Face Front True followers! After last week’s defection from Sear Space, Mighty Marvel’s devastation is back again and let’s take a look at this week’s hottest Marvel title. They prepare to be amazed by the X-Men in the Apocalypse as they challenge the Main 616 universe to fix any serious errors. In the summary, you will find yourself surprised by Captain America #3.
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X-Men in Apocalypse Alpha #1
Author: Jeff Roeb
Artist: Simone Di Meo
Letter: Tyler Smith of Richard Starkings and Comiccraft
The much-deferred X-Men “events” are here with the release of X-Men in Apocalypse Alpha #1. Given that it appears to be limited to miniseries, there is also a more important age for apocalyptic-themed events that will be released in the coming weeks on X-Men Age of Revelation. If that sounds like a lot of age, that’s because it is. The Age of Apocalypse is a beloved event for many reasons. That’s why it feels like every five years that Marvel will return to its concept in some form or fashion. Understood. This year, we are also aiming to celebrate AOA’s 30th anniversary. I understand Marvel’s desire to celebrate a huge blown away. Again, I’ll get it. What I’m not getting is why Marvel had to stack them on top of each other? In Flavorwise, Age of Revelation is more common with X and X-Man age than AOA. It is a theme of classical music. I am grateful for much more stories than when Marvel revisits the AOA universe on Earth 295. Returns are decreasing. That universe is now running its course at least three times. Please die.
Art by Simone Di Meo
As for the X-Men in Apocalypse Alpha #1, I’ll confirm that I was already afraid of returning to 295 on this trip. It’s all flash and is non-entitled. In 2025, both Marvel and DC decided to bring Jeff Loeb back from Wilderness to write a sequel to two famous nostalgia. I trembled when the news broke that Loeb was going to write this miniseries. As a writer, Jeff Loeb has worked with some of the best artists of the era to create amazing looking cartoons, but says it’s hard to read. Loeb loves to use narration. This isn’t a problem, I hope it sounds important just by imposing it on itself. That’s very true in this question. We have third party narration through the matter. This is trying to make your stake look bigger and heading towards emotional roots. The problem is that it feels very loose. Robe is trying to make it heavy and rich, but it goes off as the poor man Chris Claremont.
Art by Simone Di Meo
Narrator’s confusion and failure with another flaw at which his character works. Robe was not the best character. Often we write them in the broadest typical sense. Taking Gambit and Rogue, they focus on the issue. Loeb presents them with the most basic characterizations and does nothing interesting, but tries to force Gambit’s unrequited love angle. These characters have no weight.
Art by Simone Di Meo
Writing a character with a wide range of strokes is effective when combined with interesting plots and twists, but none of these will appear. The plot revolves around the Apocalypse X-Men, which restores the AOA timeline as the correct timeline and questions why he didn’t die in the nuclear Holocaust. I don’t like to review books I hope I’ve read instead of what I read, but I can’t help but wonder how better this comic would be if I tried to answer later questions instead.
Simone Di Meo is a talented artist who renders some of the most sophisticated looking pages I have ever read. They are smooth and treat this fantastic colour for them. It’s a shame that the robe is buried beneath a pile of narration boxes in the book. The character model is refined from the classic look of the 90s AOA and is perfect for art style. However, as a sequential page, art leaves a lot to be desired. It’s difficult to follow the action on the page, as each panel feels like an illustration instead of telling a story. There is not much consistency between pages, the background is merely a footnote, making it difficult for readers to get the bearings. It’s a pretty visible manga, but I felt a headache trying to read it.
to be honest. I didn’t like this book. I didn’t have high expectations, but I was shocked at how mediocre it was. This issue was boring and confusing to read at the same time. This plot is not funny at all, and Nate Gray’s promises from the 90s aren’t enough to seduce you to read the rest of the series other than Coverage for an overview of Marvel.
Art by Simone Di Meo
Final Verdict: Skip
A quick rundown!
Captain America #3 Captain America continues to throw powerful shields in Captain America #03. Steve is still in Latveria and is now a prisoner of destiny, but instead of being carried in chains, Doom is doing his best and talking to Captain America. The issue alternates between Steve and Doom’s conversation and the rescue of hostages from Dave and the Howling Command. Both are very interesting, especially since Dave’s personal struggle is a component in which the story works well, and because his appeal with the original Nazi puncher Captain America makes their relationship very interesting, not just healthy reasoning.
Zdarsky focuses on the location of Captain America, while intertwining with the tragedy of the war and its devastating consequences. From his dark outfit to his loyalty to America. This isn’t a new basis for Steve Rogers, but Zdarsky plays it well. In particular, it gives a final twist that really raises the stakes of problems and behavior. The battle between Steve and Debott is gorgeous thanks to City. The ending of the question is devastating and exciting. It’s time for Captain America to brighten up. This is a reminder that this new creative team reads Captain America. The next problem is because it appears to be a real page turner. -LM Imperial War: Nova Centurion #1 My estimation is that the imperial ties are much to live after her. It was the perfect test run for a fun new story featuring characters familiar to new, entertaining environments. Although it wasn’t a direct link to the events in the main book, I used these events to convey new and exciting things. Unfortunately, Nova Centurion is against it. Not only does it continue directly from the previous issue of the main series, it also unnecessarily embodies story points without giving readers new information. Nova finds the group behind the war. The entire issue, which shared the writing credits given to Jed Mackay and Jonathan Hickman, offers a dreamy view of Nova survivors’ guilt. But instead of exploring it meaningfully, Nova and the superconsciousness of the world draws from slightly different angles the details we learned in Empire #3. If the events of the empire exist to act as a springboard for the future Marvel space story, like they did years ago, this one-shot will fail completely. The art is a solid superhero piece, filled with gritted teeth and melodramatic screams from Matteo de Lafonte. He does what he can with a boring script, and I want to see him do something with real feelings and actions. The nitro colours are muted, naturalistic, in stark contrast to the bright popsifices of other Imperial books. Cory Petit’s lettering finds ways to naturally incorporate heavy conversation into art, without doing overwhelming things. Reading this issue is difficult to imagine enhancing reading of the main story in any way. Outside of the events of the book, it rarely brings out Nova’s character more. It’s one of the worse books I’ve read from Marvel for a while, and it feels like I’ve got some empty cash for a while. – One world under Doom #7 sorts Doom’s tricks and the early days fighting Captain America like ice under Doom’s ruse and Ice, and after a global debate between him and Mr. Fantastic, one world picks up after a devastating revelation that Doom is forcing his magic to use the citizens of Lateberia to force his magic. The next ten days will highlight the effects of Doom’s exposure, showing his true self, forcing resistance to place, spinning propaganda machines for him, revoking freedom of speech. Writer Ryan North stays in that soapbox, giving readers the similarities between what we call this a great American experiment and the attacks from authoritarian rules. But in all important ways, our heroes do a simple job when they gather together to make one massive attack against Doom and his dinosaurs. And here, artist RB Silva and colour artist David Culiel will flutter with the visually dynamic storytelling and vibrant artwork that we have come to expect from this team. Big fights find ways to make readers fresh and energetic without getting lost in the mayhem of the fight. To add to that, they worked in a lovely old school touch with a jipatong effect. North, Silva and Curiel have been building events. I’m ready for them to take it home. – GC3
Can’t wait for next week’s book? Keep up with past iterations of the rundown!
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