Yost/Pearson are simple but effective on story/art. Here we get insight into what became of the Destroyer and Samuel Sterns as well as gain leverage into the further machinations of Barton and Widow. It’s all about SHIELD and it’s quite prudent a tie-in. It continues to fill in gaps and lend towards potential HULK/THOR sequels and it’s a tapestry of cut-scenes/after-credits from the movies. Like I said…simple, short and sweet. Delectable! (9/10)
Why does Marvel compromise and feel compelled to give Bendis another Avenger title? He makes an amalgam out of his Avenger team of past comics (seeing LOGAN, Spidey, T’Challa, Jess Drew, Bobbi present in a photo-op) and the film dynamic (seeing that Barton and Widow flirt till it gets boring and sickening) and then loops with Hulk, tossed out into the desert. We’ve been here before and seen all this so why the need to revisit these threads from comic or film? Bar Bagley’s exquisite art, this is one of the most pointless titles out and they should know that ZODIAC hasn’t been poignant for the last decade. What Marvel wants to pursue here, I do not know but they are capitalizing on the film train…and sad to say, sacrificing good story for the sake of marketing. I need better a story here. (3/10)
Marcus Johnson’s heritage revealed and I wouldn’t be surprised if Marvel retcons him as the Ult Fury character just to bring Miles in 616. That aside, there are no LMDs here and I’m shocked. I’m shocked that Marcus lacks the Caucasian gene…except in the blood. I’m shocked that Orion, Infinity Formula and Fury’s sex life wasn’t left for next year to Hickman. I’m shocked that Bobbi Morse isn’t playing a factor here due to her blood work…or Bucky Barnes. Leviathan rising? HYDRA rising? Give me a bloody break. This was one title that really could have and should have waited for when the AvX smoke and dust clears. The smoking gun doesn’t reflect well in the mirror and it’s not impressive at all. Eaton’s art tries to salvage but still flails (5/10)
It falls flat on its own plot design and mechanisms. I don’t want this homage to Superman becoming a movie. The demonic tones also fall by the wayside and seeing Ormon conned out by his own dunce is laughable. It started off promising as it shone the way a Superman origin should but then Ormon’s pact, Sharpie’s rage seemed discombobulating to the title. Here, Superior races against the clock to battle his enemies while trying to save his soul. Despite Yu being a fantastic artist as usual, the repertoire for Millar unfolds with his penchant for weak finishes. This is one of his weakest finales ever as it departs with elementary and rookie mistakes by the villain. It’s akin to Osborn written by Bendis but a tad more backward when it comes to conniving plans. The way that Ormon fails here really sums up the finale…underwhelming and a huge disappointment as to what was promised. Again Yu’s art tried and did well but Millar’s story floundered just when I needed it to surpass expectations. (4/10)
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