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Wednesday, July 17, 2024
Review: "DEADPOOL" Goes in Through the Back Door on the Superhero Film
Monday, July 10, 2023
Comic Books, Magazines and Books from Diamond Distributors for July 12, 2023
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Monday, December 26, 2022
DC Comics Shipping from Lunar Distributors for December 27, 2022
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Wednesday, September 28, 2022
Comics Review: "FANTASTIC FOUR: Full Circle" Celebrates the Past, Present, and Future
FANTASTIC FOUR: FULL CIRCLE
ABRAMS COMICARTS
STORY: Alex Ross
ART: Alex Ross
COLORS: Alex Ross and Josh Johnson
LETTERS: Ariana Maher
EDITORS: Charles Kochman and Tom Brevoort
COVER: Alex Ross and Josh Johnson
ISBN: 978-1-4197-6167-6; hardcover with dust jacket (also an eBook); 8 1/2 x 11 (September 6, 2022)
64pp, Color, $24.95 U.S., $31.99 CAN, £17.99 U.K.
Fantastic Four created by Jack Kirby and Stan Lee
The Fantastic Four #1 (cover dated: November 1961) is the comic book that basically started what we know of today as Marvel Comics and the “Marvel Universe” of superheroes. The Fantastic Four was created by writer Stan Lee and artist Jack Kirby, with Lee writing the story for the first issue and Jack Kirby drawing that first issue.
Returning to the Lee-Kirby era, Fantastic Four: Full Circle is a new original graphic novel from writer-artist Alex Ross. Published in an oversize format, 8½ x 11, Full Circle features the Fantastic Four (FF): Mister Fantastic (Reed Richards), the Invisible Woman (Susan Storm Richards), the Human Torch (Johnny Storm), and the Thing (Ben Grimm). In a story that is a sequel of sorts to a classic issue of the Fantastic Four, the members of the team find themselves fighting for survival in the Negative Zone, an alien universe composed entirely of anti-matter. The rest of Full Circle's creative team is comprised of Josh Johnson, who colors this comic book with Ross, and letterer Ariana Maher.
Fantastic Four: Full Circle opens on a rainy night in the Baxter Building, the Manhattan home of the FF. Ben is making himself a sandwich when an intruder suddenly appears in the team's living quarters. Upon investigation, they discover that the intruder is a man who once masqueraded as Ben Grimm. They soon discover that the man is a human host, used to deliver a swarm of invading parasites – carrion creatures composed of “Negative Energy.”
What is the purpose behind this invasion, and who is behind it? Now, the Fantastic Four have no choice but to journey into the heart of the Negative Zone, an alien universe that is parallel to Earth's universe and is composed entirely of anti-matter. They not only risk their own lives, but also the fate of the cosmos? Is there any hope for this journey, or will they discover hope?
THE LOWDOWN: I like that Fantastic Four: Full Circle has a direct connection to the Fantastic Four's vintage era (as I call it) when it was produced by Stan Lee and Jack Kirby. Full Circle directly connects to and is a resolution of Fantastic Four #51 (cover dated: June 1966). Entitled “This Man... This Monster!,” the story pit Reed Richards against an unnamed scientist who gives himself the powers and appearance of The Thing. The scientist's plan is to kill Richards, but those plans ultimately force him to save Reed's life while condemning himself to a sorry fate.
Full Circle returns to “This Man... This Monster!” in a deeply intimate way, or, at least, that is the way it comes across to me. In terms of graphics, illustrations, and colors, Full Circle is a direct descendant of the Lee-Kirby Fantastic Four. If Fantastic Four #51 is the parent, then, Full Circle is the child. Jack Kirby's dynamic, cosmic infused compositions are newly infused with the modern flourishes of the techno-marvels of software graphics and colors. Alex Ross even gives Stan Lee's chatterbox expositions new life simply by multiplying them in Full Circle, and Ross' take feels authentic. When one of the Fantastic Four speaks, their dialogue reads as if it were written by Stan the Man himself.
Alex Ross’s art in Full Circle is a combination of impressive line work and layers of brushwork that seems to sway like drapery. Ross and Josh Johnson color Full Circle in fluorescent shades: blues, greens, oranges, and purples. Their color choices also recalls the visuals and graphics of the “Pop Art” comic book movement (or moment) of the 1960s, somewhat similar to writer-artist Jim Steranko's work for Marvel, such as Nick Fury: Agent of S.H.I.E.L.D., in the late 1960s.
For a long time, I have described the comic books published in the 1960s by DC Comics and Marvel Comics, especially Marvel, as having a sense of wonder and mystery, of science/magic and hope, and of discovery and exploration. The modern comic book series that best exemplifies that is the late Darwyn Cooke's 2004 comic book miniseries, DC: The New Frontier.
Fantastic Four: Full Circle is both an homage and a return to a time when Marvel's comic book titles were about discovering the new. [Now, they are about IP maintenance and continuity, which is mostly fractured.] I love Ariana Maher vintage-styled lettering and the throbbing coloring that Josh Johnson commits with Alex Ross. All of it connects past and present.
I love that Alex Ross has presented Fantastic Four in this larger than usual format. Here, Ross' big, almost widescreen art both captures and replicates the big spirit and cosmic yearnings of Jack Kirby's best work on the Fantastic Four. I want to avoid spoilers, but I love Full Circle's ending, with its emphasis on hope, reconciliation, and peace.
Fantastic Four: Full Circle is published as the launch of “MarvelArts,” a new collaborative line of books between Marvel Comics and Abrams ComicArts. Abrams tells us that in MarvelArts “nothing is impossible and anything can happen.” I hope that this means that Abrams ComicArts will not just publish anything. Future publications should be as ambitious and as classically Marvel as this debut.
I READS YOU RECOMMENDS: Fans of the Fantastic Four and of Silver Age Marvel Comics will want Fantastic Four: Full Circle.
A
Reviewed by Leroy Douresseaux a.k.a. "I Reads You"
https://www.alexrossart.com/
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https://www.abramsbooks.com/imprints/abramscomicarts/
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https://www.abramsbooks.com/
https://twitter.com/Marvel
https://www.marvel.com/
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The text is copyright © 2022 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for reprint and syndication rights and fees.
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Monday, February 7, 2022
Comic Books, Magazines and Books from Diamond Distributors for February 9, 2022
Sunday, September 26, 2021
Review: First "VENOM" is Surprisingly Entertaining and Unexpectedly Good
TRASH IN MY EYE No. 57 of 2021 (No. 1795) by Leroy Douresseaux
Venom (2018)
Running time: 112 minutes (1 hour, 52 minutes)
MPAA – PG-13 for intense sequences of sci-fi violence and action, and for language
DIRECTOR: Ruben Fleischer
WRITERS: Scott Rosenberg and Kelly Marcel; from a screen story by Jeff Pinkner and Scott Rosenberg (based on the Marvel Comics)
PRODUCERS: Avi Arad, Amy Pascal, and Matt Tolmach
CINEMATOGRAPHER: Matthew Libatique (D.o.P.)
EDITORS: Alan Baumgarten and Maryann Brandon
COMPOSER: Ludwig Göransson
SUPERHERO/FANTASY/ACTION
Starring: Tom Hardy, Michelle Williams, Riz Ahmed, Scott Haze, Reid Scott, Jenny Slate, Melora Walters, Peggy Lu, Ron Cephas Jones, Stan Lee, and Woody Harrelson
Venom is a 2018 superhero fantasy-action film directed by Ruben Fleischer. The film is based on the Marvel Comics super-villain/anti-hero characters, Eddie Brock/Venom, to which several comic book writers, artists, and editors contributed in the creation of, most especially artist Todd McFarlane and writer David Michelinie. It is also the first film in the “Sony Pictures Universe of Marvel Characters” series. In Venom the film, a troubled television reporter gains superpowers after bonding with an alien entity that is part of an invasion force.
As Venom opens, a space exploration probe belonging to the bio-engineering corporation, Life Foundation, discovers a comet covered in strange lifeforms. The probe returns to Earth with four samples of these lifeforms, but one escapes. Later, Life Foundation CEO, Carlton Drake (Riz Ahmed), has realized that these lifeforms are “symbiotes,” and that they cannot survive without human hosts. However, soon after the symbiotes bond with humans, the humans' bodies start to reject the aliens. Drake is obsessed with finding the perfect human hosts for these symbiotes, even if his experiments lead to the deaths of many humans.
Six months later, Eddie Brock (Tom Hardy) is a failed television reporter and former star of “The Brock Report.” He previously had a run-in with Drake, but fate has given him the opportunity to infiltrate the Life Foundation. That is how Eddie has an unfortunate encounter with a symbiote that calls itself “Venom.” Eddie struggles to adapt to what he calls the “parasite” inside his body and is shocked to learn that there are millions more like Venom out in space. But Eddie will need Venom's help to stay alive when Drake and Life Foundation discover his strange union and come after him to retrieve their property – the symbiote Venom.
Except for his early comic book appearances, I have never been a fan of Venom, but I am a fan of Venom the movie. He is one of those characters whose potential reveals itself in the movement that television and film offers. The visual-effects crew of Venom does excellent work in creating Venom as a fascinating and alluring CGI character; noisy, chaotic, obnoxious, inconsistent, and aggressive work for this character. In fact, there are many inconsistencies in what is supposed to be the nature of human-symbiote relationship, especially in what are the rules of Eddie Brock and Venom's merger, but I found this movie to be too much fun for me to pay attention to logic.
Tom Hardy as Eddie Brock and Riz Ahmed as Carlton Drake make the most of two characters that are not that well developed, and the characters make a good adversarial pair. Even acclaimed actress and multiple Oscar nominee, Michelle Williams, manages to make Eddie's ex, Anne Weying, seem like something more than an obligatory female character. But still, the gold in Venom is the special effect that is Venom the character. I like Venom enough to watch a sequel...
7 of 10
B+
Monday, July 5, 2021
The text is copyright © 2021 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for reprint and syndication rights and fees.
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Monday, August 2, 2021
Comic Books, Magazines and Books from Diamond Distributors for August 4, 2021
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Monday, June 28, 2021
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