This issue directly continues the cliffhanger from last issue that saw what looked to be a severely spent Dr. Strange, after he got his ass handed to him. It turns out it isn’t quite that emphatic a ‘L’ or that (at least immediately) dire a situation, as we find ourselves back where we spent much of our time last issue with the Avengers sitting around a table and chatting. The extraneous dialogue is not unworthy or even unwanted. It’s not even unnatural, but Bendis may be beginning to push it with this issue, as while I did appreciate it last issue (and the title in general post-Secret Invasion thus far), and though the end certainly makes the next issue desirable, it is the second issue in a row that was dependent on the last page or two to merit being able to be defined as something remotely close to progress. There is a rather fine line between adroit cliffhanger and cultivating a concern that the plot is actually a seeming inconvenience to be passed off in the last minute.
In this issue the Avengers talk Strange into a common cause; namely finding a figure that had a part in handling each of them recently. Outmaneuvered by Osborn, Hood and his crew caused the Avengers to retreat in issue#50. He has also achieved power that’s not at all lacking when confronting Strange. In general, I just I dig Marvel’s magical pantheon, and seeing the Son of Satan here is a nice surprise– not even in terms of dramatic utilization in the issue, but I just appreciate the simple inclination for the usage of the character itself. If there is something that gets me excited about the last two issues and where this arc seems to be going for at least the immediate future, it is the possible assimilation of the fantastic element of Marvel comics into the very infrastructure of the line, and not a sporadic, eventy or event-causing random occurrence. I hate the magic ‘corner’ of the Marvel U. – and I’m ready for it to be part of the single, grand tapestry. Love, hate, or indifferent about Bendis, the pure ass-in-seats reality that he brings to the table allows him an almost unique ability to make aspects and elements both credible and legitimized just by the virtue of him writing it. In short, he can make shit (currently) official.
More and more, and perhaps from the very beginning, I find that having Bobbi back really works for me. There’s a manifest charm that her presence/return brings to the title that is strikingly unique, and not odd in the way such an insertion could be. Sometimes Bendis-characters can feel like they speak with the same voice, thus having an overlapping presence or quality, but Bobbi (Bendis) has created space that I can’t quite put my finger on, but I’ll call it that West Coast flava- I’m loving Bobbi. What is perhaps the most enjoyable part of this issue is actually a segment more akin to a true horror story, as Bendis – and uncharacteristically economically – reveals the Hood to be more than just quarry for both Strange and the Avenger’s story line, but also a character that is going through a chapter in his own story and development. It my sound odd to some, but the Hood deserves merit. More than that, Parker Robbins deserves merit. This macabre aspect is not entirely new as the wonderful Kyle Hotz’s work instilled that aura around the character for me in his most early appearances. While short, the Hood’s heritage is a somewhat rich one – being a creation of none other Brian K. Vaughan – and I like the care being taken with him now that he seems to be a principal player in one of Marvel’s major titles.
Again, I love the Bachalo pages. I realize his style affects a love or hate reaction, leaving very little room for a middle-ground, but I’m solidly in that former group. He’s just one of those artist who I’d like to see draw anything just to see his interpretation. The foil he presents for Tan’s pages – which tell a very base or reserved – story works very well for me. When I say ‘base’ it’s not slight at all, as I actually think – as I’m not an artist – that penciling a patented Bendis-talkathon has to present some difficulties for an artist.
In the end, this issue may not have enough John McClane, and perhaps over do the coffee and cigarettes, but for the addicts is there ever enough? While Bendis pushes our buttons and patience for an extra issue, I go back to thinking that one of the qualities that has made Bendis so successful is an awareness of the pulse of his readership. He knows fully well where that edge is- and like no one else he has been able to use that outside derived-anxiety for story tension. I know that’s not solace at all for anyone who finds it annoying, but I look at this issue and I find myself coming to grips with the fact that it would be lesser story without a Spidey-Eye of Agamotto joke. It would be lesser if Strange was supernaturally accepting and didn’t notice Bobbi was back- even when just going through a rather traumatic ordeal and a mission on his mind.
Wit that in mind it seems we may be due something outwardly dramatic to happen next issue. I’m excited to see if I know the ledge.
- Jay Tomio
Jan-ken-pon is the time traveling, force-walking, multiverse crossing column of Jay Tomio, owner of 1/3 of everything you see currently on screen, and the editor of Heliotrope. Some call him the Bodhisattva.
Mr. Tomio, I see far more weaknesses in Bendis’s storytelling than you do, but the difference isn’t due merely to preferences for one style over another, or a focus on one character over another. H is storytelling fails in basic ways.
In the current storyline, for example, none of the magic (not Bendis’s “magics“) users, not even his version of Dr. Strange, is a sorcerer. They’re either self-powered or without an identifiable source, and serve in the story as special effects generators. As nice as Bachalo’s artwork is, if it doesn’t support plot content, it’s a waste of page space.
You noted the lack of plot progression in this issue, but that’s a routine occurrence. Look back at Bendis’s NEW AVENGERS, MIGHTY AVENGERS, and SECRET INVASION issues. You’ll repeatedly see unnecessary splash pages, extended conversations that consist of idle chatter and jokes, action without consequences (e.g., the New Avengers vs. the Hand‘s ninjas), or “fight” sequences that consist of mere fisticuffs that combine chatter with inconsequential action (e.g., heroes vs. dinosaurs in SECRET INVASION issues; New Avengers vs. the Hood‘s flunkies in NEW AVENGERS). Any given issue of Bendis’s “Avengers” series will have a high percentage of filler.
The worst problem with Bendis’s “Avengers” work, from “Avengers Disassembled” to date, is the lack of actual stories. “Avengers Disassembled,” HOUSE OF M, and SECRET INVASION were crippled by flawed premises, but even if a reader tries focusing on characters instead, he won’t find any significant character development, no movement forward. Wanda, Scott Lang, Vision I, the Wasp — they were killed or rendered practically unusable, and Dr. Strange is in the process of being made unusable. Name one character in Bendis’s “Avengers”-related work who has advanced and grown as a character. Not Clint Barton; he’s been severely mischaracterized. Not Luke Cage or Jessica Jones; they’re standing still. Not Jessica Drew. Not even the Hood, since making him Dormammu’s puppet threatens to break the character concept.
Then contrast Bendis’s material with Englehart’s AVENGERS and WEST COAST AVENGERS storylines. Each storyline in those two series was driven by emphasis on characters and development, whether one looks at Kang, Wanda, the Vision, Mantis, Patsy Walker, the Two-Gun Kid, Moondragon, Henry Pym, or at others. Those storylines collectively define the phrase “character-driven storytelling,” while Bendis’s pieces collectively defines the phrase “failed storytelling.”
SRS
I agree with all of SRS’ points with just one additional point and that’s the use of Daimon Hellstrom.
I’m a massive fan of the character, and I absolutely loved the Hellstorm: Prince of Lies series from the 90s, it was one of the best things Marvel has ever published. Daimon’s one of my favorite characters and I’d love nothing more than to see him active in the MU once again.
However, I want DAIMON HELLSTROM active, not this bastardized version Bendis uses. The only connection this Daimon has to the real one is the name and appearance. After spending years convincing Patsy to stay away from him, Daimon is now a borderline stalker? And his speech patterns are completely ridiculous, he’s talking like a strung-out metalhead, not the regal, cunning Hellstrom I’ve come to love over the years. And then he goes from yelling at her to begging her to come home? Since when is Daimon a manic-depressive?
If my choices are to have Hellstorm never appear in another comic again or to have this insulting depiction, I’d prefer to never hear from the character again.
Using magic in an effective way is one thing. Steve Gerber and J.M. DeMatteis did it to great effect with their individual DEFENDERS work. But this isn’t magic being used effectively. This is Bendis abusing and punking out the characters in order to make his new pet villain appear more threatening than he actually is.
And that is not good writing. That’s lazy writing.
Jay Tomio, I couldn’t agree more with your review of issue #52. Especially your summarization of Bendis’s writing style towards the New Avengers. For myself, I’m a huge fan of his NW work. The words MARVEL GOODNESS comes to mind when reading these stories. If there’s one thing I can fault him on is the lack of tales where one or two issues are solely dedicated to a certain character or two. You know, superhero downtime like when Logan and Nightcrawler grab a few beers. But I guess it’s a small gripe considering your dealing with multiple characters on what is after all a team book. I agree that Bendis’s writing does make shit official. This coming from a 37yr old who used to think X-men ruled the land and everything else was secondary. Now I’m excited over a few panels with Daimon Hellstorm??! Nuff said!!