(Click title to go directly to the review)
Advance Review: JUSTICE LEAGUE #42
CIVIL WAR #1
JUSTICE LEAGUE OF AMERICA #2
Indie Jones presents SILVER #5
THE TOMORROWS #1
Advance Review: MARTIAN MANHUNTER #2
SIRENS #4
Advance Review: SECRET SIX #4
SECRET WARS TRAVEL GUIDE PART VII
In stores today!JUSTICE LEAGUE #42
Writer: Geoff JohnsArtist: Jason Fabok
Publisher: DC Comics
Reviewer: Optimous Douche
I always thought my issue with Darkseid’s last turn at making Earth an Apokolips suburb was Darkseid himself. After gorging recently on Earth-2’s demise and the recent tussle with the Anti-Monitor I’ m reminded that my issues with the issues at the beginning of time were more pacing than a poor protagonist.
This time around the Myrna Black mystery, Darkseid’s daughter, the Anti-Monitor, and the reveal this issue of the Bat-Mobius leaves a unique cast of players to thwart ol’ red eyes. It’s bombastic fun inside with some stunning shots by Fabok, especially in battle.
Do I love an Anti-Monitor who is so easily tamed , and barely big enough to eat at Sizzler much less a universal buffet? No, but it’s fangeezer baggage I find easier to let go with each new announcement out of Comic Con about the choose your own adventure universe I asked for for years.
This is a good run; not my favorite, but definitively in a quality stride.
When Optimous isn't reviewing comics he is making the IT words chortle and groan with marketing for MaaS360, Enterprise Mobility Management. He also has a comic coming out sometime soon, for updates head to robpatey.com.
CIVIL WAR # 1
Writer: Charles SouleArtist: Leinil Francis Yu
Publisher: Marvel Comics
Reviewer: The Kid Marvel
I didn’t think any of these SECRET WARS titles could get any better, but god damn did Soule kill it on this book. I can honestly say this has been one of Marvel’s best events in both the main story and the tie-ins. These books have been extremely, extremely entertaining, at least for all of the titles that I’ve been following.
I assume most reading this review know what the original CIVIL WAR storyline consisted of, or at least the premise. For SECRET WARS CIVIL WAR #1 it starts off as basically the same story but takes a drastic and extreme turn, literally splitting the country in half--one side for Cap, known as The Blue, and another for Iron Man, called The Iron, with each hero as their side’s leader. Each of these country halves reflect the ideologies of their leader. The Blue is basically small collectives and territories that are self-governing, as long as they follow Cap’s two rules, which are “hurt no one” and “help when you can”. If you break this rule, he sends in his Avengers, which outside of Spider-Man aren’t really revealed, but, I assume it sticks with the sides of the original CIVIL WAR run. As for The Iron, it’s basically the Registration Act enacted throughout that country—basically, strict laws and societal structures run by Stark and his own group of heroes. In this issue, after running through some backstory and building the current world’s rules, we find Steve and Tony attempting to come to a truce after years of war. Like any good truce trope, something happens to the mediator and the story goes to shit from this point forward, which is where I’ll leave off without getting into any real details.
Overall Soule did a superb job mixing dialogue with building the setting of this CIVIL WAR, as well as expanding from the original plot to its fullest potential. This is actually Marvel’s Civil War, with actual circumstances that shaped this world. Soule pushes the ideologies of Captain America and Iron Man to their extremes, shaping their countries essentially in the images of their patron heroes, as we’ll call them. This is definitely one of the most entertaining titles I’ve read from SECRET WARS.
In regards to the artwork, Yu does an excellent job on the pencils and there isn’t too much that is negative, I found with the art. There is almost an abstract realism I guess, you could call it, about the images in CIVIL WAR, relying heavily on shading and shadows to express certain aspects of the story. Certain parts of the way characters are designed could be a turn off to some. The facial expressions at certain points come across weird and I could see how some may not like the aesthetic appeal of this, but I didn’t mind it too much.
This is a great issue from start to finish and I freaking loved it. The setting, the plot, the extremes of the characters, even the mysterious histories that haven’t been revealed yet, have me loving everything about the book. There is just so much to explore and expand upon, which Soule already seems to be setting up for the future issues. This actually feels like a war comic within the superhero genre and involves characters not necessarily used in this setting before. If you are going to read any titles coming out from SECRET WAR, I highly recommend this one.
JUSTICE LEAGUE OF AMERICA #2
Writer/Artist: Bryan HitchInker: Daniel Henriques
Publisher: DC Comics
Reviewer: Masked Man
In this age of DC Comics, I'm fascinated by their decision making process--how they can cause one high level creator, George Perez, to declare he will never work for them again, or how they will give another, Bryan Hitch, his own comic to do with whatever he pleases. Does it all boil down to @$$-kissing (not to say Hitch is doing it) or what?
Either way, Hitch has the fanboy dream of writing and drawing his own Justice League comic book- something, you may be interested to know, that has never happened before in the 56 year history of the team (John Byrne got close in 2004, but Chris Claremont helped in writing “The Tenth Circle”).
Hitch, known for drawing massive epic stories--mostly his work on THE AUTHORITY--reached into the DC character bag to find someone worthy enough to drive an epic JLA story. He chose the little-used Rao, which probably means nothing to most non-Superman fans (Heck, I'm not even sure Rao has even been mentioned in the New 52 yet). Rao is the god of Krypton. At one time it was the name of the red sun Krypton revolved around, but as years went by the term became the planet's chief deity (as well), and I believe its religion forbid space travel at one time…oh well.
Now that Krypton is no more, Rao has come to Earth, and, well, this story then almost writes itself. How many comic book stories have we read where gods come down to Earth promising a good time for everyone, only to turn out they are some form of bad guy the heroes have to take down? To be fair, this hasn't happened yet, except for the “worship me, I'm a great god” pitch. Still, since Hitch decided to go down this path, it's the massive pitfall in his way. I truly hope Hitch has something more interesting in store for us than “OMG! Rao's a bad guy, let's get him!”, but seeing Wonder Woman's state at the end of this issue, it doesn't look like it.
Hitch does a nice enough job throwing jabs at the concept of Rao in the issue itself, like Aquaman questioning his competence after all Krypton was destroyed on his watch, but it's still walking too close to the cliché. One wrinkle is the Infinity Corporation from last issue--some sort of non-existent company in the vein of Cadmus. While Superman deals with Rao, Batman looks into their connection to all this.
Artwork-wise, you may be surprised to hear I'm fairly disappointed with this book. It's just that Hitch isn't the artist he used to be. Just compare these issues to his JLA issues from 2001. He's not as tight and thoughtful as he used to be. Mind you, his artwork still has a ton of moxie to it, and he's still a superior comic book artist. But that third panel of Wonder Woman, on the second to the last page--what the heck is that?
The overall good news is that JUSTICE LEAGUE OF AMERICA seems to feature the attitude of the Justice League we all know and love, as opposed to the blockheads running around in JUSTICE LEAGUE. Hopefully Hitch will make it all pay off, or this new JUSTICE LEAGUE OF AMERICA series could go the way of David Finch's BATMAN: THE DARK KNIGHT series(es).
SILVER #5
Writer: Stephen FranckArtist: Stephen Franck
Publisher: Dark Planet
Reviewer: Lyzard
SILVER was slow to reveal its vampiric nature through its first three issues, perhaps in an attempt to let readers who have tired of these monsters instead fall in love with the large cast of characters and be more willing to view the comic as anything but yet another vampire tale. And why rush it when you have a twelve issue story arc? Issue four was quick to divulge nearly the entire lore of the creatures of the night, with Franck somehow managing to jam-pack both exposition and plenty of action into the same book. Now in issue five we return to the more goosebumps-rising, bone-chilling, dread-inducing pace.
Last we left our team of rapscallions, including the thief James Finnigan, the huntress Sledge, and the potentially psychic boy Tao, they were making plans to steal treasure right from right under the nose of the eldest of vampires. After scheming their way into receiving an invite for an exclusive creature of the night party, they seem well on their way to at least getting close to the shiny horde, but first they must survive a gala that can best be described as a combination between a vampiric Moulin Rouge and Kubrick’s EYES WIDE SHUT.
The party is a visual masterpiece, a beautiful nightmare of both gore and glamour. That being said, the limited color palette is stretched to its limits during one of the issue’s key action sequences, a fight between two characters of the same gender rendered nigh-incomprehensible when all that is discernable are their black silhouettes. I am not saying that I’d prefer the artist pull a Frank Miller and put a splash of color in once in a while ala SIN CITY, the overall aesthetic style, from its linework to colors (or lack of) fits the tone and world of SILVER, but after five issue its bounds are showing.
It is refreshing to follow an indie story that goes on longer than five to eight issues, especially one where even at the halfway point the end is nowhere in sight. Obviously our antiheroes are in for one wild party, but as far as how this comic will end, there is still room for plenty more twists and turns.
Lyzard is Lyz Reblin, a graduate student at the University of Texas pursuing a master's degree in Media Studies... which is just a fancy way of saying she plays a lot video games, watches far too many horror films, and then tries to pass it all off as "research."
THE TOMORROWS #1
Writer: Curt PiresArtist: Jason Copland
Publisher: Dark Horse Comics
Reviewer: Humphrey Lee
I’ll be the first to openly admit that sometimes you fall into a rut with this gig. What I mean is that, when it comes down to it, most of the time you find yourself writing your review about something you bought (naturally) but that comes with the assumed but rarely considered rider that you bought that book for a reason. You like the characters involved or, in my case, it’s all about the creative team involved on the title and, therefore, you typically have an idea what to expect going into that book and more or less already have an opinion on it, which we bring here to you fine folks. Obviously no book or writer/artist combination is perfect and every new storyline or plot twist brings about a new critical analysis, but a lot of times we (or at least I, as I don’t want to make assumptions about the rest of the gang or lump myself in too much with them in case a, y’know, trial somehow became a thing) have an idea what we’re getting into when it comes to mentally breaking down a review beforehand. And then sometimes you don’t go to the comic book shop some weeks for whatever reason like, I dunno, pants are hard sometimes, and you dig into the other perk of this gig besides getting to talk about comics, which is people send you comics to read and then talk about, for better or worse.
THE TOMORROWS is a thing that was in the old inbox and I, being the semi-aged punk that I am, easily singled that out as this exhibition in getting back to roots if you will (also because you can’t quite throw darts at a monitor). The reference to my love of music that plays the same three chords over and over again as fast as possible until your ears bleed is relevant to this because THE TOMORROWS is a book about one of those adorable fascist futures where control of one’s life is an illusion and expression has become a dirty idea to the point where art is outlawed. That last point is the defining one of THE TOMORROWS, the deal-breaker and theme-maker of this book as the liberation group du jour, The Tomorrows (duh), have art at the core of their identity and aesthetic. It is also kind of the lifeline of originality for the book as it serves for a unique backdrop for what tends to be a pretty rote futuristic tale of totalitarianism.
There are, unfortunately, several things that hold THE TOMORROWS back, but it’s that “been there, done that” feeling you get from most of this first issue ride that kills its undaunted energy. The book opens with a young, frustrated but undaunted female artist named Zoey having a robotic Gestapo break down her door just as she’s putting brush to canvas, just to have one of those Tomorrow people, Claudius, come crashing in for the save with fucking laser sword in hand, and there is immediate hope and interest for this book. Then it just kind of devolves into cliché for enough of the rest of the issue to revoke some of the goodwill it earns in the early pages. The primary fascist front is a megacorporation with the sigh-worthy name of Atlas, Inc. who is headed up by a caricature of a head executive in a white suit who basically masturbates to tracking shots of citizenry walking around entranced in their well-propagandized social feeds and with spirits properly crushed. The Tomorrows themselves hang out in a well-hid underground fortress that is kind of gitchy to the point where the AI that operates its systems for them is even named Warhol. They have specialized training procedures that take time to finalize before new members go into the field, but of course Zoey flies through and survives the ordeal in so short a time it would have had Lawrence Fishburne’s Morpheus being the one who exclaims “Whoa.” She eventually – and by “eventually” I mean like literally within hours – hops on Claudius’ somewhat Akira-esque hyperbike, liberates the team from Atlas’ grasp and helps the gang regroup with the promise of more guerilla and countercultural actions to come.
Like I said before, when it comes to unbridled energy THE TOMORROWS has it in spades, and it really is quite endearing. It’s present in Jason Copland’s art, which has a late 90s Vertigo, Steve Yeowell style that’s expressive but is also a little sharp around the edges. I go to this era of comics because it is obvious that Pires and Copland are kind of channeling a little bit of INVISIBLES with that manic, frantic energy and stylized violence being the song of liberation, though it comes nowhere near the level of psychedelic mind-tripping of that seminal work, nor does it really to attempt to reach that mountain peak, to its credit. But THE TOMORROWS also doesn’t really dare to do much besides be a somewhat hipsterish, aggressive piece of pop art with some referential material thrown in for thematic good measure. It’s punk rock in the way the Sex Pistols were; they’re kind of catchy and there may be a hit or two in there, but for the most part it’s a bunch of people looking the part but going through the motions of playing it, hoping their well-coiffed attitude will carry them through.
So thus ends the downside to stepping out on your normal comic book jaunts, and that is sometimes you have to lay down some tough love and, well, here you go. But that’s the gig, and it has to be said that while THE TOMORROWS has the look and the manic energy you can find yourself gripped by when fighting some techno punk fascism, it never really sinks in those hooks. Being one who grew up loving music that tried to burn the world down two minutes at a time it’s odd to say this, but this debut could have used a few more melodies. More time with the characters to show them off as anything beyond the fashion showpieces they mostly are, or some more alone time with the history of the group before the current incarnation of it, or maybe some intriguing background info as to how the world let itself become so devoid of the arts besides the usual/assumed “social tech + consumerism ftw!” And these things still could and hopefully will come, because THE TOMORROWS has a vibe that they are living out something important, but as of now it appears to be hiding under a somewhat shallow surface.
Humphrey Lee has been an avid comic book reader going on fifteen years now and a contributor to Ain't It Cool comics for quite a few as well. In fact, reading comics is about all he does in his free time and where all the money from his day job wages goes to - funding his comic book habit so he can talk about them to you, our loyal readers (lucky you). He's a bit of a social networking whore, so you can find him all over the Interwebs on sites like Twitter, Facebookand a blog where he also mostly talks about comics with his free time because he hasn't the slightest semblance of a life. Sad but true, and he gladly encourages you to add, read, and comment as you will.
In stores today!MARTIAN MANHUNTER #2
Writer: Rob WilliamsArtist: Eddy Barrows
Publisher: DC Comics
Reviewer: Optimous Douche
MARTIAN MANHUNTER and MIDNIGHTER are two of my favorites from the past that have floundered in finding a New 52 home. Since STORMWATCH’s slip ship is now in the junkyard with The Bleed the cytoplasm between realities, both characters can settle happily on Earth.
While Midnighter has found some solace and peace, Manhunter is a ticking time bomb…literally. J’onn J’onzz, the last Martian, isn’t the last at all. While White Martians have been played with in drips and drabs before, Williams explodes out into sleeper cells scattered around the globe. J’onn was merely here as a plant that was implanted with the memories of being the last of his kind (and having a family, both driving for the character in the past). Taking one of the most soulful characters in DC history and making him nothing more than a blunt instrument is ballsy.
As a fan of this character for over three decades, I give Williams a pass for as long as he keeps the entire series this steeped in oddity. Times change; thankfully he is making them fresh and new while still holding reverence for the history that is the crux of the serial experience. Between Jim Gordon in a batsuit and a Martian Manhunter completely unraveled, I know the change I can stand behind.
Biscuits have replaced Oreos, but there is more here than just mere snacks.
SIRENS #4
Writer/Artist: George PerezPublisher: BOOM! Studios
Reviewer: Masked Man
It took a while, but the fourth issue of George Perez's SIRENS has finally hit the stands, and it's just as awesome-looking as any comic book drawn by him. The story, on the other hand, well, it hurts my head.
It's funny: I can read Grant Morrison's craziest work and get along just fine with it, even ULTRA COMICS, but SIRENS, holy moly--what's going on here? Now I’ve got a fair grip on the plot, which I will spoil for you right now: basically, there is a merging of timelines (so it seems): one where our nine (or is 14)-female hero team failed to save the world from zombies and the terrorist Perdition, two where our heroes actually did the destroying of the world. Either way, they have come together to try again and save the world (with timey wimey stuff). Instead, they fell for a trap set by Perdition which allows him to be resurrected, although he claims the Sirens are the ones back from the dead, and orders their zombie-like corpses to attack them. Did ya get that? If not, don't worry--there's a healthy dose of time travel here, so it should all be fully explained by the last issue (#6).
Now as bugnutz crazy that all is, what's even more so is Perez' writing style. This issue and this series is dense, dense, dense! The average page has like 9 panels on it, some with more, all with dialogue (as if word count is what we are paying for). And with all the techno-jargon, energy levels and readings of energy levels, it's just really hard to read this book.
On some level this has always been Perez' fatal flaw: overwriting. Everything has to be explained: every feeling, every decision and every non-decision, even stuff that has nothing to do with the plot, all in an effort to create realism and dynamic characters. Unfortunately, like mixing a color with too many colors, all you get is mud (i.e. brown). I believe we can all blame Marv Wolfman for this. Perez' longtime (writer) collaborator on the NEW TEEN TITANS. Wolfman is a very wordy guy, and working with him so long, it makes sense that Perez would get his writing lessons indirectly from Wolfman. But here's the thing, George: Wolfman is a writer; that's what he knows how to do. So while he might be word heavy, it doesn't feel heavy as all those words work together and add up to something, conveying the story in an elegant manner (using structure and pacing). I really feel you got Wolfman's style, but not (most importantly) the reasons behind his style. It’s like copying an artist’s style but not understanding drawing, assuming 'style' is drawing.
I was really hoping to give this new series a glowing review, but I just can't. Crazy plot aside (with time travel, alternate realities, magic, sci fi tech, dragons/aliens, zombies, and superpowers), unless someone helps Perez write a more focused script, I'm not sure his stuff is worth reading (especially with a bugnutz crazy plot). Fortunately, his art is always worth looking at.
In stores today!
SECRET SIX #4
Writer: Gail SimoneArtists: Ken Lashley & Tom Derenick
Publisher: DC Comics
Reviewer: Optimous Douche
Here’s a book I can’t get a bead on.
Issue one intrigued me as villains old and new were placed in a box and mindfucked by Bosley with a microphone. Issue #2 sort of bored me; we were still in the box before the amazing issue #3.
Everything about #3 was flawless , from the art of Eaglesham to the humor of The Ventriloquist’s sentient dummy to the reveal of the master manipulator of the Six being the RIddler. We also had my favorite reveal of the past four years at DC, with the mysterious Mr. Wells actually being the one and only nose for mystery Ralph Dibney. The Dibneys were the heart of JLI/JLE, which makes them a perfect fit for this team desperately trying to family up in the burbs while they lay low. Also, Sue deserves better than an existence being undone by a rapey Dr. Light.
Issue #4 introduces some folks not happy at folks who work for Mockingbird. The main member of this trio against the Six is Ragdoll, a past favorite telegraphed with the chapter heads in last issue as they were “stitched” to the top of the page. Last issues’ “softball game” day in the life was a humor and heart fest. Those humanistic elements are downplayed for plot this issue, and I felt a loss at no Eaglesham, though Derenick does some damn close work.
SECRET SIX Is a rollercoaster, but even in the down issues Gail Simone is still a cut above any other writer. Despite the little touches I was going to bail after issue #2, but #3 made these captives a family I need to see grow closer.
SECRET WARS BATTLE-WORLD TRAVEL GUIDE Part VII
orOh pacifist drunk cowboy Tony Stark, you’re my new favorite!
By Henry Higgins is My Homeboy
Previously, on Secret Wars… GodKingDoom has realized there is one Reed Richards left, and he is NOT happy about it.
1872 #1 (Gerry Duggan & Doc Shaner)Welcome to the wild wild west world of Timely, where every one of your favorite Marvel super heroes is now a cowboy. Seriously, I don’t think any of us were prepared for the arrival of cowboy Kingpin in the reconstructed world of Battle World, but here he is, and he’s pretty great, to the point that I hope the next season of Daredevil has Vincent D’Onofrio use an old-timey accent. Here, it’s up to sheriff Steve Rogers and his constantly drunk pacifist buddy Tony Stark to protect up and coming 616 mainstay Red Hawk from a band of villains.
GIANT SIZE LITTLE MARVEL AVX #2 (Skottie Young)The most adorable world that GodKingDoom has ever envisioned continues to be just the best, with a high octane game of dodgeball, a peek into the home life of a family of Ghost Riders, and the beginning of…The TreeHouse War. Seriously, Skottie Young is killing it with this series.
AGE OF APOCALYPSE #1 (Fabian Nicieza & Gerardo Sandoval)A quick comment from our tour guide - I have a LOT of affection for the original AGE OF APOCALYPSE. When I was a kid, I would see pages of it and mentions of it, and it ended up being one of my first real times being a hardcore comic book fan, going to conventions and trying to get the entirety of the story in back issue bins. There’s something about the sheer insanity of it all that’s always stayed with me, especially the part where, just in the backstory, Wolverine lost a hand clawing out one of Cyclops’ eyes, only to reveal that he still had claws in his stumps. I’ve been excited for this one, especially when I found out Nicieza was coming back for it.
As for the world itself, IT IS NUTS. Exodus shows up. Everyone is tearing the world apart looking for Cypher, of all people. Carol Danvers is here. OMEGA POWERFUL ICEMAN IS HERE HELL YES. There is a lot going on in this world, and even though it’s confusing and muddied, I think that was sort of the point.
AMAZING SPIDER-MAN: RENEW YOUR VOWS #2 (Dan Slott & Adam Kubert)As Baron Regent (seriously, dude? I get that you control an entire sector and call yourself whatever you want, and that’s what you chose?) orders his various followers to capture any figures who exhibit any form of superpowers so he can consume them, I guess. But that means it’s time for retired Peter Parker to…try and keep a low profile. But that’s somewhat difficult when the Power Pack shows up, and it’s up to old school Peter to save the day. It's nice to know that GodKingDoom, in all his grace and glory, made sure the Power Pack showed up at least once.
CIVIL WAR #1 (Charles Soule & Leinil Francis Yu)After the ending of Civil War goes belly up (in an actually pretty cool deviation from the main story), it’s time for General Rogers to meet President Stark for a peace meeting. Things do not go well, but I assume you all could foresee that, given the cover of this issue I MEAN, the uh, accurate representation of the world from your travel guide.
GHOST RACERS #2 (Felipe Smith & Juan Gedeon)Robbie Reyes (who is just SO GODDAMN COOL, you guys) enters another round of the Killiseum Ghost Rider races, only this time he’s going to have to contend with a pissed off Arcade, a Frankenstein made out of teenagers, and the crazy serial killer he has in his head. That’s not a metaphor for insanity or anything, he really has a serial killer living in his head.
INFERNO #3 (Dennis Hopeless & Javi Garron)It’s the entirety of the X-Men versus evil Illyana and her pet dragon who used to be Nightcrawler. Things are, uh, things are not going well for Cyclops and his flying yellow wheelchair from the animated series. But don’t you fret, everyone, this world is well in the hands of Colossus, Domino, the psycho clone of Jean Grey, Machinist-Havok, and bratty ten year old Cable. Oh, wait--I meant RUN, RUN FOR YOUR LIVES!!!!
MRS. DEADPOOL AND THE HOWLING COMMANDOS #2 (Gerry Duggan & Salva Espin)Schemes on top of schemes run into one another as Shiklah ventures into the underworld and lets her new pal Frankenstein punch out an abstract concept of death. Meanwhile, ghost Deadpool is floating around, doing his level-headed best to be noticed by his Tomb Raider-cosplaying wife. Sorry, Deadpool, no such luck, but I maintain I’d really love it if you could do every narration in comics from now on.
MASTERS OF KUNG-FU #3 (Haden Blackman & Dalibor Talajic)THIS WORLD IS SO GODDAMN COOL, I CAN’T EVEN, WHY AREN’T YOU ALL VISITING THIS WORLD ALL THE TIME OH MY GOD?!?
RUNAWAYS #2 (Noelle Stevenson & Sanford Greene)The trial run for the GodKingDoom Academy is underway, and things don’t go so well when our heroes learn the truth of the test. But it does mean that Jubilee, Molly Hayes, Cloak, Skarr, and Amadeus Cho (AMADEUS!!!!!!!) have to venture out into…the real world. Gasp!
SECRET WARS 2099 #3 (Peter David & Will Sliney)I wish every conflict in Battle-World was solved through drinking contests, like how Hercules and Namor decide to settle their differences. Also, I was not expecting a squad consisting of Peter Dinklage Iron Man and vampire Spider-Man to so sufficiently deal with a Hulk AND a Silver Surfer. But you learn something new every day.
SPIDER-ISLAND #1 (Christopher N. Gage & Paco Diaz)How is a small assortment of heroes going to help combat the machinations of the evil Spider-Queen? Well, when you’re Flash Thompson-Venom, you decide to convert a couple of Spider-ized heroes (if you don’t like Spiders then DO NOT COME TO THIS WORLD) into various other movie monsters. This world is really cool, to be honest. Also, we’re getting the return of werewolf Captain America, which should be pretty damn fun.
X-MEN ’92 #3 (Chad Bowers & Chris Sims, Scott Koblish)While the team as a whole tries to deal with Cassandra Nova, which trust me, isn’t going well, it’s time to meet…Cable’s X-Squad! Including Deadpool! And blue Archangel. And Psylocke! But stupid swimsuit costume Psylocke. And Bishop! BISHOP! Meanwhile, Beast and Cassandra Nova get into a really nice little conversation, and I am so excited to see Jubilee fuck up Cassandra Nova.
BATTLE-WORLD TRAVEL TIP!
When traveling the world, be sure to visit the 90s or the Kung-Fu movie, or the Killiseum, or the horrifying spider-island, or really anywhere.
THIS IS THE BEST CROSSOVER EVER!
Proofs, co-edits & common sense provided by Sleazy G
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