Published: March 22nd, 2017 Written by: Rob Liefeld, Fabian Nicieza, Todd McFarlane, various Art by: Rob Liefeld, Greg Capullo, Todd McFarlane, Mike Mignola, Mark Pacella, Darick Robertson, Terry Shoemaker, various
Marvel Comics, 463 Pages
Man, oh, f’n man… it’s been ages since I’ve read the Rob Liefeld era of X-Force. When I was a kid, I thought that this was the greatest new series Marvel had but I also think I was convincing myself of that, as Rob Liefeld was a hot commodity and I was also a fan of The New Mutants, which this was born out of. Besides, there was just so much hype at the time and I was at a pretty impressionable age.
Reading this now, I still found it really enjoyable and was surprised that I liked it as much as I did.
However, I also know that the story essentially came from Liefeld like bullet points and then it was handed to ace writer Fabian Nicieza, who actually wrote all the dialogue and massaged Liefeld’s notes into a usable script. After Liefeld left the series to co-found Image Comics, Nicieza stayed on as the writer and worked with other greats like Greg Capullo and Mike Mignola.
Now looking at the other side of this, creatively, the art isn’t great and even if I loved Liefeld when I was in 7th grade, I see the issues with his art much more clearly now. However, I don’t want to shit all over the guy like everyone else has done for years. I just notice the issues he has with anatomy and perspective.
It’s worth mentioning, though, that the art did improve once Liefeld stepped away, which happened about two-thirds into this collection.
As far as the story goes, I really got reinvested in this and want to keep reading it. Possibly beyond where I stopped when I was buying this month-after-month, which was about four or five years into the series.
Additionally, this also reminded me of how much I liked some of the long forgotten characters that were so cool in 1991. Characters like G.W. Bridge, Garrison Kane and the other people associated with them and Cable’s past.
Published: February 15th, 2018 Written by: Jim Steranko, Gary Friedrich, Roy Thomas, Archie Goodwin, Ernie Hart, Steve Parkhouse Art by: Jim Steranko, Frank Springer, Herb Trimpe, Barry Windsor-Smith, Dick Ayers, Sal Buscema
Marvel Comics, 309 Pages
I started with Masterworks, Vol. 3 because it is a collection of what’s considered to be the most beloved work featuring Nick Fury, as the solo star of his own stories.
This also takes the character, puts him in S.H.I.E.L.D. and makes him a cool, hip superspy, as opposed to a military hero on the battlefields of war.
Marvel, like everyone else at the time, wanted to capitalize off of the ’60s spy craze that started with the first James Bond film, Dr. No in 1962. That movie inspired its own sequels, a slew of rip-offs, parodies, pulp novels and comics. So, instead of creating a new character, Marvel reworked one that was already pretty popular but existed in a genre that was drying up.
A lot of this is written and has art done by Jim Steranko. A lot of people worked on the issues in this collection, though, but Steranko is the guy that has always been given most of the credit for this groovy reinvention of Nick Fury.
Tapping into the ’60s era spy genre, this is trippy and colorful and it stands out in a really unique way when compared to the other Marvel titles of the time. I love the hell out of the art and the style in these comics and it’s why I’ve picked up a lot of the single issues, over the years.
I was never as captivated by the stories, as much as I was by the visuals, however. But the stuff featuring Nick Fury fighting Hydra and the multi-issue arc pitting him against the Hate-Monger were really damn enjoyable.
I never got to read all of these issues and experience the bigger picture. I’m glad that I finally did, though, as it’s really different than what was the standard ’60s Marvel fare. Plus, it’s also infinitely better than anything Marvel’s doing these days.
Published: June 17th, 2015 Written by: Mark Gruenwald, D.G. Chichester, Randall Frenz, Fabian Nicieza, Dann Thomas, Roy Thomas Art by: Larry Alexander, Mark Bagley, Ron Frenz, Don Hudson, Ron Lim, Mike Manley, Chris Marrinan, Jim Valentino, Ron Wilson
Marvel Comics, 493 Pages
I really liked the Streets of Poison storyline when I was a kid. I was also really pumped to jump right into this Epic Collection, as the previous one was pretty exceptional.
However, this didn’t read as good as it did when I was eleven years-old but lots of things don’t and that also doesn’t mean this was bad.
I like this era of Captain America and revisiting it makes me appreciate it even more, even if it’s not as perfect as I remembered it.
This kicks off with the Streets of Poison arc, which is highlighted by a fight between Red Skull and the Kingpin. I thought that this rivalry between the two villains and everything leading up to their fight was really solid. You had Crossbones trying to take out Kingpin with Bullseye trying to take out Red Skull and the two assassins having their own fight. Additionally, Captain America fights both of them as well.
My only real gripe about the story was how being exposed to drugs altered Cap’s behavior pretty immensely. It bonded with the super solider serum in his body and the only way to cure Cap was to remove his blood and fix the serum. However, Cap, being strongly anti-drug after this experience, rejected the serum and decided to move forward as a normal man and not the creation of a drug he took back in the 1940s.
Following Streets of Poison, we got the story of the Serpent Society abducting Diamondback and trying her for her crimes against the Society. King Cobra and his minions rule against Diamondback harshly but she survives her execution when Cap finds her. Diamondback’s allies within the Serpent Society leave the group as well and they start to establish themselves as a new heroic group.
There are a couple single issue stories weaved into the bigger tapestry, here. None of them were bad and they honestly just showed how solid the writing at Marvel was in this era.
Published: 1994 Written by: Howard Chaykin Art by: Shawn McManus
Marvel Comics, 49 Pages
This graphic novel release in 1994 brought an end to the trilogy of stories that saw Wolverine and Nick Fury team up.
Fans started referring to it as The Scorpio Trilogy and I’m not sure if Marvel ever officially adopted that name. The reason it’s called that, though, is that the two bookends of this trilogy feature the character Scorpio, who has close, personal ties to Nick Fury.
Oddly enough, I think the middle story, which doesn’t feature Scorpio, is definitely the best of the trio.
With that, I’d say that this was my least favorite but I still liked it for the reasons why you should like a comic with Wolverine, Nick Fury and a style that’s not made for younger comic book readers.
This, like its two predecessors, has a much harder edge to it than a standard monthly Marvel comic and that’s one of the things that made me gravitate towards these one-off graphic novel releases.
Overall, this did a decent job of bringing the Scorpio stuff to a close and altering the character in a meaningful way. And while I wasn’t into the art in this chapter, this was still a short and action-packed tale that fits well with the other two Wolverine/Nick Fury team-ups.
Also known as: Nick Fury (Argentina, France, Italy, Poland) Release Date: May 26th, 1998 (TV) Directed by: Rod Hardy Written by: David Goyer Based on: Nick Fury by Stan Lee, Jack Kirby Music by: Kevin Kiner Cast: David Hasselhoff, Lisa Rinna, Sandra Hess, Neil Roberts, Garry Chalk, Tracy Waterhouse, Tom McBeath, Ron Canada
Fury Productions Limited Partnership, National Studios Inc., 20th Century Fox Television, 90 Minutes
“Contessa Valentina de Allegro Fontaine. Quite a mouthful when you try and wrap your tongue around it. Don’t let the blue blood fool ya, Pierce. Val’s an old hand at the sexpionage game, aren’t ya?” – Nick Fury
I remember seeing the ads for this on television back in 1998 and thinking, “Yeeeeeeeesh…” Because of that, I never watched this but I have seen some scenes and clips over the years.
If I’m being completely honest, though, there probably wasn’t better casting at the time than David Hasselhoff to play the classic Nick Fury in a low budget, TV movie that was, more or less, a failed pilot for a series.
Watching this now, I really like Hasselhoff and I think that he nails the look and chutzpah of the comic book Nick Fury pretty well. It just sucks that the rest of the production around him is really terrible and it actually brings down his performance.
If someone came up to six year-old me in 1985, handed me a Jim Steranko Nick Fury comic and said that the dude from Knight Rider would play him one day, I probably would’ve been beyond ecstatic. But alas, we got a picture that failed from top-to-bottom.
The plot is fucking terrible and makes little to no sense. For most of the movie, Fury has been exposed to a deadly toxin but it doesn’t even start to effect him till like the end of the movie, when he’s hunting down the chick that poisoned him but can also cure him. I guess the toxin isn’t all that bad if this dude can fight like nothing is wrong with him for half the movie. And if anyone knows the character Viper, once she poisons you, you’re pretty much immediately fucked.
This could’ve been pretty damn great and led to a decent Marvel Comics television show in an era where people would’ve really ate it up. Instead, we got a poorly written, awfully directed piece of crap, starring a guy that could’ve brought great things to the table if someone behind the scenes gave half a shit.
Rating: 3/10 Pairs well with: other Marvel films before the 2000s changed everything.
Published: 1993 Written by: Danny Fingeroth Art by: Scott McDaniel
Marvel Comics, 97 Pages
I recently revisited and reviewed one of my favorite miniseries in my youth, The Deadly Foes of Spider-Man. I was pretty impressed by it and so I wanted to read its sequel, which I missed when I was a kid.
Unfortunately, this one is a much weaker miniseries.
I think the biggest reason for that was because this one was just overloaded with characters, the villains weren’t really unified at any point and it was more like a Royal Rumble than a story about Spider-Man having to overcome a team of enemies with the objective of defeating the hero through shear numbers.
This picks up some of the plot threads from the previous story but honestly, everything seemed pretty much resolved already. Adding on to those stories didn’t really generate anything meaningful or that interesting.
I really liked the Sinister Syndicate team from Deadly Foes but only half of them returned and then we had other villains kind of randomly thrown in.
The story wasn’t necessarily hard to follow but it was a mess.
I’m not sure what went wrong but trying to do too much for the sake of simply upping the ante isn’t really a good approach.
Rating: 6/10 Pairs well with:The Deadly Foes of Spider-Man and The Superior Foes of Spider-Man.
Original Run: March 19th, 2021 – April 23rd, 2021 Created by: Kevin Feige, Louis D’Esposito, Victoria Alonso, Nate Moore, Kari Skogland, Malcolm Spellman Directed by: Kari Skogland Written by: various Based on: Falcon by Stan Lee, Gene Colan; Bucky Barnes by Joe Simon, Jack Kirby; Winter Soldier by Ed Brubaker, Steve Epting Music by: Henry Jackman Cast: Sebastian Stan, Anthony Mackie, Wyatt Russell, Erin Kellyman, Danny Ramirez, Georges St-Pierre, Adepero Oduye, Don Cheadle, Daniel Brühl, Emily VanCamp, Florence Kasumba, Julia Louis-Dreyfus
Out of all the Marvel television shows that were originally announced for the Disney+ streaming service, this was the one I was most excited for.
That being said, I was severely disappointed and it kind of made me not really care about three of my favorite characters from the Marvel Cinematic Universe.
I don’t even know where to start with this awful mess but here I go.
I guess the biggest thing is that this show is woke as fuck, which I was pretty sure the MCU was gearing up to do with their entire franchise once Avengers: Endgame was over and they had the obvious intention of making Captain Marvel, an unlikable cunt, the focal point of the universe going forward. Now they’ve potentially switched gears due to immense backlash of the Brie Larson character and its lack of charisma or any real purpose other than trying to be a Mary Sue boss bitch. However, the suits at Disney want identity politics injected into Marvel even more so than what they’ve done with Star Wars.
Anyway, I guess the one big takeaway from this show is that I now know that Falcon is black. I never really noticed it before, so I guess it’s good that this show points it out to its audience about six times per episode.
The plot, which makes little sense, shows Falcon turn over Captain America’s shield to the US government even though Cap gave it to him because he earned it. But oh no! Falcon, who was given the endorsement from Cap himself, can’t be Captain America because he’s black. So the entire series deals with Falcon being mad that a black man can’t be Cap, even though he willingly gave that up when the torch was passed to him. So when another white dude gets named Captain America, suddenly Falcon is like, “Oh, hell no!” By the end, Falcon gets the shield back and is Captain America, so we’re right back where we started in the first place.
Additionally, whoever wrote this doesn’t understand these characters or understand actual morality. The reason I say this is because they have Falcon sympathize with the murdering terrorist girl over his own allies and against his actual mission. I get it, dude, she’s a confused teenager… but the fact of the matter is, despite whatever her fight is, she murders lots of people. But Falcon, he just wants to bring her over to the light.
Also, the terrorists have no real objective other than, “Shit’s fucked up! It’s America’s fault!” They have no plan, no actual goal, they just want to blow shit up and kill people.
Then when Falcon gives his big speech at the end, calling out politicians and leaders he blames for the terrorist girl’s tough life, he can only criticize and can’t give actual solutions. He’s just as stupid as the terrorists.
This show felt like it was written by a pissed off, rich, white teen girl that went down some social justice rabbit hole on TikTok.
Bucky had a good story when the show started but then it was dropped to deal with Falcon’s blackness. Then it was resolved at the end but you didn’t care about Bucky’s journey by that point.
Also, I was really looking forward to the return of Baron Zemo and finally seeing him in his mask. However, he only wears the mask in one episode for about five minutes.
Beyond that, Sharon Carter has a heel turn. It doesn’t make sense, it’s stupid and the only way to make it work is to reveal that she’s a Skrull. But then, the MCU fucked up the Skrulls too and made them babyfaces in Captain Marvel.
Sadly, this show is probably a clear sign of what’s to come from the MCU, which is hot garbage.
Like Disney’s Star Wars, I’m starting to lose interest with each new release. I guess I’ll have to see how bad things get with Loki when it debuts next month.
Rating: 4/10 Pairs well with: white non-binary pineapple fembots on TikTok lecturing and shaming everyone, even though they’re not old enough to get a driver’s permit.
Published: September 15th, 2010 Written by: Brian Michael Bendis Art by: Alex Maleev
Marvel Comics, 461 Pages
This long stretch of Daredevil issues should’ve actually been better than the ones in the first volume, as shit got real dark, things were more action packed and this went to places I didn’t expect.
The reason why I can’t rate it as high as the previous one is because of the awful romantic subplot that actually sees Daredevil get married for a short time.
I hated this plot, the new love interest and thought that it detracted from a much better story about the shifting power in the New York City criminal structure and Daredevil dealing with that while also trying to work around the public knowing his identity.
The romance plot was just too much added into an already very layered and rich story. Plus, that stuff was poorly written and I don’t want to be that guy but I don’t think that Brian Michael Bendis understands romantic interaction above a college aged level.
That being said, Bendis’ writing is great outside of the romantic shit.
Also, I love Alex Maleev’s style and tone in regards to Bendis’ story. They come together rather nicely, even if it appears as if Maleev is tracing some characters and doing digital tricks. This was originally made at the turn of the millennium and artists were experimenting with a lot of new technology at the time. Frankly, I know he used Photoshop filters because I recognize them. Still, the end result works and I’m just a traditionalist that likes things done the old school way. This is why I also don’t like Pixar movies or that style of animation.
Out of all the different story arcs collected here, I think I like the one that features The Owl the best. I liked seeing him truly unhinged and trying to wedge himself into The Kingpin’s spot as crime boss. After that, I really loved the section with Typhoid Mary, as she’s one of my favorite Daredevil villains and doesn’t get enough love, in my opinion. She also looked great in this run, even if I still prefer her original look, as drawn by John Romita Jr. back in the late ’80s.
I love the hell out of Bendis’ run on this series and it truly rivals the great runs by Frank Miller and Ann Nocenti, who still takes the cake for me.
Remove the romantic, juvenile love shit in this story and this would’ve been a perfect Daredevil collection.
Rating: 9.25/10 Pairs well with: the other Daredevil comics from his Marvel Knights run.
Published: June 11th, 2008 Written by: Ed Brubaker Art by: Steve Epting, Mike Perkins
Marvel Comics, 161 Pages
I was excited to read this after having recently read Ed Brubaker’s first three volumes in his Captain America run, as well as revisiting the Civil War event.
This story takes place immediately after Civil War and in the first issue of this collection, we see Cap arrive at the courthouse to stand trial only for him to be assassinated on the steps before entering.
What follows is a political thriller with a lot of twists, turns and curveballs. This story is also used to setup Bucky Barnes a.k.a. Winter Solider as the new gun-toting Captain America. While he doesn’t become the new Cap yet, this is the start of that interesting journey and intriguing era for the character.
The death of Cap happens so quick and once you get past that, this deals with the fallout from it and how it effects certain characters while also slowly revealing that something is very complicated with one of them. I don’t want to say too much for risk of spoiling a major plot twist.
I thought that this was pretty good but it doesn’t have a definitive ending. It’s left open ended, as this is the first of several parts collecting the larger saga around Cap’s death and Bucky’s evolution into the role of Cap’s replacement.
Brubaker once again wrote a compelling and interesting story with superb art by Steve Epting and Mike Perkins.
Rating: 7.5/10 Pairs well with: the rest of Ed Brubaker’s Captain America run.
Published: June 15th, 2011 Written by: Ed Brubaker Art by: Steve Epting, Marcos Martin, Mike Perkins, Javier Pulido
Marvel Comics, 211 Pages
Ed Brubaker’s Winter Soldier story was damn solid. This immediate followup to it was even better. But sadly, this is all leading to the following story, the famous and divisive Death of Captain America.
In recent years, I’ve really liked the character of Sin, who is Red Skull’s daughter. This serves as her origin story and shows how her father viewed her, treated her and eventually, how Crossbones came along and broke her, bringing her closer to her destiny as Red Skull’s heir.
This also builds off of the Winter Soldier story, as we see Captain America still trying to reach out to his best friend and bring him back over to the light, fully.
Additionally, we get to see a strange version of Red Skull, who is emerging in a fairly intriguing way, setting up future stories.
This also teams Cap up with Union Jack and Spitfire, calling back to the Invaders, Cap’s team from World War II.
Overall, this is a great comic that is more political thriller than what superhero comics tend to be. It actually reminds me a lot of the tone of the Captain America: Winter Soldier film from 2014.
Ed Brubaker is a fantastic writer, as can be seen from my reviews of a lot of his work. He was stupendous in his handling of the Captain America title and this collection is no different. In fact, I consider it a high point and I look forward to continuing on beyond this, as I remember liking the series even after Cap died.
Rating: 9/10 Pairs well with: the rest of Ed Brubaker’s Captain America run.
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