Al Harahap
Jun 14, 2003, 01:53 am
<a href="http://x-mencomics.com/xfan/images/previews/0603/KINGPIN_1.jpg" target="_blank"><img src="http://x-mencomics.com/xfan/images/previews/0603/KINGPIN_1t.jpg" align=left alt="Startling Stories: The Thing – Night Falls on Yancy Street #1"></a>Reviewer: Al Harahap, alharahap@xfan.cjb.net
Quick Rating: Good
Story Title: All the King’s Men
A young Wilson Fisk takes measures to establish his crime roots on the street level of New York’s neighbourhoods.
Script: Bruce Jones
Breakdowns: Sean Phillips
Finishes: Klaus Janson
Colours: Lee Loughridge
Letters: Cory Petit
Assistant Editor: Warren Simons
Editor: Axel Alonso
Editor in Chief: Joe Quesada
President: Bill Jemas
Major Themes: Organised crime, ambition, enterprise.
With the prominent role of Wilson Fisk (a.k.a. The Kingpin of Crime) in the epics of several of the Marvel Universe’s denizens, it’s rather surprising that such a universally influential character has never been portrayed in his own series. Fisk has not only been a thorn in the side of popular hero Spider-Man, but he has also crossed over to occasionally tango with the vigilante The Punisher, and moreover has through circumstance become the archenemy of the crimefighter Daredevil. So it more than makes sense that, after decades since his first appearance, he’s finally justified in his own series, in which readers can see the world through his perspective.
Scribe Bruce Jones (Incredible Hulk, Hulk/Wolverine: 6 Hours, Wolverine: X-Isle) is given reign of building the foundations of this complex character. Jones takes us back to a young Fisk who starts off with nothing but a small-time street gang called “The Kings.” In this regard, the book reads as a “Kingpin: Year One” and will be as such for the remainder of this first storyarc.
But Jones does drop strong signs of Fisk’s destined grandeur in his street smarts shown throughout this issue. His mere presence, not only in his physical size but also his authoritative attitude, is already intimidating. And his interaction with other characters shows Fisk’s headstrong determination in dealing with other significant local crime figures of the time, which truly prophesise his inevitable rise to power. Conversely, what Jones does with readers who have familiarity with the character is allow a much deeper understanding and respect for the Wilson Fisk of today.
But a myopic focus on Fisk would still not flesh out the character to his fullest. For this, Jones has situated Fisk’s supporting cast and antagonists. Two right-hand-men figures are in Lou Rocko and Gino Ferzini, though this situation inevitably leads up to a conflict between the two. A “wise” oracle figure lies in Leonard “Smoky,” who also serves a significant role in being Fisk’s casual chess opponent throughout the issue – a situation that symbolises his strategic manipulation of the figures around him. What makes this significant is that Jones hints at Fisk’s next actions depending on the moves he makes during the chess games and the explanations he gives to Smoky. A main antagonist is established in “the five families” of New York’s organised crime, though Jones aptly uses them in absentia and mostly only in mention, so that they give a looming sense of “too big for Fisk.” And lastly, a love interest arises in a certain Tina Riley, though not for very long… It’ll be interesting to see if and how Jones brings in present-time wife, Vanessa Fisk.
The amount of such a supporting cast isn’t easy to distinguish visually in a book not oriented around superheroes and spandex. But artists Sean Phillips (Uncanny X-Men, Hellblazer, The Invisibles) and Klaus Janson (Punisher, Daredevil, Batman: Dark Knight Returns) have such a great collective experience in such books, that they make each character still retain a unique visual presence. Their gritty style of visual storytelling is also perfect for the book’s setting in the streets of urban New York. The pencils and inks are rough and heavy to convey the appropriate feeling of organised crime and utter disregard to formal federal law. And Lee Loughridge’s colours are a match made in heaven for Phillips and Janson because his choice of monotonous hues complements what Fisk’s life story intends. To top it all of, Loughridge also uses different colour tints depending on the setting – such as blue for nighttime outdoors, green for a bathroom, red in times of danger, etc – to properly distinguish the mood for each scene.
One thing the series definitely didn’t need in its first issue is a flashy cameo by Spider-Man. And with Spider-Man’s big crotch-splitting pose on the cover, this is hardly a spoiler. Now, I understand that this was a plot element to establish Fisk’s connections to the Marvel Universe, and the scene where the two exchange stares is wonderfully ominous to their inevitable conflict, but the superhero element seems so groaningly out of place, especially when it ruins the urban underground momentum the story had up to the point of the cameo. I do hope that Spider-Man, Daredevil, The Punisher, and other familiar Marvel characters appear in some form or another throughout the series. But in this otherwise great first issue, it just feels very intrusive. The only reason I see this as necessary is to draw in a wider market. And as I understand it, this series is intended to see the Spider-Man world from another point of view.
I just hope editorial lets it stand on its own first to give it a strong foundation – because with such quality creators working on such a standout character, this Kingpin series definitely has immense untapped potential. This book is recommended reading if you're interested in seeing Marvel’s version of The Godfather, The Sopranos, or Frank Miller’s Sin City – or even if you’re just piqued by a revisionist take on one of the Marvel Universe’s big players.
ART:
http://x-mencomics.com/xfan/images/reviews/kingfull.jpg http://x-mencomics.com/xfan/images/reviews/kingfull.jpg http://x-mencomics.com/xfan/images/reviews/kingfull.jpg http://x-mencomics.com/xfan/images/reviews/kingfull.jpg http://x-mencomics.com/xfan/images/reviews/kingnone.jpg
STORY:
http://x-mencomics.com/xfan/images/reviews/kingfull.jpg http://x-mencomics.com/xfan/images/reviews/kingfull.jpg http://x-mencomics.com/xfan/images/reviews/kingfull.jpg http://x-mencomics.com/xfan/images/reviews/kinghalf.jpg http://x-mencomics.com/xfan/images/reviews/kingnone.jpg
OVERALL:
http://x-mencomics.com/xfan/images/reviews/kingfull.jpg http://x-mencomics.com/xfan/images/reviews/kingfull.jpg http://x-mencomics.com/xfan/images/reviews/kingfull.jpg http://x-mencomics.com/xfan/images/reviews/kinghalf.jpg http://x-mencomics.com/xfan/images/reviews/kingnone.jpg
Buy this issue online now from X-World Comics and save! (http://x-worldcomics.com/yourvirtualstore/shopdisplayproducts.asp?id=665&cat=KINGPIN)
Quick Rating: Good
Story Title: All the King’s Men
A young Wilson Fisk takes measures to establish his crime roots on the street level of New York’s neighbourhoods.
Script: Bruce Jones
Breakdowns: Sean Phillips
Finishes: Klaus Janson
Colours: Lee Loughridge
Letters: Cory Petit
Assistant Editor: Warren Simons
Editor: Axel Alonso
Editor in Chief: Joe Quesada
President: Bill Jemas
Major Themes: Organised crime, ambition, enterprise.
With the prominent role of Wilson Fisk (a.k.a. The Kingpin of Crime) in the epics of several of the Marvel Universe’s denizens, it’s rather surprising that such a universally influential character has never been portrayed in his own series. Fisk has not only been a thorn in the side of popular hero Spider-Man, but he has also crossed over to occasionally tango with the vigilante The Punisher, and moreover has through circumstance become the archenemy of the crimefighter Daredevil. So it more than makes sense that, after decades since his first appearance, he’s finally justified in his own series, in which readers can see the world through his perspective.
Scribe Bruce Jones (Incredible Hulk, Hulk/Wolverine: 6 Hours, Wolverine: X-Isle) is given reign of building the foundations of this complex character. Jones takes us back to a young Fisk who starts off with nothing but a small-time street gang called “The Kings.” In this regard, the book reads as a “Kingpin: Year One” and will be as such for the remainder of this first storyarc.
But Jones does drop strong signs of Fisk’s destined grandeur in his street smarts shown throughout this issue. His mere presence, not only in his physical size but also his authoritative attitude, is already intimidating. And his interaction with other characters shows Fisk’s headstrong determination in dealing with other significant local crime figures of the time, which truly prophesise his inevitable rise to power. Conversely, what Jones does with readers who have familiarity with the character is allow a much deeper understanding and respect for the Wilson Fisk of today.
But a myopic focus on Fisk would still not flesh out the character to his fullest. For this, Jones has situated Fisk’s supporting cast and antagonists. Two right-hand-men figures are in Lou Rocko and Gino Ferzini, though this situation inevitably leads up to a conflict between the two. A “wise” oracle figure lies in Leonard “Smoky,” who also serves a significant role in being Fisk’s casual chess opponent throughout the issue – a situation that symbolises his strategic manipulation of the figures around him. What makes this significant is that Jones hints at Fisk’s next actions depending on the moves he makes during the chess games and the explanations he gives to Smoky. A main antagonist is established in “the five families” of New York’s organised crime, though Jones aptly uses them in absentia and mostly only in mention, so that they give a looming sense of “too big for Fisk.” And lastly, a love interest arises in a certain Tina Riley, though not for very long… It’ll be interesting to see if and how Jones brings in present-time wife, Vanessa Fisk.
The amount of such a supporting cast isn’t easy to distinguish visually in a book not oriented around superheroes and spandex. But artists Sean Phillips (Uncanny X-Men, Hellblazer, The Invisibles) and Klaus Janson (Punisher, Daredevil, Batman: Dark Knight Returns) have such a great collective experience in such books, that they make each character still retain a unique visual presence. Their gritty style of visual storytelling is also perfect for the book’s setting in the streets of urban New York. The pencils and inks are rough and heavy to convey the appropriate feeling of organised crime and utter disregard to formal federal law. And Lee Loughridge’s colours are a match made in heaven for Phillips and Janson because his choice of monotonous hues complements what Fisk’s life story intends. To top it all of, Loughridge also uses different colour tints depending on the setting – such as blue for nighttime outdoors, green for a bathroom, red in times of danger, etc – to properly distinguish the mood for each scene.
One thing the series definitely didn’t need in its first issue is a flashy cameo by Spider-Man. And with Spider-Man’s big crotch-splitting pose on the cover, this is hardly a spoiler. Now, I understand that this was a plot element to establish Fisk’s connections to the Marvel Universe, and the scene where the two exchange stares is wonderfully ominous to their inevitable conflict, but the superhero element seems so groaningly out of place, especially when it ruins the urban underground momentum the story had up to the point of the cameo. I do hope that Spider-Man, Daredevil, The Punisher, and other familiar Marvel characters appear in some form or another throughout the series. But in this otherwise great first issue, it just feels very intrusive. The only reason I see this as necessary is to draw in a wider market. And as I understand it, this series is intended to see the Spider-Man world from another point of view.
I just hope editorial lets it stand on its own first to give it a strong foundation – because with such quality creators working on such a standout character, this Kingpin series definitely has immense untapped potential. This book is recommended reading if you're interested in seeing Marvel’s version of The Godfather, The Sopranos, or Frank Miller’s Sin City – or even if you’re just piqued by a revisionist take on one of the Marvel Universe’s big players.
ART:
http://x-mencomics.com/xfan/images/reviews/kingfull.jpg http://x-mencomics.com/xfan/images/reviews/kingfull.jpg http://x-mencomics.com/xfan/images/reviews/kingfull.jpg http://x-mencomics.com/xfan/images/reviews/kingfull.jpg http://x-mencomics.com/xfan/images/reviews/kingnone.jpg
STORY:
http://x-mencomics.com/xfan/images/reviews/kingfull.jpg http://x-mencomics.com/xfan/images/reviews/kingfull.jpg http://x-mencomics.com/xfan/images/reviews/kingfull.jpg http://x-mencomics.com/xfan/images/reviews/kinghalf.jpg http://x-mencomics.com/xfan/images/reviews/kingnone.jpg
OVERALL:
http://x-mencomics.com/xfan/images/reviews/kingfull.jpg http://x-mencomics.com/xfan/images/reviews/kingfull.jpg http://x-mencomics.com/xfan/images/reviews/kingfull.jpg http://x-mencomics.com/xfan/images/reviews/kinghalf.jpg http://x-mencomics.com/xfan/images/reviews/kingnone.jpg
Buy this issue online now from X-World Comics and save! (http://x-worldcomics.com/yourvirtualstore/shopdisplayproducts.asp?id=665&cat=KINGPIN)