“Ant-Man: Season One” is an extremely generic comic. It doesn’t put many steps out of line and it’s not bad, but there isn’t much grandness attained. One concept is used to great effect and the rest of the book is very formulaic and plain. These ‘Season One’ books are supposed to be the breakout stars for Marvel to lure in new fans while pleasing old ones. This book does neither.
Tom DeFalco uses Hank Pym’s first marriage as the lynchpin for this book as Pym never recovers from her death in a terrorist blast. The resulting character is a depressed and moody scientist who doesn’t trust anyone. As far as superheroes go, it isn’t a great start. This character definition gives Pym plenty of opportunity to showcase his preparedness since he never trusts anyone, an angle that’s played often. While Pym learns to trust by the end of the book, it doesn’t actually make for the deepest level of drama.
The action of the book comes from Elihas Starr — Egghead for those who memorized “The Official Handbook of the Marvel Universe” — and his attempts to milk knowledge from Pym. This conflict revolves around Pym’s dead wife, first obliquely and then quite openly. However, this connection is tenuous and doesn’t hold completely until the conclusion. The over-the-top nature of Egghead’s villainous turn is completely unfulfilling and lacks a subtle touch.
Amidst the usual origin shenanigans, DeFalco does use the great concept of the villain enlarging that which is already small — insects — and sending them after the hero. Gigantic hornets are indeed scary and this aspect of the book rings true as a real Marvel-style threat.
Horacio Domingues brings a smooth and consistant art style to the book, but his largest failing is that he doesn’t bring enough nasty to the table. Threats like the attacking bugs should hover with insane levels of fear but don’t. His characters are cartoony and the emotional angle of the tale, with dead wives and trust issues, is relatively lost on the page.
“Ant-Man: Season One” is not a complex book. If it aims at children, it may find its mark with a slew of safe moments of intrigue and morality play. Anyone else will be left out in the cold. The book doesn’t elevate any character or concepts and has no thrill or intrigue. Overall, the book is ultimately forgettable — the last thing Hank Pym needs as excitement for an “Ant Man” film begins to generate. Fans looking to buy into the Pym hype before the movie should look elsewhere. This book does not do the complex and amazing mind of Pym justice in the slightest.