#IReadsYou Review: UNCANNY INHUMANS #1

UNCANNY INHUMANS #1
MARVEL COMICS – @Marvel

[This review was originally posted on Patreon.]

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

Rated T+

Inhumans created by Stan Lee and Jack Kirby

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

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

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

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

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

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

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

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

A-

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


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

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#IReadsYou Review: THE DARKNESS #1 25th Anniversary Commemorative Edition

THE DARKNESS #1 25TH ANNIVERSARY COMMEMORATIVE EDITION
IMAGE COMICS/Top Cow Productions, Inc.

[This review was originally posted on Patreon.]

STORY: Garth Ennis
PENCILS: Marc Silvestri
INKS: Batt (inking assistants: Joe Weems, Nathan Cabrera, Victor Llamas and various)
COLORS: Steve Firchow
LETTERS: Dennis Heisler
EDITOR: David Wohl
COVER: Marc Silvestri and Batt with Steve Firchow
36pp, Color, $4.99 U.S. (November 2020)

Rated M / Mature

The Darkness created by Marc Silvestri, Garth Ennis, and David Wohl

“Coming of Age”

The Darkness is a long-running comic book series created by artist Marc Silvestri, writer Garth Ennis, and editor David Wohl.  The Darkness focuses on Jackie Estacado, a mafia hit man who inherits “the curse of the Darkness.”  The character made his debut in Witchblade #10 (November 1996) before making his solo debut in his own series.

In celebration of the twenty-fifth anniversary of The Darkness #1 (December 1996), Image Comics and Top Cow Productions, Inc. are publishing The Darkness #1 25th Anniversary Commemorative Edition.  This one-shot comic book reprints the story contents from The Darkness #1 and also includes an interview, an essay, a five-page section reprinting select cover illustrations produced during the series first 16 years, and other material.

The Darkness #1 (“Coming of Age”) opens at night on the Lower East Side of New York City.  Tall, dark, and handsome mafia hit man, Jackie Estacado, has just executed his latest target in service of his boss, Don Franchetti.  This latest bloody move by the Franchetti mob starts a bloody skirmish with rival mobster, Don Tommy Marchianni.  Jackie, Don Franchetti's top enforcer, is caught in the middle.

But the young killer has bigger problems.  He is about to turn 21-years-old, and “The Darkness” is about to start calling for him.  And the “Angelus” is coming for him.

THE LOWDOWN:  I read the first 10 or 12 issues of the original run of The Darkness back in 1996-97, but I eventually grew bored with this comic book and stopped reading it.  I have to admit that I had high expectations for it.  After all, the writer was Garth Ennis, red-hot in the mid-1990s because of his DC Comics/Vertigo series, Preacher.  I was a huge fan of post-Marvel Comics Marc Silvestri.  I thought many the comic books that Silvestri drew for Marvel Comics looked awful because of his chicken-scratch drawing style.  But Image Comics-Marc Silvestri seemed like an entirely different artist, especially when Silvestri's pencils were inked by the great Scott Williams.

Yet every time I read The Darkness, I felt like Ennis and Silvestri were not really delivering on this concept's potential.  I understood that the universe of Silvestri's Top Cow Productions, Inc. was obsessed with some kind of angelic vs. demonic rivalry, similar to that of Jim Lee's Wildstorm Productions universe.  However, I didn't think that Ennis and Silvestri really understood where they could take The Darkness in terms of narrative.  In The Darkness, Ennis delivered a stillborn version of the usual outtakes from his ultra-violence wheelhouse.  Silvestri's art was an unimaginative spin on the grim-and-gritty riffs that everyone was stealing from Frank Miller's Batman comics.

I don't know if The Darkness every reached its potential.  Frankly, I didn't give a crap after I stopped reading the series, but on occasion, I would see an issue of The Darkness and wonder about it … I have to admit.

The Darkness #1 25th Anniversary Commemorative Edition commemorates an anniversary that is only important to Top Cow because … let's be frank … it does not have much to commemorate.  The original Image Comics creators, Marc Silvestri among them, turned their studios into vanity project factories that produced poorly written comic books that featured the kind of art that only the artists and their sycophantic fans thought was great.  This is something that can be said of many of the artists associated with Image Comics first decade, for instance Rob Liefeld and J. Scott Campbell.

It is only in the last 15 years or so that Image Comics has delivered on the promise that the birth of the publisher offered to both comic book creators and readers.  The Darkness represents a placeholder in the evolution of Image Comics.  After the fanfare for their first wave of comic book series faded, some of Image's founders moved on to offering exciting new concepts.  For Jim Lee, it was Divine Right, and for Silvestri, it was The Darkness.  At least, The Darkness ran much longer than Divine Right.

The Darkness #1 25th Anniversary Commemorative Edition, as a package, is nothing special, but – and there is a big but – reading it again did remind me that The Darkness still has great potential.  I enjoyed re-reading this reprint of the first issue, and I might reread a few more of the original issues.  I still think that The Darkness is an outside-the-box comic book concept that could be an exceptional dark fantasy comic book.  But will it ever be that?  Does it matter?

I READS YOU RECOMMENDS:  Fans of Top Cow Productions' comic books will want The Darkness #1 25th Anniversary Commemorative Edition.

6 out of 10

This issue contains the feature “Say Good Night to the 'Good Guy'” by Henry Barajas and Claire Napier.  This feature includes illustrations; an questions-and-answer session with Marc Silvestri and David Wohl; a bullet-point presentation about the publication, licensing, and merchandising success of The Darkness.

This issue also includes a gallery of cover art produced by the following artists and art teams for The Darkness:  Marc Silvestri, Joe Weems, and Peter Steigerwald; Joe Benitez, Joe Weems, and Dean White; Nathan Cabrera and Victor Llamas; Greg Hildebrandt and Tim Hildebrandt; Michael Turner, Joe Weems, and JD Smith; Joe Benitez, Joe Weems, and Richard Isanove; Clarence Lansang, Victor Llamas, and Matt Nelson; David Finch, Jason Gorder, and Matt Nelson; Brian Ching, Victor Llamas, and Matt Nelson; Mark Pajarillo, Danny Miki, and Matt Nelson; Dale Keown and Matt Milla; Lee Bermejo; Dale Keown; Rafael Albuquerque; Todd McFarlane; Jeremy Haun and John Rauch

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


www.topcow.com
https://twitter.com/ImageComics
https://imagecomics.com/


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

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#IReadsYou Review: MARAUDERS #1

MARAUDERS No. 1
MARVEL COMICS – @Marvel

[This review was originally posted on Patreon.]

STORY: Gerry Duggan
ART: Matteo Lolli
COLORS: Federico Blee
LETTERS: VC's Cory Petit
EDITOR: Jordan D. White
EiC: Akria Yoshida a.k.a. “C.B. Cebuski”
COVER: Russell Dauterman with Matthew Wilson
VARIANT COVER ARTISTS: Mark Bagley and John Dell with Israel Silva; Aaron Kuder with Jordie Bellaire; Rick Leonardi with Richard Isanove; Tom Muller; Todd Nauck with Rachelle Rosenberg; Philip Tan with Jay David Ramos; Russell Dauterman with Federico Blee
44pp, Color, $4.99 U.S. (December 2019)

Rated T+

The X-Men created by Stan Lee and Jack Kirby

“I'm on a Boat”

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 editor-writer Stan Lee and artist Jack Kirby, the X-Men debuted in the comic book, The X-Men #1 (cover dated: September 1963).

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 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 Excalibur, Fallen Angels, New Mutants, X-Force, X-Men, and the subject of this review, Marauders.

Marauders is written by Gerry Duggan; drawn by Matteo Lolli; colored by Federico Blee, and lettered by Cory Petit.  Previously, “the Marauders” was the name of a group of assassins employed by the X-Men's adversary, Mister Sinister (now an ally).  As a team, the Marauders' purpose was to assassinate other mutants and to act as a commando strike-force to carry out acts of mass murder.  The new Marauders have been formed to protect and help mutants around the world.

Marauders #1 (“I'm on a Boat”) opens in this glorious new dawn for “Mutantkind.”  Around the world, mutants are entering gateways that take them to Krakoa, the living island and mutant nation-state.  But not everyone can enter those gateways... for various reasons.  One of the most famous members of the X-Men, Katherine “Kate” Pryde (formerly known as “Kitty Pryde”), cannot pass through a Krakoan gateway; for her, it's like walking into a wall.

However, around the world, there are mutants living in countries that do not have diplomatic relations with Krakoa, nor do they recognize mutant sovereignty.  Countries like Russia and Taiwan use various means to block their mutant citizens' access to the gateways.  Aboard a specially-fitted sailing vessel funded by Emma Frost and the Hellfire Trading Company, Captain Kate Pryde leads fellow mutants:  Storm, Bishop, Iceman, and Pyro, with Lockheed the dragon, on a mission to sail the seas of the world in order to protect those most hated and feared!

I was not impressed by the first “Dawn of X” title, X-Men, but I like this second one.  It's not that writer Gerry Duggan offers an exceptional first-issue script; it is good enough.  It's that Marauders has a lot of potential to address current issues and geopolitical affairs using the X-Men as allegory or metaphor.  Also, a sailing vessel promises some quasi-pirate fun.

The illustrations by Matteo Lolli are nice, and his graphical storytelling is clean, if not dynamic.  Federico Blee's coloring seems a little too thick and has what looks like smearing in several places.  Cory Petit's lettering is good, but a bit tame for a concept that demands boldness.  Truthfully, Marauders #1 could be the start of something daring or it could be simply the first issue of just-another-X-Men comic book.  So far, I suspect that it will be the latter, which will probably be the case for most (if not all) the“Dawn of X” titles.

7 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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Review: SAVAGE SWORD OF CONAN #1

SAVAGE SWORD OF CONAN No. 1 (2019) – Legacy #236
MARVEL COMICS – @Marvel

[This review was originally posted on Patreon.]

STORY: Gerry Duggan
ART: Ron Garney
COLORS: Richard Isanove
LETTERS: VC's Travis Lanham
EDITOR: Mark Basso
EDITOR-IN-CHIEF: Akira Yoshida a.k.a. C.B. Cebulski
COVER: Alex Ross
VARIANT COVER ARTISTS: Kevin Eastman with Tomi Varga; Ron Garney with Richard Isanove; George Perez with Jason Keith; Rahzzah
44pp, Color, $4.99 U.S. (April 2019)

Parental Advisory

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

“The Cult of Koga Thun” Part One: “Shipwrecked”

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.

Beginning in 1970 and for three decades, Marvel Comics brought Conan to the world of American comic books with the series, Conan the Barbarian.  Marvel is publishing Conan comic books again and recently began a revival of its black and white Savage Sword of Conan comic magazine as a full-color standard-sized comic book.  Savage Sword of Conan (2019) is written by Gerry Duggan; drawn by Ron Garney; colored by Richard Isanove; and lettered by VC's Travis Lanham.

Savage Sword of Conan #1 (“Shipwrecked”) finds Conan cast adrift on the seas of fate.  Starving, half-drowned, half-dead, and hallucinating, Conan (who is about 20 or so years of age) is picked out of the ocean by the slave ship, “Ouroboros.”  He finds an ally (that he doesn't really need or want) in a fellow slave, Suty.  Together, they will discover that there is more to the captain of the Ouroboros and more to the treasure chest in his cabin than they suspect.

I enjoyed the return of Conan the Barbarian to Marvel Comics, and while that comic book has been good, even very good at times, it has not been great.  Savage Sword of Conan's return to Marvel Comics suggests that Savage Sword of Conan could be THE great Marvel Conan comic book (Era #2).  When I first read the original old, black and white magazine Savage Sword of Conan when I was a teenager, I found it to be superior to the Conan the Barbarian title of that time.

In fact, “Shipwrecked,” the opening chapter of this first story arc, reminds me of the stories I read in the original Savage Sword of Conan.  “Shipwrecked” is probably the best Gerry Duggan story I have read to date.  Duggan offers a violent tale that is as bat-shit crazy as Conan creator, Robert E. Howard's original Conan prose fiction, or it is at least as crazy as Roy Thomas' adaptations of Howard's stories for Conan comic books back in 1970s.  Dear readers, obviously you can tell that I had a blast reading this.

The power and aggression in this story is most evident in artist Ron Garney's illustrations and graphical storytelling.  The storytelling is brawny, and Garney deftly captures the sudden switches in Conan's temper and temperament.  Richard Isanove's shimmering colors emphasize, even heighten the intensity rather that merely color over the art.  Travis Lanham's matter-of-fact lettering seems to pound out the story to the reader, a relentless rhythm, page after page.

Savage Sword of Conan #1 is a success.  I will come back for more because this first issue reminds me of the stories that made me a fan of Conan comic books back in the way back.  I highly recommend this to Conan fans.

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: STAR WARS: The Last Jedi Adaptation #1

STAR WARS: THE LAST JEDI ADAPTATION No. 1 (OF 6)
MARVEL COMICS – @Marvel

[This review was originally posted on Patreon.]

STORY: Gary Whitta
ART: Michael Walsh
COLORS: Mike Spicer
LETTERS: VC's Travis Lanham
EDITOR: Heather Antos
COVER: Mike Del Mundo
VARIANT COVERS: Joe Quesada with Richard Isanove
36pp, Color, $4.99 U.S. (July 2018)

Rated “T”

“The Last Jedi” Episode VIII, Part 1

Star Wars: The Last Jedi (2017) is the second movie in the Star Wars “sequel trilogy” (which began with 2015's Star Wars: The Force Awakens).  Marvel Comics is producing a comic book adaptation of the Oscar-nominated film, entitled Star Wars: The Last Jedi Adaptation.  It is written by Gary Whitta; drawn by Michael Walsh; colored by Mike Spicer; and lettered by Travis Lanham.

Star Wars: The Last Jedi Adaptation #1 opens on Ahch-To, the oceanic planet where Luke Skywalker has been hiding for several years.  Hoping to find an end to things... alone... Skywalker suddenly realizes that someone has found him.  Meanwhile, the First Order launches an attack on D'Qar, where the Resistance has a base.  As General Leia Organa directs the evacuation from the planet, Poe Dameron leads an attack against the First Order.  However, as the various players make their moves, events are being set in motion that will shock everyone.

I did not like Star Wars: The Last Jedi the way I really liked Star Wars: The Force Awakens.  However, I think that I might end up liking the comic book adaptation Star Wars: The Last Jedi more than I liked the comic book adaptation of Star Wars: The Force Awakens, which I was surprised I liked.

Artist Michael Walsh does not offer pretty illustrations, and he draws somewhat unattractive faces on characters.  However, his graphical storytelling is strong, and I find that The Last Jedi's story moves faster and smoother in words and pictures (graphics) than it did in motion pictures.

Screenwriter Gary Whitta, who wrote the story for Rogue One: A Star Wars Story, has previously written for comics.  His comic book script for Star Wars: The Last Jedi Adaptation #1 is good storytelling.  For some reason, Whitta makes The Last Jedi seem almost new, as if it were a story not already introduced in another media.  Together with Michael Walsh, Whitta offers a first issue of a Star Wars comic book adaptation that is quite nice, which is not something readers always get.

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: MARVEL LEGACY #1

MARVEL LEGACY No. 1
MARVEL COMICS – @Marvel

[This review was originally posted on Patreon.]

STORY: Jason Aaron
ART: Esad Ribic with Steve McNiven
COLORS: Matthew Wilson
LETTERS: VC's Cory Petit
ADDITIONAL ARTISTS: Chris Samnee; Russell Dauterman; Alex Maleev; Ed McGuinness; Stuart Immonen and Wade von Grawbadger; Pepe Larraz; Jim Cheung; Daniel Acuña; Greg Land and Jay Leisten; Mike Deodato, Jr.; David Marquez
COVER: Joe Quesada and Kevin Nowlan with Richard Isanove
VARIANT COVERS: Alex Ross; Mark Brooks; John Tyler Christopher; Mike Deodato, Jr.; Terry Dodson and Rachel Dodson; Greg Land with Frank D'Armata; Amy Reeder; Skottie Young
64pp, Color, $5.99 U.S. (November 2017)

Rated T+

Marvel Legacy #1 is a new one-shot comic book from Marvel Comics.  I don't really know its purpose, other than what I read on the Internet.  After a year of reportedly falling sales of its comic books, Marvel does what it and DC Comics normally do:  initiate a reboot or a re-launch or hit-the-refresh/restart button, etc.  Such a rehash... I mean such a refresh is usually preceded by some kind of large scale publishing event, as it was here.  I guess that was the Secret Empire miniseries and the corresponding tie-ins and spin-offs.

SO I'LL SAVE YOU SOME TIME:  Marvel Legacy #1 has a few entertaining moments, with the best being the Wolverine reveal.  Some of it piqued my interest, but most it fell flat for me.  If you are looking for something exceptional, great, memorable, etc., Marvel Legacy #1 is not it, and it certainly is not worth the $5.99 cover price.  That said, you only need to keep reading this review if you usually enjoy my ramblings...

So here we go again; Marvel Legacy #1 launches the next big start-over.  I have read a lot of web commentary in which people compare this comic book to DC Comics' DC Universe Rebirth from last year.  I don't see the resemblance, and Rebirth has purpose and direction (at least to me), whereas Marvel Legacy #1 reads like a bunch of teasing and anticipation balled up together.

Marvel Legacy #1 has an omniscient narrator, Valeria Richards, the second child of Reed Richards and Sue Storm of the Fantastic Four.  She talks about legacies and begins her narration “One Million Years Ago.”  Something happened back then; that something plus some more bad stuff is coming back today.  Get ready.

Yep, that's it – something wicked this way comes, eventually.  The main story is written by Jason Aaron and drawn mainly by Esad Ribic, with some of it drawn by Steve McNiven.  Interspersed between segments of the main story are some one and two-page excerpts from upcoming Legacy launches – like Mark Waid and Chris Samnee's upcoming run on Captain America (Steve Rogers).

That's what this is all about, right?  A return to original i.e. traditional i.e. “white” characters.  Some believe that Marvel angered its aging white male fan base by recasting too many of its characters as black, Latino, Asian, female or some combination thereof.  Here's an anecdote for you.  For years, white male comic book readers told me that they did not want white comic books or black comic books, but they wanted good comic books.  Okay... Black male Spider-Man, Black female Iron Man, White female Hawkeye, Pan-Asian Muslim Ms. Marvel, White lady Thor are the leads of some very well written comic book series.  I know that because I read them.  But whiny White comic book retailers, clueless comic book corporate middle management, and fans who don't read books they complain about are driving this need for Marvel Comics to reset.

But the real villains here are Marvel Comics' shitty editorial decisions, arrogant management, piss-poor publishing plans, and virtually non-existent marketing.  Marvel Legacy #1 exists for the same reasons Marvel NOW, All-New Marvel NOW, and Marvel Now & Laters existed – all of the above and Marvel's addiction to the sales bump it gets from #1 issues.

Marvel Comics publishes too many comic books and has been doing so for 30 years.  Many of those comic books exist because Marvel will throw a lot of money at “star creators” to produce comics; or because someone will come up with some cute gimmick; or simply to grab more market share; or because a hit Marvel Studios movie will mean launching 10 new comic books directly, indirectly, vaguely, and/or even tangentially related to the movie.  Baby Groot the comic book series, y'all.

Too many titles frustrate readers for various readers, but especially because they cannot keep up with all those new comic books.  Marvel Legacy #1 is another pretend fix for symptoms that arise from Marvel's poor decision making.  That decision making needs a cure; the symptoms will go away after the cure.  For all Marvel's talk of a return to classic Marvel storytelling, next year it will do something like recast all its characters as Buddhists golden retrievers.

Marvel Comics' real legacy is that, no matter who owned Marvel, they never appreciated the artists and writers who really created the characters and stories that made Marvel a business and cultural force.  They held on tightly to Spider-Man, the X-Men, the Fantastic Four, Iron Man, and more while being dismissive of the talent, Jack Kirby and Steve Ditko, that drew those characters into existence.  Did it ever occur to those bosses how many more great characters and stories creators like Kirby and Ditko would have created for Marvel had the bosses acknowledged them financially and personally in a manner befitting people who multi-million dollar franchises?

So Marvel Legacy #1 epitomizes Marvel's real legacy – the short-sighted, self-serving choices instead of the long term choices that come with more risk and less immediate gratification.  Plus, Marvel Legacy #1 is just another comic book, fast food hamburger off the corporate conveyor belt – granted that there is some rather nice art inside.

C
4 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: GUARDIANS OF THE GALAXY #1

GUARDIANS OF THE GALAXY (2015) No. 1
MARVEL COMICS – @Marvel

[This review originally appeared on Patreon.]

WRITER: Brian Michael Bendis
ART: Valerio Schiti
COLORS: Richard Isanove
LETTERS: VC’s Cory Petit
COVER: Art Adams with Dave Stewart
VARIANT COVERS: Valerio Schiti with Richard Isanove; Jason Latour; Shawn Crystal with Chris Brunner; Mike and Laura Allred; John Tyler Christopher; Contagious Costuming and Judy Stephens
28pp, Color, $3.99 (December 2015)

Rated “T”

The Guardians of the Galaxy are a Marvel Comics superhero team.  Created by writer Arnold Drake and artist Gene Colan, the team first appeared in Marvel Super-Heroes #18 (cover dated: January 1969).  However, the best known version of the Guardians of the Galaxy first appeared in 2007.  Created by writers Dan Abnett and Andy Lanning, the team's initial roster included Star-Lord, Rocket Raccoon, Quasar, Adam Warlock, Gamora, Drax the Destroyer, and Groot.

Star-Lord, Rocket Raccoon, Gamora, Drax the Destroyer, and Groot would go on to be the stars of Marvel Studios' surprise 2014 hit film, Guardians of the Galaxy.  With the launch of the “All-New, All-Different Marvel,” there is a new Guardians of the Galaxy comic book.  The series is written by Brian Michael Bendis; drawn by Valerio Schiti; colored by Richard Isanove; and lettered by Cory Petit.

Guardians of the Galaxy #1 features the team of Kitty Pryde as Star-Lord, Drax, Rocket Raccoon, Groot, The Thing, and Venom.  A run-in with the Chitauri leaves the group with a mysterious item and no knowledge of how powerful or dangerous that object is.  Meanwhile, on Planet Spartax, Peter Quill, the original Star-Lord, finds his new life as King to be an utter bore.  He does not realize that excitement is bound to return in many ways...

I last read Guardians of the Galaxy during the story arc, “The Trial of Jean Grey,” a crossover event with All-New X-Men.  Then, I didn't find a reason to keep reading.  I am not sure that this first issue gives me a reason to keep reading this new series, now.  It is not as if this new Guardians of the Galaxy #1 is awful or anything; besides, I am a fan of writer Brian Michael Bendis.  New series artist Valerio Schiti delivers some pretty art and solid storytelling.

I guess it is just that I got this first issue because I am trying to read as many #1 issues in the “All-New, All-Different Marvel” as I can.  I don't plan on reading as many #2 issues, I can tell you that, dear reader.  This is not a bad comic book... I reiterate.  I think fans of the modern incarnation of the Guardians of the Galaxy will enjoy this comic book.  It is just that if money is tight for you, dear reader, this comic book is not worth $3.99 if you are not a fan.

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: ALL-NEW MIRACLEMAN Annual #1

ALL-NEW MIRACLEMAN ANNUAL #1
MARVEL COMICS – @Marvel

WRITERS: Grant Morrison, Peter Milligan
ART: Joe Quesada, Mike Allred
COLORS: Richard Isanove, Laura Allred
LETTERS: Chris Eliopoulos, Travis Lanham
COVER: Gabriele Dell'Otto
36pp, Color, $4.99 U.S. (February 2015)

Mature Content – Parental Advisory for Strong Language & Content

Miracleman (Marvelman) created by Mick Anglo

All-New Miracleman Annual #1 is a one-shot comic book published on New Year's Eve 2014 (Wednesday, December 31, 2014).  It contains two stories set in the world of Alan Moore and Gary Leach's revived and re-imagined version of Marvelman, the 1950s and early 1960s British superhero character created by British comic book writer-artist, Mick Anglo.

When Alan Moore's Marvelman was brought to America and reprinted by the late Eclipse Comics, it was renamed Miracleman.  After acquiring the rights to the Marvelman characters, Marvel Comics is currently reprinting the material produced by Warrior and reprinted by Eclipse and also, Eclipse's own Miracleman comics that it began publishing in the mid-1980s.

The first story in All-New Miracleman Annual #1 is The Priest and the Dragon: “October Incident: 1966.”  It is a Marvelman-related story written by Grant Morrison for the British comic magazine, Warrior, the home of Moore's Marvelman revival.  No art was produced for the story after it was originally written, and it was put on hiatus when Warrior ceased publication (according to the “Behind the Scenes” section of All-New Miracleman Annual #1).

The story finally sees light with art by former Marvel Comics Editor-in-Chief Joe Quesada (now Chief Creative Officer of Marvel Worldwide, Inc.).  The story centers on an elderly priest who had an encounter, three years before this story begins, with Johnny Bates a.k.a. Kid Miracleman.  The story, really, is a vignette, but it is the kind of vignette that can be very powerful and effective with the right artist.  Joe Quesada is an effective graphical storyteller, so this story allows us to see Quesada working as a storytelling comic book artist, which he has not been for much of the last decade and a half.  Even the lettering by Chris Eliopoulos for this story is potent.

The second story features the Miracleman Family (the Marvelman Family):  Miracleman, Young Miracleman, and Kid Miracleman.  The story, entitled “Seriously Miraculous,” is written by Peter Milligan and is drawn by Mike Allred with colors by Laura Allred and letters by Travis Lanham.  I think that this is an entirely new story.

The story pits the Miracleman Family against the Dictator of Boromania and his hired gun, Gargunza, a Miracleman adversary.  While constantly foiling assorted diabolical, but weird plots, Miracleman notices something strange about the places where he and his family have fought.

“Seriously Miraculous” is a hugely enjoyable story.  Peter Milligan's name is not often mentioned among the great British comic book writers who started producing work for U.S. comic book publishers in the 1980s and 90s, but it should be.  I don't think that I have ever read something by him that was not interesting or inventive or both.  He may not have created a Watchmen or a Sandman, but he is never ordinary.

In “Seriously Miraculous,” he has written a story that perfectly plays to Mike Allred's retro-modern style, but not just in terms of style.  Milligan and Allred come together for a story that pays homage to Mick Anglo's old Marvelman comics, but also hints at Alan Moore and Gary Leach's revival, while allowing Allred to add his ironic and surreal touches.

Milligan and Allred are a good team, and Quesada brings Morrison's decades-old story to life with the kind of power that it might not have had it been drawn when it was originally intended.  All-New Miracleman Annual #1 is a must-have in this second revival of Marvelman/Miracleman.

A

Reviewed by Leroy Douresseaux


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

I Reads You Review: Marvel's MIRACLEMAN #1

MIRACLEMAN #1
MARVEL COMICS – @Marvel

STORY: The Original Writer (Alan Moore)
ART: Garry Leach
COLOR: Steve Oliff
LETTERS: Chris Eliopoulos
COVER: Joe Quesada with Richard Isanove
64pp, Color, $5.99 U.S. (March 2014)

Miracleman Book One: A Dream of Flying

Prologue by Mick Anglo (plot) and Don Lawrence (art)

Essay “Kimota! The Secret Origin of Mick Anglo’s Marvelman” by Mike Conroy

Marvelman is a British superhero character created in 1954 by writer-artist Mick Anglo for British publisher, L. Miller & Son.  The character was originally created as a substitute for the American character, Captain Marvel (Fawcett Comics), in the U.K.  Marvelman comic books were published until 1963, but the character was revived in 1982 by writer Alan Moore, who offered a darker, post-modern take on the character.  Author Neil Gaiman (The Sandman) wrote the series after Moore.

In March 1982, Warrior, a British monthly, black-and-white anthology comics magazine, was launched by editor and publisher Dez Skinn, who decided to revive Marvelman.  Warrior published the new and darker version of Marvelman, written by Alan Moore and initially illustrated by Garry Leach and later by Alan Davis.  In August 1985, Eclipse Comics began reprinting the Marvelman stories from Warrior (in color) in a comic book entitled, “Miracleman” (to avoid legal problems with Marvel Comics).

Miracleman issues #1-6 reprinted all the Warrior content, and then, Eclipse began publishing new Miracleman stories written by Alan Moore and drawn initially by artist Chuck Beckum and later by Rick Veitch and then John Totleben.  Moore wrote the series until issue #16; Neil Gaiman took over with issue #17.  Gaiman continued to write the series, but Miracleman ceased publication with issue #24 when Eclipse closed due to financial difficulties.

Now, Marvel Comics is bringing Eclipse Comics’ Miracleman series back into print, but in a special edition with extras.  This reprint also means that Neil Gaiman will get to finally finish his Miracleman story arc, more than two decades after it began.

Miracleman #1 begins with a reprint of an old Mick Anglo story, entitled for this story as “Prologue: 1956 – The Invaders from the Future.”  The main body of the story, “…A Dream of Flying.” opens in Great Britain in 1982.  It introduces Michael Moran, a 41-year-old freelance journalist, who has been having a bad time lately.  The strange dreams that have plagued him for years are worse, and he suffers from migraine headaches.  If only he could remember “the damn word” that is at the edge of his dreams/nightmares.

Moran travels to Larksmere for the opening of a nuclear power plant, and that’s where it all changes.  Later, Mike Moran will have a great story to tell his wife of 16 years, Liz Sullivan, but will she believe it?  Can Mike believe it?

It has been so many years (so so so many) since I first read the Miracleman #1 published by Eclipse Comics that I don’t remember exactly what I thought about it.  I know that I really liked it, but my memory is telling me (or lying to me) that I liked this series even more as it progressed.  Reading this #1 issue again, now, I enjoyed it, but I’m not overly impressed with Alan Moore’s story, although I do like it.  I get the feeling that once upon a time, I was more in awe of Miracleman #1.  After all, it was like nothing I had read up to that point.  Like I said, I think I liked Miracleman more in the later issues.

What impresses me now is the fantastic art by Garry Leach.  A delicate line is meshed into intricate line work.  Supple forms and advanced draftsmanship yield impressive compositions.  Did Leach know that he was just drawing a comic book?  I gotta find more Garry Leach.

Extras in this new Miracleman include an essay and an interview.  Mike Conroy’s two-page essay, “Kimota! The Secret Origin of Mick Anglo’s Marvelman,” is a quickie piece on Marvelman’s origins.  “Mick on Mick,” Joe Quesada’s interview of Marvelman creator, Mick Anglo, is short, but gives a nice look at Anglo as a bit of a rascal.

There are also reprints of three black and white stories taken from Marvelman #25 (February 3, 1954) and #32 (March 24, 1954).  The best of the extras is a six-page section that offers examples of Garry Leach’s original art, sketches, and developmental art for Marvelman, including his logo for Miracleman.  Once again, Leach makes Miracleman #1 worth having.

A-

Reviewed by Leroy Douresseaux


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

I Reads You Review: UNCANNY X-MEN #1

UNCANNY X-MEN #1 (April 2013)
MARVEL COMICS

WRITER: Brian Michael Bendis
PENCILS/COLORS: Chris Bachalo
INKS: Tim Townsend, Jaime Mendoza, Al Vey
LETTERS: VC’s Joe Caramagna
VARIANT COVERS: Skottie Young; Joe Quesada and Danny Miki with Richard Isanove; Francesco Francavilla; Gabriel Del’Otto; Stuart Immonen with Marte Gracia
28pp, Colors, $3.99 U.S.

Rated T+

Part of Marvel Comics’ Marvel NOW initiative (the re-launch of their comics line) is another re-launch of Uncanny X-Men. The new series is written by Brian Michael Bendis, who is also writing Uncanny’s sister title, All-New X-Men. For the time being, the art is being produced by Chris Bachalo (pencils) and Tim Townsend (inks). Longtime comic book readers know why I’m saying “for the time being.”

The roster of X-Men that makes up this new Uncanny X-Men is Cyclops, Magneto, Emma Frost the White Queen, Majik, and two new mutants. The newbies are an Australian girl, Tempus, and a boy who is a healer and who has not chosen his mutant name, yet. Cyclops/Scott Summers, one of the original X-Men, has become a highly controversial figure and is also the public face of a new mutant revolution.

Uncanny X-Men #1 opens in an underground S.H.I.E.L.D. interrogation bunker. Director Hill is about to interview a mysterious figure who has shown up out of nowhere. He has a tale to tell about Cyclops and his band of X-Men. It begins with the rescue of Fabio Medina, a young mutant whose powers have just awakened. What is this stranger really offering S.H.I.E.L.D. and what does he really want?

Brian Michael Bendis is proving himself to be the best X-Men writer in a decade or, at least since Grant Morrison on New X-Men. Bendis is doing his excellent work without making the changes Morrison did when he became an X-writer. In this first issue, the set-up of the mysterious stranger peddling information creates a thrilling sense of mystery, drama, and anticipation. It’s enough to have me coming back.

OK. Chris Bachalo. Yeah, used to like him a lot. He has done some really good work. Bachalo is from the school of eye-candy comic book art. He has sometimes been more about style than storytelling, and his compositions can be crowded, though not always. Gawd, remember Steampunk? Luckily, the crowding is down significantly. In Uncanny X-Men #1, the storytelling is off-kilter, at times, and the page design is sometimes a jumbled cluster-fk that makes certain pages annoying to read.

Thank God for Bendis.

A-

Reviewed by Leroy Douresseaux

Albert Avilla Reviews: Thor God of Thunder #1

Thor God of Thunder #1
Marvel Comics

Reviewed by Albert Avilla

Writer: Jason Aaron
Artist: Esad Ribic
Covers: Daniel Acuna
Variant Covers: Skottie Young; Joe Quesada, Danny Miki & Richard Isanove

A World Without Gods (Spoilers!)
Thor is the definition of awesome when he is handled well, and we have an excellent example here. How are they going to top this? I'll be pleased if they can maintain this level of storytelling.

We see Thor go from being a protector of a Norse village to the savior of a planet to the last defender at the gates of heaven. We don't get to see the villain of this piece, but by his handy work, we know he will be more than a formidable foe for Thor. This is the beginning of an epic battle between Thor and Gorr the god butcher. It is fascinating to see Thor's growth within these few pages. In his youth, he is a bold adventurer who cares little how his actions affect others. In the present, he is a mature god working for the welfare of others. In the future, we see a worn-down, elder god, the last Asgardian, fighting for the honor of his lost race.

I couldn't ask for a more wonderful read, even from a bestselling fantasy novel. The beauty of Thor stories is that you can go from superhero fantasy to sword and sorcery with single character. This is a fantastic beginning to the new Thor series.

The art is worthy of the great story. This journey through time and space is made more fabulous by this magnificent art. Thor's godliness pulsates throughout each panel.

I rate Thor God of Thunder #1 Buy Your Own Copy. #2 (of 5) on Al-O-Meter Ranking.

I Reads You Review - MARVEL MUST HAVES: Wolverine #20-22

MARVEL MUST HAVES: WOLVERINE #20-22
MARVEL COMICS

WRITERS: Mark Millar
PENCILS: John Romita, Jr.
INKS: Klaus Janson
COLORS: Paul Mounts
LETTERS: VC’s Rus Wooton
ADDITIONAL ART: John Romita, Jr. and Richard Isanove
COVER: John Romita, Jr. with Paul Mounts
80pp, Color, $3.99 U.S., $5.75 CAN

Rated: PSR+

I was going through a stack of comic books that I found in the comics graveyard that part of my house has become. I came across Marvel Must Haves: Wolverine #20-22. I remember reading it or at least some of it some time ago. I do remember why I bought this comic book: it collected a hot story arc.

Mark Millar started writing Wolverine (Vol. 3) around 2004. His first story arc was “Enemy of the State” (Wolverine #20-25), which was drawn by John Romita, Jr., with inks by Klaus Janson and colors by Paul Monts. Because the early issues of “Enemy of the State” were selling out, Marvel Comics collected the first three issues in a “Marvel Must Haves” edition. For a time, Marvel re-offered portions of hot story arcs for readers who wanted to catch up on those stories without having to wait for a trade collection in “Marvel Must Have” comic books.

I can only remember reading part of “Enemy of the State,” but I do remember really liking what I read. I can say, after having recently read the entirety of Marvel Must Haves: Wolverine #20-22, “I gots to read da rest!”

In Wolverine #20, our hero, Wolverine/Logan, arrives in Japan to help an old acquaintance recover his kidnapped son. Instead, Logan finds himself battling ninja, before falling into the clutches of Gorgon, some kind of mutant, ninja-master. This is all part of plot involving three groups: Gorgon’s Dawn of the White Light, The Hand (a ninja outfit), and Hydra. Guest-stars include Nick Fury and Elektra Natchios.

In Wolverine #21, Logan infiltrates a S.H.I.E.L.D. aircraft carrier in the South Atlantic Ocean, where he takes on Elektra. Guest-stars include Kitty Pryde and Storm of the X-Men. In Wolverine #22, Logan infiltrates the Baxter Building for a battle royale with the Fantastic Four. Dr. Henry Pym and Tony Stark also guest-star.

I think that Mark Millar is one of the best superhero comic book writers to emerge in the last two decades. I’d place him in a group just behind Alan Moore and Grant Morrison. Who else is in that group with Millar? Later for that is what I’ll say for now. Millar has a knack for creating these rousing stories with great action and suspense set pieces that turn his comic books into potboilers. He can do it without developing character relationships in a meaningful way or offering emotional resonance; his work is action movie comics.

I think this is one of those stories in which Millar’s script is more than just a guide for the artists. His writing dominates, and just about any comic book artist with strong storytelling skills could have done a good job with “Enemy of the State.” Janson’s inking streamlines Romita’s chunky compositions, and Mounts coloring makes the art pop off the page. Still, this is Millar’s show, and it’s a good show.

A

Reviewed by Leroy Douresseaux

I Reads You Review: GAMBIT #1 (1999 series)

GAMBIT (1999) #1
MARVEL COMICS

WRITER: Fabian Nicieza
PENCILS: Steve Skroce
INKS: Rob Hunter
COLORS: Shannon Blanchard
LETTERS: Richard Starkings & Comicraft’s Emerson Miranda
COVERS: Steve Skroce and Rob Hunter with Liquid Graphics; Carlos Pacheco and Mezino with Richard Isanove; Adam Pollina; Brandon Peterson and Tim Townsend with Liquid Graphics; Tim Bradstreet; and Steve Skroce and Rob Hunter with DV
48pp, Color, $2.99 U.S.

Gambit is a Marvel Comics superhero character best known for his association with the X-Men. His civilian identity is Remy LeBeau. Gambit was created by writer Chris Claremont and artist Jim Lee and made a brief first appearance in Uncanny X-Men Annual #14 (1990), before making a fuller appearance in Uncanny X-Men #266 (August 1990).

A mutant, Gambit possesses the ability to mentally create, control and manipulate pure kinetic energy; this is best exemplified when he “biokinetically” charges objects (such as cards) and turns them into small explosives. In addition to playing cards, his other signatures are his Bō staff, Louisiana heritage, and thick Cajun accent.

Gambit received his first ongoing comic book series in 1999. Gambit #1, cover dated February 1999, was written by Fabian Nicieza and drawn by Steve Skroce (pencils). Entitled “The Man of Steal,” this first issue finds Gambit trying to pay off some kind of debt he owes to New Son. At this point, Gambit’s payment plan to New Son pits him against Elysian Enterprises, a military research firm headed by Anwar Anubar.

Anubar is seeking the treasures of Garbha-Hsein, an ancient Chinese warlord who legends say ruled for a thousand years. The legends also say that Garbha had an extraterrestrial vessel, which he took apart and buried in his 12 tombs. After Gambit successfully obtains one of the pieces, Anubar brings in The X-Cutioner, killer of bad mutants, to deal with Gambit. Also, we see into Gambit’s past and the X-Men (including Wolverine, Storm, Nightcrawler, Kitty Pryde, and Rogue) guest star.

With a cover date of February 1999, Gambit #1 probably arrived in comic book stores in December 1998 (or a little earlier). That was just about four months before the film, The Matrix, debuted in theatres. I imagine that not many people who picked up Gambit #1 when it was first released knew that series artist, Steve Skroce, had drawn the storyboards for The Matrix. Apparently, it was Skroce’s storyboards that helped executives at Warner Bros. understand the screenplay for The Matrix, written by directors Andy and Larry Wachowski and thus, approve its production.

Here, the art team of Skroce and inker Rob Hunter does not work. Skroce’s busy and crowded compositions turn into a murky mess under Hunter’s inks, and the clumsy coloring and color separations don’t help. This is not the polished post-Matrix Skroce that would emerge in a short run on Wolverine and at the Wachowski comic book company, Burlyman. As for the story, Fabian Nicieza wrote an action movie screenplay, with a wooden plot and a cast of wooden characters (plus a pointless origin sequence).

I remember reading this Gambit series for at least a year. [Gambit would get a second series in 2004 and another, which just launched as of this writing]. I was not a fan of Nicieza, at the time. Perhaps, I bought this comic book because of Skroce; for most of the 1990s, I only bought comics drawn by artists I liked. Whatever the reason, I wish I could get back the money I paid for these Gambit comic books.

C-

I Reads You Review: AVENGING SPIDER-MAN #1

"Need another Spidey title like you need a hole in your head"

AVENGING SPIDER-MAN #1
MARVEL COMICS

WRITER: Zeb Wells
ARTIST: Joe Madureira
COLORS: Ferran Daniel
LETTERS: VC’s Joe Caramagna
COVER: Joe Madureira and Aron Lusen (Variant coves by Humberto Ramos and Edgar Delgado; J. Scott Campbell and Edgar Delgado; and Joe Quesada, Danny Miki, and Richard Isanove)
32pp, Color, $3.99 U.S.
Rated T+

The new Spider-Man comic book series, Avenging Spider-Man, acts as the latest Spider-Man team-up title. The most famous is Marvel Team-Up, which first ran from the 1972 to 1985 (Vol. 1). There is an “afterword” in the back of Avenging Spider-Man, in which editor Stephen Wacker writes that this new title is going to be a star creator-oriented comic book that will feature oddball comic book characters, as well as popular characters as guest stars.

The star creators to start this are writer Zeb Wells (a star?) and artist Joe Madureira (still a star, but likely not as bright as he was back in the 90s). The team-up joins Spider-Man and the Red Hulk.

As Avenging Spider-Man #1 opens, Spider-Man and his Avenger teammates are battling A.I.M. and a giant A.I.M.Bot. Meanwhile, New York City Mayor J. Jonah Jameson has just shot the starter pistol to begin the New York City Marathon. The marathoners, however, immediately find their progress impeded by an invasion of diminutive yellow monsters. Hopping a ride to NYC on the back of the Red Hulk, Spider-Man finds himself arriving just in time to lose to the invaders – even with the Hulk’s help?!

Back in the mid-1990s, penciller Joe Madureira (also known as Joe Mad) and inker Tim Townsend formed one of the best (if not the best) art teams working in superhero comics. Maduriera’s anime and manga influenced style were transformed into solid comic book art by Townsend, an inker with a master illustrator’s touch. Madureira’s art did not suffer much when he left Marvel for Wildstorm Productions and Image Comics to produce his creator-owned title, Battle Chasers (published under Wildstorm’s Cliffhanger imprint). By the beginning of the 21st century, however, Madureira had left comics to work in the video game industry.

Joe Mad returned to comics in 2007 for The Ultimates 3 from Marvel Comics, but his art was no longer inked by Townsend or inked at all for that matter. Now, Madureira’s art was colored directly from the pencils. For me, it left much to be desired. As best as I can tell, Madureira’s is producing the art for Avenging Spider-Man the same as he did for The Ultimates.

It is not that I think Mad’s art here isn’t good. I do think that compared to the work he did on Uncanny X-Men with Townsend inking, this Avenging Spider-Man art is inferior, at least in terms of style and draftsmanship. However, I still admire Mad’s compositional and design skills. Some other artists may stretch out stories with splash pages or pages composed of big panels simply because those pages are more attractive to sell as original art. Mad uses splash pages and big panels to create a heightened sense of the dramatic or convey the power of action, force, movement, etc. The way Mad positions characters and objects in panels and the “camera” angles he uses reflect what Stan Lee preached in his How to Draw Comics the Marvel Way (co-authored with John Buscema).

As for the story: it’s mediocre. I’m amazed that Marvel and DC Comics can still get away with producing remarkably mediocre material, the kind of toad burger product that would spell doom for a publisher not financed by a multi-national media corporation. I’m surprised at the mediocrity because I remember when Zeb Wells first showed up on the comics scene; he was supposed to be some kind of golden boy. Is that golden as in piss gold?

My grade reflects my still-alive love of Joe Mad, but the grade should be lower because of the story.

C

[This comic book includes a preview of Avengers: X-Sanction #1 by Jeph Loeb and Ed McGuinness.]

P.S. I’m going to buy a copy of Avengers: X-Sanction #1 just to rag on it. The five pages that are previewed here are just lousy. I’d really be disappointed if it turned out to be good, thus denying me some fun.