Ultimate Spider-Man #120

Writer: Brian Michael Bendis

Penciller: Stuart Immonen

Inker: Wade von Grawbadger

Letterer: VC's Cory Petit

Colorist: Justin Ponsor

 

Plot: Continued from last issue, Magneto hovers in the air demanding Liz Allen (new mutant) come with him so that she may learn who she is and where she comes from. Iceman and Spider-Man engage him in battle while Liz flies off. Magneto easily subdues both the fledgling heroes and resumes his pursuit. Erik corners Liz and tells her he knows who her real father is: a mutant who was part of Magneto's Brotherhood of Mutants. The cryptic revelation is cut short again by Spider-Man and Iceman. The chase ends on the lawn of Liz's home, where her mother confirms Magneto's claims, accusing him of being the one who kept Liz's father from her. The big reveal is again cut short, this time by not only Spider-Man and Iceman, but the entire X-Men as well! Liz has her choice of either the Brotherhood or X-Men. She choses neither and blazes off into the sky. She winds up in Mary Jane's backyard, and are quickly joined by Spider-Man. Convinced this is the one time where secrecy would only make it harder for him to convince Liz her powers won't make her evil, Peter unmasks himself. Liz knows she has to leave school for a while until she can better control her abilities. Iceman offers her a place at Professor Xavier's School for Gifted Youngsters. She accepts, says her goodbyes to both MJ and her "amazing friend" Peter, though regards his power and responsibility mantra as lame. FLASHBACK: The Savage Land. Magneto tells Fred "The Blob" Dukes, new to the Brotherhood, that he cannot bring his baby daughter and wife to their citadel because they are not mutant, but assures him that when or if the girl exhibits a mutation of her own, he will tell her who her father is and what he had to sacrifice.

 

Likes:

 

- the big shocking tie-in to Ultimate X-Men

- Peter's decision to confide in Liz, symbolizing the growth in their relationship

- two words: Ultimate X-Men cameo!

- allusion to Spider-Man and His Amazing Friends via Liz's final line to Peter

- surrealistic handling of Liz dealing with this life-altering change

- Existentialist motif in the theme

 

Dislikes:

 

- revelation of Liz's father too rushed (should've been reserved for UXM)

- pace of the book seemed too fast at times (needs better layouts)

- X-Men tie-in seemed a bit forced

- no resolution with Kenny knowing Peter's ID

- uhm...OMEGA RED NEXT ISSUE?!?!

 

Rating: 3.5/5 Webs

 

Additional Notes:

 

Jean-Paul Saarte's philosophical take on Existentialism emphasized on the power of choice, best summed up in the line "I am an individual responsible for my own project." Project indicates choice. A shorter line is "We Make Our Own War." Before I knew the word existentialism, I had always been aware of the power of choice, and how it's a double-edged sword, one that can make or break you. Spider-Man's always walked that line, and I applaud Bendis' ability to take that lesson and present it in a format where it doesn't sound like an after-school special. Liz being caught between the life she knew, the life she could have with magneto and that with the X-Men was handled exactly as how I see it happening in reality. This was all too much too soon for this sixteen-year-old kid, and it's easy for Peter to relate because he's been there himself. However I don't see how tying a Spider-Man supporting cast member in with the X-Men via lineage to The Blob will pan out. (I'm trying not to picture Fred gettin some game, and having problems seeing how the woman would survive it.)
     There are many parts of this story that seem forced, probably to draw attention that has been lost with the departure of Bagley (now heading to DC Comics), so in effect this is also a case of too much too soon. This thing could have been built up over a series of months rather than a three issue plotline. We already have Kitty Pryde in USM as a connection to the X-book; I really feel we didn't need another link, nor another encounter with Ultimate Omega Red next issue. Still, there is the idea that both X-Men and Spider-Man at this point in their careers are in the same boat; they'are all teenagers trying to figure out thier place in the world and have lost much in their own personal struggles. All in all, Immonen is improving but I'm still seeing this as Bagley's book. Nonetheless there's always room for growth...so start growing, Stu.

 

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Ultimate Spider-Man # 119
Writer: Brian Michael Bendis

Pencils: Stuart Immonen

Inks: Wade von Grawbadger

Colorist: Justin Ponsor

Letterer: VC's Cory Petit

 

Plot: Liz Allan continues to freak out at the manifestation of her flame-based powers and is inconsolable. She calms down for a few moments (stark naked) but freaks out and flames on (for lack of a better description) again. Johnny gets an alert from the FF and is forced to leave. Liz takes off and Kenny prompts Peter to go after her, making it apparent to him that he knows he's Spider-Man. MJ gives Kitty a dirt look before she assures her she never told Kenny while Peter and Bobby takes off.

High above Manhattan, Bobby, as Iceman, tries to stop Liz, who literally can't stop herself. With ice power he puts her out, but Spider-Man's sudden appearance shocks her and she's back in Firestar mode. He tries telling her she doesn't have to give up her life but that doesn't work. Suddenly, her rationale twists into "why would you want to have a normal life when you have these gifts?" Not liking where this is going, Spider-Man and Iceman give chase again, but the fun and games end when Magneto appears hovering in midair, telling Liz to claim her destiny...

 

TO BE CONTINUED

 

LIKES

 

- Spider-Man and his Amazing Friends!

 

- Surprise surprise! Kenny Harlan has a brain, Parker!

 

- One word: Magneto

 

DISLIKES

 

- a little too fast-paced

 

Rating: 4/5 Webs

 

Additional Notes: Here we have three moments that stand out in this issue: Firestar, Kenny, and Magneto. I'll start in order. First off, the big reveal of Liz Allan as Firestar is still a lot to get used to, as previously mentioned. The traditionalist in me is cursing Brian for exempting Angelica Jones from the Ultimate continuity. What, you couldn't have two redheads in the same book? However, I admit, in BMB's defense, the original Angelica Jones was patterned after Mary Jane Watson. And when Johnny took off, I immediately remembered that the original premise for Spider-Man and His Amazing Friends had the Human Torch, but the Torch character was at that time being developed for a movie property that never got off the ground, so they instead had Firestar, which worked in the sense that we had a love triangle. I don't know if that'll be the case here. Anyway, back to Liz; her reaction is believable. Since her powers are so similar to Johnny's, it's only natural for her to think she caught it off of him, and it shows how completely uninformed she is on the subject of mutanity. 
     It was fun seeing Bobby trying to curtail her with his ice power...and yeah I guess the immature teenage side of the hero would get off on the female nudity part. It's interesting seeing Peter trying to help Liz rationalize what's going on and what she should do with her powers. He sees her where he was when he first got his powers: the fear of what's happening, the difficulty processing the change, and the constant questioning of where to go from here. The lack of organization and sophistication of his argument, as well as the need to resort to the power and responsibility mantra, reminds the reader that he is still very green and thusly identifies with kids of that age. Given what we've seen from Liz's character, the homophobic side in particular, this is a major turning point for her character. It's similar to what's going on on the CW series Smallville in which we saw Chloe Sullivan, ace exploiter of kryptonite meteor freaks, become one herself. But getting back to the Marvel side of the fence, seeing Liz suddenly take joy in her abilities accentuates the idea that this Firestar could go either way. Now on to Kenny. Finally, the former tormentor of Peter Parker demonstrates the extent of his growth as a character and his intellect. I would act the exact same way if a friend was keeping an obvious secret from everyone in attendance. Kenny feels like he's being treated like an idiot by everyone, including Kitty, and wants to be in the loop. He wants to feel relevant and part of the gang. This was his moment in the sun and it was played out beautifully. 
     Bendis also revealed in his little speech how far back Kenny and Peter go back, and bearing that in mind it's a wonder of how often Peter was tormented by Kenny in his "Kong" days. I'm glad to hear that the character has been cast in the Spectacular Spider-Man series and am interested to see if that version will see a similar treatment. Kenny's the new PP in this book, we WANT to see him get with Kitty; we WANT him to become more of a player in the book. He's the underdog and possibly the replacement best friend for Harry. And finally...Magneto. As mentioned earlier, Liz can go either way as heroine or villainess, much like Angelica did in regular continuity. However, in Angie's defense, I prefer the blonde, corset-wearing bombshell to the grim-faced, middle-aged, purple-sporting scrupulous bastard who defies the laws of physics by being able to turn his head in that paint can he wears. Magneto represents the dark side, as well as more of a reason for the Ultimate X-Men to appear in the next issue than Spidey taking Liz to see Charles Xavier.
     I only hope that Bendis can apply the same hardass attitude that UM is known for in the X-book. This was a really good issue, again largely due to great characterization and a realistic approach to Liz' fledgling abilities. Who knows? Maybe she'll become another member of Peter's private clique. I find that Immonen's art was better in this issue and the layouts were good. He had an option of having a panoramic view of Kenny laying it in to Peter but instead beautifully spread it out across two pages. The ice bridges were really well done; the twists and turns were distinguishable and clean. As for the money shot of Magneto, the Darth Vader motif really worked. Stuart really nailed the visual quotient of the dual nature of this conflicted character. And I also like the way they distinguished Johnny's and Liz's flames in terms of color. Having them both, well, orange would've been too much. Here the yellow is really akin to the "star" portion of her code name.

 

Favorite Quotes

 

Kenny: (To Peter) Okay fine!! Normally, it's all fine and good -- you want to pretend we all don't know who you really are...but now SHE needs your help, man. Your - your,

            like, expertise. We've been in class together, all of us since second grade. Our WHOLE lives. And she NEEDS your help. I don't care how --you have to go do it.

 

Cover: 5/5

 

Great teaser! We see the Spider-Friends teaming against Magneto...but the thing is we never see this confrontation actually happen. It's only hinted at at the end of the story. Still it's an awesome composition, Stuart.

---

Ultimate Spider-Man # 118
UNTITLED

Writer: Brian Michael Bendis

Penciler: Stuart Immonen

Inker: Wade von Grawbadger

Letterer: VC's Cory Petit

Colorist Justin Ponsor

 

Plot: Peter can't study due to his guilt over what happened to Harry; Kenny is stressing over a) falling into the BMF zone with Kitty and b) the fact that he knows Peter is Spider-Man but Pete won't confide him regarding the secret, which is also added to the knowledge that he and Kitty once dated; Mary Jane is hating her fast-food job and concerned about Liz, who's feeling under the weather but can't figure out why; Johnny Storm, out on a date with a celebrity, is upset that she texts someone on her blackberry until the paparazzi arrives as scheduled to snap publicity shots; and Kitty Pryde, at school, can't take the gawking and staring at her over her mutancy...and phases through the floor.

After school, Peter and MJ are approached by Johnny in a ball cap and shades. Peter's concerned that his presence will fuel the truth even more so that Spider-Man attends Midtown High and is trying to get rid of him. He wants to see Liz, but MJ reminds her of her mutantphobia (though Johnny's not). Kitty and Kenny soon join the chat, and again Kenny feels like the odd man out since Kitty also knows Johnny through their line of work. Abruptly, ANOTHER ex of hers shows up: Bobby Drake, aka Iceman of the X-Men, still apologetic over what happened with Rogue. Reluctantly, they all agree to meet at the beach, including Liz.

An afternoon of fun in the sun and the surf transcends to night in front of a huge fire. Unfortunately a romantic evening is disrupted by another one of Liz's headaches...followed by her bursting into flames like Johnny.

 

TO BE CONTINUED...

 

Likes:

 

- the two-page reveal; Liz is Firestar?!

- the teen angst at its best, esp when the guys are talking on the beach till the girls remind them they're there.

- the character development; Kenny's got potential to become the Shaggy in this Spider-Scooby gang

- the 24-style composition of getting the backstory on what's bothering these characters until they come together (or collide in some cases) in the middle of the plot

 

Dislikes:

- not much wrong this issue I find only the mutantphobic-turned-mutant angle has been done before, BMB (still works in this case though)

 

Ratings: 4.5/5 Webs

 

Additional Notes:

 

Just when you think they're going to go the conventional route and retain some semblance of what's gone on before, Brian does what he does best: a 180. LIZ ALLEN IS FIRESTAR?! I don't know whether I agree with this move or not, but I guess if Mark Raxton's not gonna start melting, they need one of these step-siblings to bring the heat. I admit I'm disappointed because I was hoping to see Brian's take on Angelica Jones, but I see he was going for an ironic streak. The girl who's a) a mutant hater and b) scared to death therefore of Johnny Storm suddenly turns out to be a mutant herself with flame-based abilities. And the design works; why not have Firestar be firey rather than a chick in a frumpy yellow body stocking that can fill in for your microwave oven? The same effect can be found on Electro; those bolt-like scars are subtle and they let you know he's menacing, while his powers speak for themselves. Let the powers speak for themselves rather than the totemistic need to dress the character up in non-practical artificial conveyances. 
     Another plus this issue is profiling nearly all the major players in the plot before they head to class. It gives the reader insight as to why they're conflicted and it also clues new readers in to how they got to this point and (from a marketing standpoint) encourages them to go through the back issues. Brian's also making Kenny very accessible as a character. Kitty was in the X-Men, dated Iceman and Spider-Man, is getting secret notes from Wolverine, and even knows Johnny Storm. Kenny...just knows Flash. He feels slighted and has a self-esteem problem. Added to the fact that he KNOWS Peter's secret but his past with Parker gets in the way of Pete confiding that secret in him. He has to earn that trust and that's difficult when the guy you're trying to be friends with is the same one you literally punted across the hall every week. It'll be interesting to see how he fits in the Kitty-Peter-MJ triangle.         Also, the complete role reversal regarding Johnny Storm was hilarious. Outside of school he's the man, the poster child for the Fantastic Four, the guy who ENJOYS being a super hero. But at school, his only friends don't want him around because he stands out in more ways than one. It's like "Dude, keep it down." or "Johnny I'm only telling you once: not now." He becomes the annoying little brother or (a little extreme yeah but it works) Cousin Eddie from the National Lampoon's movies with Chevy Chase. He's there when you don't want him but also there when you need him. I can't wait for next issue...especially with the Triple M (Magneto, Master of Magnetism) making a play for this new mutant. As for the art, (sorry Stuart; didn't mean to ignore you) he's really growing into the big shoes left by Bagley, especially with the two-page spread at the end. It's like a bookend to when Johnny flamed on under Mark's layouts. Lightning striking twice, only his was a one page splash. Stuart's layouts and pacing of the book was great, and his design of Liz as Firestar was perfect (see thoughts above). All in all SPECTACULAR!

 

Cover: 5/5 Webs

 

Though this sequence never occurs in the issue, this cover ROCKS! The coloring on Firestar's face works since she wears a red mask in regular continuity. The ice bridge was perfect; the downward angle and loop rollercoaster style shows off both Iceman's prowess and his need to show off. Honestly my mind drifted back to when I was seven watching Spider-Man and His Amazing Friends on NBC; the theme played in my head even. Great job, Immonen!

---

Ultimate Spide-Man # 117
Story Title: Death of a Goblin Prt. 6

Writer: Brian Michael Bendis

Artist: Stuart Immonen

Inker: Wade von Grawbagder

Colorist: Justin Ponsor

Letterer: VC's Cory Petit

 

Plot: Peter wakes up off the floor of his living room and quickly recalls what happened: Upon seeing Harry turn on him on live TV, Norman changed into the Green Goblin, knocked Peter out and headed for SHIELD. Aboard the SHIELD Helicarrier above the Triskellion, Carol Danvers has Harry Osborn covered as The Goblin attacks their defenses. Harry changes into the Hobgoblin and engages his father in battle. Norman gains the upper hand but Spider-Man intervenes! Hobgoblin saves Peter from getting fileted and SHIELD agents unload their artillery on Norman. The Goblin quickly recovers and unloads mega-fireballs on the Helicarrier. Spidey tries to subdue Osborn with webbing but fails. Hobgoblin again jumps into the mix, this time pummeling Harry...until his father decides enough is enough and bludgeons his son till he changes back to his human form...and dies. The shock of what he has done is enough for Norman to return to normal and willingly allow SHIELD agents to do their duty and kill him. Peter, wracked with anger and bile over Harry, tells Danvers and SHIELD to stay out of his life. The next day at school, Peter deliverately interrupts the class to reveal Harry has died and requests a lament for his friend. Though sharing little detail on how he died, Peter said his lifelong friend was his protector and believes he embodied what a hero should be.

THE END

 

LIKES:

 

- the twist ending (Norman Osborn committing suicide?)

 

- Peter's speech about Harry

 

- Hobgoblin whooping his father's ass (for a moment)

 

DISLIKES

 

- the fight was too quick

 

- the post-fight lacked the sophistication BMB is known for

 

- the artwork was too tight at times

 

 

Rating: 4/5

 

Additional Notes: First off, Happy New Year Spider-Fans! Hope you rang in 2008 with style and had fun (which would mean you have two up on me since mine wasn't that spectacular). Okay on to business; the final battle could've been plotted better; Stuart Immonen's artwork just seemed a little too sketchy and too tight. As usual Brian's writing redeemed the issue, but not in certain spots. I don't know; I guess I'm used to his being wordy at certain sections of a comic. But what I did like was the twist ending. In regular continuity, only in essence did Norman Osborn's legacy kill Harry. In the Ultimate version he's deliberately responsible and does what no one would see coming...he takes responsibility for what he's done and in essence commits suicide. As for whether it takes or not is anybody's guess. Regular continuity GG has a built-in healing factor so who's to say that it's not the same deal as Ultimate Gobby or even Ultimate Hobby?
      Peter's speech at the end was a great way of ending the story. It also shows off his intelligence and integrity which are both way beyond his years. All in all, Death of a Goblin, as Stuart Immonen's trial by fire in USM was well done. It's probably Wade's inking that's the problem; get a new guy because inkers and pencillers should compliment each other's abilities like a marriage. As Stan Lee once said, a good inker can make good pencilling look great, but a bad inker can make great pencilling look dull (or in this case [regarding the battle scenes] too sketchy and unrealistic). Again Happy New Year Everyone and can't wait to review the next ish, where we cover Spider-Man...and his amazing friends?!

 

Cover: 5/5 Webs

 

The grudge match everyone got but was too brief STILL makes a great looking cover. Again the painted look works. Reference Stuart's work on DC's Superman: Secret IdentityTPB and you'll see what potential his art has if given the proper treatment.

---

Ultimate Spider-Man #116 

Title: Death of a Goblin Part 5

Writer: Brian Michael Bendis

Artist: Stuart Immonen

Inker: Wade von Grawbadger

Letterer: VC's Cory Petit

Colorist: Justin Ponsor

 

PLOT

To save Spider-Man from a) going splat on the pavement, and b) from the Goblin's winding up a fireball in hand, Shadowcat dives after them both. Taking Peter's hand, they phase through the street and into the sewer while Osborn crashes into it meteor style. Phasing back to street level, SHIELD agents nearly arrest them before one of them reminds the team it's Osborn they're after who has vanished. Carol (in armor) tries to pinpoint Osborn's location using both energy signature and satellites to no avail. Spider-Man tells her he's taking him on alone, blaming her wasting his web-fluid on the carnage that resulted if he had had some to spare. With Kitty in tow he leaps to skyscraper levels. Peter's surprised that Kitty's thinking about dating Kenny (Kong) Harlan.

         Later on in Forest Hills, Peter changes in his room when he notices a hippie-style van parked outside. Knowing it's SHIELD, he brings out some refreshments to those on stakeout. Back inside, he checks his messages - one from a frantic MJ - when his spider-sense goes off. Norman is in his living room...in a toga. He disregards his threat about SHIELD surveillance and tells him he wants his life back, swearing he's willing to destroy Nick Fury to do it. As to how Peter fits in with that scenario, he still holds the boy as proof of his genius despite facts to the contrary.
      Peter's path as a hero is one Norman sees as his work's one redeeming quality, what he'll be remembered for. A knock on the door interrupts them. A note at the door says to turn on CNN. Harry Osborn - with Carol Danvers beside him - is live on TV denouncing his father's claims and confessing his need for meds to prevent his transformation into Hobgoblin...another of his father's crimes against nature. Norman's eyes go firey as he sees Carol's smirk.

TO BE CONTINUED...

 

LIKES

 

- the SHIELD van scene (the kid's not as dumb as you think he looks guys)

 

- the MI3 style save Kitty pulled and Stuart's awesome capturing of it

 

- the teen angst moment used as a break from the action

 

- the Norman-Peter confrontation at home

 

- Harry manning up. Nuff said.

 

 

DISLIKES

 

- the unbelievability of Osborn slipping by 21st century technology in that much carnage (was everyone asleep while Kitty and Spidey were in the sewers?)

 

-  how DID Peter figure out that was a SHIELD van outside?

 

- if Kitty can phase through objects like going through curtains, how did she take Peter by the hand and defy gravity by phasing back up to the surface?

 

 

Rating: 4/5 Webs

 

Additional Notes: Bendis redeemed himself in the Osborn department. Adding another layer of madness and backwards logic to his obsession with Spider-Man was ingenius. The shot of him in a toga, playing up his self-delusion of being a diety was really good. The money shot for me in this issue had to be Harry Osborn's appearance in the end (though the "mommy" thing indicated some mental damage still remained). Doesn't matter if it's Carol's "carrot" or not; seeing the kid finally stand up to his old man rather than the avenging son play was worth it. I didn't know at first that Carol was part of the assault on the Goblin (must've missed that last issue), but it's cool seeing her take hand. With Ultimate Captain Marvel in the neighborhood can Ms. Marvel be far behind? I can't wait for the conclusion to this game.

 

Cover: 3/5

 

While this was a great shot, it never took place in the issue. Spidey went out the window first with Osborn tossed out right after; he had nothing to do with the freefall whatsoever. But that's not denouncing Stuart's skills at all; the musculature on Osborn and menace in his form and body language was dead-on. I almost wish that the painted look was used in the interior art because this shows off Immonen's best.

---

Ultimate Spider-Man #115

Title: Death of a Goblin Part 4

Writer: Brian Michael Bendis

Artist: Stuart Immonen

Inker: Wade von Grawbadger

Letterer: VC's Cory Petit

Colorist: Justin Ponsor

 

PLOT:

While studying with Kong (or Kenny), Kitty Pryde catches the news broadcast of Spider-Man's apprehension at the hands of SHIELD. At the Triskelion, Agent Carol Danvers denies Peter the opportunity to talk to Nick Fury, saying she's the head of SHIELD for the moment. Meanwhile, at his attorney's (Joeseph Sinnott) Manhattan condo, Norman Osborn can't get enough of the irony of this turn of events. However, the laughs end when Joeseph can't get him his money because it would be aiding and abetting a fugitive. Norman starts to transform...

      Back at the Triskelion, Danvers wastes the web-fluid in Peter's web-shooters while she interrogates him about his relationship with Nick Fury and informs him she's trying to figure out what to do with him once Osborn's back in custody. On the subject of Norman Osborn, Peter holds nothing back about the insanity that drives his fixation on him and the abuse he inflicted on Harry. As to why he went to Osborn's apartment, Peter tells Carol it was out of sheer civil duty and personal responsibility. A call on her cell informs her that Sinnott's been murdered and his penthouse has been burned. Kitty Pryde phases through Danvers and into Peter's cell. Helping him phase through the floor they reach the docks before Danvers talks her out of it. This was protective custody Peter was placed under, but she confesses it was also to use him as bait to draw out the Goblin. An agent finds out Norman's at Trump Tower. Carol gives Kitty and Peter SHIELD issue weapons (neuro-neutralizers) because they need their power and Peter's experience.

       At Trump Tower, Norman threatens the lives of his accountant's family. Just as he mutates, SHIELD and Spider-Man explode into the room and Hell breaks loose. However, in the middle of the battle, Spidey's web-shooters run out of fluid and the Goblin takes advantage, tossing him out the window just as SHIELD agents' weapons fire send him out along with him...

TO BE CONTINUED

 

LIKES

 

- the 24-like pacing of the story (it seems like Peter's interrogation and the news broadcast watched by both Norman and Kitty take place simultaneously at first)

 

- the comical interrogation scene and how Carol's actions during the session cost Peter his main weapons in the middle of the Trump Tower fight

 

- the development of Kitty and Kong's relationship

 

- Peter's dialogue. nuff said.

 

- Norman's "Where's my money" routine (see Family Guy for that reference)

 

- the money shots of Peter leading the pack and his free fall with Osborn in the cliffhanger splash.

 

- the visual setup of Peter and Carol's "conversation"; it had a Silence of the Lambs thematic format and mirrored Osborn's own predicament as mentioned in the previous review

 

DISLIKES

 

- Goblin transformations could use more transition

 

- some panels seemed too simplistic and too tight

 

- Norman's lack of his criminal mastermind persona and playing up of the desperate arm-twister routine

 

- the incarceration of Peter could have been extended a little

 

- the ease in which Kitty managed to get Peter out

 

- how easy Bendis is making it for Kenny to figure out the connection between Peter and Spider-Man through this budding relationship with Kitty

 

- the visual play-up of crooked lawyers and accountant cliches (are EVERY shyster and accountant supposed to be overweight with a crooked smile or thin with receding hairline and glasses?)

 

 

Rating: 3.5/5 Webs 

 

Additional Notes: Though paced well in the beginning, what ruined this issue for me was how tight everything was and how quickly some opinions were altered. The "balls to the wall" Carol Danvers is recruiting minors to go into battle with a homicidal genetically-modified madman? I don't care of they're empowered or not; no way are SHIELD rules that lax. The development of hers and Peter's relationship isn't deepened by her knowledge of Peter's ID, but the dividend of this chance she's taking seems a foreshadowing of her first foree into the superhero world. I don't miss the irony of one of Peter's tormentors and his ex-girlfriend getting together, but this is starting to mirror the Moose Mansfield and Courtney Duran relationship in SPIDER-GIRL, in which Moose initially got together with Courtney because he thought she was the web-stunner. Kenny keeps asking Kitty questions about the X-Men and Spider-Man; Brian is playing up the "small world that is high school" angle a little too much with this sub-plot. Then there is Osborn's character. I loved the inner conflict that he displayed in the Goblin's second coming-out following his shooting on the Brooklyn Bridge. This time Osborn seems too thuggish and single-minded. As for the art, though I love Stuart's facial expressions and takes on Peter, his art didn't really jump out at me in this one save for the splash shots. Here's hoping #115 can bring something more...

 

Favorite Quotes:

 

Peter Parker: Ugh!!! Can a day go by without someone else not knowing my real name???!!! One day. Just one day.

Carol Danvers: You should keep your mask on then.

 

Carol Danvers: I'm playing a game. It's not a game I invented and not a game I'm particularly good at. But it's a game that has to be played.

Peter Parker: Is it "Hungry Hungry Hippos?"

Carol Danvers: What

Peter Parker; "Hungry Hungry Hippos." Four plastic hippos all trying to gobble up this little white ball. Because I kinda FEEL like the little white ball.

Carol Danvers: You ARE funny.

Peter Parker: Yeah, I'm cracking myself up.

 

Cover: 4/5

 

I admit this image really popped out at me. Shadowcat's not one for gunplay, but the western shootout-style composition seems extremely eyecatching. And given the fact that it's in the middle of a fire (characteristic of the Green Goblin) it has relevance to the overall plot and for those who hadn't read the book yet gives the impression of Kitty busting Peter out of the Triskelion in a different manner.

---

Ultimate Spider-Man #114
Title: Death of A Goblin Part 3

Plot:
          Mary Jane runs in terror after seeing Norman Osborn's televised broadcast in the store window. Peter catches up to her and tries to calm her down, assuring her the Goblin won't touch her, but she has to be strong. When they reach the Parker home they see a new car in the driveway just as MJ's mother screeches her car to a halt ordering MJ to get in, intending on getting out of town before Osborn can get to her. The couple hug and MJ gets in the car. Peter walks in on May and the man she's been seeing, Dr. Miles Warren.
       The awkward first meeting is cut short due to Peter's warnings about Osborn. Fortunately one of Warren's patients calls him and he has to leave. Now alone, Peter talks May into getting somewhere safe. May doesn't feel like she's doing her job as his parent, but Peter tells her he has to protect HER now. Once she leaves, now totally alone, Peter switches to Spider-Man and swings over to Osborn's apartment. At first it appears deserted, but then he notices a bald man getting out of the shower...revealed to be fellow escappe, Max Dillon, aka Electro.
        Back at the Triskelion, SHIELD tries to lock in on Osborn's location while Sharon Carter argues with the President on the phone regarding Norman's "confession" to Fury's actions. Back in NYC, a naked Electro tries to flee with Spider-Man in pursuit. In an intense aerial battle, weblines and electric bolts fill the skyline. With a web-covered fist, Spidey nails an uppercut just as a bolt does the same, sending him crashing into a women's clothing department store. In the middle of the street, Electro recovers, but then SHIELD agents on jetpacks descend from the skies and engage Dillon in battle. Peter watches as all weapons converge on Electro but aren't enough. Webbing a spare tire, Spider-Man swings and nails Max, giving the agents an opening to take the shot. Webbed up, Electro goes wild...but burns himself out.               However, the agents then order Spider-Man to get on his knees, despite his request to talk to Nick. They open fire and despite his spider-agility manage to nail Peter in the shoulder. Peter awakens in a cell similar to the one Osborn occupied... TO BE CONTINUED

 Likes:

- the visual duality of Norman Osborn (crying one minute, stern look the next)

- Immonen only making subtle changes while not betraying Bagley's original designs of the characters (almost)

- FOR ONCE the supporting characters in on the crisis taking the right course of action...RUN LIKE HELL!!!

- the mystery of Peter's arrest at the hands of SHIELD

- Spidey vs Electro with him making naked jokes all the way

- the awkward meeting between Miles Warren and Peter Parker

- retaining of trademark Spidey visuals i.e. multiple figures signifying him in movement

- trademark webbed glove trick when dealing with Electro, emphasizing this webbing is synthetic rather than organic 

Dislikes:

- hole in the plot. wasn't Miles Warren Harry's hypnotherapist when Osborn resurfaced after his initial transformation?

- MJ's hair looks too similar to regular Marvel MJ

- why didn't Peter recognize Max Dillon?

- the fight seemed a little too fast

- sometimes Spidey looks too thick and Electro looks too Silver Surfer-ish in midair

- if an agent is saying "target identified" why are there two question marks? 

Rating: 4.5/5 Webs

 Additional  Note:
      First off I want to thank Brad for giving me my shot at a book that I've followed religiously ever since 2001. I won't let you guys down. Now on to business. Being the third part of "Death of a Goblin", after the first two basically following Norman's escape from the Triskellion, Brian's focus on the collateral damage of Osborn's scheme is a breath of fresh air. Thank god the family studies subplot was put aside for now, albeit the toy baby carrier on Peter.
     MJ's reaction to seeing Osborn's face on screen was expected. I think seeing a remorseful Norman putting on an act for all to see, and getting an idea of the shock experienced by two people whom his REAL self tried to kill adds realism to the plight. This man is completely delusional and has a major victim complex. Fury incarcerated me. Fury forced my hand. Fury Fury blah blah blah. This makes him the perfect foil for Spider-Man; the hero that represents power and responsibility vs. the villain with power but no sense of responsibility to balance out the equation.
       Paul Jenkins had a line in a Spectacular Spider-Man issue that Peter delivered to Osborn as the last word: "I don't have to fight you. I don't even have to send you to jail. Being you? That's life without parole." That's the definitive description of Norman Osborn: He's locked permanently in his delusional paranoid psychosis. The Ultimate version is no different only a little more insane than megalomaniac and Bendis always delivers.
      Speaking of characterization, as always Brian does a PHENOMENAL job with the dialogue with Spider-Man, especially during the fight with Electro. One of Peter's best qualities is to find a joke regardless of whatever the situation and works off of his opponents' ego by focusing on how they look or act, as well as personal baggage. In Dillon's case, under Bendis' direction, Peter takes the minor joke about him being naked and extends it into a full-blown laugh-fest that keeps Electro off-balance and angry.
       As for the introduction of Dr. Miles Warren I don't know what to expect now that the Clone Saga is out of the way. Come to think of it, didn't Norman Osborn employ a Dr. Warren as Harry Osborn's hypnotherapist when he first reemerged? If that's the case then we have another subplot in development. Bendis handled that very well; although the main focus is on the threat of Osborn, Peter's hesitance to get to know this stranger in his home is strongly felt and not at all surprising considering the life he leads. Whether or not we'll see the full-fledged Jackal in issues to come is unforeseen at this point.        As to SHIELD, I have no idea as to why those agents would gun down Peter, let alone stick him in a cell similar to Norman Osborn's. Fury knows Peter is Spider-Man and has no connection to Osborn whatsoever. Perhaps because the President is concerned about the questionable validity of Norman's story and is instructing SHIELD to cover all their bases, including mistakes such as the creation of Spider-Man, until the truth can be established. If that is Fury's plan then he's put May and MJ in far greater danger than he realizes.
       This story seemed very fast paced, obviously to make up for the slowness of the plot in the previous connected issues. I'm anxious to see where Bendis will take the Miles Warren angle, as well as how May will play into this. As for Stuart Immonen's visuals, let me just say that NO ONE can be another Mark Bagley. His USM will always be THE USM; though Stuart has some pretty big shoes to fill he's off to a good start just as long as he keeps at least 50% of the parameters and guidelines set by Mark in the book rather than deliver his own style right off the bat.
     A good example of how this transition can be used to a positive end is the 1966 issue of Amazing Spider-Man that first featured John Romita Sr.'s art; he said he tried to do it like Steve Ditko at first, then gradually eased his own style into it and eventually made it his book. Let's see if Stuart can do the same because I hate to see this book become like Ultimate FF and X-Men, in which the art team positions are revolving doors. While change is difficult but necessary (quote by Frank Zappa) it is also necessary to not forget or fail to acknowledge what's gone on before.
      After first learning about Stuart through Superman: Secret Identity for DC Comics I was hoping to see a painted look for Spider-Man. Guess that's not in the cards with Ponsor as the colorist. Doesn't matter of course but still wanted to point that out. At least BMB is still around and has no intention of moving on at this point. Well, that's my first review of USM. Hope it wasn't too wordy or too long. If so then I apologize. Later.

Favorite Quotes: 

Spider-Man (To Electro): Faaaaar out... It's Naked Electric Guy!
Electro: It's ELECTRO, @#%$!!

Spider-Man: (dodging a lightning bolt) Whatever. UGH! I don't even WANT to know what part of his body that electricity is shooting out of! 

Cover: 4/5 

Though the focus is not on the Goblin-Spidey brawl waiting in the wings, it does focus on the central fight between Electro and Spider-Man. The figures are evenly balanced and the body language is excellent. Putting Spider-Man upside doown shooting his web is perfect, as is the coloring job on Electro. The faint white outline around his body gives off the impression he is like a light bulb rather than Iceman or Silver Surfer.