Hydra

SPOILER WARNING: The following review contains spoilers for Marvel’s Secret Empire #10, on sale now. This week sees the conclusion of what might be Marvel’s most controversial event series to date, Secret Empire. Ever since Steve Rogers uttered the words “Hail Hydra” back in May 2016’s Captain America: Steve Rogers #1, fans from every corner of the world have debated the merits of the story, which placed Captain America in charge of Hydra while ostensibly rewriting history. Secret Empire #10 delivers answers to the fate of “Hydra Cap” and the status of classic Steve Rogers, and if you wagered on “Cosmic Cube shenanigans” resolving everything, you’re on the right track. RELATED: Secret Empire’s Generations Connection, Explained Our main story is courtesy of writer Nick Spencer and artists Steve McNiven, Jay Leisten, Matthew Wilson, Travis Lanham and Rod Reis, with additional art from David Marquez and legendary artist Ron Lim. Once you take into account that this is an extra-sized i

It’s been a long road to Marvel’s “Secret Empire” event. While writer Nick Spencer turned things up a notch last May with the highly publicized “Hail Hydra” reveal at the end of “Captain America: Steve Rogers” #1, the roots of the story go back to his issues that introduce and bookend the “Avengers Standoff!” event. The storm he’s been brewing since early 2016 finally hits in the pages of “Secret Empire” #0, as the heroes of the Marvel Universe realize the enormity of Steve Rogers’ betrayal. “Secret Empire” #0 follows nicely from Spencer’s controversial “Captain America: Steve Rogers” run. Readers of that series will see exactly how the pieces Rogers has put into play fit together, but those who have thus far shunned the Hydra Cap story aren’t at a disadvantage. Spencer packs enough exposition into the issue’s narration to clue new readers into the Captain’s current status quo, without resorting to an info dump. RELATED: Secret Empire: Captain America is the Villain, Not a Misunderst

One of the pleasant aspects of the “Secret Wars” event is that it provides Marvel Comics the opportunity to tell some weird stories they normally would not. “Hank Johnson, Agent of HYDRA” #1 is a very funny and enjoyable detour away from the grim overtones of many line-wide restructuring tales, a “Curb Your Enthusiasm”-style comedy set in the Marvel Universe which follows the life of a grunt-level agent of the villainous organization. David Mandel — who has written for “Saturday Night Live,” “Seinfeld” and currently serves as showrunner of HBO’s “Veep” — gives readers a glimpse into the world of the faceless henchmen who scream “Hail Hydra!,” the men who typically serve as cannon fodder for superheroes. Michael Walsh illustrates the issue with the same subtle eye for comedy he developed in “Secret Avengers,” with lots of entertaining character acting throughout. While the female characters in the story don’t quite get an opportunity to break out of service roles in this one-shot — Ha

“Hail Hydra” #1 is a story between the panels of a regular title that just-so-happens to sit in the middle of an epic crossover and expands to fill the space. Written by Rick Remender and drawn by Roland Boschi, this comic begins the tale of Ian’s journey in the Infinite Elevator in his role as Nomad. Readers who follow Remender’s “Captain America” comic know where the trail leads but, in the vast unknown of the “Secret Wars” landscape, anything is possible. Remender seizes the opportunity for a Nomad solo adventure and plugs letterer Clayton Cowles’ narration boxes full of Nomad’s thoughts and rationalizations. Ian’s monologue illustrates a young man filled with doubt underneath the appearance of confidence. Remender enacts the “nature versus nurture” debate into Ian’s thoughts and uses that concept to drive the narrative, leaving readers with an impactful last reminder of the concept on the cliffhanger final. Boschi’s storytelling is strong throughout the issue, and his drawings

Thus ends this journey through time watching Captain America and HYDRA constantly struggle against each other. A narrative landscape that should have proved fruitful has instead yielded barren fields and spoiled fruit bloated with rotting stink. A shame, because the rotating artists should have been given more to play with instead of the same cycle each issue. This issue comes off like an Avengers tale with most of the current Earth’s Mightiest crew represented on these pages. The team players represented might not all completely mix as we know it, but Maberry does a great job of writing the more flippant characters. There are funny moments but sadly they are buried between turgid slabs of text from the more respected members. For every line Maberry slots into Spidey’s mug with frivolity and fun he then jams words through Luke Cage’s talk-hole. The ultimate narrative, wrapped here and throughout the entire series, has been thin and didn’t culminate anywhere special. The wheels spun s

If the last issue was a representation of the old serial drama pulps, then this issue feels infected by the zany, world-hopping, high-octane, free-love 70s vibe that means anything goes. We get a look at HYDRA through the years and we also get one step closer to seeing their master plan come to fruition. It’s still great to see HYDRA really taking top billing with Cap as they are just as important. If you aren’t familiar with the art of Tom Scioli, then consider this issue a minor master class. His work on “Gødland” is always phenomenal and here he brings a warped marriage of his independent sensibilities and some of the Marvel standards we know and love. His women might be as ugly as the rear end of a badger but his Avengers are simply glorious to behold. Scioli shows the Marvel Universe as the pompous and ridiculous world it truly is. The Avengers, who feature prominently, are well used for both the narrative and how they appear visually. Thor’s addition to the tale is the most im

In the lead up to the “Captain America” movie, the shelves must be flooded with plenty of stock featuring the star-spangled Avenger. That’s just the rule, so there’s no use complaining. This mini-series aims to look at the relationship between Cap and the terrible terrorist organisation HYDRA. It’s an interesting premise made more exciting by the fact a different artist will tackle each issue that looks at a different time frame of the struggle. This first issue brings us Sergio Cariello and a story from 1944 The tone of this piece feels like a wacky Saturday morning cartoon adaptation of an old “Weird Science”/”Two-Fisted War Tales” story, and I do mean that in some form of praise. There’s a strange flow to the logic of the occasion and the actions of the characters that makes it all feel like it’s not actually happening, we’re just being told about it. This makes the comic feel like it doesn’t completely matter too much but it also frees it up to just have fun, which it certainly d