Review: Updated volumes of Spider-Man, Black Panther, Captain America and Hulk bring welcome new relevance, but there’s something missing.
, provides historical background on how Stan Lee, Jack Kirby, Steve Ditko and others co-created these modern legends. Contemporary writers such as Qiana J. Whitted, Gene Luen Yang, Jason Reynolds and Nnedi Okorafor contribute additional introductions or winningly personal forewords.
As a result, nearly all Marvel superheroes — at least as far back as the 1960s Fantastic Four — are troubled and unhappy. They accept that great power confers great responsibility but remain unsure whether they can shoulder the burden. In principle, their self-doubt, sometimes verging on self-pity, invests them with a humanizing psychological complexity. Similarly, we are even made to sympathize with their adversaries, who regularly view themselves as deeply wronged or entitled to revenge.
That process, though, has barely begun in these albums, which emphasize work published in the 1960s, ’70s and ’80s. Here, the story arcs still tend to be as action-oriented as one could want, pitting costumed good guys against highly melodramatic bad guys, mad scientists and improbable monsters.
At least, I continue to be childishly delighted by adult cosplay, the practice of dressing up as a favorite fictional or cinematic character. As our troubled superheroes know, donning a mask can be liberating, a way of releasing one’s deeper self. Appropriately, Andrew Liptak’s opens his chatty “” by looking at costume balls, historical reenactors, Halloween and the tradition of masquerade night at science-fiction conventions. Still, his heart really belongs to the Star Wars franchise.
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