Penciler: Humberto Ramos
Inker: Victor Olazaba
Colors: Edgar Delgado
Review by: Alexander J. Diaz
That’s what a last issue in a series is for, not a first issue.
The Amazing Spider-Man (ASM) didn’t do that, it kept any lingering storylines from The Superior Spider-Man (SSM) open for the moment, which helped the transition immensely.
When I started to read ASM #1 it felt like putting on an old pair of jeans, it just felt right. Not to say I didn't like SSM, but Peter Parker is supposed to be Spider-Man. The story gave the readers the Spider-Man and the Peter Parker they have come to know and love. He was witty and had all his quips back when fighting the baddies. I mean they put every quip they could fit in. Some may say too many, but I love the quips.
We also had Spidey being put in awkward situations. I won’t spoil the book for those who haven’t read it, but let’s just say it could only happen to Peter Parker’s Spider-Man. For me one of the best parts of ASM has always been Peter Parker, and his inability to juggle his duel life effectively. ASM #1 didn’t let us down in this category either, as Peter has no idea what’s going on in his personal life thanks to what happened in SSM #30. I have to say the story was well put together for a first issue.
I’m going to give the biggest shout out to the penciler, inker, and colorist. This book’s story would not have worked if it had the same look as SSM. The lines were less harsh, and the panels were much lighter. Even dark rooms seemed brighter than day light in SSM. The artists did a good job of bringing the mood of ASM up, and showing that it was a lighter hearted and happier Spider-Man than was shown in SSM. This would not have come across in the story if not for the artists. I felt like Dorothy walking into Oz after going from SSM #31 to ASM #1, so bravo guys. I hope you can keep up the good work.
Now to get to the additional material Marvel tacked on to this issue to bump up the price tag…
"Recapturing That Old Spark"
Writer: Dan Slott & Christos Cage
Pencile: Javier Rodriguez
Inker: Alvaro Lopez
Colors: Javier Rodriguez
I’m going to start off by stating the obvious: I don’t like these kind of add-ons to an issue if it doesn’t help the book at all. Saying that, I felt this one did, mainly because this issue was about proving that the old Spider-Man is back, and nothing says that more than a classic villain. This story lets the readers know that Electro is going to be making a comeback to ASM. I know most of this is due to the new movie, but I’m okay with it. I liked the story, and it showed the kind of shit the older B-level villains have to deal with in the Marvel universe.
The thing I liked the most about this story was the art. It had a retro vibe which fit with Electro. Again, it also showed that ASM is returning to its roots, which is what the fans wanted, so good on you Marvel for this story.
The next story is also one I enjoyed.
"Crossed Paths"
Writer: Dan Slott & Christos Cage
Penciler: Giuseppe Camuncoli
Inker: John Dell & Cam Smith
Colors: Antonio Fabela
This is a story I wanted to read ever since Black Cat's run in with Spidey in SSM. I wondered what happened and was hoping to find out sooner rather than later. Marvel again helped me out. It filled in something I wanted to know and made me look back at the panels of ASM #1 to notice her appearance in the issue. It fit this issue perfectly and was to the point (which not all the add-ons were, but I’m getting ahead of myself). This was enjoyable and again brought the reader back to old school ASM.
The art was enjoyable as well. Unlike the art in the previous two stories, “Crossed Paths” art seemed just like SSM, which was good because, to Black Cat, Spidey is still the same S.O.B. that put her in jail. The art let the reader know that not everything in ASM will get back to the way it was, and that some things have changed, maybe even forever.
Now to the add-ons I didn’t like. It was so nice of Marvel to put them all in a row at the end of the book for me.
"How My Stuff Works"
Writer: Joe Caramagna
Artist: Chris Eliopoulos
Color: Jim Charalampidis
This add on let me know what Marvel truly thinks of it’s readers. I’m sorry to say, readers, that they think we are idiots. In a world where Spidey has been around for almost 52 years, there have been five movies about him in the recent past and numerous cartoons, and Marvel still thinks we need them to tell us what Spider-Man’s powers are. My response is
"Fuck You Marvel". This add-on was completely unnecessary, I know Marvel didn’t think its readers could use multi-syllable words, but this comic was asinine. That’s right, I said it like a writer bitches.
The art even showed how Marvel sees us; it was drawn and colored to look like it belongs on Nick, Jr. I get it, Marvel, you think we can’t keep up. Next time just do the readers a favor and assume we know what Spidey’s powers are.
We also know that Wolverine has claws, Cyclops shoots beams out of his eyes, and that you guys are asses.
Next up, more crap.
"Homecoming. Sort of"
Writer: Peter David
Artist: Will Sliney
Color: Jim Charalampidis
This story had no business in this book, or any book for that matter. The story was pointless. We get that Spidey 2099 isn’t in 2099, and we didn’t need this pointless story to show us that. I can see Spidey 2099 coming up in ASM when Spidey and Spidey 2099’s paths will, have, or are going to cross in some important way, but this story does not have that kind of importance.
It’s just filler to up the price of this issue, and again, Marvel, Fuck You. This story was stupid, and you should be paying me for the time it took to read.
On to the art of this crap story. Surprise, it was crap too.
The lines and inking were shit, and Spidey 2099 looked like crap. The lines showed too much detail about Spidey 2099, completely bringing me back to reality. Unfortunately, I kept reading on, and noticed the colors looked like some sort of retro/futuristic crap. It looked like Charalampidis wasn’t sure if he wanted this book to look futuristic in its color tone or retro, so he said, “fuck it, I’ll do both.” It didn’t work. I wish time travel was real like Spidey 2099 suggests, because then I could go back in time and tell Marvel, “You've got to do something about your kids!”
"Kaine"
Writer: Chris Yost
Penciler: David Baldeon
Inker: Jordi Tarragona
Color: Rachelle Rosenberg
For “Kaine”, I’m going to start with what I liked, which was the art and color. It was a beautiful looking story and enjoyed the look of each panel immensely. Unfortunately this wasn’t an art book, it was a comic book, and the story here was crap.
Are we as readers supposed to believe that after returning as Spider-Man Peter Parker has time to go to Texas to check up on a friend? This is a guy who can’t make it to dinner on time, has just come back from death, and has to figure out what happened in his absence, but he has time for a fucking trip to Texas to check up on a friend. Again, Marvel, I have to say get your shit together. This story could have made sense down the road, but not in the first issue. Maybe if you weren’t trying to make this issue worth more; you wouldn’t have devalued it with more crap.
In Closing on "Kaine", I didn’t like it.
Learning to Crawl: “Amazing Reality”
Writer: Dan Slott
Artist: Ramón Pérez
Color: Ian Herring
Crap: that is the word I use to describe this story.
One, it didn’t belong in this issue. Two, the art and coloring were horrible. Three, the story was not even good.
Let’s start with my first complaint. This was obviously another add-on to support the cost of this issue. In my opinion, it again did the opposite. It didn’t belong at all, and at the end it said to pick up ASM #1.1 to finish this crap. I don’t think so.
If you wanted me to read ASM #1.1 then you shouldn’t pull shit like this. I’m going to skip it just to spite you, Marvel.
My second complaint was the art. It was not good. I could have colored this story better if all I did was eat some rainbow sherbet and puked it over the page. The inking was bad too, but the yellowish tone just got to me. I did not like it.
Finally, the third problem with the story was that it was crap. It went nowhere and took its time getting there. I get that you want to sell ASM #1.1 Marvel, but do it with good storytelling, not by weighing your titles down with bad storytelling.
The last thing to review on this book is Inhuman #1.
Inhuman #1
Writer: Charles Soule
Artist: Joe Madureira
Color Artist: Marte Gracia
Letterer: VC’s Clayton Cowles
This review is two-fold. First off, I’m going to say that Inhuman #1 didn’t belong at the end of ASM #1. I get that Marvel again is trying to add value to this issue by adding more on to it, but Inhuman mythos is too much to tack on to ASM #1. Especially since Marvel already showed us they don’t even trust us to remember Spidey’s abilities. Saying all of this though, I did enjoy Inhuman #1, and I hope it gets people to read more Inhuman titles.
The story in Inhuman #1 was great. It filled in the gaps if you were behind a bit, and it had some great action and storytelling taking place. It developed the beautifully presented characters and made me care about what happen to the protagonists.
As you can see I’m trying not to ruin it for the reader.
The art and color were also great. It was very rich, but also harsh in tone like the story. It made me enjoy each panel immensely, and definitely made me want to buy the next issue. I liked it, so at least Marvel ended this book on a high note.
In summary, this book was like a sandwich. It had some great stories at the beginning, and one at the end with some crap in between. I still would recommend reading ASM #1, just skip the crap.
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