Showing posts with label Jerome Opena. Show all posts
Showing posts with label Jerome Opena. Show all posts

Thursday, May 5, 2022

#IReadsYou Review: SPAWN #300

SPAWN #300
IMAGE COMICS

[This review was originally posted on Patreon.]

STORY: Todd McFarlane with Scott Snyder (Chapter 2)
PENCILS: Greg Capullo (Chapter 1); Todd McFarlane (2); Jason Shawn Alexander (3) J. Scott Campbell (4); Jerome Opeña (5)
INKS: Todd McFarlane with Jonathan Glapion and J. Scott Campbell
COLORS: FCO Plascencia; Brian Haberlin; Peter Steigerwald; Matt Hollingsworth
LETTERS: Tom Orzechowski
EiC: Jon Goff
COVER: Todd McFarlane
VARIANT COVER ARTISTS: Todd McFarlane; Greg Capullo; Greg Capullo and Todd McFarlane; J. Scott Campbell; Jerome Opeña; Jason Shawn Alexander; 
72pp, Color, $7.99 U.S. (September 2019)

Spawn created by Todd McFarlane

Spawn is a superhero/antihero character that stars in the long-running comic book series, Spawn.  Published by Image Comics since its first issue, Spawn is Image's longest running title and, in terms of number of issues, is one of the longest-running independently-published comic book series in American comics history.  [When I use the term, “independently-published,” I mean that it is not published by a comic book publisher like Marvel or DC Comics that is owned by a media conglomerate.]

Created by writer-artist and Image co-founder, Todd McFarlane, Spawn first appeared in Spawn #1 (cover dated: May 1992).  Spawn is Albert Francis Simmons.  He was a Lieutenant Colonel in the United States Marine Corps, and he went on to work for the United States Secret Service and the Central Intelligence Agency (CIA).  Simmons joined the U.S. Security Group as a highly capable assassin, but is murdered during a mission.

Because of his life as an assassin, Simmons is sent to Hell where he made a deal with Malebolgia, one of the major Lords of Hell.  Simmons agreed to become a “Hellspawn” (an officer in Hell's army) and to serve Malebolgia if he is allowed to see his wife, Wanda, one last time.  While Malebolgia does return Simmons to Earth as a creature named “Spawn,” he stripped Simmons of his memories.  Eventually, Spawn decided to break his agreement Hell, and then, began a long campaign to stop the forces of evil.

Spawn has reached its three-hundredth issue, and like he did for Spawn #100 and Spawn #200, McFarlane adds big names to this special issue's creative team.  That includes DC Comics' superstar, Scott Snyder, as co-writer; superstar comic book artist Greg Capullo; rising star, Jerome Opeña; artist Jason Shawn Alexander; and variant cover hustler, J. Scott Campbell.  Colorists FCO Plascencia, Brian Haberlin, Peter Steigerwald, and Matt Hollingsworth join longtime Spawn letterer Tom Orzechowski to complete the creative team.

Spawn #300 opens in Kearney, Nebraska, where the Johnston family is having its annual family reunion during the first weekend of August, as it has for the last twenty-six years.  What is different this year is that there is a killer among them.

Meanwhile, Spawn continues his mission to free humanity from the clutches of both Heaven and Hell.  Having already freed his own ass, Spawn is without his allies from Hell, and Heaven sure hasn't stopped being his enemy.  Now, Spawn must face two of his oldest adversaries, the Clown and Violator.  While Spawn fights to survive to the next stage of his struggle, new allies, however, are emerging...

I was a Spawn reader from the first issue back in 1992.  I even read spin-off miniseries and ongoing series like Angela (Image Comics, 1994-1995), Curse of the Spawn (Image Comics, 1996-1999), and Spawn/WildC.A.T.S. (Image Comics, 1996).  I stuck with Spawn for almost six years.  Why did I quit?  The story never really seemed to be going anywhere, and the story was stuck in a rut.  It was always about Spawn either pining for his life as Al Simmons or struggling against his destiny as a “Hellspawn,” a member of the officer corps that would lead the forces of Hell.

Twenty-seven years later, Spawn has not changed much.  Spawn is still struggling against Hell, but now he sees Hell and Heaven as interchangeable adversaries.  Spawn wants to lead humanity in a war against both sides in order to free itself, as he did.

Todd McFarlane, like many of his Image Comics cohorts, launched Image with comic books that looked like superhero comics.  However, these superheroes were military types – special operatives, secret agents, mercenaries, etc., and the stories featured the kind of action and violence of military science fiction and fantasy.  Quite frankly, the initial Image Comics titles were closer to movies like James Carmeron's Aliens (1986) and select titles from actor-screenwriter Sylvester Stallone's filmography (especially the Rambo film series) than they were like classic comic books.  Sure, some Image titles had a passing resemblance to Marvel and DC Comics titles.  Cyberforce and WildC.A.T.s shared elements with Marvel's X-Men, and Spawn had more than a passing resemblance to Batman, especially to the Batman of Frank Miller's Batman: The Dark Knight Returns.  Still, Image Comics was introducing new kinds of superheroes to the American comic book artists.

The problem was that Todd McFarlane and his Image colleagues were never really good at the techniques of writing comic books.  They were all about big action-oriented illustrations that depicted violence and characters in action-figure poses.  Comics uses graphics, including illustrations, to tell stories.  Pretty art, overwrought, “detailed” art, and striking visuals does not really tell a story.

However, it is good to see the art team of Greg Capullo (pencils) and McFarlane (inks) back together.  The Capullo-McFarlane team drew most of the issues of Spawn that I read, so their reunion in Spawn #300 gives me a nice feeling of nostalgia.  Nothing else in this issue registers with me, although I must say J. Scott Campbell is perfectly utilized here.  The chapter that Campbell draws, which introduces “She-Spawn,” epitomizes the low-brow, exploitation, speculator-market crap heap from which Campbell emerged on his way to being a “superstar creator” and comic book “legend.”

The coloring and lettering in Spawn #300 are of professional quality but don't make the issue feel like the landmark it should be.  In the end, I did find some things in Spawn #300 that I liked, enough to make me be generous with me grading.

★★★ out of 4 stars

Reviewed by Leroy Douresseaux a.k.a. "I Reads You"

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The text is copyright © 2022 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for reprint and syndication rights and fees.

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Saturday, December 7, 2019

Review: DEADPOOL #1 (2018)

DEADPOOL No. 1 / No. 301 (2018)
MARVEL COMICS – @Marvel

[This review was originally posted on Patreon.]

STORY: Skottie Young
ART: Nic Klein; Scott Hepburn
COLORS: Nic Klein; Ian Herring
LETTERS: Jeff Eckleberry
EDITOR: Jake Thomas
COVER: Nic Klein
VARIANT COVER ARTISTS: Skottie Young with Jean-Francois Beaulieu; Skottie Young; Mike Deodato, Jr. with Rain Beredo; Rob Liefeld with Federico Blee; Rob Liefeld with Jesus Aburtov; Jerome Opena with Jason Keith
36pp, Color, $4.99 U.S. (August 2018)

“Parental Advisory”

Deadpool created by Rob Liefeld and Fabian Nicieza

“Back in Business”

Deadpool is a Marvel Comics anti-hero character.  He was created by artist-writer Rob Liefeld and writer Fabian Nicieza and first appeared in The New Mutants #98 (cover dated: February 1991).  Deadpool is Wade Winston Wilson, a disfigured and deeply mentally disturbed assassin-for-hire and mercenary with a superhuman physical prowess and an accelerated healing factor.  The character is depicted as joking constantly, being sarcastic, and having a tendency to engage in the literary device of “breaking the fourth wall” and speaking to readers.

Marvel Comics recently launched a new Deadpool comic book series, because launching and relaunching comic book series and number-one issues is something for which Marvel has a proclivity.  Deadpool 2018 is written by Skottie Young.  This issue has two stories.  The first is drawn and colored by Nic Klein, and the second is drawn by Scott Hepburn and colored by Ian HerringJeff Eckleberry provides lettering for both stories.

Deadpool #1 (“Back in Business”) finds our (anti) hero enjoying a sappy Oscar-bait drama, “Best Friends Buds” at the local movie theater.  What Deadpool really wants is a high-paying assassination gig, but his “assistant,” Negasonic Teenage Warhead, informs him that his current target is also enjoying “Best Friends Bud.”  Luckily more craziness is, indeed, headed Mr. Wilson's way, in the form of the kind of adversary the Avengers usually handle.

In “Good Night,” Deadpool, post-mind-wipe, wants a new new origin story.  He tries on several, most of them riffs on familiar superhero origin tales.

I have not read a Deadpool comic book in over two decades, maybe since that miniseries Joe Madureira drew.  I decided to read the first issue of this new Skottie Young-written series because I liked the first issue of the Rocket Raccoon comic book Young wrote and drew a few years ago.  I made a good choice, as I really enjoyed this new Deadpool #1.

Young has written a comic book that reads like a partial transcript of the hit 2016 Deadpool film, and Young does joke about the stylistic similarities between that film and this comic book.  That's okay.  On that rare occasion, a comic book should skew close to its film adaptation.  Nic Klein's art blends seamlessly with Young's script to create an entertaining and humorous comic book, and even Klein's coloring has a comic vibe.  That makes it complete Deadpool the 2018 comic book is spiritually similar to Deadpool the 2016 movie.

Artist Scott Helpern and artist Ian Herring offer a nice turn in riffs on famous comic book origin stories in the second story, “Good Night.”  Of course, letterer Jeff Eckleberry swoops in to assure that the comedy works.  I think that some people underestimate how important lettering is to not only creating the tone of a comic book story, but also how important letterers are to making sure that dialogue and exposition have the intended dramatic or humorous impact.

I think a few issues of this new Deadpool series have been published since the debut of this first issue.  So I need to hunt some back issues because I think I might want to follow this.  It is not a “great” work; sometimes, Young seems to try a little too hard to be funny, but this Deadpool #1 is quite enjoyable.

7 out of 10

Reviewed by Leroy Douresseaux a.k.a. "I Reads You"


The text is copyright © 2018 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for reprint and syndication rights and fees.

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Saturday, June 24, 2017

Review: SEVEN TO ETERNITY #1

SEVEN TO ETERNITY No. 1
IMAGE COMICS – @ImageComics

[This review was first posted on Patreon.]

WRITER: Rick Remender
ARTIST: Jerome Opena
COLORS: Matt Hollingsworth
LETTERS: Rus Wooton
COVER: Jerome Opena with Matt Hollingsworth
VARIANT COVER: Tony Moore
32pp, Color, $3.99 U.S. (2016)

Rated M / Mature

Seven to Eternity created by Rick Remender and Jerome Opena

Seven to Eternity is a new fantasy comic book series created by writer Rick Remender and artist Jerome Opena.  Colorist Matt Hollingsworth and letterer Rus Wooton complete the creative team.  The series focuses on a dying knight from a disgraced house who must choose between a desperate bid for freedom or the gifts of an evil God.

Seven to Eternity #1 opens on the world of Zhal.  There, “the God of Whispers” rules with fear over an entire kingdom.  Also known as “the Mud King,” this dark tyrant will give you everything your heart desires – if you listen to what he has to say.  After an attack on his homestead, which leads to the death of a family member, disgraced knight Adam Osidis decides to fight back.  But first, he will do something he knows he should not, hear what the God of Whispers has to say.

First issues, even those by veteran and/or acclaimed creators, can be tricky, especially in the modern era when stories seem more decompressed than ever.  Writers are stingy with character revelations, often offering information as nothing more than a trickle.  Plots plod along, teasing with explosive sequences that don't necessarily speed the story.  Artists offer beautiful panoramas and vistas that are alluring, but also don't necessarily speed-the-plow of the narrative.

Seven to Eternity #1 is different.  Poetic and lyrical exposition and dialogue unites with beautiful art dressed in splendid covers, Seven to Eternity is straight-forward about the hero's dilemmas and the obstacles he faces.  Writer Rick Remender generously reveals his character's bravery as he simultaneously declares his shame.  By the end of the first issue, the reader knows the conflict and those in conflict (for the most part).  Readers are not left hanging.

Jerome Opena tells this story with an expressive sweep that also captures the intimate and gritty details.   His compositions and graphical storytelling make Seven to Eternity #1 a unique debut.  This comic book recalls Michael Moorcock fantasy and the science fiction and fantasy comics of the 1970s and 1980s that appeared in Heavy Metal and Epic magazines and others that were published by Pacific Comics and Star Reach.  However, Seven to Eternity also moves like a Western thriller that ambles to the sounds of Kentucky bluegrass notes.

There is a reason Seven to Eternity #1 is selling quickly.  Imaginative, inventive, and visually alluring, it promises to be like no other fantasy comic book we have seen in a long time.

Reviewed by Leroy Douresseaux a.k.a. "I Reads You"


The text is copyright © 2016 Leroy Douresseaux. All Rights Reserved. Contact this blog for reprint and syndication rights and fees.

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Friday, April 24, 2015

Review: "The Uncanny Inhumans #0" Has Soule Power

THE UNCANNY INHUMANS #0

WRITER: Charles Soule
PENCILER: Steve McNiven
INKER: Jay Leisten
COLORIST: Justin Ponsor
LETTERER: VC's Clayton Cowles
COVER: Steven McNiven with  Justin Ponsor
VARIANT COVERS: Simone Bianchi; Jim Cheung; Jerome Opena; Siya Oum; Mike Perkins with Christian Ward

“Things to Come” Double-Page Spread by Brandon Peterson

“End Times”


Marvel has been pumping up the Inhumans for a while.  They have been popping up all over the Marvel Universe.  Inhumans and Ms. Marvel have been two good additions to the Marvel line-up of series.  Now, they give us The Uncanny Inhumans.  Everybody is “uncanny” these days.  I can't wait until the Uncanny Power Pack hits the stands.

Back to the reason for this review:  As an appetizer for the main course, The Uncanny Inhumans #0 left my mouth watering.  Charles Soule subtly foreshadows future conflicts that Black Bolt and the Inhumans will be facing.  Just in this issue, we get to see some street level crime, some royal family drama, father-son conflict, and an evil master of time.  Soule piqued my interest with each of these story lines.

With Black Bolt, a writer has to use other characters and events to direct us through the story line.  Even then, we can only assume what Black Bolt's intentions are in relation to the true direction of the story.  Medusa claims that she knows what Black Bolt is thinking, but who really knows.  Black Bolt is the biggest mystery in his own stories.  Soule uses this aspect of the character to build our anticipation of coming events.  Oh, yeah!  Black Bolt is an awesome “insert your own slang.”  Mine included a lot of profanity and bureaucrat was not one.

As a “0” issue, this has been one of the best reads in awhile, and Soule was effective in his use of what is basically a preview of things to come.  Most of the time, “0” issues are epic fails, and I don't like to waste energy on them.

“Evolution”
Writer: Ryan Stegman; Artist: Ryan Lee; Colors: James Campbell

Marvel was so kind as to give us a bonus feature in The Uncanny Inhumans #0.  Like we are willing to give $5 for anything they deem worthy.  This was a cool back-up featuring Iso and Flint.  We get good action, and the characters reach turning points in their lives.  This story added a different flavor to the issue.  The issue just keeps drawing you into the Inhuman universe.

This is the book for all comic book art aficionados.  Give all the artists who worked on this issue their credit.  You go through page after page of beautiful Steve McNiven art; then, BAM! you get hit with the Brandon Peterson spread.  This is the kind of art that makes you feel like you owe Marvel some money.  I wonder if Peterson saw McNiven's art before he did his spread and knew he had to turn up.  Wait.  I'm going back and look at this book again.

I rate this issue “Buy Your Own Copy” (#2 on the Al-o-Meter), and the art alone is worth every penny!

Reviewed by Albert Avilla

The text is copyright © 2015 Albert Avilla. All Rights Reserved. Contact this blog for syndication rights and fees.


Tuesday, March 31, 2015

Marvel Comics from Diamond Distributors for April 1, 2015

MARVEL COMICS

FEB150721     AMAZING SPIDER-MAN #17     $3.99
JAN150817     AVENGERS #43 TRO     $3.99
JAN150897     AVENGERS EVERYBODY WANTS RULE WORLD PROSE NOVEL HC     $24.99
FEB150693     AVENGERS MILLENNIUM #1     $3.99
DEC140948     AVENGERS RAGE OF ULTRON OGN HC     $24.99
JAN150896     AVENGERS SCARLET WITCH BY ABNETT AND LANNING TP     $24.99
FEB150697     AVENGERS ULTRON FOREVER #1     $4.99
FEB150734     CYCLOPS #12 BV     $3.99
FEB150818     DARK TOWER DRAWING THREE HOUSE CARDS #2 (MR)     $3.99
DEC148710     DARTH VADER #1 GRANOV 2ND PTG VAR     $4.99
DEC148711     DARTH VADER #2 GRANOV 2ND PTG VAR     $3.99
FEB150777     GEORGE ROMEROS EMPIRE OF DEAD ACT THREE #1 Of(5)     $3.99
FEB150750     GUARDIANS OF GALAXY BEST STORY EVER #1     $3.99
FEB150751     GUARDIANS TEAM-UP #4     $3.99
FEB150816     IRON FIST LIVING WEAPON #11     $3.99
FEB150675     KANAN LAST PADAWAN #1     $3.99
APR140751     MMW AVENGERS HC VOL 01 NEW PTG     $49.99
APR140752     MMW INVINCIBLE IRON MAN HC VOL 01 NEW PTG     $49.99
DEC140963     ONCE UPON A TIME PREM HC OUT OF PAST     $24.99
FEB150805     OPERATION SIN #4     $3.99
FEB150808     PUNISHER #17     $3.99
FEB150825     RETURN OF LIVING DEADPOOL #3     $3.99
FEB150744     ROCKET RACCOON #10     $3.99
DEC148712     SPIDER-GWEN #1 RODRIGUEZ 2ND PTG VAR     $3.99
FEB150731     SPIDER-GWEN #3     $3.99
DEC148713     STAR WARS #1 CASSADAY 4TH PTG VAR     $4.99
FEB150762     TRUE BELIEVERS AGE OF APOCALYPSE #1     $1.00
FEB150761     TRUE BELIEVERS MARVEL ZOMBIES #1     $1.00
JAN150809     UNCANNY AVENGERS #3     $3.99
FEB150664     UNCANNY INHUMANS #0     $4.99
JAN150892     WEIRDWORLD TP WARRIORS OF SHADOW REALM     $34.99
FEB150826     WOLVERINES #13     $3.99

Saturday, May 31, 2014

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.

Saturday, February 2, 2013

Albert Avilla Reviews: Avengers #2

Avengers #2
Marvel Comics

Reviewed by Albert Avilla

Writer: Jonathan Hickman
Artist: Jerome Opena
Cover: Dustin Weaver & Justin Ponsor
Variant Covers: Esad Ribic; John Romita Jr., Klaus Janson, and Dean White

“We Were Avengers” (Spoilers)
I lamented Bendis leaving the Avengers, but do not worry. Marvel’s greatest heroes have been put in capable hands. Hickman has won me over with a simple roll call story. You know: a story that comes around every so often when the Avengers lineup is changing.

First, we have the core group, the movie Avengers. If you don’t know who they are, then, I suggest that you go watch the DVD; I think it’s out. Next, we have the super popular Wolverine and Spider-man; two characters who have that never-stop-until-you-die fighting spirit. The two characters that I’m glad they have a spot on the team are Captain Marvel and Spider-Woman, no relation to Spider-Man. The Falcon is on the team; as Cap’s partner, this should be his home. It would be cool if Tony would give him an upgrade. What ever happened to Redwing?

The best hand-to hand-fighter in the Marvel Universe is on the team, The Master of Kung Fu, Shang Chi. Bringing youth to the team are Sunspot and Cannonball, the team supreme within the team. Manifold will make anywhere possible; I want to go on vacation with the dude. I want to see the pyramids when they where being built. Smasher puts the Avengers on a level with the Imperial Guard; I can’t wait for an Avengers-in-space story. Captain Universe brings awesome power to the team. The final player in the game is Superman, Oh, sorry! I mean Hyperion. Come on, we know that Hyperion is Marvel’s Superman. Think about it, Superman in the Avengers; get ready for some big time throwing down.

I enjoyed the humor. It is a good idea to keep the past lives of Smasher, Captain Marvel, and Hyperion under wraps for now; I’m expecting some good future stories. The Avengers have definitely gotten bigger. The villainous forces of Marveldom better step up their plotting and scheming.

The rest of the story gives the origin of Ex Nihilo and Abyss. They begin their transformation of Earth, and Cap marshals the new team for their attack on Ex Nihilo. It’s going to be on.

The art is unique in the good way; Opena’s style is beautiful. The coloring is detailed without giving the art that puzzle piece look. The character’s expressions are appropriate and related to the character’s emotions.

I rate Avengers #2 Buy Your Own Copy. #2 (of 5) on the Al-O-Meter Ranking.


Saturday, December 29, 2012

Albert Avilla Reviews: Avengers #1

Avengers #1
Marvel Comics

Reviewed by Albert Avilla

Writer: Jonathan Hickman
Artist: Jerome Opena
Cover: Dustin Weaver and Justin Ponsor
Variant Covers: Steve McNiven and Justin Ponsor; Esad Ribic

“Avenger’s World” (Spoilers!)
Now, I know why the #1 on the cover is so big. Sometimes you like something, but you don’t know why. This is one of those times for me. I can’t say that the action was on a grand scale; The Avengers got their butts beat down.

The villains do seem to be interesting, but they are not beyond what we have come to expect. They are very powerful, and they took the Avengers out in a minute; they will be a challenge for the Avengers to defeat. They are new and fresh, and they are the worst kind of villains, beings who think that humans are primitives and that they are working for the good of mankind.

The dialogue is good stuff, but it’s just basic characters interacting with each other. Jonathan Hickman gives the events of this story a sense of historic significance. We get the feel that this is a major turning point in the history of the Universe. The Avengers are presented as legendary heroes whose myths go beyond their actual deeds. These are modern day George Washingtons and Geronimos whose legends have outgrown the real people. This is the beginning of an epic story. Hickman has set the stage for greatness; I hope that he is able to deliver.

Jerome Opena’s art is signature. It stands out in the crowd. Iconic characters and iconic scenes are found throughout the book. The art adds to the grandiose quality of the story.

I rate Avenger # 1 Buy Your Own Copy. #2 (of 5) on the Al-O-Meter Ranking.