As a seasoned comic book enthusiast who has witnessed the evolution of Venom since his debut, I must confess that my expectations were set high for this “All-New Venom.” Having followed the character’s tumultuous journey from Spider-Man’s menacing alter ego to the Space Knight we know today, I was eagerly anticipating a fresh and exciting take on the symbiote saga.
To fully appreciate the latest Venom, it might be beneficial to reflect on the characteristics that set apart the original Venom and its recent incarnation. The initial Venom served as an exploration of what would happen if Spider-Man became a violent antihero, akin to the rising number of antiheroes in the early 90s. After coming into contact with Spider-Man’s discarded clothes, Eddie Brock took up protecting people by employing lethal force. As he came to realize that his actions were wrong, he embarked on a journey toward heroism, albeit one that was less than perfectly virtuous. This transformation made him less interesting for Marvel, leading them to remove the Venom symbiote from Brock and pass it to questionable characters like Lee Pace and Mac Gargan before eventually landing with Flash Thompson. This transition served as a dramatic change in Thompson’s character, mirroring the complexities of heroism in post-9/11 society, culminating in his transformation into a Spaceknight wearing black-and-white armor.
Back when Sony revealed they were making a Venom movie starring Tom Hardy as Eddie Brock, it felt like fate was pushing Venom back into his familiar form. In 2018, Marvel launched a fresh start for Venom with issue #1, setting the stage for a tale revolving around Eddie’s son, Dylan, his arch-nemesis symbiote, Carnage, and the Supreme Symbiote, Knull. Fast forward six years, filled with numerous symbiote-centric Marvel comic events, and that narrative has finally come to an end in the last issue of the Venom War saga. Now, it seems like a new chapter for Venom, titled All-New Venom, is about to unfold.
What does the fresh start, titled “All-New Venom“, bring to the table? Initially, it’s somewhat vague due to its debut issue not being narrated from the perspective of the new Venom. Instead, this initial story arc revolves around the enigma surrounding the identity of the host for the new Venom symbiote. Readers merely witness the new Venom, adorned in his black and shining gold suit, engaging in action as he thwarts an AIM assault on a courthouse where Madame Masque is standing trial.
In the comic book All-New Venom #1, Masque is one of four potential new hosts for the Venom symbiote who manage to flee the courthouse before Venom arrives. The others include Luke Cage, Rick Jones, and Robbie Robertson. However, the comic doesn’t provide enough clues or intrigue to engage readers in solving the mystery. For instance, Robertson is interrupted before revealing a secret he’s carrying, but this feels too contrived to be meaningful. Since all suspects are presented with similar circumstances, they all seem equally suspicious, leaving little for the reader to ponder.
In a fresh take, Venom suppresses aggression without claiming lives, chatting as if he’s among the Spider-Men. This initial encounter, however, might seem commonplace for any superhero. At its peak, Venom embodies a character idea that gives a grisly spin to Spider-Man’s “with great power comes great responsibility” motto by swapping ‘great responsibility’ with ‘tremendous violent impulses’, then adding, “After all, it’s the alien wanting to devour people; do I even have any responsibility at all?” If Venom isn’t grappling with his inner darkness – or embracing it – what’s the purpose of his existence?
In the initial issue of “All-New Venom”, there’s no clear answer or overarching theme presented. This new take on Venom seems less complex and more straightforward compared to Al Ewing’s previous work, which delved deep into the dual nature of characters like Hulk and Thor. Ewing’s earlier Venom run was filled with cosmic symbiote pantheons, time travel, and other intricate elements, making it a significant departure for a character previously known as “scary Spider-Man”. Unfortunately, “All-New Venom” attempts to streamline the story too much, resulting in a debut that feels shallow and lacking in substance.
As a gamer, I’d rephrase that as: When I stepped into Venom’s shoes, Marvel matched me with Carlos Gómez, an artist whose style is reminiscent of the grand “widescreen comics” era, although it’s been a while since then. This isn’t your typical “all-new” pairing, but it works perfectly for this fresh start we’re embarking on. Unlike Bryan Hitch, who was Marvel’s go-to artist in the past, Gómez adds a unique touch to the Marvel Comics house style that sets our Venom series apart. His artwork is cleaner and more dynamic, giving characters a burst of energy and expression that’s missing in much of today’s superhero comics. The coloring could be better, but it still gives the whole reading experience a shiny, almost artificial feel. It might not be his best work – that title goes to X-Terminators where he and writer Leah Williams really cut loose – but it definitely gives our first issue a fresh, new-car smell.
The fresh take on Venom, titled All-New Venom, seems to lack the compelling introductory statement that’s usually characteristic of Ewing’s work. Historically, Venom has been more about style than substance, but All-New Venom #1 discards any existing depth and fails to introduce anything meaningful in its place. It’s challenging to get enthusiastic about a mystery revolving around the hero’s secret identity when this character doesn’t make a particularly strong first impression. Regrettably, that seems to be the predicament All-New Venom has found itself in.
Published by Marvel Comics
On December 4, 2024
Written by Al Ewing
Art by Carlos Gómez
Colors by Frank D’Armata
Letters by Clayton Cowles
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2024-12-04 17:10