Captain Marvel #7, by Kelly Sue DeConnick & Christopher Sebela (writers), Dexter Soy (artist), Joe Caramagna (letterer) - I don't know what it is about McKelvie's art. It's technically fine, but it leaves me cold. Maybe the noses are too pronounced? There's something about it that just jars my eyes.Monica Rambeau's called in Carol to help investigate some missing boats in the Gulf. When Monica is busting Carol's chops about taking the name "Captain Marvel" without telling her, and Carol isn't giving Monica grief about Googling herself, we learn boats have been going missing, and Monica had a bad experience underwater in her early Avengers days (there's even a helpful editor's note!), so she doesn't go down there anymore. Thus, Carol. Back on shore, they're approached by an old employee of Carol's, some photog named Frank Gianelli. Frank's on Monica's ass to do something about the levees, ignoring, as Monica notes, that her powers and expertise are not useful for something like. Frank puts it on the back burner to get in on what the ladies are investigating, though. The source of the problem seems to be a very large thing, constructing a body for itself out of the planes and boats that have gone missing.
Oh crap, this isn't some prelude to Age of Ultron is it? I really hope it isn't.
I think Soy's coloring is well suited for underwater sequences. He gives it a bit of murk, without making everything so dark you can't tell what's happening. Also, I like that he draws Monica as slightly taller than Carol. I'd have always figured it the opposite. At the very least, they aren't conveniently the same height. I do think DeConnick and Sebela went a little overboard on the cutesy name usage. "Captain Whiz Bang" and all that. It isn't at Fraction using "Bro" levels yet, but after awhile I was had enough. I'll have to wait and see whether it persists into the next issue, which will presumably involve lots of smashing and blasting.
Defenders #12, by Matt Fraction (writer), Mirco Pierfederici (penciler), Veronica Gandini (colorist), Clayton Cowlers (Letterer) - One last generic posing cover to ring in the end of the series. The fact Namor only managed to get his legs in the picture is funny. Suits him, too. "The Avenging Son has no time for such pettifoggery!"The world is about to die, and it's the Defenders' fault, because they took one of the Engines. Except the fucking thing was still on Earth, even when they weren't, so what's the problem?! Why use the stupid Engines to help create heroes do defend the planet, if the heroes can royally fuck everything up by investigating weird crap like magical wishing machines?! Strange uses the Engine to go back in time and change things so he isn't at home when the Hulk comes calling, instead going to see Molly and try to. . . make amends for sleeping with her, I guess? While the rest of the team runs around in a dying world trying to save people and wreck the Engines (and where were those Engines Prestors?), only to end up dying before that one Prestor gets off his lazy ass and does. . . something. And I'm not sure what it matters, since according to the Surfer, Strange changing the past undid it all anyway.
I said before that I'm giving Avengers Arena a try. The Internet, in its typically hyperbolic way, has given me reason to think that's a mistake. We'll see. Even if it is, I doubt I'll wind up regretting it more than I do buying this series. Cripes, what a disaster. I don't do a "Worst Ongoing" in my Year in Review posts, but rest assured, if I did, this would take it. Easily. Even the disappointment that was Resurrection Man wouldn't come close. Let's end with something nice. Pierfederici is fairly skilled at facial expressions, and I like that bit with Fury standing up to the Death Celestial. The little explosion of the grenade at its feet, as it unmakes him and a bunch of other people.
Secret Avengers #34, by Rick Remender (writer), Matteo Scalera (artist), Matthew Wilson (color art), Clayton Cowles (letterer) - What do you think the yellow circles are on the cover? Lamps? Imprisoned souls? The eyes of some otherworldly horror? I'm only asking because I need something to distract me from Hawkeye's feet. I imagine Adams always draws them that way, but it's the first time I really noticed. Clint got bit by a radioactive kangaroo, apparently. Also, it's kind of strange that on the recap page, all the character's pictures are drawn by Hardman, except Pym, who is from one of Adams' covers. I guess Hardman never drew Pym as Giant Man during this run.Flash manages to reconnect with his symbiont, and get himself and Val inside the burning Watchtower. Fire is still bad for the symbiont, but Natasha returned (outfit still ridiculously unzipped), and they all teleport out, winding up back in the Descendants' base. Meanwhile, Hawkeye and Braddock retrieve the Orb of Necromancy, but find Undead Brother Voodoo can block their escape. Hank McCoy arrives, but lets the portal close behind him, so now all three are trapped in an undead universe. Joy.
In the Core, all hell is breaking loose, as all the different A.I. factions are at war with each other. Not sure what that's about, unless it's some Apocalyptian "survival of the fittest" deal. Meanwhile, Father reveals that his plan is to enable all humanity to scatter their minds across the universe by combining them with nanotech. Because every other group in the universe is just going to sit still for that. Senile fool. Original Recipe Human Torch seems on board, though, and Deathlok Wasp has made Hank Pym like her. No, not a woman. A Dethlok-thing. Oh, the heartwarming reunion.
I don't like Scalera's take on Father. He makes him look less aged, more like someone who suffers from a bad skin condition. I did like the pouty face he gave Parvez in the panel where Father ruffles his hair. His rendition of the Core is lacking that hodhgepodge style Hardman gave it, but given the civil war that seems to be raging, a burned out, post-apocalyptic look isn't bad. I do like his Undead Universe. he gets that Gothic horror and gloom, the sense of rot in everything. Also, his Undead Celestial is much more imposing than any of the Defenders' artists' version of the Death Celestial. Matthew Wilson's colors help a lot on both counts, all the purple and black, the darker shades contrasted against Braddock and Barton's lighter blues and purples. Helps them stand out, demonstrate they don't belong.
Now if only he would zip up Natasha's outfit.
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