Marvel Round-Up: Comics Released 7/27/16

marvel roundup41

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 Howard the Duck 9, Mockingbird 5, Ms. Marvel 9, Steve Rogers Captain America 3, and The Unbeatable Squirrel Girl 10.

slim-banner4 Howard the Duck 9

Howard the Duck 9Taylor: Everything nowadays is meta to some extent; it is no longer solely the stomping grounds for artists and academics. There is always a story beyond the story itself and that mantra is perhaps nowhere near as true as it is in the world of comics. Those who read Howard the Duck likely know some of it’s meta-story, such as the 1986 movie starring Lea Thompson, or the names of the series’ creator and authors. All of this metadata for Howard the Duck collides in issue 9 of the series and the result is a hilarious, perplexing, and utterly entertaining read.

Things get kicked off in the issue when Lea Thompson, the actress, appears in Howard’s office. Those familiar with the the history of Howard the Duck no doubt immediately recognized her as Howard’s girl friend in his movie. Here, she hasn’t starred in that movie but she does have fleeting memories of having once been on set with a talking Duck. This leads to the discovery that Howard’s life is actually being filmed by aliens as a form or reality TV. To make up for the boring parts they’ve filled in spots of Howard’s life, including his relationship with Lea, with scripted scenes.

Things get noticeably weird here as Howard learns he is the star in a show. That this show stars an actress from his live-action movie in our own, real world adds to the nutty delight of this revelation. Meta-Duck

That the aliens are doing this because the market is saturated with superhero films is a clear cut reference to our own world. In other words, it’s a meta-statement on the world in which this comic is being made. Howard also meets the shape-shifting actor portraying him on set and he looks exactly like the horrifying puppet that played Howard in the 1986 movie. This is an acknowledgment of the story of the franchise Howard the Duck, and to some of the weird places it has gone in it’s existence. As if that’s not all delightfully zany, to top it all off creators Chip Zdarsky and Joe Quinones make cameos at the end of the issue in a twist where they as storytellers exist within their own creation.

This entire issue is so weird and self-referential and that is its enduring charm. It is at once sincere to the characters within the comic but also dismissive of their existence outside of the narrative. This means that the issue is a little confusing but ultimately great fun.


Mockingbird 5

Mockingbird 5Spencer: Mockingbird writer Chelsea Cain isn’t afraid to take risks. Opening her new ongoing with a somewhat-mystifying “puzzle box” was probably the second-ballsiest move anybody’s made in comics all year (one guess what the ballsiest move was), and Cain hasn’t “played it safe” for a moment since. Its safe to say that risk, experimentation, and progress is built into Mockingbird‘s DNA — thanks to Mockingbird 5, this may now literally be true of Bobbi Morse as well.

This issue brings the puzzle box full circle, revealing that Bobbi’s been infected by a superpowered virus, and that S.H.I.E.L.D.’s attempts to destroy the virus have, unsurprisingly, caused more harm than good. Bobbi (along with absolutely delightful guest stars Howard the Duck and Miles Morales) fights across the S.H.I.E.L.D compound to obtain the anti-virus, but once she does, Bobbi makes a rather surprising move.


Except, in retrospect, it’s not all that surprising at all. Throughout the entire issue Bobbi talks about how viruses have a bad reputation, how most viruses facilitate change, growth, and evolution, and about how her superpowered virus could very easily be an evolutionary breakthrough. Of course she’d protect it, even if it means turning herself into a petri dish in the process. I can’t help but to see Cain and her collaborators (which, this month, includes Ibrahim Moustafa on art) doing the same with Mockingbird; this entire title has been one big experiment, a gambit with great risk, yet even greater reward.

So far those risks have absolutely paid off, and Bobbi’s embracing her virus seems like a sure sign that, wherever Cain takes Mockingbird next, she’ll continue to experiment, take risks, and create a title that could very easily be the “next evolutionary leap” in comics.


Ms. Marvel 9

Ms. Marvel 9Patrick: While the main Civil War II series has focused in on the political problems presented by Ulysses’ future-crime-sensing abilities, Ms. Marvel 9 is content to focus on the personal ramifications of bustin’ bad guys before they ever do anything wrong. Writer G. Willow Wilson presents the reader with a small army of personal perspectives, allowing us to really get a sense of the human cost involved here. It’s not enough to just know that Kamala is friends with someone accused of a future-crime, but it’s also not enough to know what motivates him. We get that information, of course: Joshua was toying with the idea of causing a power surge at his school because he felt small and insignificant in the wake of Zoe dumping him. That’s a very teenage reason to do something dumb, but in Josh’s defense, he never actually did it.

The web of revealed-motivation goes so much further though. Becky, one of Kamala’s cronies, breaks down her rationale with upsetting efficiency by saying “Middle-class teenage white male, publicly expresses anger over rejection by a former girlfriend… he fits the profile for this kind of attack.” That’s cold as hell — and explicitly uses the word “profile,” which sets Ms. Marvel off as well — but it’s also hard to argue with. At the very least, Becky’s view is understandable. It’s also fucking awesome to see the word “profile” twisted back around on middle-class white-males, who are so frequently using that technique to suppress anyone even remotely different from them.

But my favorite scene in the whole issue actually digs in to Zoe’s motivation for dumping Josh in the first place. She’s gay, it turns out, but she wasn’t able to express that to her teenage boyfriend at the time. Naturally a little curious, Josh asks a follow-up question.

who do you like

Wilson moves over to let artists Takeshi Miyazawa and Adrian Alphona tell this beat of the story all on their own. The results are achingly open and honest. That camera, which for the last page or so had been sticking close to Josh and Zoe, swings out wide in the second panel, reminding us that there’s a world outside of the relationship between these two people. We see the object of Zoe’s affections, but we also get the pointless detail of the box of “Snappy the Alligator” toys in the corner. It’s a reminder how much our limited perspectives blind us to the greater picture. It’s only by learning from others that we’re able to get the whole story.


Steve Rogers: Captain America 3

Steve Rogers Captain America 3Michael: One of the number one things that I like about Nick Spencer is that he’s not afraid to voice his political opinion. Spencer recognizes that Captain America is a character whose world will always be entrenched in political themes – overt or otherwise. Now that Steve Rogers has been revealed to be an agent of HYDRA and we’ve discovered how that happened, we can finally move forward in the story. Does being the Red Skull’s lackey change the inherent nature of Steve Rogers? Not really; but that’s a good thing.

Steve paints the HYRDA symbol on his chest to have a Vader/Emperor hologram conversation with the Red Skull. Steve tells Skull what happened in the aftermath of Steve Rogers: Captain America 1, with the apparent deaths of Jack Flag, Selvig and Zemo. After the conversation ends its clear that there are some things that Steve has kept from the Red Skull or intends to do differently. We see that Steve has kept Selvig alive and I bet he’ll try to keep Jack Flag alive too.


Steve Rogers: Captain America 3 makes it clear to us that Steve is a loyal follower of HYDRA. No matter who he is fighting for however, he will always follow his moral compass above all else. In the divisive political atmosphere that we live in I think that it’s important to note that a person is more than just the ideals they follow. Steve Rogers believes in maintaining the future of HYDRA but he wants to save as many people as he can along the way. Just because the man is fighting for the wrong team doesn’t mean he doesn’t have his conscience.


The Unbeatable Squirrel Girl 10

unbeatable squirrel girl 10Spencer: The last few issues of The Unbeatable Squirrel Girl should be required reading in every middle school. And high school. Okay, really, every person on Earth should be required to read this arc. It really is a crash course on how to date without being a horrible person. On the surface, most of the morals here apply to men, with Ryan North and Erica Henderson even crafting a spectacular rant about “nice guys” that, again, should be hanging on the wall of every classroom in America:

Squirrel Screed

It’s not just the fantastic message, but how absolutely, uncharacteristically livid Doreen is here that I adore about this page.

Yet, there’s also messages here that apply to everyone, and North and Henderson even poke at their own book and their own hero a bit. Doreen is quite literally the best, but she has to have flaws; if she didn’t, she’d be a boring character. But all Mole Man sees is her kindness and uber-competence — the very things that make her the Unbeatable Squirrel Girl — and thus he puts her on a pedestal, idolizes her, and blinds himself to the reality of Doreen’s wants and needs or who she even is as a person. It’s an all too common mistake that people of all genders make, and it only leads to heartbreak.

Perhaps most realistically, several conflicts here are caused simply because characters are too afraid to admit their true feelings to those around them. While Tricephalous’ eventual confession to Mole Man is a “happy ending” of sorts, Doreen doesn’t get that with Tomas — she learns too late that, if she was really interested in dating Tomas, she should have said something too him long ago.

There’s a ton of lessons to be found in The Unbeatable Squirrel Girl 10 (yet, thanks to North and Henderson’s skill, it’s never preachy), but what they all boil down to is this: if you’re entering a relationship, or are even just considering it, you need to be mature, capable of open and honest communication, brave, and absolutely sure that everybody involved is interested. Consent is vital, kiddos: Squirrel Girl says!


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

5 comments on “Marvel Round-Up: Comics Released 7/27/16

  1. Captain America: The question of inherent nature is an interesting one here, because there are many aspects to it, including the nature of Red Skull’s HYDRA v Kobik’s idealized view of HYDRA. In all honesty, I don’t think it is a question of inherent nature (there is no inherent nature when reality manipulation is occurring) but the fact that as much as Kobik has changed things, she didn’t change everything. Just ht eparts that needed to be changed to make Steve HYDRA. It is less a question of inherent nature and more a question of the fact that even a villain has dimensions. Just because Steve ROgers is evil does not mean he does not treat his enemies with respect, nor does he mindlessly obey when he feels there is a better path.

    Though to me, the real thing to focus on here is everyone else. This issue, like issue 2, is all fallout and the story won’t really begin until next issue (which will be very interesting, as evil Steve Rogers in Civil War is such a great idea). So as we are still waiting for the Steve ROgers story to start, we instead get a great look at the supporting cast.

    The scene of them trying to rescue Jack Flagg shows a heroism inspired by what Captain AMerica used to stand for, but has grown beyond him, self sufficient. They provide the perfect counterpoint to Steve Rogers, representing the best of heroism (I think it is important than Sharon explicitly kills the op so that a Search and Rescue op can be done instead). It is a lovely, simple expression of heroism whose only incongruity is Steve Rogers surprising violence and brutality, and Saiz’s highly expressive faces make clear that Sharon does not approve.

    Red Skull may have ‘killed’ Captain America, but his spirit lives on. A basic goodness of Captain America still exists, the only difference is that it isn’t Steve Rogers holding it. It is everyone else (anyone reminded of our discussion here about having a team of Captain Americas?)

    Still, really looking forward to moving past the fallout of the first issue, and into the actual story.


    Civil War: Damn, I could write an entire essay about this. So, so much I could say.

    Ulysses is a living Analytics Machine. Analytics is a very powerful tool. With enough data, you can make very strong predictions. However, the predictions are never perfect. In even the strongest models, they will be slightly off. And that requires a very strong model, which is hard.

    I mean, let’s look at the US election. Nate Silver and FiveThirtyEight have successfully predicted the last two, I believe, elections. And they are currently modelling the current one. In some ways, what they are predicting is relatively simple. There are only two options; Clinton or Trump. These are the only options that can happen. And they have many, many polls they can use. There are difficulties, including the fact that there is nowhere near enough historical data to be able to strongly compare a poll’s result to previous elections, but here we have a model profiling the future for two options using an army of polls and other fundamentals. Currently, they believe that Clinton has a 61.8% chance of success. Which honestly isn’t a lot of confidence.

    There are ways of measuring the confidence of a model, including something called R-Squared, the percentage of variation explained. The higher the R-Squared, the more accurate your model. When Tony asks about the probability percentages, R-Squared is close enough to use as a comparison. And here’s the thing about R-Squared. You don’t get high R-Squareds in anything involving psychology. The human body is too complex for any of our models to sufficiently explain with a high R-Squared, and 0.26 is an impressive R-Squared.

    Ulysses has a power to acquire data that is unbelievable. But the models he is making are far beyond the complexity of even a psychology study. Which means that his visions will only ever be approximations of reality. Even worse, his powers are so powerful and his mind is so well protected from mental probes that it is likely impossible to even know what is model is and, more importantly, all the statistics that let us measure accuracy are hidden.

    Now, approximations are very powerful. I can do a hell of a lot with a good analytics model approximating reality. Just because I’m not perfectly accurate, doesn’t mean it is useless. Having approximations are highly useful when it comes down to setting strategies. The information they can provide can be used to guide the future. And, most importantly, specific information from the model itself is highly useful. But Ulysses leaves the model secret.

    So, Tony and Carol disagree with how much they can trust their approximations of the future. Civil War is about Security v Freedom, and Carol’s strong feeling of duty to the security of the world makes her feel a true need to take these approximations seriously. That’s why she is putting so much effort into investigating the woman (I really, really wish they explained that after Tony’s speech, she wasn’t taking Ulysses’ visions as gospel, and was going to let the woman, but only after she had investigated every possibility on the woman’s possible HYDRA ties). Meanwhile, Tony sees this as encroaching on liberty. Even if Carol made explicit that she was going to let the woman go, to arrest and imprison someone without sufficient proof is wrong. The big difference between the two positions is whether they believe Ulysses’ approximations are sufficient. Which is the perfect philosophical backbone for a Civil War. How much do you trust the mystery box’s approximations? Combine that with the emotional aspects of both Tony and Carol trying to deal with the death of someone they love, and this is the set up that the original Civil War ought to have had.

    There are only two issues. The first one I kind of brought up before, but want to emphasise. Civil War II is Tony’s story at the moment, and we need more Carol. The fact that we aren’t being given enough focus on Carol’s side in unintentionally making her side seem like the ‘bad guys’, when it should be more ambiguous. We need a good scene of her stating her case from her perspective (unlike this issue, that is from Tony’s). And we need Carol to be explicit about the nuances of her position. Tony has got the chance to explain his nuances (he accepts how Ulysses works, and disagrees that it is enough evidence), but how does Carol deal with the nuances involved with the truth of Ulysses’ power?

    And the second one was the conclusion. The actual war starts perfectly. Tony has made his case, and seeing that he has been ignored, escalates. Gathers an army, and tries to decisively end it. Carol predicts this, and has a counter point… the Guardians of the Galaxy. It could have been so simple. The basic idea is sound, Carol predicts Tony’s response, and gathers the heroes on her own side. But the Guardians of the Galaxy haven’t are, from my understanding, completely uninformed. I know that in tie ins, the Guardians are going to split in half and fight. So why introduce uninformed heroes now, instead of finalising the battle-lines (or at least, the first iteration of the battle-lines). The Guardians should already have chosen their sides. Still, I am really enjoying Civil War.

    Also, I would write the best Civil War tie in. Imagine the doubt caused by a prediction that guesses the crime, but not the method.


    Civil War: Changing Sides: I have to say, the great thing about the Civil War is that there is such a long build up to the actual fighting. Where the original Civil War was full of busting down doors because of registration, I love how having things like debates and court cases gives such variety of stories. A Civil War tie in can be anything, from mourning a friend in a coma to a court case to a funeral etc.

    And Changing Sides really seems to be working with this. The Kate Bishop story is the centrepiece of this story, a story about Kate Bishop reconciling who she is. It is honestly quite clever, taking into account the fact that Kate Bishop is many things (Socialite, advocate, fashion addict, role model) and then asking what happens when one of those things (Hawkeye) gets a massive shock.

    Bryne’s art has some lovely touches to show this complexity, whether from the care and attention to Kate’s handbag from the opening two panels that place Kate’s entire life on her beside table, with bow and arrow hidden in the background. She’s Hawkeye, but not only Hawkeye.

    The ending is quite simple – the comic isn’t about really about solutions. Instead, the Young Avengers come to help. Because in the end, Kate needs support and while she deals with that crisis, her friends are there to help. Because at least now she isn’t dealing with it alone (also, I thought Kate Bishop’s identity was secret, or at least semi-secret. Didn’t expect it to be something you’d see on the news).

    Meanwhile, there is also a J Jonah Jameson story that wonderfully gives texture to to superhero hater we love to hate. It wisely uses Cindy/Silk only at the end, with the first half being J Jonah Jameson yelling at everyone else, before Cindy has a heart to heart built on the idea of both stripping J Jonah Jameson down and using Cindy’s secret identity to provide real meaning.

    Ultimately, Jameson dirty secret is that he knows superheroes are good people. But he hates them because of their position in society. Because of celebrity culture, and how we treat people like that. Because we live in a world that is quick to attack without considering implications, is it a surprise when our superheroes do the same (there is an interesting point about how Civil Wars have happened during today’s hyperpartisan political climate). Jameson fears heroes because they are walking gods defined by both our best and worst impulses. Because the same people that can band together and fight Galactus are the same people who won’t properly discuss Ulysses because they are trapped in a world whose media expects an instant answer to complex problems even as they are in mourning.

    This is the joy of an event that offers such a vibrant array of events. This is why Civil War II and Secret Wars are so much better than, say, Axis, or Original Sin, or the original Civil War. Instead of being limiting, they have created a vibrant canvas across the Marvel Universe that creates multiple different stories, instead of the same one 16 times. Changing Sides is full of really good stuff

    Except the Nick Fury story. That’s boring


    International Iron Man: This is it. Tony Stark’s biological parents. Drum Roll please. Tony’s real parents are…

    Well, to quote Korath the Pursuer, ‘Who?’

    Tony’s parents are completely unknown. In fact, they don’t even have anything to do with Cassandra. Bumping into Cassandra was a complete coincidence. It is actually very clever, structurally. Bendis plays into people’s expectations, where people expect Tony’s real parentage to be a game changing thing. And so Bendis creates a big web of corporate espionage as the big hidden story, which serves to reveal one thing. Tony’s real parents are Howard and Maria Stark. That despite his issues with his father, Howard Stark was always there, going above and beyond, because he loved Tony. And that at the end of the day, the actual name of Tony’s biological parents isn’t a big deal, because Howard was the one who loved him as a son. As any story about adoption should end, Tony is, for better or for worse, the son of Howard and Maria Stark, even if he is adopted.

    And I love the touch that if Tony was never adopted, he would get a real, Marvel style alliterative name. Anthony Armstrong.


    Mockingbird: I really should try rereading these comics as a coplete puzzle box. Maybe even try rereading them in a random order. See what the complete picture looks like. Still, here we are. The final part of the puzzle box.

    When it comes to puzzle boxes, one of the masterpieces must certainly be the Doctor Who episode, Blink. A big part of Blink’s success (though there are so many parts) is the sheer genius of the solution. And unfortunately, I don’t think there is enough to Mockingbird’s puzzle box solution. It works, but it feels like the most simple answer. I feel that thematically, it will work wonders. I’m interested in Bobbi naming her virus’ powers as ‘Girl Power’, which fits really interestingly with the book’s strong emphasis on womanhood. Ultimately, the story is about complexity.

    Viruses aren’t alive. And yet, thanks to evolution, a leap is being made. From something simple to something complex. Something alive. Bobbi’sfinal choice is to give to the virus what this book gave Bobbi. Each issue of Mockingbird revealed another aspect of Bobbi’s existence, and in the end, Bobbi gives the virus that same gift. Really interested to reread this whole arc. And future arcs to come. Cain has secretly written one of Marvel’s best comics, and I can’t wait to see what happens next. THis is consistently fun, intelligent and interesting.

    Not a fan of the change in artist, though. The art of Mockingbird has been so distinct, and Moustafa couldn’t replicate it. Not an indictment of his work, just an unfortunate reality


    Ms. Marvel: This book doesn’t seem to be handling the Civil War stuff well, which surprises me. THe image of Ms Marvel ripping Captain Marvel’s image was so powerful and evocative that I thought that the Civil War stuff would be so strong. And yet while the stuff with Becky etc is adequate (love the Nazi uniforms, and the cheeky ‘Middle-class teenage white male’ joke), the real success is just to do with Zoe. When Ms Marvel was relaunched, I really praised how the new Zoe was, and I was disappointed that Zoe was never given much chance to do anything afterwards. And I love that now we get more Zoe. Her coming out was powerful, emotional but also adorable, and a highlight. Especially in an issue where Kamala is kind of flaying around, doing nothing (I really feel that Kamala should have turned against Captain Marvel by now, considering everything in 8. Instead, it felt like stalling because they wanted to wait for this cliffhanger to change everything instead of the last cliffhanger)


    New Avengers: New Avengers has its groove now, and it is what it is. High paced spy reversals keep the story going at a breakneck speed, but has the consequence of leaving Sunspot as the only real character (which is, to be fair, one more character than Ultimates has).

    But while the speed has managed New Avengers a very fun ride, it does cause a lot of problems. Like how Songbird’s triple agent stuff means absolutely nothing

    Though the real tragedy is that Ewing put so much effort into his New Revengers team, only to waste them because of this. I mean, Angar the Screamer v Songbird is the perfect sort encounter. Songbird face to face with her love from a different life. And yet, both are instead ciphers doing things in completely different parts of the world. Meanwhile, the White Tiger stuff, that Ewing actually does put effort into, barely has a single spark of life

    This book is so hard to talk about, because ultimately any attempt at analysis causes it to crumble to dust. This book works as a roller-coaster. The moment you stop and think instead of rush to the next point is the moment it collapses. It works only if you are lost in the moment. I really wish there was a better Avenger book than this on sale at the moment

    • I only read Captain America, Ms. Marvel, and Mockingbird of the titles you wrote about. I can’t disagree with you on Captain America or Ms. Marvel.

      In Ms. Marvel, I’m not reading the rest of Civil War yet, so I don’t know if that’s how the rest of pre-arresting is going, but so much of this feels like it’s done in all caps. There’s not much subtlety in the story-telling. It’s a good story that I’m enjoying and I think I agree that it’s good that Zoe is getting some screen time because she’s a character that needs it, but it feels a bit too much As the World Turns for me right now. I’ll keep reading but I think it’s got two teaspoons too much schlock right now.

      Captain America is interesting and I think you hit the nail on the head when you say, “… Captain America still exists, the only difference is that it isn’t Steve Rogers holding it. It is everyone else.”

      Mockingbird is begging a reread from me. I think the puzzlebox of the story left me facing the wrong way in at least 3 of the last 4 issues and I’m not sure I liked the execution of the stories as much as I liked the concept of the stories. I want to reread them (and I may reread them in a different order), but I don’t think I found 2-5 to be nearly as engaging or clever as #1.

      • Ms Marvel has never been a subtle book. It is doing Civil War with all the subtlety it is famous for, which is not much. The real issue is that the Zoe stuff is just so much mroe interesting than the Civil War stuff.

        Which is a shame, as the new Civil War is actually really good

  2. Squirrel Girl remains adorable.

    Amazing Spider-Man 1.1 – 1.6 “Amazing Grace” finally ended. Thank god. There was very little redeemable about that mini-series and if you want to read it, you’ll find plenty of every issue in dollar bins (or lower) by next week.

    Thor: Did you talk about Thor? This was my favorite Jane-Thor comic so far. I liked all of it.

    Carnage and Venom: I still think THIS is what Spidey was talking about when he said, “Watch out for the black suit era,” in the last Daredevil instead of talking about deals with the Devil to erase history. Because these are both quality comics dealing with Space Knights and Cthulu rituals… all from Spidey’s black suit, and currently nothing to do with Peter Parker. These are good comics. I’m really enjoying both series immensely and I’m 100% NOT a symbiote guy. I like seeing Gerry Conway, a truly classic Spider-Writer, get to go kind of nuts with a weird and dark symbiote story. He was writing Spider-Man before Venom was a twinkle in Michelinie’s eye.

    • How did I forget about Thor!

      I have to say, I’m disappointed with how the Agger story is going, because Apocalypse plan is the easiest way of doing this sort of story. I would much prefer the reason for THor needing to save Agger was something more connected to the main plot than a ‘if she doesn’t, everyone dies’ thing

      But other than that, there is so much good. Loki talking to Freyja invisible and unnoticed as Odin sits near her, giving her his blood, is amazing. Humanises both of them wonderfully.

      But the real joy is how Aaron has effortlessly shifted from fantasy epic to industrial espionage (Iron Man is namechecked several times, quite rightly as this is an Iron Man style) while keeping the essential Thorness of the story. Seeing how he so effortlessly creates some of the best superhero action in Thor, even as he innovates and mixes concepts together, is just proof of why Aaron deserved the Eisner he just won

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