Ultimate Spider-Man 69 (January 2005)

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I just got it… Bendis is mixing Ultimate Marvel Team-Up with “Spider-Man No More” to show Peter why he can’t give up being Spider-Man. With yet another issue with no mention of Gwen. Bendis talks around it too much. Mary can tell Gandhi jokes but she can’t talk about Gwen. If it’s an intentional move on Bendis’s part, like a grief handling thing, it’s not working.

Otherwise, the issue’s pretty darn strong. Johnny Storm gets outed as a fire person of some kind or another (Liz Allen is scared he’s a mutant) and he can’t go back to Midtown. There’s a nice little scene with Mary and Liz, a nicer one with Mary and Peter and then the big talking heads scene between Spidey and Johnny.

Peter’s pep talk to Johnny is subtly a rather depressing one. It’s “With Great Power,” but without those words.

It’s good.

CREDITS

Meet Me; writer, Brian Michael Bendis; penciller, Mark Bagley; inker, Scott Hanna; colorists, Jonathan D. Smith and Chris Sotomayor; letterer, Chris Eliopoulos; editors, Nick Lowe and Ralph Macchio; publisher, Marvel Comics.

The Superior Spider-Man 3 (April 2013)

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Slott’s starting to edge in on Batman territory here. The Vulture is using children to commit crimes, strapping them into flight harnesses and sending them out. Otto loses it and almost kills him, horrifying Ghost Peter and the police lady.

I can’t remember her name. It might be Carlie or something; it’s goofy, whatever it is.

There’s the judgment from Ghost Peter and cop lady, but… Otto’s kind of right, isn’t he? If the Vulture has graduated to abusing little kids, the soft-hand tactics are clearly outdated.

There’s also some stuff with Ghost Peter getting into Otto’s memories and discovering Otto’s human side. Those scenes aren’t particularly good, since Otto’s not in them. Not bad though.

The more I think about it, yeah… Slott is just turning Spider-Man into Batman. He’s also showing how Otto’s intelligence was wasted as a criminal. He’s more effective as a good guy.

CREDITS

Everything You Know Is Wrong; writer, Dan Slott; artist, Ryan Stegman; colorist, Edgar Delgado; letterer, Chris Eliopoulos; editors, Ellie Pyle and Stephen Wacker; publisher, Marvel Comics.

Before Watchmen: Rorschach 4 (April 2013)

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So Rorschach really became Rorschach after the serial killer went after his girlfriend. While this event occurs–which Bermejo shows from the serial killer’s perspective, because he’s apparently supposed to be someone recognizable–the other bad guys are torturing Rorschach. He gets away because of a coincidence.

The one interesting thing Azzarello does is rip off “Kraven’s Last Hunt.” The main bad guy takes the Rorschach mask and fights crime during a blackout.

Not sure how there’d be a blackout with a lot of crime with Nite Owl, the Comedian and Dr. Manhattan around… but, like I’ve been saying, it doesn’t appear Azzarello’s read Watchmen.

Even with all the violence and action, it’s a very boring issue. It’s just too dumb for anything to redeem it.

And, again, whatever editor okayed the story arc as a life changing thing for Rorschach? He or she proves DC’s editors are ironically incompetent.

CREDITS

Writer, Brian Azzarello; artist, Lee Bermejo; colorist, Barbara Ciardo; letterer, Rob Leigh; editors, Mark Doyle, Camilla Zhang and Will Dennis; publisher, DC Comics.

Swamp Thing 119 (May 1992)

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For the entire issue–which is incredibly fast paced as Alec and Abby try to find a kidnapped Tefé–Scot Eaton’s pencils are fine. There aren’t any amazing panels, but it all flows rather nicely. Until the final reveal, where Eaton goes entirely flat. It’s a full page too. It ends the issue poorly.

Otherwise, the issue’s pretty. Alec acting as a tracking dog for the cops is unlikely; I don’t believe he can’t sense Tefé’s location–can’t he talk to the trees or grass around her–but it’s dramatically successful. Collins hasn’t found a good balance for his power.

She also has a lot of exposition, which is again about the purple vengeance monster. It’s nothing she didn’t cover in the previous issue and now it’s just text to slow the reader. It doesn’t offer anything.

Collins tries to do too much this issue. She should’ve taken her time.

CREDITS

The Bad Man; writer, Nancy A. Collins; penciller, Scot Eaton; inker, Kim DeMulder; colorist, Tatjana Wood; letterer, John Costanza; editor, Stuart Moore; publisher, DC Comics.

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