Past, Present, and Perspective: Marvel Legacy #1

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

Building a legacy is a long, tedious process that usually involves twice as many mistakes than it does successes. In some cases, a half-century of world-building is hardly enough to forge the kind of legacy that stands the test of time, changing writers, and retcons. For Marvel and the extensive world that continues to unfold after over 50 years of continuity, it's safe to say that its legacy has proven its worth. The world that Stan Lee and Jack Kirby created decades ago is worth an entire workshop of Mjolnirs.

The legacy of the Marvel universe is often in flux with the times. There are all sorts of eras that vacillate from grim and dark to upbeat and optimistic. Events like Onslaught, Age of Apocalypse, and Civil War define and redefine what the world of Marvel stands for. Sometimes it takes years to appreciate way in which these events shaped Marvel's legacy. That will likely be the case with Marvel's latest legacy-shaping event, Secret Empire.

Being an event so controversial, coming at a time when all things related to fascism inspire Hulk-level outrage, the current legacy of Marvel is in a tenuous position. It's at one of those forks where it can either go down a dark, dire path or re-invent itself in a new, more positive light. These are uncertain times for Marvel and Marvel Legacy #1 is in a position to shape a new path, provide a sense of certainty, and showcase the strengths of top-level writing and artistic talent.

Jason Aaron, one of Marvel's top writers, and an all-star team of artists that include Esad Ribic, Russell Dauterman, Stuart Immonen, Ed McGuinness, and many more, have a chance to use Marvel Legacy #1 as a gateway towards the future of the Marvel universe. With so much talent to work with, the scope and scale of the story can be nothing short of awe-inspiring. While that bar may be impossibly high, Aaron and his all-star cast of artists come very close to matching and exciting it.

The structure of Marvel Legacy #1 is both fitting and overdue in that it revisits elements from Secret Wars that have been absent for years, namely those of the Richard family. In a sense, their presence acts as a reminder regarding what the greater Marvel universe is missing. To date, Marvel operates in a world where the Fantastic Four are no more, Thor is unworthy, the X-men's leadership is dead or time-displaced, and Steve Rogers is a secret Hydra agent. To say that legacy is on shaky ground is like saying the Hulk is moody.

Aaron doesn't try to fix all that in the span of a single issue. However, the story in Marvel Legacy #1 does establish links to the past, present, and future. It doesn't just provide hope that the missing elements of Marvel's legacy will return. It provides a potential mechanism. It doesn't just offer promises. It offers solutions that don't involve time machines, retcons, or deals with Mephisto.

The links to the past offer the most intriguing and complete part of the plot in that it establishes a period in the history of the Marvel universe that has major implications for the present. It takes familiar faces and forces like the Phoenix Force, the Iron Fist, and the spirit of the Black Panther and personifies them in a battle against a Celestial. That added personality gives greater weight to the events that unfold in the present.

Those events are a little less cohesive, though. Marvel Legacy #1 is understandably ambitious, attempting to jump around into multiple areas and explore a wide variety of elements throughout the greater Marvel universe. It touches on the Avengers, the X-men, the Guardians of the Galaxy, and the remaining members of the Fantastic Four. It even tries to deal with the lingering aftermath of Secret Empire, from Steve Rogers' efforts to rebuild his credibility to the disillusion of SHIELD. There are so many elements to explore that the narrative gets downright erratic at times.


There's only so much Marvel Legacy #1 can address, but it manages to avoid Deadpool-level eccentricity. While the transitions from setting to setting aren't all that seamless, they never feel totally random or out-of-place. If anything, they feel like a succession of teaser trailers that offer glimpses into the near and distant future of the Marvel universe. Some are more subtle than others. Others, namely the ones involving Norman Osborn and Loki, offer a more overt hint. Certain characters, despite being actual gods, just aren't capable of such subtlety.

Beyond just the teaser elements, though, Marvel Legacy #1 adds some significant upheavals to the mix, namely by revealing the return of a certain grumpy Canadian that helped make Hugh Jackman a star. His appearance comes off as sudden, but it also comes with purpose. It feels like part of a larger story that's just beginning to unfold. In many respects, that's the core theme of the entire story. It doesn't just lay the foundation. It provides some very specific, very compelling building materials.

That's not to say every element is equally compelling. Some are underdeveloped and overlooked. Some aren't effectively linked to the larger narrative, but they still have a place in the greater legacy of Marvel so their presence never feels too random. That, in many respects, is the most revealing accomplishment of Marvel Legacy #1. It crafts a story in which everything feels connected on some level. While some connections are stronger than others, it still conveys the sense that Marvel has a vision and that vision is worth exploring.

While the Marvel universe seems to get redefined at least once a month, it's rare for a story to feel as large in scope as it's trying to be. Marvel Legacy #1 succeeds in conveying that feeling. From those disillusioned by Marvel's recent direction and enamored by its past, it offers something to latch onto. The fact it does all that without a time machine, clones, or magic spells makes it all the more astounding.

Final Score: 8 out of 10

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

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