As everyone’s favorite spider demon Rek-Rap would say, it’s internet prank time with Beat’s Marvel Rundown! We’re getting a double dose of Spider-Man this week Jonathan Hickman and Marco Cecchettoof Ultimate Spider-Man and continues reporting on the slimy world in which Spider-Man’s enemies become demigods in Venom Wars. This time we focus on Venom Wars: Daredevilwhich plunges the fearless into chaotic fun, thanks to Chris Condon and Lan Medina.
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Ultimate Spider-Man #9
writer: Jonathan Hickman
artist: Marco Cecchetto
Colorist: Matthew Wilson
Writer: Corey from VC Petit
Jonathan Hickman’s The reinvention of the wall-crawling robot makes for some consistently solid comics, especially when the series’ original co-creator, the artist, comes on board Marco Cecchetto. But if there’s one major flaw in this production, it’s the absence of Peter Parker and his personal motivations. What made him want to be a hero? What drives him? Everything seems to be going well for the well-adjusted Peter, who is older but younger in experience. The book spends more time exploring Harry Osborn’s emotional life. Meanwhile, the larger conspiracy surrounding Kingpin’s involvement in the global shadow government centers on Jonathan Jameson and Ben Parker. Hickman portrays Peter as just an ordinary guy caught up in a war he understands little about and has little personal stakes in. mission.
In the ninth issue, Spider-Man is targeted by would-be assassins from Kingpin’s Ultimate Sinister Six and must make his first life or death decision, which pits him against his new friend Harry Osborn Differences arose. The tension between power and responsibility finally feels like it’s being explored for this older Peter, and the weight of his decisions becomes more real. It’s no coincidence that Hickman waited until now to introduce Spider-Man’s consciousness – the anxieties of Peter’s life were beginning to weigh on him, and cracks were first forming.
Hickman’s script balances the Spider-Man/Green Goblin action, with Jameson and Ben Parker finding success and profit in their new online newspaper on the back of a sensational Spider-Man story that makes Jameson There are some ironic moments as Sen complains about the lack of substance. The two get closer to the truth about Kingpin and consider the Spider-Man Circus a distraction. But as Peter’s sense of danger begins to fade, readers can’t help but worry that greater danger is around the corner.
The art here is gorgeous. Checchetto excels in every element of the form. The dialogue-heavy scenes rely on subtle storytelling decisions such as costume, body language, and framing choices for individual panels. Even though the text is heavy, the layout feels light — thanks in part to the letters Corey Pettit, VC This is partly due to Checchetto’s dynamic staging and panel composition.
The action scenes in the climactic confrontation with “Ultimate Black Cat” are brilliant. Despite the acrobatic skills of the characters involved, Cecchetto chose to focus on a single figure. The result is a battle that feels brutal and very personal and physical. Matthew Wilson’s The colors subtly shift from the early warm tones of orange and yellow to more ominous cooler blues and purples, plunging the entire issue into a truly dark setting.
The slow pace of the first 8 months of the book made me a little skeptical of the direction of the book, especially since it spent so much time on the supporting characters rather than Peter himself. It leaves the series without a clear identity or mission statement. While there are no earth-shattering moments in issue nine, the quietness of the world and the near-mundane reality closing in on Peter bring this plan into focus.
Conclusion: Buy
Quick burst
Venom Wars: Daredevil #1
- In an age where 1/6 of a story is told waiting for a monthly market transaction, the finished product is an age-old art form in superhero comics. So, to do a one-shot related to a crossover event and have a concise narrative, climax and all in 30 pages? At least it’s a challenge. Although it is well known Texas blood and Enfield Gang MassacreThis is Chris CondonIt’s a first in the Marvel Universe, which at the very least makes this an interesting take on how Western noir creators can make superhero stuff. Setting Matt Murdock and Elektra Natchios’ story in a building during a zombie siege proved familiar to crime comic creators terrible realm. The first few pages are clearly Condon getting acquainted with the different Daredevil voices and setting a narrative button to push the scenes to speed up to a single conclusion, approaching depth at a time when no one else could. Pairing newbies with industry veterans, e.g. Medina It’s a no-brainer that works really well when Medina is doing the best work of his career. Medina sets up St. Nick’s Orphanage and Elektra’s conflict space in the most claustrophobic way possible so that we can feel the night closing in on our Daredevils without them internalizing the idea. Although the panel layouts feel standard to each other in size, Medina likes to use page start and page end panels to showcase his best shots, which affects page turning in an efficient and elegant way. this also helps yes nitro Use frame blur and diffuse glow to separate foreground/background planes in a New York night scene with hundreds of zombies. In other books, Nitro likes to use keylight glow to pop out of the page, which is a little too often for me, but with so much action happening inside, this subdued approach gives his palette a A refined edge. Clayton Cowles, VC Condon couldn’t help but add special effects to nearly every page, so he was hooked up with ringtones [it’s a Daredevil book lol]! But taking into account all the groundwork in the Marvel Letters timeline means Cowles has successes and failures in adapting scenes to space, color, or visual tone. Case in point: the special effects at the end take up a lot of space, and they’re not jarring and don’t fit the tone of the narrative, so unfortunately it makes the climax feel bland. If your idea of fun Marvel comics is a tower defense story done in a single location, be my guest. —Beau Q.
Wolverine’s Revenge #2
- There’s something to be said for just unleashing a top superhero artist on a bunch of characters he hasn’t drawn in a major story before, or even in a long time. This is of course this new one wolverine revenge miniseries seems to be doing Greg Capullothe ink here is made by Tim TownsendColored as FCO Placencia, and written Corey Pettit. This issue gives us the classic brawl between Logan and Sabretooth, as well as Magneto’s Skeletor and Wolverine using Magneto’s helmet to protect his mind from manipulation and stuff like that. In other words, the second issue here is filled with Good Marvel^@. But this is also a reason Jonathan Hickman, He probably can’t help but layer his action comics with big, complex ideas, so we get hints of some of those here, especially in the discussion of whether people and countries can change, which is hammered home by a huge splash Its outline. I was salty in the first issue when the Dinosaur Island setting disappeared so quickly, but this book is so good and funny that I got over it. I recommend this. —Zach Quentins
