Published: June 11th, 2008
Written by: Ed Brubaker
Art by: Steve Epting, Mike Perkins
Marvel Comics, 161 Pages
I was excited to read this after having recently read Ed Brubaker’s first three volumes in his Captain America run, as well as revisiting the Civil War event.
This story takes place immediately after Civil War and in the first issue of this collection, we see Cap arrive at the courthouse to stand trial only for him to be assassinated on the steps before entering.
What follows is a political thriller with a lot of twists, turns and curveballs. This story is also used to setup Bucky Barnes a.k.a. Winter Solider as the new gun-toting Captain America. While he doesn’t become the new Cap yet, this is the start of that interesting journey and intriguing era for the character.
The death of Cap happens so quick and once you get past that, this deals with the fallout from it and how it effects certain characters while also slowly revealing that something is very complicated with one of them. I don’t want to say too much for risk of spoiling a major plot twist.
I thought that this was pretty good but it doesn’t have a definitive ending. It’s left open ended, as this is the first of several parts collecting the larger saga around Cap’s death and Bucky’s evolution into the role of Cap’s replacement.
Brubaker once again wrote a compelling and interesting story with superb art by Steve Epting and Mike Perkins.
Pairs well with: the rest of Ed Brubaker’s Captain America run.
Published: October 3rd, 2018
Written by: Gerry Conway, Chris Claremont, Gary Friedrich, Tony Isabella, Roy Thomas, Len Wein, Marv Wolfman
Art by: Gene Colan, Ross Andru, John Buscema, Dick Giordano, Don Heck, Mike Ploog, Gil Kane (cover)
Based on: Dracula by Bram Stoker, Frankenstein by Mary Shelley
Marvel Comics, 512 Pages
Over the last few months, I’ve been reading a lot of the ’70s Marvel Comics stuff. I dabbled in some of these stories when I was a kid but they were before my time and weren’t as easy to get when I really started collecting comics circa 1990. Plus, my attention, at that time, was focused on superhero stuff, as well as G.I. Joe.
I enjoyed the first volume in this massive collections of The Tomb of Dracula, so naturally I wanted to check out this one too. In the end, I liked this one even more. I think a lot of that has to do with this taking place more in the modern world, which allowed Marvel’s incarnation of Dracula to interact with some of Marvel’s famous superheroes.
In this collection we get to see Dracula meet Spider-Man, Werewolf by Night and Marvel’s version of Frankenstein’s Monster. We also get a small cameo by the Human Torch, as well as the debut of Dracula’s daughter, Lilith. This even had a swashbuckling tale in it.
Now this had a ton of different writers and artists, as it bounces around to different titles that featured Dracula, at the time. Despite this, the book feels consistent, which is a testament to how great Marvel’s editorial was in the ’70s. As far as that company has fallen in recent years, they wouldn’t be able to pull this feat off in 2020.
Most of the stories here were good, it was an energetic read with great art by several legends and it is a fantastic example of ’70s Marvel horror at its finest.
Pairs well with: the other Marvel Dracula stories, as well as other ’70s Marvel horror titles.
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.
Pairs well with: all the other Civil War crossover tie-in trade paperbacks, as well as The Death of Captain America.
From Filmento’s YouTube description: Spider-Man: Far From Home is the first Spider-Man movie ever to reach a billion dollars at the box office, thanks to the massive Avengers-level scale of it all. But as everyone at this point knows — all that scale is a lie. In reality, Far From Home is a tiny, almost indie-sized film. And yet, despite this movie practically cheating the audience for two hours straight, it was still highly loved by everyone. In today’s family friendly PG episode of Film Perfection, let’s find out how that’s possible — how to lie to your audience in a way that still works. How does Far From Home succeed in movie culture where the likes of Snoke and Night King haven’t.
The Amazing Spider-Man was the game that made me want to get a Gameboy for Christmas the year it came out.
I was really hardcore into Spidey at the time and having the ability to play a Spider-Man game was something that excited the hell out of my eleven year-old brain.
This beat the superior Genesis game by a few years but it was still a really fun game for the time even if it was pretty hard due to wonky controls, poor mechanics and really simplistic graphics and level design.
I think the thing that captivated me the most, at the time, was that it had a good amount of enemies from Spider-Man’s deep rogues gallery.
This featured Mysterio, Hobgoblin, Scorpion, Rhino, Doctor Octopus and Venom, who was new at the time and the favorite comic book character for most boys circa 1990. There are also Lizard cameos throughout the game. Well, I’m assuming it’s either Lizard or people he infected with his condition, as he/they appear at every manhole in the game.
Sadly, the game hasn’t held up well. I don’t think that it was necessarily great for its time either but being that I was such a hardcore web-head, I excused the game’s flaws and just tried to immerse myself into the role of Spider-Man.
Pairs well with: its sequel, as well as the Spider-Man game for the Sega Genesis and the Maximum Carnage game for multiple consoles.
Published: July 22nd, 2009
Written by: Mark Millar
Art by: Tommy Lee Edwards
Marvel Comics, 146 Pages
This comic book was cool as hell!
It sort of reads like it’s a season of Stranger Things but where the small town is haunted by Marvel villains instead of weird shit from the Upsidedown. This also came out in the decade before Stranger Things, so it was kind of ahead of the curve but like Stranger Things, knew how to tap into ’80s nostalgia in a brilliant way.
But this was also written by Mark Millar, a true master of his craft.
What’s unique and cool about this comic is that it doesn’t take place in the Marvel Universe, it takes place in our universe.
The story follows a young boy in 1985. He is having issues like any normal ’80s kid dealing with divorced parents. He bonds with his father pretty strongly though, as they both have a deep love of comic books and are experts on Marvel lore. At the same time, Marvel villains start showing up in the real world because there are no heroes here to stop them.
Overall, this was a really neat idea and for the most part, I thought it was superbly executed.
1985 is incredibly imaginative but it really worked so well because the art fit the concept and the tone. While Millar deserves credit for a great story, Tommy Lee Edwards gave it so much more life than just words on paper. And his style works better for the setting than having that sort of standard Marvel art style.
This is one of those comics that I’m happy to have discovered as an adult but wish would have been around when I was a kid. If you know a kid that loves Marvel but they’ve never read this, I think that they’ll probably love the hell out of it.
Pairs well with: the Stranger Things comics, as well as other Mark Millar stories.