This volume also feels like a step in the right direction! It seems like Bendis is willing to stretch with and fill out the universe some: What he did with Liz Allan and recurring villain/joke The Shocker are especially interesting. I’m having fun with this series again!

I feel like this series found its groove again! I miss Bagley’s pencilling, but Immonen makes a fine replacement. A lot of the stuff that bothered me in recent volumes has been redeemed here: Kitty Pryde is interesting instead of just a drama device, Norman Osborn gets some depth, S.H.I.E.L.D. is engaged with as the creepy organization they are, and it turns out that comic book nonsense can actually be fun sometimes.

I’ve complained a lot about comic book nonsense in recent volumes, and there’s plenty of it here, too, but this pulled a lot together in a way that just plain works. Interesting crossover action, classic Spider-Man morality of superheroes, good art, interesting stakes. I guess this is why I keep reading this series.

I almost gave this four hearts because I kind of like how it turned out, and it did touch on some good Spider-Man themes. However, I then remembered all the comic book nonsense that happens here—and the way that so many of these issues demonstrate how terrible it would be to live in the (Ultimate) Marvel universe.

I picked up this comic about a post-pandemic-apocalypse from the library on a whim. I have mixed feelings about this genre—especially since it’s hard to believe that it was begun before COVID-19. The story is somewhat interesting but choppy, and the characters are compelling but flat. The translation is rouuuugh, and I wonder how much better it might be in the original German. What saves this for me, though, is how clearly Swiss it is.

There’s some interesting stuff here, including Bendis’s riffs on power and responsibility and how that relates to secret identities. However, there’s too much welding to the broader Ultimate universe, including introducing characters I just don’t care about. I also still feel like Peter’s attitude toward MJ is more low-level misogyny than anything justified.

Definitely not my favorite of the series. Lots of crossover nonsense with characters I don’t really care about. Way too much casual misogyny (Peter toward MJ and creators toward the women they put in impractical fanservice costumes). Starting to question my commitment to this series binge.

This volume was excellent. Much more of the Sandbaggers vibes and less saving the world spy fiction. I ordered the third volume today!

I’ve been wanting to read this since binging all three series of The Sandbaggers, since I’ve seen it repeatedly referred to as a spiritual sequel. They weren’t kidding—the first story arc feels like a remix of the show! The third story arc was the least interesting to me (and probably the reason this didn’t get full marks). The first two deal with the cynicism of espionage and the brokenness of spies in the way I expected the series would, whereas the third arc felt more like a traditional spy story with maybe some furniture moving for future arcs.

Peter and MJ’s relationship is one of my favorite things to follow in this series, and that makes this volume a real disappointment. It seems like so much of the story is built around forcing drama and idiot balls into these two characters for the sake of adding twists and turns to the plot. Plus, it really comes through in this volume how often MJ is treated as an extension of Peter instead of a character with her own depth and agency.

This is mostly crossover nonsense, but it’s actually kind of good? The Doctor Strange issues feel overly dramatic at points, but Peter’s nightmare is classic Spider-Man responsibility angst, so I’ll give it a pass.

Gwen Stacy is wasted in the Ultimate continuity, and I have even less interest in Carnage than I do Venom. What saves this volume for me, though, is the throughline of the classic Spider-Man theme of power and responsibility.

This is a shameless attempt to profit off of whatever Spider-Man movie was coming out at the time, but it’s still a pretty fun story. It continues to strain credulity that this kid could keep up superhero hijinks without Aunt May finding out, but it’s enough of the mythos that I can deal with it (mostly).

This story is interesting, but it suffers from too much of superhero continuity bloat. I also miss Mark Bagley’s illustration—this artist’s faces all look alike, whereas Bagley’s characters are distinct and familiar to me. It’s just meh.

The first few issues of this are just about peak Spider-Man, and I came very close to giving this full marks. By the end, though, there was too much treating female characters as fanservice—and I have never liked temptation to infidelity as a plot device. So, some ups, some downs.

I finally got access to my spouse’s hoopla password so that I can continue my binge of this series without waiting for my loans to refresh in December. There was a lot that I don’t like about this volume: 2000s language that doesn’t age well, oversexualization of costumes and characters, and crossover nonsense. I like the characters, though, and the issue with Aunt May in therapy was good enough on its own to bump my rating up a heart.

I keep going back and forth on whether I’m going to rag on these comics for having silly comicbook logic, and now’s the time I’m really going to do it. Maybe it’s because I’ve never really cared about Venom, but this reinvention of the character feels especially silly. There’s a great conversation between Peter and Nick Fury that feels like it really gets at teasing apart superhero stories in fascinating ways, but as a whole, this was just not my favorite story in the run.

Superhero stories continue to be kind of silly, but this one continues to be fun, so I’m going to keep reading. I’m starting to realize just how little of this series I’ve read, and it’s fun to catch up with things I’d heard about but never actually seen myself.

This volume emphasized some of the parts of the series that don’t hold up, like casual schoolyard homophobia and damseling Mary Jane. Without dismissing those problems, though, there’s still a lot to like here. I have no recollection of this volume, and it’s interesting to get into new territory for the series.

I’ve decided I don’t need to critically analyze these books anymore. They’re fun, I like Bagley’s art, and I think I’m starting to get into issues I haven’t read before. Hooray for hoopla and easy access to this whole run.

There are a lot of reminders in this volume of how dumb superhero comics can be (how is a 15-year old going toe to toe with a crime boss?), but it’s also fun in a lot of ways, and I know I loved reading this when I was a teenager myself. It continues to be a fun series.

I don’t know how many times I’ve already read this volume, but I’ve always had a soft spot for Ultimate Spider-Man. I know the earlier stuff better than the later stuff, though, so I’m hoping to make it through the whole series this time.

I don’t know what this book is supposed to be. It feels like too much worldbuilding and too little plot; I would like to see more of the Kentucky I know, but it also feels vaguely exploitative of Eastern Kentucky; it feels like an excuse for violent storytelling and wants to be something deeper without quite getting there. I wasn’t a fan.

Comme d’habitude, je suis impressionné par le nombre de bd francophones disponible en traduction chez ma bibliothèque municipale, mais j’aurais préféré lire cet album en français. En tout cas, je connaissais le nom Josephine Baker, mais je ne connaissais pas vraiment le personnage. J’aurai appris beaucoup plus en lisant une vraie biographie, mais une bd, c’est quand-même sympa !

I am only passingly familiar with Archie, but the concept behind the miniseries was compelling, and I love a reimagining of familiar characters to make a point. Even more compelling was the treatment of World War II in a way that emphasized how awful war is instead of cheerleading the U.S. entry into the conflict. Really enjoyed this.

Reading a second volume hasn’t changed my impression of this series: It’s an interesting premise, but there’s not really enough substance to it to be worth my attention. There’s more out there, but I don’t feel any completionist tendencies about it.

As promised, I’m reading this in honor of Bill Willingham’s badass public domain antics earlier this week. I think the concept of his series is fun, but I’m not sure if I think it’s as great as its reputation. The idea of fairy tale characters living in the real world is full of potential, but the story seems pretty superficial. Will probably keep reading, though.

It’s weird to rate this so highly given how much anxiety it gives me to read it. Reading it four years ago is what forced me to confront how much baggage I had from my own Mormon missionary experience, but I know the author has her own complicated feelings about the book, and that helps some. At any rate, the book is so well done that I can’t help but rate it highly.

It’s been less than a month since I read the English translation of this, which I already gave full marks. Yet, the original French version was even better. Delisle captures this city and its conflicts in a comic book better than any news story ever could.

I’ve read this a number of times already, but after reading Delisle’s “Jerusalem,” I had to revisit it. It’s the wild, literally incredible story of the two months he spent in Pyongang supervising a team of North Korean animators who were doing work for the French animation studio Delisle worked for. The art is excellent, the writing is good, the story is bonkers. One of my favorite comics.

I have been a fan of Delisle’s for quite some time, but I’m still blown away by how good this is. The book isn’t political or polemical, but a slice-of-life comic done by a cartoonist living in East Jerusalem for a year brings walls, checkpoints, rockets, and attacks on Gaza to life in a subtle, compelling way. I used to follow this news a lot more, and Delisle made me feel like there was a lot I missed even then.

I wish I had read this before Gharib’s second comic memoir, because there’s a progression there (in terms of both the quality of art and adding detail to story) that makes it unfair to judge this one after reading it second. I think “It Won’t Always Be Like This” is better, but this comic is so good, too. Great story, distinctive art, great overall product.

Everything about this is good: The writing, the art, the mix of the external story and the personal elements that Yang puts in. I wasn’t sure about a basketball comic, but I knew I could trust Yang to pull it off, and I was right.

I find memoir (and other non-fiction) comics to be hit or miss; I’ve even passed up Gharib’s earlier memoir a number of times because I just wasn’t sure. I don’t know what stood out to me about this one, but I went for it and I loved it. I love getting a taste of meaningful events in someone else’s life, and Gharib does such a great job telling her story. It even made me wish I’d taken more Arabic classes in college so I could follow some parts better.

I guess this is interesting enough to keep reading, but my verdict is still the same. Great art, interesting premise, but I don’t know if it goes further than that.

I stumbled upon this series on TVTropes and was happy to see it’s available through Hoopla. I get why it gets the praise that it does, but it just didn’t land with me. The art is gorgeous and the premise (a noir detective in a 1950s America populated by anthropomorphic animals) is bold and compelling. I don’t know that noir is my genre, though—it feels more like tropes strung together than an actual plot, and it sometimes goes out of its way to be lurid.