Comic Review: X-Men: The Age of Apocalypse – The Complete Epic

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

Review:

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.

Comic Review: Daredevil: Back In Black, Vol. 2: Supersonic

Published: September 14th, 2016
Written by: Charles Soule, Roger McKenzie
Art by: Matteo Buffagni, Vanesa R. Del Ray, Goran Sudzuka, Bill Sienkiewicz (cover)

Marvel Comics, 124 Pages

Review:

While I’ve praised Charles Soule’s run on Daredevil, this early stuff isn’t working for me.

I came into Soule’s run towards the end of it and I really liked the last few arcs. Here, though, he is bogged down by the writer before him, who made it so that no one knew Daredevil’s secret identity. It’s a weird plot device that comes up constantly in this volume and it’s pretty annoying.

This collection is made up of multiple short story arcs.

The first deals with Elektra showing up, looking for a daughter no one knew she had. Apparently, after about 50 pages, the daughter angle was a trick and the story ended up being completely pointless.

The second arc is all about Matt Murdock playing Texas Hold’em in Macao. You don’t know what his scheme is but it ends with him and Spider-Man hunting down a briefcase. It’s pretty dull and the dialogue was bad.

The third part of this scant 124 page collection is the Daredevil annual from that year, which has a short story revolving around Echo and another that pits Daredevil against the Gladiator.

Reading this felt like a complete waste of time. I’m sure that these stories were there to plant seeds for later plot developments but this feels like total filler.

Additionally, the art in the Elektra story was bad. And then in the Texas Hold’em tale, there is a scene where Spidey and Daredevil go parasailing behind a hydrofoil. Except they aren’t using parachutes. Um… you have to use a parachute, otherwise parasailing doesn’t work. Growing up in Florida, I understand the simple physics of parasailing. The human body is not a natural parachute no matter how fast the boat is going.

I wanted to read through the earlier Soule Daredevil stuff but man, this really destroyed my motivation.

Also, I hate the black Daredevil suit.

Rating: 5/10
Pairs well with: the other Charles Soule story arcs on Daredevil.

Comic Review: House of M

Published: February 1st, 2006
Written by: Brian Michael Bendis
Art by: Oliver Coipel

Marvel Comics, 280 Pages

Review:

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: DisassembledThe Messiah Complex, also it has ramifications that carry over into the Civil War event.

TV Review: Daredevil (2015-2018)

Original Run: April 10th, 2015 – current
Created by: Drew Goddard
Directed by: various
Written by: various
Based on: Daredevil by Stan Lee, Bill Everett
Music by: John Paesano, Braden Kimball
Cast: Charlie Cox, Deborah Ann Woll, Elden Henson, Toby Leonard Moore, Vondie Curtis-Hall, Bob Gunton, Ayelet Zurer, Rosario Dawson, Vincent D’Onofrio, Jon Bernthal, Scott Glenn, Élodie Yung, Stephen Rider, Joanne Whalley

ABC Studios, Marvel, DeKnight Productions, Goddard Textiles, Netflix, 26 Episodes (so far), 48-61 Minutes (per episode)

Review:

*written in 2015.

If you haven’t watched Daredevil at some point over the last week, you have been severely missing out.

Marvel, now teaming up with Netflix, has given hardcore old school comic book fans a television show that they deserve. Being that it is on Netflix and not ABC or some other network, Daredevil has a lot of creative freedom. It also isn’t catered to the younger viewer, which can often times be a pretty tedious and annoying factor in regards to Marvel’s other live-action outings. What we’ve got is something very close to the source material and as dark as the stellar Frank Miller stories were in the early 80s. What we don’t have is a two-plus hour toy commercial accented by Tony Stark witticisms. For the record, I like Tony Stark witticisms but this isn’t the place for them.

Now I am not going to completely fan boy out like most of the people praising this show. It isn’t perfect and could improve in various areas but it is one of the best Marvel adaptations of all-time.

The positives are pretty abundant though.

To start, the tone of the show is perfect. The lighting is amazing, as it conveys the same color palette as the comic book from its most iconic runs. The cast, for the most part, is perfect. And the evolution of Daredevil throughout the first season of this series is very well done. We don’t have a hero that immediately kicks ass and looks invincible. We have a normal guy who is generally a bad ass but still gets his head kicked in a lot. The show just feels more real and more organic than any other live-action comic book property ever has and that in and of itself is a great feat.

The show also benefits by the fact that it isn’t stuffed full of characters and villains. The only real major Daredevil villains that even appear are Wilson Fisk (a.k.a. the Kingpin) and Leland Owlsley (a.k.a. the Owl). Kudos on the producers for holding off on Bullseye, Typhoid Mary, Elektra, Mr. Fear and the rest.

Although, the amount of time focusing on the inevitable confrontation between Daredevil and Fisk is pretty drawn out. The pace of the show is a bit slow and lacking energy in areas. I feel like the bulk of everything important could have been covered in six-to-eight episodes. What we’ve got instead is thirteen episodes with too much filler material.

The one performance that I question is Vincent D’Onofrio’s portrayal of Wilson Fisk. It isn’t bad but there are times where his voice is odd and out of place. I get that the character is written as a sort of fucked up kid turned “kingpin” but at this stage of his life, he should be more sure of himself and confident in his abilities. And I am not saying that he isn’t confident but his bizarre tone just seems out of whack for what the character needs to be. The Kingpin is not some emo child in a fat suit, he is an exacting, ruthless and very motivated evil genius that isn’t intimidated by anything. Maybe that makes him one dimensional but I’d rather have a caricature of pure evil than what we have with this character on the show. Besides, the comic book version of Kingpin has been fleshed out so well over the years that there is a lot to work with without some new and unnecessary spin on the character.

Daredevil is fantastic though. It is worth your time and as an avid reader of Daredevil in the comics, I think that this show truly hits the mark. It can be improved upon but it is a step above everything else Marvel has done thus far.

Rating: 8.25/10