#IReadsYou Review: GEIGER #2

GEIGER #2
IMAGE COMICS/Mad Ghost

STORY: Geoff Johns
ART: Gary Frank
COLORS: Brad Anderson
LETTERS: Rob Leigh
EDITOR: Pat McCallum
COVER: Gary Frank with Brad Anderson
VARIANT COVER ARTISTS: Bryan Hitch; Mahmud Asrar; Gary Frank with Brad Anderson
32pp, Colors, 3.99 U.S. (May 2021)

Rated “T+/Teen Plus”

Geiger created by Geoff Johns and Gary Frank

Geiger is a new comic book series from writer Geoff Johns and artist Gary Frank.  Published by Image Comics, Geiger is set on a dying Earth in the years after a nuclear war ravaged the planet.  Colorist Brad Anderson and letterer Rob Leigh complete the series' creative team.

Geiger is set 20 years after the nuclear conflict known as the “Unknown War” ravaged the planet, turning Earth into a dying world.  In the state of Nevada, desperate outlaws battle for survival in a world of rapidly disappearing resources and supplies.  In Boulder City, Nevada, there resides the fearsome man known by many names:  Joe Glow, The Meltdown Man, and the Walking Bomb, to name a few.  But before the war, he was simply a man named Tariq Geiger.  So who or what is Geiger, now?

Geiger #2 opens with a flashback into Tariq's past life.  Then, the story moves fully into Las Vegas.  There, a waitress in the fiefdom of Camelot has a plan to save her children – her older child, daughter Hailee, and younger child, son Henry – from the perverted desires of the thugs that rule Camelot.

Carolina's plan involves a powerful relic from before the war.  Will this relic bring hope or finish what the war started?  It depends on who gets Carolina's prize – the “Casino Warlords of Las Vegas” or the monster called Geiger.

THE LOWDOWN:  As first issues go, Geiger #1 was mostly an introduction, kind of like a prologue.  It introduced the title character, Geiger, giving readers a look at who he was in the past and a glance at who he is now.  Honestly, Geiger #1 was not Geoff Johns or Gary Frank's best work.

Still, I was intrigued by the concept, and Geiger #2 starts to deliver on the series' potential.  I thought that once writer Geoff Johns took readers into Las Vegas the intensity would rise, and it does.  If Geiger is the hero of Geiger the comic book, Las Vegas, in the form of “Casino Warlords,” will be the source of the villains and adversaries.  From what we see of Vegas, I think Johns is promising lots of conflict and action-driven drama.

In Geiger, Frank's pencil art is rougher and less refined than his usual work, which, as I wrote before, is a good thing here.  Geiger is dark, and perhaps, it will be apocalyptic, so with colorist Brad Anderson, Frank is preparing us for action, but not the shiny, superhero kind.  I think I should keep following Geiger … for the time being.

I READS YOU RECOMMENDS:  Fans of Geoff Johns and Gary Frank will want to check out Geiger.

A-
7.5 out of 10

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


https://twitter.com/geoffjohns
http://www.madghost.com/
https://twitter.com/1moreGaryFrank
https://twitter.com/ImageComics
https://imagecomics.com/


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

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

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

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

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

Rated T

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

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

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

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

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

“No … I am your father.”

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

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

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

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

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

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

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

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

9 out of 10

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

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


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

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#IReadsYou Review: STAR WARS #1

STAR WARS #1 (2020)
MARVEL COMICS – @Marvel

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

STORY: Charles Soule
ART: Jesus Saiz
COLORS: Jesus Saiz; Arif Prianto
LETTERS: VC's Clayton Cowles
EDITOR: Mark Paniccia
EDITOR-IN-CHIEF: Akira Yoshida a.k.a. C.B. Cebulski
COVER: R.B. Silva with Guru-eFX
VARIANT COVER ARTISTS: Arthur Adams with Jesus Aburtov; Jen Bartel; Adam Hughes; Mahmud Asrar with Matthew Wilson; Phil Noto; Chris Sprouse; Karl Story with Neeraj Menon
4pp, Color, $4.99 U.S. (March 2020)

Rated T

“The Destiny Path” Part I

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

Now comes Star Wars 2020.  It is written by Charles Soule; drawn by Jesus Saiz; colored by Arif Prianto and Saiz; and lettered by Clayton Cowles.  The new series takes place after the events depicted in the 1980 Star Wars film, The Empire Strikes Back (also known as Star Wars: Episode V: The Empire Strikes Back).

Star Wars #1 opens inside the Millennium Falcon.  Its passengers:  Luke Skywalker, Princess Leia, Chewbacca, R2-D2, C-3PO, and Lando Calrissian escaped the Cloud City of Bespin, formerly owned by Lando.  They also escaped capture by the forces of the Galactic Empire, thanks to a save by R2-D2, as seen in The Empire Strikes Back.  There are also feelings of recrimination and anger over the capture of Han Solo by bounty hunters, led by Boba Fett, in service of Darth Vader.

Leia's plan is for them to reach The Mid Rim, Rendezvous Point: Delta-Three and join the “Fourth Division” of the Rebel Fleet.  But the Fourth Division is trapped there by imperial forces led by Lieutenant Gorr of the Imperial Star Destroyer, “Tarkin's Will.”  Now, Leia, Luke, Chewbacca, and Lando will have to put aside the anger, pain, and grief if they are going to save the Rebel Alliance... and find a traitor.  Meanwhile, Luke struggles with his destiny in the aftermath of his battle with Darth Vader in Cloud City.

Star Wars #1 (2020) takes place inside the final 10 minutes of The Empire Strikes Back.  It expands on what happened between the Millennium Falcon escaping the Imperial forces shortly after leaving Bespin and the film's final moments.  Writer Charles Soule has said that he hopes to use this new Star Wars series to expand on what happened between The Empire Strikes Back and Return of the Jedi (1983), the final film of the original Star Wars trilogy.  And I'm all for that!

Star Wars #1 is a very well written first issue, as Soule expounds on the conflict between Leia and Chewbacca against Lando.  Soule delves into Luke's struggles after his duel with Darth Vader, revealing a young man adrift and who may have to find his own way.  Soule plays up the idea that Luke's journey will be different from that of any other Jedi's.  Soule also offers a tremendous mini action-thriller involving a besieged part of the Rebel Fleet, facing certain doom at the hands of Imperial Star Destroyers.  Soule creates the perfect scenario in which he can show how the post-Episode V core of heroes:  Luke, Leia, Lando, Chewbacca, and the Droids can work together to save the Rebellion.

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

I have to be honest.  Although I was a regular reader of the previous series, Star Wars (2015), my excitement for the series's last 12 issues was about a third of what it was for the first 12 issues.  Star Wars #1 2020 has not made me feel the original highs I felt, but it's close enough.

8 out of 10

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


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

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#IReadsYou Review: EXCALIBUR #1

EXCALIBUR No. 1 (2019)
MARVEL COMICS – @Marvel

[This review was originally posted on Patreon.]

STORY: Tini Howard
ART: Marcus To
COLORS: Erick Arciniega
LETTERS: VC's Cory Petit
EDITOR: Jordan D. White
EiC: Akria Yoshida a.k.a. “C.B. Cebuski”
COVER: Mahmud Asrar with Matthew Wilson
VARIANT COVER ARTISTS: Kris Anka; Mark Bagley and John Dell with Israel Silva; Tom Muller
44pp, Color, $4.99 U.S. (December 2019)

Rated T+

The X-Men created by Stan Lee and Jack Kirby

“The Accolade of Betsy Braddock”

The X-Men are a Marvel Comics superhero team comprised of individuals with unique powers and abilities granted to them because they are “mutants.”  Created by artist Jack Kirby and writer-editor Stan Lee, the X-Men debuted in the comic book, The X-Men #1 (cover dated: September 1963).

Since the mid-1980s, there have been numerous X-Men spin-off comic book series.  One of them is Excalibur, which featured an off-shoot of the X-Men based in the United Kingdom.  The series was created by writer Chris Claremont and writer-artist Alan Davis, and it debuted in Excalibur Special Edition #1 (1987), also known as Excalibur: The Sword is Drawn.  The ongoing series, Excalibur, debuted in 1988 and ran for 125 issues, ending in 1998.

Over its six decades of existence, the X-Men comic book franchise has been revived, revamped, relaunched, and re-imagined.  The latest remodeling came via a pair of six-issue miniseries, House of X and Powers of X (pronounced “Powers of 10”), which were written by Jonathan Hickman.  Afterwards, October 2019 welcomed “Dawn of X,” the launch of six new X-Men titles, although all except one bore titles that had been previously used.  The new series are Fallen Angels, Maruaders, New Mutants, X-Force, X-Men, and the subject of this review, a new version of Excalibur.

Excalibur (2019) is written by Tini Howard; drawn by Marcus To; colored by Erick Arciniega; and lettered by Cory Petit.  The new series will feature a new Captain Britain, along with team members:  Rogue, Gambit, Jubilee, Rictor... and Apocalypse.

Excalibur #1 (“The Accolade of Betsy Braddock”) opens in “The Otherworld,” specifically “Camelot.”  The Otherworld is being rocked by war, and Arthur Pendragon is missing.  Arthur's half-sister, the sorceress Morgan Le Fay, has named herself “Queen Regent,” because of Arthur's status and the state of the rest of the royal family.  Le Fay is also incensed that a gateway to Krakoa, the living island and mutant nation-state, has polluted her scrying pool.

Meanwhile, Betsy Braddock is leaving her brother, Brian Braddock a.k.a. “Captain Britain,” and Braddock Academy in Maldon, England, for the mutant paradise of Krakoa.  However, there, she is about to be reunited with an unpleasant family member who has been revived in “The Hatchery.”  Plus, the war in Otherworld is about to force huge changes in Betsy's status quo.

Apparently, Excalibur will focus on the magic angle in the new mutant status quo.  I am interested, but not $3.99 or $4.99 cover price-interested.  There were a few things caught my notice, but half of this comic book was a chore to read.  Honestly, there is nothing about Excalibur #1 that says this series will run longer than twelve issues.  Writer Tini Howard offers a script that seems more like a stumbling of scenes clumsily stuck together.

Artist Marcus To offers pretty if not exceptional art, but his storytelling is clear... or at least clearer than Tini Howard's.  Erick Arciniega slathers on the colors like a drunk trying to paint all the china in a china shop.  Cory Petit's lettering is pretty much a single font that, if read it long enough, could cause the comic book reading equivalent of snow blindness.

Yeah, Excalibur #2 better throw it down for real...

3.5 out of 10

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


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


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#IReadsYou Review: UNCANNY X-MEN #1 (2019)

UNCANNY X-MEN #1 (2019) – Legacy #620
MARVEL COMICS – @Marvel

[This review was originally posted on Patreon.]

STORY: Ed Brisson, Matthew Rosenberg, and Kelly Thompson
ART: Mahmud Asrar; Mirko Colak; Ibraim Roberson
PENCILS: Mark Bagley
INKS: Andrew Hennessy
COLORS: Rachelle Rosenberg
LETTERS: VC's Joe Caramagna
COVER: Leinil Francis Yu with Edgar Delgado
EDITOR: Jordan White with Darren Shan
VARIANT COVER ARTISTS: David Finch with Frank D'Armata; Jim Cheung with Justin Ponsor; Scott Williams with Ryan Kinnaird; Carlos Pacheco and Rafael Fonteriz with Edgar Delgado; Joe Quesada with Richard Isanove; Rob Liefeld with Romulo Fajardo, Jr.; Dave Cockrum with Jason; Dave Cockrum
72pp, Color, $7.99 U.S. (January 2019)

Rated T+

X-Men created by Stan Lee and Jack Kirby

“Disassembled” Part 1; “What Tomorrow Brings” Parts One – “A Bishop Story”; Part Two – “A Jean Grey Story”; Part Three – “An Armor & Angle Story”; Epilogue

There is no point in trying to count the number of times that Marvel Comics has relaunched, reinvigorated, or quasi-rebooted its X-Men comic book franchise since 2001's New X-Men.  This week we got the third(?) Uncanny X-Men relaunch.

Uncanny X-Men 2019 is written by the team of Ed Brisson, Matthew Rosenberg, and Kelly Thompson.  The artists and art teams will rotate, as the first nine issues of this new series will be published weekly.  The artists for this first issue are Mahmud Asrar (pencils-inks); Mirko Colak (pencils-inks); Ibraim Roberson (pencils-inks); and the team of Mark Bagley (pencils) and Andrew Hennessy (inks).  Rachelle Rosenberg colors and Joe Caramanga letters this first issue.

Uncanny X-Men #1 begins with the main story, “Disassembled” Part 1.  The story opens with Jean Grey having a dream about an invasion of multiple copies of Multiple Man, each one demanding the whereabouts of Kitty Pryde.  Meanwhile, Kitty is among the members of the X-Men who are suddenly disappearing.  Who is behind this mystery?  In a series of back-up stories, Bishop, Jean Grey & Storm, and Armor & Anole take on a foe capable of possessing people in the days leading up to the events depicted in the main story.

20th Century Fox's X-Men film franchise has had some spectacular successes and some failures since the franchise's first film, 2000's X-Men.  In that time, X-Men comic books have been mostly hit and miss.  There have been some interesting, even good series; All New X-Men, New X-Men, and X-Men: The Hidden Years come to mind.  However, the “golden age” of X-Men comic books was over by the mid-1980s, and the various owners of Marvel Comics have ruined the franchise by turning it into a cash cow that has vomited money.  A deluge of X-Men and X-Men-related ongoing series, miniseries, one-shots, specials, graphic novels, and reprint and archival publications in various formats, etc. were money makers.  The quality of these comic books varied wildly.  Some were good.  Some were mediocre.  Some were plain awful.

Personally, I think that without a radical rethinking of the X-Men concept, the best we can hope for is that maybe each new iteration of a flagship X-Men comic book, Uncanny X-Men or the recent X-Men: Blue and X-Men: Gold, can yield at least a year's worth of good comic books.  Gold and Blue barely did that.

I like that Uncanny X-Men 2019 will be weekly for its first nine issues.  I wish that Marvel and DC Comics published more weekly titles.  Rather than have a bunch of crappy Justice League titles, have one that is published weekly and features rotating casts and creative teams.  If Uncanny X-Men's writing team can maintain this first issue's sense of mystery and keep offering cliffhangers like the ones in this issue, then, this will be a fun run of nine issues.

So I have some hope, but, without going into spoilers, nothing in Uncanny X-Men #1 2019 suggests that this comic book will approach the first quarter-century of X-Men publications, which offered quite a few stories that went on to become classics.  But there is enough here to suggest that this could be a solid title.  I want to be surprised and delighted.

7 out of 10

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


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

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Review: CONAN THE BARBARIAN #1

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

[This review was originally posted on Patreon.]

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

Parental Advisory

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

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

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

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

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

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

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

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

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

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

7 out of 10

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


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

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Review: X-MEN: Red #1

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

[This review was originally posted on Patreon.]

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

Rated T+

X-Men created by Stan Lee and Jack Kirby

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

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

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

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

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

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

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

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

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

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

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

8 out of 10

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


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

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Review: GENERATIONS: The Unworthy Thor & The Mighty Thor #1

GENERATIONS: THE UNWORTHY THOR & THE MIGHTY THOR No. 1
MARVEL COMICS – @Marvel

[This review was originally posted on Patreon.]

WRITER: Jason Aaron
ARTIST: Mahmud Asrar
COLORS: Jordie Bellaire
LETTERS: VC's Joe Sabino
COVER: Mahmud Asrar with Jordie Bellaire
VARIANT COVERS: Olivier Coipel with Jason Keith; Das Pastoras; Alex Ross; Jack Kirby with Paul Mounts; Dale Keown with Jason Keith
36pp, Color, $4.99 U.S. (October 2017)

Rated T+

Thor created by Stan Lee, Larry Lieber, and Jack Kirby

“The Thunder”

Generations is Marvel Comics' current event miniseries.  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 fourth issue is Generations: The Unworthy Thor & The Mighty Thor, which brings together two versions of a classic Marvel Comics character, Thor.  The first is the classic Odinson, Thor, first introduced in Journey into Mystery #83 (cover date:  August 1962), and is now known as “The Unworthy Thor.”  The second is the new Thor, Jane Foster.  Once she was the love interest of Dr. Donald Blake (who was once Thor... so to speak).  Now, Foster is known as “The Mighty Thor.”  This issue of Generations is written by Jason Aaron; drawn by Mahmud Asrar; colored by Jordie Bellaire; and lettered by Joe Sabino.

Generations: The Unworthy Thor & The Mighty Thor #1 (“The Thunder”) opens “many years ago” in the “Weapons Hall” of Asgard, the home of the Norse god, Odin, and his subjects, the Asgardians.  Odin's son is trying to lift the enchanted hammer, “Mjolnir.”  Thor is rebuked by his father for his efforts, and is commanded to take on his princely duties.  The son of Odin, however, cannot resist the call/prayers of his followers on Midgard (Earth).  Before long he is leading them into battle against a familiar supervillain and is also facing a rival for Mjolnir.

The purpose of Generations: Banner Hulk & Totally Awesome Hulk #1 was for Bruce Banner to tell the Totally Awesome Hulk/Amadeus Cho that he would not be able to escape all the tragic aspects of the curse of the Hulk.  Generations: Phoenix & Jean Grey found two women reluctant and/or incapable of telling each other everything they knew about the curse of The Phoenix

Generations: Wolverine & All-New Wolverine #1 is mainly just a slice-and-dice Wolverine adventure featuring the classic Wolverine and the All-New Wolverine – a well-executed Wolverine slice-and-dice story.  Like the Wolverine tale, Generations: The Unworthy Thor & The Mighty Thor #1 is merely a Thor fight comic book featuring two Thors.  It is pointless.  If writer Jason Aaron wanted to emphasize that two beings want possession of Mjolnir and want to be THE Thor, well, he is already doing that in the current Thor comic book.

With Generations, Marvel Comics runs the risk of publishing several issues of an event comic book that read like nothing more than, at behest, mediocre, “Annuals,” published for the sake of being published, or, at worst, filler material.  Once upon a time, there were a lot of comic book writers who could pull off an exemplary stand-alone tale in 30 pages.  Alan Moore springs to mind, but many of the top comics scribes of the 1960s and 1970s could have delivered something better than what Aaron delivers in Generations: The Unworthy Thor & The Mighty Thor #1.

Now, I must say that the art here is beautiful.  It is the best work by Mahmud Asrar that I have ever seen.  He is a rapidly growing talent, and here, he gives the hackwork story TLC that it does not deserve.  Jordie Bellaire does a stellar coloring job on Asrar's compositions.  Leave it to Jordie; she'll color the shittiness right of a mediocre comic book, and she just about does that here.  Asrar and Bellaire are the reasons I am not giving Generations: The Unworthy Thor & The Mighty Thor #1 a really low grade.

B
6 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: UNCANNY X-MEN #600

UNCANNY X-MEN No. 600
MARVEL COMICS – @Marvel

[This review was originally posted on Patreon.]

WRITER: Brian Micheal Bendis
PENCILS:  Sara Pichelli, Mahmud Asrar, Stuart Immonen, Kris Anka, Chris Bachalo, David Marquez, Frazer Irving
INKS: Wade von Grawbadger, Tim Townsend, Mark Irwin
COLORS: Marte Gracia, Jason Keith, Chis Bachalo, Frazer Irving
LETTERS: VC's Joe Caramagna
COVER: Chris Bachalo
VARIANT COVERS: Art Adams with Jason Keith; Kris Anka; John Tyler Christopher; Olivier Coipel with Marte Gracia; Adam Hughes; Rick Leonardi and Dan Green with Jason Keith; Ed McGuinness and Dexter Vines with Val Staples; Paul Smith with Paul Mounts; Leinel Yu with Jason Keith
60pp, Color, $5.99 U.S. (January 2016)

Rated T+

X-Men created by Stan Lee and Jack Kirby

With the arrival of the “All-New, All-Different Marvel Universe,” X-Men comic books are entering a new era.  Apparently if all the incarnations of Uncanny X-Men are added together, the result is that 600 issues of comic books entitled Uncanny X-Men have been published.  It is that 600th issue that marks the end of something, if not an era, then, the end of Brian Michael Bendis' tenure as an X-Men writer.

Uncanny X-Men #600 opens at the Jean Grey School for Higher Learning.  Storm has called all the X-Men currently residing at the school to a meeting.  It's an intervention for Dr. Henry McCoy, or you can call it “The Trial of Beast, and Hank sure ain't feeling the love.  Also, young Iceman has a serious talk with adult Iceman.  Plus, a summons from Washington...

I found the Iceman/Iceman conversation to be heartfelt, and the Jean Grey-Beast meeting felt like something big.  The rest of “The Trial of Beast” does not amount to very much.  After months of delay, all readers get is this tepid tale – simple as that.  Considering the high-quality work that Bendis did on Uncanny X-Men and All-New X-Men, Uncanny X-Men #600 is quite disappointing.

B-

“Winter Carnival” (bonus story)

Writer: Mary Jo Duffy
Pencils: George Perez
Inks: Alfredo Alcala
Letters: Janice Chiang

As a bonus, Uncanny X-Men No. 600 closes with a reprint of the black and white story, “Winter Carnival.”  This 18-page story originally appeared in Bizarre Adventures #27.  This was the X-Men-themed issue of Marvel Comics' black and white comics magazine series that was published from the mid-1970s (under a different title) to the early 1980s.

The story finds Robert L. “Bobby” Drake a.k.a. Iceman as a visiting college student at Dartmouth College (an Ivy League school in Hanover, New Hampshire).  The campus is covered in snow, which is appropriate as this is the time of year for the celebration known as “Winter Carnival.”  Bobby discovers that Iceman is needed when crime decides not to take the weekend off and join in the wintry fun.

I wish Mary Jo Duffy (also known as simply Jo Duffy) were still writing her character-centrist stories for either Marvel or DC Comics.  I don't think that she has written for either publisher in over a decade.  In this story, she allows Iceman to shine as a superhero, but she opens the interior Bobby Drake, depicting him as thoughtful and possessing of a personality and of a sparkling wit.

Many readers may not recognize the art in “Winter Carnival” as that of George Perez (I didn't.), as it has very little resemblance to the graphic style that would define Perez's career on works like New Teen Titans, Crisis on Infinite Earths, and Wonder Woman, to name a few.  However, readers will get a chance to see the talents of inker Alfredo Alcala, whose ink wash over Perez's pencils does not look as good on glossy paper as it would on some good old-fashioned newsprint comic books.

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: 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.

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.

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I Reads You Review: LEGENDARY STAR-LORD #1

LEGENDARY STAR-LORD #1
MARVEL COMICS – @Marvel

WRITER: Sam Humphries
PENCILS: Paco Medina
INKS: Juan Vlasco
COLORS: David Curiel
LETTERS: VC’s Joe Caramagna
COVER: Paco Medina
VARIANT COVERS: Mahmud Asrar, Nick Bradshaw, David Marquez, Sara Pichelli, Valerio Schiti, Ryan Stegman
28pp, Color, $3.99 (September 2014)

Rated “T”

Star-Lord a/k/a Peter Quill is a Marvel Comics superhero and science fiction character.  Star-Lord was created by writer Steve Englehart and artist Steve Gan and first appeared in Marvel Preview #4 (cover dated: January 1976).  Quill is the son of a human mother and an alien father, and he assumes the mantle of Star-Lord, an interplanetary policeman.

After sporadic appearances, Star-Lord was revamped (or reinvigorated) for his appearance in Annihilation (2006) and Annihilation: Conquest (2007).  He became the leader of the space-based superhero team, Guardians of the Galaxy, for the 2008 re-launch/revamp of the Guardians of the Galaxy comic book series.

Marvel Studios’ new film, Guardians of the Galaxy, is about to open in movie theatres, so it makes sense, from a sales perspective, for Marvel Comics to take characters from the Guardians of the Galaxy comic book and give them their own series.  Thus, both Rocket Raccoon and Star-Lord have new titles.  Legendary Star-Lord is written by Sam Humphries, drawn by Paco Medina and Juan Vlasco, colored by David Curiel, and lettered by Joe Caramagna.

Legendary Star-Lord #1 opens in Colorado, 20 years in the past.  We observe Peter Quill on the day of his mother, Meredith Quill’s funeral.  Cut to the present where we find Peter Quill as Star-Lord, outmanned and outgunned by the Badoon.  Star-Lord is a wanted man with a price on his head, and the Badoons get a second prize, the Mandalay Gem, which Quill has in his possession.  Escaping the Badoon might be easy, but facing his past will be a mess for Star-Lord.

I didn’t expect much from Legendary Star-Lord, but I liked it.  It has a lone gun, private eye, cowboy, freelance dude vibe that works, mainly because Peter Quill is an attractive character.  I figure that another issue or two will tell me if this series is really worth following for the (relatively) long haul.

I must say that I like Paco Medina’s art with Juan Vlasco’s Steve McNiven-like inks.  To the readers who liked the space opera/space fantasy style of the recently launched Cyclops comic book, I say give Legendary Star-Lord a try.

B+

Reviewed by Leroy Douresseaux


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

Albert Avilla Review: Supergirl #0

Supergirl #0
DC Comics

Reviewed by Albert Avilla

Writers: Michael Green & Mike Johnson
Artist: Mahmud Asrar

The End of the Beginning (Spoilers)
Zor-El is conducting experiments on his daughter. He is preparing her for her escape from Krypton. He is also trying to protect Argo City from the coming Apocalypse. This is all being done in secret; apparently, it's against the rules to save the planet. Superboy shows up to tell Alura that it is not too late to say goodbye to Kara. Alura tries to stop Zor-El, but she is too late. Kara is sent on her journey to Earth.

Yawn! This is an emotional story of a father's struggle to save his daughter. Exactly, what I did not expect from the big #0 month of the New 52. Is this Lifetime or DC Comics?

The art did not catch the eye. The characters looked deformed in some of the panels. The backgrounds were bland and plain; it did not give that science fiction vibe that I expect from stories about Krypton.

I rate Supergirl #0 Read it in the Store. (Al-O-Meter #4 of 5 Ranking)

The New 52 Review: SUPERGIRL #1

SUPERGIRL #1
DC COMICS

WRITERS: Michael Green and Mike Johnson
PENCILS: Mahmud Asrar
INKS: Dan Green with Mahmud Asrar
COLORS: Dave McCaig
LETTERS: John J. Hill
COVER: Mahmud Asrar with Dave McCaig
32pp, Color, $2.99

Rated “T” for “Teen”

Supergirl is a female counterpart of Superman. The most familiar version of the character, Superman’s cousin, Kara Zor-El, was created by writer Otto Binder and designed by artist Al Plastino. She first appeared in Action Comics #252 (cover date May 1959), although there were two earlier versions of the character that appeared, first in 1949 and then in 1958.

In addition to appearing in various titles, Supergirl first had her own comic book series in the early 1970s and again in the early 1980s. With the re-launch of DC Comics’ superhero line, “The New 52,” Supergirl has a new comic book series.

Supergirl #1 (“Last Daughter of Krypton”) finds Kara Zor-El in Siberia, Russia when she thinks she is still on Krypton, sleeping and experiencing a really strange dream. Suddenly, she’s fighting six massive suits of battle armor. She should have been killed early in the fight, but what are these amazing powers she suddenly has?

Like a 22-page battle manga, Supergirl throws a gigantic fight in readers’ faces. The art by Mahmud Asrar recalls the power and design of Jack Kirby. Asrar, who has drawn Star Wars comic books for Dark Horse Comics, however, already knows how to bring sci-fi tech and character drama together. He may be the one person in this creative team who really brings out the potential of the new Supergirl series.

A-

September 21st
BATMAN #1
http://ireadsyou.blogspot.com/2011/09/batman-1.html
CATWOMAN #1
http://ireadsyou.blogspot.com/2011/09/catwoman-1.html
GREEN LANTERN CORPS #1
http://ireadsyou.blogspot.com/2011/10/green-lantern-corps-1.html
NIGHTWING #1
http://ireadsyou.blogspot.com/2011/09/nightwing-1.html
RED HOOD AND THE OUTLAWS #1
http://ireadsyou.blogspot.com/2011/09/red-hood-and-outlaws-1.html
WONDER WOMAN #1
http://ireadsyou.blogspot.com/2011/09/wonder-woman-1.html

Leroy Douresseaux on STAR WARS: JEDI – The Dark Side #4

STAR WARS: JEDI – THE DARK SIDE #4
DARK HORSE BOOKS

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

SCRIPT: Scott Allie
ARTIST: Mahmud Asrar
COLORS: Paul Mounts
LETTERS: Michael Heisler
COVER: Stéphane Roux
32pp, Color, $2.99

The only reason that I’ve become a regular reader of the Star Wars comic books that Dark Horse Comics publishes is because Dark Horse sends me advance review copies in PDF form. Since I don’t make regular (or even semi-regular) trips to the comic book shops that are closest to me (and they’re not that close), I avoid getting into series that require me to buy consecutive issues. If I were a regular comic book guy, I’d probably buy these Star Wars comic books. They’re quite good.

Star Wars: Jedi – The Dark Side is a Star Wars comic book set during “The Rise of the Empire” era, the thousand-year period before the original Star Wars film. This particular storyline takes place two decades before Star Wars: Episode I – The Phantom Menace.

The Jedi Council has sent Jedi Master Qui-Gon Jinn, his headstrong Padawan Xanatos, the beautiful Jedi Master Tahl, and the Padawan Orykan Tamarik (whose master is deceased) to the planet Telos IV. Their assignment is to quell the unrest caused by the mysterious death and possible assassination of High Priestess Liora.

As Star Wars: Jedi – The Dark Side #4 opens, Qui-Gon and the Jedi deal with the aftermath of the attack on Lord Crion, the ruler of Telos IV and father of Xanatos. The attack resulted in a shocking death, which Crion uses to his political advantage. Meanwhile, Qui-Gon must do without one his companions, and he must also deal with the fact that the Jedi are being used for political purposes. And still the true villain behind the murder of the High Priestess remains unknown.

Writer Scott Allie has turned in a Star Wars comic book story that is part palace drama and part conspiracy thriller, in addition to having the usual Star Wars elements. Plus, in this issue, there is plenty of hot light saber action, courtesy of Qui-Gon. Speaking of the master, Allie has generally presented a richly characterized version of Qui-Gon in the series. With this issue, however, he is vapid, although I think the character is supposed to come across as perplexed? Anyway, this series is steadily moving towards a conclusion that I hope can live up to the build up.

B+

Leroy Douresseaux on STAR WARS: JEDI – THE DARK SIDE #3

STAR WARS: JEDI – THE DARK SIDE #3
DARK HORSE BOOKS

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

SCRIPT: Scott Allie
ARTIST: Mahmud Asrar
COLORS: Paul Mounts
LETTERS: Michael Heisler
COVER: Stéphane Roux
32pp, Color, $2.99

Star Wars: Jedi – The Dark Side is a recently launched Star Wars comic book series from Dark Horse Comics. It is set during “The Rise of the Empire” era, which is essentially the time period of the Star Wars prequel trilogy. This particular story takes place two decades before Star Wars: Episode I – The Phantom Menace.

In Star Wars: Jedi – The Dark Side, the Jedi Council sends Jedi Master Qui-Gon Jinn, his headstrong Padawan Xanatos, the beautiful Jedi Master Tahl, and the Padawan Orykan Tamarik (whose master is deceased) to the planet Telos IV. Their assignment is to quell the unrest caused by the mysterious death and possible assassination of High Priestess Liora.

As Star Wars: Jedi – The Dark Side #3 opens, Qui-Gon attempts to bring peace between Xanatos and his father, Lord Crion, the ruler of Telos IV. Father and son have a difficult relationship, made even more difficult by Crion’s pride and Xanatos’ stubborn ways. Xanatos’ sister, Nason, also tries to bring her brother and father together, but she may be endangering herself. Meanwhile, the dissidents on Telos IV grow bolder, and the mysterious Jedi figure that may be behind the planet’s troubles is revealed to Qui-Gon,

Writer Scott Allie has turned Star Wars into a high-quality court drama and conspiracy thriller. This is more like a summer potboiler prose novel than a comic book. Artist Mahmud Asrar does his best work in depicting the Jedi in action. His art captures the jumping, flipping, cart-wheeling Jedi of The Phantom Menace in still pictures that don’t lose the energy of the moving image originals. I didn’t think that I’d like this, but I’m actually looking forward to more, especially because Allie presents a richly characterized version of Qui-Gon.

A-

Leroy Douresseaux on STAR WARS: JEDI - THE DARK SIDE #2

STAR WARS: JEDI – THE DARK SIDE #2
DARK HORSE BOOKS

[Visit the "Star Wars Central" review page here.]

SCRIPT: Scott Allie
ARTIST: Mahmud Asrar
COLORS: Paul Mounts
LETTERS: Michael Heisler
COVER: Stéphane Roux
32pp, Color, $2.99

Star Wars: Jedi – The Dark Side is a new Star Wars comic book recently launched by Dark Horse Comics. It is written by Scott Allie, who previously wrote Star Wars: Empire—Betrayal. The artist is Mahmud Asrar, who has worked on Brightest Day: The Atom Special and Avengers: The Initiative.

Star Wars: Jedi – The Dark Side is set during “The Rise of the Empire” era. This period takes place during the 1000 years before the Battle of Yavin (the climax of the original Star Wars film when Luke Skywalker destroys the Death Star). This particular story takes place approximately 53 years before the Battle of Yavin.

The lead character of this first story arc of Star Wars: Jedi – The Dark Side is Jedi Master Qui-Gon Jinn (ostensibly the lead in Star Wars: Episode I – The Phantom Menace). The Jedi Council dispatches Qui-Gon, his headstrong Padawan Xanatos, the beautiful Jedi Master Tahl, and the Padawan Orykan Tamarik, whose master is deceased, to the planet Telos IV. Their assignment is to quell the unrest caused by the mysterious death and possible assassination of High Priestess Liora.

Star Wars: Jedi – The Dark Side #2 opens in the aftermath of the attack on their ship that occurred as the Jedi arrived on Telos IV. Matters are further complicated by the fact that this planet is Xanatos’ home world, and his father, Lord Crion, is its ruler. Father and son have a difficult relationship, made even more difficult by Crion’s pride and Xanatos’ stubborn ways. Meanwhile, Qui-Gon and Orykan make a shocking discovery – the presence of some kind of Jedi at the murder scene. Meanwhile, Tahl finds herself in the fight of her life.

Qui-Gon Jinn is my favorite character from The Phantom Menace, so I’m excited by this original comic book story featuring the Jedi Master who came to an untimely end. Star Wars: Jedi – The Dark Side doesn’t disappoint, but it is more than just another Star Wars comic book. It is a murder mystery with elements of palace intrigue and political conspiracy. There are themes of family discord, professional jealousy, personal dissatisfaction, and nationalism (or the planetary equivalent of it).

Writer Scott Allie presents this story as a detective tale – dropping suspects and motives all over the place. In fact, it seems as if everyone here is guilty of something, and Allie adds an air of suspense and intrigue to the story by giving every character something to hide or something with which to struggle. It makes for a great summer potboiler. Artist Mahmud Asrar brings Allie’s script to life in comics form – a gripping graphic novel read. Asrar’s clean style and dramatic chops guarantee that this will be both a good comic book and a good Star Wars tale.

A-

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