The “DOOM” beats of Calypso’s spell weave throughout the story, pulsing from her hidden lair and continuing ceaselessly – to the point that they even seem to attack Spider-Man himself at times, as seen above. It’s disappointing, given how formally strong the rest of McFarlane’s work is – with “Torment” again being the highlight. It’s a big, awkwardly choreographed fight scene that uses its change in format as a change in format, rather than anything interesting. I dig formal experimentation, but in this case it just plum does not work.
It doesn’t help that the entire issue is presented horizontally, rather than vertically. It awkwardly crowbars Spidey into an ongoing X-Force story, and it feels detached from the rest of the book. “Masques” and “Subcity” both boast striking moments. Of these stories, “Torment” is the strongest, and “Perceptions” is the most interesting. When someone begins kidnapping homeless people, Spider-Man dons his black costume and delves into the darkness to learn why in “Subcity”.
#Spider man torment series
In “Masques” he tries to keep anyone from getting maimed and/or incinerated in a face-off between Ghost Rider and the demonically-empowered Hobgoblin.Īs Peter Parker, Spidey travels to Canada to cover a series of child murders and joins forces with Wolverine to discover the all-too-mundane, all-too-horrible truth in “Perceptions”. In “Torment” he fights the malevolent witch Calypso while zonked out of his mind by her hallucinogenic poisons and sinister spells as she seeks revenge for the death of Kraven the Hunter. Spider-Man doesn’t quite run a gauntlet in these comics, but he goes through A LOT. His Peter Parker is likable - he’s a deeply good guy, a veteran superhero happily married to Mary Jane Watson-Parker, his favorite person in the world, and he’s still struggling with the sharper, stranger parts of the duty he carriesĮven for a longtime superhero, the Marvel Universe can be a strange, overwhelming place. His plotting is similarly strong, pitting the web-slinger against a selection of foes and scenarios that feel true to Spider-Man as a whole while enabling McFarlane to layer horror into his superheroism – as he would do to a much greater extent with Spawn. His illustrations are excellent throughout, especially in the way they capture the rhythms of the stories he’s telling. McFarlane’s Spider-Man is a solid, striking superhero comic. Marvel Comics “Adjective-Less” doesn’t mean dull, even if it’s never quite “Amazing” or “Spectacular”
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