#IReadsYou Review: THE ULTIMATES #1

THE ULTIMATES #1

MARVEL

STORY: Mark Millar
PENCILS: Bryan Hitch
INKS: Andrew Currie
COLORS: Paul Mounts with Bongotone
LETTERS: Chris Eliopoulos
EDITOR: Ralph Macchio
EiC: Joe Quesada
COVER: Bryan Hitch
32pp, Color, $2.25 U.S., $3.50 CAN (March 2002)

 

The Ultimates created by Mark Millar and Bryan Hitch; Avengers created by Jack Kirby and Stan Lee

“Super Human”

The Ultimates was a superhero comic book series published by Marvel Comics as part of its “Ultimate Marvel” imprint.  The series ran for thirteen issues, cover date: March 2002 to April 2004.  Created by writer Mark Millar and artist Bryan Hitch, The Ultimates were both a modernization and re-imagining of Marvel's Avengers comic-book franchise.  Organized by the United States government, the “Ultimates” were an elite military task-force of super-humans and special agents.

The regular creative team of The Ultimates was comprised of writer Mark Millar; artists Bryan Hitch (pencils) and Andrew Currie (inks); colorists Paul Mounts and Bongotone; and letterer Chris Eliopoulos. The Ultimates' mission was to combat the growing threats – human and non-human – to the United States and also to the Earth in general.

The Ultimates #1 (“Super Human”) opens over the North Atlantic, 1945, where the 101st Airborne division streaks towards Iceland.  There, inside a seemingly impregnable fortress, the Nazis are building their “super weapon,” which could end the war in days.  Aboard one of the troop transports is America's own super weapon, the “super-soldier” known as “Captain America.”  With him is an entire division of American soldiers … and his friend, Bucky Barnes, a war photographer.  What neither Rogers nor Barnes realizes is that this mission is so dangerous that it might be his last.

THE LOWDOWN:  It has been two decades since I first read The Ultimates #1, and reading it again for the first time since then, I find it to be about eighty percent different from how I remember it.

Except for the last three pages, The Ultimates #1 is entirely about Captain America's final World War II mission.  So, I must admit that I find this first issue to be one of the best Captain American comic books that I have read in years – although it was published twenty years ago.

Millar's storytelling is slick, but brings the grit one would expect of a “real war story” type comic book.  It is dark and sad, mostly because Millar makes it clear that a lot of American servicemen are going to die on this mission.  Bryan Hitch's photo-realistic pencil art gets a smooth finishing from Andrew Currie's lush inks.  The colors are beautiful, but are a tad too dark for my tastes.  Luckily, Chris Eliopoulos' quirky lettering work stands out and helps to establish and reinforce Millar's moody tale.

Over the course of this series' thirteen issues, it is clear that Mark Millar made Steve Rogers/Captain America the centerpiece.  The Ultimates #1 isn't a prologue; it is the foundation of the series, and that is a good thing.  Millar's Captain America is the most human, the most heroic, and the most idealistic of the Ultimates.  He is the standard that his teammates cannot achieve, if for no other reason than that they are too broken to match Steve Rogers.  Captain America brings color to this dark re-interpretation of the Avengers.  He is the one holdover from the early Marvel Comics' sense of wonder and fantasy in this series that is dark and edgy, though not cynical.

The Ultimates #1 was the kind of first issue that encourages readers to come back for more, which they indeed did for this series.  I originally did come back for a few more issues, but, back then, I never finished The Ultimates.  I didn't even bother with its follow up, The Ultimates 2.  I rectified that this year and read the entire first series over a few days.

I READS YOU RECOMMENDS:  Fans of the team of Mark Millar and Bryan Hitch will want to read The Ultimates.

A
9 out of 10

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


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

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#IReadsYou Review: BLACK PANTHER #1

BLACK PANTHER No. 1 (2005)
MARVEL COMICS – @Marvel

[This review was originally posted on Patreon.]

WRITER: Reginald Hudlin
PENCILS: John Romita, Jr.
INKS: Klaus Janson
COLORS: Dean White
LETTERS: Chris Eliopoulos
COVER:  John Romita, Jr. and Klaus Janson with Dean White
32pp, Color, $2.99 U.S., $4.25 CAN (April 2005)

“Who is the Black Panther?” Part One

The Black Panther, also known as T’Challa, is a Marvel Comics character and was the first black superhero to appear in mainstream American comics.  Created by writer Stan Lee and artist Jack Kirby, the Black Panther first appeared in Fantastic Four #52 (cover dated:  July 1966).

On occasion, I have come across some Black Panther comic books that I have liked, and Black Panther has appeared as a guest or co-star in other comic book series that I find memorable, such as in Fantastic Four #241, during John Byrne's incredible run as writer-artist during the early to mid-1980s.

Still, the Black Panther comic book that I have loved the most did not arrive until early 2005.  That year, Marvel Comics launched a new Black Panther series under the “Marvel Knights” (MK) banner.  It was written by Reginald Hudlin, a movie director and producer, who was best known, at the time, for directing House Party (1990) and Boomerang (1992).  He would go on to earn a best picture Oscar nomination as one of the producers of Quentin Tarantino's Django Unchained (2012).  This Black Panther comic book was drawn by John Romita, Jr. (pencils) and Klaus Janson (inks); colored by Dean White; and lettered by Chris Eliopoulos.

Black Panther #1 (“Who is the Black Panther?” Part One) opens in the Black Panther home land, the central African nation of Wakanda, during the 5th century A.D.  The story also visits Wakanda during the 19th century.  It seems that these are two moments in Wakandan history when the mysterious nation ably defended itself from outside raiders.  In the early 21st century, however, outside forces seek to penetrate the defenses and veil of Wakanda, this time successfully.

Within the last year, Marvel Studios has announced that it is producing a Black Panther feature film; has cast an actor to play Black Panther/T'Challa (Chadwick Boseman); and has selected a director for the film (Ryan Coogler).  So I decided to re-read 2005 Black Panther #1 again, which I had not read since it was first published.  It would be a start to rereading as much of that series as I could before Black Panther makes his first feature film appearance in the upcoming film, Captain America: Civil War.  Another reason for me to revisit this series is the anticipation of author, journalist, and political and cultural commentator, Ta-Nehisi Coates' upcoming work on the character.

I think what I like about Black Panther #1 is that it makes Wakanda and the legacy that is Black Panther so bad-ass.  Of course, Reginald Hudlin delivers a stellar script, full of enthralling action and mystery.  John Romita, Jr.'s pencils are some of his most stylish art, and Klaus Janson's stellar inking strengthens the compositions and storytelling.  Dean White's colors make the story seem as if it is on fire, almost too hot to handle for the imagination.  The Ohio Players said Fi-Ya!

However, it is the sense that the Black Panther mythos is as powerful as any other Marvel superhero mythos or world, and that makes this comic book so cool.  Black Panther is not a token, and he is more than historical.  His is a world within the larger world of the Marvel Universe with which others will have to reckon.  This is the gift that Reginald Hudlin gave to Black Panther.  Hudlin picked up on the strong work that Christopher Priest began in his 1998 Black Panther, which was the first step in making Black Panther a major character, for reals, and Hudlin kept it too-real for some readers slash haters.

Ta-Nehisi Coates, I hope you can make the Panther's claws sharper than ever.

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: THE UNITED STATES OF MURDER INC. #1

THE UNITED STATES OF MURDER INC. No. 1
MARVEL COMICS/Icon – @Marvel

[This review was originally posted on Patreon.]

STORY: Brian Michael Bendis
ART: Michael Avon Oeming
COLORS: Taki Soma
LETTERS: Chris Eliopoulos
EDITOR: Jennifer Grunwald
COVER: Michael Avon Oeming
48pp, Color, $3.99 U.S. (May 2014)

The United States of Murder Inc. created by Brian Michael Bendis and Michael Avon Oeming

The United States of Murder Inc. is a six-issue miniseries written by Brian Michael Bendis and drawn by Michael Avon Oeming.  It was originally published in 2014 (cover dated from May 2014 to February 2015) under Marvel Comics' Icon imprint.

The United States of Murder Inc. imagines an alternate history for the United States in which the American Mafia did not lose its war with the Federal Bureau Investigation (FBI).  Instead, in the world of this comic book, the “Five Families” forced the government of the United States to concede most of the Eastern Seaboard of the U.S., the city of Chicago, and parts of Nevada to them.  This area controlled by the families is euphemistically called “the territories.”  [If I understand this correctly, the names of the “five families” are Golanno, Lobombo, Luciano, DiGastra, and Bonavese, which I think are plays on the names of real-world mob crime families.]

The United States of Murder Inc. #1 opens on the day that Valentine Gallo becomes a “made man” in the Bonavese crime family.  Now, head of the family, Don Chucky Bonavese, sends Valentine on his first mission as a made man.  To complete this task, however, Valentine must leave the territories for the first time and travel to Washington D.C.

Not wanting to go alone on this momentous trip, Valentine takes his friend Dino with him.  Don Bonavese also sends his talented hit-woman, Jagger Rose, with Valentine.  Valentine must deliver a suitcase to Senator Fuller, a mission he completes.  Unfortunately, things go terribly wrong, leaving Valentine and Jagger hunted by both the mob and the CIA.  And Valentine's mother, Madonna Gallo, has a shocking secret to reveal.  Valentine was born to destroy everything in which he believes!

I remember seeing The United States of Murder Inc. #1 on a comic book store shelf, but, at the time, I had heard nothing about it.  I ignored it although I am a fan of both Brian Michael Bendis and Michael Avon Oeming and also of their seminal work together, the long-running superhero comic book, Powers.  So I don't know why I had zero interest in The United States of Murder Inc.

I should have been paying attention.  The United States of Murder Inc. #1 is the kind of first issue that makes the reader salivate for the rest of the series.  I practically tore through issues #2 to #6 and read the entire thing before writing this review.

Although The United States of Murder Inc. is a smoothly running operation as far as how a creative team executes a graphical narrative, the entire series tone is that of a rough and tumble, rollicking crime story as serial adventure.  The shocking terrorist act in the first issue exemplifies the explosiveness of the first issue itself and of the series as a whole.

I could not turn the pages fast enough or get to the next issue fast enough.  Readers who like alternate-history fiction and mafia fiction may find, in The United States of Murder Inc., that they have struck gold.  I look forward to the follow-up, United States vs. Murder, Inc. (DC Comics).

10 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: 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: Star Wars: POE DAMERON #1

POE DAMERON No. 1
MARVEL COMICS – @Marvel

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

WRITER: Charles Soule; Chris Eliopoulos
ART: Phil Noto; Chris Eliopoulos
COLORS: Phil Noto; Jordie Bellaire
LETTERS: VC's Joe Caramagna; Chris Eliopoulos
COVER: Phil Noto
36pp, Color, $4.99 U.S. (June 2016)

Rated “T”

Book I: Black Squadron, Part I

We first met X-wing fighter jockey Poe Dameron, in the recent film, Star Wars: The Force Awakens.  Now, Poe returns in the new comic book miniseries, Poe Dameron.  It is written by Charles Soule; drawn and colored by Phil Noto; and lettered by Joe Caramagna.

Poe Dameron #1 (“Black Squadron,” Part I) opens 30 years after the Rebel Alliance defeated the Galactic Empire (as seen in Return of the Jedi), which was replaced by the New Republic.  However, a new military force, the First Order, is plotting to overthrow the New Republic.  To face this new threat, General Leia Organa founded the Resistance.

The First Order is also looking for Leia's brother, Luke Skywalker.  Now, General Organa has tasked the galaxy's best pilot, Poe Dameron, to find Lor San Tekka, an explorer who investigates Jedi ruins.  Tekka may know where Luke is, but finding him will put Poe and his droid, BB-8, in a place that is both strange and dangerous.

Marvel Comics is publishing about four to five Star Wars comic books every month, and for the most part, much of that output is high-quality.  I was excited to learn that Marvel would be publishing a comic book focusing on Poe Dameron, who is one of the characters of which I want to see more in future Star Wars films.  I am expecting a lot from this comic book because I hope that Charles Soule can deliver the same excitement and thrills he did in last year's five-issue miniseries, Lando, which depicted a tale of Lando Calrissian before he was a mining mogul.

Well, the first issue certainly delivers on action and intrigue.  I have to be honest:  one of the reasons I like this comic book is that it connects to The Force Awakens, taking place just before the events depicted in the film.  Soule fleshes out more of Poe's personality, and he also expands into the unknown that surrounds the world of The Force Awakens.  And I have to give artist Phil Noto credit; he has a photo-realistic touch when it comes to drawing Poe.  Here, Poe the comic book character strong resembles Oscar Isaac, the actor who portrays Poe in The Force Awakens.

As a bonus, there is an eight-page backup story starring BB-8, written and drawn by the underrated cartoonist Chris Eliopoulos, who is known for his work as a comic book letterer.  I loves me some BB-8, and I like what Eliopoulos does with the character.  Encore!

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: 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: STAR WARS #7

STAR WARS (2015) #7
MARVEL COMICS – @Marvel

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

STORY: Jason Aaron
ART: Simonepon Bianchi
COLORS: Justin Ponsor
LETTERS: VC's Chris Eliopoulos
COVER: John Cassaday with Laura Martin
28pp, Color, $3.99 U.S. (September 2015)

Rated T

Earlier this year, Marvel Comics began publishing Star Wars comic books again, for the first time since 1986.  They regained the license due to the fact that Lucasfilm, Ltd. (Star Wars' parent company) became part of The Walt Disney Company, which also owns Marvel Comics' parent (Marvel Entertainment).

As far as I am concerned, the return of Star Wars to Marvel has been a wild success.  Perhaps, it is my childhood association with Marvel Comics as the publisher of Star Wars comic books.  Still, the three ongoing series (Star Wars, Darth Vader, Kanan: The Last Padawan) and the, thus far, two miniseries (the completed Princess Leia and the just started Lando) are a blast to read.

Star Wars #7 offers a one-off tale after the conclusion of its opening story arc, which saw Luke Skywalker find the journal of his old mentor, the former Jedi Knight, Obi-Wan Kenobi.  In Star Wars (1977), the original film, Obi-Wan was known as “Old Ben Kenobi,” that “crazy old wizard,” who lived out in the desert.  We learn very little of Ben “Obi-Wan” Kenobi in the original Star Wars trilogy.  In the prequel trilogy that began with Star Wars: Episode I – The Phantom Menace (1999), we learned much about Obi-Wan's latter days as a padawan and his time as a Jedi Master.

What is still mostly shrouded in mystery is the two decades Obi-Wan spent on the planet Tatooine as a Jedi-in-exile slash hermit.  Star Wars #7 brings to life an excerpt from Old Ben Kenobi's journal.  It tells that while he watched over the boy, Luke Skywalker, Obi-Wan yearned for more.  He struggled because his training had taught him to be active, not just some guy sitting and waiting.  Now, his impatience may cost him in regards to his most important task.

I did not expect much from Star Wars #7, although I have thoroughly enjoyed the work of writer Jason Aaron on this series.  However, series artist John Cassaday was apparently only going to draw the first story arc, and he is a big reason that I have enjoyed this series so much.  I don't particularly care for the work of artist Simone Bianchi, who stepped in to draw this story.

I must admit to being pleasantly surprised by Star Wars #7.  Aaron's story of hope, redemption, and courage feels true to the spirit of classic Star Wars.  Bianchi's overly stylish compositions have a sensibility that is not foreign to classic Star Wars; the art even recalls the kind of adventure illustration that influenced George Lucas in creating Star Wars.  Besides, Star Wars #7 has a cover by John Cassaday and colorist Laura Martin, which pleases me.

I am hoping for more excerpts from Old Ben Kenobi's journal.  I have a new hope that there are some exciting adventures to be told.

B+

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: SECRET WARS #1

SECRET WARS #1 (OF 8)
MARVEL COMICS – @Marvel

WRITER: Jonathan Hickman
ARTIST: Esad Ribic
COLORS: Ive Svorcina
LETTERS: Chris Eliopoulos
COVER: Alex Ross
VARIANT COVERS: Simone Bianchi with Simone Peruzzi; Jim Cheung with Justin Ponsor; John Tyler Christopher; Amanda Conner with Paul Mounts; Butch Guice with Andy Troy; Esad Ribic; Skottie Young; Chip Zdarsky
56pp, Color, $4.99 U.S. (July 2015)

Part 1: “End Times”

Almost four years ago, DC Comics re-launched its comic books line, an event called “The New 52.”  That's over, already.  Marvel Comics did semi-relaunches, under the banner “All-New.”  Well, now Marvel is going all in this fall when every comic book restarts with a #1 issue, in addition to the apparent debut of some new titles.

DC Comics heralded “The New 52,” with a five-issue miniseries and publishing event entitled “Flashpoint.”  Marvel's event herald is “Secret Wars.”  Yes, indeed, everything old is remade again, and Marvel's notorious 1984 twelve-issue comic book miniseries, Marvel Super Heroes Secret Wars get a portion of its title re-purposed.  Worlds, universes, and even characters die in the eight-issue miniseries, Secret Wars, written by Jonathan Hickman, drawn by Esad Ribic, colored by Ive Svorcina, and lettered by Chris Eliopoulos, with painted covers by Alex Ross.

Secret Wars #1 (“End Times”) opens with Doctor Doom, Doctor Strange, and Molecule Man facing... “Beyond.”  The multiverse is dying, and there are only two universes left.  One is the universe of Earth-1610 (the Ultimate Universe), and the other is the universe of Earth-616 (the Marvel Universe).  One is invading the other; super-powered types will battle.  Super-powered types will die, and so will a universe... or two.

Reading Secret Wars #1 is only half as painful as reading Avengers & X-Men: Axis #1 was for me.  Secret Wars does have its moments in which I genuinely cared about the peril faced by the characters, at least some of them.  What I genuinely love about Secret Wars #1 is the beautiful art by Esad Ribic and Ive Svorcina.

I have always admired Ribic, even when he replaced my beloved Steve Rude on X-Men: Children of the Atom (way back in the 1990s).  Here, Ribic and Svorcina deliver some potent, striking images, and it is their storytelling that really makes this graphic narrative work, more so than Hickman's script.  Hickman puts a snide remark in Rocket Raccoon's mouth about those comic book from decades ago that had a one-dollar cover price.  Yeah, some did suck, but you usually got a complete story in a single issue.  Let's see current comics superstar Jonathan Hickman pull that off.

B+

[This book includes a preview of The Uncanny Inhumans #0” by Charles Soule, Steve McNiven, Jay Leisten, Justin Ponsor, and VC's Clayton Cowles.]

Reviewed by Leroy Douresseaux; support on Patreon.


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

I Reads You Review: CHRONONAUTS #1

CHRONONAUTS #1
IMAGE COMICS – @ImageComics

WRITER: Mark Millar – @mrmarkmillar
ARTIST: Sean Gordon Murphy – @Sean_G_Murphy
COLORS: Matt Hollingsworth
LETTERS: Chris Eliopoulos
COVER: Sean Gordon Murphy with Matt Hollingsworth
VARIANT COVERS: Matteo Scalera with Matt Hollingsworth; Declan Shalvey with Jordie Bellaire; Dan Panosian; Fiona Staples; Ryan Ottley with Kelsey Shannon; Fabio Moon; Chris Weston
28pp, Color, $3.50 U.S. (March 2015)

Rated M / Mature

Chrononauts is a new comic book series created by writer Mark Millar (Kick-Ass, The Secret Service) and artist Sean Gordon Murphy (Punk Rock Jesus).  The series focuses on the world's first time travelers and the problems they encounter.

Chrononauts #1 introduces Corbin Quinn.  He is the star scientist in NASA's Temporal-Observation Program.  After testing several “temporal vehicle” prototypes, Quinn and his partner, Dr. Danny Reilly, are ready for their first manned-mission through time with the help of their “chrono-suits.”  Something goes wrong; some always goes wrong, and it is usually not so easy to fix.

Like much of Mark Millar's creator-owned comics outside of Marvel Comics, Chrononauts is the usual, glossy, high-concept piece featuring people who know a lot, but don't realize how much they don't know.  Chrononauts lacks the gall of Kick-Ass and the gleeful maliciousness of Nemesis; plus, it seems like a shiny makeover of the late Michael Crichton's1999 novel Timeline that was adapted into a 2003 film of the same title.

I suspect Millar will offer more surprises in the second issue, so I will give it a try (if I can find a second issue).  Sean Murphy is a good comics storyteller, but nothing he does here really piques my interest.  Murphy is the series co-creator, but virtually any veteran comic book artist could have drawn Chrononauts.  Maybe, Murphy will also surprise in the second issue.

http://www.millarworld.tv/

Reviewed by Leroy Douresseaux on Patreon.


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I Reads You Review: STAR WARS #1

STAR WARS (2015) #1
MARVEL COMICS – @Marvel

["Star Wars Central" review page is here.]

STORY: Jason Aaron
ART: John Cassaday
COLORS: Laura Martin
LETTERS: Chris Eliopoulos
COVER: John Cassaday with Laura Martin
VARIANT COVERS: Bob McLeod; Simone Bianchi, Mark Brooks, J. Scott Campbell with Nei Ruffino; Pascal Campion; John Tyler Christopher; Alan Davis, Dale Keown; Sara Pichelli; Humberto Ramos; Alex Ross; Skottie Young
48pp, Color, $4.99 U.S. (March 2015)

Rated T

Book 1: Skywalker Strikes

In 1977, Marvel Comics published a comic book adaptation of the movie, Star Wars, over the course of six issues.  Because of the sales success of that adaptation, Marvel continued publishing this comic book, also entitled Star Wars, assigning a number of writers and artists to fashion new adventures featuring the cast of the Oscar-winning Star Wars, which broke box office records.

During its run of 107 issues and 3 annuals, Star Wars the comic book series also adapted the 1980 film, The Empire Strikes Back (over the course of six issues).  The series created new stories to continue the adventures of Luke Skywalker, Princess Leia Organa, Han Solo, Chewbacca,  C-3PO, R2-D2, Darth Vader, and new characters like Lando Calrissian and Boba Fett.  A comic book adaptation of Return of the Jedi was published in a separate four-issue miniseries.  Marvel also published two other Star Wars comic books, a fourteen-issue series, Ewoks, and an eight-issue series, Droids.  In 1986, Marvel stopped producing new Star Wars comic books.

From 1991 to 2014, Dark Horse Comics held the license to publish Star Wars comic books.  During that time, Dark Horse published hundreds of individual Star Wars comic books, paperbacks, and hardcover collections.  The Walt Disney Company bought Marvel Entertainment, LLC in 2009 and Lucasfilm Limited, LLC in 2012 (the home of Star Wars, of course), making Marvel Comics and Lucasfilm corporate siblings.  Because of that, Marvel Comics was slated to once again be the publisher of Star Wars comic books.

To begin this new era of Star Wars comic books, Marvel recently launched a new comic book entitled Star Wars.  This title returns to the period immediately following the events depicted in the original Star Wars film (also known as Episode IV – A New Hope).  That means new adventures featuring the classic versions of Luke, Leia, Han, Chewbacca,  C-3PO, R2-D2, and Darth Vader.

Marvel's Star Wars #1 opens shortly after Luke Skywalker destroyed the evil Galactic Empire's most feared and greatest weapon, the Death Star.  Now, the Rebel Alliance wishes to press the advantage they gained over Imperial Forces and are launching a daring offensive in a bid to defeat the Empire once and for all.

Now, Luke, Leia, Han, Chewbacca, C-3PO, and R2-D2 have secretly infiltrated the Corellian Industrial Cluster.  Han is pretending to be the official emissary of Jabba the Hutt, whose organization will provide the raw material that the Empire needs for its weapons factory.  Our favorite rebels are about to discover that another negotiator is also on his way, and he is someone familiar to them.

What can I say?  I love Star Wars.  I have only read a small portion of the books and comic books produced in what is called the “Star Wars Expanded Universe.”  I have occasionally bought toys, clothing, and other merchandising.  Still, I love Star Wars.  I have seen all the films (including the Star Wars: The Clone Wars film) in whole or in part so many times that only God knows the number.  I did not watch much of the old “Droids” and “Ewoks” Saturday morning cartoon series, but I have seen most of the recent animated series, like “Star Wars: The Clone Wars” and “Star Wars Rebels.”

Yes, I love Star Wars.  Marvel's new Star Wars #1 does feel like it is connected to the original Star Wars film, at least to me.  Writer Jason Aaron is spot-on with the dialogue.  Han's dialogue recalls Harrison Ford of the original trilogy.  There are moments in this first issue when artist John Cassaday draws the characters as if he had gone back in time and was the official portrait artist on the set of Star Wars in 1976 when George Lucas began shooting the first film.  So what can I say?  Of course, I like this.  Of course, I love Marvel Comics' new Star Wars #1.

[At the beginning of 2013, Dark Horse Comics launched a comic book entitled Star Wars.  It also took us (as a press release said) “back to those heady, adventure-filled days following the destruction of the Death Star—when the Empire ruled, the Rebels were on the run, and the galaxy was a dangerous place where anything might happen!”  Dark Horse's Star Wars was a character-driven, science fiction adventure serial, and, to be fair, it was quite good.]

A

[This comic book includes previews of the following comic books:  Star Wars: Darth Vader by Kieron Gillen and Salvador Larocca and Star Wars: Princess Leia by Mark Waid and Terry Dodson.]

Reviewed by Leroy Douresseaux


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I Reads You Review: ALL-NEW MIRACLEMAN Annual #1

ALL-NEW MIRACLEMAN ANNUAL #1
MARVEL COMICS – @Marvel

WRITERS: Grant Morrison, Peter Milligan
ART: Joe Quesada, Mike Allred
COLORS: Richard Isanove, Laura Allred
LETTERS: Chris Eliopoulos, Travis Lanham
COVER: Gabriele Dell'Otto
36pp, Color, $4.99 U.S. (February 2015)

Mature Content – Parental Advisory for Strong Language & Content

Miracleman (Marvelman) created by Mick Anglo

All-New Miracleman Annual #1 is a one-shot comic book published on New Year's Eve 2014 (Wednesday, December 31, 2014).  It contains two stories set in the world of Alan Moore and Gary Leach's revived and re-imagined version of Marvelman, the 1950s and early 1960s British superhero character created by British comic book writer-artist, Mick Anglo.

When Alan Moore's Marvelman was brought to America and reprinted by the late Eclipse Comics, it was renamed Miracleman.  After acquiring the rights to the Marvelman characters, Marvel Comics is currently reprinting the material produced by Warrior and reprinted by Eclipse and also, Eclipse's own Miracleman comics that it began publishing in the mid-1980s.

The first story in All-New Miracleman Annual #1 is The Priest and the Dragon: “October Incident: 1966.”  It is a Marvelman-related story written by Grant Morrison for the British comic magazine, Warrior, the home of Moore's Marvelman revival.  No art was produced for the story after it was originally written, and it was put on hiatus when Warrior ceased publication (according to the “Behind the Scenes” section of All-New Miracleman Annual #1).

The story finally sees light with art by former Marvel Comics Editor-in-Chief Joe Quesada (now Chief Creative Officer of Marvel Worldwide, Inc.).  The story centers on an elderly priest who had an encounter, three years before this story begins, with Johnny Bates a.k.a. Kid Miracleman.  The story, really, is a vignette, but it is the kind of vignette that can be very powerful and effective with the right artist.  Joe Quesada is an effective graphical storyteller, so this story allows us to see Quesada working as a storytelling comic book artist, which he has not been for much of the last decade and a half.  Even the lettering by Chris Eliopoulos for this story is potent.

The second story features the Miracleman Family (the Marvelman Family):  Miracleman, Young Miracleman, and Kid Miracleman.  The story, entitled “Seriously Miraculous,” is written by Peter Milligan and is drawn by Mike Allred with colors by Laura Allred and letters by Travis Lanham.  I think that this is an entirely new story.

The story pits the Miracleman Family against the Dictator of Boromania and his hired gun, Gargunza, a Miracleman adversary.  While constantly foiling assorted diabolical, but weird plots, Miracleman notices something strange about the places where he and his family have fought.

“Seriously Miraculous” is a hugely enjoyable story.  Peter Milligan's name is not often mentioned among the great British comic book writers who started producing work for U.S. comic book publishers in the 1980s and 90s, but it should be.  I don't think that I have ever read something by him that was not interesting or inventive or both.  He may not have created a Watchmen or a Sandman, but he is never ordinary.

In “Seriously Miraculous,” he has written a story that perfectly plays to Mike Allred's retro-modern style, but not just in terms of style.  Milligan and Allred come together for a story that pays homage to Mick Anglo's old Marvelman comics, but also hints at Alan Moore and Gary Leach's revival, while allowing Allred to add his ironic and surreal touches.

Milligan and Allred are a good team, and Quesada brings Morrison's decades-old story to life with the kind of power that it might not have had it been drawn when it was originally intended.  All-New Miracleman Annual #1 is a must-have in this second revival of Marvelman/Miracleman.

A

Reviewed by Leroy Douresseaux


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

I Reads You Review: AVENGERS & X-MEN: Axis #1

AVENGERS & X-MEN: AXIS #1
MARVEL COMICS – @Marvel

WRITER: Rick Remender
ART: Adam Kubert
COLORS: Laura Martin and Matt Milla
LETTERS: Chris Eliopoulos
COVER: Jim Cheung with Justin Ponsor
VARIANT COVERS:  Gabriele Dell'otto; Adam Kubert with Edgar Delgado; Mike Mayhew; Mico Suayan; Skottie Young; Chip Zdarsky; and The Young Guns with Mike Deodato with Frank Martin
44pp, Color, $4.99 U.S. (December 2014)

Rated “T+”

The Red Supremacy: Chapter 1

About three years ago, I read the first two issues of Avengers vs. X-Men (#0 and #1), and I didn't find anything that made me want to keep reading the much-anticipated and much-talked about event “maxi-series.”  So I don't know why I'm reading the new Avengers/X-Men crossover event miniseries, Avengers & X-Men: Axis.  Maybe, I'm curious?

Avengers & X-Men: Axis #1 (The Red Supremacy: Chapter 1) opens with a brief recap/overview of what has happened since the shocking end of Avengers vs. X-Men, in which the X-Man, Cyclops, killed his mentor and founder of the X-Men, Professor Charles Xavier.  The result was the branding of Cyclops as a criminal and also the founding of the Uncanny Avengers, a unity squad of Avengers and X-Men.  Of course, a new team wouldn't make them better for long.

Fast forward:  Magneto kills Captain America's arch-nemesis, the Red Skull, which leads to his resurrection as “The Red Onslaught.”  Now, there is a wave of psychic energy and hate, initiated by Red Onslaught, because he possesses Prof. X's brain and psychic powers.  This psychic wave, or onslaught, if you will, has the world in turmoil, so the Avengers and X-Men have to come together to stop Red Onslaught.

Wow.  It has been an unknown number of years (but it is many) since I have read an issue of a comic book event series in which superheroes and super-villains engage in a slug fest.  Part of me enjoys seeing so many of the superheroes that I've known most of my life together, even the new versions.  I enjoyed the Scarlet Witch angle of this story, as well as the Scarlet Witch-Rogue subplot.  I think this Red Onslaught character is ridiculous, however.  I did not plan on reading any more of this, even while wondering why I was reading Avengers & X-Men: Axis #1 to begin with.

Then, I saw Sentinels at the end of the first issue, and then, I decided to read more.  I think that is how these superhero crossover events work.  The writers, artists, and editors throw so much into the event (something we can compare to a pot full of ingredients), and the readers are bound to find something to appeal to them.  So there you have it.  I thought I was out, but they dragged me back in.

Reviewed by Leroy Douresseaux

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I Reads You Review: DEATH OF WOLVERINE #1

DEATH OF WOLVERINE #1 (OF 4)
MARVEL COMICS – @Marvel

WRITER:  Charles Soule
PENCILS:  Steve McNiven
INKS:  Jay Leisten
COLORS:  Justin Ponsor
LETTERS: Chris Eliopoulos
COVER:  Steve McNiven and Jay Leisten with Justin Ponsor
56pp, Color, $4.99 U.S. (November 2014)

Rated T+

Part One: “The End”

Marvel Comics is killing Wolverine.  How long will he remain dead?  I guess that is not really the point.  I'm just supposed to enjoy the event miniseries in which Wolverine dies.  Entitled Death of Wolverine, it is written by Charles Soule, pencilled by Steve McNiven, inked by Jay Leisten, colored by Justin Ponsor, and lettered by Chris Eliopoulos.

Death of Wolverine #1 (“The End”) opens in the backwoods of British Columbia; the time is now.  Logan/Wolverine is dying because he has lost his healing factor.  Now, he cannot heal supernaturally fast after being injured in his frequent battles, fights, duels, etc., so it has taken a toll on his body.  Mr. Fantastic (Reed Richards of the Fantastic Four, of course) has told Logan that he can find a way to reactivate his healing factor, but it will take time.

Logan does not have that time.  People are coming after Wolverine to kill him.  In fact, here come some guys now.

I wanted to be cynical.  Killing Wolverine?  Ha!  He'll be back real soon.  Still, one look at that card stock cover for Death of Wolverine #1, with its snazzy graphic design and beautiful (of course) Steve McNiven art, and I was sold on this miniseries.  The story, by the impressive Charles Soule, is downbeat and downright depressing.  The wonderfully detailed line work and texture by McNiven, the precise and artful inking by Leisten, and the glorious hues of colorist Justice Ponsor make the story even more heartbreaking.  There is a real sense of finality to this tale... thus far.

Hey, the extras are cool!  I love the generous helping of McNiven sketchbook material.  Len Wein uses his interview to give props to the late Dave Cockrum.  Gotta love that.  Yeah... I didn't think that I would end up looking forward to the Death of Wolverine miniseries, but I am, even as I (surprisingly) dread the death of Wolverine.

A-

Death of Wolverine includes bonus material:

• sketches and other preliminary art for the series by Steve McNiven
• commentary by McNiven
• an interview with Wolverine co-creator Len Wein that includes art from The Incredible Hulk #181 (Wolverine's first full appearance)
• Death of Wolverine #1 – Director's Cut, which includes pages from the script for issue #1 with pencil, ink, and color versions of art from the first issue

----------------------------
Reviewed by Leroy Douresseaux


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I Reads You Review: THE AMAZING SPIDER-MAN #1.1

THE AMAZING SPIDER-MAN #1.1
MARVEL COMICS – @Marvel

WRITER: Dan Slott
ART: Ramon Perez
COLORS: Ian Herring
LETTERS: Chris Eliopoulos with Joe Caramagna
COVER: Alex Ross
28pp, Color, $3.99 U.S. (July 2014)

Rated T

Learning to Crawl: Part One: The Show Must Go On

The core Spider-Man comic book series, The Amazing Spider-Man, has returned.  This All-New Marvel NOW series returns with a partner series of sorts, a side-series that retells the story of the early days of Peter Parker’s career as Spider-Man.  Entitled The Amazing Spider-Man 1.1 (Learning to Crawl: Part One), this series is brought to readers by writer Dan Slott, artist Ramón Pérez, colorist Ian Herring, and letterers Chris Eliopoulos and Joe Caramagna.

Learning to Crawl: Part One: The Show Must Go On opens shortly after Peter Parker as Spider-Man confronts the man who shot and killed his beloved Uncle Ben (Benjamin Parker) to death.  Peter is now in a position where he must put on his Spider-Man costume in order to help his family, where he once wore it as part of a secret new life.  As Uncle Ben’s funeral approaches, Peter remains unaware of how people perceive him and his alter-ego, but those perceptions will make his life even more complicated.

The art by Ramón Pérez for The Amazing Spider-Man 1.1 recalls the art of Steve Ditko that first brought Spider-Man to life more than 50 years ago.  This is an effective visual style that makes The Amazing Spider-Man 1.1 seem like a comic book that was published during the early days of Marvel Comics, instead of merely being a comic book tied into the launch of The Amazing Spider-Man 2014.

Writer Dan Slott uses this comic book to get inside Peter Parker’s head and to take an intimate look at the struggles of a 15-year-old boy more as a teenaged boy than as a superhero.  Whenever Slott brings Spider-Man into the story, it is in the context of teen Parker and not as teen superhero.  This emphasis on Peter is best exemplified in this issue when Peter is faced with his late uncle’s generosity at time when he knows that he and Aunt May could use the money Uncle Ben once gave away to those in need.  I look forward to more of this series.

A-

Reviewed by Leroy Douresseaux


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I Reads You Review: THE AMAZING SPIDER MAN #1

AMAZING SPIDER-MAN #1 (2014)
MARVEL COMICS – @Marvel

WRITER: Dan Slott
PENCILS: Humberto Ramos
INKS: Victor Olazaba
COLORS: Edgar Delgado
LETTERS: Chris Eliopoulos
COVER: Humberto Ramos
VARIANT COVERS: Marcos Martin; Ed McGuinness; Pop Mhan; Jerome Opeña; Skottie Young; Alex Ross
92pp, Color, $5.99 U.S. (June 2014)

Spider-Man is a Marvel Comics superhero.  Peter Parker was once a shy and retiring teenager.  He was a freelance photographer.  He has always been a science wiz.  Parker is the Amazing Spider-Man.  Then, the gods of comics fate allowed Spider-Man arch-villain, Doctor Octopus, to swap his brain into Parker’s body.  Doc Ock became the Superior Spider-Man.

Peter Parker’s brain is back in his body, and the core Spider-Man comic book series, The Amazing Spider-Man, is re-launched.  This All-New Marvel NOW series is brought to readers by writer Dan Slott, artists Humberto Ramos (pencils) and Victor Olazaba (inks), colorist Edgar Delgado and letterer Chris Eliopoulos.

The Amazing Spider-Man #1 (“Lucky to Be Alive”) opens with Spider-Man fighting a group of oddball, semi-super-villains.  He’s doing that for relaxation.  Now, that Parker is back in control of his body, he discovers that Doctor Octopus completed Parker’s PhD and started his own company, “Parker Industries.”  But the company is a bit of a mess.  And Parker apparently has girlfriend named Anna Maria Marconi.  Spider-Man is back, but so are the troubles of Peter Parker.

I don’t read Spider-Man comic books as much as I once did.  I have been planning on changing that, and The Amazing Spider-Man #1 – 2014 edition – convinces me that I should.  This new beginning features classic pile-on-Parker with some web-slinging, and while I won’t call this great, I find it to be a good read.  As for artist Humberto Ramos, I am enjoying his work, which seems more like the work of former imprint-mate, J. Scott Campbell, than ever before.

Back-up features credits:
WRITERS: Dan Slott, Christos Gage, Joe Caramagna, Peter David, Chris Yost
PENCILS: Javier Rodriguez, Giuseppe Camuncoli, Chris Eliopoulos, Will Sliney, David Baldeon, Ramon Perez
INKS: Alvaro Lopez, John Dell, Cam Smith, Chris Eliopoulos, Will Sliney, Jordi Tarragona, Ramon Perez
COLORS: Javier Rodriguez, Antonio Fabela, Jim Charalampidis, Rachelle Rosenberg, Ian Herring

There are six short stories featuring various characters from the world of Spider-Man, with one being a preview of a side-series comic book.  These stories are extras, and I like anything that makes a comic book a bigger issue than it normally is.

INHUMAN #1
WRITER: Charles Soule
ARTIST: Joe Madureira
COLORS: Marte Gracia
LETTERS: VC’s Clayton Cowles
COVER:  Joe Madureira and Marte Gracia

The Amazing Spider-Man #1 reprints the sold-out Inhuman #1 (Part 1: Genesis) by writer Charles Soule, artist Joe Madureira, colorist Marte Gracia, and letter Clayton Cowles.  Marvel Comics is re-inventing and revitalizing the Inhumans, a strain of humanity that began with genetic manipulation by visitors to Earth from an alien civilization (the Kree).

This first issue revitalizes my interest in the Inhumans, and I have not read an Inhumans comic book since Paul Jenkins’ 12-issue comic book series, The Inhumans, which was first published about 14 years ago.  This new comic book also offers some of Joe Madureira’s strongest art, in terms of storytelling and style, in over a decade.  This Inhuman #1 reprint is why I’m giving The Amazing Spider-Man #1 a high grade.

A-

Reviewed by Leroy Douresseaux


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

I Reads You Review: MOON KNIGHT #2

MOON KNIGHT (2014) #2
MARVEL COMICS – @Marvel

WRITER: Warren Ellis
ARTIST/COVER: Declan Shalvey
COLORS: Jordie Bellaire
LETTERS: Chris Eliopoulos
COVER: Declan Shalvey and Jordie Bellaire
VARIANT COVER: Phil Noto
28pp, Color, $3.99 U.S. (July 2014 – second printing)

Rating: Parental Advisory

“Sniper”

Moon Knight, the Marvel Comics superhero character created by writer Doug Moench and artist Don Perlin, recently received a new eponymous comic book series.  [Moon Knight first appeared in Werewolf by Night #32 (cover dated: August 1975).]  Courtesy of writer Warren Ellis, artist Declan Shalvey, colorist Jordie Bellaire, and letterer Chris Eliopoulos, the 2014 Moon Knight comic book finds the title character taking on serial killers, spree killers, and other mass murders (so far).

Moon Knight #2 (“Sniper”) opens with a focus on eight individuals, who wind down after a long day at work.  But their pasts have come back possibly to haunt them.  Perhaps, Moon Knight can stop the haunting.

I just read Moon Knight #2, and I like it so much that I had to start writing this review right away.  That’s funny, because I did not care much for the first issue of the “All-New Marvel NOW!” Moon Knight.  Nothing:  I didn’t care for Warren Ellis’ script, nor was I feeling buzz word-hot artist Declan Shalvey or just-got-lots-of-Eisner-nominations colorist Jordie Bellaire (whose work I usually like).

Ellis’ story has a heartbreaking quality to it, but he is clever in how he manipulates through information.  By the end of the story, you might be having thoughts about how justice is served or, at least, least be thinking about blow back and real world issues.

Shalvey has a graphic style that would be right at home at alt-comix and art comics publishers like Top Shelf Productions and Drawn & Quarterly.  This time his compositions offer the striking visuals that they did not in the first issue.  Bellaire’s colors are evocative, creating mood and also giving the story a forceful sense of drama.

Shalvey and Ellis come together to create a story rhythm that is a beating heart, with a jazzy vibe that is part noir and part superhero comic book.  Half pantomime (without dialogue and exposition) and half sparsely worded, Moon Knight #2 is a unique read.  It bodes well for the next few issues, and I’m on board for more.

A

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: Marvel's MIRACLEMAN #1

MIRACLEMAN #1
MARVEL COMICS – @Marvel

STORY: The Original Writer (Alan Moore)
ART: Garry Leach
COLOR: Steve Oliff
LETTERS: Chris Eliopoulos
COVER: Joe Quesada with Richard Isanove
64pp, Color, $5.99 U.S. (March 2014)

Miracleman Book One: A Dream of Flying

Prologue by Mick Anglo (plot) and Don Lawrence (art)

Essay “Kimota! The Secret Origin of Mick Anglo’s Marvelman” by Mike Conroy

Marvelman is a British superhero character created in 1954 by writer-artist Mick Anglo for British publisher, L. Miller & Son.  The character was originally created as a substitute for the American character, Captain Marvel (Fawcett Comics), in the U.K.  Marvelman comic books were published until 1963, but the character was revived in 1982 by writer Alan Moore, who offered a darker, post-modern take on the character.  Author Neil Gaiman (The Sandman) wrote the series after Moore.

In March 1982, Warrior, a British monthly, black-and-white anthology comics magazine, was launched by editor and publisher Dez Skinn, who decided to revive Marvelman.  Warrior published the new and darker version of Marvelman, written by Alan Moore and initially illustrated by Garry Leach and later by Alan Davis.  In August 1985, Eclipse Comics began reprinting the Marvelman stories from Warrior (in color) in a comic book entitled, “Miracleman” (to avoid legal problems with Marvel Comics).

Miracleman issues #1-6 reprinted all the Warrior content, and then, Eclipse began publishing new Miracleman stories written by Alan Moore and drawn initially by artist Chuck Beckum and later by Rick Veitch and then John Totleben.  Moore wrote the series until issue #16; Neil Gaiman took over with issue #17.  Gaiman continued to write the series, but Miracleman ceased publication with issue #24 when Eclipse closed due to financial difficulties.

Now, Marvel Comics is bringing Eclipse Comics’ Miracleman series back into print, but in a special edition with extras.  This reprint also means that Neil Gaiman will get to finally finish his Miracleman story arc, more than two decades after it began.

Miracleman #1 begins with a reprint of an old Mick Anglo story, entitled for this story as “Prologue: 1956 – The Invaders from the Future.”  The main body of the story, “…A Dream of Flying.” opens in Great Britain in 1982.  It introduces Michael Moran, a 41-year-old freelance journalist, who has been having a bad time lately.  The strange dreams that have plagued him for years are worse, and he suffers from migraine headaches.  If only he could remember “the damn word” that is at the edge of his dreams/nightmares.

Moran travels to Larksmere for the opening of a nuclear power plant, and that’s where it all changes.  Later, Mike Moran will have a great story to tell his wife of 16 years, Liz Sullivan, but will she believe it?  Can Mike believe it?

It has been so many years (so so so many) since I first read the Miracleman #1 published by Eclipse Comics that I don’t remember exactly what I thought about it.  I know that I really liked it, but my memory is telling me (or lying to me) that I liked this series even more as it progressed.  Reading this #1 issue again, now, I enjoyed it, but I’m not overly impressed with Alan Moore’s story, although I do like it.  I get the feeling that once upon a time, I was more in awe of Miracleman #1.  After all, it was like nothing I had read up to that point.  Like I said, I think I liked Miracleman more in the later issues.

What impresses me now is the fantastic art by Garry Leach.  A delicate line is meshed into intricate line work.  Supple forms and advanced draftsmanship yield impressive compositions.  Did Leach know that he was just drawing a comic book?  I gotta find more Garry Leach.

Extras in this new Miracleman include an essay and an interview.  Mike Conroy’s two-page essay, “Kimota! The Secret Origin of Mick Anglo’s Marvelman,” is a quickie piece on Marvelman’s origins.  “Mick on Mick,” Joe Quesada’s interview of Marvelman creator, Mick Anglo, is short, but gives a nice look at Anglo as a bit of a rascal.

There are also reprints of three black and white stories taken from Marvelman #25 (February 3, 1954) and #32 (March 24, 1954).  The best of the extras is a six-page section that offers examples of Garry Leach’s original art, sketches, and developmental art for Marvelman, including his logo for Miracleman.  Once again, Leach makes Miracleman #1 worth having.

A-

Reviewed by Leroy Douresseaux


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

2012 Harvey Awards Name "Jim Henson’s Tale of Sand" Best Graphic Novel

by Leroy Douresseaux

The Harvey Awards are awards given for achievement in comic books. The Harvey Award is named for the late comics writer-artist, editor, and publisher, Harvey Kurtzman (1924-1993). Gary Groth, president of the publisher Fantagraphics, founded the Harvey Awards as part of a successor to the Kirby Awards, which were discontinued after 1987, the other being successor being the Eisner Awards.

The Harvey Awards are nominated by an open vote among comic-book professionals. The winners are selected from the top five nominees in each category by a final round of voting.

Jim Henson’s Tale of Sand was named “Best Original Graphic Album” and “Best Single Issue or Story” at the 25th Annual Harvey Awards.

The 25th Annual Harvey Awards were held Saturday, September 8, 2012 at the 2012 Baltimore Comic-Con. Actor and comedian, Phil LaMarr was the host.

2012 Harvey Award winners:

BEST ORIGINAL GRAPHIC ALBUM - “JIM HENSON’S TALE OF SAND”, published by Archaia Entertainment

BEST CONTINUING OR LIMITED SERIES - “DAREDEVIL” published by Marvel Comics

BEST SINGLE ISSUE OR STORY - “JIM HENSON’S TALE OF SAND” published by Archaia Entertainment

BEST NEW SERIES - “DAREDEVIL” published by Marvel Comics

BEST WRITER - Mark Waid for “DAREDEVIL” published by Marvel Comics

BEST ARTIST - J. H. Williams for “BATWOMAN” published by DC Comics

BEST CARTOONIST - Kate Beaton for “HARK! A VAGRANT”, harkavagrant.com; printed edition published by Drawn and Quarterly

BEST LETTERER - Chris Eliopoulos for “FEAR ITSELF” published by Marvel Comics

BEST COLORIST - Dave Stewart for “HELLBOY: THE FURY” published by Dark Horse Comics

BEST SYNDICATED STRIP - “CUL DE SAC”, by Richard Thompson, syndicated by Universal Press Syndicate

BEST ONLINE COMICS WORK - “HARK! A VAGRANT”, by Kate Beaton, harkavagrant.com; print edition published by Drawn and Quarterly

BEST AMERICAN EDITION OF FOREIGN MATERIAL - “THE MANARA LIBRARY, VOLUME 1: INDIAN SUMMER AND OTHER STORIES” published by Dark Horse Comics

BEST INKER - Joe Rivera for “DAREDEVIL” published by Marvel Comics

MOST PROMISING NEW TALENT - Sara Pichelli, for “ULTIMATE SPIDER-MAN”, published by Marvel Comics

SPECIAL AWARD FOR HUMOR IN COMICS - Kate Beaton for “HARK! A VAGRANT” harkavagrant.com; printed edition published by Drawn and Quarterly

BEST ORIGINAL GRAPHIC PUBLICATION FOR YOUNGER READERS - “ANYA’S GHOST” published by First Second

BEST ANTHOLOGY - “DARK HORSE PRESENTS” published by Dark Horse Comics

BEST DOMESTIC REPRINT PROJECT - “WALT SIMONSON’S THE MIGHTY THOR, ARTIST’S EDITION” published by IDW

BEST COVER ARTIST - J. H. WILLIAMS for “BATWOMAN” published by DC Comics

SPECIAL AWARD FOR EXCELLENCE IN PRESENTATION - “WALT SIMONSON’S THE MIGHTY THOR, ARTIST’S EDITION” published by IDW

BEST BIOGRAPHICAL, HISTORICAL OR JOURNALISTIC PRESENTATION – “GENIUS ISOLATED: THE LIFE AND ART OF ALEX TOTH” published by IDW

BEST GRAPHIC ALBUM PREVIOUSLY PUBLISHED – “THE DEATH RAY” published by Drawn and Quarterly

Albert Avilla Reviews: Avengers Vs. X-Men Round 11

Avengers Vs. X-Men Round 11 (Avengers vs. X-Men #11)
Marvel Comics

Reviewed by Albert Avilla

Writer: Brian Michael Bendis with Ed Brubaker, Jonathan Hickman, Matt Fraction
Pencils: Olivier Coipel
Inks: Mark Morales
Colors: Laura DePuy
Letters: Chris Eliopoulos
Covers: Jim Cheung, Sara Pichelli, Justin Ponsor

It's not issue 11. It's round 11, because a real Marvel throw-down is about to start. If you're going to have about a million characters in a story, then you better deliver the action. This was accomplished big time. Xavier was cool hands in his pockets while holy hell was being unleashed around him. This was an intervention on the cosmic level, and Cyclops wasn't having any of it. The moral compass of the mutant race has become a power mad tyrant willing to do whatever it takes to remake the world in his own image. He's saving the mutant race if he has to kill every one of them to do it. Does he remember that Jean sacrificed herself to stop the Phoenix Force? He basks in the power that he has fought to prevent. He's doing a great job of getting mutants and humans to work together. Olay, I'm going off on a tangent. This has been the best round in the match so far.

Just the art in this round was worth the $3.99. Majestic is the word that comes to mind. The landscapes add to the immensity of the story. The pages are not large enough to contain the action; you can feel the power exploding from the pages. My copy is nowhere near mint, because I've thumbed through it so many times enjoying the art.

I rate this round Recommend It to a Friend.