Amazing Spider-Man #608 – Review

By Marc Guggenheim (writer), Marco Checchetto, Luke Ross, Rick Magyar (art), and Fabio D’Auria (colors)

The Story: The aftermath of the Clone Saga continues to haunt Peter as a deadly enemy of Ben Reiley’s, attacks Peter and his family. We learn more of the life of Ben Reiley and the circumstances of his enemy’s origin story.

What’s Good: Marc Guggehein’s ASM is off to a great start, as this issue is chock full of intrigue and surprise. I have to give credit to the brain trust here with the new villain Raptor, as he could be the most interesting new villain, post-brand new day. Guggehein keeps the story moving while returning to Raptor’s origins in relation to Ben Reiley. Granted, Raptor’s genesis is both cliche’ (scientific genetic mutations) and ridiculous (humanity is evolved from dinosaurs), but his nothing-to-loose, vicious, and go-for-broke attitude makes up for his lame origins. Also, the fact that Raptor isn’t really a villain, just a guy out for revenge, helps make him engaging and relatable.

Between Marco Checchetto handling the art in the present and Luke Ross/Rick Magyar handling the flashbacks, this issue is great aesthetically. I was really impressed with Checchetto’s grainy style, as all the characters looked just right. The feel of this book reminds me of Lark’s recent run on Daredevil, but more clear and detailed. Overall, this could be my favorite visual presentation of Spidey in the past year or so.

To me the best part of this issue (and arc for that matter) is that its a departure from all the MJ and social stuff that has been under the spotlight since #600. I’m not complaining about that angle as its been pretty good, but it’s nice to see Spidey dealing with issues outside his immediate circle. Using the best parts of the Clone Saga as a way to bring something new, yet steeped in Spidey mythos, is a good move for this series. Plus, the surprise ending adds even more depth to this situation.

I also have to praise the funny editorial boxes that take place between Guggehein and Wacker. Guggehein begins the issue by taking a shot at Wacker and the snideness crescendos appropriately, and then disappears at the right time. Good stuff.

What’s Not So Good: I really don’t have much to gripe about. The flash back moments had some defects as some of the dialogue and art didn’t really distinguish who was who in the beginning. The two characters just look too much alike. Also, the dinner scene where Reiley goes to meet Raptor’s family was awkward and confusing. The characters seemed out of, um, character and the dialogue was forced. Why would anyone tell someone’s wife and kids, as a joke, that their father/husband was “doing” co-eds after work?

Conclusion: A great issue in the ASM torrent. A nice turn of serious story after the light Black Cat arc last week. It’s a good time to be a web-head, especially when Web Of Spider-Man launches next week. That will be a sister series and a fill-in for missing details of ASM. I haven’t been the biggest fan of Guggehein’s previous efforts on ASM (especially Character Assassination) but he is at his, and Spidey’s, best on this issue.

Grade: A-

-Rob G.

Amazing Spider-Man #601 – Review

By Mark Waid (writer), Mario Alberti (pencils, inks), Andres Mossa (colors)

The Story: It’s the morning after M.J.’s return and Aunt May’s wedding bash, as Peter wakes up from a hangover with the woman he least expected to be having breakfast with. As per Peter’s usual straight-edge ethical self, he has a mini-meltdown over his illicit behavior and his upcoming date with M.J. The problem is he can’t remember where and when he is supposed to meet her. But in the course of saving lives and busting crimes, he remembers, only to hit another unforeseen obstacle.

What’s Good: I guess whenever the Spider-Man editors need a soap-opera, personal Spidey story they have Mark Waid’s number on speed dial. He’s the go-to-guy for good reason as he basically seems to deliver whenever he has to tell a story free of major villains and adventurous plots.

In this issue, Waid must present M.J.’s reappearance in a way that doesn’t set off any Brand New Day haters or come-off as too ridiculous. As many readers already know, in the controversial Brand New Day arc, Peter traded away his relationship with M.J. for Aunt May to survive a fatal gun-shot wound. He also regained his secret identity which he willfully compromised during Civil War. So, in this issue we have both of these dynamics return and finally enter into post BND and for the most part, both elements are handled skillfully and satisfactorily. Waid takes a low-key approach to M.J.’s return and for the most part, like Harry’s return, the explanation is sufficiently adequate for readers to forget the garbage in the past and just tune into the current story.

Waid always takes a pragmatic approach to Spidey that I enjoy. For example, when Joe Public is hating on him, it is always for a good reason like webbing keeping crooks encased while cops have to wait around for the webbing to dissolve or store owners suffering property damage from a skirmish. These details keep the story interesting and relatable. Also, perhaps besides Joe Kelly, Waid is the funniest writer in the Spidey Brain Trust.

Mario Alberti is on art in this issue and he does a solid job. The fire scene he depicted was particularly memorable, while some of his character work, especially the flashbacks, were much more forgettable.  Over all, I like his work here a ton. His take on NYC is quirky and the decisions he made on how to present certain dialogue scenes with novel perspectives made them very interesting.

What’s Not So Good: If you were expecting fireworks between Pete and M.J. or any real fall-out from Doc Oct’s return last issue, you’ll be let down here. Also, we only get a tiny clue about the return of a major villain, yet it wasn’t enough to even really spark any interest.

The whole reason why Pete and M.J. didn’t meet was also a little sloppy. How could it be that on one hand M.J. waited all night for Peter to talk to her, but when she realizes she missed the date she doesn’t even care but instead watches TV? Wouldn’t she at least call him? Additionally, her monologue was some of the worst I’ve read in a long, long time. Why would she refer to herself in the third person as “Aunt Anna’s favorite niece” to herself upon waking up? Was she channeling the Thing?

Conclusion: It’s amazing that since the horrid Character Assassination arc a few months ago, ASM has been pretty much on top of my pull list. There is a ton to enjoy in this issue and in this series as a whole lately. It is indeed a big investment, as to stay on board you need to buy three issues a month, but as long as Marvel keeps up this quality, it is money well spent.

Grade: B

-Rob G.

Amazing Spider-Man #599 – Review

By Joe Kelly (writer), Stephen Segovia, Marco Checcheto, Paulo Siqeira and Amilton Santos (pencils, inks) Cris Chuckry and Jeremy Cox (colors)

The Story: Joe Kelly’s American Son arc concludes with the final showdown between Norman and Harry Osborn, as Spidey tries to recover from injuries sustained while he was tortured by the Dark Avengers.

What’s Good: Truthfully, there isn’t a whole lot that happens in this issue, since it is basically one long fight scene. With that said, the first five pages were awesome. The art was killer and the flashback scene between Peter and Harry was masterful. It showed the depth of their relationship and a lot of the motivations of each character. I also really like the whole Norman/Menace relationship. It had a lot of potential and the whole family dynamic seemed set to make a big impact on Spidey’s world.

Kelly told a complete story. All the dynamics were in play that he began with, i.e. Peter’s man-love for Harry, Aunt May’s wedding, and Wolverine’s advice. Perhaps, it came off as overly formulaic and almost text-book like, but it was still satisfying that all the pieces of the story were there.

What’s Not So Good: For some reason, there were three different art teams on this issue and it mostly didn’t look consistent. Also, the last art team seemed to have forgotten that Menace was pregnant. So why the hell did she have six-pack abs and a lean figure in some scenes. Also, remember when she looked like a devil who was so intensely ugly and monstrous that the reader couldn’t even tell her gender (hence the suprise that she was a girl! and Lilly! and pregnant!)? Well, not anymore. In this issue she was a Goblin-Babe with green skin and red-lipstick.

And another thing, I was really getting tired of Spider-Man always fighting past the point of exhaustion and physical durability, where at any moment he was going to pass out or die. Every major ASM arc has featured him in this state and it is getting really, really old. Also, his non-stop trips to the emergency room at the end of stories are getting way too formulaic.

Conclusion: As far as this arc goes, it was a bit of a downer to see everything, minus Menace bearing Norman’s child. I was hoping Harry would evolve into something other than a thirty-something still dealing with his Daddy issues. It would’ve have made this story infinitely better if it was clear that he knew that Spidey was Peter. Don’t get me wrong: this is the best written and plotted ASM arc of ’09. But, this finale was a little lack luster, consisting largely of two pseudo Iron-Mans duking it out during a dysfunctional family therapy session.

Grade: B

-Rob G.

Amazing Spider-Man #596 – Review

By Joe Kelly (writer), Paulo Siqueira (pencils), Amilton Santos (inks), Jeremy Cox (colors)

The Story: As Harry Osborn makes his move to the “Dark Side,” by accepting a job with his father, Norman and his Dark Avengers, Peter decides to proactively protect Harry while scoring some revenge points against Norman. Meanwhile, Norah infiltrates Avengers Tower while trying to uncover a story that will out Norman and his corrupt ways, while the older JJ further ingratiates himself to the Parker family through bonding with Peter.

What’s Good: The American Son arc keeps its momentum in this second installment. Kelly has a clear direction for this arc and some of the developments are quite interesting and daring. There have been many false promises through solicitations and editorial interviews that Spidey’s world would be affected substantially in previous installments of ASM, but I have a hunch that this arc will prove to be transformative.

I really like Kelly’s take on Peter as a bold yet thoughtful hero, rather than an perpetually whimpering and wise cracking protagonist. In this issue, Spidey goes full onto a dangerous situation with out a shred of fear. You can’t help but root for him and believe in his character.

Additionally, Kelly nails the bad guys here as well. Norman has become so overused in the Marvel U as of late, but Kelly utilizes the principle that “less is more” when writing him. There are no lengthy diatribes or overt actions that show Norman’s hand, Kelly simply relies on quick dialogue and precise revelations to portray Norman and his motivations.

What’s Not So Good: What is it with switching art teams so soon in this arc? The whole tone and flow of this book is thrown off with Phil Jimenez disappearing and Paulo Siqueira arriving to draw this book. Their styles are nothing alike and it doesn’t seem that Siqueira even attempted to keep the feel from the previous book. Also, there are these weird energy rays that are illustrated whenever someone does something dramatic with their hands that I found to be irritating and odd. However, it should be said that the Venom scenes were executed very well.

My other complaint is that this comic gets off to a slow start. I mean it is a yawner for half of the book and I found myself checking to see how many more pages I had to read. This is the comic book equivalent of checking your watch; which is never a good sign. Sure, the end of this read is exciting and surprising, but not enough to retroactively brighten the beginning.

Conclusion: One of those frustrating reads that has some great content built upon a flow of forgettable narrative. Nevertheless, this is a issue that retains the high-interest inherent in this arc. Kelly possibly pulled-off the impossible for me in the fact that I’m thoroughly enjoying Spidey’s supporting cast. I am really interested in how this arc will progress and what will transpire in the coming pages. However, Phil Jimenez’s absence thoroughly tempers this excitement.

Grade: B-

-Rob G.

Amzing Spider-Man #589

By Fred Van Lente (writer) Paulo Siqueria (pencils), Amilton Santos (inks)  Jeremy Cox (colors)

After reading almost a year’s worth of Amazing Spider-Man (ASM) in the “Brand New Day Era,” I have come this conclusion: Plot-driven ASM stories are terrible (just look at the “Character Assassination” arc that wrapped up last week), while issues that just allow Spidey to be who he is and react to situations as they arise, make for excellent tales.

Case in point is this week’s ASM  #589 written by Fred Van Lente with pencils by Amilton Santos.  The story essentially has no purpose, nothing it needs to say, no editorial boxes to check, but instead features Spidey reacting to the arrival of his old enemy the Spot during a stakeout on Russian mobsters. And by allowing Spidey to be “in the moment” with out needing to uncover or further any larger plot threads, we are treated to classic Spider-Man fun: great humor and action.

I think I’m like a lot of ASM fans who are tired of reading about Spidey’s new life and cast (which both leave a lot to be desired) and are just itching for some good solid stories. Interestingly, most of the good stories don’t come from the official Spidey “brain trust,” but rather from fill-ins writers, like Van Lente, Joe Kelley, and Roger Stern.

In this issue there is some really attentive and intelligent writing. For example, Van Lente acknowledges through Spidey’s inner monologue that Spot, with his inter-dimensional powers, is potentially a huge threat and a monster of a villain, just as it dawns on the reader. It’s this lack of laziness on Van Lente’s part that has been missing from way too many Spidey stories of late, which seem largely lethargic efforts by staff writers. Additionally, I can’t remember seeing a villain in ASM clearly and brutally murder people as the Spot does in this issue.

Comics, especially ASM issues, are supposed to make you laugh out loud. As mentioned above, a great part of this issue was Spidey’s humor, which has been M.I.A. lately. You can’t beat Spidey imitating Batman and referencing Cristain Bale’s voice, as he does in this issue.  Classic stuff. It was also extremely funny when Spidey tries to read Spot’s hand written note.

I am unfamiliar with Siqeira’s work, but I really enjoyed his style. A lot of interesting inner and outer panel juxtapositioning with great attention to detail, exemplified in clear action scenes.

My one complaint about this issue is that Spot’s character was a little ambivalent. I wasn’t fully convinced that his motivations wouldn’t warrant him trying to knock off Spidey along with the rest of his targets. Also, I was more than a little confused with some of the dimensional stuff, namely, how Spidey got out of a pocket dimension and how he himself was able to seemingly move the gateways, Spot’s spots, around with his hand.

Over all, this is an excellent issue and I hope to see this team on more ASM runs down the road. Check it out!

Grade: B+

-Rob G.

Amazing Spider-Man #549 – Review

By Marc Guggenheim (writer), Salvador Larroca (art), Jason Keith (colors)

The opening of Amazing Spider-Man #549 falters a bit. There’s a sequence involving Spidey saving some construction workers that is just told badly. First, they’re free falling, the next thing you know they’re all on the ground and Spidey’s tossing up a net to catch falling debris. I looked over this page a couple of times, scratching my head as to how they went from Point A to Point C with no Point B. What happened here?

Carrying on the torch lit by Dan Slott, Marc Guggenheim delivers clever and witty dialogue. His reference to the Distinguished Competition is a nice pun, and he seems to be in tune with Spidey’s humor. Spidey’s mouth runs throughout the book and yes, some of it’s hammy, but this is Spidey we’re talking about here. This issue marks the emergence of a new villain, The Menace. He’s designed very much in the vein of the Green Goblin, except he’s gray and seemingly more vicious. The Daily Bugle (or The DB as they now call it), has put out a bounty for the first person who delivers a photo of this new villain, so Peter rushes out to be the first. In true Spider-Man fashion, he bumps heads with his new rival, Jackpot.

Salvador Larroca is no Steve McNiven, but he delivers good work here (storytelling problems aside). His character line art is just so simplified now that it almost feels lazy. Larroca also seems to rely more on his colorist, Jason Keith, to get the work done. Keith does a nice job giving the characters more depth.

For months we’ve all been questioning if whether Jackpot is Mary Jane. I’m glad Peter sees and hears the resemblances as well. Do we get an answer? Not quite, but the fact that it’s already being addressed is good. Oh yeah, and the ending made me chuckle. Slott’s story arc may be over, but the humorous tone and good writing continue. (Grade: B+)

– J.Montes