Deathlok battles human drones in abandoned subway tunnels while Mike Travers frees Nina from Maj. Ryker. Rich Buckler is joined by Bill Mantlo and a “whole blame Bullpen” of artists, but this story simply idles in place.
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Deathlok is confronted by former friend Mike Travers, then the cyborg antihero resumes his quest to regain his lost humanity. The short lead feature by Rich Buckler and company is padded out by a fun Stan Lee/Gene Colan reprint.
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After losing a potential ally, Deathlok remains on the run from Maj. Simon Ryker’s soldiers and “supreme death-machine.” After a one issue absence, Rich Buckler’s Deathlok returns to Astonishing Tales (with some creative help from Doug Moench, Keith Pollard, Arvell Jones and Al McWilliams).
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Superman and Captain Marvel discover they’ve switched costumes and powers as part of a Mr. Mxyzptlk plot. Both the lead story – by the team of Gerry Conway, Roy Thomas, Rich Buckler and Dick Giordano – and backup feature would have been more at home in the Silver Age.
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Unable to commit suicide, Deathlok finds himself back on the run from Maj. Simon Ryker’s forces. Writer/artist Rich Buckler delivers an innovative – albeit rough – dystopian gem.
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After battling War-Wolf, Deathlok tries returning to his pre-cyborg home and finds only rejection and despair. Creator Rich Buckler assumes scripting duties this time out but the whole thing seems a little off.
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Deathlok tries to rescue his best friend from the clutches of Maj. Simon Ryker, head of Project: Alpha-Mech. Doug Moench and Rich Buckler continue to push the envelope of mainstream comics fare with this strong second installment.
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In the not-so-distant future, Col. Luther Manning manages to seize control of his cyborg body and escape from his creator. Rich Buckler and Doug Moench tap into the zeitgeist of the era with their new creation Deathlok.
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A “hitherto undiscovered bacterial force” “activates” algae and turns a washed-up Olympic swimmer into Man-Monster. Yes, this uninspired origin story by Tony Isabella, Rich Buckler and Mike Vosburg is as bad as it sounds. But the backup tale – featuring art by Enrique Badía Romero – is decent.
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The Tarantula heads off to eat his alter ego’s secretary, but settles for an Arab supervillain he finds trying to kill her. Strangely wooden weirdness from Gary Friedrich and Pat Boyette.
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