Best of Marvel: Week of February 12th, 2020

Best of this Week: Thor #3 – Donny Cates, Nic Klein, Matt Wilson and Joe Sabino

Thor has lived for a millennium and has fought in thousands, if not millions, of battles… but the one he will remember most was against his brother in arms: Beta Ray Bill.

That’s the tale that Donny Cates is spinning as we see the fallout from the last issue of Thor as Beta Ray Bill comes to find his brother standing side by side with the Eater of Worlds, Galactus. Their stare down is intense and readers can feel the vortex of thoughts in both of their minds. Nic Klein and Matt Wilson frame their confrontation excellently with a pulled out shot, showing them both with Bill floating hesitantly and Thor standing still, unaffected by Bill’s appearance. In the background looms the World Eater with neon oranges coloring his body while all of them are in space.

Cates does an amazing job of portraying Bill as someone who cares for his people, specifically Thor, given Odin and the Thunder God gave him a home and people after Galactus destroyed his. He tells Thor that he will have his revenge against Galactus for corrupting his brother’s honor and attempts to strike the Thunder God. Unfortunately for him, with the Power Cosmic, Thor backhands Beta Ray Bill into the recently destroyed planet of Clypse.

It’s an excellent show of power as Thor barely moves an inch and as Bill crashes, Klein draws an excellent pair of panels showing Bill being flung into the ruins of the planet, with Wilson offering amazing and dynamic oranges for the subsequent explosion and an awesome DOOM lettering from Joe Sabino as Bill hits the surface. The next panel shows Bill trying to stand with his armor and helmet in absolute tatters. Thor then comes to him and says that in the past they were equals, but with the Power Cosmic and his new All-Father abilities, he is far beyond what he was.

This is absolutely true as well. In their first meeting in The Mighty Thor #337 (1983), Bill was able to overpower Thor and use Mjolnir as a weapon against the Thunder God, thinking he was a threat to Bill’s fellow Korbinites. Soon after, the pair became the greatest of allies, even brothers when Odin forged a new hammer for Beta Ray Bill called Stormbreaker and allowed him to fight through the cosmos as an Ally of Asgard. However, it has been quite a few years since then and Thor himself has gone above and beyond his capabilities from their first meeting.

In the almost forty years since that story, Thor has beaten the Mangog and Thanos back-to-back (Thor, 1998), knocked out the Phoenix Force (Avengers vs. X-Men, 2012), fought back against the forces of the Collecter for a straight two years in order to reach a hammer from another universe (The Unworthy Thor, 2016) and repelled an interdimensional invasion from Malekith the Accursed (War of the Realms, 2019). He is now the All-Father of Asgard as well and Bill has lagged behind.

Thor tries to calm his brother by using the Thunder to transform into his non-Power Cosmic form, showing Bill that he is completely in charge of his own decisions. Wilson does an awesome job of using blue to contrast the raging fires of Clypse and Thor looks absolutely heroic and badass in his new costume with his regular, non-glowing, hair. Galactus blasts at Thor, telling him that he is not above the Power Cosmic, but Thor overpowers him with Mjolnir alone as the scene is colored with intense white and purple hues.

Bill calls Thor a traitor for choosing to help Galactus and gives the Thunder God a nice whack across the face that BOOMs out in his anger. Beta Ray Bill is angry and where he might have been holding back before, he questions Thor’s integrity for siding with a monster like Galactus and the two have a savage fight against each other. It’s intense and paints their formerly friendly rivalry in a new and painful light as every strike is filled with venom, rage and anguish. Both men even have great points during the fight as they speak between punches and hammer swings.

Bill tells Thor that he is a king and he has an army at his very command. He could have sent forces to the edge of the universe and fought to his last to stop the Black Winter from taking another Universe. The most powerful line comes when Bill says, “You could have come to ME!” and this hits far harder than every thunderous blow the pair have made to each other. Thor did have options and he always has his brother as the two have fought side by side through worse.

Thor needed Bill’s help when Asgard was about to crash into the Earth during Secret Invasion (2008) and Bill even offered Thor Stormbreaker when the Thunderer found himself Unworthy. Bill has always been there when Thor has needed him, but this time Thor has chosen to go to the shadows rather seek help from his friends in the light.

Thor owns up to the fact that he has to become something almost evil because there’s a far larger picture that Bill isn’t seeing however. The Black Winter has destroyed Universes and it will destroy this one too unless Thor allows Galactus to consume the planets that he’s heralding him to. Thor understands the responsibilities he has as King of Asgard and he is completely right. Bill is an idealist in this situation, but realistically Galactus, having survived the previous Winter, is their last hope (at least until something better comes along later down the line).

After smacking each other around for several pages, Thor attempts to throw Mjolnir at Bill and the Korbinite catches it, trying to keep it away from Thor. The Thunder God attempts to call it back, threatening to take Bill’s arm if he keeps fighting against him, but Bill does not relent. Klein frames this as not just a struggle of power, but of honor. Thor initially stands firm, trying to reason with Beta Ray Bill, but Bill is steadfast and struggles against the weight of Thor’s power. We get a pulled in shot of Bill holding on through sheer will before he tells Thor that he truly is unworthy of Mjolnir.

Klein then gives us an amazing shot of Thor lowering his head, a moment of pained realization as Bill’s words strike him to the core as he’s unable to say a word against it. But it is for only a moment as Thor then calls Stormbreaker to his hand and we get an almost heartbreaking and powerful double page spread that is best read for yourself.

Overall, this was yet another phenomenal issue of Thor in what I believe is an absolutely worthy successor to Jason Aaron’s years long epic with only three issues released so far. Donny Cates understands the sheer power that these characters wield and scripts them to great effect. He also understands their personalities and strives to give us a badass story that leans on Marvel’s past while also creating a new history in the process. I honestly haven’t felt this energized about a Thor story since The Unworthy Thor almost four years ago and I feel the same gravitas from this story as I did from that one.

Nic Klein, Matt Wilson and Joe Sabino absolutely pull this issue together with their excellent pencils, colors and lettering respectively. Klein has an excellent eye for scale and fight scenes in particular which gives this book a grander feel while also highlighting the brutality that Thr and Bill are capable of as warriors. Wilson accentuates Klein’s lines with stunning colors that pop off of the pages and create the intensity and heat from the raging fires and crackling lightning. Sabino places word balloons and sound effects to give the book a voice and sound for every hard hitting action or line of dialogue.

With all of them together, this book is the Perfect Storm of what a great Thor comic can be and the awesome potential of singular events taking place in one issue. So far, I’m absolutely enthralled with this book and the cliffhanger from this issue absolutely ensures that I’ll be back for more – High Recommend.

Best of Marvel: Week of January 1st, 2019

Best of this Week: Thor #1 – Donny Cates, Nic Klein, Matt Wilson and Joe Sabino

What a Thunderous way to begin the New Year! What better way to celebrate than with a glorious new #1 for the new King of Asgard helmed by the ever amazing Donny Cates, Nic Klein and Matt Wilson with awesome letters by Joe Sabino! This book hit so many good notes and lets me breathe knowing that one of Marvel’s most storied characters is continuing to be in good hands, especially after such an epic run by the awesome Jason Aaron.

The book begins with an amazing splash page of Mjolnir flying through space and then crossing into each of the Ten Realms as someone narrates Thor’s rise as the new King. It’s a beautiful sequence that alludes to the millennia of war between the realms, culminating in Malekith’s Invasion of them all very recently. Klein and Wilson treat the reader to a variety of landscapes from the bright pinks of Alfheim to the cold blues of Jotunheim. The pair do an amazing job characterizing these locales through visuals alone.

Of course, the reasoning behind the monologue and the throw itself is a show of force. Under Odin, the Realms fought each other as they pleased. Asgard was left in ruins because the All-Father was too stubborn to try and rally his people during Malekith’s Invasions. Under Thor, that would not be the case. As Mjolnir cracks through each Realm, without any of them hearing his words, they know to listen and fear him because of his power. This epic opening climaxes with Mjolnir crashing through the head of some monster the Avengers were fighting before Thor calls it back with a smirk from Asgard.

It is at this point that we finally see Thor, months after the War of the Realms. He is gruff, his hair and beard have grown out again and we learn through Tony Stark sharpie-ing a message on Mjolnir that Thor has retired. Sif the All-Seeing reiterates this as she informs the reader that Thor’s smiting days are over and that he must go and be King.

This is…saddening in all honesty. Thor has spent many a lifetime fighting, drinking and avoiding his destiny for so long. He has always wanted to be king, but even as he walks down the Rainbow Bridge back to New Asgard, he looks as if there’s nothing but melancholy about him. The way that Klein frames this panel makes it seem as if there’s a wide divide between Thor and Asgard. The Realm flourishes now that life has been brought to it under Yggdrasil, but Thor is bored.

As he takes a seat on his new throne, we’re shown just how different he is to Odin. Instead of a shimmering palace, Odin’s hall is made of wood and stone because of the World tree with a rune etched just above his seat: Thurisaz, a symbol of defense and destruction (as the book describes) and perfectly fitting of the warrior king. He ushers his court out of his presence and sighs as he prepares to speak to his people and Loki appears from the shadows.

The brothers relationship here is far more confrontational than I would have expected. Granted, I didn’t read the Loki mini-series, so I don’t know if the Trickster did something to draw his brother’s ire. Thor is very terse with the King of Jotunheim and even throws Mjolnir in slight fury after Loki notes that Thor had to grunt when he lifted the hammer, something he’s never done before and a black portent for Thor’s future. Loki didn’t come out with any of his normal witticisms which was unexpected, but Cates does hint that there a potentially big things in store for the brothers through some narration.

Thor had been meant to speak to his people following the restoration of Asgard, but just as he’s about to regale his people of the new era of peace, his nervous butterflies turn to abject horror as a one armed Galactus crashes into Asgard, right on top of the Asgardians. Nic Klein and Matt Wilson spare no expense in making this one of the most epic double page spreads imaginable.

Galactus face of pain and sends a shiver down the spine as one wonders what could possibly have sent him crashing in the way that he did. The debris, people and smoke fly around the edges of the pages as Galactus’ impact and the snow that follows him creates a sense of unease. Klein makes sure that the reader can feel the weight of the crash and Sabino accentuates it with his EXCELLENT “KRAKOOOMM” sound effect. Wilson excellently blends Galactus varying purple tones to the fire just behind his head to create a sense of extreme heat. Klein creates a grand sense of scale as Thor appears miniscule to both Galactus and the incoming threat.

Not knowing what the hell had just occurred, Thor leaps a Galactus with every intention of sending him to Hel herself until the Eater of Worlds pleads with him to stop, warning him of something called “The Great Black Winter.” Part of said Winter had followed Galactus and caused the skies of Asgard to be cursed with rain and The World Tree began to turn black and die. Thor then calls previous Heralds of Galactus to see what is going on. At the table sits Firelord, Cosmic Ghost Rider and others until the Silver Surfer arrives, still black and intangible (See Silver Surfer: Black).

Thor is angry and demands answers which the Surfer is able to provide. We learn that The Great Black Winter was the event that destroyed the Universe before the one we know today and that the Surfer had hidden away powerful planets for Galactus to consume precisely for this occasion. Cates has done an amazing job in building a new lore and power scale for the Silver Surfer in particular as normally he’d have no secrets from his master.

As Thor dons his vestments of war, he thinks back to Sif and Loki’s words of his bygone days as a warrior. It’s a powerful set of panels as Thor seemed ready to enjoy his days of peaceful boredom. He grunts like an older man only snapping his cape on, but that doesn’t stop his kingly heart as when he approaches Galactus, he commands the World Eater to kneel to him. As The Surfer fills Galactus in on his plan, Galactus tells all about what lies in the void of the Great Black Winter; The form of ones own true death. Galactus reveals that he had gazed into it twice. First he saw the void because he couldn’t father the future things that he would see and next… he saw Thor.

The revelation comes as a shock to everyone as Galactus then blasts Thor with an immense amount of energy. Kein and Wilson make sure to shower the pages with bright light, intense lines and posing until revealing Thor: Herald of Thunder, similar to the cover of the book with Thurisaz as the new symbol of his chest.

Donny Cates has a particular style when he writes. He scripts grand moments interlaced with shorter ones that build character. It worked when we got into the psyche of the Silver Surfer as he explored the primordial state of being and Thanos as he watched a future where he had killed all of life. Cates has an affinity for the cosmic characters and it shows as he’s taken the reigns of Thor and reminds us of why he and his lore have been able to capture our imaginations for so long.

Thor has the ability to transverse the Ten Realms, the entire universe if he wishes, but even he suffers the melancholy of duty and boredom. He is a warrior at heart and he needs a great battle to fight in or he loses a part of himself that kept him motivated. With that in mind, Cates is looking to take Thor on a grand adventure in the stars with a buffed powerset that hopefully will expand on his greater strength in the Old King Thor future.

Nic Klein and Matt Wilson make all of this possible however with their amazing art. Klein is easily able to get into the groove of drawing these vast environments, amazingly dynamic poses and heavily expressive faces. Wilson brings it all to life with beautiful and vibrant colors that make you feel as though you’re in there, interacting with the characters. Without them, this wouldn’t feel as epic as it does.

This was a very explosive issue and I’m absolutely excited for the future of this series as I have been with all of Cates’ other work up to this point. It’s definitely a high recommend from me for a promising story and absolutely fantastic art!

Best of Marvel: Week of October 16th, 2019

Best of this Week: Absolute Carnage #4 – Donny Cates, Ryan Stegman, JP Mayer, Frank Martin, Jay Leisten and Clayton Cowles

God is Coming and Eddie Brock is ready for him.

Things have not been looking good for Eddie, Peter and the rest of the heroes of New York. Carnage’s brutality and efficiency has seen him gain the upper hand at every turn imaginable, allowing him to snatch up codices from almost everyone he’s encountered. Ghost Riders haven’t been safe, Spider-People haven’t been safe and even girls with magical powers over hell haven’t been able to stop Carnage’s warpath.

The last issue saw him take the appearance of Eddie Brock to infiltrate The Maker’s lab to steal the codices from Captain America, The Thing and Wolverine, taking everyone by surprise and seeing the Hulk use the Venom Symbiote himself. This issue follows up on that excellently by showing us the fallout of Hulk merging with Venom, Eddie dealing with the loss of his other again and the heroic efforts he makes to protect his son.

The book begins with an amazingly drawn and explosive punch by Venom Hulk. Carnage is laughing as he’s being put through a wall while clawing at Hulk’s eyes. The Symbiote is barely able to contain all of Hulk’s massive musculature as it appears to be tearing apart around his fist and forearm. The use of blur around the edges of the page sell you on the velocity of the punch and all of the rubble flying out as they go through the wall shows just how heavy and impactful the blow was. For added measure, there’s even a pigeon just flying by as it all happens.

As the fight is going on, Eddie and Peter take Normie and Ethan to The Maker’s armory to protect the kids from the Symbiote Zombies and Norman Osborn himself. Eddie is dead set on protecting the other heroes, but Peter tries to convince him to stay down with the rest of them. This issue gives us one of the best glimpses of the inner heroism of Eddie Brock as he looks at Spider-Man with the most desperate look possible, one eye stitched closed and asks him to let him do this. Spider-Man does and Eddie gathers Cap’s shield and maybe some kind of electric glove to go and protect everyone. Presumably, the events of Amazing Spider-Man #31 take place while Eddie is out fighting.

The next few pages are just strings of awesomely paced and spectacularly drawn fight scenes. Eddie, armed with the shield, fights his way through Carnage’s hordes and Miles Morales as an infected symbiote re-emerges. (Sorta ignoring the events of Miles’ own tie-in) Elsewhere, Venom Hulk and Carnage continue their romp around the warehouse district as Carnage is surprisingly holding his own against the black and green giant. Frank Martin and the various inkers really set the mood for the fight. The fires glow bright in the backgrounds with a vibrant red and white coloring to it, almost like a fiery mist. Rain crashes down around them and the inks are dark in the perfect places, really bringing out the deep red in Carnage’s color scheme as well as the black veins that now coil around his body. As Carnage mushes Hulk into a wall, you can feel his expression of pain and rage, accentuated by the glowing green of his eyes.

Pinned under Cap’s shield with Miles bearing down on him, Eddie decides to use the shock glove to blast the symbiote off of the young Spider, allowing the two to finally re-team as Miles runs down what he learned while hearing Carnage’s thoughts. He warns that if he gets Hulk’s Codex and the Venom Symbiote, he’ll be unstoppable. In a surprise upset, Carnage overpowers the mind of the Hulk, turning him back into Banner and rips his spine right out as Eddie and Miles show up. It’s a disgusting scene as they always are with Cowles making sure to put as much emphasis as he can by giving it a nice “SHRIPP” sound effect in big, bold, red letters over an entirely black background.

Before we know it, Carnage is covered in the Venom Symbiote, becoming an ultra badass. Ryan Stegman has done a lot to redesign some of the elements of some symbiotes, but this Black Carnage is somehow so much cooler and so much better. He looks like a demon knight with the pauldrons with spikes, an improbable neck guard/collar and Maleficent-esque horns all crackling with hell energy. Eddie begins to lose all hope upon seeing him, but that feeling is washed away when Captain America, The Thing and Wolverine all show up to help in the fight.

Miles grabs Eddie and tells him that the Maker’s machine that was supposed to destroy the codices did no such thing and instead saved them all. The last moments of the book show the Doverton Avengers fight a losing effort against Carnage while Eddie punches the machine, giving his own inner monologue about how he feels something creeping up inside of him. The hope that he thought was lost. Surrounded by all of this blackness and despair, Carnage and all of his bringers of Death, Eddie punches his way to the light.

As the penultimate issue to Absolute Carnage, have to say that this event and the various tie-ins that have accompanied it have been absolutely amazing to read. I usually decry back to back event stories, especially since we had just come off the heels of War of the Realms, but Absolute Carnage fit the aesthetic of everything I love in stories. It’s dark, it’s bleak and it’s Absolutely Brutal.

Ryan Stegman can do no wrong here as his art style is amazing from start to finish, he has an eye for action scenes and makes great use of single a double page spreads to bring out the most in every scene. Even when the fighting is confined to a few panels, he manages to spring as many infected as he can into the space, making things feel claustrophobic and dangerous. Frank Martin’s colors give this book life, however, when they’re burning with darkness or glimmer with small glimpses of hope. They complete the amazing package by pulling the emotion out of you, whether you’re terrified or you have a bit of hope only or it to be ripped away.

JP Mayer and Jay Leisten help him by making sure that the pages have the perfect amount of darkness to them. The inks are phenomenal and really help to give off that feeling of hopelessness and danger in every scene, even better that most of this story takes place at night so the mood is always set.

I love that Eddie Brock is starting to be seen less as the villain who used to eat people’s brains and more as this responsible every-man that’s been caught in an extraordinary situation. When he got the Symbiote back at the end of Lee Price’s time in All-New, All Different Marvel, I never expected him to get this much heart. That’s the main thing that Donny Cates has contributed to this character, that feeling of heroism.

Eddie’s becoming a much better person than he ever was in the past, but at the same time, we know that he can never fully escape who he was. Even at the end of this issue there was a transcription of his first time in jail when he first met Cletus Kasady and it was so weird to see how unhinged Eddie was not too long ago.

As Absolute Carnage draws to a close (and with Venom Island on the horizon) I can’t wait to see what direction his story takes and how Eddie Brock could possibly see Avenger status in the far future. High recommend.

Best of Marvel: Week of September 11th, 2019

Runner Up: Silver Surfer: Black #4 – Donny Cates, Tradd Moore, Dave Stewart and Clayton Cowles

Don’t read this if you’re high, Tradd Moore’s visuals are far more trippy and beautiful than any of the previous issues and this is a WILD ride.

After discovering the incubator of Galactus buried within the body of a young Ego the Living Planet, The Surfer has to make a choice of whether or not he should kill the destroyer before he is able to cause the sheer number of genocides that he will become feared for in the future, all the while his Power Cosmic is fading as Knull encroaches further on the hero.

There are so many intricacies that make Tradd Moore’s art so exciting in this issue. Moore has a particular style where everything seems quite a bit distorted and stretched. His art flows like water and allows the eyes to move gracefully from panel to panel, even in the most trippy of pages because clear lines are drawn to attract ones sight through a page. The Surfer, looks smooth, mostly thanks to Moore’s use of shining techniques and dark inks for reflections.

There are grand portions of the story where you feel like you’re peering into dimensions that your mind just isn’t prepared for. One such scene is when the Surfer takes Galactus’ incubator to a white dwarf star to absolutely destroy it. The sheer scale and magnitude of this thing was almost overwhelming, speaking nothing of its brightness as well.

At a point, The Surfer decides to enter Galactus’ incubator to see into the dying days of the last universe he inhabited before this new one as he went to try and kill him. The Surfer almost looks as if he’s melting upon hearing the dying screams of millions. He’s heard similar cacophonous bellows of terror, but from Galactus these screams are multiplied many times over and the next half of the page is coated in a bloody red of fear.

Dave Stewart’s colors are also a main contributor to this spectacular look. Stewart has an amazing history of great stories that he’s colored and Silver Surfer: Black takes this to a whole new level. After the Surfer enters Galactus’ mindscape, we are met with a torrent of blood, fire and Galactus’ menacing shape standing above it all, acting as a warning to the Surfer. The shading of reds in the blood ocean, the flaming skies, Galactus’ towering figure and the HANDS REACHING UP FROM THE BLOOD OCEAN are absolutely amazing and terrifying.

The Surfer stands out as being the only silver thing on this double splash page which speaks to Stewart’s sense of page awareness as we’re clearly able to start from where he appears and then work our way up to the massive Galactus up above.

Special hell yeahs given to Clayton Cowles and his expert lettering, capturing my imagination with how each bubble is used. Ego’s in particular resonate with me for the choice to have purple letters offset by a background of yellow and purple that creates a hazy, 3D look. It’s a small detail that ultimately gives the book and the Living Planet far more character, making them stand out very well.

Not only is the art some of the best I have ever seen, but the story told here is phenomenal as well. I have almost never seen The Silver Surfer so conflicted over something he was absolutely sure about just moments before. He meets Galan before he becomes Galactus and they have a conversation. Though the Surfer would avoid the death of thousands or more worlds, his hands would still be stained of blood, the Universe itself would face massive consequences and he will have used murder to justify his actions, making him a villain.

This is amazing storytelling in that it is not too often that we see The Surfer speak to his master with a clear mind, even more so when he knows the outcomes of his actions and has to choose between the future he knows or a potentially better future or far worse one. The conflict gives an already layered character even more layers and guilt given the action at the end of this book.

With the next issue being the last of this miniseries, I hope that the ripples of this story will continue to be felt throughout the continuing Guardians of the Galaxy and Absolute Carnage storylines. The Silver Surfer has been around for decades and is in great need of some change and if losing the Power Cosmic through the spread of black on his body is the way to do it, then I am all for it. High recommend.

Best of Marvel: Week of August 28th, 2019

Runner Up: Absolute Carnage #2 – Donny Cates, Ryan Stegman, JP Mayer, Frank Martin and Clayton Cowles

God is Here.

After the events of the last issue there aren’t enough words to describe just how hopeless things are looking for anyone who has ever worn a symbiote.

Spider-Man and venom have been backed into a corner by Carnage and his horde of infected inmates at the Ravencroft Asylum. With no other options Eddie decides it best to break out and punches a hole through the wall for a tactical retreat. Eddie is typically known for his ability to brute force his way through any problem, but Carnage is a new monster altogether and as he sees Spider-Man running out of energy, he gives into the fear that they might die.

In the past, the combined might of Spider-Man and Venom has been more than enough to combat Cletus Kasady. Even when Cletus had help, he still couldn’t hold a candle to the heroes, but now, they’re almost low tier by comparison.

Spider-Man notes that he’s almost out of web fluid, so there’s no way that they’re swinging out of there, so Eddie and the Symbiote utilize one of their badass upgrades, spreads his wings and flies out of Ravencroft with Peter screaming frantically “WHATISGOINGONRIGHTNOWIHATEALLOFIT!” They then land on a roof in the city, defeated and horrified that they may not be able to stop Carnage this time.

Spider-Man says that he’ll try to get a hold of Wolverine and Captain America and Eddie says that he’ll go find any of the lowlifes that have been Symbiotes and the two split to complete their missions. Carnage chooses not to follow after them, instead he waits and plots. This issue then turns into a bit of a catch up game for the other tie in issues while Carnage gloats to Norman that everything is running smoothly and that the world will be painted red soon enough.

Ryan Stegman absolutely smashes the art in this issue with absolutely killer detail, expressions of fear and disgusting visuals, especially in Carnage’s underground lair – The sprawling mass of symbiotic flesh that covers New York’s sewage system, packed full of infected humans is a dreadful sight. In the beginning of the issue, Stegman drew a splash page of Carnage with other panels overlaid, showing one of his eyes of madness and the decayed flesh that’s absolutely under the symbiote. It’s an absolutely terrifying sight that set the tone of this horror show.

Not only were these shots great, but Stegman kills one of the moments that happens in the Miles Morales tie-in where Miles and Scorpion (Mac Gargan) fight off the infected hordes trying to take Gargan’s spine. In the tie-in, the art is more subdued and less violent, but here, Stegman turns it into something to get squeamish over. Gargan tries to abandon Miles to fight the infected alone, but is thrown back into the fight by Venom.

Unfortunately, Carnage is there waiting to pounce. He plunges a tendril into Mac’s back and DIGS around to get that spine. There’s no need to leave anything to the imagination as the blood spurts out, Gargan screams in agony and Kasady looks like he’s having the goddamned time of his life. Mayer and Martin’s colors and inks really sell just how violent all of this is. It’s almost gross just how close they get the color right and how dark the scene is. Miles swoops in to save him, but… no good deed goes unpunished.

Absolute Carnage absolutely does what it set out to do. I have never been more afraid for the Marvel Universe than I am right now. Of course, there have been universal threats, but with how close and personal this feels and the looming feeling of dread knowing that Knull is THIS close to returning is mortifying. Normally a villain will just kill a hero or destroy them and whatnot, but Carnage wants nothing but massacre. If there’s not torture and blood then what is it all worth?

Everything that Cates and Stegman have been building to has lead us here. To say that it’s beginning to lay off would be an understatement. The dividends of fear are fore more exponential than anyone could have anticipated and this will likely go down as one of the greatest Venom/Carnage stories ever written. Absolute High Recommend.

Best of Marvel: Week of August 14th, 2019

Best of this Week: Absolute Carnage: Separation Anxiety One-Shot – Clay McCleod Chapman, Brian Level, Jordan Boyd and Travis Lanham

God is Here.

Riot, Lasher, Agony and Phage – four of the symbiotes created by the Life Foundation had been fused together in the body of a War Dog since the incidents of Carnage USA (2012). They hadn’t been seen in years, but now that Carnage’s plot is in full swing, the formerly heroic (?) Symbiotes have been twisted and turned to Knull’s will.

The book begins with the War Dog sitting in the middle of the street in a small Colorado town, hearing the sounds of a child crying. Slobbering with flies buzzing around him, the dog walks over to the crying child and we learn that her name is Sadie. Sadie is lamenting the impending divorce of her mother and father and she’s crying about the fact that they don’t seem to care about how this is affecting their kids as Sadie has a younger brother as well. She vents to the Dog, wishing that they could stay in their home and stay a family while panels of her mother and father screaming at each other at either side of the pages.

Sadie invites the dog in for a little while and as she goes to pack, the dog listens to the mother and father arguing and the horror ensues in an amazing page. It shows the slow and terrifying transformation of the dog into a fleshy, toothy monster as its face and skin stretches back to the point of tearing and tendrils begin to protrude from it’s back. It’s almost disgusting to the point of hearing the sloshy and squirmy noises of the beast as it roars, soon to consume the family.

We get our late title card and cut to Sadie going up to the attic to grab her brother, Billy, and show him the dog. Unfortunately, elation turns to horror as they come to find their father pinned to the ceiling by the slimy and slithering mess of symbiotic fluid as their mother looks on in cold fear. He is soon absorbed into the form of Riot as the panel layout shows as a small spiral as the symbiote enters his eyes nose and mouth before he is shown as an absolutely terrifying beast, the father half absorbed and looking on with wide eyes as Riot says “Come to daddy,” to the children.

Their mother screams at them to run away as she too is attacked and taken over by the Agony Symbiote. The chase begins as they kids try to get away from the possessed bodies of their mother and father, who plead with them, saying that they can finally be together again, a family. One of their neighbors knocks on the door and asks about the screaming. When Sadie tries to scream for help, Agony sprays acid in his face and we have to sit and watch in horror as his face dissolves, melting with a gross hiss as he screams in death. Sadie manages to hide herself and Billy in the attic until Riot sniffs them out and breaks in.

Sadie and Billy seem to know a little bit about Symbiotes and she cranks the music on her radio loud and it manages to do little but peel the symbiote away a little bit, revealing her father before they crush the radio. They crash through the ceiling and the siblings make their way to the bathroom, listening to their “Dad” taunt them about being a family again, if only they’d just join him. Sadie and Billy hide in the bathroom, lying in the tub as it drips with an eerie SPLCH sound. Sadie tells Billy that everything will be okay and as we all know, it is never okay as Phage drips right onto Billy’s head and infects him.

Riot, Phage and the unbonded Lasher converge on her and she uses a lighter and hairspray as a last resort to weaken them. It soon runs out and she is forced to run downstairs, right into the arms of Agony who has prepared the body of the neighbor as dinner.

The dinner scene itself is absolutely terrifying and combines the worst of the Texas Chainsaw dinner scene and the recent family dinner from Resident Evil 7. Sadie is bound by Lasher and crying as she is forced to listen to the rest of her possessed family say their grace to Knull. They act like a normal family, but with their jagged teeth, spiralled faces and red speech bubbles, nothing is wholesome. Everything is dangerous. Everything is Carnage.

They begin to pour a little bit of their symbiotes into a glass of possibly wine and try to offer it to Sadie. As it gets close to her lips, she smashes the glass and stabs Lasher, freeing her for just a moment. She runs and runs, the door right in her sights and repeats that she’s gonna make it. She’s going to make it!

She doesn’t.

I didn’t expect Separation Anxiety to be any good. I thought it would have been a cash grab on one of those old Symbiote stories, but this was an excellent lesson in horror. The writing is chilling and the art is absolutely disgusting in the best ways. Brian Level did an amazing job in hi layouts with the paneling being some of the best parts of this as almost every scene weaves itself as either something formless or an object pertinent to the moment. Chapman captured the hope and terror of child fear like a champ, making you root for Billy and Sadie as they tried to make their futile escape only for it to be ripped from their hands like everything in Absolute Carnage so far.

If this is the quality that all of these tie-ins are going to have, then I am all aboard for this ride. HIGH Recommend.

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 June 19th, 2019

Best of this Week: Guardians of the Galaxy #6 (Legacy #156) – Donny Cates, Geoff Shaw, David Curiel and Cory Petit

Talk about an explosive end to the first arc, huh?

Battered and bruised from their fight with Hela and the Black Order, Quill and the rest of the Guardians are pissed off and ready for round two. With Lockjaw’s help, they teleport to Knowhere, taking the fight directly to villains.

Geoff Shaw takes this story to its absolute peak with his amazing art. Propelled by a psychic dragon construct created by Moondragon, Beta Ray Bill sends his Stormbreaker hammer into Hela, taking her out of the fight. The sight is awesome, but unfortunately the only teamwork really seen here. The dragon looks ferocious and rightfully takes Hela out, or else the fight would have been very one sided again.

Shots are far and mostly wide, showcasing the various means of attack as the Guardians tear through Thanos’ alien creatures, mostly with Gladiator shooting everything in sight with his laser eyes. Shaw makes things look grand in scale, even when things are focused on one character such as Phyla-Vell after taking Proxima Midnight out of the fight with rays from her hands.

Things get even more tense as Peter confronts Cosmic Ghost Rider, who betrayed the Guardians in the last issue because of Hela’s control of the dead. He falls apart as Hela’s control over him fades and it’s actually pretty sad, mostly thanks to Petit’s lettering making The Riders apology even more melancholic.

Quill catches up to Gamora, who went to stop Thanos from being resurrected, and tries to convince her against killing her Uncle Eros, aka Starfox. Starfox had been the main antagonist of this Guardians book, thinking that Thanos would use Gamora’s body to house his consciousness when it turned out to be his Brother, the only other Titan left. Gamora rationalizes that if it had indeed been her that Thanos took over and she were in Peter’s shoes, she would have killed the possessed body in an instant, stabbing Eros through the heart and preventing Thanos from being resurrected.

That one panel was absolutely beautiful, if a bit marred by the lettering covering the exit wound. Eros snaps out of his trance and looks like he’s gasping in pain. Gamora is resolute in her decision, much like she was when she killed Thanos in the beginning of Infinity Wars (2018). She apologizes to her Uncle who muses that the plot was miserably predictable. It’s heart wrenching, especially knowing how light hearted and heroic Eros was before all of this started, seeing him fall as low as he did, almost killing Gamora before the gambit was discovered.

Suddenly, Thanos’ body erupts awake, though his mind not fully intact due to the transfer not being completed. Hela returns and in her anger, fires a black hole missile at Gamora, but it gets deflected back at the Incomplete Thanos, causing him to become the center of the black hole. The Guardians escape as Hela and presumably everyone else gets sucked into the black hole.

Setting up the Death of Rocket arc at the end, I really enjoyed this issue. Not only was it action packed, it also subverted my expectations about its outcome. I absolutely thought that Thanos would come back in full force in the final pages of the story and while he may in the future, it was great to see that it won’t be a YEAR after he was killed in the first place. I had some initial bad feelings about this team of Guardians, but they meld together very well. The power of Beta Ray Bill, Phyla-Vell and Moondragon combined with the skill of Star Lord, Groot and Gamora makes for an absolutely interesting and banterful team. Also because I’m a huge Phyla-Dragon fan and I can’t wait to see more of them. High recommend!

Best of Marvel: Week of June 12th, 2019

Best of this Week: Silver Surfer: Black #1 – Donny Cates, Tradd Moore, Dave Stewart and Clayton Cowles

After a series of starts and stops with a random annual and appearances in a short Defenders mini-series, The Silver Surfer may have finally found his stride.

The Silver Surfer Annual of 2018 saw the Surfer facing an existential crisis about his role in the destruction of planets after being newly to his position as Herald of Galactus following the events of Infinity Countdown. There was a bit of hope as to what their relationship would be like after the Surfer gets angry about his lot in life and Galactus wipes his memory. Unfortunately, this doesn’t seem to stick as he appears to fully remember everything when helping out his former Defenders allies. He hasn’t really been seen since until Guardians of the Galaxy where he was thrust into a black hole by the Black Order.

Silver Surfer: Black opens with the Surfer reflecting on the distress that comes with being the harbinger of death for the Eater of Worlds, how he never forgets the cries of those that are sacrificed to sate Galactus’ hunger. It then cuts to the Surfer doing what he can to save a few of his allies, using Beta Ray Bill’s Stormbreaker to catapult the warrior and several others out of the vortex. He then uses his Power Cosmic to find the weak spots in the tear to free the rest in a glorious display of power.

These two scenes are absolute trips to read. Tradd Moore’s art style is perfect for capturing the effects of a black hole ripping bodies apart and stretching limbs as characters appear very long and wobbly. Backgrounds are wavy and can actually appear to be very disorienting and that’s actually good for how immersive this part of the story is, especially after the Surfer expends his energy to save everyone and slowly drifts into darkness.

The exhaustion on his face is very palpable and I have to take a yawn as he curls into a ball and begins to shrink into a small silver ball of nothing. His atoms tremble as he heals his body after falling for what he believes to be years and he spots a bit of light. He summons his board and seeks help only to be met by three guardians of some sort of gate who attack him soon after.

Even weakened, The Surfer is no slouch and holds his own against these powerful foes. The shots of this fight are very floaty, in that, while hits have some impact, it’s negated by how much the art just flows. Everything is pulled back to show the grand scale that the fight happens in as the Surfer appears tiny in relation to these enemies. After a brutal fight that nearly sees the Surfer defeated, he unleashes a surge of energy, creating a sun above the planet and turning his left hand black. The gate opens and the Surfer is set upon by a VERY UNEXPECTED, but very interesting enemy.

This book was amazing from start to finish. Cates scripts an excellent opening that’s taken to another level with Moore’s beautiful art. I forgot to mention Dave Stewart’s coloring which absolutely crushes everything. It’s amazingly smooth and gives the book the kind of shine that’s appropriate for the Surfer and a trippy vibe to set the tone for what’s in store for the book. Even in it’s later pages where things are awash in brown, the Surfer stands out with his Silver visage and looks very cool. I’m excited for the future of this book and definitely give this one a high recommend as a return to form for a cool character that’s in desperate need of revitalization.