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.

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.

I Reads You Review: AVENGERS VS. X-MEN #1

"Come back to the Five-and-Dime, Secret Wars, Secret Wars"
AVENGERS VS. X-MEN #1
MARVEL COMICS

STORY: Jason Aaron, Brian Michael Bendis, Ed Brubaker, Jonathan Hickman, and Matt Fraction
SCRIPT: Brian Michael Bendis
PENCILS: John Romita, Jr.
INKS: Scott Hanna
COLORS: Laura Martin
LETTERS: Chris Eliopoulos
COVERS: Jim Cheung and Justin Ponsor
40pp, Color, $3.99 U.S.

Rated: T+

Marvel Comics’ latest big, event series is Avengers vs. X-Men. This planned 12-issue miniseries pits the Avengers and the X-Men against each other over the return of The Phoenix and its likely host, the Mutant Messiah, Hope Summers.

As Avengers vs. X-Men #1 begins, The Phoenix force makes itself known. Meanwhile, the Avengers deal with a crisis over New York City that threatens both civilians and landmarks. This crisis, however, is merely a harbinger of things to come concerning The Phoenix, a threat that both the Avengers and the White House take seriously. What they decide to do about it leads straight to the X-Men. When Captain America approaches Cyclops, will the mutant leader want to hear what the Avenger has to say?

I found the prologue to this event, Avengers vs. X-Men #0, to be surprisingly blasé. Avengers vs. X-Men #1 is a bit more exciting, mainly because its focus is conflict, whereas #0 offered character vignettes (and not very interesting ones, at that). From the destruction depicted early in this issue to the New York City disaster scene to the designation of the X-Men as a nexus point, this first issue clearly presages a superhero “pay-per-view” wrestling match.

One thing that certainly surprises me is how simply told this comic book is. None of that sophisticated, faux-Mamet drama here: this is Secret Wars-like in its punch-to-settle-differences ethos. Even John Romita, Jr.’s pencil art is retro-cool, lacking photo-realism and exaggerated detail in the figure drawing (especially on the musculature).

There is no telling where this narrative will go when new writers and artists take over in the later issues, but for now, I find this straight-forward superhero battle to be quaint, but fun to read. I won’t lie and say that it is great, but Avengers vs. X-Men #1 is nice.

B

I Reads You Review: ULTIMATE SPIDER-MAN #4

"With great power..."

ULTIMATE SPIDER-MAN #4
MARVEL COMICS

WRITER: Brian Michael Bendis
ARTIST: Sara Pichelli
COLORS: Justin Ponsor
LETTERS: VC’s Cory Petit
COVER: Kaare Andrews
32pp, Color, $3.99 U.S.
Rated T+

As it was revealed previously, the new Ultimate Spider-Man series takes place before the “Death of Spider-Man” storyline that took place in Marvel Comics’ Ultimate line a few months ago. With Ultimate Spider-Man #4 (AKA Ultimate Comics: Spider-Man #4), the new series finally catches up with events as Miles Morales witnesses Peter Parker’s final moments.

Like Parker, Miles was bitten (just recently) by a spider and the result is arachnid-like powers. After witnessing the death of hero, Miles can no longer ignore his strange new powers. With the help of his best friend, Ganke, Miles is ready to suit up, even if everyone else isn’t ready for the new (Spider) kid in town.

This fourth issue of the new Ultimate Spider-Man series is a nice change of pace as writer Brian Michael Bendis has Miles deal with things new to him – the responsibility that having powers brings, the how-to of being a superhero, and the difficulty of replacing a legend. So far, Bendis is gradually revealing Miles to us, but he is also delving into the African-American teen, as if Miles were also new to him.

The art by Sara Pichelli features a clean, almost classical line work. It’s the wonky coloring that sometimes distorts that cleanness. Colorist Justin Ponsor over does it on the gradation when he doesn’t have to. There are times when Ponsor wants to suggest light reflected off Miles’ face, and it instead resembles an albino-like skin condition.

A

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

I Reads You Review: ULTIMATE SPIDER-MAN #3

ULTIMATE SPIDER-MAN #3
MARVEL COMICS

WRITER: Brian Michael Bendis
ARTIST: Sara Pichelli
COLORS: Justin Ponsor
LETTERS: VC’s Cory Petit
COVER: Kaare Andrews
32pp, Color, $3.99 U.S.
Rated T+

In Ultimate Spider-Man #3 (AKA Ultimate Comics: Spider-Man #3), Miles Morales has decided to ignore the powers he got after the strange spider bit him, but his best friend Ganke won’t let him. Even after a heroic act, Miles chooses normal because he is happy to let Spider-Man (who is still alive at this point) be Spider-Man. As Miles settles into his new school, Brooklyn Visions Academy, fate deals him a blow.

At this point in the new Ultimate Spider-Man series, writer Brian Michael Bendis is telling a story driven by characters not living or doing the superhero thing. This is a recognizable story: a teen boy wants to go to school and be normal. Circumstances exist, however, which means that regardless of how hard he tries or works, normalcy simply is not. This issue reminds me of the early issues of The Amazing Spider-Man which featured scenes of Peter Parker finding his way in the world in which his powers placed him, but wanting to be just one of the guys.

The clean drawing style of artist Sara Pichelli deftly visualizes Bendis’ character drama-style story in a way that makes it as exciting as a depiction of super powers. Perhaps, that is why the scenes in which Miles uses his powers seem so fresh, new, and exciting. It’s as if both Miles and the readers were seeing superhero supernatural for the first time.

A

I Reads You Review: ULTIMATE COMICS SPIDER-MAN #2

"Part Two"

ULTIMATE SPIDER-MAN #2
MARVEL COMICS

WRITER: Brian Michael Bendis
ARTIST: Sara Pichelli
COLORS: Justin Ponsor
LETTERS: VC’s Cory Petit
COVER: Kaare Andrews
32pp, Color, $3.99 U.S.
Rated T+

The result of the “Death of Spider-Man” Ultimate Comics storyline was that Peter Parker was killed. Miles Morales, a teenager of African-American and Latino heritage, is the new Spider-Man (or Ultimate Spider-Man II).

As Ultimate Spider-Man #2 (AKA Ultimate Comics: Spider-Man #2) begins, Miles is testing his new powers, but he needs answers. What is happening to him? Can his pal Ganke help him? Meanwhile, Miles’ father reveals his and his brother’s (Miles’ uncle) troubled past.

Perhaps, I over-praised writer Brian Michael Bendis in my review of the first issue of Ultimate Spider-Man #1, and did so at the expense of artist Sara Pichelli. Bendis is good in this series, but so is Pichelli. First of all, she draws some of the most convincing looking Black people I’ve ever seen in American comic books. Secondly, she is perfect for Bendis’ character-heavy stories with their sometimes exceeding sense verisimilitude and realism.

Pichelli is also a master of drawing facial expressions and subtle gestures. The way she can shift, from panel to panel, the emotion or tone via a look, expression, or gesture from a character is uncanny. During Miles’ conversation with his father, the reader will understand exactly when Miles is shocked, confused, hurt, or when he wants to exclaim, “Say what?!” to his father.

Sara Pichelli is as important as Bendis in making Ultimate Spider-Man one of the top five superhero comic books currently being published (in my estimation, of course).

A

Ultimate Spider-Man #1 includes a backup feature that reprints pages from “A Moment of Silence” and “Heroes,” two of Marvel Comics’ 9/11 publications. These are pin-ups from Sam Keith, Richard Corben, Adam Kubert with Richard Isanove, Michael Avon Oeming, and Tom Raney and Scott Hanna with Hi-Fi

I Reads You Review: ULTIMATE COMICS SPIDER-MAN #1

"Everybody's talking 'bout the new kid in town"

ULTIMATE SPIDER-MAN #1
MARVEL COMICS

WRITER: Brian Michael Bendis
ARTIST: Sara Pichelli
COLORS: Justin Ponsor
LETTERS: VC’s Cory Petit
COVER: Kaare Andrews (Variant covers by Sara Pichelli and Justin Ponsor)
32pp, Color, $3.99 U.S.

I don’t read many titles from Marvel Comics, and it has been that way for the past seven years, at least. During the last decade, I’ve occasionally read titles from Marvel’s Ultimate line and, for the most part, enjoyed them. However, I had ignored the “Death of Spider-Man” Ultimate storyline which ran through most of this year. Peter Parker was killed, and Miles Morales, a teenager of African-American and Latino descent, is the new Spider-Man (or Ultimate Spider-Man II).

Ultimate Spider-Man #1 (AKA Ultimate Comics: Spider-Man #1) begins 11 months prior to the main story and is set at an Osborn Industries laboratory on Long Island. Norman Osborn is demanding that his latest hire, Doctor Markus, reverse calculate the specifications of a genetically altered spider. What spider? That would be the spider that bit Peter Parker and gave him his special powers; the spider’s genetic alterations were the result of Osborn Industries.

Eleven months later, Miles Morales and his parents are attending a lottery that will decide which Brooklyn, New York students get to attend the charter school, Brooklyn Visions Academy. Miles’ life, however, is about to take an even bigger turn because young Mr. Morales has a date with a special spider.

A few years ago, I started reading back issues of Static, one of the titles published by the comics publishing wing of Milestone Media, a company dedicated to bringing diversity in terms of race and ethnicity to comic book superheroes. Reading those early issues of Static, I was struck by how much they reminded me of the early issues of The Amazing Spider-Man by Stan Lee and Steve Ditko.

Now, I’m struck by how much this Ultimate Comics: Spider-Man reads like an early issue of Static. Spider-Man writer Brian Michael Bendis has adapted, updated, and reworked the stories of many of the Spider-Man comic book writers that came before him, notably Lee and Ditko. Now, it seems as if he has taken the fresh style and urban tone of Static writers, the late Dwayne McDuffie and Robert L. Washington, III, and fashioned that for Ultimate Comics: Spider-Man. I kid you not; this Spider-Man comic book is an early issue of Static.

I don’t have a problem with that because (1) this is a good opening issue and (2) the story looks, reads, and feels right for a contemporary story of superhero fantasy in which the star is a person of color. This is an auspicious beginning, and I hope Miles Morales welcomes in new readers the way Peter Parker did 50 years ago.

A

Ultimate Comics: Spider-Man #1 includes a backup feature that reprints pages from “A Moment of Silence” and “Heroes,” two of Marvel Comics’ 9/11 publications: Bill Jemas (story), Mark Bagley (pencils), Scott Hanna (inks), Hi-Fi (colors), Sharpefont’s PT (letters); and Joe Quesada and Alex Ross (cover illustration)

Reviewed by Leroy Douresseaux