Epic Illustrated was a comics anthology in magazine format published in the United States by Marvel Comics. Similar to the US-licensed comic book magazine Heavy Metal, it allowed explicit content to be featured, unlike the traditional American comic books of that time bound by the restrictive Comics Code Authority, as well as offering its writers and artists ownership rights and royalties in place of the industry-standard work for hire contracts. The series lasted 34 issues from Spring 1980–February 1986.
A color comic-book imprint, Epic Comics, was spun off in 1982.
Epic Illustrated #5 April 1981 NM $22Epic Illustrated #9 December 1981 NM $19Epic Illustrated #10 February 1982 NM $22Epic Illustrated #11 April 1982 NM $19Epic Illustrated #12 June 1982 VF+ $17Epic Illustrated #13 August 1982 VF-NM $18Epic Illustrated #15 December 1982 NM $26Epic Illustrated #16 February 1983 NM- $24Epic Illustrated #17 April 1983 NM $18Epic Illustrated #18 June 1983 NM $18Epic Illustrated #20 October 1983 NM $18Epic Illustrated #21 December 1983 VF-NM $16Epic Illustrated #23 April 1984 NM- $17Epic Illustrated #25 August 1984 NM $18
Eddie Brock and the Venom symbiote have been reunited, and they’re web-slinging their way around New York again. How was the symbiote separated from Flash Thompson, and what lies in its future now that it’s reunited with Eddie Brock?
After the end of Grant Morrison‘s run on X-Men vol. 2 titled New X-Men, the title was used for a new series, New X-Men: Academy X. The title was later shortened to simply New X-Men.
New X-Men: Academy X was launched during the X-Men ReLoad event. The Academy X subtitle was dropped from the title when the new creative team of Craig Kyle and Christopher Yost took over the series with issue #20.
Whereas the other X-Men comics mostly deal with established adult mutants, this series concentrates on the lives of young students residing at the Xavier Institute for Higher Learning as they learn to control their powers.
After the 2007 crossover X-Men: Messiah Complex, the New X-Men title was canceled and briefly relaunched as Young X-Men for 12 issues. The series was written by Marc Guggenheim. After the first arc of Young X-Men, the characters began appearing in the pages of Uncanny X-Men. With the cancellation of Young X-Men the characters were folded onto the main X-Men books, appearing most prominently in the pages of X-Men: Legacy, Wolverine and the X-Men, and most recently, in X-Men.
Marvel began The Amazing Spider-Man anew with (vol. 2) #1 (Jan. 1999). Howard Mackie wrote the first 29 issues. The relaunch included the Sandman being regressed to his criminal ways and the “death” of Mary Jane, which was ultimately reversed. Other elements included the introduction of a new Spider-Woman (who was spun off into her own short-lived series) and references to John Byrne’s miniseries Spider-Man: Chapter One, which was launched at the same time as the reboot. Byrne also penciled issues #1–18 (from 1999 to 2000) and wrote #13–14, John Romita Jr. took his place soon after in October 2000. Mackie’s run ended with The Amazing Spider-Man Annual 2001, which saw the return of Mary Jane, who then left Parker upon reuniting with him.
With issue #30 (June 2001), J. Michael Straczynski took over as writer and oversaw additional storylines – most notably his lengthy “Spider-Totem” arc, which raised the issue of whether Spider-Man’s powers were magic-based, rather than as the result of a radioactive spider’s bite. Additionally, Straczynski resurrected the plot point of Aunt May discovering her nephew was Spider-Man, and returned Mary Jane, with the couple reuniting in The Amazing Spider-Man (vol. 2) #50. Straczynski gave Spider-Man a new profession, having Parker teach at his former high school.
Issue #30 began a dual numbering system, with the original series numbering (#471) returned and placed alongside the volume two number on the cover. Other longtime, rebooted Marvel Comics titles, including Fantastic Four, likewise were given the dual numbering around this time. After (vol. 2) #58 (Nov. 2003), the title reverted completely to its original numbering for issue #500 (Dec. 2003). Mike Deodato, Jr. penciled the series from mid-2004 until 2006.
An all-new Venom from some of comics’ greatest talents! Marvel mainstay Al Ewing, who himself has just ended a character-redefining run on Immortal Hulk, is being joined by Ram V, a horror maestro all his own, to craft a mind-bending and gut-wrenching tale of symbiosis the likes of which the Marvel Universe has never seen! Aa if that wasn’t enough, they’ve been joined by Bryan Hitch, who is leaving it all on the page.
Tales of Suspense became Captain America with #100 (April 1968) This series — considered Captain America volume one by comics researchers and historians, following the 1940s Captain America Comics and its 1950s numbering continuation of Tales of Suspense — ended with #454 (Aug. 1996).
Captain America #102 VF- $49Captain America #116 VG+ $19Captain America #119 VG $14
During the summer of 1973, Englehart and artists Bob Brown and Sal Buscema produced “The Avengers-Defenders Clash” storyline which crossed over between the two team titles. “The Celestial Madonna” arc linked Mantis’ origins to the very beginnings of the Kree-Skrull conflict in a time-spanning adventure involving Kang the Conqueror,and Immortus, who were past and future versions of each other.Mantis was revealed to be the Celestial Madonna,who was destined to give birth to a being that would save the universe.It was revealed that the Vision’s body had only been appropriated, and not created by Ultron, and that it originally belonged to the 1940s Human Torch. With his origins clear to him, the Vision proposed to the Scarlet Witch. The “Celestial Madonna” saga ended with their wedding, presided over by Immortus. The Beast and Moondragon joined the team soon after. George Pérez became the title’s artist with issue #141 (Nov. 1975) which saw the start of a seven-part story featuring the Squadron Supreme and the Serpent Crown. In 2010, Comics Bulletin ranked Englehart’s run on The Avengers eighth on its list of the “Top 10 1970s Marvels”.
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 supervillainVenom. 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.
Jonathan Hickman wrote a story arc in the Avengers and New Avengers comic, ending in the 2015 crossover Secret Wars. His return was announced in March 2019. Some days later, it was detailed that he would write two comic books, House of X and Powers of X, with penciling by Pepe Larraz and R.B. Silva. Marvel Editor in Chief C. B. Cebulski said that “We are excited to have Jon back with the Marvel family, and we could not have asked for a better creative team to help usher the X-Men into a whole new era”
Both comics were released as a company wide relaunch of the X-Men. All the ongoing X-Men comics were cancelled: Uncanny X-Men, Mr. and Mrs. X, X-Force, X-23, and the Age of X-Man tie-in miniseries.
House of X #1 NM $9House of X #2 NM $9House of X #3 NM $5House of X #4 Variant NM $5House of X #4 NM $5House of X #5 NM $5House of X #6 NM $5
In 2008, a new Deadpoolongoing series written by Daniel Way with artist Paco Medina began as a Secret Invasion tie-in. In the first arc, the character is seen working with Nick Fury to steal data on how to kill the Skrull queen Veranke. Norman Osborn steals the information that Deadpool had stolen from the Skrulls, and subsequent stories deal with the fallout from that. Writer Daniel Way explained, “the first thing Osborn does to try and take care of the situation is to bring in a hired gun to take Deadpool down, which would be Tiger-Shark. That would be the standard thing to do, but of course everything about Deadpool is non-standard. So it goes completely awry and Norman has to get more serious about things.” The story also sees the return of Bob, Agent of HYDRA; “I don’t want the book to become ‘Deadpool and Friends’ so characters will drift in and out, but Bob was someone I definitely wanted to bring in. It just had to be at the perfect moment and when I was putting this storyline together that moment presented itself.”
EHT Comics 