Review: THE IMMORTAL HULK #13 – A Gamma-Filled Fight in Hell

Al Ewing has been crafting a truly haunting horror series with THE IMMORTAL HULK comic line. We’ve seen the fantastically written journey of Gamma Flight and the mysterious Shadow Base as they track down Hulk into New Mexico, eventually being whisked off to Hell through a gamma-powered portal. The latest installment, THE IMMORTAL HULK #13, brings this horrific excursion in Hell to a close in classic Hulk fashion.

Story

After losing his gamma and becoming separated from Bruce Banner, the Hulk is on a vengeful quest to fight his way out of Hell and punish the one responsible for everyone’s pain. And as we learned in previous issues the head honcho of Hell is none other than Banner’s deceased father.

This issue is all about the idea of judgement; it asks the reader to examine their own philosophical underpinnings of anger. Through the issue A disembodied voice of unknown origin poses questions regarding Banner’s, and by extension the reader’s, inner “Hulk.” Thus, we’re forced to grapple with the hidden rage inside us.

After taking the reader on a deep dive into the heart of anger itself, we see the story take a turn for the mystical. We’re asked to grapple with the nature of forces beyond humanity’s control. And it’s none other than Puck who offers these thoughts in a conversation with Crusher Creel, a.k.a. The Absorbing Man.

Ewing wraps up this story arc with all the best qualities of the Hulk: action, fear and most of all, horror. This version of the Hulk isn’t your classic hero or an anti-hero with “attitude.” Instead, Ewing’s Hulk serves as an archetypal agent of judgement, unleashing his wrath against those who use their anger to inflict pain.

Art

Joe Bennett and Alex Ross use their artistic talents to give this horror story the perfect visual representation.

The cover art Ross puts together gives readers a good idea of the story to come. Positioning Banner in the center with the Hulk surrounding him shows how much control the Hulk has acquired. Pastel green lines of gamma radiation shoot through Banner to highlight the return of the Hulk’s true power.

With Bennett handling the story art, readers get to experience a hellish landscape full of gamma-filled Hulk-like creatures. The reader becomes immersed in the Hulk’s rage as he fights a horde of horrific monsters controlled by Banner’s father.

Conclusion

This conclusion to the character’s stint in Hell was exceptional. Seeing the Hulk get his gamma powers back, especially with the help of a dynamic character like Creel, makes for an exhilarating story.

How are you liking Ewing’s horror writing? Let us know in the comments below!

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Review: Gun Slinging Excellence In GUNHAWKS #1

Darryll Robson

Welcome to Clearwater, Arizona and a Marvel Comics one shot: Gunhawks.

This is one of the many comics that Marvel are publishing to celebrate their 80^th year and the rich history of comics under their belt. Gunhawks is a return to the Western comic and the violence that the genre brings. Westerns fall in and out of favour but often rear their head with new takes and new insights. The themes and styles of a western are often adapted to fit into other genres, it wasn’t too long ago that there was a Sci-Fi/western boom spurred on by the growing popularity of the fan favourite T.V. show Firefly.

Gunhawks, however, is a return to the traditional format with hardened men and women struggling to survive in a harsh environment. Put on an Ennio Morricone album for atmosphere and open up the pages of Gunhawks.

Gunhawks #1 art — Gunhawks #1 Credit: Marvel Comics

Story/Writing

Gunhawks opens with a shoot-out and the, as yet unknown, problems that plague the central character of this wild west tale. Writers David and Maria Lapham introduce the reader to Dean ‘The Deadman’ Donnelly in a baptism of fire. This western trope is a perfect way to portray the main characteristics of the central figure while also setting up the main story.

Dean is shown to be patient and friendly but it doesn’t take much provocation to make him reach for his guns. This aspect of his character forms the backbone of the story as the ensuing violence is merely a way for the writers to analyse the central character, and by association the heroes of westerns as a whole.

Dean is the epitome of the western hero. He is a gunslinger turned lawman, carving out a new life for himself away from his past indiscretions. This tale reminds readers that history always has a way of catching up with us and it is how we deal with this that marks out our character. Gunhawks pays homage to the western genre but doesn’t shy away from the problematic issues surrounding the glorification of violence. There is a price to pay; a point this comic makes wonderfully.

Gunhawks art — Gunhawks #1 Credit: Marvel Comics

Art

If you were to capture the aesthetic of a Sergio Leone film in a comic book format it would probably look like Luca Pizzari’s work on Gunhawks. The opening gun fight has 1960’s spaghetti western influences written all over it. The physical tension and nervousness before the shoot-out is superbly illustrated in a few widescreen panels creating a truly Western feel in less than half a page of art.

From this point onwards, the art is exactly as you would hope it to be. There is an orange and yellow haze to each of the pages provided by Neeraj Menon and Rachelle Rosenberg’s colors. You can almost feel the rough grit against your skin and the unrelenting glare of the sun in your eyes. The atmosphere that the colors create is harsh and hard wearing.

Over the top are Pizzari’s expressive inks and complex shadows. Pizzari fills the panels of Gunhawks with foreboding and uses establishing shots to create tension. Imagery is used to exacerbate the dread, for example the skull shaped out crop overlooking Deans homestead or the circling carrion birds. Every time that Dean is drawn with a gun in his hand you fear that he is going to use it.

Some of the lettering is not up to the same standard as the rest of the comic and elements of the speech balloons impose on the art in some of the panels. Travis Lanham uses the space inside the balloons smartly; evenly spacing the dialogue. Unfortunately, some of the layouts force one or two of the panels to be crowded by the balloons. This however does not mar the overall reading experience and there is more to be impressed with than to distract the reader.

Conclusion

Gunhawks is an old school western at its very best. The influences are obvious but they enhance the story telling not over shadow it. There is a moment where the hero strikes a passing resemblance to Clint Eastwood but this is just one of many visual references to the genre that makes Gunhawks feel authentic from start to finish.

There have been a few western style comics over recent years’ worth picking up; ones that have been purely western and not mixed genre. Rebels from Dark Horse Comics and Loveless from DC-Vertigo are two worthwhile examples. This issue of Gunhawks is another. As a single, one off story, this is a satisfying read which incorporates everything you could want from a traditional Western comic. In a lot of respects, it’s actually a shame this isn’t the start of a new series. The artwork and narrative structure is impressive and appealing, and there is a gap in the market for a pure western comic.

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Review: Fantasy In The Big City In OBERON #1

Darryll Robson

AfterShock Comics continue to broaden their range of comics with Sci-Fi, Adventure, and fantasy titles, like their new fairy tale-esq story Oberon. Following in the footsteps of franchise favourites like Labyrinth and The Sandman, Oberon blends classic fantasy elements with modern characters and settings. The creators have chosen a famous character as their central protagonist which instantly brings a number of comparisons. But have they managed to break away from their contemporaries or are they stuck in the shadows of great masters like William Shakespeare?

The Story/Writing

The adventure begins with the tale of a guard watching over The Light of the Always, protecting the fantasy realm from an unseen evil; The Nevermen. The story then quickly shifts to modern day San Francisco where the reader is introduced the smart, but socially oblivious, Bonnie. The youngest in a family of four, Bonnie’s life is about to take an extraordinary turn thanks to the heroic entrance of Oberon, a larger than life fantasy prince.

Writer Ryan Parrott adopts a tried and tested approach to his fantasy story involving the king of the fairies. He introduces the Fairy world through the concept of a myth before giving the reader a grounded, identifiable character surrounded with all the trappings of the modern world. The reader is given a taster of a mystery before living a day in the life of Bonnie.

This allows the reader to be easily led into the fantasy elements of the comic so that any culture shock can be controlled by the creators. This is an approach used by some of the greatest writers, including William Shakespeare and Alan Moore. It is also an approach used by some of the greatest family films ever made: Labyrinth and The NeverEnding Story to name just two.

Parrott centralises the narrative around the character of Bonnie. He sets out her own understanding of her life then forces her to question everything. This instantly creates an intriguing character development which unfolds from page to page, progressing naturally in front of the reader. It also acts as the hook to draw the reader into this familiar yet new world.

Bonnie is a well-rounded character that Parrott gives an amazing voice to. She is smart, funny but also has a vulnerable side which is instantly identifiable. The other characters in the tale don’t have this roundness to them, even the titular character is lacking something. He has a strong physical presence but his character is a little underwhelming at this early stage.

The Art

The artwork in contrast to some of the characters in Oberon has outstanding presence. Milos Slavkovic gives the visuals a theatrical flair befitting the myth status of the story. The opening sequence looks as if it has been edited directly out of the movie Labyrinth, and that is meant as a compliment. Flowing from one panel into the next, the characters fill up the scenes with emotion and wonder.

Slavkovic draws impressively expressive figures who perform their role like the greatest modern Shakespearian actors. Each page of Oberon has a staged sensibility which adds to the overall theme of the narrative. The design work on the panel boarders also adds to the theatrics, easily separating the ‘real’ world from the fantasy realm in a way that is both functional and decorative. It is in these details that the magic of this comic shines through.

Conclusion

In co-operation with the letterer, Charles Pritchett, the creators of Oberon have crafted an expressive and intriguing world full of wonder. The design on the panels and the speech balloons create the other worldly feel that is ever present, even in the modern cityscapes. When the magical meets the regular the contrast is reflected first by Pritchett’s lettering choices.

It is too easy to make comparisons between this and the more famous depictions of Oberon. However, AfterShock Comics newest interpretation has concentrated on creating a mystery surrounding the titular character while giving readers a new take on DCs Tim Hunter from The Books of Magic with the character of Bonnie.

A lot of the broad content from this comic is treading old ground but the tale is in the telling and Parrott, Slavkovic and Pritchett have woven a wonderful and intriguing tale of childhood adventure.

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[Review] FEMALE FURIES #1 Aims to Smash the Apokoliptian Patriarchy

David DeCorte

Female Furies #1 kicks off a new six-issue limited run focused on the fanatically-loyal Apokoliptian fighting squad. At the book’s core, though, is a multifaceted exploration of sexual politics and power viewed through the lens of the superhero genre.

The first half of the book focuses heavily on the Granny Goodness, providing a backdrop for how she came to manage The Orphanage and train the Furies. In the second half, we see the team disrespected, harassed, and written-off as inferior, despite their skills. It comes to a head when one Fury takes an action that could have serious consequences for the whole team.

The Writing

The writing in Female Furies #1 is a treat right from the beginning. Cecil Castellucci open the book with a unique look into the character of Granny Goodness. The first several pages function as an exploration of a rarely touched-upon character, providing an interesting glimpse into her history and motivation. She may be a devoted servant of Darkseid, but Castellucci manages to make readers empathize with the character.

The (not so subtle) degradation endured by Goodness and the Furies, courtesy of their male counterparts, takes central focus here. For example, we see the Furies as a powerful, capable fighting force. However, even with New Genesis’s forces bearing down, the contributions the team could make are ignored or derided.

This goes hand-in-hand with the exploration of coercive relationships between several characters. Darkseid and Willik both use their positions of power to this end with no expectation of consequences.

Castellucci paces the story in Female Furies #1 incredibly well. We see indignity upon indignity stacked on the team members, the pressure building until a breaking point that forms a perfect turning point to set up Act II of the story.

The Artwork

Adriana Melo’s illustrations in Female Furies #1 showcase a mastery of the craft. Dynamic, eye-catching artwork occupies every panel in the book. Flashback panels have a subtle, yet distinct Bronze Age aesthetic, which is a nice nod to classic comic stories, and she weaves the two styles together well.

Melo manages to convey a wide range of emotions through the characters, from annoyance and rage to resignation. The reader gets a sense of complex thoughts in a character’s mind through something as simple as a glance.

The colors provided by digital studio Hi-Fi supplement the excellent artwork. The artists manage to capture the perfect tones for the flashback sequences, then pivot to the more modern style, where vibrant color choices accentuate the emotional pitch of each scene.

Final Thoughts

Female Furies #1 is a great start to the new series. The creators take a straightforward, unambiguous approach to social commentary, fleshing out some of DC’s less-developed characters in the process. Highly recommended.

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[Review] VINDICATION #1 Has More Cop Drama Than Commentary

David DeCorte

Vindication #1 introduces readers to a story with all the makings of a traditional police procedural.

When a black man is exonerated by DNA evidence after ten years in prison, the cop who put him away makes it his mission to ensure the man doesn’t remain free for long. Detective Chip Christopher is obsessed with proving Turn Washington’s guilt…even if he has to distort the truth in the process.

The Writing

Writer MD Marie does a good job of keeping readers guessing about certain key points in Vindication #1. She gives readers the sense that Washington is an innocent man caught up in a corrupt system. Turn’s past is used as a means to seed doubt about his innocence, though, and there are forces at work intent on proving him guilty even beyond the detective.

Marie dedicates much of this first issue of to police drama following Detective Chip Christopher. He’s a brash, loose-cannon loner who refuses to play by the rules, thus embodying many of the classic genre tropes. This sense is highlighted when he’s assigned a new partner, a fact he seems largely ambivalent toward.

However, that reliance on the cop drama elements can be a liability in certain regards. Vindication #1 ends up centering its narrative on the police procedural element, making the detective our protagonist. He’s the only character we have to connect with from a narrative standpoint, and thus we end up centering the narrative on his absolute faith in Turn Washington’s guilt and his quest to prove it.

It will be interesting to see how the next several issues play out. There’s not as much in this first issue to latch onto if you’re not a fan of the cop drama genre, though.

The Artwork

The lines provided by Carlos Miko and Dema Jr. are rich with detail. Each panel features intricately-drawn backgrounds, grounding us in the reality of the world laid out in Vindication #1.

The character designs are also well done. Miko went with a realistic style for these figures, which could backfire if not for the meticulous detail work. That said, the characters are primarily shown in static positions, and often with blank facial expressions that don’t really sell the emotion the writer is attempting to convey. As a result, the book lacks a bit in terms of dynamism.

The colors provided by Thiago Goncalves are muted, employing a lot of earthy tones. Even though they’re understated, you can tell there’s plenty of skill at work. Goncalves pays close attention to the use of shadows and conveying how light hits characters’ faces.

Final Thoughts

Vindication #1 should be a hit for fans of cop dramas, though the broader themes of the book have yet to really manifest in the narrative. The book has shortcomings, but it lays the groundwork for what may still develop into an engrossing narrative.

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Review: G.I. JOE: SIERRA MUERTE Is Pure Comic Book Fun

Manuel Gomez

With G.I. Joe: Sierra Muerte, indie comics artist Michel Fiffe brings his very distinct sequential art sensibilities to a classic pop-culture property; making it both completely new, unique and a love letter old die-hard fans will love.

G.I. Joe: Sierra Muerte #1
Story & Art by: Michel Fiffe

Eccentric soldiers dominating bizarre terrorists are showcased in this bombastic account of G.I. Joe’s quintessential mission against Cobra! Through a beachside ambush, a compromised manhunt, and a revenge plan that backfires, America’s fighting elite risk life, love, and honor in this brutal globe-spanning adventure.

Writing

G.I Joe: Sierra Muerte is a loving tribute to a classic property. Michel Fiffe’s debut issue of this new 3 part IDW series is filled with just about every character you want to see in a Joe story, and all the fan favorites are written to fit their classic archetypes. Fiffe also wastes no time in starting his story. The issue opens on a bad-ass action scene, with all the major players getting an appropriate roll call. That momentum continues page after page, right up to the cliffhanger ending that will have some classic Joe fans saying “Holy Shit!” This kind of writing is perfect for G.I. Joe, a property that mostly always succeded on the basis of its iconic, dynamic characters, situations and places. Fiffe understands this and rolls with it. He uses the large Joe canvas perfectly and has an obvious love for it. But he also brings with him an idiosyncratic sense of humor that gives it a unique feel that no other cartoonist could bring to the page. The result is a comic book both classic Joe fans and Fiffe’s Copra readers can enjoy. It’s a joy to read and like most of Fiffe’s stuff, it embraces comics for its unique storytelling rhythm.

A nice added extra is an entertaining and knowledgable essay on G.I. Joe geography and locations by comic book writer Chad Bowers (X-Men ’92/Youngblood: Blood Wars). More comics need this kind of extra back matter stuff.

Art

Fiffe’s linework is truly unique. He is one of those artists whose style is so distinct it simply cannot be mistaken for anyone else. Sierra Muerte is filled with classic Fiffe panels, layouts and choreography. There are thick lines, pop-art colors and wonderful use of lettering. Fiffe truly understands the visual language of comics and knows the in and outs of the medium. His art on Sierra Muerte truly shines, and will not disappoint his fans or those new to his talents.

Conclusion

Without a doubt, G.I. Joe: Sierre Muerte is one of this week’s comic book highlights. It’s a perfect fusion of property and artist and a real treat for comic book fans. Yo Joe!

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Marvel Brings SPIDER-MAN/VENOM To FCBD

Kevin Sharp

February 5, 2019

Marvel Comics has announced another title for this year’s Free Comic Book Day: Spider-Man/Venom #1, featuring an impressive lineup of creators including Tom Taylor, Saladin Ahmed, Cory Smith, Donny Cates, and Ryan Stegman. This news follows the previously announced Avengers #1.

Here’s part of the official press release:

Everyone knows Miles Morales, who rose to fame in Marvel’s acclaimed animated sensation Into The Spider-Verse – and with a second feature film arriving this year, Peter Parker will once again suit up to save the world with his web-slinging super powers! In a special FCBD story, creators Tom Taylor, Saladin Ahmed, and Cory Smith take these superstar heroes of the Spider-Verse in a shocking new direction, with a story that will build to one of Marvel’s most fantastic and epic tales later this year!

And prepare for absolute terror within the pages of FCBD, as the Venom story by Donny Cates and Ryan Stegman sets the stage for what will become one of the most fearsome events in the Marvel Universe…

Nearly a year after the epic red-hot arc of the Red Goblin, Venom‘s dynamic creative team is bringing you a story that’s been brewing since classic Spider-Man tales like Amazing Spider-Man #252, The Spectacular Spider-Man #90, Marvel Team-Up #141 – a saga so big and so absolutely action-packed, it will deliver the most dramatic story in all of FCBD history! Fans will be well aware by the summer of 2019 that “everyone is a target”…and this May, Marvel invites you to experience the threat for yourself!

It’s interesting to note that the three issues they name-check as tying in to the Venom half of Spider-Man/Venom go way back to the 1980s and the aftermath of the very first Secret Wars. Remember Amazing Spider-Man #252?

What do you think of Marvel’s FCBD offerings so far? Leave us a comment!

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Review: BIG MOUTH SEASON 2 – Ups the Show’s Game

Kieran Freemantle

Netflix re-examines the trials of puberty with the second season of their surprise animated hit Big Mouth.

The second season picks up where the first left off – Jessi (Jessi Klein) and Jay (Jason Mantzoukas) have run away from home while Nick (Nick Kroll) and Andrew (John Mulaney) lament of their differing levels of physical development. Throughout the season new characters are introduced, from love interests in the form of Gina (Gina Rodriguez) to another spiritual being tormenting the teens in the form of The Shame Wizard (David Thewlis).

The first season of Big Mouth was a pleasant surprise when it came out considering the awful trailer Netflix released. It was basically a crude comedy that worked because of its likable and reliable characters because audiences would have been or currently going through the same growing pains.

The second season continued what worked in the first season and toned down what didn’t. The best aspect of the first season was the main characters and their struggles. The second season expands on them and gives them bigger arcs. The first season focused on Nick and Andrew particularly Andrew struggling to be a good kid when his hormones are raging. The second season focused more on Jessi and Jay, especially Jessi. Jessi goes off the rails because of her parents’ divorce, and her Hormone Monstress gets her to shoplift and experiment with drugs. The final two episodes literally goes into Jessi’s mind, and she has a major realization. Her storyline makes the show a bit more like Bojack Horseman. The final scene of the penultimate episode where Jessi is sad and alone when her classmates are partying could easily have fitted in the other Netflix show.

The first season established that Jay’s brash personality is a front because he has a turbulent home life. The second season expands on this because his parents are absent – they don’t even notice he has run away. Jay ends up forming a friendship with Coach Steve (Nick Kroll) and despite the man barely functioning as an adult he ends up being the closest thing Jay has to a parent. Jay also questions his own sexuality at the end of the series, and it will be a storyline that will continue in season three.

Even minor characters were expanded upon. Lola (also voiced by Nick Kroll) was one of the most grating characters in the previous season, and she’s still an overbearing personality. She forces Andrew into a relationship with her. But she is genuinely hurt when the relationship falls apart, and the penultimate episode reveals she’s desperate for a real friend. Matthew (Andrew Rannells), the sassy gay kid also has a little arch because despite being outwardly confident his own insecurities are exposed. More characters will properly be developed in the next season.

Nick and Andrew still have their own storylines. Nick is insecure that he isn’t developing as quickly as his peers and he has a romantic subplot with Gina. Nick’s romantic intentions with Gina were originally lustful due to her growing breasts, but he does have a rapport and suffers the usual levels of teen angst. However, Andrew degrades as a character. In the first season, he was a decent kid who had a corrupting influence in the form of the Hormone Monster. In this season he is turned into a pervert and openly expresses this – although it could be argued that he’s just acting like a typical 13-year-old boy.

One of the big issues of the first season was the rules of its world. The show was meant to be about normal kids facing normal issues, yet characters shared Hormone Monsters, and the human characters are able to interact with ghosts. In the new season, the Hormone Monsters and the Shame Wizard are more an extension of the human characters and they amplify what the teens were thinking and feeling. This was especially true during the eighth and ninth episodes where tensions between the teens flared up. The role of ghosts was reduced and hopefully, the third season would drop them entirely. Sadly talking pillows that get pregnant but the show is going in the right direction.

A great example of the improvement from the first to the second season is the finales. Both episodes have similar stories where a character gets trapped in another world, and they have to be rescued – in season one Andrew gets lured into The Pornscape and season two shows Jessi leading Andrew and Nick into the Department of Puberty, and she comes stark realization. The season two offered more character development and was much more focused – the first season finale had numerous storylines and a rushed ending. The final scenes with Jessi gives the target audience a positive and poignant message.

Big Mouth second season keeps what works from the first season and tones down what didn’t. It is a more character-driven season and whilst it doesn’t top Bojack Horseman as Netflix’s best animated offering Big Mouth is a relatable show.

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OLD MAN QUILL #1: Grumpy Old Guardians

Brandon J. Griffin

Hot off the success of Old Man Hawkeye, Marvel enlists writer Ethan Sacks to tell another story for the growing “Old Man Superhero” brand. OLD MAN QUILL #1 shows us the future of the Guardians Of The Galaxy for this timeline.

SPOILERS LIE AHEAD

We open with a younger Peter Quill who’s assumed the role of Spartax Emperor from his father. He’s got a little family back home as he leads an assault on the Universal Church Of Truth. His “military genius” was for naught and the world he’s sworn to protect falls, along with his family.

Now an old man, Quill is broken and unable to move on. Our story begins when his former galaxy guardian allies come to drag him back into a fight against the Church. Much like the Hawkeye and Logan installments in the “Old Man” brand, Old Man Quill is tragic and oddly satisfying.

One of the strongest elements of Ethan Sacks’ fantastic Old Man Hawkeye was that it was the Hawkeye of old. The Clint Barton we remember from pre-Matt Fraction era Marvel comics. Sacks looks to revisit the same formula with Star-Lord, his Quill is much more Abnett/Lanning than post-Chris Pratt Quill.

Seeing the wear and tear on Drax, Gamora, Rocket, and Mantis is delightful. Mantis has an especially interesting dilemma in her older age, being overloaded with too many memories and feelings from over the years. These are the kind of details that Sacks is particularly great with.

Quill and his former allies had a falling out years ago and it’s going to be an enjoyable read as they hash it out over these twelve issues. The “grumpy old men” moments are satisfying as well. Sacks knows exactly how to deliver moments like Rocket saying “All that murdering…is murder…on my back.”

The book’s biggest strength is Sacks’ voice and appreciation for these characters; he utilizes the timeline sandbox that he’s creating in. The biggest weakness in this first issue is the plot itself. Quill is scooped up to “save the galaxy” from the Church, but then we’re investigating a distress call? Then the Milano is blasted and crash lands.

Where the Milano and it’s crew crash lands is our shocking twist ending that I didn’t see coming. Throwing these lovable old Guardians into the Wasteland of Old Man Logan/Hawkeye could make or break this book.

In the past, when the Guardians are stranded on Earth, it’s a bore. It limits and dulls the characters to not have them in the extremes and outrageousness that the 616 cosmos provide. Perhaps it will be different given that it’s the Wasteland and not just another Civil War for them to be props in.

Artist Robert Gill channels the Abnett/Lanning glory days as well. These look like the Guardians of that era have been aged, even with Emperor Quill sporting his current armor. Gill does a wonderful job adding appropriate wear and tear to each of member of the team.

Gill’s aging and expressions with Quill himself are fantastic. The pain behind his eyes, the anger in Rocket’s, the sadness and disappointment in Gamora’s. Shredding through a Brood swarm with this gang of geezers shows that they’ve still got it but are definitely not at their peak still.

Old Man Quill #1 may end up being the most fun of the “Old Man Superhero” brand. Marvel was smart for recognizing that Ethan Sacks clearly has a vision for this particular stories and once again paired him with a fitting creative team.

Another trip to the Wastelands makes for an exciting premise, this opening chapter may lack a detailed script but more than makes up for it in character. Also there will be DOOM and you can never go wrong with Dr. D. That Mt. Doommore was a glorious and promising sight.

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Zdarsky Strikes Gold Again With DAREDEVIL #1

Brandon J. Griffin

A new chapter begins for Matt Murdock in the all-new DAREDEVIL #1. Writer Chip Zdarsky and artist Marco Checchetto team up for the new ongoing series about our beloved Horn Head.

SPOILERS LIE AHEAD

Having just barely recovered from getting hit by a truck (again), Matt Murdock has to pick himself up out of a dark hole and start his life again. That includes being Daredevil again, and he has some major problems reinserting the Devil into Hell’s Kitchen.

Zdarsky’s take on Daredevil comes after a fairly long and often brilliant run by Charles Soule. Chip provides a nice change of pace, but one that’s not in drastic contrast. While the subject matter of this introductory issue is still dramatic and darker in tone, it’s delivered with a smirk and a wink.

Soule’s background in law practice allowed to provide an interesting exploration of that side of Murdock. Zdarsky’s ability to inject personality and character into seemingly any scenario will allow us to have a little more fun with horn head again.

Chip Zdarsky’s recent Marvel work with Two-In-One and Peter Parker: The Spectacular Spider-Man showcased his ability to craft layered comic book stories. His comics carry weight without ever taking themselves too seriously. This Daredevil series may prove to be the perfect fit for such a talent.

As Matt gets back to his work as Daredevil, he’s finding it challenging to handle a simple leap from building to building. He almost gets his ass handed to him by a trio of simple burglars. After such a long stretch of darkness and pain, it’ll be rewarding to take this journey with Matt Murdock as he slowly gets himself back into shape.

Daredevil #1’s cliffhanger ending complicates our hero’s woes even further as it’s reported that horn head may have accidentally murdered one of those lowly robbers. Although it seems fishy with that new detective showing up with some sort of vendetta against vigilantes, this makes for a very intriguing Daredevil story–especially given Kingpin’s current political position.

Our first impression of Zdarksy’s Daredevil is a strong one. He quickly demonstrates his handle on Matt’s voice and mindset following a traumatic recovery. We spend a lot of time with a young Matthew and Zdarsky hammers home the priorities that our hero has always had.

Artist Marco Checchetto and colorist Sunny Gho deliver a very solid issue. There’s a small hint of anime to Checchetto’s style that serves the humanity of his character’s well. The tone of Daredevil #1 is fresh, consistent, and welcoming thanks to Checchetto and Gho.

I really appreciate the subtly in how emotions are illustrated. Rather than having an overly expressive face, we’re treated to subtle smirks and expression changes. The scene where a young Matthew sheds a tear while talking to his priest is powerful and cinematic.

Daredevil #1 is a perfect starting point for new readers. It’s also a great change of pace for those who have been following horn head’s recent fall from grace. Chip Zdarsky has been putting together one hell of a Marvel legacy. This series looks to be another great match and he’s paired with an art team that’s capable of extending his vision.

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