Sean flies solo this week for a deep dive into two of Marvel's biggest '80s crossover events: Marvel Super Heroes Secret Wars (1984) and Secret Wars II (1985). The toy deal that started it all, the editorial gamble that followed, and why one series is beloved while the other gets dragged — Sean's got opinions on all of it. Episode HighlightsA little show history — Sean traces the origin of the "Sean Geek" persona back to the Rum Powered Reviews channel and the Meet the Geeks webcomic.Why Secret Wars exists at all — The surprising, toy-driven business deal behind Marvel's first-ever massive crossover event, and the company Marvel was racing to compete with.The making of a maxi-series — Jim Shooter's hands-on approach as writer and editor-in-chief, the art team behind it, and why pulling together every major Marvel hero and villain was a bigger challenge than anyone expected.The highs and the misfires — Sean breaks down which characters got great moments, which got badly mishandled, and one lasting piece of Spider-Man costume history that came out of the series.Listener mailbag — Comic collector Tony Griggs sounds off on tie-in bloat, and School of Hip host Heath McCoy gives his unfiltered take on both series and how they stack up against a certain rival crossover from DC.Secret Wars II: ambition meets chaos — The sequel's infamous tie-in sprawl, its unconventional lead character, and why some of the best storytelling happened everywhere except the main series.Chris Claremont and John Byrne save the day — How a couple of Marvel's best writers turned a difficult crossover assignment into some genuinely great comics in their own titles.The Sean Geek rewrite — If he'd been in the room, here's how Sean would have restructured Secret Wars II from the ground up.Looking ahead — A teaser for a future episode on the very different, much more acclaimed 2015 Secret Wars event.Patreon thank-yous — Shoutouts to supporters including Ronald George Moore (Manitoba Money Shot Podcast), Sam Thompson (Witch Police Radio), Ruby (Living Through Extinction), Tony Griggs, Corey Morissette, Kevin Brown, Danny Pabst, Duane, and new patron Andrew (Head Full of Radio / Soupful of Radio). Comics ReferencedMarvel Super Heroes Secret Wars (1984)Secret Wars II (1985) and its many tie-in issues across the Marvel lineSecret Wars (2015)Crisis on Infinite Earths (DC, mentioned for comparison) Support the ShowBecome a Patreon supporter for early episode access, video versions, and the chance to pitch topics for future episodes. Have thoughts on Secret Wars or Secret Wars II? Let Sean know — your comment might get read on a future episode. Linktree: https://linktr.ee/seangeekpodcast Patreon: https://www.patreon.com/c/seangeekpodcast We are a part of the Boneless Podcast Network: https://bonelesspodcasting.com/ Merch: Tee Public: https://www.teepublic.com/seangeekpodcast Red Bubble: https://www.redbubble.com/people/seangeekpodcast/shop @seangeekpodcast on Twitter, Instagram and Facebook Hands down, Secret Wars I was the pop-culture sandbox where Marvel dumped its coolest toys and biggest egos and watched fireworks happen — and I gush about it like a kid in a candy aisle. I walk you through the origin story of the event: how Jim Shooter and Marvel teamed with Mattel to essentially build a 12-issue crossover whose primary job was to sell action figures. I explain what a "maxi-series" is (think a limited-run event with a defined beginning and end) and why having so many heavy-hitter characters in one place was innovative and risky back in 1984. I share my own personal memory of hunting down issues in Moncton, trading comics with friends, and the way certain character moments — like the Black Costume for Spider-Man, Galactus' motivations, and the Molecule Man’s surprising emotional arc — stuck with me years later. Then I shift into critique mode: the good, the awkward, and the “what were they thinking?” moments. I point out how the series sold like gangbusters yet received mixed critical response because of uneven writing and jarring characterizations (ahem, Rhodey/Rhodes dialogue and odd turns for Colossus). I also explain why flashbacks were necessary in an era before the internet and ubiquitous comic shops, but how they became cumbersome in collected reads. Throughout, I zoom in on toy-line decisions, artistic highs (Mike Zeck, Bob Layton moments) and lows, and why Secret Wars I mattered beyond nostalgia — it changed how publishers approached crossover storytelling and merchandising, for better and worse. I throw in a few jokes about cheap action-figure bodies and He-Man deja vu, because nostalgia deserves a wink. Takeaways: I learned the original Secret Wars (1984) was essentially a big Marvel–Mattel marketing move — a 12‑issue maxi‑series built to sell action figures, where the comic was a massive hit but the toy line hilariously flopped.We talk about how Secret Wars essentially invented the modern crossover concept: jimmy‑rubbing top selling heroes and villains together into one eventful maxi‑series that changed how comics were published and marketed thereafter.I’ll be honest — a lot of the character work felt inconsistent: questionable dialogue (looking at you, Rhodey), weird relationship choices like Colossus cheating, and endless flashbacks that made the story feel clunkier than it needed to be.Secret Wars II suffered from execution problems: the Beyonder was given human form and the plot got fragmented across roughly 35 tie‑in issues, meaning crucial scenes happened off‑panel and readers needed a PhD in crossovers to follow along.I absolutely loved Owen Reiss (Molecule Man) — his emotional growth and romance with Volcana are genuinely touching highlights, showing how grounding character moments can rescue a sprawling, messy event.We point out that some tie‑ins actually worked — great creators like Chris Claremont (X‑Men) and John Byrne (Fantastic Four) wove the Beyonder into their own arcs smartly, proving tie‑ins can shine when handled with purpose.If I were running the event, I’d slow the roll: hire a dedicated writer/artist team, keep the core emotional beats in the main series (not scattered off‑panel), and avoid tie‑in overload so the story reads like an event, not a scavenger hunt.
