Reconciling with the Past in Black Bolt 12

By Drew Baumgartner

Black Bolt 12

This article contains SPOILERS. If you haven’t read the issue yet, proceed at your own risk!

The superhero genre is littered with emotionally scarred men. Whether it’s a murdered loved one or a superpower-generating freak accident, trauma of one kind or another is a ubiquitous motivator for superheroes. Indeed, for most characters, that tragic backstory is so central to who they are and why they fight that it’s all but impossible to truly confront it — remove the psychological pain, and you “solve” the character’s motivating problem, effectively ending their story. So most of these characters are doomed to never resolve their issues. But what if why they fight has little to do with their trauma? What if that emotional baggage isn’t their motivating force? What if a superhero could confront their problems without destroying the conflicts that make them a hero in the first place? These are questions posed by discerning fans for decades, but rarely have those questions been answered as effectively as they are in Saladin Ahmed and Christian Ward’s Black Bolt 12. Continue reading

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Shortcomings of the Lone Wolf in Black Bolt 11

By Patrick Ehlers

This article contains SPOILERS. If you haven’t read the issue yet, proceed at your own risk!

It might be sorta odd to cast one of the founding members of a famous superhero team as a loner. You’re always going to have your Raphaels, or your Wolverines, characters that bristle at the thought of getting too chummy with their teammates, but always end up affirming the value of teamwork before the issue is through. Black Bolt is a different animal entirely; separated from his people by the nobility of his birth and his inability to communicate, he may genuinely be more content to walk the world alone. Black Bolt 11 teases an origin for this misanthropic streak while also testing its strength. Continue reading

Snow as Setting and Tone in Black Bolt 10

By Patrick Ehlers

This article contains SPOILERS. If you haven’t read the issue yet, proceed at your own risk!

Not only is it cliche to say that setting of a story becomes its own character, it’s also inaccurate. I don’t care how much you think New York City is a character in [whatever movie you’re talking about], characters have wants, desires, arcs — characters can change and be changed by the story. A location cannot. A good setting can be incredibly additive, coloring in emotional information and setting an appropriate tone, but, y’know — isn’t a character. In Black Bolt 10, writer Saladin Ahmed and artist Christian Ward use the ancient Inhuman city of Orollan, nestled away in Greenland, to emphasize the cold lonely journey Black Bolt has been on since issue 1. Continue reading

Making a Connection in Black Bolt 4

by Drew Baumgartner

Black Bolt 4

This article contains SPOILERS. If you haven’t read the issue yet, proceed at your own risk!

Black Bolt and Crusher Creel are about as different as characters get in the Marvel universe. Sure, Black Bolt is generally a good guy and Creel is generally a bad guy, but they’re also on opposite ends of the relatability spectrum. Creel has that sympathetic backstory that makes his decisions understandable, while Black Bolt’s regality and silence make him almost impenetrably aloof. Black Bolt’s abilities stem from his genetics, while Creel’s came to him later in life. All of these things make Black Bolt and Creel unlikely bedfellows, but Black Bolt 4 finds them forging a connection, even as Saladin Ahmed and Christian Ward do everything the can to illustrate how different these characters are. Continue reading

She-Hulk 11

Alternating Currents: She-Hulk 11, Drew and SuzanneToday, Drew and Suzanne are discussing She-Hulk 11, originally released December 24th, 2014. 
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Dun-dun-duuuun!

Dramatic Sound Effect, Traditional

Drew: There’s nothing like a good plot twist. I may hem and haw over whether I prefer that a plot be surprising or relatable, but there’s nothing quite as exciting as having the rug yanked out from under us. Still, I find that twists work best when, to paraphrase fellow contributor Greg Smith, they’re both an interesting plot devices and an organic extension of the story. That is to say, while the ending of The Sixth Sense may feel like just a clever, Twilight-Zone-y twist, it actually provides a very logical end-point to Cole’s newfound mission in helping ghosts come to term with their deaths. It’s not yet clear if all of the twists in She-Hulk 11 (and there are many) are quite as character-driven, but writer Charles Soule cleverly packs them into this penultimate issue, leaving plenty of space for more meaningful conclusions next month. Continue reading