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The Mighty and The Unworthy Take on The Apocalypse in Marvel Generations

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With Marvel Generations nearing its halfway point of the ten issue limited series, there’s been a lot of buzz about how they’re going to tie in to the upcoming Legacy event, which many are still confused about. Yet, that’s a conversation for another time. For me personally only having read the Jean Grey/ Phoenix book other than the current Odinson/ Jane Foster one, it’s hard to truly judge the series as a whole. But for these two issues, my reception is mostly on the positive side.

The story itself was solid with some very well tied-in concepts to the current Mighty Thor run, taking in the challenges currently facing Jane Foster between her rapidly declining health and her relationship with Odinson. The ending held some truly questionable implications for Odin and a former “love” interest in the form of the Phoenix force; when I mean the Phoenix force, I don’t mean Jean Grey, I mean the force itself. Yeah it gets really weird.

For those who don’t follow what’s currently going on in the Asgardian Universe, there are a few pivotal things from these books that make some cameo appearances in this comic. For one, most people know that Jane Foster has breast cancer and that it is getting much worse the longer she becomes Thor. The fact that not only can she not give up holding Mjolnir to help those in need is bad enough; what is even worse is that she refuses Asgardian medicine. Being pro-human is one thing, but to refuse a cure so that your own race can propel themselves at the cost of your own life? Perhaps that’s what makes her worthy, but then again we know from the anti-climactic ending of the Unworthy Thor series that no Asgardian is truly worthy. Maybe it’s the fact that she’s human that makes her worthy?

A Young Odinson

The issue opens in the very distant past when Thor Odinson was young and not yet worthy of Mjolnir, though not for lack of trying. Odin is ever the All-Father of the year as he works to get his young and brash son to act more as his heir and a prince rather than spending time trying to be worthy of Mjolnir, plus his spending so much time in Midgard with his Vikings. Granted, Odin does have a point in the fact that Thor does need to take interest in what will one day be his own throne, but there are much better ways of going about it without crushing his sons dreams. Nor is it really helpful that he does nothing but hurl threats and insults.

Odin gives his son a chance at showing off his honor when told he must attend a delegation from Vanaheim, but of course upon his arrival he is miserable, with nothing on his mind but battle and glory. Odin is so distrusting of his son’s actions that he doesn’t even allow him mead during the ceremony. Yet with the coming company late, Thor takes this chance to answer a desperate prayer back on Midgard and without a thought he’s off on his giant goat to answer it for glory’s sake.

When he arrives a group of Vikings managed to take their plundering ways so far south of the Nile that they reached Egypt, the desperation of coursing being real in the form of heavy resistance from the Egyptian natives. At first it seems as if they’re not dealing with much more than some soldier resistance and a possible sea creature. This all changes when Odinson is shot off his ram by the ancient all-powerful mutant himself, Apocalypse. Granted that this comic does place early in Odinson’s history, I would have liked to see a more classic Thor villain like Lauffey or Mangog but I guess this fit the timeline. Interestingly enough though it is teased that Mangog will be the villain of the upcoming Death of Thor…of which I’m really upset about, only because I really love Jane Foster’s run as Mighty Thor.

Double The Lighting

Speaking of Jane Foster, Odinson realizes that he just might not be a match against this insanely powerful mutant, that is until his future love and replacement shows up to help him save the day. At first Odinson is appalled that not only is it someone else who is wielding Mjolnir, but also that it’s a woman. Horrors. Not long after, thanks to some common sense of their situation and some serious and deserved shade on Jane’s end, the two decide that two Thors will be more than a force to be reckoned with.

Badass level its over 9000

Throughout the fight we get to see an exciting sequence of events as Jane and Odinson take on the mighty mutant and equally we also get a lot of text boxes reciting ones used in earlier Mighty Thor issues that pertain to what it really means to be Thor for Jane Foster and how it will be the end of her. The state of her cancer brings up a philosophical ponder: she’s alive as long as she wields the hammer, but if the more she’s Thor the quicker Jane will die, then what’s her motive? Could it be she cares more about saving those in needs than her own life? Will it come to the point that if one day she puts down the hammer, her body will instantly succumb to the cancer?

I really hope this will be more brought up in her own comic, though that won’t make it sting any less when we finally get to The Death of Thor in October.

The true culprit of this transgression on Odinson’s part is revealed to be none other than Loki as we move forward in the book. Jane, of course, has a lot more of a reason to want to pummel him upon his sight, especially considering his near mass-genocide of the light elves while in the employ of Malekith in the first arc of her second run. It seems that Loki baited these Vikings to go somewhere they would be overwhelmed, knowing the almighty Odinson will ruin himself at a chance to help their glory. Other than thi,s he really doesn’t play much of a part in this story.

its always fun seeing Loki smacked around

The Aftermath

By the end of the fight we see what it truly means to inspire and to be inspired as the two take down the ancient mutant. After the ordeal there is celebrating and drinking as is the Viking fashion, and it seems that Jane learns not only about a man she once loved, but about herself and the true meaning of being Thor. What effect this will have on her as a person remains to be seen, and no doubt will be shown moving on towards the end of her run.

Now this was my real only issue with this book: we get it, the Phoenix force is destruction given form. It attracts, it seduces, and it corrupts; of all of the future power hungry characters of the Marvel Universe, Odin is one who we would not want to see harness its power. This would have been an interesting idea as I’m saying it, but to literally come out and say that Odin had a physical and sexual one night stand with the Phoenix force and to give it a female, sexualized form? Like what are you trying to pull off here Marvel?

Apparently this will be explained more once Marvel Legacy begins but I swear…if this comes around that somehow Odinson is actually the son of the Phoenix force, I can’t even to begin to explain how stupid of a move that will be.

I honestly have no words, Marvel

The Art

While I’m more partial to Dauterman on art, this comic felt slightly lacking compared to what we see in Mighty Thor. Not to say it was bad, I enjoyed it but I feel like for this sort of one-time event they should have gone all out. The colors were great and the mix of magic, powers, and action scenes played out well with how it was done but the penciling was a not detailed enough to keep up.

Final Thoughts

This was a really good effort on Marvel’s end to try and revamp their popularity, considering more recent disasters in production. The story was really solid even considering that very questionable ending and kept those who truly care about Jane Fosters character invested while hopefully bringing in some new fans. Even if it is too late to really understand the impact the next few weeks will hold for her, I hope more new fans will go back and read her short but great time as Thor.

I would have liked to see a more Thor-oriented villain head this comic off, but I was satisfied with Apocalypse and Loki always lurking in the shadows. I’m just going to leave that ending alone for now: please Marvel don’t do anything stupid with it… Please!

Final Score: 8/10


Marvel Generations: The Thunder/Mighty Thor and Unworthy Thor

Story: Jason Aaron

Pencils & Inks: Mahmud Asrar

Colors: Jordie Bellaire

Letters: Joe Sabino

All Images Courtesy of Marvel

Hey, everyone! Just your friendly neighborhood nerd. From NYC/NJ, 26 years old. Ask me about a Fandom and I can go on for hours. Firefly, Penny Dreadful, and A Song of Ice and Fire are my favorites, let’s get nerdy.

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Saga: On the Nature of Tragedy

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This comic doesn’t run short of terrible moments, which occur ripe for our enjoyment. This alone plays into the theatrical character of tragedy. That is, narratives surrounding the fall of the mighty and the despair of the innocent. Curiously, this issue begins with Gwen, Sophie and Lying Cat watching the news of Phang’s traversing the Timestuck, while knowing better on the true outcome to unfold. We’ve all watched news in a similar fashion, not necessarily knowing or suspecting a different dynamic at play. After all, real life also doesn’t run short of terrible moments, never to anybody’s enjoyment.

But what sets these characters apart is the fact they’ve had a hand in the writing of that narrative. One way or another, it’s a case of the author beholding their handiwork. Feeling horror at best, indifference at worst. This is how we’ll approach the climax to the darkest story arc in Saga so far. The Sophoclean dynamic is known to us already. Knowledge, however, doesn’t soften the impact, nor the horror.

Issue #42
“Of course hell is real.”

The Phang scheme has now been exposed as something of a manufactured catastrophe. A risky play in a game board where countless lives are at stake. Such is war. In spite of the religious zealotry, the introduction of Jebarah, Kurti, and their tribe has nuanced our impression of Phang. Suddenly, the comet is not just Sophie’s homeworld wherein she was sold to serve in Sextillion. It’s now a piece on the board, a pawn intended to serve the long game. But as Sophie is quick to observe as we open this issue, there is a great cost to pay in spite of the damage control via massive evacuations. Here she asks Gwen a more than pertinent question. At what point do the necessary casualties become too many to win a war?

Gwen, in her cool, analytical demeanour, can’t give an actual answer to that question. But no matter, the subject is put to rest for the night as Gwen’s wife, Velour, comes in…with cupcakes. Talk of cold pragmatism in war and cupcakes simply cannot co-exist under the same roof. Let nobody tell you otherwise.

Interestingly, we get a little of that Hazel-retrospective-narration during the transition from Wreath to Phang. She addresses the concept of evil as something arbitrary and depending on the perspective of the accuser. This may well be a caution against observing some questionable means as simple ‘evil’. Then again, mileage varies. A taboo coupling is nowhere in the vicinity of a potential genocide in the making.

Now, let’s hold on to that thought for a moment. Evil can also be construed as a misguided harmful action or intent against the innocent. Thus the definition of ‘evil’ may also apply to someone like Sir Robot, who had Alana and her baby at gunpoint last issue. Fadeaway influence and an ocean of guilt notwithstanding, such an action would put Sir Robot in a place beyond redemption. His intent no longer comes into consideration, because the character would have become a verb, encompassed only by his despicable deed. Marko is very aware of this, which is why he proceeds to execute Sir Robot. In turn, this would also affect Marko, if his apparent definite return to violence last issue is for real.

However, Petrichor interrupts him with a more important subject. She has found fuel in the The March’s ride, which should allow them to escape Phang before it hits the Timestuck. All of this is news to Sir Robot who asks why they haven’t left yet. The answer is no peaceful matter to Petrichor, as she tells them Alana has offered Jebarah and her tribe a ride. Petrichor addresses the potential smell problem of an overcrowded treehouse rocketship. But one has to take the tribe’s devotion for the Timestuck into consideration before giggling about the prospect. And indeed, Jebarah’s answer to Alana’s offer is just what we dread.

The matron only sought Alana at this moment to return Marko’s blade. As for her family, however, they have no intention of ever leaving this comet. Her kind of faith is one that blinds her to imminent destruction. Under the circumstances, it’s more than frustrating to hear Jebarah’s assurance that the Creator will see them through this catastrophe. Alana attempts to threaten Jebarah into coming along by pointing her rifle at her, but the latter pays no heed. Her parting words are a name suggestion for Alana’s baby. ‘Kurti’, which means ‘sunshine’ in their tongue. Should Alana indeed name her child that, Hazel’s brother would be a living eulogy to the friend she’s about to lose. And she doesn’t even get to say goodbye to him.

Quoting Hazel’s narration, this farewell is as sudden as it is baffling.

Elsewhere, someone else is trying to cope with a different farewell. The Will, or Billy if you would, seems to have relapsed into heroine after the second parting with Lying Cat, Gwen and Sophie. As we’d expect, this features The Stalk’s return as his mental projection of choice. Such is the form his wish fulfillment takes. The one that tells him to get back on Marko’s pursuit to win his companions back. The opposing drive, the one to move on, then appears, taking the form of his sister. Of course, this makes for a very ‘peculiar’ twist of the ages-old debacle between the Angel and Devil on each shoulder. All the while, Sweet Boy keeps vigilance while his Master masturbates.

The black humour in this setting takes a wrong turn as an unknown presence shoots Sweet Boy, killing him. (Insert a several weeks-long NO here, thank you very much.) The strange-looking killer shows up from the shadows, shooting The Will as well, but only to incapacitate him. They claim to be exacting revenge on the former Freelancer for killing someone they loved. Billy seems to have gone from being accessory in a vendetta to being the recipient of another. Something of a snack in the middle of the main course indeed. Nothing to sneeze at in regards to disturbing and heartwrenching, though.

Back to Phang’s orbit, where we learn the purpose of that cube thing Agent Gale obtained from Gwen last issue. After blasting a friendly Robot Kingdom craft intended to secure Phang’s safe passage through the Timestuck, two Landfallian dudebros use the cube Gale obtained from Gwen. Obviously, this is what those shady orders led to, and the source of Sophie’s inner conflict. The cube is a device to awaken the Timestuck, turning it into a living bomb. Instant apocalypse right there. And here is where it all gets really dark, really quick.

A lot of detail went into facial expressions. But the faithful capturing of emotions onto paper may do the reader’s heart a disservice. Hazel’s narration also adds a good deal of pain. In just two pages, Saga becomes truly merciless.

The Timestuck’s destruction occurs on the background while Jebarah rapturously speaks to her people. Fat load of good that will do. An explosion inside the giant baby’s body violently shakes the family’s rocketship just as they’re about to take off. Hazel’s family manages to escape in the nick of time, thanks to Petrichor’s quick fuel recovery.

However, although they get away safely, the impact has cost Alana her unborn child. Through alternating panels, we see Alana and Marko mourning their child, as well as the doom befalling Phang’s population, in frightful detail. The final actual image we get is Kurti falling under the black tides of Phang and the Timestuck’s entrails, desperately pleading for his life.

… and the rest is silence. 

Alana, Marko and Hazel have all left something of themselves behind in a world become synonymous with catastrophe. Innocence and hope lie both sunken in the Phang’s dark waters.

Alas, the story goes on. Stay tuned, my friends. The sunrise follows even after the longest, coldest of nights.


Saga Issue #42 Credits

Writer: Brian K. Vaughan

Artist: Fiona Staples

Images Courtesy of Image Comics

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Air Capital Comic Con Sticks To Its Roots

Dan

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The comic convention used to be exactly what it sounds like: a way for the “Marvel Zombies”, “Batmaniacs”,  “Shellheads”, and “Wingnuts”  who braved the comics shops of the world for their monthly dose of multi-colored, multi-panel heroism; to get together with their own people. They traded old comics and new ones, wore homemade costumes, and argued over nonsense. The guests were artists and writers of the comics themselves, and the con was a chance for them to meet the people who loved their work.

But slowly but surely, the TV and movie conventions began to merge with the comic cons. With most of the con-goers belonging to multiple fandoms, for many, it was a no-brainer for them to consolidate. The nerds of the world rejoiced as they could at one stall meet the creator of Batman and in the next meet the Adam West who played him on TV. But, slowly but surely, the movie and film stars became the attractions at these cons. While no comic-con has truly shaken its comic book roots, it can be hard to find one today that still maintains that old school purism. But don’t fret true believers, there’s one in Wichita, and I attended it last weekend.

Air Capital Comic Con was co-founded in 2013 to help give the city of Wichita a yearly comic convention of its very own. Since then, it has only grown. The fans in Wichita that for years had to travel hours to Kansas City or Oklahoma City to scratch their nerd itch now only had to drive downtown. But Wichita is not a large city, and the convention itself reflects that.

Taking up a single exhibition hall iatWichita’s Convention Center, it’s easy to walk from one end of the con to the other. I felt strange walking by some of the same booths as I wandered around and took everything in. But size matters not, as they say, and the number of guests in attendance would no doubt be in line with a con twice the size of Air Capital.

The guest list, as I alluded to before, was almost entirely pulled from the halls of comics. Creators from Marvel, DC, Dark Horse, Image, Boom! and the indie scene made for a stacked roster for fans to mingle with. Big names included Greg Smallwood (Moon Knight, Dream Thief),  David Gallaher (High Moon, Box 13),  Steve Ellis (Skinwalker Studios), Alexis Zirrit (Space Riders) and Kevin Nowlan (Tomorrow Stories, Superman vs. Aliens). But it was not all old school, as the con also invited multiple high profile cosplayers as well, such as The Hive (Resident Evil Cosplay Collective), Children of Proteus (Aquatic Steampunks), Deadpool’s Chimichanga Shack., and the local chapter of the 501st Legion.

The vendors and artists in attendance ranged from toy shops and comic stores to cosplay gear and jewelry, to a “psychic cartoonist” named Lord Julius Pandhandle. The actually quite healthy Wichita writing scene (cough) was in attendance as well, with bestselling fantasy author Tamara Grantham, sci-fi scribe Tim Hunter, and master William Schlichter all meeting, greeting, and signing books alongside newer writers like AR Crebs and Dakota Caldwell (in character as his book’s main villain).

The attendance was a mix of the old, hardcore nerds who’d met Stan Lee when he wore gold medallions, parents bringing their kids for a day out in their best Spider-man costume, and teenagers dressed as anime characters hanging out with their people. And there was something for everyone. Local game shops and developers had a board gameplay area, and Wichita’s video game bar and e-sports org helper put together a huge array of consoles from the NES to the PS4 for people to play to their heart’s content. On the upper balcony, panels ran every few hours discussing things like villains and the comics industry. It even hosted a nerdy version of The Dating Game.

Overall, it really was a good con. I’m spoiled in that my home city of Indianapolis hosts multiple huge cons, including GenCon, every year.  And Air Capital isn’t near that big or exciting. That is no slight, however. I loved the heart that Air Capital Comic Con had, and the real sense that it was part of a thriving community. There was no flash or glitz, just passion, and good old-fashioned nerdiness. They know there is nowhere to go but up, and they maximize everything they can.  If you’re in the area next November or are wanting to add a stop for a promotional tour, you won’t find a better home than Air Capital Comic Con.


Images courtesy of Air Capital Comic Con

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A Bride’s Story is the Women’s Story You Were Waiting For

Annedey

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A Bride’s Story is a manga by Kaoru Mori (also responsible for Emma). Started in 2008, the series is still running and counts 9 volumes. It takes place in 19th century central Asia and follows several characters in their daily lives. The story is mainly focused on women of the region, but there is also the point of view Henry Smith, an English researcher. Anything else notable? Oh, I just remembered: it is really good.

Talking about a really good manga series could be enough on its own. But you know what’s even better? It is focused on women and their lives. Different women, with different lives, their work, their achievements, their pains. And it is written in a total love of all women. A good manga series, written by a woman about women? What else could we be asking for?

The Story of A Bride’s Story:

I am starting to not like this choice of title very much. But anyway, the manga opens on Amir and Karluk’s wedding. Amir is twenty whereas her husband is twelve (don’t worry there is no weird sexual content between the two). It is not the only thing that separates them. Karluk comes from a mainly sedentary village. Amir’s tribe still has a pretty nomadic way of life. Both spouses are pretty different so the first chapters of the manga follow their adaptation to each other (and to her in-laws in the case of Amir). The presence of Smith also allows the point of view of an outsider into the family.

The story then expands to other members of the family, friends, and neighbors, as well as people Smith will meet during his travels. Yet the story isn’t all over the place. We follow their lives and emotional development. And when Kaoru Mori focuses on one character she takes the time to tell their story. Even if she has to leave aside other characters for some time. But this is not a problem, as it is crystal clear she loves all her characters and will do them justice in time.

Good guy Kaoru Mori by herself.

A Bride’s Story is going to focus on every aspect of the characters’ lives. There is high drama(military attack of one family on another) but also daily life (learning how to sew, finding your vocation).

In short A Bride’s Story is a really good read. But it is not the only thing that draws you in the narrative.

Art so gorgeous it sucks you in the story:

Another strings to Kaoru Mori’s bow which help you being completely absorbed in her world is that…

…her art…

…is…

…gorgeous.

Which, considering the time we spend speaking about craftsmanship, is important. Having a visual representation worthy of the script is only doing it justice. If you don’t want to travel to central Asia to discover their handicraft after reading A Bride’s Story you are a liar, and that’s all there is to it. The characters and the details are insanely comprehensive. But we are also given amazing and dynamic action scenes.

This incredible art and interesting story combine to give us a narrative uplifting women at every turn.

An Hymn to women’s lives:

A Bride’s Story focuses, as its name clearly spells out, on brides. Sometimes young brides, sometimes bride-to-be, sometimes widows, but always women facing married life. And no it is not reductive. During the 19th century, marriage was (and still is in some cultures) one of the main events of a woman’s life. It was a literal change of family, of environment, and the real beginning of her adult life. So focusing around this event is not reductive. Quite the contrary. It reminds us that, as long as she is a good person, every woman’s life is worth telling.

Kaoru Mori spends a lot of time on women’s daily activity. Sewing of course (if the manga doesn’t give you a mighty need to start sewing you are a liar), but also cooking, taking care of the herd etc. Everything is worth the author’s attention, and ours. Do you know why? Because it is important work done with care. And this ask for our interest and respect.

Another thing which is incredibly well done in A Bride’s Story is the relationship between this women. They are supportive of each other. There is a mother-in-law ready to sacrifice herself to save her daughter-in-law. When Amir learns that she should go back to her family to marry another man because all the brides they have sent are dead (killed by their husband) she is not only crying because she is terrified. She is crying because she knew both of this girls and is devastated by their death. And the person reassuring her and saying that she is « not going anywhere » is her husband’s grandmother.

There are as many positive women relationship in there as there is stars in the sky. And not always just filial relationship. But also mentorship, friendship and emh…

I am sorry but there is no heterosexual explanation to this and yes Kaoru Mori acknowledges it in the author’s notes.

And the icing on the cake is that every single one of these women is different from the others.

No wrong way of being a woman:

Truly it is refreshing to read about women helping each other. It is even better when they are allowed to be different. Because let’s be real, often in fiction women are created to oppose each other. The “good” kind of woman opposing the “wrong” kind of women. Just look at The White Queen and The White Princess, in which motherhood is glorified and “good” women are rewarded with it whereas “bad” women, women having a “man’s” ambition, became sterile and loveless.

Well, in A Bride’s Story we have traditionally feminine women who are soft gentle and love sewing. We have unconventional women who like to hunt and ride but are still good at feminine tasks (but let’s be real Amir is an amazement in universe too) and others which are not. We also have what other media often depicts as “failing” women, but are just unsure of who they are.

Let’s be real we all want to be Amir but we are Pariya who, conveniently, wants to be Amir.

In short, Kaoru Mori is standing on her mountain screaming “They are all my daughters and I love them all!”. And trust me ,it feels good to be, as a reader, welcomed into this story.

Conclusion:

To the surprise of no one, I heartily recommend reading A Bride’s Story. As a first manga, if it is your first, it might be putting the bar a bit high for future dives into the medium. But there are worse problems to have. Just to add to all I’ve said above, we also have good and interesting siblings relationships (my passion), making this manga almost without fault. It is worth a try. It really is.


All images courtesy of Yen Press.

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