Fear Itself (comics)
"Fear Itself" | |
---|---|
Angrir: Breaker of Souls | |
Creative team | |
Writer(s) | Matt Fraction (miniseries) Ed Brubaker (prologue)[1] |
Penciller(s) | Stuart Immonen (miniseries) Scot Eaton (prologue)[1] Steve McNiven (miniseries covers) |
Inker(s) | Wade von Grawbadger |
Colorist(s) | Laura Martin |
"Fear Itself" is a 2011
"Fear Itself" was first announced by then-Marvel Editor-in-Chief
Critics exhibited mixed reaction to the different books of the storyline, praising the art in general, but generally panned the writing, especially in the core miniseries, and reported that the title failed to sell through at shops,[3] though greater praise was given to some of the tie-in books, with one critic summarizing, "Fear Itself was a disaster. I don't see many people arguing that point—the most that can be said is that it had some amazing tie-ins", in particular Avengers Academy, Journey into Mystery and the later tie-in issues of Uncanny X-Men.[4] Criticism was also directed to the number of books involved in the crossover, its duration, the lack of a clear beginning, middle and end to its structure,[5] inconsequential character deaths, and the lack of any change to the status quo.[6] The overall storyline holds an average score of 7.4 out of 10 at the review aggregator website Comic Book Roundup, with the core miniseries holding a 6.5, and the various tie-ins ranging from 4.3 to 7.9.[7]
Publication history
"Fear Itself" began as a proposed Captain America/Thor crossover by
"The climate in the world today was certainly the inspiration for this as we started to think about the bigger stories for the Marvel Universe," Marvel editor in chief Joe Quesada said at a press conference at Midtown Comics in Manhattan. "You will absolutely see the real world inject itself into this story because it's undeniable that there's a certain something in the air right now…we tend to tap into that whether consciously or unconsciously and it effects [sic] all our stories."[11]
The storyline's title is a
Brevoort explained that all major characters are featured in the storyline, which involve a number of unconventional alliances, with even Marvel's version of
The Fear Itself prologue book, which was published in March 2011, features Captain America and
To promote Fear Itself: Fearsome Four #1, one of the tie-in books, writer Brandon Montclare and artists Michael Kaluta and Ryan Bodenheim appeared at Midtown Comics Downtown on June 8, 2011, where they signed copies of the book.[20][21] Writers Greg Pak, Fred Van Lente and editor Mark Paniccia later held a signing at the same store on June 18 for Alpha Flight #1, which is also part of the storyline.[22]
A 12-issue, biweekly spinoff miniseries of "Fear Itself" titled The Fearless, debuted October 19, 2011. The series, which depicts Captain America, the Avengers and others dealing with the aftermath of the events of "Fear Itself", is written by Fraction,
Plot summary
Prologue
In Fear Itself: Book of the Skull, the Red Skull performs a ritual during World War II, on orders of Adolf Hitler, which causes the Hammer of Skadi to fall to Earth where it lands in Antarctica. Traveling to Antarctica, the Red Skull finds the hammer but is unable to lift it. Red Skull has Adolf Hitler's Thule Society seal it away and put it under their guard. Many years later, Red Skull's daughter Sin, with the help of Baron Zemo, retrieves the Book of the Skull that contains the location of the hammer.[28][29]
Core miniseries
While
During their battle in Washington, D.C., Skadi mortally wounds the current Captain America, James "Bucky" Barnes. In Asgard, Odin prepares his people to raze Earth completely in order to destroy the Serpent. Thor opposes this and returns to Earth.[14][31] After Steve Rogers again assumes the mantle of Captain America, Thor confronts the Serpent, who reveals himself to be Odin's brother and claims to be the rightful bearer of Asgard's throne, before dispatching Thor.[14] Thor then fights Angrir, and Nul (the transformed Thing, and Hulk) simultaneously, killing Angrir (who is revived as the Thing by Franklin Richards) and knocking Nul half way around the world, after which Thor collapses from exhaustion. Iron Man requests from Odin the use of his workshop to make weapons to fight the Worthy. Skadi and the Serpent easily repel resistance by Captain America and the Avengers, breaking Captain America's shield and devastating New York City.[32]
As Thor convalesces in Asgard, Odin gives him his own battle armor and the Odinsword, Ragnarok, for a last suicide mission against the Serpent. Iron Man and the dwarves of Svartalfheim present eight newly forged weapons, each designed for a specific Avenger and containing both his repulsor technology and uru (the same metal composing Thor's hammer). They throw them into a vat of boiling uru – into which Iron Man himself leaps – to receive Odin's enchantments. In Broxton, Captain America raises a militia of armed citizens who wish to remain to fight, and along with the Avengers, prepares for a final confrontation with the Serpent and the Worthy.[33]
Iron Man returns to Earth, his armor coated with Asgardian uru enchanted by Odin, along with similarly enhanced weapons with which he arms
Epilogue issues
Fear Itself: #7.1: Captain America depicts Captain America dealing with the loss of Bucky, and reveals that Bucky in fact survived Skadi's attack as a result of being injected with the Infinity Formula. With the world believing him dead, Bucky returns to his former identity of Winter Soldier, performing special operations, developments to which only Steve Rogers, Nick Fury, and Black Widow are privy.[34][35]
Fear Itself #7.2: Thor sees the introduction of Thor's tentative replacement, Tanarus, as well as the return of Thor himself from the dead.[36][37]
Fear Itself #7.3: Iron Man deals with Tony Stark's despair over the still-petrified population of Paris, his anger at Odin for not preventing it, and Odin's reaction to Stark's challenge, which Stark relates to the imprisoned Grey Gargoyle, who was responsible for the Parisians' fate as a member of the Worthy.[38]
Tie-in books
Fear Itself: Sin's Past #1 is a
Fear Itself: The Worthy is an anthology
The Mighty Thor #7 establishes the Serpent's origin story, revealing him to have been the sibling to Odin, Vili and Vi, who assumed the throne of Asgard following the death of their father, Bor, at the dawn of time, and whose rule was marked by madness and corruption. Odin sacrificed his right eye to receive wisdom from Yggdrasil, which prophesied that to heal his brother, Odin would have to sacrifice his son.[15]
The Invincible Iron Man follows
In
In Avengers, Spider-Woman, Ms. Marvel, and Protector arrive in Brazil to help Red She-Hulk fight Nul.[51]
In New Avengers, Skadi sends the Thule Society to the United States where they fight the New Avengers,[52] at one point attacking Avengers Mansion.[53]
In
In Avengers Academy, the staff and students of the eponymous school fight convicts attempting to escape the Raft, and are later sent to Washington, D.C. to fight Skadi's forces.[57] In Dubai, the faculty later battle Greithoth and Skirn,[58] who subsequently attack the students at Infinite Avengers Mansion.[59][60]
In Fear Itself: Youth in Revolt, Captain Steve Rogers has
In Hulk, Red Hulk attempts to stop Angrir's attack upon Avengers Tower, but the Tower is destroyed in the process and the Avengers' manservant Edwin Jarvis barely escapes.[67] As their battle continues, Zero/One and MODOK Superior compete to reach Red Hulk, as they each harbor plans for him.[68][69][70]
In Fear Itself: Hulk vs. Dracula, Hulk/Nul, following his battle with Thor in Fear Itself #5, crashes in the Carpathian Mountains and is confronted by Dracula and his vampire army. The series also explores political relationships between Dracula and other breeds and sects of vampires, and introduces a vampire superhero team called the Forgiven, whom Dracula frees from their dungeons in order to combat Hulk/Nul.[71][72][73]
In
In Fear Itself: Spider-Man, the webslinger attempts to deal with the rampant paranoia that grips Manhattan, which includes, in addition to his own hallucinations, attempted suicides, hate crimes, no cell phone service and satellite activity, an attack by
In Fear Itself:
In Fear Itself: Black Widow, Black Widow and Peregrine are sent on a mission to free hostages being held in a Marseille cathedral by Rapido. He and a group of mercenaries are trying to exploit the panic over the events in Paris to steal France's nuclear arsenal.[83][84]
The anthology miniseries Fear Itself: The Home Front explores how the events of the storyline affect the ordinary citizens of the Marvel Universe, much as
In Uncanny X-Men, the mutant team is in San Francisco in an attempt to ease anti-mutant tensions, when they learn that Kuurth is rampaging through California, and decide to confront him when he reaches the city.[93][94]
In New Mutants,
In Fear Itself: Uncanny
In Fear Itself: Wolverine,
Fear Itself: The Deep reveals that Nerkodd conquered New Atlantis, ousted its king,
In Herc,
In
The debut of Alpha Flight's fourth volume depicts the Canadian superhero team's rescue efforts for victims of a tsunami created by Nerkodd, and their ejection of Nerkodd from Canada.[114]
In Fear Itself: Fearsome Four, She-Hulk, Howard the Duck, Frankenstein's Monster and Nighthawk intervene when the empathic Man-Thing goes on a rampage in Mahhattan, due to the fear and chaos he senses on the part of the citizenry,[115][116] and discover a plot by Psycho-Man to use Man-Thing's volatile empathy to create a weapon.[117][118][119]
In Fear Itself: Deadpool, which offers a humorous take on the storyline, the
Aftermath
Fear Itself: The Fearless pits Sin and Valkyrie against one another as they compete to find the hammers of the Worthy that fell to Earth at the end of the main miniseries.[123]
Critical reception
Critics exhibited mixed reaction to the work of the individual creators involved in the different books of the "Fear Itself" crossover, praising the art in general, but generally panned the writing as "pedestrian, bordering on silly", and reported that the title failed to sell through at shops.
Prologue reviews
Erik Norris of IGN gave the prologue a "Great" rating of 8 out of 10, saying it set up the crossover storyline effectively. He also praised Brubaker's vibrant depiction of the characters and Scot Eaton's artwork for effectively capturing character emotions.[124]
Chad Nevett, reviewing the Fear Itself: Book of the Skull for Comic Book Resources, opined that it felt like a drawn-out issue of Ed Brubaker's Captain America, and a lead-in to the 2011 relaunch of that title, rather than an essential setup for "Fear Itself". Calling Brubaker's story and Scot Eaton's art "competent", Nevett characterized it as "a good comic, not great", "an entertaining superhero action comic" and "your pretty standard ‘Red Skull crazy World War 2 scheme’ plot with few surprises." Though he felt that Eaton's art was clear and the action shots energetic, he felt Eaton's line work was cluttered at times, his faces "bulging and scrunched at the same time" and in general, his work "generic".[125]
At Newsarama, David Pepose noted Brubaker's talent for mixing fun dialogue with action, but thought the book read "a little choppy". He described Scot Eaton's pencils as having "an exciting vibrancy", singling out his rendition of character close-ups, but felt that in light of Marvel and Matt Fraction's promotion of the miniseries, that the prologue was unnecessary.[126]
Danny Djeljosevic of Comics Bulletin saw Book of the Skull as Brubaker's embracing of the silliness of the Marvel Universe, and also questioned if readers would need the prologue to appreciate the crossover, saying that Captain America's presence in the story felt more like a marketing ploy than a natural aspect of it. Djeljosevic found the supervillain interaction to be fun, and wished that it had been given the focus of the book.[127]
Alex Evans of Weekly Comic Book Review gave the book a "B", thought, despite his aversion to prologue books, for Brubaker's scripting, the accurate tone of each of the characters, comparing the combination of Nazis and paranormal elements to the work of Mike Mignola, as well as Eaton's "fantastic" art. Evans opined, however, that it did not function well as a prologue, because it did not inform him as to the nature of the upcoming storyline.[128]
Evan Narcisse, Graeme McMillan and Douglas Wolk of Time magazine's Techland website found the book to be "tepid", and stated that it failed to provide exposition for new readers, or to inform or intrigue readers as to the upcoming storyline, which they felt was emblematic about Marvel's "insular" approach to big event storylines.[129]
Core miniseries reviews
Doug Zawisza, reviewing the Fear Itself miniseries for Comic Book Resources, commended writer Matt Fraction for the first two issues, praising his establishment of the story and tying it into Marvel Universe history in the first issue, while still making it enjoyable for new readers.[130] Zawisza was less impressed with issues 2 - 4. Though they enticed him to buy the tie-in books, which he normally does not do with crossovers, he felt the story's shift of locales, the lack of resolution to its setups, the depiction of action in "snippets" and the relegation of important plot events to tie-in books hurt the story.[131][132][133] By issues 5 and 6, which Zawisza felt exhibited out-of-character dialogue, he felt the miniseries had failed to live up to the promise of the first issue, despite some powerful character-defining moments.[134][135] Zawisza was more favorable towards Stuart Immonen's art, calling it "incredible" and "gorgeous", and Immonen a "modern master" whose ability to convey a large amount of story in a small portion of a page Zawisza compared to that of George Pérez.[131] Though Zawisza was not reluctant to note the occasional error,[132] He consistently singled out Immonen for his simple but detailed storytelling, and his ability to render varied subject matter, from Nazis to sea monsters,[130] praising specific visuals such as his Immonen and Laura Martin's depiction of Yggdrasil in issue #1, as well as numerous scenes in issue #4, such as the scenes of global chaos, the Odin-Serpent framing sequence and the shots of British Columbia, which he called "chilling". Zawisza also praised Wade Von Grawbadger's inks and Martin's colors. Despite his disappointment with the latter in issue #4,[133] he singled issue #5's rendition of a sequence spoken in runes and the electric blue lightning emanating from Thor's hammer as otherwise strong inking and coloring, respectively.[134] Zawisza also positively compared Chris Eliopoulos' lettering to that of John Workman.[133]
At
At Comics Bulletin, a roundtable review of issue #1 by five reviews resulted in an average rating of 3.7 out of 5 bullets. The reviewers generally praised the writing and art, though Ray Tate, who expressed an aversion to large-scale "event" storylines, questioned the first issue's execution, and perceived out-of-character behavior on the part of Odin. Norse mythology fan Thom Young stated that certain elements did not resonate or ring true to him.[141] Danny Djeljosevic gave issue #2 a rating of 3.5 bullets, again praising the tension-building of the story and the art.[142] For issue #3, Shawn Hill rated it 3.5, stating that art and characterization justified continued patronage of the series, but that the plot did not, while Sam Salama Cohén exhibited an overall more positive reaction, with 4.5 bullets.[143] Djeljosevic gave 4 bullets to issue #4, complimenting Fraction for hitting his stride as he scripted "the most technically daunting task in his comics career", and singling out the parallel scenes of Odin and the Serpent rallying their troops in particular. Like Doug Zawisza, Djeljosevic was impressed by Stuart Immonen's ability to effectively render different subjects, from sleepy seaside Canadian towns to superhero battles, and remarking, "Immonen is easily the most versatile artist in comics, who will surely go down as one of the greats with his striking layouts and dynamic, varied panel to panel storytelling. Immonen reminds me of the old-school Marvel Comics artists, who were capable of delivering strong, consistent work every month with little need for fill-ins."[144]
Jason Serafino of
Jesse Schedeen of IGN rated the first two issues a "Great" 8.5 out of 10 and a "Good" 7.5, respectively, saying that the story and characterization were well-executed by Fraction, including the nuanced, weighty Norse dialogue. Schedeen also thought Immonen's wide, cinematic panels were "top-notch", and Laura Martin's colors "characteristically lush and beyond reproach", but thought Wade von Grawbadger's inks were thicker and slightly less precise than on his previous New Avengers work. However, Schedeen rated three of the following four issues a "Good" or "Okay" 6.5, and the final issue an "Okay" 6.0, citing lack of context of the story's global events, poor characterization and dialogue, reliance on events relegated to tie-in books, use of too many of the final pages for epilogues and an overall sense that the series failed to surpass its origins as a Thor/Captain America crossover.[8][9][146][147][148][149][150]
Alex Evans of Weekly Comic Book Review gave a "B+" to three of the first four issues, saying that Fraction effected a sincere, topically relevant and emotionally authentic story rather than a marketing ploy or editorial shuffle. Evans felt the book utilized its scene-jumping structure to properly explore the expansive, global impact of the Worthy as a legitimate threat, and that both Bucky's death and Loki's humorous dialogue were well-handled. However, Evans decried the too-straightforward treatment of Sin's setup, and the lack of Fraction's usual subtext in issue #3 (which he graded "B-"). Evans and Dean Stell graded the next three issues C+, "C-" and "D", expressing that, despite the exciting battles, the issues were marred by a transitional feel, redundant material covered in tie-ins, a "hideous" deus ex machina use of Franklin Richards' massive but ill-defined powers, a ludicrous opening scene in issue #6, choppy storytelling, meaningless character deaths, and lack of closure. Stell called it a "crappy" series based on a "thin" concept that warranted neither seven issues nor the copious tie-in books. The reviewers thought the art and colors were vibrant and detailed, and Immonen the perfect choice for the series, though Stell thought it looked a bit rushed in issue #6, and not up to Immonen's usual standards in issue #7.[151][152][153][154][155][156][157]
Tie-in book reviews
Jesse Schedeen of IGN gave Fear Itself: Sin's Past #1 a "Mediocre" rating of 5 out 10, saying that the issues chosen for reprinting were not the ideal ones from which readers could learn about the character, as the character's first appearances did not feature her disfigured, skull-like appearance, did little to flesh out her character and the modern and because the bold, modern coloring did not mesh with Al Milgrom's soft pencils, whose detailing of Rich Buckler's layouts issue #355 were inconsistent in quality to begin with.[39]
Schedeen gave Fear Itself: The Worthy #1 an "Okay" rating of 6 out of 10, opining that while the origin stories, they were not particularly memorable, owing to their limited page space, that Sin's segment was a rehash of the Book of the Skull prologue, and that while the Hulk and Thing segments were outstanding in terms of the writing by Greg Pak and Roberto Aguirre-Sacasa and the artwork by Lee Weeks and Javier Pulido, the entire book was available for free on Comixology.[40]
Alex Evans, reviewing issues 622–626 of
Roman Colombo of Weekly Comic Book Review gave a "B+" to The Mighty Thor #7, saying that the prequel story of Odin and the Serpent's childhood did such a good job of providing a setup for the main storyline, and its impact so palpable that it should have been part of the prologue. In addition to the book's appropriately non-colloquial dialogue among the gods, Colombo felt that because of the much-needed characterization to the Serpent, which Colombo felt the main miniseries lacked, he would be more invested in re-reading that miniseries. He felt Pasqual Ferry's art was hit-or-miss, however.[4] Erik Norris of IGN gave the book a "Mediocre" score of 5.5 out of 10, saying that issue was a "ho-hum filler" that did not provide context to Thor's death, nor accomplish anything not covered by the core miniseries, saying the book's revelations might have been topical and poignant had it been published before the miniseries was. Norris felt the transition from a young Odin to aged one was handled poorly, criticized the rendition of the Worthy as the contemporary characters that are possessed by them in the miniseries.[176]
Alex Evans, reviewing New Avengers #14 and 15 for Weekly Comic Review, graded them "A-" and "B", calling the first issue the best since the series' first story arc, due to writer Brian Michael Bendis' intimate character work with Mockingbird, and artist Mike Deodato's ability to capture the most subtle nuances of emotion in facial expressions. Regarding the next issue, Evans thought that while it was not as compelling as the previous one, Bendis nonetheless fleshed out Squirrel Girl into a "fully realized, sympathetic character", disproving his initial expectations upon learning that it focused on Squirrel Girl.[177][178]
CBR's Greg McElhatton enjoyed
Ray Tate gave 5 out of 5 bullets to Avengers Academy #15, but only three bullets to issue #16. Conceding he was disinterested in the crossover's core miniseries, he nonetheless liked
Ray Tate of Comics Bulletin gave 2 out of 5 bullets to Fear Itself: Youth in Revolt #1, attributing this to confusing plotting, implausible behavior on the part of bit characters and lack of independence from the core miniseries. However, he expressed enjoyment of Sean McKeever's characterization of the heroes, in particular Thor Girl, as well as Mike Norton and Veronica Gandini's art.
Alex Evans, who reviewed Invincible Iron Man #504 - 506 for Weekly Comic Book Review, gave the first two issues a "B+", and the third one a "B", lauding writer Matt Fraction for using Iron Man's haunting discovery of Mokk's victims to set a chilling tone and atmosphere of the crossover, reminding Evans of the
Evans gave a "D+", however, to Iron Man 2.0 #5, however, criticizing Nick Spencer for focusing on Iron Fist and the Immortal Weapons rather than the book's star, and the all-set up nature of the story, and Ariel Olivetti for his "unnatural and stiff" artwork, and his "horrendous" computer-generated backgrounds, which according to Evans, were either nonexistent or little more than slightly manipulated photos.[199]
Dean Stell, reviewing Hulk #36 and 37 for Weekly Comic Book Review, graded them "B+" and "A−", repeatedly congratulating writer Jeff Parker for his ability to maintain his ongoing story despite the tie-in. Stell also took notice of Bettie Breitweiser's colors and lighting, which she felt were the only ones that depicted the Worthy in a way that they did not appear to be "Tron-rejects".[200][201]
Joshua Yehl of IGN gave Fear Itself: Hulk vs Dracula #1 an "Okay" rating of 6 out of 10, citing the dull, formulaic nature of the conflict, which was already seen in numerous other tie-in books. While Yehl thought
Reviewing Fear Itself: The Black Widow, Kelly Thompson of Comic Book Resources criticized the
Jesse Schedeen, reviewing Fear Itself: Spider-Man for IGN, gave issue #1 a "Good" rating of 7.5 out of 10, and "Great" ratings of 8.5 and 8 to issues 2 and 3. Despite thinking that the citizens depicted were a bit too archetypal, he felt issue #1 properly covered the effects of the Serpent on the populace that were ignored by Fear Itself #2 that week, including those inflicted on Spider-Man that formed a classic set of insurmountable circumstances for him that rivaled his fight with Morlun in the 2005-2006 "The Other" storyline. Schedeen felt Mike McKone's art was clean and cinematic, but varied between his familiar style and a flat, minimalist one in issue #1. Though issue #2 improved on this, he felt aspects of it were flat and rushed in issue #3.[207][208][209] Dean Stell of Weekly gave a "C" grade to the first two issues, saying that while it was not essential to the event, it established the street-level panic caused by it, providing "flavoring" to the crossover's story not present in the core miniseries, and that it featured many fine moments, his favorite of which was Spider-Man's confrontation with J. Jonah Jameson. He nonetheless perceived problems in continuity and in the behavior of the mob attacking the Iranian cabbie. He also thought McKone's art was solid and effective, despite occasional problems in body proportions.[210][211] James Hunt of Comic Book Resources praised issue #1 for "straddling the crossover line expertly", telling a genuine story rather than serving as an arbitrary tie-in, and for helping to allow the reader to understand the stakes of "Fear Itself" by showing the chaos created in the core miniseries. Though Hunt questioned the book's choice of villain, he was interested enough to see how the story's use of that villain would develop. Hunt also Mike McKone's art and Jeremy Cox's colors, and their decision to depict a red-and-black version of Spider-Man's costume.[212]
Reviewing Fear Itself: The Deep #1, Hunt opined that the book was not an essential tie-in. He criticized the destruction of New Atlantis, without any mention of Utopia, which was supported by New Atlantis. He also thought that the development of Namor, while potentially interesting, did not entirely work. Though he suggested that Defenders fans would enjoy the book's improvised incarnation of that team, and Lee Garbett's art clear and enjoyable, there was little to either complain about or distinguish it.[213] Ray Tate gave the book 4 out of 5 bullets, however, finding the change in the Defenders roster engaging (Loa in particular), and beautifully characterized. Tate also liked the creative team's design of the demons, and their rendition of the cast and their heroics.[214] Jesse Schedeen of IGN rated issue #1 of "Mediocre" 5.5 out 10, finding the characterization at times erratic, inaccurate and flat, in particular that of Namor and Attuma. While Schedeen thought Garbett's art was "functional, if a little cramped" in the underwater scenes, he perceived a sharp divide in quality between his cover and interior work, and the colors to be too dim.[215]
At Comic Book Resources, Zawisza found Fear Itself: The Home Front #1 to be "somewhere between forced and irrelevant". Zawisza criticized the Speedball story for a too-weighty collection of elements that threatened to stall it, and for artist Mike Mayhew's over-reliance on photo reference. Zawisza criticized Peter Milligan's Agents of Atlas story for lacking "pizzazz", a clear direction and consistent characterization, but found Elia Bonetti's art a nice transition between Mayhew's and Howard Chaykin's. Zawisza found the J. Jonah Jameson story "little more than a one-page filler", though useful in reminder the reader of Jameson's presence in the Marvel Universe. Zawisza found Pepe Larraz's art in the Broxton, Oklahoma story to be energetic and clean, and his characters believable. Overall, Zawisza felt the book did not add to "Fear Itself", but was a "nice" read, even if not a "must-read".[216] Jesse Schedeen of IGN gave issue #1 a "Good" rating of 7 out of 10, saying that Gage handled the Speedball story with more depth and gravity than in the Avengers Academy that featured a similar story, and that the exploration of why the Superhuman Registration Act was abolished was welcome, though he questioned if the story was strong enough to go seven issues. Schedeen also enjoyed the story and art of Agents of Atlas, thought the inclusion of the J. Jonah Jameson tale was "bizarre", and felt Jim McCann's Broxton story explored the human element, if not memorably, and that overall, the book was not essential reading.[85] He gave the next two issues "Okay" ratings of 6 and 6.5, explaining that the backup stories should have been trimmed to give more space to the Baldwin story, in which Gage fleshed out Miriam Sharpe, and that while the Agents of Atlas work continued to be solid in issue #2, it failed to make good use of the crossover.[217][218]
Dean Stell, reviewing Uncanny X-Men #540 - 543 for Weekly Comic Book Review, graded the issues "D+", "C+", "B−" and "D". Stell consistently denounced
Hunt felt that Fear Itself: Uncanny X-Force #1, however, was one of the stronger tie-in books, opining that writer Williams, Rob lived up to the standard set by regular X-Force writer Rick Remender, exhibiting a similar density of ideas, well-pitched character work, and the same "fun" of that book, without aping Remender's writing style. However, Hunt felt the story suffered from being almost unrelated to the core "Fear Itself" storyline, and criticized the lack of clarity over the identity of the "unknown superhero" in danger, stating that it failed to invest the reader in his fate. Hunt also felt that Simone Bianchi's art was looser than on his Astonishing X-Men run, and criticized his lack of backgrounds, but enjoyed his intricate visuals and his restrained rendering.[223] Jesse Schedeen of IGN, however, gave each of the three issues "Mediocre" ratings of 5.5, 5.0 and 5.5 out of 10, complaining that the story was barely related to the crossover, that the characterization was "bland" and unengaging, the humor "stilted", that it was entertaining on only a superficial level, and of Simone Bianchi's poorly defined and figure-crowded page construction, bizarre anatomy and storytelling that lacked a proper flow.[224][225][226]
Hunt was pleased with Fear Itself: Wolverine #1, in particular its depiction of Wolverine and Melita's relationship, and their contrasting views on informational freedom. Though he saw potential in the otherwise generic S.T.R.I.K.E. mercenaries, he again was displeased that the story had nothing to do with the core "Fear Itself" narrative. While Hunt felt artist Roland Boschi made writer Seth Peck's heavy exposition effective, and found Dan Brown's colors serviceable, he found little inspiring about the book artistically.[227] Poet Mase of IGN gave issue #1 an "Okay" rating of 6.5 out of 10, saying that while he felt the villain's plot was plausible, it was somewhat stifled under the weight of text exposition that should have been handled by the visuals, and was unimpressed by Boschi's art or Dan Brown's colors, with some frames looking unfinished.[228] He felt these issues were resolved by issue #2, which he rated a "Good" 7.5 for being a good middle issue. Nonetheless, while he felt that Peck's focus on the power of fear over rationality, and the buildup of Melita's panic were well-done, he felt her journey through Manhattan to be somewhat aimless, a major plot point dispensed with via a poor plot device, and the final page a letdown.[229] Fear Itself: Wolverine has the lowest score of any tie-in at Comic Book Roundup, with 4.3 out of 10.[7]
Dean Stell, reviewing New Mutants #30 for Weekly Comic Book Review, gave it a "B" for Dan Abnett and Andy Lanning's fun story, its good use of Mephisto, David Lafuente's "A-List" art, whose exaggerated gestures lent itself well to the storytelling, and Val Staples and Chris Sotomayor's colors.[230]
Reviewing Thunderbolts #158 - 162, Stell gave a "B+" to the first and last issues, and a "B" to the middle three, citing writer Jeff Parker's effortless integration of the crossover into the book, his ability to fit large amounts of story into each issue with good pacing and his depiction of tension and relationship development of the team members. Stell also opined that all of the stories by different creators in the anthology issue #159 were good (Parker's Underbolts story in particular). However, he criticized the rehashing of material in issue 158 that was covered in the main miniseries, and Marvel editorial, however for inconsistency in Man-Thing's appearances in different books of the crossover. Stell enjoyed Kev Walker and Declan Shalvey's illustration of individual issues, an improvement over pre-crossover attempts on their part to share the duties, citing Walker's inking in particular, but was slightly disappointed by Valentine de Landro and Matthew Southworth's art, whose storytelling clarity was not substandard in areas, and whose overly buxom depiction of
Minhquan Nguyen, reviewing Herc #3 - 6 for Weekly Comic Book Review, gave a "B+" to three of the issues, and an "A−" to issue #4. Nguyen appreciated that the minor connection to the crossover did not hijack the book's in-progress storyline, which was filled with action and humor, though he felt the writing in the latter two issues was hurried and underdeveloped. Nguyen praised penciler Neil Edwards' clean, detailed art, and how his design of the mythic characters, combined both classical and modern elements. He also complimented Scott Hanna's inks and Jesus Aburtov's colors.[233][234][235][236] Sam Salama Cohén of Comics Bulletin gave 3.5 bullets to issue #4, celebrating Greg Pak and Fred Van Lente's accurate portrayal of Hercules, a welcome reinvigoration of the character following the "endless Limbo of poor characterization and mockery" to which Cohén felt the Greek hero had thus far been relegated. Cohén also said that Neil Edwards' art style had grown on him, extolling Edwards' depiction of both Hercules' "snarkiness" and his bold resolve. Though Cohén felt the book was a good follow up on the previous story arc, he felt it lacked that story's perfect mix of humor, action and foreboding.[237]
Alex Evans of Weekly Comic Book Review gave a "C+" to Ghost Rider #1, opining that the book featured some excellent ideas and solid artwork by Matthew Clark that were hampered by the crossover and some at times "sketchy" writing, which included flat humor, overwritten dialogue, the relegation of expository material to the backup story and an unlikable protagonist threatening children.[238]
Doug Zawisza found Fear Itself: Fearsome Four #1's attempt to marry the disparate art styles of
Danny Djeljosevic and Nick Hanover of Comics Bulletin gave 3 out of 5 bullets to Alpha Flight #1, seeing its tie-in to "Fear Itself" as a forced way to use the crossover to gain attention for that team, while only paying lip service to the crossover's storyline. They also complained about the heavy handed opening scenes, the lack of exposition that would make "Fear Itself" aspects of the story confusing to readers of the trade paperback and problematic characterizations of
Dean Stell of Weekly Comic Book Review gave Fear Itself: Deadpool #1 a "C+", saying that while the story's lack of impact on the crossover made it inessential reading, the concept of Deadpool's attempt to exploit the global panic upheld the book's signature tongue-in-cheek tone, and Bong Dazo's art fit this tone well.[247] Jesse Schedeen of IGN gave issue #1 an "Okay" rating of 6.0, expressing the view that Deadpool's exploitation of a suburban family's paranoia and fear was so close sentiments in the aftermath of the September 11 attacks that writer Christopher Hastings struck at the heart of the crossover's core ideas, and that although some elements were characterized by dawdling exposition, spoilers and heavy-handed attempts at humor, penciller Bong Dazo was adroitly brought the physical humor to life.[248] However, Schedeen gave issue #3 an "Awful" rating of 3.5, saying that Hastings' "painful" script consisted of a truncated plot, forced, unfunny cultural references, unresolved plot holes, and a nonsensical ending, and that despite Dazo's art, he advised readers not to buy the book.[249]
Epilogue and aftermath book reviews
Erik Norris of IGN Fear Itself #7.1: Captain America a "Great" rating of 8.5 out of 10, saying that Ed Brubaker and Jackson Guice offer more substantial content than in the entire core miniseries, calling it a "must-read" for Captain America fans, including those who did not like the "Fear Itself" event, and saying that Brubaker admirably redeems the poor depiction of Bucky's death in the miniseries.[35] Norris gave Fear Itself #7.2: Thor a "Good" rating of 7 out of 10, saying that Matt Fraction's subtle, vague handling of Thor's death and resurrection properly utilized meta concepts that incorporated the event into Norse mythology. Norris also praised Fraction's handling of Spider-Man. He was disappointed with Adam Kubert's art, however, in spite of the fact that he is a fan of Kubert, finding the artist's choice of panel layout and composition perplexing.[37]
Joey Esposito of IGN gave a 7 out of 10 "Good" rating to Fear Itself: The Fearless #1, saying that while it is not essential reading, nor an enticement to read the crossover, it provided a fun, enjoyable setup for ongoing stories featuring Sin and Valkyrie, despite some instances of flat dialogue. Esposito also noted the strengths and weaknesses of artists Paul Pelletier, Danny Miki, Matthew Wilson and Mark Bagley, saying, "Neither artist completely nails it out of the park to the best of their ability, but the book gets well enough to entice the reader's eyeballs."[123]
In other media
- The "Fear Itself" storyline is adopted in the second season of the online game Marvel: Avengers Alliance. In this version of the story, She-Hulk is Skirn, Luke Cage is Nul, Spider-Woman is Kuurth, Mockingbird is Nerkkrod, Daimon Hellstrom is Angrir, Black Knight is Mokk and Ghost Rider is Greithoth.[250][251][252][253]
- Zen Studios developed a virtual pinball adaptation of the limited comics series in 2012 as part of the four Avengers Chronicles tables as downloadable content for Marvel Pinball, Zen Pinball 2, Pinball FX 2 and Pinball FX 3.[254] This table features voice acting, animated figures and missions that involve battling the several Worthy that the Serpent summons.
Titles involved
Prologue
Core miniseries
- Fear Itself #1-7
Tie-ins
- Fear Itself: Black Widow#1
- Fear Itself: Deadpool #1-3[257]
- Fear Itself: The Deep #1-4[258]
- Fear Itself: FF #1
- Fear Itself: Fearsome Four #1-4[259][260]
- Fear Itself: Fellowship of Fear #1
- Fear Itself: The Home Front #1-7
- Fear Itself: Hulk Vs. Dracula #1-3
- Fear Itself: The Monkey King #1
- Fear Itself: Sin's Past #1
- Fear Itself: Spider-Man #1-3
- Fear Itself: Spotlight #1
- Fear Itself: Uncanny X-Force #1-3[261]
- Fear Itself: Youth in Revolt #1-6
- Fear Itself: The Worthy #1
- Fear Itself: Wolverine #1-3
- Alpha Flight #1-4
- Avengers Academy #15-20
- Avengers #13-17
- Black Panther: The Man Without Fear #521-523
- Ghost Rider (vol. 7) #1-4[262]
- Heroes for Hire #9-11
- Herc #3-6
- Hulk #37-38
- Iron Man 2.0#5-7
- The Invincible Iron Man #503-509
- Journey into Mystery #622-630
- New Avengers #14-16
- New Mutants #29-32
- Secret Avengers #13-15[263][264]
- Thunderbolts #158-162[265][266]
- Tomb of Dracula Presents: Throne of Blood #1
- Uncanny X-Men #540-543
- The Mighty Thor#7
Epilogue and aftermath
- Fear Itself #7.1: Captain America
- Fear Itself #7.2: Thor
- Fear Itself #7.3: Iron Man
- Battle Scars #1-6
- Fear Itself: The Fearless #0-12
Miscellaneous
- Fear Itself Sketchbook #1
- Fear Itself: Fellowship of Fear #1
Collected editions
Title | Material collected | Published date | ISBN |
---|---|---|---|
Fear Itself | Fear Itself #1-7, Fear Itself Prologue: Book of the Skull #1 | January 2012 | 978-0785156628 |
Fear Itself: Avengers | Avengers (vol. 4) #13-17, New Avengers (vol. 2) #14-16 | January 2012 | 978-0785163480 |
Fear Itself: Avengers Academy | Avengers Academy #14-20, 14.1 | March 2012 | 978-0785152002 |
Fear Itself: Black Panther | Black Panther: The Man Without Fear #519-523, Black Panther: The Deadliest Man Alive #524 | March 2012 | 978-0785158103 |
Fear Itself: Deadpool / Fearsome Four | Fear Itself: Deadpool #1-3, Fear Itself: Fearsome Four #1-4 | February 2012 | 978-0785158073 |
Fear Itself: Dracula | Fear Itself: Hulk Vs Dracula #1-3, Tomb of Dracula Presents: Throne of Blood #1, Death of Dracula #1 | April 2012 | 978-0785163503 |
Fear Itself: Ghost Rider | Ghost Rider (vol. 7) #1-5, 0.1 | January 2012 | 978-0785158097 |
Fear Itself: Herc | Herc #1-6 | March 2012 | 978-0785147206 |
Fear Itself: Heroes For Hire | Heroes For Hire (vol. 3) #6-12 | February 2012 | 978-0785157953 |
Fear Itself: Hulk | Hulk (vol. 2) #37-41 | February 2012 | 978-0785155799 |
Fear Itself: Hulk/Dracula | Fear Itself: Hulk Vs Dracula #1-3, Hulk (vol. 2) #37-41 | November 2012 | 978-0785155805 |
Fear Itself: Invincible Iron Man | Invincible Iron Man #504-509, Fear Itself #7.3: Iron Man | March 2012 | 978-0785157731 |
Fear Itself: Journey Into Mystery | Journey Into Mystery #622-626 | February 2012 | 978-0785148401 |
Fear Itself Fallout: Journey Into Mystery | Journey Into Mystery #626.1, 627-631 | October 2012 | 978-0785152620 |
Fear Itself: Secret Avengers | Secret Avengers (vol. 1) #12.1, 13-15, Fear Itself: Black Widow #1 | February 2012 | 978-0785151777 |
Fear Itself: Spider-Man | Fear Itself: Spider-Man #1-3, Fear Itself: The Worthy #1, Fear Itself: FF #1 | April 2012 | 978-0785158042 |
Fear Itself: The Fearless | Fear Itself: The Fearless #1-12 | May 2012 | 978-0785163435 |
Fear Itself: The Home Front | Fear Itself: The Home Front #1-7 | April 2012 | 978-0785163893 |
Fear Itself: Thunderbolts | Thunderbolts #158-162 | February 2012 | 978-0785157984 |
Fear Itself: Uncanny X-Force / The Deep | Fear Itself: Uncanny X-Force #1-3, Fear Itself: The Deep #1-4 | March 2012 | 978-0785157960 |
Fear Itself: Uncanny X-Men | Uncanny X-Men #540-544 | March 2012 | 978-0785157977 |
Fear Itself: Wolverine / New Mutants | Fear Itself: Wolverine #1-3, New Mutants (vol. 3) #29-32 | April 2012 | 978-0785158080 |
Fear Itself: Youth In Revolt | Fear Itself: Youth in Revolt #1-6 | April 2012 | 978-0785157014 |
Shattered Heroes | Fear Itself #7.1: Captain America, Fear Itself #7.2: Thor, Fear Itself #7.3: Iron Man, Point One #1 | March 2012 | 978-0785163459 |
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External links
- "Fear Itself" at the Comic Book DB (archived from the original)
- "Fear Itself" Trailer. Comic Book Resources. March 30, 2011