Tag Archives: May Parker

Review: Amazing Spider-Man #698 – WHY, DAN?! WHYYYYYYYYYY?!

Amazing Spider-Man #698
Writer: Dan Slott
Art: Richard Elson and Antonio Fabela [Color Art]

 

WARNING:  THIS REVIEW HAS MAJOR PLOT SPOILERS FOR AMAZING SPIDER-MAN #698 AND BEYOND.  DO NOT READ IT IF YOU PLAN ON READING THE ISSUE.

Dan Slott, you broke my heart.

Ever since your run on Amazing Spider-Man began last year, I’ve been one of its biggest supporters, going so far as to compare it to the Michelinie and Stern runs.  And then you did it.  You drove that spike in my heart that was like a thousand One More Days.

Actually, that’s a terrible analogy.  I actually liked One More Day.  Comparing that spike to 1,000 Clone Sagas or Ben-Reilly-replacing-Peter-Parker scenarios or JMS runs is far more accurate.

But the point is, you shook my faith in my favorite series.  You weren’t the first, though.

When I was nine years old, I quit reading new issues for five years because of the ridiculousness of the aforementioned Clone Saga and (temporary/retconned) replacement of Peter by his clone, Ben Reilly.  What you have done here, though, may be impossible for me to recover from.

Amazing Spider-Man #698 begins with a reminder that Doc Ock is on his death bed, with only hours left to live.  He’s struggling to say something, and it turns out what he’s trying to say is, “Peter Parker.”  For the rest of the issue, longtime readers will notice that the way Slott has written Peter’s dialogue and inner monologue is strange, and we eventually find out why when Spider-Man is summoned by the Avengers to the Raft (the ultra high security prison for supervillains) because Ock’s about to die and he keeps saying the name of Spidey’s secret identity.

And then, once the two are in the room, we get the big reveal.  We now know why Peter’s words sound so strange in this issue.

It’s because one of the most ridiculous and asinine predictions for what would happen in the “Dying Wish”/Amazing Spider-Man #700 arc ended up being true–Doc Ock somehow switched his consciousness into Peter Parker’s body and vice versa, and Ock’s body dies with Peter’s mind trapped inside.

I’ll probably still buy #699 and #700 just to have a complete run up through the “final” issues of Amazing Spider-Man–and I’ll probably still buy Superior Spider-Man #1, because, well, eBay–but for the first time in about five years, I’m not all that excited about the next issue of Spider-Man.

On the bright side, I can’t imagine this being something that sticks in the long term.  For the foreseeable future, however, it might be time to move on to something else.

RATING:  It’s gonna harsh your mellow, man…but at least the art is good.

 

Review: Amazing Spider-Man #694 – The 50th Anniversary story arc concludes!

Amazing Spider-Man #694
Writer:  Dan Slott
Art:  Humberto Ramos [Pencils], Victor Olazaba [Inks], and Edgar Delgado [Colors]

If Amazing Spider-Man #692 and 693 were about introducing Alpha, then this week’s #694 is all about setting the character up for his next chapter–whenever that may be.

Deciding to take a break from his research at Horizon Labs, Peter Parker heads out to the airport to say goodbye to his Aunt May and her husband, J. Jonah Jameson Sr., before they head back to Boston.  As is the case when he has something to do or somewhere to be, he’s interrupted.  The Avengers request his help fighting off Terminus, who’s once again intent on taking over the Earth.

The Avengers unfortunately have the bright idea of having Spider-Man summon Alpha, and the egotistical teen hero with more power than everyone else present darts across the world from Japan to lay the smackdown on Terminus.  This causes problems, as the fight takes place above the airport and Alpha’s irresponsible use of his powers short circuits all of the planes currently in the air–including the jet carrying May and Jonah Sr.  Naturally, the day is saved, but as soon as Alpha leaves, Spider-Man and the Avengers all agree his powers, created in a lab accident by Peter’s “Parker Particles,” must go.

But, irreparable damage may have already been done.

Dan Slott packs a lot of great moments into this issue, continuing to showcase Alpha as an extraordinarily unlikeable character.  At least two recurring members of Spidey’s supporting casts get apparent status quo changes here, as well.  Seeing Peter act in a more stern, almost parental-like manner was different for a change, and I especially enjoyed Dan’s nod to all of the people who are unclear as to whether or not Spider-Man is still a Future Foundation member.  Combine this with Ramos’ art and a nice lead-in to the “Danger Zone” arc and you’ve got a solid conclusion to Slott’s 50th Anniversary story arc.

RATING:  A Tantalizing Tale in the Mighty Marvel Manner!

*ALSO:  If you didn’t notice, this issue’s cover was an homage to a classic cover from when the “big two” comic publishers could play nice every now and then.

Review: Amazing Spider-Man #693 – The Jackal returns!

Amazing Spider-Man #693
Writer:  Dan Slott
Art:  Humberto Ramos [Pencils], Victor Olazaba [Inks], Edgar Delgado [Colors]

Last issue, Dan Slott and Humberto Ramos gave Spider-Man a new sidekick for his 50th anniversary.  This issue, he deals with the direct aftermath of that.

Created by an accident during one of Peter Parker’s demonstrations at Horizon Labs, teenager Andy Maguire is now Alpha, potentially one of the world’s most powerful superhumans.  Peter being who he is takes on responsibility and, at the behest of Reed Richards, makes Alpha his sidekick.  Unfortunately, the kid’s kind of an egotistical jackass.

As the issue opens, Alpha has just taken out Fantastic Four villain Giganto with a single punch and left the FF and Spider-Man standing around scratching their heads.  Hoping to clear his head, Peter goes to Mary Jane’s nightclub to see if she can make sense of everything.  She points out to him that Alpha is only doing what Peter would have done had he not realized the whole “with great power comes great responsibility” bit as a result of Uncle Ben’s murder–and then Pete realizes everyone knows who Alpha is because he doesn’t wear a mask.

Rushing off to Maguire’s home as Spider-Man, he arrives too late and quickly realizes Andy and his family have been abducted by the clone-crazy Jackal.

Dan Slott wraps up Alpha’s introduction here fairly neatly.  The more you read of Alpha, the more you begin to hate the kid–and that’s pretty much the point.  The end of this issue sets up the future status quo between Spider-Man and his new sidekick, and it will be interesting to see how that plays out between now and issue #700, assuming this plot thread doesn’t continue beyond that point.  Additionally, this is the second time Slott has written the Jackal in the last few years, and I have to say it’s a big improvement over how the villain was written back in the Clone Saga.

Ramos’ art remains impressive here, although I still have a few qualms with some of the less-detailed panels where bodies have less detail and defy anatomical form [SEE: The panel of Spidey swinging toward MJ’s club on the second page].  At his most highly-detailed, however, Ramos continues to be one of my favorite modern Spider-Man artists.

Overall, this was a great issue and a fitting end to Slott and Ramos’ 50th anniversary story.

RATING: 8.5/10

Review: Amazing Spider-Man #692 – 50th Anniversary Spectacular!

Amazing Spider-Man #692
Writer: Dan Slott, with back-up stories by Dean Kaspiel and Joshua Hale Fialkov
Art:  Humberto Ramos [Pencils], Victor Olazaba [Inks], Edgar Delgado [Colors], plus Dean Kaspiel [Art] & Giulia Brusco [Colors] and Nuno Plati [Art] on back-up stories

Spider-Man’s first appearance was 50 years ago this month in Amazing Fantasy #15.  Sure, that issue was probably actually released in June because it’s only cover-dated August, but these are minor details.  This month is widely regarded as Spider-Man’s “birthday,” so Amazing Spider-Man #692 is the super-sized 50th anniversary spectacular you would expect Marvel to release with the hefty price tag of $5.99.  (Seriously, Marvel… Kids see that price tag and think “I could buy an action figure for that same price! Why bother?”  Maybe a return to news pulp for lower cover prices is in the cards.)

Regardless of the price tag, Marvel and their Spider Office give fans a good bang for their six bucks here.

The big plot point of ASM #692’s main story–written, of course, by fan-favorite Spider-Scribe Dan Slott–was spoiled a month or two back, because passing up any opportunity for media exposure is a missed opportunity to score figurative new readers and that trumps the element of surprise in today’s comic book market.  If you hadn’t already heard, Spider-Man gets a sidekick after 50 years of fighting crime on his own.

Well, on his own except for when he’s a member of the Avengers.  And the New Avengers.  And the Future Foundation/Fantastic 4.  And all of those team-up books, issues, and stories.

But those are all different scenarios.  Spider-Man has never had a sidekick, and that’s because when he first became Spider-Man, he was only 14 or 15 years old.  That’s standard sidekick age in most superhero books, and probably the average age of most of Batman’s Robins when he first took them in.  Stan Lee created Spidey as the exception to the rule–the boy who would be a (super)man.

Anyhow, I digress.  As the issue begins, we’re introduced to mediocre teenager Andy Maguire.  (Get it?  Because the two motion picture Spider-Men are Tobey Maguire and Andrew Garfield?  I see what you did there, Slott!)  Andy’s a kid who goes by unnoticed by everyone, including his parents, because not failing is good enough for him.  C-average student, no extracurricular activities, not part of any “cliques” at school… He just kind of exists and barely gets by, but wants more.

He ends up forging his dad’s signature on a permission slip for a field trip to a Horizon Labs demonstration where Peter Parker is unveiling the newly discovered “Parker Particles.”  An accident occurs after Horizon scientist Tyberius Stone, who secretly moonlights for the Kingpin, disengages the safety measures, resulting in Maguire getting zapped and ending up with super powers.  His parents try to sue Horizon, and the world’s foremost experts on superhumans–Reed Richards, Beast, Tony Stark, and Hank Pym–are brought in to study Maguire, revealing that he now has energy projection abilities, super strength, force field projection, and flight, but can only use one power at a time.  Additionally, Reed Richards reveals that he had already discovered “Parker Particles” years before and never made their existence public because they increase in power exponentially, saying that where threats like the Hulk or Phoenix are “Omega-Level Threats,” Maguire is the first “Alpha-Level Threat.”  He tells Peter that the kid is his responsibility, and Horizon’s head honcho Max Modell offers Maguire’s parents coverage for all medical expenses and a lucrative contract instead of a settlement.

Thus, Andy Maguire becomes Alpha, Horizon Labs’ new face and corporate spokesman, and Peter is placed in charge of the Alpha Project. Of course, Maguire is no Peter Parker and all of the new power and fame goes to his head, but let’s not spoil everything, huh?

Slott does a great job of building up Andy Maguire’s character here and really puts you in his shoes at the onset of the story.  Spider-Man with a sidekick is fairly uncharted territory, and the difference in the two’s powers, as well as Alpha’s cocky demeanor, can only complicate things.  Judging by the villain reveal on the last page of the book, things ain’t getting simple anytime soon, either.  Humberto Ramos also delivers some of his best art to date on this issue.  His style has grown so much since his first issue of the book (#648) almost seems like a different artist, and the faces he draws remind me more and more of Todd McFarlane’s style every time I see his art.  Victor Olazaba and Edgar Delgado definitely make the art pop that much more with their vibrant ink and color jobs.

As for the back-up stories, Dean Haspiel’s “Spider-Man For A Night” draws on Amazing Spider-Man #50, exploring what happened with Spider-Man’s costume on the night that he decided to be “Spider-Man No More” with a conclusion that tugs at the heart-strings.  The story and art are both beautifully done, and the same can be said story-and-art-wise for Joshua Hale Fialkov and Nuno Plati’s “Just Right,” which finds Pete going through a typical “Parker luck” type of day before ultimately helping someone else have a great day.

Overall, a fitting 50th anniversary issue.  One might be inclined to feel that there could have been a few more shorter features or gag pages (you do get a page with all five of Marcos Martin’s “Spider-Man Through The Decades” variant covers), but Amazing Spider-Man #700 is right around the corner in December, and that’s sure to have plenty of that sort of material if it’s laid out anything like #600 was.  Regardless, I’m definitely interested in seeing where the whole Alpha thing goes, especially with the villain reveal, and the two back-up stories were a great addition.  At least it felt like you were getting a couple of issues for the $5.99 price tag.

Rating: 9/10

P.S. As an aside, I can’t figure out why Marvel would keep The Amazing Spider-Man Omnibus, Vol. 1 out of print during the character’s 50th anniversary year.  Somebody should figure this out, because I have Vol. 2 and no Vol. 1, and spending $200+ for one on eBay would kind of suck.

Amazing Spider-Man #700 Predictions, Speculation, and Crackpot Theories

With the 700th issue of Amazing Spider-Man coming up this December, it’s only right that I, the Comic Vault’s resident diehard Spider-Man fan, weigh in on what may or may not happen in this momentous issue.  There are a lot of crazy theories floating around right now, but we’ll get to that in a minute.

Current scribe (and the best writer on the book since Roger Stern or David Michelinie in my opinion) Dan Slott stated via cell phone at Comic Con a few weeks ago that this is going to be the biggest thing he’s ever done in comics, which is saying a lot coming from the guy who penned the phenomenal Amazing Spider-Man #600 just three years ago.  It’s even been said that what he’s doing in #700 will be so controversial among fans that he’ll have to go into hiding after the issue hits stands, or that this might possibly be his final arc on the book. (Damn you, “Marvel NOW!”)

With the ’90s Clone Saga and J. Michael Straczynski’s “Sins Past” and “One More Day” story arcs, Spider-Man fans have a high threshold for controversy.  At this point, what could possibly be more controversial at this point than Peter Parker’s clone Ben Reilly being revealed as the real Peter Parker and taking his place, Norman Osborn knocking up Gwen Stacy prior to her death, or Peter and Mary Jane trading their marriage to Mephisto (the “devil”) in exchange for Aunt May’s life?

Really, Marvel?  What were you thinking?  That “o” face in the bottom left corner is the stuff of nightmares. And Gwen… You desecrated poor, sweet Gwen!

Maybe resurrecting Gwen Stacy could top the scenarios above, but Slott has already said he (thankfully) has no interest in doing that, as Gwen is much more meaningful dead.

Over at the CBR boards, members have been posting a plethora of crackpot theories regarding what will happen in the issue.  Some have taken a statement that Slott made at Comic Con regarding the future not looking good for Madame Web as a hint that the new Madame Web, Julia Carpenter, will be kicking the bucket soon.  Personally, I think they’re reading a bit much into this and Slott was just being Slott.  Madame Web is a clairvoyant and only has visions when something terrible is about to happen–of course the future doesn’t look good for her.

“The future…always…looks…TERRIBLE…to MEEEEEEEEEE!!!”

Regardless, below is a list of my favorite theories from that thread:

  • Black Cat shows up with a baby.
  • Norman Osborn is Peter’s father.
  • Peter pulls the plug on Doctor Octopus and then goes crazy.
  • Peter gets flung back in time, is stuck, and in a nod to his clone brother, names himself Ben Parker.  He then meets a lovely girl named May Reilly.
  • Peter gives up being Spider-Man to be with Mary Jane or Peter ends up getting killed, with either scenario leading to new sidekick Alpha taking his place.
  • Peter moves to Japan and gets a giant robot.
  • Peter goes crazy and becomes the new Green Goblin.
  • Kaine is the real Peter Parker.
  • Batman subcontracts Peter to become his new gadget man in Batman, Inc. as part of a cross-promotional deal between Marvel and DC.
  • J. Jonah Jameson is actually a 1940s reporter covering the war in Europe.  He is wounded by a grenade blast, which kills his soldier body guard Steve Rogers.  For two months, Jameson has been in a coma, and it’s revealed that the whole Marvel Universe is taking place in his mind.
  • Black Widow becomes Spider-Man’s new crime-fighting partner and Spider-Man has a clone baby from an alternate reality with Mystique.

That’s a lot of outlandishness to digest, huh?  As promised in the first paragraph, though, I also have my own predictions as to what might happen in #700.

The cover for Amazing Spider-Man #700 is a preexisting collage by a French artist named Pascal Garcin.  You could say that this makes the presence of certain characters on the cover arbitrary, but I like to think that Marvel chose to use this cover for that issue for specific reasons.  If you look closely near the bottom, to the left of the center, there’s a Carnage hidden among all of the Spider-Mans.

Hey, look…It’s a schooner!

This leads me to believe that Carnage has some involvement in this issue, perhaps killing a beloved character like Mary Jane Watson.  Despite wreaking havoc in Spider-Man’s world in two mini-series over the last two years and continuing to do so in an upcoming Venom/Scarlet Spider crossover, it’s been years since Carnage has committed mass murder in the pages of Amazing Spider-Man.  This site’s owner, Matt Sardo, even claimed to me in an e-mail that during Comic Con’s Spider-Man panel, “[The panelists] were asked what character they wanted to work with or draw. [Humberto Ramos] mentioned Carnage and then said, ‘Oh, wait.  I’ve drawn Carnage,’ and then he got dirty looks.”  What better time for Carnage to show up and do something chaotic than the book’s 700th issue, 24 years after the character’s “father,” Venom, debuted in Amazing Spider-Man #300?

Speaking of Venom, the border of the eyes on that collage is composed of the character.  I’m going to go ahead and also predict that if Peter doesn’t find out by then that Flash is the guy wearing the Venom symbiote by #700, he’ll probably find out there.

If I’m wrong about Carnage, then the next likely scenario is that the Roderick Kingsley Hobgoblin, rumored to return in the upcoming “Danger Zone” arc, shows up and kills someone.  Either way, I think someone is dying in #700.  Mary Jane is a likely choice, though I’d rather not see that happen.  Sardo wants Aunt May to die, and I have yet to figure out what he has against sweet, little old ladies.  Her husband, J. Jonah Jameson, Sr. may be a more likely candidate for the grave, or possibly other characters that have grown on fans in recent years–like NYPD forensic detective/most recent Peter Parker ex Carlie Cooper or Daily Bugle reporter Norah Winters.

Or maybe in their infinite wisdom, Marvel, seeing that it worked so well in Ultimate Spider-Man, actually do decide to kill off mainstream (Earth-616 for you nerds out there) Peter and replace him with his new sidekick Alpha, at which point they’ll lose me as a reader.  Just because something worked in one universe doesn’t mean it should be spread to the others.

But seriously… Keep any sweet, elderly women you hold dear away from this man.

Does Marc Webb’s ‘The Amazing Spider-Man’ Live Up To Its Name?

Let’s go ahead and clear the air here.  I didn’t like the Sam Raimi Spider-Man movies.  That’s not to say he isn’t a great director–I still love the Evil Dead trilogy.  I just didn’t care for his interpretation of Spider-Man.

I couldn’t buy Tobey Maguire as the type of guy who cracks wise in the face of death (and his Peter Parker/Spider-Man really didn’t do much of that at all), Kirsten Dunst never struck me as a supermodel/soap star, and the interpretations of the villains were more-cheesy-than-menacing.  His first Green Goblin looked like a Power Ranger (and suffered from the lack of the infamous plot thread from Amazing Spider-Man #121) and the second was a sky-surfing paintball ninja.  I can’t even make it through any of the films in that trilogy anymore without cringing and turning them off.

At the time, I just sucked it up and moved along–reboots weren’t en vogue until a few years later with Christopher Nolan’s masterful Batman Begins–trying to find contentment in the fact that a Spider-Man film franchise even existed.

And then Marc Webb came along.

Webb’s The Amazing Spider-Man isn’t just a good movie, it’s better than all of the installments in the previous trilogy combined.  Sure, the origin story is rehashed a bit here, but it feels more natural, more 21st Century.  The comics have always featured a perfect balance of lighthearted humor, the drama between Peter and his supporting cast, and intense moments of suspense, and Webb brings all of that to the table.

Andrew Garfield’s Peter Parker is more in line with the nerdy outcast of today.  There aren’t that many “poindexter” types left, and Pete became much “hipper” early on in the comics anyways.  Plus, this Peter Parker displays the genius and smart ass nature of his comic counterpart.  This is a guy capable of building devices that shoot synthetic webbing from his wrists, and the previous films, with all of their organic webbing, didn’t point that out enough.

I’ve said in many a geek conversation that if the Spider-Man franchise was ever rebooted a la Batman Begins, they should focus on building up the tragic story of Gwen Stacy in the first two or three films.  Emma Stone really makes Gwen grow on you throughout the film, and the ending sets up her story in the most logical way.  Webb uses a different villain to get there than I would have expected, though, and in better ways than I ever could have imagined.  Rhys Ifans brings the Lizard to life in the most menacing portrayal of any Spider-Man villain yet while still allowing the humanity of Curt Connors to show through when it counts most.  Plus, you never feel like he’s going to cheesily demand that other characters say a prayer.

The film’s core plot line focuses more on the history of Peter Parker’s parents–something that was taken care of in the first few years of the comic.  Spider-Man has one of the most well-known origin stories in comics, so there’s no much you can change there, but Webb’s film ties Peter’s parents to Oscorp.  Richard Parker was a scientist who worked with Dr. Curt Connors on biological experiments meant to use cross-species genetics to help a variety of patients self-heal their medical ailments.  Connors, for example, was focused on using reptilian DNA to regrow his missing arm.  Somewhere along the line, some issue arose with Parker’s research (it’s never fully revealed here what it was) and Richard and Mary leave young Peter with his aunt (Sally Field) and uncle (Martin Sheen), never to be heard from again because they die soon after in a mysterious plane crash.

Years later, Peter uncovers his dad’s old briefcase, discovering some of his lost research and a photo of his father and Connors.  Looking for answers, he seeks out Connors and later helps him fill in the missing pieces of the research.  During this time, Peter is bitten by a genetically-engineered spider (developed by his dad, no less) and Irfan Khan’s Dr. Ratha pressures Connors to complete his research, as it isn’t just important to the public but to Norman Osborn, who is apparently dying.  This last bit of subplot is surely a teaser for the new franchise’s Green Goblin origin.  Connors eventually resorts to testing his serum on himself and becomes the Lizard before attempting to weaponize it as a gas that would transform all of New York into lizard people.

It’s a cool twist on several classic bits of Spider-Man lore, but there are still little things with The Amazing Spider-Man that bug me. (See what I did there, even though spiders are arachnids and not bugs?) First and foremost, as many times as Peter removes his mask in full public view or displays his powers out of costume, it’s a wonder nobody catches an image or video of him–especially if modern New York City is as full of photo-happy hipsters as I’ve been led to believe–or puts two and two together.  He just seems a bit too identity-reveal-happy in general.  Additionally, this film is noticeably lacking in the J. Jonah Jameson department (J.K. Simmons was by far the best casting choice of the previous trilogy and it would not bother me at all to see him reprise his role in this series).  To Webb’s credit, The Daily Bugle does get a cameo and Pete’s photographic ingenuity is displayed during a sewer fight with the Lizard.  Here’s hoping we see jolly Jonah in the next installment.

Aside from those minor details, The Amazing Spider-Man is the film that should have been made a decade ago.  Despite my two minor complaints and some minor changes to some of the supporting characters and story, the film is a fitting adaptation that gets it right where it counts.  Here’s hoping they avoid giving the sequels boring numbers and instead name them after the various Spider-Man series that have existed over the years.

 

Review: Amazing Spider-Man #686 – Something You Expected, and Something You Didn’t

Amazing Spider-Man #686
Writer:  Dan Slott
Art:  Stefano Caselli, Frank Martin Jr. [Color Art]

[SIMPERIN’ SPOILER ALERT:  Reading this rollicking review might spoil certain exciting elements of this book’s pulse-pounding plot for you, oh consummate Comic Vault reader!  You’ve been warned!] 

An entire hemisphere of Earth, including Silver Sable’s native Symkaria, has been destroyed at the hands of Doctor Octopus!

Or has it?

Given the ending to Amazing Spider-Man #685, one might think that Spider-Man, Silver Sable, and the Black Widow had failed in their bid to prevent Octavius from destroying the world once and for all in his final dastardly deed before death.  However, one might think wrong–especially given that two of the other members of the Sinister Six still remaining at that point were well-versed in illusion.  Longtime Spidey fans could probably see where this was going, but it would be a crime not to use such a scenario with Mysterio and Chameleon both on the same team.

That said, as Spidey and Co. continue to disrupt Otto’s dying wish, both sides begin finding that they are victims of wavering allegiances.

Again, Dan Slott provides an issue that stands up not just to the rest of the arc, but to the classics, as well.  While one of the big allegiance shifts here was a no-brainer following the orbital octobot crisis from Amazing Spider-Man #680-681 (plus the cover to #687), the other was a total surprise.

It’s also been nice to see Spider-Man written in a team role as a leader as opposed to comic relief, and the way Pete asserts himself in this arc has been phenomenal.  That’s not to say the old Peter Parker neuroses aren’t there, though.  It will be interesting to see the aftermath of Spider-Man having realized that Doc Ock’s tech has been supplemented by technology he developed as Peter Parker for Horizon Labs–especially if that connection is made by Horizon, as well.

The rotating art on this story has also surprisingly not been as jarring as one would expect.  Stefano Caselli returns for the last two issues of the arc after getting a two-issue break from Humberto Ramos, but the switch barely registered to me either time.  Sure, Caselli’s art veers more toward the realistic than Ramos’ more animated style, but both artists have grown on me to the point that I’m glad to see either on a story.

If you’re a spider-fan and you haven’t been keeping up, you’re missing out.

RATING:  EXCELSIOR!