Spider-Boy's New Comic Debuts
Plus, The Punisher turns 50 years old!
Hi, we are Dapper Dan Gvozden and Mischievous Mark Ginocchio, co-hosts of the Amazing Spider-Talk podcast. With each newsletter we hope to give you greater access into our thoughts on the world of Spider-Man!
It has been a smaller week in the world of Spider-Man. People are completing the new game, while others (parents) are only just cracking the plastic on their game discs. The comics are taking a bit of a breather with a small Rek-Rap interlude, allowing us to all acknowledge what a precious child he is.
But, there have been a few, fun, new developments in the world of Spidey. Spider-Man: Across the Spider-Verse popped up on Netflix so that we can all put it on repeat and watch it for the fifth (sixth?) time. And… Dan Slott launched his very own Spider-Boy book which he continues to assert as a new mainstay in the world of Spider-Man. Does the book live up the hype from Slott, collectors, and readers?
On the Amazing Spider-Talk Podcast we’ve got the main comic covered, with the Substack handling the remainder. So, if you want more Spider-Man in your week, why not subscribe by clicking the button below?
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Alright, let’s get to it. In this edition, we are using the launch Spider-Boy to feature our reviews of the latest B-Titles, in the wake of Halloween, Mark ranks his favorite Spider-Man “horror” stories, we reflect on the 50th Anniversary of the introduction of The Punisher, and we answer your submitted questions!
Swarm’s B(ee)-Title Reviews
With every new edition of the Amazing Spider-Talk Substack, Dan and Mark will venture to write short reviews of all the various Spider-Man books (and major Marvel releases) that have released since the previous newsletter. Sometimes our arch-villain Swarm might chime in as well. So “bee” prepared!
Spider-Boy #1
Mark: Look, I’m not going to sit here and pretend to rewrite history about a character I otherwise don’t care much for, but in terms of first issues of new series, I quite enjoyed this. Dan Slott seemed to be saving his most … cohesive? Efficient? Fun? storytelling for Bailey’s debut issue. While I don’t know how much mileage I’m ultimately going to get out of the concept, I will certainly be back for more in the short term. Paco Medina and Ty Templeton’s art was inventive, irreverent, and again, “fun”. But again, Slott just seemed to be in his element here, getting an opportunity to tell a low-stakes story, masquerading as a mystery box, without having to incorporate the weight and gravity of some of Peter Parker’s very real and legitimate problems. And while I’ll stop short of saying I feel significant sympathetic emotions for Bailey, his plight in this comic at least moved the needle enough for me to see him as ever slightly more than a gimmick to sell variant covers.
If this review isn’t filled with enough caveats and conditions, I do think it’s important to add (before people think grumpy Mark has lost his edge) that I still don’t see the “point” in this whole thing. Spider-Boy seems to be even more of a forced concept in the Marvel Universe than Silk was nearly ten years ago (at a time when myself and others were all clamoring for more Spider-Woman, Gwen Stacy). Do we “need” this book in the Spider-Line, especially at a point where we’re about to get inundated with content with “Gang War”? Absolutely not.
But, am I happy to see Dan Slott having the most fun in a Spider-adjacent comic in as long as I could remember? Yes. And I think as long as that fun continues to be captured in comic book form over the next few months, Spider-Boy is going to be hard to dismiss as a gimmick.
Dan: Like Mark, I think Spider-Boy sets itself apart from the work that Dan Slott has been doing on his Spider-Man title, at least in that it isn't treading identical, thematic territory that was already (IMHO) exhaustingly explored during his Amazing Spider-Man run. Instead, Spider-Boy puts Slott where he works best, telling irreverent, high-concept jaunts through the Marvel Universe, just as his silly Spider-Man/Human Torch and ground-breaking Silver Surfer stories have done before.
That said, I also have no idea what to think about the lead character and world of Spider-Boy. When the initial pitch was presented to us as “a forgotten, animal hybrid, child, sidekick of Spider-Man’s” I had no idea what to make of it. Is this what the world of Spider-Man needed and could currently fit?
I still think my guess that this title would be about the spider that bit Peter Parker turning into a human/spider hybrid wasn’t that far off. That said, I do owe it to Dan Slott to eat a shoe.
I hoped this debut issue would convince me that I understood what Dan Slott was going for with the title and character, despite being moderately warmed to the character of Bailey in Edge of Spider-Verse (vol. 3) #3. I mean, here’s the deal. He seems like a nice kid, friendly character, and someone worthy of having his innocence safeguarded. Who could argue against that? Dan Slott has written a lovely character with serious spunk, a seemingly tragic backstory and more. But is that enough to justify as big of a lane that he is being provided into the world of Spider-Man? I’m not sure.
The world of Spider-Man is full of forgotten characters that were introduced with the intention of making a big splash before audiences promptly forgot about them. Dan Slott has had his own share of characters that fit that bill (it feels bad to even bring up Alpha here). So, it’s no sin to try something new and have it not quite fit in. Heck, I would even argue on behalf of the intentions behind the Alpha character as a sort of “black mirror” of the Spider-Man origin story. There was a clear thematic intent there that famously got mangled by editorial overreach in hopes to extend the buzz of Spidey’s 50th Anniversary.
I wish I could say that Spider-Boy #1 gave me clarity on the concept of Spider-Boy and confidence in the artistic statement of the title, other than to follow-through on hype born of Dan Slott’s solid track record, sell a ton of variant covers, attract the speculator market, and hopefully see the character debut in the background of a future Spider-Verse movie. There’s a lot of heart in this title, but I still don't get it. I’m all for “hoo ha!”, all-ages comics, as Mark and I have discussed on our latest season of Amazing Spider-Talk, in regards to the work of Tom DeFalco and Ron Frenz. But, I’m not sure what distinguishes a book like this from a pretty standard Marvel Adventures: Spider-Man comic.
It’s all pleasant enough, though even I found the volume of “look at me” puns to be overwhelming. The double-feature nature of the book is reminiscent of Amazing Spider-Man #1, with both standing on their own as fun adventures. There’s also a nice thematic parallel to those early Spidey stories, as Spider-Boy works hard here to convince New York City that he’s not a monster, despite the evidence to the contrary. Paco Medina and Ty Templeton give the title a distinct visual stamp, with Medina finally making Spider-Boy attractive to look at on-page (when not drawn by Humberto Ramos), and Ty Templeton’s distinct style doing a better job at distinguishing this book from any other Marvel comic offering.
Mark pointed out the best comparison to make for Spider-Boy’s success: Spider-Gwen. When Gwen debuted in Edge of the Spider-Verse #2 there was no doubt that there was something special in that comic book, with all the hype coming purely from the comic itself. I don’t think anyone could have known the heights that the character would reach in such a short period of time (the creators included), it was a once-in-a-lifetime phenomena, which… probably makes for a bad comparison. But, I kind of think that when dealing with a character like Spider-Man we should treat major additions/changes to his world with that level of caution and care. In the past ten years we’ve learned that there is a whole multiverse based around Spider-Men, Peter has a secret spy sister, Miles Morales joined the 616 comics, JJJ found out Peter’s identity, Spider-Man has a forgotten child sidekick, and so much more. It’s a lot. Some of these will stick, others will be written out of the book, forgotten, or retconned in some other way. That’s the nature of these things.
But, Spider-Gwen and Miles Morales are going nowhere. Again, it’s probably an unfair comparison to make for Spider-Boy, but given the hype around the character and the level of talent put on this title, it only, for me, illustrates the stark gulf in clarity of vision for what this character is and where he fits into Spider-Man’s world in comparison to those other characters. Right now, here’s what I imagine is happening: Amazing Spider-Man is clearly a book written for adults and Slott felt there needed to be a Spidey title specifically aimed at young children. End of the day, Spider-Man books sell, so instead of allowing this to be an independent IP that Slott could have taken to a publisher and owned as his own thing, or create it as a stand-alone new character in Marvel’s line, it was decided it would be best to have it be a Spider-Man spin-off character.
But, putting my cynicism aside, and bottom line, I still don’t get Spider-Boy. I don’t get what Slott is going for, despite the pleasant, forgettable nature of Spider-Boy’s adventures thus far. I hoped Spider-Boy #1 would be the issue where I would be able to say, “I get it.” It wasn’t.
Ultimate Universe #1
Mark: Oh hey, look, Jonathan Hickman is telling a story and he’s actually doing it in a way that doesn’t make me need a degree in Hickman-ology to understand it. After the convoluted incoherence of Ultimate Invasion #4, Hickman tells a far more straightforward story here that sets the table more cleanly for what his newly reimagined Ultimate Universe is going to be about. That’s a start, but I’m not ready to throw any ticker tape parades since there still hasn’t been enough breadcrumbs left behind to seed the foundation of the new Ultimate Spider-Man/Peter B. Parker character that’s allegedly going to star in his own series in January. Considering I find Hickman’s writing of Spider-Man to be very up and down (basically what I think of all Hickman writing which isn’t his initial run of Fantastic Four, pre-Johnny Storm’s death), it just gives me a tremendous amount of pause that readers haven’t gotten any sense of who Ultimate Peter is besides “he’s similar to the Into the Spider-Verse character you love so much – source: Trust us bro.”
Dan: I don’t think I’ve ever been more grateful for an opening page than the info-graphic that we got just behind the cover of this issue. Then, about ten pages into this comic, this new Ultimate Universe’s Doom lays out the events of the past several issues of Ultimate Invasion. Was that what I read? I guess so.
To be honest, with all the cards laid out on the table, the idea of entering into a new Ultimate Universe where heroes were eliminated/delayed in their awakening and can now be introduced in a systematic order, as determined by a sort of high council of heroes is neat. Especially since there seems to be a ticking clock of The Maker’s escape and subsequent attack on the forces of this new universe; though I’m not as thrilled about reading about a fictional New York in the wake of a terrorist attack. As a redux of Hickman’s poorly-titled Ultimate Comics: The Ultimates (remember that?), a great series that never saw a proper ending before he was whisked off to write his now-classic run of Avengers comics, this presents an exciting further exploration of heroes up against a global threat.
But let’s be real, we already saw Hickman destroy and rewrite the entire Marvel Universe throughout his Avengers run and Secret Wars miniseries. He did the same with the X-Men with the Krakoa era introduction, House of X and Powers of X. Do we need to see him do it again with a new Ultimate Universe? Was this what we all wanted when we heard the Ultimate Universe was coming back? Personally, I’m not sure.
The monitor of “Ultimate” means something to me. It means uncomplicated, fresh, introductory stories for readers looking for continuity-lighter takes on classic Marvel tales with the benefit of 20:20 hindsight. The originals operate now as a sort of time-capsule for what the rebirth of the Marvel Comics Universe could have looked like if it was first birthed in the early 2000s. Maybe the individual titles in this run will eschew the larger, world-shaping forces established here, but by forming this in so much complicated lore and unnecessary baggage, I’m not sure that I understand the “Ultimate” moniker and all it implies being lended to these titles. Are these books going to be a reflection of what the Marvel Comics Universe could have looked like if first birthed in the mid 2020s?
For now, we have a solid read in Ultimate Universe #1 that sets up an interesting What If… ? status quo for this new universe. I’m still excited for Ultimate Spider-Man’s debut because the premise carries a ton of promise for unique stories, but I still can’t get past what feels a bit like a bait-and-switch from what I expected from a reboot/relaunch of a new Ultimate Universe.
Side note: Anyone else curious if a legitimate return to the original Ultimate Universe had to be scrapped after Donny Cates’ accident and accompanying memory loss, especially given how much he teased it in his various runs of comics.
Venom #27
Mark: Boy, oh boy, I just don’t love this book right now. One issue after giving us another “new” character with the symbiote in Black Widow, we delve deeper into another “new” Toxin with Bren Waters. Ok, so it’s another kid with a symbiote making him … the third? Fourth? minor masquerading as a symbiote-charged anti-hero/supervillain? Needless to say, this is a concept that has run very, very dry for me, and once again, I’m left here wondering where is Eddie Brock, the “core” Venom that I actually care about who they haven’t touched in two issues now?
I’m sure people are going to tell me we’re getting some kind of “long game” from Torunn Gronbekk (and I do appreciate getting some new creative blood on a book like Venom), but this whole thing just feels incredibly unfocused and seems to be almost intentional in how it’s avoiding focusing its storytelling on things its more mainstream readers want to see.
Dan: I actually dug this issue. It’s as dark of a comic as I’ve come to expect from Venom, though terrorists drowning a child on live television is pretty extreme for a mainstream Marvel book. I’m not a fan of how the villain’s motivations are revealed, basically through narrator text, but they present an interesting wrinkle into the history of Allen Chemical, the company that formed the now symbiote-adjacent Alchemax'; specifically that they allowed for poisoned water to harm a population of people, all in the interest of corporate greed.
It’s a motivation that’s pulled directly from the headlines, though I have to say I’m a bit unsettled that the victims have become the victimizers when a more nuanced take on protest could have put Venom into a position to develop a more complicated relationship with Alchemax. By making the victims now violent terrorists, it gives Alchemax a bit of a pass, at least for now. But again, there are even more current events that this runs parallel to, that I won’t touch with a ten-foot pole, so perhaps there is solid justification to take the story this route.
I also want to highlight the work of Julius Ohta whose symbiotes are wonderfully gooey, violent, scary, and weighty. Few artists nail how the symbiotes and their hosts’ bodies mesh with and wrap themselves around each other as well as Mark Bagley did during his early run with the characters, but Ohta is a fitting addition to the Venom team. His is a name that I wasn’t familiar with, but continues to be a standout on this title for the short time that he’s been attached.
Mark’s Weekly Top 5
With “spooky season” officially wrapping up, Mark ranks his top five “spooky, scary” Spider-Man characters. Who do you think should have made the cut?
This Week in Spider-Man History
50 years ago, one of the most important comics in history was released: Amazing Spider-Man #129, the first appearance of the Jackal, and (more famously), Frank Castle, aka the Punisher. Love Frank or hate him, his impact on the industry in terms of establishing a framework for comic book “anti-heroes” is undeniable.
Mark’s Comic Book Meditations
When Mark launched Chasing Amazing in 2010, the blog chronicled his “quest” to collect every issue of Amazing Spider-Man and featured a series of posts that recalled memories and meditations around specific comics he came to own. As part of this newsletter, we’re resurrecting these remembrances with some new wrinkles, and will also occasionally chronicle some other comics Mark has purchased since completing his ASM run in 2014.
Something that is inherently beautiful about time’s relationship with perspective is its ability to affect change on a memory and how we process it.
Case in point, my perspective of the acquisition of Amazing Spider-Man #129. A key issue of ASM if there ever was one — the first appearance of the Punisher (and the Jackal), and a comic that celebrated its 50th anniversary last week — my original story of picking up this historically important comic was a somewhat sad one. In what was not one of my finest hours as a collector and husband, I coerced my wife to buy a low grade copy of this comic off eBay as a birthday present because I was experiencing a bit of tunnel vision and wanted to “cross if off my list.” In short, I saw the price of this book creeping up and up, so I just wanted to get it over with and the price on this copy seemed “fine enough” because it aligned with how much I knew my wife typically spent on me for a birthday present.
In terms of condition and eye appeal, the comic was advertised as a “VG” copy, but even in looking at the scans online, I thought that was a bit of a stretch. And when the comic arrived in the mail, my skepticism was confirmed. This was not some magical unicorn copy of a key book that filled any kind of emotional gap in my inner collector. It was a means to an end, and a rather mercenary one at that, and as a result, for several years after, I always felt pangs of guilt and shame about this comic’s place in my collection.
Today, it’s one of my prized collectibles — a comic that makes me smile and beam with pride when I pull it out of its long box.
Keep in mind, it’s literally the same comic I once felt shame about. With one, small, but very important wrinkle.
About a year or so after starting the Amazing Spider-Talk podcast, I had noticed that comic book legend Gerry Conway — the man who famously “killed Gwen Stacy” and of course, the co-creator of Frank Castle, aka the Punisher — has started to engage with several of my posts on Twitter (I ain’t calling it X people).
Despite the character I sometimes play on our podcast, I’m really not the kind of person to think much of myself for having a “famous to me” person interact with me on social social media, but I have to admit, I thought the whole thing was pretty cool. Next to the “big three” of Stan Lee, Steve Ditko and John Romita, Conway, in many ways may have the biggest legacy on the Amazing Spider-Man comic book series. As the first full-time writer on ASM following Stan Lee, Conway obviously created many incredible stories and characters, but even more importantly from a comic book history perspective, he proved there was life for this character and comic book series after the “big three” moved on to other things. So yeah, Gerry Conway was liking my tweets and showing a general interest in my Chasing Amazing blog and our podcast? That tickled me.
Then, things escalated. Gerry started following me on Twitter. Whoa. What does this mean?
Naturally, whenever “big things” happened to me in the world of Spider-Man/comics, my first move was to text Dan. I had an idea. The Amazing Spider-Man 2 movie was going to come out in a month or so, and the movie was very clearly going to adapt parts of Conway’s most famous story, “The Night Gwen Stacy Died” (poor Emma Stone, she deserved much, much better). This felt like a perfect hook to get the man who wrote that story on our podcast. So, I let Dan know Gerry was following me so that meant I could direct message him on Twitter and invite him on the show.
“That would be a huge get,” Dan said.
So I did, and without much fuss or negotiation, Gerry accepted. We were going to have Gerry friggin Conway on the Amazing Spider-Talk to talk about one of the comic book industry’s most important stories, at the same time a new big budget Spider-Man movie was coming out that adapted said story. In life, there are “wins” and then there are “huge gets.” This was unquestionably the latter.
Of course, we went into the interview knowing that we were about to ask Gerry a bunch of questions about things that he’s likely answered 9 million times before. AKA, “What was up with the neck snap?” “Did Stan really not know you were going to kill Gwen?” “Why does the comic say the George Washington Bridge when it clearly shows the Brooklyn Bridge?” You know, the stuff that really matters in life. Fortunately, to make things a little more “new,” we had the movie itself to lean back on — which admittedly I was not a fan of, and if memory serves, Gerry had … some mixed feelings about it (did I mention that Gerry is also super polite and kind, not just with fanboy podcasters but pretty much everyone).
The interview went well. Simply put, Gerry is the best.
Fast forward a few months and I was going to be attending New York Comic Con that October as a member of the “comic book media.” I had attended NYCC the year prior, and spent a ton of time interviewing creators and meeting and greeting folks. But I really failed to actually enjoy myself, especially in Artist Alley where you are nose to nose with writers and artists of past and present. I had started checking the guest list at NYCC a month or two out and despite the fact that he’s a West Coast guy, I saw that Gerry was going to be attending in New York. Since we had just interviewed him a few months prior, I figured, rather than stick a microphone in his face, I could just meet Gerry as a fan, and put a face to a name. About a week or two before the con, I had an even better idea — let me bring a couple of my key comics with me and get Gerry’s autograph.
I took three comic books with me, ASM #121 (death of Gwen), ASM #122 (death of Green Goblin), and, you guessed it, ASM #129.
As it turns out, about a year or so later, the Punisher was a character in Season 2 of Daredevil on Netflix (played by Jon Bernthal, who was awesome). So Dan and I reached out to Gerry again to see if he wanted to talk the Punisher with us. The fact that Gerry also had a new miniseries (disguised as five ASM “Point One” issues) was a double bonus.
I think Gerry has been on our show more than any other creator (maybe Ron Frenz has him beat… Dan would know better than I do). He most recently joined us while I was attending TerrificCon in Connecticut in August 2022 celebrating the 60th anniversary of Spider-Man’s first appearance.
Dan Note: I can confirm, he has been on the show 8 times!
Unfortunately, a few months later, we would come to learn that Gerry was diagnosed with pancreatic cancer — something he is thankfully now in recovery from. When the news broke about Gerry’s health a few months ago, I immediately reached out to him to let him know we were thinking of him and to offer “help” in any way (I honestly didn’t expect him to ask me to pick him up some bread or medicine all the way from New York, but honestly, if he did ask for something, I would have absolutely found a way to get it to him).
So, time marches on, and our story continues. Which also means my story of Amazing Spider-Man #129 also continues and evolves. What was once a symbol of one of my lower points as a collector now reminds me of some of the amazing professional relationships I’ve made with just astronomically talented (and kind) people.
Audience Comments/Questions Answered
With every new edition of the Amazing Spider-Talk Substack, Mark and Dan will answer your submitted questions about any topic that you might be interested in. They will prioritize submissions from the Amazing Spider-Talk Patreon (sign up), but lacking any queries there they will respond to questions asked in the comments below. To get your question potentially picked, the Patreon is the best way to submit them.
Alright, let’s dive into the mailbag and answer some of the questions posed to us from Patreon!
Niko
What amount of your collections are graded vs raw? They’re comic books; Do you need to be able to open the book and thumb through it for the collection to “count” as complete? Haha 🤣
Mark: For the longest time, I was strongly opposed to purchasing any “slabbed” books, not because I thought it didn’t “count” but just because I wanted to have the ability to thumb through the book. Then I was faced with an opportunity to buy a slabbed copy of Amazing Spider-Man #1 at a price point I was willing to spend so I knuckled down and did it. For years it was the one and only slabbed book I owned until this past summer when I bought two more within a few weeks of each other: a copy of Amazing Spider-Man #27 from the “Steve Ditko Collection” and Amazing Fantasy #15. Certainly for the “Ditko Collection” I don’t think I would ever buy a book that niche without the verification that came with the CGC slab. Regarding Amazing Fantasy #15, I don’t think I would spend that kind of money on a comic without the verification that it was the real article and complete (or incomplete in the ways it was noted in the slabbing).
The fact is, from a purity standpoint, there are so many outlets to read these stories that to pass up an opportunity to buy a truly one-of-a-kind book but not being able to thumb through it shouldn’t be an inhibitor.
Dan: I’ve only ever bought one slabbed book, a copy of Amazing Spider-Man #20 from the “Steve Ditko Collection”. Without the slabbing there is no certification that the book is anything but a normal copy of the title, rather than Steve Ditko’s personal copy. So, in all reality, the slabbing itself is the truly valuable element of owning that particular comic. Otherwise, anyone I show it to would have to just take it on the truth of my own words.
That said, I have slabbed a handful of comics that I want to have in safe-keeping. My copies of Amazing Spider-Man #1, Ultimate Fallout #4 (the debut of Miles Morales), Edge of Spider-Verse (vol. 1) #3 (the debut of Spider-Gwen), and a handful more have been slabbed after I purchased them. It’s less about the value of the book, more than it is about keeping them safe and in good condition. I happen to own two copies of Ultimate Fallout and Edge of Spider-Verse, so those are my readers copies. For Amazing Spider-Man #1, I have a facsimile reproduction, not to mention countless collections that contain it, so I don’t feel any remorse about sealing my copy away.
As for collecting CGC-graded comics. It’s not really my jam. I don’t really seek out 9.8 copies of the books, I’m just happy having what I have. The stories behind the books often matter more to me, such as the Ditko copy. Maybe one day I will try to seek out better versions of the books I own, and subsequently slab them, but that’s just not an expense that I can weather at the moment.
John D’Antoni
Hi guys. I’ve been listening to the podcast since 2020. I appreciate your insights into the world of Spider-Man. What would y’all consider to be the best adaptation of Spider-Man outside of the comics? The one that best represents who he is?
Mark: Let me try and go against the grain of what people probably expect me to say here, and actually go with the Spectacular Spider-Man animated series from the late 2000s. I know this series has some hardcore fans, so it’s not that huge of a stretch, but of all of the attempts to put Peter “back in high school” I feel like this series captures the spirit of it the best while still trying to tell its own story. I’m not a huge consumer of the various Spider-Man animated series, not so much because I don’t like animation but because a lot of the best stuff came out when I was of the age where I really wasn’t tuning into it. But even with that caveat, Spectacular Spider-Man is just great and highly recommended to all fans.
Dan: For me, personally, I go back to Sam Raimi’s Spider-Man 2 as my favorite adaptation of the source material. It’s not perfect, but it really captures the split worlds of Peter Parker and Spider-Man and how they impact each other better than just about any non-comics adaptation that I can think of. The way Peter is beat up in that movie makes me howl with laughter, mostly because that’s how I feel just about every day, which makes his ultimate triumph at the end, merging his two worlds together through the eyes of Mary Jane, all the more wonderful.
Perhaps this just comes down to what element of the character you value the most. Spider-Man 2 isn’t a perfect adaptation, it just happens to adapt my favorite part the best. I will admit, though, watching Spider-Man: Into the Spider-Verse was the first time that I ever felt like I truly saw the Spider-Man I always dreamed of appear onscreen. There is a moment where Miles and the blonde Spider-Man bump into each other in the large collider and have their first talk. The warmth and kindness of Spider-Man, followed by him transforming into a hero, puffing out his chest, as Daniel Pemberton’s trumpets blare to signal the change, remains a magical moment to me. I cry almost every time I see it. “That’s him!” I could shout!
I remain equally impressed by the adaptation of the various Marvel’s Spider-Man games for how they have invented a cohesive world for a new look at Spider-Man and his supporting cast, who they make a prominent part of the story. I have my problems with the gameplay in those games, but the writing and characters, as adaptations of Spider-Man, are pretty flawless.
What’s New for the Amazing Spider-Talk?
Since the previous Amazing Spider-Talk Substack we’ve seen the release of our review of Amazing Spider-Man (vol. 6) #33, which may be the highest reviewed issue on Amazing Spider-Talk since Superior Spider-Man #9.
You can watch it on YouTube or listen to it wherever you listen to podcasts.
Plus, this week in our Patreon, our listeners got to hear/watch our review of Amazing Spider-Man (vol. 6) #36.
You can watch Mark’s recap of the issue as a sneak preview of what Patreon subscribers get to hear in its entirety:
To hear the episode early, subscribe to our Patreon!
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