This Week: Angela – Asgard’s Assassin #6, Birthright #7, Captain Marvel #15, Coffin Hill #18, Convergence #6, Convergence – Catwoman #2, Darth Vader #5, Imperium #4, Injection #1, Lady Killer #5, Legendary Star-Lord #12, Magneto #18, The Mantle #1, Ms. Marvel #15, Mythic #1, Rick and Morty #2, Runlovekill #2, Secret Wars #2, Silk #4, Thor #8, Unity #18, X-O Manowar #36
Holy Gods, but this is a strong way to start the week. We get to see what the definition of honor and obligation are and how badly they define Angela. We also get to learn about the angelic afterlife, and how terrible the vengeance of the All-Mother can be. Yes, Odin is loud and a lot of Bluster, but when Frigga decides to throw down she’s so much more subtle and terrible than her husband. We get a new enemy, a new starting point for the story, and more detail on how Heven and Asgard will co-exist in this strange new world. The art is gorgeous – though I’m still a little iffy on Angela’s armor, it looks like it might stab her – and the writing is clever, subtle, and infectious. Buy this book.
Yeah, guns are dangerous. I’m just going to point that out. Fantasy and hero types seem to look down on them, but to regular folks that get caught in the crossfire? They can be a problem. Mom finally gets on track and tries to start piecing things together, so good on her, and we get another visitor from fantasy land. This book is tremendous.
Death comes for us all. It cannot be predicted, cannot be reasoned with. One day all of us are going to end. While Captain Marvel was in space, one of her closest friends died – and this issue deals with the fallout of that with a simple honesty. There’s a graceful beauty to this comic, and it cements Kelly Sue DeConnick as one of Marvel’s best writers.
I love this comic. I love the layers of history, blood, and horror that seep off of every page. Eve learns a bit more about the insanity that infests her family and comes to terms with her mother, though whether or not they’ll manage to save anyone remains to be seen. Complex writing and haunting art combine to make something nightmarishly beautiful.
The heroes decide to be heroes and team up to fight the bad guy, so we get to smash hero and villain caricatures against one another. Also, Dick Grayson will apparently save everything because reasons. The individual issues are better than anything going on in the main title, but the main title infests everything. Please, just end already.
This isn’t terrible. Nineties Catwoman squares off against Kingdom Come Batman, and they sort of take one another’s measure and then try to help one another, because Batman and Catwoman have a complex relationships regardless of the iteration. Then fear kicks in and DC Civilians act like Marvel Civilians. Batman wins and loses. The end.
Kieron Gillan writes Vader like a force of nature – no pun intended – and we’ve watched him get up to all sorts of sneaky things while butchering everything in his path. He’s got his own little group of friends and they make an alarming discovery, one that doesn’t sit well with him, and it makes me want the next issue right now. A lot of fun.
One of the most nuanced and complex narratives going on in any medium, Imperium deals with a monomaniac with the powers of a God trying to make the world a better place by moving towards a post-scarcity reality, while the various powers that benefit from misery try to stop him. Along the way we get a host of people and intelligences with flaws and nuances that bounce off one another endlessly, moving towards a series of endgames and shifting alliances and concrete goals. There is no other comic like this, told from so many different perspectives, and the art does an incredible job of capturing the alien nature that has overtaken so many of these people. If you’re looking for mature storytelling, this is it.
This is an incredibly strong start to something that is going to get better as time goes on. You can see the shape of things to come even from here, as we see the worn down remains of some very intelligent people who got themselves involved in something horrible. We know they’re worn down because we also get to see what they looked like before, with the art shifting between who they were and what they’ve become, and the strange world they’ve created and become lost in since. This is one of those comics that does everything right, from dialogue to shading, amd I cannot wait to see how this develops.
A really good comic that comes to an ending that begs a sequel, which I hope Dark Horse will be kind enough to give us. This comic has a lot going for it, including the sheer joy writ large in the story and the art. The violence of this is fantastic and easy to follow, and those brief moments of peace are highlighted by some great body language.
We learn a little bit more about what as awesome father J’son was, and why Peter was probably better off without him. We also get the introduction of MCU Collector, and a creepiness to the collection that hopefully will not carry over to anything else. Art is fine, story is fine, but I’m looking for more Peter and Kitty. Death Mouse is allowable.
It’s Cullen Bunn writing a comic. Any other information is almost incidental. Erik has a rather lovely moment with his one remaining child, a thing that will hopefully be retconned sooner rather than later. We also get to see Magneto really cut loose, and see what Cullen could do with Namor. It’s all pretty great, which is this series in a nutshell.
Another comic in a series of them this week that have a whole lot of potential. This one is going to be massively cool; basically, a set of powers move from one chosen one to the next upon death, and a not terribly good person has inherited them and a nemesis along with them. There’s more going on here, and the excellent art and writing are reason enough to check this out.
There’s some incredibly powerful undercurrents in this comic, which is not shocking given how good this comic always is. G. Willow Wilson explores the concept of informed consent, and reinforces the idea that victim blaming is never okay, and lying to someone to get them to go along with doesn’t make a person clever, it just makes them an asshole. Kamala deals with these issues by thinking about them and coming to the logical conclusion, than using her powers in creative ways to save herself and her best friend. It’s one of those stories that someone can appreciate on any level they like, a quality that is present in the very best sort of writing. The art is, as always, spot on perfect.
Huh. Okay. That was a thing where things happened. They may have even happened in an order. The premise – that science is a lie and magic makes everything work – is great, and the dialogue and characters are all sorts of fun. The art also highlights the mundanity from the insanity. Both work well with one another. Should be a fun series.
This comes very close to feeling like the cartoon, which is the best possible compliment I can give this comic while waiting for the second season. Rick’s warped genius gets him in and out of trouble – not that he ever really cares – though the threat of the place implies something more may be going on. Also, Jerry is Jerry, which is to say, pathetic.
One of my favorite books is called Snow Crash. It jumps right into the story, all frenetic energy, and then slows down to catch you up on what’s happening and why. That’s very much the case here, as issue two gives us a little more detail on characters and why we should care about them. It’s still not very much, but it’s a step in the right direction.
Godsfuckingdammit. Okay, this is the part that Hickman inevitably get right – the beginning, when he’s running through the really interesting ideas that will dither out and die later. And this? It’s Warhammer 40k by way of the Marvel Universe, using the same sort of set up that was done in Age of Apocalypse and Nation X. Only with Doom as the God Emperor of Man. As a What If, this is actually brilliant and something I’d want to read more of. As the latest interruption of everything and a means of fixing every other mistake Hickman has made with his narrative, this is more than annoying. I want more of this world written by Kelly Sue DeConnick or Keiron Gillan or G. Willow Wilson or Al Ewing or Gail Simone or Jason Aaron. I want to like this instead of turning every page with a sense of dread.
The cute continues to take center stage here, as even when conferring with the Fantastic Four about possible radiation poisoning, Cindy tries and succeeds in holding her own. She’s had a rough go of things, really, and is still figuring out how to communicate with other people, and annoying Peter is a good start. Good art and witty dialogue. Fun.
Spoiler alert: we were wrong. We thought it was Roz and we were wrong and that’s okay. The actual identity of the new Thor is revealed here for certain and it’s a hell of a thing, an absolutely perfect thing, and it’s going to make for some great stories. We also get some hints about what made Thor unworthy, the return of Roz, and some very strong moments between All-Mother and All-Father that go a long way towards putting the two of them on equal footing. Jason Aaron has reigned supreme as Marvel’s best myth builder for a while now, and this issue is another Jewel in that crown. Absolutely fantastic, with art that is every bit as good as the writing. You need to be reading this.
It’s a little too punchy, but there’s some very interesting things going on here as Unity is sent out to recruit a new member, a deeply traumatized man that is really just looking for peace and a moment to himself. The team doesn’t want to deal with his bullshit – or anyone else’s – and who can blame them? This is setting for greater things to come.
The vine really took advantage of a lot of things from the X-O suits, didn’t they? Here, Aric of Dacia gathers the various armors together and goes to confront of the Dead Hand, which was created specifically to wipe the armors from existence. To say the battle to come should be epic is an understatement.