And Finally...

It took a long time but I achieved what I set out to do, which is to record my thoughts on Volumes 1-60 of Marvel's Ultimate Graphic Novels Collection. There's nothing more to add. I'll leave the blog open and visible for archive purposes. Maybe it'll be of some use to someone, somewhere, someday, but I'm not planning to make any more posts. Farewell, all.

Volume 60: Siege

Siege

Author: Brian Michael Bendis | Illustrator: Olivier Coipel

"...[T]his is the kind of crap we should be avoiding."

The quote I used above echoes what I was thinking while reading through Siege. I could end this post right now, leave it at that, job done, but I've come this far, sixty volumes, so I'm going to finish.

Asgard is on Midgard. Okay, it's not technically 'on' Midgard, it's hovering twelve feet above Oklahoma, but still, WTF? Norman Osborn is still in charge of H.A.M.M.E.R. and the Avengers, such as they are. It was a stupid idea before and it's still a stupid idea now.

Looked at optimistically I could say that I feel the purpose of the story was to get the true Avengers back in place, or, if you prefer to put it another way, to undo all the convoluted, idiotic shit that they did previously. It's a semantic difference only. The result is the same.

Things were changing behind the scenes, too. The story was first published at a time when the live action superhero films were netting new fans for the publisher and Disney had just bought the company for a whopping $4,000,000,000. I don't know if the success of the early films had any influence on the planned direction, but it probably wouldn't have hurt matters. Siege put an end to the (then) current sate of affairs. It reset the nonsense, making things easier for the many new fans and beginning the new Heroic Age initiative.

I've drifted off topic a little. It's because I realised that I actually had said in the opening paragraph all that needed to be said about the book. It's garbage, the kind of crap we really should be avoiding.

The book collects together Siege: The Cabal and Siege #1-4.

Verdict:

Volume 59: Captain Britain and MI13: Vampire State

Captain Britain and MI13: Vampire State

Author: Paul Cornell  |  Illustrator: Leonard Kirk

"Is that where she is now? With someone? Being a different person for them?"

I'd like to say that Vampire State is a great book, because I enjoy championing the underdog, which Captain Britain probably qualifies as in comparison to the majority of the other heroes featured in TUGNC Collection, but the confusing prologue is followed up by more of the same head-scratching and by the end I was sick of wondering who the hell anyone was and why they were there.

I attempted to factor in that perhaps I was simply lacking essential knowledge from previous Captain Britain and MI13 issues. But while that's no doubt true to an extent, I don't believe it's solely to blame, because the people I did recognise (from being a Marvel UK reader back in the day) were thrown into the narrative with no proper explanation and in some cases without even a legitimate reason why they'd be there in the first place. It was a mess in more ways than one. Characters randomly appear and disappear once their usefulness is used up (or is wasted), and then some other mad shit happens, before the finale magically pulls new levels of bullshit out of nothing but air. Why? What? Did no one question it at the production stage?

The 'story' has actual Dracula. The legendary vampire desires a nation of his own, so he builds a castle on the moon (because hah, fuck you, logic) from which to organise his forces. In response, Captain Britain, MI13, and a number of other mostly UK-specific heroes attempt to stop the ancient, bitey villain from executing his evil plan.

The most interesting thing about the book is that the Captain's powers are based on his confidence level, so self-doubt is potentially both emotionally and physically destructive to him. It's an idea that could've been put to many poignant uses, in isolation or sequentially, but it never is - or rather, never any worthy of the idea itself.

I felt some relief when I actually recognised things, such as the House of Lords, of all places (or was it the Commons?), but now I can't remember why it was featured. A brain-fart, perhaps, but just as likely a coping mechanism: my brain expunging the mess.

The book collects together Captain Britain and MI13 #10-15; and Annual #1.

Verdict:

Volume 58: Secret Invasion

Secret Invasion

Author: Brian Michael Bendis  |  Illustrator: Leinil Francis Yu

"[Y]ou all really need your asses kicked!"

I mentioned previously (in Volume 20: Ultimate Spider-Man: Power and Responsibility) that I believe Brian Michael Bendis can do good work when he sets his mind to it. I still believe that to be the case.

But it must also be said that his CV contains a fair amount of work that's the opposite of good - lazily plotted and clichéd stuff that still makes money because some fans will buy any crap with a Marvel logo; e.g. Secret Invasion, one of the worst books in the Collection.

It's a story about the shape-shifting Skrull, revealing how they've been masquerading as heroes for a long time, both A-listers and B-listers, destroying the costumed community from within in preparation for an all out Skrull attack (aka big yawnsome fight).

It kicks off with a huge battle in the Savage Land, followed by a huge battle in the city. During both conflicts we're repeatedly reminded that we don't know who to trust. It's a solid basis upon which to lay an evolving story of paranoia and misplaced loyalties—because the team need to know if the person next to them is going to protect their back or embed a traitorous knife in it—but the 'evolving' part of the equation is absent. Even five issues into the arc very little has changed, we're still wondering who is Skrull (or still not caring, in my case), still turning page after page of fight scene after fight scene.

The book's script rarely rises above tenth grade fan-fiction levels of accomplishment. It's an almost complete waste of precious time.

The final chapter drops a bombshell that'll once more throw the natural order into chaos. But frankly, the stupidity attached to the decision means the people involved deserve all they get.

The book collects together Secret Invasion #1-8.

Verdict:

Volume 57: Wolverine: Old Man Logan

Wolverine: Old Man Logan

Author: Mark Millar | Illustrator: Steve McNiven

"The past only hurts if we let it catch up with us."

Wolverine has survived multiple horrific injuries over the years, but he's not immortal. A bullet might not kill him but old age likely will because the passing of time is more deadly than lead from a gun.

Time is also a great pacifier. Old Man Logan begins fifty years after a cataclysmic battle saw the heroes lose their fight against evil. With no one left to oppose the tyranny, the world changed. Wolverine changed. He's bub'd but he hasn't snikt'd in almost half a century. The combative Wolverine is gone; only Logan remains.

The detritus of the past is a constant reminder that he failed, so he removes himself from the larger arena, partially easing the numb pain he feels. But nothing lasts forever (he knows that better than anyone), so when an old 'friend' offers an opportunity that'll enable Logan to extend his current situation, he has to take it seriously.

Millar loves movies. If you've read his work before, then you'll know that already. The book is a road trip that's influenced by the American Western movie; specifically Clint Eastwood's Unforgiven (1992). Like Unforgiven's William Munny, Logan retains the practical attitude he's always had but his focus has shifted to more personal concerns.

Millar also loves action scenes, so there's no shortage of those either. Amazingly, up until the final chapter he finds an almost perfect balance between the two things. The absurd nature of the post-hero world helps the more fantastical aspects of the story seem less at odds with the more introspective, quiet moments. The battle within the titular anti-hero remains of primary importance.

I'm not going to reveal who Logan's companion on the journey is, but will say he has a chequered past, so we're never quite sure of his real agenda. All we know for certain is that both men have very different personalities and that sooner or later the animalistic presence inside of Logan will be called upon to decide if his contentedness is more valuable to him than his morality.

The last chapter goes OTT, it's the kind of thing I normally associate with Millar, but everything prior to that is him restrained and his work is all the better for it.

A great story deserves a great artist. Steve McNiven's depiction of the old, hardened ex-heroes is fantastic. He's equally as good at evoking serenity as he is at framing explosive drama.

The book collects together Wolverine #66-72; and Wolverine: Giant-Size Old Man Logan.

Verdict:

Volume 56: Thunderbolts: Faith in Monsters

Thunderbolts: Faith in Monsters

Author: Warren Ellis  |  Illustrator: Mike Deodato Jr.

"Maybe killing as fast as he creates makes me God's only friend."

I expected Thunderbolts to be just as bland as most of the other team-based crossovers, perhaps even more so because of the gimmicky nature of it, but it turned out to be a pleasant surprise.

They're a super-villain strike force employed by the government to apprehend the remaining post-Civil War unregistered superheroes.

Each of the members is forced into the contract, but each will also eventually profit from inclusion; they're getting what they want, just not straight away. Until then, taking down rogue superheroes and getting paid for it is something they enjoy. So right from the start we have a situation that's a double-edged sword for everyone involved, the desperate employers and the dastardly employees.

The highlight of the book is Bullseye, the long-time thorn in Daredevil's side. Killing is an art form for Bullseye, one that he takes great pride in – but only if the subject deserves his special attentions; he'll commit multiple civilian murders but they don't sate him the same way. It would've been easy to have him always upfront, to have him lead the strikes, but instead Ellis keeps him in the background, and in so doing keeps him deadly and secretive, serving the narrative much better than he probably would otherwise.

Like Bullseye, the remainder of the team have no real loyalty to the cause or to each other. They have personal agendas that they indulge when the situations allow, and most recognise that discrediting the public's heroes is as important as capturing them.

Because we're on the darker side of the fence, the content is more adult in tone. Mistrust, selfish actions, violence for its own sake, and even references to casual sex are all treated as everyday occurrences.

There are times when it has to forego interesting character work in order to satisfy fans of explosive action, but the biggest flaw in the book isn't in its compromises, it's that the page count ends before the story does - what we get is just half a story.

The book collects together Thunderbolts #110-115; and Civil War: Choosing Sides (one-shot).

Verdict:

Volume 55: World War Hulk

World War Hulk

Author: Greg Pak  |  Illustrator: John Romita Jr.

"[H]e is the green scar. The Worldbreaker. The Eye of Anger... The Hulk."

We read previously about how Hulk was exiled from Earth by his "friends" (Vols 45+46: Planet Hulk), about his landing on an alien planet and his struggles whilst there. And then, without warning, something tragic happened, tearing apart his chance at inner peace.

The green giant is now as mad as hell—madder than he's ever been, which means he's more powerful than he's ever been—and he's returning to Earth to make the people he holds responsible for his loss pay for their crimes. He's not alone, either, the friends he made on planet Sakaar, the Warbound, are by his side and ready to kill.

Events prior to and during the World War Hulk mini-series were explored across multiple titles. I've not read them, but I'm wondering now if they manged to do any better with the premise than WWH did, because, while the thing that put Hulk on his rampage of revenge was emotionally affecting, the result is little more than page after page of the titular (anti)hero smashing superheroes and levelling buildings.

Considering that WWH was written by the same author that gave us the enjoyable Planet Hulk, I'd hoped it would at least equal it. And while there are a couple of interesting scenes, most of which involve Doctor Strange, overall it's a SMASSSH! and BRAKKKOOOM! and THOOOM! bore-fest that isn't a worthy sequel of its predecessor.

The Hulk's story was continued in the subsequent Planet Skaar story arc, which was also written by Greg Pak, but I've not read it and it's not even included in the initial 60 volumes of The Ultimate Graphic Novels Collection, so I can't comment on whether or not it manages to scrape back some dignity for all involved.

The Book collects together World War Hulk #1-5.

Verdict: