Showing posts with label Spider-Man. Show all posts
Showing posts with label Spider-Man. Show all posts

Friday, July 7, 2023

Life Story is Bullshit


 Look folks, it’s no secret Spidey comics have been stupid for a long time, and it’s even less of a secret as to why. But Zdarsky has been hailed as some genius writer who’s saving Marvel, and Life Story particularly has been acclaimed as one of the modern classics. And I’ll give those folks this much: Life Story is certainly better than 90% of Post-OMD Spidey. And yes, I'm glad that someone with a whisper of a potential of talent wrote a book for Marvel. But that doesn’t mean it’s more than mediocre, nevermind a classic. This is not a case of people loving a work because it's good,  but because the bar is so low at this point that anything not truly awful will be called amazing. I'm honestly scared of public taste as of this point.

Let’s get the good out of the way: Bagley is firing on all cylinders. His designs, layouts, action, expressions… this is honestly top notch. Bagley’s a classic Spidey artist for a reason, and he brings his trademark energy and emotion on a level I’ve not seen since Ultimate Spider-Man. Bagley takes the script and makes it pant with life. I felt the story all the way to my core because of Bagley's expressions and storytelling.

And yeah. The art’s pretty much it.

I’m going to cut to the chase: Chip Zdarsky ain’t a good comic writer. He could be! He’s got a good enough grasp of raw human emotion to where if he used a plot generator (and don’t pretend the greats didn’t) he could put in some true pathos for his plots. But Zdarsky is too obsessed with ruminating and big emotions to set them up properly. The fight with Norman at the end of issue one? It’s so badly set up it’s actually funny: Peter’s spider-sense would have seen the trap coming miles away, literally. Throwing in Miles at the end was boneheaded. And don’t get me started on Kraven and Venom’s total botching! I have no unearthly idea why people like this comic. Nothing is set up. Nothing is really paid off.

But the real fly in the ointment is Gwen Stacy. Zdarsky has a revolutionary idea with her… and then uses the decade time skip between each issue to resolve it, in a truly petty way. Instead of allowing the consequences to play out Gwen is swept under the rug, creating questions about Peter no one should be asking about their protagonist. The pettiness of the decision is impossible to ignore for me, it screams "I want my definitive take on the character and this plot point is something I want to get out of the way". The decision actually riles me up thinking about it, because that was the good idea, Chip, and you swept it under the rug. I don't like seeing a good idea put down, and Zdarsky puts this particular idea down with an electric chair execution, where the victim doesn't actually die in the first few seconds and is zapped to death in front of everyone, eyes rolled into the back of the head in a way that lets everyone else know they're still alive, thank you very much.

Yes, that happens a lot with electric chair executions.

Yes, death by firing squad is the most merciful way to execute someone, still.

A review says as much about the reviewer as it does about the work; a good review is ultimately about seeing the perspective of the reviewer meet the work and the perspective in it. And frankly I find myself disgusted by Zdarsky’s perspective. Part of it is that if there’s a petty line he can put in a character’s mouth he’ll do it. Part of it is that he can’t avoid stupid things like Peter wondering if his spider sense reacts to Osborn because he’s a capitalist… while somehow missing the ten pumpkin bombs seeded around the building. 

But the greatest fuckup is that Zdarsky perpetuates the myth that Peter is made unhappy by the existence of Spider-Man, that his power is an influence that must be fought at all costs, as a vent for his guilt over Uncle Ben’s death. 

Spider-Man elevates Peter Parker. That's a basic tenet of the character from the Lee/Ditko days, and it's one that modern writers have forgotten, much to their detriment. And yes, it appears to be an ideological failing on their part. Power does not corrupt, power magnifies, and whatever you got rattling on in your skull loses all illusions of privacy with it. And denying that, by using that tired leftist “Power is for me to endure so you won’t be corrupted by it” shit looks so bad on Peter Parker, so transparently contrived, that honestly I couldn’t recommend this comic to anyone.

This is a middling comic, and that’s all because of Bagley doing a wonderful job. But given how awful the rest of Marvel has been doing recently? Yeah, it's hard to remember that less smelly turds are still shit. The plotting simply isn't good. Zdarsky is so freaking excited to get to the ideas that made him feel something that he forgets that the math of the plot still has to add up. It doesn't. Nevermind that his "big feeling moment" is simply not. In the hands of a proper editor (aka NOT Nick Lowe) who would actually challenge and push, Zdarsky would actually be a pretty decent writer.

He doesn't.

So he's not even decent.

Jeez the main scene in comics has gotten bad.

Friday, June 24, 2022

Spider-Man Season Five: Part Three

 


I should not like these last episodes. I really shouldn't. None of this is what I normally what I want to see with Spider-Man, at all. I own the entirety of Tom Taylor's excellent Friendly Neighborhood Spider-Man run. Despite my dislike for his... antics... Taylor really wrote the only modern Spidey run I like: Spider-Man on the ground, talking to the locals, being kind, and just... well... being the uncle Ben of the Marvel Universe. That, to me, was always Peter's arc. And on paper all the craziness of Secret Wars and Spider Wars should have completely crashed and burned. It's clearly yet another toy pitch, another sign of corporate nonsense meddling. I. Should. HATE. This.

I really love the ending of this show.

Peter Parker is finally Uncle Ben. They go through some weird hoops to get him there, but at its core these are true Spider-Man stories. I don't say that lightly. I usually hate it when Spidey goes cosmic and I really don't like multiverse stuff at all. And I really love this last third of the season. Secret Wars and Spider Wars are the ending that this show needed. And no, I didn't want them to go on. I liked the cliff hanger ending as a kid and that definitely hasn't changed now.

The first thing that jumps out at me about these episodes is not just how out of his element Spidey is, but how open he is about it. The folks behind the show could have just had Spidey pretend to know what he was doing and had it be genuinely horrible. Fortunately, we had these folks. So Spider-Man was uncomfortable... but he stepped up. And everyone else he had to work with saw that he was choosing to step up and they chose to let him do it. Peter was working with good people, who could see he was changing and let him do it. If this was done today you wouldn't have anything half this noble going on. Even if you got this far with Peter in a modern context (and you probably wouldn't) the others wouldn't let Peter take point. He'd have to prove to a bunch of assholes he was worthy to lead them. For anyone who's going "Marvel characters were always assholes"... no... no they weren't. See. This. Show.

The pacing of these last few episodes is off the freaking charts. This show has always had freaking quick pacing, with season four going absolutely apeshit bonkers with the speed of dialogue. And while I'm not a fan of the incredible speed of the dialogue in season five it's not even in the same ballpark as season four. It's amazing to me how much the show writers get done in such a short amount of time. I could see even one of these episodes taking at least twice the time today... and that's not a compliment. Because this show manages to keep what's going on clear. All the time. I'm not sure how. But they do it.

But my favorite scene, the thing that makes this show, is:



That is how you use a multiverse, people! You don't just use it for cutesy "alternate versions" or "what could have beens". I didn't like it as a kid, I don't like it now. No, you use these alternate scenarios to specifically play off the emotional lives of the characters. You poke and prod at what happened and ask: "How do you respond to the different world?" And the fact that the obnoxious asshole Spidey in this arc is the one who stopped the criminal, thus saving Uncle Ben, is a  truly fascinating idea. "Our" Peter's failure and the loss of his Uncle Ben turned him into the person who would realize that Spider-Carnage would be unable to keep what goodness he had left coming to the fore. By playing through the emotional development of "our" Peter this arc really cements what finally makes him a true hero. The question of the series was answered.

Yes, I think it's done.

And that should answer what I think of the ending of this show, which is eschatological. An eschatological ending is one where you don't see the "true" ending, but given what you know of the characters and the story you know the situation will be resolved, even if you don't quite know how it will be done. You just have faith that it will. I know that this show was ended prematurely, but the ending as it stands is a fantastic eschatological ending! We now know what sort of man Peter has become, we know that with Madame Web's help he will find Mary Jane. And, really, that's really all I wanted. I can picture them being happy quite easily. This show has also given me that. Peter can grow and change. Marvel may not understand this about their property, but the rest of us?

I think we all think Spider-Man deserves some happiness, don't we? I mean, besides Marvel.

Friday, June 10, 2022

Spider-Man 94: Season Five, Part One

 


I really dislike this version of Captain America. He doesn’t seem to have a stable character. Over the course of this season you could hand almost any of his lines to anyone and it would be fine.

Sorry, had to get that off my chest.

I like the first part of this season in theory. Peter shouldn’t stay single and miserable. Not only should Peter grow up but he really does have leadership material in him' Cable’s estimation of Spidey as the best superhero still doesn’t do Peter justice. Peter Parker is the Uncle Ben of the Marvel universe, and Marvel’s utterly insane need to keep him single and miserable shows just how creatively (not to mention morally) bankrupt the company has become. 

That being said: dear God this arc is a mess. 

While it is cool the Six Forgotten Warriors arc puts Spidey in a situation where he has to step up… not like this. Please. The Spider-Sense is nerfed in the most idiotic of ways, with scenes where it goes off and Peter just sits there, remarking on it… and then he gets hit. I got jarred out of this arc so many times I just couldn’t enjoy it. Electro is one of the few villains in this show that I just can't care about. It's not that he's a Nazi, although that doesn't help. There's nothing to him that I sympathetic at all. He wants power, to the exclusion of his relationship with his dad? That felt wrong to me. If you can take a character as pathetic and awful as Morrie Bench and make him sympathetic... you can probably do it with a Nazi.

Oh, and speaking of plot convenience, MJ gets hurt in this arc, in the most ham-fisted way possible. For a regular show? This is bad. It's plain ole bad writing. But for this show, which had done Mary-Jane so well? It's easily the worst writing in the show. This is something I'd see out of a bad/modern comic book, not this show. Period. I've ghosted shows for less.

But there's nostalgia.

So.

On I went.

But there's a lot of good to this arc, contrary to what the above rant would indicate. This is easily one of the biggest swings at Spidey lore ever done. Peter has to step up. It's not a question. The connection to his family is a fantastic hook and got me invested immediately. And they play up that angle really nicely! Peter's idea of his parents, the only thing he has left of them, is challenged, and he has to resolve the identity crisis, immediately. It's such a good hook that I wasn't really jarred by the bad writing until MJ got hurt.

And that ending scene, with MJ telling Peter to still be Spidey, that it's not a question of one or the other, that he has a responsibility to both her and  the world... I have nothing but love for this scene. Regardless of how clumsy the delivery was, getting to this scene was truly worth it. I really miss this aspect of Spider-Man: the idea of expanding responsibility, of love creating more opportunities for goodness, not just hardship. It's the next step of that arc.

And I have nothing but bile for Marvel's decision to steer away from it.

Part Two Next Week!

Friday, June 3, 2022

Spider-Man 94: Season Four


After a lackluster third season Spider-Man 94 had a lot of scrambling to do. And, while I was afraid they'd completely lose their touch at first, the fourth season manages to bounce back. By sticking with human motivations and keeping to their weird science roots Spider-Man 94 manages to turn in a good season. I'd not say it tops Season Two, but it's certainly in the ballpark. And hey, given how much I love season two that's something!

Let's get what I don't like out of the way first: production quality. Dialogue was always fast on this show, but the earlier portion of Season Four is downright unpleasant to watch. Had I not known from childhood how good this season can be I'd have given up! I find it that bad! Reused animation is fourth wall breaking at this point. There were various times throughout the season I was completely jolted out of watching because the show reused a shot that made absolutely no sense. Basic animation gets trampled on, and the results are repulsive.

Nowhere to go but up, right?

Actually yes!

After a disappointing and technically irritating opening featuring Robbie Robertson, we finally get this show's version of the Black Cat. This is definitely where my nostalgia kicks in. I love every second of these two episodes. The writers kick Felicia all the way into hot shit territory and, once again, surpass the source material.

Sorry comic book Black Cat lovers: she's boring.

@ me, go ahead. You're still wrong.

This version of Felicia (and Black Cat) is a beautiful combination of dangerous, inexperienced, and playful. I could never tell what she was up to, even with the benefit of seeing the show when I was younger. Every second of her on the screen is a good one. Cat breaks down "Spider's" defenses and baggage, helping him to recover from the grief of losing MJ. Spidey finally accepts Cat as a partner, two episodes later. Kraven returns and it's great to see him again. 

And then there's the Smythe/Silvermane episode. I didn't know if I was supposed to be laughing at Silvermane? But I did? Does that make me a terrible person? I don't really care. Cat was great and the reused animation was hilarious. And Silvermane's last line is worth it all. 

And my goodness, is this another two episodes of Morbius and Blade? With some damn fine work on Cat/Felicia as well? I think these are the best episodes of the season! This is another pair of episodes that just couldn't have been done earlier in the show. 

Oh, and they're actually building up the Harry subplot along the way this time! They learned!!! I love it when show runners learn from their mistakes. Harry's flip to the green side is really well done. I like how Norman manages to show up. And we also get the Punisher again, which is a most unexpected (but welcome) treat! If you're not choking up a little bit for Punisher's ray of hope at the end, then... Well, I'll have to call the battle van. Sorry.

The twist of MJ being back is so much crueler as an adult. This was such a sickening move on the writer's part. And I do mean that as a compliment.

Okay, honestly the next episode, featuring Mysterio, just isn't very good. I'm glad this season was shorter than three, but they could have cut this episode really easily and no one would have noticed. 


Yes, even with the unmasking at the end! I think just about anything else could have been done to make Peter realize he needed MJ more than anything and it would have been better.

The rest of the season is about these two deciding to love each other, regardless of cost. The rapport they build is so cool, so heartfelt, I just... Yeah. This is right in the nostalgia. I've no pretense to objective thought here. I just don't. This feels great to revisit. Even with the looming threat of the truth I can't help myself. 

They're happy.

 And they have it coming.

What the heck am I actually going to think of Season Five?

Friday, May 13, 2022

Spider-Man 94: Season Three

Welp, folks, hopefully it doesn't get worse than this.

Sins of the Fathers, the name of this season, is flawed. It doesn't have the thematic coherence of Season Two, nor are its episodic elements nearly as well-used as Season One. While the season is supposedly about the failure of the previous generation (summed up in Norman Osborn's defeat by the Goblin), there's more than a few episodes that derail the delicate balance between plot and character. The finale, while gut-wrenching, is brought down by hamfisted exposition and left-field developments. While there are some standout episodes and arcs the quality has taken a noticeable dip. Thanks corporate! 

The first episode features Doctor Strange. MJ has been kidnapped by Baron Mordo to help Dormammu escape. It's a good team-up, with some fantastic development for Mary-Jane, whose abandonment issues get sketched out, while being integral to the plot. This was a really strong opener! I'll liked it a lot, and with Madame Web being set up I thought it a good intro to the season.

And then Make a Wish and Octobot. Holy shit. Just, holy shit this was insufferable. For those of you who don't know, one of the best Spider-Man stories of all time is "The Boy Who Read Spider-Man", about a boy named Tim who asks to see Spider-Man and hang out. Spidey shows up at his room and the two talk about a surprisingly detailed account of Spider-Man's abilities, tech, and ethos. At the very end of a charming story Tim asks to find out who Spider-Man is, under that mask.

And Spider-Man does it. 

Is it a plot? Is Spider-Man being controlled? Is Tim a spy?

No.

Tim is dying of cancer. 

Soon.

And he wanted to meet the hero who helped him hold on for so long. Peter, moved by Tim's kindness and courage in the face of impending death, simply can't deny his greatest fan.

God, it's such a beautiful story.

Yeah, they try to adapt it. And it's horrible. They tie in a crappy plot about Doctor Octopus wiping Spider-Man's memory, a Jamaican (???) taxi driver who's so insensitively done! I cringed watching this shlock as a child who had never met a Jamaican before, but could tell this was badly done, and changes Tim to an actual Mary Sue (Rey haters, please reference these episodes so you'll know what a Mary Sue actually is) whose character was nails on a chalkboard.

But don't worry, she's dying of cancer too! Gah!

You can smell corporate demanding a freaking Octobot. I wanted to throw out my phone from the fumes of sulphur and... We'll just say discharge. Yeah.

Y'know, Navy folk. No, not sailors.

Yes, I think I'm funny.

My wife laughs at me, not my jokes, can you tell?

Fortunately the introduction of the Green Goblin is next. And is it done right or what??? Man I love this episode. This show is at its best when its characters are human beings handed awful power, which magnifies their worst qualities. And we've taken some time developing Norman! He starts off as a sleezebag with genuine affection for his son, buried way deep down. Over the first two seasons Norman has wrestled with his inner monster. And he wasn't a saint or anything, but Norman was better than he'd ever been.  And then the accident happens and it's all for naught. This is easily one of my favorite single episodes of the show. My nostalgia is fully earned here.

Rocket Racer's episode is another great one-off. The debilitating moral effects of poverty are called out. If you need to steal to survive it makes you a criminal. If you're a criminal why not just be a bad guy, since the rest of the affair is stressful enough without having moral ambiguity making it complicated.  Merloo in "Rape of the Mind" not only calls societal pressures like what's going on in this episode brainwashing, but displays one of the most horrible things about societal pressures: man's sense of justice is so acute, his need for right and wrong so absolute, that continuous pressure on him eventually makes him become what others think of him, because he knows that justice is external. So, in an effort to recognize justice, he'll become what everyone is accusing him of. 

Happy thought, right?

The Daredevil, Smythe, and Tombstone episodes are just incredible. Plotting, characterization, voice acting, even the animation is really well done! While I think the Tombstone episode is the best of the bunch I'd definitely not say that makes the others worse; it's a real embarrassment of riches in these episodes. This is real quality stuff.

Which makes the Venom and Carnage episodes just that much worse.

Please keep in mind that a show as thematic as this one has to stick the landing. Thematic arcs are generally more difficult to pull off than a strictly plot-based show. You have to have a solid foundation and be willing to explore all sorts of situations... that are related to your theme. Oh, and you have to be willing to let go of ideas that are thematically sound, but don't execute too well. 

I really want to not do those freaking kid episodes again, can you tell????

The issues I have with the Venom and Carnage episodes isn't that it isn't thematically consistent with the rest of the show; nature vs nurture is on full display here. It's that the sins of Norman Osborn do actually need to be set up for later on! MJ ends her engagement with Harry in the Daredevil episodes and the show drops the plotline entirely after that. I get not dwelling on it overly, but we don't know much about Norman and what he's really like as an attentive father. We've seen his wrestlings with his darker nature, sure, between the Green Goblin episode and this one we really don't know what Norman and Harry are up to. That needed to be shown. This ain't the Skywalker Saga, where points you'd normally consider important don't need to be shown. The Skywalker Saga is an intergenerational soap opera. Its points are on a grand sweeping scale. But that's not what this show is. Harry has been basically sidelined up until this point, and as we're about to see that's going to do some significant damage to the finale.

Also, there's the fact that Mordo and Dormammu are central to the plot of Venom and Carnage's episodes. Where the hell is Doctor Strange?? Y'know, the dude who has dedicated his life to stopping Dormammu? They spent time setting him up... and then he's not there. So multiple threads are dropped and ignored to create these two episodes. Even the time dilation stuff could be introduced another way, see the Spot episode that literally comes right after this. These two episodes are unnecessary.

Unless you have to please a toy line. 

New Venom with a swappable head to Eddy Brock? Carnage??? Iron Man and War Machine? 

There were clearly dollar signs at work here, folks. And it's a damn shame. I love this take on Carnage! He's just the right type of sick and twisted fun this show needed! Eddy and Ashley are pathetic and sympathetic, even with the major ethical breaches going on. Granted, the show doesn't talk about that, but the actual dynamics between the two of them are well-handled. It's such a shame.

And then we're back to fantastic stuff again with The Spot! This is a fantastic one off that goes back to the simplicity of Season One, while setting up for the finale. Like Hydro Man, this is the definitive take on the character. In the comics he's a joke. I wouldn't say the Spot isn't a joke here, but he is treated with the sensitivity and sympathy I've come to expect from this show.

Goblin War is a fantastically frustrating episode. On the one hand you've got Hobgoblin, Felicia, and the continuation of the time dilation device plot. Which is great! I love this version of Hobgoblin! Felicia is handled so well here! It makes sense the underworld would go nuts about the time dilation device. The ending scenes of this episode are absolutely perfect. But then there's the sudden drop of the Green Goblin. And that Harry has been poisoned against MJ and Peter since the Daredevil episodes. I've already given you my thoughts on that. I am not happy with the sudden snap.

And then there's Turning Point. For every pro of this episode there's a glaring con. The characterization is fantastic. The plot is rushed. Madame Web is used so freaking well. There's way way way too much Spidey narration, which outright destroys what should have been the best single scene of the show. The ending is gut-wrenching tragedy.

It could have hit so much freaking harder.

And that's really my takeaway on this season: it could have been so much better. When this season is on, by God it's more than a step up from Season Two. But what seems like really blatant corporate meddling takes a season that should have been perfect, a defining season of Spider-Man, a triumph of adaptation... and averages out to a compelling story compromised by the need to sell toys.

And therein lies the real tragedy.

Friday, October 22, 2021

Spider-Man 94: Season 1

 


This was my Spider-Man until I was about eleven years old. I've been mostly disappointed ever since. Don't get me wrong, the original run until the Death of Gwen Stacy is the comics story. Anything else after that... well I have a head canon for that. I'll talk about that in another post. Corporatism hollows something out real and wears its skin like a puppet. I'd argue that's happened to Spider-Man in general, although that's not the case with this season of Spider-Man 94.

No, it's not perfect. The Chameleon episode has some really silly logic drops, and it's obvious the show had serious budget issues with animation, reusing every single frame they possibly could, sometimes overly padding out those "Previously On" sections. And the first season drops Felicia Hardy entirely. Now, having gone into a bit of the second season, I can see that the writers were deliberately building towards season two, and did not seem to intend season one to stand on its own. That's definitely not perfect, but it is deliberate. Make of that what you will.

But what this season does it does well. Season one is an episodic weird sci-fi, rooted right in the cautionary 60's genre. Horrible accidents happen to ordinary folks and they lose their heads. Peter is the only one who has been able to withstand the physical change, all because his selfishness led to his Uncle Ben's death. All of the antagonists are treated with a degree of sympathy that I admire. Even when they are outright evil there's a humanity, an appeal for mercy, deep down in each of these characters. Folks keep talking about how modern shows have such complicated characters, but there's stuff going on in these eighteen minute episodes that's nothing short of miraculous. And that's not nostalgia talking; I wish I was this economical in my RPG sessions.

Season One feels like it's building a lot of ground in a hurry, not to mention getting the "big names" out of the way. There's a very "check off the names corporate needs us to check off" feel to this season, and even then, none of the takes were by the book. 


Doc Ock being Peter's mentor? Done here first.


The Lizard trying to end weakness? Done here first and arguably better.

Other takes on the characters who haven't been adapted to movies are just as good as those two, if not better than the source material. Hobgoblin is just a common mercenary who was given a bunch of toys. Kraven was driven mad by the serum he received aaà but returns to normal. Smythe becomes a regular supporting villain after losing his father in a tragic accident. Scorpion is just a pathetic bully made dangerous. I particularly like Scorpion, as his patheticness doesn't go away, just that you want to dodge while laughing at how much of a loser he is. And Eddy Brock, the most built up supervillain in the season, is nothing more than a spiteful yellow journalist. Rhino is a large enforcer. He's got a job to do and will make sure you don't stand in his way, because he's a professional.

See the pattern?

They're just regular folks, writ large. In some cases they're even more human than what Lee had originally envisioned.

So, ultimately? A good season. I really enjoyed it. It's not Shakespeare, but they're clearly having to check off some boxes so they can go and do the things they want to do later. It's a good introduction to the world that the show creators want to explore. I really like that world. I'm definitely gonna keep going!

Wednesday, November 18, 2020

The Spiders' Web: Chapter Five

 


The air was filled the stink of rotten food, feces, and falling apart blankets. But it was not a cold world. That much could be said thought Victor as he rolled onto his padded feet, stretching all the way out to his claws.

Victor had claws.

And fur. 

A lupine head was staring back at him from a puddle, eyes glowing crimson. Where was his face? What had happened to it? The wolf opened its mouth. A howl proceeded from it. Victor stumbled backwards, onto clawed hands with grey fur. Others, something in his head whispered. Find the others

Peter was late. Again. Time was so easy to lose track of in the wake of Uncle Ben's death. So was homework. Classes had originally been what he had gotten him through the day: the rustling of pages, the smell of a sharpened pencil, the indents those pencils left on notebook paper, all these things used to be a comfort. And now Peter had to force himself to think about them. He had to force himself to stay in his room to do homework, to walk to school, to sit through dinners with Aunt May as she made sure his soup was just the right level of lukewarm. And for the love of God Peter wanted to be okay with not wearing the damn spandex suit under his clothes.  

The school was up ahead. Peter needed to hurry.

There was that tingle in the back of his neck again. From the right this time.

WHUMP

Fur. Teeth. Pantings. Stench. It was at least as large as Peter, if not larger.

The crowd around him scattered. Peter blinked as he watched the lupine form with blue jeans awkwardly flee down the sidewalk on all fours. Why was it doing that? It clearly has a bipedal frame. Peter didn't remember running into the alleyway, or stashing his clothes in his backpack. There was just the rush. He was in the air, twhipping along with the web-shooters he had made a few weeks ago. One rush caught him up to the running werewolf. Peter's mouth was dry; he was trying not to wet his spandex. This thing was at least seven feet tall.  His brain just couldn't-

"Here boy! Good boy! Let's play fetch!" 

Where the hell had Peter gotten the tennis ball??? 

But he had it. In his hand. And the thing was watching him, curiously. Expectantly. I think it's scared too something inside of him said. "Why don't we go play fetch in the park, boy?" No, not that. Really not that. What do you think you're doing? said The Voice. The wolf thing wasn't amused either. It howled and the back of Peter's neck tingled like nobody's business. Peter ducked. "The quick Spider-Man ducked under the very Bad Boy's swing! Not all the letters but c'mon that must have taken years to come up with!" Peter's fist shot up and he heard a cracking noise that he was so happy wasn't his jaw. "I always wanted a dog! But my mom's allergic and all that GOD BLESS YOU"(the woman who had just sneezed half a block down heard Spider-Man as he shouted) - "but what the heck is this?? I knew you shed and needed to be housebroken but this?? I mean my God, the slobber alone!"

SWISH SWISH. "HOOOOOOOOWWWWLL!!!!" Oh dear God that was too close. Both freaking times.

Twhip BAM. A newspaper dispenser flew in a shower of concrete and screws and smashed into the wolf's snout. "BAD BOY! NEWSPAPER TO NOSE GO LIE DOWN". And now the wolf was running again. Peter was was so terrified that he realized that he had, finally, wet himself. Wasn't adrenaline supposed to do something about that? Now he'd be even later to school than he already was! Thank God the pants were black, not blue! I mean it'll show lint but at least it doesn't show piss, although lint is a real pain too.

Oh wait.

I still have the tennis ball.

Don't ev- "WAIT COME BACK!!!" Peter heaved the tennis ball as hard as he could , smacking the wolf-thing in the back of the head. It feel over with a YIPE, on top of a screaming child. Oh shit. "Won't play fetch. Drools like crazy. EW ON THE SHEDDING"- Peter stepped around a patch of thick fur that was defiling the already hideously dirty concrete- I need to wash this suit when I get home dear God- and shot a web off at the foul thing's head. thwi-PAT went the web. His fist rocketed off the wolf's jaw as it stood with a sickening GRUNCH and it fell over. "Rated 0 out of 5 on the Good Boy Scale. Will send back to the pound for a good ole lethal injection A face only a mother could love, and even that's a stretch, wouldn't you say Boy?"

The screaming. Sirens. The "Get down on the ground!! NOW!"s coming in like bullets. The actual guns pointed at him.

Oh God my pants stink.

"No thanks, if I ever go to the cops it's with clean pants! Buh bye!" And with a thwip Peter had bounced away with a speed that never ceased to take his breath away. 

The cops took the unconscious and broken form of "Bad Boy" away.

For not the last time Peter didn't go to school that day. God, that fight felt good Peter thought for not one or two times as he hacked the school's network to find his teachers' lesson plans; homework still needed to get done.

Victor's mother never had a solid night's sleep again. No matter how hard she clutched her rosary beads the police never found her precious Victor, nor did they particularly seem to care about him.

Gangbangers give up the right to a mother, far as some are concerned.

Victor's mother cried anyway.










If you liked what you read, come join me on Patreon! Throw a nice tip or help me decide on things to review and write about!

If you can't do that, no problem! Come say hi on the Facebook page!

Friday, September 4, 2020

The Pull: September 2020 Edition

 


Boy what a month so far! This has been a really amazing haul folks. I can't wait to get into it with you.

By the way, SPOILERS

The Amazing Spider-Man 46 and 47

I've read a lot of Spider-Man. I've loved the character since I was two. I've read his history, multiple times, and have tried to get into whatever sources I can to learn more about Peter Parker. I won't pretend to have a perfect memory about the character, but I do know a whole hell of a lot.

This is a truly unique story arc. I'm telling you now, it's going to be a classic.

Yes, really.

Jump on it. Now.

Throughout all his years Spider-Man has had a rule against killing. Unlike most heroes Spider-Man's rule against killing has a very poignant edge: he's lost so many friends, in some truly brutal and awful ways, that he cannot imagine inflicting that same pain on someone else, for any reason. He believes in the sanctity of life because it's been desecrated so many times in his life that he must hold onto it with every ounce of strength. And that's been directly challenged plenty! When Otto became Spider-Man he laughed at the rule. Peter's had many conversations with folks like The Punisher and Wolverine about the necessity of taking lives. And they keep pointing out the same thing: Peter is only a deterrent. He cannot solve anything.

I've never seen a Spider-Man story where this point was hammered so hard. Sin-Eater isn't just killing people, but he's bringing them back without their powers and their evil tendencies! They're peaceful! Reformed! I mean Sin-Eater has a bunch of powers now, but all these people are reformed. Right? Right?

And Peter doesn't have a freaking clue yet. It's beautiful. I've not been this excited by a Spider-Man story for a very long time. And that's because we're seeing something incredible.

Mighty Morphin Power Rangers 53

So I'd accidentally stopped following this title a while back and decided that I wanted to get back into it. 

Power Rangers has always been a concept that I found was hampered by its medium. I don't know of many adults who would say no to a story about a group of disparate peoples defending the world from perpetual alien invasions. I mean, Pacific Rim exists people and it's awesome. I'm not saying that Power Rangers is Pacific Rim without a budget, but... OK, that's what I'm saying. We're going to move on.

I have found that the concept of Power Rangers has always been respected by the comics. Without the constraint of budget and corporate idiocy the creative teams have been free to explore concepts that the TV fluffed, like the Dark Rangers. Zedd is terrifying. Legitimately. The rangers are well-written and... I can't believe I'm saying this... but Rocky has a freaking personality

That alone is worth it to me.

X-Men 11

I don't think anyone's really caught the joke of Hickman's X-Men comic run yet. Everyone's been talking about the incredibly progressive approach of this comic to a lot of things, and how Xavier's initial dream is dead. But that would be to ignore who Hickman is, as a writer, an artist, a person

Hickman constructs machines of truly epic proportions, details them out, makes sure they work, and then throws them at characters whose flaws are just as big as the machines he constructs. None of the characters are moral; they're constructed of virtues and flaws, miniaturized versions of his universal machines, all running around and trying to manipulate everything to get what they need. Hickman is not a moral writer. That's what gives his stories such a mythological scope and what makes him so beloved:

That is full on display here. Magneto is painted as Exodus as a true hero, someone who is willing to defend those who cannot defend themselves. The tone is appropriately mythic, painting a former genocidal maniac as the hero of the mutant, while making sure that we see Magneto as some messiah to the mutant race.

This is Hickman.

He's doing it on purpose.

I'm excited.

Darth Vader 4

I was told very specifically to pick up this comic. I was told that it was amazing and deserved my attention. I've actually heard that about all the other Darth Vader comics. And honestly I fight that sorta hype. Hard. I wasn't initially that interested in the comic, so that didn't help. But a buddy of mine insisted and he knows my... reservations, about hype. And Star Wars. And he told me to buy the damn comic anyway.

Boy I'm glad he did.

This is not what I expected. 

Vader is post-Empire Strikes Back, reeling from being rejected by Luke. He goes to Naboo, only to encounter the handmaidens of Amidala. The sheer visual story-telling chops of this comic are... just amazing. I loved all the intercuts, color variations, the emotional build up, all of it... it adds up to something that could not have been done in any other medium but a comic book. I don't see that very often. I'm wonderfully surprised to see it here.

Wednesday, August 12, 2020

The Pull: August 2020 Edition


The Amazing Spider-Man: Sins Rising #1

As a supposedly conservative Christian, this was a painful read. I'm not Pentecostal, but there's a duality that I've encountered inside of myself that is not Christian, not of what is taught, that this comic brings to the forefront and criticizes, openly, painfully, and honestly. I found I had a lot more in common with Stan than I would like to admit. Good art holds up a mirror. This book held up a mirror in a way that was uncompromising to some of my experiences of American Christianity. 

Actually, a good deal of it.

The Amazing Spider-Man #44

There are a few times when comics really show what they're capable of as sequential art. They transcend the usual trash that is humanity's attempts at art and become something... more. When this happens you get a sublime, almost surrealistic blending of image and letter. 

This issue one of them.

There's a level of "come to this as it is" that is what makes the issue so special for me. There's no attempt to make the issue make sense, and so you have to go along, just accepting the issue as it is. There was a very similar eerie quality in Sins Rising which I didn't comment upon so much there. But the craftsmanship of both comics is just beyond what I would expect for any comic book. Truly art.

The Amazing Spider-Man #45

...and now we're dropped back into Spider-Man's world. There's this jarring and off-putting feeling which matches the story so incredibly well! The compositions have changed, in part because of the change of artist; the more grounded feel is what classic Spidey artist Mark Bagley is known for. Unfortunately Bagley's drafting just isn't up to snuff in this issue, which is sad, given his immense skills. That being said, Bagley's actual visual storytelling is just phenomenal and is used to contrast with the previous issues in ways that are entirely intentional. I love that they took two issues to build up to this one. It feels right and creates this divide from Spider-Man, isolating the character from you, the reader, and leaving him totally alone. You know too much. Spidey knows nothing. 

And your knowledge matches his confusion. Fantastic.

X-Men #10

When most writers swing big, they usually go for about fifty or so issues on a single book. Maybe a little bit more. When Hickman goes big he does at least fifty issues, over the course of at least two or three (or more) books. His new X-men initiative spans authors and comics, and is probably his largest thing he's done so far. And it shows. The thing that most people do not realize that makes a long run is that the concept has to be big enough to where you can go for forever. Hickman's early part of his Avengers run was criticized for being almost obtuse in the amount of plates that he juggled. The series didn't seem to have any connectivity. 

That, of course, missed what Hickman was doing: setting up the points that he was going to start bouncing the ping pong balls off of.

And he's still doing it in X-Men. And yeah, sometimes that's really frustrating, like it is here. Vulcan is not a character I have a whole lot of appreciation for. And I love what Hickman does with the character here, by fleshing him out to make him a hero I can actually root for! And I can't wait for the points to start to connect.

But it can be really frustrating to wait for that. 

That being said, I'm taking notes. When this sparks it's going to catch real good.

Star Wars #5

Luke has recently discovered he's Vader's son, and has to grapple with what that means. Luke has the black he eventually becomes known for in ROTJ, combined with the brown jacket he had from an earlier run. He's still a good kid, but a hurting one, seeking answers. And the person he's seeking answers from gives him answers he didn't expect or want, particularly about Order 66, the Inqiuistors, and Vader's role with them. Of all the people that Luke has to run into, this particular person seems to be the one to pop the idealistic bubble he had about the Jedi.

There's been a dream-like quality to this book for me. Each point they set down I find myself saying "But of course! How else could it be?" There's a magic to this title that is hard to put into words, but this whole run has felt right since the word "go". These folks get Luke. They get Star Wars. And watching that unfold is magic.
Become a Patron!

Wednesday, June 19, 2019

Friendly Neighborhood Spider-Man #7


I am still bitter about One More Day. I doubt I will never not be. But there come times when Marvel lets Spider-Man be himself again. The quietly confident, quippy, adult that Peter had grown into sometimes gets to shine back through. And that's the guy I see in Friendly Neighborhood Spider-Man again, and man! I missed this guy. 

It doesn't hurt that Tom Taylor is a fantastic writer, with an eye for characters and plot that's pretty hard to match up anywhere else. I mean, c'mon, don't tell me you don't get a chuckle out of the following:

"ARE you mugging him?"
"No! But... I  can see how it would look exactly like that."

"Are you robbing the place?"
"I'm not! But I can see why it would look exactly like that"
Little things like this in plots please me a whole heck of a lot. It means the writer is paying attention, and it's just plain old funny to boot.

The story itself is exactly what I want out of a Spider-Man comic. Don't give me soap operas about the super-villain of the week, focus on the characters we already have. And Taylor uses these elements to incredible effect. I love that May has reopened F.E.A.S.T., and, while I dearly wish if they were going to kill Aunt May they would just leave her dead already, Taylor makes the best of editorial's inability to conceive of anything where Aunt May is dead and gone. I love how the narrative takes full advantage of her health plight, injecting a fair bit of pathos into the story.

Taylor's narrative had been moving a little slowly in the first six issues, but this issue takes all the things that I had been loving about those issues and amps them up, creating an issue where Spider-Man is exactly where he needs to be: near the ground, with the rest of us. Spider-Man is, at his core, an Incarnational hero, a god amongst us. And it's great to see Taylor not only recognize this but take it in new directions.