Published: March 8th, 2017 Written by: Chris Claremont, Bill Mantlo Art by: John Buscema, Sal Buscema, Ron Frenz, Bob McLeod, Frank Miller, Paul Smith
Marvel Comics, 520 Pages
As big of a fan of The New Mutants as I am, it’s been a damn long time since I’ve read the original graphic novel and their earliest stories. I got into the series around it’s midpoint and because of that, didn’t have all of the earliest issues until more recently. This collects that first year of the regular comic books series, as well as the characters’ appearances before it started.
This was neat to revisit and it brought me back to where I was in the late’80s, as a young kid just discovering comics. Back then, I really liked the youth superhero teams like Teen Titans and New Mutants.
This collection had a few stories I hadn’t read before. It kicked off with Karma’s debut story, which happened in Marvel Team-Up and featured Spider-Man and the Fantastic Four.
Additionally, I had never read the story that served as the debut of the Hellfire Club’s Selene and New Mutants member Magma.
Everything else here I’ve read but it was nice checking it out again and refreshing my memory, as my brain gets older and forgets more than it remembers now.
I loved the art style of this series, early on, and the Chris Claremont and Bill Mantlo stories were solid.
Now I do have to say that this isn’t as good as the series would become. This is early on and it hasn’t found its grove, here.
However, this is the foundation of this group and they would eventually be faced with some really intense, life-altering storylines that would take this from just being a “Junior X-Men” comic to something unique and very much its own series, standing on its own strong legs.
Rating: 7/10 Pairs well with: other New Mutants comics, as well as the other X-Men related titles from the ’80s.
Published: 1995-1996 Written by: Scott Lobdell, Jeph Loeb, John Francis Moore, Mark Waid, Warren Ellis, Fabian Nicieza, Larry Hama, Howard Mackie, Terry Kavanagh Art by: Roger Cruz, Terry Dodson, Steve Epting, Andy Kubert, Adam Kubert, Carlos Pacheco, Joe Madureira, Tony Daniel, Salvador Larroca, Chris Bachalo, Ken Lashley, Steve Skroce, Ian Churchill, Joe Bennett
Marvel Comics, 1462 Pages
I’ve really only heard great things about The Age of Apocalypse storyline since it started back in 1995, an era where I wasn’t really reading comics for awhile, except for Dark Horse’s Star Wars stuff.
In fact, the last major X-Men related event that I had read before this was X-Cutioner’s Song, a pretty good epic. But shortly after that, I got pretty burnt out once the top Marvel guys went off to form Image and then those comics were constantly hindered by delays and irregular schedules.
Based off of all the praise I heard, I always wanted to read this but it was such a massive story, spread over multiple collected volumes that I never really wanted to fork out the over $100 it would cost to buy the whole shebang. So, all these years later, I took advantage of a massive X-Men sale on Comixology and got the entire saga with its prelude for about $20.
Now that I’ve read it, I’m glad I only spent $20 because like Game of Thrones, all my friends and all the critics lied to me about how great this was. It’s not, it’s a clusterfuck of biblical proportions showcasing a lot of the things that were wrong with mid-’90s comic book art from the major publishers.
I’ll start with the art and just come out and say that this was mostly an eyesore to look at. The biggest reason was the colors, which relied so heavily on what I assume are digitally created gradients and overly vibrant colors that this was like staring into the asshole of a tropical fruit salad for hours. Everything is too busy, every single issue collected is made to be overly grandiose and if everything is larger than life and overly vivid, then that becomes the norm and thus, makes everything kind of boring.
Additionally, there is such a mix of different artistic styles that it becomes jarring as these collections jump from issue to issue every twenty pages or so. Some of the artists had great pencils but many of them illustrated in a style that didn’t feel like Marvel and instead felt like the artists were trying to emulate indie comics from Image and Valiant. Besides, the stuff that was illustrated well, ended up being wrecked by the primitive gradients and crazy colors that looked like a giallo film puked all over a box of Prismacolor markers.
When it comes to the narrative side of this, that’s also a mess.
This suffers from trying to be way more ambitious than it needed to be. The whole story is comprised of about seven or eight different subplots that are and aren’t intertwined. Some of them merge towards the end into the bigger story but some stuff just happens within this new timeline. But the story jumps around so much that it makes the whole thing hard to follow as a singular body of work. This is the same problem I have, right now, with all the new X-Men related titles that are tied to a bigger narrative but don’t feel connected as much as they should. But this is what happens when you have a half dozen different titles and different writers, all of whom want to explore different territory in their own way while being trapped within a common framework.
In fact, the only plot I actually enjoyed was the one that dealt with the characters that aren’t tied to the X-Men.
There was a two issue miniseries called X-Universe, which focused on what other Marvel characters were up to during this event. We check in on this timeline’s version of Gwen Stacy, some of the Avengers, Fantastic Four, Doctor Doom and a few others. I found this more interesting and it showed me that this alternate timeline could provide the right sort of environment for cool and refreshing takes on old characters.
While I should probably feel the same way about all the X-Men related characters and their stories, it is hard to focus on any of them because of how this jumps around so much. When I got to the non-X-Men characters, it felt like a nice break from the X-clusterfuck I was pushing myself through.
Ultimately, I was really disappointed in this. I kept powering through it because I was hoping that all these subplots and characters would unify into something coherent that clicked at the end but that didn’t happen. We eventually get to a resolution but it’s not all that satisfying.
On a side note (and spoiler alert): the way that Magneto kills Apocalypse is pretty f’n badass.
Rating: 5/10 Pairs well with: other big X-Men crossovers of the ’80s through ’00s.
Published: 2016-2017 Written by: Chad Bowers, Chris Sims Art by: Mirati Firmansyah, Coby Hamscher, David Nakayama (cover) Based on: the X-Men animated series by Fox Kids
Marvel Comics, 240 Pages
If you were a kid in the ’90s, you probably watched the X-Men cartoon that used to be on Fox on Saturday mornings. It was solid, did a pretty good job of adapting some of the comic book’s big storylines and introduced a lot of non-comic reading kids to the X-Men franchise.
It ended after a few seasons and never really had a proper follow up. Well, that is until recently, as the show moved into the medium it was born out of: comic books.
Maybe this took its cues from DC Comics and how they came out with Batman ’66, a comic book series that revisited the 1960s Adam West Batman TV series. But one can’t deny that Batman ’66 was a cool comic, a great idea and with that, should have inspired other comic books that continued the stories of comic book characters as they were presented in other mediums. Hell, I’m still waiting for that Batman ’89 comic that was once teased and then had those teases retracted.
But this is about X-Men ’92, which was a decent follow up to the animated series.
Overall, this was a fun read but it didn’t wow me in the same way that Batman ’66 did. Where that Batman comic felt tonally right and as if it was a true continuation of the series, X-Men ’92 throws some weird curveballs and also tries to force in way too many characters just for the sake of the creators trying to give you the animated series’ versions of these characters.
Maybe they knew this series would be short lived and therefore, they wanted to wedge in every character they could but it really becomes too much to process in the second half of this series. Also, I wasn’t a fan of devoting so much time to a Dracula/vampire story. None of that was central to the core of the cartoon and it shouldn’t have been central to the core of this comic.
Also, this feels like it is just borrowing the visual style of the TV show but it doesn’t seem to understand the tone or the spirit of it.
It’s still entertaining for fans of the source material but I wouldn’t call it a must read or all that necessary. Die hards should check it out but I can see why this didn’t make it a year where Batman ’66 has still been hanging on for quite awhile with a long running series and several crossovers.
Rating: 6.75/10 Pairs well with: the animated series it’s based on, as well as ’90s X-Men comics and various spinoffs.
Published: May 7th, 2008 Written by: Greg Pak Art by: John Romita Jr.
Marvel Comics, 197 Pages
Planet Hulk is one of my favorite story arcs of the ’00s. I never read the followup, World War Hulk until now though. I think the reason behind that is because Planet Hulk was so perfect, I didn’t want to diminish its impact on me by jumping right into the next big chapter in the Hulk’s life.
That being said, I’m glad that I did finally read this as it was a lot of fun. Sure, it doesn’t live up to what Planet Hulk was but those were big shoes to fill and this is still a worthwhile followup that shows the Hulk finally make it home with a serious chip on his shoulder.
At its core, this is a revenge tale. But there are a lot of layers and a dark secret that comes out at the end that really shakes the foundation of what this era’s Hulk stands for.
You see, the Hulk is not only mad that his friends (Mr. Fantastic, Iron Man, Doctor Strange and Black Bolt) sent him away against his will, marooning him on a terribly violent planet, but now he wants revenge because his wife and unborn child were killed by what he believes was the fault of these same former friends. So the Hulk returns to Earth with his allies from Planet Hulk ready for a showdown with his old teammates in the heart of New York City.
This story is full of epic destruction and incredible action. It’s also nice seeing John Romita Jr. do the art for this, as I’ve been an avid fan of his work since I first discovered him in the pages of Daredevil in the late ’80s.
World War Hulk is full of a ton of Marvel superheroes, all trying to stop the Hulk’s war against Earth’s mightiest. While it isn’t on Planet Hulk‘s level, it’s still a worthy sequel and changes the Marvel landscape going forward.
Rating: 7.75/10 Pairs well with: the story that precedes this one, the near perfect Planet Hulk.
Published: April 2nd, 2008 Written by: Greg Pak Art by: Gary Frank, Aaron Lopresti, Takeshi Miyazawa, Carlo Pagulayan
Marvel Comics, 401 Pages
I read The Incredible Hulk comics as a kid. But I wasn’t really a Hulk fan until Planet Hulk came into my hands in 2008. By the time I got to the end of it, I realized that I had just experienced one of the absolute best comic book stories of that decade.
A lot of the story would go on to be used in the film Thor: Ragnarok because a live action adaptation of the story wasn’t possible with all the issues regarding which studio owns the controlling rights over the character. But I loved what they did use in that Thor film between Hulk being a gladiator and the inclusion of Korg, as well as some other minor details.
It had been awhile since I read this story though and I thought that I needed to see how it has held up.
Well, this is still absolutely incredible. It is, most definitely, my favorite Hulk story of all-time. But I also probably enjoy it for the fact that it has some sword and sorcery elements to it and really just feels like Hulk the Barbarian.
Greg Pak did a stupendous job writing this though. For something so lengthy and beefy, the whole thing is engaging, there aren’t any dull moments and each issue builds off of the ones before them. This is what comic book writing should be. This has perfect pacing, every panel matters and it hits you right in the feels just when it needs to.
Planet Hulk had multiple artists work on it, which is common when a story arc is this long. But what’s great about it was that the style was consistent and you don’t immediately notice that it’s different. It all just fits together very cohesively. Sometimes different artists have styles that can conflict and be almost jarring when reading a collection. This does not suffer from that at all.
After jumping back into this 11 years later, I really want to read the followup World War Hulk now, which I missed back in 2008.
Rating: 10/10 Pairs well with:World War Hulk and the Peter David run on The Incredible Hulk.
Published: February 5th, 2014 Written by: Jonathan Hickman Art by: various
Marvel Comics, 866 Pages
Since new ideas are hard to come by, Marvel decided to sort of rehash the Infinity events from the ’90s in this modern version of a story that features Thanos and every single Marvel hero that can possibly fit on a splash page.
I’m not knocking the technique, if a story is good, it’s good. All stories borrow from something else and Marvel (just like DC) likes to recycle the core elements of their big crossover events, again and again. Marvel has had two Civil War storylines, Avengers Vs. X-Men, which was practically like Civil War, and multiple versions of Secret War. Then there are massive Skrull events that seem to have happened an awful lot too.
I guess the main similarity between this and the ’90s Infinity events is that it features dozens upon dozens of Marvel heroes against a seemingly omnipotent Thanos. However, Thanos’ purpose is different here and there is no sign of the Infinity Gauntlet. In this story, he comes to Earth to find his long lost son Thane. Why? Because Thanos wants to murder him, as he’s done with his other offspring.
I read the large collected edition of this, which was well over 800 pages. It was massive and thick and took some time to get through. At first, it started slow and I felt like I didn’t know what was going on because I haven’t read a lot of modern Marvel stuff and there are all of these new heroes I’ve never experienced. Don’t worry, this still has every classic hero in it too. Every major player is here, as should be expected with an event like this.
Reading this, I can see where it also influenced the recent Avengers: Infinity War movie, as it has the introduction of the Black Order, who played a big part in that film.
The story also deals with a threat from the Builders, who basically want to destroy the universe because villains do those sort of things in comic books.
There are a lot of layers to the story and it can feel overwhelming and overly complicated but the core of it is very good. This event had some really awesome and powerful moments and also featured some of the most badass stuff Thor has ever done.
It also gave us Thane, a character that is more dangerous than his famous father and who looks to be a massive threat for the heroes after the conclusion of this story.
I thought the pacing was good, once the story really got going. The six Infinity issues were certainly the high point of the story where the Avengers and New Avengers issues that were part of this collection served to give more exposition to the larger narrative.
This massive collected edition is capped off by a Silver Surfer story that takes place alongside these events. The Surfer didn’t appear in the main story but he had his own tale that was worth telling, as he was on the other side of the galaxy dealing with the same events in a different way.
And I guess another really important thing about this mega event is that the art was fabulous. I loved it, every panel, every page and every issue of every comic series collected here was visual perfection. Kudos to the artists: Jim Cheung, Jerome Opena and Dustin Weaver.
Rating: 8.75/10 Pairs well with: The ’90s Infinity trilogy of events: The Infinity Gauntlet, The Infinity War and The Infinity Crusade.