I've made no secret that I'm a big fan of Matthew Rosenberg. The promise of his new Kingpin series was one of a Crime Noir drama, deep and rich and worthy of a character like the Kingpin. Kingpin has faced down super-heroes and proven himself capable of recovering from defeat more than once. He has been in both the penthouse and in the gutter, and always been true to his own character. If I were to be the one to choose the writer for a continuing series starring Wilson Fisk, I would probably pick Matthew Rosenberg. However, even the best writers can have problems centering a series around a villain, is he up to the challenge?
I decided to review a comic from last week, having a day off from my day job and feeling the need to earn my keep around here. Looking around, I found the latest issue of Star Wars, a little disappointed that Stuart Immonen wasn't doing the interior art, but willing to give Larroca a chance. I recognize the name but couldn't place a major project I remembered him from, not having read a lot of his work on any of the other Marvel titles.
It seems like Marvel Cinematic speculation is falling towards Infinity War, the third Avengers film where all of the MCU heroes will be brought together against the plans of Thanos. It all builds on the story that started over a quarter century ago. Recently, I revisited the event that started this journey that the Marvel Cinematic Universe is building itself around.
Hey! It's Star Wars month! With a new prequel coming out, I thought it would be nice to look back at exactly why we had a demand to continue the Star Wars saga. Sure, it was always there, bubbling under the surface. It wasn't until there was a demonstrated demand for new stories that the real effort began at producing an expanded universe to the Star Wars galaxy.
I am a big proponent of an unlimited Multiverse. I think it gives writers more freedom and makes for some extraordinary storytelling possibilities by breaking the shackles of continuity. Continuity can be a good thing, but far too often, the fear of angering fans forces a writer to adhere to continuity and lessens the impact of a story. Sometimes, the exploration of an alternate history makes for a plethora of stories. Depending on interest, this may be the first in a series of articles that explore different comic book alternate universes.
With Luke Cage now available on Netflix, I thought it would be nice to look at some of the character's comic book past. Instead of going with one of the issues that everyone refers to in looking at the character's past, such as his first appearance or the time that he to collect payment from Doctor Doom, I went with the first issue that Power Man officially shared with his long time partner, Iron Fist. For two issues, Iron Fist was a guest star, but this was the first time the cover logo changed to reflect a partnership. Legally, the title wouldn't officially change for a few issues thanks to way these things would happen in the 1970s, but this is the issue where the logo changed, making this the first issue of Power Man and Iron Fist.
Matthew Rosenberg is a writer that I will follow anywhere. His series We Can Never Go Home was one of my favorite comics last year. He has started to get noticed for his writing for Marvel Comics, the latest being a spinoff book for the Civil War II event featuring the Kingpin.
Hail Hydra! By now the word has gotten out that last week, it was revealed that Steve Rogers has been, oh, obligatory spoiler warning...
So with Captain America: Civil War in theaters, I wanted to tie an Avengers review into it. Combine that with the guilt of running four consecutive DC Reviews, and it's time to review an issue of something by Marvel. Fans of the Indy titles should stick around for next time, because I haven't tackled one of those in months. If you have a suggestion, just contact me and I'll see what I can work in.
It's always a little sad when an artist takes an obvious shortcut in creating comics. It's even sadder when its an artist that normally creates work of high quality. It's saddest when that shortcut apparently infringes upon the intellectual property of someone else. In the extreme, the someone else would be a relatively unknown artist, but thankfully we are not in that realm. The artist in question is Ariel Olivetti and the issue in question is Venom: Space Knight #6.
Spider Gwen remains one of my favorite titles. Part of that appeal has been the fabulous artwork of Robbi Rodriguez. However, with his impending departure from the title, I worry about the comic's look changing too much. I really want this book to go on for a while, but not if it's going to look like just another Marvel book.
Did you think that we had already done a Needless Character Analysis for Spider Gwen? The thing to know about her is that she is actually called Spider-Woman and is from an alternate Earth where it was Gwen Stacy that was bitten by the radioactive spider, not Peter Parker. She first appeared in Edge of Spider-Verse #2, which is available in multiple formats and has been reprinted several times, making it affordable to find a copy to read. She was created by Jason Latour, Robbi Rodriguez and Rico Renzi.