Idols, Ideals, and Reminders: Generations: Captain Marvel and Ms. Marvel #1

The following is my review of Generations: Captain Marvel and Ms. Marvel #1, which was posted on PopMatters.com.

Whenever a fan meets their icon, there's usually an unpleasant moment when the fan makes a stunning realization. Their idol, for all the hopes and dreams they embody, is still human. They make mistakes, they get hurt, and they become corrupted by a situation. For overly passionate fans, it can be pretty devastating, finding out that an idol has those flaws. It's often a harsh lesson in the real world, which tends to crush idealism the same way the Hulk crushes compact cars.

Since her inception, one Kamala Khan's biggest appeals is that she's an unapologetic superhero fangirl. She sees superheroes through the same rosy prism as kids and fans. To her, they are icons who embody certain ideals. Before she gets her powers and dons the title of Ms. Marvel, that perspective is pure and untainted by the harsh circumstances of life. Then, she gets her powers and Civil War II happens. Suddenly, her idol isn't very heroic anymore. If anything, she's too human to wield that title.

Kamala's world is shaken, but not broken. She still calls herself Ms. Marvel. She still tries to be the kind of hero she idolizes. In both her solo series and books like Champions, those efforts tends to yield mixed results most of the time. It seems every battle she faces brings her that much closer to losing that sense of idealism that defines her character.

That's what makes Generations: Captain Marvel and Ms. Marvel #1 so timely and relevant. It gives G. Willow Wilson a chance to reconnect Kamala with a younger, less compromised version of Carol Danvers. She gets to interact with a version of her idol that is not compromised by the events of Civil War II. It's her chance to re-learn and possibly re-define her understanding of a hero.

Wilson puts her in a position to do that and then some. Kamala, whose perspective acts as both necessary narration and witty banter, finds herself in a similar position as other characters who taken part in Marvel Generations. Through the Vanishing Point, she ends up in the past during a time when Carol Danvers is on nobody's list to headline a major crossover event. She's still Ms. Marvel, a hero who is still trying to prove that she belongs on the same level as Captain America, Thor, Iron Man, and everyone else who goes onto be part of a billion-dollar movie franchise.

Whether by chance or McGuffin-style workings of the Vanishing Point, Kamala finds herself joining Carol in this effort and not just in terms of fighting alien invaders. Through a setup that doesn't entirely make sense, but still works, she becomes an intern at Woman Magazine where Carol works. It's a unique period in Carol's story it's a time when she tries to build more of a civilian life, like the Peter Parkers of the world. While it may be a doomed effort to anyone with alien DNA, it's an important context for both Kamala and the story of Ms. Marvel, as a whole.

In a sense, it shows Carol trying to do what female superheroes and real women alike struggle to do. She's trying to have it all, being both Ms. Marvel and Carol Danvers. It's a struggle Kamala herself deals with every other issue and Wilson rarely lets her catch her breath. It's also a struggle that Carol doesn't really deal with as Captain Marvel, but that struggle still shapes her story. Making Kamala, the future Ms. Marvel, a part of that story gives it even greater meaning.

Unlike some of the other stories that unfold in Marvel Generations, Wilson takes a more personal approach to Generations: Captain Marvel and Ms. Marvel #1. It's not just about Kamala Khan and Carol Danvers fighting alien invaders and working with J. Jonah Jameson without going insane. The story of Kamala sharing her perspective with Carol and seeing her idol outside the context of Civil War II makes the story feel personal. It effectively circumvents the tension between the two characters in the present and shows that they both share a legacy.

In terms of Kamala's personal story, it's a critical insight. It doesn't necessarily re-define her understanding of what it means to be Ms. Marvel as it does remind her of why that title matters to her. Throughout the story, her thoughts reveal her various sentiments towards Carol Danvers. She's still an icon in her eyes, but she doesn't ignore how she has been functioning without her idol since Civil War II. That doesn't stop her from joining her struggle.

Being part of that struggle helps Kamala overlook some of the things that shattered her idealistic view of Carol Danvers. In a sense, that's a major oversight and a missed opportunity. By not digging deeper into the reasons why Kamala distances herself from her idol, the story in Generations: Captain Marvel and Ms. Marvel #1 doesn't accomplish as much as it could have. It also mutes the potential drama that helped make other iterations of Marvel Generations so meaningful.

In addition, it doesn't help that the flow of the narrative is a bit messy at times. There's a couple instances where there are no obvious transitions from one scene to another. On one panel, Kamala walking the streets of Midtown Manhattan. The next, she's at the Daily Bugle being yelled at by J. Jonah Jameson. Granted, Jameson rarely needs a transition to yell at someone, but it makes the story feel choppy at times. Even with Paolo Villanelli's vibrant art that highlights Ms. Marvel's distinct style, the story never comes off as very concise.

It still manages to accomplish something important for Kamala Khan and Carol Danvers' story. It effectively ties their ongoing struggles with one another. Carol is trying to have it all as both Carol Danvers and Ms. Marvel. Kamala is doing the same thing in her time. It's an ongoing struggle for both, but working together in Generations: Captain Marvel and Ms. Marvel #1 gives them both some needed perspective. They even earn praise from J. Jonah Jameson along the way and in the context of the greater Marvel universe, such an accomplishment ranks right up there with beating Thanos.


Final Score: 6 out of 10

Titles, Legacies, and Basics: Generations: Captain Marvel & Captain Mar-Vell #1

The following is my review of Generations: Captain Marvel and Captain Mar-Vell #1, which was posted on PopMatters.com.

The story of one hero taking on the mantle of another is one of the most controversial stories that can be told, albeit for all the wrong reasons. No matter how great or terrible that story actually is, there will always be a certain contingent of fans who are ardent traditionalist. To them, Batman must always be Bruce Wayne. Steve Rogers must always be Captain America. Peter Parker must always be Spider-Man, preferably a version not foolish enough to make deals with Mephisto.

There's nothing anyone can do to placate those fans, short of ending the story permanently and letting them fume in their own little world of utopian nostalgia. Since that's not a very interesting story, Marvel Generations is doing the next best thing by adding depth and connections between the heroes of the past and the heroes of the present. The titles may be the same, but the characters, context, and narrative are very different. The only thing that doesn't change is the incessant whining by the ardent traditionalists still arguing why Gwen Stacy should come back.

Regardless of how ardent certain fans may be, most tend to agree that certain characters can benefit from that added depth more than others. At the moment, few characters are need of that depth more than Carol Danvers. Through the masterful efforts of writers like Kelly Sue DeConnick, Carol ascends to a level of prominence that makes her the closest thing Marvel has to Wonder Woman. The fact she takes the title of Captain Marvel in the process is almost secondary. Then, Civil War II happens and suddenly, she's the most controversial non-clone character in all of Marvel.

That makes the stakes in Generations: Captain Marvel and Captain Mar-Vell #1 that much higher. Margaret Stohl already has a daunting task as the writer of Mighty Captain Marvel, which attempts to rebuild Carol's status as Marvel's premier female hero after Civil War II. The events of Secret Empire and Marvel Legacy put her in a position to recapture some of those elements that make Captain Marvel a title that anyone of any gender would be proud to have.

Part of that effort involves taking Captain Marvel back to basics, none of which involve superhero politics, visions of the future, or arguments about how long Carol's hair should be. Instead, Carol finds herself in the middle of an war in the Negative Zone that involves an unfamiliar race of aliens, a familiar threat in Annihilus, and her old mentor, the original Captain Mar-Vell. It has all the ingredients to bring out the best in Carol Danvers. It won't settle debates her hair, but even Captain Marvel's power can only go so far.

That power is enough for her and Mar-Vell to carry out the feats for anyone wielding that title. As with previous issues of Marvel Generations, there's not a whole lot of context surrounding the Vanishing Point. There really doesn't have to be. Generations: Captain Marvel and Captain Mar-Vell #1 is a bit more concise in that it establishes a clear connection between the events in this story and those of Secret Empire #10. That approach allows Carol to hit the ground running within a chaotic, sci-fi heavy alien war that maximizes Brent Schoonover's colorful art style. Compared to the bleak circumstances of Secret Empire, it's pretty refreshing.

The same can be said about Carol's interactions with Mar-Vell. Much of it is built around over-the-top sci-fi action, but that's fairly in line with their history. Whatever their titles, both characters define themselves by their alien connections. It's a big part of how the connection they forge. The events of Generations: Captain Marvel and Captain Mar-Vell #1 occur before that connection really blossoms, but it establishes that these two characters share more than a title.

In between battles against aliens and arguing with a race that isn't used to these kinds of battles, there's a fair amount of drama between the two characters. They both have different styles. Carol is more hot-headed and impulsive. Mar-Vell is more cunning and diplomatic. There are times Carol's approach proves effective. There are times when Mar-Vell's approach works as well. It creates tensions, but it's the productive kind of tension. That may seem shocking in an era where tensions between superheroes serve as the basis for every other major event at Marvel, but Stohl shows how it can work.

Carol Danvers and Mar-Vell wield the same title, but are effective at honoring that title in their own unique way. They both say they work alone, but it's only when they use those ways together that they prove most effective. It comes off as a lesson that both characters need to learn. In Carol's case, it's a lesson that's worth re-learning, given her recent missteps among her fellow superheroes. It gives the impression that Generations: Captain Marvel and Captain Mar-Vell #1 leaves Carol in a better place, as a character.

In that sense, the overall story has both the basics and a sense of purpose. It feels complete in the sense that it has a relevant impact on both Carol Danvers and Mar-Vell. There are some shortcomings, in terms of details. The story does drag, somewhat, in a few areas. Even with sci-fi settings and a major threat like Annihilus, it never feels as epic as other memorable space battles. Some of that may be due to the restrictions of the Vanishing Point. Like other issues of Marvel Generations, it can only do so much before the timeline snaps back into position.

Whatever limitations there are on the premise of Generations: Captain Marvel and Captain Mar-Vell #1, Stohl and Schoonover get the most out of it for the characters involved. By getting back to basics for anyone bearing the title of Captain Marvel, it demonstrates that there is a legacy to that title and one that's worth upholding. Whether or not Carol uses that legacy to improve her standing within the Marvel pantheon remains to be seen, but between gaining a better perspective and taking her frustrations out on Annihilus, she's in a much better place now.

Final Score: 7 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

Hammering Hard With Worthy Themes: Generations Unworthy Thor & The Mighty Thor #1

The following is my review of Generations: Unworthy Thor and The Mighty Thor #1, which was posted on PopMatters.com.

The concept of who is truly worthy is Marvel's ultimate philosophical McGuffin. It's one of those ideas that can be endlessly debated, argued, twisted, and misconstrued in any number of ways. It's also a major driving force for Thor in nearly every era. From Walter Simonson to Jason Aaron, his struggle to be worthy, stay worthy, and understand what makes him worthy is part of what makes Thor's story compelling.

In terms of major turning points in that story, few are as pivotal as the events that played out in Original Sin. In that story, Thor becomes unworthy with just three words whispered by Nick Fury. It doesn't just upend Thor's idea of worthiness and the story around it. It opens the door for a new Thor with a new understanding of what it means to be worthy.

This is where Jane Foster's story enters the picture and that story is built on a very different foundation. She is not a god, a demigod, or anyone who would ever be mistaken as one. She is a moral woman who also happens to be suffering from one of the most debilitating diseases any mortal can endure. Her ascension to the title of Thor is one of the most significant shifts in Thor's story in decades. There are times when it breathes new life into the world of Thor. There are other times when it triggers incessant whining about identity politics. The fact that Jason Aaron manages to balance that narrative in any capacity is nothing short of astounding.

Now, through Generations: Unworthy Thor and The Mighty Thor #1, Aaron has a chance to build bridges between that vast philosophical gulf between one era of worthiness and another. It may not end the constant whining about female heroes taking on the mantle of male heroes, but it does flesh out the core elements of the Thor mythos that are as relevant today as they are in the ancient times before angry arguments on internet message boards.

Unlike some of the previous narratives in Marvel Generations, there are clearer connections between the events in Generations: Unworthy Thor and The Mighty Thor #1 and the conclusion of Secret Empire. Those connections are few and somewhat vague, but their presence helps create an important context between the past and present. Jane Foster isn't so much the catalyst as she is the unexpected guest, who helps bring clarity to the hopelessly unclear concept of worthiness.

While her role in the story cannot change the path of Odinson, it can provide guidance. Granted, it's a guidance he will undermine with his arrogance on many occasions in the future, but it still offers clarity to the narrative while giving Odinson fewer excuses. In a sense, what happens in the story gives the impression that he was destined to lose Mjolnir at some point, even without any devious whispers of Nick Fury. It's just an inevitable consequence of the arrogance that comes with being Thor and with being a god, in general.

The substance of that story isn't very novel in that it builds on a story that has been explored before in the pages of Uncanny Avengers. Once again, the son of Odin clashes with Apocalypse in an era before the Avengers can assemble and before the X-men can astonish. It's basic and crude, but it provides the necessary setting for the arrogant young Asgardian to learn a lesson or two about divinity and mortality.

The fact he learns it from a mortal woman wielding the hammer he craves provides both personality and entertainment value. It'll also provide more fodder for internet debates, but that doesn't derail the main thrust of the story. It's the setting that's vital here in that it takes place in a time before Odinson first lifted Mjolnir or taken the title of Thor. In this time, he's still the divine equivalent of a teenager who hasn't gotten his driver's license yet, but still wants to take his father's car out for a joyride.

While it annoys Odin to no end, it puts the future Thor in a position to ditch some boring formal gathering of gods to pick a fight on Midgard between Vikings and Apocalypse's Clan Akkaba. Given that formal gathering prohibits mead and mostly involves Odin bellowing orders, it's hard to blame a juvenile Odinson for ditching it.

It's only when he meets a time-displaced Jane Foster that his casual deviance becomes an important learning experience for both of them. The fact that experience also involves an elaborate, violent, lightning-filled battle against Apocalypse that brings out the best in Mahmud Asrar's art is a nice bonus. It just isn't a very memorable experience for any generation of Thor if there isn't some epic battle to fight.

That fight, as entertaining as it is, remains secondary for the most part. The primary struggle still revolves around Odinson's desire to be worthy and Jane Foster's lingering uncertainty about her future. It's a struggle that both characters have a stake in, but one that has limited influence on both characters. While Generations: Unworthy Thor and The Mighty Thor #1 makes the necessary effort to explore those classic themes of worthiness that is so critical to Thor's mythos, the extent to which it impacts the characters involved is somewhat minor.

This is an issue that shows up in previous issues of Marvel Generations, but a limited impact doesn't mean there can't be heavy drama. The potential for that drama is there in Generations: Unworthy Thor and The Mighty Thor #1, but not much of it is realized. Jane Foster and the future Thor do get a moment to interact outside of a major battle, but little comes of it. Both still gain critical insight, though. Both are in a better position to make decisions about the course of their immortal and mortal lives alike. It's not dramatic, but it does make the overall story feel complete.

That story even includes a few bonus parts that make Generations: Unworthy Thor and The Mighty Thor #1 a prelude to other critical events in the past and future. It offers intrigue beyond the basic lessons in worthiness, which is something that previous issues of Marvel Generations has not done. It adds value to a story that can only offer so much before it undermines the hopelessly convoluted, ever-evolving timeline that is the Marvel universe. That value may not make anyone inherently worthy of lifting Mjolnir, but it will put them on the right track.

Final Score: 7 out of 10

Legacy, Family, and Ninjas: Generations: Wolverine & All-New Wolverine #1

The following is my review of Generations: Wolverine and All-New Wolverine #1, which was posted on PopMatters.com.

The concept of family and legacy tends to get obscure in the Marvel universe. That's to be expected when there are so many clones, time travelers, and shape-shifting aliens running around. On paper, the idea of a child carrying on the legacy of a parent seems like the most logical and appropriate thing in the world. In the pages Marvel comics, however, that's just not enough. There has to be some sort of elaborate, convoluted story behind it that only ends up getting retconned in the end.

While this hinders and dissuades most children from carrying on their parents' legacy, Laura Kinney finds a way navigate these excessive convolutions. She actually manages to don her father's title after his death in Death of Wolverine and, by nearly every measure, she honors that title as well as anyone could expect her to. It doesn't feel forced. It doesn't feel like a gimmick. It actually comes off as a young woman wanting to honor her father.

Batman may have a monopoly of sorts in drawing inspiration from dead parents, but Laura sets herself apart by being her own character long before she put on yellow spandex. She actually spends time learning from Logan and being his daughter so that when the time eventually comes, her acceptance of the role carries the right weight.

With the conclusion of Secret War, Tom Taylor establishes Laura as having graduated from her journey as X-23. Now, she is Wolverine. She proudly wears the uniform and bears the title of her father. She even manages to pick up a little sister and a pet wolverine along the way. How can any father not be proud of that?

With Generations: Wolverine and All-New Wolverine #1, Laura gets a chance to find out just how well she's honoring her father's legacy and from the best possible source. As with previous iterations of Marvel Generations, Laura finds herself dropped right in the middle of a major moment in Logan's history. Also like previous iterations, there's little explanation or context given to that moment. However, there doesn't really have to be. She's suddenly fighting alongside her father against an army of undead ninjas. There's no need for context. She just does her father proud and starts stabbing.

It's a familiar, but still immensely satisfying setup. Wolverine from two different eras come together and fight undead ninjas. Like the Hulk smashing or Deadpool breaking the fourth wall, it's one of those classic Marvel elements that never gets old. Laura's presence, however, adds a new dimension to the mix and this is where Taylor uses the setup of Marvel Generations to do something special for both Wolverines beyond undead ninja stabbing.

The situation already has some dramatic underpinnings in that its ripped right from the pages of Chris Claremont's run on Wolverine. Fittingly enough for Laura, the situation involves family, namely the adopted daughter, Akiko, that he and Mariko took in. As often happens with Wolverine and anyone he's involved with, ninjas attack and he has to rescue her. It's as familiar to him as a bar fight, but Laura's presence adds something unique to it.

The events of that story are already set in that they establish that Logan can be part of a family and fight for it. What Laura does, though, goes beyond simply giving the ninjas another target. She comes into the conflict already knowing how it plays out to some extent. She doesn't just stand by and watch, though. That's not her style. That's certainly not Wolverine's style. When there are ninjas to be stabbed, Wolverine gets to stabbing. No amount of time paradoxes can stop that.

It's in between the stabbing, though, where Generations: Wolverine and All-New Wolverine #1 really expands on the drama. Taylor takes a somewhat different approach compared to other aspects of Marvel Generations in that much of the narrative unfolds from Logan's perspective. It's his thoughts and feelings that guide the story. While he doesn't radically alter the story that Claremont told decades ago, Laura's presence adds a unique dynamic to the mix.

By offering insight into Logan's thoughts and feelings, Taylor reveals a man who has as conflicted understanding of family. While he will go out of his way to save loved ones, he still sees himself as a loner who can't be part of a family. That's somewhat understandable. Being in his family means an exponential increase in the likelihood of ninja attacks. Unlike Akiko, though, Laura can handle it and handle it well. Even Logan acknowledges that early on.

By fighting alongside her, he sees first-hand that it is possible to be part of a family. It is possible to have someone in his life who can handle the occasional ninja attack. Laura doesn't just prove it. She goes out of her way to belabor that point, encouraging Logan to be part of a family. Her just being there does plenty to prove her case. She knows that he goes onto welcome her into his family and guide her into eventually taking on the title of Wolverine.

It sets up for a powerful moment between the two Wolverines. It's a moment heavy on family drama, the kind that is often a precursor to tragedy in Logan's life. However, with Generations: Wolverine and All-New Wolverine #1, that legacy of tragedy is secondary. For once, he and Laura can just appreciate the fact that they're part of a family and that family now has a legacy. It's the kind of moment that really adds a powerful, emotional link between two eras of Wolverine.

That moment is what makes Generations: Wolverine and All-New Wolverine #1 worth its weight in dead undead ninjas. It's a moment that takes time to develop. For much of the story, though, the ninja fighting subverts the drama. It's still wildly entertaining and Ramon Rosanas' art makes it as visually appealing as it needs to be. When the drama finally does come, it has just the right impact. It's brief, but powerful.

More than anything else, Generations: Wolverine and All-New Wolverine #1 establishes that the legacy of Wolverine isn't just measured by mountains of dead ninjas. It's part of a legacy. Logan establishes that legacy. Laura carries it on. Being Wolverine is basically a family affair, albeit with a lot more stabbing and ninja attacks, and it's a family that Wolverine fans of every generation can root for.

Final Score: 9 out of 10

Anger Across The Ages: Generations: Banner Hulk & Totally Awesome Hulk #1

The following is my review of Generations: Banner Hulk and Totally Awesome Hulk #1, which was posted on PopMatters.com.

There are few constants in the ever-evolving, constantly-retconning narrative that is the Marvel universe. Costumes may change. Marriages may be undone by deals with Mephisto. Characters may turn out to be from an alternate universe, a Skrull agent, or evil clones of characters that died years ago. The fact that anyone can accept that kind of convoluted continuity with a straight face is a miracle, in and of itself. That makes the constants that remain all the more important and few are as memorable or iconic as the Hulk's anger.

His enemies may not like it when he's angry, but the Hulk's destructive rage makes for some of the best entertainment that the Marvel universe can offer. That anger, as blinding as it can be sometimes, takes many forms over the course of the Hulk's illustrious life. The rage that begins under Stan Lee's legendary pen is not the same as the one that continues under Greg Pak. That's what makes the concept of mixing the past and present so intriguing. That's the premise behind the Marvel Generations series. That's how the rage of one Hulk meets the rage of another in Generations: Banner Hulk and Totally Awesome Hulk #1.

In terms of context, the differences between Bruce Banner and Amadeus Cho are considerable. While both carry the burden of the Hulk, the weight of that burden is different for both characters. The death of Bruce Banner in Civil War II and the emergence of Amadeus Cho in Totally Awesome Hulk puts both characters on a different path. Pak, with the skilled art of Matteo Buffagni, brings those paths together in a story of shared anger.

The premise of the story is somewhat unclear. The mechanism by which Cho ends up in the past, confronting the Hulk during one of his earliest clashes with General Ross, is not overtly explained. Cho is in the present one moment. Then, he's in the past. That's the extent of the explanation.

That's not to say it's wholly contrived. In a world routinely driven by reality-bending hardware like the Cosmic Cube, the Infinity Gauntlet, and editorial mandates, it's not that much of a stretch that Cho would find himself unexpectedly in the past. That sounds like the sort of thing that happens to anyone who hangs out with Cable too much.

The lack of a premise does little to undermine the gamma-powered action, though. Pak doesn't waste any time giving Hulks from two different eras to start smashing something. He understands that if there are going to be two hulks in a story, then there needs to be twice the smashing. Generations: Banner Hulk and Totally Awesome Hulk #1 does plenty to fill that quota. Buffagni also does plenty to give it the distinct visual elements that make a Hulk story stand out. There are open spaces, raging monsters, and hard-nosed old men trying to solve problems by blowing them up.

In terms of checking the boxes for a classic Hulk story, Generations: Banner Hulk and Totally Awesome Hulk #1 covers most of the basics. However, the boxes it doesn't check are arguably the most important and that represents the most significant flaw in a story that otherwise has ample entertainment value. It's not enough to just have two Hulks smashing things. That's all well and good, but smashing without any greater meaning or drama behind it is just empty smashing. Even with the Hulk, that kind of smashing only goes so far.

 

It's when Cho and Bruce Banner aren't bulky green behemoths where the story really stalls. There's some initial confusion, as is to be expected whenever someone not named Dr. Doom warps time and space. Then, they start interacting, but not much comes of it. They try to avoid General Ross. They attempt to conceal themselves in populated areas. They even talk about their respective struggles to control the Hulk and the rage that drives him.

However, not much really comes from those conversations. Cho and Banner don't tell each other anything that they don't already know about themselves or the Hulk. There's not much dramatic impact in anything they do. Cho barely references the Hulk's future death in Civil War II, nor does he show much emotion when interacting with Banner. Given their history and their various connections throughout the Hulk's mythos, it feels downright muted.

There's still an underlying theme. There's still a sense of connection between Amadeus Cho's version of the Hulk and Bruce Banner's version. Concepts of anger, burdens, and dealing with inner monsters are all there. There's just no melodrama behind it. It may as well be an unnecessary reminder. Anyone who reads a Hulk comic from any era will get that same message, albeit with different varieties of smashing.

There's nothing about the narrative in Generations: Banner Hulk and Totally Awesome Hulk #1 that's out of place in terms of characterization, plot, or style. Both Banner and Cho get a chance to be their own Hulk. Pak, whose Hulk pedigree is beyond dispute, handles both characters as well as he has in previous efforts. Buffagni's artwork helps supplement those efforts. That's what makes the utter lack of impact so glaring and for a character who specializes in smashing, that's saying a lot.

Mixing elements from the past and present creates opportunities to explore classic themes while expanding on the dramatic weight that has built up to such a massive extent over the years. Generations: Banner Hulk and Totally Awesome Hulk #1 feels like one of those opportunities that was only partially realized. It does enough to smash all the right things. It just doesn't add enough merit behind the smashing.

Final Score: 5 out of 10