#IReadsYou Review: POWER MAN AND IRON FIST #1

POWER MAN AND IRON FIST No. 1
MARVEL COMICS – @Marvel

[This review was originally posted on Patreon.]

WRITER: David Walker
ARTIST: Sanford Greene
COLORS: Lee Loughridge
LETTERS: VC's Clayton Cowles
COVER: Sanford Greene
VARIANT COVERS: Kalman Andrasofszky; John Tyler Christopher; Sanford Greene; Theotis Jones; Chris Visions; Trevor Von Eeden with Rachelle Rosenberg; Skottie Young
28pp, Color, $3.99 U.S. (April 2016)

Rated T+

“The Boys are Back”

Luke Cage, also known as “Power Man,” is a Marvel Comics superhero.  He was created by writer Archie Goodwin and artist John Romita, Sr., and first appeared in Luke Cage, Hero for Hire #1 (cover dated: June 1972).  Cage was imprisoned for a crime he did not commit, but he eventually gains superpowers in the form of durability, unbreakable skin, and superhuman strength.

Iron Fist/Daniel “Danny” Rand is a Marvel Comics superhero.  The character was created by writer Roy Thomas and artist Gil Kane, and first appeared in Marvel Premiere #15 (cover dated: May 1974).  An orphan and martial artist, Danny earned the power of a mystical force called the Iron Fist in the also mystical city of K'un Lun.

Both characters have starred in their own comic books series, but Luke Cage and Iron Fist have also been a duo and a team called Heroes for Hire.  There was also a long-running comic book series entitled Power Man and Iron Fist.  Thanks to the All-New, All-Different Marvel, Power Man and Iron Fist the comic book is back.  It is written by David Walker; drawn by Sanford Greene; colored by Lee Loughridge; and lettered by Clayton Cowles.

Power Man and Iron Fist #1 (“The Boys are Back”) opens with Luke and Danny on their way to meet Jennie Royce.  The former office manager of Heroes for Hire, Jennie has finished serving a prison sentence for murdering her abusive ex-boyfriend, Eugene Mason.  Jennie asks Luke and Danny to retrieve a family heirloom currently in the possession of a criminal, Lonnie Lincoln a.k.a. “Tombstone.”  Luke is adamant that he is not re-teaming with Danny Rand and that this mission to retrieve Jennie's heirloom is just a favor for a friend-who-is-like-family in need.  But, of course, it is not the easy.

One look at Sanford Greene's cover art for this new Power Man and Iron Fist #1, I knew that I would not like what was behind the cover.  I was wrong.  I really liked this first issue, and I am genuinely suspicious or ambivalent about first issues.

David Walker's story and script is off-beat in a way that makes this comic book stand out from the Marvel pack, in a way that Matt Fraction and David Aja's Hawkeye did.  Sanford Greene's visual language for this comic book balances superhero action against an edgy kind of street-comedy and gritty drama that pushes back on easy classification.

I like this comic book, and I look forward to future issues.  Besides, David Walker and Sanford Greene are the Black/African-American creative team I have been demanding, so I gots to keep it real and read this comic book for several issues, at least.  So far, it looks like their work will help to choke the Jim Crow out of the American comic book industry

A-
7.5 out of 10

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


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

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#IReadsYou Review: STAR WARS VOL. 1: The Destiny Path

STAR WARS VOL. 1 (2020): THE DESTINY PATH
MARVEL COMICS – @Marvel

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

STORY: Charles Soule
ART: Jesus Saiz
COLORS: Arif Prianto with Jesus Saiz (#1); Rachelle Rosenberg (#4); and Dan Brown (#5)
LETTERS: VC's Clayton Cowles
EDITOR: Mark Paniccia
EDITOR-IN-CHIEF: Akira Yoshida a.k.a. C.B. Cebulski
COVER: R.B. Silva with Guru-eFX
MISC. ART: Arthur Adams with Jesus Aburtov; Jen Bartel; Adam Hughes; Mahmud Asrar with Matthew Wilson; Phil Noto; Ema Lupacchino with Jesus Aburtov; Daniel Acuna; Patch Zircher with Edgard Delgado; John Tyler Christopher
ISBN: 978-1-302-92078-4; paperback (November 10, 2020)
152pp, Color, $17.99 U.S., $22.99 CAN

Rated T

In 2015, Marvel Comics began publishing Star Wars comic books again.  Marvel's new Star Wars #1 opened in the time immediately after the events depicted in the original film, Star Wars (1977), which is also known as Star Wars: Episode IV – A New Hope.  After 75 issues, that series ended.

In late 2019, the new Star Wars ongoing series began.  It is written by Charles Soule; drawn by Jesus Saiz; colored by Arif Prianto; and lettered by Clayton Cowles.  Star Wars (cover dated: 2020) starts during the last act of the 1980 Star Wars film, The Empire Strikes Back (also known as Star Wars: Episode V: The Empire Strikes Back) and then, goes on to tell the story of the aftermath of the events depicted in Episode V.

The first six issues of Star Wars (2020) are collected in the recently released trade paperback, Star Wars Vol. 1: The Destiny Path.  “The Destiny Path” is the first story arc of this new series.

Star Wars Vol. 1: The Destiny Path opens inside the Millennium Falcon.  Its passengers:  Luke Skywalker, Princess Leia, Chewbacca, R2-D2, C-3PO, and Lando Calrissian have fled the Cloud City of Bespin, formerly owned by Lando.  They also escaped capture by the forces of the Galactic Empire, thanks to a save by R2-D2 (as seen in The Empire Strikes Back).  However, there are also feelings of recrimination and anger over Han Solo being the prisoner of a group of bounty hunters, led by Boba Fett, in service of Darth Vader – with the involuntary assistance of Lando.

Leia's plan is for the Falcon to reach The Mid Rim, Rendezvous Point: Delta-Three and join the “Fourth Division” of the Rebel Fleet.  But the Fourth Division is trapped there by Imperial forces led by Lieutenant Gorr of the Imperial Star Destroyer, “Tarkin's Will.”  Now, Leia, Luke, Chewbacca, and Lando will have to put aside the anger, pain, and grief if they are going to save the Rebel Alliance.

“No … I am your father.”

Meanwhile, Luke struggles with his destiny as a Jedi Knight in the aftermath of his battle with Darth Vader at Cloud City.  He calls to his late mentor, Ben “Obi-Wan” Kenobi, but does not receive a reply, and Luke also feels out of sorts with the Force – as if it has abandoned him.  Then, Luke begins to have dreams and visions of a mystery woman who holds out a lightsaber to him – perhaps to replace the one he lost at Cloud City.  Now, Luke must find her, if he is to find his way with the Force … or so he thinks.  Plus, Leia, Luke, and Lando return to Cloud City, each for his or her own reasons.

THE LOWDOWN:  Star Wars Vol. 1: The Destiny Path takes place inside the final 10 minutes of The Empire Strikes Back.  It expands on what happens between the Millennium Falcon escaping the Imperial forces shortly after leaving Bespin and the film's final moments.  Then, The Destiny Path creates a larger story of what happens afterwards, which involves several sub-plots.

The Rebel Alliance must find a new base, but first, they have to escape Imperial forces, which have found a way to track the whereabouts of the separated “Divisions” of the Rebel Fleet.  The Imperials can track one Division in order to find a second; then, it destroys both.  The main goal of Leia, Luke, Lando, and Chewbacca is to find Han Solo, and if Boba Fett hasn't already turned Han over to Jabba the Hutt on Tatooine, then, they must track Boba.

Writer Charles Soule has previously said that he hopes to use this new Star Wars series to expand on what happened between The Empire Strikes Back and Return of the Jedi (1983), the final film of the original Star Wars trilogy.  And I'm all for that!  Star Wars Vol. 1: The Destiny Path is a very well written first arc.  Soule expounds on the conflict between Leia and Chewbacca against Lando.  Soule gives Lando a chance to settle his affairs at Cloud City and to reunite with a friend (and one of my favorite characters, Lobot).

Soule delves into Luke's struggles after his duel with Darth Vader, revealing a young man adrift and who may have to find his own way.  Soule plays up the idea that Luke's journey will be different from that of any other Jedi's.  The Destiny Path allows readers to see Luke take the first big steps that he takes alone on his path to being a Jedi.

I really like the art by illustrator Jesus Saiz and colorist Arif Prianto.  The graphical storytelling is moody and emotionally, but also offers edge-of-your-seat thrills, all of it well paced by Clayton Cowles' lettering.  For however long Saiz and Prianto work on this new Star Wars series, they seem capable of capturing the dark mood of a time when the Star Wars narrative fell into the deep, cold shadows of the Empire.

I have to be honest.  Although I was a regular reader of the previous series, Star Wars (2015), my excitement for the series's last 12 issues was about a third of what it was for the first 12 issues.  Star Wars Vol. 1: The Destiny Path is making me feel excited about Star Wars comic books the way the beginning of Star Wars 2015 did.  And I feel quite safe in recommending this collection to you, dear readers and Star Wars fans.

I READS YOU RECOMMENDS:  Fans of Star Wars comic books and of the time between Star Wars: Episodes V and VI will definitely want to sample Star Wars Vol. 1: The Destiny Path.

9 out of 10

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

https://twitter.com/Marvel
https://twitter.com/starwars
https://www.starwars.com/
https://twitter.com/CharlesSoule


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

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#IReadsYou Review: 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: SQUADRON SUPREME #1

SQUADRON SUPREME No. 1
MARVEL COMICS – @Marvel

[This review was originally posted on Patreon.]

WRITERS: James Robinson
PENCILS: Leonard Kirk
INKS: Paul Neary
COLORS: Frank Martin
LETTERS: Travis Lanham
COVER: Alex Ross
VARIANT COVERS: Leonard Kirk with Jesus Aburto; Mike Del Mundo (Hip Hop variant); John Tyler Christopher (action figure variant)
28pp, Color, $3.99 U.S. (February 2016)

The Squadron Supreme is a Marvel Comics superhero team.  Created by writer Roy Thomas and artist John Buscema, the group first appeared in a story arc that was published in Avengers #85–86 (cover dated: February to March 1971).  The Squadron Supreme's membership was initially based on DC Comics' characters.  The core members of the Squadron Supreme were Hyperion (Superman), Nighthawk (Batman), Doctor Spectrum (Green Lantern), Power Princess (Wonder Woman), and the Whizzer (Flash).

Throughout its history, the Squadron Supreme has made sporadic appearances in various Marvel Comics titles.  For a time, the group's most memorable run came in Squadron Supreme, a 12-issue miniseries, published from mid-1985 to mid-1986 and written by the late Mark Gruenwald.

With the advent of the All-New, All-Different Marvel, the Squadron Supreme returns in a new ongoing comic book series, featuring, in some cases, alternate version of the characters that comprised the group's core membership.  Squadron Supreme is written by James Robinson; drawn by Leonard Kirk (pencils) and Paul Neary (inks); colored by Frank Martin; and lettered by Travis Lanham, with covers by Alex Ross.

Squadron Supreme #1 opens eight months after the destruction wrought by events depicted in the nine-issue miniseries, Secret Wars.  Hyperion (Marcus Milton of Earth 13034), Nighthawk (Kyle Richmond of Earth 31916), Doctor Spectrum (of Earth 4290001); Power Princess (Zarda Shelton of Earth 712), and Blur (Jeff Walters of Earth 148611) have gathered as the Squadron Supreme.  Their first move is to exact revenge against the man they hold responsible for the destruction of their worlds, Namor.  Their next move will put many on Earth on edge.

I was a few pages into this comic book when it became obvious that it was not for me.  I knew that it was unlikely that I would read another issue unless someone gave me a hard copy, because I could not see bothering to read a digital copy.  It looks as if writer James Robinson is trying to recreate Warren Ellis' brilliant Wildstorm comic book, The Authority, but without a sense of humor.

There is nothing that inker Paul Neary can do for Leonard Kirk's pencils, which are... average; I don't think another word is more appropriate.  This comic book is not awful.  It's just average – there goes that word again.

C

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


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


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#IReadsYou Review: ALL-NEW INHUMANS #1

ALL-NEW INHUMANS No. 1
MARVEL COMICS – @Marvel

[This review was originally posted on Patreon.]

WRITERS: James Asmus and Charles Soule
ART: Stefano Caselli
COLORS: Andres Mossa
LETTERS: VC's Clayton Cowles
COVER: Stefano Caselli
VARIANT COVERS:  Stefano Caselli with Andres Mossa; John Tyler Christopher; Jim Cheung with Justin Ponsor; Marco D'Alfonso (Hop Hop variant); Yaya Han photographed by Judy Stephens (cosplay variant)
36pp, Color, $4.99 U.S. (February 2016)

Rated T+

The Inhumans are a race of super-humans in Marvel Comics.  This race was created by Jack Kirby and Stan Lee and first appeared in Fantastic Four #45 (cover dated: December 1965).  They are a strain of humanity that began with genetic manipulation by visitors to Earth from an alien civilization (the Kree) long ago in human prehistory.  Exposure to the mutagenic Terrigen Mist (a process known as Terrigenesis) reveal if a person is an Inhuman.

Little more than a B-list character group, the Inhumans are in ascendancy in the Marvel Universe, especially during the last three years.  In 2013, Marvel even launched a new comic book series, entitled Inhuman.  The launch of the “All-New, All-Different Marvel” comes with the Inhumans continuing to rise to prominence.  The latest Inhuman comic book series is All-New Inhumans.  This series is written by James Asmus and Charles Soule; drawn by Stefano Caselli, colored by Andres Mossa; and lettered by Clayton Cowles.

Once upon a time, I was enthralled by the X-Men's story of a small band of outcasts fighting to save a world that feared and hated them.  The racism, bigotry, and prejudice that the X-Men faced seemed genuine, and writer Chris Claremont hit upon something that spoke to readers with such honesty and a sense of verisimilitude.  I practically counted the days until each issue of Uncanny X-Men hit the shelves of the local newsstand, was place in a spinner rack at a local drugstore or supermarket, or was placed on the new release table at the closest comic book store.

That was before Marvel Comics started publishing multiple X-Men related titles and even more miniseries, one-shots, specials, etc.  After that, the X-Men seemed like nothing more than a weekly prank that Marvel Comics pulled on its loyal customers.

All-New Inhumans #1 recaptures the best of that X-Men spirit of an outsider group under siege.  The hatred against the Inhumans is potent, and writers James Asmus and Charles Soule depict the haters as desperate humans who are more fearful than evil.  The language of distrust from the politicians in the back-up story is honestly composed.  And because we need that, the main story offers engaging fight comics and Inhuman soap opera.

The art by the team of Stefano Caselli and Andres Mossa and the art by Nico Leon in the back-up are both high-quality, befitting of what is apparently going to be an important comic book in Marvel's line.  I eagerly look forward to more, and I heartily recommend this comic book.

A-

[This comic book includes a extra story written by James Asmus; drawn by Nico Leon; colored by Andres Mossa; and lettered by Clayton Cowles.]

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


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

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#IReadsYou Review: AERO #1

AERO No. 1
MARVEL COMICS – @Marvel

[This review was originally posted on Patreon.]

STORY: Zhou Liefen; Greg Pak
ART: Keng; Pop Mhan
COLORS: Keng; Federico Blee
LETTERS: VC's Joe Caramagna
EDITOR: Mark Paniccia
EDITOR-IN-CHIEF: Akira Yoshida a.k.a. C.B. Cebulski
COVER: Keng
VARIANT COVER ARTISTS: Artgerm; Mirka Andolfo; John Tyler Christopher
36pp, Color, $4.99 U.S. (September 2019)

Rated “T+”

Aero created by Zhou Liefen and Keng

“Protector of the City” and “Aero & Wave: Origins & Destinies”

Last year came news that Marvel Entertainment had created two Chinese superheroes.  They made their debut in webcomics that were published online on the website, NetEase (specifically 163.com), one of China's leading Internet technology companies.

According to reports, Marvel created the two heroes, “Aero” and “Sword Master,” to attract fans in China and across East Asia.  Both heroes exist in the modern world, but their stories are also influenced by Chinese culture.  Marvel was responsible for the character design and comics story lines, but the comic book art, environments, and adventures were conceived and produced by Chinese artists.

The hero Aero, who is a young woman named Lei Ling, lives in Shanghai.  Ling is a “brilliant architect” and a “rising young elite.”  As Aero, she has the ability to harness the power of the air, a power she uses to protect her city from enemies, including supernatural ones.  She makes her U.S. debut in the new Marvel Comics title, Aero.

Aero #1 contains two stories.  The first is the original Chinese comics story, “Protector of the City.”  It is written by Zhou Liefen and drawn by artist Keng; the English adaptation is written by Greg Pak.  “Protector of the City” opens with Aero on patrol in the sky above Shanghai.  She discovers that one of the buildings she designed (as Lei Ling) is turning into a giant rock monster.  Although she manages to defeat it, this is not the last such occurrence.

The second story is “Aero & Wave: Origins & Destines” Part One.  It is an original English story written by Greg Pak; drawn by Pop Mhan; colored Federico Blee; and lettered by Joe Caramagna.  The story opens on an island in the Philippine Sea.  There, Aero finds Filipino superhero, “Wave,” a young woman named Pearl Pangan, in a state of distress.  An outsider her entire life, Pearl, fought her way to the top and is now a member of the superhero collective, “Triumph Division.”  However, she believes she has drawn her compatriots ire, so can Aero help the young hero before trouble arrives?

The few times that I have read Chinese comics (called “manhua”), I have liked them.  I like them especially when they are published in color and printed on slick paper.  [I also love to see manga (Japanese comics) and manhwa (Korean comics) in color on slick paper.]  So I like seeing Aero in full-color.  The story is not great, but it has an engaging vibe.  “Protector of the City” has an odd quality, and I think it would seem less odd to me if I could read more than the 22 pages we get in this first issue.  I am curious to read more.

“Aero & Wave: Origins & Destines” Part One is a traditional American comic book story, in rhythm and page design and in story, art, and graphical storytelling.  I must admit to being intrigued by Wave and her problems.  I look forward to more of this character.  Generally, I have liked the work of both writer Greg Pak and artist Pop Mhan, and although I am not a super-fan of either one.  Here, their professionalism and skills make good showings.

Colorist Federico Blee does really good work on “Aero & Wave: Origins & Destines.”  His coloring, especially the blue and green hues, captures the sense of how much water and related themes play a part in this story.  Joe Caramagna's traditional lettering style strikes the right tone for both stories because Caramagna's lettering is different for each story.  The lettering is more traditional and sparse for “Protector of the City” and a bit more modern and crowded for “Aero & Wave: Origins & Destines.”  So, overall, the production values of this comic book are good.

I don't think that Aero will catch on with American comic book readers, in general, but Aero #1 will catch the attention of readers open to different things.  I am interested in this, and I will recommend that readers try Aero #1 to see if it is their cup of tea.

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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#IReadsYou Review: STAR WARS #68

STAR WARS No. 68 (2015)
MARVEL COMICS – @Marvel

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

STORY: Greg Pak
ART: Phil Noto
COLORS: Phil Noto
LETTERS: VC's Clayton Cowles
EDITOR: Mark Paniccia
EDITOR-IN-CHIEF: Akira Yoshida a.k.a. C.B. Cebuski
COVER: Phil Noto
VARIANT COVER: John Tyler Christopher; Kaare Andrews
28pp, Color, $3.99 U.S. (September 2019)

Rated T

Part I: “Rebels and Rogues”

In 2015, Marvel Comics restarted their publication of Star Wars comic books with a brand new Star Wars #1.  I wrote a review of it and went on to review a few more issues of the series, plus the first annual.  Jason Aaron was the new series first writer and wrote issues #1 to 37.  He delivered a number of really good story arcs and several really good stand alone, single-issue stories.

Kieron Gillen replaced Aaron.  Gillen did stellar work on Marvel's initial Darth Vader (2015) title, which was drawn by Salvador Larroca.  In fact, I can make a good case that Gillen and Larroca's Darth Vader was the best of Marvel's new line of Star Wars comic books, and, to this date, still is.  Gillen and Larroca reunited as the new Star Wars creative team with issue #38, and Larroca drew the series until issue #55.  Gillen recently ended his tenure on Star Wars with issue #67.

Star Wars #68 introduces the new creative team of writer Greg Pak and artist-colorist Phil Noto.  Letterer Clayton Clowes completes the creative team.  The first story arc, “Rebels and Rogues,” chronicles the missions that take place just before the 1980 Star Wars film, The Empire Strikes Back (also known as Star Wars: Episode V: The Empire Strikes Back).

As Star Wars #68 opens, the Rebel Alliance has learned that Darth Vader has dispatched thousands of remote probes into the far reaches of space to find the new rebel base, which will lead him to the young rebel with whom he is obsessed, Luke Skywalker.  Now, the rebel leadership is sending Luke, Princess Leia, Han Solo, Chewbacca and the droids, C-3PO and R2-D2, on a mission, but this is a desperate three-pronged mission of deception that will send these friends in different directions.

First, Luke and R2-D2 must find a way to protect a rebel refueling station in the Inner Rim.  Leia and Han will head to the “Core World” of “Lanz Carpo,” in order to infiltrate the communication center of a Imperial-friendly crime lord.  Finally, Chewbacca and C-3PO head to K43, an uninhabited volcanic world on the edge of “Wild Space.”  Rebel leadership wants to lure as many Imperial Star Destroyers to K43, which, with the use of detonators, Chewie and Threepio will turn into a mini-Death Star.  Two of the three prongs of this mission will encounter surprising interlopers.

This first chapter of “Rebels and Rogues” is intriguing, but only Luke and Artoo's mission really interests me.  I can give Gillen credit for writing a story that feels like classic era or original trilogy Star Wars.  I have mixed feelings about Phil Noto's art.  I liked him as the primary artist on the recent Poe Dameron ongoing series (2016-2018), but I was not that impressed with Noto's art on the Chewbacca miniseries (2015-2016).  Here, his graphic style and graphical storytelling seem perfect for Luke's mission, not so much for Chewbacca's, and even less for Han and Leia's.

But I am a rotting-to-the core “Marvel Zombie” when it comes to Marvel's Star Wars ongoing comic book series, so I will keep reading.  In the case of the new Star Wars comic books, I am not ashamed to be a fanboy.

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: POWERS OF X #1

POWERS OF X No. 1
MARVEL COMICS – @Marvel

[This review was originally posted on Patreon.]

STORY: Jonathan Hickman
PENCILS: R.B. Silva
INKS: R.B. Silva and Adriana Di Benedetto
COLORS: Marte Gracia
LETTERS: VC's Clayton Cowles
EDITOR: Jordan D. White
EiC: Akria Yoshida a.k.a. “C.B. Cebuski”
COVER: R.B. Silva with Marte Gracia
VARIANT COVER ARTISTS: Mark Brooks; Joshua Cassara with Rachelle Rosenberg; John Tyler Christopher; Stephanie Hans; Jack Kirby with Edgar Delgado; Mike Huddleston; George Perez with Jason Keith; Dustin Weaver; Skottie Young
56pp, Color, $5.99 U.S. (September 2019)

Rated T+

The X-Men created by Stan Lee and Jack Kirby

“The Last Dream of Professor X”

The X-Men are a Marvel Comics superhero team.  Created by editor Stan Lee and artist Jack Kirby, the X-Men debuted in the comic book The X-Men #1 (cover dated: September 1963).  The focus of that comic book was Professor Charles Xavier a/k/a “Professor X” and his small circle of students.  Each student had a unique power or ability granted to them because each student was a mutant, and each had a code name.  The students were Scott Summers (Cyclops), Jean Grey (Marvel Girl), Warren Worthington III (Angel), Henry “Hank” McCoy (Beast), and Bobby Drake (Iceman).

From time to time the X-Men concept is changed in some way via a relaunch or revamp.  The most famous revamp was and still is the “new X-Men,” which debuted in Giant-Size X-Men #1 (cover dated: May 1975).  Once consistently among the bestselling comic books in the United States (and often the bestselling comic book), the X-Men have fallen on hard times.  The editorial powers that be at Marvel Comics have spent much of the last two decades revamping, relaunching, and remaking the X-Men.

The latest remodeling comes via a pair of six-issue miniseries written by Jonathan Hickman.  The first is House of X, and the second and the subject of this review is Powers of X; they are being published biweekly on an alternating schedule.  Powers of X is written by written Jonathan Hickman; drawn by R.B. Silva (pencils) and Silva and Adriana Di Benedetto (inks); colored by Marte Gracia; and lettered by Clayton Cowles.

Powers of X #1 (“The Last Dream of Professor X”) takes place in four time periods.  The title, “Powers of X,” means “Powers of Ten” – 1; 10 x 1 is 10; 10 x 10 is 100; 10 x 100 is 1000.

X0 is The X-Men, Year One, “The Dream.” X1 is The X-Men, Year Ten, “The World.”  X2 is The X-Men, Year One Hundred, “The War.”  X3 is The X-Men, Year One Thousand, “Ascension.”

In X0, Charles Xavier meets Moira MacTaggert, who has a history to share with Xavier.  In X1, on the mutant sanctuary homeland of Krakoa, Professor X obtains the data Mystique and Sabertooth stole (as seen in House of X #1).  In X2, Rasputin and Cardinal find their teammate, Cylobel, in trouble, so Rasputin launches a one-woman rescue operation to keep her friend from falling into the clutches of Nimrod.  In X3, humanity, mutant-kind, who is left?

That Powers of X #1 takes place in four time periods is not confusing.  That each time period can only tease the story to come is irritating.  I found writer Jonathan Hickman's work in House of X #1 quite intriguing, and I find his offerings in Powers of X #1 intriguing, but a less satisfying read than House of X #1.

The work of colorist Marte Gracia and letterer Clayton Cowles turns out to be just as stellar in Powers of X #1 as it was in the first issue of House of X.  The art of R.B. Silva and Adriano Di Benedetto, with its clear storytelling, is pretty, especially the illustrations for the last two chapters.  When combined with Gracia colors, Silva and Di Benedetto's Powers of X art is flat-out gorgeous.

So I assume the second issue will justify Hickman's approach to Powers of X #1.  I know, however, that good ideas for stories can lose their luster because of poor execution in the storytelling.  We'll see.

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 syndication rights and fees.


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Review: HOUSE OF X #1

HOUSE OF X No. 1
MARVEL COMICS – @Marvel

[This review was originally posted on Patreon.]

STORY: Jonathan Hickman
ART: Pepe Larraz
COLORS: Marte Gracia
LETTERS: VC's Clayton Cowles
EDITOR: Jordan D. White
EiC: Akria Yoshida a.k.a. “C.B. Cebuski”
COVER: Pepe Larraz with Marte Gracia
VARIANT COVER ARTISTS: Mark Brooks; Marco Checchetto; John Tyler Christopher; Dave Cockrum with Jesus Aburtov; Mike Huddleston; Joe Madureira with Peter Steigerwald; Phil Noto; Sara Pichelli with Dean White; Humberto Ramos with Edgar Delgado; Skottie Young
56pp, Color, $5.99 U.S. (September 2019)

Rated T+

The X-Men created by Stan Lee and Jack Kirby

“The House That Xavier Built”

The X-Men are a Marvel Comics superhero team created by editor Stan Lee and artist Jack Kirby.  The X-Men debuted in the comic book, The X-Men #1 (cover dated: September 1963), and the focus of that comic book was Professor Charles Xavier a/k/a “Professor X” and his small circle of students.  Each student had a unique power or ability granted to them because each student was a mutant, and each had a code name.  The students were Scott Summers (Cyclops), Jean Grey (Marvel Girl), Warren Worthington III (Angel), Henry “Hank” McCoy (Beast), and Bobby Drake (Iceman).

From time to time, the X-Men concept is changed in some way via a relaunch or revamp.  The most famous was the debut of the “new X-Men” in Giant-Size X-Men #1 (cover dated: May 1975).  Once consistently among the bestselling comic books in the United States (and often the bestselling comic book), the X-Men have fallen on hard times, especially over the last decade.  Part of the problem is that the editorial powers that be at Marvel Comics have spent much of the last two decades revamping, relaunching, remaking the X-Men, and especially involving the X-Men line of comic books in ultimately pointless title crossover events.

However, fans and readers have hope for this new X-Men thing.  The latest remodeling comes via a pair of six-issue miniseries, House of X and Powers of X, published biweekly on an alternating schedule.  The first to debut is House of X.  It is written by written Jonathan Hickman; drawn by Pepe Larraz; colored by Marte Gracia; and lettered by Clayton Cowles.

House of X #1 (“The House That Xavier Built”) opens on a world that has changed.  In the last half year, Professor Charles Xavier (a.k.a. “Professor X”) has been rolling out his master plan for mutant-kind.  Xavier wants to bring mutants out of the shadow of mankind and into the light once more.  On the island of Krakoa is a home for mutants only, a place where they can be safe.

As a gift to the ever-suspicious humanity, Xavier is offering miracle pharmaceuticals.  However, seeing Armageddon in this new world order, a secret organization of humans has activated the “Orchis protocols.”  Plus, the activities of Sabertooth and Mystique earn the attention of the Fantastic Four, and this issue story also stars Magneto, Cyclops, and Jean Grey to name a few.

“Did you honestly think we were going to sit around and take it forever?” is what Cyclops asks the Invisible Woman during a standoff between the X-Man and the Fantastic Four.  Fight the power, indeed, but this first chapter of House of X is as much about evolution as it is about self-defense.  In Jonathan Hickman's radical revamp of Marvel's X-Men franchise, the mutants of the Marvel Universe have more than a sanctuary; they have a home.  Apparently, they are going to spend their time in their new home being great and striving for greater – socially and scientifically, and that is making humans, especially certain human interests, suspicious and preparing for war.

I don't know where Hickman is taking Marvel's X-Men line, but, in House of X #1, he has created the kind of first issue that makes readers so curious that they just have to come back for more.  At the local comic shop I visit, all issues of House of X and Powers of X have been sellouts.

In this first issue, the art by Pepe Larraz is pretty, but the graphical storytelling does not come across as being as striking and as radical as Hickman's script is.  However, Marte Gracia's coloring is a glorious display, and Clayton Cowles' lettering keeps the shifting ground of House of X #1's story and book design coherent.

Will House of X #1 be a seminal moment in the history of X-Men comic books?  We will see, but it is a must-read for anyone who has ever been a fan of X-Men comic books.

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: SHURI #1

SHURI No. 1
MARVEL COMICS – @Marvel

[This review was originally posted on Patreon.]

STORY: Nnedi Okorafor
ART: Leonardo Romero
COLORS: Jordie Bellaire
LETTERS: VC's Joe Sabino
EDITOR: Wil Moss
EDITOR-IN-CHIEF: Akira Yoshida
COVER: Sam Spratt
VARIANT COVER ARTIST: Travis Charest; Jamal Campbell; Skottie Young; John Tyler Christopher; Carlos Pacheco; Rafael Fonteriz with Laura Martin
28pp, Color, $3.99 U.S. (December 2018)

Rated “T”

Black Panther created by Jack Kirby and Stan Lee; Shuri created by Reginald Hudlin and John Romita, Jr.; Dora Milaje created by Christopher Priest and Mark Texeira

“Gone”

Shuri is a Marvel Comics superhero character.  She was created by writer Reginald Hudlin and artist John Romita Jr. and first appeared in Black Panther (Vol. 4) #2 (cover dated:  May 2005).  Shuri is a princess of the (fictional) African kingdom of Wakanda and is the daughter of the late king, T'Chaka.  Shuri is best known as the sister of T'Challa, the king of Wakanda and the Black Panther.

Shuri has a genius level intellect which matches that of her brother, T’Challa, and she has also once replaced him in the role of the Black Panther.  Shuri gained additional fame when she appeared in Marvel Studio's record-setting film, Black Panther (2018), portrayed by actress, Letitia Wright.

Shuri now has her own comic book series in the obviously titled Shuri.  It is written by author Nnedi Okorafor; drawn by Leonardo Romero; colored by Jordie Bellaire; and lettered by Joe Sabino.

Shuri #1 (“Gone”) opens as Shuri directs the mission that will send Black Panther and the mutant, Manifold, into deep space on Wakanda's first human space mission (as seen in the current Black Panther series).  After a few weeks past with no contact from the mission, however, Shuri may find herself taking on an important mantle... again.

It is clear from the beginning that writer Nnedi Okorafor intends to establish Shuri as a both a personality and as a superhero outside of her relationship to T'Challa.  This book will be about Shuri's own identity, goals, motivations, desires, etc., and that is a good thing.  She is an interesting, indeed, even alluring character.

As for the art:  In Sam Spratt, Shuri has a cover artist with a bold, eye-catching style that captures the power and potential and regalia of an African woman who is full.  The interior artist and storyteller, Leonardo Romero, has become something of a Chris Samnee acolyte (if not clone).  Stylistically, Romero's illustrations here suggest a sense of wonder and discovery, as if Shuri was a child, seeing a world of possibility for the first time.  Thus, the storytelling seems a little disconcerting and disconnected to what I think Okorafor intends.

Jordie Bellaire's coloring goes right along with Romero's graphical angle.  Joe Sabino's lettering seems neutral, as if he focuses on merely efficiently finding place for the dialogue.  I am curious to see where Shuri is going, and while I have questions about this title's direction, I do recommend it to Black Panther fans.

7 out of 10

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


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

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

Review: CONAN THE BARBARIAN #1

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

[This review was originally posted on Patreon.]

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

Parental Advisory

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

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

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

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

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

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

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

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

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

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

7 out of 10

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


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

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Review: STAR WARS: Thrawn #1

STAR WARS: THRAWN No. 1 (OF 6)
MARVEL COMICS – @Marvel

[This review was originally posted on Patreon.]

STORY: Jody Houser
ART: Luke Ross
COLORS: Nolan Woodard
LETTERS: VC's Clayton Cowles
COVER: Paul Renaud
VARIANT COVERS: Francesco Mattina; John Tyler Christopher
36pp, Color, $4.99 U.S. (April 2018)

Rated “T”

Based on the novel by Timothy Zahn

Grand Admiral Thrawn is a character in the Star Wars media franchise.  An Imperial military commander, Thrawn was introduced in the 1991 novel, Heir to the Empire, written by Timothy Zahn and also known as the first novel in the “Thrawn trilogy.”  Zahn also wrote a two-novel set known as the “Thrawn duology” that brought the character back, seemingly from the dead.

After the Walt Disney Company bought Lucasfilm, the owner of the Star Wars franchise, Thrawn became a “Star Wars Legends” character – meaning he was not part of Star Wars canon, also known as “official Star Wars lore.”  Thrawn became a cannon character when he appeared in the third season of the animated television series, “Star Wars Rebels” (Disney XD).

Now, Marvel Comics is adapting Timothy Zahn's 2017 novel, Star Wars: Thrawn, as a six-issue miniseries.  Like the novel, the comic book adaptation chronicles the origins of Grand Admiral Thrawn.  The comic book miniseries is written by Jody Houser; drawn by Luke Ross; colored by Nolan Woodard; and lettered by Clayton Cowles.

Star Wars: Thrawn #1 opens in that area of the galaxy that is beyond the “Outer Rim” and that is referred to as “Wild Space.”  Captain Parck of the Imperial Navy leads a squad of Myomar Imperial Academy cadets on a mission to an unnamed planet in Wild Space to search for a possible new alien species.  What they find is a highly-skilled non-human that calls itself “Thrawn.”  Being the only member of the mission who can speak to Thrawn, Cadet Vanto soon finds himself ensnared in Thrawn's surprising Imperial ambitions.

I am not familiar with the original novel of the same name upon which this comic book, Star Wars: Thrawn, is based.  I can say that writer Jody Houser has fashioned an excellent first issue in this adaptation of the novel.  The pacing is excellent, and the dialogue is evocative and detailed in conveying the machinations and personalities of the characters, especially Thrawn.  Houser creates a comic book that is a joy to read and also does not feel like another Star Wars retread.

As always, artist Luke Ross delivers strong compositions and page design.  Ross arranges the panels in a way that allows the story to flow while it presents the characters, plots, and settings in rich detail.  Nolan Woodard's vivid colors, especially the blue and green hues not only make the art sparkly, but also heighten the sense of mystery and danger about Thrawn.

Clayton Cowles' lettering make the story hum with energy and creates a sense that a surprise is coming around every corner on the way to the next panel.  All of this wonderful graphical storytelling simmers underneath another striking example of Paul Renaud's art – the cover illustration for this first issue.

I was merely interested in Star Wars: Thrawn; now I can't wait for the next issue.

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 for reprint and syndication rights and fees.

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Review: X-MEN: Red #1

X-MEN: RED No. 1
MARVEL COMICS – @Marvel

[This review was originally posted on Patreon.]

STORY: Tom Taylor
ART: Mahmud Asrar
COLORS: Ive Svorcina
LETTERS: VC's Cory Petit
COVER: Travis Charest
VARIANT COVER ARTISTS: Mahmud Asrar with Ive Svorcina; John Tyler Christopher; Phil Jimenez; Phil Jimenez with Nolan Woodard; Rob Liefeld; Skottie Young; Pepe Larraz with Edgar Delgado
36pp, Color, $4.99 U.S. (April 2018)

Rated T+

X-Men created by Stan Lee and Jack Kirby

“The Hate Machine” Part 1: “Heal the World”

Last year, Marvel Comics launched a publishing event, entitled “ResurrXion,” in an attempt to shoot new life in its moribund X-Men line of comic books.  This initiative involved the debut of several new X-Men comic book titles, including the color-coded X-Men: Blue and X-Men Gold.

Still trying to pump life into the X-Men, Marvel has launched a new X-Men color-coded comic book, entitled X-Men: Red.  It will feature an X-Men team led by the resurrected, original Jean Grey, also known at times as Marvel Girl and Phoenix/Dark Phoenix.  This new comic book is written by Tom Taylor; drawn by Mahmud Asrar; colored by Ive Svorcina; and lettered by Cory Petit.

X-Men: Red #1 (“Heal the World”) opens with Heather, a young mutant, being hounded by a mob of neighbors who want to kill her because she is a mutant.  Her rescuers are Jean Grey, Nightcrawler, Gentle, Namor, Trinary, Honey Badger, and Wolverine (Laura Kinney).  Two months earlier, Jean Grey, newly brought back to life, decides that in order to protect mutants from a world that still hates them, she will need to find a way to protect the entire world.  Of course, not everyone wants that.

Once upon a time, someone who thought they were being smart “man-splained” to me that corporations existed to provide goods and services.  I didn't say anything at the time, but I firmly believed that many corporations, if not most, existed first and foremost to make money for their major stockholders and chief executives, officers, and/or managers.  That includes corporations that own comic book publishers like Marvel Comics.

I imagine that in the early 1980s, the people that called the shots noticed how popular the Marvel Comics title, Uncanny X-Men, had become with readers and how its story of a band of mutants who fought for a world that hated and feared them really resonated with fans.  That love had turned Uncanny X-Men into the top-selling comic book, at least in North America.  So why make a lot of money from just one X-Men comic book title when Marvel could make a even more money with more X-Men publications?

First it was one graphic novel... or two, and then, an X-Men spin-off series and a miniseries featuring the most popular X-Men character (Wolverine).  What started as a few X-Men and X-Men-related spin-offs became a trickle, then a stream, and the stream became a deluge.  I think Marvel officially started ruining the X-Men, not when it became a franchise, but specifically when that franchise launched the comic book, X-Factor (cover dated: February 1986).

In the three decades plus since the debut of X-Factor #1, there have been many quality X-Men publications, but most X-Men comic books have been, to be generous, average at best.  The X-Men went from being something special into nothing more than a cynically exploited cash cow for whatever money-grubbing corporation or CEO that owned Marvel Comics at any given time.

Writer Tom Taylor tries to recall the halcyon pre-X-Factor days of Uncanny X-Men in X-Men: Red.  Writer Marc Guggenheim tries to recall the storytelling of the classic X-Men scribe, Chris Claremont (who is arguably still the best X-Men comic book writer ever) with X-Men: Gold, but the results are mixed.  I feel like being cynical and saying that it is too late to make X-Men great again, but Taylor seems to be on to something here.  I would like to see where this goes.

I do think that artist Mahmud Asrar is already delivering excellent work.  I don't need to wait and see with Asrar; I am already declaring his art and graphical storytelling here a winner.  I think Asrar's illustrations, which are beautifully colored by Ive Svorcina, make this issue's story, “Heal the World,” seem as if it is indeed part of a promising larger story.  I have considered Asrar a star-creator in the making since I first saw his art in The New 52 title, Supergirl (2011).

So I see red, X-Men: Red that is.  I will keep reading as long as Taylor and Asrar are making something that seems special like the Uncanny X-Men at its speak from mid-1970s to the mid-1980s.

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 reprint and syndication rights and fees.

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Review: MOON KNIGHT #188

MOON KNIGHT No. 188
MARVEL COMICS – @Marvel

[This review was originally posted on Patreon.]

STORY: Max Bemis
ART: Jacen Burrows
COLORS: Mat Lopes
LETTERS: VC's Cory Petit
COVER: Jacen Burrows and Mat Lopes
VARIANT COVERS: John Tyler Christopher; Daniel Warren Johnson with Mike Spicer; Bill Sienkiewicz (based on his cover for Moon Knight #25)
36pp, Color, $3.99 U.S. (January 2018)

Rated  “T+”

Moon Knight created by Doug Moench and Don Perlin

Moon Knight is a Marvel Comics superhero character.  Created by writer Doug Moench and artist Don Perlin, Moon Knight first appeared in Werewolf by Night #32 (cover dated: August 1975) and is Marvel's version of Batman (at least, some think so).  Moon Knight is Marc Spector, an American-born mercenary who died in Egypt, under the statue of Khonshu, an ancient Egyptian moon god.

Khonshu appeared to Spector and offered him a second chance at life.  Spector wrapped himself with the silver shroud that covered Khonshu’s statue, turning it into a silver cloaked costume, becoming the Moon Knight.  A superb athlete and master of martial arts and hand-to-hand combat, Spector is also a skilled acrobat, gymnast, detective, marksman, and is an aviator who uses both traditional and sophisticated weaponry.

With the Marvel “Legacy” initiative, Moon Knight gets a “Legacy” number change, so instead of a new Moon Knight #1, we get Moon Knight #188.  This issue also sees the start of a new creative team:  writer Max Bemis; artist by Jacen Burrows; colorist by Mat Lopes; and letterer by Cory Petit.

Moon Knight #188 opens in Ravencroft Asylum where Dr. Emmett is involved with Patient 86.  He is a pyromaniac(?) and killed some number of people while in the military.  Marc Spector was also a patient of Dr. Emmett's, and there may be a connection between her old and new patients.

After reading this comic book, you can enjoy the afterword written by Max Bemis and Jacen Burrows.  Both seem quite confident that they are going to deliver something exciting and unique in their run on Moon Knight, and I am willing to believe them.  I think the creative team of Warren Ellis and Declan Shalvey on Moon Knight from 2014 showed that the character can be a truly unique in comic book stories that defy the usual.

Bemis and Burrows seem determined to launch their run from the spirit of possibilities Ellis and Shalvey offered.  Bemis is new to me, but I am familiar from Burrows for his time with Avatar Press.  Over a decade I ago, I thought that he had potential, and he is showing that now.  Also, Mat Lopes gorgeous coloring surprisingly makes this a good looking comic book, which in turn makes the creepiness of this story even creepier.  Yes, I already have issue #189, and I am recommending this “Legacy” Moon Knight to Moon Knight fans.

[This comic book includes a three-page “Marvel Primer” origin-overview story about Moon Knight, written by Robbie Thompson; drawn by German Peralta; colored by Rachelle Rosenberg; and lettered by VC's Cory Petit.]

7.5 out of 10

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


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

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Review: NICK FURY #1

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

[This review was originally posted on Patreon.]

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

Rated “T+”

“The Sky High Caper”

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

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

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

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

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

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

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

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

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


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

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

Review: BLACK PANTHER AND THE CREW #1

BLACK PANTHER AND THE CREW No. 1 (2017)
MARVEL COMICS – @Marvel

[This review was originally posted on Patreon.]

WRITER: Ta-Nehisi Coates
PENCILS: Butch Guice
INKS: Scott Hanna
COLORS: Dan Brown
LETTERS: VC's Joe Sabino
COVER: John Cassaday with Laura Martin
VARIANT COVERS: Rich Buckler; Jim Cheung with Jason Keith; John Tyler Christopher; Tom Palmer with Rachelle Rosenberg; Damian Scott with John Rauch
28pp, Color, $3.99 U.S. (June 2017)

Black Panther created by Stan Lee and Jack Kirby

Rated “T+”

“We are the Streets” Part 1 “Double Consciousness”

Although it was only published for seven issues in 2003, the comic book, The Crew, is apparently fondly remembered by some readers (myself among them) and comic book writers.  Written by Christopher Priest and drawn by Joe Bennett, The Crew featured four hardened heroes who band together to fight for an impoverished neighborhood.

The Crew is the inspiration for the latest expansion of Marvel Comics' Black Panther line of comic books, Black Panther and The Crew.  This new series is written Ta-Nehisi Coates; drawn by Butch Guice (pencils) and Scott Hanna (inks); colored by Dan Brown; and lettered by Joe Sabino.

Black Panther and The Crew #1 (“Double Consciousness”) opens in The Bronx in 1957 with a tale of Ezra Keith and his “crew.”  The story moves to present day Harlem for the funeral of Ezra, who was killed while in police custody.  Ezra's family has asked Misty Knight to investigate, but Knight is conflicted because of her ties to law enforcement.  However, Misty is forced to admit that something is officially wrong and unites with the X-Men's Storm to fight the forces arrayed against her.

Apparently, writer Yona Harvey will script every other issue of this series, which means she will write Black Panther and The Crew #2 with Ta-Nehisi Coates returning for the third issue.  I hope Harvey is as good as Coates is on this first issue, and I'm saying that considering that I did not expect much from the first issue.  But I'm impressed and look forward to more.

Black Panther and The Crew #1 reads like one of those crime comic books published by DC Comics' Vertigo imprint or Image Comics and written by someone like Ed Brubaker or Brian Azzarello.  Coates offers a sharply written urban drama that is complicated about complex matters.  Black people vs. cops – it is not so clear cut simply because there are so many players and groups of players involved with their own goals and motivations.

I like Butch Guice's pencil art; it is his storytelling that realizes Coates' script as a multi-layered, street-level superhero drama.  I have always thought that Guice's talent was underutilized, but here he gets to show the scope of his graphical storytelling abilities.  I highly recommend trying at least the first issue of Black Panther and The Crew.

A

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


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

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Review: STAR WARS: Rogue One Adaptation #1

STAR WARS: ROGUE ONE ADAPTATION No. 1
MARVEL COMICS – @Marvel

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

WRITER: Jody Houser (based on the screenplay by Chris Weitz and Tony Gilroy and the story by John Knoll and Gary Whitta)
ART: Emilio Laiso and Oscar Bazaldua
COLORS: Rachelle Rosenberg
LETTERS: VC's Clayton Cowles
COVER: Phil Noto
VARIANT COVERS: John Tyler Christopher; Terry Dodson; Mike Mayhew; Joe Quinones
36pp, Color, $4.99 U.S. (June 2017)

Rated “T”

Afterword by Gareth Edwards, Rogue One: A Star Wars Story

Released in December 2016, Rogue One: A Star Wars Story is the eighth live-action Star Wars film.  It is also the first Star Wars film not to directly focus on the main story line of the previous films, which is the struggle for the fate of the galaxy involving the Skywalker family and the Jedi against the Sith and the Galactic Empire or its antecedents and descendants.

Rogue One is a stand-alone film that is set immediately before the events depicted in the original Star Wars (1977).  The Galactic Empire grows ever more powerful, but a determined rebellion against the Empire continues to gain strength.  Rogue One tells the story of how a small band of rebels obtained the data and classified information that caused an Imperial Star Destroyer to accost a small Rebel cruiser at the beginning of the film now known as Star Wars: Episode IV – A New Hope.

Marvel Comics just began publishing its comic book adaptation of Rogue One with the release of Star Wars: Rogue One Adaptation.  It is written by Jody Houser; drawn by Emilio Laiso and Oscar Bazaldua; colored by Rachelle Rosenberg; and lettered by Clayton Cowles.

Star Wars: Rogue One Adaptation #1 opens 15 years before the main story and reveals how the Empire forced the scientist Galen Erso back into Imperial service.  Fifteen years later, the Rebel Alliance has learned that Erso is the key figure in creating a “planet killing” machine for the Empire.  That information comes from Bodhi Rook, a Imperial cargo pilot who has defected from service to the Empire.  Now, Rook is in the hands of rebel extremist, Saw Gerrera, and only Galen Erso's daughter, Jyn Erso (also known as “Liana Hallick), can help the rebellion find and negotiate with Gerrera for the release of Rook.  Can the leaders of the rebellion convince Jyn, a career criminal to help them?

Writing this review, I suddenly realize how much someone has to know in order to fully enjoy Rogue One: A Star Wars Story.  I don't know if someone who knows little or nothing about four decades of Star Wars films can fully understand Rogue One because I cannot be in their position.  I can't unlearn the Star Wars data, characters, and story that I have absorbed over four decades of loving Star Wars.  I guess anyone could enjoy Rogue One if he or she understands the basic premise; fully understanding and/or appreciating Rogue One's context in a larger “world of Star Wars” is another thing.

Like Marvel Comics' comic book adaptation of the 2015 film, Star Wars: the Force Awakens, their comic book adaptation, Star Wars: Rogue One Adaptation is a nice way to experience the story again.  This is not a great comic book, but it is good, and I found myself enjoying it because I really enjoyed the Rogue One film.  I need to read at least one more issue to see if this comic book can close to capturing the subtlety, mood, and intense drama of the movie.

Despite what Rogue One film director Gareth Edwards says about artist Emilio Laiso in his afterword to this first issue, Laiso's art is nice, but not beautiful.  Laiso's compositions do not result in high drama, and Rachelle Rosenberg's colors are too flat, but everything could improve in later issues.

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


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

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