Comics

Spider-Man's Tangled Web #14: 'The Last Shoot': A Jump Over the Top Rope

A seemingly throwaway tale from the early days of Spider-Man's career. Writers Brian Azzarello and Scott Levy hold back on the lead character's appearance until page 21 of a 22-page story.

It is the kind of neo-noir that fans of writer Brian Azzarello have come to love. That 'essential inner darkness' that Frank Miller speaks of in his introduction to Criminal: Lawless. 'Not many people really understand what makes a crime story tick. Like they did with the early Batman movies and with nearly every attempt at film noir since movies went color, they dress it up dark, even murky, but the essential inner darkness that a good crime yarn exposes, relishes in, releases never occurs to them'. But Azzarello has that inner darkness in spades, and with Scott Levy he doles it out by the bucketful in the seemingly throwaway tale, 'The Last Shoot'.

Spider-Man's Tangled Web, the series in which the Azzarello/ Levy scripted 'The Last Shoot' appears, was meant to tell the stories of ordinary New Yorkers, and how their lives were touched by the emergence the superhero. Spider-Man saves lives, but what of those lives he actually saves, the book sought to explore. An ensemble book in the truest sense, Tangled Web saw writers submitting short stories or storyarcs that ran only a few short issues. Each issue of Tangled Web would have at least one backup story. And Spider-Man himself would only be glimpsed at.

Azzarello's creative genius for neo-noir fiction sets him up for apparently committing Tangled Web's only cardinal sin; by page 20 of the 22-page lead story, Spider-Man has still failed to appear. But the tale of small-time crime and petty, workaday woes that is wrestler (or 'shooter', a wrestler who wrestles for real) Joey Hogan's life proves so arresting that readers almost forgive Azzarello and Levy for the let-down. Does it really matter that Spidey doesn't show? Wasn't this a good story anyhow?

But of course, Spider-Man does show. This is the moment of his birth. When a young, brash, reckless kid endowed with incredible powers uses it to entertain and earn a paycheck. This is the darkest moment in Spider-Man's history. A moment when he was at his most vulnerable. When he was perhaps most easily seduced by cheap applause. The impoverishment of Crusher Hogan's world threatens to swallow him whole. How many lives may have gone unsaved? It would eventually take the death of his foster-father to show Spider-Man the path of responsibility he would walk later in life.

But staring across that essential, inner darkness of a whole world poised like a knife-edge to the throat of a hero who can save it, Crusher Hogan's words speak to the indomitable in each reader. 'The man that beat me…? Would be a hero'.

So far J. J. Abrams and Rian Johnson resemble children at play, remaking the films they fell in love with. As an audience, however, we desire a fuller experience.

As recently as the lackluster episodes I-III of the Star Wars saga, the embossed gold logo followed by scrolling prologue text was cause for excitement. In the approach to the release of any of the then new prequel installments, the Twentieth Century Fox fanfare, followed by the Lucas Film logo, teased one's impulsive excitement at a glimpse into the next installment's narrative. Then sat in the movie theatre on the anticipated day of release, the sight and sound of the Twentieth Century Fox fanfare signalled the end of fevered anticipation. Whatever happened to those times? For some of us, is it a product of youth in which age now denies us the ability to lose ourselves within such adolescent pleasure? There's no answer to this question -- only the realisation that this sensation is missing and it has been since the summer of 2005. Star Wars is now a movie to tick off your to-watch list, no longer a spark in the dreary reality of the everyday. The magic has disappeared… Star Wars is spiritually dead.

Keep reading... Show less
6

This has been a remarkable year for shoegaze. If it were only for the re-raising of two central pillars of the initial scene it would still have been enough, but that wasn't even the half of it.

It hardly needs to be said that the last 12 months haven't been everyone's favorite, but it does deserve to be noted that 2017 has been a remarkable year for shoegaze. If it were only for the re-raising of two central pillars of the initial scene it would still have been enough, but that wasn't even the half of it. Other longtime dreamers either reappeared or kept up their recent hot streaks, and a number of relative newcomers established their place in what has become one of the more robust rock subgenre subcultures out there.

Keep reading... Show less
Theatre

​'The Ferryman': Ephemeral Ideas, Eternal Tragedies

The current cast of The Ferryman in London's West End. Photo by Johan Persson. (Courtesy of The Corner Shop)

Staggeringly multi-layered, dangerously fast-paced and rich in characterizations, dialogue and context, Jez Butterworth's new hit about a family during the time of Ireland's the Troubles leaves the audience breathless, sweaty and tearful, in a nightmarish, dry-heaving haze.

"Vanishing. It's a powerful word, that"

Northern Ireland, Rural Derry, 1981, nighttime. The local ringleader of the Irish Republican Army gun-toting comrades ambushes a priest and tells him that the body of one Seamus Carney has been recovered. It is said that the man had spent a full ten years rotting in a bog. The IRA gunslinger, Muldoon, orders the priest to arrange for the Carney family not to utter a word of what had happened to the wretched man.

Keep reading... Show less
10

Aaron Sorkin's real-life twister about Molly Bloom, an Olympic skier turned high-stakes poker wrangler, is scorchingly fun but never takes its heroine as seriously as the men.

Chances are, we will never see a heartwarming Aaron Sorkin movie about somebody with a learning disability or severe handicap they had to overcome. This is for the best. The most caffeinated major American screenwriter, Sorkin only seems to find his voice when inhabiting a frantically energetic persona whose thoughts outrun their ability to verbalize and emote them. The start of his latest movie, Molly's Game, is so resolutely Sorkin-esque that it's almost a self-parody. Only this time, like most of his better work, it's based on a true story.

Keep reading... Show less
7

There's something characteristically English about the Royal Society, whereby strangers gather under the aegis of some shared interest to read, study, and form friendships and in which they are implicitly agreed to exist insulated and apart from political differences.

There is an amusing detail in The Curious World of Samuel Pepys and John Evelyn that is emblematic of the kind of intellectual passions that animated the educated elite of late 17th-century England. We learn that Henry Oldenburg, the first secretary of the Royal Society, had for many years carried on a bitter dispute with Robert Hooke, one of the great polymaths of the era whose name still appears to students of physics and biology. Was the root of their quarrel a personality clash, was it over money or property, over love, ego, values? Something simple and recognizable? The precise source of their conflict was none of the above exactly but is nevertheless revealing of a specific early modern English context: They were in dispute, Margaret Willes writes, "over the development of the balance-spring regulator watch mechanism."

Keep reading... Show less
Pop Ten
Mixed Media
PM Picks

© 1999-2017 Popmatters.com. All rights reserved.
Popmatters is wholly independently owned and operated.

rating-image