Invincible Iron Man #593 Review

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Alex Maleev, Avengers, Brian Michael Bendis, Infamous Iron Man, Invincible Iron Man #593, Invincible Iron Man #593 review, Iron Man, Ironheart, Marte Gracia, Marvel Comics, Marvel Legacy, Stefano Caselli, The Invincible Iron Man #593, Tony Stark, VC’s Clayton Cowls

Invincible Iron Man #593

Review by Paul Bowler

A startling new era for Marvel’s armored Avenger begins in Invincible Iron Man #593 as Marvel Legacy gets under way. The comatose body of Tony Stark has vanished! Now it falls to Stark’s friends and foes, those who have overseen his business interests and assumed the mantel of Iron Man since his battle with Captain Marvel during Civil War II left Tony in a medically unexplainable coma, to finally decide who will succeed him as the Invincible Iron Man!

Well, now that we’ve got all the hoo-ha with Secret Empire out of the way, Marvel can concentrate on getting things back on track with Legacy. To be honest, this is bit of a quirky issue of Invincible Iron Man, there is a sense of getting back to basics and core elements of the character, which I guess is what Legacy is meant to be all about, and the return to the series’ original numbering – along with a great cover by Adi Granov – gives you a real sense that you are witnessing the start of something with great potential here.

The issue is positively bursting with insightful character moments and exposition, and writer Brian Michael Bendis keeps Invincible Iron Man #593 on an even keel as he skilfully juggles the numerous plot threads. Tony’s AI, Friday is every present throughout, quickly brining us up to speed with current events: with Tony’s condition in stasis at a Stark Facility, Riri Williams role as Iron heart (whose Armor is run by an AI downloaded from Stark’s consciousness), and Victor Von Doom’s self-proclaimed path to redemption as the Infamous Iron Man.

The Star Expo that opens the issue, overseen by Stark’s Mother, Amanda, and Mary Jane Watson, is a poignant affair tinged with both sadness and hope; despite the dour board of directors resolve to spoil the party. Throw in the mystery of Tony Stark’s body going missing and a tense face-off between the Thing and Victor Von Doom after an incident at Riker’s Island, and you have an issue that poses as many questions as it does answers.

Featuring the work of artists Stefano Caselli and Alex Maleey, with Color Artists Marte Gracia and Alex Maleev, Invincible Iron Man #593 ticks all the boxes visually and stylistically, and the transition between artists and color artists doesn’t impede the overall enjoymenty of reading the issue. The panel layouts are straightforward, nothing fancy, the characters and location are well realized, and there’s a nice jaunt around the Marvel Universe as everyone concerned ponders who ya gonna call when Tony Stark goes missing!?! Although there’s probably enough story in this issue for a couple of issues, for me though, the standout scene was between Victor and The Thing, where some especially scathing home truths are finally aired – and about time too!

Ok, now I’m a big fan of Iron Man / Tony Stark. However, I wasn’t impressed with his fate at the end of Civil War II, Riri Williams was ok as Ironheart, but I didn’t really warm to Doom being the Infamous Iron Man that much, and having skipped Secret Empire completely I’m hoping that The Search For Tony Stark Part 1 sets things up for Tony’s return as the one, true, Iron Man. The question is, is that what’s happening here in this issue?

That’s something this issues surprise ending will certainly leave us guessing about for now. While the story is adequate enough, I was hoping the art would be a bit more spectacular, but it’s still a fairly good issue for fans and newcomers alike. Suffice to say; if Marvel Legacy is all about getting back to the core mechanics, ethos, and distinctive look of Marvel’s most iconic characters, then Invincible Iron Man #593 is definitely a step in the right direction.

Publisher: Marvel Comics

Writer: Brian Michael Bendis / Artist: Stefano Caselli & Alex Maleev

Color Artists: Marte Gracia & Alex Maleev / Letterer: VC’s Clayton Cowls

Cover: Adi Granov

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Infamous Iron Man Review

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Alex Maleev, Brian Michael Bendis, Doctor Doom, Infamous Iron Man, Infamous Iron Man #1, Invamous Iron Man #1 review, Iron Man, Marvel Comics, Marvel Now, Matt Hollingsworth, Tony Stark, Victor Von Doom

Infamous Iron Man #1

Review by Paul Bowler

Marvel’s bold Marvel Now iteration brings us Infamous Iron Man #1, the brand new ongoing series from the acclaimed Eisner Award winning team of Brian Michael Bendis and Alex Maleev. Yes, there’s a new Iron Man, and his name is… Victor Von Doom! That’s right, Doctor Doom, one of Marvel’s greatest villains, has decided to become something new, and to do that he must succeed where Tony Stark failed. But is there more to Doom’s plans, is he really a reformed character, and how will the world react to this new, infamous hero?

Ever since Victor Von Doom started turning up unannounced in Tony Stark’s life during the previous volume of Invincible Iron Man, the tumultuous events of Civil War II have had major consequences for Stark, and now Doom’s mysterious plan continues as he strives to reach even greater heights of power as Iron Man – but for what end?

Infamous Iron Man #1 starts off with a flashback to a shadow meeting of the dark Cabal fronted by Doom, and it’s a scene in which writer Brian Michael Bendis skilfully eschews the narrative via Doom’s POV, offering us an insightful glimpse into Victor’s inner motivations as Bendis seamlessly entwines the new status quo post Civil War II with the intriguing premise of this new series.

From there we are given a taste of the sublime blend of science, sorcery, and dry wit that will no doubt become the hallmark of this series as Victor’s character works towards assuming the mantle of Iron Man. Victor spends most of this issue keeping us, and everyone around him, unsure of his true motives, even when he performs good deeds, such as rescuing a high-ranking S.H.I.E.L.D operative with contemptuous ease from a former adversary, we are left with no doubt that Doom’s actions are still firmly in his own best interests. Its this mix of uncertainty and deceptive charm that makes Victor such a compelling and complex character, the brief interlude with Stark’s former girlfriend, Doctor Amara Perera, is also of note, as it offers some tantalizing snippets about what’s happened to Tony Stark and foreshadows Victor’s interested in Amara and her work.

Alex Maleev’s artwork perfectly encapsulates the mood and tone of Infamous Iron Man, right from the first page we experience the Doom of old, before the scene shifts dramatically into the rescue mission, and it is here that Maleev really excels in these dark shadowy moments as we see Victor confront and beat down a villain with a calculated use of technology and magic. The colors by Matt Hollingsworth bring accentuated flourishes and tone to every moment, picking out striking hues of light and energy that punctuates the darkness. The scenes with Amara and Victor in the University of Cambridge seem bright and breezy by comparison, there’s an ever-loving-blue-eyed special guest appearance to watch out for, and Maleev and Hollingsworth engineer a classy build up to the inevitable moment when Doom finally gets to suit up as Iron Man.

Brian Michael Bendis keeps us guessing almost until the end of Infamous Iron Man #1 before we begin to get more insight into what has happened to Tony Stark, it’s cleverly done too, and turns out to be something that bizarrely manages to be both expected and unexpected all at the same time. If anything, the scenes that lead up to Victor donning his Iron Man armor feels almost underplayed to deliberately keep us on the back foot.

Infamous by name and infamous by nature, as first issues go, Infamous Iron Man #1 gets everything off to a good enough start. I guess maybe I was just expecting Doom’s debut as the Infamous Iron Man to be a little more exciting than it actually turned out to be. Still, that killer surprise ending certainly puts a whole new spin on things, offering up lot of potential, and hopefully the series can be infamous enough to live up to it.

Publisher: Marvel / Writer: Brian Michael Bendis

Art: Alex Maleev / Colors: Matt Hollingsworth

Letterer and Production: VC’s Clayton Cowles

Cover by: Alex Maleev

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International Iron Man #1 Review

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Alex Maleev, Brian Michael Bendis, Cassandra Gillespie, comics, International Iron Man #1, International Iron Man #1 review, Iron Man, Marvel, Marvel Comics, Paul Mounts, Tony Stark, VC’s Clayton Cowles

International Iron Man #1

Review by Paul Bowler

So, who is Tony Stark? Marvel’s brand new International Iron Man series from Brian Michael Bendis and Alex Maleeve is setting out to discover just that! Ever since Tony found out he was adopted as a baby, it has cast a dark shadow over his life, now Tony Stark is about to embark on a journey to discover the truth. International Iron Man #1 marks the beginning of a new direction in Tony’s life, with a glimpse into events from Tony’s past while Iron Man will uncover new facts about the Marvel Universe in the present!

Take the premise of Tony Stark’s wish to uncover what his legacy really is, splice it with a character deconstruction by Bendis and Maleeve along similar lines as their award winning and critically acclaimed run on Daredevil, and the you have the start of a bold new era for Tony Stark in International Iron Man.

From the scene setting aftermath of a battle in Bulgaria in the here and now, Invincible Iron Man #1 makes it clear from the outset what an exciting book this new Marvel title is going to be. Brian Michael Bendis immediately sets the tone and pace of this new series as events flashback to Tony Stark’s time at Cambridge University twenty years ago, during a particularly rowdy celebration after a soccer match. Tony’s bewilderment and indifference to everything going on around him is pitched perfectly by Bendis, and the reason why Tony is here quickly becomes clear as a beautiful lady catches his eye across a crowded bar…

Those expecting all-out Iron Man action in this issue might be left feeling a little disappointed, however, stick with it and what you have here soon becomes a fascinating character study of Tony Stark during his formative years. Bendis is on fine form once again here, he has such a great handle on Tony Stark’s character. Its ingenious how the clever script offers us this glimpse into the events that shaped his early life, from the boisterous celebrations he finds himself caught up in, the wry humour, his strained relationship with his father, and Tony’s courting of Cassandra Gillespie – despite the best efforts of the bodyguards employed by her mother to keep a close eye on her daughters whereabouts – is electrifying and worthy of every moment that Bendis spends on driving the narrative with Tony’s and Cassandra’s sparkling, and often poignant, dialogue.

Alex Maleeve’s artwork for International Iron Man is utterly superb, every nuance of Bendis’ story is brought to live in vivid clarity, all of the emotional and humorous beats are spot on, and you will become so totally immersed in the plot that you’ll almost find yourself forgetting about the teasing opening scene as key events unfold in the past. Maleeve lavishes a stupendous level of detail on every panel, all the characters and expressions are well defined: from the punch up in the bar, to evading the bodyguards, it is the scene between Tony and Cassandra as they have lunch after a particularly dull lecture on advanced economics that really strikes a chord and illustrates the great level of characterization that’s sure to make this series stand out from the crowd. Paul Mounts colors are another crucial element in making this issue look so impressive, with pale hues and dusky tones all combining to accentuate every aspect of Alex Maleevel’s art – and I will certainly look forward to seeing more of their take on the Iron Man armor in future issues.

The issue builds to a nerve jangling climax as Tony goes for lunch with Cassandra and her parents, and what follows during the action packed closing moments as past and present collide is sure to keep you counting down the days until the next issue. International Iron Man #1 gets this series off to a cracking start, with its great story by Brian Michael Bendis, together with the stunning artwork by Alex Maleeve and colors by Paul Mounts, it ensures that International Iron Man #1 will be an issue that will have you going back to read again many times over just to saviour the beautiful synergy of art and storytelling it so skilfully achieves.

Publisher: Marvel / Writer: Brian Michael Bendis / Art: Alex Maleeve

Colors: Paul Mounts / VC’s Clayton Cowles: Letterer & Production.

Cover Artists: Mike Deodato & Frank Martin

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Invincible Iron Man #5 Review

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Alex Maleev, Brian Michael Bendis, comics, David Marquez, Doctor Doom, Invincible Iron Man #5, Invincible Iron Man #5 Review, Iron Man, Justin Ponsor, Madame Masque, Marvel Comics, Mary Jane Watson, The War Machines, Tony Stark, Victor Von Doom

Invincible Iron Man #5

Review by Paul Bowler

Marvel’s new Iron Man series, written by Brian Michael Bendis, with art by David Marquez, and colors by Justin Ponsor, has ushered in a new era for Tony Stark’s life, and a brand new shape-changing suit of armor with a super efficient new A.I called Friday.

Now the first big story arc concludes in Invincible Iron Man #5, as Madame Masque’s spate of world-wide thefts of magical artefacts concludes in a showdown with Iron Man and Victor Von Doom – the former ruler of Latveria now sporting a sharp suited new look, and his face also restored – in Chicago at the new Jackpot nightclub owned by Mary Jane Watson!

Brian Michael Bendis gathers all the plot threads of the first arc together in this action packed issue as Iron Man and Victor Von Doom confront Madame Masque in Chicago on the opening night of Mary Jane’s new nightclub. The battle is fast and frenetic. This team-up between Iron Man and Doom brings a unique blend of technology and magic to the fight as they square off again Whitney, who is now possessed by demonic forces, and even Mary Jane gets to play a crucial role at a critical turning point in the showdown.

The art by David Marquez is excellent throughout, its bold, the all-out-action unfolds across the dynamic page layouts with blistering speed, and the intensity of the technology and magical energies involved is exquisitely realised by color artist Justin Ponsor. The attention to detail is staggering, especially when things go all Exorcist on us, and the resolution also has a great “facial hair bros” coda as well. Perhaps most surprisingly of all this issue is how well Tony and Victor work together as a team, and it would seem the one time ruler of Latveria may indeed be about to turn over a new leaf, I guess we shall have to wait and see.

Invincible Iron Man #5 brings the first story arc to a close in fine style. I really like the new direction this series is taking, Bendis has done a great job establishing the new status-quo and Iron Man armor, there’s even a job opportunity for Mary Jane, now that will be interesting, and the closing moments set us on course for more action-packed adventures – especially with the all-new story arc The War Machines set to begin next issue!

Publisher: Marvel / Writer: Brian Michael Bendis / Art: David Marquez /Color Artist: Justin Ponsor

VC’s Clayton Cowles: Letterer & Production / Cover Artists David Marquez & Justin Ponsor

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Batman #19 Review

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Alex Maleev, Basil Karlo, Batman, Bruce Wayne, Clayface, Damien Wayne, Danny Miki, DC Comics, FCO Plascencia, Greg Capullo, James Tynion IV, Reaper, Robin, Scott Snyder, The New 52

Batman #19

Review by Paul Bowler

[Contains Spoilers]

 

With Batman still reeling from the devastating loss of Damien Wayne, an old enemy returns to Gotham City, one who is capable of evading the Dark Knight himself to strike at Bruce Wayne when he lease expects it. The shroud of Robin’s tragic death still hangs like a dark cloud over Batman #19 as Scott Snyder and Greg Capullo explore the depth of Batman’s grief.

It begins ordinarily enough, with Commissioner Gordon and Harvey Bullock dealing with an armed bank robbery. But when Bruce Wayne walks out holding a female hostage at gunpoint, with explosives strapped to her body, things take an inexplicable turn as Bruce pulls a shotgun on Gordon as he makes his escape on a motorbike.

Events then shift back six days where we rejoin the Dark Knight as he studies the Cowl Archives in the Batcave, lost in thought, as he recalls stopping the Reaper’s plan to deliver a truckload of poisonous flowers to the Falcone wake with Damien. As the memory fades Alfred bring news of the Brian Wayde’s death, the architect of the design company that Bruce Wayne hired to build his Gotham Initiative. He was a trusted ally, who was also terminally ill with Myelodyplastic Syndrome, which makes his apparent suicide all the more unsettling.

With his suspicious raised, Batman investigates Wayde’s apartment, but it would seem the architect has faked his death when he suddenly emerges from the shadows and attacks Batman with a flame thrower. After a brief fight Wayde flees the scene, using an elevator to escape, Batman gives chase but soon looses track of Wayde after he runs into the subway station. After analysing a sample of Wayd’s blood the DNA seems to match, but traces of a Chimeric Code point towards another, more likely suspect – the shape shifting criminal Clayface.

Batman realises the awful truth, that the mystical clay that infected Basil Karlo and transformed him into Clayface, has somehow begun to mutate its hosts DNA, causing Clayface to actually become the people he mimics while his own DNA is slowly eroded by the clay. Bruce Wayne arranges a meeting with Lucius Fox to organise a new suit for Batman, one that will give him heavy epidermal protection, but he may already be too late as Clayface prepares to strike at his next victim…

Batman #19 allows Scott Snyder to really explore the profound effect that Robin’s death has had on Batman. When we first see Batman it’s almost as if he is maintaining a silent vigil for Damien as he examines the Cowl Archive in the cave. There is a flashback to Batman’s last encounter with the Reaper, where he intercepted his truck and its deadly cargo, where Damien realizes that their exposure to the flowers toxins will kill them both in five minutes. As Batman calmly tells him that antidote is on the Bat-Bike, there is a great moment where Snyder heart-warmingly encapsulates Damien‘s character, as Robin smiles and makes light of them both being dead men walking.

Alfred is unable to broach how Bruce is coping with Damien’s death, his concerns are quickly dismissed, especially when he mentions the damage already inflicted by the Joker after his campaign against Batman and his allies. Batman seems to welcome the distraction of Brian Wayde’s apparent suicide, even though it means dealing with the loss of another close ally, it enables Bruce to withdraw from his grief for a time by focusing on his life beyond the cape and cowl.

The return of Clayface is another welcome surprise, and it offers Snyder a fantastic opportunity to bring a whole new dynamic to yet another classic villain from Batman’s rogue gallery. The bizarre opening scene where Bruce Wayne robs a bank and shoots Jim Gordon suddenly becomes clear. As the Batman examines the DNA evidence that reveals Brian Wayde was really Clayface, we are treated to a fresh look at Basil Karlo’s origin, the actor who allowed the mystical properties of the clay he discovered to infect his body so he could become Clayface. I really enjoyed how Scott Snyder rationalized Clyaface’s abilities with the stories of shape-shifters throughout history: drawing comparisons with examples from the cultures of the Rakashasa and the Kumiho, Norse folklore, and Navajo legends of skin walkers. What makes these accounts all the more compelling is how the shaper-shifter slowly loses themselves after each transformation, their humanity gradually being whittled away, until the very essence of their being is consumed by the magical forces inhabiting their bodies.

Greg Capullo returns this issue to bring his own distinctive style to Snyder’s dark take on the legacy of Clayface, moulding the taught storyline around Batman’s all consuming grief, brining considerable weight and power to the opening moments were Bruce Wayne shoots Commissioner Gordon – as well as the beautifully understated flashback featuring Damien Wayne. The inks by Danny Miki bring an added depth, and the colours by FCO Plascencia are also excellent. I really like how Capullo manages to capture how Clayface has become so immersed in the character of Bruce Wayne that he doesn’t even seem to realize what great secrets he now holds within his rapidly diminishing DNA. There is even a reference towards Snyder and Capullo’s next story arc, Zero Year, by Gordon, which continues to resonate long after Wayne‘s “doppelganger” has escaped the scene. As a villain, Clayface has enjoyed something of a renascence of late. In the past he has often gotten a bit of a raw deal, being portrayed as just a super powered brute, without any real focus or cohesive storyline. Snyder and Capullo have really taken the potential that Clayface has to offer and built on it, taking the concept of identity theft and possession to the extreme, while also underlining the awful truth of what price Clayface is unwittingly suffering for his incredible powers.

This month’s backup story, Ghost Lights, is by James Tynion IV and Alex Maleev. It features Batman and Superman as they investigate the strange happening at a rundown apartment block. Having travelled to see how Batman is coping after Robin’s death, Superman’s attempt to get the Dark Knight to open up about what happened to Damien is cut short when a bizarre incident occurs inside the building and draws their attention. As they make their way towards the apartment Superman begins to feel unwell. Once inside they discover that a dark ritual has been performed, one that has unleashed a terrifying supernatural entity.

I really enjoyed the first part of this new back up story. This dark supernatural tale by Tynion draws Batman and Superman together in the most improbable of circumstances. I like how Superman was as uncomfortable about the magical forces inside the building as Batman was about discussing Damien’s death. Another great aspect about Ghost Lights is the art by Alex Maleeve, which really helped build the spooky atmosphere of the story.

Batman #19 also features a striking gatefold cover by Capullo and FCO Plascencia that really blindsides you about what to expect from the story, and it keeps you guessing about where Clayface will strike next right up until the final moments. This is a terrific issue by Snyder and Capullo, it brings a whole new element to Clayface’s powers, and goes to great lengths to underpin the Dark Knights grief in a story where not everyone is quite what they seem.