Miles Morales: The Ultimate Spider-Man #1 – Review

by Brian Michael Bendis (Writer), David Marquez (Artist), Justin Ponsor (Color).

Spoiler Alert!

The Story: In the wake of Cataclysm Miles attempts to find his way as more than one familiar face returns.

The Review: Damn! after 200 issues this series continues to just run like clockwork, it’s rarely if ever less than good and the most recent volume of Ultimate Spider-man continues to deliver. In the aftermath of Galactus destroying New Jersey and attempting to consume the earth, Miles Morales is attempting to make sense of his life now that his father has abandoned him.

While his new status as an orphan is at the forefront of his mind so too is his ongoing romance with Katie Bishop, this marks an enjoyable distinction from the previous volume where the relationship was relatively underdeveloped. While it’s nice to see more of a renewed focus on the romance of this book, Katie is such an unknown factor compared to MJ, Gwen and Kitty in the Peter Parker days that it’s hard to buy that Miles is considering coming clean with her. Hopefully readers will get to learn more about Katie and who she is as a character in upcoming issues.

Miles dealing with his father’s abandonment of him is pretty interesting now that Miles has no parental figure in his life, it further separates and distinguishes Miles from Peter Parker. It can be rough for a teenager to not have the adult guidance that a parent can provide and so it’ll prove interesting to see how the character deals with this absence moving forward. As of right now Miles has a support group that consists of Ganke, Katie, MJ and Gwen but the lack of an adult presence in the book does make it feel like a critical element is missing, Spider-man is about youth but it’s hard to make that point without contrast.

The Amazing Spider-Man 2 – Movie Review

It’s just one shock after another for Peter and Gwen… Welcome to our review of (500) Days of Summer, Part III! I kid, but barely. The last Amazing Spider-Man
was so enamored with the gentle, oddball romance of Peter Parker and Gwen Stacy that at times the superheroics felt like an unwelcome intrusion into the story. That doesn’t change in this second outing, even though we have twice—some might say thrice—the number of villains cackling for attention here.

[Major spoiler ahead! Read at your own risk!]

I can understand the desire to put so much focus on the Peter-Gwen relationship, since she is, as she always is, doomed to die by the end of the film. The inevitable, as loudly broadcasted as it is early on (her valedictorian speech concludes with a call to heroism: “Even if we fall short, what better way is there to live?”), still has enough weight to be devastating because we spend so much time enjoying their sincerely cheesy brand of chemistry. But even in this, the film’s strongest point, there’s some shoddy construction.

The Superior Spider-Man #31 – Review

By: Dan Slott & Christos Gage (Writers), Giuseppe Camuncoli & Will Silney (Pencilers), Antonio Fabela & Edgar Delgado (Colours)

The Story: The end of an era as a hero is reborn, things change for the supporting cast and the Parker luck remains a true constant.

The Review: Dan Slott really knows how to tell a Spider-man story. The conclusion to Goblin Nation and Superior Spider-man as a whole contains a lot imagery that is evocative of classic Spider-man tales, from the opening scene of the Green Goblin holding Anna Marconi out over a great height a la Gwen Stacy to the final panel of Spider-man realizing that he was unable to uphold his vow that ‘no one dies’, this issue really does feel like an archetypical Spider-man story.

Part of the reason for this is because the supporting characters all get a moment to shine in this oversized issue, Spider-man is always at its best when we get to witness the continued evolution of the book’s cast and in this issue almost every character who has had a sizeable presence in Superior Spider-man thus far receives a moment in the sun that illuminates their character, from Phil Urich’s enduring cowardice to Tiberous Stone’s treachery or Ollie’s snarky comments regarding M.J’s ex.

Where the book’s plot shines is in the sleight of hand element of the Green Goblin’s plan, while he’s been building his Goblin Nation throughout the run of the book deft readers will also have observed the rise of another empire in the form of Alchemax. It is a credit to Slott’s plotting that many readers (myself included) didn’t put the pieces together until this final issue.

Superior Spider-Man #16 – Review

Dan Slott (Writer), Humberto Ramos, Victor Olazaba (Artists), Edgar Delgado (Colorists)

The Story: Phil Urich really gets what’s coming to him as Otto manage to manipulate a situation to his advantage.

The Review: For critics, it’s always easier to talk about great or horrible comics. When it’s in one of those two extremes, it’s surprisingly easy to say what works well and what truly doesn’t. The point is to be objective, of course, yet there will always be a touch of subjectivity when anyone talk about a cultural product, whether they want to or not. What’s harder, though, are the average comics, those that are competent, yet did not really leave a huge impact on the critic himself. When dealing with a middle-tier comic in terms of quality, it becomes a bit tougher to balance the good with the bad in a coherent manner.

This issue is a pretty good example of this, as it moves along nicely, shows some scenes that are well done, yet doesn’t go out of its way to really bring any ”wow” factor. Here, Slott conclude his Hobgoblin story competently, putting some pieces in place for the future of his title, yet a lot of what happens here just isn’t that impressive.

There are some good parts here, starting with the way Otto is written as a mastermind, featuring his villainous methods as being rather entertaining. He is manipulative, arrogant and this comes as fun as his interaction with Robertson, the Avengers and the general public shows just how cunning he can be in terms of how he appears to everyone.

Superior Spider-Man #15 – Review

Dan Slott (Writer), Humberto Ramos, Victor Olazaba (Artists), Edgar Delgado (Colorist)

The Story: Phil Urich’s life seems a bit more difficult now that the Kingpin is gone. Who knew?

The Review: Long-term writing can be messy sometime. As a writer can plan ahead in order to provide many major moments and development for his title, there will always be some times when things will be a bit duller. With moments of transitions between the larger events in a title, there are seeds to be planted in order for the readers to have moments to enjoy, like an unending cycle of payoff and setup that make comics come to life. Putting some tease and hints of certain plot points, however, really isn’t on the same level of possible satisfaction as the eventual payoff that may come out of it.

Knowing that, it does not come as a shock that considering the latest issue of Superior Spider-Man, one filled with many surprises and twist, this issue comes as a bit less exciting. It is hard to top Spider-Ock leading an assault on a Japanese pagoda in Hell’s Kitchen, of course, but the follow-up is perhaps a tad disappointing considering how they continue such a massive act from the previous issue.

It is a smart decision in some manners to see how several people react to such a big event in New York City, yet Slott never really commit to this angle along the issue as we are treated to a continuation of several plot points, with not all of them being connected organically. We see how the cops react to Otto’s new army and his storming of the Kingpin fortress, how some of the people close to Peter see the fact that he is spending much more time as Spider-Man as we see how he might put aside his life in order to dedicate himself to the role of Spider-Man. It’s a nice touch to see Otto struggling with multiple tasks at the same time, seeing things in a different light as he compares himself to Peter Parker, yet it’s so lightly covered that it’s kind of a shame.

Dark Avengers #16 – Review

by Brian Michael Bendis (writer), Mike Deodato (art), Rain Beredo (colors), and Cory Petit (letters)

The Story: The aftermath of Siege is explored and the fates of the Dark Avengers cast are glimpsed.

What’s No So Good: Yes, I am reversing our usual review format, but why I’m doing so will soon be abundantly clear.

The first half of this issue just isn’t particularly inspired.  Don’t get me wrong, it’s not at all bad or underwhelming, it’s just a bit by the numbers.  A couple of pages of Siege replay, Moonstone and Hawkeye make a futile escape attempt, and Daken goes Jason Bourne.  It’s decent action, but it’s the sort of ho-hum aftermath stuff that writes itself.  The mediocrity is such that I can’t even find a great number of words to write about it.

Mike Deodato also takes on a completely different approach this month, going for a brighter, more “digitally painted” feel.  For the most part, this works out really well and delivers a polished, epic feel, but there are points where you’ll be lamenting the lack of defined lines that comes with this style.  Also, I’m not a fan of Deodato’s take on Phobos, who looks like a cherubic five year old under his hand.

What’s Good: The second half of the issue is a completely different beast that is so strong it completely wipes away any and all memories of the mediocre first half.

The major shift starts with a scene between Thor and Phobos, as Thor informs the boy of his father’s death.  It’s tragic, and yet there’s also a “passing of the torch” sort of feel.  The conversational dynamic is superb, as Phobos’ dialogue is so uncompromising that while Thor sounds elevating and lofty in his praise of Ares, Phobos essentially deadpans him.  The God of Fear manages to look and sound like both a wounded, realist adult and a frustrated, torn child, with the latter being deeper below the surface.

Dark Reign: Young Avengers #2 – Review

By Paul Cornell (Writer), Mark Brooks (Pencils), Mark Morales w/Walden Wong & Dexter Vines (Inks), and Emily Warren & Sotocolor’s L. Molinar (Colors)

Some Thoughts Before The Review: Dark Reign: Young Avengers got off to an interesting start. The first issue of the mini-series frustrated as much as it entertained, yet it still had that “something” that made me want more.

The Story: The Young Avengers and their Dark counterparts battle over name rights. The fight quickly turns into a discussion however as the coolest heads prevail. Coat of Arms tells her story and more is revealed about how the Dark Young Avengers came to be.

What’s Good and What’s Not So Good: Am I allowed to just copy and paste my review for Dark Reign: Young Avengers #1 into this section? I ask because, in all honesty, most of what I said about the first issue applies to the second. In Dark Reign: Young Avengers #2, more questions are raised than answered, Paul Cornell tosses around some cool ideas about being a superhero in the Marvel U., and most of the cast remains an intriguing mystery. Sounds like another C+, right? Well, almost…

The second chapter of Dark Reign: Young Avengers gets a higher grade than the first for two reasons: the artwork improvements, and Coat of Arms. The artwork looks much more defined and detailed. As a result, the characters look much more distinct and recognizable. As for Coat of Arms, her dialogue is written in such a way that it’s difficult to tell whether she is artsy, pretentious, obsessive, or, possibly completely bat-shit insane. And you know what? It works to great effect. While I wish more of the cast would stand out like Coat of Arms does, I’ll take what I can get.

Conclusion: Dark Reign: Young Avengers stands out because it really feels like something unique. If Paul Cornell can develop the plot a bit more next issue, I think I’ll be looking forward to seeing more of the Dark Young Avengers in the future.

Grade: B-

-Kyle Posluszny

Amazing Spider-Man # 595 – Review

By Joe Kelly (writer), Phil Jimenez (pencils), Andy Lanning (inks), Chris Chuckry (colors)

The Story: The living specter of the Green Goblin bears down into Pete’s life as Norman Osborn tries to play father-of-the-year by offering a job to Harry. Speaking of screwed up family issues, Peter and JJ, soon-to-be brothers, attend the celebration of Aunt May’s and JJ Sr.’s engagement at the mayor’s mansion.  Peter decides to take a hands-on approach to Norman and during his smack-down, he receives disturbing news as his worst fears are realized.

What’s Good: This issue effectively sets up what the arc American Son, will be dealing with. While this issue isn’t groundbreaking or outrageously good, I’m excited for this 5 issue run by Joe Kelly. The characters are in place, the momentum is laid down, and the many plot threads are in the loom.

I am thrilled to report that Peter’s supporting cast actually helps this story along, rather than bring it into the mud, like in the past issues when you were getting mere attempts of injecting the rag-tag team of Brand New Day associates into this series. Joe Kelly does a great job of making Peter’s friends, family, and associates seem important and interesting. The soap-opera angle of ASM is starting to click, finally. Also, Kelly has a natural take on Peter that works very well, as the character stays consistent and entertaining.

Phil Jimenez is handling pencils on this arc, and minus a few action scenes that take place in a vacuum of setting and form, this comic is drawn great. I appreciate his character designs that stay true to form while still retaining some subtle difference that make the same old characters unique and fresh. There is no doubt that Jimenez was the right man for the job, as his work — specifically the characters’ facial expressions, were  more telling than the text.

What’s Not So Good: I have a personal message for comic book creators: Barack Obama won the election—months ago! I got it, your guy won, America might be better for it, congrats! Can we not move on? Seriously, the scene with Wolverine and Spidey dissing Bush and then fist-bumping as if we are in the middle of an election (or Obama even ran against Bush) was probably the most irritating and corny thing I’ve read this year. Not to mention the fact that  Wolverine strikes me as a Republican, no? Unlike Kelly, I’m not trying to make a political point here about who is good or who is bad, I’m just saying, its time to move on. Anyway, aren’t comics supposed to challenge the status quo, no matter who is in office, rather than playing cheerleader to any political party?

As far as the story itself, without giving too much away, Harry’s change of heart seemed to be a little contrived. The thing he was so emotional about is something that he has and has been through before already with Liz (hint, hint). So, why is he all mushy now? Additionally, some of the dialogue was a bit too terse and quick, and I had to reread certain panels a couple of times to really get what was being said.

Conclusion: A nice start to an interesting and exciting arc that is poised to make substantial changes to Spidey’s world. I recommend to anyone who is waiting to jump into this series to make the plunge now. I expect good things from the creative team, as I’m already looking forward to seeing how things play out.

Grade: B

-Rob G

Spider-Man Noir #1 – Review

By Fabrice Sapolsky (writer), David Hine (writer), and  Carmine Di Giandomenico (art)

The Story: Welcome to the Great Depression, Peter Parker. In this alternate, hard-broiled mystery (whatever that means) themed version of Spider-Man, Peter and his Aunt May are socialist rabble-rousers who run a soup kitchen during the greatest economic collapse of modern history. Peter’s world is ruled by a mysterious criminal called the Goblin and his crew of henchmen which include alternate takes of the Vulture and Kraven. True to his origin’s, Peter’s motivation for justice is fueled by the murder of his Uncle Ben. However, his youthful idealism is poised to lead him to a premature reunion with his Uncle until Ben Ulrich steps rescues him from Goblin’s gang and then takes him under his wing.

What’s Good: The pacing of the story is really well done by the introduction of an eclectic cast of characters through tight dialogue and an interesting interocular in Ben Ulrich. The character designs are mostly great. For example, the Vulture, who looks like the silent film era Dracula, is down right horrifying. Also, Spider-Man’s costume is both novel and cool.

I’m a fan of Carmine Di Giandomenico’s art from his work on Magneto: Testament and he doesn’t disappoint in this series. I guess his art excels in poverty and harsh settings as both these series offer similar atmospheres. His work appeals me to not for his technical prowess, but rather for his unique, indie feel towards setting and characters while retaining traditional structure.

What’s Not So Good: Peter Parker comes across one dimensional and that one dimension is constipational grumpiness. I guess the idea here is to get rid of the sweet, good-natured Peter Parker and replace him with an edgy and angry teen. The problem with this substitution is that it’s hard to actually like this series’ Peter as he is not at all endearing, but rather very annoying.  His facial expression is the same snarl in almost every panel that features only him.

My other chief complaint is that there is not enough Spider-Man in this issue. This is a Spider-Man title, right? How come we only get like three pages of ol’ Spidey and only one line from him where he uses the word “fellers”?

Conclusion: Overall, this is a good start to an interesting series.  However, I don’t see how this Noir series will appeal to anyone save the die-hard Spider-Man fans. At the same time, I’m sufficiently drawn enough to want to see where a few plot lines go, which is more than I was expecting when I bought this issue.

Grade: B

-Rob G

Amazing Spider-Man #570 – Review

By Dan Slott (story), John Romita Jr. (pencils), Klaus Janson (inks), Dean White (colors)

You know, this title doesn’t need any of that “brain trust” nonsense. It doesn’t need multiple writers or multiple artists (though the artists featured so far with Brand New Day have been most welcomed). All this book needs is Dan Slott and John Romita Jr. And as much as I love this series coming out three times a month, it can go back to being monthly if only to accommodate Romita’s schedule – because ever since he and Slott have come together this title has been nothing but pure comic book fun.

If you’ve been following the last two issues, then your attention is going to be focused on Eddie Brock’s new lease on life. Will he revert back to being a bad guy or will he continue down the (overly) righteous path? Personally, I feel Brock was a decent guy who let greed take him down the wrong path. He wasn’t inherently bad or had a “dark side” to him as that stupid Venom: Dark Origins story might suggest. Here, he’s given a chance at redemption and even to maybe make amends with Spider-Man and surprisingly, he takes it! (He just takes it a little too far.) And this is where the story gets more interesting.

As for Menace, I’m a fan of the character. Sure, he/she’s another Goblin knockoff, but it looks like we’re finally going to get some answers as to who this person is and what his or her real agenda is all about. Per usual, Menace works to disrupt the Mayoral campaign with intimidation only to have his or her plans undone by exerting too much force. I’ll admit, it’s borderline ridiculous when Menace is ultimately chased off by two lowly police officers – one of them being Vin Gonzales – but only Dan Slott could get away with such silliness. Having our silly Goblin finally come face-to-face with Norman Osborn at the end of the issue is pure gold.

Romita’s art grabs the reader and doesn’t let go. He’s in fine form right from the opening panels (the second panel will induce flashbacks of the 1960s cartoon run). From Venom vesus Anti-Venom to Venoms versus Spider-Man, this issue’s just a total blast from cover to cover. Don’t miss out on this one. (Grade: A)

– J. Montes

Thunderbolts #121 – Review

Warren Ellis,(Writer) Mike Deodato Jr.,(Art) and Rain Beredo (Colorist)

I read this issue with both delight and a bit of sadness knowing that the Thunderbolts are turned over to a new creative team next month. The Warren Ellis and Mike Deodato run has been one hell of a ride, so I expected some big things from their final issue. Unfortunately, I couldn’t help but feel let down as everything had a bit of a rushed feel to it. That said, this is still one of the best books to come out during what has been an extremely solid month.

The conclusion of the Caged Angels arc is, as expected, centered around the chaos that has gripped Thunderbolts Mountain for the last few months. The bulk of the issue is all about action. Moonstone confronts Doc Samson and Robbie “Penance” Baldwin while Norman Osborne, still running around as the Green Goblin, goes toe to toe with Songbird. Oddly enough, Swordsman, Radioactive Man, and Venom are nowhere to be found during all of this. Also, a certain team member is back on his feet and ready for some target practice. This all would have been excellent if there was one more issue to deal with the aftermath, but instead it leads to a tidy conclusion that comes about a bit too easily.

I really enjoyed what was here, but there is no escaping the feeling that things were rushed to a conclusion so the book could get on with its (almost) obligatory Secret Invasion tie-in. Also, while I understand why some of the team was missing from this final issue due to injuries and whatnot, it would have been welcome to have at least seen them at some point.

As expected, Warren Ellis is in fine form. The banter and taunting throughout the book is incredibly entertaining and hilariously dark. Ellis makes sure to give each character (the ones that are used anyway), a chance to shine. Also, while I am disappointed the book feels so rushed, the way Ellis reigns in the chaos is clever, amusing, and a great example of how to use a character. High marks all around, I just wish Ellis had another issue to work with.

I have loved Mike Deodato’s work on this series, but the rushed feel of the story carries over into the artwork. The action scenes are suitably brutal and the powers on display look impressive, but it seems as though some aspects of the art are missing a layer of polish. The level of detail I’ve come to expect isn’t there at times and, while it doesn’t hurt my overall enjoyment of his work, is noticeable. Also, I can’t help but mention that for some reason Robbie Baldwin looks exactly like a bald Ed Norton this issue – which is odd considering he hasn’t looked that way until now.

Thunderbolts #121 is a good read that is a disappointment only when considering the great things that have come before it. The story and artwork feels rushed and the absence of half the roster is a bit annoying. Don’t let that deter you though – this is still one of the best books on the shelf this week. Warren Ellis’ run has been a must read for those who’re into the darker side of the Marvel Universe. If you missed out, be sure to pick up the trades. So long Warren Ellis and Mike Deodato Jr., the Thunderbolts won’t be the same without you. (Grade B+)

-Kyle Posluszny

Thunderbolts #120 – Review

By Warren Ellis (Writer), Mike Deodato, Jr. (Artist), and Rain Beredo (Colorist)

Chekhov (the playwright, not the Star Trek Ensign) had a rule for managing audience expectations: if a pistol is seen hanging on the wall in Act 1, someone must fire it before the end of Act 3. Well, for the past ten issues of Thunderbolts, Norman Orborn has been the pistol hanging on the wall, and with issue 120 we’ve finally reached Act 3.

After ten months chained behind a desk and a facade of respectability, the Green Goblin is back, baby. And I have to give props to Warren Ellis; the Goblin hasn’t been written this well in decades. I mean, sure there are lots of supervillains who are crazy. You’d have to be crazy to want to take over the world, right? But this guy is crazy with a capital “C”. Eye-rolling, bouncing off the walls crazy. Crazy with a comprehensive business plan and full dental. And the scariest thing about him is, if you listen to him long enough, he starts to make sense.

The plot? Mayhem, mostly. One of the new detainees at Thunderbolt Mountain is a psychic, messing around with everyone’s heads, making the collection of madmen the US government has foolishly collected there even more unstable than usual. Things are very quickly falling apart. At one point the normally rational Radioactive Man announces he’s going to give everyone on the base cancer. “Cancer can be fun,” he says. “You get drugs.”

There’s more, of course. Songbird tries to keep things together. Doc Samson works to make Penance a little less looney. And the new Swordsman finds out he’s not quite as bad-ass as he thought he was. But this is really the Green Goblin’s book. Ellis and Deodato are having a ball with his character, and it shows.

Welcome back, Norman. We missed you. (Grade: A)

-Andrew C. Murphy

A Second Opinion

There really isn’t a whole lot I can add to this review. Warren Ellis and Mike Deodato have created something special with this run on the Thunderbolts and it’s a shame that it’s coming to an end. This series is a prime example of how to write and visualize chaos, as everything is about as perfect as it can be. The characters and action are dynamic, the plot is perfect for both the characters in, and the situation that is, Thunderbolts Mountain, and the return of the Green Goblin with this issue is everything a fan could hope for.

Ellis and Deodato have completely knocked this series out of the park and I honestly feel sorry for the follow up team. I got back into comics with this current Thunderbolts team and with each issue it surprises me how every other series loses a little bit of its shine every time a new Thunderbolts story hits the stands. A spectacular effort all around. If you aren’t on board with this series, you definitely have been missing something great. (Grade: A)

-Kyle Posluszny