Showing posts with label Laura Martin. Show all posts
Showing posts with label Laura Martin. Show all posts

Friday, November 24, 2017

Review: REBORN #1

REBORN No. 1
IMAGE COMICS – @ImageComics

[This review was originally posted on Patreon.]

WRITER: Mark Millar – @mrmarkmillar
PENCILS: Greg Capullo
INKS: Jonathan Glapion
COLORS: FCO Plascencia
LETTERS: Nate Piekos of Blambot
COVER: Greg Capullo and Jonathan Glapion with FCO Plascencia
VARIANT COVERS: Greg Capullo; Greg Capullo and Jonathan Glapion with FCO Plascencia; Jock; Frank Cho with Laura Martin; John Cassady with Paul Mounts; Todd McFarlane with FCO Plascencia
28pp, Color, $3.50 U.S. (November 2015)

Rated M / Mature

Reborn is a new comic book miniseries from Mark Millar and Greg Capullo.  An action-fantasy, Reborn is set in a world where people go to fight for survival... after they die!   Reborn is written by Millar; drawn by Capullo (pencils) and Jonathan Glapion (inks); colored by FCO Plascencia; and lettered by Nate Piekos.

Reborn #1 opens in Minneapolis, 2002, the scene of a tragedy.  In 2016, we meet Bonnie Black, a 78-year-old woman intimately connected to that tragedy.  She believes that she is very close to the end of her life, and that death will come like a light being switched off.  But there is another life waiting for her, and that life may not be lived in Heaven or Hell.

For me, Mark Millar's creator-owned miniseries are hit (Kick-Ass, Empress) or miss (Huck).  So far, I think Reborn is leaning towards hit.  Its central conceit – that people go somewhere after death where their past (the good, the bad, and the ugly) await them – is creepy, but intriguing.  I am sure that Millar has even crazier stuff to reveal beyond Reborn #1, so I am ready for more.

Artist Greg Capullo is good in his first substantial post-New 52 Batman work.  So he can draw something other than Batman!  He mixes real-world-styled compositions with video game faux-reality with ease, but his storytelling in the fantasy world is a bit muddled.  That can be fixed in future issues, which I intend to read... and maybe tell you about.

www.millarworld.tv

Reviewed by Leroy Douresseaux


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

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Sunday, November 5, 2017

Review: GENERATIONS: Sam Wilson Captain America & Steve Rogers Captain America #1

GENERATIONS: SAM WILSON CAPTAIN AMERICA & STEVE ROGERS CAPTAIN AMERICA No. 1
MARVEL COMICS – @Marvel

[This review was originally posted on Patreon.]

STORY: Nick Spencer
ART: Paul Renaud
COLORS: Laura Martin
LETTERS: VC's Joe Caramagna
COVER: Paul Renaud
VARIANT COVERS: John Cassaday with Laura Martin; Paolo Rivera
36pp, Color, $4.99 U.S. (November 2017)

Rated T+

Captain America and Steve Rogers created by Joe Simon and Jack Kirby; Sam Wilson created by Stan Lee and Gene Colan

“The Americas”

The Marvel Comics event comic book, Generations, comes to an end with a tale of two Captain Americas.  A 10-issue anthology miniseries, published weekly, each issue is written and drawn by a different creative team, and each issue features 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 superheroes with a new generation of heroes, as both the original characters and the new ones move into the future of Marvel Comics storytelling.

The tenth issue (by my account) is Generations: Sam Wilson Captain America & Steve Rogers Captain America, which brings together two versions of a classic Marvel Comics character, Captain America.  The first is the original Captain America, Steve Rogers.  Rogers first appeared in Captain America Comics #1 (cover date: March 1941).  The second is Sam Wilson who first appeared in Captain America #117 (cover date: September 1969), and who was originally the superhero, Falcon.  Wilson became Captain America and starred in the series, All-New Captain America #1 (2014).  This issue of Generations is written by Nick Spencer; drawn by Paul Renaud; colored by Laura Martin; and lettered by Joe Caramagna.

Generations: Sam Wilson Captain America & Steve Rogers Captain America #1 (“The Americas”) opens with Sam Wilson-Captain America being questioned by government agents about why a particular group of ten superheroes disappeared (including Wilson) during the “Battle of Washington” (as seen in the Secret Empire event).  Wilson disappeared and reappeared in the 1940s as the United States of America gears up to enter World War II.

Unlike the other nine heroes, Wilson spends a lifetime in the world to which he is transported.  When Wilson enters the war as an enlisted man, a special enlisted man, the “Man in the Air,” he meets his friend Steve Rogers, a young man trying to find his way as Captain America, so the question is will Sam Wilson also find his own path?

While reading the first nine issues of Generations, I found several that I liked and two that I called the best of the lot.  But Generations: Sam Wilson Captain America & Steve Rogers Captain America #1 takes the prize.  I wish Marvel would consider turning this into its own series; it could at least make an excellent, thought-provoking, twelve-issue series.

In this final issue of Generations, Nick Spencer delivers a Generations manifesto, which is this.  It is okay to have personal heroes and roles models.  It is okay to be inspired by someone's achievements.  Once you begin to take your own path, however, it is your own path, not your inspiration's path.  You don't have to live up to the legacy of another; make a legacy of your own that is worth living up to.

Artist Paul Renaud's compositions and art for this tenth Generations is both subtle and evocative.  He conveys a story that takes a trip down memory lane, but nevertheless reaches towards the future and its infinite possibilities.  Laura Martin's colors quietly amplifies the moods and emotions and summons the sense of each time period in which Sam Wilson travels.

Generations: Sam Wilson Captain America & Steve Rogers Captain America #1 brings Generations to a close on a high note that the earlier issues did not necessarily suggest.  As event miniseries go, this is one of those single issues that are worth remembering even when the overall event miniseries is only remembered for its central plot or concept.

A
9 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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Saturday, November 4, 2017

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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Friday, November 3, 2017

Review: GENERATIONS: Ms. Marvel & Ms. Marvel #1

GENERATIONS: MS. MARVEL & MS. MARVEL No. 1
MARVEL COMICS – @Marvel

[This review was originally posted on Patreon.]

STORY: G. Willow Wilson
ART: Paolo Villanelli
COLORS: Ian Herring
LETTERS: VC's Joe Caramagna
COVER: Nelson Blake II with Rachelle Rosenberg
VARIANT COVERS: Kris Anka; Olivier Coipel with Laura Martin
36pp, Color, $4.99 U.S. (November 2017)

Rated T+

Ms. Marvel/Carol Danvers created by Roy Thomas and Gene Colan; Kamala Khan created by Sana Amanat, G. Willow Wilson, and Adrian Alphona

“The Marvels”

Generations is an event limited comic book series from Marvel Comics.  It is a planned 10-issue anthology, 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 eighth issue is Generations: Ms. Marvel & Ms. Marvel, which brings together two versions of a classic Marvel Comics character, Ms. Marvel.  The first is the original Ms. Marvel, Carol Danvers.  Danvers first appeared in Marvel Super-Heroes #13 (cover date: March 1968) and became Ms. Marvel in Ms. Marvel #1 (cover dated: January 1977).  The second is the new Ms. Marvel, Kamala Khan, a 16 year-old Pakistani-American from Jersey City, New Jersey.  Kamala first appeared in Captain Marvel #14 (cover dated: August 2013), and she became the new Ms. Marvel in Captain Marvel #17 (cover dated: November 2013).  This issue of Generations is written by G. Willow Wilson; drawn by Paolo Villanelli; colored by Ian Herring; and lettered by Joe Caramagna.

Generations: Ms. Marvel & Ms. Marvel #1 (“The Marvels”) is set in a New York City of the recent past (likely sometime in the last quarter of the twentieth century.  The story opens in the office of “Woman Magazine,” part of J. Jonah Jameson's “Daily Bugle” publishing empire.  Editor-in-Chief Carol Danvers and her editorial and management staff are trying to deal with a crisis, and also with a new intern, Karina, who is really Kamala Kahn, brought here by a mysterious space-time force.

Kamala idolizes Carol Danvers, the original Ms. Marvel, but in this corner of time and space, Danvers does not know Kamala.  Also, “Woman Magazine” is in a state of crisis because of its circulation, but especially because Danvers and her staff are having trouble figuring out who is their audience and what do they want from the magazine.  However, the magazine may soon be under new management – alien management!  Nightscream of the alien Shi'ar Empire is masquerading as a human named Barbara Nelson.  Can Kamala save the magazine and also help the original Ms. Marvel stop and alien menace, even if the original does not want help from the new version?

Of the eight issues of Generations that I have read as of this writing, Generations: Ms. Marvel & Ms. Marvel #1 is my second favorite after my favorite, Generations:  Iron Man & Ironheart #1.  It is certainly better than last week's previous Carol Danvers Generations appearance Generations: Captain Marvel & Captain Mar-Vell #1.

Part of Generations: Ms. Marvel & Ms. Marvel #1's success is due to its story written by G. Willow Wilson.  Wilson is a truly unique storytelling voice in American superhero comic books.  She embraces the good, the bad, and the ugly in humanity.  She creates characters that capture the beauty and... un-pretty we can find in people.  In Kamala Khan/Ms. Marvel, she created a character who is a superhero that believes that she should first do no harm.  And yes, this is a one-off, throwaway story, but Wilson delivers a tale that epitomizes the resourcefulness and determination of Kamala.

The other part in delivering this winning tale is the work of artist Paolo Villanelli and colorist Ian Herring.  I like that they recall the work of Ms. Marvel's originating artist, Adrian Alphona, without lazily imitating him.  Villanelli and Herring create a bright, sunny, positive story that makes me wish this Generations tale had a second life.  Generations: Ms. Marvel & Ms. Marvel #1 is certainly a Generations comic book worth reading.

A
8 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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Wednesday, November 1, 2017

Review: GENERATIONS: Iron Man & Ironheart #1

GENERATIONS: IRON MAN & IRONHEART No. 1
MARVEL COMICS – @Marvel

[This review was originally posted on Patreon.]

WRITER: Brian Michael Bendis
PENCILS: Marco Rudy, Szymon Kudranski, and Nico Leon
INKS: Syzmon Kudranski, Will Sliney, Scott Koblish, and Nico Leon
COLORS: Marco Rudy, Dean White, and Paul Mounts
LETTERS: VC's Clayton Cowles
COVER: Skan
VARIANT COVERS: Marco Rudy; Olivier Coipel with Laura Martin; Jack Kirby and Dick Ayers with Paul Mounts and Joe Frontirre
36pp, Color, $4.99 U.S. (November 2017)

Rated T+

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

“The Iron”

Generations is an event miniseries from Marvel Comics.  It is a planned 10-issue anthology, 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 sixth issue is Generations: Iron Man & Ironheart, which brings together two versions of a classic Marvel Comics character, Iron Man.  The first is the classic Iron Man, also known as Tony Stark, who first appeared in Tales of Suspense #39 (cover date: March 1963).  The second is Ironheart, who is Riri Williams, a teen prodigy and genius engineer.  This issue of Generations is written by Brian Michael Bendis; drawn by Marco Rudy, Szymon Kudranski, and Nico Leon (pencils) and Syzmon Kudranski, Will Sliney, Scott Koblish, and Nico Leon; colored by Marco Rudy, Dean White, and Paul Mounts; and lettered by Clayton Cowles.

Generations: Iron Man & Ironheart #1 (“The Iron”) opens with Ironheart experiencing free fall in a darkened sky.  Riri soon discovers that much of the tech and many of the features of her Ironheart suit do not function well or do not fuction at all.  Riri realizes that she is somewhere else, but she cannot believe that she is in the future.  She does not want to believe it when she meets some strange Avengers.  She still does not want to believe it when she meets this world's Sorcerer Supreme – Tony Stark!  He is going to show her a far-flung future of possibilities for her.

It took me six issues of Generations, so it is Generations: Iron Man & Ironheart #1 that convinces me that Generations has a running theme that revolves around mentors and mentorship, teachers and teachable moments, father-figures and mother-figures, and even predecessors.  Some entries in Generation do it better than others, but every issue has at least one moment in which one character stands as an example for another.

Generations: Iron Man & Ironheart #1 is, thus far, the best of series, which is what I said about the Hawkeye Generations last week.  So I am surprised by how much Generations: Iron Man & Ironheart #1 affected me.  It is philosophical; almost spiritual in an odd way.  This is written by Brian Michael Bendis, so there is a lot of conversation between future Tony Stark-Sorcerer Supreme (who popped up in two recent issues of Bendis and Alex Maleev's Infamous Iron Man) and Riri Williams.

Many comic book people (with agendas) have blamed Marvel Comics' recent sales slump on “diversity” characters, with Riri Williams probably being the most notorious.  Generations: Iron Man & Ironheart #1 can be read as Bendis' manifesto, one that says... no declares... that Riri ain't going nowhere.  She isn't disappearing because she is the future.

Generations: Iron Man & Ironheart #1 has a large art team of seven artists and colorists, but they are what makes Bendis' story work.  The design of these pages have a funky flower child/love generation appearance that reminds me of Neal Adams' classic X-Men run, J.H. Williams, III's art for Alan Moore's Promethea, and Jon J. Muth's art for the old Marvel/Epic Comics' Moonshadow.  These different artists and art teams come together to create a 30-page story in which disparate visual styles actually become a seamless visual poem that flows like a perfectly written pop song.

Make mine Marvel.  This is what Generations: Iron Man & Ironheart #1 convinces me I should do.  We can have new versions of classic Marvel characters.  We can have both – the originals and the new ones.  Here, Tony Stark encourages Riri Williams to reach for the stars, so we can have both characters in Iron Man armor.  Yes, we can.

A
9 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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Thursday, January 12, 2017

Review: Ta-Nehisi Coates and Brian Stelfreeze's BLACK PANTHER #1

BLACK PANTHER #1 (2016)
MARVEL COMICS – @Marvel

[This review was originally posted on Patreon.]

WRITER: Ta-Nehisi Coates
ART: Brian Stelfreeze
COLORS: Laura Martin
LETTERS: VC's Joe Sabino
COVER: Brian Stelfreeze
VARIANT COVER: Brian Stelfreeze; Olivier Coipel; Felipe Smith; Alex Ross; Skottie Young; Sanford Greene; Ryan Sook; Disney Interactive
36pp, Color, $4.99 U.S. (June 2016)

Black Panther created by Stan Lee and Jack Kirby

Rated “T”

“A Nation Under Our Feet” Part 1

Ta-Nehisi Coates is an American writer and journalist.  This African-American commentator is also a national correspondent for The Atlantic, where he writes about cultural, political, and social issues, particularly as they regard to Black people in America.  Coates' second book, Between the World and Me (released in July 2015), won the 2015 National Book Award for Nonfiction.  In 2015, he was the recipient of a “Genius Grant” from the John D. and Catherine T. MacArthur Foundation.

Brian Stelfreeze is an African-American comic book creator who has been writing, penciling, inking, coloring, and/or painting comic books for over three decades..  In the 1980s, he first gained notice for his stylized covers, particularly for his unique graphic interpretation of Batman.  Stelfreeze was the initial series artist on the DC Comics' Batman title, Batman: Shadow of the Bat, and also produced over 50 covers for that series.  Stelfreeze is one of the original members of Atlanta's Gaijin Studios.

Ta-Nehisi Coates is the writer and Brian Stelfreeze is the artist of the new Black Panther comic book series from Marvel Comics.  The other creative talent on the series include Laura Martin as color artist and Joe Sabino as letterer.

In the world of Black Panther, T'Challa is the warrior-priest-king of Wakanda, and he bears the ceremonial title of that position, Black Panther.  To the world outside Wakanda, Black Panther is a superhero, specifically an Avenger, and of late, a member of the Ultimates.  However, Wakanda has fallen on hard times during Black Panther's time away being a superhero.

Black Panther #1 (“A Nation Under Our Feet” Part 1) opens at “The Great Mound.”  Here, Black Panther is in the heat of a pitched battle with vibranium miners.  In “The Golden City,” capital of Wakanda, harsh justice is handed out.  At the Nigandan border region, an army gathers.  Sure, Wakanda has undergone a flood that killed thousands, a supervillain-led coup, and an invasion from beyond the stars, but there is more bad to come.

I have been an admirer of Ta-Nehisi Coates for the past few years, ever since I first saw him during an television appearance (on MSNBC, I think).  Since then, I have seen him speak on independent news series, “Democracy Now,” and I have read some of his work at The Atlantic's website.  Upon hearing that he was going to write a 12-issue run of Black Panther for Marvel Comics, I was excited, but I did not know what I could really expect; after all, Coates had no previous comic book writing experience.

That turns out to be a good thing.  His clean storytelling builds on the work of previous Black Panther writers, Christopher Priest and Reginald Hudlin.  He mines what for me has always been an obvious source of conflict-laden storytelling – how does a man be both a superhero and the king of a country with resources highly coveted by dangerous interests.  And, you know, I have to give Coates credit for writing a script that insists on giving readers the names of every important character with a speaking role in the first issue.  I am tired of reading vague, introductory first chapters and first issues in which the only characters that are recognizable are the ones wearing familiar costumes.

I have not followed Brian Stelfreeze very much, but I have admired some of his work.  One could make an argument that he is the star here.  His stylish art and vivid, energetic graphical storytelling are a delight.  His character, costume, and graphic design for this series is surprising, simply because I did not expect such a fresh approach that also retains classical Black Panther tropes.  Laura Martin's colors over Stelfreeze's stellar art create some of the most striking visuals that can be found in comic books at this moment.  Letter Joe Sabino and designer Manny Mederos also deserve a shout-out for making this Black Panther one of the best Marvel first issues that I have read in the last few years.

I cannot wait for the second issue of this new Black Panther.  It is more than I expected, although now I expect a lot.

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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Friday, November 20, 2015

review: DANGER GIRL: Renegade #1

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

[This review was originally published on Patreon.]

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

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

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

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

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

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

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

B+

Reviewed by Leroy Douresseaux


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


Sunday, November 1, 2015

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.


Sunday, June 21, 2015

Review: Creative Team Makes "SUPERMAN #38" Super

Reviewed by Albert Avilla

SUPERMAN #38

STORY: Geoff Johns
PENCILS: John Romita, Jr.
INKS: Klaus Janson
COLORS: Laura Martin, Ulises Arreola, Dan Brown, Wil Quintana
LETTERS: Sal Cipriano

Superman created by Jerry Siegel and Joe Shuster

SPOILER ALERT

The Men of Tomorrow: Chapter 7 - “Friends and Enemies”

I don't read a lot of Superman stories, but recently, I have been able to read this story arc.  The hype machine got me interested in learning about Superman's new power.  Why does he need a new power?  He is already the head, number-one, ass-kicker in the DC Universe.  But growth is good.  We don't want stagnant characters.

I feel fortunate that I got lucky to read this story because of some key events.  Superman makes a catastrophic mistake that has catastrophic consequences.  This makes him more fallible, not the all powerful super-being who can accomplish anything.  I would have liked to see him a little upset about the situation, not just jump back into his regular routine without a pause.  He is sympathetic toward Ulysses, but I think Geoff Johns misses a chance to demonstrate Superman's human side and to get us in our emotions (new slang that I learned from the kids).

Of course, the new power is a big event.  I like that it evolves from a power that Superman already has, and it leaves him vulnerable after he uses it. A real hero puts his life on the line.  I don't want him to use this power like fireworks on the Fourth of July.  My question is simple:  is this the final manifestation of this power or will it evolve?

That's not the only bomb that Superman drops on us.  Superman reveals his secret identity to Jimmy Olsen.  Now, Jimmy is Superman's best friend.

This is one of Mr. John's best offerings.  He has met the standard set by his own talent.  We can appreciate the masters, John Romita and Klaus Janson, on this art team.  From the Fourth Dimension to Metropolis to Superman exploding, the art is exquisite and sublime. These gentlemen are focused on making Superman the pinnacle of comic art.

I rate Superman #38 Buy Your Own Copy (#2 on the Al-o-Meter)


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Friday, March 20, 2015

I Reads You Review: S.H.I.E.L.D. #1

S.H.I.E.L.D #1
MARVEL COMICS – @Marvel

WRITER: Mark Waid
PENCILS: Carlos Pacheco
INKS: Mariano Taibo with Jason Pax
COLORS: Dono Almara
LETTERS: VC's Joe Caramagna
COVER: Julian Totino Tedesco
VARIANT COVERS: Mahmud Asrar with Dono Almara; John Tyler Christopher; Mike Deodato with Edgar Delgado; David Marquez with Laura Martin; Steve McNiven with Marte Gracia; Sara Pichelli with Dono Almara; Valerio Schiti with Laura Martin; Ryan Stegman with Rom Fajardo; Skottie Young
36pp, Color, $4.99 U.S. (January 2015)

Rated “T+”

S.H.I.E.L.D created by Stan Lee and Jack Kirby

“Perfect Bullets”

S.H.I.E.L.D. is a fictional espionage, law-enforcement, and counter-terrorism agency that appears in Marvel Comics titles.  The agency often deals with paranormal and super-human threats.  This agency was created by Stan Lee and Jack Kirby and first appeared in Strange Tales #135 (cover dated: August 1965).  The acronym, S.H.I.E.L.D., originally stood for “Supreme Headquarters, International Espionage, Law-Enforcement Division,” but  changed in 1991 to “Strategic Hazard Intervention Espionage Logistics Directorate.”

S.H.I.E.L.D. plays a prominent role in the films and television series (live-action and animated) that are part of the “Marvel Cinematic Universe.”  Currently, the S.H.I.E.L.D. acronym stands for “Strategic Homeland Intervention, Enforcement and Logistics Division.”

S.H.I.E.L.D. is the star of an ABC television series, “Marvel's Agents of S.H.I.E.L.D.”  On the last week of the 2014, Marvel Comics launched a new S.H.I.E.L.D. comic book series.  Mark Waid will write the series with the art provided by a rotating roster of popular comic book artists, beginning with the first issue's penciller, Carlos Pacheco.

S.H.I.E.L.D. #1 (“Perfect Bullets”) introduces Phil Coulson, the star of the ABC series.  This is his first day on the job as S.H.I.E.L.D. Special Ops Supreme Commander, and waiting for him is a full-on invasion of Earth.  It seems that the hordes of the “Norse World” (Thor's stomping grounds) have arrived on Earth to unleash some destruction.

Captain America, Iron Man, The Hulk, Black Knight, Blue Marvel, Hercules, Hyperion, Nova, Sunfire, Valkyrie, and The Vision have their hands full.  So it's up to Coulson to head to Sharzhad, a country beset by terrorists, and one of those terrorists may be the reason for the invasion.  Now, Coulson will need to align the “perfect bullets” to save the day.

I picked up a copy of S.H.I.E.L.D. #1 because I knew a friend of mine would like to read it.  After reading it, he didn't seem impressed.  I'm not, either.

S.H.I.E.L.D. #1 isn't a bad read.  It's just nothing special or even worthy of much notice.  I have said this in other reviews I've written:  when Mark Waid is good, he's really good, but when he is not, he is mediocre.  I won't call him mediocre on S.H.I.E.L.D. #1, but he is in the sub-par zone.

S.H.I.E.L.D. is up to the third issue, as of the last time I looked.  I might try another issue, especially as characters from the ABC series will appear in the comic book.

Reviewed by Leroy Douresseaux


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

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

Wednesday, January 28, 2015

I Reads You Review: STAR WARS #1


STAR WARS (2015) #1
MARVEL COMICS – @Marvel

["Star Wars Central" review page is here.]

STORY: Jason Aaron
ART: John Cassaday
COLORS: Laura Martin
LETTERS: Chris Eliopoulos
COVER: John Cassaday with Laura Martin
VARIANT COVERS: Bob McLeod; Simone Bianchi, Mark Brooks, J. Scott Campbell with Nei Ruffino; Pascal Campion; John Tyler Christopher; Alan Davis, Dale Keown; Sara Pichelli; Humberto Ramos; Alex Ross; Skottie Young
48pp, Color, $4.99 U.S. (March 2015)

Rated T

Book 1: Skywalker Strikes

In 1977, Marvel Comics published a comic book adaptation of the movie, Star Wars, over the course of six issues.  Because of the sales success of that adaptation, Marvel continued publishing this comic book, also entitled Star Wars, assigning a number of writers and artists to fashion new adventures featuring the cast of the Oscar-winning Star Wars, which broke box office records.

During its run of 107 issues and 3 annuals, Star Wars the comic book series also adapted the 1980 film, The Empire Strikes Back (over the course of six issues).  The series created new stories to continue the adventures of Luke Skywalker, Princess Leia Organa, Han Solo, ChewbaccaC-3PO, R2-D2, Darth Vader, and new characters like Lando Calrissian and Boba Fett.  A comic book adaptation of Return of the Jedi was published in a separate four-issue miniseries.  Marvel also published two other Star Wars comic books, a fourteen-issue series, Ewoks, and an eight-issue series, Droids.  In 1986, Marvel stopped producing new Star Wars comic books.

From 1991 to 2014, Dark Horse Comics held the license to publish Star Wars comic books.  During that time, Dark Horse published hundreds of individual Star Wars comic books, paperbacks, and hardcover collections.  The Walt Disney Company bought Marvel Entertainment, LLC in 2009 and Lucasfilm Limited, LLC in 2012 (the home of Star Wars, of course), making Marvel Comics and Lucasfilm corporate siblings.  Because of that, Marvel Comics was slated to once again be the publisher of Star Wars comic books.

To begin this new era of Star Wars comic books, Marvel recently launched a new comic book entitled Star Wars.  This title returns to the period immediately following the events depicted in the original Star Wars film (also known as Episode IV – A New Hope).  That means new adventures featuring the classic versions of Luke, Leia, Han, Chewbacca,  C-3PO, R2-D2, and Darth Vader.

Marvel's Star Wars #1 opens shortly after Luke Skywalker destroyed the evil Galactic Empire's most feared and greatest weapon, the Death Star.  Now, the Rebel Alliance wishes to press the advantage they gained over Imperial Forces and are launching a daring offensive in a bid to defeat the Empire once and for all.

Now, Luke, Leia, Han, Chewbacca, C-3PO, and R2-D2 have secretly infiltrated the Corellian Industrial Cluster.  Han is pretending to be the official emissary of Jabba the Hutt, whose organization will provide the raw material that the Empire needs for its weapons factory.  Our favorite rebels are about to discover that another negotiator is also on his way, and he is someone familiar to them.

What can I say?  I love Star Wars.  I have only read a small portion of the books and comic books produced in what is called the “Star Wars Expanded Universe.”  I have occasionally bought toys, clothing, and other merchandising.  Still, I love Star Wars.  I have seen all the films (including the Star Wars: The Clone Wars film) in whole or in part so many times that only God knows the number.  I did not watch much of the old “Droids” and “Ewoks” Saturday morning cartoon series, but I have seen most of the recent animated series, like “Star Wars: The Clone Wars” and “Star Wars Rebels.”

Yes, I love Star Wars.  Marvel's new Star Wars #1 does feel like it is connected to the original Star Wars film, at least to me.  Writer Jason Aaron is spot-on with the dialogue.  Han's dialogue recalls Harrison Ford of the original trilogy.  There are moments in this first issue when artist John Cassaday draws the characters as if he had gone back in time and was the official portrait artist on the set of Star Wars in 1976 when George Lucas began shooting the first film.  So what can I say?  Of course, I like this.  Of course, I love Marvel Comics' new Star Wars #1.

[At the beginning of 2013, Dark Horse Comics launched a comic book entitled Star Wars.  It also took us (as a press release said) “back to those heady, adventure-filled days following the destruction of the Death Star—when the Empire ruled, the Rebels were on the run, and the galaxy was a dangerous place where anything might happen!”  Dark Horse's Star Wars was a character-driven, science fiction adventure serial, and, to be fair, it was quite good.]

A

[This comic book includes previews of the following comic books:  Star Wars: Darth Vader by Kieron Gillen and Salvador Larocca and Star Wars: Princess Leia by Mark Waid and Terry Dodson.]

Reviewed by Leroy Douresseaux


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





Wednesday, December 24, 2014

I Reads You Review: ALL-NEW CAPTAIN AMERICA #1

ALL-NEW CAPTAIN AMERICA #1
MARVEL COMICS – @Marvel

WRITER: Rick Remender
PENCILS: Stuart Immonen
INKS: Wade von Grawbadger
COLORS: Marte Gracia with Eduardo Navarro
LETTERS: VC's Joe Caramagna
COVER: Stuart Immonen and Wade von Grawbadger and Marte Gracia
VARIANT COVERS: Paul Pope; Alex Ross; Sara Pichelli with Laura Martin; Kris Anka
28pp, Color, $3.99 U.S. (January 2015)

Rated “T”

Captain America created by Joe Simon and Jack Kirby

As part of its “Avenger NOW!” initiative, Marvel Comics is debuting some new titles and relaunching others.  All-New Captain America is a relaunch.  Written by Rick Remender, drawn by Stuart Immonen (pencils) and Wade von Grawbadger (inks), colored by Marte Gracia (with Eduardo Navarro), and lettered by Joe Caramagna, this Captain America title launches superhero, Sam Wilson a.k.a. The Falcon, as the new-look Captain America.

The Falcon is an African-American superhero created by Stan Lee and Gene Colan that first appeared in Captain America #117 (cover dated: September 1969).  In his new role, the Falcon gets Captain America's shield and a redesigned uniform, as well as a new version of his Falcon wings.  Sam Wilson also gets a partner, Ian Zola, the son Arnim Zola.  Ian is the new Nomad.

All-New Captain America #1 finds Captain America and Nomad, with Redwing (a highly-trained hunting falcon), infiltrating a Hydra base hidden beneath a mountain.  The new Captain America wants to show that he can be the man, but visiting mercenary, Batroc, doesn't thing agree.  Besides, Batroc isn't the only familiar face making a surprise appearance.

I have not read many comic books written by Rick Remender.  This first issue of  All-New Captain America makes me want to read more.  This story features some typical superhero action, but it has a humorous streak, and all the major characters seem to be on equal footing.  Also, the battle depicted here will not be a one-sided affair, and the winner(s) will have to earn it.  The situation is in flux for the new Captain America and that piques my interest.

Before there was All-New Captain America, there was All-New X-Men, which was guided by the art team of Stuart Immonen, Wade von Grawbadger, and Marte Gracia.  I loved the art in that flashy new, X-Men comic book, but I came to take it for granted.  Seeing their work here, however, makes me appreciate this art team all over again.  This is one pretty comic book, so I think I'll come back to All-New Captain America to see if this entire creative team can make something special of this new series and this new Captain America.  I think they can.

Reviewed by Leroy Douresseaux


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

Saturday, November 15, 2014

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.



Friday, November 7, 2014

I Reads You Review: THOR #1

THOR (2014) #1
MARVEL COMICS – @Marvel

WRITER: Jason Aaron
ART: Russell Dauterman
COLORS: Matthew Wilson
LETTERS: VC's Joe Sabino
COVER:  Russell Dauterman with Frank Martin
VARIANT COVERS:  Sara Pichelli with Laura Martin; Esad Ribic, Andrew Robinson; Alex Ross; Fiona Staples; Skottie Young
28pp, Color, $3.99 U.S. (December 2014)

Rated “T+”

Marvel Comics' version of Thor is, of course, based on the Norse mythological deity of the same name.  Marvel's the mighty Thor is the Asgardian god of thunder; possesses the enchanted hammer, Mjolnir; and is also a superhero, as well as being a member of The Avengers.

Thor first appeared in Journey into Mystery #83 (cover dated August 1962) and was created by editor-plotter Stan Lee, scripter Larry Lieber, and penciller Jack Kirby.  For most of his 52 years of existence, Thor has possessed Mjolnir, which, among other superhuman attributes, grants him the ability of flight and of weather manipulation.

Thor has possessed that “enchanted hammer” for most of his comic book existence, but there have been times when Thor:  the Prince of Asgard, the one true God of Thunder, and the Odinson, has not possessed Mjolnir.  One famous example of another being wielding Mjolnir was Beta Ray Bill, a character that debuted in The Mighty Thor #337 (cover dated: November 1983), the first issue of Walter Simonson's acclaimed run as writer-artist of The Mighty Thor.

Now, another new era of Thor begins.  Thor will be the “Goddess of Thunder.”  As part of Marvel Comics' “Avengers NOW!” initiative, there is a new ongoing Thor comic book series written by Jason Aaron, drawn by Russell Dauterman, colored by Matthew Wilson, and lettered by Joe Sabino.

Thor #1 (“If He be Worthy”) opens in the Norwegian Sea at the Roxxon Seabase.  It is about to be visited by some monstrous denizens of the deep, spurred on by an old adversary of Thor's.  Meanwhile, on the moon, Thor finds that no matter how hard or how often he tries, he cannot lift Mjolnir.  His father, Odin the All-Father, has returned and is not helping the troubling situation.  His wife and Thor's mother, Freyja the All-Mother, seems to have accepted this sudden wave of change.  The attack on the sea base makes Thor remember that he still has to be a superhero.  How will that work out for him without Mjolnir?

This year, I have been reading more Marvel Comics number-one issues than I have in a long time.  That's why I picked up the new Thor #1.  I am glad that I did; it's an exciting first issue.  I didn't think Thor in a state of ultimate humiliation could be such an enthralling character and compelling situation.  I didn't think I could yearn so much for him to be healed, but Jason Aaron's script is a thing of wonders.  Every scene hits the notes it needs to in order to make this new state of Thor work.

Now, I can't say that I am equally enthralled with Russell Dauterman's art.  I liked him more as the artist on the current Cyclops comic book series.  Dauterman is not bad here; maybe, the art just needs time to grow on me.  I'm curious to see what the second issue is like.  I think that's where the real force of change will be felt.  In the meantime, I recommend that readers at least try the first issue of this new Thor.

Reviewed by Leroy Douresseaux


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

Wednesday, April 2, 2014

I Reads You Review: MINISTRY OF SPACE #1

MINISTRY OF SPACE #1 (OF 3)
IMAGE COMICS – @ImageComics

WRITER: Warren Ellis
ARTIST: Chris Weston
COLORS: Laura DePuy
32pp, Color, $2.95 U.S., $4.63 CAN (April 2001)

Cleaning my house and digging through boxes will yield treasures… or maybe comic books I forgot I had.  I found copies of Ministry of Space, the three-part, alternate history miniseries written by Warren Ellis and drawn by Chris Weston.  The first two issues of Ministry of Space were published by Image Comics in 2001, with the third and final issue not being published until 2004.

First, a quick historical overview:  near the end of World War II, the United States, through the program, Operation Paperclip, recruited the scientists of Nazi Germany for their scientific expertise.  This is how the U.S. advanced its defensive missile and rocket and space programs.  The U.S. wanted to deny these Nazis’ knowledge to the United Kingdom and especially to the Soviet Union (U.S.S.R.), which did manage to capture some German scientists.

Ministry of Space #1 introduces an alternate-Earth history in which British soldiers and operatives reached the German rocket installations at Peenemünde ahead of the U.S. Army and the Soviets.  Thus, the Brits get the Nazi rocket science brain trust.  With this acquisition of key German personnel and Nazi technology, Sir John “Jacko” Dashwood, Air Commodore of the Royal Air Force, creates the Ministry of Space.  This ministry’s mission is to develop British space technology and to claim space for “King and Country and the British Empire.”

Ministry of Space #1 has an interesting premise.  It certainly makes me wonder if our world would be better off if the British had won the space race.  Then, I remember the British Empire, its mass murder of indigenous people for their natural resources, and the “White man’s burden.”  So was the British Empire better or worse than the American and Soviet empires?  You can consider that a rhetorical question, if you wish.

Premise aside, Ministry of Space #1 is sometimes aloof, sometimes tepid, but despite Dashwood’s machinations, surprisingly positive, as if to suggest that there is hope for mankind in Dashwood’s plans.  Chris Weston’s art, with its retro feel, and Laura DePuy’s colors recall Frank Hampson’s Dan Dare.  Ministry of Space also reminds me of the delightful British color adventure and genre films of the 1950s and 1960s that I watch on Antenna TV.

B

Reviewed by Leroy Douresseaux


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



Wednesday, September 25, 2013

Review: MIGHTY AVENGERS #1

MIGHTY AVENGERS (2013) #1
MARVEL COMICS – @Marvel

WRITER: Al Ewing
PENCILS: Greg Land
INKS: Jay Leisten
COLORS: Frank D’Armata
LETTERS: Cory Petit
COVER: Greg Land with Lee Duhig
VARIANT COVERS:  Bryan Hitch with Laura Martin; Carlo Barberi with Edgar Delgado; Leonel Castellani; Skottie Young
28pp, Color, $3.99 U.S. (November 2013)

Rated T+

In comic books, how does one master the art of creating the first issue?  I say “art” because I think that producing a great first issue and continuing that into an exceptional comic book series, is an art.  The number of creators who can (1) produce a great first issue, (2) continue that into a distinguished comic book series, and (3) accomplish that feat more than once is relatively small.  I say Alan Moore, Peter Bagge, Kyle Baker, Brian Michael Bendis, Howard Chaykin, Daniel Clowes, Gilbert Hernandez, Jaime Hernandez, and Frank Miller, among others.

[Of course, there are creators who produce great first issues which only result in uneven series.  Can you say Grant Morrison?]

And then, there are the creators you wonder about.  They deliver an unspectacular first issue, and that makes me suspicious about the rest of the series.  In a market crowded with superhero comic books, the creative team has to open with a bang.  The new reader/customer needs something that seems like more than just the first chapter of an upcoming trade paperback collection.

Out of Marvel Comics’ “Infinity” event comes a relaunch of Mighty Avengers.  British comic book writer Al Ewing and reliable artist Greg Land deliver the ultimate cookie cutter Avengers comic book in Mighty Avengers #1.  This comic book is not a bad cookie, but it is not a $3.99 cookie.

It is more like a cookie you can get in a $1 bag of cookies at a dollar store (Dollar General, Family Dollar, Dollar Tree, etc.).  So Mighty Avengers is not even the equivalent of a “quality” mass-produced cookie brand (Nabisco?).  It is certainly not a boutique shop cookie baked by two broke girls who just opened their own cookie shop with daddy’s money.

So what happens in this new comic book called Mighty Avengers?  The Avengers are off-world, handling someone else’s business, so who is handling their business back home?  Thanos sends a badass bitch named Proxima Midnight to take advantage of an Avenger-less Earth.  Meanwhile, back at the ranch, Luke Cage, Spectrum (formerly known as Negress Captain Marvel), Superior Spider-Man (more like Snobby Spider-Man), Power Man and a few others have conversations about themselves.  Then, they fight.

I think Mighty Avengers is supposed to be clever or at least funny in the vein of the old Keith Giffen-J.M. DeMatteis-Kevin Maguire Justice League.  It is neither.  So much for that wry British humor.  The computer program that Judith Krantz, Danielle Steel, and other bestselling authors supposedly use to write their novels must be similar to the tech Greg Land uses to draw his clone superhero comic book art.  The result of Ewing and Land’s efforts is a comic book that is neither mighty nor spectacular, but it isn’t completely bad.  It is Avengers and if you like Avengers, well...

I have heard people describe Mighty Avengers as the “ethnic Avengers” or even the “black Avengers.”  I guess those could be somewhat accurate descriptions, but not when it comes to the creative team.  Marvel Comics editors act like they’re scared of n*gg*s... or at least can’t find Black comic book writers amongst their friends and colleagues.

Anyway, fans that just gots to have an Avengers fix will want Mighty Avengers, although (if you ask me) they need to diversify their reading list – if just a little.

C

Reviewed by Leroy Douresseaux

The text is copyright © 2013 Leroy Douresseaux. All Rights Reserved. Contact this site for syndication rights and fees.




Friday, August 23, 2013

Review: SKYWARD #1

SKYWARD #1
ACTION LAB ENTERTAINMENT – @ActionLab

CARTOONIST: Jeremy Dale
COLORS: Steve Downer
LETTERS: Thom Zahler
COVER: Jeremy Dale with Laura Martin
EDITOR: Kelly Dale
32pp, Color, $3.99 (July 2013)

Action Lab Entertainment recently began publishing a fantasy comic book series, entitled Skyward.  It is created, written, and drawn by Jeremy Dale, who apparently first began self-publishing Skyward a few years ago.

Skyward #1 (“The Genesis of Exodus”) introduces a boy named Quinn.  He lives in the kind of medieval-like age which is the setting for many epic fantasy and high-fantasy stories.  As Skyward begins, Quinn is fishing with his dog, Jack, and his father, Corin, a massive muscular man with a Conan the Cimmerian body type.

On the way home, Quinn and Corin are involved in an incident, which they don’t realize portends doom.  Father and son return to their pastoral home and hearth, where Taryn, Quinn’s mother and Corin’s wife, awaits them.  But Corin’s past is not far behind.

In a recent piece for the Comic Book Bin, columnist Philip Schweier offered an article entitled, “Comics for 45-Year-olds.”  In part, Schweier examines the term “all ages” and what it means when used to describe a target audience, in particularly readers of comic books.  “Comics for 45-Year-olds” is one of those “must-read” articles, and it is also an “evergreen,” meaning that it will be relevant to comic book readers, the marketplace, and the industry for some time to come.

One particular paragraph stood out for me, as it encapsulates the last four decades of comic book publishing in the United States.  The following line from that paragraph is relevant to my review of Skyward #1:  There was a time when comic books were truly all ages, read and enjoyed by 10-year-olds, 15-year-olds, 20-year-olds and older.

[Read the article here]

Skyward #1 is the kind of comic book that can be read and enjoyed by anyone from 10-years-old to 110-years-old.  There are many things to like about this comic book, for instance, a noisy dog named Jack as a character that fully participates in the narrative.  I also like that when it comes to Corin and Quinn, Dale offers a twist on the idea of the call to the quest.

Dale’s art with Steve Downer’s color gives the story the graphic or visual impression of watching an animated film.  In fact, reading Skyward #1 reminded me of those happy feelings I had as a child watching Ralph Bakshi’s animated feature film, The Hobbit (an adaptation of Tolkien’s novel, of course).

This early in the series, Dale is still finding his way as a storyteller and is working out a few kinks.  Still, it is clear that Skyward is heading in the right direction.  Readers looking for a stand-out fantasy that everyone can read will want to try Skyward.

A-

www.actionlab.com
www.jeremy-dale.com

Reviewed by Leroy Douresseaux

The text is copyright © 2013 Leroy Douresseaux. All Rights Reserved. Contact this blog for syndication rights and fees.


Sunday, July 7, 2013

Albert Avilla Reviews: X-Men #1 (2013)

X-Men #1
Marvel Comics

Reviewed by Albert Avilla

Writer: Brian Wood
Pencils: Olivier Coipel
Inks: Mark Morales and Olivier Coipel
Cover: Olivier Coipel and Laura Martin

Primer (Spoilers!)

They had me at the cover. They hit on all the important B’s: brawn, brains, beauty, boobs, and booty. Who else can put together a better all-female team? Even the villain in this piece is female. Girls just want to wreck it. Don’t let the good looks fool you; this is a band of thieves, ninjas, and former mutant-hunters who will kick some ass. If they did a survey of the top ten favorite female comic characters, where would most of these women place?

Mr. Wood doesn’t waste our time with origins; he hits the ground running. He gives a quick background of what the X-Men will be facing. Then, we have Jubilee with a baby running from a mysterious foe. She calls the X-Men, and they go running to save her. John Sublime goes to the Jean Grey School to ask for help against his sister who has an affinity for technology. Back on the train, the X-Men reunite with Jubilee. The baby is causing havoc with the electronics on the train. The X-Men jump into action to save the passengers. They take Jubilee and the baby back to the Grey School, where Sublime’s sister proceeds to take control of Karima Shapandar’s body. Yeah, that’s right; a being that has a biological imperative to dominant the earth has the powers of the Omega Sentinel. That’s the way you kick off a series.

Wood hits us with a fast-paced story and leaves us anticipating the story to come. With a team of characters with dynamic personalities and rich histories, Mr. Wood has a source of inspiration that should lead to a multitude of great stories.

The art is great. All of the different aspects of the art accentuate each other, which make for visual pleasure. Coipel has a great hand with faces and expressions. The costume design is also good.

I rate X-Men #1 Buy Your Own Copy. #2 (of 5) on the Al-O-Meter.


Sunday, June 16, 2013

I Reads You Review: X-Men #1

X-MEN #1
MARVEL COMICS

WRITER: Brian Wood
PENCILS: Olivier Coipel
INKS: Olivier Coipel and Mark Morales
COLORS: Laura Martin
LETTERS: VC’s Joe Caramagna
COVER: Olivier Coipel with Laura Martin
28pp, Colors, $3.99 U.S. (July 2013)

Rated T+

Marvel Comics’ Marvel NOW initiative (which began in Fall 2012) is the major re-launch of the publisher’s comics line. Within that major re-launch have been several re-launches, and one of the big unveilings is a new comic book entitled, X-Men.

The new X-Men is written by Brian Wood and drawn by Olivier Coipel. That is a major creative team, but the really big news about this new X-Men title is that it features a female-only lineup. This new X-Men comic book stars Storm, Kitty Pryde, Psylocke, Rachel, Rogue, and Jubilee.

X-Men #1 (2013) begins with Jubilation Lee (Jubilee, of course) on the run, and in possession of an infant. Someone is following her, and she calls for the X-cavalry. Meanwhile, John Sublime shows up at The Jean Grey School for Higher Learning in Westchester, New York. He has a tale of impending doom to tell.

Writing the X-Men means recycling the ideas of other writers, ideas that were first published decades ago. What Stan Lee, Roy Thomas, Len Wein, and Chris Claremont wrote can be and has been rehashed, re-imagined, remade, and re-jiggered into countless new comic book stories. This has gone on for decades and can go on for many, many more decades.

Along comes Brian Wood. He is one of those writers that can take someone else’s concept and write new stories that are as fresh and as innovative as the original idea. See him do it on Dark Horse’s new eponymous Star Wars comic book with artist Carlos D’Anda. Wood’s new X-Men is the freshest take on the franchise since Grant Morrison shocked us with New X-Men 13 years ago.

One of the elements that made Morrison’s New X-Men so bracing was the art by Frank Quitely. Wood has an artist collaborator who is still ascending. Olivier Coipel, the French comic book artist, has not yet reached his creative peak, but he is a good storyteller. His pretty, eye-candy style is made even prettier by Laura Martin’s dazzling colors.

Coipel is making X-Men a stimulating, refreshing read. Also, amazing is that he is the first “artist of color” (or how about “Black guy”) to be the series artist (and not a guest artist) on a main or “flagship” X-Men title in the 50-year history of the franchise. When you consider that people associated with Marvel have evoked Dr. Martin Luther King and Malcolm X to describe the X-Men, it is ridiculous that it took this long.

By the way, no African-American or Black writer has been the series writer for Uncanny X-Men or X-Men. Is this an accident or is it because the powers-that-be over the years just wanted it that way? Well, I guess Brian Wood and Olivier Coipel are as bold as it’s ever going to get.

Any way, I like X-Men #1. This is just the first issue, but I already think that the 2013-launched X-Men is a fabulous comic book.

A

Reviewed by Leroy Douresseaux

Monday, December 31, 2012

Albert Avilla Reviews: Uncanny Avengers 002

Uncanny Avengers 002
Marvel Comics

Reviewed by Albert Avilla

Writer: Rick Remender
Artist: John Cassaday
Cover: John Cassaday and Laura Martin
Variant Cover: Milo Manara

(Spoilers!)
There is a battle going on for my comic book dollars, and the number one contender is the Uncanny Avengers. I’ve already put it on my pull list. The number one reason is Remender’s writing.

When I saw that the Red Skull was going to be the first adversary of the Uncanny Avengers, I thought, oh boy, some of the same old same-old. I’m wrong so often it’s easy for me to admit when I am wrong. Remender handles the Skull well; he has a good insight into who the Skull is. Who better to use as the catalyst to further incite the humans’ hatred of the mutants than the former henchman of Adolf Hitler.

Remender’s writing exposes the evil that the Skull is. He uses our desire to find something to blame for what is not right in the world and amplifies it into a maniacal hatred. He is a master of human psychology; this is vividly illustrated in his attempt to recruit the Scarlet Witch. With his powers, Professor Xavier was able to subdue Wanda, using psychological weaknesses from her father issues to her own concern about being a powerful mutant. The Skull is always able to find minions whom he can convert to his cause and who are willing to sacrifice their humanity to serve him. They are just tools to help accomplish his goals, to be disposed of once used.

At the same time, Remender gives us examples of good. The first is when Xavier takes a stand against the other X-Men when he first accepted Rogue into the X-Men. This was a pivotal moment in the young woman’s life, saving her from a fall into the darkness. Rogue has been a warrior who has turned battles in the favor of the X-Men. Another is the Uncanny X-Men helping clean up the site that Avalanche destroyed. That’s good people when they party with you all night long and help you clean up the mess afterward.

Another thing that I like about Remender is he does not forget the characters’ past; he builds on them. Remender gives everybody their moment in the story; no one character is more important to the story than the other. Thor is nothing but hero. He could be chilling in Asgard, but he’s on Earth taking up the mutant cause with Cap [Captain America, of course – Ed.]. He is giving the Scarlet Witch more of an edge and a sense that she is superior to others. The Skull has the power of Charles Xavier. He was hell before; now what kind of mischief will our little red goblin get into?

The art is “wow” at every turn. Every panel is a masterpiece of sequential art. Sometimes, I get the feeling that the dialogue is interfering with my enjoyment of good art. Can we get Thor a spa day or a godly makeover; the dude is looking rough in his work clothes. What ever happened to godly raiment?

I rate Uncanny Avengers 002 Recommend it to a Friend. Highest ranking on the Al-O-Meter