We’re past the point of opening Amazing Spider-Man download narrow margin the dvd reviews by discussing “Brand New Day” by now, I hope? Good. Because the simple fact remains that whatever you think of it, the comics have been – not one hundred percent consistently, but pretty darned regularly – very good. And this is a prime example. After a quiet few issues, we kick into our next “big” storyarc – one that already feels similar in tone to Dan Slott and John Romita Jr’s outstanding “New Ways To Die” – and if you can’t help but feel that the stories have already centred a little too heavily around the Osborns, it’s hard to deny that finally bringing the Dark Reign setup into play on the character who stands to be affected by it the most is an intriguing prospect.
download rob roy online As a predominantly DC reader, Joe Kelly has never really stood out for me – he was never really that well-suited to the likes of Superman and the JLA – but he impresses here, perhaps because the wisecracking Spidey is far closer in tone to the character (Deadpool) with whom he really made his name. Certainly, he knows how to bring the funny – a line in a conversation between Peter and Wolverine (although come on, are we not done with the overexposure yet?) had me laughing out loud, and there are chucklesome quips and asides throughout. And his character work, particularly with Harry, is strong – on the one hand, you can’t help but feel we’re simply going through a retread of ’70s storylines by playing on this setup, but on the other, it’s actually quite good to see the dynamic between Peter and a genuine best friend.
Kelly seems determined to play up the significance of the arc by littering it with attempts at iconic images – and with the benefit of a 28-page issue, it means he can indulge in full-page splashes such as a cat-that’s-got-the-cream Osborn at Gracie Mansion, and a shouldn’t-work-but-kind-of-does homage to the cover of Amazing Fantasy #15, while still feeling like there’s a lot of story crammed in – at least three different plots are moved along to differing extents, here. The whole thing is given a classy feel by Phil Jimenez’s artwork – I’m still not convinced he’s the most suitable Spidey artist, but this is work that’s had thought and time put into it, with particular regard to various panels in which Spider-Man crouches and contorts in and from the shadows, reflecting the darker mood that being face to face with Osborn puts him in. And to be honest, it’s just nice to see the H.A.M.M.E.R. director not looking like Tommy Lee Jones for once.
I’m always slightly wary of storylines that the publishers or creators feel the need to big up in advance, rather than simply letting the pages speak for themselves – but there’s no denying that after no small measure of waiting, plunging Spider-Man head-first into Dark Reign has given the book fresh impetus. There’s a well-built, ominous sense of foreboding, despite the lingering effects of the fun factor introduced by the likes of Scott and Guggenheim, and it all combines to make this feel how the beginning of a “big” Spidey story should. Kelly’s slotted well into the “Brain Trust” (are they still calling it that?) already, and I’m certainly intrigued to see how it pans out.