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Secret Invasion (Review/Retrospective)

This is the twelfth in a series of comic book reviews that will look at the direction of Marvel’s shared universe (particularly their “Avengers” franchise) over the past five or so years, as they’ve been attempting to position the property at the heart of their fictional universe. With The Avengers planned for a cinematic release in 2012, I thought I’d bring myself up to speed by taking a look at Marvel’s tangled web of continuity.

Well… that was anti-climactic.

Well, at least green and red go together...

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Nova: Annihilation (Hardcover) (Review/Retrospective)

I’m currently taking a look at the modern history of the Marvel Universe. I kinda figured that I should go through at least one cycle of big continuity-heavy events to at least engage with this style of storytelling, so I can get a feel for it. Although I’m focusing on The Avengers (what with the movie and all), I’m also checking out cosmic Marvel and the X-Men at the same time. My review of the big intergalactic crossover Annihilation: Conquest is going out today, so this is a bit of a sidenote on that. Nova was the first relaunched on-going “cosmic” Marvel series, launched in the wake of Annihilation, so I thought I’d follow the first year of the book. 

I have to confess that I quite enjoyed Marvel’s attempt to reinvigorate their line of cosmic comic books with the gigantic crossover event Annihilation. And it apparently did quite well, spawning a series of associated crossovers in the years that followed, as well as an on-going series following the character perhaps most greatly affected by the events of the miniseries. Although the character has had his own series in the past (no fewer than three times) and featured in a few high-profile teambooks, it’s good to see Nova returned to prominance, particularly written by two authors who clearly know and cherish him.

Iron Man expects Richard to show some Initiative...

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Brian Michael Bendis’ Avengers – Mighty Avengers: Assemble & Secret Invasion (Hardcover) (Review/Retrospective)

This is the ninth in a series of comic book reviews that will look at the direction of Marvel’s core continuity (and in particular their “Avengers” franchise) over the past five or so years, as they’ve been attempting to position the property at the heart of their fictional universe. With The Avengers planned for a cinematic release in 2012, I thought I’d bring myself up to speed by taking a look at Marvel’s tangled web of continuity. Get an overview of what I’m trying to take a look at here.

After the schism of Civil War, a title like Mighty Avengers makes sense on some level. If you’ve pitted heroes against heroes in a contest that you’ve deemed to be allegedly subjective (Marvel’s editorial policy was that there was no right or wrong side to the conflict), then it makes sense to follow the winners as well as the losers. The post-Civil War issues of Bendis’ New Avengers followed those heroes who had fought against registration of superheroes and lost, and Mighty Avengers was launched to offer us an on-going narrative featuring the winning side. It also seems to be a conscious nostalgic effort on the part of author Bendis, perhaps a response to the criticism that his early work on New Avengers steered clear of conventional Avengers storylines – occupied as they were with Japanese ganglands, prison breakouts and Sentry’s inter-personal issues. Here, Bendis seems to be consciously focusing on classic Silver Age devices – in the first run of issues, the State-sanctioned Avengers team faces classic foes like Ultron, the Symbiotes and even Doctor Doom. The problem is that Bendis isn’t necessarily comfortable drafting conventional superheroic fare.

Ultron puts Tony in touch with his feminine side…

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Brian Michael Bendis’ Avengers – New Avengers Vol. 3-4 (Hardcover) (Review/Retrospective)

This is the eighth in a series of comic book reviews that will look at the direction of Marvel’s continuity (and, in particular at their “Avengers” franchise) over the past five or so years, as they’ve been attempting to position the property at the heart of their fictional universe. With The Avengers planned for a cinematic release in 2012, I thought I’d bring myself up to speed by taking a look at Marvel’s tangled web of continuity.

And now we’re entering a continuity-heavy area. You have been warned. As if we’ve been in a continuity-free zone for the past couple of weeks, remarks you, trusted reader. This is where my little experiment to venture deep into the heart of Marvel’s comic book continuity becomes a little bit more complicated and a little bit more difficult. Whereas the first part of Bendis’ run on New Avengers was relatively stand-alone (while still drawing on decades of events and continuity), it’s at this point the series becomes irrevocably intertwined with the on-going events at the heart of the Marvel Universe. It’s been described as “a spine”, and that’s pretty much exactly what it is: it’s a support structure which ties together the big Marvel events year-on-year, a thread that joins events like Civil War and Secret Invasion and Siege to each other and the greater fictional universe.

Wolverine learns the hard way not to bring claws to a gun fight...

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World War Hulk (Review/Retrospective)

This is the sixth in a series of comic book reviews that will look at the direction of Marvel’s continuity (and particularly their “Avengers” franchise) over the past five or so years, as they’ve been attempting to position the property at the heart of their fictional universe. With The Avengers planned for a cinematic release in 2012, I thought I’d bring myself up to speed by taking a look at Marvel’s tangled web of continuity. Get an overview of what I’m trying to take a look at here.

Forget sides. They’re all screwed when the Hulk gets back.

– a popular internet meme which puts Civil War in perspective

I have to admit, World War Hulk reads like something of a guilty pleasure. The fantastic artwork from John Romita Jr. (whose fantastical character designs work much better here than in Kick-Ass or even Enemy of the State) certainly helps, as does the relative brevity of the miniseries. It’s a relatively self-contained five-issue storyline, as opposed to the large House of M or Civil War which directly preceded it and Secret Invasion which would follow – it also helps that the tie-in issues seem a lot less essential (and certainly less omni-present) than they did for any of those series. World War Hulk is pretty far from perfect, but it’s an enjoyable little arc from a writer who is clearly familiar with the Incredible Hulk.

Hulk makes quite an impact...

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Civil War (Review/Retrospective)

This is the fourth in a series of comic book reviews that will look at the direction of Marvel’s “Avengers” franchise over the past five or so years, as they’ve been attempting to position the property at the heart of their fictional universe. With The Avengers planned for a cinematic release in 2012, I thought I’d bring myself up to speed by taking a look at Marvel’s tangled web of modern continuity. Get an overview of what I’m trying to take a look at here.

Civil War was Marvel’s big event of 2006-7, and – as this lovely deluxe edition loves to remind you – it was “the industry’s best selling series in over a the decade”. The premise of the series is straight-forward enough – it’s a conflict between the heroes of the Marvel Universe (it’s all there in the title) – and perhaps that is the reason that the series has arguably had more crossover mainstream appeal than the vast majority of comic book crossovers. Marvel have produced a lovely deluxe hardcover which contains just about everything you could possibly want from the event, it’s just a shame I’m not overly impressed by the event itself.

I'm sure we can iron this out...

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House of M (Review/Retrospective)

This is the third in a series of comic book reviews that will look at the direction of Marvel’s “Avengers” franchise over the past five or so years, as they’ve been attempting to position the property at the heart of their fictional universe. With The Avengers planned for a cinematic release in 2012, I thought I’d bring myself up to speed by taking a look at Marvel’s tangled web of continuity. Get an overview of what I’m trying to take a look at here.

The X-Men represent the oddball of mainstream superhero comic books. In a genre and medium dedicated offering a static setup – things never really change or resolve – the X-Men are built upon the very idea of evolution. The whole basis of the franchise is the pursuit of equality by the genetically distinct mutant population, the idea that they and mankind can grow together. It has even been frequently suggested that these super-powered individuals represent out future or our replacements. However, the only way to actually tell a story like that is to follow it through to its logical conclusion – to let the ball roll and to let the world change. It feels a little counterproductive for Charles Xavier and his students to still be fighting for the same rights as everyone else nearly fifty years on – it might even seem a little stale. Grant Morrison’s superb New X-Men run offered a solution of sorts – it gave us a world where humanity would be extinct in a couple of generations and showed the growth and relationship between human and mutant subculture. Gone was the minority struggling against an oppressive majority – a more complex example of race relations had come into play with “mutant music” and “mutant slang” making their impression on the youth, amid a silent and almost invisible middle-class backlash. This was an ingenious approach which demonstrated the relevance of the franchise. Unfortunately, Marvel were not quite pleased with this – some people even, ridiculously, accused Morrison of telling all the remaining X-Men stories – and decided to set things right. They did that through House of M.

Dive in...

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Planet Hulk (Review/Retrospective)

This is the second in a series of comic book reviews that will look at the direction of Marvel’s “Avengers” franchise over the past five or so years, as they’ve been attempting to position the property at the heart of their fictional universe. With The Avengers planned for a cinematic release in 2012, I thought I’d bring myself up to speed by taking a look at Marvel’s tangled web of continuity. We’re taking a bit of a detour this week, but it’ll feed into Marvel’s event-driven central narrative fairly shortly. Get an overview of what I’m trying to take a look at here.

Finally. Hulk knows who to smash.

– Hulk, less than ten pages into the event

Planet Hulk is perhaps a prime example of the type of event-driven storytelling that has become increasingly common at Marvel in recent years. It isn’t really an event of itself, but there’s a strong smell of editorial mandate behind the plot. The key objective – and one conceded by the powers that be – was to isolate the Hulk character from the greater Marvel Universe during the Civil War event (which he would arguably have considerably complicated) and position him for the follow-up event World War Hulk. As such, exiling the Hulk to a foreign planet and watching him play out his own version of Gladiator isn’t exactly the most fluid storytelling direction. However, it’s to the credit of author Greg Pak that the story works as well as it does.

A smashing good time...

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Brian Michael Bendis’ Avengers – New Avengers Vol. 1-2 (Hardcover) (Review/Retrospective)

This is the first in a series of comic book reviews that will look at the direction of Marvel’s “Avengers” franchise over the past five or so years, as they’ve been attempting to position the property at the heart of their fictional universe. With The Avengers planned for a cinematic release in 2012, I thought I’d bring myself up to speed by taking a look at Marvel’s tangled web of continuity. Get an overview of what I’m trying to take a look at here.

Alright. I figure I sound a bit hypocritical complaining about the impact of big events on Marvel’s storytelling continuity without reading said big events. Well, actually, I don’t think I’m a hypocrite – I think it’s perfectly reasonably that a reader should be able to pick up Ed Brubaker’s Captain America without having to worry about Mark Millar’s massive Civil War crossover which they either don’t know enough to care about or know enough not to care about. However, I feel like maybe – just maybe – I should try to ride this “cross-continuity” thing out just once and see if the story somehow justifies the damage it causes to the cohesion of individual runs.  Yes, I’m going to jump head-first into the event-populated minefield of continuity which is recent Marvel history, and I will be using New Avengers as a checklist to that. I’m going down the rabbit hole, following the arc from Civil War through to Siege.

Sentry is responsible for the Carnage in this run...

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Wolverine: Enemy of the State (Review)

Wolverine is a bit of an odd character. He’s a bit of an odd character to have endured the sheer amount of publicity that he has and to remain a big gun at Marvel. He was introduced as an opponent in The Incredible Hulk, before ending up drafted on to Chris Claremont’s revised Uncanny X-Men roster. After that, he was lucky enough to earn his own miniseries (written by Claremont and drawn by Frank Miller), which became his on-going series which led to him featuring as a leading character in multiple team books and a title character in several solo series, all at the same time. Only Spider-Man can compete with that level of exposure, and Spider-Man arguable has a better claim to it as a richly layoured, complex and pseudo-realistic character (in the sense of being “Peter Parker: Schmuck”, rather than “Your Friendly Neighbourhood Spider-Man”… you get the idea). On the other hand, Wolverine’s defining trait is that he is very, very good at killing things.

Even an unstoppable killing machine can stop to pet the dog...

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