Having now read both major Paul Jenkins/Jae Lee collaborations for Marvel Knights, I’ve reversed course and think Sentry has more impact as well as superior art with Jose Villarrubia really bringing the colors.
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Watching the Wonder Man TV show has sold me on Simon Williams as a nuanced character, and that carries to comics even if the 90s version is a far cry. Here he’s paired compellingly with The Vision, and Operation: Galactic Storm has made for some surprising discourse on morality.
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Phil Winslade, comes to play with an impressive outing on Sentry/Fantastic Four with the good fortune of Tom Palmer on inks. Paul Jenkins also crafts a story that looks at both the wild Silver Age potential of a Marvel Superman but impresses weight on the modern day sequence.
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Phil Winslade, comes to play with an impressive outing on Sentry/Fantastic Four with the good fortune of Tom Palmer on inks. Paul Jenkins also crafts a story that looks at both the wild Silver Age potential of a Marvel Superman but impresses weight on the modern day sequence.
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Quasar is about the dorkiest comic I have ever encountered, but there’s no denying that Mark Gruenwald had a blast cooking up sci fi and the enthusiasm catches. It’s impossible to read issue No. 34 and not come away with the idea that Carol Danvers is better suited as a headliner.
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Sentry/X-Men is the least of these specials so far as the present day sequence feels like retread and the flashback never quite achieves a thoughtful commentary on the Silver Age. I’m also let down by the art from Mark Texeira, who I typically love, but it’s washed out here.
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Other than the occasional fun Thor aside, Roy and Dann Thomas’ scripting for Avengers West Coast No. 82 is stilted and belongs in a comic of more Silver Age vintage. I’m also a little let down by Dave Ross here, whose pencils I usually dig but in this case they’re a little loose.
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The absolute all-star lineup on the Sentry one-shots continues, as Bill Sienkiewicz drawing Hulk, stretching the boundaries of even his art. Hulk is another Marvel character that writer Paul Jenkins just seems to get.
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Mark Gruenwald finds a clever way to celebrate 400 issues of Captain America in the midst of Operation: Galactic Storm. I also feel like this issue captures well the more balanced Captain voice we’ve come to know as far as having stoicism but with the right amount of bravado.
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Paul Jenkins has a really strong fundamental understanding of Peter Parker, so his Spider-Man/Sentry special already had that going for it, but the all-star art team of Rick Leonardi, Terry Austin and Jeromy Cox is truly next level and they deliver.
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Tom DeFalco I feel despite his tenure and achievements is still relatively unheralded as a quintessential Marvel writer. Thor No. 446 dances delightfully between an operatic style and more contemporary humor. You can already see the strides in Patrick Olliffe’s art.
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I really like this initial Sentry story by Paul Jenkins, but as it winds down you start to see the limitations of the concept as the lore around the character is much more compelling than the actual hero. With stunning Jae Lee and Jose Villarrubia art this package is dynamite.
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Paul Ryan’s work on the Iron Man installments of Operation: Galactic Storm are giving me new appreciation for an artist I already had great affection for. His smooth style fits the character and action so well.
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I truly cannot heap enough praise on Jae Lee’s sharp, incisive art on The Sentry. I really think it might be his best work and Jose Villarrubia should color him always. The fourth issue’s proceedings get a little repetitive, but Paul Jenkins is constructing a neat jigsaw puzzle.
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The more I read of the Bob Harras and Steve Epting run on Avengers via Operation: Galactic Storm, my take on this as an unsung classic creative team gets cemented. Tom Palmer adds so much on both inks and colors.
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While The Sentry works well as an intimate character study, Paul Jenkins does his best work when he can expand out into the greater Marvel Universe, playing with the toys and making the gears fit. Jae Lee and Jose Villarrubia continue to do no wrong.
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Wonder Man No. 8 is a surprisingly deep comic for an early 90s Operation: Galactic Storm tie-in. The political allegories are some of the strongest stuff I’ve seen thus far. However, if that’s a bit heavy, the very super hero pathos of Simon and Vision hit the mark.
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Jae Lee’s versatile art with truly haunting colors from Jose Villarrubia continue to underline the surreal paranoia and emotion Paul Jenkins is impressively injecting into The Sentry. A Fantastic Four guest shot in issue No. 2 really raises the stakes and stretches the premise.
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I’ve never had much use for Wendell Vaughn, and the Mark Gruenwald-penned Quasar installments of Operation: Galactic Storm do little to shake that stance. It’s neat seeing the Imperial Guard and Binary here, but while Rurik Tyler’s pencils are fine, I miss that Greg Capullo energy.
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It’s the skillful and versatile effort on art from the great Jae Lee that strikes me most in the first issue of The Sentry. Not only is everything moody and atmospheric with the help of Jose Villarrubia’s wonderful colors, Lee stretches his style for the flashback sequences.
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The dialogue from Roy and Dann Thomas is much better suited for the oddballs cast of Avengers West Coast No. 81 than the big guns. Their blowhard U.S.Agent in particular is a delight. I’ve heard good things about artist Dave Ross and he shows his capabilities here.
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Given how long he wrote Captain America, it’s a little surprising how stilted Mark Gruenwald’s take on Steve Rogers feels, but I guess that is an intrinsic part of the character. I’m more compelled by the Cap/Iron Man infighting versus the bland 90s rogues gallery of morts.
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I’m really digging Eric Masterson as Thor during Operation: Galactic Storm, to the point where I kind of want to go back and read his longer run. Thor No. 445 is a snapshot of his solo title at the time with sharp writing from Tom DeFalco around a pretty good fight with Gladiator.
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I must admit that Len Kaminski never did much to distinguish himself from the pack of the Marvel 90s writers bullpen, however, I have always enjoyed pencils from Paul Ryan and he’s got a lot to work with here with the support of Bob Wiacek on inks and Mike Rockwitz on colors.
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I’m not sure how much generational fondness there is for Bob Harras and Steve Epting on Avengers, but they were the creative team of my childhood, so I have a certain nostalgia. In particular I have always found Harras and his soap opera heavy writing fun.
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I feel like Wonder Man is a character who has been portrayed all over the place through the years, but I have a soft spot for his 90s wannabe actor persona as seen in Operation: Galactic Storm, which gives me high hopes for the TV show.
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Quasar No. 32 boasts art from a young Greg Capullo, and even at this nascent stage his work is explosive and spectacular. It helps that Mark Gruenwald, who seems more loose and comfortable here than on Captain America, gives him a lot to play with in the Imperial Guard.
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Roy Thomas’ greatest strength in my eyes is his fan aspect and appreciation of Marvel mythology, but being able to pull out obscure trivia and issue numbers doesn’t make up for stiff scripting. The attempts at soap opera and humor feel like an aging hipster trying to stay relevant.
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I’ve found on the whole that Mark Gruenwald’s big ideas and imagination age superbly, but his dialogue can come off stilted, and 1990s Rick Jones doesn’t help. Still, there’s no beating his story instincts, so this was a read that went down easy enough.
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There’s no question Paul Jenkins’ Inhumans series treats each lead character with consideration beyond anything prior. Jae Lee’s art has been tremendous this entire run, but the final issue really leans into his use of heavy inks.
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