Tag Archives: Marvel

Jack Fisher’s Weekly Quick Pick Comic: Thanos #1

Every Wednesday, a new batch of comic books comes out to bring a badly-needed dose of awesome to a world that can never have too much. Not all of them are generic superhero comics. Not all of them are cheap kid-friendly comics full of talking animals and princesses, either. However, they all contribute to the overall awesome in their own unique way.

This week has more going for it than most. While new comics are certainly a joy to fans of superhero media, the upcoming release of “Avengers Endgame” is, by far, the bigger event. I would go so far as to argue that it’s the biggest event in the history of the superhero genre. However, that event wouldn’t be possible without the comics that birthed these iconic characters.

This week, one character is destined to stand out over everyone else and he’s definitely not a hero. He is Thanos, the Mad Titan who brings death, destruction, and wrath wherever he goes. He brought the Marvel Cinematic Universe to its knees in “Avengers Infinity War.” He’s done it more than a few times in the comics as well. However, “Thanos #1” dares to tell a different kind of story.

In this story, Thanos is still the death-loving, power-mad titan he’s always been. A good chunk of the narrative is spent reinforcing this in ways as brutal as anyone would expect of the Mad Titan. That brutality is important, but not just to Thanos. This story is more about Gamora than it is about him.

Thanos #1” isn’t just some extended flashback that reinforces how menacing Thanos is or why he’s one of Marvel’s greatest villains. This is Gamora telling her story about how she became the most dangerous woman in the universe under his guidance. It’s definitely a story worth telling and writer, Tini Howard, doesn’t gloss over the gruesome details.

Through Gamora, we see that Thanos isn’t just a cruel, mass murderer. He really is mad on many levels. There are times when he kills with a goal in mind. While that goal isn’t always logical, he does show that he knows how to employ tactics and he knows how to lead other killers into battle.

Then, there are the times when he just kills because he is not a stable mind. It doesn’t matter if it costs him valuable soldiers and crew members. He kills for the same reason other people collect Star Wars toys. He’s obsessed with it. In the same way some fans can never have too many Darth Vader action figures, Thanos can never have too much death.

Howard does plenty to flesh out this side of Thanos. By reinforcing the extent of Thanos’ madness, it makes Gamora’s role a lot more meaningful. That meaning is important because Thanos shows, time and again, that he’ll kill anyone and everyone without a second thought. Whether it’s an entire planet of pacifists or his own crew of murder-happy minions, he does not hesitate for a second when that murder itch strikes.

However, he does hesitate when he encounters Gamora. It’s not out of compassion or pity, either. Something about her stands out that sets her apart from the countless victims Thanos has killed throughout the cosmos. It’s not immediately apparent. It’s also substantially different than what we saw in “Avengers Infinity War,” but the underlying theme is the same.

It still carries dramatic weight and the artwork of Ariel Olivetti nicely captures that drama. Gamora, who narrates the story, doesn’t portray herself as an impressionable victim who was eager for a power-hungry madman to corrupt her. She was, by and large, just a young girl trying to escape a massacre with her family.

She didn’t come from a warrior culture. She didn’t have a violent streak in her. She was, by all accounts, just an ordinary alien woman who wanted to live peacefully in the only world she’d ever known. For her to become the most deadly woman in the universe, she had to be forced down that path and molded in the most brutal way possible.

It’s yet another testament to just how devious Thanos is, both in the comics and the movies. He’s not just capable of leading a team of murderers from one slaughter to another. He’s also capable of turning an otherwise innocent woman into one of the most deadly killers in the universe.

Thanos #1” is one of those comics that came out at the best possible time. Thanks to the events of “Avengers Infinity War” and the upcoming release of “Avengers Endgame,” the extent of Thanos’ villainy has become a major component of the superhero genre. He is the standard by which other villains are measured now and, like the movies, Gamora is part of that story.

Despite the differences between Thanos in the movies and Thanos in the comics, they share a common link through Gamora. She is an integral part of his journey, as a villain. She embodies just how much Thanos’ cruelty can shape and mold those around him. She is who she is because of Thanos and, as much as she hates it, he defines her.

Gamora’s story is not a pleasant one, but “Thanos #1” proves that it’s worth telling. At a time when all things Marvel are fueled by all things Thanos, the timing couldn’t be better for such a story.

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Final “Dark Phoenix” Trailer Is Threatening (In A Good Way)

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These are wonderful, exciting times for fans of superhero movies, unless you’re a Hellboy fan. “Avengers Endgame” is poised to break all sorts of box office record. The Disney/Fox merger is complete. On top of all that, “Dark Phoenix” is still set to come out on June 7, 2019.

While some have opinions on this film that are petty and unwarranted, I’m still very excited and not just because Sophie Turner is flexing some cosmic sex appeal. This movie is poised to be the last of the X-Men movies that began way back in 2000. While I can understand why some are eager to jump ahead to the X-Men joining the MCU, lets’ not forget that there would be no MCU without the first “X-Men” movie.

It was X-Men that helped usher in this golden era of superhero movies. Now, both “Dark Phoenix” and “Avengers Endgame” promise to usher in a new era. As such, the final trailer for “Dark Phoenix” dropped today and it promises closure, along with cosmic threats.

Sophie Turner has never looked more menacing as Jean Grey.

Tye Sheridan has never looked more determined as Scott Summers.

Between them and the wondrous dynamic between James McAvoy and Michael Fassbender, this movie has everything necessary to cap off this era of X-Men movies in all the right ways.

I know “Avengers Endgame” will break most of the records and make more headlines. However, I believe “Dark Phoenix” will ultimately have a greater impact when all is said and done.

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Jack Fisher’s Weekly Quick Pick Comic: Uncanny X-Men #16

Every Wednesday, this crazy world of ours gets a little less intolerable thanks to a fresh batch of comics. At a time when most of our heroes are in movies and too many villains run free in the real world, we need a little something to remind us of all things good, upstanding, and awesome. As such, I make it a point to select one comic from this batch that’s a better reminder than most.

While the world of superhero comics goes through cycles of hope and despair as often as the Hulk goes through cheap pants, the state of affairs for the X-Men have been more dire than usual. Since the reality-warping events of “Uncanny X-Men #10,” the state of mutant affairs in the Marvel universe hasn’t just been tenuous. Mutants are essentially fighting for the right to be more than an afterthought.

As much of the mutant population is exploring the dystopian utopia that is “Age of X-Man,” the remaining X-Men have been trying to find their place in a world that seems all too happy to be rid of mutants. It has not been an easy endeavor, but “Uncanny X-Men #16” reminds us why it’s worth doing.

The X-Men have been beaten, demoralized, wounded, and marginalized. They’ve had to battle old enemies, attack old allies, and even clash with close family. To say they’re at a low point would be like saying John Wick likes his dog. This is one of the most dire situations the X-Men have ever had to endure, including everything ever written by Chuck Austin.

Despite all that, “Uncanny X-Men #16” finds a way to bring out the best in the X-Men’s most ardent champions.

If you’re a Cyclops fan, you’ll find something to love about this issue. If you’re a Wolverine fan, you’ll find something to love about it too. Hell, if you’re a fan of mutant ninjas fighting alongside magic-wielding Russian teenagers, you’ll find something love about it. That last one is not a metaphor, by the way.

Uncanny X-Men #16” continues a story that has wounded the X-Men in so many ways. A lot of it is mental. Some of it is physical, as Cyclops’ lingering head injury shows. Even as the X-Men fight on, this issue finally shows all the struggle getting to the team. It’s not the first time these characters have expressed doubts, but in the context of the story, it does something important with respect to the past, present, and future of the X-Men.

Everyone on Cyclops’ team knows that mutants are in an existential crisis. They know their numbers are dwindling and that humanity is doing everything possible to make them an afterthought. How does anyone even go about being X-Men in a world like that? Thus far, that has been an unanswered question.

Cyclops and Wolverine tried to answer it by creating a new team out of what remained of the mutant population. They’re actually setting aside their differences and attempting to keep the spirit of the X-Men going. Keep in mind, these are two people who don’t like each other. One of them kept trying to sleep with the other’s wife and the other has shot him through a wall on more than one occasion.

Just putting the team together and fighting what’s left of the X-Men battles has been a struggle over the past several issues. However, “Uncanny X-Men #16” dares to step back and question what they’re fighting for and why they’re even fighting.

Writer, Matthew Rosenberg, explores some overdue discussion among the team. He also puts Cyclops in a unique position that somehow makes him more awesome. For much of his history, as well as his ill-fated roles in the movies, Cyclops has always been the uptight leader who barks orders and expects others to follow them. While we’ve seen hints of that Cyclops here and there, he finds himself in a more uncertain position.

Cyclops no longer trusts himself to be the leader he once was. Even his own brother, Havok, isn’t sold on his leadership at times. While it’s hard to be much of a leader when your entire species is on the brink of extinction, the criticisms aren’t without merit.

Essentially, Cyclops gives the X-Men a chance to show that they can be X-Men without him barking orders. He goes so far as to temper his own leadership in order to give the X-Men a chance to prove their causes is bigger than one person. I won’t say it’s Cyclops’ greatest tactical decision, but the results speak for themselves.

The criticisms and difficult discussions are relevant, giving “Uncanny X-Men #16” much more depth than a typical X-Men comic. It still has plenty of standard superhero action that artist, Salvador Larroca, renders beautifully with his skills. It’s not the flashiest battle, but it has a few twists and complications that require more than just better leadership.

Some of the choices made over the course of the story are questionable. Many of the wounds they’ve suffered haven’t entirely healed. These X-Men are still a far cry from the X-Men that hang out in mansions, fly around in high-speed jets, and fight killer robots. They’re not just struggling to find their place in a world where mutants are almost extinct. They’re trying to find a better way to do what they’ve always done.

The events of “Uncanny X-Men #16” prove that the X-Men still have plenty to offer. They’re still in a tenuous state, but they’re still intact. They’re still finding their way. They’re still learning overdue lessons that bring out the best in each character while not overlooking the worst.

These are exciting times for the X-Men and not just because the movie rights have returned to Marvel. Rosenberg and Larroca have broken the X-Men down in their darkest hour. Now, it feels like they’re becoming the superheroes they have to be. There’s bound to be setbacks, mistakes, and tragedies. However, that’s often when heroes like the X-Men are at their best.

 

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Jack Fisher’s Weekly Quick Pick Comic: X-23 #11

Every week, a new crop of comics enters this world to make the world a better place and/or help tide fans over until the release of “Avengers Endgame.” Whether you’re a fan of superheroes, melodrama, or just pretty artwork from artists not afraid to draw gaudy costumes, there’s something for everyone.

Every Wednesday, I take it upon myself to select one comic that I feel offers something extra beyond the price tag. Historically, few characters offer a wider range of appeals than Laura “X-23” Kinney.

Some know her as the daughter of Wolverine. Some know her as the breakout star of the “Logan” movie who helped make Dafne Keen a star. Regardless of how you know her or the medium in which she comes, she often brings a diverse story of violence, brutality, melodrama, and heartbreak. This week’s pick, “X-23 #11,” delivers on all of this, and then some.

Since writer Mariko Tamaki took over the series, Laura has gotten back to basics in terms of her mission. While she served admirably as Wolverine for a while, her priorities often change when she finds out some mad scientist wannabe is trying to make living weapons again. Considering how often this results in a blood bath, such efforts should count as an elaborate suicide attempt.

It’s a bigger deal to Laura than most. Like Logan, these programs have brought her nothing but pain. Unlike Logan, though, she doesn’t have the benefit of having holes in her memory. She remembers all the horrible crap that these programs did to her, which included the murder of her mother. She has more incentive than most to take these programs down as quickly and brutally as her father would have.

This is the primary goal in “X-23 #11,” but there’s a lot more at work than just someone with adamantium claws tearing through a weapons facility. In X-men comics, that’s basically a typical Monday. What makes this typical part of Laura’s mission harder than usual is the growing divide between her and her clone sister, Gabby “Honey Badger” Kinney.

That divide began several issues earlier. Like a pissed off Wolverine chasing the last can of beer, things have been getting anxious between the two. Since her debut in All-New Wolverine, Gabby has been a wonderful ray of sunshine mixed with omega-level cuteness for Laura. I’ve documented the breadth of that cuteness before, but it has never worked against Laura until now.

Laura knows it’s happening. She even senses that there’s some simmering resentment in Gabby, so much so that it affects her tastes in music. This isn’t just sisters bickering over what to binge-watch on a Friday night, though. “X-23 #11” establishes a fundemental divide between Laura and Gabby that may very well send the two sisters in a very different direction.

Tamaki has been setting up that divergence for several issues, but now there’s no putting it off any longer. It started with a debate over what to do when a shady company called Harvest made an army of X-23 clones that had been augmented/hijacked by cybernetics. While it made for some pretty brutal battles, it also highlighted the difference in Laura’s approach to dealing with other living weapons compared to Gabby’s.

Gabby, being the glowing ball of lovable cuteness that she is, wants to save these weapons. She sees them like other sisters. Even when it they come off as brain dead, like the cyborg X-23 army they battled, her first instinct is to save them and not destroy them. Laura, having seen too many clones cause too much suffering, favors a more direct solution that involves adamantium claws.

What makes the drama in those issues, as well as “X-23 #11,” so compelling is that it’s easy to see both points of view. Gabby knows that she wouldn’t even be alive if Laura hadn’t shown compassion when dealing with the clones that these living weapons programs produce. She also wasn’t subject to the same tragedies as Laura so she still has that wide-eyed optimism about helping other clones.

Laura, being older and a lot more damaged from her experiences, knows that the real world tends to crush optimism the same way Logan crushes beer cans. She has suffered and lost a great deal in dealing with these living weapon programs. She understands that not every clone can be saved. She knew that was the case with the cyborg clones that she and Gabby battled, but also knew Gabby was not going to agree with her.

Now, as the aftermath of that conflict sets in through “X-23 #11,” they both face some difficult, heart-breaking choices. For once, few of those choices can be made while stabbing heavily armed henchmen. There is some of that in this story and Diego Olortegui’s artwork does plenty to make that a visual spectacle. However, it’s the family drama that really sets this issue apart.

If you’ve been following the evolution of Laura and Gabby’s relationship since her debut, then the events of “X-23 #11” are genuinely heartbreaking. These two have steadily become a real family in their brief time together. Now, they’re being torn apart by bitter disagreements and painful choices.

Both Laura and Gabby experience the heartache. Even if you haven’t been following their respective stories, it’s easy to appreciate the bitter divide between two sisters. It happens in the real world and without mutant powers. Sometimes, things between siblings go bad and they drift apart. Seeing that happen with Laura and Gabby is nothing short of tragic.

It’s bittersweet, but it also helps set the stage for the future of both characters. “X-23 #11” is one of those comics that doesn’t avoid a difficult moment between two characters who no longer see eye-to-eye on an important issue. Even within family, these moments happen. This one was inevitable, but Tamaki and Olortegui made sure this one hit hard in all the right ways.

With Logan back from the dead, it promises a very divided Wolverine family, to say the least. For a family that has been subject to cloning experiments, constant torture, and even a trip to Hell, it’s a tough situation, but one that tends to make them all more badass in the long run.

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Jack Fisher’s Weekly Quick Pick Comic: War Of The Realms #1

Every week, the world is in desperate need of something to make it just a little more fun. As such, every Wednesday brings us a fresh batch of comics that achieves just that and then some. With the anticipation of “Avengers Endgame” at unprecedented levels, we all need something to tide us over until we cram into theaters and send piles of money to our Disney overlords.

Thankfully, a comic like “War of the Realms #1” does plenty to scratch that superhero itch and it doesn’t require anyone to deal with crashing websites. While the big gathering in the Marvel Cinematic Universe is taking shape, these kinds of gatherings seem to occur every other Tuesday in the comics. Some are more awesome than others and the one that unfolds in “War of the Realms #1” definitely qualifies.

You don’t have to have followed to recent comics to appreciate it, although it certainly helps. The world of Marvel comics is always in flux with respect to the threats the heroes face and the situations in which they find themselves. “War of the Realms #1” is a confluence of compounding factors that started in Thor’s world of gods and mythical monsters. Now, it has erupted to a level that even comic book gods can appreciate.

If you thought Asgard was in a rough place after “Thor Ragnarok,” then you’ll be unpleasantly shocked at how much worse it can get in the comics. However, it’s not solely because of giant fiery monsters set to 70s rock music. It’s largely because Odin, in stark contrast to the charm exuded by Anthony Hopkins, is a divine prick in the comics.

It’s because of him that Asgard is in ruins, much of his fellow gods have abandoned him, and the realms are ripe for invasion. Despite being the All-Father of gods, he’s powerless to stop it and the heroes of Earth/Midgard are the ones who have to fight it. Prick or not, it still makes for a hell of a spectacle that brings out the best in Russell Dauterman’s artwork.

The mystical machinations of the war aren’t overly complex, nor do they need to be. Asgard isn’t a shining bastion of order and stability anymore. That means Frost Giants, Dark Elves, and Trolls are free to organize and invade other realms. Leading the pack is Malekith the Accursed and if you thought he was a push-over in “Thor: The Dark World,” this comic should help shatter that notion.

Far from being the bland throw-away villain in the movie, Malekith is a forced to be reckoned with in “War of the Realms #1.” He has united gods, monsters, and entire races into one massive army right out of J. R. R. Tolkein’s worst nightmare. Now, he leads them into a full-scale invasion of Midgard and the battle that ensues is as epic as anyone could hope for.

It’s not just Avengers who rush to the front lines. We see the likes of Spider-Man, Wolverine, Daredevil, and the Punisher join the chaos. This is not just a battle for the Avengers. This is something that will bring in players from all ends of the Marvel Universe.

Even with the recent Disney/Fox merger closing, this isn’t something we’re going to see in the Marvel Cinematic Universe anytime soon. “War of the Realms #1” offers a taste of just how much bigger the world of Marvel can be when all its iconic characters occupy the same world. Even for those who can barely contain their excitement over “Avengers Endgame,” this comic should give those same fans plenty of possibilities to contemplate.

The underlying plot to “War of the Realms #1” may be basic, but Jason Aaron, who has been the architect of both Thor and the Avengers for years, finds plenty of ways to bring depth to such a colorful clash. He even finds a way to squeeze in a joke about colonoscopies and kidney stones. I promise I’m not making that up.

Much like the movies, there bits of humor that keep things from getting too dire. However, “War of the Realms #1” never feels like a joke or an excuse to see Thor beat up frost giants. Jason Aaron has shown, throughout his run, that he can incorporate layers into mystical, hammer-wielding spectacles. Those layers are definitely there and poised to affect the battle.

How that battle plays out is just starting to unfold. Even though this comic is padded with extra pages to go along with the inflated price, it’s very much a prelude to a much larger conflict. That conflict already has Spider-Man making dirty jokes and Loki getting eaten by a frost giant. If you can’t find entertainment in that, then you’re just being difficult.

Beyond the entertainment value, “War of the Realms #1” offers the kind of high-stakes superhero crossover story that movie fans have only recently come to appreciate while comic fans have been enjoying it for years. While Malekith the Accursed will never be on the same level as Josh Brolin’s Thanos, there’s something to be said about a character who can wage a cosmic war on the entire Marvel Universe.

Whatever your feelings about Malekith, Odin, or Spider-Man’s brand toilet humor, “War of the Realms #1” has plenty to enjoy while also setting up a much larger conflict. It’s a story that gives the superheroes we love a chance to unite, kick ass, and break stuff. It’s stories like that which remind comic fans why New Comic Book Day is truly the best day of the week.

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Jack Fisher’s Weekly Quick Pick Comic: Spider-Man Life Story #1

Every week, the world gets a brief reprieve from being a chaotic mess when a fresh crop of comics enters the world. Most call it Wednesday. Others, like myself, call it New Comic Day. It’s like a weekly holiday, minus the decorations, gift giving, and crowded airports. On this unique day, I pick one particular comic to single out as worthy of making this day feel extra festive.

This week brings us a special gem from everyone’s third favorite friendly neighborhood Spider-Man, after Spider-Ham and Spider-Gwen. It comes courtesy of one of Marvel’s top scribes in Chip Zdarsky and one of their top artists in Mark Bagley. While there has always been an abundance of Spider-Man comics, “Spider-Man: Life Story #1” stands out in a uniquely charming way.

For much of Spider-Man’s contemporary history, there has been an ongoing challenge, of sorts, when it comes to keeping him relevant. Writers, artists, and movie producers┬ákeep having to update Spider-Man’s story, somewhat, so that he feels modern. That’s not easy for a character who first debuted in 1962, courtesy of Stan Lee and Steve Ditko.

Over the years, Peter Parker has found himself reinvented into many eras, from disco to social media. Marvel has always been somewhat coy about how characters like Spider-Man can show up in these eras and not seem to age, but that’s exactly what makes “Spider-Man: Life Story #1” so unique.

It doesn’t try to put Peter Parker in a more modern context. It doesn’t try to radically change who he is so that he fits into a more familiar world. Instead, Zdarsky and Bagley do the complete opposite and just let his story unfold within the era that first created him.

There’s no sliding timescale here. The year is 1966. Peter has had his Spider-Man powers for four years. He’s in college, the Vietnam War is ongoing, hippies are starting to grow in population, and cigarette’s are still advertised for their health benefits. This is the world in which Spider-Man was initially birthed and this is the world in which his story unfolds.

It’s a familiar story, one that frequently relies on Peter trying to balance his life as a college student with his superhero life as Spider-Man. However, that familiarity is exactly what helps “Spider-Man: Life Story #1” work so well as a concept and a setting. While it isn’t bound by the same 50-plus years of comic book continuity, it is bound by the circumstances of the mid-1960s.

This is a very different time for superheroes and non-superheroes alike. It’s not just that soda costs a quarter and the idea of alternative facts can be attributed to bad acid trips. This is a time of major social upheaval, especially in places like New York. Issues surrounding the Vietnam War aren’t just affecting Peter. They’re affecting his friends and other heroes, like Captain America.

It’s a world in which Peter struggles with choices that don’t just involve being on time for class. He’s seeing friends/bullies like Flash Thompson get drafted into a war that is just starting to go poorly. He’s watching other superheroes who don’t have to deal with J. Jonah Jameson make difficult choices about whether to get involved. What does an aspiring superhero do in that kind of world?

It makes for an interesting and dramatic backdrop for “Spider-Man: Life Story #1.” Peter still deals with typical Spider-Man issues, like getting to class on time and pursuing a blossoming relationship with Gwen Stacy. There are also a few battles with familiar enemies, namely the Green Goblin, who’s an asshole in any era. However, neither Peter Parker nor Spider-Man are bigger than the issues of the world around them.

In many respects, it brings out a more balanced Spider-Man. His struggles in dealing with the times and circumstances around him makes Peter Parker feel more real. It has always been part of his appeal, going back to the era of Lee and Ditko. He’s not some billionaire playboy or legendary soldier. He’s just a nerdy kid who got super-powers by accident.

This is a Peter Parker who isn’t bound by the old Comic Code Authority or aversions to political undertones. Zdarsky and Bagley let him live and react to the world of 1966 in a way that’s both believable and engaging. Essentially, they let him be the character that Lee and Ditko created within the times of his creation.

Those turbulent times set up even more drama as issues like the Vietnam War and the growing mistrust between people and authority start to grow. Peter’s youth puts him in the front row of the emerging chaos while the adults around him, including other superheroes, find themselves affected in ways that would’ve abhorred 1960s censors.

In a sense, the times and the larger world of “Spider-Man: Life Story #1” is the biggest appeal of the story. It allows complexity and drama that isn’t typical of a modern Spider-Man comic, but somehow brings out the best in Peter Parker and those around him, even if J. Jonah Jameson is still an annoying blowhard.

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Done Deal: The Disney/Fox Merge Is Complete!

As Micky Mouse himself would say, “Oh boy!”

As of 12:02 a.m. on March 20, 2019, the deal that has been 18 months in the making is complete. Disney and Fox are officially merged in an intimate corporate entanglement that sounds extra-sexy to fans of the X-Men and Fantastic Four.

There are a lot of implications here. The media landscape will never be the same. I’m neither smart enough nor psychic enough to make sense of those implications. However, I’m certain there will be plenty to discuss in the coming years. As a fan of superhero movies and all things awesome, I’ll be keeping a close eye on it and I’ll certainly single out the stuff that’s extra sexy.

Until then, let’s all just take a moment to appreciate the bold new, Disney-dominated world we live in now.

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