Tag Archives: danny rand

Iron Fist Returns to Netflix September 7

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Netflix has announced that Marvel’s Iron Fist Season 2 will debut globally on September 7th at 12am PT.

​Iron Fist Season 2 features ​Danny Rand (Finn Jones)​ ​as he fights against the criminal element corrupting New York City with his kung-fu mastery and ability to summon the awesome power of the fiery Iron Fist.

Season 2 furthers the transformation of Danny​, a character with a fish out of water coming of age story making his way in a harsh new world, battling to work out who he is. This season, Dann​y​ has promised that with Matt Murdock gone, he will step up and protect his city. ​But a sinister plot twist threatens his very identity ​and he must conquers his villains to protect the town and people he holds close to his heart.

​Marvel’s Iron Fist Season 2 stars Finn Jones (Danny Rand), Jessica Henwick (Colleen Wing), Sacha Dhawan (Davos), Tom Pelphrey (Ward Meachum), Jessica Stroup (Joy Meachum), Simone Missick (Misty Knight) and introduces Alice Eve (Mary Walker).

Review: Iron Fist #2

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In Iron Fist #2 Ed Brisson does what he does best, serving up gritty, realistic violence with a deep and interesting story. The story he gives us is made even more real when combined with the harsh, neorealistic lines of Mike Perkins drawings and Andy Troy‘s sunset laced color palette. The create team behind this issue make it so that the panels themselves become just as much a part of story as the characters portrayed within them.

In part two of “The Trial of the Seven Masters” we get a storyline reminiscent of The Quest (that film with Jean Claude Van Damme playing another white male who’s really good at martial arts) with more fights in the wild than in a circle surrounded by screaming fans. Danny Rand meets the people behind the people who took him to the mysterious island, where he is expected to engage in battle. The Council of Liu-Shi wants him to prove himself worthy through a series of tests, something that we all wanted when watching the Netflix series and, probably would have given a wee bit of clarity and legitimacy to the TV series.

Upon meeting the people who will be in the trials that he must engage in to be found worthy, I found myself a bit put off by the lack of definitive ethnicity in Perkins character sketches. There’s a slight bit of whitewashing of the features, coupled with a bit of cliched characteristics that weren’t overtly stereotypical but obviously drawn by a fan of old westernized kung fu flicks. This isn’t necessarily a bad thing but, it’s an observation. The thing about issue #2 is that the ethnic neutral and cliched faces coupled with all of Brisson’s dialogue about Iron Fist needing to prove himself worthy it feels like the creative team is calling attention to all of the issues that the Netflix series had and giving them a voice.

Iron Fist #2 is not a bad comic. It’s an interesting one with an updated more bitter Danny Rand searching for purpose and his place in the new world much like his outdated existence and whitewashed perspective permeated the Netflix series. The thing that differentiates Brisson’s reboot from the Netflix series is that Brisson’s version of Iron Fist seems to on some level acknowledge the cultural disconnect and takes steps to question it, if not rectify it. Continuing with the melancholy character introduction in the first issue, Iron Fist #2 builds on that and seeks to delve deeper into the context under which Iron Fist exists and how interchangeable Fist as a fighter is to Danny Rand the person. Brisson leaves the door open for real exploration and revamping and seems to be taking all of the right steps towards bringing Iron Fist into modern times, without keeping the stereotypical white savior tropes and turning it up to 11.

There’s real thought behind the words and actions of each and every character and it all seems to be coming together in a way that addresses the outcry about the series, except for the casting choices and strives to make the character relevant in today’s society. Brisson gets bonus points for letting us get to see the minorities whose culture is being appropriated by Iron Fist speak out about how they feel about it in subtext-laden conversations that the proctors of the “Seven Trials” have about Danny Rand and his rights to the Iron Fist mantle.

Story: Ed Brisson Art: Mike Perkins and Andy Troy
Story: 8.8 Art: 8.9 Overall: 8.8 Recommendation: Buy

Marvel provided Graphic Policy with a FREE copy for review

Review: Jessica Jones #7

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STL039933.jpgBrian Michael Bendis gives us another issue of Jessica Jones that reminds us why there should be more female writers, exploring female characters in the Marvel universe.

This issue has us on the hook for a solid five pages before we even get a glimpse of the title character. We are treated to five pages of set up involving Maria Hill because, all brunette, bad ass females are interchangeable. Bendis then goes into his character introduction of Jessica Jones by having two full panels of a fuzzy faced Jessica perusing the aisles of a liquor store.

The liquor store scenes could have been character building except when they’re coupled with the five pages of her saving a woman from her abusive date with the use of violence and then receiving a hug and immediate “friendship” for doing the right thing, you’re reminded that you’ve seen this all before. The next story arc for Jessica Jones spends the almost half of the comic book dealing with other people’s problems not on the one thing that we know is most important to Jessica, her family. Not only, is she relegated to a secondary story line in her own comic book, for the second time, the writer couldn’t even be original. We’ve seen this all before, the heroine looking for an escape, using liquor who saves a girl from abuse is the exact same start for the Elektra solo comic down to having someone else get multiple pages in the opening of the story.

If the unoriginal storytelling of the first half of the comic isn’t bad enough, Jessica is then forced to be subject herself to essentially begging Danny Rand to tell her where Luke and her daughter are and she gets not only mansplained to but, Rand proceeds to take care of her by telling her what she needs. Oh, you’ve lost your child? You should eat! If that cliched and condescending enough to all womankind, Jessica then briefly reunites with Luke and her daughter, which would be awesome if it was in any way rooted in reality. The reunion is all sweet and cheerful which makes little to no sense, because if Luke knew Jessica had no choice, then his BFF Danny would have known and told her but, if he didn’t this sweet reunion without any kind of talk before hand makes no sense. They have a brief conversation that takes up less than three pages and then Jessica, who has her family back and, possibly her good name is back off to the office, getting some rest and a drink, where she encounters a bloody and presumed dead Maria Hill.

Michael Gaydos gives Jessica’s world a dark, hopeless feeling. The panels are filled with harsh lines, deep shadows and the fallen Jessica Jones spots a gruff, hardened almost masculine face, like all of the women in this issue who are strong. There’s a sense of despair in the lines that show the sad state of disrepair that Jessica’s life has fallen into, she looks haggard, zombielike, and lost. In the earlier pages, Gaydos gives her the look of a junkie, her lost child and the return of her family seem to be the only fix that can save her soul.  That would be story accurate except he gives Maria Hill the same masculine and haggard look. It appears that’s just how he draws women. I suppose in a way it’s a step up from sexualizing and filling the pages with a male gaze but, there was so little attention to detail and so much clinging to the monotony that Maria and Jessica are indistinguishable except for their hair color and hairstyle.

The issue uses dark, shadowy tones, which ironically enough complement the downward spiral and aftermath showcased in the story being told. Matt Hollingsworth‘s color choices do their job of making the reader feel just as lost, disorientated and saddened as Jessica. The style isn’t the most sophisticated, it doesn’t feel like a throwback to older comics nor, does it feel new and stylized. The art is simplistic, like the by the numbers cliched storytelling. It’s kind of like the artists gave up the second that they saw the story they would be conveying in pictures.

The story is convoluted, unrealistic, and hackneyed. It is the epitome of what men think women want and are like. Bendis portrays Jones as a one-dimensional, agencyless, manic pixie detective for hire in her own story. There are so many character cameos, Cage, Rand, and Hill, that it feels like Bendis really wanted to write these other comics but, didn’t get hired so he’s cramming them all into the Jessica Jones’ solo outing and forgetting to tell her story in an authentic way.  He actually seems to take more care in the scenes that Rand and Cage are in making sure they’re featured than he does making sure that we know that it’s a Jessica Jones’ comic. Even the artwork is steadier and more detailed for the male characters than it is for Jessica. It’s insulting & derivative and trite and, both the readers and Jessica deserve more.

Story: Brian Michael Bendis Art: Michael Gaydos and Matt Hollingsworth
Story: 5.6 Art: 6.5 Overall: 6 Recommendation: Read

Marvel provided Graphic Policy with a FREE copy for review

Review: Iron Fist #1

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Stop me if you’ve heard this one before, a mysterious guy walks into a den of bad guys in an underground fight club, declares his entry into the competition to the big bad guy in charge and then lets him know that his opponent choice is every fighter in the room. Writer

Writer Ed Brisson sure knows how to start off a story in the most intense way possible. He then takes it down several notches with some of Danny Rand/Iron Fist’s inner monologue and the dual nature of his actions before he brings it back to the action. It’s decent storytelling that serves to gain your interest with some solid action, show you a peek inside the characters head, and then give you a bit more action and eventually the characters ultimate motivation. Brisson’s writing style is by the numbers storytelling, but his take on the classic structure seems fresh and it works.

Mike Perkins serves up gritty, dark classic comic style artwork. His style showcases the bleakness of the situation and the seriousness of Danny Rand’s story in the beginning of this arc. Andy Troy‘s color work is amazing and dark, reminiscent of the old school 80s comics and I’m beyond here for it. The story being told and the old school, pulp style of the artwork work well together to tell a cohesive story.

Everything about this issue is basic and simplistic, but that works in its favor for the most part. This issue provides us with what we’re used to, a bit of nostalgia but, with a bit of an update and twist to make something old and familiar felt new again.

Overall, it isn’t a bad story just limited. There’s also a lot less stereotypical white savior behavior and cultural appropriation in this restart of the Danny Rand story. Considering some of the comments that have been made by those who’ve been in charge of the Iron Fist legacy, a few where the words “oriental” were thrown around, I assume they reduced as much of problematic parts of the story line as they could. In this restart we see Danny Rand on a bender, using fights to soothes savage beast and, as his version of atonement. There’s mention of the appropriated parts of the Iron Fist’s back story but, it’s not front and center as it was in the Netflix series.

Brisson keeps things pretty low key and tells a story that seems very real of a fallen hero on a downward spiral and it’s a very good way to start an arc. It’s not classic Iron Fist, it’s darker in tone and deeper in texture than the source material but, maybe that’s just what this series needs to stay relevant and rid itself of its racist undertones.

Story: Ed Brisson Art: Mike Perkins Color: Andy Troy
Story: 8.7 Art: 8.6 Overall: 8.7 Recommendation: Read

Marvel Comics provided Graphic Policy with a FREE copy for review

Review: Power Man and Iron Fist #14

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Our favorite Heroes for Hire are back in action and doing the damn thing that makes us love their tongue in cheek personas and kick ass action panels. In Power Man and Iron Fist #14, writer David F. Walker has Danny and Luke trying to save Harlem from a demon possessed Alex Wilder and his attempts to reestablish the crime family, The Pride.

The issue starts off with a glimpse into the villain’s lair and master plot, saving our heroes for a few pages so that when they show up there’s a nice sigh of “hells yeah” and a sense that it’s bout to go down. Luke and Danny aren’t alone, they’ve got an assist from Senor Magico and, they’re all serving up all the campy classic fun that we’ve all grown to love. This issue also gives us some short but, engaging cameos from some of our fave villain foes and all of these tiny stories give the reader a glimpse at the big picture.

Sanford Greene and Lee Loughridge serve up some serious pulp comic, B-movie style artwork keeping up the style tradition of the characters. But, they also add a bit of a modern and more stylized twist into the mix making each panel seem fresh and inspired.

If you want a fun, engaging romp through Harlem complete with maniacal bad guys, blaxploitation style heroes, possessed junkies and some serious zombie action, then this is the comic for you. It’s got some social undertones, smart dialogue, great action, a good story and it’s well worth a look. This issue on its own is a page turner full of engaging characters, well-defined villains with clear motives and some reasonable shades of gray characters. The lines are drawn in this issue so that you can root for the heroes but, to also give the reader a sense of tension with all the body snatching going on. Extra points given for the modern pop culture references being spoken with the old school art that serves as the backdrop. I have a feeling that it will only keep getting better and I’m here for it.

Story: David F. Walker Art: Sanford Greene Color: Lee Loughridge
Story: 8.8 Art: 8.8 Overall: 8.9 Recommendation: Buy

Marvel Comics provided Graphic Policy with a free copy for review.

Review: Power Man and Iron Fist #10

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power_man_and_iron_fist_vol_3_10_textlessAfter a few months of being a Civil War II tie-in, Power Man and Iron Fist #10 has become a stone cold crime comic and a healthy helping of sub-plots. Luke Cage and Danny Rand (Fresh out of jail.) have put some former Ryker’s inmates to work for Heroes for Hire while trying to find out who created the software that got them there in the first place while enlisting almost every superhero in the Marvel Universe. (This gives Sanford Greene an opportunity to strut his stuff and put his mark on a variety of characters, including Thor, Miles Morales, and Kamala Khan.) But the arc from David Walker, Greene, and skilled colorist Lee Loughridge is really about setting up several groups of criminals, who think they can be the new kingpin of Harlem and eventually all of New York City, including Black Mariah, Tombstone, and Black Cat (who has been playing this game in a bunch of titles like Hellcat and Silk.)

Even though it’s filled to the brim with quirkiness, like criminals who filed their teeth as part of the Fang Gang or Luke Cage continuing to make “fiddle faddle” his new catchphrase, Power Man and Iron Fist #10 is all about community involvement and responsibility. Luke and Danny were partially responsible for the big Ryker’s breakout so they are making it their goal to catch the escaped inmates and help out those who weren’t really guilty by giving them employment through Heroes for Hire. They even call in some “outside contractors”, the aforementioned group of Marvel superheroes, and it is nice to see heroes working together for a common cause after all the mostly pointless Civil War II terribleness. But bad guys can team up too, and this issue is about supervillains, like Cottonmouth, Tombstone, and Black Mariah learning from past screw-ups to get organized and run the town. (And Black Cat calling out Pirahna on his garbage sexism is a triumphant moment even if she’s a criminal.)

With his ability to match color to mood and add a little punch to flashbacks, Lee Loughridge is one of the best colorists in comics. And he nails the “almost got ‘im” feel of Black Mariah, Cottonmouth, Piranha, and Tombstone’s failed attempt at a crime syndicate with his back-in-the-day sepia color palette that evokes an old yearbook or a rerun of a blaxploitation movie on a fuzzy local TV station. And yellow is his go-to color in the present day scenes and pairs well with Greene’s split screen panel layouts and Walker’s quick banter as Power Man and Iron Fist put Riggs and Murtaugh to shame as a well-oiled buddy action comedy machine.

Power Man and Iron Fist #10 is mostly setup for more intriguing events down the road thanks to a powerful cliffhanger, but its sense of humor, social responsibility, and idiosyncratic art and coloring style is still firmly intact. It hits that right sweet spot between crime comic and buddy comedy, and Sanford Greene continues to draw bodies of all shapes, sizes, and skin colors kicking ass, telling jokes, or being menacing in the villains’ cases in his Bronze Age meets animation art style.

Story: David F. Walker Art: Sanford Greene Colors: Lee Loughridge
Story: 7.5 Art: 8 Overall: 7.7 Recommendation: Read

Marvel Comics provided Graphic Policy with a FREE copy for review

Marvel Begins to Tease Netflix’s Iron Fist

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Marvel is already beginning to tease their live action Iron Fist series which will debut on Netflix some time after their next show Luke Cage which is set to debut later this year.

The company launched a teaser that linked to a confirmation of Finn Jones‘ casting as the title character.

In the official announcement Executive Producer and showrunner Scott Buck said:

Danny Rand is a very complicated character. He’s a billionaire New York Buddhist monk martial arts superhero who’s still trying to figure out what exactly that all means. Finn is able to play all these levels in such an honest, revelatory way that as soon as I saw him I knew he was our Danny.

Executive Producer/Head of Marvel TV, Jeph Loeb also said:

Finn wonderfully blends confidence with vulnerability, making him the perfect choice as he struggles to find his place in the world. Now that we’ve found our Danny Rand, we’ve completed our principal cast for the upcoming Defenders on Netflix and we are thrilled to continue to show audiences unexplored corners of the Marvel Universe.