This issue certainly has some very cool stuff going for it. Ofc the bait, which is a ''spoiler'' no ''spoiler'', is super well done, i guess it could be interpreted as a jab at avx, but it's deeper than this because the whole issue is centered around it even too much.

The Avengers and the x-men do not really have a reason to be fighting, but at the same time they kinda do, but because they are rational people who have been knowing each other for so long as of right now, and a bunch of they share history they want to be in each other's good graces. On a macro scale the issue does this, it tries to convince the reader that those characters have much in common, that they can be helpful to each other, that they care for each other, and are ready to spend time with each other to be comfortable with each other. This can be seen very clearly at the end of the issue in the pages with Carol and Scott, where the biggest issues of trust arise as the final challenge, the actual important challenge to the teams, after a lot of slice-of-life issues. Then Mackey assures us that those are nonissues and that both teams would finally be in a good relationship.

As a fan I think something like this is needed. The relationship between X-Men and the Avengers is so rarely addressed when their history is actually full of small or not-so-small hostilities. Sure we have the unity squads, but those are different. Here we talk about the main teams that often just occupy different worlds. So this issue takes the needed time to clear the air and to make sure where they stand.

On a micro level, as usual with Mackay's Avengers, we get those small squares of moments with each character and some other character with big contrasts and similarities, where we get to explore a little bit of both and see those contrasts and similarities. Mackey really does have a talent of finding those openings to make an interesting connection, an interesting juxtaposition. It is on the nose, the way the conversations start is like in a video game, they start from a very high place and are just questions that one would not make out of the blue, so it's both forced and on the nose. But are insightful and are actually deep and at the end of the day, the characters are interesting because of this, because we see what they believe. Ofc if you like those characters you would likely know all this, but it's still cool to clear the air even there. It makes the characters deeper than more significant and it's obvious that there is a huge understanding of what makes them click. Maybe Mackay overdoes it, but it is effective and gives characters a feeling of having a soul and experiences, that they interpret in their own way, even if they talk like they do in Skyrim.

Overall it's not perfect, the issue would have benefited from a little bit of more natural touch, of more variable tone even, i get everything is supposed to be all fun and heartwarming, but again it feels stilted to a certain extent, it feels rehearsed, like too much of it feels preplaned again from the dialogue to how the characters act. Again some good comes out of it, but i still think with little twinks issues like this could be even better, even if now this is pretty good.

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I disliked williamson's run and this forms to be the opposite of it, so I liked it. It's a very quick read, it focuses on the nocturnal atmosphere, it takes its time, and it does not try so hard to impress you with everything that happens, but it still did impress me by letting the art immerse me into the world. It goes down to the people and overall it's a vibe, which I love i love Green Arrow belonging to the street and being an equal part of the world. The issue it does feel like it has an ending really, which in a way adds to the unpretentious, more fluid feel of the comics. Also respect to the lettering, it does help a lot too. more

I have said many times I am not a fan of annuals especially not ones written so long ago. They never have anything to do with the main ongoing plot and vary wildly in quality. Thankfully with this issue it is in the minority. The art is superb and while the story is such a massive departure from the main ongoing saga of the X-Men, it was well written and gripping. I don't know Arkon nor do I really care for a tangential story to rip me away from the X-Men finally reuniting with Jean and Xavier but at least it was an enjoyable read. more

I don't think this is particularly bad, but I feel that it goes for an intensity, roughness, and excitement I kinda can't feel. It's aesthetically pleasing for sure both from story and designs and has neat ideas and moments, but somehow when it comes to putting it all together it struggles with the balance, and from the good'' this is too much'' goes to ''this is so much, that it is nothing''.

So individually I like a lot, I like a lot of the sophisticated, tense sharky dialog, I like the talks about economics and political allies, stark being in this position of a huge underdog and I like the idea of everything happening so fast has potential, plus the dream sequence with quite strong ideas, but as for right now as I've said mixing all those stuff mixes my feelings to into a black goo of confusion. It's all about context and here a lot of the context of one part of the issue does not fit with another. The dream sequence is an example of this IMO, which comes and goes so abruptly and it's not even like an explosion, because again it's not even that intense.

It's like there is an understanding that a lot of this is so many times done, that the story tries so hard to distinguish itself and throws everything at you. If this manages to mix everything more smoothly this run has potential.
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Just spectacular!!!

The way Waid writes the father-and-son relationship is just so well done. Moments like when Batman is worried about Dick and then trying to downplay it are so heartwarming and nice to read. This book has a lot of heart in it. And then you have the story, filled with mystery and excitement with a new villain who is genuinely interesting is just the cherry on top. All of this is brought to us by the incredible Chris Samnee who nails the Noir and moody feel of the story. What can I ask for more? Waid and Samnee were at the top of my list for who I want to write a Batman run and so far they are knocking it out of the park! more

So much to love here really, but what shines through the most is the characterization(honestly I don't know when was the last time I read a kitty I enjoyed so much) and just how much this series has space to breathe and not be concerned with battles and big issues. Obviously Uncanny is way more refined, but still is something, that I can read and never be tired of, also because I feel like it takes its time in a way a lot of the comics that come from the Big 2 don't.

I like the snappy nature of the dialogue, it feels mostly genuine, and it fits the lower stakes, it may come as cliche sometimes, or like too much, but it's like when it starts tipping its toes in those water, it pulls them out and for the important moments, it works really well. This issue actually used the snappy nature of the dialogue with the plot when better both with comedic intent and also surprises to shake the pages, but again not with too much to stray away from what this book is. Again it's like it tips its toes in a more aggressive territory and it's immediately back to slice of life/ the endless afternoon.

But again it all works because the dialogue and the characters act so well together. There are small phrases, that indicate the characters in a very clear way, borderline too clear, but they are sprinkled between a lot of dialogue, that feel natural for people who have been through what those have been through, so they are never too much. This way it's not really hard to analyze what the characters think or feel, both are kinda intertwined, but again very clearly. I am a pretty young guy and because of my job I'm in a lot of contact with a lot of kids, especially teens, so I find the portrayal here to be quite accurate to a lot of those harmless, kinda random kids I meet, that kinda are this figuring out how to communicate. Those are lost kids, they are not really strong and like Kitty Pryde in the 80s, they feel vulnerable.But even now, part of the reason why Kitty is so compelling to me is because she is vulnerable. The comics let her not make her mind and even when made her mind, she is still not sure what exactly she is doing and this goes great with the chiller vibe, because the kids are also without much ideas about what they wanna do.

Definitely, the art gives a very strong helping hand, with those expressions soft but very clear expressions and specific body language and a more brownish color scheme bringing a lot of comfort.

The pacing is also something I love. It's slow, but it does not feel as such. Again because the characters are both well-defined and are interesting, they are just interesting personalities and their clashes are also like that. I also like that especially in this issue we get to see a character's identity and how this character sees themself be affected by his mutation, which again is quite claremontian or morissonian(?)(their ideas are extension of Claremont's anyway).

It's a triumph for Eve Ewing to have so many ideas about what she wants out of the characters and to infuse the comics with so much personality especially so much of Kitty's personality and the whole idea behind her existence. So even tho we've seen Kate in similar position, to me it feels like progress, or at least interesting steps more

I think the art suffers a little bit here. Also, the issue spends too much time on certain places, Ahmed really clears his vision on what the series is. Again it exemplifies what from the ashes does best, which is to present characters that feel like they have history, that constantly even when running from their trauma, they can't turn a blind eye to it.

As I have said I think we spent too much time on the fighting scenes and just moments that does not carry much weight and it felt a bit chaotic in that the characters popped left and right. Still, there is a charm to it, I like the free-flowing nature of the comics, it makes what happens way more real, unforced, and honestly, wolverine is like a glue to it all. He somehow makes it all feel less random when the monologue is so good.

Would have liked it even more if the end we did not move from the forest and Wolverine to see what the villains were doing, because it kinda broke the atmosphere and exactly this feeling of just observing Wolverine and his thoughts continually. Also the ending in general seems rushed.

Overall not as meticulously crafted as the last, but still pretty nice reading experience
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Kwannon joins the X-Men in Alaska after taking a vacation in Japan with her lover in her Blood Hunt one-shot. She’s on the team for five issues before getting benched and told to… take a vacation…? O_o ookay, sure. Whatever. So Kwannon is working side gigs for cash now? It also seems like she’s going down the already traveled road Betsy took, being addicted to violence. Oof, I was really hoping for a new direction for this new Psylocke but here we are, rehashing old tropes. I found Kwannons ninja technique to be way too sloppy and flashy for a trained professional. I get this is a comic book, but why does she not have a unique style? This book feels generic with too much clutter on the page, the action is overwhelming in a bad way. I’m also not interested in yet another child rescue mission, why are all of Kwannons stories revolving around kids. It’s a no for me. Remenders Uncanny X-Force did it better. more

Honestly, the most impressive thing about this is how well Aaron manages to make Krypton relevant and to frame it and Superman into the story, honestly, I think it builds on the original formula while it answers a very contemporary plea. We can talk for days about all the times that supes was modernized. Like birthright and how it adds to the symbolism and the mythos and tackles the questions of Clark's identity, but it's always about this iconography, it's always about Clark/superman and to just make him better, to put the retro model in better more complex clothes.This comic modernizes the whole origin, the whole world, not only superman's worlds, the whole point of it and it feels actually inspired by the real world, not by Superman itself, again a testament to this is how little in the story super is. The way Superman is put in the story seems so very natural, even if it was not superman would have been good, but it fits him. So yeah the framing, and how the idea is built is awesome. it's not all great, some of the micro storytelling could use some work, and some of the dialogue, but the vision is very very strong, not because it's different, but because it's built well.

I also really like the rebellious aspect, like this supes is not clean, he is dirty with the people, he is actually touchable and comes from society which experienced exactly what this world is going to, so he is way rougher with a flaming heart. So it gets the essence, like Morisson's new 52, but again it's something newer, something more relevant with slightly more focus on how Krypton and its destruction shaped him, which again makes supes way more human-like because already experienced totally the trauma.

Overall I like all the changes and even if this is the least ''shiny'' of the absolutes I feel the most hyped about it right now. more

mrgabehernandez should not be employed.

Pretty good. It was an interesting turn for the issue to stray away from the main plot for something more personal and intimate but it was definitely a nice one. It shows a bigger scope perhaps, but that remains to be seen. It ties well to some of the core issues of Wolverine and even the ideas set at the beginning of the issue when obviously this side plot was not introduced about cycles and being in a somewhat new place but still falling in those same old cycles and being slaves to nature on a verge of a twilight.

The story progresses quite well with Ahmed really helping those transitions with Logan's narration. The narration is good on another level too, as usual for Ahmed I guess at this point it's not so instinctual or off the dome, but it's constantly reminiscing and thinking so it paints the story how Logan interprets it, which is cool enough, plus it's tonally consistent and fits a more matured logan.And it's not heavy, not on words, nor themes or presentation. I feel like the atmosphere plays a fairly huge role too with the sun setting out and seeing a kid Wendigo losing himself in the lonely snowly forest. This could go in a lot of directions like how logan trying to be more human could backfire and be a reason for him to revert back to being a beast like with the Wendigo, but we'll see.

Combined with the art, the narration shows control over the pacing and pages and it's good. So yeah this is one good issue with enough progression, enough heart, enough introspection, enough surprises and a good atmosphere, for now a step up over Percy. more

It's not as good as Absolute Batman but that doesn't mean it's not great. Rafa Sandoval rocked this issue. The art here is phenomenal. Everything pops, colors are vibrant, Krypton feels alive despite it's decent into death. The story here is nothing wholly new. But it shakes things up enough that we see a Kal-El fighting for the people of Earth, at least those that are downtrodden, lower caste, workers of the population because that's what his family on Krypton were. It delivers a strong message that isn't new either but with time could be fleshed out to be something impactful. more

This was totally insane. The callbacks to the og ultimate are brilliantly used, they bring a lot of tension. Definitely made me scared if things are going to be repeated. You know for a comic that was fairly tame with not much blood and gore and even action, this issue hits like a hammer. It uses its gore, its brutality to show you the stakes are different, and that this is an intense world, that the characters were not prepared for. Hulk plus Iron Fist seems like a dumb idea, but it's so great, so menacing and I think his first words of dialogue sum up his whole character perfecting. Again it's the character we know, the themes of it, but evolved, making out of him something truly terrifying in a more modern aspect of the old order being tame, but secretly insanely powerful because of tradition and discipline. more

I think that Hitchman's coldness, and scarceness as a writer as well as the feeling of apathy and desolation he brings serves the story really well here. It's a very Hickman-like comic, without the overly intellectual part, much more is given to the art and to the action here than a lot of times, which I think is also a reason for the strong vibe. This comics in it's emptiness made me think and also made me sad, but it made me think not about the concepts, but about the characters, about Wolverine and Colossus and Deadpool. Again this is pretty much a pointless journey for Logan, he sees no redemption not for himself, not for the others, he sees a lot of those characters as no threat, but it's almost like this does not matter to him, like the reason is different and it's not even only about rage, this I feel like is where the feeling of apathy comes from. I feel this is accentuated in how fast he dealt with all his enemies and the unexpected order he did it. Like he started from worst to best, so the challenge morally was becoming bigger.

this comic kinda lost its point already and this is a good thing, so I am really excited about where it's going now and i think that making you ask questions and just waiting to get the answer is the fundamental Hickman experience. This is definitely a very strong vibe. more

This is most definitely on the anticlimactic side, not even like the ending to Immortal Iron Fist for example was anticlimactic, where the anticlimactic was the contrast to a run with was full of big moments. This just feels like a Saturday afternoon type of issue, not even in this charming type of way in the way that it does not manage to tie the web of themes of run. but it does deliver you the essence with it being so disjointed, reflecting the different story of it, constating where all the characters from it are clearly. it just kinda gives you the worst version of it all. but as far as the main story goes It's just another issue with a little more appreciation towards Peter.

But I get it, this run as a whole was kinda Mickey Mouse/Donald Duck type of pulpy, it was not concise at all, disjointed, chaotic for a big chunk of it, overly long,, had a lot of inconsequential side sto,ries, and for the most part sort of directionless without much moving done, like kinda being in a limbo of sorts(at least for the most part). Still, there is a lot I enjoy and as a whole, I don't really mind it and honestly, I kinda enjoy those elements of it. There were also some high moments. But i mean the whole run is tainted like i truly believe that the backlash played a huge role in the whole way we all experienced it, it probably played a part of how it was being written too. I do get some of it, but largely i don't think it was all that justified and honestly i think the run got worse because of it, because it never really managed to truly take the best of the situations it created, because those situations were so very much hated( looking at you relationship with black cat). So a lot of my complains of being safe and being a limbo is kinda related to this i think. But i again we could never know for sure. Just a lot of the answers this run gave me personally, did not saddisfy me and came too abruptly.

Back to this issue, for starters, i like how it starts with the duality between Peter and Spider-man and just uses the idea of how useless spiderman could be as an antithesis with Tombstone saying that Spider-man won, just that his winning does not matter when it comes to the world. Then we get the moment between Spidey and May in which May says to him, that Spidey hurts Peter's life, which moves this antithesis even further. So all those ideas are pretty old,they are not presented in any creative way, they could be applied to this run, but honestly not much more than they could be applied to any other Spider-Man run IMO, but the framing is good. It's a little bit on the nose tho, honestly, the whole issue is, there is really not much beyond the surface of the dialogue. Sadly this idea does not go to any interesting places and kinda ends up rushed on a very predictable place. I don't think Pete should have told May about being Spider-Man, because this would have been even worse, especially since May here was inserted here so abruptly and her dialogue was very wooden. This is why i say this issue lacks charm because the relationship between pete and may feels very stilted, especially because of JR jr is so easy to compare to JMS's run.

The other stories while varied in tone were really not necessary again, they just clear the air really. There is not much for me to appreciate with them for sure, because they serve a pretty straight forward purpose without doing anything much outside of delivering just this in a form of story.

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This issue bothers me.

I don't hate this run. I don't fundamentally dislike the plot points, either. I just wanted something more from this conclusion. The scene where Tombstone talks to Peter is great by itself. How quickly the entire plotline wrapped up is so odd to me. We just got two issues of a giant fight. Where is the editor?? I read Wells' letter in the back, and he claims that Nick Lowe was there for him constantly, and I just don't see it on the page. Editing mistakes are rampant in Lowe's tenure, and that's one thing. Fix it in the trade (As someone with the trades, they don't). I can abide by bad lettering and color mismatches. I can't abide by the fundamentals, as I see them, being thrown out or disregarded. Pacing is important, especially in this medium. You have to do a juggling act of making each issue satisfying on its own and as part of a larger arc. Lowe sometimes fails to do either. It's baffling. The plot line for an arc should justify its length. If you have to stretch it out with filler content, like a giant fight, maybe lower the issue count. If you are scrambling to exposit-vomit at the end of a book, maybe give it an extra issue. This arc and the final arc of Spencer's run are like complete opposites, it's insane. This arc is barely able to fill its pages, apparently, while hurrying through what plot it has, while that last Spencer arc spent every. single. page. trying to explain the cacophonous nightmare of retcons upon retcons. Where is the editor?? The same guy was ultimately in charge of producing both of these things and the only similarity is the rough, amateur pacing and structure. Nick Lowe is a senior editor. He should do better. I don't see this sort of roughness from editors until they're unceremoniously ripped from their books like Jordan White on X-Men, but Nick Lowe has sewn himself into the Spider-Man tapestry at this point, so what's the fucking deal?

I have other issues.

The Aunt May segment is almost good. The characterizations are there. Wells is competent. But for the love of god, would it have killed them to just have Peter tell her his identity? Every single moment felt as though it was leading there, only to have them pull back in the end. I just want to see real growth from these characters. Technically, Aunt May was worried and upset at Peter at the start of the run and now she's accepted him. Cool. That's technical growth. I'm real happy Pete gets to live in his lies more comfortably now. Whatever.

The Rek-Rap segment. I have nothing to say aside from this: Where is Gog? I don't recall Peter ever setting him free or giving him away. Gog is Peter's actual pet still? We haven't seen him since Spencer's run though. Where has he been all this time? Did Nick Lowe forget about Gog? That's much more interesting than keeping Rek-Rap in play.

The MJ segment was good. Again, Wells is a good writer. He's good with characters. As someone who is an adult, who has had relationships sour and change and morph, I found a lot of MJ and Peter's friendshipping here relatable. People grow and change, and it's really odd to say that here but it does work. Maybe now that MJ has explicitly told Peter thank you, those weirdos online will stop calling for people's heads. I doubt it though.

The Chasm story is meaningless to me. I don't really care that Ben was changed, or that he's a villain now. Maybe he'll show up and do something interesting next time.

The tease for Joe Kelly's run was mostly good. As noted in KittyNone's review, the coloring could use a lot of work. However, from the writing side of things, I actually really enjoyed Peter's monologue and how it showcased Peter's capability, something writers will often ignore or forget about. I like when Pete is treated like the science geek he is. I really didn't like his story in issue 50, but if Kelly is giving us something more like this with 8 Deaths, I'm glad for it. more

Certainly the best thing about Wells's finale is the same thing as what was best about his run: the small character moments, like Tombstone's chat with Peter outside the courthouse that emphasizes the weaknesses of being a good man in a bad world. But the worst thing is what was worst about his run: the general lack of direction. The scenes with May are touching and well-wrought and could be a great capstone to a run that focused heavily on Aunt May — except that this isn't that run, it's been over a year since she's shown up in the pages of this book at all and she was hardly a regular before that.

Ultimately, Wells & JRJR simply tried to do more than they could handle with this series, and Nick Lowe failed to exercise the editorial wisdom to force them to kill a few darlings and focus their attention on the best stuff — with the result being a tangle of characters, plots and subplots that appear and disappear at random, rarely getting any meaningful resolution. As everyone else has already mentioned, most of the plots end in no identifiable change to the characters or their place in the world, with the only real movement forward in this issue is for Aunt May, a character who's barely been in the book. [EDIT: Also I misunderstood the ending and it doesn't even really move May forward, so I'm not sure why we're doing this story for a finale at all now.]

I won't damn this run outright. I think hate-reading comics is a waste of your one wild and precious life, and that reading a favorite character out of addiction alone is no better, so if I thought this run was irredeemable I'd have walked away long ago. I read it to the end because it kept drawing me back in every time I gave up on it, it was full of promise in its best moments: the Judgment Day and Blood Hunt issues or the best parts of the Tombstone plot, for instance. I absolutely believe there was a great run in there somewhere, if only they could have focused on it.

(As regards the prelude to 8 Deaths, obviously I can't judge a run on a three-page teaser but my first impression is that I'm going to have the opposite problem with the art that I had with this run: while JRJR's unreliable pencils were beautifully propped up by Menyz's gorgeous color work, it looks like next Mark Buckingham's wonderful draftsmanship will be muddied by murky-yet-overlit coloring that looks like it rose from the grave of the early oughts.) more

While my excitement for this arc is definitely the highest it's been in this run so far, it's still full of weirdness. The way Straczynski writes cap, especially speaking here is so absent of any tack. I get making cap more vulnerable and relatable, that he has some issues on his own, especially some of those in some ways were fundamental to the character(not all). But the way they are expressed is such a detriment here, it makes an otherwise very well balanced comics feel heavy and unnatural in its structure. Steve is word-vomiting his problems and where they stem from and he goes deep, without being asked,to a person who probably do not even care that much. it feels like he is overly anxious but the moment is not presented as this, there are no indications that he needs to talk to somebody so much to forget he talks to a real person and so vent machine. The comics treats it like it's totally normal conversation when it's completely one-sided. There were moments like this in Stracynski's ASM, but the difference is that they were letting Peter be anxious and the story was letting it's self admitting it, so they came off as comedic. But it's not just that, it's the way cap talks most of the time here. I know some people love how Cap is characterized here, but it's not my thing, even simply because Cap in my opinion would never let himself take more space than the other person, how he overly justifies every thought of his and every move, making it really more about himself. Still, I am open to my understanding of character being updated, if is done in a good manner.

But if we remove those moments from the equation: This focus on the superhero team-up is nice on what it really means to superheroes, how they come to team up is fun, albeit not really insightful or meaningful and comes of more like interesting facts than actually something that affects their relationship much. I can see every one of the characters here benefiting from this situation, sure some of the stuff (with Cap) may not have been established in the best way, but i see the potential here. The issue is really just that a prelude to the coming adventure, it's not a lot of moving done here but it's alright, but it's alright. Thor and Spidey were also pretty good and written way more subdly, both kinda recall the tones and the way they were presented during the time JMS was writing them and it's well mixed. more

Schultz could write a good Elektra, but her style of writing requires a very good story built around Elektra for this to have any weight and sadly I do not think last few issues especially had that. Wonders are possible with a more complete idea of a story and better planning.

This finale puts to go for a poetic and artistic one rather than one of bombastic action sequence. This decision proves to be the right one.

Ram V and Dan Watters manage to close out every relevant plot thread(although one does get left hanging its handled well enough) and end on a note that provides a final word to the thesis presented at the outside. That alone is worthy of praise.

Further praise should go to the fact that, this story provides what feels like real character development for Bruce, an acceptance of something that has been a part of him from the beginning, and a willingness to utilize it to his advantage if he has to. His relationship and his love for the character and soul of Gotham defines why he does what he does. And it garners both respect and fear in equal measure.

His protégés appear in sight 8nly but their presence is felt. Mr Freeze gets a very interesting development that hints towards a shift toward the good. All of it is steung together artfully well. In this sprawling narrative that has lasted the better part of two years, we've seen batman pushed to his very limits of his psyche and come back stronger. Its been a pleasure reading.

Also, this needs no declaration but the art by Guillem March is beautiful and he continues to stake his claim as one of the best to ever draw the Bat.

9.5 for this issue and the entire gotham nocturne. This is a modern classic Batman story. This can be someone's first Batman story or someone's last, and that makes it a winner. more

(Score for the whole run, this issue, in particular, and finale, would rate like a 5)

For this type of story, this run felt rushed. It started very well, very slow and methodical, used Beast World to up the stakes greatly and unexpectedly and it felt driven, the decisions Taylor was making felt meticulous, and now we are here. The finale felt even smaller than this run was and this run felt really small in tons of way, when all lead me to believe it was supposed to be the opposite. The finale was built for a long time, but a lot that led to it now feels inconsequential and because this run never really changed its tone, it does not feel like progress, the characters do not really carry their wounds.

This run just never really evolved, it's like Taylor struggled to show its range with the title, as he did with Beast World but not here, and struggled to just break the cage of his own making. That's why it was just 2 men show most of the time and never extended to the others.

So this is the essence of my complaints, as a constant vibe of warm safe space it does it very well,but does not do much more for me personally. Still, the maturity of this issue, of the whole run, of the message is to be applauded, it's one of few times the Titans were working to be an adult family and acted as one even tho a little bit too stoic from time to time, and that what I will remember this for, mainly.
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if this run does not explore some of the most insanely creative comics logics and concepts with a good-natured smile on its face, it builds upon preexisting relationships and redefines them, while having tons of fun with it. It's so endearingly dumb and smart at the same and I am completely in love with it. Best comics out rn.

Really cool. This long action scene reminds me of something from Mission Impossible with being so incredibly long and tense throughout. It just holds your breath and does not let you take it and I like this, every moment looks like it could be a deal breaker. it's simple, but it breaks the monotony and it holds weight because this arc from its beginning was way more grounded and raw and here it goes hard in this rawness and accentuates it. I like this approach to this whole arc a lot. more

This issue was intense af.

Turns out my prediction was the same one the characters made... and the wrong one. This is one of the strengths wells has that gets overlooked I feel. Our expectations are "Lonnie would never hurt Janice directly, hed just kill someone close" and at the beginning of this run he wouldn't have. Thats something Tombstone practically laid out himself over the course of the run, between gang war and even the planned wedding. He has for the entire run put Janice's wants over his own. Except for two times, the end of gang war and now. This calls all the way back to tombstones flashbacks early in the run, where he was powerless to protect himself. Now with that power in his sight and in his grasp, he isn't willing to let ANYONE get in the way of it. He's become just like Fisk. Its a character shift; and a subversion but one thats been baked into the writing of the character from the beginning.

Hes still the kid being taken on as a child, but now he sees Janice and spider man as the ones doing the harassing, and so the lion comes out.

Also the train thing was a pretty clever and cool ambush both visually and concept wise. It made it seem authentic, something extreme Lonnie would do knowing what he's up against. So it being a ruse is harder to expect.

Wells is going out with maybe his strongest arc. I wish it'd been this consistently great the whole time; but if he sticks the landing ill still give him props for this. more

I guess this was what kids felt when reading FF in the 60s.

This is practically the platonic ideal of a Fantastic Four story, just perfect

Phenomenal. Fantastic even.

You can go so far with a premise so shallow as Sin stealing an ancient artifact. So not a terribly deep comic for sure, I do not think it does anything that good too, it's pretty much a straight-up celebration of the eras of the Avengers, especially pre-Dissambled and especially the West Coast/Stern era, but again not that deep, it's more like...pleasant. Like every time Wonder Man makes an appearance is an event for me and that's because he like some of the other characters here really is in somewhat of limbo of being an A-tier Avenger, but nobody doing anything with him. So even if again that's surface level and unexplored, that's something i can appreciate.

I see that is trying to carry that warm and light, cozy feeling of Stern's work with that subplot and dialog especially, but maybe it's the art, maybe it's just the modern ambiance, but it does not authentic to me,the relationship do not feel that genuine. That's the whole thing as I appreciate it, i feel it's mandated, it does not feel that inspired. All the characters feel safe, even if they've been away for so long, even if they have changed a lot and are in a very different space. That's my guess as to why it does not feel real, it does not carry the substance of those old issues, because it does not treat the characters as real. Especially when Orlando tries so hard to make us feel at ease with the cozy team, to make them feel like everything is overly cool, by playing hard and constantly showing good well they know each other and especially with the contrast between the 2 teams, which did not hit for me at all because again stylistically both plots were equally bland and sin did not feel like a threat to me. It feels like overcompensation and again takes from the genuine interactions. He read some of the back issue or the editor at least, it's obvious by the references, but did not carry any of the meat and the heart behind them.

In a way, I feel this is my main issue here, a lot of it feels just empty. Like even on the dialogue level, the fight feels soulless with a lot of cliches being thrown around and just words that could fit any character again the dialogue has a hard time translating to something deeper about the emotional states, so it feels weightless in the bad. The whole story is like that and it's weird how simple it is and how little moves, like the pacing feels unbalanced on the macro level.

This comic has potential, but the approach is bad IMO. What I mean is the theme about people wanting to separate instead of assemble would have been awesome, especially since dissembled f it all up, if was explored in any way more than just the surface, maybe will be more explored in the future. more

This series has been incredible so far. Deniz Camp is easily the most underrated writer in comics right now and I think he's on a superstar trajectory. He's basically an alchemist when it comes to weaving modern politics, world history and superheroics into one title.

I'd highly, highly recommend checking out 20th Century Men if you're enjoying his takes on the Ultimates. Camp flexes a lot of the same muscles in that book and it's a wild ride. more

This issue got me saying ''Hickman did it again''. I'm aware he is not the writer here and I am not trying to belittle Camp's accomplishments, but because this is so good, just now I am starting to realize how greatly planned this whole universe is and I am more and more convinced that Ultimate Invasion did exactly what it had to do and Hickman just placed the pieces in their place. This issue and the last one make you understand why those pieces are in those places. it's impressive how much such a static issue, a pretty much low-stakes issue could be so captivating and socially/politically relevant. I like the whole premise of just building one step at a time, one place at a time, without distraction to that big thing, that we all expect, and just this honesty about the whole thing I enjoy a lot, the clear purpose of everything that happens.

The issue is just focused on exploring that one place and the way we explore it is through a story. What I mean is that is constructed in such a way to wake an interest and constantly builds and transforms what we know about it. That makes the journey a lot more intriguing than it should be and the moment we understood what exactly happened is way more satisfying this way because the intrigue was already woken.

Overall I think, this series continues to have great worldbuilding and delivers a lot of promise for the future, and keeps a lot of its ammo for it. I am still cautious about interpreting everything because I feel the way things progress, a lot of doors are closed for now at least to me to get something more concrete than theories. I think avengers fans are eating good. more