With apologies to the “fond memories� faction, but this book hasn’t aged particularly well.
Dodsons� tendencies to gratuitous cleavage and gluteal panWith apologies to the “fond memories� faction, but this book hasn’t aged particularly well.
Dodsons� tendencies to gratuitous cleavage and gluteal panels�
Smith’s penchant for meh pop culture references and lazy internalised-patriarchy-inspired jokes� (“girl-on-girl action� was really the best wordsmithing you could do my fellow Gen Xer?)
A story where Parker isn’t putting up any fight to stay away from the Black Cat who’s actively jeopardising his marriage�
A story that swerves hard into some white knight nonsense after issue 3 (and after three issues of establishing a throwaway, overly-sexualised consequence-free tone). Fun or floridly serious? Read either three issue sub-run if you like one but not the other.
Then wedging both a sexual assault *and* a new assault-derived origin story into this book, with no artful foreshadowing (let alone connectivity to any other story before this significant retcon)?
And sadly I gotta call out the info-dumping monologues in these latter issues. Turgid not to mention written about as conventionally straight and boring to boot. If you’re gonna make me read something long and dreary at least bust out the thesaurus or some clever way to drum up some spark. This is just earnest scribblings, I-can-do-serious-too seethings. Hardly the work to prove the bona fides of a wordsmith.
If I hadn’t got interested in this from an online snippet of one of the only good panels in the whole book, I think I could’ve managed plenty fine dying without having endured this....more
**spoiler alert** Somehow I tried to finish this volume four times and keep getting dragged down before I make any headway. I really thought momentum **spoiler alert** Somehow I tried to finish this volume four times and keep getting dragged down before I make any headway. I really thought momentum would carry me through the end - it was almost like my battle with volume 10 of Y: The Last Man? Still never read that one. Is this a BKV problem?
Every once in a while the 80’s references come fast and hard, and I wonder just how exploitive Vaughan was when he concocted this series - did he see the Stranger Things fandom and think, “I could buy me an Iroc with the money I could make off an 80’s-themed comic�? Is BKV just another Grant Morrison clone, whose muse isn't "tales I gotta tell" but more like "whatever words on a page will drive the most sales to angsty teens"?
Yeah, I know a tragic ending where folks forget the adventures they had is all artsy and everything, but Jesus Jehoshaphat on a Jamaican Jerk Chicken Jaunt, that ending sucked. I seriously didn’t even understand the whole “you knew where this was headed the whole time� time-travel-coalescing bullshit.
I'll say that again: issue 29 where all "four" storylines come together at once in one of those one-panel-of-each-page-is-spooling-out-that-thread-of-the-plot, so-you-have-to-read-it-quickly-to-keep-it-all-in-your-head-or-read-it-four-times-to-understand-the-story is fucking irritating. It's a writer's conceit, to make a boring story seem spicier and more tense, when really all you need to know is its going nowhere interesting because "it was all a dream, Auntie Em"/"we had to put all the time travel toys back in the box and no one will remember".
I think I'm with Anne on this one: while I was enjoying the telling up til the end, the tale that was told left me cold. Can you not think of *any* other ending than the tragic "that's life, yo"? Fatalistic "nothing matters" hipster bullshit? If I wanted another reminder, I'd just go doomscroll Reddit for another paralysing evening. Can we not just give ourselves even a little "they were forever altered" ending (and not some ambiguous goth poetry crap)?
Edit: after reading Anne's review I am definitely with her on this one. Nicholas Sparks, you've met your comics counterpart in BKV....more
As a breezy intro to the world of Elsa Bloodstone, they could do worse. It certainly catches new readers up on the ba(Review for the whole miniseries)
As a breezy intro to the world of Elsa Bloodstone, they could do worse. It certainly catches new readers up on the basics: monsters, magic stone, creepy house, overshadowing paternal legacy.
But two things are missing: 1. An Elsa who gives no fucks and takes no crap (until the final issue when she suddenly and with no journey goes from naive outsider to savvy expert) 2. An artist who isn’t from the Boris Vallejo school of exploitative cleavage and poses. (Some of these panels would feel right at home in a gynaecological text)
I hope to hell Abnett/Lanning didn’t think of this as anything but a quick way to make their page quota that year, a silly diversion from their usual overwritten cosmic nonsense.
They sure don’t get the Elsa attitude, and presumably editorial saw what they did and locked the door on any possible ongoing.
But by god do we need a talented writer like Thompson or MacKay to give us the Bloodstone we deserve. Not since NEXTWAVE have we been so blessed (the recent cameo by Thompson notwithstanding).
TL;DR this book squandered a perfectly good opportunity to elevate the character, but was mindlessly/exploitatively entertaining. ...more
Wasn't terrible, but sure didn't have its hands on my bacon like some recent spooktober readings.
Had What's "Meh" sound like coming from a pig? Squeh?
Wasn't terrible, but sure didn't have its hands on my bacon like some recent spooktober readings.
Had a Chew, Vol. 1: Taster's Choice feeling to it - or rather, more like Chew, Vol. 9: Chicken Tenders when the jokes got stale and the writing had lost forward momentum. This had a "high concept but not a lot of depth of mythology" to it, so after the 4th or 5th time talking about how smart pigs are and how good they taste, I was looking for the exits to seek out something that made me smirk again.
Maybe they'll tighten up in future volumes, but so far I'm a solid chunk of bacon fat on this - good in very small doses.
But hey, at least I got another buddy read opportunity with Chad of Shallow Readers fame:
Reading a Spider-Gwen comic is a little like trying to tune in a psychic frequency when you’re not a psychic: I know something’s there - it’s right inReading a Spider-Gwen comic is a little like trying to tune in a psychic frequency when you’re not a psychic: I know something’s there - it’s right in front of me - but I can’t quite bring it into focus.
So frustrating.
There’s a good story buried in here, and if Latour and Rodriguez had a solid editor they *might* find out just how fscking hard to follow these pages really are.
Is that a fist or a bug flying by? Is Gwen talking about something she did, or dreamt, or wants to do? Could someone gimme a half-assed recap page at least?!?
Makes me wonder if I’ve had the stroke.
And yet...this book was strange, jolty and atypically phrased enough that I didn’t hate it by the end. Even interested to see where it goes (even though I’m gonna hate myself for the first couple of issues in the next trade). Weird how that works. ...more
Again with the ham-fisted drivel that seeps out of Christos Gage’s substandard imagination, dolt extraordinaire and hack supreme.
It’s impossible to reAgain with the ham-fisted drivel that seeps out of Christos Gage’s substandard imagination, dolt extraordinaire and hack supreme.
It’s impossible to read this story without getting through the Amazing Spider-man issue’s, which means that every time I enjoy a decent Slott issue, I have to chew the ground glass that Gage sets in front of me - like a goulash of filler, if that filler was meant to actively kill the reader.
What must it be like, knowing that the only way to pull off these not-infrequent events is to provide this Saliere with more work - both because no one else more earnestly has shown how much they love the Spidey mythology, but also because no one else does so much damage to the eyes and wonderment of their readers than Gage does, with his patented Tell-Don’t-Show technique?
Is this Slott’s meta-commentary on the Doc Ock character - giving voice to the frustrations and conflict that must be true of an evil genius, having to watch a lesser rival blunder through opportunities and make such a disaster of them?
Anyhoo, on to the actual story. Is this any worse stunt-casting than other event books where they trot out long-dead, semi-beloved characters and shunt them back whence, once the shock wears off?
And is there any reason why this story was necessary, or important, or unique? - Miles Warren and the Clone Brigade (great band name) - Peter Parker and his Almost-Was’s - Doc O’clock (I’m leaving that autocorrect there) still pining for his midget
Somehow getting Spider-Gwen as part of this story is the *least* weird of everything - she actually makes sense, and seems to not just be in fan service of The Slott.
Second-to-least weird is Rhino and Lizard working for the guy who brought their families back. They’ve suffered pretty consistently for years - their hairshirts are fully grown, so of course they’d grovel for any remaining scraps of dignity.
What’s really discomfiting here is the Villain: he’s presented as if he has a reflexively believable motivation, but the entire time I’m reading the dialogue I’m thinking, “Slott will surely turn this guy into a cackling hack at the last minute, just to make sure there’s a childishly easy out for Spidey to take him down.� Mmmm, yup!
Have I become jaded? Am I finally ready to join the ranks of those who want Slott off the Spidey book?
And is there any historical territory left to tread for future writers? Or have we completely strip-mined Spidey’s past by now?...more
The Venom idea seemed cool, and the Normie Osborn subplot is OK, but the “every villain has a preteen child� seems a bit far fetched once we get to seThe Venom idea seemed cool, and the Normie Osborn subplot is OK, but the “every villain has a preteen child� seems a bit far fetched once we get to see Lizard with Billy.
And by the time Stegman takes over all scripting duties, it seems we’ve forgotten that Peter is an overprotective parent or something.
[image]
In fact, it gets downright maudlin.
And it cycles through all the highlights of 616 Spidey’s career (with the addition of all the child sidekicks of course) at a sprinter’s pace, like the creative team knows this concept book has a shortened shelf life - and somehow by feeling like a rushed retread, they all but guarantee this book will get cancelled in short order.
I found myself having a lot less fun reading this book than the previous one. I’d like to be able to say what the cause of deflation is - is the concept thin and aging rapidly? Is the writing change dropping quality? Did the chosen storyline just not work as well (and the next could pick back up my enthusiasm)?
I’m hoping it’s #3, so I’ll stay optimistic and plan to read the next volume. Let’s hope my crappy memory remembers “want to read the next one� more strongly than “felt abandoned by the last one�....more
Punked by Sims & Wilson again. They raved about this comic while interviewing the creator on War Rocket Ajax and I thought, "I'd love to read a fresh Punked by Sims & Wilson again. They raved about this comic while interviewing the creator on War Rocket Ajax and I thought, "I'd love to read a fresh new comic that's that good!"
I still would.
But this isn't that comic.
At least not for an adult.
Nothing subversive, sly, knowing or anything but light-and-happy about this. Just a straight-ahead tale of a fairy princess in our modern world, and some pretty normal misadventures about it.
Compare this to Ms. Marvel and it's amazing how similar but different they are. I love Wilson's cast of characters and while I wasn't a huge fan of the antagonist, the interactions felt a lot more real. Maybe it's because the main character doesn't feel like some sheltered, zombified-indoctrinated Christian who would *never* think or say a bad thought in their lives? I just don't trust people who are that sweet and innocent.
If you like em like something out of a primary school reader, you're in luck. This one's a miss for me. ...more
Yup, feels like the angry teenager aka New52 finally calmed down.
This book is meant to reboot DCU once more, and in that it does a journeyman job. ItYup, feels like the angry teenager aka New52 finally calmed down.
This book is meant to reboot DCU once more, and in that it does a journeyman job. It obliquely references Flashpoint and the before-and-after universes, but it mostly focuses us on the present-day re-imaginings of the main characters. Some return to legacy, some new people or new angles, but mostly feels like a decent, homey, welcoming world.
Geoff Johns does what Geoff Johns does best: tell as much as show us who these folks are, do the staged intros of names, backstories and power sets, all the usual pedestrian comics writers' tics that I've come to notice like festering scabs on this medium.
But at the same time, he imbues the story snippets with some emotional hooks and moments that make me feel like I wish I *was* some of these heroes.
I think this panel captures best what they're trying to bring back since the debacle of New52:
[image]
[image]
Unfortunately, it feels like they're just substituting one bad decision with another:
I have plenty of memories of reading Archie Comics Digest as a kid - mostly when I went to the cottage for the summer, I'd find stacks of those next tI have plenty of memories of reading Archie Comics Digest as a kid - mostly when I went to the cottage for the summer, I'd find stacks of those next to the Reader's Digest and dog-eared copies of Chatelaine. (It's a polite Canadian women's magazine you philistines. Look it up.)
So I don't have any memory of the paranoid delusional aspect of Jughead's personality. Which is a damned shame, because this dude I get *implicitly*. Don't like classes? Check. Sleeping at all hours? Check. Video games and pop culture? Check and double-check. [image]
Erica Henderson doesn't skimp on the evocative facial expressions: [image]
And Zdarsky has occasional flashes of truly weird: [image]
But something feels kinda repetitive about the plot of every issue that does the “problem - Jughead daydream - inspired solution� pattern. I got bored reading this, and that’s a bad sign when something with this much personality and imagination feels like a chore....more
After the last book's spaghetti mess of plot, betrayal and political/crime-family intrigues (including a Deus Ex moment from Penguin - who I guess hasAfter the last book's spaghetti mess of plot, betrayal and political/crime-family intrigues (including a Deus Ex moment from Penguin - who I guess has a past with Catwoman, but who seemed like a left-field maneuver to pull that story out of the tepid tea it was steeping in), I'm coming in both expecting more of the same and *hoping* Valentine had an end game in mind that pays off all this under-written story meandering.
And lo! It sure is nice to see Selina using all her skills to fight this war against other families: [image]
Maybe that's part of my disappointment with the previous volume: Selina was playing mob boss against everyone with more experience than her, and she was handicapping by letting everyone else do the fun work. No playing to her strengths, from the shadows, a little B&E. Where's the Shallow Comics reader enjoyment in that?
Here we get started down that path, and then Snyder's whatever-the-fuck "killing" Batman takes a dump all over this storyline, and makes us wait while Selina suddenly decides Batman is more important than all-out gang war. And then never sees it through anyway, so bully for her convictions eh?
You know what though? I find the Batman-died-and-Catwoman's-in-search-of-him subplot just distracting. It ruined the pacing, it does nothing to advance Selina's primary storyline (just adds a measure of delay), and honestly a "Batman's missing and all the players in Gotham have to show how they react to it" is a tired trope that overestimates the role that Batman plays in this many powerful people's lives. Surely not everyone is clutching their pearls or looting the streets as soon as he disappears? If the whole city hinges on his presence, then why is he *constantly* beating on criminals all along?
Here's a pretty blatant "couldn't be arsed to draw" moment: [image] (or maybe Bruce Wayne, even bankrupt, has access to magical always-upright-patterned fabrics)
And boy is the model for Cobblepot getting worse and worse - the looks like a cross between Danny DeVito and Clayface: [image] (Like something out of a horror version of Cabaret)
Does this story wrap up well? Well, it's tied up neatly, and there's a little tragedy mixed with triumph, so it's at least taking the premise seriously. Though having Selina walk away entirely from the situation, while befitting her character, does little to grow the character.
All in all, I'm more than a little disappointed in Valentine's Catwoman arc (though I'd guess that not nearly all of it is on her - the Bat-family editorial is still part of the DC shredditorial house, after all...). Selina wrings her hands far too much for a woman used to playing people, and there weren't exactly many enjoyable surprises in the story. Not on her: the rotating cast of artists, the overall art quality, the forced nature of the Batman subplot.
I wish Valentine well, and I hope if she comes back to comics in the future she'll have more leverage and longevity to tell a really original and deep story....more
Like sex, even mediocre Jason Aaron is still pretty good...
Most of my Å·±¦ÓéÀÖ friends mentioned how much worse this book was than the preceding voluLike sex, even mediocre Jason Aaron is still pretty good...
Most of my Å·±¦ÓéÀÖ friends mentioned how much worse this book was than the preceding volume - I can't disagree, on the grounds that this is more weighty and dystopian than the fun, flighty, silly first collection. And yet I feel it in my bones, the two were constructed precisely together like this - the weight of the losses and irrevocable changes wouldn't be felt as hard, or mean as much, if we hadn't started out this Strange run as light and airy as when Mark Waid kicked off his run on DD, or the silliness of Aaron's run on Wolverine & the X-men.
I have a strong feeling that this is but the momentary low on the path to a triumphant rebirth for Stephen Strange - Aaron has rarely shown he wasn't in complete control of his meta storylines, whether it be his legendary work in Scalped, the short-but-meaty Punisher mind-fuck, or his more-metal-than-heavy-metal Thor books.
So if you're feeling blue after reading this tome, good. So do I. I worry that there's just not enough ways to bring back the "old 616's magical powers", and that we've written ourselves into a corner. Can Doctor Voodoo ever do more voodoo magic? Will Colossus' sister Magik ever trip through Limbo again? What is a world of heroes and villains without the mystic arts to keep us on our toes?
Hell, what do we do when Doom needs to REALLY fuck with some capes - shoot lightning from his armored fingers? Glower at us? Threaten to insult us with $10 words?
And if the story didn't get this depressing, would there be nearly the stakes for Strange to fight for? I think I've just convinced myself I *like* this book, not because of how it played out, but because it's going to make for some killer journeys for our master back from a level playing field and not "the dude who has no threats because he's got it all mastered"....more
This book is meant to be funny and uncomfortable. A combination I usually seek out in my stand-up comics, more than my printed comics.
Premise: a dumpyThis book is meant to be funny and uncomfortable. A combination I usually seek out in my stand-up comics, more than my printed comics.
Premise: a dumpy loser succumbs to a demon to get elected as President of the US. He's an obvious Drumpf metaphor, a bigot, liar, womanizing asshole, and he's got a lot of bad ideas and a loud mouth to keep announcing them to whatever creature will listen (or at least not beat his ass for spewing them).
There are conceptual parallels to the Trump campaign and inexplicable rise to prominence. And here's where it gets uncomfortable. Other than the demon backing the effort, it all seems realistic enough - not satirical, and this not enjoyable (to me). Is this meant to be the comforting acknowledgment to the bigoted Drumpfians? Is Sam Humphries writing this to legitimize this clown car? [image]
This book would be a more enjoyable read IF the anti-hero was sympathetic, relatable or even just had something going for him. Other than that 70's-tastic hair: [image]
The book would have more weight if there was anything new it reported about the sorry state of governance and media in the US. As it is, it feels like the usual criticisms and barbs we've heard a thousand times on Stewart and Colbert.
This book would make me feel more fired up if it wasn't another poem to the futility of individual voters and shakers.
"A biting critique of the American political system"? (The Nation) Nope. Retread.
"A wicked sense of humour"? (IGN). Huh. Maybe to a teenager...
I think I remember when picking up this book that I was optimistic because Sam Humphries was writing, and I'll say he didn't do a bad job - definitely took the story past the finish line - but there wasn't anything really new to tell here. It felt like the kind of Facebook journalism we've become used to in this presidential season....more
I thought to myself, "Well shit, this oughtta be good if the cover style has anything to do with the type of story in this book": [image]
I notice myselI thought to myself, "Well shit, this oughtta be good if the cover style has anything to do with the type of story in this book": [image]
I notice myself thinking, "Weird, we're seeing the world through the eyes of a half-robot, and it's both engaging and mystifying." It's rare in my comics reading to hear the thoughts of a character who's normally just a cipher - a designation, not quite a two-dimensional construct. Definitely not someone around whom a story could be architected. So this is intriguing, especially in that so many people actually liked this that I'm going in with positive expectations. (You're all freaks. Or maybe I'm the freak, and you're all constructs for my amusement. God I hate when my brain goes down that road, makes me feel both omnipotent and totally alone.)
Killing Bullseye for example - I think he actually enjoyed the outcome as much as the act of killing: [image]
So how does a MODOK find itself in love with anything but its own killing potential? [image] [image]
I think MODOK is actually *confused* by her beauty: [image]
And the starry-eyed man/machine goes on and on like this for the rest of the book. "Her murderous eyes! Oh, that lithe will to kill!" Not that it isn't funny in parts, and trivially surprising in moments, but the gag eventually wears thin and there's really not much left than to trod through to see how it ends.
While Yost is a decent writer, nothing really dazzles or blows me away. In fact, by the end I find myself contemplating idle thoughts like: has MODOK always had such ridiculous weaponry? [image] [Bees, for example. Makes me think "Simpsons did it!"]
Goes on a couple of issues too long. Some of these Secret Wars tie-ins are too short, this one feels the opposite. Wonder what this would've been like in Jason Aaron's grizzled hands?...more
(Mike's thoughts before reading) Chip you mad Canadian bastard, you Bette blow my mind here.
(Mike's thoughts after reading) Umm...
Here's the basics: S(Mike's thoughts before reading) Chip you mad Canadian bastard, you Bette blow my mind here.
(Mike's thoughts after reading) Umm...
Here's the basics: Shit goes sideways right quick for these under-prepared space-farers.
And while it's happening I'm thinking, "Why did these mostly-nice people have to get hammered in the anus so fucking quickly after we see them 'start' their adventure?" Which is weird, because clearly they've been at their space-training (let alone their world-conqueringly amazing specializations) for years, and this is supposed to be yet another boring day among hundreds...like most jobs. Occasional excitement when someone found a new way to be an asshole to a co-worker, spaced out among the grey mass of dickless days that make you want to do anything except keep showing up.
So they showed up for day who-knows-anymore and got their asses spanked by the depths (and widths) of space. And they behave like a plethora of normal adults.
Chip, did you lose your brain-bendingly-absurd/vile sense of humour? I mean this is amusing: [image]
And weird-ass objects are amusing and attention-grabbing: [image]
But not quite the guilty pleasure that Sex Criminals (and everything Matt Fraction has said about you behind your back) led me to believe...
OTOH, as an allegory to , the weirdos of this book definitely make me want to believe there's some political satire afoot: [image] [I'm projecting a strain of Trump-followers on this group]...more
Holy crap you fellow reviewers are so right - this story in the middle is a jumbled mess! It completely lost the narrative, so I don’t know if the wriHoly crap you fellow reviewers are so right - this story in the middle is a jumbled mess! It completely lost the narrative, so I don’t know if the writers even agreed on the major plot points? And if they did agree, whether they had time to convey them to their artists?
Like, for example, apparently Earth-65 Silk stole back Spider-Gwen’s powers (according to the Silk issue that followed), but you wouldn’t know it from reading the Spider-Gwen issue in which it must’ve happened.
Fun enough book, not too Event-y, and doesn’t make me want to go any further with the other Spider books except Spider-Woman. Check....more
Cute rescue she pulls off - cute as in badass with some clearly-inspired-by-co-writer-Warren-Ellis cute lines along the way. A little too easily-wrappCute rescue she pulls off - cute as in badass with some clearly-inspired-by-co-writer-Warren-Ellis cute lines along the way. A little too easily-wrapped-up if you ask me, but who’d be dumb enough to ask me?
Dumb, stunted, unsatisfying crossover with the Black Vortex event (which does *nothing* to incent me to read the rest of the event)? Check. ...more
​OK boys, have a little fun. When playing with a new, dimensions-hopping mutant, pop open a few portals to alterna-realities that show us either (a) s​OK boys, have a little fun. When playing with a new, dimensions-hopping mutant, pop open a few portals to alterna-realities that show us either (a) something fun, (b) something horrifying, (c) something from the Secret Wars forthcoming "What If" stories? Dunno, but this is definitely (b): [image]
The issue by Mike DelMundo is beautiful - all washed watercolours and indistinct scenery, setting a lovely tone for the story exploring the seedy underbelly of Madripoor. Jean learns a valuable lesson in how much more capable she is than she thinks (or Emma Frost lets on most days). Very Special Episode that's actually fun because Emma keeps Jean in such good suspense. [image]
Then Bendis hijacks his own books to take a magical mystery tour of Space Marvel with all his toys (and even a few borrowed ones). I just read the fragments in the X-Men run and didn't bother with the rest of the Black Vortex story because WHO GIVES A SHIT. (I'm lazy alright? I don't have another event in me. I don't care how much Anne liked it. *ooof* Ow, you didn't have to kick me in the nads dear woman. OK you've "convinced" me I care, but I still don't have the stamina.)
Correct me, but didn't we *just* do this go-like cosmic power thing in Avengers vs. X-Men a couple of years ago? [image] [image]
I'd like to say I love Sorrentino's art - it certainly has a distinctive style - but this sequence sinks it by being SO WRONG: [image] [If you compare her to the ass end of a Badoon warrior, I guess...]
Back to the final wrap-up issues...the only question is, will Bendis do an art-jam wank in the final issue? Will he? [spoiler: ugh.]
While we're waiting to see how that plays out, Bendis pulls a fast one with (view spoiler)[ Bobby's constant misogyny, outing him: [image]
Which shouldn't come as much of a surprise if we assume they're part of the normal human population and just have to hide - but amazingly this got all sorts of boy shorts in a knot as if Bendis was taking something *away* from Bobby, rather than giving him something *extra*. Boy are people weird about shit that doesn't affect them. (hide spoiler)]...more
Haphazard, forgettable, reminiscent of Arrow Season 4.
Humphries' .2 Avengers tale is cute, helps flesh out the two weirdos a little, but ultimately meHaphazard, forgettable, reminiscent of Arrow Season 4.
Humphries' .2 Avengers tale is cute, helps flesh out the two weirdos a little, but ultimately meh.
Awww, that's so sweet, Sam adventuring across the galaxy to demonstrate his love for Izzy. (*retch*)
Fun little backstory on how Bobby acquired A.I.M. Almost makes me like Bobby, which I don't think I've done since the 80's when I last spent any real time with him. (Boy were those comics bad, and boy did I not know or care.)
Silly maudlin whining from Namor becomes a little more weighty or at least escalates the stakes for one of the most selfish supes in the Marvel universe.
And the gang tries to help the Odinson get his groove back? (Why didn't they just bring dwarven ale by the cask?)
Not a terrible book, fills in some of the cracks that Hickman left in his wake, but ultimately just a "meh" set of stories.
These are the kind of "companion to a better creative team's story" books that make me leery to broaden my reach during any event by any comics publisher. It's like the Arrowverse, only in reverse.
Arrow is so fucking painfully, excruciatingly bad that the DC TV people looked around, pointed guns at heads and demanded that someone please average shit out by making an amazing Flash show. And Arrow only gets good-ish now when Flash crosses over into Starling City (and Flash suffers every time when Olicity bring their stench into Central City).
[image] [Seriously, kill me]
I don't know why I thought that was an analogy to how middling accompaniments compare to their mainline comic stories, but my rando tangent stands....more
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