#IReadsYou Review: MARVEL COMICS #1000

MARVEL COMICS No. 1000
MARVEL COMICS – @Marvel

[This review was originally posted on Patreon.]

WRITERS: Al Ewing and various
PENCILS: Various
INKS: Various
COLORS: Various
LETTERS: Various
EDITOR: Tom Brevoort
EiC: Akira Yoshida a.k.a. C.B. Cebulski
COVER: Alex Ross
VARIANT COVERS: Various
96pp, Color, $9.99 U.S. (October 2019)

Rated T

Marvel Comics #1 (with a cover date of October 1939) was first published on Aug. 31, 1939.  It was the first comic book published by the company known as Timely Comics, a division of Timely Publications and a precursor of Marvel Comics.  Marvel Comics would eventually take on the title, Marvel Mystery Comics.

Using the publication date of Marvel Comics #1, Marvel Comics has been celebrating its 80th anniversary throughout 2019.  The biggest event of that celebration is a special comic book, Marvel Comics #1000.  This massive collaborative effort features 80 different creative teams and showcases classic Marvel Comics characters and some brand new ones.

Each page of Marvel Comics #1000 is a single-page vignette that is the contribution of one of the 80 creative teams.  The creative teams are a mixture of Marvel Comics luminaries (Roy Thomas, Chris Claremont, Alex Ross, to name a few), recent Marvel star creators (Jason Aaron, Joe Quesada), some rising Marvel creators (David F. Walker, Saladin Ahmed), some celebrities (Kareem Abdul-Jabbar, Neil Gaiman), and some inexplicable choices (J. Scott Campbell?!)

The guiding hand behind the story in this issue is Al Ewing, writer of the critically-acclaimed Hulk comic book series, Immortal Hulk.  The very first panel of Marvel Comics #1000 is based on a panel from Marvel Comics #1, and it is the beginning of this comic book's first one-pager, which is entitled “Eight Bells.”  It is written by Ewing; drawn by Steve Epting; colored by Frank D'Armata; and lettered by VC's Clayton Cowles.  And while many of the one-pagers in Marvel Comics #1000 are about pivotal moments in Marvel Comics' past, the first one-page hints at an ancient conspiracy that runs through the history of the Marvel Universe.

“Eight Bells” recounts the introduction of the original Human Torch, an android by Professor Horton.  From there, Ewing unveils a mystery in the Marvel Universe, one centered around an enigmatic artifact known as the “Eternity Mask.”  Secret threads, secret connections, secret histories, and synchronicity, what is the mystery behind the Eternity Mask, an item that can take down both the powerful and weak  Who will wear the mask now?

In the Diamond Previews online write-up for Marvel Comics #1000, Marvel declares it features “The Greatest Talent Ever Assembled for One Story.”  Another line reads “...we have gathered together the greatest array of talent ever to be assembled between the covers of a single comic book!”  Marvel has also described the creative line-ups for this Marvel Comics #1000 as “some Marvel icons, some first-timers” and “80 luminary creative teams.”

I understand hype, but I also believe that whoever wrote this does not quite understand the actual meaning of the world “luminary.”  As for “the greatest talent ever assembled,” that is eye-rolling hype.  Most of the contributors to Marvel Comics #1000 are solid professions, but for the most part have not produced enough work or any work that would justify them being called “great talents” and certainly not luminary.  Also, the comic books that most of these new icons and “new luminaries” produce have contributed to the continued plummeting sales of comic books.  Neil Gaiman is obviously a luminary, and after a few puffs of burning bush, I might grudgingly call Jason Aaron a luminary.  But Matthew Rosenberg? – bitch, puh-lease.

For the record, here is a list of artists and writer-artists that have contributed substantially to Marvel Comics, but do not contribute to Marvel Comics #1000:  Art Adams, John Byrne, Sal Buscema, Paul Gulacy, Frank Miller, Andy Kubert, Bob Layton, Jim Lee, Joe Madureira, Todd McFarlane, Bob McLeod, Jon J. Muth, John Romita, John Romita, Jr., Bill Sienkiewicz, Paul Smith, Jim Starlin, Kent Williams, Ron Wilson, Barry Windsor-Smith, and Mike Zeck

Here are the writers who have contributed greatly to Marvel and are not in Marvel Comics #1000:  Brian Michael Bendis, Ed Brubaker, Joe Casey, J.M. DeMatteis, Matt Fraction, Steven Grant, David Michelinie, Mark Millar, Doug Moench, Grant Morrison, Ann Nocenti, Louise Simonson, and Marv Wolfman.

I can understand that there are a number of reasons why none of the above appear in Marvel Comics #1000.  Some may have declined, and others may have chosen not to because they are retired or are in poor health.  Others may have exclusive contracts with other publishers that prohibit them from committing any work for Marvel.  Some may have had scheduling issues, but I think many simply were not asked to contribute.

A Marvel Comics 80th anniversary book without John Byrne and Frank Miller is just fucking stupid.  I don't care what it took – even if someone had to get on his or her knees or drop trousers to convince them, Byrne and Miller had to be in this comic book.   It is because of the work that Byrne and Miller produced for Marvel Comics from the 1970s to the mid-1980s that Marvel had a late 1980s.

And they couldn't get a Jack Kirby pin-up in this bitch?  The comic books that Bendis, Brubaker, and Millar produced in the 2000s contributed greatly to the history-making and astounding amounts of money Marvel Entertainment's owners are now making from film adaptations of Marvel Comics' stories and characters.  Bendis should have written the Miles Morales one-pager; because he didn't, I didn't even bother reading it.

There are some nice moments and pages in Marvel Comics #1000.  I thought the Joe Quesada-Kevin Nowlan Daredevil page was beautiful.  Other pages I liked:  Roy Thomas and Rod Reis's Wolverine page; Jim Zub and Nick Bradshaw's Blade page; and Kareem Abdul-Jabbar's Jessica Jones page, to name a few.

The good stuff in Marvel Comics #1000 is tainted by the absence of so many true Marvel Comics luminaries and icons.  Donny Cates is not a Marvel icon, nor is Gerry Duggan.  Sorry; not now, but maybe later – much later.  The powers-that-be at Marvel Comics should be honest.  Marvel Comics #1000 is not so much an anniversary celebration as their childish need to have a Marvel title reach a thousandth issue because DC Comics recently had two – Action Comics #1000 and Detective Comics #1000.  And Marvel was going to have their 1000 even if they had to fudge the numbers.

5 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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#IReadsYou Review: THE RUNAWAY PRINCESS

THE RUNAWAY PRINCESS
RANDOM HOUSE/Random House Graphic – @RHKidsGraphic

[This review was originally posted on Patreon.]

CARTOONIST: Johan Troĩanowski
TRANSLATION: Anne Smith and Owen Smith
ISBN: 978-0-593-11840-5; paperback (January 21, 2020)
272pp, Color, $12.99 U.S., $17.99 CAN

Demographic: Middle-Grade

The Runaway Princess is a new, full-color, paperback graphic novel from Random House Graphic (or RH Graphic).  This is Random House's new imprint that publishes picture books, graphic novels, and other books that use graphics to tell a story.  [For the record, I use the term “graphical storytelling” to describe stories that use graphics (like lettering and sound effects), pictures, drawings, and illustrations (sometimes in sequence) to drive the narrative.  That includes the stories found in comics, comic books, comic strips, graphic novels, manga, etc.]

The Runaway Princess is comprised of three stories.  The first is “The Princess Runs Away (And Makes Some Friends).”  It stars Robin, the princess of the kingdom of Seddenga.  The story opens with the Queen and Elias, a royal household member, searching the royal castle for Robin.  After all, it is time for the princess' etiquette lesson with Elias.  They can't find her, but they are sure that she is nearby.

However, Robin is not a princess who will stay quietly and obediently at home.  This fiery red-haired girl is the kind of princess who will run away to have her own adventures, and this princess can’t resist the lure of adventure.  So Robin leaves the royal city of “Renoir” and heads out for adventure.  In “the Ogre's Forest,” she meets four brothers:  Paul, Matt, Lee, and Omar, and after avoiding the ogre, Robin leads her new friends to the city of “Noor,” where “the Aquatic Festival” is in full swing.  But can this adventurous princess and these lost boys handle all the (mis)adventure and strange beings that will come their way?

In the second story, “The Princess Runs Away Again (By Accident This Time),” Robin, Paul, Matt, Lee, and Omar are frolicking in the castle gardens when Robin falls into a secret passage.  The brothers are determined to find and rescue their friend, but Robin has already made a new friend, Plum, a curious girl with a thing for pumpkins.  But neither Robin nor the brothers realize that they are in “the Kingdom of Darkness” and that there is more to Plum than she has revealed.

In the third story, “The Princess Tries to Stay in One Place (But the Weather Doesn't Cooperate),” Robin finds Paul, Matt, Lee, and Omar playing aboard a small, sea-worthy boat that is land-ridden in a grassy meadow, so she joins them for some play.  When a sudden storm lifts the boat and carries it to an unknown land, the children have to find their way home.  In this adventure, the quintet encounters the eccentric scientist, inventor, and collector, Professor Dandelion; giant trees; the “Doodlers;” and a group of treasure-obsessed pirates that sail aboard a ship-in-a-bottle.

I can unequivocally say that RH Graphic's The Runaway Princess is one of the best kids' graphic novels that I have ever read.  I would probably have to go way out of my way and way overboard to find something wrong with it.  But first some background:

RH Graphic's The Runaway Princess is an English language collection of the French graphic novel series, Rouge.  Rouge is a comics series that began in 2009 and was written and illustrated by Johan Troĩanowski, a French comics and graphic novel creator.  In 2015, French publishing house, Makaka Éditions, published the first book collection (or graphic novel) of Rouge comics, entitled Rouge – Petite princesse punk.  That was followed by Rouge et la sorcière d’automne (2016), and Rouge - Lîle des Gribouilleurs (2017).  In the original comics, The “runaway princess'” name is “Rouge.”

RH Graphic's The Runaway Princess collects all three Rouge books in one handy, gorgeous paperback volume at the very reasonable cover prince of $12.99.  If you, dear readers, are considering purchasing The Runaway Princess, know that it shares characteristics with classic children's literature such The Wizard of Oz, Alice in Wonderland, and The Wind in the Willows, to name a few.  The three stories contained in this book also recall the stories of the Brothers Grimm and other classic fairy tales, especially the ones that Walt Disney turned into beloved animated feature films.

Johan Troĩanowski is a hugely imaginative and inventive storyteller.  I remember a writer once saying that The Wizard of Oz is such a perfect children's tale because things just happen without explanation, as if children were imagining the story.  The Runaway Princess works that way.  Troĩanowski imagines so many wonderful things and places and characters, and they do not seem frivolous or like throwaway characters.  Each thing and every person seems to have some back story – his, hers, or its own tale outside of Robin, Paul, Matt, Lee, and Omar's story.

The illustrations are doused in bright, vivid colors that make the art and story almost seem to leap off the page, as if the story contents of The Runaway Princess are coming to life.  There are also a few times in each of these three adventures when Troĩanowski asks the readers to help move the adventure forward.

The Runaway Princess is aimed at “middle-grade” readers, which I guess means readers ages 8 to 12, but over the decades, children have learned to read by reading comic books.  I think a child younger than eight who wants to tackle The Runaway Princess can handle it.  So yeah, The Runaway Princess might be the first great children's graphic novel of 2020.  I highly recommend it to readers young, older, and young at heart.

[This book also includes a back section featuring Johan Troĩanowski's preliminary art for the series, such as character sketches and story page sketches.]

10 out of 10

Website: https://www.rhkidsgraphic.com/
Twitter: https://twitter.com/RHKidsGraphic
Instagram: https://www.instagram.com/rhkidsgraphic/

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


The text is copyright © 2020 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for syndication rights and fees.


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#IReadsYou Review: BLACK PANTHER and the Agents of Wakanda #1

BLACK PANTHER AND THE AGENTS OF WAKANDA No. 1
MARVEL COMICS – @Marvel

[This review was originally posted on Patreon.]

STORY: Jim Zub
ART: Lan Medina
COLORS: Marcio Menyz
LETTERS: VC's Joe Sabino
MISC ART: Leinil Francis Yu with Sunny Gho
COVER: Jorge Molina
EDITOR: Wil Moss
VARIANT COVERS: John Buscema with Dave McCaig; Inhyuk Lee; Leinil Francis Yu with Sunny Gho; Yoon Lee
28pp, Color, $3.99 U.S. (November 2019)

Rated “T”

Black Panther created by Stan Lee and Jack Kirby

“Eye of the Storm” Part 1 of 2

It makes sense that Marvel Comics would publish more than one Black Panther comic book series.  After all, the 2018 Black Panther film was a worldwide box office smash and won three Academy Awards, as well as receiving a best picture Oscar nomination (the first film based on a comic book to do so).  The release of that film spurred a reportedly big jump in sales of Black Panther comic books and trade paperback collections, to say nothing of the merchandise sales that left some retailers sold-out or short of supply.

The latest Black Panther ongoing comic book series is Black Panther and the Agents of Wakanda.  It is both a Black Panther title and an Avengers-related series, spinning off from Jason Aaron's run on Avengers.  Black Panther and the Agents of Wakanda is written by Jim Zub, drawn by Lan Medina; colored by Marcio Menyz, and lettered by Joe Sabino.

Black Panther and the Agents of Wakanda #1 finds Janet Van Dyne/The Wasp and Colonel John Jameson III/The Man-Wolf in Miami fighting the “Scavengers.”  This group of tech-thieves is in Miami to find a lost cache of experimental S.H.I.E.L.D. weaponry.  Soon, however, Okoye, the tactical head of the “Dora Milaje” and director of “the Agents of Wakanda,” is leading her teammates to a meeting with their boss, Black Panther.

T'Challa, the current Chairman of the Avengers and the King of Wakanda, has located an example of the kind of situation for which the Agents of Wakanda was created – gathering intelligence and dealing with immediate hazards the Avengers cannot.  Pawhuska, Oklahoma, U.S. is experiencing some kind of demon invasion.  Can Black Panther, The Wasp, Okoye, and Fat Cobra (the immortal weapon and kung-fu champion) stop this invasion... or even discover the power behind it?

Black Panther and the Agents of Wakanda writer, Jim Zub, described this comic book as “[Jack] Kirby-fueled Mission: Impossible in the Marvel Universe” to Marvel.com.  He said the team is “a strike force of misfits and monsters tasked with defending humanity.”  The Agents of Wakanda aren't the first superhero group to take on the “weirdness” in the “weird corners” of its comic book universe.  There is also DC Comics The New Terrifics.

The Truth is that everything about a superhero comic book universe is weird, so comic book writers who claim that there is a particularly “weirder” segment ripe for storytelling better bring it.  Jim Zub, a good comic book writer who has produced some comic books that I have enjoyed, does not bring it.  In Black Panther and the Agents of Wakanda #1  Zub's dialogue is bland, and he makes the characters, some of Marvel's best, seem somewhat run-of-the-mill.

Lan Medina's art is really good... in a few places, and is storytelling is... professional.  Marcio Menyz's coloring is really good, and the color effects caught my attention.  Joe Sabino's lettering is also professional and maybe... a bit perfunctory.  But practically nothing in this first issue is exciting.

If Jim Zub can give Black Panther and the Agents of Wakanda the spark he gave his former Image Comics series, Wayward, then, this could be an exceptional superhero comic book.  Black Panther and the Agents of Wakanda #1 doesn't seem like the introduction to something that will be exceptional.

5 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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#IReadsYou Review: CHRONONAUTS: Futureshock #1

CHRONONAUTS: FUTURESHOCK No. 1 (OF 4)
IMAGE COMICS – @ImageComics

[This review was originally published on Patreon.]

WRITER: Mark Millar – @mrmarkmillar
ARTIST: Eric Canete
COLORS: Giovanna Niro
LETTERS: Peter Doherty with Melina Mikulic
EDITOR: Rachel Fulton
COVER: Pasqual Ferry with Dave McCaig
VARIANT COVERS: Travis Charest; Eric Canete with Giovanna Niro; Kevin Nowlan; Rey Macutay with Walter Pezzali
28pp, Color, $3.99 U.S. (October 2019)

Chrononauts created by Mark Millar and Sean Gordon Murphy

Rated M / Mature

Chrononauts: Futureshock is a four-issue, comic book miniseries written by Mark Millar (Kick-Ass) and drawn by Eric Canete.  All four issues were simultaneously published on October 30, 2019.  Colorist Giovanna Niro and letterers Peter Doherty and Melina Mikulic complete Futureshock's creative team.

Chrononauts: Futureshock is the sequel to the four-issue miniseries, Chrononauts, which was created by Millar and artist Sean Gordon Murphy.  Published in 2015, the first series focused on the world's first time travelers, Dr. Corbin Quinn and Dr. Danny Reilly, and the problems they encounter or create while time-traveling.

Chrononauts: Furtureshock #1 opens in the present day and finds Quinn and Reilly ready to take the next big step in the advancement of time-traveling.  They want to finally travel forward in the time-stream, after making six missions into the past.  The duo has a new vehicle, the “Time-Hawk,” which is built to resemble a giant electric guitar, and they also have special new “chrono-suits.”  There is, however, a specific reason why Quinn and Reilly have thus far failed to travel into the future.  Until one of them discovers that reason, they will always be going backwards.

Like much of Mark Millar's creator-owned comics outside of Marvel Comics, Chrononauts was the usual, glossy, high-concept piece featuring characters that know a lot, but don't realize how much they don't know.  An action-comedy, Chrononauts was a four-issue romp through time that was quite entertaining to read.  I recently read the entire series and found myself quickly reading through the entire thing in less than a day (in between work and assorted tasks).

Chrononauts: Furtureshock #1 suggests more fun in the same vein.  Nearly four and a half years after the release of the original, Millar's story for Chrononauts: Furtureshock seems to pick up right where the first left off.  Furtureshock's artist, Eric Canete, has a graphic style that is close to Sean Gordon Murphy's drawing style, so the change in artists is not jarring.  Canete is a little flashier and more dramatic both in his composition and in his graphic design of the page and within individual panels than Murphy.  It is now, however, a case of one artist being better than the other.  They are simply similar in some ways and different in others.

The coloring by Giovanna Niro is fiery and flashy and that makes the story edgy and gives it a jolt of energy that picks up the pace.  There are pages in which the coloring even mimics the camera flare effect.  The lettering by Peter Doherty, with an assist from Melina Mikulic, keeps punching the story into action every time it seems as if the narrative is going to be quiet.

I won't call Chrononauts: Furtureshock #1 a great comic book, but it is hugely entertaining.  Since I was too clueless to figure out that Image Comic released all four issues simultaneously, I don't have issues two, three, and four.  I will get them, though; the end of the first issue offers the kind of cliffhanger that makes readers want to come back for more.

7.5 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 syndication rights and fees.


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BOOM! Studios from Diamond Distributors for March 18, 2020

BOOM! STUDIOS

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Dark Horse Comics from Diamond Distributors for March 18, 2020

DARK HORSE COMICS

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DC Comics from Diamond Distributors for March 18, 2020

DC COMICS

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