Published: June, 2008 Written by: Mike Wieringo, various Art by: Mike Wieringo, various
Marvel Comics, 48 Pages
Back in the early ’90s when I was spending all of my allowance money on comics, the short-lived Fantastic Four team of Spider-Man, Wolverine, Hulk and Ghost Rider blew my adolescent, pre-teen mind. I was always kind of bummed that it was over as quick as it started but I loved the team and had always wanted to see more of them as a unit.
While they never got a series or anything more than a few issues and a Marvel trading card, the world was given this pretty cool issue of What If?, which was also a tribute to Mike Wieringo, who was working on the issue when he died.
Due to Wieringo’s passing, this issue was completed by other people stepping up to get it done and to get it out as a tribute.
This is a pretty cool story but because it’s a single issue of What If?, they have to cram a lot into a limited space. So this progresses through time quickly, once it gets rolling.
There are several villains and some hero cameos in this. The highlight for me was seeing Sandman form a new Frightful Four team that included himself, Venom, Sabretooth and Abomination. While I don’t like the lineup as much as the original Frightful Four, it was a cool villain group tailor made for the new Fantastic Four.
All in all, this was a blast to read and it churned up feelings of nostalgia for when I first read the debut of this team nearly thirty years ago.
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.
Rating: 6.25/10 Pairs well with: other Spider-Man stories of the ’80s and early ’90s.
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+.
Rating: 8.25/10 Pairs well with: the other animated Marvel television series from the ’90s.
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.
Rating: 4/10 Pairs well with: all the other Civil War II crossover tie-in trade paperbacks.
Published: July 11th, 2007 Written by: Tom DeFalco, J.M. DeMatteis, Terry Kavanagh, David Michelinie Art by: Mark Bagley, Sal Buscema, Ron Lim, Tom Lyle, Alex Saviuk
Marvel Comics, 335 Pages
This big crossover event started right around the time that I was mentally checking out on comics, as I had moved, gotten older and was more concerned about high school girls and trying to woo them with my heart-melting charm.
I’ve read some of the issues within the larger arc but I never sat down and read the whole thing in its fourteen issue entirety. That being said, this was kind of tough to get through.
Maximum Carnage truly embodies that old adage about there being too many chefs in the kitchen. With this, that saying doesn’t just apply to having too many writers but it also applies to this being overloaded with characters that no one cares about.
Carnage returns and with that he forms his own supervillain group. It’s kind of like the Sinister Six but it’s made up of new and D-list level villains like Shriek, Doppelganger, Carrion and Demogoblin. Apart from Carnage, all these villains suck and frankly, after reading this, they had such an adverse effect on the coolness of Carnage that I don’t really have the same opinion of him. This made him lose his luster. Granted, Marvel also fucks him over, after this, by introducing a bunch of symbiote Carnage babies.
Spider-Man is pretty much in over his head but he re-teams with Venom in an effort to stop Carnage and they also get help from Black Cat, Cloak & Dagger and a slew of other heroes that pop in and out. Morbius even shows up just to remind you that in the ’90s he was batshit crazy. We also get an appearance from Nightwatch, who was a ’90s Marvel character that blatantly ripped off Spawn just to piss off Todd McFarlane for becoming a self-made millionaire after leaving the company. They showed him!
Anyway, this is a clunky story without a real clear point to it other than Carnage is bad and he does terrible shit. This didn’t need to be fourteen issues long but Marvel was trying to bank on Carnage’s popularity. I’m sure it made money for them, at the time, but the story didn’t do much to help the Spider-Man mythos in any sort of long-term way. In fact, when people bring up Maximum Carnage nowadays, it is in reference to the old 16-bit video game and not the comic book story it was tied to.
This story featured good writers and good artists but it felt sloppily put together and like all the creative parties just kind of rushed it out or phoned it in. Some of the art, surprisingly, is actually hard on the eyes but I think that’s more to do with the colors than the illustrations. Also, I read this digitally and sometimes that can really fuck up the color of older comics.
I had some high hopes for this because I really felt like I missed out on it years ago. However, comics shouldn’t feel like doing chores. I didn’t really want to finish this but I did in order to review it, as it is considered an iconic story by many.
Rating: 4.5/10 Pairs well with: other mid-’90s Spider-Man comics and Marvel crossover events.
Also known as: 3 (trailer title) Release Date: April 3rd, 2007 (Uruguay) Directed by: Sam Raimi Written by: Sam Raimi, Ivan Raimi, Alvin Sargent Based on:Spider-Man by Stan Lee, Steve Ditko Music by: Christopher Young Cast: Tobey Maguire, Kirsten Dunst, James Franco, Rosemary Harris, Thomas Haden Church, Topher Grace, Bryce Dallas Howard, J.K. Simmons, Bill Nunn, Elizabeth Banks, Ted Raimi, Bruce Campbell, Dylan Baker, Elya Baskin, James Cromwell, Willem Dafoe (cameo), Cliff Robertson (cameo), Joe Manganiello (cameo)
Marvel Entertainment, Laura Ziskin Productions, Columbia Pictures, 139 Minutes, 137 Minutes (Editor’s Cut)
“Whatever comes our way, whatever battle we have raging inside us, we always have a choice. My friend Harry taught me that. He chose to be the best of himself. It’s the choices that make us who we are, and we can always choose to do what’s right.” – Peter Parker
While this wasn’t as bad as I remembered, there are still some things that are very off about this picture.
Starting with a positive, I do like the visual tone of this film the best out of the trilogy. It abandoned that overly copper, sunset look the other ones had and most of the film takes place at night or in normal daylight.
However, the improvements in the visual look are overshadowed by the film’s very shoddy CGI effects. It’s kind of baffling but this is the worst looking film of the three when it comes to digital effects. I’m not sure if the studio cut some corners or were rushed but most action heavy CGI sequences looked like a video game. It was distracting and pulled you out of the magic.
I think it’s possible that they overextended themselves in trying to include both Venom and The Sandman, as it’s damn near impossible to create those characters, in all their glory, without the use of CGI. In fact, their battles in the film needed to be larger than life spectacles.
Now the problem isn’t the use of either villain but it’s the use of both of them at the same time. Plus, Harry Osborn also becomes the new Green Goblin.
This picture suffers across the board because trying to wedge in three villains just didn’t work from a narrative standpoint and it forced the effects artists to focus their efforts into multiple effects heavy characters.
Now the film did a superb job with The Sandman’s story and if this movie just focused on him, it could’ve actually been incredible. The Sandman gets thrown to the side at multiple points throughout the movie though, as they then have to rush through Venom’s origin in the most half-assed way possible. Then they have to deal with Harry and his Goblin thing, Peter and Mary Jane’s relationship issues, introducing Gwen Stacy and even having Peter turn into an emo douche because I guess that’s what the Venom symbiote does in the movie universe.
The narrative is disjointed as hell but where it’s good, it’s great. But every time you really get into a portion of the story, it shifts gears or throws something stupid at you. The misfires and shifts are pretty maddening, especially when there are things in the film that work and come across as spectacular. It’s like you can see the real love for these characters rise up like cream to the top but then the filmmakers stir the coffee again. By the third act, they just keep throwing hot coffee in your face.
In a nutshell, this is a clusterfuck but it’s a clusterfuck that has greatness in it. I still like the movie despite its massive flaws and for fans of Harry Osborn, his journey comes to a beautiful end. With it, the film hits you right in the feels, as you feel the pain that Peter and Mary Jane share over the loss of their dear friend and how wrecked their own relationship has become.
The film does leave you with some hope but the ending is still kind of a downer. Granted, they planned a followup (or three) to this film but those movies never happened.
In the end, this movie was a weird end to the film series. I know it wasn’t intended to be the send off for these characters but it left the film series in a strange, uncertain place. I would’ve liked to have seen this cast get to make at least one more picture but that ship has sailed.
Maybe a comic book sequel could work but with the comic industry being in the shitter, waiting to be flushed, that’s probably wishful thinking. Plus, they’ve already rebooted the film series twice since this came out.
Rating: 7.5/10 Pairs well with: the other two films in this mostly great series.
Published: 2007 Written by: Michael Avon Oeming Art by: Mel Rubi, Michael Turner (covers) Based on:Red Sonya by Robert E. Howard, Red Sonja by Roy Thomas and Barry Windsor-Smith
Marvel Comics, Dynamite Entertainment, 144 Pages
Man, I really wanted to like this but it left me mostly, underwhelmed and baffled.
A long time ago, back when Marvel had the full-time publishing rights to Red Sonja, they did a one-off story about Mary Jane being possessed by Sonja and then had her team-up with her boyfriend, Spider-Man.
This longer, five-part miniseries is just a rehash of that story, as opposed to having Spidey actually team-up with the real Sonja in the flesh.
Still, it’s not the worst idea for bringing these characters together but doing it a second time seems lazy and uninspiring. But then, so does the rest of this story.
Red Sonja’s villain Kulan Gath shows up in modern day New York City to create havoc because that’s what villains do. He then uses Venom to try and take out Sonja and Spidey but ultimately, he steals the Venom symbiote for himself because this story is already cookie cutter as shit and aiming low seems to be what they were going for.
We also get suped up magical versions of well-known Spidey villains because why wouldn’t we?
I don’t know, more often than not, crossovers like this are really bad and half-assed schlock made to grab a buck from multiple fan bases. I guess this one didn’t strive to be anything different.
I mostly liked the interior art though and the covers were solid.
Rating: 4.25/10 Pairs well with: other Red Sonja crossovers or stories that put her in modern times.
Published: 2008 Written by: Brian Michael Bendis Art by: Leinil Francis Yu, Gabriele Dell’Otto (cover)
Marvel Comics, 218 Pages
Secret Invasion came out after a series of good storylines from Marvel like Civil War, The Death of Captain America and the feud between the two Avengers teams that followed Civil War. I guess this was supposed to be a good payoff for sticking through that solid run of most of Marvel’s major titles. However, this was mostly a clusterfuck that created more problems than the Marvel continuity needed.
This was ambitious, damn ambitious.
Brian Michael Bendis’ ambition really overreached, though, and this mega event became a jumping off point for me back when it was coming out. After a few issues, I dropped it an never looked back.
Since years have passed and Marvel has gotten even worse, I thought that I might enjoy this a bit more and since I never actually finished it the first time, I wanted to give it another shot.
This is just one of those ideas that sounds good on paper but once you start really fleshing it out, you know it’s not going to work. Well, Bendis should have figured that out on his own, especially since the industry considers him a legend.
The biggest problem with this mega event is that it could have worked on a smaller scale. We could’ve seen that the Skrulls had infiltrated the superhero community, replacing some heroes with themselves in disguise. It didn’t need to be so damn grandiose where nearly half the heroes were just Skrulls in hiding. The conspiracy was too big and thus, came across as really fucking dumb.
In fact, this would’ve been much better had the Skrulls just replaced a few key people and there were still less than a handful in disguise. When you expect half the heroes to be impostors, the reveals of who is who loses its impact and you’re left with a half-assed handjob from a drunk instead of great sex from a pretty hot sexual partner.
In the end, when half the characters were impostors, it poses too many questions that just break continuity and it’s way too hard for editorial to keep track of, especially editorial from this era or any after.
Someone really should’ve grabbed Bendis by the shoulders and shouted, “Scale this the fuck down!”
Rating: 4.5/10 Pairs well with: other Marvel mega events.
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.
Rating: 9.5/10 Pairs well with: all the other Civil War crossover tie-in trade paperbacks, as well as The Death of Captain America.