Comic Review: Thunderbolts #1 — New Team, Old Chaos, and Too Much MCU in One Place
Marvel returns with a new beginning for Thunderbolts a team that has always walked the thin line between heroism and moral ambiguity. This time, however, instead of a fresh start, we get a comic caught between the creative ambitions of its writers and the corporate mandate to sync everything with Marvel’s cinematic plans.
That doesn’t mean Thunderbolts #1 is bad far from it. It has genuinely great moments and, visually, it’s stunning. But it’s impossible to shake the feeling that this book’s potential has been locked inside a golden cage of MCU synergy a cage that smothers what could have been something truly bold.
Bucky Barnes and the New Age of Antiheroes
On paper, the new Thunderbolts lineup sounds exciting. Bucky Barnes (the Winter Soldier), after recent events in Captain America, takes on the mantle of “Revolution” a man who decides to eliminate the world’s worst villains on his own terms.
In this first issue, he assembles a team of second- and third-tier operatives: Sharon Carter, Red Guardian, White Widow, and Valentina Allegra de Fontaine. It’s a mix that should create explosive chemistry, right?
The problem is that while each character has potential and presence, the script gives them little space to shine. The dialogue is… average. Some lines feel stilted, others awkwardly forced, and only a few flow naturally. At times, conversations read more like exposition dumps than exchanges between seasoned agents with blood on their hands.
The MCU Bursts In Loud and Uninvited
There’s no avoiding it: Thunderbolts #1 was written for the movies. The team lineup almost perfectly mirrors the upcoming MCU film cast. Even the sudden relationship between Bucky and Valentina feels engineered purely to bridge comic and cinema continuity.
And that’s the core issue: this isn’t the book the writers wanted to write.
It’s the book Marvel wanted written to align with their marketing timeline.
While those business decisions make sense on paper, they strip the story of its soul. Many scenes from the opening to the climactic sequence with Red Skull feel more like film storyboards than a comic book with its own identity.
To make matters worse, Dodson’s cover art spoils a major reveal, deflating what could have been a strong narrative twist. Other reveals were already spoiled by Marvel’s marketing campaigns, further killing any suspense.
Red Skull Returns… Only to Leave Too Soon
One of this issue’s biggest selling points was supposed to be the return of Red Skull Marvel’s ultimate symbol of fascism and evil. Bucky’s personal vendetta gives the story emotional weight, and for a while, it feels like we’re in for a gritty espionage thriller rather than a typical superhero slugfest.
And for a few pages, it really works. The infiltration of the fortress, the tactical team dynamics, the dark tone it’s compelling stuff.
Then… it’s over.
Red Skull is unmasked, shot, and the entire conflict evaporates. A potentially rich storyline tied to Bucky’s past is reduced to a single episode. It’s a real shame because that relationship could’ve been the foundation of the entire miniseries.
Visuals That Save the Day
One thing is undeniable: Thunderbolts #1 is a visual knockout.
The linework is sharp, the action is kinetic, and the character designs are exceptional. The book feels alive, with dynamic panels and cinematic pacing reminiscent of Secret Avengers or Black Widow.
The coloring and lighting choices enhance the tension perfectly, and every fight sequence bursts with energy.
In short, the art saves this comic. Without it, readers might have felt like their time was wasted.
Dialogue and Tone, Between Espionage and Self-Parody
As mentioned earlier, dialogue is the comic’s weakest link. At times, characters talk like they’re in a 2000s spy movie; other times, they sound straight out of a Disney+ show. The tone shifts awkwardly from sharp and gritty to goofy and expositional.
Emotional depth is also lacking. Bucky and Sharon share a complicated history, Valentina is now a cybernetic Life Model Decoy but none of that is explored in a meaningful way. It feels like a trailer for a richer story that never arrives.
Would It Be Better with Creative Freedom? Absolutely.
If Marvel had the courage to let the writers approach this series with the darker, more adult tone of DC’s Black Label, Thunderbolts could have been a home run.
A team of assassins, spies, and antiheroes operating in the shadows of global politics? That’s the perfect setup for a gritty, morally complex thriller.
But under the current “T+” rating, everything feels sanitized. You can tell the writers want to push boundaries Marvel just won’t let them.
Not Bad But Could’ve Been So Much More
Ultimately, Thunderbolts #1 is a solid but uneven start.
It doesn’t impress, but it doesn’t crash either. Fans of spy fiction and morally gray heroes will find plenty to enjoy, and art enthusiasts will be thrilled by the visuals.
But if you were hoping for a fresh, daring reinvention of the Thunderbolts legacy this isn’t it. This book feels like a product, not a passion project.
And that’s what hurts the most.
Pros:
+Excellent, cinematic artwork+Strong espionage-thriller atmosphere
+Great concept for a morally ambiguous team
+Red Skull as the antagonist is always a win
+Some solid moments of tension and humor
Cons:
-Mediocre, sometimes clunky writing-Dialogue lacks emotion and natural rhythm
-Overbearing MCU synergy hurts originality
-Red Skull’s storyline wasted too soon
-Pacing too fast, with little consequence
-Lacks creative risk, plays it too safe
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