Midway through, the story crosses over into Captain America’s title for an issue, and that’s unaccountably omitted. Stilt Man, for instance, rendered inoperative far more easily than if confronted by his regular nemesis Daredevil. Michelinie and Layton are relatively complete in featuring all armoured villains Iron Man’s previously fought, the primary exception being Doctor Doom, but the compensation for him is in the form of characters Iron Man’s not met before. Also good is the way the writers use Stark and Iron Man being the same person, and that very few people realise this. Stark is convinced all alternative armour derived from his Iron Man designs should be destroyed to prevent it being replicated, but being complete means acting against government agents using their armour for protective purposes. The primary emotional drama comes from the deception required to keep friends from getting to the bottom of Iron Man’s unusually proactive agenda, and anyone looking for early disagreements between Stark and Captain America will find them here. As Iron Man, Stark confronts assorted villains one by one, removing their armour, while Michelinie and Layton introduce enough complications along with the main plot to ensure it’s sustained over the book’s nine chapters. However, as his mission to set things right, Armor Wars is still a fun superhero read for anyone able to ignore the signposts of the times. While Stark would naturally be annoyed that stolen elements of his technology have permitted villains to loot, maim and kill, his taking personal responsibility for their actions is overwrought. While it’s likely Windsor-Smith didn’t operate to a monthly deadline, the different imagination at play in laying out the pages is immense. Bright’s overall ability is placed into focus by a final chapter co-plotted and drawn by Barry Windsor-Smith. However, as in the previous Armor Wars Pr o l og ue, his work is functional without ever stunning, and while Iron Man uses a greater variety of armoured forms, the primary version is still the blocky, Transformers-like iteration. That shouldn’t be laid at the door of artist Mark Bright, whose brief was to make the series look modern, and it’s hardly his fault the late 1980s wasn’t an era of timeless glamour. In the worst instances the results are now laughable. The styles, locations and settings that convinced readers in 1988 that Tony Stark moved in the rich and fashionable world of the global industrialist have now dated. It’s a plot that stands the test of time, but delivered to the standards of the late 1980s, and that’s the problem. Stark appears to be wearing the Iron Man Armor Model 9 which seems to be an error as that armor would not debut until a few years after this point in continuity.Over the years Iron Man found himself fighting other armoured foes, and the thrust of Armor Wars is a good idea from the writing team of David Michelinie and Bob Layton, revealing that much of what enabled those foes was technology stolen from Tony Stark.This series takes place shortly after Tony Stark opened Stark Enterprises in the Silicon Valley in Iron Man Vol 1 217.Join us for a nail-biting, strapped-to-your-seat adventure as Tony battles his greatest creations, and tries to discover who could (gasp) OUTSMART him!?!? The only thing that could ruin his day? If every single one of his IRON MAN armors were stolen, and then turned against him. Synopsis for "Down and Out in Beverly Hills"Ĭash, cars, boats, houses…Tony Stark has got it all. Pentagon, Arlington County, Virginia (Mentioned).Wall Street, Manhattan, New York City, New York (Mentioned). Crimson Dynamo (Dimitri Bukharin) (Apparent death).Neo-Soviets (First appearance) (Unnamed).Nathan Cosby Appearing in "Down and Out in Beverly Hills"
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