Those fans who stuck with the very decisive first season of Marvel’s Inhumans got a treat last night as ABC released an action-packed teaser for the upcoming fifth season of Agents of SHIELD. The clip was also posted on Twitter, but you can check it out below.
It looks like the Agents are going back into space! That is most definitely a Kree we see in the trailer, but is that other weird creature we get a glimpse of the MCU version of The Brood? Comic fans know The Brood as an alien race introduced in 1982 by Chris Claremont and Dave Cockrum in Uncanny X-Men#155. The Brood have a hive mentality, infect hosts like parasites and follow a queen (much like the Xenomorphs in the Alien franchise who were an inspiration and are also referenced in this clip). And who is the guy in the helmet?
No matter who is in it or what is going on, season five of Agents of SHIELD looks like it’s going to continue the quality both fans and critics liked about the much celebrated season four. What do you guys think? Comment and discuss below.
Agents of SHIELD season five premiers December 1st on ABC. The showstars Clark Gregg, Ming-Na Wen, Chloe Bennet, Henry Simmons, Ian De Caestecker, Natalia Cordova-Buckley, Elizabeth Henstridge, Nick Blood, Jeff Ward, Eve Harlow, Pruitt Taylor Vince, and Coy Stewart.
Kristen Stewart has done an amazing job of shedding the last remnants of that Twilight glitter trail these last few years. Her work in independent film has been captivating, and she appears to have slipped into a creative groove.
Now, Stewart has tried her hand at directing with Come Swim, an avant garde meditation in steely blacks, whites, and blues. It is certainly an expressionistic work, but it has the energy and introspection of a woman hitting her creative stride.
Check it the 18-minute short here:
Kristen Stewart discussed the project at length with Refinery29 back before Sundance in January. You can find the full interview here, but here’s a few things she had to say:
“[T]his movie is like full-frontal heartbreak. I’m definitely not shying away from that, that’s absolutely what it’s about… It’s that first fall to this existential netherworld. You can attack yourself with memories or, depending on perspective, you can take a step back and say, ‘Actually, it wasn’t so bad. That was fun, we did have fun and it was nice.’”
It is heavy thematically stuff, and technically it’s fascinating to see cinema through the eyes of Stewart, who is a special talent. The sound design and the music from St. Vincent set up an unnerving dreamscape, and Stewart clearly has an eye for composition and an ability to create nightmarish imagery.
It will be fun to see where she goes from here as a director.
Batman Lost #1 hit your local comic book shop this week, and we try to make sense of Scott Snyder’s deconstruction of the character.
Trapped in the Dark Multiverse, Batman must face his greatest fears! The book starts off with an older version of the Batman we know; the issue ends with him a shell of his former self.
What does this mean? Did we just lose post-Flashpoint Batman, will Grant Morrison’s Batman return to save the day? Only Snyder knows the answers to these questions. What we do know is now that Snyder has broken down Batman, he can now rebuild him. Only a few creators have wielded such great power; it will be interesting to see Batman looks like post-Metal.
Watch our Metal conversation below.
Dark Nights: Metal (4 of 6) has a street date of December 20.
We are at the half-way point of Dark Nights: Metal, how do you think it will end? Sound off in the comment section below.
Disney plans to launch its own streaming service, and it could be a strong rival to Netflix.
The price for the service will be “substantially below” that of Netflix.
CEO Bob Iger added that price reflects the service’s smaller library of content.
The price would change, of course, once more content is adding to the service, according to Iger. For reference, Netflix’s most popular plan costs $10.99 a month.
Disney’s service will launch with tons of “high quality” content that includes Pixar, Marvel, Star Wars and TV series based on other Disney-owned properties.
In August, Disney announced it would pull its content from Netflix starting in 2019.
Disney could increase its content from other sources.
A recent report from CNBC suggested that Disney was in talks to acquire most of 21st Century Fox, including the film rights to X-Men. Talks are not currently active. However, the deal could have given Disney numerous properties, including 20th Century Fox, Futurama and Buffy the Vampire Slayer.
Disney’s streaming service is expected to launch in 2019.
Warner Bros. lifted the Justice League embargo at 9 a.m, on Friday, November 10, and some journalists who were treated to early screenings shared their thoughts.
“JUSTICE LEAGUE! It’s okay. Narratively it’s a mess, the stakes don’t work & the villain isn’t great. HOWEVER, the heroes ARE great, it’s funny, & there’s some surprisingly effective character work. I didn’t love it, but there are enough good pieces to excite me for the future.”
JUSTICE LEAGUE! It's okay. Narratively it's a mess, the stakes don't work & the villain isn't great. HOWEVER, the heroes ARE great, it's funny, & there's some surprisingly effective character work. I didn't love it, but there are enough good pieces to excite me for the future. pic.twitter.com/OY4ARJ5vDY
“#JusticeLeague is a fun, bumpy ride that succeeds in character, but fails in narrative. It’s a mixed bag of execution that’s saved by the actors, who rise above the shortcomings to deliver an engaging, funny and hopeful, yet flawed, entry to the DCEU.”
#JusticeLeague is a fun, bumpy ride that succeeds in character, but fails in narrative. It’s a mixed bag of execution that’s saved by the actors, who rise above the shortcomings to deliver an engaging, funny and hopeful, yet flawed, entry to the DCEU. @joblocom
“SO I saw #JusticeLeague -twice. Still under embargo, but: This is a fun superhero flick. Funny but still hero adventure. Reminds me of JL Unlimited ep. Likable interaction amongst recognizable heroes. There is a villain problem (no worse than Marvel’s)”
SO I saw #JusticeLeague -twice. Still under embargo, but: This is a fun superhero flick. Funny but still hero adventure. Reminds me of JL Unlimited ep. Likable interaction amongst recognizable heroes. There is a villain problem (no worse than Marvel's) – @aaronsagers
“#JusticeLeague was entertaining for a good portion of the time though thin on storytelling and character development. There’s more fun, humor and heart than BvS but it also feels very rushed with some scenes given zero time to develop.”
#JusticeLeague was entertaining for a good portion of the time though thin on storytelling and character development. There's more fun, humor and heart than BvS but it also feels very rushed with some scenes given zero time to develop.
“Justice League is better than expected, but not a home run. The interaction between the team is a lot of fun. The film sends the DCEU in a hopeful direction in line with where the brand should be headed. Flash and Aquaman steal the show. Cyborg and villain are the weak links.”
Justice League is better than expected, but not a home run. The interaction between the team is a lot of fun. The film sends the DCEU in a hopeful direction in line with where the brand should be headed. Flash and Aquaman steal the show. Cyborg and villain are the weak links.
Fans have wondered when the popular show would end. It won’t be anytime soon because Showtime just renewed Shameless for a ninth season.
Season 8 of Showtime’s highest ranked and most watched series kicked off this past Sunday to 1.86 million viewers.
“As challenging as it can be for any show simply to maintain viewers in the current TV landscape, Shameless is adding them in droves,” Showtime Networks president and CEO David Nevins said. “But it’s no mystery why. The series’ reputation for rich and resonant characters and for deep – and deeply twisted – comedy has drawn not only faithful longtime viewers but a steadily growing audience. And creatively, the season that kicked off this past Sunday is stronger than ever.”
Shameless was created by Paul Abbott, and produced by Bonanza Productions in association with John Wells Productions and Warner Bros Television. Deadline tells us Wells developed the U.S. series from the UK original; he show-runs and executive produces with Nancy M. Pimental and Sheila Callaghan.
“We are so grateful to Showtime for giving us the opportunity to continue making Shameless,” showrunner and executive producer John Wells said. “It’s a labor of love (and a blast) for all of us.”
Production for season 9 begins in 2019 with the whole cast set to return.
The first full trailer for Hostiles is here, Scott Cooper’s latest drama starring Christian Bale as a soldier in the Civil War tasked with returning a captive Native American to his land. The film here looks familiar, but the performances look fantastic. Plus there/s Ben Foster here, so craziness is bound to spring up.
Check it:
Set in 1892, Hostiles tells the story of a legendary Army Captain (Christian Bale), who after stern resistance, reluctantly agrees to escort a dying Cheyenne war chief (Wes Studi) and his family back to tribal lands. Making the harrowing and perilous journey from Fort Berringer, an isolated Army outpost in New Mexico, to the grasslands of Montana, the former rivals encounter a young widow (Rosamund Pike), whose family was murdered on the plains. Together, they must join forces to overcome the punishing landscape, hostile Comanche and vicious outliers that they encounter along the way.
The cast here is phenomenal. Bale, Pike, Foster, Wes Studi, Jesse Plemons, Rory Cochrane, and Q’orianka Kilcher, who worked with Bale on Terrence Malick’s The New World.
Hostiles looks and sounds familiar, especially the line about death that sounds like a line from Unforgiven. Scott Cooper has been up and down in his brief career – down with his most recent, Black Mass – but perhaps a traditional Western is what he’s been aiming towards this whole time. It opens in limited release on December 22, and goes wide January 19.
The time has come. After the revelation in The Darkseid War, Wonder Woman finally comes face-to-face with her brother, Jason. The search for Diana’s brother had truly started after the death of Hercules. He, along with many children of Zeus, had been targets for Grail, daughter of Darkseid. With every child of Zeus dead, Darkseid takes another step to his return.
While I have enjoyed this story arc so far, it is far from perfect. The first chapter had little Wonder Woman, but the previous chapter was able give her a better connection to her family. With us finally meeting the twin of the Amazonian princess, we will probably see the two fight against Grail and grow as a family. They first need to get past their introductions.
**SOME SPOILERS BELOW**
Story:
We find Wonder Woman exactly where we left her: face-to-face with her twin brother. Jason is a fisherman in Greece, fitting as he was raised by the last of the Argonauts. He is ecstatic to meet his twin sister and begins to tell her what his life has been like. Unfortunately, that family talk is sidetracked as Grail arrives soon after to kill them, leading to a battle between the demigods.
I love this introduction to the character of Jason. The dialogue between Diana and he feel human, as the pair catch themselves up to speed. It shows the two are going to have a special relationship going forward.
That being said, I have an issue with this installment. This chapter breaks a comic’s cardinal rule–it tells instead of shows. A comic should use its visual style of storytelling to its advantage. Instead of seeing the epic training of Jason by Hercules, we get told of it by the Amazonian twin. It left me feeling unfulfilled. The issue description of the next issue implies we get to see this origin, but it would be better than exposition.
Art:
The issue walks a line in terms of quality. While there are some great designs, the inconsistencies that plagued the first issue have returned. While it isn’t as obvious as it was in the first chapter, there are some that is very distracting. The real source of the inconsistencies comes from the inks and colors, that give Jason a disappearing 5 o’clock shadow.
Another distracting art choice is that of the speech bubbles. While speech bubbles change shape to describe the tone of voice, some of the choices in this issue made me unsure of what I should have imagined. One bubble, in particular, was curved and jagged in several different ways. It made me unsure if she was yelling, had a gravelly voice, or struggling. It’s interesting to see such choices, but at the same time, confusing.
Conclusion:
While it was nice to see the human dialogue between Diana and Jason, it feels like we missed out on a major story. We have to wait to see the origins of Jason play out in a future issue, which brings the story down in quality. While the art is beautiful to look at, odd choices in the pencil work and colors drag the reader out from their immersion. While it’s not the best chapter of the arc, it’s not the worst.
Another week, another chapter in the Dark Nights: Metal story. However, unlike the last few chapters I have covered, this tie-in covers something unrelated to the invaders. It focuses on the Dark Knight we know and love! Since the evil Dark Knights appeared on the main DC Earth, Batman has been missing. To allow the invaders to come in, the Court of Owls sent him into the Dark Multiverse. Since then, the League has been searching for him, but when Superman finally found him, he was different. He was an old man, ravaged by time, his will broken. Bruce became a shell of his former self. This left many with the question: What happened to him? In this week’s tie-in, we find out.
**SOME SPOILERS BELOW**
Story
This tie-in opens up to an old Bruce Wayne, who is relaxing as his grandchildren play. One of the children asks Bruce to tell her a story–a Batman story. She chooses “The Case of the Chemical Syndicate,” his first case, which Bruce obliges. What happens from there can only be described as an amalgamation of different stories in Batman’s history. Throughout this retelling, we have Bruce trying to break free but is stopped by Barbatos, the Bat God, and leader of the Dark Knights.
This tie-in is not for a casual comic book fan. We get a lot of insane imagery and ties to other stories spanning decades. It can be quite overwhelming for someone who doesn’t know what exactly they are getting into. The story draws heavily on the style of Grant Morrison where we get bizarre and horrific scenarios to peel back the psyche of a character. For this reader, it was a bit too much. I’m all for having deeper meanings in my comics, but the mass confusion of what was real and what wasn’t, threw me for a loop.
By the end of the story, the reader might question what has happened, and I cannot blame them. A lot gets thrown at the reader in 31 pages, some of which makes you question the origin of the hero. Was this all some dark, demented game since the creation of the Bat or just a trick by this dark god? It’s truly left up to the interpretation of the reader.
Art
While the story might be a confusing attempt at showing the dark multiverse, the art gives us something fantastic. Using the nightmarish themes that the multiverse is built on, we get creepy pencil work. One moment, we get an updated version of Batman’s first case, only to get it twisted into something akin to what Metal has been known for.
The colors of this issue help this twisted feeling as well. With each dark twist, the colors change to reflect the time period. The colors are subdued in the Chemical Syndicate story, but then bright and colorful when we turn the page to find Bruce in the midst of a tribal war. It’s imaginative and sets the tone for each scene.
Conclusion
If you are just looking for a fun time in the Dark Nights: Metal story, you might want to avoid this. On the other hand, if you want something to challenge you to interpret, then go out and pick this up. While the story itself is all forms of insane, the art takes advantage of this trip and gives us something nightmarish yet delightful to look at. It’s not for everyone, but for the minority who enjoy such bizarre tales, they will certainly enjoy this one.
As we enter a new era of Marvel Comics, I’ll be providing a weekly report on all Legacy titles. Your one-stop guide to what’s going on in the 616 universe from MFR’s resident Marvel fan. Above you’ll see Marvel’s report card for the week, then below we’ll dive into each book. Let’s dig in!
Also, check out our coverage from the previous weeks!
The Legacy makeover for Deadpool has, so far, turned out to be a success. Dropping the hero act and getting back to his more diabolical ways makes for much better Deadpool comics. Reverting back to his old ways puts this title in a particularly different direction.
Spider-Man was never Wade Wilson’s biggest fan, he most definitely doesn’t tolerate murderous psychos up to no good. Pitting Deadpool against a Faux-Pool, with Spidey mixed up in the chaos, is a wonderful place to start the next chapter of Spider-Man/Deadpool.
Chris Bachalo is a fantastic comic book artist, his work here is on-par with his Doctor Stranger and Wolverine & The X-Men output. There’s one exception, he doesn’t draw Spider-Man or Peter Parker particularly well. His janky and rigged style just doesn’t suit the wall crawler as well as it does literally every other character in this book.
Deadpool fatigue was a real thing for a while, Marvel seems to be toning it back a bit. Robbie Thompson tastefully delivers a fun Deadpool without leaning too heavily into the jokes. There’s no better time than now to give Spider-Man/Deadpool a try. It’s a wacky, fun book that pokes fun at both characters efficiently enough to entertain fans of both.
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She-Hulk #159 “Jen Walters Must Die” Part One
Jennifer Walters has been carrying a lot of the Hulk weight in the wake of Bruce Banner’s death. Her new strand of uncontrollable rage has been making her juggling of law practice and crime fighting more challenging. Just when she starts to get more of a handle on things, classic Hulk villain, The Leader, makes a comeback.
Mariko Tamari was a superior talent for writing conversational dialogue. There’s very little action in this issue, but it never feels like it’s dragging. There’s no word balloon clutter, each scene is short, sweet, and keeps the pace moving forward. Jen’s phone call to Hellcat makes you feel like you’re listening in on a real conversation between two best friends.
Jen’s inner-monologue is also spectacular, her “fuck this” reaction to everything unfolding makes it easy for readers to put themselves in her shoes. The title may have shifted from Hulk to She-Hulk, but the heavy focus on human characters in superhuman situations continues to be the focus.
Another classic Marvel villain returns as Jennifer Walters finds herself in a new mess. Her friendship with Hellcat is one of the realest feeling relationships in Marvel comics. Jahnoy Lindsay’s art keeps up and fleshes out the incredibly plotted conversation pieces that give this comic a spectacular human element.
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Master Of Kung Fu #126 “Shang-Chi’s Day Off”
Master Of Kung Fu is the second of the classic Marvel series’ to get a brief return in the form of a one-shot. This time we follow Shang Chi and his monkey sidekick as they attempt to have a day off.
CM Punk’s script is stale, going through the motions of a standard crime fighter story with an extra layer of stupid. Shang Chi is charming enough to liven scenes up, but it’s still a pretty dull read in the end. There’s a silly but fun Kung Fu adventure here, it’s just hidden under too much exposition and a predictable story that’s lamer than it thinks it is.
Dalibor Talajic’s art has the essence of an old Kung Fu movie, successfully hammering home the intended tone along with Erick Arciniega’s color. Unfortunately there isn’t much else to grab onto here. Fans of Shang Chi should look to the recent arc of Ed Brisson’s Iron Fist for a more satisfying experience worthy of both the character and their time.
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Daredevil #595 “Mayor Fisk” Part One
Horn Head returns home, from rescuing Blindspot in China, to find his oldest enemy has been elected mayor of New York City. Mayor Fisk’s first act is to wage war with the city’s vigilantes.
Charles Soule is using Mayor Fisk as less of a Trump analog and more of a super villain turning the city upside down. Turning the people against the heroes, with Matt Murdock trying to fight the good fight through legal means, capitalizes on every strength this book has. Kingpin is waging a war on both Murdock and Daredevil.
This run of Daredevil shines brightest when Ron Garney provides pencils, however Stefano Landini steps in this time and rises to the challenge. Garney still reigns supreme, but this is by no means a significant step down. Matt Milla is a superstar colorist no matter who is drawing.
This arc is shaping up to be a satisfying culmination of the preceding stories with a major shake-up thanks to Fisk. Readers who haven’t been following Soule’s stellar run should have no trouble diving into this arc here. Soule’s been telling classic Daredevil tales long before Marvel Legacy began, but now he seems to be raising the bar even higher.
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Moon Knight #188 “Crazy Runs In The Family” Part One
Max Bemis’ Moon Knight emerges as a slow-burning case study of both mental disorder and Egyptian pantheon. This new creative team immediately establishes itself as an absolute powerhouse.
Boldly diving deep into the psychology of a brand-new antagonist, this first issue barely even features our beloved Marc Spector. Regardless, it draws you in through the eyes of a doctor obsessed with her patient, with the presence of Moon Knight and Konshu lurking in the background. By the end of the issue, you’re left in total shock, dying to absorb more of what could seemingly be another Moon Knight masterpiece.
Everything Max Bemis brings to the table is on display here. It only took this one issue to have fans wrapped completely around his finger. Jacen Burrows’ art, with Mat Lopes’ color, is like if you took the atmosphere from Clean Room and turned up the crazy. This bizarre and haunting issue is a work of art both visually and conceptually.
Following the Jeff Lemire and Greg Smallwood run is no easy task. Moon Knight‘s Marvel Legacy debut proves that Bemis and company are not only up for the challenge, but could possibly raise the bar even higher. This is a must-read book for Moon Knight fans, Marvel fans, and comic book fans in general.
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X-Men: Gold #15 “Mojo Worldwide” Part Five
X-Men: Gold/Blue‘s crossover continues rolling, this issue is more of the same. Different groups of mutants fighting different waves of enemies while Mojo broadcasts it to the world. It’s still a fun, quick read but it’s approaching a repetitive place of no return.
These big clusters of X-Men continue to produce interesting character interactions. Marc Guggenheim capitalizes on having Old Man Logan and Jimmy Hudson together. Longshot is a bit more one-note than I would have liked, hopefully this doesn’t end up being a waste of his involvement.
There’s still plenty of wonderfully big set pieces and layouts, but this installment doesn’t have much to differentiate itself from the previous issue. It’s an average issue but the overall crossover isn’t tainted. However, there is a sigh of relief seeing that the next chapter will be the conclusion.
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Venom #157 “Lethal Protector” Part Three
Venom is fighting to protect the innocent dinosaurs living under the streets of New York from Kraven The Hunter. It’s one of the more ridiculous comic book premises we’ve seen for Marvel Legacy but there certainly is charm in it’s dumb fun.
We get a Maximum Carnage reunion with Shriek making an appearance, helping Kraven with his hunt. It’s nice to see overall continuity reflected upon with Mayor Fisk appearing to sanction Kraven and a task force to hunt these monsters.
Those looking for an ultra-violent, anti-hero Venom experience will be disappointed. Instead, this lighter and less serious take on Eddie Brock’s brand of justice is as enjoyable as it is stupid. We’ll have to wait and see how much of it’s charm relies on featuring Kraven and whether or not Venom can still entertain after the hunt is over.
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Spirits Of Vengeance #2 “War At The Gates Of Hell” Part Two
If Justice League Dark and Men In Black had a comic book baby, it would be Spirits Of Vengeance. That’s a high compliment, this is a pleasurable dip into the weirder side of Marvel. It’s also a palatable one that isn’t overly ambitious and won’t lose it’s casual reader appeal.
David Baldeón dresses this book up nice with creative creature designs and swift action scenes. The art style still doesn’t do Ghost Rider any favors, but suits the rest of the cast very well. Andres Mossa really colors the hell out of this issue as well, making certain moments pop and the journey as a whole more memorable.
With the Hellstrom siblings reunited, our fearsome foursome is officially assembled. Spirits Of Vengeance promises a war with demons and darkness that doesn’t seem to be following the same old schematic. A strong start for a team book that could be really strong in how different it is from others.
DC said if Marvel isn’t going to make Fantastic Four comics, we will with The Terrifics. Marvel says if DC isn’t going to do a proper Justice League Dark, we’ll take care of it with Spirits Of Venegance.
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Royals #10 “Fire From Heaven” Part Two
Al Ewing and company are making serious progress in making Inhumans matter again. Royals is a bold and adventurous space epic that harkens back to the glory days of Marvel’s cosmic tales.
Kirby-esque atmosphere, design, and color make this massive layouts pour out of the page into the reader’s eye. This art team (composed of Javier Rodriguez, Jordie Bellaire, and Alvaro Lopez) is absolutely lights-out.
There might not be a comic carrying out Marvel Legacy‘s mission statement better than Royals. The script is a dense sci-fi wonderland of survival and exploration illustrated in a hyper-imaginative way. This may be the most underrated Marvel title right now.
Inhumans are back to prominence in all the right ways with Royals and Black Bolt both setting a new standard.
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Falcon #2 “Take Flight” Part Two
The darkest corner of Marvel Legacy comes from an unlikely source. That’s what happens when you send Sam Wilson, who’s having a rough fallout from Secret Empire, to a city being overrun by Blackheart.
At times, the dark tone bleeds too much into the art. Some of the quieter moments are quite jarring just by how heavy and thick the absence of color is. Action scenes, and every panel with Doctor Voodoo, lighten the spectrum a bit more and are more enjoyable.
Falcon and Patriot’s new partnership, and budding friendship, is the heart of this book. Sam having a young partner to mentor should be the driving force to him growing past the darkness in his rear view mirror. Rodney Barnes has good handle on the duo, tapping into their potential confidently.
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Despicable Deadpool #289 “Deadpool Kills Cable” Part Three
Deadpool’s return to blood soaked lunacy continues serving up chaos and comic book goodness. Gerry Duggan has some fun with time travel rules and maximizes the strengths of our mutant duo.
This Cable and Deadpool reunion has been enjoyable. Nothing new to their dynamic, not letting nostalgia drag down their current standing, just a solid read. Scott Koblish and Nick Filardi take full advantage of Wade’s change of heart, painting the walls of every panel with bloody carnage.
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Jessica Jones #14 “Return Of The Purple Man” Part Two
Purple Man has a hold of Jessica and Luke’s daughter in a tense opening scene. Killgrave strikes at Jones’ heart to get her attention.
That’s the peak of this issue, from there it’s like a checklist for Jessica Jones comics. Conversations that wear out their welcome, a visit to Carol Danvers, at least one “duck face” head tilt shot, and plenty of smirks.
Michael Gaydos and Matt Hollingsworth are still producing high quality art, but this still feels stale. Even with a larger cast than the last run-in with Purple Man, there’s not a sense of danger or anything new to hook readers who have been here before.
If this is your first Jessica Jones experience, it’s probably great. For the rest of us it’s just a lot more of the same.
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Uncanny Avengers #29 “Stars And Garters” Part Two
A big, clunky (in a good way) battle against the Juggernaut escalates quickly into a superhero scenario we haven’t seen in a while. Juggs does a number on Synapse, it’s Quicksilver’s fault, he takes heat for it and is shown the door after trying to play the blame game.
That’s a ton of inner-group turmoil to happen in one issue, it’s laid out flawlessly with a fast pace that goes down easy. Uncanny Avengers has been one of the stronger team books throughout the entire run, this arc shifts the focus to be on the people wearing these costumes.
There’s a lot of personality on display, Jim Zub lays the ground work for each character’s development; Sean Izaakse, Juanan Ramirez, and Tamra Bonvillain flesh everything out in spectacular fashion.
This issue takes a heavier concept and paints it with a lighter brush. It’s a beautiful book that juggles the cast and all their differing views and personalities effortlessly.
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The Unbelievable Gwenpool #22 “Doom Sees You” Part Two
Gwenpool is giving her male namesake a real run for his money on best fourth-wall-breaking-character. Christopher Hastings wields her ability to speak to the audience and circumvent the rules of reality as a tool rather than a punchline delivery system.
As skeptical as I may have initially been with this series, I can’t get enough of it now that it’s hitting its stride. Irene Strychalski’s cartooning and Rachelle Rosenberg’s vibrant coloring make this is a visual joy to read.
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What were your favorites from this week of Marvel Legacy? Be sure to check back next week for another healthy installment of Marvel Legacy Report!
