#IReadsYou Review: THE ETERNALS #1

THE ETERNALS #1 (2021)
MARVEL COMICS

[This review was originally posted on Patreon.]

STORY: Kieron Gillen
ART: Esad Ribić
COLORS: Matthew Wilson
LETTERS: VC's Clayton Cowles
EDITOR: Darren Shan
COVER ARTIST: Esad Ribic
VARIANT COVER ARTISTS: Jen Bartel; Russell Dauterman with Matthew Wilson; Arthur Adams with Jason Keith; Alan Davis with Nolan Woodard; Mike Del Mundo; Inhyuk Lee; Peach Momoko; Jenny Frison; Rian Gonzales; Greg Land with Frank D'armata; Leinil Franics Yu with Sunny Gho; Otto Schmidt; Takeshi Okazaki with Edgar Delgado; Khary Randolph with Emilio Lopez
[The following artists are not credited as variant cover artists in the comic book, but Diamond Comics Distributors is offering issues with their cover art for sale: Alex Ross; Mahmud Asrar; Dave Johnson; Frank Cho; Jeff Johnson; J. Scott Campbell; Todd Nauck; Dan Panosian; Joe Quesada; Ron Lim; Walter Simonson; Superlog; Skottie Young]
32pp, Color, $4.99 U.S. (Jan. 6, 2021)

The Eternals created by Jack Kirby

“Only Death is Eternal,” Part 1

The Eternals are a race of humanoids in the Marvel Comics universe.  They were created by legendary writer-artist and comics creator, Jack Kirby, and first appeared in The Eternals #1 (cover dated: July 1976).  The Eternals are described as an offshoot of the evolutionary process that created sentient life on Earth.  They were created by the immensely powerful alien race, the Celestials, along with the Eternals' destructive counterparts, the Deviants.

The Eternals first comic book series ran for 19 issues from 1976 to 1977, with issue #19 having a January 1978 cover date.  In addition to Jack Kirby's original series, there have been miniseries starring The Eternals in 1985-86, 2006-07, and 2008-09.  In the 2018-launched Avengers comic book series (written by Jason Aaron), the Eternals discovered that their creators, the Celestials, preferred humans over them, which lead to the mass suicide and death of the Eternals (as seen in the Avengers story arc, “The Final Host”).

Now, the Eternals return in a new comic book series.  The Eternals (2021) is written by Kieron Gillen; drawn by Esad Ribić; colored by Matthew Wilson; and lettered by Clayton Cowles.  In the new series, the Eternals face something new to them – change.

The Eternals #1 opens in “the Exclusion,” one of a system of sub-dimensional threads in “The Machine” (apparently the Earth-side system by which the Eternals teleport).  The Machine also narrates the story, which opens with the resurrection of Ikaris, the last Eternal to die.  However, the “Eternal Prime,” Zuras, has a surprise for the ever-direct Ikaris.  Ikaris must awaken and take charge of Sprite, the murderous prankster Eternal.

Arriving in New York, Ikaris and Sprite meet Iron Man.  Then, it is time to do their job, protect humans from “the Deviants,” especially those that become monsters.  While the mismatched duo is away, however, new death in a familiar guise comes for the Eternals.

THE LOWDOWN:  I recently read the original The Eternals #1, from 1976, which was written and drawn by series creator Jack Kirby.  I did this in preparation for the new series and for the (eventually) upcoming film, The Eternals, from Walt Disney Pictures and Marvel Studios.

First, let me speak to the beauty of The Eternals 2021.  I first discovered artist Esad Ribic when he drew the final two issues of the X-Men miniseries, X-Men: Children of the Atom (1999-2000), that was begun by writer Joe Casey and artist Steve Rude.  I was not crazy about Ribic's art in that series, but it was clear to me that this artist had huge potential as a comic book illustrator.

I must say that he has developed way beyond what I expected.  Here, Ribic's beautiful illustrations and Matthew Wilson's supernatural coloring combine to create gorgeous art that recalls the work of the late master, Moebius.  The graphical storytelling reads and feels like superhero comics as real science fiction comics.

Kieron Gillen's story is intriguing and the script is straightforward and clean.  His dialogue and The Machine's exposition made it easy for me to follow the story, setting, and plot/concept.  Gillen is going to make me spend some money on this comic book series.  So, if you don't want to spend more money on comics, dear readers, avoid The Eternals #1 2021.  If you are just looking for a really good first issue, spend it on this one … which has a killer last story page.

I READS YOU RECOMMENDS:  Fans of the Eternals and of good Marvel comic books will want The Eternals 2021.

9 out of 10

[This comic book includes a one-page tribute to former Marvel Comics publisher, Mike Hobson, who died in November 2020.]

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


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The text is copyright © 2021 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for reprint or syndication rights and fees.

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Review: CONAN THE BARBARIAN #1

CONAN THE BARBARIAN #1 (2019) – Legacy #276
MARVEL COMICS – @Marvel

[This review was originally posted on Patreon.]

STORY: Jason Aaron
ART: Mahmud Asrar
COLORS: Matthew Wilson
LETTERS: VC's Travis Lanham
EDITOR: Mark Basso
EDITOR-IN-CHIEF: Akira Yoshida
COVER: Esad Ribić
VARIANT COVER ARTISTS: Daniel Acuna; Mahmud Asrar with Matthew Wilson; John Cassaday with Laura Martin; John Tyler Christopher; Kirbi Fagan; Adi Granov; Greg Hildebrandt; Esad Ribic; Jesus Saiz; Bill Sienkewicz; Skottie Young; Gerardo Zaffino with Rain Beredo
48pp, Color, $4.99 U.S. (March 2019)

Parental Advisory

Conan the Barbarian based on the “Conan” character created by Robert E. Howard

“The Life & Death of Conan” Part One: “The Weird of the Crimson Witch”

Conan the Cimmerian is a fictional “sword and sorcery” hero created by Robert E. Howard (REH).  Conan first appeared in the pulp fiction magazine, Weird Tales (1932).  Conan lived in Howard's fictional “Hyborian Age” and was a mercenary, outlaw, pirate, thief, warrior, and eventually a king, but because of his tribal origins, some characters that encountered him thought of Conan as a barbarian.

In 1970, Marvel Comics brought Conan to the world of comic books with the series, Conan the Barbarian.  It is doing so again, having recently published the first issue of a revival of Conan the Barbarian.  It is written by Jason Aaron; drawn by Mahmud Asrar; colored by Matthew Wilson; and lettered by VC's Travis Lanham.

Conan the Barbarian #1 (“The Weird of the Crimson Witch”) opens sometimes during Conan the Cimmerian's prime as “a thief, a reaver, and a slayer.”  In Zamora, the city of thieves, his brutal prowess in the fights pits of Maul has attracted the attention of a comely young woman.

Conan has always cheated death, continues to cheat death, and perhaps, he always will?  The more he cheats death, the more his blood becomes imbued with the power of “Death Magic.”  It is that magic that the Crimson Witch and her death god, Razazel, needs.  Does King Conan know that?

The new Conan the Barbarian is a comic book that I can keep reading... at least for awhile.  For one, I am a fan of artist Mahmud Asrar and have been since I started seeing his work eight years ago.  His elegant compositions are pleasing to the eye, and his figure drawing creates the illusion of powerful figures in motion.  There is also a sense of dynamism even in characters that are depicted as moving not at all or as moving very little.

Colorist Matthew Wilson, one of best colorists working in comic book today, takes Asrar's beautiful art to an edgier place.  The red, yellow, and orange hues make the bloody sequences even bloodier, and the color turns the Crimson Witch's magic into a thing that rages and pulses.

Jason Aaron's story is good, but it is not as passionate as Asrar-Wilson's art.  However, Aaron has created a menace (the Crimson Witch) that it actually and legitimately dangerous to Conan, throughout his life.  I like that Aaron is willing to depict Conan as a brutal killer (and that Asrar and Wilson draws that cleaving, hacking, slashing, and beheading with glee).  Speaking of glee, the villains are gleefully murderous, and that is a good thing.  I have to give letterer Travis Lanham credit; he makes Aaron's script read like true-blue, bloody mayhem Conan the Barbarian.

Conan the Barbarian #1 (2019) is a good first issue.  It isn't great, but it doesn't have to be.  I was certainly hopeful that I would have a reason to be a regular reader of Conan the Barbarian again (which I have not been since the Reagan era).

7 out of 10

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


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

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Review: 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.

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Review: INFAMOUS IRON MAN #1

INFAMOUS IRON MAN No. 1 (2016)
MARVEL COMICS – @Marvel

[This review was originally posted on Patreon.]

WRITER: Brian Michael Bendis
ART: Alex Maleev
COLORS: Matt Hollingsworth
LETTERS: VC's Clayton Cowles
COVER: Alex Maleev
VARIANT COVERS: Mike Deodato with Frank Martin; Anthony Piper; Esad Ribic; Mike McKone; Skottie Young; John Tyler Christopher
28pp, Color, $3.99 U.S. (December 2016)

Rated “T+”

Iron Man created by Stan Lee, Larry Lieber, Don Heck, and Jack Kirby

Victor von Doom a.k.a. Doctor Doom, one of Marvel Comics most infamous villains, made his debut in The Fantastic Four #5 (cover dated: July 1962).  Iron Man is now one of Marvel Comics most popular characters, thanks in no small part to a series of hit movies and hit movie appearances beginning in 2008 with the Oscar-nominated film, Iron Man.  Also known as the “Golden Avenger,” Iron Man debuted in Tales of Suspense #39 (cover dated: March 1963), a little more than half a year after Doctor Doom first appeared.

Iron Man and Doctor Doom were never meant to be together, as Iron Man fights to save the world and to help mankind progress, while Doctor Doom wants to rule the world and subjugate humanity.  In the wake of the events depicted in Marvel Comics' event miniseries, Civil War II, there is a new comic book series that seeks to bring them together, Infamous Iron Man.  It is written by Brian Michael Bendis; drawn by Alex Maleev; colored by Matt Hollingsworth, and lettered by Clayton Cowles.

Infamous Iron Man #1 finds Doctor Doom meeting with the members of his bad-guy collective, The Cabal.  But that was the old Doom.  Now, he is trying to save Maria Hill, director of S.H.I.E.L.D. and also to comfort Dr. Amara Perera, the woman who loved Tony Stark.  What is Doctor Doom up to, and how and why does it involve Iron Man?

Infamous Iron Man writer Brian Michael Bendis does not need to give us a lot of information.  Just about anyone reading Marvel Comics these days knows that Doom is going to take on the mantle of Iron Man.  The most important thing about any comic book written by Bendis is not the hook, but the execution of his storytelling.  Will it work or will it be a failure?  Right now, it is working (as usual for me), and I want more.

I must admit that I am enjoying the art drawn by Alex Maleev, which looks gorgeous under Matt Hollingworth's subdued, earthy, natural-lighting-like colors.  Maleev's graphical storytelling has an exciting, yet mysterious vibe when combined with Hollingworth's colors.  Yeah, Infamous Iron Man is certainly worth your time, my superhero comic book readers.

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: MARVEL LEGACY #1

MARVEL LEGACY No. 1
MARVEL COMICS – @Marvel

[This review was originally posted on Patreon.]

STORY: Jason Aaron
ART: Esad Ribic with Steve McNiven
COLORS: Matthew Wilson
LETTERS: VC's Cory Petit
ADDITIONAL ARTISTS: Chris Samnee; Russell Dauterman; Alex Maleev; Ed McGuinness; Stuart Immonen and Wade von Grawbadger; Pepe Larraz; Jim Cheung; Daniel Acuña; Greg Land and Jay Leisten; Mike Deodato, Jr.; David Marquez
COVER: Joe Quesada and Kevin Nowlan with Richard Isanove
VARIANT COVERS: Alex Ross; Mark Brooks; John Tyler Christopher; Mike Deodato, Jr.; Terry Dodson and Rachel Dodson; Greg Land with Frank D'Armata; Amy Reeder; Skottie Young
64pp, Color, $5.99 U.S. (November 2017)

Rated T+

Marvel Legacy #1 is a new one-shot comic book from Marvel Comics.  I don't really know its purpose, other than what I read on the Internet.  After a year of reportedly falling sales of its comic books, Marvel does what it and DC Comics normally do:  initiate a reboot or a re-launch or hit-the-refresh/restart button, etc.  Such a rehash... I mean such a refresh is usually preceded by some kind of large scale publishing event, as it was here.  I guess that was the Secret Empire miniseries and the corresponding tie-ins and spin-offs.

SO I'LL SAVE YOU SOME TIME:  Marvel Legacy #1 has a few entertaining moments, with the best being the Wolverine reveal.  Some of it piqued my interest, but most it fell flat for me.  If you are looking for something exceptional, great, memorable, etc., Marvel Legacy #1 is not it, and it certainly is not worth the $5.99 cover price.  That said, you only need to keep reading this review if you usually enjoy my ramblings...

So here we go again; Marvel Legacy #1 launches the next big start-over.  I have read a lot of web commentary in which people compare this comic book to DC Comics' DC Universe Rebirth from last year.  I don't see the resemblance, and Rebirth has purpose and direction (at least to me), whereas Marvel Legacy #1 reads like a bunch of teasing and anticipation balled up together.

Marvel Legacy #1 has an omniscient narrator, Valeria Richards, the second child of Reed Richards and Sue Storm of the Fantastic Four.  She talks about legacies and begins her narration “One Million Years Ago.”  Something happened back then; that something plus some more bad stuff is coming back today.  Get ready.

Yep, that's it – something wicked this way comes, eventually.  The main story is written by Jason Aaron and drawn mainly by Esad Ribic, with some of it drawn by Steve McNiven.  Interspersed between segments of the main story are some one and two-page excerpts from upcoming Legacy launches – like Mark Waid and Chris Samnee's upcoming run on Captain America (Steve Rogers).

That's what this is all about, right?  A return to original i.e. traditional i.e. “white” characters.  Some believe that Marvel angered its aging white male fan base by recasting too many of its characters as black, Latino, Asian, female or some combination thereof.  Here's an anecdote for you.  For years, white male comic book readers told me that they did not want white comic books or black comic books, but they wanted good comic books.  Okay... Black male Spider-Man, Black female Iron Man, White female Hawkeye, Pan-Asian Muslim Ms. Marvel, White lady Thor are the leads of some very well written comic book series.  I know that because I read them.  But whiny White comic book retailers, clueless comic book corporate middle management, and fans who don't read books they complain about are driving this need for Marvel Comics to reset.

But the real villains here are Marvel Comics' shitty editorial decisions, arrogant management, piss-poor publishing plans, and virtually non-existent marketing.  Marvel Legacy #1 exists for the same reasons Marvel NOW, All-New Marvel NOW, and Marvel Now & Laters existed – all of the above and Marvel's addiction to the sales bump it gets from #1 issues.

Marvel Comics publishes too many comic books and has been doing so for 30 years.  Many of those comic books exist because Marvel will throw a lot of money at “star creators” to produce comics; or because someone will come up with some cute gimmick; or simply to grab more market share; or because a hit Marvel Studios movie will mean launching 10 new comic books directly, indirectly, vaguely, and/or even tangentially related to the movie.  Baby Groot the comic book series, y'all.

Too many titles frustrate readers for various readers, but especially because they cannot keep up with all those new comic books.  Marvel Legacy #1 is another pretend fix for symptoms that arise from Marvel's poor decision making.  That decision making needs a cure; the symptoms will go away after the cure.  For all Marvel's talk of a return to classic Marvel storytelling, next year it will do something like recast all its characters as Buddhists golden retrievers.

Marvel Comics' real legacy is that, no matter who owned Marvel, they never appreciated the artists and writers who really created the characters and stories that made Marvel a business and cultural force.  They held on tightly to Spider-Man, the X-Men, the Fantastic Four, Iron Man, and more while being dismissive of the talent, Jack Kirby and Steve Ditko, that drew those characters into existence.  Did it ever occur to those bosses how many more great characters and stories creators like Kirby and Ditko would have created for Marvel had the bosses acknowledged them financially and personally in a manner befitting people who multi-million dollar franchises?

So Marvel Legacy #1 epitomizes Marvel's real legacy – the short-sighted, self-serving choices instead of the long term choices that come with more risk and less immediate gratification.  Plus, Marvel Legacy #1 is just another comic book, fast food hamburger off the corporate conveyor belt – granted that there is some rather nice art inside.

C
4 out of 10

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


The text is copyright © 2017 Leroy Douresseaux. All Rights Reserved. Contact this blog for reprint and syndication rights and fees.

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Review: STAR WARS: The Force Awakens #1

STAR WARS: THE FORCE AWAKENS ADAPTATION No. 1
MARVEL COMICS – @Marvel

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

WRITER: Chuck Wendig
ART: Luke Ross
COLORS: Frank Martin
LETTERS: VC's Clayton Cowles
COVER: Esad Ribic
44pp, Color, $4.99 U.S. (August 2016)

Rated “T+”

“Episode VII, Part 1 – The Force Awakens”

When it was released in late 2015, Star Wars: The Force Awakens was the first Star Wars film in 10 years (since 2005's Star Wars: Episode III – Revenge of the Sith).  It was also the first film in the franchise to be produced by The Walt Disney Company, which now owns Lucasfilm, Ltd., the Star Wars studio.  The Force Awakens became the highest grossing film in the history of North American theatrical box office (adjusted for inflation, of course).

Marvel Comics recently released its comic book adaptation of Star Wars: The Force Awakens.  This five-issue miniseries is written by Chuck Wendig; drawn by Luke Ross; colored by Frank Martin; and lettered by Clayton Cowles.

Star Wars: The Force Awakens #1 opens thirty years after the destruction of the second Death Star (at the “Battle of Endor,” as seen in 1983's Return of the Jedi).  Luke Skywalker has vanished, and the First Order, which rose from the ashes of the Galactic Empire, will not rest until it finds him.

The Resistance, a military splinter group of the New Republic, believes that it has found a clue to Skywalker's location.  General Leia Organa has sent the Resistance's best pilot, Poe Dameron, to Jakku to obtain the information on Luke's whereabouts.  On this desert world, a First Order stormtrooper, a little droid, and a scavenger will decide the fate of this mission to find a Jedi legend.

As comic book adaptations go, Marvel's Star Wars: The Force Awakens is on the front end of middle-of-the-pack.  It does not have the allure of my childhood favorites, Marvel's adaptation of the original Star Wars and The Empire Strikes Back.  However, Star Wars: The Force Awakens #1 starts slows but becomes a fast-paced thrill by the last few pages.  Even the art by Luke Ross (with its Chris Samnee styling) is stronger by the end.

While I knew that I was definitely going to buy the first issue, I was not sure about the rest of the series.  Star Wars: The Force Awakens #1, however, is good enough to keep me interested until the end.  I don't consider this a must-have Star Wars comic book, but why not have it?

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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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.

Marvel Comics from Diamond Distributors for May 6, 2015

MARVEL COMICS
MAR150725     ALL NEW CAPTAIN AMERICA SPECIAL #1     $4.99
FEB150864     ALL NEW X-MEN TP VOL 05 ONE DOWN     $19.99
MAR150700     AMAZING SPIDER-MAN #18     $3.99
MAR150719     ANT-MAN #5     $3.99
MAR150690     AVENGERS VS #1     $5.99
DEC140966     CAPTAIN AMERICA RETURN OF WINTER SOLDIER OMNIBUS HC     $99.99
FEB158441     DARTH VADER #1 GRANOV 3RD PTG VAR     $4.99
FEB158445     DARTH VADER #2 GRANOV 3RD PTG VAR     $3.99
FEB150843     FIGMENT HC     $24.99
MAR150711     GEORGE ROMEROS EMPIRE OF DEAD ACT THREE #2     $3.99
DEC140958     GUARDIANS OF GALAXY HC VOL 01 MOVIE CVR     $34.99
MAR150744     GUARDIANS TEAM-UP #5     $3.99
MAR150755     HULK #16     $4.99
MAR150680     INHUMAN ANNUAL #1     $4.99
FEB158468     KANAN LAST PADAWAN #1 BROOKS 2ND PTG VAR     $3.99
MAR150685     KANAN LAST PADAWAN #2     $3.99
APR140753     MMW DOCTOR STRANGE HC VOL 01 NEW PTG     $49.99
APR140754     MMW X-MEN HC VOL 01 NEW PTG     $49.99
MAR150738     OPERATION SIN #5     $3.99
FEB158442     PRINCESS LEIA #2 DODSON 2ND PTG VAR     $3.99
MAR150732     PUNISHER #18     $3.99
MAR150773     RETURN OF LIVING DEADPOOL #4     $3.99
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I Reads You Review: THOR #1

THOR (2014) #1
MARVEL COMICS – @Marvel

WRITER: Jason Aaron
ART: Russell Dauterman
COLORS: Matthew Wilson
LETTERS: VC's Joe Sabino
COVER:  Russell Dauterman with Frank Martin
VARIANT COVERS:  Sara Pichelli with Laura Martin; Esad Ribic, Andrew Robinson; Alex Ross; Fiona Staples; Skottie Young
28pp, Color, $3.99 U.S. (December 2014)

Rated “T+”

Marvel Comics' version of Thor is, of course, based on the Norse mythological deity of the same name.  Marvel's the mighty Thor is the Asgardian god of thunder; possesses the enchanted hammer, Mjolnir; and is also a superhero, as well as being a member of The Avengers.

Thor first appeared in Journey into Mystery #83 (cover dated August 1962) and was created by editor-plotter Stan Lee, scripter Larry Lieber, and penciller Jack Kirby.  For most of his 52 years of existence, Thor has possessed Mjolnir, which, among other superhuman attributes, grants him the ability of flight and of weather manipulation.

Thor has possessed that “enchanted hammer” for most of his comic book existence, but there have been times when Thor:  the Prince of Asgard, the one true God of Thunder, and the Odinson, has not possessed Mjolnir.  One famous example of another being wielding Mjolnir was Beta Ray Bill, a character that debuted in The Mighty Thor #337 (cover dated: November 1983), the first issue of Walter Simonson's acclaimed run as writer-artist of The Mighty Thor.

Now, another new era of Thor begins.  Thor will be the “Goddess of Thunder.”  As part of Marvel Comics' “Avengers NOW!” initiative, there is a new ongoing Thor comic book series written by Jason Aaron, drawn by Russell Dauterman, colored by Matthew Wilson, and lettered by Joe Sabino.

Thor #1 (“If He be Worthy”) opens in the Norwegian Sea at the Roxxon Seabase.  It is about to be visited by some monstrous denizens of the deep, spurred on by an old adversary of Thor's.  Meanwhile, on the moon, Thor finds that no matter how hard or how often he tries, he cannot lift Mjolnir.  His father, Odin the All-Father, has returned and is not helping the troubling situation.  His wife and Thor's mother, Freyja the All-Mother, seems to have accepted this sudden wave of change.  The attack on the sea base makes Thor remember that he still has to be a superhero.  How will that work out for him without Mjolnir?

This year, I have been reading more Marvel Comics number-one issues than I have in a long time.  That's why I picked up the new Thor #1.  I am glad that I did; it's an exciting first issue.  I didn't think Thor in a state of ultimate humiliation could be such an enthralling character and compelling situation.  I didn't think I could yearn so much for him to be healed, but Jason Aaron's script is a thing of wonders.  Every scene hits the notes it needs to in order to make this new state of Thor work.

Now, I can't say that I am equally enthralled with Russell Dauterman's art.  I liked him more as the artist on the current Cyclops comic book series.  Dauterman is not bad here; maybe, the art just needs time to grow on me.  I'm curious to see what the second issue is like.  I think that's where the real force of change will be felt.  In the meantime, I recommend that readers at least try the first issue of this new Thor.

Reviewed by Leroy Douresseaux


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

Albert Avilla Reviews: Avengers #2

Avengers #2
Marvel Comics

Reviewed by Albert Avilla

Writer: Jonathan Hickman
Artist: Jerome Opena
Cover: Dustin Weaver & Justin Ponsor
Variant Covers: Esad Ribic; John Romita Jr., Klaus Janson, and Dean White

“We Were Avengers” (Spoilers)
I lamented Bendis leaving the Avengers, but do not worry. Marvel’s greatest heroes have been put in capable hands. Hickman has won me over with a simple roll call story. You know: a story that comes around every so often when the Avengers lineup is changing.

First, we have the core group, the movie Avengers. If you don’t know who they are, then, I suggest that you go watch the DVD; I think it’s out. Next, we have the super popular Wolverine and Spider-man; two characters who have that never-stop-until-you-die fighting spirit. The two characters that I’m glad they have a spot on the team are Captain Marvel and Spider-Woman, no relation to Spider-Man. The Falcon is on the team; as Cap’s partner, this should be his home. It would be cool if Tony would give him an upgrade. What ever happened to Redwing?

The best hand-to hand-fighter in the Marvel Universe is on the team, The Master of Kung Fu, Shang Chi. Bringing youth to the team are Sunspot and Cannonball, the team supreme within the team. Manifold will make anywhere possible; I want to go on vacation with the dude. I want to see the pyramids when they where being built. Smasher puts the Avengers on a level with the Imperial Guard; I can’t wait for an Avengers-in-space story. Captain Universe brings awesome power to the team. The final player in the game is Superman, Oh, sorry! I mean Hyperion. Come on, we know that Hyperion is Marvel’s Superman. Think about it, Superman in the Avengers; get ready for some big time throwing down.

I enjoyed the humor. It is a good idea to keep the past lives of Smasher, Captain Marvel, and Hyperion under wraps for now; I’m expecting some good future stories. The Avengers have definitely gotten bigger. The villainous forces of Marveldom better step up their plotting and scheming.

The rest of the story gives the origin of Ex Nihilo and Abyss. They begin their transformation of Earth, and Cap marshals the new team for their attack on Ex Nihilo. It’s going to be on.

The art is unique in the good way; Opena’s style is beautiful. The coloring is detailed without giving the art that puzzle piece look. The character’s expressions are appropriate and related to the character’s emotions.

I rate Avengers #2 Buy Your Own Copy. #2 (of 5) on the Al-O-Meter Ranking.

Albert Avilla Reviews: Avengers #1

Avengers #1
Marvel Comics

Reviewed by Albert Avilla

Writer: Jonathan Hickman
Artist: Jerome Opena
Cover: Dustin Weaver and Justin Ponsor
Variant Covers: Steve McNiven and Justin Ponsor; Esad Ribic

“Avenger’s World” (Spoilers!)
Now, I know why the #1 on the cover is so big. Sometimes you like something, but you don’t know why. This is one of those times for me. I can’t say that the action was on a grand scale; The Avengers got their butts beat down.

The villains do seem to be interesting, but they are not beyond what we have come to expect. They are very powerful, and they took the Avengers out in a minute; they will be a challenge for the Avengers to defeat. They are new and fresh, and they are the worst kind of villains, beings who think that humans are primitives and that they are working for the good of mankind.

The dialogue is good stuff, but it’s just basic characters interacting with each other. Jonathan Hickman gives the events of this story a sense of historic significance. We get the feel that this is a major turning point in the history of the Universe. The Avengers are presented as legendary heroes whose myths go beyond their actual deeds. These are modern day George Washingtons and Geronimos whose legends have outgrown the real people. This is the beginning of an epic story. Hickman has set the stage for greatness; I hope that he is able to deliver.

Jerome Opena’s art is signature. It stands out in the crowd. Iconic characters and iconic scenes are found throughout the book. The art adds to the grandiose quality of the story.

I rate Avenger # 1 Buy Your Own Copy. #2 (of 5) on the Al-O-Meter Ranking.

Albert Avilla Reviews: Thor God of Thunder #1

Thor God of Thunder #1
Marvel Comics

Reviewed by Albert Avilla

Writer: Jason Aaron
Artist: Esad Ribic
Covers: Daniel Acuna
Variant Covers: Skottie Young; Joe Quesada, Danny Miki & Richard Isanove

A World Without Gods (Spoilers!)
Thor is the definition of awesome when he is handled well, and we have an excellent example here. How are they going to top this? I'll be pleased if they can maintain this level of storytelling.

We see Thor go from being a protector of a Norse village to the savior of a planet to the last defender at the gates of heaven. We don't get to see the villain of this piece, but by his handy work, we know he will be more than a formidable foe for Thor. This is the beginning of an epic battle between Thor and Gorr the god butcher. It is fascinating to see Thor's growth within these few pages. In his youth, he is a bold adventurer who cares little how his actions affect others. In the present, he is a mature god working for the welfare of others. In the future, we see a worn-down, elder god, the last Asgardian, fighting for the honor of his lost race.

I couldn't ask for a more wonderful read, even from a bestselling fantasy novel. The beauty of Thor stories is that you can go from superhero fantasy to sword and sorcery with single character. This is a fantastic beginning to the new Thor series.

The art is worthy of the great story. This journey through time and space is made more fabulous by this magnificent art. Thor's godliness pulsates throughout each panel.

I rate Thor God of Thunder #1 Buy Your Own Copy. #2 (of 5) on Al-O-Meter Ranking.