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.
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.
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.
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.
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
Barbarella, Still Stunning After 55 Years, Gets New Comic
After three decades without a comic, kitschy sex icon Barbarella is returning to the printed page thanks to Dynamite Entertainment.
Barbarella exploded onto comic pages for the first time in a 1962 issue of V Magazine, and since then has been stiffening hearts and minds of readers the world over. Created by Jean-Claude Forest, the comic follows the (often controversial) titular heroine as she travels the galaxy engaging in adventures as exciting as they were erotic. It was labeled as the very first pornographic comic.
Created to represent the author’s ideal of a sexually liberated woman, the comic became a fixture of the sexual revolution. But the world was not yet satisfied, and Barbarella came to the big screen in 1968 with Barbarella.
The film starred Jane Fonda as Barbarella, the camera firmly affixed to her every movement and gyration. Accompanied by the sexy angel Pygar, Barbarella must defeat the evil Dr. Durand-Durand and his sinister Orgasmatron. It famously featured the first female orgasm in US theaters. Despite derision from contemporary reviewers as “schlock,” and condemnation from the Catholic Church, the film did well and even became the second most popular film in the UK for that year.
Since then the legend of Barbarella has only been a grower, as the camp and fun of the movie has made it a fixture of midnight movie showings. Its influence has been felt up and down the globe, from the designs in The Fifth Element to the name of Duran Duran.
Io9 reports that the series will be written by Mark Carey (X-Men, Lucifer, The Girl with All the Gifts) with art by Kenan Yarar (Hilal). It will be Barbarella’s solo title since 1982, and her first appearance in an American comic. Its release will celebrate 55 years of Barbarella.
Image courtesy of Paramount Pictures
Scott Pilgrim’s Precious Little Life Excels At World Building
Yes, friends, it’s time to revisit the Scott Pilgrim comic books for the work of art they are. First published in 2004 and being both written and drawn by Bryan Lee O’Malley, the six-part series is about the eponymous title character, Scott Pilgrim, and what happened to him when he sort of started juggling two relationships at once. In this article, we will discuss the first volume “Scott Pilgrim’s Precious Little Life”.
Scott, 23, is the bass player for the underachieving band Sex Bob-Omb which also stars Stephen Stills singing and Kim Pine on the drums. We meet Scott as he is talking about his new high school girlfriend, Knives Chau, to his friends and then to his roommate, Wallace Wells. When his sister finds out, she calls Scott and asks him why he decided to start dating someone much younger and he tells her “it’s just nice, it’s just simple”.
Being the broke young adult he is, Scott’s options for hanging out with Knives usually involve the band practice (which Knives absolutely hearts) and low budget places like Goodwill and CD stores — this was 2004, so bear with it. Their conversation flows nicely because Scott seems genuinely interested in Knives’s day-to-day high school intrigues like who-likes-who and whatever happened at the yearbook meetings. However, at one of these hangouts, Scott sees a pink-haired roller-skating woman that catches his eye because he had seen her before in his own imagination/dreams.
After some obsessing, Scott finally has the chance to introduce himself to the girl of whom not a lot is known about, with the exception of her name, Ramona Flowers, and that she left New York after a breakup with some guy named Gideon. Scott tries to make conversation, but his sheer awkwardness gets the best of him and he ends up leaving her alone.
However, Scott was still stuck on Ramona so, armed with the information that she worked doing deliveries for Amazon, he placed an order just so she would go to her house, which she eventually does, and actually agrees to go out with Scott on a date after some persuasion. We also see that, after Ramona’s introduction, Scott became distinctively uninterested in Knives’s stories which culminates in him running away after Knives make a move to kiss him.
Stephen Stills is able to set up a gig for Sex Bob-Omb against Crash and The Boys. At their date, Scott and Ramona have a nice time getting to know each other and Ramona finally explains that she uses these subspace highways to get to one place to another faster and it is because of those that Scott was having visions of her. They end up at her place, but they don’t engage in sex right away which is not only okay but preferred to Scott.
It’s showtime and everybody is there which includes Stacey and Jimmy (new boyfriend), Wallace, Ramona, and even Knives who totally got a makeover to become more “rad”. Naturally, Scott ends up freaking out about both of his girlfriends at the same place and tries to run away from the discourse. It’s worth pointing out that, at this point, pretty much everyone has told Scott to break up with Knives, but he simply can’t bring himself to do it.
Their presentations finally start and the Crash and The Boys’ last song is powerful enough to knock everybody in the audience out for 20 minutes. Meanwhile, a little after Wallace ends up kissing Jimmy and a not too far into Sex Bob-Omb’s song, the unexpected happens: a man flies from the sky, breaking the roof, and announcing himself as Matthew Patel, the first of Ramona’s Seven Evil Ex-Boyfriends.
Clueless at first, Scott picks up the thread and engages in the fight: apparently, Scott is known as the best fighter in the province and is able to turn this around. Matthew even brings out sexy demon women to help with his fighting/musical choreography, but Scott is able to flip it and reverse it to his benefit. In the end, Matthew Patel is gone leaving behind $2.10 in coins.
During the subway ride back home, Ramona and Scott finally define the relationship as she tells him that, in order for them to be a free couple, Scott will have to defeat Ramona’s League of Evil Exes. Pilgrim acquiesces to the proposal, but, upon asking whether Gideon is one of them, Ramona’s head starts glowing weirdly.
So… what was that?
Right off the bat, I’ll admit that not only the Scott Pilgrim series is one of the few comics I’ve read, but also it’s downright my favorite. The work Bryan Lee O’Malley put into each of the 180-paged issues is astonishing and, as much as I love a visual gag, I have to hand it to the self-aware and genuinely funny script: it’s tight and, from the very beginning, it serves the mission to set us up for a complex and detailed ride.
Now, if you’ve read the comics, you know what I am talking about: the drawing is purposefully inspired in Japanese manga while still having a style of its own. If I had to pick up one word to describe it, it perhaps would be “irreverent”, because the lines and coloring help the story develop even with its larger-than-life and ludicrous storytelling.
The best part about the volume is how well the world building was done. The Scott Pilgrim reality is quite obviously very whimsical and it’s only semi-grounded in reality (or maybe it is fully grounded in reality? I honestly wouldn’t know because I’ve never been to Toronto so I can’t testify to Toronto’s whimsicality). This is a story that includes a wormhole-like subspace highway that is absolutely ubiquitous to Ramona, but not for Canadians, apparently. Not only that, but Crash and The Boys physically knocked people out with music and Matthew Patel brought in demons and ended up turning to coins. It’s quite clear that Scott Pilgrim’s world is one inspired by the possible plausibilities of video games and cartoons.
As for the characters, from very early on, we see how Bryan Lee O’Malley, a half Korean man, wanted to integrate his own culture on the story as he has talked about on his Tumblr account, giving a very straight answer about the lack of POC in his story:
So anyway, I guess what I’m saying is, what I knew in the first 20 years of my life was white people and a little bit of asian people and so that’s what I put in Scott Pilgrim. I had an unexamined non-attitude towards race and I didn’t think about it until years later.
In the first volume, we do meet Knives and her friend Tamara, who appear throughout the series. Sadly, Matthew Patel bit the dust right after his introduction.
A nice point I always love when I read this comic is Wallace’s relationship with Scott and everybody else. Reading Wallace as a “gay best friend” is quite easy and he does fall victim of hypersexualization during some time, but I still love the tiny moments that include LGBT+ characters in the story and, spoiler alert, there are quite a few still to come.
It’s also nice to point out how quick everyone got concerned when Scott, 23, said he was dating a high schooler. While Scott says it is “easier” for him and Knives seems to genuinely like Scott, their relationship appears sketchy to the reader on most occasions, especially after Ramona is introduced. Knives own arc of self-discovery, independence, and love is amazing and definitely worth the price of admission on its own.
As far as Scott and Ramona, the duo still has a lot of ground to walk. One moment that usually gets praise is the non-intercourse that happens after the first date. I don’t particularly think that Ramona was aware of Scott’s anxieties regarding being intimate with someone for the first time after getting his heart broken a year before, but it was a nice touch that he ended up getting what he needed: an intimate moment, sure, but one that didn’t have to appease to pressuring dating rules. This moment also probably doubles as when the couple really started connecting, putting down the basis for the relationship to become believable.
Well, that’s about it for Vol. 1. Join me in a couple of weeks to talk about Vol. 2 Scott Pilgrim Vs. The World!
Images Courtesy of Oni Press
Wonder Woman’s enemies practically defeat themselves in “Heart of the Amazon”
The “Heart of the Amazon” arc has had its ups and downs for Wonder Woman. It started very strong with a meaningful and emotional first issue, but then petered out when its attempt to build on top of that with action couldn’t quite bring it together. It finally seemed to get a handle on itself in issue #29, where they managed to have both an action/adventure setting while still retaining the friendship and family connections.
Unfortunately, despite having a very satisfying main body, issue #29 of Wonder Woman closed with a “twist” that was severely wanting: Hamilton Revere, the man behind Dr. Crawford’s attempt to grant herself superpowers using Diana’s blood and also behind the bounty hunters sent after her, works for the US Government. That twist — if you even want to call it that — didn’t make sense, and it lacked any sort of emotional punch.
So now we are on to Issue #30, part 5 of “Heart of the Amazon”. This is the last issue of this story-arc, and let’s see if they manage to pull out a victory.
At the Evil Lair
Wonder Woman speaks to Hamilton Revere and the various soldiers under his employ, and Revere reaffirms his statement from the last issue. He is an operative of the US government, and what’s been going on is a sanctioned mission to gain superpowered soldiers. The surrounding guards aren’t mercenaries or villains-for-hire, but soldiers who have been personally inspired and saved by Wonder Woman who volunteered to gain powers themselves in the hopes that they can help the world.
What was a lie was the claim that the research would be immediately applicable to diseases and medicinal cures, which is why Diana had walked into this “trap” willingly. Though he says that it might lead to medical breakthroughs eventually, Revere admits that the goal of their research was purely about the combat side of superpowers. His previous talk about how their research would help the world referred to his belief that all other nations would surrender to their authority and they would have “peace” once the US had an army of super soldiers.
Obviously, Diana wants no part in this plan, so there’s the obligatory fight scene. It turns out that the soldiers present have already been given superpowers, so they can fight Wonder Woman on even terms, although some of them still use their plain olds guns as well.
Eventually their numbers overwhelm her, and Wonder Woman is strapped down for Evil Medical Experiments.
At the Picket
At the beginning of the issue, Etta Candy and Steve Trevor were sullenly sitting at the Picket after being ordered to reman there as Diana goes off into who-knows-what danger. They idly swat at some of the ants crawling on the table (Again? Seriously, what is up with the ants in this arc?), and then Sasha Bordeaux asks to see them in her office. She explains that General Thomas (Aha! His name is General Thomas. It only took five issues to get this) has been ordered to keep them there, lending credence to Revere’s “we are the government” bit. In a parallel to her conversation with Etta in the preceding issue, Sasha says that she has picked her side and helps them sneak out so that they can go help Diana.
Etta and Steve race to the Evil Lair, scope out the defenses (Steve even recognizes one of the soldiers on guard), and then launch an attack/distraction.
Wonder Woman manages to break out of her restraints, and with Etta and Steve’s assistance (Plus the help of one of the soldiers who regrets her involvement) they defeat and disable all of the super soldiers. Just as with Dr. Crawford at the beginning of the arc, Wonder Woman removes all of their superpowers through the use of the Lasso of Truth, since it can separate the lie of their powers from their true beings.
When Revere is being carted away by the cops, he again claims that he works with the military and the police say that they checked with the Pentagon and they claim they never heard of him. I’m assuming this is the military disavowing his actions rather than a reveal that it was a lie all along, because if he knew nobody at the Pentagon would back him then why would he still play the role when it will just make things worse for him? Before the cops put him into a car he is intercepted by two EMTs who say they need to check him over, only to be revealed as two of his soldiers who abscond with him so that he can give them powers again.
Diana, meanwhile, is recuperating at Etta Candy’s apartment with Steve and Destiny, Etta’s niece that Diana had bonded with at the beginning of the arc. They talk, laugh, and love, and that brings us to a close.
Let’s get this out of the way: The Villain in this issue just torpedoes any attempt at drama or complexity that the story tries to offer up. From any perspective the Evil Plan makes no sense, and is actually self-defeating.
The Evil Plan
The first problem is the premise that this is an official government operation and not a rogue operation aiming for Revere’s personal wealth or advancement. I’m not saying that I have a problem with a story concept of the government running unethical medical experiments to try and bring about superpowers (That kind of thing happens in real life, Project MKULTRA being the one that first springs to mind), but I do have a problem with them deliberately shooting themselves in the foot like this by. Diana is already willfully working with them, so why are they trying to force her compliance at gunpoint? Why not just say “We think studying your blood can give us cures for diseases, will you agree to a regular blood draw once a month for research and application?” They obviously considered that point and they believed it would work, since that is the lie they use to lure her in, so why not just do it?
Then there’s the fact that the soldiers they’ve recruited are deliberately all personal fans of Wonder Woman. One of them talks about how Diana inspired her to believe that a woman could accomplish great things despite being opposed by the patriarchy, and another says her life was personally saved during combat in Iraq. Since Revere lied to them about Diana being a willing test subject, indicating that he knew that they wouldn’t go along with attacking their hero, why didn’t he get soldiers drawn at random? Or even people with a grudge against Wonder Woman? There’s got to be plenty of soldiers who are envious of her powers, or resent the fact that she hasn’t gone into all of the combat zones and single-handedly taken out all of the enemy combatants. Why surround himself with people that he specifically knew would have moral oppositions to his plan?
This all means that Wonder Woman is going to fight against him instead of politely acquiescing, and she is going to have help from his own side once they realize that she is there under duress (Only one of the soldiers actually does change sides, but still).
A lot of this could have been avoided with the simple reveal that Revere had gone rogue and was operating outside of his orders. That would cover why he has to steal Diana’s blood, because he’s going to use it for his own ends and not the government’s. It would also explain why his underlings are all Diana fanboys, since he had to work within a structure that honestly thought it was helping Diana. “Rogue government agency” isn’t exactly a new or unique plot, in fact it’s been done a half-a-dozen times with Wonder Woman herself, but at least it would make internal sense. As it is, I spent the entire issue shaking my head.
The Rest of the Comic
Okay, leaving aside the villain’s plan, the rest of the comic is…well, it’s “okay”. Not groundbreaking, but not horrible.
They finally named the as-yet-unnamed General that has been hanging around the Picket. It’s nice to finally attach a name to the face, especially with the way he had been introduced at the start of the arc as a Reasonable and Benevolent leader before being ordered to obstruct Steve and Etta here.
Even though she wasn’t involved in the fight itself, they managed to include Sasha Bordeaux in the narrative by having her help Etta and Steve sneak out. By having her state that she picked her side, a direct quote of what Etta had said to her in the previous issue, it manages to include why she is helping them without bogging the action down in a page of dialogue.
It’s brief, but there was also a very quick panel of might-have-been flirtation between Etta and Amelia Medina, the one soldier who turned against Revere and assisted them. It’s a lightning fast exchange, just a single panel of Etta telling Amelia that she can call her by her first name instead of “Commander Candy”, but I’m going to grab onto that and hold tight. Ever since they introduced ‘Marc’ in the first issue of the arc, combined with the complete lack of any mention of Barbara Ann Minerva, I’ve been dreading the day when this new creative team might try to introduce a boyfriend for Etta. The inclusion of her flirting, no matter how small, is a little reassurance that the new creative team hasn’t forgotten that she is a lesbian, even if they haven’t shown what happened to her girlfriend.
The one thing I don’t get is the continued inclusion of ants at the Picket. This has been an ongoing event since the first issue of the arc, with references to the building being fumigated and renting temporary office space. I keep expecting it to become a critical plot-point (Are they alien ants? Mind-control ants? Spy ants? Demon ants?), but they keep just being ants.
What’s the story here?