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  • Scarlet Spider News - continually updated...

    With the first issue of Scarlet Spider being released next year on January 11th, a whole lot of hype is being built among "Kaine" fans. Marvel has been releasing a number of interviews with Chris Yost - writer for Scarlet Spider. I will just summarize it briefly and state the points I find interesting here.[...]

  • NYCC Announcements for 2012

    Wondering what awaits Spidey and his world come 2012? Many announcements were made in Spider-Man’s home city of New York this weekend that gave us a glimpse of what’s to come. [...]

  • The Infinite Spider-Man by Mister Mets

    The Infinite Spider-Man is an ongoing series written by Thomas Mets, regarding his thoughts on the current direction of the Spider-Man comics, and the possible courses for the future.[...]

  • Spidey Costumes pt 2

    I once did a blog post on the different Spider-Man costumes worn by Spidey up to 2009. I may have missed a few, but I got most of them. Check out Spider-Man Costumes pt 1. Recently however, more specifically, since Big Time, Peter Parker has gotten a new job at Horizon Labs, giving him time and resources to create new Spider-Man Costumes. [...]

  • Birth of Venom

    It all started when an independent artist sent then editor in chief of Marvel, Jim Shooter concept art of Spider-Man wearing a black costume, and the rest is history.[...]

Daredevil # 8

Posted by bulletproofsponge 28 January 2012

Daredevil!, The Man without Fear, and one of my favorite characters. In the last issue of Spider-Man, Spidey went to DD to get help, as he was convinced that the Black Cat was innocent of stealing the holographic cell phone.

The Story

At the start of the issue, we see that Matt Murdock's partner - Nelson, taking some care of some case where Matt's father was buried.

This issue starts right where the last left off - Spider-Man being electrocuted by the Black Cat. DD gets out of the rubble and stops her. She does mention that she had no intention to kill him, but rather hurt him badly. She is under the impression that Spider-Man turned her in because she would not sleep with him. (Typical). She does seem to fancy the new masked vigilante though - DD.

Once Spider-Man is back on his feet though, he explains that they were both set up. The three head towards the home of Wasserschmidt - the inventor of the stolen device. Wasserschmidt, scared to death explains how he had faked the robbery, and had actually stolen it himself, so that he could sell it for more on the black market.

As they speak, DD smells a drug in Wasserschmidt's sweat. He concludes that the man has 10 minutes to live. With that Spidey rushes him to the hospital, while DD and Cat go to retrieve the holographic device.

DD and Cat spilt up and DD eventually finds it. Unfortunately, he still seems dissatisfied as he didn't find out who framed Spider-Man and the Black Cat. Cat, distracts DD by kissing him and making out on the roof. This eventaully leads to DD's bedroom where they do some funny things ;) They are interrupted however by Nelson, who tell's DD that his dad's body is missing.

Unknown to DD, Black Cat met the culprit who framed her while she had split up from him. Apparently, she was framed, so that she would 're-steal' the device, giving the crook a chance to speak with her in private. Cat is offered a new job - the custody of Matt Murdock, to which she would get a handsome reward.

Thoughts
Fairly okay issue. Being a Daredevil book, the focus is obviously more on DD. Spider-Man plays a rather tiny role in the story. As far as the Black Cat is concerned, the panels are drawn in such a way that the reader automatically assumes Felicia has accepted the offer - thus seducing DD, as the first step in her new job. Somehow, I'm not so sure she has actually accepted the offer though, as we all know that Felicia is a playful girl. She may very well be seducing DD for the hell of it, and may very well turn things around.

Infinite Spider-Man 9.2: What Readers Know

Posted by Mister Mets 21 January 2012

An oft-cited complaint against the current Spider-Man comics is that, as a result of One More Day, readers know that every relationship Spider-Man is in is doomed to failure. They can also be reasonably certain that the character won't grow noticeably older. So the obvious question is why should anyone be emotionally invested in something if you know exactly how it's going to end?

I would argue that you don't know how a particular plot poiny is going to end, even if you are devour every piece of material about what goes on behind-the-scenes at Marvel. One More Day didn't change a thing in terms of whether Spidey can get married in the future. With the sliding timescale, a fictional relationship could theoretically last for over a decade's worth of printed comics. And at the end of that decade, there may be a different editorial philosophy.

The relationship probably won't last for a decade's worth of printed comics. But that has nothing to do with OMD, and everything to do with what the writers naturally want to do, which is to shake things up every now and then in the romantic department. While any new development is more likely to be temporary than it is to be permanent, you don't know for sure that it will fail. It's entirely possible that a new dynamic so successful that it changes the "rules" of a franchise. Spider-Man and Wolverine have been on the Avengers for more than sixty issues. Bucky's been back for almost as long. Bruce Wayne's son is the new Robin. Matt Murdock's identity as Daredevil is essentially an open secret.

Readers certainly don't know what's going to happen in the short term. Peter Parker may still be in the same relationship an issue later, an arc later or an year later. If written well, you can appreciate the journey as opposed to the destination. You can enjoy the Avengers, even if you know the team probably won't be the same at the end of the year. You can enjoy a fight scene between Spider-Man and Dr Octopus, even if you are reasonably certain that neither's going to die. The B-plots are often more consequential than the A-plots.

Even if you assume that a relationship is going to come to an end, you don't know how exactly that happens, or how that changes the status quo. A story that ends in heartbreak is contrary from one that ends in an amiable parting of the ways. And the ramifications will differ as well.

It could still be consequential for the characters. The relationship will become part of their backstory. Because Carlie Cooper dated Peter Parker and now knows his secret identity, she is going to be a different cop buddy for Spider-Man than Lamont, Jean Dewolfe or George Stacy. It's not something Batman and Commissioner Gordon have had to deal with.

The Dark Knight Rises will feature a noticeably older Bruce Wayne than viewers saw in Batman Begins. And that works for the conclusion of a trilogy, but it's more restrictive in a shared universe in which the story is likely to continue for decades. Age is not essential as a way to show character growth. For example, Peter Parker was not noticeably older in Amazing Spider-Man #110 than he was in #50, although he had somewhat grown as a person. A lot of fiction is about how people can change in a short amount of time. It's difficult to pull off the sense that a franchise character has changed in a fundamental way, but it's not impossible. Mark Waid is pulling this off in Daredevil, with the man without fear embracing his swashbuckler persona in the aftermath of a demonic possession and multiple tragedies.

A final point is that the most likely alternative to the One More Day retcon would have been a situation in which Peter and Mary Jane stayed married, with a fairly constant quo. They wouldn't get older and they wouldn't have kids. I get the impression that it would take longer for the average reader to realize that a single Spider‑Man isn't going anywhere than it would take them to realize that an eternally married and childless Spider‑Man isn't going anywhere, just because there's more variety possible with a bachelor Spider-Man, as his relationships are more prone to change.

A complimentary argument to all of this is in addition to "knowing" that every romantic relationship is doomed to failure, the readers also "know" that Peter and MJ will be reunited at some point in the future.

Infinite Spider-Man 9.1: The Sausage Factory

Posted by Mister Mets 20 January 2012

A common complaint regarding One More Day, or any way Marvel could have come up with to end Spider-Man's marriage, is that as a result of the transparent nature of that retcon, many fans will have a greater awareness about which stories can’t be done. One serious problem with the illusion of change approach is that once readers become aware of it, the illusion shatters. They'll understand why some things can happen (IE‑ break ups, Peter getting fired) and some things won’t (marriage, kids). But I think that this was going to happen anyway.

Look at the cover on the right. I suspect most readers were pretty sure that Spider-Man was not going to die in that issue. And they had good reason to be cynical about any future "deaths" for Doc Ock.

It has to be said that the readers who analyze comics (and develop an understanding of the various motivations for the creative teams) do lose their ignorance about things that can and can’t happen, which will affect their enjoyment of stories. That occurs whenever you develop an understanding of storytelling structure and production in any medium. Once you realize that a Spider‑Man in danger cliffhanger is never going to end with his death, you've got to learn to appreciate the stories in a different way, or move on to books which aren't so editorially driven.

Because of what happened in One More Day, some readers will come to certain conclusions about ongoing storylines. They would say that it's obvious that every relationship Peter has is doomed to fail, though I'm not sure that's true (more on this point, later). At the same time, such readers were already aware that writers were limited in how they could depict the marriage. It wasn’t going to change in any significant way without a retcon, due to the various reasons the writers couldn't kill MJ, give her and Peter children or have them divorce.

The only readers who "know" that every relationship Peter's involved in is destined to fail are those knowledgeable about the behind the scenes politics at Marvel. When that happens and becomes an insurmountable problem, you have to move on to comics that won't be affected by your knowledge of the creators and editors. If you stop speculating on what’s going to happen next on the internet and learn to ignore solicitations and previews, this will be less of a concern, as you become less familiar with the inner workings of the industry.

If you choose to read interviews with writers, and become aware of the economic reasons for storytelling decisions, you have to learn to appreciate the Marvel Universe comics on a different level than before. The alternative is to leave the books and characters for the next generation of the readers and move exclusively to series that don’t have these restrictions. It's not something you're going to find in the main Spider-Man title.

Unfortunately, once you become aware of how those stories are constructed, you’ll have the same problem with many other series. I don't see any viable alternative, and consider this to be the cost of becoming knowledgeable regarding the mechanics of any storytelling industry. Such compromises have to be made, as the companies can not cater to the minority of readers who understand that the Batman can’t kill the Joker, not because of any moral code, but because the villain has to be kept alive for later arcs.

As comic book readers, we have tremendous access to the professionals, and to information about storytelling decisions. I enjoy reading scripts, or following Dan Slott's formspring. But access to information means that I'm less likely to be surprised, and more likely to consider the various meta reasons for something. If you don't want to do this, you don't have to. There's no reason to check out previews, read interviews, or participate in message board discussions about why certain storytelling decisions were made. You don't have to keep going to the sausage factory.



Granted, you should still be able to enjoy a well‑written battle between Spider‑Man and the Vulture, even if you know Spider‑Man's not going to die. Though this brings up the question of what exactly readers "know".

With his origin out of the way, Miles embarks on his first adventure as Spider-Man!


The Story

Uncle Aaron (A.K.A. the Prowler) arrives at a shady bar in Mexico City to deliver a package he stole from Oscorp to his client, a criminal who calls himself the Scorpion (a big guy with a scorpion tattoo).  Scorpion's men ambush Aaron, but Aaron is able to knock them out using an electrical device he got from the Tinkerer.  Aaron is then confronted by the Scorpion.

Meanwhile, Miles is patrolling the city as Spider-Man when he stumbles across a purse snatching.  Miles sloppily takes out the thugs before he is chased off by the police.  Former Daily Bugle reporter Betty Brant captures the whole thing on camera. 

The Scorpion initially holds off on paying Aaron, but relents when Aaron threatens to kill one of his loved ones right in front of him.  After paying Aaron the Scorpion asks for his package, but Aaron refuses to give it to him and attempts to stab Scorpion with a knife.  The knife fails to penetrate Scorpion's rock hard skin, so Aaron next tries to electrocute him, also to no avail.  Running out of options, Aaron kicks Scorpion where the sun don't shine and runs outside, where the police are waiting for him.  With his device out of power, Aaron is arrested.

Miles returns home where his mom is waiting for him.  The two start to talk about the conversation Miles had with his father about Uncle Aaron when Ganke bursts in and interrupts them, claiming he has something urgent to tell Miles.  In Miles' room, Ganke tells Miles he needs training, and gives Miles some footage of Peter Parker fighting Doctor Octopus to study.

At the Daily Bugle, Betty offers J. Jonah Jameson footage of the new Spider-Man in exchange for her job back.  JJ agrees stating that, Peter Parker or not, the new Spider-Man is about to become famous.

In his cell, Aaron sees a picture in the paper of the new Spider-Man and demands to know if he's someone new (he can't read Spanish).

Thoughts

This was a great start to Miles' second arc, with Brian Michael Bendis following up on the most interesting subplot introduced in the previous arc; Uncle Aaron.  Although the first arc suggested that Aaron, despite being a career criminal, might not be such a bad guy, his actions this issue clearly establish him as, in the words of Miles' mom, "a bad person."  Going by the last page, it looks like Aaron has put two and two together and at least suspects that Miles is the new Spider-Man.  How this will affect their relationship going forward should make for some interesting reading.

Chris Samnee takes over artistic duties from Sara Pichelli this issue.  Although I miss Pichelli, Samnee does a good job filling in, though his different style took me a while to warm up to.

I do have a couple of gripes; for one, the new Ultimate Scorpion was disappointing.  There's no particular reason to call him the Scorpion other than his barely visible tattoo.  Still waiting for Ultimate Mac Gargan (unless that was Gargan, yikes!).  Also, does anybody else find it weird that Nick Fury hasn't offered to train Miles in light of what happened to Peter?

The new Ultimate Spider-Man is still going strong.  Looking forward to the reunion between Miles and his uncle.
  
He's back!  NOT!

   

Avenging Spider-Man #3 Review

Posted by Adam Zenobi 19 January 2012

With Red Hulk down, it falls to the unlikely duo of Spider-Man and J. Jonah Jameson to save the moloids from certain enslavement!  That's right, a Spidey/JJ team up written by Zeb Wells and illustrated by Joe Madureira.  You should have bought this already, unless you have a paralyzing fear of being entertained.  But I'll review it anyway, bulletproofsponge isn't paying me to not review comics.  Come to think of it, he's not paying me at all...


The Story

Spider-Man and Jameson manage to escape Rak'tar and the molons by riding what JJ refers to as a "mole-mule."  When they get back to Subterranea, they quickly begin to argue.  JJ wants to go back to the surface but Spider-Man wants to stay, not wanting to leave Red Hulk and the moloids behind.

Their argument is cut short when Rak'tar and his molons barge in with intent of slaughtering the moloids.  As JJ heads for the surface, Rak'tar offers Spider-Man the chance to leave but Spidey refuses, challenging Rak'tar to fight. 

Needless to say, Spidey gets his butt handed to him.  Just as Rak'tar is about to finish him off, Spider-Man grabs a sharp diamond with his webbing and uses it to slice off Rak'tar's pants.  Turns out molons don't wear underwear.  This shames Rak'tar in front of his molons, which according to molon law means that Spidey won the fight.  Recognizing Spider-Man as their superior, he and the molons are able to work out a peace treaty with the moloids.  When Red Hulk comes to, he's amazed at what's transpired.  Spidey and Rulk travel back to the surface where Spider-Man explains what happened to JJ and the Avengers.

Meanwhile, back underground, the Mole Man begins making new plans for conquest.

Thoughts

This was a great finish to what has been an amazing first arc.  Both the story and artwork were top notch.  Joe Mad's artwork is bright, loud and fun.  You can feel the energy and enthusiasm leap off each page.  And let me add that it is very refreshing to have an A-list artist deliver consistently great work on time without having to bring in other artists for assistance.  Kudos to Mad and the editors for that! 

Avenging Spider-Man isn't just a pleasure to look at; Wells delivered a very funny script that was also able to highlight why Spider-Man is such a great and effective superhero despite not being the strongest or even smartest one around.  In the end, his sense of humour won the day, which is always nice to see.

This first arc of Avenging Spider-Man was a resounding success and I'm eager to see what Wells has up his sleeve next.  Even though the next few issues won't have Mad on art duties, the future for this title looks bright!
   

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