Marvel Zombies: Red Band #1 Review

 

Writers: Ethan S Parker & Griffin Sheridan

Artist: Jan Bazaldua

Colorist: Erick Arciniega

Letterer: Travis Lanham

Cover Artists: Greg Land & Rachelle Rosenberg; Scott Koblish & Val Staples; Clayton Crain; Ryan Brown; Juan Shavrin; Ryan Meinerding, Amelia Vidal & Sung Choi

Design: Sarah Spadaccini

Editors: Emerald Bensadoun, Jordan D White & EB Cebulski

Publisher: Marvel Comics

Price: $4.99

Release Date: September 17, 2025

 

Aunt May worries about her nephew. He's an impressionable young man, and the TV shows such dreadful things these days. Uncle Ben also frets about how TV will hurt his young nephew. But Peter Parker can't help it. He wants to see the return of Reed Richards, Sue Storm, Jonathan Storm, and Benjamin Grimm. And there's another TV show he's not sure he wants his aunt and uncle to see. How will pop culture's penchant for sensationalism transform Peter? Let's thwip into Marvel Zombies: Red Band #1 and see.

 

Story

While Uncle Ben and Aunt May want to shelter their nephew from the world, Peter yearns to be a part of it. He's already taken steps to become someone noteworthy. But while he has garnered notoriety, someone else has grabbed the spotlight. Four people have stolen a NASA spaceship and launched it into space. Mission Control communicated with the rocket for a while. But as it returns to Earth, the astronauts’ status is a mystery in Marvel Zombies: Red Band #1.

 

Ethan S Parker & Griffin Sheridan’s story returns readers to the origins of the modern Marvel universe. It honors the evolving relationships between heroes like the Fantastic Four, Spider-Man, Daredevil, and their friends and families. But while Peter Parker dreams of attaining popularity and wealth, the Fantastic Four are thieves.

 

 

 

 

 

Marvel Zombies: Red Band #1 reminds us that it's vital to do things for the right reasons. Reed Richards may be brilliant. But his interests outweigh those of others. The Fantastic Four recognize they have changed. Still, they have attained power by breaking the rules and defying the system. And that will cause a lot of people a lot of pain, as the Fantastic Four raise a zombie army to overtake the world.

 

 

 

 

Art

Glowing windows defy the darkness descending on the Parker home as Peter, May, and Ben gather to watch TV together. After the Spider-Mask covers half his face, Peter rises to obscure the TV set and a framed print of Vincent Van Gogh’s “The Starry Night.” But Peter makes way when a broadcaster appears before the NASA logo. The Parker family watches as technicians in blue overalls work on equipment, while armed men in black uniforms and armor await the VTOL rocket’s return. 

 

 

 

 

As Jan Bazaldua fills Marvel Zombies: Red Band #1 with art that harkens back to an earlier era, Erick Arciniega imbues it with all the vibrance, nuance, and texture of modern coloring. Iron Man gleams in his golden armor, while Hulk radiates green. Joined by black, silver, and gold Thor in his red cape, the trio shines amid the glowing yellow buildings. Daredevil shows he belongs with the heroes when he arrives in black, red, and gold. But they must face off against the Frightful Four. Reed and Sue’s blue suits link them together, while Johnny’s flaming skin and Ben’s orange hide likewise bind the friends. All four demonstrate the decay afflicting them, as red fills areas formerly covered by skin.

 

 

 

 

 

Travis Lanham fills white dialogue balloons with black uppercase letters that grow bold for intonation. Yells enlarge words until they threaten to burst balloons, while zombies’ utterances fill cloudy balloons. The narrator speaks into yellow narrative boxes and often enlarges and colors the first letter of a sentence. Iron Man’s words fill yellow hexagons with red borders. Sound effects help readers feel the urgency of the rampaging horde. They also enhance the electrifying action as heroes and villains chart a course that will profoundly affect their world. Thanks to Marvel Comics for providing a review copy.

 

 

 

 

Final Thoughts

It's not just life-changing events that empower us. It's also what we do each day that determines if we are heroes or villains. Fueled by humorous dialogue and an insatiable hunger for Human flesh, Marvel Zombies #1 revisits the origins of the Marvel Universe and asks, "What if the Fantastic Four were villains?"

 

Rating 9.8/10

 

To look inside see my review at Comic Book Dispatch. 

Amazing Spider-Man #58 Review

 

Writers: Zeb Wells

Penciler: John Romita Jr

Inker: Scott Hanna

Colorist: Marcio Menyz

Letterer: Joe Caramagna

Editors: Kaeden McGahey, Nick Lowe & C B Cebulski

Cover Artists: John Romita Jr, Scott Hanna & Morry Hollowell;Chris Allen & Frank D’Armata; Giuseppe Camuncoli & Ramulo Fajardo Jr; Ryan Meinerding; Leonardo Romero

Publisher: Marvel

Price: $4.99

Release Date: September 25, 2024

 

When Lonnie Lincoln lay on life support, Janice took his crime syndicate away from him. Lonnie teamed with Spider-Man in the Gang War because he didn’t want his daughter to become like him. Then he stripped Janice of her Beetle wings at The Battle Of Central Park, abandoned Spider-Man’s coalition in the fight against Madame Masque, and boogied home with White Rabbit and his gang. After his lawyer arranged bail, Lonnie sent White Rabbit after his would-be son-in-law and murdered the police outside his daughter’s apartment. Will Lonnie kill Janice to prevent his daughter from sending him back to Ryker’s Island? Let's thwip into Amazing Spider-Man #58 and find out!

 

Story

When Spider-Man admitted he convinced Janice to testify against her father, Lonnie Lincoln told Spider-Man, “You have no idea what you’ve done.” When Michele got Lonnie out of Ryker’s, Peter Parker asked Lonnie's lawyer, “Do you have any idea what you’ve done?” No one expected Lonnie to attack his daughter in her apartment. They assumed Janice would be safe. But Janice is the key to locking her father behind bars, and as Lonnie once told her, "Whoever wins today will own everything and will have to be a monster to keep it."

 

 

 

Perhaps Shotgun’s indictment still rings in Lonnie’s ears. The government didn’t view him as a long-term threat and sent Shotgun to assassinate his daughter. But when Janice reminds Lonnie of his paternal relationship in Zeb Wells’ story, her father says, “Not anymore.” Lonnie once told Wilson Fisk, “It’s Tombstone when I’m working.” Intriguingly, whether wearing street clothes or his costume, Peter Parker never uttered Tombstone’s name when he tried to cage the crime lord in Amazing Spider-Man #57. But when he interrupts the family squeezefest in Amazing Spider-Man #58 and Tombstone races outside after his daughter, Spider-Man never utters Lonnie's moniker. Instead, Spider-Man repeats the crime lord’s name in the fading hope that part of the man doesn’t want to be a monster.

 

 

 

Art

When Tombstone took out the police guarding her apartment, Janice heard three shots. Yet when Tombstone enters her apartment, he replaces the magazine in his semiautomatic with a fresh one. As she dives behind the bed, crawls into the bathroom, and dons her costume, Tombstone sprays the apartment with bullets. When Janice knocks the gun from his hand with a laser blast, Tombstone tosses an EMP grenade that chokes the room with smoke. As Janice goes for his throat with both hands, Tombstone grabs one of her arms, hurls her to the floor, and squeezes the life out of Janice with his free hand. John Romita Jr and Scott Hanna respect page boundaries while delivering an average of four to six panels per page. The exception is a double-page spread with inset panels when Spider-Man makes a spectacular entrance in Amazing Spider-Man #58.

 

 

 

Marcio Menyz surrounds Janice's chocolate features with mauve-brown walls. When Tombstone points his gun at her, orange fills the background and illuminates her face. Tombstone's stony features and white skin suggest Frankenstein's monster as he relentlessly pursues his daughter. His purple vest echoes his daughter's Beetle costume. Tombstone's choice of shirt seems deliberate, as it links him with the other person determined to rob him of his empire in Amazing Spider-Man #58. 

 

 

 

Joe Caramagna’s uppercase black lettering in dialogue balloons and narrative boxes grows bold for inflection, swells and changes color for increased volume, and shrinks for lowered voices. While colored and transparent sound effects enhance the nonstop battle and chase, red dominates with gunshots and enlarged dialogue that often disrespects balloon boundaries like Madame Masque, Spider-Man, Janice Lincoln, and the US government have disrespected Lonnie Lincoln. Thanks to Marvel for providing a copy for review.

 

 

 

Final Thoughts

Janice Lincoln doesn’t want Spider-Man to rescue her. Lonnie Lincoln doesn’t want Spider-Man to prevent him from killing his daughter. As Tombstone, Lonnie always put business over family. But then Spider-Man found Tombstone’s weak spot. So, in Amazing Spider-Man #58, Tombstone seeks to eliminate it before his weakness destroys what he values most.

 

Rating 9.6/10

 

Preview the interior art in my review at Comic Book Dispatch.

Amazing Spider-Man #57 Review

 

Writers: Zeb Wells

Penciler: John Romita Jr

Inker: Scott Hanna

Colorist: Marcio Menyz

Letterer: Joe Caramagna

Editors: Kaeden McGahey, Nick Lowe & C B Cebulski

Cover Artists: John Romita Jr, Scott Hanna & Morry Hollowell; Rogê Antônio & Marcelo Maiolo; Chris Campana & Edgar Delgado; Ryan Meinerding; Claudio Sciarrone

Publisher: Marvel

Price: $4.99

Release Date: September 11, 2024

 

Spider-Man caged the bear. Now he pokes him. As Spider-Man rejoices, Tombstone regards him from the other side of the glass partition. Will Tombstone become the new Kingpin of Ryker’s Island? Or does Lonnie Lincoln have another card to play? Let's thwip into Amazing Spider-Man #57 and find out!

 

Main Story

Spider-Man's victory proves short-lived. Alice may be in chains, but Tombstone makes bail. Peter Parker confronts Lonnie's lawyer later. "You are so cute when you're angry," Michele says. "What'd you do?" Peter Parker asks. "My job," she responds. Perhaps Michele might have shuffled her feet on Lonnie's release had Peter been a better friend to her. But he arrived late for dinner after Randy and Janice’s wedding ended in tragedy. Worse, Peter refused to acknowledge the validity of Michele’s views. Worst of all, he told her that Tombstone was a villain when her client was on life-support. (The Green Goblin’s meddling didn’t de-ice their relationship either).

 

While Michele ensures the law protects everyone, Luke Cage, She-Hulk, and Spider-Man work to circumvent the criminal justice system. Randy Robinson may have campaigned to overthrow Fisk’s Law, but Luke, Jen, and Peter blatantly disregarded it during the Gang War. They even joined forces with Lonnie Lincoln amid the chaos, only to see Lonnie change his tune and become the new Kingpin of New York. In Amazing Spider-Man #57, Spider-Man contemplates the need to make the laws he wants to live by. Then Spider-Man argues that he should decide who does what in his city. But someone would inevitably ascend to Wilson Fisk’s throne. Shouldn’t Mayor Cage, She-Hulk, and Spider-Man regard Tombstone’s criminal leadership as preferable to mob bosses like Hammerhead and Madame Masque?

 

Peter, Luke, and Jen huddle in Gracie Mansion until Luke calls the play. Then, they work together to ensure they gain all ten yards in Amazing Spider-Man #57. Yet at Ryker’s Island, Lonnie stated that Spider-Man hadn't learned what he tried to teach him. Despite Janice's familial and criminal experience, Lonnie outfoxed his daughter in the Gang War. How accurately can Luke Cage, Jennifer Walters, Peter Parker, and Janice Lincoln predict Tombstone’s actions?

 

 

 

Art

John Romita Jr and Scott Hanna’s bars, overhead lights, cubicles, viewing windows, counters, and diagonal mesh grills reinforce Tombstone’s rigid surroundings. The lines on Lonnie’s face, neck, and arms show how a life of crime has aged him. When he realizes Spider-Man convinced Janice to testify against him, irregular fractures appear on his white forehead. Yet when Lonnie hangs up the phone, rises, and walks away, a smile creases his face. On the other side of the glass, red lines radiate from Spider-Man’s head. He slams his fist into the counter, creating a web of broken laminate. Outside the courthouse, Michele’s determined expression relaxes when Peter accosts her. Then, she emulates Tombstone and walks away. If not for Marcio Menyz’s flesh tones, Peter’s expression would evoke Tombstone’s when backed into a corner.

 

Sunlight casts a diagonal shadow across the covered front porch of Gracie Mansion. Luke's gold shirt, She-Hulk's green skin and purple costume, and Spider-Man's red-and-blue outfit glow with vitality against the softened colors of Luke's comfortable office. White Rabbit's cell phone illuminates her face while overhead lights make her attire gleam in the darkened room. An armored vehicle races down the street when the moon projects white rings toward the glowing New York skyline. The vehicle's headlights project white circles, while those lining the top glow red and blue. As Spider-Man crouches on the roof, surrounded by circles of red and blue light, perhaps he contemplates a patriotic victory like the revolutionary soldiers at the Battle of Saratoga.

 

Joe Caramagna thwips uppercase lettering into dialogue balloons and narrative boxes in Amazing Spider-Man #57. The fonts grow bold for inflection, swell and change color for increased volume, and shrink for lowered voices. Colored and transparent sound effects announce the end of a conversation, a woman’s desperate act to save her beloved, Lady Octopus giving her arms a workout, and Tombstone acting to preserve his power. Thanks to Marvel for providing a copy for review.

 

 

 

Final Thoughts

Kingpin makes a play for his daughter. Heroes and villains wield the American justice system in their best interests. And Digger has a spectacularly uplifting experience in Amazing Spider-Man #57.

 

Rating 9.6/10

 

To preview interior art see my review at Comic Book Dispatch.