Tag Archives: Mark Bagley

Today’s Super Comic — Ultimate Spider-Man #13 (2001)

Yesterday I discussed when main-continuity Aunt May discovered Peter Parker’s secret identity. Now let’s turn our attention to the Ultimate continuity, when Peter told Mary Jane.

This is basically the inverse of yesterday’s revelatory issue. Ultimate Spider-Man #13 was very early in this Spider-Man’s career, so no secret-identity tensions have been building up over the course of years. Peter and MJ are teenagers who have been friends for a long time, and Peter proactively reveals his secret because he doesn’t want to lie to her (and, being a teenage guy, he no doubt wants to impress his closest female friend).

But like yesterday’s issue, this entire comic is a conversation. The action and adventure take a break, allowing us to zero in on the characters—which will help us care about them more when the action/adventure commences again.

Comics aren’t supposed to feature talking heads, but this one works remarkably well because of Brian Michael Bendis’s writing and Mark Bagley’s art. The page layouts are key here. The panels are used to punctuate each beat of the conversation, allowing everything to flow smoothly and organically. The reader gets an excellent sense of the pacing and timing of everything that’s being said. And Bendis knows when the keep quiet and let Bagley show the characters’ reactions so that even with the focus on dialogue, it remains a visual experience.

It’s a rather happy issue (and funny in places), providing a nice break from the angst, and it deepens the bond between two main characters. It also does what every teen superhero book should—it captures that wonderful anticipation of exciting new possibilities.

Writer: Brian Michael Bendis

Penciler: Mark Bagley

Inker: Art Thibert

Publisher: Marvel Comics

How to Read It: back issues; Marvel Unlimited; Comixology; included in Ultimate Spider-Man vol. 2: Learning Curve (TPB)

Appropriate For: ages 11 and up

Today’s Super Comic — Ultimate Spider-Man #5 (2001)

I’ve heard people complain that origin stories are boring. That’s a misleading statement, though. How characters gain their powers generally isn’t all that interesting. Why they decide to use those powers to help others…that’s the interesting part. That’s when the characters are at their most dynamic.

Peter Parker getting bitten by a radioactive spider is a utilitarian plot device. At best, it qualifies as an attention-getting inciting incident. But Peter deciding not to stop a thief, and that thief then murders his uncle, thereby supplying Spider-Man with motivation for all future stories? That’s the compelling part.

When Stan Lee and Steve Ditko’s original story ran in Amazing Fantasy #15 back in 1962, it packed a surprising amount of depth for an eight-or-so-page comic story. In 2000-01, Brian Michael Bendis and Mark Bagley expanded it to six issues for the inaugural storyline of Ultimate Spider-Man, which gave us a modern teenage Spidey free from any continuity baggage (until the Ultimate line amassed its own messy continuity, that is, but Spider-Man had the only series that remained strong throughout).

The story deserved this expanded retelling. The extra length allows us to spend more time on each significant moment, and issue #5 depicts the defining night of young Peter’s life. He’s just learned his Uncle Ben was murdered, but his recently acquired powers allow him to at least apprehend the killer.

Bendis and Bagley take us from Peter’s anger, to his shock at recognizing the killer, to his anger at himself, to his guilt, to his understanding of what his uncle was always trying to teach him, and ultimately to a heartrending final page. Peter wasn’t Spider-Man in the first four issues; he is by the end of this one. The creators utilize the extra space to such superb effect, it makes it all the more impressive that Lee and Ditko nailed the story in so few pages all those years ago.

Whether told in eight pages or more than a hundred, Spider-Man’s origin story holds up as among the greatest—not because of any sci-fi spider bites, but because he learned a life-changing lesson through tragic failure.

Writer: Brian Michael Bendis

Penciler: Mark Bagley

Inker: Art Thibert

Publisher: Marvel Comics

How to Read It: back issues; Marvel Unlimited; Comixology; included in Ultimate Spider-Man vol. 1: Power and Responsibility (TPB)

Appropriate For: ages 11 and up

Today’s Super Comic — All-New X-Men #7 (2016)

all-new-x-men-7This may be the strongest issue thus far of the relaunched ­All-New X-Men (among what’s available on Marvel Unlimited).

Old-school villain the Toad has kidnapped young Cyclops with the intent of murdering him, in hopes of erasing the adult Cyclops’s misguided actions from the timeline. Toad doesn’t actually want to kill him, but he’s convinced himself that it must be done for the good of the world. So he gets really drunk to work himself up to the deed. The character has often come across as the stereotypical lackey, so this may be his most human portrayal yet—which makes him all the more monstrous the closer he gets to going through with it (Mark Bagley’s art deserves lots of credit on that front, too).

Dennis Hopeless’s script exploits the limitations of Cyclops’s power to superb dramatic effect, and the result is a riveting, tense issue that compels you to pick up the next one.

It does help to know at least the basics of what’s been going on in recent years’ X-books, though. Otherwise—excellent issue.

Writer: Dennis Hopeless

Penciler: Mark Bagley

Inker: Andrew Hennessy

Publisher: Marvel Comics

How to Read It: recent back issues; Marvel Unlimited; Comixology

Appropriate For: ages 11 and up