Marvel Round-Up: Comics Released 1/11/17


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 All-Star Wolverine 16, Captain America: Steve Rogers 9, IvX 2, Mighty Thor 15, Ms. Marvel 14, Power Man and Iron Fist 12 and Silk 16. Also, we discussed Unbeatable Squirrel Girl 16 on Thursday and Deadpool 24 today, and will be discussing Daredevil 15 on Wednesdayso come back for those! As always, this article contains SPOILERS.


All-New Wolverine 16

all-new-wolverine-16Spencer: Throughout the “Enemy of the State II” storyline Laura has been a victim of her own past; Kimura has returned to turn Laura back into the weapon she perceives her to be, using techniques and devices from Laura’s time as X-23 (such as the trigger scent) to do so, her aunt and cousin are in danger because of it, and Laura’s also been betrayed by her own clone, Bellona, who she tried to help back in this series’ premiere arc. Aside from being a part of Laura’s past, what both these threats have in common is that Laura bears no real fault for them; she can’t be held accountable for Kimura’s creating her, Bellona’s defection/betrayal, or even for her aunt and cousin being beloved family. It seems appropriate, then, that Laura’s salvation comes in the form of Gabby; Gabby, too, is a part of Laura’s past, but one she’s directly responsible for saving, protecting, and nurturing. Even in an issue where Laura is dehumanized as much as possible, her attempts at redemption continue to serve rich dividends.

Nik Virella generally provides strong pencils for the issue, but there seems to be a weird disconnect between her art and Tom Taylor’s script. For example, when Gabby’s in the ship’s infirmary, another patient points out that one of her bones has broken through her skin, yet we can see Gabby rather clearly in that panel, and there’s no bone. Or, when Tyger Tyger’s guards come to evacuate her, Tyger mentions that she has guests and even addresses them at one point, yet Virella oddly keeps the guests off-panel the entire time. In this case, it’s possible that she’s purposely trying to obscure the guests (perhaps it’s Gambit, who shows up in the issue’s cliffhanger), but the execution still makes for a disconcerting read — things would work better if we saw someone shrouded in shadows, or just their feet, or even if they responded to Tyger from off-panel. It feels like she’s talking to thin air or something.

Then there’s the reveal of Tyger’s LMD.


This sequence just doesn’t play. The “real” Tyger is essentially revealing herself in the third panel, meaning the second makes no sense. Where is she standing in that panel? Why is she looking over her shoulder? If she’s looking down over her shoulder at her LMD’s decapitated head, then she either needs to be standing on the opposite side of the hallway (where Laura’s standing), or standing with her back to Laura before turning around to face her in panel 3. Even panel 1 frustrates; while the bare feet and scars means that we’re looking at Laura here, Virella confuses things by swapping directions. Laura is approaching from the left in panel 3, but from the right in panel 1; Tyger approaches from the right throughout the rest of the sequence, and since its whole purpose seems to be introducing the real panel, it means that, on first glance, the first panel comes across as Tyger entering the room instead of Laura approaching her. There’s so much about the storytelling here that’s just not intuitive, which is frustrating when the story itself is so strong.


Captain America: Steve Rogers 9

captain-america-steve-rogers-9Drew: You know, we’ve often referred to this series as Steve Roger’s Superior Spider-Man — that is, a series that gives an iconic hero one hell of a heel turn — but I’m starting to think that Superman: Red Son might be a better point of reference. In that story, like this one, the difference is less about changing the heroic qualities of the character, and more about changing the culture that cultivated those qualities. It emphasizes the role nurture plays by insisting that the nature is otherwise the same. We’ve been able to suspect for a while now that Steve’s ascension to Captain America was part of a Hydra mission, but issue 9 reiterates that he was selected for that mission for the very same reasons we always thought he was selected to be Cap: his bravery and determination.

The flashbacks make this explicit — you could more or less swap the conversation Mr. Whitehall and Dr. Fenhoff have about him with Colonel Philips and Dr. Erskine’s dialogue from Captain America: The First Avenger without really changing anything — but his present day actions remind us how dangerous bravery and determination can be in the wrong hands. You see, Maria Hill’s tribunals is going to come down to a single vote, which Steve sways by having one of the council killed. This seems to assure that Hill will be removed as director of S.H.I.E.L.D. (and maybe jailed?), undermining her plan to rebuff the Chitauri attack we learned Steve is orchestrating back issue 8.

The Shield

Er — maybe that’s his plan? There’s a lot of moving parts, so it could be that the Shield plays into those plans. Or not. Maybe, given his close relationship with Sharon Carter, he sees an opportunity to give her a win, cementing her position as the new director of S.H.I.E.L.D. That is, of course, assuming that the vote really doesn’t go Maria’s way, which I guess it still could? I’m clearly terrible at guessing what Cap’s plan here is, but with the flashback’s assuring us that he has many of the same qualities we’ve always associated with the character, you can bet he’s not going to stop until his goal is reached.


IvX 2

ivx-2Patrick: Forget the politics: that “v” in the middle of this title means violence. (I know “v” stands for “versus,” but I’m being rhetorical here.) All the planning, backstabbing and maneuvering has lead up to this point: the mutant’s attack against New Atillan. The second issue of this series trades in all of that jockying and positioning for the blows to which all of this must come. Even the quieter moments — like the tender exchange between Johnny Storm and Medusa — have a spark of chaotic energy.


That’s should be source of comfort, even strength for the Inhumans. But there’s a violence inherent in their superhuman powers. Fire powers. Super strong hair tendrils. These aren’t tools of peace, they’re tools of war, and that’s exactly what we’re starting to see right now.

And artist Leinil Francis Yu excels at these discrete slices of violence. Just like anyone working on an Inhuman title, an X-Men title, or an IvX title, Yu has an enormous number of characters to render in this issue, sometimes in epic page-swallowing battle stances, sometimes in wide, dynamic action scenes, and occasionally in one-panel cameos. Heroes like Cyclops, Flint, Nur and Ice Man all flicker across the page, casually asserting that we’re not just mashing together faceless armies: these are our heroes.

Or are they? One of the toughest scenes to read in this issue is the confrontation between Armored Medusa and Young Beast. Poor Hank gets wrecked, and he’d be bested were it not for the mutant’s battle strategy of teleporting dangerous Inhumans away to Limbo. Both Magik and Nightcrawler are hard at work pursuing this markedly less violent option, and that makes it easier to defend the morality of the Mutant invasion. But on the flip side, the mutants also have some of the more violent actors in this theatre of war, including two fucking Wolverines and a Sabretooth, all three of whom are menacing as fuck. I really love seeing that tension between the Mutant’s best intentions and their fundamental nature. It’s interesting that it took pivoting to the Inhuman’s perspective to get us there.


Mighty Thor 15

mighty-thor-15Drew: Perspective matters in Mighty Thor. It mattered to some degree in Jason Aaron and Russell Dauterman’s previous Thor, which necessarily kept the identity of its protagonist a secret, but it’s absolutely essential here. In issue 15, each character’s perspective is essential in each scene, from the dramatic irony of Cul not knowing that Jane Foster is Thor, to Heimdall missing Gladiator’s attack because he blinked. Indeed, the conflict of this issue hinges on the limits of its characters’ perspectives — while the Shi’ar understand the target and reason for their attack, we and the Asgardians do not.

Point is: perspective is essential in this issue, which is why Dauterman is so indispensable. He opens the issue adopting Heimdall’s perspective, putting his “blink” in between panels to emphasize just how inconsequential it was. It’s a clever trick, but Dauterman manages some much more intriguing perspective feats later in the issue, as he simulates shallow focus effects.

Big Gay Ice Cream

This issue is full of these effects, always with an out-of-focus object in the foreground, with an in-focus subject in the background. It adds depth to the scene, sure, but it also ties the perspective to a specific location in the scene — we can’t image that we’re far away, looking through some kind of telephoto lens (or just using the magic of comics to see all things in focus); instead, we are acutely aware that “we” (for lack of a better word) are extremely close to the action here, looking at Jane basically just over Cul’s shoulder. When that effect is deployed later, it means we’re up close with the action, even as we have no better perspective on why it’s happening.

That tidbit is saved for the very end of the issue, which sets up some new surprizes (and new perspectives to consider) for the next issue. For now, it’s enough to know that this creative team is so attuned to perspective that our ignorance is very much by design. They know what they’re doing, and I can’t wait to see what they do next.


Ms. Marvel 14

ms-marvel-14Ryan M: When life gets tough, it’s sometimes best to retreat into the places you can depend on for comfort. For me, that means reading romance novels about Navy SEALS and curling up under the afghan my grandmother made me to take to college. As we see in Ms. Marvel 14, Kamala Khan prefers virtual combat with her guild in World of Battlecraft. In the opening pages of the issue, we can see why. The world is fantastical and strange, her team works together with minimal conflict, and she doesn’t have to deal with any of her real life angst. The art is so beautiful in this sequence. Takeshi Miyazawa makes me want to abandon Navy SEALS for an MMORPG.
This image of a straight-forward battle contrasts with the rest of issue quite well. Here, we know who is involved and their allegiances are clear. From the moment, pages later, that one of her guild mates breaks anonymity, Kamala is struggling to find her enemy and figure out why they may be targeting her. In the game, Kamala is a hero with a team to fight alongside. Once her game is over, she returns to a life without her best friend and her mentor.

G. Willow Wilson doesn’t let us forget about Kamala’s recent losses. Instead of relying on Bruno to quickly find the identity of her guild mate, Kamala is up late into the night figuring it out on her own as Captain Marvel looks down at her from a poster on the wall. Even though Bruno is gone, the Circle Q is still the first place Kamala goes when she needs to hide out. Again, her comfort is taken from her when her enemy speaks from every screen. Kamala has lost the people and places that she turned to for support and comfort. It’s an exciting place for Wilson to have taken her because I honestly don’t know what Kamala will do next. It’s like the opposite of a comfort zone.

Power Man and Iron Fist 12

power-man-and-iron-fist-12Spencer: All the worldbuilding David F. Walker and Sanford Greene have been doing over the past few issues pays off in spades in Power Man and Iron Fist 12. All three of Harlem’s competing gangs (plus Luke and Danny) are brought together for a (literally) explosive finale, which works to redefine each faction and their relationships with each other, as well as set up what each group wants to do next; it works just as well as an introduction to the next arc as it does a conclusion to this one.

Perhaps more importantly, it manages to give each group their due time in the spotlight. We see signs that, for all his power, Alex Wilder isn’t nearly as clever as he thinks he is, and nor is Tombstone as washed up as he might first appear. Luke and Danny, meanwhile, not only get to play a major role in the assault, its lead-up and its aftermath, but also get a few opportunities to just bounce off each other and be best buddies again, which there just hasn’t been enough of since the first arc.


Ah, I’ve missed moments like these.

If I have one complaint about this issue, it’s Walker’s handling of Black Cat. Her plan just isn’t smart. I don’t know whether she was actually thinking Raymond could take down Tombstone’s group or if she just liked that he was dumb enough to manipulate, but either way, there was never a chance of her plan succeeding; this isn’t the ruthless, hyper-competent Black Cat I’ve come to know over in the current Spider-Man books. I assume that Felicia is meant to assume the role of the outsider who just doesn’t understand Harlem enough to make it there, but I just don’t know if she’s a good fit for it. This is made all the more frustrating by Felicia being one of only two women in the entire issue (and the other, Black Mariah, has done nothing this whole arc besides just kinda hang around Alex Wilder). Still, it’s a minor complaint; this was otherwise a fun issue, and if this title stays on this wavelength for a while, I wouldn’t complain.


Silk 16

silk-16Taylor: We tend to think of Superheroes as being invulnerable and we also tend to think that’s a good thing. While being able to not be hurt definitely falls in the plus column, it’s interesting to consider what that would mean if it included a heroes emotional state. While Cindy Moon isn’t emotionally invulnerable, it seems like she sure wishes she was sometimes. In the current story arc she find herself 3000 miles away from her family investigating New-U and their clone conspiracy. This is all in an effort to distance herself emotionally from her family because she is scared of the feelings that having her family finally in her life might give rise to.

It’s while here that she finds Hector no longer a ghost but a real life corporeal clone. He’s living in Haven, an idyllic fake community built deep below New-U’s headquarters. Cindy is relieved and stunned to see her friend alive once again and it doesn’t take long for him to explain the difference from being alive and dead.


Hector explains that he was a ghost because he was unable to let go of his anger and feelings. However, when he did let go that allowed him to be alive once more. With his prompting, Cindy “let’s go” and drops her emotional guard and plants a big ol’ kiss on her undead friend. It is only by acknowledging her anger and her willingness to drop it that Cindy is actually able to enjoy the good things in life, like love. In this way the issue sends the message that it’s only by being vulnerable that we, and heroes, are able to truly live.

However, as soon as this emotional and climatic moment happens an alarm sounds that drives Hector to transform into Spectro once more and attack Cindy. I can only imagine what this means for Cindy’s emotional state. If when she drops her guard for the first time in years she is attacked, how will Cindy ever learn to be vulnerable again? My heart breaks for her in this instance because I’m worried about what this means for her next steps.


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


One comment on “Marvel Round-Up: Comics Released 1/11/17

  1. All New Wolverine: Spencer, there is one major problem with the death of Tyger’s LMD you missed. Tyger Tyger’s expression in the ‘Well…’ panel makes no sense. Why would she be like that? The dialogue and the second panel seem to suggest a very different reaction to events to the first panel. It seems like Tyger Tyger is supposed to be someone presenting herself as calm and controlled, yet that isn’t what the first panel shows at all. Honestly, I would go so far to say that Virella doesn’t provide good art all issue. It isn’t horrible, but so lacking in anything worth recommending. Just so boring.

    Which is a shame, as the actual issue is great. One of the best things about this run is how Laura’s history is so cleverly leveraged. And here, in the ‘big’ storyline, everything is coming back. If a person’s life is the sum of her experiences, then no storyline this year is better representative of a person’s life.

    Every horrible part of Laura’s life is thrown in the open. The devil of her childhood is back. The Facility aren’t featured, as Kimura has left them, but the trigger scent they created still controls Laura. Her family, forced to go on the run because of Laura’s attempt to escape, are in the cross-hairs. But Laura has positive experiences. She has Gabby, her little sister. And she has Gambit, the man who had a profound effect on her during the time that Laura truly started developing an identity. This may be because I really want to see Surge in a comic again, but I almost wonder if Hellion has rounded up the New X-Men to help Gambit.

    The good and the bad collides, everything that makes Laura who she is in one place, deciding what her future is. Can Laura be more than her worst day? Or will Laura transcend her dark past, and be the person she wants to be? Damn, I’m loving this story

    Also, on the stuff about the past coming back, I think it is quite right that the boat is called the SS Yost


    Captain America: Nick Spencer said that this is the last issue of the current arc, right? Thank god. Spencer is writing really fantastic stuff, but I can’t wait to play around with all of these plot elements he is putting so much effort into setting up.

    Which is not to say that Spencer is doing a bad job. Steve Rogers sneakily manipulating the tribunal (though there is no reason to withhold the very ending of this issue until next month. This issue literally forgets to end the main plotline so it could jump over to 1940). And seeing Maria Hill’s unconventional strategy is fantastic. The planetary shield is something full of possibility, and could lead to all sorts of interesting plotlines. And Maria Hill’s populist attack on the idea of the governmental ethics is Spencer at his political best. And it all comes together for a great showing for Maria Hill. One that really lets her slippery morality shine.

    And the flashbacks focusing on Steve’s training bring to mind the best parts of Steve’s origin story, which is his heroic effort to keep trying even as he fails. So to see that same thing, but for the glory of HYDRA is scary. Drew brings up the comparison of Colonel Phillips and Dr Erskine, and the idea of twisting that moment is a horrifying idea.

    And so, Steve Rogers continues to do a great job. So close to greatness, but just needs to get going. And it finally has every plot point in place… I think next issue is going to start something really, really special.

    Though I have to say, the idea that the Chitauri fleet are larger than the Annihilation Wave is really silly. Spencer has said on twitter that it is, because as the writer, he said so. And he is correct. I’m not going to argue that it isn’t (in fact, there is actually an interesting story to tell about what it means that the Chitauri can field a larger fleet than the Annihilation Wave. How large is Chitauri space, what does it mean that they have that much territory and what would it mean to get stuck in the middle?)
    But it is really goofy. The Annihilation Wave was a cosmic level threat. It is unsurprising that many people are arguing that it is impossible for the Chitauri to be larger than the Wave, because the Annihilation Wave was, if I remember correctly, a war against the entire Positive Matter Universe. And it spent most of the war as an unstoppable force that couldn’t be stopped. The Annihilation Wave was supposed to be a force that could decimate empires. It was supposed to be a force that forced literally everyone to unite together. It was supposed to be a cosmic level threat that was at the same level of Thanos getting the Infinity Gauntlet. And one of the key ideas was that if the Avengers weren’t busy fighting a Civil War, they would have been pretty useless. That ultimately, a single planet was too small to have an impact. In fact, the entire climax of Annihilation was based on the fact that if the Annihilation Wave reached Earth, it was game over because there was literally nothing that Earth would be able to do to stop it.
    So while Spencer is allowed to say that the Chitauri fleet is larger than the Annihilation Wave, it does come off as very goofy. One is a cosmic level story about empires dying and a threat so large that an entire universe must unite. The other is a subplot in a story of only global implications. Considering this story is only about Earth, there is no need for a threat anywhere near as large as the Annihilation Wave, the Cancerverse or the Builder Fleet. It only needed to be larger that Thanos’ fleet in Infinity. So the decision to make the Chitauri fleet that large becomes goofy overkill


    IvX: There is some great stuff here, but something seems to be missing. There are some truly great sequences, like every part of Iso and Inferno’s escape (but why the hell did Wolverine say she wanted to hurt them? How the hell is that in character?). And the final punchline of that sequence is great. And I appreciate the continuation of a very tactical approach to the conflict. Nothing as personalised as last issue, but Ilyanna targeting key strategic targets to imprison in Limbo is a great idea. I have said that this really needs to commit to the war to work, and that sort of stuff helps. But does it feel like something is missing?

    I think, ultimately, what is missing is a sense of what is happening to the average Inhuman. Everyone we meet is important. Maybe instead of spending four entire pages on Beast and Medusa (Beast isn’t even doing anything of plot importance), we could have used that space to show what the X-Men’s assault means to someone who isn’t a major figure. Not a strategic target that Ilyanna is teleporting, nor someone granted a high priority mission from Medusa herself. What does the X-Men’s ‘trying to be harmless hostile occupation’ mean to Joe Average?

    I said that after all the Civil Wars of last year, IvX needed to do something special. That after actual, successful (if flawed) attempts to evolve the Hero v Hero trope into more compelling versions, that IvX couldn’t just be a typical story. It needed to fully commit. Part of this is truly treating this as a war, which they are doing. But it also is about exploring impact. And I don’t think this issue did enough of a job of exploring impact. In fact, I’d argue that outside the Iso and Inferno stuff, this issue is in fact very impersonal. Strategy divorced from character. Decent spectacle, but missing the fact that the best spectacle is rooted in character.

    Still, at least it didn’t have last issue’s massive problems


    Jessica Jones: In the last issue of Spiderman, I made a brief mention of the similarities between espionage and noir. And the similarities really are similar. They belong to very similar pulp roots, and use many of the same tropes. They are built around a case/mission where the protagonist is forced to enter a dangerous world. Deception plays a key role, with the key character story being about understanding the interiors of the character. Both use very similar sorts of darkness, and approach elements like violence and sexuality in similar ways. Hell, they both share the incredibly iconic femme fatale trope. There is so much more I can say (there is a reason Brubaker is known for his espionage and noir books). Which is why it works so well that the big idea of Jessica Jones is that it isn’t a noir story, but a spy story.

    The twist really should have come at the very end of last issue, to make the third issue not feel like the story was being pulled apart in a million directions. But with this, the real story appears. Jessica Jones, to this day, still isn’t entirely comfortable with being part of the superhero community. It isn’t a natural fit, even after everything. Between that and the fact that she is a fuck up and the exact sort of person who could spiral out of control, it made her the perfect person to take this mission. Someone is killing superpowered people, and the fear is that they are anti-superhero. And, as we saw last issue, they were right. So Captain Marvel and Jessica Jones are working together to have Jessica go undercover to find out who they are. And Jessica, because deep down, she gives a damn, is prepared to lay ruin to her life to accomplish that.

    The wounds made here aren’t going to go away easily. It is all good that she can say to Luke at the end ‘this was an elaborate undercover operation that needed to look real’, but Jessica is a celebrity (or at least, a celebrity’s wife). Which means that she’s opening the family up to scandal in the way that only a celebrity can experience. There are unlikely going to be long term consequences in their marriage once Luke finds out Jessica was actually undercover. He’ll understand. But the fact that someone took a picture of Luke and Misty hugging? That will follow them forever. Their life will forever be haunted by the rumour that Luke cheated on Jessica. And, possibly, the rumour that Luke was abusive. In fact, that is what makes it truly worse. When the dust settles, it will be Luke that has to live with the worst of it.

    But that is kind of the genius of this. Usually, in this sort of story, about Jessica going undercover in a world that is so against the one that she is uncomfortable being a part of, the point would be to explore the fact of what it is like to be away. It would be about Jessica leaving her ordinary life and finding something that she hadn’t found before. But here, the opposite is happening. Jessica is doubling down on the superhero life. In the end, she has to admit to Carol that ‘This is OUR normal’. Jessica is finally truly committing to the superhero life. A very novel twist on the ‘infiltrate the enemy’ genre. They actually are the enemy, and the story is actually about what it means to commit yourself to the good guys to the point of doing such an act. Like I said before, by choosing to fully commit to being a superhero, Jessica has sentenced her husband to forever be marked with the rumour of infidelity.

    The third issue really didn’t work, but this issue gets things back on track perfectly as it reveals the greater story.

    Also, I swear that Bendis appears to be the only person who writes a Carol I actually like. People complained about his writing of her in Civil War II, but I ultimately think that he did a great job with her, once you take into account the structural choices (the first half was from Tony’s warped perspective, and so demonised her. But the moment Tony truly lost it in his grief, the perspective swapped to Carol, and showed a woman facing truly incredible responsibility and honestly trying to do the best she can. Someone who tries her best to minimise harm and the only one in the story actually trying to find the best solution, even if you disagreed). And Bendis does a really good job with Carol here. She is relaxed, human and friendly with Jessica, one of her best friends (it is really obvious that Jessica Jones ripped a lot of elements of who was supposed to be the original protagonist of Alias, Jessica Drew, isn’t it?). But she shows a complexity to her in how she shows a range of emotions at different points, including guilt at her actions and a real sense of self sacrifice. I love how she sees the threat to the younger generation of heroes like Ms Marvel and then instantly insists on setting up a sting with her as the target. She is someone willing to put her life on the line in any way she can to help others. It really works for me


    Mighty Thor: You know what, while this book is consistently excellent, I would love it to devote some time to Jane Foster’s actions as part of the Congress of Worlds. Or at least play with the idea that she absent a lot more than just what happened here. Still, I have to say, I have never seen a better excuse from a superhero for missing important appointments because they were too busy fighting crime than ‘I was busy puking my brains out because I have cancer!

    Though I have to say, I love what you say about perspective, especially as this is the first time that we do not get to see what Maliketh is doing behind the scenes. In all honesty, this is a mystery disguised as a war. Why are the Shi’ar attacking? What made them want to do so? Here, we get to see the murder scene, except it is a big battle to capture Thor. From here, we can start the investigation of finding out exactly why Maliketh is pursuing this plan exactly.

    Also, love that final page. I love the idea of exploring the Shi’ar’s gods. The idea that places other than Earth have gods has been part of Aaron’s Thor since the beginning, and I love what that


    Ms Marvel: Superhero comics have been based on the idea of using superheroics as a metaphor for real life problems. But the joy of Ms Marvel is how it uses real world stuff as a metaphor for other real world problems. Ms Marvel is isolated after losing her best friend, so how do we explore that? Use isolation from you guildmates in an MMO as a metaphor. Then turn that into a superhero story.

    That is Ms Marvel’s true glory. It puts so much effort into creating the supervillain and rooting it in real world stuff that it gives Ms Marvel a grounding that no other superhero can match. Spiderman simply can’t match this, because the Rhino is never going to be rooted in reality as much as Leetskillz. It is what makes Ms Marvel’s superheroics human in a way that no other comic’s superheroics are


    Power Man and Iron Fist: After Alex Wilder spent so much time being built up as a villain, I love that he isn’t as powerful as he seems. Still a big threat, but everyone else is also dangerous. Which is going to make what happens next really interesting. Because multiple dangerous forces are going to be interesting

    It may seem weird, but I honestly think you can compare what is about to happen to the Mighty Thor. Ultimately, we are going to have massive war. Just for Harlem, instead of the Ten Realms. And now that the war is truly and earnestly happening, I think we are going to get a lot more of our favourite buddies. Because now, Luke and Danny are truly able to act. Now that the war has started and they won’t break the story with a too quick resolution, we will get the fun of their relationship again as they now have to fight.


    Spiderman: This kind of has to exist as set up for the rest of the crossover, but the way it does so is interesting. The story is being told by Miles in retrospect, creating something very interesting. We are given a very clear comparison between what Miles was trying to do (find his father) and what actually happens (kisses Gwen). Creates an interesting tension, forcing us to constantly think of the future and how things are going to go so wrong/right. Decent start, and wondering how it is going to go

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