Month: October 2021

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