Kobra #2: Super-heroing a pulpy idea …

Behold! The Bronze Age


Kobra #2, May 1976

“Code Name: Gemini!” written by Martin Pasko, art by Chic Stone. Editor: Gerry Conway, Inker: Pablo Marcos, Colorist: Liz Berube, Letterer: Ben Oda

Cover by: Ernie Chua (Chan)

Synopsis: Jason Burr is attacked by his brother Kobra in a hall of mirrors; but it ended up being a dream. He is consoled by his girlfriend Melissa and Jason tells her (and thus we, the readers) the main plot thread of the book:  he and Kobra, the leader of the international Cobra Cult, are Siamese twins separated at birth but still linked empathically – a symbio-link in which one feels what the other feels whether pain or pleasure. Kobra awakes after having the same dream. He feels Jason kissing Melissa. We learn of Kobra’s deceased lover Natalie and how he now loves Melissa who, somehow, ended up in Jason’s arms. We are told by the editor that we will learn more about this triangle soon…

Kobra then attacks the headquarters of Solaris, a former NASA engineer who created the Heliotron after losing his job “and, apparently, his sanity”!  The Heliotron accelerates the decay of the skin and kills instantly, but without pain (well, let’s be thankful for that). Solaris and his weapon escapes the coils of Kobra.

Meanwhile, Lt. Perez goes to Jason and orders him to assist in their own assault on Solaris; as Solaris threatens to use his Heliotron on a Long Island town. Perez gives Jason a uniform and a code name: Gemini.

Perez and the military await Solaris’ attack on the town. Solaris and Kobra appear at the same time and all three forces enter into battle.  Jason Burr uses his jet pack to fly to Solaris – and right into the beams of the Heliotron. Kobra, knowing his fate is tied with Jason, leaps through the air to rescue his brother. The Heliotron hits Gemini’s jet pack and destroys it (it was made of skin?) and Kobra and our hero plummet earthward!

To be continued!


Turning Jason in to a named hero called Gemini was an eye-rolling moment. The reader groans as loudly as Jason Burr laughs at the idea. Please, don’t turn this into just another superhero comic, please! Ironically the letter page says they are NOT “…creating a super-hero mystique around either of our characters…” but that the “… occasional use of a costume by Jason Burr will add to that larger-than-life quality (that is the business of comic books). Or so we hope.”

I certainly don’t … After the first issues homages into pulpy goodness we switch gears into a typical super-hero pastiche.

The premier issue was not a dazzling debut, and this issue is, well, somewhat pedestrian.

Strike Two?


About the author: Michael Curry is the author of the Brave & Bold: From Silent Knight to Dark Knight, The Day John F Kennedy Met the Beatles and the award-winning Abby’s Road, the Long and Winding Road to Adoption and How Facebook, Aquaman and Theodore Roosevelt Helped.  Check his website for more releases! Thanks for reading!




Kobra #1: Kirby’s DC leftovers, but great pulpy fun!


Bronze age

Kobra # 1, March 1976 (remember the cover date of comics is about three months ahead of the actual publication date, blah blah blah…)

“Fangs of the Kobra” written by Martin Pasko and Jack Kirby, art by Kirby and Pablo Marcus. Editor: Gerry Conway, Inkers: D. Bruce Berry and Pablo Marcos, Colorist: Carl Gafford, Letterer: Ben Oda

Cover by: Ernie Chua (Chan)

Synopsis: (why type it all out when someone else has done it for me?)

(the following paragraph courtesy of ReadComicsOnline):

Deep beneath the streets of Manhattan, assassin-for-hire, Horst Buchner, along with two associates, are ushered through secret tunnels, to keep a prearranged rendezvous with Kobra. At the first sign of insult, Buchner’s men draw on Kobra. Put off by Kobra’s arrogance, Buchner declines his offer of employment, deciding, instead, to rob Kobra of several intriguing artifacts. Still held at gunpoint, Kobra leads Buchner and his gunsels into another chamber, one that holds Kobra’s most unique artifact, the Ovoid. Within the confines of the still shimmering meteoroid, Kobra reveals an enormous alien robot, he calls the Servitor. At Kobra’s command, the Servitor steps forward, then murders Horst and his associates, pummeling them to death with its giant metal fists. Sensing that his brother, Jason Burr, is soon to learn of Kobra’s existence, and whereabouts, Kobra sends the Servitor up to the streets, on a mission to slay Burr. The Servitor leaves a swath of destruction in its path, as it makes its way to Columbia university. Despite opposition from New York’s finest, the Servitor moves inexorably to the student union building. Inside, Lieutenant Perez is interviewing Jason Burr. Just as Perez is about to reveal to Burr the existence and identity of his brother, the Servitor crashes through the wall. Lifting Burr up in one of its gargantuan hands, the Servitor, at Kobra’s command, begins crushing him. Suddenly, Kobra, too, feels the crushing force of the Servitor’s grip compressing his own chest. Realizing that he and Burr share a sympathetic bond, Kobra orders the Servitor to release him. The countermand causes the Servitor to self-destruct…

Jason meets Lt. Perez who tells Jason the secret origin of Kobra …

(from Wikipedia): (Kobra) “… was born part of a set of Siamese twins, but was stolen at birth by the Cult of the Kobra god, since a prophecy claimed he would lead them to rule the world. Under their teaching, he became a dangerous warrior and a sadistic criminal mastermind. He led the cult into using advanced technology to menace the world.  … However, unknown to the cult, he had a psychic link to his twin brother, Jason, who knew nothing of Kobra. As a result, one felt what the other felt, including pain. Because of this, his brother was recruited by an international agency to help them combat Kobra.”

Perez convinces Jason to injure himself (holding his hand over a candle flame. Kobra cannot stand the pain any further and confronts Jason for the first time). Perez and his men try to capture Kobra, who slithers through their trap. The police shoot at the terrorist. “No guns!” shouts Jason to no avail. Were they trying to kill Kobra? IF they do, he will be collateral damage! Kobra escapes unharmed …


(from Wikipedia):

(Kobra was) “… created by Jack Kirby for a proposed DC Comics series called King Kobra, the first issue of which was both written and drawn by Kirby (the letter column discussed Infantino and Kirby wanting to do a take on the Corsican Brothers). This first issue then sat in DC inventory for over a year, during which time Kirby left the publisher to return to Marvel Comics.  Eventually the concept was handed over to writer Martin Pasko with orders to make a series out of it. Pasko was unimpressed with King Kobra, feeling it to be a throwaway idea churned out by Kirby as he was preparing to leave DC, and tried to make the best of the assignment by whiting out all of Kirby’s original dialogue, rescripting the issue, and having Pablo Marcos redraw some of the art (and re-)titled simply Kobra. … Pasko later reflected, “I wrote all of Kobra with my tongue firmly planted in my cheek—it was a preposterous exercise dumped in my lap, and it helped pay the rent on a very nice place in the Village.”

Dumped? Even the letter column introducing the comic said the title was “thrown” into Conway’s Corner. It seemed no in at DC gave much of a damn about the comic.

Pasko was correct about this preposterous exercise, but THIS pre-teen loved every issue of it! I still have every issue of the original run. The comic is great fun straight from the pulps – not a caped crime-fighter in sight! It was akin to Dr. Yen Sin or the Mysterious Wu Fang.  DC did something it did not do often – it took a chance! An unknown villain in the lead and an unknown cast! Very shortly it would launch another villain-led comic: the beloved Secret Society of Super-Villains, firmly entrenched in the DC’s superhero world.

Kirby’s art by the mid-1970s was an acquired taste: exaggerated physiologies, gaping mouths, fingers the size of Snickers bars, women whose eyes were set below the center horizontal line of their faces, etc. Marcos did his best redrawing Jason and Perez, but the redo was glaring and obvious. I would have loved cringing at Kirby’s original dialogue, but Pasko did a fine rewrite with what he had (I kept expecting one of the Cobra Cult to say, in Kirby’s typical expositional shorthanded way, “We must obey!”).

Not an auspicious beginning to only the second DC title to headline a villain (The Joker was first by less than a year). Villains starring in comics was a rarity (and was to remain so for the next several years – nowadays it is somewhat common): the Golden Age had its Yellow Claw and the Sub-Mariner (who was more of an anti-hero than an outright villain). The Silver Age, with its Comics Code, was more cautious about villain-led features. Even the House of Ideas itself – Marvel in the Silver Age – only gave Doctor Doom the lead in an anthology without giving him his own title.

The comic got better in later issues … much better …


 About the author: Michael Curry is the author of the Brave & Bold: From Silent Knight to Dark Knight, The Day John F Kennedy Met the Beatles and the award-winning Abby’s Road, the Long and Winding Road to Adoption and How Facebook, Aquaman and Theodore Roosevelt Helped.  Check his website for more releases! Thanks for reading!

Rich Buckler – RIP to a comic book great!

… and on Gardner Fox’s 106th birthday, I also honor a Golden & Silver Age great!


I was very sad to hear of the death of comic book artist Rich Buckler today.  Here is his Wikipedia entry (note his death had yet to make the page):

Rich Buckler (born February 6, 1949) is an American comic book artist and penciller, best known for his work on Marvel Comics’ Fantastic Four in the mid-1970s and for creating the character Deathlok in Astonishing Tales #25. Buckler has drawn virtually every major character at Marvel and DC, often as a cover artist.

As a teenager in Detroit, Buckler attended the initial iterations of the Detroit Triple Fan Fair, eventually running the convention along with originator Robert Brosch in 1969–1970.

Buckler’s first comics work was as a teenager with the four-page historical story “Freedom Fighters: Washington Attacks Trenton” in the King Features comic book Flash Gordon #10 (cover-dated Nov. 1967). At DC Comics, he drew the “Rose and the Thorn” backup stories in Superman’s Girl Friend, Lois Lane #117-121 (Dec. 1971 – April 1972).

Buckler drew the first three issues of writer Don McGregor’s Black Panther series in Jungle Action vol. 2, #6-8 (Sept. 1973 – Jan. 1974), a run that Comics Bulletin in 2010 ranked third on its list of the “Top 10 1970s Marvels”. He fulfilled a decade-long dream in 1974 when assigned to draw Marvel’s flagship series, Fantastic Four, on which he stayed for two years.  During this period, Buckler created the cyborg antihero Deathlok, which starred in an ongoing feature debuting in Astonishing Tales #25 (Aug. 1974). Also during this period, Buckler hired the young George Pérez as his studio assistant.

Buckler collaborated with writer Gerry Conway on a “Superman vs. Shazam!” story published in All-New Collectors’ Edition #C-58 (April 1978). He drew the newspaper comic strip The Incredible Hulk for approximately six months in 1979. A Justice League story by Conway and Buckler originally intended for All-New Collectors’ Edition saw print in Justice League of America #210-212 (Jan.-Mach 1983). Buckler and Roy Thomas then created the World War II superhero team the All-Star Squadron in a special insert in Justice League of America #193 (Aug. 1981) which led to the team’s own title the following month.

Buckler worked for Archie Comics in 1983 and 1984, when that publisher briefly revived its Red Circle Comics superhero line, and he recruited Cary Burkett to write the Mighty Crusaders title. In 1985, Buckler returned to Marvel and briefly drew The Spectacular Spider-Man with writer Peter David, where they produced the storyline “The Death of Jean DeWolff”. He also served as editor for a short-lived line of comics by Solson Publications, where in 1987 he created Reagan’s Raiders.

He is the author of two books: How to Become a Comic Book Artist and How to Draw Superheroes. In 2015, he became an Inkwell Awards Ambassador.


I remember his covers of the comic books I collected during the Bronze Age, but as I searched for his comic book covers on the internet I was stunned at how prolific he was; at least with the comics I collected. He was everywhere! He, Jim Aparo and Ernie Chua seemingly accounted for 75% of DC covers in the 1970s! I may only slightly be exaggerating! Here are some examples of the man’s work. I still have all these issues …


Today also marks the 106th birthday of Gardner Fox, prolific comic book author whose writing helped create the Golden Age and whose creations still exist in one form or another. He was the creator or “… co-creator of DC Comics heroes the Flash, Hawkman, Doctor Fate and the original Sandman, and was the writer who first teamed those and other heroes as the Justice Society of America. Fox introduced the concept of the Multiverse to DC Comics in the 1961 story “Flash of Two Worlds!” …” (from Wikipedia).


Two comic book great are being remembered today. Thank you both for your wonderful bodies of work. You and your talent are both missed very much!