by Randy Lander

ULTIMATE SPIDER-MAN VOL. 2: LEARNING CURVE TP Highly Recommended (10/10) Marvel Comics Writer: Brian Michael Bendis Pencils: Mark Bagley Inks: Art Thibert Colors: JC Letters: Comicraft Editor: Ralph Macchio Price: $14.95 US/$21.95 CAN Though I was well and truly hooked on this series by the first story arc, the second is even better. If the first arc was Peter's journey from geeky student to neophyte hero, the second arc is the journey from rookie hero to one with a victory or two under his belt. The differences in the way Peter goes about his investigation, and the challenges he faces at school, are really the differences between the 1960s and the 2000s, and Bendis does a terrific job of making this an updated classic, rather than a pale imitation. This arc introduces a few important Spider-Man elements, including the Kingpin, Electro and the Daily Bugle, in a way that is familiar but with a contemporary spin. Bendis also includes an element to the relationship between Mary Jane and Peter Parker that is quite different from classic Spider-Man, but serves as a terrific closing chapter for the trade paperback. Bendis has really captured the spirit of the Stan Lee issues of Spider-Man without just aping the stories. The balance between action and high-school, and the addition of a newsroom, is a perfect blend. In addition, Bendis brings to the table a more modern aesthetic that makes the book easier to swallow, even with the bizarre science and coincidence required for Spider-Man to work. Peter's new job makes more sense than a 15-year-old photographer, and his reason for going after the Kingpin is a lot more convincing than the coincidental run-ins that were Stan Lee's stock-in-trade. Bendis also plays with the notion of the secret identity in two different important sequences, playing it smarter and not underestimating the intelligence of the characters or forcing too much suspension of disbelief from his readers. I really enjoyed the new take on old classics like the Enforcers, Electro and the Kingpin. Part of that is the visual design, which has them looking distinctive (love Electro's lightning bolt "cleavage") but not like spandex-clad super-villains. Another part is that they aren't written as just generic goons. Electro apologizes when he accidentally blasts a buddy, and makes a threatening and very personal speech to Spidey toward the end of their first battle. And the Kingpin comes across more as a disturbed businessman who can't believe someone is mucking up his work than the epitome of pure evil. Leaving aside the super-hero stuff, what made this story successful in the first place is the work on Peter and his normal life. Ultimate Spider-Man often reads less like a super-hero book and more like an episode of a teen comedy/drama. Bendis's work with Peter and Aunt May speaks to their relationship better than what so many other writers have attempted. She's a real person, a strong parental figure, and she's actually allowed to be annoying at times, just like a real parent would be to a teenager. The sequence featuring Aunt May and Jonah Jameson, a lovely homage to a similar scene in Almost Famous, is particularly hilarious. In addition, the chemistry between Peter and Mary Jane is believable and fun, and the story that focuses on their relationship in the tail end of this trade paperback is probably the best story this book has so far produced. Bendis is giving teens a look at what they might be like if given these powers, and that gets right to the heart of Spider-Man's concept as handed down by Stan Lee and Steve Ditko all those years ago. As far as artwork goes, Bagley's work is not as flashy as the work of a John Romita Jr., Bryan Hitch or George Perez, but he's got a good grasp of anatomy and storytelling, and I think his skinny and gangly Spider-Man is one of my favorite renditions of the character ever. His main job here is to convey the range of emotions in the character and provide solid "cinematography" and he does both quite well. Bagley does some incredible work with camera angles, using close-ups, rotating shots, basically a constantly moving frame of reference to keep action and talking heads equally interesting. In addition, he manages to convey that though being Spider-Man is a responsibility, having those powers would be incredibly cool and fun for a teenager. When you see Peter using the powers, especially out of costume, you get a sense that this is fun, and that's part of what makes the comic book so enjoyable. Fun is the watchword for this comic, as the book is often hilariously funny. Spidey's first confrontation with the Kingpin has the bad guy unwittingly delivering the punchlines by displaying his lack of pop-culture knowledge, but in the second one, it's Spidey who launches into a well-timed series of hysterical barbs. And the interaction between Peter Parker and Mary Jane gets across the amazing nature of his powers in a way that is often very funny as well. Every issue provides at least a chuckle, and usually a laugh-out-loud moment. Incredibly enough, Bendis and company have improved on a great beginning to turn in a second story even stronger than their first. Bendis, Bagley and the rest are walking a fine line between tradition and the new, and they don't show any signs of losing their balance. Email Randy Lander comments about this review, or discuss it on the Fourth Rail message board.