It seems to me that more and more lately, my reviewing partner Randy and I are disagreeing about various comic books, and those disagreements have proven to be surprisingly polar in nature. Our reactions to this particular comic book is one of those occasions. I don't always sound off when our views differ so radically, though, as there are so many comics to look at every week, but there's been a lot of reaction to Randy's review on various online forums.
Is this issue as strong as the first one? No, it's not. Are there aspects of the continuity that don't quite sit well with longtime readers? Sure. But there are also some strong elements that bring credibility to the story and the characters, and that slightly mature edge that sets this series apart from other Spidey series is to be found in the issue's final scene.
Someone has kidnapped Aunt May, someone who has uncovered Peter Parker's secret, but before he can discover who's behind it, he has to ensure that the other people inhis life that he cares about are safe. Spider-Man also sets out to get some help. An ally who knows his secret identity is unavailable, so the wallcrawler finds himself turning to the Avengers for help. Trust issues complicate the plea for help, though, and Spidey soon finds himself in conflict with his colorful colleagues. Meanwhile, an unlikely source of help yields some answers.
Colorist Ian Hannin of Avalon Studios does an incredible job of maintaining a dark atmosphere throughout this comic book. More than anything else, the colors drive home the maturity and edge that's meant to set this series apart from Marvel's other webslinging comics. I'm also pleased to discover that the Dodsons don't resort to the cheesecake shots for which they are known. That only comes up in the final scene, and there's an excellent reason for the sexual element in that segment. The action at Avengers Mansion doesn't unfold as clearly as it should, though.
"Oh hey, it's Spider-Man, one of our reserve Avengers members, at the door, and he's looking for help. We should let him in and discuss his problem rationally instead of behaving like typical super-heroes who fly off the handle every time someone else in a costume shows up in our general vicinity. Someone brew a pot of coffee and break out the Peek Freans." That's really the sort of scene that would have felt right in this issue, especially in a comic that strives for a more realistic and mature feel. Mind you, it wouldn't have proven as action-packed. Spider-Man's trust issues here make sense to a certain extent, but then again, Millar's portrayal of his relationship with these fellow super-heroes strikes me as being a bit to distant and strained.
What makes this a good issue are the opening and closing scenes. Peter's desperate effort to get Mary Jane out of harm's way and his frustration that she's not co-operating ring true. Have you ever wanted a loved one to just do something you needed them to do without question only to have them question it at every turn? It's maddening. On the one hand, it's easy to understand why someone who resist or question the request, but on the other, you just need that person to love and trust in you to just do what you need them to do. The closing scene treats two familiar Spidey foes as criminals, not super-villains, and it provides a look at an interesting and thoroughly plausible side of the underworld in the Marvel Universe.
