Marvel's "Civil War"

Marvels Comics' Civil War crossover arc is a big thing.

I've been reading the two core series, Civil War and Civil War: Frontline, and a select few tie-ins (Captain America (natch), New Avengers, and others that catch my eye).

The overly simplified premise is there was a fight between bad guys and good guys, one of the bad guys is really bad, and wiped out a chunk of a town -- including an elementary school and all of its kids.

In response, the government signs into law the Superhero Registration Act, which requires all costumed and powered entities to register with the government, reveal their identities to the government, and fight for the government. Half the men and women in tights comply (ostensibly led by Iron Man, who, also interestingly, does not wear tights), and half become resistance fighters (led by Captain America). Yeah. Interesting...

The difference between the core two series at a high level is Civil War is the superhero struggle, and Civil War: Frontline is the civilian view. The first series is written by Mark Millar, and is good. The second is written by Paul Jenkins, and is not.

Now, that's a bit of an unfair generalization, but hear me out (and hear me contradict myself).

Civil War is more even-handed. It shows the complexity of letting people with so much power loose in the world, and it shows the slippery slope of civil rights violation. At least it was good until #3, where Millar -- who knows Spider-Man -- has a bunch of interactions between him and Captain America, Daredevil, and others that do not fit in to the character, and do not fit into the history and relationship he has with those two guys. Weird, and what it showed was not authentic to the characters for the sake of creating drama in that issue. I'm hoping #4 resets a bit.

Civil War: Frontline is a showcase for Paul Jenkins' agenda, which is a bummer, because I like Jenkins as a writer. But he's got an axe to grind with the current administration, and it shows in his work. The book is clever in that it has multiple mini stories continuing in each issue (though the final poetry/lyric juxtaposition at the end of each issue is coming off convoluted and flat to me), but I feel like the integrity of the work is off because of the personal biases. Think a lesser evil than what Chuck Austen did with Nightcrawler or Captain America. But Issue #4 was better -- much better -- and seemed to start a correction in the diatribe. We'll see.

Now, New Avengers #22, by Brian Michael Bendis got my attention. I mean, Brian Michael Bendis is amazing, but this issue showcases that. It's all about Luke Cage (Power Man), and what he's going to do at midnight, when the bill becomes law. And very little is about fighting. It is about sacrificing (Cage is married and has a newborn daughter). It is about standing up for what is right, and defending your home. Bendis does a really good job with dialog (his forte), including some direct references to slavery, and some heart-hurting moments between Cage, his wife, and their newborn ("She won't look at me ... Hey baby ... look at me"). I was affected.

But I'm exhausted and taking Meisner classes so I'm prone to be misty eyed anyway.

The artist-of-the-month thing is irritating me, but I liked Leinil Yu's artwork -- Bill Sienkiewicz plus Trevor Hersine. Ish.

Oh, and what I predicted last time about this issue being out of whack with the Civil War continuity? It happened (I'm good):

"But where does [New Avengers #21] fit in the Civil War? It's almost like it's supposed to come out before Civil War #2 (and maybe even #1), but shipped after both. And the tease for New Avengers #22 sounds like it's supposed to happen before Civil War #2, also, but will probably ship after #4 [it actually shipped at the same time]."

(Where did I miss Cap's shield getting a chip in it?)

Captain America ("The Extremists")

Actually, I'm trying to read the Marvel's Marvel Knights incarnation of the Captain America comic book character.

I tend to get all things Captain America, but the problem I'm having currently is I'm in the Chuck Austen-written "The Extremists" story arc, which comes after the John Ney Rieber "New Deal" arc.

I don't like Chuck Austen's writing. Probably a very nice guy, but I don't like what he does with characters and franchises.

It's not just me -- My local comic shop, if they hand me a Chuck Austen-written comic, let me know I can return it if I hate it. If I wasn't such a compeletist, I'd take them up on this. And what he did with Nightcrawler in the X-Men book was an abuse of writing, and poor management on the editing side for allowing it to happen.

But, as far as Captain America Travesty's go, I lump Austen with the Rob Liefeld and the late Mark Gruenwald. Talented folks all in their own right (Sqaudron Supreme is amazing), but they all screwed up this franchise in their own special way.

I need to finish my lengthy essay on "Why Captain America Matters", but the short version is if he's done right, Cap is patriotic, noble, inspiring, and outside of policitical dogmatism. Since the 1970s Done wrong, he's at best an overgrown boy scout or jingoist, at worst fascist.

Chuck Austen alternates the character between boy scout, jingoist, and fascist. Nice.

Again, probably a nice person, but I'm not happy with his writing.

Must. Get through. This. Story arc...

Stormbreaker: The Saga of Beta Ray Bill

I'm a fan of Beta Ray Bill, Marvel Comics' alien, co-incarnation of their Thunder god Thor character.

So when the Stormbreaker: The Saga of Beta Ray Bill miniseries was released as a trade paperback, I picked it up right away.

Bill was created by Walt Simonson, and it's hard to compete with that caliber of talent, but Daniel Berman, Michael Avon Oeming/Andrea Di Vito do a solid job on the story and art.

The beginning is strong, the emotion and stakes are well-articulated, and though the cosmic battles could go the tiresome way of the Dragonball Z Frieza Saga, they're kept pretty tight and engaging.

It's the series' ending with which I have a problem.

I have to be vague to avoid spoilers, but the last issue tie-in to the Marvel Universe seems like a forced marketing tie-in, and the last-minute dovetail to the origin of Thor (abandoned for Thor himself for a reason) and nod to Simonson seems (to me) hacked. Overall, it weakens the saga.

On the upside, maybe this will give Bill some more play in Marvel Universe.

I'd recommend this trade for Beta Ray Bill fans. For those unfamiliar with the character, I'd recommend The Mightly Thor in The Ballad of Beta Ray Bill trade paperback, which collects Simonson's introduction of the character.

New Avengers 20, 21

Someone screwed up.

Marvel's Comics Civil War crossover arc is a big thing. We're talking potentially re-writing the mythos big. Not Ultimate-update of franchises big, but bigger -- like "so-and-so-who-could-never-reveal his-identity-just-did" big.

So why all the miss-steps?

I mean, Brian Michael Bendis is amazing. Even more so, considering how prolific the dude is, and he's arguably redifined a big chunk of the Marvel Universe recently.

But there must be some problems with scheduling, planning or something with this Civil War thing.

The last several issues of New Avengers have been intense -- this weird "Collective" uber mutant entity comes back to earth indescriminately wipes out a town, and even kills Canadian super hero team Alpha Flight (with no more than a page's treatment, no less). Puck. Finally. Dead.

Then in issue #20, we get a faxed-in story. Seriously.

New Avengers #20:

Everything got tied together, in an overly neat, overly faux way (though with an admittedly possible opening later with The Sentry). Too much was crammed into this, including a disservice to the character of Magneto, and a non-believable change in character for beurocratic bad girl(and Head of S.H.I.E.L.D.) Agent Hill. Not very Bendis-like.

Which was probably all to get to the New Avengers #21 Civil War tie-in.

New Avengers #21:

Now, don't get me wrong, this issue is good. Bendis showcases his talent for dialog, and showing some chinks in Captain America's/Steve Roger's confidence, and a little more of his humanity, is pretty cool. And the relational banter between Cap and Falcon is really well done, shows their personalities, and why they complement each other.

(And I'm probably the only guy in the world who isn't a real fan of Howard Chaykin's art, too. But at least it's OK for this issue. Beside, he's like a artistic hero to Bendis, so that's probably why he's there.)

But where does the issue fit in the Civil War? It's almost like it's supposed to come out before Civil War #2 (and maybe even #1), but shipped after both. And the tease for New Avengers #22 sounds like it's supposed to happen before Civil War #2, also, but will probably ship after #4.

C'Mon, Marvel, get with the program! Bendis is good, but you need enough oversite at the program level to schedule these better.

And stop spoiling the stories before I read them! I am so pissed that you, USA Today, and the local paper all gave away the end to Civil War #2 before it shipped! You don't give away the end of a movie or TV show in the preview -- why do it to comic fans!

So my review has turned a little pissy. Fanboys are pretty intolerant. Deal with it.