Doctor Strange [2015] #12 - Marvel Comics

DOCTOR STRANGE No. 12, December 2016

Boldly publicised as part of the “Marvel NOW! [2016] event”, this opening instalment to Jason Aaron’s “Blood In The Aether” story-arc debatably provided its 72,990 readers with a relatively straightforward plot which pits the “severely depleted” Sorcerer Supreme against his “old adversary, Baron Mordo”. However, rather than provide the usual exchange of Mystic Arts between the ever-warring pair, after all any long-term bibliophile knows Doctor Strange has “beaten Mordo every time… [he’s] ever fought him”, the Alabama-born author instead adds a few new wrinkles to their relationship by having the titular character solely rely upon supernatural weapons during their duel rather than spells.

Indeed, the Inkpot Award-winner’s script provides plenty of ‘tongue-in-cheek’ proof that the former “preeminent surgeon” has trouble accessing any sort of enchantment whatsoever, by temporarily overcoming the supernatural being Mister Misery by chewing some mystic gum from Auckland and momentarily besting his arch-rival with the toss of a magic apple; “This is even worse than I expected…. This is just pathetic. I feel almost like I’m doing you a favour.” The “Star Wars” writer even includes a scene set within The Bar With No Doors, where Stephen discusses potentially getting himself a car entitled the Strange-Mobile with Chondu in order to help him get about town quicker...

Equally as enthralling though, is the marked difference the invasion and subsequent defeat of the Empirikul has had on Karl Amadeus Mordo. The Ancient One’s one-time apprentice is clearly just as formidable a Master of Black Magic as he has ever been, despite almost all the magic on Earth being destroyed by the Imperator’s inter-dimensional army, and yet seems more in the thrall of his master, the dread Dormammu than he’s arguably been depicted before. In fact, having watched the Lord of the Dark Dimension literally reduce a female tenant into cube-sized chunks of bloody flesh, the resentful, ordinarily arrogant Baron is so petrified that he races from the mutilation in abject horror.

Unfortunately, despite its sound penmanship, Issue Twelve of “Doctor Strange” does disconcertingly suffer as a result of Chris Bachalo’s ordinarily marvellous illustrations being inked by no less than five different people. Just why editor Nick Lowe ended up supplementing regular Tim Townsend with Richard Friend, Al Vey, Victor Olazaba and John Livesay isn’t clear, but their combined efforts definitely lead to a deterioration in the comic’s overall artistic quality, especially during an apparently poorly-pencilled scene where Mordo ‘evicts’ a family from their skyline private residence.

Writer: Jason Aaron, Artist: Chris Bachalo, and Colors: Antonio Fabela

U.S.Avengers #1 - Marvel Comics

U.S.AVENGERS No. 1, March 2017

Described by author Al Ewing as a super-group who work “with S.H.I.E.L.D. while not being a part of it” and featuring a heavily-moustached Red Hulk, an alternative universe Captain America (who scarily resembles Bernie America) and the ever-effervescent Squirrel Girl, it’s easy to imagine that most of this comic’s 110,729 bibliophiles probably thought that they buying into some sort of tongue-in-cheek series similar to “Marvel Comics” Silver Age self-depreciating title “Not Brand Echh”. It’s certainly hard to understand just how this comic became the biggest selling book of January 2017, even if Rod Reis was commissioned to draw over fifty unique variant covers pairing an Avenger with either an American state, Canada, the District of Columbia, Puerto Rico, or United Kingdom, in order to celebrate the launch of the new series…

Incredibly however, Issue One of “U.S. Avengers” actually contains plenty of action-packed suspense, and despite its narrative being repeatedly interrupted by “camera pieces” designed by Roberto Da Costa to “hopefully convince the S.H.I.E.L.D. sceptics that A.I.M. is just people… who want to help”, it also proves a thoroughly enthralling read. Indeed, considering that the British writer’s script introduces all seven lead cast members, highlights the new mantra of Advanced Idea Mechanics, resolves the very genuine threat of the Secret Empire’s volcano base helicarrier and showcases the villainous Golden Skull, it’s incredible that this twenty-page periodical isn’t just a hot garbled mess.

Of particular note has to be the gobsmackingly good entrance of Doreen Green and her Flying Squirrels air squadron, as well as General Robert L. Maverick’s stunning establishment as the (new) Red Hulk. Admittedly, a dozen rocket-propelled gliding rats attacking a zillion drone missiles and an over-muscled, shade-wearing Gamma monster ripping into a floating ‘lava lamp’ might not sound the most convincing of plot devices on bare paper, but they truly produce some astoundingly good open-mouthed moments on the printed page; “Hey! What’s he gonna do for the other fifty-nine minutes?”

Equally as engrossing as Ewing’s storyline, is Paco Medina’s outstanding pencils. Presumably “influenced by the designs worn by the Emperor's Royal Guard in Star Wars, specifically in the headpiece design and their habit of holding long ornate staves”, the Secret Empire appear regally dangerous, regardless of the absurdity of their molten-based machinations. Whilst the Venezuela-born artist’s sketch of “the Muscle” going “full Hulk” into the side of the subversive organisation’s gigantic helicarrier can actually be physically felt.

Writer: Al Ewing, Penciler: Paco Medina, and Inker: Juan Vlasco