The Copper Age of Comics 1985 - 200817100
 Beaten by boat oars
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Captain America: Streets of Poison. Cap has a heated exchange with an associate of his named Fabian. He notices that Fabian has been behaving erratically and lost a good amount of weight in a short period of time. He learns that a new drug called ice is on the streets. Cap realizes he has neglected the street level issues for quite some time. He also has several ponderings over what makes Captain America. He realizes his use of s̶t̶e̶r̶o̶i̶d̶s̶ super soldier serum is what gave him the gains he has. During a confrontation with a dealer, Cap is exposed to ice and it causes him to be more aggressive. Add in the Red Skull & Crossbones going after Kingpin & Bullseye, and you get a ticking timebomb of action.        |
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Marvel Comics Presents #31-38, Excalibur Having a Wild Weekend. Holy crap. During a quiet evening, Kitty's computer beginning acting up and several familiar looking cartoon characters emerge. These are the Loonies with the likes of Guns Gunny. There are tons of pop culture references throughout the storyline from the Looney Tunes to the Beverly Hillbillies to the Wizard of Oz. It's offbeat and fun but also could be seen as the turning point for Excalibur when the team was thrust into more nonsensical stories for a time. Erik Larsen and Terry Austin's art pops and it is definitely in my wheelhouse for this era of Marvel.        |
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 Please continue to ignore anything I post.
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 I don't believe this....and I know you don't care that I don't believe this.
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X-Factor: The Judgement War #43-50. Apocalypse's old ship is summoned by the Celestials (who built it). It transports XF into space and to a world of class restrictions based upon looks. The team gets split up based on this. Eventually all is resolved when Jean somehow works through her personality issues with Madelyne and Phoenix. There are also some Acts of Vengeance tie-ins involving Apocalypse and Loki coming to blows.        X-Factor: Endgame #65-68. Speaking of the ship, Apocalypse wants it back. He sends the Riders of the Storm (later known as the Dark Riders) to reclaim it for him. In the process, Nathan (Cyclops' kid) is kidnapped and infected with a variation of the techno-organic virus. He is then transported to the future by Sister Askani. By the way, the future he goes to is ruled by Apocalypse. Whilce Portacio's art is clean a.f. in this story.     |
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Captain America: The Captain. Captain America takes decisive action by eliminating a terrorist to rescue hostages, sparking public apprehension about the nation's symbol. This prompts the emergence of new super soldiers like the Super-Patriot, Nuke, and G.I. Max, to replace Captain America. Simultaneously, the U.S. Government exposes Captain America's secret identity and claims ownership of his costume and symbol. Opting for personal freedom instead of becoming a government agent, Rogers relinquishes the Captain America mantle, leading to the appointment of the Super-Patriot as the new Captain. Rogers reemerges as "The Captain", collaborating with allies to safeguard the world, including a clash with Iron Man during Armor Wars. The new Captain America's descent into instability culminates in a violent spree, endangering his own parents and setting the stage for the anticipated showdown between the OG Captain America and the goon wearing Captain America costume.                    |
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| I am not doing Onslaught. That was a mess of a time and had 13-year-old me hating comics for a while because I was spending that grass cutting money on titles I normally wouldn't have. Apocalypse: The Twelve is a storyline that took place in the in the X-Men titles during the late 1990s. The story revolves around the ancient mutant villain known as Apocalypse, who seeks to harness the powers of twelve selected mutants to achieve his ultimate goal of godhood. Apocalypse identifies a group of mutants called "The Twelve," who are prophesied to play a crucial role in determining the future of mutantkind. The storyline involves various X-Men characters as they confront Apocalypse and try to prevent him from executing his plans. This was followed by Ages of Apocalypse which essentially deals with the heroes trying to escape the alternate realities they are trapped in. I'd have to go back and reread this as I initially read it in a broken form since I acquired all of the issues at various points. Reading Order:           Ages of Apocalypse reading order:      |
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Iron Man #258-266, Armor Wars II. Iron Man finds himself at the mercy of the Marr's twins who have gained control over his artificial nervous system. Struggling to maintain control of his own body, Iron Man resorts to using a special mentally controlled armor just to walk and speak, leaving him slow and vulnerable in combat. Meanwhile, the Mandarin seizes control of Fin Fang Foom, claiming a third of China. The climax sees Iron Man facing off against a colossal robot suit, with Jim Rhodes stepping in as Iron Man to save the day. Despite the name, it does not have much in common with the original Armor Wars.         |
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 Have I told you about the time I dropped off 3,000 comics at SDCC?
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| @Fads89 - Love those Gaiman indies! | ||
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The Outback era of the Uncanny X-Men. This is probably one of Claremont's finest runs on X-Men. Following the events of the "Fall of the Mutants", the goddess Roma feigns the X-Men's deaths, and they end up in the Australian Outback. Claremont has a thing for strong female characters (nothing wrong with that) and he spent time developing Storm's leadership + the burden of that leadership (she became leader back in #201) and putting Psylocke and Dazzler in more of a focused role. Additionally, Wolverine becomes more of an actual mentor and takes a lead role in being a mentor and father figure to Jubilee. During this time period, the X-Men tangle with the Reavers a few times, the Brood, the Genoshan Magistrates, Inferno, Mastermold, etc. This era pretty much ends when the Siege Perilous is destroyed and the X-Men escaping through it. This era into the mid 90s was my absolute jam with X-Men. Along with Claremont's writing, Marc Silvestri's art was on-point in this era.                        |
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