Killraven, Warrior Of The Worlds! (Featuring: the Martians!)

 

The "War Of The Worlds" feature in Amazing Adventures began in the title's eighteenth issue in May of 1973 and was published bimonthly for the entirety of its run, finally having its plug pulled near the end of 1976 after twenty-two issues--nineteen of which were scripted by writer Don McGregor, who worked with a number of artists before pairing with Craig Russell and putting their joint stamp on the book and the principal character of Killraven.

With Killraven and his band of Freemen leading the charge against the invaders and their human and once-human collaborators, it became clear almost immediately how the series was being crafted to appeal to its readers. For instance, when the guns of Killraven and his compatriot, M'Shulla, are depleted of energy (simultaneously, mind you), both men shift to a more daring approach and reach for swords and other such weapons (scooped up in a convenient museum they find themselves in) that must be wielded with a strong arm, and never look back--tools and methods reminiscent of their days in the gladiatorial pens of their youth. "Sword vs. Science Gone Mad!" declares one cover caption on its second issue (and repeated almost word for word nine issues later). It was also at that point I began seeing the Earth's Martian conquerors being pushed to the background, with the bulk of Killraven's vengeance spent on those who were imprisoning and/or experimenting on human survivors located in this complex or that.

As a result, the Martians become collectively relegated to the two-dimensional role of evil conquerors--known to feed off of humans while enjoying the spoils of conquest as they rule in tyranny. It's a rather black-and-white view of this invasion, and the invaders, that even McGregor seems to be on board with, judging by the opening page of his initial issue:

There is only a single issue in the series where McGregor and Russell would explore the Martians (or two of them, at least) in greater depth (more on that shortly); but in an effort to briefly shift the focus back to the beings who started this "war" (though at this stage it could more accurately be referred to as an "occupation"), let's collate what limited scenes are available in regard to their direct involvement, while taking a look as well at those chosen few who are unswerving loyalists to their demands.

Mars Attacks!

It was hard to resist picking up the premiere issue of a new Amazing Adventures venture in mid-1973 that featured an adaptation of H.G. Wells' famous "The War Of The Worlds" saga that so successfully captured the imaginations of readers in the late 1800s and, later, radio listeners in 1938, before eventually making it to the big screen in 1951 and again in 2005. Conceived by Roy Thomas two years earlier in '71 as part of a list of ideas for new titles at the request of Stan Lee--a grab-bag of concepts which included "I, Werewolf" (arriving on the rack as Werewolf By Night) as well as new stories for Ant-Man, Dr. Strange, and Red Wolf--Thomas's adaptation of WOTW was more of a sequel, offering a different take on the story of the Martian invasion that didn't end with the deaths of the invasion forces due to their inability to resist the pathogens to which we had become immune.

"What I wanted to do ... was something different. A comic-book which would be a vast, hopefully unending sequel to the Wells classic. A storyline which would pit earthmen in a kind of guerrilla warfare against the Martians, who had returned approximately 100 years after their initial invasion attempt ... and who this time had come, seen, and conquered.

"... As deadline time rolled around ... I had become too immersed with editorial duties to burn the midnight oil over scripts the way I used to with Neal [Adams] on X-MEN and AVENGERS, so I sorrowfully but confidently turned the scripting reins over to Gerry Conway (who now, at 20, has become virtually Marvel's senior writer, doing major titles like SPIDEY, F.F., and THOR)--and now the verdict of comic-book history is up to you.

"As for myself: to me, it's a triumph just to see the book in print after these two long, lonely years [of getting it off the ground]. I'll be watching its progress closely--more closely than that of many other titles ... and I can only hope that WAR OF THE WORLDS becomes the smash hit which I always wanted it to be." -- Roy Thomas, in the issue's afterword

I'm pleased to say that I own the entire run of the AA "War Of The Worlds" series, but apparently I was part of a limited audience. The final verdict on the series depends on how you'd define a "hit," of course, though there would likely be consensus that it wasn't even in the neighborhood of being the smash hit that Thomas envisioned. That might have been a different story if steps were taken to secure a regular writer/artist team for the book that looked down the road and plotted this "war" beyond simply that of Killraven and his band of "Freemen" waging a resistance movement against the Martians and their human collaborators; instead, following the launch issue, it seemed like the company was left with a concept that could just be handed off to whoever wanted to run with it, which does a disservice to those readers who might have been hooked by the momentum established by Conway and the efforts of artists Neal Adams and Howard Chaykin.

Unfortunately, we were all out of luck on all three of those talents. Conway's plate was apparently as full as Thomas's, departing the book after two issues. Adams, juggling several other time-consuming projects, could only complete pages for the initial story's first half, with Chaykin stepping in to complete it; but Chaykin, who, like Jackson Guice and one or two others, never seems to stay on a project for long, departed with Conway. Shortly afterward, Don McGregor, who already had his hands full with the "Panther's Rage" series in Jungle Action, took over the book for the remainder of its run, with a succession of artists such as Herb Trimpe, Rich Buckler, Gene Colan, and Craig Russell all lending a hand to keep the book on track (along with, needless to say, supplemental reprints to pad the book and thereby eliminate the work involved in putting out a full 20-page story).  Russell, for his part, would see the series to its end.

The book never escaped its bimonthly publishing schedule, which only decreased the chances of establishing a regular readership, much less a growing one. So in late 1976, after 22 issues, we were met with a farewell message along the same lines as the one McGregor was delivering for the Black Panther:

"This is the last issue of AMAZING ADVENTURES.

"Those were hard words to write, People. Hard, because there were still battles aplenty for Killraven and his Freemen. Hard, because the Martian overlords had yet to be conquered. But mostly it was hard because a lot of love and effort had gone into the production of WAR OF THE WORLDS... from the very first story by Roy, Gerry, Neal, and Howard right up to the collaborations of Don and Craig.

"And along the way, there's been a lot of love from another source... you, our faithful readers. You felt pity for the plight of the 24-Hour Man, you chuckled along with the child-like wonder of Old Skull, you cried at the deaths of Hawk and Grok. And you wrote to tell us about it. Those letters made all the fury and frenzy--not to mention all of the demonic deadlines--worthwhile. We thank you very much for that, People.

"But love alone, it's sad to say, cannot keep a comic book alive. The sales on AMAZING ADVENTURES were just not enough to warrant the continuation of the book.

"... [T]hanks to all of you. Thanks for caring."

Before the plug was pulled, there were two crossovers with other Marvel characters (as there were with other grim future scenarios, e.g. Deathlok and the Guardians of the Galaxy), with each story stressing that the Martian invasion was only one possible future that may or may not occur.* In August of '75, for instance, the Defenders cross paths with the Guardians of the Galaxy, whose Earth had been invaded by the Badoon--but not before another invasion had run its course.

While Spider-Man, following his adventure in the 17th century, is diverted on his way back to the 20th and becomes involved in Killraven's own struggle.

*That reasoning would seem to be hard to pull off with the Martians. For instance, in the so-called Marvel universe, we're certain that no Martian invasion ever took place in 1901--which means that where Spider-Man and the Defenders are concerned, the Martians would never have geared up for a second invasion one-hundred years later.

Yet the one lure of a sequel to the 1901 invasion that is sure to appeal to science fiction enthusiasts is what helps to sell the "War Of The Worlds" comics adaptation (in addition to its striking cover by John Romita, always dependable to deliver a sales-worthy attention-grabber):  the concept of the Martians returning to make another attempt at conquering our race. This time, do they succeed? And how? The answer comes with the slaying of one who worked on behalf of their cause--and the introduction of a man who become a spearhead for our resistance.

After The Rage

With the events of "Panther's Rage" having at last reached their conclusion, we rejoin the Black Panther two months after the fierce raid of Erik Killmonger virtually wiped out all that stood in central Wakanda, as its ruler and its people begin putting their country and their lives back in order. Writer Don McGregor appropriately titles the story "Epilogue!", though an exclamation point seems out of place considering the destruction and loss of life; perhaps it's in the spirit of transition, and moving on. Yet while there is no celebratory spirit resonating among the Wakandans, there is no cloud of sadness hanging over the country, either; rather, the mood is one of resolve and continuation, for the traditions and commitment of these proud people endure and will be reclaimed. Lives have been upended, but not abandoned.

The story spends less time than you might expect on the characters "picking up the pieces," so to speak, from the prior issue, though we can easily presume that much of the labor and administrative tasks have been well underway for the past sixty days. That leaves just a few loose ends to tie up that involve secondary characters. For instance, the former operative of Killmonger known as Venomm, who intervened in the final battle when another operative, King Cadaver, attacked the Panther's communications commander, Taku, whom Venomm had struck up a trusting relationship with during his incarceration. We don't know the extent to which Venomm may have worked against Killmonger's interests that day; perhaps he simply abstained from further action on Killmonger's behalf.  Whatever occurred, it's clear that he's being released, perhaps even on his own recognizance.

The mixed signals McGregor and artist Billy Graham are sending in regard to Venomm's current status don't leave enough room to speculate much further on the subject. Led around in chains (wouldn't handcuffs do?), Venomm appears to still be considered a threat in the eyes of Wakandan authorities--yet the Panther is supplying a craft to return him to America, in essence letting him go free (unless he's being extradited, in which case he would have remained bound). At the very least, his departure provides one last look (in the truest sense, as it turns out) at the hapless trials of Kazibe and Tayete, formerly in the service of Killmonger but in time rejecting their allegiance to him.

There is also T'Challa's security head, W'Kabi, to check in on, who fell victim first to Venomm and then became further injured when one of Killmonger's dinosaurs crashed into the hospital where he was recovering. Today, we find him not only having lost his family, but something that even Wakanda's technology can't fully replace.

Later, W'Kabi joins the Panther in investigating the deaths of two men, whose murders are in the style of one who was only recently dealt with. Both men, unfortunately, will fall to the merciless foe who ordered these recent deaths--or, rather, the one who acts in her name.

The story of the man called Mute and his mistress, Madam Slay, has already been recounted elsewhere in the PPC, serving to bring to a close this saga of over two years which became a well-regarded feather in the cap of McGregor, Graham, original artists Rich Buckler and Klaus Janson, and Graham's predecessor, Gil Kane.

---

Along the way, there were some noteworthy moments in "Panther's Rage" aside from the pages of the story itself. Additional insight into the story's plot and implications could be found in the book's letters pages, which, thanks to its bimonthly publication, were printed with as little as a two-issue gap between story installments rather than the usual four. There was unfortunately limited space for letters, for the most part; in fact, it's a fair observation that with a few less "filler" pages (as one letter-writer put it) of artistry and recaps, letters pages could have been expanded more frequently. In addition, many letters pages featured letters from the same writers repeatedly--among them Dean Mullaney, Ralph Macchio, and Peter Gillis (the latter two you may recognize as future Marvel Comics writers); it would have been nice to hear from a broader spectrum of readers, particularly since there was no lack of notices reminding readers that voicing their thoughts on stories made a real difference. (Though even one of Macchio's letters was omitted due to space limitations, it should be noted.)

And speaking of Machhio, he had the following food for thought on the deeper role that the boy and unexpected hero of the story's climax, Kantu, seemed to personify.

"When Erik Killmonger is pushed off the precipice in the climax, he is not pushed by either the Black Panther or Kantu. He is forced over the edge by the basic id portion of the Wakanda chieftan, T'Challa, for in truth, that is what Kantu really is. ... T'Challa and Kantu are inexplicably entwined, for each is but a different side of the same coin, with each emerging dominant in response to a given situation."

There were also two Editor forewords from those pages that followed the series and gave a virtual "Whew!" to the effort involved. Distilled and consolidated, they read as follows:

"It's all over.

"Two years and 209 pages later, the concept that began back in 1973 is finished. Oh, that concept changed subtly with the passage of time, as ideas reached their moment to become comic book reality: and the initial thrust expanded with each new chapter, sometimes adding more sagas to the entire "Panther's Rage" than had been originally planned: but even with the changes and expansion, it has ended.

"Don didn't realize what a controversial hornet's nest he was ramming into when he had T'Challa saved by that 'younger version of himself,' Kantu. Some were outraged by it. Some thought it negated the entire series. Others claimed that they didn't care how it ended except that was a stupid way to end it. On the other hand, there were positive responses also, and many of them, especially, were from you people who have been steady followers of the Marvel mythos."

Finally, to close out these PPC posts on "Panther's Rage" (and may I repeat:  "Whew!"), a sampling of splash pages which highlight the art of the letterer, so nicely coordinated with the work of Buckler and Graham.

Kantu's Rage!

It's time to finally polish off the series of PPC posts which have dealt with the 1973-75 story arc known as "Panther's Rage," a tale which somehow hung onto the readers of Jungle Action who at the time had to wait two months (or even longer) for a new story installment to be published. At the center of this conflict are the Black Panther, who headlines the book and who has returned to Wakanda to find it has come under attack by forces that are wiping out whole villages--and Erik Killmonger, the one who has launched a "revolution" against T'Challa's rule and is intent on taking down both the Panther and his legacy. Throughout his assault on Wakanda, Killmonger has made use of a number of operatives who are committed to his goal, some of whom have been altered or otherwise enhanced by rays emanating from a fallen stellar fragment; others are augmented by special weaponry, backed up by cadres of "death regiments" who specialize in their obvious vocation; while some, like Venomm, have certain talents that appeal to Killmonger's modus operandi in conquering Wakanda.

Over the course of this series, we've seen Killmonger move his forces around methodically, taking advantage of Wakanda's own weapons caches while also mining its Vibranium--always building toward a final power play that, with the conscription of the prehistoric beasts that roam Serpent Valley, is now at hand.

Snakes On A Plain!

We've at last come to the penultimate issue of the "Panther's Rage" storyline in Jungle Action, the calm before the storm which finds central Wakanda's security cells practically overflowing with nearly all of Killmonger's confederates (with the prickly archer known as Salamander K'Ruel being the most recent addition). Yet if you're thinking that this means that Killmonger, the instigator of this coup d'état against the Black Panther, will be more of a presence in this issue than in his sparse appearances throughout this saga--well, that would be a normal expectation to have at this stage. Instead, writer Don McGregor chooses to revisit the first Killmonger operative we encountered, Venomm, and make him the story's focus. In other words, you won't see Killmonger at all; but you will see much more of Venomm and his snakes than you did his first time at bat. If you don't exactly feel giddy at that news, put 'er there, pal.

In a way it feels as if McGregor is trying to close a circle with Venomm that doesn't really exist; yet there is closure that can reasonably be expected from the few segments he's featured in prior installments of this arc where the Panther's communications commander, Taku, has struck up conversations with the incarcerated Venomm and acted as a sounding board for the man's anger and frustration at his circumstances. Not quite a friendship, but more than words between jailer and prisoner. Venomm, however, has warned Taku that he'll eventually break out, and that he wouldn't hesitate to deal with Taku should the man get in his way. Unless there's so much action in the upcoming Part 12 to make it impractical, McGregor could likely have waited until then to pursue (and, if necessary, condense) what he has in mind for Venomm--but by the look of this issue, it seems that he's had this resolution for Venomm cooking in his head long enough for it to merit a story of its own. And perhaps it does feel that way, in McGregor's eyes. Your mileage may vary.

That story begins almost immediately--that is, after the first five pages catch us up with this book's starring character, the Black Panther, having returned at last to Wakanda following his trials in Serpent Valley and the northern region of the white gorillas. There can be little argument that he deserves some down time, even with Killmonger's threat looming--and he and his lover, Monica Lynne, make the most of it, courtesy of resident artist Billy Graham whose full-page work continues to impress.

Suffice to say that you haven't seen down time until you've seen it in Wakanda.

Death From On High!

As we come to Part 10 of "Panther's Rage," the 1973-75 story which introduced the character of Erik Killmonger and his attempt to overthrow T'Challa's rule of Wakanda, the Panther remains in Serpent Valley where he tracked and dealt with Sombre, Killmonger's inhuman custodian of Resurrection Altar in the northern region where live the white gorillas of legend, and also learned of Killmonger's plans for harnessing the prehistoric beasts which roam the land. How much success he's having in tracking Killmonger is unclear; but a trio of Killmonger's men, led by the murderous Salamander K'Ruel (himself a product of the transformative rays of the Altar), have been left on their own to guard Killmonger's trail back to his home village of N'Jadaka.

The dangers that T'Challa will face in this particular story are two-fold, and are best represented by the issue's cover as well as its opening page: another prehistoric threat which this time descends on him from the sky, and one that approaches in stealth from the jungle in the hope of ending his life with one clean shot.

The Beasts of Serpent Valley!

As the PPC continues its look at "Panther's Rage," the 1973-75 story arc which first brought the Black Panther into conflict with Erik Killmonger, we join the Panther as he's made his way out of the harsh northern region where he confronted the horrors of Killmonger's Resurrection Altar and the white gorillas of legend, only to reach the humid jungle environment of Serpent Valley in his pursuit of the murderous Sombre, himself a product of the transformative rays emanating from the pit beneath the Altar.

The Panther has every intention of making Sombre answer for his allegiance to Killmonger as well as the part he played in sending one of the white gorillas to its eventual death; but T'Challa's trials in the so-called "land of the chilling mist" have taken their toll on him, while Sombre still craves his foe's death. A death which might have been within his reach, here in the valley... if not for a distracting question, which startles aggressor and victim alike.

No one is likely to shed a tear at Sombre's passing, to be sure--but what of the source of the query that allowed the Panther to prevail? It rests on the tree limbs above, a delightful addition to this story that will accompany T'Challa in his quest for answers. Yet the Panther will discover that, when it comes to his impromptu companion who tags along on his journey through Serpent Valley, it will be questions instead that will dominate their discourse.

The Panther vs. The Cl... er, Klan!

One curious by-product of thumbing through all the issues involved in the "Panther's Rage" series of stories in Jungle Action was the sense of nagging familiarity I felt when I reached the storyline that came afterward--the Black Panther's altercation with the Klan, albeit without the "Ku Klux" prefix associated with the group. That's no great omission, since the "Klan" is often used to refer to that organization while leaving no doubt as to who and what we're talking about; but while the story itself follows suit with abbreviating the name, the captions on the issues' covers become conspicuous insofar as alterations which were made on the word in question.

Without an explanation forthcoming from either writer Don McGregor or additional information supplied to the issues' letters pages, the reasoning behind the spelling adjustment of "the Clan" is up for speculation. If I were to shoot from the hip on the matter, I'd probably punt to Marvel's legal department and presume that the company might have been concerned about use of the organization's name as a sales tool, or perhaps accusations from those who felt the company was giving the Klan free advertising.  Or maybe this was opening the door to controversy that was too inflammatory even for Marvel.  With over forty years of dust on this story, it would be difficult to do anything but speculate as to the true reason behind the decision; perhaps it's as simple as Marvel settling for pushing the envelope within and confront the Klan's agenda directly, controversy be damned--choosing not to trot out the Sons of the Serpent this time as its Klan stand-ins.

At any rate, the reason why this story was tugging at my memory will become apparent in a bit.  For now, the debut issue's splash page has us wondering if the Klan has significantly altered not only its appearance, but, more importantly, its recruiting standards.

The God Killer!

Things didn't look hopeful for the Black Panther following his rematch with Erik Killmonger, which saw him regain consciousness in the harsh sub-frozen mountain region where he'd tracked his ruthless foe only to be set upon by a pack of wolves, an encounter which he barely escaped with his life. With his uniform ripped and leaving parts of his flesh exposed to the elements, and far from any safe haven, that life seemed in danger of not surviving the night--so it's surprising indeed to open the issue and find that the Panther not only lives, but has stalked his way back to Resurrection Altar, the cavern where another of Killmonger's subordinates, the mysterious Sombre, exposes others to rays which transform them into something more (or, in some cases, less) than human.

As "Panther's Rage" continues in Part 8, the Panther is ready for Round Two with Killmonger--but in his foe's absence, he'll have to settle for those who aided Killmonger in abandoning him to the wolves, men who will learn that even this wounded and weather-beaten king can still strike back.

Unlike Tayete and Kazibe, the fretful lackeys of Killmonger who reluctantly accompanied T'Challa to this harsh clime, these men are armed and dangerous. For himself, the Panther can only lay claim to the latter, but those he struggles with find it's enough; and as that struggle plays out, we have a few questions answered which lingered over the events of Part 7, points that address not only how the Panther managed to survive (by taking a leaf from Han Solo's book, no less), but also why Resurrection Altar hasn't proven to be more of a boon for Killmonger's plans.

Obviously the tracks which T'Challa follows weren't left by Killmonger--but he follows them impulsively nonetheless, towards a destination that will bring him face-to-face with certain myths of his people, "gods" which will unfortunately take deadly, living form.

Land Of The Chilling Mist!

OR: "Isn't That Erik Whatshisname?"


With Wakanda's detention cells practically overflowing with the captives taken from a raid on N'Jadaka, the village named after the ruthless invader known as Erik Killmonger, the Black Panther has stepped up his response to Killmonger's incursions and knows he must now pursue the man himself. And thanks to a week spent gathering intelligence from two of Killmonger's men, Kazibe and Tayete--whose combination of awe and fear toward the Panther has surely worked in his favor--T'Challa prepares to follow his foe into the vast chilling mountain region to the northwest, where temperatures plunge to well below zero and predators other than Killmonger await.

The balance that writer Don McGregor seeks to strike with the Panther--the man he is, as opposed to the leader he must be--still seems to be in effect, judging by the words he shares with both his captives and with his lover, Monica Lynne. He remains resolved to aggressively taking down Killmonger's forces, while keeping the eye-for-an-eye instinct at bay if at all possible. It's a mindset that's been difficult to pass on to those in his court, even though, as Monica says, T'Challa has their full respect and loyalty. Arguably, it's that balance within him that has helped to sustain the cult of the Black Panther as more than a figurehead of Wakanda's intimidating and steadfast monarchy. But during this time of sudden and bloody war, which goes well beyond the poachers and foreigners that Wakanda has repelled in the past, that's bound to be put to the test for not only his subjects, but perhaps for T'Challa himself.

The Fall Of N'Jadaka!

In Part 5 of "Panther's Rage," the 1973-75 story which saw the Black Panther return to Wakanda only to find an insurrection launched against him by the violent rebel known as Killmonger, the Panther made the startling discovery that confirmed his enemy has been raiding Wakanda's own arms depot for the weapons used to attack and slaughter villagers throughout T'Challa's kingdom. And so, thanks to information gained from Killmonger's captive operative, Venomm, the Panther moves to make a raid of his own--against Killmonger's home village of N'Jadaka, named after Killmonger himself.

Killmonger's presence in this story has been inexplicably absent for three issues, which at the time worked out to an astonishing eight months due to the bi-monthly publication schedule of Jungle Action as well as a paper shortage which delayed Part 4 for an additional two months. And now, ten months and counting, Part 6 will unfortunately be the fourth successive issue which doesn't feature this story's primary antagonist. As a result, "Panther's Rage" likely reached a point where it depended on its regular readership for sales--though some no doubt had moved on, given the gap in installments and considering that not even the story seemed interested in its own adversary.

Regardless, writer Don McGregor continues to move things along reasonably well, all things considered, despite the fact that T'Challa himself hasn't yet taken this bull by the horns and deployed his forces to any great degree in response to the attacks. And if your title character phones it in, it's difficult to work up any sort of interest in the confict that McGregor is painstakingly laying out. So the fact that T'Challa is at long last putting on his ruler hat and meeting this threat aggressively is probably not only welcome news to his inner circle of warriors who have openly doubted his ability to handle this crisis, but also to his dedicated readers who have stuck it out this long but haven't seen much "jungle action" on T'Challa's part in eight months' time (though, to add insult to injury, they have seen the mag's price tag go up).

And while Killmonger is M.I.A. doing who knows what (if he were an actor, he'd probably be off doing guest spots on other shows, for the good of his career), T'Challa and his forces will find they have their hands full with the resistance they encounter on his behalf--including N'Jadaka's apparent commandant, Lord Karnaj, who backs up his bluster with powerful hand weapons that will at the very least blunt the Panther's offensive.

Look Into My Eyes And See... Death!

As we reach Part 5 of "Panther's Rage," where the Black Panther returns to Wakanda only to find it under siege, there is again the sense that writer Don McGregor is filling time with this series. The continued and conspicuous absence of this story's primary antagonist, Erik Killmonger, is felt even more deeply than previously, when his most recent "lieutenant," Baron Macabre, was confronted by T'Challa at a burial site but managed to drive off the Panther just the same. And as if sensing that they may have dropped the ball with Killmonger, the book now presents him in absentia in the form of an early rendering of the character by artists Rich Buckler and Klaus Janson, inserted at the end of the issue--though it's the spin on his disappearing act, as well as the peculiar assurances of Killmonger's eventual return, that tend to catch the eye more.

Yet McGregor remains adept at providing a sense of continuation in this saga, most notably in the palace intrigues that have suddenly risen to the fore in Killmonger's place--a murder mystery that has T'Challa's lover, Monica Lynne, as the prime suspect, as well as the dissension still occurring between T'Challa and members of his staff (his head of security, W'Kabi, communications specialist Taku, and, until recently, Zatama, a palace aide whose murder Monica stands accused of). But there are also T'Challa's curious encounters with attacking beasts (requiring no small amount of story space)--a charging rhinoceros in Part 4, bookended here in Part 5 by an attacking crocodile. Suddenly it's open season on the Black Panther, for some reason; but then, it's not like he has to spend his time dealing with an aggressive foe out to conquer his country, is it.

From The Grave Comes... Death!

With the capture of Venomm and after driving off the deadly Malice, the Black Panther perhaps has reason to believe he's making headway in defeating the plans of Erik Killmonger, the man who has come to Wakanda to overthrow T'Challa and spearheads the series of stories from 1973-75 known as "Panther's Rage." But as we come to Part 4 of this story, the momentum that's been slowly building vis-à-vis the Panther and his primary antagonist lapses, and "Panther's Rage" begins to feel like one of those daytime dramas which must juggle a number of actors throughout the week--eventually, the characters you really want to see become occupied with learning their lines and rehearsing for their next appearances, leaving the bit players filling air time in scenes which have little to do with the main plot.  Killmonger himself, unfortunately, continues to be "offstage," while the story's focus falls on his lieutenants.  For such a merciless, aggressive man with his eye squarely on T'Challa's throne, you'd think that Killmonger would insist on more stage time.

With the entrance of Baron Macabre, another of Killmonger's lieutenants, even the narrative of writer Don McGregor can't help but offer the impression that we seem to be becoming mired in a story that's trotting out one bizarre threat after another to face the Panther--or as the Panther himself puts it, "more of the fright-show theatrics of Killmonger's league," which admittedly about sums it up. As for our "bit players" who all but try to wrest the spotlight from Macabre, they become part of a murder mystery which will culminate toward the end of the story following the Panther's inconclusive battle with the Baron--though if you pay careful attention, you'll notice vital clues to identifying the true suspect, thanks to guest artist Gil Kane who expertly picks up on McGregor's tipoffs.

McGregor begins with one of those players, Monica Lynne, T'Challa's lover and guest, who might as well have "out-worlder" stenciled on her forehead for all of those within the palace and without who continue to give her the cold shoulder and more than a few resentful stares. We learn later that T'Challa has completed (off-panel) the ritual which would renew his Panther abilities, its delay caused by Monica putting a halt to what she misjudged as abuse on the part of T'Challa's warriors--an affront which did her no favors in the eyes of those who viewed the ritual as sacred. This day, she again experiences distrust while accompanying the Panther during his appearance at a local village--and back in the palace, she once again endures the frigid words of a court handmaiden, Tanzika, who has already shared tense words with Monica and who continues to make her feelings about this woman known, in one way or another.

The after-dinner conversation isn't likely to improve, either, since T'Challa receives some disturbing reports from Zatama: First, evidence that Killmonger's guns are of the same stock as those used by T'Challa's guards stationed in his underground "jungle"... and second, word of a visitor (the same villager who treated Monica with such disdain) who pleads with the Panther to locate her missing husband, M'Jumbak, assumed to be headed toward a burial site said to be haunted by Baron Macabre.

Regrettably, upon reaching the site, the Panther finds M'Jumbak dead, and his presumed killer closing in on him.

Macabre's "ground support" (heh) are our old friends, the Death Regiments, whose collective bark in "Panther's Rage" has so far proven worse than their bite, given how superfluous they turned out to be in Venomm's mining operation; though in fact, they seem to have no voice at all, which no doubt adds to their menacing aspect. Here, once more, they take a noncommittal stance, preferring to hang back while Macabre takes the offensive against the Panther--nor does it look like they're needed, beyond assuming the task of transporting the Panther to Macabre's master, King Cadaver.

While back at the palace, our prospective murderer is about to make their play--and though their identity remains shrouded in mystery, we at least know who is fated to die, thanks to McGregor spilling the beans through narrative.

Since being introduced, Zatama has resonated W'Kabi's own anger and accusations, echoing their substance through his own emotions on the subject of T'Challa even though he and W'Kabi are at odds with each other--so his death really doesn't deprive us of a unique character who adds to the interplay in any meaningful way, since it's slack which W'Kabi will pick up easily enough. But McGregor makes quite an effort to keep this mystery's wheels spinning, perhaps to the detriment of where our focus should be in this story.

Meanwhile, Macabre (remember Baron Macabre?) has discovered that, to an extent, the Panther has feigned weakness in order to surprise his foe when the time is right.  Yet to the Baron, the ploy seems to be an inconvenience, nothing more.

Macabre thus becomes the second of Killmonger's operatives who doesn't fall captive to the Panther--though from a reader's perspective, it's difficult to swallow why the Panther, who has faced heavy odds from armed men before, is suddenly bolting.  (And when did the Death Regiments become armed?) The Panther doesn't seem too worried about either Macabre or the Regiments, and he appears physically capable of staying in this fight--and all the while, McGregor, in his written portrayal of him, is describing the prowess of the Panther as if the men he's fighting should be standing agape at the level of fighter they face. It's a battle that ends inconclusively for no good reason, and arguably too quickly.

But while the Baron would consider himself to be shocking development enough, look what elbows him aside to assume this story's nail-biting climax meant to hook the reader for the next issue:

It doesn't take a speck of insight to realize that Monica has been framed, at least if you're not T'Challa's outraged security chief who has resented Monica's presence from day one. The mystery will continue to unfold in the next issue--where, who knows, the story's next "fright-show theatric" might make more of an impression than his servant had a chance to here.

COMING UP:

BONUS!

Whatever is in that heart-shaped herb that gives the Black Panther his power, I wouldn't mind a little of it in a daily protein shake--because a man who can bring down a charging rhinoceros is pretty much all the advertisement such a supplement needs.

(We may also have to re-evaluate the Panther's standing as a "mediumweight" in the Gruenwald/Layton strength-ranking chart--or can Daredevil pull this off, too?)

Jungle Action #9 Script: Don McGregor Pencils: Gil Kane Inks: Klaus Janson Letterer: Tom Orzechowski