Marvel Round-Up: Comics Released 3/29/17

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 Inhumans Prime 1, Old Man Logan 20 and X-Men Prime 1. Also, we’ll be discussing Black Widow 12 on Monday and Spider-Woman 17 on Wednesday, so come back for those! As always, this article contains SPOILERS.

slim-banner4  Inhumans Prime 1

Save the cheerleader, save the world.

Hiro Nakamura, Heroes

Drew: I’m happy to admit that Heroes was never good, but I’d still argue that this line, delivered by a time-traveling hyper-competent version of the heretofore hapless Hiro, represents one of the most thrilling turns in TV history. Mostly, it was exciting because it hinted at a world where Hiro had clearly been through a lot — he was now fluent in English and wielded a sword like a goddamn action hero — suggesting that the show would eventually justify its title. The similarly promising-but-never-quite-good Misfits featured a remarkably similar twist, though, like Heroes, never really made good on that promise. I don’t know why, but I’m still a huge sucker for those “this will get interesting, I swear” reveals. Inhumans Prime 1 — a prologue of sorts to Al Ewing’s upcoming Royals series — features one such reveal, promising to tell the secret history of Terrigen.

Fortunately, this reveal doesn’t require any of the main cast to time-travel — at least, not exactly. The Marvel Universe is already crawling with characters from the future, but this one actually relies on a character from another universe: Noh-Varr. As a Kree (from the Earth 200080 Universe), Noh-Varr is apparently more familiar with terrigen than any of the Inhumans, remarking upon their odd behavior around recreating the substance. That’s when he remembers that, unlike the Inhumans in his Universe, the Inhumans in this Universe…


Basically, my excitement over this issue boils down to that “yet.” He’s identified a situation that will absolutely change — especially if he has anything to do about it. Which: he does, given the last panel of the issue.

What happens in between is standard 0 issue housekeeping. Writer Al Ewing mostly just checks in with the various Inhumans, reiterating points Charles Soule already covered in his Uncanny Inhumans finale. Ewing does get to cover the arrest of Maximus the Mad, which unfolds in satisfyingly chaotic fashion until being resolved in about the least climactic way possible. It’d be disappointing if the issue ever seemed all that interested in that battle, but the real meat of the issue hangs on its very first and last pages, which mostly just hint at what the premise of Royals will be. As an issue, it’s not that satisfying, but as a hype piece for Royals, it couldn’t have been more effective. Forget what’s happening on Earth — I want to know what terrigen is!


Old Man Logan 20

Spencer: Taken on its own, Old Man Logan 20 is a fun issue. Jeff Lemire has found a fantastic foil for Logan in the form of classic (if minor) Avengers villain Asmodeus, whose mix of pompous bluster and low-class lifestyle each seem specifically tailored to push Logan’s buttons. The two together are a blast, and that’s by far the best thing this issue’s got going for it.

I’m a bit more perplexed (and fascinated) by what Lemire and Filipe Andrade are doing with the structure of this series’ narrative. While this issue is billed as the second and final part of the “Gone Real Bad” arc, it largely serves as a prologue to the upcoming “Past Lives” storyline, an excuse to send Logan’s spirit careening throughout the lowest points of his history. While both its parts have their charm, “Gone Real Bad” doesn’t stand on its own as a story. Any real conclusion to the emotional beats — be they Logan’s reckless mission, his comeuppance at the hands of a treacherous Asmodeus, or even Miles Morales’ newfound beef with him — won’t be resolved until after “Past Lives” (if they’re resolved at all), meaning all this story has to lean on is its plot, which, again, exists more to set-up the events of “Past Lives” than to be anything meaningful on its own. It’s a slightly puzzling choice — if Lemire wanted to tell a story about Logan visiting his past, did it need this much justification?

The one advantage I can see of telling the story in this manner is that it’ll make Logan super grumpy. There’s no incarnation of Logan who would be happy about being forced to relive the darkest moments of his past, but he’ll be especially frustrated that it’s distracting him from the mission he chose, his mission to rescue Banner’s son from the Wastelands. That extra layer of motivation will likely be an interesting facet of “Past Lives,” but in the meantime, I don’t know how well it justifies this storyline. There’s still good to be found in Old Man Logan, but it’s not coming together the way this series does at its best.


X-Men Prime 1

Patrick: I’m of the opinion that comic books don’t owe their readers anything. But then again, I also try to base my read on a book off how the work elicits an emotional reaction reaction from me, effectively asking what the reader owes comic. A thrilling layout on the page? I owe the book wonder. A funny juxtaposition of words and action? I owe the book a chuckle. A stunning reversal? I owe the book a gasp. X-Men Prime 1 seems almost maniacally focused with squaring away the last couple years of X-Men stories with the stories that make up the X-canon (y’know: whatever those are). It’s an apology, of sorts, that writers Marc Guggenheim, Greg Pak and Cullen Bunn must have felt they owed the audience. In delivering this apology, they’ve neglected to tell much of a story of their own.

The bulk of the issue follows Kitty Pryde as she returns from her tenure with the Guardians of the Galaxy and reclaims her rightful role as leader of the X-Men. The script is almost transparently dismissive of Kitty’s time in space and her relationship with “men named Peter.” Storm, who is trying to convince Kitty to take the job of X-Men leader, is also extremely apologetic about her recent past, wherein she followed Emma Frost to an ill-informed war against the Inhumans. But — and this is a crucial distinction — Storm is not penitent in any way that would cause her to atone for her mistakes and repair relationships with the Inhumans. She only wants to say she was wrong and then disappear. Kitty keeps her in the fold, insisting (somewhat pointlessly) that Storm is “the heart and soul of the X-Men,” a nostalgia-tickling argument that apparently works for Storm.

The whole issue is like that: bringing up two different version of X-Men history and deciding one should be honored while the other should be dismissed or forgotten. When Kitty runs in to Colossus in the X-Men mansion, the artist (I can’t tell if it’s Ibraim Roberson or Leonard Kirk) gives their past the whole romantic novel cover treatment.

I mentioned that I couldn’t quite determine who drew the image above, but there is a conclusion we can draw about the kinds of artists enlisted for this endeavor. They too are a break from the kind of artist we’ve seen on the main-line X-Men books over the last several years. Under Brian Michael Bendis’ pen, boldly graphic renderings by comic book weirdos like Fraizer Irving, Chris Bachalo and Andrea Sorrentino filled the X-landscape. Ibraim, Kirk, et al. have a decidedly more grounded approach to drawing these characters, effectively rejecting the form along with the stories from the Bendis era.

And then there are the original X-Men, who tease young Cyclops about his time in the Champions before reiterating why they’re in the present and articulating what must be the time-travel-logic-aficionados’ gripes with their existence. It’s the writer’s way of saying “yeah, we can’t believe this shit either” with a wink and a nudge that must be intended for someone else. It all feels dangerously regressive for the X-Men, acknowledging recent developments, only to immediately gloss over them. Maybe that’s what Prime means, and the next issue will just start telling stories within the new status quo. Maybe this issue is really only for the people who thought the X-Men owed them something.


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

16 comments on “Marvel Round-Up: Comics Released 3/29/17

  1. “Save the cheerleader, save the world” is also such a delightfully weird bit of writing that it kinda can’t help but be compelling. It’s the promise of grandiose bubble gum fun, simultaneously reverent and irreverent. Those 6 words are probably better than the entire rest of that series.

    • I was so fucking pumped at the idea that our loveable, hapless Hiro would become that katana-wielding badass, but the series never seemed to have any interest in getting us there. At least Noh-Varr isn’t a time-traveler whose existence can be forgotten if the cheerleader is saved, which means Royals has no choice but to follow through on that promise.

    • I was the world’s biggest Heroes fan when it came out (and watched four seasons as they aired) and even I’ve come to realize that it was…not a good show. I’ll still say the first season up until its last few episodes are strong, but the series falls apart from there in a big way.

      I’ll fight harder for Misfits, though. Those first couple of seasons never quite delivered on their initial promises (after teasing it the entire first season, and the first episode of the second, the consequences of killing their first probation worker never come up again), but that’s easy enough to ignore because of how fun the writing and characters were. The later seasons had worse characters (outside of Rudy), but by then the show had figured out what it wanted to be and what kind of situations it wanted to pump out each week, which, at least to me, kept it entertaining simply because of its strong sense of self.

      • I liked it well enough for those first few seasons, but I lost interest when Nathan left, though I think I stuck it through to the end of season 3, so I can’t comment on if it got better. But I stand by my assessment that the promise of those flash-forwards/Simon-from-the-future never quite delivered. I think it might be fair to say that those bits were never the point of the show, anyway, but they’re the parts that got me the most excited, so it’s a bit of a bummer when they fell by the wayside.

        • The big problem with Heroes was that the whole point was that eventually, it would become a superhero show. That was the point. A bunch of normal people with normal problems find out they have powers, and find themselves eventually having to save the world. By the end, the whole point was that all these characters were going to come together to stop a nuke going off in New York. Eventually, they would have to reach that future they saw glimples of, that future where Hiro was a badass hero and stuff. The whole point was that eventually, Hiro, Peter etc were going to become heroes.

          But the moment that happened, the show would have to change. It would have to enter a new iteration, with a new dynamic. But they were too afraid to actually make that leap, and so kept spinning their wheels. Kept finding excuses to go backwards, to start again. They so wanted to keep doing what they were already doing that they destroyed the show trying to repeat Season One. But a show like Heroes, that was about the characters growth from ordinary people to saviors of New York, could never repeat that beginning.

          The problem with Heroes was that they were never willing to let their characters become Heroes.

  2. My LCS cashier described X-Men and Inhumanity Prime as refreshers to help anybody who hadn’t been following those series prior to catch up, which means they’re decidedly not for us. I’m reminded of the same struggles I had with that initial Inhumanity one-shot, back when Fraction was still attached to the project

    • Hahaha. Remember when Fraction was going to be the next Bendis or Hickman, helming a huge summer event? I think he’s a fantastic writer, and I’ll read everything he writes, but that was clearly not a good fit.

      • Did anyone read Fear Itself? I remember reading the first one or two issues and being impressed, before I had my break from comics.

        In all honesty, I think Fraction could have been the next Bendis/Hickman. Work like Invincible Iron Man were proof that he could have done that (and honestly, I think the Inhumanity stuff would have been a great fit for him, as that is the sort of story that would play to his strengths. A bunch of ordinary people gaining powers and finding out they belong to another culture is offbeat enough to play to his strengths).

        But books like the Order and Immortal Iron Fist really did show that Fraction would have been more comfortable doing something more offbeat. And when Hawkeye was such a success that Fraction no longer needed Marvel, he did the right thing running away from them to do his own stuff.

        The fact that writers like Remender and Hickman did their time at Marvel, made their name, then went off to Image to do the books they want to do is fantastic, and the fact that Fraction got the chance to do that early is even better.

  3. Infamous Iron Man: This book started strong, but really seems to be running out of steam. Too much of this is Doom running around fighting random Fantastic Four villains, and the closest thing to a major story moment of the Thing turning up. But he’s gone, and now things are returning to normal. THe big problem here is that the real story, around the Maker and Doom’s mother, is mostly the two of them standing around, watching Doom.

    The cliffhanger of Riri going after Doom is interesting, especially as she seems to be trying to find Doom out of the mistaken belief that this may be Tony. But we seem to have the ‘Doom fighting bad guys, gets into trouble with SHIELD, existing superhero comes to confront him’. Hopefully Riri’s different aims means this turns out differently, but in truth what really needs to happen is the Maker and Doom’s mother need to do something other than be our Greek Chorus. Something meaningfully long term needs to happen


    Inhumans Prime: A tale of two lines. ‘They don’t know what terrigen is yet’ is a truly fantastic line. Clever use of Noh-var’s parallel universe existence, and pregnant with possibility. Drew, I think the reason you like ‘Save the cheerleader, save the world’ so much is that it is the sort of line that instantly changes the shape of the narrative. It isn’t that things are going to get more interesting, but that their uttering makes the story more interesting. It changes the shape of everything. As does the ‘They don’t know what terrigen is yet’.

    Which is why the other line is such a shame. ‘Come with me if you want to be awesome’. A reference to Young Avengers. And ultimately an empty one. In Young Avengers, that line was Noh-var bragging after saving the lives of everyone. And there was a lot more to it than just that. It was his attempts to show off to Kate. It was a key part of the tone of a book that used tone exceptionally to speak to both character and theme.

    Which just shows all the problems with Ewing’s work. His ideas are fantastic. Avengers Idea Mechanics is a great idea. The Ultimates is a great idea. Noh-var’s position as a Kree from another universe helping the Inhumans is a great idea. But his characters are empty reference. There is no reason for Noh-var to be using that line. It doesn’t work stripped of the context of that first arc of Young Avengers. It especially doesn’t work in the context of that scene (here’s an idea. What if the issue ended with Noh-var’s line about terrigen).

    In some ways, this issue is hard to judge in that so much is recap and set up. It ins’t supposed to be good. So much of it is about moving pieces around, that the character work would likely be bad even if it wasn’t Ewing. Credit where credit is due, the scene with Black Bolt and Maximus is good, maybe because Ewing is finally writing a scene that ins’t supposed to be an ensemble and can return to the fundamentals that made Loki work. But there isn’t a lot in here to give faith that Ewing is going to fix the problems that has wrecked every book he wrote since leaving Loki. Noh-var is proof (also, discussing how the second issue is ‘Inhumans fight Chitauri’ is not helping Ewing’s case. The Chitauri are boring bad guys who exist solely as something for real bad guys, like Loki or Steve Rogers, can use as an easy army. Stopping trying to make them a thing)

    Oh, and it is weird that an issue that makes a big point about how Inhuman society is no longer a monarchy, and no longer going to exalt one family above all the others, when the line itself involves the book Royals, all about the Royal family, another book for Black Bolt, and yet no book for the people of Attilan. All those characters that Soule made are to be forgotten, because regardless of Iso’s line about how every inhuman voice will be heard, we are only going to be listening to the royal family. This line is missing an Inhumans book to continue the story of the people of Attilan


    Starlord – There is a joy to tight storytelling, and just how much of this book is paying off. Every superhero who has had an important ole in this story (ignoring Ms Marvel, who was essentially a background figure), gets to return as a satisfying payoff. A fun twist of the heist structure, where instead of having a series of reveals of how previous events set up the heist, you have a series of reveals of how Peter gets out of doing the heist. But in truth, it is the next issue where the real meat is going to be, where we get the emotional climax.

    But the frustrating thing about this book is that despite the fact that the story is so tight, that the arcs are so cleverly intertwined, the book doesn’t work as well as it should. It feels average, despite all the elements fitting together

    Also, I don’t know what is better about this book. The fantastic Daredevil jokes or Abigail Brand’s amazing outfits


    Thunderbolts: Here it is, the moment that Bucky finally learns that Steve is HYDRA. Which should be great, except for the fact the method is so poorly done. Bucky seems to naturally fit back into WW2, despite having all of his memories, instead of trying his best to investigate what has happened and to get back to the present to stop Zemo or try and seriously change history. He just follows everyone’s orders. He just… enjoys the ride.

    And the premise, that Kobik is giving Bucky an opportunity to join HYDRA, is wasted by the fact that there is never a case given to Bucky for why he should join HYDRA. Surely Kobik would want to explain why Bucky should join the super awesome HYDRA.

    At least the scene after, where Kobik talks to Bucky, mostly works. Even if Spencer has been far too stingy with the specifics of what Kobik did and why things don’t fit what we expect from what Spencer and Zub have explained about Kobik’s viewpoint


    X-Men Prime: The simple fact that it gets my favourite character wrong to the point where she is playing basketball without the gloves that let her control her powers is enough to make me hate this comic.

    But in all seriousness, I think I preferred this slightly more to Inhumans Prime. It certainly feels like an apology for everything in the recent past, which is annoying. But at least it is rooted in Kitty’s character, instead of Ewing’s emptiness. The romance cover panel is a fantastic example, a winderful display of nostalgia. If this issue has a strength, it is that it is rooted in Kitty’s experiences and feels character motivated.

    But there are problems. Oddly, for one of these issues, it is only the framing device that is good, while the mini stories are bad (usually, the framing devices are the worst part). The Weapon X stuff implies attempted rape for no reason, but is generally a bad story that doens’t do a good job at introducing Lady Deathstrike, nor caring that much about the story as a whole. It has a real issue of trying to introduce the story without actually introducing anything.

    Meanwhile, Bunn’s writing of the Original 5 is awkward. Whether it was the thought bubbles, the annoying chivalry and the infantizalation of Jean by the other, that seems to be taking up all the room or just the awkwardness of the conversation, built around being vague enough to hide anything meaningful before both the twist at the end and X-Men Blue being the real start.

    But that’s the thing. There are no real starts in this issue, so it doesn’t do a lot to sell me on the next era of the X-Men. After IvX was a disaster, I wanted to use this as a chance to have a look at Inhumans and get back on the X-Men horse. But neither issue does a good job selling them. I’ll read Black Bolt, for reasons outside either Prime issue. But what else? The best case made is that X-Men Gold could be good, if annoyingly throwbacky.

    Honestly, every Marvel book disappointed me this week

  4. I totally missed that both X-Men and Inhumans were primer issues.

    (I totally skipped Inhumans vs X-Men. I found the Inhumans books boring and skipped the whole event)

    I guess I sort of liked X-Men prime in the way that I sort of like vanilla pudding with nilla wafers. I know it’s cheap and not *real* quality, but it’s comforting in a time travel to being 12 years old getting to go to the drug store with my mom and pick up a comic and a pack of baseball cards sort of way.

    The idea of this feels very much like DC Rebirth: “Sorry guys! We didn’t do a great job with these legacy characters lately, so we’re going to change it up to be how it was back when you liked it when you were kids! Oh, we’re gonna keep the same stable of writers (or guys just like them), though.”

    I may be wrong, but this feels like a step back to try to take a step forward. It might work…

    • The Rebirth comparison really is something that makes me really not want to read X-Men Gold, despite being the only thing either Prime issue managed to successfully sell. There is a reason I called it overly throwbacky

      I understand that once you end a ‘threat to extinction’ storyline, your nest storyline is a ‘things get back to normal’ story (with the exception of when Bendis did the Original 5 stuff, though that had to do with the fact that Cyclops’ specific status quo at that point). But compared to something like Whedon’s Astonishing X-Men, it is doing a really bad job in creating a new take on ‘X-Men recommit to being superheroes’. Where Whedon focused on the idea of the students becoming the teachers, on Emma Frost’s tenuous new position in the X-Men etc, X-Men Gold seems to be doing everything it can to show it has nothing new (hell, you could call a majority of Kitty’s story in Prime a direct reference to Astonishing X-Men. Kitty walks through the school, nostalgic for the way things were and seeing the ways that everything’s changed? That is Astonishing X-Men’s opening)

      You look at the cover, and the rule is ‘everyone is in the costumes you remember’. Which is sad, considering the X-Men are known for their constantly evolving aesthetic. Everything new and different and been scrapped away.

      Doing a story about the X-Men recommitting themselves to be superheroes is a perfectly legitimate story. Taking a step back to take a step forward is a legitimate strategy. But I don’t think X-Men Gold is selling a step forward.

      That’s the big problem. What is so special about X-Men Gold, that I should read it instead of Astonishing X-Men, or any other X-Men run?

      • I just can’t figure out what I’m going to drop if I want to try a couple of the new X-Men books. I admit this is a failing of mine: I frequently try Marvel team books to be disappointed after three issues and dropping them (nearly every X-Men run except Wolverine and the X-Men, every Avengers run except Hickman’s and the current (and terribly titled) Occupy). And I’m going to do it again with X-Men Gold and Blue.

        You know, I mostly liked Gillen’s X-Men run. And I at least liked enough pieces of Bendis’ X-Men to pick them up at discounts. It might be good. There’s room for it to be good.

        • I can’t say any of the upcoming X-Men team books have truly caught my attention, though that’s more an issue of creative teams than characters (wanna read about the original X-Men, don’t wanna read Cullen Bunn writing them). Of the upcoming X-Books, it’s Jean Grey (Dennis Hopeless) and Iceman (just wanna see what they do with him, especially now that he’s out) that interest me most — though I’m curious about Generation X as well, just because I’ve got a soft spot for Jubilee

        • I also like to try team books, but they can so often be disappointing. I’ve been waiting to get back into X-Men, but just haven’t found an interesting enough take. Bendis had a great idea, but quite simply, he is no good at ensembles. Pick them up at discounts is a good description.

          But I don’t know why I would want to read X-Men Gold, other than ‘it was the best part of X-Men Prime’, and Cullen Bunn doesn’t look like he has a good handle on X-Men Blue. I want an actual selling point, something to tell me why I should read it, instead of any other X-Men run (especially when I can finish my Morrison X-Men reread). Honestly, as much as it wasn’t targeted to my tastes, I think the X-Men were in a better position with Lemire, whose work I don’t like, and Hopeless doing the Original 5 Road Trip.

          My list of interesting X-Men books is exactly the same as Spencer. I’m always willing to give Hopeless a chance on nearly anything after Spiderwoman, so I’m looking forward to Jean Grey. And I really want to see what they do with Iceman. And I’m curious about Generation X (even though I don’t like the name. I used to love how each generation of X-Men had their own title. First, we had Cannonball, Sunspot, Karma etc as the New Mutants. Then we had Jubilee, Husk, M etc as Generation X, followed by Surge, Hellion, X-23, Dust etc as New X-Men. I liked that each generation of X-Men had their own name. Especially as the Generation X pun no longer works now that all the kids are milenials, not Generation Xers)

  5. A thought about the current state of the X-Titles.

    Some short number of years ago, it seemed that Marvel made a comics decision based on movie decisions. They didn’t want to focus as many resources on comics they didn’t have the movie rights to, and wanted to focus more on comics they did have the rights to. This seemed to play out in Inhumans getting big name writers, the Fantastic Four disappearing as a team, and the X-Men (again) facing extinction at the hand of Marvel’s new favorite franchise, The Inhumans.

    But something happened that I don’t think Marvel expected. People still wanted to read X-Men, specifically the X-Men that they knew (because Marvel has learned that new comics readers are rare and a large part of their buying audience is older, possibly) from their youth, and didn’t care that much about the Inhumans.

    I tried to care about the Inhumans, but they made significant mistakes in making the Inhumans a franchise – they put too much into the stories. They basically said, “READ THIS” and tried to give me years of characters in a short amount of time. Too short, as it turned out, at least for me. I barely remembered who was who from month to month, and multiple Inhuman titles made it worse.

    Even worse was they had the Inhumans in crossovers where they were major players. It was overload. And I don’t think they quite caught on the way Marvel thought they would, yet the X-Men still sold. And the X-Men outsold Inhumans by almost double in the first two months of 2017.

    So Marvel has to make this change. They need to give fans what they think they want: X-Men that they know and love. Hence the “Back to Basics” tagline, with familiar images.

    I’m not sure how deep I’ll go into the X-Men. I’ll give Blue and Gold a chance at least, but as I said before, I’m not sure what I’ll drop.

    2017 is a hard time to create a new franchise when you’ve currently got fan favorite franchises sitting there waiting to be used. It’s sell now or change, and Marvel felt that pressure with the Inhumans. Those characters needed time to develop, and I don’t think Marvel did a very good job of doing that, even with a great writer behind the team. So here we go. Inhumans AREN’T the death of mutants, and maybe this means we’ll have some heroic X-Men stories and maybe the Inhumans can get some time to grow.

    • I think it is slightly more complicated than that. Ike Perlmutter certainly wanted to stop producing Fantastic Four and X-Men comics, because he is a petty bastard. But Marvel itself hasn’t let Perlmutter’s decisions totally control them. Remember, Marvel’s response to the demand to get rid of the Fantastic Four was to write the best Fantastic Four story ever in Secret Wars, then launch Infamous Iron Man, a Fantastic Four book in all but name.

      So yeah, orders from up high were to reduce the X-Men line and to push the Inhumans. But Marvel actually did put the effort into supporting the X-Men. Despite my distaste for him, Lemire as the lead of the X-Men books was a commitment to supporting the X-Men. So to, was getting Hopeless to write the Original Five. And Cullen Bunn had got a positive response to his Magneto series, and so he was allowed to continue that work on a much higher scale. A good bunch of creators.
      Marvel then created an X-Men mini-event to exploit X-Men Apocalypse, to draw attention to the X-Men books at a time when interest was supposed to be high. And they tied the X-Men closely to the Inhumans that they were trying to push. In fact, you could argue that Marvel were leveraging the X-Men’s popularity to push the Inhumans.
      It wasn’t popular, but I think Marvel was trying to do the best they could with the X-Men.

      What’s happening here is that all those rumours that Marvel was going to do its own Rebirth sounds like they are true. Apparently, despite Marvel’s best attempts, customers in many stores are rejecting Marvel’s comics because ‘they aren’t the comics I grew up with’ (the worst thing is that it appears that these feelings weren’t shared by customers during the times of, say, the straight, white Dick Grayson and Bucky Barnes as Batman and Captain America). Which is weird, considering Rebirth is doing worse saleswise than the New 52.

      Which means we are going to enter some bad times for Marvel, especially as we start to learn what happens on the other side of Secret Empire. They seem to be saying they are still committed to being diverse etc, and that they are just going to combine it with more meat and potatoes stuff. I’ll believe it when I see it, though. DC promised the same stuff, before Rebirth came out as a fucking disaster

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