Alvaro Lopez

Daredevil 1.50 (June 2014)

Daredevil #1.50I'm really glad Mark Waid cares so much about Daredevil to craft the comic, and Matt Murdock, such a sweet story for the fiftieth anniversary of the character. It's a nice story. It's also completely pointless.

Waid tells a future story with Matt Murdock as former mayor of San Francisco (or something) and gives him a crisis to resolve–some mystery villain has made most of the city blind, including little Jack Murdock. Mom is a mystery but Foggy's around. He's probably supposed to be fifty too. He looks like a thirty year-old.

The story is slight and saccharine. Javier Rodriguez and Alvaro Lopez's art's decent, never anything more.

Then, to amplify the self-indulgence, Brian Michael Bendis does a text piece with Alex Maleev art. Comic book text pieces are real bad. Every time.

Finally, Karl Kesel and Tom Palmer do something goofy. It's bad, but they appear to enjoy themselves.

C 

CREDITS

The King in Red; writer, Mark Waid; penciller and colorist, Javier Rodriguez; inker, Alvaro Lopez. My name is Stana Morgan…; writer, Brian Michael Bendis; artist, Alex Maleev; colorist, Matt Hollingsworth. The Last Will and Testament of Mike Murdock; writer and penciller, Karl Kesel; inker, Tom Palmer; colorist, Grace Allison. Letterer, Joe Caramagna, editor, Ellie Pyle; publisher, Marvel Comics.

Harbinger 10 (March 2013)

269331 20130414062142 largeNow here’s a great issue. Dysart manages to turn the all-action issue into something with some content, probably because he’s got enough characters doing different things it can be a rewarding reading experience.

He opens with narration from Peter, but splits the issue between him and Faith. They have to do a rescue mission, only Faith’s the one who’s got to do the superhero stuff. The way Dysart splits the responsibility between them is part of the issue’s brilliance. His plotting here is exceptional. It’s so good, the issue can even withstand the awkward finish.

Dysart tries hard to reestablish Peter as the lead in the comic and he only partially succeeds. He still hasn’t made Peter function on his own, he always needs to be playing off someone. And the character works great with that constraint.

The art’s okay (credit should go to M. Hands).

Great, great issue.

CREDITS

Writer, Joshua Dysart; pencillers, Matthew Clark, Álvaro López, Dimi Macheras and Brian Thies; inkers, Clark, López, Macheras, Thies and Stefano Gaudiano; colorist, Mouse Baumann; letterer, Rob Steen; editors, Jody LeHeup and Warren Simons; publisher, Valiant Entertainment.

New Avengers: The Reunion 4 (August 2009)

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It ends very cute. Nauseatingly cute because of the pseudo-manga face Lopez gives Hawkeye. It looks like a Twilight comic or something.

McCann has a speedy read here but he gets a lot done. He has the big villain reveal, which is silly–I don’t care If McCann’s Mockingbird is a female character far better than most female superheroes… I don’t believe she’s a genius biologist for a minute. I also don’t believe Hawkeye’s over the age of fourteen, not with that yaoi-ready Lopez art.

But it works. It’s charming enough and cute enough. Though there are way too many panels with nonsensical expository dialogue, either explaining Hawkeye’s archery skills or silly chemical reactions.

Maybe the ending’s too cute. With McCann covering so much, I forgot about the diamond the couple make together. I’m still positive, even if it doesn’t sound like it.

Even with Lopez’s absurd Clint.

CREDITS

Writer, Jim McCann; penciller, David Lopez; inker, Alvaro Lopez; colorists, Daniele Rudoni and Marco Patrucco; letterer, Dave Lanphear; editor, Jeanine Schaefer; publisher, Marvel Comics.

New Avengers: The Reunion 3 (July 2009)

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Ah ha, so while she was on Planet Skrull–next planet over from Planet Hulk–Mockingbird (I’m sorry, I don’t know if I’ll ever be able to call her Bobbi) had a Skrull stalker who impersonated Hawkeye. Not just impersonated him, but filled her in on the details of his life.

It’s somewhat interesting backstory but the character doesn’t need it at all. Being kidnapped by shapeshifting aliens is enough. Instead, McCann just uses it to fill the issue… and to let Lopez do his retro art thing.

It’s an incredible narrative misstep for the issue because it takes up more pages than the regular story and is just explained as a fainting spell. But the series does appear to be the slightly comedic couples bickering comic book I’m always looking for and infrequently find. I wonder if anyone told McCann bickering couples comics don’t last long on the racks.

CREDITS

Double Indemnity; writer, Jim McCann; penciller, David Lopez; inker, Alvaro Lopez; colorists, Daniele Rudoni and Marco Patrucco; letterer, Dave Lanphear; editor, Jeanine Schaefer; publisher, Marvel Comics.

New Avengers: The Reunion 2 (June 2009)

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It’s a soap opera, but not as a pejorative. I mean, I could be nicer and say it’s a character drama, but it’s really not because the characters are solely defined by events, nothing deeper. So it’s a soap opera. And a damned good one.

Wait, wait, I do need to complain for a moment about the Lopez art. The sideburns on Clint? A disaster. A fashion disaster. Doesn’t Disney have any fashion people at ABC who can consult on these things?

For a while it seems like the issue is going to be a spy thing–Clint and Mockingbird are on this spy mission–but then it turns out it’s just about her dealing with coming back from the dead. Though there is some super-future James Bond type stuff and it’s lame.

McCann does a good job with a female protagonist, which makes Reunion rare for a comic.

CREDITS

Kiss Me Deadly; writer, Jim McCann; penciller, David Lopez; inker, Alvaro Lopez; colorists, Daniele Rudoni and Marco Patrucco; letterer, Dave Lanphear; editor, Jeanine Schaefer; publisher, Marvel Comics.

New Avengers: The Reunion 1 (May 2009)

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How clean can Lopez’s artwork get? I mean, he draws Clint like he’s some kind of Backstreet Boy. Mockingbird comes off a lot better–Lopez has a similar problem with Bucky Captain America, he looks about twelve. When he and Clint bicker–a decent scene too–it’s like the Little Rascals fighting over a gumdrop.

Still, it’s a solid enough first issue for what’s actually a pretty strange Marvel comic. Reunion might have been an a-list title back in the eighties, but today it’s just weird. It’s a retro book with a blandly (I mean that one in the nicest possible way) modern looking art style.

McCann isn’t a writer I’m familiar with, but his scenes–particularly the banter–is solid enough to encourage further reading. Given the plot–a Secret Invasion sequel–can’t be anything special, what else is there?

But I don’t believe Clint watches “Grey’s Anatomy.”

CREDITS

The Lady Vanishes; writer, Jim McCann; penciller, David Lopez; inker, Alvaro Lopez; colorist, Daniele Rudoni; letterer, Dave Lanphear; editor, Jeanine Schaefer; publisher, Marvel Comics.

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