BATMAN: GOTHIC – Why More People Don’t Talk About This Series

By

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April 4, 2020

During the first half of 1990, two much-beloved creators wrote a five-issue Batman story, Batman: Gothic, alas, 30 years later, it’s hardly spoken of.

Although the story may be 30 years old, beware of spoilers! A few do pop up.

Looking at the casting call, you’d be surprised it isn’t as high up on reader’s lists. You have Writer Grant Morrison, Artist Klaus Janson, Colorist Steve Buccellato, and Letterer John Costanza. By this time, both Morrison and Janson’s names are ones many fans would recognize in the 90s.

BATMAN: GOTHIC ROLL CALL

The year before (1989) Morrison had written Arkham Asylum: A Serious House on a Serious Earth. Thing is, the back cover of Batman: Gothic Deluxe says this is his first Batman story. We’ll agree to disagree and say it’s his first “canon” story. Janson’s name brings up memories of his work with Frank Miller: Daredevil and Batman: The Dark Knight Returns.

Nonetheless, the other creators of Batman: Gothic share a huge spotlight. Batman: Gothic is Buccellato’s first DC Comics work, yet he had been around since 1987 in a multitude of roles. Costanza is a veteran in the comic industry. Having begun his career in 1965, he would go on to letter for Jack Kirby, among many other comic giants. The team behind the five-issue Batman story was one to be trifled with. Question is, why isn’t it held up to high regard as the other great Batman stories?

Someone returns — The beginning of the end – Art by Klaus Janson, Colors by Steve Buccellato, and Letters by John Costanza

TIMING IS KEY

Much like another Batman story I love and feel like isn’t talked about (Batman: The Cult), it came out during a crucial period. During the late ’80s and early ’90s, a fair amount of now-classic Batman stories came out, redefining the character and his mythos. Plus, Elseworld stories that are well-beloved. So, for Batman: Gothic timing was important, but good timing it didn’t have.

Another factor can be Morrison’s writing and his use of religion, calling it a “Gothic Romance” and myriad use of operas and plays. Morrison leans hard on all these inspirations, stuff that some fans wouldn’t like or could make them shy away. Each issue begins with a playbill that would introduce the “cast,” a quote from a play, and the issues name—thus showing Morrison’s inspiration. Plus, the main villain uses the Riddlers motif, but with a poem.

Morrison’s work back then wore its inspirations on the sleeve more so than now, which accrued him dicey glances from others. Nonetheless, isn’t all stories inspired by others? Plus, one of Daredevil’s (Born Again) most famous stories is heavily influenced by religion.

Batman: Legends of The Dark Knight #6's Playbill. — Batman: Legends of The Dark Knight #6’s Playbill.

IN THE MIDDLE

Another fascinating fact about Batman: Gothic is its publication history. Batman: Gothic was the second five-part story that ran in 1989’s Batman: Legends of The Dark Knight, with it being issue numbers 6-10. Morrison’s story was perfectly in the middle of other amazing Batman stories; Shaman and Prey. Both these titles were written by long time Batman favorites, Dennis O’Neil and Doug Moench. Meaning, it had an amazing standard to live up too.

Unlike other Batman titles at the time (there were a few), Legends of The Dark Knight focused more on the darker, earlier side of Batman. Usually, this meant it was a more adult heavy series. Plus, this made the series more lenient towards obscure plots, mostly out of the ordinary plotting. This “looser” rule set played into Morrison’s favor, with him tapping into some “non-mainline” matters.

Dead bodies everywhere — Inverted bodies galore – Art by Klaus Janson, Colors by Steve Buccellato

A DEADLY BLAST FROM THE PAST

Morrison quickly introduces a long lost resident of Gotham once thought dead—Mr. Whisper. He also served as Bruce Wayne’s childhood teacher, Mr. Winchester. Yet, his history even goes further back with him being a monk named, Brother Manfred. Having caught the black plague, Brother Manfred sold his soul to the devil for three-hundred years. His arrival back in Gotham marked his ending days.

Much like Scott Snyder’s Batman: Court of The Owls, Morrison weaved Mr. Whisper’s story into the very soul of Gotham and its history. Twenty years past, when Bruce was in school, Mr. Whisper killed seven kids which gained the attention of Gotham’s local mobs. Back then, criminals of Gotham had some morals, plus they didn’t want the heat on them. They set out to kill him, only to find out it’s not possible. So, they drown him.

Nonetheless, twenty years past, and he returns to kill them to pass the time until his plan comes to fruition. For each of these deaths, a note is giving to the victim with a poem with a hint of how they’ll die. Look at it like a better/deadlier Riddler. Knowing their time is up, the criminal families involved go to Batman for help.

A spaking indeed — Bruce was a bad boy – Art by Klaus Janson, Colors by Steve Buccellato, and Letters by John Costanza

BATMAN: GOTHIC, A GOTHIC ROMANCE TALE

Batman: Gothic deals heavily with religion, yet with a somewhat supernatural feeling. But, at no point does Batman doubt any of it. Nor make light of the situation. Instead, Morrison writes a Batman that knows how to scare the criminals while taking everything seriously. When he sleeps, he has nightmares involving dead children, nursery rhymes, his father, and Mr. Winchester. As all the elements come into play, he makes a trip to Lake Dess to learn of what may be the truth.

Morrison’s plot can be boiled down to a structure he used in his later Batman run, and others too. A personal character that “maybe” immortal comes from Gotham’s/Batman’s past to haunt him and his city. Batman digs into his past to realize that character has always been there. Villian puts him in a death trap; once thinking he is done, they go their merry way with their plans, only for Batman to come back. This reads like Batman: RIP (minus losing his mind), and Court of Owls. Even the inverted theme throughout Batman: Gothic can be seen in RIP. Said inverted theme helps emphasize the religious matter and can be seen with the inverted cross, hanging victims, an inverted Bat-Signal, and Batman’s reflection, to name a few.

Batman: Gothic sets itself apart with how its villain is precisely as he seems. Yeah, in some parts it may not seem true, nonetheless, at the end, Satan returns to claim Mr. Whisper’s heart.

GOTHIC DESIGNS

Batman: Gothic focuses on the big three pieces all good Batman stories revolve around; Bruce, Batman, and Gotham City. Each of these elements is given spotlight via Morrison’s script, yet, even more so by Janson’s art. Whenever a panel focuses on a location, Janson’s art breathes it into life. The city feels as much alive as the characters seen throughout. Be it the gothic architecture, grimy streets, allies filled with sketchy characters, and the tall foreboding buildings. Janson’s Gotham designs are some of the best around.

Another aspect Janson excels at is showing reactions with full faces, or full bodies. When a character is showing tense emotions, Janson gets close to their face to show the fear. He uses this frequently, to amazing effect. This gives him the possibility to show every detail on their face, making the reader feel what they are.

Fearful faces — The fear in one’s eyes – Art by Klaus Janson, Colors by Steve Buccellato, and Letters by John Costanza

But, what would a Batman comic be without action? Luckily, Janson knows how to catch the reader’s eyes with a clean yet violent style that makes you feel each hit. In these fights, each violent action is portrayed in a panel that beautifully shows the motions, followed by a reaction. In his grasp during the final issue, Mr. Whisper has Batman strapped into a Rube Goldberg machine; because we all know this works out perfectly each time. Thing is when the machine starts, Janson never shows a full shot of it, as a way to keep the reader on their toes. Instead, each mechanism is showed working in a nine-panel grid. This method makes the trap feel deadlier and that Batman may not make it out.

Death trap — Can he escape? – Art by Klaus Janson, Colors by Steve Buccellato, and Letters by John Costanza

A HEROIC INTRODUCTION

It is interesting how a creative team introduces the titular character and his nemesis in series. Usually, this can excel the storytelling, or make it feel flat. The manner the team introduces Batman in Batman: Gothic is gorgeous. This is due to multiple factors, with Buccellato’s colors standing out greatly. As Batman mostly operates at night, Buccellato keeps Gotham draped in shadows, much like its protector. When we first see Batman, a spotlight flashes upon his cowl while he’s on a building. Telling the reader, “Hey, here he is.” The following panel’s background is a brighter blue, helping show the lights still there.

These two panels exemplify Buccellato’s colors, but the following Batman moment shows how making the colors a little unnatural help even further. Having followed the two criminals, Batman drops down with an epic one-liner showing himself to the criminal he left conscious. He’s colored his usual grey/blue, yet behind him is a thick black that shapes his outline. Nonetheless, the color that catches the eye is the bright red behind him, that honestly shouldn’t be there.

Buccellato’s use of red to amplify the scenes makes perfect sense with the theme, and the emotional level. The red may seemingly come from nowhere, yet that doesn’t matter when it helps sell the scene. This is important as this happens in a few places, but when it does, it dramatically improves the story.

The king of hell – Art by Klaus Janson, Colors by Steve Buccellato, and Letters by John Costanza

A NOT SO DELUXE EDITION

Batman: Gothic Deluxe Edition was released for the storyline’s 25th anniversary. Yet, there a more than a few negatives. It seems that Buccellato’s colors take a hit with them feeling washed out. Much like the recent Justice League: A New Beginning TPB, it looks like it was printed on glossy paper. The thing is, comic art from the ’80s and early ’90s doesn’t work well with this paper. The glossy paper makes the colors look blown out while killing some of the lighter lines from the artist. The colors don’t take as much of a hit as other reprints, yet when comparing to the original print and issues on the DC Universe app, it’s noticeable.

On a weirder note, some of the pages are cut short. It’s not to an extent where you’ll notice it, but this fact is weird. What makes these clipped pages worse is how the Deluxe Edition is a larger format Hardcover. The larger format works beautifully for Batman: Gothic, yet the clipped pages feel weird. Included in the Deluxe are Morrison’s original synopsis notes for each issue, except issue one. It’s nice that issue #2-5’s notes are included, but why not the first issues?

Nonetheless, Batman: Gothic Deluxe Edition includes one fantastic extra; Grant Morrison’s original sketch of the death trap. On a final note: the Deluxe Editions cover doesn’t measure up to the original TPB. The original fits the interior art better while catching your eyes.

BATMAN: GOTHIC 30 YEARS LATER

Looking back at Batman: Gothic and the stories following, Morrison’s tale never seems to be referenced in media or other comics. Nonetheless, that doesn’t take away how elegantly he and the team behind the story did. Despite a moment with hard to read lettering, you’ll finish the fiver-parter wondering way it isn’t spoken of more. Every element brought forth is seamlessly woven into the fabric of Gotham and Batman’s history. Meaning, even though it may not be referenced again, it all happened.

Plus, themes present here are brought forth in his legendary Batman run later on. His work here and Arkham Asylum: A Serious House on a Serious Earth can be seen as his building stones for the future.

We end with a simple quote from Batman: Gothic’s final panel.

Art by Klaus Janson, Colors by Steve Buccellato, and Letters by John Costanza

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Review: THE SCENT OF MAY RAIN Questions Tradition And Purpose

By

Gabriel Hernandez

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THE SCENT OF MAY RAIN is the latest independently-produced graphic novel from Mark O. Stack and team. It’s a thought provoking piece of art that challenges the expectations of love, family, tradition, religion, and sexuality.

The digital release is set for 5/27, with the print release tentatively set for 6/17. You can pre-order either version of the book at weekendwarriorcomics.com.

Writing

Mark O. Stack and Rae Epstein have writing credit for creating the story. In 1920’s New York, a man creates a golem to act as surrogate mother for his daughter and sometimes companion for himself. Esther (the golem) acts as the surrogate for the reader as well, experiencing the world around her with naive and unsullied eyes. She does not age, and the story chronicles how her view on purpose and living evolves over the course of the last century.

Stack and Epstein are playing with a lot of ideas in this book, far too many to fairly address in a single review. Her creator makes Esther from raw materials to serve a specific purpose, but he encourages Esther to learn through exposure to the arts. The creator wants Esther to grow, but only within the creator’s narrow view of acceptable behavior for women.

Stack and Epstein infuse every page with cultural references that are authentic to each time period. Esther reacts to revelations about marriage and motherhood as would a child without benefit of upbringing or family of her own. She was literally born yesterday, so Esther’s reactions are akin to a space alien arriving on Earth and struggling to understand Earth society. Esther’s reactions are genuine from moment to moment.

In the end, Esther transcends her given programming and purpose to adopt a life directed by choice. The ending is poignant and inspiring, and Stack and Epstein conclude with a spirit of possibility for Esther. Again, this is a thought-provoking story that covers too many ideas to do justice here. (Spoiler for the ‘Conclusion’ section: get this book, and you’ll have tons to think about.) This is an excellent piece of writing.

Pencils/Inks

Kaylee Rowena does nice work here matching the art to the characters in a way that augment Esther’s personality and surroundings. Rowena draws the entire book in sketchbook style, with rough strokes that look almost like charcoal. She draws characters loosely as if for a children’s book. That works well in, again, connecting the art to the character of Esther via her childlike naivete.

Coloring

Rowena also takes coloring credits here, and – in a positive way – she created a book that looks old and weathered. Mystical practitioners traditionally created golems from clay and dirt. Rowena saturates the early years with sepia tones that gives the book an old Black & White movie feel. The sepia also connects the book with the raw earthen materials that make up Esther. It’s a subtle connection point, but it makes all the difference.

Lettering

Cardinal Rae takes letterer credit, and does an admirable job. Rae juggles well between English and (translated) Yiddish in a way that was still easy to read. Well done on the lettering.

Conclusion

THE SCENT OF MAY RAIN is an insightful, thought-provoking book that looks at our society’s views on love and life, over the years, through fresh eyes. There’s almost too many ideas, but all of them are worth experiencing and discussing. Get this book!

Again, the digital release is set for 5/27, with the print release tentatively set for 6/17. You can pre-order either version of SCENT OF MAY RAIN at weekendwarriorcomics.com.

Author’s Note: Local Comic Shops (LCS) are going through a tough time right now with the pandemic outbreak of COVID-19. Comics fans of every flavor that care about his or her LCS should try to do what they can. So, here’s my part:

If you’re in Northern Delaware, South East Pennsylvania, or Southern New Jersey area, please take a moment to visit Captain Blue Hen Comics in Newark, DE. Say ‘hi,’ pick up a book, order a book (they’re on Comichub.com), and let them know you support them.

If you’re nowhere near that area, please find YOUR LCS using Comic Shop Locator and lend your support.

Thanks, and stay safe.

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Review: KILL A MAN Challenges Readers With A Heavy Punch

By

Darryll Robson

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Kill A Man cover — Kill A Man Credit: AfterShock Comics

Coming soon from AfterShock Comics is an Original Graphic Novel that deals with the violence of Extreme Fighting and the difficulties faced by a young gay fighter. Kill A Man written by Steve Orlando and Phillip Kennedy Johnson pulls no punches and is a hard hitting story about individual choices and the consequences that follow.

With an eye catching cover and an exciting premise, Kill A Man makes some big promises from the get go. But the question is, can the creators keep the readers entertained for the full bout or does it all end abruptly in the first round?

The Story

To some it’s a world of entertainment and wealth, to others it’s nothing more than violence and hatred. For James Belly it is all he knows and he has become a slave in the ring of the Extreme Fighting Championships.

The young fighter is following in the footsteps of his late, great father, who was a champion of the ring years before. However, during a brutal fight, Belly Senior goads his opponent, Xavier Mayne, with homophobic slurs and the result is a literal fight to the death.

Riding the crest of his own popularity, James Belly fails to see the fall ahead of him and when he is publicly outed as being gay it all comes crashing down around him. Ostracised from his family and branded a cheat in the wrestling world, James has only one place to turn in his hour of need: the man who killed his father, Xavier Mayne.

Writing For the Ring

From the very beginning of the book you get a sense of the story Orlando and Johnson are telling. It has the initial air of showmanship, extravagance and performance, but very quickly the violence underneath takes over and the cruelty of people becomes the overriding theme.

There are two main themes throughout the book that battle for dominance but are so intrinsically linked it is impossible to separate them. The first is the sport itself. The Extreme Fighting Championship is a hard world for it’s fighters to live in. They have to live up to an image that is thrust upon them by the sport, it’s promoters and the fan base. People expect violence and the macho conflict in and out of the ring.

The bigotry and hatred of anything deemed not manly enough is rife within the story and the sport that it is portraying. At first it’s just the language of individuals but the writers make it clear that these opinions are born from deeper rooted problems within the promotion of the sport itself. When James is outed, on the eve of a title bout, Orlando and Johnson quickly make the reader realise that homophobia is embedded in society and not just the opinion of a few small minded people.

Although this is a book about a fighter coming to terms with his own sexuality, there is a much bigger picture on display. Orlando and Johnson are using their story and the EFC as a microcosm for the world at large and how underlying prejudices in society seep into everyday life.

The story is powerful and, due to its very nature, hard hitting. The plot is tightly written with each step building a complex picture of the world James lives in. The characters are believable and empathetic. The reader gets a good sense of who each person is and the role that they have to play in the story. Even the extra’s feel like fully rounded characters who have a story of their own to tell.

Violent Visuals

In the same way that there are two main elements to the narrative, there are two distinct elements to the brilliance of the Art. Both of these are provided by Al Morgan who colors his own inks.

The inking style is heavy handed with vast areas of black forming dense shadows across the panels. This intensity is heightened by the solid black gutters than frame the panels. The overall look is brutal and for a large part unwelcoming. It reflects the world of the fighters and the macho environment they inhabit.

To counter this and interject an emotional element into the art work, Morgan uses block colors to differentiate scenes and moments. Small highlights of color give the images some depth but it is the strength of the solid coloring that has the most impact. A scene that shifts from black and white to blood red for every other panel brings out the violence of the moment. Similarly, a quick change in color between panels expresses a shift in emotional responses in the images portrayed.

The coloring in Kill A Man has the strongest initial effect on the reader. As you turn from page to page you are struck by the intense focus on a single color. This in turn makes you instantly aware of any deviation, drawing you directly to a specific moment on the page. Morgan sets a standard in the opening pages and from that moment on, he has complete control over where you look and the focus of the plot.

Rounds of Letters

Jim Campbell is an experienced letterer who knows how to get the best out of a script. He can pick up on subtleties in speech and creates a style to fit the artwork. In Kill A Man his most impressive achievement is differentiating between speech levels. By changing the shape of a speech balloon or the color of the font, Campbell is able to create loud, amplified voices and behind the back whispers.

The text itself is fairly straightforward as Campbell doesn’t experiment with different fonts. Instead he uses bold text for emphasising often hurtful language and type size to express emotion. The placement of the speech balloons also accentuate the feelings behind the spoken words. Large outspoken speeches hang above the characters, displayed for the world, whereas the cruel, personal insults often drop to the bottom of the panel to hover near the ears of the victims of abuse.

There is a streak of cruelty throughout the story and Campbell makes sure that this is obvious. He uses the lettering to make the attacks personal. As a reader you can see exactly who the verbal abuse is aimed at and, more importantly, how it is delivered: in hushed tones, just below the surface.

Conclusion

Kill A Man might seem like a difficult sell. On the surface it looks like a sport comic about Extreme Fighters which will have a limited audience. But like a number of great sport’s stories there is so much more going on. This comic is about self identity; it’s about institutionalised bullying; it’s about anger, and rage, and revenge.

At the heart of this book you have two characters from different generations who are trying to come to terms with the same thing: their own sexuality. The world they have chosen to live in does not accept them and they have each adopted a personality they can barely live with. What makes Kill A Man so impressive is the way in which their stories are told.

The inks, colors, and letters reinforce the society that surrounds the characters. It’s brutal and harsh and often not pleasant reading but that is the point Orlando and Johnson are trying to get across. This is more than just another Sports Comic, this is an intense examination of social acceptances and the pain they can bring.

Due to be released in early June from AfterShock Comics, Kill A Man is an exceptionally gripping read from the very first page. It is difficult to recommend this to everybody but if you have any interest in comic book storytelling you should be reading this.

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Crowdfunded Comics Bestsellers: Are They Exploitive?

By

Jake Palermo

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April 3, 2020

Lady Death among notable Crowfunded Comics

Crowdfunded Comics are quickly gaining attention across the comics community. Even here on MFR, there is an entire section of reviews in dedication to Kickstarter comics. Looking at the trends on sites like Kicktraq and BackerKit however, some questions rise up. Many of the series involve women with certain “appeals.” In recent years some projects involve titles from the 90s like Lady Death and Shi. Does this mean that crowdfunding comics are just taking advantage of readers’ instincts? This is the research from the gutters.

Crowdfunding Platforms

Crowdfunding platforms like Kickstarter and Indiegogo are becoming the go-to means of creator-owned content to flourish. YouNeek Studios, in particular, lives up to the Kickstarter name for its publishing. Starting with E.X.O. The Legend of Wale Williams, comes a superhero fantasy franchise joining the ranks of legends like Marvel. Which, in turn, leads to several imitators like Epoch Comics. Even notable series like Witchblade go on these sites to get funding for their omnibuses when its publishers can’t provide it. Which brings up the next point.

Advertising Exploitation?

Crowdfunding is far from easy because that means giving your backers their money’s worth. Artwork, writing, printing, and distribution doesn’t come cheap. Most single issue comics usually need roughly $1000 just to get that bare minimum. So advertising is key to getting the necessary funds. At the same time, just throwing money at companies like Facebook doesn’t guarantee success. So there comes a controversial means of appealing to potential backers, taking advantage of their instincts.

Crowd Instinct

Some comics get a called out for suggestively dressed women on their covers. Even today, comics like Tarot: Witch of the Black Rose doesn’t shirk away from these depictions. Since most of the artists behind such series are men and appeal to men, there comes a familiar saying, “Sex Sells.” However, that’s not to say that female artists don’t draw women provocatively, including Sorah Suhng. This saying also appeals to female readers as well. One series that often appears in Kicktraq’s Closed Projects, Sweet Boy is a yaoi series, a demographic that appeals primarily to women for how attractive the men are. There’s a double standard for everything.

A webcomic that gets attention — Just imagine what this would look like in animation.

Neoteny is another aspect that often gets attention, especially in webcomics. Thanks to how youthful and simple designs can look, people can’t look away. Japan has an entire subculture in dedication to this, Kawaii. A good number of these webcomics also involve cats, including fan-favorite Lackadaisy. Probably because cats, even mature ones, retain their neoteny. The most successful crowdfunding projects, regardless of medium, however, go beyond surface appeal.

Crowdfunding On Nostalgia

Probably one of the most exploitive natures people use in entertainment is nostalgia. Whether it’s remakes, reboots, or relaunches, people are more than willing to stick with familiar names. The name of Lady Death alone amasses over 1 million dollars in crowdfunding for more than ten graphic novels. All while spearheading Brian Pulido’s Coffin Comics universe. It’s little wonder why Coffin Comics amasses enough net profits to get on the Diamond catalogs.

Did you know that Jim Starlin made this crowdfunded comic as a means of advertising? — From the maker of half of Cosmic Marvel, comes a Space Opera.

Of course, notable creators like Jim Starlin and Kevin Eastman use their names and influence to advertise. Starlin himself generates a lot of hype with his fans through his souring relationship with Marvel. His campaigns, in turn, advertises Creation.INK, “the first truly creator-owned company,” composed of veterans like Starlin and Ron Marz. Eastman meanwhile uses his fame from TMNT to catapult Drawing Blood. This series about what goes behind the scenes perfectly encapsulates the means behind crowdfunded comics.

Crowdfunded Comics Are For Fans

Crowdfunding is for all kinds of fans — Can you blame the guy for the fan-art crossovers?

It isn’t enough to generate interest through pin-up models or human psychology; crowdfunding has to be something fans can relate to. Relative newcomer, White Widow is quickly becoming popular in the comic community. Series artist and co-creator Jamie Tyndall makes a name for this title by crossing it over with fan-art. The Spider-Gwen crossover designs are so popular; cosplayers make regular use of them at conventions. But even more so, these designs have character.

Character is arguably the most significant piece surrounding these crowdfunded comics. Despite how underdressed many of these characters and series appear to be, there are real stories surrounding them. Some of them like Lady Death starts as ideas until they grow into something more, even to the point of a small publishing empire. Imagine how some fans feel about being the ones to bring these series into the public.

The Community of Crowdfunding

Comics are a medium of combining elements that are greater than the whole, a medium of community. While creators can direct readers to and through their content, readers experience it in ways they share with others. Crowdfunding is one-way fans give back to their creators, by being the ones to breathe life into it.

What do you think of bestselling crowdfunded comics? Leave your thoughts in the comments.

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Review: GIANT-SIZE X-MEN NIGHTCRAWLER Visits A “Haunted” X-Mansion

By

Gabriel Hernandez

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GIANT-SIZE X-MEN NIGHTCRAWLER, available from Marvel on March 25th, takes the reader on a mutant adventure away from the shores of Krakoa. Magik, Nightcrawler, and their team investigate odd sensor readings from the abandoned X-Mansion. Will the ghosts of Xavier’s past confront them? Let’s find out.

Cover

Alan Davis and Edgar Delgado pick up cover art duty for this “giant” issue. The art is clean and clear. Nightcrawler strikes a ready-for-anything action pose, and the silhouette characters give you a taste for what’s inside. If you look closely, you’ll even be able to spot a spoiler for the story’s mystery. On these counts, Davis and Delgado check all the boxes for a cover that grabs you with curiosity.

Writing

Jonathan Hickman wrote this issue as an extension to his current run of X-Men titles. Honestly, this is an odd book. Giant-Size issues either mark a milestone of some sort, or they establish a link from one storyline to another. This book is neither a milestone nor a bridge, so there’s nothing traditionally “giant-size” about this book other than its size (30 pages if you exclude the cover and credits). There’s nothing wrong with that as long as the story is entertaining, but it is a bit odd.

Hickman’s mystery setup is pretty straight forward. The mutant team takes a field trip from Krakoa to the old X-Mansion to investigate alarms from somebody trying to access a gateway portal. The portals are designed to let any mutant through to enter Krakoa, but this particular portal is denying entry to a mutant(?). Hickman plays up the haunted house vibe, even going so far as to show “ghosts” of X-Men past that has the team chasing shadows.

Without spoiling it, the team discovers the source of the mystery and brings the story to a quick, albeit slightly too convenient resolution. It’s no surprise some of the shades you see are Rachel Summers and John Proudstar, and that’s the primary issue with the story. You immediately know the “ghosts” are not what they seem from a mile away. Hickman’s mystery winds up being little more than a limp question with a mildly amusing “that’s it?” for an answer.

Right away, you realize this is not a Nightcrawler book. Nightcrawler is the titular character, but the story is very ensemble heavy. If you had to pick the main hero, it’s Cypher. Nightcrawler does showcase plenty of “BAMF”-ing, and he’s a treat to watch in action, but Cypher figures out the mystery and brings about the story’s resolution.

If the “Giant-Size” aspects of milestone or bridge aren’t present, Hickman needed to hit it out of the park in terms of story. It needed more mystery and surprise if it intended to go the haunted mansion route. Maybe those elements would have hit harder if the team experienced some type of scary hallucination to compliment the obvious phantoms. As it is, this issue is simply an over-long, milquetoast, Scooby-Doo mystery.

Coloring

Carlos Lopez tackles coloring, and he brings it with this issue. Too many artists are losing the craft of depth with colors, but not Lopez. In particular, it would be easy to defer the contouring of Lockheed’s head, wings, and body to the inks , but Lopez use a spectrum of purples to really highlight the little dragon’s ridges and curves. Nicely done work by Lopez.

Lettering

There’s a lot of bizarre sound effects going on in this book. Clayton Cowles manages to embody those sound effects believably through lettering to match their source, even when the source is otherworldly ala Warlock. Cowles does excellent work here.

Pencils/Inks

Alan Davis received credit for the internal art as well as the cover. Davis’ action panels are suitably dynamic, all the faces are expressive when the emotion of the panel calls for it, but here’s the standout achievement from Davis: Eye-Boy. Eye-boy is, in concept, a bizarre and ridiculous character. He’s a mutant covered with eyes that can see all different types of spectrums. Eye-Boy’s design fits more closely with a freak out of Batman’s Rogues Gallery, but Davis pulls off a design that works without looking overly silly. Not plausible, certainly. These are mutants after all, but you believe Eye-Boy as a physical character, and he presents well as being productive to the team.

If Davis is given another book featuring Nightcrawler, I would like to see him play up Kurt’s tail a little more. A prehensile tail is integral to how Nightcrawler moves and fights, but in this book, the tail is just there. It’s a small, character-based criticism in an otherwise excellent job from Davis.

Favorite Panel/Page: My favorite from this issue is the upper-right panel on page 18. Cypher/Warlock pops out some organic connection tools from his fingers, and you see/hear the letters “PLINK-PLORK-DOOP.” For some reason, that got a laugh out of me. Not only can I picture those sounds, surprisingly, since they have no real-world version, but the lettering matches the panel art perfectly. Kudos to Cowles.

Conclusion

GIANT-SIZE X-MEN NIGHTCRAWLER takes the reader on Hickman’s version of a mutant ghost story. The art is strong, but the story is bland. This book is best for hardcore X-Men fans that don’t mind the “Giant-Size” price tag.

Writer’s Note: Local Comic Shops (LCS) are going through a tough time right now with the pandemic outbreak of COVID-19. Comics fans of every flavor that care about his or her LCS should try to do what they can. So, here’s my part:

If you’re in Northern Delaware, South East Pennsylvania, or Southern New Jersey area, please take a moment to visit Captain Blue Hen Comics in Newark, DE. Say ‘hi,’ pick up a book, order a book (they’re on Comichub.com), and let them know you support them.

If you’re nowhere near that area, please find YOUR LCS using Comic Shop Locator and lend your support.

Thanks, and stay safe.

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How To Reinvent A Character In SAGA OF THE SWAMP THING

By

Darryll Robson

-

April 2, 2020

Saga of the Swamp Thing #21 Credit: DC Comics

Everything runs its course, and even the best of ideas can become stale if they are not given the chance to be re-born. In 1983 DC comics hired a relatively new, up and coming writer to overhaul one of their more obscure horror titles: Swamp Thing.

Just like Neil Gaiman with The Sandman character, Alan Moore was given free reign to do with the comic whatever he wished. The result was a long, 40 plus issue run that not only blended a multitude of genres but, most importantly, made the Swamp Thing a must read comic.

Whatever you think about the later writings of Alan Moore, there is simply no denying that at the start of his career he wrote some of the greatest comics ever published. Watchmen continues to sell thousands of copies every year because it is a seminal work of sequential Art. DC are currently re-releasing The Saga of the Swamp Thing in collected volumes because new, and old, readers still find it as fresh and exciting as it was 36 years ago. Not many comics can make that claim.

Re-Writing The Saga

Alan Moore’s run on Saga of the Swamp Thing started with the often overlooked issue 20. The story was called Loose Ends and as the title suggests Moore uses that issue to address the previous plot lines before launching into his own story.

And launch he does. Issue 21, The Anatomy Lesson, is not only an examination of the central character but a treatise on the way that Moore approaches his projects. In this single issue Moore does something that DC have been trying to do since Crisis on Infinite Earths: he successfully retcon’s a character without dismissing any previous stories. In fact, it’s safe to say that Moore goes one step further and manages to incorporate a plot element that makes all previous versions of the Swamp Thing viable continuity.

The Anatomy Lesson is a physical dissection of the central character used as a metaphor for a larger dissection of the comic’s history. In it Dr Woodrue, the Floronic Man, takes a captured and frozen Swamp Thing and begins to open him up to see how the man inside can survive. What he discovers turns what was becoming a run of the mill superhero into a horror monster of a character. Moore strips away the humanity that was Alec Holland, peeling away the layers step by step and exposing the supernatural core that was to fuel much of Moore’s run.

The process is meticulous. Woodrue delves into everything that makes the swamp monster tick, breaking it down for the reader to see. And this is how Moore builds his stories by first separating out each strand and laying it out for examination. He then examines each individual element, finding its function and purpose before starting to wind it all back together. In The Anatomy Lesson, Swamp Thing is broken into his component parts before slowly reforming to wreak horror upon the people who imprisoned him.

Issue 21 has a Frankenstein feel about it. The obsessive scientist works on an artificial man who in turn becomes fuelled by rage at the truth of his own nature. The essence of Mary Shelley’s gothic horror is there on every page and is embedded into the story itself.

Saga of the Swamp Thing #21 Credit: DC Comics

Horrific Visions

No matter how good Moore’s writing is, the comic would not be the masterpiece it is without the artistic talents of Stephen Bissette and John Totleben. The intricate details of the dissection are brought to horrific life by the heavily shadowed inking and focused panels.

Each page is crammed with complex panel layouts which produce the claustrophobic tension necessary to relay the horror of the plot. The moody atmosphere is created in these tight, often abstracted images where the artists pay close attention to small details of the characters to emphasise reactions and emotions.

It’s interesting to note that the panel layouts, like the plot, challenge the concept of how a comic should be perceived. Even on pages where a standard panel layout is used, with a series of stacked panels for example, Bissette and Totleben enjoy playing with the format. They might nudge a panel just below it’s neighbour to create a staggered effect. Often inserts are used that cross two panels, breaking the borders and gutters, linking images and ideas.

For a large part of the comic, however, Bissette and Tutleben use obscurely shaped panels or do away with borders and gutters entirely, merging the images together to create a visual flow of consciousness.The Anatomy Lesson is about challenging the reader and setting a president for the stories that follow.

Tones and Words

I read this originally in a black and white reprint, but if you look at the original color work by Tatjana Wood you can see that even with the limited range scope they had in the 1980’s Wood wanted to set a certain tone beyond recreating a realistic visual. Color is used to indicate character and emotion. The cold blues and natural greens are used to highlight contrast in the plot and identify particular characters.

The horror of the story is brought out with vivid yellows and reds. These hues are unsettling next to the comforting natural colors used for Swamp Thing. This draws the reader deeper into the book and gives us an idea of the turmoil that the central character is experiencing. We, as onlookers, are disgusted and horrified by what we witness.

John Costanza, in turn, gives the lettering a lyrical style, mimicking classic horror novels and the EC style comics from the 1950’s. Moore enjoys loading his comics with text, making it difficult sometimes to display on a page successfully. Constanza does it perfectly by breaking the speeches and narration up into smaller chunks, like the stanzas of a poem. He then places them across the page, leading from one to another with a rhythmic beat. It produces the same feeling as reading Rime of the Ancient Mariner, as if an epic poem has been overlaid onto Hieronymus Bosch artwork.

Conclusion

The important thing to remember about comics like Saga of the Swamp Thing is that they were breaking the moulds of mainstream comics. The Sandman, Animal Man, and a number of other titles that followed all created their own world and their own accents with which to speak.

Swamp Thing began life as a horror comic and the creators behind issue 21 of The Saga of the Swamp Thing majestically brought that concept back in a major way. The story and art are rooted in historical ideals and visions of horror. The conscious move away from Superheroes allows Moore to open up future stories to all sorts of genres as he stamped his mark on American comics.

The Saga of the Swamp Thing changed not only the characters of this comic but also how DC treated different genres within it’s catalogue. After a future issue of Sage was refused the Comic Code Authority seal of approval, DC abandons submitting further issues of Swamp Thing, ultimately leading to the creation of the much loved Vertigo line.

The Sage of the Swamp Thing #21 is an outstanding comic that changed a large part of the comic book world and, without it, so many important comics might not exist today.

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SUPERMAN: RED SON Provides Entertainment Years Later

By

Jose "Jody" Cardona

-

Long Live President Superman

Since 1938, Superman has been one of Comic’s examples of America’s greatest myths. Not because of his powers, but because of his ideals. He has always been portrayed as standing for truth, justice, and the American way. As time went on, that idealized version of the Man of Steel gained a variety of different forms, seen through the Multiverse. One such version decided to take a reversal on that old idealism and have Kal El’s ship land in Soviet Russia. The story, written by Mark Millar in 2003, has since gained fame as one of the most extraordinary Elseworlds stories ever written. Its popularity had earned a place in DC’s official Multiverse as well as a recent animated adaptation. How well does the Comrade of Steel’s tale hold up?

**Major Spoilers Below**

Story:

Starting in 1953, Russia shows the world its newest soldier: Superman. Much like the Superman of the main DC Earth, he protects the people of the world. Despite being used for Soviet Propaganda, he does his best to help wherever he can, including America. This garners the affection of Josef Stalin, who sees him as the ultimate tool to spread the Soviet’s ideals across the world. This also causes the illegitimate son of Stalin, Pyotr Roslov(Pete Ross of this world) to grow jealous and plot against the Comrade of Steel.

Meanwhile, The United States begin to worry about their chances against Superman. This causes them to turn to the smartest man they have: Lex Luthor.

Superman Red Son p1 Despite this story being nearly two decades old, it holds up incredibly well. One of the keys to making an Elseworlds story is creating an exciting world with the concept. Millar is able to provide this in spades with a fantastic alternate history. With Superman being on the side of the Soviets, we get an entire DC History where heroes appear against him. A Batman who spreads terror and chaos to tear down the Soviet Union, A Wonder Woman who joins Superman’s crusade to spread communism, and more. It paints a fantastical world that readers can get invested in with a story that spans decades.

The story itself could also be seen as an allegory for the rise and fall of the Soviet Union. Much like the start of the movement, Superman takes control of the Government with the intent of helping the people. This only changes after betrayal from one of the inner circle, causing our heroes to tighten his grip. It ended with the Soviet Union collapsing after Superman realized how far he’d gone and America picking up the pieces, similar to how the two nations ended up making a begrudged peace years after. Throw in one of the greatest twist endings in fiction, and we have a captivating story that stands the tests of time.

Art:

Our art team is able to provide a fantastic look for this Soviet Superman and his world. Dave Johnson provides several iconic panels and designs in this story. It’s a disservice he doesn’t get tapped for more mainstream DC work. His style presents a wide range of emotions: From hope when Superman holds up the Daily Planet stature to fear when we see the rebellion lobotomized. His style, along with fantastic ink and colorwork, provides an iconic look to fit a grand story.

Conclusion:

Does Superman: Red Son hold up after nearly two decades? Well, in President Superman’s language, да. It’s one of the greatest Elseworlds stories that has earned its place in the DC Multiverse. Mark Millar provides a deep story with a fantastic, realistic world with plenty of action to keep even the more casual readers entertained. If you want a Superman story with a fascinating premise and incredible art, look no further than here!

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Review: NOCTURNAL COMMISSIONS #1 Is More Bite Than Bark

By

Gabriel Hernandez

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NOCTURNAL COMMISSIONS #1, available on Kickstarter, is the latest crowd-sourced comic from Jason McNamara and Greg Hinkle. Three monsters, heading a newly-formed detective agency, work to solve a case involving one of their own. Is it a Monster Squad rip-off or a monster book with its own unique take? Let’s find out.

Cover

Hinkle receives cover artist credit, and the cover works once you understand the context and theme of the book. The lead characters are not supernatural superheroes nor uncontrollable monsters of the night. You’ll see the monsters are self-aware and uniquely personable. There’s a bit of Rock & Roll Album Cover vibe to the cover, especially since Alton the Zombie is a pretty close match to Keith Richards. Or is it Keith Richards who could pass for an undead zombie?

Nocturnal Commissions #1, headshots — Separated at birth?
(photo credit: Sante D’ Orazio)

From left to right, the team is composed of a werewolf, a vampire, and a zombie. Hinkle’s rock-n-roll tone lets you know this group is serious, but you’re still in for a good time. I would have liked to see each monster with a little bit more monster-like attributes. For example, I couldn’t tell the vampire was a vampire until I dug into the book. This is a minor criticism, so good job overall.

Writing

McNamara wrote the inaugural issue. Except for a few bumpy spots, this was a fun read. True to the campaign’s description, McNamara wrote a very X-Files-like plot structure with the story. Without spoiling anything, a bizarre event occurs. The manager of an island resort calls in the werewolf/vampire detective team to investigate. The zombie involved in the case quickly joins the team. Campy monster shenanigans follow. I want to emphasize that this book is filled with a little camp, but not so much that it becomes corny.

McNamara’s pacing is perfect for a first issue that introduces several new characters. He transitioned each scene smoothly into the next, and his panels were never bogged down by too much dialog or exposition. If anything, I would have liked to see a few scenes filled out a little more, but that would have probably made the book too long.

McNamara could smooth out the bumpy bits, which were mostly related to the werewolf’s dialog. The werewolf is a bit of a wise@$$, but some of his quips don’t quite land. It’s another minor criticism, and it doesn’t affect the fun of the story at all.

McNamara’s writing is also very inventive for his unique take on the zombie model. In particular, McNamara created a type of chemical zombie with powers I had never seen before. I was impressed with the creativity of it. McNamara got me thinking about monsters in a new way that actually generated ideas about where the story could go. That’s the best compliment I can pay as a writer.

Coloring

Hinkle and Paul Little have coloring duty, and their approach in this book could best be described as “mood coloring.” Hinkle and Little color the daylight scenes with lush greens and bright, sunny colors to match what you would expect on a tropical island. When bloody battles breakout, Hinkle and Little change everything to harsh shades of blood red. During the toxic laboratory flashback, the art team-colored whole panels with saturated, chemical green. In this book, Hinkle and Little are using color to push the emotion of the scene. Nicely done!

Lettering

You can tell the artist and the letterer work well together. That’s because it’s also Greg Hinkle. I’m being a tad facetious, but this book is a prime example of why having the artist and letterer on the same page gives you next level results. For example, nearly every word bubble at the start of the book has no border line except for page 11. On that page, the word bubble is on top of a white car where it makes sense to separate the border of the bubble from the background. An average letterer would have put black outlines on every bubble throughout the book and left it at that. By taking the time to only use outlines where necessary, Hinkle integrates with the artwork, specifically the background colors, more cleanly. Excellent work by Hinkle.

Pencils/Inks

We’re talking about monsters here, so it would have been easy to fall into cliche character designs. Hinkle, again, does great work coming up with unique designs for every character. The (evil) werewolves are sufficiently terrifying, and Hinkle’s zombie design looks gross in the best way. The vampire does transform into a bat-creature, but again, I would have liked to have seen a little more vampiric quality to his resting vamp face. Overall, Hinkle’s art for this book is top-notch for designing monsters that are both dangerous and approachable as lead characters.

Conclusion

NOCTURNAL COMMISSIONS #1 is a very strong start to a new indie series. McNamara and Hinkle have created a monster book with some scares, a little camp, and a lot of quality. Highly recommended for any monster lover.

Writer’s Note: Local Comic Shops (LCS) are going through a tough time right now with the pandemic outbreak of COVID-19. Comics fans of every flavor that care about his or her LCS should try to do what they can. So, here’s my part:

If you’re in Northern Delaware, South East Pennsylvania, or Southern New Jersey area, please take a moment to visit Captain Blue Hen Comics in Newark, DE. Say ‘hi,’ pick up a book, order a book (they’re on Comichub.com), and let them know you support them.

If you’re nowhere near that area, please find YOUR LCS using Comic Shop Locator and lend your support.

Thanks, and stay safe.

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Review: BOJACK HORSEMAN SEASON 6 – A Fantastic End to a Seminal Series

By

Kieran Freemantle

-

It was a hell of a ride as we followed the highs and lows of Bojack Horseman and his friends over the years. After six seasons the show has come to end with a final two-part series.

Following the events of Season Five, Bojack has gone to rehab for his alcoholism and has to face up to his past. Princess Carolyn struggles with her newfound parenthood, and Mr. Peanutbutter suffers from guilt after sleeping with his ex-wife, Diane. Diane travels across America with Guy the cameraman, working as an investigative journalist.

The sixth season was split into two distinct parts: the first focused on Bojack’s recovery, the second being about Bojack’s world finally collapsing. Both are linked by the theme of the past. This was introduced in the first episode where Bojack has to look back at what drove him to alcohol with each flashback going further back in time. The shadow of Sarah Lynn continues to linger over Bojack. In the first episode, he sees a photo of Sarah Lynn when she was in rehab and a flashback showed Bojack inadvertently gave Sarah Lynn her first drink at the age of 10.

The first half of the season focused on Bojack’s recovery. He conquers his alcoholism and seemed to get his life on track. Even though Bojack can move on, other characters can’t. The episode “A Quick One, While He’s Away” showed some of the characters who have been affected by Bojack. Kelsey had to make ‘immersive product placement’ since her career has hit the rocks, Gina suffered from PTSD, and Sarah Lynn’s mother believes there was more to her daughter’s death than a drug overdose; leading to two journalists to investigate. “A Quick One, While He’s Away” was a great episode because it showed what happened to these characters and adds to the wider theme that no one can run away from their past.

Bojack’s actions with Sarah Lynn leads to his downfall. The exposé about her death starts a chain reaction where all of Bojack’s misdeeds get revealed. Although the fans know the details about many of these incidents an outsider would see Bojack’s actions as incredibly dodgy. Bojack ends up going down his darkest path which is remarkable considering the number of benders the character has gone on. This all leads to one of the best episodes in the show’s entire run: “The View From Halfway Down.” In that episode, Bojack gets reacquired with characters who died throughout the series. “The View From Halfway Down” was poignant, especially during the second half when Bojack realizes what’s happening. Sarah Lynn’s final verse of her version ‘Don’t Stop Dancing’ and Bojack’s call to Diane were particularly moving and tragic, whilst Herb offers a grim view about what happens after death.

Whilst Bojack had the major journey, the other characters also have major milestones. Diane has the biggest subplot because she starts a new relationship with Guy and moves to Chicago. She finally faces up to her depression and becomes more relaxed because of this. She develops an attitude that the world is burning so what the hell. But she also becomes determined to write a book about her past so justify the abuse she suffered and comes to the false conclusion that her anti-depressants hold back her creativity. She finally gets her life sorted.

In the episode “Feel-Good Story” Diane acts as an investigator and tries to bring down an amoral tycoon. I loved the ending which had a view that nothing changes and we can’t make a difference. It was similar to the ending of “Chickens” which was wonderfully nihilistic.

Todd has a storyline involving his troubled relationship with his parents. After six seasons we finally get to know more about family background. Todd ends having to help his mother and reconcile with her in his haphazard way. The episode “The Kidney Stays in the Picture” showcased Todd’s ability to luck his way through life and offered up satire about wealth and race in America.

Todd has two other plotlines. The bigger one was Todd launching a dating app for asexual people and seeks to a partner with similar interests. His previous girlfriends were Emily who wanted a sexual relationship and Yolanda who he had nothing in common with. Todd also does what he does best, come up with business ideas: this time he succeeds in childcare.

Finally, there is Mr. Peanutbutter who has relationship troubles with Pickles. He has a moral dilemma after sleeping with Diane. When Pickles finds out what happened Mr. Peanutbutter comes up with an unusual solution. When the public finds out the ever loveable Mr. Peanutbutter experiences something he never has: being hated. It gives a hint of what Bojack’s future might be.

The final season of Bojack Horseman does supply comedy as well as drama and was even able to mix the two. My favorite comedic subplots were the assistant’s strike which led to the collapse of Hollywoo and the introduction of two journalists who spoke in a fast manner like they were from a screwball comedy.

It’s bittersweet for a show like Bojack Horseman to finish but it was the right decision to let the show end on its own terms instead of going stale. The final season does end the show on a satisfying note and has the right mix of drama, tragedy, comedy, and social commentary.

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What Did Spider-Man Do After His Secret Identity Was Revealed?

By

David Weber

-

April 1, 2020

During the end-credits scene of Spider-Man: Far From Home, Peter Parker discovers that Mysterio informed the world of the true identity of Spider-Man. The movie ends on that cliffhanger, and while we can’t be sure how this issue will be resolved, we can look back at when this happened in the comic books.

While millions have watched the movie Captain America: Civil War, far less have read the comic book the film was based on. The basis for the event was the superhuman registration act, which required every person with superpowers to reveal their secret identities, and then work for the government or give up the cape. To help boost public awareness of the act, Tony Stark had the famous web-slinger reveal his secret identity in front of a crowd of reporters, and everyone on earth knew the identity of Spider-Man following it.

Of course, this change couldn’t remain forever. A staple of the Spider-Man character is him attempting to hide his secret identity from those around him. Marvel Comics was eventually going to retcon the change. Enter Spider-Man: One More Day: an event created to solve this problem, and a comic book despised by most Marvel fans.

For most of 2007, Spider-Man existed with his identity revealed to the world, but after all the brutal battles of Civil War had concluded, Aunt May was shot when a sniper attempted to kill Peter Parker. The identity of this sniper was resolved during the story arc “Spider-Man: Back in Black,” but Aunt May’s wounds proved to be fatal, and it seemed that Parker could do nothing but wait by her bedside.

Spider-Man: One More Day follows Spider-Man as he appeals to Doctor Strange, the High Evolutionary, Mr. Fantastic, and even Doctor Octopus for help, but none could save Aunt May. It isn’t until the demon Mephisto makes a deal with the web-slinger that he is able to save his aunt’s life. Mephisto has been a part of the Marvel Universe since 1968 and was based upon the demon from the Faust legend with a similar name. In Spider-Man: One More Day, Mephisto plays a similar role as in the Faust legend and makes a deal with Peter to make it so his secret identity was never revealed to the world. Instead of Spider-Man’s soul, however, the demon wants the marriage of Peter and Mary Jane. The couple ultimately agrees to give up their marriage to save Aunt May, and the event ends after successfully retconning the marriage of Peter and Mary Jane and the revelation of Spider-Man’s identity to the world.

The event was hated by critics and fans alike, with many complaining that the story felt like a poor way to erase Spider-Man’s history. Many of those who disliked Spider-Man: One More Day were pleased when the alternate universe story Spider-Man: Renew Your Vows showed readers what would have happened to Spider-Man if he never had to reveal his identity or sacrifice his marriage, and eventually had a child with Mary Jane. This series initially spawned from the 2015 Secret Wars storyline but received so much praise that it continued until 2018.

Due to the backlash experienced from Spider-Man: One More Day, it seems unlikely the Marvel Cinematic Universe will resolve Spider-Man’s identity being revealed through a deal with a demon. However, it is possible that the MCU’s Spider-Man may experience a tragedy similar to that of Aunt May being shot soon.

How do you think Spider-Man will fix his identity being revealed in the MCU? Leave your answer in the comments below!

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