ESPIONAGE 183
Espionage Logistics Directorate”. Th e acronym is a play on those used to represent
covert organizations such as SPECTRE (Special Executive for Counter-intelligence,
Terrorism, Revenge, and Extortion) from the James Bond novels and fi lms and
U.N.C.L.E. (United Network Command for Law and Enforcement) from the 1964
television series Th e Man from U.N.C.L.E. Nick Fury, Agent of S.H.I.E.L.D. ran for
18 issues from June 1968 to 1971. Another series, S.H.I.E.L.D. 1973 had a short-
lived run of 5 issues in 1973, while other S.H.I.E.L.D.-themed series had sporadic
runs in 1983, 1988, and 1989 to 1993.
Marvel comics also introduced the terrorist organization with HYDRA in 1965,
based on similar goals of world domination and the like typical of the James Bond
SPECTRE archetype. A year later, AIM (Advanced Idea Mechanics), a HYDRA
splinter organization was introduced. AIM was composed of members of the scientifi c
community who also shared the goal of world domination, or at least the overthrow of
most world governments.
A future S.H.I.E.L.D. agent introduced in 1964 as a Soviet Spy was the Black
Widow, Natalia Romanova (mistakenly introduced as “Romanoff ”). She fi rst appeared
in an Iron Man feature in Tales of Suspense #52 written by Stan Lee with art by Don
Heck. By 1966, the character had defected to the United States, and in 1970 was fea-
tured in her trademark black skin-tight cat suit. Th e Black Widow would go on to join
the Avengers while also appearing in several Daredevil adventures.
Espionage themes were not confi ned to governments and international agencies. By
the 1970s, corporate espionage began as a storytelling device. In 1974, Brave and the Bold
#110 teamed up Batman and Wildcat in “A Very Special Spy” written by Bob Haney with
art by Jim Aparo. In this story Wildcat/Ted Grant is a public relations executive of the
“ Tryton” company, which is accused of stealing the formula for a “miracle fuel additive.”
Th e story progresses to fi nd Batman and Wildcat investigating the intrigue surrounding
the development of the “miracle-2000” additive and the industrial/corporate espionage
surrounding its development. In the issue, much is made of Batman probing into the past
“not of a man... but a corporation” as readers are introduced to the world of industrial
and corporate espionage. Batman even pays a visit to the offi ces of the “Bureau of Indus-
trial Espionage.” Stories of corporate espionage usually fall short in originality, mostly
following the theme of the theft of ideas or so-called secret formulas. Such plotlines also
veered away from any larger criticism of corporate America. For comics writers, the safer
bet was to focus on the familiar forms of international espionage and covert operations.
Overall, the 1970s would see a variety of criminal and/or terrorist organizations’ plots
vanquished by various heroes.
Th e 1980s would see some espionage themes come into their more action/
adventure-oriented team books. G.I. Joe (1982), written by Larry Hama and published
by Marvel, was a highly successful adaptation based on the popular line of action
fi g u r e (G.I. Joe: A Real American Hero) toys. In this comic version, G.I. Joe is a mili-
tary task force organized to protect the national interests of the United States against
domestic extremists. Th ese main antagonists comprised the secret paramilitary
