Published: October 1st, 2008
Written by: Robert Kirkman
Art by: Sean Phillips, Arthur Suydam (cover)
Marvel Comics, 123 Pages
The recent What If?… episode that featured a Marvel Zombies storyline made me want to go back and pick up the original comic, which I’ve always considered to be the best version of that concept. But since it had been so long since I read it, I wanted to see how well it held up and whether or not I was seeing it through rose-colored glasses.
Well, this was just as fun and as crazy as I remembered it. I think that I also have a much stronger appreciation for Robert Kirkman’s writing now and honestly, who was better at tapping for this concept than the creator and writer of The Walking Dead?
I also loved Sean Phillips art and I wasn’t as appreciative of him back in 2008, either. I’ve since enjoyed a lot of his work, especially the stuff he’s done in Ed Brubaker’s noir and crime comics.
The story is pretty simple, almost the entire Marvel universe has been infected with a zombie virus. So the few survivors are tasked with fighting off famous heroes and villains while trying to find a cure or just flat out escape. Ultimately, this aligns with the coming of Galactus and that leaves the door open for more stories, which we already know were made.
While this plays out like you’d expect, there is still enough story here to make it more than a simple, “run from the zombies” tale. It’s also cool seeing how zombification effects certain characters’ powers. Additionally, as gruesome and hopeless as his fate seems, this story gave us the most badass version of Black Panther that probably ever existed.
Look, this doesn’t tie directly to the main Marvel continuity but it’s a hell of a fun read and was a cool experiment that worked exceptionally well before the concept was milked to death.
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.
Pairs well with: The Deadly Foes of Spider-Man and The Superior Foes of Spider-Man.
Original Run: November 19th, 1994 – January 31st, 1998
Created by: John Semper, Bob Richardson, Avi Arad, Stan Lee
Directed by: Bob Richardson
Written by: John Semper, various
Based on: Spider-Man by Stan Lee, Steve Ditko
Music by: Kussa Mahchi, Jeremy Sweet, Shuki Levy, Joe Perry, Shuki Levy, Kussa Mahchi, Udi Harpaz
Cast: Christopher Daniel Barnes, Ed Asner, Jennifer Hale, Roscoe Lee Brown, Mark Hamill, Hank Azaria, Joseph Campanella, Martin Landau, Richard Moll, Don Stark, Dawnn Lewis, Majel Barrett, David Warner, Earl Boen
New World Entertainment Films, Genesis Entertainment, Marvel Enterprises, Fox, 65 Episodes, 23 Minutes (per episode)
After the success of the early ’90s X-Men cartoon on Fox, it was natural for the network to ask for more Marvel properties to adapt for their Saturday morning audience. The Spider-Man series was the longest running and most successful of these animated spinoffs.
While the X-Men show still stands as my favorite of these animated Marvel series, Spider-Man is a very, very close second and nearly as good.
The stories are generally well written and even if they have to take some liberties and alter the plots from the comics. This was due to time constraints and by trying to wedge in the debut of Venom really early in the series, which changes the overall timeline of events in Spider-Man’s life, greatly. Also, the showrunners probably wanted to get as many villains added into the mix, early on, so that each new episode felt fresh.
Spider-Man has a massive rogues gallery and this show utilized the core villains really damn well.
The tone of the cartoon is pretty perfect. Sure, there are cheesy and hokey bits in every episode because this is a kid’s cartoon but it does stay pretty true to the tone and style of the source material. Most importantly, it’s true to the characters and the writers obviously knew the Spider-Man mythos well.
I love this show and it’s still fun to have minimarathons of episodes. Honestly, to me, it’s one of the highlights of Disney+.
Pairs well with: the other animated Marvel television series from the ’90s.
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.
I bought this game way back when it came out but I didn’t actually play it until this year, as I had spent about 18 months completely immersed in Conan Exiles and The Witcher 3. Between that, I also spent a lot of time playing hundreds of retro games on my RetroPie.
I can’t say that this was worth the wait, as it’s really just mediocre.
The graphics as far as how the city looks and the smoothness of gameplay are great but the characters’ designs certainly don’t blow me away. Also, most characters don’t look like how you’d expect them to and I’m not sure why. The game sort of ignores the comic book designs and tries to go with something more “realistic” and cinematic, akin to the films. I feel like it’s trying to meet the comics and the films somewhere in the middle but it fails at that.
As far as the gameplay goes, it’s fun but it’s way too similar to the Batman: Arkham City games. Granted, I love swinging through New York City and seeing the iconic sites but after really exploring for a day or so, even that gets old.
My real issue with the game is the story. I just don’t like it and it puts a lot of emphasis on villains that aren’t all that popular to begin with like Mister Negative. While I don’t mind the character, he is the primary antagonist for the first two acts of the story. While Norman Osborn is the mayor and Otto Octavius starts out as a good guy, there are still so many great, iconic Spider-Man villains they could’ve used as a focal point. Is Mister Negative even C-list?
I also heard all this noise about how many villains were going to be in this game and after playing through it, I’m completely underwhelmed. Sure, there are many baddies but it’s the cast of villains that they went with that are the problem. Plus, there are glaring omissions that are a bit baffling.
I get that you might not want to do a full fledged Hobgoblin or Venom story but the game could’ve introduced their normal selves, as both had interesting backstories that tie back to either Peter Parker’s personal life or the lives of his friends and allies.
Beyond that, Mary Jane is just kind of Plain Jane and she’s not even a model or actress. Instead, they made her an investigative reporter and her character is basically just ginger Lois Lane. Mary Jane is nothing like Lois Lane and this creative choice was just strange.
Speaking of MJ, I hate when this game makes you play as her or pre-Spider-Man Miles Morales. I bought this to be Spider-Man. Not his no superpowers having peeps. And there are just too many of these stupid side character sneaking missions.
Complaints aside, this is still a decent game that laid some groundwork to build off of. I’ll probably check out the sequel, if it’s ever made. I’ll also probably play the Miles Morales spinoff when it’s not still full-price.
The thing is, this could’ve been something great had they made it more loyal to the source material and not used a scrub that casual fans won’t know as the big bad for the first two-thirds of the game. Can you imagine if they made a Batman game and the main villain was someone like The Clock King?
Pairs well with: its Miles Morales spinoff game, as well as other recent Marvel games and old Spider-Man games.
While not all licensed property video games are created equal, most in the 8-bit era were terrible. While this isn’t as good as DuckTales or the ’89 Batman game, it is actually better than most games like it. It certainly blows that Nintendo X-Men game out of the water! It’s also a lot less frustrating than the Silver Surfer game, which gave me an ulcer and a permanent lifelong migraine when I was eleven years-old.
This Spider-Man game is fairly okay but it pales in comparison to the 16-bit games like the first Genesis Spider-Man title and the much beloved Maximum Carnage.
Still, this brings together the Sinister Six and lets you fight through them all in an effort to stop their nefarious plan.
This version of the villain group consists of Doctor Octopus, Hobgoblin, The Vulture, The Sandman, Electro and Mysterio. All of them are regular Sinister Six members so I was pretty happy with the lineup, as we didn’t get stuck with some schmo like Carrion, Boomerang, Tarantula, Vermin or Shocker.
As far as design goes, the levels are pretty basic and a bit tedious to work through. Granted, the game certainly isn’t unbeatable and you can get through it with enough practice or if you’re just an 8-bit platform master.
The biggest thing working against you though, isn’t the level design and overabundance of enemies and projectiles, it’s the clunky, shitty mechanics. Spidey is a bitch to control and the physics are terrible.
When it comes to boss battles, most of them seem pretty hard the first time but once you figure out the enemy’s pattern, they aren’t too hard to beat. I actually thought the final boss, Doctor Octopus, was one of the easiest in the game.
Overall, this is both fun and frustrating. For those who grew up in this game’s era and who loved the Sinister Six story arcs in the comics, you’ll most likely enjoy this. Even if it overwhelms you about midway through, it’s not a hard game to adjust to and eventually conquer.
Pairs well with: other side scrolling 8-bit era action games based on comic books characters.
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.
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.
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.
Pairs well with: the recent Symbiote Spider-Man miniseries by Peter David and Greg Land.