Marvel Comics no longer publishes a “Fantastic Four” comic. It’s all part of a scheme to devalue the property enough so that 20th Century Fox will stop trying to make terrible film versions about the foursome and allow the rights to revert back to Marvel Studios.
Me, I’m Old School, I believe some money is always better than no money, but what do I know? Not enough for the House of Ideas, and then again, who is to say that monthly comic sales have any impact on how a film is received? DC’s “Wonder Woman” for decades pulled less than Amazonian numbers, but the big budget film last summer won critical acclaim and broke all kinds of records.
Marvel’s decision to drop its flagship title is just one of a legion of errors that help explain why the company is once again rebooting its titles in less than a year.
But if Marvel won’t give the world a Fantastic Four, DC will.
Marvel Comics writer Mark Gruenwald loved Captain America.
And he proved it in countless stories of the Star-Spangled Avenger during the ’80s and ’90s. His Cap was the strong, unwavering hero that serves as the template today for the big-budget blockbusters starring Chris Evans.
But not every story can be a masterpiece. Sometimes the pressure of the monthly deadline – or here, the biweekly deadline – can prove to be too much for even the most able of scripters.
Take, for example, “The Superia Stratagem,” a six-part saga running bi-weekly during the summer of 1991 in which Cap goes up against a secret society of female super-villains.