When I was a teenager, especially a young teenager, Uncanny X-Men was the most popular comic among my peers. From looking back at comics journalism, we were not unique. This was also the same year I've been covering in my run of the Legion. It turns out that 1984 is a very important year for comics. This saw DC Comics make an investment in the direct market with its Baxter series. It also saw an explosion of independent publishers, including Mirage Studios with the breakout phenomenom Teenage Mutant Ninja Turtles. Antarctic Press, NBM Publishing, and Continuity Studios also debuted in 1984. Alan Moore took over Saga of the Swamp Thing. Marvel debuted the event series with Marvel Super Heroes: Secret Wars. Fantastic comics were being produced in 1984. Uncanny X-Men was one of them, going in new directions, especially with this issue.
Matthew Rosenberg is the one writer that would get me to pick up a comic that's drawn by Greg Land. I've been a fan of his from the moment I got a review copy of We Can Never Go Home #1. His new X-Men series features characters that have either never been the epitome of the team or are at a place where they just don't fit in with the core team. However, can a comic drawn by Greg Land still be good?
It's really sad when I want to review an old Marvel comic like The Eternals and I can't use my Marvel Unlimited membership. I wanted to review this from the first time I read it and saw that it drew inspiration from Erich von Däniken's book Chariots of the Gods. I don't buy the "ancient astronauts" theory. It is a little entertaining to watch how proponents work evidence to meet their theory. I watch them ignore basic elements of artistic representation to make ancient works of art literal interpretations rather than rich, symbolic visual poetry. I find the thought that a lack of modern scientific discoveries made ancient man less intelligent almost offensive.
In the past month there have been two comic book weddings that were touted a little bit. One moreso than the other. In X-Men Gold #30, We had the wedding of Colossus and Kitty Pryde. In Batman #50, we had the wedding of Batman and Catwoman. I'm going to compare the two, as they are very similar tales. In doing so, there will be spoilers.
Watching Avengers: Infinity War, I was taken with how powerful the Scarlet Witch was portrayed. This was a character shown to be powerful enough to shatter an Infinity Stone. Given that in the past two films that she's appeared in, her powers have been shown to be primarily telekinetic and mildly telepathic, but not so powerful that she can shatter one of the six most powerful items in the universe. This level of power is something that is not uncommon to long time comic fans. Most famously, she has completely rewritten reality in the House of M crossover event. She also stripped all but a handful of mutants of their powers at the end of that event. Writer John Byrne explored how her original power to alter probabilities in a great, albeit truncated story in Avengers West Coast collected in Darker Than Scarlet. On his forum, John Byrne explained that Wanda's powers worked backward through time, which brought the attention of Immortus. Immortus sought to exploit the most powerful aspect of her mutant power to change history, creating a timeline without an Avengers. This was a demonstration of how powerful Wanda could be, and that demonstration of power was the best part of what remained from the original story.
Before I start reviewing this latest New Mutants series, I want to make one thing clear. I always want to review any comic written by Matt Rosenberg. Since We Can Never Go Home, he's been one of my favorite writers.
I bought myself a membership to Marvel Unlimited Plus, a neat service Marvel offers where you can catch up on the history of the Avengers, Spider-Man, the X-Men and the like. I like the idea of reading old comics whenever the urge hits me. Thus, I decided to use this gift to do a Review
The urge hits me every so often to revisit Dazzler’s comics from the 1980s. She’s just one of those characters that never quite got to see her full potential realized. There never really seemed to be a mandate on what type of stories she should have. She was a super-hero, but a reluctant one. She
Marvel Comics dropped an announcement today about a new direction for Marvel Comics in 2018. My opinion of this "fresh start" is going to become very apparent as this article is dripping with sarcasm. We've all been down this road before, so let's just in this Spider-Buggy and take a ride.
I was going to continue on the the mid-80s frenzy that I was in, visiting the dawn of the West Coast Avengers, but in looking at the series, I wanted to hit where the series had its greatest impact. The mini-series was not that point, and in the series itself, the high points seemed to coincide with John Byrne's run on the title. Those also tended to run with multi-issue stories, with a couple notable exceptions, and one of those is the introduction of some of the silliest heroes of the 1980s, the Great Lakes Avengers. They keep coming back and at one point in their evolution boasted among their members, Squirrel Girl. This is before everyone's favorite nut-eating, butt-kicking hero was invented, and features some heroes that if not silly, definitely were interesting, to say the least. So with the intro now long enough to wrap past the Reviews of Old Comics logo, let's get started.
It's a TWO-FER! For my first Review of Old Comics for the year, I'm going with two comics my wife gave me this last Christmas. To be honest, I got the comics about a month ago in a special sale at Heroes Aren't To Find, a shop that we've talked about here before. She forbade me from even ripping the tape on the bag and board, and instead wrapped them up and put them under the tree. I read them today, and was reminded of the time John Byrne used a Marvel comic to parody another creator for a wacky set of beliefs. More on that later.
The news broke with a tweet from DC Comics that writer Brian Michael Bendis would be working for DC Comics. Bendis had been one of the driving creative voices at Marvel Comics for almost two decades.