Marvel 1602

An absolutely excellent read. Gaiman presents characters that we all know and love in a unique and exciting way. Even though I am not thoroughly read in the marvel universe, what I do know about the characters shone through and had me wanting more.

The story is good and so are the illustrations. But detailed drawing is not compatible with Kindle. Pages load slowly. Details are difficult to see. I suggest purchasing the print version. Don’t buy animation for Kindle.

The best feature was the cool pan and scan within panels and from panel to panel as I read this on the kindle. I don't think I would be willing to read any other comics, but setting it in England in 1402 was enough of a novelty for me to give it a look. The concept was pulled off imaginatively and the price was right.

This was a fun graphic novel/comic. It is set in the Dark Ages, with characters from Marvel, who are written as living in that time. There are so many easter eggs that I caught, but my limited experience with Marvel superheroes means that I must have missed a whole lot more. This would be good for Marvel buffs, but I really enjoyed it, all the same.

I love Neil Gaiman's work and this is a really cool idea. It's enjoyable to read, but it is rather slow and uneventful considering it's a comic about, you know, superheroes. Maybe a second reading will make it grow on me more. Knowing Gaiman, I'm sure there are tons of subtleties and nuances I've missed.

I am not entirely sure what I was expecting: judging this by the standards of Neil Gaiman, this was not his strongest effort by a mile. Sometimes, actually, Gaiman's return to comics makes me wonder if his game has slipped a bit in this format even if he is a stronger prose writer now. This setting Marvel in an alternate Elisabethan England and the American colonies is interesting, but takes a lot of build-up and the ending doesn't deliver on the promise. The characters are interestingly realized, but Gaiman doesn't entirely seem to know what to do with all of it--the limitations of the Marvel universe, even transplanted, isn't the same as Sandman work or his medieval-esque run-offs.

It is a beautiful book and despite the somewhat awkward pacing, the characters do emerge interestingly and strongly. The dialogue is snappy, and the intrigue is, well, intriguing. Kubert's art and Isanove's pair nicely with the setting and with Klein’s lettering. The witch breed plot could have been better developed as could have the politics around the church--there is something under-realized about it. In short, Gaiman actually seemed to need more than an eight issue canvas for this.

Still, it is worth a read and the art is very strong.

I love the unique take on the Marvel Universe in 1602. The story is interesting and wonderfully illustrated. I received this in an electronic version for my Kindle. While it was certainly convenient I still miss the "feel" of holding an actual paper page.

A good remagining of characters in a setting and time used very little, bit still lent itself to the characters very well. It would seem no matter the technology nothing really changes but people stay the same. The ending surprises me a little butt that's a good thing!
Visually, th art was good.
The story's pacing was good too. I'd recommend this to all my friends to pick up.

Neil and art hit it out of the park with this story of a marvel universe ravaged by a single event in time. An excellent story that uses characters we're so familiar with, yet in this unfamiliar. Just brilliant.

Never read Gaiman before but saw this and decided to try and...it was good not great. It was good enough for me to keep reading because you could tell the buildup was gonna lead to something cool but then blahh. The ending wasn't really worth the extremely slow build up

I couldn't read any of the text, even using my Mac Kindle reader. This book is NOT made for people with visual issues. The Kindle's normal text can be expanded but the graphics of this cannot beyond a certain point and not at all on the MacOS Kindle Reader. Don't waste your money.

I read this book on the Marvel Unlimited app.

It’s 1602 in England and massive changes in the weather have the people convinced it’s the end of the world. Meanwhile, King James VI of Scotland plots the death of Queen Elizabeth I with the help of Count Otto Von Doom. But the Queen has help of her own from her Intelligence officer, Sir Nicholas Fury, and her court magician, Dr. Stephen Strange, who has been charged with the safekeeping of a mysterious weapon from the Knights Templar.

Other players in this drama include a blind minstrel name Matthew Murdoch, a female spy named Natasha, and Fury’s aide Peter Parquagh.

Elsewhere, the Grand Inquisitor is rounding up witchbreed, people born with strange powers. Helping him in his task are acolytes Petros and Sister Wanda. On the other side of that scale, trying to help and protect the witchbreed is Carlos Javier and his students Scotius Somerisle, Roberto Trefusis, Hal McCoy, Werner, and “John” Grey.

And back at Court, the Queen has been visited by Virginia Dare, the first person to be born in the Roanoke colony in the New World, come to request aid from the Queen, with the protection of her Native American bodyguard, Rojhaz, a powerfully built blonde haired man who says little, but is always ready to defend his charge.

What an intelligently crafted and well-written re-imagining of the familiar Marvel Universe Neil Gaiman has given us in his 8-part series MARVEL 1602.

Originally published in 2003-2004 with art by Andy Kubert, who did simple pencil work and then handed those pages directly to the incredibly talented Richard Isanove to be digitally painted over, giving the visuals a very unique look that feels more in line with the era of the story as opposed to the slick look of the then-current comics.

I was wary at first with this book, because I’ve read so many alternate histories of the Marvel and DC Universes already, I was afraid this was going to be just more of the same. But I was pleasantly surprised at how well Gaiman handled the characters he chose, specially making Fury such a main character when, in all my decades of reading comics, Nick Fury’s always been more a supporting character. I was also intrigued with how Gaiman chose to introduce the players, especially the Thor character, whose reveal was a real surprise to me, and how he told the history of the 1602 version of the Fantastic Four several issues before they ever appeared on the page. That’s great storytelling.

But before I get to singing Gaiman’s praises too high, I will say that the third act of this story was a bit of a let down. The reveal about who the Forerunner is, how he got here, and … just everything about the last part of the story, it all felt too modern, too outside the realm of the world we’ve already established. I was really hoping Gaiman could deliver on the 1602 aspect of a story called 1602 without having to dip into any of the modern trappings of the Marvel Universe.

Having said that, though, I enjoyed the first 2/3 of this book so much that my disappointment in the latter part only barely diminishes my love for this book. I give Gaiman a hard time now and then for being more impressed with himself than anyone else is, but at the end of the day, the man loves stories, and loves finding new ways to tell them, so no matter what I think of some of his adult novels, he’ll always have my respect as a creator and storyteller.

MARVEL 1602 is just further proof that every accolade he ever gained as a comic book writer was well-deserved. You don’t have to be familiar with the history of the Marvel Universe, 1602 isn’t just another derivative tale filled with Easter eggs and sly asides only the real fans can enjoy, I think this is a book any lover of good stories can enjoy, so it’s very easy for me to recommend it, not just to comic fans, but to reader everywhere.

When I read this it felt like Marvel had a tryst with a History Book and they had a little kid, and this kid was the perfect blend of "what was" and "what could have been if superpowers were around." Here we have the universe set 400 years in the past, with all sorts of people getting play. X-Men, Spider Man, Daredevil and The Fantastic Four are the ones who get the billing, but Nick Fury, quicksilver, Dr. Strange and a lot of others come along for the ride.

What a trip Neil Gaiman puts you on.

I had watched Elizabeth not too long before, and parts of it felt like Gaiman's take on the who timeframe. He had countries taking advantage of the powers they had and he had players taking the place of whatever persona you could imagine. Could you see a person borne with wings during the inquisition? Could you imagine the value of a man that can run faster than anything on Erth? Again and again the powers were wrapped into interesting areas, and then placed - carefully - into a superb storyline. It was beautiful.

The art was also something that deserves a lot of acclaim. you have so much told in the period of the dress and the form, and you have people who need to either blend into the shadows or work like rulers and this shows. From the heroes to the people and the settings themselves, this is done grand.

I thing a 5/5 is fair here. If you find a hero you want here or just a story, get it. I cannot believe I ever doubted or delayed.

Elizabethan England is the setting of the wonder and joy that is Neil Gaiman’s MARVEL 1602. A masterpiece of storytelling with art by Andy Kubert, Richard Isanove and Scott McKowen, be careful as one might actually become overwhelmed from the sheer joy of Gaiman’s work.

Marvel 1602 originally came out 10-plus years ago as an eight-issue mini-series after Joe Quesada successfully pestered Gaiman into writing a Marvel comic. It was not until the events of 9/11 that Gaiman realized what book he wanted to write, and he knew he did not want this story to be about might and war.

“I didn’t want it to be a war story, and I didn’t want to write a story in which might made right - or in which might made anything.” Gaiman stated in the collected edition afterward.

Gaiman set the story in Elizabethan England, just as America was being discovered, settled and born. There are no (superhero) costumes and the characters and their roles are somewhat recognizable. Part of the fun for this drone was discovering who’s who, and much like Kubert, one character’s identity truly eluded this drone until their reveal.

One of the reasons Marvel has always connected with audiences is the humanity of its characters. The characters, despite all of their remarkable abilities and attributes, have flaws just like the readers. There are family squabbles, quest for power, low confidence, struggles to make money, etc. Another reason for Marvel’s success is that its characters are (excuse the pun) marvels to behold. It’s these two ingredients that Gaiman infuses into his mini-series.

Additionally, Gaiman has added other storytelling devices to make Marvel 1602 more than just an reimagining of the start of the Marvel Universe. The Macguffin is truly one that will surprise and make all understood, and appreciated more. T

There are so many stories about angst, darkness, and whatever that it seems audiences have come to expect and demand their characters and tales to have dark demons that always drive the people that populate the lore. However, there is a place of wonder and fun in comics, as well as these characters. Case in point is Twentieth Century Fox’s original pair of Fantastic Four films. Not perfect by any “stretch” (pun intended) of the imagination, those films did capture the essence of the characters, and the fun of the book.

Marvel 1602 by Neil Gaiman is unique and groundbreaking for a Marvel comic series. In the DC universe it would be another Elseworlds collection. But you have to hand it to Marvel on this one. It is inventive, daring and just plain great storytelling by a master in the craft; Neil Gaiman. The graphic novel collects Marvel 1602 issues 1-8 from 2003.

It is the year 1602, a sick and dying Queen Elizabeth fears the strange happenings in England and around the world as weather and bizarre phenomenon lead the populace to fear the end of the world is upon them. The Church believes it to be the acts of heretics and those known as the Witchbreed under the care of Carlos Javier. The Court Magician Stephen Strange and the Queen's master spy, Sir Nicholas Fury fear an assassination attempt is coming from winged creatures in the employ of the tyrant, known as Doom.

Amidst the action is the arrival of a young girl from the New World colony of Roanoke with her Native American protector. They are Virginia Dare, a shapeshifter and a Indian of fair skin and blond hair. Are they a risk to the queen? Can Fury and Strange find the truth among the strange happenings before it is too late?

Gaiman does an incredible job of infusing his Elizabethan fantasy tale with the Marvel characters, Nick Fury, Dr. Strange, Victor Von Doom, The Fantastic Four, The X-Men, Black Widow, Daredevil, Peter Parker and so many more. It is done seamlessly, masterfully and without at any time seeming forced or trite. Marvel 1602 is a tremendous graphic novel that will leave you wondering why Marvel doesn't do this more often.

A terrific book!

I've read most, maybe all, of Gaiman's novels and think he's wonderful. I took the store on trust that his illustrated graphic novels would come through well on Kindle. I bought this and it's impossible to read the words; even to 'get' the drawings well. And, it's impossible to make the pictures/text bigger, at least as far as I could make out.

I've wanted to read this book for years. I love Marvel, I love alternate histories, and I love Neil Gaiman. And it was worth the wait. Not only was it beautifully drawn, it was an epic story that is easily one of my favourite Marvel stories of all time. There were so many different storylines and characters that were introduced, but it all culminated in a spectacular finale that made my heart ache. The writing and dialogue was stellar (though that goes without saying, really), and it was wonderful to see so many familiar and loved Marvel characters interact with each other in a unique setting. This is one of my favourite graphic novels and is a must have for any superhero/Marvel fan!

This is garbage at it's finest. If you're looking for a cool concept that completely immerses itself into said concept this isn't it. Gaiman to me is hit or miss and this is a slam dunk miss. Honestly it's trash.

A great story for educated Marvel fans. There were a few characters I had to cross-reference with wikipedia to see who their 616-universe counterparts were, but you've got a ton of big names in this book and they're all written complex and interesting. It's light on brawling and superpowers but heavy on suspense and thrills. If Gaiman accomplishes one thing more than anything else in this mini-series it's world-building. There is a terrific Game of Thrones atmosphere and I never knew who was going to come out of the woodwork, what side they'd be on, and how I'd feel about them. As it wrapped up I was left really wishing Gaiman had continued into the sequels, to see how he would have personally tied up loose ends.

I had imagined that Marvel’s 1602 would be pretty silly, but when I noticed that it was written by Neil Gaiman I thought I’d give it a try.

Yep, it was pretty silly. Our Marvel friends are cast back 400 years and appear in medieval incarnations, often with their own local “origins” and conflicted emotions and loyalties. There's also a "mutant scare" going on, known as the Inquisition. Things get really weird when Captain America comes back into the picture. This one was a tough slog, and about halfway in it started to get interesting, but by the time they wrapped things up at the end with a big bang it just got totally ridiculous.

The art was okay, lively and bold, but a little too busy for my liking; the amazing woodcut-lined covers of the stories by Scott McKowen really knock it out of the park, though!! Steve Ditko is credited for two pages of "Dark Dimension" art, but it looks more like two panels of his older work has been captured and electronically manipulated into the drawings.

I suppose one could think of the Marvel Universe originated by Stan Lee, Jack Kirby and others as being "canon", the official story. Occasionally, we want to see alternatives to the canon. Back in the 1970s, this was featured in a comic book called What If? (DC has a similar idea with its Elseworlds books.) Nowadays, Marvel just creates another universe when the need arises, most notably the "Ultimate" universe.

1602 presents another such universe with a tale written by the excellent Neil Gaiman who is accomplished as both a comic book writer and novelist. The premise is simple enough: what if the Marvel superheroes came into existence back at the end of Queen Elizabeth's reign. Sir Nicholas Fury acts as her chief aide, Stephen Strange as her personal doctor. There are "1602" equivalents for many Marvel heroes and villains: the Fantastic Four, Dr. Doom, Magneto, the Scarlet Witch, Quicksilver, Daredevil, Captain America, the (original) X-Men and Thor. And there's the Watcher.

A few other big names are missing. There is no Spiderman or Hulk, though there is an equivalent to Peter Parker and Bruce Banner. There is no equivalent to Wolverine, Punisher, Silver Surfer, Hawkeye, Wasp or the Red Skull. The reasonably intricate plot (considering the number of characters, not surprisingly so) focuses on a threat caused by someone caught out-of-the-time-stream, whose existence threatens the whole multiverse. Along with solving this major problem, there are other problems caused by Doom, the Grand Inquisitor (Magneto) and the new King James.

Gaiman puts it all together well, with the artistic assistance of Andy Kubert. Though the story is self-contained, I would not recommend it to readers unfamiliar with Marvel characters. For those who say "Make Mine Marvel!", however, this is a very good read.

Marvel 1602 is a re-imagining of classic Marvel characters by Neil Gaiman, if they were living in the year 1602.This book is very imaginative, and features great art! Magneto is the head of the Inquisition; Nick Fury is the Queen of England's security, Dr. Strange is her adviser; the original X-men are "witchbreed" hunted by Magnetos inquisition; etc. The book also features Daredevil, the Black Widow, Dr. Doom, the Hulk, Captain America, the Fantastic Four, and a few other classic characters, although all of them are re-invented for this book. Later in the book we find out that a time traveler (one of Marvel's original characters) has caused the age of Marvel's heroes to occur 300 years earlier, which I thought was a nice premise. The only thing that would have made this more interesting is Wolverine, not that I'm a huge Wolverine fan, but I would love to have seen how Gaiman could have worked him into this tale.I thought it was much better than Gaiman's Batman: Whatever Happened to the Caped Crusader? (Batman (DC Comics Paperback))

It wouldn't be exactly true to say that I had low expectations from 1602; I have long ago learned to expect nothing less than greatness from the Dream King, Mr. Gaiman. Yet somehow I anticipated some disappointment from 1602. I, like many fans, have long anticipated Gaiman's return to the graphic medium that first made him stand out as a one-of-a-kind creator (with the Sandman saga), a return that we didn't quite get with the beautiful but whimsical Harlequin Valentine; but a story set in the Marvel Universe was not quite what I had in mind. The idea of transporting the familiar superhero characters forwards or backwards in time was done several times before, by both Marvel and DC Comics, and it was hard to see exactly what Mr. Gaiman can contribute, other than his historical knowledge and a lot of in-jokes for the fans of the genre.

And of course, there's a lot of both. Once again I was amazed by Mr. Gaiman's seemingly endless well of knowledge, that here we see covers both 17th century history (to a remarkable extent) as well as curiosities and obscure characters and facts from the Marvel Universe that range all the way back to the 50's. Neil, of course, does a seamless job of transporting all our favorite Marvel characters, including Nick Fury, Dr. Strange, Fantastic Four and X-Men (the original five X-Men, mind you - no Wolverine or Rogue here) to the 17th century, with many other characters, like Spider-Man and The Hulk, playing minor roles that only Marvel fans will pick up, and with lots of in-jokes it's an exceptional treat for Marvel fans; the transportation is also made in a clever and intelligent way that will appeal to more picky readers as well, and will not disappoint Mr. Gaiman's fans.

Above all, 1602 is a fantastic story, intelligent, entertaining, thrilling, original and creative; and the Marvel Universe certainly hasn't been this fresh captivating in quite some time. And even if it doesn't rank with Gaiman's best work in the comics medium - and after all, material like The Sandman, Black Orchid and Mr. Punch is hard to beat - it still bears his unmistakable mark of quality, his wit and his subtlety, and is far better than any average publication in the genre. The artwork, too, is supreme - with drawings done by none other than Andy Kubert, son of comic-book pioneer Joe Kubert, who does not fall short of his father's talent. I'm generally not in favor of most digital coloring, but in 1602 the coloring is tender and tasteful, and does nothing to distract from the excellent drawings. 1602 is all around a fantastic graphic novel and a must read for both fans of Marvel and of Neil Gaiman.

Writer Neil Gaiman, most famous for his Sandman series, tells an intriguing story of what the Marvel heroes may have been like had they lived in the early 1600's. Effectively taking some of Marvel Comics' greatest heroes and villains and placing them in a foreign land and era, Gaiman's story is well-written and engaging.

It's 1602, and Queen Elizabeth I is on the English throne. Sir Nicholas Fury (Nick Fury of S.H.I.E.L.D.) is the chief of Elizabeth's intelligence network, while Dr. Stephen Strange (Dr. Strange) is her physician and magician. Fury has a young ward in his employ, Peter Parquah (Peter Parker/Spider-man) and constantly uses a mysterious blind man named Matthew Murdock (Matt Murdock/Daredevil) to do his tougher errands. Meanwhile, a crippled old man named Carlos Jaiver (Charles Xavier/Prof. X) runs a school of sorts for "witchbreeds", or humans born with bizarre powers and strange appearances. Fury trusts Javier, but many fear the witchbreeds, and they are victims of the Spanish Inquisition, led by the Grand Inquisitor and his two underlings, Petros (Pietro Maximoff/Quicksilver) and Sister Wanda (Wanda Maximoff/Scarlet Witch).

The story starts with the young Virginia Dare of the Roanoke Colony (which was destroyed in reality) coming to England with her Native American bodyguard Rojhaz to ask for financial aid from the Queen. Meanwhile, King James of Scotland and Count Otto Von Doom (Victor von Doom/Dr. Doom) of Latveria are separtely planning on conquoring England. James wishes to become king while Doom hopes to steal a weapon of the Knights Templar and use it for conquest of Europe. Fury has sent Murdock, along with Natasha (Natasha Romanova/Black Widow) to retrieve the weapon. Furthermore, strange weather has been worrying Dr. Strange, as well as numerous citizens of the world. Eventually, Strange reasons that the bizarre weather patterns are due to a time displacement that brought someone from the future to 1602.

1602 is a very original story. It takes familiar characters and places them in a new setting, which has caused the fan favorites to adapt to their new surroundings. They are similar, yet different from the characters we know, but it serves as an interesting look into how the heroes may have acted 400 years ago.

While the story is a little slow at first, it picks up. And despite the slowness, it is very interesting to see how certain characters have adapted to being in 1602. Overall, this is a good story that Marvel fans should enjoy.

In different hands, this book would likely have been an absolute disaster. Neil Gaiman does an immaculate job of weaving Marvel's superheroes into the final days of Queen Elizabeth. It's fascinating to see how he changed each character to fit within a fictionalized view of the time, attempting to realistically portray the effect of their presence on the political machinations of the time.

Gaiman wonderfully captures the self-interest of the political leaders and their scheming, all set against a backdrop of impending doom. He writes with great discretion and restraint, giving nods to characters' continuity histories while not tearing any of them down in an effort to fit them in the world. The plot itself is interesting, and he handles all the many characters and their competing interests well. It is a well-crafted story that comes together interestingly in the end.

If there is a flaw, it is in some of the reference to the existing universe and Gaiman's attempts at explaining the metaverse and time physics in the context of the time. Everything was meshed into the historical time period so well, that the inclusion of modern ideas on time was jarring. Since comics discovered the metaverse, it's led to lots of faux-scientific silliness and physics babble to handle continuity problems and create ever more outlandish threats. It's unfortunate that showed up here, as it broke what was an otherwise compelling story. For his part, Gaiman does put the space-time babbling in a cool context, and Reed's self-referential musings on a physics of his own are actually quite clever. I think a mysterious anomaly never fully understood by the characters (and without the shots from the future) would have been stronger, but the interactions between the Watcher and Strange were nevertheless worthwhile.

The art in the book is wonderful. Characters are recognizable, but also look very period-appropriate. The covers are particularly worth of mention. They are styled to look like old engravings and are spectacular, especially the cover for the 8th issue. The book also includes cool extras like an afterword from Neil Gaiman, part of the script, and notes from the artist.

Definitely worth reading for quality of characterization, interesting recreation of the Marvel superheroes, plot and art.

I'm a scholar of myth and popular culture, and I have to say, Gaiman is briliant in this work. He takes what is essential to the most important Marvel heroes and displaces them back in time. I normally hate alternate universe re-tellings of any comic book (especially the "Ultimate" lines of Marvel releases), but 1602 is briliant. It both follows real world history with the character of Virginia and Marvel history. All the stars are here, sans the baggage of years of inept writing as is so often the case in comics (the list of characters could be a spoiler, so feel free to skip the rest of this next sentence): Nick Fury, Daredevil, FF, Xmen, Peter Parker, Thor, Hulk, Doctor Doom, Vulture, Magneto, The Brotherhood of Evil Mutants (though renamed), even a Watcher or two. If you're a fan of Marvel, this is a really intelligent read; if you're not, Gaiman is a good enough writer to hold your interest. Everything from art to inks (an amazing new technique) to the letters is perfect. Until now, "Marvels" was my favorite collection from Marvel Comics, but after "Marvel 1602", I'm rethinking that.

On the downside, you have to hang in there for a bit before the characters make sense and the story comes together (and call me a dope, but it took me far too long to identify Rojhaz). Hang in there, though, and it's worth it. If you expect new flash in the pan favorites, they're blissfuly absent. I've heard Gaiman cut the inclusion date off at 1960, but I think it's closer to 1969 (And the character Virginia is a lot like John Byrne's Snowbird from the 80's). No Wolverine, which is too bad. I know he's mostly hype lately, but he'd have fit right in, bone claws and all.

I'd buy this right away in trade form, and then go grab the monthlies. Actually, there's a hard back edition here on the store for around $25. If I'd have known, I'd have nabbed it instead. In fact, I probably still will.

This is a must read. If you're a collector, you owe it to yourself to put this in your collection. If you're not, maybe this trade will win you over!

Neil Gaiman, renowned for his classic series The Sandman, moves to Marvel to create one of the most interesting tales the company has had in ages. The premise of Marvel 1602 is as deceptively simple as the title suggests: the iconic characters of the Marvel universe are placed into Elizabethan England. The story involves the usual crusading associated with Marvel characters but halfway through the book the problems take on a much grander scale and the reason for the series to exist finally becomes apparent. Gaiman's reimagining of characters and Kubert's excellent art provide heroes that are decidedly familiar and yet distinctly different, a great asset when trying to mask the identities of certain heroes until given turning points in the book. The characters are all fleshed out perfectly and act exactly as they should within the different context and the references to their powers and origin stories within the framework of this book are done masterfully. The ending is also highly rewarding and ties in the events of 1602 to the rest of the Marvel universe without destroying the continuity or any of the resonance of the original story arcs. Marvel 1602 is a perfect vehicle for Neil Gaiman to jump back into the comics world and Marvel will definitely benefit from his presence.

As stated in other reviews I've posted on the store, I am a big fan of Marvel's WHAT IF concept, as well as other alternate reality stories, provided that events are presented in a logical fashion. More often than not, however, they aren't, leaving the reader to deal with too many assumptions and unanswered questions. When 1602 was first announced by Marvel, I was under the impression that Neil Gaiman was simply going to take the easy way out: "re-imagining" the heroes and villains of the Silver Age Marvel Universe as existing in England during the reign of Queen Elizabeth. After reading the recently-released hardcover collection, however, I can say that this is definitely not a re-imagining, nor even a "what if" story, but more of a very original mystery with an excellent twist that makes sense. Surprisingly, 1602 can comfortably exist within normal Marvel continuity. As a result, I enjoyed it immensely.

In order to not spoil the plot, I'll be as basic as possible: the Marvel Universe has arisen 360 years early, triggering the possible destruction of the universe. Of course, it's up to the heroes, and a few villains, to try to set things right. You'll see many familiar faces here, especially if you're moderately familiar with Marvel's Silver Age characters. Even if not, it's not too difficult to determine who is who. Gaiman writes a very tight story that moves quickly, and Adam Kubert's art is exceptional, especially when paired with the skilled coloring of Richard Isanove. Scott McKowen provides beautiful woodcut covers for the series and the collection. All contributors to this story complement each other quite well, making 1602 an essential part of any comic library.

Marvel 1602 was originally released as an 8 issue mini-series. This book collects those issues into a beautifully bound hardcover edition with a very nice cover. In addition, it contains some bonus material including a note by Neil Gaiman in which he reflects on what he wanted to accomplish with the story and how the book came into being. On top of that, notes from the production of each issue are also included.

As far as the story goes, it's a fun tale that imagines what if the Marvel superheroes came into being in the world of 1602. Gaiman does a really nice job of keeping the characters true to who they are, while putting them into the earlier time period. I especially liked his take on Peter Parker, who we see before his transformation into Spider-Man as the shy and frightened young man. I also liked what Gaiman did with Daredevil, who was much more playful than he has become since Frank Miller reimagined the character.

The artwork is absolutely beautiful. There are no throwaway panels to be found. Each panel is painstakingly detailed and maintains the story nicely. The printing in his hardcover edition is also excellent. Really, it's just a pleasure to have this in my collection. I love it!

sincerely,

R.C.

I have to admit that I picked this up from my local library more because I am a Neil Gaiman complet-est than because of any interest I have in the Marvel universe. The fact that I had a second though about whether or not to capitalize that last phrase should tell you where I stand w.r.t. comic culture. The book it an interesting take on the characters and the history that the book covers.

My limited knowledge of the bulk of the characters comes from the movies put out by Hollywood and I could smile at the re-figuration of the myths surrounding the characters and Gaiman handled the melding of the actual historical fact of the comics with the created history in an interesting manner.

A small problem in basic understanding might arise if you have little familiarity with English history of the period or the history of the Church in Europe and Asia, but the acts of the plot are not entirely dependent on this knowledge. Overall, a fine way to pass an evening.

The name Neil Gaiman on a comic book sets expectations high. Although largely out of the business nowadays, instead concentrating on his novels, he is still considered one of the best comic writers in the history of the medium, and his reputation is well-deserved. Although it is not always genius, he rarely fails to deliver something great.

The concept of "Marvel:1602" is an intriguing one, and one that fits very much with Gaiman's style. Shift the Silver Age Marvel characters back to the year 1602, with Queen Elizabeth on the throne, soon to be succeeded by King James of Scotland. Elizabeth is all that stands from the religious fervor of James, and the occultists and "witchbreed" live in fear of the transition. Some of the superheroes have been given real-life counterparts, like Nick Fury replacing spymaster Sir Francis Walsingham and Dr. Strange becoming the Queen's personal mystic Doctor John Dee. Others, like the X-Men and the Fantastic Four, and just their usual selves transplanted in time.

Andy Kubert really reaches deep into his talent and developed a style that works well with Gaimen's story. Kubert is a good artist, but he usually just works in the standard superhero style, so I was impressed by his work here. It has a nice, authentic old-fashioned flair. The scratchboard covers, by Scott McKowen, are also impressive, and something I would love to see more.

However, while "Marvel: 1602" is really, really good, it's just not quite as good as it should be. Some of it is the scope, which is just too large for the number of issues available. Gaiman tries to fit in too many characters, and he doesn't have as strong a theme for all of them. When it works, it works really well. The intrigue between Fury, Strange and the re-imagined Daredevil, Dr. Doom and The Black Widow, are entirely gripping. These are characters that work really well in the historical setting. Thor, being a mythical character, also has no problem fitting in with the period. However, the more "superhero" characters like the X-Men and the Fantastic Four just don't work. In the world of succession plots and Kingdoms, a big rocky Thing and the high-flying Angel are out of place. Also, Gaiman's efforts to tie "Marvel:1602" into current Marvel comic continuity are unnecessary, and distracting to the over all story.

If he had stuck to what inspired him, and used the characters that worked in that context, instead of trying to fit in everyone, then "Marvel:1602" would have been a classic comic for the ages. Instead, it just works as a high quality comic, one that comes close to its potential but falls just short.

I admit, I had doubts about how well this concept--contemporary Marvel superheroes recast in the year 1602--could be pulled off. My concern was that this would end up being just one giant gimmick, a kind of Marvel "Where's Waldo?", superhero-style. I couldn't have been more wrong! The artwork and storyline are engaging and absolutely successful in terms of taking old, familiar superheroes and recasting them in fresh ways with emotional, three dimensional plots. I did have a couple small complaints--for example, I think more could have been done with the characters of Jean Grey, Cyclops, and Archangel.

I would also have liked to see a bit more of Daredevil--although that's not really a complaint, so much as a statement of how much I enjoyed what Gaiman did with that particular character, who I'd never really liked before! I also liked what Gaiman did with Fury and Strange--two more characters I'd never really liked before this. Overall, I'd rank this as one of my favorite graphic novels yet!!

In one of Neil Gaiman's more unique entries in the Marvel Universe, we find Marvel's superheroes in 17th century Europe, just before the death of Queen Elizabeth I. As the god-fearing James I seizes power, the heroes escape to America on a mission to save pretty much everything there is. It's Marvel like you've never seen it before, as Gaiman and artist Andy Kubert reinvent Dr. Strange, Nick Fury, Spider-Man, the Fantastic Four, legendary American figure Virginia Dare, and the list goes on. Fortunately it was a list that was nicely incorporated into a multilayered storyline from which many ideas about the superhero mythos can be derived. Included with the comic is a boatload of extras including an introduction and afterward by Gaiman, sketch galleries, and some pages from the original comic script.

This comic is unrated: Violence, Adult Language.

Neil Gaiman is one of the great contemporary writers--his fiction is first rate, and to be frank, he's one of the best comic book writers ever. He's very cerebreal. And 1602 is a cebreal book. It combines Gaiman's strengths (as seen in Sandman) and the superhero world. It's an original story, well written, though maybe not the greatest or most important. The artwork is very beautiful, though a bit to painterly for the whole of the series.

The beauty of what Gaiman does is incorporating current Marvel characters (or at least those that Stan Lee and Jack Kirby created at the beginning of the Silver Age) into this 15th century world.

The characters: Dr. Stephen Strange: fits in perfectly with this world and not too far off from the character we know; Charles Xavier: again, a uniter of mutants and humans, again, not too far off from the character we know; Peter Parker is a must, though he has no Spiderman skills nor does he seem to have the intelligence that we are familiar with, but all in all, as likeable as the man we know now; Cyclops, Beast, and Iceman: nothing new to them, Gaiman doesn't delve too deeply into their characters; Jean Grey: again we don't get much into her, though Xavier disguises her as a boy--and Scott Summers does love her; Warren Worthington, aka Angel: again an interesting character; Nick Fury: a much more interesting character than the one we now, and finally, important again; Bruce Banner: he's here, but little used, and the Hulk only makes a brief appearance at the very end in only one panel; Magneto: very interesting take on him; Pietro and Wanda are here, though not much dealt with; Thor: more of the same; Daredevil: actually an interesting take on the man, though again, very similar to the man we know; Natasha: I'm not sure who she is in the Marvel world we know; Virginia Dare: again, I'mnot sure just who she is supposed to be; Capt America: nice take on him--I'm starting to really get into him; Doom: I think is just as interesting as his modern day component; the Fantastic Four: pretty much the heroes we know; a Watcher; and then there are those historical figure: King James and the Queen. Not Gaiman's best work, but if you love the Marvel world or Gaiman's work, well worth reading.

I remember hearing about when 'Marvel 1602' initially came out and pretty much dismissed it; then I saw that Neil Gaiman had written it and - being a pretty big fan of his - decided that it might be worth a shot (or at the very least, it wouldn't cost me much more than time in that I got it from the library).

I will say that the story was well told if a little confusing, and the confusion mostly stemmed from my attempting to figure out which Marvel hero was being referred to at a given point in time. There were some choices of characters that I thought questionable to put in the forefront (and would have liked to see one in particular that was sort-of-included), but on the whole the story managed to be at the same time a reasonable facsimile of works past as well as something wholly new.

A word of caution - should you be looking for something that is action packed, this isn't it.

Neil Gaiman's 1602, published in 2003 - 04, continues the tradition of revisioning the superhero universe that began with Frank Miller's Dark Knight Returns (1985), Alan Moore's Watchmen (1986), and Gaiman's own Sandman in 1989. Those three graphic novels had simultaneously announced the maturation of the graphic novel as a medium together with the onset of the decline of superhero mythology. In 1602, Gaiman conducts a thought experiment in which he displaces almost the entire cast of Marvel comics superheroes back to the turn of the seventeenth century in order to see what might result from such a temporal disjunction.

Gaiman's choice of date is an interesting one because it happens to coincide with another cycle of superhero mythology that was then coming to its end and which was captured by Cervantes in his great novel Don Quixote (1605). With the appearance of that novel, the mythological hero cycle of the Arthurian romances that had been inaugurated with Geoffrey of Monmouth's History of the Kings of Britain in the early twelfth century was brought to its conclusion, for in Cervantes, the age of knights is already a thing of the past and reality will no longer yield to the soft contours of the dreaming imagination of the old romances. Quixote, his head full of visions from these romances, sets forth in quest of an adventure, looking for giants and dragons, but ends up finding only windmills and a staunchly indifferent universe, a universe now ruled by the laws of falling bodies and planetary motion, and in which masses are moved about by impersonal forces rather than angels; a universe that is beginning to become indifferent to the deeds of a tiny horseback- riding microbe on a dust grain of a planet that is no longer at the center of the cosmos.

But to continue with the results of Gaiman's thought experiment: what do we discover about superheroes once they are removed from the fully urban, late capitalist cosmos of postmodern New York and placed into the middle of seventeenth century Baroque society?

For one thing, we discover that when superheroes are taken out of the contextual situation for which they were designed - namely to defend the modern megalopolis against invasion by ancient mythical entities - they take on an entirely different function. For in Gaiman's narrative, these superheroes are no longer defending a single megalopolis, not even London, for in this narrative they have become emissaries of the crown of Queen Elizabeth and have therefore been transformed as it were from playing the role of immune system of Manhattan to becoming antigens in the seventeenth century war of Baroque nation states. London, Spain and the fictional state of Latveria are all at war with one another in 1602, and superheroes are sent out upon missions in order to attack the other nation states. Matthew Murdoch, a.k.a. Daredevil, for instance, is sent out by Elizabeth to retrieve the treasure of the Knights Templars (which turns out to be Thor's hammer in disguise) while Otto von Doom (Doctor Doom) holds the Fantastic Four captive in his dungeon. Sir Nicholas Fury is the Queen's chief of intelligence operations and he must partner up with Sir Stephen Strange in order to find out the nature of this treasure. When Doom has the Queen assassinated, the future King James wishes to make it look as though the mutants are guilty of it and so arranges to have them captured.

On one level, 1602 is a disguised espionage novel in which the superheroes, like James Bond, are in the role of antigens working for rival governments, each attempting to infect the other's intelligence machineries with falsehoods and disinformation that will have the effect of crippling the other nation state's military and technological powers.

But another result of Gaiman's contextual displacement of superheroes from one world to another, is that they mostly lose their dual identities, which is interesting because the other great literary figure of this age was Descartes, the man who first fully articulated the newly emergent properties of the Self as a thinking entity alone in a universe of doubtful perceptions. Descartes isolated the modern ego as a single entity closed off into perspectival space and put it into a grid capable of isolating its exact position in space and time. The modern superhero, on the other hand, is mostly a dismantling of this linear Cartesian Self, for the superhero is a polytropic personality with multiple identities. But with Gaiman's displacement into the seventeenth century we note that these dual or multiple identities have a tendency to disappear: Matthew Murdoch is always himself, wearing merely a scarlet blindfold and never shifts back and forth between his diurnal and nocturnal personalities; Peter Parker remains Peter Parker and never turns into Spider Man; Sue Storm is always invisible; and even the Hulk does not emerge out of Banner until the very last page of the story. True, there is a man who metamorphoses into Thor, but this is the center around which the entire plot revolves and the transformation is very temporary. Captain America, too, remains hidden to the end beneath the persona of a man who looks like an Indian named Rohjaz.

So Gaiman seems to have made, at the very least, two points about the superhero: in the seventeenth century, he would not be a dual or multiple personality but a single, Cartesian mono-egoic one; and as there were as yet no megalopolises, he would not be part of the psychological immune system of a city, but rather an antigen working on behalf of one or another of the various governments of the battling nation states. Such is the essence of the spy genre. But superheroes were never meant to be spies working on behalf of governmental powers; indeed, we notice that whenever they appear in such a context - as in the case of the Comedian or Dr. Manhattan in Watchmen or Frank Miller's Superman in the Dark Knight Returns - it is always associated with a degradation of the superhero in some manner. The core of superhero mythology is absolutely subversive of governmental powers, especially democratic ones, for the superhero represents a short-circuiting of all powers of due process. He is not part of any government, but rather an extension of the Overmind of the modern megalopolis itself.

So the results of Gaiman's experiment actually tell us more about the function of the superhero in our modern narratives than they do about the seventeenth century.

Aesthetically speaking, however, it should be remarked that Gaiman's graphic novel represents the decline of the superhero mythos into Mannerism, for his narrative is as complicated and overburdened as a sixteenth century Mannerist painting out of Italy. The cluttered canvases of Tintoretto or El Greco find their analogue here in the overburdened plot of Gaiman's novel, in which there are far too many superheroes for the plot to function coherently. Gaiman's narrative suffers from the same artificiality and self-conscious contrivances of Mannerist artwork, which is generally stilted and precious and overly elaborate. And just as Mannerism signaled the beginnings of the end of the dominance of Italian Renaissance artwork (which was just about to shift north to the Protestant world) so Gaiman's overwrought narrative signals the decline of the superhero universe into contrivance and artifice, full of self-conscious quotations and eye-winking that at times is nauseating. Indeed, the plot of the novel is so complicated as to defy any easy synopsis, and this reader must confess that he found the book largely a failure.

But not every experiment works; there are valuable insights to be learned about superhero mythology from Gaiman's audacious attempt to revision the Marvel cosmos.

--John David Ebert, author of "The New Media Invasion."

If you've never read anything by Neil Gaiman, none of
the chapters of THE SANDMAN, not one page of STARDUST,
here is a place to richly whet your appetite. If you've
not encountered the splendor and depth of AMERICAN GODS,
nor the crystal clarity shock of MURDER MYSTERIES, nor
any of his various works for television or children's
tale, then consider yourself invited to begin your
experiencing of a great writer here.

MARVEL 1602 is Gaiman's landmark first work for Marvel
Comics, now collected as a striking hardcover edition
for all to encounter and enjoy the author's great
take on Marvel mythology sifted through the lens of
one of the most dire transitional periods in Western
History. 1602 focuses upon the British embracing of
the dreaded Spanish Inquisition, and all the hateful,
bigoted practices that it murderously upheld as
holy.
How does Gaiman place the Marvel pantheon within
this time period? That would be telling. Yet it is
how he meticulously uses them to further emphasize
the issues of that day, as well as that day's
chilling parallels to the questions of tolerance
so vital to our own time, which distinguishes what
a consummate storyteller this man is. Full of
pertinence, charged with characterization, loaded
with action, MARVEL 1602 is an outstanding literary
adventure, and a standout achievement.
Those Gaiman acolytes awaiting "another Sandman" not
only waste their time, but miss the mark altogether.
THE SANDMAN is a story about the nature of stories.
MARVEL 1602 is about the inspiration that talespinners
can evoke. In this, Gaiman (with striking illustrations
from Andy Kubert, stunning digital painting by Richard
Isanove, and wondrous engraving-like cover art from
Scott McKowen) evokes staggering time paradoxes as
worthy of DC's Julius Schwartz as they are a hearty
hat tip to the eye-popping wonder and interweaving
plotlines of Marvel's Lee, Kirby, Thomas, and
Ditko.
If anything, too, Gaiman's stress on topical concerns
here strongly riffs upon the Marvel epics of Englehart
and Starlin, Gerber and McGregor some 25 to 30 years
ago, when the company produced its finest, most
consistently challenging work.

So how in the world does a Spider-Man or a Doctor Doom
fit into the Middle Ages, anyway? Would a Nick Fury
even fit? Why would there be a need for a Captain
America?
Read one of the sweetest jigsaw puzzles you will ever
encounter, and find out for yourself.

Neil Gaiman. MARVEL 1602.
Well worth the effort.

Well worth your time.

The publishers of Marvel and DC Comics seem to define creativity as realigning their comic universes every few years. After all the buildup, the then-current hoopla and the subsequent "thrills and chills" of the afterglow, whatever universe remains is always populated by the same characters with the same lives, facing the same powers. All that changes, if change is the appropriate word, is that the current writers can put their stamp on established developments by claiming to not be "hampered" by events of the past. The end result, ultimately, is a disavowment of years of continuity to the less creative can produce new continuity which will define the characters until the next all-encompassing crisis is produced.

Not so with Neil Gaiman. He always adds new spins to established characters without dishonoring the work of his predecessors. The true genious of his Sandman character was not the highly imaginative world the Endless inhabited, but how he wove this world around DC's established characters without ignoring or disrespecting the works of his predecessors.

In Marvel 1602, Gaiman moves the Marvel superheroes back in time 350 years, give or take a crisis, and begins the Marvel Universe anew. This new telling of the origins and coming-of-age of all-too-familiar characters offers an exciting vision of a Universe that is just as valid as the one we grew up reading about. The heroes are inherrently noble, the villains evil, and the struggle between the two timeless. The story is an exciting read that honors the original work without copying it. This is Gaiman's greatest strength as a comic writer, and this collection stands equal to his other comic collections.

For most of its part, Marvel 1602 is a large success and a fresh take on the Marvel Universe.

Neil Gaiman writes an intriguing comics, which feels very original and has an intriguing plot running through it. I had to force myself to put this book down at times, because the characters are so engaging and feel very fresh and original, but at the same time they're essentially the same as their counterparts in the current Marvel Universe. The story is chronologically correct and I love the way he sets up the mutants as wizards and witches, that were being prossecuted at the time, the way Gaiman does it, once again, feels fresh, but its essentially the same concept behind the creation of the X-Men. This story feels big, thats because it is, as it treats with the time/space continuum and the apocalypse. This was the first Gaiman comic I read and I can safely say Im impressed and Im also looking forward to see him take on some more Marvel characters in the future.

The art by Kubert is AMAZING, honestly, I was stunned when I saw it, as I had never heard of Kubert before picking this TPB up, of course this is all helped by the unbelivable Richard Isanove, this guy is brilliant in whatever he does, his colors give the comic the mood it deserves and I can see one problem with his colouring.

So far I've been all praise for the book, because it was fantastic up to issue 7. The ending just happens to quick and doesnt feel very organic, I considered giving this book a 3 based on the ending, but the rest of the storyline was too brilliant to get a grade below a 4.

Let me give you the bottom line first: buy this book.

Neil Gaiman is one of the best writers and creators I have encountered in the last 15-20 years. He is a true descendants of the old story tellers who have kept people wide-eyed, listening to wonderful stories late into the night around the tribal fire since the dawn of humanity.

In 1602 Gaiman does to the Marvel universe what - in my humble opinion - no other writer has been able to do. Taking the story 400 years into the past and placing it in the court of Queen Elizabeth (and a few other Renaissance Europe locations) gave Gaiman the freedom of interpretation and imagination to create a truly intriguing and enjoyable set of story lines. He has captured the essence of some key Marvel heroes (Nick Fury, Daredevil, Dr. Strange, Peter Parker, Xavier and the X-Men, Magneto, the Fantastic 4, Doom, Thor and more) and created alike-yet-different characters, immersed in their time and period - resulting in a very convincing story.

The story stands out on its own - you don't have to be an expert in the Marvel Universe with its myriad of characters to enjoy it. It is enough just to know who the popular Marvel heroes are. And Gaiman is wise enough to divulge the hints about the characters gradually along the stories, some more upfront, some more subtle. This results in a delightful feeling of revelation when you tell yourself - "Hey, this XXXX person is actually magneto!"

Now for the artwork - it is just superb. Totally enjoyable in and as of itself. An additional touch of grace can be found in the covers - created in the style of Renaissance engravings which perfectly convey the feeling of looking at a piece of art from Elizabeth's court.

Marvel 1602 must be on your bookshelf.

A very interesting AU featuring a whole slew of famous comic book characters living life with their superhuman powers in the year 1602. Written by Neil Gaiman, the dialogue is crisp and sounds correct for the time period. The artwork is also very beautiful (though the cover artwork is a bit better than what you get inside--at least, in the edition I had (not the one pictured here); "John" Grey especially looks fantastic on my cover and rather convincingly cross-dressed!)). Speaking of which, I love that Angel is prominently featured--he doesn't get enough love. :) His friendship with John Grey and the resulting silliness of Cyclops's jealousy are pretty entertaining too. Magneto is fun as always, and Dr. Doom makes a brief and interesting appearance, tormenting his beloved (the UST is palpable) Reed, who's centuries ahead of his time with his scientific thinking. The way Gaiman explains sophisticated concepts from physics in 17th century terms is very clever.

Plot-wise, there's a lot of suspense and mysteriousness from the beginning; the story was compelling enough, and there was one nice plot twist toward the end (what?! It's Ca****n Am****a?!), but overall, the story feels more like it's trying to show off how cleverly it integrated modern superheroes in historically significant events of the 17th century than presenting a really compelling, coherent plot. Also because we spend so much time introducing and squeezing in as many superheroes as possible, there is very little character/relationship development, which makes all the characters a bit hard to care too much about in the end. That is probably the weakest thing about this story, which makes it a fun once-through read, but I certainly wouldn't buy this title or think too much about it afterward.

I think it is a masterpiece, but not 100% sure...
Gaiman transfers both our real and the Marvel universe to the late Tudor/early Jacobean era. While I am not totally sure that the transfer is flawless, Gaiman uses it to present some of his own ideas - and there is where the genius of the story lies. I am not an avid Marvel reader, but I read them when I can.
In many ways the story parallels our own time. The persecuted witchbreed are loyal subjects of Good Queen Bess. The real terrorists and enemies are either perceived friends or work within the system. When the expected terrorist attack comes, it takes everyone by surprise. Then the blame is quickly shifted to the innocent, and loyal, witchbreed. The authorities uses a perceived threat to strenghten their own power. They create a new enemy, while not pursuing the real enemy.
Some marvel characters have replaced historical characters; Walshingham is replaced by Nick Fury, and Dr Jonh Dee by Dr Stange.
Every character in the story has a counterpart: Sir Reed and Count von Doon are equals in intelligence, but von Doom is only interested in immediate results - his creations are clever automatons, but they do not represent any real progress. Sir Reed tries to lock further than the obvious. It is the age old struggle between engineers and philosophers. Sir Nicolaus's enemy is master Banner. While Nicolaus tries to prevent and preserve, master Banner infiltrates and disrupts. Both Mighty Thor and Captain America try to correct and prevent earlier mistakes, but both fail in their own way: thus paving the road for future tragedies. There are more interesting contrast, but these are just the most interesting ones.
In short, Gaiman cleverly uses existing Marvel personalities to tell his own story; about our times, about eternal conflicts - not only between good and evil, and about how rulers can manipulate our fears. Gaiman is quite critical of our times. The only time he caters to the US audience is when he lets Sir Reed abolish the monarchy in the Jamestown colony - a concept absolutely alien to his times, and in contrast to the belief system he expresses his support for earlier.

The tale that famed Sandman creator Neil Gaiman weaves in this eight issue mini-series is something truly magical. Instead of taking the easy way out, such as a previous reviewer stated by implanting the silver age icons in the year 1602 or doing a "What If...?" type story, Gaiman envisions a past world in which the Marvel universe is taking shape almost 400 years too early. Queen Elizabeth's court magician Doctor Stephen Strange senses something that should not be is going on, while her top spy Sir Nicholas Fury fends off an assassination attempt by the winged warriors who are in the service of Otto Von Doom. There are also a band of young people with mysterious and dangerous abilities and powers called "Witchbreed" and are led by the enigmatic Carlos Javier. Just about every character from Marvel's silver age is here, including Peter Parquah who has a fondness for spiders, blind Irishman Matthew Murdoch who has daring abilities of his own, a group called the Fantastick who share strange powers and are prisoners of Doom, a mysterious red-headed widower named Natasha who has plans of her own, and an old man named Donal who carries a stick which transforms him into the Norse God of thunder and lightning. The story comes alive like a fairy tale, and Gaiman's dynamite twist will leave you breathless. The art by the Origin team of penciler Andy Kubert and digital painter Richard Isanove makes this period piece come alive, with amazing art throughout (even though Beast looks a little too much like Wolverine here). Marvel 1602 is undoubtadly one of the best and most creative mini's to come out of the house of ideas in a very long time, and if you missed out on it, this handsome hardcover collection is an absolute must own in every comic fan's library.

I had tried reading this in the book store one time and did not have good feel for it. I recently went to Wizard World Philly and saw it and decided to try it again. I thought maybe I would have enjoyed more at home and I was right.

Now I am not a big comic book reader. Unless it is written by Joss Whedon and I then I read things here and there. I knew of some of the background story's of the X-men and Fantastic Four but I don't follow them religiously. I am also not a Neil Gaiman fan. My husband loves him but I have a hard understanding what some brit authors are talking about in their books. That aside I still thought it was an interesting story line to the Marvel Universe. Putting in the past made it seem more real.

I am trying to catch up on all the Gaiman stories I have missed. This looked like a pretty interesting one; I mean how cool is it to re-imagine all of the Marvel characters in 1602? Overall it was entertaining. The story was excellent and the drawings fantastic. I am a new-comer to the Marvel universe and as such I think I missed some things that a more comic knowledgeable person would have grasped. At times I also thought the story line jumped around a bit too much.

Overall though I really enjoyed it. I would definitely recommend this is you are a Gaiman fan or a Marvel universe fan. Some of the ways Gaiman adapted the Marvel heroes to the 1602 time-frame were very interesting and creative.

1602 is a great history lesson combined with an elsewhere kind of/What if tale of Marvel Universe. In the hands of DC Comics Sandman's creator Neil Gaiman, this superheroes version of the history in the time of Elizabeth is a (dare i use the pun) real MARVEL. 1602 is both memoriable and an amazing piece of graphic literary work. And the art matches the words in scope of the text, without taking away from Gaiman's interweaving sub plots.

Most of the marvel heroes are here in names similar to their current incarnations. Matt Murdock is still blinde, Nick Fury and Dr Strange are still at odds with each other. Peter Parker is still a younger man learning what powers he has. Wolverine is her in all his spendor too.

Under Gaiman hand, this graphic tale is well done. It is what a graphic novel should be!

Bennet Pomerantz AUDIOWORLD

First, let me say that Neil Gaiman is easily one of the best writers working today in any prose-based medium. His novels are incredible, his screenplays similar, and his comics are outstanding. There is no current writer today who straddles the fence between reality and fantasy better than Neil Gaiman. And the fact that he works in so many different mediums adds to his "remarkable-ness."

That caveat aside, let's talk about his Marvel miniseries, 1602.

Gaiman does a wonderful job of translating the heroes of the Marvel Universe to an historic setting. And he makes the necessary adjustments: Matt Murdock doesn't become a blind barrister, but rather a blind minstrel/guide, which allows Daredevil the freedom of movement a hero needs in Gaiman's reimagined 1602. Similar adjustments are made for a wide range of Marvel characters.

The story is affecting, and wonderfully rendered in muted tones by the art team, and Gaiman deserves credit for finding room for a lot of the Marvel Universe, and also for not trying to shoehorn every modern hero into the framework of the story.

The story is intellectual and exciting (conspiracy stuff), and the artwork is among the best I've seen in a graphic novel.

The reason for subtracting a star? Simply because, although Gaiman structured his story and introduced his characters so a first-timer can enjoy the story, it's best appreciated through the prism that only a Marvel Universe reader has handy.

But more than worth your time, regardless.

Though I rarely pick up comics anymore, seeing as how most of them are just storylines drawn from bad sci-fi these days, I have to say that 1602 is by far one of the best re-imagining of characters we all know that I've seen for a long time. Recreated in an unstable time frame, the Comic brings you characters you all know and even a few ones you might not expect, such as X-Men, Daredevil, even the Fantastic Four. Though sometimes a bit cliche in their revival their characters remain true and even give you a surprise or two as to their abilities.

Aside from the characters, the story is solid, set in the background of the Inquisition, the first American Colonies and an aging Queen Elizabeth, the story begins with a kind of cosmic doomsday on the approach to the now troubled Europe. I was pleasantly enjoyed with this world, and I think anyone looking for something REALLY different and possibly fed up with the endless Comic storylines, should check out this one shot comic. Another note, they did make a sequel to this called 1602: New World, while I haven't read it, I found that Gaiman wasn't part of it. That alone made me skeptical of it's quality. I recommend caution with that one.

1602 was by far one of my favorite books I've ever read. The way Gaiman finds a way to take our favorite marvel superheroes, historic mysterious like the lost colony of Roanoke, and The Knights of Templar and smash them all together into a montage of pure awesomeness truly blows my mind. It's astounding. The story is so well thought up and I know how much thought was put into this comic. (I'm a novelist) But for those of you scared of missing the classic marvel style and characters you've grown to love, don't fret! The heroes and villains very much keep their own personalities and the plot is equivalent to the Avengers thrown into the year 1602 (in the best possible way)One of the coolest parts by far is the fact that figuring out who each person represents is part of the mystery, although never directly recognized as one of the main themes.
This is an amazing story of sacrifice, love, honor, patriotism, and secrets. It will keep the pages turning and the blood pumping as you follow the adventures of many different characters who meet under highly mysterious circumstances. If you love marvel- you'll love 1602

I'm a relatively newcomer to the Marvel universe, having always held comics (indie x's, graphic novels, or otherwise) at arm's length because I have a lot of distaste for the choppy, uber soap opera nature of the pulp form. Reading Uncanny X-Men #1 made me want to wash out my eye sockets, I thought they were bleeding sap.

That said, if you squint your eyes and cock your head, the X-Men have something valid to say and DAZZLING art.

To say nothing of Neil Gaiman! I'm a great fan of him, so I thought there would be nothing better than a uniting of my longer love and my new obsession, Marvel.

And to a certain extent, the marriage works. The woodcut covers are to die for, the characters playfully veiled, and the European background is if idealized at least a great playground. I personally had a lot of fun watching James the II and the backstory of the Inquisition. The Angel as Candide, anyone?

But as many reviewers have pointed out, the book falls down taking itself seriously. I'm not a fan of those (...)watchers, and the psuedo-spiritual-scientific monologues are enough to drive anyone a little mad. Also, I felt the characters were odd choices, though there were none that really stood out too much.

Lastly, I was vaguely disappointed by the fate of a certain Grey...it was almost a cop-out, given the crazy backstory and Gaiman's notoriously unflinching view of death. It didn't sit well with me. Neither did Scot(ius)'s predictable blowup, though it is a nice reach back to the origins of the X-Men. I felt like it gave the game away, where Gaiman's (and Marvel's, really) taste runs more towards ambiguous or knotty covers for ideas. In this case, a little more smoke and mirror would have been nice.

That said...this will be a piece of art I will treasure, and along with Mirrormask and Neverwhere will sit on my shelf with pride.

I rarely keep up with comic books and graphic novels these days, so I know very little of Gaiman's work with the Sandman series. That said, I think this reinvention of some classic Marvel heroes is strong on creativity and short on a coherent storyline. In this collected series of 8 comic books, Gaiman tells of an Elizabethan England that is threatened both by Count Otto Von Doom's Latveria and by the religiously motivated machinations of James of Scotland, heir to the throne. Familiar characters like Dr. Strange, the Fantastic Four, and Thor show up in altogether unfamiliar places and contexts. Many of the details are thoroughly enjoyable (e.g., Gaiman touches on the spiritual consequences for the Christian who turns into the Norse god Thor), but there are an equal number of plot threads and loose ends that go nowhere.

I, for one, did not grow up on comic books. I haven't had any experience with Stephen Strange or Nick Fury. Even Captain America is one that I don't know. I picked this book up on a suggestion in a reading community.

And I loved it. I didn't really need to know who the characters are in the Marvel world in order to enjoy this. The characters were brought to life, both through the storyline and the beautiful imagery of the artwork. I found the plot engaging and I honestly couldn't put it down until I had finished it.

I looked at some of the more negative reviews of the book, and saw that many of them had tried to read American Gods and either didn't finish it, or didn't enjoy it. I think that perhaps they don't mesh well with Neil Gaiman (as we are all bound to find authors that we just don't enjoy).

My only issues were this: I didn't enjoy Peter Parker's character. I'm not a Spiderman fan as it is, but I just felt something lacking there - as though he could have been anyone and NOT based on the character. And the end left me scratching my head a little. But I'm completely willing to admit that that could just be me.

Overall, a very enjoyable book and well worth the time!

Neil Gaiman does a fantastic interpretation of the Marvel universe as myth. This is less a reimagining, but instead a viable alternative world where the world needs legends. Superhero comics are the modern equivalent to ancient myths, and this story drives that point home.

In addition to this metaphorical treatment, the story itself is enjoyable and the art is gorgeous.

To my knowledge this is the only Marvel book Gaiman has written. It makes me wish he'd written more, I'll try to be spoiler free so here's the bare bones concept: For some reason the famous silver age characters of marvel are coming into being in the seventeenth century.

There's a lot of puns and nods and gags based on continuity.

Most of the characters get a great representation in the story. Two are a bit under used or used in a way that would disappoint die-hard fans of the characters: Spider-Man and Hulk.

It should be noted that Peter Parker though does get a lot of character time though, but Banner is in the background for much of the story.

If you're a fan of Marvel comics and have more than a bare passing knowledge of the continuity you should check this story out.

I have to admit that I picked this up from my local library more because I am a Neil Gaiman complet-est than because of any interest I have in the Marvel universe. The fact that I had a second though about whether or not to capitalize that last phrase should tell you where I stand w.r.t. comic culture. The book it an interesting take on the characters and the history that the book covers.

My limited knowledge of the bulk of the characters comes from the movies put out by Hollywood and I could smile at the re-figuration of the myths surrounding the characters and Gaiman handled the melding of the actual historical fact of the comics with the created history in an interesting manner.

A small problem in basic understanding might arise if you have little familiarity with English history of the period or the history of the Church in Europe and Asia, but the acts of the plot are not entirely dependent on this knowledge. Overall, a fine way to pass an evening.

Neil Gaiman, best known for breathing new life into old mythologies, as well as creating his own, gives his remarkable skill to the world of Marvel. In this volume, Gaiman tells a "What if?" story which places classic Marvel Comics characters into the early 1600s. Notable for its use of a great deal of characters, Marvel 1602 still manages to hold its plot together and never feels disjointed. I was pleased, as a Gaiman fan less familiar with the Marvel mythology, that I was never lost or confused, as sometimes happens when one attempts to enter 50 years of history without foreknowledge. It is helpful to know a bit about the colonization of America, but any school kid should know those stories. I recommend this book to anyone who likes fantasy adeventures or great graphic novels.

...the book jacket and the other reviews tell you everything you need to know before going into this book. Too much, actually. The less you know, the better on this one. Just buy it. Instead of rehashing the plot and pointlessly singing Gaiman's well deserved praises, I'm going to defend him on another front:

A lot of people have bashed this book for not being The Sandman or one of Neil's even more lofty projects, and for daring to feature conventional superheroes, if in a rather unconventional manner. Folks, get over it. Gaiman clearly LIKES superheroes (his occasional use of them in The Sandman and his glowing account of his youth with Marvel's characters in the afterword of this book makes that clear). He likes writing about them and is very good at it. He also likes writing drama, horror, fantasy, science fiction and dabbling into other realms of storytelling that are too hard to pigeonhole, and he's very good at all of it. Don't pillory the man because he wants to work in more than one genre, and because he occasionally condescends to dabble in a genre that most of the rest of the world has written off as juvenile crap. Gaiman has proven that almost any premise--even a premise involving grown men running around in longjohns saving the world--can produce good, moving, thought provoking tales if handled the right way. Lighten up, order this book, and enjoy it for what it is--a damn fine story, superheroes or no.

Anything written by Neil Gaiman will surely deliver for he has yet to write a tale since the days of Sandman that has disappointed the masses, let alone not garner any awards or brought about an excessive amount of sales.

And anything illustrated by the Kubert family must surely be of the highest quality. Quite simply, Adam and Andy Kubert, in my opinion, have raised the standard of art in comics in terms of depicting realism and storytelling. Only Jim Lee and Alex Ross have done just as much to raise the bar.

Andy Kubert has penciled and inked the series in his own unmistakable style, and maybe it's the skillful and lush colors of Richard Isanove, but Andy's work has never looked better. Even the lettering has been taken into an art form; Todd Klein's lettering will look subtly pleasing to the eye.

Put these people alongside an editor, Joe Quesada, (who was probably giddy with excitement over the prospect of having such huge names in a project; craftsmen-who-just-can't-go wrong is how I describe Neil and Andy) and you know this thing has gotta be big. Especially since Joe's the kind of editor who lets his boys have free rein, considering when the talents at his disposal are the best in the field.

So what did go wrong? I mean, something must've misfired, right?

Unfortunately there were not enough pages to tell the tale.

Don't get that in the wrong way; there's a beginning, a middle, and certainly yes, an end. Most loose ends were tied up, setting way for a probably sequel. It's all there and you're going to get your money's worth. But a lot of times you're going to see a multitude of panels crammed into a page. Single panels as small as your thumb are jam-packed with dialogue. This sometimes causes you to miss the finer details on account of how small the panel is, such as a person hiding in the background.

And all this because they forced a tale as complex as this into eight issues (with the first and last issues double-sized). It couldn't have hurt to have extended the series by an issue or two. That's the only shortcoming that I can describe. If 4.5 stars were available I would've given it, but as it is I feel this deserves more of a 5 star than a 4 because all in all, this still stands out as a remarkable masterpiece.

Two things to clarify before delving into this volume: Firstly, the top classic Marvel characters that have appeared up to 1969 will make an appearance here. That's why you won't see Wolverine or Punisher, in case you were wondering. Second, this is NOT a "what-if" style of story; the ramifications are real and can affect the whole Marvel universe.

Personally, my favorite character was Nick Fury. I always thought he was boring in the present Marvel universe, with the cheesiest macho lines and did absolutely nothing interesting. However he's portrayed here superbly, as a genuine agent to the government (or monarchy I should say) that would go through anything to do what he believe as right, even to betray his friends. It's because of these flaws that he's aware of that made him never appreciate the gifted person he is. Much kudos to Neil for pulling off a personality as difficult as that. In the end you can't help feel sorry for him.

With just the single drawback of too many faces in too little pages, this one should stand right up there with Watchmen and other great classics.

A neat idea, placing familiar Marvel superhero characters in Elizabethan England. It was definitely fun to see how such figures as Dr. Strange, Nick Fury, Daredevil, and the core X-Men could fit into that world. Neil Gaiman does some very nice imagining (sorry... but I can't really call authoring a comic book, which lacks descriptive prose and has rather truncated dialog, "writing") of characters and setting. The artwork is superb as well.

I have to say, though, the conclusion of the story was a bit of a muddle. Gaiman places these fictional characters in a fictionalized past, then feels like he has to come up with a pseudo-cosmological reason to explain how they got there. Seems silly and distracting. Seeing Daredevil backflip over thatched London rooftops or the X-men being imprisoned as "witchbreed" by the Inquisition is reason enough for this comic to exist. It doesn't need to make any more "sense" than that.

The entire Marvel universe re-imagined in Victorian period, and with what finesse! Gaiman is well aware that he has to juggle with so many superheroes to cram them all in and he does an excellent job with that. The story is original, yet familiar - and ties everything together nicely.

A must read for graphic novel fans.

I'll state it right now, I am not a Marvel fan. The characters are interesting and so are the plots (from what I've gleaned, at least) but I just don't have the time, capital, or drive to collect 'em all.

That said, I still enjoyed Marvel 1602 very much. I may just be a sucker for wonderful art and Gaiman's writing, but the story itself pulled me along with little resistance.

Though I did find myself flipping back through the pages to clear up some points, I found no trouble in being ignorant of the Marvel universe. The characters not instantly recognizable through today's comic-book-movies and Saturday morning cartoons were writen so as to be pretty self-contained. The personalities and motives stood alone well, and the plot itself seems less like something contrived and more like a single episode in an ongoing tale.

I'm sure that I would have enjoyed this even more than I did if I were an avid Marvel reader. Nevertheless, I really liked it, if only on a few levels.

What would the classic Marvel superheroes (Spider-Man, Captain America, Daredevil) be like if they had come about in Elizabethan England? Neil Gaiman, author of the Sandman series, Coraline, and American Gods, shows us. A fun re-telling of some classic heroes.

Brilliant alternate reality style collected series that plays around with many of the Marvel universe's characters and shifts them into the past. Gaiman does terrific work with this series. And he's paired with ideal art from Kubert and company. Best of all: no sign of a certain over-exposed Canadian drunken hobbit in this reality. Well worth reading, even for the casual fan of the genre.

Alternate history Marvel.

I thought this look at a different history of the Marvel Universe, with various major characters having 17th century analogues in influential geopolitical roles as ok, but that was about it.

Not sure the ambiguous viewpoint character of Captain America improved it, although made a link to possible future stories, presumably important to the publisher, at least.

I'm not sure what happened to this printing, but, if you can find the comic, it's definitely worth the effort. 1602 has all the imagination and creativity I've come to expect from Gaiman. It's amazing how much mythology is transferred into this alternate universe, and how many interesting ways Gaiman has found to mix it with Elizabethan culture.

I loved this series. The power of the story comes from the fact that a lot of the themes never change. Intrigue, intolerance, the arrival of something new, and a fear of the future coming to an end; with only a special, powerful few able to save the world.

It's a familiar story in comic books, and it's no less gripping or in character just because you set the story in the 1600's.

Stan Lee and Neil Gaiman, I salute you both!

A unique style of illustration combined with Neil Gaiman's excellent writing makes a recipe for one of the better comic books of recent years. It is based off the simple premise: what if the mutants had existed 400 years prior? Answers: The Inquisition would be pleased at proof of Satan's influence upon the world, monarchs would use the mutants talents in an attempt to keep their kingdoms going, and like the modern day books, the people blessed or cursed with talent would be caught betwixt and between. Highly recommended.

2B- DAREN W.

I've read a lot of comics before but, Marvel 16002 is a very interesting tale that introduces the orginal marvel characters in a new persepective. The backstory is basiclly the same for all of the characters including the X-men, Thor, Dr.Doom, Dr. Strange and lot others. Another interesting about this book is how the characters are actually put into historical moments in time. If you are one who likes myths, history and comics than this is a book for you.

Drawn to this comic by my love of history and a good story, I walked away content with my experience. Gaiman uses the characters of the Marvel universe in unique and interesting ways and it is apparent that he knows the time period well, as he is able to bring true historical facts into the piece. The art is fantastic and this is a very approachable book.

I've been reading both DC and Marvel comic books since the Silver Age era and I can say the practice of both DC and Marvel since the 80's of allowing different famous-name authors to come up with stories involving their respective FRANCHISE BIG-NAME SUPERHEROES and SUPERVILLAINS is a refreshing idea, here we get to see what are the different author's perspectives on these SUPERHEROES are like.

Neil Gaiman is one of the most well-respected comicbook authors of the 90's and up to now. ( I've seen most of his comicbooks in the DC Vertigo line especially the Sandman series.)

MARVEL 1602 is a great masterpiece wherein Gaiman was able to come up with a brilliant story involving England in 1602 when England was still ruled by the "virgin queen" Elizabeth and when it was still the world superpower and when America was just "A NEW WORLD" inhabited by native Indians waiting to be discovered and colonized.

As always, Gaiman was able to expertly come up with an excellent story about some unexplainable worldwide weather phenomena ( Well, you have to read the book to know what it is ) which brought about the rise of both Marvel Superheroes as well as Marvel Supervillains but in a different context from the Marvel Universe we all know. You see, most of the Marvel characters we are familiar with will have slightly different sounding names but true die-hard Marvel fans will immediately know who they are as Gaiman cleverly reveals to us their powers and gifts, although slowly as we read on.

I am just a little disappointed that some of my favorite Marvel Superheroes (eg. Iron Man, Silver Surfer, Wolverine, Submariner, Punisher) and Marvel Supervillains (eg. Galactus, Thanos, Red Skull, Apocalypse, Kingpin) were somehow missed out. But overall, it was a great and exciting story that any serious Marvel fan should not afford to miss!

It is always intriguing, seeing in which way will the world in which you grew up turn next, especially when that world is a world of super heroes. When I'm thinking of Sandman, I think of Gaiman and his tallent. Tallent in presenting a story that would be so different and yet so intriguing and marvelous that it is bound to keep the readers straped to their seats. That is the world of Sandman. World of legends, dreams, nightmares, elder gods and various other things from many mithologies, tales and myths. And that is what makes Sandman so good. But, this is not a review of Sandman (though I hope I'll be able to write that one someday), this is the story about other universe. This one takes place in the beginning of seventeenth century in a world without heroes.

I must admit, Gaiman manages to set up stage almost perfectly. Ambient is there, characters are intriguing, one feels that one should know that guy or the other, but upon closer look one figures that there is no resemblance between them at all. This is the world without heroes, withou Civil War, Genosha, Apocalypse, Exiles. And something prevents it to be on the same level as Sandman is. Something pushes it back on the mediocre level of average comic book.

Gaiman fails miserably in developing his characters. Once their role has been played they are no longer useful, and they remain as an empty shell. Where just a few moments ago, living character existed now is nothing but an empty form. Mix all of that with an inability of Marvel heroes to pass judgment, with somehow displaced idealism (in a setting that is created for more mature audiences, number of characters still talks and debates in an overly-simplystic manner that is hardly bearable at all), and without valid concept of death and what you'll be gettin is an interesting blend, but when looked upon in wider perspective, mediocre comic-book that could have been so much better. I surely hope next installement will come to deserved heights.

By placing some of the best loved Marvel heroes into a historic setting, Gaiman has crafted not only a work of art but also a wonderful playground for some familiar faces to play within.

I'll admit, as a Neil Gaiman fan and as a Marvel fan, I was predestined to like this work. If you are either of these things, this is a no-brainer purchase. But even if you are a casual comic fan or simply a fan of good stories, this will be an excellent read and well worth the cover price.

It would be difficult to review specifics without ruining something. Suffice to say, some of the best moments come from what would be considered normal events in the Marvel universe and how they are interpreted for the 17th century. I should also mention the artwork is incredible and on par with current comic masterpieces. If all you know is the art that appeared in comics in the eighties, you will relish in this advancement.

Gaiman stayed true to the characters while introducing an alternate history that was not only plausible but desirable - up to a point. This collective story of the heroes and villains had enough twists to keep me guessing without stretching credulity too much. I wanted to read more of the story. Well done.

I love alternative takes on the Marvel universe, and with a story by Neil Gaiman you can't get much better. The art by Andy Kubert is great too, and I think the style perfectly suits the story and setting.

Drawn to this comic by my love of history and a good story, I walked away content with my experience. Gaiman uses the characters of the Marvel universe in unique and interesting ways and it is apparent that he knows the time period well, as he is able to bring true historical facts into the piece. The art is fantastic and this is a very approachable book.

I've been reading both DC and Marvel comic books since the Silver Age era and I can say the practice of both DC and Marvel since the 80's of allowing different famous-name authors to come up with stories involving their respective FRANCHISE BIG-NAME SUPERHEROES and SUPERVILLAINS is a refreshing idea, here we get to see what are the different author's perspectives on these SUPERHEROES are like.

Neil Gaiman is one of the most well-respected comicbook authors of the 90's and up to now. ( I've seen most of his comicbooks in the DC Vertigo line especially the Sandman series.)

MARVEL 1602 is a great masterpiece wherein Gaiman was able to come up with a brilliant story involving England in 1602 when England was still ruled by the "virgin queen" Elizabeth and when it was still the world superpower and when America was just "A NEW WORLD" inhabited by native Indians waiting to be discovered and colonized.

As always, Gaiman was able to expertly come up with an excellent story about some unexplainable worldwide weather phenomena ( Well, you have to read the book to know what it is ) which brought about the rise of both Marvel Superheroes as well as Marvel Supervillains but in a different context from the Marvel Universe we all know. You see, most of the Marvel characters we are familiar with will have slightly different sounding names but true die-hard Marvel fans will immediately know who they are as Gaiman cleverly reveals to us their powers and gifts, although slowly as we read on.

I am just a little disappointed that some of my favorite Marvel Superheroes (eg. Iron Man, Silver Surfer, Wolverine, Submariner, Punisher) and Marvel Supervillains (eg. Galactus, Thanos, Red Skull, Apocalypse, Kingpin) were somehow missed out. But overall, it was a great and exciting story that any serious Marvel fan should not afford to miss!

It is always intriguing, seeing in which way will the world in which you grew up turn next, especially when that world is a world of super heroes. When I'm thinking of Sandman, I think of Gaiman and his tallent. Tallent in presenting a story that would be so different and yet so intriguing and marvelous that it is bound to keep the readers straped to their seats. That is the world of Sandman. World of legends, dreams, nightmares, elder gods and various other things from many mithologies, tales and myths. And that is what makes Sandman so good. But, this is not a review of Sandman (though I hope I'll be able to write that one someday), this is the story about other universe. This one takes place in the beginning of seventeenth century in a world without heroes.

I must admit, Gaiman manages to set up stage almost perfectly. Ambient is there, characters are intriguing, one feels that one should know that guy or the other, but upon closer look one figures that there is no resemblance between them at all. This is the world without heroes, withou Civil War, Genosha, Apocalypse, Exiles. And something prevents it to be on the same level as Sandman is. Something pushes it back on the mediocre level of average comic book.

Gaiman fails miserably in developing his characters. Once their role has been played they are no longer useful, and they remain as an empty shell. Where just a few moments ago, living character existed now is nothing but an empty form. Mix all of that with an inability of Marvel heroes to pass judgment, with somehow displaced idealism (in a setting that is created for more mature audiences, number of characters still talks and debates in an overly-simplystic manner that is hardly bearable at all), and without valid concept of death and what you'll be gettin is an interesting blend, but when looked upon in wider perspective, mediocre comic-book that could have been so much better. I surely hope next installement will come to deserved heights.

By placing some of the best loved Marvel heroes into a historic setting, Gaiman has crafted not only a work of art but also a wonderful playground for some familiar faces to play within.

I'll admit, as a Neil Gaiman fan and as a Marvel fan, I was predestined to like this work. If you are either of these things, this is a no-brainer purchase. But even if you are a casual comic fan or simply a fan of good stories, this will be an excellent read and well worth the cover price.

It would be difficult to review specifics without ruining something. Suffice to say, some of the best moments come from what would be considered normal events in the Marvel universe and how they are interpreted for the 17th century. I should also mention the artwork is incredible and on par with current comic masterpieces. If all you know is the art that appeared in comics in the eighties, you will relish in this advancement.

Gaiman stayed true to the characters while introducing an alternate history that was not only plausible but desirable - up to a point. This collective story of the heroes and villains had enough twists to keep me guessing without stretching credulity too much. I wanted to read more of the story. Well done.

I love alternative takes on the Marvel universe, and with a story by Neil Gaiman you can't get much better. The art by Andy Kubert is great too, and I think the style perfectly suits the story and setting.

Gaiman was right in his comments when he said people would either love the book or hate it. I (obviously) loved the book. I thought its twist on the marvel world was quite imaginative. In a world where its hard to find "new" idea's Gaiman has excelled by using charachters that people would find fermiliar and made a whole new storyline with them that *I personally have never seen before. The storyline is fresh and keeps you from getting bored. The graphics are awesome and although its not always to spot the charachter at first, you will definatley know who it is by the way he/she acts or simply by the name they'v been given. *cough* *cough* "Sir Nicholas Fury" *cough* *cough* But in all seriousness for those who have even casually delved into the world of marvel i suggest a trip back in time with "Marvel 1602".

I particularly like and enjoy the artwork of this comic. Marvel 1602 has been created based on an interesting idea supported with great art work execution. The idea is creative by mixing all the well known Marvel characters into one story with a bit of time twist. However I find that the overall story can be better. I don't like how it flows and not really enjoying the ending. Somehow it failed to make use of the great opening that this comic already has.

Value for money? I would still say yes. Eventhough the story is not that good, this comic is still worth for collection. There are not many comic like this out there.

As someone who has repeatedly read and enjoyed Neil Gaiman's SANDMAN books despite having grown up as a fan of the Marvel (rather than DC) Universe, I looked forward to this book eagerly.

Given the high standards set by the SANDMAN books, I suppose some degree of disappointment was almost inevitable.

It's not as though there was anything particularly *wrong* with MARVEL 1602. The storyline is fine, and the art is exceptional. But it just isn't as engaging as Gaiman's better storylines--both because of the story itself and the lack of character development. Given the large cast of characters and the relatively small number of pages with which the story is told, these problems were probably inevitable.

Had MARVEL 1602 been a project that Gaiman and his artistic collaborators had been able to realize in 5-10 volumes, the results might well have been more remarkable. As things stand, however, we get something cast in the "what if . . . " mold that's not too bad . . . but not exceptional either.

I bought this graphic novel because of Neil Gaiman. He never fails to amaze me with his stories - I have read most of his work (SANDMAN, his Novels...). This has to be one of the most inventive work ever done on Marvel superheroes. There are certain parts in the story that you are just cringing to find out what's next? When do we see their powers? Very very good. Art here is nothing short of amazing. The covers were done to look like wood panels - again very novel.

I recommend this wholeheartedly! Brings back the good ol superhero days..:)

As a first time reader, I found the artwork to be spectacular. The story was very interesting but difficult to follow. I had to keep flipping back to remind myself of characters and story line. Hence the 4 stars instead of 5 stars.

I am a fan of Neil Gaiman and I used to follow the Marvel universe a long time ago, and I bought this more for Neil than Marvel. The story was impressive and I found it to be complex and for those of you out there that wonder how it fits in well know that he makes it work without affecting the storyline from other books. The art is beautiful and the story wonderful, read it and enjoy your favorite characters in a way you have never seen them before!!!

Sell-out, or spiffy 8-issue _What If?_ from Gaiman? Various Marvel key players are incarnated at the end of the Elizabethan age, and they're faced with the end of the world as they know it. It's enjoyable reading, and great fun spotting the players and seeing how they fit in, but not terribly profound writing from Gaiman. Gorgeous illos by Kubert, though, and painting by Isanove.

I spent a nice late summer afternoon reading this and think is was very well spent. I've got a good passing familiarity with the marvel characters so it was super fun to see them in such a different setting. As always Gaiman's writting left me wanting more!

I bought the comic book issues and was amazed how the story was well written by Neil Gaiman, even though I was never a fan of his work. What I find it interesting is how the Marvel characters intertwine in the past circa Victorian era. The art was simply superb done by Adam Kubert of (origin and X-men) fame. If you are a comic book lover or a Neil Gaiman fun then this book is a must have, however if you just want to buy something super-hero especially geared towards children then I suggest you look at the X-Men or Spider-Man section since this is much more applicable to mature audiences with its thematic approach.

Yes, I did enjoy this work. I have always admired Neil's ability to take us some where else. The name changes I found were rather silly though. And what fun is spiderman with out the spider. It was very hard for me to become completely entranced with the concept. I think I would have enjoyed it better if I knew nothing of the Marvel universe and read this book first. Hey, I think that is a good idea. I going to give this to someone who does not know comics and see waht they think. Only one problem, I don't know anyone who doesn't know about comics.

Very good story, great to see Neil Gaiman doing this series. The only flaw, in my opinion, was leaving out certain characters such as wolverine and nightcrawler. Both of them would've been great in this series.

I must begin the review by saying that this is an anti-Christian book in both its focus and worldview. Neil Gaiman imagines a world in this setting of 1602 where murder and burning people in the stake is a sacrament practiced by nearly every Christian. And godless or at best non-orthodox flee to the new world free from the influence of the Church.

Of course, this is alternate history not real history, but the way you create your alternate history says something and it expressed a lot of contempt for Christians in both the modern world and the the 17th century. The ironic thing is that you were probably more likely to be persecuted in England you were with than Anabaptists than it was either witches or Jewish people. Though don't tell Gaiman.

However, I note 1602's obvious anti-Christian stance, but won't let that effect my view of Gaiman's story on its own merits which is quite a bit more than many anti-Christian critics will do with books that don't share their viewpoint.

The book does quite a bit right. It re-imagines many characters in a way that's mostly believable and manages to handle them well. This is really not an easy task particularly when you compared to other Marvel epics which often just tend to sprawl, leaving characters that are often portrayed unevenly, or leave you with no one to root for. Gaiman really does manage to keep all these characters interesting, to keep us in touch with them and engaged in their stories. If there was any exception, it was the Bruce Banner character who was surprisingly one dimensional and with a tiny part. Other than that, Gaiman did a good job keeping all these characters in balance. Really, he's the type of author who could do well on a regular title like the Avengers.

The plot is also solidly told. It holds together coherently and manages to contain a good deal of Suspense and even manage a few surprises along the way as we find out what is causing imbalance in the 1602 world and our story moves to its final resolution in the new world.

On the other hand, the book lacks a key element, in fact one that Gaiman identified in the conclusion as a goal. He wanted the series to recreate the Marvel sense of "playfulness." Unfortunately, the book is mostly very dark and dour. It doesn't laugh. The best it can usually manage is a sneer. The one character who provided any sense of fun at all was the 1602 version of Matt Murdoch/Daredevil, who appeared far too briefly.

Overall, despite its inherent anti-Christian bias, it's a well-written well-drawn book. Unfortunately, it takes itself far too seriously and so is missing any sense of fun which I think is crucial for a Marvel story.

This book illustrates the great imagination of Neil Gaiman. It is a well-written graphic novel about known superheroes existing in the 15th century. The artwork is amazing. This will be money well spent for any Gaiman, Marvel, or general comic book fans.

being a big literature nerd, i've loved the way some comics are embracing the historical legacy of literature and movies and older comics - cf. allan moore's league of extraordinary gentlemen and warren ellis's planetary.

Marvel 1602 seemed like a fantastic premise, drawing on the golden age of english and spanish literature, done by the fantastically well-read neil gaiman, whose work on the classic sandman series paid tribute to a range of really erudite texts, especially myth and shakespeare.

Marvel 1602, perhaps in an effort to be different, was based a lot more on the social and political world of 1602 rather than gaining imagery from the writings of the time. There was quite an inventive translation of the Marvel characters into 17th century figures, but ultimately I didn't get as rich and detailed a portrait of their world as I'd have liked.

Most fans are going to be satisfied with this work, I'll wager - but I wasn't.

I reluctantly give it three stars. I have never seen something that seems to be as well done as this flop so badly in the end. I found the end to be heavy handed, forced, implausible and not alluded to at all.

The first 7 issues of it deserve 5 stars each though. Gaiman brilliantly interprets so many Marvel classics for the Elizabethan era.

If you really want optimal reading pleasure then stop at the end of issue 7.

When I first came across Marvel 1602, it sparked my curiosity. This is the first book of Neil Gaiman's that I have had the pleasure of reading and I see now where his reputation comes from. A fantastic read, recommended for all Marvel fans alike.

The only Gaiman work I've ever read was his novel American Gods, which I didn't particularly care for, and my only exposure to the Marvelverse is via the various film adaptations of the last few years. This book caught my eye because of the amazing cover and the premise, which appealed to me as I had recently finished reading a non-fiction book about Elizabethan England. Gaiman has taken Marvel's "Silver Age" (pre-1969) characters and placed them in Europe at the dawn of the 17th-century. Some of them are now operatives of the dying Queen Elizabeth, some are independent entities, Magneto is a Spanish Inquisitor, and mutants are known as "witchbreed." It's a time of great uncertainty, as James lurks up in Scotland waiting to ascend the English throne, strange weather phenomena portend the end of the world, and an alien "watcher" dithers over whether to intervene in human affairs. All of this is interwoven with a strange artifact from Jerusalem, the Virginia colony in the New World, and all kinds of other hocus-pocus.

Frankly, the entire enterprise felt rather cluttered, with far too many characters running around -- you need a scorecard to keep 'em all straight. Of course you don't need to know the characters in order to follow the story, but I suspect that a great deal of the enjoyment many readers will lie Gaiman's transformation of beloved characters into period players (eg. Daredevil is presented as a blind Irish bard with some serious tumbling skills). People like me, who aren't steeped in the Marvelverse will probably get a lot less out of it. Quite a lot of the characters make only a token appearance, such as The Thing, The Beast, and then stick around only to clutter backgrounds. The story and art would have been better served by some judicious paring down of characters and tangents, allowing the core a little more breathing room.

The cover art that caught my eye is the work of poster designer Scott McKowen, who employs a modern scratchboard engraving technique somewhat akin to what most people think of as woodcuts. Each of issue covers, which serve as section breaks in the book, are absolutely breathtaking and beautifully colored. The same can not be said about the rest of the art. I realize I'm in the minority here, but Andy Kubert's penciling is terrible (especially faces) and the digital coloring by Richard Isanove is even worse. Every now and then there's a nice panel with an unusual perspective or close-up, or a decent sequence (my favorite is near the end of Part 3, when Nick Fury challenges a prisoner to a fight), but in general, the panels are jam-packed with characters and text. The "digital painting" colorizing is universally awful, and looks like lame airbrushing. Moreover, a filter of diagonal lines has been applied to most of the coloring, in a very weak attempt to make appear "hand crafted". Overall, a very neat premise with rather lackluster execution.

I'm a comic, Neil Gaiman and historical fan. When Marvel 1602 came out I thought I was in heaven. The beginning was great and introduced us to the various variants to future heroes to come. The social commentary, politics and changes to the characters were interesting.

However the ending was aweful. A time travelling muck up with a "time was changed and therefore it never happened," is just a plain horrible way to end the series. A good series with great potential that ultimately self destructs in the end.

Niel Gaiman has created some amazing illustrated fiction, the kind that combines literate storytelling with masterful artwork. I regret that 1602 is not part of that ouvre.

If you're a dedicated fan of the X-Men, Nick Fury, Drs. Strange and Doom, the Fantastic Four, and Marvel's other standards, you may well enjoy seeing them all transplanted into the early seventeenth century. I'm afraid that I outgrew my interest in those characters some time back. For me, this looked less like an exploration of the comic medium and more like a mechanical attempt to inject novelty into franchises that desperately need it.

If the usual Marvel crowd holds your attention, then go ahead, enjoy. You'll probably find a lot to like here. My interests have moved on.

//wiredweird

The good news is I didnt buy this book but signed it out of the Library. This gets very good ratings but I found it to be god awful.The animation was good but the story bounces around and doesnt make any sense at all.I guess its a novel idea to insert Marvel characters into another time zone but the story just rambles along in a confused fashion. I didnt get it-didnt like it. I have never given any book a one star before. Maybe if you are 13 it would make better sense

What begins as a beautifully illustrated, intriguing and well written story becomes a cheap and unintelligent political statement. Neil Gaiman is one of the most talented writers in modern day comics, it is sad that some one of such talent feels the need to take such potshots. The work is worth having for the art, but the potential of the story dies about halfway through.

Hmmmmm..... i rad tis to kill time while starting projectors. i've read Neil Gaiman before (American Gods) and wasn't able to finish that book. the reason : great story but no end in sight. the same thing with 1602.

i love the idea and the concept of the characters in the 17th century. the story line is ok but fizzels out near the middle and you have to keep reminding there are only a few pages left.

i had a hard time wanting to finish this book. besides the bad art work (some it is really cool) some of the faces of the characters look like they have been drawn by amateurs.

the backbone to neil gaiman his ability to have and idea for a story. he can tell a story but the middle and end is where he needs help. the middle is drawn out and the end comes 50 or 60 pages to late.

rent or borrow don't buy