Review: Amazing Spider-Man #688 – No Turning Back!
Amazing Spider-Man #688
Writer: Dan Slott
Art: Giuseppe Camuncoli [Pencils], Klaus Janson [Inks], Frank D’Armata [Colors]
Coming off of the devastating loss of Silver Sable in the final chapter of “Ends of the Earth,” Spider-Man is desperately needing a check in the “win” column. It doesn’t matter that he just saved the entire world and that Silver Sable’s sacrifice was only one life in comparison–Peter made a vow after the murder of Marla Jameson that, while he’s around, no one dies.
Of course, nobody can live up to that sort of statement, and Mary Jane tells Peter this herself at a party she throws in his honor (cleverly disguised as a “Hey, Horizon Labs helped stop the world from being destroyed by Doctor Octopus!” party). Regardles, Pete doesn’t have much time to let this sink in and relax before his other ex, CSI detective Carlie Cooper, phones him to let him know that Billy Connors’ grave has been robbed.
If you remember, Billy Connors is the son of Dr. Curt Connors, who became the Lizard after a failed experiment with reptile DNA meant to give humans the ability to regenerate lost limbs. Last time the Lizard took over Curt Connors, he decided to destroy his former self once and for all and devoured his son.
Anyways, it turns out Billy’s body was stolen by a certain Horizon-employed vampire/scientist who has found a way to change the Lizard back to Curt Connors again. Is this the win Spider-Man is looking for…or is it?
Jumping back and forth between the present and the hours leading up to that moment, Dan Slott delivers an engaging start to a well-timed story starring the two main characters of The Amazing Spider-Man (in theaters next week!). Instead of feeling like it was just thrown together to tie into the movie by featuring Lizard as a villain, it builds on the Lizard’s character developments from the past two years and feels like the logical place to move on to the character’s next step.
Despite a few faces taking an extra look or two to get used to, Giuseppe Camuncoli, Klaus Janson, and Frank D’Armata hit the ball out of the park in the art department. The Lizard here feels as vicious as ever, if not more so with Spider-Man’s tattered costume displaying the savage consequences of the battle.
Morbius’ involvement here is sure to be the wild card in this darker Spider-Man tale, as the vampiric scientist’s control over his hunger has often been unstable in the past. I’m not sure where Slott’s taking this after the final page, but it’s sure to be a wild ride if the past is any indication.
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