Mark Millar had a rather undaunting task when it came to crafting this final chapter in his 12-issue run on this title. Not only did he have to bring the larger story to a close, he had to somehow divert attention away from the super-villain conspiracy he constructed while not invalidating it altogether. That conspiracy is just too involvd to become the status quo in the Marvel Universe, but its novel and dark nature turned out to be an important element in this Spidey story. Millar downplays (but maintains) that larger idea by focusing the reader's attention on something more traditional: the enmity between the Green Goblin and Spider-Man, as well as the climactic quality of their conflicts.
The Green Goblin once again hovers over a bridge, holds the unconscious frame of Mary Jane Watson-Parker in his hands, not to mention her life. Spider-Man is reliving his worst nightmare, and if that weren't enough, time is also running out for May Parker, whom the Goblin claims is stil alive, hidden away out of her nephew's reach. Spider-Man faces some impossible choices and horrific realities, but another one of his enemies may hold the key to victory.
The Dodsons capture the larger-than-life feel for which Millar is striving here. The visuals are appropriately dark (thanks in no small part to the colors), and the Goblin appears deliciously maniacal. There are a lot of tight closeups here and big panels, often making the hero and villains here seem like gods. As the title character rushes to save Aunt May, the desperation he feels can be seen in the frantic movements that the artists bring to life on the page. When this series began, I worried the Dodsons' work was going to be focused too much on cheesecake visuals, but that certainly hasn't proven to be the case as the series has progressed.
The unique nature of May's kidnapping is a rather large pill to swallow. The idea is a physically devastating one, and the notion that she would have survived or recovered so completely is almost ridiculous. But somehow, it works. Millar manages to convey in the concluding that a lot of time has passed, and Peter's emotionally charged narration sells the premise well.
The contrast between the Goblin cruel and utterly corrupt sentiments in the first scene and the calm, civilized and even friendly tone of the letter he sends to Peter at the end of the issue really makes the character's insanity come to life. It's almost impossible to reconcile the two attitudes, but there's also a cleaqr sincerity to both tones. Osborn despises Spider-Man, but he respects and admires Peter Parker. He sees himself as being as much a hero as Peter is, and his delusions are even more disturbing than the callous way he treats the lives of others. 8/10
