Neil Gaiman probably didn’t need to write “1602†to solidify his legacy in comic book history, but it certainly didn’t tarnish it either. Combining Gaiman’s knack for story-telling with an original concept and amazing art design, “1602†will go down as one of the best mini-series in Marvel history.
You’d think that by turning back the clock over 400 years Marvel’s finest would lose some luster, but instead, each character’s best qualities come out that much more.
For instance, Daredevil is still “The Man Without Fear,†and is still horrible with women and Doctor Doom is just as evil a bastard as he always was. The same thing goes for “Mr. Boy Scout,†Scott Summers and the always uber-cool and methodical Magneto.
This makes for an instantly recognizable bunch of characters and fuels a story that works for a myriad of reasons.
For one, “1602†doesn’t read like a comic book or graphic novel in the fact that Gaiman’s pacing and language slow things down a bit more than some comic readers are used to. This may prove to be problematic for those who want a fast-paced tale, but considering the action that eventually does takes place is mind-blowing indeed, everything proves to be well worth the wait. Simply put, the anticipation of what’s doing to happen next and what characters will pop into the story are enough to hook any lifelong comic book reader who is sick and tired of the same old thing.
If forced to describe 1602’s story in one word, “epic†immediately comes to mind. If that doesn’t work for you, “sublime†isn’t a bad second choice either.
If that wasn’t enough here, the art is fantastic as well.
Like Gaiman’s story, the pencils by Andy Kubert don’t feel like they belong in a comic book at all and are reminiscent of those big fairy tale books we all read as a kid, bringing this magnificent concotion to life even further. If you’ve dug his work on the Captain America and Ultimate X-Men series’ over the years, his work on “1602†will make you a life-long fan.
It’ll also convince you that he’s in the same league as his father, the illustrious Joe Kubert, as well.
Nevertheless, in spite of Kubert’s stellar pencil work, it is the digital coloring by Richard Isanove that truly set the art in “1602†apart from every other Marvel mini-series. Lush, bright and dynamic, Isanove’s work here is sure to be the vessel for many dreams in the future and is living proof that digital colorist have a place in the industry.
In a day where both DC and Marvel seem infatuated with developing their next big miniseries, it’s easy to forget about a seven-year-old one the likes of 1602. However, those who wish to see both an amazing creative vision by Gaiman and some of the best art in the history of the medium, owe it to themselves to take a step back from the present and revisit 1602.
If you don’t, watch out. A big, blonde native-American may come looking for you.
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