Betty Leeds and Flash Thompson encounter demons and not just the ones who've come from Limbo.
Spectacular Spider-Man #148
Script: Gerry Conway
Art: Sal Buscema
Letters: Rick Parker
Color: Bob Sharen
Editor: Jim Salicrup
Editor in Chief: Tom DeFalco
Betty Leeds has been staying with Flash Thompson since she was rescued from a cult. She has a vision in which her former husband Ned rises from the grave along with Gwen Stacey and Spider-Man who admits he isn't even dead. Coming to her senses she and Flash opt to stay in the flat, the only occupants of the building to do so, and keep out the demons. Flash tells her not to use the gas heater from his camping equipment indoors because of the danger. He goes up to the roof to board up the door only to be attacked by Spider-Man. Down in the apartment the decayed corpse of Ned breaks through a window and chases after Betty. Flash is webbed to the television antenna by Spider-Man who removes the connection to the lightning rod so that the next bolt to hit will kill Flash. Flash releases himself with a screwdriver and realises this isn't Spider-Man. He pulls off "Spidey's" mask to reveal a monstrous face. In the flat Betty hides in a living room and remembers the men she depended on who died including her brother Bennett and then Ned when she sees an image of Ned's ghost telling her she can't depend on them and she has to save herself. She determines to take control and confronts the corpse form which reveals itself to be a demon impersonating her husband. Flash and the demonic Spider-Man crash off the roof and into the flat whereupon Betty shoves the camping gas heater into one of the demons and tells Flash to run as she's broken the valve. They get out just before it explodes, killing both demons. Outside they see things returning to normal and the Empire State Building its regular size. Spider-Man swings by in the distance and they realise they were saved not by heroes outside but the heroes within them.
The final Spider-Man issue of Inferno is an oddity, detached from the rest. Was it a product of confusion over the schedules or did somebody feel that with so many other members of the supporting cast given moments throughout the crossover it was right to look in on Betty and Flash? Either way we get a very close and personal tale in which the star of the book only appears in one panel. Instead there's a focus on two individuals and how they have developed.
Betty Leeds (née Brant) has not a good time over the years. She was Peter's girlfriend but his responsibility as Spider-Man kept coming between them. Her brother was shot dead right in front of her. She married Ned Leeds but it was an unhappy marriage and she twice had affairs. Then she discovered was the Hobgoblin and he was killed not long after. She had a breakdown and ended up in the hands of a cult until Spider-Man and Flash rescued her. It's been a pretty rough ride for her and time and again she's come to rely on others, losing so many along the way. Now even Flash isn't present when the demon comes into the flat. The scenes as she realises that only she can save herself are strong though tempered by inspiration coming from what appears to be the ghost of Ned but could just be her subconscious speaking.
Flash also gets some good moments as he thinks about both the situation in the city and his own situation, reflecting on how he's come from the days as a high school sports star but also that he regrets some of the choices he took. Spider-Man is still his hero which makes the demon taking his form all the more hurtful. The demon plays on how he clings to past glories and his hero worship of the real Spider-Man. But Flash proves he still has what he needs as he manages to break free of his bonds and then use his sports experience to fight the demon (who unmasked looks rather like Spider-Carnage later would - was this where the inspiration came from?) and dodge the attacks. Again it's a tale of personal discovery.
This is a surprising good little tale that could be easily overlooked. It doesn't contain big name villains or major developments but instead gives two of the longest standing supporting cast members their own chance to shine in a situation where there's no help coming. It shows that you don't need flashy moments or big names but just good well told stories and strong characters.
Showing posts with label Spectacular. Show all posts
Showing posts with label Spectacular. Show all posts
Tuesday, 7 December 2021
Sunday, 28 November 2021
Spectacular Spider-Man 147 - Inferno
Spider-Man teams up with J. Jonah Jameson whilst the Hobgoblin tries to deal with demons.
Spectacular Spider-Man #147
Script: Gerry Conway
Art: Sal Buscema
Letters: Rick Parker
Color: Sharen & Wilcox
Editor: Jim Salicrup
Editor in Chief: Tom DeFalco
The Hobgoblin is frustrated after his battle with Spider-Man and the Green Goblin. Still seeking power and encountering the Limbo demons he decides to try seeking it from them. He goes to N'astirh and offers his soul for the power of a demon. N'astirh laughs at the idea he would want such a soul but rewards him for the amusement. A wounded Spider-Man staggers into the Daily Bugle office where he finds Jonah leading the staff in defence against demon attacks and the two find themselves fighting side by side. Elsewhere both Mary Jane and Harry Osborn see off demons whilst Robbie Robertson faces down a panicking neighbour.
This is another multiple cast issue again looking at how many of the supporting cast are handling the ever growing menace. And many are standing their ground firmly with especial courage shown by both Jonah and Mary Jane. When the demons attack the newsroom it's fun to see Spider-Man and Jonah teaming up but there's also a monologue about many of the frustrations of urban living and how for the staff this is just another thing to get through. I don't know if Gerry Conway was still living in New York when he wrote this issue but it does feel like a statement of defiance and pride in a city that had a lot of problems at the time.
But the big focus in this issue comes with the Hobgoblin. Let's cut straight to the chase - Jason Macendale was a lousy loser even long before he first donned this costume. As Jack O'Lantern he frequently screwed up and got his butt handed to him. He couldn't even take down the original Hobgoblin (as he and everyone else thought at the time) himself but had to resort to hiring assassins. As the second Hobgoblin his career so far has consisted of blundering through, getting chucked about to establish the credentials of new villains like Tombstone, equipment malfunctions and so forth. Other underworld figures openly mocked him including to his face. And he spent a lot of time whining about his situation including at the start of this issue.
It's now well established that this situation did not come about by design as briefly discussed when looking at Web of Spider-Man #47. To put a bit more detail the original Hobgoblin's identity was a mystery that got tangled up as multiple writers and editors came and went with their own plans that either made it impossible to establish intended characters as suspects or else ruled them out and the revelation issue was effectively a fill-in commission between regular writers with Peter David discovering to his horror that all the clues led to Ned Leeds who had just been killed off and no other suspect fitted. So came the unusual revelation that the Hobgoblin was Leeds and a replacement was hurriedly found in the form of his killer. And thus the legacy of not one but two of the biggest villains in Spider-Man's history was now held by a loser.
The Inferno issues of the Spider-Man titles seem to be trying multiple ways to resolve this. Putting Harry Osborn back into the Green Goblin costume may at first seem a one-off to allow for a long expected battle and set the Hobgoblin up for the next stage. But it might also have been a deliberate plan to have Harry back as the Green Goblin permanently though as it turned out this would take a little while to happen. However either way something still needed to be done up the Hobgoblin. And the end of the issue shows that's he's been changed by his meeting with N'astirh. Giving him enhanced powers seems a natural step. Having him transformed by a demon is a bit far out from the normal run of Spider-Man foes. Although the crossover provides the opportunity for it to happen, it does seem a rather odd route to go down. But how the changed Hobgoblin will work is a matter for later issues.
Otherwise this issue continues the pattern of Spectacular Spider-Man doing a lot of the subplot and character work whilst the other titles carry the main action. The battle in the Daily Bugle newsroom is hardly essential to the grand scheme of things but provides for a fun encounter and some great moments between Spidey and Jonah. Sal Buscema continues to provide the best Spider-Man art for the period able to capture the full range from the comedic to the dramatic with an especially strong final page as we see the Hobgoblin's face beneath the mask. This is a title living up to its name.
Spectacular Spider-Man #147
Script: Gerry Conway
Art: Sal Buscema
Letters: Rick Parker
Color: Sharen & Wilcox
Editor: Jim Salicrup
Editor in Chief: Tom DeFalco
The Hobgoblin is frustrated after his battle with Spider-Man and the Green Goblin. Still seeking power and encountering the Limbo demons he decides to try seeking it from them. He goes to N'astirh and offers his soul for the power of a demon. N'astirh laughs at the idea he would want such a soul but rewards him for the amusement. A wounded Spider-Man staggers into the Daily Bugle office where he finds Jonah leading the staff in defence against demon attacks and the two find themselves fighting side by side. Elsewhere both Mary Jane and Harry Osborn see off demons whilst Robbie Robertson faces down a panicking neighbour.
This is another multiple cast issue again looking at how many of the supporting cast are handling the ever growing menace. And many are standing their ground firmly with especial courage shown by both Jonah and Mary Jane. When the demons attack the newsroom it's fun to see Spider-Man and Jonah teaming up but there's also a monologue about many of the frustrations of urban living and how for the staff this is just another thing to get through. I don't know if Gerry Conway was still living in New York when he wrote this issue but it does feel like a statement of defiance and pride in a city that had a lot of problems at the time.
But the big focus in this issue comes with the Hobgoblin. Let's cut straight to the chase - Jason Macendale was a lousy loser even long before he first donned this costume. As Jack O'Lantern he frequently screwed up and got his butt handed to him. He couldn't even take down the original Hobgoblin (as he and everyone else thought at the time) himself but had to resort to hiring assassins. As the second Hobgoblin his career so far has consisted of blundering through, getting chucked about to establish the credentials of new villains like Tombstone, equipment malfunctions and so forth. Other underworld figures openly mocked him including to his face. And he spent a lot of time whining about his situation including at the start of this issue.
It's now well established that this situation did not come about by design as briefly discussed when looking at Web of Spider-Man #47. To put a bit more detail the original Hobgoblin's identity was a mystery that got tangled up as multiple writers and editors came and went with their own plans that either made it impossible to establish intended characters as suspects or else ruled them out and the revelation issue was effectively a fill-in commission between regular writers with Peter David discovering to his horror that all the clues led to Ned Leeds who had just been killed off and no other suspect fitted. So came the unusual revelation that the Hobgoblin was Leeds and a replacement was hurriedly found in the form of his killer. And thus the legacy of not one but two of the biggest villains in Spider-Man's history was now held by a loser.
The Inferno issues of the Spider-Man titles seem to be trying multiple ways to resolve this. Putting Harry Osborn back into the Green Goblin costume may at first seem a one-off to allow for a long expected battle and set the Hobgoblin up for the next stage. But it might also have been a deliberate plan to have Harry back as the Green Goblin permanently though as it turned out this would take a little while to happen. However either way something still needed to be done up the Hobgoblin. And the end of the issue shows that's he's been changed by his meeting with N'astirh. Giving him enhanced powers seems a natural step. Having him transformed by a demon is a bit far out from the normal run of Spider-Man foes. Although the crossover provides the opportunity for it to happen, it does seem a rather odd route to go down. But how the changed Hobgoblin will work is a matter for later issues.
Otherwise this issue continues the pattern of Spectacular Spider-Man doing a lot of the subplot and character work whilst the other titles carry the main action. The battle in the Daily Bugle newsroom is hardly essential to the grand scheme of things but provides for a fun encounter and some great moments between Spidey and Jonah. Sal Buscema continues to provide the best Spider-Man art for the period able to capture the full range from the comedic to the dramatic with an especially strong final page as we see the Hobgoblin's face beneath the mask. This is a title living up to its name.
Thursday, 11 November 2021
Spectacular Spider-Man 146 - Inferno
Harry Osborn is attacked by his factory pipes and a face in the mirror.
Spectacular Spider-Man #146
Script: Gerry Conway
Art: Sal Buscema
Letters: Rick Parker
Color: Bob Sharen
Editor: Jim Salicrup
Editor in Chief: Tom DeFalco
Spider-Man deals with a ventilation pipe that's come to life then heads home where Peter and Mary Jane are continuing to handle the problems of having MJ's young cousin Kristy living with them. Joe "Robbie" Robertson has decided to plead guilty to charges of not speaking out about a murder twenty years ago. A lot of mob lieutenants are found slaughtered in a sign someone is gunning for the Kingpin. J. Jonah Jameson is not happy with his acting editor-in-chief's choice of headline for the Daily Bugle. Glory Grant literally bumps into a man who sweeps her off her feet. Harry Osborn has moved his family back to his old home on Long Island but is suffering nightmares from a face in the mirror. Outside the Hobgoblin is flying around. He meets Peter at his New York factory when suddenly the pipes come to life and attack him. And it seems his memories of the past are returning.
This is an issue mainly advancing subplots. It had been less than a year since Gerry Conway had returned to the title and already a huge number of plot lines are in motion. Some will come to the fore in Inferno but others would run on afterwards. One that particularly stands out is Robbie's impending trial. Earlier issues had revealed how in his youth he had become aware of Tombstone's activities but pulled a story due to intimidation. Later he witnessed Tombstone murdering a man but did not report it at the time. When Tombstone re-emerged Robbie collected and supplied evidence of his crimes to get him sent down but found himself charged with "accessory to murder after the fact" or "misprision of felony" over his failure to report the murder twenty years earlier. There's something that doesn't sit right about the way a witness is prosecuted for being intimidated even if he has gone on to reach a highly respectable position in society. Robbie's acceptance of the situation and decision to plead guilty just makes it more awkward.
Other plots are more simmering and show Conway has a good grasp on the supporting cast. Together with Sal Buscema's artwork, which I much prefer to Todd McFarlane's over on Amazing Spider-Man, this gives this title quite a traditional feel that's also using the current situation to the advantage. Getting married usually doesn't bring just a spouse but also in-laws and so it's good to see Peter having to deal with the situation of one of Mary Jane's relatives staying with all the complications of having to conceal his identity at home and also with the problems she brings with her. There are also some fun moments, especially when Jonah comes onto the Bugle's editorial floor to berate acting editor-in-chief Kate Cushing about the headline and shows her how it should be done.
But the main focus in this issue and indeed of the Spider-Man Inferno issues as a whole involves Harry Osborn and the Hobgoblin. Harry has come to terms with his father having been the Green Goblin but long suppressed the memory of having taken on the role himself despite the original Hobgoblin having twice come after him. Now though his dreams are bringing memories back to the surface and it's not helped by the way his factory comes to life to attack him. The shadow of his dead father is looming again and the issue ends with him seeing the Green Goblin's face in the mirror.
This is very much a calm before the storm issue, building up the characters and especially re-establishing the backstory to Harry Osborn and the Green Goblin. It's good to see the series in such strong hands with a fantastic cliffhanger.
Spectacular Spider-Man #146
Script: Gerry Conway
Art: Sal Buscema
Letters: Rick Parker
Color: Bob Sharen
Editor: Jim Salicrup
Editor in Chief: Tom DeFalco
Spider-Man deals with a ventilation pipe that's come to life then heads home where Peter and Mary Jane are continuing to handle the problems of having MJ's young cousin Kristy living with them. Joe "Robbie" Robertson has decided to plead guilty to charges of not speaking out about a murder twenty years ago. A lot of mob lieutenants are found slaughtered in a sign someone is gunning for the Kingpin. J. Jonah Jameson is not happy with his acting editor-in-chief's choice of headline for the Daily Bugle. Glory Grant literally bumps into a man who sweeps her off her feet. Harry Osborn has moved his family back to his old home on Long Island but is suffering nightmares from a face in the mirror. Outside the Hobgoblin is flying around. He meets Peter at his New York factory when suddenly the pipes come to life and attack him. And it seems his memories of the past are returning.
This is an issue mainly advancing subplots. It had been less than a year since Gerry Conway had returned to the title and already a huge number of plot lines are in motion. Some will come to the fore in Inferno but others would run on afterwards. One that particularly stands out is Robbie's impending trial. Earlier issues had revealed how in his youth he had become aware of Tombstone's activities but pulled a story due to intimidation. Later he witnessed Tombstone murdering a man but did not report it at the time. When Tombstone re-emerged Robbie collected and supplied evidence of his crimes to get him sent down but found himself charged with "accessory to murder after the fact" or "misprision of felony" over his failure to report the murder twenty years earlier. There's something that doesn't sit right about the way a witness is prosecuted for being intimidated even if he has gone on to reach a highly respectable position in society. Robbie's acceptance of the situation and decision to plead guilty just makes it more awkward.
Other plots are more simmering and show Conway has a good grasp on the supporting cast. Together with Sal Buscema's artwork, which I much prefer to Todd McFarlane's over on Amazing Spider-Man, this gives this title quite a traditional feel that's also using the current situation to the advantage. Getting married usually doesn't bring just a spouse but also in-laws and so it's good to see Peter having to deal with the situation of one of Mary Jane's relatives staying with all the complications of having to conceal his identity at home and also with the problems she brings with her. There are also some fun moments, especially when Jonah comes onto the Bugle's editorial floor to berate acting editor-in-chief Kate Cushing about the headline and shows her how it should be done.
But the main focus in this issue and indeed of the Spider-Man Inferno issues as a whole involves Harry Osborn and the Hobgoblin. Harry has come to terms with his father having been the Green Goblin but long suppressed the memory of having taken on the role himself despite the original Hobgoblin having twice come after him. Now though his dreams are bringing memories back to the surface and it's not helped by the way his factory comes to life to attack him. The shadow of his dead father is looming again and the issue ends with him seeing the Green Goblin's face in the mirror.
This is very much a calm before the storm issue, building up the characters and especially re-establishing the backstory to Harry Osborn and the Green Goblin. It's good to see the series in such strong hands with a fantastic cliffhanger.
Thursday, 28 October 2021
Spectacular Spider-Man Annual 8 - The Evolutionary War
Spider-Man faces new revelations about the Original Clone Saga.
Spectacular Spider-Man Annual #8
1st story: Return to Sender
Script: Gerry Conway
Pencils: Mark Bagley
Lettering: Rick Parker
Inks: Keith Williams
Color: Bob Sharon
Editor: Jim Salicrup
Editor in Chief: Tom DeFalco
The High Evolutionary is making a couple of final investigations in this penultimate chapter of the event. He goes out into space to investigate the Young Gods, a group of twelve humans genetically advanced by the various pantheons on Earth and taken away by the Celestials, but judges them "only children with god-like powers" and leaves to continue his plans. However Daydreamer reads his mind and discovers his plan with the Young Gods dividing in two over whether they should seek to stop him or not interfere in human destiny. One faction goes to confront the Evolutionary on Earth with the other following to stop them. Meanwhile Spider-Man encounters the Purifiers chasing a woman and is shocked to discover she resembles his dead former girlfriend Gwen Stacy. He soon realises this is her clone and catches up with her when she is captured by the Purifiers. Transported back to the Evolutionary's base Spidey gets caught up in the battle between the Purifiers and the Young Gods whilst the Evolutionary makes a careful study of Gwen's clone and comes to a startling revelation.
There's a lot going on in this annual so let's get the biggest problem out of the way first. The Young Gods simply do not fit into Spider-Man's world. They are a very obscure group of characters originally introduced by Gerry Conway in his early 1970s run on Thor with a later writer refining them and adding the Celestial connection. They have had very few appearances over the years, primarily because few other writers have touched them and Conway was either not at Marvel or working on inappropriate series. Here they just stick out like a sore thumb and it's easy to see why there was no great demand for them to return or be given their own series. The fight scene in the Evolutionary's headquarters (now a giant submarine) could have featured any group of heroes for all the difference it makes. And Daydreamer's role at the end doesn't match her powers which are given in the "Fact Pages" later in the annual as "Limited precognition, verbal and telepathic thought control, the ability to create 'visions'". None of this explains how she is able to neutralise and reverse the effects of a genetic virus that transforms a person "on a cellular level into a near duplicate of the original" and restore "Gwen" to her true self.
This brings us to what the annual should be notable for as the retcon here should by rights have completely stopped one of the most notorious Spider-Man stories of all time. Contrary to myth the heavy retconning of the events of the Original Clone Saga began in the 1980s before anyone had heard of Ben Reilly. The clone of Gwen Stacy had not been seen since the end of the original saga (which was also Conway's last issue of Amazing Spider-Man) when she made her peace with both Peter and what she really was and there was never any real need to bring her back. But here we get the revelation that she isn't a clone after all. The Evolutionary reveals that he wondered how a university professor could have come up with cloning (clearly forgetting that in the Marvel Universe numerous academics have been able to access and develop all manner of advanced technology) and instead that he had developed the genetic virus then kidnapped another woman similar to Gwen and infected her to create what appeared to be a complete genetic duplicate. (Incidentally the name "Joyce Delaney" doesn't appear in this annual despite what some synopses online state.)
There is so much about this that just doesn't make sense. Firstly why is the Evolutionary so concerned about the work of a long dead university professor whose work has left only one remaining clone around? There is nothing indicating that his plans for genetically advancing the human race can be derailed by this. Secondly if cloning was beyond the ability of Warren then how did he come up with the genetic virus? Thirdly if Gwen Stacy wasn't a clone then what about the others? Who was the Spider-Man clone? Carrion claimed to be a clone of Warren gone wrong so who was he actually? Finally if Gwen's clone was actually another woman then how come her disappearance wasn't noticed?
Some of this would be resolved in a forthcoming issue of Spectacular Spider-Man but it began the trend of partial retcons of the Clone Saga that didn't cover every detail and which would require further stories & retcons to clean things up, often including explaining how Carrion fitted into the new version of events. But it's also notable that the revelations in this annual should have closed off the possibility of bringing back any other clones as the genetic virus could simply have been purged from the system. (However instead the annual was largely ignored for much of the Clone Saga with the revelations here simply brushed aside until a persistent assistant editor managed to get the only issue of Scarlet Spider Unlimited to address them. But that's a story for another day.) It's a pity as the genetic virus approach would have been a much easier way to get the story settled once and for all.
It's not clear why (presumably) Conway felt the need to revisit the Clone Saga at all. Was it because there was growing public awareness that cloning did not lead to fully grown identical duplicates being made in laboratories? Was it to shut down the possibility of other writers bringing back the clones? If so then it was spectacularly unsuccessful. But the result is a big retcon of a story from thirteen years earlier that could have just left things there and then.
(On the subject of continuity this story also repeats a common continuity error by Conway. For some reason he repeatedly got the details of Peter's high school years wrong, here claiming that Peter and Mary Jane knew each other then when in fact they didn't meet until Peter was at university. Time and again he would make this error and also imply that Peter had dated Liz Allen in high school with Mary Jane disliking her then. This has appeared so many times and so clearly in his Spider-Man stories from both the 1970s and 1980s that it can't be a mere misinterpretation.)
This annual would have worked a lot better as an earlier chapter in The Evolutionary War when it would have made more sense for the High Evolutionary to be exploring genetic anomalies as he is a natural character to use to explore the truth behind Warren's experiments. It doesn't feel like a penultimate chapter at all and instead feels like a fill-in marking time between the two Avengers annuals. The obsession with the Young Gods also weighs this story down further. However there are some good moments such as the two scenes between Peter and Mary Jane as they face the memory of Gwen and just what it says about their relationship with each other. But overall this is a mess of a story weighed down by a disproportionate focus on inappropriate guest stars and a needless retcon that makes little sense.
2nd story: Opposing forces
Writer: Gerry Conway
Pencils: Mark Bagley
Inker: Mike Esposito
Letters: Rick Parker
Color: Bob Sharon
Editor: Jim Salicrup
Editor in Chief: Tom DeFalco
Several of the Young Gods have travelled to Jerusalem where they discover an ancient robot buried in the hills that feeds off anger and is triggered by the presence of the Young Gods and an Israeli army patrol fighting a group of teenage Palestinian protestors. The Young Gods argue over whether to get involved and charge in but only achieve success when several come together to form the Uni-Mind.
Rather than a back-up focusing on some Spider-Man characters we instead get a solo tale for the Young Gods that shows off the differences in their philosophies about getting involved with human affairs as well as a demonstration of their powers and a rather forced message about the power of working together. This tale just shows why the Young Gods have not interested other writers as they're a rather dull cliched set of characters. Putting the story here along with five "Fact Pages" about them just adds to the sense that they've taken over Spider-Man's annual unnecessarily. It ends with a caption announcing "To Be Continued... Watch future issues of Spectacular Spider-Man to find out where!" but instead they wouldn't be seen again until a multipart story in Marvel Comics Presents in the early 1990s. And it's easy to see why. This is just a waste.
3rd story: The High Evolutionary: Kindred Spirits
Story: Mark Gruenwald
Breakdowns: Ron Lim
Finishes: Tony DeZuniga
Letters: Ken Lopez
Colors: Gregory Wright
Editor: Ralph Macchio
Chief: Tom DeFalco
This chapter tells of how the High Evolutionary returned to mortal form albeit far more advanced than contemporary humans, the creation of Counter-Earth and his relationship with Adam Warlock. The Counter-Earth saga has a notably more scientific approach and veers away from the Biblical parallel of the original story whilst there's also a retelling of the final (for then) showdown between Warlock and the High Evolutionary.
Once more the saga is retelling past Marvel stories though the encounter with Warlock was another flashback due to his own title ending before it could happen (although it was prophesised) and he was soon after killed off. That was one of Mark Gruenwald's earliest pieces of continuity surgery so with this chapter he has now come full circle. Also coming full circle is the way the Evolutionary starts and ends the chapter in his energy thought form, almost as though anyone missing this annual (such as someone who read both Avengers books but not the crossovers) would not feel they were missing something. However it's a pity that the reasons behind Warlock's false belief that Counter-Earth has been destroyed is not explained here beyond speculation that his Soul Gem is interfering with his perception. Otherwise it's a straightforward summary of a distinct period of the Evolutionary's appearances.
Other material includes "The Young Gods Fact Pages!" outlining their origin and each of the characters. Yet again it reinforces the idea that this annual wants to be a Young Gods annual. For some reason a lot of 1980s Spider-Man annuals have a tendency to forget who was the star of the series and suggests that many creators were longing for the days of Marvel Team-Up. This is especially disappointing given how important the revelation in this annual should have been for Spider-Man continuity in the long-term.
Spectacular Spider-Man Annual #8
1st story: Return to Sender
Script: Gerry Conway
Pencils: Mark Bagley
Lettering: Rick Parker
Inks: Keith Williams
Color: Bob Sharon
Editor: Jim Salicrup
Editor in Chief: Tom DeFalco
The High Evolutionary is making a couple of final investigations in this penultimate chapter of the event. He goes out into space to investigate the Young Gods, a group of twelve humans genetically advanced by the various pantheons on Earth and taken away by the Celestials, but judges them "only children with god-like powers" and leaves to continue his plans. However Daydreamer reads his mind and discovers his plan with the Young Gods dividing in two over whether they should seek to stop him or not interfere in human destiny. One faction goes to confront the Evolutionary on Earth with the other following to stop them. Meanwhile Spider-Man encounters the Purifiers chasing a woman and is shocked to discover she resembles his dead former girlfriend Gwen Stacy. He soon realises this is her clone and catches up with her when she is captured by the Purifiers. Transported back to the Evolutionary's base Spidey gets caught up in the battle between the Purifiers and the Young Gods whilst the Evolutionary makes a careful study of Gwen's clone and comes to a startling revelation.
There's a lot going on in this annual so let's get the biggest problem out of the way first. The Young Gods simply do not fit into Spider-Man's world. They are a very obscure group of characters originally introduced by Gerry Conway in his early 1970s run on Thor with a later writer refining them and adding the Celestial connection. They have had very few appearances over the years, primarily because few other writers have touched them and Conway was either not at Marvel or working on inappropriate series. Here they just stick out like a sore thumb and it's easy to see why there was no great demand for them to return or be given their own series. The fight scene in the Evolutionary's headquarters (now a giant submarine) could have featured any group of heroes for all the difference it makes. And Daydreamer's role at the end doesn't match her powers which are given in the "Fact Pages" later in the annual as "Limited precognition, verbal and telepathic thought control, the ability to create 'visions'". None of this explains how she is able to neutralise and reverse the effects of a genetic virus that transforms a person "on a cellular level into a near duplicate of the original" and restore "Gwen" to her true self.
This brings us to what the annual should be notable for as the retcon here should by rights have completely stopped one of the most notorious Spider-Man stories of all time. Contrary to myth the heavy retconning of the events of the Original Clone Saga began in the 1980s before anyone had heard of Ben Reilly. The clone of Gwen Stacy had not been seen since the end of the original saga (which was also Conway's last issue of Amazing Spider-Man) when she made her peace with both Peter and what she really was and there was never any real need to bring her back. But here we get the revelation that she isn't a clone after all. The Evolutionary reveals that he wondered how a university professor could have come up with cloning (clearly forgetting that in the Marvel Universe numerous academics have been able to access and develop all manner of advanced technology) and instead that he had developed the genetic virus then kidnapped another woman similar to Gwen and infected her to create what appeared to be a complete genetic duplicate. (Incidentally the name "Joyce Delaney" doesn't appear in this annual despite what some synopses online state.)
There is so much about this that just doesn't make sense. Firstly why is the Evolutionary so concerned about the work of a long dead university professor whose work has left only one remaining clone around? There is nothing indicating that his plans for genetically advancing the human race can be derailed by this. Secondly if cloning was beyond the ability of Warren then how did he come up with the genetic virus? Thirdly if Gwen Stacy wasn't a clone then what about the others? Who was the Spider-Man clone? Carrion claimed to be a clone of Warren gone wrong so who was he actually? Finally if Gwen's clone was actually another woman then how come her disappearance wasn't noticed?
Some of this would be resolved in a forthcoming issue of Spectacular Spider-Man but it began the trend of partial retcons of the Clone Saga that didn't cover every detail and which would require further stories & retcons to clean things up, often including explaining how Carrion fitted into the new version of events. But it's also notable that the revelations in this annual should have closed off the possibility of bringing back any other clones as the genetic virus could simply have been purged from the system. (However instead the annual was largely ignored for much of the Clone Saga with the revelations here simply brushed aside until a persistent assistant editor managed to get the only issue of Scarlet Spider Unlimited to address them. But that's a story for another day.) It's a pity as the genetic virus approach would have been a much easier way to get the story settled once and for all.
It's not clear why (presumably) Conway felt the need to revisit the Clone Saga at all. Was it because there was growing public awareness that cloning did not lead to fully grown identical duplicates being made in laboratories? Was it to shut down the possibility of other writers bringing back the clones? If so then it was spectacularly unsuccessful. But the result is a big retcon of a story from thirteen years earlier that could have just left things there and then.
(On the subject of continuity this story also repeats a common continuity error by Conway. For some reason he repeatedly got the details of Peter's high school years wrong, here claiming that Peter and Mary Jane knew each other then when in fact they didn't meet until Peter was at university. Time and again he would make this error and also imply that Peter had dated Liz Allen in high school with Mary Jane disliking her then. This has appeared so many times and so clearly in his Spider-Man stories from both the 1970s and 1980s that it can't be a mere misinterpretation.)
This annual would have worked a lot better as an earlier chapter in The Evolutionary War when it would have made more sense for the High Evolutionary to be exploring genetic anomalies as he is a natural character to use to explore the truth behind Warren's experiments. It doesn't feel like a penultimate chapter at all and instead feels like a fill-in marking time between the two Avengers annuals. The obsession with the Young Gods also weighs this story down further. However there are some good moments such as the two scenes between Peter and Mary Jane as they face the memory of Gwen and just what it says about their relationship with each other. But overall this is a mess of a story weighed down by a disproportionate focus on inappropriate guest stars and a needless retcon that makes little sense.
2nd story: Opposing forces
Writer: Gerry Conway
Pencils: Mark Bagley
Inker: Mike Esposito
Letters: Rick Parker
Color: Bob Sharon
Editor: Jim Salicrup
Editor in Chief: Tom DeFalco
Several of the Young Gods have travelled to Jerusalem where they discover an ancient robot buried in the hills that feeds off anger and is triggered by the presence of the Young Gods and an Israeli army patrol fighting a group of teenage Palestinian protestors. The Young Gods argue over whether to get involved and charge in but only achieve success when several come together to form the Uni-Mind.
Rather than a back-up focusing on some Spider-Man characters we instead get a solo tale for the Young Gods that shows off the differences in their philosophies about getting involved with human affairs as well as a demonstration of their powers and a rather forced message about the power of working together. This tale just shows why the Young Gods have not interested other writers as they're a rather dull cliched set of characters. Putting the story here along with five "Fact Pages" about them just adds to the sense that they've taken over Spider-Man's annual unnecessarily. It ends with a caption announcing "To Be Continued... Watch future issues of Spectacular Spider-Man to find out where!" but instead they wouldn't be seen again until a multipart story in Marvel Comics Presents in the early 1990s. And it's easy to see why. This is just a waste.
3rd story: The High Evolutionary: Kindred Spirits
Story: Mark Gruenwald
Breakdowns: Ron Lim
Finishes: Tony DeZuniga
Letters: Ken Lopez
Colors: Gregory Wright
Editor: Ralph Macchio
Chief: Tom DeFalco
This chapter tells of how the High Evolutionary returned to mortal form albeit far more advanced than contemporary humans, the creation of Counter-Earth and his relationship with Adam Warlock. The Counter-Earth saga has a notably more scientific approach and veers away from the Biblical parallel of the original story whilst there's also a retelling of the final (for then) showdown between Warlock and the High Evolutionary.
Once more the saga is retelling past Marvel stories though the encounter with Warlock was another flashback due to his own title ending before it could happen (although it was prophesised) and he was soon after killed off. That was one of Mark Gruenwald's earliest pieces of continuity surgery so with this chapter he has now come full circle. Also coming full circle is the way the Evolutionary starts and ends the chapter in his energy thought form, almost as though anyone missing this annual (such as someone who read both Avengers books but not the crossovers) would not feel they were missing something. However it's a pity that the reasons behind Warlock's false belief that Counter-Earth has been destroyed is not explained here beyond speculation that his Soul Gem is interfering with his perception. Otherwise it's a straightforward summary of a distinct period of the Evolutionary's appearances.
Other material includes "The Young Gods Fact Pages!" outlining their origin and each of the characters. Yet again it reinforces the idea that this annual wants to be a Young Gods annual. For some reason a lot of 1980s Spider-Man annuals have a tendency to forget who was the star of the series and suggests that many creators were longing for the days of Marvel Team-Up. This is especially disappointing given how important the revelation in this annual should have been for Spider-Man continuity in the long-term.
Labels:
Bob Sharon,
Evolutionary War,
Gerry Conway,
Gregory Wright,
Keith Williams,
Ken Lopez,
Mark Bagley,
Mark Gruenwald,
Mike Esposito,
Rick Parker,
Ron Lim,
Spectacular,
Tony Dezuniga
Friday, 16 November 2018
Spectacular Spider-Man 160 - Acts of Vengeance
The cover of this issue demonstrates one of the more irritating features of early 1990s Marvel covers - slapping a "TM" next to just about every single named character. Did someone genuinely think that Shocker (TM), Rhino (TM) and/or Hydro Man (TM) would one day star in their own series and they needed protection just in case?
Spectacular Spider-Man #160
Script: Gerry Conway
Art: Sal Buscema
Lettering: Rick Parker
Colour: Bob Sharen
Editor: Jim Salicrup
Editor-in-Chief: Tom DeFalco
It's also another sign of the continuing discontinuity between the Gerry Conway written issues and the rest of the crossover as the Shocker has already been taken down in an earlier Fantastic Four issue and Hydro Man appears in one that went on sale the same day as this one. Conway's handling of continuity hasn't always been the best and it can sometimes create awkward story points - two that spring to mind in this era are the changing of the nature of the clones that then had to sort out explaining the Carrion saga and revealing that Mary Jane had known Peter was Spider-Man right from the start which does significantly alter the understanding of their relationship. In this regard his use of foes being used elsewhere and continuing to present the core alliance operating in a different manner from the rest of the crossover aren't such major things, but they do stand out when read altogether.
Such is the nature of Spider-Man's powers that even though the three villains are prominent on the cover, inside they're taken down in just two pages. But his powers are making him cocky and not realising how the public is turning against him because of the sheer destruction that comes from his fights. Into this mess comes Doctor Doom's latest tool, Tess One, a Second World War era android built for Total Elimination of Super-Soldiers. The backstory is interesting as it shows that during the war the government was concerned about the creation of super-humans and wanted safeguards in place lest their creations turn on them. One of the big missed opportunities of the "Acts of Vengeance" crossover has been the failure to really play up in a consistent way the public concerns about the dangers of having such powers in their midst. Doom receives a message that Magneto and the Kingpin are concerned about attitudes in Congress, but other than the odd reference like this there isn't a great deal of attention given outside of the Fantastic Four issues. Thus Spider-Man's actions and the fear it creates almost operates in a vacuum. It seems he'll get renewed attacks as J. Jonah Jameson steps up his plans to launch a new magazine with sleazy photography Nick Katzenberg supplying the crucial photographs. (The scenes here are made worse by comments about Katzenberg dating a lawyer. There's a bit too much information.)
Spider-Man's powers continue to grow, with a hint of their origin as he starts to be drawn with the aura of another being around him and hears whispering in his ear. The actual fight with Tess One is a walkover as Doom expected, but it extenuates Spidey's cockiness with the public getting increasingly scared of the menace. Even Mary Jane is getting concerned, leading to a row. Sal Buscema continues to draw some amazing scenes, with Spidey's destruction of Tess One doing well to convey the sheer power involved.
This storyline has had some weaker moments due to its length but is clearly now building towards a climax with a more logical progression of events. Despite some minor poor continuity, this issue is overall a good instalment that brings the series back on form.
Spectacular Spider-Man #160 has been reprinted in:
Spectacular Spider-Man #160
Script: Gerry Conway
Art: Sal Buscema
Lettering: Rick Parker
Colour: Bob Sharen
Editor: Jim Salicrup
Editor-in-Chief: Tom DeFalco
It's also another sign of the continuing discontinuity between the Gerry Conway written issues and the rest of the crossover as the Shocker has already been taken down in an earlier Fantastic Four issue and Hydro Man appears in one that went on sale the same day as this one. Conway's handling of continuity hasn't always been the best and it can sometimes create awkward story points - two that spring to mind in this era are the changing of the nature of the clones that then had to sort out explaining the Carrion saga and revealing that Mary Jane had known Peter was Spider-Man right from the start which does significantly alter the understanding of their relationship. In this regard his use of foes being used elsewhere and continuing to present the core alliance operating in a different manner from the rest of the crossover aren't such major things, but they do stand out when read altogether.
Such is the nature of Spider-Man's powers that even though the three villains are prominent on the cover, inside they're taken down in just two pages. But his powers are making him cocky and not realising how the public is turning against him because of the sheer destruction that comes from his fights. Into this mess comes Doctor Doom's latest tool, Tess One, a Second World War era android built for Total Elimination of Super-Soldiers. The backstory is interesting as it shows that during the war the government was concerned about the creation of super-humans and wanted safeguards in place lest their creations turn on them. One of the big missed opportunities of the "Acts of Vengeance" crossover has been the failure to really play up in a consistent way the public concerns about the dangers of having such powers in their midst. Doom receives a message that Magneto and the Kingpin are concerned about attitudes in Congress, but other than the odd reference like this there isn't a great deal of attention given outside of the Fantastic Four issues. Thus Spider-Man's actions and the fear it creates almost operates in a vacuum. It seems he'll get renewed attacks as J. Jonah Jameson steps up his plans to launch a new magazine with sleazy photography Nick Katzenberg supplying the crucial photographs. (The scenes here are made worse by comments about Katzenberg dating a lawyer. There's a bit too much information.)
Spider-Man's powers continue to grow, with a hint of their origin as he starts to be drawn with the aura of another being around him and hears whispering in his ear. The actual fight with Tess One is a walkover as Doom expected, but it extenuates Spidey's cockiness with the public getting increasingly scared of the menace. Even Mary Jane is getting concerned, leading to a row. Sal Buscema continues to draw some amazing scenes, with Spidey's destruction of Tess One doing well to convey the sheer power involved.
This storyline has had some weaker moments due to its length but is clearly now building towards a climax with a more logical progression of events. Despite some minor poor continuity, this issue is overall a good instalment that brings the series back on form.
Spectacular Spider-Man #160 has been reprinted in:
Wednesday, 10 October 2018
Spectacular Spider-Man 159 - Acts of Vengeance
The next Spider-Man chapter in the saga sees him put up against the Brothers Grimm, one of the more obscure pairs of super-villains in Marvel. The original brothers first appeared in the original Spider-Woman series, but these are the second pair who have been used so sparingly that it's actually a surprise to find they consider Iron Man to be their arch foe. Meanwhile Spider-Man is continuing to explore his new powers and keeps thwarting the attempts of Doctor Doom to discover more about them.
Spectacular Spider-Man #159
Script: Gerry Conway
Breakdowns: Sal Buscema
Finishes: Mike Esposito
Lettering: Rick Parker
Colours: Bob Sharen
Edits: Jim Salicrup
Editor-in-Chief: Tom DeFalco
This is another issue that feels like it's treading water and isn't even fully in sync with other things happening. Early in the issue Spider-Man is astonished to discover that he can now fly, yet he discovered this power in the previous chapter of the sage (Amazing Spider-Man #327). It would have been so easy to modify this to his powers getting out of control again, but this part of the script hasn't been fixed. There are also a couple of subplots shown in the title, but both don't really advance. One sees another conversation about the possibility of getting Joe Robertson a pardon, but this is a storyline that has dragged out interminably and the angle of his lawyer being interested in a sleazy Daily Bugle photographer is something that we could just do without. Meanwhile J. Jonah Jameson has plans to launch a new photo journal magazine in order to get himself back into news publishing and is trying to recruit Peter to the project. Although it has long-term possibilities, at the moment this just feels like a distraction.
The battle itself feels rather too much like a throwback to the Silver Age, but then this issue is written by the man who once did a story of Manhattan Island being stolen by terrorists and then dragged back into place by Hercules. So in this regard the Brothers Grimm using the Wizard's anti-gravity disks to raise the whole of Madison Square Gardens isn't the silliest thing to have appeared from Conway's pen (and Sal Buscema has certainly had to draw some nonsense in his time). But it's not only ludicrous but also highly repetitive after Graviton also used his powers to float a building in an earlier chapter in the same arc. "This is getting ridiculous" declares Spider-Man but "getting" is the wrong word. Spider-Man's powers continue to be difficult to control, as shown when he declares he's taking charge, only to immediate overact and destroy yet another of Doctor Doom's spy cameras when he wanted to examine it.
It is an unfortunate case that this storyline feels insufficient for the number of issues assigned to it. Consequently we're getting inconsequential chapters that do next to nothing to really advance the story and just show the problems of having too many series for a character all trying to tell the same tale. If this was a deliberate attempt to show why the three books should be running their own stories (as indeed they largely did for the next three years) then it proved the point. However I think it instead reached that by accident.
Spectacular Spider-Man #159 has been reprinted in:
Spectacular Spider-Man #159
Script: Gerry Conway
Breakdowns: Sal Buscema
Finishes: Mike Esposito
Lettering: Rick Parker
Colours: Bob Sharen
Edits: Jim Salicrup
Editor-in-Chief: Tom DeFalco
This is another issue that feels like it's treading water and isn't even fully in sync with other things happening. Early in the issue Spider-Man is astonished to discover that he can now fly, yet he discovered this power in the previous chapter of the sage (Amazing Spider-Man #327). It would have been so easy to modify this to his powers getting out of control again, but this part of the script hasn't been fixed. There are also a couple of subplots shown in the title, but both don't really advance. One sees another conversation about the possibility of getting Joe Robertson a pardon, but this is a storyline that has dragged out interminably and the angle of his lawyer being interested in a sleazy Daily Bugle photographer is something that we could just do without. Meanwhile J. Jonah Jameson has plans to launch a new photo journal magazine in order to get himself back into news publishing and is trying to recruit Peter to the project. Although it has long-term possibilities, at the moment this just feels like a distraction.
It is an unfortunate case that this storyline feels insufficient for the number of issues assigned to it. Consequently we're getting inconsequential chapters that do next to nothing to really advance the story and just show the problems of having too many series for a character all trying to tell the same tale. If this was a deliberate attempt to show why the three books should be running their own stories (as indeed they largely did for the next three years) then it proved the point. However I think it instead reached that by accident.
Spectacular Spider-Man #159 has been reprinted in:
Friday, 7 September 2018
Spectacular Spider-Man 158 - Acts of Vengeance
We come now to one of the biggest moments in comic science since a spider decided to wander around a radiation experiment.
Spectacular Spider-Man #158
Writer: Gerry Conway
Breakdowns: Sal Buscema
Finishes: Mike Esposito
Colourist: Bob Sharen
Letterer: Rick Parker
Editor: Jim Salicrup
Editor-in-Chief: Tom DeFalco
Okay since he appears on the cover, let's tackle the first problem with this story. Spider-Man has fought the Trapster before, including in this series (#42), three times as part of the Frightful Four and once solo. And both Gerry Conway and Sal Buscema were present for one of those encounters (Marvel Team-Up #2 and #58 respectively). But then it is particularly difficult to find villains that Spider-Man hasn't encountered before, given his multiple titles, former team-up book and many guest appearances have meant he's been around the Marvel universe far more than just about any other hero.
However this isn't the only continuity error that sticks out here. Although much of the chronology of "Acts of Vengeance" is debatable, the three Spider-Man books have a clear order as established by previous crossovers (which have been surprisingly few; it wasn't until 1993 that the Spider-Man books began routinely running multi-part storylines across each other). Thus it's strange to see the Kingpin here recruited to the central alliance (otherwise so far consisting of Doctor Doom, Magneto and the Wizard) when in Amazing Spider-Man #326 he was said to be the one who sent Graviton to deal with Spider-Man and thus already a part of the scheme. This lack of co-ordination within the Spider-Man office is not a good sign and more broadly there will be a number of questions about the order of involvement of the leaders of the alliance and their various hidden motivations. Now is not the best time to discuss the presence of Magneto as he's not a major presence in this issue and there are ones coming up that are more appropriate, but overall it's an interesting start to the scheme by bringing together three major villains plus a has-been like the Wizard.
The Wizard isn't the only one with a poor reputation. The Trapster took on his current name nearly a quarter of a century earlier, but he's never been able to shake off the ridiculous initial one "Paste-Pot Pete", with both Spider-Man and the Kingpin using it. His abilities have also long been mocked yet here he overpowers Spider-Man in the space of just three pages using a mixture of paste and grease. He's been specifically picked by the Wizard so it's understandable that he's gone in with weapons to overcome Spider-Man's ability to stick to walls, yet it's an astonishingly quick and one sided encounter, with no real distractions to explain how Spider-Man can be taken down so easily. This is the problem with deliberate defeats to set up subsequent encounters and it stands out the more when the foe comes with all the baggage of an acknowledged loser that the Trapster has.
But this is only a prelude to a major transformation. Doing some work in a science lab, Peter Parker gets exposed to an energy burst which enhances his sense and powers. He becomes invulnerable to electricity, starts generating giant sized hands made of webs, fires energy bolts from his fingers and can sense just about everything for miles until he gets that under control. It's an interesting step-up in his power levels and leaves Spider-Man scared of what the consequences might be. For a crossover event in which the balance of power is going to be deliberately altered, it's actually quite appropriate for one of the heroes to be suddenly more powerful than usual, making the encounters more unique which is handy given the already mentioned limitations of finding foes Spider-Man hasn't fought before.
This issue also briefly touches on the later stages of one of the more bizarre Spider-Man stories from the period where Joe "Robbie" Robertson was sent to jail for not having reported a crime when he was a young reporter. The problem with the story has always been the absurdity that a witness gets jailed for being intimidated into silence. The judge may have been corrupt but a judge is not the whole system and it shouldn't have to take a presidential pardon for such an absurdity to be overcome.
Overall though this is a fairly solid issue that brings some local mysteries alongside the wider event, helped by some always spectacular artwork.
Spectacular Spider-Man #158 has been reprinted in:
Spectacular Spider-Man #158
Writer: Gerry Conway
Breakdowns: Sal Buscema
Finishes: Mike Esposito
Colourist: Bob Sharen
Letterer: Rick Parker
Editor: Jim Salicrup
Editor-in-Chief: Tom DeFalco
Okay since he appears on the cover, let's tackle the first problem with this story. Spider-Man has fought the Trapster before, including in this series (#42), three times as part of the Frightful Four and once solo. And both Gerry Conway and Sal Buscema were present for one of those encounters (Marvel Team-Up #2 and #58 respectively). But then it is particularly difficult to find villains that Spider-Man hasn't encountered before, given his multiple titles, former team-up book and many guest appearances have meant he's been around the Marvel universe far more than just about any other hero.
However this isn't the only continuity error that sticks out here. Although much of the chronology of "Acts of Vengeance" is debatable, the three Spider-Man books have a clear order as established by previous crossovers (which have been surprisingly few; it wasn't until 1993 that the Spider-Man books began routinely running multi-part storylines across each other). Thus it's strange to see the Kingpin here recruited to the central alliance (otherwise so far consisting of Doctor Doom, Magneto and the Wizard) when in Amazing Spider-Man #326 he was said to be the one who sent Graviton to deal with Spider-Man and thus already a part of the scheme. This lack of co-ordination within the Spider-Man office is not a good sign and more broadly there will be a number of questions about the order of involvement of the leaders of the alliance and their various hidden motivations. Now is not the best time to discuss the presence of Magneto as he's not a major presence in this issue and there are ones coming up that are more appropriate, but overall it's an interesting start to the scheme by bringing together three major villains plus a has-been like the Wizard.
The Wizard isn't the only one with a poor reputation. The Trapster took on his current name nearly a quarter of a century earlier, but he's never been able to shake off the ridiculous initial one "Paste-Pot Pete", with both Spider-Man and the Kingpin using it. His abilities have also long been mocked yet here he overpowers Spider-Man in the space of just three pages using a mixture of paste and grease. He's been specifically picked by the Wizard so it's understandable that he's gone in with weapons to overcome Spider-Man's ability to stick to walls, yet it's an astonishingly quick and one sided encounter, with no real distractions to explain how Spider-Man can be taken down so easily. This is the problem with deliberate defeats to set up subsequent encounters and it stands out the more when the foe comes with all the baggage of an acknowledged loser that the Trapster has.
But this is only a prelude to a major transformation. Doing some work in a science lab, Peter Parker gets exposed to an energy burst which enhances his sense and powers. He becomes invulnerable to electricity, starts generating giant sized hands made of webs, fires energy bolts from his fingers and can sense just about everything for miles until he gets that under control. It's an interesting step-up in his power levels and leaves Spider-Man scared of what the consequences might be. For a crossover event in which the balance of power is going to be deliberately altered, it's actually quite appropriate for one of the heroes to be suddenly more powerful than usual, making the encounters more unique which is handy given the already mentioned limitations of finding foes Spider-Man hasn't fought before.
This issue also briefly touches on the later stages of one of the more bizarre Spider-Man stories from the period where Joe "Robbie" Robertson was sent to jail for not having reported a crime when he was a young reporter. The problem with the story has always been the absurdity that a witness gets jailed for being intimidated into silence. The judge may have been corrupt but a judge is not the whole system and it shouldn't have to take a presidential pardon for such an absurdity to be overcome.
Overall though this is a fairly solid issue that brings some local mysteries alongside the wider event, helped by some always spectacular artwork.
Spectacular Spider-Man #158 has been reprinted in:
- Spider-Man: The Cosmic Adventures (1993)
- Acts of Vengeance Omnibus (2011)
- Amazing Spider-Man Epic Collection: Cosmic Adventures (2013)
Friday, 23 October 2015
What If... Essential Champions volume 1?
Another look at a series as if it had been collected in an Essential volume, including all the additional issues included in other collections. This one is otherwise found in Champions Classic volumes 1 and 2.
Essential Champions volume 1 would contain all seventeen issues of the 1970s series plus the crossover issue Super-Villain Team-Up #14, the guest appearances in Iron Man annual #4 and Avengers #163, and also the epilogue in Peter Parker the Spectacular Spider-Man #17 to #18. (This is also the combination of the forthcoming Masterworks edition.) That would be a slim volume but there are some Essentials this thin. Bonus material, if it were needed, could include some unused covers - the Classics include one for issue #7 that had only minor changes - and also entries from the Official Handbook of the Marvel Universe. The writing on the main series is initially by creator Tony Isabella who is succeeded by Bill Mantlo with one issue by Chris Claremont. The art on the main series is by Don Heck, George Tuska, Bob Hall and John Byrne with most making at least one return during the run. The Iron Man annual is written by Mantlo and drawn by Tuska, the Avengers issue is written by Jim Shooter and drawn by Tuska, the Super-Villain Team-Up one is written by Mantlo and drawn by Hall, and the Peter Parker the Spectacular Spider-Man issues are written by Mantlo and drawn by Sal Buscema.
1975 was a big year for team titles at Marvel. As well as the ongoing exploits of the Avengers, Defenders and Fantastic Four it also saw the launch of the All New All Different X-Men, the debut of the Invaders and the start of the Champions. But whereas all the other titles would last for several years, Champions would limp along for just over two years, confined to the odd eight-issues-a-year format that would make multi-part stories take ages to resolve and never really breaking out into a big hit. In the years since there has been little in the way of revivals bar a one-off reunion to work with X-Force in one of the 1998 team-up annuals. Otherwise the team has been mostly forgotten and treated as a joke when remembered, with Iceman once bemoaning "Do you have any idea how hard it is to find a major super-villain in Los Angeles?" (We'll find out in this review.) The nadir must surely have been when the right to use the name was won in a poker game by the team usually known as the Great Lakes Avengers but even they didn't make much of a mark with it before finding yet another name. And so the Champions have languished in obscurity.
Part of the problem may be the sheer difficulty of getting the original team back together under the title "Champions" - after the original series ended a different comic company adapted a role playing game property by the same name and at least twice Marvel has been rebuffed in attempts to reobtain the trademark. (The X-Force/Champions '98 annual was probably part of one of these attempts.) But also the team members are a pretty disparate bunch normally found spread across very distinctive parts of the Marvel universe and it can't be the easiest task to obtain the whole set for even a one-off reunion.
The team itself is initially comprised of five heroes, with another joining midway through. Leading the group is the Black Widow, who has recently left Daredevil and is developing ever more into a strong independent character in her own right. She's also one of the first women leaders of a Marvel team and also brings to the team both her adoptive father Ivan Petrovich and demons from their past in the Soviet Union. Bankrolling the team is the Angel, fresh out of the X-Men, now that newer members have taken over, heavily enriched through inheritance and ditching his secret identity in favour of being open and free with the world. Also recently having left the X-Men, but maintaining his secret identity for now, is Iceman. The youngest team member, he initially feels he wants to get on with his life and plans on dropping aside as soon as the team is fully established, but finds himself staying around to the point that this plan gets forgotten, especially under a new writer. The team's muscle is provided by Hercules, who proves to be the catalyst around which the group is initially drawn together, and he stays around for the adventure. The most distant is all the five is the Ghost Rider, seen here in the early years of his career when Johnny Blaze had full control over his flaming alter ego, who often feels distrusted and out of place amongst his teammates. Midway through the run the team is joined by Darkstar, a new hero from the Soviet Union with dark energy powers and a mysterious past. The main supporting cast member is Richard Feinster, a recently sacked lecture agent at UCLA who becomes the team's business manager.
The Champions are based in Los Angeles and have as their aims to help the "common man" with more down to earth problems, in contrast to the more global and intergalactic threats faced by other teams. It's a worthy aim, as is setting the series away from the New York norm of the Marvel universe. But in practice the team wind up facing quite a number of established larger than life super-villains and take on global and even universal threats. It looks harder to escape the conventions than it seems.
With very little pre-existing ties to bring the team together the series starts by creating a set of coincidences to get all of them to the campus of UCLA in order to get caught up in the same menace. Iceman is starting studies there and is visited by the Angel whilst Hercules has been appointed a visiting lecturer on the reality behind Greek myths. The Black Widow is applying for a post as a Russian language teacher and the Ghost Rider's alter-ego of Johnny Blaze happens to be motorcycling through the campus. The initial menace is the arrival of Pluto the Greek god of death who seeks to force Hercules and Greek god turned little remembering Atlas era hero turned new lecturer in humanities Venus to marry his allies, Hippolyta, queen of the Amazons, and Ares, god of war, so that they will be unable to battle against Pluto's planned take-over of Olympus. The opening adventure takes up the first three issues with a journey to Olympus itself thrown in and results in the five working together and realising how well they mesh as a team. It's hard to disguise that most superhero teams have had awkward origins precisely because they rely on cautious loner heroes suddenly discovering how well they work together, but the Champions seem especially forced given the ongoing distrust of Ghost Rider and the initial reluctance of Iceman. It's as though they were thrown together by dictat rather than emerging as a natural combination.
The team takes a few more issues before it's fully constituted, complete with its own transport in the form of the Champscraft and a headquarters in a Los Angeles skyscraper. However both get assembled by dodgy contractors and a minor recurring theme are the problems with equipment failure though it doesn't come to the forefront until the epilogue in Peter Parker the Spectacular Spider-Man. The team's public relations are also a bit of a mess, with their official launch coinciding with an adventure such that only the Angel and Hercules are available for the press conference which gets attacked by the Crimson Dynamo, the Griffin, and the Titanium Man, whilst a photoshoot of the dissolution of the team is an equal damp squib with only the Angel still around when Peter Parker arrives.
When one looks at the foes encountered by the Champions it rapidly becomes clear just how easy it is to find supervillains in Los Angeles including some quite major ones. As well as the initial clash with Pluto there are encounters with a group of Soviet foes including the Titanium Man, a new Crimson Dynamo whose real identity is a shocker for the Black Widow and Ivan, and the Griffin. This group also includes the first appearance of Darkstar but she soon defects. Then there's an encounter with Warlord Kaa of the shadow-people with guest appearances by Hawkeye and the time-displaced Two-Gun Kid. The team's most wide-ranging adventure initially seems to be up against the Stranger but he is in fact looking to save Earth and the real threat comes from Kamo Tharnn (later better known as the Possessor) who seeks to recapture the Runestaff that can save the day. The Avengers appearance sees conflict with the Greek Titan Typhon who forces battle between the two whilst the Iron Man annual brings them up against Modok and AIM. The crossover with Super-Villain Team-Up involves a strange contest between Doctor Doom and Magneto in which the latter must find a way to stop the ruler of Latveria from taking over the world with a special neurogas, forcing the Master of Magnetism to seek out allies, finding them in the form of first the Beast and then the Champions. The final issue sees an attack by the Vanisher, utilising both the Sentinels and the mutants the Blob, Lorelei and Unus the Untouchable. The biggest new foe introduced here is Swarm, a collective sentient hive of bees with the mind and skeleton core of a Nazi scientist. There are a few lesser foes such as new ones like Dr Edward Lansing, a scientist abusing a care home in order to perform experiments, or Rampage, an inventor hurt by the economic downturn who dons an exo-skeleton to initially rob banks. Rampage is the most recurring of the team's foes, being used by the Soviet foes in an action that leaves him paralysed and then coming back for an act of revenge at the very end. There's also an encounter with Stilt-Man that's so forgettable he's left in the hands of the guest-starring Black Goliath whilst the Champions deal with the Stranger's problem.
The series ultimately lasted only seventeen issues and ends on a mini-cliffhanger as the Champions wonder about Darkstar's true nature. But this goes unresolved and the team is unceremoniously disbanded in a flashback in the pages of Peter Parker the Spectacular Spider-Man which otherwise serves as a straightforward team-up with the Angel (in fact it's a surprise this story wasn't told in the pages of Marvel-Team-Up) as they face down against the Champions' old foes Rampage and the shoddily constructed building. And that was the end of the Champions' story, bar one very brief reunion many years later.
So is Champions a title that should have had an Essential collected edition? The existence of the Classic reprints is the most obvious argument against but there are certainly other titles in the Essentials that have been collected elsewhere in colour. And the bar for inclusion in the Essentials was not actually that high - several short-lived 1970s series such as Godzilla, Ms. Marvel and Super-Villain Team-Up all qualified for a single Essential volume so not lasting long was clearly no barrier. Nor is the series anywhere near as mediocre as some material included in the Essentials. It may not be the most memorable of titles and the team suffers from feeling like it was assembled to fit arbitrary criteria, but there's a sense of trying and purpose to these tales that hold together reasonably well. A single collected edition would be thin without much obvious extra stuff to include - very maybe the X-Force/Champions '98 annual but that would be a much later pick and otherwise that's pretty much it as a contemporary appearance in Godzilla would be a monster of a rights issue. But there's just about enough already. This is a series that certainly does deserve reappraising as whilst it's not the greatest team title ever it's certainly a lot more credible than the dismissive comments and jokes of later years would suggest. I don't know how the trademark situation would have been an issue, though it clearly didn't stop the Classics doing two volumes. All in all the Champions is a good little series that would certainly have earned a place amongst the Essentials.

1975 was a big year for team titles at Marvel. As well as the ongoing exploits of the Avengers, Defenders and Fantastic Four it also saw the launch of the All New All Different X-Men, the debut of the Invaders and the start of the Champions. But whereas all the other titles would last for several years, Champions would limp along for just over two years, confined to the odd eight-issues-a-year format that would make multi-part stories take ages to resolve and never really breaking out into a big hit. In the years since there has been little in the way of revivals bar a one-off reunion to work with X-Force in one of the 1998 team-up annuals. Otherwise the team has been mostly forgotten and treated as a joke when remembered, with Iceman once bemoaning "Do you have any idea how hard it is to find a major super-villain in Los Angeles?" (We'll find out in this review.) The nadir must surely have been when the right to use the name was won in a poker game by the team usually known as the Great Lakes Avengers but even they didn't make much of a mark with it before finding yet another name. And so the Champions have languished in obscurity.
Part of the problem may be the sheer difficulty of getting the original team back together under the title "Champions" - after the original series ended a different comic company adapted a role playing game property by the same name and at least twice Marvel has been rebuffed in attempts to reobtain the trademark. (The X-Force/Champions '98 annual was probably part of one of these attempts.) But also the team members are a pretty disparate bunch normally found spread across very distinctive parts of the Marvel universe and it can't be the easiest task to obtain the whole set for even a one-off reunion.

The Champions are based in Los Angeles and have as their aims to help the "common man" with more down to earth problems, in contrast to the more global and intergalactic threats faced by other teams. It's a worthy aim, as is setting the series away from the New York norm of the Marvel universe. But in practice the team wind up facing quite a number of established larger than life super-villains and take on global and even universal threats. It looks harder to escape the conventions than it seems.
With very little pre-existing ties to bring the team together the series starts by creating a set of coincidences to get all of them to the campus of UCLA in order to get caught up in the same menace. Iceman is starting studies there and is visited by the Angel whilst Hercules has been appointed a visiting lecturer on the reality behind Greek myths. The Black Widow is applying for a post as a Russian language teacher and the Ghost Rider's alter-ego of Johnny Blaze happens to be motorcycling through the campus. The initial menace is the arrival of Pluto the Greek god of death who seeks to force Hercules and Greek god turned little remembering Atlas era hero turned new lecturer in humanities Venus to marry his allies, Hippolyta, queen of the Amazons, and Ares, god of war, so that they will be unable to battle against Pluto's planned take-over of Olympus. The opening adventure takes up the first three issues with a journey to Olympus itself thrown in and results in the five working together and realising how well they mesh as a team. It's hard to disguise that most superhero teams have had awkward origins precisely because they rely on cautious loner heroes suddenly discovering how well they work together, but the Champions seem especially forced given the ongoing distrust of Ghost Rider and the initial reluctance of Iceman. It's as though they were thrown together by dictat rather than emerging as a natural combination.
The team takes a few more issues before it's fully constituted, complete with its own transport in the form of the Champscraft and a headquarters in a Los Angeles skyscraper. However both get assembled by dodgy contractors and a minor recurring theme are the problems with equipment failure though it doesn't come to the forefront until the epilogue in Peter Parker the Spectacular Spider-Man. The team's public relations are also a bit of a mess, with their official launch coinciding with an adventure such that only the Angel and Hercules are available for the press conference which gets attacked by the Crimson Dynamo, the Griffin, and the Titanium Man, whilst a photoshoot of the dissolution of the team is an equal damp squib with only the Angel still around when Peter Parker arrives.

The series ultimately lasted only seventeen issues and ends on a mini-cliffhanger as the Champions wonder about Darkstar's true nature. But this goes unresolved and the team is unceremoniously disbanded in a flashback in the pages of Peter Parker the Spectacular Spider-Man which otherwise serves as a straightforward team-up with the Angel (in fact it's a surprise this story wasn't told in the pages of Marvel-Team-Up) as they face down against the Champions' old foes Rampage and the shoddily constructed building. And that was the end of the Champions' story, bar one very brief reunion many years later.
So is Champions a title that should have had an Essential collected edition? The existence of the Classic reprints is the most obvious argument against but there are certainly other titles in the Essentials that have been collected elsewhere in colour. And the bar for inclusion in the Essentials was not actually that high - several short-lived 1970s series such as Godzilla, Ms. Marvel and Super-Villain Team-Up all qualified for a single Essential volume so not lasting long was clearly no barrier. Nor is the series anywhere near as mediocre as some material included in the Essentials. It may not be the most memorable of titles and the team suffers from feeling like it was assembled to fit arbitrary criteria, but there's a sense of trying and purpose to these tales that hold together reasonably well. A single collected edition would be thin without much obvious extra stuff to include - very maybe the X-Force/Champions '98 annual but that would be a much later pick and otherwise that's pretty much it as a contemporary appearance in Godzilla would be a monster of a rights issue. But there's just about enough already. This is a series that certainly does deserve reappraising as whilst it's not the greatest team title ever it's certainly a lot more credible than the dismissive comments and jokes of later years would suggest. I don't know how the trademark situation would have been an issue, though it clearly didn't stop the Classics doing two volumes. All in all the Champions is a good little series that would certainly have earned a place amongst the Essentials.
Labels:
Avengers,
Bill Mantlo,
Bob Hall,
Champions,
Chris Claremont,
Don Heck,
George Tuska,
Iron Man,
Jim Shooter,
John Byrne,
Sal Buscema,
Spectacular,
Super-Villain Team-Up,
Tony Isabella
Wednesday, 7 October 2015
Some Fantastic Four previews
As is standard upon completing a full set of Essential volumes for a particular series, I now take a look at any later issues reprinted in other volumes. For the Fantastic Four there are actually quite a few such issues.
Fantastic Four #218 written by Bill Mantlo and drawn by John Byrne, reprinted in Essential Peter Parker, the Spectacular Spider-Man volume 2
This is the second part of a crossover with Peter Parker, the Spectacular Spider-Man involving the Frightful Four, who on this occasion have recruited Electro as their fourth member. They have already captured Spider-Man and now the Trapster impersonates him in order to infiltrate the Baxter Building so the Frightful Four can take out the Fantastic Four one by one.
This is a fairly traditional plot but it was part of a brief fill-in run on the title. The Frightful Four have long offered potential for development but have always been somewhat constrained by the lack of a permanent fourth member. Electro may not be female but otherwise he fills the role quite well and has some history with the Sandman so more could have been done. However Spider-Man's presence in the story is almost needless as the Frightful Four are operating at night and could easily have impersonated him without his noticing it. The story is also noticeable for an attempt by Sue to evade capture by turning invisible away only to find her dressing gown doesn't disappear with her. Stories over the years have been rather inconsistent on how her powers affect her clothes when not made of unstable molecules. This issue is serviceable but very much a reworking of past stories.
Fantastic Four #286 written and drawn by "You Know Who" aka John Byrne, reprinted in Essential X-Factor volume 1
This is the second part of a mini-crossover with Avengers in order to set-up part of the new title X-Factor. The Fantastic Four (during this period the Thing had been replaced by She-Hulk) return to Earth where they temporarily staying with the Avengers and get caught up in the mystery of a capsule discovered in the harbour. Inside they find none other than Jean Grey, but with memories that stop several years earlier. Reed, Sue, Captain America and Hercules set out to try to find out what went wrong.
This is one of the most controversial issues in Marvel history, starting from an editorial rewrite that led to John Byrne taking his name off the issue and the controversy spread further due to a retcon rewriting one of Marvel's most famous stories, the "Dark Phoenix Saga". Adding to the mess was a conscious desire to keep X-Factor separate from the Uncanny X-Men for at least its first year and so the job of doing the heavy lifting to set up the new title fell upon other series. As a result an extra-long issue with no adverts feels less like a special issue of Fantastic Four and more of an intruder from another series; a point reinforced by the way both the Fantastic Four and Avengers know very little about the X-Men's adventures in recent years. There's the odd good moment such as Sue standing up to Reed in disagreement about taking Jean to her parents' home or using her invisible shield to neutralise Jean's telekinetic abilities without regard for those around her but overall this isn't really a Fantastic Four story. Its significance and controversy lies elsewhere.
Fantastic Four Vs the X-Men #1 to #4 written by Chris Claremont and drawn by Jon Bogdanove, reprinted in Essential X-Men volume 7
The Fantastic Four find themselves shaken to the core by the discovery of a journal suggesting Reed engineered the original cosmic rays accident to empower them by design. Reed suffers a major crisis of confidence and rejects the X-Men's pleas for help to save Shadowcat's life. Then Doctor Doom steps up and offers to perform the task.
This is very much the Fantastic Four's story with the X-Men largely serving a role that could have been performed by any group of heroes. We get a strong character focus that zooms in on one of the biggest holes in the four's origin, namely how could someone as smart as Reed fail to foresee the danger of cosmic rays and suggests it was all a plan, as well as exploration of Doctor Doom's ultimate goals. Reed's self-doubt and the others' uncertainties make for strong moments as the Four, including She-Hulk who tags along despite being in the Avengers these days, come to realise just how strong their bonds our. Franklin is used to maximum effect as his powers show a fear of what is to come whilst his innocence cuts through the suspicion and anger that rages amongst the adults. The story strains a little to credibly include She-Hulk, suggesting it originated in a period when it wasn't too clear just which four of the five regulars would be around for the long run, but otherwise it's a strong character study of Reed and, to a lesser extent, Doom. It's surprising that it took over a decade before Chris Claremont took on a regular run on Fantastic Four.

Fantastic Four Annual #23 (main story only) written by Walter Simonson and drawn by Jackson Guice, reprinted in Essential X-Factor volume 4 and also in Essential X-Men volume 10
This is the opening chapter of the "Days of Future Present" crossover that ran in the 1990 annuals for X-Factor, New Mutants and Uncanny X-Men, and serves as a sequel to one of the best known X-Men stories. The present day is visited by an adult Franklin Richards who is clearly undergoing some trauma and taking refuge in bringing happy childhood memories to life, including an earlier version of the Four living in the Baxter Building. After a confrontation with the alternate incarnation, plus an attack by robots from the future, the current Four track down the adult Franklin as he continues reliving his childhood. Meanwhile a mysterious robot is activated by his presence.
Here the focus is on establishing the adult Franklin and setting up the mysteries to be resolved in the later chapters so there's not too much plot advancement and a chunk of the chapter seems more concerned with contrasting the present day Four with the 1960s incarnation. The decision to do smaller annual crossovers was undoubtedly a good move for readers' wallets but a side effect is that the stories are now much tighter and so individual chapters are insubstantial on their own. This is very much the case here.

This is the second part of a crossover with Peter Parker, the Spectacular Spider-Man involving the Frightful Four, who on this occasion have recruited Electro as their fourth member. They have already captured Spider-Man and now the Trapster impersonates him in order to infiltrate the Baxter Building so the Frightful Four can take out the Fantastic Four one by one.
This is a fairly traditional plot but it was part of a brief fill-in run on the title. The Frightful Four have long offered potential for development but have always been somewhat constrained by the lack of a permanent fourth member. Electro may not be female but otherwise he fills the role quite well and has some history with the Sandman so more could have been done. However Spider-Man's presence in the story is almost needless as the Frightful Four are operating at night and could easily have impersonated him without his noticing it. The story is also noticeable for an attempt by Sue to evade capture by turning invisible away only to find her dressing gown doesn't disappear with her. Stories over the years have been rather inconsistent on how her powers affect her clothes when not made of unstable molecules. This issue is serviceable but very much a reworking of past stories.

This is the second part of a mini-crossover with Avengers in order to set-up part of the new title X-Factor. The Fantastic Four (during this period the Thing had been replaced by She-Hulk) return to Earth where they temporarily staying with the Avengers and get caught up in the mystery of a capsule discovered in the harbour. Inside they find none other than Jean Grey, but with memories that stop several years earlier. Reed, Sue, Captain America and Hercules set out to try to find out what went wrong.
This is one of the most controversial issues in Marvel history, starting from an editorial rewrite that led to John Byrne taking his name off the issue and the controversy spread further due to a retcon rewriting one of Marvel's most famous stories, the "Dark Phoenix Saga". Adding to the mess was a conscious desire to keep X-Factor separate from the Uncanny X-Men for at least its first year and so the job of doing the heavy lifting to set up the new title fell upon other series. As a result an extra-long issue with no adverts feels less like a special issue of Fantastic Four and more of an intruder from another series; a point reinforced by the way both the Fantastic Four and Avengers know very little about the X-Men's adventures in recent years. There's the odd good moment such as Sue standing up to Reed in disagreement about taking Jean to her parents' home or using her invisible shield to neutralise Jean's telekinetic abilities without regard for those around her but overall this isn't really a Fantastic Four story. Its significance and controversy lies elsewhere.

The Fantastic Four find themselves shaken to the core by the discovery of a journal suggesting Reed engineered the original cosmic rays accident to empower them by design. Reed suffers a major crisis of confidence and rejects the X-Men's pleas for help to save Shadowcat's life. Then Doctor Doom steps up and offers to perform the task.
This is very much the Fantastic Four's story with the X-Men largely serving a role that could have been performed by any group of heroes. We get a strong character focus that zooms in on one of the biggest holes in the four's origin, namely how could someone as smart as Reed fail to foresee the danger of cosmic rays and suggests it was all a plan, as well as exploration of Doctor Doom's ultimate goals. Reed's self-doubt and the others' uncertainties make for strong moments as the Four, including She-Hulk who tags along despite being in the Avengers these days, come to realise just how strong their bonds our. Franklin is used to maximum effect as his powers show a fear of what is to come whilst his innocence cuts through the suspicion and anger that rages amongst the adults. The story strains a little to credibly include She-Hulk, suggesting it originated in a period when it wasn't too clear just which four of the five regulars would be around for the long run, but otherwise it's a strong character study of Reed and, to a lesser extent, Doom. It's surprising that it took over a decade before Chris Claremont took on a regular run on Fantastic Four.


This is the opening chapter of the "Days of Future Present" crossover that ran in the 1990 annuals for X-Factor, New Mutants and Uncanny X-Men, and serves as a sequel to one of the best known X-Men stories. The present day is visited by an adult Franklin Richards who is clearly undergoing some trauma and taking refuge in bringing happy childhood memories to life, including an earlier version of the Four living in the Baxter Building. After a confrontation with the alternate incarnation, plus an attack by robots from the future, the current Four track down the adult Franklin as he continues reliving his childhood. Meanwhile a mysterious robot is activated by his presence.
Here the focus is on establishing the adult Franklin and setting up the mysteries to be resolved in the later chapters so there's not too much plot advancement and a chunk of the chapter seems more concerned with contrasting the present day Four with the 1960s incarnation. The decision to do smaller annual crossovers was undoubtedly a good move for readers' wallets but a side effect is that the stories are now much tighter and so individual chapters are insubstantial on their own. This is very much the case here.
Wednesday, 2 September 2015
Venom: Birth of a Monster

First published in 2007, it is all too clearly a tie-in to the movie Spider-Man 3. But rather than spotlight the film's most heavily featured villains or show the original Alien Costume Saga we instead get the first full appearance of Venom, the two preceding issues which contain cameos at the end, and the classic "The Death of Jean DeWolff" storyline which Venom's origin feeds off. Or not.
By far the most common criticism of Venom (at least before he was so heavily used that charges of overuse could be made) is the rather weak motivation behind his human side. And the problem is compounded not only because his backstory was hooked into an earlier well-known storyline, but also because it changed the details of how that storyline panned out. Collecting both in a single volume just makes the two stand out all the more.
Now I've written about "The Death of Jean DeWolff" before and so I'm not going to rehash my general opinions here other than to say I would have preferred a Venom-focused collection to have instead included more Venom-focused issues. No matter how great "The Death of Jean DeWolff" is, it just doesn't feel like it has to be here. And not including it would have hidden the great continuity error. During this story the Sin-Eater's neighbour overhears some of the killer's plans and succumbs to delusions, believing himself to be the Sin-Eater and he steals a costume and gun then heads off after the planned next target. However he's soon overpowered and arrested, but Daredevil spots the heartbeat is wrong and he and Spider-Man soon discover the Sin-Eater's real identity.
However when Venom appears his backstory is that journalist Eddie Brock of the Daily Globe had been contacted by the impostor Sin-Eater and run interviews with him, concealing the identity until legal advice forced it out. Then soon after the revelation the real Sin-Eater was caught, the Globe humiliated and Brock sacked. Brock had fallen for a liar but blamed Spider-Man for exposing the true killer, reasoning that with an arrest the real killer might have dropped out of sight. Now there's nothing at all in the actual Sin-Eater storyline that supports this chain of events so it's an awkward retcon. And there's no real need to tie Brock's downfall into a pre-existing storyline. There is a huge history of Spider-Man himself being accused of one crime or another, only to prove himself innocent and any case of over-eager journalism could have sufficed. But even then Brock's story feels hollow. In the real world journalistic ethics have had a lot of exposure in recent years thanks to revelations of the means by which some journalists obtained stories and at times interfered with police investigations. Brock's story may have been based on a real world journalist's handling of a purported killer but his attribution of blame on the hero who brought down the real killer rather than himself for being so rash in pursuit of a story feels hollow. Yes numerous other villains have silly origins and motivations, and Brock is shown as angry, depressed and suicidal so probably not in the right frame of mind anyway, but few of the debut stories of other Spider-Man villains went to such depths to try to establish a degree of credibility to the new foe's motivations. With Venom the attempt just comes off badly.
It also doesn't help that Eddie Brock was a completely new character with no established conflict with either Spider-Man or Peter Parker. Starting with the mid 1990s Spider-Man cartoon it became commonplace for retellings of the Venom story in whatever mediums to provide just such a longstanding conflict. The cartoon made Brock a rival photographer at the Bugle who comes to hate both Peter and Spider-Man, but gets sacked when he conceals photographs in order to make Spidey look like a criminal. The film Spider-Man 3 does the same but also makes him a contemporary of Peter and a seeming rival with women - basically Lance Bannon in all but name. Such approaches, and there have been others based around the Ultimate universe approach of making Brock a fellow science student who was once Peter's friend, work much better because the hate feels much more solid and also it reinforces the idea of Venom being a version of Spider-Man gone wrong.
The idea of a villain who shares enough elements with the hero to be a distorted mirror image is fairly standard and often attempts are made to add elements to existing foes to push them in that direction - both the Green Goblin and Doctor Octopus have experienced this over the years. It's rarer to introduce a lasting foe who is much more explicitly a distorted reflection, right down to the appearance and powers. And just to add to everything riding on this, Venom was introduced in what was both the 300th issue of the main Spider-Man series and the 25th anniversary celebration. It was an odd choice to use such a landmark issue to introduce a new villain and although he went on to massive glories, on the evidence of just the issues in this collection it seems like a mistake to give him such an accolade.
The build-up in the previous two issues is minimal - just a page or two at the end of each. The rest of issues #298 & #299 are given over to a two-part story involving Chance, a gambling mercenary from Michelinie's earlier run on Web of Spider-Man, and who would be largely forgotten if not for the moments at the end. All three Amazing issues come from the first year after Peter married Mary Jane and featured his continued worries about the fact he makes far less money than her, plus some of the problems of being a married superhero such as having to let his wife know when he'll be late or coming home to find she has visitors and/or cleaners in the flat. Then there's Aunt May worrying that over intrusive relatives can undermine a new marriage and so she's keeping her distance. The final issue also sees Peter move out of the flat he's rented for many years, as he and Mary Jane need a bigger place and after her encounter with Venom there MJ feels she can never be comfortable in the flat again. For similar reasons she makes Peter abandon his black and white costume for good and resume wearing the traditional red and blue version. It's surprising just how much happens in these issues.
Unfortunately this doesn't leave too much space for Venom. We get a flashback as he terrorises Mary Jane, causing Peter to deduce the alien costume has survived, and then a protracted search once Spider-Man has borrowed the Fantastic Four's sonic gun. However the costume is too far bonded to Brock for this to work - but it's a good piece of continuity to establish just why it can't be disposed of as easily as it was before. The encounter between Spider-Man and his dark reflection is quick and establishes the new foe as a force to be reckoned with but nothing too spectacular. Venom's appearance is also restrained here - the pocket book cover by Jon Haward explicitly homages McFarlane by taking some of his famous images of Spider-Man and putting Venom in a similar pose. However it's Venom after Erik Larsen modified the appearance to add features such as the elongated jaw, the large tongue, the spiked teeth, the distorted eyes and so forth. McFarlane's Venom is little more than a bulked up Spider-Man with a visible mouth.
All in all this collection is a little disappointing. "The Death of Jean DeWolff" doesn't need to be here and the Chance issues are forgettable. That leaves Venom's first full appearance but it just shows how underdeveloped and poorly thought through the character was at first. It would have been much better to have included some later appearances to show how he developed as time went on. Still the pocketbook was surprisingly cheap when published - RRP £3.99 - and the real problem is with how weakly conceived Venom was to start with.
Friday, 22 November 2013
Essential Moon Knight volume 1

The concept of the back-up strip featuring a different character or genre altogether is familiar to many but rare in Marvel US comics with title characters save for occasions when storylines are formally split in two or supporting characters and/or background events are given a special focus. But the idea of featuring a totally different character in a different genre is more unusual there, so to see Moon Knight get his first ongoing feature in the back of The Hulk! magazine must have been quite a surprise to readers. The two characters' paths cross just once when twin stories are set during a lunar eclipse but the Hulk and Moon Knight only literally bump into each other in the darkness without realising who each is, and otherwise they separately handle thieves who came to steal from an astronomer's lonely country house.
Reading through the stories all at once, rather than over a period of six years as at publication, it transpires that a lot about the character was developed on the hoof and the result is some pretty fundamental elements are only introduced midway through the volume. Just like the character, the Moon Knight series doesn't really know what it wants to be. It has a vague aim at being a hard edged crime-fighting series and it's hard to avoid assuming Moon Knight was moulded to allow Marvel creators to do Batman-esque stories. Initially Marc Spector is a mercenary for hire brought in by a criminal organisation known only as "the Committee" to capture the Werewolf and given the initial costume; however upon discovering the reasons for the capture are to use the man as a trained killing animal he turns and allies with the Werewolf instead. It's a short tale that establishes Moon Knight as an mercenary anti-hero with honour, but it also clashes with the way the character would subsequently be portrayed and the origin given in the first issue of his own series. Issue #4 explains how this was all a ruse to infiltrate and bring down the Committee, with Frenchie posing as a industrialist, but it's a very awkward retcon to explain away a tricky first appearance. We don't get the character's new origin until issue #1 of the series and it's convoluted by the need to explain his history with both Frenchie and Marlene, plus it adds a mystical element to the series by showing how Marc Spector apparently died in Egypt but came back to life in front of a statue of the moon god Khonshu and was apparently now filled with the spirit of Khonshu, something that feels totally at odds with the tone of the rest of the series.
Then there's the multiple identities adopted by Moon Knight. Marc Spector, a mercenary, appears to be the original but this isn't explicitly confirmed until an encounter with his brother. Steven Grant (named after the writer?) is a millionaire (using the money Spector secured in his activities) living outside of the city in a mansion that has secret passages leading to his helicopter launchpad. Jake Lockley is a New York cab driver who roams the streets and frequents diners in search of information. But rather than just maintaining permanent aliases to cover different aspects of information gathering, Moon Knight at times speaks and thinks as though the identities are separate individuals sharing a body. And just to add to the mess of it all, every one of his non-costumed identities has the same face, at least until Jake Lockley adds a false moustache towards the end of the volume, and he's not taking strong steps to hide the connections between the two, to the point that several in the underworld are aware of the connection between them all.
But adding to the problem is the limited attention given to some of the more mystical of Moon Knight's powers. Occasional mention is made of his enhanced strength under moonlight, and even less to his having obtained it as a consequence of his fight with the Werewolf. By the end of the volume it seems as though the power is fading away. It would be hard to miss such an obscure power but the last couple of issues in the volume seem to be tidying up some of the more awkward points about the character. The story also tackles the question of whether there ever was a possession by Khonshu or not, and whilst it's not decisively confirmed if this ever did happen, the strong impression is given that by the end Moon Knight certainly isn't possessed now. The statue of Khonshu is stolen and destroyed, contributing to a nervous breakdown as Moon Knight reflects upon his apparent failure and the chaos of his multiple identities, but Marlene stated the destroyed statue was just a public fake and unveils what she says is the real one. Moon Knight recovers his confidence and takes down the Bushman, but wonders at the end if the surviving statue is real or a copy made afterwards. Doubt is also cast upon whether Marc Spector ever did die in the desert and get resurrected, or if in fact he just imagined it. Whatever the state of affairs, Moon Knight is no longer dependent upon a supposed spirit of an Egyptian god within him, and some of the baggage has been cleared out, leaving the character more viable for future adventures.
However he retains his supporting cast and they're quite a mix. Most prominent is Marlene, the daughter of an Egyptologist killed by Bushman in the incident that made Marc turn on him. Marlene serves as secretary and girlfriend to the Steven Grant identity, and shows a strong willingness to help Moon Knight in tackling crime, whether by going into action with a gun or disguising herself as a nurse to walk the streets and serve as bait for a serial killer. She sticks by Moon Knight even when she gets seriously wounded on one occasion, and she finds his multiple identities highly confusing. The identities are less of a problem for Moon Knight's helicopter pilot and aide, "Frenchie". Just in case anyone has any doubts as to what nationality he is, he has zees outrageous accent. Frenchie has been with Moon Knight since their days as mercenaries in Egypt, and also debuts alongside him in Werewolf by Night, and is highly resourceful. Back at the mansion Moon Knight also has the support of Samuels the butler and Nedda the cook, both loyal and understanding servants but neither is particularly developed. Perhaps it's fortunate that Frenchie first appeared before the introduction of the manor and the Steven Grant identity, as it means the butler never ends up playing an "Alfred" role and reinforcing the Batman influence. The Jake Lockley identity works at street level and builds up various contacts for information, particularly at a diner where he befriends waitress Gena, and later her two sons, and the destitute Bertrand Crawley who sets new records for making an individual tea-bag last on endless rounds of free refills of hot water.
Throughout the stories Moon Knight takes on a variety of foes but invariably they're at the down to earth criminal end of things. In his debut he first works for and then fights "the Committee", a crime syndicate who appear again when they hire several hit-men who soon turn on both their contractors and each other. Later on Moon Knight runs up against the equally imaginatively named "the Company", who are seeking to produce a perfect super soldier dubbed the Cobra (no relation to the better known Marvel villain.) Elsewhere Moon Knight clashes with the Conquer-Lord, a crime lord trying to install his puppet as Mayor by discrediting the incumbent though setting up a Watergate style burglary. The theft of the statue of Khonshu leads to a chain of criminals from insane museum curator Fenton Crane to Alphonse Leroux, the ambassador from Chile (during the Pinochet era) to the United Nations, to the terrorist Lupinar. Then there's the Hatchet Man, a serial killer stalking the streets of New York murdering nurses as revenge for a facial wound, who turns out to be Marc's brother, Randall Spector. Another serial killer is the Skid-Row Slasher, hunting the down and outs for his father for revenge for the treatment of his mother. Eventually the killer is revealed to be Crawley's son in a complex tale of personal and family breakdown. There's a further tale of a serial killer when the son of one tries to recover his inheritance with two other criminals and Moon Knight following; only to discover things are not quite what they seem. The art thief Midnight Man offers some more conventional action against a foe similar to the hero, whilst a trip to the Caribbean brings an encounter with the "White Angel" and his walking skeletons and "zuvembies" (the Comics Code Authority then didn't allow the word "zombie" to be used). In fact it's a plantation owner with thugs in costumes using slave labour to farm drugs. There are also many more generic thieves and thugs and a gang who try to extort Chicago by poisoning the water supply. Moon Knight's team-up with Spider-Man brings a clash with the Maggia, led from the shadows by the Masked Marauder, whose ranks include the Cyclone. Meanwhile the team-up with the Thing sees the two take down Crossfire, an ex-CIA brainwasher who now seeks to wipe out the entire superhero community.
But the most significant foe is Bushman. Once the head of the group of mercenaries Marc and Frenchie were part of, Bushman is fearsome to look at, with steel teeth and a death mask tattooed upon his face, and ruthless. Marc and Frenchie desert over Bushman's methods in ruthlessly killing innocents in Sudan. In revenge Bushman captures Marc and has him dumped in the desert to die of heat exhaustion, but Marc survives and becomes Moon Knight. In the present day Bushman resurfaces and clashes with Moon Knight twice in New York. Unlike several other foes, Bushman survives and so becomes the recurring arch nemesis.
Overall, Moon Knight is a rather confused strip. Breakout characters are far from unknown but usually they have some basics about their background and origin sketched from the start. Here we get a mess as a thug for hire in a fancy costume becomes a cross between Batman, as a millionaire fighting crime from a special mansion, and the Golden Age Hawkman, as a supposed reincarnation of an Egyptian deity. And we get awkward retcons to sort out the different elements (a good decade before Hawkman's continuity became near impossible to understand) with the result that the series is at times as confused as the lead character itself. Some of this would normally be down to a multitude of different writers and the lengthy time between appearances but here almost everything is written by Doug Moench who seems to have kept changing his mind on the character. This results in a confused, convoluted mess of a background to the series even if the individual stories are quite gripping and the magazine stories show more grittiness than could be done in the Code approved comics. There's strong potential here but it's not until the end of the volume that some of the problems are untangled to make the character more viable for the future.
Tuesday, 1 January 2013
What other Essentials has Spider-Man appeared in?
Happy New Year everyone!
Next month will see the release of the next Spider-Man volume - Essential Marvel Team-Up volume 4, containing issues #76-#78, #80-#98 & Annuals #2-#3. I'll be reviewing the volume in due course and also adding my thoughts on issue #79, which has been omitted due to rights issues.
In the meantime, this post is response to another enquiry about a minor aspect of the Essentials, namely which volumes from other series include issues from the various Spider-Man titles. I've already covered the issues not yet reached by their own volumes, but for the sake of completism here is a full list of all the volumes that contain any issues from the various Spider-Man series. The individual issues are linked to the posts containing the relevant reviews and the relevant volume links are to those reviews. As ever the co-stars of Marvel Team-Up issues are identified:
Essential Classic X-Men volume 3
Essential Werewolf by Night volume 1
Essential Punisher volume 1
Essential Marvel Horror volume 2
Essential Marvel Horror volume 1
Essential Defenders volume 2
Essential Killraven volume 1
Essential Marvel Two-in-One volume 1
Essential Warlock volume 1
Essential Nova volume 1
As previously discussed, this was the first crossover between Amazing and another series, bringing together Marvel's biggest star and their newest (and the Nova issue also appears in Essential Spider-Man volume 8). Looking back it's astounding to think that Nova was seriously expected to be the next Spider-Man. But then predicting The Next Big Thing has never been an easy science.
Essential Iron Fist volume 1
Essential Man-Thing volume 2
Essential Moon Knight volume 1
(Contrary to some early reports and many online listings, Marvel Team-Up Annual #4 is not included.)
Similar to the Punisher, Moon Knight began life as a one-off villain in another series (in this case Werewolf by Night) but proved so popular he kept returning and eventually graduated to a series of his own. His encounter with Spider-Man came midway through this journey.
Essential Dazzler volume 1
Dazzler was being steadily built up to be one of the Next Big Things from Marvel as part of a wider tie-in with a record company, but for various reasons the tie-ins were cancelled before they could happen and her actual series didn't materialise until 1981 when the disco fad was already fading. But before then one of her earliest appearances was in Amazing Spider-Man, an issue which ends rather suggestively between Spidey and Dazzler but unfortunately this was never followed up on.
Essential Spider-Woman volume 2
Essential Defenders volume 5
Essential Defenders volume 6
Essential Ghost Rider volume 4
Notably Ghost Rider himself doesn't actually appear in this issue, but instead we get Zarathos, the spirit previously bonded to him. This issue was also a crossover with Secret Wars II.
And so that's all the volumes I'm aware of. Unsurprisingly the vast majority of volumes reprint issues from Marvel Team-Up due to the policy of collecting some significant appearances of characters alongside their own series. However Essential Punisher volume 1 balances out the numbers somewhat.
Next month will see the release of the next Spider-Man volume - Essential Marvel Team-Up volume 4, containing issues #76-#78, #80-#98 & Annuals #2-#3. I'll be reviewing the volume in due course and also adding my thoughts on issue #79, which has been omitted due to rights issues.
In the meantime, this post is response to another enquiry about a minor aspect of the Essentials, namely which volumes from other series include issues from the various Spider-Man titles. I've already covered the issues not yet reached by their own volumes, but for the sake of completism here is a full list of all the volumes that contain any issues from the various Spider-Man series. The individual issues are linked to the posts containing the relevant reviews and the relevant volume links are to those reviews. As ever the co-stars of Marvel Team-Up issues are identified:
Essential Classic X-Men volume 3
- Amazing Spider-Man #92
- Marvel Team-Up #4 featuring Spider-Man and the X-Men
Essential Werewolf by Night volume 1
- Marvel Team-Up #12 featuring Spider-Man and the Werewolf

- Amazing Spider-Man #129
- Amazing Spider-Man #134
- Amazing Spider-Man #135
- Giant-Size Spider-Man #4
- Amazing Spider-Man #161
- Amazing Spider-Man #162
- Amazing Spider-Man #174
- Amazing Spider-Man #175
- Amazing Spider-Man #201
- Amazing Spider-Man #202
- Spectacular Spider-Man #81
- Spectacular Spider-Man #82
- Spectacular Spider-Man #83
Essential Marvel Horror volume 2
- Marvel Team-Up #24 featuring Spider-Man and Brother Voodoo
Essential Marvel Horror volume 1
- Marvel Team-Up #32 featuring the Human Torch & the Son of Satan
- Marvel Team-Up #80 featuring Spider-Man and Dr. Strange and Clea
- Marvel Team-Up #81 featuring Spider-Man and Satana
Essential Defenders volume 2
- Marvel Team-Up #33 featuring Spider-Man and Nighthawk
- Marvel Team-Up #34 featuring Spider-Man and Valkyrie
- Marvel Team-Up #35 featuring the Human Torch and Dr. Strange
Essential Killraven volume 1
- Marvel Team-Up #45 featuring Spider-Man and Killraven
Essential Marvel Two-in-One volume 1
- Marvel Team-Up #47 featuring Spider-Man and the Thing
Essential Warlock volume 1
- Marvel Team-Up #55 featuring Spider-Man and Warlock
Essential Nova volume 1
As previously discussed, this was the first crossover between Amazing and another series, bringing together Marvel's biggest star and their newest (and the Nova issue also appears in Essential Spider-Man volume 8). Looking back it's astounding to think that Nova was seriously expected to be the next Spider-Man. But then predicting The Next Big Thing has never been an easy science.
Essential Iron Fist volume 1
- Marvel Team-Up #63 featuring Spider-Man and Iron Fist
- Marvel Team-Up #64 featuring Spider-Man and the Daughters of the Dragon
Essential Man-Thing volume 2
- Marvel Team-Up #68 featuring Spider-Man and the Man-Thing
Essential Moon Knight volume 1
(Contrary to some early reports and many online listings, Marvel Team-Up Annual #4 is not included.)
Similar to the Punisher, Moon Knight began life as a one-off villain in another series (in this case Werewolf by Night) but proved so popular he kept returning and eventually graduated to a series of his own. His encounter with Spider-Man came midway through this journey.
Essential Dazzler volume 1
Dazzler was being steadily built up to be one of the Next Big Things from Marvel as part of a wider tie-in with a record company, but for various reasons the tie-ins were cancelled before they could happen and her actual series didn't materialise until 1981 when the disco fad was already fading. But before then one of her earliest appearances was in Amazing Spider-Man, an issue which ends rather suggestively between Spidey and Dazzler but unfortunately this was never followed up on.
Essential Spider-Woman volume 2
- Marvel Team-Up #97 featuring Hulk and Spider-Woman
Essential Defenders volume 5
- Marvel Team-Up #101 featuring Spider-Man and Nighthawk
- Marvel Team-Up #111 featuring Spider-Man and Devil-Slayer
- Marvel Team-Up #116 featuring Spider-Man and Valkyrie
Essential Defenders volume 6
- Marvel Team-Up #119 featuring Spider-Man and Gargoyle
Essential Ghost Rider volume 4
Notably Ghost Rider himself doesn't actually appear in this issue, but instead we get Zarathos, the spirit previously bonded to him. This issue was also a crossover with Secret Wars II.
And so that's all the volumes I'm aware of. Unsurprisingly the vast majority of volumes reprint issues from Marvel Team-Up due to the policy of collecting some significant appearances of characters alongside their own series. However Essential Punisher volume 1 balances out the numbers somewhat.
Labels:
Amazing,
Dazzler,
Defenders,
Ghost Rider,
Iron Fist,
Killraven,
Man-Thing,
Marvel Horror,
Marvel Team-Up,
Marvel Two-in-One,
Moon Knight,
Nova,
Punisher,
Spectacular,
Spider-Woman,
Warlock,
Werewolf By Night,
X-Men
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