A miniseries left somewhat marooned by delays to the film it lines up with; hell, maybe it could even have been a series, though the diminishing length of Thunderbolts runs (200-odd issues, 30something, 10, 5, and now 4) suggests that if anything we're more likely to get a one-shot next year. Certainly it feels like it could have used a little more room to breathe; there's an obvious appeal to using a heist structure, getting each mission done in one issue even as they escalate towards a bigger goal, but most of them have enough moving parts that they felt a little crowded, and I wondered whether the Nextwave two-parter structure mightn't have been ideal. Not least because it feels like a natural fit for the caper approach – just put the cliffhanger on the obligatory moment when the plan goes out the window and leave the reader to wonder 'Bloody hell, how are they going to get out of this one?'
Of course, sometimes the reader might have no chance of guessing the solution because they've completely forgotten eg that the Black Widow has a symbiote now (yes, I know she's on the cover, but I took that for one of the various secondary Spiders, given the team are only introduced gradually). Because this may be arranging a line-up to mostly match the MCU version, but it's not really finessing the characters or trying to play down the distinctive strangeness of the Marvel Universe proper, instead very much leaning in to the state of the toybox at the time of publication. Not least in playing off Bucky's status quo as of the end of the writers' Cap run – an end I didn't reach because the series had been getting on my nerves. So I might not have picked this up had I read the blurb. But while there were signs of the glib, flashy, default post-Whedon stuff that wound me up there, their Thunderbolts also had moments reminding me why I'd been impressed by them earlier, not least with their Kang mini (they really don't have much luck when it comes to cross-media synergy). Hell, I was always likely to be an easy sell for a story about friendship as told with American Kaiju.
But mention of American monsters brings us to the third world in play here, because as well as mirroring the MCU, it's also understandably exercised by our own benighted timeline. Having Bucky go after the Red Skull makes perfect sense given the characters' history, but also provides an excuse for lots of reminders that Nazis are bad – a theme which, not so very long ago, I would have dismissed as stating the obvious, but where approximately half of the USA does apparently need a reminder. So having the Skull described as a living podcast, or the way he somehow keeps coming back – yeah, that works. I also appreciated the sense that, as against a while back where even other supervillains treated the Nazi ones as a bridge too far, that cordon sanitaire feels like it's fraying here, statements not borne out by behaviour, even if this was one of the areas where a little more space might have helped get the point across better. Still, if nothing else we'll always have the painfully, perfectly 2020s line "No, I think the future of fascism is going to be in crypto"