The Amazing Spider-Man [2018] #15 - Marvel Comics

THE AMAZING SPIDER-MAN No. 15, April 2019

Considering that this twenty-page periodical was apparently the sixth best-selling title in February 2019, at least according to “Diamond Comic Distributors”, it’s doubtful many of its 71,407 readers were particularly impressed with its ponderous plot and lack of any awe-inspiring action. In fact, considering that it starts with the rampaging Rhino somehow already being in Black Ant’s custody, it’s probably likely a fair few bibliophiles were at first somewhat busy wondering whether they’d inadvertently missed an issue of “The Amazing Spider-Man” somewhere; “May needs me! I might be too late. She might already be dead. No. Can’t think like that.”

Sadly, this frustrating sense of disconnect between this particular edition’s storytelling and its preceding instalment is then only compounded by the titular character’s absolute pulverisation of Taskmaster within the space of half a dozen panels. Solicited as containing a deadly confrontation between the two antagonists, this incredibly abrupt altercation is bitterly disappointing, especially once the book’s audience are reminded that Tony Masters had previously boasted of watching more footage of Web-head in order to increase his odds of outfighting the wall-crawling vigilante.

Instead, Nick Spencer provides his audience with the tried and tested trope of a superhero saving numerous civilians from a semi-caved in building. Sure, this particular scene does contain an element of excitement considering one of the partially-destroyed restaurant’s customers just happens to be Aunt May. But there’s arguably never really a suggestion that Peter Parker’s relative, or even her second husband’s attorney for that matter, are in mortal danger. Indeed, this comic’s biggest surprise actually stems from the shock identity of a homeless man who needlessly dies during the ceiling’s final collapse, rather than from anything the author pens for the white-haired widow.

Equally as unenthused for this publication’s script appears to be Chris Bachalo, whose pencilling gives the impression that the artist was predominantly concerned with just padding out the storytelling with noticeably empty backgrounds, large blank voids and even the odd seemingly ‘blow up’ sketch. The number of sheets showing white vacuums is particularly conspicuous as events unfold, as if the Canadian decided he was never going to hit his deadline without reducing his workload in some shape or manner.

Writer: Nick Spencer, Penciler: Chris Bachalo, and Colourists: Chris Bachalo & Jim Campbell