Back Issues [A-Day]: The Avengers #54-55 / The Mighty Avengers #66-68


In September 1963 the legendary duo of Stan Lee and Jack Kirby assembled Earth’s mightiest heroes, the Avengers, who became the premier team of Marvel Comics, formed the backbone of the Marvel Cinematic Universe, and become an unbelievably popular and successful franchise.


Story Title: “…And Deliver Us From–The Masters of Evil!”
Published: 9 May 1968 (cover-dated: July 1968)
Writer: Roy Thomas
Artist: John Buscema

Story Title: “Mayhem Over Manhattan!”
Published: 11 July 1968 (cover-dated: August 1968)
Writer: Roy Thomas
Artist: John Buscema

Story Title: “Betrayal!”
Published: 13 May 1969 (cover-dated: July 1969)
Writer: Roy Thomas
Artist: Barry Windsor-Smith

Story Title: “We Stand at Armageddon!”
Published: 10 June 1969 (cover-dated: August 1969)
Writer: Roy Thomas
Artist: Barry Windsor-Smith

Story Title: “…And We Battle for the Earth!”
Published: 8 July 1969 (cover-dated: September 1969)
Writer: Roy Thomas
Artist: Barry Windsor-Smith

The Background:
After DC Comics brought together their most popular and powerful superheroes to form the Justice League of America in 1960, Marvel Comics head honcho Martin Goodman tasked Stan Lee with creating a similar team following his success with the Fantastic Four and the X-Men. Luckily, Lee and his most famous collaborators had already introduced numerous colourful characters and, thus, Anthony “Tony” Stark/Iron Man, Doctor Robert Bruce Banner/The Hulk, Doctor Donald Blake/Thor Odinson, and Doctor Hank Pym/Ant-Man and Janet Van Dyne/The Wasp became the first Avengers. Since the debut issue, the Avengers have been a consistent and influential presence in Marvel Comics and their roster has constantly shifted and changed, with the long-retired Captain Steve Rogers/Captain America joining their ranks in issue four. The Avengers splinter groups, been disassembled and reassembled, aided in massive cosmic events, and battled some of Marvel’s most powerful supervillains. Perhaps one of their greatest recurring enemies is the psychotic cyborg Ultron, who was first revealed under the guise of the Crimson Cowl in The Avengers #55. Created by Roy Thomas and John Buscema, and built in-universe by Hank Pym, Ultron is a sentient android who developed a murderous obsession with destroying the Avengers and conquering the world. Capable of changing his form, improving and becoming more powerful over the years, Ultron inadvertently created one of the Avengers’ most powerful allies, the Vision, expanded his schemes to include both the galaxy and altering the timeline, and even merged with his creator at one point. Ultron has made regular appearances in videogames as a powerful, penultimate, or final boss, is often portrayed as a formidable villain in Marvel cartoons, and was masterfully brought to life by James Spader in Avengers: Age of Ultron (Whedon, 2015).

The Review:
The Avengers’ first encounter with the killer automaton Ultron began with T’Challa/The Black Panther testing Dr. Hank Pym/Goliath’s new defensive protocols at the Avengers Mansion. Satisfied that the booby traps are fully functional, Giant-Man alerts the Avengers’ butler, faithful Edwin Jarvis, who’s shocked at the subtle insinuation that he would ever betray his team’s secrets. However, Jarvis then slinks away to make a clandestine phone call and then slips out to visit his mother, only to venture to a secret base beneath a condemned building to meet the villainous Masters of Evil! Rather than being brainwashed or some elaborate decoy, Jarvis has truly betrayed the Avengers for a hefty cash sum and, while Chen Lu/Radioactive Man is suspicious of their enemy’s butler working with them, the team’s newest leader – the elusive and secretive Crimson Cowl – vouches for Jarvis. Still, Ulysses Klaw is anxious to have his revenge against Earth’s Mightiest Heroes, specifically the Black Panther, and is tempted to kill Jarvis as a substitute. Thanks to Dane Whitman/The Black Knight and Bruno Horgan/The Melter, the enraged villains cool off enough to let Jarvis speak. However, after Jarvis delivers the floorplan for Pym’s new defences, the Crimson Cowl double-crosses him with a puff of knockout gas and sends the Masters of Evil on their way. While flying about on his winded horse, Aragorn, the Black Knight recalls how he joined the new Masters of Evil to betray them to the Avengers. However, the Crimson Cowl anticipates this and sends the others to intercept Whitman at the Avengers Mansion. Though overwhelmed, the Black Knight orders Aragorn away but, while Clint Barton/Hawkeye spots the horse, the abrasive Avenger is attacked by the Melter before he can alert the team.

The Avengers and their foes are stunned when their newest adversary turns out to be more than he seems.

Though he fires off a few arrows, Hawkeye’s downed when the Melter buries him under some debris. Simultaneously, David Cannon/Whirlwind attacks the Black Panther, sending him flying with a whirling cyclone, and the Wasp is accosted by Klaw. Despite showing no fear and her super shrinking ability, the Wasp is easily defeated when she flies head-first into a door! Similarly, Radioactive Man surprises Goliath and Doctor William “Bill” Foster in the Avenger’s lab, subduing Foster with a super adhesive and luring Goliath into a trap where he’s ensnared by his own devices! With all the Avengers captured, the gloating Masters of Evil introduce their master, who’s first revealed to be a distinctly Ultron-looking robot decoy and then unmasked to be Jarvis! The Masters of Evil load their prisoners into a futuristic craft and head back to their master, relishing their victory, though the villains are as unnerved by Jarvis’s turn as the Avengers, if not more since Jarvis demonstrates an uncanny ability to be fully aware of everything, no matter how trivial. Although Goliath escapes his restraints, Klaw’s saved by the Crimson Cowl, who admonishes his carelessness. When Klaw turns his incredible Sonic Claw on his master, he’s amazed when it has no effect and is left grovelling at the hooded figure’s feet, suitably humbled. The Crimson Cowl then reveals his plan to drop the Avengers into the ocean and blackmail New York City with a hydrogen bomb. However, the Crimson Cowl purposely drops the Avengers in a craft so they can slowly suffocate after learning that Jarvis was hypnotically duped into betraying them by none other than Ultron-5!

After freeing Jarvis from Ultron, the Avengers are later betrayed by the Vision!

Though it seems like the Melter crushes Jarvis under some rubble during his desperate escape, the remorseful butler survives and wanders the streets, succumbing to exhaustion just as he’s found by the Black Knight. Thanks to Jarvis’s tipoff, the Black Knight intercepts Ultron-5’s craft and frees the Avengers. The team quickly avenge themselves against the Masters of Evil, causing Whirlwind to flee but apprehending the others and easily dismantling the hydrogen bomb. When the Avengers confront their regretful butler, Jarvis reveals he sold out to pay for his mother’s treatments, and they quickly forgive him and part with the Black Knight on good terms, though Ultron-5 is left vowing revenge. Some time later, aboard a Supreme Headquarters, International Espionage and Law-Enforcement Division (S.H.I.E.L.D.) Helicarrier, a new version of the Avengers tests the durability of the mysterious Adamantium, a substance powerful enough to tank blows from Thor Odinson’s hammer and Iron Man’s Repulsor Rays. This proves that, as the team feared, the mineral has been altered by a “molecular rearranger” and presents a serious threat. As Goliath (now Barton garbed in a garish costume) tries to prove he can succeed where they failed, the strangely silent synthezoid, the Vision, is suddenly assaulted by an unseen force and compelled to brood over the grave of Simon Williams/Wonder Man, whose brain patterns formed his personality. Though he first suspects Simon’s spirit is calling him, the Vision suddenly has a revelation and flies off, leaving Pym (now known as Yellowjacket) to ponder his ally’s fate. While Iron Man tests himself in the mansion’s combat simulator, the Vision returns to the team’s Helicarrier, subdues a guard, and steals the Adamantium before lowering the ship’s air pressure to leave none alive. When the team finds out and find Janet attacked, they angrily confront the Vision, who coldly rejects his humanity, easily shrugs off their attacks, and heralds the rebirth of his creator, now in the jet-powered form of Ultron-6!

The remorseful Vision tries to atone for his mistakes by battling his creator to the death.

Now made of the indestructible Adamantium, the vengeful Ultron-6 attacks without mercy, easily defeating Thor and Goliath when the battle hungry Thor strikes the android’s body with his enchanted hammer, Mjölnir, and causes a massive shockwave. Though Yellowjacket gets the drop on his creation, Ultron-6 easily throws him off and then targets Pym over Iron Man and the Wasp, hell-bent on killing his “father”, though he proves too powerful for Iron Man to affix some electrodes to stop him. Bored of the conflict, Ultron-6 flees, unknowingly pursued by the repentant Vision, realising his creator programmed a failsafe to ensure his servitude. After regrouping, the Avengers set out to stop Ultron-6, who returns to his stronghold and prepares to launch a cache of nuclear weapons, determined to wipe out the human race! When confronted by his melancholic, wayward “son”, Ultron-6 flies into a rage, desperate to prove himself superior to his creation, though the Vision’s incredible matter-altering powers make him more than a match for his “father”. Ever the stubborn android, Ultron-6 escapes the Vision’s wrath by transforming into “sheer ionic force” and leaves the Vision to be attacked by S.H.I.E.L.D. soldiers for stealing their Adamantium. When the Avengers arrive, they discover Ultron-6 is one lever pull away from causing nuclear destruction, though the murder machine is left incensed that lever is mysteriously inoperable. Regardless, Ultron-6 is still powerful enough to endure Yellowjacket’s electrical blasts and throw the team around like ragdolls with a burst of explosive ionic power. Yet, despite apparently being strong enough to kill the Avengers and then enact his diabolical plot, Ultron-6 simply vanishes and the team is left to witness the Vision’s theatrical sorrow for being controlled by his creator. Before collapsing from his efforts to defeat Ultron-6, the Vision also reveals that he caused Ultron-6’s plan to go awry by trashing his apparatus.

Despite his all-powerful new form, Ultron is undone by some Pym trickery.

After convincing S.H.I.E.L.D. to relinquish custody of the Vision, the Avengers fail to rouse him with a concentrated dose of solar energy and thus turn to Yellowjacket’s “rudimentary mind-probe” to learn that the molecular rearranger is the key to stopping Ultron-6 since the only thing that can rearrange Adamantium. Although the device was also stolen alongside the Adamantium, Yellowjacket contacts the Black Panther while he’s fending off an invasion of Wakanda and requests a chunk of his nation’s Vibranium. Upon learning that the Avengers plan to publicly reveal his threat, Ultron-6 decides to enter their obvious trap and slaughter them, intent on kidnapping Adamantium expert Doctor Myron McLain and forcing him to build an army of Ultron duplicates so he can conquer the world. Despite being a capable and adaptable fighter, the Wasp is more concerned with dressing well for the team’s arrival at the United Nations building, where Dr. McLain is attacked by Ultron’s newest shell, a towering humanoid construct claiming to be the “ultimate” Ultron. Easily dispatching the nearby S.H.I.E.L.D. agents, Ultron calls out the Avengers and renews their battle, barely flinching when struck by Mjölnir and shrugging off the clumsy Goliath’s gigantic fist before briefly putting both Avengers down with lasers. Ultron then forces the Avengers to back off lest he murder Dr. McLain, leaving them powerless to stop him from affixing a “mind-draining device” to the doctor’s head to absorb his immense knowledge and secrets. However, Ultron’s forced to break the connection when he struggles to contain Dr. McLain’s vast intellect, leaving him on the brink of a complete meltdown. Thankfully, Thor averts this by containing Ultron within a special expanding chamber…thing…made of Vibranium, seemingly destroying Ultron in the process. In the aftermath, it’s revealed that “Dr. McLain” was really super genius Hank Pym in disguise and that he forced Ultron to absorb a phrase so alien to him that it led to his destruction: “Thou shalt not kill.”

The Summary:
While I’ve always been a fan of Ultron, his first encounters with the Avengers felt a bit lacking to me. The first two issues, especially, are a bit of a mess, overloaded with characters and painting Jarvis, of all people, as a deceiver and a villain! I understand the idea of behind bringing together a new Masters of Evil, especially as the villains nicely counter each hero’s abilities, but their victory felt forced here. Ultron-5 goes to the effort to brainwash Jarvis (despite him later admitting that he “sold out” for money for his sick mother) to acquire Pym’s floorplan, only for Whirlwind to just enter through a window and the Melter to…well, melt…a hole in the wall. There was barely a co-ordinated attack on the Avengers Mansion, the villains just caught them by surprise with such sophisticated tricks as fancy glue and slamming a door. I would’ve much preferred it if Ultron-5 had used Jarvis’s knowledge to reprogram or take control of Pym’s machinery, turning them against the Avengers as he turns training room against Iron Man and overwhelming them with a real show of power. Instead, the first two issues try to sell Jarvis as a traitor, with no one (not even Pym) recognising Ultron-5 until he reveals himself and the Masters of Evil happily following Jarvis’s commands. Ultron-5 is also depicted as a grandiose fool, more focused on gloating and humbling his enemies than finishing the job, and ends up undone by the Black Knight, of all people, and a comparatively weak incarnation of the Avengers. For me, this makes the “Crimson Cowl” part of Ultron’s history an odd and forgettable side note in the killer robot’s lineage, one perhaps only good for a pub quiz.

Despite his menacing appearance, Ultron is a boasting, psychotic braggart whose plans go awry.

Ultron makes a better impression in the second story, even if Hawkeye is parading around in a gimp outfit as Goliath and Pym is making a fool of himself as Yellowjacket. One thing I’ve always loved about Ultron’s design is his permanently screaming face, with the flaming energy bursting from his mouth, which is surprisingly expressive and matches his chaotic mood swings. These three issues are also noteworthy for introducing Adamantium and depicting it as the strongest and perhaps most dangerous substance on Earth. Its nigh-indestructible properties make it the perfect target for Ultron-6, who compels his “son”, the Vision, to steal it and fortify his otherwise laughable half-torso, half-rocket jet form. This also seems to facilitate an evolution in Ultron’s physical self, allowing him to project and even transform into ionic energy, easily making him a physical match for Thor and making fools of Goliath and the Wasp. By this point, Ultron-6’s plan has changed from blackmail to worldwide destruction and there’s a real sense of tension as the team desperately pursues him, especially as Ultron-6 is depicted as psychotic in his desire to eradicate human life. Yet, Ultron-6 apparently cannot construct new bodies for himself or robotic minions, which leads to his undoing when he targets Dr. McLain and is easily fooled by Yellowjacket. Still, despite “ultimate” Ultron failing to impress, Ultron is depicted as a significant threat as he outmatches, outwits, and outpowers a far stronger team of Avengers and comes dangerously close to enacting his plan. While he meets his end in dubious fashion, seemingly destroyed by the thought Pym plants in his head and the laughable Vibranium bell-thing Thor encases him in, I enjoyed seeing Ultron throw the Avengers around and be publicly revealed as a very real threat to the world.

Melancholy Vision proves ineffectual against Ultron compared to Pym’s elaborate scheme.

These three issues also largely focus onto the Vision, a melancholy, brooding figure who’s treated with some distrust by Barton, apprehension by Pym, and naturally seen as a tortured soul by the flakily Janet. Prone to breaking into gloomy soliloquies, the Vision is constantly questioning his purpose and humanity and is torn between his loyalties to his teammates and the programming forced upon him by Ultron-6. Having created the synthezoid some time ago, Ultron-6 compels his “son” to subdue any in his way using his bizarre powers, phase through walls, and betray his allies by stealing the Adamantium. Conveniently, Ultron-6’s control over the Vision isn’t permanent and he soon comes to his senses, only to be set upon by S.H.I.E.L.D. soldiers and put his relationship with the Avengers in doubt. This, as well as the desire to stop his creator, drives the Vision to confront Ultron-6 in a battle to the death. Thanks to the Vision being effectively all-powerful, their fights are brutal and merciless, though Ultron-6 maintains the advantage with his ionic powers and the Vision is left seemingly comatose after exerting himself. I’m not a big fan of the Vision’s dramatic ways but it is fun seeing him go toe-to-toe with Ultron-6 and getting a sense of how powerful Ultron can be since he holds his own against powerhouses like the Vision and Thor. Still, the Avengers’ first counters with Ultron were surprisingly low-key, despite Ultron wishing to wipe the human race off the Earth. Ultron’s shown to be incapable of making good on this threat after the Vision wrecks his equipment, ironically needing the knowledge of a human to prove his mechanical superiority, and spends more time boasting and plotting than actually seeing things through. It definitely makes him a megalomaniacal villain and I really dig his creepy aesthetic, but I don’t think it did him any favours to go up against such mismatched Avengers teams, who handily defeated him despite not being as powerful as they could be.

My Rating:

Rating: 3 out of 5.

Pretty Good

What did you think to Ultron’s first encounters with the Avengers? Where does Ultron rank in your hierarchy of Marvel villains? Did you believe that Jarvis had turned traitor? Were you surprised when the Vision betrayed his team? Which incarnation of Ultron is your favourite or who would you like to see on the Avengers roster one day? What are some of your favourite Ultron stories or moments? How are you celebrating the debut of the Avengers today? Share your thoughts on Ultron, and the Avengers below and, if you’d like to see more Ultron reviews, go support me on Ko-Fi.

Back Issues [Independence Day]: Captain America Vol. 5 #8-14


First appearing in 1941, Captain Steve Rogers/Captain America, became one of Marvel Comics’ most recognisable and celebrated characters not just for his super patriotism but also for being a prominent member and leader of Marvel’s premier super team, the Avengers. As today is Independence Day, this is the perfect excuse to pay tribute to the star-spangled Avenger.


Story Title: “The Winter Soldier” (Part 1 to Conclusion)
Published: 20 July 2005 (cover-dated: September 2005) to 1 February 2006 (cover-dated: April 2006)
Writer: Ed Brubaker
Artist: Steve Epting and Michael Lark

The Background:
By 1941, World War Two was in full swing and, after Nazi Germany invaded Denmark and Norway, the United States finally joined the fight to oppose the triumvirate “Axis powers” of Germany, Japan, and Italy. The ever-escalating conflict meant patriotism and national pride were high in America and Joe Simon and the legendary Jack Kirby capitalised by having Captain America and his kid sidekick, James Buchanan Barnes/Bucky, take the fight to the Axis and encourage readers to support the War. After the War ended, superheroes declined in popularity and Captain America’s solo title was cancelled in 1954. However, he got a new lease of life when he was recast as a “man out of time” and joined the Avengers. For decades, Bucky was one of the few comic book characters whose death seemed permanent but that all changed with this story arc. It was writer Ed Brubaker, fresh off reinventing Cap’s comics as espionage thrillers, who dreamed up the idea of reviving Bucky as part of a life-long desire to reinvent him as a brainwashed, special ops soldier. Although Captain America editor Tom Brevoort initially opposed the idea, he eventually relented when Brubaker pitched the idea as recontextualising Cap’s greatest failure and crafting a new anti-hero for readers to connect with. “The Winter Soldier” was widely praised and is seen as one of the greatest Captain America stories ever told. It also reinvented Bucky for a modern age and set him up to assume the Captain America mantle later down the line. The story was so influential that it was adapted into videogames, cartoons, and brought to life in the Marvel Cinematic Universe, with Sebastian Stan receiving critical acclaim for his portrayal of the character.

The Review:
Our story begins way back in 1945 in an experimental Soviet submarine floundering in the English Channel. There, we find the crew intercepting coded messages from Nazi Germany confirming that Captain America was blown up over the Channel Islands and, accordingly, they move to intercept and discover a heavily injured, one-armed survivor floating in the sea. We then jump to the Helicarrier, the flying battleship headquarters of the Strategic Hazard Intervention Espionage Logistics Directorate (S.H.I.E.L.D.), where Nick Fury and Sharon Carter/Agent 13 show Cap photographic evidence of his old partner, Bucky, appearing older and alive and well despite seemingly perishing in that aforementioned explosion. Naturally, Cap isn’t just sceptical, he’s in full-blown denial, believing it must be some kind of trick and refusing to entertain the idea that his friend is not only alive but responsible for a horrific act of terrorism in Philadelphia. Specifically, a devastating bomb attack that saw Cap clash with Advanced Idea of Destruction (A.I.D.) whose beekeeper agents appeared to recover the tech, mercilessly gunning down any survivors, and set their Military Operatives Designed Only for Combat (MODOC) Squad on Cap. His skills tested by the seemingly semi-cybernetic ninjas as they quickly adapted to his superhuman abilities, Cap nevertheless bested his foes, though was wounded by a knife to the gut. Distracted by the wound, Cap was almost picked off by a MODOC soldier but was unexpectedly saved by a mysterious man in a domino mask and sporting a cybernetic arm, whom Cap recognised as his old partner, seemingly back from the dead and with no memory of his real name. Though his mysterious saviour fled, Cap’s told by Fury that he’s cropped up across the world over the decades as the “Winter Soldier”, a near mythical assassin for the Committee for State Security (KGB) who’s said to be kept in suspended animation between jobs. Unable to deny the evidence, Cap first lashes out and then commits to Fury’s plan to find Aleksander Lukin, the man behind the Philadelphia attack, and relieve him of his Cosmic Cube, dealing with the Winter Soldier if and when he crops up along the way.

Already frustrated by bureaucracy, Cap’s distraught to learn of Bucky’s horrendous fate.

While Brock Rumlow/Crossbones picks off soldiers stationed at a “re-education facility” and kidnaps the amnesiac Synthia Schmidt, daughter of the Red Skull, to set up a future conflict, Cap and Sharon prepare to drop into Mongolia but find their relationship strained since, just the day before, Sharon raged at Cap for recommending she be kept off the mission. Although Steve argued that he was trying to avoid her going off on a vendetta since her boyfriend was killed in the Philadelphia attack, she believes he was trying to keep her from killing Bucky and remained steadfast in his belief that the overwhelming evidence against his former friend was either faked or a misunderstanding. It doesn’t help that, two days previously, Fury confided to Steve that the mission isn’t authorised by the United States government, primarily due to all the “red tape” and diplomatic drama Lukin caused with his own little empire, Kronas International, on the Mongolian border. Cap, Sharon, Fury, and a S.H.E.I.L.D. squad storm Kronas, setting aside their grievances to fight their way inside, only to find Lukin hosting a meeting with high-ranking American politicians! Though ordered to stand down, Cap is aghast to find they’re brokering an oil pipeline deal with Lukin and refuse to believe he’s anything other than a lucrative businessman since all the evidence points to a convenient patsy, Jack Marlow. Forced to leave and unable to act since Lukin has diplomatic immunity, Cap stews on the ride home though he, Sharon, and Fury vow to topple the maniac one way or another. Luckily for them, a dossier mysteriously vanishes from Lukin’s office and ends up in Cap’s apartment. The document details how the injured Bucky was saved from death by the freezing water, revived by Soviet doctors, and suffered from brain damage that left him only with the instinct to fight. Though dismayed to find he wasn’t subjected to the super soldier serum, Bucky was kept in stasis and later fitted with his prosthetic arm. Bucky was then subjected to invasive brainwashing, reconditioned to become a loyal soldier and assassin for the Soviets, and easily  assassinated high profile targets as the Winter Soldier. The dossier explains, in great detail, the Winter Soldier’s early missions, which were all completed successfully, and that he was kept in stasis since his mental state became increasingly unstable while conscious and threatened to undo their brainwashing.

Bucky’s violent past as the Winter Soldier causes tension between Cap and Sharon.

This came to a head in 1973 when, after assassinating his latest target, the Winter Soldier  fled across America. Desperate to retrieve him, the Soviets aggressively interrogated anyone they could before finally following his erratic movements to New York City. Although he was apprehended, the incident rattled the Soviets and they decided not to deploy the Winter Soldier on American soil. The Winter Soldier was next charged with safeguarding Major General Vasily Karpov, who was highly suspicious of his “bodyguard” because of his background, though he took a perverse pleasure in the irony of an American protecting him. After successfully mitigating America’s efforts to invade the Middle East for about five years, the Winter Soldier was decommissioned and left to rot in an undisclosed location alongside other abandoned experiments. Disturbed by the dossier, Steve calls Fury and Sharon to discuss it further, believing Lukin used the Cosmic Cube to deliver the dossier to taunt him. Fury takes the document to be verified, though both he and Steve are confident that it’s accurate. Although Sharon believes that Bucky is lost to decades of Soviet brainwashing, Steve is adamant, based on the evidence, that a part of Bucky’s true self is still alive. Steve’s emotions are heightened by memories of when he and Bucky were celebrated War heroes. Back then, Bucky was an enthusiastic and thrill-seeking teenager in contrast to Steve’s more sombre respect for the harsh reality of war. Steve also remembers when he first met Bucky, then a plucky kid with some impressive fighting skills. Though initially hesitant because of his age, Steve agreed to take Bucky as his partner to inspire teenagers to sign up to the Army. Back in the present day, Steve and Sharon continue to butt heads and morals regarding the Winter Soldier: while Sharon believes he should be killed for his crimes, Steve refuses to entertain the idea that Bucky was anything other than an unwilling puppet.

Falcon and Iron Man help Cap track down the Cosmic Cube, which is guarded by the Winter Soldier.

Meanwhile, Lukin hosts a bidding war for his Cosmic Cube, proving its reality-bending power not just by manipulating the bidders to attend but also compelling them to sign documents to make their corporations subsidiaries of Kronas. However, during a recess, Lukin stumbles and appears physically drained by the Cosmic Cube and is driven into a violent rage when his aide dares to caution against its use. While racing across the city rooftops, Cap also finds his emotions in turmoil, desperately willing himself to get it together to save his former partner. He remembers another time when the two were fighting through the Netherlands in pursuit of the Red Skull and they were horrified when their enemy sent boobytrapped prisoners of war to curtail their counterattack. Cap’s thoughts are interrupted by his friend and former partner, Sam Wilson/The Falcon, who offers Steve a friendly ear and speculates that there’s more going on with Lukin and the Winter Soldier. Unlike the sceptical Sharon and Fury, the Falcon agrees to help Steve save Bucky and the two bring in Anthony “Tony” Stark/Iron Man to raid an A.I.D. facility. Though they encounter some resistance from a gigantic, weaponised mech suit, the three subdue their targets and force them to hand over the means to track the Cosmic Cube. Thanks to Tony’s tech, the three discover that the Cosmic Cube is heading to a Kronas research facility, unaware that Lukin has tasked the Winter Soldier with spiriting the Cosmic Cube far away and burying it, believing it to be cursed. Unfortunately, Tony’s unable to accompany them as recent corporate shenanigans would make it look bad for him if he was seen tangling with Kronas. Thus, Steve and Sam head out by themselves (though, once she finds out about it all, Sharon organises a strike team) unaware that the Winter Soldier has taken up a sniping position.

After a brutal slugfest, Cap restores Bucky’s memories with the Cosmic Cube.

Despite having the two dead to rights, the Winter Soldier misses a kill shot when the Falcon’s given a head’s up by the local birds and, his position compromised, calls in some backup to hold the gate. Undeterred, Cap charges through the troops, leaving the Falcon to cover his rear, and finally comes face-to-face with the Winter Soldier. Naturally, a brutal fist fight ensues during which Cap repeatedly tries to reason with his former friend and bring him to his senses and the Winter Soldier stubbornly refuses to listen to Cap’s words. Evenly matched, with the Winter Soldier’s bionic arm countering Cap’s vibranium shield, Bucky’s enraged by Cap’s repeated pleas, the fight spilling the two further into the facility. Realising that the Winter Soldier is determined to kill him, Cap surrenders and dares Bucy to pull the trigger. Sharon and the Falcon arrive in time to see not only the shot but also Cap’s superhuman reflexes; Steve dodges the bullet and tosses his shield, causing it to ricochet off the walls and knock he Cosmic Cube from the Winter Soldier’s grasp. Despite the Falcon earlier warning that no one has ever made the Cosmic Cube to work properly, Cap retrieves the artifact and utters a simple request: “Remember who you are”. Thanks to the Cosmic Cube’s reality warping powers, the Winter Soldier is bombarded by memories of both his past before he became an assassin and his time carrying working for the Soviets. Though Sharon’s ready to kill the Winter Soldier while he’s vulnerable, Cap talks her down and moves to comfort his traumatised friend. Overwhelmed by his actions and coming to his senses, Bucky lashes out in anger and remorse and grabs the Cosmic Cube, seemingly atomising himself as penance for his actions. However, Cap’s suspicions that Bucky’s still alive are quickly shown to be true, though Bucky’s left distressed by the ordeal. The story then ends with the reveal that Lukin shares his consciousness with the disembodied Red Skull, who chastises him for disposing of the Cosmic Cube and vows to assert full control in time.

The Summary:
This is my first time reading the “Winter Soldier” arc and I have to say that it lived up to the hype. Although I’m not the biggest fan of this art style, which was quite prominent in Marvel Comics at the time, it really adds to the mood and tension of the story. The arc is much more of a thriller than an all-out action piece, and a meditation on Captain America’s past and moral compass. As such, there isn’t really a primary villain for him to sink his fists into (an explosive scruffle with A.I.D’s mech is the best we get in this regard) and Cap instead battles more powerful enemies, such bureaucracy and international law. Despite possessing the Cosmic Cube, a device whose power is limited only by the wielder’s imagination (and their ability to keep a strong grip on it), Aleksander Lukin is more of an untouchable manipulator than a physical threat. As related by the Red Skull, Lukin never used the Cosmic Cube to its fullest extent, wary of its power and limited himself to small, controllable actions to mitigate its side effects. Indeed, the moment he experiences negative effects from wielding the Cosmic Cube, Lukin orders the Winter Soldier to dispose of it and is relieved to be rid of it. Still, Lukin remains a despicable villain, perpetrating horrendous acts of terrorism and hiding behind diplomatic immunity, making him the perfect foil for Captain America, who’s unable to bring Lukin to justice lest he spark a global conflict. Seen as a master manipulator who uses mind games and tricks to rile up his foes, Lukin otherwise hides behind his public façade and colludes with other, more disreputable forces (such as the Winter Soldier) to carry out his darker aspirations in secret.

Cap’s emotions are all over the place thanks to Lukin’s machinations and Bucky’s reappearance.

Consequently, “The Winter Soldier” would’ve been an extremely trying and aggravating time for Captain America even without Bucky’s involvement. Steve claims to be level-headed and focused on the mission but repeatedly loses his cool throughout the story thanks to Lukin’s machinations and his inner dialogue shows a man wrestling with his emotions. He has many outbursts over these issues, putting an aggressive beating on A.I.D’s forces and lashing out at both Fury and Sharon when they try to get him to see sense. The only person he doesn’t flip out on is the Falcon, who loyally stands by his side and takes his side even if he has his own doubts about the situation and the Winter Soldier. Cap’s shown to be in deep denial over the whole situation, first refusing to believe that Bucky is still alive, then refusing to believe that he’s a Soviet assassin, and stubbornly refusing to entertain Sharon’s arguments about killing the Winter Soldier or that there isn’t some part of Bucky still alive inside the killer. He’s partially right about this but I wonder if Bucky would’ve regained his senses without Cap using the Cosmic Cube and the story is very ambiguous about this, allowing the reader to see all sides of the argument. It helps that Sharon has a fully justified argument for killing the Winter Soldier. However, while is he responsible for many deaths over the years, Sharon’s judgement is clouded by her personal feelings since Bucky killed her boyfriend. Simultaneously, there’s no doubt that Cap is also biased towards Bucky and, believing he failed the boy by both involving him in his life and causing his condition, Cap’s determined to “save” Bucky, even if it means going against his present-day allies. Numerous flashbacks further reinforce this, showcasing Bucky’s incredible aptitude for fighting, his infectious enthusiasm, and how the atrocities of war affected him over time. Cap’s always carried a great deal of guilt and regret about Bucky’s death so it’s a shock to see his partner alive and turned into a mindless weapon and Cap sees it as a chance for redemption, both for himself and for his young friend. Cap believes so blindly in Bucky that he eventually refuses to fight and leaves his life in the assassin’s hands, then braves severe consequences by wielding the unstable Cosmic Cube to restore Bucky’s memories to the fractured Winter Soldier.

Bucky was totally reinvented as a bad-ass, tortured assassin.

Of course, the star of the show here is the titular Winter Soldier. At the time, I was sceptical about bringing Bucky back since he was one of the rare comic book characters who seemed destined to be dead forever. However, just like when DC Comics brought Jason Todd/Robin back as the Red Hood, retconning Bucky to have survived that explosion was a genius move that not only added new layers to Cap’s characterisation but also brought a bad-ass new anti-hero into Marvel Comics. Sporting long hair, a stoic visage, a form-fitting leather outfit, and an awesome robotic arm, the Winter Soldier cuts an intimidating and mysterious figure that’s only enhanced by his decades of assassinations. Restored to life and brainwashed by the Soviets, Bucky was transformed into a living weapon, a “blank slate” they could program to kill anyone they wished, one who easily infiltrated their enemy’s ranks since he looked and sounded just like them. Depicted as a natural fighter whose first instinct is to fight, the Winter Soldier is a keen marksman and an adept assassin, eliminating numerous targets when activated and easily holding his own against Cap despite lacking superhuman abilities. However, the Winter Soldier’s psyche is fractured, his mental state unstable, and he was frequently noted to be unreliable when activated for too long. When deployed on American soil, the Winter Soldier became confused and almost escaped his Soviet masters, ultimately leading to him being mothballed. It’s not made clear how and why he was released from captivity, but Bucky’s appearance causes a great deal of turmoil for Cap and their encounters cause confusion and anger in the unstable assassin. Obviously, much of Bucky’s past and future was cleared up in subsequent stories but this was a fantastic revival of the character, one that turned Cap’s life upside down and forever transformed Bucky from a plucky, annoying kid sidekick into a sexy, bad-ass killer.

My Rating:

Rating: 4 out of 5.

Great Stuff

Have you ever read the “Winter Soldier” arc? If so, what were your thoughts and what did you think to Bucky being revived? Do you think Sharon was right and that Bucky should’ve been put down? Did you enjoy seeing Cap wrestle with his guilt and conflicting morals? What did you think to the Winter Soldier’s look and backstory? Can you name some of your favourite Winter Soldier moments? How are you celebrating Independence Day today? Whatever your thoughts, drop a comment below and be sure to check out my other Captain America content across the site!

Back Issues: The Sentry #1-5 / The Sentry vs. The Void #1

Writer: Paul Jenkins Artist: Jae Lee

Story Title: “Act 1: The Suit”
Published: 19 July 2000 (cover-dated: September 2000)

Story Title: “Act 2: The Unicorn”
Published: 16 August 2000 (cover-dated: October 2000)

Story Title: “Act 3: The Photograph”
Published: 20 September 2000 (cover-dated: November 2000)

Story Title: “Act 4: The Conspiracy”
Published: 18 October 2000 (cover-dated: December 2000)

Story Title: “Act 5: The Betrayal”
Published: 15 November 2000 (cover-dated: January 2001)

Story Title: “The Truth”
Published: 31 January 2001 (cover-dated: February 2001)

The Background:
Debuting in 1938, Clark Kent/Kal-El/Superman wasn’t just an immediate hit with readers, he was also the first-ever costumed superhero, inspiring every single colourful crimefighter that came after him. Oddly, despite co-creating and bringing to life some of the industry’s most recognisable and beloved characters, Marvel Comics legend Stan Lee struggled to emulate the success of the Man of Steel. Over the years, many Marvel characters have been positioned as the company’s parallel to Superman, with none really making much of an impact. Robert “Bob” Reynolds/The Sentry, however, is perhaps the closest Marvel came to this endeavour. First conceived of by Paul Jenkins and Rick Veitch back in the late-1990s, the Sentry was pitched as an over-the-hill superhero struggling with addiction and was cleverly positioned as a “forgotten” hero from Marvel history. Easily one of Marvel’s most overpowered heroes, the Sentry was also a figurehead for mental illness thanks to his drug addiction and psychotic split personality, though this often led to him being seen an aggravating and inconsistent character. Despite some bad-ass moments and turning the tide in many conflicts due to his awesome power and unpredictable nature, Marvel’s insistence of reverting to the status quo meant the character has had more downs than ups over the years, to the point of fading from the spotlight. Indeed, as of this writing the Sentry has only ever appeared in supporting roles in Marvel videogames, with no animated appearances to his name, though the character did make the jump to the Marvel Cinematic Universe, courtesy of Lewis Pullman, in 2025.

The Review:
We first meet Bob Reynolds when he’s awoken by a lightning storm that triggers memories of an aggressive alien menace known as “The Void”. After reassuring his wife, Lindy Lee-Reynolds, Bob retrieves a bottle of liquid and is haunted by scattered memories that emulate the art style of the legendary Jack Kirby. Through them, we learn that a young, naïve Bob stumbled upon the mysterious “Professor’s” secret serum and drank it, fashioning a golden costume and blue cape and fighting both crime and supervillains as “The Sentry”. As Bob struggles to reconcile these memories, torn between them being fanciful delusions made from a comic book and real-life recollections of his battles against the Void alongside the Avengers, he remembers dispelling the Void with “the power of a million exploding suns” and the shadowy villain’s vow to return one day. Plagued by self-doubt, Bob’s memories shift to a decidedly darker, more Frank Miller-esque style as the Professor runs down his strengths and weaknesses. The serum supercharged his molecules, causing each atom to be slightly out of shift with time, granting him a “hyperstate of consciousness” and rendering him functionally immortal thanks to the power of the Sun. His only weakness was that his powers were tied to the serum, though the Sentry ignored the Professor’s warnings of him becoming addicted to the drug in favour of saving the galaxy from the Void. Desperate to regain a more coherent sense of himself and to be “vigilant” once more, Bob swigs from the serum and is immediately wracked by pain and spasms. Visions of the Void see Bob branded a common junkie and lectured about the emptiness of life so, when Lindy discovers him delirious and with an empty botte nearby, she naturally assumes he’s fallen off the wagon. Refusing to see her lover destroy himself before her eyes, Lindy walks out, leaving Bob to fool himself into thinking he’s slipping back into his costume and answering “the Sentry Signal” when, in reality, he’s simply put on a jacket with a crude cape pegged to the back! Still, he can fly, at the very least, so he heads to New York City (vaguely remembering when the Void reduced Manhattan to a smouldering crater) and is confronted by Doctor Reed Richards/Mister Fantastic. Though Bob speaks to Mr. Fantastic as an old friend, Reed has no idea who he is, though the word “unicorn” triggers something in the curious adventurer.

Triggered by cloudy memories, Bob tries to reconnect with a world that’s forgotten his heroics.

While Bob remembers Lindy accepting his superhero life right before their wedding, Mr. Fantastic talks the incident over with his family, perturbed by the sudden appearance of a golden unicorn that Bob gifted to Reed, who was his best friend. Disturbed and curious, Reed discovers a VHS tape in the unicorn that contains a warning from himself about the Void, but the tape explodes before the Fantastic Four learn anything tangible. Meanwhile, Bob (who “becomes” the Sentry the more he recalls his fragmented past, with his rudimentary costume even being revitalised) visits Doctor Robert Bruce Banner/The Hulk. Unlike the others, the Hulk remembers “Golden Man” as his “best amigo”, though Bob is disturbed to find the Green Goliath hasn’t evolved past his savage, childlike demeanour. Bob shares his concerns regarding a conspiracy surrounding him and convinces the Hulk to stand by him when the Void returns. Bob then meets Peter Parker/Spider-Man, who doesn’t remember Bob, sees only a blank piece of paper when Bob shows him a photograph he once took of the Sentry, and brands Bob a “fruitcake”. However, as he goes to leave, Bob begs Spidey to investigate further. As the world is thrown into turmoil, Peter’s memory is jogged after he confirms that multiple publications have been excised from public record. Additionally, Doctor Stephen Strange confirms the Void’s threat to Reed and, though he refuses to elaborate, he does magically conjure a memory of the Fantastic Four and Dr. Strange erasing everyone’s memories of the Sentry and Reed forcing Dr. Strange to keep that information hidden. Bob has a psychic parlay with Professor Charles Xavier/Professor X, causing Professor X’s memories resurface, and the X-Men to be put on alert. Similarly, Anthony “Tony” Stark/Iron Man remembers the Sentry, leading Bob to fly into a tirade about how he inspired all the world’s superheroes and was simply forgotten. Bob remembers that the Avengers staged an intervention regarding his overreliance on the serum and the lingering threat of the Void, with all begrudgingly agreeing that the Sentry, despite his many good deeds, should disappear. Since Tony stood up for him, Bob begs him to get the others onboard before flying to a desolate area of the city, his impressive super suit finally reformed. He returns to his long-forgotten fortress, the Watchtower, while his scarred and disabled former sidekick, Billy Turner/Scout, awakens from a disturbing nightmare.

Despite fragmented memories of betrayal, the Sentry rallies to oppose the Void’s return.

Inside the Watchtower, the Sentry reunites with its Centrally Located Organic Computer/C.L.O.C. to investigate a subliminal message being transmitted around the world by a small, bug-like transmitter that’s powered by the same serum that gives the Sentry his incredible abilities. Thanks to a “self-modifying loop virus”, C.L.O.C. cannot directly aid the Sentry without being destroyed, so the Sentry disables the crude device himself. This leads to a brief and near imperceptible shift in the fabric of reality and, suddenly, kids discover their Sentry memorabilia, Billy finds his old costume, and people are filled first with relief at remembering their hero…and then horror as they also remember the Void. They also remember the Sentry dying in battle (at least, as far as the public were concerned), marking the end of a “Golden Age” of heroes. This event also sees the Sentry remembering Reed condemn him as a traitor and a criminal, claiming that Bob accepted bribes from the criminal underworld to fund his addictions and then mislead the public into thinking he was a hero while also profiting from his violent impulses. Angered at this betrayal and slander, the Sentry reconciles with a remorseful Lindy, only for her to be attacked and threatened by the Void. Gleefully, the Void spitefully monologues about his scheme to bathe the world in darkness and devour every living soul in the universe, saving his hated foe until last just to make him suffer. With that, the Void tosses Lindy aside and conjures an alarming and devastating hurricane out at sea that threatens the mainland. The Sentry makes a quick public address to announce his return, protest his innocence, and warn that the storm signals the return of the Void. After calling for a mass evacuation, the Sentry pleads with his superpowered cohorts to stand by his side once more against the threat on Liberty Island. Though he’s uncharacteristically afraid, the Hulk is the first to arrive out of gratitude for all the support the Sentry once showed him. Spider-Man, the X-Men, the Avengers, and all the city’s costumed protectors then arrive soon after, alongside Billy Turner. When Mr. Fantastic arrives, the Sentry berates him for his betrayal, though Reed’s still got some gaps in his memory and is adamant that he’d never betray his best friend like that.

A remorseful Bob is forced to sacrifice his reputation to keep the Sentry, and the Void, forgotten.

Faced with the Void’s pending arrival and the potential end of the world, the Sentry steels himself, with friends and foes at his back, for the assault. The Void attacks with “infinitendrils” that sap even the Sentry’s abilities and confidence. The trinkets the Sentry gifted to his allies barely keep them from succumbing to the Void’s influence and unnamed heroes and untold civilians die as the Void’s attack decimates the city. During the chaos. Dr. Strange prompts Reed to remember when the Void attacked Manhattan in the past, causing catastrophic damage and leaving a pile of slaughtered bodies in his wake, only for Susan Storm/The Invisible Woman to discover the Void and the Sentry were one and the same! In the face of the Void’s destructive power, which left a million people dead, and faced with a man they’d known and respected and could clearly see was suffering a psychotic episode that manifested in a separate personality, Reed and Bob came up with a plan. After Bob shared his concerns about himself and admitted to his addiction, the two constructed the hypnotic transmitters to ensure that no one, not even Bob, would remember the Sentry, thus keeping the Void at bay.  Thus, at Bob’s insistence, the Sentry’s death was faked, his funeral staged, and his reputation tarnished to ensure that the people who loved and admired him so much would submit to the hypnosis. In the present, the physical and existential battle between the Sentry and the Void rages, breaking even the Hulk’s super-tough body, until Reed intervenes. Although the Void whispers poison in Bob’s ear, fuelling his confusion and anger, Reed triggers Bob’s memories, much to the Void’s anger. Desperate to live and to wreak havoc, the Void threatens to take full control of Bob’s body, so the Sentry rushes back to C.LO.C. alongside his allies. After a moment’s hesitation, the Sentry orders C.L.O.C to reactivate the transmitter and Bob gets a brief moment to reconcile with his best friend before their memories are wiped. In the aftermath, the devastation is blamed on a “temporal anomaly” and Bob returns to his mundane life with Lindy. However, when they stop for a bite and are served by Billy, a flash of a memory suggests the Sentry may not be completely forgotten…

The Summary:
This was my first time reading the Sentry’s debut story arc and I was quite excited to get into it. I don’t know much about the Sentry, but I remember his debut being quite a big deal and have seen it being talked about, and seen him pop up in a few crossover events and such, so I was eager to get into this and see if it lived up to the hype. Unfortunately, I really don’t think it did and I was left a bit disappointed. For starters, it bugged me that the story wasn’t contained in a five or six-issue arc. Instead, we have five issues laying the foundation for the Sentry and the Void, a couple of team-up stories that take between #5 and The Sentry vs. The Void #1, and that standalone resolution to the arc. This was a story clearly written for trade collections, which is fine on paper as that’s my preferred way to read comics, but it’s pretty damn arrogant of Marvel Comics to assume that people are going to be this heavily invested in their brand-new superhero right off the bat. Luckily, the central concept has a lot of legs to it, and I did enjoy the story as a very different, more cerebral superhero tale. It’s always engaging and interesting when comic books are more than just big superhero fights or cosmic events, and the Sentry’s debut definitely delves more into the psychological thriller genre as Bob, Reed, and the reader try to piece together the truth about this strange and apparently forgotten character. The mystery of the Void was equally well done and I liked that he was perceived as a world (well, universe) ending threat and the sense of desperation behind him. The idea that someone or something was so dangerous to all life that even the Avengers and the Fantastic Four blurred their morals to erase the minds of everyone in the world is very powerful and still holds up now, even knowing the truth about the two.

The Sentry is a bit of a Gary Stu and changes long-running aspects of Marvel continuity.

I liked that Bob is presented as an out of shape everyman. He’s a nobody whose wife barely seems to tolerate him and who’s haunted by nightmares and faded memories that could just as easily be comic books he read as a kid. When something (it’s not clear what) triggers the revival of the Void, Bob’s ordinary life is turned upside down and his body undergoes a slow and dramatic change upon drinking the mysterious serum that makes him an all-powerful demigod. I’m not sure how this transforms his costume or why a simple potion can give him such incredible power, but Bob’s memories, personality, and sense of self worth return the more he indulges in the serum and the more he meets with his old allies. Even his physical appearance changes, returning him to the superman physique he enjoyed in his prime, and his trip down memory lane changes many preconceptions of existing Marvel heroes. The Sentry is said to be the “first” costumed superhero, the one who inspired all the others, and his deeds were almost incalculable. He tamed the Hulk, was best friends with Reed Richards, scored Peter Parker his first Pulitzer Prize, and saved the world countless times. Indeed, this debut story goes out of its way to really hammer home that the Sentry was the bastion of all that’s good in the world, that no one could compare to him, and that he was the example others lived by. He had an elaborate headquarters in the heart of New York City, a kid sidekick, and all kinds of gadgets, making him very much a child’s perfect amalgamation of what makes a good superhero. It’s a bit grating, to be honest, primarily because we don’t really get to see any of the Sentry’s past deeds. We simply hear people talk about them and how great he is, with little evidence to back it up since even Bob barely remembers fact from fiction. Equally, we never get to see any of the Sentry’s incredible and much-touted powers beyond a few brief glimpses. Sure, he can fly and take a hit, but I’m not sure what “the power of a million exploding suns” means or how it scales with, say, the Hulk or Thor Odinson.

A unique and engaging story, but one that didn’t live up to its full potential for me.

I really enjoyed the panels that reflected other artists and key eras in comic book history. They went a long way to keeping up the ruse that the Sentry was a long-forgotten hero from Marvel’s glory days, dusted off and reinserted into mainstream continuity. In fact, I’d go as far as to say that we should’ve gotten more of these. They could’ve helped flesh out Bob’s backstory and past exploits, his relationship with Billy, and maybe retroactively insert him into key moments in Marvel history. Instead, they’re just fun panels that don’t live up to their potential, which is a shame. While you could argue that the mystery surrounding the Void, how stubbornly cagy Dr. Strange was and how fragmented records were, hinted towards the final reveal as much as Bob’s obvious unstable mental state, I think it landed really well. There’s a degree of responsibility on the reader’s part to understand that things aren’t quite what they seem. When the heroes assemble to help repel the Void in the finale, they’re not necessarily standing with the Sentry against the oncoming storm. Instead, they’re observing him violently lashing out as the Void reasserts control. While I would’ve liked more panels devoted to the destruction, it’s painted as the greatest threat the world has ever seen and one that the heroes are unable to stop through conventional means. It’s only by appealing to the man they once knew that the heroes manage to contain the Void once more, convincing Bob to make the ultimate sacrifice one more time since his powers and mentality are too unstable to be trusted. It’s a very unusual and dramatic end to a superhero story and paints the Sentry as a very fragile and complex character, one who would continue to suffer from his mental health issues and addictions in subsequent appearances. Unfortunately, I do feel the execution was a bit lacking and the story didn’t quite live up to its full potential. This seems par for the course with the Sentry, who doesn’t seem all that relevant these days, which is also a shame as I really think there’s something here and that it’s a very unique way to introduce a new superhero and supervillain.

My Rating:

Rating: 3 out of 5.

Pretty Good

What did you think to the Sentry’s debut story, and the character in general? Were you surprised and excited by the unusual depiction of the character? Did you guess that the Sentry and the Void were the same person or was it a surprise for you? What did you think to the Sentry being retroactively inserted into Marvel continuity? Do you agree that the story fell a little flat in the end or were you intrigued to see more? What are some of your favourite moments involving the Sentry? Which of Marvel’s Superman knock-offs is your favourite? Whatever your thoughts on the Sentry, leave a comment below, support me on Ko-Fi, and check out my other Marvel content on the site.

Back Issues [National Superhero Day]: Marvels


In 1995, Marvel Comics created “National Superhero Day” and, in the process, provided comics and superhero fans the world over with a great excuse to celebrate their favourite characters and publications.


Story Titles: “A Time of Marvels”, “Monsters”, “Judgment Day”, and “The Day She Died”
Published: 9 November 1993 (cover-dated: January 1994) to 22 March 1994 (cover-dated: April 1994)
Writer: Kurt Busiek
Artist: Alex Ross

The Background:
In 1939, pulp-magazine publisher Martin Goodman created Timely Productions, expanding his reach into the increasingly popular medium of comic books. Timely’s first publication, Marvel Comics #1, was spearheaded by the first appearances of Jim Hammond/The Human Torch and Prince Namor McKenzie/The Sub-Mariner, and went on to sell over 900,000 copies. This success was followed by Captain America Comics #1 selling over a million copies just two years later, the same year that Goodman’s wife’s sixteen-year-old cousin, Stanley Lieber, was named interim editor under the pseudonym “Stan Lee”. Though superheroes declined in popularity after the Second World War, Goodman continued to publish Westerns, horror, and war comics under Atlas Comics before rebranding to Marvel Comics in 1961. Stan Lee and Jack Kirby then ushered in the “Marvel Age” of comics with the Fantastic Four, kick-starting a slew of costumed superheroes and Marvel’s distinct narrative style. These colourful heroes caught the eye of artist Alex Ross from an early age; known for his startlingly photorealistic artwork, Ross later cemented his position in the industry with Kingdom Come (Waid, et al, 1996). However, his big break came when he teamed with writer Kurt Busiek to produce this four-issue miniseries that reframed many of Marvel’s most iconic moments through the eyes of a common man. Marvels was an award-winning, widely praised miniseries that inspired a much grimmer counterpart story in 1995, a follow-up series in 2008 (though Alex Ross did not return), and a sister-series in 2021.

The Review:
Marvels followers budding photographer Phil Sheldon who, at the beginning of the story in 1939, is eager to go to Europe and make a name for himself as a war photographer. While his friend and fellow cub reporter, a youthful J. Jonah Jameson, scoffs at the futility of the war, he shares his own lofty aspirations of one day owning the Daily Bugle and making his own headlines. While Jameson heads off to cover a labour dispute, Sheldon attends a press conference hosted by noted scientist Phineas T. Horton, who unveils his revolutionary “synthetic man”, a robotic creation indistinguishable from the real thing except that it bursts into flame when exposed to oxygen. While the reporters initially mock the demonstration as an elaborate hoax, they react in horror when this “Human Torch” moves and appears sentient. Subsequent sensationalist headlines – the “power of the press”, as Sheldon puts it –   slander Professor Horton and see him bury his creation lest it prove to be a danger. While shopping for a gift for his betrothed, Doris Jacquet, Sheldon rushes to investigate a disturbance, hopeful for the big break that’ll get him shipped to Europe, only to the find the Human Torch running amok through the streets of New York City. While the ridiculously fickle New Yorkers brush the event off as an elaborate prank, Sheldon is shaken by his second sight of the flaming man and is therefore the only person to take reports of a “Sub-Mareener” seriously. Over the next few panels, both the Human Torch and the Sub-Mariner raise the ire of everyday folk with their antics, but they captivate Sheldon, who turns down the chance to cover to war to stay and follow these ever-prominent “Marvels”. As awe-struck as he is by such costumed super-men, Sheldon can’t help but question what their presence means for mankind, who suddenly seem secondary in the evolutionary chain. Thus, when the Human Torch and the Sub-Mariner inevitably come to blows in what’s likened to a battle between Gods, Sheldon shares the same fear as his fellow citizens, despite protests from the likes of officer Betty Dean, who vouches for Namor’s character.

Photographer Phil Sheldon witnesses the terrifying and awesome debut of the “Marvels”.

As the two titans battle, hijacking the airwaves and causing a great deal of property damage, Sheldon is angered at them for making humanity feel so helpless. The conflict is ultimately resolved by Officer Dean, who cools the differences between the two, though Sheldon echoes the same bitterness of his peers at both superhumans escaping any punishment for their actions. In the face of his helplessness, and intuiting that such occurrences will only escalate, Sheldon reluctantly suggests pushing back the wedding and, resenting him, Doris opts to call the whole thing off until he feels more like a “man”. By winter, the press was alive with reports of Captain Steve Rogers/Captain America’s colourful adventures; kids and adults alike revelled in his Axis-smashing antics. While at the cinema, Sheldon’s musings that Cap is so accepted because he’s not perceived as a threat are given further credence when the entire audience (him included) applaud news reports of the Human Torch and the Sub-Mariner teaming up to battle the Nazis. Just like that, the Marvels are celebrated, national heroes; the public debates which of them is better and stronger and Sheldon’s perspective has changed enough to rekindle his relationship with Doris. His elevation is short-lived, however, when it’s suddenly reported that Namor has turned on the Allies and waging his own war against America, a war that sees him flood New York with a catastrophic tidal wave! The Human Torch confronts him and Sheldon’s right there to snap some pix, now revelling in witnessing such a titanic clash, only to be injured by flying debris and lose an eye in the process. Surprisingly, he feels no ill will towards the Marvels and instead chooses to focus on the bigger picture – the war and his impending wedding, specifically. After the wedding, Sheldon finally gets to cover the war in Europe and is right there when Cap, the Human Torch, Namor, and the rest of their superpowered Invaders, storm a Nazi compound, noting in a letter to Doris that the Marvels aren’t some temporary fad; they’re here to stay.

While the Avengers and Fantastic Four are celebrated, even Sheldon hates and fears Mutants.

Some decades later, an older and more experienced Sheldon is convinced to cover a battle between the Avengers and the Masters of Evil. Cap has just returned from his icy sabbatical, inspiring the awe and admiration of Sheldon and the public. By this time, sights such as Anthony “Tony” Stark/Iron Man, Thor Odinson, and Doctor Hank Pym/Giant-Man cutting through the city skyline and dwarfing mere mortals are commonplace but no less impressive. Sheldon hopes to publish a book of his photos of their heroics, convincing his publisher to take a shot on the idea based on how inspirational Marvels like the Fantastic Four are. While mulling over his opening text, Sheldon’s swept up by an angry mob who descend upon the X-Men, convinced that the Mutant teenagers tried to kill an innocent construction worker. Sharing the sentiment that the Mutants are dangerous killers, Sheldon literally casts the first stone, left shaken by the words of Scott “Slim” Summers/Cyclops (“They’re not worth it”) and pondering why Mutants illicit such hatred and distrust compared to the other Marvels. He concludes it’s because Mutants are genetically predisposed to be the next step in human evolution, thereby conjuring fears of death and redundancy in everyday folk. Ruminating these matters at home with his kids (who idolise the Marvels), Sheldon is gifted a writing assignment covering an art exhibition hosted by blind sculptress Alicia Masters. He’s also right there for when Doctor Reed Richards/Mister Fantastic announces his engagement to Susan Storm/The Invisible Girl, landing Sheldon another book deal with Jameson for every photo he takes of the colourful couple and landing him on the guest list for the wedding. With major shake-ups occurring in the Avenger’s roster and the likes of Matt Murdock/Daredevil making a splash downtown, to say nothing of the wedding drama, Sheldon almost forgets about the Mutant problem…save for the abundance of anti-Mutant graffiti plastered around town.

Sheldon sees the worst of humanity when the Mutant problem escalates into all-out paranoia.

Sheldon’s stunned when he returns to his quiet suburb and finds an angry mob literally grabbing pitchforks to hunt down a Mutant in the area. His first thought is his family but Sheldon’s shocked to come home and find his children sheltering a Mutant child, Maggie, a frightened little girl who’s the anthesis of everything Sheldon had so firmly believed about her species. Suddenly likening the persecution of the Mutants to the horrors of Auschwitz, Sheldon resolves to protect the girl from their friends and neighbours, who wouldn’t think twice to burn their house down to get to her. While his family keep Maggie safe, Sheldon reads up on Mutants and tries to find some way to help her, only to be met with dead ends and realise that the government wants to lock them up, at best, and execute them, at worst. Sheldon realises that the X-Men could help but falters, worrying they would remember him as another angry human, and meanders through even Reed and Sue’s wedding, his thoughts so preoccupied by Maggie’s fate. His concerns are only exacerbated when a television debate between Professor Charles Xavier/Professor X and Bolivar Trask sees the unveiling of his Mutant-hunting Sentinel machines and the outing of Professor X as a Mutant. Driven into a frenzy by fear, hated, and paranoia, an all-out riot breaks out. Sheldon’s right there, recording evidence of man’s inhumanity to man, as the monstrous Sentinels fly overhead, and is distraught to return home and find Maggie left to keep them safe and unable to comfort his kids when they worry about her safety. Within a mere two months, the fickle public begin to turn on the Marvels, holding them accountable for their actions and questioning their methods. Their primary target is Tony Stark, who bankrolls the Avengers and pays Iron Man to be his personal bodyguard, and the Avengers, who had recently been framed by evil doppelgängers. Disturbed by how sordid the Marvels have become, Sheldon throws himself into his work, determined to keep his family fed and sheltered, but unwittingly drives a wedge between him and Doris and the girls.

Sheldon’s incensed when the public slanders the Marvels even after they defeat Galactus.

The Marvels’ bad press is only escalated by Jameson’s personal vendetta against Peter Parker/Spider-Man and Sheldon comes to question his perception of the Marvels once more. However, he and the entire city are horror-struck when the skies burst into flames, asteroids fill the horizon, and a mysterious “Silver Surfer” arrives, seemingly heralding the onset of judgement day. Once again, despite their distrust and slander, the people must put their faith in the Marvels and be mere spectators as the Fantastic Four raced to confront the Silver Surfer, only to be dwarfed by the might and terror of the titanic Galactus! To the stunned horror of the public, the Fantastic Four lose the battle and none of their other defenders appear to help, leaving them to contemplate their end and watch, helplessly, as Galactus constructs an elaborate device around the Baxter Building. The people celebrate as the Fantastic Four and the Silver Surfer attack Galactus in full force, but Sheldon decides to leave the scene and be with his family, realising that the Marvels could fail and that he would rather be with his loved ones at the end. Luckily for him, and everyone, the Fantastic Four fend Galactus off with the Ultimate Nullifier but, rather than being celebrated as heroes, the team – and all Marvels – are further slandered by Jameson’s derogatory headlines. Sheldon’s protests fall on deaf ears and even he’s disgusted to find teenage photographer Peter Parker gleefully selling incriminating photos of Spider-Man to Jameson. His contempt for the public reaches a boiling point as Sheldon heads to cover a battle between the X-Men and Count Luchino Nefaria, snapping at them for slandering the very people, even Mutants, who save their lives. Still, by the 1970s, the public turn to his book of photographs for comfort after the Avengers are stuck in another galaxy determining the fate of all reality, begrudgingly guilty for questioning their methods. Now feeling his age, Sheldon takes on an assistant, Marcia Hardesty, though even this can’t help lighten his increasingly sour mood as he repeatedly sees the Marvels questioned, persecuted, and smeared by the courts, the public, and Jameson.

Sheldon ultimately decides to leave the awe and drama of the Marvels behind.

After the Fantastic Four again fend off Galactus, Sheldon desperately tries to turn opinion in favour of the Marvels, only to be dismissed as an overworked old man. Sheldon resolves to use his skills as a reporter to clear Spider-Man of Captain George Stacy’s death, interviewing a bystander who unashamedly blames Stacy’s death on Spider-Man. Sheldon’s as sceptical as the cops he meets with; however, while they have evidence that suggests Doctor Otto Octavius/Doctor Octopus caused Stacy’s death, they can’t prove anything without questioning Spidey. Confident that the underappreciated Marvels will handle a crisis happening at the Sun, Sheldon interviews some more people, all of whom believe Spidey’s a menace, and even questions Jameson, revealing the cantankerous publisher feels inadequate against such Marvels and is therefore determined to besmirch them, guilty or not. Jameson’s attitude makes Sheldon seriously consider an offer to write for the Daily Globe and he takes the first boat to Ryker’s Island to talk with the captive Dr. Octopus, only to find the stubborn scientist unwilling to co-operate with his inquiries. With no roads left, Sheldon visits Stacy’s daughter, Gwen, finding that, while she did initially blame Spider-Man, she no longer does. Reinvigorated, Sheldon regularly meets with Gwen; she’s with him when Namor invades New York with an army of mechanical attack craft. Rather than being terrified, Gwen marvels at their beauty and Sheldon realises that lives like hers are what the Marvels are fighting for and resolves to rework his new book into championing the heroes, flaws and all. Sheldon’s conviction turns to dread when he goes to Gwen’s to pick up some of her father’s journals and witnesses her being kidnapped by Norman Osborn/The Green Goblin. Sheldon follows in a taxi and witnesses the brutal battle between Spidey and the Goblin, sure that good would triumph over evil, and is crushed when Gwen’s knocked from the bridge and dies when Spidey tries to save her. Angered that Gwen’s death is buried under Jameson’s anti-Spidey campaign and left disillusioned by the Marvel’s failure, Sheldon loses interest in his book and grows resentful of the world moving on without a care. However, he realises that Marcia still sees the good in the Marvels and ultimately hands the assignment to her, retiring to be with his family and leaving the Marvels behind.

The Summary:
I’ve long criticised the hypocrisy of Marvel Comics’ everyday citizens. The people, especially New Yorkers, are a fickle and judgemental bunch, easily swayed by a few headlines and news reports. They can literally be dodging Galactus’ footsteps one day and then will laugh it off as a hoax the next. They can witness Spider-Man saving people from a burning building and yet fully believe Jameson’s claims that the wall-crawler started the blaze. They’ll come out in droves to cheer the wedding of Reed and Sue and applaud the star-spangled heroics of Captain America, but hurl bricks at Mutants and accuse them of all sorts in the same breath. They are a terrible, unappreciative, unreliable bunch of ingrates who don’t appreciate that these heroes put their lives on the line to save not just them, but the entire world and even the whole universe! Marvels is a perfect examination of this phenomena, with our equally culpable main character witnessing first-hand as Joe Public fear the likes of the Human Torch and the Sub-Mariner because they’re “different” and then cheer them on when they fight to defend America’s interests. Much of the public’s fickle nature isn’t just because of Jameson’s outrageous headlines, either; people, even Sheldon, feared the Marvels in the 1930s simply because of the existential threat they presented. This evolved and escalated once Mutants came along, with the species inarguably representing the next step in humanity’s inevitable extinction and thus causing the public to hate and fear them out of paranoia of being replaced (or the simple fear of death). Yet, Marvel’s civilians can never be appeased; they even turn on celebrated heroes like the Avengers for “abandoning” them and treat many of the Marvels as disposable celebrities. Their everyday, awesome feats lose their grandeur for many, who just become inconvenienced by their battles, and public opinion wildly fluctuates throughout the decades represented here as a result, even spilling over into paranoid violence when Mutants and shapeshifters become commonplace.

Flawed photographer Sheldon finds his awe of the Marvels tested over time.

At the heart of it all is flawed photographer Phil Sheldon. Phil’s a complex character, for sure, echoing the awe and fear of his peers at the sight of the Marvels and feeling small, insignificant, against these God-like figures. His opinion regarding the Marvels fluctuates throughout the story, with him praising and celebrating them during their “Golden Age” and profiting from their antics, never losing his faith in their good deeds even when it costs him an eye. Yet, like the public, Sheldon hates and fears Mutants. Unlike the average Joe, Sheldon contemplates why this is and realises he doesn’t really know, beyond that aforementioned existential dread. When he discovers Maggie hiding in his house, fully accepted by his well-meaning kids, he finally realises that he’s as guilty of persecution as the Nazis he once so heartily rallied against and privately defends Mutantkind. His perception changed for the better, Sheldon comes to see the worst in humanity: while they accuse Mutants of being dangerous, he sees only heroes trying to defend the innocent and angry mobs tearing their neighbourhoods apart out of sheer paranoia. Haunted my Maggie’s unresolved fate, time and weariness with the public’s everchanging opinions takes its toll on Sheldon. He remains in awe of the Marvels but focuses on them so much that he neglects his family, desperate to figure out what it is about them that distracts him so much. When Galactus arrives and the end of the world seems nigh, Sheldon realises that none of that matters; all that matters is being with the ones you love. This attitude leads into him becoming very short-tempered when people question or slander the Marvels, snapping at the unappreciative public for not realising that they owe their lives to the same people they’re dragging over the coals. Unfortunately, Sheldon lives long enough to see the best and worst of both humanity and the Marvels, realising with gut-wrenching finality that these “Gods” are as flawed as the everyday man. He comes to put all his faith in Gwen’s innocence and is thus heartbroken when Spider-Man fails to save her, but comes to see that his time with the Marvels has come to an end and that it’s time to let those concerns go to focus on what really matters.

Alex Ross’s beautiful artwork brings some of Marvel’s most epic moments to glorious life.

Of course, what really makes Marvels shine is Alex Ross’s frankly gorgeous artwork. Every panel is painstakingly hand-drawn and painted to bring these colourful, outlandish superheroes to life. Unlike many of his peers, especially later in life, Alex Ross doesn’t try to reinvent these characters or make them more “realistic”; he simply presents photorealistic interpretations of their classic costumes, with the sole exception that he depicts Namor as being completely naked. This can be hit and miss; Spider-Man, for example, looks phenomenal under Ross’s penmanship but Thor and Iron Man struggle somewhat with their more outlandish designs. Still, Ross delivers some gorgeous full-page spreads, recreating Reed and Sue’s wedding, showing the battles between Namor and the Human Torch, and bringing these incredible moments to life from a street level perspective. Nowhere is this represented better than in Galactus’s arrival. Despite being faithful to Jack Kirby’s original design, Galactus cuts an intimidating and awe-inspiring figure here, towering over skyscrapers and constantly framed as though a Titan has risen from the Earth. While the story primarily focuses on Sheldon’s family life during this bout, the glimpses of the Fantastic Four and the Silver Surfer’s battle against Galactus deliver a sense of scale and realism not often seen in comics. This is further echoed in the coming of the Sentinels and Spider-Man’s battle with the Green Goblin, events where Sheldon is merely a bystander amongst the faceless masses watching history unfold, powerless to intervene. Ross fills every panel with little cameos and an amazing attention to detail, basing many characters’ likenesses off real-world celebrities and figures, and his work really makes you appreciate the craft and effort put into every panel, no matter how small. Marvels is a dramatic and compelling distillation of the first thirty-years-or-so of Marvel Comics, linking major events on a realistic timeline and giving us a glimpse at how these heroes, Gods, and villains are perceived by the common man. It’s a startlingly bleak tale at times, criticising our hypocrisy and inclination towards hatred and violence, but also an uplifting story. Sheldon, and many characters, celebrate and are inspired by the Marvels, championing them even when a small, volatile minority try to slander them. It’s the perfect snapshot of what life in Marvel’s New York City can be like and a great way to witness such iconic moments from a street-level perspective.

My Rating:

Rating: 4 out of 5.

Great Stuff

Have you ever read Marvels? If so, what did you think to it? Are you a fan of Alex Ross’s artwork? What did you think to the presentation of Marvel’s fickle public? Did you relate to Sheldon as a protagonist and enjoy his growth throughout the series? Which “Marvel” is your favourite? How are you celebrating National Superhero Day today? Whatever your thoughts, leave a comment below and be sure to check out my other superhero and comic book content.

Game Corner: Marvel: Ultimate Alliance 3: The Black Order (Nintendo Switch)

Released: 19 July 2019
Developer: Team Ninja

The Background:
For decades, few videogame publishers were as synonymous with Marvel Comics as Activision, who produced adaptations Marvel’s most popular properties. While some were better than others, Activision’s efforts were largely praised, especially after they partnered with Raven Software on the X-Men Legends games (2004; 2005). Activision and Raven Software expanded their scope to the rest of the Marvel universe with Marvel: Ultimate Alliance (2006), a largely successful team-based brawer praised for improving upon its predecessors. Though now delisted, it was followed by a sequel three years later, courtesy of Vicarious Visions, which tweaked the gameplay with team-based attacks to encourage experimentation. Though Marvel: Ultimate Alliance 2 (2009) was praised for its branching storyline, the stripped down roleplaying mechanics were criticised. While it was also delisted in 2020, fans were clamouring for a follow-up and, just ten years later, Team Ninja stepped in to work alongside Marvel in reviving the franchise. Seeking to place additional emphasis on combat, the developers explored the cosmic scope of the Marvel universe by including the Infinity Stones and lesser-known characters and chose to make the title a Nintendo Switch exclusive after developing a close relationship with Nintendo. Although Marvel: Ultimate Alliance 3: The Black Order was the sixth best-selling game in its first week and was later bolstered by extensive downloadable content (DLC), it was met with mixed reviews that praised the colourful action but criticised its lack of innovation.

The Plot:
While battling Nebula and Ronan the Accuser, the Guardians of the Galaxy stumble upon a plot by the mad titan, Thanos, to collect the six Infinity Stones. Although they scatter the Stones, Thanos’s acolytes, the Black Order, pursue the gems, prompting an alliance of Earth’s mightiest heroes to retrieve them first.

Gameplay and Power-Ups:
Like its predecessors, Marvel: Ultimate Alliance 3: The Black Order is a team-based action role-playing game in which players assemble a squad of four heroes from across the Marvel universe to battle various nefarious baddies, primarily the titular Black Order, who are hunting the six all-powerful Infinity Stones on behalf of their master, Thanos. The game offers five save slots, two initial difficulty levels, and a base roster of thirty-six playable characters, with many being encountered as you play through the story and joining your alliance either after fighting alongside you or being freed from some kind of mind control. Marvel: Ultimate Alliance 3 offers three controller configurations, thankfully none of which involve motion controls, and allows you to toggle overlays, notifications, tips, and other onscreen elements from the “Settings” menu. These include altering the camera placement, which enables a lock-on feature by pressing in the right stick, though the camera generally remains more focused on whichever character you’re controlling rather than offering a bird’s eye view as in the last two games. Although you can fight alongside friends either locally or online, you switch between your teammates with the directional pad (D-pad) when playing alone and your computer-controlled partners are very useful in a fight, attacking, enabling team attacks, and reviving defeated characters without any input from you. Pressing A sees you interact with the environment to activate consoles, pick up or move certain objects, and talk to other characters. You jump with B, executing a double jump, swinging from webs, or flying depending on which character you’re playing as, and throw light attacks with X and heavy attacks with Y. These can be strung together to perform basic combos and you can also perform a mid-air attack and throw objects (like bombs and missiles) by pressing Y. You block incoming attacks by holding the Z trigger and tap it to dodge, and collect glowing red orbs from defeated enemies or smashed crates to restore health, blue orbs to refill your Energy Point (EP) gauge, and credits to spend on upgrades.

Combat is thick, fast, chaotic, and constant thanks to loads of enemies and character abilities.

As in the last two games, each character has specific abilities tied to their superpowers or superhero traits. You activate these by holding the Right trigger and selecting an icon using the D-pad; using Abilities drains your EP, however, and each Ability comes with a different cost. However, these attacks allow you to stun, stagger or deal elemental damage to enemies using Peter Parker/Spider-Man’s webs, Thor Odinson’s lightning, and Doctor Robert Bruce Banner/The Hulk’s incredible strength. Many characters have projectile attacks in their arsenal, such as Wade Wilson/Deadpool firing guns and Scott “Slim” Summers/Cyclops blasting his eye beams, while others cause splash damage or specific buffs, like Piotr Rasputin/Colossus being able to reflect projectiles and Wanda Maximoff/The Scarlet Witch healing her allies. Some, like James “Logan” Howlett/Wolverine, have passive abilities that allow them to automatically regenerate health as they walk around; others, like Johnny Blaze/Ghost Rider and Ororo Munroe/Storm, specifically deal in elemental damage. Character’s Abilities can also be mixed and matched by holding ZR and pressing one of the face buttons (or pressing A when prompted); this sees two characters attack in a combo for additional damage. As you dish out and take damage, you’ll also build the Extreme (EX) Gauge). Once full, you can press L and R up to three times to have two to four of your teammates perform a devastating combination attack that’s great against bosses. While the various cannon fodder you fight are easily dispatched, larger commanders and bosses need their “stun” meter drained before you can really put a beating on them and others (and certain treasure chests) require specific combination attacks to breach their shields. Defeating enemies sees your characters gain experience points (XP) to level-up, increasing their statistics (attack, defence, etc), though you can also use the various Orbs you find to manually level-up. Each character’s special Abilities can also be further enhanced using Ability Orbs and credits, reducing the EP cost and increasing their damage, among other benefits. You can also earn “Team Bonuses” depending on your team selection: pick a group of X-Men, for example, and your strength or resistance stat will increase, while picking characters of royalty ups your maximum energy stat.

Search for chests to gain currency and other expendables to upgrade and buff your alliance.

Although you can’t equip gear to your characters, the boss battle against the Destroyer armour sees you temporarily empowered by Asgardian magic and you can eventually equip your team with “ISO-8” crystals, coloured stones that enhance their attack power, resistance to elements, or critical hit ratio, among others. You can further upgrade these with credits and ISO-8 capsules, though some of the rarer ones will also debuff you (for example, your attack my increase but your defence will decrease accordingly). You’ll also inevitably gain access to the Strategic Hazard Intervention Espionage Logistics Directorate (S.H.I.E.L.D.) Lab, which acts as the game’s skill tree. By spending credits and Enhancement Points (EP), you can further increase your team’s overall attack, defence, resistance, vitality, and such and even unlock additional ISO-8 slots (with more being earned by levelling-up). You can also enter the S.H.I.E.L.D. Depot from the main menu to purchase additional costumes and social icons by spending S.H.I.E.L.D. Tokens. Marvel: Ultimate Alliance 3 is pretty forgiving (on the “Friendly” difficulty, at least), with multiple checkpoints in each area. When you activate a S.H.I.E.L.D. checkpoint, your team is fully healed, and you can swap or enhance them if you wish. If a teammate is defeated, you can hold A to revive them, but I wouldn’t recommend it unless you absolutely have to. Not only are revives limited, but downed characters will eventually return to full health even before you reach a checkpoint so it’s not worth risking another character taking damage by healing a partner. Exploration generally leads you to treasure chests or special walls that require a special combination attack to open, or to a “Rift” challenge that takes you away from the main game to tackle a special challenge (usually a boss rematch or enemy gauntlet) for extra rewards. Your path is incredibly linear most of the time, hence why there’s no map, and the game’s primary focus is on chaotic combat and visually manic team-based attacks. Unlike in the last two games, you can no longer grapple or throw enemies (though you can still send them flying off certain platforms) and there are no character-specific team-up moves, meaning the action can quickly get quite tiresome.

Sadly, puzzles are practically non-existent, with only Rifts offering additional challenges.

Because of its focus on hectic combat, there’s even less room for puzzles than there is for exploration in Marvel: Ultimate Alliance 3. Puzzles boil down to activating a console to open a door or making a platform move and that’s it. Sometimes, you’ll hold A to move a block and avoid lasers or cannons, but mostly you’ll be timing jumps between said lasers to progress and simply hurling missiles at those cannons. Sometimes, you’ll rotate statues or press switches to progress; others, you’ll be avoiding toxic ooze in Hel or solving door puzzles at the Raft or in Avengers Tower. After hopping across the rooftops of New York City, you’ll infiltrate the heavily fortified fortress of the Hand, dealing with ninjas that drop from the sky and hidden arrow hazards. When in Wakanda, Advanced Idea Mechanics (A.I.M.) corrupt T’Challa/The Black Panther’s defences, leading to an exasperating section where you must avoid snipers and being roasted by a giant panther statue’s energy blast. When transported to the Dark Dimension, you must use portals to reach new areas and defeat waves of demonic enemies to lower magical barriers and progress. Some attacks also screw up your controls or temporarily freeze you; some enemies are best defeated by tossing explosives at them; and many missions have an additional character fighting alongside you who’s often unlocked afterwards. However, a lot of the additional features of the previous games are missing; you can talk to other characters, but there are no dialogue options or character-specific interactions. There are no trivia quizzes, no optional side missions beyond the Rifts, and no character specific challenges to unlock extra stuff for each character. There aren’t even hub areas, in the traditional sense, with characters just appearing around S.H.I.E.L.D. checkpoints at times, though you can destroy a fair bit of the environment, and some encounters have you fleeing towards the camera as bosses chase you or present you with unwinnable battles.

Presentation:
Whereas the last two games primarily based their aesthetics on the comics books, especially the Ultimate comic line, Marvel: Ultimate Alliance 3 adheres very closely to the Marvel Cinematic Universe (MCU), especially in the visuals of its locations. I was hard pressed, for example, to tell the difference between Asgard here and the Asgard to the MCU, with both the golden city and the rainbow bridge, the Bifrost, appearing almost exactly as they’re depicted in the films. The same is true for Wakanda, the Dark Dimension, and Knowhere, all of which are virtually indistinguishable from how they appear in the MCU. There are some differences, of course: Taneleer Tivan/The Collector’s museum, for example, uses coloured cube cages and Wakanda leans much more into traditional architecture than the pseudo-futuristic science of the films (likely because Black Panther (Coogler, 2018) released a year before this game was made). Xavier’s School for the Gifted is lifted almost exactly from the 20th Century Fox X-Men movies (Various, 2000 to 2020), however, including a hedge maze, 1:1 Cerebro room, and basketball court that doubles as a landing pad for the Blackbird. While the Dark Dimension and the cosmic mind trip that is Sanctuary also heavily borrow from the bizarre cosmic imagery of the MCU, the Raft and Avengers Tower are much more akin to their comic book counterparts, though they’re comparatively bland locations, lacking fun areas like the Danger Room or Wakanda’s Necropolis (though you do pass through Anthony “Tony” Stark/Iron Man’s Hall of Armours in the tower). Although you only make a brief stop in Attilan to try and get help from the Inhumans, the architecture is far more visually interesting than that awful television show, seemingly being comprised of Celestial technology, and I enjoyed the ominous gothic presentation of Hel, with its restless Viking warriors and damaging sludge. Unfortunately, Marvel: Ultimate Alliance 3 continues the trend of having disappointingly bland and forgettable music, opting for generic themes for each location, event, and character that are lost amidst the constant fighting.

A visually impressive brawler that takes obvious inspiration from the MCU films.

The game also opts for an almost cel-shaded, action figure-like aesthetic for its colourful cast of characters. While many again both look and sound like their MCU counterparts, there are some exceptions: Peter Quill/Star-Lord, for example, looks nothing like Chris Pratt and the X-Men are far closer to the comic books than Fox’s films. Despite you assembling a custom team of heroes, cutscenes depict either everyone or characters specific to the location you’re in (the corrupted Doctor Stephen Strange in the Dark Dimension, for example) as they’re better suited to advance the plot against the local baddies. With the game shifting to a more third-person perspective, you’re closer than ever to the action and can see more of the environment than in the previous games. However, this comes with some drawbacks: mainly, there are far less opportunities or incentives to explore. Second, environments are painfully linear, with dead ends or locked doors barring your progress. Third, and most frustrating, is the camera, which easily loses track of your opponent/s and often lumbers you with wireframe representations when the foreground blocks the view. Thankfully, you won’t be falling down pits and rarely have to worry about onscreen hazards, but it can be aggravating trying to figure out which platforms and crates can be jumped on and which can’t. Marvel: Ultimate Alliance 3 offers a diverse cast of characters, each with their own idle poses and quips, though these do inevitably repeat. The game’s also surprisingly light on Easter Eggs: you’ll spot Deadpool singing away as he makes tacos in the X-Mansion, but not much else, and there are no optional missions or choices to encourage replaying missions. It’s a far cry from the first game, where there was always something to collect or an additional character to help out. Instead, it’s basically all combat, all the time in Marvel: Ultimate Alliance 3. Luckily, the game looks pretty good (everything’s very colourful and true to its inspirations) and performs really well, though there are some long load screens and it is annoying being forced to continue your game every time you challenge a Rift.

Enemies and Bosses:
All the usual suspects appear here as disposable cannon fodder for you to endlessly beat up, with many of the game’s goons sharing traits across the various locations. You’ll encounter Kree, Ultron Drones, agents of A.I.M., and Doombats who all pack various energy blasters. Ultron’s clones are the worst for this, relentlessly firing energy blasts and crashing through windows. The Raft’s unscrupulous prisoners attack in large groups, as do the restless Viking warriors who populate Hel, tossing axes from afar and luring you into toxic goop. Gargoyle-like Fire Demons also dwell here, offering a greater challenge with their swoop attack and fire breath, not unlike the monstrous Outriders and Mindless Ones who make up Thanos and the dread Dormammu’s forces, respectively. Alpha Primitives, Hydra goons, and towering Sentinels also appear, with the latter firing huge energy blasts from the palms and best attacked by throwing their explosive energy cores back at them. No matter where you are and what enemies you fight, more powerful commanders will also appear. Larger, tougher, and sporting a stun meter, these commanders should be your top priority as they’ll charge across the screen, cause shockwaves, and generally offer a far greater challenge even when you’re at a higher level. These minions often fight alongside their masters, generally so you can recover some health and EP to better damage the bosses, and will endlessly spawn in one of the additional modes unless you destroy their teleporters. Some of the game’s challenges or story-based missions charge you with defeating a certain number of enemies to progress. Other times, bosses appear in these waves, and you must occasionally flee or purposely lose some fights. This happens when Cain Marko/The Juggernaut comes tearing through the X-Mansion, for example, and in early encounters with the Black Order, who cannot be beaten or will chase you, raining lightning or other attacks from the sky and across the ground.

Few bosses require more than just hit-and-run tactics, even when augmented by an Infinity Stone.

There are loads of bosses to fight in Marvel: Ultimate Alliance 3, with some returning from the previous games, some teaming up, some having a couple of phases, and all boiling down to whittling down their stun bar, unleashing an EX attack and/or your most powerful Abilities, and avoiding damage until you can repeat this. The first ones you’ll face are Nebula and Ronan the Accuser, who often appear as a duo in optional challenges. Nebula is faster and more nimble, wielding blades where Ronan uses a massive warhammer. Both set a standard all bosses follow, which is that they’ll use either a jumping slam or an explosion of energy (or both) to send you flying. While quelling the riot in the Raft, you’ll encounter a version of the Sinister Six, with some unique variations to each battle. Flint Marko/The Sandman, for example, flings waves of sand and erupts his big sand fist from the ground as a large sand creature. You must use A to mount the nearby cannons and unload on him to chip away at his stun meter. Maxwell “Max” Dillon fights alongside Eddie Brock/Venom, raining lighting and electrocuting you with bursts of electricity, before he’s eaten by Venom and starts busting out electrically-enhanced symbiote powers. Venom joins the team after this fight and is tested against Quentin Beck, who first brainwashes Mile Morales/Spider-Man, Gwen Stacy/Spider-Woman, and Kamala Khan/Ms. Marvel to fight you and then unleashes a poisonous mist, teleports about, and confuses you with duplicates, Doctor Otto Octavious/Dr. Octopus is fought in a two-stage fight where you must first avoid his tentacles and scurry charge and then attack each arm to stun him. Finally, you’ll battle Norman Osborn/The Green Goblin for the Time Stone. The Green Goblin swoops overhead and lingers slightly out of reach, peppering the arena with his pumpkin bombs, charging at you, and freezing time to bombard you. He’s noticeably weak to his pumpkin bombs, however, so try and toss them at him before they explode in your face! After battling into the Hand’s fortress, you must first free Elektra Natchios from the Hand’s influence and then face Lester/Bullseye and Wilson Fisk/The Kingpin in separate fights. You must take out the ninjas feeding Elektra power, avoid Bulleye’s spread of razor sharp and explosive cards, and dodge the furniture and massive energy beam thrown by the Power Stone-enhanced Kingpin. The Kingpin also charges like a rhino, leaps at you to cause shockwaves, and even rips up stone columns to use as melee weapons!

Gigantic bosses and the quirkier villains help mix-up the otherwise tedious combat.

Avengers Tower is then attacked by Ultron and his drones, who assist him in battle. Not that he needs it as the Mind Stone allows Ultron to mess up your controls, to say nothing of his signature face and palm beams. Ultron then grows to gigantic proportions, sweeping the area with his eyebeams before Clint Barton/Hawkeye intervenes and Ultron merges with Ultimo. This is the first giant boss battle in the game and sees you blasting Ultimo with cannons and avoiding his massive swipes. The Infinity Sentinel is comparatively smaller, but no less dangerous thanks to its own face beam and missiles. Though you can damage it with Sentinel cores, it’s finished in a cutscene by Erik “Magnus” Lehnsherr/Magneto, who then tosses debris and throws you off balance with magnetic pulses while Juggernaut pummels you and Raven Darkholme/Mystique tosses daggers. After surviving Mystique’s Danger Room trials, you face Magneto, now even tougher thanks to the Power Stone, before being chased away and banished to the Dark Dimension by the Black Order. There, you battle past Loki Laufeyson (who boasts elemental attacks and duplication tricks) to eventually face the dread Dormammu, who wields the Reality Stone and is the second giant boss. You must subdue his minions and avoid his flame bursts, whittling down his magical barrier either directly or be destroying three nearby orbs, all while dodging his giant fists and ground spikes. The brief fight with Maximus Boltagon is far easier, even though the mad Inhuman carries a massive energy cannon and you must take cover in Thane’s energy bubble to avoid Maximus’s barrage of lasers. Ulysses Klaue/Klaw awaits in Wakanda and his sound-based energy blasts and waves must be overcome to rescue and recruit James Buchanan “Bucky” Barnes/The Winter Soldier. You then fight past A.I.M. to confront their master, George Tarleton/Mental Organism Designed Only for Killing (MODOK), who uses the Soul Stone to turn the Dora Milaje against you and attacks with a slew of appendages, from buzzsaw arms, poison gas, failing tentacles, and his signature forehead blast.

Battles with the empowered Black Order, Thanos, and Thane offer some of the most enjoyable challenges.

Though your goal in Hel is to confront Hela, you’ll actually battle the fire demon, Surtur, in another giant boss battle. This was a bit of a difficulty spike for me as Surtur’s flaming sword has a long reach and he causes the ground to erupt in flames, to say nothing of stun locking you with repeat sword strikes! Best him and Hela sets Johann Schmidt/The Red Skull on you, with the Nazi madman firing a powerful revolver and sapping your health with his “Dust of Death”. Hela gives the Red Skull a boost, protecting him with a shield and allowing him to fire a Bifrost-like laser, before placing his consciousness into the Destroyer armour. Though bolstered by Hydra forces and boasting a sweeping face beam, you can get a power-up from glowing crystals to overcome this destructive force. Finally, you venture to Knowhere and must run the Black Order gauntlet to retrieve the Infinity Stones, with checkpoints between each fight. Ebony Maw is first, firing a spread of projectiles and rocks and using the Soul Stone to create portals to trip you up. Supergiant tosses dark spheres and a golden homing shot that messes up your controls, though you can toss explosive cores from her minions to deal big damage. Cull Obsidian infuses his battleaxe with the Power Stone, sending out waves of purple energy and massive purple shockwaves, though he’s far slower and also susceptible to the nearby bombs. Corvus Glaive is much faster, landing multiple hits with his lance and using the Reality Stone to spring spikes form the ground and conjure duplicates who fill the arena with energy waves that can stun lock you. Finally, Proxima Midnight takes her fellow’s teleportation trick to the next level with the Space Stone and fills the arena with lightning bolts and strikes. All these powers are then recycled when you face Thanos, who gathers the six Infinity Stones into the Infinity Gauntlet to rain meteors, teleport, mess up your controls, freeze time, and fire his signature eyebeams. Thanos then joins you to battle Thane, who usurps him and boasts similar powers, though also upgraded by the Infinity Armour. Thane exhibits superhuman speed, traps you in a cube, fills the arena with portals and flames, and explodes in fury, though both battles were fun challenges rather than impossible tasks.

Additional Features:
Unlike in the previous two games, you won’t be finding data logs, action figures, or meeting certain requirements to unlock new attacks or costumes. You just fight over and over, earning whatever you need to unlock, buy, or upgrade whatever you wish and finding some concept art in treasure chests. A far harder (but more rewarding) “Superior” difficulty unlocks upon clearing the game alongside an additional “Nightmare” mode, accessible via the “Curse of the Vampire” campaign. You also unlock Thanos and can freely replay any mission on any difficulty (though you must start a new save to play on “Superior”) to grind and enhance your characters and ISO-8. Dimensional Rifts transport you to special challenges (not unlike the S.H.I.E.L.D. Simulator discs from the first game) that are often rematches with bosses or gauntlet challenges, though far tougher and gifting better rewards if you succeed. There are also three additional modes; however, though you can play a taster of each, you must purchase the expansion pass to fully unlock them. “Curse of the Vampire” adds vampiric enemies to the main story in “Nightmare” mode and offers a “Gauntlet” mode where you battle waves of enemies and bosses against both a time limit and a range of debuffs (including limited health restoration and draining EP). You can also tackle an “Endless” mode that’s pretty self-explanatory, and unlock additional characters like Frank Castle/The Punisher and Eric Brooks/Bladeif you buy the DLC. “Rise of the Phoenix” sees you form a four-person team and go head-to-head with a friend or the computer in three-round Danger Room scenarios. These see you tackling bosses again or wiping out hordes of enemies, awarding additional buffs and effects if you meet certain criteria (such as using any Ability or Synergy attack four times). You can only tackle the first challenge without the DLC, so I didn’t get very far, but this could be a fun distraction for those looking to test their skills against a friend. “Shadow of Doom” adds an epilogue story campaign that sees you return to Wakanda to oppose Doctor Victor Von Doom’s invasion. Dr. Doom’s Doombots endlessly spawn unless you destroy their teleporters, and you even battle the arrogant dictator in the recycled Necropolis, with him teleporting, firing lasers form his palms, and having his health restored by his Doombots. You’ll add Marvel’s First Family to your roster (alongside an alternative Thanos and other characters) by buying the expansion pass and battle Annihilus, a gigantic Celestial, and even “God Emperor” Doom!

The Summary:
I quite enjoyed the first two Ultimate Alliance games. They were mindless and largely repetitive, but I liked the large cast of characters and all the different references and locations from the comic books. Still, I put off Marvel: Ultimate Alliance 3: The Black Order for some time, mainly because I was annoyed by it being a Nintendo Switch exclusive; however it turned out to be a decent enough brawler. Despite the different development team, a few tweaks, and an apparent disconnection from the previous games, Marvel: Ultimate Alliance 3 offers a lot of the same gameplay and enjoyment as its predecessors, which is great for long-time fans of the franchise. Unfortunately, it doesn’t improve on these elements in a meaningful way and actually removes some content that I found enjoyable from the last two. There are no optional missions, for example, no alternative endings, no choices, and no character-specific challenges beyond fighting and levelling-up. I found this made the tedious combat even more aggravating after a while as I wasn’t being rewarded with gear or costumes or anything other than stat boosts. Even the skill tree was limited since you must grind to acquire enough credits and expendables to enhance your team, and I found the ISO-8 mode to be more confusing than engaging. The game also does little to improve the boss battles. Very few were very innovative or required more of you than to strike fast, avoid shockwaves and projectiles, and unleash your Extreme attack. The giant bosses were more of a challenge and I liked the final fight against Thanos and Thane, but I was hoping for a bit more complexity, especially given the possibilities offered by the Infinity Stones. There is a fun selection of characters, but they don’t offer much more than what we saw in the last two games and actually offer less as there are no character-specific team-up moves. While I enjoyed the visual influence from the MCU and the variety, I feel like Marvel: Ultimate Alliance 3 played things a little too safe by relying so heavily on combat and not mixing up the gameplay with a few other puzzles and challenges. Overall, it’s a good enough game and a worthy entry in the series, but it’s a shame that the developers didn’t try to be a bit more innovative and offer some more incentive to keep slogging away in endless fights.

My Rating:

Rating: 3 out of 5.

Pretty Good

Did you enjoy Marvel: Ultimate Alliance 3: The Black Order? How do you think it holds up against the previous two games? Which characters did you choose for your team? Were you disappointed that the combat was so similar to the last two games and the bosses so repetitive? Did you ever conquer all the Rift challenges? What did you think to the MCU influences and the final battle with Thanos and Thane? Did you ever play through the DLC? Would you like to see another Ultimate Alliance game? Whatever your thoughts, leave a comment below, support me on Ko-Fi, and go check out my other superhero content across the site.

Back Issues [Stark Sunday]: Tales of Suspense #50


Anthony “Tony” Stark/Iron Man first lived, walked, and conquered in Tales of Suspense #39, published in March 1963 and brought to life by Marvel mastermind Stan Lee, Larry Lieber, and Don Heck. Since then, ol’ shellhead has gone through numerous different armours and shot into mainstream superstardom thanks to an iconic, career-defining portrayal by Robert Downey Jr.  


Story Title: “The Hands of the Mandarin!”
Published: 12 November 1963 (cover-dated: February 1964)
Writers: Stan Lee
Artist: Don Heck

The Background:
Back in 1963, Stan Lee decided to think up a character his readers would hate (a billionaire military industrialist), throw in some Howard Hughes and personal tragedy, and make him someone they could root for. Mounting deadlines kept Lee from writing Iron Man’s debut, so he turned to younger brother Larry Lieber, artist Don Heck, and the legendary Jack Kirby to bring the character to life. These days, Iron Man is a mainstream superhero, one who’s squared off with many colourful villains but perhaps none are more intrinsically linked to the character than the Mandarin. Created by Stan Lee and Don Heck, the supervillain was specifically designed to evoke the Doctor Fu Manchu stereotype of a mysterious and powerful Oriental menace with a maniacal list for world conquest. The Mandarin has dogged Iron Man ever since, pitting his magical ten rings against Stark’s technology time and again and even forming his own version of Marvel’s premier superhero team, the Avengers. I best know the Mandarin from his depiction in the 1990’s Iron Man cartoon (1994 to 1996), where he was brought to life with relish by Ed Gilbert and Robert Ito, but he’s consistently appeared as a boss in various Marvel videogames. However, the Mandarin’s culturally insensitive appearance and racially problematic depiction have caused some controversy. These issues saw him excised from Iron Man (Favreau, 2008) during the scriptwriting stage and his subsequent appearances have been divisive at times. Still, the Mandarin is largely regarded as Iron Man’s archenemy and one of his most complex and persistent foes.

The Review:
The debut of Iron Man’s greatest foe takes place in the “remote vastness of Red China”, where the legend of the mysterious sorcerer known only as “The Mandarin” has plagued the lands for years. Some say he’s immortal, others say he’s far more than human, but all fear this elusive and powerful figure. While the Mandarin is merely a legend in the Western World, the “most feared Oriental of all” is very real in his native land and lords over his underlings from his vast and technologically superior castle. The story opens with the Mandarin outraged by the arrival of military officers, “emissaries of the red Government”, stopping by unannounced. Though tempted to simply smite them on the spot for their insolence, the Mandarin decides to hear them out first and, with a mere gesture of his finger, makes his “all-seeing crystal globe” vanish and lowers the castle drawbridge so they can enter. The trio, led by General Ho Lee, are terrified of the Mandarin’s power and fear death for disturbing his hallowed grounds but have no choice but to seek an audience with him lest they be slain by their “communist overloads”. Awestruck by the Mandarin’s unbelievable power, which brings parts of the castle to life, they’re brought before the sorcerer and implore him to share his atomic knowledge with the government so that China can “menace the world with nuclear destruction”. Luckily for us, such a request angers and insults the Mandarin. He categorically refuses to share his secrets with the government since he has his own sights set on world domination. And, luckily for the military men, they’re given sixty seconds to flee and somehow escape with their lives.

Iron Man ventures into Red China to confront the feared and mysterious Mandarin.

Across the ocean, the United States military is also concerned about the Mandarin’s threat and, to that end, they enlist Iron Man to gain further intel on the mysterious dictator, who’s said to be the single greatest power in China. Iron Man’s only too willing to help, but first he must sort a few things out in his civilian identity as Tony Stark. So, he heads over to one of his weapons factories and slips out his armour and begs off an employee’s dinner he was scheduled to attend as the guest of honour. When he names his chauffeur, Harold “Happy” Hogan, as his replacement, Stark unwittingly insults one of his employees, Bill, who’s disgusted that his boss doesn’t have time for “poor stooges” like him. When his irritation gets the better of him, Bill is laid out with a left hook from Happy, who steps in to defend Stark’s honour, only to be chastised by Tony for acting so recklessly. None of that is as important as their bullish attitude leaving Stark’s secretary, Virginia “Pepper” Potts, feeling disregarded and she scolds both men for being do wrapped up in their antics that they fail to notice her new hairdo…because God forbid Marvel’s women should be written as anything but shallow and selfish characters! Anyway, a few hours later, Iron Man is dropped off on the border of Red China for what his Army cohorts believe amounts to a suicide mission. Correctly assuming that he’d be spotted by the Chinese, Iron Man ensures he slips into their nation by waiting until the last second to power up his transistor jets, fooling the painfully stereotypical soldiers into thinking the bungling democrats “cannot even make chutes [work] correctly”. Though Iron Man’s subterfuge doesn’t last long, the Mandarin’s guards are no match for his “transistor-powered muscles and jet-swift speed”. However, his reserve power levels drop dramatically due to a short circuit, meaning he must finish up quickly before he’s completely drained. Unfortunately for ol’ shellhead, he’s spotted by the Mandarin and forcibly dragged into his castle via a magnetic ray beam.

Iron Man’s forced to use his wits to counter the Mandarin’s rings and take out the madman.

Inside, Iron Man acts swiftly to avoid being crushed by the Mandarin’s wall trap and confronts the main man himself, easily shrugging off the Mandarin’s paralysis ray with his “ultra-beam chest light”. Though tricked by the Mandarin’s illusionary effects, Iron Man pits his technology against his foe’s ten mysterious rings, with the two blasting each other with high-frequency waves and proving evenly matched. Iron Man has no way to counter the near-deafening blast of sound the Mandarin hits him with, however, or the paralyzer ray the Mandarin shoots from one of his other rings, leaving the armour-clad Avenger little more than a statue. Iron Man impresses his foe by recovering faster than he’s ever seen, but the Mandarin’s resources seem limitless. With a gesture, he electrifies the walls to trap his prey and demonstrates his superhuman strength by splintering an iron bar with his incredible karate skills. The Mandarin then puts these skills to the test by throwing hands at his foe, who desperately dodges each strike and feels his power fading by the second, realising that the Mandarin tampered with his armour. To avoid being beaten to death, Iron Man frantically consults his “built-in slide-rule calculator” to calculate the trajectory of the Mandarin’s blow, which is actually a clever ruse to buy the Avenger the time to block the attack so effectively that the pain causes the Mandarin to black out. With no time or power to dismantle the Mandarin’s operation, Iron Man flees to his escape plane and makes the employee function after all, unknowingly scuppering Happy’s hopes to get in with Pepper and Pepper’s hopes to get closer to her boss. And what of the Mandarin? Well, he’s left seething in his castle with a bandaged hand plotting his next scheme.

The Summary:
So, the first thing I’m going to say is: man, do I hate this characterisation of Pepper. She isn’t just pining for Tony; she’s positively obsessed with him! She stands there, prancing around with her new hairdo and dress trying to catch his eye and, when he dares to focus on business and employee welfare, she yells at him for ignoring her! Then, she calls Happy and practically orders him to take her to the employee dinner just to make Stark jealous, relishing the compliments and adulation she receives from others and completely oblivious that Happy is in love with her. When Tony shows up at the end, she’s left fuming when a throwaway comment by Happy implies she and him are together. Of all the poorly aged characterisations of females from this era, I think Pepper comes off the worst. She’s only in the story for a few panels and comes across as an obsessive, manipulative, selfish bitch who badly needs some comeuppance. Thankfully, this is merely a small part of the story and shows just how hectic Stark’s social and business life is, especially compared to his superhero peers since he has so many more responsibilities as a businessman and employer. Indeed, when faced with his impending death at the Mandarin’s hands, Stark’s first thoughts (beyond his own end) are that Happy and Pepper won’t receive their Christmas bonuses if he’s killed! Iron Man is also a proud patriot; he eagerly accepts the assignment to enter Red China and investigate the Mandarin, even though his presence there is technically an act of war. Iron Man seems excited about confronting the dreaded Mandarin and boasts of his adaptability and technology during their fight, matching the Mandarin’s mysterious power and escaping his deadly traps while still being forced to think on his feet since his armour is low on power. In this regard, “The Hands of the Mandarin!” is a pretty good story for showcasing Stark’s tenacity. He has fancy armour and near-magical gadgets, yes, but he’s still human and must rely on his wits and cunning at times, which comes to the forefront when faced with the Mandarin’s awesome power.

Culturally insensitive and lumbered with a bad outfit, the Mandarin is surprisingly lacklustre here.

The Mandarin possesses ten mysterious rings, each said to contain a different power. We don’t see the full extent of this here, or learn of their origin, but they’re enough to keep Iron Man at bay if not out-right subdue him. The Mandarin can emit high-frequency waves, control his castle’s mechanisms, and paralyse his foe with a gesture, but we don’t see him commanding elements or anything truly impressive. As if his ten rings weren’t powerful enough, the Mandarin’s castle is one giant trap; he can electrify walls, control stone slabs, and has death traps aplenty scattered throughout. This is cool and all, but I feel like anyone can have a castle fortress; I would’ve liked to see these traps supplanted with more focus on the Mandarin’s rings. Like, instead of having Iron Man faced with crushing walls, have the Mandarin control the stones of his castle with his ring. Instead of electrifying the walls with a lever, have his ring send out lightning bolts or something. The rings are the Mandarin’s gimmick and tie into the whole technology vs. magic aspect that’s at the core of their conflict, but that’s not really emphasised here. We never learn the origins of the rings, so for all we know they’re technological in some way, and the Mandarin isn’t depicted as a sorcerer, despite his appearance. Speaking of which, the Mandarin is a…controversial figure, for sure. Exuding Fu Manchu vibes, he’s a stereotypical “Red Menace” type with his little goatee and painfully slanted eyes and clawed hands. His appearance is close to that of a demon at times but hampered by his bland outfit. Consisting of heavy green robes sporting a big, stupid violet “M” and a gaudy matching mask, the Mandarin’s appearance completely negates the very real threat he poses, which is a shame as the story goes to great lengths to build him up as this fearsome foe and then lumbers him with a truly awful outfit. We learn nothing of the Mandarin except that he’s greatly feared, quick to anger, proud, and boasts incredible, unknowable power. He has desires for world domination, sure, but doesn’t appear to have done anything towards that except amass power, yet Iron Man immediately recognises that he’s this formidable enemy to the free world. I dunno, I guess I just expected a bit more from this since the Mandarin is the quintessential Iron Man villain in my eyes, but he just came across as another madman in a castle and a “villain of the month” figure here, which was disappointing.

My Rating:

Rating: 2 out of 5.

Could Be Better

What did you think to the Mandarin’s first appearance? Would you have liked to see more of his rings and their various powers? Do you consider the Mandarin to be culturally and racially offensive? What did you think to Pepper’s characterisation and he manipulation of Happy? What are some of your favourite Iron Man vs. Mandarin stories? Where does Iron Man rank in your hierarchy of comic book characters? Are you doing anything to commemorate Iron Man’s debut appearance and, if so, what is it? Either way, I’d love to hear your thoughts on Iron Man so leave a comment below.

Back Issues: Captain America 22-25

Story Title: “The Tomorrow Soldier” (Part 1 to Conclusion)
Published: 2 July 2014 (cover-dated: September 2014) to 1 October 2014 (cover-dated: December 2014)
Writer: Rick Remender
Artists: Carlos Pacheco and Stuart Immonen

The Background:
By 1941, Nazi Germany had decimated Denmark and Norway and World War Two was fully underway and, after some initial resistance, the United States joined the War against the “Axis powers” of Germany, Japan, and Italy. Patriotism and national pride was high, especially in America, during those dark days, making it the perfect time for Joe Simon and the legendary Jack Kirby to debut Captain Steve Rogers/Captain America and his kid sidekick, James Buchanan Barnes/Bucky, to encourage support of the war effort. Once the War was over, superheroes saw a decline and Captain America’s solo publication was cancelled in 1954. However, Cap got a second chance when he joined the Avengers as a “man out of time”, battling iconic villains like Johann Shmidt/The Red Skull and even opposing his fellow superheroes during a “Civil War”. After surrendering to the authorities, Cap was seemingly killed and his troubled sidekick, better known as the Winter Soldier, took up the mantle until Steve’s inevitable resurrection. However, in 2014, cybernetic supervillain Arnim Zola’s machinations saw Cap drained of the super soldier serum and rapidly aged into an old man! Thus the battle was on the see who would become the new Star-Spangled Avenger, a battle eventually won by Cap’s long-time ally, Sam Wilson/The Falcon, to much undue controversy, Created by Stan Lee and Gene Colon in 1969, the Falcon was the first Black American superhero in mainstream comic books and was specifically created to challenge social perceptions. After a lengthy career as a bit-player in Marvel Comics, Sam made headlines with his promotion, a story arc that achieved mainstream recognition due to Anthony Mackie’s celebrated portrayal of the character in the Marvel Cinematic Universe.

The Review:
Sam Wilson’s assumption of the Captain America mantle didn’t come easy, nor without drama. In the leadup to this story, Cap was kidnapped by Arnim Zola and spirited away to Dimension Z, where the mad scientist plotted to drain his super soldier serum to create a race of genetic super-beings! Cap broke free but was trapped in Dimension Z for ten years, during which time he raised Zola’s son, Ian, as his own. Though Cap eventually escaped with Jet Zola/Jet Black, Zola’s daughter, both Ian and Cap’s lover, Agent 13/Sharon Carter, were lost. Cap then spent some time working with Sam to mould Jet Black into a hero but, in a battle with former Strategic Homeland Intervention, Enforcement, and Logistics Division (S.H.I.E.L.D.) agent-turned-madman, Ran Shen/Iron Nail, Cap’s super soldier serum was neutralised and he quickly aged into frail, infirm old man! Our story picks up with Steve sequestered at Avengers Mansion, stewing over sensationalist news reports demanding accountability for Captain America and S.H.I.E.L.D.’s dangerous and destructive antics. Steve’s offered council by S.H.I.E.L.D. director maria Hill and the decidedly Samuel L. Jackson-esque Nick Fury Jr., who assure him that he saved countless lives taking down Iron Nail. Unfortunately, his shield has been left too radioactive to be returned to him and Steve’s aghast when he’s told S.H.I.E.L.D. won’t be destroying Gungnir, the weaponised, Transformer-like Helicarrier Iron Nail hijacked and threatened the United States with. Steve is so angered that he starts to wonder if the reports of corruption within the government and S.H.I.E.L.D. aren’t valid, though Fury simply explains that contingencies such as Gungnir are vital to protect innocent civilians and keep the public from being overly reliant on costumed heroes, especial as the Avengers’ roster has dwindled lately.

When Armin Zola’s mutates invade, the Avengers gain an unlikely ally in Steve’s adopted son!

Over on the upper west side, Sam Wilson wakes up to a hell of a hangover and to find he spent the night with Jet Black! Though he’s not exactly thrilled at having crossed that line, he seems won over by her affections, but their tender moment (and the awkwardness) is interrupted when Jet spots a commotion outside. It turns out that her father, Armin Zola, is so eager for revenge that he rips open a hole in the fabric of reality and his monstrous, “hyperevolved mutates” come pouring into Central Park, followed closely by a mysterious man garbed in a spiked battle suit. Zola quickly contacts the Red Skull to co-ordinate their newest efforts in overthrowing the decadent West, asserting himself as a menacing force in his own right and seemingly earning the Red Skull’s respect with his army of mutates. While Anthony “Tony” Stark/Iron Man and Doctor Robert Bruce Banner/The Incredible Hulk work to find some way of restoring Steve’s superhuman condition, they (along with Thor Odinson and Steve himself) are alerted to the crisis via the mansion’s monitors. Steve immediately recognises the threat as Zola; Stark is incredulous but quickly convinced of the danger when the armoured mutate comes crashing through the wall. Luckily, the Hulk is around to face the stranger (with Banner having more control over the Hulk at this point). Naturally, Iron Man adopts a snarky “shoot first, ask questions later” philosophy, leading to an explosive confrontation as he and Thor try to keep the masked intruder from reaching Steve. However, the masked man easily avoids their attacks and even gets the better of Thor, running rings around them, only to be astonished by Steve’s frail condition. This distraction allows the Hulk needs to strike; ironically, though the stranger deftly evades the Green Goliath, Steve easily subdues the masked man. However, Steve is stunned when the intruder unmasks to reveal himself as Ian Ziola, now Ian Rogers, Steve’s adopted son, who was regenerated from death by one of Zola’s “bio-mass [tanks]”.

Zola manipulates events to coerce his daughter, whom the Falcon rushes to defend.

Overjoyed to see Ian alive and that he’s come to help, Steve proudly introduces him to his fellow Avengers but distraught to learn that Ian’s been fighting Zola alone for the last ten years. Steve then gets a call from the Falcon, who relays the extent of Zola’s attack: thanks to the city’s birds, Sam has seen the monsters rapidly spread throughout New York City. Jet Black then reveals she knows a way into her father’s fortified tower that may help them to stop the invasion and calls upon the Avengers to go along with her father’s plan, which is to face him head-on, to provide a suitable distraction. The Avengers readily accept, taking the fight to the ravenous, near-mindless hoards alongside their new ally, and are initially unimpressed by Zola’s forces. However, they’re soon confronted by Zola’s “hyper-mutates”, warped, monstrous copies of the Avengers that call themselves the “Unvengers”! Meanwhile, Jet Black and the Falcon easily infiltrate Zola’s tower, affirming that her allegiances lie anywhere but with her crazed father and insisting on using her position as the madman’s daughter to throw off his mutate guards. The plan works and they advance through the tower, only to find Sharon held hostage in a pitiful cell! After learning about Sharon’s predicament from Sam, Steve immediately asks Ian to leave the fight to the Avengers and go rescue her; though Sharon warns that such an act was all foreseen by Zola. When Jet confronts her father in his control room, he all-but guarantees the Red Skull that he can win her over to their side, claiming everything she’s done – even her betrayal – was also all part of his manipulative will. The Falcon breaks up the tense family reunion, tackling Zola out the window and sending him crashing to the streets below. Zola recovers near-instantly, however, his patience with his “perfect child” wearing thin, but the Falcon immediately intercepts him in mid-air.

Though the Avengers turn on Jet, Sam survives to take up the Captain America mantle.

Raging at Zola for his ill treatment of Jet, the Falcon fights valiantly even as Zola smashes a bus onto the mis-matched hero. When Jet rushes to his aid and Zola sees how much she cares for the Falcon, Zola vows to murder him to rid her of such weaknesses all while hypocritically declaring his undying love for her! Thanks to Sharon, Steve warns the Falcon that Zola plans to blow up Avengers Tower, though Sam inadvertently kickstarts the detonation when he has Redwing remove Zola’s “telepathic broadcast doohickey”! When the Unvengers keep Iron Man from helping and Ian and Sharon are unable to disarm it, the Falcon bravely and selflessly grabs the bomb and flies high into the sky, bidding an emotional farewell to Steve and urging him and Sharon to enjoy their retirement with Ian before the bomb explodes in his arms. A horrified Steve thinks back to when he and Sam first met, the adversity he fought through, and how hard he worked to be a hero without any superpowers, fancy gadgets, or special serum as Iron Man sombrely retrieves the Falcon’s surprisingly intact body. Though Zola pleads with Jet Black to return to Dimension Z where she can be safe from the Red Skull’s looming threat, she angrily rebukes him. Sharon, Steve, and the Avengers gather in quiet mourning, only to be astonished when he comes to and reveals that Stark made him some Adamantium wings, which absorbed most of the blast! Though everyone’s overjoyed by this, Sharon blames Jet for Zola’s attack and accuses her of being a double agent. To Jet’s dismay, even Sam has his doubts and, when the Avengers try to restrain her to investigate, she angrily rushes to Zola’s tower, believing her father was right that her new allies couldn’t be trusted. One week later, seemingly every superhero around gathers at Avengers Mansion, where Steve announces his retirement from superheroics due to his condition (though he and Sharon plan to aid the Avengers with tactical support). He also reveals that Sam is the new Captain America and proudly hands him his shield, entrusting one of his oldest friends with his legacy, which Sam humbly accepts with a cry of “Avengers Assemble!

The Summary:
This was a difficult story to just jump into without context. A lot of modern comics are like that, with one series of mini arcs leading to the next, all of it part of a bigger picture. I get it and I accept it and I know there’s some onus on the reader to maybe get some background before diving in feet-first. However, since I’m mostly going on some background reading and what the “Previously…” recap is telling me, there were a few characters and events that I wasn’t very familiar with. Jet Black and Ian Rogers were two main examples; I knew Steve aged into an old man around this time, but I didn’t realise he took a son and a protégé as well. Consequently, Ian’s big reveal didn’t impact me as much as other, more invested readers but I think Rick Remender did a great job of conveying Steve’s shock and joy at seeing his son alive and well. I loved that Steve proudly introduced him to his surrogate family, the Avengers, and that Ian wasn’t some bitter, twisted soul looking to kill his adopted father. Instead, we got a young man who’s actually happy to see and fight alongside his father for a change, something very rare in comics. Ian meshes well with the Avengers, sporting a smart mouth and a capable agility despite his years of fighting against his maniacal father and living in a nightmarish alternate dimension. Similarly, I didn’t have much of a connection with Jet Black but I think the story did a good job of showing her as a character just trying to find her way. I liked her blossoming relationship with Sam (even if his reaction at waking up with her was a little odd) and that she willingly and selflessly opposes her father once he arrives. She does nothing except lash out against Zola, rebuking his offers and voicing her hatred of him even as he tries to win her over with his silver tongue. And, for all her efforts and hard work and personal turmoil, Jet is met with suspicion and accusations from even her own brother. Thus, she’s driven from her newfound allies and retreats back to Zola, devastated to learn that he was right and that she would never be accepted as one of them all because Sharon blew her lid and Sam barely even vouched for Jet’s trustworthiness.

For a story meant to be Sam’s crowning moment, he was strangely portrayed throughout.

Indeed, I hope subsequent issues delved into Sam’s feelings regarding this. He barely says anything when Sharon accuses Jet and gets only one panel where he seems conflicted or upset by what he sees as a betrayal. It’s a weird way to end the conflict, especially considering everyone was just mourning Sam’s loss and celebrating his survival. Sam’s selfless actions and his commitment to justice despite lacking any superpowers are the qualities that make him suitable to take up the Captain America mantle, yet this feels somewhat tarnished since he didn’t showcase any loyalty to Jet or any conviction in defending her. He stood there, stunned, and let everyone run their mouths, which doesn’t scream “Captain America” to me. In fact, this is a bit of an odd story to introduce Sam as Cap in general, really. For most of the issues, he’s not really doing anything except flying around and reporting intel to the Avengers. Sure, this is useful from a tactical standpoint but the mutates were swarming everywhere; I’m pretty sure the Avengers would’ve spotted them without him. The Falcon does take the fight directly to Zola, infiltrating his tower with Jet Black, and he does valiantly fight the cybernetic madman despite clearly being outmatched. During this fight, the Falcon also sticks up for Jet in a way he fails to do once the conflict is resolved and his fighting spirit is certainly commendable, but I feel like any hero would’ve fought just as hard in his stead. The Falcon making the sacrifice play is a great shorthand for the mentality needed to be Captain America but, again, it feels a touch hollow. Like, Iron Man was just about to take care of the bomb before he got interrupted and Sam probably wouldn’t have had to make that call if he hadn’t yanked out Zola’s broadcast device. It just felt a bit rushed and out of nowhere to me and I can’t help but wonder if maybe it would’ve been better to play things a little closer to the ground. Like, have Zola threaten to kill a group of civilians and have Sam shield them with his wings and seemingly be beaten to death, or something like that. Just something a little less random and a bit more in-line with his status as a more grounded, “human” superhero.

I liked that Steve passed on the mantle but the story felt oddly rushed at times.

On the plus side, Carlos Pacheco and Stuart Immonen do good artwork. I liked Iron Man’s darker armour and Ian’s totally nineties emo armour (I mistook him for Robbie Baldwin/Penance at first), though Jet Black felt a bit overdesigned. Similarly, while Sam’s Falcon outfit is a vast improvement over his debut costume, I can’t say I’m a big fan of his Falcon/Captain America hybrid suit. He reckons it’s “sexy” but it looks a bit of a mess to me, with miss-matching colours and a far too “busy” design. Maybe if his chest emblem was just the star, which was an extension of his weird-looking cowl, I’d like it more. I dunno, it just looks uncomfortable to wear and a pain in the ass to draw. I quite enjoyed the passing of the torch, though, in concept. I like seeing Steve rendering incapable of continuing as Captain America and retiring to a more sedentary life, though I do think Bucky is a better choice to take up the mantle. I get the idea that Captain America is a symbol of what a normal man can strive to be, but Steve was at least partially superhuman thanks to the super soldier serum. Then again, considering the Falcon survived having a bus dropped on his head, it’s safe to assume he’s more durably than Joe Public. I really like seeing all the other heroes immediately accept and endorse Sam; there was no question or objection, and he slipped into the role effortlessly. However, I feel he didn’t play a big enough role in this conflict. He fought Zola, sure, but to a standstill and didn’t defeat him; he just stopped his plan, and he lost his girl in the process. It’s a weirdly, tonally confused story for me and a strange way to usher in a new Captain America, though I was left curious to explore how Sam adapted to the role and the fallout from this adventure.

My Rating:

Rating: 3 out of 5.

Pretty Good

What did you think to Sam’s promotion to Captain America? Do you agree that this was a strange story to make that change or did you like the way it went down? What did you think to Sam’s suit, and do you like seeing him in the role? Were you disappointed that the Unvengers didn’t do more, and that Sam didn’t try harder to defend Jet Black? What are some of your favourite moments from Sam’s time as Captain America? Use the comment section below to share your thoughts and go read my other Marvel and Captain America content on the site.

Back Issues: Hulk #1-6

Writer: Jeph Loeb Artist: Ed McGuinness

Story Title: “Who is the Hulk?”
Published: 4 January 2008 (cover-dated: March 2008)

Story Title: “The Smoking Gun”
Published: 20 February 2008 (cover-dated: April 2008)

Story Title: “Creatures on the Loose”
Published: 23 April 2008 (cover-dated: June 2008)

Story Title: “Red Light, Green Light”
Published: 25 June 2008 (cover-dated: August 2008)

Story Title: “Rolling Thunder”
Published: 6 August 2008 (cover-dated: October 2008)

Story Title: “Blood Red”
Published: 24 September 2008 (cover-dated: November 2008)

The Background:
Created by legendary Marvel duo Stan Lee and Jack Kirby, the depiction of Doctor Robert Bruce Banner transforming into the monstrous Incredible Hulk was inspired by a story of a hysterical mother summoning superhuman strength to rescue her child and classic screen monsters Frankenstein’s Monster and Doctor Jekyll and Mister Hyde. Initially appearing as a stone-grey creature, the Hulk has appeared in many forms and at different levels of strength and intelligence over the years. We’ve seen an old, dictator-like Hulk, an intelligent gangster Hulk, a “Smart Hulk”, and even a “Devil Hulk” so why not a Red Hulk? The idea of a Red Hulk can be traced back to Kenny Johnson, producer of the popular and iconic Incredible Hulk television series (1977 to 1982), who lobbied for the colour change since red is commonly associated with rage, the Hulk’s defining characteristic, only to have his logic dismissed. However, a mere thirty-odd years later, then-Marvel editor-in-chief Joe Quesada officially introduced a red variant of the Green Goliath, one whose identity was kept a closely-guarded secret for about three years. A dangerous, intelligent, and tactically-savvy villain who grew hotter the angrier he got, the Red Hulk was eventually revealed to be Banner and the Hulk’s long-time enemy, General Thaddeus “Thunderbolt” Ross, a cantankerous military man who hounded both characters for decades. Naturally, General Ross appeared prominently in the Hulk’s ancillary media, appearing in cartoons and live-action many times, but the Red Hulk (or “Rulk” as he’s colloquially known) has not only been a card-carrying member of the Avengers but has also appeared in Hulk-centric cartoons and even unexpectedly appeared in the Marvel Cinematic Universe, courtesy of Harrison Ford.

The Review:
Our story begins in Russia, where Doctor Leonard Samson/Doc Samson and Jennifer Walters/She-Hulk investigate the sight of a fierce battle between the Hulk and his monstrous rival, Emil Blonsky/The Abomination. Begrudgingly, She-Hulk allows Samson to recreate the fight, deftly surmising and reenacting both character’s movements based on footprints and the surrounding devastation. It’s Doc Samson’s learned belief that the Hulk was unusually vicious, that he sought to beat the Abomination to death no matter what damage he caused in the process, and that, with his foe at his mercy, the Hulk drew a pistol and shot the creature at point-blank range. General Ross, Strategic Homeland Intervention, Enforcement, and Logistics Division (S.H.I.E.L.D.) commander Maria Hill, and S.H.I.E.L.D. director Anthony “Tony” Stark/Iron Man, who are also present, question the legitimacy of such an outrageous claim. However, when Hill reveals that S.H.I.E.L.D. does make a weapon big enough for the Hulk to fire and Doc Samson points out the residual Gamma radiation, the evidence, however unlikely, becomes difficult to ignore. She-Hulk and Samson also note that the Hulk is apparently emitting so much radiation that he’s scorching the earth with each footprint. The team’s squabbling and theorising is interrupted by Russia’s equivalent to the Avengers, the Winter Guard, led by Anton/The Red Guardian, who demand to take charge of the investigation. Despite being invited by the Russian government, the Red Guard have issue with their unauthorised personnel, like Samson, who reacts by starting a fight with the Red Guardian. Not to be outdone, Mikhail Ursus/Ursa Major, Boris Vadim/Crimson Dynamo, and Sasha Roerich/Darkstar join the fracas, with the bear-like Ursa clawing She-Hulk’s arm and Iron Man blasting the mech-armoured Crimson Dynamo right in the face. The battle is violent but short-lived as General Ross discovers a survivor, a traumatised boy who can only repeat the word “Красногоin” (or “red”) over and over.

A mysterious Red Hulk murders the Abomination and trashes the S.H.I.E.L.D. Helicarrier,

On the S.H.I.E.L.D. Helicarrier, Maria shows Stark a version of the gun used to kill Blonsky, a weapon he had no knowledge of. However, their discussion is interrupted when She-Hulk is suddenly attacked by a monstrous, Hulk-like figure. Though Stark barely glimpses the creature, he sees that it’s red, not green, and is stunned when the unconscious and badly beaten She-Hulk is dumped at his feet. Stark armours up and meets agent Clay Quartermain, who’s been injured by the monster but no less determined to bring him, and any and all Hulks, down. Iron Man’s orders are cut short when the Red Hulk suddenly tackles him through a wall. Noting the strange contradiction of a Hulk that growls like an animal but apparently wields a pistol and systematically targets a Helicarrier, Iron Man scrambles to fend off the brute’s vicious attack and deploy his spare armours to help stabilise the Helicarrier and catch the jets that tumble from it following the Red Hulk’s attack. Though his armour’s severely damaged, Iron Man is saved from a plummet by She-Hulk, who reveals that the Red Hulk wiped S.H.I.E.L.D.’s secure files with a sophisticated virus, and that the Red Hulk threatened her with an eloquence not shown to Stark. Despite Iron Man’s best efforts, the gold-plated Helicarrier crashes in a New Jersey field (with, surprisingly, no causalities). Iron Man’s attempts to formulate an effective counterattack are put on hold when Maria shows him video footage of General Ross and Doc Samson meeting with Bruce Banner, who’s held captive in the Gamma Base located in Death Valley, Nevada. The footage confirms that there is another Hulk out there, one very different from Banner’s mindless alter ego, and Banner suggests it’s someone who’s previously been exposed to high levels of Gamma radiation. However, Iron Man’s enraged when a crucial exchange between Banner and Ross is rendered unintelligible and orders Maria to clean up the recording. Later, Iron Man is brought to a meat packing plant where Agent Quartermain has been found dead alongside a severely torn, Gamma-irradiated coat belonging to Doc Samson, framing the superhuman psychiatrist as the Red Hulk.

The Red Hulk easily overpowers A-Bomb and even the rampaging Green Goliath!

Elsewhere, the Red Hulk blindsides perennial sidekick Rick Jones outside Gamma Base, transforming him into his own Gamma monstrosity, the A-Bomb. It’s in this fight that we learn just how intelligent the Red Hulk is. While A-Bomb can only bark childish threats, the Red Hulk is goading, intelligent, and aware of his surroundings. Although Gamma Base recognises the Red Hulk as an authorised entrant, its defences fire on A-Bomb and Red Hulk takes advantage, swiping a massive cannon and taking great pleasure in riddling the armoured monster with bullets. When A-Bomb spits claims of his invulnerability, the Red Hulk gleefully tests his theory by pummelling him into the ground. The sheer force of the assault sends seismic shocks through the entire base and triggers Banner’s transformation into the Hulk when his cage attempts to gas him. As the battle rages, the base unleashes its Adamantium-taloned harpy robots (modelled after Banner’s long-time love, Doctor Betty Ross) to carry the two away. Unfortunately, the machines are no match for either monster’s strength, though the distraction separates them long enough for the Hulk to confront his red-skinned doppelgänger. Before the two can lock horns, however, the Red Hulk casually punches out Uatu the Watcher, who randomly popped up due to the significance of these two immensely powerful beings coming to blows (and, I guess, to show how tough this new Hulk is). After humbling the cosmic overseer, the Red Hulk finds the Hulk enraged by his appearance. The Hulk sees his red double an imitation and challenger to his title of “The Strongest One There Is”, a title he vehemently seeks to defend as aggressively as ever. Red Hulk, however, dives into the fight with relish, determined to make the Hulk pay for years of death and destruction, and for waging war against the entire planet after his return from Sakaar. Though the Hulk’s no longer as intelligent as his “World Breaker” persona, his strength only increases with his anger. However, the Red Hulk weathers the beating and easily grabs the Hulk’s wrist, breaking his arm and causing him to pass out.

Though he humbles Thor, the Red Hulk is outsmarted by the Hulk, his true identity left a mystery…

The Hulk awakens atop the Golden Gate Bridge and avoids a public execution by biting the Red Hulk’s gun. For his insolence, the Red Hulk decides to let his foe live with the knowledge that he’s not the strongest and knocks him into the bay, trigging the San Andreas fault. Thor Odinson then confronts the monster, only for the God of Thunder to be stunned when the Red Hulk shrugs off a blow from the mighty Mjöllnir. Savouring the chance to beat a God to death, the Red Hulk backs his words with blows powerful enough to draw blood and knock Thor flying. Thor fights back, not realising his foe is a different Hulk to the one he knows and is therefore left speechless when the intelligent Red Hulk gets around Mjöllnir’s enchantment by launching them out of Earth’s atmosphere. In zero gravity, the Red Hulk humbles Thor by beating him with his own hammer and dumping him on the Moon. After the Fantastic Four seemingly confirm that the Red Hulk is Doc Samson and A-Bomb pulls the Hulk from San Francisco Bay, Iron Man, She-Hulk, Ben Grimm/The Thing, Johnny Storm/The Human Torch, Prince Namor McKenzie/The Sub-Mariner, and Ares, the God of War, arrive to help save the city. While the Hulk initially rejects their assistance, he begrudgingly agrees to let them get San Francisco under control so he can confront the Red Hulk in Monument Valley. The Hulk’s efforts are aided by the returning Thor and A-Bomb, with the latter revealing the Red Hulk’s weakness (that he gets hotter the madder he gets) and restraining Thor so the Hulk can settle the score alone. Smartly, the Hulk absorbs the Red Hulk’s horrendous assault, causing the monster to overheat and grow weaker. The Hulk then asserts his dominance and knocks the Red Hulk out with a single punch. He then parts ways with Thor as friends before wandering into the desert, exhausted and reverting to Banner. However, when A-Bomb turns back into Rick and tries to reveal the Red Hulk’s identity, he’s shot in the back by Doc Samson. Both Samson and General Ross express disappointment with the Red Hulk, who they leave lying in the dirt as his eyes snap open…

The Summary:
First of all, I have to say that I love Ed McGuinness’s artwork. His work is always hyper-stylised and very bold and cartoonish, and he draws a wonderful Hulk and Hulk-like creatures, with them all being brutish monsters full of life and personality. You can tell so much about each of the Hulks in the way Ed McGuinness draws them: A-Bomb is constantly hunched over, as though weighed down by his armoured scales; the Hulk is always bulging and ready for a scrap; and the Red Hulk stands tall and confident, with a condescending smirk plastered to his face most of the time. The glue that holds this story together is the mystery of who the new Red Hulk is. At first, Doc Samson believes the Hulk is behind the Abomination’s murder. This is an odd hypothesis given he knows as well as General Ross that Bruce Banner is locked up in Gamma Base, but not one without merit; after all, Doc Samson himself once split Banner and the Hulk into separate beings. Naturally, given he was a bit of a dick around this time, Iron Man’s primary thought is to his culpability; he snaps and rages at Maria Hill about the Hulk-sized weapons S.H.I.E.L.D. developed and is desperate to ensure he can’t be held accountable for the murder. The evidence seems to ring true, but for the use of a gun and the scorched footprints, though She-Hulk remains unconvinced that her cousin was capable for such a cold-blooded act. Little moments throughout the story give some hints towards the Red Hulk’s identity, but there are numerous red herrings as well: Rick Jones, for example, seems tormented at the events, initially framing him as a suspect. We see that both Samson and Ross are authorised Gamma Base personnel, and that the base’s security recognises the Red Hulk’s iris. The garbled security footage seems to implicate Samson, as does his tattered coat, and the story even ends with the suggest that Doc Samson is the Red Hulk…until it’s revealed he’s not. But then again, General Ross is also seen standing over the Red Hulk’s unconscious body and he was right there when the Red Hulk attacked the Helicarrier, and he later turns out to be the Red Hulk! Indeed, the ending suggests more that Samson and Ross were in league with the Red Hulk, rather than being him, and I’d be interested to know or try and remember exactly how they explained how Ross and the Red Hulk could be in the same place at the same time (though it was probably a Life-Model Decoy).

The Red Hulk is an overpowered, egotistical, and incredibly dangerous Hulk.

As for the Red Hulk…well, this is a glorious showcase. Doc Samson’s intuitive nature reveals that the Red Hulk is a formidable foe, capable of beating even the super-tough Abomination into submission and fighting with a ferocity and power comparable to the Hulk. The Red Hulk is also seen to be tactically minded, launching an all-out assault against Iron Man’s fancy-pants gold Helicarrier and even wiping S.H.I.E.L.D.’s files. The Red Hulk’s intelligence is showcased in his eloquence; he delights in goading and taunting his foes as he fights them, displaying a familiarity with each and the defences of Gamma base. He repeatedly demonstrates a personal vendetta against the Hulk, first happy to frame him for murder and then delightedly besting him in a straight-up fight, even going so far as to break the Green Goliath’s arm and wish to publicly execute him. This, as he says, is payback for the Hulk’s years of death and destruction and more recent assault against the entire planet. The Red Hulk sees the Hulk as the true threat and is determined to stamp him out, but he’s also out to prove himself the superior being in mind and body. And what better way to do this than by not just beating the piss out of the Hulk and kicking him to the bottom of the San Francisco Bay, not just by punching out the Watcher, but by besting Thor in combat! Seriously, the Red Hulk is so massively overpowered it’s not even funny. Not only does he outmatch and humiliate Thor, even using insane logic to rob him of Mjöllnir, the Red Hulk completely disrespects and disregards the God of Thunder like he was nothing. A vindictive, calculating, ferocious opponent, the Red Hulk is so much than just another “Smart Hulk”. His blows have a purpose, striking at weak points and mixing pure power with tactical precision; he knows what he’s doing and enjoys doing it. His only weakness, one he doesn’t seem to realise, is that his body temperature rises exponentially when he gets mad, weakening him significantly. Well, it’s not his only weakness: he still needs to breathe, but that isn’t much of an issue considering he effortlessly trounced Thor while holding his breath.

The Hulk doesn’t care who his new foe is. He just wants to prove he’s the strongest!

The Red Hulk’s debut starts off as a showcase for the new Hulk on the block and a superpowered murder mystery. The investigation into the Abomination’s murder, the murder weapon, and the mystery of what’s happened to drive the Hulk to such an uncharacteristic action frames the first issue and a half. Once the Red Hulk makes his presence know, there’s some brief confusion as even Banner states that he’s been split in two and assumed different forms before, but then the crux of the story becomes trying to work out who this new Hulk is. Thus, everyone’s favourite Jade Giant doesn’t factor into the story for a few issues. Indeed, it’s up to the decidedly Hulk-like A-Bomb to carry the load when the Red Hulk targets him, but the action really ramps up when the two Hulks come to blows. I’m not sure what happened between Green Scar’s return to Earth and this story, but the Hulk has regressed to his mindless, child-like persona and is therefore at an initial disadvantage against his more tactile-minded doppelgänger. The Hulk’s driven to fight the Red Hulk out of a sense of pride (“Hulk is Hulk!”, after all) rather than to protect others, but his need to prove himself superior aligns with defending his few friends (such as A-Bomb) and allowing Iron Man and the others to save San Francisco. Thanks to Ed McGuiness, the Hulk-on-Hulk action is dynamic and interesting; it’s not just a senseless brawl as both Hulks weather their opponent’s onslaught to tire them out or strike when the opportunity presents itself. The Red Hulk, especially, stands out by using an enemy’s momentum against them and mixing brain with brawn, while the Hulk is naturally more savage and only tries a different tactic after seeing how dangerous his foe is. The art definitely makes his story a visually enjoyable experience and I did like the intrigue surrounding the Red Hulk. The red herrings and revelations are kind of odd knowing what I know now about the character, but it’s always nice seeing 2008-era Iron Man get his smug face smashed in and I loved that an intelligent Hulk proved to be such a threat. There’s definitely enough here to make me want to read up on what happened next with the Red Hulk and the lingering plot threat regarding Doc Samson, and the mixture of action and mystery were highly entertaining all-in-all.

My Rating:

Rating: 4 out of 5.

Great Stuff

Did you enjoy the Red Hulk’s explosive first appearance? Do you think the writers went a bit over the top in showcasing his threat, power, and intelligence? What did you think to the murder mystery sub-plot and who did you think the Red Hulk was? Were you impressed by the way the Hulk defeated his doppelgänger at the end? Which alternative version of the Hulk is your favourite? What are some of your favourite Red Hulk moments? Tell me your opinions on the Red Hulk in the comments and be sure to check out my other Marvel and Hulk content.

Screen Time [Sci-Fanuary]: M.O.D.O.K.


January sees the celebration of two notable dates in science-fiction history, with January 2 christened “National Science Fiction Day” to coincide with the birth date of the world renowned sci-fi writer Isaac Asimov, and HAL 9000, the sophisticated artificial intelligence of Arthur C. Clarke’s seminal 2001: A Space Odyssey (1968), being created on 12 January. Accordingly, I am dedicating all of January to celebrating sci-fi in all its forms.


Air Date: 21 May 2021
Directors: Eric Towner and Alex Kamer
Network: Hulu / Disney+
Stars: Patton Oswalt, Aimee Garcia, Ben Schwartz, Melissa Fumero, Wendi McLendon-Covey, Jon Daly, and Beck Bennett

The Background:
Created by Stan Lee and Jack Kirby, George Tarleton, the “Mental Organism Designed Only for Killing”/MODOK first appeared in the pages of Tales of Suspense back in 1967. The deranged, cybernetic would-be conqueror has been a thorn in the side of numerous Avengers and a mainstay of Marvel videogames, though he’s had a tumultuous life on the big and small screen. While I best know the character from his appearances in the 1990’s Iron Man cartoon, most mainstream audiences probably best know him from his infamous appearance in Ant-Man and the Wasp: Quantumania (Reed, 2023). Before that debacle, MODOK received his own adult animated series on Hulu, the first in what was planned to be a bunch of adult animated series before his fellow “Offenders” were summarily cancelled. A stop-motion production in the style of the similarly-themed Robot Chicken (2005 to present), M.O.D.O.K. was well-received upon first airing. Though some found it incomparable to its peers, most reviews praised the vulgar tragicomedy for its workplace humour and entertaining performances. Unfortunately, neither the generally positive reactions or a Golden Trailer Award nomination were enough to produce a second season and M.O.D.O.K. was cancelled after only one season.

The Plot:
After failing to conquer the world, MODOK (Oswalt) loses control of Advanced Idea Mechanics (A.I.M.) when it goes bankrupt and schemes to regain his position while dealing with a failing marriage and a mid-life crisis.

The Review:
M.O.D.O.K. is an adult stop-motion animated series in the same visual style of Robot Chicken, a show I haven’t watched all that much but have enjoyed its zany take on pop culture. However, I used to watch The Adam and Joe Show (1996 to 1999) as a kid and that regularly included segments featuring stuffed toys and action figures, so it’s a style I’ve always enjoyed. M.O.D.O.K. skews more towards the action figure aesthetic; this is especially evident in scenes where MODOK and A.I.M. attack Avengers Tower and battle Anthony “Tony” Stark/Iron Man (Jon Hamm), who’s styled after the Toy Biz “Marvel Super Heroes” action figure. Considering how painstaking stop-motion animation is, I’m surprised by how long each episode is, with each clocking in at around twenty-five minutes; though it’s my understanding that the animation studio, Stoopid Buddy Stoodios, used elaborate puppets during filming. The result is a very surreal animation style that perfectly matches the bizarre nature of the show, which is much cruder and ruder than the average Marvel production. M.O.D.O.K. features blood, violence, a touch of body horror (both in MODOK’s unsightly appearance and in a Fly-like (Various, 1957; 1958 to 1989) genetic monstrosity), and some swears, thus firmly setting it as a more adult-orientated show. Additionally, and most prominently, M.O.D.O.K. tackles adult themes such as divorce, mid-life crises, and navigating an increasing unstable workplace undergoing corporate mandated overhauls to be more politically correct and accommodating. As enjoyable as it is to see characters have half their faces melted off, blood and guts burst on the screen, and MODOK’s long-suffering (but endlessly enthusiastic) henchman Garfield “Gary” Garoldson (Sam Richardson) get his arm blown off just for standing in the wrong place at the wrong time, it’s the domestic drama where M.O.D.O.K. really shines. There’s an unexpected pathos laced throughout the show as MODOK desperately attempts to win back his frustrated wife, Jodie Ramirez-Tarleton (Garcia), and the approval of his kids, aspiring supervillain Mental Entity Living to Induce Seriously Sinister Anarchy/Melissa (Fumero) and endlessly jovial Lanky Organism Undeniably Irresistible and Syphilitic/Lou (Schwartz).

The once-fearsome MODOK is reduced to squalor by his failing company and family life.

MODOK’s family is acutely aware of his evil deeds; it’s hard for them not to be since the only thing he talks about at home is himself, how superior he is, and spinning disastrous failures into overblown wins just because he stole Iron Man’s boot. MODOK’s obsession with destroying the Avengers and conquering the world stems from his childhood, where he was relentlessly bullied for his big head and supervillain-level genius. However, his loving mother (Unknown) encouraged his ambition and he continuously experimented on himself with science and cybernetics in a bid to take over he world and “improve” it with his own twisted version of a utopia. Unfortunately, MODOK’s preoccupation with this goal has caused him to neglect his family: he barely acknowledges Jodie’s success as a self-help guru or her upcoming book launch, Melissa resents him for embarrassing her and not acknowledging her opinions, and Lou, though seemingly cheerful, is hiding his own insecurities behind a happy-go-lucky façade and an amateur interest in stage magic. When MODOK’s reckless spending pushes A.I.M. to the brink of bankruptcy, MODOK’s forced to sell to young, socially aware Austin Van der Sleet (Bennett), owner of tech company GRUMBL, who, despite his assurances, makes so many changes to A.I.M.’s corporate structure that MODOK is eventually reduced to a mere mailman. His frustrations see his marriage crumble; realising they no longer have anything in common, Jodie demands a divorce and kicks MODOK out, forcing him to live in squalor with the family’s underappreciated robot slave, the Super-Adaptoid (Daly). When MODOK’s begging and pleading for a second chance fail, he and Gary break into the Strategic Homeland Intervention, Enforcement and Logistics Division’s (S.H.I.E.L.D.) headquarters and steal a time machine, desperate to undo a past mistake and take Jodie to a Third Eye Blind concert to rekindle their love. However, the attempts fails when she’s angered at him using the jaunt to also try and assassinate Austin and he inadvertently creates the show’s overarching villain when his ineptitude angers his past self and displaces him from time after he shatters the time machine’s Chrono Crystal.

MODOK’s long-suffering wife and daughter come to resent his selfish attitude.

Jodie’s frustration with MODOK is well founded; he’s an egotistical, selfish, obnoxious braggart who causes chaos wherever he goes. At work, MODOK is largely idolised by A.I.M.’s mostly nameless and faceless beekeepers; MODOK shows he cares for them when he begs Austin to keep them employed, but also treats them as disposable pawns when enacting his plans. Jodie feels a degree of the same disregard, constantly feeling second fiddle to MODOK’s greater aspirations, and forces a separation so she can get her life in order. When she starts dating Simon Williams/Wonder Man (Nathan Fillion), Jodie sees her stock and fame skyrocket due to the sordid publicity surrounding Wonder Man and she shamelessly embraces it. She manipulates both Wonder Man and MODOK to promote her book, coldly using the limelight-loving superhero for her own ends, and even injects Lou with a serum to give him a peanut allergy to give him a personality flaw, showing why she’d fall for a supervillain in the first place. It’s clear Jodie and MODOK still have feelings for each other (when trapped in the past, they grow old and rekindle their feelings, only to be erased from time) but they struggle to reconcile even for the sake of their kids. Melissa, though a female copy of MODOK, is actually very popular and has aspirations of being a supervillain but is continuously let down by him ignoring her input. She expertly teaches him how to psychologically manipulate others during a work conference, only for him to default to a grandiose plan for hero worship by opening a portal to the Broodworld. She works hard to give him a makeover, but he ruins his new look by brawling with Wonder Man. It’s doubly frustrating for Melissa considering she’s the most pragmatic of the family. Indeed, when faced with discovering which of them are murderous robot doubles created by Arcade (Alan Tudyk), Melissa doesn’t hesitate to slaughter their doppelgängers either on a whim or by closely watching their body language and behaviour.    

MODOK’s struggles to regain A.I.M and be taken seriously are compounded by his family life.

Lou is the black sheep of the family. Whereas MODOK and Melissa and even Jodie can be cruel, cold-hearted, and manipulative in their own ways, Lou is kind and jovial, without a care in the world. Not confined to a floating machine like his sister and father, Lou’s free to express his boundless energy, seemingly finding the good in every situation, no matter how dire. The only concern he seems to have is about his upcoming Bar-Mitzvah, and even then he just wants to perform magic for his audience; a desire so great that it drives him to chase after his props when MODOK callously transports them to Asgard. There, he earns the awe and loyalty of the goblin-like Kodolds, setting him against his father but ultimately aiding him in escaping death when he learns the MODOK is just trying to protect him from possible humiliation. While his family love him, Lou’s mostly perplexing to them; he finds a kindred spirit in outcast, sullen goth Carmilla Rappaccini (Zara Mizrahi) and gains a brother when he befriends his robot duplicate, but an overriding concern of MODOK and Jodie’s is that Lou is hiding his pain behind his magic. MODOK’s attempts to be a good father, win back Jodie, and regain control of A.I.M. see him turning to lower-tier supervillains for assistance when big shots like Samuel Sterns/The Leader (Bill Hader) and Doctor Nathanial Essex/Mister Sinister (Kevin Michael Richardson) turn him away. Begrudgingly relying on the Super-Adaptoid for company and transport, MODOK forms a crew consisting of David Angar/Angar the Screamer (Bill Hader), Antonio Rodriguez/Armadillo (Dustin Ybarra), Bruno Horgan/The Melter (Eddie Pepitone), Marion Pouncy/Poundcakes (Whoopi Goldberg), and Alvin Healy/Tenpin (Chris Parnell) to steal Captain Steve Rogers/Captain America’s shield and curry favour. Naturally, this goes hideously awry when the D-listers get distracted by their own personal dramas and incompetence, and when they abandon MODOK after learning he was manipulating them. However, MODOK comes to sympathise with the downtrodden villains and they agree to storm Avengers Tower, only to fall asleep on the trip and the Melter to die from excitement.

MODOK’s abrasive nature creates his own villains and even angers a past version of himself.

MODOK’s abrasive personality and disregard for his underlings means he has many enemies beyond the likes of Iron Man, even within his own company. Most notably, he’s constantly challenged at work by Monica Rappaccini (McLendon-Covey), an A.I.M. scientist whose genius matches, or many even surpasses, that of MODOK. Initially excited to be hired as another disposable beekeeper since she idolised MODOK, Monica slowly came to resent him when he not only undermined her inventions but also took credit for her killing an unnamed Avenger. Monica’s frustrations with MODOK’s leadership lead to her betraying him and siding with Austin, fooling the cybernetic villain with her jelly-like doubles and taking his place as A.I.M.’s “Scientist Supreme”. Despite her lofty position, Monica becomes paranoid when MODOK seemingly embraces his new position as a mailman, but ends up partnering with him when he sells a controlling share of A.I.M. to Iron Man and sets up A-I-M-2 with Gary once it’s revealed that Austin’s masters, a sentient, alien corporation known as the Hexus, plans to brainwash the world with their new GROME device. The exact opposite of MODOK, Austin is an overly friendly and accommodating boss who insists his employees take regular breaks, vacations, and relaxation time. Claiming to idolise MODOK, Austin repeatedly tolerates his abusive behaviour until he’s caught stealing from the company, but eventually turns on his alien masters when they order him to dispose of his beloved dog, though being on the same side doesn’t stop him from being run down by Gary. The show’s ultimate villain is MODOK himself, literally and figuratively. A younger version of him becomes displaced from time and, angered at MODOK’s failures, conspires with the likes of Arcade to kill his family and set MODOK towards world domination. Calling himself “The Anomaly”, this younger MODOK shows his older self that his plans are destined to fail unless his family dies. While MODOK cannot bring himself to sacrifice the ones he loves and is determined to have it all, the Anomaly is not so morally inclined and murders his wife and children, creating a dystopian future where MODOK rules all. However, when he exhausts the energy of the Chrono Crystal and the life of his younger counterpart, the sullen dictator vows to find a way to bring his family back and retain his supreme position, ending the show on an unresolved cliff-hanger.

The Summary:
Though not set in the Marvel Cinematic Universe (MCU), M.O.D.O.K. is clearly influenced by it in many ways. Avengers Tower, for example is basically a carbon copy of the MCU’s version and Iron Man is a snarky asshole like in the films. Other characters, like MODOK’s crew and the assorted villain cameos, are styled more after their comic book counterparts. Even S.H.I.E.L.D.’s uniform is modelled after the comics and A.I.M.’s employees are all rendered anonymous by their comic accurate beekeeper outfits. MODOK, though, is ironically more akin to his later MCU counterpart than the source material. Rather than being a frothing, maniacal supervillain, he’s an insecure, angry, petty cyborg lashing out at the world around him. MODOK is seen as a lesser-tier villain, even more so than in the 1990’s Iron Man cartoon where he was a glorified henchman; he’s not allowed in the supervillain club and ends up slumming it with D-list villains. When MODOK approaches Iron Man with an offer to buy A.I.M., the armoured Avenger initially believes he’s there for a fight and downplays MODOK’s threat, despite the rotund villain sporting various dangerous weaponry such as buzzsaws, claw arms, and his iconic brain blasts. Thus, just as his kids seek his approval and the likes of Gary and the Super-Adaptoid long to be recognised for their significance, so too does MODOK strive to be acknowledged as a (or the) superior being. His plots and ambitions are lofty and often exceed his grasp, causing him to steal technology from others or claim ownership of victories that weren’t his own. Constantly, desperately seeking approval and acceptance, he initially plans to save a party of investors from the Brood then quickly takes credit for the party-loving Ciegrimites who arrive instead. He manipulates an army of Asgardians into attacking the Kobolds since his systems have been damaged and ends up bleeding out when his younger counterpart fatally wounds him, only to be begrudgingly saved by Melissa.

Episodes are full of lewd comedy, bloody violence, and a surprising pathos.

Many episodes have great moments in them, either spontaneous scenes of violence, workplace gags where MODOK is taken to human resources, or emotionally charged explorations of MODOK’s fragmented family life. “The M.O.D.O.K. That Time Forgot!” was a pivotal episode not just for exploring MODOK and Jodie’s past but also for introducing the younger MODOK, who isn’t held back by the domestic drama that befuddles his elder’s life. The plot twist of the Ciegrimites being so party hard that they literally dance people to death was fun, but I really enjoyed watching Melissa teach her dad how to emotionally manipulate people into seeking validation from him, and Monica’s desperate attempts to get out of using her corporate-mandated vacation time in “If Bureaucracy Be… Thy Death!”, which also showed how low MODOK will stoop to be seen as a great villain. “This Man… This Makeover!” showed a darker side to Jodie, who becomes consumed by the fame being associated with Wonder Man brings her and her book, to the point where she disregards Wonder Man’s very real feelings for her and manipulates MODOK into embracing his base instincts just to make headlines. “O, Were Blood Thicker Than Robot Juice!” promises a reconciliation for the family, only to reveal that Jodie, Melissa, and Lou have been replaced by Arcade’s robots. Arcade then forces them to fight to the death against multiple robotic duplicates, a fight easily won by the real family not because they know each other so well, but because Melissa eagerly resorts to violence. I loved the satirical take on corporate greed that comes to the forefront in “What Menace Doth the Mailman Deliver!”, where the Hexus’ plot to control and conquer the world is seen as a heinous by-product of their dislike of Austin’s puppy. This episode also commentated on society’s dependence and love for smart technology like Alexa by having the GROME brutally murder people when activated. The show ends with a surprisingly emotional gut punch in the aptly named “Days of Future M.O.D.O.K.s”, where MODOK’s forced to see that the only way he’ll conquer the world is if his family dies before his eyes. He’s complicit in this and is brought no joy at being the undisputed master and ruler of the world, but is sure to torture the Anomaly to death to both see glimpses of his family and make him pay for making him endure such a loss.

A bizarre and entertaining show bolstered by its toy-like animation and characters.

Thus, MODOK’s characterisation may irk fans of the character. He’s a very co-dependent, egotistical narcissist, one who takes his family for granted and demands adulation without really earning it. The juxtaposition of this gruesome supervillain cackling away with his minions and bludgeoning his enemies retreating to suburban mundanity is amusing. MODOK’s efforts to destroy his enemies and retake his company are seen as equal to his attempts to win the favour of his kids and deal with his messy divorce, casting him as a desperate and clingy villain whose knee-jerk reaction is to blast his way out of every situation. Eventually, he embraces his wife’s teachings and tries to turn his life around, then braves Arcade’s death trap to save them when they’re replaced by robot doubles, ultimately refusing to kill them but, paradoxically, also not trying to save them when they’re targeted by the Anomaly. I loved the biting wit and satire at work in the show, and the explosive violence. Seeing the dolls get torn to shreds, guts and gore splattering everywhere, was really fun and the occasional swears really hammered home that this was a different sort of Marvel project. The animation was commendable, with the dolls and puppets showcasing a lot of personality, none more so than MODOK, expertly brought to life by Patton Oswalt as an insecure, unpredictable villain burdened by time and family life and desperate to make his mark on history. It’s a shame the show was cancelled without a proper resolution as the door was left wide open for more episodes. There were many plot threads left dangling that promised greater things in another season and plenty of places for the characters to go, especially as M.O.D.O.K. wasn’t afraid to explore surreal, colourful, and obscure aspects of the Marvel Universe. I really enjoyed the marriage of suburban drama with violent, over-the-top comic book action; seeing MODOK struggle to adapt to corporate policy and appease his children was as enjoyable as his fight for world domination. He might not be a completely faithful rendition of the character, but he’s endlessly more interesting here due to how complex and layered he is, with the show emphasising that he can be a serious threat if given sufficient motivation.

My Rating:

Rating: 4 out of 5.

Great Stuff

Did you enjoy M.O.D.O.K.? What did you think to his characterisation as a struggling family man and villain? Did you enjoy the animation style and the various cameos spliced throughout the show? What did you think to Austin, Hexus, and the satirical commentary on corporate synergy? Which of MODOK’s family was your most or least favourite, and did you enjoy the family drama? Would you have liked to see another series, or at least a resolution to the ending? What are some of your favourite MODOK stories? Share your thoughts on M.O.D.O.K. in the comments and then go check out my other sci-fi content on the site!

Back Issues [Independence Day]: The Avengers #4


First appearing in 1941, Marvel Comics’ star-spangled super soldier, Captain Steve Rogers/Captain America, has become one of Marvel’s most recognisable and celebrated characters not just for his super patriotism but also for being a prominent member and leader of Marvel’s premier super team, the Avengers. Having successfully made the jump to live-action, Cap is now a widely celebrated, mainstream superhero and, given that today is Independence Day, this seems like the perfect excuse to pay tribute to the star-spangled man with a plan himself!


Story Title: “Captain America Joins…The Avengers!”
Published: 1 March 1964
Writer: Stan Lee
Artist: Jack Kirby

The Background:
In 1941, the Second World War was well under way; Nazi Germany overtook Denmark and Norway in April 1940 and the United States finally entered the fray in 1941 to oppose the combined “Axis powers” of Germany, Japan, and Italy. Due to the ever-escalating conflict, patriotism and national pride ran rampant in America, leading to Joe Simon and the legendary Jack Kirby debuting Captain America and his kid sidekick, James Buchanan Barnes/Bucky, who took the fight directly to the enemies of America and encouraged readers to support the war effort by any means necessary. However, after the War ended, superheroes saw a decline in popularity and Captain America’s solo title was cancelled in 1954, but the character got a second chance when he was recast as a “man out of time” in this issue of The Avengers. The Avengers came about as a direct response to rival DC Comics’ Justice League of America; Martin Goodman tasked Stan Lee with bringing together Tony Stark/Iron Man, Doctor Bruce Banner/The Hulk, Doctor Donald Blake/Thor Odinson, Doctor Hank Pym/Ant-Man, and Janet van Dyne/The Wasp as Marvel’s premier superhero team. With their ever-changing roster and prominence in some of Marvel’s biggest events and stories, the Avengers became a consistent and influential presence in Marvel Comics, even more so after the Star-Spangled Avenger joined their ranks in this historic issue.

The Review:
Marvel Comics always liked to hype up their stories and issues back during this time period; front covers would proclaim even the most bizarre-looking characters as being must-see events and issues generally always featured celebratory mentions of the creatives involved, and The Avengers #4 is no different. There are a couple of notable unique features in the full-page title splash for this story, though; first, a big explosive bubble of text directly attributes the return of Captain America to an “avalanche of fan mail” and a dialogue box at the bottom of the page makes sure to mention that “glorious” Stan Lee and “grand” Jack Kirby both collaborated on Captain America’s debut story, thereby lending further prestige to his return to the then-modern era of Marvel Comics. The story itself takes a little while to get started as the first page of panels is dedicated to recapping the Avengers’ battle against Prince Namor McKenzie/The Sub-Mariner and the Hulk in the previous issue; after the Hulk disappeared, Namor was forced to flee from the overwhelming odds and returned to the depths of the ocean. The sting of defeat is great for the proud Mutant but pales in comparison to the frustration he feels at being abandoned by his people after the inhabitants of Atlantis questioned his loyalty. Vowing to never stop searching for his lost people, Namor finds himself lost amidst the frozen wastes of the North Sea, where he comes across a tribe of Eskimos who worship a mysterious figure frozen in a block of ice. Interestingly, despite the Eskimos being isolated from the rest of the world, they instantly recognise “the dreaded Namor”, who wastes no time in mocking their idol and turning his anger upon them. In his rage, Namor decimates the frozen landscape, terrorises the simple folk, and hurls their frozen idol into the sea.

The Avengers are awestruck when they recover the perfectly-preserved body of the legendary Captain America!

Free from the frigid temperatures of the northern climate, the ice block slowly melts and, by the time the Avengers come across it in their little submarine (I assume they were tracking Namor, that seems to make sense as to why they’d randomly be out there), the ice has completely melted, freeing the unconscious body trapped within. Giant-Man brings the body aboard and the team are stunned to find that it’s none other than the slumbering body of the legendary Captain America, a star-spangled crusader of justice so prolific that even Norse God Thor is aware of his accolades. The team’s shock at this discovery turns to panic when Cap suddenly awakens and lashes out in a confused daze, desperate to keep his kid sidekick, Bucky, from harm. Thor, Iron Man, and Giant-Man leap in to restrain the raging legend, but his madness quickly passes. Within the space of five panels, he resigns himself to the memory that Bucky is dead and reclaims his identity, shield, and mantle of Captain America. Though impressed, the Avengers are so puzzled by Cap’s youth and vigour that they suspect some kind of trick. Thus, Cap invites them to test him, easily dodging Thor’s magical hammer, overpowering even the hulking Giant-Man, and is only kept from embarrassing the group further when Wasp stops him in his tracks by challenging his chivalry. Suitably convinced that Cap is the real deal, tensions calm long enough for Cap to tell the tragic story of how he came to be encased within a block of ice. Back during the Second World War, Cap and Bucky were posing as security guards at an Army base when a mysterious Nazi figure launched an explosive-filled drone in a bid to either kill the two or rob the United States of a powerful weapon. Although Cap failed to reach the plane in time, Bucky leapt onboard and was seemingly vaporised when the plane exploded; the heartbroken Cap was hurtled into the ocean depths off the coast of Newfoundland, where he became encased in ice and effectively held in suspended animation. When the Avengers reach New York City, they’re greeted by the press, hungry for the big scoop on their battle against Namor and the Hulk, but the team are suddenly and inexplicably turned into stone statues by a flash of light! Cap missed the event since he was still inside the craft and, when he emerges topside to find everyone gone, he assumes that the statues are in honour of the colourful heroes and ventures out to explore the strange new world he’s found himself in without a second thought.

Cap tracks down the one responsible for petrifying the Avengers, an alien whom he vows to assist.

Cap is impressed by how much has changed, from clothing and fashion to the establishment of the United Nations and the upgrades to everyday vehicles, and stuns the public, who instantly recognise him as the legendary hero of World War II. Directed to a hotel by a helpful police officer, Cap briefly marvels at the wonders of television before dozing off in a troubled exhaustion. Already questioning his place in the modern age, Cap is startled to wake up and find Bucky alive and well in his hotel room…only to realise that it’s perennial sidekick and Avengers mascot Rick Jones. Concerned by the Avengers’ disappearance, Rick confronts Cap; since Cap was the last person to see them, Rick basically accuses him of being involved and threatens to set the Hulk on him if he doesn’t help find the team. This threat means little to Cap since he doesn’t know who the Hulk is and he’s still struggling with the uncanny resemblance between Rick and Bucky, but he promises to help find the team despite Rick’s rude demeanour. After reviewing the photos taken of the team by the press, Cap spies a suspicious man holding a camera-like gun and Rick wastes no time in contacting his “teen brigade” to try and find him amongst the teeming masses. Laughably, the teens come up with nothing but dead ends and false leads, but Cap finds the guy seemingly at random just by scouring the city’s rooftops. Once he spots the man he’s looking for, Cap wastes no time in springing into action and confronting him and his armed goons. Even these lowly mobsters recognise Cap and they’re easily overwhelmed by his indomitable shield, uncanny agility, and Herculean strength; while the goons quickly surrender, their leader desperately tries to turn Cap to stone with his ray gun, only to miss and be unmasked as a bizarre extraterrestrial lifeform! Unfazed by this, Cap threatens the alien (who goes unnamed in this issue but is eventually revealed to be named Vuk), who gladly tells his story to avoid being handled by “primitive beings”. Vuk crash-landed on Earth centuries ago and, encountering nothing but fear and hostility, would turn men to stone with his ray gun in self-defence, which Cap realises directly led to the myth of the hydra-haired, stone-eyed Medusa. Vuk relates that the Sub-Mariner promised to help Vuk return to the stars if he turned his weapon against the Avengers and, recognising the Sub-Mariner’s name from the past, Cap vows to help Vuk in return for undoing the damage he’s inflicted upon the Avengers.

As impressed by the team as much as they are with him, Cap helps fight Namor and joins the Avengers.

Namor witnesses these events from his deserted imperial castle using his “undersea scanner” and vows to avenge himself upon his enemies, a promise that suddenly becomes more viable when he conveniently stumbles upon a loyal troop of his elite guard. True to his word, Cap leads the Avengers in finding and freeing Vuk’s ship from the ocean depths, an act that earns them Vuk’s eternal gratitude and Cap’s admiration for the group’s unparalleled teamwork. Their victory is short-lived, however, as Namor and his elite guard suddenly attack the group; Iron Man goes toe-to-toe with Namor but his armour struggles to withstand the sledgehammer-like blows of the Sub-Mariner. In desperation, Iron Man blasts Namor with a “full [intensity] magnetic ray”, but this only grants him a temporary reprieve; with his armoured foe’s “greatest weapon” exhausted, Namor redoubles his attack, smashing a rock over Iron Man’s head and manhandling him to the ground. Momentarily powerless as he waits for his transistors to recharge, Iron Man is saved from certain death by the timely intervention of the Wasp, who Namor easily shrugs off before answering his lieutenant’s plea for help in subduing the rampaging Thor. Thanks to his mighty hammer, Thor easily holds back Namor’s forces by himself and repels the energy bolts fired at him by their ray guns, forcing Namor to leap at the Thunder God to tackle him directly. After slipping free of the Atlantean’s net and saving himself from drowning, Giant-Man returns to the fray to assist Iron Man, hurling the Atlanteans off-panel with his massive strength before rushing to aid Thor in tussling with Namor, who’s become obsessed with wrestling Mjölnir from Thor’s grasp. Watching from the side lines, Cap can’t help but be impressed by the power and courage of the Avengers and in awe of Mjölnir, a weapon so powerful that only the Mighty Thor can lift it. Although the Avengers clearly have Namor beat, the proud prince refuses to surrender and lowers himself to threatening Rick’s life. This irks Cap so much that he finally leaps into action, tackling Namor’s elite guard and briefly being overpowered by the Sub-Mariner before the tiny isle on which they’re all fighting suddenly (and conveniently) breaks apart from an undersea explosion caused by Vuk’s ship. Confident that his enemies will drown beneath the resulting waves, Namor commands his forces to retreat, unaware that the heroes easily survived by clinging to the remains of the island. Impressed by Cap’s prowess in battle, the Avengers ask him to join their little team and he gratefully accepts, but Rick is left pondering the fate of his friend and partner, the Hulk, whose rage at being “replaced” by Captain America is as sure as the inevitability that the Avengers will butt heads with the Sub-Mariner again before long.

The Summary:
I quite enjoyed “Captain America Joins…The Avengers!” I sometimes struggle with Jack Kirby’s more bizarre artwork and designs but there was none of that here (save for the Avengers’ submarine and the brief depictions of Atlantean technology), which really helped these colourful characters to stand out all the more prominently. I especially liked Cap’s brief walk around New York City and him being impressed by the advances in technology and society since his day, and the panels that took place underwater, which evoked a murky, almost alien environment. Unfortunately, paralleling this was the pretty haphazard and confusing flashback to Bucky’s final mission, where it’s a bit difficult to make out where the characters are in relation to the plane, and the depiction of Vuk, who ends up looking more like Beaker than anything remotely impressive. I also really didn’t care for the reveal that an alien was behind the Avengers’ petrification; it was weird that Cap took it in stride and that the story didn’t treat it as a big deal, and it just came out of nowhere. I think it would’ve been far better to have it be an Atlantean in disguise, maybe switch the order of events to show Namor recruiting his elite guard before the Avengers reach New York, and then Cap could just threaten the Atlantean into helping him. It’s a minor thing to complain about but that’s kind of the problem; Vuk doesn’t even get a name and it just seems so random to just insert a Medusa-like alien into the story when the primary focus is the antagonism against Namor. Normally, I’d also complain about the depiction of women and youth during this time but, aside from being a bit too rude and confrontational, I didn’t have much of an issue with Rick Jones here and I was actually very impressed by the restraint show with the Wasp. She doesn’t fawn or coo over Cap upon seeing him and actually proves quite useful in the scuffle with him and Namor…but then all that goodwill gets thrown away on the very last page where it’s revealed that the Wasp disappeared from the battle to powder her nose!

Cap impresses with his abilities and characterisation, as does Namor’s unquenchable pride.

However, I enjoyed the angst of the Sub-Mariner as depicted here; Namor’s anger against he surface world has only exacerbated since his people abandoned him after questioning his loyalty due to his mixed heritage and he’s desperate not only to find his people, but to subjugate humanity to prove his superiority. There’s a tragedy to Namor that’s present even here; he lashes out at everyone and everything because he doesn’t want to be alone and craves power and adulation, but he’s tormented by being a child of both worlds and his status as a Mutant amongst even his bizarre people. Depicted as both an underhanded tactician and a formidable physical force, Namor’s threat is enough to require the attention of all the Avengers even without his elite guard and I liked how he easily overpowered Iron Man and matched even Thor’s God-like power (even if he was unable to lift Mjölnir). Of course, the true star of this story is Captain America; I really enjoyed how the issue went to great lengths to talk up Cap’s status as a legendary figure and that even randomers in the street recognised him as a hero from their youth. The Avengers are awestruck by his presence and seem delighted to not only have him amongst them, but also to test his abilities in battle, and Cap is equally impressed by the team, who he wishes could’ve been by his side during World War II. While it seems like Cap quickly regains his senses and returns to his confident and commanding persona, the story does touch upon the grief and anguish he feels at Bucky’s death and his feelings of belonging in the then-modern world. Though impressed by how far the world has come since his day, Cap briefly feels as though he doesn’t belong there, and it isn’t until he’s back in action, tracking down the Avengers’ mystery attacker and engaging with the Sub-Mariner, that he truly feels himself again. This was the perfect way to sell newcomers and sceptics on Cap’s return and make him relevant amongst his modern contemporaries and I really enjoyed how he meshed with the Avengers and their mutual respect for each other. Take out the Vuk stuff (or replace it with something better) and this would’ve gotten full marks from me, but it’s still a blast to read and one of the quintessential Avengers and Captain America stories.

My Rating:

Rating: 4 out of 5.

Great Stuff

Have you ever read “Captain America Joins…The Avengers!”? If so, what did you think of it and did you enjoy seeing Captain America join the Avengers? Was this your first exposure to Captain America, and if not what was? Were you also disappointed by the inclusion of Vuk? What did you think to the depiction of Namor and Cap’s introduction to the then-modern world? Which of the Avengers is your favourite? How are you celebrating Independence Day today? Whatever your thoughts, drop a comment below or on my social media and be sure to check out my other Captain America content across the site!