Posts Tagged ‘Jeff Dekal’

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After giving Bullseye #1 a richly-deserved rough time of it in my review last week, I was leaning pretty heavily towards giving the rest of Marvel’s “Running With The Devil” titles a pass, but some nagging little voice in my head told me that Kingpin would probably be worth at least an initial $3.99 investment. Okay, fair enough, Matthew Rosenberg’s earlier Civil War II : Kingpin series was generally savaged by critics (to the point where I stayed away), but I chalk that up to the fact that all “event” tie-ins are garbage weighed down by a shit-ton of editorial mandates — surely free of these constraints, the writer behind 4 Kids Walk Into A Bank and We Can Never Go Home can give us a decent crime story, don’tcha think?

Jeff Dekal’s cover doesn’t necessarily inspire a ton of confidence — he’s been absolutely killing it over on Hulk, but his composition on this one seems a bit curious, to say the least, especially considering that Daredevil, Elektra, and Bullseye don’t feature in this book at all (apart from a cameo by Matt Murdock in his civilian guise), and it seems to me that if you’re gonna include superfluous characters in order to drive up sales, it might be best if one of them doesn’t look like he’s hopped-up on cheap bathtub crank. But who knows? Maybe I’m just old-fashioned — and besides, as with prospective romantic partners, it’s what’s inside that counts, right?

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Fortunately for us all, Kingpin #1 grabs you immediately on page one and doesn’t let go. Rosenberg’s characterization of Wilson Fisk is definitely “in line” with Vincent D’Onofrio’s portrayal of him on the Daredevil Netflix series — frightening, physically and psychologically imposing, ultimately unknowable — but with a crucial twist : his motives this time out appear to be far more personal and therefore more potentially dangerous. Yes, he seems determined to save “his” city and to employ his customary morally-ambiguous (to put it kindly) methods while doing so, but he knows that he’s got some serious image rehab to do first, and to that end he’s selected down-on-her-luck journalist Sarah Dewey to ghost-write his (auto?)biography. Dewey  is a fascinating and fully-fleshed out character who functions as both an eminently relatable audience stand-in and an immersive figure in her own right at the same time : her trepidation at “getting close” to such a dangerous figure mirrors ours, but her personal problems (divorce and custody issues, 12-stepping) are very much her own, and this comic ends up being every bit as much hers at it is the title-holder’s. She’s our “eyes and ears,” sure (and perhaps our conscience?) — but that doesn’t mean she can’t pull “double duty” and be very much herself while she’s acting in that capacity. I don’t know how many issues this series is slated to run, but I’m already hoping that Marvel finds a worthy spot for her once it’s over.

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But let’s hope this doesn’t end too darn soon — because not only does this book read well, it looks absolutely gorgeous. Artist Ben Torres borrows a bit from Frank Miller and Tim Sale here and there, it’s true, but he’s got a distinctive “medium-heavy” line all his own and, together with colorist extraordinaire Jordan Boyd, navigates the borderlands between noir and everyday urban not-quite-grime with a fluid ease that’s enough to make lesser talents downright jealous. A truly successful Kingpin book can probably only look one way, and guess what? This is it.

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Have I convinced you yet? If not, then I guess I’m just not doing my (voluntary, I admit) job well enough. Or maybe spot-on characterization, sparkling dialogue, superb illustration, and pitch-perfect colors all working in concert to accentuate a slowly-encroaching sense of dread and unease just isn’t your particular cup of tea. That’s entirely possible — but even if that’s the (unlikely) case, I’m still willing bet you just about anything that this issue’s simple-but-jaw-dropping cliffhanger will leave you wanting more.

So, yeah — I was all kind of impressed by Kingpin #1. Give it a chance I’m confident you will be, as well.

 

 

 

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Whatever you do, please — don’t call her “She-Hulk” anymore!

In the aftermath of the near-universally-panned (and not without good reason) Civil War II, Jennifer Walters is feeling even less herself than usual. Her cousin, Bruce Banner, is dead (for now, at any rate) and she’s recently spent a fair amount of time comatose, herself (as did most readers, but that’s another matter). So, with no “incredible” Hulk left, the now-adjectiveless mantle belongs to our gal Jen. Except — she really doesn’t want it. And she’s doing anything she can to remain calm and prevent her transformation from triggering. Her “mellowing-out” habit of choice? Watching YouTube cooking videos. I’d get downright sleepy, myself.

Oh, and she’s going back to the lawyering thing, taking on a new gig at a firm that primarily represents super-hero clients. That could be interesting, I suppose. Unfortunately, nothing else about Marvel’s new Hulk #1 is.

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Credit where it’s due : Nico Leon turns in some really nice, clean (if somewhat antiseptic) art on this first issue, and colorist Matt Milla is having all kinds of fun playing with various green tones (meant to hint at the inevitable, I suppose) in his color palette. But the tonal shift from the last few She-Hulk-centric titles to this one shows everything wrong with Marvel Now! circa 2016 in a nutshell : this comic just isn’t every fun, and almost nothing happens in it.

Granted, Jen has any number of good reasons for being a basket case these days, and for doing everything in her power to keep her alter-ego in check. She’s had a rough go of things lately. But seriously, when I say “in this issue she starts a new job and gets her first client,” that really does pretty much sum up the plot. Sure, there’s something weird about said client (besides the fact that she looks like Marina from John Byrne’s old-school Alpha Flight series — and who knows? Maybe that’s who she is), but it’s not like whatever mystery writer Mariko Tamaki has in mind for her is given anything like a gripping, or even mildly curious, introduction, and so the final-page cliffhanger? Yeah, it falls a little flat. And I honestly have to wonder how fans are gonna react to not seeing Jen transform into her green-skinned “better half” at all in this debut installment. A Hulk book starring She-Hulk? People can probably — or maybe that should be hopefully — get behind that. But a Hulk book with no Hulk in it at all? Even for a page? Can you say 70% drop in Diamond orders for the second issue?

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I’m sure Jeff Dekal‘s striking cover is going to be more than enough to entice some folks who were “on the fence” about this series when it was first solicited to give issue one a shot, but honestly, the storyline here is basically daring you to stick with the book, and offers prima facie evidence for the argument retailers are making (one which seems to be falling on deaf ears so far at 135 West 50th Street, but that’ll change soon enough) that this latest round of Marvel Now! is a loser. Second-tier characters thrust to the front of most major series while the few “A-listers” who do remain are shunted off into unpopular story arcs that see their powers, stature, or both reduced? DC tried that about 18 months ago with DC You, and in less than a year they were re-booting their entire line with Rebirth and embracing “back-to-basics” as the model of the future. Something tells me plans will soon be underfoot for Marvel to do something similar, given that the top-selling book of this “soft re-boot” — Mark Waid and Mike Del Mundo‘s The Avengers — didn’t even clear 100,000 in sales for its first issue. The writing, friends, is already on the wall.

And that’s too bad, because it’s the “marginal” titles that are the first to go when the orders to clear decks are handed down. For all the shit DC You got from fans, books like Prez and The Omega Men were actually really fucking good, but there’s no room for “outreach” series in Rebirth. It’s all tried, true, and depressingly conservative. If Marvel had stuck with a handful of “offbeat” or “non-traditional” books like The Unbeatable Squirrel Girl and Moon Girl And Devil Dinosaur, those titles could have co-existed peacefully alongside their major players on the shelves for years. But by trying to skew their entire line toward the “emerging reader,” the “established reader” is fleeing in droves, and in order to win ’em all back in 10 or 12 months, it’s the Squirrel Girls and Moon Girls of the world that are gonna bite the bullet to make room for double-shipped Thors and Spideys.

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So, yeah, Jennifer Walters isn’t gonna be the less-than-incredible Hulk for very long — and given how lackluster this comic is, that’s probably no bad thing. But in the larger scheme of things, getting our “old” Hulk back a year or so from now isn’t all that exciting a prospect, either. Not because I have anything against Bruce Banner per se, but because when Marvel’s tanking sales dictate that they hit the “reset” button yet again, it’s going to mean that a lot of books that are a lot better than this new Hulk are going to get a date with the axe that they don’t deserve. Squirrel Girl herself is nowhere to be found in the pages of Hulk #1, but her presence looms large over it nevertheless, because as I read this and other Marvel Now! titles, all I can do is shake my head and think about how much I’m gonna miss her when her series is canned along with the rest of the books in this doomed-from-jump relaunch. Good-bye, unconventional Marvel titles — it was nice knowing you while you lasted.