Avengers #5: OK, this issue is (finally) pretty great. The story Aaron has been (slowly) building finally hits full steam here.
Loki exposits the secret history of the Marvel Universe to Cap, revealing the Horde managed to infect the Progenitor while s/he traveled space; life on Earth began from his/her excrement and vomit. (Nice touch, Jason.) The divine and radioactive nature of said excrement and vomit is why we have so many superheroes. The Progenitor’s lover, Zgreb the Aspirant, came to find the Progenitor, but instead the Horde infected him, too. Odin and his prehistoric Avengers defeated Zgreb, and the First Host came to find him and the Progenitor. But, they left without them, possibly for fear of the Horde infecting them, too. The Horde innovated this time, turning Zgreb into a Dark Celestial (Zgreb the Sorrower) instead of killing him. Somehow the Horde then got its many hands on other Celestials, creating the Final Host, which killed all the other Celestials.
With the history lesson complete, the team swings into action. Black Panther manages to charge Carol and his suit with the same energy as the Horde emits, allowing them (apparently) to destroy its composite members. Ghost Rider rescues Cap from Loki’s clutches in the Arctic Ocean, and Cap inspires him to go big, using his powers to take control of one of the dead Celestials. She-Hulk and Thor ingest Ymir’s blood, growing to the same size as the Celestials, and Tony calls on his Godkiller MKII armor from Mars. Now, these four "Giant-Sized" Avengers (again, clever, Jason) take on the Final Host.
It’s all pretty great. I'll say I’m having some trouble buying Cap’s more jocular tone here, but otherwise Aaron has everyone’s voices down so well it’s like watching a Marvel movie, which I assume this arc will eventually be.
Old Man Hawkeye #7: The problem with this issue is that it's hard to engage emotionally with it when you know it isn't "real." In fact, it almost leaves you wishing you'd pick up an issue of an event that unfolded this way. It would be truly shocking to see Magneto murder Wanda. (Paging "Age of Ultron" #1.) Instead, Sacks just hits his marks of shocking death after shocking death without really explaining how the villains got the upper hand. I mean, sure, Magneto unexpectedly kills Wanda, which helps set the stage for the Thunderbolts' successful betrayal; Wanda would've definitely helped mitigate their impact on the battlefield. But, we're never told why the Thunderbolts betray the Avengers in the first place. In fact, Abe wants us to believe Melissa is devastated by her decision, though Sacks never explaining why she made it in the first place. (I assume she made it under duress and we'll learn that once Hawkeye finds her at the convent where she's been hiding.) However, Atlas gleefully murders the Black Knight and Quicksilver here, despite Hawkeye initially swearing he trusted Eric. What changed? Also, Creel's murder of Thor happens essentially off-panel; we're supposed to believe he managed to absorb Wanda's magic (after she died) and Thor's lightning and somehow became a god. But, would Thor really be hurt by a lightning- and magic-powered Creel? Isn't he lightning- and magic-powered? I mean, it's not a terrible issue, but it's not as amazing as the editors wanted us to believe it was going to be.
Peter Parker: The Spectacular Spider-Man #307: Man, Chip Zdarsky has to stop making me cry. Between Peter and Tinkerer sharing each other's pain to Teresa's decision to turn herself into the authorities before she meets Aunt May, this issue is an emotional fucking roller coaster. The next issue is a preview of Peter going against the Sandman, and I just hope it's a nice, normal slugathon. My emotions need a rest.
Spider-Gwen #34: As I've mentioned before, I wasn't previously a fan of Jason Latour. I could go into details, but I won't: let's just leave it at that. Then, "Edge of Spider-Verse" #2 happened. Now? I'm hard pressed to think of a more consistently coherent and emotional story than the one he, Robbi Rodriguez, and Rico Renzi have told over the course of this series. At no point did a loose end slip or a ridiculous arc drag. Every moment was packed with emotion and honesty and it drove the next moment packed with emotion and honesty. From Gwen's original sin of "killing" Peter to her tearful conversation with Harry in Madripoor to her resolved argument with her dad in this issue, this series has always been about her relationships. Do I really, really hope "Ghost-Spider" involves Gwen traveling town to town with the Mary Janes, solving crimes and righting wrongs in a way that would make Bill Bixby proud? Yes, yes, I do. But, it doesn't have to happen. Latour, Rodriguez, and Renzi have already told the story of a young woman coming to terms with the mistakes that she's made and overcoming the shame those mistakes inspired in her to become the hero she always was. Origin stories can often glide over the emotional side of this phase, focusing instead on the hero simply learning (usually with an emphasis on comedy) how to use his/her new powers. Unlike possibly anyone who came before him, Latour put the emotional and relationship mistakes front and center of Gwen's story. She couldn't simply learn from her mistakes; she had to take responsibility for them. That's who Gwen Stacy is. It even took her a while to get there, making you wonder at some points if she would get there. Now? She's Spider-Gwen, damn it. I can't wait to see what she does next.
Star Wars #51: This issue reads like a goddamn movie and I feel downright privileged to have read it. The rebels realize the Shu-Torun program only blocks the flight-bay doors from the inside; if someone can fly a ship broadcasting the Rebel frequency near the doors, they should open. One of the generals tries to fly one of the shuttles (that I assume was attached outside the cruiser via airlocks), but the Empire easily destroys it. However, Han unexpectedly arrives and, in a bid to impress Leia, takes on the task himself. I can't tell you the joy I felt reading this issue, from Han putting Threepio on the shields and telling him "life-and-death stakes are a great motivator" to Threepio later yelling, "We're doomed" when Vader manages to hit them. Did I mention that Vader appears from nowhere just as they're ready to activate the doors? The first few issues of this series really captured the sense of watching a sequel to "Star Wars" and Gillen recreates that magic again, as everyone acts and sounds the way you expect them act and sound. I couldn't be happier with this issue.
Thor #3: It’s hard to believe this issue is only a standard size, given how much happens in it. After the various children and grandchildren of Odin fight and squabble in hilarious fashion, Loki proposes Balder and Hel get married so they can unite the fractured armies of Hel behind them and take on Sindr before she destroys Niffleheim. However, Thor reminds Loki the souls in these armies weren’t warriors in real life; they need the Einherjar from Valhalla. However, you can’t get to Valhalla unless you’re dead, so Loki murders Thor at his request, just as Thor is telling him he still believes in him and loves him. (It’s hilariously poignant.) But, it all comes to a head as an unexpected figure stops the wedding: Thanos. Honestly, I totally didn’t see that coming, but I can’t get over how brilliant it is. As ridiculous as this entire issue is (and seeing Thori as a flower girl is as absurd and awesome as it possibly could be), it all works because Aaron has everyone’s characterization and voices down so well. As Sindr learns from Gar-Toom the Blooddrinker how to murder souls, we come to appreciate the threat Odin’s family faces and why this wedding maybe isn’t as ridiculous as it seems. It all happens against the backdrop of some of the best art and colors I’ve ever seen. Aaron and the creative team are quite simply on fire. (Sorry, I couldn’t help it.)
Also Read: Daredevil #605; Darth Vader Annual #2; X-Men: Gold #32; X-Men: Red #6
Showing posts with label Spider-Gwen (2015) [II]. Show all posts
Showing posts with label Spider-Gwen (2015) [II]. Show all posts
Tuesday, August 7, 2018
Monday, July 2, 2018
New-ish Comics: The June 20 Marvel Edition (HERE BE SPOILERS!)
Amazing Spider-Man #801: This issue is lovely. As I mentioned in my review of last issue, I have a complicated relationship with Dan Slott. After I wrote that, though, I realized you have to have a complicated relationship with someone after ten years. The people who claim they loved every issue of the 180-issue run? I either don’t believe them or don’t think they’re paying that much attention. Like Dan says, I’ve loved Spider-Man since I was eight years old, and I take that relationship seriously. I couldn’t possibly love everything Dan did here. In fact, the only real umbrage I took with Dan is the period when he implied if I didn’t love his work I didn’t love Spider-Man. Thankfully, Dan moved off that position, and we’re better for it. It’s like a relationship after successful couple’s therapy. The scars are there, but you don’t focus on them anymore. These last few issues — from “Go Down Swinging” to this one — are a reminder of the best Dan Slott had to offer, and I’m glad we got to go out this way. Happy trails, Dan!
Avengers #3: We don’t really learn too much here, to be honest. Instead, everyone breaks into teams specifically to find out more. Loki kidnaps Cap and takes him on an exposition tour of the situation, showing him the “Progenitor” Celestial at the center of the Earth who’s allegedly the cause of the current problems. Carol and T’Challa head to Alpha Flight to learn more about the bugs emerging from the center of the Earth (the ones Dr. Strange and T'Challa fought last issue). Tony takes Dr. Strange with him to see the Eternals and learn more about the dead Celestials. Thor and She-Hulk go interrogate Odin about his role in the death of the Celestial that he and his Prehistoric Avengers allegedly killed. Finally, Robbie hopes his car can track down Dark Celestials. (I guess the car is his partner?) All in all? That's a bold move, Cotton. Let’s see how it plays out.
Ben Reilly: Scarlet Spider #20: I’ll admit I’m reading this series mostly from a sense of obligation at this point. But, the good news is this issue is fun, and the surprise revelation at the end could set up a fun few issues. (Hopefully.) But, this Abigail storyline has to wrap up soon. I don’t even understand why Ben is still working on it. First, his face appears healed here, presumably after his heroics during “Damnation.” I get that helping Abigail will help his soul, but he could probably do countless other things on a larger scale that would accomplish the same goal more quickly. I don’t understand why we’re stuck with this one.
Ben Reilly: Scarlet Spider #20: I’ll admit I’m reading this series mostly from a sense of obligation at this point. But, the good news is this issue is fun, and the surprise revelation at the end could set up a fun few issues. (Hopefully.) But, this Abigail storyline has to wrap up soon. I don’t even understand why Ben is still working on it. First, his face appears healed here, presumably after his heroics during “Damnation.” I get that helping Abigail will help his soul, but he could probably do countless other things on a larger scale that would accomplish the same goal more quickly. I don’t understand why we’re stuck with this one.
Captain America #704: OMG, this issue is a mess. Man, I am glad Coates is coming soon.
Jack has somehow commandeered a laboratory that is conveniently full of scientists who know how to run a machine that can read Pursur's mind. Jack has apparently deduced the Super-Soldier Serum is deadly to anyone with a Kree gene after he realized it was killing his son, Steve. (Steve apparently has a recessive Kree gene, but we're never told which of Jack's ancestors mated with a Kree. Whatever. We have bigger fish to fry here.) For some reason, after realizing the Serum was deadly to the Kree, Pursur decided to expose every human to the Serum rather than destroy it. Jack says it's because destroying it would've raised "flags," but Waid never explains why exposing all of humanity to it was Pursur's only other option. Plus, I'm still not sure what exposing humanity to the Serum accomplished for the Kree. If they're all sleeper agents, why not activate them to prevent them from rioting and then use them against the Skull? I mean, what's the point of sleeper agents if you can't activate them in time of distress? Don't you have sleeper agents to avoid exactly the outcome we have here, where the Kree are forced to send its armada such a long distance to quell an uprising? Anyway, Jack hopes to torture Pursur into revealing the locations of the storage facilities containing the Serum, but Pursur withstands the assault. Jack then just uses his miraculous technology to painfully rip the information from Pursur's mind, uttering only a caustic "Pity" as he does so. (Yeah, I'm definitely rooting for this guy, Waid. He's a real winner.)
Meanwhile, we learn the Red Skull was able to broadcast Jack's message to all humanity last issue because somehow Jack's attack on the Cube imbued the Red Skull with its powers. (That wasn't clear to me last issue.) As such, he's now single-handedly taking on the Kree armada. However, Jack realizes he can't do it alone, so, once he gets access to the Serum, he uses it to create large-scale chemical weapons and commits genocide on the Kree. (Steve would def approve, Jack.) With the Kree devastated, he then tries to warn the United States about the Skull, but the Skull stops him before he can. He asks the Skull to honor their deal for the Skull to save his son, but the Skull refuses. Although Jack was seemingly running the military base where the mind-reading machine was held, he now claims he's a fugitive who would be killed by the first soldier who sees him. I'm not really sure why, though. He claims it's because he's collaborating with the Skull, but the whole problem is no one is aware of the Skull's existence. If they were, Jack wouldn't need to rally them to his cause. Anyway, Jack tells the Skull he'll capitulate to save his son, and the Skull is willing to accept his capitulation as a sign he won the war with Steve Rogers. But, no, Jack doesn't have a change of heart at the last minute, realizing the real Captain America would abhor the tactics he used here. No, instead he reveals the Skull is the Cube. When Jack grabs the Skull's hand to kiss it, he reveals he's really using his touch to exert his will over the Skull as one would do over the Cube. He then rallies all Americans to join their will with his will, defeating the Skull once and for all. Later, he tells his son they have to show "eternal vigilance" as the cost of peace, as Steve taught them.
If Jack is supposed to be Steve's surrogate, Mark Waid apparently thinks Captain America is a genocidal, tortuous, xenophobic despot. Oy. Ta-Nehisi, take us away!
Peter Parker: The Spectacular Spider-Man Annual #1: Man, I teared up again over a JJJ, Jr. story! Zdarsky is really re-inventing him as a character. I didn't know he needed to be re-invented, but Zdarsky makes a convincing case for it here, as Jonah continues to face the mistakes he made in the past. It's a pretty compelling story, folks.
Spider-Gwen #33: Latour gives us a fascinating take on Gwen's imprisonment here. First, he uses her relatively light sentence (after Foggy drops any charges related to Peter's death) as an exploration of privilege, as Gwen realizes anyone who didn't look like she did would've gotten a tougher sentence. But, she also feels like the lighter sentence robbed her of the punishment she feels she deserves for her role in Peter's death. Her light sentence denies her her penance, meaning her responsibility still weighs on her. When Captain America tries to recruit her for an Earth-65 Suicide Squad, Gwen refuses in part because she doesn't want that sort of redemption. She doesn't want to be saved. It's hard to see how Latour is going to wrap up this story in one issue, but, man, I'm there.
X-Men: Gold #30: This issue is beautifully drawn, which is a shame, because it's terribly written. Unlike real life, everything one reads in a comic book comes from an author's mind. The decisions characters make are ultimately decisions the author makes. As the reader, we feel connected with those decisions if they feel right. After years of following a character, you have a sense of how they'd respond to a given decision based on various authors using a consistent portrayal of them. Remy proposing to Rogue on the spur of the moments makes sense, not only because he's a romantic but also because he loves her deeply. Rogue accepting his proposal makes sense because, as Remy himself says, she sees in him the man he wants to be. But, those decisions are based on groundwork other authors have laid, most notably Kelly Thompson in the recently concluded "Rogue and Gambit" mini-series. Guggenheim's couple was Kitty and Pitor, and he fails them miserably here. Kitty Pryde goes from the confident, self-assured woman she has always been to one easily swayed by her best friend's doubts. She goes from taking the initiative to propose to Piotr to abandoning him in front of their family and friends when she suddenly realizes she can't marry him. When he finds her, she can't even remotely summon an explanation. Guggenheim is the one who ultimately set us on this path, and it seems unbelievable we end here. I don't mean it in the sense that it's unbelievable we wasted so many issues to get to this moment. I mean, it literally feels unbelievable that the events -- as they related to Kitty and Pitor -- would unfold the way they do here. Everyone here -- Remy and Rogue, Kitty and Piotr, us readers -- deserved better.
Also Read: Daredevil #604; Infinity Countdown: Black Widow #1; Infinity Countdown: Champions #1
Friday, June 22, 2018
New-ish Comics: The May 30 Marvel Edition (HERE BE SPOILERS!)
Amazing Spider-Man #800: This issue is great. Really. The story is actually 80 pages, which makes it feel less like the money grab it still obviously is. (Seriously, Marvel, stop with the $9.99 issues.)
I wasn't sure how Slott was going to pull off an 80-page story, but he really nails it. The story doesn't drag, and the resolution feels hard won. Each step that brought us closer and closer to the resolution felt well supported by the steps preceding it. Slott accomplishes this feat (rare for him lately) by keeping everything grounded in characterization: Flash sacrifices himself to allow Peter to keep the powers he needs to take on Norman, Peter uses his brains and not brawn to defeat Norman, Norman's ego undoes him, etc. We even have Aunt May implying she knows Peter is Spider-Man and telling him she's proud of "Spider-Man" for saving so many people, herself included, over the years. Peter’s speeches to Flash and Jonah carry the weight of almost 60 years, and Slott made us feel that weight in a good way.
I’m not saying it’s a perfect issue. After all, JJJ, Jr.’s decision to shoot Norman feels like an afterthought, when it's really a huge deal. First, Immonen (unusually for him) screwed up the positioning, as Peter takes the shot to his shoulder well above Norman’s head. Given JJJ, Jr.s was firing nowhere near Norman's body, it actually reads more like he was firing a warning shot. But, we can tell from the narrative he wasn't, and Slott really never addresses the idea JJJ, Jr. is willing to murder Norman. Compounding matters, Peter just categorically forgives JJJ, Jr., an example of moral relativism that we don’t often see from a guy committed to making sure no one dies. Sure, he let Clash off the hook for stealing, but it was because he was playing Robin Hood; attempted murder is something else entirely. I get where Slott was going with the idea of Peter forgiving Jonah, as it's part of Peter pledging to Flash he'll stop engaging in his own form of bullying. But, I still don't understand what Peter meant by that. His wisecracks? It's a pretty big leap to go from taking responsibility for making fun of criminals to condoning attempted murder. Moreover, Slott is writing a check here he’s not going to cash; I’m not sure I understand how a more serious Peter (if a non-joking Peter is what Slott is setting up here) will play.
As I've said previously, I loved Dan Slott at the start of his run. "Big Time," "Spider-Island," and "Ends of the Earth" were great Spider-Man stories: they were ambitious, fun, and innovative. They showcased the best and worst of Peter Parker, from the extended supporting cast that makes him who he is to the nagging self-doubt that threatens constantly to undermine him. Then, "Superior Spider-Man" happened. At this point, the wheels went off the bus. Slott and his editor, Stephen Wacker, presaged the Trump era by dismissing anyone expressing confusion or disappointment with the poorly structured story as an enemy. Slott's then seemingly lost his ability to tell large-scale stories as both "Spider-Verse" and "Dead No More: The Clone Conspiracy" were complicated, sprawling, and tedious. Then, Peter essentially became Tony Stark; it's no irony Slott is going to write him next. You could've replaced Iron Man for Spider-Man for the entirety of "Amazing Spider-Man" volume 4 and likely not have noticed a difference. At this point, it was increasingly clear it was time for Slott to go.
Slott wraps up his time next issue, and we'll see how that goes. At this point, I'm glad "Go Down Swinging" brought back some of that magic "Big Time" had. We could all use a little magic right now.
Daredevil #603: I’ll admit this story is starting to feel too long, as if Soule is going to drag out this night for several years of stories. I mean, Henderson’s art is great here, so I’m not exactly complaining. But, the Hand’s ninjas retreating from the streets of New York so the Beast could unleash a toxic cloud on the city felt like an excessive escalation of the assault. Wasn't a plague of ninjas enough? Moreover, Matt seems completely incapable of doing anything believable in terms of fighting off the Hand’s superior force; releasing Black Cat, Diamondback, Hammerhead, and Owl doesn’t do much to stop a toxic cloud. You’d figure Murdoch would’ve put someone (Dr. Strange?) in charge of finding a way to stop the Beast. Moreover, it’s hard to believe this assault is just because Blindspot refused to kill Muse as part of his deal with the Beast. It seems completely disproportionate. It makes more sense for the Beast to get revenge on Matt by making him mayor and thus making him responsible as the Hand destroys his beloved city around him. If the Beast is willing to destroy New York because of a teenager's broken promise, it makes you wonder why he hasn't already done so. Someone somewhere had to disappoint him previously. It’s all serves as a distraction from the great story about the Kingpin’s reign as mayor, making you wonder if Soule wouldn’t have been better off sequencing the stories rather than telling them overlappingly. I know that’s how "real" life happens; “Batman” arcs are always at their best when he’s juggling multiple enemies a the same time. But, again, it feels like Matt is going up against nuclear weapons with flint knives here.
Infinity Countdown: Captain Marvel #1: This issue is fine in terms of scripting (if a little too rah-rah), but it makes no sense in terms of the plot: Carol’s consultations with the other Captain Marvels helps her learn how to defeat Blastaar in a less destructive way than she originally did, but she concludes her gut is a better guide (even though it, by definition, wasn’t). It's not terrible, but it definitely feels like a cross-over event tie-in issue.
Marvel 2-in-One #6: This issue somehow manages to wrap up this story quickly, without skimping on the emotions. A freed Johnny Storm uses the Power Cosmic to sate Galact-a-Doom’s hunger in time for Emma to transfer her mind into his body. Using a Trojan Horse code Reed wrote, she turns herself into a creator instead of a destroyer. (You have to wonder why Reed didn't turn him into a creator the first time he appeared at Earth, but it is what it is.) Johnny then uses the remaining part of his Power Cosmic to empower Norrin to follow Emma into the stars to recreate the Universe. But, the best moments are saved for the team, as our Johnny encourages our Victor to trust him (and not prevent Emma from taking over Galactus) because it's what made the Fantastic Four great. Then their Reed tells our Ben he knows his Reed and Sue are dead. Overall, it makes for an unusually sad issue (particularly when we learn Galen died of madness, knowing full well what he did as Galactus). Although Ben and Johnny might have helped recreate this world, as far as Ben knows, his universe doesn’t give him that same hope.
Spider-Gwen #32: Gwen wraps up some loose ends here before Captain DeWolff arrests her. She reunites with the Mary Janes, and Reed records their band practice as the source for a device whose sounds incapacitates Matt Murdoch. It allows Gwen to swipe the Web-Watch and leave Murdoch for the Hand, whose leadership has declared war on him for his incompetence. It’s hard to count out Murdoch, though; his pledge to get revenge on Gwen feels real. Meanwhile, Gwen assures the Mary Janes that she knows what she’s doing. Her father believed in honesty, but Gwen realized “honesty” was about emotions; George was trying to get the people of New York to see Spider-Gwen through his eyes, essentially asking them to trust him. To Gwen’s mind, the truth (not "honesty") allows the people of New York to draw their own conclusions about her. It’s a compelling case, though we’ll see if Gwen can live with the consequences. In another note, Gwen seems to tell Murdoch the device doesn’t hurt her because it’s the voices of the people she loves, implying she’s found a balance with the symbiote. (I'm not sure I'm buying that, but I think it's what Latour is arguing.) In fact, she implies Murdoch believed the symbiote feared sonics because he feared sonics. It’s a bit of a stretch but I get where Latour is going with it. It goes to the idea of Gwen as a fully integrated person, not just the sum of all her various personas. We'll see what happens next issue.
X-Men: Blue #28: It was always clear Alex was going to be cured, both body and soul, and Bunn takes care of that pretty effectively here, as Havok, Bastion, and Miss Sinister are defeated on several fronts.
I wasn't sure how Slott was going to pull off an 80-page story, but he really nails it. The story doesn't drag, and the resolution feels hard won. Each step that brought us closer and closer to the resolution felt well supported by the steps preceding it. Slott accomplishes this feat (rare for him lately) by keeping everything grounded in characterization: Flash sacrifices himself to allow Peter to keep the powers he needs to take on Norman, Peter uses his brains and not brawn to defeat Norman, Norman's ego undoes him, etc. We even have Aunt May implying she knows Peter is Spider-Man and telling him she's proud of "Spider-Man" for saving so many people, herself included, over the years. Peter’s speeches to Flash and Jonah carry the weight of almost 60 years, and Slott made us feel that weight in a good way.
I’m not saying it’s a perfect issue. After all, JJJ, Jr.’s decision to shoot Norman feels like an afterthought, when it's really a huge deal. First, Immonen (unusually for him) screwed up the positioning, as Peter takes the shot to his shoulder well above Norman’s head. Given JJJ, Jr.s was firing nowhere near Norman's body, it actually reads more like he was firing a warning shot. But, we can tell from the narrative he wasn't, and Slott really never addresses the idea JJJ, Jr. is willing to murder Norman. Compounding matters, Peter just categorically forgives JJJ, Jr., an example of moral relativism that we don’t often see from a guy committed to making sure no one dies. Sure, he let Clash off the hook for stealing, but it was because he was playing Robin Hood; attempted murder is something else entirely. I get where Slott was going with the idea of Peter forgiving Jonah, as it's part of Peter pledging to Flash he'll stop engaging in his own form of bullying. But, I still don't understand what Peter meant by that. His wisecracks? It's a pretty big leap to go from taking responsibility for making fun of criminals to condoning attempted murder. Moreover, Slott is writing a check here he’s not going to cash; I’m not sure I understand how a more serious Peter (if a non-joking Peter is what Slott is setting up here) will play.
As I've said previously, I loved Dan Slott at the start of his run. "Big Time," "Spider-Island," and "Ends of the Earth" were great Spider-Man stories: they were ambitious, fun, and innovative. They showcased the best and worst of Peter Parker, from the extended supporting cast that makes him who he is to the nagging self-doubt that threatens constantly to undermine him. Then, "Superior Spider-Man" happened. At this point, the wheels went off the bus. Slott and his editor, Stephen Wacker, presaged the Trump era by dismissing anyone expressing confusion or disappointment with the poorly structured story as an enemy. Slott's then seemingly lost his ability to tell large-scale stories as both "Spider-Verse" and "Dead No More: The Clone Conspiracy" were complicated, sprawling, and tedious. Then, Peter essentially became Tony Stark; it's no irony Slott is going to write him next. You could've replaced Iron Man for Spider-Man for the entirety of "Amazing Spider-Man" volume 4 and likely not have noticed a difference. At this point, it was increasingly clear it was time for Slott to go.
Slott wraps up his time next issue, and we'll see how that goes. At this point, I'm glad "Go Down Swinging" brought back some of that magic "Big Time" had. We could all use a little magic right now.
Daredevil #603: I’ll admit this story is starting to feel too long, as if Soule is going to drag out this night for several years of stories. I mean, Henderson’s art is great here, so I’m not exactly complaining. But, the Hand’s ninjas retreating from the streets of New York so the Beast could unleash a toxic cloud on the city felt like an excessive escalation of the assault. Wasn't a plague of ninjas enough? Moreover, Matt seems completely incapable of doing anything believable in terms of fighting off the Hand’s superior force; releasing Black Cat, Diamondback, Hammerhead, and Owl doesn’t do much to stop a toxic cloud. You’d figure Murdoch would’ve put someone (Dr. Strange?) in charge of finding a way to stop the Beast. Moreover, it’s hard to believe this assault is just because Blindspot refused to kill Muse as part of his deal with the Beast. It seems completely disproportionate. It makes more sense for the Beast to get revenge on Matt by making him mayor and thus making him responsible as the Hand destroys his beloved city around him. If the Beast is willing to destroy New York because of a teenager's broken promise, it makes you wonder why he hasn't already done so. Someone somewhere had to disappoint him previously. It’s all serves as a distraction from the great story about the Kingpin’s reign as mayor, making you wonder if Soule wouldn’t have been better off sequencing the stories rather than telling them overlappingly. I know that’s how "real" life happens; “Batman” arcs are always at their best when he’s juggling multiple enemies a the same time. But, again, it feels like Matt is going up against nuclear weapons with flint knives here.
Infinity Countdown: Captain Marvel #1: This issue is fine in terms of scripting (if a little too rah-rah), but it makes no sense in terms of the plot: Carol’s consultations with the other Captain Marvels helps her learn how to defeat Blastaar in a less destructive way than she originally did, but she concludes her gut is a better guide (even though it, by definition, wasn’t). It's not terrible, but it definitely feels like a cross-over event tie-in issue.
Marvel 2-in-One #6: This issue somehow manages to wrap up this story quickly, without skimping on the emotions. A freed Johnny Storm uses the Power Cosmic to sate Galact-a-Doom’s hunger in time for Emma to transfer her mind into his body. Using a Trojan Horse code Reed wrote, she turns herself into a creator instead of a destroyer. (You have to wonder why Reed didn't turn him into a creator the first time he appeared at Earth, but it is what it is.) Johnny then uses the remaining part of his Power Cosmic to empower Norrin to follow Emma into the stars to recreate the Universe. But, the best moments are saved for the team, as our Johnny encourages our Victor to trust him (and not prevent Emma from taking over Galactus) because it's what made the Fantastic Four great. Then their Reed tells our Ben he knows his Reed and Sue are dead. Overall, it makes for an unusually sad issue (particularly when we learn Galen died of madness, knowing full well what he did as Galactus). Although Ben and Johnny might have helped recreate this world, as far as Ben knows, his universe doesn’t give him that same hope.
Spider-Gwen #32: Gwen wraps up some loose ends here before Captain DeWolff arrests her. She reunites with the Mary Janes, and Reed records their band practice as the source for a device whose sounds incapacitates Matt Murdoch. It allows Gwen to swipe the Web-Watch and leave Murdoch for the Hand, whose leadership has declared war on him for his incompetence. It’s hard to count out Murdoch, though; his pledge to get revenge on Gwen feels real. Meanwhile, Gwen assures the Mary Janes that she knows what she’s doing. Her father believed in honesty, but Gwen realized “honesty” was about emotions; George was trying to get the people of New York to see Spider-Gwen through his eyes, essentially asking them to trust him. To Gwen’s mind, the truth (not "honesty") allows the people of New York to draw their own conclusions about her. It’s a compelling case, though we’ll see if Gwen can live with the consequences. In another note, Gwen seems to tell Murdoch the device doesn’t hurt her because it’s the voices of the people she loves, implying she’s found a balance with the symbiote. (I'm not sure I'm buying that, but I think it's what Latour is arguing.) In fact, she implies Murdoch believed the symbiote feared sonics because he feared sonics. It’s a bit of a stretch but I get where Latour is going with it. It goes to the idea of Gwen as a fully integrated person, not just the sum of all her various personas. We'll see what happens next issue.
X-Men: Blue #28: It was always clear Alex was going to be cured, both body and soul, and Bunn takes care of that pretty effectively here, as Havok, Bastion, and Miss Sinister are defeated on several fronts.
First, Magneto calls Elixir and Exodus from the past (or future) to stop the spread of Mothervine: Exodus uses his powers to teleport them from infection site to infection site while Elixir cures everyone who didn’t actually have the mutant gene to start. Meanwhile, Emma is appalled as Miss Sinister tortures Jimmy and Bloodstorm, mostly because she doesn’t like the idea of mutants being manipulated. (Sinister also confirms the mutants of Jimmy’s world were manufactured, and he carried the code — Mothervine — in his DNA. I'm not sure if we knew that previously, but there you go.) Emma turns against her, taking control of Mach-2 and using her magnetism to free Jimmy so he can slice Miss Sinister into ribbons. With Emma’s control lifted and Sinister’s presence gone, Lorna, Daken, Gazing Nightshade, and Xorn are free. They join forces with Emma, Bloodstorm, and Jimmy to take down Havok and the remnants of his Brotherhood (Bastion, Toad, and that white-haired guy, as far as I can tell. Bastion tries to assert control, but Xorn releases his singularity, seemingly destroying himself and Bastion in the process.
All that’s left is for Alex to be saved. Bunn does his best here to make it clear why it was only now that the specific confluence of factors necessary to heal him were presented. Emma uses Lorna’s memories of Alex to punch through his defenses and invert him, lamenting the loss of his potential as a bad guy, and Elixir uses his powers to heal his face. Alex is shaken from the experience, feeling as if part of his soul has been ripped from him. If Bunn stumbles at all through this issue, it’s in Emma’s decision to become an unrestricted good guy. I get why she turns against Miss Sinister, but it’s less clear why she finally decides to heal Alex. Even if Lorna’s memories of (i.e., love for) Alex served as the necessary Trojan Horse to cure him, Bunn doesn’t tell us why Emma would actually turn the switch. As she herself says, he would've been a powerful ally. But, Bunn does a solid job with healing Alex’s scar. I never bought into the idea that Alex’s skin was somehow destroyed on a molecular level, as it really made no sense. (We can resurrect people from the dead, but we can't fix Alex's scar?) As such, Elixir healing him here felt like a logical fix to a problem that should’ve been solved a long time ago.
At any rate, I’m just glad to have Alex back. “AXIS” was a pretty terrible event, and it made little sense to sandbag such a great character — particularly given what Remender did with him in “Uncanny Avengers” before “AXIS” — with that legacy. (Plus, I’m not going to object to his handsome face returning.) Now, I’m just exited to see Emma and a furious Magneto go to war.
Also Read: Ms. Marvel #30; Pathfinder: Spiral of Bones #3; Star Wars: Lando - Double or Nothing #1; X-Men: Red Annual #1
Tuesday, May 1, 2018
New Comics!: The April 25 Edition (HERE BE SPOILERS!)
Avengers #690: This issue is your standard “What are we going to do with [x number of] [Avengers/X-Men]?” stories, but the art team does such a great job it really elevates it above its intellectual predecessors. In fact, the only problem I see here is that the authors have created such compelling stories I’m disappointed with the sparse number of follow-on series. At the very least, we seem ready for a “Rangers” series featuring Lightning and Red Wolf and an “Uncanny Avengers” reboot with Roberto (now Citizen X) and Rogue. I’d also love a Johnny Storm-led team focused on fun, with the Beast, Hawkeye, Hercules, Janet, and Wonder Man. Instead, Marvel chose to throw together the most boring characters possible and spin off a Quicksilver series. (The Hulk really is his own thing.) I'm hopeful we could get an anthology series in the vein of “Marvel Comics Presents” for these teams. Can't we? A guy can dream. At any rate, this event was fun. I applaud Marvel for not making me buy nine million tie-in issues. It might not have been “Kang War,” but it was one of best “Avengers” stories in recent memories, particularly given its inclusion of characters like the Beast, Lightning, and Wonder Man. Hopefully they manage to maintain the momentum in the new series, but, for now, I salute the entire creative team for reminding us what the Avengers can look like.
Darth Vader #15: The most interesting development in this issue is the revelation Jedi Master Barr doesn’t appear to be what we’d typically call a “good guy.” Not surprisingly, Vader survived his plummet into Mon Cala's Great Ungeness Trench and, once the Inquisitors collect him, he orders them to go after the hidden Jedi immediately. After all, he posits Lee-char will likely alert Barr once he can that he gave up Barr's location under torture. (I didn’t realize that happened last issue and, upon re-reading that sequence, Soule made that vague.) Members of the Mon Calamari fleet find Lee-char floating in the ocean and put him in the med-bay while Ackbar and Raddus prepare assaults on the Imperial troops. Despite successfully taking out a skybase, Ackbar is aware the Empire will eventually bring overpowering force to win the engagement. With Lee-char now awake, Ackbar presses him to offer a truce. Lee-Char refuses, saying he needs to save the galaxy, and Ackbar interestingly asks if he — or the Jedi — feels that way. The mention of the Jedi's name makes Lee-char realize he has to warn Barr the Imperials are likely on their way. Meanwhile, Barr himself makes it clear to his students the conflict itself is the goal; he's not really all that concerned about the Mon Calamari's fate. Barr is clearly playing some sort of long game, but I’m not sure what it is at this point. That said, it makes you realize Leia in the main title doesn’t realize who she’s getting with Lee-char, particularly if his bravery in the face of the Empire was only due to Barr’s manipulation. We shall see.
Detective Comics #979: OK, game on. Tim fights off Ulysses’ attempt to get him to accept the Brother Eye programing willingly, so Ulysses takes away Tim's choice: claiming trauma is nothing but specific electrical currents through the brain, Ulysses inflicts the same damage on Tim’s brain as Tim's future self suffered witnessing the Bat-family die around him. Tim becomes one with OMAC, and the Bat-family is now fighting one of its own. Cass leads Bruce to Stephanie, who agrees to help once he personally appeals for it. Kate also shows she’s not the mindless drone Future Tim thought she was, as she overrules her father’s view Tim is a lost cause to work with Bruce. I’m ready to rumble!
Mighty Thor #706: The thing about Jason Aaron is the man can tell a story. It might seem simple to say that, but it isn’t. In an era where every other Marvel comic seems embroiled in a fight over diversity, Aaron set about telling a very specific story with a very specific hero. Jane Foster is no longer Thor because her story as Thor is concluded. In a way, she’s the lucky one. After decades and decades of stories, characters like Peter Parker and Steve Rogers carry a great weight. They hit their wives or they become secret Nazis, and we all have to find a way to look past those moments to see the heroes they were. Instead, Jane got to be the greatest Thor of all the Thors we’ve seen...and then call it a day. She defeated Shi’ar gods and the Mangog. She saved Asgard and kept Malekith from conquering the Realms. Odin’s conversation with her at Valhalla's gates was excellent: he embraces her as a warrior-born and invites her into Valhalla. But, her pause at the threshold of the gates felt honest, and Odin’s commitment to help Odinson use the Mother Storm to revive her heartfelt. Returning to Aaron's story, his genius lies in the fact that Jane's time as Thor isn't merely going to be an asterisk. It's not like how Sam's time as Captain America seems already forgotten. Everything doesn’t return to normal here; Odinson doesn’t simply pick up Mjolnir and become Thor. As Jane says, she showed him what she could do with the hammer, but it’s time Thor shows us what he can do without it. I’m just glad Thori is with him on this journey. I’d honestly like to thank Jason Aaron and Russel Dauterman for some of the best issues I’ve ever read. Jane’s time as Thor has been a story for the ages, and it was really special to be part of it in real time. I’ve never cried reading a letters page (on an airplane, nonetheless), but I did this one. I’m excited to see how the Asgardians rebuild Asgard. I feel like we really all are a bit worse for wear, and maybe the answer is to stop complaining and put our shoulders into it a little more. As corny as it sounds, I feel like Jane reminded me of that...and I’m going to stop now lest I make a scene on the airplane. Thank you, Jason, Russel, Matt, and the team for telling a great story and making us all better for it.
Pathfinder: Spiral of Bones #2: This issue improves over the first one as we learn it’s not simply going to be about Valeros wandering through the afterlife. Somehow, the Powers That Be have confused Valeros with a warlord who later sought repentance. Valeros’ attempt to convince them of their error doesn’t work, in part because Valeros is technically still alive in the Prime Material plane. I’m pretty sure it has something to do with the gem he swiped, and Valeros himself acknowledges he’s not the kind of guy likely to figure out that mystery. In other words, he's got a challenge in front of him. We don’t often see these sorts of stories in mainstream fantasy, where a warrior has to think like a wizard or a wizard has to fight like a warrior, so I’m totally game here.
Peter Parker: The Spectacular Spider-Man #303: Man, I cried several times in this issue. I cried when the Vedomi scout told JJJ, Jr. and Teresa that the Tinkerer just needed kindness and was his friend. I cried when Peter cried and Aunt May told him they all just needed to go home. I cried when Teresa told him she was really his sister. I cried when Little Peter gave up being Spider-Man. All those tears are a testament of how great Zdarsky is. He also weaves in funny moments, like when Little Peter told the Goblin his costume had no theme (goblins with pumpkins?) or when JJJ, Jr. announced he yet again had to save the day. It all shows how well Zdarsky understands Peter and his supporting cast. I think the best example here is when Peter confesses to Teresa how hard it is to be in his past, when being Spider-Man was fun. He has years of suffering ahead of him, and it's hard to process that all looking at his younger self. (That said, if you’ve read those early “Amazing Spider-Man” issues, you know he’s engaging in some revisionist history here.) With Slott delivering a parallel story as his swan song in “Amazing Spider-Man,” it’s just a great time to be a fan.
Spider-Gwen #31: OMG, awesomesauce. To start at the end, Earth-617’s Gwen is revealed to be the Gwen who appears before the Watchers at the end of last issue. She admits she stole "our" Gwen from Earth-65’s timeline because it was getting too dark. When "our" Gwen decided not to kill Murdoch, Earth-617 Gwen needed to prevent her from changing her mind. (Latour doesn’t say that, but it’s implied in her text and later confirmed in her bio page at the end of the issue. He also implies the anomalous actions of Ben — encouraging "our"Gwen to take out Murdoch — drove Earth 617 Gwen to act, just as it did Earth 8's Watcher, Utaa.) Earth-617 Gwen reveals a Council of Spider-Women made the decision, and Utaa expresses outrage they acted this way. But, Earth-617 Gwen reminds him he also acted when he shouldn’t and stands by their decision that Earth-65’s future was getting too dark. In the present on Earth-617, the Gwens gets help from Tony Stark and Hank Pym, who confirm one of the weak places in the Multiverse’s membrane is at the bottom of the George Washington Bridge. (Of course it is.) "Our" Gwen tries to convince Earth-617’s Gwen not to come to the top of the bridge with her, but Earth-617 Gwen insists. As our Gwen dives off the bridge, Latour essentially resets the narrative of the bridge as a plot device: as "our" Gwen says, so many Gwens have died on that bridge, but no one’s jumped. In Earth-65’s present, Captain America threatens Murdoch by telling him S.H.I.E.L.D. surveillance video caught him going all ninja on the roof, and "our" Gwen approaches JJJ, Jr. with her story. Along the way, Latour peppers the issue with truly great moments of characterization, like our Gwen’s exasperation with slimy Stark. It’s just all great. I can’t believe Latour has done such an amazing job of really advancing such an involved narrative issue by issue, but here we are.
Also Read: Daredevil #601; Dungeons & Dragons: Evil at Baldur's Gate #1; Old Man Hawkeye #4; Star Wars: Doctor Aphra #19; X-Men: Gold #26
Darth Vader #15: The most interesting development in this issue is the revelation Jedi Master Barr doesn’t appear to be what we’d typically call a “good guy.” Not surprisingly, Vader survived his plummet into Mon Cala's Great Ungeness Trench and, once the Inquisitors collect him, he orders them to go after the hidden Jedi immediately. After all, he posits Lee-char will likely alert Barr once he can that he gave up Barr's location under torture. (I didn’t realize that happened last issue and, upon re-reading that sequence, Soule made that vague.) Members of the Mon Calamari fleet find Lee-char floating in the ocean and put him in the med-bay while Ackbar and Raddus prepare assaults on the Imperial troops. Despite successfully taking out a skybase, Ackbar is aware the Empire will eventually bring overpowering force to win the engagement. With Lee-char now awake, Ackbar presses him to offer a truce. Lee-Char refuses, saying he needs to save the galaxy, and Ackbar interestingly asks if he — or the Jedi — feels that way. The mention of the Jedi's name makes Lee-char realize he has to warn Barr the Imperials are likely on their way. Meanwhile, Barr himself makes it clear to his students the conflict itself is the goal; he's not really all that concerned about the Mon Calamari's fate. Barr is clearly playing some sort of long game, but I’m not sure what it is at this point. That said, it makes you realize Leia in the main title doesn’t realize who she’s getting with Lee-char, particularly if his bravery in the face of the Empire was only due to Barr’s manipulation. We shall see.
Detective Comics #979: OK, game on. Tim fights off Ulysses’ attempt to get him to accept the Brother Eye programing willingly, so Ulysses takes away Tim's choice: claiming trauma is nothing but specific electrical currents through the brain, Ulysses inflicts the same damage on Tim’s brain as Tim's future self suffered witnessing the Bat-family die around him. Tim becomes one with OMAC, and the Bat-family is now fighting one of its own. Cass leads Bruce to Stephanie, who agrees to help once he personally appeals for it. Kate also shows she’s not the mindless drone Future Tim thought she was, as she overrules her father’s view Tim is a lost cause to work with Bruce. I’m ready to rumble!
Mighty Thor #706: The thing about Jason Aaron is the man can tell a story. It might seem simple to say that, but it isn’t. In an era where every other Marvel comic seems embroiled in a fight over diversity, Aaron set about telling a very specific story with a very specific hero. Jane Foster is no longer Thor because her story as Thor is concluded. In a way, she’s the lucky one. After decades and decades of stories, characters like Peter Parker and Steve Rogers carry a great weight. They hit their wives or they become secret Nazis, and we all have to find a way to look past those moments to see the heroes they were. Instead, Jane got to be the greatest Thor of all the Thors we’ve seen...and then call it a day. She defeated Shi’ar gods and the Mangog. She saved Asgard and kept Malekith from conquering the Realms. Odin’s conversation with her at Valhalla's gates was excellent: he embraces her as a warrior-born and invites her into Valhalla. But, her pause at the threshold of the gates felt honest, and Odin’s commitment to help Odinson use the Mother Storm to revive her heartfelt. Returning to Aaron's story, his genius lies in the fact that Jane's time as Thor isn't merely going to be an asterisk. It's not like how Sam's time as Captain America seems already forgotten. Everything doesn’t return to normal here; Odinson doesn’t simply pick up Mjolnir and become Thor. As Jane says, she showed him what she could do with the hammer, but it’s time Thor shows us what he can do without it. I’m just glad Thori is with him on this journey. I’d honestly like to thank Jason Aaron and Russel Dauterman for some of the best issues I’ve ever read. Jane’s time as Thor has been a story for the ages, and it was really special to be part of it in real time. I’ve never cried reading a letters page (on an airplane, nonetheless), but I did this one. I’m excited to see how the Asgardians rebuild Asgard. I feel like we really all are a bit worse for wear, and maybe the answer is to stop complaining and put our shoulders into it a little more. As corny as it sounds, I feel like Jane reminded me of that...and I’m going to stop now lest I make a scene on the airplane. Thank you, Jason, Russel, Matt, and the team for telling a great story and making us all better for it.
Pathfinder: Spiral of Bones #2: This issue improves over the first one as we learn it’s not simply going to be about Valeros wandering through the afterlife. Somehow, the Powers That Be have confused Valeros with a warlord who later sought repentance. Valeros’ attempt to convince them of their error doesn’t work, in part because Valeros is technically still alive in the Prime Material plane. I’m pretty sure it has something to do with the gem he swiped, and Valeros himself acknowledges he’s not the kind of guy likely to figure out that mystery. In other words, he's got a challenge in front of him. We don’t often see these sorts of stories in mainstream fantasy, where a warrior has to think like a wizard or a wizard has to fight like a warrior, so I’m totally game here.
Peter Parker: The Spectacular Spider-Man #303: Man, I cried several times in this issue. I cried when the Vedomi scout told JJJ, Jr. and Teresa that the Tinkerer just needed kindness and was his friend. I cried when Peter cried and Aunt May told him they all just needed to go home. I cried when Teresa told him she was really his sister. I cried when Little Peter gave up being Spider-Man. All those tears are a testament of how great Zdarsky is. He also weaves in funny moments, like when Little Peter told the Goblin his costume had no theme (goblins with pumpkins?) or when JJJ, Jr. announced he yet again had to save the day. It all shows how well Zdarsky understands Peter and his supporting cast. I think the best example here is when Peter confesses to Teresa how hard it is to be in his past, when being Spider-Man was fun. He has years of suffering ahead of him, and it's hard to process that all looking at his younger self. (That said, if you’ve read those early “Amazing Spider-Man” issues, you know he’s engaging in some revisionist history here.) With Slott delivering a parallel story as his swan song in “Amazing Spider-Man,” it’s just a great time to be a fan.
Spider-Gwen #31: OMG, awesomesauce. To start at the end, Earth-617’s Gwen is revealed to be the Gwen who appears before the Watchers at the end of last issue. She admits she stole "our" Gwen from Earth-65’s timeline because it was getting too dark. When "our" Gwen decided not to kill Murdoch, Earth-617 Gwen needed to prevent her from changing her mind. (Latour doesn’t say that, but it’s implied in her text and later confirmed in her bio page at the end of the issue. He also implies the anomalous actions of Ben — encouraging "our"Gwen to take out Murdoch — drove Earth 617 Gwen to act, just as it did Earth 8's Watcher, Utaa.) Earth-617 Gwen reveals a Council of Spider-Women made the decision, and Utaa expresses outrage they acted this way. But, Earth-617 Gwen reminds him he also acted when he shouldn’t and stands by their decision that Earth-65’s future was getting too dark. In the present on Earth-617, the Gwens gets help from Tony Stark and Hank Pym, who confirm one of the weak places in the Multiverse’s membrane is at the bottom of the George Washington Bridge. (Of course it is.) "Our" Gwen tries to convince Earth-617’s Gwen not to come to the top of the bridge with her, but Earth-617 Gwen insists. As our Gwen dives off the bridge, Latour essentially resets the narrative of the bridge as a plot device: as "our" Gwen says, so many Gwens have died on that bridge, but no one’s jumped. In Earth-65’s present, Captain America threatens Murdoch by telling him S.H.I.E.L.D. surveillance video caught him going all ninja on the roof, and "our" Gwen approaches JJJ, Jr. with her story. Along the way, Latour peppers the issue with truly great moments of characterization, like our Gwen’s exasperation with slimy Stark. It’s just all great. I can’t believe Latour has done such an amazing job of really advancing such an involved narrative issue by issue, but here we are.
Also Read: Daredevil #601; Dungeons & Dragons: Evil at Baldur's Gate #1; Old Man Hawkeye #4; Star Wars: Doctor Aphra #19; X-Men: Gold #26
Monday, April 9, 2018
Not-So-New Comics: The March 21 Marvel Edition (HERE BE SPOILERS!)
Avengers #685: This issue mostly just moves the chess pieces around the board, as Dr. Voodoo volunteers to be "paused" so Vision can prevent the Hulk from killing everyone in the auxiliary headquarters in his march to get to Voyager and the Pyramoid. But, Vision incorrectly dismiss the Hulk as mindless, believing the Hulk is too dumb to realize he's solidifying his fingers around the Hulk's brain. The Hulk recognizes this trick, and he bashes the Vision over the head as he solidifies, possibly killing him. Meanwhile, Simon arrives to try to talk some sense into the Hulk, and Voyager rebuffs her father's attempts to get her to activate the final Pyramoid. Looking back, certain parts of this issue confused me. First, everyone expresses concern that Simon turning into ionic energy to get to New York quickly might mean he won't be able to become flesh and bone again. However, didn't he do exactly the same thing a few issues ago to visit Jarvis in the hospital? Moreover, I thought it was a bit of a stretch that Wanda could suddenly chose someone to freeze in exchange for someone else. If she can, shouldn't they bench the B and C Listers in favor of more powerful players? I would think someone like the X-Men's Magik would be super-helpful right now. On the plus side, I now realize Voyager was supposedly the Grandmaster's ace in the hole, but she's refusing to help him, given her anger of him treating her as little more than a pawn. That wasn't totally clear to me last issue, but it makes more sense here.
Mighty Thor #705: This issue is suitably epic, though I'm not sure I have much to say. Thor uses the chains the dwarves of Nidavellir originally created to restrain Fenris until Ragnarok to restrain Mangog and then sends Mjolnir with him into the center of the Sun. Often climaxes of years-long stories feel oversimplified, but this one doesn't; the destruction of Mjolnir and subsequent death of Jane feel like the only way Mangog could be stopped at the point they occur. Other options might've been available earlier, but this resolution is the only one that seems to work now. It's hard to even know what we're supposed to feel. After last issue's meditation on death, you get the sense Jane knew exactly what she was doing, so it's hard to regret her death here. But, Odinson becoming Thor again feels like a regression, no matter the excellent job Aaron has done showing Odinson's march to worthiness. He's certainly aware of that, so I'm intrigued to see how he bridges that gap and makes Odinson taking up the mantle of Thor again as invigorating as Jane's run has been. He's set his own bar really high.
Ms. Marvel #28: You guys, I totally cried a lot at this issue. Like, a lot.
Spider-Gwen #29-30: The story Latour was telling -- reaching all the way to the "Spider-Women" event and the Madripoor arc -- took a sharp turn in issue #29, as Uncle Ben's exhortation for Gwen to murder Matt Murdoch apparently created some sort of divergence in the time stream. I didn't totally understand it at the time, but, having read issue #30 and now re-read issue #29, I feel like I can now review both issues.
In issue #29, Utaa, the Watcher of Earth-8 (the one where Gwen marries Miles and they create some sort of Spidertopia), visits Utau, the Watcher of Earth-65, to warn him something happening on Utau's world threatens Utaa's future. Utau confirms Earth-8 is the future version of Earth-65's present. Right off the bat, I have problems with this part. As far as I understand it, the multiverse doesn't work that way. Something had to happen to make Earth-8 diverge as a timeline from Earth-65. Utaa tries to explain timelines are a continuum where time recycles itself and the "sturdier" timelines show little change. Or, put another way, "we are delicately intertwined by a baffling paradox -- we know each moment diverges infinitely making all roads possible." He says Earth-65's past has been "a reliable passage" to Earth-8's future, but that still makes no sense. Something has to happen to make Earth-8 diverge from Earth-65; it's not a separate timeline if it's just the future of an existing timeline. Earth-8's and Earth-65's futures at some specific point -- the same point in both Universes -- have to be different. Ugh, time-travel stories.
On Earth-65 itself, Castle makes his way through the Hand to get to Murdoch, but Gwen saves him from Castle. The Punisher is furious at her for doing so, but Captain America joins the fray, knocking out Castle and encouraging Gwen to let the justice system handle Murdoch. But, her appeal to "justice" infuriates Gwen, and she lets her Venom persona take control. She takes out Cap, and she's poised to kill Murdoch, much to his delight as he won't be alone when it comes to power corrupting people. But, she stops herself, refusing to become him. Right then, Murdoch's increasingly dinging watch he swiped from Gwen activates, sending Gwen outside the space-time continuum...to the original Gwen Stacy!
Issue #30 starts with Utaa taking Utau to Earth-8 to show him how Gwen intending to kill Murdoch is the first problematic feature of the timeline. (Presumably it means she didn't do so in the existing Earth-65 and Earth-8 timelines, but I still don't understand the idea that they don't know when exactly their timelines diverged.) Utaa says a "rot" has already set into Earth-65, and he expresses concern someone intentionally removed Gwen from the time stream. Meanwhile, in original Gwen's world, Spider-Gwen seeks help from Reed Richards, but the Baxter Building's security system confuses her for Peter trying to get a job (they're not hiring, FYI) and shocks her off the building. (Heh.) She tracks down original Gwen and admits she's from a different universe. Latour is brilliant here, showing original Gwen as the sort of genius even Stan Lee had problems showing her as being back then, as she quizzes Spider-Gwen about whether she's from an anti-matter dimension, like the Negative Zone. She offers to bring in Peter, but Spider-Gwen hilariously says Peter's sweet, but makes it all about him.
But, it's where Latour goes next that really shows his brilliance. Spider-Gwen admits to original Gwen she's Venom, falling under sway of a dark voice inside her head. But, she also admits she knows original Gwen's father just died (after previously stumbling upon a flyer looking for Spider-Man in connection to his murder), so she knows original Gwen understand "dark." At this point, original Gwen calls Spider-Gwen on her bullshit, telling her the rest of us have to deal with our bad moments rather than blaming it on black ooze. Original Gwen talks about her particular era of a time, an era where anything she can dream is happening, but an era that still can't return Captain Stacy to her. Spider-Gwen is forced to admit she went after Murdoch not to do the right thing, but because she was angry and felt helpless; revenge gave her an outlet. Original Gwen explains Schrödinger's cat to Spider-Gwen, telling her each moment is unique, with everything hanging in the balance. She tells her to embrace the fact her options are infinite -- no one has opened the box yet -- and go make her dad proud. As original Gwen says this interaction gives her hope, where Gwen Stacy is a superhero and her father is alive, this Earth is suddenly designated Earth-617, making us all wonder what original Gwen will now do in this timeline.
But, Latour doesn't stop there. To freak out everyone, he reveals the "mysterious hand" that removed Spider-Gwen from the timestream is Earth-8's Spider-Gwen...because she's also been Venomized. Dun-dun-DUN!
Star Wars #45: I have to say, after Marquez's great cover, I found Larroca and Guru-eFX's reliance of photo referencing has grown particularly tired. The point of this series isn't to pretend we're watching some sort of intermediary episode between Episode IV and V, but to break new ground in telling the stories of these legendary characters. Luke and Wedge exude actual emotion on the cover, whereas everyone inside the issue has started looking like claymation figures someone moves between panels. [Sigh.] At any rate, the story itself is solid. Luke is thrilled to encounter Wedge in the mess hall at the Mako-Ta Base, where Han has taken him for a drink. Han asks if he wants something stronger than milk, but Luke reminds him the last time he had something stronger he was fed to "some kind of bloodsucking alien queen." Ha! (Han acknowledges his point.) Meanwhile, Leia informs the Jedi High Command of her plan to replace regent Urtya with King Lee-Char. Some of the commanders ridicule her, as they've never had Lee-Char's location. She reveals Trios (whose name she doesn't reveal) has provided it. (This part is particularly interesting, because Leia actually notes aloud she's not telling the High Command Trios' name, making it clear Trios' anonymity is both highly valued and probably at risk.) To free Lee-Char, she plans on capturing the Imperial Moff of the Calamari sector to use his access codes, and the commanders are shocked at the boldness of her plan. However, she acknowledges a weakness in her plan: the Imperials will change the codes once they realize the Moff is missing. One of the previously critical commanders is helpful here, providing Leia with details of where she can liberate a shape-shifter. Leia puts together the team, and they quickly acquire said asset from the "Dex Acquisitions Depot" on Meor Ain. The caper involves Chewie posing as a Wookiee bounty hunter called Violent Bok and Leia punching out the shape-shifter when he pretends to be her father. The issue ends with Leia agreeing with Chewie that they both need strong milks. Please someone show us that moment.
Tales of Suspense #103: Rosenberg does a great job here laying all the cards on the table in a way that make sense. Natasha awakens after her death at Captain Nazi's hands in the Red Room, but she remembers more than she's supposed to remember. We learn a telepath named Epsilon Red has a psychic connection to all the Red Room assassins, allowing him to serve as essentially an external hard drive where their memories are stored. When they die, they are resurrected into a clone body with Epsilon Red implanting Red Room-approved memories into their minds. The Red Room is also holding hostage Ursa Major (who can become a sentient bear), and he trades allowing Epsilon Red to pet his fur for Red installing all Natasha's memories into her new body. Natasha then sets about liberating all the clones, using them as disposable agents: she uses one to pose as Sally Blevins to be the victim of the Red Room's hit on her and later another one to throw off Hawkeye and the Winter Soldier after they spot her on the bridge. She then kills her handler after the operation is moved to New York, and the story comes to the present as she encounters the dumb-founded boys on the rooftop. She makes quick work of them, taking Bucky's arm and Clint's bow before trapping them in a panic room and exploding the building around them. It's pretty clear she doesn't want them to get hurt as she goes after the remains of the Red Room. My one question now is whether Epsilon Red made her remember her relationship with Bucky. Fingers crossed!
Also Read: X-Men: Gold #24
Mighty Thor #705: This issue is suitably epic, though I'm not sure I have much to say. Thor uses the chains the dwarves of Nidavellir originally created to restrain Fenris until Ragnarok to restrain Mangog and then sends Mjolnir with him into the center of the Sun. Often climaxes of years-long stories feel oversimplified, but this one doesn't; the destruction of Mjolnir and subsequent death of Jane feel like the only way Mangog could be stopped at the point they occur. Other options might've been available earlier, but this resolution is the only one that seems to work now. It's hard to even know what we're supposed to feel. After last issue's meditation on death, you get the sense Jane knew exactly what she was doing, so it's hard to regret her death here. But, Odinson becoming Thor again feels like a regression, no matter the excellent job Aaron has done showing Odinson's march to worthiness. He's certainly aware of that, so I'm intrigued to see how he bridges that gap and makes Odinson taking up the mantle of Thor again as invigorating as Jane's run has been. He's set his own bar really high.
Ms. Marvel #28: You guys, I totally cried a lot at this issue. Like, a lot.
Spider-Gwen #29-30: The story Latour was telling -- reaching all the way to the "Spider-Women" event and the Madripoor arc -- took a sharp turn in issue #29, as Uncle Ben's exhortation for Gwen to murder Matt Murdoch apparently created some sort of divergence in the time stream. I didn't totally understand it at the time, but, having read issue #30 and now re-read issue #29, I feel like I can now review both issues.
In issue #29, Utaa, the Watcher of Earth-8 (the one where Gwen marries Miles and they create some sort of Spidertopia), visits Utau, the Watcher of Earth-65, to warn him something happening on Utau's world threatens Utaa's future. Utau confirms Earth-8 is the future version of Earth-65's present. Right off the bat, I have problems with this part. As far as I understand it, the multiverse doesn't work that way. Something had to happen to make Earth-8 diverge as a timeline from Earth-65. Utaa tries to explain timelines are a continuum where time recycles itself and the "sturdier" timelines show little change. Or, put another way, "we are delicately intertwined by a baffling paradox -- we know each moment diverges infinitely making all roads possible." He says Earth-65's past has been "a reliable passage" to Earth-8's future, but that still makes no sense. Something has to happen to make Earth-8 diverge from Earth-65; it's not a separate timeline if it's just the future of an existing timeline. Earth-8's and Earth-65's futures at some specific point -- the same point in both Universes -- have to be different. Ugh, time-travel stories.
On Earth-65 itself, Castle makes his way through the Hand to get to Murdoch, but Gwen saves him from Castle. The Punisher is furious at her for doing so, but Captain America joins the fray, knocking out Castle and encouraging Gwen to let the justice system handle Murdoch. But, her appeal to "justice" infuriates Gwen, and she lets her Venom persona take control. She takes out Cap, and she's poised to kill Murdoch, much to his delight as he won't be alone when it comes to power corrupting people. But, she stops herself, refusing to become him. Right then, Murdoch's increasingly dinging watch he swiped from Gwen activates, sending Gwen outside the space-time continuum...to the original Gwen Stacy!
Issue #30 starts with Utaa taking Utau to Earth-8 to show him how Gwen intending to kill Murdoch is the first problematic feature of the timeline. (Presumably it means she didn't do so in the existing Earth-65 and Earth-8 timelines, but I still don't understand the idea that they don't know when exactly their timelines diverged.) Utaa says a "rot" has already set into Earth-65, and he expresses concern someone intentionally removed Gwen from the time stream. Meanwhile, in original Gwen's world, Spider-Gwen seeks help from Reed Richards, but the Baxter Building's security system confuses her for Peter trying to get a job (they're not hiring, FYI) and shocks her off the building. (Heh.) She tracks down original Gwen and admits she's from a different universe. Latour is brilliant here, showing original Gwen as the sort of genius even Stan Lee had problems showing her as being back then, as she quizzes Spider-Gwen about whether she's from an anti-matter dimension, like the Negative Zone. She offers to bring in Peter, but Spider-Gwen hilariously says Peter's sweet, but makes it all about him.
But, it's where Latour goes next that really shows his brilliance. Spider-Gwen admits to original Gwen she's Venom, falling under sway of a dark voice inside her head. But, she also admits she knows original Gwen's father just died (after previously stumbling upon a flyer looking for Spider-Man in connection to his murder), so she knows original Gwen understand "dark." At this point, original Gwen calls Spider-Gwen on her bullshit, telling her the rest of us have to deal with our bad moments rather than blaming it on black ooze. Original Gwen talks about her particular era of a time, an era where anything she can dream is happening, but an era that still can't return Captain Stacy to her. Spider-Gwen is forced to admit she went after Murdoch not to do the right thing, but because she was angry and felt helpless; revenge gave her an outlet. Original Gwen explains Schrödinger's cat to Spider-Gwen, telling her each moment is unique, with everything hanging in the balance. She tells her to embrace the fact her options are infinite -- no one has opened the box yet -- and go make her dad proud. As original Gwen says this interaction gives her hope, where Gwen Stacy is a superhero and her father is alive, this Earth is suddenly designated Earth-617, making us all wonder what original Gwen will now do in this timeline.
But, Latour doesn't stop there. To freak out everyone, he reveals the "mysterious hand" that removed Spider-Gwen from the timestream is Earth-8's Spider-Gwen...because she's also been Venomized. Dun-dun-DUN!
Star Wars #45: I have to say, after Marquez's great cover, I found Larroca and Guru-eFX's reliance of photo referencing has grown particularly tired. The point of this series isn't to pretend we're watching some sort of intermediary episode between Episode IV and V, but to break new ground in telling the stories of these legendary characters. Luke and Wedge exude actual emotion on the cover, whereas everyone inside the issue has started looking like claymation figures someone moves between panels. [Sigh.] At any rate, the story itself is solid. Luke is thrilled to encounter Wedge in the mess hall at the Mako-Ta Base, where Han has taken him for a drink. Han asks if he wants something stronger than milk, but Luke reminds him the last time he had something stronger he was fed to "some kind of bloodsucking alien queen." Ha! (Han acknowledges his point.) Meanwhile, Leia informs the Jedi High Command of her plan to replace regent Urtya with King Lee-Char. Some of the commanders ridicule her, as they've never had Lee-Char's location. She reveals Trios (whose name she doesn't reveal) has provided it. (This part is particularly interesting, because Leia actually notes aloud she's not telling the High Command Trios' name, making it clear Trios' anonymity is both highly valued and probably at risk.) To free Lee-Char, she plans on capturing the Imperial Moff of the Calamari sector to use his access codes, and the commanders are shocked at the boldness of her plan. However, she acknowledges a weakness in her plan: the Imperials will change the codes once they realize the Moff is missing. One of the previously critical commanders is helpful here, providing Leia with details of where she can liberate a shape-shifter. Leia puts together the team, and they quickly acquire said asset from the "Dex Acquisitions Depot" on Meor Ain. The caper involves Chewie posing as a Wookiee bounty hunter called Violent Bok and Leia punching out the shape-shifter when he pretends to be her father. The issue ends with Leia agreeing with Chewie that they both need strong milks. Please someone show us that moment.
Tales of Suspense #103: Rosenberg does a great job here laying all the cards on the table in a way that make sense. Natasha awakens after her death at Captain Nazi's hands in the Red Room, but she remembers more than she's supposed to remember. We learn a telepath named Epsilon Red has a psychic connection to all the Red Room assassins, allowing him to serve as essentially an external hard drive where their memories are stored. When they die, they are resurrected into a clone body with Epsilon Red implanting Red Room-approved memories into their minds. The Red Room is also holding hostage Ursa Major (who can become a sentient bear), and he trades allowing Epsilon Red to pet his fur for Red installing all Natasha's memories into her new body. Natasha then sets about liberating all the clones, using them as disposable agents: she uses one to pose as Sally Blevins to be the victim of the Red Room's hit on her and later another one to throw off Hawkeye and the Winter Soldier after they spot her on the bridge. She then kills her handler after the operation is moved to New York, and the story comes to the present as she encounters the dumb-founded boys on the rooftop. She makes quick work of them, taking Bucky's arm and Clint's bow before trapping them in a panic room and exploding the building around them. It's pretty clear she doesn't want them to get hurt as she goes after the remains of the Red Room. My one question now is whether Epsilon Red made her remember her relationship with Bucky. Fingers crossed!
Also Read: X-Men: Gold #24
Wednesday, March 21, 2018
Not-So-New Comics: The January 31 Edition! (HERE BE SPOILERS!)
Avengers: #678: Whoa. We’ve got a lot going on here. Both Avengers teams eventually realize the Legion and the Order are after the Pyramoids, but come to those conclusions in different ways. Rogue’s team in Rome continues to take on the Blood Brothers, Mentacle, and Metal Master from the Legion. They also manage to secure Quicksilver before the Blood Brothers kill him, but he remains paused. To make matters worse, Cannonball is concussed after he flies straight into Mjolnir to prevent Metal Master from hitting Thor with it. (Yes, Metal Master can control Mjolnir. Surprise!) Rogue sends Voyager to HQ with Cannonball and Quicksilver, but it exhausts her transportation powers, leaving both teams stranded. To make matters even worse in Rome, Black Dwarf, Black Swan, and Supergiant arrive to take the Pyramoid. Black Dwarf mentions the game, which clues in Rogue that they should focus on the Pyramoid (a little late, to be honest, as Gamemaster himself suggests). Supergiant takes down Metal Master, freeing Mjolnir, but Black Dwarf makes it to the Pyramoid first and disintegrates (allegedly) upon touching it. In Peru, Sam recognizes Ebony Maw and instructs Synapse to go “brain-to-brain” with her fellow telepath, clueing them into the fact both sides are after the Pyramoid. Lightning speeds after it, while the Avengers leap into action to save Ferene the Other from Corpus Glaive. Red Hulk and Torch both realize the point of the game and leap after the Pyramoid. Torch is particularly motivated after we saw him earlier thinking about how Reed would've immediately had a plan to save the day (as opposed to Sam, who seems to be struggling to develop a successful approach). Lightning somehow knows they shouldn’t touch the Pyramoid, but Johnny does it for the Four, wanting to show they’re still in the game. He then also disintegrates (allegedly). I'm guessing the team isn't going to take that well.
Ben Reilly: Scarlet Spider #13: This issue is just weird. Black Marvel is revealed to be a demon who brought Cyber from Hell with him because he (Cyber) wanted a shot at being a good guy. When “Black Marvel” took over Black Marvel’s identity, including his abilities and memories, he became intrigued by Marvel’s unresolved relationship with the Slingers. He tells Prodigy he wants to help finish teaching them (as Black Marvel was apparently doing) in order to really mold them into a team. (Yeah, I don’t get it either.) Anyway, it turns out Prodigy didn’t really know Marvel was a demon and “Hornet” was Cyber; he was just so happy Marvel was alive he didn’t ask questions. (Right, because if someone I knew was dead just suddenly appeared alive, I'd be all, "Dude, you're back! Let's get drinks, but don't tell me why you're alive again!") Slate then knocks down the wall of the theater to rescue Cassandra, and the team splits: Ben and Kaine go after Marvel while the Slingers go after Cyber. Cyber escapes the Slingers while Ben finds himself in a death match with Marvel in the Bellagio's fountain. Marvel helpfully exposits that the Diogenes Initiative is the one who rescued him from Hell and that it has great plans for Vegas. (But, it was totally OK with him adopting the Black Marvel persona, putting back together a superhero team, and then telling an entirely different superhero all about their plans?) Kaine arrives and cleverly uses his invisibility to pretend to be God, convincing a priest watching the fight to sanctify the water. Marvel tries to escape, but Ben holds him under the now-holy water until he dissipates. The teams (such as they are) regroup, and the Slingers let Ben off the hook for attacking Thorne since they’re not exactly sure they’re 100% good guys anymore either. (Given Prodigy had Ricochet watching Thorne, presumably under Black Marvel's orders, I assume Thorne is somehow connected to the Diogenes Initiative as well.) Dusk warns Ben about Mysterio while, later, Kaine gets Cassandra to write a check for the veterans clinic. If you're a hard-core Slingers fan this arc was probably awesome for you. But, I had to take a lot on faith just to get through this issue. Moreover, I get the sense that, even if I understood Slingers' history, I'd still be left scratching my head over developments like Black "I'm a demon now!" Marvel. It's a rare miss from David, to be honest.
Falcon #4: This issue is great. I wasn’t really sure where Barnes was going with this Blackheart story, but it now makes total sense. Barnes condemns Sam to Hell because he doesn’t know who he is anymore: he’s been pulled between too many beliefs and people to know himself. He must confront his seemingly perfect father (who admits he was more focused on adulation than salvation), the AIDS-ridden nephew he ignored as he died, and both good and bad Steve Rogers. In so doing, Sam accepts they all have their baggage and he has his baggage. It allows him to break free of Mephisto and seek his escape. Thankfully, Falcon has allowed Voodoo to possess him so he can use Falcon and Sam's mutual connection to Redwing to communicate with Sam. (It makes sense when you initially read it.) But, most importantly, Shaun serves as the portal between our world and Hell, allowing his respect for Sam to keep it open. It’s a great moment when Sam returns, confident in who he is. Watch out Blackheart!
Phoenix Resurrection: The Return of Jean Grey #5: Rosenberg really sticks the landing here, essentially reconfiguring Jean’s relationship with the Phoenix. Logan does his job, reminding Jean who she is. Then, it becomes a grudge match between Jean and the Phoenix, as the Phoenix shows her all her loved ones who have died since she's been dead and offers her the possibility of resurrecting them. But, Jean tells the Phoenix its attempt to protect her from loss and pain means it’s trying to protect her from being alive. She tells it she accepts that she was supposed to die in that shuttle all those years ago. She used to feel special because the Phoenix chose her then and kept on choosing her, despite all its other possible hosts in the Universe. But, now, she just wants to live. The Phoenix then plays its last ace, throwing a real Scott at Jean. But, it miscalculates, as it gives Jean what she really wants: one last moment with her husband. It’s the epilogue Jean and Scott deserved, and, with this moment, Rosenberg shows he really got the point of this series and what it needed to do. But, it doesn't end there. We get a truly lovely moment between Jean and the Phoenix as the Phoenix shrinks to the size of a bird and cuddles in Jean’s hand. They part ways, and the X-Men welcome Jean home. Jean returns as her own character, no longer overshadowed by her relationship with Scott or the Phoenix. In fact, perhaps the most important part of this sequence is Jean’s insistence that she was better off dead, because she was supposed to die. She’s returning almost grudgingly, and it’ll be interesting to see how that unfolds. In the meantime, Rosenberg really accomplished what he said he was going to do. It’s the rare mini-series I can recommend, but I definitely do, particularly for Jean fans. “X-Men Red,” here I come!
Spider-Gwen #28: We’ve been waiting for this issue for a long time. Not only does Gwen reveal her secret identity to Ben, May, and the Mary Janes, but Murdoch also walks us through his history. We learn Murdoch was essentially like the Murdoch we know until the Hand successfully defeated Stick earlier in his past. The Hand then raised him, turning him into a living weapon. Even they became afraid of him, so they sent him to New York. After he stole everything the Kingpin had, he was close to suicide, realizing he had nothing else left. But, he saw Spider-Woman swing past his window, and he found a new purpose: he wanted to corrupt her with power, to confirm he wasn’t the only one power corrupted. But, as we learn, the difference in their fates is that Murdoch didn’t have family and friends. Gwen tells everyone she had to let them know who she was because she’s going to give herself to Venom to get revenge. The Mary Janes think she’s crazy, but Ben doesn’t: he says everyone else has paid a price - Ben, Peter - for Gwen’s powers except Gwen. He’s...not wrong. We end the issue with Punisher storming Murdoch’s building, and I can’t wait to see where Latour goes from here. Each issue builds on the last one brilliantly, and I honestly have no idea how any of it is going to get resolved.
Also Read: Detective Comics Annual #1; Moon Knight #191; Quantum & Woody #2; Star Wars: Doctor Aphra #16; Tales of Suspense #100-#102
Wednesday, February 28, 2018
Not-So-New Comics: The December 20 "Spider-Affinity" Marvel Edition (HERE BE SPOILERS!)
Peter Parker: The Spectacular Spider-Man #298: OK, I like Zdarsky (see above), but it made not a lick of sense for Peter to web up the window in the taxi cab so the driver didn’t see him change into Spider-Man. The minute he webbed up the window, the taxi driver knew it was Spider-Man; it didn’t make a difference if he saw Peter change into the costume or not. He would still know the guy sitting in his back seat was Spider-Man. COME ON NOW, PEOPLE.
Spider-Gwen #27: Latour does a great job of showing all paths converging on a final confrontation. First, Gwen hardly seems bothered by the symbiote’s push for revenge. She tracks down the dirty cop who opened her father’s cell for the Rhino (who then beat him into a coma) and is on the verge of killing him when the Punisher appears. He reveals he has Gwen exactly where he wants her: isolated from her family and friends and ready to embrace his violent approach to crime. IT WAS ALL HIS SCHEME! (Though, I'm not honestly sure how he theoretically pulled the strings. I don't remember him setting any of these events into motion, to be honest. He didn't really know George would ultimately turn himself into the police to end his (the Punisher's) crusade against Spider-Woman. That was the fork in the road, and I don't think he forced George to make the choice he made.) Gwen is appalled on some level, claiming she’ll never be like him. But, she also accepts his cell phone to stay in touch without too much hesitation. Also, her decision to let the dirty cop go free (threatening him if he doesn’t confess his crimes) seems more a decision born of convenience than conscience. Meanwhile, Foggy is finally confronting his handiwork, realizing he’s always allowed Matt to manipulate him as he sits by George’s bedside. When the dirty cop calls for help, he stands by helplessly as Matt sends the Hand to kill him. The surprise is Gwen’s decision to ask Uncle Ben for help, revealing her identity to him. It seems an attempt to rein in her own impulses, using Ben's conscience in place of her own. It's maybe a sign she's still in there somewhere. To overuse the metaphor, Latour is very carefully weaving this web, but it’s hard to know its final shape at this stage.
Also Read: Venom #159
Spider-Gwen #27: Latour does a great job of showing all paths converging on a final confrontation. First, Gwen hardly seems bothered by the symbiote’s push for revenge. She tracks down the dirty cop who opened her father’s cell for the Rhino (who then beat him into a coma) and is on the verge of killing him when the Punisher appears. He reveals he has Gwen exactly where he wants her: isolated from her family and friends and ready to embrace his violent approach to crime. IT WAS ALL HIS SCHEME! (Though, I'm not honestly sure how he theoretically pulled the strings. I don't remember him setting any of these events into motion, to be honest. He didn't really know George would ultimately turn himself into the police to end his (the Punisher's) crusade against Spider-Woman. That was the fork in the road, and I don't think he forced George to make the choice he made.) Gwen is appalled on some level, claiming she’ll never be like him. But, she also accepts his cell phone to stay in touch without too much hesitation. Also, her decision to let the dirty cop go free (threatening him if he doesn’t confess his crimes) seems more a decision born of convenience than conscience. Meanwhile, Foggy is finally confronting his handiwork, realizing he’s always allowed Matt to manipulate him as he sits by George’s bedside. When the dirty cop calls for help, he stands by helplessly as Matt sends the Hand to kill him. The surprise is Gwen’s decision to ask Uncle Ben for help, revealing her identity to him. It seems an attempt to rein in her own impulses, using Ben's conscience in place of her own. It's maybe a sign she's still in there somewhere. To overuse the metaphor, Latour is very carefully weaving this web, but it’s hard to know its final shape at this stage.
Also Read: Venom #159
Friday, November 24, 2017
Not-So-New Comics: The September 27 Marvel Edition (HERE BE SPOILERS!)
Ben Reilly: Scarlet Spider #8: Hornet and Ricochet represent one of the darker times for me in collecting comics, when you had to collect all four ongoing Spider-Man series to have any idea what the story was. I was only collecting "Amazing Spider-Man" at the time, so Wikipedia tells me I only have a quarter of the "Identity Crisis" cross-over story. In that story, Peter Parker -- for reasons I'll guess didn't make any more sense then than they do now -- had to adopt the identities of Hornet and Ricochet as well as two other characters. I was dimly aware other people later took up these identities at some point, though I have no idea how it happened. The good news is it doesn't really matter. Peter David works his magic, making these characters his own. Moreover, he does it in a setting I can't remember happening before: the ruins of a city destroyed in a cross-over event. The Hornet appears here because a rival casino owner claims Cassandra Nova is hoarding food for her guests; he hires the Hornet to intercept a shipment destined for her. Marvel has destroyed many cities in its day. Remember when the Winter Solider detonated a bomb in Philadelphia? Or when Kang killed everyone in Washington, DC? These developments are generally ignored after the event ends because those cities are generally ignored; presumably, if someone leveled New York, we'd have a problem. But, here, we're seeing a devastated Las Vegas through Ben's eyes. He still has to figure out a way to save Cassandra's daughter, but he also seems to have ample opportunities here, in a city full of desperate need, to win back some Soul Points (TM). When you add in Kaine, furious Ben got a second chance (and handsome face) he doesn't deserve, David has a lot of potential stories to cover. In that way, his soft reboot of this series last issue is already paying dividends, and I'd encourage anyone avoiding this series because of its lingering connection to "The Clone Conspiracy" to jump on board.
Generations: Miles Morales and Peter Parker #1: I didn't expect this issue to be good. Miles and Peter interact so frequently it was hard to see how Bendis had anything new to say about their relationship. But, he really nails it. Miles is sent to the day "Amazing Spider-Man" #33 happened, when Peter pushes the building off himself to save Aunt May. Bendis does a number of great things here. First, he gives us insight into Peter Lee and Ditko, because of the way comics were written then, didn't have a chance to convey. Peter confesses to Miles it was the first time he really thought he'd die, and Bendis infuses this emotion throughout the issue. Peter is jittery, not only because he's waiting to hear if the serum he swiped from Dr. Octopus cured Aunt May, but because he's barely had a moment to consider his brush with death. Second, Bendis really nails the Peter of this era: he's angry, overwhelmed, whiny. It's one of the things that really leaps off the page at you when you read the first few "Amazing Spider-Man" issues; Bendis perfectly captures that tone here. Finally, perhaps the best part is Miles' realization how personal Spider-Man is to Peter. He's seen how much Peter struggled in those early days to keep everything together, and he realizes how much he sacrificed to be where he is today. Bendis has seemed on track to have Miles decide not to be Spider-Man anymore. Before this issue, it felt artificial, like an editorial mandate. But, here, he really gives this movement the emotional heft it needed. I highly recommend it (and I can't believe I'm saying that).
Generations: Sam Wilson and Steve Rogers #1: Nick Spencer says his good-bye to Captain America here, and it's exactly what you'd hope it would be. Unlike everyone else, Sam lives a full life at the Vanishing Point, from serving alongside Steve as the "Man in the Air" during the War to becoming a pastor in North Carolina with a family of his own. Spencer essentially answers the question that has often plagued Sam during his costumed career, namely the path untaken. With that path lived, Sam stands as a new man, one ready, as he says, to forge his own legacy. "Generations" started rockily for me, with the lackluster Jean Grey entry, but it's really rebounded since then. This issue in particular works as a way for Sam to take stock of his life and focus on the legacy he wants to leave, the reason (to his mind) why Kobik sent them all to the Vanishing Point in the first place. Marvel seems to have its head in the game for this Legacy relaunch, and my fears that it's just going to lead to a whitewashing -- literally -- of the progress we've seen over the last few years have been more or less allayed.
Marvel Legacy #1: This issue isn't as bad as some of its analogues have been in previous years. That might sound like faint praise, but it's not. It's hard to pull off these sort of kitchen-sink issues: the author not only has to juggle multiple characters, but he has to do so in a way that hints at their future without really revealing anything. It's not a recipe for a satisfying read. But, Aaron does his best here, and he helps himself by keeping us focused on two major threats: the Final Host and an Infinity Gem. The A story involves a group of Paleolithic Avengers led by Odin beating down a Celestial; said Celestial is now awakening to call for the Final Host to scour Earth. It's a threat that's been looming over the Marvel Universe ever since I've started reading it, and I honestly can't quite believe we might see it come to fruition. The B story involves not only Logan's resurrection [yawn] but also his recovery of the Mind Gem. Speaking of resurrections, Marvel has been hinting on the margins about Jean Grey's return, and Phoenix's involvement in the Paleolithic Avengers certainly adds fuel to that fire. [Heh.] However, Aaron is obligated to throw in a lot more here, so we also have Starbrand fighting the new Ghost Rider and Cap, Ironheart, and Thor fighting the Frost Giants Loki sent to retrieve the Mind Gem. Overall, though, it's all about the Celestials, and we'll see if Marvel rushes that story or if it's going to loom over us for a good long while, like Hope Summers loomed over the X-Men after "Messiah Complex."
Spider-Gwen #24: Latour makes us wait (impatiently) for Gwenom to debut as the symbiote (logically) bonds with Logan first. But, when Logan activates the sonic-wave device he usually uses to prevent Kitty from phasing, everyone learns an important lesson about the symbiote's weakness. Gwen and Kitty work together to phase Logan from the symbiote, and Gwen is left as the only suitable host after Kitty high-tails it from the scene with Logan in tow. Of course, Matt Murdoch arrives just in time to show Gwen her comatose father, and the symbiote helps stoke her rage, leading her to attack the cops meant to guard George. I don't think it's going to be a smooth ride for Gwen for the next few issues.
Also Read: Batman Day Special Edition #1; Mighty Thor #23; Pathfinder: Runescars #5; Rebels: These Free and Independent States #7; X-Men: Blue #12
Generations: Miles Morales and Peter Parker #1: I didn't expect this issue to be good. Miles and Peter interact so frequently it was hard to see how Bendis had anything new to say about their relationship. But, he really nails it. Miles is sent to the day "Amazing Spider-Man" #33 happened, when Peter pushes the building off himself to save Aunt May. Bendis does a number of great things here. First, he gives us insight into Peter Lee and Ditko, because of the way comics were written then, didn't have a chance to convey. Peter confesses to Miles it was the first time he really thought he'd die, and Bendis infuses this emotion throughout the issue. Peter is jittery, not only because he's waiting to hear if the serum he swiped from Dr. Octopus cured Aunt May, but because he's barely had a moment to consider his brush with death. Second, Bendis really nails the Peter of this era: he's angry, overwhelmed, whiny. It's one of the things that really leaps off the page at you when you read the first few "Amazing Spider-Man" issues; Bendis perfectly captures that tone here. Finally, perhaps the best part is Miles' realization how personal Spider-Man is to Peter. He's seen how much Peter struggled in those early days to keep everything together, and he realizes how much he sacrificed to be where he is today. Bendis has seemed on track to have Miles decide not to be Spider-Man anymore. Before this issue, it felt artificial, like an editorial mandate. But, here, he really gives this movement the emotional heft it needed. I highly recommend it (and I can't believe I'm saying that).
Generations: Sam Wilson and Steve Rogers #1: Nick Spencer says his good-bye to Captain America here, and it's exactly what you'd hope it would be. Unlike everyone else, Sam lives a full life at the Vanishing Point, from serving alongside Steve as the "Man in the Air" during the War to becoming a pastor in North Carolina with a family of his own. Spencer essentially answers the question that has often plagued Sam during his costumed career, namely the path untaken. With that path lived, Sam stands as a new man, one ready, as he says, to forge his own legacy. "Generations" started rockily for me, with the lackluster Jean Grey entry, but it's really rebounded since then. This issue in particular works as a way for Sam to take stock of his life and focus on the legacy he wants to leave, the reason (to his mind) why Kobik sent them all to the Vanishing Point in the first place. Marvel seems to have its head in the game for this Legacy relaunch, and my fears that it's just going to lead to a whitewashing -- literally -- of the progress we've seen over the last few years have been more or less allayed.
Marvel Legacy #1: This issue isn't as bad as some of its analogues have been in previous years. That might sound like faint praise, but it's not. It's hard to pull off these sort of kitchen-sink issues: the author not only has to juggle multiple characters, but he has to do so in a way that hints at their future without really revealing anything. It's not a recipe for a satisfying read. But, Aaron does his best here, and he helps himself by keeping us focused on two major threats: the Final Host and an Infinity Gem. The A story involves a group of Paleolithic Avengers led by Odin beating down a Celestial; said Celestial is now awakening to call for the Final Host to scour Earth. It's a threat that's been looming over the Marvel Universe ever since I've started reading it, and I honestly can't quite believe we might see it come to fruition. The B story involves not only Logan's resurrection [yawn] but also his recovery of the Mind Gem. Speaking of resurrections, Marvel has been hinting on the margins about Jean Grey's return, and Phoenix's involvement in the Paleolithic Avengers certainly adds fuel to that fire. [Heh.] However, Aaron is obligated to throw in a lot more here, so we also have Starbrand fighting the new Ghost Rider and Cap, Ironheart, and Thor fighting the Frost Giants Loki sent to retrieve the Mind Gem. Overall, though, it's all about the Celestials, and we'll see if Marvel rushes that story or if it's going to loom over us for a good long while, like Hope Summers loomed over the X-Men after "Messiah Complex."
Spider-Gwen #24: Latour makes us wait (impatiently) for Gwenom to debut as the symbiote (logically) bonds with Logan first. But, when Logan activates the sonic-wave device he usually uses to prevent Kitty from phasing, everyone learns an important lesson about the symbiote's weakness. Gwen and Kitty work together to phase Logan from the symbiote, and Gwen is left as the only suitable host after Kitty high-tails it from the scene with Logan in tow. Of course, Matt Murdoch arrives just in time to show Gwen her comatose father, and the symbiote helps stoke her rage, leading her to attack the cops meant to guard George. I don't think it's going to be a smooth ride for Gwen for the next few issues.
Also Read: Batman Day Special Edition #1; Mighty Thor #23; Pathfinder: Runescars #5; Rebels: These Free and Independent States #7; X-Men: Blue #12
Wednesday, October 25, 2017
Not-So-New Comics: The August 30 Edition (HERE BE SPOILERS!)
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
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
Subscribe to:
Posts (Atom)