A Civil War II Review – Lighting Strikes Twice?

Civil War II, coverTITLE: Civil War II
AUTHOR: Brian Michael Bendis
PENCILLERS: David Marquez, Olivier Coipel, Andrea Sorrentino
COLLECTS: Civil War II #0-8
FORMAT: Hardcover
PRICE: $50
RELEASED: February 1, 2017

***WARNING: Spoilers lay ahead!***

By Rob Siebert
Editor, Fanboy Wonder

There’s a good event comic somewhere inside Civil War II. You just need to squint really hard to see it. As amazingly talented as Brian Michael Bendis is, what he turns in here doesn’t truly get going until issue #5, and by that point you regret buying in to begin with. The series is also bogged down by a certain been-there-done-that feeling. The original Civil War was one of the biggest hits Marvel has ever had. By comparison, Civil War II feels like a knock-off song played by a shoddy cover band.

In the original story, the question of whether superheroes should register their true identities with the government caused a major rift, and subsequently a war. This time the divisive issue is “predictive justice,” or in essence, profiling. When a young man named Ulysses is suddenly able to see vivid visions of the future, Captain Marvel sees a crucial opportunity to stop instances of crime, injustice, and tragedy before they ever occur. Iron Man, however, can’t live with punishing someone who hasn’t done anything wrong yet. What’s more, the exact nature of these visions are unclear. Is Ulysses truly seeing the future, or just a potential future? As they search for an answer, heroes will fall in more ways than one.

civil-war-ii #4, two-page spreadThe predictive justice idea is a sufficient divider, and reflects recent real-world events involving police brutality. The Black Lives Matter movement specifically comes to mind, especially when we see what happens to Miles Morales. But it’s when we drill down on the notion of another war amongst the heroes that Civil War II begins to fall apart.

Civil War ended when Captain America surrendered, realizing how costly and violent the conflict had become. The idea that all of these heroes, most of whom were involved in that same war, would allow things to escalate to this degree a second time makes them all look irresponsible, and even downright stupid. This is especially the case after Hawkeye straight up murders Bruce Banner with a literal crowd of heroes watching. But of course, if the heroes don’t fight, you have no story. So you have to make it work.

The way you massage that into working, for my money, is to have the heroes lament having to fight each other again. The original Civil War is barely even acknowledged in this book. It’s almost as if Civil War II is trying to hide from it. While it goes without saying that this story has to stand on its own, it’s a sequel. A sequel to one of the most renowned stories Marvel has ever done, no less. Instead of dancing around it, why not embrace it? The payoff would seemingly be a deeper story.

Civil War II #5, 2016, Spider-Man, Captain AmericaBut even with that added depth, Civil War II would face the problem that it’s simply not that interesting until issue #5. Ulysses has a vision of Spider-Man clutching a dead Captain America in front of a decimated Capitol Building. Given how young Miles is, and the obvious real-world parallels, this is where the story finally starts to gain some momentum. Hindsight being 20/20, this should have happened in issue #3. You put the Miles vision in issue #3, and Bruce’s death in issue #5. That way, Bruce’s death doesn’t feel so glossed over, and it’s fresh in our minds when we get to the final confrontation.

How about this: Captain Marvel puts Miles in prison following the vision in issue #3. (That opens up issues with Miles’ civilian identity. But we can work around that.) After Banner’s death and Hawkeye’s subsequent acquittal, Iron Man’s crew breaks Miles out of prison. We then get the confrontation in front of the Capitol Building as they were presented in issues #7 and #8. Would this little switch fix everything? No. But it would at least up the intrigue level earlier, and perhaps take us on more of a ride from start to finish. In truth, James Rhodes doesn’t even have to die in issue #1. As was the case with Banner, his death is almost glossed right over.

Our primary artist is David Marquez, with Olivier Coipel and Andea Sorrentino tagging in for specific sequences. Marquez delivers big here, particularly in issues #5 and #6. His stuff with Miles is very strong, which makes sense, as he and Bendis worked on Ultimate Comics Spider-Man together. He gives us an absolutely gorgeous two-page spread of Spidey overlooking Times Square, watching the Hawkeye trial. And of course, primary colorist Justin Ponsor gives us the Marvel Universe in all its glory.

hawkeye-civil-war II #3, David MarquezWe do, however, see a lot of what I’ve come to call the “Marquez doe-eyed pouty face.” Marquez is good with facial expressions. But we see variations of this one over and over, perhaps most notably when Hawkeye surrenders in issue #3 (shown left). We see it multiple times from Carol Danvers and Ulysses. We see it so much it becomes distracting and borderline comical.

As many problems as I have with Civil War II, I’ll credit Bendis for one thing: Not killing off Tony Stark. That was what a lot of us were expecting, given Rory Williams had essentially taken up his mantle in Invincible Iron Man. Instead Tony ends up in a coma, and we get a vague explanation about how he can’t be treated. Frustrating in its lack of specifics, but better than having to go through the usual death, funeral, and resurrection routine.

Civil War II could have worked. It would never have been what its predecessor was. But it could have at least been a compelling story. What they gave us had its moments. But by the time things finally got off the ground, it was too late. Given how all-encompassing Civil War II was in terms of its effect on other books, this story can be given partial credit for DC Comics regaining all that lost momentum last year.

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An Infamous Iron Man #1 Review – The Most Unlikely Hero

Infamous Iron Man #1, 2016, cover, Alex MaleevTITLE: Infamous Iron Man #1
AUTHOR: Brian Michael Bendis
PENCILLER: Alex Maleev
PRICE: $3.99
RELEASED: October 19, 2016

By Rob Siebert
Editor, Fanboy Wonder

So this is basically Superior Spider-Man with Doctor Doom and Iron Man. That’s an incredibly simplistic description. But it’s basically accurate, isn’t it? Hey, Superior Spider-Man was really good. If they can capture some of that magic with Infamous Iron Man, more power to them.

In the aftermath of Civil War II, Tony Stark is out of the picture. As Civil War II has been plagued by delays, we don’t know where Tony is, or what’s happened to him. But he’s gone. In his stead, the most unlikely of replacements will take up the Iron Man name: Victor von Doom. But why? More importantly, what is in store for the world now that Doctor Doom is Iron Man???

At face value, this seems to be another story about a bad guy trying to make amends with the world and become a hero. His motivation beyond that remains to be seen. But something’s clearly not right, as evidenced by his creepy scene with Tony’s former love interest Amara Perara. There’s an ominous vibe that seems to indicate things aren’t what they seem. He also makes it clear he’s taking on the Iron Man identity whether Tony (or at least a digital projection of Tony’s consciousness) approves.

Infamous Iron Man #1, 2016, Alex Maleev, Doctor Doom costumeThere’s also something going on with Doom’s mother. They bring her up at the start of the issue, and then we see her at the end. Looks like someone’s got some mommy issues…

Also, the Thing is now an agent of S.H.I.E.L.D. So Doom has a built-in first opponent, who he may face a soon as next issue.

Artist Alex Maleev and colorist Matt Hollingsworth let us know we’re squarely in villain territory for most of the issue. Their dark, sketchy, muted M.O. sets a grim tone worthy of Marvel’s most despicable villain. Even when we see Doom rescue Maria Hill from Diablo, it’s difficult to trust him as he’s shrouded in darkness.

Maleev’s rendering of Victor, whose face has been restored after the events of Secret Wars, is interesting. He maintains the suave and sharp look he had in Invincible Iron Man. But Maleev also humanizes him. Early in the issue, there’s a transition from a shot of the Doctor Doom mask, to the same shot of Victor. Male gives him a face slightly touched by age. Mike Deodato modeled him after Vincent Cassel in Invincible. But you can also see a little Peter Cushing (Tarkin from Star Wars) in Maleev’s version.

Doctor Doom is, among many things, delightfully complex. He’s as good a candidate as any to do the villain-becomes-hero routine. Our villain’s attempt to reform will inevitably crash and burn. Given this is Doctor Doom we’re talking about, that crash will undoubtedly be big, epic, and deadly. So for now, Infamous Iron Man has my attention.

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A Civil War II #5 Review – A “Black Lives Matter” Moment

Civil War II #5, 2016, coverTITLE: Civil War II #5
AUTHOR: Brian Michael Bendis
PENCILLER: David Marquez. Cover by Marko Djurdjevic.
PRICE: $4.99
RELEASED: September 21, 2016

***WARNING: Spoilers lay ahead.***

By Rob Siebert
Editor, Fanboy Wonder

It’s been a bumpy road for Civil War II. Despite its epic scope and game-changing plot points, it’s largely been a big bag of “meh.” And that’s not even getting into the scheduling delays.

Now, five issues in, it looks like things have finally picked up. The end of this book left a knot in my stomach. Despite having already killed off Rhodey and Bruce Banner, this series now finally has that heart-wrenching element that so many event comics strive for.

Thanks Miles Morales, and uh…sorry?

Ulysses, a new inhuman who can apparently see visions of the future, has torn the Marvel heroes apart. In Civil War II #5, they finally come to blows. Captain Marvel, who believes in using Ulysses to stop certain events before they happen, has assembled a group to fight against a team led by Iron Man. Tony Stark vehemently opposes acting on these visions, and questions their credibility. But by the end of the battle Ulysses has yet another vision, in which one of the Marvel Universe’s youngest heroes does the unthinkable. In a story that’s already seen the Bruce Banner murdered by Hawkeye, and Rhodey die in battle, the burning question is: Will Miles Morales be next?

Civil War II #5, 2016, Spider-Man, Captain AmericaThe image at left is our big vision reveal. Miles clutching a dead Captain America in front of a decimated Capitol Building. It may as well be an page from Red Skull’s dream journal. Now all the prior emphasis on Miles makes sense. Bendis and Marquez were planting a seed with a character they both have a lengthy history with. It’s fitting.

Virtually every Marvel book that doesn’t have Star Wars in the title has been effected by Civil War IISpider-Man is no exception. But in the main series Miles has mostly been a background character, albeit one Bendis and Marquez have made sure to keep around. I keep circling back to the two-page spread of Spidey watching the Hawkeye trial verdict on one of the big screens in Times Square. Intentional or not, it brilliantly positioned Miles as someone removed from some of the larger issues that plague more experienced heroes. There’s a certain naivety about him, partially because he’s so young. Those two elements are what set this moment apart from, say, the vision of the Hulk from issue #2.

But lets not kid ourselves. Like its predecessor, Civil War II is trying to be more than just another event comic. Its subtext speaks to the world we live in right now. Civil War speaks to post-9/11 paranoia, and Civil War II speaks to police profiling. It’s not an accident that Miles, a young minority, is shown harming Captain America, a symbol of American justice and values. This entire sequence with the vision and the subsequent arrest of Miles Morales is a Black Lives Matter moment. It’s Marvel looking at what happened with young men like Michael Brown and Eric Garner.

Ms. Marvel, Civil War II #5, 2016It’s one thing to show us characters dying in a story about proactive justice. It’s another thing to really connect it to the real world. This is the emotional punch that Civil War II has been missing. It’s a shame we had to wait this long to feel it.

Ms. Marvel also accentuates the big reveal very well. It feels a little too coincidental that the other teenage minority in the scene just happens to be the one consoling Miles.

Speaking of subtext, Miles has an awesome line during a fight with Venom. As the longtime Spidey villain is taking shots at Miles for not looking or acting quite like Peter Parker, our hero replies with: “Another Spider-Man expert telling me how it should be.” That’s barely even subtext. He may as well be looking up at his critics.

The sad thing is, most of what we see up until the vision sequence is largely forgettable. Marquez, artist Sean Izaakse, and colorist Justin Ponsor give us a very action-posed two-page spread of the heroes about to collide. There’s also a lovely shot of Hawkeye cloaked in shadow as he presumably goes into hiding (shown below). But by comparison, it all seems very generic and business as usual for a superhero epic.

Hawkeye, Civil War II #5, 2016, David MarquezFrom a comic book sales perspective, DC Comics has outpaced Marvel since the start of its Rebirth initiative. I estimate Civil War II is largely to blame for that. Marvel may have banked too much on the success of its predecessor, and additional eyes from Captain America: Civil War. The story has failed to capture imaginations until now. We finally have something to sink our teeth into, but it may be too little too late.

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A Civil War II #4 Review – Rules of Engagement

Civil War II #4, 2016TITLE: Civil War II #4
AUTHOR: Brian Michael Bendis
PENCILLER: David Marquez. Cover by Marko Djurdjevic.
PRICE: $4.99
RELEASED: July 27, 2016

***WARNING: Spoilers lay ahead.***

By Rob Siebert
Editor, Fanboy Wonder

Civil War II feels like an epic, important superhero comic. It’s got major character deaths, a moral dilemma that has divided our heroes, and the future hangs in the balance.

So why does it feel like nothing has happened in this series? This story is more than halfway over. But it feels like we’ve barely started.

Last issue we saw Clint Barton, a.k.a. Hawkeye, murder Bruce Banner before he could become the Hulk and cause a cataclysmic disaster. Such was the word of Ulysses, an Inhuman who can apparently see the future. Now Barton has been exonerated, and our heroes are left wondering what comes next. Tony Stark pleads his case: That Ulysses’ visions are only of a potential future, and to act on them eliminates free will from the equation. But for Carol Danvers, it’s better to be safe than sorry. By the end of the issue, battle lines are drawn. But Carol has some unexpected back up on the battlefield.

 So why does it feel like nothing has happened in this series? Let’s take a brief look back at these issues and see if we can spot some trends…

Civil War II #4, two-page spread, Spider-Man, David MarquezIssue #0: The president tells Rhodey he should aim for the White House, Ulysses has his first vision.

Issue #1: Heroes avert disaster thanks to Ulysses’ vision, they talk to him about said visions, Rhodey dies in a mostly off-page fight.

Issue #2: Iron Man kidnaps and questions Ulysses, who has a vision about the Hulk.

Issue #3: Hawkeye kills Bruce Banner to prevent a disaster.

Issue #4: Hawkeye is exonerated, the heroes get ready to fight.

There’s so much talking. Explaining, expositing, philosophizing, arguing. Even when Banner is killed it’s an abrupt shot to the head in the middle of a big conversation. There’s tension in these issues. But in the sequel to the biggest superhero event comic of all time, we’re strangely low on actual superheroics and events. That’s why, even though much of consequence has happened in these pages, it feels like very little.

As I’ve said previously, it’s not that every superhero comics needs to have people punching planes to have a major impact. And laying the foundation for something big like this is important. But you’ve also got to hold the reader’s interest and keep them engaged. Civil War II is not as engaging as it should be. Especially at this point in the game.

Carol Danvers, Civil War II #4, David MarquezOn the plus side, artist David Marquez and colorist Justin Ponsor are turning in some good stuff. I love the splash page of Spider-Man overlooking Times Square as the news breaks about Hawkeye (shown above). Once again, our team makes a point to toss Miles Morales into the mix, despite him having little to do with the events unfolding. It’s as if he represents a civilian’s view of everything we’re seeing. Given how young, and relatively inexperienced Miles is, that’s a good role for him.

I do have one nitpick: Let’s be careful about the teary, doe-eyed, pouty faces. We get a bunch of them from Carol Danvers as she tells Jennifer Walters what happened to her cousin. Hawkeyes had a similar expression last issue when he surrendered. That expression is meant to convey the emotional impact of the moment. But at this rate, it’ll be comical by next issue.

And what of next issue? By the looks of things, we’re finally going to get to the fighting. The Guardians of the Galaxy will be thrown in for good measure. As is always the case with Marvel’s event comics, there are a bunch of miniseries titles that are running parallel with this one. We’ve got Civil War II: Choosing Sides, minis dedicated to characters like Spider-Man and the X-Men, and different tie-ins with ongoing books. I assume if you want more information on what heroes are on what side, you can look there. I haven’t, for no other reason than this series hasn’t inspired me to do so. And I doubt next issue will be much different…

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A Civil War II #3 Review – The Latest Casualty of War

Civil War #3, 2016, TITLE: Civil War II #3
AUTHOR: Brian Michael Bendis
PENCILLERS: David Marquez, Olivier Coipel
PRICE: $4.99
RELEASED: July 13, 2016

***WARNING: Spoilers lay ahead.***

By Rob Siebert
Editor, Fanboy Wonder

I haven’t talked about Civil War II yet, and I can’t put my finger on why. Initially, I was very turned off by the concept of doing Civil War again. Even the title. Civil War II. It feels like there should be a subtitle there, doesn’t it? Civil War II: The Secret of the Ooze, or Civil War II: Judgment Day. How about Civil War II: The Legend of Tony’s Gold?

But I think the real reason it’s taken me this long is because I was waiting for this thing to get good. We’ve got a compelling story that echoes the real-world issue of police profiling, with virtually every major character in the Marvel Universe involved. As an exclamation point, War Machine was killed off in issue #1. But what we’ve seen thus far, this issue included, has been mostly talk. Obviously not every superhero comic needs to be padded with mindless action, especially when you’ve got a story that hinges on a moralistic issue. But issues #0, 1, and 2 went by feeling unimpactful. Even Rhodey’s death happened off panel, and feels glossed over in this issue.

Compare this to what we’d seen by issue #3 of the original Civil War main series. We had our inciting incident, the creation of the Superhuman Registration act, the unmasking of Spider-Man, the unveiling of a prison in the negative zone, our first real fight between the two sides, and what appeared to be the return of Thor. While the central issue in Civil War II is no less poignant, the story feels softer by comparison.

Civil War II #3, Bruce Banner, Tony StarkThe good news is while issue #3 still feels flat in terms getting readers to pine for that next issue, it’s definitely impactful. About as impactful as an arrow through the head…

As most people reading this likely know, Bruce Banner dies in this issue via a killshot from Hawkeye. Ulysses, a young man who apparently sees the future, has seen a vision of the Hulk on a murderous rampage. Continuing in her attempts to use Ulysses to stop such disasters before they happen, Captain Marvel leads a who’s who of heroes to apprehend Banner. Acting as the voice of reason is Tony Stark who vehemently opposes these “preventive” measures. As it looks like Banner is about to Hulk out, an arrow goes through his forehead.

The issue goes back and forth from the present-day trial of Clint Barton/Hawkeye to flashbacks of the confrontation with Banner. Bends gives the issue a great sense of foreboding. The early dialogue with Banner, Stark, and Carol Danvers feels like an oblivious, and in this case innocent man being led to the gallows. From a writing standpoint, it’s the strongest moment in the book. It’s followed closely by the moment Clint is discovered as the assassin, and he’s simply got his hands out awaiting the cuffs. He knows he’s killed an innocent man, a founding Avenger and a friend no less, and he’s accepted his fate.

This is obviously a very emotional issue, and Marquez’s characters convey everything very well. Stark, Danvers, and Barton are perfectly somber during the court proceedings. Banner’s tension is visibly mounting as he realizes what’s happening to him. We see him go from nervous, to frightened, to defensive. But jjust as he’s starting to get angry, he’s taken out. The result is sheer terror from both Stark and Danvers. Marquez gives Tony a very subdued anger when he says: “Who’s next on your hit list, Danvers?!”

Civil War #3, 2016, group shot, David MarquezThis group shot at right is awesome. Props to colorist Justin Ponsor for making it pop the way it does. And that sky looks gorgeous.

As a Miles Morales fan, I appreciated how our young Spider-Man was peppered in throughout the issue. Bendis, Marquez, and Ponsor worked together on Ultimate Comics: Spider-Man back in the day, so that was fun to see. We even got an appearance from Ganke!

Olivier Coipel tags in midway through to draw a flashback conversation between Banner and Barton, in which the former gives the latter the means to kill him if he ever Hulks out again. Thats another scene where the colors stand out. It takes place in a seedy bar, and the color palette gets darker and feels dirtier. We also see more black in this scene than anywhere else in the issue. It sets the scene perfectly.

The verdict is left in the air, in favor of a cliffhanger where Tony and Mary Jane Watson seemingly discover how Ulysses’ visions work. I’m hoping that, combined with the emotional impact of Banner’s death, will finally kick things into high gear. This story feels less like a war, and more like a colorful debate where people are accidentally dying.

Although for the record, I’m not convinced Rhodey is dead. Both he and Banner will come back eventually anyway. But I don’t think he died in this story. They made a point to have that scene with he and the president early on. Something feels unfulfilled there…

Images from author’s collection.

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An All-New, All-Different Avengers #4 Review – Avengers on a Budget

All New, All Different Avengers #4 (2016)TITLE: All-New, All-Different Avengers #4
AUTHOR: Mark Waid
PENCILLER: Mahmud Asrar. Cover by Alex Ross.
PRICE: $3.99
RELEASED: January 27, 2016

***Need to jog your memory? Go back to the beginning with our review of All-New, All-Different Avengers #1.***

By Rob Siebert
Editor, Fanboy Wonder

The last two issues of All-New, All-Different Avengers didn’t do much for me. Much of it had to do with the involvement of Warbringer, whom I’m unfamiliar with. But now that we’re getting into the team dynamic and the nitty gritty of how they work together, things are picking up.

Our ol’ pal Jarvis joins the team at their new headquarters at a condemned airfield formerly owned by Tony Stark. As Tony brings Jarvis up to speed, our younger heroes wonder why The Vision has been acting even more robotic than expected. But a sudden attack from Cyclone in Atlantic City brings the Avengers into battle. And the thrill of the action causes Thor to do something unexpected. Here’s a hint…it’s on the damn cover.

All New, All Different Avengers #4, QuintetWhile I haven’t been thrilled by All-New, All-Different Avengers thus far, I continue to love this team line-up. It’s a great mix of classic Avengers (Iron Man, Vision), legacy heroes (Captain America, Thor), and next-gen heroes (Spider-Man, Ms. Marvel, Nova). Waid gives them a fun chemistry, which is added to by this low-budget story he’s going with. It almost has a Justice League International vibe.

There’s not much point to skating around the kiss between Cap and Thor, as they’re advertising it up front. While I won’t go into the specifics of how it happens, it’s not nearly as epic as the cover leads you to believe. Unless this is just the start of some grand romance between the two, which definitely has some intrigue to it. It would certainly be new and different, which seems to be Marvel’s M.O. these days.

It’s interesting to see how The Vision is portrayed in this book, as it matches up with what’s happening in his title. He seems to be raising red flags with the younger characters, which could create some interesting conflict between the new and established heroes down the road.

Ms. Marvel, All-New, All-Different Avengers #4, Mahmud AsrarMs. Marvel gets put over really nicely in this issue. Being so young, her perspective may be a bit more simplistic than the others. So during the attack, she cries to Cyclone: “You’re killing people! Why? They didn’t do anything to you!” To which Cyclone simply replies: “I’m a hired gun…Body count isn’t my problem.” Then at her request, Spider-Man flings her right at him, allowing her to hit several big blows. It’s a great moment for her, and a sign that she won’t be overshadowed.

Is Mahmud Asrar as step down from Adam Kubert? I don’t think so. Obviously he’s done ancillary work on this series with the recap pages and back-up stories, so he’s a natural plug-in without Kubert there. They’re fairly evenly matched as far as I’m concerned. Though Asrar has a cleaner, less sketchy touch to his work.

As much as most of us love Mark Waid’s work, I’m inclined to say All-New, All-Different Avengers has underperformed thus far. I don’t have a story that I can really sink my teeth into yet. But the upside is it’s laid some nice groundwork in terms of the relationships between the characters. And that’s undoubtedly one of the most important ingredients in any team book. If you’re an optimist, this is a series that can easily get better very quickly.

Images from author’s collection.

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An All-New, All-Different Avengers #1 Review – The World’s Mightiest Teen Angst

Avengers #1, 2015TITLE: All-New, All-Different Avengers #1
AUTHOR: Mark Waid
PENCILLERS: Adam Kubert, Mahmud Asrar. Cover by Alex Ross.
PRICE: $4.99
RELEASED: November 11, 2015

By Rob Siebert
Editor, Fanboy Wonder

Mark Waid and Adam Kubert on an Avengers book, with Alex Ross doing the covers. That’s not exactly a hard sell, is it?

All-New, All-Different Avengers begins at street level, as Captain America (Sam Wilson) and Tony Stark have an impromptu reunion in front of numerous civilians. Sam continues to struggle with his every move being analyzed by the news media (as we’ve see in Captain America: Sam Wilson), and as he’s been offworld for some time, Stark Industries has been crumbling without him. But our heroes snap back into action mode quickly, when they come across Spider-Man (Miles Morales) taking on Warbringer.

We then jump six weeks backward, to see a charmingly awkward meeting between Ms. Marvel and Nova. Ah, the trials and tribulations of a budding teenage romance. At least, I think that’s what this is. Who knows? Teenagers are weird…

Avengers #1, Adam KubertSo our new and different line-up of Avengers consists of: Iron Man, Captain America, Thor (Jane Foster), The Vision, Ms. Marvel (Kamala Khan), Nova (Sam Alexander), and Spider-Man. What makes this group interesting is not only the diversity we see on the team, but how they’ve mixed the newer, younger heroes in with the veterans. Kamala, Sam, and Miles are all teenage heroes, so they’re bound to have a different worldview than their teammates. Plus, as editor Tom Brevoort said in a recent Newsarama interview, half the team goes to school, which means different hours of operation.

This issue does something many team books don’t take time to do initially: Establish a solid rapport between the characters. Not just the ones who haven’t met before, but the ones who have. Stark and Wilson obviously know each other. But this book gives us a nice look at the sort of friendly antagonistic relationship they’ve developed over the years. That sort of familiarity is a good way to kick off a legacy team book like this, especially given the exposition they have to get out on the table.

Adam Kubert is in his usual form here. Which is to say, good. His attention to detail is excellent, and while we only get a moderate amount of action from his half of things, he brings a nice sense of gravity that you’d associate with a more traditional Avengers book.

Avengers #0, Nova, Ms Marvel, Mahmud AsrarMidway through, we switch our focus to Kamala and her friends in Jersey City, as Nova chases a monster from the Microverse through the city. Waid does an amazing job writing not just awkward teenage dialogue, but freaked out teenage inner monologue. It’s immensely endearing, as most of us have been in front of a crush and not had a clue what to say. Asrar’s animated pencils match Waid’s tone perfectly, particularly when it comes to our characters’ nervous, apprehensive, or outraged faces. I’m very interested to see how this book blends the world-shaking crises with the more personal ones. Our opening page seems to indicate we’ve got both on the horizon.

Also worth nothing here is that Tony Stark has a hovercar that can transform into Iron Man armor. Why? Because he’s Tony Stark.

All-New, All-Different Avengers #1 definitely leaves you wanting more. There are plenty of questions left to be answered, including how Thor and Vision fit into all this, and how Miles may effect the dynamic between Sam and Kamala. As the months go on, hopefully this will indeed prove to be a new and different kind of Avengers team.

Images from author’s collection.

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