Category: MARVEL’s Hardcovers & Paperbacks

Written by John Byrne; Roy Thomas; & Dann Thomas.

Art by John Byrne; Paul Ryan; Mike Machlan; Keith Williams; Danny Bulanadi; Bob Sharen; & Bill Oakley.

Collection Cover Art by John Byrne; Chris Sotomayor; & Jerron Quality Color.

SUMMARY:

In 2008, Marvel Comics released this 232-page collection reprinting 1989-90’s Avengers West Coast # 51-57 and # 60-62.  As of Issue # 51, the Avengers West Coast (AWC) roster consists of: Dr. Hank Pym; Wanda Maximoff’s Scarlet Witch; the Wasp; the Vision; an estranged Hawkeye; Wonder Man; U.S. Agent; and a newly revived Golden Age Human Torch.  The team’s temporary guest is the widow of the Torch’s former partner, Toro.  Presently concealing his identity is Tony Stark’s Iron Man, who has rejoined the team. 

After demonic beings invade their Southern California compound, the AWC pursues Master Pandemonium to his limbo-like realm to rescue the Scarlet Witch and Vision’s twin infants: William and Thomas.  Through sorceress Agatha Harkness, the horrifying truth of the boys’ existence is revealed.  To help Scarlet Witch emotionally recuperate, Wonder Man makes an offer that the Vision adamantly refuses.  The Vision subsequently leaves the team to return to its East Coast division.

In an “Acts of Vengeance” tie-in, Magneto and Loki guest star, as the U-Foes attack an unsuspecting AWC.  “Acts of Vengeance” continue as the Mole Man’s above-ground threat brings in Iron Man, U.S. Agent, and Wonder Man.  Magneto attempts to recruit his near-comatose daughter, Scarlet Witch, to his cause.  Guest stars include Captain America, Thor, Falcon, Mockingbird, and a host of villains.  Wonder Man and U.S. Agent’s investigation in outer space ends with Wonder Man’s ominous disappearance.  It is also referenced that Wanda has been recently rescued from being a mesmerized Bride of Set.

Now corrupted, Scarlet Witch cruelly holds Wonder Man, the Wasp, U.S. Agent, and Agatha Harkness as captives.  With Immortus manipulating her descent into madness, the team needs her estranged brother, Quicksilver, and Lockjaw’s help.  

As the team struggles to overcome the evil consuming Scarlet Witch,  Perpetually imperiled, Avengers Compound is threatened with an eviction notice.  Captain America and Sersi make guest appearances, as two wartime Invaders are finally reunited.

Desperation time sinks in, as the overwhelmed AWC faces off vs. Immortus and his intended bride.  Among those in the evil Legion of the Unliving facing the team are: the Grim Reaper, Iron Man 2020, the second Black Knight, Left-Winger & Right-Winger, Swordsman, and Toro.  It ultimately comes down to the Scarlet Witch’s chaotic nature to cast the team’s fate against Immortus.              

REVIEW:

For the most part, writer-artist John Byrne’s storylines are as entertaining as his reliable visuals.  What does not age well is an abundance of cheesy and even cringe-worthy 80’s dialogue. If anything, the best legacy of Darker Than Scarlet … is how nearly fifteen years later writer Brian Michael Bendis smartly taps its main plot device to set up Wanda Maximoff’s relapse into madness come Avengers # 500-503 (plus Avengers: Finale) – aka the “Avengers Disassembled” arc. 

For that reason alone, this trade paperback is a fun nostalgia trip revisiting an Avengers West Coast franchise nearing the end of its prime.

ADDITIONAL FEATURES:

In a full-page format, the original cover precedes each issue.  The last page is John Byrne rendering himself in comic strip form.  The Byrne strip pertains to his single-page ‘confession’ of a Tigra goof in Avengers annuals that year.

BRIAN’S ODD MOON RATING:                       6 Stars

Written by Dwayne McDuffie.

Art by Paul Pelletier; Rick Magyar; Scott Hanna; Paul Mounts; & Virtual Calligraphy’s Rus Wooton.

Collection Cover Art by Michael Turner; Mark Roslan; & Peter Stiegerwald.

SUMMARY:

In 2008, Marvel Comics released this 168-page paperback reprinting 2007’s Fantastic Four # 544-# 550.  After Marvel’s initial Civil War, Reed & Susan Richards’s leave of absence means an extended, off-world (and far-overdue) honeymoon. Settling in as their replacements (after the ominous bombing of New York’s Wakandan Embassy) is King T’Challa/Black Panther and his bride, Queen Ororo/Storm. 

Along with a former Deathlok, astronaut Michael Collins, the new Fantastic Four takes on a cosmic mission putting them on a collision course with the Watcher Uatu, the Silver Surfer, and even Galactus.  The fate of the presumed-dead teen hero, Gravity, is revealed, as the Thing wonders if an outmatched Black Panther has fled a seemingly unwinnable battle. 

While working on scientific research with Hank Pym, Reed is unaware that Sue has been captured on Saturn’s moon, Titan, by a new Frightful Four.  On a viewscreen from Earth, the team is horrified seeing their old foe, the Wizard, torture a defenseless Invisible Woman.  Mr. Fantastic must lead the team on a rescue mission to save his wife that puts him into a vicious clash with the Wizard.  Worse yet, one of the Panther’s oldest foes strikes for his own vengeance.  Amidst a raging showdown, does an infuriated Invisible Woman pursue her own desire for retribution?

Completing their earlier cosmic odyssey, the team needs the additional help of Doctor Strange, the Silver Surfer, and one last hero to save the universe from imminent destruction.   

Note: This title is also available digitally and in hardcover.

REVIEW:

Aside from the cruelty inflicted upon Sue as the Frightful Four’s prisoner, writer Dwayne McDuffie concocts a terrific series of Fantastic Four adventures.  In addition to Sue & Reed’s martial sub-plot, McDuffie delivers high-caliber material meshing T’Challa & Ororo into a makeshift unit with the Thing and Human Torch.  Incorporating some welcome bits of comedic relief, McDuffie is very much on his game.  Equal to the task is the art squad, as their visuals are consistently well above-average.  Completing this package are superb covers from Michael Turner’s Aspen Studios.

Invariably, nothing monumental happens impacting the Fantastic Four dynamic.  It’s readily evident from the get-go that the classic status quo will resume come Issue # 550.  Still, The New Fantastic Four proves a welcome read for fans in search of reliable Marvel entertainment.

ADDITIONAL CONTENT:

A summary-to-date explains the Fantastic Four’s shuffling after Marvel’s first Civil War.  Appearing in a full-page format preceding its story, each cover is included.  The cover artists are: # 544 and # 548-550 (Turner, Roslan, & Stiegerwald) and  # 545-547 (Turner & Stiegerwald).  The last page displays Pelletier’s Issue # 550 pencil sketches for pages 4, 12, 14, and 23.

BRIAN’S ODD MOON RATING:                         8 Stars

Written by Roy Thomas.

Art by John Buscema; Sal Buscema; Gene Colan; Barry Windsor-Smith; Frank Giacoia; & Howard Purcell.

Collection Front Cover Art by John Buscema & Paul Mounts.

Collection Back Cover Art by Sal Buscema; Sam Grainger; & Paul Mounts.

SUMMARY:

In 2015, Marvel Comics released this 456-page compendium reprinting 1968-70’s Avengers # 57-76, along with the debut of Dane Whitman’s Black Knight in Marvel Super-Heroes # 17.  Starting with the Vision’s own debut, he leads the Avengers (Hawkeye; Wasp; Giant-Man; & new member Black Panther) into a showdown with Ultron.  Captain America & Iron Man join the team’s investigation into the Vision’s past. Also explained is Hank Pym’s amnesia linked to his creation of Ultron. 

The next arc has the brash Yellowjacket emerge in a sudden romance with the Wasp, as several guest stars attend their wedding.  Hank Pym’s ongoing identity crisis is seemingly resolved. Doctor Strange then accompanies Black Panther, Vision, Hawkeye, & the Black Knight on an adventure into Wakanda that gives Black Panther’s teammates some valuable insights. 

Black Widow’s abduction motivates Hawkeye to try his hand as ‘Goliath; (the team’s new Giant-Man).  Hawkeye’s murky past with hoodlum brother Barney Barton and mercenary ex-mentor, the Swordsman, is also revealed.  Thor’s vast might is sorely needed in the Avengers’ subsequent rematch with Ultron.  Forced into playing games with Kang the Conqueror means the team faces both the debuting Squadron Sinister and the Golden-Age Invaders.

Tag-teaming with the Kree’s Captain Mar-vell, Rick Jones resurfaces to help the team challenge Scorpio.  It’s then up to the Black Panther to thwart the Sons of the Serpent once they’ve targeted his private life.  Quicksilver seeks out the Avengers to rescue his sister, the Scarlet Witch, following  her abduction by Arkon (a mystical warrior from another dimension).  In closing, the supernatural origin of Dane Whitman’s Black Knight is revisited. 

REVIEW:

In blazing color, exploring these Silver Age exploits of The Avengers becomes an old-school Marvel fan’s dream.   Behold … The Vision delivers well-packaged nostalgia and lives up to all expectations.  This collection is highly recommended!          

ADDITIONAL CONTENT:

The original covers are presented in a full-page format.  Another full-page cover is from 1969’s King-Size Avengers Annual # 3 (by John Buscema & Frank Giacoia), though there apparently isn’t any story material in this particular volume.   Also provided is full-page, unused cover art for Marvel Super-Heroes # 17 (from Howard Purcell & Dan Adkins). 

There is also a black-and-white, full-page photo taken of artist John Buscema’s artwork from the first page of Avengers # 58.  Other black-and-white visuals are sampled from pages 19-20 from Issue # 58 (by John Buscema & George Klein). 

Next up is unused sketch work for the Avengers # 66 cover (by Barry Windsor-Smith & Syd Shores).  Black-and-white artwork featuring Ultron on page 11 of Avengers # 68 (by Sal Buscema & Sam Grainger) is provided.  Lastly, there is a Black Panther scene from page 17 of Avengers # 74 (by John Buscema & Tom Palmer).

BRIAN’S ODD MOON RATING:              10 Stars

Written by J. Michael Straczynski

Art by Ron Garney; Bill Reinhold; Matt Milla; & VC’s Cory Petit

Cover Art & Collection Cover Art by Ron Garney

SUMMARY:

Released by Marvel Comics in 2007, this 168-page paperback reprints The Amazing Spider-Man # 532-538 (from 2006-2007) entitled “The War at Home, Parts 1-7.”

In the Stamford, CT tragedy’s aftermath, Iron Man & Spider-Man, arrive on the scene to help and personally witness its horrific damage.  A subsequent White House meeting with the President prompts Tony Stark into admitting he is Iron Man, and that he will supervise a new U.S. policy’s enforcement.  Accordingly, Stark prods his protégé, the ever-reluctant Peter Parker, into publicly unmasking his long-kept secret identity.  The intent is to help motivate their peers into adhering to the controversial Superhuman Registration Act. 

The world’s reaction is mixed.  Including a multi-million dollar fraud lawsuit from The Daily Bugle, Peter must contend with tense ramifications, both personal and public, now that his private life is no more.

Peter already has second thoughts once Stark presumptively assigns him to the Registration Act’s enforcement squad.  Realizing what hardline tactics his boss is resorting to, Spider-Man’s crisis of conscience comes to a head.  Forced to risk the safety of his loved ones, wife Mary Jane and Aunt May, Peter makes a startling decision.   

As Marvel’s first Civil War progresses to its end, dark forces elsewhere plot to destroy Spider-Man’s life.  With Peter and his family now on the run as high-profile fugitives, the stage is ominously set for the next arc: Back in Black.

Notes: Marvel Comics identifies which scenes occur amidst specific issues of Civil War.  Also, Issue # 532 indicates that “The War at Home” would go six issues vs. the seven it later became.

REVIEW:

With satisfying depth, J. Michael Straczynski’s storytelling explores this game-changing event in Spider-Man’s life.  Specifically, Spider-Man’s Civil War role as its pivotal ‘everyman’ comes into clear focus.  Spidey’s encounters with Mr. Fantastic, Captain America, and Iron Man infer that only he conscientiously grasps all angles of the Registration Act’s dire ‘right and wrong’ vs. ‘whose side are you on?’ mentality. 

One question conveniently left unaddressed, however, is: besides Spidey and possibly Mr. Fantastic, shouldn’t there be other potential dissenters (i.e. She -Hulk) on Team Stark shifting away from pro-registration? Considering Stark’s harsh means of capture and incarceration, wouldn’t others object – without necessarily joining Captain America’s forces?   

Still, Straczynski’s plot twists are well-played, even if one sudden face-off isn’t unexplained.  It can only be surmised that Peter’s Avengers Tower suite has been under covert electronic surveillance upon Stark’s suspicions being aroused.  Had Straczynski briefly depicted Iron Man’s provocation to aggressively confront Peter, that would have been helpful  Otherwise, his scripting logically evolves from Point A to Point B, etc., giving Spider-fans a fully-developed and very readable seven-part arc.    

Working double-duty as both penciller and cover artist, Ron Garney presents consistently solid visuals.  His highlights include some superb facial close-ups (i.e. Mary Jane), often in dramatic moments.  In sync with Garney’s low-key style, the art squad’s other members contribute commendable work.  Though this particular storyline might not appeal to newcomers, The Amazing Spider-Man: Civil War delivers what it promises to faithful Spider-fans.        

ADDITIONAL CONTENT:

Garney’s cover precedes each issue.  Also included are two covers from artist Clayton Crain: his Issue # 538 variant and the Wizard # 182 (magazine) cover.

BRIAN’S ODD MOON RATING:                      7½ Stars

Written by Roberto Aguirre-Sacasa

Art by Jim Muniz; Scott Hanna; Jim Royal; Derek Fridolfs; Brian Reber; & Dave Sharpe

Collection Cover Art by Greg Land; Mark Morales; & Justin Ponsor

SUMMARY:

Released by Marvel Comics in 2005, this 144-page paperback compiles Marvel Knights 4 # 13-18 (from 2004-2005).  Although the initial two-parter appears untitled, it’s evidently named after the French horror movie it homages: “Eyes Without a Face.”  With the Fantastic Four now back to its normal business, Mr. Fantastic takes the Thing and Human Torch on an interdimensional mission exploring a possible distress signal. Unbeknownst to the team, the psychotic Puppet Master has become obsessed with restoring the eyesight of his blind niece, Alicia Masters. 

After multiple horrific failures, the Puppet Master abducts a mesmerized Invisible Woman to forcibly acquire her cosmically-enhanced eyes for surgical transplant into Alicia.  Both drugged by her uncle’s hypnotic clay, Alicia and a powerless Susan Storm Richards are on their own to fend off an axe-wielding Puppet Master.  Daredevil, Captain America, & Iron Man make cameo appearances. 

Next up is the four-part “Divine Time,” as eight minutes of reality have gone missing. With their celebration of young Franklin’s Little League team victory interrupted, the team accepts an enigmatic mission correcting chronal anomalies.  With Reed, Sue, & Ben Grimm trapped in pre-Ancient Egypt, their best chance to return to the present-day lies with the last person Mr. & Mrs. Richards expect to see. 

Meanwhile, Johnny Storm finds himself in a parallel Earth’s alternate future where Dr. Doom is its ultimate despot.  Encountering someone eerily familiar, Johnny realizes the Richards family’s youngest child has become this world’s last hope. 

In the present-day, Franklin and H.E.R.B.I.E. are being held captive by the vindictive Ramades the Pharoah (and one-upping son of Kang).  Once reassembled, the Fantastic Four realizes that it’ll take three resourceful generations of the Richards clan to thwart the power-hungry Ramades … that is, if there’s still time.     

Note: Issues # 13-14 closely mirrors the 1976 horror movie, “Mansion of the Doomed,” as it’s titled in the U.S.  More significantly, both plots date back to the 1960 French horror film, “Les Veux Sans Visage” (aka “Eyes Without a Face”). 

REVIEW:

Solidly illustrated and competently plotted, Marvel Knights 4, Volume 3: Divine Time is a relatively good read.  Though unlikely to attract new readers to the franchise, the unrelated storylines split the difference between fantasy-horror and an all-ages time-travel adventure.  Though instances of obvious gore are only implied, the initial two-parter has enough chilling moments that excludes “Eyes Without a Face” as a kid-friendly read.

Exploring “Divine Time,” younger readers may find its time-traveling ramifications confusing, or, even to some degree, boring.  Still, writer Roberto Aguirre-Sacassa (no matter how improbably) incorporates Franklin’s sub-plot well enough that kids should be able to relate to its visuals.  Also, each of the Fantastic Four (plus the unofficial fifth member, whether or not it’s son Franklin, daughter Valeria, or H.E.R.B.I.E.) receive welcome opportunities to shine.

Overall, this volume isn’t necessarily a long-term keeper, but Fantastic Four buffs should still be pleased.    

ADDITIONAL CONTENT:

A half-page briefly summarizes prior Marvel Knights 4 storylines.  Each full-page cover precedes its story.  The  cover artists are: # 13 (Frank Cho & Chris Sotomayor);  # 14 (as seen above); # 15 (Steve McNiven, Mark Morales, & Morry “MO!” Hollowell); # 16 (Tony Harris); # 17 (McNiven, Morales, & Hollowell); and # 18 (Mike Deodato Jr.).

BRIAN’S ODD MOON RATING:                        6 Stars

Written by Roberto Aguirre-Sacasa

Art by Steve McNiven; Mark Morales; “Morry “MO!” Hollowell; & Virtual Calligraphy’s Randy Gentile

Collection Cover Art by Steve McNiven

SUMMARY:

Released by Marvel Comics in 2004, this 168-page paperback compiles Marvel Knights 4 # 1-7 (also from 2004).  The first arc is the four-part “Wolf at the Door,” as the team unexpectedly faces a financial nightmare.  With their government funding revoked combined with a crooked accountant’s machinations, the Fantastic Four is imperiled by sudden bankruptcy, as well as eviction from The Baxter Building. 

Struggling with a new status quo (including the need for blue-collar jobs), it’s up to level-headed Sue Richards to lead and protect her family’s fracturing unity, as even her genius husband can’t resolve this predicament fast enough.  Ultimately, the Fantastic Four is forced to swallow its pride, along with multiple humility pills. i.e. how to best explain the matter to a very confused young Franklin Richards on his eighth birthday. 

While his family adjusts to new jobs and moving into a cramped apartment, Reed finds himself contemplating how he can be a better Mr. Fantastic for his family’s sake.  Last to take the initiative of helping his family stay afloat, 25-year old Johnny Storm takes a potentially major step towards maturity. Quick cameos include Tony Stark, She-Hulk, and Captain America. 

As chronicled in the three-part “Pine Barrens,” Sue, Reed, and Ben Grimm supervise Franklin and four of his friends on a camping trip into the remote New Jersey Pine Barrens.  Amidst peculiar interaction with locals and two publicity-thirsty filmmakers, the Richards/Grimm party soon encounters the horrific truth behind the local legend long dubbed ‘The Jersey Devil.’ 

Forced to protect Franklin and his defenseless buddies without her family, Sue alone faces a bloodthirsty alien horde.  Even Reed & Ben are hard-pressed to fend off the aliens, as their last hope may be the team’s most powerful and indomitable asset. 

Notes: One of Reed’s subplots poignantly concludes in Marvel Knights 4, Volume 5: The Resurrection of Nicholas Scratch.  Dialogue establishes that the Fantastic Four has been established for approximately a decade.  Hence, that timeline puts Sue at 29-31 now and that Johnny was only about 15-16 when he became the Human Torch.

REVIEW:

This volume’s creative team is definitely on their game.  Justifying the art squad’s superb visuals, Roberto Aguirre-Sacasa’s scripting ensures that every plot twist scores – even down to Johnny’s shallow love life with an equally self-absorbed supermodel. 

Thought it would have made logical sense, story-wise, to depict the team seeking legal consultation from Jennifer Walters’ She-Hulk, Aguirre-Sacasa’s decision to have the Fantastic Four fending for itself comes off as very plausible.  The scene of Reed politely declining Tony Stark’s offer of financial aid/housing speaks for itself.

The nightmarish camping trip arc proves another winner, though Reed’s new shape-shifting power is far too convenient, given the story’s dire circumstances.  If anything, Aguirre-Sacasa’s consistent storytelling spells out why Susan Storm Richards is the team’s heart, and soul, not to mention Volume 1’s MVP.  Hence, Marvel Knights 4, Volume 1: Wolf at the Door is a gem for Fantastic Four fans, as well as adults who appreciates a satisfying and well-produced graphic novel.  

ADDITIONAL CONTENT:

In a full-page format, each cover precedes its story.  The cover artists are: Steve McNiven (Issues # 1-2, and 6-7); and McNiven, Mark Morales, & Morry “MO!” Hollowell (Issues # 3-5).  The four-page “Evolution of a Page” goes from script to Issue # 4’s fourth page.

BRIAN’S ODD MOON RATING:                      8½ Stars

Written by Brian Reed

Art by Roberto De La Torre; Jimmy Palmiotti; Chris Sotomayor; & Dave Sharpe

Cover Art by Frank Cho & Jason Keith

SUMMARY:

Released by Marvel Comics in 2007, this 136-page paperback compiles Giant-Size Ms. Marvel # 1 and Ms. Marvel # 1-5 (from 2006-2007).  Waking up from House of M’s alternate reality, veteran ex-Avenger Carol “Ms. Marvel” Danvers finds that she isn’t Earth’s greatest hero.  Still, she aspires to up her game to potentially become the world’s ‘best of the best’ — Marvel’s Top Gun, so to speak.  Encouraged by her closest friend, Jessica Drew, Carol seeks to establish a high-profile name for herself – even hiring the biggest-name publicist representing Marvel heroes. 

A seemingly routine night patrol pits Ms. Marvel into solo combat against rogue alien forces in rural Georgia, which ends in a tragic catastrophe.  Facing The Brood and a formidable alien energy-based threat, an injured Carol finds herself lucky to survive.  Yet, the dissolved House of M reality conjures up yet another rematch pitting nefarious British sorcerer Warren Traveler vs. his perceived worst nemesis: Carol.  Ms. Marvel will need Doctor Strange’s help and possibly her enigmatic pet cat: Chewie, to thwart the deranged Traveler once more.  The final few pages set up Carol’s recruitment into Marvel’s first Civil War.  

Guest stars include The Fantastic Four and Jessica “Spider-Woman” Drew, with cameos by Captain America, Sharon Carter, Emma Frost, Scott “Cyclops” Summers, & Iron Man.

Note: This title is also available in hardcover. 

REVIEW:

Standing out most is Marvel’s assignment of a top-flight art squad to imbue Best of the Best with stellar visuals.  Unsurprisingly, reality mirrors art, as Carol’s desired rise to first-tier status parallels Marvel’s efforts to make her its long-sought equivalent to DC’s Wonder Woman.  There’s even an off-hand jibe knocking DC’s discarded Supergirl/Linda Danvers incarnation thrown in for good measure to parallel Carol’s ascent from obscurity.

The weakness, however, lies with Brian Reed’s occasionally wonky scripting.  The basic storyline is okay re-familiarizing fans with Ms. Marvel as a solo powerhouse.  Still, relying upon a forgettable new enemy like the Traveler isn’t likely going to stoke much interest.  Reed might have tried depicting Carol’s triumph over Mystique or another major baddie (i.e. Doctor Doom) to better herald Ms. Marvel’s revitalized star power.  Aside from a few grisly images, the Carol & Doctor Strange vs. Warren Traveler arc is readable enough, but it doesn’t likely leave one craving more.

More significantly, Reed often succeeds in making Carol likably down-to-earth enough to again headline her own title.  The unappealing flip-side is Carol’s self-absorption on becoming a glamorous celebrity super-hero vs. fulfilling any genuine sense of moral obligation to the public.  For instance, it’s amusingly plausible to see Carol cringe, as an ultra-controlling publicist repeatedly intrudes into her personal life, complete with a camera crew, no less. 

Note: Carol’s 1977-79 debut series ran twenty-five issues.

It isn’t so cute when this same Carol doesn’t bother flinching, let alone express any regret, over at least three thousand innocent people being vaporized in spite of her heroics.  This gut punch convey, though a weary Carol understandably wants to get some sleep, that such mass casualties are just part of ‘another rough night at the office’ to be shrugged off.  Even if Reed didn’t intend this inference, it’s still a poor reflection of Ms. Marvel’s reckless brand of heroism.

Ultimately, Best of the Best signifies the first step towards Carol’s eventual re-vamping into Marvel Comics’ next Captain Marvel.  The excellent artwork, however, can only disguise Volume 1 so much as a less-than-compelling read.

ADDITIONAL CONTENT:

In full-page format, the covers are included.  The Giant-Size one-shot cover artists are: Roberto De La Torre, Cam Smith, & Chris Sotomayor.  The Issues # 1-5 cover artists are Frank Cho & Jason Keith. Also included is Issue # 1’s variant by Michael Turner.  The last page displays some concept sketches from Roberto De La Torre.  

BRIAN’S ODD MOON RATING:                           6 Stars

Written by Duane Swierczynski. Art by Manuel Garcia; Lorenzo Ruggiero; Bit; Jim Charalapidis; & Blambot’s Nate Piekos.

Iron Man: Kiss and Kill Written by Jim Ahearne. Art by by Brian Ching; Michael Atiyeh; & Dave Sharpe 

Compilation Cover Art by Travel Foreman & June Chung.

SUMMARY:

Released by Marvel Comics in 2011, this 96-page compilation reprints Black Widow # 6-8 and the Iron Man: Kiss and Kill one-shot (from 2010-2011).  In Houston, Texas, Natasha “Black Widow” Romanova goes undercover to protect vengeful Nick Crane, the son of a dead U.S. Senator.  Word is out that Crane intends to publicly expose her involvement precipitating his father’s controversial death. 

Facing Black Widow is a lethal impersonator, Fatale, whose mercenary stock in trade is helping her employer blackmail high-powered U.S. political players as expendable pawns.  Set across multiple Eastern European locales, with Crane as a reluctant ally, Natasha aims to neutralize the enigmatic threat pulling this scheme’s nefarious strings.

In Kiss and Kill, Natasha (with some help from Pepper Potts) prepares Tony Stark for an undercover mission into Russia to probe the theft of an experimental Iron Man armored suit.  A familiar old foe awaits them having baited an alluring deathtrap.  With Tony forcibly transformed into an Iron Man-shaped, guided missile, his perilous team-up with Natasha may well change the course of Avengers history. 

Notes: Despite Wolverine’s romantic pose with Natasha on Iron Man: Kiss and Kill’s cover, he is not even mentioned in the story.

REVIEW:

Oddly, the first page’s artwork depicting a ‘presidential’ flashback is an immediate credibility killer – this supposed U.S. President appears far too youthful and contemporary to actually be one.  If the artist meant to convey a JFK-like figure, the sleazy imagery simply isn’t believable … that is, unless he is supposed to be a president’s playboy son.  Murky visuals for the adult-friendly Issues # 6-8, otherwise, are more than sufficient. 

Yet, it is contrived plot twists that hamper writer Duane Swierczynski’s murder-mystery/espionage tale at the wrong times.  Primarily, Black Widow’s undercover team-up with Fatale rings false, given the script’s dire circumstances.  Also escaping virtually unscathed from plenty of intense (and sometimes explosive) violence multiple times is another familiar dose of salt readers must swallow.  Overall, the Swierczynski tale still merits a single read – opting for an inconclusive finish is fine in theory, but this one falls far short of reasonable satisfaction. 

Note: In dubious taste, without using actual names, Swierczynski’s script lifts the real-life 2006 radiation poisoning of Alexander Litvinenko.

In the Iron Man team-up, its visuals are easily this collection’s best asset.  Though the plot is somewhat implausible, Natasha & Tony’s reliable chemistry delivers the necessary fun.  A cameo by the original Avengers is also a nice touch. 

Overall, the content of Black Widow: Kiss or Kill should be welcomed by Natasha’s fans.  The flip side, regrettably, is that its skimpy page count is unjustifiable.  Had this title been supplemented by additional stories (i.e. some vintage Black Widow/Iron Man reprints), then one would make a far more convincing argument that Kiss or Kill is a keeper.   

ADDITIONAL CONTENT:

Foreman & Chung’s three covers (Issues # 6-8) are included in a full-page format.  The same applies to Brian Ching & Chris Sotomayor’s cover for Iron Man: Kiss and Kill.  There’s also two bonus covers: Scott Campbell & Brian Stelfreeze’s Issue # 1 variant (resembling Scarlett Johansson); and a vampire-themed Issue # 7 variant by Stephane Perger.

BRIAN’S ODD MOON RATING:                       5 Stars