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punkeropercyjackson · 28 days

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Spiderband groupchat headcanons but it's based off my bio siblings and friends who're teenagers that i also consider my younger siblings because Y'all Do Not Know How To Write Teens

It's called 'Websters Declassified'

It was Margo's idea to start it obviously

Miles already had a groupchat app that she used for her family but the rest of the band except Gayatri had to install them-Gwen and Miles G DID have one but she took it off because she only ever used it with 65 Peter and she had multiple meltdowns looking through their messages so she forced herself to out of mental safety and he smashed his phone in agonized sadness after finding out about Jefferson so all the data on it was lost

Gayatri has an additional old one she uses for school friends since she's so popular and dosen't want to fuck up and accidentally send Spiderwoman stuff to them

The layout of it has a notebook theme and is popular among black people thanks to it containing various exclusive black stickers and emojis and that's why Miles and Margo both use it

Hobie's a bit of a grandpa when it comes to technology because of being from the 70s and not having been at Spider Society for that long so he had a hard time communicating in it at first,not helped by his cockney

Peni is reverse where she considers it slighty obselete thanks to her futuristic world but in a charming shaking her head 'This old thing' way(Just like she does with Noir /hj)

Their icons are:Miles-a black/blasian edit of Orihime Inoue,Gwen-A random picture of a half eaten pink cupcake she took,Peni-A lesbian flag meme,Pavitr-Bugs Bunny,Hobie-A black/blasian edit of Ichigo Kurosaki to match Miles(They are LITERALLY black4black Ichihime),Gayatri-Bugs Bunny but in one of her fem outfits,Margo-Nessa from Pokemon with a pink filter and Miles G-A cartoony drawing of a black kid with braids

They use it almost every day and night-It actually messed up a few of their sleep schedules but they fixed them again when it started going too far by reminding the other to go to sleep because they love them and deserve good health

Gwen sends them her audio files,either as gifts by covering their favorite songs or just to try out how a new song sounds

Pavitr violently falls over from so much bouncing with his phone getting the brunt of it SO many times but it's somehow always completely intact despite having no special protection

It's where Miles came out to them after her egg cracked but she did because they were all sitting together physically so she'd have them there to comfort them as she sobbed in a big flurry of different emotions

The other girls then start sending her transfem memes on a regular basis and Miles G is actually the one who made her her Orihime pfp

They tried to have movie nights but the collective audhd proved to be too much so they just have normal ones

It's incredibly active and a mixed ass bag,one second they be talking about Spiderjunk,the next someone's venting to the point you can feel them shaking through their texts and then they're discussing the history of legos

Peni's the one who most uses it in class and had a special mini comic where she got it back from her principal and didn't learned her lesson at the end

Since Miles uses kamojis,Margo is a gifs addict

They learned a lot about eachother cultures,more than ever

Selfies sending is a pretty regular thing

Miles G was more hesitant to start using his app again than Gwen since his was actually the same but he prowlered through and now it's a healthy and stable part of his life

Gayatri looks for wholesome videos to show all of them

"MARGO,GIVE ME YOUR PHONE"-Hobie at least twice a day

Gwen and Margo are an e-couple in the sense that they act exactly like girlfriends in it but are in denial irl

Hobie randomly infodumps in it once he gets the hang of it and takes up Miles' kamoji usage but only the smug/bitchy ones

Their usernames are mostly just their names but with a special twist to give them personality-Miles is her name with a sunflower next to it,Pavitr has a sparkles emoji and Miles G has his in that edgy font.But Margo is 'Margo Thee Byte',Gayatri is 'The Ungwen' as a reference to 'The Undead' and for irony,Hobie is 'What are you?A cop?',Peni is 'Pastel Genesis Evangelion' and Gwen is just an assortment of pink emojis

Rio:Mija?Are you texting a boy? Miles,texting Hobie:Technically yes but also literally no

Margo gets them to be on her streams and Miles ends up making her own channel and her fans nearly broke her comments section when Hobie made his first apperance(Tragic day for weird ass Miles fanboys)

Gwen and Peni start rubbing off on eachother,like Peni starting to love her kind of music and Gwen starting to get blunter

Pavitr is the most slang knowledgable and this is thanks to Gayatri-He surpassed the best there is

Miles and Hobie did the 'At Dairy Queen with my Dairy King' meme once but the picture wasn't them at Dairy Queen,it was them chilling with mutated cows they'd saved and they didn't even get the food at Dairy Queen,Hobie cooked them copies because fuck capitalism

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maddieautobot273 · 8 months

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Silk & Cologne (37)

A Miguel O'Hara x OC Series - Link to AO3 (X)

Chapter 37 - Compromised - previous chapter (X)

Pairing: Miguel O'Hara x Female OC

Words: 3.8K+ words

Warnings: PG-13 for violence and fight sequences, implied torture, forced injection

Summary: Lisa ventures further into the manor in search of Harry.

//////

The hallway was quiet and cold compared to the warm and lively contrast of the ballroom on the other side of the doorway. When I didn’t see anyone else in the hall, I was tempted to go back out merely due to the ominous silence sending a wicked chill down my spine. But I willed myself to carefully and quietly shut the door behind me and ventured further down the hall.

I recalled Miguel’s training, and Spider-Noir’s advice when he popped in for a quick visit yesterday when Miguel asked him to provide some insight. Hug the wall, always check your corners. Don’t move unless you know for sure you can proceed to your target. So that’s what I did.

I followed his advice, hugging the wall and peering around the corner once I reached the end of the hall. The cost was clear. No guards in sight, much less security cameras. Odd.

Don’t overthink it. It’s not getting easier. Don’t get overconfident.

I reached into my pants pocket, pulling out a spare smoke grenade. I crouched down, pressing the trigger button before gently rolling the grenade across the floor. A soft hiss echoed from the grenade as the familiar pink, glittering smoke covered the hall. When it dispersed, I quickly realized why there weren’t any guards.

Lasers.

Not a bad trick, King Pin. I was almost impressed. He had that much confidence that no one would be stupid enough to follow him out here?

Correction; That stupid someone was me.

After making sure my smoke grenade didn’t alert anyone to come snooping around, I stepped out of my hiding spot at the corner of the hall. I studied the layout of the lasers, mapping out a route in my head. I jumped, sticking my hands and feet to the ceiling and started to crawl.

I maneuvered my way down the hall, occasionally parkouring to other sides of the walls and floor to avoid getting my uniform singed from the intense heat of the lasers. When I made it to the clearing, I jumped down to my feet, finding a switch as I flicked it with my finger and the laser grid slowly vanished.

Phew!

“I’ll take five, be right back,” A voice spoke up as a door opened.

Shit!

I pressed my back against the wall, glancing over to see a grunt walking towards me from the corner. Not King Pin or Harry, thank goodness for that. But I couldn’t exactly get compromised either.

I looked over to the door beside me, noticing that it appeared to be a broom closet. I peeked inside, making sure it was big enough for me to slip inside, and to potentially rope someone else in with me. I closed the door, but made sure to leave a small crack of an opening, allowing me to peek outside.

I listened for the grunt’s footsteps as he proceeded down the hall, passing by the door of the broom closest. He paused, pulling out his phone to shoot a text message before he glanced over to the wall, noticing the switch. The laser security switch.

“What the–?” He turned to look at the switch, noticing it was switched off. “Who shut it off–!”

I didn’t even give him time to finish his sentence as I pushed the door open, caught him with a web sling and yanked him inside the closest as the door swung shut after him. The small room was nearly pitch black as I gripped my arms around him, fighting to contain him as he tried to struggle out of my grasp.

“Hey, who the hell–!” He snarled.

I flexed my fingers, blobs of web fluid staining his body before I opened my mouth and quietly sang a soft melody.

“Ah, ah, aaaaah, ah ahhh, aaaahhhhhh~”

The webs glowed their golden hue and soon the grunts' struggles diminished as the pupils matched the webs glow. He passed out in my arms, falling asleep. I sighed in relief as the thundering flutter of my heart calmed down, the adrenaline of the moment subsiding.

“That was way too close. . .” I muttered softly as I carefully set the grunt down on the floor. “No hard feelings tough guy,”

I found a large paper towel roll, quickly adjusting the grunt’s head to place the roll under him so he could use it as a pillow. Once he was settled, I discreetly stepped out of the broom closet and shut the door behind me. I looked around the hall, and it appeared no one had heard the grunt’s sudden cry.

“I should cover my tracks,” I mumbled softly as I flicked the switch and the laser security grid turned back on.

If I needed somewhere to run and come back the way I came, I now knew where the switch was so I could quickly shut it off and make a speedy get-a-way. Maybe I could hang back and shoot some web fluid at it to turn it back on if there are some henchmen chasing me down later? Hypothetically speaking of course.

I proceed further into the hall, sneaking by the doorway the grunt had previously come out of to now draw attention to myself. When I made it to the end of the hall, I passed through the door and arrived in a grand foyer. It had the same architecture of the ballroom, more warmth in it than that asylum looking secret hallway I was just in.

Now, which way did they go? Up the stairs or through the grand oak wood doors on the other end of the room?

“Hey, you!”

I froze instantly. Shit!

I turned around to see three henchmen approach me. I was so focused on figuring out which direction King Pin may have taken Harry, I didn’t notice these guys guarding the room. If I make it out of this Miguel was going to kill me for letting my guard down. I had to think of something quick.

“What are you doing out here?” One of the guards questioned me. “All service workers for the gala are to remain at the event,”

“Oh, uh, my boss said that Mr. King Pin had requested drinks for him and some of his guests and, uh–” I tried to stay calm as my brain fumbled for an excuse, fiddling with my fingers behind my back. “Sent me to check what they wanted,”

“I haven’t heard anything like that from the boss,” The leader of the trio shook his head as he glanced at his partners. “Have ya’ll heard anything?”

They both shrugged, looking at each other in confusion.

Their leader gave me a hard stare as he pulled out a walkie talkie. My heart sank into my stomach, thankful that it wasn’t a weapon he brought out. “Mind if I call to confirm?”

A faint drop of sweat streaked down my forehead as I managed a polite smile. “Not at all,”

He nodded before he glanced over at his partners, motioning his head towards me. “Keep an eye on her, aight?”

The pair nodded as they stepped forward, circling me like hawks as they covered my flanks on either side of me. Their leader turned his back to me, the static of the walkie talkie going off as he pressed a button to activate it.

“Yo, Marco, can you check with Antonio if the boss requested drinks for his meeting? I got one of the servers here saying she was sent to take an order for the boss,”

I couldn’t pick up the full sentence that came out of the radio and it’s horrendous frequency, but I at least picked up the phrase, One second. That bought me some time, although I had no idea how long.

The four of us stood around in awkward silence. Although from their perspective, I was certainly the awkward one. I kept telling myself I was just playing an act. The role of an innocent bystander just trying to do their job and not wanting to cause any trouble. I repeated that story over and over again in my mind to try and calm my nerves as I could feel my palms start to sweat.

The walkie talkie went off again, the static sparking through the speaker as a response came out.

“Say again?” The leader of the henchmen asked for clarification.

The static went off and I could feel the gaze on me coming from the two flanking henchmen hardening. More sweat dripped down my forehead. The jig was up.

“We didn’t hear anything about the boss wanting– AH!” As the leader of the henchmen was turning to further prove his claim, I flexed my hand out, shooting a ball of web fluid into his face.

He recoiled, screaming as he fell to the floor. He frantically clawed at the web fluid, pulling the sticky substance off his face as his buddies squared up. My shoulders tensed as I shifted my gaze between the pair, waiting to see who would react first.

The one on my right moved in first, charging me. I swerved out of the way of the charge, my body spinning as I bashed my knee into his back. He bulldozed into his friend who took the brunt of the hit and they both collapsed to the floor, their skid marks staining the expensive red carpet

A snarl caught my ear as I turned, facing their leader who was at least free of the mess I threw at his face. He reached for his back again, whipping out a black baton. I could feel my knees start to buckle, but I didn’t budge.

Remember what Miguel taught you. It’s the brutes you’ve got to watch out for.

I quickly evaluate my options, glancing around us. I see an opening as he charges. I shoot two web slings upward and once they stick to my target, I pull on them hard with as much strength as I can muster. My arm and bicep muscles twitch and burn as I yank down the chandelier from the ceiling and it lands on top of the henchmen with a loud ‘CRASH’ as I leap out of the way of the debris.

When the smoke cleared from the impact and the glittering jewels on the lights stop shaking, the brute is alive and well, merely shaken up as he realizes that he’s trapped within the inside of the chandelier and is too big to squeeze past the iron bars. His walkie talkie is smashed as well.

“Sorry, like I said, got a job to do!” I chuckled softly, offering the brute a showful bow before taking off up the grand stairway to the second floor.

I had no idea if I was even going the right way, but I needed to put some distance between myself and that mess downstairs. But if others go looking for their friends, they’d tell them what I’d look like. Thankfully I’m packing more than one costume.

As I pushed open a doorway and continued running down the hall, I felt a sharp buzz in my head. My spider-sense. Something was wrong.

I could see it coming as someone whipped their arm out, attempting to neck slam me. But I fell to my knees, sliding across the floor and under the arm before my body sprang up and whipped around to meet my advisory.

A tall man chuckled darkly as he stepped in front of me. He wore a dark navy blue suit with a black button up dress shirt, had pale white skin on his hands but as far as his face goes, I could make out his brown eyes. The rest of his face was covered with a white metal mask.

“We meet again, Miss Lisa,” the man greeted me with a thick Russian accent.

“Do I know you?” I raised a brow at the man as I kept a good distance away from him.

The man shook his head and I could see the playful glimmer in his eyes through the mask as he fixed his cufflinks. “Surely you remember me? It’s me,” He spoke almost gently before his lips twitched and curled into a devilish smile, and his voice changed. “Mi vida,” - my dear

My jaw dropped to the floor. My heart dropped to my stomach as I felt like I was going to collapse right there and then. It was him. Not my Miguel.

“You!” I snarled, my teeth grinding as I squared my fingers into tight fists. “You’re the imposter that attacked me!”

He applauded me, the playful glimmer in his eyes never fading. “Very good, Lisa,” his voice shifted back into a Russian accent. “I take it by now you know who I am? Who I truly am?”

“You’re the Chameleon,” I glared at him, piercing daggers into his very soul.

“Please, after what we both went through together, I believe we’re on a first name basis now,” I could hear his grin from under the mask as he offered me a bow, “Call me Dmitri,”

“Like hell I will,” I growled. I fired a burst of web fluid, sticking his body to the nearby wall. “Stay away from me,”

“Ah, ah, ah,” Chameleon clicked his tongue in a disapproving manner. “Don’t be so hasty now, I was just on my way to fetch you,”

I watched as Chameleon’s fingers glazed through my webs like they were nothing. Tearing them apart like they were paper and his fingers were as sharp as scissors. My eyes widened at the sight, taking a step back.

“I didn’t just duplicate Miguel’s voice, you know,” He purred, daring a step closer towards me.

I took another step back. Followed by a hard hit to the back of the head. I collapsed to the floor, my body screaming at me to stand as I zoned in and out of consciousness, black and white spots covering my vision. I struggled to push myself up right as I glanced over, seeing Chameleon take a few steps towards me, kneeling beside me.

He cupped my chin with his fingers, studying me with a sultry grin before glancing up at whoever knocked me down. “Take her to the boss,”

////////

Miguel’s P.O.V.

The gala was bustling with lively people as chatter and live music filled the space. Miguel adjusted his tie with one hand while with the other he held a sleek glass of champagne. He glanced over, his eyes scanning the crowd. He spotted Jessica wearing a beautiful glistening red dress that hugged her baby bump just right, with a fur coat overtop her shoulders.

Their eyes met briefly. They had to pretend they didn’t know each other for the sake of their cover. Miguel was reaching for his ear to effortlessly adjust his earpiece communicator when he heard Jessica’s voice.

“Hanging in there?”

Not through the earpiece, but through his mind.

Miguel’s hidden power as he called it. He wasn’t aware he possessed such an ability until started recruiting more Spiders into the Society. The ones he became relatively close with, or tolerated as he called it, somehow developed a psychic bond that allowed them to communicate telepathically if they were close enough.

So far he had developed this connection with Jessica, Peter B., and there was a brief flicker of a connection with Gwen when they were fighting the Vulture anomaly in her dimension just over a month ago. No one else has managed to connect to his bond, not even cute little Mayday Parker, much to his chagrin, although he’d never admit it to him.

How that mixed in with the DNA splicing, he had no idea, and didn’t have the time to properly look into it. This ability had saved his skin many times, so he figured if he could use it to his advantage, he wouldn’t budge on it. There were more important things at stake.

“Trying to,” He sighed deeply, taking a sip of the champagne to try and keep himself calm and distracted.

“She would have said she needed back up. You know this,” Jessica spoke through the bond with a calming tone while physically she was laughing at another guest's horrible joke as she mingled with a small group, meanwhile Miguel had to politely turn down multiple flirty advances on him. She was always the more social one between the pair. “Trust her to find Harry,”

Miguel’s fingers tightened their grip on the champagne glass ever so slightly. “I do trust her. I’m just. . . anxious. It’s been a while since her last message,”

“I believe the phrase the youngsters use nowadays is ‘hot minute’, though it’s actually been about 10 minutes or so, give or take,” Peter B.’s voice suddenly filled the space of Miguel’s mind, and the Spider-Society leader willed himself not to snarl in annoyance.

“Peter. . .”

Of course he would hear us and chime in. Well. . . it would be more discreet than the communicators.

“Cat’s not out of the bag yet. King Pin’s goons haven’t stormed the joint. Until we hear back from her, all we can do is wait. Maybe we’ll find something else of use while we’re here,” Peter B. reasoned before it sounded like he was stuffing his face at the buffet table. Again. “Use that big brain of yours, Miguel!”

Miguel rolled his eyes before venturing elsewhere in the crowd, glancing over towards the stage as the audience applauded the band as they wrapped up their current song and adjusted for a new set.

If she needed me, she’d call.

She’d call.

////////

Lisa’s P.O.V.

"Boss, we caught this one lurking around,"

I could feel myself coming to again. My vision cleared and I found myself in a secluded room, on my knees with rope tightly knotted, keeping my wrists tied together and pressed to my lower back. My disguise was gone and I was stuck wearing my spider-suit. Two henchmen were at either side of me, and out of the corner of my eye I could make out Chameleon leaning against the wall with his arms crossed over his chest, looking at me.

But my focus wasn’t on him. It was on the two most powerful men in the room.

King Pin was a large man with an intimidating stare. He gripped his cane tightly as he lounged on his luxurious sofa chair. Beside him, Harry Osborne stood up from his seat, hands stuffed into his suit pockets as he stared at me down.

Now that I got an actual good look at him, Harry looked to be about the same age as Miguel, late twenties, early thirties, maybe a tad older than him by a year or so. I couldn’t deny it, Harry Osborn was quite handsome, like a cross between Chris Hemsworth and Robbie Amell. In a villainous billionaire sort of way.

In between us was a small table with an open briefcase. Inside the briefcase I could just barely catch what looked like to be metal collars? They were a sleek gunmetal gray with green fluorescent glowing lights.

I could see the look on Harry’s face as he studied me. Recognition. His lips curled into a smile. “Lisa Kendrick, at last we finally meet face to face. Although I wasn’t expecting to see you so soon,”

“Harry,” I uttered his name, growling in greeting.

"She one of the other Spider's you were talkin about?" King Pin looks over at Harry, a stern yet intriguing look on his face.

“The very same,” Harry mused with a nod of his head.

“She made a mess in your foyer, King Pin,” Chameleon shook his head like he was disciplining a child. “Ruined a perfectly good chandelier,”

“Eh, I’ve seen prettier,” I shrugged my shoulders, trying to nudge the henchmen away from me but they gripped my shoulders tightly with their fingers. “What’s your endgame, Harry? Why are you siding with scum like King Pin?”

“If I told you that, then that would ruin the surprise, now would it?” Harry leaned forward, his wicked grin sending a chill down my spine.

“If you’re here, then I assume more of your other spider friends are lurking around in my manor as well?” King Pin surmised as he tilted his head, lighting a cigar.

I didn’t give him an answer.

"It would appear I have been made," Harry sighs as he pulls something out from his pocket. "As much as I want to bring you in now, the stage is not set quite yet, my dear, at least not my stage,"

It’s not until he starts walking towards me when I notice what he’s holding in his hand. A syringe. The pointy end of it flashed in the low lighting of the room as I tried to shuffle back, but the guards kept me still as the CEO of Oscorp came before me.

“Get your hands off me!” I growled.

Miguel warned me. He warned me that something like this would happen and I still insisted on doing this. Have you forgotten already that Harry could still be seeking you out for your powers?

“Now, now, I’m not going to hurt you, Spider-Muse,” Harry chuckled as he knelt beside me, his fingers gripping and brushing the neck sleeve of my spider-suit down to expose my neck.

Harry injected the syringe into the crock of my neck, forcing a blood sample from me. I felt the prick of the needle and hissed as the tiny metal tip pulled out from my body. I recoiled out of his touch, baring my teeth at him.

"I'll have need of you later,” Harry spoke as he stood back up to his feet, handing the syringe to Chameleon who put the medical device in a case, locking it. Harry glanced over towards King Pin. “In the meantime, I'll leave her in your capable hands. Feel free to use my gifts as a token of our partnership,"

“Pleasure doing business with you, Mr. Osborne,” King Pin chuckled as he blew a whiff of his cigar, the dark smoke fluttering in the air.

“What are you talking about?” I sent an accusing glare towards Harry.

He ignored my question as his gaze briefly went to the contents inside the briefcase before he gave me a wink. He motioned over to Chameleon. “Let’s move along, Dmitri, we’re done here,”

He’s not going to. . . use that thing on me is he?!

Harry pressed a button on his watch and I watched in awe as his own inter-dimensional portal appeared. This one was blue and purple compared to the orange and red contrast of the portals used by the Spider-Society.

“See you later, Prekrasnyy,” Chameleon snickered. - Lovely

“Until we meet again,” Harry waved at me before he and Chameleon stepped through the portal and disappeared from the room, from this dimension.

The portal closed and within seconds, King Pin snapped his thick fingers, grinning at me. “Prep her,” He commanded.

The next thing I knew, I got smacked into the back of my head again. Darkness quickly followed.

////////

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stackthedeck · 1 year

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What are your thoughts on the new Spiderverse run? I'm only reading it because of Cooper and I managed to find some bits here and there.

Have a good one!

I HAVE SO MANY THOUGHTS! First off, there's never been a spider verse that I didn't enjoy because I just love all the creative spins that writers and artists put on the spider mantel!! And usually, a spider verse run means that at least one of the new spiders will get their own mini series or even a full run (Spider-Gwen and Spider-Punk my beloved)

okay this got long specific thoughts and minor spoilers under the cut

And I love the five issue series of end of the spider-verse because all the new spiders are so cool!! And I think the evil wasps work really well because it allows us to check in on the other spiders we know and love but they're turned evil so that we can focus on the new spiders! It's a very visually engaging villain and it really doesn't need to be that complicated for an end of the multiverse story you know

I love Web Weaver more than words can I express I have not stopped thinking about Cooper since I read his issue!! I just want him to have a mini series after all this is over marvel please I will write it!! I think he honestly has the strongest introduction out of all the new spiders because he actually does stuff and it's not just his origin story. His design is gorgeous but also his panel layout was so engaging like that beautiful web page that summoned up his origin story!!! I love his writing and the jokes he makes, you can tell that a gay man wrote his dialogue like yes!! (Steve Foxe, sir I hope marvel lets you write more of this character please Slott can't be trusted with him!) But like he'd have such an excellent mini series because there's a plot hook established before he leaves for the multiverse and it's his relationship with Albert Moon!! It's a love square with two people I'm literally gaging yes please marvel please I need to see how this goes!! Like Cooper and Albert are exes, but Silk and Web Weaver have crushes on each other and Albert kissed Web Weaver! Like oh my god the drama and if I don't get a comic for either of them soon I'm going to fucking write it myself

I also adore the other new spiders!! I like the new spider UK, she's an interesting character with a cool design, but her writing was a little clunky but I think that would have been fixed if she had a whole issue rather than like a quarter. Same with Sun Spider, love everything about her but the writing could have been stronger but also this isn't her first appearance so idk why the felt the need to go over her origins again. I would love for both of them to get their own solos. The character I'm really excited about is Spintress!! I thought her universe was so creative and the way they translated the typical spider man villains into Disney princess stuff. I hope she gets like a children's book or since Disney owns marvel maybe a little animated short in the traditional 2d style like I'd literally kill for that!!

Okay, I love this spider verse, but its whole is less than the sum of its parts. Like it moves into Slott's Spider-Man run and it instantly stops being charming and exciting. It immediately focuses on Peter despite the fact that this whole series started with Anya Corazón and Julia Carpenter! And they started calling Peter the chosen one which fuck no!! The whole point of spider verse is that Peter Parker isn't special, that anyone can take up the responsibility of spider-man, that anyone can be behind the mask!! And then they take away the tension of the evil wasp turning the spiders by saying that 616 citizens can't be turned which like way to bring down the stakes! Noir now has a sword that erases people from existence which fuck fine okay whatever. But the new spiders are instantly pushed to the background so that Peter can have the spotlight! He makes a homophobic comment to Web Weaver, he's nasty to Spintress, and he hates Felicia for no fucking reason!! Like he's so out of character, but it's Slott so idk what I expected. I'm going to read how it ends, but fuck I wish like the core of the story actually cared about the new characters introduced because what's the point of having them there if they don't do anything

#asks #i like it just the way the plot is shaking out is confusing #peter was erased from existence and I fucking cheered

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trashland-llamas · 10 months

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Me Spidersona: Tempest Miller

Intro

Outlaw - (1) person declared as outside the protection of the law (2) person who systematically avoids capture by evasion & violence

Wild West era; 1865-1895

Face claim; Natasha Lyonne

Age; early 40s - late 50s

Pronouns; zhe/zher/zhem

From Louisiana

Billy the Kid fanatic

Switches b/t a gun that shoots webs and a paintball gun

Very much similar vibes to Mike Teevee from Charlie & the Chocolate Factory

Relationships

Webslinger (Patrick O'Hara); met when zhe was 13, him in his mid-20s (platonic)

mentor/mentee akin to that of Nimona & Ballister

Miguel; met when zhe was 26, a few weeks after zheir canon event (Webslinger dying in zheir arms; Webslinger's zheir Uncle Ben)

mostly plays pranks/practical jokes on him. while zhey understand his frustration & not wanting people to make the same mistakes he did towards the spiderverse, zhey loathe the way he goes about communicating it. (platonic)

Hobie; become friends after Tempest asks for him to help zhem hide, not knowing the layout of HQ well enough. Miguel chasing zhem after zhey made his suit glitch

Hobie helps zhem grieve the lost of Patrick, takes zhem to an aquarium

Is 20-30yrs older than him (platonic)

Spider-Noir; bond over being from the past - Noir from the 1930s, Tempest from the 1880s (romantic)

their dynamic is very much akin to Captain America understanding the one Wizard of Oz reference where Thor didn't

constantly comparing notes when it comes to catching up on the times

'The fuck is a rubrik's cube?'

#atsv #itsv #spiderverse #spidersona #spiderverse oc #oc; tempest miller #fc; natasha lyonne #my ocs stuff #character intro #miguel o'hara #patrick o’hara #hobie brown #spider noir #Spotify

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kikufukus · 2 years

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𝙎𝙋𝙄𝘿𝙀𝙍𝙈𝘼𝙉 𝙄𝙉𝙏𝙊 𝙏𝙃𝙀 𝙎𝙋𝙄𝘿𝙀𝙍-𝙑𝙀𝙍𝙎𝙀 𝙒𝘼𝙇𝙇𝙋𝘼𝙋𝙀𝙍 ♡ please like/reblog if you use ♡ ★do not repost★

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desolatesandwich · 5 years

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my friends forced me into watching hunterxhunter knowing this would happen.

I feel...used

#hxh #kurapika #spider noir #why does this fit so well #yo im not dead #listen to the spider #i drew this immediately after watching the yorknew arc #blame canalsobemoe #blame hxhell too #i cannot believe i am getting back into a series i started more than 10 years ago #kurapika was high school me's favorite and i still have a soft spot #how do i steal togashi's paneling and layout powers #Horrible pictures

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leam1983 · 2 years

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On Character Design

I sort of feel like the general "Boardroom Lizard" visual concept that's given us everything from Wilson Fisk to Mammoth Mogul or Lawrence Limburger has a bit of a limiting influence on pencilers, colorists and inkers.

In most cases, what you get is dark, flat colors with a few warm accents. A single-breasted suit for more casual sorts, double-breasted for fans of the eighties' Corporate Chic and for silhouettes in need of a more square frame, and the usual panoply of masculine accessories most suit-wearers wouldn't so much as consider, nowadays. It's hard not to shake the impression that some designers just hit up YouTube channels like Alpha M. or The Gentleman's Gazette and try and unrealistically cram everything into a single rendition of the Legtimate Businessman.

Then, there's 1986's Daredevil: Love & War. The story as penned by Frank Miller tries to underline both Murdock and Fisk's obsessive tendencies - one for justice rendered at nearly any cost, and the other for control also obtained through whatever means necessary. Both men are grasping for a certain illusion of safety and are coming at it from opposite ends of the same moral spectrum. As the title suggests, love interests also figure as propelling instances.

The thing is, what drew me to the story wasn't Miller's honestly occasionally po-faced Noir diatribes, so much as Bill Sienkiewicz's penmanship. Murdock looks more or less like he usually does, both in and out of costume - but Sienkiewicz's design for Fisk was later pulled out of the mothballs for Liev Schreiber's own rendition of Fisk, as seen in Spider-Man: Into the Spider-Verse. This is an almost Beast-like design (in reference to The Beauty and the Beast), contrasted by Vanessa's frail and diaphanous presence throughout the book. While she's basically a ghost ensconced in bedsheets, basically a reminder of her husband's precious few remaining shards of innocence, the Kingpin barely looks human.

When I think of similar concepts, names like Lex Luthor come to mind. Most modern renditions of Luthor never explicitly depict him as musclebound. Then there's other stylistic cousins of Fisk's, like the slightly more grounded design of Biker Mice from Mars' Lawrence Limburger, or others that depend entirely on the acting choices of those depicting them, like Ronny Cox's Dick Jones, in the original RoboCop. Cox, if found wearing anything other than his set of three-pieces, wouldn't have come across anywhere close as menacing. It's a bit of an interesting note to make, seeing as Kurtwood Smith desperately wanted out of his squeaky-clean typecasting. All he needed was Low-Grade Cyberpunk Slackwear and a set of Dad specs - and Clarence Boddicker was born.

Back to Sienkiewicz's concept. The era was one of, as I mentioned, flat colors. Back in 1986, layering in patterns in a page layout was a time-consuming process and a bit of a nightmare for your average bulk printing contractor. I still adore the watercolor finish of Love & War, and I have a hard time not imagining this particular Fisk as someone who looks at the era's army of Patrick Bateman clones and says something to the tone of "Screw them, I'm wearing so much paisley and herringbone over my unrealistic 500-plus-pounds of granite-slab comic-book flesh they'll either barf or wolf-whistle before drawing a gun in front of me."

The only thing missing to the portrait is a constant Dry Martini glass, or the revelation that Willie's not just a beast at Hapkido but that he also could lead Vanessa into a few Bossa Nova rounds, back when her health was steadier.

I mean, seriously. Look at this gorgeousness:

This big, sad man has absolutely zero self-esteem issues and probably push-kicks doors open with a hungry snarl, whenever he's not looming over his wife like an overprotective silverback gorilla with a pronounced thing for male haberdashery. Also, the mid-eighties' first few cell phone models probably looked ridiculously small in his hands. Dude was toting around something that felt like your average Nokia 3310 in his hand back when what you could expect out of mobile tech was 1987's massive Nokia Cityman!

I'd hug him, tell him to make sure Wifey gets plenty of fluids and sunshine, and maybe comment on him not necessarily needing to take all that latent grief and anxiety out on poor, superpowered blind people...

It's a bit amusing, considering how today's idea of the Unpredictable Boardroom Titan would probably have to go back to three-pieces and flat colors, to stand out amidst my last two workplaces' worth of loose blazers, graphic tees, skinny jeans and bright colors. Maybe 2022's idea of the Corporate Loose Cannon in Pop Culture should just mark a return to Italian graybeards pulling out designs from the Annie Lennox school and casually pushing for the legalization of cocaine...

#comic books #daredevil #daredevil:love and war #kingpin #wilson fisk #dick jones #robocop #clarence boddicker #character design #characters #bill sienkiewicz #frank miller #marvel #graphic novel

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poepoe-thebunny · 4 years

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SEWING SPIDERS Spiderverse headcanon: All of the spidefam are, on varying levels, (somewhat) competent at sewing and other needle arts for multiple reasons.

Peter B, Gwen and Noir are the best in terms of actual skill.

Peter B and Noir learned from their respective Aunt May's as a way to stretch out the wear and tear of their clothes, since they didn't always have money for new ones. Between that and the time they spent sewing their costumes back together, they became pretty good at it.

Noir uses it as a reflective, relaxing activity when he can't sleep or the nightmares keep him awake. Because of this, he has the most patience when it comes to hand sewing even if it's larger projects or when dealing with an endless amount of small stitches. He is also surprisingly good at embroidery, and has made many patches for the Fam to stick to their jackets and bags. They all come out gorgeously detailed and monochromatic, but once the Fam gives him other colors and he has them all labelled and sorted (they know better than to mess with the labels) Noir occasionally asks them for help on color theory and what colors look good together.

Peter B is decently competent at sewing and fixing hem lines, waist lines, and holes. His aunt May was also a master knitter, so he has borderline medium level skill there, and can make a mean scarf or blanket if he really gets going. He has tried to use a loom before, but finds it too bulky and his rows often have large gaps because the struggles with yarn tension.

Gwen is by far, the best out of them. Not just because she can fix things, but because she can make them. Gwen has dipped her interests into many aesthetics ranging from punk, rock, vintage, pastel, or the softer looks based off of ballet and lyrical dance. She has made, and worn, a corset a time or two. She also isn't afraid to rip her clothes up and patchwork them together to see what she gets if she likes it enough, and has a good eye for diy stuff. She can make pretty rockin' circle skirts and blouses, and is the only other one besides Noir and Ham who knows how to take measurements and what they mean. She also legitimately sketches out her ideas and has a mannequin bust for her projects, and can use a sewing machine even on thinner slippier fabrics. She has a lot of talent for sewing and clothes making, on the flip side she has very LITTLE talent for things like knitting and embroidery and has rage quit them more than once.

Ham is exactly in the middle of them all in terms of skill. He can do the basics pretty well, knows how to keep his stitches lined up and even, can take measurements, and is better at short bits of hand stitching. His own skill is more for fixing holes and hemlines more than anything else, although he occasionally struggles with the learning curve of human bodies when it comes to the Fams' clothes because he is, in fact, a pig. And humans and pigs don't share a lot in terms of physical features. The Fam sometimes wonders WHY Ham needs to know how to sew, but since they're not sure about Zany Cartoon Logic when it comes to clothing they decide not to ask.

Miles is not necessarily GOOD at sewing, but he IS learning and getting better with practice. Apparently sewing your own costume is par for the course when you have a secret spider identity. He learned sewing from his mother, but the Aunt May of his dimension is also willing to help and a very tired miles is grateful. He still wants to do it on his own thought cause he feels guilty, which leads to several poked fingertips and sore hands and somehow getting wrapped up in the measuring tape while his mother laughs and scolds him for his lack of patience. His stitches are a little large and not spaced very well but he's getting there.

And while Miles can't sew very well, him and Gwen get along fabulously because Miles can diy pattern layouts in his head, dye/dip dye/acid wash/paint fabric pretty well. He actually learned it initially from both his father and uncle Aaron. He can use fabric glue and sealant pretty well, and can use acrylics and tea and coffee for cosplay style costume aging. While he's better at drawing, his dad taught him pastel dying with stuff like kool-aid, and how to properly iron patches onto his jackets and backpack. His uncle Aaron would always help little Miles out around Halloween time, and Miles learned things like placement, making texture, and making shadows and highlights with things like fabric paint and hairspray for costumes.

Peni is generally the worst of them in terms of sewing. Partially because she has no interest in it, and partially because her interests in science and technology tends to bleed into her other interests. As in, she's the kind of person who would rather make a Lazer scanner to get your measurements because it's more accurate and time effective versus doing it by hand. She CAN hand sew, kinda, but finds doing it on clothes time-consuming and frustrating. Being from the future, when she does feel like doing cosplay or fixing things, prefers to use her tech because she loves to see how accurately she can recreate things. She introduced the other spiders to characters she cosplays, that have futuristic designs or weapons, that Peni likes to recreate just to challenge herself. If she has to get something done to her clothes beyond her own skill, she prefers to be an informed consumer and look up local businesses to support that can fix her clothes, or where she can buy bolts of fabric that are no longer being mass used (deadstock) so they won't go to waste for Gwen and miles.

That being said, she CAN sew. Kinda. She often goes to Noir for help learning how to do it by hand since he is surprisingly patient with her, compared to an amused Gwen smacking Miles in the head when he doesn't listen. and Peni believes in being fashionable AND functional. She doesn't always have the time or interest for full length projects like Gwen or Miles, but her hand stitching is getting better with practice. Her interests lies more with accessories and decorative designs. She has begun practice on stitching ribbons and bows made of silk, or hair pins, belts, and patches made of fabric flowers/leaves and faux gems and pearls. She has even made the odd plush toy and doll. Noir has been teaching her basic embroidery, and she sometimes helps Gwen and Miles pick accent colors and textures for whatever they're making.

All in all, it's another weird little thing they all have vaguely in common. Ham snickers and jokes that they're Spiders, of course they can stitch stuff together cause that's what they do. But it is nice, having something they can all bond over like this. On good days when they can all hop over to someone's dimension and just need to relax and get things done, every inch of the room will be covered in needles, threads and fabrics of various colors.

Sometimes it's a Learning Day. Noir, Gwen, and Peter B help teach hand stitching, while Peni and Gwen drag Ham along with them to learn. Ham wants Gwen to teach him how to cut, measure, and drape fabric, because just like in the human world, in Ham's world there is a struggle to find clothes that fit certain looks and body types and he would like clothes that FIT please and thank you. He will also help Miles with his hand stitching when the others are busy, and is surprisingly good at distracting Miles long enough that he doesn't get bored when sewing. Noir teaches Peni ladder stitching to fix her plushies, and how to bind and cut fabric edges so she can stitch her silk belts and ribbons in clean lines. Peni shows Noir pictures of different tree and leaf designs, and helps describe the colors to Noir while he copies the unfamiliar shapes onto fabric with markers so he can practice the designs. Peter B teaches Gwen to find the rhythm of her knitting, and how to count time and stitches and rows with songs under her breath. Miles Shows Peni and Noir how to stick patches/ribbons/cloth to bags and clothes, what fabrics work with certain fabric glue, and whether something should be ironed on or sewn on (in which they turn to Noir for help).

Other times it is a Work Day, fun and relaxed but full of concentration. Gwen and Miles will be hunched over her sketchbook, bickering about draping and texture, what colors and patterns work best with what fabrics and what pieces should be layered together, occasionally asking for Peni's thoughts about what spots need something eye catching. Peni will be sitting next to Noir, hunched over with her tongue sticking out of her mouth, small quick hands working stitches into a plush toy or doll dress, or if the kids are working on something together, occasionally silk ribbons or belts with colorful glass beads, or a fabric flower hair piece. Noir is almost always next to her, half-watching her lines and guiding her softly when she gets frustrated, his own fabric pulled tight in his embroidery hoop and thread looping into something beautiful. Ham sits across from Gwen, grumbling as he fixes the holes in his work shirts and pants, and occasionally having Gwen help him redesign something that just doesn't fit right because he is working on a reporters salary and can't afford to waste it on clothes that aren't built for him. Peter B winces in empathy because he has BEEN there, and hums as he counts rows for the scarves and blankets that will help the others survive a New York Christmas. Occasionally, if Gwen is busy, Miles asks for Peter B to help him stitch his costume together, and amid bickering and exaggerated groans of death by boredom Miles feels a little proud of his stitches, neater and more precise than anything he has done so far.

#into the spider verse #spiderverse #miles morales #peter b parker #gwen stacy #peni parker #spider noir #spider pig #ham #peter benjamin parker #headcanon #headcanons galore #they can all sew ok?#it's metaphorical and stuff #Noir is good af at embroidery dont @ me #gonna put on my masterlist don't mind me

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6ixbullets · 11 months

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hii! could you please make spider noir (spider man noir) layouts? or nikola tesla (from shuumatsu no valkyrie) layouts 🫶🏻 thanks in advance

hiiii! of course! here you go! i hope you like!

#submission

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scrawnydutchman · 5 years

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Why ‘Spider-Man: Into the Spider-Verse’s Animation is So Amazing

So those followers of my blog may know that I posted a full film review of Spider-Man: Into the Spider-Verse rather recently. You’re welcome to go check it out if you haven’t yet, but the short version of it is that it’s my favorite movie of 2018 and is, in my opinion, the best comic book film ever made. But I wanted to address something about the film that I keep seeing coming up. I’ve been watching a handful of reviews for the film online and in a great deal of them I hear people bring up how they were skeptical of the animation style when they first saw the trailers because it “looked choppy”. One film critic in particular by the name of Roger Moore actually still held that critique against the film even after seeing it when he posted his review of it. Most people have come around to enjoying the films animation and have put the idea of it being choppy at the backs of their heads. But what did they mean initially? The problem with a lot of film critics when it comes to judging an animated feature is that sadly they can come from a misinformed place about the medium and create this negative stigma around a film that isn’t justified. Animation is already fighting a number of prejudices (people saying it’s only for kids, saying it’s a genre and not a medium and any other amount of reasons why they may think they are above it) so this added one does not help what is easily the most spectacular animated film of 2018. But I myself am an animator, so I feel I can come from a place of explaining the visuals in a way that may make the still skeptical viewers more appreciative of what the film is trying to accomplish. With that in mind, here’s why the films animation works so well.

Animating on 2s, not on 1s

When it comes to animation, whether it be 2D or 3D, audiences are typically used to a consistent and fluid motion where there is virtually no break in the motion of a character or object. Simply put; it’s as fluid as fluid animation can be. In these cases, this is because the animation was done on “1s”. But what does that mean?

With a few exceptions, it’s a universal rule that animation runs at 24 frames per second. That means every second of footage you see of an animated film can have as many as 24 unique drawings or adjusted poses in them. That’s a lot of work, but animation legends like Richard Williams (director of Who Framed Roger Rabbit?) are famous for having classical animation of this stature. However, just because you CAN fill each second with that many drawings doesn’t mean everybody does. Alternatively you could have 12 drawings in each frame and just double the amount of time you see them go by. When you do this, it’s called animating on “2s”. It’s half the work for a result that may not be quite as fluid as animating on 1s but still looks convincing enough to deceive the human eye. You could even go as far as animating on 3s and animating on 4s, but the higher you go the more you increase the risk of your animation looking “choppy”. Spider-Verse in particular has most of their frames on 2s, with a few exceptions being when the characters have to keep up with complex camera work and so they go back to 1s. So that would explain why a lot of people initially thought the animation was “choppy” . . . .but are there any advantages to doing animation this way aside from having less frames to fill? Indeed there is. When you increase the exposure of any frame, the layout and composition of said frame as well as any small details has a greater chance of sticking out in the viewers mind. Spider-Verse takes exceptional advantage of this fact because every little action in this film is like a beautiful work of pop art. There can be other ways you can inject great appeal in your animation besides making it “fluid” like making every drawing crisp and full of detail and if you’re a skilled enough animator you can make your animation deceive the eye through a number of other tricks which we will go into in a bit. I can’t think of a finer example of this point than Legendary indie animator Bill Plympton.

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Bill Plympton is famous for having his drawing exposures in the 3s and 4s, having every drawing have vivid detail with complex shading and sketchy lines, but he still manages to create believably moving and behaving characters and set pieces in spite of this limitation.

So how is it done? How does an animator make convincing and appealing movement with a decisively limited amount of drawings? Let’s start with good posing.

Posing

I’m of the opinion that Spider-Man lends himself to good animation more than any other superhero. Because of all superheroes, nobody has as many interesting poses, weight shifting and as much natural progression between actions as the web slinger. His main mode of transportation is swinging around, using his weight distribution and kicks and lunges to propel himself in any direction he wants and as he tries to make a turn he has to push himself into another direction, fighting the force that pushed him the other way to begin with. Contrast this with Superman who can just fly right over to where he needs to be without much movement of his arms and legs and without much struggle with incoming obstacles (fun fact, the whole reason Superman can even fly in the first place is because it’s easier to animate than have him leap everywhere). But anyway, back to Spidey. In most animation you develop key poses. Key poses are the main storytelling positions a character may have just to communicate the idea that they’re doing whatever it is they’re doing. So for example if you were to animate a jump, you would start by drawing the position of your character bending their legs to launch themselves up, then you would have them in mid air, then you would have them land again.

Once you create poses that tell the story well enough, you would fill in the rest between. But the key poses are VERY important to get right. To make sure there couldn’t possibly be any confusion as to what the characters are doing or even who they are, animators often ask themselves “would I know what’s happening here even if I put it in silhouette”? To add to the fluidity of the animation in a way that doesn’t compromise the chosen amount of frame exposure, poses also tend to follow a “line of action”. Basically the whole body follows the direction of a drawn line and maintains it’s course in order to really sell the action. It helps for exaggeration and for developing after aspects like arcs.

Now as I said before, Spider-Man is a particularly advantageous character when it comes to this stuff. Because he’s acrobatic. He’s shifts his weight a lot. His most iconic poses as a character lend themselves greatly to silhouette. Also, he happens to be very easy to draw. Even if all you did was draw a red stickman with spider eyes we could instantly tell who it is.

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The animators for Spider-Verse knew exactly what kind of beast they were dealing with and MAN OH MAN did they have fun with it. Not only did they perfectly capture the way the classic Spidey moves, but they also gave every different Spider-Person their own take on it. Spider-Gwen moves with the grace and elegance of a ballet dancer, Noir Spidey has a less ambitious and more straight forward way of moving around (kind of “old school) if you will. Then of course you have Peni Parker recreating the anime aesthetic and Spider-Ham with all the elasticity of a cartoon.

*here’s a little Spidey animation I did a while ago.

Squash and Stretch, Anticipation, Overlapping Action, Follow Through

If anybody takes an animation class or tries to learn animation on their own, chances are Squash and Stretch will be the first animation principle listed. It’s exactly what it sounds like. Animators will often contort the model of their character to give whatever is happening more elasticity and to fill the gaps of an arc if drawings are a considerable distance away from each other. It helps the human eye track where an object is going and it can also help with principles like anticipation and follow through. Anticipation is the build up to an action. Think bending your knees before you lunge yourself upward for a jump. Because that momentum has to come from somewhere. Then there’s overlapping action, which is when dragging items on a character’s design such as clothes, capes, long ears, tails or what have you, are trailing along and need to catch up to the rest of the body. Spider-Verse does great with both these principles, especially with Spider-Ham and Noir Spidey. Spider-Ham is obviously influenced by Looney Tunes and other cartoony inspirations so he’ll be prone to doing a lot of squishing and stretching, where as Noir Spidey has the long trenchcoat and hat and you can bet that they’ll always be the last part of him to reach his destination (as well as be the most susceptible to wind). And of course, every character in Spider-Verse has great anticipation . . . as well as what I think of as anticipation’s opposite, follow through. When an action stops, the body needs a moment to adjust itself into the resting position. Think catching yourself with your legs after a jump, crouching down and then standing back up again. Just like how momentum has to come from somewhere, it has to go somewhere when the action is over.

Appeal

So everything I covered thus far is stuff that’s universal across all forms of animation. But What does Spider-Verse do that makes it special? What separates it from other animated films in the theater? The answer is appeal. Appeal is just having a style and aesthetic that’s pleasing to look at . . . and man does Spider-Verse ever cover that. The film goes so far out of it’s way to look like a comic book that every texture has ben-day-dots so it literally looks like a comic print. Every Spider-Person has their own way of moving, their own way of behaving, their own sets of priorities when it comes to the 12 principles of animation. But the film also has a lot of really clever cheats. One of my favorite examples of this is how the film cheats forced perspective. There are many shots in the film where Miles is falling through the city as the buildings rush past him. The animators actually skewed the models of the buildings for these shots to imitate depth, as when they tried it without the skewing it didn’t looks like they were falling fast enough. They also implemented more classical cheats like smears, basically an animators method of imitating motion blur.

I could go on and on with the animation lecture, but honestly, I covered what I wanted to cover. I just wanted to showcase to anybody who may not be aware that animation is more than just “fluidity” and a seamless framerate and that there’s more ways to create appealing visuals than just that. If you haven’t seen it yet, go see Spider-Verse. It is a masterpiece.

#spiderman #spiderverse #spidergwen #miles morales #peter parker #spider ham #animation #cartoons #film

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hellzyeahthewebwieldingavenger · 5 years

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Spider-Man: Velocity #2 Thoughts

It continues to not be BAD...but it also continues to be a disappointment.

I think I and maybe other people need to start accepting that, as great as the game’s story was, the tie-in material is simply always going to be a step down. Looking back even the DLCs and prequel novel were not up to the same level.

But they were still good and to be honest better than City at War or Velocity have been thus far.

I don’t know why that is, maybe they had more time and people to help develop the stories, maybe there was more oversight from the head’s of the projects like Feige has with the MCU?

Either way the comic book forays of Gamerverse Spider-Man, whether it’s this comic, City at War or Spider-Geddon just haven’t been as good. They’ve not been godawful, and to be honest after the last 10 odd years that’s a miracle unto itself.

It rather reminds me of the MCU’s TV efforts. It is clear that the films are regarded as the core of the MCU and the ‘main events’ of them, whereas stuff like Agents of SHIELD were not and so the quality of those shows tended to not be as good as the movies. Almost like they were made to keep the train moving but the movies were the interesting destinations.

Perhaps that’s the thinking with these comics. Make sure the Gamerverse Spidey has a near constant presence month to month until the next DLC or sequel game comes out.

But let’s dive more into specifics of this issue.

As I said it isn’t bad, in some ways an improvement over the last issue. We get more Peter/MJ interactions, again not much romance going on but like I said last time that’s not a fault of the issue that’s just something I’d prefer to see.

Spidey isn’t as much of a buffoon but he does make one big dumb move I need to call out. So he is testing the Velocity suit and as part of the tests he decides to allow himself to be hit by a rocket launcher. He even refers to it as the moment of truth.

Not only is there still a question mark over where he is getting the technology and resources to make this suit, but you have to imagine if he has access to that stuff surely he has the means of testing it’s durability in a safer way. Couldn’t he just put the suit over a dummy and then use a rocket launcher on it himself, or use something else designed to test its durability?

Even if he doesn’t have anything like that where he works remember he has contacts with the police and Silver Sable who surely have weapons of their own. If he asks Yuri or Sable to borrow a rocket launcher or something and tells them why he wants it, I’m sure they’d trust him with one. He could even borrow one from a criminal he knocks out and return the ordinance to police custody.

Why does he need to take practically a 50/50 chance that he will be killed or critically injured to see if his latest gadget works? In fact thinking about it, why did he need to find crimes in progress to test the suit at all, even last issue? The problem last time was that the suit seized up. Combat wasn’t necessary to test that, he could’ve just swung around, done some flips, etc.

At least it matches the cover and in-game design now. And the idea of the suit boosting his speed has finally been raised and playing into the main story. I confess last issue I was confused as to what a ghost and the idea of speed have to do with one another, but apparently I totally missed out on the clues that the ‘ghost’ was really a speedster even though they seem obvious looking back, it was clever though I’ll give Hopeless that. I think that’s a great way to tie everything together although I’m at a loss as to who exactly the speedster is. It could be a reimagined version of Speed Demon I suppose but if not I’m at a loss right now.

Her look is a little underwhelming to be honest and I do wuestion somewhat how she can be so fast as to be invisible to the naked eye but can’t move through walls like the Flash. Maybe I’m missing something though as I presumed that was a standard feat amongst speedsters.

Ironically I wish the story would speed up and get to the part where Spider-Man himself exhibits faster abilities. It’s 2 out of a presumed 6 issues in and that still hasn’t happened yet.

Sticking with the tacky speed jokes I can make, another problem with the issue was how it abruptly stopped. It feels very much like the story was written start to finish and then shifted slightly to break up into parts. I’m not saying that’s what happened but i am saying that’s what it felt like.

In fact last issue had a problem with the ending too. it’s not so much the ending was bad it’s just seemed like it was setting up a cliff-hanger but when this issue begins��nothing. it is just a weird storytelling choice is all.

Let’s talk about the art as there are two points of criticism I have.

The first is that the architecture/layout of the building Spidey fights the speedster in is not clearly conveyed. I was under the impression the door leading into the file room they trap her in was located inside the greater Bugle building. And yet when Spidey gets tackled through that door they are suddenly outside. If the idea is that the speedster tackled him through that door and through the building to get him outside it wasn’t that clear to me.

That’s ultimately something of a nitpick, more significantly though is that the art, whilst it isn’t bad, is not great at times. Mary Jane in particular looks weird and off model at times. I couldn’t quite put my finger on it last issue but now I think I’ve figured it out. A lot of the time she looks like a Bratz doll.

Going back to the story, perhaps I’ve missing something, but how precisely is Norman Osborn not in major trouble if there is video footage of his painful experiments on human test subjects, conducted by himself of all people!

That was a negative for me but something that was more of a mixed bag was Mysterio

On the one hand as a general AU twist on Mysterio it is a neat idea…but it is also one very far away from the core concept of Mysterio as a showman, a film lover and so on. It wouldn’t be out of place in like Spider-Man: Noir or something but the Gamerverse tends to cut closer to canon, just updating it, grounding it and making it fit more for a playable experience. But like Vulture, Electro and Scorpion aren’t that different. Mysterio I feel is and to be blunt I’d rather he be reserved for a the full on AAA video game experience than be wasted on a tie-in comic.

Finally I’ll end with something more positive. I like that Peter is sceptical of the supernatural because it’s something that would appear dumb in the 616 universe where he’s met Ghost Rider and Thor. But in the Gamerverse, currently populated JUST by him and his villains and being more grounded, is more conductive for stuff like that

So yeah, right now it’s not baaaaaad but it’s also not much beyond the mere novelty of seeing the Velocity suit, Mysterio or just checking in on these versions of the characters. If you are THAT into the Gamerverse or new to comics and liked the game then go ahead and pick it up but if you are looking for are looking for a above average Spidey/comic story this is kind of skippable.

#Spider-Man #peter parker #mjwatsonedit #Mary Jane Watson #Mary Jane Watson Parker #mj watson #Marvel's Spider-Man #Marvel Gamerverse #Mysterio #quinten beck #Spider-Man PS4 #Spider-Man Playstation 4 #Insomniac Spider-Man #insomniac games

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coolfox826 · 2 years

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eddycurrents · 6 years

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For the week of 14 May 2018

Quick Bits:

A Walk Through Hell #1 is largely atmosphere and introduction, as we’re dropped into the lives of a couple of FBI agents, a strange mass shooting at a mall, and the subsequent disappearance of two of their colleagues in a warehouse. Garth Ennis giving us some straight up horror again is very welcome and the tease of what occurs with an entire SWAT unit is enticing for what’s to come. Also, the art from Goran Sudžuka and Ive Svorcina is perfect.

| Published by AfterShock

All-New Wolverine #35 brings the series to an end. Over the thirty-five issues, plus an annual and a Generations special, Tom Taylor has delivered one of the most consistently excellent series from Marvel in recent years. The stories have been entertaining, the characters interesting, and contained a nice mix of action, humour, and a real sense of family between Laura, Gabby, and the real wolverine, Jonathan. It’s sad to see it end. But at least it goes out on a high note. This final chapter of “Old Woman Laura”, with wonderful art from Ramon Rosanas and Nolan Woodard, has encapsulated a large part of the fun of this series.

| Published by Marvel

Avengers #2 continues the over the top bombast and destruction of the first issue, actually raising it a bit higher as Ed McGuinness, Mark Morales, Jay Leisten, and David Curiel break out even more action. There is a bit of confusion in regards to Jennifer Walters’ current state, apparently she’s a dumb Hulk again, is built like her angry grey version, but green. It’s like she’s regressed, but there’s no explanation here. Other than that, Jason Aaron progresses the arrival of the Final Host nicely, with an interesting narration from one of the reasons why the Avengers originally came together in the first place.

| Published by Marvel

Avengers: Back to Basics #6 concludes this digital original series. It’s been fun. Peter David’s story has been highly entertaining, with two-issue sub-stories fitting into one over-arcing story involving Ms. Marvel. These past two issues dealing with that mostly head on as Kamala’s dealt with Kang. Also, the art has been great. The first two issues and these last two issues have had the art chores handles by Brian Level and Jordan Boyd, with some very nice page layouts and interesting decisions for panel composition.

| Published by Marvel

Ben Reilly: The Scarlet Spider #18 has some really nice art from André Lima Araújo. I love his style, basically a mix between someone like Martín Morazzo and Katsuhiro Otomo.

| Published by Marvel

Bloodshot Salvation #9 has Ray Fawkes join in on the writing duties for an excellent standalone story detailing the origin of Bloodhound deep in the trench warfare of World War I. Along with Renato Guedes wonderful art, this is a good story even if you’re not regularly a reader.

| Published by Valiant

Cable #157 continues to play with Cable’s history, past and future, as Nate Grey and a group of alterNates from various timelines are brought together at the end of time to face Metus. It’s interesting how Lonnie Nadler and Zac Thompson are mining Cable’s continuity, while still building new encounters and characters to fill in some of the holes.

| Published by Marvel

Cold War #4 peels back the curtain just a little bit, to give more hints as to what’s going on truly with the war and its pieces. We get some more insight into LQ, as well as mainly following Sath and Tikk this issue, bringing about some interesting control issues for Vinh. Christopher Sebela and Hayden Sherman have some interesting characters here and the overall future plot just more interesting.

| Published by AfterShock

Crude #1 jumps headfirst into the seedy, unsavoury, and harsh life of working in Blackstone. Interesting to see the rival “gangs” vying for control over the land and the people, as well as giving an insight into what it might have been like for Kiril here before his death. Gerry Brown’s artwork is perfect for this, dark, gritty, and feeling like the characters have walked for ages through mud and worse.

| Published by Image / Skybound

Daredevil #602 gives a good argument for why Mike Henderson is one of the best artists at Marvel right now. He’s great with action and talking pieces, making the various moments of horror, heroism, and humour in Charles Soule’s script shine.

| Published by Marvel

The Dead Hand #2...hoo boy, damn this is a good comic. Kyle Higgins, Stephen Mooney, and Jordie Bellaire are producing a taut thriller and mystery, tapping into Cold War era paranoia and espionage epics and creating something amazing here. The characters are great, fitting perfectly into the spy mould, but the revelations each issue as to what’s going on raise the stakes and storytelling to a higher bar. Also, the art is incredible. This is some great stuff.

| Published by Image

Death of Love #4 gives us a pretty epic confrontation between Philo & Friends and the army of Cupidae. There’s some humour as they work out who the players were in the first issue and set up for the final conclusion next issue. The art from Donal DeLay and Omar Estévez really shines this issue.

| Published by Image

Dry County #3 comes up with some interesting avenues for investigation as Lou continues to try to find out what happened to Janet. Rich Tommaso is mining the trappings of Miami Noir so perfectly, but what I absolutely love is how he’s incorporated even the comic strip into the narrative. It’s not just work, it’s also another tool in Lou’s arsenal as an amateur detective. Brilliant storytelling.

| Published by Image

Ether: The Copper Golems #1 is a very welcome return to the world of Ether from Matt Kindt and David Rubín. I’ve said before that Rubín’s art deserves many accolades and the original Ether series was one of the many reasons why, but one of the first in the North American market. It’s just wonderful. A mix of whimsy and detail, with amazing character designs and interesting page layouts, I just love the art. It also helps that Kindt more than pulls his own weight, adding more interesting wrinkles to Boone Dias’ personal life on Earth that makes his departures into the fantasy realm deeper. Also, there’s something sad and somewhat sinister when someone introduces themselves as “Lost”.

| Published by Dark Horse

Flavor #1 is a fascinating creature. It reminds me a bit of the beginning of Joe Keatinge’s other fantasy series, Shutter, somewhat in tone, with beautiful bright art from Wook Jin Clark and Tamra Bonvillain, but also that there seems to be a lot more going on than just what we see at first. That undercurrent has me hooked, but the surface is also rather captivating. Xoo and her dog, Buster, are endearing and the world of fantastical culinary chefs is something different for comics (Moonstruck and Brave Chef Brianna notwithstanding).

| Published by Image

Gideon Falls #3 is another issue full of oblique messages and hints at something insidious as Jeff Lemire, Andrea Sorrentino, and Dave Stewart continue to play the long game when it comes to the horror that’s lurking in Gideon Falls. So far it’s all about atmosphere and building up the characters, with some interesting bits of how Norton’s paranoia and obsessive compulsiveness can bring out some dangerous behaviour, regardless of whether or not he’s actually right.

| Published by Image

Hunt for Wolverine: The Claws of the Killer #1 is the third limited series, this one following Lady Deathstrike, Sabretooth, and Daken. This one also makes me question some of the status quo of the characters, what with Sabretooth acting more villainous (although there has been a darker turn in Weapon X of late) and Daken’s characterization currently being all over the map between this, Iceman, and X-Men Blue, but taken at face value, this story from Mariko Tamaki is one of the ones that makes the most amount of sense, and looks like it’s going to have an interesting plot on top of just the hunt for Wolverine angle. The art from Butch Guice, Cam Smith, and Dan Brown is really nice. It’s a bit scratchier than I’ve come to expect from Guice, but it suits the darker subject matter.

| Published by Marvel

Infidel #3 keeps the hits coming as Leslie’s dead, Kris is hurt but stable, and Aisha is randomly unconscious. Pornsak Pichetshote plays up the racist angle outright here, with Aisha’s friends and neighbours addressing it outright, and it looks like the anger, hate, fear, and division are feeding whatever’s going on. Plus, a notebook full of Goetic sigils and other stuff. Aaron Campbell and José Villarrubia again nail the creepy atmosphere.

| Published by Image

Infinity 8 #3 marks the end of the first part of this series and the first recursion loop. Dominique Bertail’s art is stunning, the designs for the different Kornaliens and all of the dead creatures throughout the necropolis are amazing. It’s also interesting in Lewis Trondheim and Zep’s story how the mystery is going to progress as time resets and the crew tries to learn what’s going on.

| Published by Lion Forge / Magnetic Collection

Infinity Countdown: Daredevil #1 is a one-shot detailing how the mind stone came into Turk Barrett’s possession. It’s the kind of fluffy thing that would usually be a couple of panels or a throwaway line in the main series of a crossover, but it’s not bad on its own. I kind of get the impression that all of Infinity Countdown will be better read as a whole, even if the event is just a primer for the forthcoming Infinity Wars. At the moments, it’s just a lot of little disparate pieces. Nice art, though.

| Published by Marvel

James Bond: The Body #5 is another great issue, working as both its own discrete story, with great art from Hayden Sherman and Valentina Pinto, and as part of the broader whole story that Aleš Kot has been serving up in this series. The approach of analyzing Bond from within, piece by piece, has been highly entertaining.

| Published by Dynamite

Kick-Ass #4 is a fairly explosive instalment of the series, with Patience essentially running into a brick wall and finally beginning to assess the ramifications of some of her actions. Still not the moral implications, but certainly the toll that her life of crime would have on her family.

| Published by Image

Lucy Dreaming #3 continues to be a fun read, as we find out a bit more about the world than Lucy dreams herself into and the science project that allows her and her friend Welsey access it. All while delivering a humorous take on the Buffy the Vampire Slayer. Max Bemis and Michael Dialynas are delivering something very imaginative with this series.

| Published by BOOM! Studios

The Mighty Thor: At the Gates of Valhalla #1 is a one shot that acts as a bridge between the latest volume with Jane Foster and the upcoming new series starring the original Thor Odinson. It features two somewhat connected stories by Jason Aaron, the first with art by Jen Bartel spotlighting the Goddesses of Thunder, Thor’s granddaughters from the future who were introduced early on in Aaron’s run, and a second illustrated by Ramón Pérez following Malekith’s plans for the War of the Realms, both nimbly coloured by Matthew Wilson.

| Published by Marvel

Ninja-K #7 puts together a kind of Unity 2.0 in order to put down the Coalition in Mexico. I love that Christos Gage is playing with the wider Valiant universe for this arc. Often times the stories from Valiant stand on their own save for crossover periods these day, and, while that’s certainly a strength, it’s nice to see that shared universe utilized in entertaining ways. Especially when it means more Doctor Mirage and Punk Mambo. Also the art from Juan José Ryp and Jordie Bellaire is amazing.

| Published by Valiant

The Punisher #224 brings Frank back stateside for the beginning of one hell of a reckoning in the wake of him donning the War Machine armour and the ramifications from Secret Empire. It does seem a bit hypocritical coming from the hands of Captain Marvel, though. There still really hasn’t been any concrete fallout on her own actions from Civil War II, which is somewhat disappointing. Still, Matthew Rosenberg gives us a good story here as Frank cuts an even more brutal swath through Marvel’s rogues gallery.

| Published by Marvel

Quicksilver: No Surrender #1 continues on from Quicksilver’s sacrifice run in the Avengers’ “No Surrender” arc with Pietro finding himself unstuck in time. Saladin Ahmed pens an intriguing script, but the real highlight here is Eric Nguyen and Rico Renzi’s art. Particularly Renzi’s colours. The stark contrast between Pietro, the colours of the energy demon thing(s), and the world devoid of colour is an impressive choice. It really makes the story come alive and hammers home the strangeness of the situation.

| Published by Marvel

Summit #5 begins the second arc with Federico Dallocchio taking over the art duties, while Amy Chu pens a story that more properly sets up Val’s current status quo and supporting cast at MIT. It’s an interesting approach, an astronaut celebrity professor superhero, and an decent set up.

| Published by Lion Forge / Catalyst Prime

Teenage Mutant Ninja Turtles #82 has more excellent art from Dave Wachter and Ronda Pattison. The story also gets a bit more interesting as the various factions in New York begin to move on plans for something more, even as Baxter Stockman betrays what happened to the Triceratons. Kevin Eastman, Bobby Curnow, and Tom Waltz also expand upon the Rat King, Toad Baron, and their family of immortals in interesting ways.

| Published by IDW

TMNT Universe #22 concludes the two-part story from Paul Allor, Mark Torres, and Ronda Pattison that puts the Utroms and Triceratons on a hard road to peace. It’s a good set-up, despite a foundation on lies, that makes me interested to see what happens next in this tenuous situation. There’s also a nice character piece back-up from Ross May, Chris Johnson, and Mark Englert with Leatherhead and his interpretation of freedom.

| Published by IDW

Usagi Yojimbo: The Hidden #3 has Usagi and Inspector Ishida inch closer to the truth as they continue to hunt the murderers of the two unknown ronin.

| Published by Dark Horse

Weapon H #3 is still much, much better than I ever would have expected a book about a Wolverine/Hulk mash-up character would be. Greg Pak, Cory Smith, Morry Hollowell, and Rachelle Rosenberg are doing an impeccable job here, as the over-the-top action continues with Clay facing an squad of Broodlings under the control of Roxxon, while his wife continues to investigate his “death”. There’s a kind of old school sensibility about this series and it’s being utilized to great effect.

| Published by Marvel

X-Men: The Wedding Special #1 gives us a trio of tales in advance of the wedding of Kitty Pryde and Colossus, including a retrospective of Kitty’s history, and one each for the bachelor and bachelorette parties. The retrospective is about what you’d expect from Chris Claremont, wordy and with a penchant to highlight some bits of his time with the character. Honestly, it’s good to see, with some nice art from Todd Nauck and Rachelle Rosenberg.

| Published by Marvel

X-Men Red #4 gives us a revelation of part of Cassandra Nova’s plan, weaponizing hate through a new form of nanite sentinel. Mahmud Asrar and Rain Beredo outdo themselves with depicting an impressive confrontation with Storm.

| Published by Marvel

Other Highlights: The Archies #7, Assassinistas #5, The Ballad of Sang #3, Barrier #3, Captain America #702, Cinema Purgatorio #14, Curse Words #14, Encounter #3, Jimmy’s Bastards #8, Mighty Morphin Power Rangers #27, Moonshine #10, The Originals: Essential Edition, Persephone, Riverdale #12, Ruin of Thieves #1, Star Trek: The Next Generation - Through the Mirror #3, Star Wars: Poe Dameron #27, The Wicked + The Divine #36, You Are Deadpool #3

Recommended Collections: The Ballad of Halo Jones - Colour Edition, Black Magick - Volume 2: Awakenings II, Black Science: Premiere Hardcover - Volume 1: Remastered Edition, Evolution - Volume 1, Hulk: Return to Planet Hulk, Infinite Loop - Volume 2, Mage - Volume 4: The Hero Defined - Book 2, Moon Knight - Volume 1: Crazy Runs in the Family, Paradiso - Volume 1: Essential Singularity, Rick & Morty - Volume 7, Star Wars: Poe Dameron - Volume 4: Legend Found, Summit - Volume 1, Turok - Volume 1, The Unsound

d. emerson eddy is not the one you know.

#This Week in Comics

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