Welcome back to the MC2, Multiversity’s panel of noted Marvel experts. The three of us (Mc3 sounded weird) are covering Marvel’s straight up CALVACADE of “Secret Wars” tie-ins! This week, we tackle “Captain Marvel & The Carol Corps”, “Weirdworld”, and more whilst giving up our own thoughts on the event as a whole! Feel free to join in the conversation in the comments and let us know what you think about Marvel’s latest crossover. Spoilers below!
Micro-Reviews
Captain Marvel & The Carol Corps
Written by Kelly Sue DeConnick & Kelly Thompson
Illustrated by David Lopez
Reviewed by Alice W. Castle
As something of a self-professed fan of “Captain Marvel” and Kelly Sue DeConnick’s writing on the series so far, this was most definitely the book I was looking forward to the most from “Secret Wars”. As usual with DeConnick’s writing, it did not disappoint.
This issue serves as something of a continuation of the character from “Captain Marvel” and something of a re-envisioning of the character that brings her back to her Air Force routes. As the Squadron Leader of the Banshee Squadron of fighter pilots, Captain Marvel spends most of the issue in the best Top Gun comic never made. These scenes blend inter-character banter that introduces the reader to the Banshee Squadron through the dialogue by DeConnick and Thompson while David Lopez brings fantastic artwork and crystal clear storytelling as he has the gargantuan task of bringing a dogfight to the page and make it exciting in a series of still images.
While this serves to make the book fun and lively, things get a lot more interesting as “Captain Marvel & The Carol Corps” does something that I haven’t seen any other book do: it questions the Battleworld. A major crux of the issue is the characters beginning to doubt Doom’s word on the way things are (honestly, he seems to have just got bored halfway through and told everyone not to worry about it) and that brings an interesting dynamic to the book and how the rest of the story will play out.
For fans of “Captain Marvel”, this is essential as it continues DeConnick and Lopez’s work on the character with the help of Kelly Thompson. For everyone else, this is still a book worth checking out. It’s probably the most fun you’ll have with a “Secret Wars” book outside of the main series and brings in an interesting twist that will have questioning what you think you know about the event.
Final Verdict 8.8 – Don’t skip this one.
1602: Witch Hunter Angela #1
Written by Marguerite Bennett and Kieron Gillen
Illustrated by Stephanie Hans and Marguerite Sauvage
Reviewed by Jess Camacho
“1602: Witch Hunter Angela” #1 is the start of one of the few series carrying over most of its pre- “Secret Wars” teams and that is a huge reason as to why it succeeds. Unlike many of the other tie-ins we’ve seen so far, this one feels like an actual extension of the series it replaces.
“1602: Witch Hunter Angela” #1 begins with Angela and her companion Sera in England confronting King James himself. They’ve discovered a new kind of witchcraft happening. In the original “1602” series, the mutants were considered witches and they were born with their powers. Angela at this point has discovered that there are people who are making deals with the Devil himself (presumably at this point) to gain powers. These new “witches” are basically the Inhumans and pose a threat that Angela has never faced before. Later, at The Mermaid Tavern, Angela and Sera strike up a conversation with Christopher “Kit” Marlowe (as one does) and they find out more information about these new Faustian witchbreed.
This issue combines my love of “Marvel: 1602” with a series I’ve been really high on, “Angela: Asgard’s Assassin”. This creative team is speaking to the fans of both these series and spend no time with heavy exposition explaining who everyone is or why they’re here. Instead, Bennett and Gillen write a script that allows for natural conversation to happen and through that conversation, we find out all we need to know. We’re not hit over the head with too much internal narration and it allows for some very strong early characterization of Angela. There’s no question about her desire to hunt down any witchbreed she can find and she in a lot of ways retains the same personality she has in her solo series. She’s strong, intelligent and there’s a certain amount of ease and swagger that comes with her killing motions. The deep friendship between Angela and Sera is again on display and framed almost exactly like it is in the solo series. The dialogue is very well written and reads as something from another time period without expecting too much from the reader.
Continued belowTwo artists work on “1602: Witch Hunter Angela” #1. Marguerite Sauvage does the art on the first part of the issue that takes place in King James’ castle. Sauvage has a really distinct style that no one else really has in comics right now. Her art is one part fashion magazine and one part manga and while it shouldn’t really work for this issue, it does. Sauvage captures that beauty that comes with well done but historically inaccurate costumes in movies and television shows. Angela’s costume really evokes that but her work is so clean and so pretty that it doesn’t really stick out in a bad way since everything in these pages is done that way. The way she draws Angela’s expressions are fantastic and quite funny because the killing she does comes so easy to her. Stephanie Hans does the remaining pages of the issue and she couldn’t be more different. It’s still pretty artwork but in a very different way. Her work is much more dark and brutal with a much darker color palette and a more warrior like Angela. At times, the coloring can be a little dark but it really sets the tone correctly. This is the tone a “1602” series should have.
Like many of the other tie-ins, this has nothing to do with the main series and at this point, I’m okay with that. It’s a really solid issue that sets up a really cool storyline for Sera and Angela. If you were reading “Angela: Asgard’s Assassin” then this is the tie-in to fill that space with. The tone, visuals and characterization is what you’re used to reading and that’s what makes it a real winner.
Final Verdict: 8.0 – The first tie-in that actually fills a gap in my pull list. I’m on board with this.
Ghost Racers #1
Written by Felipe Smith
Illustrated by Juan Gedeon
Reviewed by James Johnston
My biggest apprehension about “Secret Wars” when it was first announced was the cancellation of “All-new Ghost Rider.” That series had just introduced one of Marvel’s cooler new characters and established a take on the Ghost Rider lore that was unique, to say the least. With it gone, I was worried the story of Robbie Reyes had come to an end, leaving him to be featured as a guest star in future Marvel books. Well, he’s back in “Ghost Racers” and it seems I shouldn’t have worried quite so much.
So far, “Ghost Racers” has one of the strongest premises in the Battleworld saga. Every Ghost Racer ever has been subjugated by Arcade to drive in races that make Roman Chariot racing look tame. If they win, they get fame and money. If they don’t, they’re painfully encouraged to win the next time. What’s great about this issue is that its one of the tie-ins that actually feeds into other books (like “Planet Hulk” and its gladiator pits), fleshes out Battleworld, ad actually continues the story of “All-New Ghost Rider” in a way they couldn’t have without “Secret Wars.” And all while keeping the relationship between Robbie and his brother that quickly became the cornerstone of the original series.
More than any other tie-in so far, “Ghost Racers” seems like a direct continuation of the work shown in “All-New Ghost Rider.” It doesn’t directly pick up on any of the plot threads left over with Eli or anything, but it does cast Reyes in an entirely new light. Plus, Gideon’s depiction of the Ghost Rider death race is probably one of the mor inventive things about “Secret Wars” in general. It’s like a Mario Kart track on cocaine. Demon cocaine.
Final Verdict: 8.1 – One of my personal favorites and an easy contender for top “Secret Wars” tie-in.
Mrs. Deadpool and the Howling Commandos #1
Written by Gerry Duggan
Illustrated by Salva Espin and Val Staples
Reviewed by Jess Camacho
So I’ll be honest, I’m not reading “Deadpool” regularly. It’s one of those series I fall really behind on and then jump in at random points to see what crazy shenanigans Deadpool is up to. “Mrs. Deadpool and the Howling Commandos” #1 is a book that I was initially skeptical about because I did think I would be too far out of the loop to fully understand it and for the most part I was. However, aside from it’s pretty terrible title, this has some solid humorous moments and really great art.
Continued below“Mrs. Deadpool and the Howling Commandos” #1 apparently takes a different route from an already established story. Instead of Deadpool defeating Dracula and winning the heart of Shiklah, he was killed, leaving her at the mercy of Dracula. She doesn’t love him and doesn’t want to marry him so he’s taken it upon himself to kill off her family. Helping him are the Howling Commandos, made up of classic monsters like the Wolfman, Frankenstein’s Monster, The Mummy and Man-Thing. They are sent by Dracula to do most of his bidding but Shiklah ends up being too much for them to handle.
“Mrs. Deadpool and the Howling Commandos” #1 does the same thing “1602: Witch Hunter Angela” #1 does; it replaces the character’s main series but really shouldn’t since this is really Shiklah’s story. Deadpool narrates the whole issue which is really odd. You have this character, Shiklah, (new to the Marvel Universe) who doesn’t end up telling her own story. This could have been a great way to give her a starring role in a book but once again, Deadpool feels pushed down our throats. I feel like I don’t know her well enough in her own story and that ends up being a huge problem.
Duggan is a very talented writer and for the most part, the humor works. The tone is very light and cartoony. He never takes this too seriously and allows all these characters to be silly. As much as I don’t like that Deadpool narrates it, Duggan writes him very well. This isn’t a complicated Deadpool but instead the silly, comedic Deadpool who plays with the fourth wall and references his own storylines.
Salva Espin’s art is really a joy to look at. It’s got a lot of fun and joy in it because it’s basically a bunch of monsters being jerks to other monsters. The lines are thick and bold with all the characters being full of emotion. It’s all very exaggerated and cartoony and that makes the whole issue feel a lot lighter than it probably should. The monsters have a little bit of their movie influences but are again drawn to play up on the comedy. Val Staples’ colors are lush but on the dark side. Staples has a gothic tone color wise but doesn’t get carried away.
I think I would have enjoyed this more if Shiklah told her own story. Deadpool feels almost entirely unnecessary for this story to work and while the humor worked as a whole, there are moments where his comments are just not needed. Deadpool fans should find enough to like but I’m not really in love with this character so it fell flat.
Final Verdict: 6.0 – Funny at times but ultimately fails by featuring too much Deadpool.
Marvel Zombies #1
Written by Si Spurrier
Illustrated by Kev Walker
Reviewed by Alice W. Castle
Going into this issue, I was a tad hesitant. As much as I want each book I read for this event to be good, I was rather worried about ending up with another book that neither added anything to the overall “Secret Wars” storyline or excited on its own merit. Now, while “Marvel Zombies” doesn’t exactly do much of the former, it definitely does the latter as Si Spurrier and Kev Walker weave a surprisingly fun yarn.
The premise is simple: Jon Snow is stranded north of the Wall and with the help of Ygritte, a wildling, must traverse the wastelands of White Walkers to make it back– no, wait, that’s not it. Let me try again. Elsa Bloodstone is stranded in the wastelands north of the Shield and with the help of a mysterious boy, must traverse it through the hordes of zombified versions of your favourite Marvel villains to make it back to her post.
Spurrier and Walker blend a good amount of action, comedy and depth in this book as Walker brings frantic and visceral action to the page while Spurrier juggles the hardass-as-a-cover persona Elsa employs with an exploration of her much more tragic backstory. There’s a lot of depth to be had here that makes for a very interesting examination of Elsa Bloodstone as a character while giving her a book dedicated to her killing zombies.
Continued belowWhat’s not to like?
Final Verdict: 7.0 – Fun, action packed and a great vehicle for an often overlooked character. Not essential, but there’s enjoyment to be had here.
Weirdworld #1
Written by Jason Aaron
Illustrated by Michael del Mundo
Reviewed by James Johnston
Hey everyone. The book from Jason Aaron and Michael del Mundo ended up being outrageously good. Go figure, right?
“Weirdworld” is all about the warlord Arkon, who’s found himself in an incredibly strange land. a Strangeland, if you will. After being taken from his own kingdom, Arkon tries to fight his way back through Weirdohwrld to his home.
There’s a quality in Aaron’s writing I’ve always admired. He’s one of the few people who’s very goo da writing “epic” stuff. You can have other comics where a hero is faced with a thousand soldier ninja frogs or something, but Aaron excels in making sure those situations have weight. When someone is in deep shit in an Aaron comic, he’s not telling you they are. They’re just in the shit. I think that can be contributed to how he humanizes his characters, especially Arkon in “Weirdworld.” I won’t spoil anything because it’s the most delightful splash page of the week, but there’s one particular scene involving a map that defines Arkon’s character and immediately makes him one of the more likable Battleworld characters.
And thankfully, Arkon doesn’t have to carry the world by himself. Michael del Mundo has always been scary impressive with his works on other books like “Elektra”, but “Weirdworld” gives him the opportunity to go all out in creating a truly insane atmosphere for Arkon to fight through. And not only does del Mundo give us floating islands and dragons, but he makes them come to life in a way few other artists can. His art isn’t photorealistic int he way Alex Ross is or anything, but it does capture the danger and immediacy of being in Arkon’s shoes.
If there’s anything “Weirdworld” really nails down, its the sensation of experiencing something awe inspiring. Thanks to del Mundo, you’re with Arkon every step of the way, falling off floating islands, riding dragons, and getting kidnapped by underwater monkeys. I wouldn’t be shocked if this became an ongoing series once “Secret Wars” is done.
Final Verdict: 9.2 – Seemingly from scratch, two top creators have taken a couple underused concepts from Marvel and turned them into the “Secret Wars” tie-in you can’t miss.
Inferno #2
Written by Dennis Hopeless
Illustrated by Javier Garron and Chris Sotomayor
Reviewed by Jess Camacho
Probably needless to say but the X-Men haven’t had a great couple of years. Between uneven work by Brian Michael Bendis and the stepping back of the franchise to make way for the Inhumans, it’s been tough for us fans. “Secret Wars” has presented an interesting opportunity for creators at Marvel to revisit these characters in a nostalgic way but also give X-Men fans the kinds of characterization they’ve missed so much. “Inferno” is not really a storyline that needed to be revisited but at two issues in, this is one of the most genuinely fun “Secret Wars” tie ins.
“Inferno” #2 picks up with Boom Boom being dragged by a goblin. Thankfully she’s not dead but she’s in a bigger mess. Domino, meanwhile, is getting acquainted with her captor, the child version of Cable. Colossus, back out in the inferno, is forced into a trial by combat against the goblins. Madelyne Pyror, the Goblin Queen, reveals her plan to Colossus and the two of them end up making an uneasy alliance.
“Inferno” is not the best of all the tie-ins so far but it is one of the wildest and fun miniseries. The characterizations so far are spot on. Colossus just wants to help his sister and loses sight of everything else happening to the people around him, tiny Cable is already kind of militant, the Darkchild is very much the opposite of Magik and Nightcrawler’s spirituality defines him. Dennis Hopeless isn’t reinventing the wheel and he’s not treating us to an action packed and humorous X-Men story that we haven’t seen since his “Cable and the X-Force” series ended. I miss that book and am still very bitter about it being canceled. “Inferno” is proving to be a spiritual successor to that series.
Continued belowJavier Garron’s art is very good for the most part. The action scenes flow really well and are paced very quickly thanks to how much he puts in each panel and the way the pages are spread out. Your eyes are all over the place but that’s when things get a little tough. Some of the background characters are not fully realized but Colossus in battle looks fantastic. His strength is on full display and his demonic arm is a really cool design. The interactions between Domino and Cable are a ton of fun not just because of Hopeless’ writing but because Garron draws the characters with big, over done expressions that border on cartoony. Sotomayor’s colors are bright and vibrant but he could afford to go a little darker on the hellish scenes deeper into the inferno.
The entire idea of this series is a little weird and confusing because why would the goblins just keep allowing Colossus in? Why do other mutants keep following him every year? How did the X-Men and the Darkchild even come to an agreement? There are lots of questions but that doesn’t stop the book from being an enjoyable read.
Final Verdict: 7.5 – I miss “Cable and the X-Force”. This scratches that itch.
Secret Wars Journal #2
Written by Kevin Maurer & Si Spurrier
Illustrated by Cory Smith & Jonathan Marks
Reviewed by Alice W. Castle
Here’s a secret: I don’t think there’s a difference between “Secret Wars: Battleworld” and “Secret Wars Journal”. I think they’re the same book with different titles. With two issues under the belt of each series, they’re both just short story anthologies with two stories per issue.
The first story in this issue, entitled ‘The Hunt’, is by Kevin Maurer and Cory Smith and follows Misty Knight and Paladin in the realm of Killville as they come across Kraven’s coin which promises them a reward if they bring it to Kraven, but only if they survive being hunted for the coin. This was an interesting story as it operates as essentially on long action scene and allows Maurer and Smith to try to one-up themselves artistically on each page as new faces and new set pieces show up. While the payoff is a little flat, Smith’s action packed take on the Marvel-Universe-as-a-Vegas-casino world is definitely worth checking out on its own as the story is a lot of simple fun.
Our second story, ‘Hell’s Kitchen’ is by Si Spurrier and Jonathan Marks and… it’s a pun. The whole issue is a pun. Well, okay, the title is a pun on the fact that this story follows Bar Sinister’s version of Matt Murdock as a chef in Mister Sinister’s domain. This is a very interesting story that re-examines the tragedy of Matt Murdock’s relationship with Elektra is a unique way that, honestly, could never have happened without “Secret Wars”. This is perhaps the tie-in that has most fully embraced the mission statement of Battleworld and is all the more interesting for it. Add to that beautifully painted art by Jonathan Marks and colourist Miroslav Mrva that and you have a story well worth exploring simply for how unique a take it is on these characters.
Final Verdict 7.5
Secret Wars 2099 #2
Written by Peter David
Illustrated by William Sliney
Reviewed by James Johnston
I think, at any available time, Peter David should always be writing a team book. As a writer, he has plenty of strengths, but none so prominent as the ability to craft such strong dynamics between any assembled group of peoples. After all, it’s what kept “X-Factor” afloat all those years. Likewise, “Secret Wars 2099” has another group of unlikely heroes whose interactions with each other are nothing less than intriguing. Unfortunately, it feels like that dedication to character is all “Secret Wars” has.
I’ll probably bite my tongue a couple issues from now, but I’m not sure what the central “story” of “2099” is. There are a lot of threads running around, like Captain America’s identity, but it’s hard to recognize a discernible plot. The narrow constraints of a “Secret Wars” mini-series means the world and its threats can’t be built over time as they were in “X-Factor” and the title does kind of suffer as a result.
Continued belowThat said, I’m glad to have turned my opinion around on Sliney’s art. I mentioned last time that his art felt like it would get lost in the shuffle of every other tie-in set in a “Blade Runner” type world but I definitely appreciated the technical side to Sliney’s art this time. The opening in particular has an exciting home invasion sequence while the character’s physicality and facial movements hint at the cracks in this team’s foundations.
Final Verdict: 7.3 – “Secret Wars 2099” #2 still doesn’t do too much to stand out from the other futuristic Marvel titles that are going on right now, but it’s still a destination for smart character work. As it progresses, it might end up being a cool plot too, but that seems to be uncertain for now.
Inhumans: Attilan Rising #2
Written by Charles Soule
Illustrated by John Timms, Roberto Poggi and Frank D’Amarta
Reviewed by Jess Camacho
A couple of weeks ago, I raved about the debut of this series. I still have those warm feelings but I did misjudge what this series would be. “Inhumans: Attilan Rising” #2 is a strong follow up but is much more about the power struggle between Medusa and Black Bolt than tying into the bigger storyline of “Secret Wars”.
“Inhumans: Attilan Rising” #2 picks up right where the first issue ended. Black Bolt has “made” Auran and knows that she’s there on behalf of Medusa. He shows her around his nightclub and explains what happens there on a nightly basis. While all this is happening, the 1872 versions of Daredevil and the Punisher are watching to see what they can find out to help their side – the rebellion. Auran didn’t arrive alone as we see and older and more powerful Kamala Khan shapeshifting in the nightclub attempting to spy for Medusa.
There’s a lot to like about “Inhumans: Attilan Rising” #2 and the biggest draw is the way that Soule is plotting the story. “Inhumans: Attilan Rising” is a political thriller in many ways with lots of different power plays being made. It reads like a science fiction take on a James Bond movie with Black Bolt playing the part of James Bond. It’s a shock to read a story where he talks out loud like it’s normal for him but it’s also allowed for some more characterization that wouldn’t happen if he was silent. Black Bolt relies on Medusa for translation, so if they aren’t interacting with each other, it makes sense to make this adjustment. He’s in many ways the same character he always ways. He’s strong, confident and a great leader but he also gets new character traits thanks to his new voice. Black Bolt in this miniseries has become this suave, debonair and sort of revolutionary bad ass that he never was before.
Kamala Khan makes an appearance in this issue and it’s a welcomed addition. Soule chooses to go with an older version of the character but she still has her wicked sense of humor and bubbly personality. Her powers have evolved more and made her feel like more of a dangerous force for anyone going against her. The major drawback with this series though has been the lack of Medusa. We’ve only really seen her interact with other characters a couple of times and she’s absent in this issue. Two issues in and we still don’t really know the extent of her relationship with Black Bolt and that’s kept this from being the best of the miniseries.
John Timms art is solid. The line work is very clean and features some very heavy inks by Roberto Poggi. I personally like that boldness in the inks because it creates a dynamic look for the characters. There’s a lot of sex appeal in Timms’ work without being too much. Anytime Black Bolt interacts with Auran you can feel the sexual tension but it never gets icky. Kamala Khan’s redesign is still true to her with the lighting bolt on the front but is much more grown up. The coloring on this costume by Frank D’Amarta is much darker, reflecting her maturation and need to be incognito. The problem with Timms’ art is in the faces. For the most part, they are well done but there are times where the focus is farther out and the faces either disappear entirely leaving a blank face, or the expressions become unreadable. The clothing the characters wear in The Quiet Room is sleek and fashionable but could have been colored a little brighter because with everyone in all black, it looks like they’re on their way to a funeral. If D’Amarta was going for a Casablanca aesthetic, the backgrounds should have been a bit darker too. Instead, the nightclub and some of the lower level scenes feature bright backgrounds that make the constant all black ensembles the characters wear not work as well.
Continued below“Inhumans: Attilan Rising” #2 is a very solid follow up to the debut and this series as a whole has the potential to be one of the most thrilling tie-ins.
Final Verdict: 8.1 – Black Bolt and his rebellion are giving us an enjoyable political thriller in “Inhumans: Attilian Rising”.
Ultimate End #2
Written by Brian Michael Bendis
Illustrated by Mark Bagley
Reviewed by Alice W. Castle
For a while there, I feared we were too harsh on the first issue of “Ultimate End”. Jess’ opinions echoed my own in the first week upon reading “Ultimate End” #1 because, frankly, it didn’t make a lick of sense. With the revelation from “Secret Wars” #3 that the actual survivors of the events of “Secret Wars” #1 (you know, the guys who actually remember what happened before God Doom started a worldwide LARP session of Game Of Thrones) are a completely different set of characters than these characters, “Ultimate End” begins to make slightly more sense. Slightly.
However, what context doesn’t fix is the fact that this is the most egregiously “Bendis” comic I’ve read in a long time. The entire issue consists of just four scenes. The first is a short scene consisting of two two-page splashes where the Thor Corps show up to basically say “Yeah, Doom just threw you guys together because he thought it’d be funny, so stop worrying about it so much.” Then they kill Hawkeye for talking shit and bounce.
The second is a pretty long conversation between the 616 and Ultimate versions of Tony Stark (hey, guys, did you know Bendis is writing the new Iron Man book because I sure didn’t) say a whole lot of nothing at each other about how they should have seen this coming, but didn’t. We then cut to a two-page scene of the most awkward family dinner with 616 Peter Parker dining with Ultimate Aunt May and Gwen Stacey that might as well say “Spider-Men 2: Coming 2016” at the end of the scene.
We finally get to the meat of the issue as the Hulk vs. Hulk battle promised by the cover… occurs in the background of the Punisher escaping from prison. Why are the Hulks fighting? I don’t know. Why is the green Hulk in this scene a different green Hulk from the one in the first scene? I don’t know. Why do all of the heroes just fly over an escaping prisoner, ignoring him? I don’t know. Why is the Punisher in prison in the first? Well… yeah, I still don’t know.
“Ultimate End” continues to be a baffling book that feels like it should be an event unto itself and yet is stuck as a tie-in to another event, making the events of this book nigh nonsensical. What’s left is a book with a good idea executed messily that leaves you with more questions by the end of it than answers.
Final Verdict: 4.5 – Slightly better than the first issue, but not by enough to recommend it.
Spider-Verse #2
Written by Mike Costa
Illustrated by Andre Araujo
Reviewed by James Johnston
Another title I was worried about, “Spider-Verse” uses its base storyline to actually tie itself into the greater plot of “Secret Wars.” Since every Spider ever was hanging around between dimensions a couple months ago, it would make sense for them to get the feeling that something’s up with the universe. Especially when they’ve all been dropped into one Manhattan and are on the run from Norman Osborn.
What’s interesting about “Spider-Verse” is that if eels more like a team up than, uh, “Spider-Verse” did. Rather than spread hundreds of characters across the multiverse, keeping a core group of fan favorite Spiders leads to a much more focused story for Costa to write. Plus, actively exposing the plot hole of all the Spiders being in one Manhattan helps expose some of the faults in Doom’s world that other titles seem content to let slide.
Aside from the extra dimensional conspiracies, there’s also a sincere feeling of fun in the book, exuded by Andre Araujo who should be the only person to draw Spider-Ham from this point forward. Aside from the really funny bits like Spider-Ham explaining his origin, Araujo pulls off a delightfully exciting fight scene with Spider-Man Noir, a Spider-Man who desperately needs more screen time all the time.
Continued belowFinal Verdict: 7.9 – “Spider-Verse” has proven to be a fun book that actually bounces off the whole “Secret Wars” premise in an intriguing way. Crazy, right?
Final Thoughts:
Jess: This was a solid week for me as far as what I read. Distancing the tie-ins from the main title has really allowed me to enjoy each series for what they are. Most of them are catering to the fans of those specific characters and that’s okay. I had a ball with “Captain Marvel and the Carol Corps” and “Inferno” this week. I really liked that “1602: Witch Hunter Angela” is basically the same series it’s replacing but in a different time period. I still hate whatever “Ultimate End” is doing because it just feels pointless. I’d hate it less if it weren’t a series of people standing around talking about nothing. The surprise of the week for me was “Marvel Zombies”. I expected to hate that book and I ended up really liking it. “Ghost Racers” ended up being a big disappointment for me because the art just wasn’t what I wanted it to be. That one kind of hurt.
Alice: I keep expecting each week to be the week I begin to burn out (even though we’re now only four weeks with five more issues worth of “Secret Wars” to go), but this wasn’t that week. This is largely due to books like “Captain Marvel & The Carol Corps”, “Weirdworld” and “Marvel Zombies” simply being a blast to read. However, when reading “Inferno”, I began asking myself… who is this event really for? Is it for us, people entrenched in the Marvel Universe seeing new spins and new takes on the characters? If it was, doesn’t knowing it’s just going to end up realigning to a universe that was pretty much the exact same it was before with some new bells and whistles kind of kill the impact? If it’s for new readers then why are all the books so densely packed with references to the continuity of the old universes that those readers just won’t get and will likely muddy the reading experience for them? There are a few gems here and there with this event, but I think maybe the Battleworld tie-ins were a pretty ill conceived notion and the seams are beginning to really show.
James: I kind of agree with Alice on asking who the event is really for. Some stuffs doesn’t feel like it has a distinct mission statement. I’m having a pretty good time with these books, but I also have to ask myself if I have it in me to read all these when they really blow up in July or August. I’m worrying if I lose interest now if i’ll still have that interest when we’re reviewing a dozen titles each. Can I really read each issue of “Inferno” or “X-Tinction Agenda”? I have a life, you know? I have a family to feed. That’s not a knock on any of the creators, who have been putting out pretty quality content across the board. I’m just a little hesitant on Marvel’s seeming silliness to give everything a couple issues, even if there’s no readily apparent audience. I’m grateful for stuff like “Weirdworld” and “Marvel Zombies” but those tier of books are like at least a quarter of the stuff coming out.
