So does Slott successfully conclude his Spider-Man 2099 thing?

Define successful. It’s not a terrible issue. It’s definitely one of the better ones with Spidey 2099 in it, probably because there’s none of his annoying narration and he’s treated like a buffoon throughout.

Otto loses the spotlight even more, however. And for some inexplicable reason, Slott wastes a whole page on a monologue from Mary Jane. Mary Jane who hasn’t been a part of this comic book for over a dozen issues; she gets some spotlight time.

What else happens… oh, right, a big double-page spread of famous Spider-Man panels, only with Otto, as he tries to remember something of Peter Parker’s memory he needs. It’s not an effective sequence. Slott aims low throughout.

I still generally like Stegman’s art–there’s one panel during a car chase I absolutely love–but it really does remind of McFarlane.

CREDITS

1.21 Giga-Whats?!; writer, Dan Slott; penciller, Ryan Stegman; inker, Livesay; colorist, Edgar Delgado; letterer, Chris Eliopoulos; editors, Ellie Pyle and Stephen Wacker; publisher, Marvel Comics.

Well, it’s definitely better than last issue but it’s still one of Slott’s weaker efforts on Superior. He’s got a big time travel story and it’s boring; referring to Back to the Future in the issue’s story title and then delivering a bunch of plodding exposition. It’s like he’s promising something good next issue, not this one.

The opening fight between Otto and 2099 isn’t bad, except Otto’s megalomania stops him from actually understanding what’s going on. It comes up a lot throughout the issue, actually. If Otto would just listen, he’d be able to solve the problem.

Why Slott wastes four or five pages on Peter’s lab buddies is beyond me. Yes, it might tie things together later, but for now it’s even worse than the 2099 solo pages.

I knew it was a mediocre one when I was actually getting more interested in Stegman’s art than the story.

CREDITS

Smack to the Future; writer, Dan Slott; penciller, Ryan Stegman; inker, Livesay; colorist, Edgar Delgado; letterer, Chris Eliopoulos; editors, Ellie Pyle and Stephen Wacker; publisher, Marvel Comics.

When the Goblin Underground scenes are the best thing in the issue, it’s obviously Slott is running into some problems with Superior. At least there’s some bickering between the Goblin King and Hobgoblin… it’s kind of amusing. Otherwise, the only good thing in the issue is Otto showing off for his lady friend at a softball game.

Slott’s introducing corporate espionage–involving Liz Allan (who I really did think was spelled Allen) and her weird kid and some other goober–along with Spider-Man 2099. So, Slott’s overwritten megalomaniac interior monologue is great for Otto, but why does Spider-Man 2099 have it too? Slott wastes half the issue with the character and related exposition. It’s dreadful.

And then Spider-Man 2099 stops Otto from beating up a white collar criminal? Slott’s really killing the fun in Superior this issue.

I’m less annoyed by Stegman’s art, but otherwise… it’s weak.

CREDITS

Let’s Do the Time Warp Again; writer, Dan Slott; penciller, Ryan Stegman; inker, Livesay; colorist, Edgar Delgado; letterer, Chris Eliopoulos; editors, Ellie Pyle and Stephen Wacker; publisher, Marvel Comics.