Comic Review -- Amazing Spider-Man #698: Dying Wish prelude: Day In the Life

Okay, I needed a couple days to write this review.  The big development was a lot to absorb, and I wanted to be sure I came at this piece with a clear head.

I know most fans have read the issue by now, and while I'd love very much to talk plainly about the plot of this issue, I don't plan on spoiling anything until at least next Wednesday.  So, with that in mind, I'll launch into what I hope is a mostly spoiler-free review.

The cover is a picture of Doc Ock, on his deathbed, and truly looking like he's at death's door.  He has two words on his lips that you know are going to mean big things for the issue: "Peter Parker."  Paolo Rivera does a great job of making Octavius look both sinister and pitiful, as the condition of his body clearly shows the abuse he's endured (and, it could be argued, inflicted) over time.  What do these words mean, coming from this man, at this time?  It's a compelling hook, and grabs the reader's interest from the get-go before you even open the issue.  Excellent job here.

It is the writing of this issue that will take center stage, as things are laid out in the form of a typical slice-of-life vignette from Spidey's point of view.  He starts off web-slinging through the city in a carefree manner, moves to intercept a small-time crook robbing a business, and then glides into the non-superhero aspects of Peter Parker's life.  We see that Aunt May, Mary Jane, and Horizon Labs occupy the lion's share of Peter's time, and he moves smoothly through each of them with newfound boldness and confidence until he receives a distress call from his teammates on the Avengers.

He meets them at the Raft, a prison for super-powered inmates administered by S.H.I.E.L.D.  When he's told that Doctor Octopus is moments away from finally dying, Spider-Man asks for a private moment with him.  In the final pages and panels of the issue, they have a brief exchange that changes the entire dynamic of the story and suddenly makes for a harrowing, if not outright horrifying realization.

This is one of those stories that will send you scurrying for your back issues, re-reading and searching for clues as to where the seeds of the current plot were planted.  That's a fun treat in and of itself, but what makes this issue even more noteworthy is that it truly is well written, and would function ably as a "day in the life of" story by itself, even without the big reveal at the end.  It's fluid and versatile, moving effortlessly through the myriad touchpoints in Peter Parker's life and making each of them important without getting clogged by any particular one.  There's humor, heart, and plenty of action that would make it a worthy glimpse into the web-slinger's life.  Dan Slott has always been good with Spider-Man, and it shows here, on several levels.

I'm very happy with the artwork on this issue.  Richard Elson does a remarkable job of matching Slott's storytelling style.  The lines are clean, and convey a kinesthetic confidence that makes it easy to imagine the action in between panels.  Costumes and characters look classic yet fresh, realistic yet dynamic.  Fabela's colors succeed in making both the characters and their environments vibrant and compelling, and round out an amazing visual depiction of a memorable issue.

If you've kept abreast of what's going on and what will be happening in Spidey's universe, you knew this issue would be the start of a harrowing ride.  For me personally, that still did nothing to help me prepare emotionally for the revelation that pops up here. With the #700 finale just around the corner and the new Superior Spider-Man title coming out soon, this final arc has my full attention.  I'm sure the rest of Spidey's readers will agree.  Highly recommended.

I'll have a more spoiler-y video review/reaction next week.

Comic Review -- Avenging Spider-Man #11

I think I look more pixelated in this review, and I can't figure out why.  :-/  If anyone has any ideas, please let me know!  Enjoy!

This video review is also on my Youtube page!

Why Norman Osborn Is Peter Parker's Greatest Love

If this article seems hastily written, my apologies.  I'm perpetually short on time, and on deadline.

I recently read a pair of articles on ComicVine that make arguments for why Mary Jane Watson and Gwen Stacy are each the best romantic interest for Peter Parker (aka Spider-Man).  The MJ article really pissed me off, as I could list off a multitude of reasons why I think she was a lousy match for Peter.  Needless to say, I'm none too pleased at the direction the comics are currently taking with them, as they seem to be angling to put them together post-One More Day travesty.  The Gwen Stacy article, while I have fewer issues with it, still seems a little too mired in the sentimentality of the past.

Still, the comments section of any article is either a source of great humor or angst, and in reading the replies to both articles, I was inspired by one of the commenters to respond with one of the more hilarious takes on this topic.  Namely, why Norman Osborn is Peter Parker's greatest love.

Don't believe me?  Step up to the stage, skeptic! :-P

Norman Osborn, in case any of you don't know, is the Green Goblin, one of Spider-Man's most iconic and long-standing foes.  It's easy to say that he's obsessed with Spider-Man, in much the same way the Joker is obsessed with Batman (and vice versa).  So like MJ and Gwen, he's been in Peter's life for a very long time.  And unlike one of these potential true loves, Norman's come back for the dead for him!

He's the father of Peter's best friend, Harry Osborn, and has on multiple occasions lamented how much better a son Peter would have made for him than the unmotivated, underachieving Harry.  On more than one occasion, Norman has indicated an obsession with making Peter his surrogate son in Harry's stead, an offer which Peter always refuses.  So in that sense at least, you have Peter playing hard to get, and Norman always pursuing him.

Even when he knew Peter's secret identity as Spider-Man (or vice versa), he's never actually spilled the beans to the public, something Peter did himself in the Civil War.  Sure, he may have manipulated, threatened, and driven him crazy, but at least he never killed Aunt May or put her in any kind of terminal condition--which Peter essentially did do. So in a warped sense of irony, he knows Peter better than Peter knows himself, and treats Peter better than Peter often treats himself.

Then there's the storyline Sins Past, where we find out that way, way back in the past, Norman Osborn actually slept with Gwen Stacy and fathered children with her.  Now clearly, Norman had no real feelings for Gwen--he certainly didn't think twice about killing her--and was much more interested in furthering his obsession with creating a worthy heir, but by this point in their history, he had to realize he wasn't going to get anywhere with his other obsession, Peter Parker.  But given Peter's closeness with Gwen, what better way to feel close to the object of your affection (short of killing his girl, which he succeeded at doing) than nailing his love and getting her pregnant with twins?

If he wasn't able to have Peter, he could at least make himself a permanent fixture in his life.

Finally, there's the letter.

You know what I'm talking about.  From the story arc The Last Stand.  Spidey has just defeated the Goblin after being put through a specially taxing series of gauntlets, managed to rescue his Aunt May, and finally earned himself some rest.  And what do we see going in the mail as this happens?  A letter, from Norman Osborn to Peter Parker, thanking him for providing challenge, structure, and purpose for his otherwise boring and humdrum life.  He wishes him all the best, and hopes for a speedy recovery so they can eventually meet again.

If that's not obsession...

Peter may not love Norman Osborn, but he has in his way obsessed over him just as much as Norman has obsessed over Peter.  You can't dispute that he's an enormously important figure in Peter's life, and as time and writing have shown, he'll never leave him the way Gwen did--never mind the technicalities of him killing her, which I would argue is yet another result of his obsession with Spidey.  They give each other meaning and purpose, and definitely strive to be at their best when they get together.

I'm not saying it's a perfect love, and I'm not saying it isn't more than a little twisted, but it is for the reasons above that I believe Norman Osborn, more than Gwen and MJ, is the number one love of Peter Parker's life.

This article is, in case anyone freaks out, intended as a joke.  I don't really think Norman is Peter's greatest love, though this did arise from a sense of discontent from the ComicVine articles.  Comparing Gwen an MJ is really not fair, so I figured another unfair comparison was, ironically, fair game.

GN Review -- Amazing Spider-Man: Matters of Life and Death / Dan Slott, Fred Van Lente, Stefano Caselli, Humberto Ramos, and Marcos Martin

I don't think I've made any secret that Spider-Man is one of my favorite, if not my absolute favorite, comic book superhero. I've read a lot of the more recent story arcs, particularly after the lamentable One More Day, and have to admit I've found the treatment of the web-slinger to be pretty admirable since then. One volume that deserves mention in that group is the collection by Dan Slott and company, titled Matters of Life and Death.

There are several stories included in this collection, starting with the Revenge of the Spider-Slayer arc, where Alistaire Smythe tries to wreak vengeance on NYC's mayor, one J. Jonah Jameson, by using an assembly of insect-based villains--many of whom have a personal connection to the mayor--to kill everyone Jonah holds dear. Of course, Spider-Man gets involved, pitting him against the Scorpion and Smythe's minions, and calling on him to make a significant sacrifice, which even then may not prove to be enough.

We are then shown a story of the new Venom, the one joined to Flash Thompson, who has volunteered to bond with the unit for a total of 20 covert missions. The bonding gives him use of his legs, many of the same powers Spider-Man has, and quite a few other abilities. He uses his gifts to save an international banking magnate, learning that partnering with the Venom symbiote comes with quite a few risks of its own.

Two other plots encompassed in this volume are the funeral of Marla Jameson, wife of the mayor, prompting a personal psychological crisis for Spider-Man, and the Human Torch's death, which has effected Peter greatly and requires more than a little reassurance from the rest of the Fantastic Four. Several stories show the relationship Spidey and the FF had with the Human Torch, and at the end of the arc, Spider-Man is offered the Human Torch's place on the Fantastic Four.

I personally found this collection to be a delight to read. Spider-Man's relationship to J. Jonah Jameson has always been an antagonistic one over the decades, and it's fun to see the stakes amped up now that Jonah's blundered his way into political office. It's also telling to see that Jonah, while constant in his dislike of the wall crawler, is nonetheless willing to use him to divert or mitigate damage, suggesting that he knows deep down that Spider-Man is a good guy. He'll never admit it, but at least he has the werewithal to not blame Spidey for the most significant tragedy that occurs in the story, showing he has at least marginally matured over the years.

This is also the story arc where Spider-Man loses his very powerful Spider-Sense, which has an enormous effect on how he uses the rest of his powers. I remember reading about this, and am not sure how long the effects last or have lasted, but it's one of those questions I've pondered and would have loved to write. I'm happy to finally see the arc where it happens, and can't wait to see more about how he adapts to this loss of
one of his most reliable senses.

Finally, I really enjoyed the Human Torch story arc. I have issues with how Johnny was killed off and then brought back to life so quickly, but the time of his passing has not let me down in conveying a profound sense of loss. The stories Spidey and the FF tell about him are funny, touching, and make clear that Johnny was more than a friend to Spidey--he was family as well. My favorite story is the one the Invisible Woman tells, as it does an excellent job of conveying Spidey and the Torch's collective ability to torment someone with their combined sense of humor.

There are plenty of other good stories and scenes in this volume that are noteworthy and significant, including Marla's funeral, Spidey and Jonah quietly insulting each other during a public ceremony, and Flash's current life paralleling Peter's in many ways. It's all done well, and worthy of reading!

Artistically, there are a number of different styles playing on the different stories in this collection, all of them wonderful. Stefano Caselli brought a fun, detailed, and dynamic visual sensibility to the Smythe storyline, while Marcos Martin's style in the Marla Jameson funeral story was sparse, expressive, and packed an emotional wallop. Humberto Ramos is in his usual top form in the Venom storyline. All in all, the art is excellent collection of several different styles.

Overall, this is a highly enjoyable and well-told collection of stories. Spider-Man fans will definitely want to read this, as will anyone who wants action-filled, dramatic stories with good characterization, excellent myriad art styles, and excellent narrative exploration. Highly recommended.

Comic Review -- Amazing Spider-Man #682: The Ends of the Earth, part 1: My World on Fire / Dan Slott, Stefano Caselli, and Frank Martin, Jr.

I think this cover is pretty clever, with Doc Ock's arms lashing Spidey over a planet-shaped globe.  It certainly sets up the premise of the story, involving Dr. Octopus's apparent desire to save the planet vs. Spider-Man's steadfast distrust of him and anything he's involved in.  Very dramatic, and a delight to behold.

This story starts off with Peter talking about how many gadgets he's been making for himself as Spider-Man, while he takes out Equinox.  He comes to realize that a significant number of his inventions have been applied by the world at large into beneficial technologies that have had some practical applications.  He's happy about this, until he sees J. Jonah Jameson trying to shut down Peter's place of employment, Horizon Labs, on a number of trumped up charges, the most personal one being that his son was nearly killed recently because of them.

Octavius, meanwhile implements his master plan, using a lens to augment the effects of global warming and starting to fry half of the planet.  He takes the lens offline, and sends his plans for a solution to global warming to the most brilliant minds on the planet, stating that he only wishes to be remembered as the man who preserved the earth for all time.  Spider-Man, upset at Ock's move, listens bewildered as a majority of people seem to agree with what he's done.  He takes some of the equipment he's been working on at Horizon off site, and goes to Avengers Mansion in a new costume to rally the divided Avengers to help him take on Ock and the Sinister Six.

I've kept myself mostly in the dark about this story, and if it truly is Octavius's last hurrah, I find the setup in this issue to be fascinating.  While I'm sure he's committed a crime--I mean, starting to flash-fry half the planet has got to be illegal somewhere--it's arguable that he's doing it for a greater good, and actually does have noble intentions for the world before he dies.  And it looks like he's nailed the solution, as well as swayed popular opinion in his favor: the scientists at Horizon think he's on to something, as does Tony Stark.  People are convinced of global warming's existence now due to his demonstration, and believe Octavius wants to stop it.

Of course, this could all be a ruse--as Spider-Man steadfastly believes.  Even as Captain America starts to make the argument that impending death can bring a person's life into focus, Spider-Man simply does not want to hear it.  If Doc Ock is behind it, it can't possibly be for the greater good--except Ock's own greater good--and it is not to be tolerated.  I'll be keenly interested to see who's right and who's wrong on this question, as this story could actually reverse Spider-Man into the role of the villain if it turns out Ock's intentions truly are on the level.

Artistically, I have to say I'm impressed with Caselli's work. It's very slightly cartoony but with plenty of depth and expression that allows for plenty of versatility.  The scenes of the earth in turmoil due to Octavius's lens were particularly striking, as was the scene of a self-righteous Jonah trying to shut down Horizon Labs.  I'm not too keen on Spidey's new look, but that could just be me wanting to stick to the old staples.  I'm willing to give it some time.

Overall, this is an interesting beginning to this storyline, and I'm eager to see how it unfolds.  There are many directions this one could go, and a lot of possibilities for both the hero and the villain here.  The artwork is excellent, the writing is good, and it's been billed as the Doc Ock story you've been waiting to hear for 50 years.  We shall see.  Highly recommended.

Comic Review -- Friendly Neighborhood Spider-Man #23: Fighting Words / Peter David, Todd Nauck, Robert Campanella, and John Kalisz

A few years ago, when I was following the events and fallout of Marvel's Civil War feverishly--and not collecting single-issue comics anymore--there was a single issue that made me break that rule.  It revolved around a moment I'd wondered about for years, regarding what would occur between Peter Parker and J. Jonah Jameson once the latter found out that Peter was Spider-Man.  What would Jonah say to Peter, directly, about his years-long deception, about having bought pictures Peter had essentially taken of himself, and about one of his closest associates also being one of his most hated rivals.

We finally get an answer to that question in Friendly Neighborhood Spider-Man #23, which is very aptly titled, "Fighting Words."

The issue begins with a bruised and battered looking Jonah showing up at Joe "Robbie" Robertson's house, asking to speak with him privately.  Jonah, who has bruises on his face and the knuckles of his right hand, had fired Robertson from The Daily Bugle, causing an uproar from his staff and finally catching Spider-Man's ire.  Getting into an argument with another long-time employee, Betty Brant, over the firing, Jonah is stopped in his tracks by a web-strewn ultimatum left in his office by the webslinger, telling him to meet with him privately that evening at abandoned gym so they can talk.

When they finally meet face-to-face, a verbal duel ensues, where each tries to get the other to come clean about why they've come to this point.  Peter tries to get Jonah to re-hire Robbie; Jonah refuses, then makes a counter-offer to either drop his fraud lawsuit against Peter or re-hire Robbie; Peter, knowing Jonah won't keep Robbie unemployed, tells Jonah to drop the lawsuit, prompting a look of surprise from Jonah, who then calls Peter selfish.  Peter then makes the point that Jonah fired Robbie specifically to provoke this confrontation, and then offers to let Jonah hit him, as many times as he wants.

Shocked, Jonah at first won't rise to the bait, but after some goading by Peter, who threatens to tell everyone what a coward he is, Jonah lets loose furiously on Peter, who has unmasked by this point and set his camera up to take pictures of the whole thing.  After Jonah's hand is bloodied and he's exhausted from the effort, Peter gives him one final gift: the film for the whole incident.  He says his goodbyes and leaves an uncertain Jonah at the gym with the film, calling in vain to Peter to talk about this.

The next day at The Bugle, Jonah destroys the film, then walks into a door as Betty Brant comes out of the women's restroom.  We then flash back to the present, where Jonah, injuries and all, has explained all this to Robbie, and lets him know that he did use Robbie to provoke a face-to-face meeting with Peter, and that he will be hiring Robbie back to work for him.  In a final bit of humor, Jonah reaches for more wine and finds it gone, lifted and replaced with a note by Spider-Man, a final slap in the face from the webslinger.

This story occurs during the Back In Black saga, where Spidey has donned the black suit to advertise to the bad guys of the world that he's in a dark place right now.  His wife MJ is in hiding, and his Aunt May has been felled by an assassin's bullet that was meant for him due to his publicly unmasking during the Civil War.  He's a fugitive from the law, and he's got nothing left to lose, he feels.  It's an amazing way to end this series of stories, and if I'm not mistaken, it's a nice resolution to this particular relationship before the tragedy that is One More Day begins.

Amusingly enough, I was looking for the term "bop 'em
bag" for a recent post. I should have checked this issue.

J. Jonah Jameson has long been one of my favorite Spider-Man nemeses, possibly my all-time favorite, simply because of the dual nature of his relationship to Peter Parker.  This issue brought the realization of that duality front and center, and the payoff is nothing short of spectacular.  Jonah's resentment and rage, Peter's insistence on being thanked and steadfast intent to get Robbie re-hired, even as he tries to punish himself for all the bad things that have happened to his loved ones due to the fallout of his decision to unmask --all of these things are touched upon, and Peter David uses the close nature of their relationship to really push Jonah's buttons near the end of the confrontation.  When he finally slugs Peter, you really can feel the years of frustration and anger pouring out from him as he lays into the man he's both loved and hated for so long.  It really does seem to drive home the idea that, in the end, it's only the people close to you who can truly hurt you.

Artistically, I have plenty of good things to say about Nauck's pencils.  There's more focus on Spidey's supporting cast in this issue, and they all look good: both Jonah's comical gruffness and his righteous anger are well-rendered and in character.  Robbie and his family look good as they quietly seethe over Jonah's presence, and Betty Brant looks like Betty Brant: strong, sexy, and brave in the face of Jonah's warpath.  The little we actually see of Peter (as opposed to Spider-Man) is also spot-on.  There are occasional issues I have with some facial expressions not fitting the moment in which they're drawn, but these things are few and far between.

Overall, I have nothing but good things to say about this issue.  It's a wonderful story that serves as an example of what could have been if they hadn't rebooted Peter Parker's life with One More Day / Brand New Day.  The art is good, the pacing and character development is wonderful, and this is simply one of those big moments that any true Spider-Man fan has to have in his collection.  Highly recommended.

GN Review -- Spider-Man: Peter Parker / Bob Gale, Tom Peyer, Patrick Olliffe and Todd Nauck

As much as I love seeing Spider-Man throw down and trash some bad guys, I do find it a welcome respite from time to time, to see more of his day-to-day life as Peter Parker, which over the years has come to be every bit as colorful and interesting as his life in webs.  In Spider-Man: Peter Parker, there is still plenty of webslinging action, but we get a lot more focus on his civilian life and the people he interacts with.

J. Jonah Jameson has been elected mayor, and is chomping at the bit to get Spider-Man put away and boost his faltering image.  In fact, he's squandering taxpayers' money to install special cameras and fund an "anti-Spider squad" to catch him.  Throw in some odd appearances by a new villain called Spectrum, and Spider-Man has his hands full just trying to stay alive, to say nothing about protecting his own public image.

He gets some unexpected help from a group of high school girls, who decide to use his example as inspiration and form the Spider-Girls, a service group aiming to make the world a better place.  When their image becomes popular, a thinly-veiled Paris Hilton celebutante clone swoops in and steals their thunder.  A media tug-of-war ensues, and Spider-Man gets involved by talking to both sides, trying hard to guide them to settle things civilly, do the right thing, and keep the mayor's Anti-Spider Squad and the ever-present Spectrum contained.

The final chapter of this collection tacks on a completely unrelated story involving a mentally traumatized Spider-Man and the Thing, working together to find out who caused a mental blackout in him that made him temporarily take charge of a group of homeless people.  As they take out an AIM lab, one of the homeless woman he led finds out his real identity, and destroys all the records to protect him.

With the exception of the last story, which feels completely unrelated and tacked on just for the purpose of filling out volume, I really enjoyed this collection.  It's fun seeing Spider-Man deal with publicity issues, particularly when he gets a chance to stick it to Jonah.  He takes his responsibility as a role model to the Spider-Girls very seriously, going to bat for them on more than one occasion in both his civilian and his super-hero guises.  And the Parker Luck is in full swing here, as Spidey very often gets shown in a bad light whenever he's just trying to do what he sees as the right thing.

Gale's writing here is pretty memorable.  He plays with the theme of appearance vs. reality masterfully, using both the Spider-Girls and Teri Hillerman as extreme examples of good and bad.  He also adds deft touches of humor; I found it particularly amusing that Ms. Hillerman kept asking Spider-Man questions about his body and how he likes to "do it."  Puerile playfulness at its best.  I couldn't really get into Peyer's story, as it felt too compacted and rushed to be a one-issue story.  I'm sure he did the best with what he could, but I just couldn't shake the feeling that this was filler.

The artwork in both stories is good.  I can't recall having see Olliffe's work before, but demonstrates an appropriate knack for drawing people, be they in large groups or singular shots.  It's a little flat and cartoony, but nothing to complain about, as it certainly suits the superhero comics medium.  Nauck's linework has more depth, which complements the darker narrative in which he's working.

Overall, this volume is a lot of fun.  Spidey vs. Jonah, Spider-Girls vs. Paris Hilton knock-off, Spidey vs. bad publicity... there's potential for a lot here.  Spidey fans could probably get  along without reading it, but I'm not sure why they'd want to.  Highly recommended.

GN Review -- Spider-Man: American Son / Joe Kelly, Phil Jimenez, et. al.

I have a lot of pity for Harry Osborn.

Seriously, he's got to be one of the most tormented characters in comics.  First and foremost, he grew up with Norman Osborn as his father, which I think singlehandedly accounts for all the other terrible things that tend to happen to him.  He was the son who was never good enough for his father, causing him to virtually bleed the need for validation from everyone around him, which also led to his station as the rich, well-meaning, but mostly ineffectual friend.  Being such a pathetic figure eventually cursed him with a drug addiction, venture after venture to succeed his father as the Green Goblin, and a barely redemptive death that was eventually retconned by the travesty storyline, One More Day.

You'd think life got better for him after his return, but not really.  His attempts at sobriety appear tenuous at best, his string of successful coffee shops are sneered at by his father, and his hot new girlfriend, Lily Hollister, starts taking his dad's Goblin Serum and starts sleeping with the old man.  And then becomes pregnant with his child.  His close friendship with Peter is tempered by his intense hatred of Spider-Man, which often causes him to ignore or berate his friend.  After a while you wonder, is this guy ever gonna become his own man, or will he always be trapped in his insane father's shadow?

In Spider-Man: American Son, you get a fierce answer.

It's the time of the Dark Reign, when Norman Osborn is essentially the top cop in the U.S. and has his own team of (Dark) Avengers (among others) at his command.  Osborn, who calls himself the Iron Patriot now, has plans to bring his son Harry onto the team, infuriating Peter and causing him to try to infiltrate the team to figure out what his real plans are.  When he's found out, he's captured and tormented by Osborn and the Dark Avengers, as his plans for Harry demonstrate just how depraved, manipulative, and psychotic Osborn truly is.

It's a well-written tale, full of intrigue, danger, and discovery as we finally see Harry come to grips with one of the darkest, most humiliating realizations of his life and decide his path from that point.  Norman offers his son a great deal of power and comfort, even as he masterminds and attempts to orchestrate his eventual demise and impregnates his fiancee.  When Harry gives up Spider-Man to his father, it's a show of loyalty and trust that he comes to regret, and for which he quickly and effectively makes amends, donning the American Son armor and taking on his old man in the kind of one-on-one, super-powered combat that superhero fans just love to see.

Peter's concern for Harry and his hatred for Norman, while strident in this story, are fully justified when you know these characters' histories, both as an individuals and in relation to one another.  There's a memorable moment where, at one point, Osborn asks a captured Spider-Man about his interest in his son's welfare.  "Are you in love with my son?" he asks him.  In a sense, it's true, particularly when you consider that friendship is a form of love, and Peter's obsessive desire to keep Norman away from Harry is one manifestation of that love.  Why wouldn't you want to protect your best friend?

Of course, a story like this begs the question of how well a reader who doesn't know these characters so well will regard this story.  I personally think it stands well enough on its own: Norman manipulates Harry, fathers an unborn child with his fiancee, and essentially keeps her as a pet supervillain.  He berates Harry's life, and shows unequivocally how little he thinks of his son.  When Harry finally casts his father off, it's easy to understand why he does so, just in the context of Joe Kelly's narrative.  It's a testament to his deft characterization, as well as his ability to make a story interesting and engaging.

I enjoyed the artwork, but it's hard to give credit to any one person.  Still, the switching up of pencilers and inkers doesn't call undue attention to the artwork, and works to support the story well.  I did enjoy the visual of Harry, when he finally takes his first swing at his father, calling his American Son armor onto himself in preparation for their final fight.  I also think Harry walking away from a defeated, snarling Norman at the end is well rendered, and underscores both his redemption of character and his growth into his own man memorably.

Overall, I really enjoyed this story.  In Spectacular Spider-Man #200, Harry's redemption is barely there, mostly due to the fact that he died saving Peter.  In Spider-Man 3, he's given a much better send-off, more heroic and less of his own making.  It seems American Son is Kelly's attempt to top even that, with Harry taking on his own father, and surviving, to walk away from his influence forever.  Definitely a story for Spider-Man fans, and anyone who finally wants to see poor Harry come into his own.  Highly recommended.

GN Review -- Amazing Spider-Man: Ultimate Collection, v. 1 / J. Michael Straczynski and John Romita, Jr.

Some spoilers in this review if you haven't read this yet. You've been warned.

In Understanding Comics, Scott McCloud makes a persuasive case that comic books don't have to be the juvenile, two-dimensional form of entertainment that they've been pigeon-holed as for decades. He suggests that the blend of text with pictures with pictures in sequential form has every bit as much potential as prose literature, film, and painting at their highest cultural, aesthetic, and narrative pinnacles as a medium for storytelling and expression. When you consider how comics had been perceived (up until, arguably, the late 1980s), it was difficult to find an example of the medium that could delight both critics and fans.

J. Michael Straczynski's run on Amazing Spider-Man was certainly not a grand first in terms of elevating comics to mature remarkable storytelling when it came along, but it was an excellent example of how a talented writer, in collaboration with a good artist and creative team, can breathe new life into a title and cause fans to fall in love with a character and his world all over again. From the get-go, JMS puts Peter Parker through the paces as fate's personal chew toy, delighting readers with clever dialog, imaginative new foes, allies, and situations, and a rock-solid depiction of Peter's persistence to do the right thing as Spider-Man even during the worst of times. Multiple overlapping story arcs and plot points converge to shake up the status quo of Peter's world in ways that both matured the series while bringing it back to its roots.

JMS has always been strong at writing engaging story arcs for characters in a series, and he really shines here, weaving a large number of events right on top of one another. We have the introduction of the totemic aspect of Peter's powers--which, like it or not, gave readers some interesting food for thought with regard to his origin--and two characters central to the concept, Ezekiel, an ally who knows Peter's identity as Spider-Man, and Morlun, a super-human who hunts and kills totemic recipients with single-minded devastation. We have Aunt May learning Peter's identity as a result of the fight with Morlun. We have her talking to Peter about it and them dealing with it. We have Dr. Strange showing up to help Peter as he tracks down missing teenagers. And we finally have Peter and May going to Hollywood to attempt to reconcile with Mary Jane--and, incidentally, help Doctor Octopus take down an upstart who's stolen his technology.

What works with all of these arcs is not only the pacing, which is varied and realistically handled, but also the dialog and plotting, both of which are pithy, fast-paced, and remarkably well tailored to the story. For example, when security guards ask Peter about his web shooters, Aunt May, who now knows her nephew's other occupation, lends a hand by mentioning that they are hers, used for gynecological purposes, making the security guards back off fast. It's a laugh-out-loud resolution to a potentially compromising situation, and one that wouldn't have been possible without May's discovery of Peter's life as Spider-Man. Peter also handles a variety of problems, from the typical super-villain fights (Dock Ock and Morlun) to the lower-powered but no less important mysteries of homeless teens disappearing from their refuge. JMS depicts a Spider-Man who's never lacking in people to help, and whose interest in helping other guarantees many and varied requests, none of which he's too good for.

Helped along by John Romita, Jr.'s strong pencil work, JMS chronicles Peter's life in and out of costume in iconic fashion. There was a time (long ago) where I didn't care for his artwork and dismissed it as too cartoony, but he really has come a long way since then. Either that or I have. His style is extremely well suited to Spider-Man and his world. Peter is his perfectly cheesy self as he struggles and perseveres through the loops he gets thrown for in his personal and "professional" lives. Mary Jane, his wife from whom he's currently separated, is beautiful and stunning in her independence she develops her career in Hollywood away from Peter. Yet she is also vulnerable and uncertain as she tries to reconcile her need to be away from the uncertainties of his costumed life with her deep and undeniable love for him. And Aunt May is the picture of quiet strength as she learns more about her nephew's life and comes to understand and accept more than she ever thought possible.

Right after the Morlun fight and Aunt May's discovery of Peter lying, bloodied, bandaged and unconscious in his bed, his torn Spider-Man costume nearby, the narrative is interrupted by a commemorative issue. It's the 9/11 acknowledgment from Marvel, which originally had a grave black cover. It depicts the aftermath of the terrorist attacks, with superheroes helping police, firefighters and EMS personnel rescue survivors, as super-villains look on, shaking their heads in acknowledging that these terrorists have gone too far. It gives weight to an horrific event that we all remember, and paid homage to the true heroes of 9/11 with a salute from Marvel's own heroes.

This volume of Spider-Man lore is a prime example of Scott McCloud's assertion that comics do indeed have the potential to be more than the juvenile, low-brow entertainment that they are commonly derided as. Super-hero stories can, with the right touch, be as captivating, poignant, and emotionally relevant as any other form of literature or art out there. With dramatic storylines, deep emotional investment, and breathtaking artwork, this tome is my go-to example of how deeply rewarding comic books can be. Very highly recommended.