Published: March 22nd, 2017
Written by: Rob Liefeld, Fabian Nicieza, Todd McFarlane, various
Art by: Rob Liefeld, Greg Capullo, Todd McFarlane, Mike Mignola, Mark Pacella, Darick Robertson, Terry Shoemaker, various
Marvel Comics, 463 Pages
Man, oh, f’n man… it’s been ages since I’ve read the Rob Liefeld era of X-Force. When I was a kid, I thought that this was the greatest new series Marvel had but I also think I was convincing myself of that, as Rob Liefeld was a hot commodity and I was also a fan of The New Mutants, which this was born out of. Besides, there was just so much hype at the time and I was at a pretty impressionable age.
Reading this now, I still found it really enjoyable and was surprised that I liked it as much as I did.
However, I also know that the story essentially came from Liefeld like bullet points and then it was handed to ace writer Fabian Nicieza, who actually wrote all the dialogue and massaged Liefeld’s notes into a usable script. After Liefeld left the series to co-found Image Comics, Nicieza stayed on as the writer and worked with other greats like Greg Capullo and Mike Mignola.
Now looking at the other side of this, creatively, the art isn’t great and even if I loved Liefeld when I was in 7th grade, I see the issues with his art much more clearly now. However, I don’t want to shit all over the guy like everyone else has done for years. I just notice the issues he has with anatomy and perspective.
It’s worth mentioning, though, that the art did improve once Liefeld stepped away, which happened about two-thirds into this collection.
As far as the story goes, I really got reinvested in this and want to keep reading it. Possibly beyond where I stopped when I was buying this month-after-month, which was about four or five years into the series.
Additionally, this also reminded me of how much I liked some of the long forgotten characters that were so cool in 1991. Characters like G.W. Bridge, Garrison Kane and the other people associated with them and Cable’s past.
Published: July 31st, 2014
Written by: Gerry Conway, Stan Lee, David Michelinie
Art by: Sal Buscema, Steve Ditko, Colleen Doran, Gil Kane, Erik Larsen, Todd McFarlane, Alex Saviuk
Marvel Comics, 501 Pages
When I was a kid and probably because I was a kid, nothing seemed cooler than Spider-Man getting cosmic powers. Basically, seeing him become a hero more akin to Superman was a neat idea and it felt like it upped the ante, as it also brought with it, bigger and badder villains than his typical foes.
However, this also happened during the Acts of Vengeance crossover event, which saw Marvel villains switch which heroes they would fight, thinking that taking on different heroes would give them a tactical advantage and catch the good guys off guard.
So with that, Spider-Man got to tie up with tougher foes anyway. However, these foes were the ones caught off guard by Spidey’s new cosmic abilities, which evolved from issue-to-issue and also surprised Spidey.
One thing that this short era of Spider-Man did was it shook up the series and made it kind of fresh. But sometimes, that isn’t the best thing to do. Especially, if something isn’t broken and Spider-Man comics in the late ’80s weren’t broken.
Reading this now, this saga is really a mixed bag. Some single issues collected within are entertaining while others just seem like they’re just not hitting the typical Spider-Man beats.
Still, this was cool to experience a second time, over three decades later. It’s not my favorite era of Spider-Man comics but it’s strange and different enough that long-standing Spidey fans who haven’t read it, might want to check it out.
Pairs well with: other Spider-Man stories of the ’80s and early ’90s.
Release Date: November 4th, 2014
Music by: Lauren Pardini, Daniel Sternbaum
Cast: Axel Alonso, Hayley Atwell, Gerry Conway, Louis D’Esposito, Alan Fine, Seth Green, Clark Gregg, Jimmy Kimmel, Stan Lee, Ralph Macchio, Todd McFarlane, Patton Oswalt, Nicole Perlman, Joe Quesada, Peter Sanderson, Jim Shooter, Kevin Smith, Jim Starlin, Emily VanCamp, Len Wein, Ming-Na Wen
ABC Studios, Disney, Marvel, 42 Minutes
I recently reviewed a short, made-for-TV documentary on Disney+ called Assembling a Universe. That one was a piece on how Disney and Marvel assembled a movie franchise based off of Marvel’s rich treasure trove of characters and stories.
This short documentary is kind of more of the same but it focuses mostly on the comic books themselves and how Marvel grew into what it is today.
Like the previous documentary, which came out earlier in the same year, this one is really just a marketing tool to try and get people to go see their movies. It’s made by Disney, Marvel and ABC, all of whom are essentially the same company, so this is made to sort of pimp themselves out.
Ultimately, this is an autobiographical puff piece. That doesn’t mean that there aren’t things of value in it. It’s informative and gives you a good amount of info to start with for those interested in Marvel’s history but there are much better documentaries, books and magazine articles on the subject.
Pairs well with: Assembling a Universe and Empire of Dreams.
Published: November 12th, 2015
Written by: Peter David
Art by: Todd McFarlane, John Ridgeway
Marvel Comics, 215 Pages
I was never a big fan of Hulk as a character. At least not until I was older and read Planet Hulk. That epic story gave me a love and respect for the character that I hadn’t had before and in a lot of ways, it made me want to go back and check out some of the character’s more critically acclaimed runs.
Well, the one run that is always talked about with a lot of admiration is Peter David’s, which saw the talented writer work on The Incredible Hulk for 100 issues, a pretty incredible feat.
Now I have read some of David’s stories over the years and he was the Hulk writer when I started really collecting comics. So I have some of his issues in my collection. But I didn’t want to just thumb through those, I wanted to start at the beginning of David’s run, which also kicked off with the debut of Grey Hulk and the visual allure of a young Todd McFarlane’s art before he would go on to illustrate his own epic run on The Amazing Spider-Man.
I’m glad I read this. While it didn’t blow my socks off, it was a good, solid, energetic story that set the stage for a lot of avenues for Peter David to explore.
I like the Grey Hulk and he was the Hulk that was at the forefront when I first started spending my allowance on comic books at my local Starvin’ Marvin convenience store. I thought he was cooler, more interesting and now that I’ve read this, I was right.
Now I can’t say that I’m in love with this series or David’s run but I do want to delve into the second volume and see where it takes me. I’m not sure where McFarlane jumps off but I hope he stuck around at least for another collected volume or two because I really like his look for the Hulk, Leader and Doc Samson.
I can’t give the whole Peter David run a real assessment off of just this but it starts out strong and did inspire me to keep going down this rabbit hole.
As for now, I see something that could potentially be on the cusp of greatness.
Pairs well with: the rest of Peter David’s Hulk run.
Written by: Chris Claremont, Peter David, Louise Simonson, Steve Englehart, Mark Gruenwald, Ann Nocenti
Art by: Marc Silvestri, Todd McFarlane, Bret Blevins, June Brigman, Kerry Gammill, Jon Bogdanove, Kieron Dwyer, Keith Pollard, John Romita Jr., Walt Simonson
Marvel Comics, 803 Pages
This was a story so big that it was collected into two massive volumes. But I figured I’d read both and give the whole thing a single review, as one body of work.
But that may have not been the best approach, as this crossover doesn’t really crossover in a way that makes one big story. This is more like an anthology of events that were going on in all the different X-books at the same time. And weirdly, this isn’t collected in chronological order but as separate stories without much overlap or characters meeting.
This big event also has some short stories focused on Hulk, Captain America, Daredevil, Black Widow and the Fantastic Four. In those tales, it shows what they’re up to during the events of what is happening in some of the X-books.
The Fall of the Mutants takes place between Mutant Massacre and Inferno. It is also the last of the ’80s X-Men crossovers that I hadn’t read in its entirety.
Out of all the tales here, I thought the X-Factor one was probably the best as it concludes the Apocalypse and Angel storyline, as it introduces Archangel for the first time. Also, the X-Factor arc showcases Cameron Hodge turning on the team, revealing his true agenda to set up what would eventually be the superb crossover event X-Tinction Agenda.
The New Mutants part was the weirdest but it also featured Hodge’s heel turn and kind of sets things in motion for X-Tinction Agenda and Inferno. This is also where the New Mutants dump Magneto as their teacher and return to the ways of Charles Xavier.
Ultimately, this was kind of a mess when read as one body of work. But it does do a proper job of bridging the gap from Mutant Massacre and the next two big events to follow.
Pairs well with: other major X-Men crossover events from the ’80s and ’90s.
From Comic Tropes’ YouTube description: This video is part of Cobra Convergence, a yearly event where content creators focus on G.I. Joe and their enemy, Cobra. This year, I take a look at some fairly uncommon comics. A European version of G.I. Joe that takes on a splinter sect of Cobra and is tied to the Marvel superhero universe; a G.I. Joe book illustrated by Todd McFarlane that Marvel decided to completely redo by another artist; and the origins of G.I. Joe’s Russian counterparts, the Oktober Guard.