The Superior Spider-Man 19 (December 2013)

286606 20131016122751 large 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.

The Superior Spider-Man 18 (November 2013)

283967 20130918201945 large 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.

The Superior Spider-Man 17 (November 2013)

282043 20130904104617 large 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.

The Superior Spider-Man 10 (July 2013)

912908 Very interesting issue. With Otto freed of Ghost Peter, he makes some different choices–first is prioritizing responses to crimes and crises (which Slott addressed earlier in the series but not as directly) and, second, how he’s going to spend his Parker time.

Without the old Peter Parker memories, Otto’s scenes with Aunt May completely different. He’s not trying to fit in as much as enjoy the company of his new family. The same goes for his pursuing the tutor, Anna. Slott writes them a couple good scenes together this issue.

There are a couple action scenes, of course, one at the open and a disaster one at the close. There’s also the introduction of two new villains; the first comes in dialogue, the second gets the final page reveal.

One of them appears smarter than Otto, which should give him a fine adversary, as Otto’s intellect makes him invincible.

CREDITS

Independence Day; writer, Dan Slott; penciller, Ryan Stegman; inkers, Stegman and Cam Smith; colorist, Edgar Delgado; letterer, Chris Eliopoulos; editor, Ellie Pyle and Stephen Wacker; publisher, Marvel Comics.

The Superior Spider-Man 9 (July 2013)

909330 Whew. There I was, having to take back some negative comments about Slott’s pacing last issue and how well he sold the story overall… and now I’m validated.

This issue reads in something like two minutes, maybe three if you take a bathroom break.

Otto zooms down into his own mind to fight the collected memories of Peter Parker–Ghost Peter isn’t a ghost as much as congealed memories–and there’s a big street fight out of Superman II.

Lots of guest stars. Pretty much every supporting cast member, friend and foe. Ryan Stegman must have had a great time drawing it, but there’s no story. It’s a scene out of a bad Matrix knock-off. Slott gets in one moment at the end where Ghost Peter is revealed as selfish (just like Otto) but he doesn’t do anything with the duality.

The issue’s pointless. Slott wastes the reader’s time.

CREDITS

Troubled Mind, Part Three: Gray Matters; writer, Dan Slott; artist, Ryan Stegman; colorist, Edgar Delgado; letterer, Chris Eliopoulos; editor, Ellie Pyle and Stephen Wacker; publisher, Marvel Comics.

The Superior Spider-Man 3 (April 2013)

896148 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.

The Superior Spider-Man 2 (March 2013)

893413 I’m liking Stegman less this issue. Something about him reminds me of Todd McFarlane; he’s busy without content, just a lot blockier than ol’ Toddy.

Luckily, I’m liking Slott’s writing a lot more this issue. Ghost Peter has a big role here, basically narrating Otto’s narration. Only Ghost Peter can only know what Otto’s narrating, not what he’s thinking, which means Otto can surprise both the reader and Ghost Peter. It leads to a couple nice moments throughout the issue and a great one at the end. Slott’s freaking brilliant with how he uses Otto–Otto’s a long-time Spider-Man reader inside the comic. It’s an awesome device.

And since Ghost Peter’s actually whiney and annoying (he’s the Star Wars Luke Skywalker), having Otto impress him (and the reader) is doubly satisfying. Superior doesn’t work if the reader wants Otto to fail.

Slott makes a moronic idea utterly fantastic.

CREDITS

The Peter Principle; writer, Dan Slott; artist, Ryan Stegman; colorist, Edgar Delgado; letterer, Chris Eliopoulos; editors, Ellie Pyle and Stephen Wacker; publisher, Marvel Comics.

The Superior Spider-Man 1 (March 2013)

889935 Once one gets past the entirely goofy brain-swapping detail, Superior Spider-Man is a hoot.

Dan Slott’s success at it comes from his refusal to play too much into Doctor Octopus all of a sudden being a good guy. Otto isn’t out to beat the new Sinister Six because it’s the right thing to do, he’s doing it because they’re using his old bad guy club’s name. He doesn’t run away from a fight because he’s scared or hurt, but because he doesn’t actually care.

He does care about one detail in Peter’s life… Mary Jane. Physically at least.

It’s a ludicrous idea for a comic and Slott pulls it off with apparent ease. He keeps it all very dramatic, even though Otto’s clearly got to do the right thing.

Ryan Stegman effectively handles the art. He could be better; doesn’t matter.

Otto makes a darn fun Spider-Man.

CREDITS

Hero or Menace?; writer, Dan Slott; artist, Ryan Stegman; colorist, Edgar Delgado; letterer, Chris Eliopoulos; editors, Ellie Pyle and Stephen Wacker; publisher, Marvel Comics.