Iron Man #1: Rage Against the Machine (Makers)

A great approach to long-running characters or comic titles is a refocused tone to create a sense of upended equilibrium. A reason that the Daredevil title is compelling run after run is the versatility of the character. The hornhead can be driven to the deepest, darkest aspect of violence and self-loathing and then leap into a fun, swashbuckling exploration of the legal system and New York. Both versions are valid and creating those contrasts makes for a richer character. That notion of shifting tones is present in Tony Stark’s newest outing. 

Iron Man #1 – written by Spencer Ackerman with art by Julius Ohta, colors from Alex Sinclair, and lettering from VC’s Joe Caramagna – launches the next era for Tony Stark in the wake of Fall of X. Stark’s company went back to making weapons during Krakoa’s tail-end, even producing Sentinels while Tony was ousted and married to Emma Frost. Now, Stark is trying to clean up the mess and get his company back on track in non-weapon manufacturing. He is forced to fight some second-rate Hulks while conducting an inspection, leading to an armor glitch that leaves Stark in months of physical recovery. 

After a hospital stint, Tony tries to shut down the weapon line of the company but is cut off by the Stark Unlimited board, which is plotting a merger with a partnered Roxxon and A.I.M. The conditions of the process block Stark from taking any drastic action with the company, fanning Tony’s growing anger at the situation. All of this comes to a head when a figure from Tony’s past returns to steal his magical mysterium armor from the previous Iron Man book, spelling out the conflict of the run going forward. 

It’s clear from the jump that a reporter is writing this issue, with Ackerman’s concise delivery of the who, what, when, where, why, and how of the series. Iron Man is trying to fight for his company in the near present while rooted in New York as a result of previous tampering. It’s a solid pitch that is executed to a flawless degree, making for one of the best debut issues in recent Marvel publishing. 

Even the show, which feels like the central mystery of this first arc, is present as Tony does what he always does best, making a new suit of armor. Presented on the title page as a sketch, the new armor is a heavier, more vicious-looking interpretation of the typical suit. It’s a well-crafted representation of the tone that Ackerman has set up throughout this issue, functioning in contrast to the previous Iron Man design.

Ohta’s artwork goes hand in hand with that juxtaposition in tones and aesthetics, playing up the differences in approach. The opening suit resembles the one designed by David Marquez in the post-Secret Wars Invincible Iron Man book, evoking that more high-flying version of the character (that would carry into the Doom-led Infamous Iron Man). Ohta brings a smooth, streamlined feeling to that suit that feels at odds with this version of Tony Stark, who is struggling with his place in the world. It’s fitting that the suit is the one used to ground Stark, as Ohta gives it fluidity even as it crashes to the ground multiple times.  

That edge is clear from the caption boxes and curt responses that Tony trades in, overtaking the usual level of quips from the modern era of the character. While there are a few solid bits in the issue (especially one at the start that involves a hologram QR code), the majority of the issue is built around the superhero’s frustrations. That characterization in both the dialogue and the lettering is palpable and does quick work of differentiating Ackerman’s Stark from Gerry Duggan’s of the previous run, or the one seen in Jed MacKay’s Avengers. 

As a result of that shift in tone, the book takes on a new approach to the action, which feels more grounded than the previously mentioned run. Ohta brings a style that is textured and rendered in compelling detail even as it strives for spectacle. The action is concise and clarity-focused, ensuring the emotion and tension come through the linework. There’s a particular moment inside of the Iron Man armor that crystallizes this Tony Stark. Ohta uses a wide panel to offer an extreme close-up to convey the rapid, pained expression on Tony’s face which is in sharp contrast to the flat look of the Iron Man mask. 

Even with those fascinating flourishes, the book falters a just a bit due to Sinclair’s house-style coloring. A story that goes so far as to push Iron Man to a new and innovative place should have a coloring style that matches Ackerman and Ohta’s aspirations. Instead, the color work is fine but feels like an echo of Marte Gracia or Rachelle Rosenberg, the two colorists on mainline Marvel books who feel like they’re operating in their own lanes, away from the company’s house style. Sinclair’s bright, common tones don’t distract from the story or art but ultimately keep the book from shifting into the highest gear possible.