I Reads You Review: THE AMAZING SPIDER MAN #1

AMAZING SPIDER-MAN #1 (2014)
MARVEL COMICS – @Marvel

WRITER: Dan Slott
PENCILS: Humberto Ramos
INKS: Victor Olazaba
COLORS: Edgar Delgado
LETTERS: Chris Eliopoulos
COVER: Humberto Ramos
VARIANT COVERS: Marcos Martin; Ed McGuinness; Pop Mhan; Jerome Opeña; Skottie Young; Alex Ross
92pp, Color, $5.99 U.S. (June 2014)

Spider-Man is a Marvel Comics superhero.  Peter Parker was once a shy and retiring teenager.  He was a freelance photographer.  He has always been a science wiz.  Parker is the Amazing Spider-Man.  Then, the gods of comics fate allowed Spider-Man arch-villain, Doctor Octopus, to swap his brain into Parker’s body.  Doc Ock became the Superior Spider-Man.

Peter Parker’s brain is back in his body, and the core Spider-Man comic book series, The Amazing Spider-Man, is re-launched.  This All-New Marvel NOW series is brought to readers by writer Dan Slott, artists Humberto Ramos (pencils) and Victor Olazaba (inks), colorist Edgar Delgado and letterer Chris Eliopoulos.

The Amazing Spider-Man #1 (“Lucky to Be Alive”) opens with Spider-Man fighting a group of oddball, semi-super-villains.  He’s doing that for relaxation.  Now, that Parker is back in control of his body, he discovers that Doctor Octopus completed Parker’s PhD and started his own company, “Parker Industries.”  But the company is a bit of a mess.  And Parker apparently has girlfriend named Anna Maria Marconi.  Spider-Man is back, but so are the troubles of Peter Parker.

I don’t read Spider-Man comic books as much as I once did.  I have been planning on changing that, and The Amazing Spider-Man #1 – 2014 edition – convinces me that I should.  This new beginning features classic pile-on-Parker with some web-slinging, and while I won’t call this great, I find it to be a good read.  As for artist Humberto Ramos, I am enjoying his work, which seems more like the work of former imprint-mate, J. Scott Campbell, than ever before.

Back-up features credits:
WRITERS: Dan Slott, Christos Gage, Joe Caramagna, Peter David, Chris Yost
PENCILS: Javier Rodriguez, Giuseppe Camuncoli, Chris Eliopoulos, Will Sliney, David Baldeon, Ramon Perez
INKS: Alvaro Lopez, John Dell, Cam Smith, Chris Eliopoulos, Will Sliney, Jordi Tarragona, Ramon Perez
COLORS: Javier Rodriguez, Antonio Fabela, Jim Charalampidis, Rachelle Rosenberg, Ian Herring

There are six short stories featuring various characters from the world of Spider-Man, with one being a preview of a side-series comic book.  These stories are extras, and I like anything that makes a comic book a bigger issue than it normally is.

INHUMAN #1
WRITER: Charles Soule
ARTIST: Joe Madureira
COLORS: Marte Gracia
LETTERS: VC’s Clayton Cowles
COVER:  Joe Madureira and Marte Gracia

The Amazing Spider-Man #1 reprints the sold-out Inhuman #1 (Part 1: Genesis) by writer Charles Soule, artist Joe Madureira, colorist Marte Gracia, and letter Clayton Cowles.  Marvel Comics is re-inventing and revitalizing the Inhumans, a strain of humanity that began with genetic manipulation by visitors to Earth from an alien civilization (the Kree).

This first issue revitalizes my interest in the Inhumans, and I have not read an Inhumans comic book since Paul Jenkins’ 12-issue comic book series, The Inhumans, which was first published about 14 years ago.  This new comic book also offers some of Joe Madureira’s strongest art, in terms of storytelling and style, in over a decade.  This Inhuman #1 reprint is why I’m giving The Amazing Spider-Man #1 a high grade.

A-

Reviewed by Leroy Douresseaux


The text is copyright © 2014 Leroy Douresseaux. All Rights Reserved. Contact this blog for syndication rights and fees.

I Reads You Review: WOLVERINE #1

WOLVERINE (2013) #1
MARVEL COMICS – @Marvel

WRITER: Paul Cornell
PENCILS: Alan Davis
INKS: Mark Farmer
COLORS: Matt Hollingsworth
LETTERS: VC’s Cory Petit
COVER: Alan Davis and Mark Farmer with Jason Keith
VARIANT COVERS: Olivier Coipel; Salvador Larroca and Frank D’Armata; Humberto Ramos and Edgar Delgado; Skottie Young
28pp, Color, $3.99 (May 2013)

Parental Advisory

Until Demon Knights #1 (DC Comics, 2011), I disliked every comic book written by Paul Cornell that I read.  Now, I have found another one that has really grabs my imagination.  It is the new eponymous Wolverine comic book, part of the Marvel NOW initiative that has seen the re-launch of several Marvel titles.

Wolverine is written by Cornell and drawn penciller Alan Davis and his longtime inker, Mark Farmer.  This new series is not specifically a team-up series, but it will apparently feature some surprising guest appearances by Marvel characters, both the familiar, the surprising, and the unusual.

Trying to stay relatively spoiler free, I will say that Wolverine #1 (“Hunting Season” Part 1 of 4) opens with Wolverine in a bad way.  The cause is Robert Gregson, a 41-year-old man on a murderous rampage, and Gregson’s young son, Alex, may be the only person who can help Wolverine put an end to a massacre.

To me, Wolverine #1 simply works because Cornell manages to put Wolverine in a perilous situation, one in which he actually seems imperiled.  The longer these superhero characters are published, the more they become like indestructible demigods and the less like fragile humans with special abilities, which is what most Marvel characters are in their beginnings.  However, without revealing spoilers, I can say that I certainly thought Wolverine would be killed, and that made Wolverine #1 an exciting read.

The other reason I like this comic book is Alan Davis.  I love this comic book artist, and it is always a joy to read comic books drawn by Davis – even when the story isn’t that good.  He brings humanity to the characters, emphasizing their vulnerability over their super powers.  I look forward to following this Wolverine series – especially if both Cornell and Davis keep delivering the good stuff.

A-

Reviewed by Leroy Douresseaux

The text is copyright © 2013 Leroy Douresseaux. All Rights Reserved. Contact this site for syndication rights and fees.

Review: MIGHTY AVENGERS #1

MIGHTY AVENGERS (2013) #1
MARVEL COMICS – @Marvel

WRITER: Al Ewing
PENCILS: Greg Land
INKS: Jay Leisten
COLORS: Frank D’Armata
LETTERS: Cory Petit
COVER: Greg Land with Lee Duhig
VARIANT COVERS:  Bryan Hitch with Laura Martin; Carlo Barberi with Edgar Delgado; Leonel Castellani; Skottie Young
28pp, Color, $3.99 U.S. (November 2013)

Rated T+

In comic books, how does one master the art of creating the first issue?  I say “art” because I think that producing a great first issue and continuing that into an exceptional comic book series, is an art.  The number of creators who can (1) produce a great first issue, (2) continue that into a distinguished comic book series, and (3) accomplish that feat more than once is relatively small.  I say Alan Moore, Peter Bagge, Kyle Baker, Brian Michael Bendis, Howard Chaykin, Daniel Clowes, Gilbert Hernandez, Jaime Hernandez, and Frank Miller, among others.

[Of course, there are creators who produce great first issues which only result in uneven series.  Can you say Grant Morrison?]

And then, there are the creators you wonder about.  They deliver an unspectacular first issue, and that makes me suspicious about the rest of the series.  In a market crowded with superhero comic books, the creative team has to open with a bang.  The new reader/customer needs something that seems like more than just the first chapter of an upcoming trade paperback collection.

Out of Marvel Comics’ “Infinity” event comes a relaunch of Mighty Avengers.  British comic book writer Al Ewing and reliable artist Greg Land deliver the ultimate cookie cutter Avengers comic book in Mighty Avengers #1.  This comic book is not a bad cookie, but it is not a $3.99 cookie.

It is more like a cookie you can get in a $1 bag of cookies at a dollar store (Dollar General, Family Dollar, Dollar Tree, etc.).  So Mighty Avengers is not even the equivalent of a “quality” mass-produced cookie brand (Nabisco?).  It is certainly not a boutique shop cookie baked by two broke girls who just opened their own cookie shop with daddy’s money.

So what happens in this new comic book called Mighty Avengers?  The Avengers are off-world, handling someone else’s business, so who is handling their business back home?  Thanos sends a badass bitch named Proxima Midnight to take advantage of an Avenger-less Earth.  Meanwhile, back at the ranch, Luke Cage, Spectrum (formerly known as Negress Captain Marvel), Superior Spider-Man (more like Snobby Spider-Man), Power Man and a few others have conversations about themselves.  Then, they fight.

I think Mighty Avengers is supposed to be clever or at least funny in the vein of the old Keith Giffen-J.M. DeMatteis-Kevin Maguire Justice League.  It is neither.  So much for that wry British humor.  The computer program that Judith Krantz, Danielle Steel, and other bestselling authors supposedly use to write their novels must be similar to the tech Greg Land uses to draw his clone superhero comic book art.  The result of Ewing and Land’s efforts is a comic book that is neither mighty nor spectacular, but it isn’t completely bad.  It is Avengers and if you like Avengers, well...

I have heard people describe Mighty Avengers as the “ethnic Avengers” or even the “black Avengers.”  I guess those could be somewhat accurate descriptions, but not when it comes to the creative team.  Marvel Comics editors act like they’re scared of n*gg*s... or at least can’t find Black comic book writers amongst their friends and colleagues.

Anyway, fans that just gots to have an Avengers fix will want Mighty Avengers, although (if you ask me) they need to diversify their reading list – if just a little.

C

Reviewed by Leroy Douresseaux

The text is copyright © 2013 Leroy Douresseaux. All Rights Reserved. Contact this site for syndication rights and fees.

I Reads You Review: AVENGING SPIDER-MAN #1

"Need another Spidey title like you need a hole in your head"

AVENGING SPIDER-MAN #1
MARVEL COMICS

WRITER: Zeb Wells
ARTIST: Joe Madureira
COLORS: Ferran Daniel
LETTERS: VC’s Joe Caramagna
COVER: Joe Madureira and Aron Lusen (Variant coves by Humberto Ramos and Edgar Delgado; J. Scott Campbell and Edgar Delgado; and Joe Quesada, Danny Miki, and Richard Isanove)
32pp, Color, $3.99 U.S.
Rated T+

The new Spider-Man comic book series, Avenging Spider-Man, acts as the latest Spider-Man team-up title. The most famous is Marvel Team-Up, which first ran from the 1972 to 1985 (Vol. 1). There is an “afterword” in the back of Avenging Spider-Man, in which editor Stephen Wacker writes that this new title is going to be a star creator-oriented comic book that will feature oddball comic book characters, as well as popular characters as guest stars.

The star creators to start this are writer Zeb Wells (a star?) and artist Joe Madureira (still a star, but likely not as bright as he was back in the 90s). The team-up joins Spider-Man and the Red Hulk.

As Avenging Spider-Man #1 opens, Spider-Man and his Avenger teammates are battling A.I.M. and a giant A.I.M.Bot. Meanwhile, New York City Mayor J. Jonah Jameson has just shot the starter pistol to begin the New York City Marathon. The marathoners, however, immediately find their progress impeded by an invasion of diminutive yellow monsters. Hopping a ride to NYC on the back of the Red Hulk, Spider-Man finds himself arriving just in time to lose to the invaders – even with the Hulk’s help?!

Back in the mid-1990s, penciller Joe Madureira (also known as Joe Mad) and inker Tim Townsend formed one of the best (if not the best) art teams working in superhero comics. Maduriera’s anime and manga influenced style were transformed into solid comic book art by Townsend, an inker with a master illustrator’s touch. Madureira’s art did not suffer much when he left Marvel for Wildstorm Productions and Image Comics to produce his creator-owned title, Battle Chasers (published under Wildstorm’s Cliffhanger imprint). By the beginning of the 21st century, however, Madureira had left comics to work in the video game industry.

Joe Mad returned to comics in 2007 for The Ultimates 3 from Marvel Comics, but his art was no longer inked by Townsend or inked at all for that matter. Now, Madureira’s art was colored directly from the pencils. For me, it left much to be desired. As best as I can tell, Madureira’s is producing the art for Avenging Spider-Man the same as he did for The Ultimates.

It is not that I think Mad’s art here isn’t good. I do think that compared to the work he did on Uncanny X-Men with Townsend inking, this Avenging Spider-Man art is inferior, at least in terms of style and draftsmanship. However, I still admire Mad’s compositional and design skills. Some other artists may stretch out stories with splash pages or pages composed of big panels simply because those pages are more attractive to sell as original art. Mad uses splash pages and big panels to create a heightened sense of the dramatic or convey the power of action, force, movement, etc. The way Mad positions characters and objects in panels and the “camera” angles he uses reflect what Stan Lee preached in his How to Draw Comics the Marvel Way (co-authored with John Buscema).

As for the story: it’s mediocre. I’m amazed that Marvel and DC Comics can still get away with producing remarkably mediocre material, the kind of toad burger product that would spell doom for a publisher not financed by a multi-national media corporation. I’m surprised at the mediocrity because I remember when Zeb Wells first showed up on the comics scene; he was supposed to be some kind of golden boy. Is that golden as in piss gold?

My grade reflects my still-alive love of Joe Mad, but the grade should be lower because of the story.

C

[This comic book includes a preview of Avengers: X-Sanction #1 by Jeph Loeb and Ed McGuinness.]

P.S. I’m going to buy a copy of Avengers: X-Sanction #1 just to rag on it. The five pages that are previewed here are just lousy. I’d really be disappointed if it turned out to be good, thus denying me some fun.

I Reads You Review: BLADE #12

BLADE (2006) #12
MARVEL COMICS

WRITER: Marc Guggenheim
ARTIST: Howard Chaykin with Gene Colan
COLORIST: Edgar Delgado
LETTERS: VC’s Rus Wooton
COVER: Marko Djurdjevic
32pp, Color, $2.99 U.S., $3.75 CAN

“A Stake Through the Heart”

Back in 2006, Marvel Comics launched a new comic book series starring Blade, their vampire hunter who first appeared in the 1970s horror comic book series, The Tomb of Dracula (#10, July 1973). The character would go on to be the star in a trio of films, beginning with Blade (1998) and starring Wesley Snipes as Blade.

This Blade comic book series, which ran for 12 issues, was written by screenwriter and television writer-producer, Marc Guggenheim. It was drawn by Howard Chaykin, an industry legend and veteran writer/artist best known for the highly influential 1980s comic book, American Flagg! Guggenheim’s take on Blade was closer to the character in the comic books than the one in the movies, and much of this series focused on the early years of Blade’s mission as a vampire hunter extraordinaire.

Blade #12 finds Blade at Castle Dracula in a face off with his biological father, Lucas Cross, a vampire. Lucas, the head of the mysterious Order of Tyrana, intends to force Blade to fulfill a prophecy that would restore the souls of all living vampires. Blade knows, however, that not having a soul is the only weakness that vampires have. Blade’s colleague and friend, vampire detective Hannibal King, is desperate to have his soul back and has sided with Lucas. Everything is against Blade, and it gets worse. His greatest adversary has returned. Also, the story goes back in time to the most crucial mission of Blade’s young career, the one that made him the vamp-killing man he is today.

This Blade series ended by seemingly giving Blade a new future. Since its publication, Blade would go on to be a supporting character and team member in the short-lived Captain Britain and MI: 13 (a series that I absolutely did not like). He’s even a black sheep-like character in the recently launched Ultimate Avengers.

I do miss this series, primarily because I am a huge fan of the character. I also liked the fact that each issue offered a self-contained story, except for the final two issues, which are apparently connected in order to close out the series. As much I liked this series, however, I think that it barely scratched the surface of Blade’s potential. Comic book publishers are currently quite impressed with the idea of hiring television scribes to write comic books, and have been for most of this past decade – especially those who have worked on serial dramas or on genre series (particularly crime or weird/fantasy series).

There are probably advantages to hiring screenwriters (mastery of story structure? reputation? name recognition?), but I wonder if imagination is one of those advantages. Do Hollywood types bring the kind of creativity and unique vision to comics that dedicated comic book writers do? Once again, as much as I enjoyed this Blade series, Guggenheim’s work was not nearly as imaginative and as fun to read as the work Chris Claremont and Marv Wolfman did on this series four decades ago.

It is too bad that Claremont and Wolfman are not now writing a Blade comic book. Speaking of classic Blade creators: Blade #12 has art by Blade’s co-creator, artist Gene Colan.

I Reads You Review: BLADE #9

BLADE (2006) #9
MARVEL COMICS

WRITER: Marc Guggenheim
ARTIST: Howard Chaykin
COLORIST: Edgar Delgado
LETTERS: VC’s Rus Wooton
COVER: Marko Djurdjevic
32pp, Color, $2.99 U.S., $3.75 CAN

“The Big Fight”

Several years ago, Marvel Comics launched a new comic book starring Blade, their vampire hunter who first appeared in the 1970s horror comic book series, The Tomb of Dracula (#10, July 1973). Of course, Blade is best known for the trilogy of films starring Wesley Snipes as Blade. Marvel has had, at best, mixed success with Blade comic book series. [Although an African-American (Snipes) was the star and co-producer of the Blade film franchise, Marvel has never allowed an African-American to write or draw a Blade comic book series.]

Debuting in 2006, the most recent Blade series was written by television writer-producer, Marc Guggenheim and drawn by Howard Chaykin, a longtime industry veteran writer and artist, best known for the highly influential 1980s comic book, American Flagg! (although Chaykin has also been a television writer-producer). Guggenheim’s take on Blade was closer to the character in the comics than the one in the movies, and the series ran for 12 issues, much of it having to do with Blade’s origin.

Blade #9 finds Eric Brooks, a.k.a. Blade in London delving into his later mother, Tara Brooks’ past to discover her connection and his possible connection to the Order of Tyrana. The apparent head of this group is Lucas Cross, the man claiming to be Blade’s father. Meanwhile, at a London hotel, Union Jack, a vampire hunter, launches an attack on Blade’s colleague, vampire detective Hannibal King.

Evan as a back issue, Marc Guggenheim and Howard Chaykin’s Blade comic book still feels fresh and new. Guggenheim wrote each issue as a self-contained story. While each issue is connected to a larger narrative, it can be read, comprehended, and enjoyed without reading other issues. Visually and graphically, Chaykin infused Blade with a sense of humor, irony, and a touch of satire.

Blade #9 epitomizes what Guggenheim and Chaykin did so well with the entirety of their Blade comic book series, and that was the creation of a serial drama in which each chapter was important unto itself. An individual issue did not need the overall story arc to validate it. This allowed readers to pick up any issue and get both a complete reading experience and the Blade experience.