale made pretty much everything you wanted to do, aside from going to the grocery, a trip of 10 or more miles on surface streets with lights that never synched up except to ensure you hit every single one in red.

Not the actual car I owned, but a photo of the same model and color. It had the original floor mats, 4-speed manual transmission and ran on regular gas — back when you could still buy such a thing.

Nonetheless, with two younger sisters and two working parents, my drivers license made sure I was kept busy dropping off or picking up somebody around the entire north quarter of Phoenix in a yellow 1972 Volkswagen Super Beetle. Thank god it had a tape player. It did not have AC. That deficit’s seriousness would not make itself fully known, however, until the following spring and summer. Either way, it was a lot of time spent in the car.

At the time, I was buying pretty much only Marvel comics. I knew exactly which ones were coming out each week, thanks to Marvel Age Magazine, and I had them on subscription at Fog Hollow — my first pull file. Money was tight, so I’d calculate the exact cover price minus the discount plus the sales tax to ensure I could pay for my comics before making that drive. More than once I paid for my weekly haul to the penny.

Fog Hollow was located in a strip mall suite and, unlike many comics shops, had large windows on two sides of the space and was therefore bright and open and inviting. There was the usual back-issue bin in the center, with new releases on racks around the edge. Under the back-issue bin, behind a small door, was where the subscriber books were kept.

I remember on my first visit finding at least two comics that eluded me in Edmonton and really shouldn’t have: X-Men #192 and Power Pack #27. The former I just never could find in any of the back issue bins at the shops I frequented despite being only a couple years old and all the issues around it being easy to find. Power Pack #27 was part of the Mutant Massacre storyline and had sold out instantly in Edmonton, but was still racked in the new comics when I rolled in to Fog Hollow. That made me happy, and I was a steady customer of the shop through the summer of 1987, when it closed.

I remember stopping in on Friday afternoons to pick up my books. (New comic-book days on Wednesday were not a thing at that time — at least not one I was aware of.) I’d take home the comics I was reading at the time — from memory, standard Marvel stuff, such as X-Men, The New Mutants, Alpha Flight, The Amazing Spider-Man, Classic X-Men, X-Factor, Marvel Saga, The Official Handbook of the Marvel Universe, The ‘Nam, Strikeforce: Morituri, Power Pack, some New Universe titles and Cloak & Dagger — and would spend most of the evening after dinner reading, re-reading, admiring and thinking about the new books. I didn’t have anything else to do, really.

Spider-Man vs. Wolverine #1 (Feb. 1987) is one of my all-time favorite comics. Cover art by Mark D. Bright.

Among the cool items I procured at this shop: A copy of X-Men #141 that I scored for a whopping 50 cents in the back-issue bin, and later took to the 1993 San Diego Comic-Con to be signed by both Chris Claremont and John Byrne; a second printing of The ‘Nam #1, as I was completely in love with this series and the great Michael Golden art; Spider-Man vs. Wolverine #1, which was easily one of my most re-read books for the next year; and a copy of the first printing of the Wolverine TPB, collecting the original miniseries by Claremont and Miller, costing me a whopping $4.95, plus Arizona sales tax. (A quick note: I had a tough time adjusting at first to sales tax because there was none in Alberta. There, if it cost 99 cents and you gave them a dollar, you got back a penny. In Arizona, if it cost 99 cents, you had to hand over $1.07.)

Cover to the first printing of the Wolverine trade paperback, which collected the four-issue series by Chris Claremont, Frank Miller and Josef Rubinstein for the first time. Cost me all of $4.95!

Fog Hollow was run by a woman named Susan Putney, whom I later realized wrote a graphic novel for Marvel called Spider-Man: Hooky, that was drawn by no-less-a-great than Bernie Wrightson. When I eventually acquired a copy, I really enjoyed it. I also found a site that referenced a quote from former Marvel editor-in-chief Jim Shooter, who said he really liked Putney’s work and thought she could be good — but she kind of vanished after Hooky and Shooter himself was out at Marvel around the same time.

Cover to Spider-Man: Hooky, published in 1986. Art by Berni(e) Wrightson.

A little Googling reveals Putney also wrote a science-fiction novel called Against Arcturus that was published in 1972 as a a flip-book paperback with Time Thieves, by no-less-a-great than Dean R. Koontz.

From Google, the flip covers to Against Arcturus and Time Thieves, published in 1972.

I remember she would ring up my sub titles and give me a knowing “good reads,” especially the third week of the month when X-Men, The ‘Nam and Marvel Saga all arrived.

I also remember lusting after the copy of X-Men #94 displayed behind the counter. I recall her mentioning how she’d already sold one to a kid who paid the $100 or so the book cost in cash. You never know what a motivated kid can do.

There was an arcade-style video game in one corner, that played a music loop the staff had memorized and timed down to the second. And I remember one time the staff opening a box from the distributor that included fresh copies of First’s Lone Wolf & Cub reprints. I was not yet smart enough to pick those up, but the staff was sure excited.

Later that summer, I remember coming in to pick up my books one Friday afternoon and Susan was upset, said that the store was closing and subs’ orders had been transferred to another store, called AAA Best Comics, over on North Seventh Street — even farther away from home. It was sad, she was nearly in tears. I said thank you, I had really enjoyed shopping at the store and was sorry to hear it was closing. I didn’t know what else to say — I was only 17 years old.

I proceeded to get into my car, and trek on down to AAA Best Comics, which was a fixture in my life for the next eight years or so.

And I think I may track down a copy of Against Arcturus.

But before that, my next post will feature a detour to the longstanding champion of Phoenix comic-book shops, also sadly no more. Stay tuned.

Star Trek (Marvel) #7 (Oct. 1980)

Cover to Star Trek #7 (Oct. 1980), by Michael Nasser.

“Tomorrow or Yesterday” (17 pages)
Scripter: Tom DeFalco
Penciler: Mike Nasser
Inker: Klaus Janson
Letterer: Ray Burzon
Colorist: Carl Gafford
Editor: Louise Jones
Editor in chief: Jim Shooter
Cover: Mike Nasser

There’s a lot to like in this issue, which reads like a comic-book equivalent of a TV episode. It’s all done in one, and has all the basics of a standard TV story, with an A plot involving Kirk, Spock and McCoy on the planet, and a complementary B plot with Scotty and the ship.

Tom DeFalco does a nice job on the scripting end. This reads very much like a classic TV episode, even if it doesn’t always make a ton of sense. The pencils by Mike Nasser (now known as Mike Netzer), opens up the panels to tell the story and brings some dynamism an visual splash to the proceedings. Klaus Janson’s inks give Nasser’s pencils continuity with the previous issues, while the colors and letters are suitably well done enough to not be noticeable. There’s no fancy use of color holds here — just solid work.

Solid scripting by Tom DeFalco on this splash page. The title is pretty much lifted from the original series episode “Tomorrow is Yesterday,” which was one of the better first-season shows.

So this one starts off with the Enterprise heading to a section of the galaxy threatened by a cloud of Vega radiation. Kirk is to find and help any threatened populated planets by evacuating the threatened populations until the cloud passes. This is all conveyed rather nicely via “Captain’s Log” narration captions on the splash page, setting up the story quickly and clearly.

Page two is a good example of how this comic recreates the feel of the original show. Nasser starts with a large, irregularly shaped panel that gives a good view of the bridge crew and their urgency in discovering a small group of 200 intelligent life forms living on Andrea IV, right in the path of the Vega cloud We get a nice closeup of Kirk as he delivers a line that would come straight of the show and is easy to hear being spoken by William Shatner.

Page 2. A good example of how to hook your readers with solid layouts and scripting.

Pages three and four get the plot going even more quickly, with more transporter shenanigans (acknowledged this time with footnote from Louise Jones), and taking the transporter off the board as a deus ex machina solution to the crew’s problems.

Then things get weird, as the aliens show up and state they have been awaiting the Enterprise’s arrival for a very long time. I really dig Nasser’s design of the alien for its unusual graphic look, even as it’s unclear how a thing like that could move about in any useful way. I have to say it’s a nice lettering effect to give the Andreans a script style in their dialog balloons.

Again, Nasser does a fine job keeping things dynamic with good layouts and a really interesting alien design of the type you could only do in the comics at this time.

Pages six and seven are both very solid, with the former revealing that the Andreans have build massive statues of Kirk, Spock and McCoy that is a great shocker and would be an ideal spot for a commercial break if this was a TV episode. Page seven fades back in with Spock revealing the statues to have been built some 24,000 years ago. It’s a great panel that actually shows the characters — something the small-box layouts seen so far in the series have been unable to deliver. Kirk asks the lead Andrean what’s going on, but he’s about to “step beyond.”

Another nice page with interesting layouts in service to a good story point. I like the alien hand breaking the panel and the reaction shots of Kirk, Spock and McCoy.
Coming back from the commercial break, Nasser again gives us a nice big look at the heroes with that lead establishing panel. The dialog moves things along well, too. This stands out in contrast to the extremely boxy layouts and small drawings seen so far in the series of the lead characters, who are really the main draw to all of this stuff.

Now we spend a couple pages on plot, with McCoy explaining the Andreans are dying, and the Andreans denying any danger from the Vega radiation — because they know that Kirk et. al are “the protectors.” Kirk and company do their best to persuade the Andreans to evacuate, but they refuse because of their complete belief in the belief that the protectors will be save them. Spock comes up with a long-shot possible solution in which very precise phaser strikes by the Enterprise could disperse the Vega radiation. Kirk says they’ll go for it, but the transporter is still out. So Kirk orders Scotty to disperse the cloud and come back.

I really like this layout, with the mirrored effect in panels 1 and 3 at the top of the page, with Kirk’s changing expression, and then again at the bottom. I should say that Janson’s inks are, as always, very polished.

Unable to help Scotty, Kirk follows a hunch of Spock’s that leads them to discover a massive solar collector, which their Andrean host tells them is one of many on the planet. Again, taking a page from TV pacing, McCoy tells Kirk he’s made a major discovery without explaining what it is.

Meanwhile, Scotty leads the crew as they try to disperse the Vega radiation, which doesn’t work and strands the Enterprise without warp capability and they put everything they’ve got into the deflectors to try to shield themselves from the approaching cloud. Back on the planet, McCoy tells Kirk that one of the Andreans is evolving at a fantastic rate, which is what the aliens mean by “stepping beyond.” A doorway in the base of the giant statues opens to admit the transitioning alien, and Kirk, Spock and McCoy follow.

Another nice example of showing the characters up close and large as a way to bring some dynamism to the proceedings. By the way, Scotty injured his hands in the earlier transporter accident.

Here we get some more interesting art, as the passage reveals a massive underground complex. Spock mind melds with the Andrean, and gets enough information from it to relay that this species is always in evolutionary flux and can see all periods of time simultaneously. They prepared for the Vega cloud accordingly by building the solar collectors to amass the energy needed to disperse the cloud, and knew that Spock would figure all this out in time to push the activation button and save the day for the Andreans and the Enterprise.

So here’s the underground complex under the statues, as well as Spock’s mind meld. I like the extreme perspective in panel 1 to give this a sense of scale. The rest of it’s a bit compressed, but still clear.

The tale ends with a cryptic, almost pun-like observation from Spock about how he would love to ponder this paradox “… if only I had the time.”

The story concludes with more nice layouts. I like that panel of Spock for its expressiveness and the steady point of view of the final three panels playing against the pun-like concluding dialog.

All in all, a decent issue. You know this because the obvious criticisms are all more about the story itself than how it was executed. The book looks good — or as good as a comic like this could look in 1980 — and the story does evoke the style of the old TV show. But like too many episodes, the aliens are never fleshed out or made to be interesting in any way, even though we’re told that their intelligence far outstrips even Spock’s. The Vega cloud also is really not developed as a specific idea that has any kind of scientific credibility.

There’s a letter’s page in this issue, though no great revelations this time from editor Louise Jones. She does say that every issue of the comic is scrutinized and approved by Gene Roddenberry, and gives co-plotting credit on issue #5 to Denny O’Neil.

I think if Marvel had started off the comic with an issue like this one it would have earned more attention from fans. But coming out as it did in the summer of 1980, its thunder was stolen by the excitement among sci-fi fans surrounding The Empire Strikes Back, and by the Dark Phoenix saga in X-Men among comics readers and Marvel fans.

This issue was later reprinted in Marvel’s second paperback collection of Star Trek comics, the first having collected the movie adaptation. It also included issues #11 and #12, so I’ll talk about that after getting through the original issues in the run.

Star Trek (Marvel) #6 (Sept. 1980)

Cover to Star Trek #6, by Dave Cockrum and Klaus Janson.

“The Enterprise Murder Case!” (17 pages)
Writer: Mike W. Barr
Artists: Dave Cockrum & Klaus Janson
Letterer: Rick Parker
Colorist: Carl Gafford
Editor: Louise Jones
Editor in chief: Jim Shooter
Cover: Dave Cockrum & Klaus Janson
“Historian First Class”: Marian Stensgard

This one hurt my brain. The splash page for this one is pretty good for a Star Trek comic: Kirk and Spock rushing to Lt. Rand in the transporter room, where something appears to be going wrong with the beaming up of an important ambassador. I especially like on this page the color hold effect of the transporter, which uses the limitations of the printing technology to good effect. Less impressive is the rather pointless “computer paper” effect on the captain’s log captions. In 1980, that might have seemed futuristic, but anyone who had to use that kind of paper will tell you what a pain it was to remove neatly those perforated side sprockets.

The lesson of this page is: Never use the transporter when Rand’s in charge.

The real problem with this image, though, is that it’s lifted almost directly from the movie. Another transporter accident? Really?

When they pull the transportee through, it turns out that Ambassador Phral is dead, thanks to a dagger that apparently found its way into his back during transport.

That’s a decent premise for a Star Trek story, I’ll admit. I just wish the rest of the issue had lived up to its potential.

The captions reveal the setup for this issue: Kirk is to ferry Ambassador Phral from his home planet of Yannid IV to a ceremony admitting the planet to the Federation, essentially a defeat for its rival, the Klingon Empire. But the death of the ambassador is, clearly, a problem. Especially when it’s revealed that Phral was dead for 10 minutes before appearing on the Enterprise — impossible given he was alive just moments before the transport, which did experience some unusual interference.

Spock, by the way, has this plot figured out by the end of page three. The rest of us have 14 more pages to endure.

Throughout all this, Kirk is more on-edge than normal – snapping at crew members and living up to his lower-decks nickname, “Kirk the Jerk (Off).” There’s a bunch of exposition setting up a subplot for the captain that almost completely crowds the art off the page.

Some nice color work here gives some depth to this panel.

Meanwhile, Sulu, Chekov and Chief DiFalco are boozing it up on Yannid IV and get into a classic bar fight. Barr’s narration is blunt and appears ripped from the pages of a prohibitionist group. I’m not sure if Sulu, et. al, are escaping via beam-up the swords of the Yannidians or the captions.

Writer Mike W. Barr fights with the captions for a … bar fight.

After a cursory appearance from Admiral Fitzpatrick (who looks like he was originally Commander Adama cut and pasted from Marvel’s Battlestar Galactica comic), Kirk comes clean to McCoy and Spock about his past screw-ups on Yannid IV.

Finally, we get a cool page as Cockrum gets to conjure up some of the wacky space machinery and costumes he did much better in X-Men. We also get to see a tantalizing glimpse of young Kirk, wearing the old green sweater uniforms seen only in the original Trek pilots, “The Cage” and “Where No Man Has Gone Before.” There’s also an original phaser! Yay, Original Series!

Cockrum almost makes this page work. Almost.

Kirk’s version of what happened is that he was an ensign just out of Starfleet Academy, leading an away team into a war on Yannid IV. The pro-Federation King Geror had been killed by pro-Klingon forces that also had captured the king’s son, Prince Arlph. Kirk led a landing party to find the prince and succeeded in liberating him, although a into the fray and rescue Prince Arlph — without casualties. It worked, except a warning shot Kirk fired ricocheted unexpectedly and put Prince Arlph into a coma. Arlph’s brother became king and blamed Kirk, as did Arlph when he came out of his coma, changed his name to Pharl and became the ambassador who died in the transporter accident. Starfleet, of course, exonerated Kirk. That’s a lot to convey in less than two pages, so it’s a lot of cranky copy supported by Cockrum doing his damnedest to make it work.

There’s also signs of just plain crap. Arlph and Phral are both anagrams of Ralph. Geror is one for Roger. And Storf is one for Frost. I don’t know what the anagram is for Yannid, but I assume there is one. Barr is not exactly pulling a Marc Okrand on this one. It pulls me out, because as soon as I realized this, I couldn’t help but read Arlph and Phral as Ralph and Geror as Roger.

Spock comes up with a theory of what happened, and pulls out some really lame proof that apparently so discombobulated Cockrum that he couldn’t keep track of who he was drawing in a single panel.

The rest of the comic is about solving the mystery — something it does in the most comic-book-y fashion imaginable. Kirk, Spock and McCoy beam down in disguise — in this case, that means pirate costumes, “purpleface” makeup (Prince would love it), tails, and some really bad hairdos and facial hair.

It’s here that Spock reveals his deep affection for Calgary Flames icon Lanny McDonald. Don’t listen to me — decide for yourselves!

The trio tracks down a clue leading to “Doctor Loroc,” who’s a female plastic surgeon, and gets shot in her third panel. The idiocy continues as Spock et. al deduce the real killer has changed his appearance and is one of three aliens in the clinic.

In classic Trek fashion, Spock’s bluff exposes — with the current leaders of Yannid VI now assembled in the room — the ambassador and how they subbed the dead body for his during mid-transport. The exposed Phral grabs a weapon and holds the princess hostage. Bones, once again, thinks fast and stabs Phral with a hypo spray conveniently loaded with “the most potent knockout drug I’ve got!”

Bones “shoots” someone for the second issue in a row.

The grateful Yannid VI leaders agree to sign the Federation treaty and hang out on the Enterprise for a few days before beaming home.

Strangely enough, this is all done in 16 pages — leaving a real clunker of a final page for Kirk, Spock and Bones to tease each other before the ship finally warps off past more overwritten copy and on to the next issue.

The creative team on this issue was clearly attempting to compress a story as complex as a full episode of the original series into a mere 17 pages. And it really doesn’t work, especially when the plot is as underdeveloped and overwrought as this one.

Some nice color work here, even if the story is by this point incoherent.

Cockrum and Janson are clearly not meshing any better. This issue struggles to find moments where the art can shine, and way too often has to rely on color effects to get any kind of “wow” factor into the mix.

The covers are an obvious problem for this series. This issue’s cover — marred, as were all Marvel comics that month — with an ad promoting a contest for fans as a way to apologize for raising the price to 50 cents, is just plain awful. Again, there’s an apparent aversion to putting Kirk, Spock and McCoy on the cover in favor of a not-great rendering of the inanimate object kn0wn as the U.S.S. Enterprise. And the bit with Ambassador Ralph, I mean Phral, evokes old DC Comics but lacks any kind of visual hook for the story inside.

This issue also features a letters page, with no great revelations from editor Louise Jones. However, at the bottom of the page is “The Mighty Marvel Checklist” of comics on sale this month, at least two of which are stone-cold classics: Star Wars #39, the first episode of Marvel’s adaptation of “The Empire Strikes Back,” by Archie Goodwin, Al Williamson and Carlos Garzon; and the double-size X-Men #137, featuring the final fate of Phoenix, by Chris Claremont, John Byrne and Terry Austin.

Star Trek #6 is not in the same league.

Comic-Shop Memories: Fragments and an Alpha Flight mall Fantasy, Edmonton, Alta., 1985-1986

There were a few other Edmonton comic shops from the time that I visited but no longer remember. I’ve hunted online for any trace of these shops and they are, I’m sure, long gone and exist now only in the memories of those who shopped at them.

I recall one shop located on Stony Plain Road that I visited some time in 1986. I know the year because the woman who was working there was having a loud conversation with a friend about how much she was enjoying both Frank Miller’s The Dark Knight Returns and John Byrne’s The Man of Steel. There were plenty of back issues in this shop, which is what I remember the most. And I remember scoring a beautiful copy, that I still own today, of this pivotal issue of X-Men:

X-Men #166 (Feb. 1983). Cover by Paul Smith.

This was my first issue with Paul Smith art and, when I got it home, I loved it. Loved, loved, loved it. It was double-size, had all kinds of amazing stuff happening in it, and it concluded the long-running Brood saga with a satisfying punch — and still ended with a cliff-hanger that ensured next issue was going to be even better. This was a high point of writer Chris Claremont’s long run and did a lot to cement X-Men as my favorite comic book.

The other shop I recall was located in West Edmonton Mall. For those who don’t know, WEM was as much an amusement park and tourist attraction as it was shopping mall. When it opened in 1981, it was just a nice mall. Big for the times, but nothing too special. It had the usual anchor stores, food court and movie theater (six screens!) where I saw Time Bandits more than once. In 1983, the mall doubled in size and exposed its ambitions, adding an NHL-size skating rink, even more movie screens, a huge McDonalds, and an amusement park area called Fantasyland that featured a handful of rides and attractions for mostly younger kids. In 1985, it doubled in size again, adding a third set of movie screens, a second food court, submarine rides, a dolphin tank, a replica of Christopher Columbus’ Santa Maria, miniature golf, a massive water park with a wave pool and slides, and two theme streets: Europa Street, which evoked a European feel for high-end fashion stores as tenants, and Bourbon Street, with restaurants and bars for lovers of the night life. There was a hotel with theme rooms planned, and Fantasyland doubled in size, adding a triple loop rollercoaster and “drop of doom” style ride for older thrillseekers. Yes, it was a lot. And legal action from Disney did prompt a name change from Fantasyland to Galaxyland.

Cover to Power Pack #1 (Aug. 1984) by June Brigman and Bob Wiacek.

When the second phase opened, it included an area for smaller retailers who sold things like sunglasses and jewelry. I forget the name of that part of the mall, but it was located above the massive video arcade in Fantasyland. You’d take an escalator up from Fantasyland, and then if you went to the immediate left, there was a small comics shop that sold new issues and had a modest selection of back issues. I remember buying there a copy of Power Pack #1 for $3, which was a good deal at the time. And the store ended up being drawn by former Edmonton resident John Byrne into Alpha Flight #26 (Sept. 1985).

Alpha Flight #26 (Sept. 1985). Cover by John Byrne and Bob Wiacek.

The issue starts with Alpha Flight — newly reunited in the previous issue with its founder, Guardian, who was believed killed in Alpha Flight #12 — undergoing a training exercise with the Canadian Military near Red Deer, Alberta. This takes up 12 pages of the issue’s 22 pages. Guardian then gets a message from his wife, Heather Hudson, that Alpha Flight is needed at West Edmonton Mall! They arrive and some man in a suit tells them everyone was chased out of the mall by these super-powered types who called themselves Omega Flight! The team splits up and each member is defeated by a member of Omega Flight — with help from a mysterious benefactor. Finally, we find Heather, who’s in front of the mall’s real comic shop when Guardian finds her.

Heather Hudson strolls past a comic-shop in West Edmonton Mall in Alpha Flight #26 (Sept. 1985).

Byrne draws the shop pretty much exactly as I remember it, though there appears to be more Byrne issues on sale there than I remember them having.

The story concludes with Guardian revealing himself to not be James McDonald Hudson, but the android that previously posed as Delphine Courtney in the death of Guardian arc. The story continues into Alpha Flight #27 (Oct. 1985), Secret Wars II #4 (Oct. 1985) and concluded in Alpha Flight #28 (Nov. 1985), which was Byrne’s last as writer and artist on the series.

The comic shop eventually moved to a larger retail space on the lower floor. There, it was the last comic shop I visited prior to our family’s move to Arizona. I distinctly remember that visit, and buying copies of the just-released X-Men #213 (Jan. 1987) with Sabretooth fighting Wolverine on the cover, and a copy of The ‘Nam #2 (Jan. 1987), which I had seen in a report on one of the American network news shows and decided to give it a look.

The only other comic shop I can recall was in the now-defunct Heritage Mall. It was mostly a gaming store, but they did have a small rack of comics and I recall thumbing through copies of Star Wars #104 (March 1986) and Power Pack #21 (April 1986) there, likely while just killing time until the next bus home.

And that’s it for Edmonton comics shops. I’ll do one more post on my newsstand experiences there, then move on to shops in Arizona.

Star Trek (Marvel) #5 (Aug. 1980)

Cover to Star Trek (Marvel) #5 (Aug. 1980), by Frank Miller and Klaus Janson.

“The Haunting of the Enterprise!”
Writer:
Mike W. Barr, with plot assist from Denny O’Neil
Artists: Dave Cockrum & Klaus Janson
Letterer: John Costanza
Colorist: Carl Gafford
Editors: Denny O’Neil & Louise Jones
Editor in Chief: Jim Shooter
Cover: Frank Miller and Klaus Janson

With Marv Wolfman gone, Mike W. Barr and Denny O’Neil step in to wrap up the tale started last issue, with inauspicious results.

The issue starts off with the Klingons vaporizing a Starfleet Ensign with a phaser, prompting Kirk to do the same to one of the Klingons. During the brawl, Spock is knocked out with a chair to the head and taken captive by the Klingons as the shields go down and both sides beam back from the haunted house to their respective ships.

An ensign gets phasered, and our eyes suffer for all the orange, pink and purple on this page.

Spock learns from his captors that they are interested in the new warp engines on the Enterprise and they have a secret weapon to use. On the Enterprise, Raytag hints the girl from the haunted house knows what’s going on, though she denies it.

Monsters begin appearing throughout the Enterprise, terrorizing the crew. Bones does a scan of the girl and finds something unusual.

Spock learns the Klingons encountered a damaged starship weeks ago and found as the sole survivor a “horror film archivist.” To earn his willing cooperation, they create a “construct” of his dead wife. The Klingons then put him in a new “thought-enhancer” machine, which tapped into his brain and brought to life the monsters in his dreams.

The plot stands still, but Cockrum and Janson deliver a few panels of nice art.

More monsters plague the Enterprise as the plot treads water, while Spock get close enough to the film archivist to mind meld with him and project a warning to the Enterprise to kill the girl. Bones figures out she’s made of the same stuff as the monsters and is therefore not real, so he pulls out his phaser and disintegrates her.

Fast decision by Bones, and more eye-cancer inducing color holds.

Meanwhile, Raytag is revealed as being the receptor for the images on the Enterprise, and a sudden power surge kills him in the bring.

Finally, some fun! The monsters are unleashed on the Klingons.

This wakes the film archivist, who unleashes his monsters on the Klingon vessel instead. Spock frees him and they transport back to the Enterprise and hightail it out of Dodge.

And the transporter saves the story once again. Maybe.

After dropping off the film archivist at Starbase 16, the Enterprise is off to its next mission.

So, any hope that the previous issue evoked in readers that this series was going to work were seriously shot down by this issue.

It’s easy to be too hard on Barr and O’Neil here, as they obviously came in at the last minute to plot their way out of a pretty odd setup. But their solution just treads water and meets only the minimum standards for resolving this story.

The “film archivist” bit is the weakest — neither he nor the image of his dead wife get even a name in this issue. The Klingons also appear to be the dumbest creatures in the galaxy if this is their plan for getting intel on the new Starfleet engines. Bones deciding in the course of a panel to phaser the girl into oblivion is seriously out of character, while Spock is reduced to a source of exposition and Kirk just shoots things with his phaser. There’s little charm and even less humor in this tale, which clearly sprouted from Wolfman’s real affection for old movie monsters. Also, Raytag’s story goes nowhere, and the death of the ambassador from last issue has no impact or part to play in the story’s conclusion.

The art veers away from Cockrum shining through to being more about Janson’s finishes, and their styles just don’t gel here. There is not much action of interest in this story and little room for the visual storytelling to explore the idea of monsters in space in any interesting way. The lettering and coloring also were off this issue – the splash page alone is an impossible-to-read assault on the eyes.

The cover, at least, is an improvement — no surprise considering it’s penciled by Frank Miller. This issue came out several months before Daredevil #168 introduced Elektra to the world, but you can see Miller moving that direction with his femme fatale composition and the classical look of the nameless girl’s sandals. Again, though, Kirk and McCoy are small on the cover and the ghostly image of Spock gets a bit lost in the purple on purple color hold. Perhaps another color would have worked better.

Wrapping up this issue is a letters page with answers from Barr, who was obviously slated to take over regular writing on the series. No real revelations this time, but Barr shows real enthusiasm for Star Trek comics that will really come to benefit readers only after the license moves to DC Comics.

Comic-Shop Memories: Warp 1, Edmonton, Alta., 1985-86

The opening of Warp 1 Games sometime in 1985 or 1986 cemented the Whyte Avenue strip of Edmonton as its comics capital. Warp One opened at 10332-81st Ave., which was almost exactly one block south of Comic Master on Whyte Avenue. (The old Warp 1 location is currently the Tea House Cafe.)

Warp 1 was a large store. I remember entering into a large lower area with I want to say blue carpet, and a line of racks for new comics along the left side. There was a little loft, where you went upstairs to an area with back issues both in long boxes on tables, and on the walls. I remember a window that was round and may have been a dome. I thought it looked cool, remembering having visited on rainy days where the effect of it was enhanced.

Warp 1 was best for back issues. Its selection was deeper than other shops in town and it was easier to track down issues older than a year or two. Back issues were reasonably priced, though condition often varied more than at other shops. It seemed to have more newsstand copies of comics, which means Canadian newsstand copies that have in recent years become in-demand variants.

I never cared for the newsstand copies. They usually were in lesser shape, and I honestly preferred the cleaner look that Marvel in particular used for its direct market copies, with that “M” design and the nice, big issue numbers. The newsstand issue numbers were squished and crammed into a tiny box to make room for the Comics Code Authority symbol, and presaged my typographical interest and subsequent distaste for distorted type.

Among the comics I remember buying at Warp 1 are Secret Wars II #6, X-Men #170, and The New Mutants Annual #1. My X-Men #170 is a very nice-condition Canadian newsstand copy, which may put a few extra dollar or two in my pocket should I ever sell it.

The other thing I remember buying at Warp 1 was a copy of Bill Sienkiewicz’s poster of The New Mutants. It was and is a stunning piece of work that just looks great. Warp 1 was the only store where I had even seen one and so I bought it in September 1986, just a month before we moved to Arizona. I wish I still had it, or that Marvel would re-issue it, as it’s very hard to find one and they’re quite expensive even if you do.

The New Mutants poster by Bill Sienkiewicz.

Of the stores I’ve written about so far, Warp 1 is the only one that is still in business. Online, I found this profile of the store from the Sequential Tart website. When I visited Edmonton sometime in the 2000s, I stopped in with my friends at its new location on Whyte Avenue at 99th Street. It was still a solid shop, though it had changed with the times to be more focused on graphic novels than back issues, even then. Warp 1 is still open, and has two additional locations called Warp 2 and Warp 3. I’m sure I’ll check it out again whenever I find myself back in Edmonton.

Star Trek (Marvel) #4 (July 1980)

Star Trek (Marvel) #4 (July 1980). Cover by Dave Cockrum and Klaus Janson.

“The Haunting of Thallus!” (17 pages)
Cover:
Dave Cockrum and Klaus Janson (signed)
Script/Edits: Marv Wolfman
Pencils: Dave Cockrum
Inks: Klaus Janson
Colors: Carl Gafford
Letters: Jim Novak
Consulting Editor: Jim Shooter

Marvel’s first original Star Trek story is action packed, full of surprises and features much improved art from the movie adaptation. So, of course, this was writer and editor Marv Wolfman’s last issue on the title, which from this point on struggled to find a consistent creative team or direction for itself despite contributions from numerous talented creators.

Raytag escapes as soon as he’s beamed aboard.

Storywise, this issue starts off with a rare teaser splash page of the Enterprise encountering a haunted house in space. The actual story starts on page two, with Kirk and Spock receiving a new mission from Admiral Fitzpatrick (no clue why they didn’t use Admiral Nogura, already established as Kirk’s superior officer) to transport a “totally insane!” prisoner back to the prison he escaped from on the planet Thallus. Overly humble Regulan Ambassador R’kgg is to accompany them on this mission, which goes off the rails as soon as the prisoner, Raytag M’gora, is beamed aboard and escapes.

All this happens by the end of page three, so the pacing is already much ramped up from the sullen pace of the movie and its adaptation.

A nice example of the improved writing and art in Star Trek #4.

The next three pages feature the Enterprise crew trying to recapture Maytag, who’s escaped into the engine pylon structures and fended off attempts by security and Kirk to stop him. Since Raytag is like a bat and “sees” with sonar, they broadcast a “sonic backlash” to distract him long enough for Spock to deliver a nerve pitch.

Crewmembers “forming friendships”.

That taken care of, the Enterprise then receives new rendezvous coordinates from Thallus and obligingly changes course. Meanwhile, a pair of crewmen “forming friendships” in their cabin are attacked by and fend off a werewolf, and Chekov and Sulu see a ghost on the recreation deck.

Raytag tries to convince Kirk not to return him to Thallus and suggests that the Enterprise will become as trapped as he will be. Approaching the rendezvous, Dracula appears on the bridge and trounces a couple of guards before turning into a bat and vanishing into the turboshaft. He’s next spotted on C-Deck where a crewman fired at Dracula and Ambassador R’kgg is found dead with puncture wounds on his neck.

This is classic Cockrum — the woman’s pose, the alien, and the circular inset. Nice stuff.

The Enterprise arrives at its rendezvous to find the floating haunted house teased on page one. Raytag warns Kirk that he and his crew are now also prisoners of Thallus.

There’s more action on this page than in all of Star Trek: The Motion Picture.

Beaming over, Kirk, Spock, McCoy and a couple of crew members (they don’t wear red shirts anymore, but they’re definitely in the same category) find an elaborate reproduction of a haunted house with spider webs, dust and a storm brewing outside. They hear a scream and rush in to find Frankenstein’s monster choking a young woman. Kirk knocks it out the window and a whole slew of horror monsters appear around them. Among them is a critter who looks an awful lot like Marvel’s Man-Thing.

Check out Man-Thing at right in the bottom panel.

The girl says they’ve been holding her prisoner here as long as she can remember. Bones suggests they bail, but then a a crew of Klingons appear and its commander saying there is no escape.

The last page shows a Klingon ship arriving to inform the Enterprise it has entered Klingon space and its landing party has been captured. Meanwhile, Raytag laughs at this madness as he sits in the brig.

This issue features a letters page that provides some hints at what’s going on with the publishing of the title. First, it lists not Marv Wolfman as editor, but Louise Jones. There are few responses to letters, but she does explain in in answer to a letter from Sim Parks of Swansea, S.C., a bit about the rights situation vis a vis the original series.

More adaptations of novels and short stories aren’t in the cards right now, Sim, mainly because Marvel only has the rights to adapt the movie and do new material based the movie. As yet, we have no rights involving the TV shows or other Star Trek material. Nevertheless, we hope to do stories that you enjoy … even if they are brand new. Let us know if we’re on the right track, okay?

Louise Jones, Star Trek: The Letters Page, Star Trek (1980) #4.

Wolfman’s story echoes a tactic the original series used to save money: set the story somewhere that looks a lot like a standing set you’d find on a TV studio lot in the late 20th century. Wolfman does a good job of packing a lot of story into this issue and using the dialog effectively to indicate character and make clear who’s who and what they’re doing. The mystery connecting the haunted house, the Klingons and Raytag is built up well enough to be a convincing reason for a Trek fan to come back and see how it plays out in the next issue.

For the art, this story plays so much better to Cockrum’s strengths as an artist. Most fans recall him for his amazing character designs, but he also had a real flair for action sequences that really shows here. Assuming he and Wolfman worked Marvel-style, the top-notch pacing of the story and the effective storytelling that gets a lot of information across comes down to Cockrum’s pencils. More of Cockrum’s flair comes through Janson’s inks, which works to the benefit of the story, even if I still think it’s a less-than-ideal match that fails to convey the sleek, modern look of the movie.

The cover, however, is not effective at conveying the story inside as a Star Trek story. The Enterprise is small and obscured through a window, while Kirk and McCoy have their backs to the camera. Spock looks good, but he’s too small and the jokey nature of the image not something that would have appealed as much to Trek fans, I think. It looks like a rejected monster comic cover that had a couple Trek elements pasted in to work for this series.

This issue was the unexpected final issue for Wolfman, who did not return to plot the conclusion in issue #5. As mentioned previously, Wolfman had been editor in chief at Marvel for a short while around 1975-76, and when he passed that title on he carved out a writer-editor deal that allowed him to run the projects he worked on himself with little or no oversight. That approach changed when Jim Shooter took over as editor in chief in 1978. Shooter realized that the single editor approach for a line of comics as numerous as Marvel’s was unworkable and began hiring a team of editors to each work on a reasonable number of titles. He also did not think writers should edit themselves, and refused to renew the writer-artist deals. As they expired, the writers who had them — Roy Thomas, Len Wein, Gerry Conway and now Wolfman — all left Marvel for DC Comics.

Wolfman’s departure from Marvel was bad news for Star Trek, but very quickly resulted in him pairing with artist George Perez to create The New Teen Titans, one of the most iconic, best-selling and critically acclaimed superhero titles of the 1980s. So that worked out.

New Shooter hires Louise Jones and Denny O’Neil stepped in to fill the gap on issue #5, with Jones taking over Star Trek as her own title the following issue. It’s interesting to note that Jones, who was then very new to Marvel, was at the same time taking over X-Men from editor Jim Salicrup amid the climax of the Dark Phoenix saga under somewhat tense conditions. Not sure that it had an effect on Star Trek going forward, but it sure didn’t help.

Marvel Super Special #15: Star Trek: The Motion Picture, Star Trek (Marvel) #1-3

Marvel Super Special #15. Cover painted by Bob Larkin.

Stan Lee wrote in one of his Stan’s Soapbox columns in the 1970s that Marvel had been very interested in getting the rights to do a Star Trek comic book, but that they were all tied up. Western Publishing and its Gold Key Comics line started publishing Star Trek comics in 1967 and retained the license throughout the 1970s as the show’s popularity soared in syndication and its fandom was in full blossom.

As with many things, the success of Star Wars changed the expectations for what a space property could be. George Lucas and company had targeted Marvel for a Star Wars adaptation and had to be pretty persuasive to get them to agree to the project. Of course, the Star Wars comic famously was a huge hit and all by itself propelled Marvel to profitability the year it came out. Its success spawned lots of imitations, with Marvel taking on Battlestar Galactica, adapting Close Encounters of the Third Kind and, of course, landing the rights to Star Trek: The Motion Picture.

Gold Key’s rights ended so abruptly that there exists a script for the unpublished Star Trek #62 that can easily be found online (or here). Gold Key managed to stay in the licensing game with licenses for The Black Hole, which ran a mere four issues, and Buck Rogers in the 25th Century, which ran what looks like 15 issues. But Gold Key’s more child-oriented approach to comic-book storytelling was not to survive much longer; the company closed down completely in 1984.

Marvel seemed the ideal fit for Star Trek, and there was no shortage of professionals on staff at the publisher champing at the bit for a shot at the title. Among them were artist Dave Cockrum, acclaimed artist on DC’s futuristic Legion of Super-Heroes title, co-creator of Marvel’s New X-Men, and working at the time, I believe, on staff at Marvel as a cover designer; and Marv Wolfman, who had parlayed his 1975-76 stint as editor in chief into a writer-editor deal. It was under this deal that Wolfman headed up the adaptation of Star Trek: The Motion Picture and the monthly comic book series that was to follow.

That seemed like an ideal team at the time for a top-tier comic book, especially when they were joined on inks by Klaus Janson, who had made a huge impact on comics as the finisher and inker on Frank Miller’s classic Daredevil run.

The Marvel Super Special series was an irregular line of color comics in magazine size, printed on nicer paper and selling for $1.50 and up. The first issue was an original The Beatles story and a big hit, but by the time it came to Star Trek: The Motion Picture, it became the line for projects like movie adaptations that could sell to fans of the movie that don’t normally read comics. Marvel Super Special #15 includes the complete adaptation of Star Trek: The Motion Picture as a single, 52-page story, along with supplemental material such as photos from the movie, an article on the Star Trek phenomenon, a glossary, and an interview with Jesco von Puttkamer, a NASA consultant on the production of the movie. The cover features a really nice painting by Bob Larkin. A facsimile edition of this magazine was published in 2019 by IDW in celebration of the movie’s 40th anniversary.

The Canadian paperback edition of Star Trek: The Motion Picture. Cover by Bob Larkin.

As was the norm at the time, Marvel was looking for new markets for its comics. With Star Wars, Marvel had a lot of success not just reprinting the original issues, but also in repackaging them into new formats, which included treasury editions and a black-and-white mass-market paperback size edition. The same approach was taken from the start with Star Trek: The Motion Picture, with the Marvel Super Special edition coming out to coincide with the movie’s release, followed closely by the first issue of the regular Star Trek comic and a color mass-market paperback edition. All three featured the same content, with the regular comic book breaking the adaptation across three issues and the paperback edition reformatting the panels into a 144-page reading experience.

Production on the project was admittedly rushed. In a full-page article on the Star Trek comic series in Starlog #33 (April 1980), Wolfman and Cockrum admit to a difficult adaptation. Wolfman says he didn’t think much of the story and found the script inscrutable, making it difficult to do more than transcribe what they had received into comic book form. They had photo reference, but no idea what the effects – which were famously worked on until the very last minute — were going to look like. And Cockrum admits he had to work too fast, cranking out two pages a day, preventing him from giving the project his very best work.

Cockrum himself backs this up in an interview with Peter Sanderson in The X-Men Companion I, published in 1982 by Fantagraphics. Asked about his return to penciling X-Men in 1981 and which of the new issues was his favorite so far, Cockrum replied:

Sanders0n: Which issue is your favorite of the ones you’ve drawn, and why?

Cockrum: That’s hard to say too. I’ll tell you, in some respects I’m most pleased with #145, the first of my new ones, because it was like coming out of a tunnel into the daylight after the Star Trek crap and all that. I’m a Star Trek fan; I got the book because I asked for it, and there was nothing but garbage the whole time. [sighs]

Sanderson: Do you mean the stuff you did, or the writing, the limitations imposed by the Trek people?

Cockrum: No, no … For one thing, Klaus [Janson] and I don’t make a happy combination, I think. I like Klaus’s inking on other people but I don’t think it works on me. Most of the stories were dumb. The whole thing was a big flop, I thought …

The X-MEN COMPANION I, P. 78, FANTAGRAPHICS BOOKS, INC., 1982.

Similarly, Marv Wolfman had this to say:

“The Marvel problem was deadlines. I had to write the entire adaptation of Star Trek: The Motion Picture, which was 64 pages, in less than a month. And that was without knowing a lot of what was going on inside it because the first movie was so late in the working that we flew out to Doug Trumbull’s and John Dykstra’s studios in August and they had yet to design half the major things which would be in the movie which was being released in December. Also Marvel’s deadlines were ridiculously tight because of the release dates. Dave Cockrum had to draw faster than I think he’s ever had to draw in his life, and I had to write it faster.”

Marv Wolfman, Comics Feature #28 (1983), via tom Brevoort’s Marvel 1980s blog.

Covers on the comic book version were drawn by Steve Leialoha (#1), Cockrum and Janson (#2) and Bob Wiacek (#3). There was another version of the cover to #2 drawn by Terry Austin that uses the same basic concept as the published version. Austin’s version was included as a pinup in the final issue of this series, #18.

None of the covers is terribly effective.

Leialoha delivers a movie-poster like image that has decent likenesses of William Shatner and Leonard Nimoy, but its images of Decker and Ilia are soft looking and do little to really sell the book. Cockrum and Janson’s cover to #2 is the best of the lot, extrapolating a much more dynamic image of the V’ger probe’s incursion on the bridge. The coloring kills it though, making it hard to even figure out what you’re looking at. And Wiacek’s cover is just an image of the Enterprise firing photon torpedoes; generic, and likely pulled together at the last minute to meet a deadline.

The adaptation itself is, overall, serviceable. It follows the general plot and tone of the movie rather well, despite being unable to rely upon Jerry Goldsmith’s iconic score. There are obvious attempts to give the art some technical flair via color holds. These work much better in the Marvel Super Special edition than in the regular comic book, which was printed on the then-standard newsprint. That said, there are a few spots where the newsprint edition looks better because of how the paper mutes some of the uses of more highly saturated tones.

The opening splash pages, from Star Trek #1, left, and Marvel Super Special #15.
A closer look at the difference in color brightness, via a color hold on page 2.

The magazine format’s nice paper and larger size also gives some clarity to the artwork that brings out the details and helps it look better. Janson is a formidable artist who has always produced good work quickly and to high standards, but his rough style is a mismatch for the clean and slick look of the movie. Cockrum does an admirable job re-creating the likenesses of the actors, though his work on that aspect is inconsistent. And Marie Severin does a fantastic job on the colors, though as you’ll see production didn’t always serve them well.

Two-page spread of the Enterprise leaving drydock, from Marvel Super Special #15.
The same spread from Star Trek #1. This version’s colors are more harmonious, but the art is muddier.

Coloring a book like this is yet another challenge, given the muted grays, whites, slate blues and faded oranges used for the costumes and sets in the movie. The original Star Trek series at least had variations in the colors of the uniforms with black pants and boots that offered contrast. This version just comes across as muddled, especially on the newsprint page over Janson’s sketchy inking style.

New splash page added to Star Trek #2.
A fuzzy inking job on Kirk.

Wolfman and Cockrum deserve credit for doing all they can to save the pacing and varying the visual storytelling enough to keep it from descending into complete boredom. I’d hate to see how some of the artists today would handle the endless discussions on the bridge and cruises through V’ger’s interior.

The comic book version adds new splash pages to issues #2 and #3 to catch up readers and provide credits for those issues. Nothing special, but it is two extra pages of art.

Artist Dave Cockrum did great hand gestures, keeping things visually less than completely dull.
V’ger revealed looks much better in Marvel Super Special #15, above, which brings out the detail in the art and the color.
It doesn’t translate very well to Star Trek #2.
Advert in Star Trek #2 for Star Trek: The Motion Picture action figures, toys and vehicles. I understand that students at the Joe Kubert School often drew these ads. And, boy, those toys are expensive for 1979!
Decker looks more like a Cockrum character here, while Ilia has a heavy Janson influence.
Splash page added for Star Trek #3.
Spock is caught in a color hold.
Cockrum’s chops just keep shining through, no matter how fast he had to draw. The likeness of Spock in the top right panel is great and the center panel’s action is all Cockrum, baby!

Much of the excitement surrounding the release of Star Trek: The Motion Picture faded pretty quickly after its release. It was clear by Christmas 1979 that the movie wasn’t going to be a huge hit along the lines of Star Wars. It just didn’t tell the kind of story that inspired kids to play Star Trek and send their parents out to the stores in search of that great V’ger playset. (Although, if Roddenberry had his way, I’m sure the parents would be heading out to other kinds of toy stores to re-enact “forming friendships” in the bowels of the Enterprise … ugh.)

So with Marvel Super Special #15 coming out right around the movie, followed quickly in December 1979 by Star Trek #1, that puts the conclusion of the adaptation in February 1980 and the first original issue of the comic book in March 1980. By which time, the movie had already been largely ignored and forgotten, with everyone champing at the bit for the May release of The Empire Strikes Back (I know I was).

Add to that, the changes at Marvel and the restrictions that fans would soon learn applied to the book, and the new comic book series was already seriously behind the eightball.

But more on that next time.

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