Marvel Round-Up: Comics Released 11/18/15

marvel roundup6

We try to stay up on what’s going on at Marvel, but we can’t always dig deep into every issue. The solution? Our weekly round-up of titles coming out of Marvel Comics. Today, we’re discussing Secret Wars Too 1, Spider-Woman 1, Ms. Marvel 1, Deadpool 2, Astonishing Ant-Man 2, Sam Wilson: Captain America 3 and Extraordinary X-Men 2.


Secret Wars Too 1

Sheila: Well, behind every joke there’s some truth.

Jerry: What about that Bavarian cream pie joke I told you? There’s no truth to that. Nobody with a terminal illness goes from the United States to Europe for a piece of Bavarian cream pie and then when they get there and they don’t have it he says “Aw, I’ll just have some coffee.” There’s no truth to that.

Seinfeld, “The Soup Nazi”

Secret Wars Too 1Drew: What do we mean when we talk about “truth” in jokes? Do we care if the story a comedian is telling actually happened, or are we more interested in some kind of more universal truth about the human condition? I’d generally argue for the latter, but that makes self-deprecating humor a bit of a sticking point — it’s easy to make fun of yourself if you turn yourself into a straw-man. That is to say, while I’m not particularly interested in the accuracy of Jonathan Hickman’s self-portrait in Secret Wars Too, it’s hard to know exactly how clever these jokes are without a sense of that accuracy.

Obviously, the account is heavily fictionalized, with Hickman speaking directly to Doom about his role in Secret Wars, but there are plenty of jokes that could be more true: the length of Hickman’s Secret Wars pitch, the insecurity about an ending, even the stakes of the series going well. The jokes about shipping on time (and forcing Hickman to participate in this very comic) at least play more to the audience, mocking the few things we know for certain, but otherwise, this story feels pitched more for Marvel insiders.

Fortunately, the rest of the issue avoids that directness of metafiction, instead having fun just riffing on Marvel’s characters. Those riffs all bear some sense of repetition, hinting that everyone in the Marvel Universe is stuck in some kind of loop, forever doomed to eating pies or tangoing with the ultimate nullifier or pining after Jean Grey. That these characters are all reliving the same stories isn’t the most flattering truth to assert about comics, but fortunately, there’s more than enough fun to justify all of the familiarity. This issue is the definition of inessential, but it absolutely revels in that inessentiality.


Spider-Woman 1

Spider-Woman 1Patrick: If I can be so presumptuous as to take a stab at what I would find frustrating about being pregnant, I’d have to point to putting your own life on hold with none of that immediately gratifying baby stuff. You have to change your behavior, your habits, your routine and all you’re rewarded with is people asking way too personal questions, weirdos touching your belly, unsolicited advice, and a body that hurts all the damn time. Dennis Hopeless and Javier Rodriguez’ Spider-Woman hits all of these frustrations with the series’ signature wit, but it feels no less presumptuous for it. I’m sure both of those guys have done the emotional homework to tell this story, but it feels like a missed opportunity to bring in a female creative voice that has experienced these indignities first hand.

Ultimately, though, the story feels honest — at least from my perspective. And I absolutely love Jess’ internal and external struggle with giving up control of her life. She puts up a good fight against Ben and Roger, but ultimately folds when it’s clear they only want what’s best for her. But I love her little victories the most — like zapping Tony for being an ass at the Avengers party, or insisting on ice cream over frozen yogurt. But probably the best parts of the issue are the sacrifices she chooses to make in a vacuum. Rodriguez plays the scene with just enough dramatic distance to deliver the joke of “she’s only giving up a motor cycle” while still presenting the scene earnestly.

it's just a motor cycle

At this point, I can’t really tell how well all of this strong thematic material could possibly continue with Jess in the (don’t call it) Alien Maternity clinic, but I have faith in Hopeless and Rodriguez to figure it out.


Ms. Marvel 1

Ms. Marvel 1Ryan M: Big life changes can force you in to a triage of sorts. You realign priorities to makes sure that you can handle the new challenges, cut all but the most necessary activities out and squeeze in needs like sleep and food where you can. This mode is inherently unsustainable and once you find your “new normal,” you may find that you’ve eliminated things from your life without thought.

In Ms. Marvel 1, Kamala has taken Bruno and his romantic affection for granted. While she was becoming an Avenger, she wasn’t being his friend or even checked in to his life at all. When she sees him kissing Mike, it pulls her out of her daily grind and makes her start to reckon with the things she’s been ignoring. Kamala’s life has been scattershot and the issue reads the same way. We have Kamala’s budding career as an Avenger, her reaction to Bruno moving on, gentrification, appropriation of the Ms. Marvel persona and her subsequent vilification, and a bunch of lightning golems just hanging out. The issue concerns itself the most with exploring how Bruno could go from carrying a torch for Kamala to following her request and finding someone new.  The story of Bruno and Mike falling in love is sweet and all, but it feels like the least vital for Kamala.  When she interrupts Bruno’s romantic moment clinging to a weaponized frog, it made feel like I was reading the B-side of a really fun story.  Not a great feeling with which to start an arc.


Deadpool 2

Deadpool 2Patrick: I’m sort of a sucker for “franchised hero” stories. Sure, “Batman Incorporated” may test the strength of my suspension of disbelief, but making other heroes adapt the values of a well-known figure means clearly articulating and exploring those values. With Deadpool franchising his name, we’re left to ponder that old questions: just what the hell does it mean to be Deadpool, anyway? It turns out that Wade has been sending out his cronies on jobs that are more heroic than they are profitable. The types of dudes that Deadpool has attracted to this position — and they’re a fucking who’s who of characters I’ve barely heard of — are all morally flexible, so they bad together and accept a job that pays. Turns out: crime is the only thing that pays. They violently clear a building of it’s undocumented residents so the landlord can tear out the low income housing and build condos (and probably a Pink Berry and a Yoga Works). It’s remarkable to me how varied their reactions are to this realization: Foolkiller and Terror just want to collect on the payday; while Madcap and Slapstick can only make jokes about the situation, seemingly unaware of or indifferent to the moral conundrum; and finally Solo and Stingray who feel terrible and donate their fee to the victims. Beautifully, would all be reactions we could reasonably expect from Deadpool who — this issue is quick to point out — once burned his parents alive, but is ultimately maybe a good guy?

Actually, just what the fuck is up with Deadpool in this series. Even before that final page reveal that he’s not exactly who we think he is, there are hints scattered around that he’s not the Wade Wilson we know and love/hate. First of all, that costume is incredible. Mike Hawthorne draws him in this insane costume that is simultaneously a) a suit, b) a hoody, and c) a classic Deadpool uniform.

Deadpool's new threads

What is that and where can I buy one? Also, when Hawkeye serves him the papers for the lawsuit about using the name “Heroes for Hire,” he never actually gets Deadpool to confirm his identity. Oh, Clint, won’t you ever stop fucking up?


Astonishing Ant-Man 2

Astonishing Ant-Man 2Drew: Scott Lang in prison is the kind of premise that seems like it shouldn’t need a lot of explanation. He was introduced as a criminal, and has spent most of his life living in the shadows of that history. I wouldn’t say returning to prison was inevitable — he certainly has worked hard to stay on the up-and-up — but it’s not exactly a surprise, either. Leave it to Nick Spencer to find a whole slew of surprises beneath that apparent foregone conclusion, revealing that Scott doesn’t have a “supporting” cast so much as he has a nest of vipers.

Here again, there’s a mix of foreseeable and the unforeseeable — Machinesmith’s turn to the dark side isn’t exactly a surprise, but the fact that he was able to drag Grizzly along with him is a significant moral loss for Scott. Of course, the bigger deception is on the part of Darla Deering, who sweeps back into Scott’s life with righteous indignation, only to reveal that it’s all a put-on for her new reality show. It’s an unexpected (if a bit unfortunate) turn for her character, revealing that Scott really doesn’t have anyone to trust. She may ultimately redeem herself, but I suspect not until after Scott winds up in prison.

Of course, with so much deceit going on, it’s hard to know if Scott’s tenure in prison is quite what it seems. Perhaps Spencer is pulling his own Darla Deering fake-out, giving us just enough of what we expect to lull us into malleability. At any rate, the next issue promises some fun interactions with Captain America, who I’m loving under Spencer’s pen. Surely Scott can trust him, right?


Sam Wilson: Captain America 3

Sam Wilson: Captain America 3Spencer: Nick Spencer, Daniel Acuna, and Mike Choi’s Sam Wilson: Captain America 3 features mad scientists, genetic mutations, corrupt corporations, and its main character being turned into a werewolf — it’s a far cry from the political commentary of issue 1 (and the frenzied reader response), something Sam himself lampshades early in the issue.


Sam’s right, though — things rarely turn out the way we expect, comic book speculation included. This plot was never really about immigration or racism, but corrupt businessmen using those hot-button topics to help carry out their own plans; in some ways that’s a bit of a letdown, but it’s also commentary in its own right, calling out those who are quick to criticize or condemn without knowing all the facts. Even the fact that Sam calls himself out in this regard shows that leaping to these conclusions is something anyone can do, no matter what their leanings or intentions.

I still admire the stand Sam (and, by extension, Spencer) took in the first issue — and I hope to see more of that kind of political commentary in the future — but I can also appreciate the balance between “issues,” humor, and straight-up superhero action Spencer strikes in this installment. In its most sublime moments, Spencer even finds a way to combine all three:

flying werewolf communist

Whether it’s serious or silly, Nick Spencer’s proven that he knows how to make Sam Wilson: Captain America an engaging read no matter what tone he aims for.


Extraordinary X-Men 2Extraordinary X-Men 2

Patrick: I need help with this one, guys. I know we’re talking about an extremely soft reboot with the All-New, All Different initiative, but it’s overwhelming to me how much this series is contingent on the continuity of the stories that came before it. And — weirdly enough — it’s contingent on understanding the histories of stories that don’t really happen in the same universe. I swear, I’m not a stickler for continuity, but this issue is hellbent on cashing in all of my “In Love With the Marvel Universe” chips all at once. Not only are Cyclop’s death and Global Terrigenisis necessary pieces of background information, but the narrative leans hard on Magick’s relationship to both her brother and Purgatory, which is where the Mutant School (Jean Gray School? Xavier School? Phoenix-Cylops Academy?) is currently located. Add in Nightcrawler and Forge stuff, and it all gets a little too inside-baseball for me. I’m just not interested in moving pieces around on a board.

The two pieces that are the most interesting — emotionally speaking — are also the two that make the least logical sense. OG Jean Gray and Old Man Logan connect at the end of the issue, and while it’s fascinating to think of how they might make each other feel, it’s kind of an exercise in insanity. Like, it’s an emotional “what if” scenario that I’m not even sure I could articulate. “What if you were brought 50 years into the future, only to discover that you had died by this point in your life, and then you met up with an elderly alternate reality version of a friend you hadn’t made yet by the time you traveled through time, but in this reality he’s also been dead for a year? Oh and the original version of him killed the future version of you but this future version of him didn’t kill you?” Guys, I’m telling you: I NEED HELP WITH THIS ONE.


The conversation doesn’t stop there, because you certainly read something that we didn’t. What do you wanna talk about from this week?

13 comments on “Marvel Round-Up: Comics Released 11/18/15

  1. Spider-Woman #1: I liked this a lot more than I thought I would, but a lot of it was from my interest in the Porcupine story. I might even go back and buy the last run of Spider-Woman to see how we got here. I read issues 1-3 (Spider-Verse stuff) and didn’t love them, but I kinda liked this. I’ll be back for more. However, I’m not sure I agree with: ” I’m sure both of those guys have done the emotional homework to tell this story, but it feels like a missed opportunity to bring in a female creative voice that has experienced these indignities first hand.” I know there’s an effort in places to bring more female and minority voices to comics, but goddammit I can’t even write this as a white male. Just can’t. In the end, I’m not going to discount the author’s voice because they’re not the same gender or color or size or shape or religion or anything of their characters. I’ll just trust the writer.

    Maybe I’m shallow about it, maybe I’m missing something, but of all the things I thought about this comic, “Hmm, maybe a woman should be writing this,” wasn’t in my head. Even though it’s about a woman dealing with her role at work while pregnant. Because maybe I’m an idiot.

    Ms. Marvel 1: This took a direction I didn’t see coming. It made me want to see how Secret Wars ends. The 8 months after the conclusion of the world NOT ending. . . how did this happen? Also, I agree that it’s strange to have this be such a Bruno story. While I liked the art, I didn’t find the art in the main story to be as original and clever as the back up.

    Deadpool 2: This really isn’t a funny comic. There’s a small amount of dark slapstick here, but this might get really, really dark. A much better issue than issue 1. I’ll probably keep reading it, but I like my Deadpool Hardcover collection and I’m not one to double dip.

    Ant-Man #2: This is good shit. Maybe I missed an opportunity on reading the most recent Ant-Man series. I dropped it after one issue (I don’t go for the “oh, I just want my kid” crap), but trying to make a living in a world that won’t let your sins get past you. . . actually, this has a lot in common with Illuminati. Different approaches. Hercules, too, now that I think about it. There’s more than a couple, “I just want to make a living and do the right thing” stories here at Marvel and I’ve liked most of them.

    Sam America #3: I really, really didn’t like this turn. The tonal shift was too much for me. I was really in to reading about how Sam Wilson dealt with race and the power of being Captain America. This was slapstick bullshit that totally lost me. I’ve liked a lot of Spencer’s stuff, and this was obviously a Spencer comic, but I missed a bit of the, damn, I don’t know, importance I guess of the first two issues.

    • In a perfect world, we could have any writer do any story, and as long as they do their legwork, it will all be fine. But currently, so many comics are written by straight white guys, that it makes sense to notice particularly egregious examples. Luckily, DC, Image and Marvel are doing a much better job at pushing female titles that while things aren’t perfect, there are many women writing comics about female characters and so we don’t need to focus too much on that (though there was still the baffling controversy about Tim Seeley writing the upcoming Blade. Between Grayson, Revival and some of the Hack/Slash I’ve read, Seeley is just the person I would want writing a female led title, if it had to be a man. I still can’t believe me managed to make Hack/Slash something with real humanity instead of just empty fanservice).

      Spider-woman is an example of a story that as a general rule, a female creator is much more likely to be able to do. Hopeless will never be able to get this experience (though even as I say this, it is worth noting that this story wouldn’t exist if it wasn’t for Hopeless. This isn’t Marvel wanting to make Jessica a mother, this is Hopeless wanting to use Jessica to explore what it was like when he became a father). From the standpoint of the industry as a whole, this is a good example of how even as there are female characters, there are issues with female writers.

      But that doesn’t change the quality of the comic itself. As important as it is for the industry to have a more diverse set of creators, the important thing about the comic is that it is good. So even as we talk about what Spider-woman represents in the industry as a whole, if you think the comic is good, enjoy it. No one worth talking to is interested in complaining about male writers write good female characters

      • Right and it’s not like I’m docking the issue any imaginary points for not being written by a woman, I was mostly noting that it would have been a neat place to see that perspective. I also believe that anyone should be able to write any character — and would actually love to see more women writing male characters (that almost never happens). But Matt’s right about representation for women in the writers’ room not being great as it is. If half of the books were written by women, it’d be a different story, but they’re not, so it’s a point I bring up.

        It looks to me like you guys might have locked more into the piece once it got to those narratively-focused last couple of pages, but for me, that’s where a little of the shine dissipates. I was so in love with the vignettes about sacrifice on a totally relatable scale that I didn’t need that sharp left turn into sci fi nonsense.

        • Yeah, anyone should be able to write anything, but that also doesn’t mean it isn’t important to look at what this means for the world as a whole. And fantastic point about more women writing male characters, and a point I don’t think is brought up enough. We get so focused on having women write women at times, but once Snyder leaves Batman, imagine how big of a deal it would be if a woman replaced him. Because women are just as able to write great men as men are able to write great women.

          I don’t think I locked on more to the narratively focused last pages, largely because I reject the idea that they are narratively more focused. Jessica takes Carol up on the maternity thing out of complete and utter boredom in a vignette that is just like any other vignette, only with a last page involving Skrulls pointing guns. It is more that I hope taking all the great stuff of the issue and structuring it in a traditional structure (which you need when you want a plot about Skrulls invading maternity wards) will improve the comic.

          The vignettes are all great. I love Tony asking ‘So do you know who the father is?’ and how in that vignette, Carol is just as much a lead as Jessica. Love Jessica having to stay behind as Natasha has to go off to save the world. Love Jessica and the motorbike. I just felt the vignettes were disconnected from each other, sharing only a common theme. There are ways of structuring vignettes like this in a way where they aren’t so disconnected (the latest Constantine did that well with the whole idea of doing lots of jobs. Each job connects to every other job by the fact that together, they sketch a complete picture of what an average day of work is for Constantine). Spiderwoman didn’t feel like the vignettes connected in a way other than ‘these are a bunch of stories that take place during her pregnancy’, and as well written as they are, the issue doesn’t seem to work as a complete issue, just as a series of scenes. I’m hoping that under a more traditional structure, Hopeless will be better able to explore the all those stuff that we both loved in a way that makes each issue feel less disconnected, since he doesn’t seem to be entirely comfortable with more atypical story structure he uses here.

          I’m aware that Hopeless could lose what makes this issue strong if it focuses too much on Skrulls, and that is the risk with a more traditional story structure. But again, Superhero comics at their best use that sort of traditional structure to tell stories like this (the new Jessica Jones show is an utterly perfect example of a superhero story doing exactly this). So hopefully, Hopeless can do that. Do exactly what Jessica Jones did, but instead of being about trauma and recovery, be about Jessica dealing with the changes to her life from her pregnancy. I don’t know what the next issue will be like, but Hopeless did the good stuff so well, I’m willing to give him a second chance, and see how he fares in a different sort of structure

        • “I was mostly noting that it would have been a neat place to see that perspective. I also believe that anyone should be able to write any character…”

          Which is why I’m not sure I agreed with your original statement. Comics, especially mainstream or big 2 or 3 or whatever, need a wider variety of voices. Is it possible that this would have been better if written by a woman? Yep, it’s possible. But the same goes for Spider-Man 2099 (no offense Mr. David) or Extraordinary X-Men (no offense Mr. Lemire), or Daredevil (no offense. . . umm, who’s writing it now?), or ANY comic.

          I guess to me this was no more a missed opportunity than any comic is.

  2. Extraordinary X-Men #2: This may as well have been subtitled, “Hey Greg, remember why you never read X-Men titles?” Hard to read without an encyclopedic knowledge of previous stories and Ramos’ art works great for some characters and others are unrecognizable as human…. err, mutant. Or at least which one they are and what the hell they’re doing. This might work as a Storm story as she tries to lead them through chaos or a Magik/Colossus story about reuniting, but there’s too many threads from too many other weaves for me to get involved in this.

    Star-Lord #1 apparently needed to retell me Star-Lord as an 18 year old in space story, which isn’t what I thought was going to happen. Is this in continuity? Was it a one off getting me ready for the Star-Lord that is King or Emperor or whatever he is in Guardians? I didn’t read Star-Lord before and this didn’t hook me.

    Black Knight #1: You know, when you take a C-List character and try to give him a solo title, you need to do a lot of things right. This book didn’t. The art was thinly lined, the colors were muddy and disorienting, and the story doesn’t even exist in the same plane as the rest of the Marvel U. And the teaser for issue 2 is Uncanny Avengers, probably one of my five least favorite All-New titles. I wanted to get into this because I love big sword and sorcery tales (New 52’s Demon Knights was critically maligned but I dug it a lot), and this was just not good at all. I was ready to like this.

    Good round-up guys! Marvel is aiming for a lot of targets right now and hitting some of them solidly.

    • Honestly, I think Star-Lord needs a good origin, due to how weird his history has been. Bendis’ Guardian of the Galaxy 0 did a great job (why couldn’t the rest of his run be at that level) but how he gets to space should also be more properly defined. Because it is the sort of confusion that exists when to you take a forgotten character, massively revamp him, then make him a lead, then make him one of the biggest superheroes in the world in a movie with a very different origin. So let’s sort out his origin here and now, so we aren’t asking what the status of Ship is, or his connection to the Master of the Sun. But sadly, the Star-Lord comics haven’t been particularly strong, so even as it does the important continuity stuff, not surprised it didn’t hook you

      Shame that Black Knight didn’t work. I liked the idea, though didn’t get round to reading it. And was Demon Knights critically maligned? Everything I heard was great. People just didn’t buy it because it was too different to everything else (and people wondered why DC’s line up was so generic. Because no one bought the stuff that wasn’t)

      • “And was Demon Knights critically maligned? Everything I heard was great. ”
        Ok, maybe commercially maligned. At the end it was selling 13k / month, which just won’t satisfy the big two.

        • Yeah, that’s the hard thing. The Big Two try and do these experiments, but they just don’t sell. Then people who didn’t even buy those complain about everything being the same. Things are getting better, and DC and Marvel are both getting interesting things out.

          But it is worth noting the best comic being released by either DC or Marvel, Omega Men, got cancelled and is only being given the chance to go to issue 12 because of fan outcry

  3. Secret Wars Too: The best part of this is the joke that the reason Hickman is leaving Marvel is because Secret Wars was an utter mess. Between that and ‘Hour 3 of a twenty minute presentation’, that is why I was kind of looking forward to seeing Hickman have fun skewering himself, and wish he spent more time skewering his work for being overly elaborate and pretentious (not saying I think this, but it is the perfect self parody of Hickman). The can’t think of an ending thing was too simple, and the rest of the issue was terrible

    Spider-Woman: I have to say, something about this feels off. THe emotional homework is all done really well, and it is brimming with character. But it feels a bit… I kind of want to say expository, but that isn’t entirely true. It felt a bit… distant maybe? I guess it felt like a list of moments of Jessica pregnant, each done really well but with ultimately no underlying structure. A shame, but also something likely fixed as the book moves into more traditional storytelling
    Also, I really wonder what the implications are of the fact that Spiders can know have coffee with Gwen Stacy whenever they like. The idea of Jess and Gwen having a regular coffee date is a good one, but it also feels like something you should really explore with Peter. If we are doing the ‘Peter finally gets his head out of his ass and sorts out his personal life’ i the main comics at the moment, there’s probably a lot you can do with Peter and Gwen

    Ms Marvel: I kind of wish the Avengers stuff was just general superhero stuff, as I would prefer to deemphasize Ms Marvel being an Avenger (and not because Waid’s Avengers is terrible). I’m always afraid it sounds kind of gatekeepy, like I’m saying she does deserve to be an Avenger, but to me, Ms Marvel shouldn’t be part of the Avengers yet. A big part of Ms Marvel has always been ‘I’m a big deal… in Jersey’ and the fact that she is the fangirl who the very fact that she’s a superhero and meets other superheroes is a big deal to her. Her being an Avenger, and therefore a big deal to everyone, loses that great sense of Ms Marvel being a big deal in her community not because she’s a a world famous superhero, but she’s the only one interested in being there. And having her spend every day with Iron Man and go to Jessica Drew maternity leave party makes her too much of an insider, instead of an outsider falling in love with the fact that she’s part of this world. Next year, when, let’s pretend for the sake of the analogy, Old Man Rogers turns up, will it be that big of a deal? It would be last volume, but now that she’s an Avenger, I don’t think it would. She now spends lots of time around every major member of the superhero community. And while that sort of stuff was going to have to leave the book at some point, I wish it didn’t have to disappear so quickly

    But onto the comic itself. I love how simply through the art, you can tell how Zoe has changed. Her clothes, her hairstyle, the fact that it is now dyed and, of course, the fact that she is holding two cups of coffee. All tell part of the story. The best thing is that the core of the character still remains. She will always be the hot, fashionable girl, but now that she has had her existential crisis, she’s doing it in a way that makes her feel comfortable.

    I’ve never liked Bruno, partly because type of unrequited love falls a bit too close to ‘Nice GUys’ to me and partly because I’m just bored of the fact that every time a man and a woman are friends, the man is in unrequited love. It isn’t that hard to have friends who are girls without falling in love! Though of course the biggest problem with Bruno is that he has a problem with the ending of Return of the King.
    And I doubt Mike will fix the issues, as it seems she is playing the role of ‘temporary love interest designed to make Kamala really think’. I am really hoping for some sort of subversion, and Bruno and Mike stay together and Kamala moves on and everything. Let her date someone else instead, even if that means she is dating Nova in an atrociously written Mark Waid story.

    Still, the gentrification stuff is pure Ms Marvel, real issues infused with trademark weirdness, and while it is the topic that could go wrong, Ms Marvel managed to ace an even harder topic with the Inventor story. And things like the recurring menace of the ten foot giant frog and Mike taking Urban Fantasy Self-Defense Class is amazing.

    Bruno issues aside, it is great to have more Ms Marvel. Always fantastic

    • I understand how you feel that Spider-Woman (the comic) feels off. To me, it’s because even though it’s her name on the cover and it’s a story about exploring pregnancy/work/real stuff, the comic didn’t get interesting or have true movement until the last three pages. it *was* off. It was cute and did a nice job for those of us new to Spider-Woman-Verse, but from start to finish was a “you’re pregnant, deal with it” montage. (and now rereading your comment, that’s kind of what you said)

      • Yeah, I guess that is the thing. One big montage. An issue like this needs an atypical structure, and while Hopeless manages to do the characters and stuff well, he isn’t up to the structural challenge. Next month, we have Skrulls shooting people, which should hopefully contain the strengths of this issue with a more traditional structure (and therefore a type of structure Hopeless is more comfortable with)

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