After the Shitstorm: "Captain America: Steve Rogers" #1

I had Captain America: Steve Rogers #1 lying around for almost two weeks now. Anticipating its release for months, I couldn't wait to read it when it finally hit the shelves... And then the excruciating "Hail Hydra" shitstorm took over Twitter and other social media platforms for days, and I just couldn't be bothered anymore, annoyed by the spoiler and what I perceived to be a massive, collective overreaction.

Yes, some of the memes were funny, Chris Evans felt the need to throw in his two cents worth, and Nick Spencer had to defend himself and his story more than he really should. Some of it was a reasonable and heartfelt concern about a beloved classic character that turned evil right in front of people. But most of it was just unconsidered, misinformed gibberish by people who take far more joy in bashing stuff than in actually reading comics. 

What many people forgot, including the ones actually defending Spencer, was that we are actually having a masterpiece of modern-day comic book story telling at our hands. One that deserves far more attention for that than for its last page bombshell. 

It's especially the parts of the story that look back at how exactly Steve and the tragic Hydra suicide bomber Robbie came to be associated with the terrorist organization, and how they differ and overlap, that shine here. Both of them are victims to economically tough times and a broken family, Steve in the late 1920's and Robbie in the late 2000's. Both hold external forces responsible for their situation, and both share a feeling of supremacy to large parts of the society they live in. The only crucial difference is that Robbie made a conscious decision to join Hydra, while Rogers was influenced by his mother at an early age. Cap's story cleverly runs along the comic's main plot, slowly building up tension so that when he actually utters the inevitable (and now infamous) "Hail Hydra", it should hardly come as a surprise to any reader. 

Other highlight of Spencer's story are Red Skull's monologue at the secret Hydra meeting and Cap's relationship to his wife Sharon. In the first one he cleverly incorporates quite unsettling modern-day themes of immigration, refugee crisis and terrorism, which repeatedly show his fine sense and understanding of these matters, while the second one gives Roger's more tender and human side, as Spencer paints a picture of a warm and intimate relationship that is signified by a resilient trust and understanding of each other, making both characters shine as a consequence.

The comic also finds the balance between more serious and funny themes, as Jack Flag and Free Spirit act as a recurring comical relief without ever damaging the overall tone of the story. And boy, does Jesus Saiz know how to draw a stunning Captain America costume. The comic would be worth your money for that bit alone.

So yes, is Captain America really Hydra now? Spencer has repeatedly stated that is is indeed a sane and rational Steve Rogers and no clone, multiverse Cap or whatever. But it seems hard to believe for me that Marvel execs would really go for a permanent transformation to a villain (that guy is a multi-million franchise, remember), and in a world of comics that usually rapid-fires its twists and turns, it only seems more than likely that we'll be all in for quite some ride over the next months, and a happy ending once all is set and done.

Until then, "Hail Captain America".

Review: "Star Wars: Obi-Wan & Anakin" #5

Unfortunately, Obi-Wan & Anakin doesn't end on a high note, as Soule can't figure out a way to conclude the story in a way that does justice to the excellent quality of the series so far. 

The conflict between The Open and The Closed is explained too superficially, while their reasoning and motivations are still only vague. The Scavenger as a metaphor for hope is underwhelming and would have benefited from more depth in its approach; and the fact that the comic's finale relies on a deus ex machina only further emphasizes its narrative weaknesses. 

But it's not all doom and gloom. Checchetto and Mossa's art uses the freedom offered by a planet appearing for the first time in Star Wars lore with a captivating, imaginative and detailed effort. The Scavenger herself is subject to an entertaining revelation, while Soule continues to grasp the essence of the Jedi philosophy like few others can. The whole series is still highly recommendable, especially if you're interested in the education and character development of Anakin. This last issue, however, is a bit of a let-down.


6/10

Further Links:

Obi-Wan & Anakin #4
Star Wars #19
Darth Vader #20

Review: "Deadpool" #12

Although Chapter 2 of "Deadpool 2099" is thoroughly enjoyable, it has a hard time of containing its scope and characters within a coherent story, resulting in a somewhat messy and overambitious narrative. 

Old Wade Wilson is convincingly written by Duggan, while Filardi and Koblish do a great job of creating a Monster Metropolis and and overall environment that feel alive and are full of nice Deadpool Easter eggs and allusions. But it's the dynamic between Warda and her antagonist (whose unmasking might come somewhat surprising) that never really clicks and ultimately prevents the comic from being on par with a regular Deadpool entry.

6/10

Further Links:

Deadpool #11

Deadpool: The Last Days of Magic #1

Deadpool & The Mercs For Money #4

Keepin' It 360: "Daredevil" #7

This is easily the best comic of Soule's, Buffagni's and Milla's run at Daredevil so far. Elektra is a compelling focal point and (part-time) narrator of a story that offers an engaging mystery, intense character relations, clever twists and an overall tension that is impressively matched by an art style that is as breathtaking as it is imaginative.

9/10

Further Links:

Daredevil #6

Daredevil/The Punisher #1

Keepin' It 360: "Star Wars" #19

It's a remarkably strong ending to an often mediocre overall story, that particularly impresses with a surprise revelation that no one saw coming. The art's vague tone and outstanding lighting capture the comic's atmosphere perfectly, as Sana and Aphra still don't really develop a chemistry and nobody knows why Han and Luke have to be in here at all.

8/10

Further Links:

Star Wars #18

Darth Vader #20

Poe Dameron #1

Final Thoughts on the "DC Universe Rebirth"

Chapter 4 and epilogue of "Rebirth" see writer Geoff Johns add less new characters into the mix, but rather develop the stories he has already established in the first three chapters. Artists Phil Jimenez and Gary Frank do an absolutely superb job of grasping the nuanced emotions of the two Flashes' reunion, and Johns just masterfully paces Batman's discovery of Rebirth's final (and somewhat expected/heavily hinted at) revelation.

After all, "Rebirth" knows how to prepare its readers for the DC Universe's imminent overhaul, finding the right balance between explanation/exposition and creating some intriguing new mysteries.

8/10

More Thoughts on the "DC Universe Rebirth"

Geoff Johns' methodical approach continues in chapter 3, which again focuses more on Wally West's journey through the Speed Force. Ivan Reis' art is quite uninspiring here, especially since it's so similar to that of Gary Frank's in the first two chapters. Why go with a different penciller at all then!?

It succeeds, however, in creating some much needed story lines that can actually work in their own right (with an end that is absolutely captivating), even if its kitschy tone lets the comic down more than once. 

Some More Thoughts on the "DC Universe Rebirth"

It's good to see that the arrangement into chapters in "Rebirth" actually follows a logical division. While chapter 1 gave us an overview of its central lore, chapter 2 completely focuses on the vast amount of DC characters that are involved. 

From Johnny Thunder, The Atom, Blue Beetle to Aqualad and Doctor Fate, it's refreshing to see some second-tier characters taking central stage here, even though some of them would have needed further evaluation to fit into the bigger picture properly. But even this very methodical approach is able to create some memorable scenes and encounters, as readers will be excited to see what happens in chapter 3.

Further Links:

First Impressions of the "DC Universe Rebirth"

First Impressions of the "DC Universe Rebirth"

If there's one thing you'd have to give the "DC Universe Rebirth" credit for, it would certainly be its relentless pursuit of something grand. Writer Geoff Johns is aiming high and he knows it, but he's also aware that there's something at stake here, with much more to lose for him and DC Comics than to win. A successful rebirth event might result in a creatively compelling future for a lot of DC's trademark series. If it goes wrong, though, it might take a long time for DC to recover from it.

However, after reading the first chapter, focusing on the Wally West incarnation of The Flash and his struggle to escape the Speed Force, it all looks very promising. Probably its greatest achievement is that "Rebirth" makes complex and complicated matters look easy. If you don't know know what "Flashpoint" is or what happened during "The New 52" era, it all doesn't really matter. Johns impressively manages to pack a lot of coherently presented information in these first few pages. New readers will instantly feel familiarized with something bigger, while seasoned readers might be happy about the little update.

Sure, there is a sense of self-importance that permeates the story, Batman pales beside the strong writing Wally receives, and Gary Frank's and Ethan van Sciver's polished art plays it too safe at times, but all in all this is a more than satisfying first part of DC's ambitious rebirth event.