I like May Parker... the modern May parker, that is. Brian Michael Bendis's version of the character over in Ultimate Spider-Man is a far cry from the frail vision of the character from the Silver Age, but the "mainstream" continuity version has certainly grown for the better in recent years. There's a strength and sense of humor in the character that's appealing, and she still represents sentimentality at the same time. Straczynski tries to make the most of it here, but instead, the reader is met with a sappy cliche and some crude super-hero plotting. This story would have worked well 30 years ago, but today, it's a bit obvious and formulaic.
A criminal has stolen an experimental spelunking suit of armor and dubbed himself "the Shaker," trying to capitalize on his new source of power. Of course, the Amazing Spider-Man is on the case, fighting the amped-up thug all across New York while trying to rescue innocent bystanders from the collateral damage left in the Shaker's wake. Meanwhile, May Parker hears of the extended battle on the news and even glimpses a moment of it personally. She's always worried about her nephew, but given her new knowledge of his secret identity, that concern is on a much more extreme level.
Romita and Hanna's artwork here is exactly what we've come to expect from this title over the past few years. There's energy in the storytelling, and it unfolds clearly. There are pleasing little touches to be found, the most enjoyable of which was the scene featuring two kids playing Spidey versus Doc Ock on the street. Still, the Shaker design was completely uninteresting, though perhaps that was the point. The villain was completely generic, and that was certainly the case visually as well.
Straczynski writes a good Silver Age Spider-Man story here, but unfortunately, this is not the Silver Age. The generic and somewhat pathetic nature of the Shaker works against the title character; Spidey takes so long to deal with him that he comes off as weak and dim-witted himself. The crude nature of the fight scenes also works against the more reflective quality the writer aims for with the May scenes.
Of course, it doesn't help that Straczynski switches back and forth when it comes to the narrative voice. It interrupts May's "train of thought," so to speak. Mind you, there's no great insight into the character offered here. Regular readers of this title will already know all this, and the big reveal at the end of the book is corny as hell. This is a good issue for new readers, especially younger ones, but ultimately, it's an inconsequential one for those who have been following along.
