"ATTACK OF THE TEUTONIC KNIGHT!"
Guest Writer: Don Glut | Penciler: Alan Kupperberg | Embellisher: Frank Springer
Colorist: Françoise Mouly | Letterer: John Costanza | Editor: Roy Thomas
Guest Writer: Don Glut | Penciler: Alan Kupperberg | Embellisher: Frank Springer
Colorist: Françoise Mouly | Letterer: John Costanza | Editor: Roy Thomas
The Plot: Aboard Namor's flagship, the Invaders fly off on a secret mission. Union Jack explains that the group is out to find a Nazi villain called Komtur, the Teutonic Knight, which elicits exclamations of recognition from Captain America, the Human Torch, and the Sub-Mariner.
One at a time, the three Invaders relate their respective encounters with the Teutonic Knight: Cap and Bucky fought him in late 1941 in the United States, when they were guarding a government warehouse. The Knight raided the facility and escaped with the plans for a saucer ship called the "Flying Arsenal". Not long after, the Torch and Toro were guarding a British scientist, Doctor Barrow, who held the secret of the Flying Arsenal's experimental engine. The Knight kidnapped Barrow and escaped the Torch and his ward. Then, later still, Namor found himself aboard an American ship near Africa with his friend, reporter Betty Dean, and a newly discovered element called Radium-X. The Knight attacked the ship and stole the Radium-X.
Union Jack then reveals that the Teutonic Knight has been terrorizing Britain aboard a flying craft, which the Invaders realize must be the experimental ship, constructed from the purloined plans, running thanks to Doctor Barrows' special engine, and powered with Radium-X. No sooner do they reach this conclusion, than the group comes across the ship involved in a dogfight with British planes.
Continuity Notes: Opening narration notes that it's less than a day since the Invaders returned from the United States following the events of the previous few issues. As they travel, the heroes discuss Bucky and Toro remaining behind to found the Kid Commandos. Spitfire notes that the Invaders keep a log of their various missions in the team's "combat diary".
As noted above, the Teutonic Knight calls himself Komtur, which a footnote tells us was the title of the commander of the order of Teutonic Knights during the Middle Ages.
My Thoughts: And here we have (not counting a couple of Golden Age reprints) the first issue of INVADERS without Roy Thomas in the writer's seat -- though that's a temporarly development. It's also, while not the first installment lacking Frank Robbins on pencils, the first issue of the post-Robbins era. He's departed for greener pastures, turning his duties over to Alan Kupperberg -- who will illustrate INVADERS through to its end in another baker's dozen issues. And I have to admit -- so far, I like what I see! Kupperberg's characters don't have the manic, cartoony flamboyance of Robbins', but at least at this point, he seems to be trying for a transition that won't jar readers too much.
This is aided by Frank Springer continuing on inks. Whether it's Kupperberg trying to do a minor impression of Robbins, or whether it's Springer's finishes, I can't tell -- but somehow, the characters are all "on model" with Robbins' versions, even when drawn in a different style. And by the way, while we're on the topic of Alan Kupperberg -- my main exposure to him, so far as I can think of, was on some AMAZING SPIDER-MAN issues circa 1987 or so, and my recollection is that his work was incredibly dull and uninspired. I was surprised to find his art here is way better than what I recall of that eighties work. And Googling some of his art, I find that in general it is a lot better than what I remember of those Spidey issues. So maybe he was under a tight deadline in 1987 (which might not be surprising, considering there was a lot of behind-the-scenes upheaval on the Spider-books around that time), or maybe he was being forced into the Jim Shooter "house style" which had become more and more prevalent at Marvel over the final few years of Shooter's tenure as editor-in-chief. But in any case, I'm pleased to report that he's not as bad an artist as I'd long thought!
I, uhh, guess we'll talk about the Teutonic Knight next week!
ReplyDeleteI’ve always found the cover to this issue strange. Not the art: The actual physical cover of my copy has a dull, matte look to it and sort-of a waxy feel that I associate with comics published and printed by Charlton. I wonder if at least a small subset of the run for this issue got diverted to a printer not traditionally used by Marvel.
For me, Kupperberg and Springer aren’t a great match. Some faces and figures have a familiar Robbins/Springer look to them — as does the satiny sheen of Spitfire’s costume pretty much throughout — but others definitely do not, ranging from handsomely generic to bizarrely off. I guess it’s less that I dislike the pairing outright than that I find it wildly inconsistent due to either Kupperberg’s varying levels of detail or merely Springer’s whim.
Roy explains on the letters page why Glut filled in for him and why Robbins unexpectedly departed the series, by the way, the short answer in both cases being a heavy workload, although the plan had been for Robbins to rejoin Thomas upon his return.
When I think of Kupperberg it’s for mostly bog-standard art on a few disparate issues — an early What If? starring Daredevil, the Obnoxio the Clown one-shot, and the last annual Justice League / Justice Society crossover before Crisis on Infinite Earths.
I’d somehow never before this reading noticed the similarity in look between Komtur and DC’s Baron Blitzkrieg, who debuted almost one full year before this in a Wonder Woman tale. Both sport armor, capes, and full-head masks/helmets, but Komtur has a swastika on his chest while Blitzkrieg has a large Iron Cross; given their names and the swastika being a much newer appropriation, you might better expect it to be reversed.
Huh -- interesting that Robbins was originally going to come back! I wonder why he didn't? I suppose it ultimately doesn't matter... Thomas ultimately only returns for one lone story arc, then departs again until the series is canceled.
DeleteI just Google Baron Blitzkrieg, and you're totally right. I assume it was just a coincidence, but I suppose you never know. (And I agree; their symbols really should've been swapped.)
Per the lettercol in #29: Glut was paired with Alan Kupperberg for two issues and Chic Stone for one more, #31, so that Roy could get out from behind deadlines and send an Invaders plot to Robbins himself ASAP. Robbins ended up “penciling every issue of Daredevil, and every second issue of The Human Fly,” however, so Kupperberg returned when Roy came back with #32 and stayed on.
DeleteNow, Robbins is on just one issue of Daredevil around this time, #155, according to an admittedly quick check online. I didn’t look up to see whatever else he might’ve been doing at this point. And since I’m not (re)reading ahead I have no idea if Roy addressed the situation in a successive lettercol after comments on the change flowed in; nor can I easily get to back issues of Alter Ego right now to see what Roy might’ve written about it all there, but I’m curious.
Given that he’s announcing the departure of “Fightin’ Frank” with kudos and thanks in that #29 lettercol, Roy as editor clearly knew what at least the near future of Invaders held, including that he’d be back as writer for at least a few issues as of #32.
Sorry; I keep "missing" the proper reply button for threading the conversation.
DeleteAs for Komar the Teutonic Knight and Baron Blitzkrieg, I’m also curious — given (1) Roy’s general penchant for homages, (b) the Crusaders inter-company gag in particular, and (3) Roy’s friendship with Gerry Conway, who introduced Blitzkrieg — whether it was a further in-joke of Roy’s, so maybe I’ll drop him a line about that.
DeleteOf course there are plenty of coincidences in comic-book history, not all of them with enough of a lead time or personal connection to be even unconscious plagiarism.
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ReplyDeleteI assume you saw Kupperberg's Spider-Man work from early 1987 when he was briefly the regular artist for both Amazing Spider-Man and Spectacular Spider-Man. Not an easy assignment at the best of times but this was a pretty turbulent period.
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