Bringing a character to their lowest point is a familiar trick in comics. Frank Miller did it with Daredevil, Grant Morrison with Batman, and Gerry Duggan pulled it off with Deadpool. That's not to say this trick is outplayed, but it does come with a caveat: if we get to rock bottom, we'd better find something interesting down there.
Iron Man #1 is written by Duggan, drawn by Juan Frigeri, colored by Bryan Valenza, and lettered by Joe Caramagna. It hits comic shops everywhere December 14, and it's worthwhile to ask beforehand what it does with its bedrock-level Tony Stark. The answer, though, is complicated.
The first issue of Marvel's latest Iron Man series begins at the beginning of Iron Man, with the slap-dash creation of the Mark I suit. We get a brief tour through memorable moments in Iron Man's history, including his 'Demon in a Bottle' days, the founding of Avengers Tower, and his involvement in the recent AXE: Judgment Day event. Then we get to the present, where things are going…
Well, Tony would rather not remember the present.
Writer: Gerry Duggan
Artist: Juan Frigeri
Colorist: Bryan Valenza
Letterer: Joe Caramagna
Published by Marvel Comics
'Rama rating: 5/10
Tony Stark has lost most of his wealth. He is left with only one suit. He is the subject of constant lawsuits and negative press coverage. He is living between tiny, bombed-out apartment buildings. And to top it all off, someone is trying to either kill him or make him kill himself; it's not clear which. By the end of Iron Man #1, we'd understand if Tony started drinking again.
The story's bleakness is certainly on purpose. Writer Duggan strips the 'Robert Downey Jr.-ness' away from Tony's character in an almost brutal way. He is depressed and enraged, pushing his allies away and daring his enemies to get bolder. His character stays that way for the entire comic and, to be honest, it's tough to read. When an issue begins and ends with hopelessness, it can be hard to pick out any movement for the character or the plot.
That said, Duggan does achieve something here that's worth noting, with the condition that Marvel actually lets him follow through with it. There is a sense of grim finality in this comic that could turn into a really interesting premise. When Tony is recounting his history at the beginning of the issue, you get the idea that he's doing it for the last time. If that's the case, then this comic isn't just sad, it's in mourning, a dark beginning to what could be Iron Man's last flight.
That would make a lot of sense for the book's choice of artist and colorist. Where Juan Frigeri and Bryan Valenza shine the most are in Tony's weakest moments. Though a battle over New York with another mech suit falls flat, the images recounting Tony's alcoholism are particularly moving. The last page of the story is maybe the most depressing Iron Man image since the infamous 'Demon in a Bottle' cover, seen on The Invincible Iron Man #128, art by Bob Layton.
Again, the success of Frigeri and Valenza's work hinges on what comes next in the story. If it's a story that leans on small, human moments for Tony's character, then expect it to work very well. If the crux of this arc is Tony going toe-to-toe with other mech-suited foes, then it won't.
The only part of this comic that fully doesn't work is the lettering. The font and captioning in Iron Man #1 feel dated, like a text chat from the early 2000s. The choice of color clashes with Valenza's work, making words stand against the art where the two should be blending.
On a personal note, I hate saying what I just have. Letterers are the most overlooked, undervalued part of a comic book team, and this letterer has done stellar work in the past. Sadly, however, that doesn't carry over to this issue, and the story would be improved if their style changed moving forward.
Iron Man #1 is a bumpy start to what could be a fun ride. That doesn't mean it's not worth reading. After all, this comic promised to bring Tony Stark to rock bottom, and if only one thing is indisputable about it, it’s that it keeps that promise. The question is; where does Tony go from there? For this issue (and series) to work, there needs to be a dazzling answer.
Even if its a depressing one.
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