It's okay, though, as in the end we all die. Mediocre writing, competent, forgetable art.ĭisgustingly, however, I did rather like when Stark had to use the late-90s/early-2000s Iron Man armour. Hideous attempt at addressing vaguely real-world issues while ignoring the fact that that doesn't really work in a fantastic universe of magical space gods. A character points out that if Tony Stark stopped making cutting-edge weaponry, people'd stop copying it and using it for 'evil', but this is swept under the carpet. I am a shallow man with his head in the early 90s, that's allĪnyway, this was a readably dull comic that cringworthily tries to put a positive spin the fact hat Tony stark's a weapons manufacturer, while coming to the loathsome conclusion that is basically that whole dogshit "we need good people with guns to stop bad people with guns" thing.
IRON MAN WAR FULL
Captain America + USAgent, Thor + Thunderstrike, etc, so I figured I'd take this out of the library, what with the promise of it being full of different Iron Man variations and that. I'm a sucker for any osrt of ludicrous 'prismatic' comics stuff, showcasing different sorts of the main characters, eg. While the result is only moderately innovative, it is an entertaining read and Steve Kurth’s artwork makes for a visually pleasing reading experience. Iron Man soon finds himself facing off not just against the operators of his stolen technology, but the superpowered operatives of two major powers, only to find that this was all a machination by a third power to exploit the situation for their own ends. What elevates it from being merely a derivative retread is Fred Van Lentz’s consideration of how governments might employ the superpowered individuals and advanced technology of Marvel’s world to deal with the problems of this one. This by itself is a premise that hearkens back to David Micheline and Bob Layton's classic Armor Wars storyline from the 1980s, leavened with the politics of the European ethnic conflicts of the following decade.
Because of this, when he learns that Iron Man technology is being used by paramilitaries in a bloody civil war in the Balkans, he ignores both the advice of his friends and the warnings of the United States government and intervenes personally as Iron Man to shut it down. This is driven by more than mere protectiveness over his intellectual property, as having become Iron Man as a result of bring crippled by one of his own weapons, he understands on a personal level the horrors that can be unleashed by the issue of his inventions. One of the most consistent elements of Tony Stark’s characterization in the comics is his fear of his technology falling into the wrong hands.
Add another book on my list to look out for in my hunts. This is a great read and I hope to be able to get the follow up volume. Steve Kurth has a workable grasp of anatomy and though uses a realistic style he is still able to portray dynamic scenes. The art is consistent, as the original miniseries only had one artist throughout its run. This is a great idea since it won’t alienate the fans even as Marvel tries to attract new readership. This is apparent in his rogues gallery as long time readers would recognize the villains here as true to their established characterization in the monthly comics.
IRON MAN WAR MOVIE
The writer, Fred Van Lente does a pretty good job of blending the new movie continuity with the classical elements. Classical Iron Man was a POW in Vietnam, but movie continuity had Stark experience his heroic awakening at the hands of terrorists in Afghanistan. It draws a lot from the movies, where Tony Stark had Pepper Potts as his personal assistant and J.A.R.V.I.S. Reading this book, I realized that I only need to be familiar with the two Iron Man films that starred Robert Downey Jr.
It is still a hit or miss though, I still haven’t found follow ups to the trade I’ve enjoy. Sometimes I do luck upon standalone graphic novels that don’t require an encyclopedic knowledge of more than five hundred issues if continuity, such as the case of this book. Comic publishers often restart long running titles with a new number one issue in order to attract new readers and spike sales. Even if do get onboard with the first volume of the trade, there are rarely succeeding volumes available.Ĭomic books, which often have extensive back stories, are a challenge for new readers to jump in to the flow. One of my main complaints as mentioned in my other reviews of graphic novels I found in my bargain hunting is that I often get books that are middle or tail end of lengthy storylines.
0 kommentar(er)
