Review: The Union #1 is a Half-Baked Attempt at Both a new superhero Team and an Event Tie-In
I was familiar with Paul Grist’s work from his work with Grant Morrison on the underrated (And, at the time, highly controversial) 1989 British indie comic St. Swithin’s Day where a disaffected youngster sets out to assassinate Margaret Thatcher. With the exception of the first page that is both written and drawn by Grist in a cheeky cartoonish style, The Union #1 lacks this book’s satirical edge and dark humor and introduces a fairly generic team of UK-themed superheroes to fight some fairly generic symbiote types connected to the King in Black crossover. The visuals from Andrea Di Vito, Drew Geraci, Le Beau Underwood, and Nolan Woodard are decent and have some decent energy any of The Union members use their abilities like Kelpie masquerading as a puddle in a training session against British soldiers. I also liked the recycled Phonogram: Rue Britannia plot point though.
I’m a big Anglophile and was really looking forward to a new team of British Marvel heroes in The Union #1, but boy, was I disappointed. There are the seeds of some good ideas in the book with Grist and Di Vito establishing from the get-go that the team is a big media stunt complete with making sure that England, Wales, Northern Ireland, and Scotland are each represented by a team member. They also establish a media pecking order with everyone wanting to speak to Britannia, and Union Jack, who has appeared in comics for the past four decades and even had his own series several times, getting out and out shooed by the breakfast TV host parodies, Phil and Suzanne. It’s kind of funny because Union Jack is really the only character in the book with any kind of personality even if his narrative captions are pretty basic commentary on being a hero for a long time (Yay sliding timelines!) and the legacy of British imperialism. The other team members, Snakes, Kelpie, and The Choir also get to showcase their unique powers and be generally sassy towards their government handlers. This sounds like a superhero book, I could get into, like Justice League International with a UK flavor.
However, character development and the dynamic between The Union, the British government, and corporate sponsor Steve Darwin is all thrown aside for an editorially mandated King in Black crossover that will last all five issues of the miniseries. Paul Grist and Andrea Di Vito really get into generic superhero team-up beats complete with hapless bystanders falling under some form of mind ,er, symbiote control and a telegraphed taking out of a main character before you have a chance to really get to know them (Again, think Phonogram.). There’s also the ol’ team rallying together in a big team pose instead of a cliffhanger that makes me want to pick up the second issue. (I will because I’m a softie for British superheroes, and with his reputation, Grist deserves another chance.)
As I mentioned earlier, Andrea Di Vito, Drew Geraci, LeBeau Underwood, and Nolan Woodard’s art is probably the less egregious part of The Union #1. For example, Woodard uses deep blacks for the symbiotes against the cloyingly bright palette of the Somerset to show how silly all the media prattle seems against a real threat. In the same scene, Di Vito, Geraci, and Underwood channel medieval compositions when Britannia goes against a symbiote dragon while quipping about St. George not actually being British, which is a nice bit of satire about the emptiness and historical inaccuracy of nationalist symbolism from Paul Grist. If only the rest of the comic could have synthesized wit and action like these pages. However, I didn’t have many complaints about the art. It’s easy to follow, and each team member has a distinct design and power set even if their personalities aren’t as fleshed out yet.
Paul Grist, Andrea Di Vito, Drew Geraci, LeBeau Underwood, and Nolan Woodard introduce a new British superhero team in The Union #1, but the novelty of new characters (and the return of an old one) is soon overwhelmed by one-dimensional characterization, predictable plot beats, and the burden of having to be an origin story and event tie-in. Also, Grist’s script lacks the bite of his U.K. indie work even though he gets a couple of licks in. I’m really curious to see how much of his original vision was “editorialized” out.
Story: Paul Grist Pencils: Andrea Di Vito with Paul Grist
Inks: Drew Geraci, LeBeau Underwood with Paul Grist
Colors: Nolan Woodard Letters: Travis Lanham
Story: 6.0 Art: 7.0 Overall: 6.0 Recommendation: Pass
Marvel provided Graphic Policy with a FREE copy for review