Amazing Spider-Man: Kraven's First Hunt

Collects: Amazing Spider-Man #564-7 (2008)

Released: April 2009 (Marvel)

Format: 112 pages / color / $14.99 / ISBN: 9780785132431

What is this?: A new hunter arrives in town, one who wants to destroy Spider-Man.

The culprits: Writer Marc Guggenheim and pencilers Phil Jimenez and Paulo Siqueira

OK — Spider-Man: Kraven’s First Hunt will be the last Spider-Man title for a while. I hadn’t planned on reviewing it so close after Brand New Day, v. 3, but I didn’t have on hand the book I had planned on reviewing (Promethea, Book 3), and Kraven’s First Hunt is the fill in.

With First Hunt, “Brand New Day” is kinda over, and the writers have to figure out a direction to go with the books. They decided, somewhat strangely, to go with yet another child of Kraven the Hunter. (That guy got around.) Thankfully, this time the child’s name has nothing to do with The Brothers Karamazov.

The arc doesn’t quite work for me, though. A great deal of the suspense is predicated on the hunter’s identity being secret; the villain’s desire to “hunt” Spider-Man and the return of Vermin is a hint, with the name “Ana Tatiana Kravinoff” being revealed in the last panel. But the surprise is spoiled well before then; the book is, after all, titled “Kraven’s First Hunt,” and that’s the name of the arc, which is plastered on every title page. There is no mystery, and it seems there’s no real reason to get excited about yet another Kravinoff. (Yes, I know, she and her mother become important over the next two years.) The biggest surprise is that Ana is only 12 years old.

She certainly doesn’t look it. She only appears shorter than Spider-Man and his roommate, a full-grown man, in a few isolated panels. But that’s really the only problem I have with penciler Phil Jimenez’s design of the character. Ana’s appearance is outré, visually striking without seeming too over the top. Her eye makeup echoes the face paint of hunters, and that and her upswept blonde hair give her a distinctive look. As a teenager, she might get second looks, but she wouldn’t be that out of place at a high-school party — well, if she weren’t wearing the catsuit-ish costume. But even that dull costume has a leather chest / shoulder guard that has the lion’s eyes from Kraven’s old costume subtly worked into its design.

So. Writer Marc Guggenheim’s surprise is lost, and he had to know that marketing would blow it. But the story doesn’t completely work without that revelation. The purpose of the story is to build up Ana for a later story, and Ana manages to “ruin” the lives of Peter and his new roommate, Officer Vin Gonzalez. But the ruination is brief and quickly put right, and her identification of Spider-Man is erroneous; Ana is a tough fighter, but tough fighters are a dime-a-dozen in the Marvel Universe. And Spider-Man was handicapped during their fight. Were it not for her name and visual, she would be just another one-arc villain for Spider-Man, one I wouldn’t expect to see again. (I lie; no one would waste that visual by not reusing the character.)

Two other stories are included in this volume. One is a throwaway story from Spider-Man: Brand New Day — Extra #1 (like there was going to be a second issue); in the story, Harry Osborn learns that friendship, even with an unreliable doofus like Peter, is more important than finance. The second, Amazign Spider-Man #564, is a fight between Spider-Man and Overdrive, with Vin not being able to decide which of the two is the real criminal. It’s an amusing story despite having three different writers: Guggenheim, Dan Slott, and Bob Gale. The physical comedy is excellent, and the way Overdrive tells the story to his boss is hilarious. (As is the way his boss’s goons plan to execute him.) Meanwhile, Vin’s story is poignant; his hatred for Spider-Man is so great he throws away an afternoon with his father at Yankee Stadium in order to chase Spider-Man around the Bronx.

The art, as usual in the Brand New Day relaunch, is great. Paulo Siquiera provides the art for #564, Patrick Olliffe for Brand New Day — Extra, and Jimenez for the “Kraven’s First Hunt” arc. All do excellent work with the action scenes, and Siquiera is a natural with the humor. (Not so much for Olliffe, but I didn’t really think the Zeb Wells-written story was that funny.) Jimenez excels with his biggest task, the design of Ana Kravinoff. Credit for the “First Hunt” arc should also go Andy Lanning and Marc Pennington, who provided finishes for Jimenez’s art.

From what I understand, the introduction of Ana Kravinoff and her surprisingly young-looking mother, Sasha, is a big deal. It doesn’t feel like a big deal, though. Perhaps I’m expecting the consequences to be too heavy too early. Still, rather than the first appearance of Venom or even Mr. Negative, this feels like the introduction of Azrael in the Bat-books, who readers didn’t realize was that important when they read Batman: Sword of Azrael in 1992. (Probably because he wasn’t supposed to be.) Still, the art is quite nice.

Rating: (2.5 of 5)

Amazing Spider-Man: Brand New Day, v. 3

Collects: Amazing Spider-Man #559-563 (2008)

Released: February 2009 (Marvel)

Format: 120 pages / color / $14.99 / ISBN: 9780785132424

What is this?: Mary Jane crosses paths with Spider-Man again as Peter deals with the life of the paparazzi; Spider-Man learns about the Bookie.

The culprits: Writers Dan Slott and Bob Gale and pencilers Marcos Martin and Mike McKone

It’s been a year since I’ve read anything from the Spider-reboot, Brand New Day. I hadn’t forgotten about it, but I had put it on the back burner. But I was looking for something to review, and the local university library had Amazing Spider-Man: Brand New Day, v. 3, so here we are.

I enjoyed v. 1, but I felt it was using the reboot to tell stories that wouldn’t have needed such a drastic reboot if the Spider-books hadn’t gone off the rails so badly. I felt v. 2 was a bit of a misstep, focusing on an uninteresting villain and a mystical adventure outside Spider-Man’s bailiwick. Fortunately, v. 3 only makes one of those mistakes.

The first arc is written by primary Spider-scribe Dan Slott, and Slott manages to make the best of a story, like One Moment in Time, that had to be told regardless of who wanted to read it. Although the “return” of Mary Jane is ostensibly the big draw in Amazing Spider-Man #559-61, Slott does a good job of making Mary Jane only a peripheral part of the story. There’s not enough room here to do justice to the big emotional payoff we’d expect from the meeting, so Slott is satisfied with letting us know Mary Jane’s status quo. On the other hand, I’m not sure getting across her status quo requires the amount of presence she has in this story. It’s a tricky balance, and although Slott pulls it off as well as I could have expected, I’m not satisfied with MJ’s presence either.

The main focus is an obsessed fan Spidey dubs “Paper Doll,” a two-dimensional stalker who can make her victims two dimensional as well, causing suffocation because of their newly tiny, tiny lungs. There’s not much to Paper Doll except for an set of powers that is underused in comic books, but for a one-off villain, there’s not much more needed. She remains true to her motivation and doesn’t clutter up the plot (she probably should have gone after Peter Parker at some point, though). If there’s use for her in the future, her character can be developed better then. I do call foul on her real name, so subtly revealed I picked it up only on a third read-through: Piper Dali.

What Slott does best is update the mass-media world that employs Peter Parker. It isn’t as a radical (or unlikely) a shift as the Peter-as-Bugle-Webmaster Brian Michael Bendis gave us in Ultimate Spider-Man, but it’s much easier to take. Dexter Bennett, the new publisher of the Bugle, assigns Peter to the celebrity beat, something his Spider-abilities make him supremely suitable for. Of course, best friend Harry Osborne — reasonably a long-term target of paparazzi — isn’t wild about the switch in career, and Aunt May isn’t exactly proud either. Neither is Peter, for that matter, but the paychecks are good.

Spider-Man also fights a Web-savvy villain, Screwball, who translates her villainy into fame via the Internet. Maybe she makes money at it; I dunno. But it makes sense there would be someone like her in Spider-Man’s New York. The writer of the next arc, Bob Gale, also uses the Internet / villainy connection in a way that feels natural.

The second story is a two-parter in which Gale tells the story of the Bookie, the gambler at the Bar with No Name that sets odds for superfights. He’s appeared a couple of times in the Brand New Day setup, and I can’t say that I’ve ever wondered what his story was. Nevertheless, here we have it, and of course it involves bad luck, bad odds, and fixed games.

It’s a shame that Gale’s decided to focus on the Bookie when there’s not much interesting about the character. Gale seems to have a good handle on the villains at the Bar with No Name — the whole scene with Spidey in the Bar is well done, both by Gale and by penciler Mike McKone — and I have a great deal of respect for someone who decides to use the Enforcers out of Spider-Man’s entire rogue’s gallery. (I’m not sure about Ox’s characterization, but I’m not sure he’s been given a personality in almost 50 years of appearances, so I’ll let it slide.) His Spider-dialogue — like Slott’s — is spot-on. But I don’t care about the Bookie or his father or any of his hare-brained schemes, not even when it’s suggested the Bookie could have the answers to clear Spider-Man from the most recent charges of murder that have been leveled against him. Spider-Man is always cleared, more or less, so there’s not much excitement there, and I didn’t get the feeling that whoever is framing Spider-Man is that important. (From things I’ve read online since this came out, I know that might be wrong. But Brand New Day hasn’t convinced me of the culprit’s importance.)

Whatever I think about the plots, the art remains a strength for Brand New Day. The artists in this book have some of the highest quality-to-amount-I-like-their-work ratios other than Frank Quitely. Marcos Martin pencils the first arc, and although I don’t like the way he draws faces and human bodies⁴⁹, I can’t deny he knows how to make a scene visually interesting. Whether it’s Spider-Man debating with himself over whether to take celebrity pictures or Paper Doll alone with her collection of newspaper clippings, there’s rarely a dull page. I also enjoyed the fight scene in an art gallery, where Martin got to use his art studies to integrate Andy Warhol’s and Roy Lichtenstein’s work into the Marvel Universe — and into a fight scene. I enjoyed McKone’s work more, although I wasn’t quite as impressed with it. Still, the scenes inside the Bar with No Name were fun, as was the rescue on Coney Island.

There’s nothing wrong with the stories in v. 3 — they’re fun, lightweight, refreshingly free from grit or heavy gloom. That’s part of their charm, and that’s a large measure of their problem; there’s no real substance here. No matter how strong the art, no matter how encouraging the new direction, the stories themselves feel like a sweet, frothy dessert with little to sink one’s teeth into. Like the rest of Brand New Day, it’s a strong reboot. The individual appeal of the stories, however, is much less, despite strong writing and penciling.

Rating: (3 of 5)

Amazing Spider-Man: Brand New Day, v. 2

Collects: Amazing Spider-Man #552-8 (2008)

Released: December 2008 (Marvel)

Format: 168 pages / color / $19.99 / ISBN: 9780785128465

What is this?: More post-deal with the Devil adventures with Spider-Man and his more appropriately themed villains.

The culprits: Writers Bob Gale and Zeb Wells and pencilers Phil Jimenez, Chris Bachalo, and Barry Kitson

Although I enjoyed the first volume Brand New Day, it didn’t guarantee I would enjoy the second. Given the rotating stable of artists and writers, I knew the quality and tone of Amazing would fluctuate over the arcs. So I shouldn’t be surprised I didn’t particularly care for Amazing Spider-Man: Brand New Day, v. 2.

The first three-issue arc and the final issue of v. 2 are written by Bob Gale, who is best known for co-writing the Back to the Future movies and a Daredevil arc few liked between the ones almost everyone did like (v. 2 #20-5). Gale’s work focuses on a new villain: the Freak, a drug addict who injects a bunch of samples from Curt Connors’s lab looking to get high. Instead, the Freak gets mutated. And every time he’s “killed,” he goes into a chrysalis and mutates again, becoming immune to whatever killed him.

The Freak didn’t thrill me. A villain who gets more powerful every time he’s defeated is difficult to make work because eventually he has to win or become a joke, neither of which is good. (The former can work; it just rarely does.) The final issue seems a throwback to monster movies of the ‘50s and ‘60s, where the monster has to be stopped with a common chemical (The Horror of Party Beach, for instance). The Freak, blaming Spider-Man for his predicament, desire revenge on Spider-Man; despite the Freak being the cause of his own misery, he doesn’t have to deny or confront his own shortcomings. He’s repetitive in his screaming and slashing; that’s fine for a villain who appears in only one issue, but when it’s four, that’s a bit too one note.

Gale writes a good Spider-Man. That’s one thing in Brand New Day’s favor so far: all the writers seem to understand Spider-Man needs to be funny. He also advances the plot with J. Jonah Jameson, dealing with his wife’s sale of the Bugle. He seems to overestimate the power of Carlie Cooper, the friend of Harry’s girlfriend who works in the coroner’s office; she seems to have real influence here, whereas in v. 1, she was obviously low on the totem pole. I also enjoyed a return appearance by the Bookie, but I have my doubts about whether some of the villains shown placing bets would really be in a supervillain bar. But perhaps that’s an art problem.

The second storyline, written by Zeb Wells, is a misstep. Spider-Man visits with the New Avengers and teams up with Wolverine, for no other real reason I can think of other than to show he still is part of the New Avengers. Then he fights Mayan snow ninjas (did the Mayans have much snow?), a monster from Beyond, and a crazed priest of a Mayan god. Nothing in those two sentences “feels” like Spider-Man, and nothing Wells does makes it any more like him. Joining the New Avengers was one of the screw ups that caused the “One More Day” / “Brand New Day” nonsense in the first place, and mystic adventures was one of the three major problems people had with the J. Michael Straczynski run (the other two being animal totems and Gwen Stacy’s Goblin babies). The banter with Wolverine is fun — like I said, all of the Brand New Day writers have done well with the Spider-dialogue, and Wells isn’t an exception — but Wolverine is gone after the first issue, and despite some helpful bums, the plot gets less interesting the rest of the way.

Still, there’s something about the art from Chris Bachalo that I enjoy. I can’t quite put my finger on it, though. His pencils tell a comprehensible story — a big challenge for him at one point — and his odd, angular style works with the odd, mystical story, complete with a monster from a place where the geometry might not be the same as ours. (It never says, one way or the other, about the geometry; that’s just my inference.)

I’m less thrilled about Phil Jimenez’s work on the first arc; it’s just as professional, but it’s less distinctive. It comes across as boring but effective; that’s not the worst review, but it’s not an endorsement either. I also don’t care for his design(s) for the Freak. It’s a hard job designing characters who are supposed to disgust the reader visually. The Freak is certainly revolting, but … the picture Jimenez draws is not as effective as my imagination. The story doesn’t give Jimenez the opportunity to obscure the villain’s deformity, but I wish he could have. I enjoy Barry Kitson’s Freak more; Kitson, who penciled the final story in Brand New Day, v. 2, has a Freak who is much more visually streamlined, less deformed, and more menacing.

Overall, because of the strong start on v. 1, v. 2 of Brand New Day is a disappointment despite its competence. Nothing clicks as well as it did in the first volume, and Brand New Day drifts into areas that are distractions rather than strengths for Spider-Man.

Rating: (2 of 5)

Batman: No Man's Land, v. 1

Collects: Batman #563-4; Batman: Shadow of the Bat #83-4; Detective Comics #730-1; Legends of the Dark Knight #116 (1999)

Released: September 1999 (DC)

Format: 200 pages / color / $17.99 / ISBN: 1563895641

When I first heard the idea of the No Man’s Land crossover in the Batman titles in the late ‘90s, I thought it was ridiculous. The premise was this: Because of disasters in Gotham City, the federal government evacuates the willing, then declares the city off limits to the rest of the world. Those inside Gotham can’t leave; aid from outside can’t get in. The city has to fend for itself.

Preposterous. Much too heavy for me to suspend my disbelief from.

Then came Katrina, and suddenly, No Man’s Land didn’t seem quite so ridiculous.

Batman: No Man’s Land, v. 1 starts 93 days into the crisis, with gangs taking control of the streets and marking their territories with graffiti. Batman hasn’t been seen since the beginning of No Man’s Land, and the only force for order is the “Blue Boys,” the remainder of the Gotham City Police Department, although they operate in many ways like another street gang (less brutally, but with territory and tagging).

The book is divided into stories: “No Law and a New Order” and “Fear of Faith.” In the first, written by Bob Gale, the Blue Boys are on the march, securing the southern end of Gotham from the gangs who rule it. But this is the bad, new Gotham, so their tactics now include inciting street wars among their rivals. Much of the conflict is between Commissioner Gordon and one of his officers, Pettit; Gordon wants to use the minimum of force necessary, while Pettit wants to use force to make hollow-pointed emphasis of their effectiveness to the gangbangers they face. The moral arguments are intriguing, and the scene of poverty and barter is written bold. Batgirl and Batman make their return, with Batman taking on the Ventriloquist, one of his old villains, and breaking his gang.

“Fear of Faith” is a Scarecrow story written by Devin Grayson, in which he infiltrates a church that has managed to carve a small, non-aligned safehold. But the Scarecrow tries to exploit the fears of those around him, causing the priest in charge to let the Penguin violate his neutrality; things escalate from there. Unfortunately, the Scarecrow isn’t completely convincing in his machinations: he has no goal, and he wants only to study the workings of fear in the laboratory of the new Gotham. But the narrative boxes don’t quite persuade the reader that this is compelling in any way.

The book avoids the multiple artists that often mar crossovers. The first story has art by Alex Maleev, who’s a good hand with realism, and as he showed later in Daredevil, a good choice for street-level heroics. If this had been published later, DC might ruin his art with crappy coloring, but here the result is appropriately dark and gritty. Dale Eaglesham, who drew “Fear of Faith,” has a smoother line and cleaner look that isn’t quite as appropriate, but it tells the story, for the most part. (The bald, self-scarred False Faces are almost impossible to differentiate.)

Early in the book, Oracle — the information broker to superheroes and daughter of Commissioner Gordon — provides a map of the new Gotham. It’s fun to see all the names of old and influential Batman creators appear on the map as pieces of Gotham geography,³ but the map is meant to show turf boundaries. This, it’s not so good at. With so many groups, there are not enough colors, and there are some obvious mistakes. The structure of the geography makes the police involvement in the finale of “Fear of Faith” slightly problematic, as they had to cross enemy territory to get to the final showdown.

Overall, very entertaining and very promising. Its ambition carries it for the moment, but future volumes have to deliver on the premise.

Rating: (4 of 5)