Faithful Marvel readers are back in another edition of Marvel Overview! For the past few weeks we’ve been in space, assembled like the Avengers, and exposed to cosmic rays. This week we’re going through time and space in the Marvel Universe! In one major review we’re looking at Imperial #2, but our quick overview covers Imperial #2 and brings the villain: hateful, the world that comes, Godzilla destroys the Marvel universe, Marvel Knights: #2, and the exceptional X-Men #11. So buckle up on this complete tour of everything Marvel has to offer and realize there may be some small spoilers!
As always, beats want to hear from you, a real believer! Please let us know what you think about this week’s Marvel Comics! Please let us know by screaming in the comments section below or below on social media @comicsbeat or @comicsbeat.bsky.social.
Cover art by Marco Checchetto & Marte Garcia
Imperial #2
Author: Jonathan Hickman
Artist: Iban Coello & Frederico Vincentini
Colorist: Frederico Bree
Letter: VC’s Cory Petit and Ariana Maher
We spent a lot of ink here at Rapid Rundown on how much we enjoy events like X-Manhunt and One World ongoing under Doom. The Marvel event now feels so overwhelming, and has put many Marvel fans in a wrist rest. The interests are pointless, and the outcome is fairly weightless. Last year’s Blood Hunt was one of the most fun books Marvel released last year. That was until it became a prologue of one world under destiny. At this point, if the world under Doom is not a stepping stone for the next event of world change, it would be surprising.
This second issue of Imperial feels very refreshing. Similarly, Jonathan Hickman surprised the dynamic readers of the Ultimate Spider-Man family. Character actions result in everyone here rushing to the conclusion that bites on the butt. In the midst of complete chaos, there is a very clear interest in the politics of the universe. And the moment intended to make you out of breath? They complete the land here. Bigger bonus? I don’t feel like I’m missing anything by not reading Nectine (though they’re coming).
Art by Iban Coello & Frederico Vincentini and Frederico Blee
After being slaughtered at the end of the previous issue, all the galactic empires of Wakanda Prime descend in full faith that the Wakandans are behind them. This issue is pure action that involves massive space warfare and quarter-person battles. Artists Iban Coello and Frederico Vincentini and Colorist Federico Blee get a lot of drama and action from all Dutch angles, crazy compositions, orange and motion lines that can be thrown into every panel. The term “widescreen comic” has been favored, but I feel it is necessary when describing this manga. The two artists intuitively understand how big this conflict is and how they need to sell to their readers. There’s nothing cheap about their storytelling that will hold back what’s going on here. The drama feels as big as the action, and the colour palette Brie uses just enhances all this. It is a balanced act when the issue comes to light, and I feel that the drama of that scene on the spacecraft and what happened afterwards are as big as the outside explosion.
Art by Iban Coello & Frederico Vincentini and Frederico Blee
Imperial #2 is a space opera on a scale that superhero comics rarely see. The first issue may have been a largely compelling setup, but this issue is the pinnacle of a storyline from the past 20 or so years of Marvel history. When a group of characters triggers the word of action, if it’s the name of a long dead supervillain, you know something terrible happens, and that’s great. The storytellers here are fired in every cylinder. This reads like what a huge event should be. Multiple characters feel emotionally realistic and struggle in a thrilling way to witness.
Verdict: Purchase
A quick rundown!
Art by Lee Bermejo brings bad guys. Writer Philip Kennedy Johnson and artist Sergio Davila take on the important task of detailing the iconic Hulk villain agreement with Mephisto. Hate is forced to help Wakandan deal with the supernatural elements discovered in ancient wells. Without going into spoilers, this issue does a great job of making it an absolute monster, from his overwhelming atrocities and strength to how he speaks to and treats only real allies, to how he handles the intelligence analyst assigned to his case. You never feel like things are being dragged over, especially if you’re looking for a twist that comes with this problem. Bring on the Bad Guys Run reminds readers that Marvel World’s villains are not only more than their power, but also villains for being wise personality. Fans of Hulk’s nemesis will probably appreciate focusing on him. But for someone like me who has never read a hateful issue, this is an excellent introduction to the character without holding your hand and filling in any details about him. The hated knowledge extends to the character’s film debut. But when I was involved in this issue, I never felt lost. This is a testament to a great understanding of the comic writer’s characters and the merits of the story, as it does not require prior knowledge. It tells you everything you need to know about hateful things through dialogue. This issue is something to pick up and I’m excited to see what hatred brings to the Hulk in their problems. In the future, T’Challa is dead and the world is falling apart. Like the original run of the 90s, they use the Everett Ross character as the narrator of this nearby future story about how things got worse for our favorite monarch. Furthermore, the first issue of this series causes quite a raucous thing in Blerd-Sphere along with the release of T’Challa’s son, and this issue addresses “The Panther of the Room.” From the credits, this seems like a Quesada story, but it definitely creates the hands of the priests. Like other priestly comics, the way he plays over time, you’ll think he’s a conqueror or the wizard Merlin came out of retirement. The dialogue still has a smooth humor related to his catalog, but this story has an accompanimental and very worrying edge. As for art, for my immediate memories, Quesada mainly does the longest cover and does not do interior decoration. That’s a shame. His work with the art of colour artist Richard Isanob was incredible. The storytelling and pace in question are harsh, and coloring Isanove’s skills adds rich and energetic vitality to the various scenes. Quesadas and the priests make a great team. And whatever they have for the rest of this series seems like a valuable read. – Mark Brooks Godzilla’s GC3 art destroys the Marvel universe. Maybe it would have been stupid to expect more from this issue of Godzilla Destroys the Marvel Universe, but I hope that after Jonathan Hickman transformed his Alien/Avengers crossover into a brain gothic storytelling event, I likewise win some serious concepts. This is a comic, not a dramatic dramatic reimagining of the recent King of Kaiju, except for one from Shin Godzilla and Godzilla. This is a big goofy rubber Godzilla that was solid and classic from last year. That’s not as long as it goes. Jerry Duggan can write good, funny cartoons. The problem here is that he wants to do both drama and slapstick, and the book never finds a balance. Javier Garon’s art is amazing. Godzilla is lovingly detailed and dominant in every page with a large vertical panel, to sell his size and weight. The destruction is so much fun to watch, and the lizard itself definitely imitates those stupid movies. There’s a really impressive spread here. Quicksilver runs through the panels and down the panels to rescue people from knocking down the buildings (tilting the panels reminiscent of trembling stairs) is an ingenious depiction of the cold, shocking impact of the stone and the super-speed. Again, the same shift in big action and big tones from stakes to screwball comedy is evident. Gallon elicits an exaggerated expression and response. Jesus Albutov and Andrew Dalhaus give the book a bold, bright colour, as if to emphasize that this book is fun! VC’s Travis Lanham nails lettering with a dynamic portrayal of the classic Godzilla SFX, which adds weight and amount to his roaring and explosion of energy. The comic looks good and is plenty of time, but it doesn’t rise beyond the gimmick. – Carmen Cornero & Nolan Woodward’s TRART QUACTERALSAL X-MEN #11 Chicago’s most unusual teenager will launch a new arc this week with the exceptional X-Men #11. Author Eve Ewing continues to nail it with each issue. All the teens are real, the dialogue is glaring, and the character moments feel like there is real growth. The series is, on the surface, a book focused on kitten pride, and Ewing’s handling of characters is refreshing. Kitty is trying to heal her emotional and psychological wounds from X’s collapse and wants to keep her children safe from not living her life. This is difficult as the team is refreshing from their victory over Sinister. Teens begin to want to run more freedom on their own. Of course, Kitty has a hard time letting go of this. Ewing’s situation handle is subtle and effective. Kitty doesn’t feel a personality and continues to pay dividends by adding Iceman to his team. Not only is Bobby the original five X-Man, he is the first young teenager. He eases Kitty’s concerns. Ewing balances dynamics very well. Federi Coman Singh’s art is truly amazing. The emotional beat of the cartoon was very intensely grateful for their art. Man Singh has strong commands on facial expressions that help to pop this mostly talk about. Before we finish this review, it should be noted that Ironheart is a guest star in what is only known as “brand Synergy.” Lili is OK here, but it feels a bit unnecessary in the story. Aside from that, this is a good manga that makes me happy. –JJ
Go back next week, seek out other reviews, look at the archives and read past reviews from the Rundown team!
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