Who’s rolled the dice and wound up writing Spider-Man this month? Who’s ready for a sad and mopey Electro story? That’s right, it’s ya boy, JM. Which is pretty interesting to me. So he may or may not have been the mastermind behind Maximum Carnage. And as soon as it ends, he’s off TAC, giving way to new “regular writer” Steven Grant, who isn’t there very long, as it turns out. And now here he is on SM, and in a few months, he takes over ASM. One assumes his move to ASM was decided long in advance, but 3 months on a 3rd title followed by 6 months off in between seems unusual. Not how comics usually works, anyway. But if he took a vacation or something, good for him, ‘cuz no one in comics seems to do that, either. He’s joined for this one by penciler/inker Klaus Janson and colorist Kevin Tinsley. I think Janson is something of a polarizing figure. As an inker, he’s legendary. Long collaborations with Frank Miller and John Romita, Jr., as well as stints with all sorts of other people, assure him a well-deserved place in comics history. As a penciler, tho…. Well, his art often looks really weird, there’s no getting around it. I think a lot of people hate him outright as a penciler. In particular, I remember when the mega-hype of the McFarlane/Miller Spawn/Batman crossover from Image was everywhere, people ragging on the much less hyped Batman/Spawn from DC for Janson’s art (I think the story was much more a problem, myself, given that Spawn was so new even Todd McFarlane didn’t know his deal, and here were other people trying desperately to figure out what to do with him). But I think he really works to come at his page layouts from a unique perspective. His comics move differently, and I think that’s cool. Anyway, we open on someone being killed in an electric chair. Or not.
An interesting angle on Electro trying to go straight. If he wanted to stop being a crook, you’d think he could do a lot of interesting things. Be a human generator at emergencies or something. But this also seems like something he’d do, as he’s never been portrayed as much of an intellect. Meanwhile, another unique bit is taking place, as a salesman is being robbed by a guy he met in the hotel bar at Top of New York, who conned him into thinking he could help him with his mutual funds. They’re back in the salesman’s hotel room now, and the robber is upset to find he doesn’t have much money. But who should swing by and peep in the window but Spider-Man? It turns out the hood doesn’t even have a gun, and the sight of Spidey alone is enough to end the encounter, but then a big crash below gets our hero’s attention.
So, like, look at this action page. Janson’s just full of ideas. It’s interesting to see him do his thing.
Sure, his Spider-Man kind of looks like the Macy’s parade balloon of Spider-Man, but the layouts are interesting. It’s a tradeoff. DeMatteis seems to be writing this differently. Like he thinks it might be your first exposure to Spider-Man rather than part of his usual deal. I guess that was kind of this series’ approach, but it feels odd. Like he’s keeping it a little more surface level than usual. Even his Spider-Man voice feels different. Well, anyway, Spidey swings off, thinking he never forgets a face, but can’t find that guy. Then it’s off to The Bugle for a meeting where he’s late, and some comedy business with JJJ. Then, about that guy who got away…
Love how Klaus did an extremely Ditko fight panel for the one early in Spider-Man’s career. Well. Seems like Spidey’s memory isn’t as good as he thinks. Meanwhile, Electro is walking into a bar. He’s thinking about how his mom was overprotective when he was a kid, probably because his dad left, details DeFalco would pick up and run with much later in ASM 422. The bartender and a customer are so busy gossiping he can’t even get any service, and goes back out onto the street complaining to himself that he’s a nobody. He rages at the storm outside, creating his own lighting, thinking how he was lonely and unseen as a kid and as an adult, recapping his origin, thinking when he got to be Electro, people finally noticed him, and he was a big man.
Well, that can’t be good. Hey, here’s some exposition:
So, Spider-Man swings off thinking “I’m not a nerd!” over and over, and this is gonna be about Electro and Spider-Man both wrestling with insecurity. Now it’s feeling DeMatteis-y. At least it’s not all grim and sad. As Spidey tries to convince himself he’s a cool adult, he sees a purse snatching, and drops down to help, and you’ll never guess who’s doing the snatching.
That’s pretty funny. Next morning, Peter is wakened by Aunt May calling way early, and she also manages to make him feel like a kid worrying, and he gets a little cranky before apologizing and promising to come to dinner. Meanwhile, Electro arrives in town via bus, nervous and excited about his plan. I think the small-time hood from the rest of this issue tries to con him, be he is ignored. Shouldn’t he be in jail or something? Maybe it’s someone dressed the same, I dunno.
I think Ann Nocenti and JM DeMatteis have always tried to explore superheroes with a more psychological angle, but with very different approaches. And if you told me this was an Ann Nocenti story, I would 100% believe it. All the principle characters grappling with their insecurities, all the action converging on Top Of New York. This feels like something she’d do for sure. This is very interesting to me. We’ll see where it goes next time.