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I have never read Secret Wars II. I have never wanted to read Secret Wars II. But like, I imagine, many comic books fans, I have seen enough jokes about the Beyonder walking around with a jerhi curl and learning how to poo poo from Spider-Man that my brain often fools me into thinking that I know Secret Wars II. I paused my deep dive into the Onslaught saga not because it got boring-- it was boring to begin with-- but because the scope of the project appealed to me so much. I decided I want to go deeper, and read every mutant and mutant-adjacent book put out since 1963. Every spin-off, every Wolverine guest appearance, every Marvel Comics Presents serial written by a beleagured young Dan Slott. And what I've discovered is that a lot of comics I'd dismissed or passed over were, in fact, actually quite good, or at least weird in a novel and interesting way. I'm very happy that I've finally read Beast's solo turn in Amazing Adventures, and was delighted to push through a dense block of extremely bad issues of Dazzler to find beautiful work by a young Paul Chadwick. It made me double down on what I discovered looking through Onslaught-- that even a bad comic can often be worth examining, and that a lot of stuff with an abysmal reputation actually merits a personal assessment. So, earlier this week I found myself right on the cusp of Secret Wars II, and decided why not make a whole thing of it? Guest appearances notwithstanding, I've mostly been reading Uncanny X-Men and New Mutants up to this point, smattered through with Alpha Flight and Marvel Team-Up issues and other random guest spots including a surprising amount of ROM Spaceknight. There's a lot of the big picture I'm missing and I figured that since Secret Wars II touches most of the publishing lineup of the time, it would offer an interesting survey of writers and artists, often very talented ones, working around Jim Shooter's event. It felt fun and it felt right and I want to share this bogus journey with all of you.  Tomorrow I'll begin with a little history of the event and maybe a look at some of the publicity and hype that came out in the run-up. And for the sake of having a roadmap, here's my reading order for those of you who'd like to follow along: -Secret Wars II #1 -New Mutants #30 -Iron Man #197 -Captain America #308 -Uncanny X-Men #196 -Secret Wars II #2 -Web of Spider-Man #6 -Amazing Spider-Man #268 -Fantastic Four #282 -Secret Wars III #3 -Avengers #260 -Daredevil #223 -Hulk #312 -Secret Wars II #4 -Dazzler #40 -Alpha Flight #28 -Avengers #261 -ROM Spaceknight #72 -Secret Wars II #5 -The Thing #30 -Dr. Strange #74 -Fantastic Four #285 -Secret Wars II #6 -Cloak & Dagger #4 -Power Pack #18 -Thor #363 -Micronauts: The New Voyage #16 -Power Man & Iron Fist #121 -Secret Wars II #7 -Defenders #152 -Uncanny X-Men #202 -New Mutants #36 -Amazing Spider-Man #273 -Spectacular Spider-Man #111 -Secret Wars #8 -Avengers #265 -New Mutants #37 -Amazing Spider-Man #274 -Fantastic Four #288 -Uncanny X-Men #203 -Secret Wars #9 -Avengers #266 A few caveats: -I do not like Jim Shooter's writing at all. I think his Dazzler scripts are misogynistic, homophobic and creepy, as are the handful of other non Secret Wars thing of his I've read, like his not very good OGN The Aladdin Effect and the infamous "Bruce Banner almost gets raped by evil gay men" story. I'm going to approach this with an open mind but I am not going into it as a big fan of Shooter as a writer. -I have not read this before and I only know the very broad strokes of the plot, so I will not be discussing the plot with the benefit of foresight. I have read a number of the tie-ins before and will give context when I can and when it feels useful, but like-- gently caress if I know what's going on in Micronauts: The New Voyages #15 or #17 and I am not going to find out for free. -Finally, since this is part of my larger X-Men reread, I might intersperse this with other stuff just to keep up the rhythm-- as you can see, there are a number of Uncanny X-Men and New Mutants issues that are NOT tagged with the Secret Wars II triangle. I might cover them anyway.
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Sep 30, 2021 21:42
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The original Marvel Super Heroes Secret Wars was, by almost any measure, a huge success. It was a beautifully illustrated, blockbuster action-style story that gave many of Marvel's most popular characters a chance to slam around and fight, and it made Marvel a great deal of money. It ran from May 1984 to April 1985 over the course of twelve issues, but it pulled the curious trick of having most of the main participants get whisked away to Battleworld in their own books only to return, sometimes radically changed, in the very next issue. Spider-Man turned up in slick new black togs, the Fantastic Four returned without Ben Grimm,. and Colossus had thoroughly renounced the idea of having sex with a fourteen year old. This was the secret ingredient of Secret Wars, I think, more than anything else-- that it promised real lasting change to a wide array of characters, and if you wanted to figure out how they got to that point, well, you'd have to buy Secret Wars and find out for yourself. Secret Wars II was, according to Jim Shooter, a follow-up that had its roots baked into the genesis of the first Secret Wars, and when that proved a success Marvel wasted no time in pushing out its sequel. Secret Wars II #1 hit the stands in July 1985, just a few months after its predecessor ended. This was long before the era of event fatigue and cross-over burn-out, so the company's eagerness makes sense-- Jim Shooter, the editor in chief of Marvel, would script this one as well. A few major things differed between the two series-- firstly, Secret Wars didn't do much to nterrupt ongoing series. As mentioned above, heroes got sucked up into space in one issue, and got spit back out in the next, while Secret Wars itself chugged along demurely in the background. If you wanted to read the entire Secret Wars saga, you would start with issue #1 and end with issue #12. Not so Secret Wars II, which inaugurated the ensuing decades of tie-ins and tangential cross-overs along with the concurrently running Crisis on Infinite Earth. Alongside the nine numbered issues of Secret Wars II, invested readers would have to buy over thirty other titles if, for some reason, they insisted on getting the complete story. Some of these tie-ins were, to be sure, less integral than others, but they could be easily identified by the "Nabisco triangle" on their covers. This also meant that instead of Shooter having his principles cordoned off in the tidy sandbox of Battleworld, he had to work around ongoing subplots, character arcs, and creative tones-- or rather, as it appears to have developed, established creative teams had to work around him and his personal vision for the series.  Secondly, Secret Wars was a big huge fight scene spread over twelve issues. Good guys and bad guys fought, Doctor Doom schemed, and everybody went home. It was an action story structured around the very barest narrative scaffolding-- the Beyonder, an omnipotent being, captures various characters to a pitch work planet and just tells them all to beat each other up. Secret Wars II is, by design, not that. It's Jim Shooter attempting something more philosophical or even existential, from what I understand. My experience with the philosophical Jim Shooter is Dazzler: The Movie so buckle up I guess. In an interview in June, 1985's Marvel Age #27, Shooter gives an in-house interview about his aspirations for the project:  This is ostensibly an Earth-based series in which the Beyonder takes the role of a curious but naive knowledge seeker-- a kind of cosmic Candide I guess who does not know how to poop. We will see how that pans out. Despite the understandably laudatory tone of the Marvel Age interview, Sean Howe's 2012 Marvel Comics: The Untold Story describes the ambitious scope of Secret Wars II and the heavy intrusion of Shooter's creative rather than editorial impulses into various comics created a claustrophobic and volatile atmosphere. Shooter struggled to meet scripting deadlines and replaced initially pegged penciler Sal Buscema with reliable workhorse Al Milgrom after the first book's pencils came in. He also meddled with the scripts for each cross-over issue to an unprecedented degree, demanding rewrites to match his evolving sense of the Beyonder's existential arc and using the first issue to fire a petty personal diatribe against former Marvel writer Steve Gerber.  So-- a mercurial series that came out during a mercurial moment in Marvel's history. Still, the series tie-ins cover a hall of fame of legendary Marvel 80s runs, from Weezie Simonson's wistfully deranged Power Pack to Claremont's peak-era mutant stuff to Roger Stern's Avengers and Walter Simonson's Thor. My goal here is try to approach this with an eye towards a redemptive reading, while still keeping an eye out for the symptoms of this creative and editorial friction.
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Sep 30, 2021 22:26
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Ok, let's hop to it. Secret Wars #1, written by Jim Shooter and penciled by Al Milgrom, inked by the great Steve Leialoha, colored by Christie Scheele and edited, as it were, by Bob Budiansky.  The plot here is simple and I'm curious to see if it stays this simple throughout. The Beyonder, an omnipotent alien being, comes to Earth to learn the meaning of humanity. He is your classic countercultural cosmic naif, a la Being There or The Man Who Fell to Earth. A wise fool. You see this kind of thing a lot in Steve Engelhart comics or, dare I say it, lower tier Steve Gerber and Jim Starlin comics. It's the kind of thing J.M. DeMatteis cooks up when he wakes up on the wrong side of the bed. It's a very annoying archetype in which the jaded and alienated rabble, the "experienced," attempt to school but are in turn schooled by the child-like and clueless but inwardly wise "innocent." But I do want to be open minded so I'll drop it for now. The Beyonder zooms down to Earth and pays a visit to the Molecule Man, Owen Reese, and his girlfriend Volcana, Marsha Rosenberg, two characters who met and fell in love over the course of the first Secret Wars. Owen famously has god-like power over all molecules, and Marsha has vaguely lava related stuff, but they've chosen to hang up their capes and live a life of quiet domestic bliss-- Owen has taken an unspecified job somewhere while Marsha works at a daycare. They sit around and watch reruns and eat snacks instead of robbing banks or trying to seduce Tigra.  It's not immediately clear what Shooter wants us to make of these two. Is it admirable that they've turned away from megalomania and found happiness with each other? Or is it pitiful that they have immense power but choose to stay at home watching Hogan's Heroes? Shooter is not a great satirist and his point is muddled. In any case the Beyonder arrives, throwing their routines into disarray and causing Professor X, far away on Muir Island, to cry out in agony. Owen and Marsha manage to calm the Beyonder down and get him settled in their living room in what is honestly kind of a cute moment:  The Beyonder looks like Combo Man because his entire exposure to human life so far has been the gaudy costumed heroes he brought to Battleworld-- he eventually tones this look down and instead shape shifts into a clone of Owen. In an attempt to get him out of their lives, they gently suggest that if he really wants to experience the full array of human emotions he should head to LA, which he does. Meanwhile Professor X's SOS has garnered mixed results, pinging Captain America and a mixed group of mutants led by Magneto, who head off to intercept the Beyonder, spoiling for combat. Here's where things begin to get a bit dumb. The Beyonder appears to a chubby, balding middle-aged screenwriter named Stewart Cadwall, a guy who has artistic pretentions but writes violent kids' cartoons for a paycheck. Cadwall is, notoriously, a travesty of Steve Gerber, who had parted ways with Shooter's Marvel and was indeed earning some money writing for animation. He's kind of a buffoonish, pompous character, bloviating and surrounded by junk food wrappers:  The Beyonder arbitrarily chooses him and decides to understand desire by granting this schlub his greatest desire, which is apparently to be a sort of He-Man-esque superhero with a pegasus and a thunder sword. Thundersword flies off to rampage around destroying the studio lots which, he believes, have screwed him over.  We get a big dumb superhero fight and honestly Al Milgrom does his best with the material, as Thundersword causes a lot of splashy property damage railing against the superficialities of 1985.  The implication here is that Thundersword is a bit of a hypocrite, gorging himself on "MacBurgers" and then destroying the restaurant, decrying the casual violence and stupidity of cartoons while first writing violent and stupid cartoons and then going on a violent and stupid rampage himself. It's not very nice to Gerber, who indeed wrote many comics skewering mass-media and commodity culture in various ways. I am not the biggest Gerber fan but Shooter's take feels a bit unfair and silly-- it's very "we live in a society." Eventually Thundersword is separated from his thunder sword and reverts back to Cadwall, who immediately realizes that he's trashed the place where he works and begins crying and blubbering. Again-- very mean spirited.  In the midst of all this, the Beyonder, guised as Owen Reese, decides he's learned enough and exits, following Captain America. Which just about wraps up this first issue. We are left off with a few dangling plot threads which will be resolved in tie in issues-- for example, Rachel Summers detecting the Beyonder lurking about, and Ilyana Rasputin getting transformed into the Darkchilde and running off to Limbo in a panic. To be honest, this about scans with my expectations-- heavy-handed and not very interesting satire without much self-awareness. Jim Shooter is in a weak position to criticize juvenile and violent media because, let's be real about Shooter's Marvel, he produced a lot of juvenile and violent media. And the narrative does not settle on whether or not such media actually IS corrosive, or if Stewart Cadwall is just a whiny little punk who should have appreciated his editors more. The broader point feels subordinated to Shooter's desire to a) have a point to make, and b) score a cheap shot against someone who he felt wronged him. It is not a promising start, and the Beyonder is not given much of a hook to hang our attention on.
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Oct 1, 2021 02:39
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How does the original Secret Wars hold up nowdays? Like is it a bit of old school fun, or is it clunky to read now?
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Oct 1, 2021 18:34
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It's pretty fun and it has beautiful, beautiful Mike Zeck art. The story is mostly ok, it's a big fight and a lot of characters get cool moments, and the big turn with Doom at the end still rules after all these years, but it is also another series where Shooter is kind of iffy on the concept of consent (some of the Wasp and Magneto stuff is gross) and in general he does kind of a poor job with the women. I definitely recommend revisiting it if you have any nostalgia but yeah it does show its age in places.
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Oct 1, 2021 23:45
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New Mutants #30, by Chris Claremont, art by Bill Sienkiewicz, colored by Glynis Oliver and edited by Astonishing Ann Nocenti. "The Singer and the Song" This issue is in fact typical of many of the tie-ins I've read over the years. There are bits that follow up on a plot thread dangled by Secret Wars II, but otherwise Claremont and Sienkiewicz gamely try to continue telling the story that began in #29 around the scaffolding of the vent as much as they can. So-- this is essentially partially a resolution to the Beyonder coaxing Ilyana Rasputin's demonic Darkchilde persona out from her, and her fleeing to Limbo in response, and partially the middle chapter of the three-part gladiatorial combat arc. Claremont, both here and in Uncanny does a decent job working with the event-- omnipotent and terrifying cosmic intelligences are one of his favorite motifs, and he gets good mileage out of the Beyonder as a figure of existential horror. While this is the first issue of the series to boast the official Secret Wars II triangle, #29 already showed Magneto showing up to grab some of the kids in response to Xavier's telepathic SOS. Basically, the cast is split into three at this point-- some of the team are off in Scotland dealing with the first big Legion arc, and the rest are dealing with this underground mutant arena, which Bobby DaCosta, Sunspot, and Amara Aquila, Magma, have been kidnapped to go participate in. The New Mutants rescue team meets up with Sam "Cannonball" Guthrie's girlfriend, the teleporter Lila Cheney, who introduces them to Dazzler, who has experience with this particular arena. This arc is a peculiar sequel to Nocenti's very odd Beast and Dazzler mini, Beauty & the Beast, in which Dazzler, at a personal low point in the wake of Dazzler: The Movie, finds herself drugged and kind of manipulated into embracing this elite Hollywood bloodsport ring run by uh, Doctor Doom's mutant son Alexander Flynn (don't worry, this arc reveals that he was just a hologram all along). In #29 Magneto shows up while everyone is messing around with the arena and takes part of the team away in a flying car, and we open on them trapped in Limbo. This digression is really over and done with by page four, but we see our first hint of a long subplot about Kate Pryde being able to use Ilyana's special sword. I believe this eventually gets resolved in Warren Ellis' Excalibur, but for now it serves the purpose of getting everyone out of their SW cliffhanger and back on the road to Nocenti-land.  Dazzler winds up re-infiltrating the gladiators and has a will-she-won't-she struggle about succumbing to the allure of fame. There's really not much to this little arc, but we get to see Sienkiewicz's unusual redesign of Dazzler's gladiator pal Ivich.  Half the cast waits outside while the other half does gladiator stuff-- Dazzler proves herself, Kate gets captured and stuck in a robot, and they tangle with the mysterious bad guy who will turn out to be a Shadow King possessed Karma. I will say that Sienkiewicz manages to make the Beyonder seem kind of cool in this issue-- this unprepossessing little guy who still seems to deform and distort the world around.  As mentioned above, Claremont seems to really find some interesting grist in the concept of the character and takes the premise a bit more seriously than you might expect it warrants. There will be some very very good Claremont issues throughout this event, but this was not necessarily one of them, as he seems to be figuring out on the fly how to approach the newfangled thing that is the "tie-in issue." Still-- he approaches it gamely and if anything the Beyonder and Limbo stuff are more interesting than the gladiator stuff, which at times feels less like an affectionate return to Nocenti's characters and more a pretense to say "no, Doctor Doom absolutely does not have a mutant son, sorry for the misunderstanding."
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Oct 2, 2021 02:19
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I will say, Secret War 2 gets some credit from me for trying to do something new, when it would have been very easy to just have the Beyonder abduct another bunch of heroes and redo Secret Wars 1. It's just a shame Shooter really can't write with enough depth or nuance to do the idea justice, and the shear number of cross-overs was totally excessive.
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Oct 2, 2021 10:35
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it's the magnum opus of a not-particularly-talented writer
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Oct 2, 2021 13:49
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Why are the X-Men flying in what looks like a 1979 Pontiac Grand Prix? Is that a side effect of the Beyonder's power transforming the Blackbird, or what?
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Oct 3, 2021 15:23
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Selachian posted:Why are the X-Men flying in what looks like a 1979 Pontiac Grand Prix? Is that a side effect of the Beyonder's power transforming the Blackbird, or what? Magneto is just levitating them in a car for some reason.
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Oct 3, 2021 17:03
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Iron Man #197, by Denny O'Neil, penciled by Rich Buckler, inked by Akin & Garvey, colored by Bob Sharin, edited by Mark Gruenwald "Call Him... Thundersword!"  I don't know Denny O'Neil's Iron Man run at all, and I know that tensions around this crossover would later exacerbate his exit from Daredevil at least and ratchet up animosity between him and Shooter, but here he appears to be a real trooper about it, following up on Secret Wars II #1's crummy bad guy Thundersword in such a way that it feeds into what I assume are continuing subplots in the book. We're at a moment in which Rhodey is still in the Iron Man suit, although feeling doubts about his worthiness. Him and Tony are gearing up to finalize a new suit of armor though, one which will, seemingly, allow Tony to get back into action himself. They're working out of a Stark start-up, Circuits Maximus, with some nerdy siblings, one of whom, Clytemnestra, seems to be harboring a crush on Tony.  These tensions come to a head when two crises emerge at once, necessitating two Iron-Men. Rhodey zips off to deal with Thundersword, who has inexplicably just gotten his powers back, while Tony dons the classic clunky grey armor to go rescue his ex (??) Bethany Cabe from armed kidnappers.  Thundersword still kind of sucks, and just flies around zapping things and making half-hearted diatribes,  But Rhodey still takes him seriously, having seen how powerful he was in SWII #1. So he bides his time while beginning to come up with a plan, with Tony's assistance.  Tony, meanwhile, is struggling with performance issues in the vintage armor, and the kidnappers get away with Bethany.  The clear throughline here is that the two Iron Men struggle separately in combat, but have this fruitful collaboration on a new armor simmering in a background. The resolution is predictable but satisfying-- the new armor works as a vector for them to team up in the fight against Thundersword, too. Kind of. Tony takes the unfinished chest piece to a nuclear reactor and charges it up, explaining that some kind of... new... gizmo in it will allow the stored up power to transfer to Rhodey's armor. That's a bit weird, but it works for the emotional beat the story needs, so let's roll with it. And sure enough--  --and then--  Let's see that big beautiful Rich Buckler punch again: Ok, one more time. Buckler is kind of a divisive penciler but I think his 80s work is gorgeous-- big, meaty action sequences with clearly lined, dynamic figures. His lines are just so intuitive and easy to follow and when he draws a punch he makes it look like it hurts. And that's that. Thundersword vanishes into the ocean, and everyone speculates that he's bound to return, instead of assuming that his goofy rear end drowned. As it happens Thundersword lays low until Civil War II in 2016, in which Carol Danvers and Alpha Flight show up to arrest him for keeping his lightning bolt trophy (his magic sword was made by transforming some kind of lightning bolt shaped screenwriting award he initially had on his desk). Great going. So-- we already see two very different approaches to these tie-ins, by two very good writers. Claremont uses the ongoing mystery of the Beyonder to add texture to his character, as well as to advance some of the ongoing motifs about the cost of power and omniscience in his own titles. O'Neil basically just uses a dangling plot-thread, takes the opportunity to close it off, and ropes it into the existing subplots in Iron Man. Essentially one treats Secret Wars II as a tone or a mood, one treats it as a supplementary narrative vector. These don't look too different in summary (and admittedly Claremont does wrap up the Magik cliffhanger in his New Mutant issue) but they FEEL quite distinct when you're reading the issues. Both so far are very satisfying, meaty issues-- they don't allow the SWII stuff to derail the momentum of their own plots too much, but they also feel like they make pains to be accessible and fun for new readers just chasing the Nabisco triangle. Next we'll look at Captain America #308-- the second issue of Mark Gruenwald's celebrated run and a pretty fun story in its own right, but a much clumsier integration, imo, of the crossover bits.
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Oct 3, 2021 17:29
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How Wonderful! posted:A few caveats: If you think those are bad, you should read-- How Wonderful! posted:My experience with the philosophical Jim Shooter is Dazzler: The Movie so buckle up I guess. --ah, never mind, I see that you're already a connoisseur of suffering.
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Oct 7, 2021 10:37
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I just wanted to say I'm digging this thread HW and looking forward to seeing more of it. I didn't read the whole thing back in the day, just the main series plus the X-Men and New Mutants (oh boy) tie-ins but despite not being good exactly, I still fondly remember it for some reason. I think my favourite part of the whole thing was the odd yet endearing friendship the Beyonder forms with a certain teenage runaway but it's literally decades since I read it it's probably gonna turn out to have loads of dodgy undercurrents or something.
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Oct 7, 2021 11:07
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I read ahead a bit and there are parts that are certainly weird enough to be charming (the running gag about the Beyonder just shoving carrots into a cuisinart in whatever vehicle he has) and honestly so far MOST of the tie-ins have been very good. Shooter's own abilities as a plotter and scripter aside Marvel had a stacked house at the time.
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Oct 7, 2021 15:50
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It's sort of fun that Secret Wars II is a story about an omnipotent child who spends a lot of his time using his power to create stupid gadgets and conspicuously consume. Even in the last issue, the Beyonder still comes off like Jim Shooter wrote all his dialogue with a Sharper Image catalog open on the desk in front of him. In retrospect, you couldn't get that out of anywhere and anytime besides America in the '80s. It reminds me a lot of Bret Easton Ellis, weirdly.
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Oct 7, 2021 19:38
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Wanderer posted:It's sort of fun that Secret Wars II is a story about an omnipotent child who spends a lot of his time using his power to create stupid gadgets and conspicuously consume. Even in the last issue, the Beyonder still comes off like Jim Shooter wrote all his dialogue with a Sharper Image catalog open on the desk in front of him. Yeah it's very much Shooter doing a VERY heavy-handed satire of 80s materialism (see also every scene of Molecule Man going "mm, that Beyonder is sure up to no good. Marsha, could you do me a favor and open up another bag of Bugle's before Three's Company starts?" Whether it's GOOD satire is ahh, debatable, and I think that most of the time Shooter is too muddled of a writer and just too out of touch with the world to write especially sharp critiques of anything, but there is a certain insane energy to it that I think is the direct result of Shooter deciding to try his hand at being Gerber for nine issues.
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Oct 7, 2021 21:03
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I was never actually quite sure whether Shooter was going for humor, or satire, or just couldn't think of anything better to do with an omnipotent idiot-child than give him strong Brewster's Millions energy.
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Oct 8, 2021 21:53
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First off, thanks for writing this thread. I'm a HUGE SW2 fan, it was basically my introduction to the Marvel universe as a kid. I reread it many times as a teen, and felt it was Shooter trying his damnedest to write Stranger in a Strange Land for the Marvel Universe. I still feel it holds up as a big goofy cosmic saga with some neat philosophical ideas. When I met Al Milgrom at a con, he lamented that Marvel never got him a copy of the SW2 omnibus of mine he was signing. Marvel was a wild place in the 80s it seems. I'm loving the trivia about the series so far- I had no idea Thunderstrike was a stand in for Gerber, that's hilarious (if a bit lovely).
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Jan 18, 2022 04:39
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Everyone always talks about the Beyonder having to learn how to poop from Spider-Man, but everyone forgets that its from a sandwich he bought in X-men.
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Jan 26, 2022 08:13
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Having the Beyonder murder your entire favourite teen team was a hell of a thing.
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Jan 30, 2022 21:01
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Synthbuttrange posted:Having the Beyonder murder your entire favourite teen team was a hell of a thing. I was young enough at the time to think that they were really dead at first.
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Jan 31, 2022 02:39
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Synthbuttrange posted:Having the Beyonder murder your entire favourite teen team was a hell of a thing. And not just your typical bolt from the blue or massive explosion. That was some custom-tailored, merciless killing. I'm really glad I didn't read that until I was old enough to handle it.
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Jan 31, 2022 05:32
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Do I correctly recall that at one point the Beyonder eliminated death from the MU?
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Jul 27, 2023 01:13
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just for one issue then realized what a bad idea it was
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Jul 27, 2023 03:11
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