Jennifer Walters has been through some changes over the past few years, but today she’s back to basics – a lawyer whose gamma-irradiated blood can take her from mouse to magnificent in seconds.
It’s not all sunshine. Constant time out for superhero shenanigans has stalled Jen’s legal career, meaning she’s back to Square One, about to start a decidedly unglamorous new job. On her way, though, she’s called out in the street by an old enemy who’s spoiling for a fight.
Jen doesn’t want a tussle, but given she has no choice…
The fight ends as surprisingly as it begins, leaving Jen free to greet her new boss.
Mallory Book, former legal rival, now Jen’s best hope for getting back on her feet.
This untitled tale is a tremendous debut for the new Shulkie core creative team of writer Rainbow Rowell and artist Rogê Antônio. This is the Jen I love, generally peaceable but not one to back away from a challenge, and back in the legal business. I really enjoy superhero law, and hope we see Jen tackle a few specialist cases in court.
I don’t know why former corporate whiz Mallory is striking out on her own, but likewise, I don’t know why she’s no longer a paraplegic… she probably did a deal with Mephisto off panel. Titania is always good value, but given she’s the villain who crippled Mallory, I’m surprised to see Jen quite so OK with her. Maybe she’ll join the firm as a troubleshooter, or something.
A couple of Jen’s Avengers pals show up, with one of them very much an unexpected arrival… I’m not sure they’ve been seen since Avengers Disassembled. Whatever the case, colour me intrigued.
Antonio’s art complements Rowell’s story, being unabashedly good natured. He draws a nice, ordinary Jen and a formidable She-Hulk, while Titania and Mallory are equally on model. The street fight with Titania is well done, showing that Marvel battles don’t have to be matters of cosmic import to be fun.
Antônio also gets to show off his comedy chops when Jen comes across a room she’d forgotten about…
Colour artist Rico Renzi opts for a bright palette for the action scene, contrasting with the everyday tones of the rest of the issue. It works. Letterer Joe Caramagna has fun with display lettering, while the main disallowed and narration is in that kiddie font that came in with Ultimate Marvel and, sadly, never really left.
Jen Bartel’s cover is lovely and cheery, with the classic Seventies logo an extra bonus; the violent yellow background is a bit much, mind.
She-Hulk #1 treats one of Marvel’s best characters with respect and affection, resulting in a wonderfully refreshing read. Don’t miss it.