I have on several occasions mentioned the lack of new characters from either of the Big 2′s central settings/universes, and having to go back to the Image founders (though Bendis, along with Gaydos, do have Jessica Jones–and Alias is rather notable) for what seems like the last group that have stuck and even supported successful titles. There have, however, been some noteworthy reclamation projects at Marvel in particular. Characters like the former tandem of Luke Cage and Iron Fist have become terrific and significant characters, and a Jamie Madrox is arguably the most consistently written mutant character of the last decade. The Agents of Atlas, Bucky and I’d argue even a major like Iron Man and you have what’s an optimal use and updates of existing properties. Brian Michael Bendis has to his credit another of the remodeled character originating from the 70s in Spider Woman (aka Jessica Drew), and even for a writer who works on Avengers and Spider-Man title this project has to be especially satisfying for him.
This may (or may not) come off as a bit odd in saying, but there is something compelling about the most consistently bankable creator in the field over the several years helming an ongoing solo title of an in-continuity female character at Marvel Comics. I’m interested in how well the titles does if Bendis does what he do. It’s the #1 gun at the#1 publisher, and if for no other reason than this rather unique situation, the series is intriguing to me.
I believe that S.W.O.R.D is a Joss Whedon creation, or was at least a concept he introduced and is essentially Marvel’s Men in Black, except that none of the tourists are welcome. The story has its baggage that most readers already know about, but this introduction and concept are very straightforward and familiar: Highly trained but wandering individual gets picked up by clandestine organization offering something to direct anger at and kick ass.
My first inclination is to to suggest that Maleev’s art would be polarizing, but as I went through the issue I found that I was largely indifferent to it. You could read the dialogue and narration and lose no sense of the story. This is something Bendis is customarily proficient at, and it’s a skill that has served him well, even if it truly is a one size fits all tool. Bendis can get you into any story with any character. An issue only arises when you realize—if you even care– that they are all essentially the same person speaking with same voice. What I’ve always felt made Bendis is self-awareness. As a reader aware of my own preferences I am keenly cognizant of the fact that as I read another launch by Bendis, I should be tired of his schtick. Yet, I keep finding myself in a place where I’m acclimated to the idea that he’s the new baseline. Beyond just being acclimated, I dare say I’m leaning toward some sense of thankfulness, for it as while I don’t think Bendis raises the ceiling, he does something that is perhaps more of a feat—he has raised the floor. It’s true that this could easily be a Daredevil (indeed it probably has been) comic. It could feature any number of non-super hero characters. I think that the possible pitfall present in Spider Woman is the very reasons that something like Dark Avengers has succeeded beyond what had to be even Marvel’s expectations. Bendis excels with teams because he is given continual opportunity to hear himself via other featured characters. In a team setting he more easily identifies and break his own uniformity in voice. This is why you have unnecessary, off-hand, yet somehow entirely welcome Bendisism like a Doctor Strange noticing Mockingbird at the table and taking a second to acknowledge her presence. When he doesn’t have this, his books tend to read like any crime story (in the stereotypical sense), and no matter what film we see or what book we read, that central narrator’s voice is always—at least at first– familiar. In turn, Maleev’s art tells the same story, but as if not always spoken by the same person. A part of me wants to give credit for may have been a purpose depiction of a wandering self-admitted “not well” psyche, but for now I only consider the possibility. There are some panel instances where I honestly can’t identify (forget about relaying) what exactly is occurring, but someone else who will claim to be more observant than me will tell you that’s art. Maleev, remains typically adept at creating mood, tone, and pacing. The mind of Jessica Drew and the world she sees is fractured. The reflection she sees—how the world views her– is difficult to reconcile. This world is Maleev’s wheelhouse.
I feel slightly weird or at least a victim of irony coming off of reading and offering thoughts on this issue when just remarking wannabe noir soliloquy–the in-tights (per)version in my review of this month’s issue of Guardians of the Galaxy, but I also do not feel trapped by them. I’m neither turned off by this issue, nor particularity excited about it. I actually have a hard time buying that it’s superior to the first issue of something like G.I. Joe: Cobra, yet I (don’t we all?) feel like it should be. It feels like “Wolverine” is mentioned one too many times and comes of as the worst of crutches—an entirely unneeded one that seems to overcompensate. We see and don’t need the reference to be told.
Instead, Spider Woman#1 is merely pretty good, though I find myself leaning toward being optimistic because it does give Bendis this avenue to step out of the big show that he has been the architect of for the last couple of years, while still not removing himself from the realities of that creation. It also crosses my mind that this title and its FU “Spider-Man” appearance has an odd parallel and call back to the original notion of a Jessica Drew starring Alias.
Sound footing from the writer who laid the groundwork and an artist who knows the ledge.
