#IReadsYou Review: THE MADNESS #1

THE MADNESS #1 (OF 6)

AWA STUDIOS

STORY: J. Michael Straczynski

PENCILS: ACO

INKS: David Lorenzo

COLORS: Marcelo Maiolo

LETTERS: Sal Cipriano

COVER: ACO

VARIANT COVER ARTISTS: Brandon Peterson with Marcelo Maiolo; Dalibor Talajic

32pp, Color, $3.99 U.S. (August 2023)

Rated: “Mature”

The Madness is a new six-issue miniseries from AWA Studios.  It is written by J. Michael Straczynski; drawn by ACO (pencils) and David Lorenzo (inks); colored by Marcelo Maiolo; and lettered by Sal Cipriano.  The series follows a woman who uses her super-powers as a thief and her quest for revenge against a group of superheroes.

The Madness #1 introduces Sarah Ross a.k.a. “The Raven.”  She has super-powers:  flight, super speed, super strength, and invulnerability, but she can only use one at a time.  Sarah has been using her powers as a thief, stealing from the rich and giving it to herself.  She plans one more big score – the proverbial big score from which one can retire to a life of luxury for good.

However, Sarah's score means she has to steal from the wrong person.  And this man is the “wrong person” because Sarah's true mark is a highly-placed and powerful official.  Now, Sarah is a target, and the brutal consequences may drive her to utter madness.

THE LOWDOWN:  AWA Studios marketing recently began providing me with PDF review copies of their comic book publications.  The Madness #1 is the latest.

Writer J. Michael Straczynski is best known for his Hollywood work.  He has written for the screen for such films as Ninja Assassin (2009), Thor (2011), and World War Z (2013).  His best known television work is the TV series, “Babylon 5” (1993-98), which he created.  He also wrote for such TV series as CBS' mid-1980s' revival of “The Twilight Zone” and for “Murder, She Wrote,” to name two.

ACO is the pen name of Spanish comic book artist, Alex Cal Oliveira.  He has drawn Iron Man and Uncanny X-Men for Marvel Comics, to name a few, and he had a long stint on Wonder Woman for DC Comics.  I really liked ACO's inspired work on Marvel's 2017 Nick Fury comic book series.

Straczynski and ACO come together for The Madness, and I can call the first issue a shockingly good debut issue.  It is filled with a sense of mystery, a murderous conspiracy, shadowy government cabals, secretive and conniving superheroes, and the anticipation of death and destruction.  Straczynski lures in the readers and then, holds them hostage with high tension, from beginning to end.  ACO catches the script at its electric edges, creating the right angles with a captivating sense of graphic design.  ACO certainly creates the sense that something big is going to happen every page.

For what it presents, The Madness #1 is one of the few debut issues that reminds me of certain elements of Eclipse Comics' Miracleman #1 (cover dated: August 1985) and DC Comics' Watchmen #1 (cover dated: September 1986).  For me, those particular comic books seemed new and groundbreaking and also utterly familiar at the same time.  Am I comparing Straczynski and ACO to Alan Moore and Gary Leach and Alan David?  To Moore and Dave Gibbons?  Well, am I? 

I'm on Twitter a lot, and I always come across fans, commentators, creators, etc. complaining that DC Comics and (especially) Marvel are not producing great comic books.  Comic book publishers not named Marvel or DC, such as AWA Studios, are producing exceptional and entertaining comic books.  If you pass up The Madness #1, you really don't want to read great comic books.  

I READS YOU RECOMMENDS:  Fans looking for excellence in superhero comic books will want to try The Madness.

A+

10 out of 10

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

THE MADNESS PAGE: https://awastudios.net/series/the-madness/

AWA Website: https://awastudios.net/

AWA Instagram: https://www.instagram.com/awastudiosofficial/

AWA Twitter: https://twitter.com/AWA_Studios

AWA Facebook: https://www.facebook.com/awastudiosofficial

The text is copyright © 2023 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for reprint and syndication rights and fees.

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#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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Review: THE SHADOW/BATMAN #1

THE SHADOW/BATMAN, VOL. 1, No. 1
DYNAMITE ENTERTAINMENT/DC Comics – @dynamitecomics @DCComics

[This review was originally posted on Patreon.]

STORY: Steve Orlando
ART: Giovanni Timpano
COLORS: Flavio Dispenza
LETTERS: Taylor Esposito
COVER: David Finch with June Chung
VARIANT COVER ARTISTS: Ethan Van Sciver with Jason Wright (B); Alex Ross (C); Dustin Nguyen (D); Brandon Peterson (E); Bill Sienkiewicz (F); Howard Porter with Hi-Fi (G); Giovanni Timpano with Flavio Dispenza; Howard Porter; Ethan Van Sciver; David Finch with June Chung; Alex Ross; David Finch; Giovanni Timpano; Robert Hack; Anthony Marques and J. Bone with Chris O'Halloran; Cory Smith with Tim Shinn; Cory Smith; Tyler Kirkham with Arif Prianto; Tyler Kirkham
32pp, Color, $3.99 U.S.

Rated “Teen+”

The Shadow created by Walter Gibson; Batman created by Bob Kane with Bill Finger

Shadow/Batman: Part One

The Shadow is a fictional character that began life as a mysterious radio narrator, debuting on July 31, 1930 as the host of the radio program, “Detective Story Hour.”  Street and Smith Publications, publishers of Detective Story Magazine, hired writer Walter B. Gibson to create a character concept that fit The Shadow's name and voice and to also write a story featuring him.  The first issue of The Shadow Magazine went on sale on April 1, 1931.

DC Comics superhero Batman is a worldwide icon.  He first appeared in Detective Comics #27 (cover dated: May 1939).  Batman and his civilian identity, Bruce Wayne, are among the first characters to be inspired by The Shadow and his civilian guise, Lamont Cranston.  The Shadow and Batman would meet for the first time in Batman #273 (cover dated: November 1973).  This year, DC Comics and Dynamite Entertainment, the current publisher with the license to produce comics based on The Shadow, brought the two characters together, first in the six-issue crossover comic book miniseries, Batman The Shadow, from DC Comics.

Now, it is Dynamite's turn and it is offering a second six-issue miniseries, The Shadow/Batman.  It is written by Steve Orlando; drawn by Giovanni Timpano; colored by Flavio Dispenz; and lettered by Taylor Esposito.

The Shadow/Batman: Volume 1 #1 opens with Professor Pyg in New York City causing chaos.  Batman has followed him to NYC to shut him down, but that upsets The Shadow, who believes that Batman should remain in Gotham City and leave the Big Apple to him.

However, these two dark avengers are about to discover that they are facing the “World's Greatest Evil,” and they may be no match for it.  Can the “World's Greatest Mystery” and the “World's Greatest Detective” (and the “world's most independent sidekick”) must put aside their differences and unravel the centuries' old conspiracy of the “Silent Seven.”

I did not read DC Comics' Batman The Shadow, so I wanted to make sure that I did not miss The Shadow/Batman.  I really like how writer Steve Orlando emphasizes dark moods, atmospheres, feelings, and emotions.  There is a deep sense of foreboding, and Orlando makes a convincing case that both The Shadow and Batman are not only vulnerable, but are also in danger of being destroyed.

Artist Giovanni Timpano's moody compositions and colorist Flavio Dispenz's gloomy colors recall the classic shadowy cool and noir sensibilities of The Shadow in his radio glory days.  The Shadow and Batman are in good artistic hands.

8.5 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: "The Uncanny Inhumans #0" Has Soule Power

THE UNCANNY INHUMANS #0

WRITER: Charles Soule
PENCILER: Steve McNiven
INKER: Jay Leisten
COLORIST: Justin Ponsor
LETTERER: VC's Clayton Cowles
COVER: Steven McNiven with  Justin Ponsor
VARIANT COVERS: Simone Bianchi; Jim Cheung; Jerome Opena; Siya Oum; Mike Perkins with Christian Ward

“Things to Come” Double-Page Spread by Brandon Peterson

“End Times”

Marvel has been pumping up the Inhumans for a while.  They have been popping up all over the Marvel Universe.  Inhumans and Ms. Marvel have been two good additions to the Marvel line-up of series.  Now, they give us The Uncanny Inhumans.  Everybody is “uncanny” these days.  I can't wait until the Uncanny Power Pack hits the stands.

Back to the reason for this review:  As an appetizer for the main course, The Uncanny Inhumans #0 left my mouth watering.  Charles Soule subtly foreshadows future conflicts that Black Bolt and the Inhumans will be facing.  Just in this issue, we get to see some street level crime, some royal family drama, father-son conflict, and an evil master of time.  Soule piqued my interest with each of these story lines.

With Black Bolt, a writer has to use other characters and events to direct us through the story line.  Even then, we can only assume what Black Bolt's intentions are in relation to the true direction of the story.  Medusa claims that she knows what Black Bolt is thinking, but who really knows.  Black Bolt is the biggest mystery in his own stories.  Soule uses this aspect of the character to build our anticipation of coming events.  Oh, yeah!  Black Bolt is an awesome “insert your own slang.”  Mine included a lot of profanity and bureaucrat was not one.

As a “0” issue, this has been one of the best reads in awhile, and Soule was effective in his use of what is basically a preview of things to come.  Most of the time, “0” issues are epic fails, and I don't like to waste energy on them.

“Evolution”
Writer: Ryan Stegman; Artist: Ryan Lee; Colors: James Campbell

Marvel was so kind as to give us a bonus feature in The Uncanny Inhumans #0.  Like we are willing to give $5 for anything they deem worthy.  This was a cool back-up featuring Iso and Flint.  We get good action, and the characters reach turning points in their lives.  This story added a different flavor to the issue.  The issue just keeps drawing you into the Inhuman universe.

This is the book for all comic book art aficionados.  Give all the artists who worked on this issue their credit.  You go through page after page of beautiful Steve McNiven art; then, BAM! you get hit with the Brandon Peterson spread.  This is the kind of art that makes you feel like you owe Marvel some money.  I wonder if Peterson saw McNiven's art before he did his spread and knew he had to turn up.  Wait.  I'm going back and look at this book again.

I rate this issue “Buy Your Own Copy” (#2 on the Al-o-Meter), and the art alone is worth every penny!

Reviewed by Albert Avilla

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

I Reads You Review: MILES MORALES: Ultimate Spider-Man #1

MILES MORALES: ULTIMATE SPIDER-MAN #1
MARVEL COMICS – @Marvel

WRITER: Brian Michael Bendis
ART: David Marquez
COLORS: Justin Ponsor
LETTERS: VC’s Cory Petit
COVER: David Marquez and Justin Ponsor
VARIANT COVERS: Fiona Staples; Brandon Peterson
28pp, Color, $3.99 U.S. (July 2014)

Rated T+

In 2011, Marvel Comics and writer Brian Michael Bendis introduced a Black, Brooklyn teen as the new Spider-Man.  Specifically, Miles Morales, of African-American and Latino extraction, was the new Ultimate Spider-Man, the friendly neighborhood wall-crawler and web-slinger of Marvel’s Ultimate line of comics (or universe).

Miles received his own comic books series, Ultimate Spider-Man (or Ultimate Comics: Spider-Man).  Now, as part of the “Ultimate Marvel NOW” publishing initiative, Miles gets a new series, Miles Morales: Ultimate Spider-Man, courtesy of writer Brian Michael Bendis, artist David Marquez, colorist Justin Ponsor, and letterer Cory Petit.

Miles Morales: Ultimate Spider-Man #1 opens in a secret S.H.I.E.L.D. “Containment Facility,” from which Norman Osborn is being removed for transferal to a federal prison.  In Brooklyn, two armored thieves commit a bold robbery.  Meanwhile, Miles Morales contemplates revealing his secret to girlfriend Katie Bishop, but the surprise in store for Katie is nothing compared to the surprise in store for Miles.

I have stated in previous reviews of Ultimate Spider-Man comic books that I thought that Brian Michael Bendis merged the best of classic Steve Ditko-Stan Lee Spider-Man and early Milestone Media Static comic books in his stories of Miles Morales as Spider-Man.  Miles’ stories are as much misadventure as they are adventure, because Bendis makes the foibles and trials and tribulations of teen boyhood every bit as engaging as the never-ending battle of a superhero.  Most of the time, I can’t wait for the story to switch from Spider-Man back to Miles Morales’ civilian life.  Well, that is because Miles is a quite interesting young fellow.

In the first Miles Morales series, Bendis was blessed with a fantastic storytelling collaborator, artist Sara Pichelli.  Miles Morales: Ultimate Spider-Man finds Bendis blessed again with another talented collaborator.  David Marquez is rapidly coming into his own in terms of storytelling.  I like Miles Morales: Ultimate Spider-Man #1; it’s the kind of first issue that has me ready for more.

A

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: Avengers #32

Avengers # 32
Marvel Comics

Reviewed by Albert Avilla

Writer: Brian Michael Bendis
Art: Brandon Peterson & Mike Mayhew

Big time spoiler alert. Yeah! Yipee! Horay! I’m giddy with excitement.

The Wasp is back; I like when things go my way. She didn’t die; she just shrunk down to the Microverse. She’s on the run from the local godfather and doing it in a style all her own. The Avengers that go to rescue her are the old school team: Cap, Thor, Iron Man, and Giant-Man; Bendis should have dug up the real Hulk and made Cap stay home. Let’s pay homage to the original team.

Then, here comes bipolar Wonder Man trying to go on the mission, but the Avengers don’t trust him. The old school crew shrinks down to the Microverse and in no time, they find the Wasp. Pym recognizes her at first; I guess he knows that slamming body. Everyone gets a kiss, and Cap enjoys his the most. Cap the red blooded American knows what to do with a hottie. The godfather makes his entrance; Lord Gouzar is going to get some Avenger beat down.

After two issues of building my anticipation, it is time for the major throw-down. We have gotten to the make-it or break-it point of the story. Bring it home, Mr. Bendis. Did I say that I’m pleased to have the Wasp back? Once again, Mr. Bendis has written a more than adequate story. The characterization is above par; these are real people and they behave as I expect them to. They are not out of character. Bendis gives this team a camaraderie that is believable; we get the feeling that they have been through rough times together. This is a tight-nit group. The Avengers will miss Brian Michael Bendis.

This is some of the best art in comics. The characters really look great; the head shots are comic masterpieces. The art is as enjoyable as the story.

I rate Avengers # 32 Buy Your Own Copy. #2 (of 5) on Al-O-Meter Ranking

Albert Avilla Reviews: Avengers #31

Avengers # 31
Marvel Comics

Review by Albert Avilla

Writer: Brian Michael Bendis
Artists: Brandon Peterson & Mike Mayhew

Spoilers!
This is the kind of Avengers story that I like – an elegant blend of action and drama. We open with an unknown Avenger (Could it, please, be the Wasp?) being chased by some alien types on individual flying apparatuses. This is one bad lady taking out the aliens with blasters and in hand to hand combat.

Back at the tower, the Avengers are chilling, except for the paragon of virtue, Captain America; he’s up and at them ready to face the bombardment from the media in the wake of the Phoenix Five crisis. Wonder Man shows up acting all bipolar and, of course, Cap is willing to help him. Then, the Red Hulk sneaks Wonder Man and the battle ensues. Wonder Man gets the Red Hulk in a sleeper hold and then it’s nighty-night, big Red. The mysterious Avenger (I hope it’s the Wasp) finds a way to broadcast her signal from inner space to the Avengers. The Avengers are going on a road trip to the Microverse.

Bendis has a great grasp of these characters; their personalities shine through. The touch of humor that Bendis adds to the story is refreshing. All around great action and exotic locales make for a good read. Avenger family drama satisfies our craving for the soap opera. Add in a mystery to complete the tale. Mr. Bendis is doing his best to go out with a bang.

The art is breathtaking. The alien landscape is awe inspiring as is the New York skyline. I’m amazed at how the artist can do such a spectacular job on both environments. The characters have a great look. Overall, the art was quite pleasing.

I rate Avengers # 31 Buy Your Own Copy.  #2 (of 5) on the Al-O-Meter Ranking

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-