Even though he’s mainly known as a member of the X-Men, Wolverine was an Avenger for quite some time in the 2000s and was a part of Brian Michael Bendis’ New Avengers team. In Hunt for Wolverine: The Adamantium Agenda #1, writer Tom Taylor, artists R.B. Silva and Adriano Benedetto, and colorist Jesus Aburtov get part of the New Avengers band back together as Iron Man, Spider-Man, Luke Cage, and Jessica Jones chase down a lead that a superhero’s DNA is up for sale at a black market auction. It’s a bit of a spy caper featuring characters with outsized personalities and a unique personal connection to Wolverine that is outlined in the opening, flashback sequence. Unfortunately, the art and colors don’t match the liveliness of the writing, and the book comes across as middling at best.
Throughout Adamantium Agenda #1, Taylor chooses sharp, simple plotting over labyrinthine, continuity heavy ones. The flashback sequence is something out of the M & M ad that has been repeated ad nauseam before every movie in a major theater for the past couple years with the New Avengers trying to defuse a touch triggered bomb for Maria Hill. Because of his healing factor and “unkillableness”, Wolverine goes for the sacrifice play even over Luke Cage and his bulletproof skin that culminates in Silva, Benedetto, and Aburtov’s best sequence: a double page, green tinged explosion.
The bomb plot is an easy way to establish the characters, create an emotional bond between them and Wolverine, and even have a little bit of action. Wolverine triggers the bomb instead of Luke because he doesn’t want his daughter, Danielle, to grow up without a father, and this creates a tender moment between him and Jessica. She has never looked so sincere when she thanks him for this, and even the awkward Ben Day dots that differentiate the flashback from the present scenes can’t kill the mood. Of course, Spider-Man is all jokes and buddy buddy with Wolverine because their awkward friendship is already pretty well documented.
This flashback leads into the present, reunion mission, and Tom Taylor channels his inner Roger Moore Bond film with a bit of an underground base submarine caper. His wit sparkles, especially every time Jessica gets in a quip, with jokes about everything from BitCoin to villain “safe spaces”, and probably the best joke of all is that Spider-Man just wears his regular superhero mask to the super, sketchy masked auction.
Faces aren’t R.B. Silva’s strong suit as an artist in Adamantium Agenda #1, and Adriano Bendetto’s inks don’t seem to make much of a difference except for things like making characters’ clothes seem lived in. During moments of extreme stress and emotion, he runs away from character faces like when Tony Stark is talking to Kitty Pryde about how much Wolverine meant to him, (I.e. the previous flashback) and the verdant Canadian landscape unintentionally becomes the focus on the scene. Silva’s hit or miss facial expressions, clumsy choreography, and some bad lighting choices from him, Benedetto, and colorist Jesus Aburtov really put the onus on Taylor to keep the story entertaining. And he does, for the most part, milking all the awkward humor and explosive action out of an undercover mission featuring characters not really known for their stealth. At least, Tony is at home with the sleazy one percenters.
Adamantium Agenda #1 has one hell of a cast of characters, and Tom Taylor wastes no time having them go on an epic mission with action, jokes, and the occasional heartfelt moment. The final page takes the miniseries in a completely new direction, but Jesus Aburtov’s muddy colors and R.B Silva and Adriano Benedetto’s less than expressive, half-assed superhero house art visuals keep this from being a surefire summer blockbuster hit.
Story: Tom Taylor Art: R.B. Silva with Adriano Benedetto Colors: Jesus Aburtov Story: 8.0 Art: 6 Overall: 7.0 Recommendation: Read
Marvel Comics provided Graphic Policy with a FREE copy for review
Luke Cage is back and Netflix has released ten new images from the second season of the television show. Included within is a solid look at Misty Knight’s bionic arm briefly seen in the new trailer.
After clearing his name, Luke Cage has become a celebrity on the streets of Harlem with a reputation as bulletproof as his skin. But being so visible has only increased his need to protect the community and find the limits of who he can and can’t save. With the rise of a formidable new foe, Luke is forced to confront the fine line that separates a hero from a villain.
Luke Cage Season 2 debuts on Netflix June 22, 2018.
After clearing his name, Luke Cage has become a celebrity on the streets of Harlem with a reputation as bulletproof as his skin. But being so visible has only increased his need to protect the community and find the limits of who he can and can’t save. With the rise of a formidable new foe, Luke is forced to confront the fine line that separates a hero from a villain.
Luke Cage Season 2 debuts on Netflix June 22, 2018.
Luke Cage shows off his superhero strength by competing in the physical and mental tests of the combine event, similar to the one that college football players have gone through on their way to the NFL Draft which begins today. In this clip, Luke takes on the combine to show his true power to the world and to himself.
It’s Wednesday which means it’s new comic book day with new releases hitting shelves, both physical and digital, all across the world. This week we’ve got Luke Cage!
Luke Cage Vol. 2 Caged! collects issues #166-170 by David F. Walker, Guillermo Sanna, Marcio Menyz, Rahzzah, VC’s Joe Sabino, Kathleen Wisneski, Mark Basso, and Jake Thomas.
Get your copy in comic shops today and in book stores May 1. To find a comic shop near you, visit http://www.comicshoplocator.com or call 1-888-comicbook or digitally and online with the links below.
Marvel provided Graphic Policy with FREE copies for review This post contains affiliate links, which means that if you click on one of the product links and make a purchase, we’ll receive a percentage of the sale. Graphic Policy does purchase items from this site. Making purchases through these links helps support the site
After clearing his name, Luke Cage has become a celebrity on the streets of Harlem with a reputation as bulletproof as his skin. But being so visible has only increased his need to protect the community and find the limits of who he can and can’t save. With the rise of a formidable new foe, Luke is forced to confront the fine line that separates a hero from a villain.
You can watch the complete second season on Marvel’s Luke Cage on Netflix starting June 22.
Defenders, Generation X, if we were making a list; next on the track of final issues of Marvel books is David F. Walker‘s run on Luke Cage.
David F. Walker who is also known for writing Shaft comics for Dynamite, has written the character since 2015 with Power Man and Iron Fist in the new All-New All-Different Marvel launch Post-Secret Wars before becoming a solo title Luke Cage in 2016. Both runs have been beloved. Unfortunately, issue #170 is the final and it’s a huge shame because the character has gotten newfound popularity thanks to the Netflix show which made it a good call on Marvel to publish solo series.
So for this final issue after the previous arc that went into dark places, David Walker decided it should be a bit lighter and fluffy so to speak. Does it work? It actually does.
On the “Power Mail” section at the end of the book, Walker mentioned the main inspiration was an issue of Uncanny X-Men and The Princess Bride and it shows. Not to mention, he had been wanting to do an issue about Luke Cage being a father to Danielle for quite a while since writing Power Man and Iron Fist. He saved this personal story for last. In an odd way, it’s kind of fitting.
We know Luke Cage is a badass dude, we know that and certain deep issues about him and the world around. But we have to remember, he’s also sensitive and does care about people. And given this issue is about his daughter Danielle, this showcases his fatherly side. Basically, Danielle has been having it rough at daycare and Jessica Jones makes the point that because they’ve been busy doing their own things, they haven’t had time for their own daughter as a result that may have her feel abandoned. So of course, he goes to comfort her.
What follows is pretty much what influenced the story. An entire tale of King Luke Cage and Princess Danielle who also happen to be superheroes and the latter having snakes as weapons coming out of her hands. Yes, you read that right. But the entire is wonderfully amusing that way because yeah, I’d expect a kid to think of this stuff especially the part about fighting trolls and dragon-tigers. It was funny but it took something of an emotional turn as it seems that something of Danielle’s feelings about her parents not being around much come to light but she still keeps on fighting and a rather poignant moment regarding the troll of the story which makes the point that and forgive me for the minor spoiler, the troll had a human face which makes the point that these trolls act big and tough sure but they’re not, they’re still weak. And that’s an honest to god good message that gives this issue much of an edge.
I can tell David F. Walker had a blast writing this story. It’s fluff sure but it’s very fun fluff to show Luke Cage as a parent. One of the reasons I connect with Marvel more than say DC is that the Marvel heroes are still people first. They’re people who happen to be heroes. Some are single people and others are couples or parents and Walker undoubtedly understands that.
The art by Guillermo Sanna is well done, it’s angular and stylized in a way that fits Walker’s writing especially given the subject matter and the colors by Marcio Menyz makes the art pop. And they both certainly fit the lighter tone of the issue.
Overall, it’s something of a fitting end to Luke Cage and I hope to see more of David F. Walker’s stuff for Marvel and whatever future beholds for Luke Cage. You won’t be disappointed. Just bring a tissue or two upon reading though.
Marvel provided Graphic Policy with a FREE copy for review
(W) David Walker (A) Guillermo Sanna (CA) Razzah
Rated T+
In Shops: Feb 21, 2018
SRP: $3.99
CAGED PART 5
• Luke is home at last, and all he wants to do is read a bedtime story to his little girl, Danielle.
• But is there something more to this fairy-tale than meets the eye?
The hype is strong out of the Marvel Cinematic Universe‘s newest addition — and not without reason. While I am prohibited from revealing major plot points or spoilers from Black Panther, what I would like to provide is a sort of guide to what you’re getting into. Think of it like a wine and cheese pairing list to prepare your appetite before you go into see this next film.
1. Avengers: Age of Ultron / Captain America: Civil War.
The second one may seem obvious — it was the first time we saw Chadwick Boseman as T’Challa on screen, and it tells us at least a little bit about his home country of Wakanda. But we’re also introduced for the first time to Martin Freeman as Everett Ross, who shows up a lot in Black Panther.
But many of us will have forgotten (or tried to forget?) that Andy Serkis showed up for about 10 minutes in Age of Ultron as Ullyses Klaue, a South African arms dealer who stole vibranium from Wakanda, which Ultron then took from Klaue, along with a sizeable portion of his arm. This becomes important, so it’s worth revisiting at least that scene from Age of Ultron, and then watching Civil War, because Civil War is just so. dang. good.
It’s also worth noting T’Challa’s character arc in the film, especially as it relates to him being on Team Iron Man. In Black Panther, we’re treated to seeing just how much he respects international law and being subject to the Sokovia Accords. . . which is not at all, as we first see him in the film running an operation outside of Wakanda’s borders to rescue a colleague.
Also, note the final scenes he’s in with Zemo, and with Cap and Bucky in Wakanda. Boseman’s character work and scripting is excellent here, and this carries over into our film here.
Oh, and anyone who felt teased by this scene where a Dora Milaje is about to throw down with Black Widow?
“As entertaining as that would be. . .” Well, we get that entertainment in Black Panther. And the wait is worth it.
This article by our own Troy Powell is a must-read. This is an incredibly thoughtful take on why Black Panther’s vision of afro-futurism is refreshing and exciting. Just go read it. I’ll wait.
3. Fruitvale Station and Creed
Director Ryan Coogler‘s career so far has been pretty well entangled with that of actor Michael B. Jordan and it’s great to see Jordan stretch his wings as the villain of Black Panther, Eric Killmonger. The MCU has often been faulted for relatively weak on-screen villains, but Killmonger is a rare exception.
To see their first collaboration, go back to Coogler’s first film, Fruitvale Station, which he both wrote and directed.It tells the true story of Oscar Grant who was shot by a San Francisco Transit Officer on New Year’s Day in 2009. It’s a heartbreaking story of hope and tragedy, and a film which I first reviewed as being “the best and most important film of 2013 that everyone who truly needs to see it never will.”
Coogler followed this up with the most unlikely of films– the Rocky franchise reboot/sequel Creed, also starring Jordan as the son of Apollo Creed who seeks out the aging champ Balboa to train him. The single shot of the young Creed’s first fight is such a masterwork of filmmaking it’s worth the price of admission alone.
You add onto that really brilliant character work and an intense understanding of the franchise, and you can understand why Coogler was a great choice to take on the MCU. Coogler grows as a visual director, and it’s great to see his growth from a low budget film to a medium budget studio film to using Disney/Marvel money.
4. That Kendrick Lamar soundtrack
Another common complaint about the MCU is lack of memorable music. And especially where the films have tried to pair up with popular music, results have been. . . mixed. Yes, I love hearing Foo Fighters play Walk in the bar in Thor (and over the credits), but it doesn’t quite mesh with the film overall. And then you have Soundgarden playing some nonsense over the credits to The Avengers — in my mind, the only problem with that film at all. They should’ve just licensed a good Soundgarden song and called it good. (How much better — and more fitting — would “Rusty Cage” have been there?)
But from the moment we heard a hip hop sample of “The Revolution Will Not Be Televised” in the first trailer for Black Panther, we knew we were getting something different.
While this current run on Black Panther may not have a lot to do with the movie from a narrative or character standpoint, it shares something incredibly important which is a social commentary. Coates’ opening run on Black Panther may have been set in Wakanda and been about the politics of Wakanda, but it wasn’t hard to see parallels to our current political situation in the US.
This is completely true of the film as well. It’s also clear that Coogler and Coates are of similar minds about presenting a critique of colonialism (and our current neo-colonialist attitudes towards Africa). Our film also hits hard on the oppression faced by black Americans, a struggle Coates has written on extensively and which finds itself woven into the philosophical discussions of A Nation Under Our Feet.
Beyond that, the basic premise of this run is whether T’Challa and Wakanda have some duty to the larger world or only to their country and their throne. That resonates thematically with T’Challa’s growth in the film. It’s also paced similarly– with lots of dialogue and character and less action.
On a side note, a quick shout out to one of my favorite podcasts, Funnybooks and Firewater, which covers comics and offers drinking games and custom cocktails to go with your reading. They covered this a few weeks ago, and if you ever wanted to hear four white guys from Utah and California struggle with their privilege and talk about why they love this book so much, this is worth a listen. Also, they’re currently halfway through Watchmen and inching up on their 100th episode, so check them out.
h/t to my colleague Jon Carroll, who recommended this to me. Starting in his 1998 run on Black Panther, Christopher Priest introduced the Dora Milaje and the character of Everett Ross, whom we see a lot of in this film.
7. Static Shock
Speaking of Christopher Priest, it’s worth mentioning and recommending Static Shock, which he co-created with Dwayne McDuffie (Rest in Power– we miss you still), Denys Cowan, Derek Dingle, and Michael Davis.
For kids of a certain age who will remember this fondly from the Kids WB lineup of cartoons, this was simply the height of early 00’s superhero awesomeness. It was also important to remember how groundbreaking this was at the time to have a superhero show led by a young black hero. Sure, Storm had been on the X-Men cartoon, but only as a part of a team that also included a fuzzy purple demon.
But this was the impetus for creating the character in the first place– greater representation and diversity in the world of comics and tv. Here’s hoping we also see more of him with the upcoming Young Justice continuation on Netflix as his inclusion was a highlight of Season 2.
8. Blade II
Yes, for all the hype about this being the first time we’ve had a black comic book superhero in a big budget Hollywood movie, we’ve forgotten that Blade was a Marvel comics character before Wesley Snipes took on the role. However, in my opinion, the first film was good, not great. But Blade II is the far superior film.
Directed by Guillermo del Toro, contender for Best Director this year for The Shape of Water, we get Blade teaming up with a vampire clan to take out the Reapers, new creatures that feed on vampires. This also reunites Del Toro with Ron Perlman from their previous work on Cronos, but perhaps more importantly, set up Del Toro and Perlman to make Hellboy.
The major difference between the Blade movies and Black Panther? It’s missing a broader social conscience. This is something the Blade franchise always seemed to approach but never quite executed on, using vampires as stand-ins for parasitic and oppressive capitalism and the resulting income inequality. You can read that into the first two Blade movies (we dare not speak about the third one), but it isn’t quite there in the same way Black Panther wears its social commentary on its sleeve.
Some have suggested along with Blade, I should also recommend Spawn, which also starred a black superhero. But then I would be recommending Spawn. And I just can’t bring myself to do that. The Summer of 1997 was very cruel to comic books at the movies. I’m still not sure what is the bigger ignominy– nipples on the batsuit or the entirety of Spawn.
9. Ultimates II
A Marvel animated film based off the second arc of The Ultimates, or the comics themselves, in which the Ultimate Universe versions of Earth’s Mightiest Heroes (which became a sort of meta-blueprint for a lot of the MCU) enter Wakanda and meet Black Panther.
10. Avengers: Earth’s Mightiest Heroes
Because one good cartoon deserves another, this cartoon series for some reason met an early death after only two seasons despite some amazing work. Klaue shows up fairly early, and T’Challa shows himself the equal or superior of all of our Avengers.
11. Luke Cage and Black Lightning
Last but certainly not least, these are great tv shows, and certainly Luke Cage is set in the same universe. But I didn’t want to just fall into a trap of just listing every superhero adaptation with a black protagonist. What sets these apart is a clear connection with a strong social commentary on what it is to be black in America right now. It should go without saying that if you aren’t watching Black Lightning every week on the CW, you should be. And if you somehow skipped Luke Cage on Netflix, it’s a good time to catch up, especially before the next season of Jessica Jones comes out in a few weeks.
Well, there we go. While certainly not an exhaustive list, this should help you as you wait patiently to see this film later this week.
Did I miss anything? Have a favorite Black Panther tie-in? Leave it in the comments section. Wakanda Forever.
Even though he’s mainly known as a member of the X-Men, Wolverine was an Avenger for quite some time in the 2000s and was a part of Brian Michael Bendis’ New Avengers team. In Hunt for Wolverine: The Adamantium Agenda #1, writer Tom Taylor, artists R.B. Silva and Adriano Benedetto, and colorist Jesus Aburtov get part of the New Avengers band back together as Iron Man, Spider-Man, Luke Cage, and Jessica Jones chase down a lead that a superhero’s DNA is up for sale at a black market auction. It’s a bit of a spy caper featuring characters with outsized personalities and a unique personal connection to Wolverine that is outlined in the opening, flashback sequence. Unfortunately, the art and colors don’t match the liveliness of the writing, and the book comes across as middling at best.
Another common complaint about the MCU is lack of memorable music. And especially where the films have tried to pair up with popular music, results have been. . . mixed. Yes, I love hearing Foo Fighters play Walk in the bar in Thor (and over the credits), but it doesn’t quite mesh with the film overall. And then you have Soundgarden playing some nonsense over the credits to The Avengers — in my mind, the only problem with that film at all. They should’ve just licensed a good Soundgarden song and called it good. (How much better — and more fitting — would “Rusty Cage” have been there?)
