Last issue closed with Phil moving on from Lynn, possibly striking up a relationship with his “bud” Merry. The issue before closed Liz Osborn’s investigation into the new Goblin just as it was getting started. How much of that is just nature story closure versus tying up loose ends before cancellation I’m honestly not sure. But with three issues left before the end, the creative team have to know there won’t be an issue #14. And the appearance of Gaunt in this issue, who’s been making moves in the rest of the Spider-books, tips Marvel’s hand; and draws a dot that will connect not just to the end of this series, but to the end of ‘The Clone Saga’ itself.
Either way, Arcade shows up in this issue. And I don’t know about you, but I love it whenever Arcade shows up.
Written by Tom DeFalcoCover by Scott McDaniel
Pencils by Scott McDaniel
Inks by Derek Fisher
Letters by Jim Novak
Colors by Gregory Wright
Color Separations by Malibu HuesRicko and Goblin find themselves at the mercy of Arcade as they fight to survive Murderworld.
We open in medias res as Phil, in full Goblin regalia, bounces from electrified flipper to electrified flipper in his glass pinball prison. Fighting his way to a volcano-side sacrificial altar, attended by hooded acolytes and actual Conan, he soon discovers he’s trapped with Ricko the Sicko. It’s been awhile since we’ve seen Ricko. When last we saw Ricko, he was trying to muscle information out of Phil. When Phil refused, Mr. Sicko simply told him that he didn’t have a choice. Then he disappeared for the rest of the series. Even his henchman Fast Freddie stuck around a bit longer, though his criminal habits were drastically downplayed. Ricko was established as one of the primary threats of the series, then dropped as the plot just moved on.
When Phil rescues Ricko, the Sicko screams at the Goblin, blaming him for their being in this mess. We then get an extended flashback explaining how they were captured by Arcade. J. Jonah Jameson had published a $10,000 bounty for the new Goblin in the Bugle. And Ricko wanted to collect. After a somewhat convoluted confrontation between Ricko and Goblin-geared Phil, a familiar garbage truck captures the pair. And as they fight for their lives in the present, Arcade and his client “Mr. Gaunt” watch on through monitors. And Gaunt mentions his “employer,” who put up “serious money” to see the Goblin dead. Gaunt had been appearing across several Spider-Man related titles at the time. His employer is later revealed to be Norman Osborn, bringing ‘The Clone Saga’ to a close. Worth noting that Norman returning means any other Goblins may have to relinquish their titles. Especially since we’ve spent almost two years at this point trying to figure out who the real Spider-Man is.
The book ends with Goblin telling Ricko “You work for me,” before Ricko flees in terror. As far as ways the feud could have ended, it works. Maybe it’ll pay off in the next few issues, maybe it won’t. But it at least closes the loop. And it doesn’t feel quite as soon as the Liz Osborn plot line. But that be by virtue of Ricko not being around for so long.
Couple quick things to point out: Arcade has a weird Two-Face thing going on. In the “Wolverine & Gambit: Victims” miniseries, which had just wrapped the December before, his face was scarred in an attempt to frame Wolverine for murder. This series occupies a weird space in the Spider-line, hovering just close enough to avoid most of the headache of the it’s overarching plot. Even if that continuity only lasts a couple of issues. Daredevil showing up in yellow back in “Green Goblin” #6 springs to mind. It may help that Gregory Wright colored both series.
Another thing I’d like to point out: After escaping the pinball trap, Phil finds himself in a forest of dead trees, with a castle in the distance. First he compares it to The Wizard of Oz, but then claims it evokes “the sword & sorcery role-playing games” of his youth. Which— hold on… Phil Urich, who could barely look at a computer without musing about how much of a super dork weirdo he is now, played D&D growing up? The guy who literally said “me gone dweeb-o” because he looked up some museums in the area online while he was trying to solve a crime? This is 1996. Phil had to be playing in at least the mid-80s. So you’re telling me that guy had a practical and usable understanding of THAC0?
Art-wise, McDaniel’s break on issue #8 definitely seemed to help. Any inconsistencies weren’t big enough to notice. Apart from Arcade’s eyes being two different shapes. But that works with half of his face being mutilated. Wright’s colors were the stand out to me this issue. Working with McDaniel’s heavy shadows and Derek Fisher’s inks, everything looks like it’s under bright stage lights. With Malibu’s digital coloring tools, some of the panels have a shine to them that works in the theatrical death traps of Murderworld. The flashbacks are presented in a green-tinted sepia palette, which probably wasn’t necessary, but was a nice touch that helped break up the time difference. Same with the pumpkin bomb page borders during those scenes.
This was a basic Arcade/Murderworld story, but that’s not a bad thing. Arcade is kind of the best. Especially after a series of hit or miss one shot villains. It succeeds in moving a few necessary pieces into place and tying up the threads it needs to. Plus as DeFalco closes shop, McDaniel and crew are doing some of their best work on the book.
