Justice League Unlimited's Quirkiest Episode Had the Darkest Ending

 

A 1990s DC comic inspired a Justice League Unlimited episode that's played for good, clean fun - until its grim ending. Check out my revisit of "Kid Stuff" this week on CBR. 

SENSATIONAL SPIDER-MAN #33 - November 1998

The Gathering of Five - Part Five: Gifts

Credits:  Todd Dezago (writer), Joe Bennett (penciler), Al Milgrom (inks), Tom Smith (colors), Comicraft’s Liz Agraphiotis (letters)

The Plot:  While Aura lays near-death in the hospital, Override decides she needs a nest egg if he dies during the Gathering of Five ceremony.  He robs a bank and is eventually caught by Spider-Man, who’s swung past the panic he’s caused in the streets.  The police are unable to hold Override, however, and he quickly retrieves the hidden money and returns to the hospital.

The Subplots:  MJ talks to Peter about quitting college, but he refuses to believe that she values modeling more than her degree.  After selling the photos of his fight with Override, Peter is able to buy the expensive textbooks MJ needed.  When he hands her the books, MJ confesses that she withdrew from college earlier today.  Peter realizes that MJ needs to be happy and tells her that he supports her decision.

Web of Continuity:  MJ is still undecided about returning to modeling this chapter, even though she visited the agency and signed a contract in the previous chapter.

I Love the ‘90s:  Spider-Man sings the lyrics to the Fastball song “The Way” while pursuing Override.

Production Note:  This issue is forty pages, as opposed to the standard thirty-two.  You might assume that some extra pages are thrown in because this is the last issue of Sensational, but that’s not the case.  The story runs twenty-three pages, and there’s one page of letters.  The rest of the pages are ads.

Miscellaneous Note:  The Statement of Ownership has the average sales for the year at 94,643 copies, with the most recent issue selling 89,299.

Review:  It’s hard to argue that as a cohesive storyline, “The Gathering of Five” has been a success.  The various chapters contradict one another, plot threads disappear at random, and the only real conclusion to any arc is to a subplot involving MJ’s career choices.  I doubt this did an awful lot to build excitement for the new direction; knowing that the weakest chapter of the crossover was written by the main writer of the upcoming relaunch had to give many readers pause.  And labeling this the “conclusion” of the storyline, when it seems as if the previous chapter actually takes place after it, is just typical of the lax oversight the titles seemed to have during this era.

Todd Dezago probably could’ve hacked out anything as the final chapter, given that this is also the title’s last issue and it doesn’t seem as if there’s much of an emphasis on quality control anyway.  Thankfully, he once again produces a solid issue that stands on its own, putting to shame some of the other chapters of this storyline.  The Override fight isn’t that compelling, Spider-Man even stumbles upon the villain the exact same way he did last issue, but Dezago excels at the human element.  Not only do Peter and MJ feel like fully realized characters, but even Override and Aura are treated with genuine care.  I’ve never given a second thought to these Clone Saga leftovers before, but Dezago manages to make them feel real for the first time.  Aura, living in constant pain, wishing to end it all but not knowing how to tell her husband…Override, racked with guilt over what he’s done to keep Aura alive, unable to let her go while there’s still a shred of hope.  These aren’t easy scenes to execute, but Dezago handles them extremely well.  The Peter and MJ scenes are also among Dezago’s best work on the title.  Both characters feel real, neither is allowed to turn into a caricature of the nag or the screw-up, and the drama and resolution don’t feel forced.  Yes, MJ’s returning to modeling as a part of the “back to basics” edict, but the script does a decent job of selling this as a legitimate choice for MJ to be making.  And that bit with the textbooks is classic Spidey.

Sensational Spider-Man was created as a replacement for the rather superfluous Web of Spider-Man series, but two and half years later, it’s also cancelled due to its own perceived redundancy.  With four monthly titles, it was always hard for the title to stand out, and it seems that the focus on lighthearted adventure just added to the perception that it was a book that didn’t “count.”  Amongst diehard Spider-Man fans, however, Sensational was regarded as one of the highlights of the franchise during this era, and I don’t disagree.  My major complaint about the series was that it often seemed too light for its own good, but this issue shows that Dezago certainly does posses a talent for writing rather complex characterizations and significant emotional dilemmas.  Who knows what a Todd Dezago/Mike Wieringo run on Amazing Spider-Man could’ve been if Marvel had given them a chance?

SENSATIONAL SPIDER-MAN #32 - October 1998

The Gathering of Five - Part One: Acquistions

Credits:  Todd Dezago (writer), Joe Bennett (penciler), Ralph Cabrera (inks), Tom Smith (colors), Comicraft’s Liz Agraphiotis (letters)

The Plot:  Spider-Man swings past Override as he causes a traffic jam outside of the Aleister Building.  He follows Override inside the building and discovers that Override is stealing an ancient relic from the Technomancers.  Override is able to cover his escape by releasing the Technomancers’ menagerie of strange creatures.  Later, Override convinces Norman Osborn to let him participate in a mysterious ceremony known as the “Gathering of Five.”

The Subplots:  A Scrier reports to Osborn that the “package” has been delivered safely.  Robbie Robertson locates Alison Mongrain in Paris.  MJ receives a call from a modeling agent, asking her to return to the business.

*See _________ For Details:  Override’s wife Aura was nearly killed in Sensational Spider-Man #25.  He hopes that this ancient ceremony will give him the power he needs to heal his wife.

I Love the ‘90s:  Spider-Man swings past a movie theater promoting Wesley Snipes as Blade on the Marquette.  

How Did This Get Published?:  “Man, there is just nothing better than catching the web-line express home after a long day of snapping pictures for the Bugle as freelance photographer Peter Parker.”  I’m glad Spider-Man’s secret identity was smoothly inserted into that thought balloon, or else I would’ve been lost throughout the rest of the issue!

Review:  Marvel’s ready to pull the plug on this era of Spider-Man, although two poorly-received crossovers remain.  “The Gathering of Five” is an attempt to seed a few storylines for the upcoming relaunch, and…that’s pretty much it, really.  It would be nice to say that this era of the titles is given a proper sendoff and the various storylines in the ongoing titles are wrapped up in a neat little bow, but that’s clearly not the motive of the crossover.  Ultimately, the Gathering of Five is a plot device that will lead to a few storylines in the early days of the relaunch, and after that, the story’s simply forgotten.  

I will say that Todd Dezago handles the opening chapter with as much grace as could be expected, creating a link between the dangling Override plot and the gimmicky Gathering of Five concept.  If you’re not aware of any of the behind-the-scenes drama, this might even read like any other issue of Sensational.  It’s more than likely that Dezago would get around to Override and the Technomancers again, and this search for mystic artifacts plot could charitably be viewed as the latest scheme by Norman Osborn.  MJ just might get a subplot that has her contemplating a return to modeling, and hey, it looks like this Alison Mongrain nonsense is finally getting resolved.  There’s no real indication this issue that the entire line is being primed for an extremely awkward “back to basics” reboot, even though that’s exactly where it’s all headed.  I doubt Dezago was particularly thrilled to be closing out his run on a crossover, but his work here is perfectly competent.  He introduces all of the elements needed for the next chapter, never forgetting to throw in those human moments, such as MJ’s reaction to an old acquaintance who doesn’t know she lost the baby.  He also gives the artist several cool things to draw, like the horrific beasts hidden inside the Technomancers’ lair (even though Joe Bennett seems to be strictly in fill-in mode, so they don’t look especially menacing).  Everything that’s wrong with the crossover is still in the background, leaving the reader with an opening chapter that’s actually good enough to trick you into buying the next issue.

SENSATIONAL SPIDER-MAN #31 - September 1998

More than a Feelin’

Credits:  Todd Dezago (writer), Mike Wieringo (penciler), Richard Case (inks), Gregory Wright (colors), Comicraft’s Liz Agraphiotis (letters)

The Plot:  The Rhino launches into a rampage, destroying everything in sight.  Spider-Man attempts to stop him, and discovers that Rhino is only doing this in order to provoke the police into hurting him.  Due to the body armor bonded to his skin, he feels no sensation.  Rhino is desperate to feel anything.  During the chaos, the Lothridge School for the Deaf’s bus is trapped in front of downed power cables.  Using the sign for “friend,” Spider-Man calms Hope and her classmates and helps them escape.  He then uses the power cables to knock Rhino unconscious.

The Subplots:  Billy stops by the Parkers’ home and apologizes for being rude to Peter earlier at the Daily Grind.  Billy explains that he’s moving out of New York City to spend time with his sick mother.

Web of Continuity:  

• This story is based on the premise that the Rhino can’t remove his armor, even though it’s been removed and replaced a few times over the years.  
• Billy reveals details of his past to Peter.  Billy was an only child, his parents divorced when he was young, and he feels as if his mother blamed him for the divorce.  He’s left the Bugle and is moving back to Port Jervis to be with her.

I Love the ‘90s:  Doing repairs around the house, Peter compares himself to Bob Villa.  MJ counters that he’s more like Tim Allen.

We Get Letters:  The next issue blurb in the letter column lists Mike Wieringo as next issue’s penciler, even though a brief goodbye note for ‘Ringo was published just one page earlier.

Original art from this issue, as seen on http://www.comicartfans.com/gallerypiece.asp?piece=1039380

Review:  Todd Dezago sticks around for one more issue (a chapter of the not-fondly-remembered “Gathering of the Five” crossover), but this issue marks his final Sensational collaboration with Mike Wieringo.  I wish I had something poignant to say about their run together, but there aren’t too many ways to say “it’s a fun, lighthearted superhero adventure with nice art.”  There is a bit of historical significance to their run, simply because this style of art was still rare in a mainstream comic of the era, and the emphasis on back-to-basics superheroics makes it an early entry in the neo-Silver Age revival of the late ‘90s.  It’s also worth remembering that the Dezago/Wieringo run had its own cult following, and at least a few fans were adamant that Sensational was the best Spider-Man book of this era and didn’t deserve cancellation.

I wouldn’t say Sensational was the highlight of the post-clone days, but more often than not it was an entertaining read.  I think the title often coasted on Wieringo’s art, making any of the fill-in issues feel a bit shallow, and that the dearth of ongoing character subplots ultimately worked to the book’s disadvantage.  The two major subplots from the Dezago/Wieringo run are resolved this issue, and it’s a bit telling that both of them involve new characters that have yet to be properly fleshed out as strong supporting cast members.  I liked the idea behind Hope’s story and think she and her mother had potential as recurring cast members, but even after several appearances, all we really know about Hope is that she’s a cute kid who happens to be deaf.  Her scene with Spider-Man this issue is great, and a nice payoff to a subplot that began several issues ago, but it’s hard to argue that Hope really needs to appear again.  And Billy Walters…did a real point ever emerge out of this?  Billy’s best scenes were the ones that hammered some guilt into Peter for consistently ditching Billy, but was Billy himself that interesting?  Billy’s arc consists of him being overly friendly, getting his feelings hurt, then making up with Peter before going back home to be with his mother.  A mother, we discover this issue, that seems to be emotionally abusive, or darned close to it.  What kind of an ending is that?  Even if Dezago’s ideas weren’t cut short by the reboot, I have to wonder if Billy would ever evolve past his status as the Daily Bugle’s Jimmy Olsen and stand out as a character in his own right.  

It’s a shame that this title never quite struck the balance between the Spider-Man action and the supporting cast.  With more subplots, and a bit more pathos, this potentially could’ve been a classic run.  As it stands, it’s a pretty good run that shouldn’t be forgotten.  If you’re a Spider-Man fan, I would say it’s worth tracking down.

SENSATIONAL SPIDER-MAN #30 - August 1998

Cat & Mouse

Credits:  Todd Dezago (writer), Javier Saltares (art), Gregory Wright (colors), Richard Starkings & Comicraft (letters)

The Plot:  Spider-Man and Black Cat awake in Murderworld.  Arcade promises them that if they can make their way through Murderworld, he’ll release Dougie from captivity.  Spider-Man and Black Cat outwit his traps, and eventually dupe Arcade with the robotic replica he’s created of the Black Cat.  Arcade tells them where to find Dougie, before Spider-Man leaves him webbed up for the police.  They discover Dougie inside a room filled with deceased drug dealers.

The Subplots:  Billy Walters gives Jonah Jameson a paper trail that connects Norman Osborn with his corporate spy, Allison Mongrain.  When Jonah tries to thank Billy, Billy informs him that he isn’t going to like what he says next.  Later, Peter talks to Hope and realizes that she was actually afraid for him when she saw Spider-Man leave his bedroom.  Relieved that she never suspected his secret identity, Peter explains to her that Spider-Man is a hero.

Web of Continuity:  The drug dealer that Arcade’s trash truck caught along with Spider-Man and Black Cat is never mentioned this issue.

How Did This Get Published?:  Hope’s handwriting is clearly a computer-generated font.  It’s also so off-center that it’s falling off of her notepad.

Review:  How is it that a trip to Murderworld results in such an utterly bland issue?  You would think that the previous chapter, which mainly consisted of Spider-Man and Black Cat trashing drug dealers in back alleys, would’ve been the dull setup, but instead it’s the finale that reads like wallpaper.  For some reason, the story avoids almost all of Murderworld’s unique attributes, leaving Spider-Man and Black Cat to fight their way out of an indistinct landscape that Javier Saltares can’t seem to stay awake drawing.  (Saltares, by the way, has an annoying tendency to draw Cro-Magnon faces this issue.  The difference between the Saltares art inked by Scott Hanna in PPSM #93 and what’s printed here is staggering.)  I judge all Murderworld stories by the standard set by the Claremont/Byrne two-parter in Uncanny X-Men #123-124, and to say that this one isn’t in that league would be an understatement.  Murderworld is supposed to be a carnival of death, not a series of empty rooms and random speedlines filling in the background.  This is a massive waste of a fantastic setting.

The tone of the story is also a problem, with Dezago making the peculiar decision to throw in a dark ending after an issue’s worth of low-stakes superhero adventuring.  Yes, Dougie is saved, but did we have to discover that he’s been trapped in a room filled with dead drug dealers this entire time and that he’s probably scarred for life?  Also, what drug dealer hires Arcade to take out his rivals?  This might not initially seem ridiculous in the Marvel Universe, but the issue reminds us that Arcade’s price is a million dollars a head.  Arcade’s killed a few dozen dealers at this point, all for jobs that Bird and Wee-Bey could’ve easily pulled for a fraction of the cost.  That’s just bad business.  

SENSATIONAL SPIDER-MAN #29 - July 1998

Back on his Game!

Credits:  Todd Dezago w/Andy Zefowicz (writers), Roberto Flores & Tom Lyle (pencilers), Juan Vlasco & Robert Jones (inkers), Matt Hicks (colors), Comicraft’s Kiff Scholl (letters)

The Plot:  Spider-Man investigates the disappearance of local drug dealers.  He runs into the Black Cat, who is searching for a missing drug mule, Dougie.  While they spy on a dealer who allegedly knows what happened to Dougie, a suspicious trash truck pulls into the alley.  Spider-Man recognizes it, but is caught in its trap before he can rescue Black Cat and the dealer.  Soon, they realize they’re captives of Arcade.

The Subplots:  Peter feels uncomfortable around Hope, now that he suspects she knows his secret ID.  Peter and MJ meet with Desiree at the Daily Grind.  She tells Peter that she felt a psychic connection to Ben Reilly as he died, and she wants him to know that Ben’s last thoughts were of Peter.  While at the Daily Grind, Billy refuses to sit with Peter and MJ.  

Web of Continuity:  Black Cat has a detective agency at this point in continuity.  She’s been hired by Dougie’s parents to locate him, after he disappeared from home to pursue life in New York.

I Love the ‘90s:  Spider-Man tells Black Cat she talks “just like Sipowicz.”  Later, Arcade declares that he feels luckier than Bill Clinton on “Let’s Dismiss the Paula Jones Case Day.”  (By the way, when I searched for co-writer Andy Zefowicz's name, Google suggested I search for Andy Sipowicz instead.)

Review:  The title of the issue is a reference to how Spider-Man feels after reclaiming his original superhero identity, a sentiment that would’ve had more meaning if “Identity Crisis” didn’t end so incoherently, and if there weren’t a half-dozen other Spidey comics coming out simultaneously.  So Spider-Man’s thrilled to be back in his real costume, a thought that’s conveniently missing from most of his other appearances from this period, just like Spidey doesn’t seem concerned about Hope knowing his dual identity or Desiree’s secret in the other titles.  And it’s not as if he’s given much thought to Flash Thompson’s alcoholism, Paul Stacy’s snotty attitude, or the mystery surrounding MJ’s criminology professor in Sensational, either.  I think it’s safe to say that the Laissez-faire attitude towards cross-title continuity in this era has been a mistake.  Peter Parker’s life feels segmented into even more than four areas a month, when you consider how often the subplots appear and disappear in their home titles, along with the addition of the specials, annuals, and quarterly Unlimited title.  I can’t necessarily argue that any of the regular writers don’t get Peter Parker as a character, but numerous story threads running in various directions make the entire line feel unfocused, which means the reader doesn’t get the sense that he or she’s truly following the life of Peter Parker.  The subplots highlighted this issue actually aren't so bad (with the exception of the Desiree plot, which had an intriguing beginning but somehow turned into more Ben Reilly nostalgia), but the fact that Peter couldn’t care less about any of these events for 3/4th of the month automatically diminishes them.

Ignoring the larger question of how subplots should be addressed in a franchise title, the issue’s main story follows the Sensational tradition of reviving underused characters and placing them in fairly straightforward superhero adventures.  Black Cat seems to have a dedicated fanbase, so I’m kind of surprised she hasn’t appeared more often during this era.  David Michelinie had already carved out a role for Felicia as the recurring jealous ex, one who just so happens to be able to participate in Spider-Man’s adventures, years earlier in Amazing.  That’s a simple and effective set-up for the character, one that’s also utilized in this arc.  Black Cat’s debut in the story highlights its biggest failing, however.  She jumps into frame on one page, looking like something straight out of dubbed anime, and on the next page she’s virtually identical to Mark Bagley’s interpretation from 1993’s “Revenge of the Spider-Slayers.”  No sane human being thinks Roberto Flores and Tom Lyle are compatible artists, yet here they are, not even segregated to separate scenes in the comic.  Since Roberto Flores is clearly the more “cartoony” artist, he would seem to be a logical choice to fill in for ‘Ringo, but if he wasn’t able to complete the issue, would it have been so hard to find someone like Pop Mhan to step in?  Conversely, if Tom Lyle wasn’t available for twenty-two pages, couldn’t he split them with Steven Butler?  At the very least, have the two artists divide the action and the subplot pages.  The issue would still look like a mess, but less of a schizophrenic one.

SENSATIONAL SPIDER-MAN #28 - June 1998

Hornet’s Nest

Credits:  Todd Dezago (script, plot), Mike Wieringo (pencils, plot), Richard Case (inks), Gregory Wright (colors), Comicraft’s Kiff Scholl (letters)

The Plot:  The Human Torch is bothered by the Hornet’s cryptic comments regarding Spider-Man, but changes his mind after meeting the Hornet in person.  As the Hornet, Peter agrees to a press conference being held by Norman Osborn.  Osborn gives the Hornet a check for $25,000, which he immediately asks to be donated to Hope’s school.  The Vulture interrupts the event and attacks the Hornet, claiming Hornet’s stolen his chance to kill Spider-Man.  During their fight, Vulture deduces that Hornet really is Spider-Man.  He shouts the information to the crowd shortly before Hornet knocks him out.

The Subplots:  Billy Walters tells Peter not to bother trying to be his friend again.  Hope signs to Peter his signature web-shooting sign, leading him to believe she knows his secret.

Web of Continuity:  Billy tells Peter that he was “alone a lot” as a kid and hasn’t made any friends in New York.  I don’t think we learn anything else about his past.  Billy was obviously intended to become a major supporting character, but he’s dropped as soon as Todd Dezago leaves the titles.  As for where this story fits into the larger "Identity Crisis" storyline...don't ask.

Creative Differences:  The name of the Lothridge School for the Deaf has been hand-corrected.

Review:  Once again, “Identity Crisis” is an obvious gimmick, but Sensational manages to have fun with the idea.  The story doesn’t just coast on the novelty of seeing Spider-Man in a different persona, there’s actual thought put into how to create interesting scenarios for this new identity.  Little moments, such as Peter trying to figure out where to hide the much bulkier, heavier costume, are nice, and just seeing the joy Peter feels when Osborn tries to adopt the Hornet as his own personal hero is great.  Of course, that joy is short lived since the Vulture ruins everything, but that’s just classic Spidey.  The subplots and personal life scenes are also handled well, with MJ acting thankfully non-shrewish and Billy Walters being a little more likeable.  The prospect of Hope knowing Peter’s secret ID also adds some much-needed tension to the title.  The cameo scenes by other heroes are also fun, aside from being a clever excuse to see Wieringo’s interpretation of other corners of the Marvel Universe.  It’s a shame we never saw a ‘Ringo run on Marvel Team-Up.

SENSATIONAL SPIDER-MAN #27 - May 1998

Inventing the Hornet!

Credits:  Todd Dezago (script/co-plot), Mike Wieringo (pencils/co-plot), Richard Case (inks), Gregory Wright (colors), Comicraft’s Kiff Scholl (letters)

The Plot:  Spider-Man uses an anti-gravity harness developed by Hobie Brown as the basis for his new costumed identity -- The Hornet.  He soon discovers the Looter robbing the Daily Bugle’s safe.  Flash Thompson also stumbles upon the Looter and is taken hostage.  Hornet uses his quick wits to rescue Flash and apprehend the Looter.  Norman Osborn, impressed by his actions, offers the Hornet a place on his team.  The Hornet flies away.  Watching the press coverage outside the Bugle, the Vulture is incensed when the Hornet claims that no one will have to worry about Spider-Man now.

The Subplots:  Peter tests out the anti-gravity harness by giving MJ a ride through the sky.  When it’s clogged by bird feathers, they nearly crash.  Later, Billy Walters is stood up again by Peter when he goes into action as the Hornet against the Looter.

Web of Continuity:  The "stingers" Peter uses as the Hornet are the ones Ben Reilly designed as the Scarlet Spider.

I Love the ‘90s:  Billy calls the large shadow he sees in the sky (presumably the Vulture) “X-Files freaky.”  Later, Billy watches a news promo that says they’ll have the latest on the Hornet, “tonight following E. R.”  There are also references to Seinfeld reruns and Conan airing in late night, but that’s still true as I write this today.

We Get Letters:  An irate fan writes in response to a rumor in Wizard that claimed that Peter and MJ will soon divorce.  The editorial response doesn’t give a real answer, but it is worth noting, since it provides the first hint that a relaunch is coming:  “But we can say that we have been having a number of very serious conversations with a number of very interesting people about the future of the webhead.  Conversations that my render any upcoming stories or ideas quite moot.”  

Gimmicks:  All of the initial “Identity Crisis” covers are actually double-covers.  One with Spider-Man and one with the new identity.  The cover price remains the same.  You can view an archive of every cover on the I Love Comic Covers blog.

Review:  After a month of teasing, “Identity Crisis” finally begins.  I remember the initial response to the solicitation hype was tepid to say the least, but the titles gained positive word of mouth as the months progressed.  The only positive word of mouth I can recall the Spider-Man books receiving during this time, to be honest.  I have no real affection for any of the alternate identities, but I can’t say any of them particularly bother me either.  I recognize this as a gimmicky event storyline from the get-go, and I don’t think there’s any attempt by the creators to hide this fact, which is admirable.  It’s a fun diversion for a few months, and that’s a decent enough justification.  Within the context of the story, there’s no real reason for Peter to suddenly adopt four new identities (one would clearly do if his goal is simply to avoid being Spider-Man), but I can see the appeal of giving him a different persona in each spinoff.  It’s a creative use of the multi-title format, and it’s a clever way to have the titles connect with one another without directly crossing over.

Todd Dezago and Mike Wieringo open the event with yet another reminder of how much they love the Looter.  I liked their previous use of the villain, although I think they take his obsession with his precious meteor too far this issue, indicating that he genuinely loves the rock and is now treating it like a high school crush.  It’s too silly to come across as creepy, yet not funny enough to justify the diversion into surrealism.  The light-hearted tone works better in other areas, thankfully, such as the playful narrator.  Narrators in superhero comics are usually boring or pretentious, on the rare occasion they appear anymore, so it’s a relief to see someone try to make the narrative captions special.   My favorite bit is when the narrator switches to the wrong flashback by mistake.  Sensational, at its best, is a book with personality, and that’s on display this issue.

Regarding the Hornet identity, the creators do put some effort into making the new persona remain unique to Peter Parker.  Hobie could never use the anti-grav harness as the Prowler, but Spider-Man’s super-strength can carry the excessive weight without a problem.  Ben Reilly already adopted the use of stingers, so it’s logical that Peter would revive them.  And I suppose it could be argued that spider-powers and hornet-powers would both allow Peter to move like an insect, so there’s no big stretch there.  I do think it’s strange that Peter is making very obvious statements as the Hornet that indicate a connection between him and Spider-Man, which would seem to undermine the entire point of the story.  This could perhaps be dismissed if done as a quick joke, but instead it becomes a major plot point, leading into the next issue’s Vulture story.

SENSATIONAL SPIDER-MAN #26 - April 1998

Signs of the Times

Credits:  Todd Dezago (writer), Todd Nauck (penciler), Andrew Hennessey (inks), Gregory Wright (colors), Comicraft’s Kiff Scholl (letters)

The Plot:  Hoping to collect the $5 million bounty, Hydro-Man holds a group of civilians hostage inside a water tower.  Sandman sees the news reports and confronts Hydro-Man before Spider-Man can arrive.  Spider-Man tries to rescue the hostages while Sandman keeps Hydro-Man preoccupied, but he’s hindered by the NYPD and another group of bounty hunters.  Sandman stops Hydro-Man by merging their bodies together and allowing Silver Sable to freeze them.  Spider-Man changes into Peter Parker and leaves with the last hostage, who passed out earlier.  He leaves behind a web-dummy clothed in his costume, which is promptly shot by the bounty hunters.  Later, Spider-Man asks Hobie Brown for help.

The Subplots:  Anna Watson teaches Hope sign language.  Neither are Spider-Man fans.  MJ tells Peter she’s sick of the drama surrounding Spider-Man.  At the Daily Bugle, Peter realizes the blonde that’s been looking for him is Ben Reilly’s friend Desiree.  He’s not able to have a real conversation with her because he has to rescue Hydro-Man’s hostages.  Meanwhile, the Vulture is released from prison.

*See _________ For Details:  Sandman and Hydro-Man previously fought, and merged together, in Amazing Spider-Man #218.

I Love the ‘90s:  Billy Walters to Peter, who’s distracted when he spots Desiree across the room:  “Uh…Pete?  Yo, Dude…What’s the frequency, Kenneth?”  There’s also a reference later on to being “deked,” as in “tricked,” but I have no idea if this is forgotten slang or something Todd Dezago invented.

Review:  This begins the month in-between “SpiderHunt” and “Identity Crisis,” the next event that has Spider-Man adopting four new identities in order to avoid Norman Osborn’s bounty.  Why we’re getting this month break is a mystery to me; it’s not as if the reader needs four separate stories to set up Spider-Man’s decision to briefly change his superhero persona.  Not surprisingly, when left with a month in-between events, most of the titles promptly go into filler mode.  There’s nothing egregiously bad about this month’s Sensational, aside from Todd Nauck’s disproportionate balloon heads, but there’s nothing to get too excited about, either.  Dezago touches base on a few of his subplots, but the only real advancement is a hint that Desiree’s psychic powers allowed her to feel Ben Reilly as he died, which somehow explains why she’s seeking out his only known relative.  I would much rather the Ben Reilly supporting cast return to obscurity, but there is a hint of a good idea in here -- how exactly does civilian Peter Parker deal with mutants, especially one that can read his mind?

The action plot assumes that the audience really wanted to see Hydro-Man again so soon, which is hard to believe, especially when his scheme this issue is so uninspired.  The plot’s structured so that the entire fight stays between Sandman and Hydro-Man, while Spider-Man is left rescuing the hostages.  I like Dezago’s consistent focus on Spider-Man’s commitment to helping people, as opposed to constant fistfights, but it would be nice to see the title character have more to do.  Also, Sandman’s plan is utterly ridiculous.  I thought merging his body with Hydro-Man’s was supposed to be one of the most horrific experiences of his life, so why is he so eager to do it again?  His plan also involves being frozen in that state with Silver Sable’s special gun…why?  Sable makes a joke that he’s doing this for the overtime, but honestly, what kind of a plan was this supposed to be?  I understand that some people view the Sandman/Hydro-Man fight in Amazing Spider-Man #218 as a classic, but I don’t think this is the sequel they wanted.

SENSATIONAL SPIDER-MAN #25 - March 1998

Into the Dance!

Credits:  Todd Dezago (writer), Joe Bennett (penciler), Al Milgrom & Dan Green (inks), Gregory Wright & Mark Bernardo (colors), Comicraft’s Kiff Scholl (letters)

The Plot:  Professor Angst prepares a mystery man to become a new Green Goblin.  Meanwhile, Spider-Man dodges the numerous bounty hunters that have emerged now that the Daily Bugle has upped his bounty to five million dollars.  While trying to rescue a woman from a burning building, the Prowler arrives to help, just as Override and Aura emerge and attack Spider-Man.  He escapes, but within a few hours, he’s caught in-between Override and Aura, the NYPD, and the Dealy Boys.  One of the Dealy Boys’ “slazer beams” hits Aura, seriously injuring her.  Spider-Man escapes in the confusion.

The Subplots:  Peter tries to talk Robbie Robertson into returning to the Daily Bugle, but he refuses.  Betty Brant informs Peter that Norman Osborn has hired Flash Thompson as his personal assistant.  While Norman Osborn and Liz Osborn argue over his demand that Liz and Normie move in with him, Normie is kidnapped by the Green Goblin.

Web of Continuity:  Spider-Man is angry that Norman Osborn hired the Trapster to frame him for the murder of Joey Z.  How does he know this?  This information hasn’t been revealed yet.  Also, this new Green Goblin has already debuted in Peter Parker, Spider-Man #88.

*See _________ For Details:  A footnote reluctantly tells us that Override and Aura previously appeared in Spectacular Scarlet Spider #1.

Forever Young:  A news report lists Normie Osborn’s age as five, which means a full five years have passed since Peter left graduate school the first time.  (Normie was born in Amazing Spider-Man #263, cover-dated April 1985.)

Commercial Break:  A house ad promoting upcoming Marvel releases announces the Spider-Girl series.  It’s listed as a part of “Excelsior Comics,” a Stan Lee-helmed imprint that was never published.

Review:  “SpiderHunt,” the first crossover since the end of the clone days begins, perhaps not coincidentally in the double-sized twenty-fifth issue of Sensational Spider-Man.  This is the first promotional push Sensational has received in almost two years, and it would be a great opportunity to introduce the audience to the work being done by Todd Dezago and Mike Wieringo on the title…except Mike Wieringo is nowhere to be found.  Perpetual Spider-Office fill-in guy Joe Bennett is taking his place this issue, apparently because the editors didn’t have anyone else’s phone number.  Bennett is adopting a John Romita, Jr. look for Spider-Man this time, which isn’t a bad idea since Romita will draw the bulk of this crossover.  The rest of Bennett’s work is still reminiscent of early Mike Deodato, which is a style that couldn’t be more removed from the standard look of this title.  To give Bennett credit, he performs better here than in most of those Amazing Spider-Man fill-ins, but his art is a noticeable drop in quality from the average issue of Sensational.  

The story is mainly concerned with re-establishing the events leading up to the crossover and selling the idea that Spider-Man’s now under a constant barrage of attacks.  (Dezago’s sense of humor turns pretty dark this issue, with the introduction of Dallas’ Dealy Boys -- Lee, Harry, and Ozzie.)  The action scenes are fairly entertaining, and I was pleased to see Dezago, on more than one occasion this issue, emphasize that Spider-Man’s committed to actually helping others and not just protecting himself.  Dezago also works in a few character-driven scenes, as Peter and MJ’s marriage is contrasted with Robbie and Martha and even Override and Aura’s relationships.  The domestic scenes are played rather well, with MJ thankfully acting more as a concerned spouse and less like the constant nag she’s become in some of the other titles.  My only real problem with the story is the way “bounty” is conflated with “contract kill.”  No one wants to capture Spider-Man this issue; everyone wants to kill him.  Exactly how could the Daily Bugle get away with placing a public hit on anyone, even a costumed vigilante?  This strains credibility to an insane degree, even within the context of the Marvel Universe.