Category: Marvel Comics

Written by J. Michael Straczynski

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

Cover Art & Collection Cover Art by Ron Garney

SUMMARY:

Released by Marvel Comics in 2007, this 168-page paperback reprints The Amazing Spider-Man # 532-538 (from 2006-2007) entitled “The War at Home, Parts 1-7.”

In the Stamford, CT tragedy’s aftermath, Iron Man & Spider-Man, arrive on the scene to help and personally witness its horrific damage.  A subsequent White House meeting with the President prompts Tony Stark into admitting he is Iron Man, and that he will supervise a new U.S. policy’s enforcement.  Accordingly, Stark prods his protégé, the ever-reluctant Peter Parker, into publicly unmasking his long-kept secret identity.  The intent is to help motivate their peers into adhering to the controversial Superhuman Registration Act. 

The world’s reaction is mixed.  Including a multi-million dollar fraud lawsuit from The Daily Bugle, Peter must contend with tense ramifications, both personal and public, now that his private life is no more.

Peter already has second thoughts once Stark presumptively assigns him to the Registration Act’s enforcement squad.  Realizing what hardline tactics his boss is resorting to, Spider-Man’s crisis of conscience comes to a head.  Forced to risk the safety of his loved ones, wife Mary Jane and Aunt May, Peter makes a startling decision.   

As Marvel’s first Civil War progresses to its end, dark forces elsewhere plot to destroy Spider-Man’s life.  With Peter and his family now on the run as high-profile fugitives, the stage is ominously set for the next arc: Back in Black.

Notes: Marvel Comics identifies which scenes occur amidst specific issues of Civil War.  Also, Issue # 532 indicates that “The War at Home” would go six issues vs. the seven it later became.

REVIEW:

With satisfying depth, J. Michael Straczynski’s storytelling explores this game-changing event in Spider-Man’s life.  Specifically, Spider-Man’s Civil War role as its pivotal ‘everyman’ comes into clear focus.  Spidey’s encounters with Mr. Fantastic, Captain America, and Iron Man infer that only he conscientiously grasps all angles of the Registration Act’s dire ‘right and wrong’ vs. ‘whose side are you on?’ mentality. 

One question conveniently left unaddressed, however, is: besides Spidey and possibly Mr. Fantastic, shouldn’t there be other potential dissenters (i.e. She -Hulk) on Team Stark shifting away from pro-registration? Considering Stark’s harsh means of capture and incarceration, wouldn’t others object – without necessarily joining Captain America’s forces?   

Still, Straczynski’s plot twists are well-played, even if one sudden face-off isn’t unexplained.  It can only be surmised that Peter’s Avengers Tower suite has been under covert electronic surveillance upon Stark’s suspicions being aroused.  Had Straczynski briefly depicted Iron Man’s provocation to aggressively confront Peter, that would have been helpful  Otherwise, his scripting logically evolves from Point A to Point B, etc., giving Spider-fans a fully-developed and very readable seven-part arc.    

Working double-duty as both penciller and cover artist, Ron Garney presents consistently solid visuals.  His highlights include some superb facial close-ups (i.e. Mary Jane), often in dramatic moments.  In sync with Garney’s low-key style, the art squad’s other members contribute commendable work.  Though this particular storyline might not appeal to newcomers, The Amazing Spider-Man: Civil War delivers what it promises to faithful Spider-fans.        

ADDITIONAL CONTENT:

Garney’s cover precedes each issue.  Also included are two covers from artist Clayton Crain: his Issue # 538 variant and the Wizard # 182 (magazine) cover.

BRIAN’S ODD MOON RATING:                      7½ Stars

Written by Roberto Aguirre-Sacasa

Art by Jim Muniz; Scott Hanna; Jim Royal; Derek Fridolfs; Brian Reber; & Dave Sharpe

Collection Cover Art by Greg Land; Mark Morales; & Justin Ponsor

SUMMARY:

Released by Marvel Comics in 2005, this 144-page paperback compiles Marvel Knights 4 # 13-18 (from 2004-2005).  Although the initial two-parter appears untitled, it’s evidently named after the French horror movie it homages: “Eyes Without a Face.”  With the Fantastic Four now back to its normal business, Mr. Fantastic takes the Thing and Human Torch on an interdimensional mission exploring a possible distress signal. Unbeknownst to the team, the psychotic Puppet Master has become obsessed with restoring the eyesight of his blind niece, Alicia Masters. 

After multiple horrific failures, the Puppet Master abducts a mesmerized Invisible Woman to forcibly acquire her cosmically-enhanced eyes for surgical transplant into Alicia.  Both drugged by her uncle’s hypnotic clay, Alicia and a powerless Susan Storm Richards are on their own to fend off an axe-wielding Puppet Master.  Daredevil, Captain America, & Iron Man make cameo appearances. 

Next up is the four-part “Divine Time,” as eight minutes of reality have gone missing. With their celebration of young Franklin’s Little League team victory interrupted, the team accepts an enigmatic mission correcting chronal anomalies.  With Reed, Sue, & Ben Grimm trapped in pre-Ancient Egypt, their best chance to return to the present-day lies with the last person Mr. & Mrs. Richards expect to see. 

Meanwhile, Johnny Storm finds himself in a parallel Earth’s alternate future where Dr. Doom is its ultimate despot.  Encountering someone eerily familiar, Johnny realizes the Richards family’s youngest child has become this world’s last hope. 

In the present-day, Franklin and H.E.R.B.I.E. are being held captive by the vindictive Ramades the Pharoah (and one-upping son of Kang).  Once reassembled, the Fantastic Four realizes that it’ll take three resourceful generations of the Richards clan to thwart the power-hungry Ramades … that is, if there’s still time.     

Note: Issues # 13-14 closely mirrors the 1976 horror movie, “Mansion of the Doomed,” as it’s titled in the U.S.  More significantly, both plots date back to the 1960 French horror film, “Les Veux Sans Visage” (aka “Eyes Without a Face”). 

REVIEW:

Solidly illustrated and competently plotted, Marvel Knights 4, Volume 3: Divine Time is a relatively good read.  Though unlikely to attract new readers to the franchise, the unrelated storylines split the difference between fantasy-horror and an all-ages time-travel adventure.  Though instances of obvious gore are only implied, the initial two-parter has enough chilling moments that excludes “Eyes Without a Face” as a kid-friendly read.

Exploring “Divine Time,” younger readers may find its time-traveling ramifications confusing, or, even to some degree, boring.  Still, writer Roberto Aguirre-Sacassa (no matter how improbably) incorporates Franklin’s sub-plot well enough that kids should be able to relate to its visuals.  Also, each of the Fantastic Four (plus the unofficial fifth member, whether or not it’s son Franklin, daughter Valeria, or H.E.R.B.I.E.) receive welcome opportunities to shine.

Overall, this volume isn’t necessarily a long-term keeper, but Fantastic Four buffs should still be pleased.    

ADDITIONAL CONTENT:

A half-page briefly summarizes prior Marvel Knights 4 storylines.  Each full-page cover precedes its story.  The  cover artists are: # 13 (Frank Cho & Chris Sotomayor);  # 14 (as seen above); # 15 (Steve McNiven, Mark Morales, & Morry “MO!” Hollowell); # 16 (Tony Harris); # 17 (McNiven, Morales, & Hollowell); and # 18 (Mike Deodato Jr.).

BRIAN’S ODD MOON RATING:                        6 Stars

Written by Roberto Aguirre-Sacasa

Art by Steve McNiven; Mark Morales; “Morry “MO!” Hollowell; & Virtual Calligraphy’s Randy Gentile

Collection Cover Art by Steve McNiven

SUMMARY:

Released by Marvel Comics in 2004, this 168-page paperback compiles Marvel Knights 4 # 1-7 (also from 2004).  The first arc is the four-part “Wolf at the Door,” as the team unexpectedly faces a financial nightmare.  With their government funding revoked combined with a crooked accountant’s machinations, the Fantastic Four is imperiled by sudden bankruptcy, as well as eviction from The Baxter Building. 

Struggling with a new status quo (including the need for blue-collar jobs), it’s up to level-headed Sue Richards to lead and protect her family’s fracturing unity, as even her genius husband can’t resolve this predicament fast enough.  Ultimately, the Fantastic Four is forced to swallow its pride, along with multiple humility pills. i.e. how to best explain the matter to a very confused young Franklin Richards on his eighth birthday. 

While his family adjusts to new jobs and moving into a cramped apartment, Reed finds himself contemplating how he can be a better Mr. Fantastic for his family’s sake.  Last to take the initiative of helping his family stay afloat, 25-year old Johnny Storm takes a potentially major step towards maturity. Quick cameos include Tony Stark, She-Hulk, and Captain America. 

As chronicled in the three-part “Pine Barrens,” Sue, Reed, and Ben Grimm supervise Franklin and four of his friends on a camping trip into the remote New Jersey Pine Barrens.  Amidst peculiar interaction with locals and two publicity-thirsty filmmakers, the Richards/Grimm party soon encounters the horrific truth behind the local legend long dubbed ‘The Jersey Devil.’ 

Forced to protect Franklin and his defenseless buddies without her family, Sue alone faces a bloodthirsty alien horde.  Even Reed & Ben are hard-pressed to fend off the aliens, as their last hope may be the team’s most powerful and indomitable asset. 

Notes: One of Reed’s subplots poignantly concludes in Marvel Knights 4, Volume 5: The Resurrection of Nicholas Scratch.  Dialogue establishes that the Fantastic Four has been established for approximately a decade.  Hence, that timeline puts Sue at 29-31 now and that Johnny was only about 15-16 when he became the Human Torch.

REVIEW:

This volume’s creative team is definitely on their game.  Justifying the art squad’s superb visuals, Roberto Aguirre-Sacasa’s scripting ensures that every plot twist scores – even down to Johnny’s shallow love life with an equally self-absorbed supermodel. 

Thought it would have made logical sense, story-wise, to depict the team seeking legal consultation from Jennifer Walters’ She-Hulk, Aguirre-Sacasa’s decision to have the Fantastic Four fending for itself comes off as very plausible.  The scene of Reed politely declining Tony Stark’s offer of financial aid/housing speaks for itself.

The nightmarish camping trip arc proves another winner, though Reed’s new shape-shifting power is far too convenient, given the story’s dire circumstances.  If anything, Aguirre-Sacasa’s consistent storytelling spells out why Susan Storm Richards is the team’s heart, and soul, not to mention Volume 1’s MVP.  Hence, Marvel Knights 4, Volume 1: Wolf at the Door is a gem for Fantastic Four fans, as well as adults who appreciates a satisfying and well-produced graphic novel.  

ADDITIONAL CONTENT:

In a full-page format, each cover precedes its story.  The cover artists are: Steve McNiven (Issues # 1-2, and 6-7); and McNiven, Mark Morales, & Morry “MO!” Hollowell (Issues # 3-5).  The four-page “Evolution of a Page” goes from script to Issue # 4’s fourth page.

BRIAN’S ODD MOON RATING:                      8½ Stars