Rising, Falling, and Rebuilding: Secret Empire #10

The following is my review of Secret Empire #10, which was posted on PopMatters.com.

The dramatic rise and spectacular fall of an empire is one of those rare narratives that can be just as dramatic in real life as it is in fiction. From the Ancient Rome to Star Wars, the story behind an empire has an undeniable impact on the human psyche, as well as the annuls of history. Every empire is unique in how it rises, grows, prospers, and falls. Sometimes it plays out over the course of centuries. Sometimes it happens over the course of a few decades. Marvel, with its ever-changing landscape, tries to squeeze that story into ten comic books.

Given the scope of empires, as a concept, that's pretty daunting for anyone not equipped with Reed Richards' mind or Tony Stark's gadgets. Nick Spencer and Steve McNieven may not have such resources, but they've made every moment count in Secret Empire. It's a story that taps into real world fears about powerful individuals seizing power and imposing tyranny under the guise of order. It evokes all sorts of passions, reservations, and arguments on message boards. That alone is a testament to the scope and scale that empires carry, as a story.

Secret Empire is not just about Hydra taking over the world. It's not just about Captain America betraying the Avengers either, although that is the emotional gut punch that makes it so controversial. These elements feed into that larger narrative of an empire coming to power, taking advantage of a vulnerable moment in time and trying to shape the course of history. The ascension of Hydra and Captain America into this position is established. Now, the downfall is underway.

For nine issues, the story sets up various plot-lines that lead to numerous skirmishes. It's not an exhibition game anymore. Both sides are carrying themselves like a couple prize fighters entering the last round. They each bear the scars of all the blows they've taken. They make clear that there will be no judges decision. One of them is going to get knocked out. It's just a matter of who can land the finishing blow. In Secret Empire #10, that blow finally lands with an impact that has both huge reverberations and major implications.

The rise of Hydra and the Hydra-affiliated Steve Rogers centers around reality-warping power capable of making good into evil, right into wrong, and making Deadpool less annoying. Any story that builds itself around that kind of power risks going too far and needing more reality-warping power to fix. It goes beyond resorting to another Deus Ex Machina, especially when that same device is used to set everything up in the first place.

Spencer sets up from the beginning of Secret Empire that a certain amount of warping will be necessary to resolve the story. There's just no way an empire as large as Hydra's can rise, fall, and leave a meaningful impact within ten issues of a series. The biggest risk any story takes in attempting to tell a story within these constraints is rendering reality a messy ball of mud that gets molded and remolded on a whim.

For the most part, the story strikes an appropriate balance between confronting the reality-warping forces behind the story and using them to defeat Hydra. Those involved in delivering that final blow even throw in some Loki-level cunning. It isn't just a matter of all the heroes gathering in one place and collectively beating up an over-powered villain. The Hydra-affiliated Steve Rogers is not Onslaught, Thanos, or some cosmic space god. He's someone with which every hero in the Marvel universe has an emotional connection.

It's that connection that makes the very concept of Steve Rogers becoming a fascist feel so untenable to begin with. That's like making Frank Castle the Kingin or Emma Frost a nun. It's so utterly antithetical to the core of the character that it just feels wrong for everyone involved. In a sense, both the characters in the story and those who know Captain America as the ultimate enemy of fascism are on the same page, in terms of emotional overtones. Nobody reading or participating in the story can accept a reality where Steve Rogers is, and always has been, a fascist.

By the end of Secret Empire #10, that untenable feeling is still there, to some extent. While the story does end up having to warp and re-warp reality to some extent, it stops short of completely undoing everything the Cosmic Cube changed. Certain characters stay dead. Certain places remain destroyed. Steve Rogers isn't the ultimate fascist anymore. A good chunk of the story, along with the best aspects of McNieven's art, is spent giving Rogers a chance to literally attack the fascist monster that Hydra created. While it's as satisfying as it often is when a fascist gets defeated, some of those feelings still linger.

Even though Secret Empire #10 crafts as concise a conclusion it can, given the cosmic forces involved, it still carries a distressing sentiment that may plague Captain America fans the same way the Clone Saga plagues Spider-Man fans. Regardless of the details, it's impossible to get around that Steve Rogers became a fascist. It doesn't matter that cosmic forces were involved. The very concept that such a story is even possible and a character must move forward with that kind of burden just evokes too many conflicting feelings.

The overall structure of the story still works with respect to showing the rise and fall of Hydra's empire. Secret Empire #10 even helps streamline some of the confusing, disjointed elements that are scattered throughout the previous nine issues. However, the manner in which it ends, the feelings surrounding it, and the prospect of moving forward from such a reality-shattering event are still mixed. It doesn't help that too much is narrated and too little is said in the end. It also doesn't help that some of the side-plots in the story don't connect as strongly to others and don't add to the overall impact.

These details, however, don't take too much away from the bigger picture surrounding Secret Empire. Spencer still succeeds at striking the necessary balance that's so hard to achieve when crafting a story that requires a complete deconstruction and subsequent reconstruction of the space-time continuum. That, in and of itself, is an accomplishment.

That accomplishment, however, will be forever lost in the stigma that Secret Empire will inevitably carry. While it might not be on the same level as the original Clone Saga, it will still be the story in which Marvel makes Captain America a fascist. It doesn't matter if someone makes a deal with Mephisto to ensure everyone in the Marvel universe forgets about it entirely. The fact it's still a story that got told in the first place, striking all the wrong emotional chords in the process, will plague it for the foreseeable future. If every fallen empire seeks to leave its mark, then Hydra definitely leaves theirs, albeit not for the reasons they probably intended.

Final Score: 7 out of 10

No More Secrets With Much Greater Intrigue: Secret Empire #1

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

There's a lot that can be said about Marvel's various crossover events, retcons, and relaunches over the past decade. It's now trendy for fans to roll their collective eyes at yet another major event that promises to shake the foundations of the Marvel universe, as if that doesn't happen every other week. To some extent, Marvel does rely heavily, if not excessively, on crossover events, either to raise the profile of certain characters or establish a new status quo. The success of these efforts vary wildly, from the blockbuster success of the original Civil War to endlessly forgettable Clone Saga.

Within this environment of cynicism and aversion to crossover events, Nick Spencer and Steve McNiven's Secret Empire is up against unreasonably unfair odds. It's a story that has been building for a while, having begun after the events of Avengers: Standoff. However, it's a story that Captain America fans, and Marvel fans in general, are already prepared to despise.

That predetermined sentiment has some basis in the growing aversion to crossover events, but that hate got a gamma-powered boost with the shocking reveal/retcon that Captain America is a secret Hydra agent. That revelation is on par with Thanos revealing he's Tony Stark's biological father. It's both shocking and infuriating with some eagerly awaiting answers while others complain that their childhood is ruined.

In both cases, Spencer and McNiven have an uphill battle with Secret Empire. They can't do anything about those who are already determined to hate anything that doesn't involve Nazi punching, but they can still make the most of Secret Empire's potential and the potential is there. Secret Empire #1 finally unleashes the full extent of Hydra's subversion efforts. While it's sure to trigger those who Hulk out at the idea of Captain America being a secret Hydra agent, there is a wealth of content and substance.

Those who can look past the lack of Nazi punching will uncover a world that offers much more than the stand heroes versus fascist narrative. Spencer dares to add a bit more balance to the conflict and when one side of that equation are regularly equated with Nazis, that's both bold and risky. It's also necessary within the context of Secret Empire. It's not enough to just have Hydra raise their flag over the White House, declare themselves rulers of the world, and spend every other moment twirling their collective mustaches in triumph. It's necessary to explore the kind of world they now rule and why some buy into it.

Spencer doesn't water it down either. The new world revealed in Secret Empire is a fascist, authoritarian world where children are taught the glory of Hydra and government-sponsored bullies arrest people for daring to scoff at such glory. The first part of the story doesn't even involve any heroes. It just shows how a few school-age children live their lives in a world now dominated by Hydra. Those lives, as well as the order they now regularly hail, provide an important context that gives greater weight to the conflict.

Hydra may be fascist and anything fascist tends to elicit Hulk-like outrage by most, but the order they offer is tempting to some extent. Throughout Secret Empire #1, Spencer shows some of the benefits of that order. There's a strong, well-equipped army armed with ridiculous Hydra weapons to enforce the peace. There's a robust, orderly economy that is rich in jobs and opportunity. Those who buy into it gain a level of security and certainty that doesn't require mind control to appreciate.

That's an important component of the narrative because it adds a certain level of complexity to the conflict. It's not just a matter of underdog heroes taking on the big Hydra bullies who spend their days bathing in the tears of sick orphans. Secret Empire #1 dares to offer two sides of that conflict. Usually, when one of those sides is an outright fascist, there isn't much to debate that doesn't involve lung-bursting outrage. By ignoring that unavoidable outrage, Spencer and McNiven set up a uniquely daunting challenge for those who oppose Hydra's new world order.

The circumstances are pretty dire, as they tend to be for those on the other side of a fascist conflict. Those who play by the rules in a fascist state don't lose their freedom, their lives, or even their internet connection. For those resisting this style of patriotic tyranny, it's a test of will and resolve. Unlike previous conflicts, there's no rousing speech by Captain America to inspire the heroes. For once, the rousing speeches are working against them.

Cap being on the fascist side of the conflict in Secret Empire completely flips the script. This time, the iconic leader and pillar of virtue is working for Hydra. His style is not like that of the Red Skull or Baron Zemo. He still carries himself as a patriot, seeking to preserve the values he believes are right. It doesn't just add yet another daunting element for the Avengers or any other hero seeking to oppose Hydra. It gives the overall conflict a dramatic impact that can only happen through Captain America.

In the same way that generations of Captain America fans who played with toy shields as kids refuse to believe his betrayal, the heroes now fighting Hydra share in that disbelief. They look for any possible excuse, clinging to the belief that the Captain America they know and love is still there. Spencer makes it clear, though, that there's no mind control, evil clone, or Skrull agent at work here. The Captain America now leading the "Hail Hydra!" cheers is the same Captain America they've always known. It's gut-wrenching on a level that no amount of Nazi punching can alleviate.

The fact that the context and structure of Secret Empire is so dramatically gut-wrenching is what gives the story such strength. The details and organization of that story are somewhat loose in certain areas, but the impact is still there. Those still determined to hate Secret Empire and everything that set it up will probably not change their opinion. Anyone who still despises the idea of Captain America being a fascist will still be sick their stomach seeing him salute Hydra's flag.

Spencer and McNiven take a huge risk in Secret Empire #1, daring to make a conflict that involves fascists feel balanced. While that balance is still somewhat fragile, it still works. It still creates a story that feels compelling and dramatic. It won't make anyone pro-fascist, but it will offer plenty of intrigue.

Final Score: 8 out of 10

Marvelous Monstruous Mayhem: Monsters Unleashed #1

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

It says something about the current state of superhero comics when the idea of superheroes not fighting each other seems like a novel concept. It may seem like such a long time ago, but there was once a time when superheroes primarily fought villains, criminals, and monstrous manifestations ripped right out of old Roger Corman movies.

It's getting harder and harder to remember those times. These days, it seems every major superhero team, in both Marvel and DC, can't go a year without fighting one another. Cullen Bunn and Steve McNiven clearly remember those simpler times and if Monsters Unleashed #1 is any indication, they remember them fondly. The challenge for them is to remind readers that there's still a place for stories that don't involve superheroes fighting each other.

It's one of those concepts that shouldn't be such a challenge, but between Civil War II and Batman vs. Superman: Dawn of Justice, it may as well be a chess match with Dr. Doom. Bunn and McNiven are getting back to basics, having Marvel's premier heroes take a break from clashing with each other to confront a new threat. The end result is an over-the-top, action-packed thrill ride that pits iconic heroes against giant monsters. It's as basic a formula it can possibly be without Deadpool making a poop joke, but it works.

The story doesn't try to be overly complex or nuanced. Monsters start falling from the sky in cities all over the world. Marvel's various superhero teams, including the Avengers, the X-men, the Inhumans, the Champions, and the Guardians of the Galaxy, all get to step up and fight some monsters. There's no elaborate exposition. There is some mystery, but Bunn never lets it get in the way of the spectacle of heroes fighting monsters.

He seems to understand the audience. He knows there's too much entertainment value in giant monsters. It should be as obvious as a temper tantrum by the Hulk, but it still feels refreshing in that it provides a simple, entertaining story that allows heroes to just be heroes. Nobody has to worry about characters acting strangely, timelines being tampered with, or reputations being ruined. It's just heroes fighting monsters. No fan need agonize over their favorite characters and in at a time where Captain America can be a Hydra agent, that counts for something.

That's not to say that the narrative in Monsters Unleashed #1 is overly simple. It does have some refinements that make it more engaging than a typical Power Rangers rerun, although not by much. While Bunn does make it a point to emphasize the battles between heroes and monsters, he does squeeze in some mystery behind the wanton destruction.

The details of that mystery, which involves a kid who enjoys drawing monsters more than fighting them, are somewhat ambiguous. It involves Elsa Bloodstone and another dime-a-dozen doomsday prophecies, of which there are plenty in the Marvel universe. It's not nearly as engaging as seeing the Hulk punch a giant eye monster, but does add a sense of purpose to the hero vs. monster clash. There is a larger story behind it, even if that story offers as few hints as necessary. At the very least, it ensures that Monsters Unleashed #1 never devolves into a glorified Michael Bay movie.

The main appeal of the story is still its simplicity. McNiven's art further supplements that appeal, providing rich and colorful battles that give a diverse cast of heroes plenty of opportunities to shine. These are the kinds of scenes that will never make it into a Marvel movie, if only because even Disney's pockets aren't bottomless. That helps add to the overall spectacle in Monsters Unleashed #1 and in a story that involves giant monsters, that's saying something.

There's something to be said about the overall context of this story. In real estate, it's all about location. That's the key to making a project work. In comics, the closest equivalent is timing. While some stories are indeed timeless, as those of Superman and Captain America have proven, work best when the time is just right in both the real world and the fanciful world of comics.

Stories like the Phoenix Saga and the first Civil War have an impact because they reflect a certain time and sentiment with the audience. Monsters Unleashed is one of those concepts that could be shrugged off in the extremes of the '90s, the macho grittiness of the '80s, or the psychedelic mindscape of the '60s. However, its presence in 2017, a time when audiences are burned out on superheroes fighting each other, feels both right and overdue.

Comics don't need to blow minds, break hearts, and shatter spirits every other week. They just need to entertain. Bunn and McNiven succeed in delivering just that with Monsters Unleashed #1. They go out of their way to avoid complicating the plot. They also avoid crafting a story that devolves into shameless disaster porn as well. There is story. There is mystery. Some details are lacking, but it still works. No major characters are getting reinvented, retconned, or replaced by clones. In this particular era of comics where everything gets shaken up every other year, that counts for something.

Monsters Unleashed #1 is not a story that's going to get anyone thinking too hard about real-world parallels or blurred lines between good and evil. It's not going to reinvent an entire genre either. This story caters to the kid in everybody who plays with action figures, imagines giant monsters attacking big cities, and comes up with over-the-top battles full of fiery explosions and crumbling buildings. Anyone's inner child, especially those that pestered their parents for action figures every Christmas, will be thrilled with this story.

Final Score: 7 out of 10