atom's Comic Book Blogs

  • atom | Male | Utah

"I have a lot of issues. . ."

I write comic book reviews that NOBODY has ever asked for!

July 2024




Welcome to Longbox Junk! It's the blog where I just keep on writing comic reviews nobody asked for!

Sorry about the delays again.  There's always a huge bump in business toward the end of summer when people who put stuff off for the past few months are rushing to get in some fun time with the kids before they go back to school.  It's just one of those strange things about hotels that the END of summer is one of the busiest times of the year.
I felt like getting a little random this time out, so I basically generated a random number between 1 - 40 (the number of boxes I keep in my comic-cave) online. That got me one of my "S" boxes.   Then I closed my eyes and pulled out a comic.
And here we are.
Truthfully, I'm not much of a Spider-Man fan.  Don't get me wrong. . .a cool comic story is a cool comic story, and Spidey has some pretty cool stories.  I'm just not one of those guys who goes out of my way to collect massive full runs of the many Spider-Man titles.  Most of the issues I have, I've either gotten by accident as part of a larger lot, or they had a great cover that caught my eye.
This is one of those great cover issues.  I've never actually read this comic, but I have had it up on my rotating "Wall O' Covers" in my office several times.  So, now the question becomes: Is the story as cool as the cover?
Let's find out!


Marvel (1979)

COVER: Carmine Infantino
SCRIPT:  Tony Isabella
PENCILS: Lee Elias & Mike Esposito
INKS: Mike Esposito
Like I said above, I might not be a big Spider-Man fan, but I AM a fan of great comic covers. . .and in MY book, this is a great Spider-Man cover!  I mean, just LOOK at it! What's not to like?  Eye-catching contrasting blacks, reds and yellows. . .the hero in an iconic pose, leaping at the reader. THIS is a cover that delivers a nice punch of great Bronze Age art in the Mighty Marvel Manner!
So yeah. . .great cover.  Let's get inside and see what's going on with the story!
We begin our tale with the Spectacular Spider-Man, wracked with pain and falling, mid web swing. We see a mysterious figure who realizes that if Spidey falls to his death, he will be robbed of revenge.  
He releases the hold on Spider-Man's mind and the disoriented wall-crawler smashes through a window and into a building, only to be confronted by two police officers intent on arresting him!
As Spidey tries to reason with the police, the mysterious figure once again invades his mind, commanding him to kill!  Spidey manages to fight back the mental commands enough to avoid killing the officers, but the mysterious voice in his head demonstrates his ability to mentally control Spider-Man by forcing him to throw himself against walls!
Spidey, helpless to resist the mental commands, follows the voice in his head to an old neighborhood, and then to a run-down shack.  Inside that shack, he finally meets his tormentor. It's a foe that he had fought once before (in Amazing Spider-Man #138), now back for revenge. . .the mutant mindbender called MINDWORM!
As Spider-Man tries and fails to fight free of Mindworm, the villain gloats and gives Spidey (as well as the reader) a quick recap of his short-lived criminal career, brought short by the hero now helpless before him. . .
A psychic parasite who gained strength from draining the emotions and thoughts of those in his area, Mindworm had taken a large group of people to feed on until Spidey had fought and defeated him, leaving him unable to feed on emotions, which nearly killed him.
After their battle, Mindworm spent several months in the hospital close to death, but during that time, he had found the strength to increase his mental powers and escape custody!  With newfound energy, Mindworm was determined to have his vengeance on Spider-Man!
The villain's origin flashback monologue now at an end, Mindworm blasts Spidey out of a window, where the hero falls into a strange maze-like place.  Almost immediately, a woman rushes out of the shadows, she recognizes Spider-Man and cries out for help!
She introduces herself as Dr. Joyce Phillips, Mindworm's doctor at the time the villain escaped from the hospital.  Spider-Man tries to make sense of it all, but there's little time for conversation with his new companion as gigantic rats leap out and attack them!
It's a brutal, savage battle against the giant rats, but Spider-Man manages to win the fight and save the frightened Doctor from the oversized vermin!
With the immediate danger overcome, Doctor Joyce tells Spider-Man that she's not a medical doctor, but a psychiatrist who was trying to help Mindworm through his personality conflicts before he escaped.  
She recognizes the rats as one of Mindworm's mental traumas. . .he had been bitten by a rat as a child. She believes that she and Spidey are trapped in a labyrinth of Mindworms own neuroses!  
Further speculation on their strange situation is interrupted by a howling blast of wind that carries the two of them to parts unknown!
Spider-Man and the doctor regain consciousness only to find themselves confronting a grotesque blob-like creature!  
As it speaks with the voice of Mindworm and shouts it's hate of all mankind, Doctor Joyce tells Spidey that this is Mindworm's final embrace of inhumanity and alienation, and that they must help him before he is completely engulfed by madness!  
All Spidey knows is that he's finally in a position where he might actually be able to fight Mindworm and escape the prison of the villain's mind . . .
Unfortunately for Spidey, in the mental maze of Mindworm, he's at a disadvantage.  Mindworm sprouts tentacles and pummels Spidey.  Worse, the wallcrawler still doesn't have a way to fight against Mindworm's mental attacks!
Doctor Joyce shouts to Spidey that the only way he's going to be able to defeat Mindworm is mentally! If Mindworm is in Spidey's head, then THAT'S where he has to fight the villain!
And so Spider-Man opens his mind and is able to see some of what makes Mindworm tick.  He taunts the villain about his parents. . .accidentally killed with his powers.  An enraged Mindworm struggles against the truth, that his anger at the world is anger at HIMSELF!
In accepting the truth, Mindworm sees that he's still capable of being human, and in doing so, he defeats his greatest enemy. . .his own anger at himself.
The battle against Mindworm won, Peter Parker wakes up in an icy sweat in his own bed. . .it was all just a nightmare! OR WAS IT?
Peter suits up as Spidey and swings across town to the psychiatric hospital where Mindworm was confined after their original battle.  He's determined to get to the bottom of things.  Sneaking outside of Mindworm's window, Spidey is surprised to see Doctor Joyce. . .but she's just a nurse and not a psychiatrist.  
As he wonders just what is going on, Spidey is shocked to realize that Mindworm can read his thoughts as he invites Spider-Man into the room to ask his questions.
A calm and composed Mindworm tells Spider-Man that he never intended to drag the hero into his own internal struggle, but he's glad that it happened by accident.  
By fighting with Spider-Man, Mindworm was able to defeat his inner demons, but more importantly, he learned from Spider-Man that with great power comes great responsibility. . .and it's time to use his power responsibly.
Spider-Man is surprised by the turn of events.  He came expecting another fight, and discovered that he'd helped a villain turn the page from evil without even realizing it.  Taking the unexpected victory as it is, Spider-Man and Mindworm part ways peacefully.  All's well that ends well.

The End.
Okay, okay. . .not bad.  Not bad at all.  Let's break it on down!
I think I've mentioned a time or two that Tony Isabella is one of my favorite Bronze Age writers.  The thing I like most about his stories is that there's ALWAYS a little something to think about.  Even in this filler one and done Spider-Man comic, he takes an otherwise average superhero punch-up and throws an unexpected villain redemption ending at us!  Nicely done, Mr. Isabella!
Taken as a whole, the issue's story is decent.  Not really too memorable or groundbreaking.  A solid bit of  Bronze Age superhero storytelling.  Good for what it is, but ultimately nothing much to remember.
 But that ending. . .those last two pages.  A villain able to go into Spidey's head and taking the classic "With great power comes great responsibility" to heart and deciding to change his ways.  Now THAT'S a tasty and unexpected turn.  
On the art side of things, we have cover to cover of some good, clean Bronze Age artwork.  It might not be the GREATEST art out there, but it tells the story nicely and there's nothing wrong with it.  Like I always say. . .not EVERY comic has to be a masterpiece.  I'd rather have a good, solid piece of work than have someone try TOO hard to be different.  This is exactly the kind of art I want in a good old piece of superhero fun like this.


What we have here is a story that COULD have just been what it is. . .a filler.  But thanks to Tony Isabella, what we got was a little more meat on the bone than what I would have expected from a late 70s Spider-Man comic.  The ending of this story just tells me once again why Mr. Isabella is one of my favorite Bronze Age writers.
If you're a Spider-Man fan, a fan of Bronze Age superhero comics, or a fan of Tony Isabella (or maybe all three!), then I can certainly recommend this comic as a tasty little nugget of Bronze Age Longbox Junk gold.   From the outstanding cover, to the thoughtful ending, to the solid art throughout, there's NOTHING I can find to gripe about.  They can't all be winners, but this one is!
Up Next. . .
I like where going random took me this time.  I think I'll try it again.
In the box I go, what I pull, nobody knows!
Be there or be square.

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Longbox Junk - Marvel Team-Up #128

571 views • 358 days ago • (0) Comments

Welcome to Longbox Junk! It's the place to find all the comic reviews you never wanted!

It's still July, and it's still HOT!
Here in Utah (on the 26th of July), the fireworks are finally winding down, and that means that my yearly Longbox Junk spotlight on Captain America is ALSO winding down. . .but I'm not done just yet!
Let's crank up the Longbox Junk time machine for a short hop back to 1983.  There we will find Captain America teaming up with Spider-Man to tackle not only a verminous villain, but also to weather the stormy seas of LOVE!
Ready? Let's do it!


Marvel (1983)

COVER: Eliot R. Brown
SCRIPT: J.M. DeMatteis
PENCILS: Kerry Gammill
INKS: Mike Esposito
Marvel put out a few of these composite photo covers (DC did a few as well).  They ARE unusual and interesting for what they are, but truthfully I've never really liked them.  The use of live models for this one just makes it even worse than the others.  
It's cool that they tried something different and I realize that there's actually a collecting niche for these covers, and that there are people who really dig them, but I think that they were reaching beyond the grasp of available technology, and it didn't come out great. . .in MY humble opinion.
 Let's get inside!
We begin our tale with a trip to the fair, following Peter Parker and Steve Rogers as they try to enjoy a bit of time off from being superheroes.  Unfortunately Peter isn't having much fun.  He's a bit torn about falling in love with a criminal (Black Cat) and what that means for him as a hero. His friends Mia and Roger try, but they don't have much luck cheering Peter up.

Steve Rogers ALSO isn't having as much fun as he should be.  His girlfriend Bernie is excited to be spending time with Steve away from him being Captain America, but Steve is reluctant to completely commit.  His last relationship (with Sharon Carter, agent of S.H.I.E.L.D.) ended in death and disaster.  He doesn't want a repeat of the same happening to him again.

Pete and Steve run into each other as they wander through the fair, they know each other from work at the Daily Bugle (where Steve had worked doing some illustrations in the recent past), but not as Spider-Man and Captain America.  Pete, Steve, and company decide to join up and enjoy the fair together.
BUT. . .
Their fun is soon interrupted by a swarm of rats sweeping through the fair! Pete's Spidey-Sense alerts him to danger!
The rats are quickly joined by a feral pack of dogs, led by a twisted creature. . .half man and half rat!
Steve recognizes the man-rat as Vermin.  An unfortunate victim of Baron Zemo's experiments in a Mexican castle.  A normal man whose brutal and evil nature was brought to the fore by mad science!
Vermin and his minions begin to wreak havoc through the fair.
Both knowing this is a job for a super hero, Pete and Steve tell their loved ones to leave, and then rush to find a place to change into their "business clothes".  Both of them find a nearby men's room, quickly change, and then run into each other as they head into battle! They immediately decide to team up to take down Vermin and his minions.
And the battle is joined! It's not an easy fight, but eventually Cap and Spidey gain the upper hand.  Vermin and his minions retreat and vanish before the heroes can give chase. 
 In the aftermath of the fight, an agent of S.H.I.E.L.D. shows up on the scene. . .Gail Runciter.  She and Captain America had been at odds over her actions during Cap's assault on Zemo's Mexican castle recently.  Cap's reaction to her interference had been overly-strong.  They agree to talk it out.
At Gail's nearby apartment, she and Cap have a heart to heart talk.  They come to terms over their conflict, but then Cap is surprised when Gail reveals that she has feelings for Cap. . .strong feelings that have nothing to do with their work together.
Cap is surprised to realize that he also has feelings toward Gail.  Feelings that definitely conflict with his growing relationship with Bernie.  The two of them have a moment, but Cap resists the temptation  and leaves to sort things out in his head.
Peter arrives back at his apartment to find Mia waiting alone for him.  Her boyfriend Roger has left and she stayed to make sure Peter was okay after the commotion at the fair.  As Mia tends to Peter's wounds, he begins to wonder what it would be like to be with her. . .a normal woman. . .no super-hero/villain drama.  
The two of them begin to have a little moment of their own. . .a moment that is interrupted by a news bulletin about Vermin taking over a nearby grocery store!  Peter leaves his feeling behind for the moment and quickly rushes a confused Mia out of his apartment.  It's back to work as Spider-Man!

As Spidey swings into action and arrives at the grocery store, Captain America also arrives on the scene, having also heard the bulletin.  The two of them agree to team up again and finish what was started earlier at the fair.  
The two of them head in, even though it's an obvious trap.  Spidey's Spider-Sense kicks in and warns of Vermin's ambush, and then it's ON!
As Cap and Spidey battle vermin, they both find themselves distracted and making little mistakes that they shouldn't.  They both realize that their moments of temptation are weighing on them more than they thought and affecting them in ways they don't like.
But despite the distractions, both Spidey and Cap shake it off and manage to finally win the day!
The heroes leave Vermin to the authorities and head out together to discuss what happened. . .
As the two heroes relax on a nearby rooftop, they talk about how maybe they were off their game a little bit because they saw something of themselves in Vermin. . .something neither of them liked very much.
Cap and Spidey say their farewells and head back to those who love them, both heroes putting their moments of temptation behind them as lessons learned.  All's well that ends well.
The End. 
THIS is the kind of comic book that brings me right back to my Bronze Age childhood.  It's full of action, has a splash of drama, and is generally somewhat silly and forgettable.  But over all of that, it's FUN.  It's Captain America and Spider-Man teaming up to beat down a villain.  The outcome is never in doubt.  You KNOW the heroes are going to save the day.  It's just good old Bronze Age fun!
That said, J.M. DeMatteis DOES add a little depth to the story by focusing not only on Cap and Spidey, but ALSO Pete and Steve as they resist temptation and ponder what it means to be in love as a superhero.  
DeMatteis was the writer on the mainline Captain America title at the time, and from the few issues I have of this period in Cap's history, it seems he was wanting to more fully explore Captain America's "secret" identity of Steve Rogers than other writers before.  I like that he carried that through to this seemingly inconsequential team-up issue and made it more than a punch-fest.
On the art side, Kerry Gammill provides some solid work that even has a few pretty great moments. . .my favorite is the page I scanned above where Cap and Spidey are both using the same men's room stalls to change in without realizing it.  A great, funny moment!  His scenes of Spidey swinging through the city are also very nicely done.


Like I said in my review of Captain America and Hawkeye, not every comic has to be a masterpiece.  Sometimes you just want to have some forgettable fun with some colorful superheroes.  That describes THIS comic perfectly.  
It's not the greatest comic story ever written. . .but it doesn't have to be.  It's not the greatest art I've ever seen. . .but it doesn't have to be.  It's not the most memorable comic in my collection. . .but it doesn't have to be.  It's just a quick, fun read, full of Bronze Age memories for those who happened to be there at the time.
I can certainly recommend this issue to any fan of Spider-Man or Captain America (or Bronze Age superhero comics in general) as a fun little team-up comic with just a splash of "secret identity" drama.  
As far as I can tell, it's never been collected, so you'll have to read it online or find the actual issue in a back issue bin (like I did. . .for TWO lousy dollars).  But if you're looking for some good old Bronze Age superhero fun, go ahead and grab this one if you spot it.  It's a nice little nugget of Longbox Junk.
Up Next. . .
A few weeks ago I picked up a half-dozen of Marvel's Indiana Jones comics at a yard sale. How about we take a look inside one and see what's going on? 
Be there or be square!

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Longbox Junk - Spider-Man 2099 #1

966 views • Mar 9, '23 • (0) Comments

Welcome to Longbox Junk, the blog FULL of comic reviews you never asked for!
Marvel 2099.
If you've ever been Longbox Junkin' through a bargain bin, I can GUARANTEE you've seen some Marvel 2099 comics.  Like Marvel's New Universe, the early "We wanna be Marvel" Image, and just about anything from Valiant or Malibu, Marvel 2099 comics are some of the ubiquitous bread and butter books that can be found in almost ANY bargain bin out there.
But what IS Marvel 2099? Why are there so many of them in the buck-a-book-bins?  Are they worth reading? SO MANY QUESTIONS!  Well, I've decided to dive into the world of Marvel 2099 over the next few Longbox Junk posts and see if I can find some answers.
Let's tackle the first question first.  What IS Marvel 2099?
The basic answer is that Marvel 2099 was a project by Marvel Comics launched in 1992 to showcase the mainstream Marvel Universe 100 years in the future (107 years, actually.  But who's counting?). In a nutshell. . .science fiction superhero comics.
The setting was a dark, dystopian, cyberpunk future where powerful corporations basically run the world.  The superheroes of the past are long gone (due to some sort of calamity that isn't really explained. . .it has something to do with Doctor Doom) and are pretty much legends of a time called "The Heroic Age". But now a NEW age of heroes is at hand!
Marvel 2099 launched with four original series. . .Spider-Man 2099, Doom 2099, Punisher 2099, and Ravage 2099.  Of the four, only Ravage was based on an entirely new character and not a re-imagined future version of an existing character.  Not to digress, and we'll discuss this more later, but Ravage 2099 also has the distinction of being Stan Lee's last work on a monthly comic series.
The 2099 imprint was an immediate hit with readers, with Spider-Man 2099 being the most popular title, and remaining the most popular 2099 title to this very day, where Spider-Man 2099 has been in several series post-2099 collapse, and still makes fairly regular guest appearances.
The rest of the 2099 titles were also popular enough that Marvel continued to release 2099 titles until 1998.  Another victim of the collapse of the comic industry in general around that time.  They were comics that were highly-regarded by fans at the beginning, and hardly-noticed at the end.
Over the next few Longbox Junk entries, I'm going to take a look at the first issues of some of these 2099 comics.  First up is the top dog of the bunch, the aforementioned Spider-Man 2099.  
It's the only 2099 character that has managed to outlive the imprint itself, and the only one that is even the least bit "collectible" today.  And when I say "collectible", what I mean is that a nice clean graded and slabbed 9.6 copy of Spider-Man 2099 #1 will get you about $100.  That ain't retirement money, folks.
SO. . .
It's not worth much to collectors, but still seems to be pretty popular.
Now the question becomes, "Is it any good?"
Spider-Man in a dark, cyberpunk future.  Let's check it out!

SPIDER-MAN 2099 #1

Marvel 2099 (1992)

COVER: Rick Leonardi
Begin the Future History of Spider-Man 2099
SCRIPT: Peter David
PENCILS: Rick Leonardi
INKS: Al Williamson
90s-TASTIC! My apologies for the poor scan that doesn't properly show off the shiny red foil border.  I tried several times and this is the best I could do.  I looked online and it seems a lot of people have the same problem.  That red foil just does NOT scan well.  Trust me, it looks SO good. BUT I DIGRESS!
What we have here is a wonderful portrait of Spider-Man 2099 leaping into action, nicely showcasing the new Spidey's cool costume design!  The bright yellow title has a really interesting look and contrasts perfectly with the shiny red foil that you can't really see here.  THIS is a cover that jumps out and catches the eye!
It's such a great cover in just about every way (There ARE the weird 90s feet, but nothing is perfect, right?). I just love this cover! I'm not even a Spider-Man fan, but this awesome 90s cover makes me want to get inside and check this comic out, so let's GO!
New York (er. . .NUEVA York), 2099.  We begin our tale in progress as the Alchemax Corporate police force called Public Eye pursue a mysterious and highly-agile costumed figure through the towering downtown skyscrapers.  He manages to eventually elude them by going to ground and blending into the crowd at a shopping mall. . .
The mysterious figure makes his way home to Babylon Towers, a luxury apartment building owned by the Alchemax Corporation.  Here, we learn that his name is Miguel O'Hara and are introduced to his virtual personal assistant, Lyla, as Miguel watches video messages he's received over the past five days.
The messages from his employer Tyler Stone, his best friend Gabe, and his fiancée Dana introduce us to several supporting characters.  They are all deeply concerned in one way or another about some sort of serious situation or incident that Miguel was involved in.  Miguel ignores the messages and begins making a journal entry. . .
O'Hara is (or WAS) a hotshot genetic scientist working for Alchemax Corporation.  He was working on a project to create a superior "Corporate Raider".  A genetically-enhanced special operative to do Corporate dirty work.  He was basing his research on a figure of the long past "Heroic Age" called Spider-Man, who seems to have been genetically-enhanced with spider DNA somehow.
The head of O'Hara's research department, Tyler Stone, demands that the project be tested on a human subject.  Miguel protests that the project isn't ready for human trials yet, but Tyler is O'Hara's superior and insists the trial go forward on a convict that has been chosen.
Miguel reluctantly agrees and performs a modified trial run on the convict meant to enhance his DNA for increased strength by combining it with an ape.  The experiment goes badly and the convict is transformed into a twisted mutant with superhuman strength that attacks Miguel, but dies quickly after breaking free.  Miguel is horrified, while the other scientists are pleased with the progress.
Miguel is so shaken by the incident he was forced to take part in that he immediately goes to Stone's office and resigns from Alchemax.  Tyler seems sympathetic to Miguel's reasons for resigning and even shares a drink with him.
Unfortunately for Miguel, Tyler reveals soon after their toast that the drink contained Rapture. . .an extremely powerful and highly-addictive drug created by Alchemax.  A drug that bonds with the DNA and makes escape from addiction to it almost impossible.  And since Alchemax is the only one who manufactures Rapture, Tyler is certain that Miguel will "reconsider" his resignation.
Horrified by the thought of becoming a chemically addicted slave to Alchemax, Miguel tries to fight the effects of the Rapture and fails.  He violently attacks his fiancée when she tries to calm him down.  Miguel reveals how he's been tricked into being addicted to Rapture.  Dana understands, but is unable to help him.  
Miguel resolves to not become a slave.  He comes up with a desperate plan to sneak back into his Alchemax lab and subject himself to the DNA combining process he's been working on.  The experiment has Miguel's DNA profile encoded in its files, so he can replace his Rapture mutated DNA with a copy of his own clean and unaltered DNA.
It's a good plan, and it seems to be working.  Unfortunately for Miguel, another scientist on the project finds O'Hara during the process.  The scientist, Aaron Delgato, is a rival of O'Hara's and believes that he's been pushed aside and his contributions to the project ignored while Miguel takes all the credit.  
Delgato sabotages the experiment by shutting off the safety overrides and injecting a random DNA profile into the process. . .the spider DNA O'Hara was hoping to use to create an enhanced Corporate Raider. 
 The sabotaged equipment explodes, but the sequencing had completed. Delgato is stunned to see O'Hara stagger from the wreckage. . .somehow alive!  He confronts Miguel, gloating about how Stone will put O'Hara away forever for destroying the lab, but is horrified to discover that Miguel O'Hara has been mutated by the experiment into a horrific human-like creature with fangs and claws. . .Dun-Dun-DUUUUUN!!

The End. . .To Be Continued.
It's plain to see that Marvel learned some lessons from their failed "New Universe" initiative a few years prior to Marvel 2099.  They weren't taking any chances THIS time around!  Marvel hedged their bets by rolling out Spider-Man 2099 first, with legendary modern comic veteran writer Peter David on the story.  And they were absolutely right that the magic was there this time!
I'm not a big Spider-Man fan, so I know Peter David more as an Incredible Hulk writer (where he had an award-winning TWELVE YEAR run), and I could definitely see shades of the Hulk in this story of science gone wrong.  I'd go so far as to say that this seems more like a proxy Hulk story than a Spider-Man story at all!
Yeah, it's DNA manipulation instead of Gamma Rays, but the same sense of scientific body horror is present in Miguel O'Hara's origin.  And THAT'S what I really like about this story.  David didn't take the easy path of making the 2099 Spider-Man a clone or a descendant of Peter Parker, but something entirely different.   
Instead of a wisecracking teenager learning that "With Great Power Comes Great Responsibility", we get a desperate adult scientist trying to save himself from becoming a chemically addicted corporate slave in a horror-tinged origin story that really seems more like one for a Spider-Man VILLAIN. 
It works! This is a GREAT origin story that ends on a cliffhanger that makes me want MORE!
On the art side of things, Marvel further hedged their bets on Spider-Man 2099 by putting veteran artist Rick Leonardi on the job.  I know Leonardi more for his DC work (and the original 4 issue Cloak and Dagger series), but Marvel definitely picked the right man for the job here! 
His pencils are the PERFECT compliment to the science fiction horror story being told here.  There's some superhero action frontloaded in this issue, but this tale really needed someone who could make the NON-superhero parts that are the majority of the issue sing just as fine.  


Those of you who have been reading Longbox Junk for a while now know that I have boiled down my requirements for a good first issue into the following TWO things:  Does it introduce new characters and their situation well?  Does it make me want to read more?  For Spider-Man 2099 the answers are yes and yes!
Marvel hedged their bets on this book being what was going to kick off Marvel 2009 with a bang and they were absolutely right.  Their choice of Peter David and Rick Leonardi as the creative team gave this comic (and Marvel 2099 in general) a of a running start!
In this issue, we get a great science fiction horror story with shades of the Incredible Hulk as a new character's origin.  The setting is solid, the conflict rings with horrible truth, and the main character is interesting enough that I want to read more. 
Spider-Man 2099 #1 is a win from cover to cover and fully deserves a Longbox Junk gold seal of approval.  If you're a fan of horror-tinged cyberpunk science fiction then check this one out even if you aren't a fan of Spider-Man!  It's been collected, it's online, and you can even still find copies of #1 in the bargain bins (I found one just last week in a two dollar box), so it's not hard to find.
Up Next. . .
Spider-Man 2099 got our little trip into the dark future of Marvel comics off to a good start. Now it's time to get into the gritty, violent streets of the city. 
What happens when a cop on the edge discovers the journal of a certain Frank Castle 100 years in the future? Let's find out in the first issue of Punisher 2099!
Be there or be square.

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SCRIPT: Terry Kavanagh
PENCILS: Stephen Platt
INKS: Chris Ivy, Al Vey & Scott Koblish
COVER: Stephen Platt
Continuing from last issue, Moon Knight is fighting Seth (The Immortal) Phalkon, who looks just like Marc Spector!  During the fight, Moon Knight reveals that he's actually Marc Spector, leading Phalkon to reveal in turn that he is Marc's great-grandfather, and that Marc is the last of a line of Hellbent/Human hybrids!  Seth tries to drain Marc's life force, but there is some sort of bio-feedback explosion that sends Moon Knight out the window. . .
IN THE MEANTIME. . .Frenchie (AKA Bloodline) is using Shadowkeep's computers and Shadow Cabinet medical contacts to try and find answers as to why he transformed into the brutal form of Pierre Latrec instead of the swashbuckling Henri Remont, and if there's any way to control the Bloodline transformations.
ELSEWHERE. . .we catch up with Chloe (AKA Frenchie's former lover and a secret Templar warrior) training with three renegade Hellbent (called Vortex, Shard, and Dementia) who have joined the Templar cause and now call themselves "The Cadre".
BACK AT PHALKONCORP. . .Moon Knight survives the fall through the window and begins to make his way back up to keep fighting Seth.  On the way, he tries to contact his Shadow Cabinet and discovers that PhalkonCorp ALREADY has a direct link to Shadowkeep. . .one of the Shadow Cabinet is a traitor!  
He calls them together for one last meeting, but when he's unable to discover the mole, he severs all contact with them permanently.  As he does so, he accidentally discovers that Marlene is actually the one who gave PhalkonCorp the inside connection!
WHILE THIS IS GOING ON. . .Frenchie is interrogating the captured Hellbent called Agony, desperately trying to find answers about the Templar/Hellbent conflict and his place in things.  He discovers that the Hellbent originate from a place hidden in the Amazon rain forest called Hellhole, so he takes the jet and heads for South America to investigate. At the same time, Marlene is at her penthouse apartment, agonizing over her part in helping hand over SpectorCorp to Phalkon.  Marc Spector appears, but he's acting strange.  
BUT THEN. . .Moon Knight ALSO appears at the penthouse and the other "Marc" is revealed to be Phalkon.  To Marlene's horror, Seth reveals his true demonic nature as he and Moon Knight battle.  She helps to defeat Seth by attacking him with the weapons of Moon Knight's Angelwing aircraft, but before Marlene and Marc can talk about what's happened, a mysterious voice calls out to Moon Knight and he disappears (for an Infinity Crusade crossover next issue) into thin air!
Before Marlene can begin processing what just happened, a reptilian Hellbent called Hook attacks, rescuing Seth and throwing Marlene off the roof!
To be continued. . .
First, there's no denying that's one SWEET cover! It makes fairly regular appearances on my rotating "Wall O' Covers" display in my office at work.  Probably the best cover of the whole series, in my humble opinion.
Like I said last issue, it's pretty clear that Kavanagh is having to shift gears in order to emulate the edgier and action-packed Image style that Platt's art is pushing.  This means a LOT of exposition as he changes focus toward the demonic Hellbent becoming the main antagonists of the story. . .giving Moon Knight (and by extension, Stephen Platt) plenty of awesome monster fights to engage in as this series staggers toward the rapidly-approaching finish line.  
And yet, even as the story takes a back seat to the art, Kavanagh STILL can't give up on the idea of making a permanent mark on the Moon Knight "canon".  His making Marc Spector discover he's actually a demon/human Hellbent hybrid himself in this issue is ridiculous and reeks of a writer desperately trying to make ANYTHING he's done stick.  Unfortunately (for Kavanagh, anyway), this ill-advised Hellbent "revelation" was never referenced again outside of this series.  
Overall, it's a mess.  Ridiculous revelations out of nowhere about Marc Spector's half-demon Hellbent ancestry fly in the face of just about everything that's EVER previously been established about the character. Add in distracting art and a new all-action. . .all monster-fightin' focus and it makes this issue a hard one to get through. At this point, I'm only still in this because there's just 4 issues to go and I ain't a quitter!


SCRIPT: Terry Kavanagh
PENCILS: Stephen Platt
INKS: Chris Ivy, Al Vey & Scott Koblish
COVER: Stephen Platt
Continuing from last issue, Marlene is rescued from falling to her death by Marc Spector's personal assistant, Donna Kraft. . .who just so HAPPENS to be an old friend and college rival of Marlene's.  They decide to team up and prevent PhalkonCorp from taking over SpectorCorp.
ELSEWHERE. . .Moon Knight arrives at Paradise Omega, where he is informed that he has been chosen (along with many other heroes) for a chance at redemption for his sins by a being called "The Goddess" (Who is actually another manifestation of Adam Warlock left over from Infinity War).  He waits at Goddess' Cathedral to be called to duty.
IN THE MEANTIME. . .Frenchie and his captive Hellbent, Agony, are flying over the Amazon rain forest toward Hellhole. . .the realm of the Hellbent.  Agony taunts Frenchie to the point that the stress activates the "Bloodline" trigger in his DNA, transforming him into his pirate ancestor, Henri Remont.
Agony uses the confusion of the transformation to make her escape by ejecting from the jet, while Bloodline/Remont struggles with the unfamiliar controls of the aircraft before crashing in the jungle!
Agony makes her way to the nearby hidden temple entrance to Hellhole, where the badly-wounded Seth Phalkon (AKA Seth the Immortal)  has been taken by the Hellbent Hook after his losing battle with Moon Knight in New York.  Agony sacrifices herself to Seth, letting him drain her life force to atone for her failure and letting herself get captured.
WHILE ALL THAT'S GOING ON. . .Back with Moon Knight at Paradise Omega, the Goddess calls a group of heroes from the gathering to "Enlighten" a non-believer in their ranks.  Moon Knight isn't part of the group called, but he demands his chance for redemption and jumps into the portal they are teleporting through.  When they arrive, Moon Knight is informed that even though he wasn't invited, the Goddess is amused and willing to give him his chance.  All he has to do is take down his old friend, Spider-Man!
Moon Knight (along with X-Factor mutant, Multiple Man) pursues Spider-Man, trying to prevent him from reaching the Goddess' Cathedral. . .but in the end, Moon Knight loses the running battle and is teleported away from Paradise Omega for his failure.
BACK IN NEW YORK. . .Chloe's "Cadre" of turncoat Hellbent are attacked by the Templar Shadowspawn called Manx.  They put up a good fight, but are defeated.  Chloe steps in at the last moment and prevents Manx from killing the Hellbent. . .telling him that since she's the only Templar in New York, she's in command of him now and he'll be joining their fight that they plan on taking to Seth The Immortal in Hellhole.
At the end of things, we find Marc Spector in some sort of limbo begging for another chance at redemption and being taunted by The Goddess until he finally admits that he's not even fully human and doesn't deserve her mercy.
To be continued. . .
This issue is probably the most "valuable" to collectors who care about these things.  It has a very nice Todd McFarlane "homage" Spider-Man cover, and it's a tie-in to "Infinity Crusade", the third part of the MASSIVE "Infinity" Trilogy of crossovers (thank goodness it's only one issue).  Even so, I fail to see why this muddled mess of a comic is worth about $70 raw (according to the fine folk of COMIC BOOK REALM ) and upwards toward $200 for a graded copy (According to Ebay).  I got mine from a dollar box, so how-bow-dat?
Collector "Value" aside, there's honestly not much to like about this issue.  Beyond the crossover aspects. . .which receive absolutely NO context in the issue itself, unlike the Infinity War issues where there was at least an ATTEMPT to get readers up to speed. . .just about all that's going on here is herding Moon Knight and his supporting cast toward "Hellhole" in Brazil for what promises to be a climactic showdown with Seth the Immortal.  Okay.  Fair enough.  It's set-up.  
The problem here is that the main villain and the conflict around him just isn't very interesting.  90% of this issue is action. . .it bounces from scene to scene and doesn't give the reader time to care about ANYTHING.  Hardly surprising. Since issue #55 the story has taken a back seat to the artwork anyway. The convoluted and ridiculous plot only serves as an extremely flimsy framework to hang monster-fightin' action scenes on at this point.
Unfortunately, for a comic trying to lean hard on the new artist, his work in this issue is pretty inconsistent. . .with a few panels looking sketchy and unfinished.  Generally-speaking, compared to the past couple of issues (where the art was distracting, but pretty good in a 90's-tastic way), this one looks a bit half-baked.  
Nice cameo by "unfortunate 90's costume with that infamous bewb window" Sue Storm, though.
Overall, we have a comic that is inconsistent in both art and story (the "rules" for Frenchie's Bloodline transformations are just swingin' in the wind), with about half the issue (the Infinity Crusade elements)  having almost no context at all.  This may be a pretty "Valuable" issue to comic collectors, but for actual comic READERS, it's pretty lacking.


SCRIPT: Terry Kavanagh
PENCILS: Fred Haynes
INKS: Scott Koblish
COVER: Stephen Platt
Continuing from last issue, Moon Knight is teleported away from the Infinity Crusade and back to Earth. He very conveniently appears in the Amazon, right where all the rest of his supporting cast are at, right in the tunnels leading to Hellhole!  He doesn't know why he's there, all he knows is that there's a bunch of monsters he needs to punch standing in front of him!  So he starts punching monsters.
MEANWHILE. . .Above Hellhole, we learn the Frenchie survived the crash of his jet by bailing out in a high tech "Micro-Tank" that he just HAPPENED to have aboard.  He uses the tank to storm the entrance to Hellhole, blasting his way through the Hellbent guards.  Unknown to Frenchie, Chloe, Manx, and the three rogue Hellbent calling themselves "The Cadre" are following behind Frenchie. . .letting him destroy the guards as he assaults Hellhole in search of the missing Templar archives.
Frenchie eventually runs into Seth The Immortal and his bodyguard of more powerful Hellbent known as Hellbent Primes.  A battle breaks out and Frenchie is defeated by the greater power of Seth and the Hellbent Primes.  But as Seth tries to deliver the killing blow, Frenchie's Bloodline DNA triggers and he transforms into the savage form of his insane ancestor, Pierre Latrec!  He begins punching monsters with renewed vigor!
AND THEN. . .Chloe and her rogue Hellbent allies jump into the fight, giving Bloodline/ Latrec, the chance to escape while they take over punching monsters so he can continue searching for the hidden Templar archives . . .even though it's not really clear WHY.  Seeing that the battle is lost, Seth teleports away.  
WHILE THAT'S GOING ON. . .Moon Knight has managed to fight his way through the Hellbent guards, but then runs into Bloodline/ Latrec. . . not realizing it's actually the transformed Frenchie.  Moon Knight thinks Bloodline is just another sort of monster that needs punched, while at the same time Bloodline thinks Moon Knight is ALSO some sort of new Hellbent guard keeping  him from the archives that needs punched.  The two begin punching each other.
Moon Knight is all but beaten by the savage Latrec, but just as he's about to be defeated, he embraces his Human/Hellbent nature and drains Bloodline's life force. . .only to watch, horrified, as Latrec transforms back into Frenchie, who is apparently dead!  Seth steps forward from the shadows where he's been watching the fight the whole time, congratulating Marc on finally giving in to his true nature.
To be continued. . . 
Most of this issue revolved around Moon Knight, Frenchie, and Chloe fighting their way through Hellbent and converging on the Templar archives, so there was very little story to be had. . .most of the dialogue was various Hellbent monsters shouting out what their powers are as they attack, and Moon Knight and company shouting back as they punch their way through.  The climax is wrapped around Marc Spector embracing his hybrid Hellbent/Human nature by using his new demonic powers. . .and that's the biggest problem with this issue.
Terry Kavanagh's last minute "Hail Mary" attempt to put his permanent mark on Moon Knight by turning him into a half human/half demon hybrid with life-draining powers is SUCH a big pill to swallow that I no longer find it surprising that this run of Moon Knight comics is hardly mentioned or referenced ANYWHERE.  Even the general Wikipedia article on Moon Knight comics barely touches on this series and is mostly a reference to Stephen Platt in the FOUR sentences devoted to the entire 60 issues.  It seems that the comic world just sort of wants to forget this run ever even existed, for all the information there is to be found on it NOT mentioning Platt.
Speaking of the only reason this series is ever even mentioned in passing. . .Stephen Platt just does the cover on this issue (and the next).  It seems that Mr. Platt was notorious for missing deadlines and even on his big comic debut, he needed a fill-in artist for 1/3 of the issues he worked on.  No wonder he pretty much vanished from the comic business in 2003 after taking roughly 3 years between issue #5 and #6 of his own Image series, SOUL SAGA .
To tell the truth. . .I like the simpler, cleaner lines of fill-in artist Fred Haynes better.  A shame when a comic's biggest selling point gets outdone by a temp.
But I think someone forgot to tell Haynes that Moon Knight is supposed to be wearing armor.
Overall, we have an issue that stands as a sort of testament as to why this series is barely mentioned. Terry Kavanagh trying to create a half human/half demon Marc Spector as a last-ditch effort to make a permanent mark on the character finally broke the camel's back.  He should have quit trying after the Moonmobile.


SCRIPT: Terry Kavanagh
PENCILS: Fred Haynes
INKS: Fred Haynes & Scott Koblish
COVER: Stephen Platt
Continuing from last issue, Moon Knight is horrified do discover that he used his new demonic powers to drain the life from his best friend, although to be fair, Frenchie WAS attacking him in the form of a gigantic humanoid monster.  Moon Knight's rage kicks things up a notch and he renews his attack on Seth the Immortal (AKA Marc Spector's half-demon great grandfather).
Chloe, Manx, and her Hellbent Cadre show up and save Frenchie. . .er. . .Bloodline as Marc and Seth fight their way toward the Templar Archive and you know what?  This story has become so  unhinged that I don't even want to continue.  It's just basically an extremely flimsy framework to hang the constant monster-fightin' scenes on that the new hotshot artist couldn't even bother to come in and draw.
But I guess here we are, so I'll boil it on down quick just so I can be done with it.  Everyone discovers that the Templar Archives are nothing more than a mirror.  Moon Knight defeats Seth.  Bloodline reveals that the Archives were inside him this whole time.  For some reason, the whole place starts falling in. Seth dies in a most anti-climactic way as he's buried in rubble. Moon Knight and Company escape via a hidden magical Templar portal just in the nick of time.  Then we get an epilogue showing that Donna Kraft and Marlene Alraune are now the joint owners of SpectorCorp. Aaaaand. . .that's it.
To be concluded. . .
I've spent more time than literally ANYONE else trying to decipher the bizarre plot of this series and write it out so it makes sense as it gasps and wheezes its way to the finish line.  The nonsense in this issue has FINALLY made me lose patience. 
It's a strange thing in that the storyline is convoluted, yet at the same time, flimsy and weak.  I don't think I've ever seen anything quite like it.  The writer just keeps piling more and more stuff on!  I called it bizarre a few line up, and that's really the best way to describe it.  How else to describe a narrative that introduces a NEW story thread about a powerful "Hellbent Prime" leader called Nightshadow (his introduction pictured below) out of nowhere, with literally no context. . .POOF!  HERE'S THIS NEW GUY! In the next to last issue of the series?  
And that's just one example! There are actually two MORE storylines starting in this issue that I'm not even going to get into.  The series is almost over and it's time to tie up story threads. . .not to just keep on adding them!
Reading this issue is sort of like secretly listening in on three nine year old kids having a G.I. Joe battle in a backyard sandbox and trying to make sense of their rambling narrative as they slam their toys into each other.
Wait. . .now who is THIS guy? Isn't this series all but over?
Overall, trying to make sense of this issue made my head hurt.  The flimsy, yet overloaded, story in this issue would definitely be a contender for a "Top 10 Worst Longbox Junk Comics of The Year", if I decided to actually make such a list (and now I'm thinking about it, I might just do that). As far as I'm concerned, I'm just glad that this whole misguided storyline will be put out of its misery soon.  This went really wrong really fast.  


SCRIPT: Terry Kavanagh
PENCILS: Stephen Platt
INKS: Stephen Platt
COVER: Stephen Platt
Continuing from last issue, Moon Knight and Company have escaped the destruction of Hellhole through a Templar portal that sends them all directly to Moon Knight's Shadowkeep headquarters, where Marlene is waiting for them (dressed in a spandex superhero costume for some reason. . .making this issue a teeth-gritting read right from the FIRST couple of pages).
While Marlene reunites with Marc and tells him that he's no longer in control of SpectorCorp, Chloe, Frenchie, and their Hellbent Cadre allies discuss the future.  Frenchie revels in his new Bloodline powers unlocked by the discovery of the Templar archives (powers that will never be mentioned again in any Moon Knight story).  Chloe and the Cadre decide to carry out a mission to search out any remaining Hellbent and either destroy them or try to recruit them to the Templars (A mission that we will never know anything more about since this is the last time Chloe or the Cadre are ever mentioned).
Marc and Frenchie have a heart to heart talk, where Marc reveals that he's half-demon (something never mentioned again) and THAT might be what saved him from death all those years ago instead of Khonshu.  Frenchie tells Marc that he's to call him Bloodline from now on (until the next Moon Knight series, where he's just Frenchie again) and that he's now just as much a bad@$$ hero as Moon Knight (Again, until the next series where he's just a helicopter pilot).
Seth The Immortal (who everyone thought was dead) appears on Shadowkeep's computer monitors, along with a countdown to "Zero Hour", which Seth (somehow now alive as a computer construct) gleefully informs Moon Knight is when his electronic "techno-mutation" consciousness will spread from Shadowkeep and ACROSS THE WHOLE WOOOOOOORLD!  
Moon Knight sets the self-destruct as everyone evacuates.  Shadowkeep is destroyed in a massive explosion, but the Hellbent Cadre use their powers to keep the damage to the surrounding area to a minimum.  Unfortunately, Marc didn't make it out in time, and. . .well. . .he's dead, Jim.
A sad epilogue at Marc Spector's grave tells us that Marlene will use SpectorCorp's money to be the force for justice that Moon Knight tried to be (At least until the next Moon Knight story, where SpectorCorp is dissolved by Marc after he rises from the dead AGAIN. . .but THAT'S another tale).  
An epilogue to the epilogue gives Moon Knight fans one final last moment kick in the teeth by revealing that the powerful Hellbent leader called Nightshadow that appeared out of nowhere last issue is actually. . .wait for it. . .wait for it. . .here it comes. . .Randall Spector! And we're finally done with this mess.
The End.
Thank Gawd it's over.  
These final two issues have been some of the hardest comics I've gritted my teeth through in quite a while.  There's a LOT of dangling story threads here that lead me to believe that either Marvel had plans for another series focusing on Chloe and the Hellbent that never happened or that Terry Kavanagh was being a bit petty and trying to make it hard on the next Moon Knight writer.  Maybe a bit of both. But if it WAS Kavanagh being petty, it didn't work.  The next Moon Knight story pretty much just ignores this whole run, beyond Moon Knight being dead and having to be resurrected again.
The "story" in this issue is beyond ridiculous. . .starting right off with Marlene wearing a skin tight spandex superhero suit (see below) for no apparent reason.  There's no explanation given for why or how Seth has suddenly transformed from an immortal vampiric demon into an electronic "techno-mutation" consciousness.  
There's no real reason given as to why Moon Knight can't outrun a guy in a wheelchair to escape an explosion, or for that matter, why his shiny 90's Adamantium Superhero Armor couldn't save him from the blast. . .especially since it saved him from gigantic explosions in previous issues at least twice since he got it.  
And then there's Kavanagh's final middle finger to Moon Knight fandom on the last page of the issue. . .Randall Spector somehow brought back to life as an armored superhuman demonic creature.  
This issue was a sloppy mess from start to finish, but that final epilogue was just insulting.
Overall, this was probably one of the absolute worst final issues I've ever read.  The story is bizarre and, even in the LAST issue, Kavanagh can't resist trying to make permanent changes to the Moon Knight "canon" with dangling story threads and a last moment ridiculous reveal.  Worse, Stephen Platt's art (especially with him inking his own pencils) is extremely distracting and sometimes doesn't even fit what the characters are saying or doing.  
Between the continued attempts to force change to the permanent Moon Knight narrative and the over-indulgent artwork, this whole issue positively reeks of egotistic posturing by the creative team.  It's a pretty poor finish, to say the least.  The only good thing about this issue is that it's the last one.


And here we are. . .the end of Marc Spector: Moon Knight.  It's been a pretty long and strange trip from the beginning, but this final handful of issues pretty much tells me what I've been wondering from the first issue:  Why is there so little mention of this title, even though it stands as Moon Knight's longest-running series to date?
Well. . .now I know why.  By the time Marc Spector: Moon Knight limped over the finish line, writer Terry Kavanagh had twisted the character SO much in his constant efforts to make a permanent change that would stick, that Moon Knight was pretty much damaged beyond repair.  This is NOT the Moon Knight that Moon Knight fans wanted.  I would even go so far as to say that Moon Knight fans NEVER got the Moon Knight they REALLY wanted from issue one to issue done.
This last handful of ten issues pretty much boil down to a self-indulgent writer with an agenda of his own. Instead of trying to give fans what they wanted, Terry Kavanagh was obviously more concerned with what HE wanted for Moon Knight.  Add in a self-indulgent artist and the final few issues went from being a mess to being an egotistical disaster.
Frankly, I see it as a bit of miracle that Marvel didn't pull the trigger on a replacement Moon Knight or giving up and killing the character off earlier than they did.  Kavanagh must have been working some favors in the Marvel offices to keep this series staggering along past issue #47.
Up Next. . .
I didn't want to make this entry TOO much of a scroll bomb, so I'm going to go over my final thoughts on all sixty issues of Marc Spector: Moon Knight taken as a whole before I move along to something else.
Be there or be square!

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Welcome to Longbox Junk, the place to find comic reviews you've never asked for!

Well, here we finally are! The last batch of ten issues from my epic dive into Marc Spector: Moon Knight.  It's been fun immersing myself in the world of the Silver Avenger, but at the same time, I'll be glad to move along to something different after spending a couple of months with Moon Knight.

To read where I've been so far, you can click HERE (Part 1)  HERE (Part 2) HERE (Part 3)  HERE (Part 4)  and HERE (Part 5)  With each part a ten issue review. Here's a short recap of my thoughts so far. . .

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Welcome back to Longbox Junk, the blog stuffed like a Thanksgiving turkey with comic reviews nobody asked me to write! Say a prayer and pass the gravy!
Before we begin, I want to wish a Happy and Safe Thanksgiving to all of my Longbox Junk readers, and to take the opportunity to say that I'm thankful for each and every one of you who takes a bit of time from their busy lives to read my unsolicited ramblings on comic books!
I've got a lot of Longbox Junk on my plate!  I decided to do something I haven't done in a while and review a whole series from issue one to issue done.  I spooned out a hefty helping of comics by choosing sixty issues' worth of Marc Spector: Moon Knight.  I'm not sure I'll have room for pie.  
Ah, who am I kidding. . .there's ALWAYS room for pie!
So far I'm a third of the way in at 20 issues down.  You can read the first two batches of reviews  HERE (Part 1) and HERE (Part 2), but I'll recap my thoughts a bit. . .
So far what we have is a stripped down version of Moon Knight, portrayed as a two-fisted urban crimefighter without any of the usual supernatural or psychological trappings associated with the character.
Some might think writer Chuck Dixon's take on Moon Knight is a bit basic, compared to other series runs or writers, but personally I find it sort of refreshing to see such a simple take on what is usually a pretty complex character.
But enough introduction!
Let's get into this next batch, which includes the final few Dixon issues, and see what happens next.
Ready?  LET'S DO THIS!



MARVEL (1989 - 1994)



SCRIPT: Chuck Dixon
PENCILS: Sal Velluto
INKS: Tom Palmer
COVER: Denys Cowan
Continuing from last issue. In the aftermath of their attack on the hidden Secret Empire compound, the Secret Empire leadership manage to escape Spider-Man, Punisher, and Moon Knight.  Punisher has his assistant, Microchip, search ownership records connected to the original base Punisher tracked Secret Empire to (in issue #19) and discovers a link to a midtown Manhattan construction project.
IN THE MEANTIME. . .we find Jeff Wilde (AKA Midnight) alive and waking up tied down to a bed in some sort of laboratory.  He's terribly burned and under the care of a nurse who claims she was kidnapped.  The remaining Secret Empire leadership watching him on monitors talk about turning their captive into some sort of living weapon.  
We also see that Secret Empire is planning on launching a low-orbit satellite called "Skyclaw" that is capable of grabbing other satellites from orbit.  Part of a plot to hold the world's communication network for ransom.  They decide that due to the interference of the heroes, they need to launch immediately.
BACK WITH THE HEROES. . .After a fight between Moon Knight and Punisher over whether or not Midnight is alive and worth saving if he even is, the three heroes move in on the Secret Empire construction project. . .with Spidey taking the high road and working his way down while Moon Knight and Punisher work their way up.  
It doesn't take long for Moonie and Punisher to raise the alarm, and against Moon Knight's better judgement, Punisher starts shooting his way through the building.  Up top, Spider-Man discovers the launch silo for the missile carrying the Skyclaw satellite and destroys the launch doors, making the missile unable to launch.
As the Secret Empire leader realizes his plans are done for, Moon Knight and Punisher confront him.  After a short fight, Moon Knight almost kills the Secret Empire commander, who insists that Midnight is dead.  Spider-Man stops Moon Knight from going too far, and S.H.I.E.L.D. is contacted to take over the remnants of the Secret Empire cell and the hidden launch facility.  The heroes part, with Moon Knight mourning the death of Midnight.
The story ends by taking the reader back to the laboratory where Midnight is held captive.  He's convinced that Moon Knight left him to die and vows vengeance if he ever sees him again.
The End.
This last issue of the Spidey, Moon Knight, and Punisher team up is pretty much just an extended fight scene that ties up the Secret Empire threat.  It's a fairly standard comic book punch fest that gives each of the three main characters a few good action moments.  
But like the previous issue, it's not the fighting I enjoyed here, it's the play of the three characters off of each other.  We've got Spider-Man on the side of good old fashioned heroics and the classic "with great power comes great responsibility". Then there's Punisher on the side of black and white justice with no grey area between the guilty and innocent, a "They get what they deserve" simplicity. And Moon Knight caught in the middle between the two.  He eventually falls on the side of Spider-Man, but you can see how easily he might go the other way.  It's just some really good writing in between the fight scenes.
The scenes with Midnight seem to be a bit of a cop-out after I was impressed with Dixon's handling of the unwanted sidekick previously.  That said, it's interesting to see the "Sidekick who everyone thought was dead turned into a villain" story path that we saw started with Batman's Red Hood, and then polished with Captain America's Winter Soldier, show up years before either of those stories were published.  I wonder if either of them might have taken a bit of inspiration from this storyline.
Overall, despite some backpedaling on Midnight's "death" I really enjoyed this last issue of the Spidey, Moon Knight and Punisher team-up.  Not so much for the action-packed fight scenes, but for the moments of character interaction between the three heroes.  I don't normally like Spider-Man very much, but his role in reminding Moon Knight of what kind of hero he CAN be was really very nicely done here, so credit to Chuck Dixon for giving me a Spidey appearance in someone else's comic that I actually like, for once.


SCRIPT: Chuck Dixon
PENCILS: Sal Velluto
INKS: Chris Ivy
COVER: Denys Cowan
Moon Knight returns to the Secret Empire launch facility (from last issue) and evades the S.H.I.E.L.D. guards to hack into the mainframe, trying to get any information he can on Midnight.  Unfortunately, what little he does find only convinces him that Jeff Wilde is dead.  
In the process, Moon Knight discovers a name he recognizes. . .Bo Ollsen.  He was the other mercenary with Marc Spector the night he killed the Presidente of Bosquverde, and the only other person who might know the truth of what happened!  He is in the city and connected with a Secret Empire White Supremacy splinter group called "The Pretorians".
ELSWHERE. . .We see a terrified man being pursued through a maze and eventually murdered by a masked man on a motorcycle as a crowd chants the man's name. . .CHAINSAW!
IN THE MEANTIME. . .We see that Midnight is alive, but still near death as Secret Empire troops hustle him and his nurse to yet another hidden location.  The few remaining members of the Secret Empire leadership fight among themselves over who will take over as "Number One" and discuss their plans to make Midnight into one of their agents.
BACK WITH OUR HEROES. . .Frenchie manages to infiltrate the Pretorians, posing as a possible recruit for the white supremacist organization.  Marlene (keeping watch on the front of the building) is captured while Moon Knight sneaks in from the rooftop.  Moon Knight spots his target, Bo Ollsen, while "Chainsaw" delivers a hate-filled speech.  But the recon mission suddenly turns into a rescue mission when the captured Marlene is thrown into Chainsaw's maze.  Moon Knight jumps in for the attack!
To be continued. . .
You can sort of tell that Chuck Dixon's run on this title is starting to wind down to its finish.  This issue (and, not to get ahead of myself, the next as well) feels like filler meant to begin wrapping up some dangling story threads. . .Midnight's fate, as well as the resolution to "The Trial of Marc Spector".  As a villain, "Chainsaw" is a pretty generic homicidal maniac that you just KNOW is going to be Moon Knight's punching bag next issue.  The new inker brings a scratchier, grittier tone to the art that I really like, but other than that, this issue is pretty forgettable.
Overall, this issue just feels like filler meant to start tying up loose story threads as Dixon coasts toward the finish line of his time on this run.  It's not BAD, just sort of generic.


SCRIPT: Chuck Dixon
PENCILS: Sal Velluto
INKS: Chris Ivy
COVER: Denys Cowan
Continuing from last issue, Moon Knight jumps into the maze to face Chainsaw and rescue Marlene while Frenchie fights his way through Pretorian thugs above to clear the way for a getaway.  Moon Knight gets the upper hand on Chainsaw and the killer attempts to escape, only to be gunned down by Moon Knight's original target, the mercenary Bo Ollsen!
Moon Knight pursues and captures Ollsen, taking him along as Frenchie and Marlene rendezvous with him for their escape from the Pretorians.  Moon Knight interrogates Ollsen and learns that he was infiltrating the Pretorians because he has a score to settle with Secret Empire after one of their schemes he was hired for went wrong and he spent 5 years in a Southeast Asian prison.
Moon Knight makes a deal with Ollsen, he'll tell him where to find what's left of the Secret Empire leadership in exchange for the truth of what happened 10 years ago in Bosqueverde.  Moon Knight learns that Presidente Dominguez and Raposa were actually working together, but Raposta double-crossed him and used Marc Spector to do his dirty work, with both Ollsen and Dominguez's wife in on the plot.  
Finally, Ollsen tells Moon Knight that Raposa is in Miami and running a cocaine cartel.  Moon Knight and Ollsen part ways after keeping his half of the bargain and telling Ollsen that "Number One" is being held on Ryker's Island awaiting trial.
ELSEWHERE. . .We see Jeff Wilde (AKA Midnight) waking up after an operation and discovering to his horror that his arms have both been amputated and replaced with robotic limbs, we leave him screaming in terror and denial as we return to see Moon Knight beating his way through the underground, looking for information on Raposa and his operation.
At the end of the issue, Moon Knight leaves for Miami alone.  Raposa is personal, and Moon Knight doesn't want to put Marlene or Frenchie in danger for a personal vendetta.
To be continued. . .
Like last issue, you can sort of see Dixon coasting on this one as his time writing this series comes to a close with next issue.  Chainsaw was basically the most generic of throwaway villains and the rest of the comic is pretty much an exposition dump leading to Dixon's final issue on the run.  
It's not badly-written. . .Dixon keeps on his established straight and narrow here, showing Moon Knight as a two-fisted street hero punching his way "Batman-Style" through underground informants until he learns what he wants to know.  It's just that you can TELL that Dixon's about done with Moon Knight and there wasn't really much effort put into things.
 Overall, a pretty forgettable filler issue that serves as more of an information dump than anything else.  It's not BAD, but you can tell that Dixon is phoning it in at this point and ready to move on to writing The Punisher.


Trial of Marc Spector Epilogue
SCRIPT: Chuck Dixon
PENCILS: Sal Velluto
INKS: Chris Ivy
COVER: Denys Cowan
Continuing from last issue, we find Moon Knight in Miami, attacking drug shipments and working his way up from the bottom toward his target, former Bosqueverde Dictator Emmanuel Raposa.  Hearing that Moon Knight was also targeting his biggest competition, Rory Valdez, Raposa decides to also strike Valdez, making him fight two battles at once.
BACK IN NEW YORK. . .We see the mysterious leader of Secret Empire, "Number One", being held and awaiting trial on Ryker's Island, where he is killed by Bo Ollsen, who is disguised as a prison guard and acting on Moon Knight's information from last issue.
ELSEWHERE. . .We see Midnight, now more machine than man, brought out before the Secret Empire leadership for a demonstration of their new Cyber-Warrior.  Unfortunately, Midnight's human rage makes him go into a killing frenzy and Secret Empire are forced to shut him down until they can find a better way to to control him.  And that's the last we see of Midnight in this series. 
HEADING BACK TO MIAMI. . .Moon Knight has infiltrated the Valdez compound, seeking information on Raposa when Raposa pre-emptively attacks!  Moon Knight makes his escape as the gunmen of the two drug lords battle it out, and then tries to follow Raposa back to his hideout, but he's discovered and a battle in the air over the streets of Miami between Moon Knight in his stealth fighter and Raposa's thugs in a trio of gunship helicopters breaks out.  
Moon Knight defeats two of Raposa's copters and follows the survivor back to Raposa's hideout, where Bo Ollsen has also arrived, with plans to kill Raposa.  Moon Knight stops Ollsen from killing the former dictator, but Ollsen is badly wounded during the fight.  Ollsen reveals that he knows that it's Marc Spector wearing Moon Knight's costume, and that he was trying to make amends for setting him up all those years ago.  
Marc forgives Ollsen and the wounded mercenary holds off Raposa's gunmen while Moon Knight makes his escape with their leader.  The issue ends with Moon Knight bringing Raposa to a waiting ship, so that the former dictator can be returned to Bosqueverde for trial, fulfilling Marc Spector's promise to Presidente Silva to bring Raposa to justice.  
The End.
And so we come to the end of Chuck Dixon's time writing Moon Knight.  Where the previous two issues in this final arc felt a bit loose and lazy, this one was tighter and seemed to have a lot more effort put into it.  Yes, it basically serves to tie up two big loose ends, but this was a slam-bang adventure that brings Dixon's run to an end in fine form.  
Midnight's ultimate fate isn't revealed until later in the pages of Amazing Spider-Man (and his death even later in Moon Knight vol. 5), so the resolution here is a bit unsatisfying, but the main story of Moon Knight finally bringing Raposa to justice is a very nice epilogue to "The Trial of Marc Spector" that I enjoyed quite a bit.
Overall, Dixon goes out in style with a two-fisted action-packed adventure tying up loose ends from his run and leaving a blank slate for incoming creative teams.  I have to say that I really enjoyed Dixon's stripped down, simplified take on Moon Knight, even though I might be in the minority on that opinion.  So let's see what the next team does with that blank slate Dixon left them with, shall we?


SCRIPT: Howard Mackie
PENCILS: Mark Bagley
INKS: Tom Palmer
COVER: Denys Cowan
Our story begins with Moon Knight fighting terrorists attacking the Statue of Liberty.  Just another night out on patrol except that the thugs are wearing costumes very similar to his and keep shouting about how they are the "True Knight of the Moon" as Moon Knight punches them.
AND THEN. . .Ghost Rider shows up out of nowhere to finish mopping up the remaining terrorists.  He interrogates one of them and discovers that there is another attack planned on Grand Central Station.  That means it's TEAM UP TIME!
At Grand Central Station, there is a charity benefit party going on for the homeless, which is interrupted as more "Knights of The Moon", as well as other mercenaries attack and take the guests (including Moon Knight's lover, Marlene) hostage.  It is revealed that the mutant known as Plasma is the leader of the terrorists.  
By the time Moon Knight and Frenchie arrive on the scene, the hostage situation is in full swing and the police have blockaded the whole area.  Moon Knight decides to infiltrate using the train tunnels.  He discovers more Knights of The Moon fanatics placing explosives to destroy the terminal and takes them down.
IN THE MEANTIME. . .Plasma receives news that some of her men aren't reporting, and she assumes it's the police, which means it's time to start killing hostages.  Below, Moon Knight is fighting his way through her henchmen, encountering several mercenaries that he had once worked with.  He isn't able to make it up top fast enough to stop Plasma from blowing a hostage's head off with her powers.
BUT THEN. . .Ghost Rider finally makes it to the scene! As the Spirit of Vengeance wreaks havoc on the terrorists, Plasma joins the fight and seemingly vaporizes him with a blast of her power.  Plasma decides to leave before more superheroes show up and abandons the hostages as she gets on a train with her remaining men.
Moon Knight arrives to find the police in charge of the hostage situation, hears what happened to Ghost Rider from Marlene, then rushes to pursue the mutant leader and her religious fanatics.  Ghost Rider returns and Moon Knight hitches a ride on his bike in order to chase the escaping train.  The two heroes board the train and proceed to pound the Khonshu out of anyone standing in their way until they get to Plasma.
Ghost Rider is blasted out of the fight again and Plasma shouts out her entire history and power set while Moon Knight mercilessly kicks her around the cabin of the train.  Her exposition distracts Plasma from the fact that the train is heading too fast into a curve.  Moon Knight jumps out onto Ghost Rider's bike just in time as the speeding train plows into the wall and explodes, taking Plasma along with it!
At the end, Ghost Rider and Moon Knight part, having served a mighty fine dose of both justice AND vengeance this night.  
The End.
*Sigh* Not good.  Not good at all.
What we have here is a one-off filler issue coming between the departing creative team and the incoming one.  Unfortunately, despite the great talent involved in this double-sized issue, it's really not that good. I'd say it's just "okay". With the team up of Moon Knight and Ghost Rider fighting an X-Men villain, this actually reads sort of like a leftover script from the "Acts of Vengeance" crossover that got dusted off and used on short notice.  
It's pretty much a standard superhero punch-fest all the way through from page one to page done.  You can see that there's very little effort to actually make this issue good.  Instead, it looks like Marvel was hoping the Ghost Rider appearance would coast this one along until next month when the new regular team takes over.
What's especially disappointing is that usually I like Mark Bagley's art quite a bit.  He's one of the most solid artists Marvel had at that time, but here it looks like he hurried up and illustrated this issue in between better things he had to do.  
Overall, this issue was the first actual clunker of this series.  It's a shame because there's some good names working on it, but the whole thing obviously looks like a rushed filler issue padding a month between regular creative teams.  Nothing to see here, let's move along. . .


SCRIPT: J. M. DeMatteis
PENCILS: Ron Garney
INKS: Tom Palmer
COVER: Bill Sienkiewicz 
Our story begins as a mysterious woman cloaked in red attacks one of Moon Knight's informants, Mr. Crawley, badly wounding him with a crossbow bolt.  Crawley barely makes it to the diner his (and Moon Knight's) friend Gena owns.  The woman pursues him into the diner and blows it up using explosive crossbow bolts.  It is shown to the reader than she calls herself Scarlet and she attacked Moon Knight's friends to try and get his attention.
IN THE MEANTIME. . .Moon Knight is back on patrol and we see him fight a group of young thugs, but he shows them mercy, explaining to Frenchie and Marlene that since HE got a second chance at life, everyone deserves the same.  
THAT NIGHT. . .at the altar of her church hideout, Scarlet receives a fiery vision of Moon Knight replacing the crucifix.  At the same time, Marc Spector is awakened and receives a vision of Scarlet replacing the statue of Khonshu in his mansion.
Later, Moon Knight visits the hospital to check up on his wounded friend, Mr. Crawley.  He learns from Gena about the attack, and combined with his earlier vision, he realizes that Scarlet Fasinara (AKA Stained Glass Scarlet), is back in New York after being gone for many years.
He immediately heads to the grave of Scarlet's son. . .who she was forced to kill, making her mind snap and turning her into a murderous vigilante.  There, Moon Knight is attacked by three of Scarlet's disciples.  They fight until Scarlet herself appears, telling Moon Knight that she just wanted to be near him that night, but there would be another time for her to reveal her true purpose.  Moon Knight lets them all leave for some unknown reason.
We end the issue with Moon Knight receiving yet another fiery vision at the statue of Khonshu.
To be continued. . .
Well, alrighty then.  Talk about a major switch in. . .well, pretty much everything!  
How do I begin to unpack this? Even the COVER is completely different.  Okay, here goes!
Chuck Dixon departed this title after two years of solid superhero action, with his stories nicely tied up and leaving a blank slate for the incoming creative team.  But instead of building on or refining what had been the status quo for Moon Knight for 25 issues, DeMatteis and Garney decided to take things in a completely different direction by making this issue a direct continuation of the 38 issue 1980 run of Moon Knight!
This issue features characters and story beats from issues almost ten years in the past!  In particular, Stained Glass Scarlet was featured in issues #14 and #24.  Gena and Mr. Crawley were frequent supporting characters of that run as well, even though they've never been mentioned until now in this one.
Frankly, it's a jarring disconnect from the series I had been reading.  These days, Marvel would have just ended the series at issue #25 and made #26 a brand new #1 reboot of the series, but the semi-predatory practice of rebooting a series every couple of years for that shiny and collectible #1 (with 27 variant covers, of course) is still a ways down the road for the comic industry.  So what we get instead is basically an entire change in a series between one month and the next.
I'm pretty sure that fans of Moon Knight pining for the earlier run. . .which, credit due, IS some fantastic work from (mainly) Doug Moench and Bill Sienkiewicz. . .were excited for a return to that series.  Unfortunately, it's a pretty abrupt departure for readers who might have jumped on Moon Knight from the first issue of THIS series.  Put kindly, this new creative team and direction pretty much abandons new Moon Knight fans of the time for established fans from almost a decade previously.
Okay, so the complete change in direction is jarring and somewhat unwelcome. . .what about the story itself?  Let's put it this way. . .J.M. DeMatteis is no Doug Moench and Ron Garney isn't anywhere close to being Bill Sienkiewicz.  Their attempt to recapture lightning in a bottle falls flat.
The most obvious problem is that Stained Glass Scarlet herself is written almost completely different than seen previously.  In the earlier Moon Knight issues this storyline attempts to continue, Scarlet is a former nun who left the church to marry into the mob.  After her husband is killed and she is forced to kill her own son, something snaps in Scarlet and she begins to hunt down and kill anyone in the mob connected with the tragedy her life became.  She ran afoul of Moon Knight, who sympathized with her, but didn't approve of her methods, and the two connected before she disappeared. 
 In other words, she was Marvel's version of DC's Helena Bertinelli (AKA The Huntress), right down to the religious aspect (that DC has since abandoned), mob connection, and crossbow as a favored weapon.  
But HERE, Scarlet is written as someone willing to kill innocents just to get Moon Knight's attention.  Also, she seems to have gained some sort of mental super powers as well.  She's able to manipulate Moon Knight's mind, drawing him to her and making him unable to act if she wants to (that's how she and her disciples escape the graveyard fight).  The original Scarlet was a street level vigilante on a specific mission.  This Scarlet is an indiscriminate killer with mind control powers.
As far as the rest goes, the running internal monologue of both Spector and Scarlet (that tells most of the story) is overwrought and pretentious almost to the point of comedy at times.  Ron Garney's art is wildly inconsistent. . .with some pages standing out as borderline great, while others look sketchy and incomplete.  The combination really makes me a bit discouraged from continuing on with the next issues in the story.
Overall, we have a jarring change in direction that completely abandons the established status quo (and new Moon Knight fans at the time) in favor of returning to a previous series.  The writing is pretentious and laughable where it's supposed to be dark and dramatic, and the artwork is uneven.  Chuck Dixon left a blank slate, and instead of going forward, this issue takes the series a step backward.


SCRIPT: J. M. DeMatteis
PENCILS: Ron Garney
INKS: Tom Palmer
COVER: Bill Sienkiewicz 
Continuing from last issue, we find Frenchie and his new lover (Marc Spector's housekeeper, Chloe) enjoying some time together in one of Marc's penthouses that he rarely uses.  Scarlet and a group of her disciples attack, badly wounding Frenchie and taking him captive and sending Chloe to Marc with a message to meet Scarlet on the Brooklyn Bridge.
IN THE MEANTIME. . .Since encountering Scarlet, Marc has been plagued with constant thoughts and visions of her, as well as random hallucinations of Khonshu.  We see that Scarlet is also suffering from constant hallucinations of beings who want to punish her for her sins.  Moon Knight follows a lead to an abandoned church, but discovers that she's already gone.  
LATER THAT NIGHT. . .Chloe finally makes to to Spector's mansion to deliver Scarlet's message, Moon Knight goes to the Brooklyn Bridge and confronts Scarlet, who lets him know that Frenchie has already been released and that she wants Marc to save her soul.  They embrace and kiss, but Scarlet becomes overwhelmed with shame and stabs Moon Knight in the back, pushing him off the bridge and into the water after declaring that she doesn't deserve to be saved.
To be continued. . .
The pretentious and overblown nature of the running internal dialogue in the previous issue was pretty bad, but DeMatteis says "You ain't seen nothin' yet" and steps it up a notch to the point that the story in this issue is practically unreadable. 
 Scarlet's new powers are also inconsistent with the previous issue.  Last issue, she was able to draw Spector to her with her psychic ability, in this issue, she has to take Frenchie hostage and send someone with a message for Spector to meet her.  So not only does the character barely represent the original material, the writer can't even keep her straight over the course of TWO issues. 
With this treatment of Stained Glass Scarlet, I can definitely see why creators (Like Tony Isabella with Black Lightning) get upset when others change characters they create completely from their original vision.  BUT I DIGRESS!
Thankfully, the uneven art seems to have been straightened out to the point that I can now call it "Pretty Good" as a whole and even saw a few panels that are downright great.  Plus there's a very nice cover by Sienkiewicz, so at least the comic is good on the eyes.

Overall we have a story that's practically unreadable without eye rolls at the constant cribbing of William Blake's poetry posing as deep and dark inner dialogue (That's right, DeMatteis, I see where you're pulling it from.  I don't just read comic books.) and featuring a character that is not only a hollow shell of the original, but inconsistent from issue to issue. 
 Three more issues of this PLUS an epilogue? All I can say is. . .
The flames of that round me roll;
If she refuse, I still go on
Till the Heavens and Earth are gone
Because I ain't a quitter, son

(See, I can do it too 😉)



SCRIPT: J. M. DeMatteis
PENCILS: Ron Garney
INKS: Tom Palmer
COVER: Bill Sienkiewicz 
Continuing from last issue, Moon Knight has been stabbed by Scarlet and pushed off the Brooklyn Bridge.  As he sinks into the river, bleeding out, he has visions of Khonshu, his father, and his dead brother, Randall. . .all berating him for being worthless and weak.
While Marc struggles against his inner demons, Scarlet is wracked with guilt and prays to Jesus to help Marc, while at the same time, Marlene prays to Khonshu for the same thing.  Or at least I think that's what is going on.  At this point, the story is such a mess with three simultaneous running internal dialogues that I can barely stand reading it.  ANYWAY. . .both of the women are somehow physically touched by the statues they are praying to.
By the intervention of Khonshu, Jesus, or both (Or neither? Maybe? Who knows?), Marc struggles through the hellish visions of disappointment and failure and is guided by a beam of light to the surface, where he is rescued by Frenchie and Marlene in his copter.  Marc is skeptical when Marlene tells him the statue of Khonshu told her where to find him, ignoring the fact that he wears a weird costume and fights crime every night because that very same statue told him to.
AT THE END. . .We see that Scarlet has also been led (by Jesus?) to where Moon Knight was. . .Even though she should have already known because SHE was the one who pushed him off the bridge in the first place.  Just one of the many plot holes to be found. BUT I DIGRESS! 
When she realizes that she's arrived too late and he's already been rescued by Marlene, Scarlet gets mad that seems to take delight in constantly punishing her.  She begins to summon fire (adding pyrokinesis to her new set of superpowers) and declares that now the world must burn!
To be (unfortunately) continued. . .
This story just gets worse as it goes on.  Sort of like a drunken uncle at Thanksgiving who ropes you into a political discussion.  Yeah. . .that bad.  
There are there three separate running internal monologues that converge and overlap each other at times, making it hard to understand who's thinking what (Scarlet and Marlene's visuals and dialogue mirror each other through the whole issue, as you can see in the page scan below).  
There are gaping plot holes. . .For one example: This issue starts exactly where the last left off, but Scarlet has been able to return to her hideout, change clothes, pray to Jesus, AND return to try and rescue Marc in the time it takes him to fall and sink to the bottom of the river.  Just one of several holes in the plot where it's obvious that the writer was more concerned with the FEEL of what he's trying to say than with telling a cohesive story.
Adding to the confusion, Scarlet now seems to be able to summon fire. . .which begs the question of why she had to burn down Gena's diner with explosive crossbow bolts in the first issue of this arc.
Look, I understand.  DeMatteis is trying to tell a dreamlike (nightmarish?) story that takes place mostly in the heads of the characters.  Unfortunately, the execution falls flat.  The artist does a decent job in trying to keep up, but as it stands, this story is a meandering mess.
Overall, we have a story that's just getting worse as it goes on.  DeMatteis is trying hard to say SOMETHING, but it's hard to tell exactly what that is because he keeps adding new elements to an already muddled narrative.  That's not good when you just want to read a decent superhero story.


SCRIPT: J. M. DeMatteis
PENCILS: Ron Garney
INKS: Tom Palmer
COVER: Bill Sienkiewicz 
Continuing from last issue, we find Scarlet in her hideout, still wracked with guilt and conflicting emotion.  She begins to have nightmarish hallucinations and memories of killing her abusive father, her failed bid at salvation by becoming a nun, her failure to change the ways of her abusive mob husband, her being forced to kill her own son.  She blames , but begs for His forgiveness at the same time.  She implores Satan to take her soul to . . .ANYTHING to atone for her past.  But no answer comes from either Heaven or .
IN THE MEANTIME. . .we see that Scarlet's mental torment is affecting Moon Knight as he recovers from his injuries.  As Scarlet's rage with being ignored by both Heaven and grows, she sets fire to her hideout, sending her disciples fleeing into the night.  Feeling himself drawn to Scarlet against his will, Moon Knight suits up despite the protests of Marlene and heads into the night for a final confrontation.
To be continued. . .
As you can see from the abbreviated summary above, this issue leading up to the big finish is a bit light on story and heavy on hammering the reader with the inner torment of Scarlet. . .basically a very pretentious and overwrought exposition dump of her origin story, but without any explanation of what she's been up to for the past ten years or where her shiny new mental superpowers came from. . .which is sort of what I was wanting to know.  
I mean, she leaves New York as a somewhat successful street vigilante with a vendetta against the mob and then returns a decade later as a murderous psychic powerhouse?  Where's THAT story?
On the good side of things, Garney's art has been improving with each issue, so as the story gets worse, the visuals get better.  He does a lot of interesting things with panel layout in this issue as he tries to fit four pages of story into a thirty page comic book.  I gotta give credit where credit is due.  He does a fair job of it.

Overall, what we have here is too little story for too much comic.  Thankfully, Ron Garney is up to the task of making it work.  Unfortunately, there's not much some decent art can do to improve this half-baked origin story that doesn't even really tell the story it needs to tell.  All I can say is thank it's almost over.


SCRIPT: J. M. DeMatteis
PENCILS: Ron Garney
INKS: Tom Palmer
COVER: Bill Sienkiewicz 
Continuing from last issue, we find New York City is plagued by a spree of firebombs.  Scarlet has written a letter to the Daily Bugle claiming that she is purifying the city with fire in the name of .  Which, of course, begs the question of why firebombs when in the previous two issues she was able to summon fire?  And where are all the other NYC superheroes?  Spidey WORKS at the Daily Bugle, right? BUT I DIGRESS!
We see that Scarlet is plagued by a vision of a man and a woman dancing around a campfire, with lots of extremely pretentious and wordy mental monologuing about the ecstasy of burning and ancient priestesses which makes no sense at all, but at this point, I'm just sort of rolling with things.  All I know is that if I were actually subscribing to this series in 1991, I probably would have cancelled it around #28.  BUT THERE I GO AGAIN!
Moon Knight is busy saving people from burning buildings on his own because I guess he's the only superhero noticing dozens of buildings blowing up in New York City.  He encounters a group of Scarlet's disciples setting a bomb. . .because I guess she's lost her magical fire powers since last issue. . .he fights them, but the group of four young girls beat the superhero martial arts master unconscious. Probably not Moon Knight's finest moment.
When he wakes up from his beating at the hands of teenage girls, Moon Knight starts having visions of the same thing that's been tormenting Scarlet. . .but thankfully minus about half of the cribbed William Blake internal anguish she was having.  This somehow tells him exactly where Scarlet is, because, well, just because?
We switch scenes to the hospital where Moon Knight's friend Mr. Crawley has been recovering from Scarlet's attack in the first issue of this merry mess.  Scarlet is standing over the bed with a lit match (Her fire powers once again mysteriously absent in the exact issue where she would have been using them the most) and muttering to herself about .  
SURPRISE, CRAZY LADY! Moon Knight jumps up out of the bed, where he'd been hiding, and grabs her.  He demands to know just what the is going on with her. . .exactly the same thing I demand!  She tells him that it's too late for love and. . .blasts him with her friggin' fire powers that have been absent until now!  The whole hospital goes up in flame due to her plot-specific moment of  fire rage.
Scarlet makes her escape while Moon Knight saves people from the hospital.  She waits for him to get done and find her by dancing in the rain and lightning on top of the Brooklyn Bridge while having visions of an ancient priestess dancing around a campfire. . .visions that Moon Knight is also having back at the hospital.  Once again, they somehow tell Moon Knight were to go.
Moon Knight confronts Scarlet on the bridge again (hopefully this time standing away from the edge) and they start talking about past lives, reincarnation, and how there's no salvation for her.  Scarlet begs Moon Knight to kill her because she doesn't deserve to live, any more than this comic deserves a decent review.  
Moon Knight calms her down a bit, but then she pulls the old surprise knife again!  Moonie ain't falling for that game a second time, seeing as he's still got stitches from the last time she pulled a sticker on him.  He grabs her hand and tells her to stop acting crazy. . .he's just a man and he can't save her soul, and he sure isn't going to let her stab him again.
Scarlet sees a vision of flames in the water below and decides it's time to finally end this rotten story by jumping off the bridge.  Moon Knight dives in after her, but comes up empty.  He looks for her all night, before saying a prayer for her soul and giving up.
The End 
Thank it's over.  I've read reviews of this series that bag on Chuck Dixon as the worst writer of the whole run.  I heartily disagree.  Dixon may have been a bit basic, but at least he was consistent and his stories were actually readable.  In the course of Longbox Junkin' you can believe I've read some pretty bad stories.  This was one of the worst that I've read in quite a while.   
The writer was so far in his own headspace that he forgot he was writing for other people.  There might have been a point to this story DeMatteis was trying to make, but I can't see it.  Hopefully, this is a low point for this series, because I've still got a LOT of issues to go.

Overall, the finish to this story was all over the place.  Scarlet's flame powers come and go as needed by the story.  Moon Knight gets the Khonshu pounded out of him by teenage girls.  Buildings are exploding in New York City and Moon Knight is the only superhero on the job.  DeMatteis doubles down on the pretentious William Blake-infused inner monologue with each issue.  Summed up: This was a hard story to get through.   I feel like I've accomplished something by actually reading every word of it.


Talk about contrast.  This batch of Marc Spector: Moon Knight issues is a study in contrast.  Two good issues, three "okay" issues, and a solid FIVE bad issues.  We go from straightforward two-fisted superhero action to overwrought internal drama.
Look. . .I've read good stuff by J.M. DeMatteis.  Captain America, The Defenders, Weird War Tales, even : Apocalypse (No, really. . .it's pretty good. Check it out).  This is not good.  I'm not sure where his head was when he was writing this, but the decisions made here and the inconsistency of the whole story where DeMatteis is normally a lot tighter make me wonder if he was going through something that was distracting him from his work.  This is so bad that I don't know what to make of it.
Whatever was going on with DeMatteis when he wrote the stinker of a story that makes up half of this batch of Marc Spector: Moon Knight, it made getting through the back half of these issues a hard row to hoe.  
The first half was pretty good.  Yeah, Dixon was coasting along toward his finish line, but at least his last issues were decent, with the Spidey/Moon Knight/Punisher teamup showing some really good writing.  
The filler issue between Dixon and DeMatteis was a bit of a clunker, but I highly suspect that it was actually a leftover unused "Acts of Vengeance" story that was dusted off and thrown in on short notice.
SO. . .here we are, halfway through.  Thirty more issues to go.  What happens next?  Let's find out!
Up Next. . .
More Marc Spector: Moon Knight!  
Issues 31-40, heading down the back half of the series.
Will it get any better?  I sure hope so!
Be there or be square.

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Welcome to Longbox Junk, the place to find all the comic reviews you never asked for!

I've decided to return to one of the things that makes Longbox Junk special by reading and reviewing an entire series from issue one to issue done. .. something I haven't done in a while.  I chose a pretty epic chunk of comics with SIXTY issues of Marc Spector: Moon Knight.

To recap the first ten issues (or you can just go HERE ), so far writer Chuck Dixon has given us a very straightforward and simple interpretation of Moon Knight, dispensing with most of the supernatural elements and not even touching on the mental health issues that usually define a Moon Knight story.  

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Longbox Junk - Spider-Man/ Human Torch

7917 views • Apr 26, '20 • (0) Comments

Welcome back to Longbox Junk, the place to find all the comic reviews you never asked for!

Once again, apologies for the time between my posts being pretty random these days.  As the head of a skeleton crew at my job, I'm doing the work of 3 people and my schedule is just sort of swingin' in the wind.  But at least I still have a job, so I'll keep the complaints to a minimum.  I've been READING a lot of comics, I just don't have as much time as I'd like to write about them.


I'll tell you true. . .things ain't great out there.  Every time I turn on the news, I feel like taking a Xanax and climbing UNDER the bed.  My gut gets sour just looking at the headlines of a newspaper these days.  Forget toilet paper. . .I need to stock up on TUMS!

I don't have the stomach to add to all the negativity in the air, so I've temporarily decided to make Longbox Junk a place to come and relax a bit as I take a journey through the lighter side of the comic book world.  I'll get back to grinding through some rotten comics eventually. . .but not just yet.


I've come to discover that my comic collection tends to lean quite a bit to the darker and dramatic side of things. . .which is sort of a problem when deciding to spotlight some fun comics for Longbox Junk readers.

Luckily, my comic-lovin' daughter has come to the rescue!  Since she's out of school for the time being, and generally likes her comics to be on the fun side of things, we've been having a great time digging through her collection together and finding some stuff to bring a smile to both of our faces, and I hope it will do the same for you.

Case in point. . .the comics at hand.

A five issue mini-series put out by Marvel in 2005 showcasing five stand-alone (but loosely connected) tales featuring the High-Flyin' Human Torch and your Friendly Neighborhood Spider-Man in light-hearted adventures paying homage to various eras of Marvel Comics from the Silver Age to the Modern Age.


These issues assume a familiarity with Marvel Continuity I don't really have, and don't specifically say when the stories are set or what creative teams they are paying tribute to. . .which will be part of the fun for readers that are established fans of these characters.  I'm NOT a big fan of these characters, so if the bit of research I did do is wrong, feel free to shame/correct me in comments for my own good.

Okay? Ready? Let's do it!


MARVEL (2005)

SCRIPTS: Dan Slott
PENCILS: Ty Templeton
COVERS: Paul Smith



A nice homage to the good old "heroes fight until they don't" character crossover cover hook.  Overall, it's a fun cover with some great colors that puts both main characters firmly in the spotlight.  I'd definitely give this one a turn on the "Wall O' Covers" on my office wall at work.
This story seems to be set at the beginning of Spider-Man and Torch's careers in the early 1960's and pays homage to their Silver Age adventures.

When Johnny "The Human Torch" Storm decides he isn't getting the publicity he deserves, he hires his sometime pal Peter "Spider-Man" Parker (but without knowing Peter is the "menace" known as Spider-Man) to follow him around for a few days as a personal photographer.

On the first day, Peter gets on Torch's bad side when during a bank robbery he steps in to help as Spider-Man.  Torch (not knowing Peter is Spidey) is convinced that Peter tipped off Spider-Man in order to steal his glory for stopping the robbery.  He almost fires Peter, but gives him another chance.

On the second day, Peter decides he'll shadow Torch as Spider-Man without him knowing in order to get better shots and keep his alter-ego out of trouble.  After a brief encounter with Paste Pot Pete laying in wait for the Torch, Spider-Man follows the High-Flyin' hero to the Latverian Embassy, where Torch plans on confronting Doctor Doom by himself!

Of course, Doom is prepared for Torch's ill-advised one-man assault and freezes him in a block of ice. . .leaving the secretly-watching Spider-Man as the only one able to come to the rescue.

Spider-Man pretends to be willing to join Doctor Doom as a fellow villain, and agrees to kill Torch, but at the last moment Spidey makes his escape with the frozen hero, earning Doctor Doom's promise of  future revenge in the process.

Later, Spider-Man accidentally breaks off Torch's frozen hair while chipping him out of the ice, leaving the vain hero bald!  Even though Peter secretly snaps a picture of the humiliated Torch, J.J. Jameson at the Daily Bugle decides to run a picture of Spider-Man together with Doctor Doom instead, further cementing Spidey's reputation as a menace.

In the end, Torch is bald and Peter Parker made things worse for Spider-Man.  Nobody can catch a break in the big city.  The End.

Like I said above, I'm generally not a fan of either the Fantastic Four or Spider-Man, but I really enjoyed this story a lot!  Dan Slott really channeled some goofy Silver-Age fun and nonsense into this little comedy of errors.  I especially liked the "Nobody wins" ending, that almost had me hearing the "Wha-wha-whaaaaaaaaaaaaa" sad trombone sound on the last page.  Spidey's encounter with Paste Pot Pete, where he basically laughs the villain into leaving without a fight (because of his ridiculous name), is also a great moment.

The art really helped sell the story as well.  It's got some nice dark lines and beautiful, bright colors.  There's a great sense of motion in the action scenes, and the facial expressions in the more comedic scenes are perfect.  The artist DOES make Peter look a lot older than a teenager, but I think Peter Parker looking like he's 30 years old is part of the Silver Age homage, if I remember from the very few Spidey comics I have from the 60's, so I can give it a pass.

Overall, a silly story backed up with some very nice artwork makes this first issue a lot of fun!  As a standalone story, I'd recommend  this one even if (like me) you aren't a big Torch or Spidey fan for a good lighthearted comic to read.  But this is only the first issue. . .Let's get to the next one!



I'm not going to get too negative here, but this cover is just sort of "Meh".  It's not BAD, but it's not really that good, either.  It's just sort of. . .there.  It seems a bit cluttered and isn't the kind of cover that would have made me pick this issue up off the stand for a look.
Based on Captain George Stacy (1st appearance 1968 - Death in 1970) appearing in this issue, I'd say this story is set in the late 1960's and pays tribute to the late Silver Age adventures of our heroes.

After a disagreement between Peter Parker and Johnny Storm, Spider-Man and The Human Torch decide to switch places for a day. . .with Spidey going along with the Fantastic Four on a trip to another dimension while Torch watches over the streets of New York City.

Of course, things quickly begin to go wrong for both heroes.  Spider-Man finds himself on a terrifying journey that barely fazes his Fantastic Four companions while Torch discovers that his super-powers are TOO powerful when trying to take down street thugs instead of alien menaces.

In his panic, Spider-Man ruins most of Mr. Fantastic's experiments as he tries to "save" the Fantastic Four from the dangers of what would have normally been a routine mission.  In the meantime, Torch finds himself in conflict with Kraven The Hunter.

In the end, Johnny Storm comes out on top by defeating Kraven, breaking his drug ring,  and earning the key to the city in the process.  But he also learns that his powers are more suited for the alien threats he normally faces and gains new respect for the street-level heroics of the friendly neighborhood Spider-Man.  As for Spidey, he learns that he's not likely to be invited on more trips with the Fantastic Four any time soon. . .The End.
Another great issue!  This one has even more humor than the first issue, as well as a little dose of heart as our heroes learn a bit more about each other when they switch places for a day.  It's a great idea for a story and Dan Slott pulls it off very nicely.

The initial setup will probably appeal a bit more to fans who can appreciate the appearances of the many supporting characters that show up, like Captain Stacy, Flash Thompson (on leave from Vietnam), and the Inhuman Crystal. . .characters I have very little knowledge of.  But once the story itself gets going, it's pure fun!

My favorite parts were Spider-Man's fish out of water terror as he travels to another dimension with the Fantastic Four.  Even though the story really focused more on Johnny Storm, the occasional flashes to Spidey were comedy gold!

And once again, the art delivers the perfect compliment to the story. . .even giving a bit of signature "Kirby Crackle" during Spider-Man's terrifying ride with the FF.  A nice touch.

Overall, I'd have to say I liked this issue even more than the first.  It has a great story hook and some really funny moments.  Once again, the story pretty much stands alone, so that makes it even better in my book.  So far we've had two for two great issues in this series, which is saying something for someone who isn't really a fan of either starring character.



Like the cover on the previous issue, this one also seems pretty cluttered.  The art itself is good, but the cover is just sort of busy.  Extra points for the Spider-Buggy, though!  That's enough of an oddball nostalgia hook that I would have at least taken a look at this issue when it was on the stands.
Based on Spider-Man's depression over the death of Gwen Stacy (1973) in this issue, I'd say it's set in the middle 1970's and is a homage to the early Bronze Age adventures of Spidey and Torch.

Peter Parker takes on an internship with Reed Richards of the Fantastic Four in order to try and get out of the funk he's in over the recent death of his girlfriend, Gwen Stacy.

While there, he meets a fellow intern, a beautiful Russian woman named Nina Pushnikov. . .who is actually a Soviet spy working for the villain Red Ghost, who is after one of Reed Richard's inventions, the "Gravity Localizer".  A device that can create small anti-gravity fields that can be controlled.

In the meantime, Johnny Storm (AKA the Human Torch) has been helping Spider-Man with a new project. . .the Spider-Mobile.  It's a spider-themed dune buggy being sponsored by a car manufacturer as part of an ad campaign featuring Spider-Man.

Unfortunately, during Spider-Man and Torch's test run of the vehicle, they quickly realize WHY no New York superheroes drive around in cars when Daredevil has to take down Stilt-Man after the Spider-Mobile gets stuck in downtown traffic.

The pair of hapless heroes decide to "borrow" Reed Richards' Gravity Localizer in an effort to improve the Spider-Mobile, not realizing that the Red Ghost and his trio of super apes are after the device.  As Torch and Spidey joyride around on the sides of Manhattan's skyscrapers, Red Ghost breaks into the Baxter Building and discovers the device is missing.

Red Ghost tracks Torch and Spider-Man down and lays a trap for them, managing to steal the Spider-Mobile and the Gravity Localizer.  The heroes quickly go into pursuit, and Spider-man is able to stop and capture the villains without a fight using the flaky crust and delicious fruit filling of "Mostess" fruit pies. The End.
Although this one starts off on a somber note (with Spider-Man reflecting on the death of Gwen Stacy), it's really played for laughs even more than either of the previous issues.  The whole thing is just light nonsense that has a couple of good chuckles and a lot of heart (as Spidey confesses to Torch that he's his only REAL super-friend).

I REALLY enjoyed the nod to the old Hostess (here as Mostess) fruit pie ads as the final chase is ended in a way that's sure to bring a smile to any Bronze Age comic fan reading this!

The art in this one seems a bit more rushed and incomplete than in the previous two issues.  I'm not going to say it's bad, just that it could clearly be better.  Not sure if there was a schedule problem that caused a rush or something, but I hope it improves in the next issue.
Overall, I got a big delight in every bite of this issue!  The art looked a bit rushed and sketchy in places, but that didn't stop this from being a story full of humor, heart, and delicious fruit filling. . .making this one three for three good issues in this series so far.  Let's get into the next one!



I like this cover a lot!  The contrast between the dark outfits of the characters and the bright red background really makes things pop.  Also, you can just tell there's gonna be lovestruck comedy shenanigans of some sort to be found inside.  This is the kind of cover that makes me want to check out a comic!  I plan on snagging this issue from my daughter to give it a turn on the "Wall O' Covers" next February.
Based on She-Hulk being a new member of the Fantastic Four and Spidey's inexperience with his new "Alien Costume" in this issue, I place this story immediately after "Secret Wars" in 1985.  Paying tribute to the late Bronze Age/ early Modern Age adventures of our heroes.
Our story begins with an argument between Spider-Man and his newest love/ crimefighting partner, Black Cat, over her wanting his help getting into an exclusive showing of Wakanda's greatest national treasure. . .a jeweled tribal mask belonging to the first ruler of Wakanda.  
He is disappointed that Black Cat seems to be slipping back into her criminal ways and refuses to be part of it.  She is disappointed that Spidey won't break his rigid moral code and walk on the wild side now and then with her.
Later, at the Wakandan embassy, Peter Parker (there on assignment from the Daily Bugle) is surprised to see his girlfriend enter Red Carpet Style on the arm of none other than Superstar Superhero and friend, Johnny Storm (AKA The Human Torch).
Peter is determined to stop Black Cat's theft of the jeweled mask and save his friend from being used by Black Cat.  Using his symbiote suit's ability to change appearance, he infiltrates the Embassy disguised as a guard as he tries to follow them.  Unfortunately, the security team has been hand-picked and his disguise quickly fails, raising the alarm and putting both Black Panther and his Royal Guard in pursuit of Spider-Man.
The battle between Spider-Man and Black Panther (who assumes that Spidey is the villain the newspapers claim him to be) provides the perfect diversion as Black Cat uses her skills and Torch uses his super powers to break through the tight security measures surrounding the Wakandan Mask!
After Spider-Man makes his escape and tracks down Torch and Black Cat, it's revealed that the mask is still safely in place.  All Black Cat wanted was a lock pick left behind by her father when he tried to steal the same mask years before.  It really was just a little walk on the wild side, with no real crime committed.  Spidey and Black Cat make up and Torch leaves, a little confused but having had an interesting night out.  The End.
Yet another great issue!  I really enjoyed the "comedy heist" feel of this story as Spider-Man blunders through a comedy of errors and misunderstandings while unwittingly providing the distraction for Torch and Black Cat to be able to pull off their end of things.  
I'm not very familiar with Black Cat as a character, but based on this issue I wouldn't mind reading more about her and Spidey's adventures together.  They seem to have been an interesting couple.  Black Panther's guest appearance here was also great.
My concerns about the art's slipping quality from the last issue are relieved here with a return to fine form, with the expressive faces, dynamic movement, and great colors providing a perfect compliment to the light-hearted comedy heist story at hand.
Overall, we have yet another very entertaining issue here, with an engaging comedy heist story backed up by some very nice comic artwork.  What I liked most about it was that this is the fourth really good issue in a five issue series. . .which is something that, in my Longbox Junkin' experience, doesn't happen very often at all. There's usually at least ONE clunker.  
Can this thing possibly go five for five?  Let's find out!



They saved the best for last!  Great colors, great composition, a very nice sense of movement, and an equally- shining spotlight on the two star characters of the series make this cover one I have no hesitation deciding that it deserves a turn up on my office "Wall O' Covers" rotating comic cover display. 
Based on Peter Parker being a high-school teacher, I place this story right before "Civil War" (2006), and bringing the story right into the time this mini was originally put out in 2005 for a look at the (then) current versions of Spidey and Torch. 
When an assembly of students at Peter Parker's High School featuring The Human Torch is taken hostage by a Maggia boss seeking revenge for the death of his son in prison by killing a student that is the son of the District Attorney who convicted his son.   Peter is finally forced to reveal his identity as Spider-Man to Torch in order to stop the crime boss and his armed thugs.  
The pair team up to save the day, but later at a meeting on top of the Statue of Liberty, Torch vents his anger at Spider-Man for keeping his identity secret from him for so long. . .and it gets worse when Spidey reveals that Reed Richards (and many others in the super hero community) knew who he was while Torch was in the dark.  
The two heroes make up after a heartfelt discussion where they both reveal how envious they've always been of each other (and how many of Torch's adventures with Spidey were actually with a clone).  
After everything is sorted out, Torch invites Spider-Man to bring his family to the Baxter Building for dinner with the Fantastic Four, so that everyone can finally get to know each other better.  It's shown at the end that Peter Parker and family are accepted as members of the extended Fantastic Four Family and Torch and Spidey's friendship continues to grow.  The End.
Simply a great ending for a great series!  This issue has a little action, a little comedy, and a lot of heart as Spidey and Torch reminisce about past adventures and we see them get closer as they are finally able to let their two families come together.
It's not as "stand alone" in nature as the previous four issues, as it looks back through previous adventures and also brings things forward into the (then) current continuity of the characters, so established fans will probably get a bit more out of it than new readers like myself, but that said. . .it's still a great read that packs a nice emotional punch into a small space as we see Spider-Man and Torch become more like brothers than friends.
Overall, this is a fine finish to this outstanding series.  It digs deep into the heart of Spider-Man and the Human Torch's friendship in a way that makes me want to read more comics featuring these two heroes together.  There's probably more here for established fans, but that doesn't stop this from being the delicious cherry on top of a very nice sundae of enjoyable comic books.


I've been Longbox Junkin' for a while now and it doesn't happen very often that I can get through a mini-series without at least ONE clunker in it.  Well. . .Spider-Man/Human Torch is that rare occasion when every issue is good!  
This series is simply a pleasure to read.  It features well-written stories told with humor and heart.  These light-hearted adventures were EXACTLY what I needed to read right now to bring a bit of a smile to my face, and I heartily recommend Spider-Man/ Human Torch to anyone who just wants to read some really fun comics during these troubling times. . .whether you're a fan of these characters or not!
Is this a PERFECT series?  No.  Nothing is perfect.  The art gets a bit sketchy from time to time, it's really written more for established fans than new readers, and some of the humor doesn't quite hit the target.  But for all the fun to be found in these pages, those are extremely small complaints.
All in all, I highly recommend this series for some silly, heartfelt fun.  I'm pretty sure I'm not the only one who needs a bit of that these days.  
Up Next. . .
With my current work schedule it's taking WAY too long for me to write up full comic series, so I think I'm going to throw down some single-issue reviews for a while.  Still on the lighter side for now, of course.  Not sure exactly what.  
I've been grabbing a lot of #1 issues from my comic shop's back issue boxes lately as I try to spend the same amount of back issues weekly as I normally would on new comics (not the bargain bin, although I still dig through there as well).  Maybe I'll feature a few of those. . .
In any case, be there or be square!

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Fair Warning: This is an "All Ages" series.  Just bear with me. . .

I know that I'm writing toward an adult audience, but sometimes even adults just want to have a little fun in their comics, right?  I know I do from time to time.  So why not check out what's going on in some of those comics you might otherwise pass over as kiddy fare?

Allow me to explain. . .

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Longbox Junk - Avengers: Millennium

5283 views • Mar 8, '18 • (0) Comments

I'm not a big fan of The Avengers for the same reason I'm not a big fan of The Justice League.  I like individual characters on both teams, but it just seems like a failing proposition to keep coming up with stories that can present a challenge to a combined team of the mightiest heroes on Earth.  It all just sort of reeks of fan service, and I prefer lower-key super heroics.  

BUT. . .

I seem to be in the minority when it comes to comics starring laughably overpowered super-teams,  and that's okay. . .I just pass 'em by and read what I like.  But I occassionally make an exception.  Case in point being the 4 issue Avengers: Millennium series at hand.  My local comic shop had all four issues bundled for 5 lousy bucks with that SWEET cover for issue #1 on top.  I may not buy Avengers on the regular, but 4 issues for 5 bucks with at least one cover to make my office wall comic art rotation was a deal I couldn't refuse.  

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