(Marvel Comics, 2014)
Writer: Dan Slott
Pencils: Giuseppe Camuncoli
Inks: John Dell
Colors: Antonio Fabela
Letters: Chris Eliopoulos
This is the single best issue of The Superior Spider-Man since the series began.
Think that praise is too high? Fine, Iâll qualify it.
Dan Slott has crafted one of the most memorable stories in Spider-Manâs history, and with this final arc, the end of the Superior era inches closer. Taking place a month after the previous issue, the Green Goblinâs careful planning finally comes to fruition as a goblin-centric crime wave overtakes New York City. Itâs at this point that we find Otto, distraught that something so tremendous has happened right under his nose. I have to applaud Slott for building the story to this point, making many of Ottoâs victories seem almost effortless. But for the first time in the titleâs short life, Iâm actually left wondering how Otto will get out of thisâor if he even will.
One highlight of the issue is more of Peter wandering his decimated mindscape, left with only thirty-one memories after the Parkerectomy way back in issue #9. My initial reaction to this revelation is that itâs a somewhat ingenious way to refresh the character. Itâs not quite amnesia, but itâs something of a refresh (if Slott plans to keep it as the status quo). Not only will Peter have to return and face the consequences of Ottoâs actions. He could have to relearn to be Spider-Man as well.
As for the other supporting cast members, Uatu Jackson makes a surprise cameo as Otto discovers why he hasnât been able to pick up any Goblins with his spider bots. Jameson also makes an appearance as he continues down the very dark path that Otto set him on. Weâve seen before that Jameson doesnât give in to blackmail, but weâve never seen that determination aimed so hatefully at the wallcrawler. And as another first, I actually feel like Otto deserves it.
That being said, letâs discuss the main draw of this issue and whatâs made me more excited about Spider-Man than Iâve been in yearsâthe Superior Spider-Man versus the Green Goblin. Although Slott has continually pushed the assertion that the face under the mask is indeed Norman Osborn, that means very little in a book where Spider-Man is the body of Peter Parker possessed by one of his worst enemies.
This is actually somewhat ingenious on Slottâs part, and Iâd venture to say heâs not just taunting the fanbase. Heâs highlighting not only what it means to be a superhero but what it means to be a supervillain. The evidence so far includes similar actionsâNorman tried numerous bids for the criminal underworld prior to the Gwenâs death; admissionsâthe Goblin King has said numerous times that heâs Norman; and even physical proofâthe scar where the goblin glider impaled him. But so what? Thereâs not a shred of that that couldnât be explained away. No matter how much âproofâ Slott throws our way, I wonât believe it until the storyâs over.
As for the showdown, when Otto finally confronts the Green Goblin, itâs a very calculated effort on both sides. Itâs fitting that the room theyâre in has a black and white checkered floor. This is a battle of wits, not strength. And both players are calculating ways to move pieces and to best hurt the opponent. Camuncoli does an excellent page that Iâd rather not spoil here. Itâs five horizontal panels of Spider-Man and the Green Goblin talking, in which the only changes between panels are the Goblinâs gestures. Although not the most artistically accomplished page in this comicâand trust me, there are a lotâitâs one of my favorite because it characterizes the two so well. On one side is cold and calculating Otto. On the other is the theatrical Goblin. One has smarts. The other has patience. As another pleasant surprise, this confrontation had a completely unexpected result.
If the next issues are as strong as this one, Iâm going to run out of praise by the end of the story. All Iâll say is that if this is what the entire run has been building towards, this is going to be a story people will talk about for decades to come.
Also, hereâs a kitty variant because what the hell.
Kenneth Kimbrough is a comics historian and writer. You can follow his year of making comics at kennyfromthecomicstore.blogspot.com