Iron Man [2020] #17 - Marvel Comics

IRON MAN No. 17, April 2022

Very much placing Tony Stark himself as this ongoing series’ main antagonist, Christopher Cantwell’s storyline for Issue Seventeen of “Iron Man” certainly provides a chilling demonstration of absolute power corrupting its wielder absolutely. For whilst the cosmically-enhanced billionaire seemingly thinks his dubious decision to ‘exponentially raise the intelligence of every New York City citizen’ is a good one, the Chicago-born writer’s narrative provides plenty of evidence as to just why making approximately nine million people super-smart is simply a recipe for chaos, crime and even cold-blooded murder; “The Frog never realises he’s dead until it’s too late.”

Disconcertingly however, especially for those readers who are fans of the Golden Avenger, “Farewell, My Space Friends” also shows the disastrously detrimental effect being the Iron God has had upon the mental stability of its current owner. The egotistical industrialist has arguably always struggled to accept justified criticism of his poorer pronouncements, but in this twenty-page periodical, the “proficient scientist” simply transforms all his detractors, naysayers and even friends, into persistently nodding “Yes Men” so he can “pull off my vision without all the headache and second-guessing.”

Such a massive abuse of his galactic-sized responsibility doesn’t even register upon the egotist’s moral compass, and subsequently sets this comic up for a truly terrifying confrontation between Stark and the rag-tag band of heroes who actually helped him achieve victory over Michael Korvac in the first place. Indeed, debatably for many readers Tony’s almost nonchalant destruction of the likes of the Silver Surfer, original Human Torch, Gargoyle, War Machine and Frogman one by one in a decidedly evil fashion depicts just how utterly insane Stan Lee’s co-creation could potentially always have become if given the ‘right’ circumstances.

Clearly helping imbue this homicidal so-called deity with a ton of hubris and self-satisfying swagger are Ibraim Roberson and Angel Unzueta, whose prodigious panels do a first-rate job of illustrating both the carnage caused by Iron Man’s highly questionable choices, as well as his matter-of-fact massacre at Patsy" Walker’s luxurious sky-line apartment courtyard. The vile sneer shown upon Stark’s face when he’s actually disintegrating his former comrades-in-arms is particularly disturbing, and instantly shows just how badly one of the world’s mightiest champions for justice has fallen.

The regular cover art of "IRON MAN" #17 by Alex Ross

Iron Man [2020] #13 - Marvel Comics

IRON MAN No. 13, December 2021

Presented by “Marvel Worldwide” as an “epic showdown between Iron Man and his allies and Korvac and his cohort”, Christopher Cantwell’s narrative for “The Great I-M” must certainly have enthralled the vast majority of its audience due to its sense-shattering series of pulse-pounding punch-ups. Indeed, the American author even manages to pen Frog Man momentarily duking it out against this title’s central antagonist by having Eugene Patilio’s alter-ego literally getting a double-footed drop on the “human cyborg turned deity” before being badly blasted at point-blank range.

Admittedly, such an action-packed assault upon the readers’ senses could ultimately prove a little laborious if an endless chain of jaw-breaking thumps and crackling energy beams was all Issue Thirteen of “Iron Man” had to offer. But rather enjoyably, the television showrunner also uses these frantic skirmishes as a means of illustrating just how close to universal disaster Shell-head’s “Space Friends” actually are, whilst also presenting the odd glimmer of humour to an otherwise deeply dark storyline involving the Power Cosmic; “What’s up, my Little Pony?”

In addition, this twenty-page periodical’s plot provides Patsy Walker with plenty of spotlight to show just why the former Defender is still very much a fighting force to be reckoned with even when facing the formidable potential of “a power-crazed god”. Hellcat’s burgeoning partnership with Isaac Christians is particularly well-written, and really helps establish the super-hero’s fighting savvy when she arranges for the Gargoyle to hurl her into battle after spotting that the original Human Torch is actually being manipulated by one of Basil Sandhurst’s mind control discs.

Helping add loads of dynamism to this comic’s antics is Carlos Alberto Fernandez Urbano (Cafu), whose ability to bring so many ferocious fist-fights to blistering life cannot arguably be over-stated. The Spanish artist’s panels showing Iron Man’s maniacally mad hatred for Michael Korvac really help make Stark’s almost unhinged raw fury highly believable, especially when it becomes clear that despite all the billionaire’s best efforts to physically pummel the sentient machine to dust, it still might not be enough from stopping the utterly insane android from altering the course of human existence forever…

The regular cover art of "IRON MAN" #13 by Alex Ross

Iron Man [2020] #8 - Marvel Comics

IRON MAN No. 8, June 2021

Considering that Christopher Cantwell’s narrative for Issue Eight of “Iron Man” doesn’t actually feature the Golden Avenger in any way whatsoever, preferring instead to replace Tony Stark’s ongoing battle against Michael Korvac with a bizarre exploration of Hellcat’s seriously damaged psyche, it is somewhat doubtful “America’s #1 Teenager” landed particularly well with Shell-head’s fanbase. Indeed, considering that the vast majority of this twenty-page periodical arguably just concerns itself with a lack-lustre rehash of Charles Dickens’ “A Christmas Carol” it was probably hard for some readers not to shake the impression that the American author was, for some inexplicable reason, having to pad out Patsy Walker’s attempt to rekindle her long-dormant psychosomatic powers for almost the entire comic book.

Of course, the sudden appearance of Moondragon and Walker’s subsequent surprising visit back to her old High School days does produce a modicum of momentary interest when first presented, especially when Hellcat’s “old friend and psychic mentor” indicates she hopes to make her pupil’s access to “the ol’ psychoactive radio waves” stronger than ever. However, Heather Douglas’ guest-star appearance does raise a few questions considering the Guardian of the Galaxy is apparently perfectly capable of reaching out across time and space to Patsy in order to imbue her with a considerable cerebral boost, yet unable to mentally attack Korvac when the “would-be deity” is in close proximity to Hellcat.

Similarly as illogical is Walker having to cheat at a history examination by reading the mind of her old teacher and fending off her former husband, Daimon Hellstrom with a couple of office chairs. This entire sequence lurches from set-piece to set-piece, including a disagreeable hospital bedside scene in which the heroine’s mother actually tries to convince her daughter to kill herself, simply so the Defender can supposedly show her own inner fear some kindness; “Your fear. Fear of your own mind. With a soft touch free it. Accept it. Hold it. Deep down, Korvac is afraid. If you are not… You can win.” 

Adding to the feeling that this particular publication is little more than a ‘filler’ edition are Angel Unzueta’s layouts, which whilst proficient enough, debatably lack the visual impact of series regular artist Cafu. This difference in consistent quality is particularly noticeable in the Spaniard’s pencilling of the events housed within Centerville, with the sketching of Mister Brown’s angry outburst over a decimated red apple proving particularly poor when compared to the drawing of Jim Rhodes’ desperate attempt to loop back upon an enemy spaceship in an attempt to destroy it with missiles.

The regular cover art of "IRON MAN" #8 by Alex Ross

Iron Man [2020] #7 - Marvel Comics

IRON MAN No. 7, May 2021

For those readers interested in Frog-Man discussing his religious thoughts on the existence of a one, true God with the likes of the Gargoyle, Misty Knight and the Scarlet Spider, or negotiating a twenty-six panel sedentary sequence in which Michael Korvac waxes lyrical about his “one single entity”, Christopher Cantwell’s script for Issue Seven of “Iron Man” debatably delivered. However, for those bibliophiles anticipating any action whatsoever from this particular publication, “Overclock” probably left them feeling bitterly disheartened; “This collective aggregate knows only peace and calm. All acts are ones of softness and grace. Universal good is omnipresent and owned by no individual. Not even myself. The Self melts away completely. It serves only the aggregate.”

To begin with, the vast majority of this comic is padded out with Hellcat and Shell-head receiving an utterly befuddling update from this ongoing series’ lead antagonist as to just what the villain’s central goal of establishing a “Universal Harmony” means. Word-heavy and stretched to almost breaking point by a couple of Cafu’s prodigiously pencilled splash page illustrations, this dialogue-driven scene eventually concludes with the bizarre revelation that Korvac wants to turn all galactic life into nothing more than an existence of “crystals eating crystals.”

Admittedly, such an insane admission definitely shows just how completely mad the “would-be deity” has become, whilst simultaneously making it abundantly clear that the resurrected android must be stopped from carrying out his diabolical plan no matter what the cost. But arguably this book’s American author could have accomplished a similarly convincing ‘reveal’ in a quarter of the sheet space, and subsequently have enlivened this periodical’s lethargic tempo by focusing more upon War Machine’s disappointingly brief battle against a faster-than-light spacecraft.

Perhaps this comic’s biggest curve-ball though is Cantwell’s somewhat head-scratchingly surreal cliff-hanger, which sees Tony Stark somehow teleported to another world which is apparently populated by a group of exotic-looking extra-terrestrials and a futuristically-armed Canadian. Such a sudden departure from this title’s long-running narrative must have proved a little jarring to this comic’s audience, especially for those already puzzled as to just how the billionaire industrial somehow managed to ‘piggy-back’ upon Hellcat’s telepathic conversation with Korvac beforehand.

The regular cover art of "IRON MAN" #7 by Alex Ross

Iron Man [2020] #6 - Marvel Comics

IRON MAN No. 6, April 2021

Proudly proclaimed by “Marvel Worldwide” as the beginning to Book Two of Korvac, “Dreams Of Deicide” certainly must have pleased some within the comic’s audience, with its sense-shattering start as a mentally scarred Hellcat desperately tries to wheel a fatally-injured Tony Stark off to hospital in a shopping trolley. Indeed, Patsy Walker’s panicky attempt to save the life of her recent lover is probably the highlight of this twenty-page periodical, thanks to the former Defender’s determination to flag down a yellow cab in the pouring rain and Shell-head’s palpable pain whenever his unlikely four-wheeled conveyance clunks off the pavement onto the road.

Disappointingly however, this sense of urgency to get the billionaire industrial medical care soon evaporates once Christopher Cantwell pens Iron Man deciding to simply ‘sit tight’ inside his metal suit and just have Halcyon fuse “my armour’s cervical column rings together” so as to “stabilise the spinal injury and prevent me from suffocating.” This rather disconcerting course of treatment seems incredibly foolhardy, even for someone as egotistical as Stark, and arguably erodes any sense of genuine peril to the titular character when it not only results in the Golden Avenger being able to walk around without any impairment, but immediately afterwards beat the living hell out of an unwise Guardsman with a single punch; “What? I gave him a break. You know you’re not going to stop me. So you’re either with me… Or not.”

Sadly, Issue Six of “Iron Man” also portrays an irate Tony at his sanctimonious worse, with the American author unconvincingly trying to depict the one-time Director of S.H.I.E.L.D. as some greatly wronged victim who, having politely apologised for all his past mistakes, is still being unjustly treated by life. Such a holier-than-thou attitude just doesn’t work, as it’s debatably difficult for any bibliophile to sympathise with this particular incarnation of Shell-head when he cold-heartedly tells the Scarlet Spider that a badly-wounded Gargoyle is now “a waste of my time” after the super-hero lost one of his wings whilst saving the rest of the team’s lives.

Happily though, what this comic lacks in persuasive plot-points it somewhat makes up for with sumptuously-sketched layouts. Cafu’s pencilling is particularly noteworthy during Hellcat’s aforementioned trolley-dash with many readers doubtless feeling the pouring rain actually striking Walker’s colourful costume, as she bundles an uncooperative Iron Man into a taxi.

The regular cover art of "IRON MAN" #6 by Alex Ross

Iron Man [2020] #5 - Marvel Comics

IRON MAN No. 5, March 2021

Featuring the likes of Gargoyle, the Scarlet Spider, Mercedes Knight and Frog Man as some sort of D-list Great Lakes Avengers, readers of Christopher Cantwell’s storyline for Issue Five of “Iron Man” could arguably have anticipated the Chicago-born writer injecting this comic with a modicum of humour. However, despite the likes of Eugene Paul Patilio certainly raising the occasional smile with his child-like enthusiasm to work alongside the titular character in an ‘official’ capacity, the predominant tone of this twenty-page periodical is deadly serious. In fact, somewhat snooze-inducingly serious as this comic's widening cast simply talk to one another, over and over again as to the desperate nature of their predicament.

Furthermore, absolutely no respect whatsoever is given to this book’s band of incoming mercenaries, despite the likes of Isaac Christians and Misty having been involved in numerous world-threatening escapades in the past. Instead, Tony Stark simply waxes lyrical on them panel after panel as to how outgunned his ragamuffin gang are against their mechanical opponent, and how even having “Spider-Man’s Xerox copy” on their side doesn’t mean they have any hope of winning; “My best answer is, you have me. So my advice is, do as I say. Then and only then can we hope to stop Korvac.”

To make matters worse though, Iron Man’s insistence on recruiting these ‘low tier’ heroes in the first place “or James Rhodes could get killed” is debatably moot as his enemy already knows what the Golden Avenger is up to, courtesy of the android establishing a seriously strong mental bond with Patsy Walker. Admittedly, this publication’s American author does do his level best to depict Hellcat as a psychologically unstable former-Defender, so potentially Michael isn’t quite getting sight of Shell-head’s entire plan. But that doesn’t debatably explain why the cyborg then subsequently sets a deadly trap for the crime-fighting cadre using a bogus radiation signature at “a warehouse in Port Morris.”

Lastly, it is genuinely difficult to have any sympathy for the utterly dislikeable Stark in this narrative. The Golden Avenger demonstrates incredibly poor leadership in front of his newly-formed team with his demoralising ‘pep-talk’, and then willingly risks sacrificing his costumed lover to Korvac when he decides to use the mentally unwell Walker as “bait” to lure his foe out into the open. Such selfish hubris is genuinely hard to stomach, and in many ways actually makes the audience want the hard-hearted hero to fail miserably, simply to teach the egotistical idiot a well-deserved lesson in the harshness of life.

The regular cover art of "IRON MAN" #5 by Alex Ross