![]() ![]() ![]() The technobabble explanation as to why the Avengers are initially bested by a foe even the weaker members should handle never convinces, and neither does the flip-flop redemption of Wonder Man. This is better work than the lead, and has some fine moments, but it ranks far below the best of the Bendis Avengers canon. He remains a brute of an armoured centaur, though. As the main cast are off-limits due to licensing considerations, artist Brandon Peterson has transformed the villain of the piece just enough to avoid litigation. It’s set in the Microverse, and appears to be a partial indulgence on Bendis’ part, with it’s nod to the fondly remembered but never reprinted Micronauts series of the late 1970s. The remainder of the book concentrates on restoring a team-member believed dead. It’s not helped by Gabrielle Dell’Otto switching from his usual painted style to scratchy pen and ink. That’s the plot of two extended chapters, and they’re as poor as anything Bendis has written for the title. ![]() To do so he gathers a group of other disgruntled superheroes and they set about the Avengers. Wonder Man has a mad on, and he’s going to bring his former colleagues down. ![]() It’s ridiculously illogical, and never explained, even with a cop-out like mind control. He’s depicted throughout this series as angry at the restoration of the Avengers, taking the stand that as they’re at the centre of the world’s troubles, without them the troubles would be fewer. Of all the many Avengers he used during his run, Wonder Man is a rare character Brian Michael Bendis lacked a handle on. ![]()
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