Review: BLACK PANTHER AND THE CREW #1

BLACK PANTHER AND THE CREW No. 1 (2017)
MARVEL COMICS – @Marvel

[This review was originally posted on Patreon.]

WRITER: Ta-Nehisi Coates
PENCILS: Butch Guice
INKS: Scott Hanna
COLORS: Dan Brown
LETTERS: VC's Joe Sabino
COVER: John Cassaday with Laura Martin
VARIANT COVERS: Rich Buckler; Jim Cheung with Jason Keith; John Tyler Christopher; Tom Palmer with Rachelle Rosenberg; Damian Scott with John Rauch
28pp, Color, $3.99 U.S. (June 2017)

Black Panther created by Stan Lee and Jack Kirby

Rated “T+”

“We are the Streets” Part 1 “Double Consciousness”

Although it was only published for seven issues in 2003, the comic book, The Crew, is apparently fondly remembered by some readers (myself among them) and comic book writers.  Written by Christopher Priest and drawn by Joe Bennett, The Crew featured four hardened heroes who band together to fight for an impoverished neighborhood.

The Crew is the inspiration for the latest expansion of Marvel Comics' Black Panther line of comic books, Black Panther and The Crew.  This new series is written Ta-Nehisi Coates; drawn by Butch Guice (pencils) and Scott Hanna (inks); colored by Dan Brown; and lettered by Joe Sabino.

Black Panther and The Crew #1 (“Double Consciousness”) opens in The Bronx in 1957 with a tale of Ezra Keith and his “crew.”  The story moves to present day Harlem for the funeral of Ezra, who was killed while in police custody.  Ezra's family has asked Misty Knight to investigate, but Knight is conflicted because of her ties to law enforcement.  However, Misty is forced to admit that something is officially wrong and unites with the X-Men's Storm to fight the forces arrayed against her.

Apparently, writer Yona Harvey will script every other issue of this series, which means she will write Black Panther and The Crew #2 with Ta-Nehisi Coates returning for the third issue.  I hope Harvey is as good as Coates is on this first issue, and I'm saying that considering that I did not expect much from the first issue.  But I'm impressed and look forward to more.

Black Panther and The Crew #1 reads like one of those crime comic books published by DC Comics' Vertigo imprint or Image Comics and written by someone like Ed Brubaker or Brian Azzarello.  Coates offers a sharply written urban drama that is complicated about complex matters.  Black people vs. cops – it is not so clear cut simply because there are so many players and groups of players involved with their own goals and motivations.

I like Butch Guice's pencil art; it is his storytelling that realizes Coates' script as a multi-layered, street-level superhero drama.  I have always thought that Guice's talent was underutilized, but here he gets to show the scope of his graphical storytelling abilities.  I highly recommend trying at least the first issue of Black Panther and The Crew.

A

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


The text is copyright © 2017 Leroy Douresseaux. All Rights Reserved. Contact this site for reprint and syndication rights and fees.

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I Reads You Review: SUICIDE SQUAD: Amanda Waller #1

SUICIDE SQUAD: AMANDA WALLER #1
DC COMICS – @DCComics

WRITER: Jim Zub
PENCILS: André Coelho
INKS: Scott Hanna
COLORS: Andrew Dalhouse
LETTERS: Carlos M. Mangual
COVER: Giuseppe Camuncoli with Blond
48pp, Color, $4.99 U.S.

Rating “T+” Teen Plus

Amanda Waller created by John Ostrander and John Byrne

“Sacrifice in the Storm”

Dr. Amanda Blake Waller, or simply, “Amanda Waller,” is a DC Comics character.  Waller first appeared in Legends #1 (1986) and was created by John Ostrander and John Byrne.  [Ostrander plotted the series, while Len Wein wrote the script.]  Waller does not possess super-powers, but she has been and is a powerful ally/antagonist of the DC Comics superheroes, as well as being an antihero.

In The New 52, the restart of the DC Comics Universe, Waller is the commander of the Suicide Squad (or “Task Force X”), a team of super-villains.  Members of the squad take on risky missions in exchange for time served.  The team’s base of operations is Belle Reve Penitentiary, a special prison for meta-humans and super-villains located in Terrebonne Parish, Louisiana.  Waller chooses the Suicide Squad’s membership and basically has the power of life and death over those members.  The New 52 Amanda Waller is a slim, attractive young woman, whereas the original version of her was a portly, older African-American woman.

Suicide Squad: Amanda Waller #1 is a one-shot comic book set after the events depicted in Suicide Squad #24 (The New 52 series, of course).  Entitled “Sacrifice in the Storm,” the story finds Amanda Waller confronting a super-powered attacker and focuses on the decisions she has to make in order to save some lives.

The story opens with Waller traveling aboard a U.S. Air Force plane with a military escort.  She is negotiating the cooperation of Dr. Algot Issen, who has developed genetic testing equipment that not only classifies super-powered beings, but also offers the opportunity to control them.  However, an entity from Dr. Issen’s past, called Kriger-3, has come back for some payback.  Now, Waller has to make the tough decisions that will decide who dies and who survives … if anyone survives.

When a young actor is hot… well, let’s be honest… When a young white male actor starts getting hot, the major Hollywood studios/corporations (Warner Bros., FOX, Universal, etc.) will find a “star vehicle” for this hot stuff.  A “star vehicle” is some kind of action movie or comedy with an uncomplicated plot, but has an interesting idea (once called a “high concept”).  Basically, it’s a chance for YWM (young white male) to showcase whatever it is about him that might make him a movie star.

The movie will feature a young (usually) white actress as a sidekick slash arm candy slash girl who probably gives him some booty (off-screen or on-screen, depending on the rating).  This film will have a mixture of respected older actors, venerable character actors, and actors (regardless of age) who specialize in playing such supporting characters as best friends, sassy friend-girls, kooky coworkers, etc.

Disturbia was a star vehicle for Shia LaBeouf.  Most of the films in Channing Tatum’s filmography of the last six or seven years are star vehicles.  Enemy of the State was a star vehicle for Will Smith (one of the Negro exceptions in Hollywood).

Suicide Squad: Amanda Waller #1 could be seen as a star vehicle for a fictional character.  To be honest, I only picked up this comic book because I am a fan of writer Jim Zub’s work on IDW Publishing’s Samurai Jack comic book.  [And Black Jesus knows DC Comics acts as if it would kill them to hire a Black writer to write about a Black character.]

Anyway, I think Amanda Waller makes an excellent choice to star in her own series or occasional miniseries, one-shot, or original graphic novel, especially if Jim Zub were the writer.  Zub’s story focuses on Waller, but is also told in the context of Suicide Squad’s central idea – imprisoning super-villains and sending them on deadly missions no one else would take and Waller’s part in that.

Zub sends Waller on a mission that is dangerous in every sense of the word.  To live, she has to make some brutal choices, and no, I won’t spoil the story by listing them.  I can say that to stay alive, Waller has to go to the heart of darkness and his cousin, ugly.  I am not saying that this is great work.  In some ways, it is merely professionally executed – nothing particularly special.  However, this story does mix internal character conflict and explosive superhero action quite well.

The art by André Coelho (pencils), Scott Hanna (inks) and Andrew Dalhouse (colors) is good.  The colors heighten the drama and beauty of the compositions with its clean line and “exacto” inking.  The storytelling, however, rests on Jim Zub’s efforts, so I hope we get more Suicide Squad: Amanda Waller, with the right storyteller.

B+

Reviewed by Leroy Douresseaux

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

Albert Avilla Reviews: Captain America #7

Captain America 007
Marvel Comics

Reviewed by Albert Avilla

Writer: Rick Remender
Pencils: John Romita Jr.
Inks: Klaus Janson, Scott Hanna
Colors: Dean White

Spoilers!

This is the best kept secret in comics, and it should not be. Get your !@#&%#$ out there and buy this book.

This is the seventh issue since the re-launch, and Remender has not given us a chance to catch our breath. The action has been kinetic. Cap has been stretched to his super soldier limits, and he has never hesitated in his assault on evil. Cap is being attacked on every level possible.

Zola’s mutates, and Jet has tested Cap’s fighting skills with brute force and superior physical abilities. Zola is taking over Cap’s body from within. Cap’s emotions have been wrecked by the kidnapping of his son, Ian. All of this is occurring in a hostile environment that requires super-human effort to survive. The only person that Cap has to depend on through these trying times is himself. Cap doesn’t sit back and moan about his situation; he is concerned about the faith of others. He pushes himself beyond his limits to make a difference.

Remender is telling an epic for the ages, and this issue continues what began in the previous issues. Cap keeps battling against all obstacles. He defeats Captain Zola. He fights Jet again, but leaves the fight to save a Phrox from becoming a Zola mutate. This inspires Jet to help Cap. She tells Cap that Zola City is actually a battle station, and that Zola is planning to attack Earth with a mutate army that will infect the Earth with the consciousness of Zola. This could have been the end of the story, leaving us filled with anticipation, but, no, the story continues. Cap pulls his demolished body off the ground to save his son. Then glazat! Cap is shot by his son. Double-thriller ending! Remender is giving us an epic for the ages. This is a great family story wrapped in kick-ass action.

Romita’s art is visual ecstasy. My copy is in horrendous condition from me repeatedly looking at the art.

I rate Captain America 007 Recommend It To A Friend. #1 (of 5) on the Al-O-Meter

Albert Avilla Reviews: Green Lantern Corps #0

Green Lantern Corps #0
DC Comics

Reviewed by Albert Avilla

Writer: Peter Tomasi
Pencils: Fernando Pasarin
Inks: Scott Hanna and Marc Deering
Cover: Fernando Pasarin and Scott Hanna with Gabe Eltaeb

The origin of the bad-ass Lantern is here. The story jumps off into hard core action from the get go. Blood splattering, decapitated heads, and Lanterns with their backs to the wall; we get all of this in the first four panels. Guy, the last Lantern standing, gets a beat down from the alien. Xar.

We get to the origin part of the story. Guy is an ex-cop blamed for deaths that he is not responsible for, living in the shadow of his brother the favored son. Guy is despised by his super-cop father for not living up to the family legacy. He saves his brother’s life with Daddy’s cane and a motorcycle. He gets the ring and cleans up the street in one night. Back to Xar where Guy is getting crushed: Guy mans up and blasts the crap out of Xar.

This is a ret-con of a character that I can agree with for many reasons. Guy is a more well-rounded character; not a meat-head jock who just wants to smash through everything. Being a Green Lantern is a tough, thankless job; it takes a person who is committed to the greater good. They are away from their friends and family for long periods of time. It’s hard on relationships. They don’t do it for riches; I never see them getting a check cut to them. It’s a warrior’s life, and Guy is revealed as a true warrior.

The ring didn’t make Guy a hero; the ring is a hero’s weapon. Guy has strong ties with his family, and he is fiercely protective of them, which explains why he is protective of his sector. Guy’s competitive nature originates from a lifetime of competing with his brother for his father’s approval; this now extends to Hal. Guy’s irritating personality comes from a father who didn’t teach him the social graces. This origin gives Guy more depth as a character; readers can relate to him as a hero with flaws. Guy has evolved from a flat character to a multilayered dynamic personality.

The art was cool. The fight sequences were great; you got the feeling that Guy was risking it all to win. There was a feeling of movement in the art. The crowd scene was engrossing; each person was an individual who is the center of his or her own life, not just extras. The skies over Oa were luminescent. I like bright colors in my comics. The art pops.

I rate this issue Buy Your Own Copy.

I Reads You Review: AVENGERS VS. X-MEN #1

"Come back to the Five-and-Dime, Secret Wars, Secret Wars"
AVENGERS VS. X-MEN #1
MARVEL COMICS

STORY: Jason Aaron, Brian Michael Bendis, Ed Brubaker, Jonathan Hickman, and Matt Fraction
SCRIPT: Brian Michael Bendis
PENCILS: John Romita, Jr.
INKS: Scott Hanna
COLORS: Laura Martin
LETTERS: Chris Eliopoulos
COVERS: Jim Cheung and Justin Ponsor
40pp, Color, $3.99 U.S.

Rated: T+

Marvel Comics’ latest big, event series is Avengers vs. X-Men. This planned 12-issue miniseries pits the Avengers and the X-Men against each other over the return of The Phoenix and its likely host, the Mutant Messiah, Hope Summers.

As Avengers vs. X-Men #1 begins, The Phoenix force makes itself known. Meanwhile, the Avengers deal with a crisis over New York City that threatens both civilians and landmarks. This crisis, however, is merely a harbinger of things to come concerning The Phoenix, a threat that both the Avengers and the White House take seriously. What they decide to do about it leads straight to the X-Men. When Captain America approaches Cyclops, will the mutant leader want to hear what the Avenger has to say?

I found the prologue to this event, Avengers vs. X-Men #0, to be surprisingly blasé. Avengers vs. X-Men #1 is a bit more exciting, mainly because its focus is conflict, whereas #0 offered character vignettes (and not very interesting ones, at that). From the destruction depicted early in this issue to the New York City disaster scene to the designation of the X-Men as a nexus point, this first issue clearly presages a superhero “pay-per-view” wrestling match.

One thing that certainly surprises me is how simply told this comic book is. None of that sophisticated, faux-Mamet drama here: this is Secret Wars-like in its punch-to-settle-differences ethos. Even John Romita, Jr.’s pencil art is retro-cool, lacking photo-realism and exaggerated detail in the figure drawing (especially on the musculature).

There is no telling where this narrative will go when new writers and artists take over in the later issues, but for now, I find this straight-forward superhero battle to be quaint, but fun to read. I won’t lie and say that it is great, but Avengers vs. X-Men #1 is nice.

B

I Reads You Review: ULTIMATE COMICS SPIDER-MAN #2

"Part Two"

ULTIMATE SPIDER-MAN #2
MARVEL COMICS

WRITER: Brian Michael Bendis
ARTIST: Sara Pichelli
COLORS: Justin Ponsor
LETTERS: VC’s Cory Petit
COVER: Kaare Andrews
32pp, Color, $3.99 U.S.
Rated T+

The result of the “Death of Spider-Man” Ultimate Comics storyline was that Peter Parker was killed. Miles Morales, a teenager of African-American and Latino heritage, is the new Spider-Man (or Ultimate Spider-Man II).

As Ultimate Spider-Man #2 (AKA Ultimate Comics: Spider-Man #2) begins, Miles is testing his new powers, but he needs answers. What is happening to him? Can his pal Ganke help him? Meanwhile, Miles’ father reveals his and his brother’s (Miles’ uncle) troubled past.

Perhaps, I over-praised writer Brian Michael Bendis in my review of the first issue of Ultimate Spider-Man #1, and did so at the expense of artist Sara Pichelli. Bendis is good in this series, but so is Pichelli. First of all, she draws some of the most convincing looking Black people I’ve ever seen in American comic books. Secondly, she is perfect for Bendis’ character-heavy stories with their sometimes exceeding sense verisimilitude and realism.

Pichelli is also a master of drawing facial expressions and subtle gestures. The way she can shift, from panel to panel, the emotion or tone via a look, expression, or gesture from a character is uncanny. During Miles’ conversation with his father, the reader will understand exactly when Miles is shocked, confused, hurt, or when he wants to exclaim, “Say what?!” to his father.

Sara Pichelli is as important as Bendis in making Ultimate Spider-Man one of the top five superhero comic books currently being published (in my estimation, of course).

A

Ultimate Spider-Man #1 includes a backup feature that reprints pages from “A Moment of Silence” and “Heroes,” two of Marvel Comics’ 9/11 publications. These are pin-ups from Sam Keith, Richard Corben, Adam Kubert with Richard Isanove, Michael Avon Oeming, and Tom Raney and Scott Hanna with Hi-Fi

I Reads You Review: ULTIMATE COMICS SPIDER-MAN #1

"Everybody's talking 'bout the new kid in town"

ULTIMATE SPIDER-MAN #1
MARVEL COMICS

WRITER: Brian Michael Bendis
ARTIST: Sara Pichelli
COLORS: Justin Ponsor
LETTERS: VC’s Cory Petit
COVER: Kaare Andrews (Variant covers by Sara Pichelli and Justin Ponsor)
32pp, Color, $3.99 U.S.

I don’t read many titles from Marvel Comics, and it has been that way for the past seven years, at least. During the last decade, I’ve occasionally read titles from Marvel’s Ultimate line and, for the most part, enjoyed them. However, I had ignored the “Death of Spider-Man” Ultimate storyline which ran through most of this year. Peter Parker was killed, and Miles Morales, a teenager of African-American and Latino descent, is the new Spider-Man (or Ultimate Spider-Man II).

Ultimate Spider-Man #1 (AKA Ultimate Comics: Spider-Man #1) begins 11 months prior to the main story and is set at an Osborn Industries laboratory on Long Island. Norman Osborn is demanding that his latest hire, Doctor Markus, reverse calculate the specifications of a genetically altered spider. What spider? That would be the spider that bit Peter Parker and gave him his special powers; the spider’s genetic alterations were the result of Osborn Industries.

Eleven months later, Miles Morales and his parents are attending a lottery that will decide which Brooklyn, New York students get to attend the charter school, Brooklyn Visions Academy. Miles’ life, however, is about to take an even bigger turn because young Mr. Morales has a date with a special spider.

A few years ago, I started reading back issues of Static, one of the titles published by the comics publishing wing of Milestone Media, a company dedicated to bringing diversity in terms of race and ethnicity to comic book superheroes. Reading those early issues of Static, I was struck by how much they reminded me of the early issues of The Amazing Spider-Man by Stan Lee and Steve Ditko.

Now, I’m struck by how much this Ultimate Comics: Spider-Man reads like an early issue of Static. Spider-Man writer Brian Michael Bendis has adapted, updated, and reworked the stories of many of the Spider-Man comic book writers that came before him, notably Lee and Ditko. Now, it seems as if he has taken the fresh style and urban tone of Static writers, the late Dwayne McDuffie and Robert L. Washington, III, and fashioned that for Ultimate Comics: Spider-Man. I kid you not; this Spider-Man comic book is an early issue of Static.

I don’t have a problem with that because (1) this is a good opening issue and (2) the story looks, reads, and feels right for a contemporary story of superhero fantasy in which the star is a person of color. This is an auspicious beginning, and I hope Miles Morales welcomes in new readers the way Peter Parker did 50 years ago.

A

Ultimate Comics: Spider-Man #1 includes a backup feature that reprints pages from “A Moment of Silence” and “Heroes,” two of Marvel Comics’ 9/11 publications: Bill Jemas (story), Mark Bagley (pencils), Scott Hanna (inks), Hi-Fi (colors), Sharpefont’s PT (letters); and Joe Quesada and Alex Ross (cover illustration)

Reviewed by Leroy Douresseaux

The New 52 Review: SUICIDE SQUAD #1

"Suicide solution?"

SUICIDE SQUAD #1
DC COMICS

WRITER: Adam Glass
ARTISTS: Federico Dallocchio, Ransom Getty, and Scott Hanna
COLORS: Val Staples
LETTERS: Jared K. Fletcher
COVER: Ryan Benjamin
32pp, Color, $2.99 U.S.

The DC Comics Universe has had two teams that have used the name, “Suicide Squad.” The first debuted in The Brave and the Bold #25 (cover date August/September 1959) and was created by writer Robert Kanigher and artist Ross Andru.

The second Suicide Squad appeared in Legends #3 (cover date January 1987), the midpoint of the 1986 six-issue crossover miniseries. Created by John Ostrander, this was an anti-hero team of incarcerated super-villains that undertook high-risk, black ops missions in exchange for commuted prison sentences. With the re-launch of DC Comics’ superhero line, “The New 52,” there is a new Suicide Squad comic book series.

Suicide Squad #1 (“Kicked in the Teeth”) opens with Deadshot being tortured. How did we get here? Deadshot was imprisoned in Belle Reve Penitentiary, a prison for metahumans and super-villains. He and six other inmates: Black Spider, El Diablo, Harley Quinn, King Shark, Voltaic, and Savant were offered the chance to see daylight by joining Task Force X. There first mission was to extract a rogue agent. Now, they awaken to find themselves prisoners in a dank basement, and their captors want information and are willing to kill to get it.

Although I’ve known of Suicide Squad, I have never made the effort to read it, although I was at times curious. I’m glad that I tried this new Suicide Squad title. It’s something different in superheroes, and not just because the heroes are really convicts. Writer Adam Glass takes his anti-hero protagonists and isn’t afraid to grind them up, lay bare their crimes and shames, and always have them on the ropes. If Glass keeps up this pace, he will have, in Suicide Squad, a comic book that people will have no excuse not to read – other than that they can’t afford to purchase it or don’t want to steal it.

By the way, Ryan Benjamin’s gorgeous cover looks dangerous and the interior art strikes the perfect tone for this nitty gritty team book.

A-

September 14th
BATMAN AND ROBIN #1
http://ireadsyou.blogspot.com/2011/09/batman-and-robin-1.html
BATWOMAN #1 2.99
http://ireadsyou.blogspot.com/2011/09/batwoman-1.html
DEMON KNIGHTS #1
http://ireadsyou.blogspot.com/2011/09/demon-knights-1.html
FRANKENSTEIN AGENT OF SHADE #1
http://ireadsyou.blogspot.com/2011/09/frankenstein-agent-of-shade-1.html
GREEN LANTERN #1
http://ireadsyou.blogspot.com/2011/09/green-lantern-1.html
GRIFTER #1
http://ireadsyou.blogspot.com/2011/10/grifter-1.html
LEGION LOST #1
http://ireadsyou.blogspot.com/2011/09/legion-lost-1.html
MISTER TERRIFIC #1
http://ireadsyou.blogspot.com/2011/09/mister-terrific-1.html
RED LANTERNS #1
http://ireadsyou.blogspot.com/2011/09/red-lanterns-1.html
RESURRECTION MAN #1
http://ireadsyou.blogspot.com/2011/09/resurrection-man-1.html
SUPERBOY #1
http://ireadsyou.blogspot.com/2011/09/superboy-1.html

The New 52 Review: GREEN LANTERN CORPS #1

GREEN LANTERN CORPS #1
DC COMICS

WRITER: Peter J. Tomasi
PENCILS: Fernando Pasarin
INKS: Scott Hanna
COLORS: Gabe El Taeb
LETTERS: Pat Brosseau
COVER: Doug Mahnke and Christian Alamy with Randy Mayor
32pp, Color, $2.99

The best known Green Lantern, Hal Jordan, first appeared in Showcase #22 (September-October 1959). Not only was Hal a Green Lantern (of Sector 2814), he was also a member of the Green Lantern Corps. Technically, the Corps first appeared in Showcase #22 when Hal met Abin Sur, his forerunner. However, Hal didn’t meet another Green Lantern until Green Lantern #6 (May-June 1961).

With the re-launch of DC Comics’ superhero line, “The New 52,” the Green Lantern Corps gets its own comic book series (after decades of one-shots, miniseries, backups, and specials). The leads in this new series are Guy Gardner (Green Lantern of Sector 2814.2) and John Stewart (Green Lantern of Sector 2814.3).

Green Lantern Corps #1 (“Triumph of the Will”) opens with Green Lanterns being murdered in Space Sector 3599. Meanwhile, Guy and John are trying to lead meaningful lives as civilians on Earth.

Green Lantern Corps #1 looks like Green Lantern #1 because both series have artists doing the Brian Bolland-clone thing. In this case, Fernando Pasarin (pencils) and Scott Hanna (inks) have slightly more imaginative environments to draw and, in turn, win over Green Lantern’s penciller, Doug Mahnke. Writer Peter J. Tomasi does a good job setting up scenes involving murder and mystery, and the character drama he writes to depict John and Guy’s difficulties is good – poignant even in the case of Guy.

I’m not afraid to say that this Green Lantern title may be better than the main Green Lantern title.

B+

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

I Reads You Review: ULTIMATE COMICS AVENGERS: BLADE VS. THE AVENGERS

ULTIMATE COMICS AVENGERS: BLADE VS. THE AVENGERS
MARVEL COMICS

WRITER: Mark Millar
PENCILS: Steve Dillon
INKS: Andy Lanning and Scott Hanna
COLORS: Matt Hollingsworth with Matthew Wilson and John Rauch
LETTERS: VC’s Cory Petit
COVER: Leinil Francis Yu and Marte Gracia
EXTRA ART: Olivier Coipel and Laura Martin; Greg Land and Frank D’Armata
ISBN: 978-0-7851-4009-2; hardcover
152pp, Color, $24.99 U.S., $27.99 CAN

Several years ago, there were rumors or perhaps a semi-official announcement that Mark Millar was going to be the writer of a new comic book series featuring, Blade, Marvel’s resident vampire hunter. It never came to pass.

Now, Mark Millar writes Blade. Nuff said…

Well, not quite, but Blade gets his name in the title in the new hardcover collection, Ultimate Comics Avengers: Blade vs. The Avengers. Written by Mark Millar and drawn by Steve Dillon, this book reprints Ultimate Avengers 3 #1-6. This story arc sees the Avengers battle a highly-organized attempt at a vampire takeover of the world.

The story begins when Blade gets an offer of a truce from Anthony, a new vampire leader. Mysterious and charismatic, Anthony has encased himself in an old Iron Man suit of armor, making him hard to kill. Anthony’s plot to rule the world involves building an army of superheroes converted into vampires.

After one of their own is bitten and recruited into the vampire army, Nick Fury and his black-ops task force, the Avengers, find themselves on the frontlines fighting to save humankind. The new vampire king rallies all the various vampire clans to his ever-growing number of super-powered Nosferatu. Meanwhile, Fury is wary of half-vampire Blade, who offers his help. Is the Daywalker friend or foe?

This Ultimate Avengers story arc is not so much “Blade vs. The Avengers” as it is The Avengers vs. the vampire apocalypse – with Blade as a character on the periphery. It’s as if Millar didn’t realize that the Blade he was writing is supposed to be a major player and not just a player in a few interludes. Still, what we get of Blade is quite good. Millar’s knack for dialogue makes this a sparkling read. Millar doesn’t just write snark and satire. His dialogue defines the characters mood as well as it colors the scene in which a character speaks. Millar’s Blade is the most attractive since the 1970s Blade of Marv Wolfman and Chris Claremont.

Equally evocative is the art of Steve Dillon. With his clean style, Dillon conveys character, setting, and plot and executes a narrative that is as complex as it is streamlined. For all their photo-realism, cross-hatching, and computer coloring, most artists can’t touch Dillon’s depth of storytelling. For all this story’s craziness, Dillon even manages to wring out a few poignant and dramatic moments.

Yeah, I wanted more Blade, much more Blade, but I like Ultimate Comics Avengers: Blade vs. The Avengers.

B+

Ultimate Comics Avengers: Blade Vs. the Avengers (See all Superheroes Graphic Novels)