"New Ways To Die" (part one)

Amazing Spider-Man launches its most high-profile story arc in months with "New Ways To Die," a story which sees the Thunderbolts - led by Norman Osborn - given the task of hunting down Spider-Man. It's a modern-day spin on the classic Sinister Six concept, and with previews of the storyline hinting at a more substantial examination of Mary Jane's current feelings for Peter and a possible return of the original Venom, it promises to be one of the most dramatic Spider-Man storylines of the year so far.

Much of the hype surrounding this story, however, has focused on the fact that it marks the return of John Romita Jr. to the book, pencilling a full story for the first time since leaving the title 60 issues ago. As a particular fan of Romita's work, this issue was a real treat for me, and Slott makes sure to give him plenty of scenes that show off his talents. We're treated to no less than three fight sequences (each with its own distinctive tone), and plenty of iconic shots of Spider-Man in action. It's difficult to pick a standout moment of the issue, as every panel in which the character appears seems to be a perfectly judged shot, whether it's the moment of triumph when he pushes his way out of a mound of rubble (subtly evoking the classic Ditko penciled sequence from Amazing Spider-Man #33), or the quieter moments that show him hanging around on the sides of walls, or taking a moment to pull himself together after his fight with Menace. Romita's style just fits the character so well that I couldn't think of a single artist that I'd rather see draw this story than him, and Klaus Janson's fine, faithful ink job and Dean White's delicately shaded colors make this a very strong overall package.

The decision to open this story with a recap of Spidey's origin and current status quo seems like an odd one, but it's a pleasure to see Romita's interpretation of several classic Ditko panels from Amazing Fantasy #15, although I can't help but wonder whether this might have been better suited to the opening pages of the first "Brand New Day" issue, rather than slotted in several months down the line. Perhaps the creators are aiming for a timeless, stand-alone feel for the story, but I would have preferred to see these pages put to better use (is there really anyone left in the world who doesn't know Spidey's origin?). However, since even the first of the issue's two stories is longer than the regular 22 pages, I'm not going to complain too much.

Slott's writing is very enjoyable, with some fun banter between Spidey and Menace that is genuinely amusing to read. There's also a deftness in the way that the writer brings the various elements of the story together so that nothing feels forced or out of place, despite the story obviously being conceived for the spectacle of a showdown between Spider-Man and the Thunderbolts rather than growing naturally and organically out of the characters and their situation. Slott juggles his large cast well, capturing the personalities of several classic supporting cast members with ease. There's a real pleasure in seeing Spidey's supporting cast return to the forefront of his book rather than being used as mere dressing, and Slott hints at some significant new developments for certain characters (with a suggestion that Harry Osborn might be Menace, and that Eddie Brock may have been given a mystical cure for his cancer by Mister Negative).

Maybe the general concept of the story is a little undermined by the fact that the current Thunderbolts roster only features two members of Spider-Man's own rogues' gallery (the Green Goblin and Venom), but it's still looking like "New Ways To Die" is going to build on a reasonably strong premise for a summer blockbuster storyline. The presence of Romita guarantees that it'll be backed up by some great artwork, and the book's thrice-monthly publishing schedule should give the 6-part story a very brisk pace, despite its length.

However, the story isn't without its flaws, the most significant of which continue to stem from the problematic "One More Day" storyline that concluded in December. The first is that, in stating outright from the very beginning of the "Brand New Day" re-launch that no-one in the Marvel Universe knows Peter's secret identity, Marvel have painted themselves into a bit of a corner with villains like Venom and the Green Goblin, the appeal of whom is largely rooted in their strong personal relationships with Peter Parker as well as Spider-Man. So, whilst Marvel are trying to cash in on the popularity of these established villains to give the book a big, marketable storyline, they've also changed key elements of the characters that they're using to sell the book, making it difficult to know exactly what their relationships are with Peter at this point. It's unnecessarily confusing, and it feels like Marvel is trying to have their cake and eat it, too. Having said that, I'm still interested to an extent in seeing whether Slott is planning on subverting our expectations with next issue's follow-up to this issue's cliffhanger, as the issue of whether Norman knows that Peter is Spider-Man or not could still go either way, despite appearances.

The second problem is the issue of whether or not Spider-Man is a registered super-hero or not -- a matter which is crucial to the plot of this storyline. As most readers will remember, the character's decision to register under the Superhero Registration Act was one of the key plot points of the Civil War series just a couple of years ago. At the same time as he registered, he unmasked and revealed his identity to the world, so that everyone knew that Spider-Man was Peter Parker. In reversing this development, Marvel have muddied the waters of what actually happened in that very recent storyline, making it difficult to know exactly what his official status is these days. This issue and other "Brand New Day" stories have suggested that he's unregistered, but (as far as I know) there hasn't been an explanation of how his status has changed. In this way, the book is still drawing attention to the changes that have been made to the characters' relationship as a result of "One More Day" -- and that's something that most readers would probably prefer to see brushed under the carpet.

If these were only minor elements of the story, it would be easy to forget about them, but these are fundamental plot points and character motivations, so it's impossible not to query them. Happily, though, Romita's artwork and Slott's writing provide enough to enjoy that these distractions are just about outweighed by the issue's positive qualities.

This extra-sized issue also features a backup story by Mark Waid and Adi Granov that focuses on Eddie Brock -- the former host of the Venom symbiote -- and his recent battle against cancer. Waid capture the character well, with a neat storytelling device that sees Venom appear in reflective surfaces as a manifestation of Eddie's dark side, despite the fact that he is no longer bonded with the symbiote. It's an interesting piece of foreshadowing that makes me wonder whether we may see the return of the original Venom before this storyline is over. Granov's art is less stiff and posed than usual, and his take on Venom is a satisfying one, skewing far closer to the original Todd McFarlane design than many other recent artists to have worked on the character. It's hardly an essential story, but it provides some interesting insights into the current state of Eddie Brock's character, and justifies the cover price of $3.99 slightly more convincingly than other titles that only seem to offer a cardboard cover in exchange for the extra dollar.

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