It’s a tough life as a hero, but it’s even more difficult for a thief who wants to leave her alone to live her life. At least, if you ask Felicia Hardy, the black cat! This week, Marvel Rundown is G. The debut issue of her new series by Willow Wilson and Grev Melnikov brings the spotlight to Marvel’s best knot heroes. But that’s not all! There’s a review of regular lightning including Ghost Spider, Exceptional X-Men, Godzilla destroys Marvel’s universe, and all new Spider-Gwen, including Marvel All in One.
As always, beats want to hear from you, a real believer! Please let us know what you think about this week’s Marvel Comics! Please let us know by screaming in the comments section below or below on social media @comicsbeat or @comicsbeat.bsky.social.
Adam Hughes Black Cat #1 Cover
Black Cat #1
Author: G. Willow Wilson
Artist: Gleb Melnikov
Color Artist: Brian Reber
Letter: VC’s Joe Caramagna
Cover Artist: Adam Hughes
The series had high hopes for the strength of the creative team. G Willow Wilson, a coctor of Kamala Kahn and an architect who, alongside his personal favorite “Big Gleb” Gleb Melnikov about his duties at Art, critically praised the poison Ivy in DC was intrigued. Felicia Hardy is like an unpredictable character that can be placed anywhere and fun and spice-filled. Is she okay? Is she bad? Or a secret third thing? She lives by her own rules and becomes one of the few Spider-Man support characters who can actually pinned her own spinoff book.
This first issue meets my high expectations. This book has the fun, action, humor and charm that a black cat should have. Willow’s script includes all sorts of clever moments that flesh out Felicia Hardy beyond her looks and theft. This is a character who, like anything else, is obsessed with the technique and projection of wealth and taste. The way a black cat projects itself into the world is with a thief and a parcel. The obsessive need to steal, be at risk and play flashy games is another way to boost the world’s safe distance, along with expensive hair bookings and intensive training. There’s nothing authentic about the Black Cat except that she desperately wants to be seen as attractive and effortlessly attractive. She had heroism and Dareen, but Felicia is more interested in her own comfort and the comfort of those nearby. After all, becoming a black cat means being lonely. But when her charming life of crime slowly becomes too complicated thanks to Helgate and other existential threats, Felicia discovers she has no choice but to do the right thing. Wilson’s Felicia is clearly defined from the gate. While Felicia’s framing device could have been done without narrating directly to the audience, there is the appeal of certain ’80s films.
Gleb Melnikov’s linework is expressive and dynamic. The range of facial expressions that the black cat displays through this issue is fun. Wilson’s script is light and refreshing, and the art fits perfectly. With his big expressive eyes, the characters have the vulnerability to invite readers into their hearts. The fluidity of the brush strokes gives the figure movement and lifespan, but the panel layout is as good at pacing action as selling gags. And I thought there were some cheesecakes here and there, I thought it would never come out as free or exploitative. Combined with Wilson’s script, this feels like a fully empowered woman. She needs to project a particular lifestyle despite her hangs and knows who she is and what she can do. While it’s difficult to balance action and humor in a comic book without undermining the latter, Melnikov’s use of panel and page transitions has the same sensibility towards punchlines and punches, making the book feel consistent. The characters find themselves very lively in their design, their movements and emote methods and how they appear on the page. The lizard is a big, monster here, completely overwhelming every panel and page, highlighting Felicia’s physical outclassing. But then Melnikov flashes a close-up of Felicia’s resolved or sarcastic face, and you believe she can handle anything with her wisdom and charm.
Brian Leber’s colour is a bit calm and muddy tone in the book. The depth of shading and the depth of the saturated palette will be greater at the Batman or Punisher’s home. It finishes work, but is at a bit conflicted with the easygoing Caper tone and Melnikov’s cartoon. As always, VC Joe Caramagna is a solid and reliable letterer who can subtly reinforce words and balloons that bring dialogue to life. Marvel is lucky to have him.
Verdict: A fun crime caper runaway with likable characters and solid art. buy.
A quick overview
All new Spider-Gwen Ghost Spider #1 is one of the longest titles of Marvel Books in progress, all new Spider-Gwen Ghost Spider #1 does what a proper first problem should do. Author Stephanie Phillips sets everything up for new readers. So, since her debut, if you haven’t figured out what’s complicated for Gwen Stacy on Earth 65, this issue will help all of that and explain her new status quo at Earth 616. This will be a fun character moment (Cindy Moon on bass!) with mystery set by the end that ensures that you create a compelling drama. What’s frustrating is that poor match artist Paolo Villanelli and colorist Matt Mira are there for this character. For the character whose costumes are one of the more colorful spider breeding, Villanelli’s style uses a ton of negative space, and Milla’s ambiguous color palette appears to be in line with the horror comics. This works with sequences that involve murder and monsters. Again, although we’re talking about an ongoing book with a lead whose costumes famously employ bright pink and aqua blue. It’s a shame to see her in a costume made from dull magenta and light blues. At least Milla uses kaleidoscope colors in the band to give that page life. But much of the complaints about this issue lies in Villanelli’s poor storytelling and character acting. His numbers are too rigid in expressions that seem to only express shock to everything ongoing. Important storytelling moments make them more confused than they should. Watch the opening scene, a training battle between Gwen and the Black Tarantula. Splash, introducing Gwen, makes her swing into space before being attacked. Certainly it’s a surprising attack, but there are no actual established shots. Readers are not given a sense of geography or a clear idea of fighting choreography between the two figures. Similarly, when the blonde stranger is absorbed, the scene is intended to suggest a potential threat. Instead, Villanelli appears to have come out of nowhere to attack this man. These artistic choices overcomplicate the story, which is intended to portray a new audience for such iconic characters. The exceptional X-Men #12 begins to pay off for some of the long running threads that reveal that Bronze Crush Reggie is a mutant. This makes it fun to see Emma’s teaching style as well as the fun interactions between the teens and Reggie. After reading the huge size and Marvel adventures over the last few months, I admit I’m a bit tired of my trip to the X-Men past. I think pre-Dark Phoenix’s Saga Kitty Pride might be interesting and Kitty is naturally suited to the story of time travel, but I’m just expressing time travel fatigue at this point. There’s no knock on eaving as her writing continues to be part of X-Line’s most powerful character-driven work, as each member of the cast keeps the plot moving at a lively pace and every moment shines. Artist Fedrika Mansin’s stint on the Arts duties continues with this issue and overall has been solidly working on the issues. The two-page “Danger Room” style spread is a bit unstable to follow, but otherwise the layout is tight and well built. The body language is generally well-made. Their production of the young Kitty Pride, 13 and a half, is spot on John Byrne’s models, and is completely different from her adult designs. This is useful if any future solicitation is fine. Overall, this is becoming a fun arc for my favorite team book and I hope this series continues to post “Age of Revelation.” -jj Godzilla destroys Marvel Universe #2 Godzilla destroys Marvel Universe #2 #2 gives King of Monsters time to shine on Marvel’s biggest and Marvel’s worst glow. Written by Gerry Duggan and art and writing by Javier Garron, Paco Medina and Juann Cabal. It starts with the tragic flash of Godzilla’s rage still rampaging and venting readers what kind of fear it will inflict on Marvel’s universe. The rest of the issue does not match this opening tone. But it still instills a sense of despair as Godzilla rampages through New York and laughs at street-level heroes like Spider-Man and Daredevil, but the way Daredevil didn’t die anytime soon is shocking, and that might be the issue of this issue. Characters bounce off attacks, stomping, bashing from Godzilla, and bounce back in comedy-reading ways rather than serious. For example, consider when a “nameless bar” is destroyed by Godzilla’s feet. Instead of crushing the character under vultures, Shockers and his extreme weight, most, if not most, will come back for a swing in Godzilla. Even things as scary as the idea of Godzilla being poisoned are played for laughs. It works in some cases, but at some point there’s a huge amount of Marvel characters fighting Godzilla and they say, “Okay, one of them should die, right?” But the question ends before any of the real drama happens, and you wonder if Godzilla will destroy Marvel’s universe at some point, or make it inconvenient. I’m not in a hurry to see Spider-Man being killed, but it separates me from the story, especially when I see a character who was supposed to have died in a surviving life in books like this. – LM Marvel All #1 One Shot Marvel All in 1 One: The Mobel Universe follows the tradition of Thor #380 and Superman #75. This issue will be fully notified on the splash page! The full-page illustration shows Ben Grimm fighting through evil robots that replace all Marvel heroes and villains. The first volume of Ryan North Fantastic Fourlan has become known for its single problem stories that frequently feature unique storytelling devices. This story didn’t get into that volume, but honestly having it as a one-shot seems like an idea that works well. This kind of story is a showcase of artists in a way that Marvel has no more room. Something that may have been due to the year or Marvel Fanfare issue. So, if you want to show off your artists, you can’t be far better than Ed McGuinness (inked by Mark Farmer), one of the most dynamic superhero artists of the 21st century. There was no attack on North’s other artistic collaborators in that first volume, but not on the level of McGuinness. Honestly, it’s amazing that he hasn’t written a story that is a splash page yet. The way he draws characters with thick lines and depicts figures built on a large scale is useful enough for the expanded fisticuffs. Similar to his dynamic panel composition. He is an artist who knows how to draw a punch that is ridiculously overwhelming. So it’s an absolute joy to see Ben Grimmpunch, Smash and marvel through the universe of Marvel and destroy his path. If you want a showcase on why McGuinness is one of the best he’s ever been, these 22 pages are certainly one. – DM
Read more amazing reviews of Beat!
Like this:
Like loading…
