The Superior Spider-Man (2013) #13

Superior Spider Man 13

It’s weird how Slott let Gage handle the script on this arc. It’s got some of the biggest changes to Superior since it started–a new page in Otto’s relationship with Jonah, a secret base (and lab) for Spider-Man–one would’ve thought Slott would want to be more hands on with it all.

The issue’s pretty good, with some nice moves for the Lizard. Hopefully he sticks around, even though he wouldn’t really be good with Otto.

Sadly, even though the issue moves well, there’s nothing memorable. The villains each have their own problems, but who cares? They were never interesting in the first place. Just the Green Goblin movie version–visually speaking–of familiar (and not familiar) characters.

The stuff with Otto and the main villain is a little tired though. Besides Otto revealing himself in the Spider Slayer’s finale moments… it’s the same as the previous showdowns.

The Superior Spider-Man 13 (September 2013)

918246 It’s weird how Slott let Gage handle the script on this arc. It’s got some of the biggest changes to Superior since it started–a new page in Otto’s relationship with Jonah, a secret base (and lab) for Spider-Man–one would’ve thought Slott would want to be more hands on with it all.

The issue’s pretty good, with some nice moves for the Lizard. Hopefully he sticks around, even though he wouldn’t really be good with Otto.

The stuff with Otto and the main villain is a little tired though. Besides Otto revealing himself in the Spider Slayer’s finale moments… it’s the same as the previous showdowns.

CREDITS

No Escape, Part Three: The Slayer The Slain; writers, Dan Slott and Christos Gage; penciller, Giuseppe Camuncoli; inkers, John Dell and Terry Pallot; colorist, Antonio Fabela; letterer, Chris Eliopoulos; editor, Ellie Pyle and Stephen Wacker; publisher, Marvel Comics.

The Superior Spider-Man 12 (August 2013)

916096 Gage (and the plotting Slott) put Otto in an interesting place. Given the standard superhero trope of having to save one person or another, Otto apparently goes from the villain himself instead of bothering to save anyone.

Apparently, as it’s the hard cliffhanger.

Otherwise, some of the issue goes to Jameson, who decides to hunt down the Spider Slayer himself. Making Jonah sympathetic always seems impossible but then one remembers the dead wife.

There’s a fun scene with Otto and the Spider Slayer rambling about their master plans. Having a hero who goes on and on about it is pretty fun–especially since Otto gets called on it–but it really just distracts from the issue’s lack of content. Nicely, sure, but obviously.

And Gage gets to write an Otto who doesn’t have the best plan too. He doesn’t have everything planned out. It’s a good read, only too fast.

CREDITS

No Escape, Part Two: Lockdown; writers, Dan Slott and Christos Gage; penciller, Giuseppe Camuncoli; inkers, John Dell and Terry Pallot; colorist, Antonio Fabela; letterer, Chris Eliopoulos; editor, Ellie Pyle and Stephen Wacker; publisher, Marvel Comics.

The Superior Spider-Man (2013) #11

Superior Spider Man 11

Giuseppe Camuncoli and John Dell make Otto look so positively condescending it’s wonderful. He only has a couple scenes outside his Spider-Man adventures, one with Anna and then one with his boss. I didn’t pay attention to the credits so I didn’t realize it was Christos Gage scripting from a Slott story; a lot more makes sense now.

Gage spends a lot of time writing maniacal Otto narration, which is always fun, and also goes far in establishing the revised ground situation since Ghost Peter is gone. Also gone are Peter’s supporting cast members. This issue–save Jameson–is just Otto.

Except, of course, the villains. There are lots of them and they’re really dumb looking. It feels very early nineties once the Spider Slayer gets his armor on.

As usual, the best stuff is Otto’s personal journey. The action is simply the cost of getting that peculiar story.

The Superior Spider-Man 11 (August 2013)

915389 Giuseppe Camuncoli and John Dell make Otto look so positively condescending it’s wonderful. He only has a couple scenes outside his Spider-Man adventures, one with Anna and then one with his boss. I didn’t pay attention to the credits so I didn’t realize it was Christos Gage scripting from a Slott script; a lot more makes sense now.

Except, of course, the villains. There are lots of them and they’re really dumb looking. It feels very early nineties once the Spider Slayer gets his armor on.

As usual, the best stuff is Otto’s personal journey. The action is simply the cost of getting that peculiar story.

CREDITS

No Escape, Part One: A Lock For Every Key; writers, Dan Slott and Christos Gage; penciller, Giuseppe Camuncoli; inker, John Dell; colorist, Edgar Delgado; letterer, Chris Eliopoulos; editor, Ellie Pyle and Stephen Wacker; publisher, Marvel Comics.

The Superior Spider-Man 5 (May 2013)

Superior Spider Man Vol 1 5 I guess I didn’t realize it before, but “Brand New Day” Peter Parker is supposed to be unbelievably good looking. Otto lucked out in the bod department, apparently.

This issue features a really nice scene where Otto has dinner with his “tutor,” a very charming woman who happens to be a little person. Ghost Peter never says it, but there’s a definitely implication he’d never give her the time of day whereas Otto’s able to see past it.

Otto’s also able to see the benefit of coordinating with others (shouldn’t Peter have learned a little of that practice in The Avengers). Slott’s definitely developing Otto’s character in unexpected, thoughtful ways. Even the ending, which implies Otto’s megalomania hasn’t gone away he’s just using it for the greater good.

And who’s Otto to determine the greater good? Slott’s establishes him as the ideal choice as it’s a conscious effort.

Excellent issue.

CREDITS

Emotional Triggers; writer, Dan Slott; penciller, Giuseppe Camuncoli; inkers, John Dell and Camuncoli; colorists, Edgar Delgado and Antonio Fabella; letterer, Chris Eliopoulos; editors, Ellie Pyle and Stephen Wacker; publisher, Marvel Comics.

The Superior Spider-Man 4 (April 2013)

897840 Well, I’ll eat my rotten onions right off–I miss Stegman. Giuseppe Camuncoli takes over on pencils (John Dell on inks) and it’s not a good move. There are lots of regular people scenes this issue and Camuncoli draws them like it’s an absurdist comedy. He also draws Spider-Man in Batman postures, which works out, but, wow… Not nice art.

The issue skips a head a few weeks from the last with Otto having to deal with a psychopath who Peter let get away. The psychopath is spree killing and Otto vows to stop him. Even Ghost Peter is a little taken aback at what his decision has wrought (which would be Batman’s every day given how violent his villains get).

On the “normal” side, Otto goes back to school for his doctorate. Or Peter’s doctorate.

Slott does a great job writing; shame the art isn’t up to snuff.

CREDITS

The Aggressive Approach; writer, Dan Slott; penciller, Giuseppe Camuncoli; inker, John Dell; colorist, Edgar Delgado; letterer, Chris Eliopoulos; editors, Ellie Pyle and Stephen Wacker; publisher, Marvel Comics.

Ultimate Spider-Man 62 (September 2004)

153907 I don’t even think Peter shows up in this issue. Mary and Gwen get a good scene together, something Bendis’s two month fast forward makes problematic. It’s hard to believe they haven’t seen each other in that amount of time… not with Peter giving Gwen a message for Mary Jane.

But anyway, it’s a good scene. Bagley’s action might be a little boring and his horror is nothing special, but he’s good at the expressions Bendis needs to make the scenes work.

Besides that scene though, the issue’s nothing special. Ultimate Carnage shows up and appears to be some kind of Peter Parker clone. It wrecks havoc. It kills people. It kills major supporting players.

As for that major death (maybe the series’s first), Bendis fumbles. Maybe intentionally. He doesn’t give the scene time to resonate with the reader, ending the issue instead.

His handling makes it hard to care.

CREDITS

Carnage, Part Three of Five; writer, Brian Michael Bendis; penciller, Mark Bagley; inkers, Scott Hanna and John Dell; colorist, Jonathan D. Smith; letterer, Chris Eliopoulos; editors, Nick Lowe and Ralph Macchio; publisher, Marvel Comics.

Huntress 6 (May 2012)

Dell might be back, but there’s a certain laziness to the art this issue. To doesn’t care about perspective during a chase scene–or body proportions–and apparently Dell doesn’t care enough to fix them. But the art is generally better, if not at the series’s peak.

Unfortunately, Levitz’s writing doesn’t improve any this issue. Once again, Huntress can defeat all, but there’s one development. Huntress infers she works with the NSA and the way she trades barbs with the bad guy–she did kill the bad guy last issue, which makes no sense since she was non-lethal with all the flunkies–Levitz seems to be doing a masked, female James Bond.

Then there’s the ending. Another unexciting chase sequence ends with Power Girl, in her civilian outfit, popping in to give Helena a lift.

I think Levitz expects readers to be excited. I can’t believe they’re even conscious.

Huntress 4 (March 2012)

So Levitz ended the previous issue with an ominous cliffhanger, then this issue just has Helena kicking ass. She doesn’t even face a tough adversary. She just kicks butt over and butt.

It’s almost like Levitz thinks he can get away with dumb female characterization for Helena by making her unstoppable.

There’s another cat reference this issue too, but no bat ones. It would work more amusingly if Helena’s parentage was established. As hints or cute details, it fails.

About the only other thing I remember about the issue is a very seventies or eighties homage page from To with Huntress silhouetted above Helena. The page has a nice, retro touch, something the book doesn’t usually have. Levitz’s attempts at being tough and realistic all fail, given the lovely Italian settings. Huntress is as grim and gritty as Mamma Mia!.

Luckily, the series–and my reading ordeal–is almost over.