#IReadsYou Review: LEGION OF SUPER-HEROES #1

LEGION OF SUPER-HEROES #1 (2020)
DC COMICS – @DCComics

[This review was originally posted on Patreon.]

SCRIPT: Brian Michael Bendis
PENCILS: Ryan Sook
INKS: Ryan Sook and Wade von Grawbadger
COLORS: Jordie Bellaire
LETTERS: Dave Sharpe
EDITOR: Brian Cunningham
COVER: Ryan Sook
VARIANT COVER ARTISTS: Ryan Sook; Jim Cheung with Romulo Fajardo, Jr.
32pp, Color, $3.99 U.S. (January 2020)

Rated “T+” for “Teen Plus”

Legion of Super-Heroes created by  writer Otto Binder and artist Al Plastino; Superboy created by Jerry Siegel

The Legion of Super-Heroes is a DC Comics superhero team created by writer Otto Binder and artist Al Plastino.  First appearing in Adventure Comics #247 (cover dated: April 1958), the Legion is a group of super-powered beings living in the 30th and 31st centuries of the DC Comics Universe.

Initially, the Legion of Super-Heroes was portrayed as a group of time travelers and was closely associated with the original version of Superboy.  [Created by Superman co-creator Jerry Siegel, the original Superboy was depicted as Superman/Clark Kent being a superhero when he was a teenager.]  It was in Adventure Comics #247 that Superboy met three teenagers from the 30th century:  Lightning Boy, Saturn Girl, and Cosmic Boy.  They were members of a “super-hero club,” called the “Legion of Super-Heroes,” that had been formed with Superboy as its inspiration.

Lightning Boy, Saturn Girl, and Cosmic Boy had time traveled to the past to recruit Superboy as a member of their club.  After a series of tests, Superboy was awarded membership and returned to his own time.  Strangely, this adventure was intended as a one-off story focusing on Superboy, but the Legion of Super-Heroes proved so popular that the team returned for an encore in Adventure Comics #267 (December 1959), on their way to being a stable of the DC Comics.

The Legion's origin story has been rebooted a few times, and Superboy's part in the Legion's origin story has been omitted or altered.  Legion of Super-Heroes comic book series have come and gone, but the popular team has returned in a new series, entitled Legion of Super-Heroes, of course.  It is written by Brian Michael Bendis; drawn by Ryan Sook (pencils) and Wade von Grawbadger (inks); colored by Jordie Bellaire; and lettered by Dave Sharpe.  The new series focuses on a Legion that has banded together to stop the galaxy from repeating its past mistakes.

Legion of Super-Heroes #1 finds Ultra Boy chasing a murderous group of aliens belonging to the race known as “the Horraz.”  In these alien's possession is a canister that contains an ancient and powerful device, and they were apparently delivering it to “Mordru” the demon gangster.  Luckily, Legionnaires Karate Kid, Wildfire, and Star Boy arrive to help Ultra Boy.

Meanwhile, the Legion of Super-Heroes has pulled Superboy/Jon Kent from the time stream with the intent of making him the newest Legionnaire.  By doing this, however, the Legion may have done something terribly wrong.

I recently came across an interview of writer Brian Michael Bendis in which he said that he wanted to do upbeat stories set in the future.  In this new Legion of Super-Heroes #1, Bendis has written his best first issue for DC Comics since his tenure began in 2018.  It is indeed exciting and spiffy and full of bubbly Legionnaires, to say nothing of their awesome headquarters.  I am not a devoted Legion of Super-Heroes fan, so I am happy with this first issue, although I don't know if it will satisfy the biggest Legion fans.  I would like to see future issues really delve into the characters.

Ryan Sook's art recalls DC Comics' space age and early Silver Age comic book art.  The storytelling is clear, and Wade von Grawbadger's inks give Sook's pencils weight and heft.  Grawbadger's inks also make Sook's pencils look like the pencil art of Stuart Immonen, with whom Grawbadger has formed one of the best art teams of the last several years.

As usual Jordie Bellaire's colors are a delight.  Here, she gives some of the pages candy-colored hints. Dave Sharpe's sharp lettering completes the futuristic vibe of the story.  And Ryan Sook's cover art for this first issue will make it stand out on comic book shelves.

So, yeah, this is only the first issue, but I'm excited for a Legion of Super-Heroes comic book series in a way that I have not been in decades.  I don't know if it will make me a devoted Legionnaire, but I really like the start for Legion of Super-Heroes 2020.

8 out of 10

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


The text is copyright © 2019 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for reprint and syndication rights and fees.

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Review: SUPERIOR SPIDER-MAN #1

SUPERIOR SPIDER-MAN No. 1 (2019)
MARVEL COMICS – @Marvel

[This review was originally posted on Patreon.]

STORY: Christos Gage
PENCILS: Mike Hawthorne
INKS: Wade von Grawbadger
COLORS: Jordie Bellaire
LETTERS: VC's Clayton Cowles
EDITOR: Nick Lowe
EDITOR-IN-CHIEF: Akira Yoshida
COVER: Travis Charest
VARIANT COVER ARTISTS: Mike Hawthorne with Jordie Bellaire; Marko Djurdjević (Fantastic Four Villain Variant Cover);
28pp, Color, $3.99 U.S. (February 2019)

Rated  “T”

Spider-Man created by Steve Ditko and Stan Lee

The Superior Spider-Man was a  Marvel Comics superhero comic book series featuring an alternate version of Spider-Man.  Cover dated between January 2013 and June 2014, the series featured Otto Octavius a.k.a. Spider-Man villain “Doctor Octopus” in the role of Spider-Man.

The series returns as Superior Spider-Man.  It is written by Christos Gage; drawn by Mike Hawthorne (pencils) and Wade von Grawbadger (inks); colored by Jordie Bellaire; and lettered by Clayton Cowles.  Once again, Otto Octavius is in a new body and is a “superior” Spider-Man.

Superior Spider-Man #1 opens in San Francisco, the city that Otto Octavius-The Superior Spider-Man has chosen to protect and to improve.  After dealing (successfully) with Stilt-Man, Otto heads to Horizon University where he will adopt his identity as Professor Elliot Tolliver and deliver “a crucial, end-of-term lecture.”  Then, it is off to more villain fighting, but Otto/Elliot/Superior is about to discover that someone from his past has joined the faculty of Horizon.  That person is ready to reveal the true face of the Superior Spider-Man to the authorities.

I was cynical.  I was ready to hate Superior Spider-Man #1.  In fact, I only bought this comic book to give to a friend who reads any Spider-Man comic book put in front of him.  I am not over-awed by writer Christos Gage's script, but it is good.  I am not crazy about the art team of Make Hawthorne and Wade von Grawbadger, but the storytelling is good.  Jordie Bellaire delivers her usually solid colors, and Clayton Cowles delivers his solid lettering.

But there is something about this comic book that demands I read one or two more issues.  I enjoyed the first issue enough to maybe read more.  So I will say to you, dear reader, maybe you should try at least Superior Spider-Man #1.

6 out of 10

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


The text is copyright © 2019 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for reprint and syndication rights and fees.

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Review: THE UNEXPECTED #1

THE UNEXPECTED No. 1
DC COMICS – @DCComics

[This review was originally posted on Patreon.]

STORY: Steve Orlando and Ryan Sook
PENCILS: Cary Nord
INKS: Mick Gray and Wade von Grawbadger
COLORS: FCO Plascencia
LETTERS: Carlos M. Mangual
EDITOR: Katie Kubert
COVER: Ryan Sook
32pp, Color, $2.99 U.S. (August 2018)

Rated “T” for Teen

The Unexpected created by Steve Orlando and Ryan Sook

Call of the Unknown: Part One – “Punch First”

DC Comics has launched a new superhero comic book initiative, “The New Age of DC Heroes,” coming out of its Dark Nights: Metal event miniseries.  This line of comic books consists of eight new comic book series:  The Curse of Brimstone, Damage, The Immortal Men, New Challengers, Sideways, The Silencer, The Terrifics, and the subject of this review, The Unexpected.

The Unexpected is the eighth and final release in “The New Age of DC Heroes.”  The series is written by Steve Orlando and Ryan Sook; drawn by Cary Nord and Ryan Sook (pencils) and Mick Gray and Wade von Grawbadger (inks); colored by FCO Plascencia; and lettered by Carlos M. Mangual.  The Unexpected focuses on a group of unlikely heroes who are called to action across the Multiverse in the wake of the events depicted in Dark Nights: Metal.

The Unexpected #1 (“Punch First”) introduces Janet Fals.  She was a paramedic killed in the line of duty.  Civil Solutions, “ a futurist arms developer,” revives Janet giving her a new heart – something called “the Conflict Engine.”  Every 24 hours, she has to feed the Conflict Engine a fight or violence... or she dies.  Janet Fals is now known as the super-powered entity, “Firebrand.”

In her new life, Firebrand uses the name “Ronan,” and works at a VA hospital.  When a new and strange patient starts causing trouble, Ronan has to become Firebrand to deal with the Bad Samaritan, Neon the Unknown, Ascendant, and Viking Judge.

I don't know how much of this book is drawn by Ryan Sook and how much is drawn by Cary Nord.  I do know that Mick Gray and Wade von Grawbadger are two of the best inkers working in American superhero comic books today.  The result is that The Unexpected has the most beautiful art of any of “New Age” titles, which is quite a feat.  Many of the initial art teams on the “New Age” books turned out some pretty art, and some of the secondary teams have also delivered attractive illustrating.  Colorist FCO Plascencia and letterer Carlos M. Mangual complete what is a top-notch graphics and graphical storytelling team on The Unexpected.

Unfortunately, The Unexpected offers a terrible story and only a serviceable script.  It offers the kind of pointless bombastic action that plagues event comic books that Marvel and DC Comics publish every time they and comic book retailers need a sales bump.  Bombastic action over anemic character writing:  hope that works for you if you want to like The Unexpected.  I would be surprised if The Unexpected lasts 12 issues, which is a pity.  This is one good-looking comic book.

3.5 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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Review: THE AMAZING SPIDER-MAN #789

THE AMAZING SPIDER-MAN No. 789
MARVEL COMICS – @Marvel

[This review was originally posted on Patreon.]

STORY: Dan Slott
PENCILS: Stuart Immonen
INKS: Wade von Grawbadger
COLORS: Marte Gracia
LETTERS: VC's Joe Caramagna
COVER: Alex Ross
VARIANT COVERS: Alex Ross (based on art by John Romita); Steve Ditko with Michael Kelleher
32pp, Color, $9.99 U.S. (December 2017)

Rated  “T”

Spider-Man created by Steve Ditko and Stan Lee

“Fall of Parker” Part 1 – “Top to Bottom”

In a previous review, I stated that there were were three comic book series to start with the title and issue number, The Amazing Spider-Man #1, beginning with the original in 1962.  I wrote that as I began my review of the fourth regular comic book to have that title and issue number – the third in 16 years and the second in three years.  Two years later, facing reportedly plummeting sales, Marvel Comics has launched its “Legacy” initiative, which would bring Marvel titles back to their original issue numbering.

So we come to The Amazing Spider-Man #789 (“Top to Bottom”) and the beginning of a “back to basics” story arc, entitled “Fall of Parker.”  It is written by Dan Slott; drawn by Stuart Immonen (pencils) and Wade von Grawbadger (inks); colored by Marte Gracia; and lettered by Joe Caramagna; with cover art by Alex Ross.  Before we move on with this review, I don't think The Amazing Spider-Man #789 is any different from what The Amazing Spider-Man #33 (2015) would have been.

The Amazing Spider-Man #789 opens in the aftermath of the fall of Spider-Man/Peter Parker's behemoth tech company, Parker Industries.  Parker is basically living on a couch in the apartment of Bobbi Morse, who is the superhero, Mockingbird.  Everyone, mainly the general public and customers of Parker Industries tech and software, hates Peter Parker.  Then, Parker decides that being the friendly neighborhood Spider-Man will cure his ills, but nothing every really works out perfectly for puny Parker and Spidey.

The recent movie Spider-Man: Homecoming makes it clear that high school Peter Parker/Spider-Man is such an attracting and lovable character.  After all, that is the original version of the character that creators Steve Ditko and Stan Lee gave us back in 1962.  Post-high school Spider-Man is also immensely likable, but, over the decades, that Peter Parker has been such a mixed bag, entirely the fault of various writers.

Adult Peter Parker, as depicted by writer Dan Slott, has been interesting, mostly.  However, the last two years, Slott has played Peter Parker as less the lovable loser, hard-luck guy and more like Tony Stark.  That, in turn, has made Spider-Man a kind of tech-driven, Iron Man-like hero.  Stark-ish Parker is cute as a novelty.  Spider-Man as a jet-setting, international hero is also nice – as a novelty.

Spider-Man is a regular guy superhero.  Yes, the character has extraordinary and weird powers, but the civilian Peter Parker is the guy who looks out for his family and protects and serves his family.  While Parker has always been depicted as a scientific genius, playing hero-by-gadget isn't Spider-Man, who has always seemed to be about service and personal sacrifice.

So, what about The Amazing Spider-Man #789?  It's just a run-of-the-mill story which suggests or hints at nothing but the status quo.  More accurately, it is just another first chapter in an eventual trade paperback collection.  While “Fall of Parker” could turn out to be an exceptional story arc (which I doubt), the first chapter in The Amazing Spider-Man #789 represents the mediocrity that has unfortunately also been part of the Marvel recent “Legacy.”

[This comic book includes a Spider-Man “Legacy” overview short story written by Robbie Thompson; drawn by Mark Bagley (pencils) and John Dell (inker); colored by Dan Brown; and lettered by VC's Joe Caramagna.]

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 or site for reprint and syndication rights and fees.

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Review: EMPRESS #7

EMPRESS No. 7
MARVEL COMICS/Icon – @Marvel

[This review was originally posted on Patreon.]

WRITER: Mark Millar – @mrmarkmillar
PENCILS: Stuart Immonen
INKS: Wade von Grawbadger
COLORS: Ive Svorcina and Sunny Gho
LETTERS: Peter Doherty
COVER: Stuart Immonen and Wade von Grawbadger with Dave McCaig
VARIANT COVERS: Stuart Immonen; Stuart Immonen with Dave McCaig
44pp, Color, $3.99 U.S. (January 2017)

Rated T+

Empress created by Mark Millar and Stuart Immonen

Empress is a comic book miniseries from celebrity comic book creator, Mark Millar, and popular comic book artist, Stuart Immonen.  The series focuses on the wife of a ruthless galactic conqueror who escapes her husband with their three children and a loyal bodyguard.  Empress is written by Millar, drawn by Immonen (pencils) and Wade von Grawbadger (inks); colored by Ive Svorcina with Sunny Gho; and lettered by Peter Doherty.

Empress is set 65 million years ago and tells the story of Earth's first rulers.  This is a civilization lost in history, a time when people lived in gleaming cities at the same time dinosaurs still existed.  King Morax is the merciless ruler who executes his citizens with impunity.

His wife, Queen Emporia, has seen enough of her husband's monstrous ways.  She plots to take her three children:  a brash teenage daughter, Aine; a bookish 'tween son, Adam; and an infant son, Puck.  Loyal Captain Dane Havelock will pilot their escape ship, but even his skills may not be enough to keep them from the reach of King Morax.  They are eventually joined by the diminutive Tor and “Ship,” a floating, spherical machine that can teleport itself and its compatriots anywhere in the galaxy.

As Empress #7 opens, Emporia and company think they are safe, but Aine decides to take matters into her own hands.  Now, King Morax has arrived and is offering his quarry a chance to fight to the death.  But ultimately, he may be the one surprised.

In press interviews to promote Empress, Mark Millar said that he wanted to do a sci-fi comic book that was fun.  Well, Empress is fun, and I had a blast reading it.  This final issue is filled with happy surprises, some of it a bit to good to be true, but the golly-gee-whiz space opera of Empress demands that you suspend disbelief

Colorists Ive Svorcina and Sunny Gho turn Stuart Immonen and Wade von Grawbadger's compositions into space opera eye candy.  It is all prettier than I expected.  Usually I have to find a copy of The Adventures of Nikki Harris the Cybermation Witch or some old B.E.M. comics from Gilbert and Jaime Hernandez when I want to have so sparkly, old-fashioned sci-fi fun.  Now, I have Empress, too.

I am glad to hear that there will be two more Empress miniseries.  Hopefully, they will be produced by Millar and Immonen and not some surrogates.

A-

http://www.millarworld.tv/

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 EMPRESS #1

EMPRESS No. 1
MARVEL COMICS/Icon – @Marvel

[This review was originally posted on Patreon.]

WRITER: Mark Millar – @mrmarkmillar
PENCILS: Stuart Immonen
INKS: Wade von Grawbadger
COLORS: Ive Svorcina
LETTERS: Peter Doherty
COVER: Stuart Immonen and Wade von Grawbadger with Dave McCaig
VARIANT COVERS: Stuart Immonen; Stuart Immonen with Dave McCaig; Skottie Young; Steve McNiven with Ive Scorvina; Sean Gordon Murphy with Marte Gracia
28pp, Color, $3.99 U.S. (June 2016)

Rated T+

Empress is a new comic book series created by writer Mark Millar and artist Stuart Immonen.  The series focuses on the wife of a ruthless galactic conqueror and her bid to escape with their children.  Empress will apparently be comprised of three six-issue story arcs.  Empress is written by Millar, drawn by Immonen (pencils) and Wade von Grawbadger (inks); colored by Ive Svorcina; and lettered by Peter Doherty.

Empress #1 opens on Earth 65 million years ago during the time of Earth's first rulers.  This is a civilization lost to us when people lived in gleaming cities at the same time dinosaurs still existed.  King Morax is the merciless ruler who executes his citizens with impunity.  His wife, Queen Emporia, has seen enough of her husband's monstrous ways.  She plots to take her three children:  a brash teenage daughter, Aine; a bookish 'tween son, Adam; and an infant son, Puck.  Loyal Captain Dane Havelock will pilot their escape ship, but even his skills may not be enough to keep them from the reach of King Morax.

In press interviews to promote Empress, Mark Millar said that he wanted to do a sci-fi comic book that was fun.  He wanted Empress to be more in line with the original Star Wars (1977) and not like Ridley Scott's Alien (1979), a dark and edgy tale that has been influential on modern science fiction films.  And yes, Empress is fun – very fun.

With its dinosaurs, gleaming cities, a merciless ruler, and interstellar travel, Empress recalls Alex Raymond's comic strip, Flash Gordon, and Edgar Rice Burroughs' seminal planetary romance, the Barsoom series (also known as John Carter of Mars).  Both Flash Gordon and John Carter were obviously influential on the space opera, Star Wars, which informs Empress to some extent.

At this early point in the narrative, the characters are largely unknown, but Millar gives us a clear, basic explanation of the lead characters' motivations.  What really thrills at this point is the sparkly art by Immonen, von Grawbadger, and Svorcina.  The graphical storytelling is clean, spectacular though not complex, and, quite frankly, pretty.

So, yeah, I'm recommending Empress.  I enjoyed this first issue more than I did the first issues of other recent Millar comics, Chrononauts and Huck.

A-

http://www.millarworld.tv/

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: UNCANNY X-MEN #600

UNCANNY X-MEN No. 600
MARVEL COMICS – @Marvel

[This review was originally posted on Patreon.]

WRITER: Brian Micheal Bendis
PENCILS:  Sara Pichelli, Mahmud Asrar, Stuart Immonen, Kris Anka, Chris Bachalo, David Marquez, Frazer Irving
INKS: Wade von Grawbadger, Tim Townsend, Mark Irwin
COLORS: Marte Gracia, Jason Keith, Chis Bachalo, Frazer Irving
LETTERS: VC's Joe Caramagna
COVER: Chris Bachalo
VARIANT COVERS: Art Adams with Jason Keith; Kris Anka; John Tyler Christopher; Olivier Coipel with Marte Gracia; Adam Hughes; Rick Leonardi and Dan Green with Jason Keith; Ed McGuinness and Dexter Vines with Val Staples; Paul Smith with Paul Mounts; Leinel Yu with Jason Keith
60pp, Color, $5.99 U.S. (January 2016)

Rated T+

X-Men created by Stan Lee and Jack Kirby

With the arrival of the “All-New, All-Different Marvel Universe,” X-Men comic books are entering a new era.  Apparently if all the incarnations of Uncanny X-Men are added together, the result is that 600 issues of comic books entitled Uncanny X-Men have been published.  It is that 600th issue that marks the end of something, if not an era, then, the end of Brian Michael Bendis' tenure as an X-Men writer.

Uncanny X-Men #600 opens at the Jean Grey School for Higher Learning.  Storm has called all the X-Men currently residing at the school to a meeting.  It's an intervention for Dr. Henry McCoy, or you can call it “The Trial of Beast, and Hank sure ain't feeling the love.  Also, young Iceman has a serious talk with adult Iceman.  Plus, a summons from Washington...

I found the Iceman/Iceman conversation to be heartfelt, and the Jean Grey-Beast meeting felt like something big.  The rest of “The Trial of Beast” does not amount to very much.  After months of delay, all readers get is this tepid tale – simple as that.  Considering the high-quality work that Bendis did on Uncanny X-Men and All-New X-Men, Uncanny X-Men #600 is quite disappointing.

B-

“Winter Carnival” (bonus story)

Writer: Mary Jo Duffy
Pencils: George Perez
Inks: Alfredo Alcala
Letters: Janice Chiang

As a bonus, Uncanny X-Men No. 600 closes with a reprint of the black and white story, “Winter Carnival.”  This 18-page story originally appeared in Bizarre Adventures #27.  This was the X-Men-themed issue of Marvel Comics' black and white comics magazine series that was published from the mid-1970s (under a different title) to the early 1980s.

The story finds Robert L. “Bobby” Drake a.k.a. Iceman as a visiting college student at Dartmouth College (an Ivy League school in Hanover, New Hampshire).  The campus is covered in snow, which is appropriate as this is the time of year for the celebration known as “Winter Carnival.”  Bobby discovers that Iceman is needed when crime decides not to take the weekend off and join in the wintry fun.

I wish Mary Jo Duffy (also known as simply Jo Duffy) were still writing her character-centrist stories for either Marvel or DC Comics.  I don't think that she has written for either publisher in over a decade.  In this story, she allows Iceman to shine as a superhero, but she opens the interior Bobby Drake, depicting him as thoughtful and possessing of a personality and of a sparkling wit.

Many readers may not recognize the art in “Winter Carnival” as that of George Perez (I didn't.), as it has very little resemblance to the graphic style that would define Perez's career on works like New Teen Titans, Crisis on Infinite Earths, and Wonder Woman, to name a few.  However, readers will get a chance to see the talents of inker Alfredo Alcala, whose ink wash over Perez's pencils does not look as good on glossy paper as it would on some good old-fashioned newsprint comic books.

A-

Reviewed by Leroy Douresseaux


The text is copyright © 2015 Leroy Douresseaux. All Rights Reserved. Contact this blog for reprint and  syndication rights and fees.

Review: STAR WARS #8

STAR WARS (2015) No. 8
MARVEL COMICS – @Marvel

[A version of this review first appeared on Patreon. And visit the "Star Wars Central" review page.]

STORY: Jason Aaron
PENCILS: Stuart Immonen
INKS:  Wade von Grawbadger
COLORS: Justin Ponsor
LETTERS: VC's Chris Eliopoulos
COVER: Stuart Immonen and Wade von Grawbadger with Justin Ponsor
28pp, Color, $3.99 U.S. (October 2015)

Rated T

Book II, Part I: “Showdown on the Smugglers' Moon”

I have already reviewed two issues of Marvel Comics' revival of its Star Wars comic book series, which began earlier this year and now includes two other ongoing series and two miniseries (thus far).  I reviewed Star Wars issues #1 and #7.  I did not expect to review another issue of Star Wars for at least half a year.

However, Star Wars #8 (“Showdown on the Smugglers' Moon”) introduces the new art team of penciler Stuart Immonen and inker Wade von Grawbadger.  As a team, they are known for their work on writer Brian Bendis' All-New X-Men and on All-New Captain America, in which Sam Wilson/The Falcon becomes the new Captain America.

When last we left our heroes (Star Wars #6), Princess Leia and Han Solo were traveling together, searching the galaxy for a suitable site for a new base for the Rebel Alliance.  They ran afoul of Imperial patrol ships and ended up landing on a remote planet in an uncharted region of the Outer Rim.  There, they have an even more shocking encounter when they meet a woman named Sana Solo, who claims to be Han's wife.  Sana is thinking about killing Han and selling out Leia, but the Imperials have plans of their own to pursue their quarry rebels.

Meanwhile, Luke Skywalker has just left his home world of Tatooine, where he discovered the secret journal left for him by Jedi Master Obi-Wan Kenobi a.k.a. “Old Ben Kenobi.”  However, Luke believes that he needs more information than what he has thus far found in the journal, if he is going to become a true Jedi.  So he decides to travel to the former home of the Jedi, but first he makes a stop on Nar Shaddaa, “The Smuggler's Moon.”

I must be honest and admit that I was shocked by the art that Stuart Immonen and Wade von Grawbadger delivered for their debut issue.  Combined with Justin Ponsor's gorgeous coloring, this team has delivered stellar work that blends the best of Adam Hughes, Bryan Hitch, and Kevin Nowlan.  Both in terms of graphical storytelling and style, Stuart and Wade create a kind of Star Wars comic book art that is classic Star Wars.  In addition, their Star Wars also recalls the vivid colors and snappy adventure storytelling of Marvel's 2014 Guardians of the Galaxy film.

Once again, the creators of a Marvel Star Wars comic book title have me chomping at the bit to read the next issue.  In the case of Star Wars, I am not ashamed to be a fanboy.

A

Reviewed by Leroy Douresseaux


The text is copyright © 2015 Leroy Douresseaux. All Rights Reserved. Contact this blog for reprint and syndication rights and fees.

Review: JUSTICE LEAGUE OF AMERICA #1

JUSTICE LEAGUE OF AMERICA #1
DC COMICS – @DCComics

[This review was originally posted on Patreon.]

WRITER: Bryan Hitch
PENCILS: Bryan Hitch
INKS: Daniel Henriques with Wade von Grawbadger and Andrew Currie
COLORS: Alex Sinclair with Jeromy Cox
LETTERS: Chris Eliopoulos
COVER: Bryan Hitch with Alex Sinclair
VARIANT COVERS: Bryan Hitch with Alex Sinclair; Howard Porter with Hi-Fi (Joker 75th Anniversary Cover)
56pp, Color, $5.99 U.S. (August 2015)

Rated “T” for “Teen”

“Power and Glory”

The Justice League is DC Comics' ultimate superhero team.  Conceived by Gardner Fox, the team first appeared in The Brave and the Bold #28 (cover dated: March 1960).  The Justice League received its own comic book series, Justice League of America (cover dated: October 1960), which is the name by which the team was known for decades.  The name “Justice League” was emphasized as a comic book title beginning with the debut of Justice League #1 (cover dated: May 1987).

The name Justice League of America (or “JLA”) returns bigger and badder than ever in the new “DCYou” series,  Justice League of America.  It written and drawn by Bryan Hitch; inked by Daniel Henriques (with Wade von Grawbadger and Andrew Currie); colored by Alex Sinclair (with Jeromy Cox); and lettered by Chris Eliopoulos.

Justice League of America #1 (“Power and Glory”) opens with the destruction of Earth and the death of Superman.  Say what?!  Superman has been summoned to The Infinity Corporation in New York City.  There, he meets Alexis Martin and an arrogant, self-declared genius named Vincent.  They have shocking news about the fate of existence and its connection to Superman.

Meanwhile, something powerful and hungry is spirited from “The Maw,” the super-max prison in Metropolis.  This creature will give Wonder Woman, Green Lantern, Flash, Batman, and Cyborg all they can handle and more.  Also, Aquaman has a date with a god in Atlantis.

In StormWatch Volume 2 #4, Bryan Hitch and writer Warren Ellis unleashed “widescreen comics” on American superhero comic book readers.  The costumed super-powered people were big.  The action was bigger, and the destruction was massive.  Bryan Hitch, obviously influenced by fellow British comic book artist, Alan Davis, took Davis stylish compositions and lush brushwork and made it heavy.  It was like Davis pumped up on P.E.D.s (performance enhancing drugs).  Ellis's big stories and Hitch's double-X-L art made StormWatch, a dumpster, frivolous Wildstorm comic book, an exciting read and a buzzed-about comic book.  Hitch would later bring widescreen to Marvel's The Ultimates, a re-imagining of the Avengers, written by Mark Millar.

Now, Bryan Hitch brings massive widescreen, as both writer and artist, to the Justice League.  Not only is the graphical storytelling in Justice League of America #1 big; the issue itself has 50 pages of story, which is massive compared to today's anemic 20 and 22-page comic books.  And, in a shared victory for both quantity and quality, Justice League of America #1 is worth the $5.99 cover price.

Hitch offers a story that is worthy of both the Justice League as a team and of its individual members.  “Power and Glory” isn't overly complicated, but it offers action in a epic manner that is similar to “Justice League” (2001-2004) Cartoon Network animated series.

I'm excited about Bryan Hitch's Justice League of America, which he apparently has been working on for more than a year before the series debuted.  Over my time of reading comic books, I have been ambivalent about the Justice League, but both Justice League and Justice League of America comic book series have made me more excited about this franchise than I have ever been.

A

Reviewed by Leroy Douresseaux


The text is copyright © 2015 Leroy Douresseaux. All Rights Reserved. Contact this blog for reprint and syndication rights and fees.

I Reads You Review: ALL-NEW CAPTAIN AMERICA #1

ALL-NEW CAPTAIN AMERICA #1
MARVEL COMICS – @Marvel

WRITER: Rick Remender
PENCILS: Stuart Immonen
INKS: Wade von Grawbadger
COLORS: Marte Gracia with Eduardo Navarro
LETTERS: VC's Joe Caramagna
COVER: Stuart Immonen and Wade von Grawbadger and Marte Gracia
VARIANT COVERS: Paul Pope; Alex Ross; Sara Pichelli with Laura Martin; Kris Anka
28pp, Color, $3.99 U.S. (January 2015)

Rated “T”

Captain America created by Joe Simon and Jack Kirby

As part of its “Avenger NOW!” initiative, Marvel Comics is debuting some new titles and relaunching others.  All-New Captain America is a relaunch.  Written by Rick Remender, drawn by Stuart Immonen (pencils) and Wade von Grawbadger (inks), colored by Marte Gracia (with Eduardo Navarro), and lettered by Joe Caramagna, this Captain America title launches superhero, Sam Wilson a.k.a. The Falcon, as the new-look Captain America.

The Falcon is an African-American superhero created by Stan Lee and Gene Colan that first appeared in Captain America #117 (cover dated: September 1969).  In his new role, the Falcon gets Captain America's shield and a redesigned uniform, as well as a new version of his Falcon wings.  Sam Wilson also gets a partner, Ian Zola, the son Arnim Zola.  Ian is the new Nomad.

All-New Captain America #1 finds Captain America and Nomad, with Redwing (a highly-trained hunting falcon), infiltrating a Hydra base hidden beneath a mountain.  The new Captain America wants to show that he can be the man, but visiting mercenary, Batroc, doesn't thing agree.  Besides, Batroc isn't the only familiar face making a surprise appearance.

I have not read many comic books written by Rick Remender.  This first issue of  All-New Captain America makes me want to read more.  This story features some typical superhero action, but it has a humorous streak, and all the major characters seem to be on equal footing.  Also, the battle depicted here will not be a one-sided affair, and the winner(s) will have to earn it.  The situation is in flux for the new Captain America and that piques my interest.

Before there was All-New Captain America, there was All-New X-Men, which was guided by the art team of Stuart Immonen, Wade von Grawbadger, and Marte Gracia.  I loved the art in that flashy new, X-Men comic book, but I came to take it for granted.  Seeing their work here, however, makes me appreciate this art team all over again.  This is one pretty comic book, so I think I'll come back to All-New Captain America to see if this entire creative team can make something special of this new series and this new Captain America.  I think they can.

Reviewed by Leroy Douresseaux


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

I Reads You Review: ALL-NEW X-MEN #15

ALL-NEW X-MEN #15
MARVEL COMICS

WRITER: Brian Michael Bendis
ARTIST: David Lafuente
COLORS: Jim Campbell
LETTERS: VC’s Cory Petit
COVER: Stuart Immonen and Wade von Grawbadger with Rain Beredo
28pp, Colors, $3.99 U.S.

Rated T+

By now, some of you, dark readers, know the premise of All-New X-Men, one of the titles born out of Marvel Comics’ Marvel NOW initiative.  At the Jean Grey School for Higher Learning, Storm, Wolverine, Beast, Iceman, and Kitty Pryde try to keep Professor Charles Xavier’s dream alive.  Meanwhile, Cyclops/Scott Summers, one of the original X-Men, has become a highly controversial figure, and he is now the public face of a new mutant revolution.

In a desperate bid to stop Cyclops from triggering a mutant apocalypse, Beast/Hank McCoy (who was dying at one point) goes back in time.  He brings the original X-Men:  Cyclops, Jean Grey, Iceman, Beast, and Angel, back with him.  Beast hopes that what they learn in his present/their future, they can take back to their time and keep a dark future from happening.  The teens decide to stay and fix what is wrong… now.

All-New X-Men #15 is a stand-alone issue that focuses on the original X-Men.  The story opens with the return of Rachel Grey to the mansion.  Is she ready for the original Jean Grey?  More complications arise for young Jean during a vehicle repair session with the adult Beast.  What she inadvertently learns from him could change the group dynamics of the original X-Men.

Meanwhile, young Scott and Bobby (Iceman) decide to “blow this popsicle stand.”  They basically run away from home/the school to be with real people and to do things that real teenagers do.  They end up at a street market, where they make new friends.  But will their mutant powers get in the way?

I am reviewing All-New X-Men #15 in order to praise guest artist, David Lafuente.  His work here reminds me of Mike Allred’s art for the late X-Statix, one of my favorite X-Men comic book series.  I think Lafuente’s alt-comix and semi-retro style is perfect for telling character drama-based (with some comedy) stories starring the original X-Men.  This is one of my favorite issues of what is my favorite X-Men comic book.

I am not quite at the point where I want to call Brian Michael Bendis one of the all-time great X-Men writers.  That would put him (in my estimation) with Stan Lee, Roy Thomas, Chris Claremont, John Byrne, and Grant Morrison.  But he’s getting close.

A-

Reviewed by Leroy Douresseaux

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

Albert Avilla Review: All-New X-Men #11

All New X-Men 011

Review by Albert Avilla

Writer: Brian Michael Bendis
Pencils: Stuart Immonen
Inks: Wade Von Grawbadger
Colors: Marte Gracia

We’re at issue #11 already and things are still rolling. Here are some words that I never thought I would say: Brian Michael Bendis is one of my favorite X-writers of all time.

There have been some legendary writers who have chronicled the exploits of the X-Men; Bendis is more than holding his own. He is bringing his A-game. Bendis has been honing his craft, and now we get to enjoy the work of a master who is prolific enough to put quality work on the stands on a consistent basis. This is issue #11, and I feel like Bendis is just showing us the onion without revealing the multitude of layers beneath the skin. Few in the business today can handle the group dynamic as well as Bendis.

I wouldn’t try to count the number of characters that had a part in this story. I find the interaction between the two Beasts and the two Icemen interesting. They have similar personalities, but they are not carbon copy, “Xerox”, cut and paste, “Photoshopped” versions of each other. Damn, you have to go through a lot of advances in technology just to use figurative language that everyone can understand, and I left out holograms.

Bendis dropped a bomb on us. Angel is leaving the original team to join the Uncanny X-Men. I didn’t expect any of the original X-Men to leave the group, certainly not this early in the storyline. Mystique is off causing her own brand of mischief. She’s messing with the big boys.

Finally, to get this issue filled with all the uncanny there is, the Uncanny Avengers show up to leave us anticipating the next issue. The action was light, but this was a very interesting story. Bendis is exploring relationships within the X-Men. This pulls you into the story and reveals how the characters have grown over the years.

The art is really good. There are two scenes that really catch the eye, the burning factory and the basketball court at night.

I rate All New X-Men #11 Buy Your Own Copy. #2 (of 5) on the Al-O-Meter.

I Reads You Review: ALL-NEW X-MEN #6

ALL-NEW X-MEN #6
MARVEL COMICS

WRITER: Brian Michael Bendis
ARTIST: David Marquez
COLORS: Marte Gracia
LETTERS: VC’s Cory Petit
COVER: Stuart Immonen and Wade von Grawbadger with Marte Gracia
VARIANT COVER: Chris Bachalo and Tim Townsend
28pp, Colors, $3.99 U.S.

Rated T+

All-New X-Men, a Marvel NOW title, is set at the Jean Grey School for Higher Learning. Here, Storm, Wolverine, Beast, Iceman, and Kitty Pryde try to keep Professor Charles Xavier’s dream alive. Meanwhile, Cyclops/Scott Summers, one of the original X-Men, has become a highly controversial figure and is the public face of a new mutant revolution. He and his teammates: Magneto, the White Queen, and Majick, are gathering new mutants as fast as they appear.

In a desperate bid to stop Cyclops’ activities from triggering a mutant apocalypse, a dying Beast/Hank McCoy goes back in time. He brings the original X-Men: Cyclops, Jean Grey, Iceman, Beast, and Angel, back with him. He wants young Cyclops see what he has become, so that he might change his ways and change his future.

All-New X-Men #6 opens after the original X-Men decide to stay in the present (their future) in order to save all our futures. Adjustment is difficult, however. Jean’s telepathic powers awakened for the first time. Angel is the only original X-Man who has not met his future-self. Cyclops has the most difficult time accepting what has happened, and that leads to a showdown with Wolverine.

With Brian Michael Bendis still writing, All-New X-Men is still good. His thoughtful, character-centric writing focuses on Marvel’s mutants both as people and as heroes. This makes All-New X-Men something like an evening teen soap opera / primetime drama.

David Marquez is now the artist on All-New X-Men. He replaces the team of Stuart Immonen and Wade von Grawbadger, who were the artists on the series’ first story arc. The results are mixed. Marquez storytelling is low-energy and his drawing style is bland. One of the problems with artists drawing from complete scripts is that they can become art robots, and Marquez’s art does lack a human touch. The robotic coloring doesn’t help.

Thank God for Bendis.

A-

Reviewed by Leroy Douresseaux

I Reads You Review: ALL-NEW X-MEN #2

ALL-NEW X-MEN #2
MARVEL COMICS

WRITER: Brian Michael Bendis
PENCILS: Stuart Immonen
INKS: Wade von Grawbadger
COLORS: Marte Gracia
LETTERS: VC’s Cory Petit
28pp, Colors, $3.99 U.S.

Rated T+

The Marvel Comics event, Marvel NOW, is a re-launch, re-vamp, or re-something. It means lots of new first issues and restarts. One new title has shockingly (to me) and totally captured my imagination and attention. That title is All-New X-Men by writer Brian Michael Bendis and artist Stuart Immonen. I have not been this excited about an X-Men title since John Byrne’s X-Men: The Hidden Years and Grant Morrison and Frank Quitely’s New X-Men.

All-New X-Men has started with a series of bangs. Cyclops/Scott Summers, one of the original X-Men, has become a highly controversial figure. Cyclops is the public face of a new mutant revolution. He and his teammates: Magneto, the White Queen, and Majick, are gathering new mutants as fast as they appear.

Meanwhile, the X-Men at the Jean Grey School for Higher Learning: Storm, Wolverine, Beast, Iceman, and Kitty Pryde fear that Cyclops’ activities will trigger a mutant apocalypse. In a desperate bid to stop this from happening, the Beast/Hank McCoy goes back in time to ask the original X-Men for help.

As All-New X-Men #2 opens, the Beast confronts the original X-Men: Cyclops, Marvel Girl, Angel, Iceman, and his younger-and-lacking-blue-fur self, the Beast. He wants them to return to the future with him so that perhaps, younger Scott, seeing the way older Scott is acting, will change things. But if the original X-Men decide to help, who says they won’t do it their own way?

Why is All-New X-Men so good? It’s simple. Brian Michael Bendis’ thoughtful, occasionally dense, and character-centric writing, which focuses on Marvel’s mutants, both as people and heroes, is ideal for an X-Men comic book. This opening storyline (“Here Comes Yesterday”) allows Bendis to define personalities and ambitions and aspirations. These are the things that drive the conflict within each individual and within the team, as well as within the larger mutant community and the larger world.

Stuart Immonen’s pencil art delivers compositions that capture the intimate moments and the superhero melodrama of Bendis’ script. It tells the story in a compelling and dramatic way that makes each moment and each panel necessary to the story. Inker Wade von Grawbadger gives the story even more dramatic heft, adding a dark overtone while also making the art eye candy. Immonen and von Grawbadger present some of the best graphical storytelling that X-Men comics have delivered in a decade, as far as I’m concerned.

A+

Reviewed by Leroy Douresseaux

Albert Avilla Reviews: All New X-Men #1

All New X-Men #1
Mavel Comics

Reviewed by Albert Avilla

Writer: Brian Michael Bendis
Pencils: Stuart Immonen
Inks: Wade Von Grawbadger

Spoilers!
Bendis on the X-Men, gentlemen, I think we have a hit. This story is getting back to the roots of what the X-Men are about, finding new mutants and preparing them for the realities of the world.

Beast is going through another mutation that may kill him. Cyclops is still tripping, finding mutants, and recruiting them to his side. I thought he was locked up. He’s leading Magneto and the White Queen and calling themselves the X-Men. This is sure to be a real public relations problem for the real X-Men who are ready to shut Cyclops down; but Storm, the wise leader that she is, wants to take the high road. Saving lives is more important to her than her own agenda. Beast gets the idea that Cyclops needs to get back to who he is. Beast goes to the past to get the original X-Men to do just that.

I don’t like to say that one creator is better than another, but I can say that Bendis is an industry leader. This story is Claremont-esque. We get interesting plotline within interesting plotline. Hopefully, these plotlines won’t be resolved in a neat four issue format, but be true to Claremont form and have each plot leading into story after story. The possibilities are endless. I’m not ashamed to say that my expectations for this book were low; when I would see the ads for this book I would say, “What?” Bendis has made me so happily wrong. I’m ready to ride this rollercoaster.

The art speaks for itself. All that I can say is look at the rug when Scott and Hank are arguing in the past. I liked the contrast between youngster Cyclops and grown man Cyclops on the cover. Keep this creative team together. This was a symphony of art and words.

I rate All New X-Men #1 Recommend It to a Friend. #1 (of 5) on the Al-O-Meter Ranking