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D. Morris

D. Morris
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D. Morris is a writer based in the Southeastern US. He's read and enjoyed both comics and film most of his life. Be warned, he will talk your ear off about early Vertigo comics, Dragonball, and Asian cinema.
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Angel's Egg

Anime Review: ANGEL’S EGG still mystifies forty years later

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Marvel Gift Guide

The Beat’s 2025 Gift Guide: Marvel gifts for the ultimate fan!

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THE FLORIDA HIPPOPOTAMUS COCAINE MASSACRE rampages this winter!

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Tatiana Maslany is assaulted by unknown spirits.

Horror Beat: KEEPER sees Osgood Perkins get even weirder

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Movie Review: Edgar Wright pulls his punches in THE RUNNING MAN

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Fictional Groups at the Grammys

Five fictional groups nominated for Grammys

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Tatsuya Nakadai

Obituary: TATSUYA NAKADAI, star of Yojimbo and Ran

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Spider-Man and Wolverine #7 I was always going to be at least a little interested in a book featuring two of my (and the world’s) favorite Marvel characters. Their odd couple rapport is simply too good and I feel strongly a book featuring these two should always be available. Give me Kaare Andrews drawing, with Spidey and Wolverine going on huge, zany adventures with enormous action set pieces? It’s all I need. The first five issue story left me cold from a narrative standpoint with its focus on Peter’s secret agent parents, but after a one off with a full-in artist, this second story from writer Marc Guggenheim and Andrews is pure, over the top fun featuring a villain from an alternate earth that is a twisted amalgamation of our heroes. Kaare Andrews goes wild on the layouts in this issue, with massive double page spreads and contorted figures. The final page reveal is pure cool. The inventiveness of the visuals, and Andrews’ strange mix of McFarlane and Romita suits the contortionist Spidey and animalistic Wolverine. Sometimes you want your superhero books to say something about the human condition. And sometimes you really just want to see an artist pushing himself to the limit with your two favorite guys as the subject. This is easily the best script we’ve gotten from Guggenheim on the series so far, though. Moving away from the tortured motivation of the first arc’s mystery villain and the baggage of Peter and Mary Parker is a big help. Brian Reber’s retro approach to colors, mostly flat with simple shading and highlights, helps Andrews’ bold figure work stand out on the page. The switch in dimension also includes a subtle color shift to a more washed out, grimier palette that helps define the tone of this darker world. VC’s Travis Lanham’s lettering is clean and readable, tracking comfortably even among the wilder layouts and heavy caption use. You could easily skip the first arc of this series and jump in here and have a great time, but it’s worth seeking out past chapters too, if only for the great Kaare Andrews work. - TR

The Marvel Rundown: ULTIMATE BLACK PANTHER #22 sees the long game...

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Geoff Darrow

Interview: GEOF DARROW breaks down the origins of SHAOLIN COWBOY

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Predator: Badlands

Movie Review: PREDATOR: BADLANDS redefines the franchise

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Bezoar #5

Preview: Bezoar #5 promises some monster fun

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Imperial #4

The Marvel Rundown: Cosmic Marvel blasts off again in IMPERIAL #4

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