Ultimate Spider-Man V. 1 (#1-7) – Power and Responsibility

Brian Michael Bendis/Mark Bagely

I've decided to take the entire Ultimate Spider-Man series out from Toronto Public Library and make my way through it. I've only ever read the first three arcs, and those were from the days Marvel used to post the issues on its website. I actually quite liked it back then, but it's been many years, and my exposure to the title has been sporadic since then. The appeal of having the entire, lengthy series available to read in sequence, for free, was too much to pass up.

This first volume is largely taken up with Bendis and Bagely retelling, in a highly stretched-out format, Spider-Man's origin. This volume collects seven issues, the first five of which comprise the origin. The merits of stretching it out to this extent have been debated over the years, but, for me, those five issues were as good as it gets for superhero comics. There are so many reasons why the origin story in Amazing Fantasy#15 needed a bigger canvas, and this re-imagining of Spider-Man is the perfect opportunity to turn that one issue into a well-paced, dramatic coming of age story.

We need these extra issues, first and foremost, to get to know Peter and his world better. Bendis uses the issues to introduce us to a brainy and reclusive Peter, and slowly show how his powers draw him out of his shell. We get a full picture of Peter and his role in his world, and then watch as he changes. There's a realistic picture here of a nerdy high school student who has an opportunity to change and shove his former image and pain down his oppressors’ throats. The scenes where Peter inadvertently hurts Flash or Kong are cathartic and the recurring motif of him breaking his desk at school is another great bit; he's demonstrating his strength, but in a clumsy and embarrassing way that just makes him a further target of his bullies. The strongest element of Peter lashing out is when he turns on his Aunt May and Uncle Ben, blaming their timid natures for him being seen as a loser. It's an entirely "bratty teenager" thing to say, accompanied by him storming off, but it's such an honest moment, showing the true pain he's felt all of these years, that it really stands out. Bendis does a very good job showing what the discovery of powers would be like for someone in Peter’s position. It feels real and its given adequate space to develop as a satisfying plot thread.

The extra issues are all crucial to give readers more time to see Peter's relationship with his aunt and uncle, before the latter is killed and the familiar origin events take place. We have so rarely seen the couple interacting, and Bendis wisely de-ages them slightly, so that they seem a bit younger and more vital in their scenes. Yes, Ben's pony tail is perhaps a bit too much, but both characters seem more real because they're not Peter's impossibly old caretakers anymore. Their attempts to reach out to Peter - whether he is responding to or lashing out at them - feel real and their frustration when he pulls away is well-conveyed. Bendis wisely chooses Peter's rebellion as the impetus for Ben to deliver the "great power and responsibility" speech. It's connected to Peter's dead father, well-timed, and speaks to so much more than just Peter catching the criminal. It speaks to Peter's changing behaviour since getting his powers, and it works as an important moment for both characters. Ben's death, and the events, surrounding it, also benefit from the extra space. Not only do we really know the character, but the ability for Bendis to have several wordless scenes and extended character reactions to Ben's murder benefit this story element so much.

Bendis is also building a tapestry for Peter's world from the very beginning, which he uses the opening five issues to really flesh out. The biggest element is Norman Osborn, who is present from even before Peter gets his powers, and is indirectly responsible for that incident. Although the character’s villainy and scheming is plain as day, I still think Bendis does a good job with him and I appreciate how he and Peter's origins are linked from the beginning. The intrigue of Norman investigating Peter is a continuing thread through these issues, and actually makes for a nice change of pace from the high school scenes. They also temper some of the scenes where Peter discovers his powers, adding a sinister element. The accident where Norman gets his powers is a jarring element in the middle of Peter's journey. It's a flash of violence and a wake-up call to the greater dangers surrounding Peter.

Otto Octavius is also present, with the hint that he too is tied to the accident that give Norman his powers, Captain Stacy shows up when Ben's killer is discovered, and, most importantly, Mary Jane is present from the start. Having her for Peter through his bullying is an important way to create a relatable friend for him. Her role as a love interest is hinted at here, but she's more of a friend, and the wonderful scene where she comforts Peter after Ben's death is one of the virtues of stretching the origin out to five issues.

Honestly, the only element of the origin issues that doesn't wholly work is the familiar wrestling element. I understand that it's a key component of Spider-Man's origin, but it's initially a bit jarring. I guess I just don't buy that a group of supposedly cool teenagers would take time to go to this basement wrestling challenge. It just doesn't jive with what I think this type of teens would do with their time, or even care about. Once we get over that hump, and Peter becomes a contender, it serves its role and works just fine. It never shakes off the feeling that it's all occurring in some backroom basement. As I said, it serves its purpose, but it just wasn't re-imagined by Bendis and Bagely enough for me to really love it.

After the five stellar origin issues, this trade is capped with two issues of Spider-Man fighting with Norman, who emerges in a new, hulking, grunting Green Goblin form. I hope I'm not out of place in saying I didn't enjoy these two issues nearly as much. I understand that Bendis has to get the series moving, but this is a big change of pace from the opening arc. The focus is on Peter getting into battle with Norman. It feels like the creative team is rushing into this element of the series too quickly, but at the same time it feels dragged out. Was it necessary to stretch the battle scene out over two full issues? The trauma and immediacy of Ben's death almost feels behind the title. Obviously, the pain is not leaving the character, but it's very clear some time has passed. Again, it's obvious Bendis has to get the show moving, and I'm okay with that, but it's a bit jarring when coupled with the first five issues of this trade.

I also have no love for the Green Goblin beast. Gone is the potential for Norman to be the scheming, manipulative villain we know him for (and we see prior to this change). He's replaced by a grunting and hissing beast who is purely a physical threat for Peter. All we get out of this Norman is a well-drawn battle scene, but none of the stronger elements that Norman can bring as an opponent. I'm also not feeling Harry Osborn's character at this point. Maybe I'm ruined by the movies, which actually came out after this, but his portrayal as the too-cool guy who befriends Peter feels too formulaic. And his problem with his father seems to solely hit the expected beats and not really go anywhere interesting.

There are some good things in these two issues, however. Bendis provides us with a quick introduction to J. Jonah Jameson, Ben Urich, and the Daily Bugle staff, in a fun opening scene with potential for more exploration. There's also a great bit where we see how Peter has to plan his escape from his classmates when the Goblin attacks, so as not to arouse suspicion that Spider-Man goes to Midtown High. It fits right in to the realism that the Ultimate line goes for, and is blatantly trying to be clever, but I'll give Bendis credit that it worked.

I've yet to mention Mark Bagely's art. He certainly sets the tone for the entire series with his work here. Any time the panels open up, and there is opportunity for splash pages, big character movement, and big expressions, the art is lively and dynamic, with his signature angular style evident throughout. He also brings a youthfulness to the cast and characters. Peter looks his age, particularly in the Spider-Man costume, where there is a real feeling that a 15 year-old is in this costume and learning to use his powers. In fact, the scenes of Peter learning about his powers, which are usually wordless, are some of the trade's finest. The panels are bigger, the visual storytelling carries the scene, and Bendis usually pulls back on the dialogue, allowing Bagely to visually show Peter's enthusiasm and excitement. He also really pulls off the battle scenes with Norman, livening up a two-issue battle scene. His art can suffer a bit in the smaller panels, when too many characters are present, because his art doesn't lend itself to a cluttered look. Still, Bagely sets the youthful, visual tone of the book, and does a great job with doing it.

Overall, I was incredibly happy with this opening trade, even with my disappointments in the final two issues. Bendis took a chance with his presentation of Spider-Man's origin, and it greatly paid off. The extra space afforded to the origin created a great story. I had reservations over rushing into Peter's battle with Norman, but I'll give Bendis credit, as he's created a world and now can move forward with covering Peter's journey.