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

Ben Reilly: Scarlet Spider #1 - Marvel Comics

BEN REILLY: SCARLET SPIDER No. 1, June 2017

Despite being touted by Associate Editor and self-confessed “Ben Reilly maniac” Devin Lewis as the most “deserving character in the Spider-Family” for “a shot at reinvention”, Peter David’s opening narrative for this “all-new ongoing series” must surely have come as something of a major disappointment to the original Scarlet Spider’s fans due to the veteran spider-scribe’s inability to determine whether Peter Parker’s clone is actually going to be a good or bad guy. Indeed, at one point, having played the hero and rescued a distraught woman from a mugger in a Las Vegas alleyway, the costumed crime-fighter then disconcertingly threatens the victim, Mandy, if she doesn’t make good on her promise to find a job and pay him “a hundred bucks” in order to “call it square.” A scene which hardly promotes the “darn charming” personality “mighty Marveldom” apparently promised the titular character would portray in the comic’s pre-publication publicity.

Worse, the Maryland-born novelist’s incarnation of Professor Miles Warren’s creation has clearly been driven so utterly mad by the “dozens of torturous experiments” imposed upon him by the Jackal that he now regularly suffers with hallucinations of his former selves; “Dude, you need a plan. I’m imaginary. So I can do whatever I want.” This seemingly never ending self-banter and monotonous dialogue really starts to quickly grate upon the nerves, especially when the comic finally starts to ‘up its game’ courtesy of a heavily armed casino robbery, and the facially scarred duplicate immediately dispels any illusion of suspense or jeopardy by entering into a short, supposedly humorous, conversation with himselves..?

Such a poorly thought-out, substandard ‘Deadpool duplicate’ is not helped either by the breakdowns of Mark Bagley, whose inconsistent and lack-lustre pencils genuinely seem to imbue the vast majority of this periodical’s twenty-pages with a palpable sense of disinterest and haste. In fact, it is difficult to imagine anyone calling the American comic book artist “a legend in comics” if his inability within this book to draw a consistent Cassandra Mercury or Ben Reilly is an example of his best “big, bombastic super hero action.” It’s certainly hard to reconcile the man “on pencilling duties for this puppy” with someone who, at least according to the comic’s editorial, “can stage and draw an action scene” like few others “in the biz.”

Writer: Peter David, Penciler: Mark Bagley, and Inker: John Dell

The Clone Conspiracy #3 - Marvel Comics

THE CLONE CONSPIRACY No. 3, February 2017

It’s hard to imagine that many “True Believers” agreed with Associate Editor Devin Lewis that Dan Slott’s script for Issue Three of “The Clone Conspiracy” is “one of the biggest payoffs” for the American author’s “blood, sweat, and tears” over the course of the last few years. In fact, considering that this arguably deplorable twenty-page periodical heralds the return of Peter Parker’s “blue-hoodie-wearin’” “brother from another blood cell”, Ben Reilly, and ultimately threatens to “bring back Uncle Ben”, it is probably far more likely that this book’s 56,117 strong audience became increasingly despondent as the Berkeley-born writer’s plot progressed. It’s certainly hard not to blanche at Lewis’ final sign-off at the bottom of the publication’s ‘Letters Page’ when he pens “trust me when I say – things will get crazier.”

Quite possibly top of this title’s many flaws, besides a distinct irreverence towards many of Spider-Man’s most popular deceased cast, is its mishandling of two of the wall-crawler’s most recognisable supporting characters. “In 2009, the Lizard was named IGN's 62nd Greatest Comic Villain of All Time” and yet in this mini-series the usually violent monster is portrayed as a weak-willed simpering ‘pet’ who poses such little threat to his arch-nemesis and Spider-Gwen, that neither super-heroes' spider-sense even tingles when Curt Connors’ alter-ego traps them within a dark, gloomy pipe. That hardly seems the sort of reaction one would expect towards a savage, sharp-toothed criminal well-known for envisioning “a world where all humans had been transformed into (or replaced by) super-reptiles like himself.”

Similarly disserved by Slott’s script is "Parker 3.0", or rather the ‘new’ Scarlet Spider. Supposedly possessing “a slight amplification of the powers he ‘inherited’ from Peter”, this clone was actually thought worthy enough by the Eisner Award-winner to carry an entire issue of “The Amazing Spider-Man” single-handedly as part of the title's tie-in to this “Dead No More” story-event. Disconcertingly in this comic however, Kaine is simply depicted as “no contest” fodder for the Rhino to easily overcome with a single charge, and so having previously been seen as a major contributor to this narrative’s far-reaching consequences, courtesy of several treks across a ‘zombie-infested’ Multiverse, he is suddenly reduced to a body nonchalantly slumped over Aleksei Sytsevich’s broad shoulders; “We get what the master wants, and we get out.”

The 'XCI' variant cover art of "THE CLONE CONSPIRACY" No. 3

The Amazing Spider-Man [2015] #21 - Marvel Comics

THE AMAZING SPIDER-MAN No. 21, January 2017

Considering that this book’s principle protagonist “is usually ranked as one of the greatest comic book characters of all time alongside DC Comics characters such as Batman and Superman”, it may have been hard for some to believe that Issue Twenty-One of “The Amazing Spider-Man” was only the twenty-third best-selling title in November 2016. For whilst Dan Slott’s script for “Live Another Day” arguably contains more than its fair share of lengthy flashback sequences and the occasional unfollowable piece of ‘timey wimey’ explanation, “The Clone Conspiracy” tie-in does feature “an alternate San Francisco” which has become overrun with decaying ‘New U Technologies’ zombies, an autopsy scene that is “pretty gnarly stuff”, and the prominent return of Karn, the “protector and prisoner of the Web of Life and Destiny”.

Unfortunately for this twenty-page publication’s 63,052 readers however, what the Berkeley-born writer’s narrative doesn’t surprisingly contain, is neither hide nor hair of its titular character. In fact, even the wall-crawler’s alter-ego, Peter Parker, only makes the briefest of appearances, and that’s just so the different universe’s version can be ‘degenerated’ by a mindless hordes of Carrions when his world’s generators are breached; “It’s too late for them. But maybe their work can still save other worlds. Come on, let’s get out of here.”

As a result, the Eisner Award-Winner’s narrative instead exclusively follows the exploits of the Jackal’s first clone of “the crime-fighting super-hero”, Kaine, and “the second greatest alternate version of Spider-Man”, Spider-Gwen. This remarkable coupling does admittedly prove to be a somewhat interesting team-up once the pair identify that the epicentre of the master geneticist’s plague “always starts in a city with a major Parker Industries” research center, and battle “the most advanced Carrion-state” the Scarlet Spider has ever seen. But even the dynamic action just such a punch-up portrays was surely never going to be enough to satisfy an audience presumably purchasing a comic in order to enjoy an adventure featuring Stan Lee and Steve Ditko’s “flawed superhero with everyday problems".

Judging by his inconsistent pencilling, such a dialogue-heavy story-line certainly seems to have caused Giuseppe Camuncoli a few problems, particularly when the artist is drawing the “near-irreparably mutated” Scarlet Spider. Indeed, despite seemingly being perfectly capable of imbuing Gwendolyne Maxine Stacy with plenty of dynamic life, the Italian visibly struggles to do the same for Kaine’s costumed alternative personality.

The variant cover art of "THE AMAZING SPIDER-MAN" No. 21 by Paolo Rivera