Written by Peter David
Art by Rich Buckler; Brett Breeding; Phil Felix; Bob Sharen; Josef Rubinstein; Kyle Baker; Pat Redding; George Roussos; Nel Yomtov; M. Hands; & Rick Parker
Cover Art by Rich Buckler & Bob McLeod
SUMMARY:
Reprinting 1985-86’s Peter Parker, the Spectacular Spider-Man # 107-110, Marvel Comics released this 96-page compilation in 1990. Introducing a new Spider-villain (the Sin-Eater), the issue titles are: “Original Sin;” “Sin of Pride;” “He Who is Without Sin;” and “All My Sins Remembered.”
After her childhood is glimpsed in flashback, the NYPD shockingly discovers one of its best captains: Jean DeWolff, brutally murdered in her own home. Having just collared three punks who mugged a defenseless senior citizen, Spider-Man is stunned getting word of DeWolff’s grisly death. Advocating for these same hoodlums to be released on pre-trial bond, defense attorney Matt Murdock encounters an embittered Peter Parker. In their costumed alter-egos, neither Spider-Man nor Daredevil can prevent the ruthless ‘Sin-Eater’ from brazenly killing a judge inside the courthouse and escaping into the New York streets.
Despite their best efforts rousting the criminal underworld for answers, Spider-Man & Daredevil are stymied by the elusive Sin-Eater. As the murders continue, J. Jonah Jameson is next on this serial killer’s hit list, along with any bystanders in the way. Once the culprit’s identity is discovered, Spider-Man’s furious vengeance (mirroring the public’s outrage) is opposed by Daredevil. With the Sin-Eater’s fate at stake, a new status quo between Spider-Man and Daredevil is reached.
REVIEW:
It’s a far cry from the kid-friendly Amazing Spider-Man # 16 where Spider-Man & Daredevil’s first-ever face-off/team-up has them clobbering the Ringmaster’s Circus of Crime. Case in point: clichéd mind control isn’t necessary this time to pit Daredevil vs. an emotionally unhinged Spidey in heavy-handed fashion. Instead, it’s their opposing takes on the notion of judge, jury, and executioner. Considering the controversial times (i.e. the 1984 Bernhard Goetz subway incident and subsequent trial) during which this storyline occurred, this unexpected mini-feud between Marvel icons is compelling.
Peter David’s grim scripting, despite some eye-rolling ploys (i.e. how two suspects are conveniently next-door neighbors), makes it plausible that the sadistic Sin-Eater is a formidable adversary. Along with quick scenes hinting at future plots (i.e. the Santa creep), David smartly assembles one of the best Spider-Man/Daredevil team-ups ever. Well-played depth includes a sub-plot reminiscent of Goetz’s predicament and even a throwaway Cagney & Lacey in-joke. All told, there’s enough realism to meld Spider-Man with a Gotham City-like crime noir thriller.
The author’s bookend commentaries acknowledge that subtle hints are dropped re: Sin-Eater’s identity. Yet, Spider-Man (and readers, too) will be shocked once the chilling truth unfolds. Daredevil’s detective-like presence is therefore welcome for Spidey’s foray into Law & Order territory. The only caveat is that this storyline’s use of Death Wish-style violence (unusual for mid-80’s Marvel outside of The Punisher) will likely catch parents off-guard. It’s crass misjudgment by Marvel not to include some parental forewarning on behalf of Spidey’s younger audiences.
Visually, the art squad scores high marks for above-average consistency. There’s just two oddities: 1. Daredevil is much larger than an average-sized Spider-Man in their shared panels – this visual doesn’t jive with their official heights and weights; and 2. Seen briefly, DeWolff’s present-day mother and step-father are depicted as if they’re her age vs. logically appearing a generation older. For the most part, the inking is solid. Above all, Rich Buckler’s penciling looks terrific, especially as compared to some of the lazy junk Marvel and DC peddled in that same era.
Despite its contrivances, the startling impact of “The Death of Jean DeWolff” on 80’s Spidey storytelling can’t be overstated. As David reiterates, for drama’s sake, no popular supporting player’s safety should be deemed off-limits in comics. Like Gwen Stacy and her police captain father before her, DeWolff is another sacrifice in the Spidey mythos adhering to this harsh line of reasoning. Make no mistake: the uneasy pendulum between the legal system and Jean DeWolff’s senseless, real-world violence makes for an intriguing read.
Note: Though it may be a fluke in this reviewer’s copy, pages 91-92 are accidently flipped.
ADDITIONAL CONTENT:
The table-of-contents include thumbnail images of the four covers. David provides both a brief foreword and a behind-the-scenes afterword. Though his afterword is insightful, David’s callousness (a shrug at DeWolff’s fate) is off-putting.
BRIAN’S ODD MOON RATING: 7½ Stars
