Stillanerd Reviews: Spider-Man vol. 2 #16 review

Miles Morales’ mom learning about him being Spider-Man causes repercussions, and also brings back a more grounded series.

More from Comics

Spider-Man Vol. 2 #16

Writer: Brian Michael Bendis

Artist: Oscar Bazaldua

Colorist: Justin Ponsor

Letterer: VC’s Cory Petit

Cover: Patrick Brown

Title Page Design: Idette Winecoor

One of Brian Michael Bendis’s continuing subplots during Spider-Man has been Miles Morales’s mother, Rio, wondering what secret her son has been keeping from her. Even Miles’s grandmother became involved, hiring Jessica Jones to conduct surveillance on him. In Spider-Man Vol. 2 #15, Rio not only learns her son is Spider-Man, but that her husband, Jefferson, also knew, and works as a S.H.I.E.L.D. agent. She didn’t take the truth well, and at end of the issue, she left both Miles and Jefferson. Thus the aftermath of Miles’s confession becomes the primary focus for Spider-Man Vol. 2 #16.

This isn’t the first time Rio learned about her son’s dual identity. She learns the truth in Ultimate Comics: Spider-Man Vol. 2 #22, telling Miles how proud she was of him as she died in his arms. (Of course Secret Wars, along with bringing Miles into the Marvel Universe, undid her death.) But this time, Rio doesn’t feel pride; she feels betrayed. And not only because Miles lied, but because he entrusted others with his secret over her.

It’s understandable behavior. Most mothers offer their children unconditional love, but still expect unconditional honesty in return. Rio is no different. Bendis, through a pivotal conservation between Rio and Miles, does an excellent job conveying her love for her son, but also confusion, disappointment, and sadness. It also allows for some cleverly woven in exposition, confirming at last Miles’s origin as Spider-Man remains mostly unchanged from his Ultimate Marvel Comics origin.

Credit: Oscar Bazaldua and Justin Ponsor (Marvel Comics); from Spider-Man vol. 2 #16

…Bendis [artificially prolongs] the estrangement between Miles and Rio more than necessary. That said, this same estrangement still drives the rest of the plot.

But Bendis falters by providing Rio with an additional motive—as a teenager, she saw a movie about a woman who finds out everyone in her life actually despises her. This so emotionally scarred Rio that she now fears she’s become just like that character from the movie. Seriously. Aside from being superfluous, ridiculous, and lacking subtlety, it’s an artificial method for Bendis’s prolonging the estrangement between Miles and Rio.

That said, this same estrangement still drives the rest of the plot. As Spider-Man, Miles later pursues a mugger with reckless anger, tearing up a biker bar in the process. Taking out one’s frustration while in costume is something Peter Parker has experienced before; but this is the first I can recall Miles doing so. It’s a strong reminder how powerful (and frightening) Spider-Man is when not holding back, and the two-page spread showing Miles realizing what he’s done is highly effective in that regard.

Credit: Oscar Bazaldua and Justin Ponsor (Marvel Comics); from Spider-Man vol. 2 #16

Bendis also returns to other subplots he’s left lingering on the shelf. Specifically, Black Cat continuing to consolidate power as New York’s “Queenpin of Crime.” In this case, starting a turf war with an enigmatic, unseen rival known only as “Mister D.” I’ve never cared for Felicia Hardy’s heel-turn into an unrepentant crime boss, and this issue hasn’t changed my mind. At least future solicits promise her path will cross with Miles’s again.

More interesting, though somewhat predictable, is Ganke Lee developing a crush for Danika Hart, the Spider-Man fan-girl and YouTuber. There’s a strong implication here that Danika is taking advantage of Ganke so she can get exclusive scoops for her vlog. And although Ganke’s careful not to reveal anything that could lead her back to Miles in this issue, let’s not forget he did blow it when he met Fabio Medina, a.k.a. the former X-Man, Goldballs.

Credit: Oscar Bazaldua and Justin Ponsor (Marvel Comics); from Spider-Man vol. 2 #16

…after the Civil War II tie-ins and the crossover with Spider-Gwen, it’s nice having this Spider-Man comic back on the narrative terra firma where it belongs.

Spider-Man Vol. 2 #16 also sees a change in artist, and it’s easy seeing why Oscar Bazaldua got the assignment. His style so closely resembles Sara Pichelli’s that there were times, particularly during the opening pages, where I thought his listing in the credits page was a mistake. Only towards the comic’s end do you start seeing notable differences, in particular the thick lines around his figures. This gives them a “cut-and-paste” appearance, lessening the illusion of depth as a result.

Bazaldua makes other distracting artistic choices. His Hammerhead looks far too handsome, and his Miles far too gangly, with his neck giving a new meaning to the term “pencil neck.” He does illustrate convincing facial expressions and body language, however. And his minimal inking allows colorist Justin Ponsor a wider range for realistic gradations. It’s a utilitarian, but crisp, vivid style, servicing the script, and gives concise indications of what’s happening on panel.

All this makes Spider-Man Vol. 2 #16 a slightly above average comic, and a return to form for Bendis. His narratives are always more focused the closer he gets to “street level,” which, of course, perfectly suits a superhero like Spider-Man. Such is the case here. And after the Civil War II tie-ins and the crossover with Spider-Gwen, it’s nice having this Spider-Man comic back on the narrative terra firma where it belongs.

Stillanerd’s Score: 3.5 out of 5

Credit: Oscar Bazaldua and Justin Ponsor (Marvel Comics); from Spider-Man vol. 2 #16

Next: Spider-Man comics solicitations for July 2017

Stillanerd’s Nerdy Nitpicks (possible spoilers)

Geez, Felicia! I know you’ve become evil for “reasons,” but couldn’t you back off from that guy just a little? You look like you’re ready to eat his nose.
“That should have Mr. D pooping out of his A.” And that joke, Mr. H, was about as D and U.
“Isosceles?” It’s a triangle in which two of its sides are of equal length, Mr. Morales. Time to watch some Khan Academy videos.
You folks realize I won’t be able to rest until I figure out the name of the movie Rio saw that “haunted” her, right? Unless, of course, Bendis made it up just for this story.
Oh, hi there, Ironheart! What are you doing here? Besides making a random appearance just because Bendis also writes about you over in Invincible Iron Man?
“He’s so rude.” Not exactly how I’d describe a mugger, but okay.
Naming the bar the mugger runs into “Romita’s” is a nice Easter Egg, a reference, of course, to John Romita Sr., one of Amazing Spider-Man‘s most notable and influential artists.
“You don’t look like a Ned.” Ha! Someone’s a little miffed over Peter’s friend Ned from Spider-Man: Homecoming being Ganke in all but name. Right, Bendis?

Home/Comics