Marvel Iron Age
20In July 2012, Carol Danvers, the longtime super-heroine known as Ms. Marvel, assumed the mantle of Captain Marvel in an ongoing series written by Kelly Sue DeConnick with art by Dexter Soy. Danvers dons a jumpsuit and explores her own past. DeConnick said at WonderCon 2012 that her pitch for the series could be described as “Carol Danvers as Chuck Yeager“. She said the series would contemplate what Captain Marvel’s legend means to Danvers, how she will wield it, and how the rest of the Marvel Universe reacts.
In 2004 Thanos received an eponymous title that ran for 12 issues. After defeating the Hunger, Thanos went to the frontline and gave himself up to the Omega Corps. After a panicked action from the corps they send him to the Kyln. On his way he killed a Skrull agent to give them a reason to imprisoned him. On Kyln, a priest told him about the prison while Thanos is watching the Crunch. When the Priest left, Death appeared and talked to him, telling him She loves him in her way, and that he hadn’t given her anything that she didn’t already have.
Amazing Spider-Man reverted completely to its original numbering for #500 (Dec. 2003). Mike Deodato, Jr. penciled the series from mid-2004 until 2006. That year Peter Parker revealed his Spider-Man identity on live television in the company-crossover storyline “Civil War“, in which the superhero community is split over whether to conform to the federal government’s new Superhuman Registration Act. This knowledge was erased from the world with the event of the four-part, crossover story arc, “One More Day“, written partially by J. Michael Straczynski and illustrated by Joe Quesada, running through The Amazing Spider-Man #544-545 (Nov.-Dec. 2007), Friendly Neighborhood Spider-Man #24 (Nov. 2007) and The Sensational Spider-Man #41 (Dec. 2007), the final issues of those two titles. Here, the demon Mephisto makes a Faustian bargain with Parker and Mary Jane, offering to save Parker’s dying Aunt May if the couple will allow their marriage to have never existed, rewriting that portion of their pasts. This story arc marked the end of Straczynski’s tenure as writer.
Nick Fury, Agent of S.H.I.E.L.D. vol. 3 was released in 1989. The series lasted 47 issues (Sept. 1989 – May 1993); its pivotal story arc was “the Deltite Affair”, in which many S.H.I.E.L.D. agents were replaced with Life Model Decoys in a takeover attempt.
The underlying difference between this title and the other Spider-Man titles was that Marvel Knights Spider-Man was done with a more mature slant (in style if not content), thus the “Marvel Knights” prefix.
Intended to replace the canceled Spider-Man’s Tangled Web series, Marvel Knights Spider-Man was originally supposed to be written by Kevin Smith, but due to scheduling problems he was replaced by Mark Millar. When Millar completed his year-long story arc, he was followed by writer Reginald Hudlin.
With the consolidation of the Marvel Knights line, Marvel Knights Spider-Man was renamed The Sensational Spider-Man as of issue 23. At this time, Roberto Aguirre-Sacasa took over writing duties on the book.
Writer-artist Walt Simonson took over as writer of Fantastic Four with #334 (December 1989), and three issues later began pencilling and inking as well. With brief inking exceptions, two fill-in issues, and a three-issue stint drawn by Arthur Adams, Simonson remained in all three positions through #354 (July 1991).
Simonson, who had been writing the team comic The Avengers, had gotten approval for Reed and Sue to join that team after Engelhart had written them out of Fantastic Four. Yet by The Avengers #300, where they were scheduled to join the team, Simonson was told the characters were returning to Fantastic Four. This led to Simonson quitting The Avengers after that issue. Shortly afterward, he was offered the job of writing Fantastic Four. Having already prepared a number of stories involving the Avengers with Reed and Sue in the lineup, he then rewrote these for Fantastic Four. Simonson later recalled that working on Fantastic Four allowed him the latitude to use original Avengers members Thor and Iron Man, which he had been precluded from using in The Avengers.
After another fill-in, the regular team of writer and Marvel editor-in-chief Tom DeFalco, penciller Paul Ryan and inker Dan Bulanadi took over, with Ryan self-inking beginning with #360 (Jan. 1992). That team, with the very occasional different inker, continued for years through #414 (July 1996). DeFalco nullified the Storm-Masters marriage by retconning that the alien Skrull Empire had kidnapped the real Masters and replaced her with a spy named Lyja. Once discovered, Lyja, who herself had fallen for Storm, helped the Fantastic Four rescue Masters. Ventura departed after being further mutated by Doctor Doom. Although some fans were not pleased with DeFalco’s run on Fantastic Four, calling him “The Great Satan”, the title’s sales increased over the period.
During his two years on the title, Roger Stern augmented the backgrounds of long-established Spider-Man villains, and with Romita Jr. created the mysterious supervillain the Hobgoblin in #238-239 (March–April 1983) Fans engaged with the mystery of the Hobgoblin’s secret identity, which continued throughout #244-245 and 249-251 (Sept.-Oct. 1983 and Feb.-April 1984). One lasting change was the reintroduction of Mary Jane Watson as a more serious, mature woman who becomes Peter’s confidante after she reveals that she knows his secret identity. Stern wrote “The Kid Who Collects Spider-Man” in The Amazing Spider-Man #248 (January 1984), a story which ranks among his most popular.
David Michelinie took over as writer in #290 (July 1987) that led to the marriage of Peter Parker and Mary Jane Watson in Amazing Spider-Man Annual #21. The “Kraven’s Last Hunt” storyline by writer J.M. DeMatteis and artists Mike Zeck and Bob McLeod crossed over into The Amazing Spider-Man #293 and 294. Issue #298 (March 1988) was the first Spider-Man comic to be drawn by future industry star Todd McFarlane, the first regular artist on The Amazing Spider-Man since Frenz’s departure. McFarlane revolutionized Spider-Man’s look. His depiction – large-eyed, with wiry, contorted limbs, and messy, knotted, convoluted webbing – influenced the way virtually all subsequent artists would draw the character. McFarlane’s other significant contribution to the Spider-Man canon was the design for what would become one of Spider-Man’s most wildly popular antagonists, the supervillain Venom. Issue #299 (April 1988) featured Venom’s first appearance (a last-page cameo) before his first full appearance in #300 (May 1988). The latter issue featured Spider-Man reverting to his original red-and-blue costume.
Other notable issues of the Michelinie-McFarlane era include #312 (Feb. 1989), featuring the Green Goblin vs. the Hobgoblin; and #315-317 (May–July 1989), with the return of Venom. In July 2012, Todd McFarlane’s original cover art for The Amazing Spider-Man #328 sold for a bid of $657,250, making it the most expensive American comic book art ever sold at auction.