New Mutants 63 - Inferno Prologue

Yet another flashback fill-in issue as we discover how Illyana obtained a space suit and a gun several years ago...

New Mutants #63

Plot: Chris Claremont
Script: Louise Simonson
Artists: Bo Hampton & Josef Rubinstein
Letterer: Tom Orzechowski
Colorist: Nel Yomtov
Editor: Ann Nocenti
Editor-in-Chief: Tom DeFalco

It's curious just how many of these early issues are so blatantly fill-ins, often pressed into awkward service by coming at a difficult point in the ongoing narrative and having to be twisted into service. This one stands out even more than most because it has a framing narrative that doesn't fit the current continuity and takes a bizarre step to fix that. It also sets out to answer a question that didn't need answering many years later.

Back in New Mutants #21 Illyana (Magik) was briefly infected with the Transmode virus when Warlock first arrived on Earth. She grabbed Lockheed the dragon and teleported away into Limbo and later returned cured wearing a strange spacesuit and carrying a gun. Where these came from was not explained at the time and so could just have been left as one of the little mysteries that life is full of. But now we get an explanation - or do we? This issue starts off with Illyana and Kitty Pryde fooling around in their bedroom before accidentally phasing through the floor into Colossus's room. That gives away that the story had been prepared some time back and its use has to get around the fact that Kitty is no longer at the mansion and Colossus is now believed dead. And so Illyana's thought captions on the first page establish this as a dream sequence even before Illyana starts to recount what happened to her. Then the last panel reaffirms the whole thing as a dream rather than genuinely being the untold tale of what happened to her between pages of that issue.

As a result the whole thing feels even more inconsequential than a usual fill-in issue. It tells how Illyana first faced off a demon in Limbo and cured herself of the techno virus then found herself in what appeared to be an alternate reality some time earlier before she arrived at the mansion. Curiously Colossus, her own brother, barely reacts to her claims. It turns out this isn't the past or an alternate reality but instead a spaceship where the Brood have cloned the X-Men and are using them to breed Brood eggs. Illyana finds the dead original crew of the ship and takes both a gun and a spacesuit for protection then faces down the Brood Queen with the help of the rebellious clones before leaving on the ship to protect its cargo.

This flashback sequence is a bit odd and in part feels like an excuse to allow an artist to draw the X-Men in their earlier costumes but otherwise there's little to it that suggests it couldn't have happened in continuity and just never been mentioned again. But the framing narrative is the confused mess with a second frame added at the end that just pushes the whole thing back into the realms of fiction-within-fiction. So ultimately it contributes little. And as the second fill-in issue in a row when the New Mutants are suffering the double fallout of both the death of one of their own and the death of the whole X-Men (including Illyana's brother), this feels a very odd time to be flashing back to explain obscure points from three and a half years earlier. Only the final panel hints at things to come as Illyana reflects on current events but overall this issue should have been left in inventory and only deployed into service at a less intense time and with a more current framing narrative.

Captain America 368 - Acts of Vengeance Aftermath

This issue sees both Captain America and the Red Skull's organisation following up the events of "Acts of Vengeance", with both trying to find Magneto.

Captain America #368

Writer: Mark Gruenwald (all)
Penciler: Ron Lim (main)
Penciler: Mark Bagley (back-up)
Inker: Danny Bulanadi (main)
Inker: Don Hudson (back-up)
Letterer: Jack Morelli (all)
Colourist: Steve Buccellato (main)
Colourist: Nel Yomtov (back-up)
Editor: Ralph Macchio
Editor-in-Chief: Tom DeFalco

For someone so notorious a continuity watcher as Mark Gruenwald, it's surprising that this issue doesn't seem to know where it fits into place around the end of the crossover. Thus whereas Captain America and the Avengers support crew are clearly set after the climax, over in Washington DC it's implied that this is the first time a Red Skull robot is activated to take the absent Skull's place and thus would be set before the climax. Finally a panel at the end of the first story showing Magneto's current location is the same scene as happened during the Mandarin's attack in Avengers #313. This sort of thing is frustratingly all too common around crossovers and makes for much headscratching over the correct order of things.

There are some good contrasts between the way Cap interacts with Avengers support crew and the way Crossbones does with other operatives in the Red Skull's base. But there's also a strong sense that the Skull's organisation is not merely people held together by pay or fear but does contain people who actually enjoy working for the Skull and the challenges it brings. And the prospect of the organisation collapsing because of the Skull's disappearance brings real fear.

The core focus for both the hero and villains is on finding Magneto, with the real one only making a single panel appearance here. Both Captain America and Crossbones have tried the research and contacts method, but Machinesmith has his own idea - send out a robotic duplicate in public to lure the real one out. Unfortunately it gets a little silly when Machinesmith, controlling the robot through his ability to transfer his consciousness between devices, decides he has to act "very un-Magneto like" and starts chewing the scenery. And all the attempt brings is Captain America instead.

The back-up story is a quick history of Machinesmith, told by the robot himself to the Sleeper he's working on. It recounts one of the more awkward parts of the character's history - his having been the second Mister Fear, a point where the two characters' history were merged some time back. Otherwise this is a tale of how a boy became fascinated by robots and developed as an engineer and then when he was killed in battle his robots preserved his brain patterns in mechanical form. The main surprise is how explicit the story is about Machinesmith's sexuality. He's presented as a highly camp character and here he talks to the Sleeper like a surgeon operating on his own romantic partner. His dialogue about putting his consciousness into other robots and enjoying the intimacy is extremely blatant. At the end he even removes his synthetic face to reveal his robotic one and kisses the Sleeper. At first the over campness feels unnecessarily stereotypical but it's easy to forget that until 1989 the Comics Code Authority had effectively barred the depiction of LGBT characters (the precise wording is complicated, hence some had got passed it) and to some extent exaggerated clichés were the most effective ways to get the message across. The code may have just changed but editorial policy might not yet have.

Otherwise this issue is quite a good example of Mark Gruenwald's epic run on the series which really deserves a complete collection; fortunately this issue is from a period covered by the Epic reprints. It shows how to use a crossover as a useful way to create interesting developments in a series and prepares the ground for a search for the Skull.

Captain America #368 has been reprinted in:

• Captain America Epic Collection: The Bloodstone Hunt (2018)

Thor 413 - Acts of Vengeance

This issue may not carry an "Acts of Vengeance" banner, yet it includes one the key moments for the entire arc. It's a surprising omission, especially given the issue is written by the-then editor-in-chief Tom DeFalco.

Thor #413

Words & Plot: Tom DeFalco (all)
Pictures & Plot: Ron Frenz (lead)
Finished Art: Joe Sinnott (lead)
Pencils: Ron Lim (back-up)
Inks: Mike De Carlo (back-up)
Lettering: Michael Heisler (all)
Colouring: Nel Yomtov (all)
Editing: Ralph Macchio (all)

Once again, the issue follows the two-story format, with the back-up feature concluding Beta Ray Bill's encounter with space pirates as he seeks to free the slaves whose mind power is tapped to fuel the ship. It's a good combination of action and willpower.

The lead story sees Thor trying to get the bottom of his recent problems to discover why he has been suffering spells of weakness and just who is behind the attacks on the super heroes. Meanwhile his alter ego of Eric Masterson is trying to get control of his own life as he faces a battle with his ex-wife for custody of their son. And Hercules is experiencing moments of sudden fear. Then a magazine cover inspires Eric to seek help from Doctor Strange to try to sort out Thor's problems and this leads to the "Inner Questing" ritual as Thor and Strange venture into the thunder god's subconscious to discover the answers. Elsewhere the mysterious strange monitors Thor's actions and sends his henchman to deal with Thor, Hercules and Strange. However Strange's Sanctum Sanctorum is protected by magic and so the henchman withdraws, followed by Hercules.

Inside Thor's subconscious he encounters a foe wearing his old armour, leading to a classic "my enemy - myself" fight that Strange and Eric can only watch. Finally Thor subdues his foe and removes the masked helmet to reveal the cause of his weakness. It's Loki. Elsewhere the stranger confirms this, revealing his true form for the first time in the crossover.

To put it mildly, this is not a particularly dramatic revelation. (It was also given away in What The--?! #6 but this is the first confirmation it's the same in the regular reality.) The mysterious stranger has various magical abilities and has been shown monitoring things from a throne room with monitor screens in flames. He has an especial hatred for the Avengers, identifying in particular the Wasp and Hank Pym. And the most blatant giveaway is the central alliance of super-villains. Consisting of the traditional strategic archenemies of the Fantastic Four, the X-Men, Captain America, Iron Man, Spider-Man & Daredevil and the Human Torch, it's an alliance that could have been put together at any time since the mid-1960s. The absence of Thor's archenemy, who also caused the Avengers to be formed in the first place, was highly telling and there was no attempt to give Loki any alibi elsewhere. (Other candidates, such as Baron Mordo and Immortus, have been shown during the crossover.) The only unclear point is just how Thor determines that Loki is behind the "Acts of Vengeance" as well as the loss of strength, since he doesn't see the scenes the readers do.

This is a surprisingly key moment in the crossover, yet it went out of its way to hide it from contemporary readers, perhaps so another moment that we'll come to could serve as the official discovery. This is a pity as Thor is the title with the strongest retro Silver Age feel to it, especially thanks to Frenz's Kirby homage artwork, and "Acts of Vengeance" has a strong Silver Age throwback to it. This really deserved to be put on a stronger pedestal.

Thor #413 has been reprinted in:

• Acts of Vengeance Omnibus (2011) - lead only
• Thor: In Mortal Flesh (2017 Epic Collection)

Captain America 367 - Acts of Vengeance

And now we come to the big moment as Magneto attacks the Red Skull...

Captain America #367

Writer: Mark Gruenwald (all)
Penciler: Kieron Dwyer (main)
Penciler: Mark Bagley (back-up)
Inker: Danny Bulanadi (main)
Inker: Don Hudson (back-up)
Letterer: Jack Morelli (all)
Colourist: Steve Buccellato (main)
Colourist: Nel Yomtov (back-up)
Editor: Ralph Macchio
Editor-in-Chief: Tom DeFalco

This issue once again contains two stories. To get the back-up out of the way first, it features the conclusion of the Cobra's encounter with Mr Hyde, with the former rediscovering himself, changing his costume slightly and modifying his name to become "King Cobra". It's been an interesting tale of self-discovery, though it could probably have benefitted from being told over two issues rather than three. Still it's a good little piece that has made use of the continuity from the mass breakout at the Vault, showing how Mark Gruenwald was often the master of tying things up.

So too does the lead story which tackles head on one of the biggest criticisms of "Acts of Vengeance". Of all the villains in the core alliance, Magneto is by far the most complicated character and had undergone a lot of development in the preceding decade as he moved away from his traditional villainous role into a much-more ambiguous anti-hero, complete with revelations about his past. Not all creators agreed with these moves and, as discussed a bit with Amazing Spider-Man #327, this particular era saw a lot of struggle over characterisation and direction with some issues doing their best to rationalise the changes around them. In this environment, using Magneto in an alliance of leading villains that could have been assembled at any point since 1967 was not going to sit too easily when it resulted in a Holocaust survivor working with a Nazi war criminal.

All that said, it should be noted that neither Magneto nor the Red Skull has actually done a great deal in the crossover so far. Most of the work of commissioning and dispatching villains has been carried out by Doctor Doom, with the Wizard doing some of the raw heavy lifting and the Kingpin providing organisational support. By contrast Magneto may have fought Spider-Man as part of an investigation, but otherwise has done little beyond observing and hectoring the other villains sent against Spider-Man. The Red Skull has done even less, just using the breakout from the Vault to increase the capabilities of his organisation. (Depending on chronology the Mandarin may or may not have done anything yet but if the latter then change is coming soon.) It's clear from his thoughts here that the Red Skull frankly has no interest in the overall plan and it's only the presence in his office of a portal to the committee room that keeps him attending. Was this perhaps a reflection of writer and editor boredom with the crossover as well?

But regardless of motivations we get the best handling of the villains in the whole saga as Magneto swoops in to confront the Skull directly. There's no evasion as he first demands confirmation that this actually is the Nazi-era Skull then condemns him for the actions of the regime he served in. There's never any real doubt about the physical outcome of the confrontation - the Skull may have technical resources and henchmen but they're all ultimately reliant on metal and useless against the Master of Magnetism. Thus all the Skull can do is try to slow Magneto down as he seeks to escape. Instead the Skull's most powerful weapon turns out to be words:

We are very much alike, you and I, Magneto, both of us wish to see our Master Race inherit the Earth. You call my Fuehrer barbaric? Am I mistaken or did you yourself not kill hundreds of men by sinking a submarine a few years back? To help realise your minority group’s destiny, would you balk at the imprisonment of inferiors? The extermination of the unfit? Come, come, Magneto. Do not expect me to be impressed by your sanctimonious posturings of moral superiority! Let's let the past rest. We both have better things to do in the present!

At a time when in the real world there was a renewed drive to bring Nazi-era war criminals to justice, it's interesting to see some of the arguments paralleled here. There were many who opposed prosecutions, arguing that a previous generation had declared the task completed and individuals should be allowed to move on in the present. Others fiercely disagreed and were determined to bring the surviving leaders to justice. But even some demanding prosecution were attacked on their own records. Magneto's position as a fighter for mutant rights has often led to the freedom fighter or terrorist point behind argued out and it's a powerful rejoinder. When he does eventually catch and imprison the Skull he feels the need to declare "I should kill you and be done with it. But that would reduce me to the level of a common killer... make me no better than you. And I am better than you, Nazi." Instead of killing he locks the Skull in a shelter, removing the ladder and leaving just water with no way of escape. It's a brutal torture.

This story does a lot to fix the problems raised by Magneto's inclusion in the "Acts of Vengeance" and it does it brilliantly. It also seems to be aware of potential knock-on effects and so introduces Red Skull robots - a small army of androids that look identical to the villain and can replace him, similar to Doctor Doom's Doombots who are mentioned here. Whether this is deliberate preparation for later issues or simply seeding the idea to cover any future continuity problems with Red Skull appearances is unclear, but it's a nice touch.

Missing from the cover and this post so far is the star of the series. Captain America does arrive at the Skull's offices in the hope of discovering more about the conspiracy, but all he gets is a battle with the Controller and other henchmen then a wander through the wreckage as he tries to work out what's happened and who attacked the Skull. It's preparing the ground for later tales, but this is a rare issue of a series that belongs to someone other than the lead hero.

Overall this is by far the single best issue of the "Acts of Vengeance" crossover. Sometimes attempts at continuity fixes merely produce dry explanations for awkward points. This is anything but that, instead taking a messy scenario and turning it around to restore Magneto's ambiguous position without undermining his participation in the saga. It's a strong, bold chapter with some brilliant imagery and dark moments.

Captain America #367 has been reprinted in:

• Acts of Vengeance Omnibus (2011)
• Captain America Epic Collection: The Bloodstone Hunt (2018)

Marc Spector: Moon Knight 10 - Acts of Vengeance

It feels as if Moon Knight was forgotten about by both the villains and the editors co-ordinating "Acts of Vengeance". In his third and final issue in the crossover he once again encounters villains as a side-effect of the events rather than being targeted by the conspiracy.

Marc Spector: Moon Knight #10

Words: Charles Dixon
Pencils: Sal Velluto
Inks: Keith Williams
Letters: Ken Lopez
Colours: Nel Yomtov
Edits: Danny Fingeroth
Chief: Tom DeFalco

What's also surprising is the poor level of checking. Thus one of the villains he encounters here is the Ringer, who was one of many lame villains killed off by the Scourge of the Underworld some years earlier. This is even acknowledged in the story itself, with the comment "Well, I'm the new Ringer. I'm even better than the original!" But new versions of deceased foes simply isn't what this event is all about and this panel is the only acknowledgement of this state of affairs. Thus it's hard to avoid the obvious conclusion that it was only after the story was pencilled and inked that someone realised the character had been killed off and hastily came up with this brief exchange to patch it over. The villains seen here - the Ringer, Coachwhip and Killer Shrike - have all come to New York in the hope of taking part in the grand conflict going on but have so far been unable to find any heroes to fight and agree to team up in the hope of discovered ng some action. It's a pretty incoherent teaming with their abilities easily used against each other. It's also a terrible motivation to simply attack a hero they've never encountered before for the sheer sake of it.

Moon Knight starts the evening saving a young student from killing themselves after getting poor marks, then has to overcome a small boy's fear of costumed figures in order to save him and his mother from a fire. Then the trio of villains find him and attack. A repeated theme throughout this issue is Lula, the suicidal student, steadily rediscovering the importance of all life and realising that she can go on. It's one of the more positive features in an otherwise dull script, though the art does help to bring the fish scenes to life and creates a real sense of tension as Moon Knight/s pilot and friend Frenchie is wounded.

But despite the good art this issue reads like the series was added to the wider crossover event as an afterthought with no proper attention given to Moon Knight by either the editors of the villains. As a result this is a highly forgettable chapter in the crossover.

Marc Spector: Moon Knight #10 has been reprinted in:

• Acts of Vengeance Crossovers Omnibus (2011)

Thor 412 - Acts of Vengeance

Big crossovers are often used to launch new titles, characters and teams and this is a trend that goes right back to the 1980s. DC had most prominently used Crisis on Infinite Earths to relaunch huge chunks of its universe and subsequently used Legends to unleash the new Justice League and Wonder Woman. Marvel were a little slower at this and also didn't make their first springboard the core of the crossover but rather one of the more peripheral chapters. For it is here in this issue (following their arrival at the end of the last one) that the New Warriors made their debut, some seven months before their own series launched.

Thor #412

Words & Plot: Tom DeFalco (all)
Pictures & Plot: Ron Frenz (lead)
Finished Art: Joe Sinnott (lead)
Pencils: Ron Lim (back-up)
Inks: Mike De Carlo (back-up)
Lettering: Michael Heisler (all)
Lettering: Jack Morelli (lead)
Colouring: Nel Yomtov (all)
Editing: Ralph Macchio (all)

Most of the New Warriors are familiar characters - Namorita, cousin of Namor, Firestar, former co-star of Spider-Man and his Amazing Friends, Speedball, a recently launched hero, Marvel Boy, a former sidekick to the Thing in his solo days, and Kid Nova, star of the 1970s solo series. They are led by a newly created character Night Thrasher, who in a sign of Marvel's determination to have some "heroes for the 90s" fights on a skateboard, is terminally serious and willing to try lethal measures even if his teammates won't. It's always good to see imagination and development at Marvel and the New Warriors did go on to have their own title which lasted quite well for a 1990s series, then a good many revivals. But the idea that they could in any way be a problem for the Juggernaut is very hard to swallow. It seems absurd that Night Thrasher has been able to convince all the sceptics to even try this, rather than seeking help from more experienced hands, and even though they admit their best hope is to cause enough irritation to buy Thor time to recover, it's still patently absurd to see Night Thrasher skating all over Juggernaut without being splattered to one side. Some of the team do have sufficient super strength to throw railway vans at him which is just about plausible, but overall this is a rather unfortunate choice of fight to launch a new team from and it just doesn't convince. It's also not too clear just why it takes so long for Thor to open a dimensional portal. Thor is continuing to suffer from mysterious seizures which makes it understandable he would need some help in a fight such as this, but for such a major confrontation it would have been much better to keep him completely solo - indeed last issue he actually went out of his way to make sure Hercules didn't come along.

Otherwise this issue sees continued problem for Thor's alter ego, Eric Masterson, as his ex-wife arrives to claim custody of their son, whilst the back-up story, written by DeFalco and drawn by Ron Lim, continues a tale of Beta Ray Bill. But overall this is a very disappointing issue that undermines what should have been a highly memorable confrontation and it would be best redeemed with a rematch in which Thor is at full power and solo.

Thor #412 has been reprinted in:

• New Warriors: Beginnings (1992) - lead only
• New Warriors Classic volume 1 (2009) - lead only
• Acts of Vengeance Omnibus (2011) - lead only
• Thor: In Mortal Flesh (2017 Epic Collection)

Thor 411 - Acts of Vengeance

This series continues to follow the two-strip format with the back-up now the first chapter of a saga featuring Beta-Ray Bill, the alien Thor. The lead story features Thor battling the Juggernaut.

Thor #411

Words & Plot: Tom DeFalco (all)
Pictures & Plot: Ron Frenz (lead)
Finished Art: Joe Sinnott (lead)
Pencils: Ron Lim (back-up)
Inks: Mike De Carlo (back-up)
Lettering: Michael Heisler (all)
Colouring: Nel Yomtov (all)
Editing: Ralph Macchio (all)

A lot of the line-ups across this event so far have been ones that probably weren't too demanded. In some cases the villains are a surprisingly obvious fit that it's curious they haven't been pitched against the hero before. In other cases the match-up is quite bizarre, either because of the mismatch of power levels or due to their normally inhabiting very different worlds. But one match-up above all others just feels so naturally right that it's good to see it happen - Thor versus the Juggernaut. The strongest (traditional) hero against an unstoppable force.

Again we see the mysterious stranger directly setting up the encounter, once again raising the question as to why he needed to assemble an alliance of foes when here he simply uses his power to transport the Juggernaut out of jail and onto the streets of New York. Thor's mortal alter-ego Eric Masterson learns of the rampage from television and heads out to confront him, even though his thoughts acknowledge that "groups like X-Factor usually handle mutant menaces like him" (the Juggernaut not being a mutant was presumably not well known and the X-Men were believed dead at this time). It's a cliché of comics that a villain's rampage is broadcast through the media and invariably the intended hero always shows up, even when the villain is from another series. Here it has the right effect even though it's clearly not being directed by the mysterious stranger who cannot locate Thor when he's transformed into Eric. But the battle also attracts the attention of others through the internet, a sign of the coming times, though they deserve more attention next issue.

The conflict is pretty tough, with Juggernaut proving able to resist even Mjolnir and then grabs the hammer on the return trip to attack Thor. It's a fight with consequences and Thor has to devote his efforts to ensuring a thrown car hits the one spot where it won't hurt anyone or that a coach full of passengers is landed safely. Meanwhile Juggernaut just keeps on coming, taking the battle into a railway yard where the goods vans prove useful weapons. Thor is weaker than usual due to some mysterious seizures and so it's credible that he hasn't resolved the conflict when help shows up.

Of all the new combinations of heroes and villains so far this is easily the best to be put together. Thor's strange seizures help to prolong the fight and make the eventual help credible but otherwise this is a strong first chapter.

Thor #411 has been reprinted in:

• New Warriors: Beginnings (1992) - lead only
• New Warriors Classic volume 1 (2009) - lead only
• Acts of Vengeance Omnibus (2011) - lead only
• Thor: In Mortal Flesh (2017 Epic Collection)

Captain America 366 - Acts of Vengeance

This issue continues the two-story format, with the back-up being a straightforward fight between the Cobra and Mr Hyde. It's an all-out action piece in which the Cobra has to overcome his fear and lack of self-esteem in order to defeat his old foe who seems unstoppable. It's an okay piece but these back-up sagas can often wind up running on for too many months due to the limited space available.

Captain America #366

Writer: Mark Gruenwald (all)
Penciler: Ron Lim (main)
Penciler: Mark Bagley (back-up)
Inker: Danny Bulanadi (main)
Inker: Don Hudson (back-up)
Letterer: Jack Morelli (all)
Colourist: Nel Yomtov (all)
Editor: Ralph Macchio
Editor-in-Chief: Tom DeFalco

The lead story gives us our first glimpse of the full committee of leading villains as they conclude their first summit meeting. Ever the businessman, the Kingpin has been chairing the board meeting, but we don't see direct exchanges between any of the six. However Magneto shows some sense in asking the mysterious stranger whether or not the Red Skull attending the meeting is the original, who was assumed to have died some time back. Given Magneto's history established since the Silver Age it's more than a little odd that he would be willingly working with a Nazi war criminal so it's good to see him questioning this, wondering if it could be a successor.

(There had indeed been another Red Skull for a while, a Communist agent who filled in various continuity holes such as the Skull's appearances in the 1950s Captain America stories and then later killing Spider-Man's parents when Peter Parker was just a baby. However he had been killed off just before the original Skull was brought back from the dead.)

It's been notable that so far the Skull has actually done very little in the crossover beyond attending meetings, whereas Doctor Doom, the Wizard and the Kingpin have all been shown to be recruiting and directing individual villains and Magneto has personally investigated Spider-Man and the Mandarin is caught in the curse of chronology but will be seen in an already published but coming later issue. The Skull's low involvement is soon explained in his thoughts - he dislikes having to work the others and only attends out of fear they're plotting against him. It's a strong first sign of how difficult it is to get a super-villain team-up to work given the hatreds and rivalries amongst them. Indeed the Skull's main focus is on trying to take control of the mysterious stranger through the Controller's equipment rather than advancing the wider plans.

Otherwise this issue sees Captain America tracking down the Controller in the hope of capturing one of his control discs to use the technology to free the Sub-Mariner from another. It's unfortunate the Cap's earlier encounter with the Controller is explicitly referenced as it reinforces just how much this series hasn't really been conforming to the event premise of heroes being attacked by villains they've never fought before and this isn't offset by the presence of the Voice, an extremely obscure old Ant-Man foe who has also been recruited by the Skull and Crossbones but is only a peripheral presence in the fight. The conflict itself showcases Captain America at his best, both as a skilled fighter but also a cunning tactician who goes into a situation properly prepared.

Although it doesn't contain a previously unseen conflict, this issue is generally quite solid, moving the story forward for both Cap and the Skull as they grapple with the events around it. It also seems to be aware of some of the problems with the general premise of the alliance and may want to fix them.

Captain America #366 has been reprinted in:

• Acts of Vengeance Omnibus (2011)
• Captain America Epic Collection: The Bloodstone Hunt (2018)

Marc Spector: Moon Knight 9 - Acts of Vengeance

The second chapter of Moon Knight's team-up with the Punisher unfortunately confirms the peripheral nature of the story, merely using the events of the wider crossover as an unseen backdrop to provide a motivation for Flag Smasher's choice of timing. Otherwise this tale could have been told entirely on its own without the crossover triangle on the corner and virtually nothing would be needed to change.

Marc Spector: Moon Knight #9

Words: Charles Dixon
Pencils: Sal Velluto
Inks: Tom Palmer
Letters: Ken Lopez
Colours: Nel Yomtov
Edits: Danny Fingeroth
Chief: Tom DeFalco

Readers who paid more for this issue, either because of its higher cover price back in 1989 or subsequently on the back-issue market, might be understandably annoyed at being drawn in under such circumstances. (Those who've come to it via the crossover Omnibus probably don't mind do much as it's all in one package.) This disappointment is best stated upfront as there are clear opportunities for the leading villains to send someone after either Moon Knight or the Punisher, as we'll see in issues to come. But here it doesn't happen and so one's attitude to the issue is going to be determined by the circumstances in which they're coming to it.

With all that said the issue itself is a strong action piece focused on Moon Knight and the Punisher attacking the base of Ultimatum, a group of anti-nationalist terrorists led by Flag Smasher. There’s internal narration by the Punisher which helps focus on the contrasts between his methods and Moon Knight's. The latter may not be the strictly anti-killing crusader that many heroes the Punisher has encountered are, but he has standards against cold blooded murder and this brings disagreements between them. However Moon Knight's courage, skills and tactics all stand out and justifies the Punisher's respect for him, a respect that is not often given. Neither of them is especially tied to the ideals of a country so wisely time is not spent on protracted philosophical arguments with Flag Smasher about nationalities and borders. Instead this is a group of terrorists who need to be defeated and the pair step up to the task.

This is a good, strong issue of Marc Spector: Moon Knight that stands up well. But it must be conceded that as a chapter in the "Acts of Vengeance" crossover this story is peripheral that it could have easily appeared without the crossover banner and the only difference would have been to some people's wallets.

Marc Spector: Moon Knight #9 has been reprinted in:

• Acts of Vengeance Crossovers Omnibus (2011)

Marc Spector: Moon Knight 8 - Acts of Vengeance

This issue is quite an odd entry into the crossover as there's no direct sign of the wider plan. Both Moon Knight and Flag Smasher may mention all the conflict going on around them, but there's no sign of it here

Marc Spector: Moon Knight #8

Words: Charles Dixon
Pencils: Sal Velluto
Inks: Tom Palmer
Letters: Ken Lopez
Colours: Nel Yomtov
Edits: Danny Fingeroth
Chief: Tom DeFalco

Instead both Moon Knight and the guest-starring Punisher drawn into conflict with Ultimatum as a consequence of their regular investigatory activities instead of Flag Smasher being assigned to deal with them. Perhaps that's just as well, as Flag Smasher and Ultimatum are terrorists devoted to overthrowing all the countries of the world, abolishing governments and borders and probably wouldn't be naturals to go along with a scheme headed by, amongst others, a deposed monarch seeking to regain his thrown and various ultra-nationalists. The result is that this doesn't really feel like a chapter in "Acts of Vengeance" and more like a routine issue of Moon Knight's series with both a guest star and a villain from another series (in this case Captain America). But then Moon Knight's successive series have never been especially noted for being conventional Marvel superhero titles.

None of the mystical elements of Moon Knight are present and instead he's presented as a nocturnal crime-fighter without powers, who is a rich man with strong business holdings by day and here operating with a sidekick whose father was killed. It's closer to the Batman model than on previous occasions and it makes for quite a strong team-up with the Punisher. Unfortunately much of the early part of the issue is taken up with the complications of Moon Knight's inexperienced sidekick Midnight, made worse by a failure to explain who he is to readers drawn in by the crossover until after he's been sent home. Too often crossover issues forget that they're going to be read by more than just the regular readership and should be trying to encourage the additional readers to stay around rather than leaving them confused.

Otherwise this is a pretty solid opening issue as Moon Knight and the Punisher track down a terrorist organisation first through the weapons chain and then through one of the financiers. There's a strong grittiness to this story that keeps things firmly grounded and on the level, taking the characters through a dark world. It isn't yet clear how this ties into the wider "Acts of Vengeance" crossover but otherwise it's on top form.

Marc Spector: Moon Knight #8 has been reprinted in:

• Acts of Vengeance Crossovers Omnibus (2011)

Captain America 365 - Acts of Vengeance

This is another series which resorted to a lead and back-up strip format, but both tie in with the crossover, with each featuring escaped villains from the Vault and at least one attempt at recruitment made by the mysterious stranger.

Captain America #365

Writer: Mark Gruenwald (all)
Penciler: Kieron Dwyer (main)
Penciler: Mark Bagley (back-up)
Inker: Danny Bulanadi (main)
Inker: Don Hudson (back-up)
Letterer: Jack Morelli (all)
Colourist: Bob Sharen (main)
Colourist: Nel Yomtov (back-up)
Editor: Ralph Macchio
Editor-in-Chief: Tom DeFalco

It's not clear what level the Cobra was being invited for in the back-up story but he simply isn't interested in revenge. Over in the lead, Namor the Submariner is invited to join the central leadership bit has no interest, having abandoned his campaign against the surface world. However the Red Skull is interested and signs up. This gives us our first look at the full list of leaders with the Skull, the Wizard, the Kingpin and Doctor Doom all shown whilst both the Mandarin and Magneto are mentioned (and have been glimpsed in earlier issues). It's a very traditional collection, consisting of the arch-enemies of Captain America, Iron Man, the Human Torch, the Fantastic Four and the X-Men, with the Kingpin filling a triple role for Daredevil, the Punisher and being the highest-ranking strategic foe of Spider-Man. This line-up could have been assembled at just about any time since the Silver Age and the absentees from the line-up are highly suggestive. It's also notable that the stranger announces the Red Skull's participation before he actually agrees, a sign that other villains may have signed up to a more speculative than yet achieved version of the alliance.

Both tales deal with the fallout from the escape from the Vault, with the back-up seeing the Cobra discovering that Mr Hyde has escaped and rushing to act before his erstwhile partner achieves revenge. The former sees the Red Skull (well Crossbones does the actual work) pick up the Controller, a traditional Iron Man foe, and send him to the site of the sunken Avengers headquarters to attack Captain America, using Namor the Submariner as his tool. This leads to a quick fight at both sea and on land until Cap spots the control disc on Namor's neck and realises what's happening. The Controller and Captain America had briefly clashed previously in the Captain Marvel/Thanos saga back in the 1970s, but it was a fleeting encounter and, in any case, if there's one hero who can be expected to have looked up just about every known weapon and tool of even villains he hasn't fought, it's Captain America.

With this chapter it feels like the whole "Acts of Vengeance" saga is really coming together but there's a general problem with events being scattered across multiple issues meaning that Captain America is jumping back forth across issues, but at least there's a clear explanation. As we'll see when looking at some future issues, Mark Gruenwald was often the man who stepped in to pull the event towards coherence and deal with some of the particularly odd moments. This issue is from near the middle of his epic run on the series and shows a series in its stride with the main character benefitting from consistency and a developed world.

Captain America #365 has been reprinted in:

• Acts of Vengeance Omnibus (2011)
• Captain America Epic Collection: The Bloodstone Hunt (2018)

Avengers 311 - Acts of Vengeance

We now come to the first issue written by the crossover's originator, John Byrne. Although there are multiple orders around for the crossover and some of the issues already looked at weren't published until after this one, it's still surprising to find so much of the event has already happened before its guiding hand has written their first issue. But then this isn't new - "Inferno" had a lot of build-up by Louise Simonson before Chris Claremont's first issue appeared.

Avengers #311

Artists: Paul Ryan and Tom Palmer
Writer: John Byrne
Colourist: Nelson Yomtov
Letterer: Bill Oakley
Editor: Jim Salicrup
Editor-in-Chief: Tom DeFalco

Despite Paul Ryan drawing both the cover and the story inside, the former is somewhat misleading as it features the current Avengers team when only Quasar appears in this issue. Instead the Avengers' support crew have to fight off an assault against Hydrobase, the team's current headquarters on an artificial island. Given the speed of the attack and the way that the island itself is targeted one has to wonder why the Avengers chose a base that has proven to be so vulnerable. It's also unclear from this issue (and indeed from the internet) whether the mansion on the island is the original one somehow transplanted from New York. If so then it's a rather ignominious end for the Avengers' original headquarters, destroyed with only the team's newest member and support crew to see it. But then this is from an extended period long considered one of the weakest in Avengers history. Over the course of about sixty issues between the departure of Roger Stern and the permanent arrival of Bob Harras the longest continuous run was Byrne's, at just a dozen issues (plus a plot on the next one) whilst the team line-up went through numerous changes. Bringing the Avengers low fictionally at the same time feels quite appropriate.

The assault comes from a squad of robots sent by one of the leading villains but for some strange reason the two of them shown here have their identities hidden. We've already seen some of the them without shadows and a leading villain who wears a green cloak, has a lot of scientific expertise, has lost a kingdom and is addressed as "Doctor" isn't exactly the hardest mystery villain to guess. Either the creative team aren't all singing from the same hymn sheet or else this is a homage to the paper-thin mysteries of the Silver Age. Dialogue here about many heroes having already been attacked confirms that this isn't a placing error and indeed just about all the full chronologies of "Acts of Vengeance" have issues showing at least some of the leaders before this one, so the mystery feels rather pointless. The green cloaked figure's co-conspirator's blue armour may not be as widely known but it also doesn't hide the identity from anyone who has seen it before. Meanwhile the mysterious strange who recruited the leaders of the conspiracy is shown in a setting that's somewhat suggestive of his identity, but it's probably best to wait for a full meeting of the leaders to discuss that.

As the first major part of the crossover this issue really should be doing more to anchor the overall narrative and introduce the set-up. Instead it feels like a middle chapter of an event which leaves the structure weakened. This also contains one of the biggest acts of destruction in the whole event and it's understandable that the attack happens whilst most of the Avengers are tied up elsewhere, but it might have been better to wait to first show them all caught up rather than making their absence here implied. All in all this is a stuttering start to the event.

Avengers #311 has been reprinted in:

• Acts of Vengeance Omnibus (2011)
• Avengers by John Byrne Omnibus (2016)

Thor 410 - Acts of Vengeance

Although it doesn't have a banner proclaiming the crossover, Thor #410 effectively starts it.

Thor #410

Words & Plot: Tom DeFalco (all)
Pictures & Plot: Ron Frenz (lead)
Finished Art: Joe Sinnott (lead)
Illustrated: Herb Trimpe (back-up)
Lettering: Michael Heisler (lead)
Lettering: Richard Starkings (back-up)
Colouring: Tom Vincent and George Roussos (lead)
Colouring: Nel Yomtov (back-up)
Editing: Ralph Macchio (all)

Coming almost midway through the run by Tom DeFalco and Ron Frenz, this issue mainly focuses on the conclusion of a story in which Doctor Doom steals Thor's hammer to use in his latest scheme again the other Doctor Doom, also known as Kristoff. A back-up story tells a tale of Volstagg of the Warriors Three.

The back-up is one of many "Tales of Asgard" that expand the mythology of the series. It's a straightforward comedic piece, as Volstagg focused tales tend to be. The lead story includes a team-up with Hercules and She-Hulk but the latter doesn't really contribute much beyond a few comedic moments and being an extra in a fight. Otherwise this is a relatively tame tale of Hercules and Eric Masterson (a mortal man Thor has been merged with) battling with Doctor Doom's Defence Droids whilst Doom uses a device to freeze time in Latveria and invade the castle, only to find his alternate self is prepared.

As the most prominent villain in the Marvel it's inevitable that Doctor Doom will be seen a lot in the coming crossover, so this issue is handy as a quick introduction to his status quo in the period - during a period when he was assumed to have been destroyed, a record of his personality and some memories was implanted into his young ward & designated heir Kristoff who came to believe he was the real Doctor Doom. Kristoff has held power in Latveria and regards the returned real Doctor Doom to be an impostor. As a result the latter has been operating in exile, trying to regain his kingdom through a variety of schemes. Given Doom's arrogance it's unsurprising that he blames the failure of this one on Thor even though the Thunder God's involvement was inevitable once the hammer was stolen. So it's understandable when at the end a mysterious stranger appears and proposes "an Act of Vengeance!" that Doom is interested.

However Doom is not normally a Thor villain. It's a strange route to bring him into the plot and an early sign of just how poorly disguised the stranger's identity is. Otherwise this issue is a relatively straightforward tale in the Silver Age homage style that DeFalco and Frenz had refined on the series. For much of its run Thor has had a feeling of the old fashioned about it, but for a series starring a character from mythology that's not necessarily a bad thing.

Thor #410 has been reprinted in:

• The Warriors Three Unleashed (2011 Premiere Edition Classic hardcover) - back-up only
• Thor: In Mortal Flesh (2017 Epic Collection)