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Back to School: Ultimate Spider-Man #24-25

USM25CoverBack to School is a weekly issue by issue look at the beloved superhero teen comic Ultimate Spider-ManIn this week’s installment, I will be covering Ultimate Spider-Man #24-25  (2002) written by Brian Michael Bendis, penciled by Mark Bagley, inked by Art Thibert, and colored by Digital Transparency

Ultimate Spider-Man #24 kicks off with Ultimate Nick Fury (Aka the one who looks like Samuel L. Jackson.) slowly dematerializing in the counselor’s office at Peter Parker’s school. Things are very serious with the Green Goblin, and Fury says that he will get Spider-Man to try to assassinate him or Mary Jane and Aunt May will die. Peter freaks out about Fury and SHIELD knowing about his secret identity and learns some crucial backstory about Norman Osborn like that he lost a super soldier serum contract with SHIELD, which is why he tested the Oz drug on himself. Unfortunately, SHIELD can’t help Spider-Man out unless he actually threatens a civilian thanks to the rules of engagement and a prohibition on spying on Americans on American soil. Later, Norman Osborn’s limo is about to pick up Aunt May and Peter for dinner at his house, but Peter dissuades her and says he’s a creepy, bad man. Peter wants to keep her safe so he swings around as Spider-Man hoping to put an end to the Green Goblin once and for all. Unfortunately, he runs into his nemesis, who has kidnapped Mary Jane, who is Harry Osborn’s dinner guest.

After a gripping double page spread of Spider-Man and Harry’s surprise at Mary Jane being kidnapped, Ultimate Spider-Man #25 flashes back to Harry’s hypnotherapy sessions. His therapist, Dr. Warren, is a little hesitant about planting subliminal suggestions, but Norman waves him off, and then we get to see his transformation into the Green Goblin from his POV as he grabs Mary Jane and leaps into action to fight Spider-Man and a SHIELD helicopter. It’s super trippy, and he sees Spider-Man as an actual spider. They fight for a while until Green Goblin drops Mary Jane off the Queensboro Bridge, which is when the SHIELD sniper in the helicopter finally starts firing at him. In an homage to “The Night Gwen Stacy Died”, Spider-Man catches Mary Jane with his web just as she’s about to go splat, and her fate remains ambiguous as the issue ends.

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Other than a badass extended and logical to the overall plot Nick Fury cameo, the big highlight of Ultimate Spider-Man #25 is getting to see the world from the skewed scientific, religious, and very drug addled perspective of Norman Osborn. Oz truly fucks you up. Artists Mark Bagley and Art Thibert also channel their Clone Saga days and have Norman see Spider-Man as more spider than man with all kind of weird appendages and extra arms. The colorists at Digital Transparency add to the hallucinations with cloudy little goblin babies whispering the chemical formula for Oz with the help of eerie lettering from Richard Starkings.

Writer Brian Michael Bendis leaves the usual banter, quips, or villainous speeches and instead of makes the subconscious of Norman Osborn conscious with all kind of character defining buzz words. Lines like “He’s your son” for his relationship with Peter to “Fire eyes” about his abilities help flesh out Norman Osborn’s Green Goblin persona and the added angle of him as a failed military contractor and scientist makes him a more interesting foe than the non-verbal Hulk-lite of the first arc of Ultimate Spider-Man. It also more than makes up for the multiple reused panels during Harry’s hypnotherapy session although that could have been a storytelling choice to show how impassive, compliant, and basically buzzed out on lithium he is.

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No they didn’t…

The Green Goblin shares blood with Spider-Man, and Peter Parker used to look up to Norman Osborn and is friends with his son. This deep connection makes him an excellent arch-nemesis, and adding SHIELD and a glimpse at the larger Marvel Universe is like having an ice cream after dinner. However, in the endgame of these middle issues, Bendis and Bagley go for the typical damsel in distress deal with Mary Jane instead of letting Peter and her have a genuine conversation about their relationship. Then, they do an homage to “The Night Gwen Stacy Died” (Except trading Gwen for MJ, and the George Washington Bridge for Queensboro.) with a similar angle and sidelines all of these relationship complications plus some fun banter with Harry at his house into a typical Peter saves MJ situation a la the entire Sam Raimi Spider-Man trilogy .

Even though the nod to “The Night Gwen Stacy Died” was a little too on the fanservice-y side and using a female character to just further a male character’s arc is a big problem with superhero comics, it makes story sense for Bendis and Bagley Green Goblin to come after MJ and raise “Legacy’s” tension level as an arc. The Green Goblin knows Spider-Man’s secret identity as Spider-Man and has clearly threatened Aunt May and MJ with death if he puts the costume on again. So, when he sees Spidey in action, the Green Goblin instantly grabs Mary Jane, who is a guest at his house. The constantly inviting Aunt May and Mary Jane to dinner is just a cover to basically hold them hostage and blackmail Spider-Man. Norman Osborn is pretty clever when he isn’t injecting untested Oz formula directly into his veins multiple times every day. Also, Mary Jane getting kidnapped and Aunt May being threatened cause Spider-Man to have second thoughts about being a hero, and the usual happy web swinging double page spread is having a total existential crisis about the cost his double life has on his loved ones. And Mary Jane’s kidnapping and possible death definitely throw gasoline on the current garbage fire that is his superhero life.

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So, Nick Fury shows up in Ultimate Spider-Man #24, and it’s pretty cool once Peter Parker stops jumping around and saying super goofy stuff like “I would like to see some form of identification.” Fury’s presence is an ice cold dose of reality in young Peter’s face and a reminder that he doesn’t do his superhero thing in a vacuum. Even though he’s defeated the Kingpin, Doc Ock, and Kraven the Hunter plus numerous small fry baddies, Spidey has gone about in a sloppy way so it’s been easy for them to keep tabs on him. The appearance of Fury and his little history lesson about the super soldier serum and Norman Osborn make Spider-Man seem small and insignificant in the big picture of the Marvel Universe. However, he’s also kind of a scientific miracle, which is why Fury and SHIELD would be experimenting on him if he wasn’t a minor. For once, Peter’s youth and inexperience do him some good.

Nick Fury’s big plot point in Ultimate Spider-Man #24 is that he and SHIELD can’t take down the Green Goblin unless he has physically attacked a civilian aka MJ or Aunt May. This is because SHIELD aka the NSA with ray guns isn’t allowed to spy on Americans on American soil. This made me laugh darkly because, in 2002, President George W Bush signed an order to allow the NSA to monitor telephone calls and emails of American citizens. Bendis and Bagley do some spot on political satire in the middle of a Spider-Man and Green Goblin story and continue to write Spidey and Peter as a pure example of heroism in a profession dominated by backstabbers, liars, and sociopaths like the cast of Mark Millar’s Ultimates and Ultimate X-Men. Bagley gives Peter some very angry expressions on his face when Fury keeps telling him that SHIELD isn’t allowed to attack Norman Osborn or bring him in. He’s the ordinary human who is hemmed in by a slimy web of deceit and political machinery in cahoots with corporations for mutual benefit so the slap he delivers to Fury when he lectures about “optimism” is well-earned.

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However, Ultimate Spider-Man #24-25 aren’t all about politics, and Bendis fits in Fury and SHIELD’s presence in the story like a well-placed in a superpowered jigsaw puzzle. They don’t wear out their welcome. It makes a lot of sense that a Hulk-level threat would be on their radar. Above all, “Legacy” is a crucial, personal part of Spider-Man’s heroic journey, and the hallucinations in Ultimate Spider-Man #25 plus his repeated use of the word “responsibility”  confirm beyond a shadow of a doubt my theory that Norman Osborn is the dark mirror of Uncle Ben. Spider-Man’s powers came from the Oscorp spider and Osborn’s failed experiments, but his heart and devotion to using abilities responsibly to protect society come from Uncle Ben’s words to him in the first story arc. The only responsibility that Osborn knows is to further his power and rebuild his corporate empire by any means necessary, including kidnapping his son’s friend, hypnotizing his own son, and causing general mayhem. And, in his eyes, Spider-Man is just a means to enforce his will and also physical proof that, hey, maybe this Oz thing actually worked. He thinks Spider-Man owes something while Ben loved Peter selflessly even when his nephew acted like a jerk to him. *Pause for feelings here*

The homage to “The Night Gwen Stacy Died” in Ultimate Spider-Man #24-25 is pretty obvious, and I’ve mentioned it a few times. However, Brian Michael Bendis and Mark Bagley also riff off another classic Spider-Man story, the infamous Harry Osborn is a junkie story in Amazing Spider-Man #98 that Stan Lee and Gil Kane published without the Comic Code’s seal of approval. But this time, Norman Osborn is a drug addict, and Bendis and Bagley don’t tell the typical “drugs are bad” PSA and tell the tale of a one percenter whose corporation is flagging so he turns to substance. Except instead of fine grade cocaine, his drug of choice makes him a hulked out psychopath kind of like Jose Canseco with a Marvel twist and no baseball ability. There’s this whole interplay between drugs, power, and corruption that turns the Green Goblin into Tony Montana with horns and is a more interesting, or at the very least, entertaining look at a drug addiction story in a superhero context. Sorry, Stan and Gil.

Ultimate Spider-Man #24-25 are solid middle chapters of the “Legacy” arc as Brian Michael Bendis and Mark Bagley show the world from the Green Goblin’s POV for a few pages and add some political satire and big picture stuff in a Nick Fury guest appearance. The ending of issue 25 is very “Women in Refrigerators” as Bendis goes from developing MJ’s character to victimizing her although luckily there are two issues left to possibly improve on this…

Back to School: Ultimate Spider-Man #22-23

Back to School is a weekly issue by issue look at the beloved superhero teen comic Ultimate Spider-ManIn this week’s installment, I will be covering Ultimate Spider-Man #22-23  (2002) written by Brian Michael Bendis, penciled by Mark Bagley, inked by Art Thibert, and colored by Digital Transparency

Ultimate Spider-Man #22 kicks off with a nice cold open as Spider-Man tracks down some roller skating purse snatchers and easily defeats them before he has to rush back to science class. This is because he’s still grounded, and his lunch period at school is the only time he can be a superhero. He and Mary Jane have a very animated conversation about his grounding and his battle against Kraven the Hunter and Dr. Octopus ending in a joke about kissing underneath the bleachers and the surprise return of Harry Osborn. Harry is excited to see Mary Jane and Peter and invites him over to have dinner with his apparently not-dead father. The limo that Norman Osborn sends for Peter impresses Aunt May so much that she puts his grounding on hold for a night. However, this dinner is very much a trap as Peter and Harry go from chatting about girl to Norman telling Peter that he needs to stop being Spider-Man and transforming into a new, improved Green Goblin, who is verbal and can glow fire.

Ultimate Spider-Man #23 goes a little non-linear opening with Spider-Man freaking out about the Green Goblin and flashing back to Norman Osborn saying he keeps Harry docile with hypnotherapy and showing Peter up and close and personal his transformation from the Green Goblin back to Osborn. He also threatens to kill Aunt May and Mary Jane if Spider-Man doesn’t do as he’s told. Then, they watch Harry and Norman’s Dateline interview where they pin the attack on Oscorp on the now dead Justin Hammer, which is Norman Osborn’s lying reason for coming back to the public sphere. This causes Peter to freak out and run home where he has a touching conversation with Aunt May about how he had a bad time at the Osborns and feels bad lying to her. May chalks up his lies to him feeling nervous about his first girlfriend, and Peter is about to tell Mary Jane about what went down at the Osborns when Gwen Stacy knocks on his door. She has nowhere to stay because her dad’s working all night, and her mother has left them. Aunt May lets Gwen stay over and makes her and Peter eggs and has a nice chat with John Stacy in the morning. At school, things are a little weird, and the issue ends with the “grief counselor” Miss Bradley talking to Peter frankly about his life as Spider-Man and Norman Osborn’s new Green Goblin form. It’s implied she works for SHIELD.

In Ultimate Spider-Man #22-23, the opening issues of the “Legacy” story arc, Brian Michael Bendis, Mark Bagley, and Art Thibert show that Norman Osborn is scary apart from his Green Goblin persona. He is a master manipulator who uses a lethal cocktail of gaslighting (He tells Harry that his mother’s death warped his perception of reality.) and hypnotherapy disguised as regular therapy to keep his son Harry compliant. This manipulation extends to the Parker family as Peter accepts his dinner invite even though he is extremely uncomfortable meeting with someone who tried to kill him and greets him with video clips of his last battle with Dr. Octopus. Bagley draws Norman Osborn as towering over Peter like some kind of stern, well-built father figure, and Thibert goes to town on the thick, dark inks on his face. He isn’t off the wall crazy like he was in the first arc of Ultimate Spider-Man with every move, media interview, and threatening word carefully calculated. Osborn’s transformation to the Green Goblin is still monstrous and Hulk-like, but he has power over it. This combination of brains, brawn, and general sociopathy easily make “Green Goblin 2.0” Spider-Man’s most formidable foe yet because if Peter suits up to fight him, his loved ones could die.

In contrast to Norman Osborn’s manipulative bastard of a parent, Aunt May exhibits a more even measured and empathetic approach  to parenting in Ultimate Spider-Man #23. She cares about both Peter’s well-being and privacy providing a listening ear and warm hug after he returns early from the Osborns and even goes easy on him with the whole grounding thing. On paper, that might make her sound like a pushover, or a move from Bendis to give Peter more time with Mary Jane or as Spider-Man. However, the intensely detailed close-up art of Peter and May tells a different story showing Peter as a vulnerable young man, who needs support in a world where powerful, evil men want to kill him.

May’s empathy also extends to the Stacy family, and she sees John as a good-hearted man and honest cop, who is in over his head with the whole single parent thing, especially when that daughter is the firebrand Gwen. She goes from almost lecturing Peter about having a girl over to putting on her house coat and whipping up some tasty eggs for everyone because even the Ultimate Universe Aunt May slays at making breakfast. Gwen popping in on Peter in his basement while he’s wearing his boxer shorts and giving him an attack hug right in front of MJ does make Mary Jane slightly jealous although Gwen’s line of “Hold on to this one, M.J. Solid gold.” assuages her fears a little bit. Bagley tilts Mary Jane’s last panel in Ultimate Spider-Man #23 as Peter gets sent to the principal’s office, and this silent image shows how uneasy she feels about him being Spider-Man, his grounding, and the whole Gwen Stacy showing up at his house in the middle of the night.

Before this awkwardness and the whole return of Norman Osborn drama, Bendis and Bagley give Peter and Mary Jane some fantastic romantic chemistry turning the middle part of Ultimate Spider-Man #22 into a scene from a teen comedy. (Their chat at the football bleachers is yet another example of Marc Webb taking a scene featuring Peter and MJ from Ultimate Spider-Man and using it for Peter and Gwen.) Bagley shows their budding romance through body language and positioning as Mary Jane is glued to him for seven straight pages while they discuss his superhero fight and the overall suckiness of his grounding. He does close-up of Mary Jane’s eyes when Peter talks about how he wants to respect his aunt and not have her sneak over, and it makes you feel really bad for them although Peter definitely deserved his punishment. And they have a shared moment of happiness when Harry makes his big return that is kind of overshadowed by some really juvenile gay jokes about Flash Thompson even though it’s nice to see his toxic masculinity and objectification of women (See panels where he’s pawing at Liz Allen.) taken down a peg.

Usually, Bendis and Bagley are on the same page with the quick fire dialogue and easy to follow panels featuring characters’ faces and big body movement with some speed lines to spice up action sequences. However, they really drop the ball in a fairly crucial double page spread in Ultimate Spider-Man #23 where Harry, Peter, and Norman watch Norman Osborn’s big comeback interview. Thematically, it’s cool to see yet another villain manipulate the press and spin the events of the “Double Trouble” arc in a way that makes him look like the victim unlike Justin Hammer’s inept attempts at lying to the media. However, the reading order of the page goes left to right, right to left, and some horrific panels of Peter sweating and freaking out stuck under a wall of text. Norman’s rise to power, and Peter’s return to powerless is trapped under an onslaught of a couple pages of really bad storytelling. Luckily, Bendis and Bagley salvage things with the Gwen Stacy subplot and an incredibly trippy SHIELD (without saying those words) cliffhanger showing that the Spider-Man vs. Green Goblin isn’t just a mere grudge match, but affects the big picture of superhumans in the United States.

However, Ultimate Spider-Man #22-23 don’t fall into the trap of the “interconnected universe” like Iron Man 2, and Norman Osborn works as a villain because of his personal connection with Peter, who is in a way his son because he got his powers from his Oz formula. Norman also still admires his scientific mind and intellect that was much greater than his biological son Harry, who he sees as weak and spoiled so he makes him docile with hypnotherapy. Spider-Man doesn’t fight the Green Goblin in any of these issues, but the fact that he can be Norman Osborn, ruthless and corrupt businessman, and a more powerful version of the Green Goblin definitely increases his threat level. As both Norman and the Goblin, he towers over Peter and taunts him with his new powers. Like the Kingpin in the second arc of Ultimate Spider-Man, this is a man, who thinks he’s untouchable, and he might be able to back it up with those creepy flame abilities.

After “Double Trouble” introduced three villains (Two were jokes, to be honest.) in rapid succession, Brian Michael Bendis and Mark Bagley go for a more focused approach in “Legacy”, which is influenced by the classic Spider-Man/Green Goblin stories of the late-1960s when Harry Osborn was a drug addict. They use the board clearing plot of the last arc to pave the way for Norman Osborn’s triumphant return and immediately put Peter on the defensive spoiling the return of his friend Harry. A villain with the Hulk-like brawn of the Ultimate Green Goblin and the mind of Norman Osborn is much more formidable one than the non-verbal Green Goblin that appeared in the first arc of Ultimate Spider-Man, and it’s exciting to see Peter cope with a foe that knows the people he cares about. And speaking of those people, Bendis and Bagley are careful to include scenes with Mary Jane, Aunt May, and even friend/potential love interest/general wild card Gwen Stacy, and with his grounding in Ultimate Spider-Man #22, there is plenty of time for interactions and character development.

With the exception of a goose egg of a double page spread in Ultimate Spider-Man #23, Ultimate Spider-Man #22-23 is a fantastic start to the “Legacy” arc with Brian Michael Bendis and Mark Bagley setting up Norman Osborn as Spider-Man’s physical and intellectual superior. It’s also nice to see a genuine heart to heart between Peter and Aunt May as well as the slow build romance between Peter and Mary Jane, which gets complicated by his double life, grounding, and the return of Harry Osborn.

Back to School: Ultimate Spider-Man #18-19

USM18CoverIn issue 18, the midpoint of Ultimate Spider-Man’s third arc, Spider-Man finally gets to throw down against Dr. Octopus. He starts confidently with jokes and webbing to Ock’s tentacles, but then he is the first Spider-Man villain to break free from his web fluid and starts beating on him. Dazed and confused, Spider-Man ends up on the outside of the lab surrounded by NYPD officers, who grab him and immediately get into a verbal fight with SHIELD about who’s in charge of bringing him in. In the hubbub, Spider-Man escapes and evades some NYPD divers, who only get a big piece of his costume, and returns home where Mary Jane helps patch him up.  They watch TV, and he’s angry that Justin Hammer is using him as a scapegoat for the attack on his nuclear plant so he doesn’t have to answer questions about his relationship with Otto Octavius. Then, Mary Jane describes herself as “the Betsy Ross of superheroes”, gives Peter a good night kiss and goes home. The issue ends with Aunt May coming home a little early, and Peter is afraid she’ll discover his secret identity.

With enough ninja maneuvering and awkward one-liners about bowel movements at the beginning of Ultimate Spider-Man #19, Peter avoids spilling his secret identity to Aunt May while losing a chance at tasty chicken nuggets from KCC. (Because apparently only DC is allowed to use KFC and Colonel Sanders in their comics.) The scene shifts to school where footage of Kraven the Hunter tracking Spider-Man’s scent is being filmed. Gwen Stacy asks Peter about his bruises, but he deflects her questions while Kraven does his scratch and sniff thing. Later, Mary Jane sews Peter a new Spider-Man costume and leaves abruptly after a conversation where she thinks that he might be romantically interested in Gwen. All the while, Justin Hammer is dodging reporters, dealing with a PR nightmare, and is confronted by Spider-Man, who calls him out for making him a target of the press when Dr. Octopus is the real bad guy. Hammer offers him money to kill Octavius, but Spider-Man doesn’t take the bait and hitches a ride on top of his limo because Hammer is going to his New Jersey lab to negotiate a deal with Dr. Octopus. The issue ends with Hammer being trapped as Dr. Octopus has called a press conference to expose him while Kraven is getting to ready go to Jersey and hunt Spider-Man in the “wild”.

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The media isn’t just Peter Parker’s day job (Or after school part time job in this version of Spider-Man.) in Ultimate Spider-Man #18-19, but ends up driving how he feels and some of Brian Michael Bendis’ plot too. It’s a major stressor on him, and Mark Bagley and Art Thibert draw several scenes of  Peter muting the TV or throwing objects at it when news reporters accuse him of being a nuclear terrorist or hope that reality TV star Kraven the Hunter kills him. He’s still the shiny new thing that gets people buying newspapers and turning on their TVs and the star of the 24 hours news cycle because everyone knows bad news is more appealing and sells more paper than good news. Instead of laughing off the press coverage, Bendis has Peter react like an actual human being, who has to see negative things about themselves flashing 24/7. He does make jokes about Daredevil looking like a tool and Iron Man’s more positive media image continuing his coping mechanism of humor in scary or annoying situations with or without the mask.

On the flip side and even with metal appendages fused to his body, Dr. Octopus spins the media into almost his favor, which is kind of amazing for a murderer and domestic terrorist. It’s maddening to see Peter fight with the media like it’s a supervillain and see his antagonist win them over and expose the seriously-needs-to-hire-a-new-PR-person Justin Hammer in a single cliffhanger page. Dr. Octopus’ motivation is revenge against the man who set him up to fail as a corporate saboteur, but he wants to publicly humiliate Hammer, which is honestly more painful than an appendage to the heart.

There is more suspense and a feeling of danger in the scenes when Spider-Man is evading Dr. Octopus, the NYPD, and SHIELD agents than in the whole government conspiracy/cover-up/amnesia plot that has them chasing Spider-Man in the first place. Bendis slurs Spider-Man’s words in the caption boxes, and inker Art Thibert draws attention to the bruises that cover his body after almost being crushed to death by Dr. Octopus. After the fun opening flourishes, Doc Ock physically destroys Spider-Man, and the usually loquacious webslinger goes monosyllabic because of the pain.The combination of injuries and the emergence of heavily armed NYPD cops almost out of nowhere puts Spider-Man way on the defensive, and an arrest or unmasking seems imminent.

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It’s to Bendis and Bagley’s credit that they lean on the internal sniping between the NYPD and SHIELD over whose “collar” Spider-Man is and use this to give Spidey a quick escape instead of him just running away on his own steam. Bagley delivers a beautiful nine panel grid with a muddy palette from coloring studio Digital Transparency showing the Herculean effort that Spider-Man makes to elude the NYPD divers. The water is no sanctuary for him, and the sequence captures the difficulty of every underwater video game level delivered in a single comic page as Spidey strains, swims, and ends up sacrificing his costume for the cause. He might be waterlogged, but Peter Parker is still a fairly clever teen and will do anything to protect his friends and family from supervillains and shady government agencies.

Speaking of friends, Mary Jane Watson gets her most extended panel time since the excellent “Confessions” standalone issue in Ultimate Spider-Man #18-19. The scenes where Mary Jane helps patch up Peter while trying to avoid adults definitely inspired some of Gwen Stacy and Peter Parker’s scenes in Amazing Spider-Man as played with excellent chemistry by Emma Stone and Andrew Garfield.  The banter between them is nice with Mary Jane suggesting a self-defense class to help him in supervillain battles and asking to wear the Spider-Man costume for their social studies superhero assignment. She very much plays a support role in this storyline taking care of Spider-Man’s bruises and costume issues even though Bendis and Bagley don’t skimp on the jokes or romance.

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Then, in Ultimate Spider-Man #19, they decide to introduce the Peter/Gwen/Mary Jane love triangle in a kind of forced, yet relatable way. At school, Gwen asks about Peter’s bruises and if they were caused by a bully, but he and Mary Jane do the whole partners-in-crime and play off his reputation as a klutz and tell her that he simply fell down the stairs. However, this little encounter kind of blows up in Peter’s face when he describes Gwen as “interesting” when Mary Jane asks if he likes her. The wording of her question betrays Mary Jane’s insecurity in their relationship and leads to her constantly saying, “No” to Peter’s questions as she leaves immediately after fixing up the costume. Bagley nails her emotional by giving her closed off body language and showing her in side profile instead of being closer to Peter. This is yet another issue he has to deal with to go with multiple supervillains, the cops, SHIELD, and the fourth estate. But I like that Bendis shows the sheer awkwardness of transitioning from friends to being in a romantic relationship and takes a more natural, slow burn approach to things.

Kraven the Hunter continues to be the odd man out in this story arc. I definitely read him, and Bendis seems to write him as a spoof of reality TV extreme outdoorsman with a deadly twist. The Ultimate Universe tried for a kind of “realism” in its takes on classic Marvel villains, but perhaps, he would have better been served as a colorful mercenary character than Bear Grylls in a loincloth. Some of the characters, like Gwen, react to him in this way and make snarky quips while he’s “stalking” his prey at Midtown High. He’s also depicted as a lady’s man and gets caught having sexy time with reporter Betty Brant in his trailer before he supposed to film. This is the one time he breaks his serene, intense hunter character. Maybe, Kraven is the Daniel Day-Lewis of reality TV stars. For now, he’s yet another obstacle in Spider-Man’s way as he scurries down the New Jersey Turnpike atop Justin Hammer’s limo for a grudge match with Dr. Octopus.

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In Ultimate Spider-Man #18, Mark Bagley shows that he can draw the hell out of a Spider-Man fight scene using old tricks from the Silver Age, like the classic Spider-sense and targeting Dr. Octopus’ eyes, to legitimate martial arts moves like Spidey leading with a blow to the temples. Brian Michael Bendis is right beside with quips about Dr. Octopus getting his powers from a radioactive toilet snake, his bowl cut, and fashion sense. But, then the arms burst through the page and Spidey’s webbing, and it turns into a fight for survival. Ock’s arms are frightening, not silly, and Spider-Man’s narrative captions corroborate this feeling. Bagley makes them bust through the page and shows that he is totally outclassed. But, because Dr. Octopus’ attacks on Hammer’s facilities, could lead to a total nuclear meltdown, Spider-Man has the responsibility to take him out in some shape or form.

The meta-theme of Spider-Man being the optimistic, everyman hero in the face of corporate and political corruption continues in Ultimate Spider-Man #18-19. It simmers under the surface while he gets the stuffing beaten out of him by Dr. Octopus and comes to the forefront when Hammer offers him money to take out the not so good doctor. In his experience, and even extending to the Ultimates, who are on the government payroll, superhumans are freakish mercenaries. Hammer thinks Spider-Man is just the same although he is a classic, self-sacrificing hero, who protects the city and people he loves even if he ends up battered, bruised, and drawned and quartered by morning talk shows. Mark Bagley shows this visually when he flip kicks out of a scrum of arguing SHIELD and police officers. This symbolizes his idealism cutting through the bullshit of cover ups, harnessing superpowers to win the War on Terror or run a criminal empire. It also places Brian Michael Bendis and Ultimate Spider-Man in a conversation with Mark Millar’s Ultimate X-Men and Ultimates without forced crossovers and detracting from Spider-Man’s coming of age tale.

Mary Jane is relegated to a support/jealous girlfriend role and Kraven continues to be an iffy supervillain, but Brian Michael Bendis and Mark Bagley craft a suspenseful pair of issues in Ultimate Spider-Man #18-19 as Spider-Man struggles in his first matchup against Dr. Octopus and also has to deal with other things, like cops, the media, SHIELD, and keeping his secret identity. Putting Spidey through the wringer and giving him moral dilemmas usually leads to storytelling gold. These comics definitely prove this with the webslinger barely flying by the seat of his pants except when it comes to Justin Hammer, who has more money than any kind of marketable villain or business skills.

Back to School: Ultimate Spider-Man #14-#15

USM14CoverBack to School is a weekly issue by issue look at the beloved superhero teen comic Ultimate Spider-ManIn this week’s installment, I will be covering Ultimate Spider-Man #14-15 (2001-2002) written by Brian Michael Bendis, penciled by Mark Bagley, inked by Art Thibert, and colored by Digital Transparency

Welcome to “Back to School”, a weekly column where I break down the fan favorite superhero series Ultimate Spider-Man by Brian Michael Bendis, Mark Bagley, and several other artists that was a huge influence on the recent, critically acclaimed Spider-Man Homecoming film. When I first read Ultimate Spider-Man in 2010, I was a high schooler and just a couple years older than Peter Parker in the comic.  Almost seven years later, I’m really excited to see what my older, if not necessarily wiser self thinks about this teen soap opera meets longform superhero epic starring Peter Parker and later Miles Morales as Spider-Man. (Also, I’m heading to graduate school in the fall so this column title is semi-autobiographical in a way.)

I tried to write about Ultimate Spider-Man in its entirety 2013 for Sequart, a publisher of excellent books and documentaries on comics creators like Grant Morrison, Warren Ellis, and Chris Claremont. Unfortunately, I only made it to issue 13, a classic story where Peter Parker reveals his secret identity to Mary Jane Watson. This is why I’m starting “Back to School” with issue 14, which kicks off the “Double Trouble” storyline, not issue 1.

And who really wants a rehash of a rehash of Spider-Man’s origin…

Ultimate Spider-Man #14 kicks off with Peter Parker’s civics (I guess) teacher giving them the on the nose assignment of delivering an oral report as either a real life superhero or one of their own creation. It cuts to Otto Octavius, who we find out is being held in a secret installment, and has eight arms of an exoskeleton he patented grafted to his body. He was injured in the Green Goblin’s attack on Oscorp several issues ago. Back at Midtown High, it’s pep rally time, and no one is invested. Instead, Peter has a discussion about superheroes with Mary Jane, Kong, Flash Thompson, and Liz Allen, who doesn’t like mutants because of something with her uncle. Then, Gwen Stacy makes her first appearance and shows them up in intensity and knowledge. In the super secret lab, Dr. Octopus realizes that the scientists who were supposedly saving his life were actually experimenting on him with his own tech, and he goes on a violent rampage. The issue closes with Kong laying on his bed and putting together the pieces that Peter Parker is Spider-Man.

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Ultimate Spider-Man #15 begins with a rather hackneyed take on a slasher movie when Dr. Octopus kills a sweaty, blonde woman, who is living in his old apartment. Then, it’s back to school where Kong is playing Agent Scully and feeding Flash and Liz evidence that Peter Parker is Spider-Man like the fact that he was bitten by a spider, randomly became good at basketball, and beat Kong and Flash up. However, Peter’s cover remains intact when he takes a literal kick to his ass from Kong instead of dodging it with his powers. Gwen Stacy won’t stand for this and ends up threatening to stab Kong with a switchblade that falls out of her pocket. This leads to the principal calling her dad John Stacy, who is the primary detective investigating the previously mentioned blonde woman’s murder. There is also a Daily Bugle subplot where Spider-Man pretends to attack J. Jonah Jameson, and he faints. On a more serious note, Ben Urich is writing a story about the murders and thinks Dr. Octopus is a suspect because he was the previous owner of the apartment and also didn’t actually die in the attack on Oscorp. Jameson is skeptical, and the issue ends with Doc Ock ready to go on a rampage. Uh oh!

I could say this about most issues of Ultimate Spider-Man, which is a predominantly character driven book except when Bagley drew a whole issue of Spidey fighting Venom because symbiote power, but he and Bendis do a great job of making the non Mary Jane supporting cast interesting. First up is Kong, who gets to be the page end cliffhanger despite not being a nefarious supervillain.

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Kong is pretty clueless and insensitive towards both Peter Parker and mutants. He can’t really process their existence and thinks something should be “done” to them. Bagley shows this by giving him awkward facial expressions and gestures during the conversation about the superhero assignment unlike Peter’s determination to defend mutants and superbeings. However, like Shakespeare’s Fool, he has the wisdom and insight to see the rise of superheroes as a harbinger of the apocalypse, which ended up happening in the terrible 2009 Ultimatum storyline.

This insight extends to Kong piecing together the events of the past 14 issues and realizing that Peter Parker is Spider-Man in a great flashback sequence that looks like an old VHS tape thanks to the colorists at Transparency Digital. Memories are like a movie in my head, and Bagley and the colorist transpose this feeling to the comic. The most obvious clue is Peter Parker going from Carlton Banks to LeBron James in basketball skills as well as the broken desks and the fact that he flat out broke Flash’s hand. Even though Liz and Flash don’t believe him, kudos to the big guy for his common sense and deductive skills. And of course, he has this epiphany while a copy of Maxim magazine is lying across his chest.

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Mark Bagley gives Gwen Stacy quite the intro in Ultimate Spider-Man when she jumps into Peter and his frenemies’ discussion about superheroes and mutants with a thoughtful monologue about how they’re like the meteor, and we’re like the dinosaur. (This would later be disproven, oops.) She literally fills the page. But Gwen’s not a doomsayer and thinks that the dawn of superheroes will motivate human beings to be the best at whatever they’re good at and not be lazy bums. “Everyone has superpowers” is her thesis statement.

This well-articulated theory of superheroes sounds a lot like Grant Morrison, especially his then-contemporary work on JLA and New X-Men. The mutant as meteor metaphor seems ripped from Morrison and Frank Quitely’s “E is for Extinction” storyline of New X-Men where it’s revealed that humans are going extinct and will be replaced by homo superior aka mutants. The whole everybody having superpowers spiel reminded me of the ending of Grant Morrison’s JLA where the entire population of Earth gets special abilities to fight the villainous, Mageddon. It’s also a sentiment that wouldn’t be out of place in his Supergods aka the best self-help book ever written disguised as a memoir/history of superhero comics.

Sounding like someone who has read Grant Morrison comics instantly makes Gwen Stacy the coolest character in Peter Parker’s supporting cast. She isn’t the shy, blushing, headband wearing girl from the Stan Lee and John Romita Sr, but immediately plays an active role in the school plotlines, including standing up for Peter against bullies. Bendis and Bagley also introduce an interesting family dynamic between her and her policeman father John Stacy, who had previously appeared in the first arc of Ultimate Spider-Man. The combo of a bright, yet rebellious punk rock daughter and hard nosed single dad cop father could make an interesting comic in and of itself.

John Stacy is the connective tissue between the Dr. Octopus murders and the high school drama plots, but has quite the personality just like his daughter, Gwen. He tells off Midtown High’s principal on the phone when their tone gets “accusatory” and points out the ridiculousness of her being sent home when he’s at work and can’t discipline or talk to her. Bagley draws John as a strong jawed, go-getter homicide detective like Jimmy from The Wire, but he’s a little exasperated when he gets his case interrupted by a call from the school and the press.

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Yes, John Stacy and ace reporter Ben Urich, who recently wrote an article that caused the Kingpin to go into exile, face off in Ultimate Spider-Man #15, and it’s delicious. Ben is trying to do a story for the Daily Bugle on the murder, but John doesn’t serve up any quotes, only sass. He tells Ben off for the Kingpin article and said that “300 goombahs” are running loose and wreaking havoc around New York. It goes back to the old question of if organized crime is better than chaotic, disorganize crime in the scheme of things. These one-liners establish John as a hard edged, seasoned police detective who isn’t idealistic, and just does his job well. He’s the kind of guy who would call open murder cases “red balls” and easily solved ones “dunkers”. (Oops, most of my knowledge of homicide detectives comes from the works of David Simon.) The inclusion of John and Daily Bugle figures, like Ben Urich and J. Jonah Jameson in “Double Trouble”, show that Brian Michael Bendis hasn’t abandoned his roots in the crime genre even though Ultimate Spider-Man is a bright, splashy superhero comic.

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For the “origin” of Dr. Octopus, Bendis and Bagley dip into the horror genre to make him a slightly sympathetic figure.  There’s a little bit of Frankenstein’s Monster and a little bit of Cronenberg body horror when he first pops up in Ultimate Spider-Man #14. Bagley makes sure you can see some of his innards and his almost blind eyes from the optic nerve trauma he suffered in the Green Goblin’s attack. The reveal of the arms show that Octavius isn’t a patient recovering in a hospital, but an experiment to be poked, prodded, made fun of, and eventually profited on. He’s a brilliant scientist, who became a monster. And this monstrousness is being exploited for gain and not being cured or treated at all. Dr. Octopus is a killer, but his first murders are kind of justified revenge killings of people that treated him like a lab rat and not a human being beginning by calling him Dr. Octopus and not by his real name.

On the flip side, Ultimate Spider-Man #15 uses the horror genre in a pretty cheap way. There’s an opening scene where Dr. Octopus slaughters an unnamed, attractive blonde woman, who is exercising. There’s tension or fright to the scene because it’s one we’ve seen hundreds of times. Bendis and Bagley are trying to do the first ten minutes of Scream with a Spider-Man villain, but it feels more like one of those slasher flicks that is packaged onto those “10 Great Horror Movies” DVDs and sold for $5 at your local Walmart. The scene is a bad one, but it also makes Octavius less of a sympathetic villain and more of a serial killer with an octopus gimmick, which is selling him very short.

In the first couple issues of “Double Trouble”, Brian Michael Bendis exhibits some cleverness and turns a dangling plot thread and a possible plot hole into, well, a plot. Otto Octavius popped up in the first arc of Ultimate Spider-Man as one of Norman Osborn’s scientists, and he gets brought back in the nick of time as a scientist/villain, who was forcibly experimented on instead of Osborn, who took on the Oz formula (Super soldier serum) of his own free will. The U.S. government in the Ultimate Universe is pretty shady, and reporter Ben Urich knows this when he uses anonymous sources to find out that Octavius was held in a black site called (*groan*) the Octagon. These places are yet another reason why Peter Parker has only told Mary Jane about his secret identity because the government would likely run experiments on him like they did with Otto Octavius or force him to join the Ultimates and use his powers to help fight the George W. Bush era War on Terror.

The connection to Oscorp is also an organic way to create a villain instead of just having a random mad scientist with octopus arms show up. Peter and Octavius also met when Harry brought him over for a tour of Oscorp so there’s a personal dimension to be exploited when they square off later.

I already mentioned that Kong, who is the not the smartest student at Midtown High, realized that Peter Parker was Spider-Man all by himself. This is Brian Michael Bendis sort of covering his own ass because Peter Parker has done a terrible job keeping his secret identity under wraps, especially with the whole miraculously being good basketball thing. But he plugs the plot hole in one fell swoop when Peter takes a drop kick from Kong straight in his behind complete with painful facial expressions and speed lines from Mark Bagley and Art Thibert. It’s also a growing moment for him as he gets hurt for his secret identity and sets up Gwen Stacy as an anti-bullying badass. This one kick covers up a multitude of “sins” in the annoying Cinema Sins sense…

In Ultimate Spider-Man #14-15, Brian Michael Bendis and Mark Bagley draw attention to the varied supporting cast of Peter Parker and also incorporate the crime and horror genres into their teen superhero/romance saga. It’s a hell of the way to start the “Double Trouble” arc, and they make a hallway drop kick more suspenseful than a man with mechanical octopus arms wrecking a random apartment.

Review: Amazing Spider-Man Renew Your Vows #3

asm ryv003Spider-Man is obviously one of comics most popular characters, but few perhaps take the time to consider why that is.  Although he is superpowered, he is also unquestionably still a street level character, not really all that capable of taking on bigger threats, but this ends up being part of his appeal, as he faces off against anyone and everyone who is a threat, whether big or small.  At the same time, the character’s popularity and characterization have made him one who is difficult to drop in team books.  Although he has served as a member of the Avengers and the Fantastic Four, it is usually under the auspices of getting a bump in sales from Spider-Man readers and not so much because he is a good member for the team.  These are dynamics which are important to deal with in the mainstream universe, is also one which can be easily thrown away in the new Secret Wars world, and specifically with Renew Your Vows.

This series has previously established Spider-Man as one of the few remaining heroes in a reality where they have been wiped out by those in charge of the government.  This same group controls the Sinister Six, a group that is now funded and willing to eliminate the supposed threats to the establishment.  The series has previously established the Parkers as guarding their identities safely due to the need to protect their superpowered daughter, but with her discovery near they are also forced out of hiding, and as the midway point for the series, it seems as though the plot is going to get a lot more interesting.

The series succeeds because of its back-to-basic approach, as does this issue.  Although the degree of Parker’s use of violence is made out of character, the overall approach of the character here is one which feels like it could easily happen under these specific conditions.  By using what makes the character special while also setting him inside the Secret Wars world, it benefits the crossover by highlighting these traits.  This is the best treatment of Spider-Man in Secret Wars and it is among the best Secret Wars series overall.

Story: Dan Slott Art: Adam Kubert 
Story: 9.5 Art: 9.5  Overall: 9.5  Recommendation: Buy

Review: Amazing Spider-Man – Renew Your Vows #2

asmryv002One of the common themes across the entire Secret Wars crossover has been that of a broken future.  It has shown up in a variety of titles, including several this week alone such Inferno, Civil War and Age of Apocalypse.  It should not come as any surprise then that Renew Your Vows, one of the several Spider-Man tie-ins to Secret Wars, is also included in using this as a theme.  The one difference with this though is that it is not really based on any particular crossover or story from before, rather it is a new story which uses similar themes, with perhaps only minor inspiration from elsewhere (like the MC2 Spider-Girl).

As was seen in the first issue, this freedom from any story in the past actually allows for a very different approach to storytelling.  Gone are the big flashy events and they are instead replaced with strong storytelling focused on characterization over concept.  Generally speaking this is going to put a comic ahead as comics all too often relegate characters to being two dimensional in the interest of some otherworldly threat, and as expected the approach has worked.  Instead of focusing on a superhero team, the focus is on a family, of which two have powers, and are hunted for it in this future where powers are outlawed.  There are some clever uses of plot devices here as well.  When the villains converge on the school to abduct young May, the outcome is as expected, that is until it isn’t as there is a bit of a surprise through this part.  So too is the art used intelligently here as a dream sequence is shown completely differently from them remainder in order to highlight its craziness.

So many of the Secret Wars settings seem something like experiments, a little bit of an excuse for the creators to let loose in world with few rules as to continuity.  The problem with this is that it seems very temporary.  While this is also the case here, it is unfortunate, for this is a reality that would be well explored over several dozen issues as opposed to four or five.  As it stands, this is one of the best tie-ins to the Secret Wars crossover, and it does so with barely any reference to the bigger series.  That is because this is a great story which is executed well and deserves praise for being a little bit better than the rest.

Story: Dan Slott Art: Adam Kubert 
Story: 9.5 Art: 9.5  Overall: 9.5  Recommendation: Buy

We Talk About Mary Jane Watson’s Dress with a Couple of Wedding Experts

dress001Marvel recently got inspired by all of the Secret Wars crossovers to release a tie-in with Spider-Man titled “Renew Your Vows” which features a poorer version of the hero as he struggles through married life as a superhero with his wife and daughter. The married life for Peter Parker has been something which has been a factor in the character’s recent history after having his first wedding special in the 1987, which set off a wave of other wedding specials in comics.

The Secret Wars series got a variant cover from J. Scott Campbell, which featured Mary Jane Watson on a presumably alternate universe wedding, in an intricate though maybe too improbable dress. We got together with Jennifer LaVie from Kiss The Bride and Fannie Vavoulis to discuss the dress and comic book weddings.
Graphic Policy: First of all, would you say yes to this dress?

Fannie Vavoulis: YES! If I had a body like that there is no question I would say YES!!

Jennifer LaVie: I’d have to say a big no to this dress.

GP: What are some things that are right about it?

JL: Well, exposed and dramatic backs are really trending and hot right now, so that is definitely something people have their eyes peeled for. The applique detail on the dress straps/sleeves is very nice and in my opinion would appeal to many people.

FV: It shapes her figure really well, very sexy yet still classic in my opinion.

dress002GP: And what did the artist get wrong?

FV: It may be a bit too revealing along the back.

JL: It’s over sexualized and would not appeal to all body types. A “normal” female probably won’t say “that could be me” but likely would be more apt to say “that could never be me”. It takes away from the fantasy when you cannot be a part of it. Plus as a female myself, I have to say it’s almost offensive.

GP: Are there any issues that you can think of that don’t make sense as far as dresses are depicted in art as opposed to the reality? In this case for instance, the dress is supposedly made with spider webs.

JL: I actually like the spider webs, to me that is something that relates to the bride and speaks to her personality, making the dress original and unique to her. The only thing I really can say is that in most cases as I mentioned above things are over sexualized and completely unrealistic to every day people, men and women. Perhaps that is the point of the art, I suppose it would depend.

FV: Well the sleeves in this dress don’t make any sense. I am not sure in reality how they are supposed to stay up around the shoulders. Also – no one could really wear this dress unless you’re Kate Upton. It is so fitting that it would show a LOT of flaws (can you say cottage cheese??) : )

GP: As a real life wedding expert, what are some things that fiction always seems to get wrong about weddings?

FV: I think the most common is the perfection of the day. Most brides will tell you that the day doesn’t always go as planned and hiccups are to be expected. But those minor details are never noticed by the guests – usually just the bride or the person planning it. A lot of things can go wrong – weather issues, time delays, vendors not arriving on time, etc. Stories and comics always depict the day as being perfect – not always the way.

dress003JL: That they are perfect. Nothing is ever perfect. Ever.

GP: It doesn’t happen very often but there are occasionally wedding specials in comics. Do these have any appeal outside of comic book fans?

JL: I think so, if you love weddings you are going to love them in all forms. Cartoons, comics, reality tv etc etc. Weddings appeal to a lot of people!

FV: Wedding specials? Meaning an entire comic book dedicated to a wedding theme?

 

Many thanks to our two contributors, they took time out of their busy summertime wedding planning schedules to talk with us. Also as an editorial note, it would seem that no one knows about comic book wedding specials other than comic book readers.

Push Comics Forward – The Female Super-Scientist

j4p4n_Scientist_Woman_(comic_book_style)Recently the head honchos at BOOM! Studios put out the idea that comics needs to change and to not be stagnant as a medium.  Long since dominated by superhero stories, the medium has indeed made a number of changed in the past couple of decades and the change is noticeable in some regards.  Equally though, comics are somewhat of a niche when it comes to their perception in popular culture.  Although there is an increasing amount of female readers, the medium is slower to make the changes to draw in fans of all backgrounds, and especially at the big two publishers instead still focuses on mostly a collection of characters who are both white and male.  While the interest in push comics forward doesn’t necessarily lie solely with the big two publishers, change has to happen there as elsewhere in order for the medium to evolve.

Science in comics was a bit of an x-factor until the onset of the silver age.  Until that point, science was usually grossly misapplied in order to move along a plot.  Gross inaccuracies were made and aspects of scientific knowledge would be presented, leaving what was actually used of the science to be misappropriated and simplistic.  As the silver age started, the focus on science is what rescued comics from being a medium for children, and instead allowed the medium to mature.  The changes first came at DC, though with the generally more god-like powers of the characters, the science was not as pertinent.  Hawkman and Green Lantern became intergalactic police, the Atom used White Dwarf matter to give himself powers, and the Flash became a scientist that gained powers by a scientific accident.  While the science was there, it was not until Marvel arrived that it redefined science in comics.  Although still unreal, the science was still presented in a way that it could be real, at least in our imagination.  Instead of characters that were either given or born with their powers, the new wave of heroes earned it the hard way, by building it themselves.  Not every Marvel hero was a scientist, but there were a few – Peter Parker, Bruce Banner, Tony Stark, Hank Pym, and Reed Richards.  While this did push the envelope forward for comics as a medium, what was left behind were the women.  The female leads to these heroes were still sometimes heroes, but they fell back into the template of having powers given to them.  Sue Storm was a college dropout, and Janet van Dyne was just an girlfriend.  They even did better than Betty Ross, Pepper Potts and Mary Jane Watson, who were often relegated to secondary status as damsels in distress (though Sue Storm also performed this role despite being a power superhero.)

lego women scientistsWhile there are perhaps more men than women in science still as a profession, there is no real clear reason why.  Women at younger ages are as adept as their male counterparts, and the interest for science is equally there.  Some consider it to be a genderized problem, that the “old boys club” of science discourages women from entering its field in some cases, and that women are taught gender roles by society to be less focused on science as opposed to other ventures.  While there is debate on these assertions, it is true that women have no more or less natural inclination to science than men do.  So why can’t there be a female version of a super scientist?  There are of course some very intelligent women in comics.  The female version of the Hulk is an accomplished lawyer, and others have shown an ability to pursue more academic fields than what is traditionally typified by their genders, but there is still a gap in terms of the heroes, and who can do what.  Female characters can still be powerful, but it is unlikely that their minds are capable of giving them those powers.  In fact a large portion of female characters derive their powers from either magic or the supernatural.

What has been an interesting and worthwhile development in the cinematic versions of comics, is that the women characters are presented in a way which is a lot more progressive.  Jane Foster is an astrophysicist and in the previous round of Fantastic Four movies, Sue Storm was shown to a be a scientific genius in her own right.  This is because as the characters move to a more popular medium, they are forced into a more acceptable presentation of the role that women play, more so than just damsels in distress, but also as able thinkers on their own.  So why is there no female superscientific genius yet in comics?  This comes back to the inherent idea behind #pushcomicsforward, that there can and should be such female characters, because the medium simply has not caught up yet to the reality of the world.  There is even maybe not a need for as many as Marvel has, but a character that is at least adept at science, and who knows the periodic table from the kitchen table.  There is no reason not to, as such a character wouldn’t even have to carry a series, but they could still be there, guiding the scientific discussion to a place that is more realistic.

New Marvel Universe Lego Sets for 2014

Not to be outdone by DC, Marvel is also getting lots of new sets in 2014 for their Marvel Universe line of Lego sets. A photo has surfaced online from a catalog showing off the new sets.

2014 Marvel Lego SetsYou can see there’s a long list of sets that include many new figures we’ve never seen (Taskmaster and MODOK!).

Marvel is also getting a “junior” set with 10665 Spider-Man Spider-Car Pursuit which you can see below.

10665 Spider-Man Spider-Car Pursuit 1 10665 Spider-Man Spider-Car Pursuit 2

 

(via BrickHeroes)

Sneak Peek: Marvel Universe Mary Jane Watson

Official Press Release

Marvel® Universe Mary Jane Watson™

MVL Mary Jane WatsonMVL Mary Jane Watson PackagingEvery guy remembers the girl who got away. For Spider-Man®, that girl is Mary Jane Watson. For reasons neither of them can quite put their finger on, a relationship that should have been a love for the ages just never worked out. After the break-up, MJ headed west to pursue her acting career, while the wall-crawler stayed in New York to defend the city he loves. They still share fond feeling for each other, but whenever they try to get together something seems to get in the way.

Intricately detailed, this articulated Mary Jane Watson action figure always plays an important part in the Spider-Man character’s story! (Additional action figures sold separately) Craft stories around her character or add her and her pet accessory into your favorite dramatic scenes. Will the good guys or the bad guys triumph? The battle is just beginning and the power is in your palm of your hands!

Figure comes with pet accessory and a classified file with a secret code.

WARNING: CHOKING HAZARD – Small parts. Not for children under 3 years.

SUMMARY:
Articulated action figure comes with a pet accessory and a stand for display! Figure comes with a classified file with a secret code. WARNING: CHOKING HAZARD – Small parts. Not for children under 3 years. Ages 4 and up.

MARVEL, all related characters: TM & © 2009 Marvel Entertainment, Inc. and its subsidiaries. Licensed by Marvel Characters B.V. All rights reserved.
®* and/or ™* & © 2009 Hasbro. All Rights Reserved.