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The Top Ten Space Opera Comics

Before advances in visual effects, comic books and strips were arguably the best places to experience epic stories of swashbuckling heroes, princesses, and extraterrestrials in galaxies far, far away.

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With a “special effects budget” that is only dependent on the imagination of the writer, artist, and colorist, comics are the perfect medium for space opera. Before advances in visual effects, comic books and strips were arguably the best places to experience epic stories of swashbuckling heroes, princesses, and extraterrestrials in galaxies far, far away. George Lucas himself  wanted to make an adaptation of Alex Raymond’s comic strip Flash Gordon as his second feature film after THX-1138, but legendary Italian director Frederico Fellini had the rights. This compelled him to make his original space opera, Star Wars, and the rest is movie and merchandising history. Decades after the original Star Wars trilogy wrapped, its spirit of adventure survived in the Expanded Universe Dark Horse comics, a sort of homage to the movie’s debt to Flash Gordon as well as other comic books, like the bande dessinee Valerian and Laureline, and the future technology and machines found in the artwork of Jack Kirby.

Even though there are some great (and not so great) comics based on sci-fi franchises, like Star Wars, Serenity, Star Trek, Battlestar Galactica, all the comics on this list aren’t based on pre-existing media, however. Some of them take place in the shared Marvel and DC Universes, and others have inspired current or future films, but they are all original visions of war, the future, heroism, and cool stuff blowing up brought to life on the comic book page by some of  fiction’s greatest creative minds, including Brian K. Vaughan, Fiona Staples, Dave Gibbons, Alejandro Jodorowsky, Moebius,  Jim Starlin, and of course, the King of Comics himself, Jack Kirby.

In chronological order, here are the top ten best space opera comics that you should check out.

10. Valerian and Laureline (Dargaud; 1967-2010)

The long running series of Valerian and Laureline bande-dessinees are the perfect hybrid of time-travel science fiction and space opera, with some stories following the dashing pair of spatio-temporal agents to different planets, and others to different eras. The main setting is the 28th century, when Earth is a utopia, space and time travel are just a fact of life, and most of the inhabitants spend their time on leisure activities, not work. Valerian, Laureline, and other spatio-temporal agents protect this peaceful existence from space-time anomalies and other threats. The comics, which were all written by Pierre Christin, drawn by Jean-Claude Mezieres, and colored by Eveline Tranle, began as simple fights between good and evil, but became much more complex as the series progressed and looked into the nature of death, feminism, and democracy, especially its ability to be corrupted and turned into imperialism.

Christin writes Valerian not as a superhero or moral authority, but as kind of goofy, someone stumbling into situations feet first. For example, in the first Valerian story, “The City of Shifting Waters,” he complains about climbing skyscraper stairs in a ruined 1986 New York, and is taken captive by a gang of looters until Laureline saves him. Laureline is definitely the smarter of the pair, even though she sometimes ends up in damsel in distress (which Christin plays for satire of gender roles in later installments). The dynamic between Valerian and Laureline gives the comics a lot of energy to go with Christin’s dense, yet fast moving scripts, Mezieres’ glorious and humorous art, and Tranle’s shrewd color choices.

The Valerian and Laureline comics are truly a joy to read, espousing humanism and cooperation in the face of tyranny and evil through exciting 50 page bites. For a modern reader, they feel like the perfect combination of Star Wars (which was influenced by the comic) and Doctor Who, with space battles, time travel, foot chases, and witty banter galore. You haven’t lived until you’ve witnessed a human/robot fight in Yellowstone National Park with bison peacefully grazing in the background.

9. “Fourth World Saga” (DC Comics; 1970-1974, 1985)

After saying that dialogue bubble filler and carnival barker Stan Lee was the sole creator of the Marvel Universe, and generally treating him like garbage, Jack Kirby jumped ship to DC Comics in 1970. He was basically given a blank check, and after passing on marquee titles like Superman, he became the writer and artist on Superman’s Pal Jimmy Olsen. From this Z-list title, he launched his famous “Fourth World Saga” and created iconic characters like the New Gods Mister Miracle, Big Barda, and Orion, along with their arch-nemesis Darkseid, who is set to appear in a future Justice League film.

The “Fourth World Saga” spread across the New Gods, Mister Miracle, and Forever People comics, focusing on different inhabitants of the planet New Genesis, which is locked in eternal warfare with the totalitarian Apokolips. New Gods tells the story of Orion, the champion of New Genesis, who goes to Earth to prevent Darkseid from finding the nefarious Anti-Life Equation and wreaking havoc in the universe. It’s biblical in scope and scale, and contains the great twist (almost a decade before Empire Strikes Back) that Darkseid is Orion’s father. Forever People is like American Graffiti with superheroes, as a team of young inhabitants of New Genesis also trying to stop Darkseid and his mortal allies, Intergang, who are led by the new publisher of the Daily Planet. Mister Miracle is about Scott Free, an escape artist from New Genesis, who takes on the mantle of Mister Miracle after his mentor is killed. What makes this comic stand out from the other Fourth World titles is the strong relationship between the physically unimposing Scott and his warrior-wife, Big Barda, who formerly worked for Darkseid’s Female Furies.

Jack Kirby’s purple prose and “hip” slang in the Fourth World books may not have aged well, but few artists have rivaled the power of his figures. From Orion wrestling with Darkseid’s Parademons, to the the Forever People zooming by or Mister Miracle make a death defying escape, Kirby’s art is full of energy, and the punches and holds he draws have real weight behind them. His trademark “Kirby krackle” adds to the otherworldly factor of his work, and complements the outlandish, yet enduring costumes for characters like Orion, the enigmatic Metron, Mister Miracle, and Big Barda.

“The Fourth World Saga” is filled to the brim with imaginative ideas that could take a whole series of articles to describe, and features some of Jack Kirby’s most kinetic pencils. It stands with Frank Miller’s Daredevil and Chris Claremont’s Uncanny X-Men as one of the greatest comics of the 1970s, and also inspired the DC Animated Universe, as well as modern storylines like Final Crisis.

8. Dreadstar (Epic/First Comics/Malibu; 1980-1991, 1994-1995)

Although he was responsible for killing off the second Robin, Jason Todd, writer/artist Jim Starlin is probably the best known American space opera comics creator. He even wrote and drew a Thanos graphic novel for Marvel as recently as 2016. His greatest original creation is the long running series Dreadstar, a blend of the fantasy, post-apocalyptic, sci-fi, and superhero genres that featured an anthropomorphic cat as a POV character. It was the flagship title of Epic Comics, a creator-owned imprint from Marvel that was a forerunner of DC’s Vertigo, home of classic comics like Sandman, Hellblazer, and Fables.

Dreadstar is both a swashbuckling adventure comic and a meditation on war and religious fundamentalism. The basic setup of the world is that there is war between the authoritarian Monarchy and the Instrumentality, a kind of Spanish Inquisition-meets-Scientology theocratic government with special teleporting technology. Starlin’s drawing of Vanth Dreadstar, the last survivor of the Milky Way galaxy and receiver of a magical weapon, resembles DC Comics’ socially conscious hero Green Arrow, and he renounces violence to be a farmer until the planet of cat people he lives on is destroyed. He then ends up leading a crew of misfits to end the war between the Monarchy and the Instrumentality, and bring a kind of peace to the remaining galaxies – except that he, the cybernetic magician Darklock, the cat person Oedi, and the telepath Willow occasionally work with the Monarchy, as Dreadstar isn’t just a simple good vs evil story.

Jim Starlin’s art has power and energy like Jack Kirby’s work ,although his faces are a little more distinct than the King’s. He also uses colors and angles that give off a trippier vibe, like when Dreadstar and his crew rob a vault, or the Lord Papal is imbued with special abilities by a nefarious higher power. Making the magic more surreal and the scientific elements of Dreadstar clean and more technical reinforces the sprawling comic’s main ideological conflict between the sacred and secular. Unfortunately, the series has never been properly concluded by either Starlin or his replacement writer, Peter David (X-Factor).

7. The Incal (Humanoids;1981-1988)

The Incal is a series of five graphic novels written by Spanish filmmaker Alejandro Jodorowsky and drawn by legendary French artist Moebius. It is considered one of the masterpieces of the comics medium, and follows the rough-and-tumble misadventures of a hard-drinking, prostitute-frequenting P.I. named John DiFool, who comes into possession of the Light Incal, an object of great power. He and his talking pet seagull Deepo go on the run from a variety of factions, including the badass mercenary Metabaron, seeking to take the Incal for themselves while simultaneously embarking on a spiritual journey.

Moebius’ art and Yves Chaland’s colors capture the essence of dystopia in The Incal. Sure, there are cool flying ships and aliens, but also overcrowded public transportation, filthy tunnels, and a president who makes his own cloning into the television event of the season (after reruns of a game show called Piss and Feces). There is a clear distinction between the “glowing” upper class and the “unwashed masses” in power and opportunity. However, Chaland uses irridescent tones any time the Incal speaks to DiFool while trying to break him out of his slumber and into a spiritual awakening. He eventually ends up teaming up with the Metabaron and others in a great battle of good and evil between the Dark and Light Incal.

Alejandro Jodorowsky and Moebius capture humanity at its most grotesque and most transcendent in The Incal. This is a comic that features an elderly upper class woman seeing a wolf man prostitute, but also a flawed man finding self-realization through something that would be a mere MacGuffin in another creative team’s hand. The Incal has a political and spiritual conscience as well as cool vehicles and gorgeous Moebius cityscapes.

6. Infinity Gauntlet (Marvel; 1991)

One can only hope that the upcoming Avengers Infinity War film is at least as half as epic as writer Jim Starlin and artists George Perez and Ron Lim’s Infinity Gauntlet miniseries. In the story, Thanos, who collected all the Infinity Gems in the Thanos Quest series, puts them in the Infinity Gauntlet and wipes off half the life in the universe to impress his mistress, Death. This half includes the Fantastic Four, X-Men, and Daredevil. Thanos is on a hubristic a rampage for the most of the miniseries, and even defeats such powerhouses as Chaos, Order, and Eternity

Though he left the series after issue 4, Infinity Gauntlet is a testament to George Perez’s mastery of both the superhero team-up and the cosmic epic. He and Lim draw scenes like Thanos becoming one with the universe or the death of the Devil of Hell’s Kitchen with style and ease, providing readers with iconic moments, like when Captain America, leading a troop of battered, beleaguered heroes, tells Thanos that he’ll never win. Infinity Gauntlet is a study in escalation and hubris, with Thanos finally bested by his own insecurity after a roller coaster ride of a series.

Infinity Gauntlet is what Marvel and DC Comics events should aspire to be. The stakes are high and the splash pages are big, yet Starlin, Perez, and Lim leave room for characterization. Infinity Gauntlet provides the climax of the messianic journey of Adam Warlock that began when Starlin created him in the 1970s. Thanos’ final fate is pretty brilliant, and it’s a shame that multiple “Infinity” sequels had to ruin that fantastic ending.

PART TWO

By day, Logan is a data entry administrator in Louisville, home of the Kentucky Derby. But when he has free time, he enjoys writing about his favorite comics, movies, and TV shows. He also interviewed a vampire once and cries about the future of the L.A. Lakers at least once a day. Logan will watch, read, or listen to anything by Joss Whedon, Neil Gaiman, Edgar Wright, Damon Albarn,Donald Glover, Abbi Jacobson and Ilana Glazer, Gerard Way, Grant Morrison, Kieron Gillen, St Vincent, and Black Mask Studios so you should ask him about those things on his Twitter. (https://twitter.com/MidnighterBae)

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‘Ruins Of The Empire’ is The True Followup to ‘The Legend Of Korra’

The Legend of Korra continues the second Team Avatar’s adventures through an ongoing follow-up comic book series in collaboration with Dark Horse Comics…

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Ruins of The Empire

For every fan of The Legend of Korra, ‘Ruins of The Empire’ is a must-read.

Over five years ago, Nickelodeon’s The Legend of Korra ended with its fourth and final book ‘Balance.’ As Korra and Asami ventured off together into the spirit world, it was obvious that the journey may have concluded on the small screen- or rather on the network’s website after being yanked off the air- but series co-creators Michael Dante DiMartino and Bryan Konietzko were likely not going to allow their narrative to come to an indefinite close. In the same fashion as its predecessor Avatar: The Last Airbender, The Legend of Korra continues the second Team Avatar’s adventures through an ongoing follow-up comic book series in collaboration with Dark Horse Comics.

I probably do not have to tell you this, but Dark Horse Comics has had an overall strong history with the Avatar universe. The Avatar: The Last Airbender comics from over the course of almost the last decade are nothing short of exceptional and are the next best thing for those wanting to see more of Aang and the gang. While they certainly may not always be able to achieve the best aspects of the show we grew up with due to the limited medium it has been adapted into, each arc published has both visually and textually felt like a direct follow-up to the original series in many regards with even some comics such as Team Avatar Tales filling in fun gaps during the show’s continuity. They are faithful sequels- or rather prequels in Korra’s case as the comics do connect the two shows- that every major fan of this franchise will tell you are well worth your time if you are just dying for more stories from the world of the four nations.

That being said, once The Legend of Korra was set to hit store shelves in its newly adopted format it seemed like another guaranteed hit was on the line for Nickelodeon and Dark Horse. The Legend of Korra’s first comic story arc Turf Wars, however, was not the followup most fans wanted from this show. It was undoubtedly a comic series that fans expected a lot more from as the post-Earth Empire world had tons of narrative points to explore. I’m certainly not in the minority when I say that Turf Wars was a trilogy that let me down due to its story’s focal point. Turf Wars often falls flat as it treads on a narrow line attempting to fill a justified relationship rather than focusing on telling a story well suited to the established mythologies of Avatar and Korra. The new villains that you could not sympathize with or even just enjoy for a three-book story, some odd character dialogue, questionable decisions to help move the plot forward, and ignored consequences of the show’s finale did not help the reception of these books from fans either. It is certainly a story with substantial themes and moments, but it is not what you would want from a followup tale to Book 4’s incredible closing moments.

The Legend of Korra had so much more to tell with its story that was not being explored in the comics- or at least with its first run. The writers have listened though and they have gotten themselves back on track with their newest series Ruins Of The Empire. This comic series is exactly what fans of this show wanted since the last episode aired. Not only is it the best Legend Of Korra comic so far, but it might just also be one of the best Avatar franchise comics currently available. In the same way that The Promise and The Search were real followups with answers to questions posed in Avatar: The Last Airbender’s finale, the latest story arc in The Legend of Korra’s post-finale is exactly that. Ruins Of The Empire not only explores the transition into the Earth Kingdom’s attempt at establishing a democratic system of government, but it smartly highlights the shaky aftermath of Kuvira’s surrender from both character and worldbuilding standpoints as those who hailed the great uniter quickly fell into organized chaos.

Right off the bat, the story of Ruins Of The Empire is not spotlighting one character relationship or slowly building up a new villain that is set to be dismissed with no real consequences. Korra and Asami’s lover dynamic is explored in this story arc but more appropriately in a blended storytelling fashion comparable to the source material. It unfolds exactly as you would expect an episode of the show to play out- not forced or made plot-driving as what had previously been mistakingly done. It is now implemented as something on the sidelines that has a dangerous toll on the narrative which ultimately leads to character decisions that have real consequences. Turf Wars chose to ignore the entirety of the Beifong family and the collapsing Earth Empire, despite the fact that those two subjects practically revolve around every plot point you would expect a followup of the finale to explore. The shift in focus inevitably makes for a properly developed story that is able to draw a spotlight on several subjects.

It is not just the narrative that has been correctly altered either. When it comes to the way in which the cast talks with one another and the overall look of the book, everything feels properly adjusted. For one, each character is actually here this time around and not blatantly missing. Michael Dante DiMartino really stepped up his game with Ruins of The Empire’s script that aims to draw closure with the show. It is not perfect, but it is a major step up that pushes the narrative forward rather than being stuck in still water. The questions you probably had about where characters went after the finale are tackled here. Everyone is overall done justice. As I said previously, the Avatar comics were written as well as if you could hear the characters talking and the same can be said here. If you had not read what was going on in the photo above, have a look again here below!

Ruins Of The Empire feels more akin to its source material than its predecessor run thanks to more so the art then its speech though. The art quality jump between the two is unmistakable- beyond noticeable when put side by side. It is a massive improvement that needless to say has already enhanced the post-television comic run and given it back the life it needed. Turf Wars’s covers are a complete deception to what lies inside each graphic novel. While the face value may look as appealing as the television show, adopters will quickly realize Irene Koh’s art lacked character details, expressions, and even backgrounds. It accumulated into an experience that felt more like a fan project than something from the original creators. Koh’s artwork was unbearable by any means, but it never hit a certain point of quality fans expect- especially from Dark Horse Comics, and at times it shamefully felt thematically disconnected with the Avatar universe.

The new runner-up artist Michelle Wong has done a fantastic job adapting Korra into the comic book medium. Wong’s work is miles ahead of everything Koh previously drew in Korra’s first Dark Horse outing. The jump in improvement artistically is undoubtfully perceptible based on a mere first glance at the two. Every character here feels more animated, the action is more engaging to look at, and the backgrounds are no longer completely flat and detailless. Wong deserves serious credit for her work on these books. Her dedication to the source material is something that generally falls behind in other television to comic adaptations, but she did the absolute best she can do here. The fact that she personally went out of her way and rewatched the entire series before starting to draw the artwork for this story arc just shows her dedication and care for the fans. Wong has successfully made this comic run feel as if you are watching the show again, something Turf Wars should have achieved first.

For those interested in reading the complete set of Ruins Of The Empire, Dark Horse Comics will be releasing a hardcover library edition of the full story arc on September 22nd. If you are dying in reading Korra’s latest story now, however, you can go ahead and grab volumes one through three separately in either a digital or softcover format today. For any fan of The Legend of Korra, it is without a doubt well-worth your time and money. After your television binge of both Avatar: The Last Airbender and The Legend of Korra, you will not be disappointed with this story.

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Ghosts and More in this Year’s Hellboy Winter Special

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Hellboy Winter Special

Before spring arrives, there’s still time to cozy up with the latest Hellboy Winter Special, a single anthology issue of three supernatural tales. The eponymous demonic-looking investigator features in only one story, and it’s the strongest in the collection. However, the remaining tales satisfy with their own glimpse at the occult world Hellboy inhabits.

The anthology issue opens with Hellboy’s story, “The Miser’s Gift.” Hellboy creator Mike Mignola is back to write another tale for his iconic hero, crafting a solid short story. Hellboy is a warmly familiar presence while he helps out a guy with a ghostly problem. The paranormal investigator subtly shows his depth of character as he intervenes, ranging from his matter-of-fact attitude in the face of weirdness to his ever-present undercurrent of kindness, particularly demonstrated when he tries to initially talk down the spirit causing the problem. The other characters serve their purpose, with brief glimpses of nuance. The man Hellboy helps show a nice mix of mild and genuine, and the ghost ends up with a heavy sense of melancholy that feels like a consequence of a greed-filled life. The most paper-thin character is the professor, but he moves things along with exposition well enough, and even winds up as a morbid punchline in the end. Regardless of one character’s fate, the whole cast ultimately shares a story of compassion and goodwill winning out over greed, fitting the ideal spirit of the holidays.  

Excerpt from "The Miser’s Gift" in the Hellboy Winter Special.
Hellboy gets a new case in “The Miser’s Gift.” (Writer: Mike Mignola, Artist: Mark Laszlo, Colorist: Dave Stewart.)

While Mignola writes for Hellboy again, Mark Laszlo takes care of the art this time. Mignola’s stylized and shadowy drawing for Hellboy is unquestionably the signature look of his creation, but Laszlo’s illustration is wonderful in a different way. Laszlo’s lines feel looser and sketchier, creating a warmer tone. Dave Stewart’s colors bring extra warmth, and are used to distinguish between flashbacks, the characters’ present in the ‘80s, and even past worlds literally encroaching on 1989 Budapest. Laszlo’s art helps with the border between worlds, warping the ghostly city while the buildings of 1989 are more straight. Altogether the art does feel like a good match for a winter special and a perfect fit for Mignola’s story. Laszlo and Stewart’s work even feels a little reminiscent of Peter de Sève’s illustration.

Though the remaining two stories don’t feature Hellboy, they feature other characters found in his world: fellow paranormal investigator Sarah Jewell and the Knights of St. Hagan. Jewell’s story, “The Longest Night,” is a paranormal riff on murder-mysteries that starts in media res and goes straight to figuring out the culprit. But this is a murder-mystery operating in Hellboy’s world, and even if he’s not around to carry out justice, it feels fitting that another supernatural being takes care of things—though far more viciously. Overseeing all of this is Jewell herself, whose character gets the most time to shine with masterful grace and perceptiveness.

The anthology concludes with “The Beast of Ingelheim,” arguably the weakest tale in the collection. It’s a vague and ambiguous little thing featuring the Knights of St. Hagan that may mean more to someone who knows the full continuity of Hellboy, but isn’t as accessible as the previous stories for new readers. However, towards the end, its ambiguity seems to transform into something a little more intriguing due to a twist and the realization that the ending leaves with a question—did the narrator spare or take a life?

Excerpt from "The Longest Night" in the Hellboy Winter Special.
A swift and brutal karmic payback strikes in “The Longest Night.” (Writer: Chris Roberson, Artist: Leila Del Duca, Colorist: Michelle Madsen.)

After debuting in 2016, the seasonal series is still going strong today. With a classic Hellboy vibe, a mix of murderers devoured by paranormal creatures, and self-proclaimed holy warriors chasing shadows in the woods, this year’s Hellboy Winter Special is a nice collection of stories to peruse.

Cover for Hellboy Winter Special.
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‘Avengers: Endgame’ and the Golden Easter Egg

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Aki- hiko Avengers Endgame Easter Eggs

Let’s Talk About Hiroyuki Sanada

With Deadpool 3, Doctor Strange and the Multiverse of Madness coming soon, everything is taking shape for the introduction of mutants into the MCU, yet there is one Easter egg left un-cracked from Avengers: End Game that could show how mutants have been a part of the world this entire time… enter Hiroyuki Sanada. 

During the brief scene where we catch Clint Barton, Jeremy Renner, on a murderous rampage, we found he has retired Hawkeye and taken up the mantle of Ronin. Clearly distressed about what the Yakuza have been doing and the fact that they were spared from the snap, Ronin makes quick work of all the goons, except for one, Aki- hiko (Hiroyuki Sanada). The only real take away from their brief exchange of dialogue is that Clint is as much of a villain from his new murderous persona, setting him up for his character’s arc later in the movie. But the question people have ignored has been left without a real answer, who is Akihiko and why would Marvel put him in the highest-grossing movie ever made for such a small role? 

So, who is Akihiko? Put simply, Akihiko is a nobody scientist who works for the Yakuza used in one issue, Nick Fury #7 from 2017, written by James Robinson. The plot is simple, Nick Fury Jr. goes to the moon to chase down some of the Yakuza’s Shogun Reapers, which are led by Akihiko. They are planning to finish building a cannon that can control Earth’s plate tectonics from their lunar base. On the moon’s surface, the Yakuza are piloting their War Machine like suits, the Shogun Mechas. Fury chases down the Yakuza and takes control of Akihiko’s Mecha forcing him to fire a ray at a room that decompressed it and everyone in it, Akihiko included. A tried and true, one and done issue threat. 

The question of who was Akihiko is a simple answer. Not so much the latter of why Marvel would use this character out of their endless sandbox of villains. Taking a look at the first appearance of Ronin in New Avengers #11, written by Brian Micheal Bendis, the answer may be revealed. 

The basic plot of Ronin’s first story goes like this. The hero is in Japan on the trail of the Silver Samurai who the shadowy gang we’ve seen in Daredevil and the Defenders, both on Netflix, has just sprung free along with 40 other prisoners from the government’s water jail, the Raft. The jailbreak was orchestrated by Viper, and an agent seeking to take control of the splintered and leaderless Hydra. The Japanese Yashida clan is in a similar state as Hydra with their leader, the Silver Samurai away from his duties. Viper uses the opportunity to mend rifts and create a more international alliance in organized crime. 

Backtracking to the news that Ryan Reynolds will be returning as Deadpool for the MCU confirms that at least some of the Fox X-Men franchise will be part of it as well. This puts Hiroyuki Sanada in a very good position to branch worlds considering he not only played Akihiko in Endgame but also Shingen Yashida, the Silver Samurai, in The Wolverine

Ronin Marvel Avengers

A rewatch of The Wolverine with this information fresh in memory is very telling. It includes almost all the characters of Ronin’s first appearance including the Yakuza and Viper herself. After Days of Future Past, the events of the movie would have been rewritten and these characters would still be alive. In the movie, Shingen’s father had the family company on the verge of bankruptcy and without Logan coming to Japan it very well could have happened. Shingen was ashamed of his father and wanted to distance himself from this legacy. Adding this to the fact that he already had Yakuza gang ties in the movie, it’s not a far reach to think he could have changed his identity to Akihiko and went on to pursue the sciences his family’s company started with them. 

This holds especially true when you compare these two pictures. On one side is the Silver Samurai suit from The Wolverine. The other is taken from Nick Fury #7, Akihiko’s Shogun Mecha suit. 

Marvel is known for hiding details from fans to set up future movies and this tiny Endgame moment is a perfect storm. It bridges worlds and further expands on the multi-verse and alternate timelines bringing the Silver Samurai to the universe connecting the X-Men and their gallery of villains. It sets up Viper looking to head Hydra, which very coincidently is who was head of the organization in the comic books when Sam Wilson took up the mantle of Captain America. The prisoners, broken free from the Raft, could easily include members of the Sinister Six for the next Spiderman installment. The ramifications are massive and if true would be a brilliant and believable future for the MCU. 

  • Andrew Smith 
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