The first volume of Saga had me hooked right away: something about the clean lines of the art, the way it perfectly brings across character and expression, to begin with. Also the quirkier details, like the pictures that show on Prince Robot’s monitor. But also the story: the offbeat narration by a character who has only just been born at the start of the story, the set-up of the worlds fighting, the Robot kingdom assisting, etc. Alanna and Marko’s relationship is believably silly: they’re ridiculously in love, they’re not always best-suited for each other, but they’re muddling through anyway.
It’s also funny in general — not always in the most “tasteful” or “refined” way, as some of the sex-related humour shows, but believably. You can like these characters, it says, because even though one has wings and the other has horns, they’re dweebs like you.
Spider-Woman: New Duds, Dennis Hopeless, Javier Rodriguez
I liked the redesign for Jessica Drew in this volume, and I do prefer Rodriguez’ art to Greg Land’s (even though I don’t quite get the antipathy some people had towards it). This volume feels a lot more fun than the first one, in line with Jessica’s decision to get away from the Avengers and be an ordinary person (ish) for a while. Ben Urich also has a key role, which is fun too. Unfortunately, it feels somewhat truncated because just as the first volume took Jessica Drew out of one Marvel event (Spider-verse), the last part of this volume pulls her off her detective agency job and back into the Avengers for Secret Wars. Yay.
I don’t know what Marvel thinks they’re doing, constantly crippling the solo comics with these ensemble events that a lot of people don’t even like. It’s alright when they’re a novelty, but when one TPB is bookended by two big universe-wide events, ugh, it’s far too much. Jessica Drew’s little detective story is fun enough but very light, and one could wish we get to see a bit more of her. It’s an interesting plotline, though perhaps somewhat predictable — or I dunno, I felt like I’d read something like it before, anyway.
Still not groundbreaking, but Jessica is still awesome.
Spider-Gwen: Most Wanted?, Jason Latour, Robbi Rodriguez
In the Spider-verse event, it turned out there was a world in which Gwen Stacey was bitten by the radioactive spider, and in the end Peter Parker actually died. The origins are a little murky, because thankfully they don’t rehash the origin story, leaving it just sketched in and suggested. This book has Gwen back in her own universe, leading her normal life… and leading her cop father an awful dance while she’s caped up. Her costume design is really cool (love the hood), and Rodriguez’s art works well — and it was a relief reading this so soon after The Movement, which was typically DC-ian in its gloomy colour palettes.
The story itself doesn’t really get on its feet here, I think; we’re still trying to get used to who Gwen is here and how her world has changed. Like, it turns out Mary Jane Watson is… a bit of a diva. And she and Gwen are in a rock band together. Which Gwen has been kind of letting down and might quit? Maybe? But then she turns up and it’s all good.
At times, it’s a little bit goofy — it might be less so if you’ve read Spider-verse, but suddenly having Spider-Ham (a version of Peter Parker who is a pig, no I am not kidding) appear as Gwen’s conscience is a bit outta nowhere from my point of view.
It’s not groundbreaking, except that it’s another female character stepping up and taking on a big role, and dealing in different ways with the same problems. I loved that Gwen went to speak to Aunt May, for example, and the way they talked things over. It’s not the level of quality of, say, Ms Marvel, but it’s fun and I’m looking forward to the next TPB. (And wondering why my pull list on Comixology has disappeared…)
I know that everyone thinks Matt Fraction’s Hawkeye run has been the best thing since sliced bread, and I wish I could feel it too. I can see objectively that it’s good — I like Aja’s art, I like the inclusion of Kate Bishop as Hawkeye, I like that Clint’s a doofus and I love the experimental storytelling like the issue from Pizza-Dog’s point of view and showing Clint’s sign language. Hell, I love the inclusion of Clint’s brother, the way Fraction re-introduces Clint’s deafness (which I think was originally a story in the 70s?).
But somehow it just doesn’t quite come together for me — possibly because there’s a lot of visual storytelling, and I am a dunce when it comes to visual skills. I can’t even imagine rotating a simple shape, or picture someone’s face in my non-existent mind’s eye, so even if I spoke American Sign Language (which I don’t and wouldn’t, since when I learn it I’ll learn British Sign Language) I wouldn’t be able to read Clint’s signs, and… the dialogue in a comic really helps to orientate me.
I still think this run on Hawkeye is fun, but I just don’t appreciate it in the way other people do, and I’m sure there are awesome parts I’m not even appreciating. I suppose that’s, in part, why I’m an unlikely comics fan. Still, I get some enjoyment out of it, and I do see why this run has been so popular!
Spider-Woman: Spider-Verse, Dennis Hopeless, Greg Land
It might be because I don’t know any of Greg Land’s other work, but I don’t have the problem with his art in this book that other people identify. It sounds like he uses fairly formulaic compositions? But I’m not the greatest at visual-anything anyway, so it probably wouldn’t bother me. To me Jessica looks badass and capable, and uses her skillset well for fighting and spying.
The Spider-verse in general… Eh. I like the plethora of female stars that have come out of it, or had a part to play — Anya Corazon, Cindy Moon, Jessica Drew, Gwen Stacey… and the idea of all the alternate Peter Parkers was pretty cool. Silk acts pretty spoilt in some ways; haring off on her own and getting other people into trouble. Jessica shares some aspects of her background, a thing I mentioned in my review of Silk’s solo volume, but she’s much further along the road to finding her place in the world.
I love her friendship with Carol and the other Avengers, and so it’s nice that this volume finishes with her taking her leave of the Avengers, choosing to go and figure out who Jessica Drew is. It’s a fun enough volume, though perhaps not memorable.
If you’ve had your head in the sand for the last day or two, the title of this post might confuse you a little. There’s an article here which covers the basics, but this panel might just sum everything up best:
The moment Marvel stomped on the character of Steve Rogers and all previous portrayals thereof.
And we’re told that this isn’t an impostor. This really is Cap. Hell, Steve’s mother was recruited by Hydra, per some of the flashbacks in this comic.
Yep. The quintessential defender of the little guy is suddenly an agent of Hydra. You know, that Nazi organisation. The ones Steve Rogers has been fighting for seventy-five years of comics history, in various guises.
I don’t even really need to explain why it’s wrong (though this article is a good one on that). Just think of the number of people who read this who now face the fact that Steve Rogers supposedly hates everything they are. It won’t even wash, I agree: no one is going to buy Steve Rogers as an actual Hydra agent. It must be brainwashing or alternate reality or a trick or… something. Because this isn’t the Steve Rogers we know and love — the character which sticks with us throughout different versions, whether he be played by Chris Evans or drawn with more muscles than is anatomically possible. The key thing about Captain America is not the suit, the colour scheme, the beefcake eye-candy. It’s the little guy he was, who kept on fighting and pushing, making the world a better place, never giving a damn what it cost him. Even when he could’ve taken advantage, cashed in, got whatever he wanted.
We know what Captain America wants: it’s justice tempered with mercy, and safety and freedom for everyone. This is not exactly compatible with Hydra’s goals.
Nah, what really sparked this post is all the counter-arguments which start with: You don’t understand comics if you think this is going to stick. Cap will be back to normal in a couple of issues. There’s no way they’re going to mess up this legacy.
I haven’t seen anyone convincingly arguing that this is not a punch in the face for a lot of people. So let’s use that metaphor: if someone hit you, are you going to sit back and wait weeks for them to unfold some narrative that justifies it? Are you going to say, “this person wouldn’t hit me, so it can’t really hurt even though they just hit me”? Are you going to accept them saying, “hey, sorry I hit you, but wait a couple of weeks and it won’t hurt anymore”?
It’s not about how comics work. We all know that the power of retcon is strong in comics. It’s about why anyone thought this was a good idea at all. This is just so fundamentally wrong, not just for the character but as a plot device, because it is so tone deaf. Sometimes you’ll run with a bad idea and somehow not see that it’s a bad idea, so while I’m not happy that Marvel ever let this go ahead, I’m more interested in what they do now. That people talk about it. That people who don’t get it turn around and listen.
It doesn’t matter if Cap is a Nazi for good or not. It matters that Marvel ever thought it was a good idea. But the thing that really gets my goat is this idea that I must not like/understand/read comics if I’m against this plotline. Guys, take a look at my blog. I’ll wait.
Evidently I do read comics, and if you comb back far enough, you’ll find that I don’t just wait for the trade paperback. I buy the comics on the day they come out. I bugged the life out of my local comic shop owner when he couldn’t put Young Avengers or Ms Marvel in my hands fast enough (what do you mean you only stocked enough for people’s pull lists, and no copies left over?). And then I get the trade paperbacks of ones I really like, to reread and lend and enjoy in future.
So yes, I do understand comics. And so maybe it’ll come better from me: you don’t need to understand comics to have an opinion on this questionable, harmful, hurtful, anti-Semetic issue of Captain America.
“You just don’t understand how comics work” is a way of ducking the responsibility for examining something that’s going on in your fandom. I haven’t even seen anyone who thinks this storyline isn’t a problem, I should emphasise. Everyone thinks it is. But some people are trying to sweep it under the rug because… what? Is it too hard to see what’s going on in the world reflected in comics?
Sorry, mates. Look up Cap’s origins. He was never apolitical, never just wish fulfillment, never intended not to be a comment. Comics, like everything else, are part of the world and have to exist within it. Nothing is above or beyond or below criticism.
Silk: The Life and Times of Cindy Moon, Robbie Thompson, Stacey Lee
The main complaint I’ve heard about this (and Spider-Gwen, and Spider-Woman) is basically “oh noez, they’ve got WOMEN all up in my comics!” To which I say: “heck yeah, about time.” Silk’s first solo volume is reasonable, though the themes are familiar — Jessica Drew had some of the same adjustment problems from her spidery-past, Cindy has to learn to do the whole great-power-and-responsibility thing, coping with a normal life, and so on.
It’s fun enough, though not outstanding, and somewhat hobbled by the fact that it almost immediately gets swallowed up by Secret Wars at the end of the volume. That certainly didn’t have any kind of positive effect on solo storylines (not that I’ve seen anyone being fond of it elsewhere, either). Almost universally it just suddenly happens and derails all vestiges of solo plot.
Stacey Lee’s art is great, though — fluid lines, good expressions; it works for me very well, and I hope she illustrates future issues.
The Thrilling Adventures of Lovelace and Babbage, Sydney Padua
This seemed like a comic perhaps more for my partner than me (and lo, she did love it), but I wanted to give it a try too after hearing some stuff about it on the radio… somewhere. And Robert kindly sent me his copy to peruse, so I had no excuse (and didn’t really want to find one anyway). I like the art — it’s cute, but not too cute; lively and character-ful, without feeling like caricature. And the sense of humour suits mine pretty well too.
If you’re looking for a serious what-if about the Difference Engine, then this isn’t really your show; the comic itself is more about the characters, their endearing characteristics, their partnership. It’s based heavily on material surviving from the correspondence of and commentary on Lovelace and Babbage, but the events themselves are fanciful, often ludicrous, for the sake of a fun rather than “educational” comic. It works well, if that’s what you’re here for — and even if you aren’t, there’s a whole wealth of info contained in the footnotes and the appendices.
One thing I did find awkward about reading this was how busy the pages are. Text! Everywhere! Here’s a footnote there’s a footnote and another little footnote! My brain is not very good visually at all, so I found it cluttered and distracting at times. Colour might have helped; maybe not.
Still, overall fun and yes please to Ada Lovelace as hero.
The Movement: Fighting for the Future, Gail Simone, Freddy Williams II, Chris Sotomayor
Volume two of The Movement is a little disappointing in that it’s also the last volume. Some things are wrapped up, but really you’re just left feeling this frustrated sense of how much has been left undone, how much potential exists within this mismatched group of characters. I love the fact that the story itself brings this up, in a way: people warn Virtue that her team doesn’t fit in with how existing superheroes work and think, and she says essentially, well, one day they’ll have to. Change is coming.
Change is coming, and maybe The Movement was a little too soon, a little too blatantly diverse, a little too brazen about being a new sort of superhero team. Maybe it’s just that it’s difficult to launch a new set of superheroes without serious support — some of which the team gets, in Batgirl’s appearance in a couple of issues. Successful as the Young Avengers have been, they don’t have a current comic either, while Cap and Iron Man and all the mainstays are going on (and on, and on).
I love what we did get, though: a complex team made up of people who complement and clash with each other in equal measure. It’s a team of diverse voices, not only in terms of skin colour and country-of-origin and sexuality, but in terms of political ideals too. Katharsis is fairly blatantly not down with some of the more liberal ideas held by other members of the team. Burden comes from a religiously conservative background and is only just opening up to new ideas. It’s not just a liberal hippie love fest.
And on a lighter note: I love that we saw the hinted-at date between Virtue and Rainmaker. Cute.
The Movement: Class Warfare, Gail Simone, Freddie Williams II
It took me so long to get around to reading the second volume of The Movement, I thought I’d better reread the first. Perhaps it was very much of its moment, both in terms of the content and in terms of the effect on me: I wasn’t as taken with it this time round, though there’s still lots to love. The diversity of the characters, in terms of sexuality and gender and even political views. It’s great for the way the characters struggle against each other: they don’t automatically have the same opinions, and some of them clash on fairly fundamental levels (and yet friendship can win out — note to US politicians: try not seeing your opponent as total scum).
The art is still awesome; I love Virtue and Rainmaker in particular. And Tremor. Okay, I just love the art, okay. I do wish at times there was a bit of a brighter colour palette — I can tell I’m reading a DC comic just from the gloomy colouring! Though it is also appropriate to the world that these characters are living in, so it does make sense. (Marvel’s Young Avengers are a much more privileged group, after all.)
Saga Volume One, Brian K. Vaughan, Fiona Staples
