Ultimate Spider-Man #8

Recap
Review
Writing for children and teenage characters can be difficult due to the specific ways they speak, correctly and incorrectly. A common trap for writers is reducing the dialogue to a three or 30-year-old. An overemphasis on slang and colloquialisms can be disastrous for presenting a well-rounded, three-dimensional character, reducing them to an action figure with catchphrases or buzzwords. A great writer not only strikes the right balance but uses the way in which a child character speaks to indicate more about their character. That is proven in the way Richard Parker speaks in the current issue of Ultimate Spider-Man.
Ultimate Spider-Man #8 – written by Jonathan Hickman with art by Marco Checchetto, coloring by Matthew Wilson, and lettering by VC’s Cory Petit – puts the titular wall-crawler into a collision course with Tony Stark, the younger figure who’s responsible for Peter’s powers and suit. The Iron Lad has a quick and frank discussion with both Peter and Harry, affirming the former’s place in the upcoming fight with the Maker while informing the latter of his insignificance. This is contrasted with the c-plot of the issue, which sees Kingpin calling his five enforcers/regents – Black Cat (Walter Hardy), Mr. Negative, Kraven the Hunter, Mysterio, and Mole Man. Each one has control of a specific territory with loose ties to Kingpin but clearly comes into focus as Fisk’s Sinister Six.
Meanwhile, the bulk of the issue focuses on the Parker aspect of Spider-Man’s life, starting with an ominous note from the suit. After establishing a voice in the previous issue, the suit is now talking to Peter when it is not being worn. It spooks Peter as he’s on the way out to celebrate Richard and May’s birthdays. While Peter, Ben, and Jonah make a brief pitstop for the cake (and a cream cheese croissant sandwich), the duo reveals that The Paper is almost ready to open and offer a job to Peter. Instead of giving an immediate yes, the webslinger takes a beat to think about it, wanting to talk it over with MJ. They make it to the party where Jonah and Richard get a moment to bond over their feelings of being outsiders before getting won over by the promise of cake.
Hickman constructs an issue with four scenes that feature no fighting but maintains the book at one of the most engrossing thanks to the deep character work at play. The verbal sparring between Harry and Tony is an interesting dynamic that highlights the contrast between the Osborn heir and Peter. While Harry is active, Peter is reactive and that dynamic is only reinforced with the information dropped by Tony. The Maker’s list of superheroes and their threat level to his plans saw Peter at the top of the list, while Harry didn’t even make it on. Even still, Harry was the one willing to take action and start a fight against Kingpin, while Peter needed to be pushed into it with the spider as a catalyst. It’s a fascinating mirror to put Peter up to and only makes the narrative thrust feel richer in the long run.
Another bold benefit of the issue is its clear foreshadowing and seeding of the next few storylines for both the series and the wider Ultimate universe. The inklings of an Ultimate symbiote seem apparent in the scene with the suit talking, even utilizing a black speech balloon for effect. A possible schism or conflict between Peter and Harry comes into focus with the revelation of Harry’s threat level (zero) according to the Maker’s files. By then throwing in the introduction of the Sinister Six and the job offer for Peter, Hickman is clearly laying out both the civilian and superpowered tensions for the story going forward. Each one feels completely organic to the story and like a natural progression of the plot, slipping right into a comfortable rhythm of introduction and payoff.
That payoff of the Ben and Jonah runner is apparent as well, as the scene between the newspaper publisher and Richard is a standout moment for the issue. In eight issues, Hickman has managed to flesh out and make the supporting characters all feel three-dimensional in and outside of Peter’s orbit. When the teenager and Jonah have their conversation, the dialogue comes off as authentic thanks to the ground laid in the previous seven issues. Sure, the mechanic of getting Peter into a more proactive position with The Paper is important, but giving time and focus on Richard feels more weighty in terms of the interpersonal dynamics of the story. (If I can continue to make wishes for the Ben/Jonah b-story, then it would be Richard getting a summer job or internship with the duo and getting roped in the reporting hijinks).
Checchetto’s artwork for the issue is more bombastic when lingering in the quieter moments, letting emotion and expressions sell the vibrancy of this world. While it’s clear the artist has mastered the kinetic, perpetual motion of Spider-Man, this issue proves how much Checchetto thrives in the world of the ordinary person. While yes, these are beautifully rendered people, they feel natural to this world and around one another. As he parades out design after design, both in the Iron Lad scene and then when introducing the Sinister Six, a cohesive style emerges without feeling too samey. Just as Hickman pleasantly subverts and streamlines the broad strokes of Spider-Man continuity, so too does Checchetto organize the designs into rich, compelling visuals.
Much of that design groundwork leads right into the interesting blocking and paneling, which ensures that clarity and consistency come straight to mind while soaking in the art. The conversation between Jonah and Richard moves at a specific, slower pace than the Iron Lad one, stemming from Checchetto’s use of more panels in tighter angles. The Jonah conversation is primarily built around seven and nine-panel grids with a single wide panel, while the Iron Lad conversation sits in the wider panels that evoke cinematic stylings. Those specific choices put the book into a varying sense of pace and tone that captures a gamut of plotting.
A spectrum of visual and narrative textures rests in every part of the book, especially in regard to Wilson’s coloring. As the book opens in August, the soft browns and yellows of the Parkers’ apartments work to immediately establish the atmosphere of the city. It’s apparent that the intense heat of the summer is starting to give way to the fall and contrasts with the tones seen in the previous issues. The first addition to the palette of the issue is Iron Lad’s introduction, which brings a blue jolt to the story. That inclusion foreshadows the use of blue in the bakery and arcade, which is broken up by the continued heat of the summer. Wilson blurs the two together in the Fisk sequence, adding a splash of green for Mysterio, adding yet another layer to the wider visuals of the issue.
Final Thoughts
Ultimate Spider-Man #8 is another dynamic issue centered on conversations and machinations turning, drawing its tension from dialogue and character over action. Hickman imbues a real sense of depth to the entire supporting cast, making interesting beats pop thanks to combinations like Jonah and Richard, or Stark and Harry. Coupled with Checchetto’s beautiful, expressive linework, these conversations feel distinct and well-paced, offering a different approach in each chat. Layering that sense of vibrancy with Wilson’s wilting summer tones and energetic surges only reinforces the enthralling qualities of the book. Ultimate Spider-Man #8 may turn off readers looking for bombastic spectacle or knock-down, drag-out action but is a godsend for those interested in rich character work, clear thought in long-term plotting, and verbal tit-for-tats.
Ultimate Spider-Man #8: All the Pieces Matter
- Writing - 10/1010/10
- Storyline - 10/1010/10
- Art - 10/1010/10
- Color - 10/1010/10
- Cover Art - 10/1010/10