It’s another okay enough issue for a tie-in. Sort of. Bendis again hints at much, much better things if he weren’t being so darn cute with the plotting.

He opens at the Bugle–or the Bugle’s emergency newsroom in New Jersey–and it’s a great scene. There’s some stuff with Ben Urich, then Jonah realizing he’s been a jackass about Spider-Man. It’s just a nice panic scene.

The scene between Jessica Drew and May should be a lot better. Bendis is trying too hard to keep his cards close to his chest. It’s sad their two pages of dialogue is the best May has had in quite a few issues.

As for the main storyline–Peter befriending the Hulk and trying to save people? It’s awesome. It’s slight and messy, but it’s still awesome.

Immonen’s art works rather well for the disaster aspect.

Shame it’s just crossover nonsense.

CREDITS

Writer, Brian Michael Bendis; penciller, Stuart Immonen; inker, Wade von Grawbadger; colorist, Justin Ponsor; letterer, Cory Petit; editors, Lauren Sankovitch and Mark Paniccia; publisher, Marvel Comics.

It’s a fast-paced crossover mess of a comic book but it’s not terrible. Bendis gives May a couple good scenes–even though she’s sort of Gordon from Dark Knight Returns in how she’s saving people on the street.

There’s a nice moment for Kitty, a hint of a nice moment for Gwen and Mary Jane. What’s so unfortunate about this crossover hitting now is Bendis finally had his ducks in a row. He had all his characters set up for a nice, memorable run of issues–and Immonen had hit his stride with offsetting the teens against the superheroes too. The characters suffer the most from his elongated pacing; Bendis doesn’t respect his characters enough.

Peter gets nothing to do except swing around in a disaster movie and telepathically chat at Professor X. Serious tone or not… it reminds of goofy Marvel crossovers of the past.

It’s a shame.

CREDITS

Writer, Brian Michael Bendis; penciller, Stuart Immonen; inker, Wade von Grawbadger; colorist, Justin Ponsor; letterer, Cory Petit; editors, Lauren Sankovitch and Mark Paniccia; publisher, Marvel Comics.

Oh, come on, Bendis… good grief.

So, Bendis finally gets around to giving Peter and Mary Jane an excellent circle of friends to hang out with–Kong, Kitty, Johnny, Gwen–and then it turns out the end is near because this issue is an Ultimatum tie-in. And there’s a great bit with Johnny crushing on Jessica Drew, who’s back in New York for whatever reason.

The issue’s upsetting because, as usual, it does show Bendis can write. Great scenes for Johnny, great ones for Peter and Mary Jane. The school principal freaking about Gwen isn’t so great, but it’s okay. Bendis doesn’t seem to know what to do with May since she’s found out Peter’s Spider-Man.

But where’s it going? Into a crossover event. No good ever comes out of a crossover event and Bendis always takes forever to right his course after the series gets upset.

Bummer.

CREDITS

Writer, Brian Michael Bendis; penciller, Stuart Immonen; inker, Wade von Grawbadger; colorist, Justin Ponsor; letterer, Cory Petit; editors, Lauren Sankovitch and Mark Paniccia; publisher, Marvel Comics.

It’s funny how Immonen isn’t very good at fight scenes. It’s like he gets bored with them too fast. Venom versus Carnage, Super Venom, boring. Aunt May pulling a gun on Eddie Brock–awesome.

This issue finishes Bendis bringing Gwen Stacy back to life. Hopefully. She’s fine at the end of the issue, following an entirely unrealistic scene where Tony Stark is able to talk down Director Danvers.

Bendis also returns to Eddie on the park bench. Turns out it was in the future, kind of. Or the present of this issue, which doesn’t work with how the previous issue was set in the present too.

Like I said before, he should stick to his strengths. Aunt May having a gun for protection, strength. Competent multi-layered plotting… oh, come now, Bendis can’t even competently plot when he’s not working in flashbacks.

Hopefully he’ll get the series moving forward again.

CREDITS

Writer, Brian Michael Bendis; penciller, Stuart Immonen; inker, Wade von Grawbadger; colorist, Justin Ponsor; letterer, Cory Petit; editors, Lauren Sankovitch and Mark Paniccia; publisher, Marvel Comics.

Oh, come on, Bendis. If you can’t plot a full arc–even when you’re doing a bad one like this arc–don’t do a pad issue, just cut the number of issues down a little.

Here’s what happens this issue. Eddie threatens Peter in the present. He wants the suit back–now, let’s not forget Bendis opened this arc with Eddie having the suit and then got confused in his flashbacks. Peter tries to find Eddie and can’t. Gwen comes to see Peter because she’s got the Carnage face stuck on her body.

There’s the comic. Oh, and apparently Mary Jane isn’t reading for French kissing. Peter should have asked if she ever French kissed Harry, but he doesn’t.

It’s a shame Bendis can’t sustain this book for any length of time anymore. He gets better, then he falls off. Even the Immonen art is padded with artificial panel breaks.

CREDITS

Writer, Brian Michael Bendis; penciller, Stuart Immonen; inker, Wade von Grawbadger; colorist, Justin Ponsor; letterer, Cory Petit; editors, Lauren Sankovitch, Lauren Henry and Ralph Macchio; publisher, Marvel Comics.

Why is Bendis making this story arc so confusing? It’s giving me a little headache.

So this issue ends with the Ultimates having the suit and Eddie Brock in the wind. It seems like Bendis has gotten to the present action of the the comic again. But he hasn’t, not unless he forgot about Eddie in the park eating people and telling the story in flashback. We’re still in Eddie’s flashback and Bendis seems to have forgotten.

The guy really should play to his strengths and complicated multi-layered narratives are not his strengths. Good scenes, fun dialogue, occasionally inventive Ultimate versions of characters, those are Bendis’s strengths.

Notice I’m not talking much about the issue’s contents? Because nothing happens except a fight scene and the followup. The followup is Nick Fury talking to Peter and Iron Man asking questions.

Still good Immonen art though. Shame Bendis isn’t matching it.

CREDITS

Writer, Brian Michael Bendis; penciller, Stuart Immonen; inker, Wade von Grawbadger; colorist, Justin Ponsor; letterer, Cory Petit; editors, Lauren Sankovitch, Lauren Henry and Ralph Macchio; publisher, Marvel Comics.

I’ll bet the flying guy is Ben Reilly. Maybe. It’d make sense, at least in Ultimate Spider-Man.

Still not getting why Bendis thought he had a story here. Is it an adaptation of the video game or something else? I know the game’s in continuity so is it a sequel? An aside? Does it matter? No, it doesn’t, because Bendis never made Peter getting reattached to the black costume a thing when it obviously should have been a thing.

The whole approach can be filed under “dangers of complicated flashbacks”. It takes place better Kitty, which means before Harry came back, before Nick Fury disappears, but after Gwen died. I’m not reading it and remembering all the clues Bendis put into the series contemporaneously. Because he didn’t.

Even if Bendis didn’t forget he had to tie in to the game, it sure feels like it.

Pointless, but nice art.

CREDITS

Writer, Brian Michael Bendis; penciller, Stuart Immonen; inker, Wade von Grawbadger; colorist, Justin Ponsor; letterer, Cory Petit; editors, Lauren Sankovitch, Lauren Henry, Bill Rosemann and Ralph Macchio; publisher, Marvel Comics.

Wait a second, is the the arc Bendis wrote to tie into the “Ultimate Spider-Man” video game? I thought he delayed it for years and years and then finally did it.

He should have waited longer.

So, Eddie Brock is gone as a narrator now, which makes no sense. Eddie’s narration last issue was the present and this issue Bendis is kicking around two flashbacks. First with the Rhino and then Firefly? Or some guy in a Firefly-like suit; he doesn’t have a name yet.

In between fights, Peter–because he’s all of a sudden the lead with no transition–talks to Mary Jane, talks to Nick Fury. Only for exposition though, because it’s all flashback and Bendis doesn’t take any time to texture it. Probably because he forced this arc.

There’s some really nice art from Immonen, particularly during the Firefly chase, but the whole thing’s off.

CREDITS

Writer, Brian Michael Bendis; penciller, Stuart Immonen; inker, Wade von Grawbadger; colorist, Justin Ponsor; letterer, Cory Petit; editors, Lauren Sankovitch, Bill Rosemann and Ralph Macchio; publisher, Marvel Comics.

Oh, no, Bendis is going off the rails again. I thought last issue was a fluke, but now it’s a definite thing. This whole issue is Eddie Brock sitting at a park bench, telling people his story, then eating them.

Bendis is demure about the eating thing until the last panel.

Immonen does really good with the art, which makes me think maybe Bendis knew he could branch out more with him on the book but it’s a mistake. It removes Peter from being the center of the book and then you’ve just got Ultimate Spider-Man without its star.

Worse, Silver Sable is back again. Not one of Bendis’s better Ultimate creations. Not as annoying as last time, but only because Eddie’s narrating the thing.

I guess Bendis trying to making Eddie somewhat sympathetic, but he doesn’t at all. Not even with all the sad panels Immonen can muster.

CREDITS

Writer, Brian Michael Bendis; penciller, Stuart Immonen; inker, Wade von Grawbadger; colorist, Justin Ponsor; letterer, Cory Petit; editors, Lauren Sankovitch, Bill Rosemann and Ralph Macchio; publisher, Marvel Comics.