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

X-men Supreme Issue 138: Outer Limits Part 2 is LIVE!

These are trying times for X-men fans. Those with an internet connection found out last week that Marvel will be having an event ominously titled “Death of X” later this fall. It’s an event that’s sure to be grim for X-men fans, Cyclops fans, and fans of anything hopeful or uplifting. It’s sad that the state of the X-men comics has gotten to this point. Cyclops, Jean Grey, Charles Xavier, and Wolverine are all dead. Many others like Havok and Emma Frost are missing. Mutants are sterilized and going extinct, yet again. It’s a dark time for all things X-men. That’s why I’m making it a mission for the X-men Supreme fanfiction series to brighten things up.

The situation in X-men Supreme couldn’t be more different. Nobody has been sterilized. Mutants aren’t going extinct. Cyclops, Jean Grey, Charles Xavier, and Wolverine are all alive and well. Nobody is time displaced. To date, only one clone exists and that’s X-23. There hasn’t even been a single time travel story in this fanfiction series yet. When was the last time any X-men series could make such a claim? Yes, this fanfiction series offers something very different compared to the current X-men comics. I hope to add even more appeal to that offer with the Outer Limits arc.

This latest arc in X-men Supreme does not deal with extinction, sterilization, clones, or off-panel deaths of prominent characters. It doesn’t even deal with entirely earthly forces for that matter. The X-men had their share of that when they took on the Mutant Liberation Front. They eventually won that fight in the Natural Disorder arc. Now, they’ll need to win a battle in the cosmos against the Shi’ar.

It has been a while since the X-men went on a cosmic journey, both in the X-men comics and within X-men Supreme. I’ve been building up to this journey since X-men Supreme Volume 3: Ashes of Hope. For this particular cosmic conflict, the biggest catalyst occurred at the end of the Phoenix Saga. That story wasn’t just the culmination of Jean Grey’s struggle with a cosmic force. It offered the first insight into the Shi’ar. It offered a telling hint about who they are in this fanfiction series. Now, Outer Limits will reveal so much more.

The X-men aren’t just about saving the world from bigotry and hatred. Every now and then, they have to save the universe as well. They were able to save it from the Phoenix Force. Now, they face a more daunting problem with the Shi’ar. Lilandra Neramani has returned, along with the Starjammers. Her half-brother, D’ken, is preparing something big with the help of Mastermind, someone who plays an instrumental role in the Phoenix Saga. He has been MIA ever since, but for good reason. He’s preparing to unleash something that may end up being more destructive than the Phoenix Force and D’ken is happy to help him.

The stakes couldn’t be higher for the X-men. This cosmic journey will take them to the heart of the Shi’ar Empire and test them in ways that won’t require extinction, sterilization, or off-panel deaths. These sorts of journeys help bring out the best in the X-men. I hope to capture that in this fanfiction series. So those who are feeling pessimistic about Death of X, Cyclops, or time-travel stories, this should be a welcome reprieve.

X-men Supreme Issue 138: Outer Limits Part 2

It’s during this difficult times for X-men fans that I try to make the X-men Supreme fanfiction series a refuge of sorts. I know it’s not the same as the comics. I know it’ll never be on the same level as anything Marvel produces. However, I also know that X-men fans are anxious these days. It’s hard not to be a little jaded, given how poorly the X-men have been treated in recent years. This fanfiction series can’t do anything to change that, but it can offer an outlet for X-men fans who seek something different from the doom, gloom, and sterilization. That’s why I’m more committed than ever to make X-men Supreme as awesome as can be. As always, it’s an awesome I cannot do alone. I need support and feedback from fellow X-men fans to ensure that X-men Supreme delivers. So please take the time to post your comments directly in the issue or contact me directly. I’m always happy to chat and console my fellow X-men fans. Until next time, take care and best wishes. Xcelsior!

Jack

All-New X-men #11: Nuff Said!

As kids, we tend to be overly simplistic in our logic. If it means we don't get a cookie or can't watch cartoons, it's inherently evil. The same logic applies to our understanding of villains. We see Lex Luthor, Apocalypse, or the ugly ass girl in a Disney movie and immediately assume they're the villain. We're usually right, but these days that childish logic just isn't enough. If it were, Family Guy wouldn't have been canceled twice.

Dennis Hopeless is kicking that logic in the balls with Apocalypse Wars. He is rewriting our understanding of who Apocalypse is. He makes the case in the pages of All-New X-men that any kid growing up around the Sand Stormers is bound to become a genocidal asshole. It's just a matter of inspiring the genocidal tendencies in any kid. Now, Kid Apocalypse and O5 Beast are trying to change that. Fate, destiny, and dick-fighting over movie rights are working against them. All-New X-men #11 shows how much they succeed or fuck up. I'm not used to rooting for Apocalypse, but if I just picture a younger Oscar Isaac, I find it's easier.

Not going to lie. I really am rooting for Kid Apocalypse this time and my inner woman doesn't need to picture Oscar Isaac naked to justify it. In the last issue, Dennis Hopeless put time and effort into showing Kid Apocalypse getting to know the boy who is destined to become the Big Bad Asshole Apocalypse. It's more time and effort than some people spend on their hygiene. It doesn't just paint Apocalypse in a new light. It gives Kid Apocalypse a fuckton of incentive to save this kid before he becomes that big bad asshole he doesn't want to be.

This means working with young En Sabah Nur to save O5 Beast in a way that won't end with someone embracing genocidal tendencies. This already leaves them half-fucked. Young En Sabah Nur explains how the Sand Stormers don't fuck around. They arrange meetings in places so tough to defend that Zack Snyder can make multiple movies out of it. That means they have to walk into a trap with their dicks hanging out and a big target on their ass. I'm still rooting for Kid Apocalypse, but even I can see how fucked they are.

There's no Solid Snake style stealth or elaborate Mystique level deception. Kid Apocalypse and young En Sabah Nur ride right into the trap where they find O5 Beast in a semi-crucified state. That is to say he isn't dead, but probably wishes he were. I won't say he deserves worse because he isn't quite the same douche as his adult self, but I'd be lying if I said I didn't appreciate this moment to some degree.

Kid Apocalypse and his non-genocidal counterpart easily free him. It's too easy, essentially confirming that they are definitely walking into a trap. This is like every James Bond movie ever made. It's going to all go to shit at some point before they start passing out martinis. They already went swimming with a topless girl in the last issue so it's only a matter of time before they endure a heavy punch to the dick.

As such, nobody whose attention span is longer than Dory from Finding Nemo can say they're surprised when the trap is sprung. It's not quite the same spectacle as a typical Zach Snyder movie, but it is fitting. The creepy old blind guy who spends way too much time in tents with teenage boys shows up and uses a little Dr. Strange type magic to capture En Sabah Nur. That means he's going back to the Sand Stormers where his genocidal proclivities will be back on track. Not saying it's a very elaborate trap, but it gets the job done. Work smart, not hard. It applies just as much to Ancient Egypt as it does to the 21st century.

Naturally, Kid Apocalypse is pissed. Lucky for him, the Sand Stormers are nice enough to throw some troops at him, thinking they have a chance at containing a pissed off teenage boy. Clone or no clone, even the ancients have no excuses. Pissed off teenagers can never be contained. Not in this era and not in any era. When that teenage boy just sees his hopes at fixing his fucked up destiny, he's extra pissed.

However, it's because Kid Apocalypse connected with his younger self that his anger feels more meaningful than a typical teenage temper tantrum. He comes so close to getting En Sabah Nur away from the asshole Sand Stormers. Then, some creepy old guy with magic fucks everything up. He's right to be pissed. It's usually hard rooting for pissed off teenagers in any situation, but it's amazingly easy this time around. It's a testament to the time and effort that Hopeless put into Kid Apocalypse.

Despite doing exactly what everyone in the universe expected and falling into the Sand Stormer's trap, Kid Apocalypse is determined to save his younger self. He didn't come this close, go swimming with a topless girl, and connect with his younger self to just throw his hands up. That's something the Inhumans do. That's not what X-men do.

However, this leads a tough argument with O5 Beast and yes, O5 Beast does find a way to come off as a total ass. While Kid Apocalypse's destiny remains in flux, O5 Beast remains right on track to become the asshole we know and despise. He basically tries to tell Kid Apocalypse that it's no use. Not only that, they may tear the timeline one too many assholes. On top of that, if he saves his younger self, he might not even exist. Kid Apocalypse doesn't give a shit. Unlike O5 Beast, he's actually willing to make a noble, genuine sacrifice. Compare that to O5 Beast's older self, who joined the fucking Inhumans.

It's a great moment for Kid Apocalypse. It makes me root for him even more. We know now that a big part of Apocalypse's douche-bagger came from just spending too much time with the Sand Stormers. He wants to create a better future for him. How much good could someone like Apocalypse do if he got the chance? Not going to lie. That's an intriguing thought. Maybe he would make it so that every teenage boy has a chance to go swimming with a topless girl. How much better would that world be?

The Sand Stormers are intent on denying us that world. They truly are assholes. Ba'al is getting ready to put young En Sabah Nur through some ritual that will help make him a man, but we all know that's just code for making him pro-genocide. I get that every culture has manhood rituals. I just think that any ritual beyond spankings, tea-bagging, and drinking dog piss are excessive.

Kid Apocalypse must feel the same way because he comes storming in, trying to disrupt the ritual in the most blunt way possible. Again, there are no tactics, no subtlety, and no cunning of any kind. Again, he's a pissed off teenage boy. You can't expect a lot of cunning from that.

That's not to say there aren't some tactics involved. While Kid Apocalypse is doing what pissed off teenage boys do, O5 Beast is trying to be productive. That involves finding the Third Eye of Horus, which brought them to this time in the first place. He also has to avoid the creepy old guy/mystic as well. He better clench his asshole tight is what I'm saying.

It makes for an intense, dramatic battle. Kid Apocalypse takes on Ba'al and there's no ambiguity here. We know who to root for. Even if he does have hidden genocidal tendencies, Ba'al makes clear throughout Apocalypse Wars that he's still the bigger asshole. He doesn't just inspire genocide in others. He probably jerks off to it every night. There are some great moments with Kid Apocalypse. He makes clear that he's willing to nullify his own existence in order to change the future and save his younger self. It may or may not be a futile effort, but it's hard to deny the kid's passion and heart.

That's why it's so damn heartbreaking when O5 Beast once again steps in to be the necessary asshole. He stops Kid Apocalypse in the middle of the fight, having retrieved the relic, and transports them back to the future. On some levels, it is a reasonable recourse. They've probably done enough damage to the timeline, giving young En Sabah Nur some time away from the Sand Stormers. They need to get the fuck back before Beast can claim he's fucked up the timeline as both an adult and time-displaced teenager.

While reasonable on some levels, it's still a dick move. It still basically ends the battle too abruptly. Kid Apocalypse doesn't get a chance to say goodbye to his younger self. We don't get a hint of what kind of person Apocalypse would be if he didn't have the Sand Stormers encouraging genocidal hobbies. The drama is there, but the way they just up and leave feels so abrupt. It's an overly simplistic resolution to a conflict that had grown so dramatic.

I'm still rooting for Kid Apocalypse. However, if you read this and still don't think Beast is a douche, then you're just being difficult.

They return to the present. Near as they can tell, the timeline is intact. That may be necessary at a time when Marvel is fucking around with cosmic cubes and retcons, but it's still bittersweet. It still feels rushed and forced. That doesn't take away from the dramatic impact on Kid Apocalypse. He finally knows with more certainty that being a genocidal asshole isn't innate. It takes nurturing from assholes like the Sand Stormers and O5 Beast just doomed his younger self to a live with those assholes. That, in some respects, makes O5 Beast an even bigger asshole. It's sad, but that's what we've come to expect from O5 Beast.

So...is it awesome?

Well before I answer, let me say this. Hank McCoy is a dick, regardless of whether or not he's time displaced. All I'll say about his O5 self is that at least he pretends to have a reason for being a dick. It's not always a good reason, but unlike my old gym teacher, I do give points for trying. The reason he gives in All-New X-men #11, which effectively dooms Kid Apocalypse, is lacking. Then again, it isn't exactly a new reason. Changing the future and fucking up the timeline is kind of what the O5 do every second they exist in the future. So it's not like he pulled the reason out of his ass. He's not a televangilist.

Even so, Dennis Hopeless still manages to give All-New X-men #11 a heavy impact. He succeeds in using Apocalypse Wars to rewrite our understanding of who Apocalypse is. Granted, it didn't end up fucking over the timeline. However, the timeline is fucked enough thanks to the O5, Inhumans who predict the future, and deals with Mephisto. I can't really blame him for not wanting to fuck it up even more. The impact might be somewhat muted in the end, but it still has more kick than a light beer or the last two Seth Rogan movies. Hopeless proves that it is possible for Apocalypse to be a more well-rounded character. That's a hell of an accomplishment and he didn't even need Oscar Isaac's sex appeal to do it.

Final Score: 7 out of 10

Old Man Logan #8: Nuff Said!

Some characters are just destined to screwed over and not in the fun, Emma Frost on two glasses of wine kind of way. It's not just that some characters attract shitty luck the same way I attract parking tickets. Some characters are just superpowered versions of Al Bundy, always getting shafted and basically conceding that to some degree. Old Man Logan might not be as miserable as Al Bundy, at least in the sense that the redheads in his life don't suck his soul out through his wallet. However, he seems destined to be screwed over.

This hasn't stopped Jeff Lemire from making Old Man Logan one of the best things to come out of Secret Wars. Yeah, he's a grumpy old fuck, but not because of how low kids wear their pants. He comes from a world where he killed all his friends. That's a valid reason to be pissed off. He spent the first arc of this series figuring out he's in an alternate world where he isn't destined to do that...yet. Old Man Logan #8, however, shows that he's still bracing himself for destiny to kick him in the balls. So long as he doesn't end up selling women's shoes, he's still got it better than Al Bundy though.

It's still worth emphasizing just how fucked things got in Old Man Logan's world. Jeff Lemire goes out of his way to belabor that throughout the series and yeah, it needs belaboring. When aircraft carriers fall out of the sky, when villains come riding in with a massive rage boner, and when the Avengers are too dead to do jack shit about it, then yeah. That's pretty fucked and it's worth emphasizing just how fucked it is. It also gives Andrea Sorrentino a good excuse to show aircraft carriers crashing into cities and Odin knows we can't have too many of those.

Memories of this world and how fucked it got tend to keep Old Man Logan up at night. He can't blame his prostate or his colon either. This shit still haunts him and he still has this uncomfortable feeling that this timeline will get as fucked up as his. Considering mutants are living in a fucking demon realm and Captain America is swearing allegiance to Hydra, I can't say I blame him.

That's when O5 Jean Grey comes in to console him. Put your dick away, anime fans and those with fucked up porno tastes. It's not that kind of consolation. It's just someone who cares about Old Man Logan trying to help him. People actually do it every now and then. Teenage girls even do it, albeit in between texting. O5 Jean has more reasons than most. She did promise him in Extraordinary X-men that she would keep him from becoming the asshole that triggers this future. She even offers to help him again on a night like this when all the prostate issues in the world can't make him this restless.

Again, put your dicks away. There's no sexual innuendo here. It's just O5 Jean Grey keeping her promise and being more helpful than most teenagers tend to be without having to hide their cell phone.

Once again, Lemire belabors just how much Old Man Logan needs O5 Jean to keep that promise. Go back to his overly fucked world. Watch the villains drop an omega-level shit storm on New York City. Some of the few remaining heroes, like Daredevil and She-Hulk, try to fight back. They might as well be throwing feathers at hungry polar bear. They all meet with particularly gruesome deaths, the kind that even Netflix won't show. It's yet another excuse for Andrea Sorrentino to draw brutal scenes and no, we can't have too many of those either.

Back in a totally non-fucked timeline, O5 Jean and Old Man Logan are hovering over New York City. It's not being destroyed. Heroes aren't getting shot in the head. It's just a normal night, full of heavy traffic, pissed off pedestrians, and obscenely rents. O5 Jean makes it a point to show Old Man Logan that the world isn't a total shit pile just yet. He hasn't handed it to the villains, complete with a side of fries and a bag of meth. It may seem redundant, but he's a stubborn old geezer. Even the influence of a cute teenage girl has limits and O5 Jean is fully clothed here. It just shows she's willing to do things the hard way and the right way.

More belaboring follows. That means more heroes dying gruesome deaths in a gruesomely violent manner. This time, it's Hank Pym. Unless it involves his wife, he's not exactly adept at beating villains. No matter his size, he's over-matched in this timeline. It leads to another gruesome moment full of exceedingly graphic depictions by Sorrentino. It's more eye-candy and at this point in the series, I'm pretty sure my eyes have diabetes. Totally worth it though.

In a less gruesome timeline, O5 Jean shows Old Man Logan another empty field. Why does this matter? Well, the field doesn't have the giant rotting body of Hank Pym dominating the landscape. That alone is a pretty powerful message. No matter how much of an old geezer he is, I doubt Old Man Logan forgets the stench of a giant rotting Hank Pym.

Understanding that some old smells don't need belaboring, O5 Jean also takes Old Man Logan to the site where the Xavier Institute used to stand. Granted, he's not the reason why it's gone. Someone still thinks it's a good idea to set up shop in a fucking demon realm while Inhuman fart clouds cover the planet, but Old Man Logan can't blame himself for that one. At the very least, it shows that this timeline is different. It's still fucked in a lot of ways, but at least there are no giant corpses of Hank Pym just lying around.

Even without the Xavier Institute there, it brings back some shitty memories of a shittier timeline. Old Man Logan relives painful moments that don't just involve the villains killing the heroes and pissing on their corpses. They involve moments where he kills his friends and teammates, including those really close to him like Jubilee. Anyone who saw even half a season of the old X-men cartoon will understand why this is a big fucking deal.

After all the other memories of gruesome deaths and rampant destruction, this is a moment that adds some much-needed balance. Old Man Logan tends to attract and recall obscenely brutal moments full of obscenely bloody fails from an obscenely fucked timeline. However, there are still personal connections within these moments and those moments give the obscenely dark nature of his timeline a lot of impact. It's a big part of what makes Old Man Logan a compelling character. It's also a nice reminder to X-men fans that as fucked as the current timeline is, it could still be way more fucked.

Bad memories and the lingering stench of Hank Pym's rotting corpse suck. However, O5 Jean isn't just there to remind him of how shitty his world got. After they're done touring the places from his timeline that aren't utterly fucked, she takes him to Madripoor where Old Man Logan meets up with some old friends. Many are friends he ended up stabbing to death in his timeline, but they're utterly unstabbed in this one. This includes Jubilee, Captain America, Hawkeye, and Puck. It makes for a much nicer, less obscenely violent moment involving Old Man Logan. Given how rare those are in this series, it's a precious moment and one that more than deserves a round of Canadian beers.

Excuse me. I just teared up a little. No, I'm not apologizing.

After sharing a few hugs and drinks, Old Man Logan and O5 Jean watch the sunset and soak in the last round of feels. Again, there's nothing overly creepy about this moment. Those hoping for some X3-level bullshit are going to be disappointed, as they should be. Beyond Old Man Logan gaining perspective, we also learn just how big a difference that a non-dead Jean Grey can make. She was already dead in Old Man Logan's timeline when shit went bad. She's still technically dead in this timeline, but she has a time-displaced version running around. At a time when the X-men are so thoroughly fucked due to movie rights and shit, that's still a big fucking difference.

So...is it awesome?

Well as much as Old Man Logan flexes his wrinkly old nuts in this series, he still leaves room for others when they have something to flex. In Old Man Logan #8, it's O5 Jean Grey who shines. She shows in one issue that she has bigger balls than all the football players in Texas and only a fraction of the head trauma. She helps Old Man Logan confront his greatest fears. She helps give context to the horrors he endured in his timeline. It makes for a powerful, emotional moment that isn't the least bit creepy. When was the last time we could say that about any plot involving an old man and a teenage girl?

Jeff Lemire and Andrea Sorrentino continue to make Old Man Logan one of the most compelling Wolverine series in years. It's not about him wanting to gut Sabretooth, bang a married woman, or kill every ninja in sight. It's about a jaded old man trying to rebuild a life that he tries to piss away on more than one occasion. He's still as badass as Clint Eastwood, minus the senility and crazy political leanings. O5 Jean just reminds us that he needs a hug every now and then. After Old Man Logan #8, anyone other than a sociopath or a Fox News anchor, will be eager to hug him.

Final Score: 8 out of 10

Shallow Justice: Justice League Rebirth #1

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

There are certain concepts of justice that aren't subject to politics, laws, or retcons. These concepts transcend eras, cultures, and hashtags. They act as the binding ideals of humanity. Debate over these ideals is never-ending, but these debates are necessary to provide context to these ideals. That's what makes the goals of the Justice League so daunting, but so meaningful. Without this context, they're just another team of superheroes hoping that their movie tops Avengers.

In the aftermath of DC: Rebirth and Darkseid Wars, the context of the Justice League is in flux. It's not just a result of changes in the lineup and the latest (albeit no-so-greatest) death of Superman. The overall mood and tone of the Justice League is changing. The New 52 utilized certain themes, attempting to be more mature than it needed to be at times. Justice League Rebirth #1 attempts to refine these themes in a way that doesn't feel like regression.

If there is a kryptonite to the new direction of DC: Rebirth, it's this perception of regression. There's no denying that the New 52 had its flaws. The post-Crisis status quo had its flaws too. The challenge with DC: Rebirth is to not come off as exchanging a new flaws for old ones. In the end, it leaves things just as flawed as before and sets a dangerous precedent that DC will resort to Mephisto-like tactics to tweak its continuity. The tweaks in Justice League Rebirth #1 are meaningful in the sense that it moves the narrative forward. However, the progression, in terms of meaningful context, is lacking.

The purpose of the narrative is simple. It puts the Justice League in a situation where they need Superman and two new Green Lanterns, Simon Baz and Jessica Cruz, to join their ranks. It succeeds in this respect, but with limited drama and little sense of progression. Absent of any context and such a simple narrative works as well as any story that involves superheroes fighting giant monsters. It's a narrative that the Justice League handles whenever Lex Luthor has too much free time. Within that context, however, the story lacks impact.

Taking a step back and looking at the bigger post-Rebirth picture, we see a Justice League that just suffered a terrible loss with the death of Superman. They just lost someone who helps them come together in their first battle against Darkseid. It's a big loss on so many levels. They didn't just lose a teammate. Wonder Woman lost a lover. The world lost an icon. It's a hole that can't be easily filled with clones, cyborgs, or relatives. DC already tried that in the 90s and, like the Batman movies of the time, it didn't work.

Bryan Hitch tries to highlight the impact of this loss in the battle against a generic, city-sized monster. That loss, however, is undercut by the arrival of the post-Crisis Superman, who has been waiting in the wings since Convergence. He looks like Superman. He talks like Superman. He is pretty much the same Superman that the Justice League remembers, rendering the death of their former teammate to a mere inconvenience. This being Superman, the gold standard for superheroes for eight decades running, that's downright callous.

The arrival of the new/old Superman effectively overshadows the arrival of Jessica Cruz and Simon Baz. Their arrival doesn't contribute much. They just show up to aid a Justice League that lacks both Superman and Green Lantern. They lack Hal Jordan's attitude, but bring some needed firepower. However, that's all they bring. While they do have potential, most of this potential goes unrealized.

Once again, the situation is reduced to convenience. The Justice League lacks a Green Lantern. They end up getting two, which seems like a bargain until they fail to bring anything new to the table. It's the same issue with the new/old Superman. They're basically conveyed as spare Lego pieces, interchangeable with their predecessors and allowing the Justice League to continue as though nothing happened.

This is the flaw that the larger context that Justice League Rebirth #1 exposes. The significant losses that the team is still processing suddenly becomes irrelevant. The death of Superman and the absence of Hal Jordan no longer matter. Rather than doing justice to those losses, the story focuses entirely on filling the void with other characters. The drama, the relationships, and the dynamics within the team are an afterthought. The goal of Justice League Rebirth #1 is to just give the team a full roster again. It succeeds in this respect, albeit in a very shallow way.

That's not to say that Hitch's narrative is completely lacking. The battle against the generic giant monster has more depth than a typical Power Ranger rerun and even hints at the larger threats that the Justice League will face moving forward. It does highlight just how important it is to have someone like Superman and Green Lantern in their ranks, but the ease with which they fill those ranks still undermines the drama.

At the very least, Justice League Rebirth #1 offers a fairly concise story that re-establishes the Justice League as a complete team. Unfortunately, it does so in a way that feels shallow and forced, undermining any drama or upheaval that may have emerged otherwise. It's a missed opportunity in some respects, but it does move Justice League forward into the post-Rebirth status quo. It still comes at the cost of utterly undermining the death of Superman. Whether that cost is worth the results is debatable, but given the context of Rebirth, it's a lopsided debate at best.

Final Score: 5 out of 10