When it was announced that John Jackson Miller would be taking over the writing reins on Iron Man even before readers had a chance to sample his debut work on Crimson Dynamo, many questioned whether or not Miller has proved himself worthy of control over one of Marvel's better known characters. After reading this first chapter in a new direction of the Armored Avenger, I'd have to say he's definitely proven himself, but this politically charged story is held back by some rough artwork.
It's the 21st century, and the United States is at war. As everyone knows, new wars bring with them new technologies, new methods of combat and reconnaissance. Tragically, some of that new tech isn't working out so well for U.S. forces, and the President's chief of staff approaches a specialist to help them ferret out of the problems: Tony Stark, genius inventor, billionaire and armored super-hero. Stark got out of the weapons business a long time ago and is reluctant to get involved once again, even if it is peripherally. But he struggles with the decision, as he knows lives are at stake.
Lucas's European influences make for a detailed and inhuman look for the title character. The artist's depiction of Iron Man is an intimidating one; he looks more like a monster -- like a weapon -- than a hero. But that's pretty much where my appreciation of the artwork ends. Most of the scenes -- especially those at the tech convention early on -- are crowded and even ugly. I've often seen inconsistencies in Lucas's work, and there's more of evidence of it here. Mind you, some of the problem stems from the reproduction of his linework. Some of Lucas's more detailed and meticulous lines bleed together, it seems. It's most evident in the more intricate backgrounds.
Miller offers a surprisingly accessible script. There are references to past storylines -- notably, "Armor Wars" -- but there's enough information woven seamlessly into the script so as to allow new readers to hop on board. Miller tells the reader just about everything s/he needs to know about Tony Stark without being obvious about it.
The opening scene is what grabbed my attention. John Jackson Miller delves into what Americans -- and by extension, much of the world -- are focused on right now, and that's the politics of the new war in Iraq (make no mistake... this second War in Iraq is far from over, as mounting U.S. casualties attest). Miller doesn't preach about the war itself, but examines sides of warfare that one doesn't often consider or perhaps see: troubleshooting and business.
