Published: February 10th, 2010
Written by: Neil Gaiman
Art by: Andy Kubert, Scott McKowen (covers)
Marvel Comics, 246 Pages
This started out as a really cool story and I enjoyed it a lot from the get go. However, it did lose steam after a few issues and wrapped up pretty weakly. I also thought the big reveal/twist was fairly predictable and that this didn’t live up to the high hopes I had for it and the past work of Neil Gaiman.
Still, it piqued my interest enough to make me want to check out some of the other stories that take place in this odd, alternative version of the Marvel universe.
I liked the setting and I really liked most of the character designs. I did, however, feel like too many characters and subplots were forced in for the sake of trying to make this a big deal, big event. A lot of the extra fluff was unnecessary and narratively cumbersome.
I don’t know if that was an issue with Gaiman’s writing or Marvel instructing him to throw in every major old school character. I feel like all the extra characters could’ve been saved for their own interesting spinoffs of this.
Beyond the rickety story, I thought that Andy Kubert’s art was pretty damn impressive. Artistically, this is one of my favorite things that he’s done and the style he used here fit with the story really well.
Also, the covers by Scott McKowen are some of my favorite from this comic’s era. They’re actually framed poster worthy and while staring at them, I thought about seeing if I could buy some.
In the end, Marvel 1602 was a fun experiment and it captivated me early on. But it was too dragged out and overloaded and with that, became more of a chore to read in the back half.
Pairs well with: other Marvel alternative timeline stories, as well as other comics written by Neil Gaiman.
Original Run: January 15th, 2021 – March 5th, 2021
Created by: Jac Schaeffer
Directed by: Matt Shakman
Written by: various
Based on: Scarlet Witch by Stan Lee, Jack Kirby; The Vision by Roy Thomas, John Buscema
Music by: Kristen Anderson-Lopez
Cast: Elizabeth Olsen, Paul Bettany, Kathryn Hahn, Teyonah Parris, Randall Park, Kat Dennings, Evan Peters, Debra Jo Rupp, Fred Melamed
Disney Platform Distribution, Marvel Studios, Disney+, 9 Episodes, 29-47 Minutes (per episode)
There’s been some criticism over the last few years that movies set within the Marvel Cinematic Universe have become too formulaic and predictable. Well, with the announcement that there would now be MCU television series streamed exclusively on Disney+, the possibility of breaking the mold and doing something very different had apparently arrived.
WandaVision is pretty ambitious and it doesn’t fit into any mold that came before it, MCU or otherwise. Because of its originality, I at least found it refreshing, interesting and intriguing, as it was initially hard to figure out where it could go.
However, its attempts at being so different also kind of bogged it down in the first half of the season.
The show recreates the world of sitcom television through multiple eras. As each episode progresses, we see WandaVision through a new decade’s lens. It starts with two episodes that take place in what appears to be late ’50s/early ’60s sitcoms then moves on to the ’70s, ’80s, ’90s and ’00s. It was a cool concept but it started to get tiresome by episode three. Thankfully, the show evolved beyond just the sitcom format at the end of episode three and started to allow the regular Marvel Cinematic Universe to creep in, as it began to show the real world outside of the sitcom setting.
By episode four, we’re introduced to new characters for the show, many of which we’ve seen before in the films. This is where things started to be revealed and the mystery behind what was going on got really interesting. While there were some Easter eggs and clues in the first three episodes, the fourth one is where everything took shape and got the viewer grounded in the concept.
For the most part, I really liked this show. It has its hiccups and faults but the chemistry between Elizabeth Olsen and Paul Bettany was so damn good that it kind of overshadows everything else that one might find faulty or annoying.
I also really liked Kathryn Hahn in this but then I like her in everything. It was really cool seeing her get to do something so large beyond just comedy, though. She obviously does the comedy parts well but when she has to get serious and more dramatic, she proves she can hang with actors on the same level as Olsen and Bettany.
Additionally, I really liked Teyonah Parris, as the adult version of Monica Rambeau, who becomes another version of Captain Marvel in the comics. She’s pretty solid in this show and really carries the production on her back in the real world scenes. Also, this show serves as her superhero origin story, as we see how she gets her powers towards the end of the series.
WandaVision was a pretty cool concept and it was mostly executed well. While I’m familiar with the comics well enough to kind of know what was happening from the get go, the show still had some good surprises that kept my interest till the end.
Pairs well with: other films and television series that take place in the MCU.
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.
Pairs well with: the other Daredevil comics from his Marvel Knights run.
Published: April 17th, 2019
Written by: Donny Cates, Nick Spencer
Art by: Niko Henrichon, Frazer Irving, Szymon Kudranski, Rod Reis, Gabriel Hernandez Walta, Mike Del Mundo (cover)
Marvel Comics, 341 Pages
This collection of Donny Cates’ Doctor Strange run started off with a bang but then it did what most Donny Cates comics do, it went too big, too fast and became a bloated, over-the-top spectacle. But he’s even admitted that everything he writes needs to be big and epic. He’s also pointed out that he’s always trying to top the last thing he wrote.
The problem with that is that he can tell pretty good human stories with a lot of emotion that gets the reader invested. But then he Michael Bay the fucks out of everything and then has to wedge in a large amount of characters because if it’s a Cates’ story, he’s gotta blow up the universe.
Big, over-the-top spectacles aren’t necessarily a bad thing but when it’s done as much as Cates does it, he becomes a one trick pony that negatively impacts the better sides of his creative work. The spectacle ends up overshadowing the real story and you sort of get lost in it all. And after a while, it becomes ineffective, as you expect everything to reach ludicrous spreed.
When I first started reading Cates’ work, I enjoyed the grandiose-ness. However, it didn’t take long to realize that larger-than-life Armageddon scenarios were his modus operandi. And with that, he has to keep trying to top what he did before. Everything just gets bigger, faster, crazier and the next thing you know, you’re reading the Marvel Comics version of Fast & Furious 14 where it’s just stunts, speed, CGI, action, yelling and then the end credits after characters refer to each other as “family” 97 times between explosions.
I think that this formula has worked so well for Cates that he’s kind of stuck doing it now. While this Doctor Strange stuff came out before his more recent work, I might have had a very different take on it had I read it when it was current.
The problem though, is this kind of shows me where that formula started. Well, at least with his more prominent Marvel work.
As I stated in the beginning, this started out really strong and I was invested. But then everything went ape shit crazy and then it was over. It may have read better if Cates stuck around and actually wrote about the fallout from this story. But I guess he had to move on to the next thing and give us more mega-event level chaos.
This initially created a foundation for something truly great. After the first story arc, however, it immediately went to a Hell-on-Earth scenario with two dozen characters involved. Whatever emotional investment I had, disappeared, as I kept reading and it never quite circled back around to the great character work and found a way to use that within the chaotic spectacle that followed.
Pairs well with: other Donny Cates comics by Marvel.
Published: February 1st, 2017
Written by: Brian Michael Bendis
Art by: Jim Cheung, Oliver Coipel, David Marquez, Marko Djurdjevic (cover)
Marvel Comics, 317 Pages
Man, this was bewilderingly bad.
Historically, I’ve been pretty 50/50 on Brian Michael Bendis’ writing but man, it’s like when he did this, he already knew he was leaving Marvel. It also reads like he was given orders to use certain characters and he was begrudgingly forced to work them in. Granted, he’s also created some of the terrible modern characters.
While I’ve been well aware of the criticism that the Captain Marvel character gets in modern times, I always liked her when she was Ms. Marvel. But this new, short-haired, suddenly pushed into a leadership role Carol Danvers is not even the same character, remotely.
Based off of how she’s written here, as a self-righteous, fascist, tyrant bitch, I totally see why fans can’t stand her. If this story is an accurate portrayal of how she is post-2015 or so, I have no interest in following her character unless she’s actually made into a permanent villain. But even then, there are so many better villains I’d rather read about.
And I’m not really sure how I’m supposed to interpret her character. Is she supposed to be psychotic, god-powered, tyrannical piece of shit? Or am I supposed to empathize with her point-of-view?
What made the first Civil War so great was that you could emphasize and relate to both points-of-view and it made for a compelling read. Civil War II just made me hate Carol and every character that so easily sided with her. These characters aren’t heroes, as their actions in this story crossed the line into villainy.
Whatever. Fuck this comic. Fuck Bendis. Fuck post-2015 Marvel. But at least the art was really good.
Pairs well with: all the other Civil War II crossover tie-in trade paperbacks.
Published: March 6th, 2014
Written by: Frank Miller, Bill Mantlo, Roger McKenzie, David Michelinie, Marv Wolfman
Art by: Frank Miller, Klaus Janson
Marvel Comics, 326 Pages
I recently got to scratch off one of my comic book bucket list items. That item was the completion of the entire Frank Miller Daredevil run. I now own all the single issues and it feels good. So to celebrate, I thought that I’d re-read through them all, as they were collected in three beefy volumes that I also own.
This first collection starts with two issues of The Spectacular Spider-Man, which featured Daredevil and had art by Frank Miller. Getting into the start of his run on Daredevil itself, the first handful of issues aren’t written by Miller but he does do the art. But once Miller fully takes over and Klaus Janson comes in to do Miller’s inks, this book really takes off in a new and exciting way, as it becomes grittier and almost has a noir vibe to it.
In this collection, we see the Bullseye character evolve more into the lunatic he actually is. We are also introduced to Elektra, as she makes her first appearance here.
Now nothing is truly wrapped up in this volume and it mainly just lays the foundation for the rest of Miller’s tenure on the title. But it sets things up nicely, really changes the landscape of the title, as long-standing love interest Black Widow moves on with her life and Daredevil is pulled into two new romantic directions.
This also establishes the real tension between Daredevil and The Kingpin.
As the first of three collections covering this run, this book is damn stellar. It’s also a great jumping on point for fans that want to read some of the best years in Daredevil’s long history.
Frankly, I’d read all of Miller’s run and then follow it up with the Ann Nocenti era.
Pairs well with: the rest of Frank Miller’s run, as well as Ann Nocenti’s and the stories in-between.
Written by: Steve Englehart, Danny Fingeroth, Jim Shooter, Roger Stern
Art by: Mark Bright, John Buscema, Steve Ditko
Marvel Comics, 278 Pages
I hate when I buy a thick, hefty collection that is sold to me as one thing, but once I buy it I find out that the thing I bought it for is about a third of the total collection and the rest of the volume is padded with other random stories.
While the issues collected here are presented in chronological order in how they appeared in single issues of the Avengers comics, they are all tied to larger stories or continued in other comics.
It’s pretty fucking infuriating when companies do this because I just wanted to read a Kang story that I had hoped would be pretty epic based off of the page count of this large Avengers release.
Instead, I got a medium sized Kang story and then a bunch of random plot threads that were left incomplete and open ended as they tied to Secret Wars II, Fantastic Four, X-Men and a story about both ’80s Avengers teams playing baseball.
Had I just read the Kang story, this would’ve been great. It would’ve been even better if it was reduced to the roughly four issues that the story took place in and I was charged a lot less than what I played for this disorganized mess.
Now to be fair, I did like most of this but when you’re pulled in one direction just to be left with blue balls, it’s pretty irritating. Especially, when you’re the one paying for it.
As far as the Kang story goes, I loved it. It was one of the best I’ve read and it featured one of my favorite incarnations of the Avengers team, as I started reading this series around the same era.
Had I known that I was going to get shafted by this, I would’ve just forked out the money for the less than a handful of physical floppy issues I needed for the story I wanted.
Pairs well with: other Kang-centric stories, as well as other comics that happened around the events of Secret Wars II.
Published: March 4th, 2015
Written by: various
Art by: various
Marvel Comics, 458 Pages
This was a comic book series that I had wanted to read for a long time. I was collecting all of the single issues, in an effort to get the whole shebang before reading any of them, as I wanted the full experience.
However, I found the beefy collected edition at Ollie’s Bargain Outlet for like $4.95. So I couldn’t pass up that deal and because tracking down the whole series, as well as its crossovers was taking some time.
Anyway, this wasn’t exactly what I had hoped it was but it was still a really fun comic, especially as a fan of Doctor Doom, who is mostly the main character, alongside Namor, throughout the series’ run.
What I had hoped (or assumed) this was, was a book that put two villains together like a tag team in an effort to see them fight their regular nemeses. I expected more of a mix up of villains but the vast majority of this pairs Doom and Namor. And honestly, most of the time, they’re at odds with each other, so “team-up” isn’t all that accurate.
Other villains come into the series towards the end. We get to see Red Skull, Arnim Zola, The Hate-Monger, Magneto and a few others. But most of this is Doom having schemes that typically involve Namor. It pits them (well, mostly Doom) against superhero teams like The Avengers, the Fantastic Four and the ’70s version of The Champions but it also sees Doom come into conflict with other major villains.
For the most part, this is a really fun and energetic series that highlights what was great about ’70s Marvel. However, the series kept switching writers and artists and some of the issues aren’t nearly as great as the more solid ones.
It’s definitely better written in the first few issues, as those duties were handled by the great Roy Thomas. Towards the end, the book gets more exciting, as a lot of characters get wedged in but the earliest stories were just better written tales.
All in all, this is definitely worth picking up for those out there that are into ’70s Marvel and/or Doctor Doom. If you can find the collected trade paperback for as cheap as I got it, you should definitely pick it up and give it a shot.
Pairs well with: the Avengers and Fantastic Four comics of the ’70s.
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.
Pairs well with: other big X-Men crossovers of the ’80s through ’00s.