CIVIL WAR

Updated Sunday 15 May, 2011 12:18 PM

CIVIL WAR #2 REVIEW

Reviewer: Jason Grasso, Desperad07@aol.com

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Writer: Mark Millar
Penciler: Steve McNiven
Inker: Dexter Vines
Colorist: Morry Hollowell
Letterer: Chris Eliopoulos
Assistant Editors: Molly Lazer & Aubrey Sitterson
Associate Editor: Andy Schmidt
Editor: Tom Brevoort
Editor In Chief: Joe Quesada
Publisher: Dan Buckley
Published by: Marvel Comics

WARNING: THIS REVIEW CONTAINS MAJOR SPOILERS.

If up until now, you’ve escaped the major spoiler that ends this issue, I applaud you. However, given the fact that it’s already appeared in previews of Thunderbolts #103, the New York Post, AP wire news, Howard Stern’s radio show, and everywhere else, it’s in our best interest to follow suit, albeit with spoiler etiquette firmly in place!

But first, let’s start at the beginning. Civil War #2 starts with S.H.I.E.L.D.’s search for the rogue Captain America. They find a few villains and quickly realize that Cap isn’t working alone and the resistance is likely gaining strength. In fact, later on we see that strength in the biggest action piece of the issue: a rescue of the captured Young Avengers. Cap and Falcon, in a scene seemingly under the direction of J.J. Abrams, disguised themselves as S.H.I.E.L.D. agents and take over the rig carrying the capture Young Avengers. Falcon is able to get Wiccan to create a rather complex getaway bringing the team to one of Nick Fury’s S.H.I.E.L.D. safe houses. We learn that Fury is siding with the resistance and will help in providing them all new secret identities.

Meanwhile, at the Baxter Building, Reed Richards is busying himself with a project while his wife shows signs of losing faith in her husband and the registration act. Reed can’t even disclose the contents of a classified disc called "#42." This clearly sets up Sue Richards as one of those who’ll change sides, an interesting dynamic for the Fantastic Four.

McNiven’s art is really strong in this issue, going from intense action sequencing to a few emotional close-ups. He starts off the issue with a really great shot of the Vulture and the Grim Reaper, both beaten bloody, tied to a pipe in the shadow-immersed underground. McNiven also excels in the Young Avengers rescue scene as well as the chase after Patriot. But it’s not just the broad action scenes that work…he captures some very complex facial expressions here. Take a look at Tony Stark’s look of doubt while waiting in his penthouse.

Stark displays that very doubt because midnight is approaching and with it the Registration Act will become law. (There isn’t any indication that he’s been unveiled as Iron Man, despite this happening in last week’s Civil War: Frontline #1.) Later, he leads a press conference about the new law and introduces Spider-Man to help communicate the cause. But Spider-Man takes it a step further and pulls his mask off. "My name is Peter Parker and I’ve been Spider-Man since I was fifteen years old."

I had figured that Spider-Man’s appearance at the conference was just going to be to publicly side with the registration act. And that Peter’s conflict about appearing was in regards to a dilemma about which side of the act he was really for. I really didn’t think Marvel would ever disclose the secret identity of one of their icon characters. (In fact, Spider-Man has the advantage that lots of super heroes don’t have: his costume actually does hide his entire face.)

Inevitably, the strongest response to this issue will be the debate about the unmasking of Spider-Man. On one side there will be traditionalists who feel it should remain a secret. On the other side are the modernists who find secret identities to be increasingly far-featched. Whose side are you on? At first, I wasn’t so sure I wanted to see one of the most treasured secret identities in comicdom being revealed. There aren’t many other characters with as storied of a supporting cast as Peter Parker and as great a dynamic that he had with those characters. But how secret is his identity now? Almost all of his rogues gallery know who he is, Aunt May knows, most of the good guys now know too. There isn’t a lot of intrigue when you’re hiding your identity from Jonah Jameson and a billion nobodies. This certainly opens up the possibility for more interesting storylines for the increasingly anti-climactic Spider-Man titles. It’s not like Sins Past and The Other did anything to change the status quo in Peter's universe or least not anything we don't want to forget. And there’s only so much Tony Stark I can tolerate in Peter Parker’s life. This would be a great way to take the character back to basics. (Any good Spidey fan would want to see how Flash Thompson’s reacts!)

My only issue is the limbo Daredevil seems to be in. In his title proper, Matt Murdock is still in jail while an as-yet-unveiled imposter has taken on the mantle of Daredevil. In Civil War, he’s playing vague background character. Brian Bendis spent years crafting a story about Murdock’s secret identity being revealed and Murdock’s quest to prove otherwise. Given his relationship with Spider-Man, he would’ve made a great counterpoint to Peter’s choices. Unfortunately there haven’t been any indications that Daredevil will tie into Civil War at all, not made any easer by the ill-timing of Murdocking being in jail.

Two issues in and Civil War already looks like a much more promising ‘event’ than House of M. Whether or not this really splits the Marvel Universe in the end remains to be seen so there’s still some time to botch this up. But if they can stick to their guns, this event could truly deliver on the hype. And give writers of other titles a cool new sandbox to play in. But what’s important is not just using the event as a means to an end. Millar has crafted an incredibly interesting story and helped shake up the status quo. House of M meandered, taking the long, scenic route to "no more mutants." Here we’re not only interested in the greater ramifications of the Registration Act but also the relationships and activities that are happening because of the new law. Sure, some will cry "shock value" in regards to Spidey’s revelation but it never felt excessive in the structure of the story. In fact, anything other than the revelation would’ve betrayed the idealism behind those who support the act.

OVERALL:

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