Secret Empire #10: This series ends more or less how I expected. As I mentioned in my review of issue #9, some of the excitement has been missing in the last few issues since Spencer had done such a solid job of setting up the denouement. But, Spencer still does his best to throw some surprises our way. Bucky has Sam give Captain Nazi the last Cube fragment, figuring (correctly) that unifying the Cube would unify Kobik. Under the guidance of Dream Steve, Kobik finds the courage to stand against Captain Nazi, erasing the history he and HYDRA created. Spencer also answers some long-standing questions: for example, we learn Elisa used a fragment of the Cosmic Cube to rewrite Mjolnir's rules, rewarding the strongest not the worthiest. It explains why Captain Nazi could wield the hammer in "Secret Empire" #0, though I'm not quite sure we ever learn how Elise got her hands on the shard in the first place. That said, I still have questions. We never really resolve the implication in "Secret Empire" #1 that Steve had embraced HYDRA before Kobik rewrote history, and I'm still not sure we learned who the new Kraken is. (I'm still pulling for it to be Ian.) Spencer also does the unthinkable and doesn't use Kobik to retcon everything: Natasha and Rick stay dead, Sharon stays old, etc. The issue ends with Barf, the young Inhuman who began the series, reuniting with his little brother and returning home to find his house graffiti-ed with HYDRA slogans. (I admit I teared up a bit at their reunion, a surprising reminder of how emotionally engaged I was with this series.) The next day, Barf awakens to discover the community helping clean up the house, epitomizing the message Spencer is sending: Kobik left the scars to remind us what happens when we embrace the easy answer. Once again, it's not hard to see the parallels to current events, but Spencer gets us there without sounding too preachy. All in all, as I've previously said, this event has hands-down been the best Marvel has published since possibly "Siege." Spencer adroitly sets up the "Generations" mini-series and larger "Legacy" relaunch this fall. But, perhaps more importantly, he told a well constructed and emotionally engaging story about the fight between good versus evil. Back to basics, indeed.
Generations: Hawkeye and Hawkeye #1: Man, as Katie herself says here, I miss these two. Can we please get the band back together?
Spider-Gwen #23: This issue might be the most perfect issue of a comic ever. Mary Jane has to convince Glory to cover drums since Gwen is busy in Madripoor, and Blumenreich and Latour take us on an amazing tour of the girls' lives in the process. Seriously, I would 100% read a Blumenreich-penned series just about the Mary Janes sans Gwen. She really taps into what it feels like to be young in a way that reminds you how powerful of a medium comics can be. We see the best and worst of Mary Jane here, from the self-centered whining Glory cites as the reason she originally left the band to her literal ass-kicking when she beats up the guy accosting Betsy because she wouldn't give him the time of day. (I don't know how she did it, but Blumenreich immediately telegraphed this guy was bad news when he approached Betsy at the party. When he accosts the girls on the street, it feels very much like the threat it is.) The ending on the subway - with Mary Jane telling Glory she'd punch out all the guys for her and Glory not being able to stay mad at her - is just the magic of the friendships of our youth. As Uatu says (seriously) at the start of this issue, this series used to be fun but it's gotten really dark. Hurrah for a break from that, for Uatu and us.
Star Wars #35: Aaron has really been on a roll lately. After last issue’s great romp with Sana and Lando, I figured we’d be getting a multi-issue arc here. Instead, we get another great one-and-done issue, as Han outmaneuvers Grakkus to trick him into revealing where his safe house (and all its weapons) is located. Aaron has Han’s voice down so completely you can hear Harrison Ford speaking the dialogue in your mind. Moreover, the art is great: Delgado’s colors are downright cinematic as a result of his amazing use of lighting. (After only a few pages I flipped back to the title page to see who the colorist was.) Issues like this one remind me what a golden age of Star Wars it is.
Uncanny Avengers #26: After all this time, I continue to believe this series is the real Avengers title. Zub just gets it. The sexual tension between Johnny and Rogue and Voodoo and Wanda reminds me of the good ol’ days, when everyone was sleeping with each other and it caused problems on and off the battlefield. Johnny and Rogue are particularly charming here as a couple: they both start with bravado but fade to honest-to-goodness feelings. (Johnny Storm! Talking about feelings!) Izaakse is a great find, a less highly defined version of McNiven who works well for this title. (Johnny in his little shorts is particularly a revelation.) Moreover, Zub puts us squarely in that most Avengers of all moments: after a great battle where they’re divided and exhausted, they have to find a way to keep on going. Even the battle itself mirrors their situation: they’re squatting in Avengers Mansion after the previous occupants abandoned it during “Secret Empire,” and Graviton turns everything upside down in his attempt to prove life is meaningless and random. They’re literally fighting for meaning here, and it’s a great ride. I would say I'd like Zub to do a little more with Janet here, as I feel like she's often portrayed as more inexperienced than she is. I get Rogue is also experienced, but, I mean, Janet is Janet.
X-Men: Blue #10: From Hank’s dark-magic use to Bobby’s more serious mien, Bunn is reminding us we’ve gone beyond the point where these kids are the kids we knew. They’re their own characters, and their new personalities are on full display. Moreover, we get another amazing group of enemies here, as the Goblin Queen manipulates Hank into bringing her “Hex-Men” into the present. Adding even more intrigue, this series seems to be the one where Marvel is exploring the fallout of “Secret Wars,” as Jimmy and Warren explore his origins. When you add in there the possibility of Magneto and Polaris fireworks, this series is really the best soap opera in town! (Also, Romeo, Jesus, return Bobby's calls!)
Also Read: Dungeons & Dragons: Frost Giant's Fury #5; Rebels: These Free and Independent States #6
Wednesday, October 25, 2017
Wednesday, October 18, 2017
Not-So-New Comics: The August 23 Edition (HERE BE SPOILERS!)
Secret Empire #9: Spencer does a solid job of keeping up the suspense here. It's hard to get us on the edge of our seats the way he did in early issues, given it's pretty clear how the story is going to end: the heroes will take on a Cube-powered Captain Nazi while Dream Steve convinces Kobik to restore him to reality. But, the story unfolds well; I only had two nitpicks. First, I would've loved some sort of chart showing which side possessed which shards. I initially thought the heroes had two shards -- one from Ultron and one from the Savage Land -- but last issue they only seemed to have the Ultron one. That said, I don't care that much; it's why a chart would've been helpful, since it would've been simple to understand the status quo. (Instead, we get the weird "cast of characters" page that adds nothing to the story.) Second, it's hard to believe Sam managed to free New York from the Darkforce Dimension and bring down the Shield with only one shard (assuming his use of the shard allowed those events to happen). If true, you'd have to imagine Steve doesn't need some Cube-powered suit to take out the heroes. He might not be able to rewrite history without the final shard, but it seems like he could easily just wish away his opponents. At any rate, we are where we are. Spencer includes some grace notes here, like Carol and Sam taking a moment to reflect on how fun it is to kick the HYDRA troops' asses. But, for the most part, it's really about following the silver ball through the Rube Goldberg machine while we wait for Kobik to right her wrongs.
Ben Reilly: Scarlet Spider #6: I love Peter David, and I'm willing to ride this one until the end with him. However, I'm surprised I don't really have a great read on Ben Reilly as a character after six issues. (Conversely, Miguel O'Hara was a fully formed character after just the first three-issue arc of the original "Spider-Man 2099" series.) David portrays Ben as desperate: he's trying to save Diva's daughter simply because he doesn't have a lot of great options when it comes to employment. But, honestly, it's sort of hard to believe. He could pretty easily just use his Spider-Powers to rob enough banks to set himself up nicely and then decide what he wants to do. Instead, he just seems to be hanging around Vegas in search of a larger plan. In other words, after six issues, I still don't get the core conceit of this series. He's not wandering the country like an outlaw like he used to do or serving as a city's reluctant hero like Kaine did in Houston. He's just...there.
Detective Comics #963: I've mentioned previously it's sometimes hard to remember what changed from the DCU to the DCnU, particularly when it comes to Batman's continuity. For the most part, everything stayed the same, except for some outrageous changes that DC wisely promptly ignored (like Joker manipulating Jason's life essentially from birth to Tim not figuring out Batman's identity). However, sometimes the change feels more abrupt, as is the case here with Anarky. Anarky was playing a key role in Fabian Nicieza's run on "Red Robin" when the DCU came to an end, and I think that version of the character is fresh in most of our minds. Moreover, Buccellato and Manapul introduced a completely different character using that moniker in their own run on this title. As such, it's hard to tell what character we're getting here. I acknowledge I don't get all the Bat-family titles. Maybe he's already debuted in "Red Hood and the Outlaws" or "Teen Titans" (or "Batgirl" since I stopped reading it). But, it's this uncertainty that detracts from the story Tynion is trying to tell here. I get why Spoiler would be attracted to Anarky in the abstract. But, since it's impossible to know what this Anarky feels, it's also hard not to feel at least partially confused.
Iceman #4: I really, really, really wanted Bobby to make out with Daken. [Fan sigh.] That said, something still isn't clicking for me and this series. At times in this issue, it was an effort to make my way through the dialogue, something I don't think I should've felt given the sexually charged banter the fight between Bobby and Daken brought to the table. But, I'm hoping Sina finds his groove in the same way I hope Bobby does. Each issue feels like an improvement, and I'm hoping we'll really be cooking with gas (or, I don't know, freezing the lake?) in a few issues if it keeps improving.
Nightwing: The New Order #1: To use the cliché, Higgins leaves us with more questions than answers here, but so far it's a good thing. First and foremost, Higgins doesn't tell us why Dick decided to turn against the metahuman community. All we know is he activated a device that stripped 90 percent of metahumans of their powers; the remaining metahumans either were forced to take inhibiting drugs or, if they didn't work, imprisoned until a "cure" could be found. It's a pretty serious shift to the fascist, and Higgins certainly has to explain how it happened at some point. It appears Dick had a child with Starfire, so my original guess -- that a metahuman killed Barbara -- might not wind up being true. Moreover, Alfred himself opposes Dick's approach -- particularly the indefinite detention of metahumans who don't respond to treatment -- making it even more unclear why Dick himself would take this position. But, we also have the larger question: why give us this series now? Did Higgins just decide to launch this miniseries because he had the idea, or will we see either the themes or the outcomes of this miniseries impact the "real world?" I'm intrigued.
Also Read: Generations: The Unworthy Thor and the Mighty Thor #1; Pathfinder: Runescars #4; Peter Parker: The Spectacular Spider-Man #3; Star Wars: Doctor Aphra Annual #1; X-Men: Gold #10
Ben Reilly: Scarlet Spider #6: I love Peter David, and I'm willing to ride this one until the end with him. However, I'm surprised I don't really have a great read on Ben Reilly as a character after six issues. (Conversely, Miguel O'Hara was a fully formed character after just the first three-issue arc of the original "Spider-Man 2099" series.) David portrays Ben as desperate: he's trying to save Diva's daughter simply because he doesn't have a lot of great options when it comes to employment. But, honestly, it's sort of hard to believe. He could pretty easily just use his Spider-Powers to rob enough banks to set himself up nicely and then decide what he wants to do. Instead, he just seems to be hanging around Vegas in search of a larger plan. In other words, after six issues, I still don't get the core conceit of this series. He's not wandering the country like an outlaw like he used to do or serving as a city's reluctant hero like Kaine did in Houston. He's just...there.
Detective Comics #963: I've mentioned previously it's sometimes hard to remember what changed from the DCU to the DCnU, particularly when it comes to Batman's continuity. For the most part, everything stayed the same, except for some outrageous changes that DC wisely promptly ignored (like Joker manipulating Jason's life essentially from birth to Tim not figuring out Batman's identity). However, sometimes the change feels more abrupt, as is the case here with Anarky. Anarky was playing a key role in Fabian Nicieza's run on "Red Robin" when the DCU came to an end, and I think that version of the character is fresh in most of our minds. Moreover, Buccellato and Manapul introduced a completely different character using that moniker in their own run on this title. As such, it's hard to tell what character we're getting here. I acknowledge I don't get all the Bat-family titles. Maybe he's already debuted in "Red Hood and the Outlaws" or "Teen Titans" (or "Batgirl" since I stopped reading it). But, it's this uncertainty that detracts from the story Tynion is trying to tell here. I get why Spoiler would be attracted to Anarky in the abstract. But, since it's impossible to know what this Anarky feels, it's also hard not to feel at least partially confused.
Iceman #4: I really, really, really wanted Bobby to make out with Daken. [Fan sigh.] That said, something still isn't clicking for me and this series. At times in this issue, it was an effort to make my way through the dialogue, something I don't think I should've felt given the sexually charged banter the fight between Bobby and Daken brought to the table. But, I'm hoping Sina finds his groove in the same way I hope Bobby does. Each issue feels like an improvement, and I'm hoping we'll really be cooking with gas (or, I don't know, freezing the lake?) in a few issues if it keeps improving.
Nightwing: The New Order #1: To use the cliché, Higgins leaves us with more questions than answers here, but so far it's a good thing. First and foremost, Higgins doesn't tell us why Dick decided to turn against the metahuman community. All we know is he activated a device that stripped 90 percent of metahumans of their powers; the remaining metahumans either were forced to take inhibiting drugs or, if they didn't work, imprisoned until a "cure" could be found. It's a pretty serious shift to the fascist, and Higgins certainly has to explain how it happened at some point. It appears Dick had a child with Starfire, so my original guess -- that a metahuman killed Barbara -- might not wind up being true. Moreover, Alfred himself opposes Dick's approach -- particularly the indefinite detention of metahumans who don't respond to treatment -- making it even more unclear why Dick himself would take this position. But, we also have the larger question: why give us this series now? Did Higgins just decide to launch this miniseries because he had the idea, or will we see either the themes or the outcomes of this miniseries impact the "real world?" I'm intrigued.
Also Read: Generations: The Unworthy Thor and the Mighty Thor #1; Pathfinder: Runescars #4; Peter Parker: The Spectacular Spider-Man #3; Star Wars: Doctor Aphra Annual #1; X-Men: Gold #10
Tuesday, October 17, 2017
Not-So-New Comics: The August 16 Non-Marvel Edition (HERE BE SPOILERS!)
Dark Nights: Metal #1: As far as I can piece together, Carter Hall and his Challengers of the Unknown realized the Nth metal (presumably the "ninth" metal) came from outside our Multiverse, specifically the Dark Multiverse. However, Hall didn’t believe this universe was "evil" before he and the Challengers entered it via a portal. Hawkwoman provides us this information after whisking the Justice League to her secret base (if I remember correctly). She then reveals she later got a message from the Red Tornado (one of the Challengers) saying a great beast lies in the Dark Multiverse and she shouldn't open the portal to it. She tells the League she believes this creature to be one mentioned in numerous tales of the metal: Barbatos, literally "foreign metal." The dark tribe (i.e., the Bat Tribe) worshiped him, and someone treated with the five divine metals could open the portal for him. (Five divine metals? I guess it explains the weird exchange between Bruce and Talia about the "eight" versus "ninth" metals in "Dark Days: The Casting" #1.) Hawkwoman reveals the name of the person who opens the portal is "Wayne." Dun-dun-DUN! The League covers Bruce's escape (because I think Hawkwoman wants to imprison him before he can open the portal fully), and he manages to flee with a piece of the Nth Metal Hawkwoman had at her base. While he studies it at the Batcave, we learn Carter hid his journal in Wayne Manor for Bruce to find. (Presumably Carter had the same information about a Wayne opening the portal as Hawkwoman; the presence of the Nth metal also presumably awakens the journal.) We learn the Waynes used to be members of the Bat Tribe but switched to the Bird Tribe so now they’re trustworthy. (Sure, whatever.) Carter also reveals in his journal that he was wrong, presumably (again) about the evilness of the Dark Multiverse. (This journal must be from the Dark Multiverse if Carter now knows he was wrong about it being evil. However, how exactly did he hide it in Wayne Manor if he's on another plane of existence?) As you can probably tell by all the "presumably-s," I wasn't thrilled with this issue. We’re clearly supposed to be wowed by it, as if Snyder has been carefully building this plot over years and years and hiding Easter eggs along the way. But, everything is only "amazing" because Snyder tells us it is. It’s like putting an addition on the house in a different style and trying to pretend it was there all along. Right now, at least for me, I can tell it's an addition.
Batman #29: I can’t tell if this issue is brilliant or terrible. The last few issues have felt like retrospective issues of a story we haven’t yet read, with King focusing more on fringe developments in the War of Jokes and Riddles than on the war itself. But, he finally engages in the war directly here as Bruce Wayne invites Joker and Riddler to dinner. Janín is spectacular here, with the top panel of each page depicting the course Alfred is serving as part of a proper French nine-course meal. Bruce reveals he’s offering a prize: one billion dollars to the one who convinces him he’s most worthy of killing the Bat. It makes a certain amount of sense: Bruce wants to bring the war to conclusion, and he needs one of them to defeat the other soundly. One billion dollars would obviously get them there. (We'll put aside the legality of Bruce moving that amount of cash to one of them.) But, once again, it's hard to buy Bruce's desperation bringing him to this point because we haven't really seen the violence allegedly tearing apart Gotham. Proving that point, this issue only delivers such examples through grayed-out flashback panels. Moreover, Bruce is...weird, even in his interaction with Alfred. He fixates on the fact his mother would've disapproved of his "guests" leaving before the final coffee and sherry course. Sure, Bruce: Martha would've been most disappointed in the bad manners your guests exhibited rather than you offering one billion dollars to Gotham's most dangerous psychopath to help him kill the second most dangerous one. I get the act for Joker and Riddler, but it doesn't make any sense with Alfred. It’s almost like King wants us to believe Bruce has suffered some sort of psychotic break as a result of the war. In other words, it’s par for the course of this story: moments of brilliant inspiration lost in muddled narrative.
Dungeons & Dragons: Frost Giant’s Fury #4: This issue is legitimately exciting. The team has to regroup and then track down the frost giants as their leader, Gryttmort, uses the Dragon Orb (I mean, “Orb of Dragonkind”) to start building an army of dragons and giants. They discover Nilanthe’s eggs, but they’re going to have to get through a whole squadron of frost giants to escape with them. Thankfully, one of the magicians back in town gave Minsc a potion that allows him to grow to the size of a giant, and I can’t wait to see that deployed. Along the way, Zub gives us some really great moments of characterization, from the latest installment of Krydle’s ongoing crisis of motivation to Minsc’s attempt to make friends with a winter wolf because all animals love him. If you’re a fantasy person, you should pick up this series. I’d love to see Wizards of the Coast actually give us some novels based on this cast. It’s not just the Dragon Orb that makes me feel like I was reading "Dragons of Winter Night."
Also Read: Dragon Age: Knight Errant #4; Nightwing #27
Batman #29: I can’t tell if this issue is brilliant or terrible. The last few issues have felt like retrospective issues of a story we haven’t yet read, with King focusing more on fringe developments in the War of Jokes and Riddles than on the war itself. But, he finally engages in the war directly here as Bruce Wayne invites Joker and Riddler to dinner. Janín is spectacular here, with the top panel of each page depicting the course Alfred is serving as part of a proper French nine-course meal. Bruce reveals he’s offering a prize: one billion dollars to the one who convinces him he’s most worthy of killing the Bat. It makes a certain amount of sense: Bruce wants to bring the war to conclusion, and he needs one of them to defeat the other soundly. One billion dollars would obviously get them there. (We'll put aside the legality of Bruce moving that amount of cash to one of them.) But, once again, it's hard to buy Bruce's desperation bringing him to this point because we haven't really seen the violence allegedly tearing apart Gotham. Proving that point, this issue only delivers such examples through grayed-out flashback panels. Moreover, Bruce is...weird, even in his interaction with Alfred. He fixates on the fact his mother would've disapproved of his "guests" leaving before the final coffee and sherry course. Sure, Bruce: Martha would've been most disappointed in the bad manners your guests exhibited rather than you offering one billion dollars to Gotham's most dangerous psychopath to help him kill the second most dangerous one. I get the act for Joker and Riddler, but it doesn't make any sense with Alfred. It’s almost like King wants us to believe Bruce has suffered some sort of psychotic break as a result of the war. In other words, it’s par for the course of this story: moments of brilliant inspiration lost in muddled narrative.
Dungeons & Dragons: Frost Giant’s Fury #4: This issue is legitimately exciting. The team has to regroup and then track down the frost giants as their leader, Gryttmort, uses the Dragon Orb (I mean, “Orb of Dragonkind”) to start building an army of dragons and giants. They discover Nilanthe’s eggs, but they’re going to have to get through a whole squadron of frost giants to escape with them. Thankfully, one of the magicians back in town gave Minsc a potion that allows him to grow to the size of a giant, and I can’t wait to see that deployed. Along the way, Zub gives us some really great moments of characterization, from the latest installment of Krydle’s ongoing crisis of motivation to Minsc’s attempt to make friends with a winter wolf because all animals love him. If you’re a fantasy person, you should pick up this series. I’d love to see Wizards of the Coast actually give us some novels based on this cast. It’s not just the Dragon Orb that makes me feel like I was reading "Dragons of Winter Night."
Also Read: Dragon Age: Knight Errant #4; Nightwing #27
Not-So-New Comics: The August 16 Marvel Edition (HERE BE SPOILERS!)
X-Men: Blue #9: This series just gets more and more confusing. On the plus side, I buy the idea Magneto sent Briar (whoever the fuck she is), Danger, and Polaris to watch over the X-Men during their assault on Emma's mutant nation. I also buy them acting as the X-Men's teachers now that they survived said assault. (Is Briar qualified enough to be a teacher?) But, other parts of this issue make no sense. Alex is now fully “evil:” Polaris declares he’s too far gone for her to save. But, she also says she’s not giving up hope in saving him. Which one is it? Is he too far gone, or is he still savable? Also, we learn the White Queen and Alex are working with Miss Sinister and Bastion on some sort of project called “Mothervine,” which just seems totally unbelievable. The Goblin Queen? Sure, I get Alex going down that (sexy, sexy) road again. But, Miss Sinister and Bastion? Not so much. Also, do we have any idea who Xorn really is? I feel like Bunn just continues to throw these non sequiturs at us, from Briar to Mothervine to Xorn. I just dont' get it.
Astonishing X-Men #2: Soule is playing a long game here, so I'm definitely happy to give him time to tell his story. But, I wold say I'm not buying the stakes of the "game" Professor X is playing with the Shadow King, where he gets to kill the X-Men if he wins (rather than the Shadow King getting to possess them). Soule clearly has something up his sleeve but, at this point, it's hard not to roll your eyes at any plot that threatens the X-Men's death.
Spider-Men II #2: Man, this issue is terrible. First, Bendis portrays Peter as some sort of brain-injury victim incapable of speaking without quipping. You get used to a fair amount of inappropriately timed quipping when you read Spider-Man comics, but Bendis takes it too far here. Second, we have all sorts of weird assertions about timing that make no sense. At one point, Peter says he’s “sort of” three years older than Miles. If you’re going to say, “But, Miles is in high school!,” Bendis apparently disagrees with you: Peter makes fun of him for carrying a backpack because he’s too old to do so, and a girl he likes asks him if the person calling him is his wife, as if you normally ask high-school students that. Notably, this later conversation happens on the Brooklyn Visions Academy campus, making it make even less sense. I just don’t get it at all. Bad script + unrealistic plot = terrible issue.
Also Read: Generation X #5; Mighty Thor #22; Star Wars #34; U.S.Avengers #9
Astonishing X-Men #2: Soule is playing a long game here, so I'm definitely happy to give him time to tell his story. But, I wold say I'm not buying the stakes of the "game" Professor X is playing with the Shadow King, where he gets to kill the X-Men if he wins (rather than the Shadow King getting to possess them). Soule clearly has something up his sleeve but, at this point, it's hard not to roll your eyes at any plot that threatens the X-Men's death.
Spider-Men II #2: Man, this issue is terrible. First, Bendis portrays Peter as some sort of brain-injury victim incapable of speaking without quipping. You get used to a fair amount of inappropriately timed quipping when you read Spider-Man comics, but Bendis takes it too far here. Second, we have all sorts of weird assertions about timing that make no sense. At one point, Peter says he’s “sort of” three years older than Miles. If you’re going to say, “But, Miles is in high school!,” Bendis apparently disagrees with you: Peter makes fun of him for carrying a backpack because he’s too old to do so, and a girl he likes asks him if the person calling him is his wife, as if you normally ask high-school students that. Notably, this later conversation happens on the Brooklyn Visions Academy campus, making it make even less sense. I just don’t get it at all. Bad script + unrealistic plot = terrible issue.
Also Read: Generation X #5; Mighty Thor #22; Star Wars #34; U.S.Avengers #9
Monday, October 16, 2017
Not-Very-Deep Thoughts: The August 9 Non-Marvel Edition (HERE BE SPOILERS!)
Detective Comics #962: I mostly like what Tynion did here, though I'll admit I'm still left a bit confused. Luke successfully introduces the Batman A.I. into Azrael, allowing him to join the good fight against Ascalon. The big development is Nomoz sacrificing his life to tell Jean-Paul Ascalon is his brother, though this part seemed odd to me. After all, didn't we just learn Jean-Paul was grown in a lab? OK, maybe Ascalon was grown from the same genetic material as Jean-Paul, but Tynion seems to be supposing an emotional connection there I'm not sure Jean-Paul would feel. After all, Jean-Paul didn't even know if he had biological parents, as far as I can recall. Is Tynion saying Jean-Paul Valley, Sr. is the biological father of Azrael and Ascalon? Is Azrael going to go hunt for his biological mother? This part remains unclear. That said, the resolution of the story mostly works. Ascalon has uploaded the personalities of all Gotham, giving him some sort of power I don't quite understand. But, Zatanna uses the Gnosis Sphere to give him all the answers to all life's questions. She knows human life is about the questions, not the answers; as a result, Ascalon comes to understand humanity and, inexplicably, summons his human form. (This part seemingly supports the idea Jean-Paul and Ascalon are biologically, and not just genetically, brothers, but I still don't understand the mechanics of it, if you will.) Jean-Paul is left paralyzed after Ascalon broke him over his knee, a parallel to the "Knightfall" story I guess now never happened. But, the big development is a thankful Ascalon informing Bruce Tim is still alive (the reason Bruce was chasing the Gnosis Sphere in the first place). Moreover, Ra's al Ghul is seemingly impressed by Jean-Paul Valley, Sr.'s manipulation of the events from behind the scenes and invites him to meet their mutual "benefactor." Again, this issue could've been stronger. You got the sense Tynion was rushing through the details to advance the larger plot on an expedited timeframe. But, the plot still at least makes sense and I do feel like that larger plot is progressing nicely.
Youngblood #4: Other than the physics-defying moment when Bowers has Shaft fire his sword from his bow without the use of a string, this issue is pretty solid. The Byrne brothers are revealed to be fulfilling their father’s mission by using Help! to identify methumans to traffic to interested buyers. But, Help! seems to be simply a means to an end, raising funds for whatever their eventual plans are. Dolante and Petra break into ByrneTec to get more information about Man-Up’s disappearance and stumble upon the truth just in time for the Byrne brothers to send the Chapel brothers (I think) after them. Shaft almost gets eliminated as he goes after Cybernet himself, but he’s saved by the rest of the team, with Margot revealing Dolante and Petra went rogue. (The woman who actually saves him is the white-haired woman with a “Y” on her t-shirt, and I’m not sure if she’s Supreme, who we see Dolante and Petra meeting a few days earlier.) My several-weeks break in reading comics was most obvious here, as I couldn't remember how the team discovered Help! would know about Man-Up's disappearance or how they identified Cybernet as an enemy. But, I'm back in the saddle, and I'm looking forward to learning more.
Also Read: Titans #14
Youngblood #4: Other than the physics-defying moment when Bowers has Shaft fire his sword from his bow without the use of a string, this issue is pretty solid. The Byrne brothers are revealed to be fulfilling their father’s mission by using Help! to identify methumans to traffic to interested buyers. But, Help! seems to be simply a means to an end, raising funds for whatever their eventual plans are. Dolante and Petra break into ByrneTec to get more information about Man-Up’s disappearance and stumble upon the truth just in time for the Byrne brothers to send the Chapel brothers (I think) after them. Shaft almost gets eliminated as he goes after Cybernet himself, but he’s saved by the rest of the team, with Margot revealing Dolante and Petra went rogue. (The woman who actually saves him is the white-haired woman with a “Y” on her t-shirt, and I’m not sure if she’s Supreme, who we see Dolante and Petra meeting a few days earlier.) My several-weeks break in reading comics was most obvious here, as I couldn't remember how the team discovered Help! would know about Man-Up's disappearance or how they identified Cybernet as an enemy. But, I'm back in the saddle, and I'm looking forward to learning more.
Also Read: Titans #14
Not-Very-Deep Thoughts: The August 9 Marvel Edition (HERE BE SPOILERS!)
Captain America #25 and Secret Empire #8: OK, here we go. In “Captain America” #25, Tony reveals he’s figured out each Cosmic Cube fragment has its own juice. I’ll be honest I’m not quite sure I understand his explanation of the discovery. He apparently realized Ulysses’ vision of Miles killing Cap didn’t come true because Cap was holding a Cosmic Cube fragment when Miles had a chance to kill him in "Secret Empire" #7. In other words, Steve wished Miles didn’t kill him, and it worked. This development results in the usual cascade of problems I've come to expect when confronted with prophecy-based stories, as you have to wonder why Ulysses’ prediction didn’t factor in the Cube fragment’s presence. But, if I know anything after 30+ years of reading comics, it’s not to expect prophecy-based or time-travel stories to make sense. In other words, fine: the Cube changed the history Ulysses predicted because, I don't know, it exists outside reality. Whatever. At any rate, Tony's realization sets up the plan we see unfolding at the start of “Secret Empire” #8: Sam and Tony use the fragment they have to free New York from the Darkforce Dimension and destroy the Shield, freeing the heroes trapped on the other side. To be honest, this issue is the first one to feel like filler, even though a lot happens. Spencer builds some suspense by showing the heroes fail yet again to deliver: Sam gets shot in his attempt to triangulate himself between the Darkforce Dimension and the Shield, failing to give the heroes the juice they need to free themselves. As such, Dr. Strange’s spell and Rocket’s bomb fail. But, Spencer reminds us the Cube works in mysterious ways. Instead, Hawkeye’s jail break allows Maria Hill to kill “Bob,” a.k.a. Blackout, and Quasar’s coma comes to an end. With the heroes reunited, Namor reveals the ace up his sleeve we saw at the end of “Captain America” #25: Bucky is alive. As I said, though, this issue is missing something, given the conclusion seems more and more inevitable. It's not like the first few issues where I legitimately had no idea where Spencer was going. It seems pretty clear the team is going to somehow use the Cube to "save" Steve. That said, it might not have been the most exciting installment of this event, but I also have to admit we do have some momentum carrying us into the finale.
Amazing Spider-Man #31: Something about Doc Ock makes Dan Slott just completely lose the plot, and I use that expression almost literally here. Peter orders everyone in Parker Industries to active worms that destroy everything the company has created; he does so to prevent Otto from breaking into PI's systems and using its technology to advance HYDRA. I get that, but, as usual, Slott takes it too far. At one point, Phillip Chang physically burns his written notes. Really? How exactly was Otto going to access them remotely when he hacked into Parker Industries? Couldn't Phillip just have left the building with them? Also, does he really remember nothing of his research? He basically says he'll never be able to introduce his clean fuel. It's like he's Drew Barrymore in "50 First Dates" and forgets what he did the previous day until he reads his notes. It's just one of several examples showing why this development makes no sense. In addition, Peter seems to deny Otto’s (entirely accurate) claim he, not Peter, started Parker Industries. WTF, Peter? On some level, the story supports this bias, since Peter didn't bother to make sure to scrub Otto from the system. But, does Peter really not believe Otto started PI? If he does, wouldn’t scrubbing Otto from the system be the first thing you'd do after discovering Otto had been in charge of your body for months? OK, first, I’d take a shower at the idea of the dirty things he did with my penis. Then, I’d make sure I eliminated any back-door programs. Peter's inability to do so -- and, by extension, inability to acknowledge Otto's role in the creation of PI -- really challenges my ability to suspend disbelief. It's part of Slott's approach to Peter as a bumbling idiot that I've never bought and just supports my hope we'll one day be freed from his control.
Generations: Phoenix and Jean Grey #1: If all "Generations" titles are as meaningless and poorly scripted as this one, I need to admit right now Marvel has yet again figured out a way to swindle me.
Generations: Phoenix and Jean Grey #1: If all "Generations" titles are as meaningless and poorly scripted as this one, I need to admit right now Marvel has yet again figured out a way to swindle me.
Ms. Marvel #21: I've always been impressed with Wilson's ability to convey complicated social themes in an emotional yet somehow still neutral way, and she really tops herself here. The revelation Basic Becky's creepy henchman is Josh isn't all that surprising. It's more surprising Wilson is able to handle him with such care, showing a broken young man who wanted to be seen as more than a dumb white jock. These sorts of messages can get lost in everyone shouting at each other today ("Poor little white boy!") but Wilson really manages to sell it. As Kamala says, at some point, it's just Josh and Kamala sitting on the floor of the mosque talking about their hurt. We probably need a lot more of that.
Star Wars: Doctor Aphra #11 and Star Wars: Rogue One - Cassian and K2SO Special #1: I lumped these two issues together because they basically tell the same story: both Aphra and Cassian have to deal with droids trying to kill them. In so doing, the Story Group reminds us just how dangerous this far, far away galaxy is, as you not only have to contend with all sorts of humanoids trying to kill you but droids, too. Triple-Zero is really the star of the show, though, as he not only manipulates Rur to get in the kills Aphra has denied him but also backs her into a corner as Vader boards the ship. In so doing, Gillen is setting up a stark reminder about the limits of Aphra's occasional "good" impulses. Would she allow Triple-Zero to kill more indiscriminately just to keep his talents on her side? It feels like a safe bet to take.
Friday, October 13, 2017
Not-Very-Deep Thoughts: The August 2 Edition (HERE BE SPOILERS!)
Champions #11: Waid does a great job here showing us why the Champions decide to join Black Widow in taking down Cap, as they come up empty in their attempt to find anyone alive after Steve's destruction of Las Vegas. (They eventually find a newborn, and it gives them some hope for the future.) It's hard to see what they see and not conclude they have to do something.
Batman #28: Although I still think the story King is telling has potential, we've gotten to the point where the framing device -- Bruce recounting the War of Jokes and Riddles to Selina -- is starting to weigh down the story itself. Moreover, King's focus on vignettes from the fringes of the war makes these issues read like they're from one of those cross-over event anthology series. Last issue, it was the origin of Kite Man; this issue, it's the fight between Deadshot and Deathstroke. (The latter is definitely the more interesting one.) But, the actual war between Joker and Riddler essentially happens off-panel. They've already split up the Upper East and West Sides and assembled their armies when this issue starts, even though we haven't really seen how they convince each villain to join their side. (I think we've only seen Riddler's pitch to Ivy.) We're shown how Bruce and Gordon are at their wits' end, but we're not really told why they haven't been able to get a handle on the situation. Gordon tells Batman Joker has wired the entire city with explosives and Riddler has guards hidden throughout the city to unleash terror, but isn't that basically any given Tuesday in Gotham? I think it's probably time for King to do a little more showing and a little less telling.
Nightwing #26: It turns out Giz is really dead, and I have to admit I'm impressed: it's rare we actually kill off good guys anymore. Dick feels guilty since Giz died looking into the Second Hand, the organization smuggling superhero-killing weapons into Blüdhaven. Helena appears at Dick's apartment to tell him she and Barbara are worried about him and offers to help him track down someone named Draculi. (Did I mention Dick is naked in the shower when she arrives? Well timed, Helena.) Dick realizes she's only offering to help because Draculi is connected to organized crime and it advances the anti-Mafia crusade she's adopted since leaving Spyral. (The mob killed her family, and I'm pretty sure it means DC is more closely aligning Huntress with her original DCU incarnation. I'm guessing it's all happening in "Batgirl and the Birds of Prey.") The duo track down a fixer in Rome who tells them Draculi has gotten erratic. He sends them onto Draculi's home, but he's already dead. However, he leaves a clue: a flash drive explaining he's Agent 19 of Spyral and someone is messing with his mind. Dick realizes the Second Hand is Spyral as we see Agent 1 with a group of other agents watching Dick and Helena from the rooftops; one of the agents remarks that they took the bait. Although it's overall a solid issue, I don't get what we're supposed to believe when it comes to the clue. It seems like Agent 1 wanted Dick and Helena to find it, but why would he want them to know Spyral was after them? Isn't it better to surprise them? Also, how orchestrated was it? How did Agent 1 know Agent 19 would leave the flash drive connecting himself with Spyral? Meanwhile, in Gotham, Shawn has decided to embrace Pigeon's war against capitalism. Bad call, Shawn. Bad call.
Spider-Man #19: Bendis makes an admirable attempt to sell Ganke's argument Miles is off his rocker because he resents being a "Spider-Man cover band," but I'm not sure I really buy it. It seems much more likely he's breaking under the pressure of juggling his secret identity while also dealing with the fact his parents are, at least for now, separated. I get teenage boys aren't exactly in touch with their emotions, but I don't feel like you have to get inventive when it comes to pinning Miles' stress on a cause. At the very least, you'd figure someone would mention it as a possibility.
Also Read: Archangel #5; Darth Vader #4; Hawkeye #9
Batman #28: Although I still think the story King is telling has potential, we've gotten to the point where the framing device -- Bruce recounting the War of Jokes and Riddles to Selina -- is starting to weigh down the story itself. Moreover, King's focus on vignettes from the fringes of the war makes these issues read like they're from one of those cross-over event anthology series. Last issue, it was the origin of Kite Man; this issue, it's the fight between Deadshot and Deathstroke. (The latter is definitely the more interesting one.) But, the actual war between Joker and Riddler essentially happens off-panel. They've already split up the Upper East and West Sides and assembled their armies when this issue starts, even though we haven't really seen how they convince each villain to join their side. (I think we've only seen Riddler's pitch to Ivy.) We're shown how Bruce and Gordon are at their wits' end, but we're not really told why they haven't been able to get a handle on the situation. Gordon tells Batman Joker has wired the entire city with explosives and Riddler has guards hidden throughout the city to unleash terror, but isn't that basically any given Tuesday in Gotham? I think it's probably time for King to do a little more showing and a little less telling.
Nightwing #26: It turns out Giz is really dead, and I have to admit I'm impressed: it's rare we actually kill off good guys anymore. Dick feels guilty since Giz died looking into the Second Hand, the organization smuggling superhero-killing weapons into Blüdhaven. Helena appears at Dick's apartment to tell him she and Barbara are worried about him and offers to help him track down someone named Draculi. (Did I mention Dick is naked in the shower when she arrives? Well timed, Helena.) Dick realizes she's only offering to help because Draculi is connected to organized crime and it advances the anti-Mafia crusade she's adopted since leaving Spyral. (The mob killed her family, and I'm pretty sure it means DC is more closely aligning Huntress with her original DCU incarnation. I'm guessing it's all happening in "Batgirl and the Birds of Prey.") The duo track down a fixer in Rome who tells them Draculi has gotten erratic. He sends them onto Draculi's home, but he's already dead. However, he leaves a clue: a flash drive explaining he's Agent 19 of Spyral and someone is messing with his mind. Dick realizes the Second Hand is Spyral as we see Agent 1 with a group of other agents watching Dick and Helena from the rooftops; one of the agents remarks that they took the bait. Although it's overall a solid issue, I don't get what we're supposed to believe when it comes to the clue. It seems like Agent 1 wanted Dick and Helena to find it, but why would he want them to know Spyral was after them? Isn't it better to surprise them? Also, how orchestrated was it? How did Agent 1 know Agent 19 would leave the flash drive connecting himself with Spyral? Meanwhile, in Gotham, Shawn has decided to embrace Pigeon's war against capitalism. Bad call, Shawn. Bad call.
Spider-Man #19: Bendis makes an admirable attempt to sell Ganke's argument Miles is off his rocker because he resents being a "Spider-Man cover band," but I'm not sure I really buy it. It seems much more likely he's breaking under the pressure of juggling his secret identity while also dealing with the fact his parents are, at least for now, separated. I get teenage boys aren't exactly in touch with their emotions, but I don't feel like you have to get inventive when it comes to pinning Miles' stress on a cause. At the very least, you'd figure someone would mention it as a possibility.
X-Men: Gold #9: I've enjoyed Spencer's deft if obvious political and social commentary in "Captain America: Sam Wilson," but Guggenheim forgets the "deft" part of that equation in this issue. Kitty is called to Washington to testify before a Congressional sub-committee against a mutant-deportation bill. If he had focused less on the soap-opera elements of this issue, Guggenheim could've delivered a clever metaphor for the current immigration debate instead of the anti-Trump screed we get here. However, he's juggling too many balls to manage it; instead, he winds up dropping them all. In terms of the soap opera, Logan convinces Kitty to take Peter to DC with her as her bodyguard. Instead of slowly rekindling their romance over a few issues to the point where Kitty can't ignore her attraction to Peter anymore, Peter essentially proposes marriage and Kitty essentially accepts. (No, really.) Moreover, Rachel announces she wants to date Kurt because she discovered he was attracted to her when she read his mind a few issues ago and because it'll somehow ensure she doesn't become her mother. (She's concerned about that because of these amped-up powers I don't really remember her getting.) I thought Kurt had more self-respect than to dive into a relationship with someone who states the only thing she finds attractive about him is his attraction to her, but I guess Guggenheim doesn't. When you throw in there the revelation Stevie Hunter is now a Congresswoman but somehow still wearing '90s era jumpsuits, well, it's just a mess from start to finish.
Also Read: Archangel #5; Darth Vader #4; Hawkeye #9
Friday, October 6, 2017
Not-Very-Deep Thoughts: The July 26 Non-Marvel Edition (HERE BE SPOILERS!)
Detective Comics #961: The novelty of the DCnU has generally waned after six years, but every once in a while someone surprises you. Here, Tynion has Luke working to create a new suit to replace Azarel's Suit of Shadows. He's been trying to figure out a way to replace the Order of St. Dumas' dogma as the artificial intelligence powering the suit. After all, he can't just create a new moral code for the suit: it would be like creating a new religion. But, he realizes he actually has a moral code on hand when he realizes Ascalon wasn't able to take over Rookie like he was Luke's Batwing suits: after all, it was programmed with Batman's moral code. Enter the Batsuit Azrael wore when he took over the mantle of the Bat during "Knightfall." Honestly, I got shivers. Well played, James. Moreover, Tynion does a stellar job with the characterization throughout the issue, from Kate's wry commentary as she and Cassandra take on Azrael to Zatanna's heartfelt recounting of her heartbreak when her teenage self realized Bruce would never stay with her. It's a really stellar issue in a really stellar series.
Rebels: These Free and Independent States #5: Wood gives John a happy ending I'm not entirely sure he deserves, but it's not an unrestricted one. His mentor gets James Madison to agree to release John from prison (where he lost an arm to an infection while serving his sentence for mutiny), but it has a catch: he can work in a shipyard building the Navy he loves, but he must be anonymous lest Madison be seen as supporting a mutineer. His mentor correctly assumes John doesn't care about fame, so the arrangement will suit him well. That part, I like. But, Wood gives John his love interest here, the woman he met in New York while playing in the rigging years earlier. She claims she didn't wait for him, but she was still unmarried at 40 years old so Wood isn't all that convincing. It's pretty hard to believe she fell for taciturn John so hard after just one night she waited for him for two decades (I think). But, it is what it is. Wood is on firmer ground when he has John return to his childhood home. Members of his mother's family are going to buy it, and he stands by his parents' graves with a real sense of loss. He also shows uncharacteristic emotions when he refuses to enter the house, so it's left to his wife to say good-bye to it, finding some of his childhood etchings. She tells him his parents would be proud of him, as he surpasses his father (an American yearning, Wood reminds us). It's probably true, since Seth Abbot wasn't really one for formality; mutiny probably wouldn't have bothered him too much, and he'd indeed be proud if he learned John took command to save lives. Wood also draws a parallel to today, as John leaves behind the woods his father so loved for the city. It's a wistful ending to this story, and I'm excited to see what else Wood has planned.
Also Read: Pathfinder: Runescars #3
Rebels: These Free and Independent States #5: Wood gives John a happy ending I'm not entirely sure he deserves, but it's not an unrestricted one. His mentor gets James Madison to agree to release John from prison (where he lost an arm to an infection while serving his sentence for mutiny), but it has a catch: he can work in a shipyard building the Navy he loves, but he must be anonymous lest Madison be seen as supporting a mutineer. His mentor correctly assumes John doesn't care about fame, so the arrangement will suit him well. That part, I like. But, Wood gives John his love interest here, the woman he met in New York while playing in the rigging years earlier. She claims she didn't wait for him, but she was still unmarried at 40 years old so Wood isn't all that convincing. It's pretty hard to believe she fell for taciturn John so hard after just one night she waited for him for two decades (I think). But, it is what it is. Wood is on firmer ground when he has John return to his childhood home. Members of his mother's family are going to buy it, and he stands by his parents' graves with a real sense of loss. He also shows uncharacteristic emotions when he refuses to enter the house, so it's left to his wife to say good-bye to it, finding some of his childhood etchings. She tells him his parents would be proud of him, as he surpasses his father (an American yearning, Wood reminds us). It's probably true, since Seth Abbot wasn't really one for formality; mutiny probably wouldn't have bothered him too much, and he'd indeed be proud if he learned John took command to save lives. Wood also draws a parallel to today, as John leaves behind the woods his father so loved for the city. It's a wistful ending to this story, and I'm excited to see what else Wood has planned.
Also Read: Pathfinder: Runescars #3
Not-Very-Deep Thoughts: The July 26 Other Marvel Edition (HERE BE SPOILERS!)
Iceman #3: I really, really want to like this series, but, OMG, the art is so bad. It's hard to get past it. Grace does a great job of showing Bobby trying to be real with his parents in anticipation of telling them he's gay. He even gives us insight into why Bobby uses humor to deflect emotions, as his parents do the same thing during their ill-fated dinner. Actually, it's less "humor" and more "bitchiness." In that way, we get a good sense why Bobby is apprehensive about telling them the truth. But, Grace opens a door here as his mother admits they're not giving him a fair shot. In fact, I thought Grace does a great job of using mutants as a parallel for gays when he has Bobby's mother mention that society might be totally fine with mutants (gays) now, but it wasn't for a long time. They're having a hard time making that switch, and, frankly, I am, too (but from the other side, obviously). But, the art distracts from the story Grace is telling. It's almost like Vitti has been possessed by Rob Liefeld, with random lines populating all his figures. These sort of solo X-Men series don't typically last long, and I just hope they smooth out the art problems to give Grace some space to tell the story he wants to tell.
Spider-Gwen #22: After convincing Kitty to stop Logan from killing Harry, Gwen calls Reed to get a second opinion on whether the Lizard/Venom switcheroo will work. But, she's really calling for moral support, and Reed does her a solid by not giving it to her. She's convinced she's saving Harry, but Reed asks her what she really expects to happen here. It's not like Harry can just live a normal life once he's divested of his Lizard persona; he's made mistakes for which he'll have to pay. Moreover, he reminds Gwen she had numerous other options -- hiring a lawyer, calling in Captain America -- other than aligning aligning herself with the Kingpin. Left unsaid, Reed is basically saying Gwen is doing what suits her interests, getting back her powers and freeing her father. She's not really saving Harry for his sake; as we said, Harry is unlikely to walk into the sunset when he's cured. But, Gwen does it anyway, essentially proving Reed's point. I really have to give Latour credit here for allowing Gwen to be so morally ambiguous. It's a difficult road to hoe, but he really nails the landing (to mix metaphors) here.
Star Wars: Doctor Aphra #10: Gillen continues to remind us that somewhere under that tough exterior Aphra still seeks a certain level of approval. We saw her disappointment when Luke made it clear at the end of the "Screaming Citadel" arc that he couldn't forgive her for using him to get answers about Rur, and here Aphra selects a lower offer for Rur because the Shadow University promises to keep evidence of her cheating buried (allowing her to keep her doctorate) and even allow her access to Rur. Now she just has to survive Rur itself!
Also Read: Ben Reilly: Scarlet Spider #5
Spider-Gwen #22: After convincing Kitty to stop Logan from killing Harry, Gwen calls Reed to get a second opinion on whether the Lizard/Venom switcheroo will work. But, she's really calling for moral support, and Reed does her a solid by not giving it to her. She's convinced she's saving Harry, but Reed asks her what she really expects to happen here. It's not like Harry can just live a normal life once he's divested of his Lizard persona; he's made mistakes for which he'll have to pay. Moreover, he reminds Gwen she had numerous other options -- hiring a lawyer, calling in Captain America -- other than aligning aligning herself with the Kingpin. Left unsaid, Reed is basically saying Gwen is doing what suits her interests, getting back her powers and freeing her father. She's not really saving Harry for his sake; as we said, Harry is unlikely to walk into the sunset when he's cured. But, Gwen does it anyway, essentially proving Reed's point. I really have to give Latour credit here for allowing Gwen to be so morally ambiguous. It's a difficult road to hoe, but he really nails the landing (to mix metaphors) here.
Star Wars: Doctor Aphra #10: Gillen continues to remind us that somewhere under that tough exterior Aphra still seeks a certain level of approval. We saw her disappointment when Luke made it clear at the end of the "Screaming Citadel" arc that he couldn't forgive her for using him to get answers about Rur, and here Aphra selects a lower offer for Rur because the Shadow University promises to keep evidence of her cheating buried (allowing her to keep her doctorate) and even allow her access to Rur. Now she just has to survive Rur itself!
Also Read: Ben Reilly: Scarlet Spider #5
Not-Very-Deep Thoughts: The July 26 "Secret Empire" Marvel Edition (HERE BE SPOILERS!)
Secret Empire #7: This issue is possibly the single best issue of an event -- possibly any comic -- ever. I was holding my breath as we moved step by step to the end. (I know I said that last issue, but who knew Spencer would top himself so quickly!)
Let's start at the beginning. First, I would really love Spencer to write "Captain Marvel," because he gets her better than anyone since Kelly Sue. Her monologue begging Quasar to awaken so she can redeem herself was a brilliant piece of characterization, as Carol realizes "Civil War II" put them on the path to this moment. She realizes she's exactly like Tony, desperately seeking for someone to tell her she's the hero she hopes she is. (It's clearly a bitter pill to swallow, and it really matches nicely what A.I. Tony said to Steve in issue #6). Spencer's gift here is making everything seem like it's the logical conclusion of past events: Carol's guilt from "Civil War II," Miles' destiny to kill Captain America from "IvX," Hank merging with Ultron in "Avengers: Rage of Ultron." They're important components of the tension Spencer builds throughout the issue. In fact, Spencer has made it clear from the start the events of this series are not only grounded in the past but are unlikely to be simply ret-conned at the end. It's really what has made it so enjoyable, to my mind.
Spencer also addresses the generational issues at hand as well. Natasha locks up Miles so he can't realize his destiny to kill Captain America: it's like she's saying she wants one more chance for her generation to clean up the mess it's made before the innocent get blood on their hands. But, she can't. Punisher stops her before she can pull the trigger, giving Miles time to escape. She defeats Frank (of course she does), and Sorrentino does an amazing job showing her panicked dash to the scene of the battle between Miles and Steve. He's equally adept at showing her death, as she leaps between them and Steve's shield shatters her skull. Natasha Romanova has always, always deserved to be the hero, and she gets to be here, at the cost of her life. (Sure, she's probably going to return. But, in the moment, I believed the story Spencer was telling here, unlike most times a character dies.) An enraged Miles attacks Steve with new vigor, but, picking up the theme of generation change, Wasp gets to him before he strikes the final blow. She tells him he's not a killer, and she begs him to respect Natasha's sacrifice: she died because she knew he wasn't a killer. Miles agrees, and the kids are arrested by HYDRA's security forces.
Later, Steve has his troops bring him to Sharon, where he laments the losses surrounding him. He whines it wasn't supposed to go this way; he was going to save everyone, not send Bucky, Rick, Elisa, and now Natasha to their deaths. Sharon then tries to kill him, and I cheered. Sharon fucking Carter, man. She never doesn't come to play. But, he stops her, and it's the last straw: totally alone, he promises war. The remaining members of the Underground are broken as they watch Natasha die, and Giant Man asks if it's over. A voice says it's not, and I teared up a bit as I saw Sam Wilson stand in that last panel wearing his Captain America costume and holding the shield. White nationalists paraded through Charlottesville the day before I wrote this review, and damn if I didn't feel better seeing Sam Wilson tell me to believe in America still.
Captain America: Steve Rogers #19 and Captain America: Sam Wilson #24: I'm reviewing these issues jointly because they're flipsides of the same coin, with Steve finally putting on his HYDRA Supreme Leader gear and Sam putting on the Captain America uniform (as seen at the end of "Secret Empire" #7). Steve's issue doesn't have that much emotional impact; Spencer is really just drawing a line under the sense at the end of "Secret Empire" #7 that Steve is putting away childish things. He's lost everyone -- Tony, Bucky, Rick, Elisa, Natasha, and Sharon -- and he seems to finally accept he doesn't get to be the hero anymore. I'd recommend reading that issue first, because Sam's issue is much more inspiring. Misty tries to convince him to put on his uniform, revealing she defied his request to return it to Steve. (She's right about how she made the right call.) In a fit of anger, Sam tells Misty he doesn't believe America deserves Captain America anymore, and it's Patriot who convinces him otherwise. He asks if you really just give up a war because you're outgunned and outnumbered, reminding Sam that giving up the uniform just gave his enemies what they wanted and left the vulnerable without a champion. It's hard work, Sam, but someone has to do it.
Also Read: Occupy Avengers #9
Let's start at the beginning. First, I would really love Spencer to write "Captain Marvel," because he gets her better than anyone since Kelly Sue. Her monologue begging Quasar to awaken so she can redeem herself was a brilliant piece of characterization, as Carol realizes "Civil War II" put them on the path to this moment. She realizes she's exactly like Tony, desperately seeking for someone to tell her she's the hero she hopes she is. (It's clearly a bitter pill to swallow, and it really matches nicely what A.I. Tony said to Steve in issue #6). Spencer's gift here is making everything seem like it's the logical conclusion of past events: Carol's guilt from "Civil War II," Miles' destiny to kill Captain America from "IvX," Hank merging with Ultron in "Avengers: Rage of Ultron." They're important components of the tension Spencer builds throughout the issue. In fact, Spencer has made it clear from the start the events of this series are not only grounded in the past but are unlikely to be simply ret-conned at the end. It's really what has made it so enjoyable, to my mind.
Spencer also addresses the generational issues at hand as well. Natasha locks up Miles so he can't realize his destiny to kill Captain America: it's like she's saying she wants one more chance for her generation to clean up the mess it's made before the innocent get blood on their hands. But, she can't. Punisher stops her before she can pull the trigger, giving Miles time to escape. She defeats Frank (of course she does), and Sorrentino does an amazing job showing her panicked dash to the scene of the battle between Miles and Steve. He's equally adept at showing her death, as she leaps between them and Steve's shield shatters her skull. Natasha Romanova has always, always deserved to be the hero, and she gets to be here, at the cost of her life. (Sure, she's probably going to return. But, in the moment, I believed the story Spencer was telling here, unlike most times a character dies.) An enraged Miles attacks Steve with new vigor, but, picking up the theme of generation change, Wasp gets to him before he strikes the final blow. She tells him he's not a killer, and she begs him to respect Natasha's sacrifice: she died because she knew he wasn't a killer. Miles agrees, and the kids are arrested by HYDRA's security forces.
Later, Steve has his troops bring him to Sharon, where he laments the losses surrounding him. He whines it wasn't supposed to go this way; he was going to save everyone, not send Bucky, Rick, Elisa, and now Natasha to their deaths. Sharon then tries to kill him, and I cheered. Sharon fucking Carter, man. She never doesn't come to play. But, he stops her, and it's the last straw: totally alone, he promises war. The remaining members of the Underground are broken as they watch Natasha die, and Giant Man asks if it's over. A voice says it's not, and I teared up a bit as I saw Sam Wilson stand in that last panel wearing his Captain America costume and holding the shield. White nationalists paraded through Charlottesville the day before I wrote this review, and damn if I didn't feel better seeing Sam Wilson tell me to believe in America still.
Captain America: Steve Rogers #19 and Captain America: Sam Wilson #24: I'm reviewing these issues jointly because they're flipsides of the same coin, with Steve finally putting on his HYDRA Supreme Leader gear and Sam putting on the Captain America uniform (as seen at the end of "Secret Empire" #7). Steve's issue doesn't have that much emotional impact; Spencer is really just drawing a line under the sense at the end of "Secret Empire" #7 that Steve is putting away childish things. He's lost everyone -- Tony, Bucky, Rick, Elisa, Natasha, and Sharon -- and he seems to finally accept he doesn't get to be the hero anymore. I'd recommend reading that issue first, because Sam's issue is much more inspiring. Misty tries to convince him to put on his uniform, revealing she defied his request to return it to Steve. (She's right about how she made the right call.) In a fit of anger, Sam tells Misty he doesn't believe America deserves Captain America anymore, and it's Patriot who convinces him otherwise. He asks if you really just give up a war because you're outgunned and outnumbered, reminding Sam that giving up the uniform just gave his enemies what they wanted and left the vulnerable without a champion. It's hard work, Sam, but someone has to do it.
Also Read: Occupy Avengers #9
Wednesday, October 4, 2017
Not-Very-Deep Thoughts: The July 19 DC Edition (HERE BE SPOILERS!)
Batman #27: Um, OK. I mean, I'm not saying Kite Man's story isn't suitably tragic. His genuine panic over not knowing the difference between a joke and a riddle shows us how outclassed the street-level criminals feel in the expanding war between Joker and Riddler. It displays how the nuance they see in their war go over the heads of everyone else. But, Kite Man? Seriously? He doesn't really convey the gravitas King wants us to feel about this war. Plus, he's weirdly flip at the end when he reveals himself to Joker, as if he's just a thug looking to set up an enemy and not a guy looking for revenge against the man (Riddler) who killed his son. I don't really understand King's decision to take us on this detour. So far he hasn't really shown us a street-level view of the war; most issues have been long narrative sequences accompanied by images that hint at the details of the war. As such, it's weird that our first real look at the war occurs in such a remote corner of it.
Nightwing #25: I admit I don't totally understand how Clock King's time vest works, but I guess I should just let it go. Suffice it to say, Dick wins the battle by using said vest to save the criminals from the bomb Blockbuster planted on Tiger Shark's ship, but loses the war as Blockbuster takes control of Tiger Shark's criminal empire after all those aforementioned criminals flee Blüdhaven. It's clear Tiger Shark has a solid plan, but Dick's response is equally solid: he finally finds a job, as a croupier at the casino Blockbuster "inherited" from Tiger Shark. But, he loses Shawn in the process; he finds the job only after she leaves him for not putting his feet on the ground. That said, Seeley implies it might only be a short-term break, as Pigeon seems to be influencing this decision. After all, it seems hard to believe she'd break off the relationship after one fight, so hopefully we'll see them reunited soon.
Nightwing #25: I admit I don't totally understand how Clock King's time vest works, but I guess I should just let it go. Suffice it to say, Dick wins the battle by using said vest to save the criminals from the bomb Blockbuster planted on Tiger Shark's ship, but loses the war as Blockbuster takes control of Tiger Shark's criminal empire after all those aforementioned criminals flee Blüdhaven. It's clear Tiger Shark has a solid plan, but Dick's response is equally solid: he finally finds a job, as a croupier at the casino Blockbuster "inherited" from Tiger Shark. But, he loses Shawn in the process; he finds the job only after she leaves him for not putting his feet on the ground. That said, Seeley implies it might only be a short-term break, as Pigeon seems to be influencing this decision. After all, it seems hard to believe she'd break off the relationship after one fight, so hopefully we'll see them reunited soon.
The Wild Storm #6: Marlowe gives Angie a fairly skewed version of the rivalry between IO and Skywatch here, noting IO would love to have the transportation technology on Earth Skywatch has in space and Skywatch would love for Earth to serve as its supply station if IO would let it. But, Skywatch owns the sky and IO runs Earth, so they can't accomplish what they want to accomplish. Angie reveals she knows Kenesha isn't human, and Jacob reveals he isn't one either. He tells her their safehouse is the place where people who don't belong live, and he asks her to join his effort to stop IO and Skywatch. Angie is hopefully smart enough to realize Halo likely isn't an altruistic organization, even if we're not entirely sure what Marlowe's angle is yet. Separately, Mike agrees to Trelane's offer for him to join Skywatch after successfully defeating the Wetworks team Miles sent to kill him. (He also wisely negotiates for a new apartment with security as well as medical treatment and a new team.) Meanwhile, Bendix's assistant points out Angie's suit has a "Breslau II counter-detection system," making him realize her drysuit has technology stolen from him. I'll admit I was a little confused here, because I thought the entire premise of Miles' anger at Angie was the fact she revealed IO stole the drysuit from Skywatch. But, Bendix and his assistant make a distinction between "unauthorized" and "stolen" technology, implying some parts of the drysuit contain technology Angie wasn't authorized to have (though maybe IO was) and other parts contain technology no one is authorized to have (presumably the Breslau II system). I doubt we're going to get a better insight into this distinction given Bendix's response: to rain fire from heaven.
Not-Very-Deep Thoughts: The July 19 Marvel Edition (HERE BE SPOILERS!)
I'm back! It's been a hectic few weeks, so sorry for the delay. I've got a few reviews in the can, so hopefully I'll be current soon!
Secret Empire #6: I know some people aren't reading this event because they object to Captain Nazi, and I understand that, but, OMG, it's so good and I feel bad for them. This issue starts off fairly staid but Spencer just keeps building and building the tension until I realized I was holding my breath. The issue begins with the Champions arguing with Nadia because she refuses to be part of Natasha's new Red Room. (Natasha is training them for their assault on HYDRA.) Miles later encourages Natasha to be more forthcoming with the team to address Nadia's concerns. I thought the rest of the issue would be filled with similar sorts of character vignettes, serving as a stock-taking of the characters' emotional states before the push to the finale. But, um, no. First, Spencer reveals Mockingbird wasn't communicating with Cap; she's in cahoots with Maria Hill. (Hurrah! Spidey is going to get some!) Hill has several plans she wants to put into action, but Mockingbird convinced her to delay while they waited to see if Hawkeye could pull off the win. It turns out Scott betrayed the team because HYDRA got to Cassie. Spencer does an outstanding job in this sequence, perfectly capturing Quicksilver's outrage at Mockingbird's accusation he was the spy as well as Scott's devastation over once again falling short of being a hero. On HYDRA's ship, Bruce is speaking in lower-case lettering, making me wonder if he's not the Ultimate Universe version of Bruce Banner. He refuses Cap's offer to get vengeance on the people Cap claims hated him for never submitting to their will, so Cap activates the Hulk instead. Cap leads an attack on the Mount, and Giant-Man helps turn the tide when he reveals he's replicated Egghead's robot Avengers. It gives the team enough time to evacuate the refugees after Thor turns a blind eye. But, it's the last few pages of this issue that take the cake. In possibly his most real moment ever, Tony admits to Steve he keeps trying to be him, but he keeps failing because he's not made of the same stuff. He was trying to save him this time because he wanted to be to Steve what Steve has always been to him: his hero. But, he acknowledges he failed, and he activates a nuclear bomb. However, Elisa sacrifices her life to save Steve, teleporting him from the blast zone. Devastated upon hearing the news, Natasha assumes everyone is dead and tells the Champions it's time to kill Steve. It's a gripping ride, from start to finish. It's one of the best comics I've ever read, and it's probably the best issue of any event ever. I can't wait to see where we go from here.
Secret Empire #6: I know some people aren't reading this event because they object to Captain Nazi, and I understand that, but, OMG, it's so good and I feel bad for them. This issue starts off fairly staid but Spencer just keeps building and building the tension until I realized I was holding my breath. The issue begins with the Champions arguing with Nadia because she refuses to be part of Natasha's new Red Room. (Natasha is training them for their assault on HYDRA.) Miles later encourages Natasha to be more forthcoming with the team to address Nadia's concerns. I thought the rest of the issue would be filled with similar sorts of character vignettes, serving as a stock-taking of the characters' emotional states before the push to the finale. But, um, no. First, Spencer reveals Mockingbird wasn't communicating with Cap; she's in cahoots with Maria Hill. (Hurrah! Spidey is going to get some!) Hill has several plans she wants to put into action, but Mockingbird convinced her to delay while they waited to see if Hawkeye could pull off the win. It turns out Scott betrayed the team because HYDRA got to Cassie. Spencer does an outstanding job in this sequence, perfectly capturing Quicksilver's outrage at Mockingbird's accusation he was the spy as well as Scott's devastation over once again falling short of being a hero. On HYDRA's ship, Bruce is speaking in lower-case lettering, making me wonder if he's not the Ultimate Universe version of Bruce Banner. He refuses Cap's offer to get vengeance on the people Cap claims hated him for never submitting to their will, so Cap activates the Hulk instead. Cap leads an attack on the Mount, and Giant-Man helps turn the tide when he reveals he's replicated Egghead's robot Avengers. It gives the team enough time to evacuate the refugees after Thor turns a blind eye. But, it's the last few pages of this issue that take the cake. In possibly his most real moment ever, Tony admits to Steve he keeps trying to be him, but he keeps failing because he's not made of the same stuff. He was trying to save him this time because he wanted to be to Steve what Steve has always been to him: his hero. But, he acknowledges he failed, and he activates a nuclear bomb. However, Elisa sacrifices her life to save Steve, teleporting him from the blast zone. Devastated upon hearing the news, Natasha assumes everyone is dead and tells the Champions it's time to kill Steve. It's a gripping ride, from start to finish. It's one of the best comics I've ever read, and it's probably the best issue of any event ever. I can't wait to see where we go from here.
Astonishing X-Men #1: Marvel has marketed this series as an ambitious one, in the mode of Whedon's run on this title. So far Soule and Cheung don't disappoint. They really summon the energy of the 1990s X-Men as they assemble an all-star 1990s lineup: Archangel, Beast, Bishop, Fantomex, Gambit, Psylocke, Rogue, and Wolverine. The premise is also pretty solid: the Shadow King is scheming, seemingly killing lesser psychics in his attempt to enter our world. He then tries to possess Psylocke since she's stronger, but she manages to call for help, hence the all-star lineup. Archangel and Bishop agree to stay with Psylocke to protect her while she sends the rest of the team onto the Astral Plane to take on the Shadow King. I'm perfectly content with this start, though I did have some questions about the status quo of several of the characters. For example, I initially thought Angel and Archangel were still two separate entities, but I was reminded after reading the Marvel Database of the events of "Apocalypse Wars," where they were united. However, I thought this new Angel still wasn't the same person as the old Angel; he didn't have old Angel's memories or personality. Soule necessarily deny that, but he does depict enough chemistry between Betsy and Warren that you have to wonder. I also hadn't realized Bishop had returned from the desolate Earth where Cable stranded him at the end of "Homecoming." But, again, the Internet tells me otherwise. This confusion means it probably is time some of these characters returned to the mainstream, so I already feel like Soule has achieved what he intended here. ResurrXion indeed.
Mighty Thor #21: Aaron seems to imply both War Thor's hammer and Jane Foster's hammer are scheming against them, pushing Volstagg to kill when he doesn't want to do so and encouraging Thor to sacrifice her health by appealing to her decency. I'm intrigued to see where he goes with this idea.
Peter Parker: The Spectacular Spider-Man #2: I can't say Zdarsky hits a home run here. Some aspects of the plot are completely ridiculous. For example, I still don't buy Peter going on a date as Spider-Man. He may have tried to do that as a 16-year-old, but he's a grown-ass man now. It's irresponsible, as his date herself notes when she observes it's more dangerous for her to be on a date with Spider-Man than it would be his alter ego. (Peter argued he stayed in costume because people who know his identity get hurt.) Also, Riri apparently can't trace the phone Peter gave her but she can trace the "environmentals." She "scanned" every component of the phone and the "lowest layer of particulates" tells her the phone came from somewhere in a specific square block in Lower East Manhattan. Tha fuck? Can she also bend space and time? I mean, seriously. Why not just have her find a way to trace the supposedly untraceable phone? As the writer, you don't have to create such a fakakta method for her tracking down the Kingpin (the owner of the phone). But, all that said, Zdarsky does a marvelous job of getting down Peter's voice. He's a little too adolescent at times, but, for the first time in a long time, I feel like I'm actually reading about Peter Parker and not whoever that guy in "Amazing Spider-Man" is. We get a focus on him as a person, from his friendship with Johnny to his relationship with his "sister." It's comforting and something we've been missing for a long time. Moreover, Kubert makes it all look great. If Zdarsky could tone down the sophomoric behavior a bit, I think this title could easily become the Spider-Man title for me.
Spider-Man 2099 #25: Only Peter David could wrap up the loose ends of this series (and the preceding ones) so well. As expected, Miguel survives his foretold "death" because Strange teleports him from the moment he dies to the "present" -- brilliantly, New Year's Eve 2100 -- removing any possibility of a time paradox. But, how we get there is equally brilliant. Miguel learns he dies saving Tempest in 2017, and Gabri and he (though, notably, not Tempest) agree he has to return to the past to make sure it happens exactly that way. He does, and we learn Tempest kills him: Tyler programmed a post-hypnotic suggestion for her to kill him the minute he kisses her. She also immediately forgets it was her, and Miguel fades to his death hiding that from her. But, before he saved Tempest, he had sent Roberta to 2099 after confirming it had returned to the way it was. Gabri apparently traveled to the future to tell Roberta about Miguel's fate, and she had Strange pull him to 2099 the minute he "died." (I'm not sure how Gabri knew who Roberta was, but I'll ignore that part.) All's well that ends well! Including the initial 12-issue run of this series and "Secret Wars" 2099, this issue brings to a close a 42-issue series that introduced Miguel to a new group of fans. I sincerely hope Marvel pulls the trigger on "Defenders 2100" so we can see what David didn't show us, namely, what the 2099 (now 2100) world looks like. David also didn't wrap up all the loose ends. Although we know Tempest and Gabri traveled to 2019 to prevent Tyler Stone from destroying New York (and creating the timeline Miguel was trying to prevent from coming into reality), we don't know why they became time travelers in the first place. After all, in 2019, Gabri would be no more than two years old. When's their "real" time? It may explain why Gabri knew about Roberta, but we don't know for sure. I'm also not entirely sure why Miguel's presence in the past opened the door to Tyler trying to destroy 2019, something he allegedly wouldn't have done if Miguel hadn't traveled to the past. But, I'm willing just to concede it did somehow. David lays the foundation for future shenanigans as well, as Miguel ends the series doubting his ability not to contact Tempest and Gabri. Fingers crossed Marvel lets him.
X-Men: Blue #7-#8: First, who the fuck is Briar Raleigh? Also, when the fuck did she start paying for the Mansion? I don't recall seeing her at all in "X-Men Gold," and you'd figure Kitty would be dancing a jig over someone paying for the Mansion. Also, when the fuck did Havok become Magneto? I mean, he's not physically Magneto. But, you could replace him with 1980s Magneto here and his dialogue would perfectly match. In addition to these mysteries weighing down the issue, Bunn falls into the unfortunate pitfall of most event tie-ins, not having time to explain why everyone chose the side she or he chose. Firestar is suddenly part of the New Tian strike force? Has she ever really associated with the mutants? For that matter, Marrow is totally OK with New Tian? Shouldn't she view it as one more example of mutants failing other mutants by allowing humans to live there? As a result, all the fights feel random. I like the sexual tension between Jean and Jimmy, but everything else just feels poorly aligned.
Also Read: Ms. Marvel #20; U.S.Avengers #8
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