Tag: Mark Bagley

Ultimatum: Spider-Man Requiem 2 (September 2009)

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Eh. Dang it, Bendis.

He structures the whole thing around Jonah’s obituary for Spider-Man, flashing back to Spidey’s first meeting with the Hulk. Oddly enough, back when Peter ran into the Hulk at the end of the original series, he didn’t seem like he remembered this incident. Bendis rips off the school bus scene from Superman pretty well. It’s not the problem.

The problem is when Jonah’s article becomes the cake instead of the icing. The art is then a bunch of pin-ups, mostly by Bagley, which seems inappropriate given how much work Immonen’s done. Scott Hanna’s inks seem a little off on the flashback story too, like he forgot how to do Ultimate Spider-Man.

The finale, with Immonen, takes a couple pages. It’s predictable, without personality. If Immonen had more room, he might’ve been able to make it visually matter.

Bendis strikes again. He’s dreadfully uneven.

CREDITS

Writer, Brian Michael Bendis; pencillers, Mark Bagley, Stuart Immonen, Trevor Hairsine, Ron Randall, Bill Sienkiewicz and John Totleben; inkers, Scott Hanna, Wade von Grawbadger, Danny Miki, Randall, Sienkiewicz and Totleben; colorists, Pete Pantazis and Justin Ponsor; letterer, Cory Petit; editors, Mark Paniccia and Lauren Sankovitch; publisher, Marvel Comics.

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Ultimatum: Spider-Man Requiem 1 (August 2009)

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And there Bendis goes again. He does a phenomenal issue, the kind making the bad stuff worth it. Well, some of the bad stuff. A lot of the bad stuff should just be skipped.

Jonah, Robbie and Ben Urich head back to the Bugle in devastated Manhattan and Jonah tries to figure out how to write his Spider-Man story. Very human art from Immonen; he toggles between disaster and character drama perfectly. It’s a shame Bendis never grew up and wrote a Bugle book.

Jonah reads about a time Spidey helped out Iron Man. Mark Bagley comes back for that retro story, which is cool. It’s still Bugle-centric (something Bendis never really let the regular series become) and, after seeming awkward, it turns out it’s the perfect fit. Outlandish and grounded at the same time, like the best of Ultimate Spider-Man.

Hope Bendis delivers for number two.

CREDITS

Writer, Brian Michael Bendis; pencillers, Mark Bagley and Stuart Immonen; inkers, Scott Hanna and Wade von Grawbadger; colorists, Edgar Delgado, Pete Pantazis and Justin Ponsor; letterer, Cory Petit; editor, Lauren Sankovitch; publisher, Marvel Comics.

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Ultimate Spider-Man 111 (September 2007)

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I think this issue has to be one of Bendis’s greatest successes with the series so far. It’s Peter and Aunt May talking about him being Spider-Man–is Bendis the first writer to ever do this scene?–and it’s absolutely perfect.

He opens–with Mark Bagley pencilling his final issue–and goes through Peter and May talking about the origin and all the villains. Hennessy’s inks and Justin Ponsor’s colors make the whole thing seem very Americana. Ultimate Spider-Man as Norman Rockwell.

Then, when Stuart Immonen takes over for Peter telling May about his adventure of the day, Bendis has May asking all these questions about the logic of it. It becomes Peter (and Bendis) explaining the lack of reality in comic books. It’s a great move.

Bendis had to tell this one just right for the series to work (it’s been building 110 issues).

And he does.

CREDITS

The Talk; writer, Brian Michael Bendis; pencillers, Mark Bagley and Stuart Immonen; inker, Drew Hennessy; colorist, Justin Ponsor; letterer, Cory Petit; editors, John Barber, Bill Rosemann and Ralph Macchio; publisher, Marvel Comics.

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Ultimate Spider-Man 110 (August 2007)

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I’m kind of hoping Bendis realizes he can’t keep bringing Kingpin back. This issue “resolves” Ultimate Kingpin, but also features Spider-Man threatening to tattle on Kingpin to Nick Fury.

It raises a big question. Why the heck hasn’t he done so already? If it’s such a big threat, why’s Peter protecting Wilson Fisk from Nick Fury’s wrath? Possibly because Bendis can’t write that story… it’s too much of an empty threat.

It’s not a bad issue though. There’s a big fight scene with Iron Fist and the other Ultimate Knights, then there’s Daredevil threatening to kill Kingpin’s wife (which would have been awesome… but Bendis chickened out) and then the big resolution. It requires a character surviving a gunshot wound to the head, but as long as it gets rid of Kingpin… maybe it’s worth it.

The Bendis tries a final page he just shouldn’t have….

Otherwise, not bad.

CREDITS

Ultimate Knights, Conclusion; writer, Brian Michael Bendis; penciller, Mark Bagley; inker, Drew Hennessy; colorist, Justin Ponsor; letterer, Cory Petit; editors, John Barber and Ralph Macchio; publisher, Marvel Comics.

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Ultimate Spider-Man 109 (July 2007)

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It’s a little better than I expected. Bendis does the “grownup” thing again with Daredevil; only he and Dr. Strange kind of bumble through the issue. Strange is particularly unimpressive. Bendis ideas for Ultimate versions are too often to make the characters callous and occasionally dimwitted.

The Kingpin versus Peter stuff isn’t terrible. It’s just more appropriate for a crime comic. Is he going to turn Ultimate Spider-Man into a gritty crime comic? Probably not… definitely not with Bagley, but he winks at it.

What else happens… Moon Knight gets busted and disappears. At least Bendis didn’t waste half the issue with his multiple personalities. Instead it appears the issue is the big kick off for Kingpin versus Daredevil.

Shame it’s not Daredevil’s comic.

I don’t think Peter even speaks until there are only six pages left.

The issue is a misstep, not a mistake. I still have hope.

CREDITS

Ultimate Knights, Part Four; writer, Brian Michael Bendis; penciller, Mark Bagley; inker, Drew Hennessy; colorist, Justin Ponsor; letterer, Cory Petit; editors, John Barber and Ralph Macchio; publisher, Marvel Comics.

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Ultimate Spider-Man 108 (July 2007)

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And here’s a Bendis misstep. Most of the issue’s spent in Moon Knight’s head–there’s nothing about Iron Fist selling out, because Bendis has found a way to make Moon Knight bad.

Ultimate Ronin is a new personality of Ultimate Moon Knight–a bad guy. He beats up Kitty, he kidnaps Peter.

Problems abound. First, Mary Jane is now the seventies–as in, television–Lois Lane. She does a story about Flash (set two weeks after his attack) when Bendis already jumped further ahead than two weeks for the TV movie joke.

Maybe continuity reset a little after issue one hundred.

There’s a lot of avoiding. Kitty and Mary Jane almost have a scene, then Bendis avoids it. Aunt May never gets a mention, Iron Fist never gets a mention.

He’s dragging things out, which doesn’t necessarily mean things are back to falling apart, but it’s not a good sign.

CREDITS

Ultimate Knights, Part Three; writer, Brian Michael Bendis; penciller, Mark Bagley; inker, Drew Hennessy; colorist, Justin Ponsor; letterer, Cory Petit; editors, John Barber and Ralph Macchio; publisher, Marvel Comics.

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Ultimate Spider-Man 107 (May 2007)

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Wow, Ultimate Iron Fist isn’t going to get his own series if he’s buddying up to Kingpin. Jeez.

Bendis splits the issue, mostly, between Peter and Kitty having a breakup conversation–actually, a post-breakup conversation–and Spider-Man talking Daredevil down from the idea of killing Kingpin. Maybe for the first time ever, Ultimate Daredevil works as a character. Because it’s interesting to see him brought down, intellectually, by Peter.

The scene with Kitty is good too. Bendis’s reasoning for her being at Midtown is idiotically contrived, but even he seems to know it. And having Ultimate Jessica Jones show up is kind of funny.

There are a few more scenes–Kitty in class, Mary Jane and Peter, Peter at the hospital–and Bendis is on for each of them. It’s still a little too soon to say, but he definitely seems engaged in the series again.

It’s good.

CREDITS

Ultimate Knights, Part Two; writer, Brian Michael Bendis; penciller, Mark Bagley; inker, Drew Hennessy; colorist, Justin Ponsor; letterer, Cory Petit; editors, John Barber and Ralph Macchio; publisher, Marvel Comics.

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Ultimate Spider-Man 106 (May 2007)

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Lots happens this issue. I guess crossing the hundred issue mark, Bendis has decided he needs lots of guest stars. Hulk for a panel, Daredevil, the Fantastic Four… Peter’s entering into the much bigger Ultimate Universe. Only about a ninety-eight issues later than the original did into the Marvel Universe.

Anyway.

It’s an okay issue. Bendis is very comfortable having Mary Jane back and without an agenda. He seems to have but Kitty Pryde into that awkward role–I can’t wait for the contrived reason she’s going to Midtown High. And Matt Murdock showing up at the school a few minutes earlier is lame too. There’s got to be a better way to bring him in to talk to Peter.

But the scenes at the Bugle and the one with Aunt May make up for the problems. The Fantastic Four scene is great too.

The series feels surprisingly rejuvenated.

CREDITS

Ultimate Knights, Part One; writer, Brian Michael Bendis; penciller, Mark Bagley; inker, Drew Hennessy; colorist, Justin Ponsor; letterer, Cory Petit; editors, John Barber and Ralph Macchio; publisher, Marvel Comics.

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Ultimate Spider-Man 105 (April 2007)

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And there we have it. A somewhat new ground situation–Aunt May knows Peter’s Spider-Man, he’s living with Mary Jane, Kitty Pryde is mad–not much else though.

There’s nothing on Doc Ock, there’s nothing on the U.S. government hiring bad guys to genetically engineer clones and kill teenagers, there’s nothing on… something else, I’m sure. I sort of forgot.

Oh, Nick Fury’s a big sweetheart it turns out. He’s not tough enough to use Captain America and Iron Man on the bad FBI guys, only threaten the Fantastic Four with them. But he’s a pushover and a stooge now.

The Jessica Drew thing is mildly interesting. Bendis seems to realize she’s the best character to come out of this arc, just because it’s very strange and he has good observations with her.

Still, it’s unfortunate Bendis had to write so many bad comics for so little change.

CREDITS

Clone Saga, Epilogue; writer, Brian Michael Bendis; penciller, Mark Bagley; inker, Drew Hennessy; colorist, Justin Ponsor; letterer, Cory Petit; editors, John Barber and Ralph Macchio; publisher, Marvel Comics.

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Ultimate Spider-Man 104 (March 2007)

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Good thing the X-Men don’t have a fast jet because they might get there in time to see Peter and Mary Jane get their romance back on. I really hope Bendis comes up with some better result to this lame arc than them reuniting.

There’s still Aunt May, there’s still an evil U.S. government out to get Nick Fury, there’s still Richard Parker.

Wait, no, there isn’t. Because Bendis wraps that one up nice and clean. Had he made it dirty and told the issue around it, he would have had a great comic. A singular one. Had he been willing to commit to the sensationalism for more than four issues, however, he would have put Ultimate Spider-Man somewhere entirely new.

Instead, he promises a return to the norm. With some changes, but definitely a return to the norm.

It’s unfortunate; Bendis never lets the comic grow.

D 

CREDITS

Clone Saga, Part Eight; writer, Brian Michael Bendis; penciller, Mark Bagley; inkers, Drew Hennessy and Matt Ryan; colorist, Andy Troy; letterer, Chris Eliopoulos; editors, John Barber and Ralph Macchio; publisher, Marvel Comics.

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Ultimate Spider-Man 103 (February 2007)

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Yep, Bendis turns out rather predictable. Especially with Richard Parker.

The stuff with the X-Men is lame too, especially since they have a teleporting guy and a really fast plane. Instead, Bendis just does it to show he’s not entirely contriving this story, which is a complete cop out.

Speaking of cop outs, he also turns Nick Fury into an absolute stooge. As in Larry, Moe or Curly. In the span of a few issues, he’s turned Aunt May into a heinous bitch and Nick Fury into a buffoon.

I get a lot of what he’s trying to do and why–one can see Bendis is pushing the series to a new situation–but he’s forcing it every step of the way. Especially since he never establishes a good timeline for the events he tells in flashback.

It’s probably worse than the nineties “The Clone Saga.” It’s painfully goofy.

CREDITS

Clone Saga, Part Seven; writer, Brian Michael Bendis; penciller, Mark Bagley; inker, Drew Hennessy; colorist, Studio F; letterer, Cory Petit; editors, John Barber and Ralph Macchio; publisher, Marvel Comics.

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Ultimate Spider-Man 102 (January 2007)

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Very confused as to what Bendis is doing with this arc.

The big reveal has to be the Spider-Woman isn’t a Mary Jane clone but a Peter Parker clone made female. There’s also this implication Richard Parker is just an illusion or a clone too. I suppose Bendis is keeping that revelation for this arc’s finale, to reunite Peter and Aunt May.

There’s another big problem–at the beginning when the Fantastic Four faces off against Fury, they seem a little alone. One would imagine someone else would speak up against Fury executing a teenager, some other superhero (where’s Dr. Strange when they need him), but maybe not. I can’t imagine Thor’d be okay with it.

All of a sudden, the Ultimate Universe feels way too small. Bendis is trying to manage things, but then kicks off his weird Peter Parker clones business.

It’s goofy and trite and disappointing.

CREDITS

Clone Saga, Part Six; writer, Brian Michael Bendis; penciller, Mark Bagley; inker, Drew Hennessy; colorist, Justin Ponsor; letterer, Cory Petit; editors, John Barber and Ralph Macchio; publisher, Marvel Comics.

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Ultimate Spider-Man 101 (December 2006)

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Thank goodness Hennessy takes over as the only inker. He does a good job with it. Not sure what was going on when he was splitting the duties with Dell.

There’s a lot of implications this issue. The Fantastic Four comes in to save Peter from Fury, who’s been planning on killing him (and his clones) for a while now. Thus, one can guess Fury’s known about the clones for a while.

It’s unclear what’s going on with Mary Jane, Richard Parker and Gwen Stacy. But Carnage apparently infected Gwen or vice versa. Not much of it matters because Bendis is able to sell the issue on anger. Peter’s anger, the Fantastic Four’s anger. Maybe a little on Fury’s regret.

It reads way too fast, of course. Bendis is cashing in a lot of long term hints and so on and it sort of begins to pay off.

Well, maybe.

CREDITS

Clone Saga, Part Five; writer, Brian Michael Bendis; penciller, Mark Bagley; inker, Drew Hennessy; colorist, Justin Ponsor; letterer, Cory Petit; editors, John Barber and Ralph Macchio; publisher, Marvel Comics.

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Ultimate Spider-Man 98 (October 2006)

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Bendis should have done more with the Fantastic Four this issue. They’re really funny. The stuff with Peter calling himself “baby” in his internal monologue? Makes me hope he’s a clone not the regular character but I think it’s more just Bendis laziness.

There’s another big fight scene this issue; Peter fights some black costumed redhead with spider powers who doesn’t identify herself. It’s a bad fight scene. Then Gwen comes back and she’s confused. Then there’s another Peter clone, apparently.

Maybe it’s Eddie Brock. Not sure how much I care, as it’s clear Bendis doesn’t care.

I’m trying to think of what else goes on this issue. A great cameo from Nick Fury? A strange scene between Peter and Mary Jane’ mom; I don’t think she’s shown up before this arc. At least not enough for her to be memorable.

Bendis has lost his focus on Peter in Ultimate.

CREDITS

Clone Saga, Part Two; writer, Brian Michael Bendis; penciller, Mark Bagley; inkers, John Dell and Drew Hennessy; colorist, Justin Ponsor; letterer, Cory Petit; editors, John Barber and Ralph Macchio; publisher, Marvel Comics.

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Ultimate Spider-Man 95 (July 2006)

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I’m sure Bendis and Jimmy Palmiotti are buddies but come on… no one could think Palmiotti is a good inker for Bagley. I thought Dell was weak, but Palmiotti is something else. You have these pleasant Bagley high school panels and Palmiotti makes them dreary. And the hands… don’t get me started on the hands.

Otherwise, it’s a pretty darn good issue. Peter has a friend fight with Mary Jane, he talks to Kitty on the phone (with Storm offering hilarious audio commentary) and works at the Bugle. Bendis writes the Bugle stuff rather well, it’s too bad he doesn’t use it more.

But this arc is the Morbius one and dang if he doesn’t go for disturbing. The vampires aren’t cute, they’re evil and scary. For the first time–maybe ever–I was worried about Peter’s safety. It’s bad stuff going on.

Maybe I wrote off Bendis’s ambitions early.

CREDITS

Morbius, Part One; writer, Brian Michael Bendis; penciller, Mark Bagley; inkers, John Dell and Jimmy Palmiotti; colorist, Richard Isanove; letterer, Cory Petit; editors, John Barber, Nicole Boose and Ralph Macchio; publisher, Marvel Comics.

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Ultimate Spider-Man 93 (June 2006)

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You know what isn’t a television show–specifically a reality television show? A comic book. Someone should have told Bendis because then I would have been saved this useless comic.

Deadpool and some bad guys are hunting the X-Men (and Peter) on this island and it’s all for TV. So Bendis is cutting between the host, the bad guys, the hidden cameras, with Bagley doing all double page layouts with little TV-sized boxes.

It’s probably the most writing, in terms of dialogue, Bendis has done in years on this comic. But it’s mostly crappy, because his approach is crappy. He can’t emulate the pacing and he has trouble getting in for character scenes; even his sincere stuff comes off plastic.

Oddly, not even the X-Men are the leads this issue–they’re barely in it. The TV host gets the spotlight.

It’s a complete misfire of a comic.

CREDITS

Deadpool, Part Three; writer, Brian Michael Bendis; penciller, Mark Bagley; inker, Danny Miki; colorist, Richard Isanove; letterer, Cory Petit; editors, John Barber, Nicole Boose and Ralph Macchio; publisher, Marvel Comics.

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Ultimate Spider-Man 91 (May 2006)

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Bendis writes first person exposition rounded rectangles–there’s just no good description for them like word balloons–for Kitty Pryde. She’s Peter’s girlfriend, after all, and she guest stars in about half the issue. Probably more.

Oh, wait, Bendis never wrote those rectangles for Mary Jane. It’s a good issue and all, though the front is a lot better than the back, which has nothing of interest except maybe May going on a date, but it reveals something about Bendis as a writer.

He was always using Mary Jane as an unknowable side character, ever ready to use her for plot twists. Kitty, on the other hand, is an honest to goodness knowable side character. It makes her immediately more likable. I had to force myself to remember Mary Jane is part of the book.

And Peter having a superhero team-up? Awesome.

I didn’t even mind Dell’s inks here.

CREDITS

Deadpool, Part One; writer, Brian Michael Bendis; penciller, Mark Bagley; inker, John Dell; colorist, Justin Ponsor; letterer, Cory Petit; editors, John Barber, Nicole Wiley Boose and Ralph Macchio; publisher, Marvel Comics.

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Ultimate Spider-Man 89 (March 2006)

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And then Bendis gets around to introducing an Ultimate villain who I guess hasn’t had an Ultimate version yet. Even though I assumed he had one long ago. In Ultimate Six maybe?

But before he gets to that reveal–which is the hard cliffhanger–Bendis gets cute. He has these storybook retellings of the issue’s main characters, starting with Silver Sable. He doesn’t explain why he writes her sidekicks’ dialogue like it’s a PG-rated Tarantino knockoff though.

And none of the revelations make her a better character.

The Roxxon guy gets a flashback too, which is a page burner. Bendis is either trying to get to the big reveal or he realized he needed something mildly interesting to finally happen this arc.

The good Peter Parker moments don’t really make up for the rest, but Hanna’s back; the action’s reasonably good.

It’s a weak issue in a tepid arc.

CREDITS

Silver Sable, Part Four; writer, Brian Michael Bendis; penciller, Mark Bagley; inker, Scott Hanna; colorist, Justin Ponsor; letterer, Chris Eliopoulos; editors, John Barber, Nicole Wiley and Ralph Macchio; publisher, Marvel Comics.

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Ultimate Spider-Man 87 (February 2006)

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The Flash Thompson thing is a somewhat funny distraction–Silver Sable kidnapped him instead of Peter–but it doesn’t make up for Ultimate Silver Sable being the worst villain in this comic since Geldof or whatever. Bendis tries real hard on her and her sidekicks too, which makes his failure more obvious.

But this issue also has Peter dating Kitty Pryde and being utterly insensitive to Mary Jane. As she was utterly insensitive to him quite a bit, it should read like just desserts but it doesn’t. Bendis never gave them closure. I’m hoping it’s intentional and not Bendis forgetting about something else.

Kitty’s a vaguely fun addition to the cast, but she doesn’t seem to have any depth. I was hoping she’d meet May but no luck there.

The Ultimate Vision backup is a short, boring galactic history lesson. Whoever decided to make her visually female is a moron.

CREDITS

Silver Sable, Part Two; writer, Brian Michael Bendis; penciller, Mark Bagley; inker, Scott Hanna; colorist, Justin Ponsor. Ultimate Vision, Visions, Part Four of Six; writer, Mark Millar; penciller, John Romita Jr.; inker, Jimmy Palmiotti; colorist, June Chung. Letterer, Chris Eliopoulos; editors, John Barber, Nicole Wiley and Ralph Macchio; publisher, Marvel Comics.

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Ultimate Spider-Man 86 (January 2006)

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Maybe not everything should get an Ultimate version.

For example, Bendis opens the issue with Ultimate Damage Control. Does there need to be an Ultimate Damage Control… probably not. But Bendis uses it for exposition and to frame his flashback. It’s okay enough.

Except the arc’s not about them, it’s about Ultimate Silver Sable, who’s apparently a corporate espionage person. Does she need an Ultimate version? Hard to say, but definitely not the way Bendis writes this issue.

She has all these morons working for her (the Wild Pack, I think) and Bendis is clearly enjoying writing their dialogue… but it’s all for a useless comic. He’s impressing himself again, which never goes well for the series.

The twist at the end, which should be played for laughs, ends up being vicious. The arc’s a misfire so far.

And the Ultimate Vision backup? Pointless but inoffensive writing; truly hideous art.

CREDITS

Silver Sable, Part One; writer, Brian Michael Bendis; penciller, Mark Bagley; inker, Scott Hanna; colorist, Justin Ponsor. Ultimate Vision, Visions, Part One of Six; writer, Mark Millar; penciller, John Romita Jr.; inker, Jimmy Palmiotti; colorist, Jonathan D. Smith. Letterer, Chris Eliopoulos; editors, John Barber, Nicole Wiley and Ralph Macchio; publisher, Marvel Comics.

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Ultimate Spider-Man 85 (January 2006)

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Good issue. Finally. The last few have been trying.

Bendis still has his pacing problems, but at least the comic’s amusing. The scene where Black Cat meets Peter Parker had me laughing out loud, even if Bagley and Hanna’s art for it is weak.

The resolution to the big gang fight works well too, though it’s unclear why Bendis brought in so many new characters for it. None of them get a resolution, which makes the time Bendis spent on them earlier even more pointless.

And the soft cliffhangers are good. There are a couple, one for the Kingpin–Bendis really didn’t use him enough this arc as it turns out–and one for Peter. The Peter one just shows Aunt May should probably get half the comic to herself.

She’s definitely more interesting than Ultimate Moon Knight.

Bendis’s finish makes up for the arc’s weaker issues. Well, pretty much.

CREDITS

Warriors, Part Seven; writer, Brian Michael Bendis; penciller, Mark Bagley; inker, Scott Hanna; colorist, Jonathan D. Smith; letterer, Chris Eliopoulos; editors, John Barber, Nicole Wiley and Ralph Macchio; publisher, Marvel Comics.

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Ultimate Spider-Man 84 (December 2005)

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Wow, the pacing’s actually worse with this issue. Frighteningly, it’s not even Bendis worst pacing on Ultimate Spider-Man.

The issue opens with a fight scene. There are maybe ten recognizable characters and then Hammerhead’s thugs. Bagley can’t make the fight scenes look interesting; it’s just an incompressible jumble of activity.

There are occasional pauses for banter–Peter keeps flirting with Elektra as they fight, Moon Knight keeps acting psychotic, Hammerhead keeps threatening everyone. The only interesting part is when Peter calls the cops for help–as Spider-Man. It’s a great honest moment.

But it doesn’t end well for him, as he’s just used a McFarlane amount of web fluid and conveniently forgotten to keep all the people webbed.

Bendis also has an odd moment when he acknowledges Ultimate Marvel Team-Up, which I thought was out of continuity….

The issue could run a third of its page count.

CREDITS

Warriors, Part Six; writer, Brian Michael Bendis; penciller, Mark Bagley; inker, Scott Hanna; colorist, Jonathan D. Smith; letterer, Chris Eliopoulos; editors, John Barber, Nicole Wiley and Ralph Macchio; publisher, Marvel Comics.

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Ultimate Spider-Man 83 (November 2005)

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Still with the pacing problems. Bendis does get around to a good conversation between Peter and Mary Jane, but there’s also a lot of rubbish with Moon Knight–Ultimate Moon Knight apparently has four multiple personalities who hang out at a swing set and banter with each other–and some with the Ultimate Kung Fu duo.

Oh, and Elektra going after some of Kingpin’s misbehaving flunkies.

Bendis front loaded the arc with all the actual content and is now just padding it out. Even Black Cat, who’s seemingly making an impression on Peter, is really just more padding. They’re not going to hook up or anything because Bendis still keeps things very chaste. The flirting’s just flirting, it’s all safe.

I can’t think of anything else in this one. Except the ending when it’s obvious Bendis has overloaded the arc with guest stars. Even the villain finds it all exasperating.

CREDITS

Warriors, Part Five; writer, Brian Michael Bendis; penciller, Mark Bagley; inker, Scott Hanna; colorist, Jonathan D. Smith; letterer, Chris Eliopoulos; editors, John Barber, Nicole Wiley and Ralph Macchio; publisher, Marvel Comics.

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Ultimate Spider-Man 82 (November 2005)

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I forgot Ultimate Black Cat was supposed to be dead. She’s not. She’s back and she saves Peter. They make out a bit and he runs home. There’s also the fight scene at the beginning, which is rushed so Bendis can keep Hammerhead around for a while.

Let’s see, Hammerhead, Black Cat–oh, Jean DeWolfe gets a scene. And then some Ultimate Moon Knight malarkey. Aunt May, then Kingpin. Not a lot. Lots of characters, not much story. If last issue was a bridging issue, this one is Bendis turning it into a suspension bridge.

There’s a little about high school too. The issue still takes place on the day Peter walked out of class–which doesn’t seem right, but I guess it’s possible.

Oh, and Bendis loses track of Iron Fist and the Master of Kung Fu. They’re nowhere to be seen.

Bendis is really dragging things out here.

CREDITS

Warriors, Part Four; writer, Brian Michael Bendis; penciller, Mark Bagley; inker, Scott Hanna; colorist, Jonathan D. Smith; letterer, Chris Eliopoulos; editors, John Barber, Nicole Wiley and Ralph Macchio; publisher, Marvel Comics.

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Ultimate Spider-Man 81 (October 2005)

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Ultimate Jean DeWolfe is awesome and her rooftop conversation with Peter’s great–Bendis seems to realize he needs a mentor of some kind, but never keeps anyone consistently–but the issue’s sort of a waste.

Besides DeWolfe confirming the Kingpin’s read of the world is basically right and Peter should take on bad guys regardless of who informs him about them… there’s nothing going on here. Except a kung fu fight with Ultimate Iron Fist and Ultimate Master of Kung Fu versus a gang. It’s not Bagley’s fault it’s boring to read, it’s Bendis’s for giving the pair so many adversaries the art is too busy.

And then there’s another “did Peter really mess up that bad” moment before Bendis brings in Black Cat for the cliffhanger. He’s just using it as a bridge issue.

It’s not a bad issue, just a pointless one. Bendis could’ve done a lot better.

CREDITS

Warriors, Part Three; writer, Brian Michael Bendis; penciller, Mark Bagley; inker, Scott Hanna; colorist, Jonathan D. Smith; letterer, Chris Eliopoulos; editors, John Barber, Nicole Wiley and Ralph Macchio; publisher, Marvel Comics.

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Ultimate Spider-Man 80 (October 2005)

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Bendis is trying really hard this issue; I wonder if he realized how loose he’d been getting on Ultimate Spider-Man and decided to refocus his energies.

The issue opens with Peter fighting Moon Knight, which has an ominous Elektra side story and some great banter from Peter. Then there’s some Bugle stuff, then Peter goes off for his talking heads scene with Ultimate Kingpin.

After maybe the greatest moment in the comic in a while–Ultimate Elektra, master ninja assassin, chastises Spider-Man for scoping out her boobs. It’s a great moment of realism from Bendis, who’s otherwise been way too concentrated on the soap opera aspect of the series. This one moment makes Ultimate more realistic than any of his Mary Jane stuff.

The talking heads scene with Kingpin is awesome just because Bendis writes Kingpin as really smart and really evil.

It’s the best issue in ages.

CREDITS

Warriors, Part Two; writer, Brian Michael Bendis; penciller, Mark Bagley; inker, Scott Hanna; colorist, Jonathan D. Smith; letterer, Chris Eliopoulos; editors, John Barber, Nicole Wiley and Ralph Macchio; publisher, Marvel Comics.

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Ultimate Spider-Man 79 (September 2005)

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Everything goes fine in this issue until the end reveal. Ultimate Moon Knight has just about the worst costume design ever and it’s hard to make it through his one page without giggling. He looks like Marvin the Martian.

Otherwise, Bendis skips back to the beginning of his previous Mary Jane issue and follows Peter instead. It’s a nice little move, though he doesn’t announce it, which seems like déjà vu.

It’s also a Kingpin and crime story, not a Peter Parker story (not yet anyway). There’s a lot with Ultimate Kingpin being in trouble and the guys out to usurp him. Bendis handles those parts really well.

He also writes some intense stream of consciousness stuff for Peter–it’s practically a jumping on point there’s so much exposition in it–but it works. It reestablishes Peter as the comic’s lead, something Bendis has ignored lately.

Good (except Moon Knight).

CREDITS

Warriors, Part One; writer, Brian Michael Bendis; penciller, Mark Bagley; inker, Scott Hanna; colorist, Jonathan D. Smith; letterer, Chris Eliopoulos; editors, John Barber, Nicole Wiley and Ralph Macchio; publisher, Marvel Comics.

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Ultimate Spider-Man 78 (August 2005)

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And, like he knows he needs to do something special, Bendis tries to get his groove back with a Mary Jane-centered issue. She’s dealing with Peter dumping her and meets some great older guy who Liz hooks her up with.

It’s a talking heads book at various different locations, mostly the mall and then the concert where the great older guy plays and afterwards.

It’s okay. Bendis is trying way too hard to redeem Mary Jane as a character. Kong probably even comes off better because he’s at least in character. Bendis is forcing Mary Jane to fit his narrative, which isn’t a usual problem for him.

He could have done something crazy or signifiant with this issue; instead, he’s predictable.

There’s a great moment when Mary Jane fixates on a person at the mall. It’s just there, no explanation. Only honest moment she has in the entire comic.

CREDITS

Dumped; writer, Brian Michael Bendis; penciller, Mark Bagley; inker, Scott Hanna; colorist, Jonathan D. Smith; letterer, Chris Eliopoulos; editors, John Barber, Nicole Wiley and Ralph Macchio; publisher, Marvel Comics.

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Ultimate Spider-Man 77 (July 2005)

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There’s Nick Fury. He wasn’t watching the local news and apparently Ultimate SHIELD doesn’t care when its agents monitoring threats go missing.

It’s another all-action issue, with some expected developments towards the end.

Bendis does a bad job with everyone except Peter. Fury’s decisions are kind of dumb. He’s just here to deliver an ominous order to rid Peter of his powers, which he probably should have done sooner if he could have, right?

As for Mary Jane… Bendis seems to recognize he’s written himself into a hole. When she and Peter have their big blowout, it’s all Peter yelling and being angry and Mary Jane not talking. I had to go back and read the scene a couple times before I realized Bendis just doesn’t know what she should say to make it work.

Because it can’t work.

Bendis is careening slowly off the rails. His momentum’s gone.

CREDITS

Hobgoblin, Part Six; writer, Brian Michael Bendis; penciller, Mark Bagley; inker, Scott Hanna; colorist, Jonathan D. Smith; letterer, Chris Eliopoulos; editors, John Barber, Nicole Wiley and Ralph Macchio; publisher, Marvel Comics.

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Ultimate Spider-Man 76 (June 2005)

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The Ultimate Spider-Man all action issue. Let’s see, do we have Peter’s internal dialogue going full steam? Yep. Is Mary Jane unexpectedly in danger? Yep. Is the threat lame? Yep.

First, Bendis does do a great job with the internal dialogue. Peter’s conflict over fighting Hobgoblin Harry is great. All the stuff he says? Great. But it’s ephemeral. Bendis isn’t building towards anything, just getting some words on the page in front of the fight scene. Hobgoblin’s real ugly too; not sure if Bagley’s lazy or it’s on purpose.

Mary Jane showing up is yet another wishy-washy thing Bendis is doing with her. She’s there to confront Harry, meaning she didn’t listen to Peter–who told her to stay away to stay safe.

As for Hobgoblin as a villain? He’s destroying Manhattan. Whoop-de-doo. All Ultimate villains destroy Manhattan. The heroes too.

And why’s Nick Fury M.I.A.?

CREDITS

Hobgoblin, Part Five; writer, Brian Michael Bendis; penciller, Mark Bagley; inker, Scott Hanna; colorist, Jonathan D. Smith; letterer, Chris Eliopoulos; editors, John Barber, Nicole Wiley and Ralph Macchio; publisher, Marvel Comics.

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