AVENGERS #340, #341, & #342

"CLAY SOLDIERS"
Plot: David Michelinie | Script: Scott Lobdell
Pencils: Paul Abrams | Inks: Robert Jones & Chuck Barnette
Letterer: Brad K. Joyce | Colorists: Renee Witterstaetter & Marie Javins
Edits: Ralf Macchio | More Edits: Tom DeFalco

The Plot: Captain America, Wasp, Hercules, She-Hulk, and Iron Man attend the opening of New York's new super hero medical research and treatment facility -- but the festivities are interrupted when a woman races toward Captain America for help, but gets hit by a car in the process. In Cap's arms, the woman warns him that "he's crazy" and that Cap must help "the children." Then she passes out. Later, at Avengers Mansion, Wasp and Jarvis dig up information on the injured woman, learning that she is married to a weapons manufacturer named Itzhak Berditchev, and that the couple has ten year-old quintuplet sons. Realizing these must be the children in question and suspecting that Berditchev recently stole some plutonium from Austria, Cap and Wasp send Jarvis, undercover as a gunrunner named Armond Carlyle III, to infiltrate Berditchev's estate while they follow.

At the estate, Jarvis gains entrance as Cap and Wasp sneak around the grounds. Wasp feigns unconsciousness when sprayed with gas, and Cap races into Berditchev's hedge maze. Jarvis is taken prisoner by two of Berditchev's sons, but manages to escape them. Elsewhere, Cap speaks with Berditchev via a video screen and learns that he saved Berditchev, then a child, from a Nazi concentration camp during World War II, and that Berditchev has since patterend his life -- and the lives of his sons -- around a twisted understanding of Cap's ideals. Soon, Cap overcomes Berditchev's assassin, Bulwark, while Jarvis and Wasp appeal to the children and turn them against their father. When everyone eventually crosses paths in Berditchev's control room, the munitions dealer has a nervous breakdown. He and Bulwark are arrested, and the Avengers prepare to turn his sons over to their recovering mother.

Continuity Notes: In the opening pages, Iron Man mulls over his "recent health problems" as seen in issues of his own title, while Hercules confides in She-Hulk that he feels like the "token god," covering while Thor is unavailable due to events in his ongoing series. There's also a reference to the Avengers' encounter with Thane Ector and the Collector last issue. Later in the story, Jarvis recalls his injuries at the hands of the Masters of Evil in AVENGERS #275.

In the issue, Wasp wears the costume she's shown using on the cover, but it's colored yellow-and-blue instead of blue-and-white.

AQUAMAN #61, 62, & 63

”THE ARMAGEDDON CONSPIRACY”
Story: David Michelinie (with thanks to Richard “Comic Media News” Burton)
Art: Don Newton and Bob McLeod | Letterer: Milt Snappin
Colorist: Adrienne Roy | Editor: Paul Levitz

The story arc dating back to issue 58 concludes in AQUAMAN 61, as our hero teams up with Batman and Green Lantern to stop the Kobra’s plot to destroy Lisbon, Portugal. Kobra (who was the Fisherman's mysterious master, "King-1") has apparently faced Batman before, and the Caped Crusader speaks often of how deadly he is, even going on a couple of wildly out-of-character rants berating Aquaman for prioritizing the lives of hostages over capturing the villain. But there are no footnotes in the story to indicate where these two crossed paths before, nor do we get any sort of flashback or exposition explaining exactly why Batman feels so strongly about Kobra.

Indeed, this entire story feels a bit off, as if something is missing. It almost seems like a crossover with JUSTICE LEAGUE OF AMERICA, as we're told that a number of developments in the heroes’ hunt for Kobra occurred off-panel and are touched upon only extremely briefly here.

But this is David Michelinie’s final issue of AQUAMAN, so perhaps he knew he was on the way out and felt a need to wrap up his Kobra story before someone else came in to take it over. When he arrived, back in ADVENTURE COMICS #443, it was in the station of mere scripter, and he alternated that duty with a couple other writers. But eventually he returned on a permanent basis with ADVENTURE 450, becoming the longest-running writer in this stretch of issues. But his run has come to an end and writing chores are turned over to the writer of the Mera serial from the past few installments to close out the DEATH OF A PRINCE storyline.

AQUAMAN #57, 58, 59, & 60

”A LIFE FOR A LIFE”
Writer: David Michelinie | Artist: Jim Aparo | Colorist: Liz Berube

His son dead, Aquaman has gone out in search of the boy’s killer, Black Manta — in a rather cavalier fashion. I'm not sure David Michelinie’s script quite fits the gravity of this situation. Aquaman’s child has been murdered in cold blood, but he's going about his business here like any other mission, even tossing out a wisecrack or two along the way. It seems to me that, based on what happened, Aquaman should be functioning like a latter-day Batman at this point, speaking little, dishing out brutal beatings to anyone who gets in his way, and so forth. But instead, for the most part, it's just business as usual. I guess it's possible Michelinie is trying to show us a hero in denial, but if that's what he's going for, he doesn't explain it at all.

Quickly before I move along, I should mention something I didn't note last time. The prior story in ADVENTURE COMICS 452 featured Black Manta dramatically removing his helmet to reveal to Aquaman that he is, in fact, a — black guy! And that, folks, from his own mouth, is the reason he decided to call himself Black Manta. Not because he wears a black costume or, I dunno, has a black heart, but because he himself is black.

Yikes! Weren't we a little more enlightened about stuff like this by 1977?

ADVENTURE COMICS #449, 450, 451, & 452

”THE MENACE OF THE MARINE MARAUDER”
Reuniting the twin titans of Aquaman’s past:
Writer: Steve Skeates | Artist: Jim Aparo
Aided and abetted by: Colorist: Liz Berube

It occurs to me that in two posts covering several issues so far, I haven't once said anything about Jim Aparo’s artwork! I know I've seen “Aparo’s Aquaman run” referenced here and there on the internet over the years, and I must assume those references are to this run of issues specifically. And since most of those references have held the work up as excellent, I must concur with them. This is really good stuff!

Mind you, I have no real baseline to go off of; I've never read any other Aquaman comics. But Aparo has a great handle on the character (I love the wavy locks he gives him; all the better to float about in the seawater as he swims), and his grasp of the supporting cast and environments is just as good. His Mera in particular is very fun to look at, with her massive mane of flowing red hair.

It's interesting to me that Aparo is working on Aquaman here just after his brief run with the Spectre, and he has adapted his style accordingly. Where the Spectre stories featured glorious use of heavy, overwhelming blacks, Aquaman is much more open for traditional superhero coloring. It's quite a remarkable adjustment in the span of only a couple months.

Oh, and Aquaman fights some guy named the Marine Marauder in this issue.

ADVENTURE COMICS #444, 445, 446, 447, & 448

”AND DEATH BEFORE DISHONOR”
Plot: Paul Levitz | Script: Gerry Conway | Art: Jim Aparo
Editor: Joe Orlando

Beginning here, the Aquaman serial truly ramps up, and it's in a style that I enjoy. See, I have maybe an odd take on serialized fiction: I believe that “filler” is necessary. Not “fill-ins”, mind you, but filler. One of my favorite examples of this in the field of comics is Roger Stern’s final year-ish on AMAZING SPIDER-MAN. The Hobgoblin was the overarching story of that entire run, accounting for seven out of fourteen issues from #238 – 251. In the meantime, Spider-Man had other adventures unrelated to that villain, even as his presence lurked in the background, informing some of the wall-crawler’s choices in that time (such as his actively searching for the goblin in #246 and 247).

Most all the stories in that run of issues are fun adventures, but only about half of them relate to the overarching story. I really like this approach. It makes the “main” story feel more important when it’s touched upon if you have unrelated adventures interspersed among those that advance the main plot.

Side note: This is one area where I believe pretty much all of the Marvel NetFlix series fail dramatically. They have thirteen episodes per season, and they tend to devote every one of those thirteen to the main plot with no divergences or side-stories. Wouldn’t the Purple Man’s machinations be a lot more meaningful if he only appeared in about half of JESSICA JONES’ episodes, with Jessica taking on “case-of-the-week” style adventures in between? Wouldn’t DAREDEVIL be more fun if Murdock & Nelson spent a few episodes per season on some court case that had nothing to do with the Kingpin or the Punisher or whoever else? I think so, at least -- and this would also help to alleviate the Netflix shows' universally recognized flaw of treading water during the back half of every season.

But I digress; we're here to talk DC comics, not Marvel TV. As of this issue, Aquaman is voted out as kind of Atlantis, replaced by a usurper named Karshon while he was off fighting his villainous half-brother, the Ocean Master, and from this point, the Aquaman serial will feature a mixture of stories dedicated wholeheartedly to the “king in exile” saga, interspersed with others which have nothing to do with it.

ADVENTURE COMICS #435, 436, 437, 441, 442, & 443

”AS THE UNDERSEA CITY SLEEPS” | “THE KING IS DEAD; LONG LIVE THE KING!”
Story: Steve Skeates | Art: Mike Grell | Editor: Joe Orlando

“A QUIET DAY IN ATLANTIS”
Script: Paul Levitz | Art: Mike Grell | Editor: Joe Orlando

Déjà vu! I already wrote about these three issues of ADVENTURE COMICS a few years ago when I covered The Spectre by Michael Fleisher and Jim Aparo! But, even while the Spectre was the lead feature in the bimonthly series, Aquaman served for a time as his backup serial before eventually — as well see below — graduating to top billing.

Unfortunately these early Aquaman tales are nothing to get too excited about. I've known for years that Black Manta is Aquaman’s main villain; his Joker or Lex Luthor, of you will. But to read these stories, one would get the impression that he's the Sea King’s only antagonist! He appears in all three stories, and unfortunately they're all pretty pedestrian. And, mind you, this is partly Aquaman’s fault, as it’s established in the first story that when he captures Black Manta, he just tosses him back out into the sea rather than incarcerate him anywhere.

Anyway, I can only assume things will pick up moving forward; otherwise what's the point of collecting this stuff in a trade paperback?

DAREDEVIL #167

"THE MAULER!"
Writer : David Michelinie| Penciler: Frank Miller | Inker: Klaus Janson
Letterer: Joe Rosen | Colorist: Glynis Wein
Editor: Denny O’Neil | Editor-in-Chief: Jim Shooter

The Plot: Matt Murdock and Heather Glenn are at an exclusive country club soiree hosted by defense contractor Edwin Cord when the party is crashed by an armored figure called the Mauler, who has come for Cord. Matt changes to Daredevil and defends the CEO, but the Mauler escapes.

Later, DD confronts Cord at his estate and learns that the Mauler is a disgruntled former employee named Aaron Soames, who stole the armor when he was fired. The following night, Daredevil stakes out Cord’s Long Island factory, expecting the Mauler to strike again while Cord works late. Sure enough, Soames shows up and attacks once more. Soames reveals to DD that his pension was lost as a result of a computer glitch and Cord refused to fix it, leading him on the path to retribution.

Somes finally confronts Cord and Daredevil is surprised to see that all he wants is to destroy Cord’s ID and credit cards so that he won’t exist either. But Cord security arrives and blasts Soames, klling him. Daredevil knocks Cord unconscious and departs in disgust. He attends Soames’ funeral some time later.

AMAZING SPIDER-MAN ANNUAL #22

"DRUG WAR RAGES"
By Tom DeFalco, as told to David Michelinie
Photos: Mark Bagley & Mike Esposito
R. Parker, signs on | B. Sharen, in the red | J. Salicrup, indicted
T. DeFalco, shrieks

The Plot: Spider-Man beats up some drug dealers at Manhattan's Pier 7 and leaves them for the police. But a rival gang arrives first and kills the men, leaving Spider-Man to take the rap. Matt "Daredevil" Murdock vows to get to the bottom of the case. Meanwhile, the Kingpin of Crime orders his men to capture one of the High Evolutionary's Purifiers, which have been patrolling New York in recent days. Elsewhere, young Robbie Baldwin and his mother arrive in Manhattan to take in some Broadway shows.

Daredevil and Spider-Man cross paths at Pier 7 and join forces to clear the web-slinger's name. Elsewhere, Robbie is accosted by a group of muggers and transforms into Speedball, his kinetically charged alter ego. A group of Purifiers arrives and kills the muggers, and Speedball follows them back to their base. While Spider-Man and Daredevil comb the city for clues as to who killed the dealers, the Kingpin interrogates a captured Purifier and learns of the High Evolutionary's plans. Speedball also gets wind of their plot, which involves a transmitter atop the Empire State Building.

At Kingpin's order, one of his men plants himself at a seedy dive and waits for Spider-Man and Daredevil to show up and continue their interrogation roadshow. The man tells them that the drug dealers were killed by a new gang headquartered atop the Empire State Building. The heroes head there and find the Purifiers' transmitter. While Spidey and Daredevil fight the Purifiers, Speedball also arrives at the building and heads to the top floor to disable the transmitter. The Purifiers succeed and Speedball carries out his task but nearly plummets to his death; his life saved by Spider-Man.

Knowing Daredevil and Spider-Man will be after him for the planted information, the Kingpin arranges for the wall-crawler's name to be cleared, to get them off his back. Spider-Man is embraced as a hero once more and all returns to normal.

IRON MAN #157

"SPORES!"
Plot/Pencils: Alan Kupperberg | Script: David Michelinie | Inks: Dan Green
Letters: Joe Rosen | Colors: Bob Sharen | Editor: Jim Salicrup
Editor-in-Chief: Jim Shooter

The Plot: Tony is working late at night on his armor when the power to his lab goes out. Changing to Iron Man, he finds that a Stark employee named Sylvia Karnowsky has drawn energy to her experiment through his lab. Before he can reprimand her, Iron Man is beamed to a sentient spaceship in orbit, where he helps the ship fight off some alien spores. Following the skirmish, Iron Man is beamed back to Earth.

Continuity Notes: This has to be an inventory issue. It's a done-in-one adventure, with absolutely no references to ongoing continuity. Presumably, with Michelinie leaving the series, Jim Salicrup ran this story while looking for a new writer.

My Thoughts: So this is how the David Michelinie/Bob Layton run ends -- not with a bang, as they say, but with a whimper. Though to be fair, I suppose last issue was really the end of Michelinie's term as writer. This is just a lackluster coda. Still, though, it's always a little depressing to get to the end of a classic comic book run and watch it fade slowly and limply to its conclusion. Much like watching the final season of a formerly favorite TV show right before its cancellation.

IRON MAN #156

"THE MAULER MANDATE!"
Writer: David Michelinie
Breakdown Art: John Romita, Jr. | Finished Art: Pablo Marcos
Letters: Joe Rosen | Colors: Don Warfield | Editor: Jim Salicrup
Editor-in-Chief: Jim Shooter

The Plot: Scott Lang is taking inventory at Stark International's newly acquired subsidiary, the Cord conglomerate, when he discovers the Mauler battlesuit. Before he can act on his discovery, Scott is knocked out by a mercenary named Brendan Doyle, who takes the armor and attacks Stark International. Doyle is driven away by Iron Man, with some help from Rhodey, who the mercenary recognizes from their time in the same mercenary troupe.

Doyle later breaks into Rhodey's apartment and coerces him into getting them both past Stark security so he can carry put his mission to destroy all records of the development of the Mauler suit. But Iron Man again arrives to confront Doyle, and Rhodey again a aids our hero. Finally, given a choice between killing Rhodey or abandoning his mission, Doyle retreats, thus canceling a years-old debt between the two.

IRON MAN #155

"THE BACK-GETTERS!"
Writer: David Michelinie | Pencils: John Romita, Jr. | Inks: Dan Green
Letters: Joe Rosen | Colors: Bob Sharen | Editor: Jim Salicrup
Editor-in-Chief: Jim Shooter

The Plot: Gerrard, the son of Stark International's P.R. director, Artemus Pithins, is beaten after hours at his high school. The next day Mr. Pithins confides in Tony that a number of students have recently been hospitalized at the school, including a group who took some bad drugs and a young man who was run over by a car. Pithins asks if Iron Man might attend the upcoming career fair, and Tony agrees.

At career day, Gerrard is cornered again by a group of students, but his father comes to his aid. The students inform Pithins that Gerrard distributed the bad drugs on behalf of the student who had been run over, and these students want revenge. Pithins convinces them to forego violence and talk their problems out instead.

Meanwhile, outside, Iron Man stops a runaway tank, present for career day, which has been activated by a clumsy student, from demolishing the school.

IRON MAN #154

"THE OTHER SIDE OF MADNESS!"
Writer: David Michelinie | Penciler: John Romita, Jr.
Inkers: Dan Green, Chic Stone, & Bob Layton
Letters: Joe Rosen | Colors: Bob Sharen & Don Warfield
Editor: Jim Salicrup | Editor-in-Chief: Jim Shooter

The Plot: On his way to the Yonkers Raceway for some horse races, Iron Man is attacked by a mysterious enemy, who escapes before he can be identified. Our hero proceeds to the races, but is preoccupied and returns to Stark International to find the complex under attack by a very insane Unicorn, who is the same villain that assaulted Iron Man earlier.

Iron Man battles the Unicorn, but uses up all his power reserves in the process of saving several Stark employees. Unicorn prepares to deal the killing blow on behalf of The Other, but Iron Man convinces him The Other has forsaken him, having returned to Russia. The Unicorn departs to travel to Russia and find his missing master, but in his unhinged state, he walks straight into Long Island Sound, apparently drowning.

IRON MAN #153

"LIGHT MAKES MIGHT!!"
Plot/Writer: David Michelinie | Plot/Finished Art: Bob Layton
Pencil Art: John Romita, Jr. | Letters: Joe Rosen | Colors: Bob Sharen
Editor: Jim Salicrup | Editor-in-Chief: Jim Shooter

The Plot: Iron Man battles the Living Laser inside the Heaven's Hand complex, while Rhodey ferries Bethany and her injured husband Alex back to the United States. The Laser uses so much power against Iron Man that he begins to overload. He attempts to reconstitute himself before it's too late, but Iron Man stops him and the Laser disperses into particles of light.

Later, back in the U.S., Bethany tells Tony that she will stay with Alex to help him through his rehabilitation. She and Tony part ways, and Tony sheds a tear for the end of their relationship.

Continuity Notes: A footnote tells us that Bethany's and Iron Man's rescue of Alex took place last issue. The Laser then spends a couple pages recapping his recent history: Count Nefaria doubled his power in AVENGERS #164 - 166, but the boost was only temporary. When it wore off, the Laser found that his body now constantly absorbed light, and that he would eventually overload and die. The East Germans offered to help him expel the excess energy by using it to power dormant weapon satellites in Earth's orbit.

The Laser is humanized a bit when Iron Man asks if the thought of betraying his country bothers him and he admits that yes, it somewhat does.

IRON MAN #152

"ESCAPE FROM HEAVEN'S HAND!"
Plot/Writer: David Michelinie | Plot/Finished Art: Bob Layton
Pencil Art: John Romita, Jr. | Letters: Joe Rosen | Colors: Glynis Wein
Editor: Jim Salicrup | Editor-in-Chief: Jim Shooter

The Plot: Iron Man scouts an East German research complex called Heaven's Hand, then returns to the Stark Inernational office in West Germany, where he analyzes his findings. The next day, inside Heaven's Hand, Bethany is brought before another prisoner -- her "late" husband, Alexander van Tilburg. The Germans explain that they faked the death of Alex, East Germany's ambassador to the United States, so that he would reveal to them any information he might have regarding American sleeper agents in Germany. But the drugs they used scrambled Alex's mind, and now the Germans need Bethany to help them inside his head.

That night, Iron Man sneaks into Heaven's Hand, then changes into disguise as an East German major. He has Bethany brought to him, then leads her to a closet for a private conversation. Bethany berates Tony, telling him that her capture was part of her plan to rescue Alex. Mercenaries were to attack the complex, but the equipment Bethany needs to escape with them is in her cell. So she convinces Tony to change into Iron Man and aid her escape.

He does so, and makes short work of the complex's German defenders. Bethany, Alex, and the mercenaries board a plane piloted by Rhodey and escape, but Iron Man is shot down by the Living Laser before he can follow.

IRON MAN #151

"G.A.R.D.'S GAUNTLET"
Plot/Writer: David Michelinie | Plot/Finished Art: Bob Layton
Guest Penciler: Luke McDonnell | Letters: Joe Rosen
Colors: Bob Sharen & Don Warfield | Editor: Jim Salicrup
Editor-in-Chief: Jim Shooter

The Plot: While Tony goes shopping for a new wardrobe with Ling McPherson, Scott Lang, examining the damaged Stark International lab complex, comes under assault by Stark's malfunctioning internal security system, G.A.R.D. (the Graduated Radical Automated Defense system). Scott changes to Ant-Man and eventually defeats the computer. Iron Man arrives to help, only to find Scott, back in civilian attire, waiting casually for him.

Returning to his temporary living quarters, Tony opens the newspaper to find that Bethany has been captured and branded a spy by the Soviet Union.

Continuity Notes: The Stark International complex is still undergoing repairs following Blacklash's rampage in issues 146 and 147. A footnote on the second page reminds readers of Iron Man's duel with Doctor Doom in the distant past as seen last issue. The following page presents a succinct recap of Tony's relationship with Bethany, as Tony reminisces about her yet again.

IRON MAN #150

"KNIGHTMARE"
A tale of magic and majesty told by
Plot/Writer: David Michelinie | Plot/Finished Art: Bob Layton
Pencil Art: John Romita, Jr. | Letters: Joe Rosen | Colors: Bob Sharen
Editor: Jim Salicrup | Editor-in-Chief: Jim Shooter

The Plot: Iron Man and Dr. Doom arrive in Camelot, where a group of King Arthur's knights bring them before the King himself. Arthur allows Iron Man and Doom to stay the night as his guests while he determines what to do with them. However, Doom hypnotized a courtesan, forcing her to give him the location of the sorceress Morgana Le Fay, then departs for Morgana's castle. The next day, Iron Man promises Arthur that he will aid Camelot against whatever Doom has planned.

Meanwhile, Doom reaches Castle Le Fay, where he explains to Morgana that he seeks her tutelage in the mystic arts to aid him in rescuing his mother's soul from Mephisto. Morgana agrees, if Doom will first lead her army of undead warriors against Camelot.

Soon, Doom marches on Camelot with Morgana's legion, and Iron Man stands beside Arthur and his knights in the kingdom's defense. But Iron Man soon realizes that Doom could not have raised these warriors himself, and heads for Morgana's castle. Unable to counter Iron Man's technology with her magic, Morgana retreats to another dimension, her warriors dying upon her departure.

Enraged, Doom flies to Morgana's castle. Realizing any spells he might have learned are now gone with Morgana, Doom agrees to a truce with Iron Man. The pair dismantles components from their respective armors, crafting a device to return them to the present day. The gambit is successful, and Iron Man and Doom appear on a snow-capped Balkan mountain. They go their separate ways, with Doom vowing that they will meet again.

IRON MAN #149

"DOOMQUEST"
Plot/Writer: David Michelinie | Plot/Finished Art: Bob Layton
Pencil Art: John Romita, Jr. | Letters: Joe Rosen | Colors: Bob Sharen
Editor: Jim Salicrup | Editor-in-Chief: Jim Shooter

The Plot: Iron Man rescues a Stark International freighter bound for Latveria from a pirate attack, then orders the vessel to return to America rather than deliver its cargo. Soon, Tony Stark arrives at a regional managers' meeting at SI headquarters and berates then fires one of his men for selling electronic components to Latveria.

Meanwhile, Dr. Doom returns to the present day after studying magic in the distant past with the master mage, Cagliostro. Doom is informed that the electronics he was expecting have returned to the U.S. aboard the Stark freighter. Later, Iron Man stands guard over the electronics when agents of Dr. Doom arrive and best him, stealing the parts and departing.

The next day, Rhodey flies Tony to Latveria, where Tony is immediately approached by the local police. Serving Latveria's current monarch, King Zorba, they provide Tony with the location of Doom, currently considered a criminal, in hopes that Iron Man will take him out. Shortly, Iron Man arrives at Doom's castle and engages in battle with the deposed villain. Their struggle takes them near Doom's time machine, and the doctor's henchman, Hauptmann, activates the device, throwing Doom and Iron Man back in time. Hauptmann then destroys the machine.

IRON MAN #148

"SIEGE!"
Plot/Writer: David Michelinie | Co-Plot-Finished Art: Bob Layton
Pencil Art: John Romita, Jr. | Letters: Joe Rosen | Colors: Bob Sharen
Editor: Jim Salicrup | Editor-in-Chief: Jim Shooter

The Plot: In the Central American country of Costa Diablo, a Stark International office is invaded by revolutionaries, and the installation's staff are taken prisoner. Iron Man travels to Costa Diablo on a rescue mission, and after getting most of the staff out with Rhodey's aid, he invades the presidential palace to spring the Costa Diablo division head, Ricardo Pruz. But when he finally reaches the building's head office, he learns that Pruz was the true leader of the revolution, having embezzled funds and resources from Stark to arm his people.

Iron Man departs in defeat, cautioning Pruz to watch his back, lest he be betrayed just as he betrayed Tony Stark. And just a few days later, Mr. Pithins shows Stark an article reporting that Pruz was executed as a traitor by his own right hand man, General Caligerra.

IRON MAN #147

"HOLOCAUST AT HIGH NOON!"
Writer/Plot: David Michelinie | Finished Art/Plot: Bob Layton
Pencil Art: John Romita, Jr. | Letters: Joe Rosen | Colors: Bob Sharen & Roger Slifer
Editor: Jim Salicrup | Editor-in-Chief: Jim Shooter

The Plot: Iron Man temporarily subdues Blacklash and sets about saving Stark International from an all-consuming inferno. He rescues Pithins, Yvette, and the science students from last issue, and then grabs Mrs. Arbogast from the burning administration building. The fire department has the majority of the blaze contained, leaving only the admin building to be saved. Iron Man grabs an empty boxcar from a nearby train station, fills it with water from Long Island Sound, and extinguishes the last of the fire. However, despite Martinelli's best efforts, Blacklash escapes in the chaos.

Later, Martinelli explains to Tony that he was born Vince Martell, and "Victor Martinelli" is a creation of the Federal Witness Protection Program, following Martell's testifying against his former employers, the mob-run Center City Construction Company in Philadelphia. Martinelli suspects that the heads of Center City saw his photo in TIME and sent Blacklash to kill him.

Knowing Blacklash will try again, Tony and Martinelli prepare a trap for him. And sure enough, the next day Blacklash returns for Martinelli and corners him on Stark's airfield, where Iron Man gets the drop on him. Iron Man returns Blacklash to his bosses at Center City, telling them that if they'll forget about Martinelli, he will forget about them.

IRON MAN #146

"BLACKLASH...AND THE BURNING!"
Writer/Plot: David Michelinie | Finished Art/Plot: Bob Layton
Pencil Art: John Romita, Jr. | Letters: Jim Novak | Colors: Bob Sharen
Editor: Jim Salicrup | Editor-in-Chief: Jim Shooter

The Plot: As Mr. Pithins escorts a group of science students around the Stark International grounds, Iron man arrives at the administration building and changes to Tony Stark. Tony greets the students, then welcomes SI's new Vice President, Yvette Avril from the Paris office. Meanwhile, security chief Martinelli gives Pithins an earful over his picture appearing in a TIME magazine article about SI. After work, Martinelli returns to his apartment, where he is attacked by Blacklash (formerly Whiplash). Martinelli's dog, Peanut, is killed in the scuffle, but Martinelli survives.

The next day, Blacklash arrives at Stark International to finish the job. He attacks the grounds and Martinelli's security team moves to fight back, but Iron Man soon arrives to take over. However, Iron Man's battle with Blacklash causes a fire to break out, and the entire Stark complex is engulfed in flames.