Dating back to the previous volume [which ran for 17 issues], Kelly Sue DeConnick’s Captain Marvel has been – and continues to be – one of the most important titles published. Significant progress has been made in the push for greater diversity – be it by gender, race, or sexuality – which can be traced back to Carol Danvers shedding the “Ms.” and replacing it with “Captain.” Understandably, the title upgrade is part of an effort by Marvel Entertainment to make Carol Danvers their answer to DC’s Wonder Woman. However, nearly all of her confrontations since assuming the title of Captain Marvel has resulted in her punching her way to victory – a fairly limited way of solving problems. The creative team of DeConnick and artist David Lopez take a step towards remedying this problem in the pages of Captain Marvel #12.
DeConnick’s script sets up for the next great Carol Danvers adventure in a quick, efficient manner that instantly hooks the reader in. After spending the holidays on Earth, Carol returns to her ship to find it ransacked and deserted. Tic, gone. Chewie, also gone. It’s just Carol, her damaged ship, and some aggressive space pirates looking to finish her off.
As always, DeConnick manages to inject her story with a healthy blend of humor and gravitas. But in addition to those familiar elements, she gives Carol an obstacle that she cannot overcome simply by force. Carol is, by nature, a military woman. She has been trained in tactical combat, and those skills are what DeConnick has chosen to exploit here. It’s a smart move, showcasing to readers that Carol is more than a set of fists.
This series has ridden high on not only DeConnick’s writing, but David Lopez’s art as well. He excels at giving scale to the issue’s various settings. Within the close confines of the ship, Lopez fills the reader with claustrophobic dread. When the setting changes to the vacuum of space, the scope widens up to match the vast nothingness.
Unfortunately, not all is as well executed as past issues have been. There are several inconsistencies in Lopez’s rendering of Carol. Though minor in the grand scheme, the space between Carol’s eyes varies from page to page – and at times panel to panel. It is even more pronounced as she switches from masked to unmasked. This may seem like nitpicking, but it an element of the story which pulls the reader out of the story.
With a solid script and [mostly] great art, Captain Marvel #12 gives readers yet another opportunity to join up with the Carol Corps on another galactic adventure. Superhero fanatics, those who push for equality in media, or those who just want a good story owe it to themselves to pick this up. It may not be perfect, but Captain Marvel is a captivating read.
Note: this review was originally published at InfiniteComix.com