Amazing Spider-Man: Blood Hunt #3 - Marvel Comics

AMAZING SPIDER-MAN: BLOOD HUNT No. 3, September 2024

Entirely focused upon the titular character’s exploits inside Hemoglobin Incorporated’s Headquarters, many a bibliophile will probably feel a considerable amount of time has passed between Issue Three of “Amazing Spider-Man: Blood Hunt” and its previous edition. In fact, the entire twenty-page periodical arguably reads like a couple of insubstantial instalments involving Justina Ireland’s overall narrative simply being smashed together so as to bring the storyline to something akin to a satisfactory conclusion in short order; “Another chance.? That’s closer to happily ever after than most of us get.”

Foremost of these complaints can seemingly be found straight from the comic’s opening, as Peter Parker’s alter-ego and Misty Knight brazenly break straight into the supposed vampire stronghold, and quickly reach both the scientific facility’s security computer room, as well as Doctor Michael Morbius’ laboratory, with barely a hair out of place. This breathtakingly fast momentum then continues with the revelation that Colleen Wing has been completely transformed into a deadly blood-drinking monster (and completely embraced this change), whilst “Morb” has somehow already discovered a cure for Theocritus’ undead vision – presumably due to him having access to “real equipment… for the first time in months.”  

To make matters worse though, the Living Vampire’s moral dilemma to remain working with the villainous corporation for the betterment of all fanged fiends is almost instantly resolved with an unconvincingly sudden change of heart following Spider-man giving him a brief flea in his ear. Such a surprising U-turn really does smack of the American author being desperate to get events in place for this comic’s climatic final confrontation, and subsequently leads directly into Web-head easily covering the coils of the building’s cooling system with an antidote as the so-called central antagonist absent-mindedly waxes lyrical about his grand scheme for citywide conquest.

Also distinctly adding to this publication’s feeling of two incomplete books being compressed into one are Marcelo Ferreira and Chris Campana sharing pencilling duties. This decision is incredibly jarring for the audience as the artists’ illustration styles are rather different to one another, and resultantly makes the publication’s already hasty ending feel even more rushed as the Wall-crawler easily outwits his beefed-up undead foes, Maxine Danger (once again) turns up out of nowhere to ‘save the day’, and despite being a feral force of nature for much of this tale, the Lizard dons a long white coat to become Morbius’ unlikely new lab partner.

The regular cover art to "AMAZING SPIDER-MAN: BLOOD HUNT" #3 by Marcelo Ferreira 

Amazing Spider-Man: Blood Hunt #2 - Marvel Comics

AMAZING SPIDER-MAN: BLOOD HUNT No. 2, August 2024

Considering that Justina Ireland’s handling of Theocritus and his decidedly dodgy dealings running Hemoglobin Incorporated are arguably far more entertaining than Spider-Man’s seemingly endless excursion through the vampire-filled streets of New York City, it’s probably safe to assume that Issue Two of “Amazing Spider-Man: Blood Hunt” didn’t land quite so well on the spinner-rack as perhaps its publisher had hoped. Indeed, so much of this mini-series’ rather intriguing exposition occurs within the walls of T.J.’s experimental laboratories that many a bibliophile doubtless found themselves a little frustrated whenever the spotlight shifts upon the titular character instead.

Much of this irritation is debatably due to Peter Parker’s somewhat tedious, self-indulgent doubts as to whether he should even be hurting the fanged-fiends stalking his not-so-friendly neighbourhood. The super-hero readily acknowledges that the massive undead horde will “hurt more people” the longer their battle goes on for. Yet still somehow manages to persuade the much less idealistic mercenary Misty Knight that the “ravenous throng” of killers shouldn’t be harmed; “I’ve been thinking about what you said… especially since I know these were innocent people.”

Furthermore, the action is suddenly brought to a surprising full-stop by its “New York Times Bestselling author” unconvincingly introducing the audience to Beyond Corporation’s former Chief Executive Officer - Maxine Danger. True, the capable young businesswoman’s presence is crucial to give Spider-Man a means of ‘defeating’ Theocritus, courtesy of a convenient computer virus which should “erase all of the networked data” and halt the vampiric company's chemical-based shenanigans. But considering just how deadly the Big Apple is supposed to currently be due to its undead invasion, it’s a little difficult to believe a non-powered entrepreneur, no matter how rich or influential, is able to successfully drive around the densely populated metropolis with just two bodyguards for protection.

Slightly more successful than its writing, is this comic’s artwork by Marcelo Ferreira and Chris Campana. This twenty-page periodical’s pencilling is very good at depicting the athletic prowess of Web-head as he somersaults around Central Park gluing down as many Nosferatu as his unblessed web fluid will allow. However, the attention to detail on the Lizard, especially the villain’s snout when sketched from any distance, is rather indistinct and lacking – leading to Doctor Curt Connor’s alter-ego actually seeming to be unfinished in some panels.

Writer: Justina Ireland, and Pencilers: Marcelo Ferreira & Chris Campana

Amazing Spider-Man: Blood Hunt #1 - Marvel Comics

AMAZING SPIDER-MAN: BLOOD HUNT No. 1, July 2024

‘Spinning directly out of Issue Forty Nine of Amazing Spider-Man’, this mini-series’ opening instalment perhaps unsurprisingly solely focuses upon Peter Parker’s enthralling excursions “in the era of the vampires”, as opposed to the Wall-crawler’s usual crime-fighting exploits throughout the 'Grid' of the Big Apple. But whilst this comic’s scenario is significantly more blood-thirsty than Web-head’s usual adventures, courtesy of some genuinely gratuitous depictions of hapless New Yorkers being slaughtered like sheep at the hands of numerous Nosferatu, Justina Ireland still manages to imbue the titular character with plenty of his famous tongue-in-cheek wit and repartee to persistently lighten the narrative's mood; “That is a lot of fangs.”

Much of this humour is surprisingly generated by Steve Ditko’s co-creation teaming up with the highly unlikely duo of Misty Knight and the Lizard, who essentially recruit Spidey to supposedly help them rescue Colleen Wing and Doctor Michael Morbius from the clutches of Hemoglobin Incorporated. Perhaps understandably distrustful of his allies’ true motives, as well as realising the deadly gravity of their potentially suicidal mission, the colourfully costumed vigilante appears ever ready to diffuse even the deadliest of situations with either a well-timed quip or barbed comment at his companions’ oft-times suspicious behaviour.

Of course, the biggest draw of this twenty-one page periodical are the layouts crafted by Marcelo Ferreira, Roberto Poggi and Rachelle Rosenberg. Together, this creative team really help bring the insane world of “Blood Hunt” to life, whether it be depicting a seriously formidable-looking Lizard savagely squaring off against an already ticked-off Spider-Man, or the aforementioned poor inhabitants of New York City sadly succumbing to the sharp teeth of the undead in their droves. In fact, the sheer scale of this event’s “eternal night” is really driven home to the audience through this book’s top-notch artwork, with homes, hospitals, tube stations and even churches being viciously attacked.

Impressively though, this comic’s nine-page ‘secondary’ tale is just as good at keeping the reader thoroughly entertained, courtesy of Wing and Morbius desperately attempting to escape the evil clutches of Theocritus themselves. Essentially a well-paced sub-plot which shows the duo tensely exploring Hemoglobin’s headquarters in an effort to find a way out, the pair’s nervous verbal exchanges are easily as enthralling as the adrenalin-fuelled action that kicks off when they inadvertently walk into a room packed full of momentarily shocked vampires.

The regular cover art to "AMAZING SPIDER-MAN: BLOOD HUNT" #1 by Marcelo Ferreira & Rachelle Rosenberg

The Amazing Spider-Man [2022] #5 - Marvel Comics

THE AMAZING SPIDER-MAN No. 5, September 2022

Ending “the first arc of this historic new volume” of “The Amazing Spider-Man”, this twenty-page periodical arguably still proved something of a good jumping on issue for those Wall-crawling fans unsure of Zeb Wells’ pedigree writing “one of the most popular and iconic comic book superheroes of all time.” Indeed, courtesy of its narrative exclusively focusing upon the fall-out of Web-head single-handedly destroying the Rose’s criminal organisation, this particular edition actually makes quite an enjoyable stand-a-lone instalment of the ongoing series.

For openers, the American author rather enchantingly uses the green-skinned villain Vegas Thirteen as an intriguing, and somewhat tongue-in-cheek, bookend, who not only helps illustrate just how disastrously far Richard Fisk has fallen from power. But also suggests at the end that perhaps the Schemer’s sole-surviving henchman may still be in a position to win back some of his boss’ lost turf before he’s been released from police custody; “Digger found us! We got nothing that can stop him! We’re losing everything!”

Similarly as proficiently penned is arguably the “Robot Chicken” director’s depiction of the forimably-powerful criminal Maggia, with a victorious Tombstone still being unwilling to risk the wrath of his surviving peers if they ever get wind of his ‘close relationship’ with Peter Parker’s alter-ego. In fact, despite this sadly somewhat short-lived meeting of the marvel Universe's mafia almost being suffocated out amidst some much more action-packed sequences, the ‘sword of Damocles’ it creates above Alonzo Lincoln’s head remains in play for the rest of the comic - especially towards its end when Spider-man surprisingly appears at the albino’s home and threatens to reveal all to the likes of Madame Masque.

Definitely providing the brutally battered titular character with some disturbingly visible facial bruising is artist John Romita Junior, who manages to help sell a good deal of this book’s tension with just a look in each character’s eyes. Furthermore, the Eisner Award-winner does a very good job in illustrating both Digger’s pent-up anger and frustration, as well as the hoodlum’s concern that the Rose will “hunt me to the ends of the Earth when he gets out”, even when it’s done via the “Gamma-irritated being” humorously tossing a half-eaten ice cream cone out of a car before his employer sees him.

Writer: Zeb Wells, Penciler: John Romita JR., and Inker: Scott Hanna

The Amazing Spider-Man [2022] #26 - Marvel Comics

THE AMAZING SPIDER-MAN No. 26, July 2023

Touted by “Marvel Worldwide” as far back as February 2023 as being “a heartbreaking issue that will have fans everywhere talking”, this thirty-one-page periodical definitely throws its audience straight into the deep end with a sense-shattering opening which features Spider-Man squaring off against the seemingly all-powerful Doctor Benjamin Rabin. True, those unfamiliar with the “monumental story unfolding” during Zeb Wells’ current run on this title might momentarily be scratching their heads in confusion at Norman Osborn’s Gold Goblin alter-ego, and Mary Jane Watson’s surprisingly intimate long-term relationship with “the mysterious Paul”. But a quick perusal of this book’s introductory synopsis arguably provides enough plot threads for the vast majority of this comic’s readers to hold onto as they’re pulled through a narrative packed full of super-heroes, maniacal monsters and edge-of-the-seat chases down debris-filled alleyways. 

Furthermore, the “Annie Award-winning writer” does a sound job of further filling in some gaps for the ‘uninformed’ via a series of flashback sequences featuring Kamala Khan’s job interview at Oscorp Tower, as well as an understandably tense confrontation between Peter Parker and his former wife when she reveals the new love of her life is actually the murderous Emissary’s son. These insights genuinely help explain some of the characters’ motivations during this publication’s climatic battle and coupled with the somewhat antagonistic exchanges between Web-head and the Fantastic Four, suggest just how much of an arduous journey the Wall-crawler has been on during his efforts to rescue Watson; “Maybe a thank you is more appropriate. Reed whipped together a flying car just to come help you.”

Debatably this comic’s greatest asset though, alongside Wells’ thoroughly engrossing penmanship, is John Romita Junior’s pulse-pounding pencilling, which marvellously captures all the ferocity of the battle taking place in New York City. Whether it be the fast-paced flurry of fists smacking into the Scribble-man from a variety of super-powered sources, or the incredibly well-drawn giant Xibalba dragon summoned to aid Rabin in his deadly death march, the artwork is a veritable feast for any bibliophiles’ eyes. Indeed, it’s arguably difficult not to actually feel the heat emanating from an incredibly angry Spider-man as he desperately batters his evil foe within an inch of his life with a parking meter or hear Ms. Marvel’s final, choking breaths as she ultimately sacrifices herself to save both the world and Mary Jane.

The regular cover art of "THE AMAZING SPIDER-MAN" #26 by John Romita JR

The Amazing Spider-Man [2018] #23 - Marvel Comics

THE AMAZING SPIDER-MAN No. 23, August 2019

Whilst Nick Spencer’s narrative for this “Hunted epilogue” debatably delivers when it comes to neatly sowing up the multi-issue event’s numerous outstanding plot-threads, the overall tone of the former politician’s penmanship, as a highly agitated Spider-Man desperately rushes back to Mary Jane’s flat to supposedly save her life, probably still struck many a bibliophile as being a little disconcertingly flat. True, Peter Parker’s love interest has indeed shockingly splattered her blood across the carpet as a result of a decidedly nasty injury, but the gory wound is disappointingly revealed to be as a result of the woman accidentally tripping over the laundry rather than her being attacked by a deadly super-villain.

Equally as disinteresting is arguably the American author’s handling of “an army of costumed criminals” who have suddenly “been set free in the middle of Manhattan.” This potential wave of violence could easily have become the basis of a storyline in its own right, as the cold-hearted killers make a dash for their liberty and perhaps to have their revenge upon some of New York’s outnumbered finest. However, quite miraculously, their escape occurs just as the likes of the “Earth’s Mightiest Heroes” and Fantastic Four show up to quickly wrap things up within the space of a handful of panels; “So yeah, bad guys of all shapes and sizes getting what they deserve. And hopefully that sticks this time --”

Quite possibly this publication’s saving grace therefore lies in the funeral of Kraven and his distraught son’s subsequent acceptance of his father’s name and heritage. Initially enraged by Sergei Kravinoff’s death and visibly reluctant to follow in the big game hunter’s footsteps, this intriguing emotional piece surely must have whetted the appetites of Spider-Man fans everywhere as to the pair’s future confrontations in print.

Just as frustratingly inconsistent as the writing though is Ryan Ottley’s pencilling, which despite being well-drawn in many places, such as Parker’s dynamic entrance into Mary Jane’s apartment, appears frightfully angular looking in others. Indeed, the panels portraying She-Hulk smacking Antonio Rodriguez’s alter-ego Armadillo straight in the jaw as the Avengers make a triumphant appearance, and an incarcerated Vulture re-establishing the Sinister Six, could well be mistaken for having been sketched by an entirely different artist.

Writer: Nick Spencer, Penciler: Ryan Ottley, and Inker: Cliff Rathburn

The Amazing Spider-Man [2018] #22 - Marvel Comics

THE AMAZING SPIDER-MAN No. 22, July 2019

It is hard to believe that many of this comic’s 78,102 buyers actually agreed with “Imagine Games Network” when the entertainment media website proudly proclaimed in May 2019 that this book “has a satisfying ending”, considering that having put Peter Parker’s alter-ego through a series of horrific emotional trials and tribulations Nick Spencer nonsensically pens Kraven The Hunter simply letting his arch-nemesis go unmolested. Indeed, the bizarre moment debatably makes a complete mockery of the entire multi-part event and raises numerous questions as to just why Sergei Kravinoff even bothered to fund so elaborate a death-trap as the one in New York City’s Central Park he constructed with the help of fellow super-villain Arcade.

Sure, there’s potentially some dark-seated logic to the storyline’s premise that the jaded, big-game Russian might seek his own death at the hands of his greatest adversary, and resultantly put into place a plan which would cause Spider-Man to lose his temper to the point where he murders Stan Lee's co-creation with his super-strength. But setting up a technologically sophisticated death-zone crammed full of Web-head’s most notorious villains and having society’s bored elite gun them down in cold-blood using heavily armed, remote-controlled robots probably isn’t the first scheme to cause such a loss of self-control which leapt to any bibliophile’s mind; “There will be no more bloodshed in the fields or the ballroom tonight.”

Intriguingly however, Issue Twenty-Two of “The Amazing Spider-Man” does contain a few arguably well-penned moments, most notably that of Kraven’s shocking demise fighting his heir. This misdirection is quite wonderfully delivered due to artist Humberto Ramos’ clever layouts, which strongly suggest the Soviet’s son is stood waiting for a frantic Wall-crawler just beyond Kravinoff’s secret headquarters and not his weary father who is disguised as the black-suited titular character. The ensuing close combat is enthrallingly brutal, and doubtless for a moment many a reader actually thought the High Evolutionary’s clone might actually have achieved what his parent could not.

In addition, the Mexican penciller’s dynamic depiction of Kraven’s Last Son battling both Black Cat and the Lizard is breathtakingly action-packed, with each panel palpably presenting a savage urgency to the events taking place. Furthermore, having established just how mercilessly vicious Curt Conner’s scaly form can be when he successfully dispatches the heavily moustached killer about to slaughter his son, the illustrator quite magically then imbues the former member of the Sinister Six with a wonderfully caring complexion so as to assure an understandably nervous Billy he won’t hurt him.

Writer: Nick Spencer, Penciler: Humberto Ramos & Inkers: Humberto Ramos & Victor Olazaba

The Amazing Spider-Man [2018] #21 - Marvel Comics

THE AMAZING SPIDER-MAN No. 21, July 2019

Misleadingly described by “Marvel Worldwide” as “the climactic conclusion” to Nick Spencer’s “Hunted” storyline and featuring a disconcertingly dismissal battle against a herd of Vermin duplicates, Issue Twenty-One of “The Amazing Spider-Man” surely frustrated many a fan of Peter Parker’s alter-ego. True, the former politician does initially depict Web-head bravely battling against an army of Edward Whelan clones in an incredibly dynamic bout of pugilism. But once this contest’s tide turns in favour of the numerous hungry, sharp-toothed rat-men, the lead protagonist both readily gives up the will to live and then begs Kraven for mercy when he believes the Russian immigrant is about to shoot him in the face.

Such uncharacteristic moments of vulnerability arguably haunt the rest of this twenty-three-page periodical, as the American author’s subsequent depiction of Steve Ditko’s co-creation seemingly shows him lacking any real stomach for a fight, even when Felicia Hardy’s life is clearly in danger. Indeed, rather than take a chance to have the Lizard save his former lover from the Last Son of Kraven, Spidey instead wastes valuable time adopting the moral high ground and starts waxing lyrical about “I have a code that I live by --”

Far more convincing is Spencer’s sadly short-lived spotlight upon the Vulture and his criminal force’s no-holds barred conflict with the cold-hearted Hunterbots in Central Park. Evidently able to sacrifice some of his villainous comrades-in-arms without any qualms whatsoever in order to achieve his own ends, Adrian Toomes proves as mesmerising an antagonist as he is utterly merciless, and many a bibliophile will doubtless feel somewhat robbed that this publication spends so much of its focus upon Parker’s disagreeable self-doubts, as opposed to the machinations of the founding member of the Sinister Six.

Sadly suggesting that this particular script didn’t encompass enough elements to completely fill out its page count are Gerardo Sandoval’s layouts, which, whilst prodigiously pencilled, seem to contain an awful lot of splash pages and voids throughout their storytelling. In particular, the Mexican illustrator fills many a panel with just a close-up of Spider-Man’s head depicting the Web-spinner’s increasingly defeatist attitude to the situation he faces – albeit considering just how dialogue-driven the majority of this book is it’s debatably difficult to imagine what else the artist could do.

Writer: Nick Spencer, Penciler: Gerardo Sandoval & Inkers: Gerardo Sandoval & Victor Nava

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

The Amazing Spider-Man [2018] #14 - Marvel Comics

THE AMAZING SPIDER-MAN No. 14, March 2019

Having been described in its rear-situated Letters Page as a title “worth the money in my wallet” due to ‘Nick Spencer’s run on The Amazing Spider-Man being fantastic’, the former politician’s script for “Family Matters” probably didn’t live up to that particular reader’s expectations. Indeed, this twenty-page periodical’s plot is predominantly packed full of sedentary table-talk and family squabbles, as opposed to anything either sensational or even slightly entertaining; “What did you think would happen? That you could just take advantage of my grief and my financial situation to --”

True, at the very end of this publication Peter Parker’s alter-ego finally starts spinning some webs when he goes toe-to-toe against the Taskmaster and Black Ant in a seemingly upper-market restaurant. But this fracas is so short-lived, courtesy of the Rhino literally crashing the party in time to form an unlikely team-up with the titular character that the mouth-watering confrontation arguably just acts as an enticing appetiser for the ongoing series’ subsequent issue.

Instead, this comic’s audience are left with several snapshots into the domestic life of the ever-villainous Arcade, the poverty-stricken Aunt May, and the Lizard’s scale-covered son, Billy. Such scenes are admittedly quite endearing, especially Curt Connors’ evident concern over his young boy’s behaviour on social media when it threatens to expose the vulnerable child’s whereabouts to the world. However, debatably just one of these dialogue-driven dramas would be quite enough when interspersed between the panels of a dynamically paced narrative. So to have penned four similar conversations condensed within a single instalment badly slows down any sense of speed which this book’s storyline might have.

Luckily though, what this edition lacks in sense-shattering shenanigans it somewhat makes up for with Chris Bachalo’s colours and pencils. The Canadian illustrator does a particularly good job in providing the sewer-dwelling anthropomorphic reptile with plenty of heft and girth to his cold-blooded form, as well imbuing the few punches thrown during Spidey’s altercation with Tony Masters with some incredible bone-crunching impacts. Furthermore, the artist makes good use of some old X-Men artwork when depicting Arcade playing a video game on a big screen, and later likewise incorporates a classic Web-head verses Lizard sketch too.

The regular cover art of "THE AMAZING SPIDER-MAN" #14 by Ryan Ottley & Nathan Fairbairn

The Amazing Spider-Man [2018] #20.HU - Marvel Comics

THE AMAZING SPIDER-MAN No. 20.HU, July 2019

Considering that Nick Spencer’s fifteen-page script for this particular special issue of “The Amazing Spider-Man” didn’t debatably add much to the motivational background of Adrian Toomes, it is easy to see why the comic sold significantly less copies than the other two instalments to the American author’s lengthy “Hunted” storyline which also hit the spinner racks in May 2019. Sure, the two-time ‘Charter Party candidate’ starts this book off well enough with a brief glimpse of the professional criminal’s early days “toiling in a laboratory alone.” But this flashback to the invention of the old man’s famous wingsuit is swiftly shelved in favour of (yet another) recap depicting him despicably deserting the Gibbon during the opening foray of Arcade’s formidable Hunter-Bots.

This regurgitation of Martin Blank’s harrowing death scene really does feel completely unnecessary, and disconcertingly smacks of a writer desperately struggling to pad out a plot which has already been curtailed in size due to the publication containing a secondary yarn. Indeed, large chunks of this comic’s narrative seem to simply repeat key sequences previously depicted within the title’s main book line, with only Toomes’ rather contrived meeting with Arcade at “the luxurious Central Park institution Tavern On The Green” providing any fresh material; “I’m very up-front with the clients… If I’m gonna build you a death trap, said death trap has to have a chance of survival.”

Happily however, at least this series of all-too familiar summaries is sketched by Cory Smith, whose dynamically drawn layouts imbue the repeated death-dealing chase-sequences occurring in New York City’s fifth-largest park with plenty of animated life, or rather in the case of the Bison and Gibbon, death. The “simple lil pencil artist” also depicts a seriously egotistical-looking Vulture, and facially captures all the aging electrical engineer’s haughty arrogance once he’s been elected by the desperate super-villains as their all-powerful saviour.

Rounding off this disappointing instalment to Spencer’s “spiritual successor to the 1987 storyline Kraven's Last Hunt" is the five-pager “Mother”, which focuses upon Arcade’s replication of Vermin using an injection of “fifteen CCs of the Mountain Dew-coloured stuff.” Regrettably though, even this distinctly darker tale is perhaps more memorable for the look upon the white-suited assassin’s face when he realises that the Taskmaster has betrayed him to the Lizard, than Edward Whelan’s utterly bizarre doppelganger duplication sub-plot in which the "cannibal killer" is 'given' a family of his own.

Writer: Nick Spencer, Penciler: Cory Smith, and Color Artist: Erick Arciniega

The Amazing Spider-Man [2018] #20 - Marvel Comics

THE AMAZING SPIDER-MAN No. 20, June 2019

Despite containing a couple of corking confrontations featuring the likes of Black Cat and The Lizard, Issue Twenty of “The Amazing Spider-Man” probably still disappointed a fair few of its 76,903 readers due to Nick Spencer’s insistence on depicting both bouts of fisticuffs as disconcertingly one-sided affairs. In fact, having established Curt Conner’s overwhelmingly strong parental instinct to save his young boy’s life in one of this storyline’s earlier editions, the American author seemingly does a complete u-turn on the character’s ability to overcome his aggression-inhibiting spinal chip, by having the scaly anti-hero meekly succumb to the Last Son of Kraven even though the cold-hearted killer has vowed to tear young Billy “limb from limb” and “mount his head on a wall” whilst forcing the reptilian human mutate to watch.

Combined with Felicia Hardy’s inability to best a lone Hunter-Bot who is initially lightly armed with just a knife and pistol, such a disappointing decline in the fighting prowess in two of this comic’s leading cast members arguably comes across as unsophisticated story-telling, and smacks of simply being contrived in order to help set-up the twenty-page periodical’s so-called shock revelation that the virtual link between a portly Great Hunt participate and his automaton cannot be severed until both the robot and its wealthy user have been destroyed/killed; “What the heck is wrong with this thing? Arcade! Arcade, come on --”

Admittedly, that doesn’t mean for a moment that the two-time Charter Party political candidate’s narrative for this comic lacks any entertainment value, as its action-packed shenanigans most assuredly do. But every time Spencer sets up a potentially mouth-watering skirmish the end result just seems to show the ‘good guys’ as being perturbingly ineffective, and in the Black Cat’s case, the only reason the former Crime Boss is alive is because the man who shot her suddenly gains a conscience just long enough to be reminded that he has a boy about the same age as The Lizard’s sobbing son.

Perhaps this publication’s biggest strength therefore lies in the layouts of Humberto Ramos, which in particular do an awesome job of putting across the increasing frustration felt by the Last Son of Kraven with his father’s plan. The clone is clearly absolutely beside himself with rage by the time he encounters Curt Conner’s alter ego and this book’s audience can almost physically feel the man’s relief when he initially gets to beat down upon his ineffective opponent.

Writer: Nick Spencer, Penciler: Humberto Ramos, and Inker: Victor Olazaba

The Amazing Spider-Man [2018] #19 - Marvel Comics

THE AMAZING SPIDER-MAN No. 19, June 2019

Considering that Nick Spencer’s narrative for Issue Nineteen of “The Amazing Spider-Man” focuses upon a plethora of the titular character’s most notorious arch-villains, most notably that of the Vulture and the Rhino, this comic’s 74,018 strong audience must have been disappointingly surprised at the plot’s pedestrian pace. For whilst Peter Parker’s black-suited alter-ego invariably ends up scuffling with Aleksei Sytsevich, as well as battling against a pack of Hunter-bots, these confrontations are so tantalisingly brief and unsatisfyingly short-lived, that they arguably needn’t have been included at all.

Indeed, in many ways this third instalment of the American author’s “Hunted” story-arc seems to have been purely penned simply to push along the multi-edition event’s numerous secondary threads, and resultantly rather haphazardly dips into the Black Cat’s incarceration with Billy Connors, the Last Son of Kraven’s unhappiness at his father’s grand scheme, Adrian Toomes’ laughably dishonest attempt to seize control of the Savage Six, the Rhino’s palpable anger at being previously ‘betrayed’ by Spider-Man when Web-head rescued Aunt May rather than save the super-strong Sytsevich from the clutches of the Taskmaster, and Tony Master’s ‘off-screen’ capture of the Lizard.

Of course, all these insights into this storyline’s impressively large supporting cast are both noteworthy and fairly diverting, especially Felicia Hardy’s use of her bad luck probability power to have her cell’s hapless guard molested by a savagely-fanged wild cat. But such a choppy goulash of so many dialogue-heavy scenes and sedentary sequences debatably makes this twenty-page periodical a somewhat tediously tiring, rambling read; “Let them see the Kravinoff Family name restored through bloodshed. Show them what we are capable of. Show them what you are capable of.”

Providing some glimmer of light however, are Gerardo Sandoval’s layouts, which successfully imbue even the most monotonous of monologues with a modicum of dynamism and emotion. The Vulcan’s earnest power play beneath one of Central Park’s fifty bridges is a good example of this, as the Mexican illustrator provides Toomes with all the physical animation the former electrical engineer needs for his argument to appear compelling when contrasted to Spidey’s unconvincingly delivered counterclaim that the professional criminal is unfit to lead simply because he’s an untrustworthy fraud.

The regular cover art of "THE AMAZING SPIDER-MAN" No. 19 by Humberto Rams & Edgar Delgado

The Amazing Spider-Man [2018] #19.HU - Marvel Comics

THE AMAZING SPIDER-MAN No. 19.HU, June 2019

Having previously established Curt Connors’ alter-ego as one of the main targets of Kraven the Hunter’s insane plan to gather up “all the animal-themed villains for the grandest hunt of all”, this twenty-page periodical’s plot spotlighting the Lizard launching a desperate rescue mission to retrieve his absent son must have had the vast majority of its 51,836 readers in April 2019 wondering just what all the fuss was actually about. Indeed, considering that “Imagine Games Network” once ranked the scaly college professor as the sixty-second greatest comic villain of all time, it’s disappointing to see just how impotent Nick Spencer’s incarnation of the “anthropomorphic reptile with scales” is portrayed.

For starters, the Lizard can no longer apparently show “aggression toward[s] another living thing” due to voluntarily having an inhibitor chip surgically installed in his spine which paralyses him whenever he starts to lose control. This ‘nerfing’ of the human mutate’s claws and fangs really begs the question as to just what Connors thought he could achieve when his goal was to physically break through Arcade’s “big, unbreakable force field” and personally defeat an entire army of gun-toting henchmen so as to save young Billy; “Yeah, one little problem with that plan, champ.”

True, Curt does seek the ‘assistance’ of the S.H.I.E.L.D. trained Taskmaster to aid him in his mission, as well as help the distraught father defeat the cannibalistic sewer-based creature, Vermin. But this alliance’s foundation is based purely upon the good doctor previously poisoning the mercenary in a beer tent at the Queen’s Night Market so as to force his aid, and resultantly seems to be destined to failure the moment an opportunity arises for Tony Masters to double-cross him. Which the assassin unsurprisingly does at the book’s end.

Regrettably, not even the pencils of Chris Bachalo arguably seem able to salvage much from Nick Spencer’s ‘run-of-the-mill’ narrative, except his marvellously imaginative re-design of the bi-pedal Lizard. Bulbous headed, with a truly massive maw that wouldn’t appear out of place on a Carcharodon carcharias, the lab-coat wearing parent dominates each and every panel within which he appears, especially when his love for his son overcomes his enforced abhorrence for violence. Whereas the likes of the Taskmaster, Vermin’s victims and especially Arcade, disconcertingly appear to simply be ‘aged-up’ child actors taken straight from Alan Parker’s 1976 musical film “Bugsy Malone”.

Writer: Nick Spencer, Penciler: Chris Bachalo, and Color Artist: Erick Arciniega

The Amazing Spider-Man [2018] #18.HU - Marvel Comics

THE AMAZING SPIDER-MAN No. 18.HU, June 2019

Guaranteed to take all but the most hard-hearted of Web-head fans on an incredibly disconcerting emotional journey, few long-time buffs of “The Amazing Spider-Man” could arguably have foreseen Nick Spencer’s soul-searching ‘spotlight’ upon the hapless Gibbon providing this comic with such a traumatizing reading experience. Indeed, considering how tongue-in-cheek the villain’s ludicrous first appearance was way back in 1972, this nineteen-page periodical’s tear-jerker of a conclusion proves a real kick to the guts, and undoubtedly provides Martin Blank with just the sort of impactive finale a low-level criminal comic book character could usually only dream about.

For starters, the mutant’s depressingly unhappy life is wonderfully interwoven throughout the wannabe hero’s desperate attempt to escape a literal army of Kraven’s deadly Hunter-Bots in Central Park. Repeatedly shot, stabbed and bludgeoned in the modern day, the rapidly deteriorating 'Ape-Venger' demonstrates an endearing desire to simply be left alone following a childhood haunted by name-calling and brutal bullying. Yet this publication’s entire 52,075 strong audience already know the pitiable pleas of the harmless villain will fall upon all-too deaf ears; “What I want is you mounted and stuffed in my den.” 

Of course, the America author still grants both the Gibbon, and in turn any semi-compassionate bibliophile, a modicum of hope that the brutally beaten former member of the Legion Of Losers won’t end up being fatally scalped, by having the rampaging Rhino run straight through Marty’s numerous pursuers just as his demise seems certain. The mutilated man’s seemingly successful last gasp flight for freedom, coupled with the memories of his happy partnership alongside Grizzly and marriage to Princess Python, momentarily even indicates that a happy ending to this comic might possibly be on the cards.

However, this hope soon comes crashing down around Blank’s head, when his ailing strength finally fails him whilst hiding in a tree and he is subsequently shot by a Hunter-Bot who supposedly does it as an act of kindness. Mortally wounded, and unable to even talk because of his physical trauma, the Gibbon’s sad passing in the lap of Spider-Man is unbelievably moving, and undoubtedly must have made his new-found admirers yearn for a far more agreeably happy outcome to this special edition of Spencer’s “Hunted” story-arc.

Writer: Nick Spencer, Artist: Ken Lashley, and Color Artist: Erick Arciniega

The Amazing Spider-Man [2018] #18 - Marvel Comics

THE AMAZING SPIDER-MAN No. 18, May 2019

Chock-full of the headlong flights for freedom a reader might well expect when you throw together some of Spider-Man’s worst enemies and “an army of Kraven-lookalike robots that suddenly stormed into Central Park, firing at everyone and everything in sight”, Nick Spencer’s scintillating storyline for Issue Eighteen of “The Amazing Spider-Man” must most assuredly have had many of this ongoing series' 74,466 fans on the very edge of their seats. True, there isn’t any likelihood at all that this comic’s titular character was going to become one of this publication’s unfortunate fatalities, but the American author soon makes it abundantly clear that the same cannot be said for some of this publication’s other notable supporting cast members.

In fact, it is hard to imagine a more gripping dash through New York City’s fifth-largest park than the one presented with this second instalment of “Hunted”, as the likes of the Iguana, White Rabbit, Puma, Frogman, Beetle, Vulture, Gibbon and the Rhino, all face the very real possibility of being shot, stabbed, slashed, speared or bloodily battered by one of Arcade’s automatons. Such a sense of mortality really is positively palpable within this twenty-one page periodical, and shockingly only increases when a Bill Mantlo co-creation from way back in the late Seventies suddenly meets a grisly end at the hands of the portly, tuxedo-wearing Bob; “This is for always passing me up for that promotion! I -- I killed that thing. I -- I killed it!”

Similarly as sensational is Spencer’s excellent portrayal of this comic’s lead antagonists, with both Arcade and the Taskmaster coming across as a pair of seriously cold-hearted killers-for-hire. Indeed, the two-time Cincinnati City Council candidate’s depiction of Tony Masters treacherously betraying his long-time partner-in-crime, the Black Ant, for “double the bounty” so he “can get to pay for that beach house in Belize” is extremely well-penned, and arguably comes completely out of the blue despite the fact that “ants are animals too.”

Rounding off a truly memorable book are Humberto Ramos’ terrific-looking pencilled panels and Victor Olazaba’s dynamic inking. Spider-Man has debatably never looked better in his black suit than during his fleeting brush with Adrian Toomes, whilst the sheer terror etched upon the faces of so many hardened criminals as they are literally mowed down by the merciless hunter-bots proves an extremely disconcerting sight to behold.

Writer: Nick Spencer, Penciler: Humberto Ramos, and Inker: Victor Olazaba

The Amazing Spider-Man [2018] #17 - Marvel Comics

THE AMAZING SPIDER-MAN No. 17, May 2019

Selling 78,464 copies in March 2019, it was probably clear to many of this book’s readers just why editor Nick Lowe hired Nick Spencer “to write Amazing Spider-Man” if this comic’s premise was one of the first stories Dan Slott’s replacement pitched having been given the job. For whilst the American author’s initial proposal “grew so much that we couldn’t contain it solely” within just the one ongoing series and therefore needed to add “four extra issues to devote to three of Spider-Man’s biggest villains or frenemies”, this extra-sized thirty-page periodical’s narrative still contains a spellbindingly emotional plot which depicts many of the vulnerabilities that have made Peter Parker’s alter-ego “one of the most popular and iconic comic book characters of all time.”

To begin with the titular character is once again spurred on by his hypersensitive feelings of guilt, having previously failed to prevent Taskmaster and Black Ant from abducting young Billy Connors “right in the middle of Times Square.” Admittedly, Web-head wasn’t physically present to prevent the reptilian boy’s actual kidnapping, but in a similar leap of “Bacon’s Law” logic which saw the titular character previously feel responsible for his Uncle Ben’s tragic death, the costumed crimefighter tears himself up internally having had the two mercenaries “dead to rights the other day.”

Equally as absorbing is the American author’s use of Parker being “sick out of my mind” with a burning fever so as to rationalise just why someone with the “proportional strength of a spider" is eventually bested by Kraven the Hunter’s son. Ordinarily, this book’s audience would probably expect the super-strong Wall-crawler to defeat the clone utilising only a modicum of his special abilities. However, additionally affected by an hallucinogenic chemical gas alongside his “puking – my – guts – out” illness, Spider-Man is portrayed as being the slight underdog, adding plenty of pulse-pounding tension to his bout of pugilism which otherwise wouldn’t have existed.

Rounding off this splendidly over-sized, thirty-page publication is Humberto Ramos’ marvellous pencilling which adds plenty of gravitas to some of this comic’s more outlandish elements, such as Central Park somehow being filled with many of Marvel Universe’s most infamous villains during the dead of night. In addition, the Mexican artist’s depiction of Spidey eventually falling beneath the fists of Kravinoff’s younger self, beautifully inked by Victor Olazaba, is easily worth the cover price of this comic book alone.

Writer: Nick Spencer, Penciler: Humbertos Ramos, and Inker: Victor Olazaba

The Amazing Spider-Man [2018] #16.HU - Marvel Comics

THE AMAZING SPIDER-MAN No. 16.HU, May 2019

Impressively relegating the titular character to a series of emotionally-charged flashback sequences, Nick Spencer’s storyline for this first of four “Hunted” related bonus issues instead gave his 52,961 readers in March 2019 a fascinating insight into the turbulent world of the Black Cat, as Felicia Hardy tries to single-handedly right so many of the wrongs she committed whilst “becoming the Queenpin of Crime” and “running the New York underworld with Hammerhead as my right hand.” Such a marketing ploy, which resulted in “Marvel Worldworld” publishing no less than three different editions of “The Amazing Spider-Man” in a single month, could easily have oversaturated an audience already awash with other spider-related heroes in their Pull Lists. Yet such is the enthralling nature of the American author’s twenty-page plot that this particular comic is arguably crucial viewing for either a fan of the feline burglar or anyone intrigued as to just how Kraven The Hunter managed to ‘acquire’ his menagerie of “criminals who dare claim affinity with the beasts of the wild.”

For starters, Spencer provides plenty of evidence to show just how formidable a fighter the Black Cat can be when “I have a lot of unchecked aggression I need to get out of my system right now.” Enraged by her returning memories of Peter Parker and the break-up of their intimate relationship, Hardy is clearly as savage a street-level combatant as she is viciously clawed. Indeed, she wades through Hammerhead’s minions like they were playing pieces in a board game and even manages to momentarily gain the upper hand when faced with the combined might of Taskmaster and the Black Ant, courtesy of a well-thrown flash grenade.

However, this tome isn’t simply about Iban Coello pencilling plenty of pulse-pounding bouts of pugilism, but also shows how kind-hearted Felicia is determined to become despite all her deep, dark misgivings. Initially fooling herself into believing that she’ll leave the “poor little guy” Billy Connors trapped sobbing within a small cage so that another “do-gooder in tights” can rescue him, her subsequent decision to save the boy at the cost of her own well-being is dramatically-penned, and definitely gets the heart-racing when the entire scenario is revealed to have been a trap orchestrated by the Black Cat's former lieutenant in the Maggia; “Hey, Boss. I told ‘em I’d only help if I got to watch.”

Writer: Nick Spencer, Artist: Iban Coello, and Colorist: Edgar Delgado

The Amazing Spider-Man [2018] #16 - Marvel Comics

THE AMAZING SPIDER-MAN No. 16, April 2019

Touted in February 2019 by “Marvel Worldwide” as being “the biggest Amazing Spider-Man story of the year”, many of the 64,197 readers perusing Nick Spencer’s narrative for Issue Sixteen of “The Amazing Spider-Man” were probably a bit surprised that “Spidey didn’t show up” in the comic’s opening nineteen pages, and was instead shoehorned into a much shorter, secondary tale at the end of the super-sized book. Indeed, even when Web-head does finally make an appearance in his own publication, the storyline is frustratingly far more focused upon the angst-ridden exploits of Billy Connors and a sick Peter Parker, than it is upon the super-hero swinging through the streets of Manhattan.

Mercifully though, the lack of the titular character actually seems to enhance this comic’s entertainment by allowing the two-time Cincinnati City Council candidate to predominantly pen an enthralling piece about Kraven the Hunter’s return from beyond the grave and reconciliation with an ever-evolving world; “Seeing his beloved creations die over and over, unable to withstand any more heartbreak, the High Evolutionary relented.” This spellbinding spotlight upon Kravinoff’s eighty-seven clones, and the resultant murders of all but one, really is a cracking yarn, and does a good job of showing just why an utterly disillusioned Sergei would turn to fellow villain Arcade for help.

In fact, seen through the sceptical eyes of the Soviet’s sole-surviving son, this comic goes to great lengths to explain what has changed within Kraven’s mind, and why he now sees “the same trespassers who defiled your kingdom” as paling into insignificance when compared to the “handful of criminals” who “have committed their own sin against nature.” Excitingly however, whether any Web-Head is convinced by this argument or not is debatably irrelevant, once Spencer reveals this motivation has led to the pulse-pounding promise of having six of the New York-based publisher’s most infamous bad guys be hunted by a plethora of amateur poachers.

Adding to this “Hunted” prelude’s intriguing tale are Ryan Ottley’s storyboards, which go a long way to depict the emotional roller-coaster of a ride Sergei goes through before enlightening his accelerated adult offspring to the big game hunter's murderous masterplan. In contrast, the same arguably cannot probably quite be said of Alberto Alburquerque’s artistic contribution, whose pencilling of this tome’s final pages, whilst proficient, rather jars when scrutinised alongside the cleaner line work of this book’s earlier illustrator.

Writer: Nick Spencer, and Artists: Ryan Ottley & Alberto Alburquerque