SPIDER-MAN: BLUE

"MY FUNNY VALENTINE" | "LET'S FALL IN LOVE" | "ANYTHING GOES"
"AUTUMN IN NEW YORK" | "IF I HAD YOU" | "ALL OF ME"
By Jeph Loeb & Tim Sale
With Richard Starkings & Comicraft's Wes Abbott / Steve Buccellato
Comicraft's JG Roshell / Bronwyn Taggart / Nanci Dakesian / Joe Quesada / Bill Jemas
Dedicated to Stan Lee & Steve Ditko & John Romita, web-heads all!

It's hard for me to choose a favorite between DAREDEVIL: YELLOW and SPIDER-MAN: BLUE. Both are tremendous pieces of work, perhaps the finest retellings of these characters' earlier periods than anything else I've ever read. But in the end, BLUE edges out YELLOW by a slight margin, simply because it stars Spider-Man, my all-time favorite superhero character.

And it's not just any Spider-Man we're following here, either. This is the web-slinger as I love him best, as I was introduced to him via reprints of the Stan Lee/John Romita comics. This is Peter Parker, in college, rooming with Harry Osborn. He's moved past the formative high school years and become, in my opinion, the most iconic version of the character. There are those who prefer Spider-Man in high school. There are those who prefer him married, or as a single adult. But for me, there is absolutely no better status quo for the wall-crawler than as an undergraduate at Empire State University, and there is no better run of Spider-Man issues than roughly AMAZING SPIDER-MAN #40 - 100.

So it's no surprise that I love BLUE so much. It begins during AMAZING issue 40, immediately after the wall-crawler's most influential artist, John Romita, came onto the title (apologies to you Ditko-fans out there -- I like the guy, and I fully acknowledge that without him we would not have Spider-Man or most of his best enemies -- but taking that for granted, I much prefer the style Romita brought to the characters and the stories).

DAREDEVIL: YELLOW

"THE CHAMPIONSHIP SEASON" | "THE MEASURE OF A MAN" | "STEPPING INTO THE RING"
"NEVER LEAD WITH YOUR LEFT" | "AGAINST THE ROPES" | "THE FINAL BELL"
Storytellers: Jeph Loeb & Tim Sale | Colors: Matt Hollingsworth
Lettering: Richard Starkings & Comicraft's Wes Abbott
Editors: Bronwyn Taggart & Stuart Moore | Man Without Fear: Joe Quesada
President: Bill Jemas
Dedicated to Stan Lee & Bill Everett & Wally Wood, prizefighters all!

The term "bittersweet, timeless classic" gets thrown around a lot these days, but in the case of DAREDEVIL: YELLOW, no description is more apt. This is a wonderful story from Loeb and Sale, told via a framing sequence set in then-modern continuity, as Matt "Daredevil" Murdock struggles to cope with the recent death of his longtime girlfriend, Karen Page. At the urging of his friend, Foggy Nelson, Matt writes a series of letters to Karen in which he describes the earliest days of their relationship.

Unlike HULK: GRAY, which structured (or, in terms of publication chronology, will structure) its entire six-part story to fit within the first issue of the Hulk's original series, covering less than 24 hours' time and therefore making up a great deal of material, DAREDEVIL: YELLOW threads its tale through the first four issues of the classic DAREDEVIL series, covering what seem to be the first few months of Daredevil's career and drawing heavily upon the original stories by Stan Lee, Bill Everett, and Joe Orlando, resulting in a much more satisfying read.

The story begins as Matt and Foggy near the end of law school. Matt's father, "Battlin'" Jack Murdock, a boxer, is killed by an agent named the Fixer when he refuses to throw a fight. Matt, blinded at an early age by exposure to a radioactive isotope which exponentially heightened all his remaining senses, dons a yellow-and-brown costume crafted from his father's gear and, calling himself Daredevil, goes for revenge upon the Fixer. The agent dies of a heart attack, however, robbing Daredevil of the chance to see justice done.

HULK: GRAY

"A IS FOR APPLE" | "B IS FOR BOY" | "C IS FOR CRY"
"D IS FOR DOG" | "E IS FOR ELEPHANT" | "F IS FOR FATHER"
Storytellers: Jeph Loeb & Tim Sale | Colors: Matt Hollingsworth
Lettering & Design: Richard Starkings & Comicraft's John Roshell
Managing Editor: Nanci Dakesian | Associate Managing Editor: Kelly Lamy
Editor-in-Chief: Joe Quesada | President Bill Jemas
Dedicated to Stan Lee & Jack Kirby, the original Jade Giants!

I don't know much about the original Hulk comics on which this story is based, but as it turns out, I really needn't have read them anyway. Unlike the other two "color" series, DAREDEVIL: YELLOW and SPIDER-MAN: BLUE, as we'll see in coming weeks, I had forgotten that HULK: GRAY draws much less on early Marvel continuity, instead creating much of its story from whole cloth.

The tale is narrated by Bruce Banner and Dr. Leonard Samson, set up via a framing sequence. Banner is on the lam as usual, but wants someone to talk to. Enter Samson, his psychiatrist pal. Together they delve into the first day or so after the Hulk's creation in order to better understand the triangle relationship between the Hulk, Betty Ross, and her father, the Hulk's arch-antagonist, General "Thunderbolt" Ross.

Even though it was published last in the set of "color" series, I've chosen to cover GRAY first because it's my least favorite of the group and I want to go in ascending order of preference rather than publication order. I suppose part of the reason this series does so little for me is simply that I've never been much of a fan of the Hulk as a solo character. I like him as an antagonist in other characters' series, and I enjoy him solo when he's intelligent -- but reading about the big dumb Hulk is about as appealing to me as reading about the adventures of a brick.

SHANNA THE SHE-DEVIL

This is old news to many comic fans, but please bear with me (or as relates to Shanna, bare with me).

Back in 2005, Marvel produced a limited series under the Marvel Knights imprint, written and illustrated by the great cheesecake artist Frank Cho, titled SHANNA THE SHE-DEVIL. It was a reimagining of the character who was originally Marvel's answer to Sheena, Queen of the Jungle, set in its own universe independent of Marvel's main continuity.

The thing is, the title was originally intended for Marvel's adult-targeted MAX imprint, and was to feature plenty of gratuitous nudity. I was looking forward to the series, until Marvel changed it to Marvel Knights. At that point I resolved not to support it.