This review contains spoilers for Ultimate Spider-Man # 14, for sale now, from Marvel Comics
As we have noted the last time, Jonathan Hickman has always kept the series in “real -time”, namely that a month goes into each issue of the series. Consequently, you cannot really do multi-emission stories with this kind of delay. You can make recurrent sub -intrigues in the background of the main story, but not a connecting two games … Unless, of course, you have a number that takes place on January 31, and the next issue established on February 1, which is exactly what Hickman did with this number, which was intelligent. Hickman, of course, then blows us several times throughout this issue, and Marco Checketto and Matthew Wilson make some of their most amazing arts in the series in this issue.
Ultimate Spider-Man # 14 comes from Hickman, Checketto, Wilson and Letter Cory Petit, and he resumes from where the last number stopped, with a captured Peter Parker and Harry Osborn, who is a headlin in wild land (an underground world under the candle of New York, which is confronted with Richar Spider-Man apparently paralyzed her father (the original black cat), Richard used his father’s old Super-Costume to train as a Spider-Man (the costume has an artificial intelligence based on Peter Parker’s thoughts).
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How do Hickman and Checketto put a new turn on the Spider-Man / Black Cat relationship?
The first major touch of this issue is only talking about how Hickman and Checketto try a very different approach to interpersonal relationships in this book. Black Cat is there to avenge his father by trying to kill Spider-Man (by the way, the reason why Spider-Man “paralyzed” his father is that Spider-Man jumped from the ball, not knowing that he has the sense of the spider, and the ball has rather struck the black cat.
Of course, it led Black Cat to admit that she is out of her element here, feeling as if she were to enter the role of her father without really wanting to do it. The Spider-Man / Black Cat Romance was a recurring scenario in Spider-Man’s books for several years, and now we see a very different angle on this concept with Richard and Felicia addressing a kind of relationship. Everything is very well manipulated, and what is interesting is that having the voice of his father in his ear (through the costume, which is indeed like the Venom Symbiote), Richard is in a strange situation that we recently thought that Harry opened up to major problems by doing a similar thing).
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How do Peter and Harry Osborn priorities come between them in hunting?
Besides the idea of having to escape wild land before Kraven kills them, Peter and Harry are in two very different positions in this escape. Harry has an agreement with his wife, Gwen, that if one or the other disappears, the other will obtain an increased degree of security, therefore Harry just cares to escape, not the security of his family, while everything Peter thinks, because Kraven knows the secret identity of Peter.
Of course, this leads to a major difference in opinions on the question of whether they should escape or shoot Kraven. Harry has always been the most pragmatic between Peter and Harry, and it is a notable conflict here. Meanwhile, Hickman presents a number of conflicts between the different sinister members six (Kraven, Mysterio and Mole Man) who add a lot of intrigue to history.
As I noted earlier, Checketto and Wilson go crazy with art in the wild land sequence (Richard / Felicia stuff are also well managed, but it is the upper level), because it is so dramatic and well said. Since Spider-Man has not learned only recently about his sense of spiders, he does not even have a name for that, but he uses it intelligently, but Hickman, being the intelligent writer he is, takes him to another level of intelligence, namely if someone is targeted and that Spider-Sense only does not happen in the way? It is a very intelligent idea, well, it is also tragic in this issue.
We know the sense of responsibilities of Spider-Man, but what Hickman and Checchetto do in this issue is to really stretch Spider-Man beyond the breakdown, and, well, in a little tribute to Alan Moore and Brian Bolland of the joke of killing, Spider-Man suffers a little of his “bad day” in this story, and he could have passed himself.
The cliffhanger of the problem suggests that there is a completely different major change in the story that happens, and that makes sense, because the only thing we can really expect in this series with Hickman is that he will constantly make an unexpected turn to history, and which makes this series extremely entertaining and rewarding as a series in progress.
Source: Marvel