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The Amazing Spider-Man (1963-1998) #361
Amazing Spider-Man (1963-1998) #361
Carnage unleashed! Criminally insane inmate Cletus Kasady bonds with a symbiote to fulfill his violent urges. Witness Spider-Man’s first battle against Carnage, ending in bloodshed!
- GenresComicsSpider ManMarvel
24 pages, Kindle Edition
Published February 9, 2016
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Displaying 1 - 9 of 9 reviews
April 16, 2022
These single issues are so hard to talk about because you never want to give too much away, but I've read a comic already this past month that talked a little about Carnage's origin, but it was great actually seeing more of him on page through older comics. The end of this one was particularly interesting because Spider-Man is forced to rely on someone that he doesn't necessarily want to deal with. I won't say who that individual is because of spoilers, but I will say that with each new comic I read everything is beginning to make sense and I'm gaining a little more clarity on the King in Black event.
August 12, 2025
4/5 Stars - "Savage Genesis"
June 3, 2023
Emotive through the careful framing of dialogue. Minced with quick but effective action. Mark Bagley, the most proficient Spidey artist, has some of the most impressive breakdowns you’ll see in any superhero story. Problem is, from Amazing #351 to #415 there’s not much of a story to show.
Out of the big three—McFarlane, Larsen, Bagley—Bagley is the most adroit at crafting a consistent image that pairs well with a good storyteller. Evident when paired with Brian Michael Bendis in Ultimate Spider-man; through banter and teenage operatics in what mostly fluctuates between high-school and street-level drama. Michelinie, on the hand, misses the opportunity to execute on some of his own interesting premises.
The pair starts off strong. Bagley’s first issue of ‘Amazing’ involves penciling an enjoyable team-up alongside New Warriors’ Nova. Spidey takes the young rocketeer under his wing, tackling Life Foundation’s version of Metal Gear, the Tri-sentinel. Amazing #351 is a surprisingly compressed issue for a two-parter. With what begins with MJ offering up a better night-out, only for our hero to turn down his wife’s offer. The final panel bookends where the story begins. As our hero swings-off deflated, “I learned my lesson. Next time I go dancing.”
After a forgettable 6 issue run, written by Al Milgrom, about crappy sidekicks, Michelinie returns strong with Amazing #361. ‘Savage Genesis’ might just be the greatest single-issue of Amazing from the early 90’s. The introduction of his most horrifying foe. Birthed from Venom then infecting Eddie Brock’s serial killer cellmate, Cletus Kassidy. The red symbiote unearths a literal bloodthirsty massacre which rampages across New York—Venom’s sibling Carnage. Here, Peter does some surprising good detective work, concluding with a mentally tattered image of Cletus returning to the boarding school he once burned down as a child. Self-babbling in all his red-headed glorious-madness, Cletus hugs his favorite stuffed bear.
CARNAGE RULES
Bagley pencils one of the best action sequences. On par with the Styx and Stone fight above Central Park in Amazing #309. And the Venom and Spidey chase through the meatpacking district in Amazing #346.
On the surface, Michelinie has some decent premises—MJ’s smoking addiction, the return of Peter Parker’s parents. But with conclusions reminiscent Lee and Ditko’s golden-age silliness, any momentum established by an interesting mystery, is too quickly cut-off by simple buffoonery. Distilled technical wizardry, with a willingness to experiment in different forms, Bagley’s pencils surprisingly keep on evolving even without any necessity to do so. Cutting back on the extreme styles that would define the 90’s; without regressing to the flat, bland archaic-gymnastic poses of the past, Bagley balances the perfect median between restraint and boundary pushing. Michelinie, on the other hand, throws to many filler action sequences against one too many high-stake affairs that never truly make sense: Smythe using his fellow asylum inmates as captive robot controllers, Peter’s parents reveal as robots; all interesting twists that resolve in only the most ridiculous way possible--sometimes with literal three Stooges’ level slapstick. For instance, Spidey fights a robot with multiple personality disorder who annoys itself so much it attacks itself; and then Spidey accidentally slips on his own webbing, bringing down Secret Agent Spaddock, who is actually working for Hydra, in the process. Just some of Michelinie's more finer moments before finally ending his 86 issue run of Amazing with the wonderful highlight of Vulture using the The Juvinator Gauntlet on Peter’s robot mother to obtain his youth again.
Amongst all this comedic muck is a repeated cycle of Venom team-ups where the reader is constantly reminded that it (the symbiote) doesn’t kill innocents. From there, we are dragged into one of the most hype, most disappointing Spidey-only event: Maximum Carnage.
Maximum Carnage doesn’t come close to the attitude and overall fun of the Sega Genesis game sharing its name, even as it starts out with plenty of promise. In Spider-man Unlimited #1 (DeFalco, Lim) we are introduced to Ron Lim’s “ligne claire’ subjects, and light neutral illustration in the style of Aeon Flux. Cletus Kassidy returns, breaking out of his gurney, slaughtering the guards who mock him, then finding his lover, Shriek, to ravage any sanity left in the city. The evil duo harness quite the mutated love-story. The artists make the event, mostly, enjoyable to look at. Besides Buscema, whose antiquated penciling borrows too heavily from the golden age and stands out for all the wrong reasons.
From Web of #101 (Kavanagh, Saviuk) to Spider-Man #35 (Dezago, Lyle) the two love bugs gather their own team to reckon with. Demo-goblin, Doppelgänger, and Carrion all join 'the family.' Using Shriek’s power of hate, the Carnage family are able to turn the citizens of New York mad with rage. A tug of war between good and evil erupts; and a quarter of the way in the already over-bloated 12 issue series, Maximum Carnage gets repetitive fast.
The formula: Carnage kills a whole bunch of people. Spidey and team get their butts kicked--but besides the death of Dagger, nothing of any note. Rinse and repeat until we get Spider-Man going back on his own order to kill Carnage in Spectacular #202 because well…killing is always wrong; and then DeMattais puts this tireless routine out of its misery when Deathlok uses the literal love ray on the citizens of New York in Spectacular #203. Why? because love always conquers hate. Oh yeah, and Venom redeems himself once again, throwing himself into a burning building to finish off his more evil sibling in the final issue (Unlimited #2). A sacrifice that seems to go over everyone’s head.
Post ‘Maximum Carnage’, great art is tempered by Michelinie's continual sloppy story-telling. Marvel realizes this, and in response, editorial replaces the writer of Amazing with ‘Kraven Last Hunt’ fame, JM DeMattais.
With JM Demattais coming off a strong finale to his run on Spectacular with the very poignant Spectacular Spider-man 200, 'Death of Harry Osborne.' 'Amazing' finally has a very serious, un-comedic story-teller to pair with the talented story-illustrator. Surprisingly, the next 15 issues will actually fair worse than Amazing ever has post-Secret Wars.
The main title is quickly surpassed in writing quality by all of its ancillary titles. Unlimited, Spectacular, Web of… and adjective-less fair much better in embracing the nonsense of the Clone Saga; unafraid of the inherent soap opera(ness). While JMD, and even Bagley at times, seem to have no interest to engage with what could be an epically tragic event.
DeMattais once showed the qualities of a decent writer. Careful pacing with powerfully introspective, third-person narration that is explicitly layered through quasi-poetic tales about love and loss, mental illness and degradation, rehabilitation and sacrifice. When DeMattais takes over Amazing 389, promising prose is crippled by the writer’s own ambitions in trying to craft a tale as morbid as ‘Hunt…’
How many times can JDM tell the same story?
With heavy focus on Marvel’s version of Arkham Asylum, Ravencroft. The over-reliance on the uninteresting Dr. Kafka and, to lesser extent, then the only somewhat more interesting, demi-god, errr mutant, Judas Traveller, takes to recycling plot points about psycho-analysis by tying them to themes regarding therapeutic ‘good’ means and its inevitably ‘bad’ ends. In sacrifice to its sullied subjects, the asylum lacks any character. Qualms regarding human experimentation are largely uninteresting and cliche. Villain does bad thing. Villain is sent to asylum. Villain almost gets better. Villain becomes bad again. Villain is sent back to the asylum.
Art-wise, Mark Bagley comes into his own. Constantly evolving not only as an creative force but as a technician of the illustrative craft. Designing the Ben Reilly’s sensational spider suit, and fine-tuning the touches of a slimmer Spidey whom features include two large, concave lens that covers most of web crawler’s increasingly oval face on top of his slenderly-muscle(d) body. The scope between expressive close-ups and gorgeous cityscapes are meticulously contrasted from the careful distancing of the human characture-esque faces and the daunting cityscape that surrounds them. DeMattais' obsession with his own prose, clutters such perfectly placed design with mindless word balloons that scream a lot but say very little about its subjects, or the city, or the asylum in which they inhabit.
From the depths of hallucinogenic, psychotic madness, the moral is lost amongst the empty and repetitive prose surrounding the myriad redemption arcs (literally writes a mini series titled Redemption): to Carrion, to Vermin, to Shriek, to Traveller, or Peter Parker himself. Any semblance of growth comes off forced and firmly wedged in repetitive ideas that earns ‘Amazing’ nothing but its only praise for being illustrated really well and playing a part under the banner of the superior ‘Clone Saga.’ Thankfully, after bumbling around Aunt May’s death and hinting at a mysterious stranger. Ben Reilly, Peter Parker’s clone, finally appears in Web of #117. Kickstarting an epic two-year run, filled with drama, mystery, romance, and violence. The qualities of a soap opera put up against the provocation of any fanfare that comics hasn’t seen since the Death of Superman.
The master piece that is…’The Clone Saga.’
The Clone Saga is the first time where all the Spider-Man writers, at the same time, team-up to share a truly farcical yet riveting event. Starting not one, not two, but three, not three, but four, possibly five (actually a lot more) spidey clones. All of whom share the same memories, and violent obsession over Mary Jane. Priming towards the controversial backhand on Mary Jane after Peter learns the truth that it is actually he who's the TRUE clone
(note: they’re both clones. The real Peter—golden age Peter— has been on/off dead for awhile after being infected with the first Carrion Virus that attacks organic matter).
The Clone Saga, 'Web of…' 'Spectacular' and 'Spider-Man' really begin to hit their stride. Each one-upping the other the issue prior. Web of #118 is the first appearance of Ben Reilly as Scarlet Spider. Web of #119 the first app. of the assassin, Kaine. Spider-man #53 is where Scarlet gets his first real victory in an epic fight against Venom. Spectacular #220 is where we learn that MJ is pregnant—the impetus for Peter Parker to relinquish the costume. Then in #221, Doc. Ock dies by the hands of Kaine. In #224 Golden-age Peter goes insane before melting away. The clone of Gwen comes to see her own (very) fake reality in Web of…#125. Or when Kaine is impaled by the monstrous Spidercide in exceptionally inked Spectacular #227. Culminating to Web of Spider-man #128 where Ben Reilly realizes he could never have the life that Peter has, and never get the years he lost back. So many home-run moments within so many consecutive issues, with very few not meeting the stakes raised by the previous team.
The sadness, the excitement, the intensity establish the perfect melodrama. We learn to love Ben Reilly and disdain Peter Parker. When disbelief propels Reilly to earning the costume, and Peter and MJ riding off into the sunset. Out of the 5 titles, only 'Amazing' fails to hold the power of it's own weight. While Amazing, arguably, has the best artist; it is Butler, Lyle, JRJR, Lim, and Sienkiewicz/Palmiotti who show the best stories. DeFalco, Dezago, Kavanagh, and Mackie go out of their way to transform a ridiculous premise into something continually engaging for two whole years. JDM is stuck relying on overplayed conceits from a somewhat overrated run on Spectacular; inappropriate for an event inspired by relationships and melo-drama; and puts forth the question what it really means to be Spider-Man.
With enough rough attempts, DeMattais finally gets to indulge the hallucinogenic psycho-babble fantasy in the penultimate issue, Amazing #403 “The Trial of Peter Parker”. Traveller acts as Peter’s judge, Carnage and Kaine as prosecutor and defendant, respectfully. All from judgement by a throng of villains Spider-Man has sentenced to Ravencroft. Bagley juxtaposes the two court scenes perfectly: the real one that Ben has to deal with and the one going on inside Peter’s head. In the end, Amazing #403 would be the only decent issue the pair would end-up making together.
JDM would be replaced with Clone Saga mastermind, editor and former Amazing writer, Tom DeFalco. Web of… would be succeeded by another impressive secondary title, ‘Sensational Spider-man’ written and illustrated by Dan Jurgen/Klaus Jansen.
Entering the final stretch of Bagley’s 50-odd issue run of Amazing, DeFalco gives us Spidey Carnage, the mystery of the skeleton, and the return of the creator of the Oz serum, Dr. Mendel, as Gaunt, while Peter’s most iconic villain, Norman Osborn, resides hiding in the shadows. None of which are very original ideas, but at least would provide some decent material for Bagley to spin his story-illustrating magic. It's short-lived, however, for the pair would only end up doing 10 issues together.
Bagley’s (arguably the greatest Spider-Man artist) run on Amazing is mostly lackluster— no fault of his own, of course. His art is exceptional, but especially compared to the excellent secondary titles, the writers', fail to execute on the potentiality, of not only to his artist’s abilities, but of such promising events like Maximum Carnage and the Clone Saga. Stuck with one writer whose main focus is on silly action sequences, and another who only cares about his own, very serious, prose, when Bagley's best partner comes into the picture, it would be very late into his run.
It wouldn’t be until Bagley teams-up with Brian Michael Bendis for 'Ultimate Spider-Man,' where his ability as story-illustrator really begins to shine. Bagley grows from reliable technician and character designer to one of the best visual story-tellers in the game. Even more impressive as his growth occurs exponentially, all in less than four years.
Out of the big three—McFarlane, Larsen, Bagley—Bagley is the most adroit at crafting a consistent image that pairs well with a good storyteller. Evident when paired with Brian Michael Bendis in Ultimate Spider-man; through banter and teenage operatics in what mostly fluctuates between high-school and street-level drama. Michelinie, on the hand, misses the opportunity to execute on some of his own interesting premises.
The pair starts off strong. Bagley’s first issue of ‘Amazing’ involves penciling an enjoyable team-up alongside New Warriors’ Nova. Spidey takes the young rocketeer under his wing, tackling Life Foundation’s version of Metal Gear, the Tri-sentinel. Amazing #351 is a surprisingly compressed issue for a two-parter. With what begins with MJ offering up a better night-out, only for our hero to turn down his wife’s offer. The final panel bookends where the story begins. As our hero swings-off deflated, “I learned my lesson. Next time I go dancing.”
After a forgettable 6 issue run, written by Al Milgrom, about crappy sidekicks, Michelinie returns strong with Amazing #361. ‘Savage Genesis’ might just be the greatest single-issue of Amazing from the early 90’s. The introduction of his most horrifying foe. Birthed from Venom then infecting Eddie Brock’s serial killer cellmate, Cletus Kassidy. The red symbiote unearths a literal bloodthirsty massacre which rampages across New York—Venom’s sibling Carnage. Here, Peter does some surprising good detective work, concluding with a mentally tattered image of Cletus returning to the boarding school he once burned down as a child. Self-babbling in all his red-headed glorious-madness, Cletus hugs his favorite stuffed bear.
CARNAGE RULES
Bagley pencils one of the best action sequences. On par with the Styx and Stone fight above Central Park in Amazing #309. And the Venom and Spidey chase through the meatpacking district in Amazing #346.
On the surface, Michelinie has some decent premises—MJ’s smoking addiction, the return of Peter Parker’s parents. But with conclusions reminiscent Lee and Ditko’s golden-age silliness, any momentum established by an interesting mystery, is too quickly cut-off by simple buffoonery. Distilled technical wizardry, with a willingness to experiment in different forms, Bagley’s pencils surprisingly keep on evolving even without any necessity to do so. Cutting back on the extreme styles that would define the 90’s; without regressing to the flat, bland archaic-gymnastic poses of the past, Bagley balances the perfect median between restraint and boundary pushing. Michelinie, on the other hand, throws to many filler action sequences against one too many high-stake affairs that never truly make sense: Smythe using his fellow asylum inmates as captive robot controllers, Peter’s parents reveal as robots; all interesting twists that resolve in only the most ridiculous way possible--sometimes with literal three Stooges’ level slapstick. For instance, Spidey fights a robot with multiple personality disorder who annoys itself so much it attacks itself; and then Spidey accidentally slips on his own webbing, bringing down Secret Agent Spaddock, who is actually working for Hydra, in the process. Just some of Michelinie's more finer moments before finally ending his 86 issue run of Amazing with the wonderful highlight of Vulture using the The Juvinator Gauntlet on Peter’s robot mother to obtain his youth again.
Amongst all this comedic muck is a repeated cycle of Venom team-ups where the reader is constantly reminded that it (the symbiote) doesn’t kill innocents. From there, we are dragged into one of the most hype, most disappointing Spidey-only event: Maximum Carnage.
Maximum Carnage doesn’t come close to the attitude and overall fun of the Sega Genesis game sharing its name, even as it starts out with plenty of promise. In Spider-man Unlimited #1 (DeFalco, Lim) we are introduced to Ron Lim’s “ligne claire’ subjects, and light neutral illustration in the style of Aeon Flux. Cletus Kassidy returns, breaking out of his gurney, slaughtering the guards who mock him, then finding his lover, Shriek, to ravage any sanity left in the city. The evil duo harness quite the mutated love-story. The artists make the event, mostly, enjoyable to look at. Besides Buscema, whose antiquated penciling borrows too heavily from the golden age and stands out for all the wrong reasons.
From Web of #101 (Kavanagh, Saviuk) to Spider-Man #35 (Dezago, Lyle) the two love bugs gather their own team to reckon with. Demo-goblin, Doppelgänger, and Carrion all join 'the family.' Using Shriek’s power of hate, the Carnage family are able to turn the citizens of New York mad with rage. A tug of war between good and evil erupts; and a quarter of the way in the already over-bloated 12 issue series, Maximum Carnage gets repetitive fast.
The formula: Carnage kills a whole bunch of people. Spidey and team get their butts kicked--but besides the death of Dagger, nothing of any note. Rinse and repeat until we get Spider-Man going back on his own order to kill Carnage in Spectacular #202 because well…killing is always wrong; and then DeMattais puts this tireless routine out of its misery when Deathlok uses the literal love ray on the citizens of New York in Spectacular #203. Why? because love always conquers hate. Oh yeah, and Venom redeems himself once again, throwing himself into a burning building to finish off his more evil sibling in the final issue (Unlimited #2). A sacrifice that seems to go over everyone’s head.
Post ‘Maximum Carnage’, great art is tempered by Michelinie's continual sloppy story-telling. Marvel realizes this, and in response, editorial replaces the writer of Amazing with ‘Kraven Last Hunt’ fame, JM DeMattais.
With JM Demattais coming off a strong finale to his run on Spectacular with the very poignant Spectacular Spider-man 200, 'Death of Harry Osborne.' 'Amazing' finally has a very serious, un-comedic story-teller to pair with the talented story-illustrator. Surprisingly, the next 15 issues will actually fair worse than Amazing ever has post-Secret Wars.
The main title is quickly surpassed in writing quality by all of its ancillary titles. Unlimited, Spectacular, Web of… and adjective-less fair much better in embracing the nonsense of the Clone Saga; unafraid of the inherent soap opera(ness). While JMD, and even Bagley at times, seem to have no interest to engage with what could be an epically tragic event.
DeMattais once showed the qualities of a decent writer. Careful pacing with powerfully introspective, third-person narration that is explicitly layered through quasi-poetic tales about love and loss, mental illness and degradation, rehabilitation and sacrifice. When DeMattais takes over Amazing 389, promising prose is crippled by the writer’s own ambitions in trying to craft a tale as morbid as ‘Hunt…’
How many times can JDM tell the same story?
With heavy focus on Marvel’s version of Arkham Asylum, Ravencroft. The over-reliance on the uninteresting Dr. Kafka and, to lesser extent, then the only somewhat more interesting, demi-god, errr mutant, Judas Traveller, takes to recycling plot points about psycho-analysis by tying them to themes regarding therapeutic ‘good’ means and its inevitably ‘bad’ ends. In sacrifice to its sullied subjects, the asylum lacks any character. Qualms regarding human experimentation are largely uninteresting and cliche. Villain does bad thing. Villain is sent to asylum. Villain almost gets better. Villain becomes bad again. Villain is sent back to the asylum.
Art-wise, Mark Bagley comes into his own. Constantly evolving not only as an creative force but as a technician of the illustrative craft. Designing the Ben Reilly’s sensational spider suit, and fine-tuning the touches of a slimmer Spidey whom features include two large, concave lens that covers most of web crawler’s increasingly oval face on top of his slenderly-muscle(d) body. The scope between expressive close-ups and gorgeous cityscapes are meticulously contrasted from the careful distancing of the human characture-esque faces and the daunting cityscape that surrounds them. DeMattais' obsession with his own prose, clutters such perfectly placed design with mindless word balloons that scream a lot but say very little about its subjects, or the city, or the asylum in which they inhabit.
From the depths of hallucinogenic, psychotic madness, the moral is lost amongst the empty and repetitive prose surrounding the myriad redemption arcs (literally writes a mini series titled Redemption): to Carrion, to Vermin, to Shriek, to Traveller, or Peter Parker himself. Any semblance of growth comes off forced and firmly wedged in repetitive ideas that earns ‘Amazing’ nothing but its only praise for being illustrated really well and playing a part under the banner of the superior ‘Clone Saga.’ Thankfully, after bumbling around Aunt May’s death and hinting at a mysterious stranger. Ben Reilly, Peter Parker’s clone, finally appears in Web of #117. Kickstarting an epic two-year run, filled with drama, mystery, romance, and violence. The qualities of a soap opera put up against the provocation of any fanfare that comics hasn’t seen since the Death of Superman.
The master piece that is…’The Clone Saga.’
The Clone Saga is the first time where all the Spider-Man writers, at the same time, team-up to share a truly farcical yet riveting event. Starting not one, not two, but three, not three, but four, possibly five (actually a lot more) spidey clones. All of whom share the same memories, and violent obsession over Mary Jane. Priming towards the controversial backhand on Mary Jane after Peter learns the truth that it is actually he who's the TRUE clone
(note: they’re both clones. The real Peter—golden age Peter— has been on/off dead for awhile after being infected with the first Carrion Virus that attacks organic matter).
The Clone Saga, 'Web of…' 'Spectacular' and 'Spider-Man' really begin to hit their stride. Each one-upping the other the issue prior. Web of #118 is the first appearance of Ben Reilly as Scarlet Spider. Web of #119 the first app. of the assassin, Kaine. Spider-man #53 is where Scarlet gets his first real victory in an epic fight against Venom. Spectacular #220 is where we learn that MJ is pregnant—the impetus for Peter Parker to relinquish the costume. Then in #221, Doc. Ock dies by the hands of Kaine. In #224 Golden-age Peter goes insane before melting away. The clone of Gwen comes to see her own (very) fake reality in Web of…#125. Or when Kaine is impaled by the monstrous Spidercide in exceptionally inked Spectacular #227. Culminating to Web of Spider-man #128 where Ben Reilly realizes he could never have the life that Peter has, and never get the years he lost back. So many home-run moments within so many consecutive issues, with very few not meeting the stakes raised by the previous team.
The sadness, the excitement, the intensity establish the perfect melodrama. We learn to love Ben Reilly and disdain Peter Parker. When disbelief propels Reilly to earning the costume, and Peter and MJ riding off into the sunset. Out of the 5 titles, only 'Amazing' fails to hold the power of it's own weight. While Amazing, arguably, has the best artist; it is Butler, Lyle, JRJR, Lim, and Sienkiewicz/Palmiotti who show the best stories. DeFalco, Dezago, Kavanagh, and Mackie go out of their way to transform a ridiculous premise into something continually engaging for two whole years. JDM is stuck relying on overplayed conceits from a somewhat overrated run on Spectacular; inappropriate for an event inspired by relationships and melo-drama; and puts forth the question what it really means to be Spider-Man.
With enough rough attempts, DeMattais finally gets to indulge the hallucinogenic psycho-babble fantasy in the penultimate issue, Amazing #403 “The Trial of Peter Parker”. Traveller acts as Peter’s judge, Carnage and Kaine as prosecutor and defendant, respectfully. All from judgement by a throng of villains Spider-Man has sentenced to Ravencroft. Bagley juxtaposes the two court scenes perfectly: the real one that Ben has to deal with and the one going on inside Peter’s head. In the end, Amazing #403 would be the only decent issue the pair would end-up making together.
JDM would be replaced with Clone Saga mastermind, editor and former Amazing writer, Tom DeFalco. Web of… would be succeeded by another impressive secondary title, ‘Sensational Spider-man’ written and illustrated by Dan Jurgen/Klaus Jansen.
Entering the final stretch of Bagley’s 50-odd issue run of Amazing, DeFalco gives us Spidey Carnage, the mystery of the skeleton, and the return of the creator of the Oz serum, Dr. Mendel, as Gaunt, while Peter’s most iconic villain, Norman Osborn, resides hiding in the shadows. None of which are very original ideas, but at least would provide some decent material for Bagley to spin his story-illustrating magic. It's short-lived, however, for the pair would only end up doing 10 issues together.
Bagley’s (arguably the greatest Spider-Man artist) run on Amazing is mostly lackluster— no fault of his own, of course. His art is exceptional, but especially compared to the excellent secondary titles, the writers', fail to execute on the potentiality, of not only to his artist’s abilities, but of such promising events like Maximum Carnage and the Clone Saga. Stuck with one writer whose main focus is on silly action sequences, and another who only cares about his own, very serious, prose, when Bagley's best partner comes into the picture, it would be very late into his run.
It wouldn’t be until Bagley teams-up with Brian Michael Bendis for 'Ultimate Spider-Man,' where his ability as story-illustrator really begins to shine. Bagley grows from reliable technician and character designer to one of the best visual story-tellers in the game. Even more impressive as his growth occurs exponentially, all in less than four years.
This entire review has been hidden because of spoilers.
September 20, 2023
Marmara Çizgi düzenli seriler yayınlamak yerine işin kolayına kaçıp kendilerince belirledikleri "önemli sayıları" basmaya devam ediyor. Bu kez sıra benim favori kötüm Carnage'ın ortaya çıktığı sayıya gelmiş. Hem sevindim hem de kızdım.
Öncelikle niçin Venom ismine dokunulmazken Carnage değiştirilmiş ve Katliam olmuş anlam veremedim. Orijinal metinde Carnage kelimesi uygun yerde karakterin ismi olarak başka yerde de kavram olarak yani katliam olarak kullanılıyor. Burada ne yazık ki ayrım yapılmaksızın katliam olarak yazılmış ve hoş durmamış. "Katliam kazandı" gibi eğreti cümleler ortaya çıkmış.
Sevindiğim kısma gelecek olursak Carnage'ı okumak her zaman büyük bir keyif. Gerek görsel tasarım olarak gerek de kabiliyet olarak küçük yaştan beri hayranlık duyuyorum karaktere. Çok derin bir karakter olmasa da kaotik bir psikopat olması hoştur çünkü Marvel'da bunun çok örneği yoktur. Spider-Man'e her daim büyük sorun çıkaran bu karakterin başka maceraları da basılsa keşke.
Öncelikle niçin Venom ismine dokunulmazken Carnage değiştirilmiş ve Katliam olmuş anlam veremedim. Orijinal metinde Carnage kelimesi uygun yerde karakterin ismi olarak başka yerde de kavram olarak yani katliam olarak kullanılıyor. Burada ne yazık ki ayrım yapılmaksızın katliam olarak yazılmış ve hoş durmamış. "Katliam kazandı" gibi eğreti cümleler ortaya çıkmış.
Sevindiğim kısma gelecek olursak Carnage'ı okumak her zaman büyük bir keyif. Gerek görsel tasarım olarak gerek de kabiliyet olarak küçük yaştan beri hayranlık duyuyorum karaktere. Çok derin bir karakter olmasa da kaotik bir psikopat olması hoştur çünkü Marvel'da bunun çok örneği yoktur. Spider-Man'e her daim büyük sorun çıkaran bu karakterin başka maceraları da basılsa keşke.
July 29, 2018
This comic introduces one of the scariest villains in Spider-Man's canon, Carnage. It actually does it quite well, showing off the creature's unrelenting blood lust, but I felt it was too reminiscent of the Joker at times, especially in its nihilistic views. The idea to deal with Carnage at the end of the comic is interesting, but the relationship between Peter and MJ is somewhat sketchy.
September 13, 2022
Not a fan of Carnage, but there’s a stridency to this debut that’s undeniable. Also featuring the worst name drop.
February 28, 2025
Absolute monster issue!!!
December 31, 2018
Savage Genesis!
July 22, 2024
Carnage is as deadly as venom but more unhinged than Brock. Even Peter sees that and must do the unthinkable.
Displaying 1 - 9 of 9 reviews