Spencer: A defining trait of She-Hulk has always been control — becoming She-Hulk gave Jennifer Walters confidence, and she could fully control that form to the point where she remained Hulked-Out 24/7. Much of the tragedy of Mariko Tamaki and Nico Leon’s Hulk has been watching Jen lose that control as a result of the trauma she underwent in Civil War II, but Hulk 5 shows that Jen’s situation is actually far more circular and complicated; she didn’t just lose control because of her trauma, but her trauma hit her so hard because she lost control in the first place. Continue reading
Spencer: Despite the name, She-Hulk has never settled for just being a distaff counterpart. Jen’s occupation, abilities, and especially the confidence and control they’ve granted her have always set her far apart from Bruce Banner, allowing Jen to carve her own niche within the Marvel Universe. Mariko Tamaki and Nico Leon’s Hulk 1 finds many of the aforementioned qualities that have always defined She-Hulk violently ripped away from her, yet even then, Jen manages to cling to her individuality. While Banner’s Hulk was a creature born of anger, Jen’s Hulk is born of fear, anxiety, and trauma. Continue reading
Today, Drew and Taylor are discussing Astonishing Ant-Man 11, originally released August 31, 2016. As always, this article contains SPOILERS.
Drew: When I was 13 or 14, a group of older kids vandalized our high school. They broke in after hours, threw a bunch of furniture off of the roof, and dug a bad word into the grass of the school courtyard. It got a lot of attention, but the vandals were smart enough not to leave any incriminating evidence. Until, that is, they were caught vandalizing a billboard on the other side of town. Being caught red-handed is generally only a sure indicator of guilt for the crime you’re caught doing, but these idiots also happened to have a video camera with them. Oh, right: in the decades before everyone carried a video recording device in their pocket, these knuckleheads went out of their way to create incriminating evidence, bringing along a camcorder to immortalize their crimes. But, you know, not being made out of videotapes, one tape might cover many nights of escapades. Which is to say, the police caught them with a video confession of sorts for the high school vandalism.
It was a remarkable story at the time, but in the years since, as cameraphones proliferated, stories of idiot criminals (usually teens [but not always]) caught with footage of their own criminal acts became more and more common. Sure as selfies and reality tv made navel gazing a way of life, they also created a new kind of criminal: one with the self-directed airtight case against themselves. That’s almost the situation Scott Lang finds himself in, though in his defense, he didn’t know he was being recorded and broadcast around the country. Still, how do you talk your way out of a conviction when there’s video footage of you planning and committing the crime in question? That remains to be seen, but there’s little doubt that Jennifer Walters is the one lawyer who might be able to pull it off. Continue reading
Today, Patrick and Shelby are discussing Silver Surfer 3, originally released April 13, 2016.
Patrick: Silver Surfer has a puzzling relationship with the concept of “history.” I suppose we should expect no less from a character that can get caught in infinite time loops and regularly has a role in actively remaking reality. But he’s also just a strange character to consider from a meta-fictional standpoint: a villain-turned-hero whose whole shtick reads like a crummy Beach Boys B-side. There’s a weird mix of highfalutin science fiction mumbo-jumbo and campy comic book irreverence built into the character’s DNA. Was he the herald of planet-devouring mega-monster? Sure, but his last name is also Radd. Dan Slott and Michael Allred use the occasion of Silver Surfer’s 50th anniversary to celebrate the character’s duality and challenge the comic book industry’s penchant for rebooting their worlds and characters.
Today, Spencer and Drew are discussing Spider-Woman 5, originally released March 16th, 2016.
Spencer: I’ll admit that, much like Clint Barton, I never took Jessica Drew for the motherly type — she’s always been such a socially awkward, work-oriented character that it just felt like a poor fit to me. Still, Dennis Hopeless and Javier Rodriguez’s first volume of Spider-Woman was so strong that it seemed likely they could sell me on Jessica Drew as a mother, or at least get a good story out of it. Boy, was that an understatement. This first arc of the rebooted Spider-Woman has been astounding, but this week’s issue 5 is especially powerful. Not only do Hopeless and Rodriguez make a convincing argument for “Jessica Drew as a mother,” but they present such a compelling take on parenthood that their editor actually feels it necessary to include a disclaimer on the letters page! That’s some good stuff, there. Continue reading
Today, Spencer and Taylor are discussing A-Force 1, originally released January 6th, 2016.
Spencer: As comic book fans, we’re all used to the idea of alternate realities. They pop up with surprising frequency, but whether we spend just a few scant pages exploring them or several months immersed within their worlds, we’re always aware that they aren’t the “main” continuity, simply fun “what-if’s.” That isn’t true of the characters living within these alternate realities, though — for them it’s their home, their entire world, everything they know and love. That holds especially true for Singularity, the main protagonist of G. Willow Wilson and Jorge Molina’s A-Force 1 — hailing from God Doom’s Battleworld, Singularity’s entire life spans just the five issues of the first volume of A-Force, so for her the return of Earth-616 isn’t the triumphant homecoming it is for readers, but a strange, scary new reality that she knows nothing about. Continue reading
Today, Ryan M. and and Spencer are discussing Patsy Walker: A.K.A. Hellcat! 1, originally released December 23rd, 2015.
Ryan M.: A first issue in a series is sort of like a first date. You don’t need the full origin treatment. It’s really a matter of figuring out if you enjoy each other’s company. It provides a sample that hopefully indicates what’s to come, but cannot necessarily lay all of that out. After Patsy Walker, A.K.A. Hellcat! 1, I am ready to invite this series to my place for a home-cooked meal.
Today, Michael and Taylor are discussing A-Force 1, originally released May 20th, 2015. This issue is a Secret Wars tie-in. For more Secret Wars coverage from the week, click here.
Michael: Full disclosure: the exact ins and outs of Secret Wars are kind of over my head. I know that it is a better (and actually planned out) version of DC’s Convergence. I also know the basics of the event, which pretty much can be boiled down to the recap page of: “The Multiverse was destroyed! The heroes of Earth-616 and Earth-1610 were powerless to save it! Now, all that remains…is Battleworld!” So I’m going to try to take A-Force objectively, at face value. Continue reading
Today, Ryan and Patrick are discussing Secret Wars 1, originally released May 6th, 2015.
“Oh, best war ever…”
-General Nick Fury, Secret Wars 1
Ryan: Secret Wars grabs the baton from Jon Hickman’s Avengers/New Avengers beloved/despised/confusing “Time Runs Out” saga chronicling the futile struggle of Earth-616 against the collapse of the multiverse. Hickman dives in by tipping his hat to the concluding plot thread of Doom vs. The Beyonders, the significance of which — aside from helping to shrink the amount of surviving universes down to a baker’s dozen minus a bunch — is still a bit lost on me. The narration of the issue is provided by Reed Richards, and the first installment of this event belongs to him.
Today, Patrick and Ryan are discussing Howard the Duck 1, originally released March 9th, 2015.
Patrick: Why do you take a chance on buying a brand new issue of a brand new comic book series the day it comes out? When you think about it, you’re taking a pretty big risk regarding the quality of the thing you’re about to read. I suppose the worst thing that can happen is that you’re out four bucks and about eighteen minutes. But there are so many damn comics, and I know I’m always looking for place to cut my pull. Number ones, though? I roll the dice on those several times a week. But for every number one I do read, there are like 80 I don’t. So what’s the alchemy that made me pick up Howard the Duck 1 over, I don’t know, Spawn Resurrection 1? The character? The publisher? The artist? The writer? That’s a question the issue itself poses: how did you come to Howard the Duck? Continue reading