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18th April 2024

Marvel

Civil War II: Ultimates #12 (review)

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Civil War II: Ultimates #12 (review) Marvel Comics, October 2016 Writer: Al Ewing American publisher Marvel Comics is presently winding up an internal cross-title promotional event called “Civil War II” which, again, explores the concept of altruistic superheroes fighting each other. This time the trigger is the use of prophetic vision by a new character … Read more

No Magic: Dr Strange and the Sorcerers Supreme #1

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“Dr Strange and the Sorcerers Supreme” #1 (review) Marvel Comics, October 2016 Writer: Robbie Thompson American publisher Marvel Comics very understandably wishes to capitalise upon the buzz around the latest Marvel Studios’ motion picture, “Dr Strange”. We have previously reviewed two “Dr Strange” titles: one very positive review of the accomplished writer Jason Aaron, and … Read more

Dig It! – Cage #1 (Review)

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Cage #1
Marvel Comics, October 5, 2016
Writer: Genndy Tartakovsky

“Cage #1” is a new mini-series from American comic book publisher Marvel Comics, featuring the African-American hero named Luke Cage. This is a character that is currently experiencing broad, renewed brand interest due to the launch of a live action Netflix television series (which, at time of writing, is enjoying positive reviews from both fans and critics.) Luke Cage’s defining trait is that he is an ex-convict who volunteered for a government experiment in exchange for freedom, with the experiment resulting in extremely durable “titanium” skin and enhanced strength.

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Deadpool: Back in Black #1 (Review)

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“Deadpool: Back in Black” #1 (Review)
Marvel Comics, October 5, 2016
Writer: Cullen Bunn

The character “Deadpool” occupies a unique space in American comic book publisher Marvel’s rich portfolio of properties. While Deadpool is part of the continuity shared by all of their mainstream properties, the character is given the ability to break the fourth wall in a humorous way, but attributed to schizophrenia.

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It is unfortunate that a serious mental disease is used as a vehicle to give writers freedom to tackle subject matters that would otherwise not be possible when held to a stringent editorial direction (in 1989, American comic book writer John Byrne in “Sensational She-Hulk” had the characters address the reader without the need to explain why).

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But in any event, as a result, Deadpool’s participation in any story usually takes on a satirical tone that is just as likely to poke fun at the narrative as easily as it would call out the idiosyncracies inherent in the American comic book industry.

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