Previous Thread: To recap the issue:
>Tony Stark is in a self-induced coma
>Carol Danvers gets away with it scot free
>Ulysses fucks off to space
>The middle of the issue is dedicated to shit that hasn't happened yet
Final score: 10/10, since there's a panel where Sam and Kamala's hands are touching.
>implying KamSam is end game
Look at how wet this bitch is here
This event was so bad I'm having difficulty processing just how bad it is.
Like this is worse than Age of Ultron since CW2 actually affected more shit in the marvel universe.
I wonder what Bendis' original ending was. Less shit that hasn't happened yet done by different artists, I'm guessing.
10/10 sexy lesbian murder Carols.
...
Forget Samala,Let Sam get someone slightly interested in him before setting down for the path of dissapointment again
>Final score: 10/10, since there's a panel where Sam and Kamala's hands are touching.5 Replies / 4 ImagesView Thread
But does Sam get naked on panel like he did in his own series?
Did this ever get resolved?
Different event user
You forgot Beast switching to Tony's side, proving that Carol was right.
>Loki is back at being a villain because BENDIS
Fuck you Bendis, I'm not hype at fucking all
Well she doesn't have her prediction toy anymore so even if Tony lost the battle he won the war.
My sides
Loki switches sides like every month.
...
except he hasn't switched sides in about the last 5 years, for fuck's sake read the fucking comics. Everything Loki has done since the end of Siege has been to redeem himself. Even when Ikol took control of Kid Loki body he felt guilty and worked to redeem himself. The last time he became a "villain" was only to help Thor, he's the inside guy for the villains in the current Thor run
Did the side that Miles chose win?
What in the fuck
So Stark figured that Carol probably was immune to his magic eletricity from the last battle, so instead he brought... big fists?
It depends from your point of view: Tony's side accomplished its goal, but technically Carol won the conflict
Carol was right.
Wait, really? Jesus fucking Christ, Bendis.
Is there any hope that Aaron will just ignore it and keep Loki as the mischievous hobo good guy?
It looked like future Loki desu
And even if it isn't it could always be keikaku
I'm reasonably sure Bendis doesn't give a single fuck to the stuff that was teased during those filler pages unless he had direct input over them in the past or present
>Miles will be in Hydra War.
I'm so fucking done with this shit character. When the hell will we be getting rid of him?
why is there a think tank in the background?
I was under the impression those pages were foreshadowing big Marvel arcs, not Bendis arcs.
It's most likely Aaron's idea in the first place.
I don't think I've ever seen a edited comic thats funny.
Is this supposed to be funny?
At least its not "this fucking fuck is for fucking morph", which seems to be the comedic goldmine going from shit like muh phoenix.
even then I wait it's seriously not the case. Let the movies be movies, the comics be comics. Loki growth into his current self was a wild journey and one of the most satisfying reads I've ever had, I wait Marvel doesn't try to ruin it just for POTTERY points for pitting Thor against Loki again
you talk like aaron isn't known for that, too
Carol is essentially a criminal after this issue. Also the way Ulysses just fucks off to live with the abstracts makes me think that Bendis just had no idea of what to do with him. He'll probably reappear in Ewing's cosmic event, tho. Hope he gets better treatment there.
That was probably Aaron's idea.
I don't know, Aaron's Loki is pretty weird in that he actually made me fearful he made Loki go to villain again so fast, but so far he has been using the mischief angle more than the god of stories one. I just expect the reversal to villain is organic or maybe a future self like King Loki
Fucking Bendis doesn't even know that Eternity is in chains and can't do shit. He writes to delay the issues with an extra one and guess what? No difference at all. And how about Ulysses? He just kicked the guy off the board. This is ridiculous.
Come on, she's tsundere for Sam. And Sam is going to grow into a charming manlet. And is cute as fuck.
It is known.
Eternity can do shit within himself via projections/manifestations. Only the true, omniversal eternity is chained, but very few people know this.
The Stark that hacked and repurposed a Builder's Planet Killer, built Sol's Hammer and weaponized Earth with the Rogue Planet just go War Machine Carol Buster and gets his ass owned? Way to go, Bendis. Way to go, motherfucker.
>Too smart to laugh at dumb edits
I dont know, is that post supposed to sound like a faggot wrote it? Because it does.
By getting rid of Bendis.
And that'll only happen when he stops selling or when he dies.
>Implying she just isn't a slut
Multiverse Eternity is the one in chains, and it can only be seen from outside the multiverse.
With all due respect, he's read at least one comic you haven't.
>Issue ends with 7 pages of advertisements
>I'm only excited for the Thor one
I just can't do it anymore you guys
...
But there's going to be giant monsters fighting the heroes AND each other. Don't you like fun, user? xD
If the only thing this issue is remembered for is this reaction image, then it would almost be worth it. Almost.
Best thing to come out of CW2
comicsbeat.com
>After several delays and a high amount of anticipation, it’s hard to not be disappointed by the latest issue in Marvel’s newest event series; Civil War II: #8. The comic follows a string of issues that were unkept in pacing, featuring battles in fits and starts loaded with as much dialogue as can fit on-panel. Attempting to track the timeline of the series would prove exhausting and pointless when the tale is framed around one final battle between Carol Danvers and Tony Stark that fans have been waiting for since the first issue hit store shelves.
>Without trying to give anything about this issue or series away it’s important to mention that comics have a hard time establishing real, meaningful conflict in any given story. When every single story published is part of an established shared universe where cast members frequently die and come back to life, the illusion that a story is going to change the landscape of the universe is very hard to establish. In Civil War II: #8 these big changes don’t feel earned, the big fight scene is vague enough to make readers scratch their heads on what the outcome of the fight was until it is explained to them in dialogue several pages later. In addition, the fight between the two of them has been teased for so long and not delivered in past issues that the story is difficult to invest in, this issue might have served readers better had it picked up the paces after climactic battle seen in this issue.
>No other comic this year will be such a thinly disguised advertisement for the rest of the line trying to get readers to buy new books. This important issue serves as a poster board for the new Marvel comics, taking away the opportunity to even ground the narrative from other issues and forgoing meaningful interactions for the slightest hints at an upcoming ongoing series. This is the last issue of an event series, so there are some last minute surprises in the comic but like the rest of the series, readers aren’t provided with information to invest in any of these changes.
>It’s hard to be this mad at a comic that looks this slick. Penciller David Marquez has proven himself as an artist capable of sitting amongst the Marvel elites. The artist’s ultra-slick pencil style wonderfully depicts each and every character, elevated by the distinctive colors of long-time collaborator & colorist Justin Ponsor. The letters from VC’s Clayton Cowles and production from Victor Ochoa makes this a comic where I want to take the staples out out of the spine and tack it on my wall. Layouts are innovative and readable, the colors are vibrant and beautiful, the letters emphasize certain characters speech patterns and the production adds to the presentation of the entire package.
>Those curious about the fate of the Marvel Universe could flip through the issue & take in a glance at the art and changes teased by the publisher. $4.99 is a steep price point for a comic and one that’s hard to recommend for a reading experience as frustrating as this issue.
>Verdict: Browse for the art! There’s plenty of other exciting things going at Marvel and big, exciting new books to enjoy to be overly disappointed in this finale, read on!
...
20/16
I'm so glad Marvel is dead.
ign.com
>There are clear comparisons to be drawn between the execution of Secret Wars and that of Civil War II. Both were major event crossovers that fell significantly behind schedule. Both fell further behind schedule thanks to the decision to expand the story with an extra chapter. And in both cases, Marvel elected to delay the series and allow the original creative team to finish telling their story, even after the rest of the Marvel Universe had already moved on. The difference is in the payoff. Secret Wars #9 served as a beautiful finale to Jonathan Hickman and Esad Ribic's sweeping superhero saga. The fact that it arrived months after the start of the All-New, All-Different Marvel relaunch scarcely mattered. Civil War II #8 doesn't have anywhere near that impact. This issue merely serves as a dull, unremarkable finale to an event that's struggled to justify its very existence.
>After reading this issue, it's not even clear why Brian Bendis and David Marquez wanted to expand their story in the first place. Issues #7 and #8 could easily have been compressed into one book. What's more, that probably would have benefited the story. Issue #8 feels empty and hollow. It depicts the final battle between Captain Marvel and Iron Man, the immediate aftermath and little else. The limited cast helps steer the book away from the bland, uniform "team speak" that's marred certain previous chapters, but none of the characterization stands out here. Neither Carol nor Tony have any particularly memorable moments as they clash one final time. To draw comparisons to the original Civil War, there's nothing comparable to Cap's great epiphany from Civil War #7 or Tony's tearful farewell in Civil War: The Confession. The script fails to connect on an emotional level. This issue merely reads like a necessary step in terms of scooting the Marvel U. from one point to the next.
>"Anticlimactic" really is the best word to describe this issue. It reveals little about the conflict that hasn't already been spoiled by a number of other post-Civil War II comics. It does nothing interesting with issue #7's twist - that Ulysses seems capable of physically travelling to and interacting with the futures he sees. It fails to provide closure for the rest of the book's main cast, whether it's Miles Morales' dilemma or She-Hulk's response to losing her cousin. As for Ulysses, this issue only reinforces the idea that he was always more plot device than real character.
>It should be noted that Civil War II ends its run looking as good as it started. In a time where both Marvel and DC seem to be gravitating toward the "switch artists every single issue" approach to crossovers, the appeal of having one writer and one main artist can't be understated. Despite the fact that the conflict in this issue involves a measly two fighters, Marquez is able to bring an impressive sense of scope to his pages. And his flair for emotionally charged facial work is as apparent as ever. Marquez does his best to wring every bit of emotion out of this bland story, but at the end of the day there's only so much that can be done.
>This issue also features several guest artists rendering splash pages depicting various glimpses into the future of the Marvel U. These visual shake-ups work naturally in that context, and it's fun seeing the likes of Esad Ribic and Adam Kubert offer teases of what's to come. But these visual detours also serve to take the focus away from the here and now just as Civil War II should be reaching its most critical point. Like so many Marvel events, there's more focus on what's coming next rather than properly wrapping up the current story.
>The Verdict
>Civil War II ends with what is easily one of the weakest chapters of the entire crossover. This issue is anticlimactic and fails to wring much emotion from the final battle between Captain Marvel and Iron Man. Nor does it justify the decision to expand the series. David Marquez's art helps make the book a little more palatable, but there's only so much great art can do to salvage a poorly conceived comic.
>5.3
> Mediocre
>Civil War II wraps up with an anticlimactic and emotionally empty final chapter.
This just makes me sad we'll never see Marquez draw Carol as Ms Marvel.
Bendis is interviewed!
comicbook.com
CB.COM: Civil War II was extended from a seven issues to eight. How did that effect the ending?
Bendis: The actual events didn't change, but how the story was told changed. We'd been thinking about the visual dynamic of Ulysses’ powers. In the earliest, earliest, earliest version, before you even heard there was an event, we started to think about what kind of ending Ulysses brings us. Do we kill him? Does he join the Avengers? Does he join the Inhumans? Does he go bad? Does he snap?
He keeps being hammered by tragedy. He feels them and some of them are really going to happen and some of them are just going to happen to him. Regardless, if you're young and you're idealistic and suddenly your brain just gets hit with everything horrible that could possibly happen, it will change you. Does it change him into a villain?
There were all these opportunities, but the one that was the most intriguing to me and to everyone else when I pitched it, is that he evolves past profiling. The profiling is a stepping stone to another step in evolution beyond anything the Inhumans have ever experienced and what it does is it removes him from future storytelling without it being like a Twilight Zone tragedy, like, "Oh my God, he died in the middle of one of his own predictions."
So this evolution, this evolving of him, to another part of Marvel, that maybe will bring stories down the line is very interesting, but how to capture that evolution, visually in the comic book to really sell it, was something that I thought could use some more pages and when you turn the page and see Eternity and the other Elders of the Cosmos, that's not an eighth of a page. That’s, you turn the page and that's a double page whammer.
BMB: Also, everyone at the end gets glimpses into the future of the Marvel universe. Some things the audience knows are going to happen, some are classic and some that are brand new and have things that the audience doesn't know about that may be coming true very soon or later in the year. Not only does it kind of answer the question of Ulysses’ powers, but it also makes us as creators look like we've got our s*** together and so smart because we do have our s*** together on some level and this let us illustrate that using Ulysses’ powers.
I'm very excited that it was almost a visual interpretation of the Marvel timeline we did in Avengers years ago where there was this timeline that showed things from the future, some of which we knew were going to come true. People would go back to that timeline for many years then come to Me and Tom [Brevoort] and go, "Oh my God, you actually did the thing with the thing.” We're actually pretty proud of that.
We thought a visual interpretation of that would be great and also it let us get some other artists in here to make it about Marvel Comics, many types of different comics, and that's when we were so happy when all of our collaborates from Andrea Sorrentino doing the bit for Old Man Logan and then Alan Davis doing Killraven, and Mark Bagley and everyone else that came and joined us, they were all of our first picks and they all said yes and we got to express this idea that we've been toying with for many years again, but in a different way, and that was pretty cool. In a way, it kind of makes Civil War II a sister book to Age of Ultron and a sister book to Avengers and it all connects to the work we've been doing, but in a different way.
CB.COM: Ulysses’ powers have proven to be inconsistent over the course of Civil War II. With that in mind, how should readers take these final visions? Some are clearly upcoming events like Monsters Unleashed and Inhumans vs. X-Men Are the other hints at future plans, or are their red herrings mixed in as well?
BMB: Some of them have already happened, or at least are futures we know of, like Days of Future Past and Age of Ultron, futures that could happen. Those are almost like a warning shot, things that could happen, will happen or could be avoided. All of that, we thought was a nice way for Ulysses to kind of bow out of profiling and leave just enough for all the heroes that were present to realize that they will always have work to do.
They made Sam look a lot older than he usually looks in pic related.
CB.COM: As you mentioned, Civil War II #8 gives Ulysses an ending that takes him off the table for now but still gives him a new place in the Marvel universe. Do you see yourself returning to Ulysses in future stories?
BMB: To be continued. I have a couple of ideas that could work to put them him on the same level as the Collector and the Gamesmaster, but I'm not working on any books right now that type of cosmic character would fit into. I feel a couple of the other writers are going to grab him. I feel like he's going to pop up in some surprising places down the line. There's kind of like a mix between making sure enough time goes by that it will be exciting to see him again, but if we wait too long, it'll be like, "Who?"
I wouldn't be surprised if you see him sooner or later. I don't have him right now. If no one else ends up doing anything with him, I have a tendency to grab my toys back and do it myself, so we'll see.
CB.COM: Fans have heard stories about how hotly contested the decision about how to end the fight between Captain America and Iron Man in the first Civil War series was. Was there similar debate surrounding how to end the conflict between Captain Marvel and Iron Man?
BMB: It was funny because I was there for those meetings where they were arguing about who would win and how they would win and where certain things would happen. There was a lot of debate about whether Cap would die in his own book or die at the end of Civil War. it was all very interesting and I remember what was so charming about that day, was the argument went on for hours and just, out of the blue, and it never happened before or since, Joss Whedon was in the neighborhood and texted Joe [Quesada] and said, "Hey, can I stop by?" He walked into a room that was divided down the middle about how to handle the end of the first Civil War. He walked into the room just to watch the show and it ended up being like, "Okay, Joss, here's the two arguments. You can tell us the answer." He did and it was pretty funny to me that he just sauntered in the room and just got hammered with the future of the Marvel universe on his shoulders. But I do think about that a lot. I think about, “How do we avoid torturing Joss Whedon or someone else like that again?”
I pitched my ending that happens in the book between Carol and Tony, not the Ulysses part, but the Carol and Tony part was in the original document, and I thought to myself, “Unless something reveals itself that hadn't occurred before, let's really try to stick to this ending and try to make this ending as powerful as possible and, at the same time, as debatable as possible.”
>I feel a couple of the other writers are going to grab him. I feel like he's going to pop up in some surprising places down the line.
haha what
at best he'll die in an event
You know, I was at least going "Hey, maybe Marvel will hype up something cool"
3 of the pages are events we already know about.
3 are of alt futures like DoFP, Killraven, and AoU
Only one, ONE hinted at something we didn't know, and it's the Thor one.
Marvel really has no plan.
BMB: With Civil War II, I lean very heavy into the audience arguing amongst themselves about Carol and Tony and the morality of it all and the friendship of it all and how far are you willing to go for this? Some of the audience enjoys that immensely. Some of the audience gets very wound up about it. They have a favorite character, whether it be Tony or Carol, and they know that something really huge is going to happen at the end of the story. They're dreading a million things that could happen, but there was only one outcome. I wanted the audience to still debate outcome. I would like them to debate amongst each other without insulting me, but what are you gonna do?
This ending was 90 percent of what I said it was going to be, which is a pretty great number for me. That's pretty high up, for the way I go. Sometimes I get to the last third and something else reveals itself that's more intriguing, but this did help, that I plotted this out for so long, no matter what the universe threw at it.
His original ending was probably even worse, i.e. Tony is actually dead.
Carol's a shit but I'd still fug her
CB.COM: The final scene with the President talking to Captain Marvel about a new position felt reminiscent of Iron Man taking over SHIELD after the first Civil War. Was that deliberate?
BMB: What I liked about Tony’s ending in Civil War was that is was a bittersweet ending, that he ascends to the highest office in this organization that his father had hands in developing, and what an honor, but he did it with blood on his hands. Would he rather have Capt back than have this title? Yes, he would. That's the definition of a bittersweet ending.
I definitely thought that these two love each other so much and in a way, Carol and Tony are tighter than Tony and Capt were, even though they're all very close. They share so much about recovery and other issues they've shared over the years that no matter who wins, and with Rhodey’s death hanging over it all, it would be a very bittersweet ending and that's really the only ending that would be honest even though it might not be the most Twilight Zone-y or exciting. It's the most honest and when you're faced with the honest answer, you've got to stay with that no matter what other, clever thing you could think of.
It's not exactly the same as the first, but it has that same bittersweet quality to it. She's not taking over SHIELD. Something else is going to happen with her. Something else is going to happen to Tony that did not happen to Cap and people have already gotten a little taste of it with some other books, because comics.
CB.COM: There was also the conversation between Captain Marvel and Beast. Was that meant as a coda? Or foreshadowing of things to come? Or even possibly as both?
BMB: What makes you think it was a coda?
CB.COM: The way Beast explains why Iron Man was really fighting against Captain Marvel feels like a revelation that serves as a punctuation mark. But it also maybe feels like an author’s warning…
BMB: I could see that. I am just a big fan of - and realize as well, not just in my comic books and movies - but when all the chaos is over, there's a quiet moment and someone reveals something in that quiet moment that kind of opens the eyes of one of the characters in a way that none of the fighting would ever have done. There's really not that much difference in what Beast says compared to what Tony has said to Carol over the course of the event. It’s just over the body of Tony and the way he says it and he articulates it, it kind of brings it home more for Carol.
Once Ulysses is off the table, it's a little easier to talk about. You can talk about it past tense, and it’s little easier to swallow than it is when you're in the middle of the hurricane. It's more about that than a coda, but yes, with the ongoing myths of the Marvel Universe, which is obviously one of my favorite things, you don't know what's going to happen next year to the two of them. You could wake up and the fight starts all over again in Civil War III or he wakes up and their relationship changes. When and if Tony wakes up, what will his relationship be, not only to Carol but to the entire Marvel Universe?
Lock her up
And he might still be doing that. It's one spread totally out of context.
I'm kinda hyped for Monster Unleashed but even that's only because of the implication that we might be seeing more of Elsa Bloodstone.
>comicbook.com
>Civil War II was extended from a seven issues to eight. How did that effect the ending?
Brian Michael Bendis: The actual events didn't change, but how the story was told changed. We'd been thinking about the visual dynamic of Ulysses’ powers. In the earliest, earliest, earliest version, before you even heard there was an event, we started to think about what kind of ending Ulysses brings us. Do we kill him? Does he join the Avengers? Does he join the Inhumans? Does he go bad? Does he snap?
He keeps being hammered by tragedy. He feels them and some of them are really going to happen and some of them are just going to happen to him. Regardless, if you're young and you're idealistic and suddenly your brain just gets hit with everything horrible that could possibly happen, it will change you. Does it change him into a villain?
There were all these opportunities, but the one that was the most intriguing to me and to everyone else when I pitched it, is that he evolves past profiling. The profiling is a stepping stone to another step in evolution beyond anything the Inhumans have ever experienced and what it does is it removes him from future storytelling without it being like a Twilight Zone tragedy, like, "Oh my God, he died in the middle of one of his own predictions."
So this evolution, this evolving of him, to another part of Marvel, that maybe will bring stories down the line is very interesting, but how to capture that evolution, visually in the comic book to really sell it, was something that I thought could use some more pages and when you turn the page and see Eternity and the other Elders of the Cosmos, that's not an eighth of a page. That’s, you turn the page and that's a double page whammer.
man
fuck Carol
Also, everyone at the end gets glimpses into the future of the Marvel universe. Some things the audience knows are going to happen, some are classic and some that are brand new and have things that the audience doesn't know about that may be coming true very soon or later in the year. Not only does it kind of answer the question of Ulysses’ powers, but it also makes us as creators look like we've got our s*** together and so smart because we do have our s*** together on some level and this let us illustrate that using Ulysses’ powers.
I'm very excited that it was almost a visual interpretation of the Marvel timeline we did in Avengers years ago where there was this timeline that showed things from the future, some of which we knew were going to come true. People would go back to that timeline for many years then come to Me and Tom [Brevoort] and go, "Oh my God, you actually did the thing with the thing.” We're actually pretty proud of that.
We thought a visual interpretation of that would be great and also it let us get some other artists in here to make it about Marvel Comics, many types of different comics, and that's when we were so happy when all of our collaborates from Andrea Sorrentino doing the bit for Old Man Logan and then Alan Davis doing Killraven, and Mark Bagley and everyone else that came and joined us, they were all of our first picks and they all said yes and we got to express this idea that we've been toying with for many years again, but in a different way, and that was pretty cool. In a way, it kind of makes Civil War II a sister book to Age of Ultron and a sister book to Avengers and it all connects to the work we've been doing, but in a different way.
man
fuck Bendis
>Ulysses’ powers have proven to be inconsistent over the course of Civil War II. With that in mind, how should readers take these final visions? Some are clearly upcoming events like Monsters Unleashed and Inhumans vs. X-Men Are the other hints at future plans, or are their red herrings mixed in as well?
BMB: Some of them have already happened, or at least are futures we know of, like Days of Future Past and Age of Ultron, futures that could happen. Those are almost like a warning shot, things that could happen; will happen or could be avoided. All of that, we thought was a nice way for Ulysses to kind of bow out of profiling and leave just enough for all the heroes that were present to realized that they will always have work to do.
>As you mentioned, Civil War II #8 gives Ulysses an ending that takes him off the table for now but still gives him a new place in the Marvel universe. Do you see yourself returning to Ulysses in future stories?
BMB: To be continued. I have a couple of ideas that could work to put them him on the same level as the Collector and the Gamesmaster, but I'm not working on any books right now that type of cosmic character would fit into. I feel a couple of the other writers are going to grab him. I feel like he's going to pop up in some surprising places down the line. There's kind of like a mix between making sure enough time goes by that it will be exciting to see him again, but if we wait too long, it'll be like, "Who?"
I wouldn't be surprised if you see him sooner or later. I don't have him right now. If no one else ends up doing anything with him, I have a tendency to grab my toys back and do it myself, so we'll see.
>racial profiling is extremely good and cool, as long as I like the person doing it
>civil liberties are stupid, the ends justify the means and the people love the comforting warmth of the police state
What the fuck Bendis
that goes without saying
>Fans have heard stories about how hotly contested the decision about how to end the fight between Captain America and Iron Man in the first Civil War series was. Was there similar debate surrounding how to end the conflict between Captain Marvel and Iron Man?
BMB: It was funny because I was there for those meetings where they were arguing about who would win and how they would win and where certain things would happen. There was a lot of debate about whether Cap would die in his own book or die at the end of Civil War. it was all very interesting and I remember what was so charming about that day, was the argument went on for hours and just, out of the blue, and it never happened before or since, Joss Whedon was in the neighborhood and texted Joe [Quesada] and said, "Hey, can I stop by?" He walked into a room that was divided down the middle about how to handle the end of the first Civil War. He walked into the room just to watch the show and it ended up being like, "Okay, Joss, here's the two arguments. You can tell us the answer." He did and it was pretty funny to me that he just sauntered in the room and just got hammered with the future of the Marvel universe on his shoulders. But I do think about that a lot. I think about, “How do we avoid torturing Joss Whedon or someone else like that again?”
I pitched my ending that happens in the book between Carol and Tony, not the Ulysses part, but the Carol and Tony part was in the original document, and I thought to myself, “Unless something reveals itself that hadn't occurred before, let's really try to stick to this ending and try to make this ending as powerful as possible and, at the same time, as debatable as possible.”
With Civil War II, I lean very heavy into the audience arguing amongst themselves about Carol and Tony and the morality of it all and the friendship of it all and how far are you willing to go for this? Some of the audience enjoys that immensely. Some of the audience gets very wound up about it. They have a favorite character, whether it be Tony or Carol, and they know that something really huge is going to happen at the end of the story. They're dreading a million things that could happen, but there was only one outcome. I wanted the audience to still debate outcome. I would like them to debate amongst each other without insulting me, but what are you gonna do?
This ending was 90 percent of what I said it was going to be, which is a pretty great number for me. That's pretty high up, for the way I go. Sometimes I get to the last third and something else reveals itself that's more intriguing, but this did help, that I plotted this out for so long, no matter what the universe threw at it.
>The final scene with the President talking to Captain Marvel about a new position felt reminiscent of Iron Man taking over SHIELD after the first Civil War. Was that deliberate?
BMB: What I liked about Tony’s ending in Civil War was that is was a bittersweet ending, that he ascends to the highest office in this organization that his father had hands in developing, and what an honor, but he did it with blood on his hands. Would he rather have Capt back than have this title? Yes, he would. That's the definition of a bittersweet ending.
>Sam and Kamala's hands are touching
Good taste
I definitely thought that these two love each other so much and in a way, Carol and Tony are tighter than Tony and Capt were, even though they're all very close. They share so much about recovery and other issues they've shared over the years that no matter who wins, and with Rhodey’s death hanging over it all, it would be a very bittersweet ending and that's really the only ending that would be honest even though it might not be the most Twilight Zone-y or exciting. It's the most honest and when you're faced with the honest answer, you've got to stay with that no matter what other, clever thing you could think of.
It's not exactly the same as the first, but it has that same bittersweet quality to it. She's not taking over SHIELD. Something else is going to happen with her. Something else is going to happen to Tony that did not happen to Cap and people have already gotten a little taste of it with some other books, because comics.
>There was also the conversation between Captain Marvel and Beast. Was that meant as a coda? Or foreshadowing of things to come? Or even possibly as both?
BMB: What makes you think it was a coda?
Gladly
>The way Beast explains why Iron Man was really fighting against Captain Marvel feels like a revelation that serves as a punctuation mark. But it also maybe feels like an author’s warning…
BMB: I could see that. I am just a big fan of - and realize as well, not just in my comic books and movies - but when all the chaos is over, there's a quiet moment and someone reveals something in that quiet moment that kind of opens the eyes of one of the characters in a way that none of the fighting would ever have done. There's really not that much difference in what Beast says compared to what Tony has said to Carol over the course of the event. It’s just over the body of Tony and the way he says it and he articulates it, it kind of brings it home more for Carol.
Once Ulysses is off the table, it's a little easier to talk about. You can talk about it past tense, and it’s little easier to swallow than it is when you're in the middle of the hurricane. It's more about that than a coda, but yes, with the ongoing myths of the Marvel Universe, which is obviously one of my favorite things, you don't know what's going to happen next year to the two of them. You could wake up and the fight starts all over again in Civil War III or he wakes up and their relationship changes. When and if Tony wakes up, what will his relationship be, not only to Carol but to the entire Marvel Universe?
>comicbook.com
Liberals LOVE fascism.
they love Big government, they love communist dictators Fidel Castro
Fuck state laws or rights
I feel Andi "Hell-Mark" Benton would be a better fit for Robbie.
Put a symbiote on her
>Liberals LOVE fascism.
Not really
>they love communist dictators Fidel Castro
Stop this meme already.
>Civil War III is over skub
Symbiotes make everything more sexy
Fact
>Carol and Tony are tighter than Tony and Capt were
Correct
blanket gun control (cities I can understand but why rural flyover country where people actually hunt animals instead of each other?)
Trudeau's love for Castro is no meme
Castro being Trudeau's father is a meme
>Liberals LOVE fascism.
says the literal fascist without a hint of irony
What Carol was doing was nothing like racial profiling, that metaphor was stupid. Especially when Ms. Marvel's book tried to pull that card even though the person they were talking about was a wanted criminal that stole a fucking tank.
Wow, because I got none of that from this book.
This Bendis interview just really solidifies how far Marvel has fallen with their tactics. Not only is Bendis NOT apologizing for this mess, he's actually talking about it while using words like "interesting" and "honest".
So after all that, the entire conflict about the ethics of using precognition to stop threats isn't actually resolved. They just get rid of the source of intel entirely thanks to a LITERAL Deus Ex Machina, thus removing the thing the conflict was over.
In fact, the "war" (if you can count one battle and one brawl between 2 drunks a war) was literally completely pointless, since even if Tony had done absolutely nothing, Ulysses still would have ascended and become a Cosmic God.
so what future/current Marvel Evenst from the final vision are we look forward to Sup Forums
Monsters Unleashed, yawn OC snooze fest.
Inhumans vs X-Men, no where to go but down
Hydra War, The Worst Event of All Time 2017/18 Prove me wrong Marvel
Killraven, any writer but Bendis
All-New Days of Future Past NOW!, Kitty Kicks Ass
Age of Ultron 2, featuring the REAL Wolverine
the obvious winner Worthy Thor vs Godkiller Loki
None of them.
Hopefully the new She-Hulk will keep up the quality.
Thor (male) and Gwenpool will both be on my buy list until they are invariably cancelled.
the first issue of Inhumans vs X-Men was surprisingly good.
It could be good as long as it doesnt end with Emma Frost being the villain to blame.