Rick Remender has quietly been creating a great Captain America story with his characteristic classic sci fi tropes against an exploration of American covert history that keeps improving with each issue and this one is the best yet. There is a lot of cool stuff going on here; Nuke and Captain America discussing how to come back from war, the expanded roles for supporting cast members like Falcon or Nick Fury Jr and the total oh shit moment that strikes at the end where everything seems to be copacetic until it all falls apart. I’ve loved how this arc has worked to explore America’s military, espionage and cold war history without feeling derivative of Ed Brubaker while also keeping a tight narrative. Remender is a guy that writes Grant Morrison idea’s like Frank Miller and it’s made for a Captain America that is like nothing I’ve ever seen but still true to the character. Remender’s see’s Cap as the son of Irish immigrants and a child of the great depression at his core and it’s that deep seated empathy for the character that is the heart of this series in the center of all the crazy science fiction. A story that keeps getting better every step of the way.
…in which Natasha learns that mistakes comes with consequences and Mr. Ross takes care of business–with bullets!
This is a Black Widow book and it is fantastic, people. I never thought that I would find myself enjoying a book about a character I knew/cared nothing about. This series (like Hawkeye, Green Arrow, Aquaman, and Daredevil) proves that all it takes is a strong creative to bring a lower-tiered character from the back issue bins and into the limelight.
In this issue, BW finds herself on a mission from an old friend to locate his missing son. Unlike last issue, not everything goes as planned. Soon, BW learns that she is being hunted by an unknown source. The threat is later revealed to be Iron Scorpion, the brother of a murderer she once disposed of. This story continues to set the foundation and build the mythos of Black Widow’s world. We may have found our overarching enemy for the time being.
Something Marvel has been doing really well is diversifying its line. Each book feels different from the rest, able to offer something the others cannot. Black Widow follows suit. Between Edmondson’s super spy approach to Phil Noto’s magnificent art, this series has carve a nook to rest upon and dares readers to give it a try. Trust me, you should.
By Mick Anglo, Don Lawrence, Alan Moore, Gary Leach
So this is a couple golden aged stories written in the 1950’s with an extended history lesson and interview with Miracle Man/Marvel Man’s creator (which was a Shazam rip off anyway) but the real meat of this and what really matters here is the Alan Moore work and let me tell you it is something. Miracle Man which was written in 1981 predates Moore’s seminal DC work on Batman, Superman, Swamp Thing and of course The Watchmen. What’s so striking about this comic is despite coming before all of that work this still feels like he’s fully formed doing all the things that made his writing great. There’s the fall from grace of the golden age superhero as a symbol for the decay of the “great society“, the constant paranoia of nuclear holocaust and apocalypse in the cold war, the wonderful narrative devices and Moore’s underrated strong dialogue that carry’s his work and engages the reader to the characters. Forget all that cash grabbing prequal nonsense from 2013; this is the real Before Watchmen and over thirty years later it still feels as vital and full of life and wonder as if it was created today.
Poor, Fair, Good, Great, Great, Excellent
By Brian Michael Bendis and Chris Bachalo
This review begins with a question. Is calm mannered Magneto a compelling character? The answer is no. This book has been fantastic and I have enjoyed it every month since issue #1. The one criticism I have is that Magneto is useless, he gets lost in the background. Scott’s babysitter is not Erik’s finest role. Bendis tried to make him interesting by giving him that double double agent story, but that fell flat because being a double double agent cancels itself out, and turns out is not interesting (comic book math 🙂 ).
Pros: This felt like a classic Disney adventure, almost like Escape to Witch Mountain. Parents are taken out of the picture almost immediately, and it is up to the children, Max and Mel, to save the day. The Museum’s design is intriguing, and the fact that almost anything can happen in it keeps it interesting. Seifert’s (a favorite of mine since Witch Doctor) imagination runs wild on creating some wacky creatures, and Moline does a great job of providing that “Disney-ish” appearance.