Marvel Round-Up: Comics Released 2/10/16

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We try to stay up on what’s going on at Marvel, (especially when All of these things are New) 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 All-New Wolverine 5, All-New Hawkeye 4, Deadpool 7, Old Man Logan 2, Silk 4, Spider-Gwen 5, Ultimates 4, and Weirdworld 3.

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All-New Hawkeye 4

All-New Hawkeye 4Spencer: Every time I think I have Ramon Perez’s artistic tricks all figured out, he throws something entirely new and exciting my way. That’s awesomeAll-New Hawkeye 4 finds Perez and writer Jeff Lemire turning their signature flashbacks to the past of our younger Hawkeye, Kate Bishop. This means a return to the dreamy flashback-style Perez and colorist Ian Herring used in the first arc, but with one notable difference: Kate is rendered as much more clear and solid than the rest of the characters.

looming large

While I have a few different ideas about what this could mean, the most feasible is that it represents the distance between Kate and all the figures in her past. This flashback finds Kate feeling isolated from her father, separated from her mother entirely, unable to relate to anybody in New York. She seems to have a pretty good idea of who she is (hence the clarity of her figure), but no idea at all who her now-distant father really is (hence his much more hazy appearance). In the above image in particular I love the size of Kate’s father in the background, especially in that first panel — though he’s legitimately present in this scene, he dominates the space in a way that isn’t realistically rendered. It represents the way Kate’s father looms over her life. He’s a figure she longs to be close to, and thus his shadow hangs over her every move, but he’s too distant for her to ever really reach.

The focus on Kate in the flashbacks makes her absence in the present day all the stranger. Her running off alone to save the Project Communion Kids seems counter to her reunion with Clint in the previous issue — are the two working some sort of scam on S.H.I.E.L.D.? The present day scenes are fun, but somewhat thin; that sort of subterfuge could make it feel a lot more substantial.

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All-New Wolverine 5

All-New Wolverine 5Drew: “Restraint” isn’t the first word that springs to mind when thinking of Wolverine, but it’s certainly something that characterized Logan’s recent turn as schoolmarm. Moreover, it’s been the defining characteristic of Laura’s tenure as Wolverine, as she refuses to kill in spite of all of her instincts and training to the contrary. Indeed, Laura’s restraint has been so central to the first few issues of the series, it feels like a genuine break when she vows vengeance at the end of issue 5. This time, it’s personal, as the saying goes, but writer Tom Taylor earns every bit of those personal stakes, totally justifying Laura’s decision to go on the offensive.

Actually, the turn really comes about halfway through the issue. The first half is all about saving Zelda, with each scene bringing Laura incrementally closer to that goal. That hard-won progress is immediately wiped away, though, when Mooney shows up and kills Zelda, anyway. It’s a turn of events so traumatizing, it plays out over the back half of the issue, forcing us to feel every bit of Laura’s frustration. That structural trick effectively compensates for Zelda’s lack of characterization (she was the…level-headed one?) — we’re invested enough in the mission to keep the stakes high, even if we aren’t particularly invested in Zelda as a character.

Taylor also litters the issue with fun little superhero details — I’m particularly enamored of the angry voicemail Janet leaves for Doctor Strange. Heck, the fact that Doctor Strange has a voicemail is enough to make me smile. The shrinking premise also affords artist David Lopez some fun shrinking effects and deep perspective shots, which add a fun dimension to the art.

Zoom Out

Actually, the most effective part of this page might be the slow zoom-out in the first three panels, priming us for the “establishing shot” in the fourth. His use of full bleed in the fourth panel also emphasizes just how big Zelda is relative to our heroes, reinforcing the tininess of Janet and Laura established in those first few panels. That’s just smart storytelling.

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Deadpool 7

Deadpool 7Patrick: Outside of Batman, I can’t think of any comic book character that I’ve seen celebrate more anniversaries, milestones, and specials than Deadpool. Issue 7 celebrates the 25th anniversary of the character, but it remains staunchly — perhaps even stubbornly — focused on the current state of Deadpool. That means that rather than focusing on some classic Deadpool shenanigans, this enormous volume seems primed to introduce new readers to a) The Mercs for Money; b) Shiklah; and c) Deadpool’s role bankrolling the Avengers. Where the main story does stay pretty close to celebrating the platonic idea of Deadpool is in the way it depicts the futility of his insatiable appetite for revenge. There’s literally no pretense for why he decides to flip through his Grudge Book, looking for personal affronts to ameliorate, he just does it in what Foolkiller generously describes as a “manic episode.” Wade’s adventure through the newly re-established Marvel Universe starts out super fun: he’s razzing Iron Fist in front of his kung-fu students, and beating up Hand ninjas. Both of those feel justified and grounded. Even the made-up fuck-session with Shiklah feels appropriate and measured, like we’re exploring dimensions of an eccentric, but ultimately rounded, comic book character. Things take a weird turn when Wade flips to the next entry in his Grudge Book:

Creed was here

Writer Gerry Duggan and artist Scott Koblish are patient enough to let four panels pass where Deadpool does nothing but scrutinize this entry before declaring “They don’t all make sense.” Which is evidently the cue for Deadpool’s revenge rampage to stop making sense too. He socks a guy in the nose for spoiling The Half Blood Prince back in 2005, he berates the corpse of Doc Sampson for not curing him of his psychosis (which even Wade has to admit probably wasn’t the good Doctor’s fault – he never made an appointment). That kicks off some classic downward spiral imagery: Wade DJing at a rave, partying at Mardi Gras, participating in a fight club, and walking the museum-like corridors of his own memory. Of course, this only serves to make him more crazy and more unhappy. In the final pages, Deadpool is eating something right out of a can, with his mask pulled up to his nose and he looks alarmingly like Rorschach eating beans. Manic break, indeed.

And then there’s the requisite bevvy of back-up stories: six, each featuring one of the Mercs (I guess Massacre is just one of them now). This is a petty nit-to-pick, but I wish there was some consensus on the visual identity of these characters – some artists put them all in red Deadpool costumes, some let them dress in their own threads, but I’m left wondering what happened to the multicolored costumes from issue 4. I’ve already written too much, but I liked a bunch of these — particularly Sting Ray, Massacre and Solo’s stories — so let’s talk about them in the comments!

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Old Man Logan 2

Old Man Logan 2Drew: The centerpiece of this issue is the battle between Old Man Logan and Amadeus Cho’s Totally Awesome Hulk, but the real interest of the issue rests in the margins. That’s not to say Andrea Sorrentino doesn’t bring the appropriate amount of care to a knock-down drag-out between two of Marvel’s heaviest-hitters — indeed, he manages both wide-screen epicness and up-close bone-crunching — it’s just that the premise feels a bit prescribed. We know what a fight between Hulk and Wolverine would look like, and we know that Logan isn’t actually going to kill Cho, so no degree of awesomeness could really shake our sense of inevitability.

To his credit, writer Jeff Lemire seems well aware of this, injecting tons of specificity into that fight, but more importantly, filling the rest of the issue with much more unexpected details. The opening vignette on the monstrosity of the Hulk Gang is rich in those details, but my favorite scene has to be Logan breaking into Clint Barton’s apartment.

Hawkguy?

Archery targets and a dog’s outline are fun panel borders (Sorrentino pulls something similar with cows in the opening scene), but what really gets me are Lucky’s thought bubbles. It’s an approach lifted directly from Matt Fraction and David Aja’s Hawkeye run, suggesting that the subjectivity of that series (perhaps of Lucky himself) can creep into the subjectivity of this one. That’s a fun idea as this series continues to carom across the Marvel universe, colliding with any number of other, equally stylized series. Who knows? Maybe Old Man Logan will be teaming up with Squirrel Girl soon, giving Lemire an opportunity to write actual jokes in the actual margins.

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Silk 4

Silk 4Taylor: All superheroes have their motivations for doing what they do, it’s just part of what makes up the superhero mythology. Few, if any, superheroes fight crime just because. Part of the reason for this is that it’s good storytelling, but another part is that it makes our heroes vulnerable and human. For Cindy, motivation takes the form of finding her long lost parents and thereby finding a home for her and her brother. However, the Goblin King, her latest nemesis, not only threatens the vision with his previous taking of her brother but also with a counter proposal of his own.

Cindy is currently in trouble after being betrayed by Shrike, who tossed our hero in the Goblin King’s underground lair. She battles some Goblin thugs and even discovers a little bit about where her mother and father might be. But before she gets far, Cindy is captured by the Goblin king, who offers her a place in his underground city. Cindy, is reluctant to join his ranks, even if he makes a good argument for why she should.

A new home.

What the Goblin King offers Cindy is a home, much in the same way he’s taken at-risk youth and given them a place to belong. His reasoning is that his underground lair is better than anything Cindy or these parentless youth might otherwise get. Cindy of course isn’t falling for it and things get even more hairy for her from there. It’s interesting to note that writer Robbie Thompson is trying to give Silk a foil that appeals to wants and dreams. All good superhero stories have such an antagonist. In this case though, it all just rings a bit hollow. Perhaps the Goblin King’s pitch just simply isn’t convincing or perhaps Cindy’s need to belong just isn’t played up enough. In either case, I found the premise of this issue interesting but the execution just a little bit lacking. This is similar to the build-up in the previous issue about Cindy’s anger issues which also failed to live up to expectations. Is this the new norm for Silk or will it rediscover the heart it so expertly pulsed with months ago?

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Spider-Gwen 5

Spider-Gwen 5Spencer: It wasn’t until my second reading that I realized that, outside of one flashback panel, Gwen Stacy doesn’t appear at all in Spider-Gwen 5. In many ways, though, this issue is still very much about Gwen, as almost all the conversations between her various opponents and supporters revolve around Spider-Woman. In fact, removing Gwen from the equation allows these characters to give us a far more candid look into their feelings and plans for Gwen than they ever would in her presence. There’s a lot of interesting debates going on here, but most significant is the one between Captain Stacy and Matt Murdock, where Murdock’s devious plans for Gwen come to the forefront, and Stacy proves his trust for and respect in his daughter once and for all. It’s smart writing from Jason Latour; not only does a Gwen-less issue make her relationships with the rest of the cast all the clearer, but it better defines these supporting characters in the process.

Bringing in a fill-in artist on such an offbeat issue is an inspired touch as well. Chris Visions has a fun take on this world, mixing stylish layouts and a sense of barely-contained chaos to create some truly dynamic scenes. Meanwhile, colorist Rico Renzi and letterer Clayton Cowles pitch in to keep these new visuals within Spider-Gwen‘s normal, recognizable aesthetic.

murdock

There’s a lot of reasons Spider-Gwen 5 could have failed, yet the creative team takes those reasons — be they the absence of its title character, or of its regular artist — and turns them all to their advantage. I’d call that a win.

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Ultimates 4

Ultimates 4Drew: How do you represent remembering? In LOST, memories came rushing back with a “whoosh” sound effect. In Swann’s Way, memories “rose up like the scenery of a theater.” In Watchmen, Dr. Manhattan experiences all time simultaneously, skipping almost dispassionately between moments in his life. In The Ultimates 4, writer Al Ewing employs almost all of these techniques, offering a remarkably thorough portrait of the Blue Marvel’s history with the Anti-Man. The skeleton is roughly chronological, but Ewing freely skips back and forth without warning, weaving a fascinatingly subjective version of that history through the eyes of Adam Brashear. Indeed, while the sudden skips can be disorienting, they’re emotionally continuous, allowing us to understand exactly how Adam feels about each of these memories in hindsight.

Conn's Way

Or is it the way Anti-Man was experiencing time all along? For his part, artist Kenneth Rocafort keeps the times as distinct as possible, with costuming and set designs, but it’s hard to know whose subjectivity we’re in. Is this jump to 1962 a flash-forward Conner experienced in the moment of that scene in 1961, or is it a connection Adam made in hindsight? There are clues suggesting both, effectively tying their subjective experiences together, condensing a decades-spanning friendship into one compelling issue.

It’s no coincidence, then, that the issue ends with Eternity intervening to stop the Ultimates. He may have explicit stakes in their mission, but as far as I’m concerned, he’s just heartbroken by the inescapable nature of Conner and Adam’s relationship.

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Weirdworld 3

Weirdworld 3Patrick: Denial is a powerful thing. It sorta has to be — living in the 21st century means employing an alarming amount of denial about the nature of personal responsibility with regard to where our resources come from and the tolls our appetites have on our environment. There’s basically no such thing as an environmentally responsible diet, for example. Or, for another example, your cell phone and computer and whatever other screens you own (I have a total of five on my desk as I type this), are the result of unscrupulous labor practices. But, like, what’s a body to do with that information? If you’re like the protagonists of Weirdworld (and I suspect that you are), you keep your head down and focus on your own goals. Becca is told explicitly by the Grand Mechanic that her goals spell necessary doom for all of Weirdworld, but Becca remains steadfast in her desire to get home. It’s hard to argue with her: “I just want to go home” is an ambition so universal, it’s baked right into Campbell’s Hero’s Journey. It almost feels like it’s her right to go home, even though that right is challenged by the most rational mind in the universe – Eta, Weirdworld’s very own Watcher. Becca’s defense against this criticism is horribly inarticulate, she shouts “leave me alone!” and keeps insisting that her ignorance of Weirdworld’s plight absolves her of any responsibility toward it.

It’s some weighty headspace to be in, and writer Sam Humphries doesn’t let any of the characters off the hook, even tossing in a story about Ogeode’s people slaughtering Goleta’s ancestors. Everything about our heroes’ actions stinks of isolationism – to hell with the tragedy of an entire people, they have their own goals. Mike del Mundo, who’s always game for pushing weird shit, sells some spectacularly bonkers imagery, making the issue’s philosophical pill go down easier. It’s basically cover-to-cover Del Mundo masterpieces, but I think my favorite has to be Becca and Goleta’s dance off, which is the ultimate in them saying “fuck it: I don’t care about anything else.”

Becca and Goleta dance

Of course it ends in an explosion.

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

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17 comments on “Marvel Round-Up: Comics Released 2/10/16

  1. Deadpool Back-Ups

    Terror – Armed and Dangerous. While I dig Tyler Crook’s horror-y art-style (it looks like Francavilla meets Hack), Cullen Bunn’s material doesn’t tell a compelling horror story. He’s got all the elements of horror – dismemberment, devils, etc. – but it’s just not scary.

    Sting Ray – Beneath the Surface. For such a chatty issue, I loved how active the relationship between Mr. and Mrs. Sting Ray is. Just the fact that he’s calling to check in as he pivots in the middle of his work day. Tim Seeley can write some compelling mundanity, and that trend continues here. It’s also neat how much this ties into the future of this series (and possibly even the future of the Avengers). I dunno – I got hyped about Sting Ray reporting to Cap, so I guess it worked on me.

    Slapstick – Slapstick Meets the Forgotten. How many comic book ideas can you from into a 10-page story? Bens Acker and Blacker put that question to the text here with a story about a woman who is forgotten whenever someone looks away. Ultimately, this might be more of a Taskmaster story than a Slapstick story, but I appreciate that this team can feature Slapstick without pointing out that he doesn’t have genitals.

    Massacre – El Diablo Empujo. Guys, I still barely read Spanish, so I had a lot of the same issues with this one as I did with issue 3.1. I love that, where Massacre is concerned, editorial has decided not to translate to English. It adds a level of authenticity to the character that I really enjoy, even if it means I have to do a little extra work to understand what’s happening. Writer and artist Mike Hawthorne has a little fun at my Ugly American expense, giving us a pair of hard-partying tourists that don’t even try to speak Spanish – and when they do try, it comes out a shitty French.

    Foolkiller – Foolkiller Goes Back to School. A story told 90% in flashback about a superhero going to school. It’s like an anti-hook. But Deadpool and the Mercs seem enthralled by the story, which is weird because they would have been witness to it happening in the first place. That joke is kind of funny, but I don’t know if it’s work 8 pages of boring storytelling.

    Solo – Solo’s Solo Mission. Hey! Look at this! Duggan offers an explanation of how the whole Mercs for Money thing came to be. With the help of superstar artist Phil Noto (who doesn’t get much to do in this issue), Duggan reveals that this started as Solo taking advantage of Deadpool, and not with Deadpool taking advantage of some D-list heroes. That makes me like both Deadpool and the concept more. Between this and the Sting Ray story, I’m excited about both the past and the future of this series. Not bad, guys, not bad.

    • I stopped reading this after the Terror story because I really didn’t like it and wasn’t excited about spending quality time with the rest of the Mercs. Fortunately, I went back because two of the stories were pretty good on their own (Stingray and Solo) and both furthered the Deadpool story.

      The others were frustrating to various degrees, by being boring (Terror), pointless (Foolkiller), or are Slapstick, which I don’t know that I’d ever be able to get behind.

      • I also put it down for a day because of the Terror story (sucks that it’s the first one). Hell, I don’t even think I finished it on my initial read.

        I’m also right there with you on Slapstick. I think he’s fine as a member of this team, but his character just doesn’t hold up to any scrutiny. No one should be trying to take advantage of his timelessness or invulnerability because no one should be able to nail him down like that. I do think this story succeeds because it’s more of a Taskmaster story than a Slapstick story, but it may also fail by the same metric. Tasky is being such a creepo stalker – you think he would have observed someone successfully flirting before and picked it up.

        Also, call me selfish, but I would have loved a Mad Cap story.

        Oh and I was a little bit bummed that we had to put the 2099 story on-hold for this. The main story seemed like it was all set-up for Deadpool vs. Sabertooth, which I don’t know anything about. Sounds like something Cullen Bunn would be writing, which might mean I skip it. Outside of Deadpool’s Secret Secret Wars, I don’t like his take on the character.

        • “you think he would have observed someone successfully flirting before and picked it up.”

          My current vote for comment of the year.

  2. Old Man Logan #2: As someone who never intentionally read a lot of Wolverine, but was hellbent on giving new characters and creators a chance, I’m slightly mortified with myself that I’ve dropped All New Wolverine but am completely digging Old Man Logan. I’m appreciating this creative duo much more now than on Green Arrow (which I didn’t care for), and I’m appreciating this story even though it’s a bit of a goofy one that seems to have stolen a lot from various Philip Dick or Terminator stories. Lemire is slowly starting to succeed in pushing Kate Bishop into my life even though I have no conscious desire to read about that character.

    Have we seen Banner in the ANAD world? I don’t remember where, if we have. I hope Logan finds him so we can find out what’s up? I know from Hulk that things went wrong (as things do) with Banner, but I’m not sure we’ve seen the end result yet.

    —–

    The Ultimates #4: I’m a pretty big fan of this book at this point. I can’t completely explain why I like the art so much, but this is phenomenal. Rocafort is doing insane things here, blurring the lines between reality, fictional science, science fiction, and the impossible with ridiculous ease, completely putting aside any complaints from the corner of the brain that might say, “That’s too far, that’s crazy” by showing how simple and obvious it is all while keeping the edges crumbling showing us how close all this is to collapsing on the heroes.

    The other thing I like is that this books hurtles ahead with reckless abandon. The Galactus problem was solved in a too short two issues and turns right back into a problem two issues later. This series artistically has been compared favorably to Kirby’s hyper imaginative work 40 years ago, and the same could be said for the story in that it’s keeping up a pace that was the norm in the ’70s, making those of us accustomed to modern pacing techniques dizzy with the speed in which problems are encountered and then dispatched (and then reencountered!). This has grown on me quite a bit over four issues and the problems I’ve had with previous issues are slowly being resolved as the story marches on. This will stay on my pull list, even though the frantic pace is hurting a little my understanding of characters.

    • “Totally Awesome Hulk” is currently telling the story of what happened to Banner, and though that hasn’t been resolved, whatever happened to him isn’t good. Implication so far is that he isn’t around, but I guess we’ll see for sure next month.

      (BTW, after two so-so issues, I REALLY dug TAHulk 3)

      And yeah, I loved this issue of Ultimates as well. I like that we get to see Blue Marvel’s — and thus the team’s — viewpoint and mission statement tested. This whole team is about solving problems and being pragmatic and dispassionate, something Marvel can’t do in the face of his most hated enemy (he even leaves details about him out of his beloved transparency reports, showing that his hatred for his guy threatens everything the Ultimates stand for. That Blue Marvel is able to overcome his hatred and stay a scientist above all is the ultimate victory for this team.

      • Wow, this actually sounds interesting. The previous three issues of Ultimates had serious characterization issues, but this sounds great. Part of me wants to read it.

        Yet it also sounds like it is still moving far too fast, and I’m not sure if it is worth trusting the Ultimates to use hcaracterization to fix the failure at properly dramatizing the solving of impossible problems after three issues without characterization.

        I miss liking Avengers comics…

  3. I’m just going to quickly add that Hawkeye continues to impress me and Jeff Lemire is currently working with artists that are translating his words into visual brilliance. What’s impressive to me is the variety of styles that he’s working with.

    Silk is also quite good. It’s tricky having a character be a double or triple agent when they’re unfamiliar to the reader (Silk to me, for example), and Silk not having time to be Cindy Moon is a fine start to this, but after the first arc I hope the team goes back to give me a story that will make me care about the character rather than enjoying the madcap fun.

    Wolverine was dropped because I had too many comics in my hands when I got to Wolverine and I realized I wanted to read everything else more than reading another story about Laura’s clones, which I didn’t care about and didn’t feel that I’d been given any reason to care about them. Spider-Gwen has been dropped and will stay dropped unless Fraction or somebody picks it up in 10 years and reimagines her. I have no excuse for not reading Weird World: I didn’t like the way the Secret Wars Weird World looked and just never picked it up.

  4. You know, I almost forgot this:

    Red Wolf #3. Hard to write about, as the first issue was really boring, but these last two stories are really good. It basically feels like a western except in modern times. Shoot, Red Wolf has already pretty much been deputized.

    It’s not ready to go Sam Wilson and tackle heavier issues as the main character is still dealing with forced time travel before dealing with racial issues, but it could definitely get to that point. I hope this book finds an audience.

      • Honestly, I’d strongly recommend the second issue. If you like that, it’s a good bet you’d like the third issue. It’s almost like the first and second issues are different comics written by different people.

        It’s like a 1960’s B-Western that you’d watch at a midnight showing. Stranger comes into town that’s overrun with bad guys and helps the good sheriff and deputy clean it up. Except that it’s modern times, the gang is drug runners with weird desert mysticism about snakes, and the stranger is a time traveling native american super hero.

        (When I put it like that, how can you NOT read it?)

  5. All-New Hawkeye: Honestly, this comic annoyed me, as I know that it is rewriting Kate’s backstory. Originally, Kate had a great relationship with her mother, and it was this relationship that inspired her early acts of philanthropy that she did before becoming Hawkeye. Kate’s mother flew all around the world, but not because she was in Tuscany. Which is a shame, as I felt that inspiration from her mother played a key part of Kate’s origin. That from her mother’s example, Kate was always a hero, and that the only reason that Kate’s status as a rape survivor has anything to do with her origin is that her skills initially came from training she did as a coping mechanism. Though to be fair, Kate’s origin is something that has mostly been forgotten, especially after Fraction turned Kate’s father into a criminal.

    And that’s the other issue. Kate’s father being a criminal was an actual twist. Kate didn’t know that her father was a bad guy, until she found out about his connections to Madame Masque. I was looking forward to Lemire exploring Kate’s past, but while the story is really good, it is also inconsistent with what came before. The diea that reading the first volume of Young Avengers shouldn’t have been a hard ask, but I can understand that. But messing up points from Fraction’s run?

    Still, after last issue, the storytelling of Hawkeye is now exactly where it should be. Lemire is now writing it really well, despite the continuity inconsistencies. I am now really enjoying it

    All New Wolverine: I have loved this book’s positioning of Laura as Logan moral superior, and that sense of restraint has been key to the book. And of course, this is what had to happen. Something to truly challenge that restraint, to prove that Laura can follow her morals even when it gets tough. Wolverine has never reached the heights of that first issue, nor is it close to the heights of something like Thor, but it continues to be a good example of decent superheroics. It would be lovely if they made Zelda a character, like the other two, so we would care more, but at least we care for Laura’s mission. DOubt this will ever be great again, but it is a great example of decent, meat and potatoes comics

    Weirdworld: This is what I have wanted Weirdworld to be. It becomes much stronger, simply by avoiding trying to be really funny and just taking the world at face value and letting the humour come out of the situation. Goletta explaining her hatred of mages and actually being a serious character throughout the issue works wonders, despite her being the biggest weakness in previous issues. Morgan Le Fay is also fantastic, given a great, human motivation while being distinctly evil

    But the real star is Becca. She is fantastic this issue. Everything you say is true. She felt so distinctly human, in so many ways. Whether it was her responses to everyone, her refusal to accept the importance of her ‘meaningless’ actions despite a Watcher appearing or her decision to go ‘fuck it, I’m going dancing’, she feels like a complete personality living up to the promise of the first two issues. Weirdworld was decent before, but now it is actually, legitimately, good

    • I really liked the Secret Wars Weirdworld too – for my money, Jason Aaron was on-fucking-fire in that event. I forget whether I was able to make this point in an AC or a RU somewhere, but I really liked how much the series became being about fighting for your own specific brand of “weird.” It was also a race to pack the page with weird shit, but that race meant something.

      It’s great to see Humphries imbuing the concept with some fresh thematic material, all somehow making it weirder AND more grounded. Becca is great, but I love all three of these heroes, and the incidental characters and monsters we meet are memorable and meaningful. I mean “I BREATHE FIYAH!” is a stroke of lyrical genius.

      • I love the addition of Weirdworld to the Marvel Universe. Both Aaron and Humphries have done a fantastic job, and I am looking forward to seeing Weirdworld stay as ths wonderful part of the Marvel Universe. It is proving to be both a place of interesting thematic material and ingeniously insane ideas, and what else do you want from superhero comics?

        • Well gosh dangit, now I’ll go try to pick up Weird World.

          Too many positive reviews here to not at least take a look. I’ll see if the Weird World Scret Wars trade is out there or the single issues are on sale. I know some stores have a surplus of Secret Wars tie in stuff that didn’t sell like Marvel hoped.

    • It’s funny that your criticisms are of the Kate part of the story (although this is a Kate story) while it’s the first time that I actually found myself liking Kate as Hawkeye.

      I know I have a bias towards preferring to read about male characters, so when Hawkeye threw two dorks with bows at me (surprise, Greg!), I only wanted to read about the boy Hawkeye, as I identified with him a LOT more. But this is starting to finally make me appreciate the Hawkeye team more, and I do think part of it is the dreamlike art, but also part of it is seeing the unfinished product as a kid is a lot more palatable to her as a brash adult that was taking the place of MY dork with a bow.

      • THe storytelling of the section is really good, and I do believe the fact that you are finally getting a chance to see Kate’s origin is probably helping a lot to making you finally ‘get’ Kate Bishop.

        It is just a shame that it contradicts what Heinberg and Fraction already established

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