#IReadsYou Review: STAR WARS: The High Republic #1

STAR WARS: THE HIGH REPUBLIC No. 1
MARVEL COMICS

[This review was originally posted on Patreon.]

STORY: Cavan Scott
PENCILS: Ario Anindito
INKS: Mark Morales
COLORS: Annalisa Leoni
LETTERS: VC's Ariana Maher
EDITOR: Mark Paniccia
EDITOR-IN-CHIEF: Akira Yoshida a.k.a. C.B. Cebulski
COVER: Phil Noto
VARIANT COVER ARTISTS: Ario Anindito with Rain Beredo; Joshua “Sway” Swaby; Stephanie Hans; Pascal Blanche and Gonzalo Kenny
28pp, Color, $3.99 U.S. (January 6, 2021)

Rated T

“There is No Fear” Chapter One: “Trial by Ordeal”

Star Wars: The High Republic is a new publishing initiative that includes novels (adult, young adult, middle-grade, and young readers), comic books (including all-ages, graphic novels, and manga), and other prose and multimedia releases.  Lucasfilm, the bosses of all things Star Wars, announced The High Republic in February 2020, with the first publication to be released in August 2020.  Delayed by the COVID-19 pandemic, January 2021 sees the release of the first novels and comic books.

Star Wars: The High Republic is set 200 years before the film, Star Wars: Episode 1 – The Phantom Menace.   The Jedi Knights are at the height of their power, but they must face a deadly serious threat to the Republic, the antagonistic “Nihil,” a race of “space Vikings.”

The first comic book release is the ongoing comic book series, Star Wars: The High Republic, from Marvel Comics.  It is written by Cavan Scott; drawn by Ario Anindito (pencils) and Mark Morales (inks); colored by Annalisa Leoni; and lettered by Ariana Maher.  The High Republic comic book is set directly after the events depicted in the first High Republic novel, Star Wars: The High Republic – Light of the Jedi (released January 5th).

Star Wars: The High Republic #1 (“Trial by Ordeal”) opens on Shuraden, on the Republic frontier.  Padawan Keeve Trennis, under the direction of her Master Sskeer, prepares to complete her “Jedi Trials.”  It would help if one of the planet's inhabitants, a “Ximbi” named Kanri, would stop pestering her.  However, she will face a bigger challenge when she must protect the innocents from  the “Redadi” – a species of star-locust, but is the problem really what she thinks it is.

Meanwhile, the Frontier prepares for the dedication of the majestic “Starlight Beacon,” which will help Republic pioneers as they push into new territories in the Outer Rim.  Now, Master Avar Kriss faces two legendary Jedi “Grandmasters” who have arrived with a momentous announcement for her.

THE LOWDOWN:  I had not heard anything about the rumored “Project Luminous,” which was revealed in February 2020 to be the Star Wars: The High Republic publishing initiative.  I am a longtime Star Wars fan, but I don't dedicate much time to following Star Wars news.

So what do I think of Star Wars: The High Republic #1?  It is good, but not great.  I have enjoyed writer Cavan Scott's work on IDW's young readers Star Wars comic book, Star Wars Adventures.  His writing on Star Wars: The High Republic #1 is a little more intense than his IDW work.  Right from the beginning, Scott makes Keeve Trennis a strong character that is very likable, and he seems to have a handle on Master Avar Kriss, another strong and engaging female character.

Ario Anindito's art looks like it was drawn for a young adult graphic novel.  It seems closer to the sensibilities of animation than it does to the work of other Star Wars comic book artists like Jesus Saiz, Will Sliney, John Cassidy, and Salvado Larroca, to name a few.  If anything, Anindito's art here reminds me of artist Denys Cowan's work on the 2017-18 miniseries, Star Wars: Mace Windu.  I think Anindito's art will make Star Wars: The High Republic appeal to young readers who don't go to comic book shops, but will find the eventual trade paperback or graphic novel collection of this first High Republic story arc, “There is No Fear,” in bookstores.

Star Wars: The High Republic #1 makes me curious about where this comic book is going, and I plan to read more.  I do recommend that Star Wars readers check it out.

I READS YOU RECOMMENDS:  Fans of Star Wars comic books will want to sample Star Wars: The High Republic.

[This issue includes afterwords by Cavan Scott and Ario Anindito.]

7 out of 10

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


https://www.starwars.com/the-high-republic
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https://twitter.com/starwars
https://www.starwars.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: BLACK PANTHER VS. DEADPOOL #1

BLACK PANTHER VS. DEADPOOL #1
MARVEL COMICS – @Marvel

[This review was originally posted on Patreon.]

STORY: Daniel Kibblesmith
ART: Ricardo López Ortiz
COLORS: Felipe Sobreiro
LETTERS: Joe Sabino
EDITOR: Wil Moss
COVER: Ryan Benjamin with Rain Beredo
VARIANT COVER ARTISTS: Adi Granov; Cully Hamner with Laura Martin
28pp, Color, $3.99 U.S. (November 2018)

“Parental Advisory”

Black Panther created by Stan Lee and Jack Kirby; Deadpool created by Rob Liefeld and Fabian Nicieza; Dora Milaje created by Christopher Priest and Mark Texeira

Part One: “A Small Misunderstanding”

Black Panther is a Marvel Comics superhero created by Stan Lee and Jack Kirby.  The character first appeared in Fantastic Four #52 (cover dated: July 1966).  Black Panther is T'Challa, the king and protector of the (fictional) African nation of Wakanda.  Black Panther was also the first Black superhero in mainstream American comic books.

Deadpool is a Marvel Comics anti-hero character.  He was created by artist-writer Rob Liefeld and writer Fabian Nicieza and first appeared in The New Mutants #98 (cover dated: February 1991).  Deadpool is Wade Winston Wilson, a disfigured and deeply mentally disturbed assassin-for-hire and mercenary with a superhuman physical prowess and an accelerated healing factor.  The character is depicted as joking constantly, being sarcastic, and having a tendency to engage in the literary device of “breaking the fourth wall” and speaking to readers.

Black Panther and Deadpool are two of Marvel Comics' hottest movie characters, with Black Panther appearing in a record-setting 2018 film that has Oscar buzz.  Deadpool appeared in two films, Deadpool (2016) and Deadpool 2 (2018), each of which grossed well over $700 million dollars in worldwide box office.  Black Panther vs. Deadpool is a new comic book miniseries bringing the two hot Marvel characters together.  It is written by Daniel Kibblesmith; drawn by Ricardo López Ortiz; colored by Felipe Sobreiro; and lettered by Joe Sabino.

Black Panther vs. Deadpool #1 (“A Small Misunderstanding”) opens in Wakanda where the citizens are celebrating “Ubusuku Bokufa,” the nation's “Night of the Dead” festival.  T'Challa/Black Panther and his sister, Shuri, are working on a new surgical method for humans that involves something called “star cells.”  Meanwhile, in the United States, Deadpool's battle with “The Wrecker” causes a beloved Marvel Comics character to end up near death.  The one thing that can save him, “Vibranium Therapy,” may be out of reach for Deadpool.

Deadpool goes to Wakanda with a plan, a crazy plan that involves working things out with Black Panther in a plan-of-action that follows the line of action in a superhero-crossover-comic-book.  But does Black Panther want to play with let alone help Deadpool?

I am not going to act as if Black Panther vs. Deadpool is a great comic book, but I expected it to be a disaster.  Yet it is not; there are a few good moments.  Black Panther vs. Deadpool #1 has a kind of Looney Tunes quality to it.  I can see comedy elements that remind me of Wile E. Coyote vs. Road Runner and Bugs Bunny vs. Elmer Fudd (or vs. Yosemite Sam).  Daniel Kibblesmith does not quite pull off the madcap humor of classic Warner Bros. cartoon shorts, but I think he has potential.

I like Ricardo López Ortiz's art here more than I did his run on the first arc of Mark Millar's recent Hit Girl revival (entitled Hit Girl in Columbia).  Ortiz's scratchy, impressionistic drawing style is not as effective at storytelling as it could be simply because there is too much clutter in the line work and inking.  And here, some of the art is just ugly or badly drawn.

Felipe Sobreiro cannot fix this with his coloring, and Ortiz's art even makes Joe Sabino's lettering look like clutter, and that should not be.  While I found some things to like, I am not sure that I will return for the second issue.  I can't see myself paying $3.99 for this, let alone playing $21+ (with tax) to read the entire miniseries.  Black Panther and Deadpool fans might find Black Panther vs. Deadpool worth the price and the effort, though.

5 out of 10

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


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

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Review: DEADPOOL #1 (2018)

DEADPOOL No. 1 / No. 301 (2018)
MARVEL COMICS – @Marvel

[This review was originally posted on Patreon.]

STORY: Skottie Young
ART: Nic Klein; Scott Hepburn
COLORS: Nic Klein; Ian Herring
LETTERS: Jeff Eckleberry
EDITOR: Jake Thomas
COVER: Nic Klein
VARIANT COVER ARTISTS: Skottie Young with Jean-Francois Beaulieu; Skottie Young; Mike Deodato, Jr. with Rain Beredo; Rob Liefeld with Federico Blee; Rob Liefeld with Jesus Aburtov; Jerome Opena with Jason Keith
36pp, Color, $4.99 U.S. (August 2018)

“Parental Advisory”

Deadpool created by Rob Liefeld and Fabian Nicieza

“Back in Business”

Deadpool is a Marvel Comics anti-hero character.  He was created by artist-writer Rob Liefeld and writer Fabian Nicieza and first appeared in The New Mutants #98 (cover dated: February 1991).  Deadpool is Wade Winston Wilson, a disfigured and deeply mentally disturbed assassin-for-hire and mercenary with a superhuman physical prowess and an accelerated healing factor.  The character is depicted as joking constantly, being sarcastic, and having a tendency to engage in the literary device of “breaking the fourth wall” and speaking to readers.

Marvel Comics recently launched a new Deadpool comic book series, because launching and relaunching comic book series and number-one issues is something for which Marvel has a proclivity.  Deadpool 2018 is written by Skottie Young.  This issue has two stories.  The first is drawn and colored by Nic Klein, and the second is drawn by Scott Hepburn and colored by Ian Herring.  Jeff Eckleberry provides lettering for both stories.

Deadpool #1 (“Back in Business”) finds our (anti) hero enjoying a sappy Oscar-bait drama, “Best Friends Buds” at the local movie theater.  What Deadpool really wants is a high-paying assassination gig, but his “assistant,” Negasonic Teenage Warhead, informs him that his current target is also enjoying “Best Friends Bud.”  Luckily more craziness is, indeed, headed Mr. Wilson's way, in the form of the kind of adversary the Avengers usually handle.

In “Good Night,” Deadpool, post-mind-wipe, wants a new new origin story.  He tries on several, most of them riffs on familiar superhero origin tales.

I have not read a Deadpool comic book in over two decades, maybe since that miniseries Joe Madureira drew.  I decided to read the first issue of this new Skottie Young-written series because I liked the first issue of the Rocket Raccoon comic book Young wrote and drew a few years ago.  I made a good choice, as I really enjoyed this new Deadpool #1.

Young has written a comic book that reads like a partial transcript of the hit 2016 Deadpool film, and Young does joke about the stylistic similarities between that film and this comic book.  That's okay.  On that rare occasion, a comic book should skew close to its film adaptation.  Nic Klein's art blends seamlessly with Young's script to create an entertaining and humorous comic book, and even Klein's coloring has a comic vibe.  That makes it complete Deadpool the 2018 comic book is spiritually similar to Deadpool the 2016 movie.

Artist Scott Helpern and artist Ian Herring offer a nice turn in riffs on famous comic book origin stories in the second story, “Good Night.”  Of course, letterer Jeff Eckleberry swoops in to assure that the comedy works.  I think that some people underestimate how important lettering is to not only creating the tone of a comic book story, but also how important letterers are to making sure that dialogue and exposition have the intended dramatic or humorous impact.

I think a few issues of this new Deadpool series have been published since the debut of this first issue.  So I need to hunt some back issues because I think I might want to follow this.  It is not a “great” work; sometimes, Young seems to try a little too hard to be funny, but this Deadpool #1 is quite enjoyable.

7 out of 10

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


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

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Review: DCEASED #1

DCEASED No. 1 (OF 6)
DC COMICS – @DCComics

[This review was originally posted on Patreon.]

STORY: Tom Taylor
PENCILS: Trevor Hairsine; James Harren
INKS: Stefano Gaudiano; James Harren
COLORS: Rain Beredo
LETTERS: Saida Temofonte
EDITOR: Ben Abernathy
COVER: Greg Capullo with FCO Plascencia
32pp, Color, $3.99 U.S./ U.S. (July 2019)

Rated “T+” for “Teen Plus”

“Going Viral”

DCeased is a new six-issue comic book series from DC Comics.  It chronicles the heroes of the DC Universe and their desperate struggle to end a techno-virus that is turning the people of earth into engines of destruction.  The first issue of the series is written by Tom Taylor.  It is drawn by Trevor Hairsine, (pencils), James Harren (pencils/inks); and Stefano Gaudiano (inks).  Colorist Rain Beredo; letterer Saida Temofonte; and editor Ben Abernathy complete the creative team.

DCeased #1 (“Going Viral”) opens with the Justice League ending their latest battle against evil New God, Darkseid, and his legion of Parademons.  The League:  Superman, Batman, Wonder Woman, Flash, Black Lightning, Aquaman, Hawkgirl, Green Lantern, Green Arrow, and Nightwing have had enough of Darkseid's invasions of Earth, and Batman warns him against returning again.  Darkseid's parting words, uttered as he retreats, are ominous enough that they should be accompanied by an equally ominous musical arrangement.

It seems that during the battle, the Parademons have taken possession of Justice League member, Cyborg, for their boss.  Now, Darkseid and his master torturer, DeSaad, have a plan to merge the half of the anti-life equation in their possession with the half inside Cyborg.  And their plot requires the participation of the New Gods' avatar of Death, Black Racer.  But the best laid schemes o' DC mice and New Gods...  Darkseid is about to unleash something that is beyond monstrous.

I was cynical about DCeased.  I am no longer a fan of event comic book miniseries that feature large cast of superheroes and/or supervillains.  I started to hear whispers and grumblings, however, that DCeased was a good read, and guess what boys and girls?  It really is.

Unlike many first issues that tease so much that they barely introduce the plot or even all the main characters, DCeased #1 gets right to the point.  Writer Tom Taylor serves up the main course, handing out the meat for the beast.  I don't know if this entire miniseries will be good, but damn, we have quite the first issue – with a killer-ass last page, too, boo!  And it all reads well under letterer Saida Temofonte's fear-inducing fonts of the living dead.

I really like artist James Harren's eight-page New Gods' segment, which is pivotal to the story.  Colorist Rain Beredo covers Harren's illustrations with garish, acid-dropped, nightmarish colors.  Together, Taylor, Harren, and Beredo create comic book ickiness.  Meanwhile, Trevor Hairsine and Stefano Gaudiano focus on drawing the apocalypse with glee.

So, yeah, DCeased #1 is a real-deal good comic book, the anti-life antidote for the cynical comic book purchaser.  So let's hope this series stays good.

9 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: THE CURSE OF BRIMSTONE #1

THE CURSE OF BRIMSTONE No. 1
DC COMICS – @DCComics

[This review was originally posted on Patreon.]

STORY: Philip Tan & Justin Jordan
SCRIPT: Justin Jordan
ART: Philip Tan
COLORS: Rain Beredo
LETTERS: Wes Abbott
COVER: Philip Tan with Rain Beredo
32pp, Color, $2.99 U.S. (June 2018)

Rated “T” for Teen

The Curse of Brimstone created by Justin Jordan and Philip Tan

“Inferno” Part 1

DC Comics has launched a new superhero comics initiative, “The New Age of DC Heroes,” coming out of its Dark Nights: Metal event miniseries.  This line of comic books will consist of eight new comic book series:  Damage, The Immortal Men, New Challengers, Sideways, The Silencer, The Terrifics, The Unexpected, and the subject of this review, The Curse of Brimstone.

The Curse of Brimstone is created by writer Justin Jordan and artist Philip Tan.  The series is colored by Rain Beredo; and lettered by Wes Abbott.  The series focuses on a young man who would do anything to save his small town, even make a deal with the devil.

The Curse of Brimstone #1 opens in the small, forgotten rural town of York Hills.  Once it was a coal mining town.  Then, it was a factory town.  Now, it is neither.  Schools and businesses have closed, and many of its citizens have moved away.  Joe Chamberlain is trapped here in this no-nothing town, and he has no prospects of getting out.  He is too poor to move, and he cannot afford school.  However, Joe is determined that his sister, Annie, who is smart, not get trapped in York Hills.

Enter the mysterious Mr. Salesman.  He has an offer to make Joe Chamberlain, one that is supposed to save York Hills and give Joe a really good job... and the curse of Brimstone.

The Curse of Brimstone #1 is mostly set-up with some teasing, but what Justin Jordan and Philip Tan are offering with this first issue is quite intriguing.  I really know what is going on here.  I honestly cannot wait for the second issue, which I cannot say about all the “New Age of Heroes” titles.

Graphically, The Curse of Brimstone #1 looks like a Vertigo comic book and has more than a passing resemblance to the art of Steve Bissette, John Totleben, and Tatjana Wood for the 1980s iteration of Swamp Thing written by Alan Moore.  The last four pages of The Curse of Brimstone #1 are visually and graphically explosive and fiery, and they cast a spell on me.  I feel cursed to return for at least a few more issues.

7.5 out of 10

[This comic book contains a preview of New Challengers #1 by Scott Snyder, Aaron Gillespie, Andy Kubert, Klaus Janson, Brad Anderson, and Deron Bennett.]

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


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

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Review: THE TERRIFICS #1

THE TERRIFICS No. 1
DC COMICS – @DCComics

[This review was originally posted on Patreon.]

STORY: Jeff Lemire
PENCILS: Ivan Reis
INKS: Joe Prado
COLORS: Marcelo Maiolo
LETTERS: Tom Napolitano
32pp, Color, $2.99 U.S. (April 2018)

Rated “T” for Teen

The Terrifics created by Ivan Reis and Jeff Lemire

“Meet The Terrifics”

DC Comics has launched a new superhero comics initiative, “The New Age of DC Heroes,” coming out of its Dark Nights: Metal event miniseries.  This line of comic books will consist of eight new comic book series:  The Curse of Brimstone, Damage, The Immortal Men, New Challengers, Sideways, The Silencer, The Unexpected, and the subject of this review, The Terrifics.

The Terrifics is written by co-creator Jeff Lemire; drawn by co-creator Ivan Reis (pencils) and Joe Prado (inks); colored by Marcelo Maiolo; and lettered by Tom Napolitano.  Mister Terrific, Phantom Girl, Metamorpho, and Plastic Man are The Terrifics, a team of superheroes exploring the stranger aspects of space-time in order to find a way home.

The Terrifics #1 opens with Mr. Terrific barging into the lab of wacky scientist Simon Stagg... where he finds Metamorpho in a state of stress.  Stagg has created such a crisis situation that Mr. Terrific summons Plastic Man.  When this conflagration sends Mr. Terrific, Metamorpho, and Plastic Man to the Dark Multiverse, they find more mystery and Phantom Girl.

Since it was announced, comic book readers have declared that The Terrifics is DC Comics' version of Marvel Comics' venerable (but currently canceled) comic book series, Fantastic Four (FF).  Even if that were true, there is nothing in The Terrifics #1 that matches the imagination and epic storytelling of any issue of Fantastic Four produced by the FF creators, Stan Lee and Jack Kirby, nor any of the issues produced by beloved FF writer-artists, John Byrne or Walter Simonson.  Basically, if The Terrifics is DC's FF, then, DC Comics and its creators have decided to produce a tepid, dishwater version of the Fantastic Four.

That said, The Terrifics #1 has some potential to be a by-the-book superhero comic book that trades in inter-dimensional adventures and weird fiction.  I figure that it could run as long as Jeff Lemire's previous weirdo superhero comic book for DC, Frankenstein, Agent of S.H.A.D.E. (16 issues).

I do like the art team of Ivan Reis and Joe Prado, and I am intrigued by the surprise appearance of an Alan Moore-created character at the end of this first issue.  So I might return for some more.

5 out of 10

[This comic book contains a preview of The Curse of Brimstone #1 by Philip Tan, Justin Jordan, Rain Beredo, and Wes Abbott.]

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


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

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Review: GENERATIONS: Phoenix & Jean Grey #1

GENERATIONS: PHOENIX & JEAN GREY No. 1
MARVEL COMICS – @Marvel

[This review was originally posted on Patreon.]

WRITER: Cullen Bunn
PENCILS: R. B. Silva
INKS: Adriano Di Benedetto with R. B. Silva
COLORS: Rain Beredo
LETTERS: VC's Travis Lanham
COVER: Stephanie Hans
VARIANT COVERS: Terry Dodson with Rachel Dodson; Alex Ross; Stephane Roux
36pp, Color, $4.99 U.S. (October 2017)

Rated T+

Jean Grey created by Jack Kirby and Stan Lee; Phoenix created by Chris Claremont and Dave Cockrum

“The Phoenix”

Generations is a ten-issue anthology, weekly comic book series published by Marvel Comics.  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 second issue of this series is Generations: Phoenix & Jean Grey.  This stand-alone story brings together two versions of Marvel Girl/Jean Grey.  First is the young Jean Grey of the original X-Men, who was brought to the future/present and stranded there beginning in the series, All-New X-Men (written by Brian Michael Bendis).  The second is The Phoenix/Jean Grey, the version of the character that came into existence in X-Men #101 (cover dated:  October 1976) when Jean was possessed by the nigh-all-powerful cosmic entity, the “Phoenix Force.”  This entry in the Generations series is written by Cullen Bunn; drawn by R.B. Silva and Adriano Di Benedetto; colored by Rain Beredo; and lettered by Travis Lanham.

Generations: Phoenix & Jean Grey #1 (“The Phoenix”) opens as young Jean Grey finds herself somewhere she shouldn't be – another world.  After a short walk, she discovers a beach and an older version of herself sunning on the beach.  Jean knows that this older Jean is “The Phoenix.”  Young Jean knows that the Phoenix Force is coming for her (in fact, it already is back in her world).  Now, is the time to ask questions about the Phoenix, but older Jean seems reluctant to tell.  Plus, Jean Grey/The Phoenix suspects that young Jean knows something about her fate – something terrible.  Plus, three classic Marvel Comics cosmic entities guest star.

I wanted to be cynical, but I really enjoyed Generations: Phoenix & Jean Grey.  Writer Cullen Bunn makes young Jean Grey ask Jean Grey/The Phoenix ALL the questions she should.  Older Jean Grey should be annoyed, but Bunn depicts her as reticent and troubled.  Bunn's approach not only makes this issue of Generations intriguing, but also makes the current ongoing Jean Grey series seem like a comic book that should be read (and yes, you should be reading it.)

The art team of Generations: Phoenix & Jean Grey – R.B. Silva, Adriano Di Benedetto, and Rain Beredo – deliver some gorgeous art, and the storytelling is quite good.  The character scenes are dramatic and even a little poignant and maybe even sad, and the action scenes come across as something a little different – or different enough from standard X-Men franchise fare.  In fact, the art in Generations: Phoenix & Jean Grey reminds me of the best of Stuart Immonen and company in one of the few high-quality recent X-Men comic books, All-New X-Men (2012),

So Generations: Phoenix & Jean Grey #1, the second entry in the Generations series, is the best so far.  If the Generations to come are better than this one, the entire series will end up being more than just another cynical Marvel editorial ploy

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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I Reads You Review: ALL-NEW X-MEN #15

ALL-NEW X-MEN #15
MARVEL COMICS

WRITER: Brian Michael Bendis
ARTIST: David Lafuente
COLORS: Jim Campbell
LETTERS: VC’s Cory Petit
COVER: Stuart Immonen and Wade von Grawbadger with Rain Beredo
28pp, Colors, $3.99 U.S.

Rated T+

By now, some of you, dark readers, know the premise of All-New X-Men, one of the titles born out of Marvel Comics’ Marvel NOW initiative.  At the Jean Grey School for Higher Learning, Storm, Wolverine, Beast, Iceman, and Kitty Pryde try to keep Professor Charles Xavier’s dream alive.  Meanwhile, Cyclops/Scott Summers, one of the original X-Men, has become a highly controversial figure, and he is now the public face of a new mutant revolution.

In a desperate bid to stop Cyclops from triggering a mutant apocalypse, Beast/Hank McCoy (who was dying at one point) goes back in time.  He brings the original X-Men:  Cyclops, Jean Grey, Iceman, Beast, and Angel, back with him.  Beast hopes that what they learn in his present/their future, they can take back to their time and keep a dark future from happening.  The teens decide to stay and fix what is wrong… now.

All-New X-Men #15 is a stand-alone issue that focuses on the original X-Men.  The story opens with the return of Rachel Grey to the mansion.  Is she ready for the original Jean Grey?  More complications arise for young Jean during a vehicle repair session with the adult Beast.  What she inadvertently learns from him could change the group dynamics of the original X-Men.

Meanwhile, young Scott and Bobby (Iceman) decide to “blow this popsicle stand.”  They basically run away from home/the school to be with real people and to do things that real teenagers do.  They end up at a street market, where they make new friends.  But will their mutant powers get in the way?

I am reviewing All-New X-Men #15 in order to praise guest artist, David Lafuente.  His work here reminds me of Mike Allred’s art for the late X-Statix, one of my favorite X-Men comic book series.  I think Lafuente’s alt-comix and semi-retro style is perfect for telling character drama-based (with some comedy) stories starring the original X-Men.  This is one of my favorite issues of what is my favorite X-Men comic book.

I am not quite at the point where I want to call Brian Michael Bendis one of the all-time great X-Men writers.  That would put him (in my estimation) with Stan Lee, Roy Thomas, Chris Claremont, John Byrne, and Grant Morrison.  But he’s getting close.

A-

Reviewed by Leroy Douresseaux

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

Review: THE STAR WARS #2

THE STAR WARS #2
DARK HORSE COMICS – @DarkHorseComics

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

SCRIPT: J.W. Rinzler
ART: Mike Mayhew
COLORS: Rain Beredo
LETTERS: Michael Heisler
COVER: Nick Runge
VARIANT COVERS:  Ralph McQuarrie
EDITOR: Randy Stradley
28pp, Color, $3.99 U.S. (October 2013)

It’s official.  There are too many Star Wars comic book series.  I think the one that puts the franchise over the top is The Star Wars, a new miniseries from Dark Horse Comics.  It is the comic book adaptation of George Lucas’ 1974 screenplay, entitled The Star Wars.  Lucas, of course, would rewrite that screenplay until it would become the script for the Oscar-winning 1977 film, Star Wars, which would also earn a “Best Picture” nomination.

The Star Wars the comic book is written by J.W. Rinzler and drawn by Mike Mayhew.  The comic book opens after the recent “Great Rebellion,” in which the Empire becomes the “New Galactic Empire.”  On the fourth moon of Utapau, Jedi Kane Starkiller lives with his two sons, Annikin and Deak.  After Deak is killed, Kane and Annikin return to their homeworld, Aquilae.  There, Kane convinces his old friend, Jedi General Luke Skywalker, to take Annikin as his apprentice, but the reunion is interrupted by a possible menace to Aquilae.

As The Star Wars #2 (“The Empire Strikes”) opens, General Skywalker moves to protect Aquilae, but the Senate is reluctant to give him the authority to start a war.  Meanwhile, Annikin begins his training and goes on his first mission for Skywalker.

The first issue of The Star Wars comic book relied on the revelation of the unknown or, at least, the largely unseen, to be exciting.  This comic book visualization of Star Wars, early and in the raw, has a lot of appeal, but the novelty has worn off for me.  With this second issue, it is time for the series to deliver on plot, character, and setting.

The plot is convoluted, at least as it is squeezed into 22 pages this second issue.  I think Brian Michael Bendis could have taken just the events depicted in this one issue and turned it into at least a six issue miniseries, and the story would be the better for that.  The characters lack personality; really, they’re just players with little in the way of what one can call character.  Also, there is such an emphasis on action that the story never really examines the exotic and far-flung settings.

Mike Mayhew’s art and especially Rain Beredo’s colors remain good reasons to keep reading.  But for how long...

C+

Reviewed by Leroy Douresseaux


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

Review: THE STAR WARS #1

THE STAR WARS #1
DARK HORSE COMICS – @DarkHorseComics

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

SCRIPT: J.W. Rinzler
ART: Mike Mayhew
COLORS: Rain Beredo
LETTERS: Michael Heisler
COVER: Nick Runge
VARIANT COVERS:  Jan Duursema, Douglas Wheatley
EDITOR: Randy Stradley
28pp, Color, $3.99 U.S. (September 2013)

Apparently, filmmaker George Lucas had ideas for what would become his film, Star Wars, years before he completed the 1977 Oscar-winning, box office record-setting movie.  In May 1974, Lucas completed the first-draft full screenplay, entitled The Star Wars, the first of four drafts.

Dark Horse Comics has initiated a comic book adaptation of that 1974 screenplay, and the result is The Star Wars, a new eight-issue Star Wars comic book miniseries.  The creative team on The Star Wars is J.W. Rinzler (writer and script adaptation), Mike Mayhew (artist), Rain Beredo (colors), and Michael Heisler (letters).

The Star Wars #1 opens after the recent “Great Rebellion,” in which the Empire has given way to the “New Galactic Empire.”  On the fourth moon of Utapau live Kane Starkiller and his two sons, Annikin and Deak.  Events force great change, which present to Annikin Starkiller the chance to follow in his father’s footsteps.  Meanwhile, the Emperor sets his sights on the Aquilaean System, the last of the independent systems.

Of all the Star Wars comic books that I’ve ever read, The Star Wars is the one that I think will have the least appeal to readers who are either not interested in Star Wars or are only casually interested.  Still, it is good to get this visual and graphical interpretation of early Star Wars, which makes The Star Wars the comic book equivalent of a curio-piece.

If anything The Star Wars makes it obvious how much influence Edgar Rice Burroughs’ “Barsoom” book series had on George Lucas.  In fact, Mike Mayhew’s art, with Rain Beredo’s colors, recall the magazine illustration and pulp art from the first half of the twentieth-century that Lucas says influenced his storytelling.  As of now, Mayhew and Beredo are good reasons to keep reading.

B

Reviewed by Leroy Douresseaux

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

Albert Avilla Reviews: The Fearless Defenders #1

The Fearless Defenders #1
Marvel Comics

Reviewed by Albert Avilla

Writer: Cullen Bunn
Art: Will Sliney
Cover: Mark Brooks
Variant Covers: Milo Manara; Mike Deodato and Rain Beredo; Skottie Young

The cover was really awesome. That’s what having a great cover is about; it gets your expectations up. The interior of the book did not meet those expectations.

The Defenders have always had trouble attracting readers, and this issue will not do any better. This kind of story could squeak by once the series had established itself. I’m not familiar with Mr. Bunn’s work, so I don’t know if this is leading into a great climax or if this is par for the course. If it’s par for the course, then, I am keeping my money. I like mystery, but too much mystery leaves the reader in the dark.

A first issue should pull you in and build up your expectations. This story made me nostalgic for Indiana Jones movies. Archeology has been the basis for a lot of good comic book stories. My question is where is the evil god behind the artifact that Misty acquired? Give us an awesome villain to look forward to seeing.

Marvel NOW gets a “Marvel scowl” for this venture. Valkyrie and Misty Knight really look cool on the cover. Let’s hope that Mr. Bunn can convert that coolness into good stories.

The interior art didn’t give any more than the writing. It was average comic book art.

I rate The Fearless Defenders #1 “Read a Friend’s Copy.”  #3 (of 5) on Al-O-Meter

Review: Karen Marie Moning's Fever Moon

FEVER MOON (OGN)
BALLANTINE BOOKS/DEL REY

STORY/CREATOR: Karen Marie Moning
ADAPTATION/SCRIPT: David Lawrence
PENCILS: Al Rio, Cliff Richards
INKS: Julia Pinto, Joe Pimentel, and Dan Borgones
COLORS: Katrina Mae Hao and Rainier Beredo
LETTERS: Zachary R. Matheny
COVER: Al Rio with Stephen Youll and Mae Hao
ISBN: 978-0-345-52548-2; hardcover
192pp, Color, $25.00 U.S., $29.95 CAN

Karen Marie Moning is a New York Times bestselling author and has won the RITA Award from the Romance Writers of America. Moning is the author of a popular series of urban fantasy novels known as the “Fever Series.” Moning makes her first foray into the world of comic books with Fever Moon, an original graphic novel. Fever Dream corresponds with the events depicted in Moning’s novel, Shadowfever (January 2011).

Moning wrote a new story specifically for this graphic novel, which David Lawrence turned into a script for a comic book. Lawrence is known for his work adapting novels into comic books, having adapted the works of fantasy novelist Patricia Briggs into comic book for Del Rey. Al Rio provided most of the pencil art for this graphic novel before his death; fellow Brazilian artist, Cliff Richards, finished penciling the Fever Moon.

As in the “Fever” novels, the star of Fever Moon is MacKayla Lane, who was a normal 20-something, small town, Georgia girl before tragedy struck. She travels to Ireland to investigate the murder of her sister, where she learns that the Celtic folklore concerning fairies is true. The “Fae” are split into the Light (Seelie) and Dark (Unseelie) and their war has spilled over into the human world. MacKayla becomes a “sidhe-ser,” a person who can see the Fae for who and what they are, even when they use glamour to hide their true appearances.

Now, MacKayla is facing an eerie, dangerous being that steals parts of people faces – an ear here, an eye there, a random mouth, etc. Appearing as a tall, gaunt, faceless man nattily dressed in tailcoat and spats, he is terrorizing Dublin and leaving his victims in a coma. MacKayla not only has to discover what kind of creature the attacker is; she must also find a way to stop him. And time is not on MacKayla’s side.

I must admit that it was not until I received a review copy of Fever Moon with press materials from Del Rey that I learned that Al Rio had died. I had become a fan of his work in recent years because his art style was a funky kind of ersatz J. Scott Campbell. Rio did his Campbell thing on Fever Moon; in fact, MacKayla Lane looks like she came out of Campbell’s infrequently published comic book property, Danger Girl. The art here is such a Danger Girl knockoff that I often found it off-putting. Rio’s style is so prominent that it is hard not to notice the change when Cliff Richards takes over as pencil artist. Richard’ style, at least the one here, is non-descript.

Perhaps, the easy thing to do is to say that the art, regardless of style, works from a storytelling point of view; there is a functional quality to it. Combined with the captions and word balloons, the reader can easily figure out what’s going on in the story because of the clear graphical storytelling. Like the art, the story is also efficient. Lawrence translates Moning’s story and the world of “Fever” in such a way that he quickly gets the reader into the story, lest that reader become frustrated and leave, which you won’t.

Lawrence makes sure you understand the characters, settings, and over-arching plot, and “Fever,” at least as far as Fever Moon is concerned, is a fun place to be. Whatever the novels may be, Fever Moon works as a comic book. It has a weird, pulp-inspired quality that made me think that Fever Moon exists outside of any book series. It is genuinely a comic book, so the people behind this graphic novel succeeded. They created an independent urban fantasy comic book, and a good one, at that.

B+

#IReadsYou Review: TIME BOMB #3

TIME BOMB #3

 

RADICAL PUBLISHING

CREATORS/WRITERS: Jimmy Palmiotti and Justin Gray

ART: Paul Gulacy
COLORS: Rain Beredo
LETTERS: John J. Hill
COVER: Paul Gulacy and Rain Beredo
56pp, Color, $4.99

Time Bomb is a science fiction comic book created and written by Jimmy Palmiotti and Justin Gray (Jonah Hex, Power Girl) and drawn by still-going-strong industry veteran, Paul Gulacy. The series opens in the year 2012 and finds that the human race has 72 hours to live! Why? The Omega Bomb, a relic of Nazi Germany, was accidentally launched, unleashing a horrible virus.

Jack McCrea, team leader; Ken Weinhauser, tech-ops specialist; Peggy Medina, deadly science expert; and Christian Grainger, strategist are four specialists assigned by the New World Order to save the world. They are sent back in time and their target is the day before the bomb was discovered, in an attempt to prevent the disaster. However, the Time Bomb sends them back seven decades earlier and drops them in the heart of Germany towards the end of World War II.

In Time Bomb #3, the mission to save the world comes to an explosive conclusion. Jack and a lovely double agent are imprisoned in the underground bunker where the Omega Bomb sits. Jack is also about to learn the shocking true identity of the Omega Bomb’s sinister creator. Meanwhile, Ken, Peggy, and Christian make an attempt to rescue Jack, but their own freedom is also in jeopardy. And a legendary player enters the game.

One can praise Time Bomb for being consistently good, but what it was consistent at was being freaking good. If I could describe the speed at which I read this to driving, that comparison would be that I read Time Bomb #3 at breakneck speed. It’s easily one of the very best comic books of the year, and it is certainly way better as an action comic book than many films were as action movies. Also, with his excellent art for this series, Paul Gulacy proves that after four decades drawing comic books, he is still at the top of his game, which is above many other artists’ games.

A+

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