Spotlight: Mighty Avengers #1

(w) Al Ewingdetail

(a) Greg Land

** MINOR SPOILERS AHEAD **

In the ‘Marvel NOW!’ era, Mighty Avengers is the weakest Avengers title on the roster, and that’s including Avengers Arena — a series I was incredibly critical of because of it’s apparent reliance on the same general premise as Battle Royale and The Hunger Games  — and Avengers Assemble, which started it’s ‘Marvel NOW!’ run with issue nine and had a few good, small arcs before getting roped into the perpetual crossover game. For a while, it seemed like Mighty Avengers wouldn’t receive a reboot treatment. But to be quite honest, there probably wasn’t a need for one. Marvel already has eight ongoing Avengers titles, and this is the first one to feel completely superfluous. I have a few theories as to why.

First, Mighty Avengers has launched in the middle of Infinity, Jonathan Hickman’s sprawling epic about the Avengers heading off into space to battle the Universal Builders, while Thanos takes the opportunity to attack an Earth without it’s heroes. I don’t tend to like series that begin during an event as much as those that launch more organically. It could be argued that certain events offer a lead-in to new series’, but more often than not, the act of launching a new title during a big crossover event feels manipulative. Beyond a few panels at the beginning of the issue and quick appearances by Proxima Midnight and Ebony Maw at the end, the events of Infinity are barely touched upon. Yet Mighty Avengers #1 has INFINITY scrawled across the top of the cover as if it’s integral to what’s going on. It’s not. In actuality, the attack on New York City could have been from anyone or anything. This title could have launched without the Infinity branding and would have been stronger for it.

Second, Al Ewing doesn’t seem to know how to write this book. I’ve not read any of Ewing’s work in the past — that I know of — but I’m already averse to his clunky, unnatural dialogue and weird pacing. The first red flag for me was when Spider-Man says, “I got a very bright young lady to reconsider a life of paid thuggery.” Otto Octavius inhabits the mind of Spider-Man now, and would never say something like “I got someone to do something.” Octavius is a scientific genius and never hesitates to talk down to anyone he’s speaking with by using overly dramatic language and a condescending tone. But beyond the Spidey faux-pas, Ewing insists on writing overly obtuse dialogue that never quite feels organic. Luc, the French superhero costumier, is just corny and reminds readers that they’re reading a comic book, taking them out of the proverbial zone by highlighting how silly these characters are. Then there’s the Ebony Maw, the most ridiculous sounding henchman I’ve ever read…but only in this book. He reads just fine in Infinity, but Ewing manages to overly complicate the Maw’s monologue that made me want to just stop reading. And a Katy Perry reference? Come on, Al — you can do better than that.

mightyavengers-1-4

Third, Marvel still seems to think people like Greg Land’s artwork. I honestly believe that one of the reasons the ‘Marvel NOW!’ relaunch of Iron Man wasn’t as critically successful as it could have been was because Land handled the artwork and no matter how good the writing is, those airbrushed supermodel faces are just disappointing to see. Jay Leisten does Land a favor by inking in a richness and depth not normally seen in Land’s work. Mighty Avengers #1 features some of Land’s best work I’ve seen to date, but again, that’s mostly due to Leisten’s incredible inking. Of course, characters like Monica Rambeau still look different from panel to panel (the inking can only do so much).

There are a number of reasons to read Mighty Avengers #1: it’s technically a tie-in to Infinity, it features a mostly African-American cast of characters — if you’re invested in diversity in comics — and it hearkens the return of Luke Cage to the ongoing happenings of the Marvel universe. But it’s faults are big, and they might just be too big to ignore going forward. I’ll give most any series three issues, but I’m not holding my breath.

GRADE

5/10

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Age of Ultron #4 (mini review)

(w) Brian Michael Bendis     (a) Bryan Hitch


**SPOILERS AHEAD**


So…Age of Ultron is starting to get a little…eh.

Not bad, mind you. Just ‘eh’. Much like the super-sized Avengers vs. X-Men, Brian Michael Bendis’ Age of Ultron is starting to drag. The saving grace is that this series is coming out on such a quick schedule — what took AvX seven months is taking AoU only three.

Age of Ultron #4 picks up right where last issue left off, with Luke Cage facing down the Vision, who seems to be in control of the Ultron army subjugating the planet. That was a big deal. Unfortunately, that plot twist kind of goes out the window when everyone’s favorite android Avenger blurts out that it is, indeed, Ultron running the show, only from the future, using Vision’s operating system as a conduit. Whoa! It’s neat, but it also cheapens the effect of Vision’s reappearance. Now we know he’s just under Ultron’s control.

It’s beginning to feel a lot like Flashpoint up in this piece. Not only because I heard that theory before the event started, but because time travel is at the core of this story’s conflict. Obviously, the surviving heroes of Ultron’s rampage are going to have to jump through time and space to save their present. And as we all know, messing with the space-time continuum always has side effects.

Of course I’m going to keep reading Age of Ultron, it’s just this particular issue isn’t particularly interesting.

GRADE
6/10