Written by Stan Lee – Art by Jack Kirby – Inks by Steve Ditko – Letters by Sam Rosen

Marvel introduces the Human Top, a super-speedster who will eventually become Whirlwind and stick around for decades. It’s always fun to encounter one of these long-running villains at the beginning. Almost like seeing a sketch of a character.

This issue gives us his origin, showing that he was born with his powers, which according to 1960s Marvel rules, makes him a mutant. Apparently not a nice one, as he has been a menace from an early age.

But the more interesting story is happening with Giant-Man and the Wasp.

Janet is still trying to win Hank over, while he continues to treat her feelings as something of a nuisance. She notices that he’s changed since becoming Giant-Man, growing more arrogant and full of himself. Hank actually recognizes the problem when she points it out, admitting that he’s become swell-headed and thanking her for bringing him back down to earth. It’s a surprisingly direct moment of self-awareness.

That thread continues after the Human Top defeats them in their first fight. The Top runs circles around Giant-Man, using his speed to make Hank look foolish.

Kirby and Ditko have a lot of fun with the premise, filling the fight with inventive Manhattan settings. Giant-Man steps over cars, crashes into oversized signs, and finds his own size working against him when the Top races into a subway. The action has a real sense of scale, and the two artists make the city part of the fight rather than just a backdrop.

Hank takes the defeat badly. He becomes so focused on figuring out how to beat the Human Top that he starts ignoring Janet’s contributions. Back in the lab, he develops equipment and a serum intended to help him improve his speed. Janet helps him train, even secretly slowing down the device he’s trying to catch so he won’t feel quite so hopeless. Hank doesn’t realize what she’s done, and Janet feels bad watching him struggle.

There’s something fascinating about seeing these character traits take shape so early. Hank’s growing ego, his difficulty accepting help, his struggles to adapt to being a superhero, and Janet’s habit of putting his feelings ahead of her own all get room to develop alongside the superhero action.

We shouldn’t pretend Lee and Kirby knew where these characters would end up decades later, but it’s striking to see the seeds of such complicated dynamics already present.

The issue ends with the Human Top still on the loose and Hank no closer to figuring out how to beat him. It’s a cliffhanger built around a villain who has outmatched Giant-Man physically, but the more compelling conflict is Hank’s struggle with his own pride.

Marvel seems increasingly interested in complicating what it means to be a superhero. The Hulk’s powers are a curse for Bruce Banner, Spider-Man’s responsibilities constantly interfere with Peter Parker’s personal life, and Iron Man needs his armor to survive. Even Thor’s identity comes with sacrifices, particularly when it comes to his feelings for Jane.

Now Hank Pym is discovering that becoming Giant-Man hasn’t necessarily made him a better hero. His growing ego and difficulty accepting help create problems that have little to do with the villains he faces.

Marvel’s heroes are becoming more than square-jawed figures who put on a costume and save the day. They’re flawed people trying to figure out what being a superhero means for the rest of their lives.

Marvel in the 60s – Entry #98