Evolving Revolutions in a Devolving World: Scarlet #1

The following is my review of Scarlet #1, which was posted on PopMatters.com.

Rebellion is one of those unavoidable pitfalls of an imperfect world. Wherever there's injustice, fictional or otherwise, there will be popular uprisings. It's the inspiration for half the music produced in the late 1960s. It's also a rite of passage for any teenager who had to endure an early curfew. By definition, it's deviant because it opposes the status quo. At the same time, it has an uncanny allure because it dares to pursue something better.

Scarlet Rue personifies rebellion in a rawest sense. When Brian Michael Bendis and Alex Maleev introduced her in Scarlet back in 2010, they went out of their way to craft a character who embodies the fighting spirit for those wronged by corrupt authority figures. She's not a superhero. She's not some incorruptible demigod who just shows and decides to do the right thing for the sake of children and puppies. Scarlet is very much a victim of an unjust society that takes corruption to its grittiest extreme.

What she lacks in superpowers, though, she makes up for in endearing grit. She doesn't wear a mask or run around in skin-tight uniforms, either. Most of her attire can probably be found on clearance at a department store and that's important because many of the people she inspires aren't the kind who can afford fancy clothes. They're like her, living in a world where they constantly deal with the misfortune of not being related to a senator, a CEO, or a billionaire. Being able to relate to Scarlet makes her easy to follow and that's what makes Scarlet #1 work.

Her rebellion does not stop at petitions, protests, or spreading witty internet memes. Scarlet Rue throws herself into the heart of a struggle, upsetting the fragile order that relies heavily on people like her just not having the energy or spirit to fight back. The story in Scarlet #1 picks up at a point where the fighting has escalated beyond any protest or riot. Scarlet Rue is now the face of a full-blown revolution and the people rallying fighting alongside her are at their breaking point.

The extent of that revolution is not for those with something to lose. Maleev flexes his unique artistic style by presenting rich, detailed cityscapes that reveal the scars that Scarlet's revolution has left on Portland. Bridges are destroyed, the streets are in ruin, and buildings crumble under the bombardment of constant drone strikes. It's a war-ravaged world, but one in which Scarlet's message gains greater significance every step of the way.

For much of the story, she walks this war-ravaged world, talking to people and giving them a sense of perspective. She makes herself vulnerable by being so bold, but she kind of has to at this point in her revolution. The powers that be aren't ignoring her. As such, they're making it increasingly difficult to operate. There's no electricity, internet access, or infrastructure to work with. All Scarlet has are the streets and the people brave enough to walk them. She manages makes the most of it, though.

As she and her fellow revolutionaries walk the streets, she talks to them about how bad things have gotten. However, she never talks down to them. She doesn't come off as one of those revolutionaries who seeks to overthrow one tyranny just to impose another. She's not some wide-eyed idealist, either. She keeps her message real and concise. She also never elevates herself above that message. At times, she even shows a reluctance to be the face of a revolution. She doesn't avoid her part in it, either.

That's critical for the merits of her struggle because it keeps her from getting the blame for all the damage her revolution has brought. Scarlet acknowledges, at one point, that she is responsible for the destruction her activities have wrought. At the same time, though, she also points out that she isn't the one who blew up the bridges or cut the power. It's those opposing her movement who did that. They just happen to have access to military-grade hardware and are willing to use it to preserve the status quo.

The ramifications of these choices, both for Scarlet and the authorities, take shape towards the end when another building is destroyed by a drone. If the intent is to put pressure on Scarlet and foster resentment among her supporters, then it clearly backfires. The people who survive the attack don't blame her for bringing about so much hardship. They blame the government that sends those drones. They're at a point where nobody trusts anyone in established institutions. Every time they try to dissuade the revolution, they end up giving Scarlet more supporters.

It's a dangerous state of affairs, but one that's more relevant today that it was in 2010. Through Scarlet, Bendis depicts a revolution that has progressed to a point where there's no containing it. Scarlet #1 demonstrates that the government has done as much as they can without resorting to nuclear weapons, but it still doesn't work. Scarlet Rue's movement just keeps getting stronger and people keep rallying to her cause.

It's a uniquely real take on rebellions within a corrupt world, one that relies less on photogenic superheroes and more on people willing to confront the truth. Certain aspects of the story are fairly dense. While Scarlet #1 is friendly to new readers who haven't been following the series, it goes somewhat overboard with the exposition to provide context and setting. It gets a bit wordy at times and that's not just because of Scarlet's personality. It takes a while for a real turning point to occur, but when it does, there's plenty of intrigue.

There are many salient messages within Scarlet #1 that go beyond furthering the personal journey of Scarlet Rue. She's not some loud-mouthed protester who doesn't understand the the complexities of the world around her. Her revolution comes from actual crimes in which she was an actual victim. There's not much complexity beyond that. She's someone who's easy to root for and easier to worry about, given what she's up against. She's also a character who reflects the kind of revolutionary spirit that is all substance and little style. That kind of personality is rare in comics, but even rarer in the real world.

Final Score: 6 out of 10

Building (and Tinkering with) a Legacy: Generations: Iron Man and Ironheart #1

The following is my review of Generations: Iron Man and Ironheart #1, which was posted on PopMatters.com.

When a new character takes on the legacy of an older one, the greatest challenge is making that transition seem fitting and meaningful. It helps when the older character has a sizable network of friends, family, and side-kicks in the wings, ready to carry on that legacy in a way that feels like a true extension of the story. This is how Batman's legacy can continue whenever Bruce Wayne is MIA, whether it's through Dick Grayson, Terry McGuinness, or the occasional robot.

Unfortunately for the legacy of Iron Man, Tony Stark isn't as keen on side-kicks and family. Throughout his history, he tends to monopolize all things Iron Man. At times, he gives the impression that he only tolerates War Machine because he doesn't use a title or color scheme that undermines his brand. He's akin to a musician who doesn't mind people doing goofy parodies of his music. That may be an effective way to control a legacy, but it does create issues once Tony is unavailable. With no Robin or even a Bucky Barnes waiting in the wings, Iron Man's legacy is especially vulnerable.

That makes the task Brian Michael Bendis undertook in creating Riri Williams all the more daunting. He doesn't have the time or capacity to create the kind of built-in legacy that Batman has. He has to put Riri in this role of filling in for Tony Stark with next to no build-up or dramatic underpinnings. Riri just happens to be in the right place at the right time when Tony Stark goes down in Civil War II. It's the kind of happenstance that can only come at Marvel where Cosmic Cubes, deals with Mephisto, and the Scarlet Witch going crazy constantly skew the odds.

With Generations: Iron Man and Ironheart #1, Bendis has a chance to forge a greater personal connection between Tony Stark and Riri Williams. In a sense, that sort of connection is overdue because even in his AI form, Tony acts more as a guide than a mentor to Riri. The lack of any deeper undertones still creates the impression that Riri's role is forced and contrived. Creating a more personal connection can help mitigate that impression.

Bendis makes that effort and even tries a different approach, compared to previous iterations of Marvel Generations. Whereas the other stories have taken characters to the past, he takes Riri to the future. That's somewhat more practical, given the inherent themes of futurism in Iron Man. However, pragmatics only go so far. When it comes to actual substance, the story falters and only ends up highlighting the reasons certain fans complain about Riri in the first place.

By taking the story to the future instead of the past, she ends up in a very different world, compared to the one she comes from. This is inherently an issue for her character because so much of her story is tied to her situation in the present. Her family, being from Chicago, and stumbling through the growing pains of being a hero are part of what makes Riri's story compelling. None of that is present in Generations: Iron Man and Ironheart #1. That leaves Riri isolated and only highlights some of her less flattering traits.

From the moment she arrives in the future, Riri basically acts as her own narrator. It tries to come off as cute and awkward, as is often the nature of teenagers, but it just comes off as annoying and self-centered. She doesn't say or ponder anything that isn't depicted by Marco Rudy's skilled art. When she encounters familiar-looking heroes from the future, including a next-generation Avengers team and a 126-year-old Tony Stark, who also happens to be the Sorcerer Supreme, the moment falls flat. For overly-emotional teenagers, that just goes against the laws of physics.

That's not to say Riri is cold in the story. She does make it a point to hug Tony when she gets the chance. However, that's pretty much the extent of the connection they forge. It's also the extent of the drama in the story. There's no epic battle. There's no shared struggle. One is teased, but goes absolutely nowhere. There's no point where Riri really works with Tony, thereby gaining a better understanding of what it means to be Ironheart. She basically just sits back, watches, and gets a crash course in how great the future is.

While that sort of techno-utopian ideology is a key component to Iron Man, Generations: Iron Man and Ironheart #1 doesn't present it in a very compelling way. It's mostly done through Tony Stark talking, Riri Williams reacting, and everyone else just shrugging their shoulders. It's as compelling as it sounds. There aren't any moments of real struggle with Riri. She's basically just a guest passing through and not much else. Her passing out when she first arrives is the most she does to move the story forward.

That's not to say there's no overall impact for Riri. Seeing the future and all the beauty that Rudy's art can depict leaves an important impression. It shows that the future she, Tony, and all things Iron Man are trying to build is worth building. That's a meaningful impression, but one that doesn't need to be belabored in an Iron Man comic, which is built on the very premise that a better future can be built. Riri's story already involves plenty of future-building so the impression comes off as redundant.

Bendis has many opportunities to craft a more meaningful connection between Riri and Tony in Generations: Iron Man and Ironheart #1. Few, if any, of those opportunities pan out. Riri still comes off as an annoying teenager who basically stumbles to success at every turn as Ironheart and Tony comes off as overly coy with his ego. The story succeeds at capturing the futurism themes inherent of most Iron Man stories, but that's all it succeeds with. For someone as capable as Riri Williams and Tony Stark, that's just too low a bar.


Final Score: 4 out of 10

Role Reversing Recourse: Infamous Iron Man #7

The following is my review of Infamous Iron Man #7, which was posted on PopMatters.com.

When it comes to comic book rivalries, Reed Richards and Victor Von Doom are akin to Coke vs. Pepsi. They are so bitterly opposed to one another that their conflict has shaped the world as we know it. Just as the cola wars shape our economy and the kinds of Super Bowl commercials we see, the war between Reed Richards and Victor Von Doom shapes the foundation of the Marvel universe.

Going all the way back to the of Stan Lee and Jack Kirby, Reed and Doom embody two extremes. They are both brilliant minds who seek to shape a flawed world in need of guidance. Reed seeks progress through enlightenment, using the power of discovery and knowledge to unite a conflicted world. Doom seeks a more direct approach, using his natural brilliance to impose progress through force. These are not methods that can be resolved through compromise and a friendly chess game.

These two opposing views are what led to many of the iconic clashes between Dr. Doom and Mr. Fantastic. From cosmic powers to soul-stealing demons, these clashes have taken both characters in many different directions. That's why the situation that Brian Michael Bendis and Alex Maleev have created in Infamous Iron Man is so compelling. They essentially flip the script, putting Victor Von Doom on the opposite end of the spectrum. It shows how he goes about doing what Reed does, but without ever admitting he was wrong. For someone like Doom, that's pretty important.

Some aspects of the script are somewhat different. Dr. Doom, even if he is reformed and that's still a big if, isn't going to conduct himself like the thoughtful and studious Reed Richards. He's going to do things his way while ripping off Iron Man along the way. Unlike Reed, he's not above usurping someone else's brand. However different his approach might be, Infamous Iron Man #7 offers insight into the effectiveness of Doom's new Reed-like methods. By and large, the results are pretty impressive.

Dr. Doom playing the role that Tony Stark and Reed Richards once played is still an uncomfortable novelty for some. Those, such as Ben Grimm, SHIELD, and every Marvel superhero who ever existed since the Kennedy Administration, are rightly concerned about Doom's sincerity. There are so many occasions where Doom has revealed a hidden agenda that even Reed Richards couldn't surmise the breadth of his agenda.

For the villains now in Doom's cross-hairs, though, the novelty is far more distressing. These villains, which include the likes of the Hood and the Wrecking Crew, are used to dealing with a specific kind of hero. Namely, they deal with heroes who follow Reed's script, working within a set of parameters and operating by a set of principles that is fairly well-understood. With Dr. Doom, however, there is no more script and even for hardened villains, that's genuinely terrifying.

This is what makes the narrative within Infamous Iron Man #7 so uniquely compelling. It doesn't just involve Dr. Doom fighting villains in his own unique way. It explores the larger impact he's having on the greater Marvel landscape. The past few issues spent a great deal of time touching on the reactions from those are still skeptical of Doom's intentions. With villains like the Hood, there's much less skepticism and a much harsher impact.

Unlike every other hero these villains have faced, they know what Dr. Doom is capable of. They know how skilled he is. He can create world-ending technology on his lunch break and spend the afternoon taking on Mephisto. Unlike the Reed Richards of the world, though, they know he's willing to go much further than any card-carrying Avenger would ever dare. That ends up being Doom's greatest weapon and for a man with a functioning time machine in his closet, that's saying something.

It makes for a pretty lopsided battle when Doom shows up. For once, though, that battle doesn't feel bland or boring. It's very much a spectacle, akin to watching the Hulk in an arm-wrestling contest. Seeing a powerful hero take down an entire contingent of villains is nothing new. Seeing Dr. Doom be that hero is still new for many and the sheer efficiency with which he works sends a powerful message, both to the villains and Doom's former enemies.

Doom does more than just defeat a bunch of villains. He genuinely scares them. For once, they don't stand on a pedestal, laughing manically and twirling their mustache as they insult or mock the hero. They understand that this is not Reed Richards, Spider-Man, or Squirrel Girl they're fighting. This is Victor Von Doom, a man who can do things that make every one of those heroes violently ill. When someone can inspire that level of fear in villains, then that's a clear they've found a new method and it works.

Even the likes of SHIELD and Thing end up acknowledging Doom's efficacy. They're still understandably skeptical. They still debate just how much they should trust Doom's new endeavor as Iron Man. However, they clearly have it easier than the villains for once. They're still genuinely terrified, so much so that one member of the Wrecking Crew turns himself in rather than facing Doom. Even Thing's Aunt Petunia would be impressed by that.

Infamous Iron Man #7 offers a greater insight into a new narrative for Victor Von Doom, one that he handles as masterfully as anyone would expect of someone who regularly frustrated Reed Richards. It also continues the evolving narrative surrounding Doom's evolving relationship with SHIELD, Thing, and other established heroes. Bendis takes the long road, letting those relationships develop slowly and steadily. As effective as Doom is, they're still a long way from giving him his own Helicarrier.

Between the character relationships and the methods Doom utilizes, Infamous Iron Man #7 gives polish to the overall narrative. It also sets up some new challenges that will test Doom's overly-efficient methods, as well as his commitment to being a hero. While stories about heroes becoming villains is nothing new, a character like Victor Von Doom requires a certain level of refinement. For the story unfolding in Infamous Iron Man, Bendis and Maleev continue to deliver. Terrifying hardened villains is just a nice bonus.

Final Score: 7 out of 10

The Long Road From Infamy: Infamous Iron Man #5

The following is my review of Infamous Iron Man #5, which was posted on PopMatters.com.

When a hero crosses a line, it's rare that they stay over that line. There are times when Batman kills. There are times when Spider-Man acts irresponsibly. There are times when Deadpool skips Taco Tuesday. For the characters and the stories around them, these moments can be agonizing and compelling. At the same time, however, the outcome is frustratingly predictable. At some point, they'll do something to absolve themselves. If it's really bad, it'll often get retconned via time travel, clones, or several extra orders of tacos.

That predictability isn't quite so obvious in the narrative surrounding Infamous Iron Man. Brian Michael Bendis and Alex Maleev aren't sticking to tried and true formula in making Victor Von Doom the new Iron Man. They've set up a story where it's easy to see Doom going in any direction.

He could either use his new outlook to become Earth's greatest hero, showing up both Tony Stark and the entire Fantastic Four in the process. He could just as easily cross those old lines again, becoming that devious villain who would sucker-punch the Hulk if it made everyone acknowledge his superiority.

It's not at all clear which direction Dr. Doom will go and that's why Infamous Iron Man carries so much intrigue. There are still many questions surrounding Dr. Doom's motivations and his approach to being the new Iron Man, some of which have only been hinted at since Secret Wars. Infamous Iron Man #5 finally attempts to answer some of those questions. Those answers are still incomplete, but the story does make one thing clear. Doom is serious about this new role as Iron Man. He really wants to do something other than subversion, conquest, and megalomania.

It's clear he's serious because the narrative to this point is built around a world that still sees Victor Von Doom as the alpha and omega of villains. SHIELD, Ben Grimm, Tony Stark, and pretty much everyone with access to Wikipedia aren't convinced that he has turned a corner and for good reason. Doom's record of honesty is right up there with Loki, Thanos, and tobacco lobbyists. It's perfectly understandable that those tasked with protecting the world are inherently skeptical about Doom's intentions.

 

The events and subsequent aftermath in Infamous Iron Man #5 act as major tests of Doom's resolve. Everyone expects him to revert back to the mustache-twirling villain he's always been. Maria Hill, Thing, and everyone in between are bracing themselves while, at the same time, provoking him into uncrossing that line. That doesn't happen though. Doom, despite being treated like he's a ticking time bomb in need of preemptive defusing, remains serious about this new heroic path.

This leads him to a confrontation that would be very difficult if he were just plotting another scheme to one-up Reed Richards. Unlike the beginning of this series, it doesn't involve some C-list villain that nobody minds seeing used as target practice. It's Dr. Doom's mother, Cynthia Von Doom.

Her presence alone is revealing. Few who don't possess the omnicians of the Watcher can understand the importance of Doom's mother confronting her son. In terms of Victor Von Doom's motivations, both as villain and a man, his mother is right up there with showing up Reed Richards. For a good chunk of Doom's history, one of his primary motivations was saving his mother's soul from the clutches of Mephisto. It added even more incentive for him to master science, sorcery, and everything in between. If only Peter Parker could be so motivated.

Having succeeded in that primary motivation, meeting his mother here gives the story in Infamous Iron Man #5 a great deal of weight. Naturally, he's not too keen on believing outright that his mother is alive and just wants a hug. Victor Von Doom may be serious about not being a villain, but that doesn't mean he's gullible.

With Thing having already picked a fight on SHIELD's behalf, it leads to one of the most meaningful clashes to date in Infamous Iron Man. It doesn't exactly end in a moment ripped from a Hallmark card, but it doesn't end with Doom wanting to burn the entire planet to a crisp either. If anything, it further affirms Doom's resolve for this new path as Iron Man. In that sense, it's a clear victory for him.

That's not to say there aren't losers as well. Infamous Iron Man #5 will not go down as one of Ben Grimm's proudest moments. The same can be said for Maria Hill and the rest of SHIELD. As for Dr. Amara Perera, someone who only crossed paths with Doom because she had the misfortune of dating Tony Stark, she loses the most. To his credit, Doom tries to apologize. However, she makes clear that she still doesn't see him as a hero. She may not see him as a villain, but he's no hero.

This is the most relevant theme in Infamous Iron Man #5. Bendis and Maleev are putting Doom on the longer, more arduous road to being what he wants to be. They're not just tempting him to revert to his old ways. They're showing him that walking this path is a lot harder and he has an uphill battle, to say the very least. There's even a teaser at the end hinting that this path is going to keep tempting him into fits maniacal laughter once more. It promises plenty more intrigue for a story that still seems so strange on paper with Victor Von Doom being a hero.

While the themes and content are strong in Infamous Iron Man #5, there are times it still feels lacking in some details. In some respects, the story feels condensed and truncated. It gives the impression that the conversations needed to be longer and that certain characters didn't get to say what they needed to say. Bendis and Maleev try to do a lot and they succeed for the most part, but some parts of that success still feel incomplete.

This doesn't make Infamous Iron Man any less engaging as a larger story. It may very well be one of the most engaging stories of the post-Secret Wars world. The story is still in a very nascent stage, but it's maturing rapidly and in a way that would make any mother proud.

Final Score: 7 out of 10

Grounded and Rooted: Guardians of the Galaxy #16

The following is my review of Guardians of the Galaxy #16, which was posted on PopMatters.com.

There's tends to be this understandable, but misguided sentiment that the best traits of a character only show when they're in the worst of circumstances. It's certainly the case that iconic moments in a character's legacy come from harsh, often tragic narratives. Whether it's Jean Grey's sacrifice at the end of The Dark Phoenix Saga or the Captain America's death at the conclusion of Civil War, these are powerful moments that reveal why these characters are so iconic.

These moments are memorable and all, but they often present a simplistic and incomplete insight into a character. Most comic book readers don't need to be reminded constantly of Jean Grey's propensity for dying, Superman's boundless idealism, or Deadpool's deplorable toilet humor. That's why insights into less dire moments tend to reveal other layers to these characters that often go unnoticed.

Brian Michael Bendis makes a concerted effort to craft these moments in Guardians of the Galaxy. It's a remarkable change of tone for a series that involves talking raccoons, talking trees, and blowing up a planet at least once a week. Throughout his run on this series, he highlights some of the most memorable traits of these characters. However, in the ongoing Grounded arc, he does this from a whole new angle.

For once, the Guardians aren't caught up in some exotic, cosmic struggle that requires them to outwit Thanos one week while stopping a Shi'ar civil war the next. Instead, Bendis has the Guardians stranded on Earth, a direct result of their involvement in the events of Civil War II. It basically forces the characters in Guardians of the Galaxy to find new ways to be iconic.  

Guardians of the Galaxy #16 presents the most challenging part of that process to date by putting Groot in unfamiliar, uncomfortable territory. For a character with such a limited vocabulary, but near-limitless likability, it's a challenge that requires a wholly different approach. It's one thing to flesh out a nerdy high school kid with spider powers. A giant talking tree requires a different approach, wholly unprecedented approach.

Remarkably, Bendis finds a beautifully functional approach and artist, Valerio Schiti, makes it work to the utmost. This approach involves telling Groot's story as though it were a children's story. Being a talking tree, this actually works beautifully. It's an unusual format, if only because it doesn't rely heavily on Rocket Raccoon's overuse of pseudo-profanity like "krutacking." Given the context of the story, it kind of has to be unusual and Bendis embraces this concept.

Guardians of the Galaxy #16 gives Groot a chance to be more than just the linguistically challenged muscle of the Guardians. He gets to explore a world where trees flourish, provided they aren't in the path of logging companies or a Hulk rampage. Even in big cities like New York, there are parks where Groot can fit right in. If anything, he seems more at home in a situation like this than he is in the cold vacuum of space. Being a tree, it almost makes too much sense.

Beyond the more favorable conditions, the story involves more than Groot enjoying a sunny day at the park while Rocket complains. He does get a chance to be a hero, albeit on a very basic level. This leads to a colorful and well-crafted clash with Armadillo. He's a fairly generic villain, one whose personality doesn't even match a standard Doombot, but that makes him an ideal threat for Groot. This story is intended to flesh out Groot and not a villain dumb enough to rob a bank in broad daylight. When talking trees are involved, tact is wholly unnecessary.

During this clash, we get to see Groot carry himself in a world where people aren't used to talking trees. Big green Hulks and killer robots are one thing, but talking trees really strain a population that is already a bit too used to the occasional Skrull invasion. Naturally, Groot doesn't generate many fans at first, even after he takes down Armadillo. This is where the children's book style of the story really shines.

Along the way, Groot gains an important fan in a little boy named London. This boy, who carries himself like any typical prepubescent protagonist from a Disney movie, stands up for Groot at the moment when misguided adults are still overly inclined to shoot something that may or may not be one of Dr. Doom's failed experiments. Since compassion for children tends to override a desire to shoot things, it works and Groot now has a friend.

It makes for a simple, but uplifting conclusion to the conflict. At a time when superheroes just finished fighting another Civil War and Captain America is a Hydra agent, it makes for a uniquely satisfying story. As Stephen Spielberg revealed years ago with ET, a lovable alien befriending a young boy has undeniable appeal.

That appeal may make readers feel warm and fuzzy inside, but the overly simple nature of the narrative may also limit the depth of the story. More than anything else, Guardians of the Galaxy #16 reaffirms the traits that make Groot who he is. It doesn't really add depth to those traits or provide greater insight. It's primarily a story where Groot gets to be himself and shines however he can.

This basic, but effective approach makes Guardians of the Galaxy #16 one of those issues that fans of a specific character can cite when they want to explain why a particular character is so lovable. If Vin Disel's voice acting in the movie didn't do it for some, then the story in this comic should finish the job. He may be a giant talking tree with an exceedingly limited vocabulary, but he's as lovable as any furry animal that isn't armed with a machine gun. Rocket Racoon would do well to heed his friend's example.

Final Score: 7 out of 10

Winning Streaks and Resolutions: Civil War II #8

The following is my review of Civil War II #8, which was posted on PopMatters.com.

Every major sports dynasty in every meaningful sport learns at some point that a winning streak has to end. Whether it's the Russians in the 1980 Winter Olympics, the undefeated New England Patriots in Super Bowl XLII, or the New York Yankees every five years or so, they learn that no winning streak can last forever. More often than not, learning that lesson is pretty painful.

In the context of Marvel Comics, Tony Stark is very much on par with the New York Yankees. He's been managing a winning streak that dates back to the conclusion of the first Civil War back in 2005. Within the Marvel/Disney hierarchy, he's right up there with princesses and talking animals in terms of importance and prominence. He's not just the character that revived Robert Downey Jr.'s career. He's very much the catalyst for the modern Marvel universe, as it has manifested over the past decade.

With Civil War II, he faces the biggest threat to his losing streak to date. Once again, he finds himself leading a team of heroes against another team of heroes, caught up in a powerful philosophical struggle on how heroes should conduct themselves. This time, it's not just Captain America or the American legal system he's up against. He's taking on Captain Marvel, who has a winning streak of her own, and the very forces that shape the future of the Marvel universe. Even with the star power of Robert Downey Jr., Tony Stark faces extreme odds.

He finally puts his vision and his winning streak on the line in Civil War II #8 for the final struggle. It has the fixings of a dramatic struggle, ripe with the same high emotions as Mark Millar's memorable narrative in the first Civil War. Unfortunately, those high emotions that worked so well for Millar end up falling much flatter with Bendis.

That's not to say that Civil War II #8 doesn't deliver in terms of drama and high emotions. Those factors are definitely in place and they do give the story plenty of weight. However, the actual mechanics of the story and the way everything gets resolved just come off as rushed and contrived. Nobody will be gasping for air or picking their jaw up off the floor with the big climax of the story here. The most anyone will probably do is shrug and sigh, but not necessarily in a bad way.

There are some powerful moments that play out here. These moments highlight the sheer strength and weight that Captain Marvel and Iron Man wield in the context of the current Marvel hierarchy. These are two of Marvel's most popular characters fighting over a conflict that Bendis made sure was every bit as balanced as the one Mark Millar molded in the first Civil War. The clash never feels like a glorified street fight or something that can be written off as a product of mind control, clones, or Skrull agents.

Captain Marvel and Iron Man are literally fighting for the future of the Marvel universe and their place in it. Over the course of that fight, it's clear that neither character harbors a seething hatred of the other. They don't insult each other. They don't engage in the kind of trash talk usually reserved for a rap battle. They carry themselves with the utmost conviction that they're right. They both believe they are the New York Yankees on the cusp of another championship.

In the end, only one can win out. Eventually, one does win out, albeit in an outcome that feels somewhat hollow. After all the high emotions that helped make Civil War II so impactful, from the first battle against a rogue Celestial to the death of Bruce Banner, the end result feels muted because the battle doesn't really resolve the main issue. In some respects, the issue resolves itself, which makes the conflict seem more trivial than it actually is.

Nothing that Captain Marvel and Iron Man do, either through fighting or through the hard choices they make, influences what happens to Ulysses. As the Inhuman who started this all, his role in the final conflict is surprisingly minimized, which really undermines the narrative. It's like Wolverine trying to win a fight without his claws. It is possible, but it lacks that a certain touch that gives the conclusion its satisfying feel.

Absent this satisfaction, the conclusion in Civil War II feels so rushed. If the conflict does affect Ulysses, it's an indirect influence at most and that influence is not really clear. Unlike the first Civil War, neither side gets a chance to really prove that their side was right. There's no way to actually put into practice all these the passionate arguments that Captain Marvel and Iron Man make throughout the conflict. They still fight, but they don't get to find out whose ideas actually win out.

Despite this lack of resolution, Civil War II still tries to establish a clear winner. It succeeds in this to some degree. It makes clear who comes out ahead and whose winning streak comes to an abrupt end. However, establishing the winner in the story doesn't necessarily explain why they're the winner in the first place. There's an argument to be made that nobody really won Civil War II. In the end, one person is still standing. That's more a technicality than a win, but it still counts. It's like a championship game ending in a tie, but one side still gets to act like a winner.

On the whole, Brian Michael Bendis and Oliver Copiel succeed on numerous levels in making Civil War II the same high-stakes, high-drama conflict as its predecessor. The heavy emotions and painful losses are there. The impact of those losses are felt. Civil War II #8 does nothing to underscore those emotions or those losses. The characters never feel insincere. There's never a sense that one of them could be a Skrull agent. The refinements are there. It's the overall resolution that's lacking.

One winning streak ends. Another winning streak continues. There are impacts, scars, and plenty of arguments to be had on message boards for years to come. In the grand scheme of things, Civil War II counts as a success. It's just not the kind of success that will make anyone less tired of superheroes fighting each other.

Final Score: 6 out of 10

Channeling Heroism Through Infamy: Infamous Iron Man #1

The following is my review of Infamous Iron Man #1, which was posted on PopMatters.com.

It's become an annoyingly popular trend in recent years, turning heroes into villains and villains into heroes. It's like Marvel and DC Comics are trying desperately to make their own version of Walter White. They want a character who can fluctuate between heroism and villainy without the aid of mind control, evil clones, or shape-shifting aliens.

It's entirely understandable. A character that can navigate these narrow, poorly defined lines between heroism and villainy tends to be much more compelling. We don't know if this character will help rescue a cat in a tree or just set the tree on fire. They're unpredictable and volatile, never needing more than a friendly nudge to cross those lines that Superman and Captain America don't dare cross, at least without the aid of massive retcons.

This is what makes the premise of Infamous Iron Man #1 so compelling. It attempts to turn Marvel's alpha dog villain, Victor Von Doom, and into a genuine, non-mind controlled hero. That's right up there with making Thanos a nun in terms of seemingly ridiculous concepts. However, Doom's development in the pages of Invincible Iron Man, coupled with the end of Secret Wars, puts him in a unique position to do just that. Now, Brian Michael Bendis is ready to realize that potential.

The details of the story in Infamous Iron Man #1 don't involve Doom just stepping into a new suit of armor, calling himself Iron Man, and shooting the nearest Hydra agent. Instead, Bendis crafts a narrative that makes abundantly clear that Victor Von Doom is uniquely qualified to embrace this role. He makes it feel like a natural progression of the character that emerged in Invincible Iron Man. This is a version of Dr. Doom that has a very different outlook after the events of Secret Wars. What he does and why he does it feels organic, appropriate, and uniquely engaging.

There's no inversion spell. There's no clone involved. There's not even some sudden moment of clarity. Victor Von Doom's decision to become Iron Man fits perfectly with his ongoing efforts to do more than just terrorize the world with metal masks, evil boasting, and Doombots. He's trying to find a new place in the greater Marvel landscape and becoming Iron Man, especially in wake of Civil War II, is as fitting a place he'll find without the aid of Doombots.

What makes this setup even more compelling is the context surrounding Dr. Doom, even before the events of Secret Wars. Bendis makes it a point to explore this context, going back to Doom's days in the Illuminati where he didn't shy away from such infamy. In doing so, Bendis raises some important questions for Dr. Doom, courtesy of the Red Hood. Sure, these questions get the Red Hood shot and transported to India, but they're still valid questions.

The primary question at hand is what exactly drives Victor Von Doom at this point in his development? For many years, he defined himself as the one man who could outsmart Reed Richards. He defined himself as the one who mastered science and sorcery. He also defined himself by his desire to save his mother's soul from Mephisto. These are all core components of the evil, menacing Dr. Doom who will gladly kick a puppy if it makes him more superior to Reed.

Now, Reed Richards and his family are gone. His mastery of science and sorcery is beyond dispute. He even managed to finally save his mother's soul. On top of this, he has his own country, more money than any super-villain can reasonably steal in one lifetime, and an army of Doombots to ensure he'll never have to clean his castle or cook his meals. What else is left for Victor Von Doom?

Infamous Iron Man #1 shows that Dr. Doom has plenty to offer. He demonstrates as such in a lopsided, but revealing battle against Diablo, who for some reason thought kidnapping Maria Hill was a good idea. He also connects with Tony Stark's former lover, Dr. Amara Perera. He articulates through words, actions, and Alex Maleev's detailed artwork that there's a need in the Marvel universe and he's uniquely equipped to fill it.

Moreover, Doom makes the prospect of him being Iron Man seem exciting in the sense that we've never seen an Iron Man like this before. Tony Stark may have exercised questionable decision-making skills, both in and out of his armor, but there are lines he doesn't cross. He makes clear that when there's a conflict to confront, he'll play the part of the hero. With Victor Von Doom, we don't have such certainty.

How will Dr. Doom deal with a Hydra invasion of New York? How will he deal with the likes of the Mandarin, AIM, or angry Stark Industry shareholders? It's clear how a hero would handle them. It's not at all clear how Victor Von Doom will handle them and that's what makes the idea so compelling.

In the end, this idea is the greatest selling point of Infamous Iron Man #1. It gives context and reason for Dr. Doom taking on the mantle of Iron Man. Beyond that idea though, the details are fairly standard. There is some action, some significant character drama, and some mysterious reveals. However, some of these details are too short or abrupt. These are details that can easily be fleshed out in future issues, but it limits the substance of the story.

Despite this, the style points alone make Infamous Iron Man #1 one of the most intriguing development not involving a superhero civil war in quite some time. There's still something uniquely off-putting about rooting for Victor Von Doom to become a hero. He still makes clear that he's Dr. Doom. He still comes off as the kind of man who will punch Reed Richards in the jaw and blame the Avengers for it.

However, he also comes off as a character entering an exciting new phase of his development. He's not hiding from his infamy. He's channeling it into a new endeavor. It may not be as satisfying to him as punching Reed Richards in the jaw, but it gives him a bold new purpose. Whether it makes him famous or infamous remains to be seen, but it promises to be an exciting story.

Final Score: 8 out of 10

Heavy Impacts with Heavy Hearts: Civil War II #3

The following is my review of Civil War II #3, which was posted on PopMatters.com.

In major and minor wars alike, there is usually a spark that ignites the conflict. That spark doesn't always get its own documentary on the History Channel, but it often reveals the scope and scale of the conflict that unfolds. In Civil War II, the spark is lit. The conflict over Ulysses, the Inhuman who can predict the future on a level that fantasy sports fans dream of, is just starting to grow.

It's a conflict that has already claimed multiple casualties, namely War Machine and She-Hulk. So already, the scope and scale of this conflict is pretty big. Brian Michael Bendis gives both sides plenty of reasons to shoot, punch, and yell at each other. These reasons aren't petty or contrived either. This goes beyond opposing an unjust law, suspecting who may or may not be a Skrull, or falling in love with the same redhead. True to Marvel's Civil War tradition, this conflict reflects real-world conflicts in terms of justice, due process, and using precognitive powers for more than just fantasy sports.

However, the true extent of the conflict Civil War II is still developing. There isn't yet a rallying point where the lines are drawn, the teams assemble, and the property damage escalates. So far, the conflict is still Iron Man and Captain Marvel having a friendly disagreement. In Civil War II #3, there's nothing friendly about it anymore. That spark is a raging inferno now. The lines are drawn, the divisions are clear, and the outrage cannot be contained in a message board.

Bendis uses a common tactic in major crossover events, crafting the big turning point around the death of a major character. However, the tactics Bendis uses to make this death meaningful in Civil War II #3 aren't quite so common. This being Marvel's second attempt at a Civil War story, the formula requires some tweaking. It can't go too overboard either. As the last Fantastic Four movie so tragically demonstrates, this can backfire.

Bendis avoids that pitfall by framing the conflict in Civil War II in a more sophisticated manner. There's a not much emphasis on the death itself. There isn't even much emphasis on the one who causes it. Instead, Bendis explores the larger implications. Those implications help expand the conflict in a way that feels personal, profound, and dramatic.

These same implications are the fuel that raises the stakes in Civil War II. It still echoes the same conflict that begins as a simple disagreement between Iron Man and Captain Marvel. That disagreement, however, is now a war that is claiming multiple casualties. Those casualties make the difficult questions surrounding Civil War II more pressing.

These questions are repeated in Civil War II #3, but in very different circumstances and in a very different context. The content is still the same though. Is it right to punish a crime before it is committed? Even when they have a powerful tool at their disposal in Ulysses that gives them unprecedented foresight? The answers to these questions, as well as the merits of those answers, is put on trial in a semi-literal way. It may not be as exciting as the battle against the renegade Celestial in Civil War II #1, but its contribution to the narrative is every bit as meaningful.

The narrative actually alternates between the present and the past, providing details and drama to the circumstances that led to this pivotal turning point. It gets a little chaotic, but never becomes overly confusing. That's quite an accomplishment at a time when the Marvel Universe is full of time-displaced characters and characters from other universes.

The shifting timeframe also allows for some powerful moments with certain characters, especially Bruce Banner and Hawkeye. Nobody does anything with a wink and a shrug. Nobody tries to lighten the mood. There are a lot of heavy hearts and serious concerns. Even Spider-Man doesn't dare make any wisecracks, which is a major sign in and of itself.

The most important impact, in terms of the bigger picture, is how the events of this issue entrench the two opposing sides. Carol Danvers, despite being personally affected by the growing list of casualties, makes her position clear. She believes that using Ulysses' visions to save lives is justified. The heavy losses she endures don't change that. If anything, they strengthen her resolve.

These events do the same for Iron Man, albeit in the opposite direction. The loss in this issue only confirms his greatest fears. He sees punishing a crime before it is committed as a crime itself. Once again, Bendis captures the most important element of Civil War by presenting both sides as reasonable. This isn't a debate on the morality of child labor laws or free medicine for sick orphans. This is a clash in philosophies where both sides occupy a very gray area of morality.

If there are any shortcomings in this clash, it's the lack of contribution from other heroes not named Iron Man, Captain Marvel, or Hawkeye. Nearly every major superhero team in the Marvel Universe takes interest in this issue, including those with conflicting movie rights. However, their contributions and reactions aren't really explored or hinted at. Even though the battle lines are drawn, it's difficult to determine who sides with who.

That's not to say that the scope of Civil War II is underplayed. Bendis makes an effort to show just how big a story this is for everyone in the Marvel Universe. He creates the sense that this conflict is being watched at levels not seen since the OJ Simpson trial. It extends the conflict beyond superheroes because for all the public knows, they're just one Ulysses vision away from being the next Red Skull.

Civil War II #3 succeeds in the most important part of any civil war. It draws the battle lines while establishing the merits of both sides. It also ends any possibility that this disagreement between Iron Man and Captain Marvel can end without someone getting punched in the jaw. Heroes are already choosing sides. Arguments are intensifying on message boards. This conflict is bound to get ugly, but Bendis makes sure it's a meaningful, relevant kind of ugly. Anyone who can make ugly things meaningful knows they've accomplished something.

Final Score: 8 out of 10

Fittingly Effective Foresight: Civil War II #1

The following is my review of Civil War II #1, which was posted on PopMatters.com.

There's a reason why some one-hit wonders are destined to fail in any effort to recapture their initial success. As Vanilla Ice and everyone whoever did the Macarena can attest, it's easy to get burned out on something when it's overdone and overexposed. Capturing that same success is even harder than capturing lightning in a bottle a second time. At least lightning obeys the laws of nature. Those that consume media tend to scoff at those laws in ways that frustrate every marketing department that ever existed.

This same dynamic applies to major crossover events in comics. Sometimes, the time and place is right for such an event. Mark Millar's work on Civil War couldn't have come out at a better time. It was a time where issues like the Patriot Act and pre-emptive war actively shaped the mindset of the public. It's hard to determine whether the time and place is right for Civil War II, but Marvel is rolling the dice, hoping they can succeed where Vanilla Ice failed.

Civil War II #1 ignites a conflict that promises to divide Marvel's iconic heroes every bit as much as the Superhero Registration Act/Sokovia Accords. It's a conflict that, much like its predecessor, reflects real-world issues in maintaining a safe and just society. It's all built around the prospect of punishing crime before it occurs. It's an untenable concept outside of a North Korean court, but in a world where there are enough psychics to start their own baseball team, it's a legitimate issue to discuss.

Brian Michael Bendis makes it a point to make this discussion the main driving force of the narrative, but it's the spectacle built around that driving force that gives Civil War II #1 an impact that rivals its predecessor. The story doesn't actually start with the debate. It starts with a full-fledged, unambiguous triumph. It's the kind of triumph usually reserved for the end of a crossover story after every effort is made to make the heroes the underdogs. Bendis effectively flips that script in the best possible way.

A rogue Celestial invades, the heroes of the Marvel universe unite, and they win the day with less collateral damage than mild Hulk rampage. At a time when every major superhero clash incurs enough damage to bankrupt Stark Industries, this feels like a refreshing novelty. However, it's the context in which this battle occurs that gives it a unique weight.

It centers around Ulysses, a recently-formed Inhuman who has the ability to accurately see the future. He's the reason why every hero of the Marvel universe was able to effectively coordinate against a Celestial attack. He shows that with enough warning, prep time, and access to Tony Stark's credit cards, there aren't many threats that Earth's mightiest heroes can't deal with. In the grand scheme of superhero dynamics, it makes perfect sense. Many devastating attacks are built on the element of surprise. Take that away and even Thanos on his best day can't win.

It's a rarity in modern comics, the heroes being so competent and effective in their efforts. It's rare because on paper, it makes for a boring story. There's not much drama behind Superman rescuing a cat from a tree or Captain America telling children to eat their vegetables. In some respects, it's that rarity that makes this epic battle against a Celestial so impactful. It establishes just what Marvel's greatest heroes can accomplish when they have sufficient foresight, effective coordination, and no hindrances from competing movie studios.

This easy, efficient victory leads right into the dramatic debate that echoes the conflict that gives Civil War II the impact it needs to make the narrative work. Carol Danvers and Tony Stark draw the lines and establish the sides. On Carol's side, there's the idea that they should use Ulysses' power to prevent crimes from ever happening. On Tony's side, there's the idea that the punishment shouldn't come before the crime. Both sides make valid points. Both sides make passionate arguments. Both sides are sure to divide fans and inflame message boards, but for all the right reasons.

This argument captures the most important component of the original Civil War. It creates a conflict in which both sides make valid arguments. This isn't a matter of democracy versus fascism, truth versus deceit, or The Phantom Menace versus The Empire Strikes Back. There's a case to be made by both sides. By establishing this important dynamic, Civil War II #1 succeeds at achieving its most critical goal.

With this success, the foundation for the conflict is effectively set. The two opposing sides form and the stakes are established. In terms of the big picture, Civil War II #1 checks all the right boxes. In terms of the little pictures within that big picture, however, the details are lacking. Like Deadpool at a shooting range, the narrative does jump the gun in some areas.

The pacing of the story, as well as the sequence of the events, is poorly organized and disjointed at times. It made sense to rush the battle against the Celestial because of Ulysses' impact. However, the subsequent battle against Thanos that incurred major casualties lacked the necessary context. While this didn't take away from the heavy emotions and high drama, it does come off as contrived to some extent.

Despite the disorganization and inconsistencies, Civil War II #1 hits the ground running in all the right ways for all the right reasons. Brian Michael Bendis succeeds in capturing the same spirit that Mark Millar captured with the original Civil War. It doesn't try too hard to be exactly like its predecessor. It doesn't try to radically reinvent the concept either. Civil War II strikes a perfect balance between the fresh and the familiar. It succeeds where so many one-hit wonders fail. It may be too late for Vanilla Ice, but the timing is perfect for this latest Marvel spectacle.

Final Score: 8 out of 10

Through Loosely Connected Sub-plots, a Foundation Is Laid in Civil War II #0

The following is my review of Civil War II #0, which was posted on PopMatters.com.

Any college student cramming for a final exam can attest that procrastination is a common, often unavoidable aspect of human nature. We human beings simply aren't wired to be overly proactive. The caveman in us often refuses to acknowledge the danger until a stampede of wooly mammoths is charging our village at a rate that registers as a small to mid-ranged Earthquake. We try to be proactive. We understand its values and benefits. Despite this, our capacity for foresight is laughable most of the time.

In the world of superheroes, killer robots, invading aliens, and whatever Tony Stark happens to build on an off-day, the stakes are much higher than any exam. Knowing when and how Thanos will attempt to destroy the Earth and spit on its ashes is pretty important. It's the difference between needing another Helicarrier and needing a time machine.

It's a factor that has many real world parallels. Law enforcement, the military, the NSA, and annoying internet ads need a certain level of foresight to function. That's what makes Civil War II such an intriguing concept and Civil War II #0 makes it a point to belabor the importance of this concept. It's a point worth belaboring, as those same procrastinating college students are destined to find out the hard way. The conflict doesn't erupt here, but the mood is definitively established.

The method for establishing this mood in Civil War II #0 isn't necessarily concise, nor is it engaging at times. However, it still conveys the necessary sentiment through the experiences of characters like She-Hulk, War Machine, and Captain Marvel. These characters help shape the mood of the conflict before it erupts. They don't reveal anything about the characters that can't be gleaned from Wikipedia, but they do establish their current mindset within the context of Civil War II.

Through these loosely connected sub-plots, the foundation is laid. On one side, She-Hulk argues passionately for the defense of the Jester, a known villain who most card-carrying members of the Avengers wouldn't hesitate to punch. Her defense, however, is as articulate as it is relevant, both in the context of Civil War II and in the context of the real world where no self-respecting criminal calls themselves the Jester.

The crime in this case may or may not qualify as a crime. The Jester isn't charged with stealing or hurting anyone. He's charged with merely discussing it. For him, the mere act of thinking about a crime is a crime in and of itself. It is, by definition, a thought crime. In the real world, civilized societies find convicting people of such crimes untenable. Maybe it's a little more understandable in a world where telepaths like Emma Frost and Jean Grey exist, but it's still inconsistent with a basic understanding of justice.

Our world might not have telepaths, but it does reflect a real problem, as the original Civil War did a decade earlier. In the realm of justice and security, it's not always clear what constitutes an imminent threat. For some people, a threat only becomes pressing when someone is standing in a doorway dressed as a clown and carrying a knife. For others, a critical tweet constitutes a threat. The line isn't just blurred. It's a constantly shifting, often nebulous concept that rarely keeps up with the needs of society.

She-Hulk ends up losing her case, but her concept of proactive justice is very different from that of Captain Marvel. As a member of the Ultimates, who need to be exceedingly proactive when dealing with threats like Thanos and Galactus, she laments on how many close calls the Earth has had. This doesn't even count all the times retcons and time travel were necessary to save the day. She understands the need for foresight better than most non-psychic characters. Moreover, she expresses a desire to seek means of improving their foresight.

This leads to the primary catalyst for Civil War II, namely the Inhuman named Ulysses. There's really nothing special about his transformation or him as a character. He's as generic and forgettable as most civilians in the Marvel universe with no direct or indirect ties to Peter Parker. He just happens to be outside as the Terrigen Mist sweeps over his college campus. That's really all there is to this key character in Civil War II.

The drama is lacking, but the sentiment expressed by characters like She-Hulk and Captain Marvel are nicely developed. The situations are somewhat contrived, but Brian Michael Bendis does an admirable job crafting the thoughts and feelings of these characters. He sets the right tone and establishes the right mood, ensuring it's ripe for tension and conflict. Since the first Civil War inspired a movie that's on track to make a billion dollars at the box office, this is vital in terms of capturing the spirit of its predecessor.

While this spirit is present and well-developed, the overall story is lacking and disorganized. There are very few connecting threads tying the narrative together. Everything just happens separately and randomly. That's not to say the plot of Civil War II #0 is forced. It simply lacks organization and cohesion. It's the opening credits to a much larger story and not enough is done to make this necessary component of the overall narrative more engaging.

The greatest strength of Civil War II #0 is still the insight of the characters involved. This insight succeeds in the same way the premise of the original Civil War succeeded, creating an issue that has real-world parallels and major implications, especially for a fictional world where planet-eating entities are a legitimate concern. It's bland in terms of substance, but necessary with respect to context. It lacks a larger entertainment value, but such details aren't always possible for a certain narrative, Deadpool being the lone exception.

Final Score: 6 out of 10

Families, Flashbacks, and Fodder: International Iron Man #1

The following is my review of International Iron Man #1, which was posted on PopMatters.com.

The J. J. Abrams and M. Night Shyamalans of the world have made a comfortable living off shocking revelations. It's an old and, at times, overused tactic to add excitement to a story, but nothing gets overused without it being effective on some levels. Since the big revelation about Darth Vader being Luke Skywalker's father in Empire Strikes Back, every creator in every medium has been trying to match the impact. To date, most have either failed, come up short, or something in between.

Kieron Gillen came surprisingly close during his run on Iron Man. He crafted a story around the origin of Tony Stark, but not in the sense that it explored how he became Iron Man. There have already been multiple stories and a billion-dollar movie built around that narrative. Instead, Gillen focused on Tony Stark's family and this led to a revelation that would've surprised George Lucas himself.

Tony Stark is not the son of Howard Stark. He was adopted. His entire sense of self and who he is had been shaken. It's a story that has so many ramifications. It would be like Bruce Wayne finding out he's half-Kryptonian. It completely changes the dynamics of Iron Man. However, the full scope of this impact hasn't been fully explored yet. That's what Brian Michael Bendis seeks to change with International Iron Man #1.

The narrative of this series promises to explore the ramifications of Tony's newfound heritage or lack thereof. It's a narrative that is slow and tedious in the beginning, but the payoff at the end creates just the right amount of intrigue and unlike Empire Strikes Back, nobody had to lose a hand. Tony still ended up getting shot, but let's face it. That's hardly the worst outcome of a conflict for him.

That payoff was the product of a story built around an extended flashback. In terms of narrative style, it ranks just above a clip show in a sitcom in terms of gimmicks that are easy to get sick of. However, the flashback in this case does tell an important story from Tony Stark's past. Through that story, Brian Michael Bendis reveals the dynamic Tony had with his adopted parents. That's not to say there were telling hints about his secret heritage, but it certainly gives the impression that there were clues. Why else would a college-aged boy be so eager to meet a cute girl's parents?

The answer to that question doesn't reveal as much as the question itself. Throughout this flashback, a younger, less heroic Tony Stark demonstrates an undeniable distance between him and who he thinks are his birth parents. It's not the kind of distance that just comes with going to college in London either. At one point, a girl that has caught his eye said she was close to her family. For Tony Stark, a kid whose family has enough money to buy their own university and excuse him from every homework assignment, that leaves an undeniable impact.

It sets the tone for the issues that Tony faces in the future. He isn't close with his family and it's not because of the typical problems faced by rich, genius playboys. He's not bitter that his parents paid a nanny to raise him in the tradition of Downton Abbey. He's not bitter that he didn't get the right color Ferrari for his 16th birthday either. There are other factors involved that didn't make sense at the time, but like reading the spoilers for The Sixth Sense, they make sense now.

While these issues help set an appropriate tone, the story itself is less than trilling. However, this is more a matter of pragmatism rather than simply not having enough things for Iron Man to blow up. The flashback through which most of the story is told takes place before Tony Stark became Iron Man. The story doesn't try to put him in a position to blow something up. It's purpose is to put him into a position to confront these issues. That process still involves him getting shot so it's not like it has the monotone of an economics lecture.

This same process is also built around Tony's interest in a woman named Cassandra. It's one of the common themes that, like Iron Man blowing something up, unite Tony's past and present. Being a college-aged student in this flashback, he's easily distracted from his studies and his family issues by a beautiful woman. It might as well be the one unifying factor between rich tech geniuses and poor, immature frat guys. What makes this woman more important than another notch on Tony's many belts is her potential link to Tony's biological parents.

It's a link that isn't revealed until the end. For much of the story, Cassandra comes off as just another rich, privileged woman who has a big target on her back and not in the Kardashian sort of way. Tony, being a fan of danger even before he became Iron Man, is certainly intrigued. However, that intrigue evolves beyond a typical college hook-up when Hydra enters the picture. Not having an Iron Man suit at the time, it offers a telling hint that this woman knows things that cannot be easily Googled.

As intriguing as the premise might be, International Iron Man #1 offers little beyond telling hints and standard intrigue. The story surrounding Tony Stark's biological parents takes a step forward here, but just barely. It's a story that focuses more on characters than shooting Hydra goons in the head and while it has its moments, there's nothing overly memorable to take from it.

More than anything else, International Iron Man #1 is a trailer for a much larger story involving Tony's heritage. While some trailers end up being better than the movies they tease, this one offers more promise than most. It's like the difference between the Deadpool trailer and the trailer for the last Fantastic Four movie. One promises great entertainment value. One promises to ignite outrage on message boards. International Iron Man is still building up its entertainment value, but it shouldn't ignite any message boards just yet.

Final Score: 5 out of 10

New Dynamics with a Familiar Face: Invincible Iron Man #7

The following is my review of Invincible Iron Man #7, which was posted on PopMatters.com.

From a purely pragmatic standpoint, creating a compelling Iron Man story creates a unique set of challenges. A writer has to make a rich, good-looking, genius playboy likeable without turning him into a Charlie Sheen archetype. Needless to say, this is not as easy as Robert Downey Jr. makes it out to be.

Tony Stark does a lot of things that would earn plenty of scorn, criticism, and negative hashtags in the real world. He's profited from the sale of deadly weapons, he's chased beautiful women to an extent that even Hugh Hefner would find excessive, and he's carried himself with an ego that is almost on par with Kanye West.

Despite these challenges, Brian Michael Bendis has succeeded in rising to the occasion throughout the course of Invincible Iron Man. He doesn't just put Tony Stark in a position for him to show off his unparalleled tech-savvy or his Robert Downey Jr. type charisma. He puts him in situations that reveal his insecurities.

As hard as it might be for anyone outside the top tax bracket to contemplate, even billionaires have insecurities. Even a billionaire that hangs out with Captain America and full-blooded Asgardians struggles with it. Bendis even makes the case that billionaires in that position struggle more than most. It certainly doesn't help when demons, vindictive women, and Dr. Doom enter the mix as well. There is a limit to how much his obscene wealth can mask such vulnerabilities.

Regardless of how well they're masked, these vulnerabilities have helped create a narrative in Invincible Iron Man that makes Tony Stark a genuinely intriguing character by doing something that isn't easy to do with someone of his wealth and resources. It humanizes him. As this series has unfolded, Tony has humbled himself in ways he doesn't usually show unless Thanos has him under his boot.

His battles against Madam Masque and his uneasy team-ups with Dr. Doom add plenty of spectacle around that humility. Invincible Iron Man #7 attempts to add new dimensions to this spectacle. Unlike previous spectacles, this one involves Mary Jane Watson. As Spider-Man fans can attest, she's a spectacle unto herself and one that might seem out of place in Iron Man's world. However, Brian Michael Bendis makes the case that Mary Jane isn't just qualified to navigate this world. Her ability to handle this world and look good while doing it might as well be a superpower.

It might not sit well with Spider-Man fans. It might not sit well with Iron Man fans either. This is because Mary Jane Watson has been built around a certain set of assumptions. She existed for many years as a love interest and someone who attracts pumpkin bombs almost as much as she attracts men. She only ever seemed to exist as Peter Parker's wife/girlfriend/love interest. Her growing beyond that role is a very recent concept. In fact, there are terrible reality shows that have existed longer than this concept.

It's because of this concept, building Mary Jane Watson up as someone other than a love interest for Spider-Man, that she fits into Tony Stark's world. A good chunk of Invincible Iron Man #7 is spent establishing just how comfortable Mary Jane is in a world where bombs, be the shaped like pumpkins or something else, are likely to go off at any given moment. At no point is she overwhelmed, intimidated, or even anxious. She survived dating Spider-Man. That makes her more qualified than most women. Gwen Stacy can attest to this.

Beyond Mary Jane's ability to handle the pressure, she is never bedazzled by Tony Stark's wealth, charm, or brand. She never carries herself as a rich man's groupie whose primary job is to exist as arm candy. She certainly could if she wanted to, but she doesn't. If this had happened 20 years ago, it would've been shocking. Since it's 2016, it just feels overdue.

Instead of being arm candy, Mary Jane relies on her wit and personality, which make her immune to Tony Stark's charms while making him vulnerable to hers. Even for a man in an iron suit, it's another vulnerability that Tony isn't used to dealing with. For the narrative that Invincible Iron Man has established, it's perfectly in line with the Tony Stark that Bendis has been developing. It's still hard to feel sorry for a man who can fly to Tokyo without dealing with the TSA, but he's still painfully human in a way that's easy to respect.

With Tony and Mary Jane, Brian Michael Bendis dedicates significant, albeit excessive, time and energy establishing a unique dynamic. It's a dynamic that is the very antithesis of 50 Shades of Grey in that the handsome rich man interacts with a beautiful woman in a way that never becomes romantic, sexual, or abusive. It might come off as jarring that a man like Tony Stark can exercise such restraint, but it feels like it shouldn't be in an era where movies like Mad Max: Fury Road are an unmitigated success.

As well-developed as this dynamic is, it doesn't do much to move the narrative forward. So much time is spent bringing Mary Jane into Tony's world that it's easy to forget that there's another ongoing story where bombs that are definitely not pumpkin shaped started going off. War Machine doesn't get to fire a shot in return. Iron Man doesn't even get a chance to make it up to him. It almost feels like there was an extended commercial break that makes the story feel choppy.

While the ongoing plot with War Machine slowed, it didn't stall. Mary Jane Watson's introduction to Invincible Iron Man did help move this plot forward, albeit indirectly. Invincible Iron Man #7 as a whole succeeds in introducing an important new dynamic into Tony Stark's life, but does little to explore the latest challenges within that life.

At the very least, Tony Stark can say he has another beautiful woman helping him organize the growing list of vulnerabilities in his life and as Peter Parker can attest, this can be a very good thing. He just needs to stay away from Mephisto.

Final Score: 7 out of 10

Adolescence Is Everybody's Kryptonite: Spider-Man #1

The following is my review of Spider-Man #1, which was posted on PopMatters.com.

Creating an iconic character is like trying to create another Mona Lisa. There's no formula to it. Nobody truly knows whether a character will become an icon any more than Da Vinci knew that his paintings would be the subject of a Dan Brown novel. It's these iconic characters that make up the backbone of the comic book industry and if modern comics has a Mona Lisa, then it is best manifested in the character of Peter Parker.

He's not just a character that Marvel and Disney milk for billions. He's a proverbial everyman who readers can relate to more than aliens from Krypton, warriors from Paradise Island, or talking raccoons with machine guns. Peter Parker embodies that uniquely close connection with readers wherein his heroics and his persona aren't larger than life. The strength and success of Peter Parker helped make him an icon. He turned Toby McGuire a Hollywood superstar. He turned Andrew Garfield into someone other than that guy who once dated Emma Stone. Peter's influence is beyond dispute.

In the same way the music industry looks for the next Elvis Presley, Marvel keeps trying to create another Peter Parker. The success of such efforts are varied at best. For every Kamala Khan, there's are multiple Ben Rileys. By most measures, the biggest success to date is Miles Morales. He may have been born from the defunct pile of ashes that was the Ultimate Universe, but the strength of his character has made him an icon in his own right and he managed to do it without resorting to clones.

With the end of Secret Wars, Miles Morales has now set up shop in the prime Marvel Universe. Now, absent of the baggage that made the Ultimate Universe the ultimate afterthought, he's free to develop on a new path in Spider-Man #1. That path follows a similar route to Peter Parker with a few unique twists along the way. While the destination is the same, the route might be a bit too familiar at times.

Miles Morales is in a very different place compared to Peter Parker. It's not just because he's a teenager, he's still in high school, and he hasn't been cloned yet either. He's still trying to establish himself in this world of female Thors, talking trees, and time-displaced X-men. On top of all that, he has to do that while trying to navigate high school, grades, and teenage hormones. The responsibilities placed on him couldn't be more unreasonable without demanding he master origami in the process.

This is the sort of balancing act that Superman, Batman, and Captain America never have to deal with. They're adults dealing with adult problems. What Miles deals with, and what Peter Parker once dealt with as well, are problems that actual people face as teenagers. Give any teenager superpowers and they'll still struggle being a teenager. Adolescences is everybody's kryptonite to some degree. This is what made Peter Parker relatable in his youth. This is what makes Miles Morales relatable in Spider-Man #1.

Brian Michael Bendis goes out of his way to emphasize Miles' struggles as a teenage boy over his struggles as Spider-Man. He spends most of the issue out of his costume, dealing with the frustrations and complications that come with being a teenager. This includes struggling with grades, dealing with irate teenage girls, and discussing midterms with parents. For countless teenagers, this is every bit as daunting as a battle against Galactus.

It's a typical part of a teenager's life and a part that most adults try to forget. Spider-Man #1 goes out of its way to capture that and for good reasons. It's one of the most important elements of Spider-Man's formula. While this keeps Miles grounded, as prescribed by the classic Peter Parker formula, it does have some shortcomings.

At times, the narrative tries too hard to make Miles Morales into a younger, non-clone version of Peter Parker. In the same way it's impossible to recreate the Beatles without John Lennon, it's not possible to make Miles exactly like Peter. It's one thing to have him struggle with school, grades, and women. This has been the basis of every Spider-Man movie and cartoon for nearly two decades. However, Miles Morales has a few key elements that set him apart and these elements are poorly developed in Spider-Man #1.

Miles doesn't life with his Aunt and Uncle. Miles' best friend doesn't have a rich father who occasionally puts on goblin masks and throws pumpkin bombs. Most notably, Miles isn't the nerdy white boy that shows like The Big Bang Theory have been glorifying for a decade. He's a half-black, half-latino kid in an urban area. Expecting his experiences to be the same as Peter Parker requires a certain ignorance of 100 years of American race relations or a complete rejection of every rant Bill O'Riley has ever made on the subject.

That's not to say that these differences are outright ignored. Miles' friendship with Genke, as well as his dealings with his parents, do help establish that Miles is not a Peter Parker clone. In any Spider-Man story, that counts for a lot. However, the failure to explore the elements that make Miles a different kind of Spider-Man is a significant shortcoming for the story.

Despite such shortcomings, Spider-Man #1 still sticks close enough to the formula to work. It still shows Miles functioning as both a teenager and as Spider-Man. When he finally does put on his costume, he confronts a threat that doesn't feel like it was pasted from old Steve Ditko art. There is sufficient intrigue to make Miles Morales' story worth following.

Brian Michael Bendis and Sara Pichelli follow the necessary formula to make Miles Morales feel like Spider-Man, but the finished product feels incomplete. It lacks the kinds of egregious flaws that would make that formula volatile. There's never a sense in Spider-Man #1 that Miles Morales is ready to make a deal with Mephisto. Miles is still a long way from Peter Parker in terms of iconic status and movie appearances, but with this issue, he takes another important step.

Final Score: 7 out of 10

Invincible Iron Man #6: Nuff Said!

Let’s face it. We as a society are totally schizophrenic with our attitudes towards billionaires. On one hand, we hate their guts for buying gold-plated toilet seats and paying migrant workers 15 cents a day to wipe their ass. At the same time, we adore and emulate them in every way we can. We strive to be them, as though we wish we could afford to be the assholes we know we are at heart. It’s a disturbing attitude, but it has made Iron Man the most important character in the Marvel universe.

To be fair to Tony Stark, he hasn’t carried himself with the kind of assholery we associate with billionaires. Brian Michael Bendis has started his run on Invincible Iron Man by fleshing out the vulnerabilities of Tony and not just by making him drink again. He’s become a more compelling character and the pride with which he bears his facial hair is respectable. But now he’s got Mary Jane Watson in his corner. That’s like giving Bill Belichick 10 first round draft picks. It’s an embarrassment of riches. But I’m going to explore these riches as I review Invincible Iron Man #6. I’ll try to keep my own schizophrenic attitudes in check, but I can’t make any promises.

Like many obscenely rich people, Tony Stark often sends others to do his work for him while he enjoys his obscene riches. This means sending War Machine out to Osaka, Japan to investigate some more bloody shenanigans by Madam Masque at a Stark Industries facility. There’s not much hint as to what she’s up to, but she caused another big bloody mess and probably got horny while doing it. That’s reason enough to send a walking War Machine to deal with her.

War Machine enters to find a distinct lack of homicidal women, which I guess should come as some surprise in a building owned by Tony Stark. He does encounter some unexpected surprises though. Sadly, it’s just a terrified, underpaid maid from the janitorial staff. War Machine gets a wet sponge to the face. But given the women Tony has dated, he might as well have gotten off with a free puppy.

He basically comes up with nothing. It’s at this point Tony tries to fill him in on all shit Madam Masque has been putting him through. It’s not enough she likes to steal his shit and bust his balls. She’s starting to dry-hump demons as well and after what happened with Illyana Rasputin, he doesn’t need that. He needs a way to find her without terrifying underpaid janitors. And Tony wants War Machine to do the heavy lifting.

Why is he doing the heavy lifting, you ask? Well, like I said, rich people like to pay others to do their shit for them so they can enjoy being rich. And in this case, Tony is completely occupied by the intimate company of Dr. Amara Perera. Apparently, he convinced her to let him into her panties and they’re in the middle of the morning afterglow. So yes, he’s in no condition to hunt down Madam Masque. The man does have priorities.

Now is it a typical dick move for Tony to send someone else to do his shit while he bangs hot women? Sure. However, Dr. Perera is not just another pair of tits and a hot ass that can be found in nearly every hip hop video ever made. She’s actually someone Tony has connected with in recent issues. And yes, I said that with a straight face. Bendis has gone out of his way to have Tony connect with someone who isn’t a machine, an alien, or an underpaid assistant. It may be shocking, but damn if it doesn’t work.

Tony continues to stake a permanent claim in Dr. Perera’s panties by buying her breakfast at some hole-in-the wall diner that he randomly decided has the best waffles in the world and thinks its cute to be so rich and eat there. Those are her words, not mine. They start talking science and progress, the kind of shit Tony Stark lives for. It’s a beautiful moment for a man whose character is indistinguishable at times from an overly elaborate porno.

Then, Dr. Doom shows up. No, I don’t mean that he attacks New York City with an army of Doombots. I mean he actually shows up at the diner, wearing a nice suit, and carrying a cup of coffee. He has no mask, no Ultimate Nullifier tucked in his pocket, and no dead Avengers under his shoes.

It’s not as fucked up as it sounds. In wake of Secret Wars, Dr. Doom has a new outlook on life and he’s been exploring that outlook in this series. He’s been aiding Iron Man in his battle against demons and mystic forces. And he’s done it with a style that would make Don Draper’s dick shrivel. Tony still doesn’t trust him for obvious reasons. He might still be evil, but now he’s a real smooth motherfucker kind of evil.

Not going to lie, I think this new Dr. Doom is more interesting than Tony Stark has ever been.

While Tony Stark is protecting his girlfriend and his balls from Dr. Doom, War Machine continues his mission as James Rhodes. Since he didn’t find anything in Stark’s building, he hits up a shady Japanese gambling den run by Yukio. If there’s anything involving demons and cybernetic ninjas in Japan, she would know about it. This is the sort of thing she used to deal with every Thursday after banging Wolverine on Wednesday night. And wouldn’t you know it? There is some hulking asshole with two beautiful women on his arms who might know a thing or two. Because people who know shady shit tend to attract beautiful women. I don’t think it’s fair either.

It’s official now. Tony Stark’s breakfast date with his girlfriend is ruined, but not because Dr. Doom brings a bomb with him. He just continues to being a smooth motherfucker and making Tony look like an ass. He doesn’t even flinch when Tony has his Iron Man suit on standby ready to blow his head off. It makes me think this Dr. Doom would be the ultimate poker player.

But he’s not just there so that Tony can make an ass of himself, although I’m sure that’s a nice bonus. He’s there to convince Tony he’s on a new path. That path doesn’t involve him going to jail, standing trail for his crimes, or dedicating the rest of his life to hugging puppies. But it’s a path that doesn’t involve conquering the world every other week so it’s still an upgrade.

Doom’s main concern also has to do with Madam Masque. She’s rubbing elbows with demons and that concerns him. He already helped Iron Man stop her from tearing the demonic realm a new asshole. However, he’s not content with just sparing the world from one too many Exorcist sequels. He wants to be more thorough and efficient at containing threats. And damn it, I want to cheer him on.

Tony still isn’t buying it. He’s still looking for any excuse to kill Doom and dance on his grave. But Doom never gives him one. He just claims he’s trying to reverse some of the damage he’s inflicted and maybe take down a few demons in the process. He also wants to look smooth as fuck while doing it. Even Tony has to respect that on some levels.

With all the smooth-talking, it’s easy to forget that this issue hasn’t had much action that didn’t involve underpaid janitors. Well, that finally changes when War Machine decides to put on his armor and track down the hulking asshole with two beautiful women in his arms. He’s not subtle either. I think Tony Stark requires that he not be while wearing one of his suits. It’s a standard Iron Man style traffic stop, complete with a gun fight and abrupt adjustment to car insurance premiums. It’s not as epic as a battle against the old version of Dr. Doom, but at least no underpaid janitors were harmed.

However, the battle takes an unexpected twist when the hulking asshole reveals a trick. Remember those two attractive women he had in his arms? The arm candy that makes irritable feminists everywhere want to neuter the nearest dog? Well, it turns out they’ve got fancy glowing swords and decide to join the fight. It catches War Machine by surprise and it should. This is 2016. Mad Max: Fury Road has been out for over a year now. Sexy badass women should no longer be so shocking.

So...is it awesome?

In the sense that it has no noticeable flaws other than making hot blondes everywhere want to sleep with Dr. Doom, yes. It is pretty damn awesome. This is the most polished, well-developed portrayal of Tony Stark with his pants on in quite some time. You can practically hear the charismatic wit of Robert Downey Jr. coming through every word. And if that doesn’t make hot blondes horny as well, then something is inherently wrong with human biology.

Invincible Iron Man #6 was fairly light on action, but heavy on everything else. Tony’s personal life got some added depth. War Machine got to flex his guns in a way that has nothing to do with dick jokes. And the All-New, All-Different Dr. Doom continues to upstage Iron Man in the best possible ways. At the rate he’s going, I might be inclined to polish Brian Michael Bendis’ head if I ever get the chance to meet him. This new path for Iron Man couldn’t be better without getting a supermodel involved. Wait…he hired Mary Jane Watson in the last issue? Never mind!

Final Score: 9 out of 10