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Dave Scrimgeour and Kevin McCluskey   Writer- David Michelinie Artist- Todd McFarlane Letterer- Rick Parker Colourist- Bob Sharen Editor- Jim Salicrup Editor In Chief- Tom DeFalco Published 14/03/1989 by Marvel Comics SynopsisA suave Eddie Brock stalks Peter back to May Parker's Forest Hills boarding house (for the elderly and broke ass nephews and nieces), where he applies a sinister charm to challenge Spidey to a duel at an estate, where there is no chance of harming any innocent bystanders as collateral damage. As per their previous encounter, Peter enlists the support of The Fantastic Four, only for Eddie to call him out on his attempt at cheating, and threaten the wallcrawler's loved ones as a result. Mary Jane however, pleads with her husband to secure some assistance in some form, so Peter talks psychiatry with Dr. Charles Jefferson, who provides the webhead with the psychological key to defeating Brock and the symbiote, by getting between them romantically. Dave So, here we are on the final chapter of this Spidey vs Venom saga. What do you make of the cover? It’s another catchy one, I’ve got to say, with the symbiote going straight for Spidey, coupled with another cool pose, and the colours are bright and eye-catching. Kev I think the actual image itself is spot-on. It’s a fantastic rendition of Spidey being overwhelmed by the symbiote, and the contrast between the red and blue of the Spidey costume and the black and white of the symbiote works really well. It all adds up to make an arresting image. There’s maybe a bit too much going on with the dressing though, and it feels a bit cluttered as a result. Your eye doesn’t quite know where it wants to be drawn to. Is it the image of Venom in the bottom corner box, the cover text, or Ben Grimm peeking in at the top right hand corner? Plus, that blurb on the cover is nowhere near as smart or funny as it appears to think it is. Dave The first page provides us with another catch-up to where Pete is, emotionally, at this point. I quite like the 4th panel, as he's styling it with the collar on his coat not tucked down. He’s giving it the trendy look here. Kev Ha, ha! He sure is. He does have a supermodel for a wife, I suppose. Yeh, once again, David Michelinie does an excellent job of giving us an opening page recap, to remind us exactly where we are in the story. Plus, McFarlane’s bottom panel on this page, of Peter’s eyes, wide open in abject terror at seeing Eddie Brock on his Aunt May’s doorstep is incredibly well done. Dave That's a great splash page that announces Brock’s appearance to us, with the suave look and pose, as he stands on the doorstep. The detail in the image is great, and the colouring works so well. Plus, I really like how we see it from Pete's perspective as his hands are reaching out towards Brock without consciously realising it.  "His eyes are like angels but his heart is cold...., he's a smooth operator." Kev Yep, it's a fantastic splash page as well, with Brock looking all smug and dapper on May’s porch, Peter’s horrified hands in the foreground and a, frankly, superb amount of background detail. It’s an “amazing” page. Everyone in his issue is looking really smooth. It’s like a fashion house catalogue. Dave The graininess of the artwork works so well throughout this series, it adds its own distinct look to it. And the whole interaction with Pete and Brock, with an oblivious Aunt May, adds a comical touch to this, almost like two bickering brothers fighting behind their mum’s back. The way these panels are composed is very well done again, with each drawn to catch the reader’s attention. No panel is left to go unnoticed. Kev Yeh, page 93 is a lovely little bit of physical comedy, almost. The little tussle over May, and Eddie saying he and Pete have “business,” as well as him saying, “I’m sure she’ll be fine, Peter. After we’ve gone…!” is just the right amount of sinister to let us know that Eddie is clearly using May to threaten Peter. And Eddie’s code for not taking “innocent” lives, such as Aunt May’s, and his reasoning for not exposing Peter’s secret identity, are all little steps towards Venom becoming more of an anti-hero, than a straight-up villain. A “Lethal Protector," if you will. And hey, those types of anti-heroes were all the rage in the late ‘80’s/early ‘90’s. Especially the ‘90s once everyone went all “edgy.” Dave Good point about the ‘90's going more “edgy” than the straight-up ‘80’s, where the good guys were the good guys, and the bad guys were the bad guys. It seemed that, in the ‘90's, people wanted to blur those lines more. On that 4th panel on page 93, as Brock punches Pete's hand away, it looks like there is shuriken flying through the air in the background. Maybe Venom is related to The Black Star Ninja. Ooops! Wrong genre. Kev Ha, ha! Right enough, so it does. Ha, ha! It'd be a good mash-up though. They'd get a Marvel Legends figure out of it as well. Dave Even the first panel on page 94, where Brock and Pete are doing a walk and talk; the conscious decision to darken out their faces, and emphasise the physical difference between the two of them is an excellent touch. Kev Yeh, we're using body language to tell a story here, aren't we? McFarlane was always good at mixing up his panel compositions to keep things interesting. Dave Actually, page 94 has a variety of different panels, from long shots to close-ups. Kev It does, but I'll be honest, I'm not always the biggest fan of those vertical panels. In the wrong hands, I think they come across as a bit awkward. That's a nice Clark Kent bit by Peter at the bottom of page 95. The Venom insert is good too. Dave I think those vertical panels are working well but, as you say, in the wrong hands could be a disaster. Kev I think, maybe because we read from left to right, and top to bottom, rather than solely top to bottom, it always felt a bit odd to me. Dave That's another Spidey poster right there on bottom of page 95. It’s a cracking panel. Also, the panel above it with Brock saying ".....we won't be disturbed" shows him to have a slightly overly large bottom half of his face. Kev Yeh, that is one hell of a Jimmy Hill chin. There's a reference that will be lost on the kids. Dave Page 96 is just a visual treat, isn't it?  "We See The World In Ben-Day Dots is sponsored by Better Help." Kev Yeh, page 96, I mean, come on!?!? How good is that? No wonder it’s become such a classic, iconic image. Todd doesn’t half draw a good Spidey from the back, like on the 3rd panel of page 97. The image of Spidey on the 4th panel isn’t too shabby either. What is the deal with all of McFarlane’s characters having mad “Scouse brows” though? Jeez those are thicc. Dave When Spidey saved that guy falling off the scaffolding, I’m sure his web probably attached to the guy's eyebrows. I see McFarlane as an artist who prefers drawing caricatures to the more conventional looking person. If you compare the look of this book to ‘Spectacular Spider-Man’ at the time, it's a stark difference. Also, it has the elements of the odd character actors that floated around in the films over the decades. Kev Yep, and I think he's all the more interesting an artist as a result. Dave And what on earth was this guy doing to fall off the building anyway? He could have been some crazy freebase jumper who does this stuff for kicks, and Spidey has spoiled his moment. His parachute could have been tucked away in his eyebrows. Kev Ha, ha! I did think to myself as I was reading this again, "How many workers just fall from a building site each year in New York? And how many of them just die in real life because there are no superheroes flying around to save them. Dave I like the first panel on page 98, of the Fantastic Four Plaza from an aerial viewpoint, as if the camera was zooming in on it. There's also a side view of Spidey's face on the 3rd panel, with the tiny nose and the huge eyelets on his mask. I always remember that look. Again, another distinctive look to this style of drawing. Kev I love McFarlane's button nose, huge eye-lens combo look. It was my preferred look for Spidey at the time. It's a good establishing shot, alright, yeh. It's also good to see ol' Ben Grimm show up again. He’s become a regular guest star in these issues, hence his appearance on the cover, I guess. One of these guys was a fan. I wonder if it was Michelinie or McFarlane. What do you make of this Ben Grimm look? Dave The juxtaposition in size between Ben Grimm and Spidey is so noticeable. I thought Ben Grimm was purposely drawn in an overly exaggerated way. He looks like he was pieced together by Lego blocks. What did you make of this rendition of Ben Grimm? Kev Ha, ha! He does look a bit like he's been made out of Lego. I actually quite like it as a bit of redesign. The braces and tiara is an interesting choice, but I'm a bit of a traditionalist, in that I prefer the classic look. However, as a way of freshening things up for a bit, I think it's a good move. I love that panel at the bottom of page 98. The body language between Ben and Peter is so well done.  Ben Grimm, The Thing, Rock Lord. Dave Brock loves taunting Peter. The look on his face in that last panel says it all. Plus, he has lost the Jimmy Hill look at least. The symbiote is useful for facial reconstruction, apparently. Maybe it does plastic surgery alongside dental work. Kev Ha, ha! The looksmaxxing cheat code. Get yourself an alien symbiote. Dave Again, page 100 is a feast of panels from different perspectives, and the colours are equally as strong. Michelinie, McFarlane and Sharen are really earning their crust with this story, ensuring we, the readers, are getting value for money. Kev Yeh, it's a cracking line-up for a creative team, alright. We didn't know how good we had it at the time. Dave I also like how clever Brock is, and he’s letting Peter know that he is being watched, adding an edge with his psychological warfare, alongside sheer brute force. Kev Yeh, you can tell Venom has Peter rattled, because every time they’ve faced each other, Peter has forgotten that the symbiote doesn’t trigger his Spider-Sense, which has put him at a distinct disadvantage. Every single time, so far. This is a nice scene between Pete and MJ on page 101; the sweetness of her, not only finding the photograph of Peter, May and Ben during simpler times, but also her finding it as wholesome as she does, juxtaposes nicely with the seriousness of the situation they now face with Brock and the symbiote. Dave Page 101 does bring it back to a more pleasant moment, yeah. Just a nice, simple, intimate moment between a loving couple. The panels, again, are excellent. McFarlane draws MJ like she is constantly on a photo shoot, like in the top panel of her lying on the floor. Then we get the panel of the two of them embracing in the darkness, as they are both facing a very dark moment, and this panel is a good reflection of this.  Even when she's unpacking boxes after moving house, MJ is dressed to the nines. A model's gonna model, right? Kev He really leans into her occupation as a model, doesn't he? He loves a bit of the old cheesecake, does our Todd. Yeh, “Besides, sometimes the only thing that makes being Spider-Man even remotely bearable is being able to escape back to my relatively normal life as Peter Parker.” I like that. That’s a good line. Excellent insight, character work and all-round writing by Mr. Michelinie. Dave And another cracking panel on page 102, of Pete and MJ embracing, and the glowing light emphasising how their love is the light that bring them out of the darkness. This Doctor Jefferson character has fallen victim to the McFarlane busy caterpillar eye brows. I love that pose of Spidey upside down outside his window. Yet another art flex from McFarlane.  Amazing Spider-Man #317, where Spidey faces his greatest threat yet.....Todd McFarlane drawn eyebrows. Kev These McFarlane eyebrows are going to get everyone eventually. It's like a horror movie. Like 'Invasion of the Bodysnatchers,' or something. Yeh, that middle panel of Spidey at the window is superb. The close-up one at the bottom is excellent also. “.....his usual 14 hour day.” Dr. Jefferson is doing nothing but working and sleeping. He’ll give himself a heart attack.  "But when you smile...., I can hardly wait, to hold you, enfold you. Never enough, render your heart to me. All mine." Dave Yeah, something sinister is at play here with those brows. There's no time wasted as we jump straight into the final battle between Spidey and Venom. Kev Yeh, we aren't half motoring along here, are we? Look at Pete in the 3rd panel of page 104! Shredded! He must be well under 10% body fat here. Either he’s on a cutting cycle, is seriously dehydrated, or he’s juicing. Or all three. Dave Proper ripped indeed, is Mr Parker. The top panel on page 105 is excellent. I really like it.  "Phantom Punch?!?!" Kev It's great, isn't it? It puts me in mind of that famous Neil Leifer photograph of Ali standing over Liston, in that it really sells where we are in this fight. Spidey is desperate, trying to crawl away, and Venom is such a menacing presence in the background. They’re relentless, unstoppable, as they bear down on our hero yet again. And I can’t believe that the first thing Spidey did was shoot for a takedown on Venom. C’mon, Spidey! You know you’ve at least got to set that up with some striking. Use your stand-up first, THEN change levels and attempt the takedown.  Spidey desperately shoots for a takedown. Dave Yeah, Pete goes straight for the takedown and just gets body slammed in return. You can almost hear Gorilla Monsoon and Jesse "The Body" Ventura commentating on this one, with Bobby “The Brain Heenan” adding his sarcastic comments, for sure. It's a kinetic looking battle, the panels emphasise the speed at which each move is happening.  Easily stuffed by Venom, who counters with a slam, then goes for for some ground and pound, but Spidey escapes. Dave Also, the symbiote is very cunning in how it attacks Spidey, covering his face and then dragging him under the sand. I guess we are seeing where the title of this issue, ‘The Sand and the Fury’ comes from. The top panel on page 107 is another visually striking image. How good were those ‘80's comic images? Is there any wonder we loved comics back then? Venom is also singing along, very gleefully, as he goes in for the kill on the bottom panel of page 107.  Kev's getting flashbacks to him trying to chat-up the ladies in clubs in the mid to late '90s. Kev Yeh, Man. They were just so action packed, dynamic, and energetic. Pure catnip for the sponge-like mind of a 10 or 11 year old. 'The Sand and the Fury' is also Michelinie showing his literary chops, as it's a play on the title of the William Faulkner novel, 'The Sound and the Fury.' I’m not a huge fan of the Venom quips. “Top o’ the mornin’,” for example. They only serve to diminish the perceived level of threat that he possesses, if you ask me. “He’s going to die! Oh, happy, happy, happy!” Aaarrrggghhh! This is the typical horror trope where, as a series with a horror character goes on, they lean more and more into the, admittedly always present, comedy of it, and I think it’s taking away more than it’s adding to Venom here. In saying that though, I am really enjoying just how formidable of a foe Michelinie and McFarlane are making Venom, and that no matter what Spidey is trying in attempt to gain even the slightest bit of an advantage, Venom is always one step ahead and has Spidey’s number. Dave Yeah, I do like on the earlier page, as Venom crashes through the wood saying, "Knock knock," and Spidey’s quick response, "Knock this, Smiley," before setting him alight. And how many cracking panels are on pages 108 and 109, as the battle continues on? The half page one on 109, as Spidey hovers above Venom, is another example of brilliant work. Kev The POV on that panel is superb, isn't it? Again, that top panel on page 110; McFarlane can’t half draw a good Spidey from the back.  Todd's bringing Sexy Back. Yeah! Dave Pete's strategy of stripping down to his Y-fronts to get the symbiote to leave Venom is quick thinking. He has to go full circle with the symbiote in order to beat it. Kev Yep. He's had to think outside the box, and use his smarts, rather than his muscle, to win this one. Dave Either that, or he was looking to audition for a part on ‘Baywatch.’ Kev Ha, ha, yeh! Get him one of those red board thingies they had, and he'd be set. He could easily be a fitness or an underwear model with that bod, whereas Brock is too big and bulky to be a Calvin Klein model. Dave It's the attention to detail, isn't it? And the lean figure look as well. Kev “Wait! I gave you a home! We shared a beautiful hatred! You can’t do this to me!” We’ve all been there at some point in our lives, Eddie, when we’ve been the back-up plan, and had to play second fiddle to another for someone we love’s affections. More excellent writing and great dialogue from Mr. Michelinie. Dave Also, I like how his hair still stands up after, not only wearing a mask to cover it, but also being dunked in the water. I’m sure the Spidey outfit isn't waterproof. Kev And that top panel on page 112 is fantastic.  "I do admit to myself that if I hurt someone else, then I'll never see just what we're meant to be." Dave It does end very abruptly, this issue, as essentially the symbiote just has a meltdown, as it can't decide who to stick to, Parker or Brock, and Brock bears the brunt of it. Pete's also pretty confident that this is the end of it, and I get it as a way to close out the issue, but the ending seems very rushed. Kev Yeh, I know we often say this, but jeez, I agree, that is one hell of an abrupt ending. I guess Michelinie felt that he was done, and that was all the story he needed to tell. There’s no closing scene, or epilogue, or nuttin’. Just a panel of dialogue by Pete wrapping up the story. End of. Dave As he walks off to his audition for ‘Baywatch.’ Kev Cue the classic, instantly recognisable ‘Baywatch’ theme. Dave Looking back on this series; what do you make of it through the Ben-Day Dots, Cyan, Magenta, Yellow, and Key-tinted lenses? Kev I've really enjoyed revisiting it. Oddly enough, the issues that I had it in my mind that were the most memorable, which were #300 and #316, haven't turned-out to be my favourites this time round at all. That honour goes to #315 and this one, #317. I'd like to give particular credit to #315, which I thought was just an absolute joy to read, with its focus on Peter's personal problems, and the soap opera style drama of May's boarding house, plus, both Peter and MJ's work problems. Maybe that's what just rings more true to me, now that I am a man of a certain age, whereas the fights in tights stuff just looks painful. Ha, ha! What about yourself? Dave I’ve got to say, issues 315 to 317 were the strongest in this series, and I could see the artwork finding its feet and setting its distinct style. They felt like really strong, relatable Spidey issues, with the characters' relationships getting a good amount of attention. The visuals were just outstanding, and I can see why this set the bar for comics for us at the time, as we have highlighted so many great panels throughout this run. Also, the action wasn't the thing I cared about the most either, it was just part of the story. It's the difference between looking at this through adult eyes (I’m trying to avoid the use of the word "old," (“Adult” eyes compared to adolescent eyes)), and how different we view life. But to sum it up; this has been a great series to review. Kev Ha, ha! Yeh, let's try not to use "old" too often quite yet. I guess the comics themselves don't change, but we as the readers do. To tie it back to my Muhammad Ali reference earlier, he was once quoted as saying, "The man who views the world at 50 the same as he did at 20, has wasted 30 years of his life." I suppose the same applies to us and how we view these comics at 50 and 10(ish). (D) & (K) The end. 
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