Review: BULLSEYE #1

BULLSEYE No. 1 (2017)
MARVEL COMICS – @Marvel

[This review was originally posted on Patreon.]

WRITERS: Ed Brisson; Marv Wolfman
ART: Guillermo Sanna; Alec Morgan
COLORS: Miroslav Mrva; Frank Martin
LETTERS: VC's Clayton Cowles
COVER: Dave Johnson
VARIANT COVERS: Tim Bradstreet; Marco Checchetto; John Tyler Christopher; Bill Sienkiewicz; Chris Stevens; Skottie Young
36pp, Color, $4.99 U.S. (April 2017)

Parental Advisory

“The Colombian Connection” Part 1

Bullseye is a Marvel Comics supervillain.  The character was created by writer Marv Wolfman and artist John Romita, Sr. and first appeared in Daredevil #131 (cover dated: March 1976).  Bullseye is an assassin and he is best known for his personal vendetta against the superhero Daredevil.  Bullseye does not have super-powers but he can turn almost any object into a lethal weapon.

Bullseye is the new comic book miniseries starring this popular villain.  It is written by Ed Brisson; drawn by Guillermo Sanna; colored by Miroslav Mrva; and lettered by Clayton Cowles.

Bullseye #1 opens to find the titular villain/anti-hero active again after being alive, dead, and imprisoned again and again.  Now, he is at the Houghton Residence in Long Island, New York fulfilling an assassination contract.  But, man!  Bullseye is hoping that his next assignment yields both a high body count and buckets of blood.  Desperate gangster Raph Losani may offer that, but a desperate widow just wants to count one body.

Recently, I reviewed the first issue of Kingpin, another comic book seemingly spun out of the world of Marvel Comics' Daredevil.  I was harsh in my review, but not because I thought the writer (Matthew Rosenberg) and the artist (Ben Torres) lacked talent (Rosenberg) or potential (Torres).  The problem is the fact that these two delivered substandard work and the fact that Marvel Comics would consider such unprofessional material worth publishing and charging readers $3.99 to read.

Bullseye #1 suffers from the same problem of a lack of professionalism.  The story and script that Ed Brisson offers is just lazy hackwork that mimics better storytelling.  The casual depiction of Bullseye's murderous rampages is not imaginative or smart, but it is unimaginative and stupid.  Frank Miller did not create Bullseye, but during his 1980s run on Daredevil, he certainly defined the character, making him the kind of dangerous and alluring villain that becomes timeless.  Here, Bullseye's violence seems as if Brisson took the clever violence of Mark Millar's comic books and turned that into filler material because Brisson could not think of anything else to do with it.

I think artist Guillerma Sanna has a lot of potential, but in Bullseye #1 he draws as if he should still be toiling in the world of micro press black and white comic books.  Everything here looks as if Sanna is simply mimicking (badly) other artists' (good) work; Chris Samnee and Eduardo Risso, come to mind.

There is a backup story by writer Marv Wolfman and artist Alec Morgan, “If I Tell You...” that takes some of the sour out of the main story.  It makes me wonder why Wolfman isn't writing this miniseries.  Is it because he is “too old” and “passè?”  I don't doubt that he would not write as bad a script as Ed Brisson wrote, even if he kept the overall plot.  I also like Alec Morgan's Eduardo Risso-like art.  Why isn't he drawing the main story!?

I am not recommending this, nor do I intend to read another issue.  But I might change my mind...

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


The text is copyright © 2017 Leroy Douresseaux. All Rights Reserved. Contact this blog for syndication rights and fees.

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Review: KINGPIN #1

KINGPIN No. 1 (2017)
MARVEL COMICS – @Marvel

[This review was originally posted on Patreon.]

WRITER: Matthew Rosenberg
ART: Ben Torres
COLORS: Jordan Boyd
LETTERS: VC's Travis Lanham
COVER: Jeff Dekal
VARIANT COVERS: Marco Checchetto; Bill Sienkiewicz; Ben Torres; Julian Totino Tedesco; Skottie Young; John Tyler Christopher
28pp, Color, $3.99 U.S. (April 2017)

Rated “T+”

Kingpin created by Stan Lee and John Romita, Sr.

“Born Against”

The Kingpin/Wilson Fisk is a Marvel Comics villain.  He was created by writer Stan Lee and artist John Romita and first appeared in The Amazing Spider-Man #50 (cover date: July 1967).

The Kingpin is portrayed as one of the most (if not the most) feared and powerful crime lords in Marvel Comics and as the “kingpin” of crime in New York City.  During his run on Daredevil in the early 1980s, writer-artist Frank Miller depicted the Kingpin as a master schemer and cold-blooded murderer who stayed beyond the reach of the law.  Personally, I think Miller is the creator that defined Kingpin more than anyone else.

Kingpin is the new comic book series that chronicles the new adventures of Wilson Fisk.  It is written by Matthew Rosenberg; drawn by Ben Torres; colored by Jordan Boyd; and lettered by Travis Lanham.

Kingpin #1 (“Born Against”) introduces Sarah Dewey, a down on her luck writer, reporter, and journalist.  She has staked some of her remaining credibility on chronicling what she hopes will be the rise of a promising boxer, Orlando Perez.  She gets a break when a powerful man asks her to write his tell-all memoir – warts and all.  However, Sarah does not think she is the right person to write the story of Wilson Fisk... even if he won't take “No” for an answer.

It would be lazy of me to say that Kingpin #1 is “awful” or “terrible.”  Instead, I can simply say that it does not seem like the work of professional comic book creators, although, considering how and why comic book professionals often get assignments, I guess that isn't saying much either.  Still, this is such lazy, uninspired, unimaginative writing on the part of Matthew Rosenberg.  If he had a “Eureka!” moment before he wrote this, I am sad for him.

Now, the art is actually terrible.  Ben Torres does not have the compositional chops to draw for Marvel Comics, and yes, I know.  Marvel's standards for comic book artists have been and still are inconsistent at best.  Right now, Torres is certainly ready for semi-pro-zine work (if such a thing still exists).  I can see him drawing for small press, black and white publishers or self-published webcomics, but he ain't ready for prime time.  Oh, he is has potential, but he has not reached it.

Marvel's overall publishing program treats the North American comic book market like a flood plain in need of a flood.  With so many comic books to publish and likely budgetary constraints, the need for low-page-rate artists means artists like Ben Torres – amateurs who are technically not amateurs because a Diamond Distributors premiere publisher is willing to give them paying assignments.

Yeah... I'm not coming back to this, no.

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


The text is copyright © 2017 Leroy Douresseaux. All Rights Reserved. Contact this blog for reprint or syndication rights and fees.

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Review: DARTH MAUL #1

DARTH MAUL No. 1
MARVEL COMICS – @Marvel

[This review was originally posted on Patreon.]

WRITER: Cullen Bunn
ART: Luke Ross
COLORS: Nolan Woodard
LETTERS: VC's Joe Caramagna
COVER: Rod Reis
VARIANT COVERS: Rafael Albuquerque; Mark Brooks; John Tyler Christopher; Terry Dodson; Rod Reis; Michael Turner; Ashley Witter
36pp, Color, $4.99 U.S. (April 2017)

Rated “T”

Book 1, Part 1

Since he first appeared in the film Star Wars: Episode I – The Phantom Menace (1999), Darth Maul has been a favorite character of Star Wars fans.  Maul is a Sith Lord, an apprentice to Darth Sidious, and is seemingly killed in his film debut.  With striking facial tattoos, vestigial horns, and a double-bladed lightsaber, however, Maul proved too popular to stay dead.  The character returned in the canonical Star Wars animated series, “Star Wars: The Clone Wars” and “Star Wars Rebels.”

Now, Darth Maul gets his first Star Wars comic book from Marvel Comics.  [There were Darth Maul comic books from Dark Horse Comics, the previous license holder of Star Wars comic books].  Entitled, Darth Maul, this five-issue miniseries is written by Cullen Bunn; drawn by Luke Ross; colored by Nolan Woodard; and lettered by Joe Caramagna.

Darth Maul #1 opens before the events depicted in The Phantom Menace.  The Sith Lord, Sidious, is not ready to reveal himself to his enemy, the Jedi.  However, his apprentice, Darth Maul, grows restless, and finds that hunting some of the galaxy's most dangerous creatures does not satisfy his blood lust.  Now, Sidious sends Maul on a mission that will unexpectedly yield just the kind of hunting that Maul really wants to undertake.

It is easy for me to be cynical every time Marvel Comics announces another Star Wars comic book, but I know I am going to read at least the first issue of each new series, and likely read miniseries in their entirety.  Sometimes, I am genuinely happy with what I read, which is the case with Darth Maul.

Writer Cullen Bunn completely sells the idea that Maul so chafes under Sidious that he would willingly tempt fate and go against his master's wishes just to feed his blood lust.  It is a side of Maul that writers of Star Wars animated television series and novels have either hinted at or fully depicted.  With his Darth Maul comic book, it seems that Bunn is going to use this to full effect, and he may actually take the character places others have not.

The art team of Luke Ross and Nolan Woodard are producing a visual and graphical style that is unlike other Star Wars comic books.  I don't know if Woodard is coloring the art directly from Ross' pencils, but the effect is striking – bold, rich colors over moody compositions.  I recommend.

[This issue includes the bonus story, “Probe Droid Problem” by Chris Eliopoulos and Jordie Bellaire.]

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


The text is copyright © 2017 Leroy Douresseaux. All Rights Reserved. Contact this blog for reprint and syndication rights and fees.

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Review: AVENGERS No. 1.1

AVENGERS No. 1.1
MARVEL COMICS – @Marvel

[This review was originally posted on Patreon.]

STORY: Mark Waid
PENCILS: Barry Kitson
INKS: Mark Farmer
COLORS: Jordan Boyd
LETTERS: Ferran Delgado
COVER: Barry Kitson with Jordan Boyd
VARIANT COVERS: Alan Davis and Mark Farmer with Matt Yackey; Alex Maleev; John Tyler Christopher
28pp, Color, $3.99 U.S. (January 2017)

Rated “T+”

Avengers created by Stan Lee and Jack Kirby

The Avengers are a Marvel Comics team of superheroes.  The team made its debut in The Avengers #1 (cover dated:  September 1963) and were created by Stan Lee and Jack Kirby.  Known as “Earth's Mightiest Heroes,” the Avengers had an original line-up of Iron Man, Thor, Hulk, Ant Man, and The Wasp.  Captain America, a 1940s character from Timely Comics (Marvel's precursor), joined the team in The Avengers #4 (cover dated:  March 1964).

With The Avengers #16 (cover dated:  May 1965), every member of the Avengers, except Captain America, quit the team.  Replacing them were three former villains:  Hawkeye, Quicksilver, and the Scarlet Witch.  Marvel Comics revisits those early years of the “new” Avengers in the new comic book series, Avengers 1.1.  It is written by Mark Waid; drawn by Barry Kitson (pencils) and Mark Farmer (inks); colored by Jordan Boyd; and lettered by Ferran Delgado.

Avengers #1.1 opens with “Avengers Assemble” as Thor, Iron Man, Giant-Man (formerly Ant-Man), and the Wasp take on the members of the Masters of Evil:  The Black Knight, The Enchantress, The Executioner, and The Mysterious Melter.  After that battle, the remaining original Avengers decide to quit the team.  Now, Captain America is left alone to deal with three new Avengers who have controversial pasts.  Now, an enemy is prepared to take advantage of this awkward moment in the history of “Earth's Mightest Heroes.”

I am a fan of Silver Age comic books, especially those published by Marvel and DC Comics.  However, I am not necessarily a fan of modern comic books that try to retell those stories in a faux-retro style.  [After all, Marvel and DC Comics often retell stories they originally published in the 1960s with a modern spin via remakes or re-imaginings.]

I am a fan of Avengers #1.1 for two reasons.  The first reason is writer Mark Waid, who always seems to have the Midas touch when writing comic books that retell stories from the 1960s or at least tries to recapture the spirit of those comic books.  I can't quite describe it, but Waid gets it right with this first issue.

The second reason is artist Barry Kitson.  His clean compositions recall the classic mid-century modern and “New York slick” aesthetic of classic 1960s Marvel Comics.  It helps that Kitson's inker for this issue is Mark Farmer, known for inking the pencil art of Alan Davis.  Davis' comic book art has a timeless quality that looks like it could belong in any comic book era, and here, Farmer makes Kitson's storytelling resemble Davis's.

I am excited about Avengers 1.1 (or Avengers .1)  As long as Mark Waid is writing and artists like Barry Kitson are drawing this Avengers title, I will read it, although I generally avoid Avengers comic book series...

A-

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


The text is copyright © 2017 Leroy Douresseaux. All Rights Reserved. Contact this blog for syndication rights and fees.

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Review: CAPTAIN AMERICA #695

CAPTAIN AMERICA No. 695
MARVEL COMICS – @Marvel

[This review was originally posted on Patreon.]

STORY: Mark Waid
ART: Chris Samnee
COLORS: Matthew Wilson
LETTERS: VC's Joe Caramagna
COVER: Chris Samnee with Matthew Wilson
VARIANT COVERS: Alex Ross (after John Romita, Jr. and Bob Layton); John Tyler Christopher with Ariel Olivetti; Adi Granov; Mike McKone with Rachelle Rosenberg; Jim Steranko
28pp, Color, $3.99 U.S. (January 2018)

Rated “T+”

Captain America created by Joe Simon and Jack Kirby

“Home of the Brave” Part 1

Captain America is a Marvel Comics superhero. He was created by Joe Simon and Jack Kirby and first appeared in Captain America Comics #1 (cover dated:  March 1941), which was published by Timely Comics, a predecessor of Marvel Comics.  Captain America Comics was canceled in 1949, but there was a revival of the series from 1953 to 1954.  Captain America fully returned to modern comic books in The Avengers #4 (cover dated: March 1964).

Marvel Comics is in the middle of its “Legacy” event, returning many titles to its original numbering after a decade of relaunching a number of titles with new #1 issues – three, four, and even five or more times.  The ongoing Captain America comic book series has a new creative team for the Legacy launch.  The team of writer Mark Waid and artist Chris Samnee, the creative duo behind Marvel's critically acclaimed Daredevil relaunch (2012) several years ago, brings Captain America into the “Legacy era.”  Matthew Wilson is the colorist, and Joe Caramagna is the letterer.

Captain America #695 begins with a brief recount of how Steve Rogers became the “super solider,” Captain America; his exploits on the battlefields of World War II, and how he disappeared.  Then, we learn how Captain America became a legend and an inspiration to the town of Burlington, Nebraska after stopping a group of neo-Nazi, white supremacist-types, something he may have to do again.

I have said that when Mark Waid is good, he is really good.  [On the other hand, when he is not good, he can be an exceedingly, irritatingly pedestrian comic book storyteller.]  I am a huge fan of Chris Samnee's classic, cartoonists drawing style.  In Captain America #695, Waid is in top form, and Samnee hits the heights of throwback, Silver Age comics style.

Waid's script creates a standalone story that epitomizes what seems to be the essence of Captain America's mission and message: the strong protect the weak.  We look out for each other against those who would do harm, and every man, woman, and child (of at least a certain age) can lend a helping hand, if they choose.

I love Captain America #695.  It is a standalone treat, the kind of single-issue comic book that we need in between long story arcs and of which we don't get often enough.  I really like Waid's story.  I wish more comic book art looked like Chris Samnee's art.  If I were a comic book publisher, my comic books would look like Captain America #695.  If you have time to read only one comic book today, read Captain America #695.

[This comic book includes an “Legacy” character summary written by Robbie Thompson; drawn by Valero Schiti; colored by Frank D'Armata; and lettered by VC's Joe Caramagna.]

A+
10 out of 10

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


The text is copyright © 2017 Leroy Douresseaux. All Rights Reserved. Contact this blog for reprint and syndication rights and fees.

----------------------------

Review: INVINCIBLE IRON MAN #1 (2017)

INVINCIBLE IRON MAN No. 1 (2017)
MARVEL COMICS – @Marvel

[This review was originally posted on Patreon.]

WRITER: Brian Michael Bendis
ART: Stefano Caselli
COLORS: Marte Gracia
LETTERS: VC's Clayton Cowles
COVER: Stefano Caselli with Marte Gracia
VARIANT COVERS: Jeff Dekal; Adi Granov; Mike McKone with Jason Keith; Tom Raney with Frank D'Armata; Skottie Young; John Tyler Christopher
28pp, Color, $3.99 U.S. (January 2017)

Rated “T+”

Iron Man created by Stan Lee, Larry Lieber, Don Heck, and Jack Kirby

It seems just like yesterday I was reviewing a new Iron Man comic book series (Invincible Iron Man) and just a few days before that I was reviewing an earlier new Iron Man series (Superior Iron Man).  Each one came as part of a new Marvel Comics publishing initiative.

Speak of the Marvel devil, there is a new Marvel publishing event/initiative, NOW!, and that comes with the new Invincible Iron Man comic book.  The series is written by Brian Michael Bendis; drawn by Stefano Caselli; colored by Marte Gracia; and lettered by Clayton Cowles.  And there is a new Iron Man, she is teenage wunderkind, Riri Williams, the first African-American female to wear an Iron Man uniform.  She is Ironheart!

Invincible Iron Man #1 finds Riri putting her self-made Iron Man armor to the test against an embittered mutant, Animax.  We also take a trip into Riri's past and get to witness the curious return of someone who has been watching Riri for some time.

I have high hopes for this latest version of Invincible Iron Man because of writer Brian Michael Bendis.  Over the last several years, Bendis has done amazing work with an African-American character, Miles Morales, the “Ultimate” Spider-Man.  In Morales, Bendis created a fully-realized Black male comic book character, and he wrote Miles as such an engaging and intriguing young fellow that I was often more interested in Miles as Miles than Miles as Spider-Man.

I don't know if Bendis will make Riri Williams more interesting as Riri than as Iron Heart, but right from this first issue, it is clear that Riri is the kind of character who will charm this comic book reader.  Once again, Brian Michael Bendis proves to me why he is the best writer of superhero comic books over the last 20 years.

B+

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


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

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Review: INVINCIBLE IRON MAN #593

INVINCIBLE IRON MAN No. 593
MARVEL COMICS – @Marvel

[This review was originally posted on Patreon.]

WRITER: Brian Michael Bendis
ART: Stefano Caselli; Alex Maleev
COLORS: Marte Gracia; Alex Maleev
LETTERS: VC's Clayton Cowles
COVER: Adi Granov
VARIANT COVERS: Alan Davis and Mark Farmer with Matt Yackey; John Tyler Christopher with Stefano Caselli and Marte Gracia; Mike McKone with Rachelle Rosenberg; Chip Zdarsky; Jack Kirby with Frank Giacola
28pp, Color, $3.99 U.S. (December 2017)

Rated “T+”

Iron Man created by Stan Lee, Larry Lieber, Don Heck, and Jack Kirby

“The Search for Tony Stark” Part One

One could be forgiven for thinking that there was a new Iron Man #1 comic book of some type every year, and that would not be far from the truth.  I think that going back to 1999, there have been close to 10 Iron Man #1's of one type or another, if not more.

Thanks to Marvel Comics' new “Legacy” initiative, Iron Man goes back to its original numbering (plus several relaunch numbers) and the result is Invincible Iron Man #593.  The creative team behind the most recent Invincible Iron Man relaunch (which was just a year ago) remains for the “Legacy” launch.  That would be writer Brian Michael Bendis; artist Stefano Caselli; colorist Marte Gracia; and letterer Clayton Cowles, with International Iron Man and Infamous Iron Man artist/colorist, Alex Maleev joining the team.

With Tony Stark out of commission (following events depicted in Civil War II), Riri Williams, a teenage girl and genius, and Victor Von Doom, formerly the super-villain Doctor Doom, have taken on the mantle of Iron Man.  Riri does so as the armored hero, Ironheart.

As Invincible Iron Man #593 opens, Tony Stark's comatose body has disappeared.  Riri joins Amanda Armstrong (Tony's birth mother); Mary Jane Watson (chosen by Tony to run Stark Industries); and Friday (an artificial intelligence Tony created to help him) in the search for Tony Stark.  They better hurry!  Stark Industries' Board of Directors is making bold moves.  Meanwhile, the Infamous Iron Man Victor von Doom has to find some escaped prisoners.

I had high hopes for the 11-issue run of Invincible Iron Man starring Riri Williams, and writer Brian Michael Bendis delivered.  Riri is the most fascinating female character of color in superhero comic books since the X-Men's Storm, specifically during the first decade of Storm's existence as written by Chris Claremont.  Riri is a well-developed character, and would be fascinating even if she were not in a superhero comic book.  Her imagination and inquisitiveness are infectious; I want to learn with her and be by her side inventing stuff.

But many of the white dudes that read comics and control the means of production (allegedly) ain't having it.  It is time to bring the white Iron Man back.  Seriously, Brian Bendis writing about Riri the armored character “Ironheart” in Invincible Iron Man and about Victor von Doom trying to be good guy as Iron Man in Infamous Iron Man did some stellar work.  In my decades as a Marvel Comics reader, I have never read better Iron Man comic books than what Bendis wrote, and he was doing it twice a month.

Bendis recently announced that he has signed as an exclusive creator with DC Comics, leaving Marvel after nearly 20 years.  I don't know who will replace him on Iron Man, and I don't think the new writer (who will obviously be a white male) can match Bendis.  If he does, I doubt he can do it on two monthly books.

So this first issue of “The Search for Tony Stark,” which is probably Bendis' last Iron Man story arc (for a while at least), is a nice start, and the ending of this issue is quite intriguing.

A
8 out of 10

Thursday, December 21, 2017


The text is copyright © 2017 Leroy Douresseaux. All Rights Reserved. Contact this blog for reprint and syndication rights and fees.

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Review: DOCTOR APHRA #1

DOCTOR APHRA No. 1
MARVEL COMICS – @Marvel

[This review was originally posted on Patreon. Visit the "Star Wars Central" review page is here.]

WRITER: Kieron Gillen
ART: Kev Walker; Salvador Larroca
COLORS: Antonio Fabela; Edgar Delgado
LETTERS: VC's Joe Caramagna
COVER: Kamome Shirahama
VARIANT COVERS: Rod Reis; John Tyler Christopher; Salvador Larroca; Elsa Charretier; Jamie McKelvie; Rafael Albuquerque; Ashley Witter; Kamome Shirahama
44pp, Color, $4.99 U.S. (February 2017)

Rated “T”

Aphra “Part 1”

Rogue archaeologist, Doctor Aphra, first appeared in Marvel Comics' Darth Vader #3.  She became Darth Vader's lackey and eventually his enemy.  Darth Vader the comic book recently ended, and its replacement is a new comic book, Star Wars: Doctor Aphra, Marvel Comics' first ongoing series starring an original Star Wars character created in the Star Wars comic books.  Doctor Aphra is written by Kieron Gillen; drawn by Kev Walker; colored by Antonio Fabela; and lettered by Joe Caramagna.

Doctor Aphra #1 opens in the aftermath of Darth Vader #25.  Aphra barely escaped Darth Vader's clutches with her life, and she knows if he discovers that she is not dead, he will hunt her down.  Aphra returns to what she does best – search the galaxy for rare artifacts.  She is now locating and liberating rare archaeological treasures; her companions are the homicidal droids, 0-0-0 and BT-1 (who also debuted in Darth Vader #3) and the Wookiee warrior, Krrsantan.  Her latest artifact find will bring her nothing but trouble, as she discovers that everyone and no one wants it.

I really like the cover art for Doctor Aphra #1, which is drawn and colored by Kamome Shirahama.  It is not a particularly inventive visual design, but it is striking in its execution.  I also like the interior art by Kev Walker, whose graphic style reminds me of the work of Jamie Hewlett (the co-creator with Alan Martin of Tank Girl).  Walker and colorist Antonio Fabela's work on this first issue would been a good fit for the best days of the science fiction and fantasy anthology magazine, Heavy Metal.

In fact, I think that in some ways,this Doctor Aphra comic book will be as much like Tank Girl, Heavy Metal, and various British and European science fiction comics as it will be a Star Wars comic book.  This title may be something of a risk for Marvel, in terms of Star Wars comic books, but it is good to see that they are willing to be a bit adventurous with their Star Wars titles.  The prior license holder for Star Wars comic books, Dark Horse Comics, was quite adventurous in the kind of Star Wars titles that it produced for two decades.

As a nice extra, there is a back-up story featuring a younger Doctor Aphra, and it is produced by the Darth Vader creative team of Gillen; artist Salvador Larroca, and colorist Edgar Delgado.  This story assures me that Doctor Aphra is more likely than not to be a good Star Wars comic book.

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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Review: INFAMOUS IRON MAN #1

INFAMOUS IRON MAN No. 1 (2016)
MARVEL COMICS – @Marvel

[This review was originally posted on Patreon.]

WRITER: Brian Michael Bendis
ART: Alex Maleev
COLORS: Matt Hollingsworth
LETTERS: VC's Clayton Cowles
COVER: Alex Maleev
VARIANT COVERS: Mike Deodato with Frank Martin; Anthony Piper; Esad Ribic; Mike McKone; Skottie Young; John Tyler Christopher
28pp, Color, $3.99 U.S. (December 2016)

Rated “T+”

Iron Man created by Stan Lee, Larry Lieber, Don Heck, and Jack Kirby

Victor von Doom a.k.a. Doctor Doom, one of Marvel Comics most infamous villains, made his debut in The Fantastic Four #5 (cover dated: July 1962).  Iron Man is now one of Marvel Comics most popular characters, thanks in no small part to a series of hit movies and hit movie appearances beginning in 2008 with the Oscar-nominated film, Iron Man.  Also known as the “Golden Avenger,” Iron Man debuted in Tales of Suspense #39 (cover dated: March 1963), a little more than half a year after Doctor Doom first appeared.

Iron Man and Doctor Doom were never meant to be together, as Iron Man fights to save the world and to help mankind progress, while Doctor Doom wants to rule the world and subjugate humanity.  In the wake of the events depicted in Marvel Comics' event miniseries, Civil War II, there is a new comic book series that seeks to bring them together, Infamous Iron Man.  It is written by Brian Michael Bendis; drawn by Alex Maleev; colored by Matt Hollingsworth, and lettered by Clayton Cowles.

Infamous Iron Man #1 finds Doctor Doom meeting with the members of his bad-guy collective, The Cabal.  But that was the old Doom.  Now, he is trying to save Maria Hill, director of S.H.I.E.L.D. and also to comfort Dr. Amara Perera, the woman who loved Tony Stark.  What is Doctor Doom up to, and how and why does it involve Iron Man?

Infamous Iron Man writer Brian Michael Bendis does not need to give us a lot of information.  Just about anyone reading Marvel Comics these days knows that Doom is going to take on the mantle of Iron Man.  The most important thing about any comic book written by Bendis is not the hook, but the execution of his storytelling.  Will it work or will it be a failure?  Right now, it is working (as usual for me), and I want more.

I must admit that I am enjoying the art drawn by Alex Maleev, which looks gorgeous under Matt Hollingworth's subdued, earthy, natural-lighting-like colors.  Maleev's graphical storytelling has an exciting, yet mysterious vibe when combined with Hollingworth's colors.  Yeah, Infamous Iron Man is certainly worth your time, my superhero comic book readers.

A-

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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Review: MOSAIC #1

MOSAIC No. 1
MARVEL COMICS – @Marvel

[This review was originally posted on Patreon.]

WRITER: Geoffrey Thorne
ARTIST: Khary Randolph
COLORS: Emilio Lopez
LETTERS: VC's Joe Sabino
COVER: Stuart Immonen
VARIANT COVERS: John Tyler Christopher; Marco D'Alfonso; Mike Deodato with Frank Martin; Khary Randolph; Pasqual Ferry with Frank D'Armata
36pp, Color, $4.99 U.S. (December 2016)

Rated T+

Episode One: “Mood Indigo”

Out of Civil War II.  Part of Marvel Comics' initiative “NOW!”  Here, comes Marvel's newest Black superhero, Mosaic, and he is the star of his own comic book, entitled Mosaic, of course.  It is written by Geoffrey Thorne; drawn by Khary Randolph; colored by Emilio Lopez; and lettered by Joe Sabino.

Mosaic #1 (“Mood Indigo”) introduces Morris Sackett, maybe the best professional basketball player in the world.  He has led the New York Stride to five championships in five seasons.  As far as Morris is concerned, he is the sole reason that the Stride has won five titles.  However, exposure to Terrigen mists changes Morris in ways that are shocking.  One of the newest Inhumans is about to lose his physical form while inheriting many more.

According to what I have read, writer Geoffrey Thorne and artist Khary Randolph want to explode stereotypes for Black superheroes when it comes to Morris Sackett a.k.a. Mosaic.  I don't know what those stereotypes are.  Even with the relatively small number of Black superheroes in both the Marvel and DC Comics universes, characters are unique and mostly fully formed.  Black Panther is not like Storm is not like Luke Cage/Power Man, and I never thought that Cyborg was like Black Lightning.

The stereotype of Black superheroes is that they are stereotypical.  They are not all noble Negroes in the tradition of Civil Rights activists, nor are they sullen anti-heroes out to get the system.  Under the guiding hand of comics most skilled writers, there have been some really good Black Panther and Blade comic books – to name a few of a few.  The reality (not stereotype) is that many Black superheroes have been featured in comic books in which the writers have those assignments because they are someone's friend more so than because they are good storytellers.  Black superheroes have not been stereotypes; they simply have been in badly written (and sometimes poorly drawn) comic books.

Mosaic #1 suggests that Thorne is a good writer, although his “street lingo” leaves something to be desired.  I give most of the credit for the success of Mosaic #1 to artist Khary Randolph.  This first issue has a lively visual and graphical style that mimics the energy and movement of animated films.  Randolph's art is both stylish and earthy, giving Mosaic a vibe that is different from just about everything else Marvel is publishing.

I'm ready for more and recommend this title.

A-

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.

----------------------------

#IReadsYOu Review: FALCON #1

FALCON No. 1
MARVEL COMICS – @Marvel

[This review was originally posted on Patreon.]

STORY: Rodney Barnes
ART: Joshua Cassara
COLORS: Rachelle Rosenberg
LETTERS: VC's Joe Caramagna
COVER: Jesus Saiz
VARIANT COVERS: Joshua Cassara with Rachelle Rosenberg; John Tyler Christopher with Jesús Saiz; Mike McKone with Rachelle Rosenberg; Alex Ross; Elizabeth Torque (after Ron Wilson and Mike Esposito); Chip Zdarsky
28pp, Color, $3.99 U.S. (December 2017)

Rated T+

Sam Wilson created by Stan Lee and Gene Colan; Falcon costumed designed by Alex Ross

“Take Flight” Part 1: “Bad Kid, Mad City”

“Steve [Rogers, Captain America] being a traitor validated every cynic who felt America was an idealized metaphor for the dominant culture's survival and the minority's suffering.” - Sam Wilson-The Falcon, (p. 15 of the book; p. 13 of the story)

As Marvel's new “Legacy” initiative begins, one of the new series is Falcon, a comic book starring classic Marvel Comics character, Sam Wilson a.k.a. The Falcon.  Wilson first appeared in Captain America #117 (cover date: September 1969).  Wilson uses mechanical wings to fly, and he has limited telepathic and empathic control over birds.

The new series is written by Rodney Barnes; drawn by Joshua Cassara; colored by Rachelle Rosenberg; and lettered by Joe Caramagna.  Barnes is a noted African-American television writer, having written for such diverse TV series as “Everybody Hates Chris,” “My Wife and Kids,” and the animated series, “The Boondocks.”

I hope that the above quote will, going forward, define Falcon, as the hero tries to prove that America is not a metaphor for white supremacy.  I do not believe that it is a metaphor for white supremacy, but that it is a country whose foundation is white supremacy.  This is not so much inherent as it is the result of the will of at least a third of America's white population that has racial animus towards African-Americans and, to varying degrees, other non-white populations.  Perhaps, Falcon will imagine an America that can move beyond its racism.

Falcon #1 (“Bad Kid, Mad City”) finds our titular hero headed for Chicago in hopes that he can broker a peace between the city's two largest gangs, the Southstone Rangers and the Spanish Kings.  After battling aliens, gods, and monsters, Falcon wants to address the needs of people like Sam Wilson.  Falcon has a protege to help him in his mission, Rayshaun Lucas a.k.a. the Patriot.  However, there are quite a few individuals and entities that do not want a cessation of gang hostilities, and they will do anything to not keep the peace.

I really enjoyed reading Falcon #1.  I liked its measured pace, and artist Joshua Cassara draws storytelling that offers violent action sequences and high tension, while holding firm to that measured pace of Barnes' storytelling, which is social, political, and philosophical.  As usual, Rachelle Rosenberg's coloring is pitch perfect, by turns striking and explosive and hot and dramatic.

It seems as if Barnes and Cassara are creating a superhero comic book that will be strikingly different from others.  They will give us hot superhero action, but the story will focus on a superhero who addresses the extraordinary needs of the ordinary people.  However, that hero will recognize that the ordinary needs of the people will need to be addressed by themselves and other ordinary people.  I look forward to more Falcon.

At the end of each Legacy first issue or Legacy first chapter, there is a three-page story that summarizes the history of that issue's lead character or characters.  Falcon's three-page summary is written by Robbie Thompson; drawn by Mark Bagley (pencils) and Andrew Hennessy (inks); colored by Israel Silva; and lettered by Joe Caramagna.

A
9 out of 10

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


The text is copyright © 2017 Leroy Douresseaux. All Rights Reserved. Contact this blog for reprint and syndication rights and fees.

--------------------------

Review: SPIRITS OF VENGEANCE #1

SPIRITS OF VENGEANCE No. 1
MARVEL COMICS – @Marvel

[This review was originally posted on Patreon.]

STORY: Victor Gischler
ART: David Baldeon
COLORS: Andres Mossa
LETTERS: VC's Cory Petit
COVER: Dan Mora with David Curiel
VARIANT COVERS: John Tyler Christopher; Ken Lashley with David Curiel; Mike McKone with Rachelle Rosenberg; Chip Zdarsky; Mark Texeira; Lenticular Variant based on Giant-Size X-Men #1 by Gil Kane and Dave Cockrum
28pp, Color, $3.99 U.S. (December 2017)

Rated T+

War at the Gates of Hell Part 1

Johnny Blaze – the second Ghost Rider.  Eric Brooks – Blade the vampire hunter.  Damian Hellstrom – a.k.a. Son of Satan a.k.a. “Hellstorm.”  Satana – Damian's sister and the daughter of Satan.  They are the stars of a new five-issue miniseries from Marvel Comics, entitled Spirits of Vengeance.

This comic book is written by Victor Gischler; drawn by David Baldeón; colored by Andres Mossa; and lettered by Cory Petit.  The series follows a mission to keep the balance the power in an ancient war from tipping to one side.

Spirits of Vengeance #1 finds Johnny Blaze, the second Ghost Rider and the first supernatural and first superhero Ghost Rider, stopped at a bar on Route 66.  Nursing a beer, Blaze gets a fiery visit from a winged being.  Left with an item wanted by dark forces, Blaze turns to Damian Hellstrom for help and information.  A dead angel, a silver bullet; and a kept promise – Blaze and Hellstrom will find themselves caught in a war between Heaven and Hell.  They will need some help.

Writer Victor Gischler is good with dark and edgy action, but he is also an imaginative writer, as seen in his miniseries, Sally of the Wasteland (Titan Comics, 2014).  Spirits of Vengeance #1 offers the dark and the inventive, and it is a shame that what was supposed to be a regular series is only a miniseries.  Gischler could have done something good with this, and I feel safe saying that after reading only the first issue of this series.

Of course, Gischler has an excellent collaborator and storyteller in artist David Baldeón.  The Spanish artist reminds me of artist Joe Madureira.  Here, Baldeón presents elastic and supple figure drawings that give the characters life and also give them distinct personalities – even the characters who are not around for long.  This is dynamic graphical storytelling, with an excellent sense of the dark and the supernatural.  And Baldeón simply makes Spirits of Vengeance look different from other Marvel titles.

Well, I'll enjoy this comic book while I can.

A
8 out of 10

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


The text is copyright © 2017 Leroy Douresseaux. All Rights Reserved. Contact this blog for reprint and syndication rights and fees.


-----------------------------

Review: MARVEL LEGACY #1

MARVEL LEGACY No. 1
MARVEL COMICS – @Marvel

[This review was originally posted on Patreon.]

STORY: Jason Aaron
ART: Esad Ribic with Steve McNiven
COLORS: Matthew Wilson
LETTERS: VC's Cory Petit
ADDITIONAL ARTISTS: Chris Samnee; Russell Dauterman; Alex Maleev; Ed McGuinness; Stuart Immonen and Wade von Grawbadger; Pepe Larraz; Jim Cheung; Daniel Acuña; Greg Land and Jay Leisten; Mike Deodato, Jr.; David Marquez
COVER: Joe Quesada and Kevin Nowlan with Richard Isanove
VARIANT COVERS: Alex Ross; Mark Brooks; John Tyler Christopher; Mike Deodato, Jr.; Terry Dodson and Rachel Dodson; Greg Land with Frank D'Armata; Amy Reeder; Skottie Young
64pp, Color, $5.99 U.S. (November 2017)

Rated T+

Marvel Legacy #1 is a new one-shot comic book from Marvel Comics.  I don't really know its purpose, other than what I read on the Internet.  After a year of reportedly falling sales of its comic books, Marvel does what it and DC Comics normally do:  initiate a reboot or a re-launch or hit-the-refresh/restart button, etc.  Such a rehash... I mean such a refresh is usually preceded by some kind of large scale publishing event, as it was here.  I guess that was the Secret Empire miniseries and the corresponding tie-ins and spin-offs.

SO I'LL SAVE YOU SOME TIME:  Marvel Legacy #1 has a few entertaining moments, with the best being the Wolverine reveal.  Some of it piqued my interest, but most it fell flat for me.  If you are looking for something exceptional, great, memorable, etc., Marvel Legacy #1 is not it, and it certainly is not worth the $5.99 cover price.  That said, you only need to keep reading this review if you usually enjoy my ramblings...

So here we go again; Marvel Legacy #1 launches the next big start-over.  I have read a lot of web commentary in which people compare this comic book to DC Comics' DC Universe Rebirth from last year.  I don't see the resemblance, and Rebirth has purpose and direction (at least to me), whereas Marvel Legacy #1 reads like a bunch of teasing and anticipation balled up together.

Marvel Legacy #1 has an omniscient narrator, Valeria Richards, the second child of Reed Richards and Sue Storm of the Fantastic Four.  She talks about legacies and begins her narration “One Million Years Ago.”  Something happened back then; that something plus some more bad stuff is coming back today.  Get ready.

Yep, that's it – something wicked this way comes, eventually.  The main story is written by Jason Aaron and drawn mainly by Esad Ribic, with some of it drawn by Steve McNiven.  Interspersed between segments of the main story are some one and two-page excerpts from upcoming Legacy launches – like Mark Waid and Chris Samnee's upcoming run on Captain America (Steve Rogers).

That's what this is all about, right?  A return to original i.e. traditional i.e. “white” characters.  Some believe that Marvel angered its aging white male fan base by recasting too many of its characters as black, Latino, Asian, female or some combination thereof.  Here's an anecdote for you.  For years, white male comic book readers told me that they did not want white comic books or black comic books, but they wanted good comic books.  Okay... Black male Spider-Man, Black female Iron Man, White female Hawkeye, Pan-Asian Muslim Ms. Marvel, White lady Thor are the leads of some very well written comic book series.  I know that because I read them.  But whiny White comic book retailers, clueless comic book corporate middle management, and fans who don't read books they complain about are driving this need for Marvel Comics to reset.

But the real villains here are Marvel Comics' shitty editorial decisions, arrogant management, piss-poor publishing plans, and virtually non-existent marketing.  Marvel Legacy #1 exists for the same reasons Marvel NOW, All-New Marvel NOW, and Marvel Now & Laters existed – all of the above and Marvel's addiction to the sales bump it gets from #1 issues.

Marvel Comics publishes too many comic books and has been doing so for 30 years.  Many of those comic books exist because Marvel will throw a lot of money at “star creators” to produce comics; or because someone will come up with some cute gimmick; or simply to grab more market share; or because a hit Marvel Studios movie will mean launching 10 new comic books directly, indirectly, vaguely, and/or even tangentially related to the movie.  Baby Groot the comic book series, y'all.

Too many titles frustrate readers for various readers, but especially because they cannot keep up with all those new comic books.  Marvel Legacy #1 is another pretend fix for symptoms that arise from Marvel's poor decision making.  That decision making needs a cure; the symptoms will go away after the cure.  For all Marvel's talk of a return to classic Marvel storytelling, next year it will do something like recast all its characters as Buddhists golden retrievers.

Marvel Comics' real legacy is that, no matter who owned Marvel, they never appreciated the artists and writers who really created the characters and stories that made Marvel a business and cultural force.  They held on tightly to Spider-Man, the X-Men, the Fantastic Four, Iron Man, and more while being dismissive of the talent, Jack Kirby and Steve Ditko, that drew those characters into existence.  Did it ever occur to those bosses how many more great characters and stories creators like Kirby and Ditko would have created for Marvel had the bosses acknowledged them financially and personally in a manner befitting people who multi-million dollar franchises?

So Marvel Legacy #1 epitomizes Marvel's real legacy – the short-sighted, self-serving choices instead of the long term choices that come with more risk and less immediate gratification.  Plus, Marvel Legacy #1 is just another comic book, fast food hamburger off the corporate conveyor belt – granted that there is some rather nice art inside.

C
4 out of 10

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


The text is copyright © 2017 Leroy Douresseaux. All Rights Reserved. Contact this blog for reprint and syndication rights and fees.

------------------------------

Review: CHAMPIONS #1

CHAMPIONS No. 1
MARVEL COMICS – @Marvel

[This review was originally posted on Patreon.]

WRITER: Mark Waid
PENCILS: Humberto Ramos
INKS: Victor Olazaba
COLORS: Edgar Delgado
LETTERS: VC's Clayton Cowles
COVER: Humberto Ramos with Edgar Delgado
VARIANT COVERS: Alex Ross; Mark Brooks; John Tyler Christopher; Jay Fosgitt; Rahzzah; Art Adams with Jason Keith; Mike Hawthorne with Matt Milla; Skottie Young
40pp, Color, $4.99 U.S. (December 2016)

Rated T

Back in 1975, Marvel Comics introduced a new team of superheroes known as The Champions.  Marvel Comics' new publishing initiative, NOW!, offers a new version of that semi-classic.  Entitled Champions, it is created by writer Mark Waid and artist Humberto Ramos.  The comic book is written by Waid; drawn by Ramos (pencils) and Victor Olazaba (inks); colored by Edgar Delgado; and lettered by Clayton Cowles.

Champions #1 opens in the home of Kamala Khan a.k.a. Ms. Marvel.  The teen girl's life is in a state of flux.  Just five days ago, she quit the Avengers.  Now, she calls on two other former teen Avengers who quit the team before her, Spider-Man (Miles Morales) and Nova (Sam Alexander).  Kamala is going to try to convince her former teammates to start a new team, one that wants to “put the wold back together” whenever their superhero activities break it.  Can she convince them and maybe a few more young heroes to go along with that idea?

Sometime in the long-ago, I am sure that I read The Champions, either that or a comic book in which they appeared.  That is not important here because the new Champions are something different.  They want to fix the things that they break because they believe that the “grown up” or “older” superheroes are not concerned with damage control or the mess they leave behind, or are at least not as concerned as they should be.

I am curious to see where this goes.  When Mark Waid is good, he is quite good, and he starts good here.  I am a sucker for most anything drawn by Humberto Ramos and have been for over two decades.  I should be upfront with that.  I am partial to giving this creative team a shot, and I am willing to recommend the first issue, at least.  But I'm coming back for more and will review this series again, probably soon.

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.

------------------------------

Review: BLACK PANTHER: World of Wakanda #1

BLACK PANTHER: WORLD OF WAKANDA No. 1 (2017)
MARVEL COMICS – @Marvel

[This review was originally posted on Patreon.]

WRITER: Roxane Gay (with Ta-Nehisi Coates consultant)
ART: Alitha E. Martinez
COLORS: Rachel Rosenberg
LETTERS: VC's Joe Sabino
MISC. ART: Brian Stelfreeze
COVER: Afua Richardson
VARIANT COVER: Brian Stelfreeze; John Tyler Christopher; Natacha Bustos; Khoi Pham with Frank D'Armata; Skottie Young; Alitha E. Martinez with Rachelle Rosenberg
36pp, Color, $4.99 U.S. (January 2017)

Black Panther created by Stan Lee and Jack Kirby

Rated “T”

“Dawn of the Midnight Angels” Part 1

A sure sign that Marvel Comics is already preparing for the February 2018 release of the Black Panther film from Marvel Studios is that Marvel doesn't think that one Black Panther comic book is enough.  We already have writer Ta-Nehisi Coates' ambitious Black Panther 12-issue series.

Now, we get Black Panther: World of Wakanda, which will explore Wakanda, the African kingdom which Black Panther/T'Challa rules.  The writer of World of Wakanda's main story is author and feminist, Roxane Gay (Bad Feminist).  The story is drawn by Alitha E. Martinez, who was part of the original art team of the Marvel Knight imprint's Black Panther Volume 2 (1998), which was written by Christopher Priest.  Rachel Rosenberg colors, and Joe Sabino letters.

Black Panther: World of Wakanda #1 (“Dawn of the Midnight Angels” Part 1) focuses on the “Dora Milaje” (“Adored Ones”), the female personal bodyguards of Black Panther and the royal family.  We see the first meeting between Captain Aneka and Ayo, the young woman who would become her lover and partner in revolution.

I would describe this opening chapter of “Dawn of the Midnight Angels” as not great, but good.  The characters and the character drama is intriguing, but the Sub-Mariner part of it bores me.  I think writer Roxane Gay is on to something with the dynamics between the leads.  The art by Alitha E. Martinez is a mixed bag – good storytelling but average quality on the composition.  That aside, I highly recommend this title to Black Panther fans.

“The People for the People”

STORY: Yona Harvey and Ta-Nehisi Coates
ART: Afua Richardson
COLORS: Tamra Bonvillain
LETTERS: VC's Joe Sabino

“The People for the People” is an origin story featuring another female character who is a thorn in Black Panther's side.  That would be Zenzi, leader of The People, the group currently trying to topple the Wakandan monarchy.  Written by Yona Harvey and Ta-Nehisi Coates, the story attempts to dispel some of the mystery around Zenzi, and this first chapter definitely makes her a character worth discovering.  The art by rising star Afua Richardson personifies how her stylish graphics and compositions add zest and energy and intrigue into the stories Richardson draws.  Encore

A-

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


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

-------------------------

Review: DARTH VADER #1

DARTH VADER No. 1 (2017)
MARVEL COMICS – @Marvel

[This review was originally posted on Patreon. Visit the "Star Wars Central" review page here.]

STORY: Charles Soule
PENCILS: Giuseppe Camuncoli
INKS: Cam Smith
COLORS: David Curiel
LETTERS: VC's Joe Caramagna
COVER: Jim Cheung with Matthew Wilson
VARIANT COVERS: John Tyler Christopher; Phil Noto; Mark Brooks; Adi Granov; Skottie Young; David Lopez; Rod Reis
44pp, Color, $4.99 U.S. (August 2017)

Rated T

“The Chosen One” Part I

Of course, you know that The Walt Disney Company owns Marvel Comics, dear readers.  Shortly after acquiring Marvel Entertainment, Disney bought Lucasfilm, Ltd., the owner of all thing Star Wars.  Marvel Comics, the original home of Star Wars comics, is once again publishing Star Wars comics, and this time, these comic book are officially part of the Star Wars canon.

Two years ago, Marvel launched the comic book series, Darth Vader.  Written by Keiron Gillen and drawn by Salvador Larroca, the series was set immediately after the events depicted in the original 1977 film, Star Wars (or Star Wars: Episode IV – A New Hope).  In this comic book, we watched as Darth Vader was forced to work his way back into Emperor Palpatine good graces because the Emperor held Vader responsible for the destruction of his ultimate weapon, the Death Star, by the Rebel Alliance – as seen Star Wars.

Now, there is a new Darth Vader comic book series.  It is written by Charles Soule; drawn by Giuseppe Camuncoli (pencils) and Cam Smith (inks); colored by David Curiel; and lettered by Joe Caramagna.  This series is set after the events depicted in the 2005 film, Star Wars: Episode III – Revenge of the Sith, although some of it recounts events that took place at the end of that film.

Darth Vader #1 opens as Anakin Skywalker awakens as the monster in a suit of cybernetic armor, Darth Vader.  He is filled with pain and rage over the death of his wife, Padmé Amidala.  After Emperor Palpatine brings his new dog, Vader, to heel, he begins the task of making the new Sith Lord prove that he can help him in the task of building and defending a Galactic Empire.  First task: Vader must build a lightsaber worthy of a Sith.

A Star Wars comic book has to be really bad or pretty average to get a grade of less than B+ from me.  I am a decades-long Star Wars fan and get a kick out of reading Star Wars comic books.  I am giving this new Darth Vader #1 a grade of B+, although I don't much care for Giuseppe Camuncoli's art.  This opening chapter is okay, but it does set up the possibility of some really exciting chapters to come.

So, go get this new Darth Vader #1, Star Wars fan.

B+

[This comic book includes the bonus story, “No Good Deed...” by Chris Eliopoulos with Jordie Bellaire.]

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


The text is copyright © 2017 Leroy Douresseaux. All Rights Reserved. Contact this blog for syndication rights and fees.

-----------------------

Review: DARTH VADER #25

DARTH VADER No. 25
MARVEL COMICS – @Marvel

[This review was originally posted on Patreon. Visit the "Star Wars Central" review page here.]

STORY: Keiron Gillen
ART: Salvador Larroca
COLORS: Edgar Delgado
LETTERS: VC's Joe Caramagna
COVER: Juan Gimenez
VARIANT COVERS: Cliff Chiang; John Tyler Christopher; Michael Cho; Adi Granov; Greg Land; Salvador Larocca; Jamie McKelvie; Sara Pichelli; Joe Quesada; Chris Samnee; Kamome Shirahama
52pp, Color, $5.99 U.S. (December 2016)

Rated T

Book IV, Part VI: “End of Games”

Of course you know that The Walt Disney Company owns Marvel Comics, dear readers.  Shortly after acquiring Marvel Entertainment, Disney bought Lucasfilm, Ltd., the owner of all thing Star Wars.  Just a (relatively) short time later, Dark Horse Comics lost the license to produce Star Wars comic books, which it had held for two decades.  It was obvious that Marvel would be the new home of Star Wars comics, and around the beginning of 2015, Marvel released the flagship title, Star Wars.

Shortly afterwards, Marvel began its second Star Wars series, Darth Vader.  Written by Keiron Gillen, drawn by Salvador Larroca, colored by Edgar Delgado, and lettered by Joe Caramagna, this series chronicled the quest of Star Wars' most (in)famous and beloved villain, Darth Vader, has he delved into his past and fought for his present in order to prepare for his future.

Basically, this is how Darth Vader the comic book worked.  Emperor Palpatine held Vader responsible for the destruction of his ultimate weapon, the Death Star, by the Rebel Alliance – as seen the original Star Wars from 1977 (also known as Star Wars: Episode IV – A New Hope).  Suddenly, the Emperor had appointed others in position of power that basically rivaled Vader's position of power and authority under the Emperor, and some of those rivals wanted to see Vader dead.

To defend himself, Vader essentially created his own secret Empire within the Emperor's Empire, from which he could defeat his adversaries and secure his position in the Empire.  Vader even learned that the young pilot who launched the torpedoes/missiles that destroyed the Death Star is Luke Skywalker, his son by his late wife from another life.  As the series progressed, Vader had much success, but some of his rivals prove to be formidable adversaries who could destroy him.

Now, the series comes to an end and wraps up its remaining story lines/threads in Darth Vader #25.  As the story begins, Darth Vader prepares for his final showdown with the one who has proven to be his most wily rival, Cylo, but the traitorous scientist has a fail safe that may give him victory over Vader.  Meanwhile, Vader's secret ally, Dr. Aphra, moves to protect herself from Vader – by seeking counsel with the Emperor!

After the first story arc of this series, entitled “Vader,” it was clear that Marvel's best Star Wars comic book was Darth Vader, which was saying a lot because the flagship Star Wars was also quite good.  I think series writer Kieron Gillen did a good job of connecting the past, which contained the wreckage resulting from the transformation of Annakin Skywalker into Darth Vader to the present, filled with Vader's problems and dilemmas.  Gillen gave his readers the chance to watch Vader discover some of the secrets of his past, which were not secret to readers, while also offering readers the opportunity to see how Vader “discovered” Luke Skywalker.

I can say that Gillen was good enough at what he did with Darth Vader that this series is worth preserving in trade paperback for future readers.  For the time being or until Star Wars is inevitably rebooted (probably sooner than we think), Gillen's Darth Vader is Star Wars storytelling for posterity.

And before we go, I must praise the stellar work of series artist, Salvador Larroca.  It is a shame that it seems easy to take Larroca for granted, but his work defined this series' sense of cloak and dagger and the title character's relentless aggression.

A

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


The text is copyright © 2017 Leroy Douresseaux. All Rights Reserved. Contact this blog for syndication rights and fees.

---------------------

Review: HAN SOLO #1

HAN SOLO No. 1
MARVEL COMICS – @Marvel

[This review was originally posted on Patreon. Visit "Star Wars Central" review page here.]

WRITER: Marjorie Liu
ART: Mark Brooks
COLORS: Sonia Oback
LETTERS: VC's Joe Caramagna
COVER: Lee Bermejo
VARIANT COVERS: Mike Allred; John Cassaday; John Tyler Christopher; Scott Koblish; Pepe Larraz; Phil Noto
28pp, Color, $3.99 U.S. (August 2016)

Rated “T+”

“Part 1”

Everyone's favorite scruffy smuggler, Han Solo, now has his own comic book as part of Marvel Comics' recently launched line of Star Wars comic books.  A five-issue miniseries, Han Solo is written by Marjorie Liu; drawn by Mark Brooks; colored by Sonia Oback; and lettered by Joe Caramagna.

Han Solo #1 opens between the events depicted in the films, Star Wars (1977) and The Empire Strikes Back (1980).  Han Solo needs to take on some smuggling jobs in order to pay his debt to crime lord, Jabba the Hutt, but Han has been feeling kind of strange.  Every job offer seems wrong, so Chewbacca says that Han is spooked.  Then, Han gets a call from Princess Leia Organa, delivered in a most peculiar manner.  Her request involves “The Dragon Void Run,” a race Han Solo has always wanted to enter, just not like this.

I have to admit that I have not been crazy about all the new Star Wars comic books that Marvel Comics has released since the beginning of 2015.  The Chewbacca miniseries and that awful C-3PO one-shot come to mind.  However, Han Solo, judging from the first issue, seems like it will be a winner.

I think that this “new hope” begins with writer Marjorie Liu (Monstress), who captures the essence of Han Solo.  He is a loner, used to looking out for himself, but, in spite of his protestations, he knows what's right and wrong.  He balances a sense of justice or “moral compass” with the desire to survive and thrive.  He can look out for number one and also help his friends.  There is tension in this balance – an ebb and flow, a constant tug between me-first and taking-one-for-the-team.  When a writer can capture this furious conflict within Han Solo, she is halfway to writing an engaging, intriguing, and truly enjoyable Han Solo comic book.

Artist Mark Brooks strengthens this series' potential.  He fills the pages with evocative backgrounds that recall the original Star Wars film trilogy.  Brooks creates stylish space ships and an alien menagerie that gathers familiar Star Wars people and beings, but also adds some bits from his own imagination.  Sonia Oback gives Brooks' art a look similar to classic sci-fi film and science fiction art.

I pretended that I was not expecting a lot from this Han Solo miniseries, but I am expecting this to be really good.  So far, so good...

A

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.

-------------------

Review: NIGHTHAWK #1

NIGHTHAWK No. 1 (2016)
MARVEL COMICS – @Marvel

[This review was originally posted on Patreon.]

WRITER: David F. Walker
ARTIST: Ramon Villalobos
COLORS: Tamra Bonvillain
LETTERS: VC's Joe Caramagna
COVER: Denys Cowan and Bill Sienkiewicz with Chris Sotomayor
VARIANT COVERS: Rafael Albuquerque; John Tyler Christopher; Bill Sienkiewicz; Skottie Young
28pp, Color, $3.99 U.S. (July 2016)

Parental Advisory

Nighthawk is a Marvel Comics character.  While there have been several versions of the character, the first Nighthawk was Kyle Richmond, initially a supervillain and also a member of the Squadron Supreme.  Richmond, as the original Nighthawk, debuted in The Avengers #69 (cover dated:  October 1969) with two other members of the Squadron Supreme.

The “All-New, All-Different Marvel” event offers a new ongoing Nighthawk comic book.  This series focuses on an African-American version of Kyle Richmond from Earth-31916, who also uses the identity of Raymond Kane.  Nighthawk is written by David F. Walker; drawn by Ramon Villalobos; colored by Tamra Bonvillian; and lettered by Joe Caramagna.

Nighthawk #1 opens in Chicago, Illinois which is both roiled by racial strife and rotten with political corruption.  The city's streets, neighborhoods, and districts are Nighthawk's stomping grounds.  In fact, we find him stomping on the “True Patriots,” a White supremacist gang that deals in guns and meth production.  Nighthawk uses his physical and mental skills to destroy them, will his partner, Tilda Johnson, as usual, helps with the robotics and technology Nighthawk uses.  Meanwhile, Kane faces a dirty offer from Dan Hanrahan; plus, a sinister figure returns.

Stunned.  I am truly stunned both by how much I like this comic book and by how good it is.  If DC Comics were not so afraid of letting African-American scribes write marquee titles, David F. Walker would be writing Batman now.  [Walker recently had a short stint as writer of the Cyborg comic book for DC.]  Although I am a fan of both Denys Cowan and Bill Sienkiewicz, I think the cover art they provided for Nighthawk #1 is kinda whack.  When I first saw the cover, I looked at this comic book with disdain.

But something made me buy it.  Maybe, it is the buy-the-first-issue fanboy gene that made me do it, but whomever or whatever I have to thank – thank you, bitches!  I think that Walker is going to tackle issues surrounding themes of anger, aggression, rage, violence, political corruption, and corporate depravity.  So that makes David F. Walker's Nighthawk a smart buy.  Besides, the covers are going to get better, aren't they?

As artist, I like the choice of Ramon Villalobos, whose work on last summer's E is for Extinction (a Secret Wars title) wowed me.  You know what?  I'm going to highly recommend this book to you, dear readers.

A

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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Review THUNDERBOLTS #1

THUNDERBOLTS No. 1 (2016)
MARVEL COMICS – @Marvel

[This review was originally posted on Patreon.]

WRITER: Jim Zub
ARTIST: Jon Malin
COLORS: Matt Yackey
LETTERS: VC's Joe Sabino
COVER: Jon Malin with Matt Yackey
VARIANT COVERS: Mark Bagley with Sonia Oback; John Tyler Christopher; Anthony Piper; Chris Stevens with Frank Martin
28pp, Color, $3.99 U.S. (July 2016)

Parental Advisory

There is No High Road: Part One “Power and Control”

The Thunderbolts are a Marvel Comics superhero team.  Over the years, the team has mostly consisted of supervillains, reformed and otherwise.  The Thunderbolts first appeared in The Incredible Hulk #449 (cover dated: January 1997) and were created by writer Kurt Busiek and artist Mark Bagley.

Marvel Comics recently launched a new ongoing comic book series featuring the team, entitled Thunderbolts, of course.  It is written by Jim Zub; drawn by Jon Malin; colored by Matt Yackey; and lettered by Joe Sabino.

Thunderbolts #1 (“Power and Control”) introduces a version of the Thunderbolts that is known as “Winter Soldier's Team.”  Coming out of the Avengers: Standoff! story line, the team consists of Winter Soldier (James “Bucky” Barnes); The Fixer (Paul Norbert Ebersol); Moonstone (Karla Sofen); and Atlas (Erik Josten); Mach-X (Abner Jenkins), and maybe Kobik.  Winter Soldier has decided to take up Nick Fury's mandate of protecting Earth from all threats, but things are complicated.

First, let me say that I am getting a kick out of the art of Jon Malin.  He seems like a third generation disciple or maybe even clone of Rob Liefeld.  If you took Liefeld's back-in-the-day work on New Mutants, X-Force, and Youngblood and made the compositions stronger or more polished, you would get Jon Malin.

I am a fan of the work of Jim Zub, especially for his work on his creator-owned series, Wayward (Image Comics), and for Samurai Jack (IDW Publishing), a continuation of the former Cartoon Network animated series.  For the past few years, I have been hoping that Zub would take over an ongoing comic book series for either Marvel or DC Comics.

That said, I am disappointed in Thunderbolts.  Not that I ever expected much of this comic book from the time I heard about it, but I had hoped that Zub would get to write a series that took advantage of his imagination and inventiveness.  I don't think this is it.  Thunderbolts is mere filler material, the also also-ran of the Marvel Comics line-up of Avengers-related team books.  I am not even going to say that if anyone can save this book, it is Jim Zub.  I don't plan on finding out.

C-

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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