Category Archives: Ultimate Spider-Man

And here’s the rewarding turn of events. It’s entirely depressing–maybe even beyond depressing–as Peter confronts his greatest fear… he’s going to get everyone killed.

Bendis doesn’t even try to end the comic on an okay note. Peter’s consumed with despondence; it’s palpable and Mary showing up to complete the bookend from the last issue just makes it worse. Bendis has all of a sudden turned the book into a look at the (super) human condition and he doesn’t have anything nice to say.

The Ultimate Dr. Strange stuff, which probably takes up half the issue, is great. Bendis practically hands the comic over to him; it works quite well. The character’s amusingly vain but still likable and sympathetic.

Bagley and Hanna change up the art occasionally, for Peter’s nightmare panels, and it’s rather effective.

For Peter, the whole thing is, quite literally, hellacious; Bendis drags the reader along.

CREDITS

Strange, Part Two of Two; writer, Brian Michael Bendis; penciller, Mark Bagley; inker, Scott Hanna; colorist, Jonathan D. Smith; letterer, Chris Eliopoulos; editors, Nick Lowe and Ralph Macchio; publisher, Marvel Comics.

Bendis must have been going light on the Gwen mentions to save up for this issue. Here we find out Peter’s studies have been even worse since her death–he’s cutting class to web-sling the grief away. This particularly day he runs into the Ultimates–which is a little odd, especially since Bendis tells most of it in summary–and gets a fresh assignment from Jameson.

The best thing about the issue is how Bendis layers in Jameson being pissed at Urich and saddling him with Peter as a sidekick. It’s the only thing subtle in the entire issue.

There’s an uncanny tone once Peter finds out the assignment–interviewing Dr. Strange (whose Ultimate origin is maybe the most inventive of any Ultimate character and it’s just a rip of DC’s eighties stuff). Bagley handles that tone far better than the Ultimates action scenes.

It’s okay, if thoroughly unrewarding.

CREDITS

Strange, Part One; writer, Brian Michael Bendis; penciller, Mark Bagley; inker, Scott Hanna; colorist, Jonathan D. Smith; letterer, Chris Eliopoulos; editors, Nick Lowe and Ralph Macchio; publisher, Marvel Comics.

I just got it… Bendis is mixing Ultimate Marvel Team-Up with “Spider-Man No More” to show Peter why he can’t give up being Spider-Man. With yet another issue with no mention of Gwen. Bendis talks around it too much. Mary can tell Gandhi jokes but she can’t talk about Gwen. If it’s an intentional move on Bendis’s part, like a grief handling thing, it’s not working.

Otherwise, the issue’s pretty darn strong. Johnny Storm gets outed as a fire person of some kind or another (Liz Allen is scared he’s a mutant) and he can’t go back to Midtown. There’s a nice little scene with Mary and Liz, a nicer one with Mary and Peter and then the big talking heads scene between Spidey and Johnny.

Peter’s pep talk to Johnny is subtly a rather depressing one. It’s “With Great Power,” but without those words.

It’s good.

CREDITS

Meet Me; writer, Brian Michael Bendis; penciller, Mark Bagley; inker, Scott Hanna; colorists, Jonathan D. Smith and Chris Sotomayor; letterer, Chris Eliopoulos; editors, Nick Lowe and Ralph Macchio; publisher, Marvel Comics.

Johnny Storm goes to Midtown High. Bendis is apparently on the guest star bandwagon right now. At least Gwen gets a mention, with Mary telling Peter to snap out of the funk but he really can’t because all of Ultimate is in one.

Bendis is coasting along here, not really establishing anything–he previously mentioned May and Peter might be moving, but there’s nothing at home here. He opens with the Fantastic Four, no less. Peter and the gang just show up later.

There’s a lot of mention of them being sophomores, more than I can remember happening before, which reads like Bendis is trying to reestablish the ground situation. Kong’s a bit of a bully now, Flash hasn’t changed since Gwen’s death.

The issue’s fun–Bendis knows how to write fun–but the lack of focus hurts it a little. Bendis needs to build again, instead he’s treading water.

CREDITS

Popular; writer, Brian Michael Bendis; penciller, Mark Bagley; inker, Scott Hanna; colorist, Jonathan D. Smith; letterer, Chris Eliopoulos; editors, Nick Lowe and Ralph Macchio; publisher, Marvel Comics.

Not unpredictably, Bendis uses the silliness to bring up a series topic. It’s on the last page and only for a moment, but it’s serious and the lunacy of brain swapping makes it possible.

There’s a lot of funny stuff this issue–until Peter (as Logan) calls the X-Men, I hadn’t even thought of it being a mind swap movie spoof. Bendis does a little bit too good a job making the plot its own thing for it to be obvious. All he needed was a Freaky Friday line, but whatever.

Logan and Peter arguing through a prison break and a fight with a supervillain make for a fun read. Even the resolution to the brain swap is funny because it shows Peter’s complete lack of control of anything around him.

Again, it’s not great–Bendis doesn’t take it seriously enough to try hard–but it’s an amusing read.

CREDITS

Jump the Shark; writer, Brian Michael Bendis; penciller, Mark Bagley; inker, Scott Hanna; colorist, Jonathan D. Smith; letterer, Chris Eliopoulos; editors, Nick Lowe and Ralph Macchio; publisher, Marvel Comics.

When a comic opens with an illustrated version of the writer apologizing for the content… well, it’s not supposed to be a good sign, right? Bendis is going out of his way to ask the reader not to take the story seriously.

The story is Logan (you know, Wolverine) and Peter swapping minds. Peter wakes up in a dive hotel, has to get to Queens. Meanwhile, Logan insults Aunt May, makes out with Mary Jane, pervs on cheerleaders.

Bendis might be doing comedy to relieve the pressure from Gwen’s death–she’s not even mentioned in the issue–or he might just be goofing.

Either way, it’s constantly unexpected and inventive. Putting a character who doesn’t care at all in the place of one who cares too much is bound to create drama.

Even better, given Logan’s mishandling of things, there might be some good aftershocks in later issues.

It’s fine.

CREDITS

Even We Don’t Believe This; writer, Brian Michael Bendis; penciller, Mark Bagley; inker, Scott Hanna; colorist, Jonathan D. Smith; letterer, Chris Eliopoulos; editors, Nick Lowe and Ralph Macchio; publisher, Marvel Comics.

It’s a great Ultimate Spider-Man until the end.

Bendis apes The Breakfast Club a little, putting Peter, Mary, Liz, Kong and Flash in detention. Then he flashes back to reveal what got them there, then he lets people say some things. Mostly Mary, put also Peter.

It’s one of those awesome talking issues Bendis does every once in a while.

But then he feels the need to rush Peter’s mourning arc and he cheapens the whole thing. Bendis assumes his readers are smart enough for the first three-quarters, but too dumb to let it finish gracefully.

It’s a conflicting issue. It’s mostly excellent, but it’s also a flop. At least it’s a believable flop–the big finish isn’t contrived, it’s just too soon.

That character work he gets done is fantastic, though. He reveals just as much about the speakers as their subjects. It’s a very impressive sequence.

CREDITS

Detention; writer, Brian Michael Bendis; penciller, Mark Bagley; inker, Scott Hanna; colorist, Jonathan D. Smith; letterer, Chris Eliopoulos; editors, Nick Lowe and Ralph Macchio; publisher, Marvel Comics.

So Curt Conners let Ben Reilly know Peter Parker is Spider-Man? Wow, Ultimate Curt Conners is really a tool. Just when he at least tries to redeem himself, turns out he’s already set more damage in motion.

Bendis does some of his creative plotting, maybe to try to convince the reader Carnage has assumed Peter’s identity, maybe to kill a few pages. It doesn’t really matter. The issue’s mostly action and very fast-paced. Bendis’s twisting of the narrative just gives the reader a place to pause and consider what might happen next.

Most likely, an imagined conclusion would be more rewarding than what Bendis comes up with.

It’s not a bad conclusion, it’s just a predictable one. There’s nothing special about it. Everything special in the arc has already happened. Anything after the previous issue would be disappointing.

Though I wasn’t expecting the “Spider-Man No More” finish.

CREDITS

Carnage, Part Five of Five; writer, Brian Michael Bendis; penciller, Mark Bagley; inker, Scott Hanna; colorist, Jonathan D. Smith; letterer, Chris Eliopoulos; editors, Nick Lowe and Ralph Macchio; publisher, Marvel Comics.

It’s as though Bendis knew he couldn’t concentrate on Peter’s mourning, so instead of he concentrates on the rage. I don’t think Peter’s ever been so angry and so uncontrolled in Ultimate Spider-Man as he gets at the end of this issue. One reads it worried he’s going to beat Curt Conners to death. Conners’s guilt makes that prospect welcome.

Bendis instead lets May and Mary go through the confused mourning process. The issue all takes place on the same night as the person’s death and it’s a damn good issue. It’s one of Bendis’s best issues; his narrative shortcuts are all fantastic.

It’s one of those Ultimate Spider-Man pay-off issues. They make his other ones worth it. Bendis has a way of making everything but the story fade into the background (even the art).

The issue’s perfect. There’s not a single thing Bendis could do better.

CREDITS

Carnage, Part Four of Five; writer, Brian Michael Bendis; penciller, Mark Bagley; inker, Scott Hanna; colorist, Jonathan D. Smith; letterer, Chris Eliopoulos; editors, Nick Lowe and Ralph Macchio; publisher, Marvel Comics.

The best part of this issue has to be how little time Bendis gives Ultimate Punisher. There’s a fight scene–not a particularly good one, Bagley loses track of the criminal the Punisher is after–but there’s no personality to Ultimate Frank.

It’s all from Peter’s perspective, even though Bendis could have gotten away with a little Frank. Even though Ultimate Spider-Man is a fast read and is the comic book equivalent of tasty junk food with a good aftertaste… Bendis is serious about it being Peter’s book.

There’s also a neat little bit with Curt Conners being Peter’s emergency doctor. The two play well off each other; Bendis makes Ultimate Dr. Conners enough of his own character to be unexpected in conversation (even when he’s predictable in his actions).

Bendis’s graceless two month fast forward is a little annoying (using text to announce the transition).

Otherwise, it’s fine.

CREDITS

Carnage, Part Two of Five; writer, Brian Michael Bendis; penciller, Mark Bagley; inker, Scott Hanna; colorist, Jonathan D. Smith; letterer, Chris Eliopoulos; editors, Nick Lowe and Ralph Macchio; publisher, Marvel Comics.

Bendis doesn’t have anything this issue. Well, he doesn’t have much. He introduces Ultimate Jeanne De Wolf, but otherwise… nothing.

There’s a dream fight between Spider-Man and the Lizard, there’s a way too long fight–with Bagley wasting space on double page spreads–with some villain Bendis doesn’t even bother to give a name and then there’s Peter and Curt Conners hanging out for a bit.

Two things stand out. First, during the big fight scene, Peter and the dumb villain are breaking precious museum items. After the fight, all the hostages of the big dumb villain forget about the artifacts–and how they weren’t exactly in immediate danger. The big dumb villain wasn’t about to shoot one, for example.

Bendis doesn’t even try for logic.

The second standout is the scene between Peter and Conners. While it’s not enough payoff for the rest of the issue, it’s good.

CREDITS

Carnage, Part One of Five; writer, Brian Michael Bendis; penciller, Mark Bagley; inker, Scott Hanna; colorist, Jonathan D. Smith; letterer, Chris Eliopoulos; editors, Nick Lowe and Ralph Macchio; publisher, Marvel Comics.

I wonder if Bendis realized this issue makes it sound like Marvel screws people out of creators’ rights. Or at least is an analogue to that behavior. Avi Arad exploits Peter and makes millions of dollars; Peter can’t afford a movie ticket.

Anyway, otherwise it’s one of the ten best Ultimate Spider-Man issues so far, just because of the great hangout scene with Peter, Mary Jane and Gwen. It’s after the big blowout over Peter’s identity and things are relatively calm. They just hang out and talk about Peter being Spider-Man. It’s a great scene.

The other great scene is Nick Fury destroying Dr. Octopus’s arms. Even though Bagley’s not the best artist for ominous, he does it well here.

Actually, the only weak scene is when Aunt May and Peter talk. While it’s not bad, it isn’t on par with the otherwise outstanding scenes in the issue.

CREDITS

Hollywood: Part Six; writer, Brian Michael Bendis; penciller, Mark Bagley; inker, Scott Hanna; colorist, Jonathan D. Smith; letterer, Chris Eliopoulos; editors, Nick Lowe and Ralph Macchio; publisher, Marvel Comics.

And then Bendis does it again. He makes up for all his crappy pacing and decompressed storytelling with this absurd issue featuring Peter trying to get back home from Brazil (by traveling in luggage compartments) and finishing with an homage to Ferris Bueller’s Day Off.

It’s all so perfectly executed, down to Doc Ock barely having any role in the comic even though it opens with him (and Peter beating the crap out of him). Even Bendis including the sassy female Brazilian federal agent works. Bendis toys with the reader, probably even abuses him or her (certainly their money to pay for the issue), and still makes it pay off in the end.

The hard cliffhanger, which comes as something of a surprise because Bendis does such a phenomenal job distracting the reader with Peter’s misadventures, even works.

I resent how much I enjoyed this issue; it’s cheap and yummy.

CREDITS

Hollywood: Part Five; writer, Brian Michael Bendis; penciller, Mark Bagley; inker, Scott Hanna; colorist, Jonathan D. Smith; letterer, Chris Eliopoulos; editors, Nick Lowe and Ralph Macchio; publisher, Marvel Comics.