Sadly, Stegman only draws three of the six episodes, although a complete thriller. Colourist Frank Martin plays a large part in creating that illusion, here switching from what was predominantly black and red to warmer tones. If the figurative realism he applies to Eddie Brock back in San Francisco wasn’t glorious enough, what showcases Stegman’s ability is that the style is very different from the approach taken on Rex. It’s already been established on Venom and elsewhere that Ryan Stegman is a monstrously talented artist, and he proves that again over the three chapters of the title story. Despite the shift in view, these are still three harrowing stories, just with the use of the Venom symbiote far more selective. What Venom is continues to be the theme, but this time explored from a human perspective.
Cates reconstituted what the alien symbiote is from the ground up, referring back to the creation of the Marvel universe and an ancient creature not willing to be subservient to the will of the Gods. Rex was a phenomenal opening to a new Venom series, Donny Cates ensuring from the start his Venom wasn’t just a creature bonded to a human who carried out missions, or, worse still, a creepy, misunderstood helping hand.
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