Spectacular Spider-Man #246
In this mostly single-issue story, some of Spider-Man’s lamest enemies have teamed up. It’s ridiculous and fun since they’re not very competent. Artist Luke Ross is able to show off his storytelling and comic timing, which weren’t necessarily a given.
JM Dematteis has a time-honored tradition of focusing on silliness after something grim. Editor Glenn Greenberg is the scripter over his plot, and does a good enough job that this feels like a standard JMD issue. It does set up a new development for two D-list villains that has some fun follow-ups.
There may be some tonal inconsistencies between the silly main plot and the subplots. Flash has a grim scene when he realizes that his drinking has gone too far. A scene where Jonah encounters the new Jack O’Lantern is funny, but sets up a dark cliffhanger. Kafka has troubles at Ravencroft after Chameleon’s escape, and I like how Spidey is conflicted, recognizing that she means well but that her mistake has hurt him.
A-
Tonally, this was a little weird in an issue about Spider-Man fighting his lamest foes, right?
Peter Parker Spider-Man #81
Spider-Man and Betty Brant get involved in a case of a kidnapped child, while martial artist Shen Kuei AKA the Cat attacks New York City’s underworld.
Decent atmosphere and storytelling by Romita Jr. A crime story is in his wheelhouse, and there are some fun sequences like criminals ecstatic to see Spidey.
It is a bit repetitive. This is not the first story where Peter’s complaining about money now that he’s back in college, so he takes on a new assignment. Usually references to Peter’s lost child are handled with more subtlety.
It’s getting to be annoying to have multiple series with their own crime wars, and it’s a bit distracting to consider the implications of the Cat effortlessly beating the holy hell out of various crime figures. He had previously been a Shang Chi enemy, although his last appearance had been a decade earlier and this seems to be the first time he isn’t written by Doeg Moench, so it’s a deep cut. It’s a story Mackie wanted to tell. I just don’t think it’s very good.
C