Review - Ultimate Spider-Man Volume 10: Hollywood

A big budget blockbuster about Spider-Man is being made with Doctor Octopus’ ex-wife as its consultant and the villainous scientist couldn’t be angrier. He escapes from prison intent on wreaking havoc on the film’s set and abducts Spider-Man in the process. Tired of having his life dictated and defined by others, Doctor Octopus is desperate and eager to eliminate those who hold him back.

Ultimate Spider-Man Volume 10: Hollywood collects Ultimate Spider-Man #54-59, written by Brian Michael Bendis and illustrated by Mark Bagley.

Hollywood is a tongue-and-cheek meta storyline that sees real life events being tied into the world of the fictional Spider-Man. Film producer Avi Arad announces the production of a Spider-Man movie directed by Sam Raimi and starring Tobey Maguire, which is set to film in New York City. It’s a comical to see this transpire within the Ultimate Universe and comes so close to breaking down the fourth wall. Instead of being overjoyed at being the subject of a blockbuster, Peter is annoyed. He’s miffed that people are profiting off of him and that he has no control over his narrative. The producers offer him an opportunity to get involved, but the one caveat they have for him is that he must reveal his identity to them first. Peter refuses and broods for the rest of the production. Amidst this somewhat lighthearted narrative there’s the story of Doc Ock breaking out of prison and leaving a path of destruction in his wake. He crashes the set and kidnaps Peter, taking him on a plane and torturing him. It’s a rather grim turn of events and it’s rather unexpected. This storyline makes it quite clear that Doc Ock isn’t a goofy villain or some kind of a henchman to a bigger boss. He’s quite scary all on his own.

Despite some memorable action sequences (particularly the final showdown between Spider-Man and Doc Ock) and some engaging humour, I found myself once again most interesting in Gwen Stacy’s side of the story. We see that she’s still processing the loss of her father and that she still blames Spider-Man for it. She becomes more and more unhinged as the arc goes on, which contrasts her usually cool demeanour. With all the hoopla of Spider-Man facing off against bad guys in intense grudge matches, it’s fascinating to me that what I find most compelling and memorable are what Bendis and Bagley do with the supporting characters. To me, that’s what elevates an otherwise disposable storyline.

Ultimate Spider-Man Volume 10: Hollywood is an entertaining read that checks all the boxes of what you’d expect from a Spider-Man storyline. It’s got the classic hero versus iconic villain showdown, reminders of how powerless Spider-Man is in controlling his own narrative, humour, and plenty of interpersonal drama. With that said, it is somewhat predictable and isn’t as exciting as it could have been. We’ve already seen Spidey and Doc Ock throw down more than once, so there wasn’t anything new there. The movie plot point was interesting enough, but there wasn’t adequate commentary done on the subject (as Gail Simone had done in her two-parter where Hollywood attempts to make a movie about Wonder Woman). Hollywood is fun, but it won’t leave the reader remembering more than an extracted tooth and a rather intense Gwen Stacy.

RATING: B-

Review - Ultimate Spider-Man Volume 9: Ultimate Six

Green Goblin, Doctor Octopus, Electro, Kraven the Hunter, and Sandman – five of Spider-Man’s greatest foes have been apprehended and detained by S.H.I.E.L.D. as illegal genetic experiments. Bound by their mutual desire to exact revenge against Nick Fury, the villainous quintet break out of their prison with the intention of kidnapping Spider-Man and immobilizing S.H.I.E.L.D.

Ultimate Spider-Man Volume 9: Ultimate Six collects Ultimate Spider-Man #46 and the seven issue limited series Ultimate Six, written by Brian Michael Bendis with art by Mark Bagley and Trevor Hairsine.

Collected under the banner of Ultimate Spider-Man, Ultimate Six is a deceptively titled trade that places five of Spider-Man’s most iconic villains at the forefront of its narrative. Spider-Man is but a footnote in a story arc that pits the likes of Green Goblin and Doc Ock against Nick Fury and the entirety of S.H.I.E.L.D. It begins with Fury and the Ultimates arresting the five Spider foes on the charge of being illegal genetic experiments, but their imprisonment proves ineffective when Doc Ock manipulates S.H.I.E.L.D. into granting him access to his metallic arms. He breaks his fellow inmates out and the quintet proceeds to wreak havoc. They kill several S.H.I.E.L.D. agents, kidnap Spider-Man, and eventually attack the White House. It’s a rather straightforward story with very little in the way of plot twists or underlying themes. It’s a standard supervillain jailbreak, team-up story that ends in an unfortunately all-too-short fight between the series’ villains and the Ultimates. It’s so short that Thor and Electro’s conflict happens entirely off-panel, while Wasp’s fight with Doc Ock lasts all of two pages. The usage of Iron Man as a deus ex machina against Sandman and Green Goblin was also incredibly unimpressive. The focus on the villains and on Nick Fury throughout was also a misstep, since it really didn’t offer much in terms of an emotional component to the storyline. Spider-Man is used so sparingly that he feels like an afterthought.

Trevor Hairsine’s art fits right in with the world of the Ultimates as previously established through Bryan Hitch’s work. There’s a roughness to it and an attempt to render the characters in a more realistic manner. This was an interesting choice as it seems to visually place the reader closer to Millar’s Ultimates than Bendis’ Spider-Man, but it seems to match the narrative focus in that respect. That said, Hairsine’s pencils didn’t quite live up to Hitch’s in that he often falls short in distinguishing characters from one another. A couple of S.H.I.E.L.D. agents look identical to Tony Stark, while there was a sense of sameness to how the de-powered Norman Osborn, Kraven, and Sandman appeared in certain panels.

Ultimate Spider-Man Volume 9: Ultimate Six is a bit of a disappointment. The idea of Spider-Man and the Ultimates teaming up to stop this universe’s take on the Sinister Six (minus one member obviously) is really fascinating. The problem was all in how that storyline took shape. Bendis and Hairsine placed the focus on the wrong characters. These five villains aren’t that engaging and the usage of Fury as the focus of their hatred felt lopsided. Additionally, the action didn’t live up to the expectations and was too rushed. There are some glimmers of interest here and there. For instance, I thought that the reveal of Wasp’s previous admiration for Doc Ock was a nice touch and added some layers to their fight at the climax of the series. Bendis also proves himself a much more capable writer than Mark Millar when it comes to Captain America. Cap is actually quite likable here. Ultimate Six is really a missed opportunity for something really great and epic. It feels disposable and is propped up only by occasional moments of character development.

RATING: C

Review - Ultimate Spider-Man Volume 8: Cats & Kings

After being exposed in the press as a murderer, Wilson Fisk has returned to New York City to rehabilitate his image. Though he’s managed to manipulate the public into believing his innocence, Spider-Man knows the truth and is infuriated by how thoroughly Fisk has managed to manipulate the situation. Meanwhile, a mysterious thief known as the Black Cat has stolen an artifact that Fisk is eager to acquire. A determined Fisk sends the assassin Elektra after her to get it back. Naturally, Spider-Man gets caught in the crosshairs of this conflict.

Ultimate Spider-Man Volume 8: Cats & Kings collects Ultimate Spider-Man #47-53, written by Brian Michael Bendis and illustrated by Mark Bagley.

As a fan of both Black Cat and Elektra, this arc was incredibly enjoyable for me. It begins with the return of Wilson Fisk, which slowly results in an unravelling of Peter Parker’s life. Peter is fired for questioning J. Jonah Jameson’s editorial decisions, suspended for acting up in class due to his frustration over Wilson Fisk’s public image rehabilitation, and is torn away from Mary Jane after her father insists the pair stop seeing one another. Amidst this drama, Black Cat enters Peter’s life and briefly provides him with a refuge away from reality via flirtation that leads to a rooftop “date.” Black Cat is a frenetic character who drastically changes the pace and dynamic of the series. The action sequences and choreography of the character are brilliant. Elektra, despite appearing later on in the arc, provides a similar kind of energy. Both women are action-oriented and aren’t the usual type of foes Spider-Man typically comes across in this series. They’re not megalomaniacal supervillains or bumbling henchmen, they’re well-trained and highly-skilled combatants. It’s very refreshing. Their motivations are also kept quite simple as well. Black Cat seeks to mess with Wilson Fisk’s plans as revenge for his past misdeeds against her father, while Elektra is purely a sai-for-hire. Though neither is given as much character development as I’d like, there’s just enough to leave me satisfied with their portrayals. (Although, Elektra is drastically different than she was in Ultimate Daredevil &Elektra – so what changed for her?)

One of the things that I found absolutely riveting about Cats & Kings was the underlining theme of how wealth and influence can allow someone to get away with murder – even when the proof is practically irrefutable. In Wilson Fisk’s case, he’d been caught on tape killing someone. Through the use of his lawyers and money, he’s managed to manipulate things so that people believe the events on the tape are doctored. This sends Peter into a tailspin as he cannot understand how this could possibly be a reality. He knows Fisk is a murderer and is deeply troubled by how the adults around him don’t want to engage in discourse about the grave injustice that has happened. Seeing Peter pushed to the edge over something with some weight to it is really fascinating. Thus far, Peter has been prone to fits of melodrama and is often most concerned with his personal life. Peter’s questioning of everything brings a lot of dramatic tension to the narrative, especially since it results in pretty heavy consequences for him (i.e. losing his job, being suspended from school). It sets up a very clear contrast – Fisk, a murderer, walks free while Peter, an innocent, is punished for simply asking uncomfortable questions.

Bagley’s work in this particular arc is especially impressive. There are a lot of wordless sequences, particularly those involving Black Cat. Her introductory scene features her breaking into a building and stealing an artifact. It’s largely devoid of dialogue and it allows Bagley to truly tell the story. It’s really creative and well-drawn. Something similar happens later on when Black Cat and Elektra duke it out. Generally speaking, action sequences in this series are given a lot of dialogue via banter and one-liners. Here, we get the two women fighting one another without saying a word. It’s more intense and leaves the reader with the impression that they’re both incredibly skilled fighters. Beyond these sequences, it is worth mentioning once more that Bagley continues to excel with reaction shots. We get a lot of high emotions and tension in this arc, so Bagley really stretches his muscles here. Since this arc introduces Black Cat into the Ultimate Universe, this means that she gets a redesign to go along with it. I quite like her mask and the accessories she’s given, such as the belt and the white-trimmed gloves, but the suit itself is problematic. The sheer amount of cleavage she’s got going on is wildly unrealistic and takes away from what would otherwise be a really chic, functional look.

Ultimate Spider-Man Volume 8: Cats & Kings is a great return to form for Bendis and Bagley. After a handful of lacklustre issues, this arc has the perfect mix of action and drama that will leave readers hooked. The introduction of Black Cat was handled well and the usage of Elektra was a nice twist. We get a lot of great character moments – including tense exchanges between the Parkers and Mary Jane’s father, a heated argument between J. Jonah Jameson and Peter, and a hilarious phone conversation where Aunt May dresses down J. Jonah Jameson for firing her nephew. With its electric conflicts, memorable action sequences, and exploration of economical privilege, Cats & Kings is one of the better collections from this series.

RATING: A-

Review - Ultimate Spider-Man Volume 7: Irresponsible

When Peter and Gwen sneak out to attend a house party, they encounter a student named Geldoff from another school who possesses the ability of combustion. After an incident where Geldoff was causing cars to explode, Peter intervenes as Spider-Man in an attempt to get Geldoff to recognize the severity of his actions. Before he can sway him one way or the other, they are confronted by the X-Men, who are determined to bring Geldoff back with them to Professor Xavier.

Ultimate Spider-Man Volume 7: Irresponsible collects Ultimate Spider-Man #40-45, written by Brian Michael Bendis and illustrated by Mark Bagley.

One of the most notable aspects of Irresponsible is the total lack of supervillains within its narrative. Instead, Bendis and Bagley take a more human approach to storytelling as they present Peter with a dilemma instead of a full-blown superheroic conflict. This results in a rather slow and somewhat torturous read. The premise is basically “what happens when the awkward foreign student gets powers and becomes popular?” There’s no real stakes since Geldoff doesn’t come across as a real threat. He blows up some cars, but that’s about it. The majority of the issues that make up this arc are essentially characters standing around talking to each other. Aside from the fact that Peter and Mary Jane reconcile after breaking up for a while and Peter meeting the X-Men, it feels like nothing of import actually happens. That’s not to say there aren’t some memorable moments. The X-Men’s inclusion in this arc really adds some much needed energy to the otherwise limp narrative. From Kitty’s fangirling over Spider-Man to an impressive action sequence involving Jean and Storm saving Spider-Man, Kitty and Geldoff during an impending plane crash, the X-Men create a sense of urgency and dynamism that really intensifies the world that Spider-Man occupies.

Given my issues with this dialogue heavy arc, it’s a surprise that my favourite issue in this collection is one that features almost no action and that’s essentially start to finish dialogue. Set in a therapist’s office, issue 45 sees Aunt May reflecting on the current state of her life and making several revelations about her feelings towards Peter, Gwen, and Spider-Man. It’s a truly intimate issue that gives readers a rare glimpse into Aunt May’s world and shows us the remarkable interiority of this character. It’s shockingly quite riveting as a read as it offers us different perspectives on supporting characters that are otherwise only ever seen through Peter’s lens. Getting to see how Aunt May is dealing with the grief of the loss of her family members, of Captain Stacy, and how she’s “using” Gwen as a coping mechanism is absolutely fascinating.

In these issues, artist Mark Bagley had to ensure the characters were as expressive as possible. Since much of this arc relied upon the feelings and thoughts of the characters involved, he had to narrow his focus and illustrate a lot of close-up reaction shots. This is especially evident in the aforementioned therapy issue. He carefully crafts each of Aunt May’s facial mannerisms to accompany the dialogue, which helps plot how she’s feeling at any given moment. There’s also a scene where Peter and Mary Jane are passing notes in class. Each panel is kept tight on their faces as they react to what’s being written. It’s really engaging since we’re seeing how they feel without being told. Beyond that, we’re seeing Bagley allowing the characters to grow through the visuals. Mary Jane is adopting a shorter hairstyle that is more refined, while Peter’s odd wispy bangs aren’t quite as jagged as usual. It’s also worth mentioning that we get to see the Ultimate versions of the X-Men in Bagley’s style. For the most part, he does a great job. I quite like how he captures Kitty’s youth and he really makes Jean pop on the page, but he struggles to make Storm’s hair a consistent style since he gives her weird bangs and the colorist doesn’t make her skin dark enough.

Ultimate Spider-Man Volume 7: Irresponsible is a bit of a chore. It has a lot of pacing problems and it struggles to maintain the momentum that the previous arcs built upon. Since it’s very heavy in dialogue, it may be a deterrent to some readers who are looking for something that’s less introspective and has more in the way of action. The issues with the X-Men are the most entertaining, but the Aunt May-centric issue 45 is also worth reading. Otherwise, it’d be quite easy to skip over this collection.

RATING: C

Review - Ultimate Spider-Man Volume 6: Venom

Upon finding a box of his parents’ belongings in his basement, Peter Parker reconnects with his childhood friend Eddie Brock. Eddie, now in college, reveals that their fathers were working on a secret project that was meant to cure cancer. When Peter investigates the product of their experiments, he ends up bonded to a symbiotic suit that makes him more powerful than ever. This time around, however, he may learn that with greater power come deadlier consequences.

Ultimate Spider-Man Volume 6: Venom collects Ultimate Spider-Man #33-39, written by Brian Michael Bendis and illustrated by Mark Bagley.

Venom serves as the re-imagining of the “Alien Costume Saga” and introduction of the villainous Venom into the Ultimate universe. Where the original saga centered on an extraterrestrial symbiote that bonded itself to Spider-Man, this arc is more grounded and presents the iconic black suit as a scientific experiment gone awry. By linking its origins to Peter Parker and Eddie Brock’s fathers, it narrows the scope of the story and makes it an intimate character study. We learn that their fathers were initially scientific altruists search for a cure to cancer, but their experiments were subsequently co-opted by big corporations and their intentions were poisoned by greed. With this in the background, we see Peter struggling with the moral dilemmas his father had to face while also subsequently dealing with his own. Though he’s acquired a new suit that’s enhanced his powers, it’s also made him unpredictable and seems to be affecting his sanity.

Bendis maintains a focus on Peter and Eddie almost exclusively from start to finish. Without the distractions of subplots, this really helps to encourage character development and makes their eventual conflict (because of course Eddie becomes Venom) that much more impactful. With that said, I still find myself gravitating most towards scenes that involve Gwen Stacy. She continues to be a dynamic character that defies convention. There’s a particularly memorable scene where Eddie attempts to get Gwen to hook-up with him, but she rejects him. His previously sunny demeanour sours and this is where we see his true colours show. He berates her and states that her previous actions are proof that she wants him. Beyond what this does to show readers that Eddie is a jerk, it also shows us Gwen understands the predatory nature that men have.

With this arc, Bagley is tasked with being darker and more sinister than before. With the symbiote, we see him indulge in a creepier aesthetic of inky goo, long tongues, and sharp teeth. There’s a Lovecraftian vibe to it, which is really neat. With that said, I did have issues with his portrayal of Eddie Brock. Eddie is a college student, but you really wouldn’t know that from Bagley’s work here. Eddie is given a receding hairline and wrinkles that make him look twice as old as he’s intended to be. It’s incredibly distracting and takes me out of the narrative.

Ultimate Spider-Man Volume 6: Venom does a great job of bringing the “Alien Costume Saga” into the more grounded world of the Ultimate universe. Bendis and Bagley smartly concentrate on giving readers a story that means something. Venom never wanders too far into the theatrics typical of the superhero genre as it’s character-driven and connects the central conflict to the past of those involved. Still, there are issues with pacing due to lengthy exposition and an epilogue that is entirely devoid of action. I like the concept overall, but the issues with execution hindered the arc from reaching its full potential.

RATING: B

Review: Ultimate Spider-Man Volume 5 - Public Scrutiny

When a thief begins masquerading as Spider-Man to commit his crimes, the real Spider-Man is declared public enemy number one. With the police determined to arrest him and a public that fears him, Spider-Man is determined to clear his name. Then, Peter’s relationship with Mary Jane hits the skids after Gwen moves in with him and Aunt May.

Ultimate Spider-Man Volume 5: Public Scrutiny collects Ultimate Spider-Man #28-32, written by Brian Michael Bendis and illustrated by Mark Bagley.

Much of the internal conflict within Spider-Man’s character is comprised of his feeling of duty to protect innocents from harm and the lack of trust the public seems to have for him. Bendis and Bagley explore this explicitly in this collection. The Ultimates have made their debut and have been embraced by the public, which feeds into Spider-Man’s insecurities. To make matters worse, a bank robber has started disguising himself as Spider-Man during his criminal escapades. As can be expected, the media and the public turn against him, leaving the police eager to stop Spider-Man for good. This creates a heightened tension within the narrative as it hinders Spider-Man’s ability to actually operate as a hero. It also affects Peter’s mental wellbeing. What is fascinating about this is that Bendis and Bagley are able to tell a tense story that pushes their lead hero to his limits without relying on a supervillain to do so.

As I’ve mentioned in previous reviews, Gwen Stacy is a standout character in Ultimate Spider-Man and this arc is no exception to that observation. There’s a sincerity and honesty to her that is lacking from most of the others in this comic. This means that Gwen’s character can be utilized to either lighten the mood or force others to react more transparently. My favourite scenes are those that are focused on Gwen, particularly the one in which Aunt May asks Gwen to stay with them on a permanent basis. It’s a touching moment that endears the reader to the characters and the event itself helps to open up new storytelling avenues, as well as to increase the strain on Peter and Mary Jane’s relationship. Gwen is easily the most sympathetic character of this book as a result of her familial situation.

Speaking of Gwen’s family, her father John Stacy is an individual who is intended to be important to this collection and whose demise is meant to provoke an emotional response from the readers. Unfortunately, this isn’t the case. Much like Gwen, he’s almost always fated to die in every incarnation he’s introduced in. However, his death must mean something. In the original continuity, George Stacy was a champion for Spider-Man and even deduced the wallcrawler’s identity. His character was given the room to grow and for readers to attach themselves to him. Bendis and Bagley didn’t give him enough panel time before they offed him, which denies Spider-Man the opportunity to have his own Commissioner Gordon for a bit and it changes John Stacy from a character to a plot device. They’d have done well to elaborate on John Stacy’s relationship with his daughter, fleshing out their dynamic more, and perhaps developing a romantic relationship with Aunt May. As is, his death here is only sad because the reader (hopefully) empathizes with Gwen. Otherwise, he might as well have been just some random officer.

Ultimate Spider-Man continues to be inconsistent in its quality for me. The stories themselves have potential and many of the characters are quite likeable as a result of the relationships that are cultivated by the creative team. This book is at its best during quieter moments where Bendis digs deep with his dialogue, revealing the plethora of insecurities that his characters are carrying around with them. I’m also continually impressed with his depiction of Aunt May, whose every appearance urges the reader to forget about her as the cumbersome geriatric damsel in distress and more as the multi-dimensional guardian whose empathy for others seems to know no end. Public Scrutiny gets major props for being able to tell a strong, character-focused narrative that’s light on action and heavy on the drama. Unfortunately, John Stacy’s death came too soon and it really hinders the storytelling potential there.

RATING: B-

Review: Ultimate Spider-Man Volume 4 - Legacy

When Norman Osborn makes a re-appearance after his apparent death, Peter fears the return of the monstrous Green Goblin will not be far off. Cognizant of the fact that Osborn knows his secret identity, Peter realizes the lives of his loved ones in danger. He must act quickly to stop Osborn before anyone can get hurt.

Ultimate Spider-Man Volume 4: Legacy collects Ultimate Spider-Man #22-27, written by Brian Michael Bendis and illustrated by Mark Bagley.

Legacy is a remarkably straightforward story that structures itself around an inevitable rematch between Spider-Man and Green Goblin. Harry Osborn returns to school after a lengthy absence, which also prompts the discovery that his father is alive and well. Peter is understandably strung out because he’s certain that Osborn is Green Goblin and that he knows his secret. Sure enough, this proves to be true and Osborn threatens the lives of Peter’s loved ones should he not retire as Spider-Man. Naturally, Peter doesn’t do as he’s told and so Osborn goes after Mary Jane. A whole lot of nothing happens in between these events, which means that there are extended sequences of exposition and dialogue. There’s barely even a glimpse of a subplot in sight. It’s actually reminiscent of the formula used within the Marvel Cinematic Universe – talk, talk, talk, punch, punch, punch and repeat! As such, it seems like what could merely be a three or four issue arc is stretched into six.

For the most part, Legacy seems to allude largely to “The Night Gwen Stacy Died” (The Amazing Spider-Man #121-122). In this version, the Green Goblin lures Spider-Man out to the bridge using Mary Jane as bait. The events play out similarly from there. That said, Bendis and Bagley do inject fresh material into this arc to further distinguish it from its infamous predecessor. Notably, Gwen Stacy (who has not been treated as a love interest thus far) is developed further and we begin to see her imposing herself more into Peter’s personal life. We get a sense that things aren’t so great at home for her and she’s becoming more attached to Peter, as well as Aunt May. There’s an additional implication that this creates a wrinkle in Peter’s relationship with Mary Jane. Gwen is still an enigma, but she’s endearing to the reader. The characters still want to write her off as a freak even though it’s clear that she’s troubled for a reason. Harry is similarly troubled. He first seems to be free from the trauma that occurred during the series’ opening arc, but we soon learn this is merely due to hypnosis at the behest of his father. While I find most versions of Harry Osborn to be annoying, Bendis and Bagley’s take on the character incites empathy from me. It’s evident that he truly cares for his friends and desires a healthy relationship with his father, but Osborn is quite literally a monster. Harry’s arc is subtle in these six issues, but his role in the final conflict adds an impressive dramatic flair to the overall storyline.

Legacy visits a lot of familiar ground, particularly as it dwells on the theme of the responsibility of powers and the bull about how it’s necessary to lie (by omission) to your loved ones since it will supposedly protect them from harm. This combined with yet another “Green Goblin hurls a Spidey girlfriend off a bridge” incident contributes to the overall sense of déjà vu with this storyline. Bendis and Bagley also seem to be treading water as well, since this collection seems almost singularly focused on tying up the loose end of Osborn’s fate during the opening arc. It’s not the most impressive showing from Bendis and Bagley thus far. By its final page, Legacy leaves the reader with some closure as well as some hints towards the direction Peter’s life may take should he continue on as Spider-Man. Thankfully, it also leaves us with a memorable final clash between Spider-Man and Green Goblin as well as questions regarding Gwen’s home life.

RATING: B-

Review: Ultimate Spider-Man Volume 3 - Double Trouble

The scientist formerly known as Otto Octavius has returned to New York City to enact his revenge on Justin Hammer, the man he holds responsible for transforming him into the monstrous Doctor Octopus. When Spider-Man intervenes, Hammer publicly denounces Spider-Man’s actions and ignites a public uproar against the webslinging vigilante. Then, reality TV star Kraven seeks to boost his sagging ratings by capturing the most dangerous prey of all – Spider-Man.

Ultimate Spider-Man Volume 3: Double Trouble collects issues Ultimate Spider-Man 14-21, written by Brian Michael Bendis and illustrated by Mark Bagley.

Double Trouble takes a page out of the Batman Returns playbook.  Having successfully taken on the Green Goblin and the Kingpin, Spider-Man must now contend with besting two foes at once. Doctor Octopus serves as the primary villain of this arc. He’s escaped from S.H.I.E.L.D. custody and is hellbent on killing industrialist Justin Hammer for his role in the accident that fused metal arms to his torso. It’s clear that Doc Ock is unhinged and is evidently quite ruthless. Bendis and Bagley do very little to alter the character, as he’s depicted in a generic green outfit and his familiar bowlcut. That said, the technology behind his character is significantly different. His metallic arms are now capable of changing shape and carrying an electrical charge, which makes him much more menacing. Kraven, meanwhile, comes in as the secondary villain. Bendis and Bagley reinvent him as a reality star (how apropos!) and he’s depicted as somewhat of a Steve Irwin-type. The set-up for the character is done quite well and is structured as a subplot until Kraven and Spider-Man have their face-off during the arc’s conclusion. Said fight is abrupt and ends shortly after it begins, which diminishes Kraven’s reputation and his believability as a genuine threat for our hero.

It’s worth noting that Gwen Stacy gets a re-introduction in this trade. She’s reimagined as a bad girl and a bit of a punk, which contrasts sharply against her eloquent and pristine portrayal from the Silver Age. However, she serves a very specific purpose as shakes up the status quo that has been established regarding the roles everyone in the supporting cast plays. She’s disinterested in playing by the social rules of high school and she seems to take interest in playing the role of a troublemaker. Her first appearance hits the book like a bolt of lightning and she ends up as a scene stealer whenever we see her throughout this arc.

Double Trouble would have made for a great second arc to follow Power and Responsibility rather than Spider-Man’s crusade against the Kingpin. It’s brisk and feels much more appropriate for Spider-Man at this point in his superheroic career. The expansion of the supporting cast provides new dimensions to the series and Gwen proves herself as a standout character. Bendis and Bagley continue to work well together, though they don’t get nearly as creative with their reinventions of villains as they do with others (i.e. Gwen). Bendis’ dialogue has also improved markedly by this time as well. The teen lingo has been dialed down and the confrontation between Aunt May and Peter that results in his grounding is as intense as it is plausible. In fact, I’m becoming increasingly impressed by how Aunt May feels like a three-dimensional character rather than a geriatric caricature. Her concern for Peter is palpable and understandable. Thankfully, Bagley is able to carry the emotional weight required for scenes such as these (in addition to his dynamic action sequences). As a whole this arc is enjoyable, but it’s evident Bendis and Bagley are still playing it safe at this point.

RATING: B

Review: Ultimate Spider-Man Volume 2 - Learning Curve

With his new life as Spider-Man in full-swing, Peter Parker sets out to earn a little extra cash by working as a computer technician for the Daily Bugle. Then, he begins his campaign to bring down the Kingpin after linking his Uncle Ben’s murderer to the oversized baddy’s criminal empire. With a trio of thugs and an electrically powered bodyguard protecting the Kingpin, it’s clear that Spider-Man has his work cut out for him.

Ultimate Spider-Man Volume 2: Learning Curve collects Ultimate Spider-Man #8-13, written by Brian Michael Bendis and illustrated by Mark Bagley.

After a rousing opening arc in Power and Responsibility, Bendis and Bagley opt for a splashy follow-up by facing Spider-Man off against the commanding Kingpin. It’s a gamble that doesn’t quite pay off. The Kingpin is a Big Bad best reserved for use once Spider-Man is a more seasoned hero, which means that it feels too early for Spidey to be duking it out with him here. Bendis and Bagley would have been better off devoting several issues to hinting at the Kingpin, elaborating on his operations and really showing readers how terrifying he can be as a villain. That said, the pair do an adequate job of introducing the Kingpin and establishing an organic conflict between him and our hero. Though Spider-Man spends a good chunk of this arc fighting the Kingpin’s henchmen, I enjoyed the fact that his victory is achieved once he uses his intelligence and outwits the Kingpin by using the media to expose his crimes.

Bendis’ dialogue is strong in this particular series of issues. Though there’s some dated slang here and there, he excels while writing Spider-Man’s signature quips. They’re humorous and often laugh-out-loud funny. He’s also to be commended for the hilarious scene in which Aunt May attempts to give Peter “the talk” after she suspects he and Mary Jane are having “hanky panky” in his bedroom. Bendis is also capable of writing with incredible emotional poignancy. After coming home from a night out as Spider-Man, Peter finds a weathered Aunt May sitting alone. She questions whether Peter likes her and the two share a tender moment mourning the loss of Uncle Ben. Artist Bagley is also to be commended, since it is his art that sets the tone of every scene and is especially valuable during humorous or serious scenes such as these.

Aside from the premature usage of the Kingpin, Learning Curve is really solid. The characters are tangibly written, with our titular hero continuing to be relatable to his audience. There’s just the right mix of action, humour and emotion to make this an engaging read. While Bendis pens the occasional stinker in his dialogue when he attempts to write teenage slang and Bagley turns out the odd derpy character (and I won't get into the hideous clothes he puts Mary Jane in either), they are to be praised for their synergy as a team, as well as their knack for pacing and overall consistency.

RATING: B-

Review: Ultimate Spider-Man Volume 1 - Power and Responsibility

After being bitten by a spider on a field trip, teenager Peter Parker develops superhuman abilities. Though he initially uses his newfound powers for personal gain, Peter is forced to re-examine his responsibility to others when his uncle is gunned down during a home invasion gone awry. Donning a blue and red webbed costume, he becomes the vigilante Spider-Man and vows to protect New York City from any ne’er do wells.

Ultimate Spider-Man Volume 1: Power and Responsibility collects Ultimate Spider-Man issues 1-7, written by Brian Michael Bendis and Mark Bagley.

When Brian Michael Bendis and Mark Bagley embarked on their now-legendary run on Ultimate Spider-Man, they ignited a new Marvel universe with a poignant and modern retelling of Spider-Man’s origins. Where Spider-Man’s debut occurred in a singular issue (1962’s Amazing Fantasy #15), here it is spread out over the course of seven issues. This gives the creative team and their cast the opportunity to develop organically, enabling readers to care for and invest in these characters. When Uncle Ben inevitably perishes, his loss is felt tremendously. In a similar vein, we get to see more of Peter Parker before he becomes Spider-Man. This helps us to better relate to him and it also gives us a starting point for marking his character growth as the events of this collection unfurl. Bendis and Bagley also notably reinvent Mary Jane Watson and Harry Osborn. The former is a frumpy brainiac while the latter is a dashingly handsome bad boy, which contrasts sharply against their canonical appearances in the primary Marvel universe. Harry’s family life is elaborated upon and he is a character we can feel sympathy for, so the alterations to his character aren’t tremendously outrageous. With Mary Jane, her growth is limited due to how she’s been pigeonholed into seeming too nice. Part of what made the character so compelling previously was that she was aloof and had an edge to her. When all of that is removed from the equation, the romantic tension with Peter isn’t as intense or as interesting. She’s just kind of blah.

The narrative for these first seven issues is strongly plotted. As alluded to previously, it takes pulls inspiration from Amazing Fantasy #15 and reimagines it for a contemporary audience. It also draws from the canon in general, adding in characters that weren’t initially part of that origin. The nerdy Peter Parker goes on a field trip to Oscorp, where he is bitten by a spider that is part of an experimental program spearheaded by Norman Osborn. Though the bite should have killed him, Peter makes a miraculous recovery – much to Osborn’s surprise. He then begins to develop superpowers, which prompt him to stand up to his bullies, join the basketball team and take up wrestling as a means of cashing in on his newfound abilities. After Peter fails to stop a theft, his Uncle Ben is murdered by the thief he let go and Peter thus vows to use his abilities only for the greater good. Now patrolling the streets as the vigilante Spider-Man, he encounters his very first villain in the form of a mutated Norman Osborn. This origin is carefully and patiently crafted, giving its characters room to breathe and for tension to build. It has a clear sense of direction due to its overarching nature, which is something Spider-Man’s original adventures lacked.

Power and Responsibility is to Spider-Man what Year One is to Batman. It is a timeless retelling of an iconic superhero’s origins that is both engaging and full of relatable characters. As a team, Bendis and Bagley creatively reinvent beloved characters and plot points in a manner that is fresh and exciting. As such, it’s really no surprise that Sam Raimi’s 2002 film adaptation is so similar. Ultimate Spider-Man would go on to become a seminal series for the wallcrawler and would serve as the starting point for the Ultimate Universe. While this line of books eventually went off the rails and its universe was destroyed during Secret Wars, Ultimate Spider-Man Volume 1: Power and Responsibility remains as an incredibly strong entry into this universe and continues to be a must-read for Spider-Man fans.

RATING: B+