#but this one is *goes to check the book* 616 pages long!!! it's a personal record

[lenteur]

Reading two books in two weeks-ish after months (more like a year) of not finding the motivation to pick up a book? I am so proud of myself :D

[sineala]

Civil War: Script Book

I finally read something and have a proper review for all of you! In case you're curious about the contents of the Civil War script book, I have some thoughts on it here as well as some excerpts of the bits that are probably most exciting and/or useful to 616 Steve/Tony fandom.

On the face of it, Civil War: Script Book is exactly what it sounds like -- a book collecting the final drafts of the scripts of the main Civil War comic book series. Issues one to seven. Yep. All of them. "But Sine," you might ask, "why would I want that when I have already read Civil War?" Well, there are a few reasons. One is that you might just be the kind of person who finds it interested to read comic scripts and compare them to the published material, to see what kind of directions and detail the artist is given, and so on. The other reason is that it is interesting from a fannish perspective -- there is a lot of behind-the-scenes commentary, as well as Mark Millar's original pitch for the series and his first draft for Civil War #1.

The book is laid out in a way that is about as visually exciting as you could hope for a collection of scripts to be. The script itself is on the verso pages. Occasional significant lines are highlighted in yellow, with red arrows drawn to the recto pages where they've reproduced the art that goes with those lines. The recto pages also contain commentary from Mark Millar (the author of Civil War) and Tom Brevoort (the editor at Marvel who, relevantly, was responsible for overseeing the entire Civil War event).

And there's a lot in the commentary that fandom might enjoy knowing about. Disclaimer: the commentary is not new; it was all culled from various promotional interviews, but this is the first time it has been collected in one place in this form. And, okay, to be fair, some of the commentary is Millar rhapsodizing about how much he enjoys splash pages with large numbers of superheroes on them, and also how much he likes fight scenes, but there's more than that. For example, we learn -- although you might already have heard this -- that in the very beginning stages of planning, they thought Steve would be pro-Registration, but ultimately decided against it because they didn't think Steve would be in favor of arresting his friends.

(And as another authorial-intent tidbit that may be of interest to a few of you, Brevoort says that Millar -- who is also the author of the original two Ultimates miniseries, as I'm sure you know -- says that, in his mind, if Civil War had happened in the Ultimate universe, Ults Steve would absolutely have been pro-Registration.)

(One more note on authorial intent: Millar says Steve would not have brought the shield down in the final fight.)

It's also interesting seeing both Brevoort's and Millar's opinion on issues that have since become controversial in fandom meta -- the smaller question of what the SHRA actually does, and the big big question, of course, of which side anyone is on. Which side the event is on. Whether it was intentionally slanted in any way.

There has been talk in fannish meta that it's hard to evaluate CW as an event because we aren't given a clear definition in canon of what restrictions the SHRA would actually impose on superhumans -- for example, everyone with powers is forced to register, but are they actually forced to work for SHIELD? Well, in case you were wondering, both Brevoort and Millar seem pretty clear that this is not the case. This is what Brevoort has to say:

The SHRA isn't an organization, it's a federal law. It requires anybody possessing superhuman abilities to register themselves and those abilities with duly appointed agents of the government. Additionally, if an individual intends to use those super-normal abilities as an independent peace officer, they must qualify on a training evaluation, be licensed and submit to some level of oversight in terms of their activities.

I hope that's helpful to someone in fandom, the next time you want to know what the SHRA does. So the answer looks like, yeah, SHIELD has to know about you even if you're the guy whose power is that you can barf up anything you can imagine (I am still not sure why this is the deus-ex-machina ending that Secret Empire went for but that's the subject of another post), but you don't have to join the Initiative unless you actually want to be a superhero.

And then there's the question of the balance of the event. While fandom as a whole generally seemed to perceive Tony as having been on the wrong side, Brevoort says he thinks that they came off as pretty equal in the main series, but that a lot of the tie-ins may have been slanted in favor of anti-Reg because he wanted to let the writers of the tie-ins "tell the truth as they saw it," and that furthermore a lot of the anti-Reg-favoring issues came out early in the event and helped solidify the opinion. He does say that if he were to do it again he would have rearranged the order of some of the tie-ins and asked some of the writers "to perhaps rein in their depictions of Tony a little bit."

So there. That's the word from Marvel, on both of those topics. On to the rest of this book!

The original pitch by Millar, plotting out the whole event, is also an interesting read, in terms of what changed and what stayed the same. They were originally throwing around a lot of ideas with the Hulk, which as far as I can tell mostly got recycled into Planet Hulk/World War Hulk slightly later on. The inciting event (the Stamford incident in the final version, obviously) hadn't been completely settled on, and they knew they'd have to kill someone (so as to make the event have an impact), but they weren't sure who; later on, they obviously decided on Goliath. What's more, it's clear from reading the rest of the commentary that Millar and Brevoort consider Goliath's death the turning point of the narrative, where the stakes are really raised. I find that interesting; in the parts of fandom I hang out with, the big turning points that come up in conversation tend to be pretty much (a) the EMP and (b) the final fight.

The other thing that's really weird is that... Steve doesn't die. What happens in the original pitch is that there's an evil senator with technology to depower all the superheroes, and Steve basically takes one for the team and stops the final fight by destroying the technology and in the process, losing the serum. There is then some discussion about who should be Cap after that -- whether it should be Bucky or Clint, for example. But skinny Steve basically heads off into the sunset at the end as Registration takes hold, and they plan to keep him deserumed for a year or two until the movie comes out, for that sweet sweet MCU synergy.

Is there anything in the pitch I would have loved to have seen? Hell, yeah. Check this out:

The whole situation is getting nuts and there's a clear war now going on between the super heroes, both equally convinced that they're doing the right thing. It all builds up to a big climax at the end of the fourth issue as Tony wakes up in bed to find Cap sitting on his chest and warning him to call off the dogs. He has to release these super-people from prison or Cap will have to take action. This is a last moment of sanity before all hell breaks loose in issue five and, since Tony believes with all his heart that they need licenses, he tells Cap to go [fuck] himself. Thus, the war is on and both sides are playing for keeps.

Would I pay CASH MONEYS for an emotionally-fraught conversation between Steve and Tony that takes place in Tony's bed with Steve sitting on Tony's chest? Boy howdy! I sure would!

So, you know, I'm sad that that didn't make it into the final draft. The rest of the pitch is pretty meh other than that.

The final bit of content exclusive to this book -- other than the pitch -- is the original draft of the script for Civil War #1 and, well, it would have been... slightly different. First off, there's no Stamford incident. There is an inciting event in which the New Warriors are in a fight for the purposes of reality TV and it gets out of control -- so that part is the same -- but it takes place in Bellport, Long Island, and the sole victim is Happy Hogan, who gets shot in the head and dies.

Naturally, you can see how this would bring Tony on board to the pro-Registration side. Also ardently pro-Registration in this draft is Simon Williams (yes, Wonder Man), who is running for political office and is leveraging this to boost his popularity. Being as Wonder Man isn't particularly popular, I have to say I'm glad that they took that out.

The big-impact scene of Steve's confrontation on the helicarrier -- you know, the one where he jumps out the window and rides a fighter jet down? -- is still there, but in this draft, Fury is still running SHIELD, though Hill is present. The commentary indicates that the role was switched to Hill for the final version because they felt that Fury would be too pro-superhero and specifically too pro-Cap to fill the position. I understand why they did this, but I think the first-draft showdown has a lot more impact coming from people who have been comrades as long as Nick and Steve have in 616:

CAPT AMERICA: I AM NOT RATTING OUT MY FRIENDS! FURY: Fingers on your triggers, boys. Any sudden moves and I want the captain tasered. CAPT AMERICA: Damn you to hell for this, Nick. FURY: Damn you for for making me do it.

See? So much more emotional!

The issue wraps up essentially the same way as the published version, with Tony in a Cabinet meeting with the president, explicitly endorsing Registration -- so, yeah, the main themes are mostly there, but a lot of the details are different.

Overall, I have to say that if you're interested in the details of the Civil War event, and you like behind-the-scenes information and extras, this book is worth a purchase, but not necessarily to the point where you should go hunting it down. I think I got mine for $5, which seems reasonable, and I have definitely gotten $5 worth of Civil War informational value out of it.

[ty-talks-comics]

Best of Marvel: Week of August 7th, 2019

Best of this Week: Absolute Carnage #1 - Donny Cates, Ryan Stegman, JP Mayer, Frank Martin and Clayton Cowles

God is Here.

The seeds have been sown all over the Marvel Universe for the re-emergence of Carnage in a big way for months. He’s had single back-up pages in The Avengers, Black Cat, Captain Marvel, Immortal Hulk and many others portending his arrival and the sheer amount of people and creatures that are now within his thrall. Everything is coming to a head and it is absolutely terrifying.

The book begins with Eddie Brock recalling the events of everything Donny Cates has written since he took over the character.and other past events that have ultimately shaped what will soon happen. Eddie tells his son Dylan, who doesn’t know that Eddie is his father, about Knull, the God of the Symbiotes, and how he’s being kept asleep by the planet of symbiotes surrounding him. The only way for Knull to be woken up is if someone collected enough symbiote pieces and DNA to reconnect to the hive mind and if Knull is reawakened, he will begin spreading a new age of darkness across the cosmos.

Eddie references the fights against the Dragon of Knull in the beginning of his run, but also talks about the other people who have held the Symbiote or symbiotes. He pulls so much history out in so few sentences, along with a stellar double page spread by Stegman that one might be convinced to check out other great stories just to see how deep the rabbit hole goes. Characters from Maximum Carnage are shown, heroes that may have been changed during Venomized and of course Captain America, The Thing and Wolverine from the amazing Carnage USA.

After Eddie recounts the danger that the two are in, they see that Eddie is a wanted man after killing many inmates at Ryker’s Island. Of course Eddie was never there and after suspecting that they’re being followed, Eddie tells Dylan that they need to make a break for it and they run away from their tail into the subway. Unfortunately for them, Cletus Kasady was lying in wait and pushes them onto the tracks, only for them to be saved by their tail; Venom. 

Eddie re-bonds with the symbiote after derailing the train and a new and terrifying Carnage confronts them. Stegman wastes not a single stroke in making Carnage look like a menacing force of pure psychotic evil. His teeth are jagged, his limbs are gangly with “skin” that looks like it’s constantly dripping with blood an his ribcage and spine are exposed, but covered in the same material. He could almost be considered skeletal if not for the pumping veins all around him. This is a Monster Carnage, even more terrifying than 2015’s Carnage series and many times more powerful.

Carnage, like most children of other symbiotes, has always been stronger than Venom. Though, with enough force and maybe some help, Carnage has always been defeated one way or another, but not this time. Kasady beats the ever living hell out of Venom, smacking him in the face and smashing him into the ground. He gets right on the cusp of killing him before Eddie grabs the third rail of the subway line and electrocutes the both of them, a temporary victory so that he and Dylan can escape. The symbiote puts Eddie into something of a coma while he heals the body and takes them to the one person that can help.

In a little diner where they think it’s safe, Eddie, Dylan and Spider-Man talk about what’s been going on. Spider-Man is taken aback and annoyingly jokes to Eddie about all of this being out of his league before a news report is shown depicting a mass grave of people that have had their spines ripped out, likely for the Symbiote DNA or Codices (plural for Codex) as Eddie calls them. After some chumps try to rob the diner, Spider-Man takes them out handedly while formulating a plan with Eddie, saying that Reed Richards could have made a machine to help remove the Codex from anyone that has ever been attached to a symbiote, but he would have needed to start long ago.

We then cut to The Maker, the Reed Richards from the Ultimate Universe that has taken up residence in the 616 Universe, as he’s actually been working on such a machine for use on Flash Thompson. The Maker’s goals and those of his employers are unknown and that makes for horrifying implications because there is no way that he is up to any sort of good at all and makes it clear that he too is trying to reunite the symbiotes.

Spider-Man shows up with Normie Osborn as the first possible test subject, but doesn’t want it to be used until he knows that it’s safe. Maker moans that if he has to be so sure, then he should find someone else with a codex, someone dangerous that Carnage may in fact go after next. Peter and Eddie get the same thought: Norman Osborn.

Norman had used the Carnage symbiote to become the Red Goblin not too long ago and after his defeat at the hands of Spider-Man, lost his mind and gained the memories and personality of Cletus Kasady. Things go to hell in a handbasket very quickly as John Jameson, the guard who let them into Ravencroft also known as the Man-Wolf, reveals himself as another of Carnage’s infected puppets.

Mayer then coats the book in an intense and overbearing red hue, signaling nothing but danger as Carnage throws pieces of himself into each cell. There are elements of body horror as he pulls these tiny bits of himself out of his chest and they burrow into the victims. Kasady’s mouth and eyes also seem to drip with his symbiote form as he and the other barrel down on Venom and Spider-Man. A giant and beautiful brawl ensues with the infected ripping and tearing at the pair. The mass of bodies overwhelm and Eddie almost begins to kill before being reigned in by Spider-Man. Unfortunately Spider-Man gets caught by Carnage.

It was around here that I had the realization that Pete and Cletus haven’t actually clashed in YEARS. Maybe as far back as 2011’s Carnage USA was the last time the two fought, so to see Pete finally see him again with half of his mask gone, there’s a small bit of fear in his body language. This is doubled as Carnage throws Spider-Man into Norman’s cell door, breaking it open to reveal a deranged Norman who appears to have been slicing himself with a piece of glass in his cell. With the combination of the bright red of his blood juxtaposed against the darkness of his cell, Norman stands out, not as the cunning genius that we knew him, but as another victim of Carnage and he smiles with mad glee.

Absolute Carnage #1 absolutely lives up to the hype that has been built for it. This story can expand so far and with the tie-ins that have been announced, I’m actually very excited. Carnage has been scary, but this is on a whole new level for him. You never quite know who is one of his thralls! Hell, John Jamson appeared to be completely normal until the trigger was pulled in him and turned him into another monster. Carnage has always been a problem for the larger Marvel universe whenever people have had to fight him individually. Deadpool had a hard time fighting him. Captain America, Wolverine, Hawkeye and the Thing almost died fighting him. Even when he was temporarily a good guy during AXIS, he was still horrifically dangerous.

With new god-like abilities, lack of weaknesses and unimaginable unpredictability, what can anyone do?

Ryan Stegman’s art needs to be absolutely praised as well. His lines are crisp and heavy in an almost perfect way. He manages to give things a darkness and depth to them that makes everything feel absolutely brutal, disgusting and weighty. He can capture faces of absolute terror, rage and every wonderful expression that Venom makes. Personally I love how emotive he makes Spider-Man’s mask with the eyes widening and shrinking with his surprise or incredulity. He also has a talent for spreads as there are about three really good ones that really shows his skill for depth of field. Venom and Spider-Man also look incredibly strong. We all know that I love muscular art and all of their muscles are accentuated through their costumes. Spider-Man has his lithe and athletic body and Venom is nothing but raw strength and I love it.

Absolute Carnage hit every correct note. There was violence, horror and even a little bit of family drama. The stakes are very high and while not on the same scale as War of the Realms, the sheer amount of murders caused and their horrifying nature is more than enough to be concerned about. Donny Cates looks like he’s going to do it again with his first big Marvel event (I think, I don’t really remember) and bring us all to another level of badass storytelling.

High recommend.

---------------------------------------------------

I have never been more interested in Moira MacTaggert than I am right now.

Runner Up: House of X #2 - Jonathan Hickman, Pepe Larraz, Marte Garcia and Clayton Cowles

I've always seen Moira as just another supporter of mutants that tragically had their life ended because of The Brotherhood's evil schemes. I loved that she supported Charles dreams and wanted to help mutants, but never actually knew that she herself was a mutant. She's always had something of a tumultuous history and this issue of House of X expands on that in the most amazing way and shows how important she truly has been in the advancement of the lives of mutant kind this entire time.

In her first life, Moira MacTaggert lived a fairly normal existence. She went to school, married, had kids and died at the rope old age of 78. Soon after, she woke in her mother's womb, capable of remembering everything that she had done in the past life. It was strange and she couldn't let on what she knew, but she knew that she was special somehow. It wasn't until she saw Charles Xavier on the news that it all clicked for her. When he said the word mutant, everything changed for her. She went to try and meet him, only for her plane to crash, ending that life. 

In her third life, she dedicated herself to biology and sought out a cure for the X-Gene, achieving as much only for it to go horribly wrong when Mystique and Destiny, a character who died in Fall of the Mutants (1988) and was last seen in Necrosha (2010), appear and murder all of her fellow scientists. Destiny tells Moira that she knows what her abilities are and that if she continues down a path that could lead to the extinction of mutants, Destiny will always be there to stop her. She tells her that the only path to stop this cycle of reincarnation is to do whatever she can to help mutant kind. 

As a reminder, Destiny has Pyro slowly burn Moira alive so that she never forgets what it will be like to die at her hands.

From here, Moira becomes a radical, leading lives that take her away from Xavier's dream and push her further into darkness. Everything becomes a lesson in repeating the past, however. At first she lives the normal life and history that we already know. Forming a school for gifted youth, the schism between Magneto and Charles, The X-Men and eventually Charles' and mutantkind's death at the hands of Sentinels.

In the life after that, she shows Charles her past lives and turns him into a radical, managing to take over America before Sentinels kill them again. The next sees her kill the Trask family line, only for someone else to design Sentinels instead. She aligns with Magneto or Apocalypse in different lives, all reaching similar or even worse endings.

Eventually, she realizes that there's only one path that she hasn't truly tried: Embracing the dream and making it real. This is the House of X timeline.

We've seen Moira passively protect mutants, but never engaged with Charles in a way that could truly help him. With knowledge of past events, the two can find a path forward that would not only save mutants, but propel their evolution farther. I believe that's why Charles has sought to UNITE everyone. Apocalypse, Magneto, Mystique, Mister Sinister, all of mutantkind under one banner to make the lives of all better. It's certainly a dream, but Moira MacTaggert is the linchpin that makes that dream a reality.

She's always been one of the X-Men's smartest and loyal friends. With her help, her genius behind Charles' vision there's no way that the House of X can fall. It's very telling that every path that utilizes violence or tries to eradicate one side has always lead to ruin. It's even more telling that even the peaceful path requires some bit of strong arming, but if that's what it takes to get humans to stop killing mutants, then it really doesn't matter. Charles will have peace between the two sides and Moira is more than willing to embrace this beautiful new path.

[totesmccoats]

9/20/17

Batman: the Red Death The first of the Dark Knights rises! In Earth -52, Batman hunts the Flash for his speed force. With the Bat-Family dead, Bruce wants to steal Barry’s powers so that he can protect the entire world, much less Gotham. After a long and, for Barry, torturous chase, Bruce succeeds in merging himself with the Speed Force, becoming Batman the Red Death. Shortly thereafter, he is approached by the Batman Who Laughs, who tells him that his world is destined to die, but he knows of one destined to live – they just have to take it.

Metal continues to be, well, metal as hell. Let’s start with the Red Death’s awesome name and better costume. He looks insane! And instead of lightning, he leaves a trail of bats as he runs like some kind of super-fast Dracula! Dude! This is extremely my shit! The first half of the issue is the stronger one, really setting up how scary the Dark Knights are even before their new powers. Earth -52 Batman is just as intelligent and prepared, but completely ruthless. The second half is weaker because, one: it feels like a retread of the first, and two: the Red Death railroads the Flash. No build-up, no tension, just a straight curb-stomping. At least it looks dope as hell.

Batman #31 KITE. MAN. HELL. YEAH. Kite Man gives Batman and the Riddler the location of Joker’s final remaining safehouse, but it’s on top of a tower filled with traps. Only way in is through the windows, and only way to get Riddler’s army through 73rd floor windows is with…kites. That’s it. That’s the issue. Kite Man’s coup de grace. Riddler also manages to give an actually rattled Joker a beat-down, but Kite Man finally gets his win. And in the next issue, Batman does the unspeakable.

Superman #31 Another Lois issue! On assignment by the Daily Planet to interview a cartel boss, Lois goes to Bolivia only to find that Deathstroke had gotten to him and his crew first. Inspired, Lois decides to instead track down and interview the most dangerous killer in the world, and, being Lois Lane, succeeds, but also attracts the attention of another group of killers. Give. Lois. Lane. Her. Own. Book! Seriously. These issues where we follow Lois on her investigations are some of the best in the series, and offer a perspective that no other superhero book really does. If this were just a Superman story, it would involve Clark flying around the world to stop Deathstroke from killing people; but Lois goes to watch him, to interview him, even. Almost every other protagonist in a superhero book does things to change the world in some way – usually by saving it; but Lois’ actions are motivated by observation, not participation. She usually does end up being a part of every story she covers, but her goal is always to let things play out around her rather than intervene herself. And while I think James Bonny understands and nails this perspective, if Lois should get her own series, I wish it would be written by someone with a journalism background whom could also capture journalistic language as opposed to the novelistic style writers usually make Lois write in.

Green Arrow #31 With Hal unconscious and floating in space, it’s up to Green Arrow alone to take down the Ninth Circle’s satellite and also the goon in the mech-suit protecting it. Not the easiest task when you also consider Ollie can’t breathe in space. Luckily, he’s recently made some friends who might be able to help. Like last issue, the finale drops the political overtones from earlier in the arc for pure explosive action, but is still satisfying as a conclusion to Ollie’s personal arc of rebuilding bridges with DC’s other heroes. Ollie still has to take down the satellite on his own, but at least now he has friends to help clean up the mess he makes in doing so. And this change really does show an evolution from the fallout of the last arc with the destruction of Seattle, where it all fell on top of Ollie and his small team, with no-one coming in to help. Meanwhile, Black Canary also completes her arc, taking out the underground men with a triumphant catharsis over her own abusive upbringing, helping others so they don’t suffer as she had. All and all, and ending that reestablishes hope for Green Arrow’s corner of the universe, even as he heads straight into Metal and it’s dark universe.

The Wild Storm #7 We’ve got an info-dump! IO’s Jacklyn King, their chief of analysis checks in at work and assigns her team to look into the Angela situation before Skywatch finds out about the stolen technology and sparks a war between the two most powerful agencies on and off Earth. Meanwhile, John Colt needs a quick rescue from an IO blacksite he broke into before he gets found out and killed, which would prevent him from giving the HALO team the aforementioned info-dump about what IO knows about Jacob Marlowe and machine telepathy. As Cole says in the issue, it’s a lot to take in. Thankfully, Ellis still writes some of the most electric dialogue in comics, and still manages to squeeze in a propulsive fight scene right before the info-dump to give us something to wind-down from. But even then, it’s one of those “here’s what we know they know we know they know” info-dumps – one of the worst kinds – and after reading it three times I’m still not sure if I’ve taken away everything I was supposed to from it.

Wonder Woman/Conan #1 As a child accompanying his father to council, Conan was awe-struck by a black-haired girl named Yanna. Years later, after becoming the Barbarian, Conan happens upon a gladiator match between three men and one black-haired woman who manages to beat them. She demands her freedom, but cannot overpower all of her slaver’s warriors and is taken back in chains. Conan, once again awe struck, goes to rescue her. So far, this is unfolding as a Conan story with Wonder Woman in it. While Conan is full Conan here, WW is amnesiac, forgetting everything including her name, remembering only that she has powers, and once had a golden lasso. And, for some reason, she also fashions a passable enough facsimile of her costume out of rags and mud. We get plenty of Conan being Conan in this issue, fighting bandits, looking for gold and wenches, and sneaking into places; I just wish we got more Wonder Woman. Hopefully next issue.

Generations: The Marvels Under (pre-Secret Empire #10) mysterious circumstances, Kamala Khan is sent back in time to when her hero, Carol Danvers, was still Ms. Marvel; and working on a failing women’s magazine spun out of the Daily Bugle. Kamala accidentally becomes an intern at the paper, and has to help Carol save the magazine, and the world, from an alien invasion. As she’s tended to do with crossover stories, Wilson seamlessly blends what could’ve been an interruption into a natural extension of her main Ms. Marvel story, turning this one shot into another part of Kamala’s growth from being Carol’s acolyte to a Ms. Marvel entirely her own. Working closer with Carol than she really has before allows Kamala to really nail what their differences in personality and heroic philosophy are, and how she can be true to who she is while still being the Ms. Marvel the world needs her to be. And Wilson also makes this arc into Kamala’s strategy for saving the magazine, by having her explain to Carol the sort of balance between fun and function that modern women want from their reading material. Villanelli and Herring’s art is a perfect match for the alternate history setting of this story too. My impression was that the issue looks almost like a 70’s manga, with Villanelli’s manga-inspired character designs and style and Herring’s coloring giving the book an aged patina. The whole aesthetic really gives the impression of something foreign but familiar that I really enjoyed, and also fit Kamala’s experience in the issue.

Spider-Men II #3 The origins of Miles Morales 616. Miles had taken a fall for the Rigoletto crime family, finding himself in Rikers; and Wilson Fisk gets himself thrown in to tell him he’ll be out sooner than expected. Morales helps defend Fisk while their both in their, starting a friendship that takes them to the top of the family. Honestly, not a great origin? Having our earliest introduction to this new minority character finding him already arrested for gang activity is pretty problematic, even considering he’s supposed to be a bad guy. But even besides that, it’s just an origin that we’ve seen before way too many times. And like in most things, Wilson Fisk completely steals the spotlight. And while there are are definite similarities in flirting style during a scene where Miles meets his future wife, this issue doesn’t do much to make the two Miles’ feel like doppelgangers, which was kind of supposed to be the conceit of the story. Really, more than anything, after reading this I want more young-Kingpin, and could care less about Miles-in-name-only.

Peter Parker: The Spectacular Spider-Man #4 Spidey, Teresa, and Torch manage to survive the Tinkerer’s assault in Kingpin’s penthouse, but find out they’ve been fighting a decoy the entire time. And they come home to more bad news: that JJJ is running with the Spider-Man aiding a traitor to SHIELD story he was leaked, meaning that Spidey and Teresa are also now on the lam! Luckily, there’s one place Peter can think of that nobody would think to look for them, but asking to crash on someone’s couch is a big ask before even a second date! This is probably the loosest issue of Spectacular so far, having enough slack for Spidey to do a tight-five of stand-up while on the run, but I honestly like it. Compared to where Amazing is right now, I enjoy having a Spider-Man series that is more loose and silly, even a little chill despite itself. Spidey’s stand-up sticks out from the issue like a sore thumb, but it’s fun page; and I really wouldn’t mind if the entire series continues the trend and leaves slack in the story for silly side stuff life it in the future.

Snotgirl #7 Lottie takes Caroline to Haters’ Brunch in an attempt to integrate her new friend with her old ones, but it doesn’t go that well. But later that night, Caroline’s brother Virgil convinces Lottie to invite her to a comic con party with the other girls, take her out of the city for a while on a road trip. Meanwhile, a slightly amnesiac Charlene wakes up from her coma to a waiting Sunny, and, under the advice of a mysterious stranger, begins to retrace her steps from New Years. What makes this such an interesting series is that, for all the exquisite detail the book gives us into each of these character’s inner lives and monologues, they never seem to be the details we need to solve the series’ main mysteries – mostly surrounding Caroline and now her brother. Instead, the issue is more concerned about Lottie’s continued attempts to impress Caroline by hiding how much she enjoys things like waiting in lines to get into fancy restaurants, and comic-con. But of course, it turns out that Caroline actually wants to go to the party after all, despite it being nerdy. Plus, showing us Lottie’s self-conscious side does do a great deal humanize her, keeping us on the love-hate relationship rollercoaster this book’s set up between us and the protagonist. It’s super interesting how the book divides our attention, really – because it wants us to care about Lottie, and gives us so much of her that we’re kind of forced to despite how terrible of a person she may be, but never lets us forget about this big mystery that Lottie barely even knows is something to be solved. It’s a really fun push-and-pull to play with/against, especially as you never know what the stakes of any given issue is gonna be.

Bitch Planet: Triple Feature #4 Another successful book of short stories from the Bitch Planet universe. Deschamps, Lee, and Olea’s “Life of a Sportsman” shows us a corner of the world we haven’t gotten to before, revealing the hyper toxic-masculinity of sports in this world, following the career of a megaton player who gets off better than OJ and Brock Turner combined. Sara Woolley’s “Bodymod” shows us the extremes that plastic surgery went to in Bitch Planet, making women into literal angels and mermaids who live in constant pain for their beauty. And Ayala and Gifford’s “To Be Free…” is a heist, where a ballerina is recruited to steal something of incredible value from a history museum in order to help the resistance. Unlike last issue, none of these stories feel like they’re repeating themselves or stepping on each-other’s toes. This issue also has some of the most distinctive art of these collections yet, further expanding the universe.

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9/27/17

Marvel Legacy #1 One million years ago, Odin and Agimotto joined ancient versions of the Pheonix, Starbrand, Iron Fist, Ghost Rider, and Black Panther to lock a Celestial deep under the Earth. Today’s versions of those heroes begin having dreams of those events, not understanding what they mean in the context of a world removed from its status quo. Welcome to Marvel Rebirth, essentially. Secret Empire really messed things up for the Marvel Universe, and it’ll take another universe threatening cataclysm to shake things back into shape. Not gonna lie, the Avengers One Million BCE is badass, if archeologically bonkers, and I’m excited to see more of them. And I’m also all about the return of Marvel’s first family. And also Space Wakanda. But overall, this felt a lot like Rebirth #1 without the soul. Just a bunch of hints to future stories.

Generations: Spider-Man Bendis does what he does best and writes an issue where two people just sit and talk to each-other. Miles Morales wakes up in the past, at Empire College, where he runs into a young Peter Parker, who is about to have one of the worst nights of his life. But instead of seeing that story (again), we see what happens when Miles talking to an exhausted Peter after the action, and learn what it means to live as Spider-Man, and the person under the mask. When forced to tell a story in one issue, Bendis really can do wonders, even in his normally dialogue heavy style. At its core, this issue is one Spider-Man revealing to another that being Spider-Man is never easy, it’s always sacrifice, and it’s always personal. And that’s exactly the sort of thing the first needs to talk about to learn when he’s won, and the second needs to hear to learn that he’s doing a good job.

Black Panther #18 The Midnight Angels go on a mission to retrieve Asira as T’Challa and Shuri investigate a village whose people were stripped completely to the bone. Shuri recognizes this from a Wakandan legend involving the Originators, but further investigation points towards a different origin. A lighter issue than most of Black Panther, consisting almost entirely of two action scenes with a last act reveal. Really not much to review in this one; it’s mainly a set-up for a big Legacy rematch.

Wonder Woman #31 Well, it’s not a great sign when the first issue of your Wonder Woman run barely has Wonder Woman in it. Instead, most of this issue concerns a fight between Hercules and Darkseid’s daughter, Grail. Wonder Woman’s only job in the issue is to find out who won. Like, the set-up is interesting enough, but I pick up this series to read about Wonder Woman, not Young Darkseid.

The Flash #31 Flash tries to evacuate the city before Bloodwork can hurt anyone, but with his powers still causing destruction everywhere he goes, realizes he has to stop this problem at the source. But hearing Bloodwork’s motivation helps Barry realize that his negative powers may be feeding on the same impulses, and realizing that can help the hero and villain alike. The end of this arc masterfully threads the needle from moody black-suit hero to reformed opportunistic hero, without letting Barry off the hook for being a jerk to his friends and family. Barry understands why his negativity has been ruling him, and promises to take steps to fix that, the first one being accepting responsibility for his actions. This ain’t a clean-slate for better-Barry. It’s self improvement, and it’s work. And its great that Williamson isn’t ending this arc with everything hunky-dory. It ends with Barry on the first step to healing, himself and those he’s hurt.

Batgirl #15 Dick and Barbara try to get some info on the Red Queen out of Mad Hatter, but he’s not talking much while in critical condition, and the hospital might not be the safest place for them at the moment, anyway. And in the past, Robin and Batgirl go undercover at a high school party to investigate where the drugs are coming from, but only find a strange song. And Barbara begins work on Ainsley’s project, which involves nano-bots with an intriguing glitch. I’m still charmed by this book strictly on the basis of DickBabs. It’s like, the one ship in fiction I’m actually invested in, and this story is handling it so well! Honestly, all I’m asking for are more Robin and Batgirl adventures, cute awkward flirting and all!

Nightwing: The New Order #2 Finally, a superhero about fascism I can get behind! Ok, “finally” is a bit much considering that this is basically an X-Men mutant registration story with DC characters; but what makes it work, unlike, say, Secret Empire, is that it addresses fascism’s marriage with bigotry. This issue flat-out says that this started because people were afraid of their neighbors, of the “others” that creeped in until it seemed like they suddenly overwhelmed the “normals.” And it shows that Nightwing, in a state of panic, gave into the fear and slippery-sloped the world into fascism. The details are unrealistic, of course, but the broad strokes ring true. The story does have one of the big issues that most X-Men stories like this also share, which is that unlike skin-color or religion, a superpower could actually pose a bodily threat to other people, and like weapons, should have public oversight…but that’s one of those dissonant you’ve just kinda gotta accept as part of the genre. Also, Bat-MVP Alfred-fucking-Pennyworth, refusing to stand down to fascism, bringing a bat to a gunfight, and showing Dick how it’s done. Next issue hopefully begins the Nightwing apology/ass-kicking tour.

Saga #47 We catch up with The Will, whom has been kidnapped by the vengeful widow of one of the many many many people he’s killed, who is using a magic VCR to playback his memories to find someone close to him that she can kill, and make him watch. Sadly, for both of them really, she’s having more trouble finding someone close to The Will still alive. It has been a minute since Saga featured the universe’s most unfortunate bounty-hunter, but this issue more than makes up for it. Through the magic VCR we witness the childhood incident that turned him into a freelancer, and an early mission with The Stalk, before his kidnapper discovers a memory she can do something with. The developing rapport between the Will and his kidnapper is also golden. She’s trying way too hard to play the supervillain, prancing around and taunting, to break the Will, but he’s already too broken to care, and has nothing left to lose anyway. I really can’t wait to see how she eventually becomes his new sidekick or partner and the sorts of hijinks they’ll get into.

Crosswind #4 After a pleasurable, but confusing, night out with Cason’s fiance, June finally decides to try and call the man whose body she’s inhabiting by calling herself. Fortunately, Cason – in June’s body – picks up, and the two have a conversation about being each-other. And June needs the advice, as Case’s life is about to get very very dangerous. It’s really an accomplishment that this issue can have a body swap conversation – in a silent medium, remember – with characters that are rarely using their own names, and still have it be completely legible. Case and June just have such distinctive “voices” in syntax and diction and style, that they’re clear even coming out of the other’s mouth. Just from a writing perspective, that’s super impressive on Simone’s part. But it’s also the rare body-swap conversation where the characters aren’t complaining to the other about how hard their lives are, the opposite in fact. Each compliments the other for the good in each-other’s lives. Cason compliments June on her son and gentleness, while June tells Case how impressed she is by the respect everyone shows him. But they also tell the other to be careful and not mess their lives up before they can swap back. And the issue rounds off with each actually making steps to work on maintaining the other’s appearances, with June hiring some people to watch her back; while Case goes to a neighbor’s house to find out how to be more ladylike. The conflict in this book isn’t with each-other at all, it’s already present in their own lives, and the other just has to deal with a completely foreign situation. Also, Simone gets in a couple of good boner jokes! Always a plus. Lastly, Staggs is doing so much with these characters’ body language. Posture, reactions, how they hold phones or go to sleep tells us so much about every character completely wordlessly, and in the sort of fine detail that’s not easy to come by in most comics. This is a wonder on every level.

Comic Reviews for 9/20/17 and 9/27/17 9/20/17 Batman: the Red Death The first of the Dark Knights rises! In Earth -52, Batman hunts the Flash for his speed force.