Category: Marvel Comics

Written by Kurt Busiek

Art by Pat Broderick; Sam De La Rosa; Joe Rosen; & Tom Smith

Cover Art by Pat Broderick & ‘After Bernardo’

SUMMARY:

Entitled “Shadow Games, Part 3: Shadowfall,” Marvel Comics released the conclusion of this three-part mini-series for July 1994.  Outside Washington, D.C., The Daily Bugle gets wind of a brewing government cover-up outside the complex hiding Shadowforce’s underground bunker.   Spider-Man & X-Factor (Havok, Polaris, Wolfsbane, Strong Guy, & Multiple Man) are in New York City to tangle with Mirrorshade to save Flash Thompson’s life. 

Pursuing Shadowforce back to its bunker, it’s up to Spidey & X-Factor (now including Forge) to thwart these renegade super-commandoes from detonating the complex in a desperate extortion scheme.  The question is: with Shadowforce now exposed to the public, who will get the last laugh?  

REVIEW:

Overcoming an uninspired cover image, this three-part series completes its hat trick as a terrific Spidey team-up.  Not only does writer Kurt Busiek juggle all the necessary characters well, the art squad’s visual consistency throughout these series is commendable.  Reminiscent of the original Marvel Team-Up series, Shadowgames # 3 is consistently well-played.      

ADDITIONAL CONTENT:

The “Bullpen Bulletins” column includes questions for Marvel’s in-house archivist. 

BRIAN’S ODD MOON RATING:                      7 Stars

Written by Kurt Busiek

Art by Pat Broderick; Bruce Patterson; Sam De La Rosa; Keith Williams; Tom Smith; & Joe Rosen

Cover Art by Pat Broderick

SUMMARY:

Entitled “Shadow Games, Part 2: Shadowclash,” Marvel Comics released the middle issue of this three-part mini-series for June 1994.  Per Issue # 1, Shadowforce is a supposedly reformed group of ex-cons imbued with experimental super-powers and brainwashed into service as U.S. covert-ops commandoes.  Joining forces with Spider-Man, X-Factor (Havok, Polaris, Wolfsbane, Strong Guy, & Multiple Man) are now engaged in battle against the renegade Shadowforce. 

Forced to abandon X-Factor to pursue Shadowforce’s Mirrorshade, Spider-Man departs their adversaries’ underground bunker outside Washington, D.C. to head back to New York City by train.  On a deserted stretch of track, the battle re-commences, as Spidey must face Shadowforce alone (in a rematch from Issue # 1).  Despite holding his own, an outnumbered Spider-Man needs reinforcements. 

Meanwhile, the elusive Mirrorshade is in New York City stalking Flash Thompson – having committed itself to fulfilling a sarcastic comment it overheard Spidey previously made.  

REVIEW:

Despite its routine plot, all the necessary goods are delivered.  As writer Kurt Busiek’s kid-friendly script keeps on rolling, the art squad’s visuals are consistently high-caliber.  For fans of the classic Marvel Team-Up series, Shadowgames # 2 continues an entertaining Spidey team-up caper.   

ADDITIONAL CONTENT:

Including comments from several industry legends, the “Bullpen Bulletins” column remembers Jack Kirby.  The foldout back cover includes plugs for Black Cat # 1; Force Works # 1; Blade the Vampire-Hunter # 1; Galactic Guardians # 1; and a continuing crossover – Night Thrasher # 12, Nova # 7, and New Warriors # 49.

BRIAN’S ODD MOON RATING:                      7 Stars

Written by Roberto Aguirre-Sacasa

Art by Angel Medina; Scott Hanna; Avalon’s Dan Kemp; & Cory Petit

Cover Art by Angel Medina

SUMMARY:

Entitled “Feral, Part 2 of 5: Cat Scratch Fever,” Marvel Comics released this issue for May 2006.  The Lizard and now a Lizard Jr. are on a deadly dual rampage, as even Spider-Man suffers a gory wound.  Defending her injured friend, Felicia Hardy’s Black Cat faces Dr. Curt Connors’ Lizard in vicious combat at point-blank range.  Also on the loose is Vermin, who has suffered a relapse into animalistic impulses. 

At Stark Tower, Mary Jane Watson-Parker and Aunt May are targeted by an enigmatic threat posing as John Jameson.  Both Spider-Man and Black Cat are bewildered by her reckless impulse for bloodthirsty action.  A rifle-wielding bystander’s response may result in a heartbreaking tragedy.      

REVIEW:

As a parental advisory, this issue’s violence and gore content isn’t appropriate for pre-teen readers.  Aside from that, writer Roberto Aguirre-Sacasa’s dark “Feral” storytelling is consistent with a sci-fi/horror film, as there’s multiple grisly predators at large.  For adults, this issue takes some intriguing twists, no matter if they’re predictable in the horror genre.

Including a well-played cover image, the art squad’s visuals are generally high-caliber.  Unsurprisingly, there’s at least one suggestive pin-up pose included for Black Cat.  Perhaps the more eyebrow-raising quirk is artist Angel Medina’s propensity for over-exaggerating character noses, as if reminiscent of cartoony witches.  For instance, one such close-up panel makes Mary Jane and May’s facial features (and even their ages) far too similar – an oddity in itself. 

Still, once all creative factors considered, The Sensational Spider-Man # 24 most likely won’t disappoint adult fans eager for a ghoulish read. 

ADDITIONAL CONTENT:

None

BRIAN’S ODD MOON RATING:                   7 Stars

Written by J. Michael Straczynski

Art by Ron Garney; Bill Reinhold; Matt Milla; & VC’s Cory Petit

Cover Art by Ron Garney

SUMMARY:

Marvel Comics released this issue for August 2007.  Continuing the scene ending Issue # 541, it’s entitled “Back in Black, Part 4 of 5.”  Seeking vengeance for a dying Aunt May, Spider-Man faces off vs. “Kingpin” Wilson Fisk inside the mobster’s prison cellblock.  Stripping off his mask and the upper half of his costume, Peter Parker unleashes his most brutal pummeling ever on an enemy. 

Further channeling his inner Batman, Peter reveals his own dark streak in a threat directed at Fisk, if May dies and/or should any goon target his loved ones again.  Later, in a hospital ICU unit, Peter & Mary Jane face uncertainty re: the mounting logistics of protecting a comatose May.          

REVIEW:

The artwork is high-caliber considering writer J. Michael Straczynski’s script is simply an issue-long beatdown.  Still, its intense brutality (reminiscent of Batman) makes Issue # 542 inappropriate for Spidey’s youngest fans. 

What’s disappointing, plot-wise, is how an intriguing twist is simply dropped.  Specifically, Issue # 541 heavily implies that Peter’s clouded judgment and machismo override common sense that he’s far too depleted to continue his vengeance – reminiscent of a worn-down Batman during his Knightfall storyline.  Wouldn’t it then make logical sense for Spidey to desperately rely on his ingenuity to escape prison after foolishly challenging Fisk on his ‘home turf’? Instead, Straczynski implies that Peter’s intense adrenaline rush overcomes his human limitations, let alone frightens a cellblock full of hardened convicts into hushed bystanders.    

As far-fetched as that sounds, Straczynski’s gambit works well enough.  In particular, the writer ensures that Fisk’s mauling is an unforgettable humiliation.  It’s a reasonable trade-off for having to read Peter’s dramatic berating of a bloodied Fisk that seemingly goes on forever.  Despite such illogic, The Amazing Spider-Man # 542 delivers satisfying Spider-storytelling for teen readers and up.  

ADDITIONAL CONTENT:

The first page summarizes Spider-Man’s present crisis following Marvel’s Civil War.  There’s a full-page cover reveal for Issue # 543.  

BRIAN’S ODD MOON RATING:                             7 Stars

Written by (See Below)

Art by (See Below)

Cover Art by Russ Heath & Matt Hollingsworth

SUMMARY:

Marvel Comics released this 48-page, 70^th Anniversary Special one-shot for September 2009.  The contents consist of a contemporary Blonde Phantom noir-like mystery and a tribute to Marvex the Super Robot.

Blonde Phantom: Murder on Another Planet (16 pages).  Writer: Marc Guggenheim, with Art by: Javier Pulido; Javier Rodriguez; & Dave Lamphear.  The brutal home invasion murder/robbery of a client-turned-friend brings ex-legal secretary Louise Mason out of retirement as the masked ‘Blonde Phantom.’  Her sleuthing is further enhanced by a woman’s insight, as she gradually realizes the truth behind the culprit’s motive.

Marvex the Super-Robot (6 pages).  Writer & Artist: Michael Kupperman.  The Fifth Dimension metallic man haplessly tries adapting to life on Earth in 1939 and then the 21^st Century.  

Marvex the Super-Robot (7 pages: reprinted from Daring Mystery Comics # 3 – April 1940).  Credit: Hal Sharp.  After his origin is explained, an explosion in the Fifth Dimension maroons Marvex on Earth.  He becomes a noir-ish crime-fighter, as he assimilates to life on Earth.

Marvex the Super-Robot (8 pages: reprinted from Daring Mystery Comics # 4 – May 1940).  Credit: Hal Sharp.  Marvex’s latest crime-busting mystery lands him being held captive in a prison’s electric chair. 

Note: Though the image isn’t provided, the variant cover’s artist is Marcos Martin.

REVIEW:

Evidently, Marvel doesn’t deem it necessary to explain how the Golden Age Blonde Phantom has barely aged since World War II … let alone that her red-and-yellow dress ensemble makes the Golden Age Black Canary’s crime-fighting outfit seem practical by comparison.  Still, writer Marc Guggenheim’s scripting (aside from a typo misidentifying whom Louise is talking about) is a solid mystery for adults.  With the art squad’s visuals as a familiar Marvel standard for that time, the lead feature is easily this issue’s best selling point.  The cover image reminiscent of a 1940’s noir comic, likewise, is well-played.

RE: Marvex, well, this character might have been an inspiration for how the naïve Red Tornado is portrayed in the animated Batman: The Brave and The Bold.  Marvex’s simplistic Golden Age reprints are harmless, but they come off as hokey filler material. Let’s just say that Michael Kupperman’s emulation homage is more than sufficient. 

A rare Blonde Phantom reprint or two would have been far more preferable.  Overall, the new Blonde Phantom tale merits possible inclusion as a graphic novel bonus feature, but Marvex’s half is very much skippable.   

ADDITIONAL CONTENT:

A full-page reprint of the cover for Daring Comics # 3 (1940) is included.  There’s a five-page preview of Fantastic Four # 570, plus two potential cover images.  

BRIAN’S ODD MOON RATING:                               6 Stars

Written by Jeph Loeb

Art by David Finch; Danny Miki; Frank D’Armata; Richard Starkings; & Comicraft

Cover Art by David Finch; Danny Miki; & Frank D’Armata

SUMMARY:

Fallen Son is a five-issue limited series exploring the New Avengers’ five stages of grief after Captain America’s public assassination.  Released by Marvel Comics in July 2007, this fourth issue is entitled “Depression.” 

Shadowing a distraught Spider-Man, Wolverine finds him late at night amidst a rainstorm at the gravestones for his Uncle Ben and his parents.  Peter Parker is again haunted by his own personal failures saving those he loved.  This time, Captain America’s senseless death has pushed Peter to an emotional brink.  Misunderstanding why the Rhino is present in the same cemetery, Spider-Man attacks him in an unprovoked rage.  Now equally infuriated, Rhino retaliates with a vicious pummeling.   

Spurred on by memories of Captain America once stepping in to save him from the Hulk’s wrath, Spider-Man’s sudden adrenaline rush overwhelms Rhino.  Later, at the Brooklyn Bridge, from which Gwen Stacy fell to her death years before, Spidey & Wolverine privately discuss depression and grief.     

Note: Though the image isn’t available here, artist Michael Turner produced the variant cover.

REVIEW:

Despite Marvel exploiting Spider-Man’s trademark angst once again, writer Jeph Loeb’s scripting is nonetheless excellent.  The art squad’s visuals are superb, as penciller David Finch is at the top of his game.  Whether by itself, or in the trade paperback compiling all five issues, this top-caliber issue is worthy of any comics collection.  Definitely recommended!   

ADDITIONAL CONTENT:

None.  

BRIAN’S ODD MOON RATING:                        9 Stars

Written by Mark Waid & Tom Peyer

Art by Ken Lashley; Vince Russell; Al Milgrom; Tom Smith; Malibu; Richard Starkings; & Comicraft

Cover Art by Ken Lashley

SUMMARY:

Nearly eleven years after the series-ending Marvel Team-Up # 150, Marvel Comics would launch a new Spider-Man team-up series.  Released for December 1995, as a 48-page quarterly title, this first issue is entitled “Double or Nothing.”  Still reeling from the ‘truth’ that Ben Reilly is the real Peter Parker (and that he’s the actual clone), Spider-Man’s life-changing transition includes trying to get paid one last time at The Daily Bugle. 

Having publicly threatened to expose The Hellfire Club,  J. Jonah Jameson’s abduction-murder becomes a devilish wager between Benedict Kine and Shinobi Shaw.  With Kine & Shaw’s rival assassins descending on The Bugle, an outnumbered Spider-Man intervenes.  Telepathically dragged away from a performance of Broadway’s “Dogs” — an in-joke parodying Cats, five X-Men (Beast, Angel, Psylocke, and the married Jean Grey & Cyclops) join Spider-Man’s efforts to rescue his ex-boss against superior numbers. 

With an unconscious Jameson’s life at stake, the climax is a high-powered showdown on The Hellfire Club’s home turf.  The enigma re: who is interjecting the X-Men into the Kine vs. Shaw feud will be answered.

REVIEW:

It’s fitting that the X-Men are first up, as they were Marvel Team-Up’s last guest stars (in that instance, they were represented by Wolverine, Rogue, Nightcrawler, & Colossus).  Though the thin plot is stretched way too far (40 pages would have been plenty), this premiere is still a fun read with solid visuals.  More specifically, Spidey’s reliable X-chemistry is well-played.  Aging the story badly, however, is the necessity to repeatedly push the absurd ‘Clone Saga’ soap opera.  Hence, this particular Spidey/X-Men crossover isn’t special enough to qualify as a must-have. 

Not living up to its hype (see the last page), at least Spider-Man Team-Up # 1’s content is appropriate for all-age Marvel fans.

ADDITIONAL CONTENT:

There’s a two-page spread hyping Malibu Comics (a Marvel affiliate).  Assistant Editor Glenn Greenberg pens a full-page letter explaining the resurrection of the Spidey team-up concept.   

BRIAN’S ODD MOON RATING:                          6 Stars

Written by Paul Jenkins

Art by Paco Medina; Juan Vlasco; Studio F; & Virtual Calligraphy’s Chris Eliopoulos

Cover Art by Humberto Ramos; Wayne Faucher; & Studio F

SUMMARY:

Released by Marvel Comics for December 2004, this Disassembled crossover is entitled “Changes, Part 4.”  New York City faces imminent destruction from a bomb held underground by spider-obsessed terrorist, Ana Soria, aka “The Queen.”  She intends to use its detonation to eradicate local humans in favor of her ‘kingdom’ of insect-human hybrids.  Among her mind-controlled pawns is Spider-Man, who has been horrifically mutated into a human-sized spider.  One of Soria’s captives reveals to Spider-Man another nasty biological surprise that their abductor has injected him with. 

SHIELD, with help from Captain America & the X-Men’s Storm, Cyclops, & Nightcrawler, desperately seeks Ana Soria’s hideout to save the city.  Mary Jane, meanwhile, ponders the fate of her missing husband.  As time runs out, if the city has any chance for survival, it’s up to the man lurking within the spider.    

Note: New upgrades to Spider-Man’s powers, include organic webbing (presumably, it’s to make him closer to Tobey Maguire’s cinematic version).

REVIEW:

Despite enormous plot holes (i.e. how Spider-Man escapes/sheds his mutated form, let alone survives intact is left unexplained) and several gross inferences, this issue is somehow an entertaining read.  Writer Paul Jenkins’ free-wheeling approach keeps the sci-fi schlock plot rolling – even so, having Cyclops (patrolling the sewers) make reference to a ‘rat’s rectum’ shouldn’t have been necessary. 

Partially making up for Jenkins’ plot deficiencies are the art squad’s effective cartoony visuals.  This team also smartly conveys the plot’s icky imagery without having to parade it in front of readers.  While The Spectacular Spider-Man # 20 is hardly a must-have, committed Spider-fans (ages 15+) will likely get their money’s worth.

ADDITIONAL CONTENT:

The first page summarizes “Changes” up through Issue # 19.   

BRIAN’S ODD MOON RATING:                           5½ Stars

Written by Roberto Aguirre-Sacasa

Art by Rick Hoberg; Stefano Gaudiano; Clayton Crain; Matt Milla; & VC’s Cory Petit

Cover Art by Clayton Crain

SUMMARY:

Released by Marvel Comics for September 2007, it concludes the two-part “Last Temptation of Eddie Brock,” during Spidey’s Back in Black saga.  Stricken by terminal cancer, an emaciated Eddie Brock is hospitalized in the same New York City facility as a comatose Aunt May.  Egged on his Venom persona, Brock dons a store-bought Venom costume and surrenders to his psychopathic impulses – viciously slaying an overnight nurse.  His Venom persona urges him to murder a defenseless May as his next victim.

At the same hospital, Peter & Mary Jane Parker, along with her Aunt Anna, join Madame Web in a séance to reach May’s spirit in a desperate effort to revive her.  Felicia Hardy/Black Cat stands guard to ensure their privacy.  Yet, does May want to wake up?  Will Peter’s spider-sense kick in time to save May from Brock?  Does Brock resist Venom’s insistence that they resume their nocturnal killing spree?  Answers will be provided in this issue.   

Note: Other than Brock’s makeshift Venom outfit, no one else wears a costume – both Peter & Felicia appear in civilian clothes throughout the story.      

REVIEW:

Aside from one grisly image of the nurse’s corpse, this issue’s stylish visuals (i.e. the spot-on cover image) are a significant plus.  What stands out best, in terms of plotting, is Peter’s eerie ‘afterlife’ conversation with May.  Writer Roberto Aguirre-Sacasa and artist Clayton Crain’s teamwork in the séance sequence is excellent.  Yet, the intense Venom-focused tale probably makes Issue # 39 a single read for most non-fans.  It’s just too much to swallow Eddie Brock’s creepy arc as casual Spider-entertainment, no matter how convincingly it’s depicted. 

Appropriate for ages 15+, The Sensational Spider-Man # 39 continues Aguirre-Sacasa’s impressive storytelling, along with the art squad’s high-caliber efforts.  Just expect a macabre read, to say the least.    

ADDITIONAL CONTENT:

The first page summarizes Eddie Brock’s medical plight amidst the controversy of Spider-Man’s voluntary unmasking.  There’s a full-page cover real for Issue # 40.  

BRIAN’S ODD MOON RATING:                              7½ Stars

Written by Gerry Conway

Art by Gil Kane; Steve Mitchell; & Jon Costanza

Cover Art by Todd McFarlane

SUMMARY:

Released by Marvel Comics for February 1990, its title is “And Then … The X-Men!”  The story reprints 1972’s Marvel Team-Up # 4.  After his terrifying encounter vs. the vampire Morbius, Peter Parker is now plagued by nightmares.  Sensing he is becoming increasingly ill, Spider-Man seeks help from Professor Hans Jorgenson, who is analyzing what has become of his ex-associate, Michael Morbius.  The vampire brutally abducts Jorgenson before Spidey’s arrival.  Unbeknownst to Spider-Man, the media deems him the kidnapper. 

Learning of his colleague’s abduction, Professor Charles Xavier sends his four remaining X-Men (Cyclops, Marvel Girl, Iceman, & the Angel) undercover as civilians to find Spider-Man.  After bringing an unconscious Spider-Man back to the X-Mansion, Xavier’s telepathy realizes why Morbius is the real threat.  It’s up to the X-Men to face Morbius in a showdown to find the scientist who might still save a dying Spidey’s life.

Note: Appearing in a cameo, Hank McCoy/Beast’s solo storyline is briefly hinted.  

REVIEW:

Even if the story isn’t an all-time classic, this early Spider-Man/X-Men crossover is still a reprint gem.  Specifically, in terms of an intriguing Marvel match-up, pitting the original X-Men (short a teammate) vs. Morbius is a stroke of genius.  Veteran scribe Gerry Conway conjures up some satisfying plot twists, as readers can be assured that his storytelling doesn’t  lazily fly on auto-pilot.  Like with this issue, Conway’s stories make logical sense traveling along from Points ‘A-B-C’ before moving towards a solid finish.

Perhaps even better is an opportunity to glimpse Gil Kane’s artistic style during the Bronze Age.  Known for his iconic work at DC Comics (i.e. Hal Jordan’s early days as Green Lantern), it’s cool to see how Kane depicts Spidey and the X-Men.  His old school visuals may not seem sophisticated, but Kane is an effective tag-team partner for Conway.  A final plus is Todd McFarlane’s terrific cover image.     

For fans of this era (particularly, for its emphasis on storytelling content), Marvel Tales # 234 is a welcome treat.        

ADDITIONAL CONTENT:

The “Bullpen Bulletins” page includes a profile on Marvel assistant editor James DiGiovanna.  A full-page “Marvel Mails” column explains the forgotten history behind Marvel Team-Up # 4.  Among its details is an explanation re: the original X-Men were then on hiatus from a monthly series. 

A full-page reprint of the original 1972 cover is included, though the artist isn’t credited.  There’s also a full-page cover reveal of Todd McFarlane’s X-Men cover for Issue # 235.

BRIAN’S ODD MOON RATING:                             7½ Stars