Writer: Dan Slott Artists: Ty Templeton(p), Nelson & Tom Palmer(i), Sotocolor(c) Publisher: Marvel
In this issue of Spider-Man/Human Torch, Dan Slott displays a maturity of writing that was so evident on his run of Batman: Gotham Adventures. He seems now to be the number one man to honor the Gods of the Joke, but Mr. Slott also can write very moving words and isn't one-note vaudeville relief when it comes to characterization.
This story takes place in the Stan Lee, John Romita era of the Wall Crawler when Gwen Stacy had been killed through a horrible accident caused in an effort by Peter to save her life. Since then, Peter always returns to the bridge and sans mask talks to Gwen Stacy.
Mr. Slott and Mr. Templeton immediately fill this scene with the pathos and dignity that it deserves, but damn, Michael J. Straczynski to hell. Peter states "Doc Ock...Get this I had to stop him from marrying Aunt May. That's just so...ludicrous it should be funny, right?" I kept thinking, "Brother, you think that's bad? Wait until you find out about Gwen Stacy's nocturnal snuggle-bunnies with the Green Goblin." I didn't want to think this, but it just popped into my head. Slott and Templeton do a very good job of making me forget Straczynski's crimes. After Peter leaves the bridge, I was able to push the unnecessary unsavories to the back of my mind.
Slott and Templeton quickly turn to the comedy of human observation as Spidey accepted by Reed Richards as an intern--a sly way to bring Spidey in the vicinity of the Torch--watches the Torch go down in flames as he tries to make time with the good, curvaceous Nina Pushnikov. At this point, Crystal, like her Inhuman cousins, for health reasons has left earth.
Pushnikov's role in the book takes a very unexpected turn. I predicted that she and Peter would hit it off, and Slott very cannily plays up conversation and interaction that reinforced that idea. What comes on page six surprises but makes sense.
The story revolves around Reed Richards' new invention which sonuvagun has some real science behind it. Nice to see somebody picks up a book and researches their stories once and awhile. The device attracts one of the wacky villains that were classic to the Marvel Universe. Though hard to take seriously, this character still has plausible motivation and his powers pose a credible problem for the Torch and Spidey to solve.
Reed's invention blends nicely with the birth of the Spider Buggy, one of the silliest ideas in all of Spider-Man's oevre and one of which thankfully unceremoniously flushed. Slott does not just use the Spider Buggy as a core for which comedy can orbit. He uses it as a historical means to bring Spidey and Johnny into buddy-bonding mode. In these scenes they can be themselves as they talk through their problems and through discussion accept them to move on with their lives. They also talk like guys talk. Guys do not usually emote. Slott keeps their conversation very terse and very realistic. The Torch for instance does not know quite what to say when Spidey reveals Gwen's death and tries to change the conversation to lighter fare. He does not offer advice like Dr. Phil would have.
Ty Templeton melds the John Romita Parker look to his own artwork and with simple lines succeeds in outdoing flashy artists that detail too much or can't be bothered to study anatomy and the body in motion. Templeton, another Batman alum, seems to relish the rich tale by Slott. He gets to touch upon all of Peter's emotions and express them with an expert ease. He toys with the surreal that was so often found in the plots of the period's books. He puts the Spider Buggy through its topsy-turvy paces, and he meets challenges such as depicting the villain hailing his ride.
Thanks to Slott and Templeton Spider-Man/Human Torch is the best of all the webbed wonder's titles. Light, funny but poetic, the story is also written with intelligence and illustrated with care.
