Writing for children and young people can be difficult because of the specific way they speak correctly and incorrectly. A common trap for writers is to reduce dialogue to the sound of a three- or 30-year-old. An overemphasis on slang and colloquialisms can be disastrous for the portrayal of a well-rounded, three-dimensional character, reducing them to an action figure with catchphrases or buzzwords. A good writer not only finds the right balance, but uses the way a child character speaks to reveal more about their character. This is demonstrated by the way Richard Parker, in the current issue of Ultimate Spider-Man.
Ultimate Spider-Man #8 – written by Jonathan Hickman with art by Marco Checchetto, coloring by Matthew Wilson and lettering by VC’s Cory Petit – puts the titular wall climber on a collision course with Tony Stark, the younger character who responsible for Peter’s powers and lawsuit. The Iron Lad has a brief and frank discussion with Peter and Harry, affirming the former’s place in the upcoming battle with the Creator and informing the latter of his insignificance. This contrasts with the issue’s subplot in which Kingpin calls upon his five enforcers/regents – Black Cat (Walter Hardy), Mr. Negative, Kraven the Hunter, Mysterio, and Mole Man. Each of them controls a specific territory with loose ties to Kingpin, but clearly comes into focus as Fisk’s Sinister Six.
The majority of the issue focuses on the Parker aspect of Spider-Man’s life, starting with an ominous message from the suit. After establishing a voice in the previous issuethe suit now speaks to Peter when it is not being worn. It scares Peter when he is on his way to celebrate Richard and May’s birthdays. While Peter, Ben and Jonah make a quick pit stop for cake (and a cream cheese croissant sandwich), the duo reveals that The Paper is almost ready to open and offers Peter a job. Instead of saying yes right away, the web-slinger thinks for a moment, because he wants talk to MJ about it. They make it to the party, where Jonah and Richard have a moment to talk about their feelings of being outsiders before being won over by the promise of cake.
Hickman constructs a four-scene issue that doesn’t feature any fighting, but thanks to the deep character work, the book remains one of the most compelling. The verbal sparring between Harry and Tony is an interesting dynamic that highlights the contrast between the Osborn heir and Peter. While Harry is active, Peter is reactive, and that dynamic is only heightened by the information Tony drops. On the creator’s list of superheroes and their threat level to his plans, Peter was at the top of the list, while Harry didn’t even make the list. Still, Harry was the one willing to take action and start a fight against Kingpin, while Peter had to be pushed into it with the Spider as a catalyst. It’s a fascinating mirror to subject Peter to, and it only makes the narrative thrust seem richer in the long run.
Another great advantage of this issue is the clear foreshadowing and hints of the next storylines for both the series and the wider Ultimate universe. Hints of an Ultimate Symbiote are clear in the talking suit scene, which even uses a black speech bubble for effect. A potential rift or conflict between Peter and Harry becomes clear when Harry’s threat level (zero) is revealed according to the Maker’s files. By then bringing in the introduction of the Sinister Six and the job offer for Peter, Hickman clearly sets up both the civil and superpower tensions for the story to follow. Each of these points feels completely organically woven into the story and like a natural progression of the plot, moving right into a nice rhythm of introduction and resolution.
The impact of the Ben and Jonah runner is also evident, with the scene between the newspaper publisher and Richard being a standout moment of the issue. In eight issues, Hickman has managed to flesh out and make the supporting characters inside and outside of Peter’s orbit seem three-dimensional. When the teen and Jonah talk, the dialogue feels authentic thanks to the foundation laid in the previous seven issues. Sure, the mechanics of moving Peter into a more active position at the newspaper are important, but devoting time and attention to Richard feels more weighty in terms of the story’s interpersonal dynamics. (If I could wish for anything else for the Ben/Jonah subplot, it would be for Richard to get a summer job or internship with the duo and get involved in their reporting escapades.)
Checchetto’s illustrations for this issue are more bombastic, lingering in the quieter moments, letting emotions and expressions convey the vibrancy of this world. While it’s clear the artist has mastered Spider-Man’s kinetic, perpetual movement, this issue proves just how much Checchetto thrives in the world of ordinary people. While these are beautifully rendered people, they feel natural in this world and with each other. As he shows off one design after another, both in the Iron Lad scene and the introduction of the Sinister Six, a cohesive style emerges that doesn’t feel too samey-y. Just as Hickman subverts and streamlines the broad strokes of Spider-Man continuity in a pleasing way, Checchetto also organizes the designs into rich, captivating images.
Much of these design fundamentals lead directly to the interesting blocking and panels that ensure clarity and consistency immediately spring to mind when taking in the art. The conversation between Jonah and Richard moves at a specific, slower pace than Iron Lad’s, which is due to Checchetto’s use of more panels at tighter angles. Jonah’s conversation is primarily built around seven- and nine-panel grids with a single wide panel, while Iron Lad’s conversation takes place in the wider panels reminiscent of cinematic styles. These specific choices give the book a varying sense of pace and tone that captures a whole range of storylines.
A spectrum of visual and narrative textures can be found throughout every part of the book, particularly in terms of Wilson’s color scheme. As the book opens in August, the soft browns and yellows of the Parkers’ apartments immediately create the atmosphere of the city. It’s evident that the intense heat of summer is giving way to fall, contrasting with the tones of previous issues. The first addition to the issue’s palette is the introduction of Iron Lad, who gives the story a jolt of blue. This shot foreshadows the use of blue in the bakery and arcade, punctuated by the lingering heat of summer. Wilson blurs the two together in the Fisk sequence and adds a splash of green for Mysterio, adding another layer to the issue’s broader visuals.
