5 Mature Marvel Stories That Got A Little Too Explicit

The following article includes mentions of domestic abuse and incest.

Marvel Comics has told many different types of stories over the years, ranging from street-level adventures featuring Spider-Man to cosmic tales starring the Guardians of the Galaxy, not to mention universe-ending scenarios like the events of "Secret Wars." However, not every Marvel tale has been filled with whimsy, hope, and good triumphing over evil.

While the vast majority of Marvel stories are relatively all-ages-friendly, the publisher hasn't been afraid to get explicit when needed. Recently, the publisher announced gory special edition Red Band editions for its upcoming "Blood Hunt" event, special issues that will include additional pages featuring artwork deemed too much for younger fans. Of course, those following the comic book world for some time know this series is far from the first time things got overly bloody and brutal in the pages of Marvel's most (and, in some cases, least) iconic stories.

Whether showing off horribly mutated heroes and villains in the "Ruins" miniseries, Moon Knight carving one of his most iconic villain's faces off, or the numerous WTF moments that took place during the end of Marvel's original "Ultimates" line, Marvel comics are chock full of scenes that pushed the boundaries of violence. Of them all, these stand out as the five stories that got a little too explicit and tough to stomach for even the most hardened readers.

The "Ruins" two-part comic, written by Warren Ellis and illustrated by Terese & Cliff Nielson, Chris Moell, and Jonathan Babcock, is a satirical take on the classic "Marvels" miniseries by Kurt Busiek and Alex Ross. Like "Marvels," the 1995 series shows readers the Marvel Universe as seen through the eyes of Daily Bugle reporter Phil Sheldon. However, "Ruins" takes Phil's story in a significantly darker direction, showcasing a world where pretty much everything goes wrong, often in disgusting ways, for its greatest heroes.

In "Ruins," heroes and villains alike suffer horrible fates upon gaining their powers. Wolverine's flesh begins to fall off his body due to his Adamantium bones being toxic. Bruce Banner becomes a disgusting version of the Hulk after being hit with a gamma radiation blast, transforming him into a horrifying monster filled with tumors and masses. Even Peter Parker, who became Marvel's most famous and beloved superhero after getting bit by a radioactive spider, suffers. Instead of becoming Spider-Man, the bite gives him a virus that turns his body into a giant, infectious, cancerous rash that ultimately infects and kills Phil. There is so much death and destruction in "Ruins," that not a single character ends up with a happy ending — on the contrary, everyone has a miserable existence.

"Ruins" is one of the grossest, hardest-to-look-at Marvel comics ever published. It's disgusting, edgy, and horrifying. It takes what readers love about the publisher's iconic characters and puts their powers and origins through a nightmarish blender. This was, of course, Ellis' entire intention, and there's little doubt he succeeded in creating a Marvel Universe where gaining abilities is a curse, not a blessing.

In 1998's "Avengers" #71 (by Geoff Johns, Stephen Sadowski, Andrew Currie, Chris Sotomayor, and Rus Wooton), a romantic encounter between Hank Pym, aka Yellowjacket, and Janet Van Dyne, aka the Wasp, was so explicit and controversial that it was ultimately cut from future reprints of the issue.

The story opens in Las Vegas, with Van Dyne screaming, "No, Hank! Not again!" The text hints that she might be dealing with a domestic violence incident at the hands of Hank, like she famously suffered in "Avengers" #213, which led to her ending her marriage with her fellow Avenger. However, it turns out to be something entirely different. The comic shows Hank and Janet in bed together, with the pint-sized hero climbing up his wife's body, suggesting he is in the midst of performing sexual acts while in his miniaturized state. A disheveled and extremely sweaty Hank tells Janet, "– your turn," hinting he wants her to do the same for him.

The sex scene invoked an immediate reaction among readers and retailers, ultimately leading to Marvel Comics being forced to apologize since the issue wasn't rated for mature audiences. According to icv2 (via CBR), "In its statement to retailers Marvel apologized 'for any inconvenience or difficulties that this situation may have caused,' and requested 'that all Marvel First Look retailers use discretion when deciding to display First Look copies of Avengers 71."

Ultimately, the most graphic elements of the sex scene were cut in future printings of the issue. It took being called out by fans, but Marvel eventually came to understand they accidentally crossed a line in a comic that was simply too mature for younger audiences.

The Ultimate Universe offered readers an alternate take on most of its heroes and villains without the constraints of continuity or past history. However, as the original (not the current Jonathan Hickman-reimagined version) version of the alternate reality came to a close, it produced some of the nastiest and most repulsive stories ever told in any Marvel universe.

For example, in 2007's "The Ultimates 3" (by Jeph Loeb, Joe Madureira, Christian Lichtner, and Richard Starkings), it's revealed that Scarlet Witch and Quicksilver are in an incestuous relationship when Wolverine catches them being intimate together. In "Ultimatum" #2 (by Loeb, David Finch, Danny Miki, Steve Firchow, Peter Stiegerwald, Guru eFX, and Starkings), the Blob graphically eats the Wasp alive, while the next issue features Giant-Man getting revenge on the mutant by biting the villain's head off. In "Ultimatum" #4, Doctor Strange suffers a gruesome death as Dormammu casts a spell on the Ultimate Sorcerer Supreme, causing his sash to wrap around his body and squeeze until his head violently explodes. And these are just some of the examples of the Ultimate Universe choosing shock value over substance.

While there were some great storylines in the Ultimate Universe, including the introduction of Miles Morales and the first Marvel Zombies, towards its end, it became edgy nonsense that cared more about creating offensive moments than good stories. Hopefully, Hickman and those tackling the new Ultimate Universe alongside him have learned from the mistakes of the past and are able to fully avoid them.

Moon Knight's darkest moment is one that will never appear in the Marvel Cinematic Universe, as it's simply too gross and violent to get the live-action treatment.

In 2006's "Moon Knight" #2 (by Charlie Huston, David Finch, Danny Miki, Frank D'Armata, and VC's Joe Caramagna), a flashback shows a battle between Moon Knight and one of his most prevalent villains, Bushman. The back-and-forth affair features the pair dealing each other a series of punishing blows, with blood spilling and bones being broken and shattered in the tussle. In the end, after falling off a building and injuring both of his legs, Moon Knight cuts his opponent's throat with a crescent dart. Bushman is still alive, though, so Marc Spector grabs his weapon and uses it to carve the villain's face right off his skull. The caped vigilante lifts up the skin and flesh of Bushman's face and screams out to Khonshu, seemingly offering it to the god who granted him his abilities as proof of his worthiness. It's as brutal as it sounds.

Moon Knight isn't afraid to get bloody to accomplish what he needs, and he's committed plenty of terrible acts during his time as a hero. But Bushman getting his face carved off is easily the most explicit thing readers have ever seen Moon Knight do. While the moment lives on in canon, it's highly unlikely anything he'll ever do in the future will top this in terms of sheer violence and gore.

The Punisher is no stranger to violence, and Wolverine has made it his business to survive what would kill anyone else. But, in 2001's "Punisher" #16 and #17 (by Garth Ennis, Darick Robertson, Avalon's Matt Milla, Richard Starkings, and Wes Abbott), the two antiheroes cross paths, leading to a fight that stretches Logan's mutant healing factor to its absolute limit, as well as what's acceptable to draw and print in a Marvel comic.

Punisher and Wolverine don't care for each other's company, so they immediately begin to fight when they stumble across each other. After shooting Wolverine's face off with a shotgun blast, horrifying exposing his adamantium skull, Punisher shoots the feral X-Man in his groin to slow him down, telling the clawed hero his private parts will "grow back." Upon successfully fending off waves of mobsters, Punisher realizes he'll need to take out Wolverine in an even bloodier manner to ensure he isn't tracked by him. He stops the regenerating mutant by jumping into a nearby steamroller and squishing him, Looney Tunes-style. Wolverine screams out in horror as he's being crushed, telling Punisher he will gut him like a fish. His cries don't matter as Punisher leaves him trapped underneath the massive machine's weight.

The comic, featuring one of Marvel's most gruesome (and, yes, humorous) fights ever, shows that the Punisher isn't to be messed with, even against a seemingly indestructible opponent. Frank Castle is simply too creative and capable for anyone to take out singlehandedly, even someone as powerful as Wolverine. Ultimately, Castle turns the mutant's body into what looks like a fully used tube of toothpaste. As disgusting as this is, it's fair to say Logan that the Punisher is willing to take things too far.