Of all of the superheroes to serve on the Avengers, the one that most often usually finds himself in over his head is Ant-Man. The size-swapping superhero may seem out of place among the rest of Earth's Mightiest Heroes at first glance, but the haplessness of the character is really what has endeared him to comic book fans for decades. Scott Lang takes center stage in a newly relaunched series, teaming up with his teenage daughter Cassie -- the Young Avengers' Stature -- for a new set of superhero hijinks that balances comedy and conventional action, with effective results.

The book opens with Ant-Man and Cassie -- under her new superhero alter ego Stinger -- raiding an illegal operation by A.I.M., while descending into father-daughter bickering befitting Cassie's age and Scott's sad-sack status quo. It is quickly revealed that Scott can't seem to catch a break in either his personal or professional life, which leads to hilarious results before he gets embroiled on a new mission that pits him against a familiar foe and several new villains who are perfectly in line with the insect implications that come with the mantle of Ant-Man.

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Zeb Wells' work, be it with Spider-Man or Ant-Man, veers often into screwball comedy and this opening issue is no different. The issue works best when Scott and Cassie are verbally sparring with one another, either in the field as superheroes or over their respective civilian hang-ups. And with a lot of the proceedings at Scott's personal expense, Wells makes great use of the middle-aged superhero as a bit of a comedic punching bag without coming across as mean-spirited in the constant woes that befall the fan-favorite character.

With that in mind, this isn't the warm dynamic that many may expect between Scott and Cassie, there's a surprising amount of estrangement between the two here that may catch readers off guard. It is important to point out Cassie's age and Scott's status quo likely fuel this shift between the two, but the friction here is definitely pronounced. However, it's still played more for comedic effect rather than interpersonal drama. While more than competently delivered, the requisite superhero action, is never particularly high stakes. However, given the series' apparent premise, this is an intended feature of a larger slice-of-life story following a day in the life of Scott Lang, both in and out of the costume of Ant-Man.

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This low intensity approach is brought to visual life by Dylan Burnett and colorist Mike Spicer. Burnett's linework is reminiscent of contemporaries including Chris Samnee and Doc Shaner but wholly his own; there's a timeless quality to his pencils, matched with Spicer's colors, that could make the comic feel like a classic Ant-Man adventure without feeling dated in the least. Burnett also gives Scott Lang a more pronounced world-weary quality that fits right in line with Wells' scripting that turns him into a kind of down-on-his-luck figure who happened to fall into both parenthood and the superhero life. But when the action gets going, the visuals definitely have an extra pop, from miniaturized sequences inside anthills and beehives to fisticuffs against colorfully costumed villains.

Ant-Man is off to a comedic, low stakes start that firmly establishes Scott and Cassie Lang's relationship as the new series' focal point. Elevated by Dylan Burnett and Mike Spicer's artwork, the opening issue reminds readers how unlikely and unlucky a superhero Scott really is, while setting him off a new adventure to prove his worth both to his daughter and -- perhaps more importantly -- to himself with the series not taking itself too seriously along the way.

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