by Brian Michael Bendis (writer), John Romita Jr. (pencils), Klaus Janson (inks), Dean White (colors), and Cory Petit (letters)
The Story: The Avengers battle Apocalypse and his horsemen as the broken timestream causes mayhem.
What’s Good: After complaining about the mediocrity of this title for the last two months, I admit that I was fully prepared to voice some variation of the same concerns this month. I’m happily able to report that, much to my surprise, that’s far from the case.
I think a big part of this is due to the book’s no longer being so self-conscious about headlining the Heroic Age or moving past Dark Reign. Status quo, rosters, and pondering the past are all shuffled to the side. We’re also no longer mired in the ambiguities of Bendis’ ideas relating to time travel or the “broken” timestream. In the place of all this muck is a barrel-full of fun, as this issue smashes you in the face with a fist-full of Marvel insanity.
And really, this insanity seems key to the book’s identity. The brawl with Apocalypse and his Four Horsemen is awesome and a really cool throwback and reminder of the late 80s and early 90s. Mix this together with Apocalypse’s cheesy, old-school villain dialogue and the whole conflict is an absolute blast. It makes the Avengers completely unlike anything else offered by the Avengers-line of titles. This issue is such a concentrated dose of camp and nostalgia that it ends up being truly unique.
Along with this newly-found identity are the beginnings of the team dynamic and synergy that were sorely lacking in the first two issues. Spider-Man and Iron Man of all people have something of a bonding experience that feels almost inexplicably resonant, perhaps because this title has thus far been starved of this sort of meaningful interplay between team members. Meanwhile, Spider-Woman and Spider-Man rekindle their spark and Noh-Varr and his ongoing attempts at humanity add another source of comedy. Surprisingly integral as well is Maria Hill, who acts as the glue that holds the team together and provides narrative direction. Her constant snark added a great deal of colour to the issue and catered well to the voice Bendis does so well.
John Romita Jr.’s artwork will no doubt be a source of contention for some readers, but I loved it and felt that it was a major part of this book’s tone and place. Romita Jr.’s art conjures a scratchy, late 80s-early 90s feel that the rest of the art team is clearly aware of and suits Bendis’ script perfectly. While having his trademark modern cartoon touch behind it all, Romita’s work completes this book’s nostalgic feel.
What’s Not So Good: As I said, I imagine Romita’s artwork will strongly displease some readers. In being the throwback that it is, it casts aside the polish that most modern comics have these days. Corners are cut, detail is occasionally shirked, and a lot of things probably look messier or more simplistic than may be acceptable for some readers.
I’ll admit as well that in spite of an ominous encounter with a Scarlet Witch horseman, Apocalypse does seem to have been drafted for this issue for pure WTF randomness. I’m not sure that he himself is relevant to the story and, given this as well as the ending, I’m still not convinced that breaking the timestream (whatever that means) wasn’t just an excuse for Bendis to go nuts and throw random characters into the comic. For now, it’s fine enough, but it could quickly become problematic.
Conclusion: Clearly defined and with a new, nostalgic focus, Avengers #3 impresses.
Grade: B+
-Alex Evans
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