Welcome back, Wednesday Warriors and true believers! We’re back with another edition of Marvel Compendium! This week’s Marvel is filled with the multiverse, monsters, mutants, and guys and gals in spider-themed bodysuits! In our main campaign, a group of spider heroes come together to face a new enemy Spider Society #1. But that’s not all, we’ve also got a quick roundup of other films worth watching, including Miles Morales, Werewolf, and Marvel’s latest Merry Mutant, X-Factor #1 》.
Spider Society #1
writer: Alex Segura
artist: Scott Godlewski
color: Matt Mira
letter: Joe Caramagna, VC
this is about Spider-Manverse books. They were never as good as the movies. They’re not the Spider-Man stories I want. For me, this character works best on a small, personal level. But Marvel isn’t interested in telling those stories right now – and the money is clearly in the Spider-Verse. so read Spider Society #1 It means clearing my mind of stereotypes and biases. What are the strengths of the book itself? Thankfully, this story has a strong creative team including skilled comic writers and novelists Alex Segura and cartoon styling by line artists Scott Godlewski. I was optimistic about jumping into this field considering the talent.
Unfortunately, the book got off to a rocky start. Part of the reason is that, even though it’s the first chapter, it reads like a middle chapter, and there’s no way to find help catching up and reading the earlier chapters. The recap page explains that Spider-Man 2099 was on a mission to save Mrs. Webber from the web of life and destiny, but was captured. We learn that Miles Morales and the Ghost Spider were summoned by Lady Way to deal with an emergency at the Spider Society. Unfortunately, this is a trap set by a diverse team of supervillains who call themselves the Squadron of Evil.
There’s some exciting action, and Godlewski handles the vast cast of Spider-Man heroes and various villains well, clearly laying out the pages and making the characters easy to follow. The creators cleverly only tracked a few battles in Mayhem so that we weren’t playing “Where’s Waldo?” trying to track down individuals on every page. Gwen and her goblins stand out on the page, bursting out from the center, surrounded by smaller panels and just one or two side characters in the background. Godlewski’s characters are expressive and dynamic, and his crowd shots are impressively rendered without being bloated. The decision to use as little background as possible helps a lot. There are some fun visual jokes when the Spider Society comes together. I was most impressed by the way he drew his villains. He relies on eye-catching silhouettes and images, which allow them to stand out on the page and showcase their prototypes.
Matt MiraThe bright colors give the magazine a cartoony pop-art style that feels like a classic slam-dunk superhero comic, which is exactly what this low-calorie action figure-bashing adventure needed. Joe Caramagna‘s letters carry throughout all the big action scenes, but more importantly, he maintains a sense of order throughout the expository pages. 
While it’s not explicitly marketed, this book is perfect for younger readers who may be more interested in the Spider-Man movies than long-time comic book fans, or who are preparing to graduate from the children’s shows on Disney+. Story-wise, there’s not much here for you to dig into, but there are some smart structural and storytelling decisions that elevate it. Segura introduces some compelling new villains and even reveals them in a surprising way at the end of the issue, but the smartest thing he does is hook readers with familiar favorites Gwen and Miles , then pull back the rug and follow a bunch of unique variants. I was more interested in the ending of the book than the trip to New York we were familiar with at the beginning. The strength of Segura’s script is the dialogue and character interactions, and this cast has a lot of room to shine. I just wish I knew where to go to catch up on stories that are already happening! If you’re trying to attract new readers, you’re editing poorly.
Final Verdict: Browse. There’s something to like here, but it’s heavy to set up. It’ll probably read better in a collected version, where you can easily catch up on previous content and skip straight to this tabletop setting. I believe these creators have an interesting story in the long run.
Destroyed quickly!
- Miles Morales Spider-Man #23
- It’s been a while since I’ve checked in on our young netminder, and it’s happening blood hunt, I wanted to see what his new status quo was. If you haven’t caught up on the events of “Blood Hunt” and its subtitle, beware of spoilers. First, vampires can walk on sunlight, and second, Miles is now a vampire. Miles was transformed into Spider-Man by a possessed blade, and on top of everything Spider-Man related, he now has to deal with a thirst for blood and a writer Cody Ziglar and artist Federico Vicentini expertly weaving this new thread into Miles’ continuing story. Ziglar doesn’t waste time letting Miles demonstrate his uncontrolled upgrades, something Visentini emphasizes with a beautiful two-page spread showing off the era’s brilliant, powerful Mad Venom Punch. Still, we get a book with a romantic storyline about a tragedy and the return of some feathered grandfather. –GC3
- Night of the Werewolf: Red Band #1
- It turns out that the difference between the Marvel Comics and Marvel’s Red Band series is 2-3 pages of bloody illustrations, but not much else. For a comic with Elsa Bloodstone, there’s no swearing; not even a bit of grarawlix to convey the idea. As for the content, there’s almost nothing darker or more adult night werewolf than average The Amazing Spider-Man question. If anything, people are increasingly curious as to why Marvel is releasing a red band version when the Marvel MAX imprint already exists. Honestly, I remember Sentinel tearing the hero in half and depicting more gore and guts (Siege #2) than the scribe, Jason Luwhat Night of the Werewolf did in its first issue. With its short length and uncertain narrative, the pilot resorts to basic efficiency techniques like using overly flowery language when establishing location, riffing on connective tissue/past history, and letting characters internalize “I The name is…” This is the kind of writing that’s less concerned with immersion and more about maintaining the status quo. pencil made of Sergio DavilaThe page layout is packed with a combination of panels that help create claustrophobia, but when so many panels consist of wide vistas, shots of crowds, and shadows on walls, these seem to serve no purpose. It appears that Dávila paid too much attention to detail and underperformed on compositional emphasis—a failure that fell disproportionately on Werewolf of the night The Moqi Trio: Jay Reston, Mayer, and young craig. It seems like the inking team here couldn’t agree on shading or outline styles, so consistency is out of the question, although the glitch is in the details that some would argue most readers won’t detect. My counterargument is always: the reader may not be able to figure out why the page feels different, but most can tell…and it can pull them out of the story! Add digital color that looks more like the 2010s batman The colors are better than in 2024 Marvel Comics, and the pages take on a cluttered discomfort that drags down the reading experience without affecting the atmosphere. This is certainly the signature of an industry veteran; Alex Sinclairhe tried to drive home this one but couldn’t decide between highlighting the buckle’s shine and compositional focus. Joe Sabino, VC Again, the standard Marvel font approach is used here, but it’s visually difficult to choose a warm gray box with a 1 px red stroke and a yellow-orange box with a 1 px cyan stroke for the character-specific title styling. Rather than clashing or complementing each other in interesting ways, the colors vibrate enough to add to the busyness of each page. All in all, with the pilots on the table and on the books, maybe the real night werewolf It can come out on the next full moon. — Beau Q.
- X-Factor #1
- The current “from the ashes” era of X books is filled with nostalgia for a time when these books were probably most commercially successful. So far, these titles have all been throwbacks to different versions of hard science fiction New X-Men era to the time of the X-Men in Outback. Coming now X factor #1 Writer Mark Russell and artist Bob Quinn and Jesus Albertov Returning the title to the government-sponsored team concept of the early 1990s. The show follows a new government-sponsored team as they try to attract mutants to the United States as their new home. But Mark Russell seems interested in both meanings of the term “X-Factor,” which is used to describe mutant power and star power. The latter term sums up the book’s true approach; Russell ironically presents mutants as products for sale. His approach is reminiscent of Peter Milligan and Mike Allred continue running X-Force/X-Statixa comic equally interested in the intersection of celebrity culture and satire. This issue is reminiscent of the first issue of that run in some ways, which should be obvious to fans of that particular run. Russell knows how to write a funny book, but Quinn and Albertov’s visuals don’t really capture the black comedy of the script. Quinn talks about the boredom of Angel having to join another team, but fails to really make new team member Xyber feel the terror of being thrown into action. Later sections of the book should be more visceral than they are, but Quinn’s art and Albutov’s coloring suggest more sympathy than revulsion. Russell still sets up a lot of compelling themes and threads in this first issue. Mutated mercenaries! Protesters return to Krakoa! Mutants in the post-capitalist era! X factor It looks like this might be the most surprising and compelling book in the From the Ashes series. – D. Morris
That’s it for this week. Join us next time as the X-Men continue to arrive and Thor transforms into Giant-Man.
