Iceman #7 has Bobby making an Ice-kaiju to use in battle with his old Champions teammates and also has many character defining moments for him. Writer Sina Grace combines the quick banter and pitched fights of old school superhero team fights with some relationship bits like Iceman going a little further in a sexy way with Judah and chatting with the Champions about his overcompensating, macho ways back in the day at a Russian bakery. Robert Gill’s art is serviceable, and he does something interesting things with spacing like making the new X-Men headquarters in Central Park seemed very crowded compared to Judah and Bobby’s nightly walks in L.A. Rachelle Rosenberg’s colors are much the same way even though she makes Bobby’s ice powers look extra badass.
Even though the story is chock full of superhero guest stars, Grace and Gill manage to chisel out an image of Bobby as a hero and man. Iceman is comfortable in team settings, making the jokes, and teaching the younger heroes, but he also wants to strike out on his own, date a new cute guy, and knows that the X-Men are in capable hands. The “villain” in this issue are special effects designers who are hoping to impress a Hollywood studio with their almost lifelike Sentinel replicas. Some heroes would throw these women in jail or in The Raft or somewhere, but Bobby realizes their mechanical talents and desperateness to be significant somewhere and helps find them professor jobs. He can make dad jokes and be honest, empathetic, self-aware, and sometimes impulsive like the end of this issue.
Even though the Champions don’t have their own movie or TV show, like the X-Men, Avengers, or even the New Warriors, Robert Gill and Rachelle Rosenberg deliver on a monster setpiece to open Iceman #7 and cash in on the promise of last issue’s cliffhanger. Bobby displays so much swag, creativity, and leadership in this fight and basically wants to get it over with so he can Netflix and chill with his man. Gill also draws some close-ups of Angel because he is sexy and hell and also because he and Iceman have a close relationship. Later, Grace and Gill use him for innuendo and class consciousness purposes when his wingspan can barely fit in Iceman’s New York apartment. Tempting as it maybe to transform Iceman into a slice of life, romance book, Bobby Drake has been a hero since the 1960s (In comic book years.), and he’s not going to stop even if he goes solo for real this time.
It looks like the Champions team-up isn’t going to continue beyond Iceman #7 although Sina Grace did a nice job of using it to set up an L.A. setting, connect Bobby to non-X-Men related parts of the Marvel Universe, and also dig into why he acted like a macho wannabe flirt in older comics. Grace, Gill, and Rosenberg use Ben-Day dot flashbacks from Bronze Age comics to explore and critique Bobby’s toxic masculinity when instead of treating Black Widow like a powerful ally, he hit on her and was immediately cut down to size. However, he has learned his lesson over the years and is starting to come into his own as a gay man. And this whole freedom thing goes into overdrive towards the end of the issue. But not after he roasts each and every X-Man before movie night.
Iceman #7 is a real turning point issue for the series in both sexy and non-sexy ways as Bobby Drake shows that he can do both the self-realization and transforming his body into Godzilla ice shapes thing. Also, it’s nice to have the same artist on two (not so) straight issues.
Story: Sina Grace Art: Robert Gill Colors: Rachelle Rosenberg
Story: 8.5 Art: 7.5 Overall: 8 Recommendation: Buy
Marvel Comics provided Graphic Policy with a FREE copy for review