This is a terrible game and it’s always been a terrible game.
That doesn’t mean that I didn’t play the hell out of it when I was a kid because frankly, I loved Marvel Comics and this was the closest thing to the arcade game Operation Wolf that I owned on a home console.
Sadly, like most early Marvel games for the Nintendo Entertainment System, this just sucked. I tried to convince myself otherwise but the controls were dog shit and the game was hard as fuck, especially on the tedious boss fights.
The big problem with the difficulty is that it becomes impossible to dodge all the gunfire, missiles and grenades lobbed at you. You become quickly overwhelmed as the game advances and the opportunities to gain some extra life are too far and few between.
The graphics are also shit and this looks like a game that was rushed or just designed pretty half-assed.
Additionally, the villain roster was pretty generic, except for Jigsaw and The Kingpin. The reason for this could also be because the regular Punisher comic book series was still only a few years old when this was made. That doesn’t mean that they couldn’t have used other street level villains from the larger Marvel universe like Hammerhead, Tombstone, The Owl, Bullseye, Boomerang, Taskmaster, Crossbones, Typhoid Mary, Mister Fear, The Rose, The Gladiator, etc.
Hell, what’s with the fucking android boss? They could’ve designed it to look like a Doombot or mini-Sentinel.
I know, I know… I’m asking too much for a basic bitch 1990 Marvel game.
Rating: 4/10 Pairs well with: other 8-bit side scrolling shooters or other terrible 8-bit Marvel games.
Published: September 15th, 2010 Written by: Brian Michael Bendis Art by: Alex Maleev
Marvel Comics, 461 Pages
This long stretch of Daredevil issues should’ve actually been better than the ones in the first volume, as shit got real dark, things were more action packed and this went to places I didn’t expect.
The reason why I can’t rate it as high as the previous one is because of the awful romantic subplot that actually sees Daredevil get married for a short time.
I hated this plot, the new love interest and thought that it detracted from a much better story about the shifting power in the New York City criminal structure and Daredevil dealing with that while also trying to work around the public knowing his identity.
The romance plot was just too much added into an already very layered and rich story. Plus, that stuff was poorly written and I don’t want to be that guy but I don’t think that Brian Michael Bendis understands romantic interaction above a college aged level.
That being said, Bendis’ writing is great outside of the romantic shit.
Also, I love Alex Maleev’s style and tone in regards to Bendis’ story. They come together rather nicely, even if it appears as if Maleev is tracing some characters and doing digital tricks. This was originally made at the turn of the millennium and artists were experimenting with a lot of new technology at the time. Frankly, I know he used Photoshop filters because I recognize them. Still, the end result works and I’m just a traditionalist that likes things done the old school way. This is why I also don’t like Pixar movies or that style of animation.
Out of all the different story arcs collected here, I think I like the one that features The Owl the best. I liked seeing him truly unhinged and trying to wedge himself into The Kingpin’s spot as crime boss. After that, I really loved the section with Typhoid Mary, as she’s one of my favorite Daredevil villains and doesn’t get enough love, in my opinion. She also looked great in this run, even if I still prefer her original look, as drawn by John Romita Jr. back in the late ’80s.
I love the hell out of Bendis’ run on this series and it truly rivals the great runs by Frank Miller and Ann Nocenti, who still takes the cake for me.
Remove the romantic, juvenile love shit in this story and this would’ve been a perfect Daredevil collection.
Rating: 9.25/10 Pairs well with: the other Daredevil comics from his Marvel Knights run.
Published: January 9th, 2019 – May 1st, 2019 Written by: Matthew Rosenberg Art by: Szymon Kudranski, Greg Smallwood (covers)
Marvel Comics, 119 Pages
This picks up right where World War Frank left off.
Overall, this wasn’t as strong as the first Matthew Rosenberg story arc but this builds off of it in an interesting way. However, by the end of it, you’re left empty handed because Baron Zemo evades the Punisher once again.
Still, Rosenberg is doing a stupendous job on The Punisher and I hope he sticks around for some time and keeps this momentum going.
Also, this just hits the right notes for me, as it is Frank Castle, being merciless, trying his damnedest to hunt down and kill Zemo, even if his biggest rival Jigsaw keeps getting in his way.
I’m a fan of the art style by Szymon Kudranski, it’s gritty and works for the tone. However, I have seen some criticism about how he doesn’t make characters with specific physical traits pop off of the panel in ways that you can instantly recognize.
For instance, his take on Jigsaw makes it hard to tell that you’re looking at Jigsaw unless he’s shown in close up. I agree with the criticism but it doesn’t break the book for me, as it is clear who the characters are through the story. But this should be improved upon.
While this was a pretty badass arc, it falls a bit short of the previous one because it seemed to slow the narrative down and with how this ends, it leaves Frank Castle’s hunt for Baron Zemo unfinished. While I love Zemo, he’s one of my favorite villains, period, the Punisher’s apprehension or murder of him is really being dragged out much longer than it needs to be.
But maybe Rosenberg has a solid plan for the next arc. I guess I’ll have to wait and find out.
Rating: 8.25/10 Pairs well with: old school late ’80s to early ’90s Punisher and the recent Marvel Knights 20th anniversary event.
Published: August 22nd, 2018 – December 19th, 2018 Written by: Matthew Rosenberg Art by: Szymon Kudranski, Greg Smallwood (covers)
Marvel Comics, 129 Pages
It’s been a long time since I cared about the Punisher. So long in fact that even though I knew this new series was starting, I didn’t seek it out. It wasn’t until someone I trusted told me that I needed to check out the first issue, as it read like classic Punisher and was a no nonsense, balls out, action packed, political thriller.
They weren’t wrong. This thing was a high octane festival of testosterone overload. While that might not appeal to some people, to fans of the Punisher comics of the late ’80s to early ’90s, this comic is a true throwback to that style and tone. Although, it is modernized, it still feels like those old comics I read when I first fell in love with the character as a scrapping young comic reader and creator.
Now this story arc is full of cameos but no one distracts from Frank Castle being his best self and even when other people (heroes and villains) try to prevent his one man war, he is too driven to be deterred.
The main antagonist here is Baron Zemo, who is one of my all-time favorites and who has been underutilized outside of Thunderbolts comics. Zemo isn’t the only villain though. We also get the Mandarin, Jigsaw and some others.
The issue that sees Jigsaw confront the Punisher while he is in a jail cell is incredible. It was the biggest high point out of several. But that’s what this story arc is, it’s a lot of high points and it’s jam packed with action and even some mystery.
World War Frank is not just solid storytelling, it is one of the most solid Frank Castle stories in years.
Rating: 9.25/10 Pairs well with: old school late ’80s to early ’90s Punisher and the recent Marvel Knights 20th anniversary event.
If the title of this article is fightin’ words, then prepare for 1485 more.
I’ve come to the realization that I just don’t like Deadpool. I mean, I used to love him back when Rob Liefeld created him and he was a thorn in the New Mutants and X-Force’s side from time to time. Plus, I was twelve years-old.
But what’s not to like?
He’s pretty much a ninja or at least, he looks like the bastard lovechild of a ninja and Spider-Man. He was also snarky and a pain in the ass. He even wore a badass red outfit with badass swords and badass guns. He had lots of pouches… so many pouches.
However, as much as I enjoyed seeing him pop up in stuff, I never really liked it when he had his own solo comics.
Okay, I did like those first few miniseries that he had because he still wasn’t quite the Deadpool that we would eventually get and I actually loved the bromance between villains Black Tom Cassidy and Juggernaut. But Deadpool would go on to change and he would also go on to have a villain problem.
Let me get to how he changed first.
In 1997, Joe Kelly came along and wrote an ongoing series for Deadpool. It was here where the character’s real super power debuted: the ability to break the fourth wall. This would continue to be a trait that Deadpool would have going into the future. Without Joe Kelly, Deadpool wouldn’t be talking to you and me, the audience, during his movies. Kelly, essentially turned the “Merc with a Mouth” into Zack Morris from Saved by the Bell. It was unique and fun at first but as time rolled on, I personally found it more distracting than amusing. But I also prefer tough looking characters that kick a whole lot of ass to spend less time chatting and more time kicking a whole lot of ass.
But really, breaking the fourth wall is not a super power. And neither is talking and being a snarky jackass.
Deadpool’s actual power is pretty much just a super healing ability, which makes him Wolverine without the claws, cool skeleton and good looks. And since Wolverine speaks softly and carries a big can of whoop ass into every situation, I will always prefer Wolverine.
Wolverine is a man’s man where Deadpool is that awkward thirty-something juvenile guy that shows up at parties, makes a fuck ton of jokes and people just leave the room. And then he follows them around making more jokes, oblivious to the fact that his routine is stale and he can’t converse like a normal, well adjusted adult.
I’m not saying that he’s completely unfunny but there comes a time when you need to nut the fuck up and shut the fuck up. This is why Deadpool is amusing from time to time when he cameos in someone else’s comic but to read 30 pages of his shtick, every single month, doesn’t interest me in the slightest. Point being, he’s a character that is much better and more welcomed in smaller doses.
Now circling back to the villain problem, Deadpool just doesn’t have any that are worthwhile. This is really apparent in his movies. Sure, Juggernaut and Black Tom show up in Deadpool 2 but they aren’t a main focus and are really just afterthoughts in the film.
Deadpool typically goes after one-off scumbags. I guess that’s fine if you only read Deadpool for Deadpool but for the rest of us, we want to see him actually face off with credible threats. Comic stories of Deadpool cracking jokes, leading up to killing a random mob boss have been done to death at this point. Lack of good villains is why I’ve never been a huge fan of the Punisher in his own titles either. I prefer the Punisher when he actually goes against Jigsaw or the Kingpin, as opposed to a random Russian sex trafficker.
The times where I do love Deadpool is when he is a real fish out of water and playing against his typical situation. For instance, whenever he’s trying to court Death and drawing the ire of Thanos. Or in Venomverse when he’s one of a few dozen characters but he finds a way to be more than his one-dimensional self and stands out while adding something worthwhile to the story beyond just comedic relief. I just don’t want Wade Wilson to be to Marvel what Santino Marella was to the WWE for several years. But he’s basically Marvel’s Jerry Lewis. A lot of people liked Jerry Lewis but a lot of people also post Onion stories like they’re real news… still.
Getting back to his humor, what is it mostly comprised of? Sex jokes and chimichangas.
A good sex joke can go a long way but when you’re writing a character that’s in comics for teens, there is only so far that you can go. And really, while this does work for a juvenile audience, the humor is still juvenile and who hasn’t heard these tired ass jokes for years already? Well, assuming you’re older than high school age.
Chimichangas are just delicious deep fried burritos. I guess it’s a funny sounding word but how many jokes can you make centered around chimichangas? Apparently, at this point, over twenty years worth strung over multiple creative mediums. You know that meme of the cartoon taco that says, “I don’t wanna taco ’bout it?” Now imagine someone holding that in your face for twenty-plus years.
Another aspect of Deadpool’s humor is pop culture references. He runs off at the mouth referencing movies, video games, bands and everything else like it’s the final battle in Ready Player One. He’s like Marvel’s equivalent to Family Guy, which I guess a lot of people like but I don’t see the humor in just mentioning some past nerdy thing. Actually, doesn’t that make Deadpool The Big Bang Theory of the Marvel universe then?
When it comes to the comics themselves, looking beyond his humor style, the stories are typically a jumbled up clusterfuck. Everything beyond his dialogue is wacky for wacky’s sake. It’s like reading a Sunday paper comic strip that is stretched from a few panels to 30 pages worth of panels. And nothing in his stories ever seem to hold much bearing over the bigger picture. It’s like every story could just be his own delusional power fantasy where he’s the only one laughing at his jokes.
Additionally, what’s the fucking point of it all? Where is he going as a character? Is he even a character that has the elements that a character should have? What’s his life arc? It’s just a long running aimless joke. Thankfully, the films fleshed him out into something actually tangible with real human emotion but I think that Ryan Reynolds and the writers were smart enough to know that the film wouldn’t succeed as a two hour dick joke. People need to connect to something and Deadpool, in comic book form, doesn’t have anything to connect to. He probably doesn’t connect to you either unless you’re just a basic bitch that thinks Semi-Pro is a better film than The Shawshank Redemption.
Looking back to the beginning at what Deadpool was, as a character, he’s just Rob Liefeld’s attempt at parodying Deathstroke. He was also purposely given a look that is reminiscent of Spider-Man. Deadpool has never been anywhere near as interesting as either of those characters though. Seriously, read Deathstroke by Christopher Priest (the current run of the character) or go back and read Teen Titans: The Judas Contract. Deadpool has never had a story arc anywhere near the quality of Deathstroke. And I don’t even need to compare him to the incredible history of the Peter Parker version of Spider-Man.
Other things to nitpick about is that the character has a terrible origin story, the art in his books is usually mediocre, he’s an amalgamation of ’90s cliches that people have made fun of for years, all he cares about is amusing himself at anyone else’s expense, he’s a prick most of the time, he’s barely heroic, he fucks up constantly and we’re supposed to laugh about it because he’s a Mary Sue that can survive anything, he’s usually in the way when other heroes are present and he relies on his healing ability over honing his actual skills.
I used to love Deadpool. But again, I was twelve years-old. I never cared about his own solo books because I guess I never thought he had much to offer outside of quick appearances. But as time moved on, the gimmick ran tired and Deadpool became the Dane Cook of comic books.
Plus, when someone says that he’s their favorite superhero, chances are they didn’t know who the hell he was until three years ago… and they probably don’t read comic books either.