Ultimate Spider-Man #9: BREAKING: Jameson Needs Less Pictures Of Spider-Man

In between the moments of a slow-burn story, it can be frustrating to experience a seeming lack of momentum. Irrelevant or wastefulness is on the mind when it comes to scenes, and the absolute sin worst a story like that can commit is killing time between big beats. What’s worth remembering is the big picture, and reevaluating the ebb and flow of the story from the widest aperture possible. While a story may partake in that aforementioned sin, the best refutation is a carefully unfolding plan that uses the negative space in the tapestry of the story to enrich the moment-to-moment experience. 

Ultimate Spider-Man #9 – written by Jonathan Hickman with art by Marco Checchetto, coloring by Matthew Wilson, and lettering by VC’s Cory Petit – resumes the ongoing story of the older wall-crawler as he continues to work with Harry and Dr. Octavius to explore workarounds for the Stark Tech suits. While the super science is in full swing at Oscorp, Ben, and Jonah are lamenting their success to Mary Jane, claiming that the buzz around Spider-Man’s exploits is sucking the oxygen from real reporting. They have solid leads into the bigger stories of corruption thanks to the intel given to them by Robbie Robertson, their mole inside the Daily Bugle. 

Mary Jane reminds the grumpy duo of the results of rising tides, signaling the place that The Paper is starting to occupy in the current New York landscape. As the reporters return to their story, the book jumps back to Peter and Harry after upgrades (or tweaks, in Peter’s case) to their suits just as the Black Cat strikes. A quick fight and some witty banter move the story along, setting up the next battle between Spider and Cat, hinting towards a grudge and Christmas tension for the Osborn and Parker families. 

Hickman’s scripting for the issue understands the perfect balance of hitting the gas versus coasting on the steadiness of canon. Putting the forward momentum into the big spectacle scenes with Peter and Harry serves the ongoing motion of the story while the Ben and Jonah plot can simmer more. That story feels like the true spine of the title, or at least the first few vertebrae of it, as every clue uncovered and story published is building to the Kingpin’s downfall. Hickman may have a massive twist coming related to the duo but as of this issue, there’s a sense that these two may get the finishing blow to the shadowy hand of New York. That would be the best consulate to give the dynamic duo their own book set against the backdrop of this world. 

The scenes of the two veteran newspapermen start at a ten but are elevated even further when infused with MJ’s presence. Not only does she get to lead the detail-focused reporters to the bigger picture, but MJ also demonstrates her aptitude for the media spins her chosen career is built on. It’s an excellent synthesis that fleshes out the character while keeping her integral to the ongoing narrative, offering the platonic ideal of what the Spider-Man b-plot and supporting cast bring to the book. 

Much of the energy present in both sides of the plot is a direct result of Checchetto’s clear excitement for the material. Few artists can elevate and supplant their stunning action sequences with dialogue pages set in a bar and cramped office but Checchetto manages it to no shock. In the fight scene between Spider-Man and Black Cat, there’s a sense of fluidity and grace to the action, evoking the cliche of a dance rather than a brawl. It’s a perfect visual introduction to the way that Hardy carries himself, as the panels and pacing of the page give way to that eloquence. 

Putting those beats into juxtaposition with the Ben and Jonah moments, a clear differentiation in block and composition reveals itself. Checchetto focuses on utilizing a series of tight close-ups and medium shots to invite the reader into this inner circle. It’s a character-driven approach that orients a reader into the emotions and perspective of Ben, Jonah, and MJ, making clear they have as much importance in these scenes as Peter does in the action moments. That sense of page layout continues into the second Ben and Jonah scene in their office, as the duo become comfortable in the research being conducted. 

There’s a retention of the close-ups and building panels tightly around the two, but what stands apart is the use of the wide. Adding a cinematic layer to the four sections found on the page through those panels is a flourish that elevates the importance of the conversation. Not only does Checchetto imbue a sense of importance to the story the two are following but he makes clear that reading files is as thrilling as punching. That is a fundamental ethos of this run, spelled out clearly in a single page occurring nine issues into the run. 

Without Wilson’s inspired coloring, some of those aspects may be lost in translation, with the palettes reflecting both the warmth of enlightenment and the soft hues conveying Black Cat’s grace. The adjective that best fits both colorscapes is soft, speaking to the respective nature of the two plotlines. The softness in the Ben and Jonah tones, which are sky blues, pinks, beiges, and oranges, reflect the two men operating in their element. Even if the quarters are tight, and the attention is not placed correctly, the two are where they need to be, ready to break a vital story. 

Elsewhere, Spider-Man’s colors include a brighter tone of pink with splashes of gold, flashes of red and orange, and hints of purple. The colors echo the ones seen in Ben and Jonah’s scenes but instead of indicating a familiarity, the palette in Spider-Man’s scene points to the unknown. As Peter and Black Cat trade moves, the shifts in color highlight the efficiency of quick bursts and fluidity of actions, selling the dance metaphor over a typical fight. The beauty in the colors is reflected in the dialogue as each shift in tone corresponds with a bit of information learned or an action traded between the hero and antagonist.