Like I said in my first impressions post, my local shop didn’t receive all the comics they ordered. They were missing a number of major titles, Civil War II 7 among them. That said, I still felt that I should review this comic, so I downloaded it with the intention to pick it up once it arrives. So let’s talk about this week’s issue for Civil War II.
What’s funny about this comic is that this was originally supposed to be the last issue, but they stretched the event out to 8 issues. Several comics that released this week loosely discuss the event’s aftermath, not to mention that Infamous Iron Man and the Riri Williams Iron Man series have both began. In any case, not a whole lot happens in this issue.
At the end of Civil War II 6, Ultimate Spider-Man stood at Capitol Hill, despite that being where Ulysses’ last vision said he would kill Steve Rogers. The police confront him for a moment, until Captain Marvel tells them to stand down. Meanwhile, Ulysses has a disastrous vision hat somewhat resembles Old Man Logan’s universe. Not sure why they’re relying so much on that alternate future lately, but for this comic it kind of works … except that the Hulk somehow has children even though he died in Civil War II 3.
Most of this comic is instead about characters talking, like most of the event so far. That said, they’re being reasonable. Miles Morales and Steve have a quick yet seemingly wise conversation about how neither of them believe Ulysses’ vision, and even Carol tries to keep the conversation civil when she arrives. Writer Brian Michael Bendis handles these three characters well here. The brief fight between Captain Marvel and Iron Man at the end feels a bit too short for a penultimate issue, not to mention that there’s still only been one proper battle in an event that’s called Civil War II. That’s a major downside for both this issue and the event as a whole.
The art is mostly handled by David Marquez, with Andrea Sorrentino handling Ulysses’ apocalyptic vision. They’re both utterly fantastic. The level of detail in Marquez’s pages is consistently impressive, like Carol’s command center filled with dozens of monitors showing everything from maps to technical readouts, with several SHIELD agents working at their terminals or sitting around the table in a meeting. Facial expressions do a great job at conveying emotions, including anger, fatigue, and a bit of regret in Carol’s eyes. Sorrentino’s art is a more artistic approach, with each of his pages looking like a painting.
The colouring on Marquez’s pages is handled by Justin Ponsor, while Marcelo Maiolo handles Sorrentino’s colouring. Ponsor’s colouring is fantastic. Everything is bright and colourful, and there’s great use of monitor glows, sun glaring when Carol is flying down from a helicarrier in one panel, and dust obscuring the backgrounds once the fight scene does begin. Maiolo’s colouring is more dreamlike and artistic, which enhances the vision feel.
As with the rest of this event so far, the art is the real highlight. There are good writing qualities, but the story’s simply moving too slow for its own good, especially when every issue in this event is $5. At this point it’s very difficult to recommend this to anyone who hasn’t been reading this event. Even if you have, it’s worth reading before you buy it. I guess that makes this a typical Bendis event.