#IReadsYou Review: Marvel Comics' ALIEN #1

ALIEN #1
MARVEL

STORY: Phillip Kennedy Johnson
ART: Salvador Larroca
COLORS: Guru-eFX
LETTERS: VC's Clayton Cowles
EDITOR: Jake Thomas
EiC: Akira Yoshida a.k.a. C.B. Cebulski
COVER: InHyuk Lee
VARIANT COVER ARTISTS: Steve McNiven with Laura Martin; Peach Momoko; Ron Lim with Israel Silva; Todd Nauck with Rachelle Rosenberg; Patrick Gleason; Skottie Young; David Finch with Frank D'Armata; Salvador Larroca with Guru-eFX
40pp, Color, $4.99 U.S. (May 2021)

Parental Advisory

Alien is a 1979 science fiction horror film directed by Ridley Scott and written by Dan O'Bannon, based on a story that O'Bannon wrote with Ronald Shusett.  The film depicts a battle for survival between the crew of the commercial towing vehicle,  the space ship named “the Nostromo” and an aggressive deadline extraterrestrial creature, the “Alien” of the title, that is now known as a “Xenomorph.”

Alien, which went on to win an Academy Award, spawned a film franchise, beginning with writer-director James Cameron's 1986 science fiction action film, Aliens.  Alien also begat a media franchise, which included a comic book adaptation and also a novelization of the original film.  In 1988, Dark Horse Comics launched its first Alien comic book series, a 1988-89, six-issue comic book miniseries, entitled Aliens.  Dark Horse had the license to produce comic books based on the Alien franchise from 1988 to 1999 and again from 2009 to 2020.

Marvel Comics announced in 2020 that it had obtained the license to produce comic books based on the Alien film franchise.  Marvel Comics recently launched the first comic book series, Alien.  It is written by Phillip Kennedy Johnson; drawn by Salvador Larroca; colored by Guru-eFX, and lettered by Clayton Cowles.  This new Alien comic book focuses on a recently retired security agent who once faced the Xenomorphs and may have to again.

Alien #1 opens in January of the year 2200 on the Epsilon Orbital Research and Development Station.  It introduces Gabriel Cruz, a man who has given his life to Weyland-Yutani as a defense agent.  He is retiring as the security agent for Weyland-Yutani's Epsilon Station.  With the help of his friend, a Bishop-model android, Cruz hopes to reconnect and patch things up with Danny, his estranged son.  However, Danny has dangerous and ulterior motives for reuniting with his father.

Once upon a time, Gabriel barely survived an alien attack.  And now, it seems that his encounters are far from over.

THE LOWDOWN:  I am a big fan of the Alien film franchise, and I have lost count of how many times I have watched James Cameron's Aliens, including a few times just recently.  I have seen both Alien vs. Predator films numerous times and will watch them many times more.

Early in Dark Horse Comics' run of Alien comic books, I was devoted to the company's output, but lost interest after several years.  I thought the new Marvel Comics' title would be a good time to start reading Alien comic book again, and I was right.

Writer Phillip Kennedy Johnson whets the appetite with the promise of thrills to come while offering tasty teases of back story involving Gabriel Cruz.  Books about writing will always say that the writer should create strong characters and that the plot will develop from the characters.  Basically, the characters should act as the spine of the story.  I find the spine of this story, Gabriel and Danny, to be dull, and I have no interest in their crappy relationship.  On the other hand, the plot is quite strong.  Johnson makes Alien #1 a fun read when he focuses on the threat of the “Aliens” and on the looming disaster that will fully bring them into the story.

I would not call the art and graphical storytelling in Alien #1 peak Salvador Larroca.  For one thing, all the characters have faces that look like they underwent bad plastic surgery.  The compositions have a generic, Larroca clip art quality, but Guru-eFX's power-coloring and super-hues cover up the blemishes as well as any coloring can.

Still, Marvel's Alien #1 intrigues, especially if you, dear readers, are fans of the Xenomorphs.  I think I should keep reading … at least for the first story arc.

I READS YOU RECOMMENDS:  Fans of the Alien/Aliens film and comic book franchises will certainly want to try Marvel's Alien.

A-
7.5 out of 10

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


https://twitter.com/Marvel
https://www.marvel.com/
https://www.marvel.com/comics
https://www.comixology.com/Marvel_Comics


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

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#IReadsYou Review: FALCON & WINTER SOLDIER #1

FALCON & WINTER SOLDIER #1 (OF 5)
MARVEL COMICS – @Marvel

[This review was originally posted on Patreon.]

STORY: Derek Landy
ART: Federico Vicentini
COLORS: Matt Milla
LETTERS: VC's Joe Caramagna
EDITOR: Alanna Smith
COVER: Dan Mora with David Curiel
VARIANT COVER ARTISTS: Bengal; Butch Guice with Frank D'Armata; Ziyian Liu
28pp, Color, $3.99 U.S. (April 2020)

Rated T+

Sam Wilson/The Falcon created by Stan Lee and Gene Colan; Falcon costumed designed by Alex Ross

James Buchanan “Bucky” Barnes created by Joe Simon and Jack Kirby; The Winter Soldier created by Ed Brubaker and Steve Epting

Sam Wilson a.k.a. The Falcon is a Marvel Comics superhero.  Wilson/Falcon first appeared in Captain America #117 (cover date: September 1969).  The Falcon uses mechanical wings to fly, and he has limited telepathic and empathic control over birds.

James Buchanan “Bucky” Barnes is a Marvel Comics superhero.  Writer Joe Simon and artist Jack Kirby introduced “Bucky” as a sidekick to Captain America in Captain America Comics #1 (cover-dated March 1941).   Published by Marvel's predecessor, Timely Comics, Captain America Comics #1 also introduced Captain America.

Over six decades later, writer Ed Brubaker and artist Steve Epting reinvented Bucky as being brought back from supposed-death to be the brainwashed assassin called “The Winter Soldier.”  The character, which debuted in Captain America #1 (cover dated: January 2005), was the villain slash adversary in the 2014 film, Captain America: The Winter Soldier.

The Falcon and the Winter Soldier will team up in an upcoming Marvel Studios television series, “The Falcon & the Winter Soldier,” for the Disney+ streaming service.  Marvel Comics is getting in on the action with a five-issue limited series entitled... Falcon & Winter Soldier.  It is written by Derek Landy; drawn by Federico Vicentini; colored Matt Milla; and lettered by Joe Caramagna.

Falcon & Winter Soldier #1 opens at the Indiana home of Bucky Barnes, where he and his cat are enjoying some morning solitude.  Then, a group of men, armed with military-style weaponry, break into the house to kill Bucky.  [This attack is similar to the one that heavily-armed German security forces launched into Bucky's apartment in the 2016 film, Captain America: Civil War.]

Later, in New York City, The Falcon decides to pay a visit as Sam Wilson to the local office of an agency called the “Office of Federal Utilities.”  There, he finds an entire office of dead people... and the Winter Soldier, but Bucky says he didn't do it – kill all these people.  So, it seems that the dramatic attempt on Bucky's life has reunited The Falcon and the Winter Soldier.  They decide that they will have to hunt down the identity of the new leader of Hydra, but a gifted new killer is also hunting them.

I bought a copy of Falcon & Winter Soldier #1 for a friend of mine to read.  I was a little interested in it, as a fan of The Falcon, but not enough to purchase it for myself.  I got it back and decided to read it, and I have to admit that it was way better than I thought it would be.  Writer Derek Landy offers a simple, but straight-forward story.  There is a goal, uncover Hydra's new secrets, and there is a shocking new adversary, a gifted young killer.  The cover of Falcon & Winter Soldier looks like it belongs to a high-octane action comic book series, and it turns out that Falcon & Winter Soldier #1 reads like an actual, honest-to-goodness, high-octane action comic book.

Artist Federico Vicentini is not a polished illustrator and draftsman.  Some of his figure drawing and background details look awkward and funky.  However, his storytelling is clean and clear, especially important for this genre of comic book.  Matt Milla's coloring is good enough, but not particularly imaginative, and Joe Caramagna's lettering is by-the-books, but good enough.

Falcon & Winter Soldier #1 is not great, but it is the kind of satisfying start that could make me come back for the second issue.  I might even buy the inevitable trade paperback collection.

7 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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#IReadsYou Review: FALLEN ANGELS #1

FALLEN ANGELS #1 (2020)
MARVEL COMICS – @Marvel

[This review was originally posted on Patreon.]

STORY: Bryan Hill
ART: Szymon Kudranski
COLORS: Frank D'Armata
LETTERS: VC's Joe Sabino
EDITOR: Jordan D. White
EiC: Akria Yoshida a.k.a. “C.B. Cebulski”
COVER: Ashley Witter
VARIANT COVER ARTISTS: Mark Bagley and John Dell with Israel Silva; Gabriele Dell'Otto; Greg Land with Frank D'Armata; Pepe Larraz with David Curiel; Rob Liefeld with Romul Fajardo, Jr.; and Tom Muller
44pp, Color, $4.99 U.S. (January 2020)

Rated T+

The X-Men created by Stan Lee and Jack Kirby; Fallen Angels created by Jo Duffy and Kerry Gammill

“Bushido”

The X-Men are a Marvel Comics superhero team and franchise created by writer-editor Stan Lee and writer-artist Jack Kirby.  The X-Men #1 (cover dated: September 1963) introduced readers to a professor and his students who had unique powers and abilities because they were “mutants.”

One of the X-Men spin-off titles was Fallen Angels.  Created by writer Jo Duffy and artist Kerry Gammill, Fallen Angels was more accurately a spin-off of the X-Men spin-off, The New Mutants.  The Fallen Angels was a team that featured two New Mutants, Sunspot and Warlock, and Boom-Boom of X-Factor.  The team's only appearance was in the eight-issue miniseries, Fallen Angels (cover dated:  April to November 1987).

This past summer (2019), writer Jonathan Hickman revamped, rebooted, and re-imagined the X-Men comic book franchise via a pair of six-issue comic book miniseries, House of X and Powers of X (pronounced “Powers of Ten”).  October 2019 welcomed “Dawn of X,” the launch of six new X-Men titles.  The new series are Excalibur, Marauders, New Mutants, X-Force, X-Men, and the subject of this review, Fallen Angels.

Fallen Angels 2020 is written by Bryan Hill; drawn by Szymon Kudranski; colored by Frank D'Armata, and lettered by Joe Sabino.  Fallen Angels focuses on the outsiders of Krakoa, mutants who don't belong in paradise because of their anti-heroic pasts.

Fallen Angels #1 (“Bushido”) opens as Kwannon does something bad.  Meanwhile, on Krakoa, the living island and mutant nation-state, Psylocke is in a state of meditation, in this new world of “Mutantkind,” unsure of her place in it.  But she gets a warning, a demand that she face a new threat, a god named “Apoth,” and it seems as if Psylocke's past is starting to come back to her.  Seeking the aid of Mr. Sinister and gathering the mutant warriors, Cable and X-23, to her side, Psylocke begins her personal mission of revenge.

I have come across commentary on the inter-webs that Fallen Angels is the best of the first wave of “Dawn of X” titles.  I am sorely disappointed to say that I have practically nothing to say about it.  The first issue barely registers with me, which is surprising.  I am a fan of Bryan Hill's writing, and his potent, forceful storytelling always moves something in me.  I'll check in on Fallen Angels later, but I still think that fans of this new X-Men direction should check out at least the first issue of all six titles.  In the meantime, I don't have a grade for Fallen Angels #1.

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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#IReadsYou Review: SPIDER-MAN: Life Story #6

SPIDER-MAN: LIFE STORY No. 6
MARVEL COMICS – @Marvel

[This review was originally posted on Patreon.]

STORY: Chip Zdarsky
PENCILS: Mark Bagley
INKS: Andrew Hennessy
COLORS: Frank D'Armata
LETTERS: VC's Travis Lanham
EDITOR: Tom Brevoort
EDITOR-IN-CHIEF: Akira Yoshida a.k.a. C.B. Cebulski
COVER: Chip Zdarsky
VARIANT COVER ARTIST: Paul Pope with Bruno Seelig
36pp, Color, $4.99 U.S. (October 2019)

Rated  “T”

Spider-Man created by Steve Ditko and Stan Lee

Chapter Six: “All My Enemies”

Spider-Man is a classic Marvel Comics superhero, perhaps the most famous and most popular Marvel character of all time.  Over the years, readers have followed the adventures of Spider-Man and his secret identity, Peter Parker, who is a teenager and high school student when readers first meet him.  Amazing Fantasy #15 (cover dated: August 1962) introduced 15-year-old Peter Parker.  He was bitten by a radioactive spider and, after gaining various fantastical abilities as a result of that bite, Peter became the Amazing Spider-Man.

Fifty-seven years have passed in the real world since that event, but Peter Parker, a fictional character, has practically always been either a teenager or a young man no older than his mid to late twenties.  What would have happened if fictional time passed the same as real time for Peter Parker?  The 15-year-old bitten by the radioactive spider would be 72-years-old in 2019 instead of being eternally young still in 2019.

Spider-Man: Life Story is a new comic book miniseries that tells the story of Peter Parker and Spider-Man in real time, depicting his life from beginning to end.  Spider-Man: Life Story is written by Chip Zdarsky; drawn by Mark Bagley (pencils) and Drew Hennessy (inks); colored by Frank D'Armata; and lettered by Travis Lanham.  “Life Story” is set against the events of the decades through which Spider-Man has lived.

Spider-Man: Life Story #6 (“All My Enemies”) opens in 2019.  There is a new generation of heroes, including a new Spider-Man, secretly a young man named Miles Morales.  Still, Peter Parker is called to be Spider-Man one more time.  He leaves his wife Mary Jane and their children, the twins:  daughter, Claire, and son, Benjy.

Peter and Miles take off into space in a Victor Von Doom spaceship and head for Tony Stark's old Space Lab.  There, they will find a device that can put a stop to Doom's technological plot against the world.  Peter believes that he must step aside for a new generation of heroes, and that he is an old man whose enemies have all died.  Peter is only partially right on one belief and dead wrong on the other.

As I wrote in my review of Spider-Man: Life Story #2, for the last two decades, especially since the beginning of Joe Quesada's reign as Editor-in-Chief of Marvel Comics (in the year 2000), Marvel has been rebooting, re-imagining, and re-purposing the fictional histories of its comic books.  Maybe, that is a way to introduce classic story lines, story arcs, characters, concepts, etc. to a new readers.  One could say that this also allows older (and old) readers to experience the stories of the past retold to one extent or another.

Spider-Man: Life Story is neither a swipe of the fictional history and mythology of Spider-Man, nor is it a reboot or retelling.  First, Chip Zdarsky is representing the conflicts and melodramas that The Amazing Spider-Man and other Spider-Man publications depicted as the life experiences of a character who is aging in “real time.”  These are no longer just the adventures and misadventures and trial and tribulations of a young man and his superhero alter-ego who have been (mostly) no older than their mid-20s for the better part of six decades and are often eternally on the verge of graduating high school.  Zdarsky depicts Spider-Man having to face his personal obstacles and his rogue's gallery of supervillains as an aging and old man when he previously did this only as a young man.

In Spider-Man: Life Story, Zdarsky is playing with the two themes that run throughout practically every Spider-Man publication and depiction of the character in film and television – the themes of consequence and obligation.  Because of that pivotal moment in his origin story when he decided not to stop the thief that would go on to murder his beloved Uncle Ben Parker, Peter is always confronted by the consequences of his actions and inaction.  What he does or does not do in pivotal moments affects everyone around him and connected to him.

Thus, writers have always depicted Peter as having a deep sense of obligation because he has these fantastic powers, so he owes the world Spider-Man, the superhero who tries to always be here, there, and everywhere.  So, I think what Chip Zdarsky is telling us in his brilliantly conceived comic book series, Spider-Man: Life Story, is that Peter Parker will be the hero Spider-Man regardless of his age and regardless of what year it is.  For Peter and Spider-Man, time is truly neutral.

I think that artist Mark Bagley also makes Spider-Man: Life Story a classic Spider-Man comic book series for two reasons.  First, Bagley is a straight-forward graphical storyteller, illustrating fantasy as if he were a journalist conveying the history that he is witnessing.  Secondly, Bagley understands the core ideas that make Spider-Man resonate with readers and fans.

Inker Andrew Hennessy embellishes Bagley's pencil art without losing what makes it special.  Frank D'Armata colors beautifully, accentuating the story without distracting from it.  Letterer Travis Lanham seems to know exactly where to place the lettering and also how to use the lettering to convey the story's emotions, moods, and atmosphere.  I can say that Zdarsky and Bagley's storytelling would be less successful without Lanham's efforts.

Spider-Man: Life Story #6 has a shocking number of surprises that relate to Spider-Man's past conflicts, including the recent past.  The best thing that I can say about this issue is that it ends the series and also leaves me (and I suspect, many readers) really wanting more.

9.5 out of 10

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


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


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#IReadsYou Review: UNCANNY X-MEN #1 (2019)

UNCANNY X-MEN #1 (2019) – Legacy #620
MARVEL COMICS – @Marvel

[This review was originally posted on Patreon.]

STORY: Ed Brisson, Matthew Rosenberg, and Kelly Thompson
ART: Mahmud Asrar; Mirko Colak; Ibraim Roberson
PENCILS: Mark Bagley
INKS: Andrew Hennessy
COLORS: Rachelle Rosenberg
LETTERS: VC's Joe Caramagna
COVER: Leinil Francis Yu with Edgar Delgado
EDITOR: Jordan White with Darren Shan
VARIANT COVER ARTISTS: David Finch with Frank D'Armata; Jim Cheung with Justin Ponsor; Scott Williams with Ryan Kinnaird; Carlos Pacheco and Rafael Fonteriz with Edgar Delgado; Joe Quesada with Richard Isanove; Rob Liefeld with Romulo Fajardo, Jr.; Dave Cockrum with Jason; Dave Cockrum
72pp, Color, $7.99 U.S. (January 2019)

Rated T+

X-Men created by Stan Lee and Jack Kirby

“Disassembled” Part 1; “What Tomorrow Brings” Parts One – “A Bishop Story”; Part Two – “A Jean Grey Story”; Part Three – “An Armor & Angle Story”; Epilogue

There is no point in trying to count the number of times that Marvel Comics has relaunched, reinvigorated, or quasi-rebooted its X-Men comic book franchise since 2001's New X-Men.  This week we got the third(?) Uncanny X-Men relaunch.

Uncanny X-Men 2019 is written by the team of Ed Brisson, Matthew Rosenberg, and Kelly Thompson.  The artists and art teams will rotate, as the first nine issues of this new series will be published weekly.  The artists for this first issue are Mahmud Asrar (pencils-inks); Mirko Colak (pencils-inks); Ibraim Roberson (pencils-inks); and the team of Mark Bagley (pencils) and Andrew Hennessy (inks).  Rachelle Rosenberg colors and Joe Caramanga letters this first issue.

Uncanny X-Men #1 begins with the main story, “Disassembled” Part 1.  The story opens with Jean Grey having a dream about an invasion of multiple copies of Multiple Man, each one demanding the whereabouts of Kitty Pryde.  Meanwhile, Kitty is among the members of the X-Men who are suddenly disappearing.  Who is behind this mystery?  In a series of back-up stories, Bishop, Jean Grey & Storm, and Armor & Anole take on a foe capable of possessing people in the days leading up to the events depicted in the main story.

20th Century Fox's X-Men film franchise has had some spectacular successes and some failures since the franchise's first film, 2000's X-Men.  In that time, X-Men comic books have been mostly hit and miss.  There have been some interesting, even good series; All New X-Men, New X-Men, and X-Men: The Hidden Years come to mind.  However, the “golden age” of X-Men comic books was over by the mid-1980s, and the various owners of Marvel Comics have ruined the franchise by turning it into a cash cow that has vomited money.  A deluge of X-Men and X-Men-related ongoing series, miniseries, one-shots, specials, graphic novels, and reprint and archival publications in various formats, etc. were money makers.  The quality of these comic books varied wildly.  Some were good.  Some were mediocre.  Some were plain awful.

Personally, I think that without a radical rethinking of the X-Men concept, the best we can hope for is that maybe each new iteration of a flagship X-Men comic book, Uncanny X-Men or the recent X-Men: Blue and X-Men: Gold, can yield at least a year's worth of good comic books.  Gold and Blue barely did that.

I like that Uncanny X-Men 2019 will be weekly for its first nine issues.  I wish that Marvel and DC Comics published more weekly titles.  Rather than have a bunch of crappy Justice League titles, have one that is published weekly and features rotating casts and creative teams.  If Uncanny X-Men's writing team can maintain this first issue's sense of mystery and keep offering cliffhangers like the ones in this issue, then, this will be a fun run of nine issues.

So I have some hope, but, without going into spoilers, nothing in Uncanny X-Men #1 2019 suggests that this comic book will approach the first quarter-century of X-Men publications, which offered quite a few stories that went on to become classics.  But there is enough here to suggest that this could be a solid title.  I want to be surprised and delighted.

7 out of 10

Reviewed by Leroy Douressaeux 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: SPIDER-MAN: Life Story #2

SPIDER-MAN: LIFE STORY No. 2
MARVEL COMICS – @Marvel

[This review was originally posted on Patreon.]

STORY: Chip Zdarsky
PENCILS: Mark Bagley
INKS: Drew Hennessy
COLORS: Frank D'Armata
LETTERS: Travis Lanham
EDITOR: Tom Brevoort
EDITOR-IN-CHIEF: Akira Yoshida a.k.a. C.B. Cebulski
COVER: Chip Zdarsky
VARIANT COVER ARTIST: Michael Cho
36pp, Color, $4.99 U.S. (June 2019)

Rated  “T”

Spider-Man created by Steve Ditko and Stan Lee

Spider-Man is a classic Marvel Comics superhero.  Over the years, readers followed the adventures of Spider-man and his secret identity, that of teenager and high school student, Peter Parker.

In 1962, in Amazing Fantasy #15 (cover dated: August 1962), 15-year-old Peter Parker was bitten by a radioactive spider and became the Amazing Spider-Man.  Fifty-seven years have passed in the real world since that event.  What would have happened if the same amount of time passed for Peter as well?   Spider-Man: Life Story is a new comic book miniseries that tells the story of Peter Parker and Spider-Man in real time, depicting his life from beginning to end.  Spider-Man: Life Story is written by Chip Zdarsky; drawn by Mark Bagley (pencils) and Drew Hennessy (inks); colored by Frank D'Armata; and letterer Travis Lanham.  “Life Story” is set against the events of the decades through which Spider-Man has lived.

Spider-Man: Life Story #2 opens in sometime in the mid-1970s.  Peter Parker and his wife, Gwen Stacy, visit the grave of Eugene “Flash” Thompson.  Flash, Peter's high school rival and erstwhile friend, was killed in Vietnam War/Conflict.  Peter is in a constant state of existential crisis.  He believes that he and others with great powers should be using their talents and creations to make the world a better place.  Peter still believes that he should have played a part in Vietnam.  But not everyone is feeling Peter's feelings or worldview.  And an old enemy reaches out to touch Peter.

For the last two decades, especially since the beginning of Joe Quesada's reign as Editor-in-Chief of Marvel Comics (in the year 2000), Marvel has been rebooting, re-imagining, and re-purposing the fictional histories of its comic books.  Maybe, that is a way to introduce classic story lines, story arcs, characters, concepts, etc. to a new readers.  One could say that this also allows older (and old) readers to experience the stories of the past retold to one extent or another.

I don't see Spider-Man: Life Story as a swipe of the fictional history and mythology of Spider-Man.  Instead Chip Zdarsky is representing the conflicts and melodramas that The Amazing Spider-Man and other Spider-Man publications depicted as the life experiences of a character who is aging in “real time.”  These are no longer just the adventures and misadventures and trial and tribulations of a young man and his superhero alter-ego who has been (mostly) no older than his mid-20s for the better part of six decades and is often eternally on the edge of graduating high school.

I am loathe to discuss the Spider-Man moments that Zdarsky represents, but I can say that by the end of Spider-Man: Life Story #2, Peter is 30 or 31.  He no longer has the eternal optimism of youth that will allow him to overlook a clone of himself.  He isn't a teenager or a college student or mid-20s professional who can brush off Spider-Man's darkest moments when it is time for him to play civilian the day after.

Spider-Man: Life Story does not quite take the real world approach to superheroes the way Alan Moore and Dave Gibbons' Watchmen did.  Spider-Man: Life Story #2, however, does take the approach to time and tide – the outward flow of time – that Kurt Busiek and Alex Ross' Marvels does.  No matter how many fantastic things are occurring, the players in this story age.  And life takes its toll.

What Zdarsky and artist Mark Bagley are offering is a chance to see one of the greatest superheroes forced to face his trials as a maturing man and not as an eternal boy or boyish man.  Spider-Man: Life Story #2 tells me that this series is for real.

9 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: SYMBIOTE SPIDER-MAN #1

SYMBIOTE SPIDER-MAN No. 1 (OF 5)
MARVEL COMICS – @Marvel

[This review was originally posted on Patreon.]

STORY: Peter David
PENCILS: Greg Land
INKS: Jay Leisten
COLORS: Frank D'Armata
LETTERS: VC's Joe Sabino
MISC. ART. Iban Coella with Frank D'Armata (flashback sequence)
EDITOR: Devin Lewis
EDITOR-IN-CHIEF: Akira Yoshida a.k.a. C.B. Cebulski
COVER: Greg Land with Frank D'Armata
VARIANT COVER ARTISTS: Artgerm; Ron Lim with Israel Silva; Nick Bradshaw with John Rauch; Skottie Young; Todd McFarlane with Jesus Aburtov; Alex Saviuk with Chris Sotomayor
36pp, Color, $4.99 U.S. (May 2019)

Rated  “T”

Spider-Man created by Steve Ditko and Stan Lee

Spider-Man is the classic Marvel Comics superhero that readers first met in Amazing Fantasy #15 (cover dated: August 1962).  High school student Peter Parker was bitten by a radioactive spider, which gave him the proportional speed and strength of a spider and other strangers powers, including a spider-sense that acted as a kind of internal warning beacon.  Parker donned what would become his trademark red and blue costume that he made himself, so he became the crime-fighting superhero, The Amazing Spider-Man.

In The Amazing Spider-Man #252 (cover dated: May 1984), Peter donned a new costume.  A sleek, all-black suit, except for the white spider design, the costume seemed to have a life of its own.  With a thought, the costume would slide onto Peter's body and it could also transform (or morph) into other clothing, including shoes.

In The Amazing Spider-Man #258 (November 1984), readers learned that Spider-Man's black costume was actually an “alien symbiote.”  It had an amorphous, liquid-like form, and it had also bonded with Spider-Man's body.  It turns out that Spider-Man had received the costume on an alien world, as seen in Marvel Super Heroes Secret Wars #8 (cover dated: December 1984).

The five-issue miniseries Symbiote Spider-Man is set during the time period before Spider-Man discovered that his black costume was an alien entity.  The series is written by Peter David; drawn by Greg Land (pencils) and Jay Leisten (inks); colored by Frank D'Armata; and lettered by Joe Sabino.  The story pits Spider-Man against a classic villain, Mysterio.  [Mysterio actually did not meet Spider-Man in any of the comic books published during the 1984 to1988 original period of the black costume.]

Symbiote Spider-Man #1 opens at the end of an intense battle between Spider-Man and Mysterio.  Via flashback, we learn that Quentin Beck a.k.a. Mysterio has been looking to commit one big criminal score before retiring.  However, while robbing a bank, Mysterio witness a tragic outcome he did not expect.  Returning to the battle, Mysterio is seemingly defeated, but he has witnessed something that may finally give him an edge over Spider-Man.

I decided to try Symbiote Spider-Man #1 because I generally like the art of Greg Land.  In fact, as inked by Jay Leisten, Land's art in this first issue looks like the work of Terry Dodson.  Frank D'Armata heavily lays on his colors; it all looks a little too thick, except for the flashback drawn by Iban Coello where the colors look sharp.  Joe Sabino's lettering is nicely professional, so, in general this first issue is a good-looking comic book.

I have also enjoyed the work of writer Peter David, mostly because he is good at character drama.  Symbiote Spider-Man #1 strikes an odd note.  It is surprisingly melancholy, and a sense of grief hangs over the story.  The themes of loss – loss of life, losses in one's professional life, loss of respect, etc. – do not dominate this first issue, but they do seem as if they will be the dominate themes of this series.

I think Marvel Comics decided to release Symbiote Spider-Man because it was looking for a way to capitalize on Mysterio being the villain in Sony Pictures/Marvel Studios' summer film, Spider-Man: Far From Home.  Although this first issue is a nice read, I don't feel compelled to read the rest of the series, but the last page of this first issue does pique my interest.  I can say that Spider-Man comic book fans may want to try at least the first issue.

6 out of 10

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

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

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

Review: SAVAGE AVENGERS #1

SAVAGE AVENGERS No. 1
MARVEL COMICS – @Marvel

[This review was originally posted on Patreon.]

STORY: Gerry Duggan
ART: Mike Deodato, Jr.
COLORS: Frank Martin
LETTERS: VC's Travis Lanham
EDITOR: Tom Brevoort
EDITOR-IN-CHIEF: Akira Yoshida a.k.a. “C.B. Cebulski”
COVER: David Finch with Frank D'Armata
VARIANT COVERS: Simone Bianchi with Simone Peruzzi; Mike Deodato, Jr. with Frank Martin; Moebius; Skottie Young; Leinil Francis Yu with Romulo Fajardo, Jr.
36pp, Color, $4.99 U.S. (July 2019)

Rated “Parental Advisory”

Avengers created by Stan Lee and Jack Kirby

Chapter One: “Once Upon a Time in the City of Sickles”

The Avengers are Marvel Comics' premiere team of superheroes.  Known as “Earth's Mightiest Heroes,” the team made its debut in The Avengers #1 (cover dated:  September 1963) and were created by Stan Lee and Jack Kirby.

Conan the Cimmerian is a “sword and sorcery” character 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.

Conan the Barbarian teams-up with Wolverine, The Punisher, Venom, Elektra and Doctor Voodoo to give the Avengers a savage spin in the new comic book series, Savage Avengers.  This ongoing title is written by Gerry Duggan; drawn by Mike Deodato, Jr.; colored by Frank Martin; and lettered by Travis Lanham.  The premise of this team-up is that these heroes, anti-heroes, and villains must work together to put an end to the machinations of the evil wizards of Conan’s world who have start trading spells with The Hand, the infamous ninja organization.

Savage Avengers #1 (“Once Upon a Time in the City of Sickles”) opens with a famous opera singer who is kidnapped and spirited away to The Savage Land, specifically the “City of Sickles.”  There a menacing man known as the “Cult Leader” kills the opera singer and throws his body into a giant bowl.  This bowl is filled with the bloody and broken corpses of some of mankind's best artists, thinkers, and warriors.  But more is needed if this cult is going to summon a brutal dark god, “Jhoatun Lau, the Marrow God,” who resides on a mysterious planet beyond Pluto.

Meanwhile, Conan, looking for priceless jewel now in the Savage Land, runs into Wolverine.  Suddenly, two of the fiercest, most vicious, and most brutal warriors of two worlds will fight, apparently to the death.  Meanwhile, Frank Castle a.k.a. The Punisher makes a discovery that will summon his dark side.

I was interested in Savage Avengers when I read the first announcement about it, but I was not interested enough to read it right away.  I recently came upon a copy of Savage Avengers #1, and, after putting it off, decided to read it.  Wow, I must say I enjoyed it.  Most of this issue depicts a brutal, hack-and-slash, stab-and-stab-again battle between Conan and Wolverine.  Still, writer Gerry Duggan offers a dark and interesting scenario – a giant bowl containing a pool of blood and ofal – and a scary-sounding dark god.

As usual Mike Deodato, Jr. presents beautiful art.  His art is an illustrated symphony of sharp line work and precision crosshatching.  Deodato's graphical storytelling suggests classic horror comics, and Frank Martin's colors are the perfect accompaniment to Deodato's night music art.  Deodato and Martin's depiction of Jhoatun Lau makes the geek in me holler, Awesome!

Letter Travis Lanham also plays music, the ebb and flow offering different levels of intensity.  Lanham goes from intense and loud (Conan vs. Wolverine) to menacing intensity (the cult).  I'm shocked by how much I like Savage Avengers #1, but I am looking for more issues.

8 out of 10

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


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

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

Review: SPIDER-MAN: Life Story #1

SPIDER-MAN: LIFE STORY No. 1
MARVEL COMICS – @Marvel

[This review was originally posted on Patreon.]

STORY: Chip Zdarsky
PENCILS: Mark Bagley
INKS: John Dell
COLORS: Frank D'Armata
LETTERS: Travis Lanham
EDITOR: Tom Brevoort
EDITOR-IN-CHIEF: Akira Yoshida a.k.a. C.B. Cebulski
COVER: Chip Zdarsky
VARIANT COVER ARTISTS: Marcos Martin; Greg Smallwood; Skottie Young
36pp, Color, $4.99 U.S. (May 2019)

Rated  “T”

Spider-Man created by Steve Ditko and Stan Lee

Spider-Man is the classic Marvel Comics superhero that readers first met in Amazing Fantasy #15 (cover dated: August 1962).  The Amazing Spider-Man #1 (cover date: March 1963) was the beginning of the first Spider-Man title, as we followed his adventures and his secret life as a teenager and high school student named Peter Parker.  Over the years, a legion of Spider-Man writers depicted Peter Parker graduating from high school, going to college, becoming a college graduate student, a working stiff, a freelancer, an employee, etc.

Spider-Man: Life Story is a new comic book miniseries tells the story of Peter Parker and Spider-Man in real time, depicting his life from beginning to end.  Spider-Man: Life Story is written by Chip Zdarsky; drawn by Mark Bagley (pencils) and John Dell (inker); colored by Frank D'Armata; and letterer Travis Lanham.  “Life Story” is set against the events of the decades through which Spider-Man has lived.  The conceit of this series is as follows (as described by Marvel Comics:

In 1962, in Amazing Fantasy #15, 15-year-old Peter Parker was bitten by a radioactive spider and became the Amazing Spider-Man! Fifty-seven years have passed in the real world since that event - so what would have happened if the same amount of time passed for Peter as well?

Spider-Man: Life Story #1 opens in 1966, four years after the events depicted in Amazing Fantasy #15.  Peter has one left year in college, but that is not all that is on his mind.  He has money woes, and as more young men his age are drafted to serve in the Vietnam War, Peter starts to wonder if Spider-Man should also serve in the conflict.  As his old rival, Flash Thompson, prepares to leave for Vietnam, Peter really starts to weigh the question of where his responsibility truly lies.  Meanwhile, a dangerous foe reappears, threatening Spider-Man's secrets.

Spider-Man: Life Story #1 is just the kind of first issue with which a prestige or “high-end” miniseries should open.  This is the kind of wonderful read that will make readers come back for the second issue.  Simply put, it is quite well written by Chip Zdarsky, who is proving to be a writer with classic storytelling chops.  What I mean by that is that Zdarsky focuses on spinning comic book yarns (1) that are true to the core of the characters, (2) that have successful superhero action scenes, and (3) that also have a modern sensibility.  In this way, Zdarsky's Spider-Man: Life Story #1 reminds me of Brian Michael Bendis' Ultimate Spider-Man #1 (cover dated:  October 2000), a modern take on Spider-Man that had a classic Spider-Man sensibility.

Another reason that I am reminded of Ultimate Spider-Man is that the penciler of Spider-Man: Life Story #1 is Mark Bagley, who was the long-time artist on Ultimate Spider-Man, drawing just under 120 issues.  Bagley is a consummate superhero comic book artist, whose storytelling is straightforward.  His graphic style is not overly stylish, but, once again, his art looks like classic superhero comic book art from the 1960s and 1970s.

I thought I might like Spider-Man: Life Story #1, but I often only read the first issue of a miniseries even when I like it enough to be interested in future issues.  I plan to read more Spider-Man: Life Story, and I am eagerly awaiting that second issue.

8.5 out of 10

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


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

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

Review: DOMINO #1

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

[This review was originally posted on Patreon.]

STORY: Gail Simone
ART: David Baldéon
COLORS: Jesus Aburtov
LETTERS: Clayton Cowles
EDITOR: Chris Robinson
EDITOR-IN-CHIEF: Akira Yoshida
COVER: Greg Land with Frank D'Armata
VARIANT COVER ARTISTS: Elsa Charretier with Matthew Wilson; David Baldéon with Jesus Aburtov; Pretend comic book artist-J. Scott Campbell with Sabine Rich; Rob Liefeld
28pp, Color, $3.99 U.S. (June 2018)

“Killer Instinct” Part One

Neena Thurman a.k.a. Domino is a Marvel Comics character.  The character was created by artist Rob Liefeld and writer Fabian Nicieza.  A version of Domino first appeared in New Mutants #98 (cover dated: February 1991); then, the “real” version of the character first appeared in X-Force #8 (cover dated: March 1992).  Domino is a mutant best known for her association with the team, X-Force.

Although Domino has been the title character in two miniseries, the character is finally the star of her own ongoing comic book series.  Entitled Domino, it is written by Gail Simone; drawn by David Baldéon; colored by Jesus Aburtov; and lettered by Clayton Cowles.

Domino #1 finds Domino and “Crazy” Inez Temple a.k.a. “Outlaw” in the Pacific Northwest.  They are supposedly here because they have been hired to take care of some mobsters, but this is really a setup for an attack on them.  And it's Neena Thurman's birthday...

I am a fan of Gail Simone, and I am currently enjoying her Image Comics series, Crosswind, and her current miniseries for Dynamite Entertainment, Red Sonja / Tarzan, both of which had excellent first issues.  Domino #1 is a mediocre first issue.

Simone has publicly stated that many comic books suffer from poor character development.  The problem with Domino #1 is that its title character is not much of a character.  Domino is at best a supporting character, but Marvel Comics has spent much of the last four decades publishing miniseries and regular series starring just about any character that shows any measurable popularity with fans.  So Domino #1 stars a character who, after more than a quarter century, is not much more than the sketch that first appeared in Rob Liefeld's sketchbook.  And Gail Simone, who is excellent at giving comic book characters character, may not be able to change that.

As for the graphics team, David Baldéon has been a rising star; Domino #1 is air turbulence for him, a step back from his excellent, hot wire art on the recent Spirits of Vengeance miniseries.  For colorist Jesus Aburtov and letterer Clayton Cowles, Domino #1 is an average output.  “Serviceable” is the word to describe Domino #1.  I do not hold out hope that the series will get better.

5 out of 10

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


The text is copyright © 2018 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for reprint and  syndication rights and fees.

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

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.

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

Review: NICK FURY #1

NICK FURY No. 1 (2017)
MARVEL COMICS – @Marvel

[This review was originally posted on Patreon.]

STORY: James Robinson
PENCILS: ACO
INKS: Hugh Petrus
COLORS: Rachelle Rosenberg
LETTERS: Travis Lanham
COVER: ACO
VARIANT COVERS: John Tyler Christopher; Greg Land with Frank D'Armata; Mark Morales with Jason Keith; Bill Sienkiewicz
28pp, Color, $3.99 U.S. (June 2017)

Rated “T+”

“The Sky High Caper”

Nick Fury (Colonel Nicholas Joseph "Nick" Fury) is a Marvel Comics character.  Created by writer/artist Jack Kirby and writer Stan Lee, Fury first appeared in Sgt. Fury and his Howling Commandos #1 (cover dated:  May 1963), a World War II combat comic book series, in which Fury was depicted as a cigar-chomping, leader of an elite United States Army unit.

Marvel Comics introduced the modern Nick Fury in Fantastic Four #21 (cover dated:  December 1963), making him a CIA agent.  In Strange Tales #135 (cover dated:  August 1965), the character again transformed, this time from a spy into the leading agent of the fictional espionage agency, S.H.I.E.L.D.  In 2002, Nick Fury became a Black man that resembled actor Samuel L. Jackson in The Ultimates #1.  Jackson would portray Fury in the Marvel Studios movies based on Marvel Comics, and the Jackson-lookalike Fury would replace the original white Fury in the main Marvel Universe.

That Sam Jackson Fury is the star of the new comic book series, Nick Fury.  It is written by James Robinson; drawn by ACO (pencils) and Hugh Petrus (inks); colored by Rachelle Rosenberg; and lettered by Travis Lanham.

Nick Fury #1 (“The Sky High Caper”) opens with Nick Fury arriving in the French Riviera, where he must infiltrate the most secure parts of a imposing casino.  Fury's target is a hidden data-stash belonging to Auric Goodfellow, a Hydra moneyman.  Fury will likely be successful in getting what he wants, but Frankie Noble, Agent of Hydra plans on standing in his way.

I love the art in Nick Fury #1.  Drawn by the artist known as ACO, the art recalls the Pop-Art infused comic book art that legendary comic book artist Jim Steranko produced during his run of Nick Fury comics in the late 1960.  ACO's layout and design also recall Steve Rude's layout and design on his long-running comic book series, Nexus.  ACO's art for Nick Fury combined with Rachelle Rosenberg's pastel-lite coloring sure is pretty.

However, the storytelling is shallow when it isn't confusing and confusing when it isn't shallow.  As graphical storytelling, ACO's art is just too busy.  Yeah, it is eye-candy to look at, but is a busy mess as storytelling.  Honestly, if writer James Robinson had even attempted to tell a more complex story, there is no telling how crowded ACO would have made his art.

I think James Robinson offers in Nick Fury what Chris Samnee did in the first issue of his recent Black Widow comic book – an introductory issue that reads like a two-minute-egg version of an action sequence from a James Bond or Jason Bourne movie.

Honestly, I'll try the second issue of Nick Fury, although I never tried the second issue of Samnee's Black Widow.

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.

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

Review: CAPTAIN AMERICA #695

CAPTAIN AMERICA No. 695
MARVEL COMICS – @Marvel

[This review was originally posted on Patreon.]

STORY: Mark Waid
ART: Chris Samnee
COLORS: Matthew Wilson
LETTERS: VC's Joe Caramagna
COVER: Chris Samnee with Matthew Wilson
VARIANT COVERS: Alex Ross (after John Romita, Jr. and Bob Layton); John Tyler Christopher with Ariel Olivetti; Adi Granov; Mike McKone with Rachelle Rosenberg; Jim Steranko
28pp, Color, $3.99 U.S. (January 2018)

Rated “T+”

Captain America created by Joe Simon and Jack Kirby

“Home of the Brave” Part 1

Captain America is a Marvel Comics superhero. He was created by Joe Simon and Jack Kirby and first appeared in Captain America Comics #1 (cover dated:  March 1941), which was published by Timely Comics, a predecessor of Marvel Comics.  Captain America Comics was canceled in 1949, but there was a revival of the series from 1953 to 1954.  Captain America fully returned to modern comic books in The Avengers #4 (cover dated: March 1964).

Marvel Comics is in the middle of its “Legacy” event, returning many titles to its original numbering after a decade of relaunching a number of titles with new #1 issues – three, four, and even five or more times.  The ongoing Captain America comic book series has a new creative team for the Legacy launch.  The team of writer Mark Waid and artist Chris Samnee, the creative duo behind Marvel's critically acclaimed Daredevil relaunch (2012) several years ago, brings Captain America into the “Legacy era.”  Matthew Wilson is the colorist, and Joe Caramagna is the letterer.

Captain America #695 begins with a brief recount of how Steve Rogers became the “super solider,” Captain America; his exploits on the battlefields of World War II, and how he disappeared.  Then, we learn how Captain America became a legend and an inspiration to the town of Burlington, Nebraska after stopping a group of neo-Nazi, white supremacist-types, something he may have to do again.

I have said that when Mark Waid is good, he is really good.  [On the other hand, when he is not good, he can be an exceedingly, irritatingly pedestrian comic book storyteller.]  I am a huge fan of Chris Samnee's classic, cartoonists drawing style.  In Captain America #695, Waid is in top form, and Samnee hits the heights of throwback, Silver Age comics style.

Waid's script creates a standalone story that epitomizes what seems to be the essence of Captain America's mission and message: the strong protect the weak.  We look out for each other against those who would do harm, and every man, woman, and child (of at least a certain age) can lend a helping hand, if they choose.

I love Captain America #695.  It is a standalone treat, the kind of single-issue comic book that we need in between long story arcs and of which we don't get often enough.  I really like Waid's story.  I wish more comic book art looked like Chris Samnee's art.  If I were a comic book publisher, my comic books would look like Captain America #695.  If you have time to read only one comic book today, read Captain America #695.

[This comic book includes an “Legacy” character summary written by Robbie Thompson; drawn by Valero Schiti; colored by Frank D'Armata; and lettered by VC's Joe Caramagna.]

A+
10 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.

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

Review: INVINCIBLE IRON MAN #1 (2017)

INVINCIBLE IRON MAN No. 1 (2017)
MARVEL COMICS – @Marvel

[This review was originally posted on Patreon.]

WRITER: Brian Michael Bendis
ART: Stefano Caselli
COLORS: Marte Gracia
LETTERS: VC's Clayton Cowles
COVER: Stefano Caselli with Marte Gracia
VARIANT COVERS: Jeff Dekal; Adi Granov; Mike McKone with Jason Keith; Tom Raney with Frank D'Armata; Skottie Young; John Tyler Christopher
28pp, Color, $3.99 U.S. (January 2017)

Rated “T+”

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

It seems just like yesterday I was reviewing a new Iron Man comic book series (Invincible Iron Man) and just a few days before that I was reviewing an earlier new Iron Man series (Superior Iron Man).  Each one came as part of a new Marvel Comics publishing initiative.

Speak of the Marvel devil, there is a new Marvel publishing event/initiative, NOW!, and that comes with the new Invincible Iron Man comic book.  The series is written by Brian Michael Bendis; drawn by Stefano Caselli; colored by Marte Gracia; and lettered by Clayton Cowles.  And there is a new Iron Man, she is teenage wunderkind, Riri Williams, the first African-American female to wear an Iron Man uniform.  She is Ironheart!

Invincible Iron Man #1 finds Riri putting her self-made Iron Man armor to the test against an embittered mutant, Animax.  We also take a trip into Riri's past and get to witness the curious return of someone who has been watching Riri for some time.

I have high hopes for this latest version of Invincible Iron Man because of writer Brian Michael Bendis.  Over the last several years, Bendis has done amazing work with an African-American character, Miles Morales, the “Ultimate” Spider-Man.  In Morales, Bendis created a fully-realized Black male comic book character, and he wrote Miles as such an engaging and intriguing young fellow that I was often more interested in Miles as Miles than Miles as Spider-Man.

I don't know if Bendis will make Riri Williams more interesting as Riri than as Iron Heart, but right from this first issue, it is clear that Riri is the kind of character who will charm this comic book reader.  Once again, Brian Michael Bendis proves to me why he is the best writer of superhero comic books over the last 20 years.

B+

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


The text is copyright © 2018 Leroy Douresseaux. All Rights Reserved. Contact this blog for reprint and syndication rights and fees.

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Review: MOSAIC #1

MOSAIC No. 1
MARVEL COMICS – @Marvel

[This review was originally posted on Patreon.]

WRITER: Geoffrey Thorne
ARTIST: Khary Randolph
COLORS: Emilio Lopez
LETTERS: VC's Joe Sabino
COVER: Stuart Immonen
VARIANT COVERS: John Tyler Christopher; Marco D'Alfonso; Mike Deodato with Frank Martin; Khary Randolph; Pasqual Ferry with Frank D'Armata
36pp, Color, $4.99 U.S. (December 2016)

Rated T+

Episode One: “Mood Indigo”

Out of Civil War II.  Part of Marvel Comics' initiative “NOW!”  Here, comes Marvel's newest Black superhero, Mosaic, and he is the star of his own comic book, entitled Mosaic, of course.  It is written by Geoffrey Thorne; drawn by Khary Randolph; colored by Emilio Lopez; and lettered by Joe Sabino.

Mosaic #1 (“Mood Indigo”) introduces Morris Sackett, maybe the best professional basketball player in the world.  He has led the New York Stride to five championships in five seasons.  As far as Morris is concerned, he is the sole reason that the Stride has won five titles.  However, exposure to Terrigen mists changes Morris in ways that are shocking.  One of the newest Inhumans is about to lose his physical form while inheriting many more.

According to what I have read, writer Geoffrey Thorne and artist Khary Randolph want to explode stereotypes for Black superheroes when it comes to Morris Sackett a.k.a. Mosaic.  I don't know what those stereotypes are.  Even with the relatively small number of Black superheroes in both the Marvel and DC Comics universes, characters are unique and mostly fully formed.  Black Panther is not like Storm is not like Luke Cage/Power Man, and I never thought that Cyborg was like Black Lightning.

The stereotype of Black superheroes is that they are stereotypical.  They are not all noble Negroes in the tradition of Civil Rights activists, nor are they sullen anti-heroes out to get the system.  Under the guiding hand of comics most skilled writers, there have been some really good Black Panther and Blade comic books – to name a few of a few.  The reality (not stereotype) is that many Black superheroes have been featured in comic books in which the writers have those assignments because they are someone's friend more so than because they are good storytellers.  Black superheroes have not been stereotypes; they simply have been in badly written (and sometimes poorly drawn) comic books.

Mosaic #1 suggests that Thorne is a good writer, although his “street lingo” leaves something to be desired.  I give most of the credit for the success of Mosaic #1 to artist Khary Randolph.  This first issue has a lively visual and graphical style that mimics the energy and movement of animated films.  Randolph's art is both stylish and earthy, giving Mosaic a vibe that is different from just about everything else Marvel is publishing.

I'm ready for more and recommend this title.

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: BLACK PANTHER: World of Wakanda #1

BLACK PANTHER: WORLD OF WAKANDA No. 1 (2017)
MARVEL COMICS – @Marvel

[This review was originally posted on Patreon.]

WRITER: Roxane Gay (with Ta-Nehisi Coates consultant)
ART: Alitha E. Martinez
COLORS: Rachel Rosenberg
LETTERS: VC's Joe Sabino
MISC. ART: Brian Stelfreeze
COVER: Afua Richardson
VARIANT COVER: Brian Stelfreeze; John Tyler Christopher; Natacha Bustos; Khoi Pham with Frank D'Armata; Skottie Young; Alitha E. Martinez with Rachelle Rosenberg
36pp, Color, $4.99 U.S. (January 2017)

Black Panther created by Stan Lee and Jack Kirby

Rated “T”

“Dawn of the Midnight Angels” Part 1

A sure sign that Marvel Comics is already preparing for the February 2018 release of the Black Panther film from Marvel Studios is that Marvel doesn't think that one Black Panther comic book is enough.  We already have writer Ta-Nehisi Coates' ambitious Black Panther 12-issue series.

Now, we get Black Panther: World of Wakanda, which will explore Wakanda, the African kingdom which Black Panther/T'Challa rules.  The writer of World of Wakanda's main story is author and feminist, Roxane Gay (Bad Feminist).  The story is drawn by Alitha E. Martinez, who was part of the original art team of the Marvel Knight imprint's Black Panther Volume 2 (1998), which was written by Christopher Priest.  Rachel Rosenberg colors, and Joe Sabino letters.

Black Panther: World of Wakanda #1 (“Dawn of the Midnight Angels” Part 1) focuses on the “Dora Milaje” (“Adored Ones”), the female personal bodyguards of Black Panther and the royal family.  We see the first meeting between Captain Aneka and Ayo, the young woman who would become her lover and partner in revolution.

I would describe this opening chapter of “Dawn of the Midnight Angels” as not great, but good.  The characters and the character drama is intriguing, but the Sub-Mariner part of it bores me.  I think writer Roxane Gay is on to something with the dynamics between the leads.  The art by Alitha E. Martinez is a mixed bag – good storytelling but average quality on the composition.  That aside, I highly recommend this title to Black Panther fans.

“The People for the People”

STORY: Yona Harvey and Ta-Nehisi Coates
ART: Afua Richardson
COLORS: Tamra Bonvillain
LETTERS: VC's Joe Sabino

“The People for the People” is an origin story featuring another female character who is a thorn in Black Panther's side.  That would be Zenzi, leader of The People, the group currently trying to topple the Wakandan monarchy.  Written by Yona Harvey and Ta-Nehisi Coates, the story attempts to dispel some of the mystery around Zenzi, and this first chapter definitely makes her a character worth discovering.  The art by rising star Afua Richardson personifies how her stylish graphics and compositions add zest and energy and intrigue into the stories Richardson draws.  Encore

A-

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


The text is copyright © 2016 Leroy Douresseaux. All Rights Reserved. Contact this site for reprint and syndication rights and fees.

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Review: STAR-LORD #1

STAR-LORD No. 1
MARVEL COMICS – @Marvel

[This review was originally posted on Patreon.]

WRITER: Sam Humphries
PENCILS: Javier Garron
COLORS: Antonio Fabela with Frank D'Armata
LETTERS: VC’s Joe Caramagna
COVER: Dave Johnson
VARIANT COVERS: Yasmine Putri; Tradd Moore; Val Staples (Hip-Hop Variant)
28pp, Color, $3.99 (January 2016)

Rated “T”

Year One, Chapter One: “Free Falling”

Star-Lord a/k/a Peter Quill is a Marvel Comics superhero and science fiction character.  Star-Lord was created by writer Steve Englehart and artist Steve Gan and first appeared in Marvel Preview #4 (cover dated: January 1976).  Quill is the son of a human mother and an alien father, and he assumes the mantle of Star-Lord, an interplanetary policeman.

After the success of Marvel Studios’ 2014 film, Guardians of the Galaxy, Star-Lord became a star.  Last year, he even got his first solo comic book series, entitled Legendary Star-Lord.  With the arrival of the “All-New, All-Different Marvel” comes another Star-Lord solo series.  The new Star-Lord is also written by Sam Humphries, but this time it is drawn by Javier Garron.  It is colored by Antonio Fabela with Frank D'Armata , and lettered by Joe Caramagna.

Star-Lord #1 (“Free Falling”) opens with a flashback and then moves on to a NASA operations launch facility in Long Beach, California.  It is the site of the Asterion One Program, a project to train young astronauts who will be the first humans to colonize another planet.  There, we find 18-year-old Peter Quill, who is about to fail out of the program.  He isn't a popular guy, but what his distractors don't realize is that young Peter is the one person who can actually figure out how to crack the faster-than-light warp drive on an alien ship.

I read a few issues of Legendary Star-Lord, the previous Star-Lord comic book, and I enjoyed the story and scripting of series writer, Sam Humphries.  He has a knack for this character and plays up Peter Quill's most endearing traits.  Quill is a cocky underdog, a rogue with a heart of gold, and a never-say-die good guy.  Quill is Harrison Ford's two most famous movie roles, Han Solo and Indiana Jones, rolled into one.

In this new series, Humphries goes back to the beginnings of young Peter Quill's star-faring escapades.  This could have been yet another “year one” ripoff story, but Humphries offers Peter Quill's personality from several angles:  the good, the bad, and the cocky.  And every bit of it is engaging.

I don't want to give short-shrift to series artist, Javier Garron, who ably replaces Paco Medina from the previous series.  Garron's storytelling is good, and his graphic style is just right for this sci-fi, outer-space adventure comedy.  I think I'll come back for more, and I recommend this to fans of Guardians of the Galaxy, the comic books and the movie.

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.