DON’T CALL IT A COMEBACK! No for real, don’t, I’ve only been gone for about a week, also I may have used this joke before.
Sorry for the sudden disappearance, but I had a move on my hands, which meant, me, my wife, our dumb cat went from Brooklyn to Queens, care of the Tracksuit Bros from Hawkeye. The snow did not make things easier by the by. But I’m back, chock full of new comics to talk about, and I’ll eventually get back to Toy Fair coverage. Give me a week and we should be good*.
Jason Latour/Robbi Rodriguez/Rico Renzi
Spider-Verse is old, busted and bloated, Spider-Gwen is the new hotness.
When Spider-Gwen made her debut back in the Edge of Spider-Verse mini, I thought it was too much of a (great looking) tease that played it a bit too safe, which sucked for me at the time. Then that particular issue went through several reprintings, giving Gwen that Babs Tarr Batgirl hype, so here we are 4 months later, looking at the relatively Spider-Verse free debut of Spider-Gwen’s ongoing. Editor Nick Lowe credits the fans excitement for the character for the birth of the book in the debut issue’s letter section, and it’s a good to Marvel to see listening and giving the fandom what they want with this book.
Robbi Rodriguez and Rico Renzi do some amazing work with this issue. Rodriguez’s layouts and energy put a fresh paint of on this familiar yet different Marvel Universe. His style is the child of the exaggerated expressions you see from Erica Henderson‘s work combined with the sharp lines and “dirt” you see from Sean Murphy. His line work is loose, and when paired with Rico Renzi’s bright color palette, it makes for a superb visual experience. Between Renzi’s Gwen and Jordie Bellaire’s Moon Knight, Marvel’s making an impressive case for characters to have more white in their costumes. Also, I hope that doesn’t read as a Klan reference. Gwen’s costume grabs your eyes when it’s on the page, and its demands you attention, making it the focus of the panel, despite her positioning within. And the graffiti element leads to some really fascinating use of colors, which looks fantastic in digital. It’s Spider-Man meets Jet Grind/Set Radio, which is my jam, and makes the book worth it for the visuals alone.
Jason Latour‘s script is great too. Now free to tell his own story that’s not limited to a single issue tie in, Latour is free to flesh out Gwen’s world and cast more. His Gwen has her share of bad luck, but it’s way different than the type Peter Parker’s dealt with in his various incarnations. Which is great, because powers aside, Spider-Gwen really feels different from Spider-Man on every level. Additionally, Latour does a nice job of adding several established Marvel characters to the world with some neat twists, obviously planting the seeds for future story. And the situation Gwen’s dad is now faced with is really interesting, not to mention what’s going on with her band mates. It’s a surprisingly dense read for a 20 page comic, even with a cliffhanger ending. The pacing is great, and Latour has really stepped it up from the EoSV one shot.
Spider-Gwen #1 is another great debut from a company that’s been on fire with female lead books as of late. Latour, Rodriguez and Renzi come out swinging with this debut, and I mean that with fists, not webs, ugh, never mind, just buy it, this review has died via wordplay overdose.