Published: July 10th, 2019 Written by: Chris Claremont Art by: Bill Sienkiewicz, Sal Buscema, Bob McLeod
Marvel Comics, 504 Pages
Man, oh man… I forgot how great the Demon Bear story was! It was one of my favorite New Mutants stories when I first discovered this comic series, as a young kid. But I hadn’t actually read it for probably thirty years now.
This beefy Epic Collection release doesn’t just cover that story, though, as it features the events leading up to it and the story after, which is the debut of Legion.
Every story arc in this collection is pretty damn cool. There really wasn’t a dull moment and you get to see these great characters develop even more while also seeing their bond strengthen quite immensely.
This stretch of issues also feature the art of Bill Sienkiewicz, a comic book artist that truly had a unique style that I’ve always thought was one of the most impressive, expressive and coolest. It’s this series that introduced me to Sienkiewicz’s work, which I couldn’t get enough of. In fact, I bought all of his Elektra and Moon Knight stuff that I could find at my local comic shop circa 1990.
This stretch of issues was always one of my favorite runs on any comic book series. Revisiting it for the first time in eons, I still feel that way.
Rating: 9.5/10 Pairs well with: other New Mutants comics, as well as the other X-Men related titles from the ’80s.
Published: 1993 Written by: Danny Fingeroth Art by: Scott McDaniel
Marvel Comics, 97 Pages
I recently revisited and reviewed one of my favorite miniseries in my youth, The Deadly Foes of Spider-Man. I was pretty impressed by it and so I wanted to read its sequel, which I missed when I was a kid.
Unfortunately, this one is a much weaker miniseries.
I think the biggest reason for that was because this one was just overloaded with characters, the villains weren’t really unified at any point and it was more like a Royal Rumble than a story about Spider-Man having to overcome a team of enemies with the objective of defeating the hero through shear numbers.
This picks up some of the plot threads from the previous story but honestly, everything seemed pretty much resolved already. Adding on to those stories didn’t really generate anything meaningful or that interesting.
I really liked the Sinister Syndicate team from Deadly Foes but only half of them returned and then we had other villains kind of randomly thrown in.
The story wasn’t necessarily hard to follow but it was a mess.
I’m not sure what went wrong but trying to do too much for the sake of simply upping the ante isn’t really a good approach.
Rating: 6/10 Pairs well with:The Deadly Foes of Spider-Man and The Superior Foes of Spider-Man.
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: July 11th, 2007 Written by: Tom DeFalco, J.M. DeMatteis, Terry Kavanagh, David Michelinie Art by: Mark Bagley, Sal Buscema, Ron Lim, Tom Lyle, Alex Saviuk
Marvel Comics, 335 Pages
This big crossover event started right around the time that I was mentally checking out on comics, as I had moved, gotten older and was more concerned about high school girls and trying to woo them with my heart-melting charm.
I’ve read some of the issues within the larger arc but I never sat down and read the whole thing in its fourteen issue entirety. That being said, this was kind of tough to get through.
Maximum Carnage truly embodies that old adage about there being too many chefs in the kitchen. With this, that saying doesn’t just apply to having too many writers but it also applies to this being overloaded with characters that no one cares about.
Carnage returns and with that he forms his own supervillain group. It’s kind of like the Sinister Six but it’s made up of new and D-list level villains like Shriek, Doppelganger, Carrion and Demogoblin. Apart from Carnage, all these villains suck and frankly, after reading this, they had such an adverse effect on the coolness of Carnage that I don’t really have the same opinion of him. This made him lose his luster. Granted, Marvel also fucks him over, after this, by introducing a bunch of symbiote Carnage babies.
Spider-Man is pretty much in over his head but he re-teams with Venom in an effort to stop Carnage and they also get help from Black Cat, Cloak & Dagger and a slew of other heroes that pop in and out. Morbius even shows up just to remind you that in the ’90s he was batshit crazy. We also get an appearance from Nightwatch, who was a ’90s Marvel character that blatantly ripped off Spawn just to piss off Todd McFarlane for becoming a self-made millionaire after leaving the company. They showed him!
Anyway, this is a clunky story without a real clear point to it other than Carnage is bad and he does terrible shit. This didn’t need to be fourteen issues long but Marvel was trying to bank on Carnage’s popularity. I’m sure it made money for them, at the time, but the story didn’t do much to help the Spider-Man mythos in any sort of long-term way. In fact, when people bring up Maximum Carnage nowadays, it is in reference to the old 16-bit video game and not the comic book story it was tied to.
This story featured good writers and good artists but it felt sloppily put together and like all the creative parties just kind of rushed it out or phoned it in. Some of the art, surprisingly, is actually hard on the eyes but I think that’s more to do with the colors than the illustrations. Also, I read this digitally and sometimes that can really fuck up the color of older comics.
I had some high hopes for this because I really felt like I missed out on it years ago. However, comics shouldn’t feel like doing chores. I didn’t really want to finish this but I did in order to review it, as it is considered an iconic story by many.
Rating: 4.5/10 Pairs well with: other mid-’90s Spider-Man comics and Marvel crossover events.
Published: April 11th, 2007 Written by: Mark Millar Art by: Steve McNiven
Marvel Comics, 196 Pages
I loved Civil War when I first read it over a dozen years ago. It reignited my interest in Marvel Comics and I stuck with a lot of the core stories that were born out of these events.
For those that don’t know, this pits two factions of superheroes against each other: one group led by Captain America and the other led by Iron Man. It would also go on to inspire the movie Captain America: Civil War, nine years later.
Cap’s group is against a new law that would force superheroes to give up their secret identities and become agents of the government. Iron Man agrees with the law, after a group of C-list heroes are responsible for the deaths of hundreds of children. Spider-Man, the third central character, starts the story on one side and then switches after certain events give him newfound clarity.
The story, the idea and its execution are near perfect. In fact, I’m not sure how this wasn’t a story idea before this, as it seems like a natural development for the superhero genre. Regardless, Mark Millar penned magic here and this is, hands down, one of the greatest mega events in comic book history.
Having just read two of DC’s massive Crisis events and seeing how they were massive clusterfucks, this is the complete antithesis of those and goes to show how much better Marvel is (or was) at bringing a massive group of characters together.
I also really enjoyed Steve McNiven’s art and it fit the tone well. McNiven was one of the top artists at the time and his talent was put to great use here.
My only negative takeaway is that this story should’ve been longer than seven issues. It felt like there was a lot more story to tell. But then again, there are literally dozens of Civil War tie-ins that you can read for more context and to see what other heroes were up to during this saga. From memory, a lot of them were also pretty good.
Rating: 9.5/10 Pairs well with: all the other Civil War crossover tie-in trade paperbacks, as well as The Death of Captain America.
Published: March 20th, 2019 – August 28th, 2019 Written by: Chip Zdarsky Art by: Mark Bagley
Marvel Comics, 200 Pages
When I first heard about this miniseries, I was pretty stoked for it.
The concept is that it starts in the ’60s when Spider-Man debuted and it follows him over the six decades he’s existed but it does that in real time. Basically, instead of Spider-Man only aging fifteen years (or so) since his debut, this story covers his entire life span, as he ages accordingly from decade to decade.
Each of the six issues represents a decade. But that is also kind of a problem with the story too.
You see, you can’t wedge a whole decade into twenty or thirty pages of a comic. So each issue just focuses on some sort of event in Spider-Man’s life from that era.
The total package of this series is really cool and interesting but it almost feels as if each decade could’ve been a miniseries of its own and that this is a comic that could have lived on for several years. And with the team of Chip Zdarsky and Mark Bagley, it could’ve been like a Spider-Man renaissance.
But ultimately, each chapter was pretty damn good. I only thought that the last one was a bit weak but I wasn’t too keen on how it ended. I felt like Spider-Man’s fate was kind of predictable, as this was his “life story”.
The thing is, it was hard investing into the weight of the finale, when you haven’t lived through the emergence of the massive threat that they face to end the series. And that just gets back to my feeling about there needing to be more time devoted to each decade than just single issues.
However, I’m hoping that this is just a framework or a road map and that Marvel at least has some plans to expand on this story in the future. If that’s the case, I really hope it is brought to us by Zdarsky and Bagley, once again.
If not, well… this was still one of the best comic book miniseries to come out this year.
Rating: 8.5/10 Pairs well with: the recent Symbiote Spider-Man miniseries by Peter David and Greg Land.
Published: June 10th, 2015 Written by: Brian Michael Bendis Art by: Dave Marquez
Marvel Comics, 145 Pages
This picked up right where the previous volume left off, which was good as volume one ended on a cliffhanger and didn’t closeout the story arc of Miles Morales and Peter Parker against the Green Goblin.
However, that arc does actually end in the first third of this collection and then we go right into two smaller arcs, which makes this volume less cohesive and consistent than the previous one.
This is still really good, however, it just felt like it wrapped up the Goblin stuff pretty abruptly and then the other two stories felt rushed due to how drawn out the Goblin plot was.
Miles finds himself in some serious trouble here, as his girlfriend is not who she seems. Also, his father returns with secrets that redefine Miles’ world.
Overall, this is a great collection of issues that develop Miles’ character and give him a lot more drama to contend with. This is where he really has to start growing up in an effort to become a man and a true hero.
That being said, it’s not the most entertaining chapter in Miles’ long story but it is maybe the most important.
Ultimately, this is still a good, fun read and I’m still on board with Miles’ journey.
Rating: 8/10 Pairs well with: The other early Mile Morales Spider-Man stories. Also, Spider-Men I and II and Spider-Verse.
Original Run: June 7th, 2018 – current Created by: Joe Pokaski Directed by: various Written by: various Based on:Cloak & Dagger by Bill Mantlo, Ed Hannigan Music by: Mark Isham Cast: Olivia Holt, Aubrey Joseph, Gloria Reuben, Andrea Roth, J. D. Evermore, Miles Mussenden, Carl Lundstedt, Emma Lahana, Jaime Zevallos
I watched this right after I quit watching Runaways in the middle of its inaugural season. Sadly, this is pretty cringeworthy too and I couldn’t finish it. But at least I got further before my body couldn’t physically hit the “play” button around episode 7 or so.
Cloak & Dagger is lame as hell. Where is the superheroing? 7 episodes into this and they’ve barely explored their powers. This is just teen drama crap that feels more like it belongs in the Twilight franchise than the Marvel Cinematic Universe, where it is supposed to take place.
The acting isn’t terrible but it’s nothing to praise. I mostly like the characters but if I’m being honest, they do not feel like the Tandy Bowen or Tyrone Johnson that I’ve gotten to know in the comics over three decades.
Also, why is this in New Orleans? I mean I love New Orleans but these characters are from New York City and often times cross paths with Spider-Man, Daredevil and other street level heroes of the Big Apple. Honestly, this feels completely separate from the larger universe it is supposed to be a part of.
The writing is slow, dull and I don’t care about the story one friggin’ iota.
The writing is also the biggest source of this show’s cringe. The dialogue is rough, unrefined and sounds like it was written by an intern that won’t get hired by the studio after graduation. Also, this gets pretty sociopolitical, not that that’s a bad thing but the show tends to hit you in the face with Mjolnir when trying to make those statements.
I have no urge to finish this or to watch a second season. I doubt that the show will last much longer and this is just further proof that the MCU is stretching itself way too thin, regardless of each project having its own filmmakers or showrunners. It’s just becoming so tiresome and this put me past the point of exhaustion. I wouldn’t call it “superhero fatigue”, as some people have called this market over saturation of superheroes, I would just call it a lack of the right people to steer these multiple ships.
Rating: 4.75/10 Pairs well with: Marvel’s Runaways, as both are mind numbingly bad and nearly unwatchable.
Published: May 1st, 2014 Written by: Brian Michael Bendis Art by: David Marquez, Sara Pichelli
Marvel Comics, 125 Pages
This is the final volume in the first Miles Morales Spider-Man comic book series. It picks up one year after the previous volume, which saw Miles quit being Spidey after the death of his mother. Ultimately, this was a good finale to the first Miles run.
The story arc here mostly deals with Miles’ grief but even if it takes a few issues to get him back in the saddle, I didn’t mind seeing him work through his problems and trying to figure out who he is supposed to be.
Plus, this is still action packed once it gets going and we also get to see a team form between Miles, Spider-Woman, Bombshell and Cloak & Dagger, who make their Ultimate continuity debut. In fact, this also serves as the Ultimate Cloak & Dagger origin story.
In addition to that, we get to see Roxxon become exposed, come to understand more about the events that led to Miles getting Spidey powers and just how shady S.H.I.E.L.D. is in this universe.
Last but certainly not least, we get to see the Ultimate universe version of the Taskmaster, who is one of my favorite villains of all-time. I don’t like this version of the character as much as the original but it was still cool to see Miles take on one of the most dangerous villains in Marvel history.
This was well paced, even with the slower start, it had great character development and frankly, this is really Brian Michael Bendis at his best. I know that Bendis gets a lot of slack for a lot of things but this showcases the man’s talent and should be held up pretty high on his long list of stories that he’s wrote over the last few decades.
Solid, through and through, I truly loved this series and the Miles Morales character.
Rating: 8/10 Pairs well with: The other early Mile Morales Spider-Man stories. Also, Spider-Men I and II and Spider-Verse.
Published: February 1st, 2006 Written by: Brian Michael Bendis Art by: Oliver Coipel
Marvel Comics, 280 Pages
This picks up after the events that happened in Avengers: Disassembled. This story also has effects that will go on to be felt in Marvel’s Civil War event, as well as X-Men: The Messiah Complex.
So following the tragic events of Avengers: Disassembled, the Avengers and the X-Men meet to discuss the fate of the Scarlet Witch. Wolverine leads the charge pretty much calling for her death, as the potential for what she can do with her powers is too great. Other Avengers and X-Men disagree but ultimately, you get the idea that this is going to go somewhere really friggin’ dark.
After that, Wolverine wakes up in an alternate reality and is aware that he’s not where he’s supposed to be, even though all of his allies are buying into the mystical charade. Wolverine has to go against his friends, search for answers and has to convince his allies that something happened that completely changed reality.
In the end, the Scarlet Witch only leaves like ten percent of the mutants in the world with their powers intact. So Wolverine saves the day, essentially, but the Scarlet Witch with her insane powers is still a crazy bitch.
This story was a cool idea but it didn’t really move forward in a way that excited me. Granted, I wasn’t too fond of Avengers: Disassemble, which lead to this.
This is one of the big Marvel stories of the ’00s and it is certainly better than the schlock they are synonymous with now but it still pales in comparison to the great epics that came before this. Don’t get me wrong, Marvel has some events that were duds in the old days too but this book just missed the mark and frankly, it could have been longer and probably needed to be, as the pace was insanely quick.
I really enjoyed Oliver Coipel’s art, though.
Rating: 6.25/10 Pairs well with:Avengers: Disassembled, The Messiah Complex, also it has ramifications that carry over into the Civil War event.