Death of Wolverine 1, Rocket Raccoon 3

Death of Wolverine 1

Wolverine, on the recommendation of Reed Richards, has removed himself a bit from the heroing life while Richards tries to work on a way to reboot his healing factor. Unfortunately, the world doesn't stop moving just because Logan tries to step away from it. He finds himself on the wrong end of a bounty and suddenly has a number of interested mercenaries trying to cash in. One such merc is failed super soldier Nuke, who tracks Wolverine to the woods of British Columbia. Wolverine, who has already faced down a number of these mercs successfully, despite the toll it's taken on him, manages just barely to survive a fight with Nuke and learns that the bounty requires he be brought in alive and that the price on his head decreases the longer the bounty is out, making it a race for everyone interested. He also learns that it was placed by Viper, who also has Sabretooth in chains.

Strong first entry to the DEATH OF WOLVERINE event that seems primed to stand in the tradition of OLD MAN LOGAN sorts of stories (even going so far as to have McNiven still at the art helm). The problem with a shared universe, of course, is that Nuke has so recently had a big appearance in CAPTAIN AMERICA so I'm reading the whole thing trying to ignore that my brain is like "wait, Nuke's dead unless this is before the events of CAPTAIN AMERICA which would kind of make sense except that Steve's old now and I bet old Steve and Wolverine have appeared together since but maybe they haven't which would mean that this could all happen before that and that could be a link between...you know what, never mind." I don't like that my brain does that and I don't think it's fair that a single book be tied to the rest of the universe in a way it can't really help (though nothing specifically "Nuke" happens so it feels like they could have put any merc in his role and avoided all the confusion). Still, pretty good start as Charles Soule sets out to kill one of the most beloved Marvel heroes.

Total Score: 4/5


Rocket Raccoon 3

Rocket, Groot, and Macho attempt to fight off Rocket's ex-girlfriends, still unsure who they're fighting and why, when Macho uses one of his fish-themed escape plans to get them safely out of harm's way and on to Funtzel's home planet, which, coincidentally, puts them back in harm's way. However, the harm isn't too worrisome as Rocket quickly destroys Funtzel's guards and makes it to his compound to ask him a few questions. He knows that the guard who was shot by the impostor raccoon was one of Funtzel's men and figures Funtzel has done some sort of investigating to find the perpetrator, which is accurate. Funtzel says that he's barely gotten any answers back, just references of some tower and the book of Half-World, which astonishes Rocket though Funtzel calls it a fairytale. Before Rocket can tear into him for a perceived slight, the lights in the compound go off and Rocket investigates, finding the impostor raccoon on sight with Groot tied up behind him.

I've said it already but this one hundred percent feels like the book Skottie Young wants to be writing. It's often very rare that you see such a chemistry between a writer/artist and an idea but this book is so very clearly straight out of Young's imagination and Marvel should be lauded for letting him do his thing. A quick scroll through Young's website and his other work shows such a depth of ideas and creativity that would almost be wasted by just having him illustrating a book. Of course, he's a phenomenal illustrator so it's never a waste to "just have him illustrate," as if that's a minor achievement, but you see books like this or his sketchbooks or his warm-up sketches and you can kind of see how many stories he has wanting to get out. Here he's set Rocket out on his own, far away from the rest of the Marvel Universe, so it's very nearly acting like an indie book, which is very rare for a comic to do. Really strong stuff and extremely fun. It's not the kind of book I'll mention in the same breath as the heady and introspective HAWKEYE or X-MEN LEGACY or something like that because it's not going for that sort of feel, but it's certainly one that I'll recommend to anyone anywhere and would be astonished if they don't like it.

Total Score: 5/5

Captain America 14, Captain America Living Legend 4

Captain America 14
Remender (w) and Pacheco and Taibo (a) and White (c)

Captain America and Nuke have been fighting for quite some time before Cap starts to get through to him, explaining how his orders are wrong and how they have to go back to America and set things right. Nuke relents and helps Cap up as the American journalist who has seen the whole thing unfold takes another picture and reveals herself, setting Nuke off again. It takes all the remaining might of Cap and Falcon to slow him enough to give the journalist a head start and Falcon, after getting slashed across the stomach by Nuke and berated for being a civilian, still has to fly off a cliff to rescue her. When they land, he asks to have the camera to follow his orders and to make sure the pictures can't be skewed to look like America as a whole has anything to do with it but the journalist makes an impassioned plea to Falcon about freedom of the press and the orders he's following, which leads to him allowing her to keep the camera. Meanwhile, Cap has attacked Nuke again and finally hits his breaking point, something he knew he was reaching during the whole fight. He wails on Nuke and puts him down brutally before preparing to land a killshot, fearing that allowing Nuke to live only means allowing more wars to start and more innocents to die. Falcon shows up and takes the shield from Cap's hand just before he can bring it down on Nuke and Nuke falls unconscious, but not before he reveals that he did it all to make Cap and the other soldiers proud. Fury shows up to take Nuke away and to bring the heroes home and reveals that the journalist released the picture of Cap and Nuke shaking hands and framed it in such a way that it seemed like American operatives attacked the country, not just the broken Nuke. In China, the Iron Nail swears that America will be better for these attacks and that he needs to topple SHIELD to really start things rolling.

This is another emotionally charged issue that sits really well in this series. When Ed Brubaker started his already-legendary run on CAPTAIN AMERICA back in 2005, he started with a Captain America who was particularly aggressive and angry with the ways things had been falling and put more pressure on him by launching him into the epic Winter Soldier storyline. Steve was a little unhinged, though always in his "still morally better than you" way. He was strong in his convictions and he, of course, ended up being right but he didn't necessarily go about things the right way, rushing in half-cocked to certain delicate situations. We're seeing a bit of that Steve here, though maybe even more amplified, which makes sense. Brubaker's Steve had been worn down over time where this Steve has seen real personal tragedy and ten years of his life erased in the course of a week and, guess what, he's still in that week. Cap openly admits in his narration that he's tapping into a rage he hasn't felt before, something that's been hidden in him and brought out by the recent goings-on. He also is able to see that it makes him a worse fighter and a worse soldier so he continues to try to tamp it down, but it comes out in full as he pounds Nuke at the end. On top of the amazing character work that we're seeing and the decidedly different while also true-to-history Cap, there's a really interesting plot happening here with a world that is turning on SHIELD, if it was ever on SHIELD's side. Foreign powers working against America or working to smear America isn't new but the idea that a foreign power would want to, in whatever way, improve America by breaking it down first and allowing it to rebuild (he compares it to the re-birth of Germany after the fall of the evil reich) free from its corrupt government and SHIELD is a somewhat new twist on it and it comes at a time when the American people have less faith in their government and more suspicions than ever before. Really compelling story that's highlighted by phenomenal character work and really great art. Can't complain as Cap continues to grow.

Captain America Living Legend 4
Diggle and Granov (s) and Diggle and Robson (w) and Alessio (a and c)

Cap is being taken in by the dark energy entity before Volkov, deep within the base, manages to grasp control of it and pull Steve out. The energy keeps attacking and, with Cap's shield off in the distance, they have no weapons to defeat it. Cap rushes to his shield while the others buy a second's time, throwing it back in just as it prepares to overtake them. He leaves the shield with Dr. Fox and tasks Colonel Gridenko and his men with getting her to the Deus device so she can shut it down and stop the dark energy once and for all while he makes his way to Volkov. Gridenko knows that usually means death but lets him go all the same. Cap manages to reach Volkov, who tells him that he should have died that day Cap saved him and that his survival set in place a course of action that led to all of this. Even now, he cannot manage to die and the dark energy that's lived in him since his time in space consumes him, both of them hoping to die but unable to do so. He tells Cap that it's taken him 40 years to control the energy enough to allow a moment's respite and asks Cap to kill him in that time. Cap declines, wishing to get him to medical and scientific help but Volkov is adamant that it cannot save him, it will only kill any who'd get close enough. Finally Cap relents and prepares to shoot the soldier. He does and, for a second, it seems not to work. At that moment, though, Fox manages to activate the Deus device and pulls all of the dark energy in, destroying it there and leaving Volkov to peacefully die. Cap, Fox, and Gridenko leave the station with Cap still mourning Volkov and Gridenko essentially telling him not to waste his breath. Gridenko regrets what's become of Russia and its army as, to underline his point, a Russian bureaucrat shows up to question Gridenko on what's happened and why the Americans aren't being detained and so forth. Gridenko ignores him as Cap blows up the station. The Colonel then throws the bureaucrat to the ground and asks Cap for political asylum in America, which Cap happily informs him they can offer.

A pretty nice ending to the book, really powered by some great art, a compelling story, and nicely developed characters despite the length of the book. This is a shining example of a solid writer telling a good story but doing just enough to make sure the characters are all fully-fleshed out even without the benefit of a long series. So it is possible, you guys, and you don't have to sacrifice much to get it. Granted, I think Alessio's art really cemented this book; I think the writing was tight and the story was good but I may as well have just been distracted the whole time by the visuals. Still this is one of those stories that I think would be a good complete set to show someone who wasn't sold on Captain America or who didn't know a lot of comics, a really good beginner arc. There is an amount of soft science and the kind of stuff that will gain you some blank stares when you explain it out loud to non-comic readers but good luck finding any comic story worth its salt that won't. I don't actually know what the phrase "worth its salt" means because, I mean, it's salt, right? This day and age, that's not worth all that much. Anyway, I'm fairly certain it is a saying (please don't correct me if it's not, I don't need that you guys, just all assume I'm right). So another good issue to round out a good mini!

Captain America 13, Captain Marvel 17, Iron Man 18

Captain America 13
Remender (w) and Klein (a) and White (c)

Back in the late '60s, Nick Fury calls in undercover operative Ran Shen, meant to be infiltrating the Communist party in China to question him on why he hasn't reported back in two years. Of course, Fury doesn't really ask questions he doesn't already know the answers to and the interrogation pretty quickly turns south as he accuses Shen of creating his own party to rival Mao's, a claim Shen doesn't back down from. He then reveals his own enhancements and attacks Fury and Dum Dum Dugan, breaking out of his containment and rushing, with a scan of Fury's eye, to a high security location at the SHIELD hub. He's not the only one, though, as the Russian spy/assassin the Winter Soldier has watched the whole thing go down and attacks Shen once Shen gets inside the secure location. After a quick fight, both are attacked by a Dum Dum and Fury-led SHIELD team and both escape, though we see what Shen was after: a giant wing labeled "Weapon Minus." Lot of information here for the first ten pages of the book. Back in the present, Maria Hill calls Steve and a protesting Falcon (protesting on Steve's behalf) to take down Nuke in Nrosvekistan, claiming that it has to be Steve who does that, it has to be the icon of America to show that America doesn't support Nuke's actions. The two arrive and pretty quickly have some trouble taking the broken super-soldier down. It's a fight that will continue into the next issue.

Geez but there was a lot happening in those first ten pages. Sometimes you'll read a book and it will flow or, perhaps, even slow down (I think this book had a little of both) to such an extent that it covers the fact that we've just gotten so much information. I'm fortunate because I write a comics blog and so I end up delving in to help clarify some things but, if I didn't, I imagine I would forget a lot of key plot points (I still kind of do but that's more poor-memory related than anything else). The beginning of the book, with Ran Shen's interrogation and the Winter Soldier's involvement, are particularly interesting, though it starts to slow a little bit when we get into Shen's point of view, which almost entirely consists of a page or so of Shen hating America. I think it serves a purpose here, really giving us a depth of vitriol and catching readers up with the Iron Nail's beliefs, but it does feel a bit like it drags the story out. Winter Soldier's involvement is neat and it's cool to know that there's a deeper story there (perhaps one set to be explored more in WINTER SOLDIER: BITTER MARCH), expressed as Shen recognizes Winter Soldier and Winter Soldier reveals that Shen's target isn't his target; his target is Shen. Plenty happening here and that's BEFORE we get to Captain America himself, my thoughts on whom have been pretty regular of late. I find it really interesting to see Cap this despondent and Remender does a great job to, despite that, still show Cap as the force he was from the start of this book, someone fighting through anything and everything in his way (physical, internal and external, and mental) though there is an added sense of desperation and hopelessness there that didn't feel as present at the onset of this series. Stellar writing for Cap again. Great book. It would take something pretty impressive to follow this one up in a review. SEGUE.

Captain Marvel 17
DeConnick (w) and Andrade (a) and Bellaire (c)

Carol Danvers has returned to New York for the first time since the Enemy Within storyline's conclusion and it's a bit of a different world now. She's very open with her friends (hard not to be with this) about the state of her memories, though it doesn't impact her personality. Ultimately it means that she has no memories of people in her life like self-proclaimed sidekick Kit, personal assistant Wendy, and friends Tracy and Frank. On the flip-side, a ceremony is being held in her honor by the city of New York, appreciative of her efforts in Enemy Within. One individual, though, is not happy with her (really not happy with the world, but taking it out on her), new villain Grace Valentine, a self-made business success and genius computer engineer who wants more and finds herself overshadowed by the superhero events of recent days. She attacks the award ceremony (where Carol is given a key to the city and, perhaps more importantly, a new apartment in the CROWN OF THE STATUE OF LIBERTY whaaaaat) and Carol springs into action. Valentine has hijacked several drones and uses them swoop down on Carol, stunning her momentarily. As Carol recovers, Valentine sends a message to the world about who she is and who Carol is and why people should overlook Carol's perceived "achievements" for her own before revealing that she's targeting Carol by her star insignia. The crowd then jumps into the action, revealing their own insignias and shouting "I am Captain Marvel" and confusing the drones while inspiring Carol back into the fight. Valentine decides that she has no problem attacking Carol's supporters and sets her drones to the task when Carol leaps back in and saves the day. The day ends with Kit settling in to the CROWN OF THE STATUE OF LIBERTY apartment and showing Carol a comic book she wrote and drew to help re-educate Carol on who Captain Marvel is and what she's done, including inspiring (unbeknownst to even Kit) a young New Jersey teen with superpowers of her own.

A truly phenomenal issue and one that someone with less emotional restraint than I may have even teared up at a bit. Not me, that's not the point, you guys. It's just...it's not the point, okay? Anyway, it's a great issue that pulls on everything DeConnick has built for Carol through the course of this series. I talked about it at length during Enemy Within, which built a nightmare around Carol and enveloped all of her friends, a weight that doesn't feeling weighty if DeConnick doesn't put in the time to create a world around Carol. She did create that world, though, and so the involvement of Carol's friends continued to have resonance throughout the story and it's coming around again here, as Carol suddenly doesn't even remember who her friends are. The characters, though, are so real and so fleshed out that you can feel the love and care from them as they try to work around Carol's recent losses and find a way to get her involved again. What's more is that you're actively rooting for them and for Carol on their behalf. I can't think of another superhero comic populated by non-superheroes where this is more true. Even in Spider-Man, which has one of the most expansive casts of non-superhero characters (though that tends to change pretty frequently as different writers power up different characters in his life, geez), there are a few duds I can point to at anyone time that I can honestly say "yeah, I don't care about that guy/lady." Here, I actively care about everyone in Carol's life and this book doesn't work if you, as a reader, don't. Phenomenal job and a truly wonderful issue.

Iron Man 18
Gillen (w) and Bennett and Hanna (a) and Guru eFX (c)

We get a simulated look at the world of 30 years from now as Tony and Arno Stark immediately get to work on trying to better the world, trying to help the people and protect them. After that simulated 30 years, Tony and Arno have created a self-sufficient and self-protecting city that they can manage from above. As wonderful and idyllic as it is and despite how much it matches their dreams, it's inevitably immediately destroyed as the AI they've had around and based on 451's designs has covertly worked to undermine them, even when it was unaware of doing it. The two are wrenched out of the simulation and Arno emphasizes to Tony, back in the present day, that they cannot trust AI, a fact that Tony keeps glazing over because, as much as he knows he can't trust anything to do with 451, he can't help but be fascinated at the technology. Arno suspects that he's actually just avoiding talking about the adoption. Tony is saved by the bell on that one as an Avengers distress call comes in and he dispatches his Iron Man suit, complete with PEPPER, to handle it. Arno frowns on it but understands Tony's decision to be more proactive in building this new way of life than reactive in trying to stop supervillains as they pop up. Meanwhile, they seem to have a doozy of a supervillain primed to pop up as some sort of possible AI or enchanted ring-dispenser is targeting individuals around the world and making them Mandarins, presumably 1-10 (we see the creation of Mandarin Seven here).

Still a lot happening in this book, though plenty of this issue is dedicated to a simulation of a possible future. That feels like it should slow the book but I didn't even notice how much of the book it had taken up until I flipped through again to look something up for my summary. It moves well and it serves a distinct purpose, showing us what Arno and Tony are set to do. Tony has always been the engineer of the Marvel Universe; it's on his back that the technology and wonders (and sometimes also threats) of the Marvel Universe appear so it's important that we see what his aims are moving forward, as well as what his concerns are. In this case, his aims are perhaps greater than they've ever been, a self-sufficient city that can protect its inhabitants from both natural and alien threats in a particularly threatening new world. We also see some of the newest concerns as Arno warns Tony repeatedly that he can't trust AI, which Tony has more and more begun to trust with time. The addition of a new Mandarin-based threat at the end of the issue is just icing on the cake as we already have more than enough here to talk about and think about moving forward. It would have been relatively easy to take this issue as a sort of break issue, to reorient and keep away from supervillains and the like while Gillen establishes Tony's new life with Arno but, instead, we get plenty of new threats and new promises for Tony. Pretty neat stuff.

Captain America 12, Deadpool 18, Wolverine 10

Captain America 18
Remender (w) and Pacheco and Janson (a) and White and Rosenberg (c)

Cap has burned all his souvenirs from bygone ages and is trying to step forward in his life. Of course, this isn't any sort of easy step. It's harder, even, then being frozen in ice and reawakened because now he's also just in the last day, practically, lost a son and a wife. One of Steve's closest friends, the Falcon, comes to talk with him about it, wanting to get him out of the house. The two move around the city talking until Steve finally cracks and breaks down as much as Steve Rogers can. Meanwhile, we find out that Nuke has been set loose on the world (in plenty of places where America has lost soldiers) by someone who apparently abhors America (unbeknownst to Nuke, though much is unbeknownst to Nuke) and  who seems to have mystical powers all his own.

The story for the arc is certainly still coming. The intrigue of Nuke and the former SHIELD agent who hates America and its capitalist ways and has powers borne from some mystical dragon is very present in this issue, if still rather unexplained, but that's, for the second straight issue, not our focus with Steve. And I don't blame the book for it. Steve went through 16 issues of just about the worst things that have ever happened to him. Of course, in those ten years in Dimension Z, some truly wonderful things happened to him, mostly to do with him and Ian, but he was fighting a horrible and seemingly impossible to defeat overlord and it culminated in the death of the two people closest to him and in returning to a world he no longer recognizes hot on the heels of those deaths. Let's give him a couple issues to let some of that emotion out. These are really difficult issues for Cap and this one perhaps even more so than the last. He's got a lot going on and it's, to Remender and Pacheco's credit, very evident and palpable here. It hurts to watch Cap go through what he's going through, the rock of the Marvel Universe so shaken to his core by what's happened. You may know Cap is the unflappable leader of the Avengers without even really realizing it. I've read plenty of Captain America and seen him at low points, needing to gather himself or needing to let the fear and doubt and tragedy out of him but this, right here and now, still resonates on a different level. It's a powerful issue for Cap, who is at his lowest right now, and (segue) he's not the only character feeling that way at the moment.

Deadpool 18
Posehn and Duggan (w) and Shalvey (a) and Bellaire (c)

Deadpool, Cap, and Wolverine are leading the North Korean experiment mutants out of the camp and are on pace to try to save their families from destruction at the hands of the North Koreans. It's not an easy task but they at least have the upper hand in terms of powers and, at least briefly, the element of surprise. They plan their strike and move and, surprisingly, it goes rather well. They manage, in no small part thanks to Deadpool, to decimate the army on-hand and rescue the surviving family members, though there are plenty who were killed even before this strike. Deadpool realizes, despite Wolverine's attempts to get him to stay back, that his baby's mother and, quite probably, his baby are among that number. It shatters Deadpool, who went into the fight more serious than, as Wolverine commented, we've seen him and who was perhaps more dedicated to the fight than ever before. The issue ends with Deadpool pronouncing this all his fault and crying over the loss of his family.

It's a tough issue for Deadpool and, as this arc continues to show, pretty strong writing and ideas. There are jokes that are well-timed, there are fun bits to the action that keep this firmly in the "This is a Deadpool book" camp, but it all cedes to an emotional core for the book. Gone are the non-stop terrible jokes and references, gone are the ineffectual crude jokes and baseline humor tactics, gone are the meaningless support and villainous characters this book has often found itself littered with (though Preston is still kicking around; more on that in a minute). In its place is a smart and thoughtful book that knows when to put in jokes and knows when to keep jokes out of the way. I think I may have talked about this before but I certainly can't be bothered to look that up to confirm so I'll say it again, Preston remains a weak point for the book. She's filling the same sort of role in Deadpool's mind that the loose Peter Parker consciousness filled in the first several issues of Superior Spider-Man; she's saying things we totally expect her to say when we don't need those things to be said. Peter would see Doc Ock doing something morally ambiguous in his body and would start saying over and over "oh come on, don't do that, I would never do that," a sentiment that the audience was well-aware of. This is much the same case, where Preston is saying things right along those lines only to be ignored by Deadpool or even for him to consent but in a way where I honestly believe he would have consented without her needing to say anything. I think her inclusion here slows down what is otherwise a truly very good issue though, in truth, this issue is strong enough and her role so limited that it still stands well in spite of her. Also some more great Declan Shalvey art.

Wolverine 10
Cornell (w) and A. Davis and M. Farmer (a) and Hollingsworth (c)

Wolverine is still on the trail of Sabretooth, which has led him to the place where he was born, now a strip mall, while Fury and SHIELD work with the Host to try to counteract the Virus' effects. One of Wolverine's unnecessary supporting characters (back from when we met them all at the bar way back when) has apparently created a sort of filter to keep the Virus out but it's a limited range and their too expensive and difficult to produce en masse and so they're only being used by the supporting characters, SHIELD, and heads of state. Fury, who is working with the Host to try to find some sort of way to stop the Virus, asks the Host if there's anything she can do to reverse what the Virus did to Wolverine. The Host admits there isn't but says that the Virus might be able to (bet that won't come up again) if it was so inclined. Meanwhile, Wolverine and Kitty have investigated the mall and, while trying to get the security guards to clear out, watch as Sabretooth's small branch of the Hand, Mystique, Lord Deathstrike, and the Silver Samurai enter the mall to close in around them. Up on the helicarrier, SHIELD has realized that the Virus is launching its full attack and that it's much more widespread than they thought, already beginning to infect the globe.

Hopefully this set up yields results as we have what will have to be a rather fast-paced and action-packed conclusion coming up on this arc (we're on part three of six so maybe it will be a little drawn out, rather like this series as a whole). Still, we find Wolverine still being awfully cautious for the first time in...ever, and we see the Virus putting its plans into motion. There are some books where a ten issue+ arc feels right (like in Captain America, Young Avengers, and, to perhaps a lesser extent, Thor), like the book has still moved extremely well and the story was ultimately worth telling. In this case, it feels like we've gotten maybe six issues combined of story out of ten physical issues. That's not even necessarily because of the ideas; there's a virus that's essentially possessing people inhabiting the Earth and which has made Wolverine susceptible to injury, which has spun off into its own story which, in all likelihood, will tie back into the virus story. That's plenty of story for ten books. Cap got more than ten really great issues out of one prolonged fight with Zola. Still, the pacing and the writing feels slow which makes the story feel lethargic. I feel like it's gotten a little better as we've introduced more compelling characters with more compelling reasons to be there (throwing Kitty in alongside Wolverine helps because we see the impact he's had on people and we get to see the little quirks of his being mortal from an outside perspective) but this book still feels like it's been around for a long time, and not in a good, it feels classic sort of way. It's more like "good god, this story is still going, isn't it?" kind of way. Not really where you want to be ten issues in.

Captain America 11, Fantastic Four 12, Indestructible Hulk 13

Captain America 11
Remender (w) and Pacheco and Janson (a) and White (c)

Cap has returned twelve years later back to the present day of Earth. Drs. Banner and Pym run all sorts of test on him and do what they can to remove any remaining Zola influence and fix any remaining injuries Steve has while Maria Hill questions him on his time in the other dimension and the whereabouts of Sharon. Hill recommends Cap stay in touch with SHIELD to help him recover but he prefers to get back in the field. In another room, Fury is questioning Jet Black who is proving difficult. Eventually Cap retrieves her and takes her back to his old home, which is stuffed with memorabilia of his past. He promises he'll help her start a new life here and tells her that she has to let go of the past. She points out the irony in this as they stand in his museum-like house and he concedes the point. Not one to be a hypocrite, Cap gathers everything and piles it on the roof, setting it aflame in the rain. Meanwhile, broken Weapon Plus Program participant Nuke has decided to continue a war America thought failed in Eastern Europe, which will no doubt come to a head in the next issue.

There's a lot of memory out of Steve here as he recalls the death of his mother and the lessons she left him with, including letting go of the past and never giving up the optimism that this country brings. It's a really nice backstory to make Steve's family not that far removed from immigrants so they have the hope and ideals of the country so ready, even if they haven't particularly succeeded yet. It gives a nice optimism to Steve's history and puts him closer to the classic idea of the American dream than a lot of other heroes have been. The memories also serve as a nice story for Steve to fall back on to ground him again in the present after so much in his life has, once more, changed. He's able to use the memories of his mother and what she instilled in him to reorient himself in this different world. It's, presumably, what he had to fall back on to find himself when he was unfrozen after WWII. Overall, it's a nice characterization and it fits with Steve's longstanding character as well as the character that's been established with memories and the like by Remender in his short time on the book. Putting him against Nuke and alongside Jet will be an interesting storyline as it gives Cap someone on his side (hopefully) who knows what he's been through and who is dealing with similar problems of her own while pitting him against someone who feels abandoned and has fought all of his life for ideals. Exciting things to come.

Fantastic Four 12
Fraction w/ Sebela (w) and Bagley and Rubinstein (a) and Mounts (c)

The Fantastic Four is still separated, with the Johnnys, Reed, and Val stuck in Celeritas' past and Sue, Ben, and Franklin looking for them with the not-so-helpful help of the Preservation Front. Eventually the two groups find one another, meeting up pretty far back, between the Big Bang and the dawn of man on Celeritas. Of course, that means dinosaur fights, so there's a good amount of that. The Preservation Front, preferring not to be arrested, leave without the F4, stranding them in the past up against a slew of dinosaurs with their powers going in and out. Ben's rock skin starts to break, Sue has an episode which allows the Front to leave, the Johnnys seem okay but the air  in Celeritas is different than they're used to, etc. The team manages to hold off just long enough for help to arrive in the form of the grandchildren of the Preservation Front who detest their grandparents' ways and love the F4, going so far as to repair their ship for them and bring it back to this point in time, as time travel is readily accessible in Celeritas' future. The issue ends with a lot of question marks, still mostly regarding the powers of the F4 and future John Storm, with the immediate problem being Ben's rapidly breaking down body.

The powers going haywire continues to make for some compelling storytelling and Ben's rocks breaking off makes him a weaker (physically) character more prone to injury and fatigue while still looking like Thing. Kind of the worst of both worlds, if it keeps up. The question of John Storm is the more intriguing one, though, as he keeps hinting to events in the future, both of the team and kind of of his own future. It's particularly interesting because we also have the future John Storm in FF. Is this John Storm from a point before or after that John Storm? Is this one who knows the outcome of the team? Is this, in fact, a completely different entity also posing as (or believing itself to be) another John Storm? No questions have really been answered about him with any sort of definition; both Johns have been identified by people close to them (Wyatt Wingfoot for the FF's John Storm, Johnny himself for the F4's John Storm) but even that's not a definite. Still a lot of places to go with this book even as Fraction's time on the book winds down (not sure if he's still providing story or some scripting from this point on; my thought was that he was off the book but I thought he was off after this one and he's still listed on the preview of the next one).

Indestructible Hulk 13
Waid (w) and Scalera w/ Jacinto (a) and Staples (c)

Hulk and the Bannerbot have arrived in the time of King Arthur to find that the Chronarchists have expelled Arthur and his knights from Camelot in an attempt to take over Europe at a very formative time for the world. Holding power now, he could completely alter major events following the Middle Ages. On top of that, he's upped his game from bringing dinosaurs as weapons to bring major warriors and weapons from all over the timestream to defend his new kingdom. Working alongside Arthur, Merlin, and the knights, Bannerbot gets Hulk in position to attack the Chronarchist and, with the help of the Ebony Blade, rips this one back into the timestream as well, restoring the legend. As Bannerbot tries to keep Hulk enraged (to keep him as Hulk), he's interested to learn that Hulk is staying Hulked out but seems to have a higher intellect, which makes him believe the Chronarchist is toying in Hulks timeline now. This proves true as we see some tampering at the gamma bomb site where Hulk was created.

Another interesting issue that deals with the ramifications of past events on the future. There's maybe a little overkill in explaining that and, in truth, a bit much by way of summarization of where we are and why we're doing what we're doing. It's not so much that it's particularly bothersome but it's enough that it starts to pull the reader out far enough to say "hey, yeah, we get it." The same is true, I would think with most comic readers, as we keep getting into the butterfly effect, though it's toned down well enough to simply serve as a reminder of what's at stake. Otherwise, the issue is another solid one as Waid continues a team-up of Banner and Hulk and as we start to see Banner becoming more comfortable working with Hulk. It's a weird sort of buddy cop plot in that the two are so different but that the straight man knows the wild one so intimately. It's a neat little formula and it's working out so far. I expect it to move nicely forward into the next issue. It will be interesting to see if Hulk has Banner smarts at this point in his timeline and if the two get along worse for it. In and of itself it's a cool idea, putting Hulk and Banner inside their own timeline as the Chronarchists attack their attacker a little more aggressively. Neat story.