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.

Best of Marvel: Week of July 31st, 2019

Runner Up: Conan the Barbarian #8 (Legacy #283) – Jason Aaron, Gerardo Zaffino, Garry Brown, Matthew Wilson and Travis Lanham

Very rarely do we get to feel the cold of the hills of Cimmeria.

Conan doesn’t often return home as far as I know. He’s always off on an adventure in Zamora, Khitai, Stygia or any number of other places, not thinking of venturing back home. What makes this story so interesting is Conan’s sense of familiarity and how things are turned on their head when the people that he knew and trusted are suddenly against him. We see his normal rage and anger, but with a restraint that is almost never given to anyone else. It’s strange, but leave it to Gerardo Zaffino and Jason Aaron to give us another amazing tale.

The cold air wafts from Conan’s mouth, the warrior clad in a heavy pelt and a large rucksack on his back. He walks through the blizzard until he comes upon a collection of huts and a dog with piercing red eyes, the first sign that all is not as it seems. He is met by a man with two axes, likely the community butcher, named Ailill. Ailill prepares Conan some food while explaining a sickness that has infected the people of Conan’s clan and that the town shaman had run away. The sickness is one of the mind and as the panels go on, we slowly get a small twinge of dread until Ailill reveals that he himself and the rest of the villagers are infected, also with piercing red eyes.

Conan punches Ailill and tries to escape only to be cornered by the others and his Grandmother, who is drawn with a face almost as horrifying as Norton Sinclair’s from Gideon Falls. This is also one of the few times we see Conan truly afraid as he runs away into the forest to avoid killing his people. He is later found in the freezing cold, half dead, by the village Shaman. He nurses Conan back to a semblance of help and tells him that the curse upon his people was inflicted by a dark wizard by the name of Thoth-Amon, one of Conan’s arch-nemesis. The shaman asks Conan if he’s ready to kill everyone he loves and Conan replies that he had brought gifts for his people and that going South had saved him, so maybe it can do the same for them.

We see how Conan earns the name Conan the Cunning as he lays traps for his people using the gifts he had brought them. Sugar cubes for the dogs to keep them distracted, spices and grog to incapacitate some of the men and spiderweb rope from Zamora for others. Things look to be going surprisingly well until his Grandmother catches him off guard, allowing the others to catch up and corner Conan again. He fights hard, but also doesn’t want to kill them.

Zaffino draws this scene expertly with flashes of Conan’s rage juxtaposed against his feelings of live. He allows himself to be stabbed and battered while just trying to pummel strike or punch his friends. His lines are thick and he makes excellent use of hatching to shade everything. We get the sense of how strong everyone is because of their movements and how large they all are. Conan is the biggest, but his grandmother is still a wall of muscle and anger.

Faces are another thing of beauty as the madness in their eyes is clear. These people are without their faculties and act like simple hounds, hounds that can talk and use tools, but with the bloodlust of hungry animals. Thoth-Amon’s hate of Conan reflects amazingly in them and their lack of restraint only makes thing ever more brutal.

Garry Brown’s colors also make things look so beautiful and desolate. Only a man as hard as Conan could come from a place that feels so cold and isolated. During the fight there are flashes of orange to indicate how dire the fight is becoming. There’s also a deep red as Conan can see the snake coming out of the ear of the Dog Keeper, the first to be infected, showing who the true enemy is and true to form, green is a color of evil as the snake is the perfect shade of vile.

Conan’s grandmother, able to break free of Thoth-Amon’s control, cuts the head off of the dog keeper to keep him from hurting her boy. The rest of the villagers are saved and thank Conan for coming back to them, the good times don’t last as the infected dogs return and all of the Cimmerians join together for another fight.

I loved Jason Aaron’s exploration of Conan’s people. They’re all the same breed of strong as Conan only they’ve never ventured out of their home. They’re rugged, hardy and they’d have to be to survive in the wilderness as they do. It was also amazing to see Conan not kill people when usually a single swing of his sword is enough to begin a tear through armies. Truthfully, he would have done so here too if there were no other way, but he had faith that he could save them and it paid off.

Zaffino gets the most praise from me because of his art style. It rings back to the days of Marvel’s 1970s-1980s Conan series with a sort of pulpy look combined with the expert techniques of the modern day. He conveys emotion, action and even tells a story through the art alone. He’s got skills that makes me want to check out the other books he worked on.

Conan the Barbarian continues to excel as a fantastic story, not only through showcasing new and awesome adventures of the titular barbarian, but by continuing to remind us that by the end of all of this Conan will die. These happy times won’t last and it’s amazing that Aaron has managed to keep that thought looming in the back of our minds. Around every turn we get a new reminder and the dread comes right back. I can’t wait for the next chapter in this story or the many others coming like Esad Ribic’s story of Conan’s youth. This book get another high recommend from me.

Best of Marvel: Week of July 31st, 2019

Best of this Week: Black Panther #14 (Legacy #186) – Ta-Nehisi Coates, Daniel Acuna and Joe Sabino

Since the beginning of this new series, we’ve been left wondering if this escaped slave, turned warrior, turned legend was the real King T’Challa. We’ve been introduced to an M’Baku, though M’Baku has been dead for years and a Nakia that isn’t an emaciated mess of a supervillain. There’s also a living N’Jadaka even though Killmonger too has been dead for a long time. We’ve gotten hints that maybe things aren’t as they seem, especially when Manifold shows up as a mind controlled slave. The last few issues had finally cleared things up and it’s official; the King i back.

The book begins with Manifold helping to evacuate the Teku-Maza, a group of alien warriors that have agreed to help the Rebel Maroons fight against the “King” N’Jadaka. In the middle of the evacuation, N’Jadaka’s forces appear from hyperspace and engage the Teku-Maza and the Maroon forces in battle.

T’Challa, now with all of his memories back has finally contacted Wakanda Prime. Shuri, Storm and his mother all answer the call and tell T’Challa how the country has flourished despite his absence and that his request for aid in space might risk this newfound peace. Shuri even asks why should Wakanda Prime even be concerned with all of this and Nakia snaps back with the fact that N’Jadaka won’t just stop at the few galaxies that he has. Honestly, this should be a grave concern for them.

The Space Empire has managed to go unnoticed by the Black Panther and others for thousands of years. With the technology that N’Jadaka wields, it wouldn’t be a stretch to say that he could give Earth’s heroes a run for their money. Shuri’s dismissal of such things comes off as naive at best, but outright dangerous at worse. T’Challa is one of the smartest and most capable of Earth’s heroes and he too fell to the Empire.

The call is unfortunately cut short as the Teku-Maza’s planet of Agwe is under attack and only T’Challa and the rest of the Maroon Elite can stop the Empire. Under M’Baku’s command, T’Challa, Nakia and the Goddess Bast take the fight to the Empire.

I’ve been waiting for Acuna to come back for large scale battles such as this. His art style is absolutely perfect to capture the sense of scale, speed and harrowing nature of this kind of space fight. He also has the perfect Afro-Futurist feel to each scene with ship designs that feel, maybe West African in nature, as well as the M’Baku’s body modification and the design on his sash. The colors are heavy with striking reds, intense greens and screaming hot yellows. Some pages also have a bit of a holographic/3D effect in some panels that adds a little bit of a trippy factor, especially as Bast uses her powers.

The battle is harrowing with each side taking casualties. The Teku-Maza leader tells his men that no matter what happens, N’Jadaka must not escape and he has them arm a weapon called the “Core-Killer,” a weapon capable of destroying the planet it’s armed on as well as almost everything within close enough range. N’Jadaka tells his people to fire on the population centers of Agwe and the Teku-Maza leader tells the Maroons to retreat as the core killer has been activated. Bast chastises M’Baku as he resigns himself to ask his forces to retreat and the Maroons get away just as Agwe goes up in flames.

This war has cost so many lives and having to give up an entire planet of people is absolutely devastating. On the possible upside, a tyrant may have finally been destroyed, leaving his people able to find freedom much like the Maroons have. I think what I like best about this is the position it puts T’Challa in. He’s lost his people many times over, so either his heart is completely hardened to it, or he values absolutely every life lost that he himself was unable to save. I don’t know how he’s going to handle this stunning climax to the war, but I can’t wait to see. High Recommend.

Best of Marvel: Week of July 24th, 2019

Best of this Week: House of X #1 – Jonathan Hickman, Pepe Larraz, Marte Gracia and Clayton Cowles

“You have new Gods now.” – Erik Lehnsherr, 2019

The new era of X-Men is here and for all of its familiarity, it does something new and sort of unsettling with a tried and true formula. This is thanks to the beauty and scale of Larraz’s art and the far and wide nature with which Jonathan Hickman is crafting yet another saga to rival both his SHIELD and Avengers runs. If you let it, House of X will engulf you in a rich new mutant world filled with happiness and untold amounts of pride by it end, but also with a good helping of fear… as if everything is just a little bit off.

The book begins with a great wide shot of a figure staring up at what appears to be the root of or at least some important part of a tree. Two other figures, a woman with red hair and a man with glowing eyes, are birthed from two sacs under the tree and we get the familiar line, “To me, my X-Men. Presumably, this is Charles Xavier and as we progress, this idea is made clear as it seems we are doing away with the “X” identity he took up during Astonishing X-Men (2018). This also serves as some clear symbolism of a new rebirth for the X-Men.

Over the next few panels, we are shown shots of various X-Men planting flowers, plucked from the island of Krakoa, in various areas from their home in Westchester, New York to Mars, the moon and the Savage Land. The book is then framed around Magneto and two of the Stepford Cuckoos giving ambassadors from various countries a tour of the various locales that Krakoa has been placed upon as they ponder Charles’ proposed deal. This deal would allow them to make use of the flowers of Krakoa for various medicinal purposes, possibly making the world a much better place, so long as they agree to recognizing the sovereignty of the Krakoa nation state. A new Haven for Mutantkind.

Of course there have been such efforts made in the past. Genosha, the first and most prominently mentioned example, is alluded to have been the catalyst for humankind not being taken over by the mutant X gene. Mutantkind apparently would have become the dominant race on the planet Earth within ten years if not for Genosha’s destruction. Asteroid M and Utopia weren’t mentioned, but my guess is that they simply weren’t as impactful in regard to mutant kind likely because of the events of House of M (2005) dwindling their numbers to nothing. As it stands now, after the implementation of Krakoa spiking the birth rates to much higher than previously calculated, that humanity has about 20 years left.

These estimations are made by a brand new organization known as The Orchis Protocol, a network built for the purpose of monitoring evolutionary anomalies and preparing a doomsday protocol in case humanity is threatened by Homo Superior. The organization apparently consists of ex assets from practically all major organizations in the Marvel Universe from AIM, SHIELD and Hydra to even Hammer, Alpha Flight and SWORD. Some of Larraz’s best shots are in the scenes where we’re introduced to this mysterious group. They pilot a ship towards the sun and we get a good shot of the outside of a portion of their space station as they dock their ship.

Karima, an Omega Sentinel character that hasn’t been seen since sometime after Second Coming (2010) accompanies an Orchis higher up as they talk about the state of absolutely giant station so close to the sun. We get a bit of a tour before we get the best and most ominous shot of the full station. It appears to be the head of MASTER MOLD surrounded by hexagonal plates, the most terrifying shape in all of fiction. Master Mold hasn’t been really seen since about 1994, and again in 2010 because of universe jump in Second Coming. Master Mold was one of the X-Men’s most dangerous threats for it ability to produce sentinels at a rapid rate, so there’s no way that this can mean anything good.

Cutting back to New York, Mystique, Sabretooth and Toad are stealing information from the Damage Control Database. Mystique and Toad manage to get away, but Creed is captured by Invisible Woman and the rest of the Fantastic Four. Scott Summers shows up to remind them of the amnesty that’s apparently been granted to mutants, including thieves and possible killers like Sabretooth. Scott and, normally even tempered, Reed butt heads a little bit as Reed has a problem with Sabretooth getting away with his crimes and Scott acquiesces, seeing that Reed is serious. Scott does leave them with one sick burn as he tells Reed and Sue that Franklin has actual family on Krakoa when he’s ready.

What I love best about this scene is just how smug Reed is about all of this. For years, mutants have tried to stay out of the affairs of the greater Superhero world out of fear for their reputations. The shoe is on the other foot now that they have all of the leverage and the power that they so deserve. Even more awesomely, Scott’s new costume is a fantastic design combining the best of his Astonishing costume with the angular design of his Uncanny X-Men costume, minus the X mask, with blue lines instead of red.

Speaking of colors, Marte Gracia excelled in this regard. There’s so much symbolism to be gleaned from something as simple as a color change. Cyclops wore that suit in a red hue when he was a violent radical; having it recolored blue gives off the hint that he’s still a radical, but in the way that he dealt with the situation between Reed, he’s more hands off, non-violent even. Magneto normally wears red and purple when he’s angry and evil and gray during the AXIS (2015) era and that alluded to his anti-hero nature during that time. This go around he’s wearing white. He’s also peaceful, but at the same time he’s as graceful and imposing as he always has been, never betraying the idea that he is still the same man, but won’t harm anyone as long as they respect mutants. The most glaring example is the change in color from the AIM scientists where they’re wearing red instead of yellow.

In between each different scene we’re given these little interludes in the form of documents called Xavier files. These give some background on the new elements introduced in the book and the best one is the Omega Level file. There have been hundreds of mutants introduced over the years, many of which could have been considered Omega Level mutants, but thanks to Hickman’s expert writing, things have been parsed down to just fourteen. On Twitter, he stated that the X-Men lore was nothing but chaos, so he wrote a 14,000 word memo on what the new status quo would be, including limiting the use of the term “Omega Level.” This undoubtedly helps to establish something of a power structure given the high number of mutants that are known about while also acknowledging other heroes. Notably, while Forge is a master of technopathy, his level has been surpassed by humans in the past, but Magneto is the only master of Magnetism.

I want to bring things back to the tour. After it is over, several of the ambassadors agree to support Xavier. Russia’s ambassador never had intentions too, neither did one of the representatives of STRIKE as he was simply assigned to watch another ambassador. The last ambassador had a weapon hidden and Magneto immediately dismantles it and promises to each of them that things will be different. He wants them to tell their superiors that while Charles made the offer out of grace and love, it is NOT a negotiation.

Magneto takes pride in this. So much so that his assurance and steadfastness in his stance is powerful. It moved me. He tells them to be grateful for the bounty they’re receiving out of graciousness as mutants, like Thanos, are inevitable. It’s like he can actually see a future, one not shrouded in darkness for mutants and he’s smiling because he knows it’s coming.

This is one of the more interesting aspects of the book. Charles Xavier had always wanted to coexist with humanity, but after years of divisions and attacks, he seems to mostly be done with that. He’s willing to give humanity Krakoa’s flowers to make pills that will help them as long as they leave mutants alone. He’s effectively made something that will definitely topple the pharmaceutical market and he has to know that humanity would start to get very afraid. Not only that, but Krakoa has the ability to create portals that can move mutants from place to place without humans being able to track where they’re going. Of course the ambassadors are afraid of the use they could have as far as movement and positioning in case things went to war, but Magneto assures them that it is only them that wants war.

Everything seems perfect. Everything seems like it’s going to be alright, but that helmet… something about that helmet and the bodysuit reminds me of The Maker, another Jonathan Hickman creation from his turn on The Ultimates. It scares me and I needed that, I needed something to keep me hooked and the fear that everything is not as it seems is just that.

House of X hit the ground running. While it does little to acknowledge the fantastic Uncanny X-Men run from Matthew Rosenberg, that’s probably for the best. Jonathan Hickman does his best work when he has a fresh slate. He took over Avengers from Brian Michael Bendis and made an amazing story over the course of nearly four years. He reinvigorated SHIELD and the Fantastic Four with innovative stories that had nothing to do with the books prior to them. Hell, the reverberations of his runs on each of these are still being felt to this day.

Pepe Larraz was possibly the absolute best artist to capture Hickman’s vision for this project. His high angles and wide shots give credence to the size of the story. His facial expressions give into the idea that mutants have won this time, there’s hope where previously there was none. Body language surprisingly upbeat, bouncy even. There’s a lot to say about symbolism in terms of sun positioning in many scenes. The book has many showing the sun rising, symbolically showing a rise for the mutants. I see Orchis base near the sun as an allegory for Icarus flying too close to it. As the book ends with a sunset over Jerusalem, I see things as the sun setting on the time of humanity.

X-Men and their vast history is absolutely ripe for fine tuning if not complete destruction only for it to be made bigger and better in the years to come. I have no idea where this story is going and with 80,000 spin-offs incoming with a bunch of different creative teams, there will absolutely be something for everyone. In an attempt to revitalize a part of the world that used to sell like gangbusters, Jonathan Hickman is gearing up to shoot the X-Men right back up to the moon and light the world on fire behind them.

Best of Marvel: Week of July 17th, 2019

Runner Up: The Superior Spider-Man #9 (Legacy #42) – Christos Gage, Mike Hawthorne, Wade von Grawbadger, Jordie Bellaire and Clayton Cowles

The “Superior” Spider-Man is actually starting to live up to the ideal.

After the events of the War of the Realms, the Spider-Man of San Francisco is awarded the key to the city for his efforts in making sure that there were zero casualties as Frost Giants stomped their way across SanFran. He accepts the gesture, but “crime” calls him away, only it’s not a crime, he simply thinks he has better things to do with his time than deal with the trivialities of ceremonies. He heads back to his lab and converses with Anna Maria about her making him go to the ceremony and summarily dismisses his colleague Emma after she apologizes for freaking out on him on their first date.

Otto seems to be in a bigger huff than usual and takes his frustrations out on a minor villain by the name of Turner D. Century. Century’s quickly defeated after a savage beating by Otto and the surprise appearance by Spider-Man, Peter Parker. Peter shows up at the request of Anna Maria and being one of the men who knows Otto best, he simply asks what’s wrong. Otto has been irritable, moody and angry since he saved the city and he obviously has no one to talk to.

He immediately spills to Peter that while he was able to keep San Francisco safe, thousands of people still died in the US, more abroad. He removes his mask and Hawthorne paints the face of a man that’s tortured by guilt and doubt. Otto feels that he’s the greatest mind in the world and that he should have thought of something. He doesn’t want to hear Pete say that he can’t save everyone, but it’s eating him up inside that he can’t.

By far, this is some of the best character work and advancement that we’ve seen from Otto in a while. He tried to become a hero, tried to be a good guy while he was inhabiting Peter’s body, but now that he’s doing it on his own and seeing the fruits and consequences of his labors, he sees how hard it is. He’s becoming a good guy and I’m here for it.

After Peter tells him that he’s doing the hero thing right, Emma shows up on the roof that they’ve swung up to and Otto breaks down in tears in front of her. He tries to posture that he’s a loner and asks if he looks like someone that needs anything from anyone before being held by her. He cries in her arms and they finally go on a second date with a surprising enemy spying on them.

I love it when heroes become good guys, no matter how brief it might be, watching Otto rise before his inevitable fall is interesting. I love the fact that he’s sort of mended fences with Anna Maria, I love that he’s found a near intellectual equal in Emma. He has a life and is using his smarts as a teacher and a hero in San Francisco. His ego is still huge, but he’s finally starting to see his faults, becoming Superior than Doctor Octopus.

Mike Hawthorne’s art is stellar. He has a talent for faces and body language. Otto expresses frustration, annoyance and grief; not only in his face, but with the slumping of his shoulders, the shaking in his hands and the tension in his fists. He even somehow finds a way to differentiate between Peter and Otto’s bodies given that Otto’s is cloned.

This Superior Spider-Man has far more emotion in this one issue than Otto’s had in the many years since the original run. It’s a joy to see the once horrible villain embrace his own good emotions for the benefit of others. This is a definite high recommend!

Best of Marvel: Week of July 17th, 2019

Best of this Week: Uncanny X-Men #22 (Legacy #644) – Matthew Rosenberg, Salvador Larroca, David Messina, GURU-eFX and Joe Caramagna

It’s the end of an era and for once, I’m terrified.

I’ve been a fan of the X-Men for a long time. I’d even go so far as to say that they’re my favorite team in all of comics ever because of the range that their stories can go, from tales of marginalization to various stories of abuse and moral relativism, the X-Men have been amazing so why has it taken them so long to feel relevant again? At some point even the best books run out of good stories to tell or end up retreading old waters for a drink of nostalgia and that’s been the X-Men for the last five to six years.

Cyclops had become what Magneto was, young versions of the original five were brought to the future, villains like Mojo and Exodus were brought back, Sentinel threats reemerged X-Men died and were brought back. In the grand scheme of things, it was all a mess with no cohesive direction and Marvel noticed. In comes Matthew Rosenberg who, I admittedly, was very wary of because I hated both his time on Astonishing X-Men and the Multiple Man mini-series. I don’t know if it was all his idea, but he decided to wipe the slate clean with a new Uncanny X-Men series and… it was stupendous from start to finish.

In the aftermath of Emma Frost’s actions from the last issue, the X-Men that are still on our Earth have found a peace that Mutants have never known. With humanities knowledge of mutants erased, Scott Summers is at a loss and questioning what his role in life is now that no one needs protecting. He and Dani Moonstar, aka Mirage, wax poetic on the nature of mutations and what their next course of action is. Scott is morose, seeing as his mutation made him function primarily as a weapon to fight back against humanity as it tried to destroy him, but now that they don’t know he exists, what is he good for?

The dynamic between them is interesting. Scott has been fighting since he was a teenager and he’s only ever seen this life as one big war. Dani is still young, but has the experience of several lifetimes and all that she can think of is helping people. Both of them have experienced loss but process it differently. Scott sees all of his friends as soldiers in the fight where Dani sees them as family. Of course this is because Scott has been leading everyone for so long and Dani has gone through thick and thin with the New Mutants, the Fearless Defenders and the X-Men themselves.

This causes a disagreement between the two and she simply walks away from him as Alex Summers, aka Havok, speaks with his brother about the freedom of being ignored over being targeted. On their way back to the Hellfire Mansion, Alex explains that every bit of leadership he’s ever had to exhibit was learned from Scott. Even with all of his brooding, Scott has been a great leader and it definitely helped when Alex was an Avenger, and he lets his brother know that he’s thankful for it before they’re attacked by some kind of golden Sentinel.

Scott’s unable to damage it and Alex surmises that they’ll never make it back to the mansion before the Sentinel kills them both, so in an act of self sacrifice, knowing that his powers won’t affect Scott, he self destructs and destroys the evil machine. Soon after, more arrive under the control of the General that originally help Emma Frost captive and target the remaining mutants. The battle is hard fought with heavy casualties before the rest of the X-Men return from Nate Grey’s utopian world, winning the battle for mutantkind.

This is the final issue of Uncanny X-Men and it ends on a bittersweet note.

*Slight SPOILERS BELOW*

Havok, a man who was on top of the world, brought low and tried to climb his way back up made the ultimate sacrifice just so that his brother could continue being the leader he is. Madrox, who was just brought back to life has met yet another grisly end, but the status quo has reset though very similarly to the Astonishing X-Men or Mutopia eras in a way. Jean Grey has returned to Scott, Emma and Magneto appear to be on the side of angels again and the X-Men are choosing not to hide anymore.

Shifting focus from this amazingly written and fantastically drawn book, I want to look towards the future and the threads left untied. House of X begins next week and I don’t know how to make heads or tails of things. Who is the man with the giant globe on his head? Is it professor X who had recently taken over the body of Fantomex and is now known as X? Will Magneto ever make use of the Brotherhood he established late last year? What will happen to Illyana now that she’s a demon again? I don’t know, but I am very excited.

This run was great. Rosenberg wrote everything in the most dire way possible given the situation and it fit each and every month. Scott remained hopeful in the face of ever present adversity, flanked by Logan who back up almost all of his actions. Characterizations were great from Dani acting as a voice of reason and Hope being a militaristic badass and the surprisingly black humored Jamie. Larroca’s art never faltered in being action packed but also still and dark.

Whatever comes next from this team, I have high hopes for.

Best of Marvel: Week of July 10th, 2019

Runner Up: Miles Morales: Spider-Man #8 (Legacy #248) – Saladin Ahmed, Javier Garrón, David Curiel and Travis Lanham

Something about black people and being experimented on makes me uncomfortable.

In the last issue, Miles was captured by some sort of weird teleporting being after helping Bombshell fight off some ridiculously strong robots. This issue begins with him in some dark room, strapped to some kind of operating table with a heart beat monitor and only a creepy robot-thing to keep him company.

Miles looks absolutely terrified. Not only because he doesn’t know where he is or who captured him, but the robot interacting with him says that its boss, The Assessor, will target Miles’ family and friends if he doesn’t comply. Miles agrees to the experiments and tests if only just to keep them safe.

The Assessor tests his combat, speed and climbing abilities and pushes Miles to his absolute limits. He’s run ragged in a way that is seldom seen except in cases where the threat is life or death. It goes on and on for an undetermined amount of time until Miles wakes up in an operating room where doctors discuss his DNA and maybe kidnapping his family for more subjects.

This angers and scares Miles into breaking free, beating up the doctors and defeating the teleporting enemy from before to make his grand escape.

Only… it turns out to be another test.

Saladin Ahmed absolutely nailed this issue with his focus on the bleakness and fear in Miles and the situation he’s in. He made me genuinely terrified to turn the pages and see the next torture Miles would have to go through. Ahmed writes Miles like the scared teenage superhero that he is, he’s hopeful, but frantic in the face of an enemy that knows who he is and how to hurt him.

Javier Garrón and David Curiel do their best to nail the unsettling feeling of the sanitized experimental environment that Miles finds himself in and utilize panel layouts to make the book even more terrifying.

Every blank space around each panel is black compared to the normal white. Every panel is also small and feels claustrophobic, leaning heavily into the nature of the facility Miles finds himself in. In it’s own way, it’s clean and very structured to the point where it feels like you could be trapped reading the book.

I also feel like there’s something here in the fact that it’s the black Spider-Man being experimented on. Of course Pete has been poked and prodded every which way for years, but the way that the doctors and the robot were talking about Miles, made him seem less than human. He was never called a kid, just “the Subject.”

Truly there are three absolutely horrifying pages in this issue. The first is where Miles has been ordered to sleep and he’s shrouded in darkness aside from his face and the heartbeat monitor. The other is the double page spread of about 18 – 26 panels of Miles running, fighting, being scared, bleeding and all of the tortures he’s put through while captured.

This issue is a high recommend because it’s a well written and fantastically drawn chapter in this Miles Morales run. Saladin Ahmed draws heavily from his Black Bolt series in terms of storytelling and Garrón makes it all so real and visceral. As far as this run goes, this issue and the one prior are pretty good starting points if you’ve missed the rest!

Best of Marvel: Week of July 10th, 2019

Best of this Week: Wolverine Vs. Blade – Marc Guggenheim, Dave Wilkins and Travis Lanham

It is quite possible to just have TOO MUCH AWESOME in one book.

Wolverine Vs. Blade had been advertised for a while, but that didn’t stop it from hitting me like a train from out of nowhere. Hile the story is very one note, it still fits both of these characters and the art elevates it to a level that I haven’t been excited about from Marvel since Clayton Crain was doing Carnage USA and X-Force. It blended the line between almost 3D and photorealistic and the writing turned this into an awesome buddy-hero story with hilarity and badass banter.

Taking place in Wolverine’s X-Force days, prior to Avengers vs. X-Men and before Blade became a full time member of the Avengers, we open to Blade and Wolverine in the middle of taking down a Cult of vampires known as “The Creed.” The book wastes no time on the banter or the action as Wolverine makes a nod to one of their previous interactions where blade stuck him full of Vampire blood while slicing a vampire head into pieces.

Wolverine shines in these opening pages in the always badass black and grey. His face is alive with burning vampire hating rage, showcasing his sharp canines and HEAVILY muscled body as he slashes and slices through vampires with the reckless abandon that he’s known for. The vampire LOOK scary, but Wolverine IS SCARY, especially covered in their blood and surrounded by the still burning remains of their bodies.

After thinking they’ve completely torn through the cult, Blade offers Wolverine a marshmallow from the fire that he’s about to set. Wolverine thinks he’s joking, but then, in a moment that I regret laughing heartily at, Blade shows off a single white marshmallow and gives us ONE of the best shit eating grin in this entire book.

Cutting to six months later, Wolverine is being attacked by very minor villain, Dragoness, who has been turned into a vampire. For no other reason, I think, than to flex his art skills and give me something to fawn over, Wilkins draws Wolverine standing with his back to a window and arms flexed so hard that I almost thought his veins were going to EXPLODE. He was Huge Jackedman levels of vascular and needed to rehydrate like hell, but I couldn’t look away from how ridiculous and magnificent he looked. However, he cuts through one of Dragoness’ wings and sends her spiraling into a conveniently placed piece of sharpened wood. Soon after, he finds the item that she was fighting him for; a mysterious box radiating with magic.

Elsewhere in Germany, Blade is taking down a Vampire Count who fires at him with eye beams that curiously look like Cyclops’. Blade allows the vampire to think he has him on the ropes before setting off explosive charges that trap the vampire under rubble. Blade is the undisputed king of banter in this issue as he offers to pick up a rock or two before the sun rises and kills the vampire for a little bit of information. When the vampire says he’d rather die, Blade gives another grin as the sun rises and burns the vamp to ash.

Both men are given information from their sources, Wolverine in Doctor Strange and Blade in some fellow he dangles off the side of a building. They learn about the prophecy of a Vampire Messiah named Varkis. Logan sees a pictogram that looks like him fighting Blade and Blade learns that Varkis may be a mutant. Armed with their information, the two make their ways separately to South America for a final confrontation.

The fight is epic.

Both men ripple with brutal and blood energy and their musculature is a sight to behold. Blade impales Wolverine with his sword, but Wolverine, being the badass that he is, rips it out and slashes blade across the face, destroying his glasses. Wolverine pounces at him again, but Blade hits him with an anti-vampire glave and Wolverine stands confused. The two work out their equal confusion until Varkis appears, looking like Wolverine, but still with bone claws.

He tells the pair that he was created from a portion of Wolverine that was sliced off and grown using magic as Wolverine has left many parts all over the world, but none have spawned a whole person. Wolverine tries to take on Varkis while Blade cuts through more lesser vampires until Wolverine remembers the picture and suggests he and blade recreate the battle ON VARKIS. Wolvie aims low while Blade aims high and Varkis is thoroughly killed.

Blade gives his last shit eating grin as he says he forgot the marshmallows this time after they blow up another temple. It’s a nice call back to earlier and the perfect cherry to top this wonderful book.

This book was a treasure. Wilkins art was amazingly dynamic, making every fight scene feel like it was brutal, bloody and horrifically violent. His colors straddle the line between very dark and amazingly bright when they need to be. The red from Wolverine’s eyes in the X-Force costume stand out alongside the red of Blade’s sunglasses as they glean with their movements and create little motion lines as they go. Most of the book takes place during the night and Wilkins makes great use of lighting to set the mood, giving a real goth or Castlevania-esque feel to things.

Guggenheim is in top form for the characterization of Blade of Wolverine. Logan is no-nonsense and violent to a terrifying degree as he always should be. Blade is snarky and effortlessly cool like Wesley Snipes before him. If there were to be a mini-series between these two, I would love it if this team came together again, but for a One-Shot, this was absolutely fantastic.

If you want to see amazing art and basic story that still is a riot to enjoy, this book is definitely made for you. Dave Wilkins wows on every page and Guggenheim brings his skills back to the best of the mid-2000s Marvel style. If it did have any pitfalls, it would have to be that it should have been even longer. High recommend!

Best of Marvel: Week of July 3rd, 2019

Runner Up: Savage Avengers #3 – Gerry Duggan, Mike Deodato Jr., Frank Martin and Travis Lanham

Well, this was wild, wacky and amazingly violent.

Gerry Duggan and Mike Deodato Jr. have come up with an absolutely fantastic story that’s full of brutal action, some cheeky comedy and remains true to every character involved up to a point. It pulls no punches and with Deodato’s amazing art, not only does it read well, but it looks damn good at the same time.

Starting off with a bang, we see Frank Castle tearing his way through Kulan Gath’s stronghold in the Savage Land looking for the bodies of his family. Of course Frank knows that it’s a trap, but never in his life has he let that stop him. With rage as his eyes, he tears through the Hand Ninjas, using a sniper rifle at close range and taking their own katanas to use against them. Suddenly, one of the ninjas puts a sai into the barrel of his weapon and he immediately recognizes them. Elektra has joined the fight.

Elektra seems to know of Kulan Gath’s plan to use the blood of warriors to summon something and she’s there to put a stop to it. She looks absolutely fierce back in her old gear, especially as she roundhouses and slices through Hand Ninjas while telling Castle to be careful as they make their way through the castle.

Meanwhile, Wolverine is captured by Gath and is suspended over his blood pit. Unfortunately for Logan, his healing ability only helps the evil Wizard as his blood only makes the plot come closer to fruition and Logan has an ever flowing amount of it. Soon after, Jericho, in the disguise of one of Gath’s students, tries to fool him. The Wizard sees through the ruse and gets stabbed in the chest, but given his sheer power, says that the insult hurts a lot more than the blade does and Jericho insults him by saying that’s not even worth Doctor Strange’s time.

Just as Gath is about to stab Jericho again, remarking that in his time he is the Sorcerer Supreme, he is shot right in the head by Castle. Gath makes Castle an offer to return his family to him alive in exchange for finding the thief who stole his amulet. Logan smirks and muses that the thief is long gone by now… only for him to return and threaten the Wizard. Conan is portrayed is a comedic man out of time and element in contrast to his own books where he is as serious as death and twice as deadly. Elektra frees Logan who collapses as he tries to stand and fight and Gath commands his forces to attack.

Conan picks up Logan and uses his still unsheathed claws as weapons as he swings the diminutive mutant around. Gath uses his magic to toss Logan into Elektra and runs his hand through the heart of Conan for the Amulet of Power and just as things are getting bleak, a certain symbiote attaches itself to the warrior as Gath summons his creature, Jhoatun Lau, The Marrow God.

Savage Avengers is shaping up to be the same kind of sleeper hit that Secret Avengers was back in 2012, especially while building Conan up to be a possible major player in future stories and hopefully in the upcoming Absolute Carnage event now that he’s had the Symbiote become part of him. The rest of this team itself is pretty good, fusing Castle and Logan’s rage with Jericho’s magic, Elektra’s skill and Conan’s cunning, this is definitely a book to keep watch of.

Best of Marvel: Week of July 3rd, 2019

Best of this Week: Captain America and the Invaders – Roy Thomas, Jerry Ordway, Jay David Ramos and Joe Caramagna

What better way to celebrate American Freedom than by having Captain America inspire us to keep the country safe from Facist, Authoritarian rule of the dirty Nazis?

Reuniting two of the co-creators of DCs All-Star Squadron, Captain America and the Invaders tells a one-shot story of an adventure in the Bahamas Triangle a short time before the team actually assembles. With fantastic art by Ordway and perfectly campy writing, this book captures the feel of both the 1940s books and the stellar 80s works that these two are famous for.

Beginning with Captain America, Steve Rogers, bursting through and interrupting a meeting of home grown Nazi-sympathizers, the book manages to set the stage for what the action and dialogue will be like for the entire issue. Captain America is certain of his every action, punching and jumping over obstacles to take down the bastards and when one tries to escape, Steve sets upon him with fervor as the FBI emerges to arrest the Nazis. Once they’re taken down, Cap gets his next assignment, Protection Detail for President Roosevelt as he meets the Duke of Windsor as he governs the Bahamas..

We get the background that the Duke stepped down as King at the request of Winston Churchill for getting too cosy with the Nazis after being guests in Germany. President Roosevelt hopes to sway them to America’s side by offering them protection from Nazis. Ordway makes sure that everything looks absolutely of the time. Cars and some structures look exactly like they did in the 40s, however, the US Navy Sailor uniforms he and another sailor by the name of Jim Hammond wear for the undercover assignment, are not. Captain America himself looks very good in his original costume.

After a nasty storm, the President’s ship arrives on the island and not long after, he, The Duke and his wife are met by Baron Heinrich Zemo, the father of Helmut Zemo. Zemo takes everyone hostage as his men kill all of the Sailors protecting the President aside from one draped in the American flag and another who can become living fire. The Human Torch looks absolutely awesome “flaming on” to contrast the cloudy night sky. His flames are seen from the house and he proceeds to fly into the air and burn several Nazis alive. I’ve always loved the old look of a mostly naked Torch with bright oranges and yellows for the flame and his body with hatch lines for details.

As Zemo prepares to kill Roosevelt, the lights in the house turn off and a mysterious agent proceeds to knock out Zemos men while the Baron runs away. The rain picks up and Hammond’s flame goes out as other Nazis escape into a U-Boat. Rogers catches up to Zemo who uses a Death Ray of some sort to fight the American and is goaded into fighting in an enclosed space during the chase. Cap gets one good punch in, sending the Death Ray out of Zemos hands, causing the roof to fall on Caps head as Zemo makes his escape.

Cutting back to the escaping U-Boat, the Nazis think they’ve made the escape from America’s living flamethrower as their ship is torn through by an unknown assailant, Namor showing up to make sure that they didn’t get away. Cap and Hammond get back into their uniforms and make up stories about what happened to them during the night as they rejoin the protection detail with their flimsy excuses before musing to each other about meeting up again in the future.

This book was a fun little romp in a simpler time and definitely had less seriousness than the current Invaders series, but did have the heart given that Thomas co-created the team way back in 1969. It felt like he was slipping back into his old baseball glove and found that it still fit. Ordway’s art was well complimented by Ramos’ colors and looks amazing. I know he’d done some cover work recently, but his panel to panel art was certainly fantastic, like he hadn’t missed a step at all.

Flying the flag high and on Independence Eve ensures that this book is a must-read!