AMAZING SPIDER-MAN #582
Review by: BC1
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Size: pages
Price: 2.99
This review contains spoilers, click here to read
This was an issue where the writing and the art need two different reviews, because there's something to be said for both. First the writing. Slott is trying to fix certain continuity gaps in the story of Spider-Man, but in the process he ignores an important issue of continuity- this is not the first time Spider-Man has fought Molten Man, so why should he be surprised that it burns when he hits him? I didn't buy that and it took me a little out of the story.
There's another point about which I'm debating whether it works or doesn't work: Normie. On the one hand, he comes off very stereotypically as a whiny brat. However, when you look at his life, he does have a lot to whine about: dead psycho dad, alive psycho granddad, uncle who is burning and stuff, superhero who maybe killed his dad and frequently beats up his uncle, mom occupied by all of it. So, given all his angst, and figuring he's between 5 and 10 years old (but sounding like a teenager at times), should a brief speech about how nobody is normal fix everything? On the one hand, I liked it; it tied back to the beginning about how everyone has a secret, and the delivery is much like how a parent talks to their child about Santa Clause or the Easter Bunny. But, should that take care of it like it seems to in this issue? If he's young enough, sure, but it still seems very convenient.
Finally, speaking of convenience, I didn't like the end. Harry has been helping Liz this whole time? His team just happened to be the ones who designed the safe room for Mark? Every piece of Oscorp R&D has been devoted to curing him? The words deus ex machina come to mind.
Now for the art. Mike McKone did a great job on backgrounds, drawing a typical Jersey suburb with cookie-cutter houses and everything. Also, his drawings of the Molten Man very clearly showed him in an advanced degree of degradation, which Slott emphasizes with the drawn-out speech pattern. The dripping face and massive flames completed the picture (which again gets back to why Spider-Man is surprised about being burned, but let's leave that behind). What I don't get is why McKone draws his people in an Alex Maleev-like style. That would be great in a street-level story set in NYC, but it was very jarring in this setting. Possibly that was the point, but once again it took me out of the story.
Overall, o.k. story, but not the best of the run.
There's another point about which I'm debating whether it works or doesn't work: Normie. On the one hand, he comes off very stereotypically as a whiny brat. However, when you look at his life, he does have a lot to whine about: dead psycho dad, alive psycho granddad, uncle who is burning and stuff, superhero who maybe killed his dad and frequently beats up his uncle, mom occupied by all of it. So, given all his angst, and figuring he's between 5 and 10 years old (but sounding like a teenager at times), should a brief speech about how nobody is normal fix everything? On the one hand, I liked it; it tied back to the beginning about how everyone has a secret, and the delivery is much like how a parent talks to their child about Santa Clause or the Easter Bunny. But, should that take care of it like it seems to in this issue? If he's young enough, sure, but it still seems very convenient.
Finally, speaking of convenience, I didn't like the end. Harry has been helping Liz this whole time? His team just happened to be the ones who designed the safe room for Mark? Every piece of Oscorp R&D has been devoted to curing him? The words deus ex machina come to mind.
Now for the art. Mike McKone did a great job on backgrounds, drawing a typical Jersey suburb with cookie-cutter houses and everything. Also, his drawings of the Molten Man very clearly showed him in an advanced degree of degradation, which Slott emphasizes with the drawn-out speech pattern. The dripping face and massive flames completed the picture (which again gets back to why Spider-Man is surprised about being burned, but let's leave that behind). What I don't get is why McKone draws his people in an Alex Maleev-like style. That would be great in a street-level story set in NYC, but it was very jarring in this setting. Possibly that was the point, but once again it took me out of the story.
Overall, o.k. story, but not the best of the run.
Story: 2 - Average
Art: 3 - Good
Art: 3 - Good
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