In another densely packed issue, Rick Remender takes the battle between the scattered Uncanny Avengers and the Apocalypse Twins in an odd direction. Thus far, Uriel and Eimin, the twins born of Apocalypse and raised by Kang, have been preparing to whoop some superhero ass. Not only are they looking to bring about a new dawn for the mutants, but the two have also raised The Sentry, Daken, Banshee and Grim Reaper from the dead as their own version of the Four Horsemen. Yep, dark times ahead for the Uncanny Avengers.
As jam packed with information as Uncanny Avengers #11 is, it’s also action-oriented. There’s a big fight feel happening here, one that the Avengers are not prepared for. Let’s get the exposition out of the way. With their cleansing approaching, the Twins need one more element to complete their mission. They need The Scarlet Witch. At any other time, perhaps the idea of Scarlet Witch being asked to join the rebirth of a world with only mutants would seem insane. However, the Scarlet Witch has bad blood with her mutant family, fall out from House Of M.
The Apocalypse Twins aren’t stupid – they use scenarios ranging from the end of the world brought by Red Skull to a higher existence for the mutant population. Meanwhile, the beat downs are on. First is Grim Reaper, who taunts his trapped brother, the recent pacifist Wonder Man, nearly pushing his brother to forget his vow. This is more psychological warfare, but Remender writes it in such a way that you feel the battle raging inside Wonder Man. If this guy loses it, there could be real trouble for the Twins.
Okay, let’s talk battles. The first is Daken, who goes after his father with no remorse. We’ve seen the two go at it before, but not like this. Daken is possessed, his hatred is powered by a return from the great beyond, and he beats Wolverine viciously. The next fight between Thor and Sentry is awesome. Sentry makes Thor look like a C level hero at best. At one point, he even stares down Mjolnir, sapping the power of the hammer with a smile on his face. It’s the first time Thor has looked like a bitch that I’ve ever seen.
It’s no secret that I’ve been openly critical of Remender’s work on Captain America. His work there has been heavy handed and way, way, over the top. There’s a lighter touch with Uncanny Avengers. The storyline is actually darker here than on Captain America, but the writing is crisper and less convoluted. Where as Remender seems to be abusive to Cap, with Uncanny Avengers, it feels like Remender is having fun. The drama in Uncanny Avengers #11 is real, the odds seemingly overwhelming, but Remender keeps and energy to the story, something that never clicked with Captain America.
Daniel Acuña’s art drives Remender’s words home. The kind of darkness the writer is trying to communicate would fail if not for Acuña’s pencils. Acuña works much the way Remender does. Every single page is densely packed with characters, backgrounds, action and details. Most of the time, the panels can’t hold the amount of action Acuña is bringing forth. It’s a perfect marriage of art and text.
(4 Story, 5 Art)
