Ultimate Spider-Man I haven't yet read and I was incredibly impressed with the direction the series moved in. This fourth volume is much more focused than the previous entry. All of the action takes place over the span of a couple of days and the emotions and anxieties are right on the brink throughout. The antagonists are thankfully pared back to one prominent one, Norman Osborn, and even the supporting cast drama (which I usually enjoy) is focused onto only a couple central threads. This approach helped keep a brisk pace and heavy drama throughout.
That said, the opening scenes did stretch my capacity for Bendis-speak a bit. They cover Spider-Man's take-down of some common criminals and his banter with Mary Jane over lunch. It was quipy to the point of annoyance for me. As soon as Harry Osborn walks onto the scene and interrupts their lunch, though, the book is launched into dramatic, tense territory for the rest of the story, and the excesses of Bendis' dialogue were soon forgotten.
The story in this volume lives and dies on the strength of its antagonist. Norman Osborn is not only refreshing to have back after volume three's confused Doc Ock/Justin Hammer/Kraven mess, but he's a much stronger opponent than he was in his first foray as the Green Goblin. It makes sense that, in the Ultimate universe, at this early point, Norman has no lifelong vendetta against Spider-Man (which we’re so used to in the regular Marvel Universe). Here, he just wants Spider-Man to stop operating and get out of the picture.
It's refreshing to be free of the weight of Peter and Norman’s regular Marvel Universe relationship, and have it pared down to this. The threats Norman makes against Peter and his family are direct and dangerous and truly set Peter into new territory as a superhero. Once again, Bendis thrives when depicting Peter as the green, untried hero, facing threats and dangers well beyond his years and experience. Immediately after seeing Harry, Peter's mind goes into a tailspin, with all manner of worries and possibilities running through it regarding Norman knowing his identity, and it’s a realistic and effective portrayal of a teenaged superhero.
Bendis also does a wonderful job building the tension of this conflict throughout the story. At points in Peter's first visit to the Osborn home, things feel like they could go ok for him and the situation seems benign enough. We're then completely thrown off guard when Norman launches into Peter with his new proposal and threats, and it sets the tone for the rest of the story.
On the supporting cast front, there's good work done here with the emerging character of Gwen Stacy, but, beyond that, it's limited to MJ, May, and Harry, and their involvement in the main story. In Gwen, I see potential in exploring this clearly damaged girl, crying out for some family and companionship. Bendis continues building the thread of MJ's jealousy over Gwen, but
keeps it at an appropriate level and never lets it overwhelm the main story. There's also some great work here with Aunt May and her relationship with Peter. We see her as almost fallible, willing to admit that perhaps the punishment she issued him in volume three was too swift and not understanding enough. There's a tenderness to their relationship, so that when Peter cries in her arms after Osborn's threats, even though she doesn't know why he's upset, we feel catharsis as readers.
I just really appreciated how stripped back the story was. Outside of short appearances from Miles Warren, there are no new characters or elements from Spider-mythos piled on here. It's a focused tale, building on the groundwork Bendis has previously laid, and not concerned with wowing audiences with a new Ultimate version of a character. There's potential to Miles Warren in his role and his screen time is kept to what is necessary.
That said, there is a very 
unexpected aspect to this story,me, in Nick Fury's involvement. In one sense, I like the idea that he and SHIELD know all about Peter's heroic and personal life, including everything down to conversations that he's had with Osborn. I love how Osborn is tied into one of the Ultimate Universe's main overarching stories, that of the Super Soldier formula that created Captain America, in a natural and obvious way. Oscorp was one of many groups who have tried to recreate the formula for SHIELD, a thread that ties right into The Ultimates series and so many other Ultimate U stories. It adds motivation for Fury to get involved and ties Peter's story into the wider fabric of this universe. The whole deal Fury makes not to get involved in Norman's threats against the Parkers is a little convoluted. But I suppose it works to create urgency for Peter and tear down Fury's "ultra cool" facade - underneath it all, he's just a coward and a slave to bureaucracy. SHIELD knowing about Peter's secret identity is another twist on things, so soon after letting MJ in on it, but I do see possibilities here, and more importantly, I'm impressed Bendis is able to wrench things in new directions with apparent fearlessness.
Once all of these elements are set up, the volume does launch into an extended action finale, albeit one that works much better than the first Goblin battle in volume one. There is much more emotional urgency and danger to these proceedings. And, most importantly, Bagely absolutely nails it on the art. The panels are large and expressive, allowing for wide action that is dynamic and space for the characters to really move and emote (a problem he still has on the talky, crammed panels). There's an extended sequence here devoted to the voices in Norman's head talking to him after he consumes the Goblin formula that perhaps goes on a page too long; but it's one segment in an otherwise exciting fight scene. MJ being thrown off the bridge, ala Norman's famous killing of Gwen in the main Marvel U, works because it isn't dwelled on as a nostalgic moment and because Bagley's art just looks spectacular on it.
The finale of the fight has Harry helping Spider-Man take down his dad, and it's a strong moment, even if Harry never feels fully formed here. As the victim of brainwashing, he's more a bit player than a rounded character in the drama. SHIELD also plays a big role in taking Osborn down, and the interplay between them and Spider-Man is interesting. Fury reveals his plans to take Peter in, forcefully, at age 18, adding an entirely new spin to the title as a whole. This Ultimate world is policed, strongly, and those police see themselves as doing a good job of it. They won't let this or other incidents slide. Again, this is a big change from the often scattered main Marvel Universe, and one made allowable by a smaller shared Ultimate universe.
At the end of the battle, Peter and MJ can only express anger, then silence, showing the toll this lifestyle has taken on both of them and the far less glamorous side of superheroics. By focusing on such a young, new hero, Bendis gets the most out of this, ending this powerful volume on a devastating note of exasperation for the lead characters.
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