#IReadsYou Review: X-MEN GOD LOVES, MAN KILLS Extended Cut #1

X-MEN: GOD LOVES, MAN KILLS EXTENDED CUT #1 (OF 2)
MARVEL COMICS

STORY: Christopher Claremont
ART: Brent Eric Anderson
COLORS: Steve Oliff
LETTERS: Tom Orzechowski
EDITOR: Louise Jones (original); Jennifer Grunwald (extended cut)
EiC: Jim Shooter (original); Akira Yoshida a.k.a. C.B. Cebulski (extended cut)
COVER: Salvador Larroca with Guru-eFX
VARIANT COVER ARTISTS: Brent Anderson; Rod Reis; Giuseppe Camuncoli and Erick Arciniega
44pp, Color, $4.99 U.S. (June 2020)

Rated T+

The X-Men created by Stan Lee and Jack Kirby

The X-Men are a Marvel Comics superhero team and franchise created by writer-editor Stan Lee and writer-artist Jack Kirby.  In The X-Men #1 (cover dated: September 1963), readers were introduced to a professor who was also team-leader to his students.  Each student had unique powers and abilities because he or she was a “mutant.”

X-Men: God Loves, Man Kills (Marvel Graphic Novel #5) was an original graphic novel published in 1982 by Marvel Comics.  It was written by Christopher Claremont and illustrated by Brent Eric Anderson.  Colorist Steve Oliff and letterer Tom Orzechowski completed the graphic novel's creative team.  The story pits the X-Men and their longtime enemy, Magneto, against a fanatical religious leader bent on exterminating “mutantkind.”  The graphic novel went on to become one of the most popular and beloved X-Men stories of all time.  Elements of the God Loves, Man Kills were used in the 2003 X-Men, film, X2: X-Men United.

Back in 2020, Marvel republished X-Men: God Loves, Man Kills as a two-issue miniseries, entitled X-Men: God Loves, Man Kills Extended Cut.  The series divides the story in two parts and brackets it with a new ten-page framing sequence or story produced by the original story's creating team.  The first issue of this “extended cut” opens with five pages of the framing sequence and the second issue ends with the other five pages.

In this new sequence, the member of the X-Men known as Kitty Pryde and her pet dragon, Lockheed, are in southwest Texas.  There, Kitty visits a young woman named Kate who met Erik Lehnsherr a.k.a. “Magneto.”  Kitty has decided to tell the young woman the story that is X-Men: God Loves, Man Kills.

X-Men: God Loves, Man Kills Extended Cut #1 opens in the “Gold Star Cafe,” somewhere in southwest Texas.  There, Kitty Pryde of the X-Men meets Kate, a friend of Magneto, and decides to tell her the story of a time when Kitty was new to the X-Men and was known by the code name, Ariel.

Once upon a time, there was a popular and fanatical religious leader named William Stryker who led a religious organization called the “Stryker Crusade.”  Under the guise of evangelical Christianity, Stryker hatched a plot to destroy all mutants on Earth.  To begin, Stryker targeted Charles Xavier a.k.a. Professor X, the lynch pin to his plot.

To get to Xavier, Stryker will have to go through the X-Men:  Cyclops, Storm, Wolverine, Colossus, Nightcrawler, and Kitty Pryde/Ariel.  To fight the X-Men, Stryker had a strike force, a form of armor-wearing men he called the “Purifiers.”

Professor X and his X-Men were unaware of the danger to their lives.  Colossus' younger sister, Illyana, was also living with the team.  After Professor X and two of his X-Men are captured, the X-Men begin to fight back, but they will find themselves needing help from the greatest enemy, Magneto.

THE LOWDOWN:  I read X-Men: God Loves, Man Kills several times in my youth, but prior to reading this reprint series, I don't think that I had read it in decades.  I didn't read the sequel to it that Chris Claremont wrote for his former X-Men comic book series, X-Treme X-Men (2001-04).  Entitled “God Love, Man Kills Part II, it ran from X-Treme X-Men #25 (July 2003) to X-Treme X-Men #30 (October 2003).  The entire story line was collected in the trade paperback, X-Treme X-Men Vol. 5: God Love, Man Kills (October 2003).

It turns out that I had forgotten quite a bit of “God Loves, Man Kills.”  That includes the action-packed final battle against the Purifiers and that final debate with William Stryker at the “Stryker Building.”  I also had forgotten that Claremont has Kitty Pryde use the term “nigger-lover” in anger at Stevie Hunter.  An African-America woman, Stevie was a recurring, non-mutant character, who mostly appeared in The Uncanny X-Men and New Mutants in the early 1980s.  Four decades later, I have to say that I don't like that scene very much and I'm not happy about the use of that term.  I'm not surprised that Marvel did not remove it, but I am sure that it would not be used today in a scene of a similar context.

X-Men: God Loves, Man Kills is a pivotal point in the publication history of the X-Men.  I believe that the X-Men began as a group of costume adventurers and superheroes who were defined by the fact that they were mutants and who faced prejudice because of it.  However, the original X-Men comic book series also focused on the action and was essentially an adventure serial.

After the debut of the “new X-Men” in 1974, writer Chris Claremont wrote the X-Men comic book as a serialized soap opera, although the X-Men team of the time traveled around the world having adventures and facing one peril after another.  Under Claremont, the X-Men and mutants, in general, became outcasts because of their mutant status.  No matter what they did as superheroes, being a mutant overshadowed or defined their actions.

Eventually, the X-Men, which was eventually re-titled “Uncanny X-Men,” became a comic book in which the narrative focused on prejudice, bigotry, racism, and hate.  The X-Men's struggles were a metaphor for the struggles of persecuted and hated minority groups fighting to be accepted by the wider society.  What made them different did not make them “less human” was a recurring theme, even as the traveled around the world and off it.

X-Men: God Loves, Man Kills was the point of no return.  Never again would the The Uncanny X-Men and its various spin-off series really be about adventure.  Past, present, and future – even future-past – would be about the mutant struggle and what forms the struggle would take.  Eventually, the X-Men would become a franchise that was insular and redundant.  I think that is why over time the Uncanny X-Men went from being a bestselling comic book franchise to being in the shadow of titles like Avengers, Batman, and Justice League, to name a few.

The mutant struggle became repetitive and tired and it began with a really memorable story, X-Men: God Loves, Man Kills.  The X-Men were once mutants who really wanted to prove that they could be the kind of superheroes who protected both mutants and humans and fought to save a world upon which both shared.  Then, the X-Men became just mutants.

Apparently, individual issues of comic books that are reprints of other individual comic books have been popular with buyers for more than a decade.  That is the only reason to reprint X-Men: God Loves, Man Kills Extended Cut.  The X-Men are not as relevant as they once were, and the original X-Men: God Loves, Man Kills was rendered irrelevant by repetition of its themes long ago.

As for the new framing sequence:  there is a kernel of something relevant in Claremont's scenario.  And Brent Anderson's art reminds us that he is still an important artist in the history of X-Men publications despite his small output in the franchise.  If one of the themes of X-Men: God Loves, Man Kills was and still is “hope,” then, X-Men: God Loves, Man Kills Extended Cut, at least for me, suggests that there is hope for the X-Men  It is hope that the franchise can be more than what it is now – a consumer product, an intellectual property (IP), and for some, a fetish.

I READS YOU RECOMMENDS:  Fans of the original X-Men: God Loves, Man Kills will want to give X-Men: God Loves, Man Kills Extended Cut a try.

[This comic book includes two interviews, one with Chris Claremont and one with Brent Anderson.]

A-
★★★½ out of 4 stars

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


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The text is copyright © 2023 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for reprint and  syndication rights and fees.

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#IReadsYou Review: THE OTHER HISTORY OF THE DC UNIVERSE #1

THE OTHER HISTORY OF THE DC UNIVERSE #1
DC COMICS/DC Black Label

STORY: John Ridley
LAYOUTS: Giuseppe Camuncoli
FINISHES: Andrea Cucchi
COLORS: José Villarrubia
LETTERS: Steve Wands
EDITORS: Mark Doyle, Andy Khouri, and Amadeo Turturro
COVER: Giuseppe Camuncoli with Marco Mastrazzo
VARIANT COVER ART: Jamal Campbell
48pp, Color, $6.99 U.S. (January 2021)

Rated: Ages 17+

1972-1995: Jefferson Pierce

Black Lightning/Jefferson Pierce is a DC Comics superhero character.  He was created by writer Tony Isabella and artist Trevor Von Eeden and first appeared in Black Lightning #1 (April 1977).  Black Lightning's origin has changed since his debut.  He originally gained “electrical superpowers,” but he is currently depicted as a “metahuman” who was born with the ability to manipulate and generate electricity.  Black Lightning was DC Comics first Black superhero with his own comic book series.

Academy Award-winning screenwriter John Ridley (12 Years a Slave) is the writer of The Other History of the DC Universe, a five-issue miniseries published under DC Comics' “Black Label” imprint.  The Other History of the DC Universe is drawn by Giuseppe Camuncoli (layouts) and Andrea Cucchi (finishes); colored by José Villarrubia; and lettered by Steve Wands.   The Other History of the DC Universe is published in an over-sized format (8 1/2 x 10 7/8), in paperback with full-color interiors.

Inspired by the 1986, two-issue DC comic book miniseries, History of the DC Universe, this new series examines the mythology of the DC Universe and its iconic moments of history via the lives of four African-American characters:  Black Lightning, Bumblebee/Karen Duncan & Herald/Guardian/Mal Duncan, and Anissa Pierce/Thunder (the daughter of Jefferson Pierce); one AAPI character – Katana/Tatsu Yamashiro; and one Latino character – Renee Montoya.  The Other History of the DC Universe depicts sociopolitical threads as seen through the prism of DC super heroes who come from traditionally disenfranchised groups.

The Other History of the DC Universe #1 offers the story of Jefferson Pierce, the man who becomes Black Lightning.  It is a journey that chronicles Pierce as he makes his way from being a young track star to a teacher and ultimately to his troubled life as the superhero, Black Lightning.

The Other History of the DC Universe #1 opens the day a young Black man named Jefferson Pierce learns that his father has been killed, a moment which changes his life.  Pierce goes on to win the gold medal at the 1972 Olympic Games.  He later becomes a teacher, but his life changes again when his in-born ability to manipulate and generate electricity suddenly emerges.

He eventually uses those powers to become the superhero, Black Lightning, but he discovers that he really does not fit in with the other superheroes of the time, such as the Justice League of America.  He even finds himself estranged from other Black superheroes, such as the Green Lantern also known as John Stewart.  And Black Lightning's struggles may destroy everything that he has as Jefferson Pierce.

THE LOWDOWN:  I am a fan of the television and film work of screenwriter John Ridley, but I have never read any of the comic books that he has written over the last two decades.  However, I have been looking forward to The Other History of the DC Universe since it was first announced a few years ago.  I must say that after reading “Book One,” it is not what I expected.

In a way, The Other History of the DC Universe #1 takes a view of superheroes the way the late Marvel Comics legend, Stan Lee, did.  Superheroes have “feet of clay,” and Lee often depicted his superheroes as having problems that originated in their civilian lives, sometimes coming forward before they gained powers.  For instance, there is the bullied, teen wallflower, Peter Parker, who became Spider-Man.

Ridley depicts Black Lightning as a superhero who wears a mask to hide his identity as Jefferson Pierce from the enemies he faces as a superhero.  However, Black Lightning is one of many masks that Pierce wears to hide his secrets – personal and professional – from everyone in his life.  His professional life includes everything that Pierce does, from being a teacher and mentor to being a superhero and a vigilante.  As his powers are now depicted as being inborn, Pierce seems more like a Marvel persecuted mutant than a shiny DC Comics superhero, and his life is a series of struggles, regardless of the roles he plays.  Normally, I would like that, but if I'm honest, I will admit that I wanted this alternate history to offer more superhero action than Black male angst.

I read The Other History of the DC Universe #1 as being about the trials and tribulations of a Black man living in a tumultuous time period that runs from 1972 to 1995.  If this comic book can be said to have a central point or theme, it is that maybe Black/African-American men put too much pressure on themselves, perhaps even more than the larger American society does.

The Other History of the DC Universe #1 is one of those comic books that tells its story via illustrations and text in caption boxes; there are no word balloons/bubbles.  In that regard, the art team of Giuseppe Camuncoli and Andrea Cucchi delivers competent if not spectacular artwork, but the problem is that most of that art seems like nothing more than spot illustrations for prose.  I can't really call this comic book art “graphical storytelling,” because it isn't so much story as it is merely complementary to text that works like prose.  Luckily, this art is colored by one of the very best comic book colorists of the last 25 years, the great José Villarrubia.  Also, I think Steve Wands' lettering gives this first issue a much needed spark.

I am considering reading the rest of The Other History of the DC Universe, but it isn't a priority.  Still, part of me is curious about how John Ridley will present the stories of these other non-white characters.

I READS YOU RECOMMENDS:  Fans of Black superheros will want to try The Other History of the DC Universe.

B+
7 out of 10

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


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#IReadsYou Review: STAR WARS: The Rise of Kylo Ren

STAR WARS: THE RISE OF KYLO REN
MARVEL COMICS – @Marvel

[This review was originally posted on Patreon.  Also, visit Star Wars Review Central here.]

STORY: Charles Soule
ART: Will Sliney
COLORS: Guru eFX
LETTERS: VC's Travis Lanham
EDITOR: Mark Paniccia
EDITOR-IN-CHIEF: Akira Yoshida a.k.a. C.B. Cebulski
COVER: Clayton Crain
MISC ART: Carmen Carnero with Rachelle Rosenberg; John Tyler Christopher; Jodie Muir; Stefano Landini and Nicola Righi; Giuseppe Camuncoli with David Curiel
ISBN: 978-1-302-92418-8; paperback (August 11, 2020)
112pp, Color, $15.99 U.S., $20.99 CAN

Rated T

Star Wars: The Rise of Kylo Ren is a Marvel Comics trade paperback collection of the Star Wars comic book miniseries, Star Wars: The Rise of Kylo Ren #1-4 (December 2019 to March 2020).  The miniseries is written by Charles Soule; drawn by Will Sliney; colored by Guru eFX; and lettered by Travis Lanham.

The Rise of Kylo Ren is an official part of the Star Wars “canon” and explores the backstory of Kylo Ren.  He is the face of the Dark Side in the Star Wars “sequel trilogy” of films:  Star Wars: The Force Awakens, Star Wars: The Last Jedi, and Star Wars: The Rise of Skywalker.

Star Wars: The Rise of Kylo Ren opens long ago and introduces the mysterious leader called “Ren” and his “Knights of Ren.”  Two brothers, Karrst and Filin,” learn the high cost of being recruited by Ren.  The story moves to the present which finds the Jedi Temple of Luke Skywalker in flames, as Ben Solo, the son of Leia Organa and Han Solo and the nephew of Jedi Master Luke Skywalker, watches.

Soon, Ben is accused of murder by three fellow Jedi students:  Voe, Hennix, and Tai.  Escaping their attempts at justice, Ben seeks the counsel of Snoke, a user of the Dark Side of the Force, who has been in contact with Ben for some time.  Snoke points Ben to the Knights of Ren as a “good stop” on his journey to the Dark Side.

But will Ben truly be able to find himself and his place with the Knights?  How will he measure up to the expectations of the Knights' leader, Ren, with his talk of “good death” and of the “Shadow?”  How will Ben deal with his former classmates as they pursue him in the name of justice.  And most of all, when will Ben be able to embrace his new name?...

THE LOWDOWN:  In the recent “Skywalker Saga” Star Wars films, Kylo Ren is a figure of intrigue and mystery.  Except for a few flashback sequences, visions, and what little Luke Skywalker and Kylo himself say, little is known about his past.

In a little more than 90 pages of narrative, writer Charles Soule illuminates the history of Kylo Ren and chases away at least some of the shadows of Kylo's past.  In the little more than five years since Marvel Comics resumed publishing Star Wars comic books, Soule has made himself one of the very best writers of Star Wars comic books.  While he offers a tale of duplicity and violence, Soule also reveals the true struggle of Kylo Ren, to be liberated from the expectations and legacies of others so that he can chart his own path.

After reading Star Wars: The Rise of Kylo Ren, I have no doubt in my mind that Charles Soule could spin many a wonderful yarn featuring Kylo Ren.  I don't want to minimize the work of artist Will Sliney, who is a good graphical storyteller.  Or the work of Guru eFX, which brings this story's settings to life with a variety of hues.  Or the work of letterer Travis Lanham, who is always quite good at capturing the right tone of the characters' dialogue.  However, Charles Soule's writing is the star in Star Wars: The Rise of Kylo Ren simply because he does what so few have done – deliver on the potential of the character known as both Ben Solo and as Kylo Ren.

I READS YOU RECOMMENDS:  Fans of Star Wars comic books and of Star Wars canon will certainly want to read Star Wars: The Rise of Kylo Ren.

10 out of 10

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


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

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#IReadsYou Review: STAR WARS #108

STAR WARS No. 108
MARVEL COMICS – @Marvel

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

STORY: Matthew Rosenberg
PENCILS: Giuseppe Camuncoli; Andrea Broccardo; Kerry Gammill; Jan Duursema; Stefano Landini; Luke Ross; Leonard Kirk
INKS: Cam Smith; Andrea Broccardo; Ze Carlos; Jan Duursema; Stefano Landini; Luke Ross; Leonard Kirk
COLORS: Chris Sotomayor
LETTERS: VC's Clayton Cowles
COVER: Walter Simonson with Antonio Fabela
VARIANT COVER ARTISTS: John Tyler Christopher; Michael Golden; Carmine Infantino and Dan Green with Dean White
52pp, Color, $5.99 U.S. (July 2019)

Rated “T”

Marvel Comics is in the middle of celebrating some kind of 80th anniversary or birthday.  Marvel is 80 when you count the debuts of Marvel's “predecessors,” Timely Comics (1939) and Atlas Comics (1951 to 1971).  The declaration, “80 Years,” is currently emblazoned on the Marvel logo.

As part of the celebration, Marvel has been publishing a series of one-shots that act as a brief continuation of odd, off-beat, and forgotten Marvel and Timely comics titles (such as the recent Ziggy Pig - Silly Seal Comics and Gunhawks one-shots).  One of those one-shots, Star Wars No. 108, is a continuation of Marvel's original Star Wars comic book series, which was published from 1977 to 1986 for a total of 107 issues, three annuals, and the Return of the Jedi miniseries, which was a comic book adaptation of the 1983 film.

Star Wars #108 is written by Matthew Rosenberg, who divides the story into eight chapters.  The team of Giuseppe Camuncoli and Cam Smith draws the first four pages of Chapter 1, with Andrea Broccardo drawing the rest.  Chapter 2 is drawn by the team of Kerry Gammill and Ze Carlos.  Chapter 3 is drawn by Broccardo.  Chapter 4 is drawn by Jan Duursema (who drew numerous Star Wars comic books for Dark Horse Comics).  Chapter 5 is drawn by Broccardo.  Chapter 6 is drawn by Stefano Landini.  Chapter 7 is drawn by Luke Ross (who has drawn several Star Wars comic books for Marvel).  Chapter 8 is drawn by Leonard Kirk.  The colorist for this comic book is Chris Sotomayor, and the letterer is Clayton Cowles.

Star Wars #108 is a sequel to “The Crimson Forever,” which was published in Star Wars #50 (cover dated: August 1981) and was written by late Archie Goodwin and drawn by the late Al Williamson and Walter Simonson.  The story also features the character Valance the Hunter, a character that originates in Marvel's original Star Wars comic book and not in the Star Wars films.  Valance was created by writer Goodwin and Simonson and first appeared in Star Wars #16 (cover dated: October 1978).  Simonson, with colorist Antonio Fabela, provides the main cover art for Star Wars #108.

Other Star Wars comics-only characters appear in #108.  First, they are the bounty hunters, Jaxxon (a rabbit-like humanoid) and the female, Amaiza Foxtrain, both of whom first appeared in Star Wars #8 (cover dated: February 1978) and who were created by writer Roy Thomas and artist Howard Chaykin.  Another is the lead villain of “The Crimson Forever,” the vengeful Domina Tagge, who first appeared in Star Wars #35 (cover dated: May 1980) and who was created by writer Archie Goodwin and artist Carmine Infantino.

Star Wars #108, entitled “Forever Crimson” opens some time after the events depicted in Return of the Jedi.  The story finds Domina Tagge again seeking to use the mysterious twin red jewels to avenge herself on both the Rebel Alliance (now known as the “Alliance of Free Planets”) and the remnants of the Galactic Empire.  When separated, the jewels create a deadly plague called “the Crimson Forever.”  Now, Luke Skywalker, Princess Leia, Han Solo, Chewbacca, R2-D2, and C-3PO must stop Tagge.  Jaxxon and Amaiza Foxtrain are allies-of-sorts to Luke and company, but they have their own plans.  And Domina's actions have inadvertently served to revive Valance the Hunter, but whose side is he on?

First, let me say that I am disappointed and somewhat upset that Lando Calrissian does not appear in Star Wars #108, especially because he was directly involved in the original story, “The Crimson Forever.”  That aside, this is a really nice way to celebrate and to remember – even honor – Marvel's original Star Wars comic book series.  For many Star Wars fans (myself included, dear readers), Marvel's Star Wars was the only way we got a regular Star Wars fix during the three-year wait between the release of the original Star Wars films.  [No newspaper local to me carried the very good Star Wars newspaper comic strip that ran from 1979 to 1984.]

Writer Matthew Rosenberg was also someone who was a big fan of those early Marvel Star Wars comic books.  His love for them shows up in “Forever Crimson,” which is true in spirit, tone, and storytelling style to those old Star Wars comic books.  We would be so lucky if Rosenberg produced sequels to other Star Wars stories from those bygone days.

The artists turn in excellent work, and Giuseppe Camuncoli and Cam Smith expertly mimic Walt Simonson's graphic style in their four-page retelling of the story of Valance the Hunter.  Luke Ross delivers his usual stellar work, and Leonard Kirk's closing chapter, with its Art Adams and Mike Mignola-like flourishes, gives us award-worthy art.

Superstar colorist Chris Sotomayor displays his wicked skills coloring seven different artists or art teams in bright colors that recall old-school Marvel comic book coloring.  And superstar letterer Clayton Cowles helps to give each chapter its own tone and atmosphere.

I was quite excited when I first heard about Star Wars #108.  It surpasses my expectations, and it makes me anxious to go back and reread those old Star Wars comic books.  That is high praise indeed.

This issue also includes an afterword in which several people who worked on the original Star Wars comic books recount, to editor Mark Paniccia, their experiences working on the title, some taking a paragraph or more to tell their story.  These include Jo Duffy, Ron Frenz, David Michelinie, Tom Palmer, Louise Simonson, and Walter Simonson.

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.

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Review: STAR WARS: Age of Resistance - Finn #1

STAR WARS: AGE OF RESISTANCE – FINN No. 1
MARVEL COMICS – @Marvel

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

STORY: Tom Taylor
ART: Ramon Rosanas
COLORS: Guru eFX
LETTERS: VC's Travis Lanham
EDITOR: Mark Paniccia
EDITOR-IN-CHIEF: Akira Yoshida a.k.a. C.B. Cebulski
COVER: Phil Noto
VARIANT COVER ARTISTS: Giuseppe Camuncoli with Elia Bonetti; Mike McKone with Guru eFX; Glyn Dillon (Concept Design Variant Artist)
28pp, Color, $3.99 U.S. (September 2019)

Rated T

“Infestation”

Finn is one of the new Star Wars characters that appear in the “sequel” film series.  Finn debuted in Star Wars: The Force Awakens (2015).  Finn was a stormtrooper of the “First Order,” and he was known as “Designation FN-2187.”  Finn was shocked by the cruelty of the First Order that he witnessed on his first mission.  He escaped the First Order and eventually joined “the Resistance.”

Marvel Comics is currently publishing a new Star Wars maxi-series project that is comprised of three series:  Star Wars: Age of Republic and Star Wars: Age of Rebellion (both of which have been completed, and the new series, Star Wars: Age of Resistance.  This project will span 30 issues in total (reportedly), with each issue spotlighting one hero or villain from one of three particular Star Wars eras:  Republic (prequel trilogy), Rebellion (original trilogy), and Resistance (sequel trilogy).

Star Wars: Age of Resistance – Finn #1 is the first release in the Age of Resistance series.  It is written by Tom Taylor; drawn by Ramon Rosanas; colored by Guru eFX, and lettered by Travis Lanham.  This comic book is set before the events depicted in Star Wars: The Force Awakens and offers a look at the origins of Finn's doubts about his life as a stormtrooper.

Star Wars: Age of Resistance – Finn #1 (“Infestation”) opens on “Starkiller Base.”  We meet FN-2187, a young First Order stormtrooper.  Like his partner, FN-3761, FN-2187 is a janitor, and he has a mop in his hand, even when he meets the mysterious Kylo Ren.  His commander, Captain Phasma, orders the two stormtrooper janitors to join a cleaning crew.  Upon arrival, however, 2187 and 3761 discover that the members of this cleaning crew are holding weapons instead of mops.  There seems to be some kind of pest control issue, but how will that lead FN-2187 to question everything?

I have not read all the “Age of” Star Wars comic books that Marvel Comics have released (as of this writing).  I read only two of the Age of Republic titles, but I read five of the Age of Rebellion titles because the “Age of Rebellion,” otherwise known as the “original trilogy” era, is the Star Wars time period I truly love.  I have not made up my mind about how much I want to delve into the Age of Resistance comics.  I do really like the Resistance's heroic trio of Rey, Finn, and Poe Dameron, but I can't say I care much for characters like Captain Phasma and General Hux.

I like Star Wars: Age of Resistance – Finn #1.  Like the Luke Skywalker and Darth Vader entries in this series (or series of series), Finn #1 gives us a look at the development of Star Wars figure's character and personality.  Clearly, something had been going on in Finn's mind that led him to take the actions that separated him from the First Order, as seen early in Star Wars: The Force Awakens.  You know, there are the makings for a potentially high-quality Star Wars comic book series in Finn's life before his debut in “Episode VII.”

Although I like this story, “Infestation,” it is not anything heavy.  Tom Taylor offers something sweet and gentle that does not rock the continuity boat.  I like Ramon Rosanas' art, and Guru eFX's color effects, which are nice against the somewhat muted colors.  There is also something sweet and gentle in Rosanas' graphical storytelling and in Guru's coloring that makes me like this comic book more than I probably should.  As I usually say, letterer Travis Lanham has been providing excellent work on these AOR titles, and continues to do so here.

I can't say that Star Wars: Age of Resistance – Finn #1 will make me read all the Age of Resistance titles, but I like this enough to give all of them at least a cursory glance.

[This comic book includes the text piece, “I'm Gonna Call You Finn,” by Bryan Young.]

7.5 out of 10

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


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

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Review: STAR WARS: Age of Rebellion - Princess Leia #1

STAR WARS: AGE OF REBELLION – PRINCESS LEIA No. 1
MARVEL COMICS – @Marvel

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

STORY: Greg Pak
ART: Chris Sprouse and Karl Story; Will Sliney, Marc Deering and Karl Story
COLORS: Tamra Bonvillain
LETTERS: VC's Travis Lanham
EDITOR: Mark Paniccia
EDITOR-IN-CHIEF: Akira Yoshida a.k.a. C.B. Cebulski
COVER: Terry Dodson with Rachel Dodson
VARIANT COVER ARTISTS: Giuseppe Camuncoli with Elia Bonetti; Mike McKone with Guru eFX
28pp, Color, $3.99 U.S. (June 2019)

Rated T

“Princess Scoundrel”

Princess Leia is one of the most beloved characters in the Star Wars film series.  In fact, her rescue is what forces Luke Skywalker to answer the call to adventure in the original 1977 Star Wars film (also known as Star Wars: Episode IV – A New Hope or simply, Star Wars: A New Hope).

Marvel Comics is currently publishing a new Star Wars maxi-series project that comprises three books:  Star Wars: Age of Republic, Star Wars: Age of Rebellion, and Star Wars: Age of Resistance.  This project will span 30 issues in total (reportedly), with each issue spotlighting one hero or villain from one of three particular Star Wars eras:  Republic (prequel trilogy), Rebellion (original trilogy), and Resistance (sequel trilogy).

Star Wars: Age of Rebellion – Princess Leia #1 (“Princess Scoundrel”) is one of the first two releases in the Age of Rebellion series (along with Star Wars: Age of Rebellion – Grand Moff Tarkin #1).  It is written by Greg Pak.  The story is drawn by two art teams:  Chris Sprouse (pencils) and Karl Story (inks) on pages 1-12 and page 20 and Will Sliney, Marc Deering and Karl Story on pages 13 to 19.  The story is colored by Tamra Bonvillain, and lettered by Travis Lanham.  “Princess Scoundrel is set sometime between the events depicted in The Empire Strikes Back (Star Wars: Episode V) and Return of the Jedi (Stars Wars: Episode VI).

Star Wars: Age of Rebellion – Princess Leia #1 (“Princess Scoundrel”) finds Leia and Chewbacca, the longtime Wookie partner and friend of Han Solo, aboard the Millennium Falcon.  They are one their way to rescue Han, who has been captured by the galactic crime lord and gangster, Jabba the Hutt, when they get a call from the Rebel Alliance.  A rebel craft has been shot down over the Outer Rim planet of Arkanis.  Who needs rescuing but Lando Calrissian, the man who is responsible for Han's current state of affairs.  Now, to rescue him, Leia must play a game of bounty hunters.

First, I have to say that I think that Star Wars: Age of Rebellion – Princess Leia #1 would make a better miniseries than it does as a one-shot, but I guess it is best not to encourage Marvel Comics when it comes to Star Wars miniseries.  Still, in this twenty-page story, writer Greg Pak composes what is an interesting depiction of the relationship dynamics between Leia and Lando.  Pak also offers a compelling game of deception involving Leia, Lando, and Chewbacca and the infamous bounty hunters, Boushh and Bossk.

The art, produced by two teams for this comic book, is beautiful.  I think the second team does a good job producing art that looks like that of the first team.  The art especially captures the visual appearances of the characters as we expect them to look (like the actors that originally portrayed them) and also creates the exotic environments and landscapes we expect of a Star Wars world.

Tamra Bonvillain's gorgeous colors are perfect for a Star Wars comic book, and I have to be honest.  I always think that Bonvillain's colors are gorgeous.  Travis Lanham's lettering and effects are also excellent; he is seems like a just-right letterer for Star Wars, too.

I would like more of Star Wars: Age of Rebellion – Princess Leia #1.  In fact, once again, let me say that I wish it were a miniseries.

7.5 out of 10

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


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

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Review: STAR WARS: Vader - Dark Visions #1

STAR WARS: VADER – DARK VISIONS No. 1
MARVEL COMICS – @Marvel

[This review was originally posted on Patreon.]

STORY: Dennis “Hopeless” Hallum
ART: Paolo Villanelli
COLORS: Arif Prianto
LETTERS: VC's Joe Caramagna
EDITOR: Mark Paniccia
EDITOR-IN-CHIEF: Akira Yoshida a.k.a. C.B. Cebulski
COVER: Greg Smallwood
VARIANT COVER ARTISTS: Giuseppe Camuncoli & Elia Bonetti; Leinil Franics Yu with Romulo Fajardo, Jr.
36pp, Color, $4.99 U.S. (May 2019)

Rated T

“Part 1 of 5

Star Wars: Vader – Dark Visions is a new five-issue, Star Wars comic book miniseries from Marvel Comics.  The series presents characters who view the Star Wars universe's ultimate villain, Darth Vader, in ways that are different from how most familiar Star Wars characters view the Sith Lord.  Star Wars: Vader – Dark Visions is written by Dennis “Hopeless” Hallum.  The art team for the first issue is comprised of illustrator Paolo Villanelli; colorist Arif Prianto; and letterer Joe Caramagna.

Star Wars: Vader – Dark Visions #1 opens on a lush green, but devastated world where we meet a young native boy.  The boy, who also narrates this story, refers to his world as “Cianap.”  His people live underground, but enjoy a brief time above ground, a time called “the Slumber.”  While enjoying the current season of the Slumber, our narrator witnesses a fireball that explodes above Cianap's atmosphere.  This conflagration is the result of a fierce battle above the planet between forces of the Galactic Empire and of the Rebel Alliance.

One of the participants in the battle is Darth Vader, whose TIE fighter is damaged, forcing him to crash land on Cianap.  When Vader emerges from his fighter, to the boy, he looks like a “Black Knight.”  To the boy, this Black Knight may be the one to save his world from the god called “Ender.”

Fans of the Star Wars Expanded Universe, especially the Star Wars novels, remember the series of novels now known as the “Thrawn trilogy.”  In the second novel of the three, Dark Force Rising (1992), Princess Leia visits the planet, Honoghr, where the denizens of the world view Darth Vader as a savior (a matter which turns out to be a bit more complicated).  When I first read the novel, I became intrigued by the idea of people and sentient beings who viewed Vader as some kind of hero or savior, especially people that did not directly serve or work for the Empire.  In the years since, I have waited for someone to take that idea present in Dark Force Rising and expand on it.

In this standalone story that is Star Wars: Vader – Dark Visions #1, the writer Dennis Hallum (who previously wrote under the pen name, “Dennis Hopeless”) offers a nice tale that satisfies may craving for Vader-as-hero.  Hallum's story has a fairy tale quality, and it strips Darth Vader of the complexities that surround the character and focuses on his power and on the striking nature of his black costume-suit and physicality.  At thirty pages in length, this story, which is more like a campfire tale, is a nice Star Wars tale, a desert for readers who are used to the main Star Wars narratives, which often seem like the storytelling equivalent of a elaborate, dark, and heavy 12-course meal.

Artist Paolo Villanelli's illustrations for Star Wars: Vader – Dark Visions #1 have an eye-catching quality and remind me of the work of Bryan Hitch.  Villanelli's storytelling here is stirring and always seems to be striving forward, carrying the reader just as the boy-narrator is dragged along by the circumstances of an epic battle.  Colorist Arif Prianto offers a muted palette that still manages to make the story crackle, and, as usual, Joe Caramagna delivers lettering that makes the story bigger.

I hope the rest of Star Wars: Vader – Dark Visions is like this really nice first issue.  I heartily recommend it to Star Wars comic book readers.  And it gives me what I want – characters who have a view askew of Darth Vader.

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.

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Review: STAR WARS: Age of Republic - Qui-Gon Jinn #1

STAR WARS: AGE OF REPUBLIC – QUI-GON JINN No. 1
MARVEL COMICS – @Marvel

[This review was originally posted on Patreon.]

STORY: Jody Houser
PENCILS: Cory Smith
INKS: Walden Wong
COLORS: Java Tartaglia
LETTERS: VC's Travis Lanham
EDITOR: Mark Paniccia
EDITOR-IN-CHIEF: Akira Yoshida a.k.a. C.B. Cebulski
COVER: Paolo Rivera
VARIANT COVER ARTISTS: Cory Smith with Romulo Fajardo, Jr.; Giuseppe Camuncoli with Elia Bonetti; Mike McKone with Guru-eFX
28pp, Color, $3.99 U.S. (February 2019)

Rated T

“Balance”

Qui-Gon Jinn, a Jedi Knight, was one of the breakout characters in Star Wars: Episode I – The Phantom Menace.  He was killed in that movie, but his presence was a fixture in later films and animated television series, directly and indirectly.

Marvel Comics is currently publishing a new Star Wars maxi-series project that comprises three books:  Star Wars: Age of Republic, Star Wars: Age of Rebellion, and Star Wars: Age of Resistance.  This project will span 30 issues in total (reportedly), with each issue spotlighting one hero or villain from one of three particular Star Wars eras:  Republic (prequel trilogy), Rebellion (original trilogy), and Resistance (sequel trilogy).

Star Wars: Age of Republic – Qui-Gon Jinn #1 (“Balance”) was the first release (December 2018) in the nine-issue Age of Republic series.  It is written by Jody Houser; drawn by Cory Smith (pencils) and Walden Wong (inks); colored by Java Tartaglia; and lettered by Travis Lanham.  The story is set sometime before the events depicted in The Phantom Menace.

The story entitled “Balance,” opens on the planet of “Bri'n.”  Qui-Gon was trying to negotiate a peace between Mistress Th'er, the “Priestess of the Wood,” who wants to save the trees of the planet and the “Metal Clan,” who want to cut down the trees.  Ultimately, Qui-Gon and his padewan, Obi-Wan Kenobi, have to take Th'er back to Coruscant, much to her chagrin.

Troubled by what happened on Bri'n, Qui-Gon has a philosophical discussion with Master Yoda of the Jedi Council.  The result of this conversation is that Qui-Gon seeks a place where he can commune with the Force, but only the Force will decide this place of communion.

Star Wars: Age of Republic – Qui-Gon Jinn #1 is a nice read.  Perhaps, here, writer Jody Houser is offering a tale that is a little stronger than the one she offers in Star Wars: Age of Republic – Darth Maul #1.  “Balance,” with its refusal to offer concrete answers, seems to personify the Qui-Gon of The Phantom Menace, a Jedi conflicted about the state of things concerning and surrounding the Jedi.

Artist Cory Smith is certainly a good Star Wars comic book artist.  The environments, characters, costumed, ships, etc.:  Smith illustrations here are convincing, and Walden Wong's inking makes Smith's pencils seem solid.  That is good thing in a story that can be a bit dreamy and ethereal in places.  Java Tartaglia's coloring is quite good, especially on the Bri'n scenes and in the “dream” sequence.  Travis Lanham keeps his lettering unobtrusive, but he tells the story in an effective manner while his lettering seems to blend into the scenery of the story.

I would like more of Star Wars: Age of Republic – Qui-Gon Jinn #1.  In fact, like all the Age of Republic comic books, this one especially should be a double issue.

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: YOUNG MONSTERS IN LOVE

YOUNG MONSTERS IN LOVE
DC COMICS – @DCComics

[This review was originally published on Patreon.]

STORY: Kyle Higgins; Tim Seeley; Mairghread Scott; Collin Kelly & Jackson Lanzing; Paul Dini; Mark Russell; Steve Orlando; Alisa Kwitney; Phil Hester; James Robinson
PENCILS: Kelley Jones; Giuseppe Camuncoli; Bryan Hitch; Javier Fernandez; Guillem March; Frazer Irving; Nick Klein; Stephanie Hans; Mirko Colak; John McCrea
INKS: Kelley Jones; Cam Smith; Andrew Currie; Javier Fernandez; Guillem March; Frazer Irving; Nick Klein; Stephanie Hans; Mirko Colak; John McCrea
COLORS: Michelle Madsen; Tomeu Morey; Nathan Fairbairn; Trish Mulvihill; Dave McCaig; Frazer Irving; Nic Klein; Stephanie Hans; Michael Spider; John Kalisz
LETTERS: Rob Leigh; Clayton Cowles; Carlos M. Mangual; Sal Cipriano; Travis Lanham; Tom Napolitano; Dave Sharpe; Clem Robins
COVER: Kelley Jones with Michelle Madsen
80pp, Color, $9.99 U.S. (April 2018)

Rated T+ for “Teen Plus”

Young Monsters in Love in a one-shot, comic book anthology and holiday special from DC Comics.  A comic book celebration of Valentine's Day 2018, Young Monsters in Love presents 10 tales of twisted love and strange romance starring some of DC Comics' most most infamous monster and dark fantasy characters (although Swamp Thing, who is one of them, is in a different story).

Young Monsters in Love opens with Dr. Kirk Connors a.k.a. “Man-Bat” trying to find love again, but in the story “Nocturnal Animal,” he will learn that sometimes you have to stopping loving the one who will not stop loving you.  Frankenstein Agent of S.H.A.D.E. proves that Frankenstein has the soul of a poet, but will his “Bride” see that in “Pieces of Me.”

Superman gives a helping hand to Solomon Grundy in “Buried on Sunday,” but Superboy does not feel the love.  The Teen Titans' Raven has to take it to the dance floor in “The Dead Can Dance.”  Deadman takes a bullied child into his care and helps victim and victimizer in “Be My Valentine.”

Swamp Thing discovers that he can't have anything nice, even love, in “Heart-Shaped Box.”  Long-time friends and Doom Patrol haters, Monsieur Mallah & The Brain have to face the truth in “Visibility.”  I, Vampire is featured in “The Turning of Deborah Dancer.”  The Demon goes to Hell for one more kill in “To Hell and Gone.”  Finally, the Creature Commandos get bad news from the home front in “Dear Velcoro.”

In a recent article for The Washington Post, the author (Geraldine DeRuiter of everywhereist.com) offers a heart-breaking story, entitled “I thought my bully deserved an awful life. But then he had one.” that is also a great read.  She discovered that the boy who bullied her in school, a boy she always wished bad for, was actually murdered when he was 25-years-old.  She wondered, in this time when the culture has the long knives out for bullies, if we forget that bullies may need help as much, if not more, than their victims.

Without spoiling it, this is more or less the theme of writer Paul Dini and artist Guillem March's Deadman story, “Be My Valentine.”  First, to my imagination, it feels like a classic Deadman story from the 1960s, written by either Arnold Drake (Deadman's creator) or Jack Miller and drawn by either Carmine Infantino or Neal Adams. Secondly, Dini and March's story is one of the best comic book stories about bullying that I have ever read.  It alone is worth Young Monsters in Love's cover price of $9.99.  Colorist Dave McCaig and letterer Sal Cipriano also do some of their best work in creating a graphical package that is classic cool.

Young Monsters in Love is full of wonderful stories besides “Be My Valentine.”  Five of them are truly greats comic book short stories, including the powerful “Heart-Shaped Box” and “Visibility.”  Two are quite good, including the Creature Commandos story, which is my first reading experience of these characters.  Three of these stories are not as well executed as they could have been, including the opening Man-Bat story.

I usually ignore DC Comics' holiday specials, but Young Monsters in Love makes me think that I should not be so quick to dismiss them.  So if you missed it, dear readers, run back to your local comic book shop and find Young Monsters in Love.

9 out of 10

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


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

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Review: DARTH VADER #1

DARTH VADER No. 1 (2017)
MARVEL COMICS – @Marvel

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

STORY: Charles Soule
PENCILS: Giuseppe Camuncoli
INKS: Cam Smith
COLORS: David Curiel
LETTERS: VC's Joe Caramagna
COVER: Jim Cheung with Matthew Wilson
VARIANT COVERS: John Tyler Christopher; Phil Noto; Mark Brooks; Adi Granov; Skottie Young; David Lopez; Rod Reis
44pp, Color, $4.99 U.S. (August 2017)

Rated T

“The Chosen One” Part I

Of course, you know that The Walt Disney Company owns Marvel Comics, dear readers.  Shortly after acquiring Marvel Entertainment, Disney bought Lucasfilm, Ltd., the owner of all thing Star Wars.  Marvel Comics, the original home of Star Wars comics, is once again publishing Star Wars comics, and this time, these comic book are officially part of the Star Wars canon.

Two years ago, Marvel launched the comic book series, Darth Vader.  Written by Keiron Gillen and drawn by Salvador Larroca, the series was set immediately after the events depicted in the original 1977 film, Star Wars (or Star Wars: Episode IV – A New Hope).  In this comic book, we watched as Darth Vader was forced to work his way back into Emperor Palpatine good graces because the Emperor held Vader responsible for the destruction of his ultimate weapon, the Death Star, by the Rebel Alliance – as seen Star Wars.

Now, there is a new Darth Vader comic book series.  It is written by Charles Soule; drawn by Giuseppe Camuncoli (pencils) and Cam Smith (inks); colored by David Curiel; and lettered by Joe Caramagna.  This series is set after the events depicted in the 2005 film, Star Wars: Episode III – Revenge of the Sith, although some of it recounts events that took place at the end of that film.

Darth Vader #1 opens as Anakin Skywalker awakens as the monster in a suit of cybernetic armor, Darth Vader.  He is filled with pain and rage over the death of his wife, Padmé Amidala.  After Emperor Palpatine brings his new dog, Vader, to heel, he begins the task of making the new Sith Lord prove that he can help him in the task of building and defending a Galactic Empire.  First task: Vader must build a lightsaber worthy of a Sith.

A Star Wars comic book has to be really bad or pretty average to get a grade of less than B+ from me.  I am a decades-long Star Wars fan and get a kick out of reading Star Wars comic books.  I am giving this new Darth Vader #1 a grade of B+, although I don't much care for Giuseppe Camuncoli's art.  This opening chapter is okay, but it does set up the possibility of some really exciting chapters to come.

So, go get this new Darth Vader #1, Star Wars fan.

B+

[This comic book includes the bonus story, “No Good Deed...” by Chris Eliopoulos with Jordie Bellaire.]

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


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

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Review: Dark Knight III: The Master Race #6

DARK KNIGHT III: THE MASTER RACE No. 6
DC COMICS – @DCComics

STORY: Frank Miller and Brian Azzarello
PENCILS: Andy Kubert
INKS:  Klaus Janson
COLORS: Brad Anderson
LETTERS: Clem Robins
COVER: Andy Kubert with Brad Anderson
VARIANT COVERS: Jim Lee and Scott Williams with Alex Sinclair; Frank Miller with Alex Sinclair; Klaus Janson with Romulo Fajardo, Jr.; Greg Tocchini; Giuseppe Camuncoli with Dave Stewart
32pp (plus 16-page insert), Color, $5.99 U.S. (December 2016)

Batman created by Bob Kane with Bill Finger

For a long time, film critics and movie buffs considered sequels to acclaimed and/or popular films to be inferior, and they mostly were.  Sequels were often cheaper, made with production budgets that were lower (sometimes much lower) than the original film's budget.  Sometimes, not only were key members of the original cast missing, but also missing were the original screenwriter(s) and director.

Of course, there were exceptions.  Many people think that The Godfather II was a better film than The Godfather, which itself is one of the greatest films of all time.  George Lucas may have been unhappy with the reception to The Empire Strikes Back, but almost everyone thinks this sequel was vastly superior to the more famous and financially successful Star Wars (1977).  And Christopher Nolan's The Dark Knight (2008) practically eclipsed his first Batman film, Batman Begins (2005), which itself was and still is one of the best movies based on a superhero comic book ever made.

Batman: The Dark Knight Returns (also known simply as The Dark Knight Returns or DKR) was a four-issue comic book miniseries starring Batman.  Published by DC Comics in 1986, this prestige-format comic book was written by Frank Miller; drawn by Miller (pencils) and Klaus Janson (inks); colored by Lynn Varley; and lettered by John Costanza, with the book covers drawn by Miller and Varley.  Dark Knight III: The Master Race (also known as DKIII), the second sequel to DKR, is an inferior sequel to a landmark original.

Yes, a planned nine-issue series, DKIII is written by DKR's Frank Miller and Brian Azzarello; drawn by Andy Kubert (pencils) and DKR's Klaus Janson (inks); colored by Brad Anderson; and lettered by Clem Robins.  Yes, you have the original author and some of the biggest names in mainstream comic books joining him, but DKIII is not only inferior, but is also nothing more than corporate product meant to cash in on a still-famous original.  But first things first...

Dark Knight III: The Master Race #6 finds Batman and Superman leading a revolt against the alien menace from the Bottled City of Kandor (now grown full-size) that has put Gotham City under siege and threatens the same to the rest of the world.  Meanwhile, Carrie, the Robin from DKR who is now the new Batgirl(?), battles the new “Supergirl,” who is Lara, the daughter of Superman and Wonder Woman.  How does it end?  With a death... maybe.

First, I don't buy that Frank Miller actually has much input in the main narrative.  Yeah, you can rag on The Dark Knight Strikes Again (DK2), the original sequel, but it was both original and an eclectic take on familiar comics tropes.  DKIII is just a rehash of ideas from DKR – old and aging superheroes, Bat vs. Kryptonian, and some vague law and order themes.  In some ways, this doesn't even rise to the level of Azzarello's previous and acclaimed work.

Secondly, The Dark Knight Returns was a “What if” or “Elseworlds” Batman story that DC Comics bosses and comic book fans turned from a special event into an entrenched mindset.  They can't let it go, and everything that they have done with it since the debut of DKR only serves to prove how special and of-its-times the original was.  Even Frank Miller has not been able to recapture the glory of the original, and honestly, the only thing that Brian Azzarello and Andy Kubert can do is lend their names to the corporate, Batman sub-brand that is “The Dark Knight.”

Dark Knight III: The Master Race is not a bad comic.  I bought into the hype, although part of me knew where this was going even while buying the product.  There are indeed some stand-out Batman comics being done right now by Scott Snyder and John Romita, Jr. on All-Star Batman and by Tom King and David Finch on Batman.

Dark Knight Universe Presents: World's Finest #1 (Insert comic book)
STORY: Frank Miller and Brian Azzarello
PENCILS: Frank Miller
INKS: Klaus Janson
COLORS: Alex Sinclair
LETTERS: Clem Robins
COVER: Frank Miller with Alex Sinclair

Frank Miller seems to have a bigger hand in these Dark Knight Universe Presents comic books which are inserted in the middle of each issue of DKIII.  To date, there has not been much to say about them, and that has not changed.

C+

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: THE AMAZING SPIDER-MAN #1

THE AMAZING SPIDER-MAN (2015) No. 1
MARVEL COMICS – @Marvel

[This review was originally posted on Patreon.]

STORY: Dan Slott
PENCILS: Giuseppe Camuncoli
INKS: Cam Smith
COLORS: Marte Gracia
LETTERS: VC's Joe Caramagna
COVER: Alex Ross
VARIANT COVERS: Mark Bagley; Giuseppe Camuncoli with Marte Gracia; J. Scott Campbell with Nei Ruffino; Andrew Hennessy with Nolan Woodard; Mike Del Mundo; Humberto Ramos with Edgar Delgado; Ryan Sook; Gameloft with Trevor Cook; Aaron Rivin photographed by Judy Stephens
68pp, Color, $5.99 U.S. (December 2015)

Rated  “T”

Spider-Man created by Stan Lee and Steve Ditko

There have been at least three prior series to start with the title, The Amazing Spider-Man, to say nothing of all the comics published as Spider-Man #1.  In fact, there was The Amazing Spider-Man #1 launched by writer Dan Slott and artist Humberto Ramos just last year.

With the arrival of the “All-New All-Different Marvel,” The Amazing Spider-Man starts over, again with writer Dan Slott; artists Giuseppe Camuncoli (pencils) and Cam Smith (inks); colorist Marte Gracia; letterer Joe Caramagna; and cover artist Alex Ross.

The Amazing Spider-Man #1 opens in Shanghia.  Why?  Because Spider-Man has gone global, that's why.  Spider-Man and Mockingbird are trying to receive the secure servers of Parker Industries (P.I.), which contain critical data concerning P.I.'s “Webware” Internet app/browser/provider.  An adversarial entity calling “The Zodiac” is the culprit, but another, far more dangerous villain is lurking in the shadows.

I totally dug The Amazing Spider-Man 2014, mainly when Dan Slott and Humberto Ramos were the creative team.  Yes, it is only one issue, but I am not as excited by The Amazing Spider-Man 2015.  Still, the last page will make sure I come back, and I must say that, in general, I find Dan Slott to be one of the best Spider-Man comic book writers that I have had the pleasure of reading.

B+

[This comic book includes previews of Spider-Man 2099 #1; Silk #1; Spider-Woman #1; Webwarriors #1; and Spider-Man #1]

[This comic book includes the bonus comic “The Spider's Corner with Petey P” by Anthony Holden with Jordie Bellaire.]

Reviewed by Leroy Douresseaux


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

DC Comics from Diamond Distributors for November 18, 2015

DC COMICS

SEP150239     ACTION COMICS #46     $3.99
SEP150322     ASTRO CITY #29     $3.99
JUL150336     ASTRO CITY LOVERS QUARREL HC     $24.99
JUL150307     BATMAN & ROBIN HC VOL 07 ROBIN RISES     $24.99
AUG150262     BATMAN & ROBIN TP VOL 06 THE HUNT FOR ROBIN     $16.99
SEP150260     BATMAN 66 #29     $2.99
SEP150195     BATMAN AND ROBIN ETERNAL #7     $2.99
SEP150259     BATMAN ARKHAM KNIGHT GENESIS #4     $2.99
SEP150190     BATMAN EUROPA #1     $4.99
JUL150308     BATMAN THE GOLDEN AGE OMNIBUS HC VOL 01     $75.00
SEP150248     BIZARRO #6     $2.99
JUL150306     CATWOMAN A CELEBRATION OF 75 YEARS HC     $39.99
SEP150321     CLEAN ROOM #2 (MR)     $3.99
MAR158511     DC COMICS BOOK AND DVD BLU RAY SLIPCASE SET     PI
SEP150213     DOCTOR FATE #6     $2.99
SEP150249     DOOMED #6     $2.99
SEP150214     EARTH 2 SOCIETY #6     $2.99
SEP150278     GREEN LANTERN THE LOST ARMY #6     $2.99
SEP150269     HARLEY QUINN #22     $3.99
SEP150221     MARTIAN MANHUNTER #6     $2.99
SEP150223     NEW SUICIDE SQUAD #14     $2.99
SEP150317     RED THORN #1 (MR)     $3.99
SEP150229     SECRET SIX #8     $2.99
AUG150278     SUPERMAN EARTH ONE TP VOL 03     $14.99
JUL150319     SUPERMAN WONDER WOMAN HC VOL 03 CASUALTIES OF WAR     $22.99
AUG150280     SUPERMAN WONDER WOMAN TP VOL 02 WAR AND PEACE     $16.99
AUG150296     SWAMP THING DARKER GENESIS TP (MR)     $19.99
SEP150236     TELOS #2     $2.99
SEP150235     TITANS HUNT #2     $3.99

DC COMICS/DC COLLECTIBLES

JUN150344     BATMAN ARKHAM KNIGHT COMMISSIONER GORDON AF     $24.95
MAY150284     BATMAN ARKHAM KNIGHT RED HOOD STATUE     $124.95
JUN150342     BATMAN ARKHAM KNIGHT ROBIN AF     $24.95
MAY150286     DC ICONS BATMAN LAST RIGHTS AF     $24.95
MAY150287     DC ICONS DEADMAN BRIGHTEST DAY AF     $24.95
MAY150289     DC ICONS GREEN ARROW LONGOBOW HUNTERS AF     $24.95
MAY150288     DC ICONS MISTER MIRACLE EARTH 2 AF     $24.95

Marvel Comics from Diamond Distributors for June 18 2014

MARVEL COMICS

MAR140766 ALL NEW X-FACTOR TP VOL 01 NOT BRAND X $17.99
MAR140762 AMAZING X-MEN TP VOL 01 QUEST FOR NIGHTCRAWLER $17.99
APR140645 AVENGERS #31 SIN $3.99
MAR140781 AVENGERS EPIC COLLECTION TP JUDGMENT DAY $34.99
APR140662 AVENGERS WORLD #8 ANMN $3.99
MAR140767 AVENGERS WORLD TP VOL 01 AIMPIRE $16.99
APR140709 DAREDEVIL #4 $3.99
APR140704 ELEKTRA #3 $3.99
MAR140779 GALACTUS DEVOURER TP $24.99
MAR140685 GEORGE ROMEROS EMPIRE OF DEAD ACT ONE #5 $3.99
APR140685 IRON MAN #28 ANMN $3.99
APR140708 IRON PATRIOT #4 $3.99
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I Reads You Review: SUICIDE SQUAD: Amanda Waller #1

SUICIDE SQUAD: AMANDA WALLER #1
DC COMICS – @DCComics

WRITER: Jim Zub
PENCILS: André Coelho
INKS: Scott Hanna
COLORS: Andrew Dalhouse
LETTERS: Carlos M. Mangual
COVER: Giuseppe Camuncoli with Blond
48pp, Color, $4.99 U.S.

Rating “T+” Teen Plus

Amanda Waller created by John Ostrander and John Byrne

“Sacrifice in the Storm”

Dr. Amanda Blake Waller, or simply, “Amanda Waller,” is a DC Comics character.  Waller first appeared in Legends #1 (1986) and was created by John Ostrander and John Byrne.  [Ostrander plotted the series, while Len Wein wrote the script.]  Waller does not possess super-powers, but she has been and is a powerful ally/antagonist of the DC Comics superheroes, as well as being an antihero.

In The New 52, the restart of the DC Comics Universe, Waller is the commander of the Suicide Squad (or “Task Force X”), a team of super-villains.  Members of the squad take on risky missions in exchange for time served.  The team’s base of operations is Belle Reve Penitentiary, a special prison for meta-humans and super-villains located in Terrebonne Parish, Louisiana.  Waller chooses the Suicide Squad’s membership and basically has the power of life and death over those members.  The New 52 Amanda Waller is a slim, attractive young woman, whereas the original version of her was a portly, older African-American woman.

Suicide Squad: Amanda Waller #1 is a one-shot comic book set after the events depicted in Suicide Squad #24 (The New 52 series, of course).  Entitled “Sacrifice in the Storm,” the story finds Amanda Waller confronting a super-powered attacker and focuses on the decisions she has to make in order to save some lives.

The story opens with Waller traveling aboard a U.S. Air Force plane with a military escort.  She is negotiating the cooperation of Dr. Algot Issen, who has developed genetic testing equipment that not only classifies super-powered beings, but also offers the opportunity to control them.  However, an entity from Dr. Issen’s past, called Kriger-3, has come back for some payback.  Now, Waller has to make the tough decisions that will decide who dies and who survives … if anyone survives.

When a young actor is hot… well, let’s be honest… When a young white male actor starts getting hot, the major Hollywood studios/corporations (Warner Bros., FOX, Universal, etc.) will find a “star vehicle” for this hot stuff.  A “star vehicle” is some kind of action movie or comedy with an uncomplicated plot, but has an interesting idea (once called a “high concept”).  Basically, it’s a chance for YWM (young white male) to showcase whatever it is about him that might make him a movie star.

The movie will feature a young (usually) white actress as a sidekick slash arm candy slash girl who probably gives him some booty (off-screen or on-screen, depending on the rating).  This film will have a mixture of respected older actors, venerable character actors, and actors (regardless of age) who specialize in playing such supporting characters as best friends, sassy friend-girls, kooky coworkers, etc.

Disturbia was a star vehicle for Shia LaBeouf.  Most of the films in Channing Tatum’s filmography of the last six or seven years are star vehicles.  Enemy of the State was a star vehicle for Will Smith (one of the Negro exceptions in Hollywood).

Suicide Squad: Amanda Waller #1 could be seen as a star vehicle for a fictional character.  To be honest, I only picked up this comic book because I am a fan of writer Jim Zub’s work on IDW Publishing’s Samurai Jack comic book.  [And Black Jesus knows DC Comics acts as if it would kill them to hire a Black writer to write about a Black character.]

Anyway, I think Amanda Waller makes an excellent choice to star in her own series or occasional miniseries, one-shot, or original graphic novel, especially if Jim Zub were the writer.  Zub’s story focuses on Waller, but is also told in the context of Suicide Squad’s central idea – imprisoning super-villains and sending them on deadly missions no one else would take and Waller’s part in that.

Zub sends Waller on a mission that is dangerous in every sense of the word.  To live, she has to make some brutal choices, and no, I won’t spoil the story by listing them.  I can say that to stay alive, Waller has to go to the heart of darkness and his cousin, ugly.  I am not saying that this is great work.  In some ways, it is merely professionally executed – nothing particularly special.  However, this story does mix internal character conflict and explosive superhero action quite well.

The art by André Coelho (pencils), Scott Hanna (inks) and Andrew Dalhouse (colors) is good.  The colors heighten the drama and beauty of the compositions with its clean line and “exacto” inking.  The storytelling, however, rests on Jim Zub’s efforts, so I hope we get more Suicide Squad: Amanda Waller, with the right storyteller.

B+

Reviewed by Leroy Douresseaux

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

I Reads You Review: Hellblazer #300

HELLBLAZER #300
DC COMICS/VERTIGO – @DCComics

WRITER: Peter Milligan
LAYOUTS: Giuseppe Camuncoli
FINISHES: Stefano Landini
COLORS: Brian Buccellato
LETTERER: Sal Cipriano
COVER: Simon Bisley
48pp, Color, $4.99 U.S. (April 2013)

Death and Cigarettes Finale: “Ash”

John Constantine is dead? Long live John Constantine?

With a cover date of January 1988 and cover price of $1.25, Hellblazer #1, starring John Constantine, debuted in late 1987. The creative team was writer Jamie Delano and artist John Ridgway. A little over 26 years later, the final issue of the series, Hellblazer #300, arrives with a cover date of April 2013 and a cover price of $4.99. The creative team is writer Peter Milligan and artists Giuseppe Camuncoli and Stefano Landini.

Yes, I was reading comic books in the 1980s, and I started reading The Saga of the Swamp Thing/Swamp Thing not quite a year into Alan Moore’s tenure as series writer. I remember being so excited about the John Constantine character. Moore had hinted at Constantine over the course of a year before he first appeared, in full, as a supporting character in The Saga of the Swamp Thing #37 (June 1985).

I remember reading an interview of Alan Moore (but I can’t remember which magazine), in which Moore stated that he’d created Constantine because of a request from Stephen R. Bissette and John Totleben, the artists on The Saga of the Swamp Thing. Like me, Bissette and Totleben were fans of the rock band, The Police, and they expressed a desire to Moore that they wanted to draw a character who looked like Sting, the lead singer and primary songwriter of the band.

Over the years, Constantine went from being a “supernatural advisor” and crafty sorcerer to a magus, occult detective, troubleshooter, and jack-of-all-trades slash supernatural go-to-guy. Along the way, he remained a popular and beloved character, and now, he’s dead, or at least his comic book series, Hellblazer, is, replaced by the new mainline DC Universe comic book series entitled Constantine.

Hellblazer #300 opens with Epiphany, John Constantine’s wife, in a state of extreme distress over John’s death, but wait! Isn’t that John walking into her apartment? No, it’s Finn, John’s chip-off-the-old-block nephew, and if you can’t have the real deal, have the related deal. Julian the shape-shifting demon and the Fates (doing the just checking up on Constantine-is-dead thing) enter the picture. There is also a settlement in the affairs of Constantine’s father-in-law, Terry Greaves. Plus, Chas stops by, and Constantine’s niece, Gemma, gets to make the final play.

I make infrequent visits to the closest comic book shop. I also receive numerous review copies (hard copies and PDFs), so I always have a comic book, graphic novel, or book to read. Hellblazer was not on the top of my list of priority reads, so Hellblazer #300 is the first time in over four years, at least, that I’ve read an issue of Hellblazer. I was only a little disappointed and upset upon hearing that DC Comics was ending Hellblazer and re-launching the title. What could I do about it? Did I honestly think Hellblazer would run another 26 years to reach issue #600? Would that even matter to me (or would I be around to care)? Please, take these as rhetorical questions or accept “yes” as the answer to all of them: you choose.

Like just about anything Peter Milligan writes, Hellblazer #300 is interesting. As I followed Milligan twist and turn his way to a resolution for this last Hellblazer story arc and for the series as a whole, I found myself more engaged, even a little enthralled. I just had to see how it all ended. Honestly, I wasn’t really engaged by Giuseppe Camuncoli and Stefano Landini’s art, but their graphical storytelling certainly captured the pop-voodoo vibe Milligan put into this comic book. You will either love or hate the ending, or maybe be perplexed.

Essentially, this is the end of the John Constantine that Moore, Bissette and Totleben introduced and to which numerous other writers, artists, and editors contributed, added, changed, etc. Perhaps, this is the way that Constantine should leave us – perplexed. It’s only fitting for so crafty a fellow.

A-

Reviewed by Leroy Douresseaux