Avengers #29 – Comic Review

Secrets, kept hidden by a select team called the Illuminati crash into Captain America and The Avengers day-to-day life. A tie in to the new Marvel event titled Orignal Sin, and a marvel comic that ties together events from New Avengers #3, Avengers #29 offers:

  • Detailed artwork that makes effective use of light, space, and colour
  • A clash between Captain America and Iron Man
  • Strong themes of power, and necessary force, which leads to moral questioning
  • A reprint of New Avengers #3 appears, which extends the comic length and price. These scenes have been entirely redrawn, however.

Despite some complicated panels, the artwork captures the viewpoint of Captain America, and has strong use of light and colour

A complicated set of panels appears early on in the comic. The text is somewhat hard to read. It’s worth looking at each small panel, however. In deep shadows, the Illuminati eject Captain America from their order.

It looks effective that the artwork has a moment of clutter, followed by a moment of clarity. The viewpoint character is Captain America. He prefers simplicity. It’s part of his character. It makes senses that he would have a bad dream that looks cluttered to him, and the audience.

The art for the scene where Steven Rodgers wakes up from the bad dream, and remembers what has been done, are detailed and dramatic. He has a sharp, angry expression brought out by pencil and ink.

Colourful fight scenes later on in the comic are also impressive. Bright red and white lights fill these panels.

A clash between Captain America and Iron man at least equal to their first argument in Civil War sparks up here. The Illuminati’s decisions raise several moral questions.

Before Original Sin there was a secret meeting. The Illuminati made a decision. An Incursion event – where two parallel worlds collide, and this collision speeds up the end of the universe. Destroying certain worlds, each filled with their own life, before the Incursion happens slows down the Universe’s end.

Captain America disagreed – the Illuminati want to hunt Incursion worlds and kill them before they can reduce the Universe’s lifespan.

It’s a dilemma. End a one dangerous world to save the Universe. Because Captain America disagreed, the Illuminati removed his memory of the conversation.

Captain America remembers, however, which sparks a new division between Captain America and Iron Man. The tensions is at least equal to their disagreement in Civil War. This is a shocking break.

Captain America’s anger is powerful in this comic.

What’s interesting is a group of older males decide they have enough power and intelligence to make the best decisions possible for the Earth. To make decisions that no one else dares to take. They will shoulder that impossible burden for everyone on the Earth.

Is this arrogance, Or are the Illuminati guardians? Can anything good come from their fatal choice?

Themes of necessary force spring out of the Illuminati’s decisions. Captain America’s actions also brings a theme of weapons into Avengers #29

This comic investigates these kinds of moral questions. The need for weapons is brought up here. Captain America criticises the Illuminati for inventing weapons. Later, Captain America needs Hawkeye and Black widow’s weapons.

The Illuminati continue to build their weapons in the name of defending the Earth without Captain America bothering them with his golden age morals. They exercises a lot of power in their control of memory. Several of their members are Kings. Power is a large theme here. Exploring the moral questions above introduce a theme of necessary force – is destroying one planet necessary to save the universe?

A popular culture reference is the removal or blocking of a key character’s memory through magic to cover up a morally grey decision. DC comics Identity Crisis comic had similar events – the magician Zatana blocked a heroic character’s memories

Avengers #29 is published by Marvel comics ($4.99 USD). Jonathan Hickman (W.) Lenil Francis Yu (P.) Sunny Gho (C.) VC’s Crry Petit (L.) Cover artwork by Frank Cho and Jason Keith.

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