Joshua Williamson and Carmen Carnero kicked off their Iron Man run by returning to what defined Tony Stark in the cave, reframing his origin through A.I.M.’s cruel experiments. Tony is back to being the confident, stadium-ready Stark who finally seemed comfortable in his own spotlight. With sharp pacing, sleek tech, and character-driven spectacle, the series already feels cinematic, reminding us that Iron Man works best when his past is actively shaping his present.
Iron Man #2 wastes no time tightening the screws while mixing in a bit of Iron Man’s history with Madame Masque.
Two things float to the top when reading Iron Man #2, and they both highlight how reckless he can be. One is Tony’s dating life, and the other is how fearless Tony is with or without his suit.
The issue opens in a flashback, reminding us of the complicated relationship Tony and Madame Masque have had. They’re attacking each other one minute, and then sleeping with each other the next. Williamson uses this flashback to plant an idea in Madame Masque’s head through Tony’s oversharing, which is a nice way to show that Tony is his own worst enemy. We then cut to New York, where Captain America and Iron Man fight Doctor Doom’s loyalists. Reckless as ever, Tony takes a call from a girl he met recently, while Cap looks on in shock. More reckless, Tony, which further builds up Cap’s distrust of where Iron Man’s head is at.
Cool idea to have the suit light the room.
Credit: Marvel
There’s a good pace to this issue with a zip here and there that keeps things moving along. The A.I.M. plot to coax a new Tony Stark from super geniuses advances nicely, while Pepper and the Iron Man Workshop hum with efficiency, yet grumbling workers. A tightly written altercation in Madripoor shows that Tony is dangerous without the suit, culminating in a surprise villain reveal and a delicious twist. If you’ve been reading Al Ewing’s Venom, this issue delivers.
Art by Carmen Carnero, with colors by Nolan Woodard, is good in the action department and great in the acting department. When Luna calls Tony, her expressions tell you so much about how she feels about Tony. When the scene flips back to Cap, you can feel his disdain for Tony being so careless and braggadocios. One of the coolest highlights is the Madripoor scene, from the great establishing shot of the city, to the use of pinks and greens in the club. When Tony fights, it’s not elegant, and Carnero makes you feel Tony’s bruiser’s fighting style. The final few pages steal the show in the weird, only-in-superhero-comics art aesthetic you’ll have to see to fully enjoy.
Iron Man #2 builds confidently on the strong foundation of the debut by zeroing in on Tony Stark’s most self-destructive traits. Williamson leans into Tony’s impulsiveness in both romance and combat, using it to create friction with Captain America and to complicate the ongoing Madame Masque storyline. The issue moves briskly from flashback to superhero scuffle to Madripoor intrigue, all while advancing the A.I.M. plot in meaningful ways. Carnero and Woodard continue to shine, delivering expressive performances and kinetic action that sell both the spectacle and the bruises. This run is finding its rhythm early, and it is one that understands Iron Man thrives when his brilliance and his flaws are equally on display.
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