Uncanny Avengers #9 Review

(w) Rick Remender
(a) Daniel Acuna

It's quite obvious to me that Rogue and Scarlet Witch's argument represented the real-life arguments online after the release of Uncanny Avengers #5. In that issue, Remender intended to convey the idea that people shouldn't be judged by their race, gender, sexual orientation, or mutation. This was misinterpreted by many as advocating for assimilation instead of diversity. Remender's meltdown on Twitter was widely circulated, and he apologized shortly after, but Uncanny Avengers #9 is where he really gets to let it all out.


** SPOILERS AHEAD! **


At the beginning of the sequence, I assumed Scarlet Witch's argument defending Havok would come out on top. Fortunately, Remender keeps things balanced and allows Rogue to have her own opinion without it sounding condescending. Both women make valid points about what was said by Alex at the press conference, and neither budges from their point of view. If this sounds familiar, it's because this is how most people are, in general. Debate is all well and good, but not often are individuals swayed from their established notions.

As far as the story itself is concerned, Uncanny Avengers #9 advances the narrative for the Apocalypse Twins by setting in motion their plan to annihilate all human life on the planet and start fresh on a new mutant world. Remender is doing an excellent job weaving is grand narrative about Apocalypse -- which began with Uncanny X-Force -- into the world of the Avengers. Wolverine's hard choices have come back to haunt him and now threaten to divide the team when they need to be united the most. Insecurities bubble up, bitter truths are spoken, and everything the team stands for begins to break down.

Uncanny Avengers #9 is an excellent issue. From a long-form perspective, Remender's casting choices have been truly excellent in bringing diversity and balance to the title's tone. It feels like human-mutant relations in the Marvel universe may never be completely peaceful, and the Avengers Unity Team is beginning to internalize this feeling more and more.

GRADE

8/10

Uncanny Avengers #6

(w) Rick Remender     (a) Daniel Acuna

This is the first issue of Uncanny Avengers I haven't outright enjoyed from beginning to end. Rick Remender takes readers back in time for a look at the first time Thor met Apocalypse. It's sort of like an interlude prelude chapter to "The Apocalypse Twins" that foreshadows the events in the present day.

Thor-centric tales are difficult to write because, more often than not, they feature some disagreement between Thor and Odin. Remender falls victim to this cliche and once again, Odin finds some reason to be disappointed in Thor. 

As a side note: seriously, does Odin ever even like his son? It feels like the old codger is constantly drunk and looking for someone or something to unload all his anger and frustrations upon. It's one of the reasons I've never been a huge Thor fan, and it's also why Jason Aaron's current run on Thor: God of Thunder is so good. There's only so many times Thor's daddy issues can be exploited, and that quota was hit years go.

Remender is a master of foreshadowing and long-form narratives, so it's kind of a given that all the events in Uncanny Avengers #6 will have some bearing on the present day, but it still removes readers from the current-day story and stops the momentum Remender was building.

GRADE

7/10

Uncanny Avengers #5

(w) Rick Remender     (a) Olivier Coipel

**SPOILERS AHEAD**

On the spectrum on comic book art, it goes from being extremely cartoony/exaggerated on one end, to vividly realistic/lifelike on the other. Rob Liefeld and Humberto Ramos are the first two names that popped into my head when thinking of examples for the former, while David Finch and Ethan Van Sciver represent the latter. While most artists exist somewhere along the spectrum, there are few that find a phenomenal middle ground that represents the comic book format, yet manages to capture dynamic realism. Some of these names include Jim Lee, Jim Cheung, Greg Capullo, John Cassaday, Phil Noto, and Olivier Coipel.

Coipel has been a favorite artist of mine since I read House of M, so when I heard he was doing an issue of Uncanny Avengers with Rick Remender -- a more recent addition to my list of favorite writers -- I was immediately sold. Though, it's not like I wasn't already going to read the issue. Coipel's artwork is an absolute treat for an transition issue that begins to incorporate Remender's storylines from Uncanny X-Force he promised would resurface in this series.

There is a sequence in Uncanny Avengers #5, wherein Alex Summers begins a national dialogue about the use of the word "mutant" as a descriptor of individuals with activated x-genes. For some ridiculous reason, select critics and journalists have chosen to become incensed by the ideas put forth by Havok in his speech. These ideas deal with the perception of mutants as inherently different from humans, which Alex attempts to explain simply isn't true. The controversy surrounds Alex's insistence that the word "mutant" now carries a negative connotation, and that maybe, just maybe, the intelligent peoples of Earth might just possibly be able to think of a better way to interact with those who are different. The point of the speech was that Alex didn't want to be defined by his mutation; a noble belief that ultra-sensitives on the internet have turned into an ugly attempt at casting Rick Remender and his narrative decisions in a bigoted light. It's ridiculous and frankly appalling that a story conveying a hopeful idea for the future of an oppressed people is so viciously attacked because of the wording.

And the funny thing is, Havok's speech is only a small part of the issue. Probably the least technically interesting part about the issue is Alex's speech. It's a sentiment that's been a part of mutant life in the Marvel universe for decades. Remender conveyed that sentiment very well, but it's been done. The speech is important, but in true Remender fashion, the entire issue sets up future stories, not just the big finale at the end. There's the addition of Wonder Man, Wasp, and Sunfire to the team, the romantic tension between Captain America and Scarlet Witch, the attack on the press conference by Grim Reaper, or even the ongoing look at Captain America and Havok's struggle to keep rank.

Uncanny Avengers #5 is a fantastic issue of a fantastic series. Rick Remender knows how to write great comic books and now that we're getting to the point where his storylines from UXF are starting to connect, it's just going to get better and better.

GRADE

8/10

Thor: God of Thunder #5

(w) Jason Aaron     (a) Esad Ribic

Thor's history is thick with Norse mythology, Asgardian legends, and a whole lot of general complexity that comes with tales about gods. Unless you're inclined to that type of storytelling and ready to do some backpedaling to understand what's happening, it can be frustratingly difficult to pick apart the obscurities that hold Thor's narrative world together. And each time Thor dies, only to get a new ongoing series, it complicates things even further.

I was skeptical of Jason Aaron and Esad Ribic's Thor: God of Thunder back when it was originally announced. I was not a fan of Aaron's run on The Incredible Hulk, and I was lukewarm, at best, to Wolverine and The X-Men (I've since come around on this front). Similarly, I never in the past was particularly fond of Thor, nor did I seek out his comics. Imagine my surprise when I was completely and totally addicted to Thor: GoT after reading the first issue. This months Thor: God of Thunder #5 wraps up "The God Butcher", Aaron and Ribic's seminal opening salvo that introduces readers to Gorr the God Butcher, the most deadly and vicious foe Thor has ever faced.

Aaron's structure for "The God Butcher" has focused on Thor in three different points in his life, each of which feature a run-in with Gorr and his unfeeling Black Berserkers. The best part about this arc has been how little it relies on previous mythology to propel the story. As I mentioned before, nearly all of Thor's adventures in the past have focused on his ties to Asgard and everything that comes with being part of the royal family. Here, Aaron begins building his own set of rules by which to play, and the result is one of the most engaging and introspective tales about the God of Thunder in quite some time that's also completely new reader-friendly.

Gorr's quest to rid the universe of gods reaches it's next phase this month as the God Butcher secures the final elements necessary to design something capable of enabling him to "explore new horizons of deicide." This isn't the end of the story -- rather, it's more like the end of the first act. Gorr has left a murderous trail of blood across the stars and even that's not enough for him, a being whose singular desire is to see "a godless age". Only total elimination will suffice.

Thor: God of Thunder #5 is an excellent conclusion to a great opening chapter for a character lost in his own world for far too long. Jason Aaron is bringing a storytelling style and creative direction that gives new life to Thor, making him a more relatable character while simultaneously taking him beyond anything he's encountered before. There are a lot of good series that resulted from the 'Marvel NOW!' creative team switch-ups. Jason Aaron and Thor is turning out to be one of the best.

GRADE

9/10

REVIEW: UNCANNY AVENGERS #3

(w) Rick Remender
(a) John Cassaday

Reading Uncanny Avengers is experiencing a modern classic unfold. Much in the same fashion he rendered Uncanny X-Force one of the best comic book series in modern history, Rick Remender is making sure this new series lives up to it's top shelf name. Uncanny Avengers sits comfortably and impeccably between the Avengers and X-Men franchises, in terms of team makeup as well as narrative breadth. Jonathan Hickman is going universal in the pages of Avengers and New Avengers, ratcheting up the scope of the threats facing each team, threats that have universe-sized ramifications. Brian Michael Bendis is bringing his unique brand of interpersonal relationship drama to the X-Men by penning decompressed, character-driven stories. Remender's book and team fall right in the middle, which is kind of the point.

Uncanny Avengers #3 continues "The Red Shadow", an opening salvo that very much reflects Remender's attempt to balance the sheer size of the Avengers with the intimacy of the X-Men. There are a number of different elements that showcase the melding of franchises. Like Red Skull, who is traditionally an Avengers villain, focusing his evil intentions upon the biggest perceived genetic monstrosity of all: the mutant gene. Taking the Nazi ideology to it's extreme conclusion makes Red Skull one of the more foreboding villains in recent history. Or Red's S-Men, a ramshackle team super humans made special externally, through science, magic, or anything other than being a mutant, really. These S-Men (short for Special Men, one would assume) have undergone alterations to become a facsimile of the very perceived threat they stand against. For them, the ends justify the means when the end is the extinction of all mutants. And their backstories reveal the hatred that fuels their endeavors.

It's not often that reading a comic book feels like reading a novel. Remender's narration throughout Uncanny Avengers #3 transforms "The Red Shadow" from a well-written Avengers story into a broad, expansive narrative that's a fantastic allegory for World War II. While Red Skull's general ideology remains the same -- thus does his position in the symbology -- his hatred has shifted from merely one ethnicity to an entire species of mutated humans. Against Red Skull's metaphorical Axis stand the Allied Forces in the Uncanny Avengers, who seek to throttle Red's hypnotic amplification of people's base fears about mutantkind, pushing them to murder those who are different. Captain America vs. Red Skull: sound familiar?

Keeping the gratuitous violence off-panel was a wise choice, artistically, because it gives John Cassaday room to show more with less and to incorporated Remender's narration to give these sequences the cold, bitter tone the story requires. Cassaday's artwork for the entire issue is fantastic, especially his Red Skull, who looks verily insane from beginning to end.

Rick Remender and John Cassaday are creating something truly inspired with Uncanny Avengers. The narrative's underlying symbolism and lasting consequences give it the demeanor of Marvel's flagship 'Marvel NOW!' title. In many ways, Remender has taken the best parts of the Avengers and X-Men franchises and melded them together for stunning results. Uncanny Avengers #3 is the third chapter of "The Red Shadow", but unlike many middle issues, this one doesn't lull or rest on exposition to carry the story into a big conclusion.

GRADE
9/10

REVIEW: THOR - GOD of THUNDER #1

(w) Jason Aaron

Thor: God of Thunder #1-3 all have connecting covers!

(p) Esad Ribic

Moving into the second chapter of "The God Butcher", Jason Aaron and Esad Ribic have toned down the grandeur of the first issue of Thor: God of Thunder in order to better convey a young Thor amongst his Viking subjects. Similarly, while the first issue explored all three eras of Thor's life, Thor: God of Thunder #2 focuses on the Asgardian Avenger years before he was able to lift the hammer, Mjolnir. Spreading out a story to the lengths that Aaron has is a daunting task and one that requires great precision and detail. If Aaron, for even one aspect of the story, slips up and contradicts himself, the entire epic would become a little less...well...epic!

This issue pits Thor against the titular God Butcher for the first time. During a raid into the Slavic northern lands -- a place that will come to be called Russia -- Thor encounters more dead gods when the defending Slavic tribesmen call upon their own deities for aid, only to be answered by a riderless horse and a decapitated god. These are haunting images, first of a bloodied winged horse without a rider, then the headless corpse of a god upon his own Pegasus. This is when the God Butcher attacks Thor, and these two forces of nature begin their apparently life-long struggle against one another.

Jason Aaron is deconstructing the concept of a pantheon of gods. A big part of that is the fact that gods can die in the Marvel universe, though this has been true for quite some time. The other major element of Aaron's tale is the diversity of gods across the cosmos and how they're all seen equally by each other and, most importantly, the God Butcher. Maybe it's social commentary on the relative nature of religious symbolism and how none is better or worse than the others. Perhaps it's a ploy to make gods more of a central idea in the Marvel universe. Or maybe it's just plain cool to see gods being assassinated like mere mortals. Whatever the reason, Aaron's somber take on the role of gods in the lives of mortal beings is phenomenal.

GRADE

8/10

REVIEW: UNCANNY AVENGERS #2

(w) Rick Remender
(p) John Cassaday

Well it's been long enough! Eight weeks after it's debut, Uncanny Avengers is back with it's second issue, and this one's a doozie. Rick Remender and John Cassaday aren't making any compromises with this series, as evidenced by the repeated delays for this issue so Cassaday could make sure the art was up to his high standards. Uncanny Avengers #2 is split into three 'acts' to better convey the large amount of new information being presented. And while this format can feel a tad disjointed from time to time, it all goes toward Remender's bigger picture.

First up are Captain America, Wolverine, and Thor helping with the relief effort in Manhattan after the devastating attack by Avalanche in the first issue. While Avalanche's attack wasn't even close to being the real focal point of UA #1, the ramifications of a mutant attack resulting in hundreds of dead humans are terrifying. Basically, 'Act I' sets the stage for why Uncanny Avengers have come together -- now that Charles Xavier is dead, it seems that his dream of peaceful co-habitation between humans and mutants is slowly dying as well. It's a poignant scene that shows two sides of a desperate situation. Captain America sees this as crucial time frame for the human race to establish a better relationship with the mutant community. For Wolverine, Steve Rogers' "mutant community" doesn't exist and having Havok -- a mutant and brother to international criminal Cyclops -- lead an Avengers response to mutant attacks is a terrible idea. Both perspectives have their merits, but a small, two-panel sequence between a thankful man and Havok himself is enough to prove the Uncanny Avengers are needed now more than ever.

The second part of the issue focuses on Rogue and the Scarlet Witch being held prisoner by the maniacal Red Skull, while 'Act III' brings these two ladies together to close out the issue. While Red Skull did appear at the very end of Uncanny Avengers #1, there wasn't much information regarding his motives or master plan. Here, we get a much more fleshed out Red Skull who explains himself without sounding like he's lecturing 150 bored college freshmen in a beginner's biology class. It's simple, really. Red Skull had his consciousness preserved and downloaded into a cloned body -- circa 1942 -- so he could reawaken 70 years later when "the world had forgotten me and my perceived atrocities." Now, seeing the state of the world with mutants running around, Red Skull has taken the Nazi idealism of purity and strength and applied it to humanity at large which means "mutants are the ultimate invading foreigners." I'm actually surprised no one has ever taken this direction with the Red Skull, but that's kind of what 'Marvel NOW!' is all about, right? Before, most of the dealings of the Avengers stayed relatively separate from the world of the X-Men. But now, classic Avengers villains are getting in on X-Men territory, and the results are bone-chillingly awesome.

In the end, Uncanny Avengers #2 is a more compelling issue than the first, and that's extremely hard to do in the modern comic landscape. Red Skull has always been a rather menacing character, but it's usually at arms length -- he's generally reserved for flashback issues or as a totem for other villains. Fortunately, Rick Remender takes Red Skull to frightening new heights, making him not only one of the most formidable villains in years, but also one of the most powerful in the Marvel Universe. The team itself is slow to actually getting together, but that's what an opening arc is all about, right?

GRADE

9/10

UNCANNY AVENGERS #1

(W) Rick Remender

(P/I) John Cassaday

Thought I'd throw up one of the 20 variants for this issue.

If beauty is in the eye of the beholder, than we're all currently holding. Uncanny Avengers #1 is, simply put, an achievement. Rick Remender has taken all the convoluted tension between the Avengers and X-Men and brought it to the surface, making these characters actually talk about it instead of beating the crap out of each other on a whim. That might sound less-than-interesting, but it's actually the one type of confrontation that hasn't been done to death in comic books, and it's absolutely refreshing.

Fittingly, the funeral for Professor Charles Xavier begins the tale of these Uncanny Avengers, with a speech by Wolverine that has enough gruff to make it seem believable, but still conveys the fact that Logan is an intelligent person. This segues into Captain America's meeting with Alex Summers (a.k.a. Havok), the brother of Scott Summers. While not the biggest name in the X-Men roster, Havok has put in his time and paid his dues. Steve Rogers sees that and wants to make Alex the leader of a new Avengers/X-Men hybrid team. In years passed, this book would have been made to take a more natural-sounding path to it's inception. Remember the first arc of The New Avengers, when Brian Michael Bendis wanted so much for the team to feel natural that he set up a massive prison break out that was supposed to be the basis of the series, but was quickly forgotten. Rick Remender isn't beating around the bush, not with his writing style or with these characters' motivations. Steve Rogers comes out and explains his intentions to Alex Summers, explaining that there needs to be something more inclusive.

It may come as a surprise, but many writers like to dumb down their characters and turn them into simple action-and-fight props used to propagate ridiculously complicated plots. It is actually very rare to get a writer who understands that these characters are just like real people when they aren't fighting crime, which means they think like real people and have real people solutions to problems. Instead of using adamantium claws or vibranium shields to solve their problems, these heroes are talking, explaining their feelings to one another and hoping they can work together to make the world a better place. Remender's dialogue comes from a place of unfettered sincerity, and it's what's going to make this series a delight to read.

I can't say enough good things about Uncanny Avengers #1. Rick Remender's plot and scripts are just magnificent - there's no deep connections to continuity, there's no huge revelations about characters we didn't already know (how many issues can depict Cyclops be transported to his cell?) and the characters used are either largely identifiable, or get amazingly organic profiling through character dialogue. All of these elements make Uncanny Avengers one hell of a read. Marvel is really striving to bring in new readers with 'Marvel NOW!', and if this first issue of concept is an example of the quality we'll be getting going forward, then it will be tremendously successful.

GRADE
9/10