Venom: Black, White, & Blood #1 Review- Marvel’s Black and White Antihero, Unleashed!
From Marvel Comics
Written by David Micheline, Ryan North, J.M. DeMatteis
Art by Jonas Scharf, Creees Lee, and Dave Wachter
If you have read my reviews in the past, you know that I am not shy about my love for the “Black, White, and Blood” anthology comic series from Marvel Comics, initiated in 2020 with the release of Wolverine: Black, White & Blood featuring inaugural work from acclaimed writers, Gerry Duggan, Matthew Rosenberg, and Declan Shalvey. This week now sees the ninth installment of the now fan favorite Marvel series with Venom: Black, White, & Blood which has allowed for comic book creators new and old to have a crack at telling and depicting the best and most visceral (hence the “Blood” part) short story they can for some of the most iconic characters from the Marvel Comics catalogue.
What exactly makes this series so popular? I would argue that it is a combination of narrative brevity and the stark artistic approach. Meaning, in the first case, that comic book fans are given the opportunity to read multiple complete stories from some of their favorite writers in a single package without having to wait for the week to week installments of the traditional comic book cycle. And in the second case, fans are treated to some of the most detailed, inventive, and brutal artwork that Marvel Comics routinely delivers, allowing for artists to truly showcase their unique style in a way no other professional mainstream comic book title offers.
Additionally, this stylistic approach allows for fresh discovery for comic book fans, as I can personally attest to first recognizing some of my favorite modern comic book artists and writers through this series format which encourages readers to take note of the creators involved in each chapter.
Another added element of what makes this series particularly alluring is the chance to see famous writers and artists return to the iconic character they are associated with for an installment, especially with the implied bonus of more graphic and stylized content. Which is certainly the case for Venom: Black, White, & Blood #1 with acclaimed Marvel Veteran David Michelinie returning to pen the “Lethal Protector,” in the debut story for this title.
If you are a fan of the alien anti-hero Venom, or only somewhat aware of the concept of the character, then I would highly recommend seeing what this new “Black, White, & Blood” title has to offer. This book is a rare instance in which stories involving the rich, ever evolving characters from Marvel Comics are stripped down to their core elements with their thematic intent distilled into succinct, crippling gut punches.
But let us talk more specifically about each thrilling tale in Venom: Black, White, & Blood #1 which means,
WARNING! SPOILERS AHEAD!
The first page of “Force Majeure” by David Micheline and Jonas Scharf might as well be a proof of concept for the entire intent of the “Black, White & Blood” series as it presents a concise, attention grabbing, noir influenced scene that utilizes dramatic dialogue and expert shading to draw readers in right off the bat.
We enter a story already in progress as a mysterious, aging scientist and his group of armed guards venture through the woods at night, pursued by the shadowy figure of Venom, New York’s newest protector. As the guards balk at the professed inhuman abilities of this creature, the scientist urges that they should be wary as the vigilante wields the power of an alien being.
What I always appreciate about David Micheline’s approach to Venom storytelling is that he seems primarily focused on the unique duality of Venom as both hero and villain, and the pulp science fiction tone and concept of the Symbiote as a mystifying alien presence in a strange world. In modern comics, we have seen the increased proliferation of Venom and Symbiotes at large across the Marvel Comics Universe, to the point of near oversaturation. Which is what always makes Micheline’s early era approach to the character so refreshing and definitive as a glimpse into what niche the character was meant to fill in the grand tapestry of Marvel Comics characters.
A sentiment that is reinforced by the circumstances of this issue, as we see Venom pick off and brutally murder each member of the scientists armed guard one by one in a sequence reminiscent of the harrowing jungle warfare of the Vietnam War as fictionalized by popular media. In this, we see a Venom that does not abide by half-measures or a typical superhero moral code, but is more akin to a supernatural monster from a horror film.
The scientist tries in vain to catch Venom off guard with a sonic cannon that inadvertently turns his protectors into red paste, before reaching the edge of a cliff face as Venom strides towards him in all his hulking glory. It is only then that we gain insight into the inciting incident behind this macabre chase scene, as Eddie recounts his time as an unwilling experiment in the scientists lab, watching innocent homeless people injected with incurable diseases the scientist had no hope to cure without gaining control of the Symbiote’s genetic abilities.
As Eddie concludes his recount, he assures the scientist that “the means have justified his end” before pushing him off of the cliff, playfully pretending to save him with a web, and then letting him plummet to his death, before effortlessly disappearing into the black shadows of the woods.
While the plotting of this story is admittedly a little thin and inconsequential, it remains a classic depiction of Venom as an unlikely vehicle of retribution for the wicked, as an alien entity that is ironically more human than humanity. Additionally, the superb rendering of the art from Jonas Scharff, makes this issue all the more visually memorable and rewarding to Venom fans.
The next installment in our celebration of the historic character of Venom is, ”Sweet Will Be the Flower” by Ryan North with art from Creees Lee, which may be one of my new favorite Venom stories of all time.
We open on the image of a dying boy, Derrick, who is bleeding out in an alley with a gunshot wound as he quietly prays, not for forgiveness or peace, but for revenge. A prayer which is fittingly answered by the angelic appearance of the shape shifting creature we know and love called Venom. As Eddie kneels beside the dying boy, he hears Derrick whisper his dying wish, to take the power of the symbiote for just a moment. Long enough to find the boy who shot him and to enact the vengeance he deserves. Eddie hears his other’s response, saying that it could heal Derrick enough for the journey, but that ultimately he will succumb to his injuries.
This premise is relayed so fluidly and enticingly by both writer and artist that by the time we understand what is happening, we are completely invested in the bizarre circumstances, this momentary, forgotten host for the symbiote. The time the symbiote chose heard a dying boy’s wish. I am admittedly unfamiliar with Creees Lee’s previous work, but as I highlighted earlier, this story has made me a fast fan of their work. Lee’s use of texture throughout, and the subtle and diverse application of the “red” elements in this short story are of particular note, as is their classic, sleek depiction of Venom.
As Derrick, clad in the living symbiote costume, finally confronts his killer, he soon realizes that his vengeful imagination is quite different from sobering reality. Instead of fighting back, the other boy accepts his punishment as justice, and falls to the ground in tears, unable to forgive himself for what he’s done. Sparing the boy’s life, Derrick flees the scene and watches the sunrise in the park as he slowly dies, and Eddie arrives to reunite with his partner.
This story plays out in what has become a recognizable and effective narrative structure from Ryan North, methodically and emotionally providing details without commentary, which allows the reader to feel the weight of the circumstances presented for themselves. Moreover, this feels like a quintessential “Black, White, & Blood” story, functioning as a brief window into the soul of the character through action rather than something grandiose or canonically essential. However, what makes this story even more impressive, is that rather than ending on this perfectly acceptable poignant moment, we go one step further by peeling back the curtain on the origin of this story, revealed to be an account that Eddie Brock is relaying to his cell mate- Cletus Kassady (aka Carnage).
Cletus, a notorious psychopath, accuses Eddie of altering the details of his story to appear like a better, more moral person. Cletus surmises that the reality of the story is that Eddie found Derrick’s body and killed his killer in revenge and hates himself for it. In Cletus’ mind, it is impossible for Eddie to be both capable of killing and be a well-intentioned person worthy of redemption. In our final pages, we see Eddie clutching a bible, insisting that he is a “good person,” before cutting back to the image of Eddie on that park bench as his symbiote retracts, leaving Derrick’s corpse in its wake.
This simple addition, tying this intimate, complex story in the life of Venom, to a specific recognizable moment in the character’s history when he was at his lowest is an inspired choice that elevates what was already an excellent entry. Furthermore, it deepens the story’s themes by analyzing the confounding nature of violence and revenge, comparing Eddie’s wavering position as an antihero to the stark, sickening logic of a villain like Cletus Kassidy.
While it is uncertain whether or not Eddie and Venom were right to let Derrick live out his final moments, or if the story is even true in the first place, what is definitely certain is that I am going to be thinking about the final image from this story for quite some time.
(Also, the second time that Ryan North has floored me with his narrative vision in a one shot this year, with the first time being in the pages of Godzilla vs. Fantastic Four #1)
Our final installment similarly stems from a specific era in Venom lore, beginning in the wake of the events of Maximum Carnage, one of Marvel’s most famous “event” titles from 1994 written by Tom DeFalco with art from Venom veteran Mark Bagley.
Yet it is another seasoned comic book creator that is our focus for this issue in J.M. DeMatteis, who has written a plethora of essential comics at both Marvel and DC since the mid 1980’s. In “Father and Sons,” DeMatteis explores a much more nuanced psychological focus than traditional superhero storylines, exploring the inner repressed trauma of Eddie Brock that has influenced his career as the vigilante Venom.
However, it is the incredibly distinct and stylized artistic rendering from Dave Wachter (who is becoming an increasingly recognizable figure at Marvel Comics), which completely elevates the script with original and evocative designs.
For context, the story follows Eddie Brock as he walks through the streets of New York, listening to his fellow citizens praise Venom as their savior, but unable to feel like he is the hero they deserve. He is quickly distracted, as he notices a young boy being reprimanded and whipped around by his father and immediately steps in to intervene. However, as the father challenges Eddie, he relents, seeing a quick vision of his own father reflected in the man’s face.
As Eddie walks away, his other inquires about the bizarre flash of memory, but Eddie is reluctant to go into greater detail about his traumatic past. Nonetheless, the alien symbiote delves further, hideously morphing into his younger self and then into Eddie’s father, forcing Eddie to confront the truth about his traumatic upbringing in order to make him a better hero. Again, the art styling here, oddly reminiscent of the otherworldly visions from Studio Ghibli’s Spirited Away, allows this introspective storyline to become visually engaging as well as thematically poignant, which may have been lost with a different artist.
While this final issue into Venom: Black, White, & Blood isn’t as monumental or action packed as you’d expect, it does offer lasting, thoughtful insight into the intimate relationship between Eddie Brock and Venom that has continued to make the characters so interesting to fans in the modern era.
The “Black, White, & Blood” concept from Marvel Comics continues to be an excellent, unexpected, and haunting experience that feels particularly appropriate with this new title centered on the extraterrestrial mimic menace, Venom. If you are a fan of Marvel Comics and want to get a taste of the superb writing and artwork that the legacy publisher has to offer these days, then you can find no better outlet than Venom: Black, White, & Blood #1 on shelves at your local comic book store now!
