Millar doesn't advance the plot much at all in this issue, and what we basically get is a long, drawn-out fight sequence between the title character and Electro. We've seen it before, right? Why bother padding out a story arc with yet another Spidey fight, right? Well, this isn't just another Spidey fight. Millar and the Dodsons make the most out of the more mature Marvel Knights label, bringing an intensity and realism to the super-hero action that grants it a dark and ugly edge. Millar explores the real consequences of the violence in which Spider-Man is immersed, and it helps to set this apart from other Spidey fare quite effectively.
Tipped off by the Owl, Spider-Man has tracked down Electro and the Vulture at a Manhattan brothel. The wallcrawler has been led to believe that these two old arch-enemies of his are responsible for the kidnapping of May Parker, and he's determined to find out where she is, even if he has to beat them senseless. Without his wings, the Vulture isn't ready to take on ol' Webhead, but Electro is a different matter altogether. You see, Electro's got more than just a new costume. He's got a bad attitude, plenty of confidence and an arsenal of new tricks up his electrified sleeve, and that means Spider-Man is in for a rough ride.
The Dodsons built their reputation in the industry in part on the attractiveness of their cheesecake art, in keeping with the strong Adam Hughes influence on their work. That's why the darkness and intensity of their work on this title is so impressive. They've left the softness that was so inherent in their work before and focused on a harsher tone in their smooth and realistic line art. They drive home the devastating nature of the violence here with an unflinching look at what it does to the characters. Peter Parker looks like death by the end of the issue, and the overwhelming nature of the explosive battle makes it clear that people, bystanders or otherwise, are not going to be walking away from it healthy.
There is one distracting aspect in the art in this issue: Electro's mask. Sometimes, the lightning bolts on his mask extend out on their own, and at others, they seem to be just a pattern on the material. It seems they might be an indication of when he's using his powers, but it was nevertheless a distraction throughout the fight scene.
Millar takes a risk here: he takes the fun out of super-hero action. Gone are the quips and colorful qualities of the Spider-Man fight scene. Millar makes it clear that this is different. People are dying, and the hero is getting battered to within an inch of his life. An electrocution isn't something one shakes off and overcomes to save the day here. It's life-threatening and unimaginably painful. I say Millar takes a risk because he's taken the fun out of super-hero action here and replaced it with drama. The good news is that it works.
I would imagine there are many readers out there who reacted negatively to Spidey's decision to approach the Owl for help in the previous issue. Given the characters' histories, it didn't make much sense, I suppose, but the payoff is to be found in this issue. Yes, it was a bad decision, and Spidey's paying the price. I also enjoyed Electro's characterization as someone who's finally realized that his powers are really only limited by his imagination. Furthermore, the hospital administrator's reaction to Spider-Man's presence in the hospital, as well as his mention of plausible policies for just such a scenario, brought realism and credibility to the story.
