#IReadsYou Review: BATTLE CHASERS ANTHOLOGY

BATTLE CHASERS ANTHOLOGY

IMAGE COMICS

STORY: Joe Madureira and Munier Sharrieff

PENCILS: Joe Madureira; Adam Warren

INKS: Tom McWeeney with Joe Madureira; Adam Warren

COLORS: Liquid!; Christian Lightner; Aron Lusen; Ryan Kinnaird

LETTERS: Richard Starkings & Comicraft

COVER: Joe Madureira with Grace Liu

ISBN:  978-1-5343-1522-8; paperback (September 25, 2019)

32pp, Colors, 24.99 U.S.

Rated “T/ Teen”

Battle Chasers created by Joe Madureira

Battle Chasers is an American fantasy comic book series created by artist Joe Madureira.  Launched in April 1998, the series was sporadically published for nine issues over a period of a little over three years.  Battle Chasers #1 to #4 (cover dated: April to October 1998) were published by Image Comics' studio, Wildstorm Productions, via its “Cliffhanger” imprint.  Issues #5 to 8 (cover dated: May 1999 to 2001) were published by DC Comics via Wildstorm Productions and its “Cliffhanger” imprint.  The series returned to Image Comics for Battle Chasers #9 (cover dated: September 2001).  Although there was some art produced for a Battle Chasers #10, the issue was never published.

Well, Battle Chasers #10 finally arrives June 14th, 2023 (at least 21 years late) albeit with new series artist.  So I decided to go back and reread the original run, and there is a handy way to do that.

Battle Chasers Anthology, originally published in September 2019, collects every Battle Chasers comics story.  That includes Battle Chasers #1 to 9; the eight-page story from Battle Chasers Prelude (cover dated: February 1998); the 10-page story published in Frank Frazetta Fantasy Illustrated (cover dated: Summer 1998); and the Joe Madureira-Adam Warren “Red Monika: Interlude” serial, which was originally published in Battle Chasers #6 and #9.

[This volumes also includes a 21-page sketchbook section; a 10-page pin-up and illustration gallery; and 27-page cover art gallery.]

Battle Chasers takes place in a “steampunk” nineteenth century-type fantasy world.  It focuses on five main characters.  The first is Gully, a ten-year-old girl who possesses a pair of magical gloves left behind by her father, the great warrior, Aramus, who disappeared.  Next is Garrison, a legendary swordsman and grieving widow; he has a powerful magical sword.  Knolan is a powerful 500-year-old wizard.  His companion is Calibretto, a towering “Wargolem,” who is also an outlaw and the last of his kind.

The four join forces to find Gully's father.  They must also stop four extremely powerful villains that were inadvertently released from imprisonment by the fifth main character, Red Monika, a rogue and a voluptuous bounty hunter.  Meanwhile, the legacy of Aramus, the machinations of King Vaneer of the Unified Territories, and the secrets of Knolan begin to poison everything and everyone around them.

THE LOWDOWN:  I was a huge fan of Joe Madureira a.k.a. “Joe Mad” in the 1990s.  I used to call him “the young master” because his talent, abilities, and art seemed to explode every few months into something even better and more beautiful.  I even collected multiple pages of Joe Mad's original art.

So I was ecstatic when his first creator-owned comic book, Battle Chasers, was announced in 1997.  I was so excited about Battle Chasers when it arrived in the spring of 1998 that I also bought one of the variant covers.  I enjoyed the series, but it was a bit hard to follow because … well, because Mad took two and a half years to deliver nine issues.  For instance, there was a 16-month delay between the publication of Battle Chasers #6 (August 1999, DC Comics) and #7 (January 2001, DC Comics).

In the end, Joe Mad abandoned the series to work in the video game industry and went on to co-found a video game company.  Eventually, he did return to Battle Chasers, and Battle Chasers Anthology was published in 2019.

It is through Battle Chasers Anthology that a reader can see how imaginative, inventive, and fun to read Battle Chasers was and is.  Having the series gathered in one book allows a reader to enjoy the series without waiting months or a year-and-half to read each chapter.  The story flows, so the overall narrative comes across as impressive and well-thought out, and except for some wonky names for people, places, and beings and some awkward dialogue, the script writing by Munier Sharrieff is really good.  Engaging plots, interesting character, and surprising cliffhangers make this an exciting and gripping read.  Battle Chasers is a wild gumbo of video games scenarios, Dungeons & Dragons, and anime and manga.  Still, it is original rather than being a pastiche, although on the surface, it might appear to be as such.

To that end, along with the end of his run on Marvel Comics' Uncanny X-Men, Battle Chasers is peak Joe Mad art.  His creature design for this series is still impressive, and there was nothing like it, at least in American comic books, back then.  Battle Chasers' character design is also quite good, simply because none of the lead characters or main supporting and guests character look remotely alike.

Like Tim Townsend did when he inked Joe Mad, Tom McWeeney uses his inks to control the wild energy and eccentricity that showed itself in Mad's comic book art after he left Battle Chasers.  In the 1990s, I thought that there were no better comic book colorists than Liquid Graphics a.k.a. Liquid!  Twenty years later, the studio's work on this comic book still looks amazing.  Even the lettering by Richard Starkings & Comicraft stands out as exceptional – even today.  I'm starting to believe that, in spite of their lateness, Battle Chasers and the other two original Cliffhanger titles were not only peak 1990s mainstream comic books but also a peak in mainstream comic books in general.

I wanted to read Battle Chasers Anthology just in case I decided to read the finally arrived Battle Chasers #10 (Image Comics).  I enjoyed this collection so much that I feel that I have to at least read this new issue.

I READS YOU RECOMMENDS:  Fans of artist Joe Madureira and of his former comic book series, Battle Chasers, will want Battle Chasers Anthology.

A

[This volume includes an introduction by Jeph Loeb and an afterword by Joe Madureira.]

[MISC ART: Joe Madureira; Joe Madureira and Tom McWeeney with Liquid!, Joe Maduriera and Alex Garner; Joe Madureira and Vince Russell; Joe Madureira and Richard Starkings; Ed McGuiness and Liquid!; David Finch and Liquid!; Travis Charest and Richard Friend; Ed McGuiness and Jason Martin with Justin Ponsor; Travis Charest and Richard Friend with Liquid!; Joe Chiodo; Adam Warren with Liquid!; Humberto Ramos and Sandra Hope with Liquid!; J. Scott Campbell and Richard Friend with Liquid!.]

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

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#IReadsYou Review: UNCANNY INHUMANS #1

UNCANNY INHUMANS #1
MARVEL COMICS – @Marvel

[This review was originally posted on Patreon.]

WRITER: Charles Soule
PENCILS: Steve McNiven; Brandon Peterson
INKS: Jay Leisten; Brandon Peterson
COLORS: Sunny Cho; Nolan Woodard
LETTERS: VC's Clayton Cowles
COVER: Steve McNiven and Jay Leisten with Justin Ponsor
VARIANT COVERS: Jim Cheung with Justin Ponsor; Art Adams with Richard Isanove; Art Adams (Kirby Monster Variant); Skottie Young; Adi Granov; Damien Scott (Hop Hop variant); Kalel Sean costumed by Brian A. Parsley and photographed by Judy Stephens (cosplay variant)
40pp, Color, $4.99 U.S. (December 2015)

Rated T+

Inhumans created by Stan Lee and Jack Kirby

The Inhumans are a race of super-humans in Marvel Comics.  Created by Jack Kirby and Stan Lee, they first appeared in Fantastic Four #45 (cover dated: December 1965).  The Inhumans 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) reveals if a person is an Inhuman.

Little more than a B-list character group, the Inhumans are in ascendancy in the Marvel Universe, especially over the last four years.  In 2013, Marvel even launched a new comic book series, entitled Inhuman.  The launch of the “All-New, All-Different Marvel” sees the Inhumans continuing to rise to prominence.  The latest Inhuman comic book series is Uncanny Inhumans.  This series is written by Charles Soule; drawn by Steve McNiven (pencils) and Jay Leisten (inks), colored by Sunny Cho; and lettered by Clayton Cowles.

Uncanny Inhumans #1 opens the series with several sub-plots.  It is dough boys and dinosaurs when Triton and Reader (and his dog Forey) join Black Bolt in a time-traveling mission.  This trip, however, breaks a deal Black Bolt made with Kang the Conqueror, and the latter strikes back.  Also, Medusa and a group of new Inhumans (NuHumans) are engaged in a Central Park battle against the Chitauri.

Later, Medusa looks to the X-Man, Beast, to use his scientific knowledge to end the friction between mutants and Inhumans.  Plus, a visit from the Human Torch exacerbates marital discord.  Plus, in a bonus story, Frank, Flint, and Naja travel to Morocco to recover a lost Inhuman.

For a long time now, first issues of comic books that work on a five or six issue story arc are little more than introductions to the story and characters.  They are also often infuriatingly vague.  That is not the case with Uncanny Inhumans.  Writer Charles Soule has a way of making practically every page not only satisfying to read, but also intriguing enough to encourage the readers to come back for more.

The drama is convincing, and Soule gives the characters interesting personalities and/or engaging individual melodramas.  Medusa/Beast: I want more of that.  Black Bolt: it's all good.  I am not ashamed to say that Soule makes me feel like a fanboy about the titles he writers.

Of course, he has a great art team.  Steve McNiven has mastered making style work as high drama.  McNiven pencils are a series of flourishes and bells-and-whistles that come together to convey character, setting, plot, and drama.  In the back-up story, artist Brandon Peterson does something similar, but I'm not going to play that game of who is better – McNiven or Peterson.  I must admit, however, that I prefer Nolan Woodard's beautiful colors for Peterson's art, although I am not slighting Sunny Cho's excellent hues on the main story.

I'm ready for more Uncanny Inhumans, and if you listen to my recommendation and buy Uncanny Inhumans #1, you will be ready for more, also.

A-

Reviewed by Leroy Douesseaux 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: 2016 SPIDER-MAN #1 Was a Strong Debut

SPIDER-MAN No. 1 (2016)
MARVEL COMICS – @Marvel

[This review was originally posted on Patreon.]

WRITER: Brian Michael Bendis
PENCILS: Sara Pichelli
INKS: Sara Pichelli with Gaetano Carlucci
COLORS: Justin Ponsor
LETTERS: VC’s Cory Petit
COVER: Sara Pichelli and Justin Ponsor
VARIANT COVERS: Mark Bagley and Dexter Vines with Andrew Crossley; Michael Cho; Skottie Young; Adi Granov (Hip-Hop variant)
28pp, Color, $3.99 U.S. (2016)

Rated T

In 2011, Marvel Comics and writer Brian Michael Bendis introduced a Black, Brooklyn teenager as the new Spider-Man.  Specifically, Miles Morales, of African-American and Latino heritage, was the new Ultimate Spider-Man, the friendly neighborhood wall-crawler and web-slinger of Marvel’s Ultimate line of comics (or universe).

Miles has starred in two comic books series, Ultimate Spider-Man (or Ultimate Comics: Spider-Man) and Miles Morales: Ultimate Spider-Man.  As part of the All-New, All-Different Marvel, Miles gets a new comic book series, simply entitled Spider-Man.  It is written by Brian Michael Bendis; drawn by Sara Pichelli; colored by Justin Ponsor; and lettered by Cory Petit.

Spider-Man #1 opens with Spider-Man facing Blackheart – “Son of Mephisto” and “Prince of the Underworlds.”  Let's go back a bit.  At Brooklyn Visions Academy, Miles has failed with Julie, the gorgeous girl he wants to date.  He is also failing in school, which angers his mother (!), but does not really concern his father.  Back to Blackheart, who has killed several Avengers, so what's going on?

I really missed Sara Pichelli when she was not the artist on Miles Morales: Ultimate Spider-Man, although David Marquez, the artist on that series, was quite good.  Still, only three pages into Spider-Man #1, and I was reminded of why Pichelli and colorist Justin Ponsor are such a damn good art team.

As for Brian Michael Bendis: the teen Spidey drama is as good as always; there aren't many pages of it, but Bendis does character drama in superhero comics better than it has ever been done – ever.  The action around Blackheart is hugely intriguing, so I have no complaints, just the need for more.

Of course, I am recommending this...

A

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


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

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#IReadsYou Review: KARNAK #1

KARNAK No. 1
MARVEL COMICS – @Marvel

[This review was originally posted on Patreon.]

WRITER: Warren Ellis
ART: Gerardo Zaffino
COLORS: Dan Brown
LETTERS: VC's Clayton Cowles
COVER: David Aja
VARIANT COVERS:  Gerardo Zaffino; Jim Cheung with Justin Ponsor; Skottie Young; Eric Powell (Monster variant) Kaare Andrews (Hop Hop variant)
28pp, Color, $3.99 U.S. (December 2015)

Rated T+

Karnak created by Stan Lee and Jack Kirby

“The Flaw in All Things” Part 1

Karnak is a Marvel Comics character that is part of the super-human race known as the Inhumans.  Karnak was created by Stan Lee and Jack Kirby and debuted in Fantastic Four #45 (cover dated: December 1965), the same issue in which the Inhumans first appeared.

Unlike most Inhumans, Karnak was not exposed to the Terrigen Mists.  Because he did not undergo Terrigenesis, he did not develop additional powers like other Inhumans.  A martial artist, Karnak can find the weakness or the flaw in anything (people, ideas, objects, philosophies, structures, and systems).  Using his training and strength, Karnak exploits his talents and can turn a weakness into a weapon.

Marvel Comics is apparently expanding the profile of the Inhumans even more, and that includes launching Inhuman solo titles.  The first one is Karnak, which is written by Warren Ellis; drawn by Gerardo Zaffino; colored by Dan Brown; and lettered by Clayton Cowles.  [Of note:  due to unforeseen circumstances, the art team will change in future issues.]

Karnak #1 (“The Flaw in All Things” Part 1) finds Magister Karnak doing his thing at the Tower of Wisdom.  His thing is interrupted when S.H.I.E.L.D. and Agent Coulson come calling for his help and whisk him off to a S.H.I.E.L.D. base in the Arctic.

It seems that William and Sarah Roderick have lost their son, Adam.  He recently underwent Terrigenesis and afterwards, was abducted.  The culprit seems to be I.D.I.C. (International Data Integration and Control), an old splinter group of A.I.M. (Advanced Idea Mechanics), thought to be defunct. Now, Karnak, the baddest philosopher since I-don't-know-who, will find Adam and I.D.I.C.

Karnak is another intriguing series from the mind of Warren Ellis, one of most the imaginative and inventive writers of North American and British comic books.  When I first heard that there was going to be a Karnak comic book, I was all like “Puh-lease!”  However, once I learned that Ellis would be the writer, I was intrigued.

I read Ellis' Karnak as an amalgamation of a fixer, special operative, troubleshooter, and martial artist.  He is the Inhuman blunt instrument, called in when no one can get the job done.  I wonder if Karnak will be a pop comic, full of kick-ass and action swag, while offering up something new in terms of ideas, plots, and settings.

Surprisingly, I am as impressed with the art of Gerardo Zaffino and Dan Brown as I am with Ellis' story-script-concept.  Zaffino's compositions are representational in a moody and impressionistic way, but the art makes for kinetic storytelling – as if the narrative is always urging forward.  The colors are alluring; they are like candy, and I think Brown's hues were the elements that kept drawing me deeper into this first issue.

I heartily recommend Karnak.  Readers looking for the really different in the All-New, All-Different Marvel will want to buy this first issue, even if it means mail order or digital.

A

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


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

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#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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Review: AVENGERS #1 (2018)

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

[This review was originally posted on Patreon.]

STORY: Jason Aaron
PENCILS: Ed McGuinness
INKS: Mark Morales
COLORS: David Curiel
LETTERS: VC's Cory Petit
EDITOR: Tom Brevoort
COVER: Ed McGuinness and Mark Morales with Justin Ponsor
VARIANT COVER ARTISTS: Aaron Kuder with Jason Keith; Greg Land and Jay Leisten with Frank D'Armata; Esad Ribic
40pp, Color, $4.99 U.S. (July 2018)

Rated “T+”

Avengers created by Stan Lee and Jack Kirby

“The Final Host”

In the 1970s and 1980s, Marvel Comics published comic book adaptations of popular and cult science fiction and fantasy films, from the Stars Wars films to movies like Dune (1984) and The Adventures of Buckaroo Banzai Across the 8th Dimension (1984).  Some of them had beautiful art (Al Williamson's killer work on Marvel's The Empire Strikes Back adaptation), but the script adaptations were often weak.  Reading these film to comic book adaptations was like reading storyboards for a film with some of the boards were missing.  That is when you realize the “motion” in motion pictures makes the medium of film not all that related to the medium of comic books with its static or still graphics.

The Avengers #1 that arrived on Wednesday, May 2, 2018 got me to thinking about comic books that try to capture the sound and vision of films.  We see comic book writers trying to write for comic books the kind of big, loud, special-effects driven stories that only films can tell.  Once upon a time, people said that comic book stories that were written like other comic books were bad things.  Now, we have comic books trying too hard to be like films and television.  That is the real problem, and brother, Avengers #1 2018 has many problems.

Marvel Comics is just beginning another relaunch of its comic book line, something called “Fresh Start.”  The venerable publisher is returning to its “Legacy” characters after publishing new versions of those classic characters – new versions that some retards described as “black, homo, and freaking female.”  So enter Avengers #1 2018 (Legacy #691).  It is written by Jason Aaron; drawn by Ed McGuinness (pencils) and Mark Morales (inks); colored by David Curiel; and lettered by Cory Petit.  At the core of this old-is-new Avengers are classic (white male) Tony Stark/Iron Man, classic (white male) Thor, and classic (white male) Steve Rogers/Captain America.

Avengers #1 (Legacy #691) opens on Earth, one million years ago and depicts the Avengers of 1,000,000 BC.  Then it moves to present day Earth, where Thor and Steve Rogers are trying to convince a reluctant Tony Stark that the world needs the Avengers to return, and the Avengers can only return the right way with them – the original Thor, Captain America, and Iron Man.  It may no longer be a matter of choice when cosmic beings start falling to Earth.

It is clear to me that Marvel is trying to make the Avengers 2018 comic book series be as close to Marvel Studios' Avengers movies as possible.  Writer Jason Aaron tries to make it seem like there is a story here and not just action scenes, but there is not much of a story here.  This is the Avengers comic book as a Michael Bay movie – if Bay did a mash-up of his Transformers films and the Avengers films.  Avengers #1 is big, loud silent scream, and Aaron squeezes in a few quiet, faux-character scenes, mostly featuring the She-Hulk and the Ghost Rider, in a failed bid at adding substance.

Marvel Comics' problems are not “diversity characters.”  The main problem is the embrace of event comic books and other publishing stunts that are flash instead of story.  DC Comics got the message, and its 2016 “Rebirth” initiative was a return to an emphasis on story, even when those stories may be average at best.  At least, DC and its creative teams are working at giving readers substance in story, plot, and character.

Maybe another problem is that many of Marvel's best writers have moved on from Marvel.  Most of the really good comic book writers that wrote for Marvel over the last two decades (Mark Millar and Ed Brubaker, for example) are now in Hollywood, at Amazon or Netflix, or are producing comic books for Image Comics.  Marvel is left with writers like Jason Aaron and Cullen Bunn who are inconsistent, writing comic books that are surprisingly good or woefully average.  And in his bid to make an Avengers comic book act like an Avengers movie, Aaron delivers woeful with Avengers #1 2018.

Marvel is also constantly recycling pencil artist Ed McGuinness, but as usual, his drawing style is pleasing to the eye, although McGuinness' art looks like a chibi slash lolicon version of the art of flaky comic book creator, Arthur Adams.  David Curiel's colors over McGuinness and Mark Morales' (inker) illustrations are gorgeous, though.  Of Avengers #1 2018's creative team, Curiel delivers the best work.

In about a year or so, the sales of Avengers 2018 will be less than half of what Avengers #1 2018 is now.  Who will get the blame, then?  Marvel Comics' editorial policy?  Marvel's recycled creative teams?  Scapegoat “diversity characters?”

This is an Avengers comic book trying to be event entertainment, when being a good comic book is all that is necessary to please most comic book readers.  And no, Avengers #1 is not worth its $4.99 cover price.

4 out of 10

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


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

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Review: FANTASTIC FOUR #1 Fascimile Edition

FANTASTIC FOUR #1 FACSIMILE EDITION (2018)
MARVEL COMICS – @Marvel

[This review was originally posted on Patreon.]

WRITER: Stan Lee
PENCILS: Jack Kirby
INKS: George Klein (?); Sol Brodsky (?)
COLORS: Stan Goldberg
LETTERS: Artie Simek
EDITOR: Mark D. Beazley (collection editor)
COVER: Jack Kirby and George Klein with Stan Goldberg (?)
MISC. ART: John Buscema and Joe Sinnott; John Byrne and Terry Austin; John Byrne; Alex Ross; John Byrne with Gregory Wright; Scott Eaton with Richard Isanove; Eric Powell; Clayton Crain; Marcelo DiChiara; Ed McGuinness and Dexter Vines; Michael Wm Kaluta; Leinil Francis Yu; Arthur Adams with Justin Ponsor; Humberto Ramos with Edgar Delgado; Jack Kirby and George Klein with Dean White
48pp, Color, $3.99 U.S. (October 2018)

Fantastic Four created by Jack Kirby and Stan Lee

Afterword by Dan Slott

“The Fantastic Four!”

The Fantastic Four #1 (cover dated: November 1961) is the comic book that basically started what we know of today as Marvel Comics and the “Marvel Universe” of superheroes, comic books, stories, and fictional mythologies.  This comic book only credits two of the creative team, Fantastic Four creators, Stan Lee and Jack Kirby.  Lee wrote a two-page plot that Kirby drew, via pencil art, as a 25-page comic book story.  Lee, credited as the scriptwriter, wrote the exposition and dialogue for the 25 pages.  You can experience this history in Marvel Comics' recent release, Fantastic Four #1 Facsimile Edition.

Because comic books then did not provide contributor credits as they do today, there is some question as to the rest of the creative team of this first issue of The Fantastic Four (also known as “FF”).  George Klein and possibly Sol Brodsky provided inks over Kirby's pencils.  Stan Goldberg was the colorist, and Artie Simek was this comic book's letterer.

The Fantastic Four #1 (“The Fantastic Four!) opens in the FF's original home, Central City.  The ordinary citizens are in an uproar, as above them, someone has fired a flare gun that has unleashed a huge smoke cloud.  Like a silent beacon, the smoke is emblazoned with the words, “THE FANTASTIC FOUR!”  What does it all mean, the citizens of Central City wonder?

The one who fired the gun is Reed Richards a.k.a. “Mister Fantastic,” a scientific genius, who can stretch his body to incredible lengths and into endless shapes.  He is calling Susan “Sue” Storm a.k.a. “the Invisible Girl,” who can make herself invisible.  The call also goes out to Johnny Storm a.k.a. “the Human Torch,” Sue's younger brother, who can ignite his body with flames, generate more flames, and use the flames to give him the power of flight.  The final cast member is Ben Grimm a.k.a. “the Thing,” whose flesh has been turned stone-like, giving him tremendous superhuman strength, durability, and endurance.  Richards is the leader of this mysterious group, The Fantastic Four.  On the day of Reed's signal call, the team must save the planet from a strange underworld menace, and the world will never be the same.

The Fantastic Four, of course, is now simply known as Fantastic Four, a fantastic name either way one says it.  It is definitely one of the five most important individual issues of a comic book ever published, and there are several reasons why.  The modern language of superhero comic books and to a large extent, the graphical storytelling language of modern comic books is based on Jack Kirby's comic book storytelling, beginning with his illustrations and storytelling in Fantastic Four #1.

However, what I like about Fantastic Four #1 is its unabashed craziness.  Stan Lee does not pretend to be writing science fiction.  This landmark comic book is full of crazy, ridiculous, stupid, hair-brained, wild, weird, wonderful, wacky, surreal, and strange stuff, and sadly, in the intervening years, comic books have tried to become too smart.  It is as if comic books have been trying to make sense of the “wrongness” and “incorrectness” of Fantastic Four in the intervening decades since its release.  Comic books don't need to be literature to be taken seriously.  Comic book writers, artists, colorists, letterers, editors, publishers, etc. create storytelling that cannot be created in other mediums, and it is perfectly fine for the stories to be scientifically and practically non-nonsensical.

Fantastic Four #1 is like a B-movie or monster movie, but only in the most superficial ways.  The imagination and inventiveness unique to comic books is unique to comic books because comic books are not like other mediums.  A couple of times in the text pieces for Fantastic Four #1 Facsimile Edition, the word “crude” is used.  On the surface, the illustrations in this sixty-seven year-old comic book story may appear to be crude, but the graphics and the graphical storytelling are beautiful, almost beyond words.

The combination of imagination, the uniqueness of the comics medium, and the innate weirdness of comic books flowed (and still flows) through what Jack Kirby and Stan Lee created so long ago.  The Fantastic Four #1 is not quaint, charming, or crude; it was a new dawn, and it is still visionary.  I have been reading The Fantastic Four #1 in reprint form, on and off, for over 30 years, and I never stop being excited while reading it.  I really enjoyed Fantastic Four #1 Facsimile Edition.

[This comic book features previously published text pieces by Stan Lee, Tom DeFalco, and Walter Mosley.]


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Review: GENERATIONS: Miles Morales Spider-Man & Peter Parker Spider-Man #1

GENERATIONS: MILES MORALES SPIDER-MAN & PETER PARKER SPIDER-MAN No. 1
MARVEL COMICS – @Marvel

[This review was originally posted on Patreon.]

STORY: Brian Michael Bendis
ART: Ramon Perez
COLORS: Msassyk
LETTERS: VC's Cory Petit
COVER: Ramón Pérez with Msassyk
VARIANT COVERS: Chris Sprouse and Karl Story with Justin Ponsor; Olivier Coipel with Laura Martin
36pp, Color, $4.99 U.S. (November 2017)

Rated T+

Spider-Man created by Stan Lee and Steve Ditko; Miles Morales created by Brian Michael Bendis and Sara Pichelli

“The Spiders”

Generations is an event limited comic book series from Marvel Comics.  It is a planned 10-issue anthology comic, published weekly.  Each issue is written and drawn by a different creative team, and each issue will feature a different team-up of a classic Marvel superhero with his or her modern-day counterpart.  The series is meant to unite the legacy of classic Marvel Comics characters with the next generation of heroes as both move into the future of Marvel Comics storytelling.

The ninth issue (at least by my count) is Generations: Miles Morales Spider-Man & Peter Parker Spider-Man, which brings together two versions of the classic Marvel Comics character, Spider-Man.  The first is the original Spider-Man, Peter Parker, the Amazing Spider-Man, who first appeared in Amazing Fantasy #15 (cover date: August 1962).  The second was once known as the Ultimate Spider-Man; he is Miles Morales who first appeared in Ultimate Fallout #4 (cover dated: August 2011), and who now lives in the Marvel Universe as simply Spider-Man.  This issue of Generations is written by Brian Michael Bendis; drawn by Ramón Pérez; colored by Msassyk; and lettered by Cory Petit.

Generations: Miles Morales Spider-Man & Peter Parker Spider-Man #1 (“The Spiders”) opens with Miles Morales who discovers that he went from where he was to somewhere else.  But where?  He is in the stall of a public restroom, but this isn't just any public restroom.  It's the men's restroom at the college where Peter Parker, the Amazing Spider-Man, is an incoming freshman.

This version of Peter Parker does not know Miles Morales, and Parker is about to face one of the most difficult battles of his life, as his precious Aunt May lies near death.  So Miles asks himself, “Why am I here, now, to witness this time in Peter's life.”

Of late, artist Ramón Pérez is the go-to-guy when Marvel wants to replicate and recall the early Steve Ditko Spider-Man comic books.  Pérez offers his most impressionistic take on Ditko's Spider-Man yet.  I think that this is appropriate as Generations: Miles Morales Spider-Man & Peter Parker Spider-Man #1 is supposed to have a dream-like quality, making it less about plot and setting and more about what is discovered in the story.

Bendis makes this tale Miles' story and the point is that Miles is supposed to learn something from Peter Parker.  What he learns is surprising, and I have to give Bendis credit because initially I did not see a reason for this story; Miles and Peter have team-up quite a bit in the recent past.  So Generations: Miles Morales Spider-Man & Peter Parker Spider-Man #1 is redundant... except, don't call this a team-up.  True insight can be gained!  I won't call this one of the better Generations entries, but it is a novel approach to bringing familiar characters together.

B+
7 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: DEFENDERS #1

DEFENDERS No. 1 (2017)
MARVEL COMICS – @Marvel

[This review was originally posted in Patreon.]

STORY: Brian Michael Bendis
ART: David Marquez
COLORS: Justin Ponsor
LETTERS: VC's Corey Petit
MISC. ART: Michael Gaydos with Matt Hollingworth; Mike Mayhew; Olivier Coipel and Mark Morales with Jose Villarrubia; Jason Latour; Dave Cockrum and Rich Buckler with Paul Mounts; Lenil Francis Yu
COVER: David Marquez with Justin Ponsor
VARIANT COVERS: Jack Kirby, John Verpoorten and Paul Mounts with Joe Frontirre; Ron Lim with Rachelle Rosenberg; David Mack; Alex Maleev; Neal Adams with Paul Mounts; Skottie Young
36pp, Color, $4.99 U.S. (August 2017)

Rated T+

The Defenders is a Marvel Comics superhero team.  The original version of the team first appeared in the comic book, Marvel Feature #1 (cover dated:  December 1971).  The team's original lineup included the characters Doctor Strange, Hulk, and Namor.  Since that time, there have been several versions of the team with differing and fluctuating memberships, and differing mission statements from team to team.

Now, Marvel Comics is introducing a new version in the new comic book series, Defenders.  It is written by Brian Michael Bendis; drawn by David Marquez; colored by Justin Ponsor; and lettered by Corey Petit.  The members of the Defenders are Daredevil, Luke Cage, Jessica Jones, and Iron Fist – the lineup that will be featured in the Marvel/Netflix series, “Defenders.”

Defenders #1 opens with the return of a villain that was supposed to be dead, Diamondback.  He is determined to prove to everyone that the streets of New York City are his.  When he launches an attack on a Defender, he gets to prove just how formidable he is, but is it enough?

I remember reading The Defenders comic book series in the 1980s, and it was terrible.  I kept reading it because I thought that it had the kind of characters that could yield a really good comic book, but it never did, in my estimation.  I abandoned it, and never read a Defenders comic book again – not even Secret Defenders... until now.

I believe in Brian Michael Bendis, so that is why I picked up this new Defenders comic book.  Plus, Bendis is working with artist David Marquez, with whom Bendis produced a nice run on Miles Morales: Ultimate Spider-Man and on Invincible Iron Man.  So how is the latest Bendis-Marquez joint?

I like it, but not for the reasons you might normally guess, dear reader.  I like this depiction of Diamondback.  I am intrigued by everything about him – his character, his motivations, his machinations.  I can't say that I particularly care about these individual Defenders, at least not yet, but I'm sure that Bendis will work on that.  If there is one thing he does very well, it is produce page after page of dialogue, philosophizing, blather, rumination, etc. that make for great character probing.

Marquez's satiny compositions and Justin Ponsor's rich colors hit the eyes with milk shake smoothness.  The mood of the story constantly shifts, however, and the character drama seems to meander.  Where Marquez and Ponsor really shine is on Diamondback.  The art makes you believe he is every bit as bad-ass as Luke Cage.

I am willing to follow this series for a bit because of my affinity for Bendis with Marquez, but I won't lie.  This is not standout material, overall, and I expected more from this team for a first issue.  But I want to see where Diamondback takes crusade.

B+
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 site for reprint and syndication rights and fees.

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Review: INVINCIBLE IRON MAN #1

INVINCIBLE IRON MAN (2015) No. 1
MARVEL COMICS – @Marvel

[This review was originally posted on Patreon.]

WRITER: Brian Michael Bendis
ART: David Marquez
COLORS: Justin Ponsor
LETTERS: VC's Clayton Cowles
COVER: David Marquez with Justin Ponsor
VARIANT COVERS: Adi Granov, Ryan Stegman with Richard Isanove; Sara Pichelli with Jason Keith; Mahmud Asrar with Sonia Oback; Valerio Schiti with Jason Keith; Nick Bradshaw with Paul Mounts; Bruce Timm; Skottie Young; Brian Stelfreeze; John Tyler Christopher; Yasmine Putri; Dale Oliver photographed by Judy Stephens
28pp, Color, $3.99 U.S. (December 2015)

Rated “T+”

I was very happy with the most recent “new” Iron Man comic book series, Superior Iron Man, that was launched in 2014 as part of Marvel Comics' “Avengers NOW!” initiative.  As part of the “All-New All-Different Marvel,” there is a new Iron Man comic book, and it is entitled Invincible Iron Man.  This new series is written by Brian Michael Bendis; drawn by David Marquez; colored by Justin Ponsor; and lettered by Clayton Cowles.

Bendis and Marquez were the creative team of the second Miles Morales Spider-Man comic book, and Invincible Iron Man was the title of an Iron Man (2008) comic book written by Matt Fraction and drawn by Salvador Larroca.  I loved me some Miles, but I did not read a single issue of the Fraction-Larroca Iron Man, although I still plan to do so.

Invincible Iron Man #1 opens with an former A.I.M. operative trying to make a deal with Madame Masque.  Meanwhile, Tony Stark is enjoying some shop time and finally finishes him newest armor, his best armor.  He will need this new suit as enemies old, new, and transformed step forward.

This breezy first issue of Invincible Iron Man makes it difficult to be particularly critical or adoring of it.  But I do like it, and will read future issues.  I enjoy the Bendis-Marquez team, and if this first issue is any indication, I will enjoy this duo again.  Still, I don't know if this Iron Man comic book will be a particularly memorable one, which is something I can say about Superior Iron Man.  Knowing Bendis, I should have an idea soon.

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: STAR WARS #8

STAR WARS (2015) No. 8
MARVEL COMICS – @Marvel

[A version of this review first appeared on Patreon. And visit the "Star Wars Central" review page.]

STORY: Jason Aaron
PENCILS: Stuart Immonen
INKS:  Wade von Grawbadger
COLORS: Justin Ponsor
LETTERS: VC's Chris Eliopoulos
COVER: Stuart Immonen and Wade von Grawbadger with Justin Ponsor
28pp, Color, $3.99 U.S. (October 2015)

Rated T

Book II, Part I: “Showdown on the Smugglers' Moon”

I have already reviewed two issues of Marvel Comics' revival of its Star Wars comic book series, which began earlier this year and now includes two other ongoing series and two miniseries (thus far).  I reviewed Star Wars issues #1 and #7.  I did not expect to review another issue of Star Wars for at least half a year.

However, Star Wars #8 (“Showdown on the Smugglers' Moon”) introduces the new art team of penciler Stuart Immonen and inker Wade von Grawbadger.  As a team, they are known for their work on writer Brian Bendis' All-New X-Men and on All-New Captain America, in which Sam Wilson/The Falcon becomes the new Captain America.

When last we left our heroes (Star Wars #6), Princess Leia and Han Solo were traveling together, searching the galaxy for a suitable site for a new base for the Rebel Alliance.  They ran afoul of Imperial patrol ships and ended up landing on a remote planet in an uncharted region of the Outer Rim.  There, they have an even more shocking encounter when they meet a woman named Sana Solo, who claims to be Han's wife.  Sana is thinking about killing Han and selling out Leia, but the Imperials have plans of their own to pursue their quarry rebels.

Meanwhile, Luke Skywalker has just left his home world of Tatooine, where he discovered the secret journal left for him by Jedi Master Obi-Wan Kenobi a.k.a. “Old Ben Kenobi.”  However, Luke believes that he needs more information than what he has thus far found in the journal, if he is going to become a true Jedi.  So he decides to travel to the former home of the Jedi, but first he makes a stop on Nar Shaddaa, “The Smuggler's Moon.”

I must be honest and admit that I was shocked by the art that Stuart Immonen and Wade von Grawbadger delivered for their debut issue.  Combined with Justin Ponsor's gorgeous coloring, this team has delivered stellar work that blends the best of Adam Hughes, Bryan Hitch, and Kevin Nowlan.  Both in terms of graphical storytelling and style, Stuart and Wade create a kind of Star Wars comic book art that is classic Star Wars.  In addition, their Star Wars also recalls the vivid colors and snappy adventure storytelling of Marvel's 2014 Guardians of the Galaxy film.

Once again, the creators of a Marvel Star Wars comic book title have me chomping at the bit to read the next issue.  In the case of Star Wars, I am not ashamed to be a fanboy.

A

Reviewed by Leroy Douresseaux


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

Review: STAR WARS #7

STAR WARS (2015) #7
MARVEL COMICS – @Marvel

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

STORY: Jason Aaron
ART: Simonepon Bianchi
COLORS: Justin Ponsor
LETTERS: VC's Chris Eliopoulos
COVER: John Cassaday with Laura Martin
28pp, Color, $3.99 U.S. (September 2015)

Rated T

Earlier this year, Marvel Comics began publishing Star Wars comic books again, for the first time since 1986.  They regained the license due to the fact that Lucasfilm, Ltd. (Star Wars' parent company) became part of The Walt Disney Company, which also owns Marvel Comics' parent (Marvel Entertainment).

As far as I am concerned, the return of Star Wars to Marvel has been a wild success.  Perhaps, it is my childhood association with Marvel Comics as the publisher of Star Wars comic books.  Still, the three ongoing series (Star Wars, Darth Vader, Kanan: The Last Padawan) and the, thus far, two miniseries (the completed Princess Leia and the just started Lando) are a blast to read.

Star Wars #7 offers a one-off tale after the conclusion of its opening story arc, which saw Luke Skywalker find the journal of his old mentor, the former Jedi Knight, Obi-Wan Kenobi.  In Star Wars (1977), the original film, Obi-Wan was known as “Old Ben Kenobi,” that “crazy old wizard,” who lived out in the desert.  We learn very little of Ben “Obi-Wan” Kenobi in the original Star Wars trilogy.  In the prequel trilogy that began with Star Wars: Episode I – The Phantom Menace (1999), we learned much about Obi-Wan's latter days as a padawan and his time as a Jedi Master.

What is still mostly shrouded in mystery is the two decades Obi-Wan spent on the planet Tatooine as a Jedi-in-exile slash hermit.  Star Wars #7 brings to life an excerpt from Old Ben Kenobi's journal.  It tells that while he watched over the boy, Luke Skywalker, Obi-Wan yearned for more.  He struggled because his training had taught him to be active, not just some guy sitting and waiting.  Now, his impatience may cost him in regards to his most important task.

I did not expect much from Star Wars #7, although I have thoroughly enjoyed the work of writer Jason Aaron on this series.  However, series artist John Cassaday was apparently only going to draw the first story arc, and he is a big reason that I have enjoyed this series so much.  I don't particularly care for the work of artist Simone Bianchi, who stepped in to draw this story.

I must admit to being pleasantly surprised by Star Wars #7.  Aaron's story of hope, redemption, and courage feels true to the spirit of classic Star Wars.  Bianchi's overly stylish compositions have a sensibility that is not foreign to classic Star Wars; the art even recalls the kind of adventure illustration that influenced George Lucas in creating Star Wars.  Besides, Star Wars #7 has a cover by John Cassaday and colorist Laura Martin, which pleases me.

I am hoping for more excerpts from Old Ben Kenobi's journal.  I have a new hope that there are some exciting adventures to be told.

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.

I Reads You Review: SECRET WARS #1

SECRET WARS #1 (OF 8)
MARVEL COMICS – @Marvel

WRITER: Jonathan Hickman
ARTIST: Esad Ribic
COLORS: Ive Svorcina
LETTERS: Chris Eliopoulos
COVER: Alex Ross
VARIANT COVERS: Simone Bianchi with Simone Peruzzi; Jim Cheung with Justin Ponsor; John Tyler Christopher; Amanda Conner with Paul Mounts; Butch Guice with Andy Troy; Esad Ribic; Skottie Young; Chip Zdarsky
56pp, Color, $4.99 U.S. (July 2015)

Part 1: “End Times”

Almost four years ago, DC Comics re-launched its comic books line, an event called “The New 52.”  That's over, already.  Marvel Comics did semi-relaunches, under the banner “All-New.”  Well, now Marvel is going all in this fall when every comic book restarts with a #1 issue, in addition to the apparent debut of some new titles.

DC Comics heralded “The New 52,” with a five-issue miniseries and publishing event entitled “Flashpoint.”  Marvel's event herald is “Secret Wars.”  Yes, indeed, everything old is remade again, and Marvel's notorious 1984 twelve-issue comic book miniseries, Marvel Super Heroes Secret Wars get a portion of its title re-purposed.  Worlds, universes, and even characters die in the eight-issue miniseries, Secret Wars, written by Jonathan Hickman, drawn by Esad Ribic, colored by Ive Svorcina, and lettered by Chris Eliopoulos, with painted covers by Alex Ross.

Secret Wars #1 (“End Times”) opens with Doctor Doom, Doctor Strange, and Molecule Man facing... “Beyond.”  The multiverse is dying, and there are only two universes left.  One is the universe of Earth-1610 (the Ultimate Universe), and the other is the universe of Earth-616 (the Marvel Universe).  One is invading the other; super-powered types will battle.  Super-powered types will die, and so will a universe... or two.

Reading Secret Wars #1 is only half as painful as reading Avengers & X-Men: Axis #1 was for me.  Secret Wars does have its moments in which I genuinely cared about the peril faced by the characters, at least some of them.  What I genuinely love about Secret Wars #1 is the beautiful art by Esad Ribic and Ive Svorcina.

I have always admired Ribic, even when he replaced my beloved Steve Rude on X-Men: Children of the Atom (way back in the 1990s).  Here, Ribic and Svorcina deliver some potent, striking images, and it is their storytelling that really makes this graphic narrative work, more so than Hickman's script.  Hickman puts a snide remark in Rocket Raccoon's mouth about those comic book from decades ago that had a one-dollar cover price.  Yeah, some did suck, but you usually got a complete story in a single issue.  Let's see current comics superstar Jonathan Hickman pull that off.

B+

[This book includes a preview of The Uncanny Inhumans #0” by Charles Soule, Steve McNiven, Jay Leisten, Justin Ponsor, and VC's Clayton Cowles.]

Reviewed by Leroy Douresseaux; support on Patreon.


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

Review: "The Uncanny Inhumans #0" Has Soule Power

THE UNCANNY INHUMANS #0

WRITER: Charles Soule
PENCILER: Steve McNiven
INKER: Jay Leisten
COLORIST: Justin Ponsor
LETTERER: VC's Clayton Cowles
COVER: Steven McNiven with  Justin Ponsor
VARIANT COVERS: Simone Bianchi; Jim Cheung; Jerome Opena; Siya Oum; Mike Perkins with Christian Ward

“Things to Come” Double-Page Spread by Brandon Peterson

“End Times”

Marvel has been pumping up the Inhumans for a while.  They have been popping up all over the Marvel Universe.  Inhumans and Ms. Marvel have been two good additions to the Marvel line-up of series.  Now, they give us The Uncanny Inhumans.  Everybody is “uncanny” these days.  I can't wait until the Uncanny Power Pack hits the stands.

Back to the reason for this review:  As an appetizer for the main course, The Uncanny Inhumans #0 left my mouth watering.  Charles Soule subtly foreshadows future conflicts that Black Bolt and the Inhumans will be facing.  Just in this issue, we get to see some street level crime, some royal family drama, father-son conflict, and an evil master of time.  Soule piqued my interest with each of these story lines.

With Black Bolt, a writer has to use other characters and events to direct us through the story line.  Even then, we can only assume what Black Bolt's intentions are in relation to the true direction of the story.  Medusa claims that she knows what Black Bolt is thinking, but who really knows.  Black Bolt is the biggest mystery in his own stories.  Soule uses this aspect of the character to build our anticipation of coming events.  Oh, yeah!  Black Bolt is an awesome “insert your own slang.”  Mine included a lot of profanity and bureaucrat was not one.

As a “0” issue, this has been one of the best reads in awhile, and Soule was effective in his use of what is basically a preview of things to come.  Most of the time, “0” issues are epic fails, and I don't like to waste energy on them.

“Evolution”
Writer: Ryan Stegman; Artist: Ryan Lee; Colors: James Campbell

Marvel was so kind as to give us a bonus feature in The Uncanny Inhumans #0.  Like we are willing to give $5 for anything they deem worthy.  This was a cool back-up featuring Iso and Flint.  We get good action, and the characters reach turning points in their lives.  This story added a different flavor to the issue.  The issue just keeps drawing you into the Inhuman universe.

This is the book for all comic book art aficionados.  Give all the artists who worked on this issue their credit.  You go through page after page of beautiful Steve McNiven art; then, BAM! you get hit with the Brandon Peterson spread.  This is the kind of art that makes you feel like you owe Marvel some money.  I wonder if Peterson saw McNiven's art before he did his spread and knew he had to turn up.  Wait.  I'm going back and look at this book again.

I rate this issue “Buy Your Own Copy” (#2 on the Al-o-Meter), and the art alone is worth every penny!

Reviewed by Albert Avilla

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

I Reads You Review: MS. MARVEL #1

MS.MARVEL (2014) #1
MARVEL COMICS – @Marvel

WRITER: G. Willow Wilson
ART: Adrian Alphona
COLORS: Ian Herring
LETTERS: VC's Joe Caramagna
COVER: Sara Pichelli with Justin Ponsor
VARIANT COVERS: Arthur Adams; Peter Steigerwald; Jamie McKelvie
28pp, Color, $2.99 U.S. (January 2015 – Seventh printing)

Rated T+

“Meta-Morphosis” Part One of Five

The original Ms. Marvel, a Marvel Comics female superhero character, was created by writer Gerry Conway and artist John Buscema.  First appearing in Ms. Marvel #1 (cover dated: January 1977), she was meant to be the female counterpart of Marvel's Captain Marvel (who first appeared in 1967), not to be confused with Fawcett and later DC Comics' Shazam-Captain Marvel.

There is a new Ms. Marvel, and she is Kamala Khan.  Created by Sana Amanat, G. Willow Wilson, and Adrian Alphona, Kamala is the fourth character to take the name Ms. Marvel.  Kamala, who first appeared in Captain Marvel #17 (cover dated: November 2013), is a 16 year-old Pakistani-American from Jersey City, New Jersey.  She idolizes Carol Danvers, the original Ms. Marvel who is now the new Captain Marvel.  Kamala was given her own Ms. Marvel series, which premiered in February 2014, and she became Marvel Comics' first Muslim character to star in her own comic book.

I remember the debut of the new Ms. Marvel comic book series, but I ignored it.  Then, I read The Amazing Spider-Man #7 (2014), in which the new Ms. Marvel appeared, and I suddenly became interested in her.  Luckily, my comic book shop had reprints of the first issue of Kamala's Ms. Marvel comic book series, written by G. Willow Wilson, drawn by Adrian Alphona, colored by Ian Herring, and lettered by Joe Caramagna.

Ms. Marvel #1 (“Meta Morphosis”) opens in Jersey City at a Circle Q, where Kamala is holding court with her friend, Nakia, and an employee, Bruno.  This gathering, in a small way, encapsulates the problems that Kamala is having with her parents, her culture, and her religion.  Wouldn't it be cool if she could eat bacon?  If only she could be like her beloved Avengers:  Captain America, Iron Man, and especially Captain Marvel.  Eventually, she will get what she wants, but not the way she wants it.

It was not until after I picked up a copy of Ms. Marvel #1 – Seventh Printing that I discovered that Ms. Marvel was a buzzed-about new comic book.  Some are calling it the best comic book of 2014, as I learned via an email from Diamond Distributors and also from an article at website, Comic Book Resources.  I don't know if I would call it the best comic book of the year, but if I made a list, it would definitely be in my “Top 10.”

I think of Ms. Marvel as a “girl's comic book,” but I do not mean that in a derogatory way.  I am not one of those fans who think that every superhero comic book from either Marvel or DC Comics must be alike.  They don't have to all be rehashes and revamps of the same templates and editorial mindsets that old white guys established beginning in the early 1960s, i.e. the Silver Age.  I don't mind something completely different.

This new Ms. Marvel is something different; it is something else.  It presents a girl's point of view; it is about a young woman struggling to come into her own.  Ms. Marvel is not aimed at me; it is not written to appease my fanboy demands.

And that doesn't matter.  I like Ms. Marvel anyway.  It's so good.  It is so different, yet some of the things with which Kamala Khan struggles are universal, so I recognized the dilemmas she faces.  When I ignored what I expected from the typical superhero comic book, I found myself embracing Ms. Marvel.  I want more of it, and I want to share this with my niece when she is older.

I guess I should not be surprised.  Ms. Marvel writer, G. Willow Wilson's late Vertigo series, Air, was decidedly unusual, but alluring and intriguing.  I had recently stopped giving letter grades to first issues, but I will make an exception for the first issue of Ms. Marvel.

A+

Reviewed by Leroy Douresseaux


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

I Reads You Review: AVENGERS & X-MEN: Axis #1

AVENGERS & X-MEN: AXIS #1
MARVEL COMICS – @Marvel

WRITER: Rick Remender
ART: Adam Kubert
COLORS: Laura Martin and Matt Milla
LETTERS: Chris Eliopoulos
COVER: Jim Cheung with Justin Ponsor
VARIANT COVERS:  Gabriele Dell'otto; Adam Kubert with Edgar Delgado; Mike Mayhew; Mico Suayan; Skottie Young; Chip Zdarsky; and The Young Guns with Mike Deodato with Frank Martin
44pp, Color, $4.99 U.S. (December 2014)

Rated “T+”

The Red Supremacy: Chapter 1

About three years ago, I read the first two issues of Avengers vs. X-Men (#0 and #1), and I didn't find anything that made me want to keep reading the much-anticipated and much-talked about event “maxi-series.”  So I don't know why I'm reading the new Avengers/X-Men crossover event miniseries, Avengers & X-Men: Axis.  Maybe, I'm curious?

Avengers & X-Men: Axis #1 (The Red Supremacy: Chapter 1) opens with a brief recap/overview of what has happened since the shocking end of Avengers vs. X-Men, in which the X-Man, Cyclops, killed his mentor and founder of the X-Men, Professor Charles Xavier.  The result was the branding of Cyclops as a criminal and also the founding of the Uncanny Avengers, a unity squad of Avengers and X-Men.  Of course, a new team wouldn't make them better for long.

Fast forward:  Magneto kills Captain America's arch-nemesis, the Red Skull, which leads to his resurrection as “The Red Onslaught.”  Now, there is a wave of psychic energy and hate, initiated by Red Onslaught, because he possesses Prof. X's brain and psychic powers.  This psychic wave, or onslaught, if you will, has the world in turmoil, so the Avengers and X-Men have to come together to stop Red Onslaught.

Wow.  It has been an unknown number of years (but it is many) since I have read an issue of a comic book event series in which superheroes and super-villains engage in a slug fest.  Part of me enjoys seeing so many of the superheroes that I've known most of my life together, even the new versions.  I enjoyed the Scarlet Witch angle of this story, as well as the Scarlet Witch-Rogue subplot.  I think this Red Onslaught character is ridiculous, however.  I did not plan on reading any more of this, even while wondering why I was reading Avengers & X-Men: Axis #1 to begin with.

Then, I saw Sentinels at the end of the first issue, and then, I decided to read more.  I think that is how these superhero crossover events work.  The writers, artists, and editors throw so much into the event (something we can compare to a pot full of ingredients), and the readers are bound to find something to appeal to them.  So there you have it.  I thought I was out, but they dragged me back in.

Reviewed by Leroy Douresseaux

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

I Reads You Review: DEATH OF WOLVERINE #1

DEATH OF WOLVERINE #1 (OF 4)
MARVEL COMICS – @Marvel

WRITER:  Charles Soule
PENCILS:  Steve McNiven
INKS:  Jay Leisten
COLORS:  Justin Ponsor
LETTERS: Chris Eliopoulos
COVER:  Steve McNiven and Jay Leisten with Justin Ponsor
56pp, Color, $4.99 U.S. (November 2014)

Rated T+

Part One: “The End”

Marvel Comics is killing Wolverine.  How long will he remain dead?  I guess that is not really the point.  I'm just supposed to enjoy the event miniseries in which Wolverine dies.  Entitled Death of Wolverine, it is written by Charles Soule, pencilled by Steve McNiven, inked by Jay Leisten, colored by Justin Ponsor, and lettered by Chris Eliopoulos.

Death of Wolverine #1 (“The End”) opens in the backwoods of British Columbia; the time is now.  Logan/Wolverine is dying because he has lost his healing factor.  Now, he cannot heal supernaturally fast after being injured in his frequent battles, fights, duels, etc., so it has taken a toll on his body.  Mr. Fantastic (Reed Richards of the Fantastic Four, of course) has told Logan that he can find a way to reactivate his healing factor, but it will take time.

Logan does not have that time.  People are coming after Wolverine to kill him.  In fact, here come some guys now.

I wanted to be cynical.  Killing Wolverine?  Ha!  He'll be back real soon.  Still, one look at that card stock cover for Death of Wolverine #1, with its snazzy graphic design and beautiful (of course) Steve McNiven art, and I was sold on this miniseries.  The story, by the impressive Charles Soule, is downbeat and downright depressing.  The wonderfully detailed line work and texture by McNiven, the precise and artful inking by Leisten, and the glorious hues of colorist Justice Ponsor make the story even more heartbreaking.  There is a real sense of finality to this tale... thus far.

Hey, the extras are cool!  I love the generous helping of McNiven sketchbook material.  Len Wein uses his interview to give props to the late Dave Cockrum.  Gotta love that.  Yeah... I didn't think that I would end up looking forward to the Death of Wolverine miniseries, but I am, even as I (surprisingly) dread the death of Wolverine.

A-

Death of Wolverine includes bonus material:

• sketches and other preliminary art for the series by Steve McNiven
• commentary by McNiven
• an interview with Wolverine co-creator Len Wein that includes art from The Incredible Hulk #181 (Wolverine's first full appearance)
• Death of Wolverine #1 – Director's Cut, which includes pages from the script for issue #1 with pencil, ink, and color versions of art from the first issue

----------------------------
Reviewed by Leroy Douresseaux


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

I Reads You Review: ROCKET RACCOON #1 (2014)

ROCKET RACCOON (2014) #1
MARVEL COMICS – @Marvel

WRITER/ARTIST: Skottie Young
COLORS: Jean-Francois Beaulieu
LETTERS: Jeff Eckleberry
COVER: Skottie Young
VARIANT COVERS: Skottie Young; Leonel Castellani; David Peterson; J. Scott Campbell with Nei Ruffino; Sara Pichelli with Justin Ponsor; Jeff Smith with Tom Gaadt; and Dale Keown with Jason Keith
28pp, Color, $3.99 (September 2014)

Rocket Raccoon created by Bill Mantlo and Keith Giffen

Rated T

“A Chasing Tale” Part 1

Rocket Raccoon, the space-based Marvel Comics superhero created by writer Bill Mantlo and artist Keith Giffen (first appearing in Marvel Preview #7 – cover dated: Summer 1976), received a snazzy makeover in 2008.  He's verbose, proactive, and doesn't mind popping a cap in sentient ass.  He even recently received his first ongoing comic book series, Rocket Raccoon, written and drawn by Skottie Young and colored by Jean-Francois Beaulieu.  This is also the first ongoing comic book series both written and drawn by Young.

Rocket Raccoon #1 (“A Chasing Tale” Part 1) opens three years in the past, showing how Rocket rescued Amalya, who would apparently become his girlfriend.  Moving to the present, Rocket is on Planet Nivlent, where Rocket's Guardians of the Galaxy teammate, Groot (a sentient tree-like creature), is fighting in a wrestling match.  It is there that Rocket discovers that he is a wanted man... err... raccoon... hmm... being.  In fact, Rocket is wanted for committing several murderers, which he doesn't remember committing.

I really didn't care for Rocket Raccoon #1 after reading the first 11 pages.  When the story brings in Rocket's Guardians teammate, Star-Lord, the story changes into something fun and exciting.  The energy in the story simply explodes.  I can say that the art for the entire issue is fantastic.  Skottie Young and Jean-Francois Beaulieu are a match made in comic book heaven.

There is a Saturday morning cartoon quality to the art that really takes off in the second half.  From a graphical standpoint, Rocket Raccoon #1 doesn't really look like a Marvel comic book.  In fact, Skottie Young doesn't seem like a Marvel Comics artist, which makes this Rocket Raccoon comic book look like an indie book put out by Oni Press or Top Shelf Productions.  For Marvel Comics fans, however, Rocket Raccoon looks like it will be something different, and the Marvel Universe could use a little different – something that does not look standardized.

B+

Reviewed by Leroy Douresseaux

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

I Reads You Review: MILES MORALES: Ultimate Spider-Man #1

MILES MORALES: ULTIMATE SPIDER-MAN #1
MARVEL COMICS – @Marvel

WRITER: Brian Michael Bendis
ART: David Marquez
COLORS: Justin Ponsor
LETTERS: VC’s Cory Petit
COVER: David Marquez and Justin Ponsor
VARIANT COVERS: Fiona Staples; Brandon Peterson
28pp, Color, $3.99 U.S. (July 2014)

Rated T+

In 2011, Marvel Comics and writer Brian Michael Bendis introduced a Black, Brooklyn teen as the new Spider-Man.  Specifically, Miles Morales, of African-American and Latino extraction, was the new Ultimate Spider-Man, the friendly neighborhood wall-crawler and web-slinger of Marvel’s Ultimate line of comics (or universe).

Miles received his own comic books series, Ultimate Spider-Man (or Ultimate Comics: Spider-Man).  Now, as part of the “Ultimate Marvel NOW” publishing initiative, Miles gets a new series, Miles Morales: Ultimate Spider-Man, courtesy of writer Brian Michael Bendis, artist David Marquez, colorist Justin Ponsor, and letterer Cory Petit.

Miles Morales: Ultimate Spider-Man #1 opens in a secret S.H.I.E.L.D. “Containment Facility,” from which Norman Osborn is being removed for transferal to a federal prison.  In Brooklyn, two armored thieves commit a bold robbery.  Meanwhile, Miles Morales contemplates revealing his secret to girlfriend Katie Bishop, but the surprise in store for Katie is nothing compared to the surprise in store for Miles.

I have stated in previous reviews of Ultimate Spider-Man comic books that I thought that Brian Michael Bendis merged the best of classic Steve Ditko-Stan Lee Spider-Man and early Milestone Media Static comic books in his stories of Miles Morales as Spider-Man.  Miles’ stories are as much misadventure as they are adventure, because Bendis makes the foibles and trials and tribulations of teen boyhood every bit as engaging as the never-ending battle of a superhero.  Most of the time, I can’t wait for the story to switch from Spider-Man back to Miles Morales’ civilian life.  Well, that is because Miles is a quite interesting young fellow.

In the first Miles Morales series, Bendis was blessed with a fantastic storytelling collaborator, artist Sara Pichelli.  Miles Morales: Ultimate Spider-Man finds Bendis blessed again with another talented collaborator.  David Marquez is rapidly coming into his own in terms of storytelling.  I like Miles Morales: Ultimate Spider-Man #1; it’s the kind of first issue that has me ready for more.

A

Reviewed by Leroy Douresseaux


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