I really want to like this story. Jenkins has brought a genuine air of menace to what was once a laughable comic-book villain, and he's incorporated a thoroughly relevant element from the international political scene into the plot. This was a Spider-Man story with a brain... and I emphasize the word "was." This conclusion has a lot of heart, but it doesn't make a whole lot of sense. The good guys win because... well, because they're supposed to win, I guess. How that win comes about isn't at all clear. Ramos's art reinforces the dark and intriguing new take on Doctor Octopus, but the artist's depiction of the title character marginalizes him.
As Doctor Octopus demanded, Spider-Man has showed up in Times Square and removed his mask, not just in front of the assembled crowd, but before the millions of people watching on TV. It's part of the promise he made to ensure the safe return of Palestinian ambassador Hayyan Zarour, but Spidey finds a couple of little loopholes in Doc Ock's plans. Instead of triumphant over his longtime nemesis, the villain is humiliated. And when he gets humiliated, he gets mad. His new artificially intelligent tentacles may prove to be too much for the friendly neighborhood wallcrawler.
There are a couple of problems with Ramos's artwork here. First of all, his depiction of Spider-Man makes him look like a little kid, almost like a Mini-Me version of the character, a la X-Babies or Chris Giarusso's "Bullpen Bits." It's difficult to take him seriously as a result. Of course, when the action gets truly intense -- far more than usual for a Spidey story -- at the end of the issue, there's a more adult, beefed-up look to the title character. I'm also at a loss why a key cop character is designed to look just like Aunt May. It makes for a confusing moment or two. Mind you, Ramos hits the mark with his depiction of the redesigned Doc Ock. He is truly a formidable, intimidating foe here. His look matches the ugliness and intensity of Jenkins's characterization.
In the past, Doc Ock has been little more than a thieving blowhard, but here, Jenkins transforms him into a vision of sheer evil and anger. It's easy to understand why Spider-Man enrages him so here, and his scheme boasts a real intellect behind it. I love the Doc's new A.I. schtick for the arms, and one gets a real sense of power behind them, thanks to the art.
Jenkins fails to explain how it comes apart, though. We're not told or reminded how Spider-Man's new allies save the day so readily, nor is it at all clear why "Big John," AKA the Kiwi Kid, is necessary to Spidey's plan. The story is resolved simply because the time has come, it would seem, and Jenkins needs to make room for the typical Spider-Man/Doc Ock fight scene. Everything new is old again, as the hero/villain conflict returns to its simpler form.
