#writer: brian michael bendis

[keycomicbooks]

Stan Lee Talks about the importance of change when it comes to the world of comics. Crazy how these complaints regarding change have only increased regarding comics.

Writer: Brian Michael Bendis / Penciler: Mark Bagley / Inker: Drew Hennessy / Color: Studio F / Letterer: D. Lanphear

#comics#comicbooks#Marvelcomics#Marvel#comicpanel

[farsight-the-char]

im so curious what the damn pepperoni panel is

Okay so long ago (January 2013, 10 years go, dang) Brian Michael Bendis (he who fucked up modern Superman) was ruining X-men, and one of those things he did was "time displace" the original 5 X-men (Scott, Hank, Bobby, Warren, Jean) into the present, in his "All-New X-men" series.

In the 13th issue, this panel was published, which gets shared around a bunch as a meme.

The "time displaced"/younger/naive Bobby Drake/Iceman making this comment, with the younger Hank Mcoy asking Professor Kitty Pyrde (Shadowcat) her option, which leads to the Professor giving this speech:

About how words do matter, and Kitty's own experiences with antisemitism.

I feel the context is important.

....

This is one of the better written scenes in the run (Bendis's failures on X-men compounded as things dragged on).

[aaronymous999]

The Ultimate Spider-Man comics never cease to make me loose my shit in either a positive way or a negative way and there's no in between. It's like. Brian Micheal Bendis is always writing something. Just something. And I either LOVEEE it or I really fucking hate it with a passion and I cannot understand this man just by his writing because it's so fucking confusing. Like oh! Gwen rejecting an older guy hitting on her and negatively showing dudes who get pissed when girls reject them, good message! Then later. Gwen kisses Ganke. Even though she's like 17-18 and he's 14. Now I don't want to get into arguments with this post but that's just like weird because it's about the same age gap Gwen and Eddie had when he flirted with her and it's blatantly a double standard and perfectly represents all the weird mixed feelings I have about Brian Micheal Bendis' writing for Spider-Man. Sometimes it's GOOD. REALLY GOOD. And then sometimes it's blatantly awful! I think there's more good then bad here, although I think most of the bad is romance related in these stories because like. What the hell was Gwen x Peter and Peter x Kitty. Gwen and Peter in the Ultimate universe is weird to me because it's established they view each other as family in one issue and then they do a time skip and suddenly they're dating. Which is just. Weird. Not illegal or anything it's just a weird writing choice? Like it's just a bad idea to break up your main couple off screen and then pedal back on your writing before and suddenly have your main character date the girl that was established as not being a romantic love interest for him? It's just weird.

Peter and Kitty on the other hand isn't bad, it's just bad writing. Brian Micheal Bendis' pet character is Kitty Pryde, and she's cool and all and he can do whatever he wants it's his comics. It's just she's forced into the narrative and her being there and dating Peter actively makes Peter look like an awful person who cheated on his girlfriend, which is NEVER ADDRESSED. To clarify I don't have a problem with "problematic" characters or relationships, it just bugs me when the narrative ignores the negative aspects of something.

This is turning very rambly but what I mean is- Peter cheating on Kitty is fine as long as people actively call Peter out on his bullshit and tell him that was fucked up, but they don't. He doesn't get consequences for this shit. Or with Gwen, they can do that, but it should be acknowledged and they should explain how Gwen and Peter's feelings changed over the 6 months instead of getting them together, and then back pedaling on that choice too and saying that Gwen forced him into it or whatever. And when this stuff is addressed, it's usually a one off line with no actually lasting meaning or consequence. It just makes the characters feel horribly out of character and makes me hate them. Gwen kissing Ganke makes me grossed out because it makes her look like a hypocrite and a creep. She literally was in Ganke's position before and she rejected it rightfully because that's weird. But now she's in Eddie's position in a way and it makes her an actively worse character, so I just choose to ignore it in my brain because! I like Gwen!

Tdlr; Ultimate Spider-Man is good and if you want to get into the comics it's a good way to start just acknowledge that you may have a lot of beef with the writing choices, especially the romance related ones.

[hotpinkstaples]

just when LOSH puttin my ass to sleep, bendis goes ahead and reminds us how utterly stunted jon’s emotional development is that he doesnt think there’s anything wrong with picking up his homie damian to tell him all about his 31st century discoveries 😭

[thestarlightforge]

Friendly, good natured reminder to the lesbians, as it looks like tonight will be a Wiccan backstory episode.

I love you, I’m with you, and Agatha x Rio will get their turn.

But Billy is a big deal, he’s headlined Marvel Pride literally every year since its inception, and it was horrific what Multiverse of Madness did to him (going from the “love is for souls not bodies” WandaVision ethos to “two of Marvel’s only queer characters exist exclusively in the imagination of the mentally ill woman we’ve now decided is homicidal and suicidal” 🙃).

He needs this moment. Wiccan x Hulkling (Wiccling), Marvel Pride & yes, Wanda—who was also blatantly character assassinated—they need this moment.

Before Jac Schaeffer has to hand them off to another writer (again).

We shouldn’t be in this position: Where Jac Schaeffer has to join the likes of Allan Heinberg, Anthony Oliveira, Tom King and Steve Orlando as Wanda’s cleanup writer in the MCU—battling Michael Waldron and Sam Raimi the way they have long done battle with misogynistic comics writers, like John Byrne and Brian Michael Bendis. Her colleagues should’ve treated WandaVision as the precious gift it was, not left her an editorial mess to clean up.

But this is where we are. Billy, Tommy & Wanda didn’t deserve to be discarded—they deserved proud legacies as representation for the women, people with mental health struggles, and queer youth who look up to them. So she’s fixing it. Then, she’ll get to the lesbians. Have a little faith and

Let her cook.

(And enjoy watching one of my all-time favorite characters step into his own!! Wiccan is a Gem 😊💙 & he supports the lesbians as much as you do, trust, lol.)

[hexespheres]

𝟲𝟬 𝙔𝙚𝙖𝙧𝙨 𝙤𝙛 𝙎𝙘𝙖𝙧𝙡𝙚𝙩 𝙒𝙞𝙩𝙘𝙝

(inspired by 40 Years of Psylocke)

→ First appearance: X-Men vol.1 #4 (1964)

→ Writers: Stan Lee (creator), Roy Thomas, Len Wein, Steve Englehart, Bill Mantlo, Jim Starlin, Chris Claremont, Mark Gruenwald, Steven Grant, Ralph Macchio, Roger Stern, Dennis Mallonee, John Byrne, Dann Thomas, Andy Lanning, Dan Abnett, Kurt Busiek, Geoff Johns, Brian Michael Bendis, Allan Heinberg, Rick Remender, James Robinson, Jim Zub, Al Ewing, Kelly Thompson, Steve Orlando & more.

→ Artists: Jack Kirby (creator), Don Heck, George Tuska, John Romita Sr., John Buscema, Sal Buscema, Rick Buckler, Bob Brown, Gil Kane, Jim Starlin, Jim Mooney, Jerry Bingham, Michael Golden, Rick Leonardi, Dan Green, Al Migrom, Richard Howell, John Ridgway, John Byrne, Steve Butler, David Ross, Andy Kubert, John Higgins, Mike Deodato, Ian Churchill, George Pérez, Joe Jusko, Mark Texeira, Alan Davis, Kieron Dwyer, Scott Kollins, David Finch, Olivier Coipel, Jim Cheung, John Cassaday, Jorge Molina, Daniel Acuña, Kevin Wada, Tula Lotay, Sean Izaakse, Pepe Larraz, Paco Medina, Javier Pina, Cian Tormey, Sara Pichelli, Russell Dauterman & more.

→ Costume designers: Jack Kirby, Don Heck, John Buscema, John Byrne, Richard Howell, Al Migrom, Colin McNeil, Mike Deodato, George Pérez, Alan Davis, Kieron Dwyer, Olivier Coipel, Jim Cheung, John Cassaday, Daniel Acuña, Kevin Wada & Russell Dauterman.

→ 𝘼𝙣𝙞𝙢𝙖𝙩𝙚𝙙 𝙖𝙙𝙖𝙥𝙩𝙖𝙩𝙞𝙤𝙣𝙨: Vita Linder (The Marvel Super Heroes), Katherine Moffat and Jennifer Darling (Iron Man), Susan Roman (X-Men: The Animated Series), Stravoula Logothettis (Avengers: United They Stand), Kelly Sheridan (X-Men: Evolution), Kate Higgins (Wolverine and the X-Men) & Tara Strong (The Super Hero Squad Show)

→ Various games: X-Men Legends II: Rise of Apocalypse, Marvel Super Hero Squad: The Infinity Gauntlet, Marvel: Avengers Alliance, Marvel Avengers: Battle for Earth, Marvel Heroes, Marvel Contest of Champions, Marvel Future Fight, Marvel Ultimate Alliance 3: The Black Order & more.

→ Current books: Scarlet Witch & Quicksilver by Steve Orlando & Lorenzo Tammetta, The Avengers (vol. 9) by Jed Mackay & C.F. Villa, Avengers United: Infinity Comic by Derek Landy & Marcio Fiorito, Blood Hunt by Jed Mackay & Pepe Larraz; Scarlet Witch (vol.4) by Steve Orlando & Jacopo Camagni

[fae-morrigan]

Okay, guys, I have to be so honest, the cyborg Jon stuff is not actually out of nowhere if you've been paying attention to the themes and ideas present in Jon's story. Actually, something to this affect has been hinted and foreshadowed all the way back in Supersons.

Jon's story, fundamentally, has always been about agency, and how being the son of a public figure like Superman hinders his ability to self-determinate. It is an idea that is present in every story, yes, every single one, starting from his debut as a character.

The cyborg stuff isn't meant to be a replacement of past traumas- it is an evolution, the thesis of what all the things he's been through have been leading up to. It is the ultimate culmination of everything Jon has been struggling with his whole life- being seen as nothing more but a tool that can be exploited.

Clark and Lois robbed Jon of knowledge about who he was for a large portion of his childhood (1). Manchester Black tried to use Jon as a weapon against his father, actively possessing him in order to do it, explicitly against Jon's wishes and opinions (2). Kid Amazo wanted to use Jon as a flesh puppet, a new healthy body that he could take over (3). Ultraman robbed years of his life and literally confined him in a place where he, literally and metaphorically, had no power. Jor El and Jon had a whole conversation about fate vs. free will in the age up arc (4). The entire central conflict of Son of Kal El was Jon fighting against a capitalist dictator who was trafficking marginalized people, altering and taking over their bodies for profit (5). Adventures of Superman Jon Kent has Jon going up against a version of his father thats a dictator, a man who has (in the words of the text) made the whole world a prison (6). In all of these situations, Jon's put in these positions specifically because he is the son of Superman, and he will forever be defined by it against his will. It is commentary on what it means to be the child of a hero, and it is an exploration of legacy that I think is very very interesting.

We've BEEN headed here! It was always going to come to some plotline of this nature. Sure, we couldn't know it'd be specifically this, him getting borged was specifically a surprise, but Mark Waid is an incredibly intelligent writer who knows what he is doing and does not just present events in a story, but ideas. The Speed Force is a love story. Absolute Power is about, well, power. And Jon Kent is fundamentally, at his core, about agency. The robot stuff isn't meant to be strictly literal!

Post Bibliography so you can check that I'm not bullshitting you. I didn't want to go look up panels because I'm laaazy, you can go see for yourself:

Superman: Lois & Clark by Dan Jurgens

Super-sons by Peter J Tomasi

Superman Rebirth by Peter J Tomasi

Superman 2018 by Brian Michael Bendis

Superman: Son of Kal El by Tom Taylor

Adventures of Superman: Jon Kent by Tom Taylor

[bookoftheironfist]

Defenders (2017) #6 by Brian Michael Bendis, David Marquez, Justin Ponsor, and Cory Petit

Every time a writer forgets that Danny has healing powers, I want to cry a little, but I still like this panel.

[kenloganroy]

COMMUNITY (2009-2015) 2.01: Anthropology 101 SPIDER-MAN: INTO THE SPIDER-VERSE (2018)

Miles Morales was created by writer Brian Michael Bendis and artist Sara Pichelli. Bendis's thoughts about the character, and the way he looked in his first appearance, were heavily influenced by African-American actor Donald Glover's appearance in Spider-Man pajamas in "Anthropology 101", the second-season premiere of the television comedy series Community. This was a reference to an unsuccessful online campaign that attempted to secure Glover an audition for the lead role in the 2012 film The Amazing Spider-Man. 

BONUS:

[writingquestionsanswered]

hello, since I've started wanting to make a comic series on my own over a year ago, your blog has been of great help to me since I'm more of a drawer than a writer. Though I've come to realize that the medium of comics may not always work with the advice you usually give for the medium of books/novels. So I was wondering if you had any advice for writing comics, and if not, do you happen to know any blogs that do or that specialize in writing for comics?

Thank You!

Books for Writing Comics

I'm so glad you've found the blog to be helpful. While there's some advice that certainly works across formats, there's a lot that doesn't, too.

Unfortunately, I've never written comics so I can't tell you anything about how to write them. What I can do is tell you that when similar questions have come up in the past, people have recommended the following books:

Stan Lee's How to Write Comics Understanding Comics: The Invisible Art by Scott McCloud Making Comics by Scott McCloud Comics and Sequential Art by Will Eisner Alan Moore's Writing For Comics The Art of Comic Book Writing by Mark Kneece Writers on Comics Scriptwriting Words for Pictures by Brian Michael Bendis and Joe Quesada

Also, Comics Experience, Udemy, NYFA, and other sites offer comic writing classes and workshops.

I hope that helps!

•••••••••••••••••••••••••••••••••

I’ve been writing seriously for over 30 years and love to share what I’ve learned. Have a writing question? My inbox is always open!

LEARN MORE about WQA

SEE MY ask policies

VISIT MY Master List of Top Posts

COFFEE & FEEDBACK COMMISSIONS ko-fi.com/wqa

[samasmith23]

Iceman Almost Came Out as Gay Back in the 1990s

So prior to Brian Michael Bendis revealing Iceman (aka, Bobby Drake) was gay in the pages of his All-New X-Men run from 2015, apparently writer Scott Lobdell had planned to have Bobby come out of the closet two decades earlier but was unable to go through with his plans. Lobdell did however, lay the ground work for Bobby coming out during his time on the X-books in the mid-to-late 1990s.

Specifically, during an encounter with Emma Frost back when she was still a villain, the former White Queen of the Hellfire Club briefly took control of Bobby’s mind and actually used his mutant powers in more creative ways than he ever had done before. Emma accurately pointed out that Bobby was intentionally holding back the true potential of his powers, and was using humor as a shield to mask his own insecurities due to his conservative upbringing by mutantphobic parents.

Writer Sina Grace actually followed up on this old plot point from the 90s during his Iceman solo-series which immediately followed Bobby being outed by the time-displaced Jean Grey in All-New X-Men. In addition to depicting Bobby becoming more comfortable with his sexuality and gradually out to his fellow teammates, ex-girlfriends like Kitty Pryde, and especially his bigoted parents...

...Grace finally allowed Bobby to fully embrace his potential as an Omega-Level mutant. Not only did Iceman singlehandedly defeat the unstoppable Juggernaut in combat after after overcoming his greatest fear by coming out to his parents, but he began using his powers in more creative ways than before such as constructing ice-shuriken and multiple ice-clones and kaju.

Furthermore, Grace also revealed in his run that yes, during that time Emma Frost had mind-controlled Bobby back in the 90s, she actually did learn that Bobby was gay. But unlike the time-displaced Jean Grey, Emma never outed Bobby’s closeted sexuality to him or anyone else, and instead respected his privacy due to her own tragic experiences with her older brother Christian Frost being forced into "gay conversion therapy" (aka, torture...) by their abusive father.

Essentially, all of the people who try to argue that Iceman coming out makes zero sense or that it somehow "ignores/erases several decades of past continuity" (I'm looking at you homophobic Comicsgaters!) completely miss the fact that both Bendis & Grace were simply building upon the foundation that was already put in place by Lobdell back in the 90s! That’s NOT “ignoring or erasing several decades of continuity,” but the exact opposite!

And if you still need further proof that Bobby was always gay, just a reminder that during his very first appearance in X-Men (1963) #1 by Stan Lee & Jack Kirby, Iceman was the only person who was not acting like a horny jack-rabbit at the mere sight of the then-new student Jean Grey.

In other words... Iceman was always gay even as far back as his inaugural issue! Suck it Comicsgaters!

[keycomicbooks]

Dark Avengers #2 (2009) Mike Deodato Jr. Cover & Pencils, Brian Michael Bendis Writer, The Dark Reign Is Here! 

#DarkAvengers #2 (2009) #MikeDeodatoJr. Cover & Pencils, #BrianMichaelBendis Writer, The #DarkReign Is Here! "Dark Reign Part 2" The Dark Avengers have made themselves known to the world and as the world takes them in, Morgana le Fey comes looking for blood! SAVE ON SHIPPING COST - NOW AVAILABLE FOR LOCAL PICK UP IN DELTONA, FLORIDA https://rarecomicbooks.fashionablewebs.com/Dark%20Avengers.html#1  #RareComicBooks #KeyComicBooks #MarvelComics #MCU #MarvelUniverse #KeyIssue

[dorothylarouge]

Dorothy's Big List of Comic Book Recs - Marvel Comics Edition

I often get asks about getting into comic books, and how daunting it seems, given the huge back catalog of titles and issues available. I'm here to tell you it doesn't have to be scary! From miniseries that act as good introductions to characters to runs on ongoing titles by individual creators that serve on jumping-on points, there's lots of ways to get into comics without having to have a lot of background knowledge, and I'm going to give you a lot of potential places to start. Please note that this post only covers Marvel Comics; this is a companion to my DC list and I will also have a list for indie comics and smaller companies at some point. Also note that I haven't read everything, and I won't recommend something I haven't read, so a few runs or books some consider must-reads may not be on here. This is based purely on books I have read and enjoy, and that I think are suitable for new readers.

SPIDER-MAN

The Amazing Spider-Man (1963) by Stan Lee, with artists Steve Ditko and John Romita, Sr.: The classic Spider-Man stories which laid the foundation for the character. These stories are filled with the melodrama and pathos that really makes Spider-Man shine, and with two of the greatest artists of the Silver Age on deck, you really can't go wrong. Ditko stays on the book until issue 38, and Lee's run ends at issue 110.

The Amazing Spider-Man (1963) by Gerry Conway, with artists John Romita, Sr., Gil Kane, and Ross Andru: Picking up immediately after the end of Stan Lee's run, Gerry Conway wrote issues 111 to 149. This run includes a number of vital Spider-Man stories, including Spidey's climactic tussle with the Green Goblin and his first brush with the nightmares of cloning.

The Amazing Spider-Man (1963) by Roger Stern: Spanning issues 229 to 252, this brief but memorable run includes several iconic Spider-Man stories and the debut of the Hobgoblin.

The Amazing Spider-Man (1963) by Tom DeFalco and Ron Frenz: DeFalco wrote the book from 253 to 285, and this run included the debut of Silver Sable as well as Spider-Man's black suit.

The Amazing Spider-Man (1963) by J. Michael Straczynski: This should be read in omnibus format as the numbering is a little weird; the run starts during volume 2 of Amazing but the book switched back to volume 1 and original numbering partway through. One of my favorite runs on the book! The creator of Babylon 5 brings Peter Parker into the 21st century, giving him a job as a science teacher and first hinting there might be some destiny at play in how he got his powers. There are a few warts on this run, however, mainly due to editorial mandates: it contains the dreadful "Sins Past" storyline and it ends on the wet fart that is "One More Day."

Peter Parker, the Spectacular Spider-Man (1976) by Bill Mantlo and Al Milgrom: The sister book to Amazing often goes a little overlooked, but this is a great run on it, including one of the best Doctor Octopus stories in Spider-Man history.

Peter Parker, the Spectacular Spider-Man (2017) by Chip Zdarsky: Spectacular was brought back in 2017 with writer Chip Zdarsky at the helm, and it's great. The standout story is probably issue 6, "My Dinner with Jonah," which is one of my favorite Spider-Man issues ever.

Spectacular Spider-Man (1988) by J.M. DeMatteis and Sal Buscema: This run spans issues 178 to 203, and includes Spider-Man's final battle with the second Green Goblin, the standout storyline of the run. DeMatteis also had a turn writing Amazing, but I wouldn't wish the Clone Saga on any new reader.

Spider-Girl (1998) by Tom DeFalco and Ron Frenz: An alternate universe title set in the future and starring the daughter of Peter Parker and Mary Jane, it's great superhero fun featuring everything that made classic Spider-Man great.

Ultimate Spider-Man (2000) by Brian Michael Bendis and Mark Bagley: Another alternate universe book which sought to reintroduce Spider-Man to a new generation. It's a solid book and a good read, but it is very dated to the 2000s for good and for ill.

Ultimate Spider-Man (2023) by Jonathan Hickman: Another alternate-universe take on Spider-Man, this time reimagining him as a family man who gets his powers in his 30s. Whereas most Spider-Man takes start Peter off as a kid with power but no responsibility, this flips the script by having him as an adult with responsibility but no power, as he finds himself drafted into a war against the forces that have taken control of the world.

Miles Morales: Spider-Man (2019) by Saladin Ahmed: Hot off the heels of Into the Spider-Verse, Ahmed's run on Miles' title pushes him forward and secures his place as a leading light of the Marvel Universe, and even gives him his own Clone Saga.

Miles Morales: Spider-Man (2022) by Cody Ziglar: This title is ongoing, but it's a great read that continues the work of carving out Miles' niche in the Marvel Universe and taking him in new directions.

Spider-Man: Life Story (2019) by Chip Zdarsky and Mark Bagley: A thoughtful and heartfelt story that takes Peter Parker on a real-time adventure through the decades, beginning in the 1960s.

Spider-Man 2099 (1992) by Peter David: A cyberpunk romp through a futuristic New York, featuring corporate oppression and intrigue. Miguel O'Hara's best run as Spider-Man.

X-MEN

X-Men (1963) by Stan Lee and Jack Kirby: The initial run of the X-Men lays the groundwork for everything to come, but the book didn't sell well or retain Stan's attention the way Spider-Man or the Fantastic Four could, and he left the book after issue 19. Roy Thomas took over for the rest of the 60s, and there's some good stories in there too, but the real great stuff was still to come.

X-Men by Chris Claremont: MUST be read in omnibus format, because this mammoth run spanned over a decade and a half, including multiple titles - not only the main X-Men book but the New Mutants and the stellar graphic novel "God Loves, Man Kills." THE definitive X-Men run, featuring most of the team's most iconic stories.

New X-Men (2001) by Grant Morrison: Not my favorite work by Morrison, but this is probably the most important run after Claremont. Morrison brings a more militant spirit and a focus on radical activism to the X-Men, and the run opens with a bang - though I have to admit that it closes with two of my least favorite X-Men stories.

X-Men (1991) by Mike Carey: Fun stories featuring an eclectic assortment of characters and interesting team dynamics, but the real treat comes when the book becomes X-Men: Legacy, and a character study on Professor X and his son Legion.

New X-Men (2004): Of course, a classic element of X-Men stories is the school setting, and this book brings that concept into the 2000s, focusing on students at the Xavier School and their interpersonal drama. Degrassi with superpowers.

Wolverine and the X-Men (2011) by Jason Aaron: Another school-set book, this one focuses on Wolverine's efforts to run a school filled with mutant teenagers.

X-Factor (1986) by Louise and Walter Simonson: A very 80s team book focusing on the original X-Men, reconnecting after several years apart, and the conflicts they get drawn into, often the result of their own mistakes. Also features the debut of Apocalypse, one of the best X-villains.

X-Factor (1986) by Peter David: After David took over the book, the focus of X-Factor was shifted from being the original X-Men to an oddball group of government-sanctioned mutants. This book also helped flesh out the character of Mystique.

X-Factor (2006) by Peter David: X-Factor returned under David in the 2000s, this time as a detective agency specializing in cases involving mutants. There's a cynical edge to this book which was common in the 2000s but it really works for this title.

X-Force (1991) issues 116 to 129 and X-Statix by Peter Milligan and Mike Allred: Allred's art is worth the price of admission. Imagine a team where every character is expendable, most of them are liable to die in really nasty ways, and they all have weird and uncomfortable powers. That's X-Statix.

Ultimate X-Men (2024) by Peach Momoko: Probably my favorite of the new Ultimate line. Very different vibes to basically any other X-Men book - this one is essentially a horror manga in the vein of Junji Ito or Shigeru Mizuki.

THE HULK

Hulk: Gray by Jeph Loeb and Tim Sale: A moody and gorgeously-illustrated take on the Hulk's earliest days.

The Incredible Hulk (1962) by Bill Mantlo and Sal Buscema: Buscema is one of the best Hulk artists of all time, and while Mantlo's writing can be hit or miss, when he hits he really hits, as in issue 312, one of the best Hulk issues ever written.

The Incredible Hulk (1962) by Peter David: David's run is considered the definitive Hulk run, and for good reason. It is best read in omnibus format because it is very long, and packs a lot into that long tenure. Bruce Banner's Joe Fixit alter debuts here, as does his Professor persona.

The Incredible Hulk (2000) by Greg Pak: This run includes the Planet Hulk storyline! Exiled from Earth, the Hulk rises to power as a warlord on a hostile alien world. Really scratches that Conan the Barbarian itch.

The Indestructible Hulk (2013): A different take on the Hulk, this time recasting him as an agent of SHIELD with all the adventures and difficulties that brings.

The Immortal Hulk (2018) by Al Ewing: Here we see the difference between "definitive" and "best." While David's run is the definitive Hulk run, for my money Immortal Hulk is the best. It is both a gnarly piece of body horror and a deeply thoughtful title that muses on the nature of anger, of suffering, and of pain, drawing heavily on Kabbalistic imagery and themes.

She-Hulk (2004 and 2005) by Dan Slott: An offbeat workplace comedy set in a law office specializing in cases involving superhumans. The best She-Hulk run in my book, not least because it does not involve John Byrne.

DAREDEVIL AND STREET LEVEL STUFF

Daredevil (1964) by Frank Miller: Probably the definitive Daredevil run, and the only time I've been able to stand Frank Miller, this run features some great art as well as some of the most important Daredevil stories in the character's history.

Daredevil (1964) by Ann Nocenti: Carries on from the Miller run and takes the character of Daredevil, his supporting cast, and Hell's Kitchen in some totally new directions. Includes the story of the excellent villain Typhoid Mary.

Daredevil (1998) by Brian Michael Bendis: A gritty, very 2000s take on Daredevil, Bendis' strengths as a writer are on full display during this run, with grungy art to match.

Daredevil (2011 and 2014) by Mark Waid: A much lighter and more superhero-y run than Daredevil often gets, this excellent run features Matt going up against criminal syndicates, old enemies coming back for revenge, and more.

Hawkeye (2012) by Matt Fraction: Easily the best book Hawkeye has ever had. Spectacular art and excellent scripting featuring both Clint Barton and Kate Bishop in a firmly street-level narrative focusing on threats to the local community.

The Punisher (2011) by Greg Rucka: For my money the best the Punisher (whom I usually don't like) has ever been. A genuinely thoughtful examination of Frank Castle as a human. Many people swear by the Garth Ennis run on the character, but to me this is the definitive Punisher run.

Mockingbird (2016) by Chelsea Cain: A short but fun series focusing on Mockingbird in a number of spy thriller scenarios.

Alias (2001) by Brian Michael Bendis: A mature mystery series starring a former superheroine. It goes into some gnarly territory but it really displays Bendis' strengths in writing street-level, grounded stories within the Marvel Universe.

Moon Knight (1980) by Doug Moench: Moon Knight fans will be mad that this is the only run I have on this list but it's the only one I've read! It's a fantastic read though.

Ms. Marvel (2014 and 2016) by G. Willow Wilson: There's a reason that Kamala Khan has been one of Marvel's biggest breakout characters in recent history, and it all starts in this initial run of comics. Great art and fantastic scripts by Wilson.

Runaways (2004 and 2005) by Brian K. Vaughan: One of my favorite setups in a comic, with a group of teenagers learning that their parents are actually a supervillainous cabal and running away from home in response. Great teen drama with a superpowered twist. The second volume also has a run by Joss Whedon (bear with me) that's also pretty good.

TEAMS AND TEAM-UPS

Fantastic Four (1961) by Stan Lee and Jack Kirby: One of the greatest comic books ever written. Both Lee and Kirby poured their heart and soul into these early adventures, and you can really tell. The first Galactus story is still one of my favorites. Essential reading.

Fantastic Four (1998) by Mark Waid and Mike Wieringo: Probably my favorite Fantastic Four run, with a great focus on Doctor Doom, Mister Fantastic, and Ben Grimm.

Fantastic Four (2022) by Ryan North: The current FF run, this one goes all-out on wacky science fiction adventure, with most stories only taking one or two issues to tell. Bite-size superhero fun, with fantastic characterization. Made me stan Alicia Masters.

The Avengers (1963) by Roy Thomas: The initial run of the Avengers by Lee, Kirby, and Heck, is serviceable, but the team came into their own under Roy Thomas, who introduced mainstays of the team like Vision and Black Panther to the roster, in this run which also incldues the classic "Kree-Skrull War" storyline. Throw in art by legends like John Buscema, Sal Buscema, and Neal Adams, and you've got a great run to get into the Avengers with.

The Avengers (1963) by Roger Stern: Another great Avengers run, this one solidified a roster for the team which included members like Hercules, Black Knight, and the best Captain Marvel aka Monica Rambeau, and includes the best "Avengers Mansion is attacked" story.

The Avengers (1997) by Kurt Buseik and George Perez: A creative dream team relaunched the Avengers in the late 90s to fantastic effect, with several excellent storylines and gorgeous art. This is, for my money, the definitive Avengers run.

Young Avengers (2013) by Kieron Gillan: The Young Avengers have mostly been supplanted as Marvel's premiere team of teenage superheroes, but this is their best book in my view, featuring the team's best roster and some of their best stories.

Champions (2016) by Mark Waid and Humberto Ramos: A great teen team book, the Champions have basically replaced the Young Avengers in no small part due to this run. Makes me yearn for a Waid-penned Teen Titans ongoing.

Defenders (1972): I'm just gonna recommend the whole comic. If you want off-beat and unusual superhero team dynamics and out-there storytelling, this is a good bet. Special attention should go to Steve Gerber's run around issue 20 or so.

MAGIC MARVEL

Doctor Strange: The Oath (2006) by Brian K. Vaughn and Marcos Martin: A good entry point to Doctor Strange and his weird world, featuring some really great art.

Strange Tales (1951) by Stan Lee and Steve Ditko: Never has Steve Ditko's art been better than in those first Doctor Strange stories, weird and wonderful and surreal.

Journey Into Mystery (1951) and Thor (1966) by Stan Lee and Jack Kirby: The first Thor stories are not only great, they feature Kirby's excellent Tales of Asgard backups which he would eventually develop into his Fourth World at DC.

Thor by Jason Aaron: Read in omnibus format. A true epic worthy of Norse legend. Includes some all-time great Thor stories.

The Immortal Thor (2023) by Al Ewing: The current Thor run, with a strong focus on mythology and how stories are constructed and passed down across the years.

Scarlet Witch (2023 and 2024) by Steve Orlando: A fun ongoing that finally made Wanda Maximoff a worthy headliner in Marvel, featuring her protecting a small town from magical threats.

COSMIC MARVEL

Silver Surfer (1968) by Stan Lee and John Buscema: One of my favorite comics as a teenager, this book combines space opera and melodrama to great effect.

Silver Surfer (1987) by Steve Englehart, Jim Starlin, and Ron Marz: The definitive Silver Surfer run. Includes some excellent stories, including some from the master of cosmic Marvel, Jim Starlin.

Silver Surfer (1988) by Stan Lee and Moebius: Must be read for the art alone.

Guardians of the Galaxy (2008) by Dan Abnett and Andy Lanning: This is where the MCU team originated, and it's still the best run the Guardians have ever had.

Quasar (1989) by Mark Gruenwald: Has the energy of a Silver Age comic with none of the baggage. Definition of a hidden gem.

Nova (2007) by San Abnett and Andy Lanning: Probably the definitive Nova run? Spun out of Annihilation which as an event comic I haven't included here but is still a great read.

Eternals (1976) by Jack Kirby: It's kind of Fourth World backwash, but it's Kirby doing wacky cosmic stuff so you know it's a good time.

AND THE REST

Power Pack (1984): What if a bunch of kids got superpowers? No, not teenagers, little kids? It's a thoroughly 1980s premise and one that shines best in the original series from that era.

Captain America (2005, 2011) by Ed Brubaker: A high-octane action-spy thriller which reintroduced Bucky and made him Cap for a while. The definitive modern Captain America run.

2001: A Space Odyssey (1976): A short adaptation of the novel and film, and then like 10 issues of wacky Kirby sci-fi. Really great hidden gem.

Black Panther (1998) by Christopher Priest: The definitive Black Panther run, that set the stage for everything to follow.

Black Panther (2016) by Ta-Nehisi Coates: Another great run exploring the nature of power. Many comic fans do not like it because they are philistines.

Vision (2015) by Tom King and Gabriel Hernandez Walla: Tom King is hit or miss, but this book is great, with the Vision building a family - of a kind - for himself.

[spideyysenses]

DAREDEVIL GUIDE

Overview -

Total Comics: 1079 (Spanning from 1964 to 2024)

Featured: 920 | Appearance: 159

full list - best reading guide

Main Runs / Reading Order -

Original Run (1964-1998 / 381 Issues / Multiple Writers)

Marvel Knights Run (1998-2001)

Brian Michael Bendis Run (2001-2006)

Ed Brubaker (2008-2009)

Andy Diggle / Shadowland (2009-2011)

Mark Waid (2011-2014)

Charles Soule (2015-2019)

Chip Zdarsky (2019-2023)

Saladin Ahmed (2023-Present)

list of appearances, one-shots, and more here: x

Where to Read -

marvel unlimited app (subscription & digital)

in print (print volume guide on goodreads)

My Status: Complete

Free Tracker: x

[marvelmutantmagic616]

Ultimate X-Men (2001) #37

Writer: Brian Michael Bendis Penciller: David Finch Inker: Art Thibert Colorist: Dave Stewart

[yellowocaballero]

hi! i've been reading some of your older fics and was wondering if there's any merit in watching buffy for the first time in the year 2024

This may not be obvious, but this is actually an extremely complicated and highly subjective question. I'll try to go on for too long.

As background: my mother loved Buffy and its spin-off Angel growing up. It was our Bible (besides the actual Bible). Not kidding, she was on the forums and fan groups and wrote fanfiction for it and everything (These days, she's really into kdramas and Asian dramas, and calls me about how the Thai seem like big fans of gay people). So I'm quite biased.

BTVS is both a product of its times and ahead of its times. It was a show about feminism and the struggle of living in this world as a woman, when very few shows were doing that. It was the first show to have a long-lasting lesbian couple, and the first show to depict a kiss between them. For better or for worse, it was one of the codifiers of broody vampire boyfriend. It was pretty unafraid to be experimental in a lot of what it did. It had incredibly complex and nuanced character work and growth that I still aspire to. Spike's arc is still matched in quality only by Avatar's Zuko. Angel's long term arc, from Buffy to his spin-off series, still makes him one of the most complex characters on TV. It had the most complex depiction of depression on TV at the time and I still think it's one of the best. I think the show had very high highs.

It also had very low lows. Some of the feminism is problematic in retrospect. The sapphic couple has a rather famous element that was severely problematic. There are, overall, some deeply atrocious arcs that I can appreciate objectively but not in practice. Xander: a whole-ass character aged awfully. On a meta level, the workplace conditions were bad (thanks, Whedon.) There are no people of color. The spoiler's sake I won't go into detail on this, but in general the good stuff was so influential and the bad stuff was just awful.

I think these days people tend to brush off the entire thing because it's Whedon. That is more than fair. But I'd also say that Whedon & Buffy is extremely similar to Brian Michael Bendis & Ultimate Spider-Man. Bendis was fantastic at writing sassy, bouncy, permanently stressed-out teens - issue was, he wrote entirely different serious adult characters the way he wrote these sassy teens. Same with Whedon: the annoyingly constant quips are perfect for Buffy, because that's who the characters are. They're awful in Marvel, because Steve Rogers is not Xander. Kinda similarly, Buffy was genuinely feminist for 90s TV - issue is, Whedon has not grown or developed his views, and now his works feel so sexist (oh my fucking god why did you treat Natasha like that). After a certain point it's egotistical: you're writing like that because you're Joss Whedon and it's how you write, not because it's what's best for the characters and story. But it was really important to me to get the character voices right, and it's freaking difficult to endlessly write dialogue that distinct, full of voice, witty, and clever.

I think BTVS & Angel TV's greatest influence on my writing is how intensely character-driven both of those shows were, and how intricate the characters were. What every character did was something they would do, if that made sense. Even the stuff I hated to watch, that made me uncomfortable, was the culmination of so much (usually). I think I also picked up the constant wit and humor lol. On a personal level, the conversations I would have with my mother where she broke down the character motivations and composition of the story was my first exposure to looking at storytelling from an analytical perspective and a framework of critical analysis, which was an approach I carried into the rest of the media I consumed and that was the primary reason I was able to become a decent writer. Thanks, Mom. Have fun with your kdramas.

TL:DR: There is merit, especially if you care about good character work. There are things about it that may make you want to drop it, which is extremely valid. Season 1 is rough but interesting, Season 2 and 5 are the best, Season 3 is pretty good, Season 4 and 7 skippable, and Season 6 is........epic highs, epic lows......