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This week, we talk about Amazing Spiderman (the comic AND the movie), Elektra, Uncanny Avengers, Gotham, 24, Game of Thrones, and more!

Uncanny Avengers Annual (2014) Review

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STORY BY Rick Remender

ART BY Paul Renaud

Rick Remender takes a break from his reality splitting, time hopping madness of his Apocalypse Twins story arc. Instead, Remender gives us a satire about the entertainment industry while using Mojo as his surrogate. The story begins with Mojo trying to pitch his new high concept story arc to a room full of statistic vomiting board members until they finally green light a story about the Uncanny Avengers being attacked by their supernatural counterparts. Sound familiar because it should. This is a nod to the DC crossover event, Forever Evil, which was kicked off by Justice League and Justice League Dark fighting each other before they united to confront a larger antagonist, the Crime Syndicate. This metafictional nod sets the tone for the whole rest of the issue while Remender consistently makes fun of the poor choices the artists, editors, writers, and critics have been guilty of making in the Comic Book if not Entertainment Industry as a whole.

It’s interesting when the board members tell Mojo the story needs more highschool type drama in order for its target demographic to better relate to the characters. This is a self-referential sucker punch to Young Avengers, Jean Grey’s School, Hellfire Club, Avengers Academy. It has become increasingly frustrating watching the story arc play second fiddle to the love quadrangles. Brian Michael Bendis has admitted that the relationship between Emma Frost and Scott Summers made little sense. Storm is now with Wolverine instead of Black Panther. Does it matter? Nope, but the writers will still use this gossip to world build like it was one of Grandma’s daytime soap operas. Seriously, Logan is old, hairy, short, broke, angry, alcoholic, who had killed his “one true love” who he was having an affair with. Yet, Wolverine has slept with more people that would make even Emma Frost blush. If Wolverine didn’t have the healing factor, 80% of Marvel’s female population would have STD’s because of him.

However, the big jab is towards audiences in general. Remender comments how today critics are too afraid to say they don’t understand a plot. Instead, they will take the opposite approach and compliment the story no matter how indecipherable the story may be. No one wants to appear stupid so everyone goes along with the flow. In addition, if the story is too straight forward, people will whine about how boring it is. Basically, Rick Remender has boiled critics down to an adolescent child who suffers from Attention Deficit Disorder.

Quite honestly, how can we argue? Plot twists, action, and relationships being shoveled in just to keep peoples attention doesn’t equal good writing. Soon, it turns into a tangled mess and like Rogue in this story warns, “don’t pull too hard at the loose plot strings”; otherwise, it will cause the whole story to unravel. Perhaps the audience should dare to question the integrity of these stories. Hang on Mark Waid. How’s Daredevil able to jump around a city without killing the little girl with a bomb inside her gut or Hulk jumping around the city with his brain hanging out? Let’s not even get into the babbling nonsense of Faction’s Inhumanity or Spenser and Kot’s Secret Avengers.

In addition, it’s always a pleasure when writers stab at marketing research which force writers to curve their writing towards what is hot and trending in order to connect with their target demographic. For example, using a Marvel version of twitter in place of dialogue boxes even though it slows the pacing to a grueling stop is just as tacky as when the 80’s Teen Titans would reference Michael Jackson or product slogans. Yep, here’s looking at you Brian Bendis and Kieron Gillen.

Rick Remender has given us a fun commentary about the state of the Comic Book Industry. Although it came out of nowhere, it is nice that an A list writer validates the back slide of comic book standards. Although a critic can now be anyone with an internet connection, a 7th grade level of education, and a working knowledge of pop culture, doesn’t mean the industry should lower their own standards. Somebody should take accountability for the quality and content.

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Uncanny Avengers Season 2 18.Now (2014) Review

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Writer

Rick Remender

Artist

Daniel Acuña

Uncanny Avengers season 2 isn’t a very good jumping on point for new readers. Once again, Marvel Now’s accessibility idea of each number one being a great starting point isn’t realistic. Of course, after the phenomenal pull no punches Ragnarok Now, Remender never had a chance. This story takes place after Earth had been destroyed and all the surviving mutants created a Planet X utopia. See what I mean? The majority of this issue is a blockbuster chase scene between mutant Avenger Havok and the overly large mutant Blob which is set in a glossy futuristic utopia. However, Remender slowed the pacing down by mixing Havok’s letter to his daughter Katie with the poorly written word vomit of the Blob. Maybe it would have been better to world build Planet X with the letter before jumping into the action, especially since anyone who is trying to jump on may need a minute or two to find their bearings. This tonal inconsistency is distracting, and it’s better to ignore Blob although ignoring the pursuer in a chase scene defeats the needed tension to make it work. In fact, it’s also hard to digest how The Blob is even able to run and somehow keep up with Havok. Maybe Remender wanted to shake things up by adding new b list characters to the mix, but there are many others who would’ve worked better.

The artwork is computer glossy with cell shading. The artist really missed the chance of creating a mutant built world. Instead of keeping the sterile utopia look which has been used countless times, it would have been really interesting to see a world that represents the crazy powered mutants who inhabit the world. Then there’s the last three pages of the comic. The art took a more sketched and less polished approach complete with sloppy coloring. Instead of finishing the story at the end of the chase, they jammed three incomplete pages for a cliffhanger finish. The tonal inconsistency and the lack of plot progression or world building really made this first issue feel like a phone in. Hopefully, the next issue will have a little more focus. Until then I recommend new readers skip this one and pick up the trade or issues of the Uncanny Avengers: Apocalypse Twins saga.