Marvel Preview #18 pg 22 (Sienkiewicz pencils, McLeod inks, Moench story) - early Sienkiewicz art and Star-Lord appearance

From the LIFE or DEATH? - LESS THAN HUMAN storyline in Marvel Preview #18 comes this page that has a very early appearance of both Bill Sienkiewicz art and Star-Lord (Peter Quill), this issue coming out in Spring of 1979.   

This art is early era Bill Sienkiewicz, during a time when his art was still considered heavily influenced by Neal Adams, before (in my opinion) when his iconic unique and abstract character/environmental art came into play (really seen during his early New Mutants run in the early 1980's).  At this point in his career, for major published art, he had done a MOON KNIGHT back-up story in THE HULK! Magazine #13 and 14, BLACK PANTHER #14 cover and SPIDER-WOMAN #14 cover (which came out around same time at MP #18).  So this art (from MP #18) was his 3rd interior work and 4th or 5th overall artwork (including the covers, depending on which came first, SPIDER-WOMAN or MP #18).  

This art pairs Sienkiewicz pencils with Bob McLeod inks.  This great pairing eventually both had their hands in NEW MUTANTS, respectively in their own separate eras (McLeod creating the series and Sienkiewicz taking it to newer heights), teamed up with Chris Claremont.  It's fun to see their early combo art (only preceded by the work they did together on THE HULK! Magazine #13/14).  

STAR-LORD (Peter Quill) first appeared in 1976, in this series some issues earlier, Marvel Preview #4.  This art marks STAR-LORD's 6th overall appearance, preceded by Marvel Preview #4, 11, 14, 15 and Marvel Super Special #10.  His character at the time was much more serious, introverted and even seen as a bit of a jerk.  

This issue presented some really interesting questions being asked in a 1979 comic (primarily made for adult readers, in it's B+W Magazine size appearance), story by Doug Moench.  It dealt with the complex issues of:  does the overuse of technology bring violence, who should hold power over emerging societies and what kind of police enforcement to use to control the populace, and the big question of to save a civilization (the lives of millions) would you break your vow to not kill a single being?  This page features the consequences of STAR-LORD not taking action of taking out Beastmen that have come to this planet, known as Redstone, to enact revenge for their previous genocide, genetic alterations and deportation by this people's leader QUAN-ZARR.  So, the Beastmen are in search of a Power Rod that will give them the power to blow up this planet.  The remaining three Beastmen break into the tower where QUAN-ZARR is personally keeping the Power Rod and STAR-LORD needs to decide quickly if he will kill them to save these "savage" people, who in totality are not at fault for the sins of their leader QUAN-ZARR.  

Sienkiewics and McLeod's art illustrates these consequences of the "savage" people dying because of STAR-LORD's in-action.  His female companion, Sylvana urges him to choose to kill to save them all before its disaster for them all.  It is such an interesting morale to put on this very introverted character.  He ultimately watches as the remaining Beastman kills this world's leader, QUAN-ZARR and then fights and kills the last Beastman to save the "savage" innocents.  He is horrified to have to bring himself to break his vow and to kill.  He, in the end, saves millions, but is "Less Than Human" for his actions that break his spirit and what it means to be a hero.  

I really enjoyed this issue and great to bring in both a historic page for Bill Sienkiewicz early art and STAR-LORD's early appearance, from a series (#1 - 24, 1975 - 1980) that ultimately had his first appearance (MP #4), Rocket Raccon's first appearance (MP #7) and Punisher's origin (MP #2) and became BIZARRE ADVENTURES.  It was also neat to see what changed from the art work and lettering work to final publish; they only kept the speech balloons in white, which made the page easier to read, since they are incorporated into the art, I think that either Bill and/or Bob did the lettering as well; couldn't find anyone else credited for it.