While the online firestorm gets stupider and stupider, the title that started the whole thing plugs along, providing the same quality read it has been quietly providing since the beginning. This issue is a trademark Peter David story, setting aside an issue to examine the life of a supporting character in more detail. It's a great history on Marlo, and while it's a little light on the cosmic action elements of the series, it's one of the most accessible issues the book has had so far, as well as being a great character study. The fill-in artwork by Aucoin is problematic in some regards, but there are also some very strong moments, and those who are curious about the rabid fanbase defending this book online might do well to check this book out and see an example of the characterization (if not the overall style of the book) that has garnered such attention.
Marlo Jones has been a fixture of Peter David's Marvel stories since very early in his Hulk run, when she was introduced largely as a background character for the Hulk's adventures in Vegas. In time, she became a complication for Banner's relationship for Betty before gravitating into a relationship with Rick Jones and eventually becoming a fairly important character in her own right. With that much time on panel, it was surprising to realize that I really didn't know much about her history. David's examination of Marlo and her love of danger is an excellent explanation for why she hooked up with guys like the Hulk and Rick Jones in the first place.
Some of the strongest issues of David's work have come in the quieter, more character-focused stories, and this one is no exception. Marlo's history is filled with believable, almost mundane elements, but there's an element of danger-seeking in them that makes them interesting to read about. In addition, David shows off how Marlo's fascination with Death was relatively subtle, such that we might not have noticed it at this point, but it makes perfect sense when you examine her past behavior. If he hasn't had this sort of thing in mind all along, then it certainly winds up looking like an easy retrofit.
One of the draws of this book for me is the artwork, and so I was sorry to see Chris Cross missing this issue. Derec Aucoin is an artist who has really come up in recent years, and when he's on, his stuff is fantastic. His work here is not the strongest I have seen from him, but it is interesting and generally strong in storytelling. I detect a Sean Phillips influence at work in the shading and the design of the faces and technology. The art is good, I'm just not sure it was ideal for this story, which could have used the more exaggerated and energetic layouts and style that Cross brings to the page.
Captain Marvel is in the news lately, mostly from the remarkably childish antics of Jemas and Quesada, but if that circus gets a few more people to pick up the book, it will have at least had some productive result. Captain Marvel is not the type of book Marvel is in the business of publishing much anymore, but it is consistently funny, with solid characterization and strong artwork.
