Civil War Unmasked #2: A Longer Talk

Civil War Unmasked #2 is a Spider-Man comic book. It takes place within the context of Civil War, but unlike the previous issue, this is a character oriented story rather than a big picture plot oriented one.

Readers familiar with this era of Spider-Man may notice what seem to be winks toward the events of “Back in Black” and “One More Day.” It’s unclear whether that was intended or if Gage has some opinion on the character in relation to these stories. But in any event, Gage’s writing here feels very much in keeping with J. Michael Straczynski and Peter David’s tones at the time.

Conversation between Peter, Mary Jane, and Aunt May did take place in the Amazing Spider-Man leading up to Peter’s unmasking in Civil War #2. In that case, the discussion was heavily tilted toward safety and security–what could happen to Peter’s friends and family once Spider-Man’s enemies learned his identity. Gage expands it somewhat in Civil War Unmasked #2, especially on the subject of employment benefits for Peter and his family.

There is an internal monologue for Peter early in the issue when he is at school and considering whether he could still do this job that he enjoys if he were outed as Spider-Man (he is a teacher during this period). This is a brief moment but compelling.

Civil War Unmasked #2’s emotional thrust is Peter and Mary Jane’s brief discussion of whether the kind of benefits that would come with unmasking could allow the couple to one day start a family. This sequence unfolds over just two pages, but it provides a deeply personal justification for Peter to unmask which wasn’t present during Civil War. Gage isn’t exactly fixing a problem, but these two pages do wonders for reinforcing the decision Peter made. Indeed, something so important to the character could be seen as justification for Peter staying on the side that he did for as long as he did.

Salazar’s art is key to this issue. Gage does a good job conveying the emotion behind Peter, Mary Jane, and May’s dilemma in his dialogue. It’s all sold very well visually, especially in the case of Peter who looks conflicted in repeated closeups throughout the issue. Salazar uses small lines to add nuance to features and general expression. This is often the case with a furrowed brow and the concern and ambivalence on Peter’s face that goes with it.

That persistent ambivalence on Peter’s face is contrasted with Mary Jane who maintains a more positive and optimistic appearance throughout. Salazar draws wider eyes for her than for Peter. Linework on Mary Jane is also more conservative. She has a much softer countenance than Peter. The contrasting appearances play well into Gage’s use of the possibility of starting a family as justification for Peter’s decision. The decision between them feels like a joint one.

Coloring throughout the issue is soft and feels naturalistic. No doubt part of this feeling owes to the ordinariness of Peter, Mary Jane, and May walking down the street or through a park or in a high school. Hollowell still gets nice contrast thanks to the color choice of the characters’ apparel, and as a result the trio always pops off the page a bit. The overall coloring works well for the issue’s tone.

A comic that is in essence one long conversation is bound to be text heavy. Lanham does a good job keeping it all well organized and as out of the way of all of the characters as possible. That’s especially key here where facial details sell the most of the emotion behind the entire issue.