Ultimately, I found myself enjoying one part of this bookfar more than the other but still found both intriguing and very well executed.Usually a book that has two parts sees the stories fail to mesh well together.That said, this issue did not fail in that regard. It's basically like tellingtwo different parts of the same story and I like that. The dialogue was niceand the art was interesting. Read Full Review

If you'd rather watch old Sopranos episodes on HBO Go instead of the latest Marvel Cinematic Universe blockbuster for and are okay with a touch of Philip K. Dick to go with your turf wars, Civil War II: Kingpin#1 may be the comic for you. Read Full Review

If you're looking for a break from the grim-and-gritty Civil War II titles, Civil War II: Kingpin #1 is just what's needed. It's great to see that not every installment in a major crossover has to be serious, and Marvel has to be credited for that. Is it for everyone? No. But it's still a great read! Read Full Review

Civil War ll: Kingpin #1 is off to a great start with this fun, fresh first issue. It was a welcomed, unexpected title that added some excitement to a pretty exhausted event from Marvel. If you want to be in on this summers event without all the commitment from the endless titles of tie-ins, you can add Civil War ll: Kingpin. This hopeful book has all the promise to be a standout title from this summers Marvel event thanks to dynamic art combined with inventive storytelling. Read Full Review

Matthew Rosenberg paints a compelling portrait of Wilson Fisk as he settles back into New York and finds a way to take advantage of the city's power vacuum while evading the all-seeing eye of Ulysses. Read Full Review

Like the legendary phoenix the Kingpin again rises from the ashes of obscurity to once again plague the Marvel U. Of all the Civil War tie-ins this one has the most promise. Let's hope Rosenberg can keep the momentum going. Read Full Review

The Daredevil Netflix series has been a massive success for Marvel and one of the standouts in that show was Vincent D'Onofrio's portrayal as the Kingpin. So it makes sense that he'd get his own mini-series in which ties itself to Marvel's summer event. The fact that it's good is greatly satisfying considering that the majority of the Civil War II tie-ins have largely been a miss. Matthew Rosenberg has taken a strong idea capitalizing off the constant infighting amongst our heroes, which is becoming excruciatingly tiresome, and created an intriguing story with memorable and engaging characters. If this issue is an indicative of what's to come, then this is the Civil War II tie-in to be reading. Read Full Review

Overall,Civil War II: Kingpin #1 doesn't give you too much to chew on but provides the perspective of the criminal underbelly of the Marvel's comic universe. Read Full Review

Old school Marvel fans will enjoy some cameos from some of Marvels esoteric street level players like Fancy Dan and Man Mountain Marko. This issue was like a Marvels most wanted bit of crime fiction combined with the huge doings of Civil War II to form a street level bit of grit that really gets under your nails in a good way. Read Full Review

Fisk's attitude overreaches his station, but rather than come across as confidence, it reads like arrogance. There's no humility in this version of Wilson Fisk. That lack of humility keeps him from being a relatable character and keeps Civil War II: Kingpin #1 from being an immersive read. This is the type of comic fans read to hope to see bad things happening to bad people. It's not particularly eventful, nor is it particularly memorable, but it does point readers in a direction that has potential. I just hope Wilson Fisk lives up to that potential. Read Full Review

A solid issue as an introduction into the book. The art is decent and Wilson Fisk looks intimidating.

On its own, this is a perfectly fine story with a good art style. In relation to the wider universe, it's got a couple of problems... First, and this is a common one, it's set in the sort of "generic" New York crime scene where every boss and underling is always the same, always just out there doing mobster stuff, infighting, hanging out in villain bars, etc. no matter what happens in any given story. No matter who makes a bid to take over all the crime, no matter who succeeds or is killed or dramatically transformed, everything resets for the next story. I'm pretty sure the Owl and Madame Masque and Hammerhead have had different status quos in other books recently, but here they are being generic mob bosses again. But hey, that's how it goes.

It's also a weird fit for Civil War II. The Kingpin's realization of how Janus's powers work only makes sense if, as is implied throughout the issue, Ulysses is predicting 100% of all criminal activity in NYC and the heroes are stopping all of it. If some crimes are slipping through, there's no reason for Fisk to think Janus is anything except lucky. That level of enforcement isn't reflected in any of the other Civil War II titles, where Ulysses and everyone else is busy with other things. Possibly the writers of these miniseries were given vague details of how the main plot works and had to fill some thing in themselves. more