Dan Slott’s ‘Dead No More #1’ can’t shake stale smell of clone stories better left buried in Spider-Man history

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Marvel’s big Spider-Man event of the year has finally arrived with Dead No More: The Clone Conspiracy #1. Readers who lived through the 90s wondered why writer Dan Slott would dig up the still-rotting corpse of The Clone Saga, and DNM #1 seems to confirm their worst fears. Recycled plastic usually has a weird quality to it that fails to match the original, and recycled stories are the same way.

Here is what you need to know for DNM #1:

  • Peter attends the funeral of Jay Jameson and Jonah explodes on him, which is odd because he knows New U has the power to bring people back from the dead. Jonah’s first wife Marla, after all, has returned.
  • Peter says “this is all my fault” to himself after everyone leaves, even though it clearly was not.
  • Anna Maria Marconi finds out that Peter’s spider-sense went off when he used Jerry Salteres as a guinea pig for New U’s experimental treatment. The two decide to visit the employee’s house to investigate.
  • Jerry’s wife reveals that her husband failed to take his medicine and had something “terrifying” happen to him. New U told her not to talk about it and scrubbed her webware, which contained video of the incident.
  • Peter inexplicably vows to bring Jerry home after retrieving lost data from the webware. Anna privately scolds him for the promise and he heads off to New U as Spider-Man.
  • It turns out Peter used a “microscopic, sub-dermal tracer” on Jerry when they saw each other in the hospital, so he tracks down the man’s “reanimating” body inside a lab.
  • Miles Warren walks in on Peter and within moments Rhino and female Electro are headed for battle.
  • Spider-Man goes into a room marked “Do Not Enter” and finds Gwen Stacy. He is surprised when she doesn’t set off his spider-sense.
  • A reanimated Doctor Octopus punches Peter in the face with a tentacle and the issue ends.

DNM #1 also features a story by Dan Slott titled The Night I Died, which tweaks elements of 1973’s The Amazing Spider-Man #122 to include a semi-conscious Gwen finding out that Peter Parker was Spider-Man just before her death. She cries while thinking of Peter as “the man who helped kill dad.”

Gwen is then “reanimated” by Miles Warren, aka The Jackal, and introduced to her father as a means of convincing her to become a “business partner.”
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The problem with mixing clone stories and The Amazing Spider-Man, besides the fact that they have been done to death (no pun intended) — and badly done — is that a writer is tasked with covering the very nature of existence, consciousness, and the soul. Even unintelligent readers seem to inherently understand that the writer is entering into serious territory, so if the tale isn’t handled right it crumbles under its own weight.

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Let’s put it another way: Even clones in real life would know that they are clones (i.e., see the panel of Gwen Stacy realizing what has happened before grabbing a knife to slit her own throat). Readers are the same way. Why should they care about Gwen Clone?

They shouldn’t — unless it is done well.

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And there’s the rub. On Dan Slott’s watch, Peter Parker “died” and came back to life. The character has not had a single moment of honest reflection on his own death (or whatever it was, since it was never clear) since the series relaunched. Human beings — flesh and blood with thoughts and emotions and hopes and dreams — would be shaken to their core if they died and were brought back to life. Not Dan Slott’s Peter Parker.

Therefore, it stands to reason that if Mr. Slott does not even apply basic human reactions to the protagonist of the series then he will not do so in a meaningful way with clones.

DNM #1 appears to set up all sorts of twists and turns for Peter Parker in the next couple of months. That is the good news.

The bad news is this: Like most conspiracies, the people who weave them usually lose their audience in an incoherent mess that unravels with the least bit of scrutiny. Before you plunk down $4.99 for this book, consider Mr. Slott’s track record and then ask yourself if he seems up to the task.

Editor’s Note:

Regular readers of this blog remember the time when I accurately predicted Dan Slott’s “Arachno-Rockets.” It appears as though your friendly neighborhood blogger has another notch on the belt after having asked in February when “single-cell Spider-tracers” would arrive. DNM #1 does not quite give us a single-celled tracer, but it is “microscopic, sub-dermal.” Given that the function is essentially the same, we’ll consider that a win.

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Dan Slott’s Spider-Man: ‘Web-cement’ ready in China, not when Peter’s family needs him in ASM #19

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The last two issues of The Amazing Spider-Man have seen the strongest writing on the book in months, which is odd given that its main character — Peter Parker — was relegated to the sidelines. He is back in ASM #19 and, seemingly like clockwork, the book has taken an embarrassing turn. Ham-fisted attempts to prove that he’s a snake-bitten loser abound, and tears flow because the guy with 10,000 specialized web cartridges couldn’t remember that Cartridge Seven contained “quick-drying web-cement” (as seen in ASM #6).

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When Peter Parker is in China, “quick-drying web-cement” is on hand for a nearly abandoned construction site. When he’s in New York and his family needs him, he doesn’t think to use it. What does editor Nick Lowe actually do in the office, anyway?

Here is what you need to know for ASM #19:

  • Aunt May tells Peter to hurry to the hospital because her husband, Jay Jameson Sr., is getting worse with some disease that Marvel has not elaborated on. It’s just bad…and deadly…because illness.
  • Peter is on his way when he hears someone scream, “Stop! Thief! That’s all my money!” Our hero turns the corner and sees two men running down the street. He webs both of them up and a shop owner yells at Spider-Man for webbing up his son (even though it was perfectly understandable to make such a mistake and the hero literally secured the guy’s entire life savings).
  • Peter then inexplicably says he doesn’t blame New Yorkers for hating him.
  • Everyone wants to know why Peter used New U’s technology on an employee, but he doesn’t want it applied to Jay Jameson Sr. They don’t believe him when he says that further Parker Industries research has shown that conventional methods are probably safer as long as time permits. (Again, what is the disease? Can’t Dan Slott call a doctor and do a little research for something plausible?)
  • Jay privately asks Peter to go to his apartment and get a clock that was brought to America from Ireland. Jay wants to give it to his son before he dies. Peter agrees to get the heirloom.
  • Peter webs the clock to his back and heads for the hospital, but a greedy industrialist’s decision to ignore safety regulations (but of course!) causes an accident. A crane comes unmoored from a building and Peter, in a Christ-like pose, must hold it in place from falling while rescue workers arrive. Aunt May calls him and berates him for taking his time. She wants to see him face-to-face on his phone, but he tells her it’s impossible at the moment.
  • J. Jonah Jameson talks to the “reanimated” Marla and asks her what to do.  She tells him to convince Peter to use New U’s technology on his father.
  • Peter’s webbing dissolves after an hour and the clock falls from his back. He finds it later and it’s broken.
  • Aunt May and J. Jonah Jameson cry as perpetually tardy Peter arrives to the hospital with the shattered clock.

Perhaps the two best ways to describe ASM #19 is “forced” and “convoluted.” Characters behave in ways that are downright weird to advance the plot, and Peter is shoe-horned into situations show the tension that his secret identity imposes upon his personal life.

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What makes this issues climax fall flat is the fact that for well over a year Dan Slott has pulled out numerous inventions out of Peter Parker’s butt, but for no apparent his reason his technological butt-magic disappears in ASM #19. He literally held up an entire building with web fluid in ASM #6, but now — when he really needs it — the proven technology is not even mentioned.

Heck, Spider-Man even had “web-foam” literally spin off his back on voice command in ASM #9, which protected him as he entered earth’s atmosphere. Are readers supposed to believe he wouldn’t wrap a precious family heirloom in it? Thanks for making Peter look like a total doofus, Dan Slott.

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Marvel’s message to readers translated: “Did you think J. Jonah Jameson was praying to God in the first panel? Gotcha! Who would do such a crazy thing? Haha. He was talking to Marla the whole time.”

In short, you may enjoy ASM #19 if you watch bad soap operas. Readers have hospital death scenes, people coming back from the dead, a lot of tears and hackneyed writing. Tune in next month for more Mighty Marvel Mayhem, true believers, when Peter Parker needs his “acid-webbing” to save the day, but then decides not to use it!

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Civil War II #5: Team Stark v. Team Danvers throw down

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Brian Michael Bendis’ Civil War II #5 hit stores this week, and someone must have slipped something in his drink because he dedicated the entire issue to a massive brawl between Team Stark and Team Danvers. Is that a good thing? A bad thing? You’ll have to check out my latest YouTube video to find out.

After you’re done watching, let me know what you think in the comments section below — particularly you’re thoughts on the Inhuman Ulysses’ latest vision.

Dan Slott’s excitement, focus return in Amazing Spider-Man #18 with Doctor Octopus in limelight

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The Amazing Spider-Man #18 is an issue that has been building since the end of Spider-Verse in February 2015, so it stands to reason that writer Dan Slott would put extra care into the product. Still, it seems undeniable that this Doctor Octopus-centric tale possesses the most energy the creator has brought to the title in months. Fans of The Superior Spider-Man will be thrilled with the flashbacks and the loose ends that are tied up, while others will be left wondering, “Why can’t the book have this much life on a regular basis?”

Here is what you need to know about ASM #18:

  • Doctor Octopus explains how he was able to transfer his consciousness into the gauntlet of his Superior Spider-Man costume during Spider-Verse. The technology became a “fully functional octobot” and then downloaded his consciousness into Living Brain.
  • Readers are informed how Otto dispatched with Ann Maria Marconi’s new boyfriend, Blain, after he was unable to download his consciousness into the man’s brain. In short, Otto was able to get headhunters in Australia to offer him a job “too good to pass up.” (Blain decided to not even talk to Peter Parker about the situation, apparently…)
  • Doc Ock, still secretly inside Living Brain, demands Anna “explain” when she says she would not date Otto if he were standing before her. She mentions the fact that he tried to kill six billion people. “I could never love someone like that. Ever,” she says while kissing the robot on its cheek.
  • Peter contacts Anna on his way to New York and tells her to “double” her efforts on figuring out the cloning process used by New U Technologies.
  • Otto devises a plan to have Anna fly back to New York because he believes Anna wants Ott’s mind in Peter’s body. When they land in New York she tells Peter that Living Brain has “been acting up a lot lately.”
  • Peter decides to work on Living Brain, aka Doc Ock, who demands Peter “explain” how Otto’s mind was erased from the real Spider-Man’s brain. Peter explains how Otto killed himself so that Peter could save Anna from the Green Goblin, at which point the downloaded consciousness of Otto from Spider-Verse goes ballistic. “Lies! Lies! Lies!” he says while smashing equipment.
  • Living Brain destroys himself as Spider-Man tries to shut him down, but not before Otto’s consciousness again returns to gauntlet from Spider-Verse. Peter and Anna both act as if they only faced a “Doc Ock revenge program from beyond the grave,” as opposed to the real deal (for some inexplicable reason).

Does that sound like a mouthful? If so, that’s because it is — there was a lot going on in ASM #18. To Mr. Slott’s credit, he organized his thoughts about as well as could be expected with the plot threads at hand.

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As was said earlier, fans of SSM will enjoy this issue. There really isn’t too much to ding it on aside from the fact that once again people must act like morons to move the plot forward.

“Please, he won’t hurt me. He never would. Don’t ask me how I know. I just do. Trust me!” Anna says while trying to convince Peter to get closer to a rampaging Living Brain — but it might as well have been Dan Slott speaking to the readers.

Translation: “Don’t ask too many questions. I don’t. Trust me!”

And Dan is right: If you just want a “wacky” adventure and don’t have a desire to think too hard, then this issue is a fun read. Don’t ask why Anna and Peter give the equivalent of, “Huh. That was weird,” after Living Brain’s meltdown. Don’t ask questions about the nature of life and if humans have a soul, and don’t ask how Otto literally had Peter’s entire life beamed into his mind and didn’t change one bit.

“But Doug!” you say, “Didn’t Otto die to save Anna in Superior Spider-Man #30? Doesn’t that count?”

Answer: No, because readers were given no reason to believe Otto had changed in the previous 29 issues. It just happened.

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Regardless, as already mentioned, ASM #18 is worth buying for anyone who has been eager to see the series once again focus on Doctor Octopus. It is rather intriguing to think about a man who cannot have the woman he loves because he is trapped inside an “inferior” body, and the villain’s plans to resurrect himself are a good tie-in to Dead No More.

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If you plan on buying Dead No More, then ASM #18 is worth picking up this weekend. If not, then you still might want to give it a read. The author seldom is capable of packing pathos, organized thought, enthusiasm, and action into a single issue of ASM, and it might be months before such a feat is witnessed again.

Related:

Dan Slott’s Spider-Verse Epilogue: Wrap-up oddly more exciting than main story

Bendis nicely sets up ‘Champions’ in Spider-Man #8, but classic heroes turned into giant goofs

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Brian Michael Bendis is one of Marvel’s key writers, but in a previous life he may have been a circus juggler. Spider-Man #8 somehow manages to move the title’s plot forward, set the stage for Champions, and seamlessly tie into Civil War II. Technically, Mr. Bendis hits all of his marks. Creatively, however, SM #8 once again shows why many older Marvel fans are fed up with the company.

Here is what you need to know for SM #8:

  • Jessica Jones and Luke Cage confront Miles Morales on a rooftop and say they know his secret identity.
  • Miles is upset to find out that his grandmother hired Jessica Jones to spy on him, but he is glad to hear that his mother tried to pay the investigator to cancel the contract. He agrees not to say anything to his family after the older heroes tell him to get his act together.
  • Miles is summoned to the Triskelion, S.H.I.E.L.D. headquarters, by Tony Stark. A large group of superheroes are informed by Stark and Captain Marvel that everyone will confront the Hulk about Ulysses’ vision of him killing everyone.
  • Bruce Banner is killed by Hawkeye, as previously shown in Civil War II #3.
  • Nova, Spider-Man, and Ms. Marvel are stunned by what happens and the two young men publicly state their allegiance to Tony Stark. Ms. Marvel breaks down into tears because her role model set the stage for Banners’s death.

This sounds like a great issue, right? Well, sort of. One’s enjoyment or hatred of SM #8 really hinges on his or her opinions on Civil War II. Bendis — and artist Nico Leon — do an admirable job showing young heroes who struggle to find their place in an “adult” world, but at the same time it all comes at the expense of classic characters.

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There is a scene after Banner’s death where the three kids come together to comfort one another that is incredibly poignant, but the feeling disappears the moment one realizes that Captain Marvel and every superhero who sides with her has taken on a goofy position to make Civil War II work.

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In short, Mr. Bendis has nicely set up an “us against the world” dynamic for the future “Champions” that will also serve Spider-Man well, but in many ways he is doing so at the expense of icons like the original Spider-Man, Peter Parker.

If you are an older reader, the best way to show your displeasure is to withhold your wallet for any title that engages in character assassination of the heroes that made Marvel what it is today.

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‘Civil War II: Amazing Spider-Man #4’: Dan Slott’s ASM #17 haunts Christos Gage’s latest effort

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It’s hard not to feel sorry for Christos Gage. The guy was asked to write a Spider-Man story that stood on its own while also supporting Brian Michael Bendis’ Civil War II and Dan Slott’s run on The Amazing Spider-Man.

Question: How does the hero who a.) asked The Prowler to resort to corporate espionage on behalf of Parker Industries, and b.) teams up with Carol “Minority Report” Danvers have the moral authority to lecture a confused man like Clayton Cole?

Answer: He doesn’t.

Civil War II: Amazing Spider-Man #4 is a book that actually reads better the less one knows about the current Marvel universe. For people who just want to roll around a few philosophical questions about redemption and free will like marbles, Mr. Gage’s work satisfies. For people who love the character Peter Parker, however, the issue is just one more reminder of just how intellectually discombobulated he has become thanks (in large part) to writer Dan Slott.

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Here is what you need to know for CWII: ASM #4:

  • Spider-Man tries to talk Clayton Cole off a psychological ledge during the one-on-one battle predicted by Ulysses. Peter wants the scientist to give up his “Clash” technology and start a new life.
  • Robot Master reconstitutes himself and attacks the two men just as Peter seems as though he might have a breakthrough.
  • Clayton leaves Spider-Man to deal with the villain on his own, saying that he needs to go his own way.
  • Spider-Man defeats Robot Master, who vows to take Parker Industries to court for Cole’s attack.
  • Peter Parker and Ulysses discuss the Inhuman’s powers, whether they are appropriate to use, and how to channel them to save lives. Peter now says it would be wrong for Ulysses to work for Parker Industries because the company will be stronger by learning from its own from failures.
  • Spider-Man agrees to work with Carol Danvers to profile potential future criminals. He will fight for the cause if necessary, but says he will act like her personal Jiminy Cricket (It worked out so well with Doctor Octopus, right Pete?)
  • Clash steals a massive amount of off-the-books cash from Roxxon and announces that he will no longer work for other men. The villain begins to recruit for a criminal empire.

Fact: Clayton Cole wanted to “redefine” himself as a hero using Clash technology.

  • What then, we must ask, gave Spider-Man the moral authority to say that Clayton Cole should not do that, but Hobie Brown as the Prowler can?
  • Why is Dan Slott’s Peter Parker a stand-up guy for asking Mr. Brown to break into a business and steal technology for his own selfish reasons, but Mr. Cole is “ruining” his life for trying to turn over a new leaf as Clash — the superhero?
  • How can Peter Parker, a man who has been falsely convicted in the court of public opinion multiple times, endorse Captain “secret detention” Marvel?

In short, CWII: ASM #4 is filled with creative contradictions, which are not treated as such. As was stated in previous reviews, it is tough to discern how culpable Mr. Gage is for the story’s flaws when a strong argument can be made that he is doing the best he can with messes made by other men.

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If you have read the previous three issues of Civil War II: The Amazing Spider-Man, then you may as well buy the conclusion. If you have held off this long, then skip it and take note: The modern Spider-Man is like a boat without an anchor in a storm that shows no sign of breaking.

Again, I feel bad for Mr. Gage — but even more so for the writer who eventually replaces Mr. Slott. Where does a man begin with so much rubble to clear? I guess we’ll find out.

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Related:

‘Civil War II: Amazing Spider-Man #1’: Gage offers reprieve from Slott fare

‘Civil War II: Amazing Spider-Man #2’: Gage explores ‘self-fulfilling prophecy,’ recidivism, and redemption

‘Civil War II: Amazing Spider-Man #3’: Peter Parker turned into hypocritical jerk to keep story going

 

Spider-Man #7: Bendis writes strong tie-in to Civil War II

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Brian Michael Bendis’ Civil War II has taken its lumps in terms of fan interest and sales, but the story is helping to define Miles Morales. Spider-Man #7 features the young man trying to determine whether he will stand and fight alongside Tony Stark in a war over the Inhuman named Ulysses, or if he will sit on the sidelines and let the veterans sort it out for themselves.

Here is what you need to know for Spider-Man #7:

  • Miles is having nightmares about the potential future he experienced, where the Hulk goes completely off the deep end (even by the Hulk’s standards), and kills everyone.
  • Miles’s parents cannot sleep. His mother knows that private investigator Jessica Jones is keeping information about Miles from her. Jones had to use her superhuman strength to carry Rio out of her office…and send a message to stay away.
  • Miles’s father wants the investigation (launched by his mother-in-law) called off, but the two parents seemingly don’t have the power to make it happen.
  • Miles web-slings around New York to clear his head and runs into Lana Baumgartner, aka Bombshell. After she stops a robbery by blowing up a van, Miles says her behavior is symbolic of a lot of other superheroes: “You stopped a robbery, but you started a fire.”
  • The two teenagers talk about the upcoming war between superheroes and Lana says that Miles is being manipulated by the “rich white dude” known as Tony Stark to do something against his will. Her reasoning — that’s what “rich white dudes do.” (Note: Don’t expect Bendis to ever have Miles Morales sarcastically reply: “You mean like Steve Jobs or Bill Gates or Elon Musk?”)
  • Miles has a nightmare during class and is forced to leave the room. He goes up onto a roof as Spider-Man and is confronted by Jessica Jones and Luke Cage.

All things considered, this was a pleasing issue for Bendis and it was made even better by strong work by artist Nico Leon. Whether one likes Civil War II or not, one of the long-term benefits of the tale is that it serves to define young characters like Miles.

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The challenge for Bendis, however, will be to adequately show the “now what?” — the follow-through that often seems missing from his work. The writer has a habit of toying with big ideas and then placing them aside to focus on something else.

Whether Bendis is writing Tony Stark in Invincible Iron Man or Miles Morales in Spider-Man, in many ways he keeps them in a holding pattern. He occasionally dips and swerves the plane to the left or the right, but at some point in time his passengers realize that they have been deceived — they’ve just been flying in circles.

After seven issues of Spider-Man, readers want to know “Who is Miles Morales?” While it is true that he is a young character who is finding his voice — and part of the fun is going on that journey with him — it seems as though Bendis is being stingy with key aspects of the hero’s personality. Either the writer doesn’t yet know what the character really represents, or he is scared that readers will not like what they hear.

If you planned on checking on Spider-Man, then Bendis’ seventh issue is a good jumping-on point. Potential customers just need to know that  Miles Morales’s character development has been frustratingly slow since the series first launched. Perhaps the conclusion of Civil War II will change that.

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Dan Slott’s Spider-Man: ‘White Privilege’ is having Peter Parker resort to corporate espionage, getting Hobie Brown to die for his sins

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Your friendly neighborhood blogger said less than one month ago that Marvel writer Dan Slott’s setup for “Dead No More” was worth buying, but that all the warning signs were there “for another round of character assassination.” In lightening-fast speed that would make Olympic sprinter Usain Bolt blush, Mr. Slott managed to stab Peter Parker in the back and twist the knife in 21 days.

Years from now, The Amazing Spider-Man #17 will hopefully be used in a documentary titled The People vs. Dan Slott. The issue includes the moment in time when Peter Parker — the guy who took on corporate saboteur Ghost on multiple occasions — became the very same kind of criminal. Worse, he guilted a good friend with a criminal past into doing the dirty work for him — and the result was deadly. 

For all those social-justice activists out there, let me put it to you in a way that you can understand: “White Privilege” is having Peter Parker resort to corporate espionage and convincing a black friend to die for his sins. Thanks, Dan Slott!

Here is what you need to know about ASM #17:

  • Peter Parker tells Hobie Brown that he needs him to break into New U and steal their intellectual property. He wants to use the company’s nascent technology on Jay Jameson, but requires access to its private data. (Yes Dan Slott, “taking pictures” of a company’s private research after breaking and entering is stealing.)
  • Hobie Brown tells Peter he can’t do that because “industrial espionage” is out of bounds. “I don’t do that anymore,” he says, which is met with a guilt trip about “FAMILY.”
  • Hobie reluctantly agrees and puts on his Prowler uniform. The once-reformed criminal, thanks to Dan Slott’s Peter Parker, becomes a recidivist offender. (The whole scene is more disgusting, given Spider-Man’s lecture to Clayton Cash in Civil War II: Amazing Spider-Man #3.)
  • Miles Warren, aka The Jackal, tries to give Electro his powers back but the process does not work. Francine (the woman he killed with a kiss before she was resurrected) is nearby, which causes her “genetic mix” to attract Max Dillion’s latent powers. She kisses him to absorb his energy and ironically kills him.
  • Hobie gives up his position to stop Francine. He tries to flee after it is obvious that Dillion is dead, but the new Electro tracks him down and chars him to a crisp. “Told Parker I wasn’t cut out for this. I work best in the shadows…and I stay out…of the light,” he thinks before death overcomes him.
  • The Jackal revives Hobie and shows him secrets that prove his team consists of the real “good guys.” Hobie agrees. When Peter calls from Oklahoma to say New U scientists are going to perform a procedure on Jerry Salteres, he gives no indication that anything is wrong.
  • Miles Warren shows Hobie a pill and says he needs to take it on a daily basis.

Yes, you read that right, Peter Parker asked Hobie Brown to break the law, and then before his partner in crime got back to him with a full report he admits that he was going to approve New U’s procedure anyway (i.e., Thank for dying for nothing, sucker. Mr. Salteres is the perfect guinea pig to see if the surgery would be right for Jay Jameson).

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If you’re wondering how on earth Spider-Man fans got to the point where their hero is no better than the goons who tried to steal Tony Stark’s technology over the years, then look no further than the flashback scene Dan Slott writes on the first page of the issue.

Bad guys are just like the good guys…except they don’t hold back. They don’t follow any rules,” Francine says before kissing Electro.

This is the kind of moral relativism that has been on display since The Superior Spider-Man. Doctor Octopus is a megalomanic who nearly succeeded in exterminating 6 billion people, but to Dan Slott the two men are not all that different. (Heck, the writer even said that Doc Ock was better than Peter at appreciating those who are “truly beautiful”…)

Mr. Slott told Newsarama on April 5, 2013:

Slott: [Otto is] trying his best to be a hero, but he’s doing it in a very Doc Ock way. And Doc Ock’s an egotistical, annoying sh*t. It makes him an interesting character. At his core, he’s someone we don’t really think of heroic. But is he any more annoying than [former villain] Hawkeye used to be? …

Also, when you look at Doc Ock, he was so much like Peter Parker. Peter Parker, if he didn’t know the lessons of power and responsibility, that teenage nerd would have grown up to be an Otto Octavius nerd, with the same kind of, “I’m going to make them pay.” This is the flip of that. …

Do you see Punisher as a hero? Do you see Wolverine as a hero? If these guys can be heroes, why can’t Doc Ock?

Dan Slott admits that he thinks Peter Parker is, for all intents and purposes, one step away from becoming Doctor Octopus.

That is why his Peter is so obsessed with death.

That is why his Peter is willing to exploit the trust of a reformed criminal for his own selfish purposes.

That is why his Peter’s moral compass aimlessly spins in circles — and that is why readers can expect more embarrassing behavior from their “hero” in the months to come.

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ASM #17 is officially the issue where Hobie Brown died, but many Spider-Man fans should consider it the issue where Dan Slott assassinated Peter Parker.

Prowler Hobie Brown death

Related:

Amazing Spider-Man #16: Dan Slott sets the stage for ‘Dead No More’

Amazing Spider-Man #15: Dan Slott’s Regent took down a god, then falls to … Mary Jane

Dan Slott plays ‘Captain White Privilege’ after Zendaya-MJ casting reported

The announcement on Aug. 18 that Zendaya will play Mary Jane in next summer’s Spider-Man: Homecoming spread like wildfire across the internet. It wasn’t long before the usual suspects were attacking anyone who questioned the decision with charges of racism. Dan Slott, the man who once said that Peter Parker’s love for Mary Jane is “anti-Marvel,” joined in the fray to play “Captain White Privilege” (yes, he went there) in his twitter feed.

Since Marvel’s scribe for The Amazing Spider-Man has a habit of sliming long-time Marvel fans with attacks on their integrity, it seemed as if it were time to make a YouTube video on issue. Since Mr. Slott never is a magnet for controversy, I fully expect future installments to follow in the months and years ahead.

Check out the video and let me know what you think in the comments section below.

‘Civil War II: Amazing Spider-Man #3’: Peter Parker turned into hypocritical jerk to keep story going

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Marvel “events” have a weird habit of warping a character’s personality in order to arrive at an author’s desired outcome — superhero integrity be damned. Civil War II: Amazing Spider-Man #3 officially falls victim to this recurring annoyance. Writer Christos Gage takes Peter Parker’s penchant for getting on his high horse and (in keeping with the theme of the story), jacks up the amplitude to a bizarre level. By turning the character into a hypocritical jerk, the prognostications of the Inhuman known as Ulysses once again come true.

Here is what you need to know about Civil War II: Amazing Spider-Man # 3:

  • Clayton Cole, aka Clash, meets with Robot Master. The villain, whose real name is Mendel Stromm, discusses his plans to steal money from Parker Industries but is ambushed by Clash.
  • Peter Parker laments having fired Clayton. He sulks at table as Harry Osborn Lyman condescendingly pats him on the back and says, “Clayton’s a grown man too. He made his own choices, and he’s responsible for them. Now it’s on him. (Note: How sad is it that a former Green Goblin now must lecture Peter on what it means to take responsibility for one’s actions?)
  • Robot Master, having anticipated a double-cross by Clash, notes that his mechanical minions have been upgraded and are ready for a fight. A battle ensues on the streets of New York City.
  • Spider-Man shows up to save the day. After Robot Master’s technology forms into a giant robot (and Spidey jokes, “Always giant robots…”), the two eventually agree to divvy up the tasks. Spider-Man agrees to “trust” Clash and leave him with the giant robot while he chases down Stromm.
  • Both men defeat their respective opponents. Spider-Man then decides to lecture Clash on what a rotten person he is the moment the dust settles. The hero says that “Peter Parker” is going to let Clayton have his job back — provided he turn over all of his sonic technology.
  • Clayton gets an “angry Beavis” look in his eyes from the old Beavis and Butt-Head cartoons, and then attacks Spider-Man —just like Ulysses predicted.

This issue had so much potential. It is hard not to look at Robot Master’s lab, which appears to be something out of Tim Burton’s wildest dreams, and not anticipate a good read. Mr. Gage generally does an adequate job — and Spider-Man fans finally gets a decent fight scene — but it appears as though the constraints of Civil War constantly undermine the book.

ASM Civil War Clayton Cole

Consider this:

  • On one hand we have Peter Parker, a sulking mess who doesn’t understand basic responsibility. Harry recounts how Peter behaved like a stalking ex-boyfriend by sending Clayton “message after message” via “voice, text, email” to try and apologize … for firing a guy who probably deserved to be fired. At Parker Industries, it’s almost impossible to get terminated. (Does anyone know what happened to Lian Tang, the Parker Industries girlfriend who tried to kill him? I wouldn’t be surprised if she still has a job…)
  • On the other hand we have Clayton Cole, a guy who outwardly appears to be a nutcase (bulging eyes, screaming fits of rage, crying on the job, sweating, etc.), in addition to the issues raging beneath the surface. The audience is often encouraged by Mr. Cage to have sympathy for the man, but it is always negated by his actions.
  •  The question becomes: What the heck is the point of all of this?

As has been said before, Christos Gage handles issues of redemption and responsibility much better than the series’ regular writer, Dan Slott. The interactions between characters are more natural, which in turn give the action scenes added weight (i.e., Gage’s stories do not feel like a kid who mashes his action figures together and then expects you to care). It’s just a shame that Civil War makes it difficult to judge whether editorial mandates are the cause of The Amazing Über-Hypocrite, or if that is an mistake that rests solely on Gage’s shoulders.

Fact: Spider-Man is a vigilante. Vigilantes do not get to stand upon a giant moral pedestal and lecture other vigilantes about the collateral damage brought about by their actions.

Peter Parker of all people should know that Clayton Cole — a fellow man of science — sees his knack for sonic technology as his “great power,” which also comes with “great responsibility.”

Peter Parker of all people should also know that Clayton Cole would feel added pressure and guilt, given that he erred with his powers early on in life. Therefore, a well-written Spider-Man in this issue would not have behaved like a massive tool in the immediate aftermath of a street battle.

Clayton Cole ASM

Beavis and Butt-Head

In short, Civil War II:: Amazing Spider-Man #3 is worth checking out if you purchased the first two issues, but you can probably sit out the finale if you still haven’t coughed up any hard-earned cash.

Civil War II ASM4 preview

Editor’s Note: Just to keep the sound motif going, what is with the Amazing Spider-Man #15 “echo”? Clayton asks Peter Parker to trust him in battle, which is what Mary Jane did during her battle with Regent. Oddly enough, Peter had legitimate reasons to not trust either of them…

Related:

‘Civil War II: Amazing Spider-Man #1’: Gage offers reprieve from Slott fare

‘Civil War II: Amazing Spider-Man #2’: Gage explores ‘self-fulfilling prophecy,’ recidivism, and redemption

Amazing Spider-Man #15: Dan Slott’s Regent took down a god, then falls to … Mary Jane