Brand New Day and Later

[Mister Mets]

A while back, I read and commented on every clone saga story I could get my hands on.

This time, I'll try to do the same with a period I actually like. I wrote about these issues for another website, so the commentary for the first four months will be the most detailed.

I think rereading the issues will give a good sense of what went right, what went wrong and when.

I'll start with the Swing Shift Directors Cut...

While Phil Jiminez doesn't always draw Spider-Man perfectly, the rest of his art is exceptional. He can handle domestic scenes and a car chase with equal aplomb. The concept of a hero coming out of retirement and realizing that he's not needed can make for an incredible standalone issue, but this isn't it. Slott's script is still fun, and he does effectively establish a few threads for the future: Alan O'Neil, Vin Gonzales, Mr Negative and Jackpot. While Overdrive isn't exactly beloved, I really like the idea of a villain who also happens to be a huge fan of Spider-Man, and it's pulled off well here..

Given Dan Slott's unique style of scripting, I would have liked to see samples of that in the extras. The series bible is mostly filler, but Brevoort's manifesto is worth the cover price if you already got the Free Comic Book Day variant.

7/10



Amazing Spider-Man #546-548: It was almost cheating for Marvel to get Steve McNiven to do their debut arc, and his work is phenomenal. This story works effectively as a "Pilot" for the new status quo, establishing new villains and supporting cast members, and balancing Peter Parker's life and Spider-Man's. And while new and old supporting cast members have their moments, this is still Peter Parker’s story with the supporting cast inspiring him to action. A discussion he has with Harry directly leads to a shouting match between Peter and Jonah and ans an outburst years in the making, which results in one hell of a cliffhanger. An interesting subtext Peter Parker questioning the point of Spider-Man in a post Civil War world, while not doing well in his personal or professional life could have been expanded on. Things go badly for him in this issue in a fun way, as something major gets stolen from him (and Dan Slott reminds readers that there were stories left to tell with mechanical webshooters.) Dan Slott’s also excellent at smaller details which enrich the story and make it a lot of fun (i.e. a webless Spider-Man seeking the help of a cab driver.) Spider-Man’s sense of humor is something Slott was expected to excel at, and he does as expected. And on the opposite end, Mr Negative makes an impressive debut, a villain with still unexplored potential.
8/10



Amazing Spider-Man #549-551: Decent art and writing, especially in the action sequences. But Peter Parker gets the shaft in a story which sets up a lot of threads for Spider-Man: Jackpot, Menace, the lawsuit, the spider-tracer killings (although as I liked "Character Assassnation" which resolved many of those plots, I can't complain too much.) The resolution to the final battle was memorable, and the story demonstrated how Spidey's affected by the superhero registration act. Menace’s similarity to the Goblins makes the mystery more compelling, and results in two solid scenes: Spider-Man’s hope that he’s not dealing with a Goblin, and his method of finding Menace. Jackpot’s joy at being a superhero, and the way she considers Menace to be her archenemy are endearing, especially considering the painful payoff. Jackpot’s obvious similarities to Mary Jane were automatically derided, but Sara Ehret’s discomfort talking about Jackpot sells the mystery for me. The inexperienced, popular and registered Jackpot is a perfect contrast to Spider-Man. Guggenheim has a solid grasp of Peter’s personality, and Spider-Man’s appeal. This is the most decompressed of the initial four arcs, which works given the focus on the action sequences. One lost opportunity was the decision not to do anything significant with Amazing Spider-Man #550, which was the second part of a three part story (though it was also the first full appearance of Menace.)
7/10

[Mister Mets]

And for the rest of Brand New Day...



Amazing Spider-Man #552-554: Gale has a mostly solid, though slightly morally ambiguous take on Peter Parker. I can buy his excuse for bypassing a barricade to get photos of a funeral, but taking intentionally unflattering photos of a friend’s father for political purposes is going too far. Gale puts Spider-Man through embarrassing situations, always serving the story with gags that move the story forward. There's not much of a Peter Parker plot, which may be one reason this arc is remembered so poorly. Freak's derided often as a villain, but I like the multiple transformations gimmick, and Spider-Man's reaction to what the villain opts to do between fight scenes. His fate is a bit unsatisfying after three issues, with the conclusion to his final fight with Spider-Man as fleeting as the aftermath of their first fight. The latter half of the third issue seems to build to a confrontation that never happens. Jiminez has a problem drawing Spider-Man’s head, making it seem somehow elongated. Fortunately, the problem is resolved by the end of the arc. The rest of his work is often exceptional (a reminder that in recent years he has become one of the best in the business), as demonstrated by the wall of webbing panel, and the splash page in the Daily Bugle. The level of detail is impressive, even on nine panel pages.
6/10



Amazing Spider-Man #555-557: Zeb Wells captures Spider-Man’s personality (especially the trademark sense of humor and compassion) perfectly, in a story with humor and pathos (i.e. Spider-Man going into a blizzard to rescue civilians.) This arc is unique for having a variety of villains, including angry Mayans, a powerhouse deity with a fun weakness and the priest (whose identity is a nice twist.) The links between a mathematician’s studies and the pagan Mayans makes the mystical villains more palpable as Spider-Man foes. Though it’s always cool to see Spider-man’s reaction in the face of overwhelming odds. Artist Chris Bachalo’s been notorious for having poor storytelling (and awesome visuals) in recent years, and that’s not a problem here. His work is clear, and a perfect fit for Wells’s sense of humor (complete with some physical comedy.) The story’s blizzard provides fun complications, like Spider-Man having to drag webbed up and beaten Mayans into a police station. Bachalo can simultaneously draw a shivering Spider-Man, and the majesty of a godlike power, sometimes in the same scene.
8/10



Amazing Spider-Man #558:
New artist Barry Kitson does a solid job, with his biggest problem being that the eyes of characters sometimes look very weird. This issue features some excellent visual sequences, my favorites being the snipers aiming at Spider-Man and an opponent. Bob Gale picks up on plot threads and characters from every previous arc, exploring the effects of the last arc’s blizzard upon the Freak, and featuring a mayoral endorsement by Mister Negative. Say what you will about the issue, it’s not padded. Some of the dialogue probably could have used a polish, and comes across as insincere in a bad silver age way, but Gale makes up for it by providing some decent quips for Spider-Man, and a ring tone for when Doctor Curt Connors calls Peter’s cell phone. Spider-Man's method of defeating the villain is fairly clever. A complication at an event for Hollister furthers a few subplots, although Hollister’s rival Crowne is starting to suffer from “Evil politician syndrome.”
6/10

Some thoughts...
The scenes with J Jonah Jameson are fun, but he'll soon disappear from the books, which is a shame (until a triumphant return in 591.)
In retrospect, these storylines probably introduced too many Spider-Man related subplots, with Peter Parker and his supporting cast suffering as a result.
This batch of new villains is certainly superior to those introduced in the first year of the Mackie/ Byrne relaunch, and they probably top JMS's bad guys, too.
Spider-Man's absence and subsequent return should have been a bigger deal.

[oldschool]

Good job, Mets. You actually beat me to it.....I was thinking of doing just such a look back prior to ASM #600 dropping a few weeks ago, but laziness set in for me! I would have to agree with much of your assessment with maybe a point lower on Wells' "Deity" arc which I thought was very good but not as great as you and others have found it. Otherwise, a very nice analysis that, as I said, I largely agree with. Interesting to look back now that there are over 50 issues of post-OMD Spidey......

[Jim Thompson]

Look like BND graded out at about a 70 percent.

[Mister Mets]

Originally Posted by oldschool

Good job, Mets. You actually beat me to it.....I was thinking of doing just such a look back prior to ASM #600 dropping a few weeks ago, but laziness set in for me! I would have to agree with much of your assessment with maybe a point lower on Wells' "Deity" arc which I thought was very good but not as great as you and others have found it. Otherwise, a very nice analysis that, as I said, I largely agree with. Interesting to look back now that there are over 50 issues of post-OMD Spidey......

Feel free to post your thoughts on any issues in this thread.

Soon enough, I'll catch up with the current books.

[Mister Mets]

Originally Posted by Jim Thompson

Look like BND graded out at about a 70 percent.

Yeah, but I have a different style of grading than some others..

If a comic is successful, it gets a score between a 6 and a 10.
"10" is an "A+" This stuff appears on "Best of" lists.
"9" is an "A" It's excellent.
"8" is an "A-" or "B+"
"7" is a "B" It's good.
"6" is a "B-" It's flawed, but worth reading. It's still entirely disposable.

If a comic is a failure, it gets a score of "5" of below. I don't read a lot of failed comic so this isn't a problem.
"5" is a "C+" It's slightly above average. Barely worth reading.
"4" is a "C" This is average. Average sucks.
"3 is a "C-" It's below average. At this point, the question's not about whether it's worth reading, but of the degree to which it is not worth reading.
"2" is a "D" Poor.
"1" is an "F+" There's at least something redeeming about it.
"0" is absolute crap. It's a comic with nothing good.

[Jim Thompson]

Originally Posted by Mister Mets

Yeah, but I have a different style of grading than some others.. A 7/10 is essentially a "B." It's a good story.

An "8/10" is either a "B+" or "A-" It's either a good story with something exceptional, or an excellent story with something

A "9/10" is an "A." It's just an excellent comic.

A "10/10" is an "A+." This should be pretty rare, as these are the stories that should appear in "Best of" lists.

A "6/10" is Above average.

A "5/10" is Average (and I have a low opinion of average.)

Well, I'd have probably graded the average of the OMD stories around a 6.5/10 -- and that would translate to a 'D.' I thought the new editorial direction got off to a very weak start.

[whiteshark]

Good analysis of the first arc`s of stories in ASM Mr. Mets.

Was thinking in doing a similiar thing as well,but didnt got time to do it.
I agree that the stories had a good start in the start of BND.

All the stories you mention there are inspired good stories.

The Swing Shift Directors Cut,which i got in a reprint title without the Breeveto manifesto,but still it was a great story to me.
The introduction of Spider-Man of some of the new suporting cast is a must.
And Overdrive as a villain that is fan of Spider-M is a interesting new villain.

Amazing Spider-Man #546-548 was a great pilote story per say,and set the stories to be more modern that they were in the past,which is something that was quite well acomplished so far.
The art was flawless,and Mr Negative apears in this story as a villain that have much potential as seen in the Mr Negative limited series.

[Mister Mets]

Two more...

Amazing Spider-Man #559-561

Marcos Martin has established himself as one of the top Spider-Man artists by now, and his debut on the series still impresses, showcasing his excellent sense of design and storytelling. Slott has a lot of fun with the spider-tracer killers mystery, and creates two effective and modern female enemies (always a shortage.) While Peter taking a job as a paparazzi was controversial, I buy his rationale, desperation and the reactions of those around him. And the final team-up is effective.
9/10

Amazing Spider-Man #562
Amazing Spider-Man #563
McKone's art is a bit stiff, except for his excellent Spidey. It's a step down from Jiminez and Martin. This may be Gale's best work on the character, as he seems to have gotten a better hang of the medium. It's a generally clever take on the secret lives of comic book low-lives, while Peter's employment problems are fun. This story is also probably the "best" example of the excesses of Quesada's anti smoking policy. The dead Anti-Spider-Man professor would be more compelling if we actually saw anything of him.

7/10

[oldschool]

Originally Posted by Mister Mets

Two more...

Amazing Spider-Man #559-561

Marcos Martin has established himself as one of the top Spider-Man artists by now, and his debut on the series still impresses, showcasing his excellent sense of design and storytelling. Slott has a lot of fun with the spider-tracer killers mystery, and creates two effective and modern female enemies (always a shortage.) While Peter taking a job as a paparazzi was controversial, I buy his rationale, desperation and the reactions of those around him. And the final team-up is effective.
9/10

Amazing Spider-Man #562
Amazing Spider-Man #563
McKone's art is a bit stiff, except for his excellent Spidey. It's a step down from Jiminez and Martin. This may be Gale's best work on the character, as he seems to have gotten a better hang of the medium. It's a generally clever take on the secret lives of comic book low-lives, while Peter's employment problems are fun. This story is also probably the "best" example of the excesses of Quesada's anti smoking policy. The dead Anti-Spider-Man professor would be more compelling if we actually saw anything of him.

7/10

I totally agree with your assessment of the Paperdoll arc and your opininon that Marcos Martin has rapidly ascended to one of the very finest artists for ASM----his take on both the "costumes" and "civilians" as well as his cityscapes are stunning. 9/10 indeed.

I would, however rate 562-563 lower; Gale has been my least favorite writer on ASM since BND started and I just cannot love McKone's art (though it is serviceable). I found #562-563 a big letdown after I thought the series was finally gaining steam with the great Paperdoll arc. I would probably give it a 6/10.

Fortunately, "Kraven's First Hunt" and the great run that follows it was not far off......

[The Shadow]

Originally Posted by oldschool

I totally agree with your assessment of the Paperdoll arc and your opininon that Marcos Martin has rapidly ascended to one of the very finest artists for ASM----his take on both the "costumes" and "civilians" as well as his cityscapes are stunning. 9/10 indeed.

Yeah I liked the Paperdoll story a lot. I agree with the 9.

[Tom Daylight]

I really don't know what it is about McKone but his work on Spider-Man, as very well drawn as it is, just doesn't 'mesh' for me. Maybe it's an 'uncanny valley' thing.

[The Shadow]

Originally Posted by Tom Daylight

I really don't know what it is about McKone but his work on Spider-Man, as very well drawn as it is, just doesn't 'mesh' for me. Maybe it's an 'uncanny valley' thing.

What bothers you? He's (IMO) not the best artist around, but his pencil style suits Spidey.

[CyberHubbs]

Originally Posted by The Shadow

What bothers you? He's (IMO) not the best artist around, but his pencil style suits Spidey.

I get the impression that he can work fast, get projects turned in quickly. Sometimes, that counts more than someone better that takes longer to finish one issue. That's why I personally like him.

[Tom Daylight]

Originally Posted by CyberHubbs

I get the impression that he can work fast, get projects turned in quickly. Sometimes, that counts more than someone better that takes longer to finish one issue. That's why I personally like him.

Eh?! There's nothing 'fast' about McKone. His pace as an artist is pretty standard and his work doesn't look at all rushed (and to be honest I find it bizarre that you seem to prioritise timeliness over any other aesthetic). My issue is that he draws everything a precise fashion that makes it weird for me to look at. It's hard to describe but I think I'd prefer something a little looser, a little more flawed.