First off, it pains me to say that after forty-plus issues, Venom is cancelled. I’m bummed, not just for the obvious, but because I wanted to see if it could have outlasted the 90’s solo series, which went a full 60 issues. I can’t say I’m too surprised. The whole demon subplot (which is still a dangling thread) really hurt the momentum and the symbiote’s been tossed to the sidelines as a character, always being drugged up and being a mental non-factor. It’s a weapon rather than being a creature.

They did just give him a teenage girl sidekick and that had potential. Ah well. Chances are he’s going to be killed in the big upcoming Spider-Man crossover when Doc Ock Spider-Man goes too far or something. You know, regular Spider-Man never did blow a gasket over Venom being a government agent and member of the Avengers. You’d think he would have had a passionate opinion about that, but all he ever did was make a joke about the Punisher and tell Venom to please not kill Carnage.

Whether Venom’s set to die or not, he currently has another series to call home in Thunderbolts. Recently, Thunderbolts was pretty bad, mainly because it was written by Daniel Way, who wrote 11 issues of… I’m not really sure. It was a bunch of twists and turns and I found myself not caring for a lot of it. Frank Castle strapping a landmine to his chest and jumping onto a guy was pretty sweet, though. That and it gave me one of my favorite Deadpool quotes with, “You may kill me first, but I fucking guarantee I’ll kill you last.”

Charles Soule took over as of issue #12 and already it’s felt like a breath of fresh air. #12 was a Punisher-centric story that turned his “banging on the side” relationship with Elektra into something more dramatic as she’s given him reason to kill her down the line. Then #13 was kind of average because it was an attempt to clean up Way’s mess by explaining who the hell Mercy is and why she’s on the team when she’s yet to do anything of note or interact with anyone other than Red Leader. For any of you who haven’t been paying attention, Leader has been resurrected and he’s red. He’s currently the intelligence of the team, although he’s given limited intellect to work with to keep him from remembering who he was. Right now he’s just a timid follower of General Ross, retaining his personality from before he became an insane supervillain.

The big problem with the series has been that it hasn’t delivered a hook. Sure, I get that it’s taken the Thunderbolts name because of General Ross’ nickname and how they’re a bunch of dark heroes with blood on their hands, but why are they together? The first issue had Ross recruit everyone and it gave the idea that they were going to be a non-mutant version of X-Force. Even though it took fourteen issues, this week’s issue FINALLY gives us an idea of what the series is really all about.

And it’s a pretty awesome idea.

Right there! Why couldn’t they make this clear from the very first issue? Hell, the second issue or even sixth? Why did we have to wait that long to get this great hook for a series about a group of heroic killers working together? I mean, you’re the fucking Thunderbolts! You know what the original Thunderbolts were known for? Telling us why we should be reading it from the end of the first issue! Imagine if Citizen V unmasked in the middle of the 14th issue.

“The Selfish Avengers.” All members of the team (outside of Red Leader and Mercy) get a chance to lead the team into a mission of their choosing. If Deadpool wants them to kill Sabretooth, they will all go off together to kill Sabretooth, go back home and ask Elektra who she wants iced. It kind of has a low-rent Illuminati feel to it.

So far the first choice has gone to Castle, leading to this exchange.

I hate it when comics get so obsessed with decompression that by the time they get to the point, people have stopped reading and it dies. That’s what happened with Chaykin’s Squadron Supreme and I have a feeling it’s going to happen here. I don’t have too much experience reading Soule’s stuff, but so far he’s turned Red Lanterns around and he’s been doing good work on Swamp Thing.

All that I’m saying is to give Thunderbolts a chance. Which is really the opposite of giving peace of a chance.

Hello, ladies and gentlemen. The ThWiP wheels keep turning and it’s been a great week of stuff, especially because of Batman ’66 gracing our digital devices. Also, Venom has bitching art and Deadpool Kills Deadpool cleans off the stink that came from Deadpool Kills the Marvel Universe… even if it killed off Golden-Age Deadpool from that comic one-shot that only I and four other people read from three years ago. Speaking of Deadpool comics that are no longer bad, Daniel Way is off Thunderbolts and it’s already much, much better and comprehensible.

My helpers this week are Gaijin Dan, Matlock, Space Jawa and Jody. Speaking of helpers, thanks to the many people who have already contributed to This Character in Panels. Keep it coming! The deadline is July 21st.

Adventures of Superman #10
Dan Abnett, Andy Lanning and Wes Craig

Avengers #15
Jonathan Hickman, Nick Spencer and Stefano Caselli

Avengers AI #1
Sam Humphries and Andre Lima Araujo

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Sorry for the extended break. Last time, I finished off Kurt Busiek’s knockout run on Thunderbolts, ending at #33. While Mark Bagley stays on board for a little while longer, the new writer is Fabian Nicieza. Nicieza is a great writer (listen, he’s posted in previous comment sections, so he might be reading this. Follow my lead) that you can usually count on. His pro is his great grasp on making characters interesting. His con is his habit of making plots a little too confusing and complex at times. Like, I loved his Cable/Deadpool run, but he had a thing for introducing maguffins that needed three pages of exposition to set up. After those three pages, I’d come out cross-eyed. Odds suggest he ghost-wrote Inception. One of the great things here is that Nicieza simply picks up where Busiek left off, not choosing to kill the setup for his own specific take. It’s very seamless.

While they are still investigating the Beetle appearances that have popped up in the media, the Thunderbolts continue to try and make themselves look better in the public eye. Hawkeye publicly states that they’re going to bring in the Hulk, a statement that the others aren’t so pleased with. Luckily, he has a plan. He has Moonstone in street clothes confront Bruce Banner and try to talk him into turning himself in for the betterment of society. Banner doesn’t agree, refusing to give up his freedom so the Thunderbolts can gain brownie points and turns to leave. Unfortunately, this guy named Clay Brickford is in town and he has a tense history with Banner and the Hulk. Without thinking, he punches Banner, who transforms and skips the scene.

The team of Hawkeye, Moonstone, Songbird and Atlas more or less fight Hulk to a draw. They use teamwork to set up an attack meant to exhaust and knock him out, he lashes out in a way that takes them all out, jumps away, then collapses and turns into Banner. Hawkeye is partially buried under wreckage and when that Clay guy shows up to kill Banner, Hawkeye fires an arrow into Banner’s shoulder, knocks him off a ledge and onto the top of a moving truck, where he rides off to freedom. The team decides to regroup, accepting that they failed. Still, that isn’t the real story of the issue.

Jolt and Charcoal are forced to sit things out so they can go to school instead. After school, they hang out with their friends – the kids who have previously asked the Thunderbolts for help – and the cliffhanger shows someone watching them through a sniper rifle.

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When we last left our sorta heroes, Hawkeye stepped into the room to alert the Thunderbolts to his presence… and to let them know that he clogged the toilet. Thunderbolts #21 follows up on that with the team making a joint effort in trying to take Hawkeye down. Much like any given Garth Ennis protagonist, the guy with no powers proceeds to clown everyone. Not just with his trick arrows, but with his ability to make the Thunderbolts trip over each other.

The deal is that if he could last five minutes, the team would have to hear his pitch. And what a pitch! He’s talked it over with Henry Gyrich and the government bigwigs and wants to lead the Thunderbolts. Sure, he was annoyed by the whole Masters of Evil façade, but was he really all that different before joining the Avengers? Suddenly the Black Widow flashback story from the first year seems like less of a throwaway issue as it’s really there to seep Hawkeye into our reader consciousness.

The team is open to this idea, except for Songbird. She desperately screams that this is all a trick and flies off. MACH offers to go talk to her and it’s a good thing, since she’s having a very public tantrum that’s brought the National Guard into this. He gets her away from the battle, but his shoddy armor starts to fall apart and they crash into a condemned building. Songbird makes a sound-based shield to keep the authorities out and MACH finally mans up and talks to her about her recent personality shift.

Songbird goes into her life. Between her parents, her first love, the Grapplers, the Masters of Evil, her relationship with Angar the Screamer and the emotional twisting that came from Zemo’s Thunderbolts plan, her life has been nothing but a series of hope leading directly into soul-crushing failure and she can’t take it anymore. Hawkeye’s idea sounds nice, but she knows it’ll only kill her on the inside yet again. MACH promises that despite her attempts to push him away, he’ll always be there for her. Which is all nice, but they also have that whole National Guard situation to deal with. Luckily, Hawkeye and the rest bail them out. This does lead to there being footage of Hawkeye working with the Thunderbolts and the media isn’t so sure how to handle that.

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Last time I discussed the initial stories of Thunderbolts, where the heroes were really wolves in sheep’s clothing. They all played the role of hero with different emotional impacts and now it’s all come to a head. Somebody’s figured them out and while at a press conference, SHIELD busts in to arrest them. Everyone’s shocked to hear that these guys are the Masters of Evil, but nobody more than their own member Jolt.

Zemo himself doesn’t seem so surprised and has an escape plan ready. They sneak out and split up, told to regroup at base. Atlas is emotionally gutted from having to see the look on Dallas’ face, but runs off regardless. Jolt could proclaim her innocence in it all, but she jumps out the window, feeling that there has to be something she can do to make things right. They each get to base in their own way, but interestingly enough, Moonstone gets in a brief tussle with Hawkeye, who had come back from being… Wolverine… in a brown mask… on an Earth… on the other side of the sun…?

Listen, comics are fucking weird. What’s important is that Moonstone sneaks away in disguise and thinks about skipping town and starting over. Ultimately, she decides to keep with the team.

One little touch that I’m still not sure if it was planned or if it was damage control over a writing mishap has the media point out that in the footage of the Thunderbolts fighting Arnim Zola’s creations, Techno briefly refers to Meteorite as Moonstone. Even Jolt’s realizing that she was there and that should have raised a red flag if she wasn’t so caught in the moment.

The Thunderbolts think about who could have blown the whistle on them. Black Widow, perhaps? Nah. It was Zemo, who could see that everyone was starting to come around on the hero concept and wanted to speed up the plan to take care of that. Granted, they don’t HAVE to follow him. They could play hero and be arrested or go back to the villain life and be violently ostracized for their actions as Thunderbolts. In a bit of checkmate, he’s got them right in his pocket.

They get in their plane (Thunderjet?) and fly off into space. As an exclamation point, Zemo detonates Four Freedoms Plaza. No word yet if Dr. Doom cried.

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In the prologue, I discussed the initial appearances of the Thunderbolts and the big hook of the series: a bunch of villains are pretending to be heroes in an attempt to exploit the world’s trust for personal gain. Months ago, I tried to get a friend of mine to read the series, but he’s a DC guy and was reluctant because he didn’t know any of the characters. Hell, I didn’t know any of the characters either! I mean, sure, I had heard of the Beetle before, but I only knew these characters as “those guys who became Thunderbolts.” Regardless, I figure now would be a good time to briefly go over our starting six main characters.

BARON ZEMO/CITIZEN V
Helmut Zemo

Helmut is the son of Heinrich, the Nazi supervillain who got the credit for Bucky Barnes’ death back in World War II. The news of Captain America returning, as well as the death of his father caused Helmut to seek revenge. At first he went with his own gimmick, calling himself the Phoenix. Cap handed him his ass and knocked him in a vat of Adhesive X, which scarred up his face something fierce. He’s since returned again and again as Baron Zemo, always aligning himself with fellow villains in hope of sticking it to Captain America. His claim to fame is the time he led the Masters of Evil into overtaking Avengers Mansion, where he had Jarvis tortured and messed with Cap by destroying his old pre-freeze belongings.

Zemo has no powers, but is an expert swordman and something of a scientific and tactical genius.

Baron Zemo is driven by his thirst for world domination and the belief that he is superior due to being a Zemo. Different writers seem to have different takes on how much he takes after his father. Can he be described as a Nazi or just the son of a Nazi? Does he feel that he’s superior because he’s Aryan or strictly because of his bloodline? Even a recent issue of Thunderbolts delves into this with Jeff Parker suggesting the latter. Personally, I like to just think of him as being a straight-up Nazi who likes to use people who he feels are inferior. It adds more emphasis to a lot of his later moments, from the subtle (the end of Thunderbolts #100) to the not-so-subtle (the last issue of Zemo: Born Better). I’ll get to those far down the line.

MOONSTONE/METEORITE
Karla Sofen

Karla was the daughter of a butler who worked for a rich family. While living at the mansion, she became best friends with the family’s daughter, exploiting her for her wealth. After her father’s death, she was removed from the cushy mansion life and her mother worked to the bone to keep them afloat. Karla was disgusted by her mother’s behavior and swore never to slave for the good of someone else. She became a talented psychiatrist and moonlighted with some bad people, ultimately leading her to convince the supervillain Moonstone to hand over the Kree artifact (the Moonstone) that gave him his powers. As the new Moonstone, Karla antagonized the likes of the Hulk and the Avengers.

Oh, and going by Brian Reed’s run of Ms. Marvel, she murdered her mother and convinced some of her patients to kill themselves. A little overboard for her depiction? Possibly, though Busiek has her doing some shady actions that land near that level.

As Moonstone, Karla is able to fly, has super-strength and can phase through walls. When using her Meteorite guise, she uses that last power at a minimum so as not allow anyone to figure out her identity. Her manipulation skills are so top tier that even Loki’s like, “DAMN!”

Moonstone is driven by selfish comfort. She’s the kind of person who would pretend to be lifting her corner of the couch while you end up putting in the brunt of the effort.

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Thunderbolts is a comic that’s like a superhero in origin. You look at a lot of the major superheroes and you see that they were diamonds that expelled from the rough. Parents gunned down led to the creation of Batman. An uncle gunned down led to the creation of Spider-Man. A planet exploding gave us Superman. A war led to the enlisting of Steve Rogers, giving the world Captain America.

Comparing it to murder and genocide might be more than a little over-the-top, but comics in the 90’s were filled with terrible shit. Nobody proved this more than Marvel, who did a nice job of chasing readers away around 1997. Thor had a laughable extreme outfit that included a blue headsock connected to a halfshirt. Spider-Man was stuck in a story about clones that went on way beyond its expiration date. A promising idea about Xavier becoming an unbeatable mega-villain led to an unfortunate story that led into an even more unfortunate story about half the Marvel heroes being vaporized and then reborn in another world. Plus Venom was in a bunch of comics and that was the worst—wait, what the hell am I talking about?

This was around the time when I stopped reading comics for 6-7 years, missing out on the gem that grew out of the Onslaught/Heroes Reborn mess. Even when I got back into comics, I didn’t have Thunderbolts on my radar. I didn’t even know what it was about, nor care enough to check it out. It wasn’t until Warren Ellis took over and gave it the New Avengers treatment (putting beloved mainstream characters on the roster and making it a jumping-on point) that I started reading it. I haven’t stopped since then and later went back to the beginning to catch up on all the stuff I missed.

I found the series to be golden, through and through. Not that it doesn’t have its flaws and headshaking moments, but for a series that’s been around for nearly 15 years by this writing, it’s pretty damn special. There are different reasons for that. Obviously, it’s because of the pantheon of great writers, from Kurt Busiek to Jeff Parker with all the other top-notch guys in-between. I’ve established many times that I’m a major fan of redemption stories and that’s what Thunderbolts perpetually is. Yet I think the main thing that Thunderbolts has going for it is that it’s a comic that’s not allowed to hold still. Most superhero comics are allowed to hold onto the same status quo for decades if the sales and writing are strong enough, but Thunderbolts isn’t able to maintain such a thing for too long, else it begins to fall apart. The comic is in constant motion with its cast developing and moving around to the point that even the mission statement gets mutated a couple times.

I thought I’d give a look at the whole series, which as of now is 167 issues in, not to mention multiple miniseries and specials. With some exceptions, I won’t go as descriptive as I was with We Care a Lot, explaining every issue in detail. I’ll probably gloss through the main plot, then focus on the characters and their personal situations.

This being the prologue, I guess it’s fitting to start at the beginning. No, not at Thunderbolts #1, but even before that. The team made their first appearance in Incredible Hulk #449 by Peter David and Mike Deodato.

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Noted funnybook writer Jeff Parker is making a big push to get a new title: “noted smut-peddler Jeff Parker.” From his Twitter, where he used Twitlonger to cheat and use more than 140 characters:

THE DEAL: Like all true artists, Kev Walker of Thunderbolts has no earthly ‘restraints’ and in the latest issue Marvel chose sagely to let balloons hide the contact between Satana and Moonstone on page six.

IF you would like to see that image sans dialogue, all I ask is that you help get the word out this Thursday on the webcomic BUCKO by me and @erikamoen . Spread the http://www.buckocomic.com/ link far and wide with vigor, and if (and when!) we pass our record number of site visits, I will twitpic that obscured file.

Here is the page in question, where Parker has written Satana as like a hyperactive genki girl from anime all hopped up on ecstasy and viagra. If I had the time, I’d photoshop in Moonstone going “Kyaaaaaa! -_-#” and maybe Juggernaut going “ch-ch-ch-ch-chotto matte!”

It’s pretty plain to see what’s going on, but sure, I’ll play your game, Parker.

The thing about Bucko is that it’s got a pretty impeccable creative team. Erika Moen did DAR for a billion years, at least in internet time. Her sense of humor is that right kind of lowbrow comedy that I like and her characters are full of personality (sorta like what I imagine old timey stage actors were like–very dramatic and intentionally overacted, but great for entertainment purposes). Parker’s been in the trenches for, I dunno, forever? Several years, at the very least. He made a splash with some good all-ages book at Marvel, then moved on to work like Agents of Atlas, The Age of the Sentry, a couple more Agents of Atlas, Underground, and Mysterius. These days, he’s writing what’re probably Marvel’s two best ongoing books, Hulk and Thunderbolts.

Bucko. Right. Let’s talk Bucko.

So: two creators who have established themselves in two entirely different lanes (corporate comics & webcomics) and are freakishly talented (poop jokes and talking monkeys a specialty) team up to create… what? Turns out, the answer is “a comic strip about Portland.” Moen and Parker’s comic is a murder mystery that begins when Bucko takes an emergency trip to the bathroom during an interview and discovers a dead body. The drama soon explodes (sorry), with a swirling mixture of threesomes (almost), stab wounds, corrupt cops, and a scathing exposé of the American penal system. Also there are jokes about fixies and Etsy.

All of the people I know in Portland (all… four of ’em, plus I guess a couple of tiny dogs) demand that I move there. Thanks to Bucko, I now understand that this is a dirty, dirty trick.

It’s a really funny comic. Start here and work your way forward. It updates on Tuesdays and Thursdays. One chapter’s done (21 pages worth of comics), and the second chapter is in progress. You should be reading it, if only so that Jeff Parker can fulfill another lifelong dream.

(read Thunderbolts too, by the way.)

Hey there and welcome to another week of ThWiP. This week I’m joined by David Brothers, Space Jawa and Was Taters. It’s Taters who contributes the most contrasting of comics in Tiny Titans and Vampirella. Yes, indeed, not only is Vampirella of all comics making an appearance here, but it’s sent in by the one female contributor. I don’t get it either.

Now to get this out of the way so I can continue writing my review of the most amazing and spectacular Broadway musical that I happened to catch last Friday.

5 Ronin #3 (Punisher)
Peter Milligan and Laurence Campbell

Avengers Academy #11
Christos Gage and Tom Raney

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-David bought comics!
–Heroes for Hire 4, by Dan Abnett & Andy Lanning/Robert Atkins
–Power Man & Iron Fist 2, by Fred Van Lente/Wellington Alves & Nelson Pereira
–Thunderbolts 154, by Jeff Parker & Declan Shalvey
–Joe the Barbarian 8, by Grant Morrison & Sean Murphy
-You’ll never guess which one he wasn’t too fond of.
-Esther only bought a single book, so David gets to do most of the reviewing.
-Luckily, the Fourcast! is your number one source for digressions… so this one’s an hour.
-HOLLA.
-6th Sense’s 4a.m. Instrumental for the theme music.
-See you, space cowboy!

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