Tag Mike Del Mundo

Once Upon a Time at the End of the World #5 Micro-Review – Riding That Thin Line

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***This is where we keep it nice and simple. Comic book reviews in 100 words or less. Straight, concise, and to the point.***

Once Upon a Time at the End of the World 5, cover, March 2023, Mike Del MundoTITLE: Once Upon a Time at the End of the World #5
AUTHOR: Jason Aaron
ARTISTS: Alexandre Tefenkgi, Nick Dragotta, Lee Loughridge (Colorist), Rico Renzi (Colorist), AndWorld Design (Letters). Cover by Mike Del Mundo.
RELEASED: March 29, 2023

By Rob Siebert
Fanboy Wonder

Great cover by Mike Del Mundo. Not necessarily accurate to anything that happens in the actual issue. But still tremendous work.

Maceo does something in this issue that serves as both a climactic moment, and a display of his love for Mezzy. It’s borderline hokey, and one of those things you can only do in a comic book, or maybe a cartoon. Yet somehow it still manages to be epic. It rides that thin line just enough to get a pass from me.

Email Rob at primaryignition@yahoo.com, or check us out on Twitter.

Once Upon a Time at the End of the World #4 Micro-Review – The Wild and the Woke

Rob Siebert 1 Comment

***This is where we keep it nice and simple. Comic book reviews in 100 words or less. Straight, concise, and to the point.***

Once Upon a Time a the End of the World 4, cover, February 2023, Mike Del MundoTITLE: Once Upon a Time at the End of the World #4
AUTHOR:  Jason Aaron
ARTISTS: Alexandre Tefenkgi, Lee Loughridge (Colorist), AndWorld Design (Letters). Cover by Mike Del Mundo. 
RELEASED: February 22, 2023

By Rob Siebert
Fanboy Wonder

We get a better sense of who our bad guys are in this issue. They give out merit badges for things like masculinity, religious intolerance, and golf. Our heroes are also referred to at one point as “the wild and the woke.” Which, come to think of it, could have been the title of this series. Either way, “woke” us such a buzzword nowadays that this is bound to irk some conservative readers.

Color me aghast.

Email Rob at primaryignition@yahoo.com, or check us out on Twitter.

Once Upon a Time at the End of the World #3 Micro-Review – The Evolving Dynamic

Rob Siebert Leave a comment

***This is where we keep it nice and simple. Comic book reviews in 100 words or less. Straight, concise, and to the point.***

Once Upon a Time at the End of the World 3, cover, January 2023, Alexandre TefenkgiTITLE: Once Upon a Time at the End of the World #3
AUTHOR: Jason Aaron
ARTISTS: Alexandre Tefenkgi, Nick Dragotta, Lee Loughridge (Colorist), Rico Renzi (Colorist), AndWorld Design (Letters). Cover by Mike Del Mundo.
RELEASED: January 25, 2023

By Rob Siebert
Fanboy Wonder

Between a full-frontal shot of old-man Maceo, and some well-placed F-bombs, this almost felt like an issue of Saga. Not necessarily in a bad way, though.

The most interesting thing about this book continues to be the evolving dynamic between Mezzy and Maceo. How they contrast, how they influence each other, etc. Thus far, the series has been at its strongest when it’s just the two of them. It’ll be interesting to see how that changes, or doesn’t change, as the story continues to expand.

Email Rob at primaryignition@yahoo.com, or check us out on Twitter.

Once Upon a Time at the End of the World #2 Micro-Review – A Spark of Sweet Humanity

Rob Siebert Leave a comment

***This is where we keep it nice and simple. Comic book reviews in 100 words or less. Straight, concise, and to the point.***

Once Upon a Time at the End of the World 2, cover, December 2022, Mike Del MundoTITLE: Once Upon a Time at the End of the World #2
AUTHOR: Jason Aaron
ARTISTS: Alexandre Tefenkgi, Lee Loughridge (Colorist), AndWorld Design (Letters). Cover by Mike Del Mundo.
RELEASED: December 28, 2022

By Rob Siebert
Fanboy Wonder

The most endearing part of Once Upon a Time at the End of the World thus far has been watching Mezzy, our hardened, no-nonsense survivalist extraordinaire, gradually warm up to her new companion Maceo. More than anything, it’s that spark of sweet humanity that has made these last two issues work so well.

Jason Aaron also uses this issue as a chance to fill in some of Mezzy’s backstory, as well as the larger world of the book. His ability to keep those storytelling plates spinning at the same time is commendable.

Email Rob at primaryignition@yahoo.com, or check us out on Twitter.

Once Upon a Time at the End of the World #1 Micro-Review – A Quality Recipe

Rob Siebert Leave a comment

***This is where we keep it nice and simple. Comic book reviews in 100 words or less. Straight, concise, and to the point.***

Once Upon a Time at the End of the World 1, cover, November 2022, Mike Del MundoTITLE: Once Upon a Time at the End of the World #1
AUTHOR: Jason Aaron
ARTISTS: Alexandre Tefenkgi, Nick Dragotta, Lee Loughridge (Colorist), Rico Renzi (Colorist), AndWorld Design (Letterer). Cover by Mike Del Mundo.

RELEASED: November 23, 2022

By Rob Siebert
Fanboy Wonder

What we have here is Jason Aaron’s answer to the post-apocalyptic YA romance novel.  And thus far, it’s a pretty good one.

We’re in a world that’s been ravaged presumably by climate change and pollution. Our only two characters are a pair of young people meeting for the first time. One is quirky and endearing, the other is quiet and deadly. We’ve also got art that’s fun, interesting, and versatile in terms of its ability to do action, comedy, and drama. All of this makes for a recipe for a good series. This is one to watch.

Email Rob at primaryignition@yahoo.com, or check us out on Twitter.

A Review of The Vision #12 – Having Your Cake and Eating it Too

Rob Siebert 4 Comments

Vision #12 cover, 2016, Mike Del MundoTITLE: The Vision #12
AUTHOR: Tom King
PENCILLER: Gabriel Hernandez Walta. Cover by Mike Del Mundo.
PUBLISHER: Marvel
PRICE: $3.99
RELEASED: October 26, 2016

***WARNING: Spoilers lay ahead.***

By Rob Siebert
Editor, Fanboy Wonder

Hey, Tom King? Gabriel Hernandez Walta? Jordie Bellaire? Everybody involved with The Vision? Meet me in the second ‘graph, please…

Well done. Seriously. This series is a masterpiece. A perfect masterpiece? Maybe. That depends on a lot of things, not the least of which is the reader’s personal taste. But you’d have to do a lot to convince me this isn’t a master class in comic book storytelling, and a high point in the Vision’s near 50 year history.

(And yes, I stole a Jon Stewart bit. He’s not on TV right now. I miss him. Sue me.)

This final issue of The Vision sees our titular character finally face the reality of what his wife Virginia has done, and what his dream of having a family has become. We also get a look at how these events shape Vision, and what remains of that family, going forward.

vision-12-silentWhat has fueled this whole story has been Vision’s motivation to be human. As he flat out said to Scarlet Witch last issue, “I want to be like everyone else.” Therein is the underlying tragedy of this whole thing. He wants it so badly, but he can never truly have it.

That’s why there’s such a a morbid irony what Vision does when he finds out his wife has, for all intents and purposes, poisoned herself. He tells Virginia to use her powers to phase the substance out of her, and that he’ll use his status as an Avenger to correct the murder confession she gave to the authorities. He wants to reap the benefits of his family’s super powers, and his status as an Avenger to save this illusion of normalcy he’s created for himself.

He’s trying to have his cake and eat it too. That’s what he’s been trying to do this whole time. And of course, life doesn’t allow for that. But Virginia sacrifices herself to save Vision out of love for their family. And as we see in the flashbacks, she modified his memories to protect him. As tragic as it all is, it illustrates that Vision was able to create a loving family for himself, only to have it taken away from him.

I imagine this is part of the reason why this series has resonated so well with readers. These characters aren’t looking for something so firmly planted in the realm of fantasy, or even overtly selfish. They’re looking for love and acceptance, as well all are.

We see/hear Virginia’s confession to the police over the course of three pages, which Jordie Bellaire colors in a blaze of yellows, oranges, and reds (shown below). It’s a cool effect, though I’m happy we only see it for a limited time. It’s tough on the eyes after awhile. Bellaire may be the unsung hero of this book. The muted palette she’s used for this series has worked wonders.

vision-12-neon-gabriel-hernandez-waltaI had seen Gabriel Hernandez Walta’s work prior to The Vision. He did some fine work on Magneto, and I have a miniseries he did for IDW called The Suicide Forest. But The Vision made him a star. At least in my book. His rendering of the family is very human and familiar, but at the same time distinctly and hauntingly different. In this final issue, he’s at his strongest during Vision and Virginia’s final scene together. Some of it’s in the very subtle nuances of a facial expression. At other points its more blatant, i.e. the panel where we see tears on Vision’s face. It’s a scene that grabs you and doesn’t let go, even after you’ve closed the issue.

The lone element in this series that left me unsatisfied was the role Scarlet Witch played. In issue #7, we see that she incited all of this. Not just by giving Vision her brainwave patterns, but her relationship to Vision as a whole. I had hoped to see a bigger emotional pay off between Wanda and Vision. She has a scene with Viv in this issue, where we see there’s something of a motherly bond between the two. That’s another ball of wax entirely.

I have mixed feelings about Viv’s survival, and her continued appearances in books like Champions. Especially with Tom King not at Marvel anymore. What he, Walta, and this team created is so unique, with a vibe and tone unlike anything else at Marvel right now. I almost wish we could let this remain a crystalized masterpiece for awhile before thrusting Viv into the Marvel Universe at large.

But of course, that’s not how mainstream superhero comics work.  In the end, everyone at The Vision has done something few creators at DC and Marvel get to do. They opened a new door for storytelling that other creators can now walk through and explore. In the process, they added a new dimension to a long-standing, yet often under appreciated piece of the Marvel lore.

So I’ll say it again: Well done, folks. You made great comics.

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A Review of The Vision #11 – The Burden of Being Different

Rob Siebert Leave a comment

vision #11, 2016TITLE: The Vision #11
AUTHOR: Tom King
PENCILLER: Gabriel Hernandez Walta. Cover by Mike del Mundo.
PUBLISHER: Marvel
PRICE: $3.99
RELEASED: September 21, 2016

By Rob Siebert
Editor, Fanboy Wonder

As amazing as this series has been, and as much of a landmark as its been for the Vision, ending it next month is the right move. This story feels like it has a distinct beginning, middle, and end. Better they not try to forcibly extend it, especially now that Tom King is exclusive to DC.

With his son dead, Vision is over the edge. He’s set to kill his son’s murderer, and his own
“brother,” Victor Mancha. But Iron Man, Thor, Spider-Man, and a litany of other Marvel heroes are standing in his way. Now it’s one against many, as Vision fights for revenge. But he’s not the only one in the family out for blood…

The Vision has an appreciation for the character’s history that does tremendous things for this story’s depth. Case in point, the caption boxes in this issue take us back to Vision’s origin, plucking actual dialogue written by Roy Thomas in 1968. We’re reminded of how he came to be, and that ironically his original purpose was to kill the Avengers. We read Utrom’s first words to him, and later his first words to his wife Viv, reminding us he’s come full circle. King is working with Vision’s history, and using it to support his story. Writers don’t always take that route, and I credit King for doing his homework.

The Vision #11, Gabriel Hernandez Walta, cooperation

The series has been building to this fight with the heroes since issue #1, and it doesn’t disappoint. It gives our heroes a painful reminder: If the Vision goes bad, they’re in big trouble. He disposes of some of Marvel’s big guns with unsettling ease. It’s not epic or event-comic worthy, but Walta and colorist Jordie Bellaire give us something satisfying that still fits with the tone they’ve set. Also, seeing Bellaire color all these flamboyantly dressed heroes is a thrill, considering we’re used to seeing a more subdued  palette from this book.

There’s also a certain gritty texture to Walta’s art that accentuates the grim undercurrent in this series. It’s especially powerful in quiet scenes, like the one we see here with Virginia and Viv. There’s a heart-wrenching scene where the Vision family dog exits the series that’s almost too good. Human-on-animal violence is risky territory, even if the subjects in question are robots.

Another moment the series has built to is Vision’s reunion with Scarlet Witch. This felt like it should have been a fight. Vision tries to burn the world to the ground, and the only one standing in his way is the woman that inspired him to create a family in the first place. Instead, Wanda just says some stuff about understanding him, and how he won’t be able to come back from this. That’s all well and good. But that’s it? I’m hopeful this was just an appetizer, and a more physical confrontation will come next issue.

Though to his credit, Vision’s last words to Wanda in this scene are poignant, and even insightful: “I’m so sorry, Wanda. I do not think that you understand That you ever understood. I want to be like everyone else.”

Vision #11, 2016, Scarlet WitchOf all things, this reminds me of the talk show scene in Edward Scissorhands. Edward makes a comment about wanting to meet a corrective surgeon, and a pair of ladies in the audience can’t understand why he wouldn’t want to be “special” anymore. The whole “burden of being different” thing obviously works for this book.

King, Walta, and everyone on The Vision have done something great with this book. They’ve brought out the best in a B-list character, elevating him in the process. Just because it’s right to end it next month, doesn’t mean I”m glad to see it go…

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A Review of The Vision #7 – The Scarlet Witch Issue

Rob Siebert 1 Comment

The Vision #7, 2016, Mike Del MundoTITLE: The Vision #7
AUTHOR: Tom King
PENCILLERS: Michael Walsh. Cover by Mike Del Mundo.
PUBLISHER: Marvel
PRICE: $3.99
RELEASED: May 11, 2016

***WARNING: Spoilers lay ahead.***

By Rob Siebert
Editor, Fanboy Wonder

Tom King, author of The Vision, said not long ago that the title character’s relationship with Scarlet Witch has haunted this whole series so far. To me, she’s as big a character in this as anyone in the family…” In this issue we finally find out why that is.

In a development that shouldn’t necessarily come as a surprise to those familiar with Vision’s history, issue #7 lets us know that he created his robotic wife Virginia using the brain patterns of Wanda Maximoff, a.k.a. Scarlet Witch. We also look back at some of the pivotal moments in their romance, and how Vision came to be in possession of Wanda’s brainwave patterns. It’s actually surprising how simple it turns out to be.

The Vision #7 (2016), title pageWe knew Wanda was going to play a role in this series at some point. When they revealed how Vision created his wife and family, there was really no other option, was there? It had to be her. Who else could it have been? Her appearance was inevitable.

Thankfully, it doesn’t disappoint. We spend virtually the entire issue going over select moments in Vision and Wanda’s history. We see part of their first night in bed together (left), we see them at home, we see them argue, we see their family life, and we see the awful consequences of Vision losing his memory in Vision Quest. Toward the end, we also see what seems to be a reconciliation, and just how pivotal Wanda was to Vision’s attempt at the American Dream. There’s some great plot symmetry with how King involves Wonder Man in all of this. This issue is a prime example of how continuity can be used to bring depth to a story, so long as one doesn’t rely too heavily on it. In King’s case, he uses it as Vision’s motive. It also adds a hell of a lot of depth to the eventual confrontation between the two.

Gabriel Hernandez Walta has the issue off, and he’s definitely missed. To be fair, his style isn’t that different from what guest artist Michael Walsh gives us here. The main difference is Walsh is a bit smudgier than Walta. But it’s not a drastic change. The biggest complaint I can throw at this issue from an artistic stand point is there’s a word balloon with its tail going the wrong way. Colorist Jordan Bellaire is back on this issue, and definitely helps ease the transition. Thankfully, Walta will be back next month.

The Vision #7, 2016, Michael WalshThe only moment in this issue that stands out as awkward is when we peek in on a past battle between The Avengers and Count Nefaria. They’re literally making out behind a tree during the fight (shown right). I”m not sure I would have framed the scene this way. At one point, we literally see a car thrown against the side of a building. It seems like it’d be more logical to see one tending to another, using a strewn about vehicle for cover. At the very least, I’d have made that tree a bit bigger. It’s like…HEY! We see you! EVERYBODY can see you!

Awkward make-out spots aside, from a story perspective The Vision is the best superhero title either of the big two companies are putting out right now. It’s a fantastic blend of super-powered fantasy, mixed with suburban paranoia, and a really thick sense of looming tragedy. From the start, we’ve had this sense that something really, really bad is about to happen. At it keeps getting closer…

Images from author’s collection.

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A Review of The Vision #1 – Family Matters

Rob Siebert 3 Comments

The Vision #1, 2015TITLE: The Vision #1
AUTHOR: Tom King
PENCILLER: Gabriel Hernandez Walta. Cover by Mike Del Mundo.
PUBLISHER: Marvel
PRICE: $3.99
RELEASED: November 4, 2015

By Rob Siebert
Editor, Fanboy Wonder

Well this isn’t creepy at all…

Marvel’s “All New, All Different” take on The Vision sees our human-ish robot hero living an entirely different life than he’s ever known. Having recently erased his “emotional memories,” Vision is now working as a liason between The Avengers and the United States Government. What’s more, he’s created a family for himself. He now has a wife named Virgina, and two teenaged children named Vin and Viv. But what Vision has done, both to himself and with the creation of his bizarre family, will come with repercussions. And he will face them much sooner than he thinks.

There’s a very ominous, unsettling vibe about this issue. As the pages go by, you feel something very bad lingering under the surface. Granted, our narrator (whose identity is unknown) flat out tells you something bad happens later. But it goes beyond that. The issue has that same tension that comes with a lot of scary suburbia stories where the house, the family, and the kids are an illusion for something dark and mysterious. We know Vision isn’t evil, but bad things happen when you play God. And to an extent, that’s what he’s done with his family.

The Vision #1, title pageVirginia, Vin, and Viv are starting to get existential. Bad things tend to happen when robots do that. We get some really nice visuals during Vin and Viv’s first day at high school. One of which has the students looking up and see these two mysterious pink and green teenagers hovering in the sky. But it’s topped on the next page, as a girl asks Vin via her lap top screen: “R U NORMAL?” There’s a great irony there, as she’s asking him via a computer (shown below).

Much of the creepy, Twilight Zone-ish sci-fi vibe that comes with this book can be attributed to how Gabriel Hernandez Walta draws the Visions. You wouldn’t necessarily expect his more scratchy style to fit with a story like this. But what he puts on the page very much delivers on the sort of twisted Leave it to Beaver concept that makes this book intriguing. The simple white circles for the eyeballs go a long way in that respect. Jordie Bellaire’s colors compliment Walta’s figures very well, as the bright pink skin and green hair are very eerie. It’s almost as if someone took one of the supporting characters from Nickelodeon’s Doug and transplanted them into the real world. They look great in the flamboyant and colorful world they come from. But in the real world it’s a different story.

I won’t spoil the how or why of it, but Grim Reaper shows up in this issue. I was sadly ignorant of Grim Reaper’s history before I picked up this issue. So what happens with him doesn’t make much sense until you type his name into Google. It makes a lot of sense, then. But my only major critique with this issue is that we don’t get any kind of context with him. With it, the end would have been much more meaningful.

The Vision #1, R U Normal?Supposedly, Vision’s new family will have a big impact on the Marvel Universe in the near future. If this issue is any indication, that’s a good thing. There’s a good amount of meat to this concept. And in a way it makes sense. Ultron created Vision. Now Vision is creating “life” in the same way he was created.

Either way, I recommend a visit with the Visions.

Images courtesy of newsarama.com.

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