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The highlight for the entire run of Marvel’s Planet of the Apes magazine was the spectacular series, Terror on the Planet of the Apes.  Written by Doug Moench (from an initial idea by Gerry Conway) and drawn by one of my favorite artists, Mike Ploog, it was as close to a sequel to the final movie (Battle) that I would ever get.

You can place Terror a generation after the events in Battle for the Planet of the Apes.  Apes and Humans are living somewhat peacefully together, with racial tensions always simmering beneath the surface.  The Lawgiver keeps them together through his sermons and wisdom.  Jason (a human) and Alex (a chimpanzee) are best friends. 

When the Lawgiver decides to take a vacation in the Forbidden Zone, the Gorilla general Brutus throws their lives, as well as Ape City, into turmoil.  He has a band of masked Gorillas (somewhat like the Ku Klux Klan) who terrorize humans.  They beat up Alex’s father (for being a human sympathizer) and murder Jason’s family.  Jason swears revenge, but Alex isn’t so sure.

By the end of the first chapter, Alex is convinced of Brutus’ conspiracy.  He helps Jason escape prison and the two are on the run for their lives.  Brutus has convinced people that Jason has murdered his wife.  Just like the TV show the Fugitive, the pair would spend the next year on the run throughout the wild world of the Apes.

In the Forbidden Zone, Jason and Alex rescue the Lawgiver, with Brutus’ army right behind them.  The mutants in the Forbidden Zone are led by a trio of giant brains encased in glass spheres—a great gag that I’ve seen repeated in many other stories.

Mike Ploog was the perfect artist to draw this series.  He excelled at drawing fantasy adventures and he was great at drawing the facial expressions on the Apes.  But I think the sheer amount of detail and the publishing schedule got to him after a while.  Ploog’s artwork was reproduced in full pencils without any inks in issues 4, 6, and 8.  Terror began skipping issues as well, and it was a crapshoot as to whether the serial would be appear each month.  Terror appeared in POTA 1-4, 6, 8, 11, 13, 14, 19, 20, 23, 26, 27, 28. 

Ploog’s last chapter would appear in issue 19, where he was inked by Tom Sutton.  After that, Sutton did a few chapters, and Herb Trimpe drew the remaining ones.

Even though the reproduction was not as advanced as today—I thought Ploog’s pencil art was amazing.  Perhaps because I had never seen comic art before it was inked!  But take a look at the quiet scene of this boat on a lake.  The reflection in the water, the detail on the jungle surrounding the shore.  It’s sublime.

Moench and Ploog created many different Ape cultures within this series.  Jason and Alex encountered Gunpowder Julius’ band of riverboat Apes, a Davy Crockett inspired version of this world.  In issue 6, the riverboat Apes met a band of gypsy Apes—which included a breathtaking human gal called Malaguena.

Malaguena was the kind of liberated gal who could sleep with both apes and humans.  When we first meet her, she’s with the Grimaldi the gypsy chimpanzee.  She becomes Jason’s girlfriend after he kills Grimaldi in a knife fight.  Then she winds up with Alex!

As you can see here in this panel, Jason’s ape-prejudice is always present, erupting in moments of physical violence.  You Dirty Stinking Crazy Ape!! 

While Terror in the Planet of the Apes appeared in the Marvel magazine until the end of the run, for me the series came to a logical conclusion in issue 11.  All the plot threads of the first storyline were neatly wrapped up.  Jason, Alexander, and the Lawgiver returned to Ape City and revealed the truth about Brutus’ treachery.  The discord between humans and apes is put to rest after another Lawgiver sermon.  Brutus’ last ditch attempt to murder the Lawgiver and take over Ape City is upset. 

The Lawgiver banishes Brutus from Ape City forever—and this sends Jason into a fury.  He won’t settle for anything less than the death penalty.  He attacks Alex with racial slurs and violence, abandons Malaguena, and storms off in search of Brutus.  On the last panel, Alex speculates about his friendship with Jason:  “Maybe we never were friends…and can never be friends.  Maybe we were just too afraid to hate each other.”

I still own many of the POTA magazines with the Ploog and Moench stories.  Here’s a question for you, readers:  was Terror on the Planet of the Apes ever collected in a trade?  Nuff said.

Here's another set of Planet of the Apes covers from Marvel's 1970s magazine.  These covers are different from the last set--not related to the movie adaptations.  They showcase Marvel's original apes stories.

Planet of the Apes #14:  Killer Gorillas on a Manhunt!  I love how the gorilla in the center is aiming the rifle right at the viewer.  The orange hue shining against their uniforms and the water is really cool.

Planet of the Apes #3: Jason and Alexander travel to the Forbidden Zone.  A very popular vacation destination on the world of the Apes.

Planet of the Apes #4: Jason and Alexander meet Gunpowder Julius and his band of coonskin cap wearin' Apes!  This was one of the wildest inventions of Doug Moench and Mike Ploog.

Planet of the Apes #26: Gorillas mashed up with Viking armor, on a conquering cruise!  This wasn't the only sea-bound Apes adventure.  Doug Moench and Tom Sutton also did a series of "city-ship" Apes stories that were wildly imaginative.  Nuff said.

Update: While I received these POTA covers from a different source, I learned that they originated from Hunter's Planet of the Apes Archive.  Dave Ballard wrote to alert me--he was also the person who retouched the covers.  Check out that website, they've got some unpublished Doug Moench scripts and many other cool Ape-related things.

Marvel had some great Planet of the Apes cover paintings in the 1970s, that evoked scenes from the movie series.  Here's a number of them, with the cover logos removed.

Planet of the Apes #7: The classic Statue of Liberty is shown in the background as Brent (James Franciscus) and Nova flee a Gorilla posse.

Planet of the Apes #8: Brent and Nova again on the run in a Beneath-inspired cover.  I had a great crush on Linda Harrison, who played Nova in the first two movies.  I thought Earl Norem, who painted this cover, liked her a lot as well.  Uncle Sal Abbinanti recently disclosed his Nova thirst on Around Comics episode 252, to the bewilderment of Tom Katers.

Another interesting aside:  Linda Harrison starred as Wonder Woman in an unaired 1967 pilot, according to Wikipedia.  She would have been a natural fit for the WW costume!

Planet of the Apes #10: The Gorillas have met their match with the mind-bending mutants.  Brent and Nova cuddle next to the nuke for safety.

Planet of the Apes #12: Cornelius--the good hearted chimpanzee who aided Taylor and Brent in the first two films--makes his Escape from the Planet of the Apes.  The cover shows a scene we never saw in the movie--Cornelius' astonishment at watching his planet explode.

Planet of the Apes #21:  Conquest of the Planet of the Apes.  Watch out Jessica Simpson, those red-suited Gorillas are taking over the world!  I love this movie and the rioting scenes!  Roddy McDowell's speech (as Caesar) at the end is worthy of Shakespeare.

Planet of the Apes #27: Battle for the Planet of the Apes, the climatic fight between Caesar and Aldo in the trees.  Aldo actually killed Caesar's kid in this movie.  I cried buckets.

Did anyone have the reaction that I did when after seeing Battle?  I desperately wanted to learn what happened to Caesar and his Great Society.  The ending shows the Lawgiver making a sermon in the future, where Caesar's statue sheds a tear.  More tragedy must have occurred after the final film.  It seems like this mystery will never be solved.  Nuff said.

Update: While I received these POTA covers from a different source, I learned that they originated from Hunter's Planet of the Apes Archive.  Dave Ballard wrote to alert me--he was also the person who retouched the covers.  Check out that website, they've got some unpublished Doug Moench scripts and many other cool Ape-related things.

The entire nation, nay—maybe even the entire planet, was crazy about the Planet of the Apes in the early 1970s.  My love for the film series started as forbidden fruit.  I saw the original movie on a marquee while on vacation in Hawaii.  The title alone instantly grabbed my imagination.  I desperately wanted to see it, but I knew my parents would never go.  There was an Apes movie marathon that I tried to see at age 11, but the theater turned me away because some films were rated R.  Finally, in 1972, my brother in law took me to see Conquest of the Planet of the Apes.  What an epic Shakespearian movie that was, with Roddy McDowell’s Caesar leading an ape revolt, with that stunning speech at the end!  I caught up on rest of the Apes mythology when the original film was broadcast on CBS (around 1973?).  The high ratings on national TV resulted in an Apes TV show, which I highly anticipated.  Just when I thought the news could not get any better…

Marvel Comics announced in the bullpen bulletins that they would produce a Planet of the Apes black and white magazine!  Marvel and POTA, that was like Peanut Butter and Jelly in my mind.  The John Romita illustration of a chimpanzee in chains, with a militaristic gorilla holding him captive, just whetted my appetite even more.  Was that chimp supposed to be Caesar, who led the apes to freedom in Conquest and Battle?  I was desperate for either the TV show or Marvel’s comics to continue the story of Caesar.

It seemed like an eternity between seeing that ad and finding the actual magazine on sale.

When Planet of the Apes #1 did arrive in 1974, it was truly a giant-sized smorgasbord of Ape entertainment.  Two huge comic stories and a plethora of articles sandwiched in-between.  In the front section, Terror on the Planet of the Apes by Doug Moench and Mike Ploog.  I’ll cover that series later, but I will say, even though it didn’t feature Caesar, it was superb.  The feature in the back was a retelling of the first film, with art by George Tuska.  I was a bit disappointed in these film adaptations—just rehashing stuff I already knew—although I see why Marvel did it.

What I want to focus on now is—how great a magazine POTA was for hardcore Apes fans.  From the minute I opened the cover and saw this picture of Roddy McDowell firing a rifle (if I’m not mistake, taken from the TV show), I was in heaven.  This was only the beginning of behind the scenes material.

There was an interview with Rod Serling—the freaking creator of Twilight Zone—on the conception of the first film, where he provided the initial treatment.  Serling’s vision featured an Ape City that resembled modern day New York, with automobiles and skyscrapers.  Because Sterling’s version would cost way too much money, producer Arthur Jacobs went in another direction and gave Mike Wilson the script to rewrite.  A few of Sterling’s ideas that made it into the completed film; the Statue of Liberty ending and the scene with the stuffed astronaut’s belonged to him.  The interview just didn’t cover Apes, they also discussed Twilight Zone, Night Gallery, and his other work.

How great would a modern day Apes film be if they used some of Serling’s ideas?  Tim Burton hinted at that world in his remake, but didn’t get the chance to make the sequel that would carry it through.

In addition, there was a behind the scenes article on the special effects makeup used to turn the actors into apes.  If you have the Apes DVDs, you’ve probably seen these documentaries that feature John Chambers’ Academy Award winning process.  This article covered that stuff in great detail, and featured this photo of Maurice Evans taking a break during the first film.  It’s odd seeing sneaky Dr. Zaius with an umbrella to keep the sun away!

Later issues of POTA would have many more articles to satisfy the cravings Apes fans, including interviews with Roddy McDowell (who was the iconic face of the Apes films for me) and a series of interviews/articles on the POTA CBS TV show.  Quite a few of these articles were written by Chris Claremont after he visited the set during the production.

Was there any chance that I would ever miss an issue of this incredible magazine?  No way.  I took a “Lesson From the Lawgiver” (in this ad from the first issue, drawn by Pablo Marcos) and subscribed immediately.  The magazine lasted for three years until issue 29, and while some issues fell apart, almost each of them had something to make you go Ape over. Nuff said!

Around the same time period as Man-Gods From Beyond the Stars, Marvel also published a magazine devoted specifically to science fiction.  Editor Roy Thomas expressed his love for many famous science fiction writers by adapting their stories into comics form.  Theodore Sturgeon, Michael Moorcock, Alfred Bester, Harlan Ellison were a few of the notable names.  There were articles designed to appeal to any SF fan who might be reading Analog--such as the interview with Frank Herbert in issue #3.

The cover to Unknown Worlds #6 that you see above was beautifully painted by Frank Brunner.  There seemed to be a rash of crucifixation covers at Marvel during this period.  Conan was nailed to a cross in Savage Sword, Warlock kind of got hammered in the Hulk.  Maybe those covers really helped sales?

Unknown Worlds lasted only 7 issues (6 regular plus a special), and I have to admit, there's only one issue that sticks out in my memory.  Issue #2 featured a memory story called "War Toy" by Tony Isabella and a newcomer named George Perez.  It's a great yarn about a robot who serves in the military, but even better, the cover featured this character in a painting by Mike Kaluta.  Kaluta was clearly inspired by that famous 1945 photograph at Iwo Jima by Joe Rosenthal.  Yeah, it's cheesy, with the soldiers and War Toy raising that intergalactic America flag, but what the heck.  I love it.  Nuff said.

Marvel Preview was the black and white magazine equivalent of DC Comics First Issue Special.  It premiered a new series with every issue, and none, except for Star-Lord, appeared more than once.  The first issue was published in 1975 with a great Neal Adams cover.

The inspiration for "Man-Gods From Beyond the Stars" was taken directly from the book Chariots of the Gods by Erich Von Däniken.  This book was tremendously popular; you could find it not only in bookstores but in almost all supermarket checkout stands.  The theory--or fantasy--that extraterrestrial visitors interacted with early civilizations was irresistible to people fascinated with UFOs and TV programs like In Search Of... (hosted by Leonard Nimoy).  I didn't buy that stuff, but I certainly could buy any magazine with an Adams cover like this one.

The story was a pretty good yarn by Doug Moench, from a concept by Roy Thomas.  But what was really surprising was the art by someone I never heard of before: Alex Nino!  I was blown away by his unique vision and style.  His panel construction and storytelling was also unique, as you can see in this panel, where a pre-historic woman is chased by a saber-toothed tiger.  The alien captain observes from a vantage point and has to decide whether to break his non-interference pledge.  He will, because he's crushing on this loincloth babe.

There are three things about Marvel Preview #1 that stand out: the cover, Alex Nino, and this last page where the captain admits to his ship-mate that he had not only violated the rules--he had sex with the loincloth chick!  Nino's representation of her face amid the backdrop of the galaxy was incredible.

I followed Nino's work for a number of years after this story.  I remember buying a huge coffee table book featuring the art of Alex Nino, with lots of original drawings and color work.  Nuff said.

Following his friend Berni Wrightson, Jim Starlin also did a Star-Lord piece:

This painting appeared on the cover of Marvel Preview #14, 1978.  Starlin painted in this medium (oil? acrylic?) for many covers, portfolios, and series such as Metamorphosis Odyssey.  It’s interesting that Starlin depicted Peter Quill without the helmet and wielding a sword instead of his blaster. 

Ya gotta love that crazy cosmic afro chick in the foreground!  Nuff said.

After his first appearance in Marvel Preview #4, what made Marvel decide to take a second shot at Star-Lord?  Were the sales good on that issue, or did the editors see the potential in the Berni Wrightson pinup?

Over a year later, we saw the sequel in Marvel Preview #11 (1977).  With Englehart no longer available to continue as writer, editor John Warner assembled the perfect creative team to revive the character: Chris Claremont, John Byrne, and Terry Austin!  In his editorial, Warner called the creative team (with Tom Orzechowski on letters) magic.  "Five people forming a perfect and balanced synthesis of concept and execution, each one's contribution enriching the one before it." 

The splash page opened like an epic movie.  In this one page, we already know the Byrne has figured out the essence of the character that Wrightson pinup showed us.  Marvel Preview #11, like most Marvel magazines, was printed in glorious black and white.  I think the artwork by Byrne and Austin looks superior that way, but just for contrast, I'll show some panels from the 1981 Star-Lord Special Edition comic that reprinted this story in color.

Like many great films or novels, the story doesn't open on the main character.  The reader is treated to a double page spread of a world called "Windholme" that has been invaded by an enslaving alien race.  We are introduced to two supporting characters: Kip, a native who has psychic abilities, and Sandy, a young woman with street smarts and good at hand to hand combat.  Take a look at the detail on the first half of this page--Byrne and Austin knocked themselves out drawing this scene as the humans are corralled into space-ships.  They are going to be "sealed within our slave-pens" as the Anubian lord says on top.

This story was written by Chris Claremont in his prime.  I hear people on various message boards and podcasts slamming Claremont and Byrne; I find it sickening.  It's hard for them to imagine that Claremont was once as popular as Bendis or Johns.  He wrote this issue of Star-Lord as his terrific Iron Fist run concluded, and as he was taking the X-Men to encounter the Shi'ar Empire.  In a text piece after the story, Claremont talks about his love for science fiction novels, especially his love for Robert Heinlein. "I grew up reading his so-called juveniles," Claremont wrote.  "Hell, I read every book of his I could get my hands on as soon as I could find them."

Star-Lord's reimagining as a swashbuckling anti-authority hero puts him square in the Heinlein mold.  George R.R. Martin may have been another influence: Windholme reminds me slightly of Windhaven, an early Martin story that appeared in Analog (1975).

As the reader sees Star-Lord for the first time through the eyes of the alien starship's bridge--he appears to be just sitting in empty space!  If you see this bridge in other panels, there is a wink and a nod to classic Star Trek.  Star-Lord isn't merely sitting on his butt...he's sitting in a wondrous spaceship that is invisible.

Peter Quill's ally throughout this issue and all the ones following it was a sentient, morphing starship--simply called Ship--that shared a unique bond with him.  Ship had a female persona and was most definitely in love with Peter.  Her conversations with Peter were quite humorous at times.  If you remember the first Star-Lord story, Peter Quill was a jerk, but Ship's interaction with Peter---plus his heroic actions--make him an extremely likeable character in this tale.

I'm not really up on the latest take on Star-Lord in the Annihilation series and everything that followed.  From Wikipedia I see that Ship was destroyed in Annihilation: Starlord Conquest.  Sounds like Keith Giffen, blowing up things he doesn't care for!  While I like what I've seen so far in the new Guardians of the Galaxy, that Peter Quill seems like a watered down version of the one I fell in love with.  Who in their right mind would get rid of Ship?

When Star-Lord invades the alien slaver ship, we are treated to a terrific montage of him battling the alien slavers.  From this point on, he hooks up with Kip and Sandy, and starts to track down the real masterminds behind this operation.

The concepts, planets, and alien races in this epic story just keep on coming.  We see another terrific splash page introducing us to Cinnabar, a hellish world with anti-gravity palaces built by the merchant lords of the galaxy.  Again, just great line and detail work here by Byrne and Austin.

To show you that Byrne invested a great deal of energy in this project, he also wrote a text piece in Marvel Preview #11, where he discussed the portrayal of aliens in the Marvel Universe and the aliens he designed for this story.  Byrne writes: "...STARLORD is a fantasy.  It's Buck Rogers and Flash Gordon.  It's Star Trek.  And so we bend the truth a little, to allow for cross breeding, and romances between alien races."

Eventually all trails lead to Prince Gareth and his band of aliens--the exact same aliens who came to Earth in Marvel Preview #4 and killed Peter's mother.  It's a great chance for Peter to pick up a sword and deal with them in typical swashbuckling style.  The dispatching of the villains isn't even the end of the story--there's more revelations about Peter's past, and hope for his future, that rounds out this tale.

This Star-Lord story is one of the best comics ever produced in the 1970s.  At 50 pages in length, with a self-contained narrative, it should really be called a graphic novel.  Everyone involved in the production recognized that they had captured lightning in a bottle.

Claremont and Byrne's epic story propelled Star-Lord into more stories, although this would be the only time that Byrne and Austin drew the character.  Star-Lord appeared in three more Marvel Preview magazines (14, 15, 18), the first two written by Claremont and drawn by Carmine Infantino and Bob Wiacek.  There was the full color Marvel magazine, Marvel Super Special #10 by Doug Moench, Gene Colan, and Tom Palmer.  And in 1980, regular Marvel comic appearances in Marvel Spotlight by Moench and Tom Sutton.  None of these stories ever came close to the original magic captured in Preview #11...which is why the character faded away after a while.

If you are a classic Marvel fan and can find Marvel Preview #4 or the Star-Lord Special Edition color reprint for sale, by all means pick it up.  Nuff said!