Tag Archives: Marvel

Today’s Super Comic — Daredevil #175 (1981)

Daredevil #175 opens with what appears to be a spelling error. The title is written as “Gantlet” rather than the more common “Gauntlet,” but according to Grammarist, the former used to be the preferred spelling in certain uses. They’re not perfect synonyms, but there is overlap. If Marvel did accidentally omit the “u,” they got lucky.

Elektra faces off against a gauntlet (gantlet?) of Hand ninjas and their master assassin to stop their organization from hunting her. Daredevil backs her up, despite her protests, despite the absence of his radar sense, and despite the fact that he’s supposed to be in court. (He really took Foggy for granted in those days. Poor guy.)

Frank Miller showcases the greatest strengths of his art here. Everything is constantly moving, and the characters are expressive. He balances exceptional choreography and expressive characters throughout the book.

The ambiguous relationship between Daredevil and Elektra provides the substance. On the surface, Elektra is a cold-blooded assassin who’s concerned only about herself. Daredevil can’t help but still care. But maybe Elektra still cares, too? Is the woman he loved still in there somewhere? Or is she as lost as an outdated spelling style?

Ah! Maybe the title isn’t an error, but a symbol! Yeah, that’s it. Sure.

Fantastic issue either way, though.

Writer/Penciler: Frank Miller

Inker: Klaus Janson

Publisher: Marvel Comics

How to Read It: back issues; Marvel Unlimited; Comixology; included in Daredevil Visionaries: Frank Miller vol. 2 (TPB)

Appropriate For: ages 11 and up

Today’s Super Comics — Captain America Reborn #1-6 (2009-10)

Of course Captain America wasn’t staying dead. We already knew that outcome, but what matters is how they get there. And Captain America Reborn nails it, using Cap’s long history to remind us why he’s such a great character.

Steve Rogers has become unstuck in time. He’s being flung back and forth throughout his past, reliving World War II battles, Avengers battles, family moments, his time on ice, etc., and he has to follow the script in every situation. He has some ability to act, but the wrong action could wreck the timestream. It’s quite the elaborate trap.

In the present, Bucky Barnes, Sharon Carter, Falcon, and several Avengers navigate the dual threats of the Red Skull and Norman Osborn (the latter leading a government-sponsored team of villainous Avengers at this point) as they try to save their friend.

This miniseries sustains strong momentum throughout. Ed Brubaker’s script keeps everyone in character at all times, and Bryan Hitch’s art provides a grand sense of scale. It’s all epic without ever losing sight of the individual actors within.

The essence of Captain America is this: He always finds a way, no matter the odds stacked against him. And that’s what we see here.

This isn’t the end of Brubaker’s run on Captain America. However, my year of daily reviews has only twenty-some days left, so this seems like a good stopping point for this particular series. But it’s definitely been worth rereading.

Writer: Ed Brubaker

Penciler: Bryan Hitch

Inker: Butch Guice

Publisher: Marvel Comics

How to Read It: back issues; Marvel Unlimited; Comixology; Captain America Reborn (TPB)

Appropriate For: ages 13 and up

Today’s Super Comic — The Uncanny X-Men #319 (1994)

Here’s an excellent example of a mid-‘90s X-Men comic, one of the sort that writer Scott Lobdell excelled at.

Uncanny X-Men #319 features three conversations, each featuring a pair of X-characters and each different in nature. And there’s little in the way of comic booky action.

The cover story is Angel (then Archangel) and Psylocke on a date. Meanwhile, Rogue accompanies Iceman on a visit home to his parents, where he clashes with his bigoted father. And on the astral plane, Professor X chats with someone who appears to be Magneto…or is he????

So these three vignettes entail, respectively, a soapy romance, a message of tolerance, and the setup for the next big storyline. All three are essential ingredients to X-Men comics, but each conversation does something a little different than usual.

The budding Angel/Psylocke romance is refreshingly free of drama at this point, just two teammates growing closer in an organic way. Iceman’s father isn’t building any Sentinels. His bigotry is borne of ignorance rather than evil villainy, and as with most bigoted people, it’s not so simple as labeling them wholly “good” or “evil.” Also, Iceman and Rogue had seldom been paired up before this issue, but they had a good enough rapport that the movies later picked up on what started here. And the usual Professor X/Magneto discussion acquires an interesting subtext here once the twist is revealed.

All good stuff.

Writer: Scott Lobdell

Artist: Steve Epting

Inkers: Dan Green and Tim Townsend

Publisher: Marvel Comics

How to Read It: back issues; Marvel Unlimited; Comixology

Appropriate For: ages 11 and up

Today’s Super Comic — X-Factor #39 (2009)

The best plot twists are the ones you didn’t see coming but, in hindsight, they should have been obvious.

X-Factor #39 executes exactly that. I don’t want to give this one away—really, if you haven’t already, you need to read Peter David’s phenomenal X-Factor run (both of them, actually). The series that began in 2005, which focuses on Jamie Madrox the Multiple Man leading a terrific ensemble cast, is the greatest X-Men spinoff series I’ve ever read. And I have read many.

I’ll give away the basic setup, though. A while earlier, Madrox had a one-night stand with two women at the same time (his power is he duplicates himself, so he can literally be at two places at once). One of those women got pregnant. Issue #39 is the delivery. And in comic books, childbirth is seldom without complications.

David foreshadows the ending superbly, and yet it still blew me away. Absolutely fantastic storytelling.

Writer: Peter David

Penciler: Valentine De Landro

Inker: Craig Yeung

Publisher: Marvel Comics

How to Read It: back issues; Marvel Unlimited; Comixology; included in X-Factor vol. 7: Time and a Half (TPB)

Appropriate For: ages 13 and up

Today’s Super Comic — Old Man Logan #8 (2016)

The first few issues were not a fluke—Old Man Logan is proving to be the most interesting Wolverine series in quite some time. That likely has something to do with its high-concept approach. This isn’t just the superfluous solo stories of Wolverine and his ever-fattening backstory; it’s about a time-displaced Logan trying to avoid his hellish future.

In issue #8, Young Teenage Jean Grey takes Old Man Logan on a tour of places where disaster had struck (will strike?) in the future, showing him how the present is perfectly fine. The increased age disparity creates a fresh dynamic between them. There’s (thankfully) no unrequited love or any sexual tension whatsoever, just lots of mutual respect and affection.

It’s a surprisingly uplifting issue, even with the flashbacks/forwards to the terrible future this Logan comes from. And that seems to be the issue’s message—bad times may very well be on the way, but maybe they’ll be more bearable with the right company.

Writer: Jeff Lemire

Artist: Andrea Sorrentino

Publisher: Marvel Comics

How to Read It: back issues; Marvel Unlimited; Comixology

Appropriate For: ages 15 and up

Today’s Super Comic — Marvels #1 (1994)

Marvels depicts the dawn of the Marvel Universe from the perspective of ordinary people, particularly one ordinary photographer, Phil Sheldon. The world is changing in unexpected ways, making everything seem both scary and grand.

The painted art of Alex Ross adds the necessary sense of realism, as much as “realism” can apply to things like a combustible android and amphibious man.

The first issue focuses on Marvel Comics’ Golden Age, beginning with its earliest characters—the Human Torch and Namor the Sub-Mariner. Both initially appear as frightening figures, not heroes, especially when the two battle each over New York City, leaving all sorts of destruction in their wake (fun fact: the first comics crossover was a battle between the Torch and Namor in 1940). Captain America’s debut, however, causes far less concern and far more excitement.

All the while, plain normal Phil has to figure out what place a regular man has in this strange new world.

When you’ve been reading superhero comics year after year, you can easily start taking the concepts for granted—yeah, of course a person can fly, why not? But Marvels offers a fresh perspective, allowing everything to seem new and exciting again. Read all four issues.

Writer: Kurt Busiek

Artist: Alex Ross

Publisher: Marvel Comics

How to Read It: back issues; Marvel Unlimited; Comixology; included in Marvels (TPB)

Appropriate For: ages 12 and up

Today’s Super Comic — Marvel Graphic Novel #4 (1982)

Back in 1982, Marvel launched a majority-female team whose members were all of different ethnicities, and as far as I’m aware, there was no special fanfare or controversy surrounding the diversity. The big deal was that this was a spinoff of the super-popular X-Men. Also, it was good and the characters were interesting. That’s what readers cared about.

Professor Xavier and Moira McTaggart assemble a new class of teenage mutants in Marvel Graphic Novel #4. It’s your standard team-gathering issue—we meet the New Mutants one at a time in their respective situations, and a shared threat gradually pulls them all together. We see that each one has much to learn, but also strong potential.

Writer Chris Claremont makes sure we get to know these new characters as people first, not as superhero personas. By the end of the graphic novel, we’re still thinking of them primarily as Xi’an Coy Manh, Samuel Guthrie, Danielle Moonstar, Roberto da Costa, and Rahne Sinclair, not Karma, Cannonball, Mirage, Sunspot, and Wolfsbane. I can’t even remember if they all acquired their codenames in this first appearance or in New Mutants #1, which goes to show how this was more YA fantasy/sci-fi than straight-up superheroes (though they qualify as both super and heroic). The main idea was a group of young people learning to cope with a dangerous world, not necessarily save it.

The X-Men were superheroes. The New Mutants were students who sometimes had to be heroic. If you’re going to do a spinoff, such distinctions are important.

Writer: Chris Claremont

Artist: Bob McLeod

Publisher: Marvel Comics

How to Read It: back issues; Marvel Unlimited; Comixology; included in New Mutants Classic Vol. 1 (TPB)

Appropriate For: ages 10 and up

Today’s Super Comic — Ms. Marvel #10 (2007)

The Ms. Marvel series from ten years ago is largely about Carol Danvers striving to become one of Earth’s greatest superheroes. But to be her best self, she must first confront her own worst self—and do so in very comic booky ways, of course.

In #10, a Carol Danvers from a different reality has come to murder the X-Men’s Rogue. Bit of history: In Rogue’s first appearance way back when, she was a member of the Brotherhood of Evil Mutants and attacked Ms. Marvel, permanently absorbing all her powers and memories. Carol hung out with the X-Men for a while as Professor Xavier helped reassemble her memories, but she felt like a stranger in her own head. After she evolved into Binary and the X-Men took Rogue in, Carol ran away from Earth with the Starjammers (and returned at some point, obviously, though I’m not sure when).

So apparently in every reality, Rogue has ruined Carol’s life in this same way, so this alternate Carol (calling herself Warbird, which was the main Carol’s name during her alcoholic period), having failed to save her own world from obliteration, is on a mission to kill every reality’s Rogue and every Carol who has forgiven and befriended Rogue.

Yes, very comic booky. But in a good way. The situation forces the real Carol to question whether she has indeed forgiven Rogue, and it tempts her to run away again. And she has to make a decision to be a better person than she was all those years ago.

Comic booky shenanigans, when executed properly, can indeed lead to character growth.

Writer: Brian Reed

Penciler: Mike Wieringo

Inker: Wade Von Grawbadger

Publisher: Marvel Comics

How to Read It: back issues; Marvel Unlimited; Comixology; included in Ms. Marvel vol. 2: Civil War (TPB)

Appropriate For: ages 12 and up

Today’s Super Comic — Old Man Logan #3 (2016)

And in the category of “totally unnecessary, but damn, it really kind of works” …

The future Wolverine from the acclaimed “Old Man Logan” storyline inexplicably time-travels to the present, and he sees this as his chance to save the world from the horrible future he’s live through.

One of the problems (not a problem?) with popular entertainment is that successful characters and stories don’t get the luxury of stopping while they’re ahead. They’ll be milked for all they’re worth, especially when a related movie is coming out within the next year. The original “Old Man Logan” was perfectly satisfying on its own merits; no need for anything further.

However, if they must…

Three issues in, and I’m enjoying the series. Logan has a strong motive—he wants to redeem himself as well as save the world. How he arrived in the present remains a mystery. And the book is making superb use of guest stars.

In issue #3, Logan meets the other Hawkeye, Kate Bishop, whose youthful energy provides an entertaining foil for the old man who’s lost everything. Their conversation as they’re running across rooftops is particularly fun…and maybe foreshadows plot developments, too.

I’d rather have the proper Wolverine, of course, but I’m on board with this. Fortunately, several more issues are already on Marvel Unlimited.

Writer: Jeff Lemire

Artist: Andrea Sorrentino

Publisher: Marvel Comics

How to Read It: back issues; Marvel Unlimited; Comixology; included in Old Man Logan vol. 1: Berzerker (TPB)

Appropriate For: ages 15 and up

Today’s Super Comic — Ultimate Spider-Man #13 (2001)

Yesterday I discussed when main-continuity Aunt May discovered Peter Parker’s secret identity. Now let’s turn our attention to the Ultimate continuity, when Peter told Mary Jane.

This is basically the inverse of yesterday’s revelatory issue. Ultimate Spider-Man #13 was very early in this Spider-Man’s career, so no secret-identity tensions have been building up over the course of years. Peter and MJ are teenagers who have been friends for a long time, and Peter proactively reveals his secret because he doesn’t want to lie to her (and, being a teenage guy, he no doubt wants to impress his closest female friend).

But like yesterday’s issue, this entire comic is a conversation. The action and adventure take a break, allowing us to zero in on the characters—which will help us care about them more when the action/adventure commences again.

Comics aren’t supposed to feature talking heads, but this one works remarkably well because of Brian Michael Bendis’s writing and Mark Bagley’s art. The page layouts are key here. The panels are used to punctuate each beat of the conversation, allowing everything to flow smoothly and organically. The reader gets an excellent sense of the pacing and timing of everything that’s being said. And Bendis knows when the keep quiet and let Bagley show the characters’ reactions so that even with the focus on dialogue, it remains a visual experience.

It’s a rather happy issue (and funny in places), providing a nice break from the angst, and it deepens the bond between two main characters. It also does what every teen superhero book should—it captures that wonderful anticipation of exciting new possibilities.

Writer: Brian Michael Bendis

Penciler: Mark Bagley

Inker: Art Thibert

Publisher: Marvel Comics

How to Read It: back issues; Marvel Unlimited; Comixology; included in Ultimate Spider-Man vol. 2: Learning Curve (TPB)

Appropriate For: ages 11 and up