Author: oddmoonmediareviews

Written by Dan Slott.

Art by Olivier Coipel; Guiseppe Camuncoli; Cam Smith; Wade Von Grawbadger; Livesay; Victor Olazaba; Mark Morales; & Justin Ponsor.

‘Spider-Feast’  Interlude Written by Dan Slott.

‘Spider-Feast’  Interlude Art by Giuseppe Camuncoli; Cam smith; Antonio Fabela; & VC’s Travis Lanham.

Collection Cover Art by Olivier Coipel; Wade Von Grawbadger; & Justin Ponsor.

SUMMARY:

Released by Marvel Comics in 2015, this 144-page trade paperback compiles that same year’s The Amazing Spider-Man # 9-15.  

From their interdimensional stronghold (Loomworld – Earth 001), Morlun’s insatiable vampire clan (‘The Inheritors’) plunder other Earths. For their insidious hunting season: specifically, these vampires are overpowering and consuming a plethora of Spider-Totems (unsuspecting Spider-Men and evidently Spider-Women) throughout Marvel’s multiverse.  Three subsequent captives: the Other, the Bride, and the Scion, will be later sacrificed for the Inheritors’ secret endgame – to finally destroy the multiverse’s so-called Spider-Totems.    

On Marvel’s primary Earth (Earth-616), an incredulous Peter Parker, Cindy “Silk” Moon, Jessica Drew’s Spider-Woman, Anya Corazon’s Spider-Girl, and Peter’s wounded clone, Kaine, are recruited into a growing resistance force of Spider-Totems from different continuities. 

Among them are: the Ultimate reality’s Miles Morales and Jessica Drew; the MC2’s  orphaned May “Mayday” Parker and her infant brother, Benjy; Star Comics/Marvel Tails’ anthropomorphic Peter Porker the Spectacular Spider-Ham; Gwen Stacy’s Spider-Gwen/Ghost-Spider; Miguel O’Hara’s Spider-Man 2099; clone Ben Reilly’s Spider-Man; Spider-Man Noir; and Dr. Octopus’ own ‘Superior Spider-Man,’ plucked from a different point in Earth-616’s timeline. 

Given his prior victories over Morlun, Earth-616’s Spider-Man reluctantly assumes command of his diverse counterparts.  Spider-Man is also forced to rely on Dr. Octopus’ self-serving ‘Superior’ science, if any weakness of Morlun’s bloodthirsty clan can be exploited. 

In spite of an advantage in sheer numbers, the Spider-verse’s survivors are decimated in ambushes by Morlun’s overwhelming forces.  Side missions (including recruiting additional Spider-Men from more alternate realities) and last-minute escapes into various Earths sets up the climax: a desperate invasion of Morlun’s Loomworld.  A fateful showdown will decide the legacy of the multiverse’s Spider-Men, including Morlun’s three captives.    

Notes: This title is available digitally.  Marvel Comics specifies tie-in references to other Spider-titles and their issue numbers for this crossover.  Hence, one shouldn’t mistake this single volume as the complete ‘Spider-Verse’ saga.

REVIEW:

Aside from grisly inferences and occasional confusion (i.e. how many Spider-characters is an average reader supposed to keep track of?), writer Dan Slott keeps his ambitious plotting on track.  Including homages to Spidey’s animated and Japanese TV counterparts, Volume 3: Spider-Verse delivers an intriguing and surprisingly coherent read for adults. Bits of well-played comedy relief supply an extra asset, including a late sight gag that seemingly comes out of nowhere.  

As clarification, parents should not presume this title as kid-friendly.  Though they aren’t ultra-graphic, the vampire scenes are unsettling.  In depicting Morlun’s clan, Slott lays his script’s debauchery down thick.  Still, Slott’s complex (and somewhat bewildering) storyline is bolstered by consistently high-caliber visuals.  The art squad answered a creative challenge distinguishing so many Spider-Men (and Spider-Women) from one another, especially in group shots.  Their visual teamwork is indeed impressive.

If anything, The Amazing Spider-Man, Volume 3: Spider-Verse presents a likely must-have for Spider-Man’s ardent fans – in particular, for those thrilled with the character’s alternate-reality variants.  The icky sequences (though mostly off-screen), however, may determine if this particular epic is really more a purchase or a library rental.            

ADDITIONAL CONTENT:

Each full-page cover precedes its story.  Cover artists are the following: Issues # 9-12 (Olivier Coipel & Justin Ponsor); Issue # 13 (Coipel, Wade Von Grawbadger, & Ponsor); and Issues # 14-15 (Giuseppe Camuncoli, Cam Smith, & Ponsor). 

Sporadically included are:

• Three variant covers (Issue # 13 – artists Salvador Larocca & Israel Silva; Issue # 14 – artist Phil Noto; and Issue # 15 – artist Simone Bianchi) are shrunk to 1/3 size to fit one page. 
• A single page combines artist Jeff Wamester’s variants for Issues # 9-14. 
• Another single-page combined variant is artist Skottie Young’s from Superior Spider-Man # 32 and Issue # 9.   

BRIAN’S ODD MOON RATING:                       7½ Stars

Written by Peter David.

Art by Yildiray Çinar; Dee Cunniffe; Matt Milla; & VC’s Ariana Maher.

Incredible Hulk # 347 Written by Peter David.

Incredible Hulk # 347 Art by Jeff Purves; Mike Gustovich; Valerie Gustovich; Petra Scotese; & Joe Rosen.

Collection Cover Art by Cully Hamner & Jordie Bellaire.

SUMMARY:

Released by Marvel Comics in 2023, this 136-page trade paperback collects the complete Joe Fixit # 1-5 limited series from that same year. 

Returning home to Mary Jane, Peter Parker is passing through the Las Vegas airport, only to catch sight of Wilson “The Kingpin” Fisk.  Conveniently overhearing Fisk’s intention to confront casino owner Michael Berengetti, Peter knows his old enemy up to no good. More so, Berengetti has a formidable bodyguard: the gray-skinned Hulk, aka ‘Joe Fixit.’  Peter gleefully imagines that Fisk is oblivious to this gamma-powered and easily irritable roadblock. 

Tailing Fisk to the Strip’s Coliseum Casino, Spider-Man intervenes when Fisk and his rent-a-goon resort to intimidation tactics on Berengetti. Specifically, the Kingpin seeks to force some local cooperation against the incoming Maggia. It’s a mobster’s prelude, of course, as Fisk intends to take over Berengetti’s casino himself. 

As the casino’s enforcer, the Hulk (aka Joe Fixit) easily dispatches Fisk and his thug from the premises.  However, Spider-Man is rewarded for his own efforts with a temporary layover to join the casino’s luxuries.  Meanwhile, Fisk’s revenge consists of a mind-controlling neurotoxin against the Hulk, which unleashes a casino-busting berserker rage. 

Spider-Man has little chance against a manipulated ‘Joe Fixit,’ unless Bruce Banner’s subconscious helps him.  A brief flashback depicts Spider-Man and Banner/Hulk’s confrontation years before with the Absorbing Man and a trigger-happy SWAT team at a NYC diner.  Seeking fitting payback later that night, the Hulk and Spider-Man discover that Fisk’s newest mercenaries are Electro and the Rhino. 

Representing the rival Maggia, Count Nefaria has similarly rented Hydro-Man, Whiplash, and the Masked Marauder to simultaneously hit Las Vegas after wiping out the Kingpin’s own super-villains.  Hence, Spider-Man and ‘Joe Fixit’ find themselves caught up in a three-way showdown that threatens the Strip.  

Note: This title is also available digitally.

REVIEW:

The reliable Peter David, story-wise, delivers the necessary goods.  By no means an ambitious read, this Hulk/Spider-Man team-up caper is simply a Las Vegas joyride, Marvel-style.  The slam-bang fun-and-games are delivered with welcome gusto, though one shouldn’t expect any surprises.  Hence, the underwhelming plot wins far more on amusing entertainment value than any dramatic substance. 

Along with the art team’s appealing visuals, this Hulk/Spider-Man tag-team series is a welcome action-comedy treat for fans. 

ADDITIONAL CONTENT:

Each full-page cover precedes its story.  The cover artists consist of: Issues # 1-2 and # 4-5 by Cully Hamner & Jordie Bellaire, with then Hamner and Tama Bonvillian on Issue # 3. 

Including a full-page depiction of artist Jeff Purves’ cover, 1988’s Incredible Hulk # 347 is reprinted as some appropriate padding.  The good news is that this archived reprint might have been slickly reinked. Otherwise, David’s Joe Fixit gangster debut/origin tale entitled “Crapshoot” ages better than its rudimentary (and mostly dreadful) artwork.   

BRIAN’S ODD MOON RATING:                          6½ Stars

Written by Brian Michael Bendis.

Art by David Marquez; Stuart Immonen; Wade Von Grawbadger; Marie Gracia; Rain Beredo; & VC’s Cory Petit.

Cover Art by Stuart Immonen; Wade Von Grawbadger; & Marte Gracia.

SUMMARY:

Released by Marvel Comics in 2013, this 136-page hardcover compiles All-New X-Men # 6-10 from that same year. 

The Beast’s deliberate time-traveling journey into the past has displaced teenage X-Men rookies Scott “Cyclops” Summers; Jean “Marvel Girl” Grey; Bobby “Iceman” Drake; Henry “Beast” McCoy; and Warren “Angel” Worthington III in the present-day.  It appears that the Beast’s desperate effort to guilt the present-day Cyclops with a wholesome reminder of their shared past as rookie heroes has failed. 

Each of these younger counterparts poignantly struggle acclimating to the vast changes surrounding them on the campus that had once been Charles Xavier’s private domain.  Including revelations of Xavier’s homicide by Cyclops and Jean Grey now tragically deceased, these young X-Men are emotionally reeling.  For instance, intense stress has caused young Jean’s vast telepathic powers to ignite far sooner than they should have. Kitty Pryde and Storm try to mentor her as best as they can. 

Unable to cope with his future self’s ruthless actions, a disturbed Scott violently resists Wolverine’s help. He is also approached by Mystique for an unexpected pep talk, as this Scott has no idea of her nefarious ulterior motive. Later, Scott shares his unexpected discovery of an archived wedding invitation with his future wife, Jean.

Joining his own future self in defending Avengers Tower from a HYDRA strike, a bewildered Warren appears closest to crumbling under pressure. Only the young Bobby seems unaffected, as he is still essentially a child.  It’s up to Kitty Pryde to refocus this rattled quintet from their emotional turmoil and focus on continuing their X-Men training.

In addition to the Avengers’ skepticism, the X-Men’s senior staff finds out that Mystique and Sabretooth have unleashed a lethal scheme to free Mastermind’s illusion-casting daughter from a SHIELD-guarded prison.  The three mutant terrorists then embark on a murderous, cross-country bank-robbing spree.

Having been impersonated herself, SHIELD’s Maria Hill realizes that Mystique is this trio’s ringleader. More so, Hill sees through the shape-shifting terrorist’s efforts to frame the five teenage X-Men as the horrific culprits. With the Avengers presently unavailable, Hill is compelled to approach the X-Men for emergency assistance.

Meanwhile, the rival faction that Magneto, Emma Frost, and the present-day Cyclops have established seeks to pilfer the X-Men’s army of impressionable recruits.  Among may well be one of the five lost teenagers, as they have opted not to return to their time period for now.    

Guest stars include the Avengers’ Captain America and Thor. Their fellow Avengers, Jessica Drew’s Spider-Woman, Black Widow, Hawkeye, & the Hulk, appear in non-speaking cameos.

Note: This title is also available digitally and as a trade paperback.

REVIEW:

Volume 2: Here To Stay is often a pretty good read, in spite of Brian Michael Bendis’ flawed premise.  Specifically, insightful readers will surmise that virtually nothing transpiring in this ongoing series impacts Marvel’s dense continuity.  This extended time-traveling arc, in that sense, mimics 1998’s Green Lantern: Emerald Knights storyline where Kyle Rayner and a young Hal Jordan join forces.

Without overstaying its welcome, DC’s idea has a rookie Hal Jordan briefly time-displaced from the past into his successor Kyle Rayner’s present-day adventures.  The similarities between a younger Hal vowing never to become Parallax and the predicament of these young X-Men (especially Cyclops) are readily apparent. 

Despite a fun time-traveling concept, Emerald Knights‘ end is still a foregone conclusion.  To a far greater degree, that same principle applies to the original X-Men in Volume 2: Here To Stay.  Telepathic memory suppression already seems like a convenient out, no matter how far down this creative road Bendis goes.

Bolstered by the art team’s high-caliber visuals, Bendis’ plotting mostly works well.  In certain scenes, one should suspect that these five young X-Men are possibly from one of Marvel’s endless alternate Earths.  Case in point: Cyclops’ bewilderment inside a convenience store (i.e. bottled water in coolers, overpriced magazines, and no awareness of what GPS is) imply the quintet may well be from the mid-1960’s vs. merely a time approximately fifteen years before their present-day selves. 

Another glaring oddity, for instance, would be the flip-style hairdo Jean has in one scene – which is inconsistent with her otherwise contemporary hairstyle.  Jean also curiously matures over a few pages, as she appears about 13-14 years old in her first scene with Kitty. A few pages later, she appears closer to 16-17 years old in the Danger Room sequence, which again doesn’t make sense.

Such subtle homages don’t necessarily foreshadow Bendis’ upcoming storyline twists for these five X-Men.  Yet, if Bendis has dropped these mid-1960’s anachronisms as meaningless red herrings (pardon the expression – given Jean’s trademark hair color), then cause for confusion among some readers is understandable.

Longtime X-fans, overall, should find All-New X-Men, Volume 2: Here To Stay an intriguing notion to explore.  As far as being a must-have, one’s appreciation of the appealing artwork may best determine between purchase and a welcome library find.         

ADDITIONAL CONTENT:

Each full-page cover image precedes its story.  A full-page 50^th Anniversary variant cover gallery consists of: Issue # 6 (artists Chris Bachalo & Tim Townsend); Issue # 7 (artists Nick Bradshaw & Jason Keith); and Issue # 8 (artists Stuart Immonen, Wade Von Grawbadger, & Marte Gracia).  Last in the gallery is artist Greg Horn’s full-page Issue # 10 variant, which depicts Iron Man vs. the Phoenix Force. 

Artist David Marquez explains samples of his sketching process from the conceptual start to finished inks.  The samples are from:

• Issue # 6’s Page 5, Panel 1;
• Issue # 6: two versions of Page 3 and then its finalized look;
• Issue # 8’s Page 4;
• Issue # 8’s Page 16; and
• Issue # 8’s page 20.

BRIAN’S ODD MOON RATING:                    7 Stars

Amazing Spider-Man # 692-694 Written by Dan Slott.  

Amazing Spider-Man # 692-694 Art by Humberto Ramos; Victor Olazaba; Edgar Delgado; & VC’s Chris Eliopoulos.

1^st Page Artwork by ‘Van Lente;’ John Romita Jr.; ‘Janson;’ & ‘White.’

Avenging Spider-Man # 11 Written by Zeb Wells.

Avenging Spider-Man # 11 Art by Steve Dillon; Frank Martin Jr.; & VC’s Chris Eliopoulos.

1^st Page Reprinted Panels Written by Stan Lee, with Artwork by Steve Ditko.

Amazing Spider-Man # 695-697 Written by Dan Slott & Christos Gage.

Amazing Spider-Man # 695-697 Art by Giuseppe Camuncoli; Dan Green; Antonio Fabela; & VC’s Chris Eliopoulos.

Collection Cover Art by Humberto Ramos & Edgar Delgado.

SUMMARY:

Released by Marvel Comics in 2013, this 156-page trade paperback compiles The Amazing Spider-Man # 692-694, an interlude with The Avenging Spider-Man # 11 (which occurs offscreen during the “Alpha” arc), and then The Amazing Spider-Man # 695-697 – all from the previous year.

Issues # 692-694 depicts the three-issue arc: “Alpha.”  Tiberius Stone’s resentful sabotage of colleague Peter Parker’s Horizon Labs scientific demonstration for Midtown High School students has a stunning repercussion.  In a mishap mirroring his own fateful teenage accident, Peter witnesses young Andy Maguire being struck by a reactor’s blast of alpha energies. 

Hence, teenage slacker Andy escapes his average life (including neglectful parents) by becoming an instant superhuman. Andy is mostly oblivious to how much of a potential threat he is, as Andy’s cosmic power levels are growing exponentially.  A guilt-ridden Spider-Man subsequently steps up as his mentor.  Yet, Andy’s immaturity to grasp his newfound powers and self-absorbed celebrity status as a super-hero build towards a recipe for mass disaster. 

The scheming Jackal, along with his female spider-ninja entourage, intends to make Andy his next cloning subject.  Meanwhile, Andy’s ignorant attitude as ‘Alpha’ towards battling massive foes like Giganto and Terminus endangers civilian lives – including Peter’s Aunt May and her husband, Jay Jameson. 

Guest stars include the Fantastic Four, the Avengers, and the X-Men’s Beast, as all (especially Spider-Man) recognize the threat an inexperienced Andy is.  Meanwhile, Peter seeks Mary Jane’s insightful advice at her nightclub over the Alpha crisis, along with his recent work-related neglect of Aunt May and Jay Jameson.

Avenging Spider-Man # 11’s untitled story depicts Peter and Aunt May visiting Uncle Ben’s gravesite.  Once more, Peter tries to confess his guilt-ridden role in Ben’s tragic death. 

A ‘War of Goblins’ begins in Issues # 695-697 (the three-part “Danger Zone”).  With Norman Osborn comatose, Wilson “The Kingpin” Fisk seizes a chance to steal Osborn’s hidden cache of Green Goblin weaponry and top-level intelligence secrets.  Aided by Phil Urich’s new Hobgoblin and a corrupt Tiberius Stone, Fisk deploys an experimental spider-sense jammer that leaves Peter reeling with the pulsating equivalent of an intense, never-ending migraine. 

With Peter held captive, his Horizon Labs employer, Max Modell, risks his life exchanging Osborn’s mysterious briefcase to save his protégé.  Meanwhile, a desperate Julia “Madame Web” Carpenter sends out a psychic warning to Peter before collapsing into a deep coma.   

The original Hobgoblin, Roderick Kingsley, resurfaces to unleash his own sinister vengeance.  Mentally drained, Peter realizes the likelihood of his secret identity being exposed again is at a crescendo.  Caught between two feuding Hobgoblins, Peter must protect Max and Urich’s unsuspecting Daily Bugle rival from these homicidal, self-involved hooligans.  Kingsley’s surprising next move is revealed.

Note: This title is also available digitally and in hardcover.

REVIEW:

Unsurprisingly, The Amazing Spider-Man: Danger Zone comes off as a reshuffled deck of familiar Spider-capers.  Hence, the Jackal, multiple Hobgoblins, and Norman Osborn’s ominous shadow all play updated roles in Dan Slott’s stylish rehashing. Longtime Spider-fans will likely deduce most of Slott’s slick plot twists ahead of time.  

Case in point: Slott’s contrived Alpha character is likely to go one of two directions.  Either A. ‘Alpha’ quietly goes to Marvel’s dustbin, or B. The set-up for a resentful, Shaggy Rogers-like Andy becoming a future Spider-villain is now in place.  This “Alpha” arc is by no means a must-have; an asset, however, is the art team’s consistently solid visuals.    

In terms of déjà vu, look no further than the reprint of Avenging Spider-Man # 11.  Apart from the very rudimentary artwork, Marvel Comics resorts to this very sentimental Peter-and-Aunt May sub-plot for the umpteenth time.  Mining Peter’s guilt and May consoling him (presumably, to homage Spider-Man’s iconic 50^th Anniversary) isn’t so much the issue.  It’s more that writer Zeb Wells is shamelessly rehashing the poignancy of May and Peter’s grief, as it were a classic TV rerun, and ensuring the status quo doesn’t actually progress.     

As for the three-part “War of The Goblins,” Slott’s plotting is chaotically entertaining, though it is hardly memorable.  This assessment applies equally to the mostly unremarkable artwork.  With its worthwhile page count, the business-as-usual Amazing Spider-Man: Danger Zone, overall, makes for a decent library read. 

ADDITIONAL CONTENT:

Each issue’s full-page cover precedes its story.  The cover artists are: Issues # 692-694 (Humberto Ramos & Edgar Delgado);  The Avenging Spider-Man # 11 (Chris Samnee & Javier Rodriguez); Issue # 695 (Steve McNiven); and Issues # 696-697 (McNiven & Simon West). 

Also included are artist Marcos Martin’s five 50^th Anniversary variant covers (two per page) for Issue # 692.  That same issue’s Fan Expo variant by artists J. Scott Campbell & Edgar Delgado completes the mini-variant gallery.  The last page is Issue # 692’s letters-and-answers column, including a lengthy letter to fans from Dan Slott.

BRIAN’S ODD MOON RATING:                   5 Stars

Written by Ed Brubaker.

Art by Steve Epting; Dave Stewart; & VC’s Eliopoulos.

Cover Artists: Steve Epting; Gerald Parel; Steven McNiven & Dexter Vines; Dean White & Justin Ponsor; Phil Jimenez & Morry Hollowell; & Alan Davis, Mark Farmer, & Javier Rodriguez.

1939 Daily Bugle Written by John Rhett Thomas; Jess Harrold; Sheila Johnson; Dugan Trodgglen; & Jeph York.

1939 Daily Bugle Art by Chance Fivesh, with layout by Brian O’Dell.

1939 Daily Bugle Cover Artist: Mike Mayhew.

Collection Cover Art by Steve McNiven.

SUMMARY:

Released in 2021 by Marvel Comics, this 219-page paperback compiles 2009-2010’s The Marvels Project # 1-8 limited series. 

Narrated by Dr. Thomas Halloway, the prologue is set in 1939 New York City.  Halloway is a hospital’s attending physician for a dying Matt “Two-Gun Kid” Hawk.  Fascinated by Hawk’s imaginative claims of time-traveling and future 20^th Century adventurers he dubs ‘super-heroes,’ Halloway subsequently receives an unexpected treasure upon Hawk’s passing.  Did the former Old West gunslinger already know of Halloway’s own destiny in launching a fateful new generation of heroes? 

In the coming weeks, Halloway becomes the nocturnal vigilante dubbed ‘The Angel,’ as street crime has grown rampant.  Elsewhere, Dr. Phineas Horton’s creation, the Human Torch, initially terrifies the world.  Struggling to control its powers along with an instinct to feel human, Horton’s benevolent android goes into hiding. A chance encounter with mobsters convinces the android the only way to experience humanity is to become one of them by quietly posing as policeman Jim Hammond.  

When the renegade Namor the Sub-Mariner’s vengeful at-sea assaults against humanity reach Coney Island, the Torch has no choice but to publicly confront him. Their spectacular battle leaves Namor with an intense desire to destroy the Torch in a rematch.  

Recruited by U.S. Intelligence, Nick Fury and his friend, Red Hargrove, successfully complete a daring two-man commando mission inside Germany to retrieve German scientist Dr. Abraham Erskine.  They briefly encounter the mysterious super-soldier, John Steele, who had been held captive in suspended animation by German scientists since World War I.  Upon his escape, Steele fights the Nazis in guerilla warfare on their own home turf.  As it’s revealed, a repentant Erskine’s genetic experiments will ultimately change the course of the war. 

Meanwhile, two brutal homicides of the Angel’s allies motivates him to intercept a Nazi cell within New York City.  That same enemy spy ring intends to disrupt Erskine’s experimental procedure on a young test subject, Steve Rogers.  Partially duplicating Erksine’s lost Super Soldier Serum, the Nazis unleash its own weapon: the monstrous Red Skull.  The Nazis gain another weapon in the Atlantean powerhouse: Merrano the U-Man and his loyal army of malcontents. 

A rookie Captain America first meets the Angel, as they converge on New York’s murderous Nazi spy cell.  Along with Bucky, the two heroes reunite in a nocturnal showdown against U-Man’s renegades.  An embittered Namor ambushes the Torch, not realizing that Captain America is also present.  Once he discovers Merrano’s traitorous actions, a humbled Sub-Mariner is persuaded by Captain America and the Human Torch to join their Invaders strike team. 

As the war rages on, Captain America and the Torch both recruit their teenage sidekicks: Bucky and Toro.  Briefly seen are obscure Timely Comics heroes: i.e. Jeffrey Mace’s Patriot; Mr. E.; the Thin Man; the Phantom Bullet; the Ferret; Monako the Magician, among others.  As the original Union Jack’s son, Brian Falsworth’s journey into becoming the Destroyer is also depicted.  Through Nick Fury’s help, John Steele forwards a desperate warning of a catastrophic Nazi dual scheme to attack American soil.   

Ultimately, the Invaders must divide its forces to thwart a simultaneous attack against Washington, D.C. and Hawaii’s Pearl Harbor.  High above Pearl Harbor, the Human Torch and Toro defend Hawaii from a Japanese aerial assault.  Protecting the British Prime Minister, Captain America, Bucky, and Namor are targeted at sea by U-Man’s Nazi-sponsored Atlantean commandos.  The heroes are well aware that surviving this battle is only one of many still to come, if the Allies are to eventually prevail. 

The epilogue briefly refences the impact the combined Marvels’ impact on the war. In the present-day, the saga’s legacy comes full circle.  Specifically, a package is personally delivered to the late Dr. Halloway’s grandson. 

Note: This title is also available digitally and as a hardcover.

REVIEW:

Reminiscent of how DC Comics effectively mines its iconic Golden Age, the same absolutely applies in Marvel’s stunning homage to its predecessor: Timely Comics.  Revisiting and, to a degree, re-imagining the origins of the company’s original Big Three, The Marvels Projects is a first-class retrospective in every aspect. 

With writer Ed Brubaker at the top of his game, the saga’s plotting (along with virtually every detail) is patiently executed.  For instance, Brubaker faithfully introduces the Human Torch, the Sub-Mariner, and, finally, Captain America one by one without rushing headfirst into a historic first team-up.  His efforts are reminiscent of the reliable Roy Thomas playbook (i.e., Marvel’s The Invaders and later DC’s All-Star Squadron) by using obscure Timely heroes for some pivotal supporting roles and/or cameos.  Brubaker, suffice to say, should proudly place The Marvels Project high up on his resumé. 

Equaling Brubaker is the art team’s consistently high-caliber visuals, as they effectively update Timely’s pulpy Golden Age style.   If anything, The Marvels Project is a welcome tribute to Marvel’s first creative talents.  Given its subject matter (and occasionally grisly inferences), this book is appropriate for teens and up.   

ADDITIONAL CONTENT:

In a full-page format, each Steve Epting cover precedes its story.  The extras gallery starts with a two-page, unused concept of the back cover design.  The full-page variant covers consist of: Issue # 1 (artists: 1. Gerald Parel; 2. Steve McNiven – both color and black-and-white sketch); and 3. Phil Jimenez); Issue # 2 (artists: 1.McNiven; 2. Parel; and 3. McNiven); Issue # 3 (1. McNiven; and 2. Parel); Issue # 4 (Parel); Issue # 5 (1. McNiven and 2. Parel); Issue # 6 (Parel); Issue # 7 (1. McNiven – this title’s cover image and 2. Parel); and Issue # 8 (1. McNiven; 2. Alan Davis – two-page spread; and 3. Parel).

Artist Mike Mayhew’s 1939 Daily Bugle cover appears in a full-page format.  Meant, to a degree, as an in-joke, the 1939 Daily Bugle one-shot features articles on: Namor; the Human Torch; Halloway’s Angel; Betty Dean; Wolverine; Kang; a young Steve Rogers; Nick Fury; a tease of the Skrulls; the Rawhide Kid; the Wasp’s grandparents; the future Hellcat; and even Models, Inc.  Marvel (being Marvel) specifies titles and volumes where one can continue exploring these storylines.   

Also included is an editorial admonishing the Torch’s late creator, Dr. Phineas Horton, as a modern-day ‘Dr. Frankenstein;’  wink-wink ‘Letters to the Editor;’ and birth announcements of some familiar relatives to Marvel’s future heroes. 

BRIAN’S ODD MOON RATING:                       9 Stars

Written by Ta-Nehisi Coates & Yona Harvey.

Art by Butch Guice; Mack Chater; Stephen Thompson; Scott Hanna; Dan Brown; Paul Mounts; & VC’s Joe Sabino.

Cover Artists: John Cassaday & Laura Martin; Dan Brown; & Paul Mounts.

Collection Cover Art by John Cassaday & Laura Martin.

SUMMARY:

Released in 2017 by Marvel Comics, this 136-page paperback compiles the entire six-issue series from that same year.  Not necessarily a spin-off or sequel, The Crew is meant more as a reboot of a short-lived 2003 Marvel series by that same title.

Each issue starts with a flashback to Ezra “The Lynx” Keith in the mid-to-late 1950’s.  As a civil rights reformer, “The Lynx” has assembled a four-member, African American super-team: Brawl, Flare, Gloss, & a sorceress, The Gates.  Seemingly mercenaries for hire, they instead commence a fiery shutdown of a Bronx mobster in 1957.  The second issue’s flashback occurs in 1955 at the Asian-African Conference in Indonesia.  Ezra, at the time, first gets the idea of recruiting super-powered vigilantes out of Wakanda.  What he doesn’t realize is that a shadowy terrorist organization will be manipulating his covert agenda.

Per Issue # 3, in 1956 Harlem, Ezra and his associate, Frank, formulate a strategy to recruit their Wakandan super-team.  Issue # 4 explains how the grisly homicides of three civil rights movement workers in 1964 Mississippi disillusions Ezra.  Still, his squad delivers some justice without lethal retribution. 

By 1969, per Issue # 5, Ezra loses command of his ‘Crew,’ as they opt for a slick Frank’s end-justifies-the-means opportunism over Ezra’s conscientious brand of freedom fighting in Harlem.  It later comes down to Issue # 6, as fate intervenes during a 1972 confrontation between an estranged Ezra and Frank.  More so, Ezra realizes that Frank’s ongoing criminal activities are in league with HYDRA.  

Now-elderly protester Ezra Keith, over the years, has since become a mentor and inspiration to four heroes with links to Harlem: Ororo “Storm” Munroe; her ex-husband, T’Challa/Black Panther; hero-for-hire Luke Cage; mutant Eden “Manifold” Fesi; and NYPD detective Misty Knight.  Now, in the present day, Ezra’s suspicious overnight death in police custody has Harlem’s unrest sparking towards an ugly inferno of rioting in the name of social justice. 

Misty reluctantly joins Storm, along with Ezra’s adult niece and nephew, to unravel the shady circumstances of the civil rights icon’s death inside a jail cell. With multiple attempts made on their lives, Misty and Storm’s probe gradually recruits Black Panther (in his low-key undercover identity of Luke Charles), Luke Cage, and the now-fugitive Manifold.

Storm & Black Panther’s undercover investigation into an upscale luxury condominium called The Renaissance confirms Ezra’s suspicions.  In a subtle infiltration scheme dating back decades, HYDRA has not only slithered inside Harlem, but it has corrupted influential local players.  More so, Paragon Industries’ shoot-first Americop robots provide another layer of stealthy insulation.  Amidst a mass riot, it’s up to Storm, Black Panther, Luke Cage, and Manifold to finally strike back.  They’re soon stunned by the identity of one of this plot’s masterminds.       

Each issue is narrated by a character: Issue # 1 (Misty Knight); Issue # 2 (Ororo “Storm” Munroe); Issue # 3 (T’Challa/Black Panther; Issue # 4 (Luke Cage); Issue # 5 (Eden “Manifold” Fesi); and Issue # 6 (Ezra Keith).

Note: This title is also available digitally.  Though the story arc implies a mini-series, apparently Black Panther & The Crew was initially an ongoing monthly.  However, disappointing sales ended the series with Issue # 6.

REVIEW:

Premise-wise, co-writers Ta-Nehisi Coates and Yona Harvey have devised an ingenious set-up for a socially conscious and news headline-topical adventure-drama.  Intermingled with actual history, the Ezra Keith flashbacks supply a vital insight into its present-day storytelling.  As good as the primary arc’s twists mostly are, the plotting comes off as somewhat muddled. 

Some anachronisms curiously imply that the entire storyline occurs sometime in the past, i.e. Misty’s encounter with first-generation Americops, though she then remarks that Sam Wilson would later face a more advanced version; Storm’s stylish, mid-80’s Mohawk hairstyle; and, not to mention, T’Challa’s Luke Charles cover identity from the early 1970’s.  Yet, most other plot references, i.e. Ororo & T’Challa’s failed marriage; Luke Cage’s oddly unseen wife (Jessica Jones) and their young daughter; Misty’s then-romance with Sam “Captain America” Wilson, etc., clearly spell out that this arc is indeed in the present-tense 2017.  Despite such inconsistencies, Coates and Harvey’s co-plotting still makes for a good read.     

The artwork, like the scripting, tends to be inconsistent.  Some panels (i.e. Storm’s facial close-ups) are excellent, but much of the remaining material merely hovers in varying degrees of ‘average.’  Curiously, in the last three pages, the artists depict Luke Cage as Dwayne “The Rock” Johnson (minus the tattoos) – though it’s some logical casting, this wink-wink homage doesn’t improve the end result.  Suffice to say, this book’s visuals are generally solid, but they’re not a must-see asset. 

Black Panther & The Crew, overall, is worth the plunge.  It just may be more practical as a library option.  

ADDITIONAL CONTENT:

The variant cover gallery (two per page) consists of:  Issue # 1 (1. Artists Rich Buckler, Tom Palmer, & Rachelle Rosenberg; and 2. artists Damion Scott & John Rauch; 3. artist John Tyler Christopher; and 4. artists Jim Cheung & Jason Keith); and then Issue # 2 (1. Artist Mike Del Mundo and 2. Sanford Greene).  Butch Guice contributes two pages of black-and-white character sketches, though Ezra Keith’s four-member crew is also inked.    

BRIAN’S ODD MOON RATING:                      6 Stars