#IReadsYou Review: BATTLE CHASERS ANTHOLOGY

BATTLE CHASERS ANTHOLOGY

IMAGE COMICS

STORY: Joe Madureira and Munier Sharrieff

PENCILS: Joe Madureira; Adam Warren

INKS: Tom McWeeney with Joe Madureira; Adam Warren

COLORS: Liquid!; Christian Lightner; Aron Lusen; Ryan Kinnaird

LETTERS: Richard Starkings & Comicraft

COVER: Joe Madureira with Grace Liu

ISBN:  978-1-5343-1522-8; paperback (September 25, 2019)

32pp, Colors, 24.99 U.S.

Rated “T/ Teen”

Battle Chasers created by Joe Madureira

Battle Chasers is an American fantasy comic book series created by artist Joe Madureira.  Launched in April 1998, the series was sporadically published for nine issues over a period of a little over three years.  Battle Chasers #1 to #4 (cover dated: April to October 1998) were published by Image Comics' studio, Wildstorm Productions, via its “Cliffhanger” imprint.  Issues #5 to 8 (cover dated: May 1999 to 2001) were published by DC Comics via Wildstorm Productions and its “Cliffhanger” imprint.  The series returned to Image Comics for Battle Chasers #9 (cover dated: September 2001).  Although there was some art produced for a Battle Chasers #10, the issue was never published.

Well, Battle Chasers #10 finally arrives June 14th, 2023 (at least 21 years late) albeit with new series artist.  So I decided to go back and reread the original run, and there is a handy way to do that.

Battle Chasers Anthology, originally published in September 2019, collects every Battle Chasers comics story.  That includes Battle Chasers #1 to 9; the eight-page story from Battle Chasers Prelude (cover dated: February 1998); the 10-page story published in Frank Frazetta Fantasy Illustrated (cover dated: Summer 1998); and the Joe Madureira-Adam Warren “Red Monika: Interlude” serial, which was originally published in Battle Chasers #6 and #9.

[This volumes also includes a 21-page sketchbook section; a 10-page pin-up and illustration gallery; and 27-page cover art gallery.]

Battle Chasers takes place in a “steampunk” nineteenth century-type fantasy world.  It focuses on five main characters.  The first is Gully, a ten-year-old girl who possesses a pair of magical gloves left behind by her father, the great warrior, Aramus, who disappeared.  Next is Garrison, a legendary swordsman and grieving widow; he has a powerful magical sword.  Knolan is a powerful 500-year-old wizard.  His companion is Calibretto, a towering “Wargolem,” who is also an outlaw and the last of his kind.

The four join forces to find Gully's father.  They must also stop four extremely powerful villains that were inadvertently released from imprisonment by the fifth main character, Red Monika, a rogue and a voluptuous bounty hunter.  Meanwhile, the legacy of Aramus, the machinations of King Vaneer of the Unified Territories, and the secrets of Knolan begin to poison everything and everyone around them.

THE LOWDOWN:  I was a huge fan of Joe Madureira a.k.a. “Joe Mad” in the 1990s.  I used to call him “the young master” because his talent, abilities, and art seemed to explode every few months into something even better and more beautiful.  I even collected multiple pages of Joe Mad's original art.

So I was ecstatic when his first creator-owned comic book, Battle Chasers, was announced in 1997.  I was so excited about Battle Chasers when it arrived in the spring of 1998 that I also bought one of the variant covers.  I enjoyed the series, but it was a bit hard to follow because … well, because Mad took two and a half years to deliver nine issues.  For instance, there was a 16-month delay between the publication of Battle Chasers #6 (August 1999, DC Comics) and #7 (January 2001, DC Comics).

In the end, Joe Mad abandoned the series to work in the video game industry and went on to co-found a video game company.  Eventually, he did return to Battle Chasers, and Battle Chasers Anthology was published in 2019.

It is through Battle Chasers Anthology that a reader can see how imaginative, inventive, and fun to read Battle Chasers was and is.  Having the series gathered in one book allows a reader to enjoy the series without waiting months or a year-and-half to read each chapter.  The story flows, so the overall narrative comes across as impressive and well-thought out, and except for some wonky names for people, places, and beings and some awkward dialogue, the script writing by Munier Sharrieff is really good.  Engaging plots, interesting character, and surprising cliffhangers make this an exciting and gripping read.  Battle Chasers is a wild gumbo of video games scenarios, Dungeons & Dragons, and anime and manga.  Still, it is original rather than being a pastiche, although on the surface, it might appear to be as such.

To that end, along with the end of his run on Marvel Comics' Uncanny X-Men, Battle Chasers is peak Joe Mad art.  His creature design for this series is still impressive, and there was nothing like it, at least in American comic books, back then.  Battle Chasers' character design is also quite good, simply because none of the lead characters or main supporting and guests character look remotely alike.

Like Tim Townsend did when he inked Joe Mad, Tom McWeeney uses his inks to control the wild energy and eccentricity that showed itself in Mad's comic book art after he left Battle Chasers.  In the 1990s, I thought that there were no better comic book colorists than Liquid Graphics a.k.a. Liquid!  Twenty years later, the studio's work on this comic book still looks amazing.  Even the lettering by Richard Starkings & Comicraft stands out as exceptional – even today.  I'm starting to believe that, in spite of their lateness, Battle Chasers and the other two original Cliffhanger titles were not only peak 1990s mainstream comic books but also a peak in mainstream comic books in general.

I wanted to read Battle Chasers Anthology just in case I decided to read the finally arrived Battle Chasers #10 (Image Comics).  I enjoyed this collection so much that I feel that I have to at least read this new issue.

I READS YOU RECOMMENDS:  Fans of artist Joe Madureira and of his former comic book series, Battle Chasers, will want Battle Chasers Anthology.

A

[This volume includes an introduction by Jeph Loeb and an afterword by Joe Madureira.]

[MISC ART: Joe Madureira; Joe Madureira and Tom McWeeney with Liquid!, Joe Maduriera and Alex Garner; Joe Madureira and Vince Russell; Joe Madureira and Richard Starkings; Ed McGuiness and Liquid!; David Finch and Liquid!; Travis Charest and Richard Friend; Ed McGuiness and Jason Martin with Justin Ponsor; Travis Charest and Richard Friend with Liquid!; Joe Chiodo; Adam Warren with Liquid!; Humberto Ramos and Sandra Hope with Liquid!; J. Scott Campbell and Richard Friend with Liquid!.]

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

https://twitter.com/JoeMadx

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#IReadsYou Review: HEROES REBORN #1

HEROES REBORN #1 (OF 7)
MARVEL COMICS

STORY: Jason Aaron
PENCILS: Ed McGuiness
INKS: Mark Morales
COLORS: Matthew Wilson
LETTERS: VC's Cory Petit
EDITOR: Tom Brevoort
EDITOR-IN-CHIEF: Akira Yoshida a.k.a. C.B. Cebulski
COVER: Leinil Francis Yu with Sunny Gho
VARIANT COVER ARTISTS: Carlos Pacheco and Rafael Ponteriz with Nolan Woodard; Ed McGuiness with Matthew Wilson; George Perez and Al Vey with Morry Hollowell; Iban Coello with Espen Grundetjern; Jeffrey Veregge; John Tyler Christopher; Joshua Cassara with Dean White; Mark Bagley and John Dell with Romulo Fajardo, Jr.; Stanley “Artgerm” Lau
48pp, Color, $5.99 U.S. (July 2021)

Rated “T+”

“Whatever Happened to Earth's Mightiest Heroes?”

Heroes Reborn was a Marvel Comics summer event series and crossover publishing initiative.  It was comprised of the seven-issue comic book miniseries, Heroes Reborn, and eleven tie-in comic books.  The entire thing was scheduled to be published over seven weeks, from May 5, 2021 to June 23, 2021.

Heroes Reborn is set on an Earth in which the Avengers – Earth's Mightiest Heroes – were never formed, and Blade the Vampire Hunter seems to be the only person who remembers that the world should be different – that it has been “reborn.”  The Heroes Reborn miniseries was written by Jason Aaron; drawn by Ed McGuiness (pencils) and Mark Morales (inks); colored by Matthew Wilson; and lettered by Matthew Wilson.

Heroes Reborn #1 (“Whatever Happened to Earth's Mightiest Heroes?”) opens in East Los Angeles.  That is where Blade is looking for answers.  Two weeks earlier, he woke up covered in blood in a flophouse of London's East End.  The first thing he did was try to contact Avengers Mountain, but it was not there.

Blade discovers that he has awakened in a world that is both familiar and wildly different.  In this world the Avengers never existed.  The Squadron Supreme of America has always been “Earth's mightiest heroes.”  They are Hyperion, Nighthawk, Power Princess, Doctor Spectrum, and Blur.

Phil Coulson is currently the President of the United States.  Blade reaches out to the Avengers teammates that he can find, but to no avail.  And the Squadron's Nighthawk does not like the “truth” with which Blade has confronted him.  Now, Blade must travel to the arctic and find the one man – the one legendary hero – who can fix this wrong Earth.

THE LOWDOWN:  First, I must be honest with you, dear readers.  With but a few exceptions, I hate big Marvel and DC Comics crossover events.  They are generally a mess – the closest thing to a cacophony of actual sound and fury signifying nothing that comic books can get.

Heroes Reborn #1 is one of the exceptions.  It is actually a really good first issue; the rest of the miniseries and all the tie-in issues are a mixed bag.  Only the first issue is entirely the work of Aaron and McGuiness, who is essentially the back-up artist on issues #2 to #7.  Jason Aaron is the writer on the lead stories in those issues, each of which focuses on a member of the Squadron Supreme and/or their activities.

I assume that many readers already know that the Squadron Supreme is Marvel's pastiche version of DC Comics Justice League of America.  I don't think that the team has ever been known as the “Squadron Supreme of America,” so it is funny that this is the group's name in Heroes Reborn.

The Heroes Reborn miniseries and its tie-ins are basically an overview of a world in which the Squadron and not the Avengers protects Earth.  Some of the changes are quite intriguing, such as the fact that the Squadron is more like DC Comics/Wildstorm Production's The Authority than the Avengers.  Some changes are not as good, but could be upon further development.  By the end of the one-shot that wraps up this event, Heroes Return #1, I did want to see more of the Heroes Reborn world, even with my reservations.

The series was published a year ago, so I don't believe I should worry about spoilers.  The Squadron replaced the Avengers in a plot hatched by Marvel's satanic villain, Mephisto, using the “Pandemonium Cube” (Cosmic Cube), with Phil Coulson as his wickedly evil and ambitious lackey and front man.

All that said:  I really liked Heroes Reborn #1.  Jason Aaron offers an especially intriguing first issue script with flourishes on conspiracy and mystery.  Ed McGuiness' manages to be both stylish and excellent in his storytelling; Mark Morales' sharp inks bring out McGuiness' sparkling design.  Matthew Wilson's color, as always, are gorgeous.  Letterer Cory Petit is also one of those “of course his work is good” guys, and he is indeed good here.

In general, I like Heroes Reborn, and I feel comfortable recommending it to fans of Marvel event series and to fans of the Squadron Supreme.  I didn't get as much Blade in this series as I would have liked, but sometimes, I have to take what I can get.

I READS YOU RECOMMENDS:  Fans of Marvel event series will want to try Heroes Reborn.

B+
★★★½ out of 4 stars

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


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https://www.marvel.com/
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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: Henry and J.J. Abrams' SPIDER-MAN #1

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

[This review was originally posted on Patreon.]

STORY: J.J. Abrams and Henry Abrams
PENCILS: Sara Pichelli
INKS: Sara Pichelli with Elisabetta D'Amico
COLORS: Dave Stewart
LETTERS: VC's Joe Caramagna
EDITOR: Nick Lowe
EDITOR-IN-CHIEF: Akira Yoshida a.k.a. C.B. Cebulski
COVER: Olivier Coipel with Dave Stewart
VARIANT COVER ARTIST: Sara Pichelli with Dave Stewart; Chip Kidd; Ed McGuiness with Laura Martin; Humberto Ramos with Edgar Delgado; Jason Polan
40pp, Color, $4.99 U.S. (November 2019)

Rated  “T”

Spider-Man created by Steve Ditko and Stan Lee

“Bloodline”

Spider-Man is the classic Marvel Comics superhero that debuted in Amazing Fantasy #15 (cover dated: August 1962).  Peter Parker, a high school student, was bitten by a radioactive spider.  That bite gave him strange powers, including the proportional speed and strength of a spider and his “spider-sense” a kind of internal warning beacon.  Parker donned what would become his trademark red and blue costume (that he made himself), and became the crime-fighting superhero, The Amazing Spider-Man.

Spider-Man publications have always attracted celebrated comic book creators who wanted to tell Spider-Man stories.  One of the most recent is acclaimed film director and Emmy-winning television producer, J.J. Abrams.  Abrams and his son, Henry Abrams, are the writers of a new five-issue comic book miniseries, entitled Spider-Man.  [When this series is collected in book form,“Spider-Man: Bloodline” might be the title.]  The series is drawn by modern Spider-Man superstar artist, Sara Pichelli, with Elisabetta D'Amico as an inking assistant.  The series colorist is Dave Stewart, and the letterer is Joe Caramagna.

Spider-Man #1 opens on what may be the worst day of Spider-Man's life.  His battle against a powerful villain named  “Cadaverous,” has left him grievously wounded.  For the hero, the day also turns stunningly, shockingly tragic.

Twelve years later, Peter Parker travels, practically non-stop, always working on another “assignment.”  Meanwhile, Peter's son, Ben, lives with Aunt May and struggles, not because he is a bullied wallflower – like the teenage version of his father.  Ben fights back, which drives a wedge between him and his father.  Now, Aunt May believes it is time for Ben to learn some secrets...

I am a huge fan of comic book artist Sara Pichelli, who is the artist most associated with Miles Morales, the Ultimate Spider-Man and the star of the Oscar-winning film, Spider-Man: Into the Spider-Verse.  Here, Pichelli delivers some of her most beautiful illustrative work, and her storytelling is emotive, potent, dramatic, and lovingly mysterious.  Nailed it!

After Marvel announced that J.J. Abrams and Henry would be writing a special Spider-Man comic book, I came across the usual cacophony of negative commentary from the fan-resentment chorus.  However, the American comic book industry would be better off if more Hollywood types, that are quite skilled in the art of the story, wrote comic books.  Abrams excels at emotion, character drama, female characters, and family drama, especially when it comes to the dynamics between parent and child.  I don't know how much Henry is contributing to writing here, but it is good.  Nailed it!

Everyone who reads comic books on a regular basis knows that Dave Stewart is currently among the very best colorists in American comic books, if not the best.  I can say that here, Stewart “Nailed it!”  Letterer Joe Caramagna... captures the subtle and quiet atmosphere of this first chapter with his usual skill.  So he... Nailed it!, too.

I am happy that the Abrams' Spider-Man is one of those superstar-driven, event comic book publications that is actually, really damn good.  I am so ready for more.

10 out of 10

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 reprint and syndication rights and fees.

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Marvel Comics from Diamond Distributors for June 12, 2019

MARVEL COMICS

APR190906    AGE OF CONAN BELIT #4 (OF 5)    $3.99
APR190890    AGE OF X-MAN APOCALYPSE AND X-TRACTS #4 (OF 5)    $3.99
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APR190903    X-FORCE #9    $3.99

Review: AVENGERS #1 (2018)

AVENGERS No. 1 (2018)
MARVEL COMICS – @Marvel

[This review was originally posted on Patreon.]

STORY: Jason Aaron
PENCILS: Ed McGuinness
INKS: Mark Morales
COLORS: David Curiel
LETTERS: VC's Cory Petit
EDITOR: Tom Brevoort
COVER: Ed McGuinness and Mark Morales with Justin Ponsor
VARIANT COVER ARTISTS: Aaron Kuder with Jason Keith; Greg Land and Jay Leisten with Frank D'Armata; Esad Ribic
40pp, Color, $4.99 U.S. (July 2018)

Rated “T+”

Avengers created by Stan Lee and Jack Kirby

“The Final Host”

In the 1970s and 1980s, Marvel Comics published comic book adaptations of popular and cult science fiction and fantasy films, from the Stars Wars films to movies like Dune (1984) and The Adventures of Buckaroo Banzai Across the 8th Dimension (1984).  Some of them had beautiful art (Al Williamson's killer work on Marvel's The Empire Strikes Back adaptation), but the script adaptations were often weak.  Reading these film to comic book adaptations was like reading storyboards for a film with some of the boards were missing.  That is when you realize the “motion” in motion pictures makes the medium of film not all that related to the medium of comic books with its static or still graphics.

The Avengers #1 that arrived on Wednesday, May 2, 2018 got me to thinking about comic books that try to capture the sound and vision of films.  We see comic book writers trying to write for comic books the kind of big, loud, special-effects driven stories that only films can tell.  Once upon a time, people said that comic book stories that were written like other comic books were bad things.  Now, we have comic books trying too hard to be like films and television.  That is the real problem, and brother, Avengers #1 2018 has many problems.

Marvel Comics is just beginning another relaunch of its comic book line, something called “Fresh Start.”  The venerable publisher is returning to its “Legacy” characters after publishing new versions of those classic characters – new versions that some retards described as “black, homo, and freaking female.”  So enter Avengers #1 2018 (Legacy #691).  It is written by Jason Aaron; drawn by Ed McGuinness (pencils) and Mark Morales (inks); colored by David Curiel; and lettered by Cory Petit.  At the core of this old-is-new Avengers are classic (white male) Tony Stark/Iron Man, classic (white male) Thor, and classic (white male) Steve Rogers/Captain America.

Avengers #1 (Legacy #691) opens on Earth, one million years ago and depicts the Avengers of 1,000,000 BC.  Then it moves to present day Earth, where Thor and Steve Rogers are trying to convince a reluctant Tony Stark that the world needs the Avengers to return, and the Avengers can only return the right way with them – the original Thor, Captain America, and Iron Man.  It may no longer be a matter of choice when cosmic beings start falling to Earth.

It is clear to me that Marvel is trying to make the Avengers 2018 comic book series be as close to Marvel Studios' Avengers movies as possible.  Writer Jason Aaron tries to make it seem like there is a story here and not just action scenes, but there is not much of a story here.  This is the Avengers comic book as a Michael Bay movie – if Bay did a mash-up of his Transformers films and the Avengers films.  Avengers #1 is big, loud silent scream, and Aaron squeezes in a few quiet, faux-character scenes, mostly featuring the She-Hulk and the Ghost Rider, in a failed bid at adding substance.

Marvel Comics' problems are not “diversity characters.”  The main problem is the embrace of event comic books and other publishing stunts that are flash instead of story.  DC Comics got the message, and its 2016 “Rebirth” initiative was a return to an emphasis on story, even when those stories may be average at best.  At least, DC and its creative teams are working at giving readers substance in story, plot, and character.

Maybe another problem is that many of Marvel's best writers have moved on from Marvel.  Most of the really good comic book writers that wrote for Marvel over the last two decades (Mark Millar and Ed Brubaker, for example) are now in Hollywood, at Amazon or Netflix, or are producing comic books for Image Comics.  Marvel is left with writers like Jason Aaron and Cullen Bunn who are inconsistent, writing comic books that are surprisingly good or woefully average.  And in his bid to make an Avengers comic book act like an Avengers movie, Aaron delivers woeful with Avengers #1 2018.

Marvel is also constantly recycling pencil artist Ed McGuinness, but as usual, his drawing style is pleasing to the eye, although McGuinness' art looks like a chibi slash lolicon version of the art of flaky comic book creator, Arthur Adams.  David Curiel's colors over McGuinness and Mark Morales' (inker) illustrations are gorgeous, though.  Of Avengers #1 2018's creative team, Curiel delivers the best work.

In about a year or so, the sales of Avengers 2018 will be less than half of what Avengers #1 2018 is now.  Who will get the blame, then?  Marvel Comics' editorial policy?  Marvel's recycled creative teams?  Scapegoat “diversity characters?”

This is an Avengers comic book trying to be event entertainment, when being a good comic book is all that is necessary to please most comic book readers.  And no, Avengers #1 is not worth its $4.99 cover price.

4 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 syndication rights and fees.

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

Marvel Comics from Diamond Distributors for April 18, 2018

MARVEL COMICS

JAN189025    AMAZING SPIDER-MAN #795 ALEX ROSS B & W 3RD PTG VAR    $3.99
JAN189026    AMAZING SPIDER-MAN #796 ALEX ROSS B & W 3RD PTG VAR    $3.99
FEB180834    AMAZING SPIDER-MAN #799 LEG    $3.99
FEB180835    AMAZING SPIDER-MAN #799 RAMOS CONNECTING VAR LEG    $3.99
FEB180838    AMAZING SPIDER-MAN RENEW YOUR VOWS #18 LEG    $3.99
FEB180951    AVENGERS #1 BY MCGUINNESS POSTER    $8.99
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FEB180952    BLACK PANTHER #1 BY ACUNA POSTER    $8.99
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FEB180893    CABLE #156 LEG    $3.99
FEB180849    DAREDEVIL #601 LEG    $3.99
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Marvel Comics from Diamond Distributors for March 7, 2018

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DC Comics from Diamond Distributors for June 11 2014

DC COMICS

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DC COMICS/DC COLLECTIBLES

JAN140400 BATMAN ARKHAM CITY RABBIT HOLE BATMAN AF $24.95
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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: AMAZING X-MEN #1

AMAZING X-MEN #1
MARVEL COMICS – @Marvel

WRITER: Jason Aaron
PENCILS: Ed McGuinness
INKS: Dexter Vines
COLORS: Marte Gracia
LETTERS: VC’s Joe Caramagna
COVER: Ed McGuinness and Marte Gracia
36pp, Color, $3.99 U.S. (January 2014)

Rated T+

“The Quest for Nightcrawler” Part 1 of 5

There is a new X-Men comic book series.  It is entitled Amazing X-Men, and the creative team is writer Jason Aaron and artist Ed McGuinness.  There are two things about Amazing X-Men that are noticeable.  The first is that classic “New X-Men” character Nightcrawler is the focus of the book, at least for the first story arc.  The second is that this title has a humorous bent.

Nightcrawler was created by writer Len Wein and artist Dave Cockrum, although the character first existed in Cockrum’s sketchbook before the artist “gave” the character to Marvel Comics.  Nightcrawler debuted in Giant-Size X-Men #1 (cover date May 1975), the comic book which reintroduced and re-launched the X-Men comic book series.  I did not know it, but Nightcrawler was killed off during the “X-Men: Second Coming,” event storyline in Uncanny X-Force #26 (cover date April 2010).

Amazing X-Men #1 opens “somewhere beyond the realm of the flesh,” where we find Nightcrawler.  He does not seem as happy as one would expect of someone who has received the heavenly reward he believed would one day be his.  Nightcrawler may feel conflict, but his paradise is about to see some conflict.  Enter Azazel!

Meanwhile, Angelica Jones, the mutant known as Firestar, is trying to start her first day on the teaching staff of the Jean Grey School.  Everyone, and I mean everyone, is so busy.  It seems that something of a furry blue invasion of the school has commenced.

The X-Men starring in Amazing X-Men are Wolverine, Storm, Beast, Warbird, Angel, Iceman, Rachel Grey, and Firestar with Nightcrawler coming soon.  I’m inclined not to like this book.  It is silly instead of funny, and the adventure is strained and phony.  I do like that writer Jason Aaron is playing with the idea of Wolverine and Storm as friends/teammates with benefits. (whether that is “true” or not).  Aaron seems as if he has some good ideas about how to use Beast and Warbird.

Still, this book is superfluous, which is a word I can also use to describe Ed McGuinness’ squishy, marshmallow-y art.  McGuinness can draw pretty, but, here, his compositions yield bland storytelling.  Honestly, it is Marte Gracia’s colors that make this art pop off the page.

I’d like this book to be good, so I think I will try another issue...

C

Reviewed by Leroy Douresseaux


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

Marvel Comics from Diamond Distributors for November 6 2013

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SEP130740 AMAZING X-MEN #1 MCGUINNESS WRAPAROUND $3.99
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I Reads You Review: UNCANNY X-MEN #5

UNCANNY X-MEN #5
MARVEL COMICS

WRITER: Brian Michael Bendis
ARTIST/COVER: Frazer Irving
LETTERS: VC’s Joe Caramagna
VARIANT COVER: Ed McGuiness and Morry Hollowell
32pp, Colors, $3.99 U.S. (June 2013)

Rated T+

As part of the Marvel NOW initiative, Marvel Comics re-launched their longest running X-Men comic book series, Uncanny X-Men.  The new series is written by Brian Michael Bendis (who is also writing All-New X-Men).  The series artist is Chris Bachalo and various inkers, especially longtime Bachalo collaborator, Tim Townsend.  The roster of this incarnation of the Uncanny X-Men includes Cyclops, Magneto, Emma Frost the White Queen, and Magik, along with some recently recruited new mutants.

Uncanny X-Men #5 is the start of a new storyline and the arrival a new artist, Frazer Irving.  This fifth issue opens on the S.H.I.E.L.D. Helicarrier, in a meeting in which Cyclops’ “mutant revolution” activities are the hot topic.  Meanwhile, at the New Xavier School for the Gifted, Magik is the hot topic.  She’s called back to her abandoned kingdom, Limbo, by an unexpected guest/interloper.

I had not planned on writing about this fifth issue of Uncanny X-Men.  In fact, after reviewing the first issue, I didn’t plan on again reviewing the series for a long time (if ever).  Frazer Irving, however, proved to be a delightful surprise for me.  His art for this issue reminds me of David Lloyd’s art for V for Vendetta (written by Alan Moore).  His pop art graphic style, with its velvet texture and photographic effects-like color, is perfect for this story of Magik’s misadventure in Limbo.

This is the kind of art that draws your attention.  In my review of Uncanny X-Men #1, I ended the review with, “Thank God for Bendis.”  Now, I am also thankful for Frazer Irving.  He made reading this particular comic book a joy for me.

A-

Reviewed by Leroy Douresseaux

Marvel Comics from Diamond Distributors for March 7 2012

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Marvel Comics from Diamond Distributors for December 14 2011

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SEP118122 WOLVERINE AND X-MEN #1 2ND PTG BACHALO VAR XREGG (PP #996) $3.99

SEP110615 WOLVERINE BEST THERE IS #12 $2.99

I Reads You Review: AVENGING SPIDER-MAN #1

"Need another Spidey title like you need a hole in your head"

AVENGING SPIDER-MAN #1
MARVEL COMICS

WRITER: Zeb Wells
ARTIST: Joe Madureira
COLORS: Ferran Daniel
LETTERS: VC’s Joe Caramagna
COVER: Joe Madureira and Aron Lusen (Variant coves by Humberto Ramos and Edgar Delgado; J. Scott Campbell and Edgar Delgado; and Joe Quesada, Danny Miki, and Richard Isanove)
32pp, Color, $3.99 U.S.
Rated T+

The new Spider-Man comic book series, Avenging Spider-Man, acts as the latest Spider-Man team-up title. The most famous is Marvel Team-Up, which first ran from the 1972 to 1985 (Vol. 1). There is an “afterword” in the back of Avenging Spider-Man, in which editor Stephen Wacker writes that this new title is going to be a star creator-oriented comic book that will feature oddball comic book characters, as well as popular characters as guest stars.

The star creators to start this are writer Zeb Wells (a star?) and artist Joe Madureira (still a star, but likely not as bright as he was back in the 90s). The team-up joins Spider-Man and the Red Hulk.

As Avenging Spider-Man #1 opens, Spider-Man and his Avenger teammates are battling A.I.M. and a giant A.I.M.Bot. Meanwhile, New York City Mayor J. Jonah Jameson has just shot the starter pistol to begin the New York City Marathon. The marathoners, however, immediately find their progress impeded by an invasion of diminutive yellow monsters. Hopping a ride to NYC on the back of the Red Hulk, Spider-Man finds himself arriving just in time to lose to the invaders – even with the Hulk’s help?!

Back in the mid-1990s, penciller Joe Madureira (also known as Joe Mad) and inker Tim Townsend formed one of the best (if not the best) art teams working in superhero comics. Maduriera’s anime and manga influenced style were transformed into solid comic book art by Townsend, an inker with a master illustrator’s touch. Madureira’s art did not suffer much when he left Marvel for Wildstorm Productions and Image Comics to produce his creator-owned title, Battle Chasers (published under Wildstorm’s Cliffhanger imprint). By the beginning of the 21st century, however, Madureira had left comics to work in the video game industry.

Joe Mad returned to comics in 2007 for The Ultimates 3 from Marvel Comics, but his art was no longer inked by Townsend or inked at all for that matter. Now, Madureira’s art was colored directly from the pencils. For me, it left much to be desired. As best as I can tell, Madureira’s is producing the art for Avenging Spider-Man the same as he did for The Ultimates.

It is not that I think Mad’s art here isn’t good. I do think that compared to the work he did on Uncanny X-Men with Townsend inking, this Avenging Spider-Man art is inferior, at least in terms of style and draftsmanship. However, I still admire Mad’s compositional and design skills. Some other artists may stretch out stories with splash pages or pages composed of big panels simply because those pages are more attractive to sell as original art. Mad uses splash pages and big panels to create a heightened sense of the dramatic or convey the power of action, force, movement, etc. The way Mad positions characters and objects in panels and the “camera” angles he uses reflect what Stan Lee preached in his How to Draw Comics the Marvel Way (co-authored with John Buscema).

As for the story: it’s mediocre. I’m amazed that Marvel and DC Comics can still get away with producing remarkably mediocre material, the kind of toad burger product that would spell doom for a publisher not financed by a multi-national media corporation. I’m surprised at the mediocrity because I remember when Zeb Wells first showed up on the comics scene; he was supposed to be some kind of golden boy. Is that golden as in piss gold?

My grade reflects my still-alive love of Joe Mad, but the grade should be lower because of the story.

C

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

P.S. I’m going to buy a copy of Avengers: X-Sanction #1 just to rag on it. The five pages that are previewed here are just lousy. I’d really be disappointed if it turned out to be good, thus denying me some fun.

I Reads You Review: ULTIMATE SPIDER-MAN #4

"With great power..."

ULTIMATE SPIDER-MAN #4
MARVEL COMICS

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

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

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

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

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

A

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