Batman #25: The "knock knock"/"who's there" exchange between Riddler and Joker is the best panel arrangement I've seen since Capullo's upside-down maze in "Batman" #5. Something about the segue from Riddler on one side of the room on one page to Joker on the other side of the room in the next one is chilling. Both characters command their respective page, making you viscerally aware they're at war for the same space. The War of Jokes and Riddles, indeed. King and Janín work so well together throughout this issue to convey this message, to a chilling effect.
To start, King's Riddler is completely unhinged, but in a sane way. This dichotomy is most obvious in the way he escapes Arkham, methodically learning the names of the guards' daughters so they're too scared to stop him. If he hadn't just stabbed a detective 26 times to get his escape started, it might've otherwise seemed like an empty threat. When it comes to Joker, the art again supplements the script: Janín's Joker appears similar to his "Killing Joke" incarnation, a reminder of how dangerous he is (as if you needed one). In other words, before the two characters even meet, King and Janín make it clear we're dealing with the characters at their most lethal.
But, come together they do, as Riddler solves the puzzle Joker is leaving for Batman. He tells Joker he knows he can't laugh anymore, because punchlines require a lack of predictability and Batman has made Gotham all predictability. Similarly, Riddler doesn't enjoy his riddles anymore, because Batman is the riddle he can't solve. Riddler suggests they kill Batman together, because it's the only way they'll know satisfaction; otherwise, they'll burn Gotham to the ground as they try to stop the other one from killing him first. Joker agrees...and then shoots Riddler, hoping maybe it will make him laugh. (It's a shocking moment and another reminder he's not a more patient incarnation of his character.) Unfortunately, it doesn't make him laugh, and he leaves Riddler bleeding on the floor.
Batman arrive seconds later, and Riddler tells him Joker stole his bomb. Bruce leaves Edward to chase down Joker because, given the wound, he assumes Riddle will die shortly. He doesn't, for a reason King doesn't explain. It perhaps has something to do with his riddle at that moment: "The smartest man alive will always overlook one thing: his own nose." I'm not sure how it's connected to him surviving a point-blank gunshot, but it isn't just a random line: Joker had been drawing the image of a clown nose on the map of Gotham with his crimes.
Speaking of unsolved riddles, the joke Joker used to lead Batman to the office building where Riddler finds him was: "Why did six fear seven? Because seven ate nine." Joker is on the 78th floor, so I get that part. But, we're not told how Joker brought this joke to Bruce's attention. (Did it have something to do with the clown nose?) Plus, I'm not sure how six and nine play into it. I believe it has something to do with another riddle Riddler told: the password to a club isn't half the number the bouncer gives (in other words, five if the number is ten) but the number of letters in the word (three if the number is ten). I make note of these unsolved riddles (at least unsolved for me) because I feel like they might be relevant later.
As the story ends, we learn Bruce is telling this story to Selena as they lie in bed, confessing to her what he had to do during the War of Jokes and Riddles so that she'll truly know him before they get married. He implies it'll explain him even better than Alfred, Gordon, and the boys understand him. He tells her they misunderstand him as a guy with pain saving who he can; allegedly something about his behavior during the war shows this interpretation is wrong.
King is swinging for the fences here, and he makes you believe he can hit the home run. Something about this arc already seems epic, a character-defining story you'd think we couldn't see anymore in Batman. But, King has hinted throughout his run he's willing to do something no one else -- not Morrison, not Snyder -- has allowed Bruce to do: he's going to let him become a real boy. Bruce's confession about his past to Selena is part of his commitment to Selena, and it's what grounds this story. I can't wait to see where we go.
The Wild Storm #5: Zealot investigates Angela's base, discovering the remains of the IO Razor 3 team. She also encounters a "daemon" who looks like an extra from "Alien." It claims to be acting in a Watcher-type role and encourages her not to get involved with the important events unfolding. She doesn't believe it. It asks how she can have lived so long and understand so little before it disappears. (It seemingly puts her in the long-life club with Jacob Marlowe.) Meanwhile, Michael accepts Craven's offer to track down Angela to distract himself from his brain tumor. However, when he reads the hastily assembled file and watches the video recording of the Razor 3 team's engagement, he realizes she's a scared researcher in need of someone to listen. He asks Craven to rescind the order, but Craven refuses. Mike quits for fear he's suddenly discovered at the end of his life Craven has been playing him for years, and Craven essentially tells him he's not going to fund his treatment. Meanwhile, Void gets to Angela first, explaining her story in the hope Angela will trust her. She explains Skywatch controls everything that happens off Earth (as opposed to IO, which controls everything that happens on it) and tried to achieve interstellar travel by cutting into "underspace." (They called it "the Bleed," as if they were cutting below the surface of skin, where they hoped different physics would be at play.) All the crew died, including Adriana, but something that looks decidedly similar to a daemon saved her and returned her with her powers. Meanwhile, Christine Trelane arrives at Mike's apartment and offers him a job with "Executive Protection Services" as Craven's men knock on his door announcing they have his "effects."
Also Read: Nightwing #23
Friday, August 4, 2017
Not-Very-Deep Thoughts: The June 21 Rest of Marvel Edition (HERE BE SPOILERS!)
Captain America: Steve Rogers #18: Some tie-in issues provide important off-panel insights to the event unfolding in the main series; if I remember correctly, a lot of important stuff happened in the tie-in issues related to "Avengers vs. X-Men." However, the same isn't true of this issue. Steve gives an uncharacteristically unhinged speech to the rump United Nations meeting in Brussels (as a result of their New York colleagues being trapped in the Darkforce Dimension), threatening governments that don't embrace HYDRA cells in their own countries. T'Challa ruins the fun by hijacking the meeting via video link and daring Steve to come to Wakanda himself; it's not an idle threat, as he informs the meeting he's killed three previous groups Steve sent to infiltrate Wakanda. This revelation undermines Steve's "stop spying on us" demand he made at the top of the speech, and he leaves in a huff. Based on the cover, you'd be forgiven if you thought this issue was going to be about Namor (pet peeve #2), but Namor only sulks at the start and end of the issue. In fact, I'm not sure why Spencer included him at all, since T'Challa's entry into the fray is a much more interesting development. After all, we've already seen HYDRA defeat Namor in "Secret Empire" #5. It makes for a confused narrative and a pretty easily skipable issue if you were only coming here because it's connected to "Secret Empire."
Darth Vader #2: I've never been the biggest fan of Camuncoli's work (I know, I know), namely because his faces in "Amazing Spider-Man" always seemed...off to me. But, he's on fire here, capturing just how lethal Vader is, be it as a pilot or as a combatant. Soule is no slouch either. Vader invades an outpost cataloging Jedi effects to try to track down a living Jedi. The only one he finds is a warrior who took the "Barash vow," a sort of penance requiring isolation (meaning he survived implementation of Order 66). Soule reminds us this Vader isn't the Vader we know by allowing him to get winged by one of the Stormtroopers defending the outpost. I hope it means we'll see the internal emotional conflict I mentioned in my review of last issue. All told, we've got a good start here.
Iceman #2: Grace accomplishes what he intended to do here, using Kitty and her anger over learning from Fabio Bobby was gay to press him to actually connect with people. She makes a solid point, stressing his family and friends want more from him than just jokes at inopportune moments. Bobby defends himself accurately, noting he didn't have a say in his coming out: he only did so because his younger self is running around town with a model boyfriend. But, something feels rushed here, and I hope Grace slows down. Grace only alludes to the fact Bobby's alone in the world, but I think it's worth exploring it more. After all, Jean, Scott, and Warren (at least the Warren he knew) are all dead, and he's estranged from Hank. He really doesn't have anyone in his corner except an ex-girlfriend. Moreover, Kitty may raise Bobby's hopes too high here that his parents are going to be in his corner, though the preview of next issue's cover implies we'll find out one way or another. But, at some point, Bobby needs someone, and it's probably hinting at the fact he could use a supporting case unique to this series. Finally, the art has some decent moments here, though it's hard to tell what penciler/inker combination is responsible, given four sets of hands are at play here. You get the feeling Marvel is doing this one on the cheap given the unsteady art situation, and it makes me unfortunately wonder how long this series has.
Mighty Thor #20: It seems clear the War of the Realms is going to kick into high gear. After all, at this point, we have three different Thors. The story of Volstagg becoming War Thor is devastating, though I'll admit I don't exactly understand how he survived the Muspelhiem fire that killed the elven children he was trying to protect. (Apparently fire-goblin blood is immune to the fire. If I had to guess, those creatures that appeared with the maggot bombs were fire goblins, and Volstagg coated himself with their blood when he murdered them in a rage. But, Aaron doesn't really make that part entirely clear.) At any rate, Odinson is pissed at Jane for becoming Thor, Jane is dying so she might not be Thor that much longer (or she might stay Thor forever, giving up Jane), and Volstagg is ready to kill everyone. It seems like something is going to happen, given that confluence of events. But, it's the death of the children that gives this issue its emotional weight. We obviously don't see that in comics often, but Aaron makes sure it's not gratuitous. Volstagg is someone different than he's always been, and it ups the ante here, making you wonder what other unexpected developments are in store for us.
X-Men: Gold #6: OK, I'm not buying what Guggenheim is selling here when it comes to Rachel. I can think of any number of instances from the past where Rachel used power on the scale she uses here. I mean, she took on the Beyonder during "Secret Wars II," if I remember correctly. It's not like what we've seen with other characters, where they evolve over time, like Bobby eventually coming to realize his full potential or Spider-Man learning "Spider-Fu" when he temporarily lost his Spider-Sense. She suddenly just has a headache, talks to some folks in her mind, and then decides she's powerful enough to disable the A.I. Sentinel. It's not just overly convenient, but it doesn't do justice to a 36-year-old character. Guggenheim also includes smaller odd moments, like Ororo kissing Remy. All told, it makes for a bizarre ending to this once promising arc.
Also Read: Secret Empire: Underground #1; U.S.Avengers #7
Darth Vader #2: I've never been the biggest fan of Camuncoli's work (I know, I know), namely because his faces in "Amazing Spider-Man" always seemed...off to me. But, he's on fire here, capturing just how lethal Vader is, be it as a pilot or as a combatant. Soule is no slouch either. Vader invades an outpost cataloging Jedi effects to try to track down a living Jedi. The only one he finds is a warrior who took the "Barash vow," a sort of penance requiring isolation (meaning he survived implementation of Order 66). Soule reminds us this Vader isn't the Vader we know by allowing him to get winged by one of the Stormtroopers defending the outpost. I hope it means we'll see the internal emotional conflict I mentioned in my review of last issue. All told, we've got a good start here.
Iceman #2: Grace accomplishes what he intended to do here, using Kitty and her anger over learning from Fabio Bobby was gay to press him to actually connect with people. She makes a solid point, stressing his family and friends want more from him than just jokes at inopportune moments. Bobby defends himself accurately, noting he didn't have a say in his coming out: he only did so because his younger self is running around town with a model boyfriend. But, something feels rushed here, and I hope Grace slows down. Grace only alludes to the fact Bobby's alone in the world, but I think it's worth exploring it more. After all, Jean, Scott, and Warren (at least the Warren he knew) are all dead, and he's estranged from Hank. He really doesn't have anyone in his corner except an ex-girlfriend. Moreover, Kitty may raise Bobby's hopes too high here that his parents are going to be in his corner, though the preview of next issue's cover implies we'll find out one way or another. But, at some point, Bobby needs someone, and it's probably hinting at the fact he could use a supporting case unique to this series. Finally, the art has some decent moments here, though it's hard to tell what penciler/inker combination is responsible, given four sets of hands are at play here. You get the feeling Marvel is doing this one on the cheap given the unsteady art situation, and it makes me unfortunately wonder how long this series has.
Mighty Thor #20: It seems clear the War of the Realms is going to kick into high gear. After all, at this point, we have three different Thors. The story of Volstagg becoming War Thor is devastating, though I'll admit I don't exactly understand how he survived the Muspelhiem fire that killed the elven children he was trying to protect. (Apparently fire-goblin blood is immune to the fire. If I had to guess, those creatures that appeared with the maggot bombs were fire goblins, and Volstagg coated himself with their blood when he murdered them in a rage. But, Aaron doesn't really make that part entirely clear.) At any rate, Odinson is pissed at Jane for becoming Thor, Jane is dying so she might not be Thor that much longer (or she might stay Thor forever, giving up Jane), and Volstagg is ready to kill everyone. It seems like something is going to happen, given that confluence of events. But, it's the death of the children that gives this issue its emotional weight. We obviously don't see that in comics often, but Aaron makes sure it's not gratuitous. Volstagg is someone different than he's always been, and it ups the ante here, making you wonder what other unexpected developments are in store for us.
X-Men: Gold #6: OK, I'm not buying what Guggenheim is selling here when it comes to Rachel. I can think of any number of instances from the past where Rachel used power on the scale she uses here. I mean, she took on the Beyonder during "Secret Wars II," if I remember correctly. It's not like what we've seen with other characters, where they evolve over time, like Bobby eventually coming to realize his full potential or Spider-Man learning "Spider-Fu" when he temporarily lost his Spider-Sense. She suddenly just has a headache, talks to some folks in her mind, and then decides she's powerful enough to disable the A.I. Sentinel. It's not just overly convenient, but it doesn't do justice to a 36-year-old character. Guggenheim also includes smaller odd moments, like Ororo kissing Remy. All told, it makes for a bizarre ending to this once promising arc.
Also Read: Secret Empire: Underground #1; U.S.Avengers #7
Not-Very-Deep Thoughts: The June 21 Spider-Affinity Marvel Edition (HERE BE SPOILERS!)
Peter Parker: The Spectacular Spider-Man #1: Teresa Parker! I can't say this issue is perfect: Peter recounting his origin story to Johnny Storm made absolutely no sense. Moreover, we're in pet peeve #3 territory here, where Peter acknowledging it makes no sense doesn't make it better. But, it's not the only problem. It makes even less sense Peter would agree to go on a date as Spider-Man. I get Zsardsky is going for an easy and fun vibe here, and, sure, hilarity may ensue. But, seriously, disbelief can be suspended only so much. But, I'm willing to put aside all that for the great art from Kubert (he can draw Johnny Storm whenever he wants) and the return of Teresa Parker from "Spider-Man: Family Business." Waid managed to make Teresa feel like an honest-to-goodness character (and not just a convenient plot device) in that graphic novel, and I've been waiting for her to return. A light-hearted series about Spidey's downtime doesn't necessarily seem the right place, but we'll see where Zsardsky goes.
Spider-Man 2099 #24: Honestly, only Peter David comes close to telling a time-travel story that remotely makes sense. Miguel, the other Spider-Man 2099 and Tempest manage to grab one of the members of the mob trying to attack them before fleeing somewhere safe to interrogate him. The other Spider-Man 2099 is able to control "arachnonauts" that force the man to tell the truth: his phone told him to attack them. They learn Aisa was using a popular app to control people's minds, and Lyla eventually figures out Aisa is the Fate Atropos. She's trying to kill off humanity because she's sick of humanity fucking up everything on its way to eventually annihilating itself. Honestly? It's a pretty solid motive. Miguel tries to defeat her, but she decides to off him, even though she usually likes to give her opponent a sporting chance. However, Miguel doesn't have a thread in this reality because...he's already dead. Aisa escapes, and Tempest later confirms Miguel did die. Miguel refuses to learn how he dies before May 15, 2019, because he's afraid that information will again screw up 2099. After all, at this point, he's got the hope he's managed to restore the 2099 he knew (even if, as I've mentioned ad nauseum, it's not necessarily the one we knew). Peter ends with the surprise that the mysterious Spider-Man 2099 is Gabriel...Miguel's son with Tempest. Dun-dun-DUN! It's hard to believe David wrapped up this story so well, but it is really solid. Aisa's motivation makes sense, her plan would've realized said motivation, and the team stops her in a believable way. All win! At this point, we have two loose ends. First, we have Miguel himself. It seems to me Miguel doesn't really have to die to recreate his 2099 timeline: he just has to leave the past timeline at exactly the point he would've died, returning to his present timeline at exactly the point he left. In so doing, you wouldn't encounter any paradoxes: he's where he's supposed to be at the time he's supposed to be. Second, we have Gabriel. Gabriel is a grown man here, something he wouldn't be on May 15, 2019. As such, two things clearly happen: 1) Gabriel is raised outside our timeline, possibly by Miguel and Tempest in the future, and 2) Tempest at some point becomes a superhero, possibly after Miguel dies. I have full faith Peter David will answer that question since, after all, it's Peter David.
Spider-Man 2099 #24: Honestly, only Peter David comes close to telling a time-travel story that remotely makes sense. Miguel, the other Spider-Man 2099 and Tempest manage to grab one of the members of the mob trying to attack them before fleeing somewhere safe to interrogate him. The other Spider-Man 2099 is able to control "arachnonauts" that force the man to tell the truth: his phone told him to attack them. They learn Aisa was using a popular app to control people's minds, and Lyla eventually figures out Aisa is the Fate Atropos. She's trying to kill off humanity because she's sick of humanity fucking up everything on its way to eventually annihilating itself. Honestly? It's a pretty solid motive. Miguel tries to defeat her, but she decides to off him, even though she usually likes to give her opponent a sporting chance. However, Miguel doesn't have a thread in this reality because...he's already dead. Aisa escapes, and Tempest later confirms Miguel did die. Miguel refuses to learn how he dies before May 15, 2019, because he's afraid that information will again screw up 2099. After all, at this point, he's got the hope he's managed to restore the 2099 he knew (even if, as I've mentioned ad nauseum, it's not necessarily the one we knew). Peter ends with the surprise that the mysterious Spider-Man 2099 is Gabriel...Miguel's son with Tempest. Dun-dun-DUN! It's hard to believe David wrapped up this story so well, but it is really solid. Aisa's motivation makes sense, her plan would've realized said motivation, and the team stops her in a believable way. All win! At this point, we have two loose ends. First, we have Miguel himself. It seems to me Miguel doesn't really have to die to recreate his 2099 timeline: he just has to leave the past timeline at exactly the point he would've died, returning to his present timeline at exactly the point he left. In so doing, you wouldn't encounter any paradoxes: he's where he's supposed to be at the time he's supposed to be. Second, we have Gabriel. Gabriel is a grown man here, something he wouldn't be on May 15, 2019. As such, two things clearly happen: 1) Gabriel is raised outside our timeline, possibly by Miguel and Tempest in the future, and 2) Tempest at some point becomes a superhero, possibly after Miguel dies. I have full faith Peter David will answer that question since, after all, it's Peter David.
Wednesday, August 2, 2017
On Remaining Questions from Scott Snyder's Run on "Batman"
Based on Snyder's comments about the upcoming "Dark Days: Metal" event, we're lead to believe many of the questions I (and other people) had about Snyder's run on "Batman" were actually Easter eggs he intentionally left for this event. I'm not entirely sure I buy that, but I'm also happy to have some of them answered, even if it's retroactively. One of the advantages of keeping a blog on comics is it helps you remember what you've read. Given my obsessive need to remember questions from previous stories, I went through my reviews of Snyder's 50-issue run and included the major questions here. I skipped some issue-specific questions (notably, the ones I had in issue #34), focusing mostly on the most obvious plot holes (and thus most likely to be retroactive Easter eggs). Notably, I couldn't force myself to re-read my reviews of "Batman Eternal" or (with less hesitation) "Batman and Robin Eternal." If Easter eggs are there, I'm just going to have to go without noticing them.
1) from "the Court of Owls" arc: How did the Court of Owls elude Bruce's notice for all that time? In "Death of the Family," Joker claims the Court of Owls gave Bruce so much trouble because he was distracted by the Bat-family. It's worth mentioning because Snyder is specifically acknowledging Bruce was off his game. But, he never gives us an alternate explanation, so, at this point, I guess we have to believe he agrees with Joker. Continuing on the theme, why did the Court emerge from the shadows for the Night of the Owls? How did it successfully return to said shadows (if it did)? Why did the Court turn against Lincoln March just as he was on the cusp of realizing the Court's investment in him by becoming Mayor? Most pressingly, how did it turn crippled Thomas Wayne, Jr. into strapping Lincoln March? (Dionesium definitely seems to play a role here, and I wouldn't be surprised if Owlman didn't appear in "Dark Days: Metal.") Why did the Court freeze former Talons, particularly since it didn't have the means of resurrecting them at the time? Did the Court know Bruce's identity?
2) from "the Death of the Family" arc: Why did Joker cut off his face? Did Joker know the Bat-families' identities? I don't want to rehash this argument too much, because it was already explored ad nauseum at the time. But, as a reminder, the tie-in issues in "Death of the Family" made it pretty clear Joker knew their identities (particularly the back-up story in "Red Hood and the Outlaws" #0). Joker kidnapped Barbara's mother, he destroyed Haly's circus, he knows what brand of soap Dick uses, he knew Jason's father was a deadbeat dad, etc. But, Bruce insisted Joker didn't know, because he once revealed his identity to him and Joker refused to acknowledge it. Snyder never has Bruce acknowledge the most plausible explanation for that: Joker might've conveniently forgot that information at the time but "remembered" it now. After all, at the start of the arc, Joker is shown as unhinged over the Bat-family dragging down Bruce. It makes sense he'd allow himself to "remember" their identities if he was so upset. (Issue #37 seems to confirm this point when Joker calls Batman "Bruce.") Conversely, does Bruce really know Joker's identity, as implied at the end of issue #17? Finally, what did Joker tell the members of the Bat-family when it came to what Bruce "really thought about them." This part was particularly ridiculous, since Sndyer established Joker didn't find some sort of super-secret dossier on the Bat-family he could share with them. But, in addition to the Bat-family's believing Joker did really know their identities, it's this information that helps drive the wedge between them and Bruce. As such, it's obviously relevant.
3) from the "Zero Year" arc: In issue #21, Riddler had some sort of card arrangement with phrases that I predicted would return one day as significant. Is that day now? In issue #23, Bruce opens a gem his father willed him that turns rooms seemingly into caves. It's so random, I have to assume it's one of the Easter eggs Snyder left on the way to "Dark Days." How did Riddler meet Dr. Death? Why was he using him to distract Batman? So he could plan Zero Year? In issue #29, Bruce tells Gordon he should've taken "the call" to avoid all the death that comes, but I wasn't sure what he meant; I didn't recall some call that could've avoided Riddler turning back the clock on Gotham or Dr. Death from doing whatever it was he was doing. Also, it was never clear to me how Riddler got access to the Red Hood Gang's files; it's an important point, because he uses them to build the army that patrols Gotham.
4) from issue #35: Bruce confronts the Justice League with a suit he built specifically for the occasion. During his conflict with the Flash, Capullo very carefully shows us a lightning bolt striking a Batarang. However, it doesn't have any impact on the battle; Batman wins by creating a frictionless surface to neutralize Barry. But, given the events of "The Button" cross-over event in "Batman" and "The Flash," it seems retroactively significant.
5) from the "Endgame" arc: We've never explicitly been told why Joker wanted to destroy the pool of dionesium under the Batcave. At the time, I hypothesized it was because he wanted to be the only one with access to dionesium (given the amount of it in his spine), but Snyder never spells out that part explicitly. Also, it's not entirely clear how Joker goes from battling Dick at the parade to arriving at the pool so quickly. In terms of the final conflict, I noted at the time Bruce seemed to have plenty of other options beyond dying and taking Joker with him. Snyder never really explained why he chose that route. Moreover, Alfred's explanation of the note Bruce left for him after he died -- reading only "HA!" -- didn't really make sense. He claims it was because Batman's story could've only ended in tragedy for people to believe in him (because he had to be mortal), but that doesn't seem to have anything to do with the word, "HA!"
6) from the "Superheavy" arc: Snyder never states how the dionesium that seeped through Bruce's cracked cranium changed the pathways in his brain. At the time, I just accepted it did. But, given the importance of dionesium to "Dark Days," it's probably worth noting here. Snyder also never explains how Peter Duggio survived the four gunshot wounds he received when the cop fired on him as he fled his burning bodega. At the time, I figured whatever Mr. Bloom gave him to grow wings retroactively healed the wounds, but Snyder never actually said that. After all, Peter went to his cousin Dylan before Dylan created Bloom, so I think we're supposed to believe Dylan also provided some sort of medical assistance. It's also never really clear how Duke gets clued into Bloom's existence. Gordon seems to learn of Bloom in issue #42 due to the Devil Pigs' connection to him, and Batman learns of him in issue #44 when he's investigating Peter's death. Duke knows enough about him to bring the seed Gordon gave Bruce to Dylan to investigate, but we don't know how he recognizes seed as coming from Bloom. Finally, almost everything about Geri Powers remains a mystery. For example, it seemed like Geri Powers might've given the thief who confronted Gordon in issue #41 the technology he used to do so, but we never get that confirmed. We also never learn why she was on her quest for an "island of stability" in the elements in the 200s. What was the point of creating Batmanium? Simply for science? I'm also not entirely sure why she and the Powers That Be never wanted Gordon looking into the Bloom case. After all, she never wound up having any connection to Bloom; in the end, he was just a homeless man who stole Dylan's seeds. Wouldn't she want Gordon stopping the villain destroying the city she now functionally controls? We're also not really sure what her plan was if Jim resigned as Batman as she wanted him to do, after he went rogue to investigate Bloom. Moving to other questions, Julia uses the Bat-signal to save Gordon because the Bat-signal apparently "holds" Rookie with an "electro-magnet" and such a magnet could counter Bloom's seeds, which are also "electro-magnetic." I never really understood why the robo suit was attached to the Bat-signal, but maybe Snyder had a reason. Finally, is it meaningful we learn Julie Madison is covered with tattoos, including an owl one?
1) from "the Court of Owls" arc: How did the Court of Owls elude Bruce's notice for all that time? In "Death of the Family," Joker claims the Court of Owls gave Bruce so much trouble because he was distracted by the Bat-family. It's worth mentioning because Snyder is specifically acknowledging Bruce was off his game. But, he never gives us an alternate explanation, so, at this point, I guess we have to believe he agrees with Joker. Continuing on the theme, why did the Court emerge from the shadows for the Night of the Owls? How did it successfully return to said shadows (if it did)? Why did the Court turn against Lincoln March just as he was on the cusp of realizing the Court's investment in him by becoming Mayor? Most pressingly, how did it turn crippled Thomas Wayne, Jr. into strapping Lincoln March? (Dionesium definitely seems to play a role here, and I wouldn't be surprised if Owlman didn't appear in "Dark Days: Metal.") Why did the Court freeze former Talons, particularly since it didn't have the means of resurrecting them at the time? Did the Court know Bruce's identity?
2) from "the Death of the Family" arc: Why did Joker cut off his face? Did Joker know the Bat-families' identities? I don't want to rehash this argument too much, because it was already explored ad nauseum at the time. But, as a reminder, the tie-in issues in "Death of the Family" made it pretty clear Joker knew their identities (particularly the back-up story in "Red Hood and the Outlaws" #0). Joker kidnapped Barbara's mother, he destroyed Haly's circus, he knows what brand of soap Dick uses, he knew Jason's father was a deadbeat dad, etc. But, Bruce insisted Joker didn't know, because he once revealed his identity to him and Joker refused to acknowledge it. Snyder never has Bruce acknowledge the most plausible explanation for that: Joker might've conveniently forgot that information at the time but "remembered" it now. After all, at the start of the arc, Joker is shown as unhinged over the Bat-family dragging down Bruce. It makes sense he'd allow himself to "remember" their identities if he was so upset. (Issue #37 seems to confirm this point when Joker calls Batman "Bruce.") Conversely, does Bruce really know Joker's identity, as implied at the end of issue #17? Finally, what did Joker tell the members of the Bat-family when it came to what Bruce "really thought about them." This part was particularly ridiculous, since Sndyer established Joker didn't find some sort of super-secret dossier on the Bat-family he could share with them. But, in addition to the Bat-family's believing Joker did really know their identities, it's this information that helps drive the wedge between them and Bruce. As such, it's obviously relevant.
3) from the "Zero Year" arc: In issue #21, Riddler had some sort of card arrangement with phrases that I predicted would return one day as significant. Is that day now? In issue #23, Bruce opens a gem his father willed him that turns rooms seemingly into caves. It's so random, I have to assume it's one of the Easter eggs Snyder left on the way to "Dark Days." How did Riddler meet Dr. Death? Why was he using him to distract Batman? So he could plan Zero Year? In issue #29, Bruce tells Gordon he should've taken "the call" to avoid all the death that comes, but I wasn't sure what he meant; I didn't recall some call that could've avoided Riddler turning back the clock on Gotham or Dr. Death from doing whatever it was he was doing. Also, it was never clear to me how Riddler got access to the Red Hood Gang's files; it's an important point, because he uses them to build the army that patrols Gotham.
4) from issue #35: Bruce confronts the Justice League with a suit he built specifically for the occasion. During his conflict with the Flash, Capullo very carefully shows us a lightning bolt striking a Batarang. However, it doesn't have any impact on the battle; Batman wins by creating a frictionless surface to neutralize Barry. But, given the events of "The Button" cross-over event in "Batman" and "The Flash," it seems retroactively significant.
5) from the "Endgame" arc: We've never explicitly been told why Joker wanted to destroy the pool of dionesium under the Batcave. At the time, I hypothesized it was because he wanted to be the only one with access to dionesium (given the amount of it in his spine), but Snyder never spells out that part explicitly. Also, it's not entirely clear how Joker goes from battling Dick at the parade to arriving at the pool so quickly. In terms of the final conflict, I noted at the time Bruce seemed to have plenty of other options beyond dying and taking Joker with him. Snyder never really explained why he chose that route. Moreover, Alfred's explanation of the note Bruce left for him after he died -- reading only "HA!" -- didn't really make sense. He claims it was because Batman's story could've only ended in tragedy for people to believe in him (because he had to be mortal), but that doesn't seem to have anything to do with the word, "HA!"
6) from the "Superheavy" arc: Snyder never states how the dionesium that seeped through Bruce's cracked cranium changed the pathways in his brain. At the time, I just accepted it did. But, given the importance of dionesium to "Dark Days," it's probably worth noting here. Snyder also never explains how Peter Duggio survived the four gunshot wounds he received when the cop fired on him as he fled his burning bodega. At the time, I figured whatever Mr. Bloom gave him to grow wings retroactively healed the wounds, but Snyder never actually said that. After all, Peter went to his cousin Dylan before Dylan created Bloom, so I think we're supposed to believe Dylan also provided some sort of medical assistance. It's also never really clear how Duke gets clued into Bloom's existence. Gordon seems to learn of Bloom in issue #42 due to the Devil Pigs' connection to him, and Batman learns of him in issue #44 when he's investigating Peter's death. Duke knows enough about him to bring the seed Gordon gave Bruce to Dylan to investigate, but we don't know how he recognizes seed as coming from Bloom. Finally, almost everything about Geri Powers remains a mystery. For example, it seemed like Geri Powers might've given the thief who confronted Gordon in issue #41 the technology he used to do so, but we never get that confirmed. We also never learn why she was on her quest for an "island of stability" in the elements in the 200s. What was the point of creating Batmanium? Simply for science? I'm also not entirely sure why she and the Powers That Be never wanted Gordon looking into the Bloom case. After all, she never wound up having any connection to Bloom; in the end, he was just a homeless man who stole Dylan's seeds. Wouldn't she want Gordon stopping the villain destroying the city she now functionally controls? We're also not really sure what her plan was if Jim resigned as Batman as she wanted him to do, after he went rogue to investigate Bloom. Moving to other questions, Julia uses the Bat-signal to save Gordon because the Bat-signal apparently "holds" Rookie with an "electro-magnet" and such a magnet could counter Bloom's seeds, which are also "electro-magnetic." I never really understood why the robo suit was attached to the Bat-signal, but maybe Snyder had a reason. Finally, is it meaningful we learn Julie Madison is covered with tattoos, including an owl one?
Monday, July 31, 2017
Not-Very-Deep Thoughts: The June 14 DC Edition (HERE BE SPOILERS!)
Dark Days: The Forge #1: This issue reads mostly like a preview issue. The plot is solid, but you're really aware you're only seeing the tip of the iceberg.
Overall, Snyder has a lot happening in different places. Batman is investigating a mysterious signal emanating from the Earth's core. One of the Guardians of the Universe sends Green Lantern to investigate an odd energy signature coming from Wayne Manor. A group called the Immortal Men discusses offering membership to Duke's mother years ago and implies Bruce is trying to get through her gas-induced insanity to obtain their secrets. Hawkman is dictating his memoirs. Again, it's a lot. But, Snyder does a good job of making it clear, by the end of the issue, how all these threads fit together.
- Mr. Terrific returns from Earth-Two, where apparently the same signal Bruce discovered on Earth is present; moreover, both signals are getting louder. Mr. Terrific suggests it's like a compass spinning wildly and only a cosmic entity could tune it. This comment leads Bruce to a tower he's secretly hidden under the Fortress of Solitude. (People reading DC Comics longer than I have probably recognize it, but I don't.) He uses the tower to get a reading, I think, but I'm not entirely sure.
- Upon arriving in the Batcave, Hal discovers Bruce told Duke no one could enter; Hal does anyway and discovers a secret cave within the Batcave. (Hal astutely comments only Bruce would have a secret cave.) In Secretcave, a disembodied voice fills in Duke and Hal on what Bruce is investigating. The voice tells them Bruce knew the electrum the Court of Owls used to resurrect their Talons shouldn't have worked in and of itself; when he investigated, he found a secret metal laced in it. This metal produces an energy signature similar to the one found in some of the most powerful artifacts on Earth, e.g., Deathstroke's mask, Aquaman's trident, etc. (These items are all inexplicably on display in the Secretcave.)
- In the past, Hawkman and Hawkwoman discover the ship that originally gave them eternal life, and we're left to assume the ship is made of this mysterious metal. In his research, Hawkman stumbles across information about the four original tribes of humanity. He originally says "three" tribes and then corrects himself as he places a stone with the image of a bat next to three stones with different animal images.
The issue concludes as Duke and Hal find the source of the voice: a resurrected Joker. The Joker seems to tell them dionesium was the mysterious metal. The creative team did an amazing job with this sequence: as Duke and Hal walk through the Secretcave, the text of the disembodied voice starts containing letters in the Joker's font. It raised the hairs on the back of my neck. Separately, Bruce decides to free the other prisoner he's been keeping, this time on his secret Batcave on the Moon. (Mooncave!) Is it Plastic Man? I couldn't tell. The person is apparently unstable, so it seems unlikely it's Plastic Man.
I haven't been a fan of Snyder's work on Batman, but he seems to hint here that the inconsistencies that drove me insane -- like the magic of dionesium from "Court of Owls" or the uncertainty of whether the Joker knew the Bat-family's identities in "Death of the Family" -- may have simply been bread crumbs to get us here. If that's the case, I'm willing to revise my opinion of him. In fact, it makes me want to read through all my old reviews and catalogue those inconsistencies, since it may provide clues to the upcoming event. At any rate, Snyder definitely piques my interest with this issue. He seems to promise a physical explanation to the extraordinary powers of the metahumans (as they're called in the DCnU), which also implies these powers could be eliminated if someone figures out a way to manipulate the dionesium. It's still unclear how it connects to the larger "Rebirth" story about Dr. Manhattan (assuming it does), and Snyder seems to have a number of options for where he wants to go with that. But, Snyder definitely has a vision, and I'm excited to see where we go with it.
Titans #12: Abnett has Omen shake down Psimon to get the location of where he sent Karen's engram, and it's super-fun to watch this match unfold. Psimon feels he's got the upper hand as he plums Karen's mind for memories to use against her. Given the drama happening behind the scenes at Titans Tower, he has ample ammunition. Omen encourages Roy to share his feelings with Donna, but, before he can, he sees her kissing Wally. (They kiss because they both feel adrift: Donna has learned she's not human, and Wally not only faces the loss of his identity as the Flash after the "Lazarus Contract" but also reveals his constant badgering of Linda has driven her from him.) Meanwhile, Mal rages at Dick for failing to find Karen's engram, and he mentions his deal with Deathstroke as a reason not to trust him. This part makes no sense to me, because I was pretty sure no one learned about Dick's deal with Deathstroke. In fact, I'm still not really sure what Dick's deal with Deathstroke was. But, the less said about the "Lazarus Contract," the better. Psimon tells Omen her codename is apt because she's the omen for a future event where a Titan will betray the team. Omen is rattled by Psimon showing her the vision she herself couldn't admit she was having. But, she also reveals she's been leading Psimon down this path. These revelations were all to cultivate a false sense of security so he'd let down his defenses. It works: she not only gets the name of the place where Psimon sent the engram, but she also psychically kicks his ass, revealing she's much more powerful than he thought. The issue ends with the team's assault on Alton Laboratories as Omen contemplates who's going to betray the team. I'm happy to say this issue really rights the ship after the somewhat disastrous "Lazarus Contract." We're returning to where we were going, testing the Titans' bonds to each other as a newly reformed team. I'm much more excited about that story.
Also Read: Detective Comics #958
Overall, Snyder has a lot happening in different places. Batman is investigating a mysterious signal emanating from the Earth's core. One of the Guardians of the Universe sends Green Lantern to investigate an odd energy signature coming from Wayne Manor. A group called the Immortal Men discusses offering membership to Duke's mother years ago and implies Bruce is trying to get through her gas-induced insanity to obtain their secrets. Hawkman is dictating his memoirs. Again, it's a lot. But, Snyder does a good job of making it clear, by the end of the issue, how all these threads fit together.
- Mr. Terrific returns from Earth-Two, where apparently the same signal Bruce discovered on Earth is present; moreover, both signals are getting louder. Mr. Terrific suggests it's like a compass spinning wildly and only a cosmic entity could tune it. This comment leads Bruce to a tower he's secretly hidden under the Fortress of Solitude. (People reading DC Comics longer than I have probably recognize it, but I don't.) He uses the tower to get a reading, I think, but I'm not entirely sure.
- Upon arriving in the Batcave, Hal discovers Bruce told Duke no one could enter; Hal does anyway and discovers a secret cave within the Batcave. (Hal astutely comments only Bruce would have a secret cave.) In Secretcave, a disembodied voice fills in Duke and Hal on what Bruce is investigating. The voice tells them Bruce knew the electrum the Court of Owls used to resurrect their Talons shouldn't have worked in and of itself; when he investigated, he found a secret metal laced in it. This metal produces an energy signature similar to the one found in some of the most powerful artifacts on Earth, e.g., Deathstroke's mask, Aquaman's trident, etc. (These items are all inexplicably on display in the Secretcave.)
- In the past, Hawkman and Hawkwoman discover the ship that originally gave them eternal life, and we're left to assume the ship is made of this mysterious metal. In his research, Hawkman stumbles across information about the four original tribes of humanity. He originally says "three" tribes and then corrects himself as he places a stone with the image of a bat next to three stones with different animal images.
The issue concludes as Duke and Hal find the source of the voice: a resurrected Joker. The Joker seems to tell them dionesium was the mysterious metal. The creative team did an amazing job with this sequence: as Duke and Hal walk through the Secretcave, the text of the disembodied voice starts containing letters in the Joker's font. It raised the hairs on the back of my neck. Separately, Bruce decides to free the other prisoner he's been keeping, this time on his secret Batcave on the Moon. (Mooncave!) Is it Plastic Man? I couldn't tell. The person is apparently unstable, so it seems unlikely it's Plastic Man.
I haven't been a fan of Snyder's work on Batman, but he seems to hint here that the inconsistencies that drove me insane -- like the magic of dionesium from "Court of Owls" or the uncertainty of whether the Joker knew the Bat-family's identities in "Death of the Family" -- may have simply been bread crumbs to get us here. If that's the case, I'm willing to revise my opinion of him. In fact, it makes me want to read through all my old reviews and catalogue those inconsistencies, since it may provide clues to the upcoming event. At any rate, Snyder definitely piques my interest with this issue. He seems to promise a physical explanation to the extraordinary powers of the metahumans (as they're called in the DCnU), which also implies these powers could be eliminated if someone figures out a way to manipulate the dionesium. It's still unclear how it connects to the larger "Rebirth" story about Dr. Manhattan (assuming it does), and Snyder seems to have a number of options for where he wants to go with that. But, Snyder definitely has a vision, and I'm excited to see where we go with it.
Titans #12: Abnett has Omen shake down Psimon to get the location of where he sent Karen's engram, and it's super-fun to watch this match unfold. Psimon feels he's got the upper hand as he plums Karen's mind for memories to use against her. Given the drama happening behind the scenes at Titans Tower, he has ample ammunition. Omen encourages Roy to share his feelings with Donna, but, before he can, he sees her kissing Wally. (They kiss because they both feel adrift: Donna has learned she's not human, and Wally not only faces the loss of his identity as the Flash after the "Lazarus Contract" but also reveals his constant badgering of Linda has driven her from him.) Meanwhile, Mal rages at Dick for failing to find Karen's engram, and he mentions his deal with Deathstroke as a reason not to trust him. This part makes no sense to me, because I was pretty sure no one learned about Dick's deal with Deathstroke. In fact, I'm still not really sure what Dick's deal with Deathstroke was. But, the less said about the "Lazarus Contract," the better. Psimon tells Omen her codename is apt because she's the omen for a future event where a Titan will betray the team. Omen is rattled by Psimon showing her the vision she herself couldn't admit she was having. But, she also reveals she's been leading Psimon down this path. These revelations were all to cultivate a false sense of security so he'd let down his defenses. It works: she not only gets the name of the place where Psimon sent the engram, but she also psychically kicks his ass, revealing she's much more powerful than he thought. The issue ends with the team's assault on Alton Laboratories as Omen contemplates who's going to betray the team. I'm happy to say this issue really rights the ship after the somewhat disastrous "Lazarus Contract." We're returning to where we were going, testing the Titans' bonds to each other as a newly reformed team. I'm much more excited about that story.
Also Read: Detective Comics #958
Not-Very-Deep Thoughts: The June 14 Marvel Edition (HERE BE SPOILERS!)
Secret Empire #4: Spencer handles the Avengers' fucked up family dynamics and history so well here I hope they hand him the reins of that book after this event ends. I'll admit I can't quite remember where we left things with Hanktron after his arc in "Uncanny Avengers." But, it seems totally reasonable to me that his response to the current situation is to hide in a city full of his clones in Alaska and wait for everyone to kill each other.
Spencer does a great job of slowly building to the conflict as Tony and his team and Steve and his team make their respective ways to Alaska and the Cosmic Cube shard. When they unexpectedly encounter each other, we're all ready for a battle royale. But, instead, Ultron captures everyone and makes them suffer through an awkward family dinner. Just as I was wondering why Odinson, Scarlet Witch, and Vision were on Steve's side, Spencer uses the dinner as a vehicle to explain: Thor wants back the Hammer Steve took in "FCBD: Secret Empire #1," Wanda is possessed by Chthon, and the Vision has a virus. But, everything goes to Hell in a handbasket why Tony antagonizes Hank, realizing his raging inferiority complex means he might actually be Hank. Hank just wants everything to be like it was, but it can't be, Tony says, because no one ever forgave him for beating Jan. I mean, talk about dropping a bomb of truth!
I love Spencer using the Avengers' history as the catalyst for the fight here. It really heightens the sense I've had throughout this event that Marvel might actually make the developments stick (and not magically erase them with the Cosmic Cube.) By the second or third issue of most cross-over events -- I'm thinking particularly of "Age of Ultron" and "Avengers vs. X-Men" -- it's pretty clear some device (metaphorical or physical) is going to be used to undo the developments occurring in the event. But, you really get the sense this event is going to have consequences, as Spencer keeps it firmly rooted in the Marvel Universe's history. For example, Hank stresses how everyone is tired of Steve's strategizing and Tony's plotting, reminding them how disastrous "Civil War" was. In other words, everything we're seeing here has been a long time coming, not an artificially manufactured crisis to test our heroes.
In the end, it's Scott Lang who saves the day. He tells Hank he's his idol because he, too, screwed up his life in one moment, but he kept on going. Scott says he lives his life by asking what his daughter would do in difficult situations, and he asks Hank what Jan would want him to do. Hank gives Scott the shard and sends everyone on his way. But, Spencer has two aces up his sleeve. First, the destruction of the Atlantean temple in issue #3 sends Namor to Washington to surrender his shard, disillusioning Hawkeye's team. Mockingbird tries to rally them, reminding them they just have to keep putting one foot in front of the other one. But, Cap reveals to Dr. Faustus he has a mole on the team. It's hard to see how the heroes are going to win this one, and it's why this series so far is legitimately exciting.
Uncanny Avengers #24: This issue starts off oddly, since we ended last issue expecting the team to head to New Orleans to fight Brother Voodoo's brother. But, Zub makes it clear the team is as surprised as we are to find themselves suddenly trapped in New York. Spencer hasn't had a lot of time to focus on New York in the main "Secret Empire" title; we've only really seen Dagger lighting the city when she can and Kingpin planning for the post-bubble days. As such, I'm intrigued to get this insight into New York as it struggles with the isolation imposed by Blackout. The events in this issue happen right after "Secret Empire" #0, so the team is basically acting as first responders. Presumably, if we fast-forwarded to where we are in "Secret Empire" #4, they're connected with all the other heroes. But, right now, they're trying to save who they can. The weirdest part is Jan and Rogue fighting. Jan is trying to convince Rogue they need a strategy, and Rogue is just trying to punch stuff. It's like Zub hasn't read a comic with Rogue in it since 2008. But, hopefully it's just a weird blip, an attempt to illustrate how rattled they all are by the sudden turn of events. We'll see.
Ben Reilly: Scarlet Spider #3: I can't say it doesn't feel forced, but David at least puts Ben in his original costume in this issue, so I feel like I have some hope for the future.
Ms. Marvel #19: Willow doesn't pull any punches here, as HYDRA Chuck from the previous gentrification arc has somehow gotten himself made into Mayor Worthy and placed Basic Becky (a.k.a. Lockdown) in charge of the Gestapo. (They're actually called Keepers of Integration, Normalization, and Deference, or KIND.) Kamala puts two and two together pretty quickly when KIND "agents" accost her outside her house, revealing they're looking for someone with superpowers. Like any good bureaucrat, Becky delegates the fight with Kamala to her henchman, Discord. (I can't remember how Kamala connects KIND to Becky but she does.) When Discord neutralized Kamala with electricity, she realizes he's spent a lot of time studying her, since he knows it's her weakness. (We're obviously supposed to believe it's Bruno, but that seems too obvious.) He eventually zaps her into unconsciousness. Elsewhere, KIND winds up arresting Aamir, Kamala's brother, believing him to have the superpowers. Moreover, all these events take place against the backdrop of Eid al-Fitr celebrations. Although KIND takes in Aamir for allegedly possessing superpowers, it's not hard to see the larger point Willow is making. (She also has Zoe panic when she hears about KIND, revealing she's an illegal immigrant: she was born in France.) Willow makes it even more complicated as Discord gets Kamala to admit to herself the crowds who rallied to Worthy side's in the gentrification arc didn't do so simply because they were mesmerized: some people really believed what he was saying. By returning to this issue, Willow shows she's telling an ongoing story about the struggle between freedom and fear. She manages not to get preachy as she does it, keeping the story focused on the emotions people feel on both sides. I'm intrigued to see where she goes in the next three issues in this arc.
Star Wars #32: I have to admit, I'm really enjoying the Screaming Citadel arc. Aaron cleverly uses a rebooted Rur to exposit not only the regret Aphra feels for abandoning Luke but the fact she doesn't normally feel this way about someone she betrays. Rur correctly posits they understand each other because of their shared tragedies and all I have to say is I'm beyond excited if we're getting a buddy-comedy series featuring Aphra and Luke. Aphra reminds us why she's a survivor when she not only returns to save Luke but also infects him with the symbiote. I know it doesn't sound like doing Luke a solid, but it is: Aphra correctly figures the Hive is run by the strongest will, setting up a conflict between Luke and the Queen.
X-Men: Blue #5: First, I love Bunn adding Jimmy to the team as a way to make sure they always have some sort of Wolverine. Clever. Moreover, the fight sequence with the Marauders was really one of the best I've read in a while, exactly the sort of excellent match of opposing personalities and powers that makes for archenemies. But, Bunn raises the stakes when he reveals the Marauders are all displaced from other realities, presumably ones destroyed as part of "Secret Wars." They've had their memories wiped, and Miss Sinister reveals to Jean she's taken advantage of that situation to turn them into weapons. She allows Jean to keep Jimmy since his resistance to telepathy is too strong to make him useful to her, and Jean is left wondering about her agenda. Bunn doesn't stop the mystery there, though. First, we have no idea how many of these reality-displaced mutants there are (and how many Miss Sinister controls). Second, Jean, Magneto, and Miss Sinister all observe something "different' about these mutants: they're not "just" mutants, but it's unclear what that means. In other words, Bunn has given us enough questions to keep us interested for a good long while. Along the way, he's doing a great job with the characterization as well: Bobby and Quicksilver essentially compete in out-annoying the other one, and I could read that all day.
Also Read: Captain America: Sam Wilson #23; Dragon Age: Knight Errant #2; Dungeons & Dragons: Frost Giant's Fury #3; Generation X #3; Secret Empire: United #1
Spencer does a great job of slowly building to the conflict as Tony and his team and Steve and his team make their respective ways to Alaska and the Cosmic Cube shard. When they unexpectedly encounter each other, we're all ready for a battle royale. But, instead, Ultron captures everyone and makes them suffer through an awkward family dinner. Just as I was wondering why Odinson, Scarlet Witch, and Vision were on Steve's side, Spencer uses the dinner as a vehicle to explain: Thor wants back the Hammer Steve took in "FCBD: Secret Empire #1," Wanda is possessed by Chthon, and the Vision has a virus. But, everything goes to Hell in a handbasket why Tony antagonizes Hank, realizing his raging inferiority complex means he might actually be Hank. Hank just wants everything to be like it was, but it can't be, Tony says, because no one ever forgave him for beating Jan. I mean, talk about dropping a bomb of truth!
I love Spencer using the Avengers' history as the catalyst for the fight here. It really heightens the sense I've had throughout this event that Marvel might actually make the developments stick (and not magically erase them with the Cosmic Cube.) By the second or third issue of most cross-over events -- I'm thinking particularly of "Age of Ultron" and "Avengers vs. X-Men" -- it's pretty clear some device (metaphorical or physical) is going to be used to undo the developments occurring in the event. But, you really get the sense this event is going to have consequences, as Spencer keeps it firmly rooted in the Marvel Universe's history. For example, Hank stresses how everyone is tired of Steve's strategizing and Tony's plotting, reminding them how disastrous "Civil War" was. In other words, everything we're seeing here has been a long time coming, not an artificially manufactured crisis to test our heroes.
In the end, it's Scott Lang who saves the day. He tells Hank he's his idol because he, too, screwed up his life in one moment, but he kept on going. Scott says he lives his life by asking what his daughter would do in difficult situations, and he asks Hank what Jan would want him to do. Hank gives Scott the shard and sends everyone on his way. But, Spencer has two aces up his sleeve. First, the destruction of the Atlantean temple in issue #3 sends Namor to Washington to surrender his shard, disillusioning Hawkeye's team. Mockingbird tries to rally them, reminding them they just have to keep putting one foot in front of the other one. But, Cap reveals to Dr. Faustus he has a mole on the team. It's hard to see how the heroes are going to win this one, and it's why this series so far is legitimately exciting.
Uncanny Avengers #24: This issue starts off oddly, since we ended last issue expecting the team to head to New Orleans to fight Brother Voodoo's brother. But, Zub makes it clear the team is as surprised as we are to find themselves suddenly trapped in New York. Spencer hasn't had a lot of time to focus on New York in the main "Secret Empire" title; we've only really seen Dagger lighting the city when she can and Kingpin planning for the post-bubble days. As such, I'm intrigued to get this insight into New York as it struggles with the isolation imposed by Blackout. The events in this issue happen right after "Secret Empire" #0, so the team is basically acting as first responders. Presumably, if we fast-forwarded to where we are in "Secret Empire" #4, they're connected with all the other heroes. But, right now, they're trying to save who they can. The weirdest part is Jan and Rogue fighting. Jan is trying to convince Rogue they need a strategy, and Rogue is just trying to punch stuff. It's like Zub hasn't read a comic with Rogue in it since 2008. But, hopefully it's just a weird blip, an attempt to illustrate how rattled they all are by the sudden turn of events. We'll see.
Ben Reilly: Scarlet Spider #3: I can't say it doesn't feel forced, but David at least puts Ben in his original costume in this issue, so I feel like I have some hope for the future.
Ms. Marvel #19: Willow doesn't pull any punches here, as HYDRA Chuck from the previous gentrification arc has somehow gotten himself made into Mayor Worthy and placed Basic Becky (a.k.a. Lockdown) in charge of the Gestapo. (They're actually called Keepers of Integration, Normalization, and Deference, or KIND.) Kamala puts two and two together pretty quickly when KIND "agents" accost her outside her house, revealing they're looking for someone with superpowers. Like any good bureaucrat, Becky delegates the fight with Kamala to her henchman, Discord. (I can't remember how Kamala connects KIND to Becky but she does.) When Discord neutralized Kamala with electricity, she realizes he's spent a lot of time studying her, since he knows it's her weakness. (We're obviously supposed to believe it's Bruno, but that seems too obvious.) He eventually zaps her into unconsciousness. Elsewhere, KIND winds up arresting Aamir, Kamala's brother, believing him to have the superpowers. Moreover, all these events take place against the backdrop of Eid al-Fitr celebrations. Although KIND takes in Aamir for allegedly possessing superpowers, it's not hard to see the larger point Willow is making. (She also has Zoe panic when she hears about KIND, revealing she's an illegal immigrant: she was born in France.) Willow makes it even more complicated as Discord gets Kamala to admit to herself the crowds who rallied to Worthy side's in the gentrification arc didn't do so simply because they were mesmerized: some people really believed what he was saying. By returning to this issue, Willow shows she's telling an ongoing story about the struggle between freedom and fear. She manages not to get preachy as she does it, keeping the story focused on the emotions people feel on both sides. I'm intrigued to see where she goes in the next three issues in this arc.
Star Wars #32: I have to admit, I'm really enjoying the Screaming Citadel arc. Aaron cleverly uses a rebooted Rur to exposit not only the regret Aphra feels for abandoning Luke but the fact she doesn't normally feel this way about someone she betrays. Rur correctly posits they understand each other because of their shared tragedies and all I have to say is I'm beyond excited if we're getting a buddy-comedy series featuring Aphra and Luke. Aphra reminds us why she's a survivor when she not only returns to save Luke but also infects him with the symbiote. I know it doesn't sound like doing Luke a solid, but it is: Aphra correctly figures the Hive is run by the strongest will, setting up a conflict between Luke and the Queen.
X-Men: Blue #5: First, I love Bunn adding Jimmy to the team as a way to make sure they always have some sort of Wolverine. Clever. Moreover, the fight sequence with the Marauders was really one of the best I've read in a while, exactly the sort of excellent match of opposing personalities and powers that makes for archenemies. But, Bunn raises the stakes when he reveals the Marauders are all displaced from other realities, presumably ones destroyed as part of "Secret Wars." They've had their memories wiped, and Miss Sinister reveals to Jean she's taken advantage of that situation to turn them into weapons. She allows Jean to keep Jimmy since his resistance to telepathy is too strong to make him useful to her, and Jean is left wondering about her agenda. Bunn doesn't stop the mystery there, though. First, we have no idea how many of these reality-displaced mutants there are (and how many Miss Sinister controls). Second, Jean, Magneto, and Miss Sinister all observe something "different' about these mutants: they're not "just" mutants, but it's unclear what that means. In other words, Bunn has given us enough questions to keep us interested for a good long while. Along the way, he's doing a great job with the characterization as well: Bobby and Quicksilver essentially compete in out-annoying the other one, and I could read that all day.
Also Read: Captain America: Sam Wilson #23; Dragon Age: Knight Errant #2; Dungeons & Dragons: Frost Giant's Fury #3; Generation X #3; Secret Empire: United #1
Monday, July 10, 2017
Not-Very-Deep Thoughts: The June 7 Edition (HERE BE SPOILERS!)
Batman #24: Whoa. I did not see that coming. To be honest, I didn't really enjoy this issue. As I mentioned in a previous review, we've never really gotten resolution when it came to Claire's story. She's allegedly healed here, so we're left to assume Bruce's plan to use Psycho-Pirate to take away her fear worked. But, she still seems...off. Her side of the conversation with Bruce doesn't sound the way an actual human would speak. It's full of oddly timed emotional moments followed by robotic repetition of stilted phrases. But, if you put aside the script, the point of the conversation is important: Claire asks Bruce what he wants as he presses her to decide what she wants. When he essentially admits he's scared of getting what he wants, she gives him permission to be scared. It's an unexpectedly powerful moment. He realizes he wants Selina, and the issue ends with him proposing to her with the diamond she stole when they first met. I remember reading with awe "The Autobiography of Bruce Wayne," the story that concludes the first volume of "Greatest Batman Stories Ever Told." (Google tells me it's actually "The Brave and the Bold" #197.) In it, the Bruce and Selina of Earth-Two finally dedicate themselves to each other after facing their fears during a fight with the Scarecrow. (When else would you face your fears?) I'm not sure if King is intentionally paying homage to that story, but this one has the same feel. "The Autobiography of Bruce Wayne" is still one my favorite Batman stories after all this time, because it shows him finally allowing himself to be a real boy. I can't explain how excited I am of the possibility of seeing that story become the actual status quo in the main universe, even if the script that got us to this point was poor. I'll take it.
Dark Knight III: The Master Race #9: I wasn't even going to bother to review this issue, but it felt wrong not to do so, like I was rewarding DC for the cynicism that brought this series into existence. I try not to be the type of fan who expects too much from the companies that produce the comics we read. I get it's a business, and I try not to make their money grabs into an issue except when they cross the line, like when they charge $9.99 for a regular issue with just a few pages of extra "stories." (I'm looking at you, "Amazing Spider-Man" #25.) After several years of reviewing comics, I also feel like I'm better about acknowledging that just because a comic doesn't work for me means that it's "bad." In cases where I see obvious plot holes or terrible line work, I recognize someone else finds mystery in those plot holes and beauty in those jumbled lines. (I admit in not always succeeding in this endeavor; I still feel bad for what I said about Matt Fraction during "Fear Itself.") But, it feels like DC has gone beyond the pale with this one. The story has been remarkably simple, even less complicated than the plot of "Man of Steel." It's essentially a "Transformers" movie at this point: an alien race -- the Kandorians -- invades, Lara betrays humanity and joins the Kandorians, Lara's love of her family turns her against the Kandorians, Clark lets loose like never before, and the alien race is defeated. The End. Everything else is essentially filler. In fact, it's hard to see what role Bruce even played in this issue. Nothing he does has any impact on the inevitable conclusion. In the rare instances where Miller and Azzarello had the opportunity to give us some more emotional insight into a character, they didn't. For example, Atom wordlessly saves the day here, but we have no chance for him to express the regret he feels for unleashing the Kandorians on Earth in the first place. We just have to assume he feels relieved, if not vindicated. Emotional insight is implied with long stares and nothing more. Including "Dark Knight III: The Last Crusade," this series of ten issues cost $59.90. It's hard for me to accept that, that I spent that amount of money on this series. To put that in perspective, you can buy the premium edition of "Batman: Arkham Knight" and its hours of play time for $39.99. DC obviously feels justified in charging $59.90 because of the legacy of a four-issue series published 32 years ago. But, I have to wonder if anyone paused at the price. Did the editor at any point remind the creative team we were paying $59.90 for their story? Did they ever ask Kubert to maybe spend a little more time depicting the guy with the melted face so it doesn't just look like he has a poor handle on perspective? Did anyone ask Azzarello to spend maybe just a little bit more time getting us to care about the characters rather than just assuming we did? Did anyone think about us, the reader, at all?
Darth Vader #1: I thought this series was going to take place in the same timeframe as the rest of the ongoing "Star Wars" series, making me wonder why they started with a #1 issue (yet again) instead of continuing the numbering from Gillen's series. But, we're not in Kansas anymore. Soule takes us to the moment Anakin becomes Vader, and it's as startling as expected. The Emperor launches Anakin...er, Vader...right into his training, explaining that he has to steal a lightsaber from a Jedi and make the Kyber crystal "bleed" with his rage. (The crystals are apparently alive, so the rage a Sith feeds into his stolen lightsaber is what turns the crystal red, giving the Sith's lightsabers their distinctive color.) The Emperor then abandons Vader on a planet to accomplish his quest, an admittedly difficult one since the Emperor has already killed virtually all the Jedi. I don't know where we're going, but I'm hoping Soule doesn't really give us classic Vader here. Ideally, we'll see some of Anakin shine through Vader's demeanor, something we admittedly don't really see here as Vader slaughters a group of thieves. Sure, Anakin killed all those younglings at the Jedi Temple, so it's not like he's an innocent. But, Anakin's sudden embrace of slaughtering innocents was one of the most poorly explained parts of the prequel trilogy. Soule has a chance to correct that here. After all, we've seen plenty of bad-ass Vader. Vulnerable Vader? That would be a story worth reading.
Hawkeye #7: Whoa. Just...whoa. I thought we were going to have to wait a while before Kate had time to delve into the mystery of her father. But, Thompson gets right to it, as Madame Masque sends Kate the necklace her mother wore to signify her love for Kate and her sister. Did I mention said necklace was covered in blood? You think we're starting down the road of getting more information about Kate's dad as she makes her way through Madame Masque's penthouse. But then she finds her dad sitting in Madame Masque's chair? Apparently it's not as long of a road as we thought. Meanwhile, Thompson continues to give Kate one of the strongest personalities in comics: you can predict what she's going to say before she says it. I can hear her voice so clearly in my head. (Finger guns!) Really, I'd read this series just to see Pizza Dog (yay!), but Thompson makes Kate so damn irresistible. It's really becoming one of the best series on the stands. What is it about Hawkeyes?
Iceman #1: I admit I was nervous about reading this issue. In fact, "trepidation" is probably the right word. As a kid, Bobby was always my favorite X-Man because he seemed to be carrying the same indescribable weight as I was. I know most authors weren't writing Bobby as gay then, but Bendis obviously picked up the same cues as many of the rest of us when he had young Bobby come out (or, at least, accept Jean outing him). To see Bobby begin to enter the world as a gay man: it's almost too much. After reading this issue, I would say my main emotion is that it's mostly a relief to have it done. It's uneven, particularly in terms of the art, and odd, but Grace has a very good read on what makes Bobby tick and, at the end of the day, that part is the most important. Moreover, Grace makes the key decision to show not tell: we get all the information about where Bobby is mentally through his interactions with his friends and family. It's nice to see him have a relationship with his younger self, though Grace makes it clear how awkward it is. Younger Bobby leans too heavily into teasing Bobby about being a dad, but it also is a pretty good description of their relationship. Moreover, Grace's sense of history is impeccable. Bobby starts the issue by writing his dating-website profile, where he says his friends are his family. When his father has a health scare that sends Bobby running to his hospital room, we're reminded just how much his biological family isn't his family. Grace doesn't let Bobby off the hook either: although he's mad his parents moved without telling him, he also forgot his mother's birthday. Their dysfunctional relationship is a two-way street, and the most poignant part is Bobby imaging conversations with the parents he wishes he had after leaving the hospital. Every gay kid has had those conversations. For me, it allowed me to relax, knowing Grace knew what he was doing here. That said, it's not smooth sailing throughout the issue. The art leaves a lot to be desired. Vitti is a pretty established artist, so I just don't know if he didn't have a lot of time here or what. But, his lines are hurried, making characters gain and lose 100 pounds between panels. (Seriously.) It's disappointing, to be sure. Moreover, Grace himself makes some odd choices, like when the mutant Bobby saves randomly uses British English despite being a New Yorker. Overall, it's probably a B-. But, I really just needed it not to be a disaster, and Grace delivers that.
Nightwing #22: This arc is essentially our first real story where Dick is firmly planted in Blüdhaven. After all, "Nightwing Must Die!" had him trolling around France pretty quickly after he arrived in town. But, now he and Shawn have settled into a solid routine and Dick is ready to get a job. (Shawn has apparently gotten back her job at the center, something Seeley doesn't really explain here. But, it never made sense to me that they fired her in the first place, so I'm just going to view it as correcting a wrong.) However, Dick is distracted by his sense that something big is going to happen soon, and he's right: he stumbles upon a Metropolis-based gang trying to clear out a local one, and we learn it's because they have a deal with Tiger Shark to give him some privacy to operate at the port. (Yeah, I'm not sure why Tiger Shark didn't just make the deal with the local gang either.) Tiger Shark is worried Dick is going to spoil his plan to smuggle into Blüdhaven whatever it is he's smuggling, so he hires Blockbuster to take out Dick. However, Blockbuster makes things all the curiouser when he doesn't take out Nightwing, but offers him some sort of job. It's an interesting twist, and I'm legitimately intrigued to see what Seeley has planned here.
Nova (2017) #7: I have to admit, I'm having a hard time with Marvel's new approach to series, where you get emotionally invested and then they end them after seven issues. (At least "Moon Knight" made it to 14 issues, I guess.) It's so clear Loveness and Pérez had other stories to tell, and it hurts my heart they won't be able to tell them. Although long-time readers of this blog know I'm a huge Rich Rider fan, I became a fan of Sam -- a character I previously disliked -- because of this series. Their relationship brought out the best in both of them, and Sam proves his hero chops here. I loved Rich warning Sam he might've sacrificed his life to try to save him from the Cancerverse and Sam responding, "Yeah, well, I talked to some girls." Marvel has promised some sort of relaunch in the fall that we fans of the classic stories will appreciate. I worry that sounds a lot like stripping out the diversity they've infused in their line, and I hope it's not the case. Rich and Sam together shows why we're better for this diversity. It's not just because people see themselves in the stories in a way they didn't previously (though that's obviously important). But, it's also opened up new stories for established characters. Rich has always been a lonesome guy, and something about his partnership with Sam gave him a spring in his step and a smile on his face that we don't often see when it comes to him. I hope we see both of these guys soon and that we see them together. We can't go back, but only forward. Novas gotta step up.
Reborn #6: In the end, this story isn't all that complicated: it's ultimately about Bonnie finding the courage to die. As she and her dad confront Golgotha, she returns to "reality" when she somehow returns to life. (Doctors don't seem to be performing CPR or anything, so it's a little unclear how she suddenly returned.) However, she knows that she has to return to destroy Golgotha, not only to save her dad, Harry, and Roy-Boy, but also to save Earth itself. After all, Golgotha plans to use her blood to fully energize the machine he's constructed to breach the wall between their realm and Earth. Realizing she's needed more there than here, she returns, defeats Golgotha, and becomes queen. I have to be honest and say I'm disappointed Millar makes it so easy. After all, Golgotha has his minions allow Bonnie and her father to waltz into his castle. We could have watched them fight their way into it over the course of several issues, giving us some sense of satisfaction when she finally confronts Golgotha. Instead, she reminds us the prophecy says she'll defeat him, and she and everyone else essentially surrender to it. You wonder why Golgotha didn't just shoot himself. It's like Fizban handing the Heroes of the Lance the Dragonlance in the Inn at Last Home and transporting them to Neraka to defeat the Dark Queen. The only hiccup is when Bonnie returns to life, but she resolves that challenge fairly easily. It takes a story that started with so much promise for complexity and nuance and reduces it to a Saturday morning cartoon. But, that said, I also like Saturday morning cartoons. I'm sad we didn't get "Mistborn,' but I can live with "The Pirates of Darkwater." Millar teases a TV series and a standalone novel in his column after the issue concludes. If that happens, this series may really just prove to be a quick introduction to a much more complicated world. Millar himself says he has five volumes of the comic planned. I would've happily taken a more immersive twelve-issues series in lieu of five volumes. (Have we learned nothing from "The Mummy" and "King Arthur: Legend of the Sword?") But, I'm also happy to revisit this realm, whatever the circumstances.
Spider-Man #17: I have to say, at some point here, I'm Team Hammerhead. He's just minding his own business, shaking down the Vulture's brother for money he owes Black Cat, when Bombshell decides to stop him. He tells her he doesn't hit girls or kids, she persists, and he beats her into a coma. Then, the hospital texts Miles to tell him and he comes after Hammerhead at his own bar. (Hammerhead was in the middle of lamenting to his cronies that the capes always make everything worse.) Bendis almost makes you think he's got a point. But, Bendis also uses Miles' unrestrained pummeling of Hammerhead to emphasize Miles' concern about his dark side. After he pummeled an entire bar last issue, he's sensitive to it, and Hammerhead wondering aloud if Miles is on the right side is enough to distract him. Don't get distracted with Hammerhead, Miles: it usually doesn't end well.
Youngblood #2: Bowers begins to flesh out how the team came together, and it all more or less makes sense. (For a "Youngblood" issue, that's an accomplishment.) The new Vogue approaches a guy named Durante Murray, who offers "hero how-to" videos on the Internet. He idolized Sentinel back in the day, and his suit is based on a schematic Sentinel sent him after Durante wrote him a fan letter. Vogue wants to re-form Youngblood in order to gain the world's attention and then use said attention to spread word about Man-Up. (We learn that Man-Up himself didn't just physically disappear; every record of him everywhere has also disappeared.) Durante agrees to help, but refuses to be called Sentinel, a sign of his disappointment over the revelations that broke Youngblood in the first place. (We also learn he was the Bloodstream person who helped reveal all their crimes to the world.) In the present, Jeff manages not to get himself killed as the kids still suffer from the hallucinogenic gas Crime Condor used on them. He delivers the "cease and desist" letter from President Diehard and slinks into the night. When he awakens in Badrock's bunker, Badrock reveals the truth: he helped assemble the team in the first place. All that said, Bowers still has some steps to show us in how we got here. For example, Shaft knows the woman called Doc Rocket on the team, possibly because her father was on the original team with him. But, we don't know anything about the white-haired woman who serves as the fourth member. We also don't know how Badrock found all of them in the first place. But, Bowers is clearly getting there. In the meantime, he's telling an interesting story that DC or Marvel couldn't tell. After all, this series takes place in a world where the public has no faith at all in government or heroes. With DC and Marvel, they often pretend people feel that way after whatever the most recent event is that destroyed a major city, but everyone usually forgets about it after four or five issues. Here, it's real. Bowers really sells it, and the success of the series is going to depend on him maintaining that sentiment, that we're not just reading a DC or Marvel series about a superhero team. As President Diehard himself says, the do-it yourself movement the Help?! app is spreading hearkens to a more innocent time, and it's going to be interesting to see these kids try to change the world's perceptions about what it means to be a hero. Of course, we also learn the brothers who designed Help?! are trying to take over the United States. Isn't it always the way?
Also Read: Amazing Spider-Man #28, Champions #9; Deathstroke #20; X-Men: Gold #5
Dark Knight III: The Master Race #9: I wasn't even going to bother to review this issue, but it felt wrong not to do so, like I was rewarding DC for the cynicism that brought this series into existence. I try not to be the type of fan who expects too much from the companies that produce the comics we read. I get it's a business, and I try not to make their money grabs into an issue except when they cross the line, like when they charge $9.99 for a regular issue with just a few pages of extra "stories." (I'm looking at you, "Amazing Spider-Man" #25.) After several years of reviewing comics, I also feel like I'm better about acknowledging that just because a comic doesn't work for me means that it's "bad." In cases where I see obvious plot holes or terrible line work, I recognize someone else finds mystery in those plot holes and beauty in those jumbled lines. (I admit in not always succeeding in this endeavor; I still feel bad for what I said about Matt Fraction during "Fear Itself.") But, it feels like DC has gone beyond the pale with this one. The story has been remarkably simple, even less complicated than the plot of "Man of Steel." It's essentially a "Transformers" movie at this point: an alien race -- the Kandorians -- invades, Lara betrays humanity and joins the Kandorians, Lara's love of her family turns her against the Kandorians, Clark lets loose like never before, and the alien race is defeated. The End. Everything else is essentially filler. In fact, it's hard to see what role Bruce even played in this issue. Nothing he does has any impact on the inevitable conclusion. In the rare instances where Miller and Azzarello had the opportunity to give us some more emotional insight into a character, they didn't. For example, Atom wordlessly saves the day here, but we have no chance for him to express the regret he feels for unleashing the Kandorians on Earth in the first place. We just have to assume he feels relieved, if not vindicated. Emotional insight is implied with long stares and nothing more. Including "Dark Knight III: The Last Crusade," this series of ten issues cost $59.90. It's hard for me to accept that, that I spent that amount of money on this series. To put that in perspective, you can buy the premium edition of "Batman: Arkham Knight" and its hours of play time for $39.99. DC obviously feels justified in charging $59.90 because of the legacy of a four-issue series published 32 years ago. But, I have to wonder if anyone paused at the price. Did the editor at any point remind the creative team we were paying $59.90 for their story? Did they ever ask Kubert to maybe spend a little more time depicting the guy with the melted face so it doesn't just look like he has a poor handle on perspective? Did anyone ask Azzarello to spend maybe just a little bit more time getting us to care about the characters rather than just assuming we did? Did anyone think about us, the reader, at all?
Darth Vader #1: I thought this series was going to take place in the same timeframe as the rest of the ongoing "Star Wars" series, making me wonder why they started with a #1 issue (yet again) instead of continuing the numbering from Gillen's series. But, we're not in Kansas anymore. Soule takes us to the moment Anakin becomes Vader, and it's as startling as expected. The Emperor launches Anakin...er, Vader...right into his training, explaining that he has to steal a lightsaber from a Jedi and make the Kyber crystal "bleed" with his rage. (The crystals are apparently alive, so the rage a Sith feeds into his stolen lightsaber is what turns the crystal red, giving the Sith's lightsabers their distinctive color.) The Emperor then abandons Vader on a planet to accomplish his quest, an admittedly difficult one since the Emperor has already killed virtually all the Jedi. I don't know where we're going, but I'm hoping Soule doesn't really give us classic Vader here. Ideally, we'll see some of Anakin shine through Vader's demeanor, something we admittedly don't really see here as Vader slaughters a group of thieves. Sure, Anakin killed all those younglings at the Jedi Temple, so it's not like he's an innocent. But, Anakin's sudden embrace of slaughtering innocents was one of the most poorly explained parts of the prequel trilogy. Soule has a chance to correct that here. After all, we've seen plenty of bad-ass Vader. Vulnerable Vader? That would be a story worth reading.
Hawkeye #7: Whoa. Just...whoa. I thought we were going to have to wait a while before Kate had time to delve into the mystery of her father. But, Thompson gets right to it, as Madame Masque sends Kate the necklace her mother wore to signify her love for Kate and her sister. Did I mention said necklace was covered in blood? You think we're starting down the road of getting more information about Kate's dad as she makes her way through Madame Masque's penthouse. But then she finds her dad sitting in Madame Masque's chair? Apparently it's not as long of a road as we thought. Meanwhile, Thompson continues to give Kate one of the strongest personalities in comics: you can predict what she's going to say before she says it. I can hear her voice so clearly in my head. (Finger guns!) Really, I'd read this series just to see Pizza Dog (yay!), but Thompson makes Kate so damn irresistible. It's really becoming one of the best series on the stands. What is it about Hawkeyes?
Iceman #1: I admit I was nervous about reading this issue. In fact, "trepidation" is probably the right word. As a kid, Bobby was always my favorite X-Man because he seemed to be carrying the same indescribable weight as I was. I know most authors weren't writing Bobby as gay then, but Bendis obviously picked up the same cues as many of the rest of us when he had young Bobby come out (or, at least, accept Jean outing him). To see Bobby begin to enter the world as a gay man: it's almost too much. After reading this issue, I would say my main emotion is that it's mostly a relief to have it done. It's uneven, particularly in terms of the art, and odd, but Grace has a very good read on what makes Bobby tick and, at the end of the day, that part is the most important. Moreover, Grace makes the key decision to show not tell: we get all the information about where Bobby is mentally through his interactions with his friends and family. It's nice to see him have a relationship with his younger self, though Grace makes it clear how awkward it is. Younger Bobby leans too heavily into teasing Bobby about being a dad, but it also is a pretty good description of their relationship. Moreover, Grace's sense of history is impeccable. Bobby starts the issue by writing his dating-website profile, where he says his friends are his family. When his father has a health scare that sends Bobby running to his hospital room, we're reminded just how much his biological family isn't his family. Grace doesn't let Bobby off the hook either: although he's mad his parents moved without telling him, he also forgot his mother's birthday. Their dysfunctional relationship is a two-way street, and the most poignant part is Bobby imaging conversations with the parents he wishes he had after leaving the hospital. Every gay kid has had those conversations. For me, it allowed me to relax, knowing Grace knew what he was doing here. That said, it's not smooth sailing throughout the issue. The art leaves a lot to be desired. Vitti is a pretty established artist, so I just don't know if he didn't have a lot of time here or what. But, his lines are hurried, making characters gain and lose 100 pounds between panels. (Seriously.) It's disappointing, to be sure. Moreover, Grace himself makes some odd choices, like when the mutant Bobby saves randomly uses British English despite being a New Yorker. Overall, it's probably a B-. But, I really just needed it not to be a disaster, and Grace delivers that.
Nightwing #22: This arc is essentially our first real story where Dick is firmly planted in Blüdhaven. After all, "Nightwing Must Die!" had him trolling around France pretty quickly after he arrived in town. But, now he and Shawn have settled into a solid routine and Dick is ready to get a job. (Shawn has apparently gotten back her job at the center, something Seeley doesn't really explain here. But, it never made sense to me that they fired her in the first place, so I'm just going to view it as correcting a wrong.) However, Dick is distracted by his sense that something big is going to happen soon, and he's right: he stumbles upon a Metropolis-based gang trying to clear out a local one, and we learn it's because they have a deal with Tiger Shark to give him some privacy to operate at the port. (Yeah, I'm not sure why Tiger Shark didn't just make the deal with the local gang either.) Tiger Shark is worried Dick is going to spoil his plan to smuggle into Blüdhaven whatever it is he's smuggling, so he hires Blockbuster to take out Dick. However, Blockbuster makes things all the curiouser when he doesn't take out Nightwing, but offers him some sort of job. It's an interesting twist, and I'm legitimately intrigued to see what Seeley has planned here.
Nova (2017) #7: I have to admit, I'm having a hard time with Marvel's new approach to series, where you get emotionally invested and then they end them after seven issues. (At least "Moon Knight" made it to 14 issues, I guess.) It's so clear Loveness and Pérez had other stories to tell, and it hurts my heart they won't be able to tell them. Although long-time readers of this blog know I'm a huge Rich Rider fan, I became a fan of Sam -- a character I previously disliked -- because of this series. Their relationship brought out the best in both of them, and Sam proves his hero chops here. I loved Rich warning Sam he might've sacrificed his life to try to save him from the Cancerverse and Sam responding, "Yeah, well, I talked to some girls." Marvel has promised some sort of relaunch in the fall that we fans of the classic stories will appreciate. I worry that sounds a lot like stripping out the diversity they've infused in their line, and I hope it's not the case. Rich and Sam together shows why we're better for this diversity. It's not just because people see themselves in the stories in a way they didn't previously (though that's obviously important). But, it's also opened up new stories for established characters. Rich has always been a lonesome guy, and something about his partnership with Sam gave him a spring in his step and a smile on his face that we don't often see when it comes to him. I hope we see both of these guys soon and that we see them together. We can't go back, but only forward. Novas gotta step up.
Reborn #6: In the end, this story isn't all that complicated: it's ultimately about Bonnie finding the courage to die. As she and her dad confront Golgotha, she returns to "reality" when she somehow returns to life. (Doctors don't seem to be performing CPR or anything, so it's a little unclear how she suddenly returned.) However, she knows that she has to return to destroy Golgotha, not only to save her dad, Harry, and Roy-Boy, but also to save Earth itself. After all, Golgotha plans to use her blood to fully energize the machine he's constructed to breach the wall between their realm and Earth. Realizing she's needed more there than here, she returns, defeats Golgotha, and becomes queen. I have to be honest and say I'm disappointed Millar makes it so easy. After all, Golgotha has his minions allow Bonnie and her father to waltz into his castle. We could have watched them fight their way into it over the course of several issues, giving us some sense of satisfaction when she finally confronts Golgotha. Instead, she reminds us the prophecy says she'll defeat him, and she and everyone else essentially surrender to it. You wonder why Golgotha didn't just shoot himself. It's like Fizban handing the Heroes of the Lance the Dragonlance in the Inn at Last Home and transporting them to Neraka to defeat the Dark Queen. The only hiccup is when Bonnie returns to life, but she resolves that challenge fairly easily. It takes a story that started with so much promise for complexity and nuance and reduces it to a Saturday morning cartoon. But, that said, I also like Saturday morning cartoons. I'm sad we didn't get "Mistborn,' but I can live with "The Pirates of Darkwater." Millar teases a TV series and a standalone novel in his column after the issue concludes. If that happens, this series may really just prove to be a quick introduction to a much more complicated world. Millar himself says he has five volumes of the comic planned. I would've happily taken a more immersive twelve-issues series in lieu of five volumes. (Have we learned nothing from "The Mummy" and "King Arthur: Legend of the Sword?") But, I'm also happy to revisit this realm, whatever the circumstances.
Spider-Man #17: I have to say, at some point here, I'm Team Hammerhead. He's just minding his own business, shaking down the Vulture's brother for money he owes Black Cat, when Bombshell decides to stop him. He tells her he doesn't hit girls or kids, she persists, and he beats her into a coma. Then, the hospital texts Miles to tell him and he comes after Hammerhead at his own bar. (Hammerhead was in the middle of lamenting to his cronies that the capes always make everything worse.) Bendis almost makes you think he's got a point. But, Bendis also uses Miles' unrestrained pummeling of Hammerhead to emphasize Miles' concern about his dark side. After he pummeled an entire bar last issue, he's sensitive to it, and Hammerhead wondering aloud if Miles is on the right side is enough to distract him. Don't get distracted with Hammerhead, Miles: it usually doesn't end well.
Youngblood #2: Bowers begins to flesh out how the team came together, and it all more or less makes sense. (For a "Youngblood" issue, that's an accomplishment.) The new Vogue approaches a guy named Durante Murray, who offers "hero how-to" videos on the Internet. He idolized Sentinel back in the day, and his suit is based on a schematic Sentinel sent him after Durante wrote him a fan letter. Vogue wants to re-form Youngblood in order to gain the world's attention and then use said attention to spread word about Man-Up. (We learn that Man-Up himself didn't just physically disappear; every record of him everywhere has also disappeared.) Durante agrees to help, but refuses to be called Sentinel, a sign of his disappointment over the revelations that broke Youngblood in the first place. (We also learn he was the Bloodstream person who helped reveal all their crimes to the world.) In the present, Jeff manages not to get himself killed as the kids still suffer from the hallucinogenic gas Crime Condor used on them. He delivers the "cease and desist" letter from President Diehard and slinks into the night. When he awakens in Badrock's bunker, Badrock reveals the truth: he helped assemble the team in the first place. All that said, Bowers still has some steps to show us in how we got here. For example, Shaft knows the woman called Doc Rocket on the team, possibly because her father was on the original team with him. But, we don't know anything about the white-haired woman who serves as the fourth member. We also don't know how Badrock found all of them in the first place. But, Bowers is clearly getting there. In the meantime, he's telling an interesting story that DC or Marvel couldn't tell. After all, this series takes place in a world where the public has no faith at all in government or heroes. With DC and Marvel, they often pretend people feel that way after whatever the most recent event is that destroyed a major city, but everyone usually forgets about it after four or five issues. Here, it's real. Bowers really sells it, and the success of the series is going to depend on him maintaining that sentiment, that we're not just reading a DC or Marvel series about a superhero team. As President Diehard himself says, the do-it yourself movement the Help?! app is spreading hearkens to a more innocent time, and it's going to be interesting to see these kids try to change the world's perceptions about what it means to be a hero. Of course, we also learn the brothers who designed Help?! are trying to take over the United States. Isn't it always the way?
Also Read: Amazing Spider-Man #28, Champions #9; Deathstroke #20; X-Men: Gold #5
Friday, June 23, 2017
Not-Very-Deep Thoughts: The May 31 Edition (HERE BE SPOILERS!)
Captain America: Sam Wilson #22: The best line in this issue is when Sam tells Scott Lang that there's no point trying to save America because America never wanted them in the first place. Again, Spencer gets right to the heart of the current state of affairs in America politics. From the pro-HYDRA guys in the diner telling Sam they're fine with HYDRA so long as they get manufacturing jobs to the mobs harassing Inhumans, Spencer paints a picture using colors we see every day in the newspapers. It gives this issue an energy missing from the main series (and I think the main series is still pretty solid). Sam's decision to avoid the other heroes' attempts to save the day and instead focus on the little people feels right. He's still smarting from the lessons he learned as Captain America, but he can't turn his back on people in need. Characterization is hard to do in an event this big, but you can tell Spencer's been with Sam a long time reading this issue.
Moon Knight #14: The devastating part about this issue is the revelation it won't continue. The creative team has provided a definitive take on Moon Knight, one that seems impossible to imagine another creative team changing. But, it is possible. We've seen Jason Aaron back off the amazing work Al Ewing did with Loki on "Loki: Agent of Asgard," turning him again into the God of Lies instead of the God of Stories. I hold out hope Aaron is only portraying other Asgardians' unchanged view of Loki, and the Loki Ewing delivered to us in "Loki: Agent of Asgard" #13 will one day appear. But, it's a reminder that a 14-issue series isn't enough to cement a changed narrative. Lemire so brilliantly brings Mark to a conclusion here, as he embraces his other personalities, referring to himself in the royal "we" as he dismisses Khonshu and finds peace with his illness. I was never a huge Moon Knight fan before this series, but now Marc Spector is pretty much my everything, a feeling I remember from the end of "Loki: Agent of Asgard." I worry anyone else will lead him astray, resurrecting previous incarnations for him because it fits with whatever event is currently destroying the Marvel Universe. That apprehension and fear is the perfect sign of how amazing of a story the creative team told and how grateful I am that I got to experience it as it unfolded.
Spider-Gwen #20: It's difficult to follow all the people coming after Harry and, by extension, Gwen in this issue. Wolverine wants the bounty on his head, even though I'm not sure who put out the bounty. S.H.I.E.L.D.? Why would S.H.I.E.L.D. want Harry? I thought he went rogue from Silk, not S.H.I.E.L.D.? But, S.H.I.E.L.D. sent Shadowcat to capture Harry, so, if Logan is working off a S.H.I.E.L.D. bounty, why would they double up their agents? Or, are they freelance bounty hunters? That would make more sense. It can't be the Hand, since Matt already had Gwen going after Harry. Maybe we don't know yet? In a way, this confusion helps sell Gwen's decision here to turn her back on Murdoch and stand with Harry. Too many people are asking her to trust them, so she sticks with the one person she can trust. The only problem, as she herself reminds Harry, is that she and her father have a lot riding on that deal with Murdoch. Latour hasn't portrayed Murdoch as someone easily outfoxed, which means I don't think this one is going to turn out well for Gwen.
Teen Titans Annual #1: Time-travel stories are the worst under the best circumstances, but this one joins the mile-long list of ones that make no sense whatsoever. The resolution of this story comes when the Teen Titans and the Titans travel into the past to try to stop Deathstroke from saving Grant. (They're worried doing so will change the present, lest you think they're just mean.) They unexpectedly find themselves face-to-face with the Teen Titans of that era. Damian decides to kill past Wally (for reals), cutting off Deathstroke's connection to the Speed Force at the source. That would make some sense, I guess, except for the fact it doesn't make any sense in the context of previous events. After all, even if Deathstroke doesn't have Wally's access to the Speed Force, he still has Kid Flash's. (Speaking of this conundrum, Wally somehow managed to keep his access to the Speed Force despite Deathstroke using it to charge his battery, but Kid Flash lost his access for the same reason. Maybe the writing team explained that at some point, but I've got bigger fish to fry.) At any rate, to make matters more confusing, Deathstroke apparently doesn't need their powers, because he's learned how to connect to the Speed Force on his own. As such, I'm not sure why Damian's action does anything at all. All it seems to do is restore Kid Flash's access to the Speed Force, though Priest never explains why it would do so. At any rate, Kid Flash rushes into the Speed Force to save Deathstroke lest he get loss in there. But, he doesn't know what he's doing, so Wally has to go save him from getting lost in the Speed Force. (Yes, by the end of this issue, I was just desperately hoping no one said "Speed Force" again.) Then, everyone hugs (for reals) to give Wally a connection to the present, and everyone lives happily ever after. I mean, other than Wally, who apparently now has a pacemaker after Damian killed him in the past, and Deathstroke, who quits the mercenary business because he has all the sads. Everyone else is totes happy. The only real winner seems to be Dick, because no one ever learned about his Lazarus contract with Deathstroke, a contract that still doesn't make sense to me and seems completing incidental to the events of this arc. In other words, this event might have started off well, but it quickly disintegrating into the usual nonsense we get from time-travel stories.
Also Read: Generation X #2; Occupy Avengers #7; Secret Empire #3; Star Wars: Doctor Aphra #7
Wednesday, June 21, 2017
Not-Very-Deep Thoughts: The May 24 Edition (HERE BE SPOILERS!)
Batgirl #11: Unfortunately, I'm officially done with this title now. I love Babs, but she's had a rough run lately in terms of creators. This tale eventually just spun completely beyond Larson's control, as she makes no attempt to explain how Ethan's data mining led to him being able to control people's thoughts over WiFi via something he calls "murmurations." Instead, she explains how "murmurations" are also what you call flocks of starlings and the Danish word for starling is "black sun." Coincidence! Except it's...not. It's fiction so I'm not really sure why Larson wants us to be impressed by these connections. I'd rather she explain how exactly Ethan's power works. But, things go from bad to worse as Babs lectures Ethan rather than helping him as his suit overloads. Larson can't pretend Babs doesn't realize it's happening, as she herself says she's not going to let him "fry." But, she does exactly that, and he suffers burns over 90 percent of his body. Barbara Gordon as the Punisher isn't really my bag of tea. I'm outtie.
Ben Reilly: Scarlet Spider #2: Given how proud Ben is that he doesn't rip off Cassandra Mercury's arm when she opens fire on him, David seems to be implying the main struggle of these first few issues is going to be Ben learning how to overcome his baser instincts. It's still unclear why Ben has said instincts, though I'm guessing we're going to blame all of his questionable behavior on the torture he suffered at the Jackal's hands and leave it at that. In the meantime, the parameters of this series are starting to take shape. When Mercury's daughter miraculously awakens after Ben touches her, Mercury is convinced he cured her and agrees to bankroll his research into her daughter's disease. Ben knows he didn't do anything, but he's happy to take the cash. With Kaine hot on Ben's trail, David seems to be taking inspiration from the '70s "Incredible Hulk" TV show: Ben is going to solve someone's problems, probably for money, as Kaine tries to bring him to justice. If that is David's plan, I'm down with it. The only real question from this issue is how Ben managed to crush Mercury's gun without touching it. He lies to her at one point in this issue, telling her he used telepathy to awaken her daughter. But, maybe he at least has some form of telekinesis now? (It was my first thought when he crushed the gun and thus I was surprised when he denied he had telepathy.) I guess we'll see.
Ben Reilly: Scarlet Spider #2: Given how proud Ben is that he doesn't rip off Cassandra Mercury's arm when she opens fire on him, David seems to be implying the main struggle of these first few issues is going to be Ben learning how to overcome his baser instincts. It's still unclear why Ben has said instincts, though I'm guessing we're going to blame all of his questionable behavior on the torture he suffered at the Jackal's hands and leave it at that. In the meantime, the parameters of this series are starting to take shape. When Mercury's daughter miraculously awakens after Ben touches her, Mercury is convinced he cured her and agrees to bankroll his research into her daughter's disease. Ben knows he didn't do anything, but he's happy to take the cash. With Kaine hot on Ben's trail, David seems to be taking inspiration from the '70s "Incredible Hulk" TV show: Ben is going to solve someone's problems, probably for money, as Kaine tries to bring him to justice. If that is David's plan, I'm down with it. The only real question from this issue is how Ben managed to crush Mercury's gun without touching it. He lies to her at one point in this issue, telling her he used telepathy to awaken her daughter. But, maybe he at least has some form of telekinesis now? (It was my first thought when he crushed the gun and thus I was surprised when he denied he had telepathy.) I guess we'll see.
Captain America: Steve Rogers #17: This issue has some bright moments even though it largely covers ground we're already trod. Spencer uses a journalist interviewing Steve on live TV to review the realities of HYDRA's America, from the concentration camps for Inhumans to the mutant nation on its border. The only new information we get in this issue is insight into Steve's secret deal with the mutants. As expected, he offered Magneto his own nation to get the mutants off the map, since he couldn't handle taking over America and fighting the mutants. (Publicly, as agreed with Magneto, Steve claims the mutants illegally seized the land.) We're not clear on why Steve insisted on making Xi'an the head of the country, but I'm pretty sure "Secret Empire: United" will fill in those details. Otherwise, the issue mostly involves Steve justifying his action by delivering far-right talking points about bringing economic and physical security to people who craved it. He's admirably good at delivering said points. The only problem is when the journalist mentions Las Vegas, something Dr. Faustus explicitly forbade her to do. The TV feed is cut, and she's thrown into a prison cell for "endangering national security;" you get the sense she's lucky to be a prisoner and not dead. Overall, Spencer uses this issue to remind us that a certain percentage of Americans -- a parallel to Donald Trump's oft-mentioned 38 percent -- will find a way to dismiss the destruction of Las Vegas as either a conspiracy theory or a justifiable act. The closer these justifications come to real-life ones, the more depressing it gets.
Also Read: Deathstroke #19; Detective Comics #957; Pathfinder: Runescars #1; Rebels: These Free and Independent States #3; X-Men: Blue #4
Monday, June 19, 2017
Not-Very-Deep Thoughts: The May 17 Edition (HERE BE SPOILERS!)
The Flash #22: Williamson does what he can here, given the editors' clear instructions to give us a peak behind the curtain without drawing it back entirely. As expected, Thawne encounters Dr. Manhattan, who destroys him, likely because he doesn't want anyone to be able to identify him. (I'm still not sure how Thawne recognized him, but I feel like that's a story for another time.) As Barry and Bruce are left flailing in the timestream, Jay Garrick calls to Barry. Barry says his name, allowing Jay to rescue them. However, Barry doesn't recognize Jay the way he did Wally, causing Jay to seemingly disappear back into the timestream. Williamson makes it clear both Barry and Bruce are shaken by this arc's events: Bruce was unable to save his father and Barry was unable to save Jay. The biggest unanswered question is why Dr. Manhattan would risk exposing himself by arranging this experience in the first place. After all, Barry and Bruce are clearly committed to investigating the incident now. But, it seems less an accidental oversight than an intentional mystery, presumably one to be answered later. Meanwhile, in an ad after the issue concludes, we're told the "Doomsday Clock" event is coming in November as the blood on the smiley-face button morphs into Superman's shield. I'm not sure if I'm excited, but, if I am, King and Williamson handling this cross-over event with such aplomb got me there.
Secret Empire #2: Spencer avoids the "Age of Ultron" trap here by making the heroes' next steps pretty damn logical. Tony eventually reviews the thumbdrive the new Patriot brought him, revealing a message from Rick detailing the truth behind Steve's betrayal. (He hacked into Hydra's files to get the information.) Hawkeye wants to lead a team to track down the pieces of the Cube, but, since Dr. Selvig was smart enough to hide them outside HYDRA territory, he and his team have to get smuggled past the (very secure) border to do so. On the other hand, Natasha feels it's a fool's errand. She recalls all the people they lost in previous attempts to prove Steve was a clone or a LMD and argues (pretty convincingly) Steve would want them to kill him if he knew how he was being used. Miles doesn't necessarily agree with her, but he feels his destiny is to kill Steve (per "Inhumans vs. X-Men") so he and the Champions join her. (Yes, I'll be getting "Secret Empire: Uprising.") Meanwhile, Clint and his team are on the border in a Mos Eisley sort of town. Ant-Man leads them to Sam, who helped him smuggle Cassie across the border. Let's just say Sam isn't too thrilled to see them. In the Darkforce dimension, Dagger is killing herself to provide the only light the city gets while Kingpin is providing help to the population with the request that people remember his help when the sun "returns." Throughout the issue, Spencer does an excellent job keeping up the pace while still taking us through all the steps necessary to make these developments feel organic. But, it's the last page that brings an honest-to-goodness surprise. Seriously, these sorts of developments are usually so telegraphed that it's rare to be surprised anymore. However, a rugged-looking Steve Rogers saving a mysteriously glowing woman from members of the Serpent Society and asking her for help to get home? Let's just say I don't think I'm as cocky about knowing what Spencer has in mind as I was.
The Wild Storm #4: Not a lot happens in this issue, but it's beautiful to behold: Davis-Hunt and Buccellato are geniuses, truly. After the Wild C.A.T.s escape Angie's bunker via Void (before one of the surviving members of Razors 3 detonates a grenade), the action stops and everyone gets a moment to breathe. Miles recaps the last two issues for his husband over wine and leftovers, and we then get our first prolonged exposure to Henry Bendix. We don't learn much, other than the fact he prefers spending his time in his enormous space station orbiting Earth (as opposed to Earth itself) and he engages in a whole lot of bluster with everyone other than his assistant, Ms. Pennington. (I don't know if it was a conscious choice, but Pennington looks a lot like Carol/Cheryl from "Archer," which makes it all the more awesome.) We conclude the issue with Mike telling Miles his brain tumor is inoperable and Miles asking him if he wants to keep working. Meanwhile, Angie walks along a deserted highway (after initially crashing into the ocean when she fled the bunker at the start of the issue). Ellis does a great job keeping us guessing mostly because his characters are all in the same situation: no one really has any clue what's happening. That said, Henry Bendis, Miles Craven, and Jacob Marlowe aren't exactly the types of guys who handle that well, so we'll see where we go.
X-Men: Gold #4: Guggenheim's telling a number of stories here, and they're all pretty great. First, we've got the mundane. Kitty, Kurt, and Rachel easily take out some members of the Serpent Society as they rob a bank. Kitty is anxious to get the fight concluded so she can get to her meeting with the city about hooking up the Mansion to the sewer and water system, a clever reminder of the team's struggles to get itself established. (I'm also intrigued how they're going to pay that rent bill the city presented them earlier.) Plus, Guggenheim is reminding us Kitty wants to improve the X-Men's visibility not just by eliminating mutant threats, but regular ones, too. Then, we're got the mysteries. Dr. Reyes informs Colossus the alien-looking guy from the Brotherhood is actually an alien; in fact, he's an alien whose language is even unknown to the universal translator. Meanwhile, Logan and Storm go all "X-Men: SVU" when they convince a NYPD detective to tell them more about the murder of a mutant. (This entire sequence is great, in part because Guggenheim uses the pacing and phrasing of "Law and Order." It makes me realize I would 100% read a comic where Logan and Ororo just went around town solving crimes.) But everyone has to put their day on hold to help Remy. You see, he swiped some nanites for Bolivar Trask's granddaughter. (Before you worry, he didn't know who she was when he took the job; he took it explicitly to find out the buyer's identity.) Trask planned on connecting the nanites to an artificial intelligence for military (and, allegedly, non-mutant killing) purposes, and Remy decides to stop her. But, he sorta accidentally breaks the containment tube and the nanites fly into Trask's computer system. Given the amount of anti-mutant AIs on your average Trask computer, the nanites bond with such an AI and become a nano-swarm Sentinel. Ooopsie! Remy obviously glides over his role in creating said Sentinel when he calls for help. (It's all part of his charm.) Seriously, it sounds like Guggenheim would've been rushed given how much happens here, but the pace is really fun, a sort of "day in the crazy life" approach. It's a great start for this new arc.
Also Read: Batman #23; Generation X #1; The Mighty Thor #19; Nightwing #21; Star Wars #31; U.S.Avengers #6
Secret Empire #2: Spencer avoids the "Age of Ultron" trap here by making the heroes' next steps pretty damn logical. Tony eventually reviews the thumbdrive the new Patriot brought him, revealing a message from Rick detailing the truth behind Steve's betrayal. (He hacked into Hydra's files to get the information.) Hawkeye wants to lead a team to track down the pieces of the Cube, but, since Dr. Selvig was smart enough to hide them outside HYDRA territory, he and his team have to get smuggled past the (very secure) border to do so. On the other hand, Natasha feels it's a fool's errand. She recalls all the people they lost in previous attempts to prove Steve was a clone or a LMD and argues (pretty convincingly) Steve would want them to kill him if he knew how he was being used. Miles doesn't necessarily agree with her, but he feels his destiny is to kill Steve (per "Inhumans vs. X-Men") so he and the Champions join her. (Yes, I'll be getting "Secret Empire: Uprising.") Meanwhile, Clint and his team are on the border in a Mos Eisley sort of town. Ant-Man leads them to Sam, who helped him smuggle Cassie across the border. Let's just say Sam isn't too thrilled to see them. In the Darkforce dimension, Dagger is killing herself to provide the only light the city gets while Kingpin is providing help to the population with the request that people remember his help when the sun "returns." Throughout the issue, Spencer does an excellent job keeping up the pace while still taking us through all the steps necessary to make these developments feel organic. But, it's the last page that brings an honest-to-goodness surprise. Seriously, these sorts of developments are usually so telegraphed that it's rare to be surprised anymore. However, a rugged-looking Steve Rogers saving a mysteriously glowing woman from members of the Serpent Society and asking her for help to get home? Let's just say I don't think I'm as cocky about knowing what Spencer has in mind as I was.
Teen Titans #8: Maybe it's because this cross-over arc has three writers, but this issue made little sense to me. First, we have Kid Flash deciding to spend the day with some older guy with a cool car. I get he misses his father and likes working on cars, but going for a joyride and then burgers with a stranger (with an eyepatch) you just met is a pretty clear no-no, teenage superhero or not. Then we've got the weirdness of Dick's deal with Deathstroke, which drives the tension of this issue. We don't know what it is yet, but I feel like we're not going to get a satisfying answer in the end. Deathstroke seems to have kidnapped both Wally Wests to activate some sort of battery that will not only resurrect his son but make himself more powerful. But, what would Dick have to do with that? Is the deal completely unrelated and just so happens to come to light when Deathstroke is being all villain-y? Seems unlikely. Percy actually does a solid job in scripting the tired "good guys initially fight as a result of an obvious misunderstanding" bit; the rumble on the roof of Titans Tower actually sounds the way I think it would, all chaotic and jumbled. But, for Percy to sell this issue, you still have to believe Kid Flash not only spent the day with Deathstroke but also then helped him with his time-travel plans even after he revealed himself. I just don't believe even a rookie would be that naive, but there you go.
The Wild Storm #4: Not a lot happens in this issue, but it's beautiful to behold: Davis-Hunt and Buccellato are geniuses, truly. After the Wild C.A.T.s escape Angie's bunker via Void (before one of the surviving members of Razors 3 detonates a grenade), the action stops and everyone gets a moment to breathe. Miles recaps the last two issues for his husband over wine and leftovers, and we then get our first prolonged exposure to Henry Bendix. We don't learn much, other than the fact he prefers spending his time in his enormous space station orbiting Earth (as opposed to Earth itself) and he engages in a whole lot of bluster with everyone other than his assistant, Ms. Pennington. (I don't know if it was a conscious choice, but Pennington looks a lot like Carol/Cheryl from "Archer," which makes it all the more awesome.) We conclude the issue with Mike telling Miles his brain tumor is inoperable and Miles asking him if he wants to keep working. Meanwhile, Angie walks along a deserted highway (after initially crashing into the ocean when she fled the bunker at the start of the issue). Ellis does a great job keeping us guessing mostly because his characters are all in the same situation: no one really has any clue what's happening. That said, Henry Bendis, Miles Craven, and Jacob Marlowe aren't exactly the types of guys who handle that well, so we'll see where we go.
X-Men: Gold #4: Guggenheim's telling a number of stories here, and they're all pretty great. First, we've got the mundane. Kitty, Kurt, and Rachel easily take out some members of the Serpent Society as they rob a bank. Kitty is anxious to get the fight concluded so she can get to her meeting with the city about hooking up the Mansion to the sewer and water system, a clever reminder of the team's struggles to get itself established. (I'm also intrigued how they're going to pay that rent bill the city presented them earlier.) Plus, Guggenheim is reminding us Kitty wants to improve the X-Men's visibility not just by eliminating mutant threats, but regular ones, too. Then, we're got the mysteries. Dr. Reyes informs Colossus the alien-looking guy from the Brotherhood is actually an alien; in fact, he's an alien whose language is even unknown to the universal translator. Meanwhile, Logan and Storm go all "X-Men: SVU" when they convince a NYPD detective to tell them more about the murder of a mutant. (This entire sequence is great, in part because Guggenheim uses the pacing and phrasing of "Law and Order." It makes me realize I would 100% read a comic where Logan and Ororo just went around town solving crimes.) But everyone has to put their day on hold to help Remy. You see, he swiped some nanites for Bolivar Trask's granddaughter. (Before you worry, he didn't know who she was when he took the job; he took it explicitly to find out the buyer's identity.) Trask planned on connecting the nanites to an artificial intelligence for military (and, allegedly, non-mutant killing) purposes, and Remy decides to stop her. But, he sorta accidentally breaks the containment tube and the nanites fly into Trask's computer system. Given the amount of anti-mutant AIs on your average Trask computer, the nanites bond with such an AI and become a nano-swarm Sentinel. Ooopsie! Remy obviously glides over his role in creating said Sentinel when he calls for help. (It's all part of his charm.) Seriously, it sounds like Guggenheim would've been rushed given how much happens here, but the pace is really fun, a sort of "day in the crazy life" approach. It's a great start for this new arc.
Also Read: Batman #23; Generation X #1; The Mighty Thor #19; Nightwing #21; Star Wars #31; U.S.Avengers #6
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