Featured Cartoon: Prince Namor, The Sub-Mariner – Marvel Superheroes 1966 Cartoons
Namor the Sub-Mariner is a fictional comic book character in the Marvel Comics universe, and one of the first superheroes, debuting in Spring 1939. The character was created by writer-artist Bill Everett for Funnies Inc., one of the first "packagers" in the early days of comic books that supplied comics on demand to publishers looking to enter the new medium. Initially created for the unreleased comic Motion Picture Funnies Weekly, the Sub-Mariner first appeared publicly in Marvel Comics #1 (Oct. 1939) — the first comic book from Timely Comics, the 1930s-1940s predecessor of the company Marvel Comics. During that period, known to historians and fans as the Golden Age of Comic Books, the Sub-Mariner was one of Timely's top three characters, along with Captain America and the original Human Torch. Everett said the character's name was inspired by Samuel Taylor Coleridge's poem, "The Rime of the Ancient Mariner".
The mutant son of a human sea captain and of a princess of the mythical undersea kingdom of Atlantis, Namor possesses the super-strength and aquatic abilities of the "Homo mermanus" race, as well as the mutant ability of flight, along with other superhuman powers. Through the years, he has been alternately portrayed as a good-natured but short-fused superhero, or a hostile invader seeking vengeance for perceived wrongs that misguided surface-dwellers committed against his kingdom.
The first known comic book antihero, the Sub-Mariner has remained a historically important and relatively popular Marvel character. He has served directly with the Avengers, Fantastic Four, the Invaders, and the X-Men as well as serving as a foil to all of them on occasion.
About The Cartoons: The cartoons ran initially in broadcast syndication from September 1, 1966 to December 1, 1966. The series, produced in color, had extremely limited animation produced by xerography, consisting of photocopied images taken directly from the comics and manipulated to minimize the need for animation production. The cartoons were presented as a series of static comic-strip panel images; generally the only movement involved the lips, when a character spoke, the occasional arm or leg, or a fully animated black silhouette.
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