Superior Spider-Man #25 – Review

by Dan Slott, Christos Gage (Writers), Humberto Ramos, Victor Olazaba (Artists), Edgar Delgado (Colorist)

The Story: It’s the Avengers against the Superior Venom as chaos erupts in the city.

The Review: There’s always something rather nice in longer issues. While the normal 20 pages structures can be generally used well by most writers, there’s something satisfying in knowing that publishers aren’t against the idea to print larger book in order to tell bigger stories. They come as a bit more costly most of the time, but they are worth it more often than not.

However, I cannot say that the higher page count was used in the most efficient of ways in the big conclusion to Darkest Hour, the Venom story which pitted Otto as infected by the symbiote. There is plenty of nice ideas and a general sense of action that is rather entertaining, yet there are several problems that makes this large issue not the best it could very well be.

The most obvious problem is the number of plots and subplots the book tries to handle at the same time. The war against the Goblin King and Hobgoblin, the transformation of Carlie Cooper, the fate of Flash Thompson, how citizens reacts and many more such events are thrown at the readers, with not all of them receiving the buildup or enough space to have the impact it should have. It does get exciting at times, but most of these scenes ends way too soon for them to be satisfying.

Amazing Spider-Man #598 (American Son Chapter 4) – Review

By Joe Kelly (Writer), Paulo Siqueira & Marco Chachetto (Pencils & Inks), Amilton Santos (Inks), and Jeremy Cox & Chris Chuckry (Colors)

The Story: As Peter tries to endure being tortured by Bullseye and Norman Osborn, he learns the true extent of Osborn’s plan for the American Son project. Harry, meanwhile, finds the cure for Lily and his baby; but he soon learns a horrible truth.

What’s Good: When Joe Kelly focuses on Peter’s situation (Bullseye is just the right character for Peter to interact with) and the relationship between Harry and his father, the fourth chapter of “American Son” borders on great. Why? Because Kelly’s character moments are top notch. They take full advantage of key dynamics whenever they are in play (between hero and villain or father and son, for instance). In addition, Kelly does a fine job of keeping the twists and turns coming at a pace that feels just right for a story that’s been succeeding largely because of the balance that he’s found between storytelling and character work.

What’s Not So Good: I have two complaints about Kelly’s work in Amazing Spider-Man #598. The first complaint is that it seems as though he has completely abandoned the smaller parts of the “American Son” story. There’s no mention of Aunt May (what’s with the robots?) and there’s not a whole lot of, well anything really, that doesn’t have to do with Peter or Harry. I realize they are the focus of the story, but why bother with the other stuff so much in the first two chapters then?

My second complaint is that some of the dialogue comes off as far too melodramatic. It’s especially noticeable when Harry and Lily interact, though some of the stuff between Harry and Norman is also worthy of a roll of the eyes or two.

The artwork by Paulo Siquiera and Marco Chachetto is fairly solid all around, but it earns a spot in the “Not So Good” section for two reasons: ridiculous facial expressions (seriously…what’s with Harry?!) and poorly executed action. I can handle the weird expressions, but the action is really frustrating to look at. There’s just something obviously off about it.

Conclusion: While it’s got some flaws, the penultimate chapter of “American Son” is still worth checking out. Kelly’s been on a roll lately and for the most part, “American Son” keeps that roll…uh…rolling.

Grade: B –

-Kyle Posluszny

Amazing Spider-Man #597 (American Son Chapter 3) – Review

By Joe Kelly (Writer), Marco Chachetto (Art), and Chris Chuckry (Colors)

Some Thoughts Before The Review: Since Joe Kelly’s been on a roll lately (Four Eyes), picking up his “American Son” story was something of a no-brainer for me. I enjoyed the first two issues quite a bit (Rob’s reviews are pretty much dead on) and I looked forward to seeing where Kelly takes the story next. One thing though…what’s the deal with having a different art team for each chapter?! It’s absolutely killing me…

The Story: The “American Son” project is revealed as Spidey infiltrates the Dark Avengers by disguising himself as Venom/Mac Gargan/Spider-Man. Harry, meanwhile, thinks of a plan that can eliminate Menace, save his child, and save his lover.

What’s Good: Joe Kelly continues to weave one hell of a Spider-Man tale that takes full advantage of the Dark Reign concept. Watching Spidey take the offensive against Norman and his Avengers is a lot of fun thanks to Kelly’s sharp, surprising dialogue (love Peter’s “Venom” talk) and compelling plot twists. And while chapter three of “American Son” puts most of the politics on hold in favor of some action, the story still manages to move forward at a nice -though slightly fast- pace, especially in regards to the titular American Son.

The moody color work by Chris Chuckry is definitely the highlight of the art package, which is something of a mixed-bag. That said, Marco Chachetto’s work proves to be a good fit for the story. His character designs are strong, his panel layouts are unique, and a few of his action panels are extremely well done.

What’s Not So Good: One complaint I have about The Amazing Spider-Man #597 is that it lacks the depth found in the first two “American Son” chapters. Most of Spidey’s cast is put on the back-burner in favor of action, as a result, I found myself a bit let down by the latest part of Kelly’s Dark Reign tie-in. And the worst part? The action I’m talking about isn’t executed all that well. A few scenes look very good, but Marco Chachetto litters some pages with so many panels that it becomes a chore to try and sort out the correct flow of action. Though I suppose that one could make a case that the panel layout is supposed to reflect Spider-Man’s confusion…

Conclusion: A strong ending keeps the third chapter of “American Son” on par with the rest of the arc. It’s not perfect, but it’s definitely worth reading.

Grade: B-

-Kyle Posluszny

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

Amazing Spider-Man #558 – Review

By Bob Gale (writer), Barry Kitson (pencils), Mark Farmer (inks), Avalon’s Hannin & Milla (colors)

Wow, talk about invoking mixed feelings. This issue of Amazing Spider-Man does just that in spades. After abandoning The Order (which I’m still bitter over), it’s nice to see Barry Kitson turn up with some outstanding pencil work. One of Kitson’s strengths is that he can draw all kinds of people, not just “the standard build” with a different face (which most artists are guilty of doing). And because this issue features tons of pedestrians, Kitson’s artistic talents are showcased at a high level. In fact, everything he draws in this issue is painstakingly detailed and beautiful.

Bob Gale’s script is harder to gauge. His use of word bubbles with Peter Parker harken back to the classic days of Spider-Man, but in this modern age, they feel out of place. Curt Connors’ self-pity is also Silver Age inspired, yet feels unrealistic (by today’s standards). The Freak, I’ll get into in a moment. And while the return of Menace almost feels annoying, the possible revelation behind his character may end up redeeming him as a villain. Because other than Mr. Negative (who has been keeping a low profile since the first Brand New Day story arc), and that crazy Mayan god, the new villains introduced thus far have been pretty weak.

Okay, so the Freak… Good concept, crappy character. He was created for one simple reason: To lose to Spider-Man in humiliating ways. Why do you think they gave this guy “unlimited lives”? Because he’s a stoner, and stoners are stupid. Nothing illustrates this point more than his death in this issue. I mean, come on – going for Spider-Man’s obvious headfake at the end? Are you serious?! No one in their right mind would fall for that. It’s like being in the middle of the fight and you saying to your opponent, “Hey, look over there,” and then sucker punching them. That’s what Spidey did this issue, and the whole scene was just stupid.

The rest of the issue (I know, it seems like I’ve covered it all, but I haven’t), is filled with some good moments. The crowd reactions to Spidey’s fight with Menace are entertaining, the scene with the snipers is spot on, and Aunt May has a glorious moment that actually made me laugh out loud. There’s also some silly narratives scattered about that come off as entertaining, but all in all, this issue just would have been better had it not dealt with The Freak. Please don’t bring this guy back. (Grade: C+)

– J. Montes

A Second Opinion

Funny, I seem to have the exact opposite opinion as Jay. In this issue, we finally get a satisfying ending to the story of Freak. Or do we?

Before that, we trudge through several problematic scenes with this Brand New Day storyline. First, we see that Peter is feeling guilty for wanting to move out and leave his poor old aunt all by herself. How many times has he moved out before? Don’t tell me they all got retconned away too. Likewise, I think he is more than old enough to live on his own. Later on in the story, we get another confrontation between Spidey and Menace, who I have yet to be convinced is not just another Goblin copycat. Making this scene worse, we are given some of the cheesiest mid-battle quips that Spidey has had in a while.

The last half of the issue is where Gale and Kitson finally deliver as Spider-Man once again faces The Freak, and his jokes become funny and smart. Likewise, Kitson is great at displaying the action in this scene as well as the humor (especially in the facial expressions). The Freak, is without a doubt, the best character to come out of Brand New Day. While is extreme addiction to drugs should be saddening and pity-worthy, Gale writes it so that it is humorous, while at the same time giveing another “Stay away from drugs” lesson without brow-beating the reader. So, to anyone not pleased with Brand New Day, the first half of this issue certainly won’t make you feel any better, but the second half definitely entertains. (Grade: C+)

-M. Staples

Amazing Spider-Man #551 – Review

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

Marc Guggenheim concludes his run on Amazing Spider-Man this week. For the most part, his story has kept in tune with what Dan Slott started on his Brand New Day run. It’s fun, entertaining, and even surprising at times.

The first thing that struck me when upon finishing this issue is the complete omission of the supporting cast. However, I can see why this choice was made, given the circumstances. What we get instead, is a satisfying conclusion to the whole Menace story line. Guggenheim spends the whole issue focused on Spider-Man and Jackpot trying to apprehend this new villain. There is no payoff, per se, but we are given a jolting near the end of the book – a sad conclusion that Peter Parker knows all too well. The whole subplot of “who is Jackpot” also takes a left turn leaving us (and Spidey) with more questions.

All in all, I was pleased with how this issue wrapped up. Salvador Larroca’s art flows much better with the action and narrative this time around. It also probably helped that he didn’t have to draw too many civilian faces, either. Despite missing the supporting cast, everything is paced just right and Guggenheim clearly makes the distinction of what separates a rookie from a veteran superhero. His humor is hit and miss, but most of the time, it hits (especially when Spidey questions the cops on why they shoot at him and not Menace). The only thing I hated was the gratuitous plug for “Brothers & Sisters”, a show Guggenheim produces. Was that really necessary, Marc? (Grade: B+)

– J. Montes

Amazing Spider-Man #550 – Review

By Marc Guggenheim (writer), Salvador Larroca (art), Stephane Peru (colors)

Last issue, Spider-Man was poking around Menace’s backyard along with Jackpot when she double crossed him. Her “back up” arrives in the form of The Blue Shield – a completely irrelevant and forgotten character from the early 1980s. Spidey does exactly what any normal person would do, he laughs and pokes fun of The Blue Shield’s name. Very funny stuff.

Eventually, the Menace shows up, riling enough distraction for Spidey to escape his would be capturers. Spidey pursues Menace and the dialogue that follows is laugh out loud funny. Marc Guggenheim is completely in his element when he writes Spidey, making it all seem so natural and effortless. However, when Peter’s not in the suit and we deal with the supporting cast and subplots, the writing quality lessens.

After Spider-Man’s initial confrontation with Menace the story slows down considerably. Peter meets with the new DB publisher who still can’t seem to get his last name right. It’s a running gag, I know, but it’s no longer funny. Next we cut to the construction worker who Spider-Man saved last issue. The worker claims Spidey knocked him off the building and draws up plans with his lawyer to sue Spider-Man! Finally, we go back to Spider-Man meeting with the cops about the spider tracer killing, which turns out to be worse than expected; it’s not just one killing, but a series of killings over the past three months, each of the victims having been planted with Spidey’s old model of the tracer? Spider-Man has no answer, and neither do the cops. But they do want to question him. Meanwhile, Menace attacks the mayoral debates in Harlem. Spidey’s up to his ears in trouble as usual – and he still doesn’t have a job!

So how was the issue? Uneven. The story doesn’t flow well – it jumps around way too much for my liking. It’s weird too, because both Marc Guggenheim and Salvador Larroca are fantastic when Spidey’s doing his super hero thing. But when it comes to everything else in this issue, they falter. Larroca’s civilians look off (especially Peter) and his storytelling stumbles (especially when Menace attacks the theatre). The same goes for Guggenheim. His dialogue isn’t as entertaining and the pacing languishes. We do learn Jackpot’s real now, though! (Grade: C+)

– J. Montes

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