Category: Marvel Comics

Written by Scott Snyder.

Art by Manuel Garcia; Lorenzo Ruggerio; & Dave Sharpe.

Collection Cover Art by Mike Fyles.

SUMMARY:

Released in 2011 by Marvel Comics, this 112-page hardcover assembles the four-issue 2010 Iron Man Noir mini-series.  Set in mid-1939, brash billionaire industrialist Tony Stark is his alternate reality’s Indiana Jones, who revels in risking his life.  

Celebrated for his pulpy globe-trotting exploits, Stark even brings along his own personal scribe, Virgil Munsey, chronicling these ongoing adventures for the macho periodical, ‘Marvels: A Magazine of Men’s Adventure.’  Still, each issue opens with a journal-like message from Stark updating readers on his current whereabouts.   

For his present quest, in addition to Munsey, Stark has brought along his best friend, James Rhodes, and fellow adventurer/Tony’s girlfriend-assistant, Dr. Gialetta Nefaria.  Entering an ancient temple’s underground cavern deep in the British Honduras jungle, Stark intends to acquire a mystical jade mask for an unknown purpose.  Betrayal and murder await him, as his expedition is ambushed by Nazis led by Dr. Heinrich Zemo and Commander Baron Strucker.  Stark and Rhodes find themselves lucky to escape with their lives. 

Once back in the U.S., it’s revealed that Stark has a mechanical heart that needs routine recharging.  Also, in the works is an experimental suit of battle armor under the supervision of Stark’s chief engineer, Jarvis. Relying upon a male pseudonym, Pepper Potts is soon recruited as Virgil’s literary ‘Marvels’ replacement.  Stark’s curiosity into his ex-girlfriend’s private papers reveals that Nefaria evidently deduced the possible location of Atlantis before her apparent death. 

Pepper then joins Stark and Rhodes on their next excursion: to retrieve a mythical power source known as ‘orichalum’ from Atlantis.  Accompanying is the Nemo-like Captain Namor, who supplies their sea voyage deep into waters off the Spanish coast.  Subsequently discovering the remains of Atlantis in Stark’s futuristic submersible, his team succeeds in acquiring the ‘orichalum.’ 

Yet, the same Nazi horde as before again intercepts them and takes Pepper as their prisoner.  Aware that only ‘orichalum’ would permanently resolve his need for a mechanical heart, a repentant Stark pushes Jarvis into taking drastic measures.  It’s no longer just about Stark living out his wild adventure fantasies – not when Pepper’s fate is in jeopardy because of him. 

Donning their experimental armored suits, Stark and Rhodes’s dual Iron Men launch a desperate strike upon the Nazis’ hidden island base to save Pepper and recover the ‘orichalum.’ Standing in their way is a dark Nazi secret linked years before to Stark’s own past.  The subsequent battle may cost this impetuous Iron Man far more than just his mortal life.            

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

REVIEW:

Keeping in mind writer Scott Snyder’s pulpy steampunk vibe, Iron Man Noir concocts a solid-enough read – no matter how derivative his Indiana Jones-style caper actually is.  For instance, though, the mystery behind Stark’s mechanical heart isn’t revealed, the macho action plotting supplies sufficient twists to keep readers intrigued.  More so, the art team crafts a likable visual homage reminiscent of vintage cliffhanger serials. 

Iron Man Noir is by no means a must-read, but its uniqueness makes for a energetic library find.      

Note: Though I routinely bemoan Marvel & DC’s blind eye towards parental advisory labels, Iron Man Noir presents an oddity.  On its back cover, in small print, there is a parental advisory.  Apart from a few ghoulish images mostly conveyed through inference (i.e. a Viking skull with blonde hair still attached), I’m baffled by what this book’s advisory is for.  Iron Man Noir, by comparison, falls far short of the occasionally vile content that DC and Marvel peddle to potentially young readers. 

Still, given its overall violence quotient, I’d recommend Iron Man Noir as appropriate for teens-and-up.       

ADDITIONAL CONTENT:

In a full-page format, each Mike Fyles cover precedes its issue.  Including concept artwork and sketches, Snyder and Garcia supply a thirteen-page walkthrough of their Iron Man Noir # 1’s script. It’s a nice bit of padding considering this book’s page count is definitely skimpy. 

BRIAN’S ODD MOON RATING:         5½ Stars

Note: If one is interested in a similar pulp re-imagining, there’s a two-part Superman & Batman caper reprinted in Elseworlds: Justice League, Volume 1.  Accompanying an alternate-reality World’s Finest duo on their Indiana Jones-style globetrotting proves the highlight of this mostly disappointing Elseworlds compilation.  

Written by Chip Zdarsky.

Art by Rafael De Latorre; Marco Checchetto; Manuel Garcia; Matthew Wilson; Eric Arciniega; & VC’s Clayton Cowles.

Cover Art by Marco Checchetto & Matthew Wilson.

SUMMARY:

Released by Marvel Comics in 2023, this 112-page trade paperback collects 2022’s Daredevil # 6-10.  Now married, international fugitives Matt Murdock and Elektra Natchios share the ‘Daredevil’ moniker and seemingly co-lead their Fist resistance group.  Yet, it’s to her beloved (and possibly deranged) Matt that Elektra cedes final decision-making to, as his senses are now vastly enhanced by ancient magic. 

Among their recruits are ‘Stick;’ Foggy Nelson; a former NYC cop, Cole North; and Leonard “Doc Sasquatch” Samson.  Upon being broken out of prison by the Daredevils, their cult-like contingent now includes Speed Demon, Bullet, The Enforcers’ Fancy Dan, Stilt-Man, Stegron, the Wrecker, and the symbiote Agony. 

Headquartered on the remote Makanrushi Island (free from the world’s radar detection), Matt and Elektra diligently train their disciples and push redirection of the criminal natures of some towards a greater good.  Specifically, a showdown against the nefarious Hand cult is imminent, as a mesmerized Frank Castle’s Punisher is in command, along with the mind-controlling Aka.  Also looming in the background are the evil Stromwyn siblings in league with The Hand as elderly multi-billionaires in for their own illicit gain.  With video footage captured on live television, Elektra’s team evades Iron Man before she murders an Aka-possessed U.S. President at his Paris hotel. 

Matt’s team next goes to Charlotte, North Carolina, to thwart a police-enforced Castlemax eviction of innocent residents from their housing.  A chilling warning is further left for the Castlemax CEO at his own private residence.  Aware of a mystical destiny indicating that one of them will die, the Daredevils lead a dangerous assault against The Hand in Yusuhara, Japan.  Their primary objective is to rescue Bullet’s abducted young son and free Bullet himself from mind-controlled possession. 

Barely escaping from total defeat, Matt and Elektra’s decimated team begins falling apart. Both of them (Matt in particular) are fully aware that their isolated group needs far more training and cohesion to stand any chance of survival against The Hand’s overwhelming numbers.  

Not only are trusted recruits abandoning the duo’s quasi-religious cause, but shock comes as at least one treacherous impersonator is revealed in their midst.  The worse-case scenario comes, as military jets and The Avengers (Iron Man, Captain America, the new Valkyrie, Black Panther, and Spider-Man) converge on the island.  In spite of the bleak odds, the elusive Matt is hellbent on not surrendering to his former friends.    

Note: This title is also available digitally.

REVIEW:

Despite its slim page count, The Red Fist Saga, Volume Two becomes a wearisome read.  That isn’t the fault of this art team’s solid and consistently appealing visuals; rather, blame falls upon writer Chip Zdarsky for the mostly blah storytelling. 

Including a predictable battle violence quotient (where characters quickly recover from seemingly fatal wounds), fans are hard-pressed to find any fun exploring this pretentious storyline.  Specifically, Zdarsky’s convoluted plotting backs the Daredevil franchise into a corner. 

Case in point: Matt Murdock is conveyed once again as a sanctimonious martyr overwhelmed by his religious convictions.  Zdarsky, therefore, makes sure that readers see a wounded Murdock multiple times (even literally) ever closer to the precipice of a nervous breakdown.  Hence, it isn’t necessarily clear if the Volume Two’s dire conclusion is meant as a cliffhanger or as a temporary end to the series itself. 

Aside from Daredevil’s climatic showdown against an outraged Spider-Man, Volume Two is at best a single read.  That is, this Daredevil storyline heavy on supernatural nonsense appears exclusively geared for Murdock’s die-hard fans who prefer him as a well-intentioned yet self-righteous ‘demigod.’ For other adults, though, perusing Daredevil & Elektra: The Red Fist Saga, Volume Two at the library makes the most practical sense.    

ADDITIONAL CONTENT:

Prior to the credits page, there is a brief synopsis of this storyline-to-date.  Each of Marco Checchetto and Matthew Wilson’s full-page covers precedes its issue.  The variant cover gallery leads off with Issue # 6’s full-page Elektra homage by artist Peach Momoko.  With three cover images then allotted to a page, the following variants are included:

• Issue # 6 (1. artist Kendrick “Kunkka” Lim; and 2. artists Checchetto & Wilson);
• Issue # 7 (1. artists Frank Cho & Sabine Rich; and 2. artist Momoko);
• Issue # 8 (1. artists Elena Casagrande & Jordie Bellaire; and 2. Artist AKA);
• Issue # 9 (1A. artist Alex Ross; 1B. artist Ross – a sketch rendition of the same variant; and 2. artist Juni Ba); and
• Issue # 10 (artists: Kevin Eastman & Richard Isanove).

BRIAN’S ODD MOON RATING:                            5 Stars

Written by Chip Zdarsky.

Art by Daniel Acuña; VC’s Cory Petit (Issues # 1-2); & Joe Caramagna (Issues # 3-6).

Cover Art by Alex Ross.

SUMMARY:

Released by Marvel Comics in 2024, this 208-page trade paperback collects the same year’s Avengers: Twilight # 1-6.  In a dystopian alternate future, it’s been decades since the catastrophic H-Day where Boston was demolished and countless lives were lost in the Hulk’s monstrous rampage. 

Simultaneously, with access to newfound data, Ultron-enhanced super-villains hunted down and eliminated nearly all of Marvel’s heroes (including Spider-Man) by preying upon their secret identities.  The few that survived subsequently slid into the public’s shadows or have seemingly vanished altogether.  For instance, the fates of Iron Man and the Wasp remain unknown, though they are presumed dead. 

The U.S. Government, consequently, has confiscated virtually all of Tony Stark’s advanced technology (i.e. Avengers Mansion) and is using it to pacify or pummel the public into submission through constant surveillance.  Hence, thuggish IronCops now roam city streets to remove society’s undesirables from sight.  With the U.S. President reduced to a glorified puppet, Kyle Jarvis (purportedly Edwin Jarvis’ brother) and his adoptive protégé: Tony Stark’s orphaned adult son, James, essentially now control the country.  Through Stark’s technology, a small group of Avenger lookalikes are now seemingly the world’s high-profile protectors. 

In New York City, an elderly and depowered Steve Rogers is married to a physician, Rosa, and stays in contact with Luke Cage and Matt Murdock – both also worn down by age.  After his failed entry running for political office, Steve’s two friends are disappointed that he isn’t trying harder to stem America’s ugly downward spiral. 

Still, Steve fumes when a Red Skull news retrospective falsely implies that his old enemy was secretly a double agent working against the Nazis.  A friend’s subsequent off-screen death and a brutal encounter with IronCops completely lights Steve’s fuse.  Jeopardizing both his life and his marriage, Steve risks everything to become the original Captain America once more.  Joining a decrepit Luke Cage and his underground band of ninja-like Defenders, Captain America is back in action.  Steve then makes multiple attempts to bring the grim reality to the mass public’s attention. 

Staying in his way is an ultra-arrogant James Stark – the upstate genius son of Iron Man and the Wasp – who has no intention of letting his surrogate uncle (and, in his mind, a now-useless relic) ruin America’s new way of life.  What the younger Stark doesn’t know is his adoptive father’s true identity, and, therefore, an insidious ulterior motive.  Steve’s attempts to recruit his few remaining old friends fall short until he confirms Tony Stark’s bizarre fate. 

Infiltrating the Raft (now an illicit laboratory), Steve regains his classic shield.  A fiery battle with the world’s new Iron Man results in both Thor’s majestic return and Tony’s ‘resurrection’ of sorts.  Hence, the classic Avengers trio reunites one last time, with a new female Hawkeye and Kamala Khan’s Ms. Marvel aboard, as well.  It all comes down to a pivotal White House showdown where Steve’s vilest enemy has the U.S. military, nuclear missiles, and, once more, the world’s most devastating menace at his disposal. 

Even the arrival of one more original Avenger may not be enough to end the Red Skull’s catastrophic final scheme.

Note: This title is also available digitally.   

REVIEW:

Elements of DC’s Kingdom Come and Dynamite’s Project Superpowers come to mind when reading Avengers: Twilight. 

Specifically, writer Chip Zdarsky delves into a warped future where America’s traditional ideals have been long suppressed in a nightmarish exaggeration of contemporary real-world issues.  Not everything Zdarsky pitches is original, makes sense, or is even adequately explained (i.e. what happened to the Ultra-powered villains?  What happened to Marvel’s mutants? What are the fates of other Avengers?), but he still concocts an intriguing thrill ride.   

Zdarsky gives a grizzled, far older Steve Rogers a similar vibe as Frank Miller does with Bruce Wayne’s middle-aged Batman in The Dark Knight Returns.  The same applies to assigning familiar characters like Ms. Marvel, Luke Cage, and briefly Matt Murdock into valuable supporting roles.  Extra kudos are merited for delivering this reality’s last Thor vs. Hulk slugfest as it’s practically akin to the climatic Superman vs. Captain Marvel encounter in Kingdom Come.  There are some welcome surprises, too, as Zdarsky recognizes how six issues allow only so much.  Hence, his sensible yet fewer plot twists (i.e. so few Avengers) should go a longer way with readers.       

Zdarsky’s storytelling is admirably reinforced by the art team’s excellent visuals – their only inconsistency is James Stark’s inexplicably older facial appearance near the end.  Overall, Avengers: Twilight is likely a must-have for Avengers die-hards, who prefer the team’s Silver Age roster.  For most others, however, it’s most definitely a welcome library find.   

ADDITIONAL CONTENT:

Each full-page Alex Ross cover precedes its story.  The 14-page variant cover gallery consists of:

            FULL-PAGE

• Issue # 1 (2^nd printing) – artist: Daniel Acuña;
• Issue # 1 (foil) – artist: Acuña;
• Issue # 1 (IronCops) – artist: Acuña;
• Issue # 2 (Iron Man) – artist: Acuña;
• Issue # 3 (Kamala Khan’s Ms. Marvel – artist: Acuña;
• Issue # 4 (Thor) – artist: Acuña;
• Issue # 5 (the new Hawkeye) – artist: Acuña;
• Issue # 1 (the Avengers) – artist: Acuña;

QUARTER-SIZE

• Issue # 1 variants (5): 1. artist: Felipe Massafera; 2. artist: Frank Miller; 3. artists: Leinil Francis Yu & Sunny Gho; 4. artist: Skottie Young; and 5. artist Simone Bianchi;  
• Issue # 2 variants (4): 1. artist: Greg Smallwood; 2. artist: Phil Noto; 3. Artists: Sergio Dávila & Arif Prianto; & 4. Superlog; 
• Issue # 3 variants (3): 1. artist: Noto; 2. artists: Sara Pichelli & Matthew Wilson; & 3. artist: Taurin Clarke;
• Issue # 4 variants (5): 1. artists: Carmen Carnero & Nolan Woodard; 2. Francesco Mobili; 3. artist: Mark Brooks; 4. artist: Brooks (black-and-white sketch of variant # 3); & 5. artist: Bianchi; 
• Issue # 5 variants (3): 1. artists Tony Daniel & Jay David Ramos; 2. artist: Benjamin Su; & 3. artist: Cafu; &
• Issue # 6 variants (3): 1. artist Declan Shalvey; 2. Artists: Yu & Romulo Fajardo Jr.; & 3. artist: Marc Aspinall.

Lastly, Acuña shares four pages of his character designs, including the elderly Steve Rogers; the IronCops; the ninja-like Defenders; the ‘new’ Captain America; Kamala Khan’s Ms. Marvel; the new Hawkeye; Thor; Iron Man; and the Wasp.

BRIAN’S ODD MOON RATING:                         7½ Stars

Written by Nick Spencer.

Lettering by VC’s Joe Caramagna.

Art by Patrick Gleason & Edgar Delgado (Issues # 61-62]); Federico Vicentini, Federico Sabbatini, & Alex Sinclair (Issues # 63-65); Rogê Antônio, Carlos Gómez, Zé Carlos, & Alex Sinclair (Giant-Size – King’s Ransom); Mark Bagley, Andrew Hennessy, & Brian Reber (Sinister War: Prelude).

Collection Cover Art by Dustin Weaver.

SUMMARY:

Released by Marvel Comics in 2021, this 168-page trade paperback compiles from that same year: Amazing Spider-Man # 61-65 and the Giant-Size Amazing Spider-Man: King’s Ransom.

Per a brief scroll preceding the title page, a down-on-his-luck and unemployed Peter Parker is now roommates with Randy Robertson, a dim-witted yet reformed Fred “Boomerang” Myers, and a pet alien named Gog (think Gremlins).  Competing against Mayor Wilson “Kingpin” Fisk, Peter and Fred are seeking to recover missing pieces of the mystical Lifeline Tablet.  Specifically, Fisk intends to resurrect his late wife by any means necessary.  To access the Lifeline piece(s) Fred has stashed, the Kingpin orders an underworld hit available to New York’s rival mob factions and freelance assassins (i.e. Bullseye).

Aside from containing Gog’s overgrowth problem, Spider-Man reluctantly accepts Norah Winters’ virtual reality gig where his new, high-tech Spider-suit’s optical lenses provide livestreaming to the public.  The ironic catch is that his new employer is J. Jonah Jameson, who gleefully enjoys one-upping Robbie Robertson’s old school Daily Bugle.   Speaking of Robbie, he isn’t speechless upon finding out that his son Randy’s new girlfriend, Janice Lincoln, is the criminal Beetle II.  Not to mention, Janice is mobster Tombstone’s rebellious daughter. 

Meanwhile, Fisk has recruited Baron Mordo to help access the demonic Kindred (aka Harry Osborn), now safely imprisoned at The Ravencroft Institute.  Standing in their way is one man: The Institute’s director and Harry’s defensive father – Norman Osborn.  There’s also the matter of Fred’s old buddies – the Boomerang Revenge Squad (Shocker, Hydro-Man, and Speed Demon) still to be reckoned with.  Spidey & Boomerang’s showdown against them pivots on: who double-crosses whom first? 

Worst come to worst, as Robbie and Tombstone must cooperate if they are going to save their captive offspring from Fisk’s mercenaries, including Madame Masque, Mirage, and Crime Master V.  To save Randy, Janice, Robbie, and even Tombstone, Spidey’s makeshift cavalry includes some unexpected allies that aren’t the Avengers.   Come the epilogue, repercussions begin setting in, as Fisk utilizes the Lifeline Tablet.  Unexpectedly, a familiar Spider-foe is restored to life. 

Guest stars include a New Avengers reunion (Luke Cage; Jessica Jones-Cage; Hawkeye; Iron Fist; Wolverine; & Jessica Drew’s Spider-Woman) and Black Cat.

Notes: This title is available digitally.  While Mary Jane Watson makes a brief cameo, Peter’s Aunt May doesn’t appear in this volume.  

REVIEW:

Given the comedic plot machinations in Volume 13: King’s Ransom, one might construe writer Nick Spencer as Marvel’s Neil Simon.  As contrived as some of his plot details are (i.e. the implausibility of Peter hiding his secret identity from roommates Randy and Fred), Spencer still concocts a dynamite read. 

This particular Spider-caper glows with a consistent blend of action, young romance, and wacky sitcom humor/satire that doesn’t resort to cheap bait-and-switches.  Instead of exploiting Peter’s perpetual angst, Spencer plays up an Odd Couple cliché where Peter and Fred (and, by extension, Spider-Man and Boomerang) are foes-turned-unlikely friends.  The same applies to Robbie and Tombstone’s mutual hatred amusingly evolving into a variation of The In-Laws.  Balancing character depth and carefully playing various sub-plots, Spencer’s fun plotting mirrors what Simon once made look easy in stage plays and comedy films. 

Spencer’s surprisingly complex storytelling is enhanced by the rotating art squad’s appealing visuals.  Their combined effort makes the artwork in Volume 13: King’s Ransom another welcome asset.  In the best creative sense, all-age Spider-fans get this money’s worth in King’s Ransom without actually having to pay one.  Definitely recommended!    

ADDITIONAL CONTENT:

Each full-page cover precedes its story. The cover artists are Patrick Gleason & Edgar Delgado (Issues # 61-62); Mark Bagley, John Dell, & Delgado (Issues # 63-65); and Bagley, Dell, & Brian Reber (Giant-Size Amazing Spider-Man: Kin’s Ransom).  Interspersed are these full-page cover variants: Issue # 61 (artist: Julian Totino Tedesco); and Giant-Size Amazing Spider-Man: King’s Ransom (artists: David Baldéon & Israel Silva).

In a cover gallery, also included are these full-page variants: Issue # 61 (artist: Michael Cho); Issue # 62 (artist: Dustin Weaver – the collection cover); Issue # 62’s 50^th Anniversary Man-Thing homage (artists: Greg Land & Frank D’Armata); and Issue # 63’s costume design profile (artist: Weaver). Splitting the last page are an Issue # 63 Heroes Reborn – Hyperion vs. Hulk variant (artists: Carlos Pacheco, Mariano Taibo; & Matt Milla); and Issue # 64’s Heroes Reborn – Peter Parker @ The Daily Bugle homage variant (artists: Pacheco, Rafael Fonteriz, & Rachelle Rosenberg).       

A four-page preview of the Sinister War: Prelude depicts Doctor Octopus as the victim of a nocturnal ambush by a near-microscopic adversary in a cemetery.

BRIAN’S ODD MOON RATING:                     8½ Stars

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