Marvel Round-Up: Comics Released 2/8/17

marvel-roundup69We 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-New Wolverine 17, Deadpool the Duck 3, IvX 4, Power Man and Iron Fist 13, Unbeatable Squirrel Girl 17 and Unworthy Thor 4. We discussed Black Widow 11 on Thursday, and will be discussing Ms. Marvel 15 on Monday, so come back for those! As always, this article contains SPOILERS.


All-New Wolverine 17

Michael Scott

all-new-wolverine-17Drew: Whether it’s a vague allusion or an explicit quotation, one artwork referencing another always makes my head spin. While references don’t always achieve this, they are often a way of cramming the meaning of an entire work of art into another, allowing the referencer to stand on the shoulders of the referencee. As if that wasn’t complicated enough, the referenced artwork might make its own references, and so on, in a kind of Russian nesting doll of meaning. Obviously, being actively aware of every reference (and reference that work references, etc) is impossible, but I can’t help but be drawn to references to works that are themselves largely referential — that extra twist makes us aware of the complications surrounding the act of referencing, forcing us to consider why that choice was made in the first place. Such is the case with All-New Wolverine 17, which doesn’t just feature quotes from The Adventures of Pinocchio, but to a specific translation of it.

This issue allows us a glimpse into Laura’s head as she’s enraged by the trigger scent — her friends set up a controlled experiment to allow Jean Grey to intervene telepathically. What we learn is that Laura retreats into a memory of her mother reading Carol Della Chiesa’s translation of The Adventures of Pinocchio, effectively hiding from the terrors her body is busy unleashing. The reference to Pinocchio as a story makes a great deal of sense for Laura, whose own identity issues are tied up in having been manufactured — on not being a “real” person. But, of course, the fact that we aren’t reading Carlo Collodi’s words, but a translation of them only underscores the tension surrounding Laura’s identity: she’s a clone, a facsimile, an altered version of something that came before.

And writer Tom Taylor really does focus on the Della Chiesa’s translation, not just giving us the gist of the story, but highlighting and celebrating the specific language Della Chiesa used.


There are plenty of explanations why Taylor might have chosen to make the reference so explicitly to this particular translation, but the effect is the same: drawing our attention to the specificity of the choice, making us acutely aware that it is a translation. Even Laura’s most deeply held memories are of facsimiles.

Of course, The Adventures of Pinocchio is all about a facsimile becoming real, through pain, sacrifice, and love. There is little doubt that Laura has been through all of these many times over, which makes the ending so cathartic. She may not have wood body parts that could be made flesh, but her transformation at the end of this issue feels every bit as profound as Pinocchio’s. But then, Pinocchio’s story more or less ends when the tension between his wooden body and human desires is resolved, making Laura’s future decidedly uncertain.


Deadpool the Duck 3

deadpool-the-duck-3Patrick: There’s a weird relationship between the creator and the audience. On one hand, it’s the creator’s job to deliver the audience’s expectations — like our expectations for meaningful resolutions, for consistent internal logic, etc. But on the other hand, a creator should challenge the reader to consider stories and characters beyond our expectations. Otherwise, what would be the point of actually reading anything? Stuart Moore and Jacopo Camagni’s Deadpool the Duck 3 seems to delight in this tension between giving the audience what they want and subverting it entirely. It’s an exhausting exercise, one that might just genuinely convey the feeling of Deadpool taking over your body.

The issue starts with a bad-ass Deadpool the Duck raid on a secret Roxxon facility “somewhere in America.” DtD is jumping around, slicing up guards, diving under shields, and shooting his way through doors in a mad montage of Deadpoolian action. But the rug gets yanked out from under us in the most uncomfortable way.


That’s right, instead of attacking an evil Rooxon laboratory, DtD blows a hole through the armored door of a preschool classroom. I’m all for Deadpool being a provocateur, but it’s hard to dial the character back from “school shooting.”

Moore and Camagni know this, of course. Camagni’s Children of the Corn-esque designs for this room of toe-headed preschool students go a long way toward steering us away from how horrifying this moment should actually be. But this school rampage is also a weird narrative cock-block that prevents us from getting to the resolution of the cliffhanger from the previous issue until we’re 9 pages in. What’s more, that resolution tosses the moral question of whether to let the Janitor die on an exploding space station is similarly elided with the casual, off-panel discovery that there is a second escape pod. And then none of that matters because Wade steers his escape pod into the Janitor’s flight path, and the dude explodes anyway. That’s frustrating enough to have Howard rage quit the corporeal team up, but it’s just as frustrating for the reader.


IvX 4

ivx-4Spencer: The war between the mutants and the Inhumans has escalated as far as it has because both sides are determined that the only way to save their species from extinction is to wipe out the other. Early in this event I speculated that once the fact that the Terrigen cloud is dissipating becomes public knowledge it could bring both these factions together, but that they’re probably too set on the idea of war to let that happen. I’d reckon that may still be the case, but in IvX, Jeff Lemire and Charles Soule show that compromise may still be on the table, even if takes a fresh set of eyes to attain it.


While Inferno, Iso, Reader, and Grid have close ties to the Inhuman reader family, the rest of this crew act more as independent agents: Quake works for S.H.I.E.L.D, Synapse’s interacted almost solely with the Uncanny Avengers up to this point, Moon Girl never wanted to be an Inhuman in the first place, and though Ms. Marvel’s allied with New Attilan on multiple occasions, she’s also been an Avenger, and is friends with mutants (a fact we’re reminded of when Mosaic shows up in the body of her Champions teammate, Cyclops). These kids aren’t so deep in war or devoted to their cause that they can overlook the murky morality of what they’re being asked. That may make them the only ones who can stop this conflict.

Javier Garron fills in for Leinel Yu on art this issue, and it’s always frustrating when a mini-series needs to bring in a guest artist. Garron puts in inconsistent work throughout the issue, with some sequences (including the above) looking chunky or awkward. That said, Garron’s also responsible for my favorite moment of the issue (and perhaps the entire mini-series): Mosaic possessing Magneto.


Garron’s command of body language here is phenomenal — this may be Magneto’s body, but it’s got the posture of a surly teen. The panicked, shadow-cloaked eyes, the hunkered shoulders and awkward strut — all absolutely sell that Magneto’s not in control of his own body. I wish Garron’s work throughout the rest of the issue lived up to this moment, but I’m glad we got to see this play out regardless.


Power Man and Iron Fist 13

power-man-and-iron-fist-13Taylor: The key word in the title Power Man and Iron First is “and.” More than being simple a series about either of these characters alone, it’s about them purposefully together. Regardless of what happens to each character the constant of this title is that they are choosing to exist and work together. This is the soul of the series and while it’s something most know to be intrinsic to the the stories being told here, there’s always a payoff to seeing if affirmed in ink.

Luke and Danny are hot on the trail of Alex Wilder and because of that he is desperate. Everyone in New York knows this and people are quickly choosing sides and making alliances in preparation for the battle to come. While forming their plan of attack, Danny makes a confession to Luke.


Basically he admits to Luke that he hung around him because he was afraid of being alone. The expectation that Luke will flip out is high, but instead he reaffirms his and Luke’s relationship. This comes despite his having lost Jessica and his daughter because of his involvement in too much fiddle-faddle fighting bad guys. That Cage would pledge his friendship to Danny shouldn’t come as a shock, but what’s moving this scene is that Luke is essentially putting Danny on par with his family. Luke could easily have chosen Jessica now, or earlier, but Danny means just as much to him as his wife and kids. Maybe that’s misguided but maybe it’s also telling that two men can have such a deep and meaningful relationship without letting society judge them for it.

It’s amazing that this scene is fit into this issue at all. The first two thirds of the issue unfold like a cop procedural but quickly spin out of control. Early on we get scenes of Luke attending a funeral, some bad-guy plotting, some detective work, and some more plotting. Things explode later into the weird and occult when Alex harnesses voodoo street magic to summon a demon. It’s all so great and well thought out that it’s easy to miss the wonderful brothership between Luke and Danny, but perhaps that’s just proof of how interesting and layered this series has become.


Unbeatable Squirrel Girl 17

unbeatabile-squirrel-girl-17Spencer: I don’t talk enough about Erica Henderson’s contributions to The Unbeatable Squirrel Girl, which is a crying shame, because she brings so much charm and enthusiasm to the title, and is a vital part of its success. There’s so much I like about Henderson’s work on issue 17 — such as the sheer excitement on Doreen’s face throughout her encounter with Melissa Morbeck and the tall vertical panels throughout her jetpack-aided battle with the Rhino — but what stood out to me the most are her fashion choices.


I love Brain Drain’s “disguise,” Nancy’s new hairstyle, Doreen’s stylish jacket/hat combo, as well as Morbeck’s elegant, elder-stateswoman look on the next page. I’ve always gotten the impression that fashion is a passion of Henderson’s, and just like writer Ryan North’s passion for programming, it adds a lot of distinct personality to The Unbeatable Squirrel Girl.

It’s important that the creative team behind Doreen Green’s adventures follow their passions, because that’s such an important part of who she is as a character. This month’s installment reminds readers of Doreen’s many passions — computer programming, crime-fighting, talking to animals, seeing the best in people — before twisting the knife by turning them against her. Morbeck plays at being a mentor and indulges Doreen, dazzling her with her ability to talk to all animals and offering her unlimited funding for her crime-fighting crusade, but actually has sinister intentions for the unbeatable ungroundable Squirrel Girl. I’m horrified to see how Doreen will take this betrayal; I have no doubt that Morbeck’s master plan is evil, but there’s something especially despicable about preying upon and undermining a person’s passions. Doreen isn’t the kind to let Morbeck rob her of her zest for life, but I do think this will end up being a particularly personal mission for her.

(North and Henderson actually sell the theme of passions from the very first page, which is devoted entirely to an excerpt of Nancy’s “Cat Thor meets Dog Hulk” fan-comic, a passion project of hers. The story is delightful, and I’d love to see a whole issue of Nancy’s animal Avengers. You hear me, North/Henderson/Marvel?!)


Unworthy Thor 4

“I hear ’em every day: the rhythms in the canyons that will never fade away,
the ballads in the barrooms left by those that came before.
They say you gotta want it more
So I knock on every door.”

Another Day of Sun,” La La Land

unworthy-thor-4Patrick: How much of being worthy is wanting to be worthy? Jason Aaron and a small army of loyal Thor artists make the case that Odinson’s desire to wield Mjolnir is the defining characteristic of the hero. As a neat little tie in to the lyrics I pulled above, Unworthy Thor 4 is a parade of artistic talent showcasing a handful of artists that have helped to shape Aaron’s vision of the character over the last five years. It’s a little bit of an extension of a story that has been teasing its secrets for a touch too long, but I’m a sucker for this kind of character exploration. I mean, hey, if it gets Frazier Irving, Esad Ribic and Russell Dauterman art in the same book, I’m all for it.

Each of those heavy hitters gets to take a crack at drawing Thor at various stages of his relationship with the mighty Uru hammer. Irving shows us the ancient history – a time before worthiness, when all of Thor’s thoughts were on how he could lift the thing. Ribic gets Thor in his glory days — appropriate considering his work on the “Godkiller” arc at the beginning of Aaron’s run. Even at his peak, Thor is still maniacally focused on Mjolnir, which appears in practically every panel. Check it out – the romance here isn’t between Thor and Jane, but between Thor and his weapon.


Of course, Dauterman is left to draw Odinson and Jane in the immediate aftermath of unworthiness. This is the modern era of Thor, where we all know it’s Jane playing around with Mjolnir, but Odinson does not, and Dauterman has been carrying that story for about two years. The scene itself is brilliant, lingering on this same pedestal, now lacking one magical hammer.

These flashbacks tell the story of the man who “want(s) it more” than anyone else. That’s enough to put the resolution of Unworthy Thor on hold for one more issue.


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

3 comments on “Marvel Round-Up: Comics Released 2/8/17

  1. All New Wolverine: I can’t say too much about specific translations of Pinocchio, but love what Drew said. To me, my discussion with the concept of reference comes down to two points

    Firstly, the Pinocchio stuff is the perfect use of reference, as it uses an existing point of continuity (Laura’s mother read her Pinocchio when she was growing up. It was the one piece of humanity she had during her time at the Facility) and used it in a way that was meaningful to anyone but more meaningful to those who understood the reference.

    Secondly, the choice to name this arc Enemy of the State II is exceptionally poorly named. It is reference for reference sake. Because this story just doesn’t emphasise the aspects that it is similar to the original arc. The original arc was all about Logan being controlled. Control is a key idea, but after both instances of mind control, Laura quickly gets her agency back and the story is more about dealing with a threat who has the ability to control Laura, instead of Laura being the bad guy herself. Terrible naming.

    Especially as the story as everything that makes this story great is the stuff furthest away from the original story arc. This is probably the best issue this book has had since the utterly transcendent and perfect first issue (which I still hold as a masterpiece). I’ve discussed before how this story is everything bad and everything good in Laura’s past coming back to her (you know what, considering that fact, would it be too much to ask that the New and All New X-Men were there to help Gambit and Angel? I would love to see Hellion, her first love, get a moment committing himself to helping Laura, and the idea of literally everyone coming to Laura’s aid would be awesome. Especially as the plot perfectly sets up every single friend of Laura’s to turn up. Gabby,Gambit and Angel are the most important, because they are the most important figures in her life, but Hellion, Surge, Dust, Iceman, Beast etc all have reasons to want to help). In this issue, the good and the bad come into conflict, to define Laura’s future.

    I love how everyone bands together to seek a solution. They come together to heal her. And I love how they discuss that Laura actually fights against the trigger scent. To minimise causalities. And I love how Laura’s mind retreats to her mother reading her Pinocchio. And I love that the solution to overcoming the trigger scent is not a psychic detox, but persuading Laura to stop being afraid of it.

    And while the art continues to be disappointing, the visual storytlling works, especially at the climax of the therapy. I love Laura’s attack on Jean Grey, and how reference is ued to show her getting darker and darker as she runs from her problems and let’s the trigger scent rule her. She goes from Assassin-in-Training to ‘pretending to be feral in a desperate attempt to avoid connecting with people’ to ‘her darkest period as a member of X-Force’. And then, Laura stabbing Gabby. I’m pretty sure that Jean has been given the same face as Gabby, becaus ein the context of this scene, she is Gabby. And then the choice of composition is designed to emphasise the physical similarities between Laura and Gabby. While giving a series of three fantastic panels that would be sensational with a better artist.

    And then, the comic ends with ‘How ridiculous I was as a Marionette’. Truly sensational work. Truly sensational


    IvX: I think I’m going to give this up. It is just bad. It isn’t horrible, or have any grevious errors. It is just consistently the most banal version of this event. There are some good parts. I do like giving Mosaic the advice to avoid any blonds. But there are too many problems. And the Magento gag is brilliant. But let’s list the faults

    Mosaic’s mission is too vague. Lots of focus on methodology, not enough on goals. There is no clear idea on what he is doing. Trying to find the Inhuman leaderhsip? Learn the X-Men’s plans to destroy the cloud? A specific goal, however simple, would make Mosaic’s mission much more interesting, especially when the information about the Cloud comes out and we see ow that alters the parameters.

    The choice to focus entirely on Mosaic is a mistake. Last issue gathered a team of Inhumans, and we should have seen them in action working as a united front, until the new intel redefined everything. You have a gadgeteer genius, one of Nick Fury’s best students and ex-director of SHIELD, a polymorph with the ability to adjust her size, and that’s just the Inhumans I know. Not a lot of hard work to find ways to use them in an infiltration. Instead, you have guys who have literally done nothing this story faced with gamechanging info.

    The escape of Medusa’s court focuses too much on the cleverness of the use of powers or their ability to fight Limbo demons, and less on what this means for the war. The priority should have been how this changes the battlefield, and how her imprisonment as angered Medusa and escalated events. Instead, Medusa is not allowed to get angry in fear of being unsympathetic, creating a flat character who isn’t compelling to read about.

    The X-Men’s war council is generic. This should feel like a momentous event that is being spied upon, but instead it bores. It goes for a vague idea that things happen, instead of making it feel like a dramatic, important confrontation. Imagine how funny the Magneto gag would be if it occurred during the dramatic peak of the council.

    The only compelling part of Mosaic’s mission is when he is inside Magneto’s head. This isn’t a problem at the start, where the beginning stuff is easy so that we can quickly reach the dramatic stuff. But the fact that Mosaic can escape off screen is such a boring way to do it. There are literally two panels between ‘Uh Oh, a blonde’ and ‘Guys! Somebody just stole one of those Blackbirds’. There is no drama to Mosaic’s mission, outside of Magento’s head. Which is a problem when half the paged dedicated to Mosaic’s infiltration take place outside of Magneto’s head.

    There is a complete and utter lack of Inhumans fighting X-Men. That is the dramatic core of the story. The drama comes from two different good guys fighting each other, because their societies are at the risk of death. I complained about how previous issues were afraid to truly commit, but that’s nothing compared to this issue. We get a promise of a fight with Colossus next issue, and a brief thing in Magento’s brain. But so little happens in this issue to actually build the issue. Medusa escapes, and Mosaic finds out about the cloud. If you wanted to, you could cut everything and do that in two pages, so you can skip to the juicy, dramatic stuff

    And then it is just generally uninteresting. I may give the Inhumans another try with ResurreXion, but this isn’t what I’m looking for. I want actual drama


    Jessica Jones: This looked like ti was going to be bumpy for a moment, but the book really quickly got back on track in issue 4 as it revealed the whole game. And now Bendis is tying everything together so satisfyingly.

    Jessica’s case, about the husband who appears to have been replaced with his Ultimate Universe counterpart, has morphed from a metaphor comparing her feeling of isolation after the ‘break up’ to a representation of all the doubts that she has about the Superhero Community. She is faced with a man who lost everything because of the Illuminati’s actions, and lost it. The best thing about how he serves theme is that he offers no evidence. He just tells a tale that Jessica just knows Tony Stark and friends would do. And I love the choice to have this interrogation in green. A green interrogation is a Bendis staple, especially in Powers where the Power Drainers are literally green. Here, the greenness makes you feel uncomfortable. Sick. Which is exactly what you should feel.

    Which leads to the finale. Alison contacts Jessica again, and Jessica makes her decision to work with her. We can talk about how we know that Jessica will never betray the Superhero Community, but the real interesting thing abotu this cliffhanger is we don’t knwo how much this issue’s events are going to influence Jessica’s actions. She is supposed to be undercover, bringing down bad guys. What happens when she her doubts are at the highest? Going to be pretty great.

    And then this is combined with a great scene between Luke Cage and Ben Urich. Urich’s cynical wisdom so perfectly explores the aspect of celebrity that has been such a key part of the story. I love the choice that Jessica’s overarching problem in this series seems to be about celebrity, instead of PTSD. It looks like Jessica’s big problem swill be around trying to live her life while dealing with the drama that comes from being in a celebrity marriage. She isn’t where she used to be, and the stuff that makes Jessica Jones’ life is now very different. It is now about paparazzi and trying not to let the media destroy the stuff that is important to her. THis will be evry interesting to see devleop as the story continues,

    And I love that ultiamtely, Luke still believes in Jessica. He’s angry and will do anything to find his daughter. And if he finds her before Jessica brings her back, Luke can’t see a happy ending. But he does believe Jessica plans to bring her back. Deep down, Luke still loves and believes in Jessica, and I love that this is being focused on. Luke isn’t happy, and current events are putting their relationship to the breaking point. But Luke still knows Jessica. That’s important.


    Power Man and Iron Fist: Hard to think about much more to say about this issue that Taylor hasn’t already said, except I would argue that to Luke, Danny has always been family. Danny has always been the uncle to Luke’s daughter, and has always been Luke’s brother. He’s just forgotten that.

    And that is what is beautiful. Danny was feeling alone. He felt stuck in place. Misty had moved on. Luke was happily married. And Danny was alone. He desperately wanted some grounding, and now feels that everything has gone wrong. He takes responsibility even for Jessica leaving. But Power Man and Iron Fist has always been about family. That’s why Luke’s family-friendly swears are important. It has always been about placing your family over everyone else. And so, as the climax arrives and Danny feels doubt, Luke beautifully reaffirms that idea

    Everything may be chaos. Harlem may be burning. But nothign will stop the fact that Danny, no matter what, will be family. Danny isn’t an intruder, or a problem. He is Luke’s brother, and just as much part of Luke’s family as Jessica


    Unworthy Thor: I would appreciate this issue a lot more if it didn’t come before three really bad issues of Thor. Three issues where too much of the character stuff got overtaken by fighting the Collector’s forces by an artist who just couldn’t tell a fight visually. But even with all those problems, this issue is a marvel.

    This honestly feels what the miniseries should have been all the time. The flashbacks are the key to the issue, telling a story of worthiness.
    I love how the impatience of the young, unworthy Thor is reflected in the impatience of the modern day Thor. What he was told then still applies. ‘It isn’t going anywhere’.
    I love that Odinson used to stare at the hammer, afraid, each morning, hoping that he would still be able to lift it. And it is a great comparison to his entitled belief that the other hammer is his property, despite having no idea if he is Worthy enough to lift it.
    I love how Jane approaches Odinson after he lost his arm. By this point, she is Thor, and she proves her Worthiness through her endless compassion. Helping Odinson with his problems, even as doing so could likely cost her the hammer. A true sign of Worthiness, again opposed to modern day Thor’s entitlement.

    Focusing on these scenes and comparing them to his actions today is truly fantastic, the best exploration of Odinson’s mental state yet. Much better than the boring fights we’ve had before. This is the character examination I’ve been waiting for. Aaron at the top of his game. Especially as he has teamed up with all the artists who have helped him define his Thor run. The best part is not only do they all return, but they all do the sections that reflect their contribution.

    Also, I’m wondering if Odinson becoming Unworthy has something to do with his relationship with Jane. To say that their relationship is the centre of this Thor run is understating things, so it would fit. And this issue places a great effort into placing Jane at the centre of the discussions of Worthiness. And it would also explain why a whisper was able to make Odinson Unworthy, if Odinson and Mjolnir weren’t aware of the mistake until now. Maybe Odinson is responsible for Jane’s cancer? Odinson wasn’t careful during his relationship with Jane, and the cancer is the result? If Odinson’s ignorance sentenced Jane to die, I think that would be worthy of Unworthiness

    Honestly, my only problem with this issue is that Black Swan feels really out of character. I can see her working for Thanos, but to me, she never felt sadistic. To me, she cared more about death actually happening than causing suffering. A natural follower of THanos, but not one who would threaten to wear someone’s flesh like mittens. She just doesn’t care about that.

    And Patrick, that La La Land comparison is perfect. Another Day in the Sun is a song all about the constant struggle for worth. In fact, the lines just after the lines you posted are just as fitting
    ‘And even when the answer’s “no”
    Or when my money’s running low
    The dusty mic and neon glow
    Are all I need’
    The response to difficulties in the mission to become ‘worthy’, whether of Stardom or of wielding Mjolnir, is to continue struggling. A key idea of La La Land is that ultimately, you have to make sacrifices to achieve your dreams. Those hopefuls, dancing in the LA traffic, don’t just want it, but are prepared to sacrifice for it. To run out of money and struggle to continue, because becoming ‘worthy’ is worth it. Compare that to the Worthy Thor, a man petrified every day of not doing enough to still be able to like Mjolnir. And compare that to Odinson, who has the want but little interest in changing his ways.

    You know what? In the perfect world, when Odinson finally becomes Worthy again, we will have a scene like the Epilogue in La La Land. The look at everything that Odinson wanted, and everything he would have had if being Worthy didn’t need sacrifices. If it was possible to get everything you wanted, and not have to live with the fact that achieving one dream doomed another. Just imagine the Thor version of this piece

    (also, that section is one of my favourite scenes in cinema last year. La La Land is a goddamn masterpiece. Truly beautiful)

    • Matt: “But the fact that Mosaic can escape off screen is such a boring way to do it. There are literally two panels between ‘Uh Oh, a blonde’ and ‘Guys! Somebody just stole one of those Blackbirds’.”

      The All-New X-Men tie-in from a week or two ago delved into Mosaic’s escape in Cyclops’ body a little more closely (which is probably why they skimmed over it this week), but depending on how you look at it (or how you think of tie-ins), that could almost be a worse way of handling it.

      • Yeah, I read that issue, so knew what that it was expanded on then. Yeah, they probably thought Hopeless’ work would mean they could skim it, but it doesn’t really work. Well done supplementary books are great, but the goal should be that the event is a complete, compelling read without reading anything else.
        And while the comic is complete (everything that you need to know is provided), you shouldn’t let the existence of a supplement be used as an excuse to not be compelling. Because that is just as important. The reasoning of ‘let’s skim over unnecessary stuff’ is a good one, but when the spine of your issue is Mosaic’s mission, I think it is fair to say that none of it should be skimmed, and it should instead be designed to be as compelling as possible. Ultimately, the question should be ‘does skimming over this and filling it out in a supplement make a better or worse issue?’ And unfortunately, I think that the answer in this case is it makes a worse issue.

        Especially as Hopeless’ issue focuses so much on Cyclops’ story that you wouldn’t even need to change that issue. Hopeless’ issue isn’t about Mosaic’s escape, it simply uses Mosaic’s escape to push the real story – Cyclops learning the truth about the other Cyclops. You wouldn’t need to rework Hopeless issue to make this one more compelling

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