Bendis debuts ‘Iron Maiden’ in Iron Man #10 while Tony goes deep undercover

Iron Man Franco

Brian Michael Bendis’ Invincible Iron Man has employed a cloak and dagger sensibility for ten issues now. Readers have more or less been treated to a solid tale of corporate espionage, but at some point in time even the most patient readers will move on. There needs to be a payoff to months of running around in the shadows, and luckily it seems as though IIM #11 will be the issue to deliver.

Perhaps the best way to describe IIM #10 is to liken it to a man at a talent show spinning plates. Bendis jumps around to multiple locations to keep his “Tony,” “Rhodey,” “Riri,” and “Mary Jane” plates moving long enough to get to his grand finale. What would be a total disaster in lesser hands (e.g., Jose Molina’s “point” issues in The Amazing Spider-Man) is handled well, and as a result it appears as though IIM #11 will be a must-read.

Before we move on, here is what you need to know about IIM #10:

  • Tony has gone under cover as the former Navy SEAL and S.H.I.E.L.D. agent “Franco.” Biohack ninjas in Japan take him hostage in the middle of the night because their leader wants to know more about him (he saved Yukio when her illegal gambling operation was raided).
  • Tony meets face-to-face with  Tomoe, aka “Techno Golem,” an Inhuman who can control technology. After proving his hand-to-hand combat skills with her biohack ninjas, she tells “Franco” (i.e., Tony Stark using advanced bio-technology to look like an aging Luke Perry) that he may be potentially valuable to her. She wants to take down S.H.I.E.L.D., Hydra, Wakanda, Atlantis, and Attilan. She also wants to kill … James Rhodes.
  • Mary Jane goes to her apartment after receiving a mysterious package. A device with a button says “push me” and she inexplicably obliges. Tony’s AI assistant, Friday, emerges and pleads with her to take the job at Stark Industries. The board of directors is meeting to seize control of the company because they believe Tony is dead.
  • Riri Williams, the 15-year-old whiz kid from MIT, conducts a test flight in her Iron Man-like armor. She deems herself “Iron Maiden” and tells a friend, “You can tell no one what I am about to do.”
  • James Rhodes meets with the Avengers and says they need to figure out how to confront a tech-based terrorist group using only their “natural abilities.” He says all contact has been lost with Tony, which means things may “get very bad very quickly.”

Given what readers know, it is imperative for Bendis to bring serious action to IIM #11. Mary Jane will undoubtedly spend time attempting to defuse the situation with Stark Industries’ board of directors, but it can be stressed enough how much this title needs some high-octane butt-kicking, bullets, and giant explosions. It’s time. Make it happen, Mr. Bendis. Seriously.

Finally, one cannot talk about IIM #10 without wondering about Riri “Iron Maidan” Williams.

Riri Willaims Iron Maiden.jpeg

Who is she? Where did she come from? Is Bendis blatantly signaling this is just checking off a gender score card when she specifically asks her friend, “If Iron Man was a woman what would you call him?”

Fact: I want to like a superhero in Stark-like armor named Iron Maiden. It’s cool. I cannot deny that. What is not cool is blatantly beating readers with the message “I am doing this because every iconic male superhero needs a female counterpart — and if you roll your eyes then you’re kind of a bad person.”

Many readers, myself included, will give Riri Williams a shot — but if Bendis starts trying to guilt Iron Man fans into an instant love fest, then it is likely his efforts will spectacularly backfire.

Exit Questions:

  1. Mary Jane is supposed to be winking at readers in this cover photo, but why does it just look like Tony Stark gave her a black eye?
  2. Why would Mary Jane push a button from an anonymous stranger that looks incredibly bomb-like? She even covers her face with her left hand — as if that would somehow shield her from a giant blast. Did she not watch the old Ren and Stimpy episode with the “History Eraser Button”? Tsk, tsk, MJ.

MJ IIM 10
Mary Jane Iron Man button

Stimpy Red Button

Dan Slott’s Amazingly Immature Spider-Man makes protégé Miles Morales ‘ashamed’ of the costume

ASM13 SpiderMan IronMan fight

It would be incredibly hard for any comic book to steal headlines from Marvel’s Hydra-loving Captain America these days, but the latest issue of The Amazing Spider-Man gives it the old college try in terms of defiling a great character. It’s true that Marvel’s editors have not made Peter Parker admit to killing Uncle Ben — yet — but Dan Slott does turn a grown man into an immature loser who puts civilians’ lives at risk. Worse, Peter’s own protégé looks at his behavior and can barely keep his lunch down.

Before we continue on, here is what you need to know for ASM #13:

  • Harry Osborn and Betty Brant get ready to go to lunch with “the old gang.” Harry weirdly tells Peter that he isn’t invited because he’s “the big boss man” and Peter sheepishly replies, “Um…okay.”
  • Harry tells Betty he didn’t want to “risk” an awkward encounter with Mary Jane attending the lunch.
  • The three of them look at one of Betty’s Daily Bugle articles and realize that Augustus Roman is Regent.
  • Peter takes off as Spider-Man for a “Big Brother batting cage playdate” with Miles Morales, aka young Spider-Man.
  • Tony Stark arrived before Peter and soon ribs him about the quality of Parker Industries’ technology. Iron Man has also provided Miles with new web-shooters.
  • Spider-Man goes nuts and begins a street fight with Iron Man in front of parents and their children.
  • Miles Morales throws his hands in the air and says he’s “ashamed to be wearing this costume right now.” He leaves unnoticed and is immediately captured by Regent.
  • The giant explosion that takes down Miles stuns Spider-Man and Iron Man. The charge towards the blast area.

Ask yourself this question: If a writer claims to love Peter Parker, then why would he have the character behave in a way that causes a derivative version of himself to be “ashamed”?

The job of a writer is to make the protagonist shine in his own unique way as much as possible, yet Dan Slott’s Spider-Man has New Yorkers running for the hills as he acts like a clown.

“With great power comes great responsibility” — unless Tony Stark acts like Tony Stark, in which case it’s time to destroy public property and scare everyone within a half-mile radius. Perhaps J. Jonah Jameson was right all along…

ASM 13 SpiderMan IronMan

Regular readers will note that Peter Parker had a bizarre fight with Human Torch in ASM #3 and with Iron Man in ASM #12. He is actually regressing in terms of tact, professionalism, and maturity as the series goes on, so much so that his teenage protégé storms off in disgust. 

ASM 13 Miles explosion

“It was me. This is my fault,” Spider-Man says as he searches through wreckage for Miles. That may be true within the context of the story, but fans are left thinking, “No, this was Dan Slott. This is his fault.”

Long-time Spider-Man fans need to be told the following since they will never get it from websites like Newsarama: Dan Slott uses ASM #13 to elevate Miles Morales by making a mockery out of Peter Parker.

Writer Brian Michael Bendis did the very same thing in SM #2, which is why readers must pay close attention. There is a concerted effort to chip away at Peter Parker’s credibility until Miles usurps him in popularity, and it will certainly happen unless readers push back — hard.

If you want to see the slow-motion destruction of Peter Parker, then run out and buy ASM today.

If you want to see writers knee-cap the original Spider-Man so that Miles Morales wins the long-distance sales race, then check out ASM.

If you want to show Marvel your displeasure at what it’s doing to both Captain America and Spider-Man, then keep your hard-earned cash for better products. Charles Soule, for instance, is running creative laps around his peers as the moment. I highly suggest checking out his version of Daredevil.

ASM 13 IM SM

Tom Brevoort tries Hydra Captain America spin-job, Newsarama goes full toady

Captain America Jack Flag

One of the reasons this blog began reviewing the comics industry years ago was because the mainstream “news” outlets almost always serve as a mouthpiece for whatever bilge the creators dish out. If there is one good thing to come out of Nick Spencer’s “Captain America: Nazi-sympathizing Hydra Agent,” it is that more people realize that allegedly impartial reporters are usually glorified toadies for men like Tom Brevoort.

Take a recent piece by Newsarama’s piece by George Marston:

“Reaction to the news has been mixed, with some, familiar with the ebb and flow of comic book storytelling intrigued by the twist, or resigned to wait it out and see its explanation, while others less familiar with comic book tropes decried the reveal as an outright betrayal of Captain America or even his creators.

According to Tom Brevoort, Marvel Executive Editor, an editor of Captain America: Steve Rogers #1, where the reveal took place, Marvel was somewhat surprised by the reaction to the twist, not expecting the level of vitriol some fans have levied at the publisher, and at Nick Spencer, writer of the issue and architect of its twist.”

Did you get that first paragraph? If you view Marvel’s decision as a grotesque betrayal of the character, then you must be **hurrrrrrm** “less familiar with comic book tropes.”

Tut. Tut. Now excuse me while I wipe my monocle, you rubes.

The message by Newsarama is clear: Only ignorant fools who don’t know comics oppose the latest “bold” idea by Marvel’s editors and writers. Nick Spencer could turn Captain America into a serial killer and there would be guys like George Marston calling it “bold” at this point.

George Marston Newsarama Twitter

One would think that Mr. Brevoort’s “surprise” at the negative reaction to Mr. Spencer’s story would be challenged, considering it was the Marvel editor who told USA Today he knew it would be like slapping fans in the face.

“‘We knew it would be like slapping people in the face,’ says Brevoort. […] “The idea of Captain America means something very primal and very strong to the people of this nation, and they have a very visceral reaction when you get to something like that. You want people to feel and react to your story. So far, so good.”

Even though Mr. Marston covered the “slap” comment in his own column, there was no push-back against Tom Brevoort. The Marvel editor explicitly said a decision was made to “slap” readers in the face, and then he is “surprised” when people are angry. Newsarama’s decision is to then label critics as “less familiar with comic book tropes.” Classic.

Perhaps the most laughable moment in Newsarama’s interview with Mr. Brevoort comes when he tries (and fails) to say that equating Hydra-Cap to a Nazi is out of bounds.

“There’s a subset of people who are upset about this, who are exactly like that. The reporting on this, and the sort of game of telephone on the internet about this went from it being ‘Captain America is Hydra,’ to ‘Captain America is a Nazi’ – which is already a leap – to ‘This is anti-semitism,’ which is ridiculous, in that, if you look at the comic book that we put out, there is nothing in it that, in any way, shape, or form, is even slightly anti-semitic. But because people were able to go ‘Hydra = Nazi, and Nazi = anti-semitism,’ that’s what reactions became about.

By reporting that we revealed ‘Captain America is a Nazi and anti-semitic,’ people that haven’t even read the work react with outrage, because they understand who Captain America is, even if they’ve never read a comic book.”

Hyrda’s history is well established in the comics, the MCU, and television. The reason why Mr. Brevoort said the story would be a “slap” in the face to fans is because he knew people would put two and two together. Now that the story has amazingly unified readers across the political spectrum, he wants to feign ignorance.

Cap a Nazi sympathizer? Where would you get that idea? Who told you 2+2 = 4? It’s five.

If you want honest reporting on comic books, then websites Newsarama are typically not the place to go. The vast majority of the time their writers and editors are only interested in keeping the access-spigot flowing. They cannot bite the hand that feeds, but they will gladly give men like Tom Brevoort a thumb to suck every time he runs to them crying.

Withhold your cash when it comes to Captain America until Marvel learns its lesson. If you want to reward the company for good work, then purchase Charles Soule’s Daredevil. Just be aware that one day a writer will come up with the idea that Matt Murdock has never been blind and was working for Kingpin all along — and reporters like George Marston will be ready and waiting to insult you for showing displeasure.

Editor’s Note: Henchmen’s Lounge was kind enough to invite me onto a podcast to discuss Captain America. We begin talking about Hydra-Cap at the 18-minute mark.

 

Daredevil #7: Charles Soule running laps around Marvel peers

Daredevil Elektra 7

The seventh issue of Charles Soule’s Daredevil came out on May 25, and once again the man has churned out a solid piece of work. If writing comic books were a race, then it is safe to say that Mr. Soul would be lapping most of his Marvel peers at this point. His writing is crisp, he isn’t forcing weirdly partisan stories down readers’ throats, his pacing is consistently smooth, and he seems to inherently get what makes for a cool Daredevil story.

If there is one Marvel book worth getting each month, then it belongs to Team Soule.

Here is what you need to know for Daredevil #7:

  • The “man without fear”convinces Elektra to let him help unravel the mystery behind her daughter’s disappearance.
  • Elektra gives Daredevil a cell phone that purportedly shows him training her daughter.
  • Matt Murdoch takes the phone to Foggy Nelson despite the “rough patch” they’re going through, and Foggy says there is no video on the phone.
  • Matt, thinking the child might be his, inadvertently destroys the phone in a fit of rage when he can’t figure out what is going on.
  • Daredevil meets with Elektra and tells her there is nothing on the phone, but that he accidentally destroyed it. She is upset, but takes off to find answers on her own.
  • Elektra (with Daredevil tailing her) confronts the man who gave her the phone after killing his partner. The man says “The tangled web we weave!” and she realizes someone took control of her mind. Someone wanted her to feel the pain of losing a child.
  • Daredevil realizes that he knows the identify of the person who took control of Elektra’s mind, but does not disclose that information to her. She leaves with the intention of finding and killing the man who psychically abused her.

Daredevil 7

Complimenting Mr. Soule’s writing nicely is artist Matteo Buffagni, whose eye for awesome is incredibly keen. Besides the noir-perfect pitch, little details — like having Daredevil’s hand slightly hang out over the panel as he clings to a ledge in Hell’s Kitchen — indicate a creative team that is running on all cylinders. It is a shame that others within the company aren’t taking notes on what is clearly a winning formula.

In short, if you aren’t buying Daredevil then you should be. It’s only a matter of time before Mr. Soule steps aside and the next writer decides to come up with the “bold” **cough** twist that Matt Murdock has never been blind…

Molina’s Amazing Spider-Man 1.5: Car crash scene a perfect metaphor for story

ASM 1.5 wagon

Jose Molina’s latest installment of The Suddenly Atheist Spider-Man was released on May 25, and fans of the wall crawler will be glad to know the he apologized for being “less than respectful” to the Santerians over their religious beliefs. That is, unfortunately, the one bright spot in an issue that is best represented by a car crash scene later in the book.

Here is what you need to know for The Amazing Spider-Man 1.5:

  • Spider-Man is still on the hunt for Julio Manuel Rodriguez, the man who mysteriously came back from the dead and performs miracles.
  • Writer Jose Molina actually thought it was a good idea to feature Spider-Man as a (female?) horse-drawn carriage driver.
  • Don Anselmo is “reborn” as a young man after a ceremony due to his faith. His god tells him Julio is controlled by a “false god.” (Question: Wouldn’t Don Anselmo’s god also be a false god since it isn’t God?)
  • Julio causes a car accident and then performs a miracle to resurrect a dead woman.
  • Spider-Man and the Santerians apologize to one another and then use Iron Man (shoe-horned into two pages) to locate where the spiritual conduit is that Julio’s host draws power from.
  • Iron Man gives the group an an address in Harlem and Spider-Man says “showdown time.”

ASM 1.5

It is very rare to see a Marvel comic that fails on pretty much every level imaginable. The entire creative team appears to given up all hope for salvaging the book.

  • Jose Molina continues to write a sloppy, poorly paced story that reads as if he has the attention span of a squirrel.
  • Artists Simone Bianchi and Andrea Broccardo have slapped together one of the ugliest issues of ASM of all time. Marvel would have gotten a better product if they asked a kid on Deviant Art to do them a favor for $100 bucks. Spider-Man wouldn’t look like a marshmallow, police cars wouldn’t look like they came off a Detroit assembly line in 1973, and Peter Parker wouldn’t look like Ace Ventura.
  • Editor Nick Lowe, who allowed a writer to have Peter Parker blame God for Uncle Ben’s death, is still M.I.A.
  • Question: Is it possible for a letterer to underperform? It seems like even the “AaaaaIIIEEEEEEE!” “KRIIIIII” and “CCRRNNNCHHH” in the crash panel are font failures, if that’s even possible.

In short, Marvel should be ashamed that there is essentially zero quality control for its “point” issues of ASM. There is one remaining issue of “Amazing Grace,” which is fitting because the few readers who are left will be singing the famous hymn after they finish.

Stay far, far away from ASM “point” issues for the foreseeable issue — at least until Mr. Lowe decides to do his job.

ASM 1.5 crash

‘Captain America #1’: Nick Spencer turns hero into Hydra agent with Tom Brevoort’s blessing

Hydra pamphlet

Your friendly neighborhood blogger wrote a piece of satire in January 2015 that involved Marvel Comics turning Red Skull into Captain America. Fast forward in time to May 25, 2016, and the company has, for all intents and purposes, done just that.

Captain America has seemingly been a Hydra agent since the very beginning — and Marvel executive editor Tom Brevoort claims it is not a gimmick.

TIME magazine reported:

Every single month whether it’s a run of the mill month for Captain America or an extraordinary month, our job is to put him in situations that place that character under some degree of pressure and see how he reacts to that. And hopefully our readers are surprised, shocked, elated, see something of themselves, learn something about themselves. To say it’s a gimmick implies that it’s done heedlessly just to shock. The proof is always going to be in the execution. So you’ll have to read the rest of the story to see.

But I certainly believe it’s not a gimmick. It’s a story that we spent a long time on, that’s compelling and captures the zeitgeist of the world. It will make readers wonder how the heck we’ll get out of this.

The truth, however, is slightly different: Readers want to know how Marvel got into this mess. Hiring Nick Spencer — a man who is so weirdly partisan that he says Republicans are “evil” — explains a lot, but the problem goes much deeper.

Before we move on, however, here is what you need to know about Steve Rogers: Captain America #1:

  • Steve Rogers had an abusive father.
  • Steve’s mother, Sarah, is aided by a “Hydra Society” member one night after her husband beats her. She takes a pamphlet for Hydra’s New York chapter (because creepy skulls with tentacles would never set off warning bells).
  • Red Skull recruits the next generation of Hydra in 2016 by making fair points about Europe’s refugee crisis (i.e., Nick Spencer wants you to associate rather innocuous conservative observations with Nazi villains).
  • S.H.I.E.L.D. finds Baron Zemo, which prompts Captain America, Jack Flag, and Free Spirit to the lawless city of Bagalia.
  • Jack Flag ignores Cap’s orders and assists in confronting Zemo in the villain’s jet.
  • Captain America laments Jack Flag’s decision and then throws him out a cargo drop.
  • The issue ends with Captain America saying “Hail Hydra” to Doctor Erik Selvig, a scientist Zemo held hostage in an attempt to find the sentient Cosmic Cube known as Kobik.

Red Skull

The question on everyone’s mind, judging from the #saynotohydracap hashtag that trended on Twitter all morning, is simple: Why?

The answer: A culture of moral relativism inside the halls of Marvel is so prevalent that Doctor Octopus had to become “Spider-man” for over a year and now Captain America must run around as a Nazi-sympathizing Hydra agent for an extended amount of time.

Iron Man was turned into a villain.

Spider-Man was turned into a villain.

Captain America is now a villain.

Heroes battled each other in Civil War and will do so again in Civil War II.

Notice a trend? These are the hallmarks of an organization that is so uncomfortable drawing a clear line between good and evil that instead it would rather go with a “one man’s Captain America is another man’s Red Skull” approach.

Nothing matters: Captain America is Hydra. Doctor Octopus is Spider-Man. Iron Man is a George W. Bush allegory and Red Skull agrees with Republicans (and moderate Democrats) on the issue of Syrian refugees. That is your modern Marvel comic book, and it wouldn’t be so embarrassing if men like Tom Breevort didn’t lie about writing for “the zeitgeist.”

Captain America Jack Flag

Take the following claim by Mr. Brevoort, for example:

TIME: In the comic the Red Skull of Hydra talks about “criminal trespassers” who “make a mockery” of America’s borders and calls the refugees in Germany an “invading army” bringing “fanatical beliefs and crime” to Europe. Obviously, this hate speech is nothing new for the organization, but it sounds like rhetoric we’ve been hearing this election. Is that purposeful?

Brevoort: We try to write comics in 2016 that are about the world and the zeitgeist of 2016, particularly in Captain America. Nick Spencer, the writer, is very politically active. He’s a Capitol Hill head and following this election very closely. So we can talk about political issues in a metaphoric way. That’s what gives our stories weight and meat to them. Any parallels you have seen to situations real or imagined, living or dead, is probably intentional but metaphorically not literally.

Mr. Brevoort liked the word “zeitgeist” so much that he used it twice in one interview, but it’s funny how the “zeitgeist” only relates to making Republican presidential candidates look like Nazis and then turning Captain America into a Hydra agent — all in the same issue where a guy with ties to white supremacists turned himself into a Hyrda suicide bomber.

Why is it that Marvel’s zeitgeist-quota is laughably focused on metaphors of white, Republican males as evil instead of, say, national security threats posed by Islamic terrorist organizations controlling large swathes of Syria, Iraq, Yemen, Libya, and Afghanistan?

How strange is it that Nick Spencer did not find it timely in a post-9/11 world to have Captain America team up with Ranger-run task forces in Pakistan, but he did to turn him into a Hydra agent?

If you increasingly find yourself feeling like Doctor Erik Selvig or any other characters who are held hostage in Marvel’s comics, then you should know that you are not alone. The characters you grew up with are now beholden to partisan writers and editors who enable immature and mean-spirited fantasies. Hashtag’s like #saynotohyracap are fine, but withholding hard-earned cash should always be the primary method of conveying displeasure.

Tune in here in for future updates into the sad decline of Marvel’s comics division and the activist-creators behind it all.

Update: John C. Wright was kind enough to link to this post. To all of his readers: Welcome!

Captain America Hydra

Nick Spencer calls Republicans ‘evil,’ Marvel, industry ‘journalists’ yawn as customers walk

Nick Spencer Marvel

Imagine you are a Marvel editor on Steve Rogers: Captain America, which comes out Wednesday. You’re hoping the book sells well despite the new costume looking like something from Marvel’s NFL Superpro in the 1990s. Everything is ready to go, and then you glance at the writer’s Twitter feed and realize that he constantly advertises his own hatred towards [insert large group of potential customers here] and calls them “evil” instead of promoting the book. What would you do?

The answer — at least when it comes to having 20/20 hate-vision for Republicans — is nothing.

Yes, that’s right, Captain America writer Nick Spencer can tell the world he has an Orwellian “2 Minutes Hate”-thing for Republicans and there are apparently zero repercussions.

Nick Spencer blind hate

It is glaringly obvious that readers who are independent voters are even turned off by his rhetoric, and yet Marvel and so-called industry journalists do nothing. They sit back and watch as sales suffer because writers like Mr. Spencer tell potential customers they are evil — merely for disagreeing on public policy.

Nick Spencer Twitter politics

Take this in: The man who writes Captain America — a hero who should transcend petty politics — is a partisan hack of the highest order. He speaks of the “myth” of the “good Republican” because … they might disagree with liberal family members on complex issues.

Nick Spencer Twitter political rant

Mr. Spencer says conservatives turn “so evil” when discussing cultural issues. Let us now take a moment to examine the refugee crisis in Europe, for example.

CNN reported Jan 6:

Germany has been shocked by the apparently coordinated crime wave, in which Cologne police received more than 100 criminal complaints from women who said they had been sexually assaulted or robbed by gangs of men of Arab or North African appearance in the city center during New Year’s Eve festivities. Cologne police would not elaborate Wednesday on the total number of crimes reported, as the figure continued to rise.

Police have said that about a quarter of the complaints related to sexual assaults, including a rape, and that they believed the assaults were probably intended to distract the victims, allowing attackers to steal mobile phones and other devices.

Say you’re a young man who reads Mr. Spencer’s Twitter feed. You’re not particularly political, but you know that your brother is a conservative guy. You ask your brother about the refugee crisis and the conversation goes as follows:

Comic Kid: What do you think of the refugee crisis in Germany?

Conservative Brother: Did you hear about the waves of sexual assaults on New Year’s Eve?

Comic Kid: Yeah. What’s up with that?

Conservative Brother: Germany took in 1.1 million refugees from the Middle East and North Africa in 2015. They flooded cities with Muslims, and it’s going to have a huge cultural impact in the years to come. Many of these individuals have no respect for western values. They came from countries where women could be beaten for leaving the house without a related male escort, they could be executed in “honor killings,” etc.

Comic Kid: Hmmm.

Conservative Brother: There was one city, Sumte, which had a population of just over 100 people. They were ordered to take in 1,000 refugees. The German government culturally upended the city of Sumte with one stroke of the pen.

Comic Kid: It’s kind of hard to argue with that.

In the mind of Nick Spencer, pointing out irrefutable facts that make his preferred public policies less desirable is “evil.” Instead of simply acknowledging that reasonable people can disagree, he takes to Twitter to tell anyone who will listen that their conservative family members are “evil.” Mr. Spencer is a sick man.

If Marvel has any responsible editors left within the building, then someone will rein in Mr. Spencer’s behavior. We all know that if he said people need to “stop believing in the myth of the good Muslim” then he would be fired, but perhaps there is someone with a shred of integrity who will address the situation.

Congratulations, Marvel Comics. Your Captain America writer spends his time on social media telling about half your potential customers that they are “evil.” Good luck with that business model.

Civil War II: Did Marvel learn from previous debacle?

Captain Marvel

Marvel’s Civil War II doesn’t kick off until June, but readers have been given teasers with a release on Free Comic Book Day and Civil War II #0. The question many fans are asking now is: Did Marvel learn anything from the debacle that was Civil War I?

Anyone who has seen Captain America: Civil War knows that hero vs. hero tales can be entertaining — provided the writers don’t let political hackery get in the way. Marvel’s first attempt at a “civil war” between heroes was a pathetic Bush administration allegory gone wrong, but the “pre-crime” angle this time around may deny the writers the rope they would undoubtedly use to hang themselves.

She Hulk Civil War 0

Before we go on, here’s what you need to know about the Civil War II content released thus far:

  • Jennifer Walters (aka: She-Hulk) defends Jonathan Powers (aka: The Jester) in a New York City courtroom. She claims he was the victim of “entrapment” by the government while “talking shop,’ but he is convicted of a non-disclosed crime anyway.
  • The Jester is killed in prison before his sentence can be appealed.
  • Captain Marvel wishes she could stop disasters before they happen.
  • Ulysses, an Inhuman who “experiences” the future, teams up with Captain Marvel to try and learn more about his condition.
  • Captain Marvel, She-Hulk, War Machine, The Inhumans, and others use one of Ulysses’ visions to get the jump on Thanos before he can raid a facility housing the Cosmic Cube.
  • The group does stop Thanos but War Machine and She-Hulk are gravely injured in the process.

Ulysses Civil War

At a cursory glance, Civil War II looks like it has enormous potential.

  • When Bendis is on his game, he produces all-star work.
  • Oliver Coipel’s artwork is excellent (as was Jim Cheung’s in the Free Comic Book Day release.)
  • Exploring Minority Report-like themes with Marvel characters is a no-brainer.

Thanos FCBD

The problem Marvel’s comics division faces is that it’s often its own worst enemy. The company’s track record suggests that a ready-made winner will be turned into a loser by writers who use the event to take political potshots.

My guess is that Civil War II will be much better than the first incarnation, if for no other reason than because President Obama is still in office. Instead of feeling some bizarre social responsibility to convey to readers that all Republicans are evil, writers will focus on broader themes that transcend petty politics.

If you’re on the fence about whether to check out Civil War II or not, then stop in here over the next couple months to get an update. I plan on reviewing the event unless it goes completely off the rails.

Rhodey Captain Marvel

Spider-Man #4: Bendis reveals Morales’ secret identity — to ‘Goldballs’

Miles Ganke

Superheroes tend to place a high value on their secret identities, and Miles Morales is no exception to the rule. Unfortunately, the fourth issue of Brian Michael Bendis’ Spider-Man shows the hero losing it due to a decision by his best friend Ganke. He spills the beans to ex-X-Man “Goldballs” of all people. (Yes, Goldballs.)

Like the surface-to-air missiles that target Miles after Ganke’s betrayal, this issues misses the mark.

Before we move on, here is what you need to know:

  • Miles and Ganke argue in the school lunch room whether it’s harder to be a black teen in America or an overweight asian (groan).
  • Ganke wants Miles to talk to the new kid, Fabio Medina (aka: Goldballs), because they both have superpowers.
  • When Fabio accidentally launches one of his “goldballs” into Ganke’s food, the three young men start talking and Ganke inexplicably reveals his friend’s secret identity.
  • Miles storms off and while web-slinging through the city he is targeted by four heat-seeking missiles.
  • Spider-Man is knocked to the ground due to the concussive blast of one of the missiles. Hammerhead steps out of a vehicle and says it’s time to call Black Cat and collect his bounty.

Miles Morales 3

The decision to explore a best friend’s betrayal in a book involving high-school kids is appropriate, but it seems quite a stretch for someone like Ganke to suddenly reveal Miles’ secret identity. A writer should spend a lot of time setting the stage for game-changers, but readers sadly did not get it this time. As a result, half the issue didn’t ring true.

Making matters worse is the fact that Miles says, “I have actually never been this mad at anyone about anything,” but we never see his anger. He web-slings around the city for a few moments and then his spider-sense alerts him to incoming missiles.

Try this out: Think of the angriest you’ve ever been in your life. What did you do? How did you react? Did you just say, “I’ve never been this mad” and then walk around, or did you punch, kick, yell or scream?

A few years ago an old Army buddy of mine said, “Do you remember that time that you got so mad at [insert name of horrible squad leader here] that you burst into our room, slammed the door, screamed, flipped your entire bed, and then took off for the motor pool?” 

I do remember that — and that isn’t the most angry I have ever been.

People do not think clearly when they are livid. Given that, it seems like a no-brainer for Miles’ to have been so upset that he didn’t notice his own spider-sense going off until it was nearly too late. Maybe he could have even kicked a garbage can as he exited the school and sent it flying 100 yards down the road. Something — anything — would be better than just telling readers that Miles is angry.

After the heat-seeking missiles magically miss Miles while in “cammo mode,” he decides to lure them to parts of the city where detonations will pose the least amount of risk to the civilian population.

Miles Parker Industries

Miles chooses to destroy a Parker Industries sign, which is funny given that Arachno-Rockets” (See ASM #9) filled with liquid hydrogen are stored inside the building.

We’ll just say that it was by the grace of God that Miles didn’t kill scores of people…

Spider Rocket

Our hero’s luck runs out and he is seemingly incapacitated at Hammerhead’s feet. Besides wondering how a has-been underworld thug like Hammerhead got his hands on some SAMs and then deployed them in the middle of New York City, readers must now ask the following question: Is Spider-Man worth it? The jury is still out for this blogger.

  • If you like Marvel’s new take on Black Cat (I don’t), then Spider-Man #4 is for you.
  • If you like Hammerhead (I don’t), then Spider-Man #4 is for you.
  • If you like Goldballs (Huh?  Why, Marvel?), then I guess Spider-Man #4 is for you.
  • If you like best friends who act irrationally, then Spider-Man #4 is for you.

Spider-Man certainly has potential, but as of right now it still feels as though Bendis’ search for Miles identity within the 616 Universe is coming through in the title.

How big is his stable of characters to pick from? If Bendis is forced to use Goldballs and Hammerhead this early in his run, then it doesn’t bode well for the future. Perhaps he is limited one what villains he can use because Dan Slott needs them for The Amazing Spider-Man. Whatever the case, Bendis needs to settle into a groove soon our readers will move on.

Black Panther #2: Perhaps Ta-Nehisi Coates should have written a T’Challa novel instead

Black Panther 2

Black Panther #2 was released in comic shops across the nation on Wednesday, but it is beginning to feel as though Ta-Nehisi Coates would have been better off writing a novel called T’Challa instead. Marvel’s decision to experiment with a political commentator may be a noble one, but the company will need more than three variant covers to inflate sales in the future if Coates doesn’t make some editorial adjustments.

Black Panther 2 preview
Marvel is going to need more than three variant covers in the next year to sell copies of Black Panther if Mr. Coates doesn’t pick up the pace.

My review of BP #1 noted that there was a lot — perhaps too much — going on with “A Nation Under Our Feet.”  T’Challa returned to Wakanda to reclaim his kingdom; Shuri, his sister, died (or, rather, is trapped in a place “between” life and death); two members of an “elite female royal guard” stole “midnight angel” suits and vowed revenge against men who abuse their power; and T’Challa tried to revive his sister.

BP#2 is just as dense:

  • Readers learn more about the Nigandan plot to overthrow Wakanda.
  • The Midnight Angels save captured women in the Bandit Compound in Northern Wakanda.
  • Aneka and Ayo cuddle again and further plot their revenge.
  • Black Panther confronts the “witch” who has been poisoning the minds of Wakandans, but learns that she is really a “revealer” who forces repressed feelings to the surface.
  • A shaman and an academic, old friends (soon to be rivals?) discuss how “the weak” should “marshal justice against the powerful.”
  • Shuri finds herself conscious on the “plane of Wakandan memory.”

In many ways, BP is set up to be a book that is almost totally devoid of fun:  T’Challa — a man who must bear the weight of family history, his nation’s history, and the needs of those currently alive — even says, “heavy is the head… [that wears the crown].” Given that, it would be strange to criticize the author for being too mired in politics and philosophy when the book dictates a mastery of both fields of study. The problem, therefore, is likely something else.

The reason why BP continues to be an awkward title is not because readers are introduced to John Locke or allegories to real-world crises (e.g., Boko Haram kidnapping and raping women). The problem with BP is that Coates is juggling too many balls at one time.

Instead of spending time on Aneka and Ayo, perhaps Coates should have solely focused on the “mysterious woman.” That is six pages in BP #2 that could have been devoted to T’Challa, his new enemy (who does have a cool power), or his sister.

Instead of spending time in Hekima Shule (a school), why not plant the seeds for introducing a major Marvel villain? I want to see Black Panther face off against Sabertooth. I want to see Black Panther in hand-to-hand combat with Crossbones. I want to see Black Panther battle Blackheart.

What I do not want to do is read a BP comic book that focuses for 12 months on how much Aneka and Ayo love each other — even if the writing is technically sound.

Mr. Coates is an intelligent man, but at some point in time it will be a stupid decision not to use the rich Marvel rogues gallery at his disposal. If there is not a major Marvel villain in the book — or even the hint of one — by the sixth issue, then this reader will move on to another title.