By perfecting the comic book superhero formula and creating the first big-budget shared universe with The Avengers in 2012, Joss Whedon and Marvel Studios came to define this decade of blockbuster filmmaking.
Sometimes, rarely, a work is so good (so well-conceived, so well-executed) that it simply breaks our traditional expectations of comics literature. And this breaking allows us to glimpse the true, rare promise of what the industry can achieve. Davids Lapham and Aja's Wolverine: Debt of Death is this work.
Jonathan Hickman blasts into the Marvel Universe, and he brings Nick Fury with him, as the super-spy popularized by Steranko maintains his classic sense of “cool”, refuting the modern-day “kewl” methods of cinema spies like James Bond and Jason Bourne as he attempts to take down his greatest threat to date.
In a move fairly common to comics scholarship, Costello at times overstates the case for superhero comics as a product of their times rather than a product of a particular individual’s creative choices.