#IReadsYou Review: HISTORY OF THE MARVEL UNIVERSE #1

HISTORY OF THE MARVEL UNIVERSE No. 1
MARVEL COMICS – @Marvel

[This review was originally posted on Patreon.]

WRITER: Mark Waid
PENCILS: Javier Rodríguez
INKS: Álvaro López
COLORS: Javier Rodríguez
LETTERS: VC's Joe Caramagna
EDITOR: Tom Brevoort
EDITOR-IN-CHIEF: Akira Yoshida a.k.a. C.B. Cebulski
MISC. ART: Phil Noto
COVER: Steve McNiven and Mark Farmer with Sunny Gho
VARIANT COVER ARTISTS: Nick Bradshaw with John Rauch; John Buscema with Jason Keith; David Marquez with Matthew Wilson; Javier Rodríguez and Álvaro López
44pp, Color, $4.99 U.S. (September 2019)

Rated T

History of the Marvel Universe is a comic book miniseries that chronicles completely, for the first time, everything that was, is, or will be in the Marvel Universe.  History of the Marvel Universe is written by Mark Waid; drawn by Javier Rodríguez (pencils/colors) and Álvaro López (inks); and lettered by Joe Caramagna.

History of the Marvel Universe #1 opens at “the End of Time.”  There, Franklin Richards and the planet-devouring Galactus await the final death of the universe.  Although both will move to the universe born of the death of this one, Richards is concerned about memories.  Before it all ends, he wants the history of this universe to have meant something.  Richards asks Galactus to help him remember everything.  Thus, Galactus recounts the history of this universe, beginning with a first chapter.  It starts at the so-called “Big Bang” and ends both in the Wild West of The Rawhide Kid and The Two-Gun Kid and in the wild north of Canada where a boy named James Howlett emerges.

There is no doubt about it.  Marvel Comics' History of the Marvel Universe #1 has more than a passing resemblance to DC Comics' 1986, two-issue miniseries, History of the DC Universe.  It is true that Mark Waid and Javier Rodríguez could find no better template than the one writer Marv Wolfman and artist George Perez laid down in History of the DC Universe.

Some people consider Mark Waid an unofficial Marvel Comics historian; I imagine some people at Marvel probably think that.  Waid does a good job gathering the varied “histories” about the beginnings, the ancient times, the recent centuries, etc. that have been depicted in five decades of Marvel Comics titles.  Waid also mixes in threads from Marvel's predecessor Timely Comics and the two decades of material the predates the publication of The Fantastic Four #1.  Of course, Waid has to take into consideration decades of “retcons,” in which Marvel Comics scribes went back and changed things after the fact – the Avengers of one million years ago, introduced in Avengers #1 (2018).  I won't say that this first issue is a great read, but there are some interesting bits in this first issue.

I can say that I love the art team of Javier Rodríguez (pencils/colors) and Álvaro López.  Here, they don't have to engage in graphical storytelling, so much as they have to draw pictures that illustrate Mark Waid's text.  [Waid's script is presented in caption boxes, not word balloons, all well-crafted by Joe Caramagna.]  Their art reminds me of art of Alan Davis.

Speaking of which, Davis' longtime inker, Mark Farmer, inks Steve McNiven's cover pencil art – with excellent results.  So, in conclusion, History of the Marvel Universe #1 is an occasionally interesting curiosity, but honestly, you, dear readers, don't need to read it to enjoy Marvel Comics titles.  History of the Marvel Universe #1 is not the monumental work that Marvel Comics' monumental history deserves.  [I think the history of the Marvel Universe would be best told in a long-running, ongoing comic book series, which won't happen.]

6 out of 10

[This comic book includes four pages of annotations, which list the Marvel Comics publications which acted as reference for the story in History of the Marvel Universe #1.]

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.

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Review: HOUSE OF WHISPERS #2

HOUSE OF WHISPERS No. 2
DC COMICS – @DCComics @vertigo_comics

[This review was originally posted on Patreon.]

STORY: Nalo Hopkinson
ART: Dominike “DOMO” Stanton
COLORS: John Rauch
LETTERS: Deron Bennett
EDITOR: Molly Mahan
CURATOR: Neil Gaiman
COVER: Sean Andrew Murray
32pp, Color, $3.99 U.S. (December 2018)

“Suggested for Mature Readers”

The Sandman created by Neil Gaiman and Sam Kieth

“The Power Divided”

House of Whispers is a new comic book series that is part of The Sandman Universe, published under DC Comics' Vertigo imprint.  The Sandman Universe is a line of comic books inspired by the dark fantasy comic books that Neil Gaiman wrote for DC, in particular The Sandman (1989-1996) and The Books of Magic (1990-1991).

House of Whispers is written by Nalo Hopkinson; drawn by Dominike “DOMO” Stanton; colored by John Rauch; and lettered by Deron Bennett.  The series focuses on a tragic goddess of love (among other things) who grants the wishes and counsels the souls of those who visit her in their dreams.

House of Whispers #2 (“The Power Divided”) finds the House of Dahomey (a houseboat) trapped in The Dreaming.  Its owner, the goddess Erzulie Fréda, is in a state, as being in The Dreaming has cut her off from her worshipers and thus, her power.  Now, she is about to send her houseboat careening towards the rift or crack through which her house passed into this place she shouldn't be.  She will need the help of her rascally nephew, Shakpana, a troublemaker not sure what trouble he caused.  Meanwhile, LaToya awakens from her coma, and then, tries to convince her partner, Maggie, that despite her awakening, she is dead....

Writer Nalo Hopkinson continues the assault on our senses that she began in House of Whispers #1 with a dazzling array of colorful sequences, sparkling story elements, and fabulous characters.  Reading this comic book is still like experiencing an African or African-American folk music festival full of fierce beats and infectious rhythms.  This issue, however, Hopkinson keeps bumping the turntable with a series of adversarial events for her characters that also keeps the story from being predictable.

Artist Dominike “DOMO” Stanton explodes it all into life with imaginative page designs and kinetic graphics.  Often it is the way DOMO places his characters and elements that really conveys the characters' distress over the chaos of their environments.  It becomes a beautiful wall of graphics that are living out loud once John Rauch adds his pulsating colors to the art.

Letterer Deron Bennett does a Steph Curry-like shimmy as he place the word balloons in just the right places, accompanying his collaborators with his own special moves.  All of it is under another fine-ass Sean Andrew Murray cover.  House of Whispers #2 does not play it safe.  It pushes forward as Nalo Hopkinson captains her houseboat into uncharted comic book waters.

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 syndication rights and fees.


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Review: HOUSE OF WHISPERS #1

HOUSE OF WHISPERS No. 1
DC COMICS – @DCComics @vertigo_comics

[This review was originally posted on Patreon.]

STORY: Nalo Hopkinson
ART: Dominike “Domo” Stanton
COLORS: John Rauch
LETTERS: Deron Bennett
EDITOR: Molly Mahan
CURATOR: Neil Gaiman
COVER: Sean Andrew Murray
VARIANT COVER: Bill Sienkiewicz
32pp, Color, $3.99 U.S. (November 2018)

“Suggested for Mature Readers”

The Sandman created by Neil Gaiman and Sam Kieth

“Broken Telephone”

The Sandman Universe is a new line of comic books inspired by the dark fantasy comic books that Neil Gaiman wrote for DC Comics, in particular The Sandman (1989-1996) and The Books of Magic (1990-1991).  Neil Gaiman acts as a curator of the line, which currently includes four titles, The Dreaming, Books of Magic, Lucifer, and the subject of this review, House of Whispers.

House of Whispers is written by Nalo Hopkinson; drawn by Dominike “Domo” Stanton; colored by John Rauch; and lettered by Deron Bennett.  The series focuses on a tragic goddess who grants the wishes and counsels the souls of those who visit her in their dreams.

House of Whispers #1 (“Broken Telephone”) opens just outside a houseboat known as the House of Dahomey.  Uncle Monday of the Brotherhood of Teeth has come to visit the owner the houseboat, the goddess Erzulie Fréda.  This is also where souls of Voodoo followers go when they sleep.  They travel to Erzulie's houseboat where they can beseech the flirtatious and tragic Erzulie to grant them their hearts’ desires or where they can ask her to counsel them on their futures and fortunes.

From her perch in the bayou, Erzulie sees four human girls open a mysterious and magical journal.  This little book is filled with whispers and rumors that, if they spread, could cause a pandemic unlike any the Earth has seen.  Erzulie must discover the whereabouts of and then stop the conniver behind this plot, Erzulie's nephew, Shakpana.

We have Neil Gaiman to thank for bringing writer Nalo Hopkinson into The Sandman Universe fold.  Left to its own devices, DC Comics would not have chosen Hopkinson.  In twenty-five years of publishing hundreds of comic books and graphic novels, only a handful have been written by African-Americans, black writers, or writers of African descent.

What Hopkinson offers in this first issue is a dazzling array of colorful sequences, sparkling story elements, and fabulous characters.  Reading this comic book is like experiencing an African or African-American folk music festival full of fierce beats and infectious rhythms.

Artist Dominike “Domo” Stanton offers imaginative compositions that yield a style of graphical storytelling that is bursting with magic.  My eyes greedily took in every corner of the Domo's panels and observed every line for secrets.  John Rauch's colors enrich Domo's illustrations and even accentuate the eccentric to make this comic book truly a unique visual treat.

Deron Bennett's clever lettering pretends to be a rhythm section, but when I pay attention, I see Bennett's fonts giving Hopkinson and Domo's story that extra whatever it needs or even taking the lead in conveying the story.  Also, Sean Andrew Murray's gorgeous cover art makes this comic book hard to ignore on a store shelf.

I won't lie and say House of Whispers #1 is perfect.  Sometimes, it is so busy being different that the story gets lost in its House of Dahomey house party shenanigans.  Still, this may be the best of The Sandman Universe's debut quartet.

8 out of 10

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


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

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review: DANGER GIRL: Renegade #1

DANGER GIRL: RENEGADE No. 1
IDW PUBLISHING – @IDWPublishing

[This review was originally published on Patreon.]

WRITER:  Andy Hartnell
ARTIST: Stephen Molnar
COLORS: John Rauch
LETTERS: Neil Uyetake
EDITOR: Scott Dunbier
COVER: J. Scott Campbell with Laura Martin
VARIANT COVERS: J. Scott Campbell; Jamie Tyndall with Stacy Raven; Juan N. Cabal with Jordi Escuin; Casey Heying with Admira Wijaya; Casey Heying
28pp, Color, $3.99 U.S. (September 2015)

Created by J. Scott Campbell, Danger Girl was one of the three inaugural comic book series that launched Cliffhanger, an imprint of the former Image Comics “house,” Wildstorm Studios.  Danger Girl #1 (cover dated: March 1998) introduced a group of female secret agents whose adventures were a mixture of Indiana Jones and James Bond.  In fact, Danger Girl’s young female stars were like Bond Girls, except that the girls were the ones getting to be James Bond in action.  Danger Girl focused on one girl in particular, Abbey Chase.

Scott Dunbier, the Wildstorm editor of the original series, has guided Danger Girl back to life in recent years via a series of miniseries published by IDW Publishing.  The latest mini is Danger Girl: Renegade, which is written by Andy Hartnell, drawn by Stephen Molnar, colored by John Rauch, and lettered by Neil Uyetake, with cover art by J. Scott Campbell.

Danger Girl: Renegade #1 opens with a prologue, set in Cairo, Egypt, 12 years before the main story.  Thirteen-year-old Abbey Chase is set upon by three men, but she proves more than capable of escaping them and leaving them in danger.  However, Abbey is a target because of her father, and men won't stop trying to kidnap her in order to use her as leverage against him.

Danger Girl: Renegade is apparently a miniseries that will reveal how Abbey Chase became who she is on the way to becoming a member of the super-secret spy organization known as “Danger.”  Danger Girl, since its beginning, has been lighthearted, superfluous entertainment, but it has been surprisingly good at being, lighthearted, superfluous entertainment.  Danger Girl remains Indiana Jones meets James Bond, more Roger Moore, even if the creators might have Sean Connery in mind.  As a comic book, Danger Girl is a narrative in which the graphical storytelling is dressed in pin-up illustration and good girl art.

Renegade does not change that the formula, and, once again, the result is a fun comic book.  I don't know what else Andy Hartnell has written in his time as a comic book writer, but I know that Harley Quinn and a few other “ladies of DC Comics” could use his deft comic touch.  Also, Renegade series artist Stephen Molnar makes sure readers don't miss J. Scott Campbell... too much.

So, dear readers, does this review make you think that I like Danger Girl: Renegade and that I will read more?  Well, I hope many of you will give Danger Girl: Renegade a try so that we can get more Danger Girl.

B+

Reviewed by Leroy Douresseaux


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

Review: EARTH 2: Society #1

EARTH 2: SOCIETY #1
DC COMICS – @DCComics

[This review was first published on Patreon.]

WRITER: Daniel H. Wilson
ART: Jorge Jimenez
COLORS: John Rauch
LETTERS: Travis Lanham
COVER: Jorge Jimenez with John Rauch
VARIANT COVERS: Paulo Siquera and Cam Smith with Hi-Fi
32pp, Color, $3.99 U.S. (August 2015)

Rated “T” for “Teen”

“Planetfall”

Earth-Two began as a parallel universe to the mainstream DC Comics continuity.  Earth-Two first appeared in The Flash #123 (cover date: September 1961).  DC established Earth-Two during the 1960s as a way to explain how DC characters who had adventures in the 1940s could still be in their 30s in contemporary comics, with contemporary then being the 1960s.  Why was Batman still a young man in the 1960s when he had adventures in the 1940s?  Well, the Batman of the 1940s lived on Earth-Two.  The Batman of the 1960s lived on Earth-One, the modern or mainstream DC Universe.

Over the decades, the idea of Earth-Two changed.  Now, Earth-2 is about the world where the survivors of a war rebuild with the help of younger superheroes.  That is the setting of the new “DCYou” series, Earth 2: Society.  The series is written by Daniel H. Wilson (Earth 2: World's End), drawn by Jorge Jimenez (Earth 2: World's End, Arrow), colored by John Rauch, and lettered by Travis Lanham.

Earth 2: Society #1 (“Planetfall”) opens in New Gotham, the first city of Earth-2.  Batman is on the trail of Terry Sloan, a man of secrets pursued by many.  But it is an anxious time for the survivors of Earth-2’s war with Apokolips, who find themselves on a new world.  What are the intentions of Green Lantern, who seems different?  A flashback to “planetfall” may answer questions or simply raise more.

OK, my plan was to review all the new “DCYou” titles, but Earth-2: Society is the kind of comic book that makes me reconsider that.  Issue #1 is not bad, or particularly good, for that matter.  Perhaps, the point of the new “DCYou” is that not every book is created with “you” or me in mind.  That Earth-2: Society is not made for me is (if you will) no skin off my nose.

C

Reviewed by Leroy Douresseaux


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

Review: "Batman Eternal #52" Offers a Great End to a Great Series

BATMAN ETERNAL #52

STORY: Scott Snyder and James Tynion IV (with Ray Fawkes, Kyle Higgins, Tim Seeley)
SCRIPT: James Tynion IV
ART: Eduardo Pansica and Julio Ferreira; Robson Rocha and Guillermo Ortego; David Lafuente; Tim Seeley; Ray Fawkes
COLORS: Allen Passalaqua; Gabe Eltaeb; John Kalisz; John Rauch
LETTERS: Steve Wands
COVER: Jae Lee with June Chung
VARIANT COVER: Andy Kubert with Brad Anderson

Batman created by Bob Kane and Bill Finger

SPOILER ALERT

The conclusion of the weekly Batman epic, Batman Eternal, is here.  First, shout out to all the creative people who played a part in bringing us this year-long adventure.  Batman Eternal #52 is one of those inspiring stories that makes you remember why you're a Batman fan.

This is a story about heroes, both super and everyday.  Batman is brought to the lowest point that we have seen him.  He is tortured and beat-down to within an inch of his life.  He is a beaten man, deprived of all his technology.  What saves him is the inspiration of others.

In a wonderful piece of writing, the writers have Jim Gordon make an impassioned speech to the people of Gotham to come to Batman's rescue.  Then, we truly see that Batman is eternal.  Even if he would have died at the moment, his legacy would have lived on.  It never comes to this because all the people who Batman has inspired come to his rescue.

This is the aspect of Batman that sets him apart from other superheroes.  Batman is an inspiration to others to find the strength to fight against unimaginable odds for the greater good.  The admirable thing about the story is it concluded with action and put the happy ending stuff all in one issue.  I hate to waste my money on an issues that are all happy endings.

Overall, this is a good ending to 52 weeks of DC's greatest character, giving us mystery, intrigue, and action in epic proportions.  This team of writers needs to take that deep breath and do whatever they do to reward themselves when they accomplish the monumental task.

There are so many artists on the Batman Eternal creative team; some deserve praise; some don't.  I'll leave it to the beholder to decide for themselves.

I rate Batman Eternal #52 Buy Your Own Copy (#2 on the Al-o-Meter)

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

Reads: WAYWARD #3

WAYWARD #3
IMAGE COMICS – @ImageComics

STORY: Jim Zub – @jimzub
ART: Steve Cummings – @stekichikun
COLORS: John Rauch and Jim Zub with Tamra Bonvillain – @John_Rauch and @TBonvillain
LETTERS: Marshall Dillon – @MarshallDillon
COVER: Steve Cummings and Ross A. Campbell
VARIANT COVER: Jorge Molina
28pp, Color, $3.50 U.S.

Additional material by Zack Davisson (@ZackDavisson) and Steve Cummings

Writer Jim Zub sent an advanced review PDF copy of the third issue of Wayward to comics media people, and the ComicBookBin was one of the recipients.  I decided to also share the good news about Wayward with you, dear reader.  I really appreciate the chance to read advanced comics, but when the comic book is something as good as Wayward, I almost feel honored to receive it.

Wayward is the intriguing new fantasy comic book series from Zub and penciller Steve Cummings.  Published by Image Comics, Wayward focuses on Rori Lane, a half-Irish/half-Japanese teen girl who is trying to start a new life in Japan, only to find herself connected to the magic and ancient creatures that lurk in the shadows of Tokyo.

As Wayward #3 (“Chapter Three”) opens, Rori can sense a storm is brewing – both naturally and supernaturally.  She still isn't fitting in at school, but she's found a homeboy, of sorts, in Shirai, a teenaged boy who can “eat ghosts.”  Meanwhile, somewhere else in Tokyo, a stranger man senses a “rogue weaver.”  Also, enter Nikaido, and someone whom Rori knows has a secret.

Clearly, Wayward is attracting readers, and I think that is because Jim Zub is slowly introducing readers to a world of magic and intrigue.  Perhaps, it is a really big world, and the only way for Zub to do right by his creation is to work through the characters.  They confront the magic in bits and pieces, rather than having to face an epic, wide-ranging magical conspiracy all at once.  Zub knows that if we buy into the characters first, we will also accept the supernatural that they encounter as they encounter it.

Yes, someone says the word, “magic,” in this chapter, but artist Steve Cummings perfectly blends the magical, the supernatural, and the otherness into a solidly real world of mundane tasks and ordinary living.  Cummings is going to make us invest in this world, by recognizing its relationship to ours.  Cummings' art is kind of teaching our imaginations to feel the difference between an ordinary world in which magic just might be as legitimate a part of the world as anything else.

Yeah, it's not fluke.  Wayward is one of the best new titles of the year.  Plus,  Zack Davisson offers another hugely informative essay on the mythology of Japan in “The Magical Foxes of Japan.”

A

Reviewed by Leroy Douresseaux


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

Review: WAYWARD #2

WAYWARD #2
IMAGE COMICS – @ImageComics

STORY: Jim Zub – @jimzub
ART: Steve Cummings @stekichikun
COLORS: John Rauch @John_Rauch and Jim Zub
LETTERS: Marshall Dillon @MarshallDillon
COVER: Steve Cummings and Ross A. Campbell
VARIANT COVER:  Riley Rossmo
28pp, Color, $3.50 U.S.

Additional material by Zack Davisson (@ZackDavisson)

The second issue of Wayward, the intriguing new fantasy comic book series from Image Comics, was just published.  Written by Jim Zub (Skullkickers) and drawn by Steve Cummings, Wayward focuses on Rori Lane, a half-Irish/half-Japanese teen girl who is trying to start a new life in Japan, only to find herself confronted by the ancient creatures that lurk in the shadows of Tokyo.

As Wayward #2 (“Chapter Two”) opens, Rori arrives home late, after a night of craziness in Tokyo, in which she encountered monsters with swords and a warrior-girl.  Now, she has to get ready for her first day at school, which she knows will be difficult.  How difficult will that first day be?  One of her classmates has a secret for which he is willing to kill.

After praising Wayward #1 around the beginning of August, I was a bit concerned that I would be disappointed in Wayward #2.  Writer Jim Zub sent a PDF copy of #2 to the ComicBookBin, and I approached it with trepidation.  I didn't need to worry because #2 kept #1 from being a fluke.  So far, Wayward does indeed look to be one of the year's best new comic book series and one of the best fantasy comic books period.

Advertising copy and promotional material describe Wayward as Buffy the Vampire Slayer for a new generation.  That may be true, but it is certainly a damn good comic book for any generation that can read.  It has the kind of intrigue and sense of mystery that permeate Mike Mignola's Hellboy universe, and it crackles with the kind of magic that fills Harry Potter.  I imagine that quite a few comic book readers will be eagerly awaiting each new issue.

A

Reviewed by Leroy Douresseaux


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

Review: WAYWARD #1

WAYWARD #1
IMAGE COMICS – @ImageComics

STORY: Jim Zub – @jimzub
ART: Steve Cummings
COLORS: John Rauch and Jim Zub
LETTERS: Marshall Dillon
COVER: Steve Cummings and Ross A. Campbell
VARIANT COVER:  Alina Urusov; Jeff “Chamba” Cruz; Adam Warren and John Rauch
28pp, Color, $3.50 U.S.

Additional material by Zack Davisson and Kalman Andrasofszky

Jim Zub sent the ComicBookBin a PDF copy of the first issue of his new comic book series, Wayward, published by Image Comics.  I reviewed it for the Bin and am now posting a slightly altered version of that review for you, dear readers, on I Reads You.

Wayward is an intriguing new fantasy comic book series from writer Jim Zub (Skullkickers, Suicide Squad: Amanda Waller) and penciller Steve Cummings (Legends of the Dark Knight, Deadshot) and published by Image Comics.  The upcoming series focuses on a teen girl trying to start a new life only to find herself confronted by the ancient creatures that lurk in the shadows of Tokyo.

Wayward #1 (“Chapter One”) opens as Rori Lane arrives in Japan from Ireland.  She is the child of a Japanese mother and an Irish father.  Her parents divorced, and although she initially stayed in Ireland, she is now moving to Japan to live with her mother.

Moving halfway across the world from Ireland to make a new home means that Rori will have to make some cultural adjustments, but she is game.  Things are going well, and it seems as if she and her mother can live together.  However, things take a turn for the weird when Rori begins glimpsing signs, creatures, and other things that no one else can see.  Then, there is Ayane...

It seems as if the selling point of Wayward is to compare it to Buffy the Vampire Slayer.  I received a PDF copy for review from series writer, Jim Zub, and on one page of the PDF is the tagline, “Buffy the Vampire Slayer for a new generation.”  On the same page, Hellboy is referenced.  With the comparisons/references to Buffy and Hellboy, you might think Wayward is a Dark Horse Comics title.  In truth, Wayward's first issue makes a good first step towards being the long-running fantasy franchise that both Buffy and Hellboy are.

However, Wayward does also resemble, to one extent or another, urban fantasy comics published by DC Comics' imprint, Vertigo (particularly Crossing Midnight), and by VIZ Media (the sublime Natsume's Book of Friends).  In fact, the manga and Japanese comparisons are appropriate as Wayward's pencil artist, Steve Cummings, drew the OEL manga (American manga) titles, Pantheon High and Star Trek: The Manga, for TOKYOPOP.

Whether the creators hope for their new comic book to inherit the mantle of Buffy the Vampire Slayer or not, we can keep discussing in the future.  What I can say is that Wayward is a series with promise and with a promising lead character.  Rori Lane is the kind of misfit who isn't afraid of the big, mean world.  She doesn't seem like a young woman ready to run away, and in that, she is like Buffy.  Zub uses internal dialogue (via caption boxes) both to endear her to us and to make her journey of discovery our journey also.  I can tell by this winning first issue that some readers will be glad to be Rori's Scooby gang, and, if need be, her BPRD.  I am one of them.

The art by Steve Cummings, John Rauch, and Jim Zub is colorful and vibrant.  Wayward's Tokyo might be a crowded modern city, but it isn't drab or dull; the monsters in the shadows will make sure of that.  Cummings' storytelling is clean and straight-forward, which makes the magic and mystery stand out.

I think that Wayward will be different from the other titles that Image is publishing, and that's a good thing.  I think the Young Adult novel has finally made it to comics in the form of Wayward, and I think it will be one of the standout new titles of the year.

A-

Reviewed by Leroy Douresseaux


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I Reads You Review: ROCKETEER ADVENTURES VOL. 2 #2

ROCKETEER ADVENTURES VOL. 2 #2
IDW PUBLISHING

WRITERS: Tom Taylor, Paul Dini, Walter Simonson
ARTISTS: Colin Wilson, Bill Morrison, John Paul Leon
COLORS: Dave Stewart, Serban Cristescu
LETTERS: Robbie Robbins, Chris Mowry, Shawn Lee
PIN-UP: J. Scott Campbell with John Rauch
EDITOR: Scott Dunbier
COVERS: Darwyn Cooke (A, C), Dave Stevens (B)
28pp, Color, $3.50 U.S.

Inspired by the Saturday matinee movie heroes of the 1930s and 40s, The Rocketeer is Cliff Secord, a stunt pilot who discovers a mysterious jet pack that allows him to fly. The Rocketeer’s adventures are set mainly in Los Angeles in and after the year 1938. The character was created by artist and illustrator, Dave Stevens, who died in March of 2008.

After a long absence from comics, The Rocketeer returned in 2011 in Rocketeer Adventures. Edited by Scott Dunbier and published by IDW Publishing, this four-issue, anthology comic book was a tribute to Stevens and featured Rocketeer short stories (about 7 to 8 pages in length) from some of the premiere creators in American comic books. The tributes continue in Rocketeer Adventures Vol. 2.

Rocketeer Adventures Vol. 2 #2 opens with “Work to Do,” story by Tom Taylor and art by Colin Wilson, which places The Rocketeer on a European battlefield with a job to do. In “Betty’s Big Break,” writer Paul Dini and artist Bill Morrison take our hero to the set of a B-movie where he becomes a “Rocket Rustler,” much to Betty’s chagrin. Writer Walter Simonson and artist John Paul Leon send The Rocketeer flying like a flying monkey to save a special young lady in “Autograph.”

I found the first issue of Rocketeer Adventures Vol. 2 to be a tad bit over the top as a tribute to a respected, deceased artist. Why? While honoring Dave Stevens’ memory, the slam bang action that is The Rocketeer lost its pop and became like something preserved in amber and golden hues. Rocketeer Adventures Vol. 2 #2 is different. These three Rocketeer stories read like real Rocketeer stories and not tributes meant to be placed in the burial chamber of some great figure’s tomb.

“Work to Do” is a gritty battlefield fantasia with heart and pop. As for the second story: I’ve long been perplexed with the popularity of Paul Dini’s comic book work. I’m sure that he has an entire wing devoted to him at the Academy of the Overrated. I have found enjoyment in a few of his comic book stories; “Betty’s Big Break” is one of them. I think it would make an excellent graphic novel if expanded. I don’t know if Walter Simonson has ever disappointed me; if he has, it was not by much. “Autograph” moves like an action movie, and its references to the late 1930s are wonderful.

I don’t think that I have to say anything about the artists who drew these stories. They are all consummate professionals and their graphic storytelling and art are sparkling. On the other hand, that J. Scott Campbell pin-up is rather ordinary. It’s like something Campbell would knock off while sitting at a convention table. Of course, he would over-charge for it, though it’s worth no more than 25 bucks.

A-

I Reads You Review: ROCKETEER ADVENTURES VOL. 2 #1

"More tears than rockets"
ROCKETEER ADVENTURES VOL. 2 #1
IDW PUBLISHING

WRITERS: Marc Guggenheim, Peter David, Stan Sakai
ARTISTS: Sandy Plunkett, Bill Sienkiewicz, Stan Sakai
COLORS: Jeromy Cox, Bill Sienkiewicz, Dave Stewart
LETTERS: Robbie Robbins, Bill Sienkiewicz, Stan Sakai
PIN-UP: Arthur Adams with John Rauch
EDITOR: Scott Dunbier
COVER: Darwyn Cooke (alternate cover by Dave Stevens)
28pp, Color, $3.50 U.S.

First appearing in 1982, The Rocketeer is a superhero created by the late writer/illustrator Dave Stevens and inspired by the Saturday matinee movie heroes of the 1930s and 1940s. Set mainly in Los Angeles in and after the year 1938, the series follows Cliff Secord, a stunt pilot who discovers a mysterious jet pack that allows him to fly, leading to the birth of The Rocketeer.

After a long absence from comics, The Rocketeer returned last year in Rocketeer Adventures. This four-issue miniseries was an anthology comic book edited by Scott Dunbier and published by IDW Publishing. Rocketeer Adventures features Rocketeer short stories (about 7 to 8 pages in length) from some of the premiere creators in American comic books. Now, the fun is back in Rocketeer Adventures Vol. 2.

Rocketeer Adventures Vol. 2 #1 opens with “The Good Guys,” story by Marc Guggenheim and art by Sandy Plunkett. While the wounded Rocketeer slumbers in a bed on the second floor of a farmhouse, the locals discuss his fate: turn him over to the law or not. But a child shall lead them. Peter David gives the Rocketeer a Looney Tunes spin in “The Ducketeer,” with art by Bill Sienkiewicz, who executes a graphic riff on Chuck Jones and Maurice Noble. Stan Sakai takes the Rocketeer to a small-ville and the Rocketeer takes a kid up, up, and away in “A Dream of Flying.”

Rocketeer Adventures Vol. 2 starts off nostalgic and quaint with this first issue. The stories are sweet and sentimental, with in-jokes for comic book and cartoon fans. These pop culture references and riffs will make even the most jaded pop culture buff smile.

Marc Guggenheim’s tale (“The Good Guys”) treads on familiar territory. Are there enough good people to fight evil and what is the nature of vigilantism are two real-world questions with which this story grapples. Guggenheim’s story is timely in light of a FOX News affiliate in Orlando, Florida referring to Neo-Nazi group, the National Socialist Movement, as a civil rights group, something the FOX News website later repeated.

This story is also a welcomed return of seldom-seen comic book artist, Sandy Plunkett, whose style is ideal for this old-timey, rural pastoral story. Like Rocketeer creator, Dave Stevens, Plunkett is apparently also influenced by the American book and magazine illustrators of the late 19th and early 20th centuries.

That aside, these new Rocketeer comic books are rapidly becoming showcases for artists that don’t regularly produce comic book art. These stories are also too sentimental, and, as much as I enjoy a dose of “Disneyana” with my comics, The Rocketeer’s origin comes out of adventure movie serials. This character needs to bust out in a miniseries – one complete with cliffhanger endings at the end of each issue. New Rocketeer comics should not be treated as if they are part of a eulogy to Stevens. All this pretty art and quaintness makes Rocketeer Adventures seem like a funerary item.

I appreciate the new Rocketeer comics, but they can be more than what they are. I must admit, of course, that I think the Art Adams pin-up is awesome.

B+