Penultimate Impressions to Avengers vs. X-Men (with Spoilers)

So, imagine for a moment that you're a nanoscout in an editorial bullpen at Marvel Comics. It's somewhere around the mid to late 1970's and you're dealing with a fellow that used to be a gofer but can call himself a writer now, really and truly.  This sparkly fellow, who lives and breathes these mutants through and through, is Chris Claremont, the originator of The Phoenix Saga, at his absolute prime. It's the prime of Miss Jean Grey as The Phoenix, as well, coming out of the darkness. Immense forty-foot tall avatars of Len Wein and Bob Harras are breathing down everyone's neck over the death of the Broccoli People, whose tiny fictional solar system was snuffed out by that fiery telekinetic redhead in shockingly descriptive detail not too long ago.  Claremont, glowing with all the vim and vinegar allotted to him in his contract (Stan Lee sits in an immense hot tub on the next level up in the building, charging outrageous parties to the petty cash box and using such contracts to light his expensive imported cigars) explains how the rehabilitation of Jean Grey will occur.

The sevenfold veil of Marvel editorial eidolons parts, and a booming voice issues forth, shaking everyone present to the rims of their bellbottoms, as a three-faced robed figure emerges in hard-light hologram.

SHE KILLED BILLIONS, the Living Tribunal states in precise monotone, SHE MUST BE PUT IN JAIL FOREVER OR KILLED. THE COMICS CODE AUTHORITY IS EXPLICIT IN THIS REGARD.

Claremont, crushed, rushes into his tiny office cave and hastily works out the final outfit Jean Grey will wear. It'll be the Shiar that pass judgment on her, yes, those pristine imperial scum.  She deserves a second chance.  He imbued her with powers after a creature that had resurrection built into its function, for crying out loud.  As ever, Claremont knows, the important bit is to approach these characters as if they were well established actors providing an excellent play. He had to have the motivations down, or it would fall flat.

Suicide by laser on the Blue Area of the Moon. Cyclops, crushed, to be consoled soon by a clone who he would have a son with.  That son would be thrust into a dark future where Apocalypse, genetic supremacist mutant, is destined to rule.  That son would return older than his father, much later, after Jean Grey's return ("Hey guys? She was on the bottom of this river! In an energy cocoon! Nyah.") to raise the first mutant born since M Day, when almost all the mutants lost their powers. That mutant's name would be Hope and the Phoenix would come for her.

But not without the process being drawn out among multiple titles for nearly a year.

These guys see Xavier rollin'. They hatin'.

It should be said, the maximized cross-over super-event Avengers vs. X-Men has gone directions that not all that many readers predicted (unless, of course, they proceed in that joyless endeavor of "reading ahead" in the various teasers and previews) but in more recent issues has come to the dilemma of all such major universe-rattling plots, the diffusion of tension.

Captain Britain, eternally upstaged by his betters

After the Phoenix is splintered by Iron Man's Phoenix Buster, five mutants are chosen to live in a Utopia and have their authority questioned by the entrenched power structures.  Find out what happens when heroes stop being polite, and start posturing in angry ideologies that shape the world.  The Real World: Marvel 616.

If you're just joining us, Emma Frost gently pushed Namor into attacking Wakanda to rescue Hope (and, um, drown thousands of innocent civilians in the process), and the Avengers did their best and take the fellow down.  Succeeding, Namor's portion of the Phoenix Force was transferred to the remaining four.  When, during a rescue mission, Spider-Man taunts Magik and Colossus into cancelling each other out ("I'll stop you... with the power of laughter!" or something to that effect), Cyclops and a newly rekindled (no pun intended) homicidal megalomaniac Emma Frost are the last... um, Phoenixes standing.

And that's the real shame of the matter.  The Phoenix has always embodied a fusion of opposites. The message that comes across in this crossover is that the pathway to hell is always paved with good intentions. With good must come bad, and with life, death.  To imagine that the powers would corrupt these noble heroes (who, admittedly, have been shifting more and more into a morally gray area) is to discount the efforts of Charles Xavier, for decades reiterating that peace and reason are the solution to the turmoil and murk that the 616 Universe often finds itself grappling with. And that's just the murk that results from convolutions of plot since Claremont started the Phoenix rollercoaster/death of Jean Grey/clone/future storylines that ground most plots into dust until more recent efforts gave the teams and characters new and more energized focus. Like a laser. Ahem.

The idea of Cyclops being a myopic self-centered god-like being is about as fun as it sounds.

Where does Xavier really stand in all this?  He's been shuffled into the background of each and every X-Men title (notable exception being his visit to Wolverine's new school) for quite some time. Prior to the maddeningly and surprisingly dull Skrull Invasion, he had a place at the seat of the Marvel Illuminati, but perhaps, without crippling him again, or outright killing him (remember Bishop? How he shot Professor X once? How he's nowhere to be seen for any of this?), the creative teams have seen fit to stomp his dream of peaceful coexistence, the Utopia that the Phoenix Five would have had, if they'd been able to maintain control (insert What If? issue HERE), into so much dust.

There's a moment, and maybe you'll catch it. Here...

The only other time I've seen Cap cry is that time Red Skull gouged his eyes out on the steps of Capitol Hill.

Remember, Cyclops was Xavier's star pupil from teen years, and Wolverine the dangerous Giant-Size-come-lately rogue (much older than Captain America, even). For all the posturing done, it's been nearly but not completely subtle, the shift that those two characters have undergone in recent years, Cyclops the militant edge in league with Magneto, thrice-time reformed supervillain (himself plagued with legions of hackneyed clones), and Wolverine, the immortal-by-way-of-popularity, the killer with a soft streak, rebuilding the school and adding a Baby Krakoa.      

So, after so many years of Danger Rooms and such, when imbued with the Phoenix Force, Cyclops is corrupted.  So it goes. Emma Frost is to blame, perhaps.  Or perhaps these years since Jean Grey's final death, at the hands of a faux Magneto that ripped New York apart, had changed Scott Summers too much, and his investment in Hope was too great. Or perhaps the Phoenix Force is too much for oldboy. It works. It works on multiple levels. And for that, we have the current authors involved to thank.

What nobody mentions is, Hope's been listening to Wu Tang Clan during her training sessions.

Each issue of Avengers vs. X-Men is plotted by the same five writers that have taken turns scripting, issue by issue.  Jason Aaron's turn at scripting provided ample comfort with the mutants, and clean dialogue. Brian Michael Bendis took a more action-based "cinematic" set-piece for the scripts he ran on, which is his strength.  Ed Brubaker writes a mixed bag of events, zeroing in on key moments of characterization and domino toppling. Matt Fraction's comfort with the Avenger's end of the spectrum, especially Thor and Tony Stark, gives girth to his portion of the story. Jonathan Hickman, of course gives an intelligent weight to his scripts, packing in information that drives the story with a scale and complexity not unlike a decent Dune novel.

It's a unique opportunity provided by each writer to play to their own strengths, no doubt assessed and analyzed by editors (Jake, Lauren, Nick, Tom and Axel) prior to the plot points being anchored and assigned.  Of course, the rotating artists, the second generation powerhouses such as the Adam Kubert and John Romita Jr, even Oliver Copiel in conjunction with Mark Morales, transition less jarringly than one might expect, as the story unfolds, and it seems that in this project a good time was had by all.  Laura Martin and Larry Molinar do a fine service to color duties.  Overall, everyone did their job well and should expect a dump truck filled with money to be backed up to their brand new empty heart-shaped pools, hollowed out by fanboys that vainly wanted to believe, if only for a moment, that the X-Men, the eternal underdogs and demagogues, stood a chance against the mega-noble hardcases that raked in more billions than some counties (or countries) will ever even see.  If only this sort of care and attention was invested in so many titles as AvX houses (only a few dozen, modest by superhero crossover terms), then surely a new golden age, blessed by the ghost of Jack Kirby himself, would ring out over the dusty bins of bagged and sealed promotional materials and movies waiting to happen, in comic book shops throughout the country.

But.

This is all a build-up to the next big thing.

Dammit, why did Nick Fury's son have to look exactly like Ultimate Nick Fury, again? Really, people. C'mon.

There is always a follow-up to major cross-over events, no matter how the drab tangential storylines play out. Nevermind the plotholes and inconsistencies and linear gaps and Xavier mind-wiping everyone at one point, nevermind the characters in jail or out, or who got beaten up by whom or what dialogue did or did not happen when Gambit fought Captain America, briefly, for the rod of relevance.  There is more time travel yet to come. And more shifts in writing duties. Comfort zones shifting.  Golden ages packing their bags and awaiting the Silver Aeon, overseen by Rocket Raccoon and Groot for some reason, maybe a movie, maybe the recently shark-jumped and all pervasive trend of remaking and remaking and remaking until the whole mess is meta-regurgitation/vomit/feces.

Prepare yourselves for Marvel, now (sorry, I mean Marvel NOW!). It's recommended, if you are a diehard fan, that you insinuate yourself into a comfortable seat, and remember that it's been done before.  If you're invested in the stories, good, that means that the writers are doing their job.  If you're angry about creative team swaps, or ambivalent, don't flinch, not yet.  Be prepared to. This is the answer to New 52. If not, now, never. Avengers vs. X-Men merely paved the way. The appearance of a game-plan being in place is reassuring, even in the unlikely event of a catastrophic cosmic prolapse.

The story has not yet fully resolved itself. The proverbial "suicide shot on the Blue Area of the Moon" has not come. Yet. The Living Tribunal has not yet spoken the last words of the day.  The Watcher's patented "disapproving look" has not reached peak sadness. Yet.

It's coming. The next "Impressions of Avengers vs. X-Men" will be the last.

Sponsored by Rocket Raccoon.

Rocket Raccoon being the cornerstone of the Marvel Multiverse, after all.

New Impressions of Avengers vs. X-Men (Spoilers)

In previous installments of this series concerning the current globe-spanning mega-crossover epic of the Marvel Universe AVENGERS VS. X-MEN, currently in its fifth installment (not including the multiple main title tie-ins), we assessed the context, explored the basic structure of the plot and predicted (accurately) the progression of the storyline.  With the fourth issue, we have a twist on top of a twist.  Wolverine promised to take the "mutant messiah" Hope to the moon, and that he did (after a brief confrontation with a Shiar death squad in "Wolverine and the X-Men"), but not before contacting Captain America and the Avengers.  The issue ends with Thor being thrown into the midst of these heroes, forming a crater (running against the current continuity of New Avengers, which will no doubt catch up shortly)... and the Phoenix, after much build-up, has arrived.

Hope's mutant powers react, of course, and as has been the way with her since her introduction, we are treated to the old "I'm not ready for this!" effect.  In the course of events she actually manages to take out all the X-Men and the Avengers.  Terrified, she calls on Wolverine to kill her, again. Considering Wolvie has been slashing Captain America and Cyclops alike in the guts over the past few issues, he's more than happy to oblige.  At this point the stubbornness of Cyclops is bludgeoned over our head for the umpteenth time.    

The main issue that one might call forth as a critical issue with this series is the overabundance of talent.  With nearly a half-dozen contributors to the story and script (Jason Aaron, Brian Michael Bendis, Ed Brubaker, Matt Fraction, and Jonathan Hickman seem to be trading dialogue duty with each issue), each and every panel and event feels polished to the point of being over-refined.  John Romita Jr. does a solid job, as expected from such a diehard professional, managing to balance out the art duties of an epic storyline with the repetitiveness of an overextended premise.  He's moved beyond the blocky standards of his early work and the inks/color/computer assists do a fine job of complimenting him in this series.   

At the end of the day, Hope is what the story hinges on, and despite valiant attempts at texture, she's entirely too shallow a character to pull it off.  A powerhouse of potential (a point driven home again and again, in each and every appearance she has ever made), she's hardly had time to be addressed as having human frailties (a few moments in Generation Hope notwithstanding).  A heap of ideals and expectations have been passed off onto her, and there's a degree to which she is an inherently unlikable character.  There's the overblown manner in which she addresses events in this series, in the past tense, as if telling the story after the fact (making references to the dropping of the atomic bomb on page one, referring to herself as a victim, like so many others, of the Phoenix, on the last page).  She takes few actions, and events happen to her.  This is her weakness as a character, being presented for some reason as a strength.

But despite that, you might ask yourself, at what point does this much-anticipated series jump the proverbial shark?

When Tony Stark equips himself in a giant Iron Man costume and shoots the Phoenix with a heretofore unheard-of deterrent weapon, a "Phoenix Buster Suit" if you will... he damages it, fractures it, and its power, rather than being transferred into Hope, is split among the X-Men present on the moon (notably removing the trademark Juggernaut helmet present on Colossus up until this point in the series, perhaps purging the demon Cyttorak?).

Really, who saw that one coming?

At best, Avengers vs. X-Men is breaking ground on the "next major plot point" to be bandied about in editor-notes on mutant-related titles for the next two to five years, potentially dovetailing with something catastrophic and "ultra-relevant" in the next two to four months (if the incessant and ever darkening foreshadowing narration by Hope is any indication).  At its greatest aspiration, this marks a storyline contending with The Dark Phoenix Saga or Civil War in terms of impact (until ret-conned by editors in an obscure limited series if or when fanboy outcry reaches its most strident peak and someone decides they never liked Emma Frost in the first place).  

Or, at worst, this series will play itself out like nearly all "hero vs. hero" slugfests up to and potentially including this point... an exercise in pulling punches.  You have to wonder if there is any writer in the Marvel stables considering the What-If issues that each step of the series could spawn, or the parallels of these "hyper-mutants" that a select group of X-Men become in issue five.  At its lowest point, it could be viewed as just another money-maker, with no real lasting impact on the characters involved.  The final verdict on that, of course, remains to be seen, but despite all the "major events" occurring, it's a possibility.

With the most recent issue of Avengers vs. X-Men, we have a crux, a tipping point, in which the final heft of the series will shortly be determined.  With the PhoeniX-Men "preparing" Hope the petulant brat messiah for her upcoming important/irrelevant role in mutantkind's final fate, it's in the hands of Marvel's finest writers to steer the ship of the series out of troubled waters and into more familiar channels, or venture into new unexplored islands of potential. A world-wide mutant "utopia"? A replay of the Civil War trope "heroes putting heroes in jail"?  It stands to reason that whatever comes next will prove profitable for the House of Ideas, regardless of its actual effect on the Status Quo.  Rock the boat even a little and you'll draw attention.

So, in short, the talent combining for this event is staggering.  Is it too big to fail?  Are the creator's ideas bigger than the reader's stomachs?  Fan reaction has been buzzing throughout message boards, but we'll have our final answer soon enough.

Charles Xavier's stepping out of the shadows, and clearing his throat. 

X-Men Second Coming: or, The Meta that ate Itself

If you are going to discuss the X-Men war across America known as Second Coming, you will have to get Nightcrawler's death out of the way first.

Let's do it as glossy as possible. Great, thanks.

There, was that so bad?

In all seriousness, the first arc of the storyline focused on the supreme Nimrod-like Bastion and his gang of resurrected racists taking out the X-Men's resident teleporters.  Ariel, the Vanisher, and Illyana Rasputin fell before a jet missile, a hail of bullets, and an arcane banishment payload, respectively.  All of this due to the arrival of Hope from her junkyard future in the 31st century with Cable, of Liefeld ages gone past.

Bastion, being from the future, has insider information on Hope.  He knows what the end of Avengers vs. X-Men will be. He's also a mutant-hating robot with a mission to exterminate the mutant race.  He wants her dead because the x-gene will activate more if she is left alive.  The Gold Celestial's proximity to San Francisco is no coincidence.  Kurt teleports her there after Bastion puts his hand through him.

Not a dry eye in the house there, guys.

As we can see, the cost of messianic fervor is paid by the moral conscience.  Nightcrawler represented, in many respects, the team's heart. He held a relgio-spiritual status among a band of blatant outcasts. He internalized the weight and responsibility of a Catholic sense of morality.  Directly prior to his death he discovered that Cyclops had sanctioned a mutant hit-squad led by Wolverine, good old X-Force. Nightcrawler of course took issue with the blatant killing of innocent or helpless enemies, no matter how bad.  In the course of Second Coming, morals are continually compromised, and murder happens at an alarming rate.  A human supremacist begging Wolverine for his life is gutted.  X-23 pops a helpless man in the brain with her claws during interrogation.  Warlock is convinced by Doug Ramsey to steal the lifeglow of Cameron Hodge and his smiley face followers.  Archangel, having become dominant for Warren Worthington III, cuts people to pieces and never even changes expression.  

When this was first drawn on a bar napkin, it seemed cool. In 1986.

When I see all this mutant carnage I call to mind the old Chris Claremont era, where in one instance Wolverine gutted and nearly killed a confused Rachel Summers (Phoenix by proxy from parallel timeline) for wanting to murder mutant witch Selene for enslaving her.  Claremont wrote in an odd moral code for a man whose power is constant regeneration and unbreakable claws.  The X-Men of that era would often say "X-Men don't kill."  Once the ingratiating  and peaceful influence of Charles Xavier gave way, in recent years, to the crashpad of Magneto, that motto seems to have long gone by the wayside.  Since Scarlet Witch's heavy trip, Mutants are a desperate aberrant in the Marvel Universe once more, nowhere near the scope of evolutionary step predicted in Grant Morrison's Planet X.  

Foreshadowing, anyone? With red eyes, grr. We're tough, our eyes are all red. Grr, moral dubiety.

Throughout the X-Men's long standing career nigh coming on about forty some odd years now, they have undergone dramatic shifts of cast and presence of mind within the framework of what constitutes a story. When mutants bottomed out after the last reality warping schizophrenic lost their grip (felt like the subtle influence of Sublime behind the scenes), and relocated from the bombed-out Xavier estate and come correct with Magneto on Asteroid M turned mutant sanctuary Utopia. 

Seemed like so much recycling of old fears and worries for the same characters that once found themselves faced with a nightmarish Holocaust-level scenario.

For all the brightly colored spandex of the past we can see hints of mixing and matching old Claremont storylines in the midst of all this.  New Mutants meets Days of Future Past meets the myriad Sentinel hunts, the Master Mold of a dystopian tomorrow, personified in a brick wall plastered with those inefficient posters of dead mutants, disturbingly current in their appearances.  Which brings us to the idea of this whole storyline being metaClaremont.

The precise moment that this trope jumped the shark.

The Claremont era of X-Men has been the most fertile grounds for future storylines for decades now. To revisit that waterhole again and again compounds itself, as stories continue emerging from stories and characters develop and react throughout.  Once you've committed yourself to sending up or rooting out Claremont's old pastures, you're muddy with backstory.
Recent issues of the X-titles, leading up to and in fact catching its stride in Avengers vs. X-Men, have worked towards a new set of myths to create templates of arcs off of.  Easy examples come from the Morrison, Whedon, or even the fairly recent Fraction era, where new villains and challenges emerged, blended, and were ably handled.

In Second Coming, the other end of Messiah Complex, the refinement of new "big deal" Hope continues, as it will soon be coming to a head in current continuity, and we should take a moment to acknowledge other odd-run revamps being called forth in the war (everyone says the entire series run that it's a war), Professor X's schizophrenic son of an Israeli mother, Legion.  Legion did, some time back, spawn the Age of Apocalypse universe by accidentally killing his father when he went back in time to kill Magneto.  His imprisonment/rehabilitation in Utopia was played out in another alternate reality he spawned, The Age of X.  So when Professor X calls upon him to unleash his multiple personalities to defend San Francisco, it's an interesting throwback to remind Marvel readers that all powerful characters have ultrapowerful offspring (Scarlet Witch, Jamie Braddock, and Franklin Richards come to mind).      

Actually, pretty cool set up in your head. But that hair...

2011 was the year that all of 2012 X-continuuty and the Avengers vs. X-Men was laid out, with the return of Hope, sent to the 31st century with Cable, son of Cyclops and a clone of Jean Grey, who is dead but died at least three times, rose as a Phoenix and was killed again by a clone of Magneto run amok on mutant power enhancing drugs. But I digress. Hope is blatantly the forthcoming Phoenix by the end of this series, but I am going to appraise its overall structure and hope to make sense of the plot, which expects the reader to have kept reasonable pace with the story and all of Chris Claremont's run including the New Mutants, for the past ten to thirty years. Nimrods and Bastions and recycled plots via recycled characters via constant Resurrection countered by constant death. Officially, Professor X has also died at least three times, too.

The X-Men are the most ridiculously injured by and least affected by death in the Marvel Universe. The avatar of this odd trope is of course the nearly unkillable Wolverine. His ubiquitous nature in the Marvel Universe expresses this as well, as characters live, die, are ressurected by contrivance of plot, and Wolverine can outlive them all and fight the Hulk in the ashes of civilization.  In the Ultimate Universe, Logan, or James Howlett, actually, was mutant zero in the human creation of mutants through attempted weaponization of mutants via Weapon Plus, the outcropping of Captain America's super soldier program.

In any event, the plot plays itself out in various psychodramas that emerge from the team dynamic and whatever confrontation the team must face.  Second Coming, in all of its metaglory, is worth a reassessment after the final throws and lashes of Avengers vs. X-Men dies down.  In the meantime, see it as a (hopeful) last hurrah for direct sips of the Claremont pool, at least until other water sources, or better yet, a running river of fresh concepts can be located, perhaps even in as recent and well refined an example as Rick Remender's bizarrely perfect Dark Angel Saga.

And sometimes the foreshadowing is just like a mallet upside the head.

Second Impressions of Avengers vs. X-Men

Now that the first optic blast has been fired and the first American-flag-shield-related concussion has been dealt, we can explore and critique and tweak the orientation of Marvel Comic's most recent "company-wide" crossover, Avengers vs. X-Men.

Something tells me this will end up being two pages of characters for each team.

It starts, as with any good hero vs. hero brawl, with a differing of opinions and a misunderstanding. The so-called mutant messiah Hope has manifested the Phoenix force at the same time as it seems the firebird itself is flying directly to Earth, laying waste to planet after planet along the way.  Captain America and the Avengers wish to take Hope into protective custody, and show up on the shores of mutantkind's Utopia to take her.  Cyclops does not react well to this. Cyclops sends a previously written and sternly worded email to the world via Val Cooper when everything starts to go down.

Did you know that Magneto has the ability to count millions of metal thingies in a split second? Me neither. 

The initial fight is broken up between the main event book and several other titles.  We see Magneto fighting Iron Man (not the foregone conclusion you may think, since Tony Stark's superpower is cash mixed with genius) the everlovin' Benjamin J. Grimm, the Thing, squares off against Namor (hasn't happened in years, actually).  After a magnetic fastball special with Colossus, a Red Hulk oriented fight ensues. When Wolverine and Spiderman infiltrate Utopia to nab/kill Hope, she goes all Phoenix voice on them, flash-fries Wolverine like he's a chump, and leaves, running across the water of San Francisco Bay.  Precisely 3:45 PM Eastern Standard Time.

They'll place bets on the Planet Sin until it heads their way.

Overall the series so far ranges comfortably from writer to writer. At a certain point little factoids will spring up. Some annoying, others less so, and some actually amusing. The way it plays out calls to mind a certain cross-company crossover event from my younger days reading comics.  DC vs. Marvel Comics, headed by Ron Marz and Peter David, artwork from Dan Jurgens and Claudio Castellini.

Old school like Aztecs but new in other aspects.

I'd estimate that the younger generation of writers and artists were similarly impacted by that series, which was interactive insofar as you could vote for the characters to win, similar in some respects to DC's hotline to determine whether or not the Joker kills Jason Todd, the second Robin.  As in that series, the various legends of Marvel Comics Universe, the Avengers, the X-Men, going against one another, that can be a problem, logistically.  As writers and editors on such a title, you have to play it relatively safe with the characters, they're money makers more and more, but you also don't want to treat them with kid gloves and openly pander to audiences or whatever expectations have been thrown around.  The big blockbuster movie event this summer, at this point, is going to be The Avengers. So in this concurrent series where that movie's characters are implicated in the title, who do you really think is going to win? Or is there actually going to be a winner, officially?  The answers to these questions lie in the way that the different group "money pots" are interacted with on a regular basis.  Avengers and X-related titles both hold the lion's share of titles in Marvel, especially considering how many once-solo characters are now one one or in some cases many teams.

Funny how planetary histories are often only told to narrate their fiery destruction.

The Avengers have been dominating center stage since the Civil War, the power-death knell of most mutants coming in House of M, and their overall relevance, outside of Wolverine, being downgraded.  In the movie world, the rights to the X-Men films is still being held outside of Disney, the absorbing entity, the Tron Mickey, hence the stream of movies culminating in Joss Whedon's The Avengers.  So even the movie universe, contracts and negotiations, are reflected in the focus of the comic universe.  The Avengers will win the battle.  Iron Man left Magneto in space.  Thing beat Namor down.  Colossus demanded Red Hulk smash him when he nearly lost control of his "Juggernaut persona".  The most powerful member of the Avengers, Thor, is fighting a giant bird made of fire in space. Actually, the Secret Avengers contend with not just the Phoenix but are forced to set down onto Hala, home of the Kree, and deal with a Phoenix-resurrected Captain Marvel.

Asgardian God vs. Primal Fiery Force or: "Thor, c'mon. Seriously? No way."

Unless the revelation of the Phoenix that results in the giant golden Celestial standing in San Francisco's parks district finally, after long last, doing something, we can expect that Cyclops may, shock, discover he is right and wrong, that maybe the whole world is not to be destroyed, or mutantkind saved, but perhaps the constant resurrections of characters will finally end! Remember, the Phoenix is the force of Life and Death fused.  This means someone has to die, and guess what? It's not going to be an Avenger this time. Imagine a scorched Cyclops being cradled in Wolverine's arms, replayed in flashbacks for decades to come.  Picture Hope sacrificing herself to restart the mutant gene via the Phoenix Force.  Perhaps the Celestial, guarding the Celestial egg that Earth houses, fights the Phoenix. Or maybe that's only a thing in the Earth X universe, designate 9997.

Now, all the mutants not housed in Wolverine's school (Cyclops will visit there next issue of Wolverine and the X-Men) will be facing not just the Avengers, but also SHIELD and the US Military.  Sentinels? No.  Sentinels are terrorist weapons (and the most hackneyed X-plot in existence), and the terrorists of the Marvel Universe are so often children lately it's somewhat disturbing. The all-tween Hellfire Club is but one example.

Even though the Avengers will win, the X-Men, the ultimate underdogs, must win the moral fight.  The spirit fostered in Marvel at the start was that characters should possess a certain pathos that the reader could recognize.  Now we delve deeper, but only in certain books geared towards certain readers.  Otherwise the status quo must be maintained, to a degree, and the likability of a character is informed by one's nostalgia surrounding it or one's ability to relate to it.  Pulling a strip from Spider Man's double cross back in Civil War, we can expect Wolverine to flip sides, as Storm already has. What will push him to that point?  Will Jean Grey be resurrected? Will the Phoenix Egg featured in Here Comes Tomorrow be laid on the Blue Side of the Moon?

The new weeks will pass on, and fights between these titans will reach levels of hyperbole hardly espoused since the conflicts of characters from different companies.  But this is Marvel, pitting its best teams at odds with one another. What are the long term effects, if any?  Will it end in confused cringes like Secret Invasion? Or the range of rage comic expressions that sprang up after the finish of Fear Itself?

The series seems to want to pack the most into itself as possible, which works for a reader seeking more than twenty four splash pages and some badly characterized dialogue mixed with contrivances.  The idea behind this is a bit rushed, but the actual follow-through feels like it was a fun project to work on. Each cheesy line's also an opportunity, and this series should provide some doozies.  At this point, expect one turncoat in #3, a minor twist or two in #4, and a major twist in #5.  See you next Wednesday morning.