SENSATIONAL SPIDER-MAN #31 - September 1998

More than a Feelin’

Credits:  Todd Dezago (writer), Mike Wieringo (penciler), Richard Case (inks), Gregory Wright (colors), Comicraft’s Liz Agraphiotis (letters)

The Plot:  The Rhino launches into a rampage, destroying everything in sight.  Spider-Man attempts to stop him, and discovers that Rhino is only doing this in order to provoke the police into hurting him.  Due to the body armor bonded to his skin, he feels no sensation.  Rhino is desperate to feel anything.  During the chaos, the Lothridge School for the Deaf’s bus is trapped in front of downed power cables.  Using the sign for “friend,” Spider-Man calms Hope and her classmates and helps them escape.  He then uses the power cables to knock Rhino unconscious.

The Subplots:  Billy stops by the Parkers’ home and apologizes for being rude to Peter earlier at the Daily Grind.  Billy explains that he’s moving out of New York City to spend time with his sick mother.

Web of Continuity:  

• This story is based on the premise that the Rhino can’t remove his armor, even though it’s been removed and replaced a few times over the years.  
• Billy reveals details of his past to Peter.  Billy was an only child, his parents divorced when he was young, and he feels as if his mother blamed him for the divorce.  He’s left the Bugle and is moving back to Port Jervis to be with her.

I Love the ‘90s:  Doing repairs around the house, Peter compares himself to Bob Villa.  MJ counters that he’s more like Tim Allen.

We Get Letters:  The next issue blurb in the letter column lists Mike Wieringo as next issue’s penciler, even though a brief goodbye note for ‘Ringo was published just one page earlier.

Original art from this issue, as seen on http://www.comicartfans.com/gallerypiece.asp?piece=1039380

Review:  Todd Dezago sticks around for one more issue (a chapter of the not-fondly-remembered “Gathering of the Five” crossover), but this issue marks his final Sensational collaboration with Mike Wieringo.  I wish I had something poignant to say about their run together, but there aren’t too many ways to say “it’s a fun, lighthearted superhero adventure with nice art.”  There is a bit of historical significance to their run, simply because this style of art was still rare in a mainstream comic of the era, and the emphasis on back-to-basics superheroics makes it an early entry in the neo-Silver Age revival of the late ‘90s.  It’s also worth remembering that the Dezago/Wieringo run had its own cult following, and at least a few fans were adamant that Sensational was the best Spider-Man book of this era and didn’t deserve cancellation.

I wouldn’t say Sensational was the highlight of the post-clone days, but more often than not it was an entertaining read.  I think the title often coasted on Wieringo’s art, making any of the fill-in issues feel a bit shallow, and that the dearth of ongoing character subplots ultimately worked to the book’s disadvantage.  The two major subplots from the Dezago/Wieringo run are resolved this issue, and it’s a bit telling that both of them involve new characters that have yet to be properly fleshed out as strong supporting cast members.  I liked the idea behind Hope’s story and think she and her mother had potential as recurring cast members, but even after several appearances, all we really know about Hope is that she’s a cute kid who happens to be deaf.  Her scene with Spider-Man this issue is great, and a nice payoff to a subplot that began several issues ago, but it’s hard to argue that Hope really needs to appear again.  And Billy Walters…did a real point ever emerge out of this?  Billy’s best scenes were the ones that hammered some guilt into Peter for consistently ditching Billy, but was Billy himself that interesting?  Billy’s arc consists of him being overly friendly, getting his feelings hurt, then making up with Peter before going back home to be with his mother.  A mother, we discover this issue, that seems to be emotionally abusive, or darned close to it.  What kind of an ending is that?  Even if Dezago’s ideas weren’t cut short by the reboot, I have to wonder if Billy would ever evolve past his status as the Daily Bugle’s Jimmy Olsen and stand out as a character in his own right.  

It’s a shame that this title never quite struck the balance between the Spider-Man action and the supporting cast.  With more subplots, and a bit more pathos, this potentially could’ve been a classic run.  As it stands, it’s a pretty good run that shouldn’t be forgotten.  If you’re a Spider-Man fan, I would say it’s worth tracking down.

SENSATIONAL SPIDER-MAN #28 - June 1998

Hornet’s Nest

Credits:  Todd Dezago (script, plot), Mike Wieringo (pencils, plot), Richard Case (inks), Gregory Wright (colors), Comicraft’s Kiff Scholl (letters)

The Plot:  The Human Torch is bothered by the Hornet’s cryptic comments regarding Spider-Man, but changes his mind after meeting the Hornet in person.  As the Hornet, Peter agrees to a press conference being held by Norman Osborn.  Osborn gives the Hornet a check for $25,000, which he immediately asks to be donated to Hope’s school.  The Vulture interrupts the event and attacks the Hornet, claiming Hornet’s stolen his chance to kill Spider-Man.  During their fight, Vulture deduces that Hornet really is Spider-Man.  He shouts the information to the crowd shortly before Hornet knocks him out.

The Subplots:  Billy Walters tells Peter not to bother trying to be his friend again.  Hope signs to Peter his signature web-shooting sign, leading him to believe she knows his secret.

Web of Continuity:  Billy tells Peter that he was “alone a lot” as a kid and hasn’t made any friends in New York.  I don’t think we learn anything else about his past.  Billy was obviously intended to become a major supporting character, but he’s dropped as soon as Todd Dezago leaves the titles.  As for where this story fits into the larger "Identity Crisis" storyline...don't ask.

Creative Differences:  The name of the Lothridge School for the Deaf has been hand-corrected.

Review:  Once again, “Identity Crisis” is an obvious gimmick, but Sensational manages to have fun with the idea.  The story doesn’t just coast on the novelty of seeing Spider-Man in a different persona, there’s actual thought put into how to create interesting scenarios for this new identity.  Little moments, such as Peter trying to figure out where to hide the much bulkier, heavier costume, are nice, and just seeing the joy Peter feels when Osborn tries to adopt the Hornet as his own personal hero is great.  Of course, that joy is short lived since the Vulture ruins everything, but that’s just classic Spidey.  The subplots and personal life scenes are also handled well, with MJ acting thankfully non-shrewish and Billy Walters being a little more likeable.  The prospect of Hope knowing Peter’s secret ID also adds some much-needed tension to the title.  The cameo scenes by other heroes are also fun, aside from being a clever excuse to see Wieringo’s interpretation of other corners of the Marvel Universe.  It’s a shame we never saw a ‘Ringo run on Marvel Team-Up.

SENSATIONAL SPIDER-MAN #27 - May 1998

Inventing the Hornet!

Credits:  Todd Dezago (script/co-plot), Mike Wieringo (pencils/co-plot), Richard Case (inks), Gregory Wright (colors), Comicraft’s Kiff Scholl (letters)

The Plot:  Spider-Man uses an anti-gravity harness developed by Hobie Brown as the basis for his new costumed identity -- The Hornet.  He soon discovers the Looter robbing the Daily Bugle’s safe.  Flash Thompson also stumbles upon the Looter and is taken hostage.  Hornet uses his quick wits to rescue Flash and apprehend the Looter.  Norman Osborn, impressed by his actions, offers the Hornet a place on his team.  The Hornet flies away.  Watching the press coverage outside the Bugle, the Vulture is incensed when the Hornet claims that no one will have to worry about Spider-Man now.

The Subplots:  Peter tests out the anti-gravity harness by giving MJ a ride through the sky.  When it’s clogged by bird feathers, they nearly crash.  Later, Billy Walters is stood up again by Peter when he goes into action as the Hornet against the Looter.

Web of Continuity:  The "stingers" Peter uses as the Hornet are the ones Ben Reilly designed as the Scarlet Spider.

I Love the ‘90s:  Billy calls the large shadow he sees in the sky (presumably the Vulture) “X-Files freaky.”  Later, Billy watches a news promo that says they’ll have the latest on the Hornet, “tonight following E. R.”  There are also references to Seinfeld reruns and Conan airing in late night, but that’s still true as I write this today.

We Get Letters:  An irate fan writes in response to a rumor in Wizard that claimed that Peter and MJ will soon divorce.  The editorial response doesn’t give a real answer, but it is worth noting, since it provides the first hint that a relaunch is coming:  “But we can say that we have been having a number of very serious conversations with a number of very interesting people about the future of the webhead.  Conversations that my render any upcoming stories or ideas quite moot.”  

Gimmicks:  All of the initial “Identity Crisis” covers are actually double-covers.  One with Spider-Man and one with the new identity.  The cover price remains the same.  You can view an archive of every cover on the I Love Comic Covers blog.

Review:  After a month of teasing, “Identity Crisis” finally begins.  I remember the initial response to the solicitation hype was tepid to say the least, but the titles gained positive word of mouth as the months progressed.  The only positive word of mouth I can recall the Spider-Man books receiving during this time, to be honest.  I have no real affection for any of the alternate identities, but I can’t say any of them particularly bother me either.  I recognize this as a gimmicky event storyline from the get-go, and I don’t think there’s any attempt by the creators to hide this fact, which is admirable.  It’s a fun diversion for a few months, and that’s a decent enough justification.  Within the context of the story, there’s no real reason for Peter to suddenly adopt four new identities (one would clearly do if his goal is simply to avoid being Spider-Man), but I can see the appeal of giving him a different persona in each spinoff.  It’s a creative use of the multi-title format, and it’s a clever way to have the titles connect with one another without directly crossing over.

Todd Dezago and Mike Wieringo open the event with yet another reminder of how much they love the Looter.  I liked their previous use of the villain, although I think they take his obsession with his precious meteor too far this issue, indicating that he genuinely loves the rock and is now treating it like a high school crush.  It’s too silly to come across as creepy, yet not funny enough to justify the diversion into surrealism.  The light-hearted tone works better in other areas, thankfully, such as the playful narrator.  Narrators in superhero comics are usually boring or pretentious, on the rare occasion they appear anymore, so it’s a relief to see someone try to make the narrative captions special.   My favorite bit is when the narrator switches to the wrong flashback by mistake.  Sensational, at its best, is a book with personality, and that’s on display this issue.

Regarding the Hornet identity, the creators do put some effort into making the new persona remain unique to Peter Parker.  Hobie could never use the anti-grav harness as the Prowler, but Spider-Man’s super-strength can carry the excessive weight without a problem.  Ben Reilly already adopted the use of stingers, so it’s logical that Peter would revive them.  And I suppose it could be argued that spider-powers and hornet-powers would both allow Peter to move like an insect, so there’s no big stretch there.  I do think it’s strange that Peter is making very obvious statements as the Hornet that indicate a connection between him and Spider-Man, which would seem to undermine the entire point of the story.  This could perhaps be dismissed if done as a quick joke, but instead it becomes a major plot point, leading into the next issue’s Vulture story.

SENSATIONAL SPIDER-MAN #23 - January 1998

The Spirit is Willing; the Flesh…

Credits:  Todd Dezago (plot/script), Mike Wieringo (plot/pencils), Richard Case (inks), Gregory Wright (colors), Richard Starkings & Comicraft (letters)

The Plot:  Dr. Strange defeats the gremlyns sent by Buel, then sends his Astral self back inside the Aleister Building to guide Spider-Man.  After traveling through various realities, they eventually locate the Sphere of Sara-Kath.  Dr. Strange physically enters the building and battles Buel, while Spider-Man fights his overwhelming attraction to a white light and carries the Sphere to the Babylon Portal.  When he throws the Sphere into the Portal, the rip in reality is healed and Buel disappears.  Before leaving, Dr. Strange lets Spider-Man visit the dimension he was drawn to earlier.  He senses a familiar presence; Spider-Man thanks Dr. Strange for the experience and they part.

The Subplots:  None.

Miscellaneous Notes:  The date listed in the indicia is January 1997, but it should be January 1998.  The Statement of Ownership lists the average number of copies sold in the past year to be 117,969, with the most recent issue selling 103,165 copies.

Review:  The previous chapters of this arc didn’t particularly feel like Spider-Man stories, but there is more of an effort this issue to connect the story with more familiar Spidey territory.  The first moment is when Dr. Strange dissuades Spider-Man from following the white light by reminding him of his responsibility to stop the reality rift and complete his mission.  That leads to a quickie flashback to his origin, which could’ve easily been a dull recap of something everyone knows, but there’s more of an impact this time.  Partially because Dezago keeps it brief and chooses his words carefully, but also because Wieringo’s art evokes an unexpected somber tone that sells the moment perfectly.  

The sudden remembrance of Uncle Ben is likely a setup for the issue’s schmaltzy ending, which has Peter touching the presence of a loved one in “an in-between place -- inhabited by thoughts and dreams and hopes…and the essences of ones that were…”  In a sane world, there shouldn’t be any doubt that Peter’s reconnecting with Uncle Ben for a final time.  Unfortunately, I think the standard belief amongst fandom turned into “Ben Reilly’s in that dimension!  He’s not really dead….that’s how he’s coming back!”  I can understand why Dezago left the identity vague, and I guess there’s nothing wrong with a hardcore Ben Reilly fan holding on to a naive hope, but geez…how could anyone think that scene works better with Ben Reilly instead of Uncle Ben?!

In retrospect, this really is the strongest chapter of the storyline.  Buel, whose personality is that of a snotty teenager, actually has some decent lines this issue; as opposed to just being obnoxious, he’s obnoxious but kind of funny this time.  Dr. Strange has a solid character moment, prompted by Spider-Man calling him out on his arrogance when he refuses to give him access to the strange white light.  Strange reconsiders, reflecting on the arrogance that destroyed his previous life, and gives Spider-Man his little happy ending.  And the art is fantastic, which isn’t much of a surprise.  There’s a two-page spread of Spider-Man and Strange traveling through various realities that is simply beautiful.

I haven’t gotten soft, though.  This overall arc is still too long, too unfocused, and just an odd way to spend three months of this title.  The first issue gives the Technomancers a grand introduction, only to have the characters almost entirely fall out of the story in place of Buel.  When the two Technomancers that received the most attention in the first chapter return this issue, they play a small part in helping Strange fight Buel, but their appearance feels rushed and unsatisfying.  The idea, apparently, is that they’ve learned a lesson about manipulating the mystic arts, redeeming themselves at the end somewhat, but it never comes across as a convincing character arc.  The Technomancers’ basic gimmick sounds fairly generic, and even if a writer found a way to make them work, it’s hard to imagine them becoming serious players in Spider-Man’s little corner of the world.  The subplots have also been pretty disappointing during these three issues, when they appeared at all.  The art arguably makes up for many of these flaws, and ‘Ringo does have some amazing moments, but it's hard to view this arc as one deserving of three issues.

SENSATIONAL SPIDER-MAN #22 - December 1997

The Politics of Magic

Credits:  Todd Dezago (plot/script), Mike Wieringo (plot/pencils), Rich Case & Scott Hanna (inks), Gregory Wright (colors), Comicraft’s Kiff Scholl (letters)

The Plot:  Dr. Strange senses the dimensional chaos inside the Aleister Building, and soon arrives with Spider-Man.  Strange casts a spell that freezes the flux temporarily, allowing Spider-Man to enter the building and find the Sphere of Sara-Kath, which is amplifying the Technomancers’ Babylon Portal.  Strange’s physical body must remain outside to maintain the spell, but his Astral presence follows Spider-Man inside.  Spider-Man eventually loses Strange’s guidance when Strange is attacked outside, leaving him alone with Lord Buel.

The Subplots:  Jonah Jameson visits Billy Walters in his apartment.  He gives Billy a secret assignment to investigate Norman Osborn’s takeover of the Daily Bugle.  Meanwhile, Anna Watson babysits Hope.  

Web of Continuity:  

• The issue opens with an explanation of how Dr. Strange has regained his mystic powers.  This is Spider-Man’s third team-up with Dr. Strange since the post-Clone Saga era began, but it’s the first time a story has gone out of its way to explain Strange’s recent continuity.
• Lord Buel reveals that he was a noble in another dimension who studied the mystic arts out of boredom.  He was sentenced to another realm for evoking dark spirits, and now seeks the Sphere of Sara-Kath to gain vengeance.  Aside from being surrounded by his pet Gremlyns, Buel has the power to reshape flesh.
• According to Strange, the Sphere of Sara-Kath is a mysterious object that can “augment by a hundredfold the magikal abilities of any who possess it!”
• Strange is distracted at the end of the story when he senses Franklin Richards and his “blue…ball!”  This is a reference to the ending of the “Heroes Reborn” event, as seen in Heroes Reborn: The Return.

I Love the ‘90s:  Billy Walters is watching X-Files, and telling Scully not to enter a room, when Jameson knocks on his door.

Review:  Hypothetically, the Technomancers material could’ve worked if it were used as an excuse for ‘Ringo to just draw something cool for an issue or two.  That’s the bulk of this issue, which is far more exciting than the last chapter, as Wieringo is given page after page of monsters, demons, and dragons to play around with.  That’s fine, but every page with Lord Buel just drags.  It’s hard to justify why exactly this character is a Spider-Man villain, and to be honest, his design isn’t up to Wieringo’s usual standards.  His face is a human/bat hybrid with some cyborg crap thrown in, and he dresses like every post-Tolkien evil wizard ever to appear in an AD&D source book.  I wouldn’t mind him so much as a one-issue, throwaway villain, or in a peripheral team-up book, but his presence in a monthly title is simply annoying.  Three issues of this?  No thanks.  Scheduling this arc while “important” events are occurring in the other titles just emphasizes how much it feels like filler.  There are some great Spider-Man shots this issue, however.  The story’s set at night, which works to Wieringo’s advantage, since he was always one of the artists who understood how to incorporate black into the costume.  I’m surprised some of these panels haven’t shown up on any Spidey merchandise over the years.  Spider-Man looks fantastic this issue, he’s just stuck in a bland story.

SENSATIONAL SPIDER-MAN #21 - November 1997

 

Opening Doors

Credits:  Todd Dezago (writer), Mike Wieringo (penciler), Rob Stull (inks), Gregory Wright & Mark Bernardo (colors), Comicraft’s Kiff Scholl (letters)

The Plot:  At the Aleister Building, home of the Technomancer Corporation, the Neomancers arrive with the Sphere of Sara-Kath.  While Maegis Senreich is distracted by its arrival, the Babylon Portal unleashes demons from another dimension.  The Neomancers are attacked by the demons, as the Gremlyn Lord Buel emerges from the portal.  Meanwhile, Spider-Man feels a strange attraction to the Aleister Building.

The Subplots:  Jill takes Peter and MJ to her new favorite coffee place, the Daily Grind.  Billy Walters tries to become friends with Peter, but Peter is too busy to humor him.  Aunt Anna meets the Parkers’ new neighbors, Ellen Hibbert and her daughter Hope.  Hope later spots Spider-Man exiting Peter’s bedroom window when he leaves for the Aleister Building.

Web of Continuity:  

• The Technomancers are an ancient group that merges sorcery with modern technology.  The corporation is a front for their true activities.
• Billy tells Peter that an attractive blonde woman with blue eyes was looking for him earlier at the Daily Bugle.
• Robbie Robertson makes a reference to Jonah Jameson being in the hospital, making this issue hard to place in regards to Spectacular Spider-Man continuity.  This is one of the (many) issues the Chronology Project says takes place “in-between the pages” of Spectacular Spider-Man #250.
• Ellen Hibbert is a uniformed police officer.  Her daughter Hope is deaf.  Peter doesn’t know this and just assumes she’s a strange kid.  The Hibberts are living next door in Aunt Anna’s old house.

*See _________ For Details:  Peter reflects on the last time he was in the attic with Ben Reilly, in Spectacular Spider-Man #240.  Later, Shirley at the Daily Grind comments on “everything that happened” during “Revelations,” circa Amazing Spider-Man #418.

I Love the ‘90s:  Billy Waters is wearing a “Massimo” shirt, which is a play on the popular Mossimo t-shirts of the ‘90s.  He also has a flannel jacket tied around his waist, which is an odd fashion choice for a comic published in late 1997.

Miscellaneous Note:  I’m assuming the Aleister Building was named after English magician Aleister Crowley.

Review:  Aw, no….the Technomancers.  These are instantly forgettable villains that eat up a few issues of Sensational while most of the other titles deal with the returns of Norman Osborn and Doc Ock.  Despite some nice design work by Mike Wieringo, there isn’t much to these guys.  Unfortunately, Todd Dezago seems rather enamored with the concept, because he spends around half of the issue establishing the Technomancers’ headquarters and giving the reader a glimpse into the organization’s hierarchy.  Really, they spend the bulk of their scenes talking about mystic plot devices and cackling over their vaguely defined future plans.  It’s not that enthralling.  The storytelling’s also a little muddy during the introduction of new villain Gremlyn Lord Buel.  The scene reads as if one of the lower Technomancers has been transformed into Buel after being attacked by one of the demons (or “Gremlyns”).  Instead, the next issue makes it clear that Buel is a new character that’s entered through the portal.

The rest of the issue touches on numerous subplots, and as much as I like subplots in my Spidey comics, these are mostly duds.  I skipped the majority of the Clone Saga during its release, so the return of the Daily Grind doesn’t evoke any fond memories for me.  And the story’s staged to make the Daily Grind’s return into a momentous occasion, when in fact the location soon returns to obscurity.  Jill Stacy almost displays a hint of a personality in this scene, though, as she’s apparently now a snobbish hipster who’s annoyed that Peter and MJ have already discovered her cool new spot.  I would argue that this contradicts her established personality, but we all know she has none.  The Hibberts had potential as new supporting cast members, but after Dezago goes through a Rear Window riff with Hope, they’re quickly forgotten.  Billy Walters’ brief scene is probably the best of the subplots, if only because Peter realizes he’s been brushing Billy off and begins to worry that he’s hurt the guy’s feelings.  That’s classic Peter Parker, and the books don’t have enough of those moments at this time.  Billy’s scene also hints at the return of Gwen Stacy, or more likely her clone, which adds some intrigue to a fairly dull issue.  It’s a feint, of course, but it works as an attention-grabber, and Billy’s a smart choice to use as the messenger since he’s a character that wouldn’t recognize Gwen.  These are the little moments that Dezago’s really good at sneaking in; I just wish his main stories were this interesting.

SENSATIONAL SPIDER-MAN #-1 - July 1997

 

Here There Be Monsters!

Credits:  Todd Dezago (writer), Mike Wieringo (penciler), Richard Case (inks), Gregory Wright (colors), Comicraft (letters)

The Plot:  Peter Parker goes to bed the night before his fishing trip with Uncle Ben.  As he sleeps, he dreams their fishing trip is interrupted by creatures from his favorite comic books.  Using his knowledge of science, Peter is able to defeat the monsters in his dreams.  The next morning, Aunt May is adamant that Peter throw away his comics.  Uncle Ben hides them in the attic instead.  Elsewhere, Nightmare decides to target young Peter Parker in the realm of dreams, but he’s scared away by Stan Lee.

The Subplots:  None.

Web of Continuity:  The old Marvel monsters seen this issue include Gigantus, Groot, the Vandoom Creature, and the Blip.  And this is actually the second time we see Peter’s old monster comics in the attic.  He discovered them in the present day during the “Revelations” storyline in Spectacular Spider-Man #240.

Forever Young:  Somehow, twenty-something Peter Parker had a full collection of early Silver Age Marvel monster comics in his youth.  (Uncle Ben’s dialogue doesn’t suggest he passed them down to Peter.)  The Parkers also had a television set sitting on the floor with wood paneling and VHF/UHF knobs.

Review:  Hey, I get to talk about Flashback Month yet again.  For anyone who isn’t aware, this is the month Marvel labeled every comic it published a “negative one” and set the story vaguely ten years in the past, before the official beginning of the Marvel Universe in Fantastic Four #1.  Stan Lee served as the narrator and reportedly wrote his own dialogue.  At the time, I largely viewed Flashback Month as a nuisance, but over the years I’ve come to appreciate the concept.  I still believe that applying the gimmick to the entire line of books was a mistake, however.  The Spider-Man line is the perfect example of how Marvel cast the net too wide -- there are four monthly Spider-Man titles, five counting Untold Tales.  How do you get five full stories out of the nerdy, pre-Spider-Man Peter Parker?

Despite the restriction, Todd Dezago and Mike Wieringo get one of their best issues out of the concept.  Going for “it’s all a dream” is a somewhat obvious choice, yet it’s probably the best one available to creators who have to tell a young Peter Parker story that still incorporates some action and/or fantasy elements.  It’s largely an excuse for ‘Ringo to draw some long-forgotten Marvel monsters, and he does so spectacularly.  If he can’t draw Spider-Man for an issue, this is still a worthy use of his time.  Honestly, who would expect to see a Groot vs. Vandoom fight in a flashback story about Peter and Uncle Ben’s fishing trip?  It’s a clever way to subvert the editorial mandate without breaking any of the actual rules.

Not only is the issue visually amazing, but the story is also one of the finest Peter/Uncle Ben stories I’ve ever read.  The scene where Ben tries to get Peter to open up about his friends and Peter’s only response is to clam up (because he has none)…if that doesn’t get to you, check your pulse, you heartless ogre.  So, Sensational has set the bar high as the first Spidey Flashback.  To be honest, I’m skeptical if the rest are going to be this good.

SENSATIONAL SPIDER-MAN #17 - June 1997

 

Helpless!

Credits:  Todd Dezago (writer), Mike Wieringo (penciler), Richard Chase (inks), Joe Andreani (colors), Comicraft (letters)

The Plot:  Peter bluntly tells Billy that he can’t do his job with Billy around, then disappears and reemerges as Spider-Man.  Prowler escapes by jeopardizing the crowd and distracting Spider-Man.  Later, after talking to Hobie, Spider-Man investigates the ER workers who might’ve discerned the original Prowler’s secret identity.  At the apartment of Rick Lawson, Spider-Man finds the Vulture and Prowler locked in another battle.  After webbing up Prowler, Spider-Man succumbs to vertigo, leaving him vulnerable to the Vulture’s attack.

The Subplots:  None.

Web of Continuity:  Spider-Man has been suffering from sporadic bouts of vertigo since his encounter with Morbius in Peter Parker, Spider-Man #77.

I Love the ‘90s:  The letters page advises you to save thirty-two cents on a stamp and send your letters through Marvel’s new email address.

Review:  Oh, this is going through three issues?  (And the story’s getting interrupted next issue for “Flashback” month?)  I don’t think there’s enough of a story here to justify that many chapters, although I suppose the two back-up stories ate up some space Dezago felt he needed.  This issue, Spider-Man discovers the new Prowler’s true identity, and thanks to a bit of synchronous cross-title continuity, also suffers a bout of vertigo that puts him in cliffhanger-worthy danger.  The art’s still great, and Dezago actually is working in some decent jokes now, so it’s not a bad middle chapter, even if the plot seems to be moving a bit too slowly.  I should also point out that Billy Walters, a character I’ve never had strong feelings for, serves his role adequately this issue as an annoying but well-meaning nuisance in Spider-Man’s way.  I can’t tell if he’s intended to be anything more than a Jimmy Olsen stand-in, but I do like the basic idea of Peter having to be a jerk to someone that doesn’t really deserve it.

Brother’s Keeper, Too

Credits:  Todd Dezago (writer), Richard Case (artist), Gregory Wright (colors), Comicraft (letters)

The Plot:  Spider-Man talks to the irrational DK, relating to him the loss of his own “brother.”  Spider-Man encourages him to move on.  DK comes to his senses and turns himself back in.

The Subplots:  None.

Web of Continuity:  Spider-Man’s “brother” is, of course, Ben Reilly.

*See _________ For Details:  The guards killed by DK now resemble ashes, which reminds Spider-Man of Ben’s death in Peter Parker, Spider-Man #75.

Review:  I can only assume these back-ups existed to buy Mike Wieringo some deadline relief.  As much as I like the work Wieringo’s doing during this arc, I think I would’ve preferred Richard Case continuing the Prowler/Vulture story and just getting the arc done in two issues.  Especially if next month is “Flashback” month, which is only going to drag things out even longer.  Outside of throwing a bone to the still-vocal Ben Reilly fans, I see no real point to these back-ups.  DK is angry, Spider-Man has an Oprah moment and tells him to let go of his anger, and everyone’s back to where they were before this started.  Except for the families of the guards casually killed during DK’s tantrum, of course.  We can’t let them get in the way of the schmaltzy ending, though.  Easily forgettable stuff, unfortunately.